Class Book COPYRIGHT DEPOSIT ■■^ '" ■'■- C&. C& VCfc^^I*^/ THE IN L OR, A Practical Guide in Designing & Weaving. AN INSTRUCTOR & GUIDE ADAPTED TO THE REQUIREMENTS OF ALL ENGAGED IN THE ART. ILLUSTRATED WITH THREE-HUNDRED FIGURES REPRESENTING SINGLE, DOUBLE, TRIPLE AND COMBINED WEAVES IN VARIOUS FORMS OF CON- STRUCTION AND COMPLETION, THE PRINCIPAL METHODS OF ATTACHING BACKS TO FABRICS, AND EIGHT CLOTH SAMPLES MADE SPECIALLY TO DEMONSTRATE THE PRINCIPLES OF THE WORK, INCLUDING A FANCY PICKOUT SHOWING FIVE METHODS OF REDUCING AND WEAVING THE SAME; DIAGRAM OF PATTERN SHEET ; ALL MANNER OF STOCK FIGURING FROM THE WOOL IN THE GREASE TO THE WOVEN STATE, INCLUDING MAKING MIXES; ALSO YARN TABLES, RULES, CALCULATIONS, ETC., ETC. The Most Practical and Complete Work on Designing and Weaving Ever Offered to the Craft. ft <&* cO pYRl BY A. A. 'BALDWIN, AUTHOR OF "A Treatise on Designing and Weaving Plain and Fancy Woolen Cloths," "The Designers' Chart," and "The Loom-Fixers' Manual." Also ex-Editor and Publisher of "The Designer & Weaver" — 1SS0-1, — and "Baldwin's Textile Designer" — 1SS8-9,— both monthly publications. ►Brasher Falls, N. Y. : AMOS A. BALDWIN, PUBLISHER. 1890. K <$ V Entered according to Act of Congress, in the year 1S90, by A. A. BALDWIN, In the office of the Librarian of Congress, at Washington, D. C. 1 s 1 % PREFACE, PREFACE. II N fulfilling a task so difficult as that of writing a "Self- Instructor in Textile Designing," the author feels it a [ duty to state the causes which led him to undertake it, "■ and the principles which have guided him in carrying it to a conclusion. First, to overcome past failures in books relative to the Art, by demonstrating in a comprehensive manner such points as have heretofore been ignored by their authors; or, points on which they failed in conveying to the reader the intended meaning. Second, to produce a self -in- structor founded on practical experience and study of the art; a work demonstrating so plainly, with the assistance of the cloth samples made specially for it, that all who will, may comprehend the whole and thus be their own instruc- tor. Third, to spread a knowledge of designing as widely as possible among those who have not the advantage of personal instruction. Furthermore, the author wishes to place in the hands of would-be designers such a work on the subject as will enable them to understand more clearly, and comprehend more thoroughly the details and technicalities of the art. That he has succeeded in this, and in bringing the rudiments of designing to that state of perfection wherein they can be 4 PREFACE. easily learned, and practically applied by those who are dependent almost wholly on books for their instruction in designing 1 , will, he believes, be conceded by all fair-minded persons capable of judging. The aim has been to lay before the craft a plain, clear, practical view of all the rudiments required to be known by those who are interested in an art, the fundamental princi- ples of which have been heretofore but very imperfectly demonstrated in books. Although not intended as a literary production, and although apparently small, it is believed that the work covers the entire field of designing for which it is intended. That it may succeed in awakening among the craft the same interest in its subject-matter which called it into existance, is the earnest desire of the author. A. A. BALDWIN. Dec. 18, 1890. CONTENTS, CONTENTS. CAHPTER I. Page Hints to Would-be Designers , . . . 9 CHAPTER II. Delicacy and Correctness of Taste. ... . . . . 13 CHAPTER III. How to Become a Designer. . . . . . . . • 15 CHAPTER IV. Explanation of Signs and Characters used in Design- ing. — Mathematical Signs 18 Fractional Equivalents in Percentage. . . . . 10 Design Characters 20 CHAPTER V. Explanation of Different Terms used by Designers. 20 CHAPTER VI. Hints on Preparing and Examining Samples before Dissecting . . . . . . . . • • 24 CHAPTER VII. The Process of Dissecting and Layingout for the Fab- ric, Illustrated — with Pickout, and Cloth Sample. 20 To Find the Number of Threads in the Warp. . . 31 To Find the Amount of Yarn Required for Warp. 32 To Find the Required Reed. 33 To Find the Amount of Yarn Required for the Filling. 34 To Find the Number of Sections and Number of Spools Required Up. . . . . • • • • • • • • 35 To Find the Number of Yards Required on Each Spool. 30 The Dressing or Warping. . . . . . . . . 37 To Find the Number of Heddles Required on Each IJarness when Using a Cross Draft 37 6 CONTENTS. CHAPTER VIII. Estimating the Per Cent, to allow for Loss of Stock During the Process of Manufacture. . . . . 41 Rule for Adding Percentage. 42 CHAPTER IX. Estimating the Per Cent, of Colors in Mixes, and of Different Wools in Batches 45 To Find the Amount of Each Color Required in a Batch, the Size of Batch and Per Cent, being Known. 45 CHAPTER X. Figuring the Shrinkage of Wools and Their Cost when Scoured 47 To Find the Shrinkage of Unscoured wool 47 To Find the Cost of Scoured Wool, the Market Price and Shrinkage being Known. 47 To Find the Amount of Wool Required in the Grease to Produce a Given Amount Clean, the Shrinkage being Known 48 CHAPTER XI. Dressing Pattern Warps and Weaving Pattern Sheets 49 — Pattern Sheet Illustrated by Diagram. . . 52 Figuring on the Weight of Cloth from Loom. . . 53 CHAPTER XII. Three Methods of Attaching a Back to Fabrics — fully Demonstrated with Cloth Samples. . . . . 55 CHAPTER XIII. Combining Weaves Illustrated. . . . . . . 68 CHAPTER XIV. The Analysis of Double Weaves — Their Construction and Stitching — Demonstrated with Cloth Sample. 81 CHAPTER XV. The Construction of Triple or Three-ply Weaves — Demonstrated with Cloth Sample. . . . . 90 CHAPTER XVI. Relative Lengths Per Pound of Woolen, Worsted, Cotton, and Silk Yarns — their Explanation. . . 99 CONTENTS. 7 CHAPTER XVII. Samples of Fabrics with General Instructions for Making Them— Eight Samples 102 CHAPTER XVIII. Miscellaneous Weaves. . . . . . . . . . . 107 CHAPTER XIX. Designing Broken Twills or Satin Weaves. . . . . 117 Rule for Designing Satin Weaves. . . . . . . 122 "Double Satin Weaves." 123 CHAPTER XX. Yarn Tables, Rules and. Calculations. — Table Showing the Number of Yards Per Pound of Woolen Yarn From | Run to 20 Runs 126 Table Showing the Number of Yards Per Pound of Worsted Yarn from No. 1 to No. 120 127 Table Showing the Number of Yards Per Pound of Cotton, or Spun-Silk Yarn from No. 1 to No. 90. 128 Table Showing Equivalent Numbers by the Run, Cut and No. System, for Woolen, Worsted, Cotton and Spun-Silk Yarns 129 Table Showing the Weight in Grains of 50 Yards of Woolen Yarn, from 1 Run to 20f Runs. . . 130 Rules to Find the Size of Different Yarns, by Grains, without Reference Tables 131 Rule to Find the Number of a 2 or 3-ply Thread, in Worsted and Cotton Yarns 132 Rule to Estimate the Weight of Fabrics by the Weight of One Square Inch 133 Weight Table in Grains. — Rule to Find Average Picks Per Inch in Uneven Cloths. — Cotton Yarn Table. 134 Linen Yarn Table.— Cloth Measure Table 135 Raw or Tram and Organzine Silk Yarns 136 CHAPTER XXI. Weaving Right and Left-hand Twills, on Cam and Chain Looms — Illustrated 137 CHAPTER XXII. Directions for Making Wool Mixes. — Conclusion. . . 141 A Centennial Calendar. 145 ERRATA. ERRATA, On page 32, twentieth and twenty-first lines, read "into* 5 warps, will give 440 yards per warp of 12 cuts, — that is 36f yards per cut or piece," instead of "into G warps, will give 350 yards per warp of 10 cuts, — that is 35 yards etc." On page 93, Fig. 8, bar 3, read "■■■■■□■■□■■*," instead of "■MMM3wnnnnt." On page 129, in table, second column, read "20i runs," instead of "29^." Also, in fifth column, read "35f Nos." instead of "36f" Besides the above, there are on other pages misprint and typographical errors, but none that will in any way lead the reader astray or change the general meaning. We acknowledge, howewer, that such are due to carelessness in proof reading and hurrying the work. THE OR, A Practical Guide in Designing it Weaving. -o- CHAPTER I. HINTS TO WOULD-BE DESIGNERS. ESIGNLTSTG is that branch of textile manufacturing which requires each and every part thereof to be performed both accurately and thoroughly. These results cannot be expected from the novice, nor from a person of no taste in the calling, as such can be accomplished only by those who have more or less of the natural qualifications for it. These qualifications are by no means of a superficial nature. The designer, like the artist, ought to possess an unlimited fancy, a strong and lively imagination, a refined taste and good judgment. Of these qualification, the judicious cultivation of taste should not be neglected, for upon this largely hangs his fate. Taste, (which will be more fully spoken of in another chapter) is not simply an inborn faculty requiring no further thought on the assumption that nature controls its actions; but is an intellectual faculty, a perceptive power depending on education and exercise nearly as much as any faculty of the mind. It must not only be cognizant of the beautiful, but trained by art to a familiarity with the laws»governing it. What can appear more offensive to a person of delicate 2 10 THE SELF-INSTRUCTOR, taste than a design crowded with an incongruous assem- blage of colors? Good taste never changes, but fashion changes often. If the designer is employed in a mill of limited facilities in the dyeing and weaving departments, it stands him in hand to bring forth his best skill in the display of colors., novel mixes and weaves in order to produce sufficient diver- sity in his patterns. His work is certainly very tedious and trying under the most favorable circumstances. A design must be developed in the mind, to a certain extent, before it can be committed to paper. Originating a texture does not complete the whole; everything pertaining to the manufacture of the fabric in its finished state, must be taken into consideration. Even then, the design would he almost useless should it call for expenditures too great for the manufacturer to reap any profit from it. Hence, it will be seen that, in the designing of a fabric, all details in relation to its manufacture, appearance, sale, etc., must be fully considered. The would-be designer wlio expects to perform these duties in their entirety, must train his mind to a realizing sense of the importance of every detail, as well as to patience and perseverance. The lack of these vir- tues have, without doubt, been the means of discouraging many a promising young-man from following this vocation who might, in time, have mastered the art. The time has passed, when the would-be designer can reasonably expect to reach the highest degree of success while he neglects to educate himself for his vocation. As well might the lawyer, the physician, or the clergyman ex- pect distinction who ignores the necessity of mastering the principles of his particular port ession. There are text-books for the design student as well as for those in other pursuits, and he should study them as the law student would "Black- stone," or other similar works, until he is familiar with their teachings. He, who plods on in ignorance of the progressiveness in these modern times, can only look for success to what may be termed fortunate accident. The true designer is not one who gets his ideas from TEXTILE DESIGNING, 11 the patterns of others, but is a man of original power, "who knows when to design, what to design and how to design it: how to apply colors, and what colors are required for a particular effect to meet the wants of the fastidious public. He understands the principle of arranging colors so as to produce the strongest, as well as the faintest effect; and also that of the weave to use. He knows that in the arrangement of colors, some will have more brilliancy and effect when placed together than when placed separately or beside of others. This arises neither from taste nor imagi- nation, but is founded upon nature and may be explained by the principles of optics. He knows that the seven prismatic colors — red. orange, yellow, green, blue, violet and purple, — have the same relation to each other as the notes in an octave of music; and that the effect, produced by artfully disposing of these kindred colors, is no less pleasing to the eye, than is the concord of musical sounds grateful to the ear. Colors, therefore, with respect to the effect which they produce, may be properly arranged under two heads, namely: those which are contrast rug, and those which are h a rut on iz in a. The contrasting colors are those most opposed to each other; the harmonizing colors are those intermedi- ate tints which lie between the contrasting ones, and, as it were, blends them together. Contrasting colors may be discovered by a simple experiment. For example, place a red wafer on a sheet of white paper and look at it steadily until the eye becomes tired when a ring of green will begin to appear around its edge, and even after the eye has been removed to another part of the paper the green ring will be visible. Hence, green is said to be the contrasting color of red, and red the contrasting color of green. In like manner it wull be found that purple is the contrasting color of yellow; blue, of orange; violet, of a mixture of yellow and orange; and black, .of white. The compounds of these colors will also have their con- trasting colors. Thus, purple inclining to red. has for its 12 THE SELF-INSTRUCTOR, contrasting color, yellow inclining to green; purple, inclin- ing to blue, has yellow inclining to orange; likewise with the other compounds. On the other hand, a harmonizing color will be the nearest tint to the original, but farthest, except the original, from the contrasting color. Yellow is. therefore, the harmonizing color of white; orange, of yellow; red, of orange; violet, of red; and blue, of violet; etc. Different shades of the same color, such as light and dark green; light and dark red; light and dark blue, etc., when they are distinct, likewise form very bold contrasts. But when the same color runs through a variety of shades from a very dark to a very light tint, such tints approach to the nature of harmonizing colors. It is an established fact that there are persons who find it very difficult to distinguish one color from another, in consequence of which they make mistakes that appear per- fectly incomprehensible to a person of ordinary vision. Taking, for instance, red for green, is one of the mistakes most frequently made among this class who are called color-blind. A person thus afflicted, cannot reasonably expect to succeed as a designer of textile fabrics. To suc- ceed in this business, a man should have good eye-sight, should be quick to discern colors, and well versed in their effect. He will, if possessed of these qualities, be much benefited in the early stages of his pursuit. The procuring of a great variety of samples, of different styles, and examining into their construction even to the minutest detail, is of no small importance. This kind of experience will greatly assist the beginner in putting into shape such textures or ideas as his own fancy suggests; at the same time he should avoid as much as possible a certain sameness of style. His taste in this direction will govern, in no small degree, his peculiar "style" ever after. Hence, good taste is essential in every part of designing. We will now bring this chapter of ''hints'' to a close by saying to the would-be designer, do not wait to obtain your knowledge entirely by the slow process of personal experi- ments; but study the published experiences and demon- TEXTILE DESIGNING. 13 strated theories of writers on questions that underlie manu- facturing. If you will but study, and try to profit by such teachings, keep a complete record of your own experience with different weaves and combinations as applied to differ- ent colors and mixes, their effect on the different grades of yarn, and gather knowledge from all other available sources, you may with proper care, close attention and practice after the theory is thoroughly understood, reasonably anticipate success. — "Knowledge is power." CHAPTER II, DELICACY AND CORRECTNESS OF TASTE, Since taste has such a controlling power in every class of textile designing, and, at the same time, it is so difficult to distinguish between the good and bad, it may be well to present here a few brief remarks as to the true standard by which the taste of different designers may be compared with each other in order to discriminate between the true and the false. In some men only the feeblest glimmerings of taste are visible, and things which they call beautiful are of the coarsest kind. Even of these, they have but a week and confused impression; while in others, taste rises to an acute discernment, and a lively enjoyment of the most refined ideas. In general, we may remark that in the powers and pleasures of taste, there is more reasonable inequality among designers than is usually found in point of common sense, reason and good judgment. The characteristics of taste are all reducible to two, namely: delicacy and correctness. Delicacy of taste represent, principally, the perfection of that natural sensibility on which taste is founded. It 14 THE SELF-INSTRUCTOR, implies those finer organs of power which enables us to dis- cover beautiful points that lie hid from the vulgar eye. One may have a strong sensibility, and yet be deficient in deli- cacy of taste. He may be deeply impressed by beauties as he sees them, but he perceives only what is in some degree coarse and bold, while the more chaste and simple beauties escape his notice. In this state, taste generally exists among those of an uncultivated mind. A designer of delicate taste sees both keenly and accurately. He sees distinctions and differences where others see none, while the most simple thing does not escape his notice; he is also sensible of the slightest fault. Delicacy of taste is judged by the same tests that we use in judging of the delicacy of an internal sense. As the acuteness of the palate is not tested by strong flavors, but by a mixture of ingredients, when, notwithstanding the confusion, we become sensitive of each. In like manner delicacy of taste is shown by a quick and lively sensitive- ness of the finest as well as the most potent objects. Correctness of taste represents chiefly the improvements which the faculty has received through its connection with the understanding. A designer of correct taste is one not easily imposed upon by counterfits — who carries in his mind that standard of good sense which he employs in judging of everything. He estimates with propriety the comparative merit of the several beauties which he meets with in any work of genius; refers them to their proper classes, discovers the principles, so far as they can be traced, on which their power of pleasing depends, and is pleased himself precisely in that degree, in which he ought, and no more. It is true that these qualities of taste, delicacy and correctness, mutually imply each other. No taste can be thoroughly correct without being delicate; but still a pre- dominancy of one or the other quality in the subject is often visible. The power of delicacy is chiefly observed in dis- cerning the true merit of a work; the power of correctness in rejecting false pretentions to merit. Delicacy leans more to feeling: correctness more to reason and good judgment. TEXTILE DESIGNING. 15 The former is more the gift of nature; the latter, more the product of culture and art. From the above we desire the reader to understand that a designer— in the full sense of the term— ought to possess, like the poet and artist, an unlimited fancy together with a strong and lively imagination, in order to be deeply im- pressed with the objects of his work, and thus be able to bring out the principal effect in his designs. CHAPTER III. HOW TO BECOME A DESIGNER. Without doubt there is not a question relating to the manufacture of textile fabrics which is asked so often, and with so much earnestness, and usually receives such indif- ferent answers, as that of the young man who asks: "How can I become a designer?" In nearly every case the young man asking this ques- tion feels that the circumstances which surround him are such as absolutely forbid his attending a designing school, and not knowing of a good competent designer who would personally instruct him in the rudiments, he turns away discouraged. It is for such young men that this chapter is intended. In it we shall endeavor to answer the question before us by speaking of those points which we know, from actual expe- rience, are necessary in order to become a designer. And, when we speak thus, we mean a designer in the full sense of the term. Nearly any person, with a common-school educa- tion, may become a designer theoretically, but only a few become a designer practically. Hence, the former class we shall not take into consideration, but will call the reader's attention wholly to the latter. 16 THE SELF-INiSTRUCTOR, First, the four principal rules of arithmetic should be thoroughly understood. Second, a man should be gifted with good taste, good judgment aud originality. Third, he should have a fair knowledge of the mechan- ism of looms. With these qualifications — even without a common- school education or attendance at a designing school. — it is safe to predict that a man may l>ecome a designer. To aid him in the undertaking, he should purchase such good practical books, relating to the art. as he can afford: books written by practical men capable of handling the subject, but st ear clear of those written by amateurs, or wholly from theory. After purchasing such books, study them carefully. Remember, that the watch-words of designing are. think. study, advance: Think at all times: study in all places: advance by degrees. One hour of earnest thought upon a subject after studying it. will advance him more than ten hours of continuous reading. The young man who persi>t- antly follows this course will not down: but will certainly come to the front, even though he has many jealous opponents working against him. Looking on the practical side of the question, the young man should carefully study the class of goods with which he comes in daily contact. A long time occupied with one pattern may seem like waste of time, but if the pattern be once thoroughly understood he has travelled a long way on the road leading to the comprehension of many others. By understanding a pattern, we mean not only under- standing how it was woven, but how it was made in general: the size of yarns, ends in warp, picks, stock, colors, propor- tions of each. and. in fact, every thing pertaining to its general construction. Nor is this all: every item in this direction should be recorded and compared with his every- day experience. After extracting satisfactory information from one pattern, take up another of a different style and go through it in the same manner as before: a comparison of the first pattern, with that of the second, will give him TEXTILE DESIGNING. 1? some idea of the latitude that is to be experienced as a designer of textile fabrics. If the young man has the true designer's instinct, these investigations will have an absorbing interest; they will open up in his mind a field for thought that will in after years bring forth better results than any school of design, so called. Designing is an art, which is advancing with time. Although new ideas are not originated every day. yet almost every day is productive of new novelties by some designer gifted with originality, or by an attractive com- bination of old-time novelties. Hence, it will be seen that, the young man who starts out to follow this profession, and is determined to reach the goal of his ambitjon, must be ever on the alert for new ideas; and when brought in con- tact with new novelties, he should be ever ready with his pencil to sketch all attractive features from memory — if impossible to procure a sample of the fabric. For this pur- pose, he should have a scrap-book in which to make such sketches, and keep samples for future reference. By this means, he will obtain many valuable ideas which otherwise might never have come to his mind. When an idea is obtained in this manner, proper atten- tion should be paid in detail to its execution. If a stripe or plaid is required in several colors, skill should be displayed in their arrangement ; the effect is invariably spoiled when some unsightly color predominates. If mixes are wanted, good judgment should be displayed in the percentage to use of each color, as a little out of the way here may spoil what would otherwise have been a creditable result. Better have a less pretentious design, with colors creditably displayed, than one too pretentious in both texture and colors. There is another feature to this question, of which we wish to speak before closing, and which should be borne in mind, namely: the exercise of good judgment in the selec- tion of stock, and in deciding the size to spin the yarns. There are too many designers, whose judgment in this 3 [n THE" SELF- INSTRUCTOR, respect, is as execrable as their mechanical execution may be commendable. In other words, from a purely mechanical standpoint,, their productions may be comparatively fault- less, yet, they invariably display a lack of judgment and appreciation in the "eternal fitness of things, " which robs the goods, as it were, of their merits. In this profession, as in all others, skill, directed by practical knowledge, will prove the victor. Again, it will be well to remember, that whatever prominence is attained by the young man of to-day, in the art of designing, must, properly speaking, be the result of his own industry and perseverance. Both in the mill and out of it, he should be of an inquiring mind, ask for, as well as give explanations, and make friends of those who are willing to exchange knowledge with him. CHAPTER IV. KXPLANATION OF THE SIGNS AND CHARACTERS USED IN DESIGNING. The necessity of introducing certain mathematical signs into a work of this kind is unavoidable, and perhaps by some beginners the use of these signs may not be fully understood — especially by those of a limited education in the use of figures. It is for this class of readers that the following explanations are intended. MATHEMATICAL SIGNS: -f- Addition. — Subtraction. X Multiplication. -r Division. i= Equality. c fo Per Cent, -f- The sign of addition when placed between two num- TEXTILE DESIGNING. 19 feers, or in a row of various numbers, signifies that they are "to be added together; the result obtained is called the sum — The sign of subtraction, when placed between two numbers, signifies that one number is to be subtracted from the other; the result obtained is called the difference or remainder. X The sign of multiplication, when placed between two numbers, signifies that one number is to be multiplied by the other; the result obtained is called the product. The multiplicand is the number which is multipled by another; the multiplier is the number by which the multiplicand is multiplied. -r The sign of division, when placed between two num- bers, signifies that one number is to be divided by the other; the result ohtained is called the quotient. The number which is divided by another is called the dividend; the one by which it is divided is called the divisor. — The sign of equality when placed between two num- bers, signifies that what stands before it equals what comes after it, whether it be the "'sum." ''remainder?' "pmdnct." or "■quotient." $ The sign of per cent, is used for the words percent., meaning by the hundred. Thus, 20$ of a number equals T 2 Tl " (T or \ of the number; 50$ equals ^ or \ of the number, etc. Hence, it will be seen that, percentage or per cent, is an allowance made by the hundred. The base of percentage is the number on which the percentage is reckoned. This is fully illustrated by the following table. FRACTIONAL EQUIVALENTS IN PERCENTAGE. 50$ =.50 =£. 16fcfc=.16t= \. 6^—06^^, 33£$=.33i= i VBJ—.V2\ — h 5$ =.05 =^. 25$ =.25 =i. 10$ =.10 = T 1 ¥ . 3i$-=.03^=3V. 20$ =.20 =|. 8^$=.08|= T V 21$=.02|= T V The characters used to represent the working of threads in a weave, design, texture, or fabric, differ among design- ers as well as among publishers of textile works, each using them according to their own liking. Hence an explanation of the characters used by us both in designing and in our 30 THE SELF-INSTRUCTOR, publications is in order. When originating a design, or dis- secting a sample, we use this character X to represent a riser, or in other words, a thread up; to represent a sinker, or in other words, a thread down, we skip one small square of the design paper without making any mark. If we wish to designate the points of binding — as in case of a double weave or backing, — we use this character to represent a binding riser, and this character • to represent a binding ■sinker. Sometimes we bring into play these two latter characters for pointing out certain peculiarities in a design. In the publishing business, we use the following DESIGN CHARACTERS: ■ This represents a common riser. # This represents a binding riser. □ This represents a common sinker. o This represents a binding sinker. Of the different styles of characters used in publishing in this line — and there are many of them — the above are far ahead of all others. They are not only tasty and compact, but show up a design to the best advantage. Characters are sometimes used, by both the designer and publisher, over the top and at the side of a design to represent certain parts or threads, instead of writing out and printing the particulars in full each time. When such is the case there is, or ought to be, a reference made to the fact in the subject-matter. CHAPTER V. EXPLANATION OF DIFFERENT TERMS USED BY DESIGNERS. There are so many different terms used by designers, and so many of which mean the same thing in mill par- lance, that we deem it best to present here a few words of explanation in regard to the relation these terms bear TEXTILE DESIGNING. 21 to each other, and their proper use and full meaning as applied in this line of industry. Dissecting, ] Picking Out. Pattern Picking, } are synonymous terms, which mean, Drafting, Copying, J taking a piece of fabric and picking the threads out from each other in rotation, and marking down on design paper the same in detail, for the purpose of ascertaining how it was woven, the number of threads in warp, picks per inch, different colors, proportions of each, kind of stock and size of yarns; also all other points necessary in order to imitate the fabric. Therefore, the beginner should bear in mind that no matter how, or where, these terms are used in con- nection with textile designing, they mean one and the same thing. The term "dissecting" is, generally speaking, the most proper, although "picking out" and "drafting" are often used as the most natural, while "pattern picking" and "copying" are used the least of all. Pickout, WeavmgPlan, ^ are sy* 101 ^ 1110118 terms applied to the Texture, j full plan of interweaving the threads in a fabric; the plan being obtained by dissecting a fabric, or from origination. This result is then reduced (if possible, and found necessary) to its lowest term for finding the weave, and drawing-in draft. If, after dissecting or originating a design, it is found that it cannot be reduced, it would be taken as the Weave, Harnes^Chain f a11 of which are synonymous terms, Pegging Plan, J and apply to the setting of that part of the loom which causes the harnesses to work up and down in their respec- tive order. The term "pegging plan" is seldom used except in connection with looms not having the roller and tube system of chain. 22 - THE SELF- INSTRUCTOR. are synonymous terms, and Drawing-in Draft, Cross-drawing-in Draft. Harness Draft. Heddle Draft, Cross Draw, apply to drawing the warp threads into the heddles in the order as required on each harness. If figures are employed to represent threads in the drawing-in draft, each number is to represent one thread, and to be drawn into a heddle on the corresponding number of harness: If characters are employed, then each charac- ter will represent a thread to be drawn into a heddle on the number of harness in line of the character. Harnesses should always be numbered from the front of loom to the back or rear harness in their numeral order, as 1. 2, 3, 4. etc. The above is fully demonstrated by the following illustrations: Fig. 1. 6 6 6 6 5 5 5 5 4 4 4 4 4 4 4 3 3 3 3 2 2 2 2 1 1 1111 1 Fig. 2. □MnanannnKiqqjcqnrinni 5 t xmtt m ■ man ' T3 Har Nos J 4 nnnanananian inMMntxiMnnnHnMnc 2 umrr a inmmwjz Smut Fig. 1 illustrates the drawing-in draft of a six-harness herring-bone and basket pattern, made out with figures: The position of these figures clearly indicate which is the front of the draft; hence it is not necessary that the har- ness numbers be placed at the left. Fig. 2 represents the same draft made out with charac- ters, and the harness numbers given at the left. If these numbers were not so placed, the drawer-in would have no practical guide to follow; therefore, it is always best to mark the harness numbers at the left of the draft, which- ever way it is made out, to avoid mistakes. The figure method is more practicable for general use in mills; the character method is better adapted to publish- ing, hence the reason of its being used so commonly. TEXTILE DESIGNING. 23 Straight Draft, ) Draw-in straight across, [■ are synonymous terms signi- Straight Draw, ) fying to commence with the front harness and draw a thread on each harness in numeral order to the back; thus continuing throughout the warp. Binding, ) Stitching, [• are synonymous terms, and in this work Tying, ) apply to certain threads or parts of a texture which unite separate weaves, one above the other, in such a manner that when cloth is woven from them the result is one fabric; or, in other words, unite fabrics of the same or different weaves so that they appear and in fact become one. This is accomplished by the warp of one being interwoven with the filling of the other, or vice versa; but it should be done in such manner as not to interfere with the general appear- ance of the top weave or face of the cloth. Hence, it will be seen that, the points selected for binding must be where the filling of one, and the warp of the other meet, so that there will be no chance when they do meet of one shoving the other up to the surface. The amount of binding is governed by the designer's option. If he desires a tight and hard-feeling cloth, he will bind the weaves as often as practicable; while on the other hand if a loose and soft-feeling cloth be desired, he will bind the weaves only as often as necessary to properly hold them together. Whether it be desired to have the binding of a tight or loose nature, the same principle should be adhered to in regard to the point or place of binding. The beginner will observe from these remarks that he should possess a thorough knowledge of this branch of weaving. M THE SELF-INSTRUCTOR, CHAPTER VI. HINTS ON PREPARING AND EXAMINING SAMPLES BEFORE DISSECTING. There is an unlimited number of styles in woolen fabrics, all of which are dissected on the same principle: but there are different methods of preparing samples for dissecting, and determining the warp and filling, which we will endeavor to explain in a comprehensive manner. When having in hand, to dissect, a sample of the much- felted kind with more or less nap on one or both sides, the nap should be removed by shaving it off; or, by holding the sample over a burning match until the nap is evenly singed, then, with a knife, scrape off the burnt nap. Now, if the threads do not show up clear on both sides, repeat the oper- ation until they do, leaving the threads bear on both the face and back of sample. Now, with the dissecting instrument, — which should be a small, round, sharp-pointed awl, or a large needle fastened into a handle suitable to the hand — remove a few threads each way of the sample, and by carefully testing their strength, and the amount of twist in them, it may be easily determined which are the warp and which the filling, as the warp is supposed to be the harder twist and stronger yarn of the two. The above manner of ascertaining which way the warp and filling run in the sample, is necessary only with those of plain-face; as those having figures or stripes of different yarns and colors, or a combination of weaves, make this point discernible in the sample at once. There are, how- ever, samples in which it is almost impossible to distin- guish the warp from the filling except by backing threads which if found to run one way only, may usually be considered as filling - . But if backing: threads are found to TEXTILE DESIGNING. 25 run both ways, those in the warp are not usually as coarse as those in the filling. There is another class of fabrics in which it is almost an impossibility to distinguish the warp and filling ways of a sample except by dissecting and studying it out from the appearance of the pickout; in such cases a man must be pretty well versed in weaves or he will be led astray. Again, there is a variety of fabrics which are woven with what we call the square and evenly-balanced weaves; that is, they have the same number of threads in the text- ure both warp and filling ways, with the same number of risers and sinkers. With this class of fabrics, it makes no material difference which side up or which way a sample is dissected, the result would be the same. There is also a class of weaves, and goods, to which we wish to call the beginners particular attention. They are known as "corkscrew" weaves, and the goods are usually made of worsted, or an imitation of worsted yarns. These goods are woven with an odd number of harnesses and bars of chain — both the number of harnesses and bars of chain being equal when weaving plain, — such as 5, 7, 9, 11, 13, 15, etc. ; but when weaving in dots or figures of fancy colors, the chain draft often exceeds the drawing-in draft several times over and vice versa. It would be very difficult for a beginner, not acquainted with "corkscrew" weaves, to take a plain sample all of one color, cut square, and tell either by the yarn or from the pickout which is the warp way, and which the filling way. However, this may be readily determined by the twill or bias rib, which runs more biassing or diagonally across the fabric the filling way, — the least bias running the warp or length way of the fabric— being just opposite from what a person would naturally think from general appearance, and never having seen the goods in a full piece or made up. •■><] THE SELF-INSTRUCTOR, CHAPTER VII. THE PROCESS OF DISSECTING AND LAYING OUT FOR THE FABRIC ILLUSTRATED. Having explained the signs, characters and principal terms used in designing, and also the manner of preparing samples for dissecting, we will now proceed with the dissect- ing of a sample in the full sense of the term. For the pur- pose of illustrating the operation, and to show the beginner more fully whereof we speak, the author has expressly designed and made the following fabric: See sample card. Sample No. 1. By referring to this sample it will be seen that it is composed of two diagonal stripes with a basket stripe run- ning between them, at each side of these there is a series of narrow herring-bone stripes forming a stripe a trifle nar- rower than the two diagonals and basket, making in all a combined stripe, or pattern, of about 1| inches in width. A glance at the sample is sufficient to show that the stripe runs with the warp the short way, and that the filling runs right and left the long way, also that it contains two com- plete patterns; but as the sample was cut through the centre of one of the diagonal stripes, it leaves eight or ten threads at the right of the herring-bone stripe. Now in making ready to dissect fancy patterns, bear in mind to commence at some distinct point in the pattern when possible to do so; that is to say, commence at the beginning of a stripe or figure whether the same was pro- duced in dressing the warp, or in weaving. For instance, with this sample, it would be proper to commence on either side of the herring-bone stripe, or with the basket stripe, and pick out to another similar point in the sample; this will produce the pattern on design paper undivided, while TEXTILE DESIGNING. 27 if it were commenced in the middle of the herring-bone, or either of the diagonal stripes, it would divide that part of the pattern and not produce as good an appearance on the paper; besides too, it would divide both the dressing pattern and drawing-in draft, thus giving the work a more compli- cated appearance. This should be avoided if possible, and the pickout made to appear as simple as possible. Of course it does not, generally speaking, make any material difference at what place in a sample you commence to dissect; for if you pick out to the commencement point the result will be the same. But always commence at the right-hand side of a pattern and pick to the left, setting the result clown on design paper working to the left. We are well aware that all designers do not agree with us in this manner of work- ing, as some commence at the left-hand side and work to the right, but practical experience will prove that the form- er way is the better for general convenience. The manner of holding the sample is as follows: Place it in the left hand over the first or index finger, then bring the thumb down on one side and the second finger up over the sample on the other side; with the thumb and second finger draw "the sample down tightly across the first finger. Now take the dissecting instrument in the right hand, with it raise and pull out the filling threads until about i-inch of the warp threads are free and clear of the filling across the sample, or as far as necessary to pick out, width way. Now cut off a few of the warp threads on the right-hand side of sample, down to the filling, and in for about ^-inch. Our sample in the present instance has, as before stated, eight or ten threads of the diagonal stripe left at the right of the herring-bone stripe; we will therefore cut off these threads in to the first thread of this stripe, which, as will be seen by referring to the sample, is a red and green double and twist thread, (usually written D. & T. thread). This being a fancy thread, and the first one come to in the her- ring-bone, we will take it as the guide thread or starting point. Every thing now being in readiness for operation, the dissecting is continued in the following manner. 28 THE SELF-INSTRUCTOR, With the dissecting awl, raise a filling thread up loose from the others and on examination we find that it passes under the first two warp threads; now as these two threads must have been raised in order to admit the filling passing under them, we call them two up and mark down the same on design paper thus X X, then over the top of these char- acters write down the color and kind of thread each char- acter represents. Now pass these two threads to the right and under the second finger. Examine the next threads in rotation (being careful not to get them crosswise of each other), and we find there are three of them down in succes- sion, under the filling thread; now as these threads must have been sunk in weaving to admit the filling passing over them, call them three up and note the same on design paper by passing three blank squares without making any mark, or by marking down three dots thus ■ • • , after which the color and kind of thread is written over the top of each char- acter as before, then pass these threads to the right, under the second finger. In this manner proceed to the left marking down the warp threads as they appear over and under the filling thread, whether one or more at a time, until a repeti- tion of the work is found, or in other words, the full width of the weaving plan. This brings us to a place in the pat- tern corresponding to the place where we commenced. Now pull out this filling thread, No. 1, and write down the color with other particulars, if any, at the right. Now loosen up another filling thread and proceed in the same manner as before, except there will be no writing down of warp threads as that was done away with in picking out the first thread. The filling threads ought to be marked at the right of the pickout only as they are taken out one at a time, and this is not necessary unless there are two or more kinds of filling. After taking out the second filling thread, then take up the third, and so proceed until the twelfth thread is taken out, which brings us to a repetition in the weaving of the warp threads; that is, the thirteenth thread is found to be the same as No. 1, thus making a repeat in the pickout both warp and filling ways. This gives us what is called a ,^)-i«-^„ £•2 c 6 °"2 •x'-o*-hmmmmpmppppmp4 ppmppp a.Mio unHWliaMIS PMPH 8Atio pmppp: :■: :mmmm«. 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' r ■■■ : : ' MPMMMPP TMPPPMMMPP 9AB9AV "9AB9Ai ■ ■■ 3PPMMI 4 PPMPPP 3 PPPMPP ;^-,„„- •9MPPMMP 2MMPPMP -P IMMMP cm: : ■■ wPPMMPME °PPMMMP; gPMMPPM! r '■'■ '" ■: ?■■ ' M [ JSPMM."! M aMMPPMP MMMPPPM 9AB9M. TEXTILE DESIGNING, £9 "pi clou f\ — See Plate I, On counting the threads in this pickout we find there are SO, or in other words, there are 90 threads in the pattern crosswise of the warp, the way the filling runs; and 12 threads in the pickout crosswise of the filling, the way the warp runs. Therefore, to weave this pattern with a straight draft, that is, without reducing it. would require a loom operating 90 harnesses and 12 bars of chain. Hence it will be seen, that to weave this pattern in -an ordinary fancy loom, it must be reduced and wove with a cross draft, which is accomplished in the following manner. Commence with the first warp thread nt the left-hand side of pickout — which is called the "front," and reads from the bottom upwards, 1 up, 1 down, 4 up, 1 down, 1 up. 4 down — and mark it as No. 1, then proceed to the right, looking over each warp thread in rotation, and all threads found to read the same as No. 1, mark with the figure 1. There are found, in looking through the whole pickout, 17 threads that read the same as No. 1, consequently each of them is marked with the figure 1. All of these 17 threads are to be drawn into the heddles on No. 1 harness, and as these threads read, so must that part of the chain draft read that operates No, 1 harness. Commence again at the left-hand side, the first thread we come to which is not numbered, mark as No. 2, then pro- ceed in the same manner as before, marking each thread that reads the same as No. 2, with the figure 2. There are found 13 threads, which are to be drawn into the heddles on No. 2 harness, and as these threads read, so must that part of the chain draft read that operates No. 2 harness. In the above manner continue the reducing, working to right, numbering the threads found to read differently, in their numeral order, until every thread in the pickout is numbered. The highest number obtained represents the least number of harnesses required to weave the pattern with a cross draft. In the present instance, it will be seen that the highest number is six; hence this pattern of 90 threads straight draft can be reduced to and woven on six 30 THE SELF-INSTRUCTOR, harnesses with a cross draft. Each thread, as numbered at the bottom of the pickout. is to be drawn into the heddles on a corresponding number of harness. Also, the weaving of one thread of each number, drawn off and set down in their numeral order, produces the chain draft or weave to be used with the cross draft. See first method of reducing, Plate I., which illustrates the above and the pickout reduced to its lowest term: also the dressing pattern, which is as follows: 21 White, White. 5 Black, 6 Olive, 22 White, 6 White. 1 Red and Blue D. & T.. 5 ( )live, 5 Olive, 1 Red and Green D. & T. G White, 6 Olive. 90 threads in one dressing- pattern. Filling. 1 pick of black, and 1 pick of drab, alter- nately — commonly called "pick and pick." If it is more convenient or easier to pick out the warp threads from the filling, then commence at the lower right- hand corner of sample, (see sample) turn it part way round until this corner is in the position of the present upper right- hand corner- then proceed with the dissecting as before described, except in reading and writing down the result, the work is just the reverse: Thus, for instance, when the filling threads are do tat or under the warp threads they should be read as up, and when' the filling threads are n/> or over the warp threads they should be read as down, and marked on the design paper reading upwards so as to read from the bottom to the top. Thus the first thread of the pattern before us, picked out in this manner, would read 1 down, 1 up, 4 down, 1 up, 1 down. 4 up. — See pickout. The weaving of each thread should be marked down at the left of the first, which will produce the same result as though dissected the former way. In dissecting this sample the filling way, there have to be picked out 12 threads of filling that were interwoven with 90 threads of warp; in dissecting it the warp way. TEXTILE DESIGNING. 31 there have to be picked out 90 threads of warp that were interwoven with 12 threads of filling'. The next thing in order, in this business, is TO FIND THE NUMBER OF THREADS IN THE WARP: First, ascertain the number of warp threads contained in one inch of the sample; in the present instance we find by actual count that there are (3(3. Now multiply this number by the number of inches the good are to measure when finished, which is as a general rule 27 inches, (three-fourths of a yard) for single width cassimeres inside the selvage. Thus, secure whole patterns. A warp should always contain a whole number of pat- terns, (though the number of patterns may be odd or even) that is, there should be no threads left over a whole pattern. In dressing warps, if the warp is all one kind of yarn, it will make no material difference in the result as shown above, except,, adding to, or taking a few threads from the result, will often make the spooling and dressing much handier, thus saving the dresser both time and trouble. The next thing with which we have to deal is the laying out — TO FIND THE AMOUNT OF YARN REQUIRED FOR WARP. For this purpose we will suppose that we are required to lay out and make of finished goods 2000 yards like sample. Roughly estimating, we will add for the takeup in weaving and shrinkage in finishing 10 per cent. This will make a total of 2200 yards of warp to figure on, which if divided into 6 warps, will give 350 yards per warp of 10 cuts, — that is 35 yards per cut or piece. The warp yarns, in this sample, were spun as follows: White 3f runs. Black 3| runs. Olive 3f runs. Red 7 runs. Blue 7 runs. Red 7 runs. Green 7 runs. Weighed in the D. & T., 3| runs. (• Weighed in the D. & T. , 3£ runs. The question now before us is, how many pounds of each kind of yarn are required in 2200 yards of warp ? This is figured out (and answered) as follows: Multiply the number of threads of each kind, by the number of yards of warp we are required to make; the product will be the total length in yards of that partic- ular thread or kind of yarn; this number divided by the number of yards the yarn is spun to the pound, will give the number of pounds of yarn required of that one kind. TEXTILE DESIGNING. 33 In this manner figure out for each different kind and size of yarn used in the warp. — Thus, Threads of each Yds. of warp Yds. of each Yds. spun Lbs. of kind in warp. required. kind. per lb. each. White 1220 X 2200 = 2,684,000 -^ 6000 = 448 Black 100X2200= 220,000 -f- 5800 = 38 Olive 440X2200= 968,000 -^- 6000 = 161 D. & T. 20 X 2200 = « 44,000 H- 5000 = 9 (44 each. r. & b. ) D. & T. 20 X 2200 = 44,000 -f- 5000= 9 (44 each. r. & g. ) Total, 665 lbs., the com- bined weight of yarn required to make 5 warps of 440 yards; being 12 cuts of 36| yards each, or in all, 2200 yards. If the warp had all been of one kind of yarn, and spun 3f runs throughout, the figuring then would have been as follows: 1800 X 2200 = 3,960,000 -^ 6000 = 660 lbs.: being 5 lbs. less than the farmer figuring. This is owing to the black yarn weighing £-run" and the double and twist f-run heavier than the other yarn. Besides too, in the former figuring, we reckoned all fractions of pounds as whole numbers. This gave us whole pounds as follows: 448 white yarn, 38 black, 161 olive, 9 red and blue D. & T., 9 red and green D. & T. Of course, as red was used with both the blue and green threads, there would necessarily be the same amount of red yarn as in both 1 those colors taken together; making separately of the D. & T. yarns, 9 lbs. of red, and 44 lbs. each of blue and green. In figuring for the amount of clean wool required to produce each kind of yarn, add a percentage sufficient to cover the loss in carding, spinning, spooling, and dressing; this will vary between 15 and 35$, according to quality of stock, general facilities, and supervision of the work in the several departments. The next thing in order is, TO FIND THE REQUIRED REED. Divide the total number of ends in warp, by the number of inches wanted in the reed inside of selvage; this quo- tient divided by the number of threads wanted in a dent, will give the number of reed required. Example. — The warp contains 1800 ends, and we desire 5 34 THE SELF-INSTRUCTOR, to lay it 36 inches in the reed, inside of selvage, 4 threads per dent. What is the number of reed required? Threads Inches Threads Threads No. of in warp, in reed, per inch, per dent. reed. 1800 -r- 36 = 50 -=r 4 =124. Or 5 tin ■'* per dent, thus 1 8< II ) -r- 36 = 50 -:- 5 = 10 reed. In patterns of combined weaves, it is sometimes found necessary to reed each weave or figure differently in order to produce the desired effect in the finished fabric ; that is, each dent will not contain the same number of threads throughout the reeding, as in the ordinary way. In cases of this kind, we find the average number of threads in each dent, then proceed as before. Example. — Suppose we have a warp to reed, 2 threads in the 1st dent, 3 in the 2d, 4 in the 3d, 5 in the 4th, and 6 in the 5th; what will be the average number of threads in each dent? Add together the number of threads in the set, and divide by the number of dents in that set. Thus, 2+3+4+5+6=20 threads, in a set of 5 dents; 20H-5=4 threads, average per dent. Again, suppose we wish to draw 6 threads in each of six dents, and 3 threads in each of three dents: < ; — | — «l — | — f » — | — «J — | — «; — | — 6+3+3+3=45 threads in a set of 9 dents; 45-=-9=5 threads. < %ve rage per dent. In this manner the average number of threads per dent, in any style of reeding. may be easily found. The next thing, to which we will call the reader's attention, is how TO FIND THE AMOUNT OF YARN REQUIRED FOR THE FILLING. Multiply the number of picks per inch, in loom, by the number of inches the warp is laid in the reed, including sel- vage; the result obtained will be the number of yards of fill- ing in ona yard of flannel; multiply this product by the num- ber of yards of warp to be filled, divide the result obtained by the number of yards the filling is spun per pound, and the quotient will be the total weight of filling required. To illustrate, suppose we find by actual count that there are 65 picks per inch in the sample; the filling of which was TEXTILE DESIGNING, 35 spun 4 runs, or 0400 yards to the pound. Now, as there is the "take-up" in weaving, as well as the contraction of the cloth in finishing, for which we must make allowance, it will not do to figure on 65 picks in loom; hence, we will calculate on a shrinkage of 1 pick in 13, which will give us 60 picks per inch in loom, for 65 picks per inch when finished. As previously decided, the warp is laid 36 inches in the reed, inside of selvage; to this we will add 1 inch for selvage, making in all, 37 inches the total width in loom. This multiplied by 60 picks per inch, will give the following: 37 X 60 = 2220, yards of filling in one yard of flannel. This product multiplied by 2200, the yards of warp to be filled, will give the following: 2220 X 2200 = 4,884,000 total number of yards of filling- required to fill 2200 yards of warp. This product divided by 6400 yards, length the filling is spun per pound, will give the following: 4,884,000 -^ 6400 = 763^ lbs., call it 764, of filling yarn required to fill 2200 yards of warp; one-half (382 lbs.) of which is black yarn, and the other half (382 lbs. ) drab. To get at the amount of clean wool required to make each kind of filling, add a percentage sufficient to cover loss in carding, spinning and weaving; this will vary in the same manner as when figuring the wool for warp. This figuring on the loss or shrinkage between the clean wool, as taken to the picking room, and the finished goods or even goods in the flannel, can be gotten down to a fine thing only by close observation on the part of the designer or superintendent; even then it requires much skill, as well as practical experience. Having figured for the warp and filling yarns in the above calculations, the next thing in order is, TO FIND THE NUMBER OF SECTIONS AND NUMBER OF SPOOLS REQUIRED UP. Divide the number of* threads in warp, into sections containing a whole number of patterns in each; that is. each section should contain whole patterns, though these may be either even, or odd in number; but no pattern should be 36 THE SELF-INSTRUCTOR. divided, by running part of it in one section and part in another section, except in extreme cases. In the present instance we have calculated on 1800 ends in warp, which consists of 20 patterns of 90 threads each. What is the required number of sections? Both 1800, and 20 are divisible by 2, 4, 5, 10 and 20 without a remainder, hence one of these latter numbers must be taken as the number of sections to make. Now as 2, 10 and 20, are in the extreme, it rests with the number 4, or 5, and we will proceed to find out which of the two is preferable. Thus, Thr's in No. of Thr's in Thr's on No. of warp. sect's, section. spool. spools. 1800 -i- 4 = 450 H- 40 = 114, up. in dresser frame; or. 1800 -r- 5 = 360 -f- 40 = 9 spools up. In this figuring we have based our calculations on 40 threads to a spool, as that is the number most commonly used. In the former figuring it would require 4 sections of 450 ends each, or Hi spools up; in the latter figuring it would require 5 sections of 360 ends each, or ( .) spools up. This latter result being the more preferable of the two, we will therefore base our figuring on 5 sections in the warp. Now the next thing necessary, is TO FIND THE NUMBER OF YARDS REQUIRED ON EACH SPOOL. Multiply the number of yards calculated for a warp by the number of sections; the result obtained will be the number of yards required on each spool to run the length of that warp. Thus, Yd's in warp. Sections. Yd's on spool. 44(i X 5 = 2200; add a little for loss in tying up. etc. The above calculations are for straight work all of one color; but in figuring and making up the spools for a warp of different colors, — like the sample just dissected — proceed as follows: Divide the number of threads of each color, by the number of sections, which will give us the number of threads there are of each color in a section; this quotient divided by 40, (the number of threads on a spool) will give us the number of spools, or parts of spools, required of each color. Thus: — TEXTILE DESIGNING. 37 Threads of Sec- Thr'sofeach Thr's on Spools of each kind in warp, tions. kind in section. spool, each kind. "White 1220 -r 5 = 244 - - 40 = 6, 4 thr's over. Black 100 -h 5 = 20 - - 40 = o. 21 » threads. Olive 440^- 5 = 88 - 40 = 2, 8 thr's over. R&B. D. &T. 20 — 5 = 4 - - 40 = 0, 4 threads. B.&G.D.&T. 20 -T- 5 = 4 - - 40 = 0, 4 threads. Totals, isoo 360 8 40 threads; or 1 spool made up as follows : 4 white, 20 black, 8 olive, 4 red and blue D. & T.. 4 red and green D. & T. This spool added to the 6 spools of white, and 2 of olive, will give us 9 spools in all. Now we are ready for THE DRESSING OR WARPING. This is a process by which the warp yarns are arranged on the dresser frame into patterns and section?, before be- ing wound off to the warp or loom beam. In the dressing, great care should be taken to have the patterns properly arranged, as well as to have each section reeled alike, as regards the tention on the dresser reel. Also avoid letting the threads run loosely, and see that the lease is correctly taken up. Make sure of this before putting in the lease rods. Next in order is, TO FIND THE NUMBER OF HEDDLES REQUIRED ON EACH HARNESS WHEN USING A CROSS DRAFT. Take each harness in its numeral order, and count the number of threads drawn on it in one pattern, or a complete drawing-in draft; this number multiplied by the number of patterns or drafts in the warp, will give the required hed- dles for that particular harness. In this manner proceed with each harness. See 1st method of reducing — Plate I. By this method, we find that it requires six harnesses to weave the pattern, and that there are 13 threads drawn on each of the 1st and 2d harnesses, 21 on the 3d, 13 on each of the 4th and 5th, and 17 on the 6th, as demonstrated by the following table. It will be seen that in making out this table, we commence with the back or 6th harness, and work to the front or 1st harness. The object of this is, to 38 THE SELF-INSTRUCTOR. keep the harness numbers before us in the same position as the harnesses occupy when hung up for the drawer-in. Thrs. Pats. Harness No. 6 has 17 X 20 = 340 heddles. X 20 = 260 13 13 X 20 = 21 X 20 = 13 X 20 = 13 X 20 = 260 420 260 260 Threads in pattern 00 X 20 = 1800 heddles. See 2d method of reducing — Plate I. By this method we use twelve harnesses, and find that the number of hed- dles required on each is as follows: Thrs. Pats. Harness No. 12 has 6 > 20 = 120 heddles a < ' 11 ' ' 6 X 20 = 1 21 1 a a ' 10 k • 6 X 20 = 120 a a t 9 ' ( 6 X 20 = 1 21 ) i . • 8 • • 6 X 20 = 120 a a ' 7 ' ' 6 X 20 = 120 a ' 6 ' ' 11 X 20 = 220 a .. ' 5 ' ' 7 X 20 = 140 a .. ' 4 ' ' 7 X 20 = 140 a . . ' 3 ' ' 15 X 20 = 300 .. a • 2 ' ' 7 X 20 = 140 a a " 1 ' ' 7 X 20 = 140 a Threads in pattern 90 X 20 =1800 heddles. See 3d method of reducing — Plate I. In this, we also use twelve harnesses, and find that the number of heddles required on each, is as follows: Thrs. Pats. Harness No. 12 has 4 X 20 = 80 heddles i i 11 4 X 20 = 80 . . » ' ( 10 4 X 20 = 80 a i 9 1X20 = 80 i . . t 8 4 X 20 = 80 a • i 7 4X20 = 80 a . i 6 13 x 20 = 260 a • ' i 5 9 X -20 = 180 . i 4 9 X 20 = 180 a (Continued on next page.) TEXTILE DESIGNING. 39 Harness No. 3 has 17 X 20 = 340 heddles. 2 " 9 X 20 = 180 " 1 « 9 x 20 = 180 Threads in pattern 90 X 20 =1800 heddles. See 4th method of reducing— Plate I. By this method we use nine harnesses, and find that the number of heddles required on each is as follows: Thrs. Pats. Harness No. 9 has 6 x 20 = 120 heddles a " 8 it 6 X 20 = 120 it . . 7 a 6 X 20 = 120 a .. 6 a 17 X 20 = 340 a n 5 a 13 X 20 = 260 a a 1 a 13 x 20 = 200 a . . 3 it 15 x 20 = 300 t ( a 2 t i 7 x 20 = 140 • a i . 1 i i 7 X 20 = 140 it Threads in pattern 90 X 20 =1800 heddles. See 5th method of reducing — Plate I. This carries us back to six harnesses, with the same number of heddles on each as used in the first method, but it places the 3d, and 6th harness in the position of the 1st and 2d, as follows: Thrs. Pats. Harness No. 6 has 13 x 20 = 260 heddles " 5 " 13 X 20 = 260 " 4 " 13 X 20 = 260 " 3 " 13 X 20 = 260 " 2 " 17 X 20 = 340 " 1 " 21 X 20 = 420 Threads in pattern 90 X 20 =1800 heddles. To make out a regular heddle list to go by in stringing up a set of harnesses, cross out the two middle columns of figures and use only the harness and heddle columns. An allowance of a few extra heddles ought to be made for broken ones, mistakes, etc. Of the above five methods of reducing and drawing-in. it may be well to state, that they are all practicable, and will produce the same result in weaving. The first is the original one and generally adopted, but we will endeavor to 10 THE SELF-INSTRUCTOR. show, that it is not always policy to use it. In the present instance, it will be seen that, the third harness has to oper- ate 420 threads, the sixth 340, while the remaining four have each 260. This would not be an improper division with fine and well-sized yarn; but with the yarn coarsely spun from long coarse wool, it would be quite difficult to produce a clear, open shed with this number of harnesses, owing to the third and sixth having so much to carry: this would cause the warp to cling and chafe, thus making bad work. But, by using the second method this difficulty would be overcome, as will be seen by the division of the warp on six more harnesses. This change does not necessarily make it any harder for the weaver, but easier on the yarn and loom. If it be required to modify the work as much as pos- sible for the weaver's benefit, the third method would be the one to adopt; for in this the drawing-in draft is, what might be called, a straight draw, except where the basket figure comes in, thus making it much easier for the weaver to keep the threads in right, especially when mending large break-outs. Although, in this case, the warp is not as equally divided as in that of the second method, yet. of the two, all things considered, it is more preferable. The fourth method is somewhat more complicated for the weaver, but in case of an old and badly worn loom that would operate all right nine harnesses, but not twelve; or in case of being short of harnesses, we would prefer it to the first method. The fifth method is the most complicated of the five, for both the drawer-in and weaver; and, on the other hand, is the easiest for the loom, as it will be seen that the harnesses carrying the most warp are brought to the front of. loom. With a good, fancy weaver, we would prefer this method to all the others; and if desired, it could be easily carried to twelve harnesses on the same principle. We might illustrate several other plans for weaving this design about which we have said so much; but believe the above are sufficient for the beginner to comprehend our meaning. However, it should be borne in mind, when lav- TEXTILE DESIGNING. 41 ing out for cross drafts, that the harnesses carrying an extra amount of warp should be placed in front, and even then, it is often advisable to double up on those particular harnesses if on no others. Production and quality are the two great points to aim at in running a weave room. These results are more easily accomplished if the work is laid out to the best advantage for both the weaver and loom. Therefore, if the designer, or overseer of weaving, finds that he can simplify a cross draft by adding on harnesses, he ought to do so providing it will not interfere too much with the working of loom, which is often aided by such changes as much and some- times more than the weaver. CHAPTER VIII. ESTIMATING THE PER CENT. TO ALLOW FOR LOSS OF STOCK DURING THE PROCESS OF MANUFACTURE. This is a branch of designing which brings into display the designer's arithmetical qualifications, as well as his judgment. In speaking of judgment, in this connection, we wish it to be borne in mind, that judgment is the only basis on which to figure, and this basis must be estimated from personal observations. There is a wide variation in the different grades of stock, in working with different mach- inery, in different mills, and under different circumstances; so that arbitrary rules in relation to these calculations are of little or no use. Hence, the convenience of minute records, in estimating stock, must be apparent. To continue the work before us, we will take each kind of warp yarn figured on in the preceding chapter, and esti- mate the amount of wool required to be taken to the picking room for each. To the white yarn, we will add 20$ for the 6 4. 1870)441.00(23^5 lbs., the average weight added to each 374 (i Tn^-.V lbs. of yarn, which equals 6? 00 56 10 100 lbs. of wool to produce the same. 10 90 remainder, this is equal to the above fraction and a little over, but not sufficient to take into account. This method of finding the average per cent, holds good in figuring on any number of different percentages. Before closing this chapter, we wish to remind the reader that this percentage of loss must not be considered as so much stock lost to the manufacturer, for only a part of it, or such as consists of foreign matters in the Wool, can be so taken. The waste made in every department, from the wool room to the goods in the case, can be again worked over into other goods; if not in the mill where made, then in some other mill that will pay cash for it. Weight added to stock by oiling, we do not take into consideration. TEXTILE DESIGNING. 45 CHAPTER IX. ESTIMATING THE PER CENT. OF COLORS IN MIXES, AND OF DIFFERENT WOOLS IN BATCHES. In order to demonstrate this subject in a practical man- ner, we will suppose that we are required to get up a batch of 960 lbs. of wool, to be composed of 70$ black. 20$ white, and 10$ orange. What is the amount of each color required to produce the batch of 960 pounds? TO FIND THE AMOUNT OF EACH COLOR REQUIRED IN A BATCH. THE SIZE OF BATCH AND PER CENT. BEING KNOWN. Multiply the whole number of pounds in batch, by the per cent, of each color, and point off two figures at the right; the product will be the amount required of that par- ticular color. Thus, 960 960 960 .70 black. .20 white. .10 orange. 672.00 102.00 96.00 This will give us wool as follows: Black 672 lbs. White 102 lbs. Orange 96 lbs. Total, 960 lbs. Again, suppose we went into the wool room and made up a batch, as follows: Oregon 230 lbs. ) ,-, S. pulled 20 lbs. [ whlte - Oregon 70 lbs. ) • Pa, fleece 65 lbs. >■ olive. Ohio " 65 lbs. ) Va. " 50 lbs. plum. Total. 500 lbs. in the lot. What is the per cent, of each color? Also, what is the per cent, of each kind of wool? Proceed in the following manner: 46 THE SELF-INSTRUCTOR, Annex two ciphers to the whole number of pounds of each color, or kind of wool, and divide by the whole sura. 230 -f- 20 = 250 lbs. white; annex two ciphers: 250. no. 250.00 -f- 500 = 50$ white. 70 + 65 -+- G5 = 200 lbs. olive; annex two ciphers: 200.00. 200.00 -j- 500 = 40$ olive. 50 lbs. plum; annex two ciphers: 50.00 -f- 500 = lOj? plum. This gives us the per cent, of each color. Now we will find the per cent, of each kind of wool. 230 -+- 70 = 300 lbs. Oregon; annex two ciphers: 300.00. 300.00 -T- 500 == 60$ Oregon wool. 20 lbs. S. pulled; annex two ciphers: 20.00 -J- 500 = 4$ super pulled wool. 05 lbs. Pa. fleece; annex two ciphers: 05. oo -r- 500 = 13$ Pennsylvania fleece wool. 65 lbs. O. fleece; annex two ciphers: 65.00 -j- 500 = 13$ ( )hio fleece wool. 50 lbs. Va. fleece; annex two ciphers: 50.110 -~- 500 = 10$ Virginia fleece wool. By the above figures, it will be seen that this rule works the same, whether figuring the per cent, of colors, or the qualities of stock. Again, suppose we have 770 lbs. of fleece wool, to which we wish to add 30$ of shoddy. What will be the amount of shoddy required? Figure this as demonstrated in the preceding chapter. 100 _ 30 = 70 for the divisor. 70)770.00(1100 lbs., total weight: from which subtract 77000 1100 the pounds known 770 330 lbs., amount of shoddy required. On the other hand, if we had 330 lbs. of shoddy to which we wish to add 70$ of fleece wool, it would require 770 lbs. of wool, making a total of 1100 lbs., shoddy and wool. We believe the illustrations given under this head, are sufficient for the reader to comprehend our meaning, and will therefore bring the chapter to a close. TEXTILE DESIGNING. 4? CHAPTER X. FIGURING THE SHRINKAGE OF WOOLS, AND THEIR COST WHEN SCOURED. For the purpose of demonstrating the work under this head, we will suppose that we have a lot of unscoured fleece wool, the shrinkage of which is not known, but must be obtained in order to know the cost when clean. TO FIND THE SHRINKAGE OF UNSCOURED WOOL. From the pounds taken in the grease, subtract the pounds of clean wool got back after scouring and drying, and divide the remaining pounds, with two ciphers annexed, by the pounds taken for a trial; the quotient will be the rate per cent, of shrinkage. Example. — Had scoured, 500 lbs. in the grease. Got back, 300 lbs. of clean wool. Lost, 200 lbs. in scouring, to which annex two ciphers, and divide by 500 lbs. 500)200.00(40$, rate of shrinkage, or 40 lbs. lost for each 200 00 100 lbs. 100—40=60 lbs. of clean wool from each 100 lbs. in the grease. This wool, we will suppose, cost 35 cents per pound, in the grease. What is its cost in the scoured state? TO FIND THE COST OF SCOURED WOOL, THE MARKET PRICE AND SHRINKAGE BEING KNOWN. Divide the market price, with two ciphers annexed, by the pounds of clean wool obtained from 100 lbs. in the grease; the quotient will be the cost per pound of clean wool. 48 THE SELF-INSTRUCTOR. Example. — Market price, 35 cents per pound: wool shrunk 40$ in scouring, leaving (50 lbs. of clean wool from loo lbs. in the grease: 60)35.00 market price. 58-J cents per pound, cost of the clean wool. The reader should bear in mind, that the above figuring does not include the cost of freight, cartage, sorting, and scouring; all of which adds to the actual cost of scoured wools, the extent depending on circumstances. Again, suppose we wish to add to the 300 lbs. of clean fleece — which we obtained from 500 lbs. in the grease, being 40$ shrinkage, — the same amount of clean second-grade fleece, which we had previously found, shrunk 45 per cent. How many pounds of the second-grade fleece, will it be necessary to scoure for the 300 lbs. of clean wool? TO FIND THE AMOUNT OF WOOL REQUIRED IN THE GREASE TO PRODUCE A GIVEN AMOUNT CLEAN. THE SHRINKAGE BEING KNOWN. Divide the pounds of clean wool wanted, with two ciphers annexed, by the pounds of clean wool obtained from loo lbs. in the grease to scoure: the quotient will be the pounds required in the grease. Example. — The second-grade fleece shrinks 45 r ;. which gives us 55 lbs. of clean wool for each 100 lbs. in the grease, and 3oo lbs. of clean wool are wanted: 55)300.00 pounds wanted. 545^ lbs. required in the grease, at 45 r ; shrinkage, to produce 300 lbs. clean wool. The reverse of this rule will also hold true. We believe this, with the two preceding chapters, is sufficient for the beginner to understand how to figure per- centage from any standpoint; and we trust that they will show him the necessity of thoroughly understanding this branch of the business. TEXTILE DESIGNING. t9 CHAPTER XI. DRESSING PATTERN WARPS AND WEAVING PATTERN SHEETS. Nearly every woolen mill, and nearly every designer have their own particular method of performing this piece of work for the loom, any one of which may prove satsi- factory to the designer under the circumstances surround- ing him; hence we shall not attempt to lay down any new methods, but simply give a few suggestions applicable un- der certain conditions. We always make it a point to dress a pattern warp on the dresser frame, if convenient to do so: this spreads the threads much evener, when reeling off to the warp beam ; gives an evener tension, and does away with watching the lease and patterns so closely, when once rightly started: besides, the work is then in a position for any length of warp required. If only five or six pattern stripes are want- ed, make each one a section in itself; but if several other stripes are wanted, two of these pattern stripes may be run in as one section. Between each pattern stripe, run in two threads of a fancy or different color, not too bold, or too faint, but such as will make sufficient contrast and look well with the col- ors with which they are to come in contact. Hence, it will be seen, that it is not always policy to use the same color for the dividing lines, as other colors in the same warp may be often brought into use, for this purpose, with a decided and pleasing effect. Again, when only a few small changes are desired from that of a regular warp, a good pattern sheet may be gotten up by breaking out a few threads and tying other colors in their place on the first end of warp, when being started in 7 50 THE SELF-INSTRUCTOR, the loom, or on the latter end when running out. A yard or more can be finished on the end of a regular cut. and thus save the expense of getting out a special pattern warp. Of course, to produce a pattern sheet in this manner, the number of harnesses in the loom, and style of drawing-in must correspond with the designer's ideas; but a change in the weave may be made if necessary. Then again, when but a few changes are desired from any one particular style, either in certain warp threads, or in the filling, it is good policy to weave sufficient of each change to make a pants' pattern. We have woven whole cuts in this manner, when only slight changes were wanted. These styles are cut apart after finishing, and will gener- ally sell without causing any material loss to the manufact- urer. When making patterns in this way. no change should be made in the weave; and the filling should be of the same size of yarn and kind of stock, to insure the same finish on each style, and not cause too much unevenness in the piece. These suggestions or methods, are calculated for use more especially in mills not having a pattern loom, or ample facilities for getting out regular pattern sheets. Large mills usually have ample facilities in the pattern department, which is fitted up to their own liking: and each designer, in his turn, has to follow the same course as his predecessor, so that to make any suggestions, relative to them, would be of no material use. Suffice it to say, that they all, generally speaking, have to dress their pattern warps on the peg or "pin" system. With this system, some use one style of frame for holding the bobbins of yarn, and some another; each one of which is thought to be good enough for its particular place. Therefore, comments, or suggestions on them, would be out of place here. We will, however, continue the subject by calling the reader's atten- tion to our method of weaving a pattern sheet. We have before us. a pattern sheet which we will en- deavor to illustrate in such a manner that our idea on this subject will be fully understood. This sheet was woven with the regular eight-harness twill, and consists of a series TEXTILE DESIGNING. 51 of patterns made in mixes, solid colors, stripes, and plaids. To begin with, it has five sections, or in other words, five pattern stripes as follows: 1st sect. 2d sect. 3d sect. 4th sect. 5th sect. The finished width of each section is 5£ inches; making in all, 27? inches inside of the selvage. Each section con- tains 240 threads of 2-run yarn; this gives us, in five sec- tions, 1200 threads independent of the dividing threads, or selvage. The yarns which compose the sections in this pattern sheet, were spun from mixes as follows: First section, No. 10 mix; 50$ black, and 50 dark olive. (We always give our mixes a distinguishing number.) Second section, No. 11 mix; 50$ red brown, and 50 white. Third section. No. 8 mix: 85$ black, and 15 orange. Fourth section, No. 14 mix; 45$ red brown, 45 white, and 10 orange. Fifth section. No. 13 mix; 45^ black. 45 olive, and 10 white. Between each pattern stripe or section, and also between the outside ones and selvage, are two dividing threads, one of red and green D. & T. , and one of orange and black I). & T. This completes the full construction of the warp. The weaving of the pattern sheet is the next in order. For this purpose, we have five kinds of mixes for the filling, the same as used in the warp. After weaving in a fancy heading, we commence with the first or left-hand section, using filling of No. 10 mix, and weave in sufficient to bring the pattern or sample out square when finished; or as near that as we can calculate. Now we weave in two dividing threads, the same as in warp; this gives us the first regular pattern. Next we use filling of No. 11 mix, which corres- ponds with the second section, and weave the same amount as before; this gives us the second regular pattern. In this manner we proceed with the third, fourth and fifth sections, using filling to correspond with the mixes in those sections. 52 THE SELF-INSTRUCTOR. This will give us the third, fourth, and fifth regular pat- terns. We have now taken up each section in turn, and worked the whole width of the warp, making in all. twenty- five patterns, as herewith demonstrated. CD cc O 03 X » - CD J. -+ CD o 1 O o »o o 5th filling No. 13 mix. 4th filling No. 14 mix. 3d filling No. 8 mix. 2d filling No. 11 mix. 1st filling No. 10 mix. From this illustration, it will be seen that patterns 1, 2, 3, 4, and 5, are called "regulars;" that is. each one by itself is the same in both warp and filling. The remaining twenty patterns are called "irregulars," or, "hit-or-miss."— Some- times, called "bastards." It is in this irregular class of samples, that the designer often finds his most attractive and best selling patterns. Presuming that the warp was four yards in length, and having used only about 30 inches, or say one-fourth, of its weaving capacity in making the first series of patterns, we will now use five other kinds of filling, say of solid colors. and work off another series of twenty-five patterns on the same principle as before. Now we will break out a few of the warp threads in any one section, or all of them, as de- sired, and tie other colors in their place; this changes the TEXTILE DESIGNING. 53 plain work into stripes, with which we will use the first set of filling and weave another series of twenty -five patterns. Again, taking the second set of filling, we will weave the fourth and last series of patterns by running in, with each kind of filling, such threads as were previously tied in the warp, and in the same proportion, which gives us twenty- five plaid patterns; making in all, one hundred patterns in the whole pattern sheet. From this it will be seen, that there is no end, so to speak, to the number of patterns and changes that may be produced by following up this princi- ple of pattern weaving. On fancy warps, figured weaving, and cross-drawing-in drafts, it will sometimes occur that only a limited number of changes can be advantageously made. It is in such in- stances that the designer needs to bring into play his best skill, instead of working on the "go-as-you-please" system. The designer must use his own judgment, as regards the size to weave his samples. If he is to get out a sheet of fine, plain, and firmly woven samples, small ones will usu- ally answer every purpose. On the other hand, if he is to get out a sheet of large patterns, in the weaving, or dress- ing, large samples are preferable. We have made pattern sheets that contained as low as three and as high as nine samples in width; but the usual number is five, six, or seven, which makes a fair size sample without much expense. Our practice has been invariably, to make these sheets wide enough to finish three-fourths in width; this gives us a good basis on which to figure the weight of the goods, shrinkage, etc. — far better than if made narrower. Speaking about figuring on the weight of goods, it may be well to demonstrate here the manner of FIGURING ON THE WEIGHT OF CLOTH BEFORE WEAVING. Divide the number of ends in warp, by the number of runs the yarn is spun, and point off decimally two figures at the right of quotient; this quotient will then represent the number of ounces of warp in one yard of cloth. 54 THE SELF-INSTRUCTOR, Example. — Suppose that we have a warp of 2160 ends of 4-mn yarn, and 20 threads of selvage on each side, or 40 in all, of 2-run yarn ; how many ounces have we of warp ? Runs, 4)2160 ends. Runs. 2)40 selvage threads. 5.40 oz. of warp. .20 oz. of selvage. Add together these quotients. 5.40 -(- .20 ~ 5.60 oz. the total weight of warp to one yard of cloth. To ascertain the amount of filling, proceed as follows: Multiply the number of picks per inch, by the number of inches the warp is laid in the reed; this product divided by the number of runs the yarn is spun, with two figures pointed off decimally at the right of quotient, will give the number of ounces of filling to one yard of cloth. Example. ^-Suppose that we put in 75 picks per inch, of 5-run yarn, and the full width in reed is 40 inches; how many ounces have we to one yard of cloth? 75 x 40 = 3000 -^ 5 = 6.00 oz. weight of filling to one yard of cloth. This, added to the warp, gives 5.00 -f- 6.00 = 11.60 oz., or near enough, — allowing for the "take-up," of yarn in weaving — to call it 12 oz. weight of cloth from loom. The above manner of figuring on the weight of goods previous to weaving, will give a good basis on which to make other calculation, if followed out closely. ( )f course. practical judgment is required, in order to estimate closely what allowance to make for the "take-up," which must be governed by the kind of weave used, size of yarns, and the strain on warp. Then again, the yarn must be accurately spun to the size figured on; if spun either too coarse, or too fine, the result of the figuring will vary accordingly: while if too many picks are put in, or not a sfficient number, the result will also be too large, or too small — as the case may be. TEXTILE DESIGNING. DO CHAPTER XII. THREE METHODS OF ATTACHING A BACK TO FABRICS. The designer is often called on to produce light-weight fabrics in heavy weight. To do this, without changing the appearance of the face of the fabric, is an undertaking of no small importance; however, it can be done by attaching a back. This back may be attached by the filling, warp, or by both the warp and rilling methods. One of the principal points to observe, in this operation, is to have the binding done in such a manner that the effect will not be noticed on the face of the fabric when finished. In the manufacture of worsted fabrics, this fact has an especial bearing for the reason that imperfections, in the stitching or uniting of the textures, will show more in this class of goods, than in common woolens, and fancy cassi- meres. This is owing to the fact that worsteds are mostly made in the loom, or in other words, are woven narrower, and require but little or no felting. On the other hand, common woolens, and fancy cassimeres, are woven much wider, requiring considerable fulling, which has a tendency to cover up a great many defects that would otherwise be seen, especially in worsteds. There are three methods of attaching a back to fabrics, which we will illustrate; any one of which will answer for its particular purpose. First method. — This is what is called a filling back; that is, the warp works single, and the filling works double — one thread on the face of the fabric, and one on the back. 56 THE SELF-INSTRUCTOR, To illustrate this method, we will take Fig. 1, which is known as the four-harness cassimere twill, carried out to eight threads both warp and filling ways, or in other words, eight harnesses and eight bars of chain, as numbered at the Fig. 1. Fig. 2. irpMOnM 1 1LTMBMMM 2 2 MO iMia 3 2IMT ■■■■ -1 :;■■__;-;■■ :a 5 aaaazsa ■ 6 ■ : ii ; a 7 <■ anaiii 8 I ■■ ■■ 9 I1EJ ■■■ 6 ■■ ■■ Jl ilSSIIHI 1^ ■ n ■■ [13 ~aa inai i 8«r-jn«Bnn«io hmi»j»i« — • li ii J* w> 3S *^> CO *" tiS*5>t«in15-^OC bottom and left-hand side. To this weave we will attach Fig. 2, which is called an eight-harness doeskin weave. Now, if we take Figs. 1 and 2, and unite them— one bar of each, alternately — it will give us a weave of eight har- nesses and sixteen bars. Hence, we will number the bars at the right of each weave or figure, in the order in which they will appear when united. Fig. 3. Fig. 4. Fig. 5. nnMinnMi i nnMonaa i :■■■■■■■ 2 ■■■■■■a. Qaancinn 3 nmnanja 3 ; in ■■■ ihii < aaa aaaa -i aa -.:■■ in 5 nnnnnaaa ■■□^■■□a 5 naisi i 6 ■■mini 6 ■n^MIDZB 7 ■noMinnM - ■ aaani 8 bzbbbbbb 8 nnMionMi y llbb p :■■ 9 ■ ill 131! BEB3 '■■■10 □MinnMin" DMinnMon aaoinii !■: aaaana u M«naMinni3 ■■ ' iaannia aa oaaian aa aaaaai i ■□□■■nuMis a : aa bi"> BUI] II BI — liWJ*CiOJMCO — lilCJ-iiCKiac — ti W *■ iT 3i "^ X Fig. 3, shows the face weave laid out in its order for receiving the back. • Fig. 4, shows the back weave laid out in its order for receiving the face. Fig. 5, illustrates Figs. 3 and 4 united, making one complete weave, ready for the loom. — See Sample No. 2, made from this same weave. The main point to overcome, when attaching a filling back, is not to affect the appearance of the face of the fabric. To avoid this, the binding must be done in such a manner that the warp threads will all have the same ten- sion. This is accomplished by placing the backing weave in a position, that whenever, or wherever a back pick has TEXTILE DESIGNING. 57 a sinker, it should be preceded and followed by a sinker on the face threads, which will give us three sinkers in succes- sion, reading the warp way. This will bring the binding in between the twills alternately, as Will be seen by referring to Fig. 5. However, there are weaves with which it would be impossible to follow this rule closely: Sometimes a back pick may have to be preceded by a sinker and followed by a riser, or vice versa-, but in no case should it be preceded and followed by a riser on the face threads. Second method. — This is what is called a warp back, and is woven in a reverse manner to that of the filling method; that is, the .warp works double and the filling single. To illustrate this, we will take the same four-harness cassimere weave, Fig. 1, to which we will attach a back, one and one; that is, one thread on the face and one on the back, alter- nately. For the backing weave, we will take an eight-har- ness satin, Fig. 6, — as it proves to be well adapted in this instance, for even stitching. Again, we will attach a four- harness satin twill repeated to eight harnesses and eight bars. At the bottom of the face and both back weaves, we have numbered the harnesses in their numeral order; also a second time in the order in which they will appear when united or stitched together. Fig. 1. Fig. 6. Fig □nnnnnwn i :■ .. : n :zm: : :. ■ □SanSr :.: ■ ■Bnnnnnn mnMonnn i-* to co a* en as -a S OC O fcO i**. OS td^OSGCOt-S'fa.Oi Hence it will be seen, that in attaching a warp back, the number of harnesses have to be increased, while the number of bars remain the same — being just the reverse of the former method. Proceeding in this manner, we will carry out these weaves (Figs. 1, 6 and 7), in their respective order for uniting, which will give us Figs. 8, 9 and 10. Next in order, is the uniting of Figs. 8 and 9. To do this, we will take the working of a harness from each fig- ure alternately, and setting them down in their numeral nnMnna* : tan : ■■ i ■■nrM.un manmu ~m nTM: IDH ^■■□□■■a MM' " :■■□□ a :: '■■ ■ MtiW4-iiOi»IOO t-*cooi~4«e h- wen 58 THE SELF-INSTRUCTOR, order, it will give us Fig. 11. — See Sample No. 3, made from this weave. In a similar manner, proceed with Figs. 8 and 10 r the result will be as shown by Fig. 12. Fig. 8. Fig. 9. Fig. 10. ppopkmpppppbpkp ppppphpppppppbpp pppppbpppppppbpp upbpbpppppbpm tjp pppbpc :: ipppppppS pppH.pppppnPB.pppp ■ b :. ,: ina»n»nnnnn pppppppppbpppppp pbpppppppbdppppp ■ ; ' b a : .;■..■: ppppppljpb ■:::::: ■ : .: i' i: :■::■: i mPBPBP ■: i: :: uppp zinnBPPPPnpp«pp ■■mm m :■: :. pppppppmpppp pppbpppppppmpppp ■prnpr: :!p»p»ppppe pmpppppp-ppppppi pbpppppppbppp ■ppppcmpbpppppki nnnnnnPBnnauagnn ppphnnpwppppppp» !-*&»0?-~4C©i-*COCJ» H^9000UiU03 10 t£* OS CT O fcS es*.o«3> ■HL~BBBBBCBB« 7 nnnaa' DDEwq « niria: :: 'B*ann 8 BBBBB BBBBB loaan; *n: 'aannnn iiB' :rr ■ '■: ;: : m* l-BB BHEBB BBB Fig. 23. nnnninnnnnnnn 2 nainnnnnnnnn nnnnnnnnnnnn nnnnnnnnnnnn s nnnnnannbnnn nnnnnnnnnnnn nnnnnnnnnnnn s nnnnnnnnannn nnnnnnnnnnnn nnnnnnnnnnnn nnnnnnnnnnnna nnnnnnnnnnnn Fig, 24, i nnraannnnaan 3 1IIII IBEII j bb;::; ,;:j aa,..unu • r . b ; na#ai n a* 8 BB brbrb BBB 7 nnnaa;. nnnaan s :'■♦■ m ■♦■ n U BBBBB; CBBEE j h'bbl; ;c: bb. . nn nannr b*bi Q ■# IE ECEEB 111 Fig. 24, represents the same weave, and tied on the plan as shown by Fig, 25, being twice on every third thread, both warp and filling ways; thus making four risers on one pick, and six on the next alternately. — See Sample No. 4, made from this weave. Fig. 26, also represents the same weave, and tied on the plan as shown by Fig, 27, being twice on every third warp thread, and once on each face filling thread; thus making five risers on each face pick in succession. Fig. 25, nnnnnnnnnnnn 2 nnannnnnannn nnnnnnnnnnnn nnnnnnnnnnnn 5 nnnnnanHnnna nnnnnnnnnnnn nnnnnnnnnnnn s nnannnnnannn nnnnnnnnnnnn nnnnnnnnnnnn linnnnnannnnna nnnnnnnnnnnn Fig. 26. i nmaannrnaan 2 BBBBB ICBEI :< C«nB : "'i !□■♦■□] 1 4 aannnnaanrn*' 5 BQ BBBBB BBB K a: ;: : ■•♦■nnnavj 7 ; :r:naar;. :n*aan 8 BBBBB BBBBB : b»b ■ .-ai.iann wuua n* aannnn I IBB QB EBB BBB i2annnanannnii> Fig. 27. i nnannnnnnnnn nnnnnnnnnnnn 3 nnannnnnannn 4 nnnnnnnnnnna nnnnnnnnnnnn b nr nnnannnnnn 7 nnnnnnnnannn nnnnnnnnnnnn 9 nnannnnnnnnn ionnnnn*nnnnnn nnnnnnnnnnnn ^nnnnnnnnnnna Fig. 28, illustrates Figs. 20 and 23 combined, and rep- resents the backing texture, both warp and filling ways, in Fig. 22. Fig. 29, illustrates Figs. 20 and 25 combined, and rep- resents the backing texture, both warp and filling ways, in Fig. 24. 62 THE SELF-INS TKUCTOR, Fig. 30, illustrates Figs. 20 (with the backing bars placed one nearer to the top) and 27 combined, and rep- resents the backing texture, both warp and filling ways, in Fig. 26. Fig. 28. Fig. 29. Fig. 30. mnmnmnnnn nnnnnnnnnnnn i □□■□□□□□onnn 2 1 : :■-□□□ z nnmnnnncMnnn 2 ibibi aiasa 3 ■■■■■ :bbhbbj BEaBi BBisBiB s ci rrncncMnnn 4 □: a ■ 5 nac lEBfnnnnna 5 nnmnaarinnnnai ■> ■■ ihhi ■■■ ?■■□■■■■■.:■■■ 'is ibbbb ibb no □■□■□□nnn 7 nonnnc rxMnnn a □mnancnBnna 8 nriBnnnanBnn » bbbbb 'bbbbbq 9 BBBBB: IBBflflfl BBBB3 BBBBB B \ -nU^UUUU I I p [□ [□□ [D □nnannaninnnn wen; :□: u '□annn nnnna □□□□□::■ n.: ■ .b mi ■»■■ ■■■ bi bbbsi bbb uBs E3DBBB bbb unnananniannnii MMWJfcCnOiManOOHW i-'t5C0J*CncS'^JGnXiO^-t-3 K*fcSW *• 01 OS ^ 5 BnnnB^B: r :cm~ 6 BB BBBBBHBQB fl flfl HIMIIII1 >■ BBBBBBBH BBB 7 u: iriBHiTj :□■■□ 7 : ;• ■■ :: :n: imnn 7 □' i»b'jij3: :hb* s : b:b ':.::-;:■♦■:-;□ 8 □■♦■ :: :nB»»an 8d«::b :i;"b«bdd 9 BBBBB BBBBBB 9 BBBBB BBBBBB 9 IflBBBBBBBBB I !'>■■: :: : :bb :n i<>bb : bi n«««un ■■□ana iiBn-3BnB::n::B» nn: •; :za»m: ;::nB» iiHnn"BrjBnncB» l-BBBBBBBB BBB i:EBBBBBBB BBB 12Bin«BBBHBBBB The style of back attached to these three latter weaves, is more especially adapted for coarse stock, and a heavy backing filling, as it has less tendency for the back to show through, on the face of the fabric. It will be observed, that the stitching or tying in this method of backing fabrics, is conducted on the same prin- ciple as in the preceding method; hence it requires no fur- ther explanation in this direction. By this combined warp and filling method of backing TEXTILE DESIGNING. 63 fabrics, a back may be attached to any weave desired, on every second, third, or fourth thread, as the case may require, by observing the following manner of running in or weaving the back filling threads: For every second thread, thus ( ■■■§ ) ; every third thread, thus ( M»Kg ) ; every fourth thread, thus ( ■5S"S5Sii ) '■> tying, in each case, as often as deemed necessary. Following, we present a few illustrations of standard weaves, with a back attached in various ways, which will more fully demonstrate our ideas on the question of tying. Figs. 34, 35, 36 and 37, are those of a double-pick or basket weave, carried out to twelve harnesses and backed every third thread, both warp and filling ways. Fig. 34. ■."■p::pbpmppp ■ ♦■ncnBDB 1 :nn HBBI EEEED I □c~m: - b: TZ'Mum. ■ lino worn fl RSBI9 BHBQ ■dbo ipb#bi ipp BIBB BDSaB B nnnBnBpnnBCB pppbt ibpppb^b I IliBBB Fig. 35. BBnnnnBBnnnn ■B::nD»Bizcnn ■ d: BBBEB BBS nnnannnnnEBn DOBBDUnOBBD BBBBB BBBIB ■i .. unBann^n bb: :mnBBnnn*< BBCBBBBBCBBB nPPBBPPPPBMP p .: ■■ppp#*bp bbbbb bbbbb:: Fig. 36. Fig. 37. ;ochu h»c BCBnnrBCBi inn B^an::: '■♦■n'^n BBBfl: BBBBBBB r:i:::Br:Bi.:n:..BCB ppl.b*bpppb»b BBBBBBB bebb ■pbpppbpbppp ■♦BnncB*annn bbebbbbbeb b pppbi mpppbdb pppb#bpppb#b] B BBEBBBBBEB ■■nnn*BMnnnn ■■♦nnn«M! _: Ppn BBBBB CBEBBB PPPBMPPC^BBP nnPBB^cnrBBn BB ESBBBBBBfl ■beppcmbopp* ■■pppp«H'*nr.n bbbbsbebdbb: PP*BBPPPnBBP nnnEEnpnnBB-f' BBBBBBBB BBB Figs. 38, 39 and 40, are those of the regular six-harness twill, backed every third thread, both ways. Figs. 41 and 42 are the same weave, with a backing every fourth thread. Fig. 38. ■nnnnn r:n::: e» PBPPnnnBBn PPPPPBPMP IB BBBBB. BBB nnriBB: ■r.mnn; ibbzbuP n«*BB: :: :: "PBPBBnppp BBBBB: BBBBB BBBBB nam BE: BBBEB BBBBI _. ■ppp: " bbpbpj o own ppbgbb- t tib^bbp bbbbb bbbbb bbbbb jnpnBBPBnn 3PB#BBPPPP EEBDB III ■■■PHPrmnp ' in ■BO ■■Of BBBBB BBBIB BBBBB Fig. 39. n: ::~b ♦ BBnnpnnBHBBn n' :nBBnBnnnnnBB»Bn: : BBBEB BBBBB EBBE3B pb»bbppp: inBGBa:::::: BBPBPnn^PBB ♦ annnnn BB DEBBEi: BBBBB Bfll BBnncn: im iBannn: 1 :b ♦■ b: :: : be»b :n: bb : BBBBB BBBBB BBBBB nn: nw •■■cnnnnB^iin nPPHB*B' tPPPPBBPBPI BB. BBBBB BBBBB: BBB pb::bb: ipb#bb1 D n :u bb*b :n: inriBBPBnnppn BBBBB BBBBB BBBBB : BfpPPPPB#BBPE :: :b: : ■pppppbbmb: ;nr:: ii ibb# EB. BBBBB BBBBB EBB Figs. 43 and 44, are those of a six-harness basket weave, backed every third thread, both ways. Figs. 45 and 46 are the same weave, with a backing every fourth thread. (U THE SELF-INSTRUCTOR, Figs. 47 and 48, are those of twill, backed every third thread. Fig. 40. □nnaana' iannaaM<»» nn IBI11III BBHIIIB na^aa: :nixr :BOBBcnnnr ■■ ■ n ^"■■♦■nnnnn bbbbb: :BBBBBBBBnBBB bb::: ■; ■ bb :■ :n r :a* ■no :r~BB*Mnnnnn««a ■ a iiiiiiibi iiiudi ■ ■■ ' :: !■#■■□ mnaa^anrj: :r: -Banana ■■■■■■■■::■■■■■■■■□ nanaannnnna^aannnn BB#BnnnnnBB^:Bnnnnn bbbbb bbbbbbbb :■■■ aannnnna ♦ aannnnnan ■nnnnnaanannnnnaa *• the regular eight-harness both ways. Fig. 41. □nnnBBBnnnnnBBBn □□■□■■an !□■□■■□□ naana: : :: ■■♦■□□□ ■■■:: ■ ■: :: . ■□nr ^aaannnna :a:r ; : n :■■*» n: :nnaaannun* waan □nanaannnnanaanc ■■«■ :n::r:aa:::Bnnn .i-nnnnnaaani: ■■□an: -anaarnnnan inr i: BB^annnnaan : xff c — tiict-OTOi-^iQo Fig. 43. nnmnnwwL □□□□b*bb - M*aan [BOB a ; nnnna ■■ nnnnanaa* Banannn~*BB: :■": BBBBB BBBBB ■□■■■ BB«fl a a BB< :b; :; a : ' : i ■ SB BB BSBaB ■ ■■■1 BBS x~™:.:b*bb: JLML :■■:! nnnna ■■' ■ ■ «■■ : ■■■■■□■■■■■' ■ ■ana □□□□■□■■♦□: r b bb ; ■ ■' «□□□□! ■ fll b ,: 3 *■ BB (iBBBB R BBB ■■□■□□□a BI- BB ■ ii . . ..-i ■■♦■"innn a r ■am Eimi didii »« t* C* •*• CnC9»4 06 5C* O H-»fcO Off -J Fig. 42. □nnnaB'BnnannBBBn □□■□■■□□□□anaBaa • -.■■♦■rjnn ■■♦■□n BBBBBBB BBBBBBD I ■■■nan 'naaannnnn aannn^anaannnnan ■□□□□■■#Bcrn hom* njaaannnnnaaan :::■ :bb": :: fl ■■ :: □■■<*■□□ 3nMB#«noa BBBBBfla EIIBBBBB [nnnnnaaa' :n\:nn •□□□□■n««: ino «□ Man :nas«B- ini "■■♦ bbi laaiflaa iibbb Fig. 44. □□□□□■■□■□annnaam nannnaanana -nnaa*i B I □□□ni ■■♦■"□' '* :::■■□■ ■□■Mr ■' '■■' ; BBBB BBBBBBBB BBBB fl ■■ :: anaarinnna a: :bb« " . ..... 'bb' b ; !□#■■□■ :: : :: :: naB^annnnnaanB ■ E^DBI DULUJL ibbi mau i .naa: m ■□■■[ in una ♦■■□□□□□ ■ BBB: B1BEBBBB BBBB ■ ♦bb: ji :: :nnanaannnnn fl BB "•;■:■■ :: Fig. 45. Fig. 46. ■■■□□□□□■■■nnnnn ■■■□□nncBBBDac ■■■♦□□□□■■■♦□" ■■■■■bb: hbbbbbb nnnnaaannn: :: a a an 'bbb : tt riaaan fom bbb* :: :■■■♦■ ■■■' :■■■■■■■' '■■■■ ■■■:::: n: "■■■□ 'nnn aaannnnnaaannnnn ■■■♦□□□□■■■♦nnr: BBBIIBB BBBBBHB ji^nnaaannnnnBaan □n^naBBnannnBaan nnmiii*nnnniH«' BBB BEBBBBfl BBBB i— tc zc o- -> zr. -v? x --D "S <— tz cc 4*. in C3 nnanaaannnnnaaan x^naaa: :nan:'iMD !□#■■■ : ]□■■■□ ■■■■■■■ BBBBBBBB ■■■nrr ::::■■■: :::::: :□ aaann::: :: '■■■ :::::: in bbb' t: : >■■■ :: :: :.nn ■■■■■■■■■■■: '■■■■ nnx ■■■' :: : ■■■:.: :""■■■' : "nnaaan . bbb ': :: C0 3 — tC CC .U in S3 Fig. 47. a . - a' an: : •nnnasuaan ■BBBB BBBBB : □□□""■□■■[-;■":□ nnnaa^aaxTn ■ B BB3P1B BOB □■□■■□■' '□: :□□ ■■♦■■nn^^nnn BBBBiq aaaafl ■■n«notinan«u ■■•:r.nnn"T*aa* ■■' ibbii::hbi Fig. 48. ■nnnnnnBn«Bn "□nnt !■■♦■■□ ■■□■■■■■■■■■ ii '■ bb •■nn □□□■■"■■nnnn brbbbbbbbbb nanaBnanc ■■♦Bannnn BBBBBBBB BBB Banaonon i an aan Tinrnnaan BBBBBCBBBBBB <— ti CO t£h 10 OS -^ QD ID O i- 1 t-Z> Fig. 49. Fig. 50. aanaannnnnnn ■■♦■■□nnnnnn BBBBB EBBBR aa' :aar' n nnnn aacBB-nnnr EB BBBBB QBE nnnnnnaa: bb 1 : □di innnaa^BB : BBBBB BBBBB : nnncnraa: aan nnnnaaraan ■a BBiaa bbb h-fcOW»tk.cnoa«nnnBn«nnn«<»«HBn HB9B nana™ Qflsaa: annaa aaaaa; mill a nnaau: rJi:.!BBni b .; :: ■■ ■ n: a :\ ;: .anBmnana nnnana:;nr.a*annna: :an: :: :■♦■"• - nnana - ::::■♦■ I IIIBB BQIBI BBBBfl; HDQEE! Bflflll BBBB innnnaann Eannaannnnaannana: nnanannn HWWJ-C'C- — - fii'4- x — CcTi H- 35 Oi *- CO -- r- C5 GC 4-. i— 10 h-*J- OT4-l- i -^i-'^00rf*. ^-CJitOCO35Ja,l-'^iriCO00J-t-5Cni-'J^3iCOt0*' H^OrjW'-Cni-'MaWM-a^WCOM HWMt4^Q0MO(MtiC:00-* CO h- tO >£«■ tO i— Cn >-i tO 35 tO 1— CnCOtO3S4^l->-£k.35tOCO-- !-*4*Q0tOI-»O»1-'t0C5tO ta ---I>— tOCOtO figure to its lowest terms, and of making out the chain drafts Fig. 53. Fig. 54. Fig. 55. Fig. 56. M ♦■□□□□□ aann*nnn ■n#nnnMn anan»nnn aaaa aa ! BBBDB B ■■■ :■ ■■ aaaaa a □□■■nnnn □■mlimi inn □■□□□□■□ naannnnn nnm»inn □naan#nn nar*nnna nanan»n.n ■□■■■■SB anaa a a ■■ ■ ■■■ BBBB B B annnnann ■nnannnn annnnnna annannnn anannn#n aannnn*n annnvnan ana: ii ♦ ■■■■nwD BRBsa a BBBB BB □caancnn naannnnn na: mm :nu naannnnn nnnanan*' nnaannn*' nannn*na nanannn#> anaaaana BBBBL;B:iB IB B BBR BBBB I B ■nnnnann annannnn annnnnna annannnn — tO CO J- OT 35 -^1 GO BBBBBBUr; annnannn ■nana inn annnannn ann irmn naannann hb: .■::: :nn aannnann naannna :: Mir in: namnnnn . :■; : . E nnnnann a:::: :: a : ain. nmnnn annnnnan E nannnun naannnna um-riiM' :n aannnnna : annnnnn nnnannnn nannnnnn nannnnnn ■::•: : m :: nannannn b a : a: mm:: a :.;: i ;;■;■: i annanann : a. :■: "~« nnannnnn nnrannnn V.HM l.V. Ill a ' a :a: ! a a ::i nnannnaEi . a :: ::..;: a : a : :: b a nnnannnn annnnana annannna nnnnnnan annnnnan nnnannnn nnannnnn nnannr.nn m :annnnn aaannnnn annnannn annnnnna nannnnna ■nnaannn anannann nnnannnn nnnannnn nnnannnn nnannnnn nannnnan ihm:iu :~i annnnnan ■nunnnain nnnnannn annanann a a :; ;: .a anannnna annnnnna naannnan nnnannnn nnannnnn nnnnnann annannna nannunun nannnrmn and drawing-in drafts as shown in Figs. 53, 54, 55 and 56. 9 66 THE SELF-INSTRUCTOR, The first method of reducing is made out in the usual manner, by commencing with the first left-hand thread and working or reducing to the right, which will require a chain draft and drawing-in draft as shown in Fig. 53. Second method, we reduce the face threads first, in their numeral order, then go back and take up the backing threads in the same order, which will require a chain draft and drawing-in draft as shown in Fig. 54. Third method, we commence with the twenty-fifth thread and reduce the double-pick (face threads), then go back and take up the four backing threads in their numeral order, after which we commence with the first thread and reduce the remaining ones, which will require a chain draft and drawing-in draft as shown in Fig. 55. Fourth method, we begin at the same place as before, reduce all the face threads first, then take up the backing threads in their numeral order, which will require a chain draft and drawing-in draft as shown in Fig. 56. This latter method it the best of all the others for the harness layout. Fig. 57, represents a herring-bone and basket texture combined — eight-harness work. Fig. 57. ■□nniLMMnc: '.■■■■.-■■■■nnnn ■■nnnown: ^■■■□□■■■■□nnu ■ ■■ : ■ ■■■■ ■; :: aan inn :: .. :■■■■ : :: :: :■■■■: :: ::: ■ Han :: :■■■: : : ' ■: r ;: :■■■■ : :■■ : : ■■■■ : □■■ p u aaii :■■■■ :.;:■■■■'■. : D^OiCn<-»i-»HH OiCnC Fig. 58, represents the same texture as the above, but has a back attached every third thread, both warp and Fig. 58. ■■nnnnnnnBBn i ■■ [■■nnnnBMnB«Bnnnann ■ b*z ■ n»«BiM-:; ::t. ^■■♦■■Snixnnin ■ ■ :■■:]:! nndCMBnM in nnnf T n»MnMinnnnn ■ i;:aiioB aaiai iibh ■■■■■ moa ■■■ :■■■♦■': ::::■■::■ :: : .::■♦:::::: . ♦■■:'■■ l uz\nmm::Mu- " w \ ■■ :::: ::;:bh ::.:~u :. ■■::■■::! ■ ■■■■. :■■■■■ ■■■■■: :■■■■■: bieibb bibsi 3nB:iB»*«j ::::■: :: :: :■♦■■: :. .: :««*BHn DflnnnDBjanBtt] nana BaaaMni □ □□nB«nB«n ^tiica^cno:^oocDO^b5 0TakCoic^tii^o^ac^Oii--»-'W«--'--'Cs>t»bacni>afcaoe filling ways. We illustrate three methods of reducing this TEXTILE DESIGNING. 67 figure to its lowest terms, and of making out the chain drafts and drawing-in drafts, as shown in Figs. 59, 60 and 61: — on the same principle as before described — the latter method being the best layout for the harnesses. Fig. 59. ■ppppppBPBMt- ■bpppppppbbp BflflflflPBIBBBP ■■♦■ppppppbp ■■pmpppp:.pp ib b^did iii □■□■■■♦ ■□□n:^n QanaiDHH! pan HIBBCI IBIII pnn bpbb*bp: ; pppp; inrmmnmm IB IBBBB BBB ppppbppppppp pppbpppppppp nan. ipppppppp pmpppppppppp ■ppppppppppb iipppppppppbp pppppppppbpp ppppppppbppp ransnoningnn ppppppbppppp pppppbpppppp ■ppppppppppp ■pbppppppppp ■ppppppppppp ■ppppbbppppp ipppbpbppp ppppppbppppp ppppppbppppb Fig. 60. bppppbbbppp^ bbppppbbpppp 1ibeibccei i ■■■notiDM#nnn bbbbpppppppp bbbbbbbbpbpb pbbbbpppp^pp ppbbbbpppppp BBBBBBEQB fl a ,pbbbbppp*p I .PBBBBPPPP flflBBBBBB ■_■ bbppppppbppp noBBDnHBnMnin ppppbbppppbp ppppppbbpppb pppbpppppppp □□■□□nnnBgnn pbpppppppe ■□nana ipipppb pppppppbpppp ppppppbpppbp pppppbpppppp ppppbppppbpp bppppppppppp bpppppppbppp bppppppppppp ■p: .pppppbpp ppppbppppppp ppppbpppppbp ppppbppppppp ppppbppppppb Fig. 61. ■PPPP*Pt ■pppppBnnpBB BBBPBPBBBBBB BPtPPPBBPPPB BPPPPPBBBPPP □■□♦1 PBBBPPP pbpppppbbb: i: ■BflPflPBBBBBB PBPP^PPPBBBP ■ ; ■: BIBB BB B' BBBBB_B ■ppppppppppp ■PBPPPPPPPPP MPPPPPPPPPPP BPPBPPPPPPPP PBPPPPPPPPPP PBPPBPPPPPPP PBPPPPPPPPPP pbpl pbpppppp ■ xtpppbppppp :: b .: .: bb : ppl.bpppppppp i :■:;. :.;■;:..; ;■:;: PPPPBPPPI 31 "MB PPPPPBPPBPPP B PPBPPPBPPPPP BPPPPBPPPPPB PPPPPPTPPPBP ■•■::: : :bp: PBPBPPPPPPPP By referring to the above combinations (Figs. 52 and 58), the reader will observe, that in each of them the back filling threads are woven in the same every time; that is to say, there are the same number of risers in succession on each of those picks, across the whole width of the pattern; or, in other words, no break in the risers where the weaves change. This is a point which should be observed as much as possible, in combining weaves with a backing; thus pro- ducing an even back to the fabric, and often doing away with bad effects on the face. We have endeavored to demonstrate this subject of attaching a back to fabrics, in as plain a manner as possible on paper; and should anyone interested herein, fail to com- prehend our meaning, we would advise copying off on design paper, such figures as they do not understand, ob- serving carefully the working of each harness and pick as they do so. This will prove of great aid to the beginner in 68 THE SELF-INSTRUCTOR, enlarging his mind to a better understanding; or, in other words, he will accomplish in this manner, what he might not have accomplish in several hours of continuous reading the subject. CHAPTER XIII. COMBINING WEAVES ILLUSTRATED. Combining weaves is an important branch in the art of textile designing. It is not only important, but it covers a great field; in fact, so great that it is beyond the power of man to comprehend its scope. Hundreds, yes, thousands of designers, have been engaged in this business for many generations, and yet, new combinations are being brought out every day. How utterly useless then, for us to attempt to cover the field, in its entirety, in a work of this character. Therefore, all that we shall attempt to cover is, to bring up and illustrate the principal points, obtained by practical experience in the business. In the first place, generally speaking, a complete break or cut-off should be made when reversing the position of a weave, or combining it with that of another, if possible to do so; and thus avoid threads from floating over or under each other any more than required in the regular weaving of them. In the second place, when a sufficient break or cut-off cannot be made without causing too much of a float, an- other method of weaving for one, two or more threads, as the case may require, should be introduced between such weaves, to form the cut-off and properly unite them. In the third place, avoid combining weaves of too great TEXTILE DESIGNING. 69 a difference in the textures to be used in the same design, as such are apt to cause the fabric to weave either too tight or too loose in their respective places; thus making more or less trouble and dissatisfaction from the weaving to the selling of the goods ; besides, greatly impairing the wearing qualities. In order to demonstrate the points spoken of, we will call the reader's attention to the following illustrations: Suppose that we wish to make a fabric consisting of a four-harness cassimere twill, and a double-pick or basket weave, combined as follows: 16 threads, right-hand twill; 4 threads, basket; 16 threads, left-hand twill; 8 threads, basket: — in all, 44 threads with a perfect cut-off, — it will give us Fig. 1. Fig. 1. ppMPnMPP*BP~MPPMPPMPPMMPPMMPP«MPPMPPM '■■; [i iMDD ■■nnwwp#« < ■□□■■□! MM ipmhppbpi IMPPMB iiDDiKj ■.■ppbippmppmppmp ■■ ■■ a ■■ ipbmpp mppmppmppmpp«<><>*-*p«bppbmppmppb:»:pp«ppmmpp The manner of combining these textures would prove all right in many cases, but were it required to run the fill- ing two and two of different colors, and have the basket show the same in both places of the pattern, — either a per- fect pin-check or stripe— it would not answer the purpose. For it will be seen by referring to the figure, that while the eight threads of basket, at the right, were weaving as de- sired, the four threads of basket, between the twill stripes, would produce a broken appearance as shown by the differ- ent characters; or, in other words, they would appear as though woven pick and pick. Hence the combination must be changed so that the basket, in both places of the pattern, will stand in similar positions. By referring to Fig. 2, it Fig. 2. ppm— ■■" -■■: :nn: :uuu: 'pmppmppm- :pbmpp«bppb« hi kb :*h • :bh ♦♦♦:-:■■:-::■■'■;:■■- ; ■::::■■'"■■ ■■; :: :bb :::■■::::■■::::■■; : mm ■■ : ;■■ n .. bb: bb: :: : ■ppmppmppmp: :♦♦♦ ■x-;-mppmppmppmpmppbipp will be seen that this point has been overcome; but the re- sult is, we have not got a perfect cut-off, there being three risers and three sinkers, side and side, on each alternate 70 THE SELF-INSTRUCTOR, pick, as shown by the different characters. Now, this will not do in a texture of this kind, for in those places the fab- ric will show an over-shot appearance, which will spoil the effect of the basket figure. If, for certain reasons, it were essential that just 44 threads should be retained in the pat- tern, and have a perfect cut-off, then change the position of the middle basket figure, and the first thread on each side of it to read as shown in Fig. 3. But if it were not essen- Fig. 3. □■■□□■■lximm: ::::■■ bb ;♦: :; en ■■ ■■ ■;:::■■ rmm bb : bb :bb:i: urn: >::;:■■ b bb ■□ : ■■ bb ■■ :; ManMnuMnnMnQtnnBMvBMmMnnBMnnMnMBanMnn tial to retain 44 threads in the pattern, then take out those threads on each side of the basket, and transpose this basket figure, as shown in Fig. 4; the result is, there are now but fifteen threads in each twill stripe, while before there were sixteen. Fig. 4. naBHnnBBr-inMBnn«nnBBnBBnniBnrB»an«Bnr:»BnrBM bb :■■ : bb: :: bh: : bb: : :■■ : ■■ i: ii i !■ ■■ be bb :: bb : bq .bb: :. a : .bb: i: bb :bb. ,: :na bb : b i .bb. :: bb :: bb :: bb :bb :; bb :l ;bbu: wbljbbiiubbix: Fig. 5. □ BB : BBS : :: :bbb ■IB : BBB BBS BBS B BBB I BBB BOB i: BBB .. BBB BBB : Bfl !" BB :! BB i: : IB bbb bob :: :. dbb bbb : :bbb :; :b: : :: bbb : :: :b b : bbb ::.:: a ; bbb : bbb bbb bbb bbb ■■ BBnnnBBannBBnnL.'BB^r^.rBBB: :. bbbeebbbd] :bbb:h:bbb;=o3 BBBnpnBpanBBBnnnBnanBBBncnBBBQBBB: innBBB-BBBnnn Fig. 6. BnnnnBBBBnnnnBBBBnnanBBBBDBBBBnBBBBnnnnBBBBnBBnn bbp: : : aan innnBBBBunnBBBBn ibbbbexibbb' in xiBB Bni :bbuH ■bb: ::i: :. bb in: ■■■■=■■■> inniHiannii^": riinr:nBina BBBfl' :: :: :a: ri' niHBB bbbb iinnBHBBnnnnBnnBnBPP&iBBnn □bbbbpoi :□■■■■: panBBBBnnnnBanaaBng laBBBBC jpp nB apB B nnBBBBM::cBBBBnnnnBBB-z:::::-:BB: ::innBB* 'ixmbbbet :naannBB nnBBBBnnBBBBnnn; :«u::n: ibbbdu-IIbbb' :: :iii«:iniHnnH nSnnBBBBnBBBBnnnnBnnnnBBBBncnnBBBBnBBBBnBBBBPLiBB Fig. 5, illustrates a six-harness twill and basket weave combined. Fig. C, illustrates an eight-harness twill and basket weave combined. On looking over the above figures it will be seen, that in each one of them the twill stripes contain an uneven number of threads. From this, we wish to have it under- stood, that in order to combine twills with basket weaves so as to have the basket figures stand in the same relation TEXTILE DESIGNING. 71 to each other, there must be an uneven number of threads in the twill stripes or figures. But bear in mind, this is not necessary when using all one kind of filling, or when run- ning a filling pattern to produce a hit-or-miss effect. When reversing regular twills, which contain an even number of harnesses, for the purpose of producing herring- bone effects, the cut-off should be made at the completion, or in the middle of the twill, the same as shown in Figs. 7, 8 and 0. Fig. 7. Fig. 8. PPMPPMPPM LMMtlUMCPI WEWMXM bd ■: :: so ■ ■■ppmppmpp ■ppbpmpbpbp ■ ■■■: :bpppmpp«pi uMum: ::;: ■■■' : : ■■■ ppmp: :bbhpbppmp ■ ■pp: ;■: bhi :: ■■ m ■■■PPPMMPPPMMPPP Fig. 9. MPPPP*M«PPPBMMPMPPPM«P ■■ PPP PMWP! ■■■■PPMPPMPP ■ ■■PPPEMPMBBBP. 1PMWMP1PPP ■■■ MPP P1 :ibbi: o ipmmpppp PBMBPPPMBPPPPB.-iMHPPPBl ■pmmppm: :pp: ■■: : bbipphb ppphmbbphpppr ■ ■■pppbpbm ppppb0mppppjmmppppmbbb Each of these reversings may of course be carried out to any size of pattern required. The above described points apply equally the same when combining twills and basket weaves, into patterns of blocks, checks, or diamonds of any size, and of any number of different combinations. Fig. 10. mpppmmpppm1bpmbpppmmpppmpppbpbmpppmbpppbmp ■■ :ppbmbpbp: ::::■■■! ippmmpi :pbpmmpppmmpppmmp*pppb ■mm: jpi :■■■:;■■■. [■pppBBMpppMBf pppmp ppm mBi bpp i MMP MBM : pbm*pppb*bipppbpppbibbpppbimh[::hbh: wppi annQ [■■■pppb PPBBBPPPBPHMHL-ipnMBB :rj:--BIHBPHPPn*H»Pr:PBHBPPPMPBBIBP PPPBMPPP«PPPBPBMPPP*MPPP«*MP1MPPPBJMPPPBPPPM Fig. 10, illustrates the manner of combining a cord with a twill. In this figure, it will be seen that on each side of the cord, one thread is run in on the plain-weave principle to make a perfect cut-off for the cord. This is a rule quite commonly adopted in this class of weaving, and often two threads are wove in as a plain weave, in place of one for a cut-off. However, it should be borne in mind that these threads, in many instances, should be of a strong and elas- tic nature, in order to stand the extra strain which comes on them. On this principle a cord may be combined with 72 THE SELF-INSTRUCTOK, any style of weave. Although in some cases it is advisable to run both the cord and cut-off with two picks in a shed, instead of one. If two colors were used in the filling of this pattern (Fig. 10), and run in pick and pick, the two outside cords would be the same in color as one of those colors, and the middle cord would be the same as the other color; hence the position of the cords must be governed ac- cording to requirements, on the same principle as demon- strated in the first four figures. Fig. 11. ■■iiiiiaiii iiaiuHm^n ^■■■■■■"n~ r :MMMMn~nn ■ui=i :i ■ nisi ■ h :■ ■ :■ ihiii a b bbbbb ■ :■■■■■ ■ ■■iiiBoaai iiiiiiiiiii : : itaiiai :: ■■■■■■: :: :n ::■::■ ■ ■ ■ anai ■ a n :■.:■■■■■ a ■ sibii i ■ :■■■■■ iiaiiuiiaa aiian niaiii ■ ::■ ■ ■ :■ ■ ■■■■■::■ ■ ■ ■ ■■■■■ ■■■■■■■■ a aaaa ■iiiaiiini :• aaaBaaaBiaa iioin | ": '■■■■■■nnnD i ■ b i a mil ■ n g ■ nam b a auiii ■ ■ Dim Fig. 11, illustrates a combination of ribs and cords; as here show, they represent but one independent weave, for neither the rib nor the cord texture alone, make a complete weave. Observe the position of each, which may be carried out, or reduced to whatever size required. The texture of this figure, forms a sufficient cut-off in itself without insert- ing special threads for such. Fig. 12. a a aa ■::■!"■ ■ a n a ■ a as 6-hnr. mwrm~M ■■■nan n aa HBMBZB bib a a in : uzMm-m B 111 BEBMBIi diagonal. ■■Q 3-har. a :□■■] - mwa mmMmucMmnunmn aa a ii '■■: asa :■■ a ii ii aa ■■ : aa hi b ■ ■■' I! ii aa :: aa aa :: ■■'■■:.: ■ n ■ ■ :■■:■■ u~ ■■ "■■■■□■□ ■■ ■■ : ■ ■ ■ ■■ ■■ sa ai ii rn ai : :■■ ii bo aa : as bbi :■ a ■■ a ii ii ■■ : ■■ ■■■■■::■ ■■ n I . II IB I IB aa 111 □■■DBS :: ii i ii ii '■-■■■■"■■□ will. l:i hi :* ■■: :: aa :: ai :■■: : aa ■ n — :.:■■::■■: n ...:ib:_;ibui:ib^-jii^::z:iil;i Fig. 12, illustrates a six-harness diagonal combined with a cassimere twill, and basket weave. Although there is a perfect cut-off in the twill and basket combination, yet it will be seen, that such is lacking between the twill and diagonal. However, in this place it is not necessary to have a perfect cut-off, owing to the nature of the diagonal being such that a float under four threads would not be out of place. The diagonal in this figure is, of itself, a combined weave as will be seen: If we commence with the top bar and take each alternate bar or pick, and set them down un- TEXTILE DESIGNING. 73 der each other in the regular order, it will give us the six- harness diagonal; and the remaining bars handled in a sim- ilar manner, will give us the three-harness twill. Fig. 13. ■□□■■□nB«nnB*nn'BnBnMnBn*DMnBaHaBnaBBanBBnr«nninn ■■□□■■! «□! ■■nail innrcnoim n ;■: :■: ■■n«nnBnn«nni»nnBaE pmb* ■■■:::■■: : ! v«: :bbb: :■:::':■■■: .■ inauil ■■ n :■■: hb ■■ npMPPBTM" :; ■■■ppppmbb'v ./ ■■■■n::B«n«M :■■::: :■■□■■ ■□□■■' !-■■: v am :: bbbb :□: iPMMPpppMPPMixnUH II na 'Man »:■■■''■■ ■ :: ■;:■■■' : b abb m:: :m: :::■:::■■:::■: I. ■■ . an : :■■ . ■ ■■ ■ ■■■!■■■■■ ai :■■:■■ urn PPBBPPMPMPPMBP*PMPMPB.PBPB:PBPBPPB.BPB.K::BB.PPBBPBM Fig. 13, illustrates a peculiar combination, particularly the middle part, which is often used in both light and heavy- weight goods. The texture is such that by aid of the cot- ton stitch, it can be readily applied with nearly any weave, and yet produce a sufficient cut-off. Fig. 14, illustrates a five-harness doeskin and a five- harness diagonal, combined. This does not make a perfect cut-off, yet it is so near, owing to the nature of the weaves, that no extra floats will be observed. From this it does not follow that these weaves could be placed in any position with each other, and obtain a similar result. For, were we' to move the diagonal up one pick on the doeskin, thus Fig. 14. >:■■■■■-;:;■■ 5-har. a BaH ■■■ o-har. ■ PPH BH3B B BH £«□■■ nriBBM ia ii mrsm : ■ as ■ aa :■■■■:■■■ ■■ a ■BB BBB HBBB II ID BB ■ I ■■■■■ in ■ n a twill. ■■nBB'SnSnS diagonal. throwing the top bar to the bottom, we would then have seven risers side and side on the sixth bar. Hence, it will be seen that when combining weaves, which will not admit of a perfect cut-off without inserting extra threads or har- nesses for such, the best position in each of them for uniting is found on the cut-and-try principle. In the diagonal there is combined a twill and diagonal of five bars each as shown, which are found in the manner previously described. Fig. 15, illustrates a five-harness doeskin, of both warp and filling face; also the same texture arranged into twills, of warp and filling face; all of which are combined into a block pattern, forming a complete cut-off. In this man- 10 74 THE SELF-INSTRUCTOR, ner an unlimited number of different combinations may be made; and of which, such are used in weaving ladies' dress goods. The three and four-harness weaves on this principle are also used quite extensively for that purpose. Fig. 15. □■■■■□□□□■□■■■■nnncM ■■■ ■nHunLwrjMBDBnMn ■r.MBBnnnBn«Hn««nr::Mnn ■■■■: :■: :::::; ;■■■ ■: ■ :: ■■".■a. :: :■ : :■■■■: :■ :nnn r; ■ :■■: ■■ .: : :■: ■■■■ ;i :■: aaaa :::::■::■: :■■■ Ubcl:;: :■■■: :■: :' :■: :: :■■: ■■ : ;■; :■ aaa :■:.:: : ■■■: ■ Speaking of block combinations, perhaps it may be well to illustrate a figure method which we use when combining weaves of an equal size, both ways, that will make a per- fect cut-off. For this purpose, we will take the four follow- ing four-harness weaves, and call them 1, 2, 3, and 4; and when using any one or all of these figures, they will each respectively stand or represent that full weave. 1 * 2 3 4 ■ aa nnnai dimm □□□■ ■ ■■ nnan «n ■ ■ ■■"■ nana ■□■■ □□■□ ■■HO ■□□□ ■■■□ *□□□ Suppose that it were required to combine all of these figures (weaves) into a small block pattern, on the plan of a twill, we would arrange the figures to read as below, which would represent a pattern of sixteen threads both warp and filling ways, as shown in Fig. 16. Fig. 16. ■: ;■■: :: ■: :■■: ■ b ■ ■: :■: :■: : ■: :■■ : ■ ■■■: :annnawi :«nnn 12 3 4 ■ ■■■■' : ■ '■■■ 2 3 4 1 ;.■::■: ;■■::: ■ .umcm 3 4 12 : ■■■ ,:i :■: :■■■::- :■ ! 1 - -• ■ id :: :■ :■■ ■: ■ ■ ■■' ■: :: :: ■■■:■: :n a :: ■' :■■■: : a aai nac::* ■■::. ■UMnM nn»r:«B: :■ :■: i:an«i ■nan«MBD«nnn«ai«n Now we will take 1 and 2 only, and combine them into another style of pattern by arranging them in the manner given below, which will give us a pattern of sixteen threads, both warp and filling ways, as shown in Fig. 17. TEXTILE DESIGNING. 75 (Of course, it will be understood that this style of patterns are designed more especially for ladies' dress goods, than for gentlemen's wear.) Fig. 17. a— naD wgp DMDncM ■DMinaMDDDjBLinain ■■PBPflpppflPP: u :: ■■■□■□nBMDaaBnpa pppflPBflfl:. .'■■■pppbi noonui :■■; :pbo PflPPBl" ■■■: ■" 'IPP ■an nMHnmnMDDn pppa: :mmmrMuunnrM prflpfli »«*n«wnn«a annnw i .■■■ebcmdli ■pppflflfl: immnMEO: uuuuuiTumwrd'imnmmm □□■□ppmpp: '^papaa Pflppp.BPPPflppflflPfl ■uncwnEinBnnnwiBP Again, we will take the same numbers and arrange them in another position, which will give us Fig. 18. Fig. 18. 1 2 2 a 2 1 1 2 2 1 1 2 2 2 2 1 pflflflpppflpppflpppflpppipi- ■□■MncBnanann: :;■□□□■[!•■□■■ ■■Pfl-pflpppflnppflPPPB: :: :■■' ■ ■ an flpppflpnpflP' •□■ ■::: :■■■:! . v abb: hi asi :■■■:: .:;■ ppbl:b" ■■■::■■■::■■■:.■■ «□ ., o o o 1 pb .iPBBPBBBDBBBPBBB: ■ ■ 12 2 2 2 1 jpppib'b M»r:»iniH::iDna pppbpbbbp: ;nBPix:BPBBBnppi 2 11112 l:::b:.b: bb ; ■ ■ ■ ■■ a: 919919 ■ ia 1 ■ : ;: ■ : ebb ■::■ 1; * - 1 a <* x * ■pppbbbpb' :ppipppiibpbppp 2 12 2 1 2 ■: ■ :■■■: :: ;: ■: : pb .bbbl:: :pb * ± * * ± a ppbpbpbbppbpcpbpbdbbppbp 2 11112 ['■::;:■■■ '■a::inr]Hrjninn , ' ' „ , ■pppbbb' wanna. ippbbbpbppp 12 2 2 2 1 nnnaaBBB' 'Bbbpbbbpbbbpppb PPM! 'BPIBIPBflfl ■■■ ■■ ■ : fl . mb iri ibb hi b :b b :: eaa ■■■ 111 111 .a: inn pbbbpdpbpp; :b: .. ::a:::; ■"■■■ M"«icainnni: :: :: :ap; :: :bpb: :bb mbpbpbpppbpppbpppbppbblib ■bbpbpppbuppbpppbpppbbbp Again, taking 1, 2, 3, and 4, we will arrange them so as to produce the pattern shown in Fig. 19. Fig. 19. 3 2 112 3 22112 2 114 4 1 1 114 4 1 1 2 2 112 2 3 2 112 3 PBBBPPPBPBBBPBBBPPPBPBBB ■■cacDiniuHiciianiniui ■pbbpbppbb^'bbbpbpbppbpbb bbb' :bppcbbb: ibbb-b: 1: ■■■ 1 pDMOPPW :BBBi;BBBnppBnr'PB PPBPPPBPBPBBBVBBPPBPPPBP ■ ■ an in n .a ,; :: a ■ :: : :a: :::::■■■: in 1 : tb; .: ; ■■■:;■■■ :ppiu: n: bbb; bbb a bbb hb :bpppbppb: :bbbpbb ■ a bbb b a :: :. .a' aa 111 1 BBBPBBBPBPPPBPDi 'BBBPBBBP niiijiBB □□■ ippbpbbbdbbb ■PBBBPBBPBPPPBPPBPBBBPBB ■■ in ■ ■ ;: a ii in ■ BBB BBB ■ O I HI ■■■ P' 'Pi' :: .: '■: :■■■: :■■■' xipbhp.'B ;• a : ::b:_'b: bbb: bb : 'bpppbp pi ]PPBGP a ; .: a: :p: bb a' : b: :a bbb ■■ : ■ ■■ a 1 ii a fli ■■■ fl a :: a .bb BBBPBPPPBBBPBBBPBPPPBBBP ?6 THE SELF-INSTRUCTOR, Thus it will be seen, that there is no limit to the num- ber of combinations which may be made with these four simple weaves. These combinations may be enlarged to any size required. By this figure method, a designer can put his ideas on paper much quicker,— without even using either design paper or characters — and thus be enabled to lay out in a few minutes, large designs which would otherwise have taken several hours to accomplish. Of course, he will have to familiarize himself sufficiently with it to keep in his mind the exact weave, and the position which each figure represents, in order to see, as it were, the run of the texture. After having completed the design to his satisfaction, it may be drawn on design paper in the usual manner if re- quired; although, both the chain draft and drawing-in draft can be made out from the original work. Fig. 20. pppbbbpbbbp: !□■■■ 1 1 aBB~PPBBBPPPB ■ ■■ ■■■ ebb :; h bbb bbb::::: mb ■ ■a ■■ :■■■ : ;• ua ^■■i :ppbbb" :pbbb bbb : a. :. : abb :: bib bbb ■■■ :: BBB ■■ ■ ■■■ ] ESI BBB ] 1 BBB I! II BBB ■ : ': bb :: ■■■ :: □■□ :: BBBEB B ! ■■■ All BB BBB 1 1 BBB ' sbb i : bbb : bbb: : ■ ■: : : ■ ■■■ i ■■■ BBB P! :BBBPP:.:BBBPr ■ ■■ ii :■■■ : ■■■ :: BB: II 1 BMPPPBMPPC pppbbbpbbb: ::::.:■■■ b ~ bbb : : bbb ;: : B upbbb. :■■■: n :■■■ I :: :■ PPI BBB : : BBB BB PBBB. . ■■ l :: mbib aa PI BBB I 'BBB : : .BBB ■ □a :: li a . bbb : bei bbb. in :: :: bbb:: ■ ■: : ■ ■■■ q l bjhb : sob bbb bbb:::: b bb bbb : : ebb ::: bb: ii : bbb : : ■■■ D B9B :■■■ : : bbs : B IP BBB : BBB. B lama ■■■: :: :: ■■□ :ppb III .. Ill' . IB BB IP ■ Q ■■■ HBE3 bbb:.: : .bbb:: .bbb :. . ■Pen bb: n '■■■ :i n ana : aa in ebb : pppbbb bbb : : ■■■ ■::: : :bbb bbb .: : a BBB Ifll 111 B P : BBBPPPBBBPPPBB BBB . BI III BB BBB III III III B BBB..: BBB pbbbp: p:bbbpppbbbp ■■pppbp inr :■■■:: bbb' —sbb :: hi 1 :: b : : bb bbb : bbb : ■■PPI :■■■: :: :pbbbpz p m in ■■■ ■pppbbb:::-:pbbb :: a BOB BBB : : EBB II IP! pppbbbp' phi: : . bb bbb :: bb : : bbb n n bb :ppbbb: :. .: bbb : :: bbb bbb: : ■ppi hhh ii :: ini bbb : in ' bbb : BB 11 11 ■ BBB I . flfll bbb::::: hi mi ■ppphbppbbbpp: ■■■:: BB II 'BBB 1 11 'BBB IPP PPI bbbpbbbp: : :■■■ n ■: 'ppbbbp: :pbbbpppb ppbbb: :bbbpppbbbpppb [PPI 'BBB :ppbbbpppbb mi: bb : in : be in :bbbpppbbbpppbbb ■BBPPPBZPPBBBu': III IPBBBPPPBBBPPPBBHP Fig. 21, illustrates a plaid block pattern, composed of common six-harness twills, all of which run in the same direction. This design produced in all one color, and kind of yarn, will show up the plaid effect to a good advantage. TEXTILE DESIGNING. 77 owing to the sharp cut-off in the twills. In this manner any evenly balanced twill may be arranged and carried out to any size required. Fig. 21. BBpnBBBBPBBBBPBPBPBnBnBrBPPPBBBPPnBBBPPPPPBPPPPn ucr«MHnnn»MHc:cHLiM: bpbbbbbppbbbpppbbbbbbbbbe ■■■*■ bpbbbpppbbbpbpbpbpbpbbbbbpbbbi n ■::■■■::■□□: rcanx ilbbb:t.:lbbb: :::::'■ a: b: b: b: b ■■■ ' : bdi iiibi deiii ■■■. : : :■■■ ;: "■• ■::■: :■ ■:.:■: BBBLincBBBcnnacmL:: bpcd nappnaaBP BBBPP PPPBBBLXUBBB'. ■;:b: :b::b bpbi b ■ bp:::lbbbpppbpbbbbblbbbbb bib bdbubpbpb ■ ppbbbb: t.bbb:.!:: ppbbpppb awnnriBi dbbbdppbbb I :. n ■ :■ m :■ bwbpppbpbpb: a: ■ b BBB. r BBBBBLBEBBB ihq ■■& b: :: :. lb::: IB. ' BBB :. BBBBB: BBBBfl ipppbbbbp 'a pppcbi :PL_nrj bbpbbbpb_b! b:.:b::b bub: i:e» pniBBBBBPBPBPBrBPBPBPB pbbbpptppbpppbbb] ::: an:: ?Ba ebbbpbebppi aaaoni ■■ in : : in : : bbb iii:::::iii: : .: bbb: p~bbbp □□a" b n bbbbb._p:: b b: :b: :b : :ppi_ be: rca: a: :: bbbbbcbbbdlj. bbb:.:: :: .bbb: :p: mr m riiica bbbpbbb i bppbbbpppbbbpppbbi o bbbgc: bbb: in pbbbit □bljBlb: b:b: b: b:t bib : ;: ~bbb b^bopi b::b ■mi buubppbpbpbi BBBBB ' icl:: iiB;::riii::n:ni: ::t:ih. .::: bb ■■■ :: :■■■::::: ebb : ■■■ l bbb *• bbb: :: ■■■ ■■■ :: :: iib r: ■■■: III Bll BBB :. Ill Ell upbbbcb: iiiLinii :~ :iiin:rii«:::: bbb: :::: :mnrn pbpbpbpbbbpbbbi a: i::i:.:ir:i::i:::::.:iiin:: ■■■ ■ acaraDB bpppbbbpppbbbp:::: :: m r j.z:i:z:: bglt bbbllli: iiilii bpbpb™ cnnm :::: :■■■ ■■■■■ iiiii n bbblmlt BBBrxBLBracBnan BnBBBnunBBBnBccnrji'BDDUn; BrBBBCiirBBBiB: bgbcbi :bpbp : bbb bbb:::: iiiii iiiii bbb iei i b::b: inn BBBPPrBBBBPPBBPPPBBninLi : iiinnrni: .: :: bbb b b b~ PBBPPBBB! IPPBPBBBBBPBBBBBPBPPPBBBPCl iBI IB: BPBI !BI IB; B b ibbbpphbbb:::: ;B::n:::; ■: •: :rin::;i:r:iii:.:i: :■: il-kiu dubbbb::: hi iiiii eiiii iri :: ■■■ : b~b: b: u ■ : bpbbbpp bbb b ppi i ■ . i: in: :rnii b. b b: b bcbp hi iie i iiiiiiiiii: iei ibe i e b: b::bi_ bbb' l in . :"b::::t: vb:.:::: :::'iiinr:riii:r::i: BCB^BrBCBP eilei i i i e el e e bee bgb i: ii ii i i ■[ i b'^b mpbbppbpbppbbbbpppbbbpbcb bpp ppbppi bbbi..ppbb pbbpbb: bbbbb~~: bbbpppbbbp: :b: bppbbbbbbpcbbbi ::::bbb BBB I I IBI BBB fl H B B ~[ : 1 EBB:' ! EBi:: ppblib: :: bbbbb: idi: ::: ibb: .r: : b b: .: iicii cia ebb t b. b: b ■ : : in :: ibb r:i icb b: .l:::;.:; bbbpppbbbubp cbcb' b: ■ :■:;■: ■: :::rin: n m: ml blbi bbbcbcbpp: bbbl deb b: :: i::~B~B:":BPBPP:"BBBCPr bbb-ppttb ar bebop] bbb: _ ppi ~ :nn»in:'riiiniiBiir u ■ ■ in hi i □ i i izb: :: bib: :: :: bib: :: iibbb' MOB BPBBBPCCBBB TjrBPPnPPI :bpbpl:p"bbbpppbbb I I B~BBBPPrBBBB b b: •• bbbpeobbbop IBOBt IBBBPTlPBBBPPn Fig. 21, illustrates a six-harness twill and basket-rib combination, which is a novelty and should be thoroughly studied, as there are some good points to be gained from it. Notice how the cotton stitch or plain texture is used to pro- duce a proper cut-off throughout the design; also how the the two long twills join with others at the repeating of the pattern, as well as how the twills join on the basket-ribs. There is not an excess number of risers, or sinkers, in any one place throughout the design. Fig. 22, illustrates another style of basket rib combined with a creased stripe and twill. The two warp threads that weave side and side, on the back, which read three down 78 THE SELF-INSTRUCTOR, and one up, make a perpendicular line or crease after the style of a tricot weave; and produces a handsome effect in combination with other weaves. It will be seen, at the cut- off of the twill where the different characters are inserted, that there are five risers in succession, the filling way, and that to all appearances this would cause a float on the back or a miss-pick effect on the face of the goods; but owing to the middle thread, as shown by the different characters, be- ing thrown to the back of the goods in the process of weav- ing, it does away with this bad effect — as appears. Fig. 22. nnaa a :■ : r a :;_:■■■ '; : ■ ■■ ; ■ : ;■■■ warn : :::■:::■!! ::::■:■ n ■ :;m;;i:iii ;. . an b ::.:::■■■ ;:n:. ii m im ■■■ : : ':■■■:■ :.:■■■ :::■■■ unana b ; ■ i mi a in Bin :::■ ■ ■■■ ■■■ i niiiDiQiDMnjin oai ; in ■ :::■■♦■■::::: :nBB^n«n nnaziB :b .:b.::.jbbb: ! .b :bib : : :::■■■ a :iaa i as bbb Baa a a :■: : a : .bbb ■■■ ■ :. bbb bbb iix !■□■□□ ;:■<:■ a a aaa a : :bbb bbb : :b bbb bbb ; in :b a :■; : :a : :aa9 : : bbb : a : aaa : l:bbb :. . a : a i: a .a a bbb : a bbb :: .: aaa : :■ b : :: bjb ana aaa aaa a : bbb :: bbb a bbb bb : flflfl fl . lb bbb . flflfl a :;■::■::■ :■■■ :::■:;::■■■' :::;:;■■♦■■□ aaa flu '■ :::■■■■:■ :■.::; a bib hi : ■ ■ : I :. :■ bbb i aaa h .a a ■ ::■■■ :■'::,;■".■■■:; " ■ aa a : aaa ; ;a' a :■: .a: ; ■■■nan: jBMnntMan ■ aaa i: :; an :. ■ :: : □ a bbbb :. a . a, :: ■■■' bob aas : : bib MJnmmm: :■: :■: :■: . :■ : :■■♦■■; jn; :■■■ :nan nnajaia :: : bbb a a .ana ' bbb b bhb: : ■■::■■■ ■ aa :; ;. bbb a : ■■■ ■ a a " a :: :■■■ :. :■■■: :: : ■':■:":. ; I :■ ::■■■:!: aaan :■ a ■ a ibb ■ bbi bbb bbb . : bbb ■; a : ebb b b :■: :: ■ : bbb :. :: .aaa .: :: :nan B BBB BBB B .B B B BBB I B BBB : BBB bbb a bbb .::■::■'■ :■. :bbb :bh: :::.■■■ .ann Fig. 23, illustrates another style of combination, with the crease weave used to divide the diagonal and rib figures. This style is quite often used in patterns for trouserings. The diagonal stripe should, however, be carried out some- what wider than the basket-rib stripe. Fig. 23. ■■nnBBjnnMBnnBBnnBBMnBnBnMnBn«nHnMnBn«nB^:«nBnBBBn bbbbb b bbbbb a aaa B ■*:■::■::■::■:■::■! :b a:: a : : □■■n '■■ :■■: : ■■ ::::«bbb a a :a: :a a a a a :■::■: :an: :■■■ a bbbbb b :■■■■■ -; : a a □ a '■' :■: :■:::.;■' b '■: :■ h ■ nan bb : bb .::■■':: bbbbb a a :■: a ■ ■:■::■ b ■::■:■ bbb ■ bbbbb b ■■■■■ b: :' 'a :b:"b' :b' :a :b :a :b .b: :a ■: :■ . a::n ■ :: bb :: bb: : bb :: a bbbb. :■: b :b: ■::■::■: :■: :■: :■ a ■ :: :■■■ ■rw :■■■■■.■::■■■■:■::■: 'b a ■::■::■■::■ :■ ■':■■■::: :an ■a bb bb bb : aaa :■: :■•■ a a :■::■:;■ .a: a a b bbb ■a a bbbbb a bbb a :■ b :a ■ m:im: !■: :■::■:]■''■':■::: :■□□ ■ ■ as '. :■■ :: bb hbqc a a :a :a :■: :a a a b :b ■ :: :■■■ ■■■na: :■■■■■' ■. :■■::■ :o: :a .a : :■: a □ a: :: :a. :b: b a a :b:t :b:j nnaa:..;: :aa: : aa: : bbbbb a a :e: :■: wnananai ;■: :a a: :a: bib ■■■■::&':■■■■■: :■:■:■: :: 'a: :■: :a :■ :■::■: ■ ■ :■: :a: a: a : a :: ■ :: an : :aa ■■ : b nnaa :■ :■: a :■: ■ :■::■: ;■: :■: ■ a bbb BBaaBn«nMBHHBnMnnn«nnBnBnBnBnBnBHnBnBLwnBnBBnnBn Fig. 24, illustrates a diamond pattern composed from what appears to be two different diagonals, but it is really TEXTILE DESIGNING. 7!) only one or the same weave, transposed. It will be seen, that the upper left and lower right-hand corners are formed by the same sixteen-harness diagonal, and that there are nine risers and seven sinkers on each thread, both ways of the weave: while the upper right and lower left-hand cor- ners are formed in a similar manner, but with the weave transposed so that each thread has nine sinkers and seven risers. This transposition is necessary in order to make a perfect cut-off. Weaves not equally balanced in risers and sinkers, are generally arranged in this manner when united to form diamond patterns. Fig. 24. ■ppbbbpbbbbppppbpbbbbppppbpppbbp -'■■■ ■■■b r pbbppbbmm pct ■gOngi pbbbpbbbbppppbbpb:t;bbbbppppbpppb; bbbpbbbbgpppbbp: 'bbppbbbbppppbppp bbpbbbb: :pgpbbp::b; .bbppbbbbppppbpp ■□■■■■□□dcbb; .: imnnifiSnMmlnnGagn pbbbbppppbbppbbbpppbbppbbbbppppb bbbbppppbbppbbbpb: :DnM~ciMiiinnn BBBPPPPBBPPBBBPBpBPnnBBPPBBBBPPP bbppppbbppbbb; .bb: ■; bp: :: :bb: t:bbbbpp bppppbbppbbbpbbbpp: mna .bbppbbbbp ppppbbp^bbbpbbbb-pppbpppbbppbbbb pppbbepbbbpbbbbpbp; :: pbpppbbppbbb ppbbppbbbpbbbbp: bb::: d wannMnawi pbbppbbbpbbbbppcbbbppppbpppbbppb bbppbbb: .bbbbppppbbbb: pppbpppbbpp ppbbpppbppppbbbbppppbbbbpbbbppbb bppbbpppbpi :ppbbbpppbbbb: ;bbbppbbp bbppbb i :: ■ :pppbb: :pbbbbpbbbppbbpp bbbppbbppf lUBn npBDBBBMnB BM .pbbppp bbbbppbbpp: .is":. : bbbb: :bbbpphbpppp PBBBBPPBBPPPBPPPBBBGBBBPrBBEIPPPB ppbbbbppbbp: :: 'BPPBB^BBBPPBBPPPPBB pppbbbbppbbpppbpbpbbbppbbppppbbb ppppbbbbppbbpppbpbhb: ipbbpi " :pbbbb bpp: :: :bbbbppbbpp: :bhbppbbppppbbbbp pbppppbbbbppbbppbbppbbppppbbbbpb ppbppppbbbbppbbpbppbbppppbbbbpbb pppbppppbbbbppbbppbbppppbbbbpbbb bpppbppppbbbbppbpbbppppbbbbpbbbp BBnPPBPPnPBBBBPPBB:.:P[lPBBBBPBBBPn PBBPPPBPPPPBBBBPBPPPPBBBBPBBBPPB We will now call the reader's attention to Fig. 25, which illustrates the first three bars or picks of a fancy diagonal, composed in the following manner: 5 6 7 PPBB PPPBBB PPPPBBBB ' HB. ' P QBH : PPPBBBBP ■BPE PBBBPP PPBBBBPE 1PPH HBBPPP O BB' ti B BBBBPPPf -PPPBB BBBPPPPB ■BPPPPB1 *SnBBr~ Fig. 25. ppbbppbbppbbppbbppbbppbb bbb: :::: :bbb: : ': bbb hi Bp ppb bbbppp: .bbbb: .ltppbbbb In connection herewith, we illustrate a four, six and an 80 THE SELF-INSTRUCTOR, eight-harness twill, numbered 5, G and 7, respectively. Now observe that the first bar of Fig. 25, is the same as that of weave 5; the second bar is the same as the first of weave 6; and the third bar is the same as the first of weave 7; each instance the bars being carried out to twenty-four threads or harnesses in width. Now to complete the figure, con- tinue thus: take the second bar of each weave, in their res- pective order, and set them in the same order under those of the figure; then take up the third bar of each weave, then the fourth, etc. ; continue setting them under those in the figure until it is seventy-two bars in length. This will complete the figure and give us a large, fancy diagonal. In this operation, weave 5 had to be repeated six times; weave 6, four times; and weave 7, three times, both ways, before all three weaves would repeat at the same point as started on. Hence, it will be seen that, in combining two or more weaves of different sizes, into continuous diagonals, they must each be carried out to that point where they will repeat at the same time or place of starting. On this prin- ciple of composing diagonals, many beautiful and compli- cated patterns are made for worsted fabrics; in fact, there is no limit to them. We might continue this subject, and illustrate many other combinations if we deemed it necessary, but we be- lieve a sufficient number and variety have been given, to enable the beginner to form a good idea in this branch of designing, so that by a little study and practice, he will be able to comprehend its scope, as set forth in the first para- graph. TEXTILE DESIGNING. 81 CHAPTER XIV. THE ANALYSIS OF DOUBLE WEAVES — THEIR CONSTRUCTION AND STITCHING. This is a subject requiring- much study and practice in weaving, as it were, on paper; in other words, the uniting of weaves in various ways to learn the result or effect. To be able to answer the following questions, after inspecting or looking through a double weave, is a matter of no small importance to both the professional and amateur, in these days of modern competition in the profession. First. — What two weaves are used in the formation of this double weave? Second. — Which one of them weaves the face of the fabric, and which one the back? Third. — Are they properly stitched together? If so, by the face weave, back weave, or both? Fourth. — How are we to know that this double weave is correct in every respect, without trying the same in a pattern loom? The practical designer ought to be able to answer these questions promptly and correctly, after looking the double weave through. We are sorry to say, however, from per- sonal observations, we know there are those who profess to have this power, that are more or less deficient in the mat- ter. It is for the benefit of those professed designers, and particularly beginners, that this chapter is intended. To begin the subject, we will take for illustration, Fig. 1, which represents a double weave composed of the 11 82 THE SELF-INSTRUCTOR, regular eight-harness twill — four up and four down — for the face: and the regular four-harness twill— two up and two down — for the back. These weaves are tied or stitched together by the back filling threads; in other words, it is called a "filling tie," that is to say, the back filling threads are brought up into the face of the fabric, by passing over certain face threads of the warp, one at a time in regular order. It will be observed, on looking at this double weave (Fig. 1), that we have numbered the bars or filling threads at the left from 1 to 16, in rotation; also that the harnesses or warp threads are numbered at the bottom from 1 to 16, in rotation. Fig. 1. Fig. 2. Fig. 3. -■' ■ ■■■■ ■ :■■■■ s ni ■ ■ ■ ■ : :: '■■■■an 3 nannfi"B"SnBnn"nn •-.::::■ ■ ■ ■ □■■■■ana i '■■■■■ i hub :■:■■■ ■■■■:. xxn 5 : •' ■ ■ ■ ■ ' • ■ 9 ■□■□■rx annncMn ■■■::□□□■ 6 ■■■■« ■ ■■■■■xon liBnanxracnnnriBaBin ■■nnnnMB : ■ ■ •■' ■ ' xxjnnacn •-■ ■■:■:: bduxebbb 8 ■■■;:■' ;■■■■■. ; »t ;bb lsnnnpnnnoBnBnBOBQ ocidlibbbb 9 ■'■""■' II _.LjQUPn!rJBn -t;w4.aia^»(cc-i;wiri5 ^-Mot*Jtot-i:ii i"H a ■■■■■:: ' :■■■■ iib. :b •:_':; :n: :■: ib. 1-9 BS3II I i IIHRU nuriz ' - :nuur.B :■□■□ iiasBaa . : :H«HBB;-;Bn wnnrjiinnn' -BnanBaBa ^■■■□^■■■■■nBnBg We will now analyze this weave for the purpose of demonstrating its construction, as well as to see if the above remarks prove true. To do this, proceed as follows: Take the bars, or face filling threads, numbered 1, 3, o, 7, 9, 11, 13 and 15, and set them down under each other, in their numeral order, the result is Fig. 2. From this figure, take the harnesses, or face warp threads, numbered 1, 3, 5, 7, 9, 11, 13 and 15, and set them down along side of each other, in their numeral order, the result is Fig. 3, which is the eight-harness twill, and face weave. Fig. 4. Fig. 5. Fig. 6. - ■ iaam ■ ■■■■ ■■ (=■ ■ ■■■■■■ i ■■■■■■ ■■■■■ □■■□lMBQ ■■■■■■■ ii3iB i iBiii ■■:-::■■": ■■■■■■■-.- * ■■■: ■::■■■■■ ■■ ■ .:■■:::■ ■■■■■■ ■ !"■!:■: :■■■■■: : ■• ■■■■ : : ■■ : :■■ ■■■■■ ■■ r-v; ;■■■■■:_: ::■■■■■: c«innBHn ■■■■ ■■■ i isibi : iiiiH i ii bi ■■■ ■■■■ ^■■■□♦□■■■■■□■□■■i ■pHmbodh ■■.■■■■■ Now take the bars, or back filling threads, numbered 2, 4, 6, 8, 10, 12, 14 and 16, and set them down under each TEXTILE DESIGNING, 83 other, in their numeral order, the result is Fig, 4. From this figure take the harnesses, or back warp threads, num- bered 2, 4, 6, 8, 10, 12, 14 and 16, and set them down along side of each other, in their numeral order, the result is Fig. 5, which is the four-harness twill, and back weave; also the harnesses, or face warp threads, numbered 1, 3, -5, 7, 9, 11, 13 and 15, and set them down along side of each other, in their numeral order, the result is Fig. 6, which illustrates the method or plan of tying. If a '"warp tie" is desired, that is to say, the back warp threads are brought up into the face of the fabric, passing over the face filling threads, one at a time in succession, the weave would then be as shown in Fig. 7. Fig. 7. Fig. 8. i ppppppb^bpbpbppp a ppppb»bpbpbppppp 5 ppb*bpbpbppppppp 7 b>bpbpbppppppppp -■> ■' :■ ■-;: nn: :: ;: .■♦ hbpbppp: .::.. : : b*bp isbpppppppppb I BPBP 15PPPPPPPP»*IIPIIP«P i PPPPPl ll#IDIt a :pp 2 BPBPBBBBBPBPB 3 ppppb*bpbpb: :ppgp 4 iniimnii mi 5 ppb*b: ■ d :r: : :p 6 ■■■■■: ■ isiia :bp 7 ■♦■PBPMi 3P~ :; :p 8 ■■■::■: ■ IIBB ana s luiLiinanunanriLi'* ww m r1bbb i b9si «bpb. .: :pppp: ~p:;b»bp i-d salsa i imag jshppppp: ip :::■♦■ bp mbbbbb r bbebb ■ : isppppp .1PB*BPBPBP ' ' I D BBBI9 a SI t os -^ od so c i-**o oo a- en as Fig. 9. Fig. 10. ppp^pppp 2 bpbpbbbbbpbpbbbb PP'*PPPPP IB ■■HIS B CBflbB Ptpppppp •; bbbbb ■ iciri :bp #PPPPPPP 8 Bflfl I BBBBB B IB PPPPPPP* 10BPBI ■■■■■■[■■■■ ppppppPPP 16BBBPBPBBBBBPBPBB fcS*k.OSGOOt>3**OS l- , WCOttfcOiCft--4Qrj | »0^'t3«cXSi01 By analyzing Fig. 7, the same as just demonstrated with Fig. 1, we find Fig. 8 — in place of Fig. 2, — which contains Fig. 3, and also Fig. 9 which illustrates the tying method. Then again, we find Fig. 10 — in place of Fig. 4, — which contains Fig. 5. If a "warp and filling tie" were desired, — bringing both of the above methods into operation at the same time — we would then have Fig. 11. From the analysis of this figure, we get Fig. 8, which contains Figs. 3 and 9; and again, we get Fig. 4, which contains Figs. 5 and 6. 84 THE SELF-INSTRUCTOR, Now we will proceed to find and lay out this double ty- ing plan in its full and original form. To do this, we will take Fig. 11, and proceed as follows: Fig. 11. Fig. 12. i pppppp»#*pbp*ppp J SysyyySiyyyyyyyy ■:■:. ■ ■■■■ ■::■■■■ \ ■■<,■»■■"■■■"■■ 4 OnMMUUOU INIll i ; ■■■■■■■■■■■■■■* i Dul^lQini IDDDlljH -- ___♦_ _ , _ « ■■■■■: ■: IIBBB g «■■■■■■■■■■■■ ■ 7 ■ ♦■ ;■: ■ ;; :; :::;nnnnn ' u* ^. .. .i -••_—_ • < ■ 8 ■■■ ■ ■■■■■□<>□■■ 8 ■■■■■■■■■■■■ ■ ■■■ » mcb: '■: : :: \. .ppppp** » u, „.^nLi.i •L J _-.-w^ Lju i !<>■ ;■; ■■■■■ ; ; ■■■« <■■■■■■■■■■ ■ ■!!■■ nH' ;■;:;;■;;;:;; :: *; ■♦■ . n. .1 ...lPLLJ-.i .: .; . : i I ♦[.,.. 19DIHHD : :■■■■■□ ^■■■■■■■« ■■■■■■■ i3innnnni;nnni>iDi] u ■ ■■■-.'-. -■- ♦ .,. .u >■■■■■■■■■■■ i ■■■■■■ ■■■■■■■■■ i: ■ ♦■:■ ■ ! ----- - ♦-__ ,__ 16BBMn<>aHMBBB u M:_;BM »>■■■■■*. ■■■■■■■■■■■ Commencing with the first pick, which is a face thread, we set it down as all sinkers except where the tie comes on the eighth harness, we mark that as a riser; then taking the second pick, which is a back thread, we set it down as all risers except where the tie comes on the third harness, we mark that as a sinker; in this manner we continue with each of the sixteen filling threads in rotation, the result is Fig. 12 which shows the whole tying plan, full size, both filling and warp methods. Fig. 13. Fig. 14. i ppppppp#pppppppp 2 ■■ : ■■■■■■■■■■■hi 3 □pppp»ppnppppppp 1 ■■»■■ "■■ 5 ppp#pppppppppppp '!■■■■■■■■■■■■■■ ■ 7 p#ppppppdppppppp -■■■■■■■■■■■■ ■■■ 9 ppppppppppppppp# «" ■ ■■■■ npppppppnppppp#pp !-■■■■■■■■ ■■■■■■■ wppppppppppptoppp !>■■■■■■ ihbibibi ]5PPPPPPPPP'tPPPPPP !«■■■■ ■■■■■■■■■■■ From Fig. 12, we will take the bars 1, 3, 5, 7, 9, 11, 13 and 15, and set them down under each other, in their nu- meral order, it will give us Fig. 13, from which we will take the harness numbers 2, 4, 6, 8, 10, 12, 14 and 16, and set them down along side of each other, in their numeral order, we obtain Fig. 9. Now we will take the remaining bars or filling threads 2, 4, 6, 8, 10, 12. 14 and 16, and set them down under each other, in their numeral order, the result is Fig. 14, from which we will take the harness numbers 1, 3, 5, 7, 9, 11, 13 and 15, and set them down along side of each other, in their numeral order, we obtain Fig. 6. By these TEXTILE DESIGNING. X, r > figures it will be seen, that each demonstration has proved itself true in every point. Fig. 15, illustrates the two original Fig. 15. weaves, Figs. 3 and 5 combined, but not S^ n,nm,CI , . j , T p nnnnaua: ana 'nunc: tied together. It we were to set a loom ■raaaaananaaaaan in operation, containing a warp drawn ■■■■■; ;■ ;;aaaaaca:n in straight across sixteen harnesses, JB5nanrrnn^S*-r5r with the harness chain built thus, the ■§ iP"n""c*E5*5" result would be two separate pieces of LiiS^s""^ cloth, but united at the selvage only. ■■■H«Fm5S2-S^l The analysis of any double weave may be conducted on the principle already described, and should there be any mistakes in either of the component weaves, or tying plans, such mistakes can be easily detected by the deficiency or excess of risers, or sinkers, as the case may be, which can be rectified on paper before building the loom chain; thus saving time, trouble and annoyance of finding such mistakes in the cloth, after the loom has been put in operation. Should the reader fail to comprehend our meaning, we would advise the following: Take a sheet of design paper, on it copy off all the above figures in their numeral order, at the same time carefully read the directions which accom- pany them; in this manner the reader will more readily un- derstand our meaning — it will all seem to come to him, as it were, at once. To assist the beginner further in this important branch of designing, we will illustrate some of the most practical double weaves in use at the present day, and the different methods of stitching or tying them together. Fig. 16. Fig. 17. Fig. 18. Fig. 19. nnnnanan mnn»#«n nnan«#MQ nnnnanan oniMiin ■-■■■■■.: bhrbis onaaaaan nnatra;::nn mm*u nna*annn jom^uann ■■■■■ ■■■■■nan ■■■■anon ■■■■■nan anannnnn ■♦■njnnn ■♦■nnnnn anannnnn ■■■n- cm aaanarjaa ■■■: r» aaan'-naa ■nnnnnan annnnna^ a n:::.i.:a» anunnna* a: : : ■■■■ a. a ■■■■ a : ; ;aaaa ananaaaa H-tow^c^as-^Qo f-»fcOOOt*^cnosp ■ ■ ■ ;: ■■■■■■■ : ■ : ipapppppppap " iaonBni|M Fig. 21. ■pppppppa: ■ ■■: a a b: :i _ia: :ar:m .■• ■ ■ ■::■■■! ppppa ■♦■. ■papaaaaai ppapa*app: ■■■■■■■■ ■ b»appppe IA fl ■■a i.ip !AP j. .p Miiw^iTr.-iic :c c — ti Fig. 22. ■pppppppapa* mam. i >pbpaaaa ppppppapa»ap ■P-->: :■::■■■■■■ ■ ■♦■ ;.;■:;■■■■■■■ : PPAPA^APPPPP ■□■■■BAAATKC APA^APPPPPAP BBISBB3 : :■ ■ ♦■ ;ppppppap " inPB;_;BPBB h^tooot^cno&UOiO& *#nn innnwnMa innm 11 1 1 n in^wpwnwn DEB ■ ■■ EID1III I B IIIDBBIII 19 ■ B □□■□■♦nn nrr.: yr:wu a* n;.- ::::::;:::..■; :■:,:■□■♦ I B 1BII EBBBEJ H » I] E1ERGIB 1 1 I IR ■□■♦□□::□ m cr:*~Mr.**na □nann#*aBDMPBnnn B BBBBE3 IBB ID E£ia BBBBB B B H BBBB ■♦nrxrara :ra«D«n«#Enna □□aaMl*n*nB#nann ICma I B B B SHBEBB BBB B B I 11IBB1 ^k.»*o.»<.<» MaMD«#nnnnna c*m b'b::b:- B B EBBBDBB B B :B B BBSESBBEB Mnw#nao r 'nun ■: mnmam4>i innnnunn B IBBBBBB B fl B B BBBEBBBBB B B BBOBBBBBH R ' ■n«*n: : x:r:: :: :::b:zbu B BBBBHBBBJBBBB Figs. 28, 29 and 30, are respectively the above three twills (four, six. and eight-harness), and will weave the same fabrics as those ; but in originating these latter figures the single weaves were combined from a different point or position, hence the difference in their appearance. The ob- ject of these figures is to demonstrate that, there is a right and wrong way of putting together two single weaves for the purpose of producing a double weave; not because it makes any difference in the weaving or appearance of the fabric, but that it does make a great difference in the man- ner of stitching them together. In the former sets of fig- ures it will be observed how systematic the stitching is ac- complished, and, in accordance with rules previously laid down; while in this latter set there is no such system to fol- low. In the former, each place of stitching is completely surrounded by either sinkers, or risers; in the latter, it takes both sinkers and risers to surround each stitch or tie — tie where you will, the result will be the same. Figs. 31 and 32, represents a double-pick face (two and "two, warp and filling) with a cassimere-twill back, show- ing two methods of tying. Figs. 33 and 34, represents a six-harness basket face 88 THE SELF-INSTRUCTOR, (three and three, warp and filling) with a six-harness twill back, showing two methods of tying. Fig. 31. Fig. 32. Fig. 33. Fig. 34. HOCHBHB* ppppbpbp ppppppbpbpb* ppppppbpbpbp bpbpbbbb ■' :• : :■■■■ ■ ■■ '■ :■: :■■■■ «■■■■■■■■ ppppb*b : ncr :pb*bp :::.:■;: ■: ■♦■: : ■ :■«■ ■ BIBBB a ■■■■■ bpb. ■:■■■■■■ BPOPBPBBBBBB ■rwtnnnn bhbppppp -npppp»*-«PBP pppp: ricinia ■■■■■"■□ ■■■■■□■■>□ ■: :■ ■■■■■■■ : BPBPBBBBBBBP ■♦bppjpl ■♦bppppp bpbpb*-pppppp BPBDB ♦■□□□□□□ BBBPBPBB ■■■PBPBB aniimiiDiu ■PBBBBflBflDOn M-»S03pU-0»O<1Q0 ■ ■♦■m innnr ■: :b: ■; ;; '■ ; DINIH ■ ■ ! ■♦■ ■ ipppppp b^bpbppppppp ■ ■■■a m \mium »HiD-:ainH HM«Afia fc 10D»O'-W lOl'-IOC coo t- 4 to Figs. 35 and 36, represents an eight-harness basket face (four and four, warp and filling) with an eight-harness twill back, showing two methods of tying. — See Sample No. 5, made from Fig. 36. Fig. 35. Fig. 36. ■ ■ ■ ■♦ BIB 3BI Mum '■■■■■■ 3DBDBnB#Bn ■ ■ ■ B BBBBBBBB BPBPB ■■■■■■■■■ : ipppdi a ■♦■ ;bpbd ■ p siaibiiii a I a a a m* I HID '■ ■ b a a*n :: ■■■■■■■hi a a a B !■#>■! [■□ tppppppbpbpbpbp bbbpopbpbpbmbbb a ■ ■»■:: 5PBPBPBPBBBBBBBB a a a a i OPBPBPBBBBBBBBBP PPPPPPP; 1B#BPBP«P ■PBPBBBBBBBBBPBn ■ ♦bpb BP" 'pppnpp: : ■■■■■:!■ 'flr iBPBBBB ■ ■' a ■: ;: :pppp a ■PBPB#Bnn □! ■ ■■■■■■■■ IB! IB a a b e a :::: ■■■■■■■: : ■: '■ :bpbb ■ ♦■ bpbppp: eiiii a a a Bill )rCi-i*^4.;i- Fig. 37. represents a double-pick weave, both face and back. Fig. 38, represents a six-harness basket weave, both face and back. Fig. 39, represents an eight-harness basket weave, both face and back. Fig. 37. ppppbpbp ■PBPBBBB DPnpB^BP ■PBPBBBB ■ BPP! " ■■■■■ a . ■♦■PPQUP IBP Fig. 38. ppppppbpbpb' ' a a a Banana PPPPPPBPBPBP a a ■■■■■■■ a a a B I Ifll '.BflflflBfl b"bpb»pppppc ■■■■■■■~ib ■ : ■pbpbp^ppppp i a a ■♦BPBPPPP ipb a ' Fig. 39. PPPPPPPPBPBPB - B I BPBPBPBPflflflflBBBB □□pprnppBPBPB*B' ■ a a a a bni h a a a a a a a bbbbhbbb PPPPP*^rPB»B rl BPBP a a a a ■■■■■■■■ a a b a BBBBBBBBB B B B a ;b: :b»b~p BBflflflflflBflPBPBPBP BDBPBaBI : BBBBBBBBB B B B B»B B B ■ 9BBBBBBB 1BOB! B 1 If it should be desired to give these weaves a closer ty- ing, insert a stitch between the present ones in rotation. TEXTILE DESIGNING. Figs. 40, 41 and 42, represents respectively the same as the three preceding figures, but combined from a defferent standpoint, as described under Figs. 28, 29 and 30. Note the difference in tying. Fig. 40. Fig. 41. Fig. 42. ppppm#bp ppDPPEflrfl>flP ppppppptbpb ♦ ■■□■□ isiia q ■ flflflflflfl H IB . ■■■■■■■■■:.:■ b .an pppphpbp ppppppbpbpb! i ppppp: u n ■n*n*n*i i IIHII 1 BQBB9BB IB BBBBBBBBB B BPHP ■ ♦■□. ipnn ppppppbpmpbp nnnnnn:_:>BUB! .*p*p ■ B IB9B BIBBBBB :■! 1 BBBBBBBBB BB B ! ■pbpppp'- ■□■♦■: r:n: nn : : ppppppppbcbpbpbp ■ □ ■ BBDB ■ : ■ B. .BBBKBB BBBBBBBBB B [■□■□ ■nBtEBCDcnjnna ■nB'*Bi 'Ban! fappppp 1 I fl B B H B B HBBBSBBB ■pbpbppppppp ■dbdb: ■ o .--ppppp B Bi B EflflBBH fl B fl B EBBBBBBB h- to w a* cji as -"i oo cc o i- 1 to ■ PBriBPflpp- □! :pi r. !■♦' a :■: e b bbbbbbbb ini : b: :b :p: :ij; : :ppp ■uflr:fl:-:flr:flflflflflflflfl Fig. 43, represents the regular, six-harness twill face with the three-harness (two up and one down), twill back. Fig. 44, represents the regular, six-harness twill face with the three-harness (two down and one up), twill back. Fig. 45, represents the regular, six-harness basket face with the three-harness (two up and one down), twill back. Fig. 4(3, represents the regular, six-harness basket face with the three-harness (two down and one up), twill back.. Fig. 43. Fig. 44. Fig. 45. Fig. 46. p ■ppppppp HGBflflflflP PPPPPPBPB*BP BBQBB BBBBfl PPPBPBPBPPP BBB BBBBB BB PPHPB-»BPPPlP ■Pflflflflfl ■■■■ BPBPBPPPPnpp BBBBB BBEBI ■ ♦■PGU: iPI !PBP flflfl BBBBflflfl Htiwi.Oio:MQotDOMW ■PPPPPPPMPBP mum bbb :bpbb pppppi ■■;:■■♦ bip B BBB B :BflBP ppppbpb: !»ppp bbb. b bbb: MP u. b; b*b i b b;.:bbbl_;bubb b b 'bppppppp bpbbbpbpbbbp ■♦■pppppppbp bbbpbpbbbpbp PPPPPPBPBPBtP b bbbbb: bbbb prippP'f.BIPBI>BIP HB3BB 'BBBBB' i ppnpp; ;■; :bpbp bbb bbbbb bb *pbp*#ppcppp B BBBBB BBBB ininn ipppppp BBBBB BBBBB : B#BPB] '*.: .PPPPP BBB BBBBB BB PPPPPPHPBPBP B B BBB fl BB pppr.ppBiPfltBip B BBB fl BIB ' PPPPPPK'BPBin BBB B BBB fl ■P*Pfl>PPPPPP ■:;■:■■■:'■.&■ BOTCH "PPPPPP b: Bflfl' :■: '.flflfl'.j ■♦■pbppppppp flflfl ■ BflB_'Bfl Only one method of tying has been illustrated in these last four figures, which we consider is sufficient owing to the close texture of the back weave; but should more tying be desired in some cases, increase the number of stitches as previously illustrated in the twill weaves. If it should be required to reverse the position of any one of these double weaves, Figs. 31, 32, 33, 34, 35, 36, 43, 44, 45 and 46, that is, to throw the face weave to the back, and the back weave to the face, turn such figure one-fourth way round, either to the right or left, and build the loom 12 90 THE SELF-INSTRUCTOR, chain with the figure remaining in that position. This will turn the position of the weave so that the working of the tilling threads as now, will then represent the working of the warp threads; and the working of the warp threads as now, will then represent the working of the filling threads. We will now close this chapter, after illustrating the following: Figs. 47, 48, 49 and 50, represents four different movements for weaving two pieces of plain flannel, at the Fig. 47. Fig. 48. Fig. 49. Fig. 50. ■□□□ ■nnn umnn c«aa BHI □■□n ■nan BB B ULIBn ■■■a ■■ :■ ■ana ■ aa ■■. :■ ■■■□ Baa same time, one above the other. Hence, each one of those weaves will produce the same result. It is on this principle that double-width flannels are woven in single-width looms. CHAPTER XV. THE CONSTRUCTION OF TRIPPLE OR THREE-PLY WEAVES. This is a class of weaves which are very little used in comparison with those of the single and double classes. Perhaps, if better understood by designers of fabrics for wearing apparel, this class of weaves would be brought in- to a more general use in the manufacture of certain heavy fabrics. Tripple or 3-ply weaves, are those having three weaves united into one in such a manner that but one fabric is produced, as it were, in the operation of weaving. Yet, in reality, this one fabric is composed of three fabrics tied or stitched together in such a manner, during the process of weaving, that they really represent but one fabric. The term "stuffed" is quite often used in preference to TEXTILE DESIGNING. 91 "tripple" or "3-ply," and quite appropriately too, as the prin- cipal object in using this class of weaves, is for adding weight or cheapness to the fabric by stuffing into its centre a cheaper grade, or another class of stock; the face and back fabrics completely covering from view the middle fab- ric. On this principle of weaving, a cotton fabric can be in- serted between two all-wool fabrics — the three being stitch- ed together as one, — so that no one could detect it without unravelling the same. This method of weaving is, there- fore, adapted to the manufacture of chinchillas, worsted cloakings, overcoatings, etc. In order to demonstrate this subject in a comprehensive manner, in the construction of the different illustrations or figures, it will be necessary for us to use the terms "face," "middle" and "back," a great many times in connection therewith; hence, we desire the reader to keep in mind, the following explanations: That these terms apply to the face weave, the middle weave and the back weave, and will be represented at the top, and at the side of these illustrations, by the figures 1, 2 and 3, respectively. That is to say, the figure 1, will represent the "face;" the figure 2, will repre- sent the "middle;" and the figure 3, will represent the "back." We will now illustrate the manner of laying out and constructing a tripple weave, to consist of the four-harness cassimere twill on both the face and back, and the two-har- ness cotton or plain weave in the middle. This manner of procedure, when once thoroughly understood, will enable the beginner to construct a tripple weave with any three (1) 12 3 12 3 12 3 12 3 ■□□■ i nnnnnnnnnnnn ■■no 2 nnnnnnntnnnnn □■■□ , . 3 nnnnnnnnnnnn. nu.mn C 2 ) i nnnnnnnnnnnn ■□■□ 2 nnnnnnnnnnnn uuum 3 nnnnnnnnnnnn ■nan ,„>> i nnnnnnnnnnnn □■□■ (o; 2 □□□□□nnnnnnn ■nn* 3 nnnnnnnnnnnn g«nn i nnnnnnnnnnnn 2 nnnnnnnnnnnr~ □□■■ 3 nnnnnnnnnnnn single weaves he may choose to use. As will be seen, we have marked the weaves named above, (1, 2, 3,) and placed 92 THE SELF-INSTRUCTOR, them in the position that they are to occupy in the tripple weave. At the right of these weaves, we have illustrated what is to represent a piece of design paper, marked at the top and one side, 1, 2, 3, in succession. On this design paper, we will proceed to lay out and construct the tripple weave. In doing this work, it should be borne in mind that each single weave is to occupy the positions on the design paper in line of the figure which corresponds with that of the weave being laid out, and no other, both ways of the paper. Fig. 1. Fig. 2, 123123123123 i ■□□□□□□□□■en 2 pppppppppppp s ppppuppppppp i ■□cmcd: n 2 pppppppppppp 3 □□□□□□□□ :: O : i pppmppbppppp 2 pppppppppppp 3 pppppppppppp i ppppp-bppbpp 2 pppppppppppp 3 pppppppppppp 12 3 123123123 i pppppppppppp 2 phppcppbpppp 3 pppppppppppp i pppppppppppp 2 pi ppbpppppbp 3 pppppppppppp i p 2 pbppc :. ■ : 3 pppppppppppp i pppppppppppp 2 pi h ■ : unmn 3 pppppppppppp Fig. 3. 12 3 12 3 12 3 12 3 1 PPPPPPPPPPPP 2 PPPPPPPPPPPP 3 PPBPPPPPPPPB 1 PPPPPPPPPPPP 2 PPPPPPPPPPPP 3 ppBPPBPPnppr 1 pppppppppppp 2 PPPPPPPPPPPP 3 PPPPPMPPBPPP i ppppppppuppp 2 pppnpcpppppp 3 PPPPPPPPMPPB Fig. 4. Fig. 5. 12 3 12 3 12 3 12 3 1 MPPPPPPPPBPP 2 PMPPPPnMCPPP 3 pppppppnpnpp i ■. . ■::.::; 2 PPPPMPPPPPBP 3 PPPPPPPPPPPP 1 PPPMPPHPPC 2 : :■ : upbpppp 3PPPPPPPPPPCP 1 PPPPPPMPPMX 2 ppppmppc ;;:■ : 3 pppppppppppp 12 312 3123123 1 bppppppppbpp 2 pbpppppbpj: 3 PuMPPPPPPPPB i MPP*nppppppp :; ■ ■; ;; :■ 3 ppbppmpppl 1 ppcbppmppppp 2 pbppppphpi: 3 pi pppbpphppp i Pi :■:::■:: 2 PPPPMPPPPnBP 3 PPPPPPPPMPPB Fig. 1, illustrates the face weave laid out in its respec- tive order. Fig. 2, illustrates the middle weave laid out in its res- pective order. Fig. 3, illustrates the back weave laid out in its respec- tive order. Fig. 4, illustrates the face and middle weaves combined in their respective order. Fig. 5, illustrates the face, middle and back weaves combined in their respective order. This figure, as it now stands, would weave a single fabric of a filling face, diago- nal appearance. Hence, another movement must be made that will separate these textures, and allow each one to TEXTILE DESIGNING. 03 work independent of the two others. In other words, when a filling- thread is woven into either the face, middle, or back fabric, the harnesses which weave that fabric must work independent of the others. This will be seen by ex- amining Figs. 6 and 7, particularly the latter one. Fig. 6. Fig. 7. Fig. 8. 12312 3123123 123123 12 3123 123123123 123 i bppppppppbpp i «ppppcppnBPP i ■♦pppppppbpp 2 bbpbppbbpbpp 2 bbpbppbbpbpp 2 bmdbo ■■□■an 3 ppbppppppppb 3 bbbbbpbbpbbb 3 bbbbbpbbpppp 1 bppbpppppppp 1 bppbpppppppp 1 bppbpppppc 2 bppbb^bppbbp 2 bppbbpbppbbp 2 bppbbpbppbbp 3 ppbppbpppppp 3 ■■■■■■■■□■■n 3 bbbbbbbbpbbp 1 pppbppbppppp 1 pppbppbppppp 1 pppbppbppppp 2 bbpb: pbb: :bpp 2 ■■□■pi bbpbpp 2 bbpbppbbpbpp 3 ppup: b i: bppp 3 ■■ iiickbib 3 bipibbiiih ; 1 PPPPPPBPPBPP 1 PPPPPPB: 'PBPP 1 PPPPPPBPPBPP 2 BPPBBPBPPBBP 2 BPPBBPBPPBBP 2 ■PPWPiElDWWt' 3 PPPPPPPPBPPB 3 II II EBEIII 3 linilCHIUI Fig. 6, illustrates the movements of the face and middle textures completed and separated the filling way only. Fig. 7, illustrates the movements of all three textures completed and separated, both filling and warp ways. If a harness chain were built from this figure, and attached to a loom operating twelve harnesses with a warp drawn in straight across, it would produce three separate fabrics con- sisting of a cassimere twill on the top and bottom with a plain flannel in between them — the three pieces being united by the selvage only. Now let us look closer into the con- struction of this Fig. 7. Looking at it the filling way, we find that the face picks or bars 1, 1, 1, 1, remain the same as in the former figures, passing over all but two of the warp threads. The bars 2, 2, 2, 2, show an increase of four risers, all of which are marked over the face weave; thus forcing the filling to pass under all of the face warp threads and over all of the back warp threads, completely enclosing this filling between the face and back fabrics; or, in other words, allowing it to form a middle fabric independent of the two others. The bars 3, 3, 3, 3, show an increase of eight risers, all of which are marked over both the face and middle weaves; thus forcing the filling to pass under all but two of the warp threads, and they assist in weaving the back fabric. Looking at it the warp way, we find that the face warp works over all but two of the filling threads; the 94 THE SELF-INSTRUCTOR, middle warp works the same both ways ; and the back warp works under all but two of the filling threads. Next in order, is the uniting or tying of these fabrics together in such a manner that, when put into operation, they will produce one combined fabric; in other words, the three single fabrics will be united, and appear as one. Fig. 8, illustrates the completed tripple weave, with the tying as just described. On examining into this principle of tying we find that, the first tie is made by raising a mid- dle warp thread so that a face filling thread passes under it ; the second tie, by raising a back warp thread so that a mid- dle filling thread passes under it; the third and fourth ties are made in the same manner respectively. The first and third ties, unites or binds the face to the middle weave, and the second and fourth ties, binds the back weave to the mid- dle; hence, it will be seen that, the middle weave is the basis of tying for both the face and back. — See Sample Xo. 6, made from this weave. We do not wish the reader to understand that it were necessary to go through with all of the above different forms of construction, in order to lay out and construct this tripple weave, as such incomplete figures are only intended to illustrate our meaning in a better manner than could be otherwise done. Fig. 8, contains all of the former figures consolidated, and is in itself, the only one necessary to have made were the principles previously understood. Hence, we will not enter so fully into the details with the comming figures as done with that of the present one. Fig. 9. (1) 12 3 12 3 123123 ■■nn i ■♦nMnnnnnnnn ■■nn 2 ■■ :■' .-■■. ;mn ■)■ ftl s ■■'■ ■■■■■: ■■ ■■■ ■□*□ 2 *□□■■#■□! :■*□ a a 3 ■■■■■■■■ ii : ■□■□ , Q \ m :: :■♦: ■ n □■□■ (•>; 2 eb ■ bb::bzd Mnn* 3 B i iiibiidi M«nn 1 nan t :nBnn«nn □■■□ 2 ■□□■■□■□n*** ■ ■ 3 II II IIIIBI — ti IC *. iT T. -J Oc \D O — t Fig. 9 is composed of the three weaves represented, con- sisting of a double-pick face, plain middle, cassimere back. TEXTILE DESIGNING. 95 Fig. 10 is composed of the three weaves represented, consisting of the four-harness, broken twill face (one down and three up), plain middle, and cassimere twill back. Fig. 11 is composed of the three weaves represented, consisting of the four-harness, twill face (one down and three up), cassimere twill middle, and the back the same as the face weave reversed. Fig. 10. Fig. 11. (1) 12312312312 3 (1) 123123123123 bbi ipppmppb>p«pp pbbb 1 pppbppbppbpp ■ hi 2 ■■dm ;:■■:;■::: ■ on ■>■»■■ oh ■ ma , r . 3 iiiaa ■■ bba ab ■ , r , 3 bbbii ■■ ■■ ■■■□ (^) i bppbpppppbp. : ■■■p ( 2 ) i ■pppppbppb*p mnmn 2 ■□□■■♦■dub. in ■□□■ 2 ■■: ;i«n«nninn ■ ■ DBB1BBBB BB ■■ Bfl BIBBB El ■□■□ ,os 1 ■ ♦pppi.a: vzann pmp , Q \ 1 ■ppbpppppbpp pbljb (a) 2 ■■ ■:.-;: ;n*r.M : 1 ppbb W 2 ■ppmpbb>bpp b ' :b 3 is ib b ■□□□ 3 iiGiinimin ■■dp 1 in:.in^iuc- zmr.u 1 ■_:n«t-n«nnnnn pmp 2BnnMBDB [□■■# : :pb : 2 b :pbppmpabp Bfl 3 BB BH B3BBBB ' : B 3 HB Bfl BB BOB H-b3C0.^CnCSiO hWW^OiOSSOOiTOhW Fig. 12 is composed of the three weaves represented, consisting of a cassimere, broken twill face, the four-har- ness, broken twill middle (one up and three down), and the cassimere twill back. Fig. 13 is composed of the three weaves represented, cansisting of a plain face, cassimere broken twill middle, and a cassimere twill back. Fig. 12. Fig. 13. (1) 123 123 123 123 (1) 123 123123123 ■nun i ■pppppbppppp ■pap i bppppphppppp ■■□n 2 *m#hppbppbpp □■rM 2 m^mppmpmpp □■□■ ,„>. 3 bbbbb: bb Bflfl ■pmp , 9 >. 3 bbbbq :bb abb ppm C^) 1 iaai»aannn;:3 pmp* ( 2 ) 1 pppm*ppppb:jp ■ana 2 mp:;b ..paazapp ncmn 2 ■■pmpbppmpp PPBP 3 fllflflfliaa BB I ■■HP 3 ABBflflBflfl Bfl PAPP ,,> 1 □□□■ i;r;;-'iun PAPA ,qs 1 PMP! jPPMPPPPP PPPA («■>) 2 MPPMMPM >flDP PPMM W 2 MPnMMPMP#MMP ■ ." :■ 3 aa BBBiBBaa ■ a 3 bb cbqebbbb ■ ■PP 1 PPPPPPAPPA>P MMDP 1 PPPMPPnnPA»P piibp 2 BzaflnnBri^flfln paap 2 ma: mppmapmmp .::.■■ 3 fla El BflHflbfl bb 3 ■■ SB (--■ 1 ;r. -i oo «chw From the preceding illustrations, the reader will, no doubt, obtain a pretty g;*ood idea of the construction of trip- pie weaves, particularly those of the smaller class. We will now illustrate some of the larger classes (within the limit of twenty-four harnesses) without showing the weaves from which they were composed, but will name such weaves as well as the positions which they occupy. We shall, how- ever, confine ourself to weaves of the common class. 06 THE SELF-INSTRUCTOR, Fig. 14, represents the common six-harness twill for the face, the three-harness twill (one up and two down) for the middle, and the six-harness basket for the back. Fig. 15, represents the three-harness twill (two up and one down) for the face, the six-harness basket for the mid- dle, and the common six-harness twill for the back. Fig. 15. Fig. 14. ■♦ppppppppppflppflpp BB fl I II B a BflBBBflBBflBB II II ! b. k ,ar; .: r ;; ::::.:::: •;.:: :mr:i b : io«i : a : :■■ a ■IIIBIBIIBI II 111 ■ ■ :■♦ ;::; b HPflPPflM a ■ ■■ igaiiiiiiM ii :■■□ i; :b ::;■ ipm ippppppp ai a : a :: .'■■♦■"■:i II Q9 13 913 U ■;.;:.;■; :;ji»..nna nniri':.:a ■maempp flfl a j ii b an ■ ■ a ■ " :■ aa a a :bb» ■ iib aa: laaiimi ■^PBPPPPPBPPflPPPPP ■■PflflPflflnflPPflPPflPP nr: ;b' b ii ai' ■■♦aa ■nnnnna*[ BB BB' II n.ni': a b :b: idi :n: ■□□■ li bi:p IB! □ MPP impp B 1PM! II ' II ■ ii :■ '.' :■' ii fl II Ifl! II ■ ■♦aa : :: :: ; ■a: ; .aa ; ■PPflPPI ; a* a a ii :■: ii '■■ hb :■■ BB BBBBIHIIII I ■■nflfl: as as m ■■♦ BBBBBflaflfl Fig. 16, represents the six-harness basket for the face, the common six-harness twill for the middle, and the three- harness twill (two up and one down) for the back. Fig. 17, represents the common six-harness twill for the face, middle and back; each twill commencing on the same point, so that the face and middle twills lay directly under the face twill. Fig. 16. Fig. 17. ■nPBPPBPPPPPPPPPPP ■ ■♦■■ 'BflZflnnflnnflnr; ■ :: a ■ ■: ' ■ nsKH i3 n ■■■■■ ■■■■■■■■■■■ r : '■♦::■ ~« n B' ::'■': a •; ;bb' ■■ hi ■BBflflflfla; BflBflBflflfln ■ ■ .:;■"■:: ■■::;■ [i :■ ii ■ ■■♦■■'! flfl':flflflflflflflfl:.:flflflflBB ■■ ;: :■ ■ '■ ".'■♦p ■anflflPfli ipbpi '■' : map ■■■■■n.flflflflflflflfl' ■■■ ipppppppppppflppi ifl*>flPPflPPflipPflflPi fl' ' ■*p apppt :: ;■" IP ■fl '■■: :■' ' ■::: B BB ■PPMPPfl T IPPPPP ■fl' :■■' ■■♦■ ii B B ;■: 1PMPPB#! ■ BB flfl BB ■PUfll P ■■' :■■■■■■■■■■■ i 1 ■ I! OPflPi :an :ahpppp ■PI fl' II Bl BB '■■♦■' ' in: :nnnnfl' :: "*i"r«»n fl' MPPflPPflflt "Hfl~flflP Fig. 18, represents the common four-harness twill for the face, the regular double pick (two and two) for the mid- dle, and the common eight-harness twill for the back. This tripple weave can be reduced and woven on eighteen har- nesses, if desired. TEXTILE DESIGNING. 97 Fig. 19, represents the common eight-harness twill for both the face and back, and the common eight-harness bas- ket for the middle. Fig. 18. Fig. 19. ■nnnnppppapnannnnnnppflpp innfl*annnnnnflnnfln: ;:;. IflPflflPBPPflP' MBPflflPfll inn Bnn*nnnnnnnnannnnDBnnH ♦ □ ■■□■■□■□□■□□■□l:b:::: H:iin anaaiiBi bi ii hisiiibi BnnBn.nflnnnnnnnnnnn: :nnflnn ■■♦■■ninr:!' inr" ppphphbh. :n lannn BDUBnaBB^BBZiB T I ;n:;n D in ■.::□■♦□■:;::■: □ ■ BB IB B nnnnnnfln _!■>; tmnnnnnannflnn B^nBaaBBnBBnBnuBGDBBCBBn BB' ■■laaiBBBBaflflfl bb bb : Mnppnp'nnnflnnflpnnnnnnnflpp bb. bb iidi b [i :Bfl»Ba:iBnnBLin ■■ niauiiMHiniiii bb: : annannnnnnnnflnna^nnnnnnn ■ a bb a: ; it :; :hb :bb h a p pppappapnannannnnnnnnnnn ■■naapan^a" EannannaanaBn BB BBBBBBBBBBflBBfl BB ■■ I □aan qnp aaw ♦ n«r :v.m: te onnnnu ■nnin: :BHr;BB" '■■: iaanannann ii i i: i pnnannannnn: :nn p :an: ■□: .□ :□ BnL'iBanflBrjBHUB '.nBrMBB^BflP ■ B :■■ ■■ HB IBBBBflflBBBBflfl nn innnanna :: :nn:.i inna.n. .■♦■:: ■riLianuBH aa h :b-; bb :aa: i i; :bb: :aa' ma BBaaaaaaa pppmnnnnnan: :bp: .■: mm: m :_;b::~ bb: hb ■■•■■ b. pnnnnn: :: aana -;nMi aa bb bb: in :::nn in ■ aa 'Man ■ :i i :nnnnnnn. □■□i .aani inP inn Fig. 20, represents the common eight-harness basket for both the face and back, and the common eight-harness twill for the middle. Fig. 21, represents the common double pick for the face, the common eight-harness twill for the middle, and the common cassimere twill for the back. Fig. 20. Mnnflnnflnnannppppppnnpppp ■:■■♦■■■□■■• "■■iJBPPB: PBPPB IP BBBBBBBBBflflflflB. .BB BB BB I ■□□■:#BBnBn:-.:Bnna::nBnnaanBB' . BBBBBflBB: BB DSBBBBBB CB ' MPDM#nnnni :nnan:.:a: tnnnnnnp Banaanaananna' inannanrwan BB. BBBBBBBB BB BBBBBBBB I r innt mnannannn^nnn: .annanp ■EiiDiitH' "■ppann«ppBPP : :n~'t :nna:T ■ ♦: :: : :an ann annBBnaB:::BB .hb: :an:.;anna:: r aflaaa: :bb: bqbbbbhb: bb bbb Bkinannnnnnnnannannnnnnnn Briua bb bb bh»bb: a;: am EBBQHBBB Bfl BBBHBBBB BB B .:;■ : ::::\m a* ■ : ■: jiifln: :■■: :■■: ah: bb ■ BB BBBBBBBB BB BBBBBBBB jnnnnna. .: ann nn; n :: annann ■nnnnnflnrifln: aa: bb: bb»bb i nnnnnna: :na:\: t n r m nnt bb' annan:::annannflfl: ■ BflflB CB BBBBHBBB ,b: :: :b ♦P BP If required to reverse the position of any one of the above figures, so that the face will represent the back, and the back to represent the face, proceed in the same manner as described in the preceding chapter. 13 98 THE SELF-INSTRUCTOR, Fig\ 22, represents three two-harness plain weaves com- bined, but not stitched together; hence, they will produce three separate pieces of flannel, but bound together by the selvage only. In this method of weaving, each fabric re- ceives one pick in succession; hence if the warp is dressed one thread of each of three different colors in succession and filled in a like manner, the result would be three fabrics of the different colors respectively. Fig. 22. Fig. 23. Fig. 24. Mnonna □Manna ■■□■□□ ■ M«"Mnn i MMMnna MncMMn ■■■■ "■ ■■;:■■■ IB1UI ' nMnnnnnn ■ . innan MMuMCiDDri IBB MMMMHM' :n MHMMH^Cn ■aiiDD i Fig. 23 represents and will produce the same as Fig. 22, but in this method of weaving, each fabric receives two picks in succession, — which completes the weave and pat- tern — while in the other method, each fabric receives but one pick in succession. To weave, with this figure, three fabrics each of a different color, the warp would have to be dressed two of each color in succession and filled in a like manner. Fig. 2i, represents four two-harness plain weaves com- bined, and will produce four separate pieces of flannel. On this principle, a weave can be carried out to any required size, each two harnesses producing a separate piece of flan- nel. By stitching such flannels together in the process of weaving, any required thickness of cloth may be made for feltings, or other similar purposes. Goods woven on this principle are called 2, 3 or 4-ply cloth, according to the num- ber of different sets of harnesses employed; each single weave representing a set. In dressing warps for 3-ply cloths, three times the num- ber of ends should be used, if possible, in place of what would be required for the face weave if used singly. TEXTILE DESIGNING. 99 CHAPTER XVI. RELATIVE LENGTHS PER POUND OF WOOLEN, WORSTED, COTTON, AND SILK YARNS. To give in detail the various systems of figuring yarns in Foreign countries, would be of little or no use here to the beginner; therefore, we shall confine this chapter to the systems generally adopted in this country, which are as follows: 1600 yards of single woolen yarn = 1 run. 240 yards " " " = 1 cut. 560 yards of single worsted yarn = 1 number. 840 yards " cotton " =1 number. 840 yards " spun silk " =1 number. Note. — In our four-dollar work — "A Treatise on Designiug and Weaving Plain and Fancy Woolen Cloths" published in 1878 — we. gave 300 yards as a cut ; since then we find there is a great diversity of opin- ions as to which is correct, 300 yards, or 240 yards. After a careful research we find that the former system is more generally calculated for linen yarns, and the latter system for woolen yarns. EXPLANATION: A woolen thread spun to that size which requires just 1600 yards to weigh one pound, is called 1 "run." A woolen thread spun to that size which requires just 240 yards to weigh one pound, is called 1 "cut." A worsted thread drawn to that size which requires just 560 yards to weigh one pound, is called 1 "number." — Written, No. l's. 100 THE SELF-INSTRUCTOR, A cotton thread spun to that size which requires just 840 yards to weigh one pound, is called 1 "number." — Written, No. l's. A spun-silk thread that requires just 840 yards to weigh one pound, is called 1 "number." — Written, No. l's. There is an important difference between silk and wors- ted, or cotton yarns, which requires to be borne in mind when making a calculation in these yarns. This difference refers to 2-ply yarns. In writing 2-ply 40's in worsted, or cotton, it is usually written 2-40's; thus indicating clearly that the actual counts of the yarn is only one-half of what it is termed; or, in other words, the actual counts of the yarn is 20's, simply because it is two threads of 40's put to- gether, making one thread of double the weight. In writ- ing 2-ply 40's in silk, it is usually written 40-2; thus indi- cating clearly that the yarn is still 40's though a 2-ply yarn ; hence the single threads must each have been 80's. COMPARISON. 5i runs (woolen system) = 8400 yards to 1 pound. 35 cuts (woolen system) = 8400 yards to 1 pound. No. 15's (worsted system) = 8400 yards to 1 pound. No. 10's (cotton system) = 8400 yards to 1 pound. No. 10's (spun-silk system) = 8400 yards to 1 pound. AGAIN: 6f cuts (woolen system) = 1 run in length and weight. No. 2-f' s (worsted system) = 1 run in length and weight. No. 1-H's (cotton system) = 1 run in length and weight. No. liU's (spun-silk system) = 1 run in length and weight. Therefore it will be seen that, to convert runs into cuts, multiply the number of runs by 1600, and divide the pro- duct by 240; the quotient will be the number of cuts. To convert runs into worsted numbers, multiply the number of runs by 1600, and divide the product by 560; the quotient will be the number of worsted. To convert runs into cotton numbers, multiply the num- ber of runs by 1600, and divide the product by 840; the quo- TEXTILE DESIGNING. 101 tient will be the number of cotton. Proceed in the same manner to convert runs into spun-silk numbers. On the other hand, to convert cut numbers into runs, multiply the number of cuts by 240, and divide the product by 1600; the quotient will be the number of runs. To convert worsted numbers into runs, multiply the number of worsted by 560, and divide the product by 1600; the quotient will be the number of runs. To convert cotton, or spun-silk numbers into runs, mul- tiply the number of cotton, or spun silk by 840, and divide the product by 1600; the quotient will be the number of runs. EXEMPLIFICATION. 5i runs, woolen thread, is equal to what size of cotton thread? Also what size of worsted thread? 5i X 1600 = 8400 -^ 840 = 10's, the number of cotton. 5i X 1600 = 8400 -^ 560 = 15's, the number of worsted. No. 20's, cotton thread, is equal to what size of woolen thread — both systems? Also what size of worsted thread? 20 X 840 = 16800 -^ 1600 = 10£, the number of runs; or, 20 X 840 = 16800 -^- 240 = 70, the number of cuts. 20 X 840 = 16800 -^ 560 = 30's, the number of worsted. No. 40's, worsted thread, is equal to what size of cotton thread? Also what size of woolen thread — both systems? 40 X 560 = 22400 H- 840 = 26^'s, the number of cotton. 40 X 560 = 22400 -i-1600 = 14, the number of runs; or, 40 X 560 = 22400 -^ 240 = 93i, the number of cuts. The beginner will find it for his interest to thoroughly familiarize himself with the above systems of yarn calcu- lations; therefore, if the same were committed to memory, it would be time well spent. 102 THE SELF-INSTRUCTOR, CHAPTER XVII. SAMPLES OF FABRICS WITH GENERAL INSTRUCTIONS FOR MAKING THEM. This chapter will be to a certain extent a recapitulation of former ones, this we deem advisable in order to have all of the samples with the weaves and general information concerning them to appear under the same heading. Sample No. 1 — Weave No. 1. This represents a combi- nation stripe composed of a six-harness diagonal, but wove ends. on twelve harnesses with a cross draw. Warp 1800 ei dressed as follows: 21 white. 6 olive. 5 black. 6 white. 22 white. 6 olive. 1 red and blue D. &T. 6 white. 5 olive. 5 olive. 6 white. 1 red and green D. & 90 threads in the pattern. No. 12^ reed, 4 threads in a dent: 36 inches inside of selvage. Filling, pick and pick of black and drab: 60 picks per inch in the loom. Weight from loom 11 oz. Finished weight 9 T 4 ¥ oz. For further information, see chapters seven and eight. Sample No. 2 — Weave No. 2. This represents a cassi- mere twill wove on eight harnesses, and backed 1 and 1 the filling way. Warp 1440 ends of black, 3f runs. TEXTILE DESIGNING. 103 No. 10 reed, 4 threads in a dent: 36 inches inside of selvage. Filling, pick and pick, 1 pick of white for the face, and 1 pick of black for the back; both fillings spun 3f runs: 84 picks per inch in the loom. Weight from loom 13^ oz. Finished weight 11 oz. Sample No. 3 — Weave No. 3. This represents a cassi- mere twill wove on sixteen harnesses, and backed 1 and 1 the warp way. Warp 2400 ends of 3f runs, dressed 1 thread of black for the face, and 1 thread of brown for the back. No. 11 reed, 6 threads in a dent: 36 inches and 4 dents inside of selvage. Filling, brown of 3f runs: 46 picks per inch in the loom. Weight from loom 12 oz. Finished weight 10 T 3 o oz. Sample No. 4 — Weave No. 4. This represents a cassi- mere twill wove on twelve harnesses, and backed 2 and 1 both warp and filling ways. Warp 2160 ends, dressed 2 threads of dark brown 3f runs for the face, and 1 thread of black 3 runs for the back. No. 10 reed, 6 threads in a dent: 36 inches inside of selvage. Filling, 2 picks of white 3| runs for the face, and 1 pick of black 2 runs for the back: 60 picks per inch in the loom. Weight from loom 14^ oz. Finished weight 11 T V oz. Sample No. 5— Weave No. 5. This represents a double fabric wove on sixteen harnesses, and consists of an eight- harness basket for the face, and the regular eight-harness twill for the back. Warp 3200 ends of 3| runs, dressed 1 thread of brown for the face, and 1 thread of black for the back. No. 11 reed, 8 threads in a dent: 36 inches and 4 dents inside of selvage. Filling, pick and pick, 1 pick of black for the face, and 1 pick of brown for the back; both fillings spun 3f runs: 96 picks per inch in the loom. Weight from loom 18yV oz. Finished weight 15^ oz. Sample No. 6 — Weave No. 6. This represents a triple 104 THE SELF-INSTRUCTOR, or three-ply fabric, wove on twelve harnesses, and consists of a cassimere twill for both the face and back fabrics, and a plain two-harness flannel in between them ; or, in other words, in the middle. Warp 3360 ends of 3f runs, dressed 1 thread of brown for the face, 1 thread of white for the middle, and 1 thread of black for the back. No. 12 reed, 8 threads in a dent: 35 inches inside of selvage. Filling, 1 pick of black for the face, 1 pick of white for the middle, and 1 pick of brown for the back; all three fill- ings spun 3f runs: 90 picks per inch in the loom. Weight from loom 19^ oz. Finished weight 16^ oz. Sample No. 7 — Weave No. 7. This represents an eight- harness diagonal stripe. Warp 1056 ends of 3 runs for both the single and double yarns, and dressed as follows: 1 black and white D. & T. 1 drab. ) „ +• _ 2 white. 1 white. \ 6 times * 1 black and white D. & T. 1 drab. 23 white. 14 white. 44 threads in the pattern. No. 10 reed, 3 threads in a dent: 35 inches and 2 dents inside of selvage. Filling, dark blue of 2| runs: 32 picks per inch in loom. Weight from loom 9^ bz. Finished weight 8^ oz. Sample No. 8 — Weave No. 8. This represents a combi- nation stripe of a combined weave, — fourteen harnesses with a cross draw. Warp 2800 ends of 2-40's worsted, dressed as follows: 20 black. 1 or. s. & blk. wors'd D.& T. 4 light drab. . 4 light drab. 1 or. s. & blk. wors'd D. & T. 20 black. 11 black. 9 black and white D. & T. 70 threads in the pattern. No. 14 reed, 6 threads in a dent: 33 inches and 5 dents inside of selvage. TEXTILE DESIGNING. 105 Filling, black, of shoddy and waste, 2 runs: 40 picks per inch in the loom. Weight from loom 12 oz. Finished weight 10 T V oz. The weight of each fabric, as weighed from the loom, applies to one yard in length, regardless of the width; but the finished weight applies to one yard in length, and 27 to 28 inches in width inside of selvage, in each instance. In the first six samples the yarns in several instances, both in the size and colors, were not just what they should have been, neither were they what we desired them to be; but the reader will please bear in mind that, to get out sam- ples of only several yards each, with such a variation in the style and construction, would require a larger range of yarns, particularly as to their size, than is usually found in any one well-regulated mill. Therefore, to avoid the addi- tional expense of having the yarns manufactured expressly to our liking, such yarns as were already at hand were used in the construction of those fabrics; hence the reason of so little variation in some instances and none at all in others in regard to the size of the yarns used. The first six sam- ples were accordingly made to our dictation in this State (New York), while the two others, seven and eight, were made in Bradford, England. Sample No. 1 was designed especially as an illustrative piece for the foundation of this work. Samples No. 2, 3 and 4 were designed especially to illus- trate the work and appearance of fabrics when backed in accordance with the three methods demonstrated in chap- ter twelve. Samples No. 5 and 6 were designed especially to illus- trate the work and appearance of two-ply and three-ply, or double and triple, fabrics as demonstrated in chapters four- teen and fifteen respectively. In presenting in this work those latter five samples, we have deemed it advisable to place them in such a manner that the reader would see both the face and back of the fabric at the same instant, thus enabling him a freer scope for an intellectual view; hence the reason of each of those 14 IOC THE SELF-INSTRUCTOR, samples being - inserted in two pieces. The following- weaves are those by which the samples were woven. Weave No. 1. □□■MBOBnnCMM nnniiinnnm niiinainrni [i ■■■□■nnnmi ■■■' in iinnnn □■■■□□■■ nan ■■nn~«nninL mmmaanmmmaa.a ■ ' ; :: :■■: i ■■■□ ■■ iwn '■■■nn :: .: :bbb :: i bob ■nnnimniBiBi_. w fcO CO Jk Cn €0^3 00 CO O *■•* t3 Drawnist-m Draft. iz\::: ;: ;nn i : . Dan innnann nrwnannnnnnn nnmnnunnnn:: nnannnnnnnnn -ainninnnnnn nnnnn*nnnnnn B rin«nnnnannnn nnBnaananann :b ■; ' nmnninnnnnn ■■■■■■nnnnnn bbbbbb nnnnn bbbbbbbbbbbb ■ ■■■in ■ ■■■ iHimuiii Weave No. 2. □□■■::□■■ □■■o nmn ■II III! ■ B I BB I3IOII I ■ ' bb ::■ ■ BBBBBB :■■ ii •BBB BBB ii iJBB : BMBBBBB ■ b : ib ' BBBBB I BBBBB BB Weave No. 7. B BBB numnni ■■■□nnmn ■■nnnmnB ■" □□■□■■ ' B ■■■ ;t i in : ■ bbb : Weave No. 8. ■□■□■MBDMrzEMn ■■■r!i:::iiiirjir.: nun ibb nnn : I BBBBBB m BB bob ■■: ■ :■■■■ ■BOB I 1191 ■ ■ ;■■■■ BBB'JB. '■ ■ I llll I BBB Bfln B BB GBDI I BIDS BBBBB B ! ■ ■■■■' :: : ■ :■ ■■r:ir:iB :nm; -urn BBBBB II : II ■ BB3H :: :: ei bb ■ a Biai ; '■■■ ■ ■■' ■: ■ ii :■■: | ■ ■■■"■': ii iei : ■ iiiiii ii ■■■■■: BBB ■ BBBB B B BB B ■ ' BBHB BBB_ B l> ra w i na- i »" D raf "ft ■■■■■■mnn:;;:jn ■■■■■■b irji ;nn:u.i ■■■■■■■; ii i: •■: ■■■■■■■nnnnnnn ■■■■■■■::'::: ■ibbbbb :nnnnn: i ■■■■■■■' nnnnnn ■■■■■■■nnnnnnn Weave No. 3. nnnnanannnnnMBi \ nnMBnnnnninBnnn ■ ■ : ' ■■■ ' ■ .■■■ ■:: :• nam. : □□mpb; ;n; :nn«»Binnn ■■■nnnnni' :■. i ■nnnnn«BBnnnnni|g — ic ic 4. di as -^oo too H*toc*^ cnos Weave No. 5. : :nnn« "■"■□■n ■■■ :■ ■ ■■■■■■ nnnnni; :inmn ■ ■ ■ ■ ■■■»■■■■ nnnnnnnninmi «□ -; B E IIBIIIIII ' BBB B B : ■■ iiiiiiiii a ; mau\ nam' innnn: ■niMiiiniinn; :m ■nmiiBnnnnnnnnn iiiiiiiii iniain Mninimunnnnnnnn ■■■■■■■nnnininii ■■■nBninnnnnn ■■■■■nmigigiiii — i i cc 4- Cfl C- 'a:-ioc;c3>— it *"'-"-■'■-"' Fig. 1 represents a pretty little weave for light-weight goods of small checks, or in solid colors or mixes. Fig. 2 represents a weave which produces a cord effect, the warp way, and is a good thing for fine stripes. Fig. 3 represents a peculiar weave for stripes, and in reality it is a combination; the last six harnesses work the same as the first six but in a reversed position, and also the working of both the warp and filling threads are reversed. Harnesses 1, 3, 4, 6, 8, and 11, weave a warp back which may be of cotton yarn, while the remaining harnesses 108 THE SELF-INSTRUCTOR, weave the face which should be of woolen yarn, with filling the same; thus producing a fabric of an all-wool face and a cotton back. Fig. 4 represents a good thing for weaving fancy suit- ings, dressed 1 thread each of three colors, or different kind of yarns, and filled in a like manner. Fig. 5. Fig. 6. Fig. 7. Fig. 8. sal ■■■ ■•■ BUI BB BB ■□□■□■* '■ □□■■□□■□ ■ ■■BBS ■□■■□□□■ ■■::: a a : I IBI II •: .■::::: :■ ; ■ ■ Bfl niinci^i ■nnnannn ■□□□■■□n ■■□□□■■□ ■ ".■■:::.■: : ■El III ■■■: :■■■ 1 □■■□□□■■ riniirn □□■□□□■■ ■::■■■□■■ □□□■■._.■■ ■□■□■■□" ■ IIILJII :i :■' \ .: a a: :: bb :■ □■□■□■■□ ■■□□■nnn □■■□■■□□ □□■:.:■. ■■ h- li iC 4- O" S3 -JOC Fig. 5 represents a double plain weave suitable for making light feltings, or heavy meltons. Fig. 6 represents the same as Fig. 5, but instead of be- ing laid out 1 and 1 both warp and filling ways, it is laid 1 and 1 the warp way, and 2 and 2 the filling way. Fig. 7 represents a pretty diagonal effect, and is a com- mon weave for suitings, in either worsted or woolen yarns. Fig. 8 represents a plain diagonal for light weights. Fig. 9. Fig. 10. ■■□!"!□■■■■□ □■□■□■■: '■• ;■.□□□□□ □□□■■□■■■■ □■□■■: M B :□□□□□■ ■in iBB. :□□ □■■□■□■□□□□□□■□■ □■■■■nnnM ■□■□■□□□□□□■□■□■ ■ ■ ': :: :■■■■□ ■□■nnnpni [■□■□■■a □ ■■■■■■ ■□□□□□□■□■□■■□■q mnniinDD b b bb □ b □■■■■□□□■■ nDnBCBl^BlHCB^B'uDg Fig. 9 represents a creased stripe, or, when produced in fine worsted yarns it may be classed as a tricot weave, run- ning lengthwise of the cloth. Fig. 10 represents a double twill. The warp may be made either plain or striped when, if the same be filled with two colors, run in 4 and 4, it will produce a pretty pattern. Fig. 11 represents a good weave for producing a cord stripe in fine worsted yarns of all one color. Fig. 12 represents a peculiar little weave, the fabric when made of fine worsted yarns, resembles a perfect tricot — showing a very small rib the filling way. The filling is entirely covered by the warp on both sides of the fabric. Fig. 11. Fig. 12. ■■■■nnnn ■■□□■□ rJEXIBJClMM □■: :■■□ ■■■■nana ■ ■ ■ ■□□□■■■□ □□■■ m ■■■■nana ■■n;-«n □□□■□■■■ b :■■: ■■■■□nnn B B ■ ■nnn««Bn -i::;-;r--i/ □□■■□■ TEXTILE DESIGNING. 109 Fig. 13 represents a good weave for silk mixes, either in worsted or common woolen yarns for suitings. Fig. 14 represents the weave of an 8-thread rib with a 4-thread crease. If made of fine yarns it will produce a nice pattern for trouserings. By following this principle of weaving, a rib of any required size may be made. Fig. 13. Fig. 14. Fig. 15. Fig. 16. □□■□□■MB □■□■□■□■□■□■ ■□□□■■■□ ■□□□■■■□ nrmnci ■■■■■■■■□□□□ ■■□□■■an □□■□■□■■ ■■ODBOnB ■i ■ ■ ■ ■□■! : ■■■□■□on □ BIJOBBI fl OB' 'OBflfl: : ■■■■■■■■□□□□ ■■■■□□□□ . ■ EEfl OBBBOLJB: ": □■□■ranaoanH □□□: '■■■■ bbb. Br: 1 ■□□■□□■■ ■■■■■■■■□□□□ □□□■□■■■ ■ mm ■ : ■□□■■■□a ■! ■ ■: !■ ■ m : ITOBBnLBB ■■r«CBOE ■■■□□■on *-t5Wa*CnO»~^0C □■■■□□□■ LMBEDOB i os ^1 qo es Q •— to Fig. 15 represents a desirable weave for coarse yarns in two, three or four colors, run in 4 threads of each color both in the warp and filling. Fig. 16 represents a good weave for producing a check effect with a warp of all one color, and filling of another, either in fine or coarse yarns. Fig. 17. Fig. 18. Fig. in. Fig. 20. ■□■□■□■ □■□■□■□■■ BOBnBnBBOBn bbbbbbobobobo ■ ■ ■!> ■ B BE ■ ■□■□■■□■□■□ BBOBCBOBnflBBB ■ ■■ » a me b ■ ■■■■■■ □■□■□■■■■■■□■ ■■□■□in □■■□■"■□■ ■■_■□■□■□■□ . ihbibi ■ ■ ■ e a bb ■oaniOHOB ■ n ■ b ■■ ■■■ b ■ ■ abb □BOBBDB ■□■□■□■■□ □■□■□■OBBDB BCBOBOBBBBBBn □BBOBOB ■□■□■■□■□ □■□■! ■■□■□■ I BBBBBB B ■□ ».t9ce*.3.a-4 ■□■■□■□■□ □■□■■ ■ !■□■ flHflB ■rBHBOBJB !□■□■□■□ rBBOBOBCBQB □■LflrflOflflBBBB ■:■::■::■ bob ■ ieifin d i ■ ' ■ H ■ BB flflflflfl ■□■□■□■ i-lOK^Oia^*3 HKBMS-JMO- ■□■□■□■□! ■□■□■■■■■■□■□ t— t5CC4-CJ»O-JQ0^O — »-wiC Figs. 17, 18, 19, and 20 represent what are known or classed as cork-screw weaves, and are used extensively in weaving worsted, and imitation of worsted suitings. Fig. 21. Fig. 22. Fig. 23. OBOBnBOBnnaB □■□■□■□□■□□■ □■■»«□□□□□■ bbob: '■■::■□□: : ■ ■■ ■ bb bbbb: b:::b' no; : □■□■: IB ■□■□□ □■□■□□■:■□■":■ BBflrBBn^Bn^n ■: b 'b: m !■□■□ ■□bpcbd: ■□■□ BBnBBBnnnBm a bb a a bb BiL'fl : flinin bobbbb"; :; nan bob: ;■< ■: :b: bo ■□□■□! :■: !■□■□ ■■■■■: !■□! ]□□□ □■ □;.■:_:■: :b:;b ;:: bl;:b: ;■::■: :■ □□□□□■:_:bbbbb ■□■□□□■■□■□■ □■□["!bb:.;b bb: □■□□□□■■■■□b □Bnanr: ■; ini BrnBOBOBOBOo xiBnooBBBr bb bob: [fl B ■□■! i □□■□■□■: ■□□■ □□□bi~lbb: bbb □■□■fl-rflnflflnfl □■■□■□■■□□■□ ' ■□■□■■■■ BnanBOBnanBo ■□■□■□■□□■□n ■□□□□□■■BMy Figs. 21, 22, and 23 represent weaves designed more especially for light-weight worsteds which are extensively 110 THE SELF-INSTRUCTOR, used in coatings, although the latter weave is used some- what with common woolen yarns to produce a check effect: — Warp of all one color and filling of another. Fig. 24. □■□■■□□■□■■□ ■■MBnnHHHn ■■□□■□■■pi [■□ ■ :□■■■■□□■■□ ■ a ■■■■■ bhi : B HB | ■ ■■ 11 B 1113 ■ II ■ a m as !□■ : ■□□■■□■□□■■■ Fig. 25. ■□□■■□■□□■■□ ■■□□■□■■::□■■ ■ a lain ■■■ □■□■■ :□■□■■□ ■■■■ :: bb a j BBUBB BBBBB ■□□■■□■□□■■□ ■■□□■■■■□nan Fig. 26. r: BBBBB BBHBB i-»tocotfa.cnss-'joo:oe*-to ■□ ■■■■□□ ■n i a -j oo "^ o i- ts ■□□■□□ nonnnc ■ ■■■■LI ■ BBBB □□□□■□□■□n ■BB BBBBB BB i in; ii n iedwi ilib ■BBBBB BBBB ■□□■1 11 nnLiunu □□□□■□ a :: ■ BB BB ■■■□■■ : :l:l::::: :i;b; ' ■ ■ ■BBsa ■■■■ . i,-i n -i oo co •— ' t Figs. 24 and 25 represent beaver weaves, backed 2 and 1 both ways of the fabric. Sometimes these weaves are used for weaving very heavy meltons. Figs. 20 and 27 represent fur-beaver weaves; they are also used for weaving chinchillas. Fig. 27. Fig. 28. Fig. 29. Fig. 3C □□□□Bona ■i |i ii huh in ■■■□■□□□■□ □□■■■ BBBBBBB nnr:: :■": : □■■■"■□□□■ ■□■■□ :!■□□□: o ■ ' BBS BB ■□■■■□■□□u □■■■□ ■■■■■nil BBB' B fl : □■□■■■□■an □■■□■ : in ii oi ■ ; ;• :b:: □□■'_;■■■□■□ ■■■nr: ■■□■■■■■ □□□□□□■□ :□■: ;fl«BL:B BB ■: : nnnaann:: I BBBB B : fl B ■■■ BB fl ■■■■■■■□ BBBB BB. : ■ : ■. ■■■ ■□■□■ ■□□□□□□: i □■□□□□ ■□■□□□■□■■ ■□□■■ IE11 III □□□■□ ■■□■□□□■□■ B BB □□□□I ;■ . BB: BB 'fl h-» t9 CO -U pi OB -4 00 CC — H-t-SCCfc o\ fl: BBBBBB □□■□□ -t;^^:i 31-^100 ■ ■■■■■LIB .;,:;: ; :■ ■Bfl-flBBB ■— ii io j-. oi Oi *-j oo Fig. 28 represents a weave of the fur-beaver style, or chinchilla pattern. Harnesses 6 and 8 are for weaving a 2- thread stripe on the back — should no stripe be desired, drop out those two harnesses, using but six. The distance be- tween the stripes can be governed by the number of threads drawn on harnesses 1, 2, 3, 4, 5, and 7 — straight draw. Fig. 29 represents a nice diagonal for common woolen yarns. This weave is one that will form a perfect cut-off in either a herring-bone or a diamond pattern. Fig. 30 represents a pretty little diagonal — throwing up a nice, round cord — for fine worsted coatings. This weave is a combination of two five-harness twills — a bar of each alternately. TEXTILE DESIGNING. Ill Fig. 31 represents a weave used in making a class of goods called Moscow-beavers, which are given a soft velvet finish, and sold for cloakings and overcoatings. Fig. 32 represents a weave designed for a cheap grade of '"Moscows" with a cotton-warp backing. Fig. 33 represents a doeskin-beaver weave, designed for fine-face goods of a high finish. Fig. 31. Fig. 32. Fig. 33. bbebeebbebee bbebbeebebbebee ■■□□■ hub i iei ■ eg b bb ■ edihhiih iibi3eiieiei iri ebebb ebeebe pbpmi bpdbbpbbp bdpbbbb ni«a bbebeebb: bbb. be ■ BIIBHB: IE! BBBflflEBflflBBflflBB bd b bbebe: h ebbebb: jeb: bib ■HXmnHDDM BB ebb B fliBi b ECflEB BBBHHB EBB BEBBE n*r bbeebebbe ■■PEW nil .beebbe ■r'BBB nw innai i pbpbb; -b: idbbdbbb BEBBflflflBBBB : BEBBEBBD EBEBBB Mtsos^oia-JODttioPEa IK ■ BB 'BBuLBn BEEBBEBBBi BEBBE HbOUtbCnt^QieOOHtOCiOi^Cn Fig. 34 represents a good diagonal for coatings, in eith- er worsted or common woolen yarns. Figs. 35 and 36 represent good, useful weaves for work- in up various grades of cheap stock; sometimes they are used in weaving a certain class of light-weight beavers. □b BPBPBPMPB PBBBEBBBEBBB EBBBBBBBBBBB B EBB BBB BB BBflflflBBBBEBB PBPBPBPBDBPB BB BBB BBB B BPBPBEBEBl BP BBB BBB BBE3 m w w ^ oi r. *-i cc c o h- t; Fig. 34. Fig. 35. Fig. 36. PPPBBEBEBBB PEBEBBBEBE BBBEBEEEBE ■PMBjBinPJ BB BEBEEEBEBB ;: .BEBBBDBE DEBBDBEBHBE BBBEBEEEBE BEBEEEBEBB EBBBE^EBBEB BEEEBEBBBE BEBBBEBEEP PBBEBEBBBEE B BBBEBEEP BEEEBEBBBE BBBEEEBB 'BE Efl EBI ■■ BBBEBEEEBU BBEBEBBBEEE BEBEEEBEBE eebebbbeb: : BBEEIEBBEBEB BBBEBEEEBE BEBEEEBEBB BPBPBBBPPPB BEE' 'BEBBBE BEBBBEBEEE BEEEBBEBEBB B BBB H BEEEBEBBBE ■ BOB BB Mwcc*.cnc;^ooao ►—iiW*-cioa , *-JOD«e© Fig. 37. Fig . 38. Fig 39. Fig. 40. BBBPPPBP PPBPBPBB PBBBPBBB BEBEBEBE ■PPPBPBM BPBBPPBP 3PBI EEBE BEBBBEBB BPBBBPPP BEBEBBEC B BBB EBEBEBEB P" 1B~BBBP BBLIP BEBE r;"EB EEEB ; BBB. BBB BBBPPPBP deb: : BEBB BBB BBB BEBEBEBE ■PPPBPM BEBB EEBE EBEE EBEE BBB BBB bebbbeep BEBE BB : . BB BBB EBEBEBEB :::pb: :bbbd ■— LS CO .fc* Cn OS -4 CO BBPPBDBE BEEPBEPP — iz ta *- in Oi -4 Gt) h^fcOO0tt»Cn«O--IQO BBEBBBEB >— t-i Co J* Oi OS -J Co Figs. 37 and 38 represent weaves used quite commonly in making hair-lines, and various styles of narrow stripes. Fig. 39 repsesents the common, four-harness tricot weave for fine, piece-dyed, and highly finished tricots. 112 THE SELF-INSTRUCTOR, Fig. 40 represents a weave used in making a fine grade of goods called Granite. They are usually woven white, piece-dyed, and finished the same as fine broadcloths for dress-up suitings. Fig. 41. □■nnnn»n«rM« nj p : ■ ■naaizM ;: :■; :■ hb. a . . ■n« .■■::■: nan uv-mm- maanzua BB _■ ' ,n ■-■ ' ■ :: '■ a :■■ :innn«nBn««nB nnBaBDBaaBnn ■nB^BBGanncn ■□■■□■^nnnan ■■n«nann*DBn -tiKAilir;MOt^C-t5 Fig. 42. □■■□■■□■M«nn naiiuiiiLiin ■::■■: :■■■::.::■ aa abb aa :: bb obb 19 Baa bb aa nBBBnmBB* :■■ ■ ■□■■rJDGBBriB ■ ■ i: :: aa aa :■ : ;■■ : :■■: :■■■ ■ ■: :■■ in ■u: .; ai Fig. 43. bbb in amm : b □ b a a: ' na .bbb bbb b ■::■■■. icannnn a : :b: :lbbb ■■■□■■■ntJEOD ■ .i imamuaar.a innannniBi M«Br.;nnan ■GOnMPPnMlQB Fig. 41 represents a double twill which makes a hand- some pattern when used on a warp of two colors, dressed 1 and 1, and filled with a third color. Fig. 42 represents a weave which throws up a large di- agonal cord, and is a desirable thing for coatings. Fig. 43 represents a small, block weave having a rib appearance when produced in fine worsted yarns, making a pretty pattern for fancy suitings. Fig. 45. Fig. 40. Fig 44. ■CMMOB«r ■ ■: aa a aa aa ■■' ::r a ■ aa aa aa aa aa aa i::z a '■■n a ii aa 'a :bb: :■ □■■DMainn :;■ ibpibb ■■ :■■ B [BBDBBD ■n.BBnni aa aa a ' ;bb : r a Bflriflflnflfl bb a ■ ■ ■■ wan ■:;? ;hi':bi aa aa a :: a aa ■■' aa aa •X'C-t;«*.iiir, □nnoM*BB] bbb aaa ■□nn .bbb a aaa aa ■■.nnnnaa. aa aaa a ■BBn~naB BBB BBB : ■ ■BBDCTJn I ■ Ill ■! Ill II n^BBBBan bb aaa a H BBBB'l aaa aaaa ■□□nnBBnnBBnnBBB ■■nnni ii ii i ii ■■■nnnnMnnaw ii a ■■■r:: ii ■■ -i UBinrnn: bb ;:;■■:: ■in i o :■■' i ■■ ■ ii3i : : ai . b BB III! II' !□ aa aaaa :: ■■ : nnBBnr:Bflflfl: : :n bb BncBBunBBBBna; :: a ■■-'nun! :bbbbu3' o ::h':':»:i:»ii inn nnir :: :BannBBBBn: i nn* aa ;:.:ii' :gbbbbg njnGBBDDBBnUBBBB M t-0 W *. Cn Oi <1 30 CC O — IZ) W 4- CH C5 Fig. 44 represents a small, twill wale suitable for weav- ing stripes for trousering, or fancy suitings. There being more warp thrown to the face of the fabric than to the back, and more filling thrown to the back than to the face, it does away with that boldness commonly seen in plaids, caused by the filling showing too prominently. Fig. 45 represents the common eight-harness twill with a filling back, and is a good thing for medium, or heavy- weight fabrics. TEXTILE DESIGNING. 113 PPPBBBPPBPPB ■■■pppbppbpp pppbbb"'bp. :■■ ■■■PPPB! IID p: ipbbp: :■: bii ■ ■a n ■ ::■ : nn* :■' ::■: ;: :■■■ ■ ■■ ■ am : : i p«pn •!..'::■■■ bbppb ■■■nnn n bppbpppbbb bppbppbbb inn pbppbmpi ■!!■ ■: ■ u pmbppp nn ■■■ bo ntMuPl BBBPPB ■CDiMnrniPQ PbmpppbbM ■ i p; it ■■■pppbpb BBBPPPBBPPBP bbbbpppppbbbbpbpbp ub' -b: ibbbbppp: ■■■■ pbbbbppp - nBBBBPPPP BUBUBPBBBB. :pp: bob : ■■■■pppppbbbbppp bbpbpbpbbbbpppppbb pppbbbbj iPPPaMBBPII BBBPBPBP ■BBBPPPPPB PPPPBBBB i: :P! pbbbbp laia i a :bbbbppppp pppppbbbb: :■. .i PBBBBPPP :: :■■■■:::: ■PI IPPPBBBB ppbbbbpli PPI BBBB .P eb mi i .□nwiin p.ppbbbbpp bbbppppp ■ IB! 1 Jin PPPPBBBBPPPPPBBBBP 'iCS-)OOCOOH-ti»CONfa.C>iOi-^30 HMM^Cia^GCCOh-tO Fig. 4G represents a diagonal of good appearance in light weights, either in solid colors, or fancy mixes; when made of the latter, a few threads of fancy colors, or of D. & T., dressed in the warp, will greatly add to the beauty of the fabric. The filling should be all of one color or mix. Fig. 47. Fig. 48. Fig. 49. bpbbpppppp ■■pbpbbpbp pBjdBWDPPPP pbb.-bpbbpb Li. ■ BB BPBBPBPBBP PPPBPBBPi !P PBPBBPBPBB PPPPBPBMPP B B BB B B PPPPPB1.BBP BB B BB fl PPPPPPHPBB PBJBPBP0BP* bppppppbpb b bb ibpbbp ■■ppppnPBP pbpbbpbpbb pbbupppp: m BBBB B :■ Fig. 47 represents a fancy diagonal figure, composed of small perpendicular cords, suitable for light-weight worsted coatings; or, for ladies' dress-goods of cotton warp, and fine single worsted filling. Fig. 48 represents a fancy diagonal figure, consisting of small bias cords with a rib effect; designed for suitings. in fine worsted yarns. Fig. 40 represents a pretty diagonal with a prominent filling cord. Warp of one color, and filling of another. Fig. 50. Fig. 51. DBPflnBPPPPBPBPBPBBBfl BPBPBJPPPBPBPBPBBBBP [ :■: b: : .. ■: a a. a aaaa a fl fljpp .:PflnflPflPflflflflrflP PBPPPPB .fl fl. BflflflPBPB ■an: :: '■:.:■::■: :■■■■. b .an fEflPfll a bhbb a a a □' i:a ibpbpbbbbpbpb. a ppbpb: :■::■«■■: ;■:.:■' ana nn :■' :ar;BBBa: a wnainnp a a a aaaa a .bub::, pbpblibbbb: bgbpbppppb a mi aaaa a: .a bppppbp i a ibbb a a a ;: : a a a EiiBB a a a ;; ipi ifl: a ; PBBBBPBPBPBPPPPBPBPB BBBBPBPBPBP! IP'^BPBPBP BBBIIB fl IflPCPnfll fl I ■ BBuBPBPBI 1PPPBPBPBI Iflfl BPBPBPBPPPPBi ■ IflLlflflfl BPPPPPBBPPr IflflflflflPPflfl bbpppppbbpppbbbbbppb bbbpppppbb; i: i ibbbbbpp pbbbpp: in bbpppbbbbbp nPBflJMPi ipppbb: ippbbbbb ■npflflflnni .'ppbbp: !□■■■■ BB' 'PBBBLII IPPPajBI IIIII BBB BBB BBB I . BB II I .BB BBBB I! BBB' I! IBB' I B BIBflfl I! BBB! IP] . .BBPOP I BBBBB BIB I ". BB PPBBBBBPPBBBPPPPPBBP PPPBBBBBPL BBBPPPPPBB fl I 'BBBBB I. .BBB. I.' I. II B ■■on: ibbbbbppbbb* ini ipp riflfln: pabbbbp. .bbbippi: PPflBPPPBBBBBPPBBBPPP PEUPBBPPPBBBBBP ■■■: IP I ■ BB . ' 'BBBBB' ii BBB PPPPPBBPPPBBBBB ,'PBBfl *t-3CCUCnOi-*400:£>Oi- 1 tOW*.CnOi-*4ao:DO Fig. 50 represents a wide wale diagonal for cheviot suit- ings, made from all-wool coarse stock, in light weights. 15 114 THE SELF-INSTRUCTOR, Fig. 51 represents a wide diagonal pattern; if produced in fine all-wool yarns of fancy mixes, and given a melton finish, it makes a desirable thing for business suitings, or light-weight overcoatings. Fig □e . 52. pi ippbtipp □BBBBBnnBBriBnBBnrjBna p; jbbbbb::i: jbb :b: :m«"ppbp □nnBBBBB: :: ■■ a ■■■nna B'ipnBBaBa' !::■■• :b :bb: :: ■ aim i ■■■!!■ nn«nn[JBBBBB:xiBB;:BnBB ■□□■□□i :i»».'uainini ■■□n«inn«ji«B«nGBBnw i PflfllPflmnflflflflflPnflflPfl . b bb :: :b ' : iiaaa ■■ : ■ .BB"r;Bnn;jBBBBBauB* ■ mnmuu m xxbbbbbpcb ■ fluflPflflPUflPP. .flflflflflpp : :bb ;b :bb ■ ■ :: : .■■■■■ : . bb a bb " a :: bbbbb ■ : ■■ ■ ■■ :b ' bbbb bb is b bb: ! ■□□! Ill ■■■PPBB ■: BB IPB! EnM BBBB B B ■_■■_■_■ Fig. 53. . IPHHCfl: !. B BflflBiJ BBBB' :bbbb b :; b qbii : BB BBBB B I B Bill ill ■i. ma i b aaaa iB : ■■■■.:■::■ bbbb bbbb ■iii i b bbbb bbbb bbb b ijiiii iii! b ■ BB. I I IIII llll I ■ :■ : i aam nua an fl fl I B BBBB BBBB' .'BBB b: ::.:■: bbbb bbbb .ubbb . b a bbbb lais -imaa i.^b: :bbbb: ;BBflfl; :bbbbl;bi: IB BBBB BBBB BQBfl B I [ BBBB BBBB BBBB ■ □ ■ iaaa bbbb bsbb b a ■ai ]igg aaiEi a a: b B BBBB BBBB B II fl BBB :b: j: i. ■■■ Fig. 52 represents a fancy diagonal for weaving worsted coatings, the same produced in a plaid pattern would make a good thing for fancy suitings. Fig. 53 represents a double-pick diagonal effect, for a piece-dyed fabric, highly finished. The warp should be of good fine stock, as two-thirds of it appears on the face; but a much poorer stock can be used to advantage in the filling. Fig. 54 Fig. 55. JflPPMPPflMPflPPMPPMP IB E nin: ■■ ti aa a :: :■■ ■an aa ; a bb : n PPBB BB B !■■□ BB BBB ::' :ii' a aa : bb \: a in i aa : bb a " aa :: :aa: bbb :b bb ";• a aa: :: :■■ :: :a as a bb : inmu [■□□■■ : aa: bib b i r .a aa' : aa : ■ ■■■: :■■ : i ■■nan II II BBB B BB laiin-HiniriiHnHJnii piplibb: :. :bb bbb b :: ao : i as ' bb' :; :■' bbb bb bb i ai : bb bbb a:.:, aa : aa PPBB : a bbb :■■ : :■■ n :■ i aa aa aaa !■□□■■□□■■! :a ■an <■■■■:■■ 4i i m :■■: n ■■ ■■■ ■ aa aa b i b :bbb " ■■' r :■■' : ■ ■■ :: i ■ ■PflflflPfl [□■■ II :■■' IIDDHt B :■■■ :■■' " . bb " :■■' : aa : :bb : ■■' ' ipbbp:";bb- :: aa u .■■xmi: B HB : BB BB [ BB ! :■! bb bb: : bb :: bb : bb: : i : b ifl : i ' :■' .■■: nnflflPPflfl::: bb : :bb ' : up :■■ BPPflfl ': bb : bb : bbi ■■ : ■■ : :«a \ :■■ d :pflflpp [!■■::: :bb ■■::■■■ :: ■■ '■ r aa ; aa ■■ ' ■ : bb :: :ba a ' as :bb : :■■■ ■ fl. . BB ! aa :: aa :: :bbp b: : a ■ BB aa I bb :: ■■■ : bb ■ 1 ■ □i bb :. bb n fl- : ■■ : aa :: bb ■: :: :■■ bbb ■■ bb: ii an , • bb .: '■■ ■: : ■■■. ii :■■: : bb .: ■aa □■■ I : ■■■ BB bb : BB ; ■■:;::■ ppflppflfl: jPflfl: ;: '■■: ■ ■. :: ■■ 1CDOHISMJ ■ppflflppflflppflflppflflppfll M t-3 W *> Qi O3M0DCO C ^r3u4-C"C;i' bbbp ■ ■■. .: ■ ' '■: :: :■■' :■■■::■ bbppddbddpb' lpbb"'bbbpbb ■anapBpnnBpnBBPi II II II1N BR 111 II □ a bbb^bbebbb pbb ■ ii mil nil '■■: :■■" " in« ■ as ami ib db : :■■' ■ bbpbbbb ■■. hi [■■m !□■■! l ■■ ■■■■ bbpbb~d bbpbpp riiiian: ■■: ■■ ' : ■■ ■■ nan br bb :: :: an una bis pi bb 'hp.: :pbb^bbpb ■■■nai' ■■' : n ii an re a BBBBBBBnHHBHBH ■□■■^■■narBB! nnn bbi bbdbbpbbppdbb' !■■! hpfi ' ■■' bbpppbb~bbpbbpbbbbd ■i ii ii ii bbdi ii Bl ' 11 BR BB BB IRIR BR ■ '■■' ]□ ir in hbb ni a ■ ' '■■'■■''■■'■■■■-■■'■ ■I ~ II II Dill BB BR BBPBBPBBPBRBW' 'IB 'll'l ■ ---- - BB r- aB ■■■■PBBPBBDBB BB BBPBBDBBBBDBBPBBPPP r li ! 3 j 3 lOS*«00»Oh*tOC i01*JCOCDC« Fig. 59 represents an evenly balanced diagonal wale for worsted coatings, in solid colors. Fig. 60 represents a handsome diagonal wale. A rich stripe effect can be produced with this weave by dressing the warp, 22 threads of right-hand twist and 22 threads of left-hand twist; both warp and filling of all one color. Fig. 61. ipppnnnB R ft BB3ER H bbbbp^dddpbb bpbpbbbbbpbp bbbdppdpdbbb i^iibbi a a ■ ■ : : :bbbb B BBBBB N fl BPDP"DPBBBBB :in»ninini □nnnrinBBBBBB BBBflfl' a 'B' :a- 1 dppddbbbbbbd ■■■■:;■::■"■ ■ ■■■■■■* id rbr b b h ii oddbbbbbbdpd bbpb' '■■::■■■ .; ■■■■■■nnnn ■: '■' ■:■:■■■■ dbbbbbbddddd " b i i ibebi rbbbbb :: :: : H R R BBBBB □ Fig. 62. ibddd^bbb ibpbbbppp ibbpdpdbb IBB BHR RR R"R il PPB BBB BHR bbb~bbbdddd ddppbbbdbbb bbb bbb tip ■dp: pbbb~bb ■■■■■■ : ■■: :: " ■■■ :a DHDBBBPBBB1 ■ ■■PP' "PBBIBIP PPPPBBBPBBB PBBBP r 'PBBB BPP r PBBBPBB BPBflfl ' ' ' BB bb: :: " m i bb bbb :p: 1PB BBB : ' ' BBB BBBPBBBPPPP i-Hj-SCCfcCnCl-^GC^COi-' Fig. 63. BBB^BBDBBB~PP r, PBBB"BBPB DPPBBB^BBPBBBBPBBPBBBPC II II III " III II 'IB PTBBB"BBPBBBBPBBPBBBPP ■ urm ::■■■■■ bib dbbbdbbdbbbbpbbdbbbdddd ■ ■ ■■■ " :■■■:■■: iiii bbbpbbpbbbbpbbpbbb' 'pppp bb' 'bbb~pp' "pbbbpbbpbbbbp sb rr bbbb bb bbb ' i BPBBBrTPr PPBBBPBBPBBBBPB bpbbpbbbbpbbpbbi " bl ppiib ibpbbibpib Bin T BBPBBBPPPPPBBB "DBBBPBBDBBBBPBBD ipbb: :BBBPD r "dpbbbd ■BIIIBBBBRBB 'Bl' 'IBB~P^PPBBB~B IRRBBBBBBRBH3 bib: ■: ■ D P"bii: "■■: ■■■■:■■ BBB □DDDBBB BB 1 1—tCW^CJiOS-^lQC^C — l ID'T'BBBPI IBBPBBPBBB PPBBB^BBD ii' '■■: ■■■' ; 5AOifl3*JQCXO^IO; Fig. 61 represents a diagonal rib, which can be used either single or combined with other weaves to a good ad- vantage for making fancy trouserings. It is a good weave to use alone for a herring-bone pattern, producing a sharp- TEXTILE DESIGNING. 117 point effect, by commencing on the sixth harness for the backward draw. A rib of any required size can be pro- duced on this principle by increasing the width of the filling float, or the warp wale, or both. Figs. 62 and 63 represent desirable weaves for three- color diagonals, the former being classed as a single diag- onal, and the latter as a double diagonal. This latter figure produced with a black warp and, blue and brown filling pick and pick, will show up a black double wale, while the filling will show one blue and one brown wale alternately, making an attractive pattern for coatings. The former fig- ure produced with a black warp and, two kinds of mixes for the filling pick and pick, makes a rich-looking pattern for either coatings or suitings. Having given a fair synopsis in the field of miscellane- ous weaves, we will now leave the subject, believing all has been said that is necessary in this direction. CHAPTER XIX. DESIGNING BROKEN TWILLS OR SATIN WEAVES. In satin weaves we do not see the prominent bias lines or twills which are seen in weaves of the regular twill or- der; hence, they present a smoother appearance on the face of the fabric, and thus are known as broken twills, although they are called perfect twills in the order of satin weaves. In the regular order of twills, the floating threads have the appearance of a series of small diagonal or bias ribs in the fabric; but when the succession of raising the harnesses is changed so as to raise them at intervals of one, two, three or more from each other, the twill is said to be broken; and the floating threads no longer run on a regular twill bias, but are variously changed, according to the interval of 118 THE SELF-INSTRUCTOR, working the harnesses. In satin twills it will be found that some are perfect in respect to the intervals at which the harnesses can be raised, while others are imperfect in this respect. When the harnesses can be raised regularly, at intervals of one, two, three or more from each other, the twill is said to be perfect; but imperfect, when the number of harnesses does not admit of this arrangement. This will be illustrated by the following figures and observations. The smallest twill that can be broken is that of four- harnesses, which is sometimes called a satin twill, but is more properly called a satinet twill. Fig. 1. Fig. 2. Mann Mnnn nnMn nMnn naan ■ nnriM nnnM Figs. 1 and 2 represent the broken and regular satin twill respectively. The broken twill is laid out in the fol- lowing order: commencing with the first or top pick — No. 1 harness, — we place a riser on the first harness; the second harness is passed, and another riser is placed on the third harness; the fourth and first harnesses are next passed, and the third riser is placed on the second harness; the third harness is now passed, and the fourth riser is placed on the fourth harness. This gives us the order of working the harnesses as 1, 3, 2, 4; consequently, in this order of weav- ing, the harnesses cannot be raised at equal intervals; and, therefore, is one of the imperfect twills. In the regular twill, we find that each harness is raised in its numeral order as 1, 2, 3, 4; consequently, is a perfect twill of the regular order. Fig. 3. Fig. 4. Mnnnn Mnntxi □nMna nnnMn irn~m nMnnn nMnnn ' ■ nnnan nnMnn Fig. 3 will be found to raise each alternate harness throughout the whole pattern, thus — 1, 3, 5, 2, 4. Fig. 4, to raise one and pass two without interruption, thus — 1, 4, 2, 5, 3; consequently, the five-harness twill is perfect by each of these methods. TEXTILE DESIGNING. 119 Figs. 5, 6 and 7 are subject to imperfections similar to that of four harnesses; the orders of working the harnesses Fig. 5. Fig. 6. Fig. 7. ■dpppp • bppppp mppppp pppbpp □□■□□□ ; :□■: 1! pbpppp ppppbp pppphp pppphp phpppp pmpppp ppbppp PPPHPP PPPPPM PPPPCB PPPPP* PPPBPP h-toco^aias — t>5 CO 4i- Qi cs t— t-c « J- en OS being as follows: 1, 4, 2, 5, 3, 6; 1, 3, 5, 2, 4, 6; 1, 3, 5, 2. 6, 4, respectively; consequently, are imperfect twills, al- though the two former ones present as perfect appearance as most any of the twills in the satin order. Fig. 8. Fig. 9. ■PPPPPP BPPPPPP PPBPPPP 3PPBPPP PPPPHPP PPPPPPM PPPPPPB PPBPPPP PMPI 1! : IP PPPPPMP PPPBPPP PHPPPPP PPPPPMP PPPPMPP l-» M CC *> CJi 31 *-l Fig. 8 will be found to raise each alternate harness throughout the whole design, thus — 1, 3, 5, 7, 2, 4, 6. Fig. 9, to raise one and pass two without interruption, thus — 1, 4, 7, 3, 6, 2, 5; consequently, the seven-harness twill is as perfect as that of five harnesses. Fig. 10. ■ppppppp pppbpppp ppppppbp PMPPPUPP PPPPHPPP □PnPPPPB PPHPPPPP PPPPPHPP ("-tOCCfaCnCR-^OO Fig. 10 makes a perfect twill by raising one harness, and passing two without interruption either way of the de- sign, thus — 1, 4, 7, 2, 5, 8, 3, 6. This eight-harness twill is the smallest satin that can be woven on an even number of harnesses. Fig. 11. Fig. 12. mpppppppp mpppppppp pcmpppppp ppppmpppp ppppmpppp ppppppppm pppppcmpp pppmppppp ppppppppm pppupppmp pmppppppp ppmpppppp pppbppppp pppppphpp pppppmppp pmppppppp pppppppmp pppppmppp Fig. 11 is found to raise each alternate harness, thus — 1, 3, 5, 7, 9, 2, 4, 6, 8. Fig. 12, to raise one and pass three, thus— 1, 5, 9, 4, 8, 3, 7, 2, 6. 120 THE SELF-INSTRUCTOR, Fig. 13 admists of raising one harness, and passing two without interruption either way of the design, thus — 1, 4, 7, 10, 3, 6, 9, 2, 5, 8. Fig. 13. ■ppppppppp :.■;:::■ : . ppppppmpp :: ;■ ■ :. :, IP "IPBPPPP jnpnpnppBP pmpppppppp puppbppppd pppppppmpp — 1-0 CO *. Ci Oi ^I cc CO O Fig. 14. ■pppppppppp pppbppppppp ppppppbpppp i ■ pmppph ppppbpppppp pp; :: :■: :: PPPPPPPPPPB PPBPPPPPPC pnpppHPPPPP PPPPPPPPBPP Fig. 15. ■pppnpppppp pppEmpppppe iipbpp pbjpppppppp pppppHPnpnp PPPPPHP PPBPPPPDPPP 3PBPPPP :: a ":::■"•;; PPPPPPPMPPP Fig. 14 will be found to raise one harness, and pass two, thus— 1, 4, 7, 10, 2, 5, 8, 11, 3, 6, 9. Fig. 15, to raise one and pass three, thus — 1, 5, 9, '2, 6, 10, 3, 7, 11, 4, 8. Fig. 16. ■ppppppppppp ppppphppppl ppppppppppbp 3pbpppppppp ppppppppbppp PBPPnpppnnpp npppppBPi: □PPPPPPPPPPH PPPPMPPPPPPP PPPPPPPPPBPP PPBPPPPPPPPP PPPPPPPHPPPP ioa*40DtooHM Fig. 16 admits of raising one without interruption either way 11, 4, 9, 2, 7, 12, 5, 10, 3, 8. Fig. 17. ■pppppppppppp p qM pn jPDBPPPP PPPPPPHPPPPPP ' ■ :;-' : : ■ . a ■ ■ : PUBPPPPPr PPPPPPBPPPPP ■ PPPPPPPPPPPBP — WM*atOi-qcccOOMt-JiM Fig. 17 will be found to raise alternately, thus — 1, 3, 5, 7, 9, harness, and passing four of the design, thus — 1, 6, Fig. 18. moooooooooodu ♦PPHO<><>0<> ppm ♦♦♦<><><><>pp*-c> <^^ppm ppbo nn«^6<> ♦^<>ppM£^<>P PPB^ ♦♦♦♦OPPB^O^O ^P^B___ (-"tOCO^CnOS-^OO^O — tiCO one harness, and pass one 11, 13, 2, 4, 6, 8, 10, 12. TEXTILE DESIGNING. 121 Fig. 18, to raise one and pass two, thus- 6, 9, 12, 2, 5, 8, 11. By the use of other figure, the order of raising and passing more fully represented. Fig. 19 will he found to raise one -1, 4, 7, 10, 13, 3. characters in this the harnesses is Fig. 19. ■ppppoppppppp .innnannnnr □□□□□□□□■□□" in ppppppppppppm pppBPPPPPPpnn □npnpnPBPPPnp □□npppppnpp«n r:. "■: ::"::: : :n; ;: □pppppBPaaana zippnpnnnnp«nn □■□nnnnnapppp ppppaBaaanaap ppppppppnapjn i-»to)cciu— ic> co 4- Fig. 22 will be found to raise one harness, and pass two. thus— 1, 4, 7, 10, 13, 2, 5, 8, 11, 14, 3, 6, 9, 12. Fig. 23, to raise one and pass four, thus — 1, 6, 11, 2, 7, 12, 3, 8, 13. 4, 9, 14, 5, 10. Fig. 25. Fig. 24. ■pppnnnpnnnnnnn ppbpp "lanapppapi: □aaPBPnnppppppa -inpaaapppppppa □aanaacPMPPPnpp :tappa«ppp uppp: i "jppBaa npppppnppppppPB □■■"'□PP'^CPLMPPnC ■ □□□□□■~apc □paaaaaMaanpppp ppnnppppnHPP':":" iPPPPPPMPPP ppQPann;: fngyoagg •—taco*uoias, 14. 3, 7. 11, 15, 4. 8, 12. Fig. 26, to raise one and pass six. thus— 1. 8, 15, 7, 14. 6, 13, 5, 12, 4, 11, 3, 10, 2, 9. Having illustrated all of the satin weaves from five to fifteen harnesses, we will now demonstrate more clearly the basis on which satin weaves are originated. RULE FOR DESIGNING SATIN WEAVES. Divide the number of harnesses into two parts, which must not be equal, nor one number a multiple of the other; now take one of the numbers to count off by. or add it. Commencing to add or count off from Xo. 1 harness and first pick, we place a riser at the end of each counting off or addition, and continue in this manner until each warp thread or harness is occupied by one riser. Illustration": Five-harness weave. 2-f-3 = 5. Com- mencing with one and adding two points in succession, we get as follows: l-|-2=3-h2=5-f-2=7 or 2, and 2+ 2=4. This will give us the order of raising the harnesses, thus — 1, 3, 5, 2, 4. as represented in Fig. 3. If we count off or add three instead of two, we get as represented in Fig. 4. In designing satin weaves of an even number of har- nesses, such as S. 10, 12, 14. etc.. the following rule may be used, if preferred, in place of the former one: Divide the number of harnesses by 2, and if the quotient is an even number, subtract 1 : if the quotient is an uneven number, subtract 2; and, in either case use the remainder for adding or counting off. Illustrations: Eight-harness weave, 8-=-2=4, which is an even number: subtract 1, thus 4 — 1 = 3 for counting off. Ten-harness weave. 10-r-2=5, which is an uneven number: subtract 2. thus 5 — 2=3 for counting off. Twelve- harness weave. 12-^-2=6 — 1=5 for counting off. Fourteen- harness weave, 14-^-2=7 — 2 = 5 for counting off. Also 14-1-2 = 7 — 2=5, and 5 — 2=3 for counting off. Therefore, both 5 and 3 can be used in this case, thus producing two weaves. TEXTILE DESIGNING. 123 Satin weaves are used both ways, that is to say, with the filling up, as represented in the preceding figures; or, with the warp up, as represented in the following Figs. 27 and 28. The former method is called a filling face; the latter method is called a warp face. Fig. 27. Pig. 28. ■■■■ ■■■ ■ ■■■■ ■ ■■■■■■■ ■ ■■i ■■■■: ■■■■ ■ ■■■■ :■■ ■■■»■■■ ■■■■ ■■ ■ ■ ■■■: mi ■ a ■■■■ «■■ ■ ■■■ ■ ■■■ | ■■ ■■■■ ■■ . ■■■■ ■■■■ ■■■ ■ ■■■ ■ ■ : '■■■■: ■■■ ■■■■■■ ■■ v- ii ;c a- Gn c- -i ac ^ © If we want a five-harness satin with a filling face, and the twill to show as prominent as possible, we have to use Fig. 4. On the other hand, if we want a warp face with a distinct twill effect, we have to use Fig. 27, which is Fig. 3 enlarged to ten threads and transposed, that is, we call the risers, sinkers; and call the sinkers, risers. If a smoother face is required, more after the doeskin style, we have to use Fig. 28, which is Fig. 4 enlarged and transposed as ex- plained before. This method holds good in using any other of the satin weaves for twill or smooth-face effects, or in transposing from a filling to a warp face. If we increase the number of risers in a satin weave by placing one at the right or left, above or below, or a short distance on a bias from each of the original risers, we get a sub-division of satin weaves, which are classified under ' 'double satin weaves." This class of weaves being stitched twice as often as those of the single class, so to speak, will naturally increase the strength of the fabric. If we want a double weave, filling face, we raise each warp thread next to the one already raised in the original weave. If we want a double weave, warp face, we arrange to hold each warp thread down once more after being already down in the original weave; or, in other words, when a harness is down it remains down for two picks instead of one. Fig. 29 represents the eight-harness satin, filling face, 124 THE SELF-INSTRUCTOR, doubled in the manner explained. In this weave we find that instead of the filling floating over 7 and under 1, it floats over 6 and under 2 warp threads; while the warp, in- stead of being 1 up, 7 down, is changed to 1 up, 4 down, 1 up, 2 down. Fig. 29. Fig. 30. ■#pppppp □■■■■<>■■ pppb#-ppp ompuh PPPPPPBt ■■■<>■■□■ □■♦nnnr.jn ■ ■■■■ ■ ppppb#pp ■<>■■-■■■ *□□□□□□■ ■■■»■■ ppm*pppp ■■::■■■■-> pppppb#p ■■ ; ■■: ■■ Fig. 30 represents the eight-harness satin, warp face, arranged on the double principle. In this weave it will be seen, as before stated, that the original points for stitching are down once more, or twice in succession continuously. If it is required to have the twill of the fabric show a more prominent streight-line effect, we arrange the weave so that each warp thread or harness is down for three picks in succession, as represented in Fig. 31. This principle of ar- ranging double satin weaves, warp face, will hold good on any number of harnesses. Fig. 31. Fig. 32. Fig. 33. ■□□□□#>□□ *n#na#aa #>pphpppp fat ■ ♦ □□□#DP«P ♦DEMMXMQ pbpppp*p □■□♦□□♦a □■♦□□Mann ♦. ■ ♦ :;♦:.■ ♦ ♦ ■ ppbpppp<§> ppbp ♦;:"■♦■ pp#pp«pp ♦ :.:ph: ♦ : b ■■ ■■ ♦■■Pl ■■ ■ ■ ■■ ■ ■ ';■'■■ >■ ■ ■■-„■■ ■ ■■ UP ■ ■::■ ■■ , ■■<>■■□■•.,• >— iccca-ino^icc Another principle for arranging satin weaves, is to change the annex points from right to left, to up or down as represented in Figs. 32 and 33, for a filling face. Fig. 34. Fig. 35. Fig. 36. ■pp#ppppp mpppppppp#pp ■pppp<#>ppppppppp ppbpp#ppp pp*ppbpppppp pppphpppp<*.ppppp ::■::::♦ : pppph : ♦:.:.«, pppppppphpppp<*p ♦PPPPPHPP #PP*PPPPPPPP PP#-PCjPPPPPPPMP3 jP#PPPPPB 3P4PPBPPP PBPPPP40PPPPPPP PMPP#PPPP PHPPPPPPPP#P PPPPPBPPPP#PPPP PPPMPP#PP PPP4PPBPPPPP PPPPPPPPPBPPPP4- PPPPPMPP# PPPPPPPP'tPPB PPP*prPPPPPPPHP '■♦■PPPPPBP PtPPBPPPPPPP :IPBPPPP<%PPPP"PP -u^.-o.ssoos ppppnD*ppBpn ppppppMPPPP#>pn PPMPPPP-ppp# ♦;;;:: pppppb PPPP#PPBPPPP PPPP^PPPPPPPPPB HHU<.«a-»'J>OHS UPBPPP' >PPPPPP PPPPPPPM" PPP#PP ♦ I! :ppppppp»ppp The next and last principle of designing double satin weaves, to which we wish to call the reader's attention, is TEXTILE DESIGNING, 125 to arrange the additional points for stitching, sideways pppppppppp ■ ♦■ ' ■♦■♦dmj; :pppppppp □■♦■■♦■■■ m*b*pppppppppp ■<§>; :*■♦■ h*pppppppppp ■ ♦<■<♦ pf e ♦ b^-pppppppppp ■ ■ ♦ ■ ♦ p ♦ ■ ♦ p: :n: :pplp :pp b»m ■♦■♦□■♦•□□□! ipppppp pppppppppppppppppppp pppppppppppppppppppp pppppppppppppppppppp pppppppppppppppppppp pppppppppppppppppppp pppppppppppppppppppp pppppppppppppppppppp pppppppppppppppppppp pppppppppppppppppppp The beginner may get a better view of any one or all of the preceding figures, by drawing them off on design paper and enlarging the design both ways, in the manner repre- sented by the last figure. We will now close these observations on designing satin weaves, after calling attention to one other point, that is. the selecting of the proper weave for the contemplated fab- ric. This depends on the number of ends in warp, picks per inch, and the size and quality of both warp and filling yarns to be used in the fabric. Consequently, if we use a weave having a too-long float for the "layout," we get a fabric of a loose and spongy feeling. On the other hand, if we put too many ends in the warp, we cannot get enough picks in the fabric, hence we get an open, thread-bare appearance, without proper strength the filling way. Therefore, it will be observed that, great care should be used when selecting 126 THE SELF-INSTRUCTOR, the weave, otherwise it may be entirely unsuitable for the contemplated fabric by having either too long or too short stitching. The necessity of good judgment must be appar- ent in connection with this branch of designing if we would obtain the best results. CHAPTER XX. YARN TABLES, RULES AND CALCULATIONS. Table Showing the Number of Yards Pek Pound of Woolen Yarn From % Run to 20 Runs. Runs. Yards per lb. Runs. Yards per lb. Runs. Yards per lb. Runs. Yards per lb. H 400 5% 8400 io% 16400 15V| 24400 % 800 b}4 8800 10J4 16800 15^ 24800 % 1200 5% 9200 10% 1 7200 15% 25200 1 1600 6 9600 11 17600 16 25600 iH 2000 6M 100O0 1IM 18000 16% 26000 04 2400 6 l » 1040(1 l\% 18400 10 '., 26400 i% 2S00 6% 10800 11^ 18800 10% 26800 2 3200 7 11200 12 19200 17 27200 2% 3600 7% 11600 12% 19600 17% 27600 2>| 4000 1% 12000 12i., 20000 17^ 28000 2% 4400 7% 12400 \m 20400 17% 2S400 3 4S00 8 12800 13 20800 18 28800 3% 5200 *H 13200 1314 21200 18% 29200 3 l A 5600 sv 2 13600 13^ 21600 \%% 29600 3% 6000 8% 14000 13% 22000 18% 30000 4 6400 9 14400 14 32400 19 30400 4% 6800 9% 14800 14% 22SOO 19% 30800 *% 7200 9% 15200 \±% 23200 19 % 31201 4% 7600 9% 15600 14% 23600 19% 31601 5 8000 10 16000 15 54000 20 32001 This table will be found a ready-assistant in yarn calcu- lations, as it gives the length in yards per pound of any size thread, from one-fourth run to twenty runs, by fourths. TEXTILE DESIGNING. 127 Table Showing the Number of Yards Per Pound of Worsted Yarn From No. 1 to No. 120. Number. Yards per lb. Number. Yards per lb. Number. Yards per lb. 1 560 41 22960 81 45360 2 1120 42 23520 82 45920 3 1680 43 24080 83 46480 4 2240 44 24640 84 47040 5 2800 45 25200 85 47600 6 3360 46 25760 86 48160 7 3920 47 26320 87 48720 8 4480 48 26880 88 49280 9 5040 49 27440 89 49840 10 5600 50 28000 90 50400 11 6160 51 28560 91 50960 12 6720 52 29120 92 51520 13 7280 53 29680 93 52080 14 7840 54 30240 94 52640 15 8400 55 30800 95 53200 16 8960 56 31360 96 53760 17 9520 57 31920 97 54320 18 10080 58 32480 98 54880 19 10640 59 33040 99 55440 2() 11200 60 33600 100 56000 21 11760 61 34160 101 56560 22 12320 62 34720 102 57120 23 12880 63 35280 103 57680 24 13440 64 35840 104 58240 25 14000 65 36400 105 58800 20 14560 6Q 36960 106 59360 27 15120 67 37520 107 59920 28 15680 68 38080 108 60480 29 16240 69 38640 109 61040 30 16800 70 39200 110 61600 31 17360 71 39760 111 62160 32 17920 72 40320 112 62720 33 18480 73 40880 113 63280 34 19040 74 41440 114 63840 35 19600 75 42000 115 64400 36 20160 76 42560 116 64960 37 20720 77 43120 117 65520 38 21280 78 43680 118 66080 39 21840 79 44240 119 66640 40 22400 80 44800 1 120 67200 1 28 THE SELF-INSTRUCTOR, Tablet Showing the Number of Yards Per Pound of Cotton,, or Spun-Silk Yarn From No. 1 to No. 90.. Vmnber. Yards per lb. Number. Yards per \h>. Number, Yards per lb». 1 840 31 26040 61 51240 2 1680 32 26880 62 52080 3 2520 33 27720 63 52020 4 3360 34 28560 64 537 O 3i 31 44 5]- 6 6| 7 n 8i 8| 9 9| 10.!.- 11* 12 m 12f 13* 14 141 15 15f 16* 17i 17i 18 18f 104 19* 294 21 6 1 10 HI 15 20 23* 25 30 35 40 45 46| 50 55 58^ 60 65 70 75 80 81| 85 90 93* 95 100 105 110 115 116| 120 125 128 h 130 135 140 ^ 5 6| 84- 10 10f 12^ 15 174 19f 20 21f 23* 25 25f 27f 30 321 34f 35 36f 38^ 40 40f 42f 45 474 49f 50 61| 534 55 55| 57f 60 Cotton System , Nos. 24 3* if 54 74 84 10 lit 124 13* 14| 154 16* 174 184 20 214 224 23^ 24f 254 26 1 274 284 30 314 306. 344 304 36f 374 384 40 Spun Silk Svstera, Nos. 1« 24 3* 44 54 6* n 84 10 114 124 13* 144 154 16$ 174 184 20 214 224 23* 244 254 26§ 274 284 30 314 324 33* 344 354 36| 374 384 40 N. B. — In this table we give such numbers only as come the nearest, to whole numbers in woolen cats and worsted numbers per pound. 17 130 THE SELF-IXSTRUCTOR, Table Showing the Weight in Grains of 50 Yards of Woolen Yarn, From 1 Run to 20% Runs. Runs. Grains. Runs- Grains. Runs. Grains. Runs. Grains. Runs. Grains. 1 2 18. 7.-, 5 43.75 | '.» 24.305 13 16.827 17 12.868 1% 11)4 445 5% • 42.682 9% 23.972 13% 16.6671 17% 12.774 1% 175. 5% 41.667 9% 23.648 13% 16.51 17% 12.6S1 i% 159 09 5% 40.698 9% 23.334 13% 16.355 17% 12.59 3'-_- 1 15 833 5% 39.773 '•"■> 23.026 13'., 16.204 17% 12.5 1% i;;i 615 5% 3S.889 1 9% 22.727| 13% 16.055 17% 12.411 1% 125. 5% 38.043 9% 22.436 13% 15.932 17% 12.324 y. 116.687 5% 37.234 9% 22.152 m 15.766 17% 12.238 2 109.375 6 36.458 10 21.875' 14 15.625 18 12.153 2% 102.941 6% 35.714 10% 21.605 14% 15.4S7 18% 12.069 2% 97.223 ,;L 4 35. 1034 21.341 14% 15.351 18% 11.986 2% 92.105 o% 34.314 10% 21.084 14% 15.217 1*% 11.905 2% 87.5 6% 33.(154 10)4 20.833 14'., 15.086 18% 11.824 2% 83.334 6% 33.019 10% 20.588 14% 14.957 18% 11.745 m 79.545 6% 32.412 10% 20.340 14% 14.S31 18% 11.667 2% 76.0S7 6% 31.818 10% 20.115 14% 14.706 18% 11.589 3 72.915 7 31.25 11 19.886 15 14.583 19 11.513 3% 70. 7% 30.702 U% 19.663 15% 14.453 19% 11.438 3% 67.308 7% 30.172 n% 19.445 15% 14.344 19% 11.364 3% 64.815 1% 29.661 n% 19.231 15% 14.228 19% 11.3 3% 62.5 7% 29.166 11% 19.022 15', 14.113 19% 11.218 3% 60.345 7% 28.688 n% 18.817 15% 14. 19% 11.147 3% 58.334 7% 28.226 n% 18.617 15% 13.889 19% 11.076 3% 5(1.452 7% 27.778 n% 18.421 15% 13.78 19% 11.007 4 54.687 8 27.344 12 18.229 16 13.672 20 10.938 m 53.03 8% 26.923 12% 18.041 16% 13.566 20% 10.87 4% 51 .47 8% 26.515 12% 17.857 16% 13.461 20% 10.803 4% 50. m 26.119 12% 17.677 16% 13.359 20% 10.736 4% 48.612 8% 25.735 12% 17.5 16% 13.258 20% 10.67 4% 47.297 8% 25.362 12% 17.327 16% 13.158 20% 10.606 4% 40.052 m 25. 12% 17.157 16% 13.06 20% 10.542 4% 44.872 8% 24.648 1 12% 17. . 16% 12.963 20% 10.479 Note. — This table will be found more convenient, and in several instances more accurate, than that published in our former work, owing to giving the eighths of runs, and the decimals having been carried out to the third figure ; aud in many instances the last figure of the decimal has been increased one, for in these calculations it is better always to figure on the heavy side. TEXTILE DESIGNING. 131 The above table is to facilitate finding the weight of double and twist, when two or more threads are twisted to- gether; for instance, suppose we wish to make a three-ply twist from yarns spun of, 5| and 8f runs respectively, what would be the size of the three-ply thread? Example: 1 thread of 3f runs — 58.334 grains. 1 thread of 5i runs = 41.667 grains. 1 thread of 8f runs = 25. grains. Answer, 125.001 grains = If run. By referring to the grains column, it will be seen that the sum 25.001 grains is equal to If run. Now this If run is the combined weight of the three threads when folded, but not twisted together; hence this three-fold thread when given a medium twist, will weigh somewhat heavier, as it takes up more or less in the act of twisting, so we will make an allowance of \ run and call the twisted thread 1| run. If a slack twist, of only four or five turns per inch, is given the thread, an allowance of | run will be sufficient, while if hard twisted, | or even | run may be allowed. Of course this allowance must be governed wholly by judgment, ac- cording to the quality of stock and the amount of twist to be given it, both in spinning and twisting. The exact size of the D. & T. can be found after twisting by weighing fifty yards, say five yards from each of ten bobbins; therefore, the above is calculated only for previous estimates concern- ing the original size to spin the yarns for the twist. Rules to Find the Size of Different Yarns, by Grains, Without Reference Tables. 1G00 yards of 1 run yarn weighs just one pound Avoir- dupois or 7000 grains troy. Divide 1600 by 50, or any other number of yards used for a weighing, then divide 7000 by the quotient, and the quotient obtained will represent the weight in grains of 50 yards— or whatever number of yards weighed — of 1 run yarn. Thus, 1600 -7- 50 = 32, And 7000 -h 32 = 218.75 grains. 132 THE SELF-INSTRUCTOR, Now take 218.75 grains for a dividend, the weight of a weighing for a divisor, and the quotient will represent the number of runs. For example, we will presume that the weighing weighs 35 grains. Thus, 218.75 ~ 35 = 6.25, or 6i runs. Another method of calculating woolen yarns is as fol- lows: 7000 -J- 1600 = 4f grains, the weight of one yard of 1 run yarn; hence the number of yards required to weigh 4f grains will represent the number of runs. Thus, if it takes 5^ yards to weigh 4| grains, the yarn would be 5| runs. For a standard weight in worsted yarns, divide 7000 by 560, which gives us 12^ grains as the weight of one yard of No. 1 yarn; consequently, as many yards as it takes to weigh 12| grains, so many numbers of 560 yards each will be required to weigh one pound. For a standard weight in cotton, or spun-silk yarns, we divide 7000 by 840, which gives us 8£ grains as the weight of one yard of No. 1 yarn; therefore, as many yards as it takes to weigh 8£ grains, so many numbers of 840 yards each will be required to weigh one pound. Rule to Find the Number of a 2 or 3-Ply Thread, in Worsted and Cotton Yarns. A 2-ply thread is numbered according to the single num- bers: thus, 2-ply No. 60's twisted together would equal, or is called No. 30's; but in order to be what it is called, the single threads would have to be somewhat finer than 60's, because in twisting, after being doubled, the yarn takes up more or less in length, which really makes the thread of twist heavier or coarser than it appears. Again, suppose two threads of different sizes are to be twisted together, one of No. 60's and one of No. 4(Vs, then proceed in the following manner: Multiply one number by the other number, and divide the result by the sum of the two numbers. Thus, 60 X 40= 2400 ' 2400-H00=24's, number 60+40= 100 ' of the double thread. TEXTILE DESIGNING. 133 To find the number of a 3-ply thread when composed of the same numbers. Divide one of the single numbers by the number of ply: thus, 3-ply No. 90's equals No. 30's, and 4-ply No. 100's equals No. 25's. Again, suppose three threads of different sizes, say No. 20's, No. 40's and No. 80s, are to be twisted together, then the number of the 3-ply thread is found as follows: Divide the highest number by each of the other numbers and also by itself, after which divide the sum of the quotients into the highest number. Thus, 8(H-20=4 ) 80-4-4C=2 \ 80-5-7=11^8, number 8C-J-8C=1 ) of the 3-ply thread. The sum of the quotients is 7 This rule will answer when any number of threads of vary- ing sizes are twisted together. It will also answer for cal- culating woolen yarns by the run, but owing to the small numbers and the fractions which are used in that system, it is seldom brought into play when figuring woolen runs. Rule to Estimate the Weight of Fabrics by the Weight of One Square Inch. Multiply 36 inches, the length of a yard, by the width of the fabric, which will give the number of square inches in the yard. Multiply the number of square inches in the yard by the number of grains one square inch weighs, which will give the number of grains in the yard. Divide the number of grains in the yard by the number of grains in one ounce, which is 437?; the quotient obtained will repre- sent the weight of the fabric in ounces. Example: If a sample weighs 5^ grains to the square inch, what will one yard of the fabric weigh, 27 inches wide? 36 X 27 = 072 square inches to the yard. 972 X 5i = 5103 grains to the yard. 5103 -I- 437s = 11.664 ounces to the yard. — Answer. the self-instruct Weight Table en Grains. g ins (Troy) = 16 oz. or 1 pound avoirdu] . uus = 12 oz. or | pound. grains = > oz. or £ pound. _ .-.ins = nd. grains = 2 oz. or £ pound. grains = 1 oz. or ^V pound. - _ ains = i oz. or & pound. . grains = J oz. or -V pound. The above table will be found useful when calculating weight of fabrics. Rule to Fixp the Average Picks pee Inch en Uneven Cloths If the cloth is unevenly woven, or thicker in one place than another, take the number of picks to each count of the pick-glass in different places of the cloth where it is thickest and thinest. and add them all together: their sum divided by the number of times the picks were counted, will giye, at an average, the picks per count. Thus, supposing the pick-glass has one-fourth inch open space, if there are 12 picks in one place of the cloth. 15 in her, 14 in a third. 16 in a fourth, and 13 in a fifth: then 12+15-|-14-|-16-T-13=70, which divided by 5, the number of counts, will give 14 picks as the avei g unt; and 14X4= i inch as the average in the cloth. pton Yarn Table. vard= 1 thread, or round of the cotton reel. ■ = 18 "• = 1 skein, or ley. " = S ••=:••=: l :>o..or hank. =1008 •* =126 •' =18 "• =1 spindle. The reel for cotton yarn is 54 inches round. SO threads or rounds of which make a skein, ley or rap: ? skeins make a number or hank, generally contracted No. : and 18 of these N s. make, what is cal" -pindle. The length of the ral subdivisions of the spindle of cotton yarn will be found in the above table. textile designing. 135 Linen Yarn Table. 2i yds.= 1 split, one ell, or 45 inches long (double). 50 = 20 = 1; por ter or heer. 300 = 120 = 6 = 1 cut. 600 = 240 = 12 = 2 =1 heer. 3600 = 1440 = 72 — 12 = 6 =1 slip or hank. ?2oo =2880 = 144 = 24 =12 =2 =1 hesp. 14400 =5760 =288 =48 =24 =4 =2 =1 spindle Linen yarn is spun from flax, and reeled on a ten-quar- ter or 90 inch reel, and tied up into cuts of 120 threads or rounds of the reel; and 18 of these cuts represent a spindle. The spindle of linen yarn, however, admits of other subdi- visions, which, with the quantity contained in each, are shown in the above table. The fineness of linen yarn is commonly estimated by the weight of a spindle, hesp, or hank. By comparing the lengths of the spindles of cotton and linen together, it will be seen that the former exceeds the latter by 720 yards. Cloth Measure Table. 2i in. (inches) = 1 nail, marked - na. 4 nails = 1 quarter of a yard, qr. 3 quarters = 1 Ell Flemish, E. Fl. 4 quarters = 1 yard, yd. 5 quarters = 1 Ell English, E. E. • Cloth measure is used for measuring all kinds of cloth, ribbons, and other articles sold by the yard. The preceding tables are all that we deem proper to be published in a work of this kind, and which will be found practical in every respect to which they are applicable. Knowing from past observations that many of the tables heretofore published in works relative to the textile indus- try, have been of little or no use, we have borne this in mind and have compiled for this work only such tables as we know from experience in teaching the rudiments of design- ing, will prove the most useful to beginners in making their yarn and weight calculations. In these tables we have 136 THE SELF-INSTRUCTOR, given several original features which were never published before. If we deemed it advisable, we could insert many other tables, but to do so. would, we believe, be of no mate- rial benefit, while they might prove more an injury than good to the beginner, by inducing- him to depend too much on them, instead of fitting himself capable of figuring out his required results, and thus be placed, at times, in an em- barrassing situation when not having printed tables before him as a ready-reference. Therefore, as before inferred, we consider the tables here given, are all that is advisable in a work of this character, and that the information given in the preceding chapters is sufficient to teach the beginner in making his own estimates, for anything required in this line of calculating, which will certainly be far more com- mendable than having to depend on printed tables. RAW OR TRAM AND ORGANZINE SILK YARNS. We have not, as yet. treated on these yarns; suffice it to say that, they are numbered according to the number of drachms that 1,000 yards weigh. The drachm referred to is the avoirdupois and not the apothecaries' weight. It is T 1 6 of an avoirdupois ounce, or 27.34375 grains troy. Hence if 1,000 yards weigh one drachm or one-sixteenth of an ounce, 16,000 yards will weigh sixteen ounces or one pound. Therefore, 16,000 yards of No. l's raw silk will weigh one pound; or, in other words, a number represents 16,000 yards, which is the standard or basis for calculating these yarns. TEXTILE DESIGNING. 137 CHAPTER XXI. WEAVING RIGHT AND LEFT-HAND TWILLS, ON CAM AND CHAIN LOOMS. In the weaving of twills, it is usually necessary to have them run with the twist of the warp, in order to have the twill show up full and round, otherwise it will look flat and not appear sufficiently above the face of the filling threads. For instance, in a weave which throws the same amount of warp and filling on both sides of the cloth, or in other words is equally balanced in the warp, it will be noticed that the twill on one side of the cloth looks flat, while on the other side, it looks full and round. The former, is the back or wrong side of the cloth, the twill running the reverse of the twist; the latter, is the face or right side, the twill running with the twist of the warp yarn. Hence, it will be seen, if the warp is spun with a right-hand twist, the twill should run to the right; and, if spun with a left-hand twist, it should run to the left. With the old-style treadle or cam loom, there are two ways of producing those results: one is by the manner of drawing-in the warp, the other is by the manner of hitching or strapping the treadles to the harnesses. In being gov- erned by the former method, draw in the warp the usual way, commencing on No. 1 harness and working across to the back, drawing a thread on each harness in succession, will throw the twill one way; while commencing on No. 4 harness and working across to the front, drawing a thread on each harness in succession, will throw the twill in an 18 138 THE SELF-INSTRUCTOR, opposite direction. In being governed by the latter method, draw in the warp the usual way, and hitch up the treadles as represented by Figs. 1 and 2, allowing the straight lines to represent the treadles, and the figures thus 1, 2, 8 } 4, the order of hitching them to the harnesses. The figures thus 1, 2, 3, 4 r represent the harness numbers. ~H Fig. 1. JO Jf t¥* 3 >— i 2 o# 1 Fig. 2. M 1 O? ■j i—< S 4 Fig. 1 represents the number of a treadle hitched to a corresponding number of a harness, which will throw the twill one way; while Fig. 2 represents the treadles hitched up just the reverse, that is, treadles 4, 3, 2, 1, are hitched to harnesses 1, 2, 3, 4 respectively, this will throw the twill in an opposite direction. If it were desired to produce the regular broken twill, draw in the warp thus 1, 3, 2, 4, and hitch up the treadles as illustrated by Fig. 1 ; or, the warp may be drawn in the usual way (straight across), and the treadles hitched up thus 1, 3, 2, 4, which crosses the straps on treadles 2 and 3, and will produce the same result. This latter change may be made also by hitching up the harnesses at the top thus 1, 3, 2, 4, and hitching the treadles up in their regular order, straight across. With a fancy or chain loom, the twill of the fabric is governed by the manner of building the harness chain, or the way it is put on the chain cylinder. For instance, sup- pose we buid a harness chain after the following weave, TEXTILE DESIGNING, 139 which, in the position it now stands, shows the twill Tun- ning to the right: Take twelve bars of chain, place them on the chain rack, take the links off on one side, strip the bars free from the rollers and tubes for the required number of harnesses; now commence at the back or last harness of the weave, at the top, and build lengthwise of the chain, thus 1 down, 3 up, 3 down, 2 up, 2 down, 1 up; or, width- wise, thus 1 down, 1 up, 2 down, 2 up, 3 down, 3 up. In either case, continue in that manner until the vacant space on the bars is filled with the required rollers and tubes, after which replace the links and pins. Harness Chain. §-000 00—0 § g_00 00—0-0 ■ § Weave. $-0 — 00—0-00 § 5"3H£S H -y"2 • § — oo—o-ooo § ■ ju^b'b: n ibdbb § nn — 0-000 ■ $ DCGBB '□■' BBB s o nznKXMnnran S— 00— 0-000 8 L.BBnnBnBBBnn g nA : g ■■^□■□■■■ncia $-00 — 0-000 — — & BnnB'::BBBnn: "B S n r> nan n S n :b. bbbulj~bb §-0 — 0-000 § db iBBBnnnBBn * n n W CD t- 1 CC H O © O O ascertain any day of the week ny year of the present century, c in table of years fur the year died, and under the months are res which refer to the corre- nding Azures atthehead ofthe lmnsoidays. Exnm}>le: To find it lay of the week Sept.2fell on he year 1873. In the table of rs look for 1873andin a parallel 1 under Sept. is fiz. 1, which jets to col. 1, in which it will be n that Sept -J fell cm Tuesday. 00 000000000000 10 -.-h.MWWO w Ln 1-^1 , - 14^ Ilo I^J 00 CO 00 00 00 00 00 A CENTENNIAL CALENDAR. • ascertaining any Day of the Week for any given time within the Present Century. 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