94. _Stripes composed of Three or More Colours_ (Fig. 12, _B_, _C_,
_D_, and _E_).--As a larger number of shade elements enters into this
kind of stripe than that just described, it follows that the patterns
are somewhat more intricate in composition. Yet, as the weaves used
are invariably of the simplest type, and the widths of the stripes of
different shades in the patterns may be the same, little technical
complication occurs in their production. One illustration will
sufficiently indicate the nature of this type (Regular stripes) of
woven colouring, No. 3 on Plate XV. Four shades are present in this
fabric--blue, tan, slate, and crimson. The dark blue runs against
all the shades and in this way an appropriate ground is produced on
which the various shades may be developed. If slate were made the
ground colour a totally different pattern would result; by changing the
positions of the shades in this manner, a considerable range of styles
is producible. These coloured examples and the forms of pattern in Fig.
12, show that this principle of colouring admits of extensive diversity
of composition.
[Illustration: FIG. 13.]
95. _Irregular Stripes composed of Black and White Yarns._--These
patterns are far more diversified in construction than regular styles.
Even when limited to the use of these shades, a great variety of design
arrangement may be practised. The line stripe effects (Fig. 13) are
woven in warp-face weaves, such as the ten-heald buckskin (Fig. 13A)
and weaves of the cord and corkscrew type. The warp colouring for the
upper pattern is--
38 threads of 2-fold 60’s black worsted,
2 „ fine white silk, or worsted and silk twist,
the weft being a dark shade. Of course, any other two shades might be
employed, _e.g._, Nos. 1 and 3, Plate IV., and No. 13 and No. 15, Plate
VI.
[Illustration: FIG. 13A.]
As illustrative of the different effects that may be obtained in the
same shades, Fig. 14 may be compared with the previous styles. It is a
pattern over an inch in width, and composed of bands of three sizes.
There are, first, bands _A_, containing twelve threads each; then bands
_b_, containing six threads each; and, lastly, the small lines of white
of two threads each. There are twelve white stripes: eleven stripes
_b_, and one stripe of _A_, in each repeat of the pattern. Both this
style, and those in Fig. 13, are of a decided character.
[Illustration: FIG. 14.]
Another type is that given in Fig. 14A. The dark grey, the grey,
and the check lines of grey and white, all vary in size. There are,
therefore, three types of effect; the centre stripe _A_ has a dark
line on each side adjoining the check stripe _B_; then follow stripes
of grey and dark grey, gradually decreasing in size to line _C_, this
being the order adopted on either side of the centre or leading stripe
_A_. In one sense, this pattern is on the graduated principle of
combining lines of different widths, and working in two colours at each
change. Stripes in three shades may also be formed on the same base.
[Illustration: FIG. 14A.]
96. _Irregular and Indefinite Stripes in Two Colours._--No. 1, Plate
XVI., is, in one particular, constructed on a similar principle to the
last illustration, for it contains a series of small stripes, nine in
number, which in combination form one broad band; and then follows
a small band of brown, each repetition of which determines the size
of the pattern. It is a style adapted to lawn tennis trouserings,
flannels, and cotton fabrics. Though there is a marked contrast in the
shades, yet the design is somewhat mellow and subdued. The arrangement
of the warp colours is--
6 threads of white. ⎫
1 thread of brown. ⎬ For 36 threads.
1 „ white. ⎪
1 „ brown. ⎭
6 threads of white.
3 „ brown.
The occurrence of the three threads of brown after each forty-two
threads causes the pattern to appear nearly an inch wide. If the centre
end of these three threads were changed to white, the whole pattern
would be like the part bracketed _A_; showing what a small item may
modify the character of such styles. The white thread between the
browns imparts the indefinite cast to the stripe. If this were removed
the design would be pronounced and decided in arrangement. Indefinite
stripes invariably result from distributing the colours in minute
quantities in the fabric.
[Illustration:
Plate XVI
FORMS OF IRREGULAR STRIPES
1. Tennis Stripe
2. Shaded Stripe
3. Compound of Ordinary and Shaded Stripes]
97. _Irregular Stripes--Shades in Two Colours._--The principle of
shading by colour yields a very useful range of woven patterns. These
obtain in fancy dress fabrics, ulsterings, cottons, and, in small
styles, in trouserings; just as shades are acquired in black and white
in sketching, they may be produced in fabrics in any two colours by
softly gradating one into the other. Generally an ordinary twilled
weave is employed, and two colours of warp yarns, one of which must
be dark and the other of a light shade. Thus, a shaded stripe of
blue may be produced in the Venetian twill by grouping blue and white
threads together, according to the plan given below:--
4 threads of blue cotton.
1 thread of white „
3 threads of blue „
2 „ white „
2 „ blue „
3 „ white „
1 thread of blue cotton.
4 threads of white „
2 „ blue „
3 „ white „
3 „ blue „
2 „ white „
This forms a lightened shade of blue. If black were used, a darkened
shade of this colour would ensue. Any two colours of the same hue, but
of different intensities, such as dark brown and medium brown, drab and
light drab, when arranged on this principle, produce effective patterns.
98. _Shaded Stripes in Two Colours._--Two excellent styles shaded
on this system are supplied in Nos. 2 and 3, Plate XVI. The former
consists of broad bands of fawn, and small bands of scarlet and white,
and blue and white shades. The order of warping being--
4 threads of colour (red or blue).
1 thread of white.
3 threads of colour.
1 thread of white.
3 threads of colour.
1 thread of white.
2 threads of colour.
1 thread of white.
2 threads of colour.
1 thread of white.
1 „ colour.
1 „ white.
4 threads of colour.
1 thread of white.
1 „ colour.
1 „ white.
2 threads of colour.
1 thread of white.
2 threads of colour.
1 thread of white.
3 threads of colour.
1 thread of white.
3 threads of colour.
1 thread of white.
1¼ inches of fawn.
Next, consider No. 3, Plate XVI., a style containing a shaded stripe of
more than an inch in width. While the principle of construction is the
same as in the preceding example, it is more intricate in arrangement,
and comprises a larger group of threads. It is as follows:--
Blue and white stripe, Section _B_ of No. 3, Plate XVI.
8 threads of blue. ⎫ For 56 threads.
8 „ white.⎭
Shade of red, Section _A_ of No. 3, Plate XVI.
5 threads of white.
1 thread of red.
4 threads of white.
1 thread of red.
4 threads of white.
1 thread of red.
3 threads of white. ⎫ For 16 threads.
1 thread of red. ⎭
2 threads of white. ⎫ For 12 threads.
1 thread of red. ⎭
1 „ white.
1 „ red.
1 „ white.
1 „ red.
1 „ white.
2 threads of red. ⎫ For 12 threads ↠ _C_
1 thread of white. ⎭
3 threads of red. ⎫ For 16 threads.
1 thread of white, ⎭
4 threads of red.
1 thread of white.
4 threads of red.
1 thread of white.
4 threads of red.
1 thread of white.
5 threads of red. ↠ _D_
1 thread of white.
4 threads of red.
1 thread of white.
4 threads of red.
1 thread of white.
3 threads of red. ⎫ For 16 threads.
1 thread of white. ⎭
2 threads of red. ⎫ For 12 threads.
1 thread of white. ⎭
1 „ red.
1 „ white.
1 „ red.
1 „ white.
1 „ red. ⎫ For 12 threads ↠ _E_
2 threads of white. ⎭
1 thread of red. ⎫ For 16 threads.
3 threads of white. ⎭
1 thread of red.
4 threads of white.
1 thread of red.
4 threads of white.
1 thread of red.
5 threads of white.
Section _B_ of No. 3, Plate XVI.
8 threads of blue. ⎫ For 56 threads.
8 „ white. ⎭
1¼ inches of drab.
By this arrangement an elaborate shade is formed in two colours in
Section _A_. It commences with a maximum degree of white, which
gradually diminishes until a maximum quantity of red is acquired, when
a similar decrease of red and an increase of white occurs, until the
maximum white quantity is again reached. An analysis of the plan of
colouring may explain how the softly-toned result has been produced.
This commences with a 5 of white, then follows a 4 of white, and
subsequently 3, 2, and 1 of white. Meantime the red has remained
unaltered. At _C_ a change takes place. Now the red begins to augment
in quantity, while the white factor is invariable, consisting of one
thread only. The red starts at this point _C_ with 2, then 3, 4, and
5 in succession. Here the maximum intensity of this hue is reached.
(See _D_ in the order of colours.) From _D_ to _E_ the red factor of
the shade decreases, and from _E_ to the end of the pattern the white
increases. While the gradation of tinting in this pattern is complete,
both sides of the shade are exactly symmetrical.
This style of striping might be adopted in fine cotton, silk, and
worsted fabrics; other colours than those appearing in the illustration
being of course employed.
99. _Irregular Stripes containing Several Colours._--In this class of
stripe are included many of the neatest patterns woven. Such stripes
are generally mellow in colouring, and ingeniously diversified in
arrangement. A number of shades may be combined, but the patterns
should always be characterized by softness of tone.
This scheme of textile colouring is so important that further
illustrations will be considered, two styles in dark, and two in
light colours. Patterns 1 and 2, Plate XVII., show subdued stripings
applicable to tweeds and similar fabrics, and in which there is
diversity of line and of colour. No. 1 has a broad stripe _A_, on
which there are lines of red, with the bulk of the stripe consisting
of one-and-one colouring, and a second stripe _B_, of light olive. The
warping and wefting are--
_Warp._
White 1 ⎫ 26 ⎧ 1 1 1 1 1 1 ⎫ 24
Black 1 ⎭ ⎩ - 1 1 1 - 1 ⎭
Red - 1 - - - 1 -
Olive - - - - - - 4
_Weft._
Black 38 7
Red 1 1
from which it will be seen that there are four colours with three types
of stripes, the large stripe, the single-thread stripes in red, and the
small stripe in light olive.
Pattern 2 is more diversified, and consists of the following warping
and wefting:--
_Warp._
Green and white twist 1 1 1 1 1 1 1 1 1 - - 1 1 1 1 1 1 1 1 1 - -
White 1 1 1 - - - - - - - - 1 1 1 - - - - - - - -
Slate - - - 1 1 1 - - - - - - - - - - 1 - - - - -
Silk - - - - - - 1 1 1 - - - - - - - - 1 1 1 - -
Orange and white twist - - - - - - - - 1 1 1 - - - - - - - - 1 1 1
Fawn - - - - - - - - 1 1 1 - - - - - - - - 1 1 1
Red - - - - - - - - - - - - - - 1 1 - - - - - -
\~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~/
Twice.
_Weft._
Black 98 1
Red 1 1
In the warp alone there are no less than seven colours, grouped to give
harmony, as well as richness of style. Red, orange, and green twist are
used, but no one colour has greater prominence than another; though the
white silk threads form a feature of the pattern, the other colours
blend and tone into each other. There is intermingling of colouring and
of shades blending together, but the stripe characteristic is prevalent.
No. 2, Plate XVIII., is a style in silk in which five varieties of
lines are combined, the ground being white, stripe _A_, with two widths
of lines of heliotrope, _B_ and _C_; lines in green, _D_, and in pink,
_E_. The diversity of lines adds to the richness of the pattern. Had
they been equal in size, there would have been stiffness of form and
want of harmony of colour. The green and the pink would have been too
pronounced in tone, but by adapting the width of the stripe to the
brightness of colour, harmony and contrast are maintained.
No. 1, Plate XVIII., is still richer in colouring and in variety of
stripe. There is, first, the simple striping of crimson and white in
a series of lines, section _A_, with edging colour of gold of similar
width. This is one pattern in itself, but in order to combine it with
the second stripe _B_, without colour impinging upon colour, there is
down either side dividing lines in white. Stripe _B_ consists of four
sizes of lines in addition to the white, in pale blue, pink, gold, and
sage green. Again, there is variety of line with diversity of hue, the
sizes of the stripes having been well worked out in proportion to the
brightness of hue.
In such examples as Nos. 1 and 2, the style of striping has two
applications: first, in other colours of the same depth and degree of
contrast as those in the patterns, and second, in lesser or larger
quantities of each colour, maintaining the same relative proportionate
sizes of the lines.
100. _Shaded Stripes in Several Colours._--Another system of shading,
besides that already illustrated, consists in employing several shades
of yarns of the same hue. For instance, to form a brown shade by this
method, at least three or five tones--the larger the number the better,
and the more complete the gradation--of this colour would be required,
such as very dark, dark, medium, light, and very light brown. Each
shade should be continued for a suitable number of threads, taking
them in succession, and running from dark to light, and _vice versâ_.
But to obtain diversity of colouring in shaded styles economically,
other methods are adopted besides this. An illustration in which the
two methods are combined is given in No. 3, Plate XVIII. This is a
compound of colours which gives shading in two varieties: first, that
formed in the broad band _A_, in which there is a gradation from fine
pink and deep maroon lines at the edges to lines increasing in width to
the centre; and, second, the shaded stripe in green with fawn edges.
The style is similar in principle to Pattern 3, Plate XVI., with the
shading in section _B_ more graduated, the green warp running from a
pale green at the edges to a deep green in the centre. In section _A_
the shading is due to the change in the grouping of the colours, and in
_B_ to the use of several tints of colour. The colour contrasts are in
tone in stripe _A_, and also in _B_, and in hue between _A_ and _B_,
the whole pattern possessing harmony of colouring.
CHAPTER VII.
CHECK PATTERNS.
101. Utility of Check Styles--102. Principles of
Checking--103. Several Styles of Checks. CHECKS COMPOSED
OF TWO COLOURS--104. Forms of Checking in Two Shades--105.
Common Check--106. Modification of Common Check--107. Check
consisting of Two Sizes of Squares--108. Pattern composed
of Solid Squares and of an Over-check--109. Counter-change
Check--110. Compound Checking--111. Gradated Check--112.
Broken Check in Two Colours--113. Basket Check. CHECKS
COMPOSED OF THREE OR MORE COLOURS--114. Principle of
Checking with Three Colours--115. Ordinary Three-shade
Check--116. Set Check--117. Compound Checking in Three
Shades--118. Counter-change Check in Three Shades--119.
Interchanging Check--120. Counter-change with Over-check.
SHADED AND IRREGULAR CHECKS--121. Shaded Check in Black and
White in Cassimere Twill--122. Shaded Check in Two Colours
due to using Designs composed of Various Weaves--123.
Irregular and Mixture Checks--124. Fancy Broken Check--125.
Examples in the Colouring of Tartans--126. Types of
Tartans--127. Two-colour Plaids--128. Three-colour
Plaids--129. Four-colour Plaids--130. Five-, Six-, and
Seven-colour Plaids.
101. _Utility of Check Styles._--Checks form one of the commonest types
of patterns developed in woven goods. They obtain in all species of
colouring, such as subdued and tempered shades, and bright and lustrous
tints. They are characterized by diversification of arrangement,
outline, and dimensions. As a rule, the check styles appearing in
cotton, silk, and worsted yarns are clearer in pattern than those
produced in woollen fabrics, which are frequently more or less
indistinct and intermingled in composition. Possibly no form of design
or method of grouping shades is more extensively worked than that of
checking. It affords scope for novelty of pattern construction. Figured
goods occasionally possess a checked surface of mellow colouring, on
which the floral or geometrical design is distributed. Not infrequently
this check groundwork enhances the fabric and pattern in which it
occurs, giving diversity of surface to the former, and developing with
suitable precision the integral parts of the latter. But in addition
to this principle of textile design being utilized in figured fabrics
according to the system indicated, it is adopted in the construction
of a wide series of styles. Shawls, mantlings, shirtings, flannels,
suitings, coatings, dress fabrics, and other classes of textiles
are coloured with this description of pattern. For dress materials
and shawls, tartan and plaid checks are produced in a great variety
of shades and systems of blending; in tweeds, ulsterings, and Irish
homespuns, somewhat loud and broad checkings are applied, generally
soft in colouring. When suitings and coatings are considered, the
checks are usually small in size and neat in colour.
Checks vary in size and form from minute squares to patterns consisting
of solid squares of colour several inches in a repeat; and from compact
rectangular spaces of colour to intermingled line patterns, but which
still form a decided square or check design.
102. _Principles of Checking._--There are many systems of checking,
yet there are some principles of construction common to every class
of check pattern. For example, whatever plan of colourings obtains in
the warp, in order to make a perfect check the same set of colourings
must be employed in the weft. This is the ordinary method of checking;
it is the crossing of the warp shades with corresponding weft shades
which constitutes the square or check divisions. All checks are formed
of rectangular spaces of colours. Such designs may be defined as
compositions of squares of various sizes, of distinct shades fitting
into each other to form a complete pattern. When producing these
styles, the first work to be accomplished is the arrangement of the
warp threads, which will determine the plan of the check. Supposing
this to be, for instance, the pattern given in Fig. 14 on page 111,
then, in order to convert it into a check, the same order of wefting
as warping would require to be adopted, which would yield a large
check of black--formed by the eight ends of this shade in the warp and
weft--filled in with a series of outline checks of white surrounding
solid squares of black; or consider the tartan plaid given on Plate
X. It is a plaid comprising in each repeat several sets of checks
or square divisions. First, there are the line checks of yellow,
lavender, dark green, and white; second, the squares of blue; third,
the squares of scarlet; and fourth, the main checks of green. These
various squares are so combined as to make a perfect pattern, or one
in which each rectangular space neatly fits into the squares of colour
with which it interchanges. In producing such a fabric, the system of
colouring the warp is primarily determined as indicated, the wefting
being a counterpart of it; though not necessarily so, because the idea
is rather to maintain the clear squares of colour than precisely the
same number of shots or picks as threads per inch.
[Illustration:
Plate XVII
FANCY TWEEDS]
It will be obvious that on this principle any form of check may be
acquired; for by colouring, say, the shaded stripes given on Plate
XVI. in the weft as in the warp, shaded checks would result. There is,
however, one technicality to be considered, which adds to the intricacy
of this kind of pattern construction, namely, the weave of the fabric.
So long as the weaves employed, float the warp and weft equally and
regularly on the respective sides of the fabric, the same balance of
colouring is acquired in both the direction of the warp and weft; but
should the weave bring more warp than weft, or more weft than warp, on
to the face, then whichever factor predominates, it will be impossible
to obtain a check style in which both the warp and the weft colouring
will be equally pronounced. If, for instance, Fig. 13 were changed
into a check, in order to obtain the same precision of white colouring
across as lengthways of the piece, some alteration in the structure of
the weave would be necessary. This will be evident on consulting Fig.
13A, the plan of the weave of this striped fabric. It will be observed
that this weave floats ⅘ths of the warp to ⅕th of the weft on the
face; hence, if it should be used as here given, and the same order of
colouring practised in the weft as in the warp, the white lines in the
weft would be less distinct on the face than on the back of the cloth,
for they only cover one thread out of five. To get a similar prominence
of white in the weft as is seen in the warp of the fabric, the weave
would have to be extended to twenty threads and picks, and the 19th and
20th picks modified in such a manner as to bring ⅘ths of the weft ⅕th
of the warp on the face of the texture. When, as in common twills and
other simple weaves, there are equal quantities of warp and weft yarns
appearing on both sides of the fabric, no difficulties of this kind
arise in converting a stripe into a check pattern.
There are various kinds of “broken” checks in which the combination
of warp shades is made to appear like a check by weaving it with some
order of weft colouring which, while forming a series of transverse
lines of colour, will develop the fancy yarns in the warp which
constitute the main element of such patterns. These, as well as other
recognized types of checking, which are particularly effective in the
woven fabric, and illustrative of the general principles of this class
of textile colouring, will now be described.
103. _Several Styles of Checks._--Check patterns may be classified
under three heads, as follows:--
I. Checks composed of Two Colours.
II. Checks composed of Three or more Colours.
III. Shaded and Irregular Checks.
A considerable range of patterns is obtained in two shades; if the
principles of checking with two shades are fully mastered, the more
advanced species of check designs in which a large variety of colours
obtains, will be readily understood. Indeed, it may be said that checks
of three or more colours are elaborations of two-shade patterns. When
a diversity of colours is employed, it does not follow that large
quantities of each shade are used, but as a rule two shades compose
the general cast of the pattern, while the additional hues are so
many brightening factors. The art of checking consists in the skilful
application of two or more shades, so that several useful schemes of
grouping the threads in such patterns may be considered separately.
Intermingled and irregular checks are composed of square spaces of
colour lacking clearness of character, and are useful for tweeds and
certain classes of worsted goods.
CHECKS COMPOSED OF TWO COLOURS.
104. _Forms of Checking in Two Shades._--These are illustrated in Figs.
15 to 23 inclusive. The illustrations furnished are typical of the
different systems of combining two shades in making check patterns.
The forms of checking are, strictly speaking, unlimited. Beginning with
the smallest check, consisting of two ends of a dark and two ends of a
light shade alternately, the forms increase in intricacy and dimensions
until patterns of several inches in size, and comprising several types
of checking, are acquired.
105. _Common Check._--The commonest form of check is given in Fig. 15.
It results from arranging the warp and weft threads as follows:--
8 or any number of threads of black.
8 „ „ „ white.
Of course the number of threads of each colour, as well as the shades,
may be varied. This style of check is worked in shepherd plaids and in
other patterns, and in all kinds of materials. The weaves generally
employed are plain, cassimere twill, and mat, each make giving suitable
clearness to the colours.
[Illustration: FIG. 15.]
[Illustration: FIG. 16.]
106. _Modification of Common Check._--Fig. 16 shows how, by a simple
variation in the order of colouring the common check, it may be changed
in character. This modification destroys the stiffness of the pattern.
The plan of colouring in this example is as follows:--
8 threads of black. 8 threads of white.
2 „ white. 2 „ black.
8 „ black. 8 „ white.
An outline check of black is thus arranged to divide the squares of
white into four sections, and an outline check of white to similarly
divide the squares of black. It is a neat and useful form of pattern.
Though only consisting of two shades, it comprises five effects,
namely, solid squares of black, white, and squares of black and white
equally mixed; and also of outline checks of black and white. Other
colours besides those in which it is sketched are used in great
variety, and it is a style applied with satisfactory results to rugs,
shawls, dresses, cottons, woollens, and worsteds, being altered in size
in the several fabrics according to the degree of loudness required.
[Illustration: FIG. 17.]
[Illustration: FIG. 18.]
107. _Check consisting of Two Sizes of Squares._--Another valuable form
of check, and one that is extensively utilized, is that in Fig. 17. It
is a combination of two sets of squares of different sizes; it is given
in the most elementary form, the plan of colouring being twelve threads
of black and six threads of white, but it is rarely employed without
being subjected to various modifications. Some of these modifications
may be alluded to. In the first example, the large checks of black, and
also of white, are bisected. This is done without increasing the shade,
as follows (Fig. 18):--
5 threads of black. 2 threads of white.
2 „ white. 2 „ black.
5 „ black. 2 „ white.
In this way, the stiffness of the pattern is removed and a check
obtained on the same base, but containing fuller variation of
construction. Secondly, the square of black might be warped and
woven thread and thread, while the square of white should remain
solid, making a pattern suitable for flannel shirtings. One further
modification to which this style is subjective, consists in bisecting
the square of black or of white, but preferably the former, because it
contains the largest number of threads.
[Illustration: FIG. 19.]
[Illustration: FIG. 20.]
108. _Pattern composed of Solid Squares and of an Overcheck._--An
over-check is a small line of colour forming a skeleton square, filled
in with solid squares of several shades. This base--illustrated in
Fig. 19--is employed in dress fabrics, shawls, and ulsterings, and, in
small effects, in suitings and mantlings. The yarns are arranged--4
threads of black, 2 threads of white, 4 threads of black, 10 threads of
white, 10 threads of black, and 10 threads of white. The characteristic
feature here is that only every alternate square of black is bisected,
causing the small line of white which divides it to form an over-check
equal in size to four of the black or white squares. This outline or
skeleton check contains one solid square of black, four squares of
white, and four squares of black and white twilled. It is a plan of
checking well adapted for plaids produced in two shades, and in such
colours as blue and white, black and red, tan and medium blue (Nos. 2
and 7, Plate IV.), and lavender (No. 10, Plate IV.), and lilac (No. 16,
Plate VI.). Fig. 19 is but a modification of the common check supplied
in Fig. 15; for if the over-check were removed it would be reduced to
precisely the same pattern. To obtain a change in this style, one of
the squares of white is bisected with fine lines of black, leaving one
black and one white check perfectly solid, but dividing one of the
white checks into four equal sections. The order of colouring in such
an instance would be thus (Fig. 20):--
10 threads of white. 4 threads of white.
10 „ black. 4 „ black.
4 „ white. 2 „ white.
2 „ black. 4 „ black.
This modified arrangement of Fig. 19 is one that is adopted in making
this description of check in larger numbers of threads than here given,
say twenty threads instead of the tens, and the other numbers similarly
doubled. Patterns of these dimensions are mostly produced in bright or
delicate colours for fabrics in fine worsted and cotton yarns.
[Illustration: FIG. 21.]
[Illustration: FIG. 22.]
109. _Counter-change Check._--A counter-change check is a pattern in
which the several sets of squares are exactly reversed; thus, in Fig.
21, the checks included in the bracket 1 are just the opposite in
shade, but of the same size, as those grouped in bracket 2. It will be
noticed that the principal square of black has one square of white at
each corner, while the principal square of white has one small square
of black at each corner, forming the counter-change which gives this
species of checking its designation. The arrangement as here given,
obtains development in various materials. It is modified in size
according to the fabric to which it is applied. The colourings may be
grouped as below:--
8 threads of black. 8 threads of white.
8 „ white. 8 „ black.
16 „ black. 16 „ white.
The style lends itself to numerous schemes of modification, but two or
three can only be named. Firstly, bisect the large squares of black
with small lines of white, and the large squares of white with fine
lines of black; secondly, divide the small squares of the respective
shades with black and white lines; and thirdly, combine these two
systems of alteration.
[Illustration:
Plate XVIII
COMPOUND STRIPINGS IN BRIGHT COLOURS]
110. _Compound Checking._--This is one of the most useful schemes
of checking. The example given--Fig. 22--only contains two sizes of
checks, but such designs may be composed of a much larger series of
different-sized squares. Here the plan of grouping is also elementary,
including a set of eighteen small squares of black and white separated
by similar-sized checks of white and black twilled, and also a number
of large checks of black and white. The colourings are arranged as
appended:--
4 threads of black. ⎫ For 24 threads.
4 „ white. ⎭
8 „ black.
8 „ white.
8 „ black.
4 „ white.
In light shades and colours forming a mellow contrast, it makes a
good style, being a check capable of development, and one that may
be altered in several ways. Thus the single large square of white
is divisible by two ends of black, which produce an over-check that
considerably improves the whole pattern. Next, each of the squares of
black should be divided with small lines of white, and lastly, both
alterations should be combined.
[Illustration: FIG. 23.]
111. _Gradated Check._--This style--Fig. 23--is not so largely employed
as those described, but it gives an attractive pattern. The object of
the arrangement is to graduate from a series of small to a series of
large checks. In the fabric, the respective checks appear to run into
each other. No less than eight sizes of squares occur in this example,
varying from a check of two to sixteen threads, the order of colouring
being thus:--
2 threads of white.
4 „ black.
6 „ white.
8 „ black.
10 „ white.
12 „ black.
14 „ white.
16 „ black.
When using fine materials and high counts of yarns the series of
gradations is largely extended, continuing to checks containing as many
as forty-eight and even sixty-four threads. Occasionally, the check
is graduated from a maximum to a minimum size on both sides of the
extreme large square, and not simply shaded off on one side as in the
illustration.
112. _Broken Check in Two Colours._--A species of irregular check in
two colours is given in No. 1 on Plate XIX. The order of the threads is
not intricate, being 8 threads of maroon, 8 threads of green, 2 threads
of maroon, and 2 threads of green, and forms a mellow check style.
This arises, first, from the corresponding strength of the two shades
used; second, from the system of blending practised; and third, from
the manner in which the weave distributes the threads. This pattern
illustrates what neat effects may be acquired in two shades by an
appropriate method of combining colours which contrast and harmonize.
The style under consideration is composed of the contrasting colours
green and maroon, which, when of corresponding intensities, as in
this illustration, produce harmony. This is evident by the sense of
completeness which characterizes the style when it is examined. It does
not require any additional hue to brighten or freshen it, for it is
apparently rich and mellow in colour composition.
The plan of grouping the shades causes the full checks of maroon and
green to be in contact with each other, while the two threads of the
respective hues give a shaded tone to the pattern--the colours seeming
to vanish into each other. When making checks in which softness rather
than loudness of effect is desirable, this toning of one colour into
another is a very requisite element.
113. _Basket Check in Two Colours._--Basket checks are obtained in two
shades, and comprise two sizes of checking. They are produced in both
four-and six-shaft twills, and also in fine yarns in the eight-end
make. They contain four varieties of work, due to the manner in which
the several sets of threads interlace with each other. A reference to
No. 2, Plate XIX., will make it evident what is the nature of these
effects. This is a basket check which has been woven in the cassimere
twill, and in the order of threads which follows:--
For 64 threads. ⎧ 4 threads of slate.
⎩ 4 „ white.
For 48 threads. ⎧ 2 „ slate.
⎩ 2 „ white.
The four-and-four grouping gives the shepherd-plaid effect bracketed
A, and the two-and-two grouping the fine and minute checking bracketed
B. The remaining effects in the pattern are due to the four-and-four
wefting crossing the two-and-two warping--part C,--and the two-and-two
wefting crossing the four-and-four warping in section D. In woollen,
worsted, and other yarns this style of check is largely developed. In
the illustration the sizes of the respective checks are not the same,
the large plaid effect extending over 64 and the small plaids over 48
threads; but in some patterns they are exactly of the same dimensions.
When the six-end twill is used, the shades are not grouped in fours and
twos, but in sixes and threes, as in the example:--
For 48 threads. ⎧ 6 threads of white.
⎩ 6 „ fawn or brown and white twist.
For 48 threads. ⎧ 3 „ white.
⎩ 3 „ fawn or brown and white twist.
One feature in colouring these checks is that no strong contrast of
shades is suitable. Seeing that the system of grouping the shades is
enough to produce ample diversity of style, loudness of colouring is
unnecessary. From the illustration given, it will be seen that there is
no marked distinction of hue in the colours combined. Such shades as
white, and slate and white twist; white, and brown and white twist; and
white, and blue and white twist, all yield patterns of the requisite
depth of contrast. These examples are in light shades, but this type of
checking also obtains an important place in dark patterns for ulstering
and mantling fabrics.
CHECKS OF THREE OR MORE COLOURS.
114. _Principle of Checking with Three Colours._--The principles of
design and colouring involved in making check styles in three shades
are more intricate than those relating to checking with two colours.
More ingenious patterns, fuller of detail and more diversified in
composition, are producible with three than two shades. The third
colour is important and valuable in toning and mellowing the check
arrangement. Thus, supposing a light and dark shade formed the
principal sections of a check composition, then by introducing into it
a third and intermediate colour, increased softness of effect could be
acquired and harshness of contrast obviated. Check arrangements of this
class are employed in many types of woven goods, and are particularly
useful in designing for some species of suitings, mantlings, cotton and
silk fabrics. They are not so formal in cast as two-shade patterns, the
square spaces of colour being better toned. Some of the most generally
adopted systems of grouping the shades in these styles are represented
in Figs. 24 to 32 inclusive. By comparing them with the checks obtained
in two colours given in Figs. 15 to 23, it will at once be evident that
they contain a more complete range of effects and are more diversified
in outline than the preceding examples. The function of the third
shade and its utility in improving the aspect of the patterns will
also be observed. Fig. 25, for instance, though a simple arrangement,
possesses a mellower character than any of the checks developed in
two shades. The grey factor not only increases the multiplicity of
effects appearing in the patterns, but enhances the value of the
respective checkings by giving a softly-toned cast to them. Amongst
the forms of check combinations illustrated in these figures are the
common three-shade pattern, the set check, the compound base, the
counter-change base, the interchanging base, and counter-change with
over-check base.
[Illustration: FIG. 24.]
115. _Ordinary Three-shade Check._--The commonest and most elementary
form of three-coloured checking is that in which the squares of colour
are equal in size, _e.g._, 10 black, 10 grey, and 10 white. When the
squares of each colour are large, the check is satisfactory; but if
they are minute, say about four threads each, and composed of neat
colourings, it is improved in character. Should the colours be dark,
medium, and light, or black, grey, and white, a shaded check is
formed of limited gradation. In greys, blues, browns, or slates, this
arrangement makes a very useful form of pattern, and one that may be
modified in various ways. It might, for example, be shaded off on both
sides by allowing the intermediate shade to alternate with the dark and
light colours. Another change may be effected by bisecting one of the
squares of colour, say the black, with two ends of a lighter shade, in
which instance one outline check would be obtained in each repeat of
the pattern, which would give quite a new aspect to the style. If this
idea of dividing the checks is further worked, a considerable range of
appropriate modifications of this base may be acquired. Let one example
be considered. Alter this form by arranging the shades as below (Fig.
24):--
4 threads of black.
2 „ medium grey.
4 „ black.
4 „ medium grey.
2 „ black.
4 „ medium grey.
4 „ white.
2 „ medium grey.
4 „ white.
According to this scheme the check would be completely changed, though
the base remains unaltered. Each square of colour is here divided into
four sections. The black checks are divided with an outline check of
grey, the grey with an outline check of black, and the white with an
outline check of grey. It will be clear from this method of modifying
the simple order of colouring, that it is an elementary principle of
grouping three shades to form a check which may be utilized in the
development of fancy patterns.
116. _Set Check._--A check pattern in which certain squares--namely,
black in the illustration--form the main feature of the design, and
are set at corresponding distances apart, with the respective shades
alternately intervening, is supplied in Fig. 25. It is designated a
“set” check, on account of the manner in which the large spaces of the
leading shade in the pattern are arranged, these repeating on such a
principle as to give a stiff and “set” appearance to the pattern.
It is made in various dimensions, according to the style of fabric
being manufactured. The size of the black check in lining and shawl
textures ranges from eight to forty-eight threads, but in suitings and
other materials it is frequently not more than six or four threads, and
the spaces of grey and white proportionately reduced.
[Illustration: FIG. 25.]
[Illustration: FIG. 26.]
Taking the order of the shades to be 16 threads of black, 8 threads of
white, 16 threads of black, and 8 threads of grey, then one method of
modifying this base practised with good results is (Fig. 26)--
6 threads of black. ⎫
4 „ grey ⎬ = 16 black.
6 „ black. ⎭
2 „ grey. ⎫
4 „ white. ⎬ = 8 white.
2 „ grey. ⎭
6 „ black. ⎫
4 „ grey. ⎬ = 16 black.
6 „ black. ⎭
2 „ white. ⎫
4 „ grey. ⎬ = 8 grey.
2 „ white. ⎭
The centre of each of the squares of black would, by this means, be
occupied with a square of four threads of grey, while the square of
white would be outlined with skeleton checks of grey, and that of grey
with skeleton checks of white. When this system of alteration is
adopted, a pattern fairly diversified in construction is the result.
[Illustration: FIG. 27.]
[Illustration: FIG. 28.]
117. _Compound Checking in Three Shades._--Fig. 27 forms a neat
principle of checking in three shades in which several series of small
squares of colour are combined. The manner in which the small checks
are grouped, obviates the stiff cast which characterizes some forms of
checking. It will be observed that the several shades do not occur in
uniform quantities. White is the main element, alternating with both
black and grey; then comes black, of which there are three sets of
checks, but only two sets of grey. To produce the pattern, the yarns
are grouped as indicated below:--
8 threads of black.
8 „ white.
8 „ black.
8 „ white.
8 „ black.
16 „ white.
8 „ grey.
8 „ white.
8 „ grey.
16 „ white.
The white not only produces minute checks, but also four large squares
in each repeat of the design.
This base may be varied. One alteration consists in, dividing the
large squares of white with fine lines of black; another modification
practised changes the single square of white, intervening the checks
of grey, into black; while a third system of alteration bisects each
of the checks of black with outline squares of white; then a fourth
principle (Fig. 28) combines these several methods of utilizing this
form, making a pattern constituted thus:--
3 threads of black. ⎫
2 „ white. ⎬ Repeat.
3 „ black. ⎪
8 „ white. ⎭
3 „ black.
2 „ white.
3 „ black.
6 „ white.
4 „ black.
6 „ white.
8 „ grey.
8 „ black.
8 „ grey.
6 „ white.
4 „ black.
6 „ white.
If this last scheme is employed, the cast of the pattern undergoes
considerable change, and is characterized by much variation of checking
and intermingling of shades. By adopting three tones or tints of one
colour, such as brown, olive green, or slate, this mode of checking is
capable of being used in the construction of effective patterns for
mantling, dress, and other fancy fabrics.
[Illustration: FIG. 29.]
[Illustration: FIG. 30.]
118. _Counter-change Check in Three Shades._--The succeeding example
(Fig. 29) is made up of equal quantities of black and grey and of a
smaller portion of white. The checks of white are so introduced as to
separate the four squares of black and also the four squares of grey,
so that the white yarns form a comparatively large over-check. Both the
black and grey threads, on the other hand, each compose two sets of
checks working within one another. It is a base developed in cotton,
worsted, and woollen yarns. One suitable plan of blending the shades
is--8 threads of black, 8 threads of white, 8 threads of black, 8
threads of grey, 8 threads of white, and 8 threads of grey.
[Illustration:
Plate XIX
CHECK STYLES
1. Pattern in Maroon and Green
2. Compound Check
3. Small Interchanging check (Fancy Yarns)]
The style is susceptive of considerable elaboration. For example, the
white check may be embellished with an over-check of black, the
black squares with outlinings of white, and the s grey with skeleton
checkings of black or white.
119. _Interchanging Check._--Three-shade checks on this base are
illustrated in Fig. 30 and No. 3, Plate XIX. On examining Fig. 30,
it will be seen that a group of small squares of black surround four
similarly-sized checks of grey and nine of white. The grey and black
checks interlace with each other. The principal shade in this pattern,
white, is so arranged as to yield both small and large checks. It is
a style which may range from a pattern of a fraction of an inch in
suitings to six or eight inches in dress materials and shawl textures.
When the following quantities are used, the base may be modified:--
12 threads of white.
6 „ black.
6 „ white.
6 „ grey.
6 „ white.
6 „ grey.
6 „ white.
6 „ black.
Various systems may be practised in dividing up the twelve threads of
white. To begin with, this group of ends may be changed to 2 threads of
grey, 8 threads of white, and 2 threads of grey; or the four threads
in the centre of the twelve may consist of 2 grey and 2 black; while a
third variation would change the white square into 4 threads of white,
4 threads of black or grey, and 4 threads of white. If other changes
of this base are required, the small squares of white should each be
bisected with two threads of black, the checks of grey with two threads
of white, and the checks of black with two threads of grey.
An application of this principle to costume fabrics is given in No.
3, Plate XIX. Three colours are used, light brown or fawn, green, and
blue, the blue and green interchanging with each other. The brown is an
intermediate shade, checking with both the green and blue. The warping
and wefting are as follows:--
Light brown or fawn 4 2
Green - 2
Blue 2 -
If the number of threads of each colour were doubled, some
modifications could be applied: the eight threads of brown could be
bisected with an additional colour, and some further alteration made in
developing both the green and blue sections.
120. _Counter-change with Over-check._--Fig. 31 is a pronounced
check form. It is mostly used in tartan patterns for cotton, fine
worsted, and woollen-yarn dress fabrics. More variety of effect may be
introduced into it by subdividing the main squares of black and white.
Each of the spaces of white is in this instance split up by minute
squares of black and lines of grey; and the squares of black by minute
squares of white in addition to the lines of grey in the illustration.
This form of check is often made in very large patterns, some four or
five inches in size, and in strongly contrasting colours, for which it
is, by arrangement, well adapted.
[Illustration: FIG. 31.]
It ought to be observed that all the examples described may be
subjected to numerous modifications in sectional parts of the
colouring, besides those quoted and analyzed. With a view of making
it evident how the schemes of checking alluded to, are elaborated in
practice, it has been shown to what an extent patterns of a check
description are susceptive of variation in the loom. The principles
of constructing these have been elucidated, and the chief forms of
checking have been treated of.
SHADED AND IRREGULAR CHECKS.
121. _Shaded Check in Black and White in the Cassimere Twill._--In
the construction of shaded checks either two or more colours may be
employed. With these, and a proper method of grouping the yarns, a
pattern may be produced of a shaded character. The weave used, if
the order of shade arrangement is diversified, must be of a simple
type. An example will demonstrate the principle of developing this
useful description of woven design. It is given in Fig. 32, and is a
shade in black and white, the cassimere twill being the weave used in
constructing the fabric. There are several features of this pattern
which may be considered. Obviously it is a compound check, combining
both the ordinary and shaded schemes of checking. A set of common
checks of a shepherd plaid type surround the shaded check proper.
The shaded effect consists of three factors, which may be separately
examined. In the square spaces, in which white is the main element, a
light shade is acquired by gradually decreasing the quantity of black
and increasing the quantity of white yarns until a perfect edging of
white is acquired. Next there are lines of a deeper shade, due to the
threads used in the composition of the principal check crossing those
which occur in the shaded white checkings; and lastly, there is the
broken square of black, which decreases by degrees in intensity from
the centre to its respective edges. Though the shading as a whole is
not uniformly continued, for there is a somewhat sudden change from
dark to light shading, yet at this juncture the effect obtained is
softly toned. Mellowness of gradation is an important element of the
pattern.
[Illustration: FIG. 32.]
The irregular manner in which the white and black yarns appear, like
specks on the surface of the fabric, arises from the employment of a
print thread in which these shades alternate in lengths of about ⅜ths
of an inch. Solid black and white threads alone would not yield the
intermingled effect so prominent in this style. They would produce a
much stiffer and more uniform result. If this system of checking should
be applied to woollen and worsted or cotton goods, twist yarns may be
employed in place of the printed threads. These, in all species of
designing, give more intermingled patterns than self-coloured yarns,
and for this reason are useful in the production of shaded effects.
The plan of colouring this example is rather complicated, running as
follows:--
4 threads of black. ⎫ For 36 threads.
4 „ white. ⎭
6 threads of white. ⎫ Repeat. _A._
1 thread of print yarn. ⎭
5 threads of white. ⎫ Repeat.
1 thread of print yarn. ⎭
4 threads of white. ⎫ Repeat.
1 thread of print yarn. ⎭
3 threads of white. ⎫ Repeat.
1 thread of print yarn. ⎭
2 threads of white. ⎫ Repeat.
1 thread of print yarn. ⎭
1 „ white. ⎫ Repeat.
1 „ print yarn. ⎭
8 threads of print yarn. ↠ _B._
1 thread of black. ⎫ For 6 threads. _C._
1 „ print yarn. ⎭
2 threads of black. ⎫ Repeat.
1 thread of print yarn. ⎭
3 threads of black. ⎫ Repeat.
1 thread of print yarn. ⎭
6 threads of black. ↠ _D._
1 thread of print yarn. ⎫ Repeat.
3 threads of black. ⎭
1 thread of print yarn. ⎫ Repeat.
2 threads of black. ⎭
1 thread of print yarn. ⎫ For 6 threads.
1 „ black. ⎭
8 threads of print yarn. _E._
1 thread of white. ⎫ Repeat.
1 „ print yarn. ⎭
2 threads of white. ⎫ Repeat.
1 thread of print yarn. ⎭
3 threads of white. ⎫ Repeat.
1 thread of print yarn. ⎭
4 threads of white. ⎫ Repeat.
1 thread of print yarn. ⎭
5 threads of white. ⎫ Repeat.
1 thread of print yarn. ⎭
6 threads of white. ⎫ Repeat. _E._
1 thread of print yarn. ⎭
The light shade, which composes the squares consisting mainly of white,
is formed by the threads included within _A_ and _B_. This will be
seen on examining the plan of colouring. At _A_ there are six parts of
white to one part of black and white print yarn; but at _B_ there is
a small quantity of print yarn only--the toning from extreme white to
a complete mixture of black and white having been gradually effected
by the intervening groups of shades. From _C_ to _D_ the dark shade is
produced. Not containing as many changes as the light shade, it is more
decided in composition. Practically this shade commences at _B_, which
connects it with the adjoining gradated square of white and black. At
_C_, however, the first move to black begins, for here black and print
yarns are equally mixed. The number of black threads now increases
until Section _D_ is reached, when it begins to diminish, ultimately
shading off to a group of print threads as indicated at _E_. From this
stage the white shade is renewed, and continues to the end of the
pattern.
Apart from its value as a principle of shading, this style is extremely
suggestive of what may be accomplished by grouping two shades in woven
fabrics of a simple or common twill class.
[Illustration: FIG. 33.]
122. _Shaded Checks in Two Colours due to using Designs Composed of
Various Weaves._--These patterns are in some respects simpler to
produce than the preceding class of check. There is no diversity
of shade arrangement in such styles, the warp and weft being solid
colours throughout. Now in an ordinary twill such colouring would not
give any form of check, so that this is quite a distinct principle of
checking. It is one that is applied to worsted, silk, and cotton, but
not to woollen textures to any large extent. The combination of weaves
necessary is not so well adapted for development in woollen, as in the
other classes of threads named. Colouring being simple, the design is
correspondingly intricate. If this is well constructed it will yield
a shaded pattern, though the warp and weft yarns be of precisely the
same colour, size, and quality. When this sort of shade is formed, a
better effect is produced in such yarns as worsted and silk. Cotton or
woollen threads would not give the same effect in designs arranged on
the principle of a gradual movement from a maximum warp to a minimum
weft flush, and inversely, as in Figs. 33 and 34. The essential of
shading consists in diversity of tinting. A brown, or any other shade,
is producible if several colours of brown of variable depths are
combined, but not otherwise. What in this instance is impracticable
from a colour standpoint, is feasible by a suitable arrangement of
weaves. The shade that may thus be produced is not, of course, so clear
and pronounced as that due to a diversity of colouring, for it simply
results from the difference in effect of the flushes of warp and weft
yarns composing the pattern. As there is some visible distinction in
the brightness of the floats of warp and weft respectively, if the
weaves constituting the design are arranged on such a principle as
to tone one into the other, they produce an effect of a shaded type.
According to the example furnished, one set of weaves which combines
admirably on this method is that derived from a sateen base. But these
are not the only weaves used, many varieties of twills being employed
for similar purposes; but sateens give the most uniform shades of any
class of weaves that can be utilized. On referring to Figs. 33 and
34, it will be seen that the weaves differ from each other in the
extent to which they flush the warp and weft yarns on the face of the
texture. To construct a shaded pattern of this kind, commence with the
extreme warp-flush weave, adjoining which place the weave most closely
approaching it in structure; the diminution in warp and the increase in
weft flush continuing from one weave to another, until the extreme or
maximum weft flush is attained. In such a scale of shades, the extreme
warp- and weft-flush weaves represent opposite ends of the shade, the
weaves intervening completing the gradation or toning of the pattern.
The form or outline of the check is first decided upon, and then the
weaves combined according to the dark or light effect required in the
various parts of the design.
[Illustration: FIG. 34.]
This style of checking is determined by the system of arranging the
weaves used, and not, as in the previous examples, by changing the
scheme of colouring; hence this species of shaded check is extremely
simple to produce, so far as the blending of colours is concerned.
[Illustration: FIG. 35.]
A further application of this principle of weave shading in combination
with a difference in the depths of colouring in the warp and weft is
that developed in figured fabrics, of which Fig. 35 is an example and
Fig. 35A a section of the complete design. There are other weaves
forming sections of the figuring, but they would give a pronounced
warp or weft colour effect: that is to say, should the warp be a
light or pale heliotrope, and the weft dark heliotrope, there would
be perfect shading from the dark to light in the floral parts, but in
other sections, marked in ⊡’s and ◻’s, either a solid warp or weft
colour would appear on the face of the fabric. The principle imparts
definition to the colours used, and also to the integral parts of the
design.
[Illustration: FIG. 35A.]
123. _Irregular and Mixture Checks._--The styles of this checking,
on account of their neat and subdued character, are produced in many
classes of woollen and worsted fabrics. Two typical examples will be
considered--Nos. 1 and 3, Plate XX. No. 1 is an intermingled check in
five colours, and possesses a black ground, the order of warp colouring
being:--
3 threads of black.
1 thread of black and scarlet twist.
2 threads of black.
1 thread of black and green twist.
2 threads of black.
1 thread of black and scarlet twist.
3 threads of black.
2 threads of olive green.
3 threads of black.
1 thread of black and scarlet twist.
2 threads of black.
1 thread of black and green twist.
2 threads of black.
1 thread of black and scarlet twist.
2 threads of black.
3 threads of olive brown.
The method of wefting is much simpler than that of warping, consisting
of 12 picks of black, 2 picks of olive brown, 12 picks of black, and 2
picks of olive green. The pattern is a combination of outline checks,
enhanced with spotting threads of scarlet and black, and green and
black twists. There is a skeleton check of olive green interlacing with
a similar check of olive brown. The intensity of the two leading fancy
colours ought in such patterns to be the same, as they should both be
equally prominent in the texture.
Next, as to the twist yarn or mixture check--No. 3, Plate XX. Here
the pattern is composed of green and olive twist. On the intermingled
mixture ground formed by these threads, is a small check of maroon.
This hue forms a mellow contrast with the general colouring of the
fabric. Twist yarns are chiefly suitable for yielding the rich and
mellow indistinctness of effect seen in this example. The maroon is a
solid colour and gives character to the pattern. For costume fabrics
this scheme of checking, in both woollen and worsted fabrics, is well
adapted, as it combines softness of colouring with neatness of pattern.
[Illustration:
Plate XX
CHECK STYLES
1 and 3. Intermingled Effects
2. Broken Check]
124. _Fancy Broken Check._--This is a species of check in which the
plan of wefting differs from that of grouping the warp colours, the
object being to produce a check-like effect more or less irregular in
composition. No. 2, Plate XX., is one form of this sort of checking.
A pattern composed of small checks is here obtained, analysis of the
colourings showing the warp and weft to consist of different shades.
Thus, while the order of warping is 5 threads of light fawn, 1 thread
of green, 4 threads of slate, 5 threads of light fawn, and 5 threads
of slate; the weft is 4 picks of black, 1 pick of scarlet, 5 picks of
bluish grey, 5 picks of black, and 5 picks of bluish grey. The contrast
between the warp and weft shades defines the weave, which, if the
warp and weft colourings had been alike, would, in some parts of the
pattern, have been indistinct.
The point to be observed in this type of colouring, is to employ shades
of similar intensities in both warp and weft; thus, in this example,
the slate is almost as prominent in the woven fabric as the black, the
light fawn as the bluish grey, and the green as the scarlet. It is
only by securing this balance of hues that harmonious colourings are
producible in broken check patterns. Should any particular colour be
stronger in character than others, it destroys some of the elements
of the pattern. This principle of cross checking is also applied
to various classes of striped fabrics, in which it is desirable to
partially subdue the continuity of the warp colourings.
125. _Examples in the Colouring of Tartans._--These may be defined as
squares of colour varying in size and arrangement, and are, strictly,
an elaborate scheme of check design entirely in colouring. One
interesting feature of these plaids is that the colours are usually of
the same depth or degree of intensity, as illustrated by the Erskine
plaid, a compound of bright scarlet and green. These two contrasting
and complementary hues form a good checking. It is not, however, always
the case that complementary colours are blended; for instance, the
Montgomery tartan is composed of green and blue, two colours which,
if not of the proper hue and intensity, would produce an incongruous
pattern. Hence, here, as in many other plaids, it is a question of
using the correct depth and hue of colour.
Tartans illustrate the hues which combine harmoniously, and also the
quantities or areas in which bright colours unite in a satisfactory
manner.
As illustrations of this, the Macdonald and Hunting Menzies may be
compared. In both, exactly the same colours are used, with entirely
different effects. The Macdonald, in consequence of the large quantity
of scarlet entering into its composition, is a bright plaid; whereas
the Menzies is much softer and mellower in appearance. The larger the
variety of colours, the more interesting the result in the pattern. If,
for instance, the Duke of Rothesay, a three-colour tartan, is compared
with the Hay, a five-colour one, the value of the larger number of hues
in multiplying the diversity of colouring will be understood. Both are
satisfactory compounds of coloured yarns, but the superior richness
of the Hay is apparent. In each, red, green, and white are used, with
the addition of black and yellow in the Hay. The Rothesay has a large
square of red, divided with stripes of white, whereas in the Hay a
similar space of red is subdivided with stripes of white, black, and
green. In the Rothesay the green sections are crossed with lines of
red; but in the Hay, with lines of yellow and red, forming a check rich
in colouring.
126. _Types of Tartans._--Tartans may be classified as follows:--
1. Plaids in two colours.
2. Plaids in three colours.
3. Plaids in four colours.
4. Plaids in five colours.
5. Plaids in six and seven colours.
It is difficult, on account of the varied colouring, to classify them
according to hue; but the above subdivision comprises all the tartans,
and makes it feasible to deal with them in a natural order, or in
accordance with their colour composition.
127. _Two-Colour Plaids._--Amongst the most important of the two-colour
tartans are the Menzies, Douglas, Montgomery, Macdonald, and the
Erskine. The Menzies is produced in red and white, red and black, black
and white, and red and green, the last being termed the Hunting Menzies.
The black and white Menzies, in its original form, is illustrated in
Fig. 36, the order of shades in both warp and weft being as follows:--
Black 96 12 24 6 6 24 12
White 16 16 8 36 8 16 16
It is a forcible scheme of checking which may be developed on various
lines. Two changes which affect the appearance of the check are given.
In the first (Fig. 37) the largest quantity of one colour--the 96 of
black--has been modified:--
4 black. ⎫ For 16. 4 white. ⎫ For 16.
4 white. ⎭ 4 black. ⎭
64 black.
[Illustration: FIG. 36.]
[Illustration: FIG. 37.]
This slightly subdues the form of the check, which would be more
apparent if the lines added were of a different colour from the rest of
the pattern. The second change to form an overchecking is applied to
the 12 threads of black in the centre of the squares of white:--
1 black. ⎫ For 4. 1 white. ⎫ For 4.
1 white. ⎭ 1 black. ⎭
4 black.
Again, by having the odd threads in a bright colour, the tone of the
pattern would be improved.
Another example, namely, the Montgomery (Fig. 38), with the derivations
obtainable on this base, may be considered. It is composed of a
peculiar hue of grass green and blue. The blue, however, by its
softness and warmth of hue, arising from its purplish tone, makes
a subdued contrast with the green. The colours being about equal in
intensity, are combined in similar quantities. In a smaller checking,
with the blue slightly predominating, this plaid would make a good
lining style, especially in mantles where the face of the cloth may be
a warm colour, such as deep fawn. The warping and wefting for Fig. 38
are:--
Green (black) 144 16 16
Blue (grey) 48 48 48
[Illustration: FIG. 38.]
[Illustration: FIG. 39.]
In Figs. 39 and 40, two simple changes, showing how the pattern may be
altered in appearance, are given. In the former, the centre 48 threads
of blue have been subdivided into
20 threads of blue (grey),
8 „ green (black),
20 „ blue (grey),
whilst in the latter, the 16 threads have been changed to
6 threads of green (black),
4 „ blue (grey),
6 „ green (black).
The check should be further modified in the large square of 144 threads
of green, working either from the edges to the centre, or _vice versâ_,
one scheme being as follows:--
Green (black) 24 16 8 16 24
Blue (grey) 8 20 20 8 -
[Illustration: FIG. 40.]
[Illustration: FIG. 41.]
The Grey Douglas is an effective pattern in black and grey yarns. As a
basis of checking, it is simple in arrangement, and of such a character
as to be capable of numerous modifications. In fine yarns and close
setting, it might be used for dress materials, in worsted yarns for
linings, and in woollen yarns for rugs and shawls: in thick and soft
spun yarns, it would be also suitable for travelling rugs. A standard
form of this tartan is sketched in Fig. 41, the warp and weft being:--
Black - 4 4 16 4 32 4 16
Grey 36 8 36 4 4 4 4 -
[Illustration: FIG. 42.]
[Illustration: FIG. 43.]
Figs. 42 and 43 give some idea of the diversity of style obtainable by
extending the colouring. The form of this check makes it desirable, in
combining other colours than black and grey, that there should only
be a small degree of contrast between the shades, the best patterns
resulting when the colours are of the same hue.
[Illustration: FIG. 44.]
When the plaid is developed on the lines illustrated in Figs. 42
and 43, it suffers somewhat in simplicity of character, but still
makes an excellent pattern for linings, and in fine yarns for dress
materials. The broken-up effects in these two checkings admit of more
pronounced colour contrasts than are feasible in colouring Fig. 41. The
sub-division of the various sections of 36 threads of grey has been
acquired thus:--
8 threads of grey.
4 „ black.
8 „ grey.
4 „ black.
12 „ grey.
Fig. 43 results from dividing the 32 threads of black:--
8 black.
1 grey. ⎫ For 16.
1 black. ⎭
8 black.
By changing the weave from 4- to 6-end twill, a very different colour
effect is obtained, as shown in Fig. 44.
128. _Three-Colour Tartans._--These form an important variety, and
may be considered under two heads,--the bright plaids, of which the
Gow, MacLeod, Duke of Rothesay, Cuninghame, Brodie, Wallace, MacQueen,
Crawford, Hamilton, Ross, Macintosh, Maxwell, Dunbar, Skene, and
Mathieson are examples; and the dark plaids, including the Clergy,
Hunting Mathieson, Keith, Hunting MacLean, MacArthur, and Elliot.
The following are the orders of colouring for the MacQueen, the
Hamilton, and the Maxwell:--
MACQUEEN (Fig. 45).
Black (black) 8 8 8 64 64
Red (grey) 28 28 28 - 28
Yellow (white) - - - 6 -
[Illustration: FIG. 45.]
Two modifications of this tartan are given in Figs. 46 and 47, and show
how the base is adapted for detailed checking.
HAMILTON (Fig. 48).
Scarlet (medium grey) 60 60 16 16
White (white) 12 - - -
Blue (black) - 36 36 36
MAXWELL (Fig. 49).
Scarlet (medium grey) 54 8 54 12 12 12
Green (light grey) 4 4 - 28 28 -
Indigo blue (black) - - 12 - - 12
These tartans are examples of colouring in which red or scarlet is the
most important colour employed.
[Illustration: FIG. 46.]
[Illustration: FIG. 47.]
Fig. 50, the Elliot, is not of this class, for it is composed of
blue, brown, and a small band of scarlet, the red being used to give
cheerfulness of tone. The order of colouring is:--
Blue (grey) 216 32 32
Brown (black) 64 - 64
Scarlet (white) - 12 -
It is a simple check, yet is exactly of that type which is capable of
interesting development by modification.
[Illustration: FIG. 48.]
[Illustration: FIG. 49.]
129. _Four-Colour Plaids._--Three of the most interesting tartans of
this class, whether produced in neutral shades or in the original
colourings, are the MacKinnon, Dundas, and Fraser. They have few
elements in common, as comparisons of Figs. 51, 54, and 57--the plaids
in the unmodified forms--distinctly show. The MacKinnon in particular
is characterized by simplicity of form and scheme of colouring; the
Dundas is a heavier base; and the Fraser full of details and of shade
contrasts. They are also dissimilar in colour qualities. The MacKinnon
and Dundas are both dark plaids, the former being composed of brown,
green, scarlet, and white, and the latter of black, green, scarlet, and
blue. The Fraser is an admirable compound of scarlet, black, green, and
white. The following are the orders of colouring for the respective
tartans, with their modifications:--
THE MACKINNON (Fig. 51).
Brown = black 64 64 - 64 64 -
Green = medium grey 12 64 64 - 64 64
Scarlet = light grey - 8 - - 8 -
White = white - - - 8 - -
[Illustration: FIG. 50.]
[Illustration: FIG. 51.]
MACKINNON--FIRST MODIFICATION (Fig. 52).
24 30
⏞ ⏞
Medium grey - - - - - 12⎫ 64 64⎫ -⎫ 64 64
Light grey - - - - - - ⎬ Repeat 8 -⎬ Repeat -⎬ Repeat 8 -
Black 6 2 10 6 2 - ⎪ A - -⎪ A -⎪ A - -
White 2 2 - 2 2 - ⎭ - -⎭ 8⎭ - -
\~~~~~~~~~~~/
A
MACKINNON--SECOND MODIFICATION (Fig. 53).
24 30
⏞ ⏞
Medium grey - - - - - 12⎫ 12 4 4 4 4 4 12 -
Light grey - - - - - -⎬ Repeat - - - - - - - 8
Black 6 2 10 6 2 -⎪ A - - 2 2 - - - -
White 2 2 - 2 2 -⎭ 4 4 - - 4 4 - -
\~~~~~~~~~~~/ \~~~~~~~~~~~~~~~~/
A B
[TN: Table continues:]
Medium grey ⎫ -⎫ -⎫
Light grey ⎬ Repeat Repeat -⎬ Repeat Repeat 8⎬ Repeat
Black ⎪ B A -⎪ A B -⎪ B
White ⎭ 8⎭ -⎭
Both these changes result in the formation of excellent plaids for
travelling rugs. The check given in Fig. 53 would be difficult to
improve upon by combining four shades.
THE DUNDAS (Fig. 54).
Black = black 40 8 40 - 8 -
Blue = medium grey 40 40 - - - -
Green = light grey - - 64 8 8 64
Scarlet = white - - 12 - 12 -
[Illustration: FIG. 52.]
[Illustration: FIG. 53.]
[Illustration: FIG. 54.]
[Illustration: FIG. 55.]
DUNDAS--FIRST MODIFICATION (Fig. 55).
Black 4 4 - 4 4 - 8 ⎫ - - 8 -
White 4 4 4 4 - - - ⎬ Repeat - 12 - 12
Med. grey - 8 - - - 40 40 ⎪ A - - - -
Light grey - - - - - - - ⎭ 64 8 8 64
\~~~~~~~~~~/
A
DUNDAS--SECOND MODIFICATION (Fig. 56).
Black 4 4 - 4 4 - 8 ⎫ - 2 - - - 2 - 8 - ⎫
White 4 4 4 4 - - - ⎬ Repeat - - 4 4 4 - 12 - 12 ⎬ Repeat
Med. grey - 8 - - - 40 40 ⎪ A - - - - - - - - - ⎪ B
Light grey - - - - - - - ⎭ 10 10 4 4 10 10 8 8 - ⎭
\~~~~~~~~/ \~~~~~~~~~~~~~/
A B
THE FRASER (Fig. 57).
Green = mid grey 24 - - 24 -
Scarlet = light grey 12 12 12 48 48
Blue = black 24 24 - - -
White = white - - - 12 -
[Illustration: FIG. 56.]
[Illustration: FIG. 57]
FRASER--FIRST MODIFICATION (Fig. 58).
Light grey 8 6 6 8 - ⎫ - 12 12 12
Black 4 - 4 - - ⎬ Repeat - 24 24 -
White - 12 - - 12 ⎪ A - - - -
Mid grey - - - - - ⎭ 24 - - 24
\~~~~~~~~~/
A
FRASER--SECOND MODIFICATION (Fig. 59).
Light grey 8 6 6 8 - ⎫ - - - 12 12 12 ⎫
Black 4 - 4 - - ⎬ Repeat - - - - 24 24 - ⎬ Repeat
White - 12 - - 12 ⎪ A - 4 4 4 - - - ⎪ A
Mid grey - - - - - ⎭ 4 4 4 - - - - ⎭
\~~~~~~~~/ \~~~~/
A B
130. _Five, Six, and Seven-Colour Plaids._--These are much more limited
in variety, but the following may be given as examples:--
CLAN ALPIN (FIVE-COLOUR).
Black - - 32 32 - - 6 - -
Indigo blue 32 - - - 32 8 - 8 -
Green - - 6 - 8 36 36 - 8
Yellow - 6 - - - - - - -
White - - - 6 - - - - -
[Illustration: FIG. 58.]
[Illustration: FIG. 59.]
ROYAL STUART (SIX-COLOUR).
Black - 20 - 10 - 10 - - 8 - - - 8 - - 10 - 10 - 20 - -
Blue 16 - - - - - - - - - - - - - - - - - - - 16 -
Green - - - - - - 40 - - - - - - - 40 - - - - - - -
Scarlet - - - - - - - 20 - 8 - 8 - 20 - - - - - - - 220
Yellow - - 8 - - - - - - - - - - - - - - - 8 - - -
White - - - - 8 - - - - - 8 - - - - - 8 - - - - -
MACLEAN (SEVEN-COLOUR).
Black - 6 - 6 - 12 - - - 12 - 6 - 6 - - - - 6 - - -
Indigo - - - - - - - 24 - - - - - - - - - - - - - -
Green 36 - - - - - - - - - - - - - 36 - - - - - - -
Scarlet - - - - - - - - - - - - - - - 56 - 8 - 8 - 56
Yellow - - - - 4 - - - - - 4 - - - - - - - - - - -
White - - 6 - - - - - - - - - 6 - - - - - - - - -
Lavender - - - - - - 6 - 6 - - - - - - - 6 - - - 6 -
In the exposition of tartans given, it has been shown that this scheme
of colouring is not only useful in the production of the original
plaids, but that it may be subjected to almost an endless series of
modifications. Many of these, as well as the plaids themselves, when
developed in subdued colourings, are suitable for styles in dress
and mantle fabrics. In recent years they have also been developed
in the foundation of plush and other textures. They are specially
suitable for such textures, inasmuch as the contiguity of the figuring
formed in velvet or loop pile destroys any stiffness of character
which lines of colour, cutting each other at right angles--as in all
check patterns--must more or less possess. To the student of colour
contrast and harmony these patterns are interesting and suggestive.
They are illustrative, not only of how bright colours may be blended
without yielding patterns in which the contrasts are displeasing, but
also of the quantities of the colours which give the most harmonious
composition. As they are distinctly textile colourings, and are the
product of weaving, they possess qualities which are not to be found in
any other type of colouring. The field which has been covered has by no
means been fully explored. There are many possibilities in this branch
of textile work which can only be analyzed by systematic experiments
conducted in the loom.
CHAPTER VIII.
SIMPLE COLOURINGS.
131. Simple and Compound Colourings--132. Regular Simple
Colourings--133. One-and-One and Two-and-Two Systems--134.
Figured Styles in Common Weaves and One-and-One Colouring--135.
Utility of the One-and-One Principle in Figured Textiles--136:
One-and-One and Two-and-Two Colourings in Fancy Weaves--137.
Three-and-Three Colouring--138. Four-and-Four Arrangement--139.
Four-and-Four Method applied to Fancy Weaves--140. Six-and-Six
and Eight-and-Eight Schemes--141. Six-and-Six Colouring in
Various Crossings--142. Three-Odd-Thread Arrangement--143.
Various Three-Shade Patterns--144. Simple Colourings composed
of Four Shades--145. Irregular Simple Colourings--146.
Irregular Simple Patterns in Two Shades--147. “Irregulars”
composed of Three Shades--148. “Irregulars” composed of Four
Shades--149. Cross-weftings.
131. _Simple and Compound Colourings._--As in Weave Design there are
two important types of pattern--such as effects resulting from the use
of one crossing, and effects due to combining several crossings--so the
styles obtained by blending fancy shades are also of two kinds, and
may be designated Simples and Compounds. Both classes are divisible
into Regular and Irregular orders of colourings. In the Regular order
of Simple colourings, the colour elements are of equal quantities and
systematically alternate; but in Compounds, the shades may occur in
various quantities and be irregularly distributed. If, for example, a
pattern were arranged--
2 threads of black, 2 threads of blue,
2 „ brown, 2 „ slate,
it would be a Simple colouring, because it is composed of similar
numbers of each sort of yarns, and the respective shades regularly
succeed each other. The same shades could be made to form an Irregular
Simple pattern in two ways: first, by diversifying the plan of
the colours in such a manner as to allow any one or more shades to
intervene the other shades, as follows:--
2 threads of black, 2 threads of blue,
2 „ brown, 2 „ brown,
2 „ black, 2 „ slate;
and second, by retaining the original order of succession of shades,
but by varying the quantities in which they occur, as illustrated
below:--
8 threads of black, 4 threads of blue,
6 „ brown, 2 „ slate.
Here are two types of Irregular and Simple colourings, viz., those
in which the shades are grouped in similar quantities but are
irregularly combined, and those in which the shades obtain in different
proportions, though following in regular order.
To convert the same group of shades into a Compound colouring, it is
only necessary to combine two or more systems of blending the yarns, as
follows:--
For 16 threads. ⎧ 4 threads of black.
⎩ 4 „ brown.
For 16 threads. ⎧ 2 threads of blue.
⎩12 „ slate.
From this example it will be observed, that in making a Regular
Compound at least two systems of elementary colouring are combined:
in this instance, the four-and-four and the two-and-two methods have
been selected. Compounds necessarily give more diversified styles of
pattern than Simples; but unless the effects of the latter have been
studied, the arrangement and composition of Compounds cannot be fully
understood. Simple colourings are the elements of all Compounds. In
order to obtain well-balanced effects in designs consisting of various
weaves, the construction and woven result of each weave have to be
considered, and only such makes united as will yield symmetrical
patterns and regularly-built fabrics; and similar laws determine the
association of shades as determine the combination of weaves.
132. _Regular Simple Colourings._--The principal forms of Elementary
Simple Colourings are comprised in the three classes given in the table
appended:--
TABLE IX.
REGULAR SIMPLE COLOURINGS.
CLASS A.--COMPOSED OF TWO SHADES.
_I. Scheme._
1 thread of black.
1 „ white.
_II. Scheme._
2 threads of black.
2 „ white.
_III. Scheme._
3 threads of black.
3 „ white.
_IV. Scheme._
4 threads of black.
4 „ white.
CLASS B.--COMPOSED OF THREE SHADES.
_I. Scheme._
1 thread of black.
1 „ grey.
1 „ white.
_II. Scheme._
2 threads of black.
2 „ grey.
2 „ white.
_III. Scheme._
3 threads of black.
3 „ grey.
3 „ white.
_IV. Scheme._
4 threads of black.
4 „ grey.
4 „ white.
CLASS C.--COMPOSED OF FOUR SHADES.
_I. Scheme._
1 thread of black.
1 „ medium grey.
1 „ light grey.
1 „ white.
_II. Scheme._
2 threads of black.
2 „ medium grey.
2 „ light grey.
2 „ white.
_III. Scheme._
3 threads of black.
3 „ medium grey.
3 „ light grey.
3 „ white.
_IV. Scheme._
4 threads of black.
4 „ medium grey.
4 „ light grey,
4 „ white.
It is not needful to increase the number of these examples, for it will
be observed that in each scheme of the several classes given, the
order of colouring is identical, but that the quantities of the shades
are systematically enlarged. In fine fabrics, the number of threads
of each colour might be increased; but in these examples, the bases
of all styles of Elementary and Compound Colourings are enumerated.
On this account they will be considered separately, and the effects
of the various systems in the woven fabric will be fully analyzed and
described.
[Illustration: FIG. 60.]
[Illustration: FIG. 60A.]
[Illustration: FIG. 61.]
[Illustration: FIG. 61A.]
133. _One-and-One and Two-and-Two Colourings._--These are the most
elementary arrangements of shades. They give different effects,
according to the weave in which they are developed. The one-and-one
system is applied chiefly to plain and twilled weaves, in which it
constitutes two styles of patterns very extensively produced in
ordinary fancies. First, in the plain make, it forms the hairline
stripe sketched in Fig. 5C; and in the cassimere twill, the
step-diagonal effect sketched in Fig. 5F. Both are useful textural
styles. In cottons, silks, and fancy woollens and worsteds, this
order of threads can be made to produce patterns of some intricacy of
composition by simply employing in one instance the two plain makes
given in Figs. 60 and 60A, and in the other instance the two twills
given in Figs. 61 and 61A. Should the plain weaves be combined, say,
in such a manner as to make a stripe, and this design woven in the
one-and-one system of colouring, the woven result would consist of a
band of lines of the respective colours running longitudinally in the
fabric, and of a band of transverse lines of the same shades. This is
a principle which is capable of being utilized in the construction of
elaborately figured designs.
When the weaves supplied in Figs. 61 and 61A are combined, and the
resultant design woven in this order of shades, in such sections of
the fabric as Fig. 61A occurs, the pattern produced consists of small
step effects twilling to the right, but in the sections composed of
Fig. 61, of similar effects twilling to the left; hence, by combining
these in the form of stripes, checks, or figures, woven patterns are
obtainable diversified in aspect and arrangement.
Next, as to the two-and-two system (Class A, Scheme II., of Simple
Colourings) of combining shades. This is another plan of grouping
colours for certain elementary crossings. Its effects in the [2/2]
twill and the mat or celtic are typical of the general style of pattern
obtainable.
The results produced in the twill are those in Figs. 62, 62A, and 62B.
The different effects are due to the employment of distinct wefts.
Thus, in Fig. 62 the weft is grey, in Fig. 62A white, and in Fig. 62B
the same as the warp, or two picks of grey and two picks of white.
When the grey weft is used, a stripe of grey adjoining an intermittent
stripe of white is obtained; when white forms the weft, a small line of
white adjoins a broken line of grey and white; but when a corresponding
method of wefting is adopted as warping, a small broken check effect is
acquired.
[Illustration: FIG. 62.]
[Illustration: FIG. 62A.]
[Illustration: FIG. 62B.]
Changing the weave to hopsack or mat alters the patterns resultant.
If the weft be black in this two-and-two colouring, and the weave
four-end celtic, a style is constructed similar to that given in Fig.
63, or a pattern with a black ground on which squares of solid white
are regularly distributed at uniform distances apart. Substituting
white for the black weft, a texture with a white foundation and a black
square spot, just the reverse of Fig. 63, is produced; whereas if the
weft is the same as the warp, a style composed of solid lines of black
and white, or a pattern of a hairline description, results.
These examples clearly set forth the principles of weaving in relation
to methods of colouring. Here the same order of threads--though
extremely simple--in two different crossings of an elementary
structure, forms quite distinct effects. In the cassimere twill more
intermingled, and hence less severe patterns, are formed than in the
mat or hopsack. They consist of small indefinite stripes and of a
minute and irregular check. But in the mat, the same warp colouring
gives a well-defined check composition, even when the wefts are all one
colour, and instead of a broken check in the fabric when the weft is
similar to the warp, as in the twill, a stripe of a decided arrangement
is got.
[Illustration: FIG. 63]
134. _Figured Styles in Common Weaves in One-and-One Colouring._--The
principles of woven effect, just elucidated, whereby a combination of
plain or twilled weaves may, in the simplest arrangement of colours,
be made to produce in the texture two dissimilar patterns, may be
utilized in the development of figured designs. Usually these figured
fabrics necessitate the adoption of various schemes of weaving and
colouring in their manufacture; whereas in this type of design there
is no elaboration either of weave or colour. These are particulars of
construction peculiar to patterns acquired on this system.
A feature of designs of this class consists in the uniform appearance
and sound wearing qualities they impart to the woven fabric. Some
kinds of figured textiles are more or less loose on the surface and
in structure, owing to the diversity of weave floats requisite to
develop the objects or figures composing the designs. No arrangement
of this sort, involving intricacy of cloth structure, is needed in
gaining patterns by this scheme of weaving. The fabrics, though in some
instances elaborately figured, are plain or twill throughout, according
to the makes employed--hence the textures are even, firm, and neat
in both appearance and construction. Effects of this order are more
subdued in tone and possess a mellower aspect than figured styles due
to combining various principles of weaving and colouring.
[Illustration: FIG. 64.]
Reference to Figs. 64 and 65 will indicate, first, how the designs
are constructed; and, second, how the textural results are acquired.
Fig. 64 is a small spotted design composed of two plain makes. In
constructing these designs, the form of the figuring is primarily
sketched out on point paper, and the weaves subsequently added. When
the two makes are in contact, there must not be more than a float of
three. Having worked out the design on point paper, the next matter to
be arranged is the development of the ground sections in vertical, and
the figured parts in transverse lines of colour, as in Fig. 65, which
is a sketch of the textural effect produced by this design. In all
designs constructed on this base, it is a rule that the fancy shades
in the warp and weft shall, in conjunction, be arranged to form the
striped effects described. When the design given in Fig. 64 is warped
and woven 1 thread black and 1 thread white, these two shades form
stripes lengthways of the piece in the ground portion of the fabric,
for the black picks cover the black threads _only_, and the white picks
the white threads _only_, while the small figures are developed in
short transverse stripes; because, in such sections, the weave in the
design causes the black picks to float over the white threads and the
white picks to float over the black threads.
[Illustration: FIG. 65.]
Now consider the effect of the same order of shades in the design
composed of cassimere twills given on Plate XXI. This style illustrates
the process by which the sketch furnished in Fig. 66 is transferred
on to point paper and prepared for the loom. Designs for these
fabrics are worked out on the same system as the preceding example.
A comparison of Fig. 65 with Fig. 66 brings out several points of
dissimilarity. These do not arise from any variation of the plan of
colouring, but of the plan of interlacing the threads in constructing
the fabric. The vertical and transverse lines of Fig. 65 are
substituted by neat diagonal effects, and a pattern of more diversified
outline and arrangement obtained. It has been pointed out that the
thread-and-thread scheme of shades yields, in the cassimere twill, the
two effects seen in Fig. 66. When the weave runs to the right, the
black and white diagonal effect runs to the left, and _vice versâ_;
so that in preparing the designs for the loom it has, in the first
place, to be decided whether the ground or the figured sections shall
be developed in the minute diagonals of shades moving to the right.
Generally, it will be found that this effect is most suitable for the
ground.
[Illustration:
Plate XXI
FIGURING IN SIMPLE TWILLS]
135. _Utility of the One-and-One Principle in Figured Textiles._--The
scheme of textile colouring and designing analyzed in the previous
paragraph is applicable to a large diversity of goods, including
cotton, silk, worsted, and woollen fabrics. Styles for dress stuffs
and mantlings may be produced in this manner. Cotton yarns in these
designs produce very effective patterns. The compact structure of these
threads develops both series of effects with a clearness and prominence
that are absent from cloths composed of woollen materials. Whether the
designs are employed in one set of yarns or the other, schemes of
colouring such as the following may be employed:--
I.
1 thread of dark brown
(Shade 1, Plate IV.).
1 thread of medium brown
(Shade 3, Plate IV.).
II.
1 thread of dark grey.
1 „ light „
III.
1 thread of medium grey.
1 „ white.
IV.
1 thread of lilac (Tint 17, Plate VI.).
1 thread of white.
[Illustration: FIG. 66.]
Colours slightly contrasting in hue, or merely in shade, may be used
in worsted yarns; but in woollens, where the effect is not so clear
or pronounced, owing to the structure of the yarn, more contrast of
colouring is requisite to emphasize the figuring. Woollen fabrics
coloured on this principle may be either “clear” finished or covered
with fibre. It depends entirely on the type of fabric produced. If
a dress texture, the best results may be obtained by developing the
effect of the colours as much as possible in the finishing processes;
but if a mantling, a soft, fibrous surface enhances the mellowness and
attractiveness of the patterns formed.
[Illustration: FIG. 67.]
Of course the methods of figuring obtained by this thread-and-thread
colouring are combined with other schemes of colours in making more
elaborate patterns. For example, a band of figuring, such as is given
in Fig. 66, may be arranged to adjoin a bold stripe of entirely
distinct colouring, and thus a pattern produced containing much
diversity of composition.
[Illustration: FIG. 67A.]
Pattern is acquired in these and similar designs economically in the
loom. No complication, either of weave or of colour, arises in their
origination. By the employment of two shades and one weave--used in
such a manner as to yield two varieties of style--any form of figuring
is on this system producible.
[Illustration: FIG. 68.]
[Illustration: FIG. 68A.]
[Illustration: FIG. 69A.]
[Illustration: FIG. 69.]
136. _One-and-One and Two-and-Two Colourings in Fancy Weaves._--Some
applications of this scheme of colouring to other weaves than the plain
and twill are shown in Figs. 67, 68, 69, the plans being Figs. 67A,
68A, and 69A. The only alteration in the colouring is the use, as seen,
of fancy thick yarns for striping or checking. The contrast in the
weaves should be noticed, and also in the woven patterns. The weaves
comprise (Fig. 67A) a fancy twill composed of [3/1] and [1/3] twills;
Fig. 68A, twill and mat; and Fig. 69A, check in broken [3/1] and [1/3]
twills. The line characteristic is noticeable in Figs. 67 and 69, being
more pronounced in the latter. Fig. 68 is the most regular in style,
due to the weave being composed of twill and mat.
[Illustration: FIG. 70.]
[Illustration: FIG. 70A.]
Figured styles in two-and-two colouring are producible in the designs
made on the principles given in Paragraphs 134 and 135, and also in
other simple weaves similarly combined. One example (Fig. 70) may be
taken, woven in the [2/2] mat, the sectional design being given in Fig.
70A. The order of colouring in both warp and weft is:--
Black 2⎫ For 36.
White 2⎭
White 2⎫ For 36.
Black 2⎭
By the change in the positions of the colouring, the key pattern is
inverted and made more diversified in character.
137. _Three-and-Three Colouring._--This method of grouping shades of
warp and weft (Class A, Scheme III.) is employed in the six-end twill
and its derivatives, also in twelve-shaft and other weaves.
An example of the effects in the [3/3] twill in the fabric, due to
three-and-three warping and various weftings practised, is sketched
in Figs. 71, 71A, and 71B. The first of these illustrations has a grey
weft; Fig. 71A is woven with white, and Fig. 71B with three picks of
grey and three picks of white.
[Illustration: FIG. 71.]
[Illustration: FIG. 71A.]
[Illustration: FIG. 71B.]
[Illustration: FIG. 72.]
[Illustration: FIG. 72A.]
[Illustration: FIG. 72B.]
138. _Four-and-Four Arrangement._--Twill, hopsack, and other common
weaves are used in producing styles in this order of colours, which is
supplied in Scheme IV. of Class A of the Regular Simple Colourings.
Black and white shepherd plaids are made on this base, a useful form
and size of check resulting from its employment. Some of the effects
got in the cassimere twill by warping four threads of grey and four
threads of white, and wefting with white and grey, and with the same
order of shades as in the warp, are sketched in Figs. 72, 72A, 72B.
The check style here is particularly neat. It is produced in a variety
of colours for almost all kinds of fabrics. When the four-end mat
weave is used, a species of star check is formed, as seen in Fig. 73.
A considerable range of patterns ensues from adopting this order of
colours and combining the cassimere and mat weaves in the construction
of stripe, check, and diagonal designs. Thus, supposing the last type
of weave-combination were employed, then in such parts of the diagonal
where the twill occurred, the shepherd plaid effect would result, but
the hopsack sections would yield the star check style, so that diagonal
bands of these respective patterns, regularly alternating, would extend
across the fabric.
[Illustration: FIG. 73.]
[Illustration: FIG. 74.]
[Illustration: FIG. 74A.]
139. _Four-and-Four Method applied to Fancy Weaves._--There are various
patterns obtained in this order of threads by using other weaves than
the twill or mat. As an illustration in these effects, Fig. 74, which
has been produced in the weave given in Fig. 74A, may be examined. It
is a small spotted design; the minute crosses of white, surrounded by
rectangles of black, are determined in shape and dimensions by the
arrangement of warp and weft flushes composing the crossing. The weft
yarn of this pattern is all black. Comparing this style with that
sketched in Fig. 72, which is composed of the same order of threads,
it will be observed that any modification of weave alters the pattern
resultant. In the weave furnished in Fig. 74A, the white threads only
show on the face of the texture where the blank spaces occur; whereas,
in the cassimere twill employed in the construction of the sample shown
in Fig. 72B, the white warp threads float on the face of the fabric
on the same system as the black picks. The pattern given in Fig. 74
indicates how, by resorting to novel schemes of weaving, the simplest
methods of colouring may be made to produce distinct patterns.
Employment of other weaves than the twill and mat give equally
satisfactory results. Such makes are, of course, multiplied in
proportion to the ingenuity of the designer. The example considered
is but a type of the numerous styles obtainable in this four-and-four
colouring by having recourse to designs of this type.
140. _Six-and-Six and Eight-and-Eight Schemes._--These are not given in
the plan of Regular Simple orders of shades, being but extensions of
Schemes III. and IV.; but they are important in practice, and must be
considered as distinct principles of grouping colours. They are mainly
employed when well-pronounced patterns are required in fine yarns, in
which instances they yield far more effective styles than the schemes
of shades from which they are derived. In both worsted and cotton dress
textures and tweed mantlings, they are largely used.
Both systems are illustrated. The six-and-six plan, and the styles it
gives in the six-end twill, are furnished in Figs. 75, 75A, and 75B.
The same methods of weft colouring have been practised as in other
sketches, showing the changes resulting from varying the weft from
light to dark, and from having it exactly like the warp. Fig. 76 has
been produced in the eight-shaft twill, and is composed of 8 threads of
black and 8 threads of white in both warp and weft. Should such shades
as the following be used in the six-end twill, more toned patterns
result than those supplied in the illustrations:--
I.
6 threads of slate.
6 „ slate and white twist.
II.
6 threads of light fawn.
6 „ light fawn and white twist.
III.
6 threads of blue.
6 „ brown.
IV.
6 threads of No. 2 mixture, Plate XIII.
6 threads of No. 8 mixture, Plate XIII.
The I. and II. Schemes are for light textures. They illustrate an
important method of combining shades, inasmuch as the same shade
occurs in both the first and second group of six threads in each
example. Thus, in Scheme I. the second group of ends consists of slate
and white twist--the slate being exactly of the same hue as that
used in the first six threads. This arrangement gives neatly-toned
patterns, and is suited for Simple Colourings in which the respective
shades are combined in these qualities. The third group of shades
is for a dark pattern. Here the contrast should not be strong; the
mellower the better. It only requires to be sufficiently pronounced
to develop the outlines of the checkings and the effects due to the
plan of interlacing the threads. A mixture-yarn example is also given
in the fourth scheme of shades. Yarns of this class are useful in
the manufacture of both worsteds and tweeds. The black and white
shades which have been used in these illustrations--75, 75A, 75B, and
76--bring out the character of the pattern due to the structure of the
weave.
[Illustration: FIG. 75.]
[Illustration: FIG. 75A.]
[Illustration: FIG. 75B.]
[Illustration: FIG. 76.]
141. _Six-and-Six Colourings in Various Crossings._--Two examples may
be examined in which weave has been advantageously employed in these
schemes of colouring. The first, Fig. 77, is a species of check, the
patches of the two shades being differently shaped from what they are
in Fig. 75B, which is a composition of the same order of shades. This
arises from the structure of the weave employed. It is given in Fig.
77A, and is a combination of warp and weft cords. The _warp_ cord
causes the spaces of black and white to practically run into each other
in the direction of the warp, and the _weft_ cord makes them continuous
in the line of the weft.
[Illustration: FIG. 77.]
[Illustration: FIG. 77A.]
[Illustration: FIG. 78.]
[Illustration: FIG. 78A.]
The next illustration, Fig. 78, is commonly termed the star check. It
somewhat resembles Fig. 73, but the effects are more prominent and
better developed. The weave used in this case is the six-end twill
angled, Fig. 78A. In making the pattern, the first six picks should be
black, otherwise they would not meet the interlacings in the weave on
the system requisite to give this effect.
[Illustration: FIG. 79.]
142. _Three-Odd-Thread Arrangement._--For the plain weave, prunelle,
and six-end twills, this is one of the useful schemes of colouring.
In the plain it forms, when woven with the same order of weft as warp
threads, the neat style sketched in Fig. 79. When the shades are black,
grey, and white, as in Scheme I.,--Class B, of the Regular Simple
Colourings,--small vertical and transverse lines of these shades are
formed, meeting each other at right angles. Thus, in Fig. 79, the
vertical lines of black oppose the transverse lines of black, and the
same arrangement obtains in regard to the grey and white lines.
Check patterns are producible in this scheme of shades by colouring as
follows:--
⎧ 1 thread of russet (No. 7, Plate III.).
For 18 threads. ⎨ 1 „ citron (No. 8, Plate III.).
⎩ 1 „ olive (No. 9, Plate III.).
⎧ 1 thread of russet.
For 18 threads. ⎨ 1 „ citron.
⎩ 1 „ blue.
In the first eighteen threads, the effects formed are of russet,
citron, and olive; but in the last eighteen, blue takes the place of
the olive, so that when the style is woven with the same series of weft
as warp colourings, it makes a mellow check design.
Another method of adding to the utility of this form of pattern
consists in introducing into its composition an over-check of fancy
shades, which may be obtained thus:--
⎧ 1 thread of black.
For 19 threads. ⎨ 1 „ brown.
⎩ 1 „ black and white twist.
1 thread of black and blue twist.
1 „ black and scarlet twist.
There results from this method of grouping shades, a pattern consisting
of a rectangular space of nineteen ends and picks of small effects,
similar to those seen in Fig. 79, but consisting of black, brown,
and black-and-white twist, instead of black, grey, and white. In the
prunelle twill, this colouring produces hairline patterns in three
shades. Other stripe and check designs result from combining the warp
and weft weaves, and developing in the same colouring.
[Illustration: FIG. 80.]
[Illustration: FIG. 80A.]