are more diversified in character than those producible in the plain
make. They are of three distinct styles. The style of pattern now
acquired depends on the method in which the respective shades meet each
other in the weave. The several effects obtained, when the [3/3] twill
is used, are shown in Fig. 80. This has been developed in the weave
given in Fig. 80A, which is a small check design composed of six-end
twill, running in two directions. Let the sections of the woven pattern
acquired in Fig. 80 be analyzed separately. It must be understood that
the order of shades is the same throughout, namely, that in Scheme I.
of Class B of the Regular Simple Colourings. Hence the diversification
of style here noticed is a resultant of weave and not of colour
combinations. The different effects acquired in Sections _A_, _B_, and
_D_, show that makes of various constructions have been employed. A
distinct style obtains, for instance, in Part _A_ from Part _B_. In the
former, lines of black are set at right angles to other lines of this
shade, while the grey and white yarns form diagonals; but in _B_ all
the three shades run diagonally. Section _C_ is practically the same as
_B_, while _D_ is also similar, only twilling to the left. The parts
lettered _A_, _B_, _C_, and _D_ in the design, Fig. 80A, correspond
to those just described. One other effect may be got in the six-end
twill besides those considered in this order of threads, namely, that
in which two diagonals, grey and white, twill to the left, or the
opposite to what they do in _A_, and small transverse lines of black
be set across similar vertical lines. If the positions of the shades
were altered, the grey or the white yarns might be made to form the
disconnected spots.
[Illustration: FIG. 81.]
[Illustration: FIG. 82.]
A further principle of colouring suggested by this illustration is,
that the same plan of shades and method of weaving are capable of
yielding different woven results according to the system on which they
are combined. Thus, as has just been indicated, without modifying
the scheme of colours, the check design in the six-shaft twill gives
the effects sketched in Fig. 80. Parts _A_ and _D_ are formed by one
weave running to the right, yet how different they are in character!
To what is the difference due? The design shows that the black threads
and picks do not meet each other in the same way, for while in Part
_A_ of Fig. 80A the first pick is two threads down, three up, three
down, three up, and one down; in Part _D_ it is three up and three
down, so that in reality the first pick in _A_ corresponds to the
fifth pick in _D_. Still, though the order of the threads is the same
in both sections, the methods on which the colours are crossed in the
respective parts of the texture are dissimilar, hence corresponding
results cannot possibly ensue. This difference of effect, arising
from commencing colouring on certain threads and picks of the weave,
increases the variety of styles obtainable in the same order of threads
and principle of intertexture.
143. _Various Three-shade Patterns._--Amongst other Simple orders of
colouring composed of three shades are those given in Schemes II.,
III., and IV. of Class B. Each system may be developed in the six-end
twill--the last system, which may be termed the three-4’s, also
produces standards in four-shaft weaves. Only two of these principles
are illustrated, namely, the three-2’s and the three-3’s. It will be
evident from the sketches, Figs. 81 and 82, that these patterns belong
to a useful class of effects. Fig. 81 is a neat form of intermingled
check. Such compounds of shades as the following may be applied:--
I.
3 threads of citron (No. 9, Plate III.).
3 „ olive (No. 1, Plate III.).
3 „ russet (No. 7, Plate III.).
II.
3 threads of dark blue (No. 7, Plate IV.).
3 „ dark olive (No. 13, Plate IV.).
3 „ dark brown (No. 1, Plate IV.).
III.
3 threads of light olive (No. 9, Plate VI.).
3 „ lilac (No. 17, Plate VI.).
3 „ fawn (No. 10, Plate VI.).
The I. and III. of these colourings are suitable for dress fabrics, but
the II. is adapted for tweed suitings. This form of pattern should also
be developed in mixture and twist yarns in woollen, worsted, and cotton
materials.
As a result of employing this scheme of shades, three sets of checks,
each formed within the other, are obtained in the fabric. By examining
Fig. 81, it will be observed there is first the check of black; second,
the check of grey; and third, the check of white. The character of the
style due to the weave is apparent in this illustration. There is also
perfect balance of shades. This feature, which mainly results from
the twill employed in the construction of the pattern, contributes to
the general character of the style. Still, it will be noticed that the
manner in which the black threads interlace produces a different check
from that resulting from the grey or white yarns.
Fig. 82 gives a more irregular style than Fig. 81, on account of the
weave being repeated three times, and the order of the shades twice,
before one complete pattern is acquired. This arises from there being
nine threads in the plan of shades--3 of black, 3 of grey, and 3 of
white--and six threads in the weave. The pattern sketched in Fig. 82 in
one particular resembles the preceding style, for the shades combined
form three broken checks, but in other characteristics it is quite
different. The element of black is exactly proportionate to that of
grey or white, and each shade constitutes a well-defined series of
minute effects, which, by repetition, bring out the check character of
the style. It is a base that is improved by diversity of colouring.
In combination with Fig. 81, wefted either three-2’s or three-3’s, it
yields stripe and check designs of a broad character.
[Illustration: FIG. 83.]
144. _Simple Colourings composed of Four Shades._--Each of the four
arrangements in Class C of Simple Colourings is illustrated. Scheme
I. is given in Fig. 83. It forms a hairline stripe of four colours if
produced in the swansdown weave, when the order of the wefting is 1
pick black, 1 pick dark grey, 1 pick white, and 1 pick medium grey.
This style is applied to fancy woollens, and also to worsteds. It is a
standard colour-base for trouserings and fabrics in which a fine line
pattern is required. The same arrangement of shades in the plain weave
makes a mixture effect, and in the common twill the colourings form a
minute broken check.
Fig. 84 results from the II. Scheme of Colouring given in Class C. The
weave is cassimere twill, but the celtic or mat, and other weaves of
a regular construction on four and eight shafts, are also used. Here
are four more or less disconnected checkings of colours forming an
intermingled pattern, choice in outline and soft in tone.
A more pronounced style is got when the quantities of the several
shades are increased, and a weave selected of an open structure. These
points are brought out in Fig. 85, in which the same arrangement of
shades obtains as in Fig. 84, only the quantity of each colour is
increased one-third, and the six-shaft twill substituted for the
four-shaft twill. Broader effects are therefore the result. Were this
sketch repeated, to show the outline of the pattern more clearly, it
would be observable that the black, dark grey, medium grey, and white
shades all form checkings, which, in the fabric, are quite distinct
from each other. As the order of shades here contains twelve threads,
the six-shaft twill is one of the best weaves that can be employed for
regularly and equally distributing the shades.
[Illustration: FIG. 84.]
[Illustration: FIG. 85.]
Eight-shaft makes being repeated three times before they meet the plan
of colours, give more irregular and mingled effects.
The last example in Simple Colourings obtained by combining four
shades is given in Fig. 86. It has been produced in the Mayo weave,
in Fig. 86A. In common twills of more uniform interlacings, it gives
a pattern of more decided markings. The Mayo weave has broken up the
groups of fours into which the colours are divided. As a consequence,
the resultant style is characterized by softness and intermingled
colouring. The weave effect is an important feature. Either sets of
hues of different colours of the same depth, or sets of shades in one
colour, may be employed in this scheme.
All the examples described in Regular Simple Colourings are of a
typical character, and in practice are diversified in colouring and in
weave.
[Illustration: FIG. 86.]
[Illustration: FIG. 86A.]
145. _Irregular Simple Colourings._--These are patterns in which the
quantities of the different shades used, or the plans of colouring as
to succession of colours, are not uniform. They are not so numerous as
the “Regular Colourings” already considered, but they are important in
pattern designing. The principal of these combinations are furnished in
the Table below:--
TABLE X.
IRREGULAR SIMPLE COLOURINGS.
CLASS A.--COMPOSED OF TWO SHADES.
_I. Scheme._
2 threads of black.
1 thread of white.
_II. Scheme._
4 threads of black.
1 thread of white.
_III. Scheme._
4 threads of black.
2 „ white.
_IV. Scheme._
4 threads of black.
2 „ white.
2 „ black.
2 „ white.
CLASS B.--COMPOSED OF THREE SHADES.
_I. Scheme._
2 threads of black.
2 „ grey.
1 thread of white.
_II. Scheme._
3 threads of black.
2 „ grey.
1 thread of white.
_III. Scheme._
6 threads of black.
4 „ medium grey.
2 „ white.
_IV. Scheme._
6 threads of white.
2 „ grey.
2 „ black.
2 „ grey.
CLASS C.--COMPOSED OF FOUR SHADES.
_I. Scheme._
3 threads of black.
2 „ dark grey.
2 „ medium grey.
1 thread of white.
_II. Scheme._
4 threads of black.
3 „ dark grey.
3 „ medium grey.
2 „ white.
_III. Scheme._
4 threads of black.
2 „ medium grey.
4 „ light grey.
2 „ white.
_IV. Scheme._
4 threads of black.
2 „ medium grey.
2 „ light grey.
4 „ white.
2 „ light grey.
2 „ medium grey.
146. _Irregular Simple Patterns of Two Shades._--In this class of
colouring are found some useful bases for fancy textures composed of
simple twills and other elementary crossings. They may be considered
in the order named in the Table. The first scheme is most generally
used in the prunelle twill, in which weave it gives lines lengthways
or across the texture, according to whether the make is warp or weft
flushed. These two twills combined in figured designs, and this order
of colouring adopted, produce a style of pattern resembling that got
by blending two plain makes, only one line of colour is twice the
thickness of the other.
The II. Scheme finds application to five-shaft weaves. Thus, in
twill, Fig. 87A, it makes the neat check style seen in Fig. 87. The
same scheme is applied to cottons and fancy woollens. Some effective
patterns ensue from colouring--
For 25 threads. ⎧4 threads of black.
⎩1 thread of white.
For 25 threads. ⎧4 threads of white.
⎩1 thread of black.
The form of the pattern resultant from this arrangement comprises a
series of effects similar to Fig. 87, and then a series of effects with
a white ground and black spotting.
[Illustration: FIG. 87.]
[Illustration: FIG. 87A.]
[Illustration: FIG. 87B.]
The extent to which one thread and a slight change in the weave may
alter the nature of a woven pattern is illustrated by Fig. 87B,
obtained in the four-end celtic and the III. Scheme of shades in Class
A. The weave and the colours are combined on such a principle, that the
shade used in the smallest quantity forms short vertical and transverse
lines on the surface of the texture. This, like the preceding example,
is an order of colouring that is frequently varied by transposing the
shades thus:--
For 24 threads. ⎧4 threads of black.
⎩2 „ white.
For 24 threads. ⎧4 threads of white.
⎩2 „ black.
Providing the weft is the same as the warp, a square is first formed in
which the lines or spots are white, and arranged on a black ground, and
then a check of black lines on a white ground. When the shades do not
form strong contrasts, this base is capable of being utilized in the
production of a large variety of fancy fabrics.
A more irregular effect, Fig. 88, results from employing Scheme IV.,
than either Schemes II. or III. The weave, Fig. 87A, produces the
mingled cast of the pattern. Shades may be employed here that give
well-emphasized contrasts.
There are several other forms of these colourings, such as the
following:--
(_a_)
5 threads of black.
2 „ white.
(_b_)
6 threads of black.
2 „ white.
(_c_)
8 threads of black.
3 „ white.
2 „ black.
3 „ white.
[Illustration: FIG. 88.]
[Illustration: FIG. 89A.]
[Illustration: FIG. 89.]
The first of these is applicable to seven- and fourteen-shaft weaves,
in which it may be made to produce some characteristic effects. The
second of these additional irregular two-shade colourings is mostly
employed in eight-end makes of special construction. Two patterns
in which it has been used are sketched in Figs. 89 and 90. It is
the structure of the respective weaves that is the cause of one
pattern--Fig. 89--being a minute check of a clear outline, and of the
other pattern--Fig. 90--being a bird’s-eye spot. In Fig. 89, the weave
is a fancy mat, Fig. 89A. The white threads in both warp and weft fall
on the 7th and 8th threads and picks in the weave. To these threads
and picks, the check character of the pattern is due. They cause the
black yarns to be grouped together in the form of a minute irregular
rectangle, and the white yarns to give the skeleton check effect. In
Fig. 90A, the same threads and picks again determine the specific
effect of the pattern. They so control the grouping of the yarns that
the white threads produce the small spot or star. These illustrations
demonstrate the principle of originating plans of weaving, which will
change the pattern produced by a given set of colours in such manner as
to compose distinct styles.
[Illustration: FIG. 90.]
[Illustration: FIG. 90A.]
The effect of the third arrangement given above is to form the pattern
seen in Fig. 91. It is a base that frequently finds an important
place in tweeds, flannels, dresses, and worsted suitings. It is a
neatly-marked check. The weave employed in its construction is Fig.
91A. This scheme is developed in light, medium, and dark shades, and in
self, compound, and mixture yarns. Considering that only two shades are
used in its construction, it is a pattern having diversity of outline.
[Illustration: FIG. 91.]
[Illustration: FIG. 91A.]
[Illustration: FIG. 92.]
147. _Irregular Simples, composed of Three Shades._--Brief descriptions
need only be given of these. A small check is obtainable by the first
of these schemes. It is best adapted for weaves occupying five threads.
The weave employed in making this pattern--Fig. 92--is Fig. 87A.
[Illustration: FIG. 93.]
[Illustration: FIG. 94.]
The II. Scheme is workable in the six-end twill, in which it yields
an ordinary suiting style (Fig. 93). The shades used in the largest
proportions in this pattern should be the most subdued in tone,
while the colour for the single thread should be the brightest. This
arrangement has been adhered to in the illustration.
[Illustration: FIG. 95.]
[Illustration: FIG. 96.]
Schemes III. and IV. may be analyzed together. The former, Fig. 94,
has been developed in the six-end twill, and the latter, Fig. 95, in
the mat or celtic. They are two typical patterns. The latter pattern
appears to combine both check and figured effects, the small detached
lines of black producing the figured appearance, and the grey shade,
in combination with the black and white, yielding the toned check
characteristic. It is applicable to all classes of simple fancies. It
does not possess that distinct check cast which is so apparent in Fig.
94. This style is really constructed on a similar principle to Fig.
93, for the respective shades gradually decrease in quantity from the
beginning to the end of the pattern. All such arrangements admit of two
methods of colouring. In the first place, the darkest shade may be made
the principal factor, and in the second place, the lightest shade. The
intermediate colour--in this instance grey--is invariably placed in the
centre in this style of colouring.
[Illustration: FIG. 97.]
[Illustration: FIG. 98.]
148. _“Irregulars” composed of Four Shades._--The first of these
schemes gives an effect somewhat similar to that which results from
Fig. 93, only here the cassimere twill may be employed, and probably
a neater pattern acquired. In certain weaves, such as Fig. 96, the
Second Scheme, Class C, produces an excellent type of suiting. It is
illustrated in Fig. 97. If clearer effects are needed, common twills
should be used, such as the six-end weave, which forms the pattern in
Fig. 98. The III. Scheme yields in the Mayo a very effective pattern,
as is seen in Fig. 99. Here the black yarns produce a broken line,
while the other colours constitute intermingled checkings. This is a
base, capable of being employed in the manufacture of various classes
of fancy textures. Scheme IV., Fig. 100, is a neat method of grouping
shades for fancy checks. The pattern sketched has been produced in
the sixteen-shaft diagonal (Fig. 100A), but it might also be worked
in common twill and mat weaves. Such a diagonal adds, however, to the
attractiveness of the intermixture of shades. The characteristics of
this example are due to the system on which the threads of warp and
weft interlace. The pattern is a species of shaded check. From the
tinted white to the black there is a graduated shade of greys, and
in the following sets of colourings the same mellow toning would be
observed.
[Illustration: FIG. 99.]
[Illustration: FIG. 100.]
[Illustration: FIG. 100A.]
I.
4 threads of black.
2 „ dark brown.
2 „ olive „
4 „ light „
2 „ olive „
2 „ dark „
II.
4 threads of black.
2 „ dark grey.
2 „ light „
4 „ white.
2 „ light grey.
2 „ dark „
III.
4 threads of dark blue and dark grey twist.
2 „ „ medium grey twist.
2 „ „ light grey twist.
4 „ „ white twist.
2 „ „ light grey twist.
2 „ „ medium grey twist.
This colour-base may be applied to cotton textures and light fabrics,
when the colourings should be considerably brighter than those
enumerated. For variety of effect, it is one of the most important
colourings included in the ordinary series of irregular elementary
styles.
[Illustration: FIG. 101.]
149. _Cross-Weftings._--This term is applied to weft colouring which
does not correspond with the warp colouring as to order of shades.
All the Simple, and many of the Compound special Schemes of Colouring
may be cross-wefted. As a result, another form of coloured pattern is
obtained from that due to applying the same order of wefting as warping.
The following scheme (Fig. 101) is typical:--
_Warp._
3 black. 3 white.
_Wefts._
(_a_) 1 black. ⎫
1 white. ⎪
(_b_) 2 black. ⎬ Woven in the [2/2] twill.
2 white. ⎪
(_c_) 4 black. ⎪
4 white. ⎭
(_d_) 1 black. ⎫ In the [3/3] twill.
1 white. ⎭
(_e_) 2 black. ⎫ In the [2/2]mat.
2 white. ⎭
[Illustration:
Plate XXII
STYLES DUE TO SIMPLE ORDERS OF COLOURING]
On Plate XXII., some further examples of the effects of cross-wefting
are illustrated. The orders of warping and wefting are as follows:--
_Warping._ _Wefting._
_Series A to A3._ _Series I._
2 dark. Same as warp for Series _A_ to _A3_.
2 light.
_Series B to B3._ _Series II._
3 dark. Same as warp for Series _B_ to _B3_.
3 light.
_Series C to C3._ _Series III._
6 dark. Same as warp for Series _C_ to _C3_.
6 light.
_Series D to D3._ _Series IV._
4 dark. Same as warp for Series _D_ to _D3_.
4 light.
2 dark.
2 light.
Patterns _A_, _B1_, _C2_, and _D3_ are woven as warped, but other
specimens are cross-wefted. Of the latter, the following are regular
styles and correct pattern bases:--_A1_, _A2_, _B_, _C_, _C1_, _C3_,
_D_, _D1_, and _D2_. Examples _A2_, _D2_, and _D3_ are striped or
lined across, showing that in extreme differences between the warping
and wefting, irregular forms of pattern or effect result: _e.g._ _A2_
warped 2-and-2, and wefted 6-and-6; and _D2_ and _D3_ warped 3-and-3,
and woven 6-and-6, and 4, 4, 2, 2 respectively.
CHAPTER IX.
COMPOUND COLOURINGS.
150. Compounds--151. Compounds composed of Three Types
of Elementary Colouring--152. Results of combining
Simple Colourings--153. Compounds and Weave Combinations
compared--154. Utility of a Practical Knowledge of the
Woven Effects of Simple Colourings--155. Compound Patterns
subjective to the Nature of the Fabrics Manufactured--156.
Types of Compounds--157. Compounds composed of Two Simple
Types--158. Patterns composed of Two Types and Three
Shades--159. Styles of Four Shades containing Two Simple
Types--160. Styles composed of Three Simple Types--161.
Irregular Compounds.
[Illustration: FIG. 102.]
150. _Compounds._--As these are composed of several elementary
schemes of colouring, they are generally patterns of some intricacy
of composition. With only two shades it is possible to obtain varied
effects in this style of woven colouring. When three or more shades
are used, and several simple methods of grouping shades practised,
though the weave may be of a common twill or mat description, Compound
patterns may be quite elaborate in arrangement. The elaborateness of
the style resultant is determined by several factors, such as the
character of the types, number of the Simple Colourings combined,
and the diversity of the shades employed. The simpler the schemes
of colours selected, the fewer the elements of the compound, the
more ordinary in cast and aspect is the pattern acquired. Still, the
commonest groupings of shades, even when combined on the simplest
system, form woven styles of considerable richness of composition. One
example, Fig. 102, is suggestive of the characteristics of this species
of textile colouring. It is the most elementary type of compound,
resulting from combining Methods I. and II., supplied in Table IX.,
and consisting of black and white. But it is a pattern which comprises
several styles of minute effects. It is divided into four rectangular
spaces, _A_, _B_, _C_, and _D_: Each square is formed of a different
kind of textural design. Thus, in Section _A_, which is composed of two
threads of black and two threads of white in both warp and weft, it
will be noticed there are small irregular checkings forming vertical
lines; in _B_, where the one-and-one order of warp colouring is crossed
by the two-and-two order of wefting, minute figures, or spots of white,
separately surrounded with black, occur; in Section _C_ the same
figures obtain as in _B_, only they are inverted, owing to the warp and
weft colourings meeting each other in the reverse way to what they do
in _B_; Section _D_ consists of small step-twill effects. So there are
thus, in this pattern, four textural results so associated as to form a
neat check design, which is producible in woollen, worsted, silk, and
cotton yarns. It may be diminished or increased in size, and modified
in various ways. For example, Checks _A_ and _C_ may be double the size
of _B_ and _D_; or several striped patterns may be acquired by using
Sections _C_ and _D_ together and Sections _A_ and _B_--the spaces of
each effect being determined by the class of fabric in which the style
is produced. For trouserings they must be comparatively small, but for
dress textures and mantlings they may be some inches in width. In such
shades and tints as are appended, both the original pattern and the
modifications named may be developed:--
I.
For 24 threads. ⎧ 1 thread of Shade 2, Pl. IV.
⎩ 1 „ „ 8, „
For 24 threads. ⎧ 2 threads of Shade 2, Pl. IV.
⎩ 2 „ „ 8, „
II.
For 24 threads. ⎧ 1 thread of Shade 7, Pl. VI.
⎩ 1 „ „ 13, „
For 24 threads. ⎧ 2 threads of Shade 7, Pl. VI.
⎩ 2 „ „ 13, „
III.
For 24 threads. ⎧ 1 thread of Tint 4, Pl. IV.
⎩ 1 „ „ 4, „ VI.
For 24 threads. ⎧ 2 threads of Tint 4, Pl. IV.
⎩ 2 „ „ 4, „ VI.
IV.
For 24 threads. ⎧ 1 thread of Tint 10, Pl. VI.
⎩ 1 „ „ 16, „
For 24 threads. ⎧ 2 threads of Tint 10, Pl. VI.
⎩ 2 „ „ 16, „
These colourings, with the exception of No. 1, are more suitable for
dress and fancy fabrics than for trousering and coating textures. They
are too bright for the latter types of loom products, but are of the
correct depth of colour for fancy dress and mantling fabrics.
151. _Compounds composed of Three Types of Elementary Colouring._--In
the above example in Compounds, only two schemes of colouring obtain;
but in Fig. 103 three elementary systems of grouping shades have
been combined, yielding a style rich in diversity of small types of
design. The schemes of shades employed in this construction are the
I., II., and IV. Methods in Class A of the Simple Colourings. They
constitute, in the fabric, nine distinct effects. These must be closely
examined, in order that the principles of pattern design involved in
the formation of the Compound style may be understood. Commence with
the three effects succeeding each other in Bracket _A_. First, there
is a square of similar minute figuring to that noticed in _C_ of Fig.
102; second, a rectangle of vertical stripes composed of neat markings;
and third, a repetition of the effect seen in _D_, Fig. 102. Next,
consider the types included in Bracket _B_. The first space here is
a composition of the small checks referred to in Section _A_ of the
former pattern; this adjoins a square filled in with vertical stripes;
and then follows a space of similar dimensions, and of the same species
of effects, as characterizes _B_ of the preceding style. Both the
_A_ and _B_ series of the effects comprise two types of pattern like
those composing Fig. 102, but in the _C_ and _E_ groups five entirely
distinct types of textural work are developed. Two of these--the
two vertical stripes--have been alluded to. The horizontal stripes,
comprised in Bracket _C_ have not been described. They are similar to
the stripes seen in Bracket _E_, only they are formed across instead
of lengthways of the fabric. Between the rectangular spaces of these
effects there is a square of black and white plaid. It may be useful to
indicate how the several effects forming this compound may be utilized
on other systems than that illustrated. The space of black and white
checkings may be enlarged. But it is not simply in the form of checks
these sets of colourings are combinable, for they may be associated
on such principles as to yield an extensive range of stripe designs.
Take, for example, the series of effects included in Bracket _A_. These
of themselves make a neat stripe, especially if choice colourings are
selected. Parts _D_, _E_, and _F_ may be varied in dimensions according
to the class of texture being manufactured. About half an inch of _D_,
an inch of _E_, and half an inch of _F_ makes a useful base. In the
shades and tints furnished for the preceding example--Fig. 102--this
form of stripe produces attractive styles.
[Illustration: FIG. 103.]
The group of types in _B_ should be similarly employed as that
constituting _A_. After _B_ sections have been separated from the rest
of the pattern they may be used thus for a dress fabric:--A band of two
inches of the effect given over _F_, and bands of one inch in width of
the two adjacent types. If the style is applied to trouserings, smaller
quantities of each type should be employed, and some fancy twist yarns
added to the shades forming the bulk of the pattern, to give freshness
and diversity of colouring.
The series of broken or irregular types included in Bracket _C_ may
also be worked into stripes for mantlings. In woollen yarns and mellow
colourings, these broad effects in bands of about an inch in width
yield effective patterns. Toned browns, slates, drabs, light greys,
light olives, and lavenders are appropriate colours for this kind of
textiles. Mixture yarns, of which several illustrations are given
below, are also applicable.
I.
[13] ⎧1 thread of No. 1, Plate XIII.
⎩1 „ No. 2, Plate XIII.
[13] ⎧2 threads of No. 1, Plate XIII.
⎩2 „ No. 2, Plate XIII.
[13] ⎧4 „ No. 1, Plate XIII.
⎩4 „ No. 2, Plate XIII.
II.
[13] ⎧1 thread of No. 6, Plate XIII.
⎩1 „ No. 8, Plate XIII.
[13] ⎧2 threads of No. 6, Plate XIII.
⎩2 „ No. 8, Plate XIII.
[13] ⎧4 „ No. 6, Plate XIII.
⎩4 „ No. 8, Plate XIII.
III.
[13] ⎧1 thread of No. 5, Plate XIII.
⎩1 „ No. 7, Plate XIII.
[13] ⎧2 threads of No. 5, Plate XIII.
⎩2 „ No. 7, Plate XIII.
[13] ⎧4 „ No. 5, Plate XIII.
⎩4 „ No. 7, Plate XIII.
152. _Results of Combining Simple Colourings._--It will be obvious from
these illustrations--Figs. 102 and 103--that, by combining several
schemes of Simple Colouring, patterns are obtained rich in diversity
of types of textural design, though the number of shades combined may
be limited. This is not usually the case in Simple Colourings. If the
shades in such arrangements are not numerous, the resultant effect
is invariably plain; whereas, it is obvious that in Compounds, even
should one weave only be employed and two shades combined, styles full
of detail and minute textural patterns are producible. They represent
an economical method of developing design in woven goods, for they are
neither complicated in weave structure nor colour composition.
153. _Compounds and Weave Combinations compared._--Patterns of a
Compound class, being composed of two or more Simple schemes of
colouring, may be compared to designs resulting from combining several
small weaves or crossings. Compound colourings bear the same relation
to the general classes of coloured patterns, as combined weave designs
bear to the effects obtainable by diversifying the systems of crossing
warp and weft yarns. Thus, the former are the resultants of combining
elementary schemes of colouring, and the latter the resultants of
uniting elements of weaving. Moreover, the complexity of weave
compounds is proportionate to the variety of weaves combined, and the
class of the elementary schemes of intertexture employed. The complex
arrangement and fulness of detail of Compound Colourings are determined
by the number of “Simple Orders of Colouring” entering into their
composition, and by the character of the methods of colouring utilized.
When constructing weave combinations, only those weaves should be used
which fit with each other correctly, and which yield a fabric regular
in structure; and when forming compounds, those schemes of elementary
colouring should only be combined which produce a properly balanced
style.
154. _Utility of a Practical Knowledge of the Woven Effects of Simple
Colourings._--Before attempting to combine simple methods of arranging
shades, in the construction of Compound patterns, the textural results
of the various elementary systems of grouping colours already described
should have been ascertained, if possible, by loom experiments. For
the purpose of facilitating the combination of Simple Colourings, it
will be found advantageous to make a collection of the woven patterns
resulting from the adoption of the Schemes given in Paragraph 149
(see Plate XXII.). The utility of such a series of woven specimens may
be indicated. Supposing, for example, a pattern were required in the
cassimere twill in which the two-and-two and the one-and-one schemes
of colouring were to appear. Then, by consulting the woven results of
these two principles of grouping yarns, some calculation could be made
of the actual aspect of the pattern to be originated. This, of course,
is an advantage in designing. The most effective styles are those which
the designer, by the aid of his technical knowledge, has been able to
partially imagine the woven effect of, when the patterns were in the
theoretical form.
155. _Compound Patterns Subjective to the Nature of the Fabric
Manufactured._--Another factor which affects the selection of “Simple
Colourings” in the construction of Compounds, is the class or
description of fabric being produced. In some species of cotton and
dress textures, bold and broad effects are required, necessitating
the use of the larger types of elementary colourings; but in ordinary
fabrics the neatest and smallest types are suitable. This may be
regarded as a general rule, but the degree of colour contrast, and the
fineness of the structure of the fabric, in some measure also modify
the type of shade-arrangements most appropriate for any specific
class of fabrics. It is chiefly a question of the size of the pattern
required, which governs the dimensions of the various effects combined
in its construction. So that, granting the class of fabric has been
selected, and that its structure is known, then those Simple Colourings
may be applied which will give a compound style of requisite textural
composition, form, and size.
156. _Types of Compounds._--Compounds, like Simple Colourings, may
be divided into Regulars and Irregulars, which may be subdivided
thus: Compounds composed of two elementary schemes of colouring, and
Compounds composed of three or more elementary schemes of colouring.
Each of these subdivisions includes styles of two, three, or four
shades. Examples in these several classes of Compounds are supplied in
the Table given below:--
TABLE XI.
COMPOUND COLOURINGS.
REGULAR COMPOUNDS--
CLASS A.--COMPOUNDS COMPOSED OF TWO SIMPLE TYPES.
_I.--Styles in Two Shades._
_I. Scheme._
1 thread of black. ⎫ _A._
1 „ white. ⎭
2 threads of black. ⎫ _B._
2 „ white. ⎭
_II. Scheme._
2 threads of black. ⎫ _A._
2 „ white. ⎭
4 threads of black. ⎫ _B._
4 „ white. ⎭
_III. Scheme._
3 threads of black. ⎫ _A._
3 „ white. ⎭
6 threads of black. ⎫ _B._
6 „ white. ⎭
_IV. Scheme._
4 threads of black. ⎫ _A._
4 „ white. ⎭
8 threads of black. ⎫ _B._
8 „ white. ⎭
_II.--Styles in Three Shades._
_I. Scheme._
1 thread of black. ⎫
1 „ grey. ⎬ _A._
1 „ white. ⎭
2 threads of black. ⎫
2 „ grey. ⎬ _B._
2 „ white. ⎭
_II. Scheme._
2 threads of black. ⎫
2 „ grey. ⎬ _A._
2 „ white. ⎭
4 threads of black. ⎫
4 „ grey. ⎬ _B._
4 „ white. ⎭
_III. Scheme._
3 threads of black. ⎫
3 „ grey. ⎬ _A._
3 „ white. ⎭
6 threads of black. ⎫
6 „ grey. ⎬ _B._
6 „ white. ⎭
_IV. Scheme._
4 threads of black. ⎫
4 „ grey. ⎬ _A._
4 „ white. ⎭
8 threads of black. ⎫
8 „ grey. ⎬ _B._
8 „ white. ⎭
_III.--Styles in Four Shades._
_I. Scheme._
1 thread of black. ⎫
1 „ dark grey. ⎬ _A._
1 „ grey. ⎪
1 „ white. ⎭
2 threads of black. ⎫
2 „ dark grey.⎬ _B._
2 „ grey. ⎪
2 „ white. ⎭
_II. Scheme._
2 threads of black. ⎫
2 „ dark grey.⎬ _A._
2 „ grey. ⎪
2 „ white. ⎭
4 threads of black. ⎫
4 „ dark grey.⎬ _B._
4 „ grey. ⎪
4 „ white. ⎭
_III. Scheme._
3 threads of black. ⎫
3 „ dark grey.⎬ _A._
3 „ grey. ⎪
3 „ white. ⎭
6 threads of black. ⎫
6 „ dark grey.⎬ _B._
6 „ grey. ⎪
6 „ white. ⎭
_IV. Scheme._
4 threads of black. ⎫
4 „ dark grey.⎬ _A._
4 „ grey. ⎪
4 „ white. ⎭
8 threads of black. ⎫
8 „ dark grey.⎬ _B._
8 „ grey. ⎪
8 „ white. ⎭
CLASS B.--COMPOUNDS COMPOSED OF THREE SIMPLE TYPES.
_I. Scheme._
Composed of Two Shades.
1 thread of black. ⎫ _A._
1 „ white. ⎭
2 threads of black. ⎫ _B._
2 „ white. ⎭
4 threads of black. ⎫ _C._
4 „ white. ⎭
_II. Scheme._
Composed of Three Shades.
1 thread of black. ⎫
1 „ grey. ⎬ _A._
1 „ white. ⎭
2 threads of black. ⎫
2 „ grey. ⎬ _B._
2 „ white. ⎭
4 threads of black. ⎫
4 „ grey. ⎬ _C._
4 „ white. ⎭
_III. Scheme._
Composed of Three Shades.
1 thread of black. ⎫
1 „ grey. ⎬ _A._
1 „ white. ⎭
3 threads of black. ⎫
3 „ grey. ⎬ _B._
3 „ white. ⎭
6 threads of black. ⎫
6 „ grey. ⎬ _C._
6 „ white. ⎭
_IV. Scheme._
Composed of Three Shades.
2 threads of black. ⎫
2 „ grey. ⎬ _A._
2 „ white. ⎭
4 threads of black. ⎫
4 „ grey. ⎬ _B._
4 „ white. ⎭
8 threads of black. ⎫
8 „ grey. ⎬ _C._
8 „ white. ⎭
IRREGULAR COMPOUNDS--
_I. Scheme._
Composed of Two Colours.
2 threads of black. ⎫ _A._
1 thread of white. ⎭
4 threads of black. ⎫ _B._
2 „ white. ⎭
_II. Scheme._
Composed of Two Colours.
1 thread of black. ⎫ _A._
1 „ white. ⎭
3 threads of black. ⎫ _B._
1 thread of white. ⎭
_III. Scheme._
Composed of Two Shades.
1 thread of black. ⎫
1 „ grey. ⎬ _A._
1 „ black. ⎭
1 thread of grey. ⎫
1 „ black. ⎬ _B._
1 „ grey. ⎭
_IV. Scheme._
Composed of Three Colours.
6 threads of black. ⎫
4 „ grey. ⎬ _A._
2 „ white. ⎭
3 threads of black. ⎫ _B._
3 „ white. ⎭
NOTE.--Groups _A_, _B_, and _C_ may be repeated to any number of
threads of which they form a multiple.
157. _Compounds composed of Two Simple Types._--Four examples in this
class of Compounds are given in Class A of the Table. Three of them
have been examined--namely, Schemes I., II., and III. The I. Scheme
is analyzed in Paragraph 150, the II. Scheme produces a common check
pattern, and the III. Scheme the basket check. Scheme II. is used in
worsted designing for both suiting and dress fabrics, and also in
cotton yarns. Both this and the III. Scheme are worked in the mat or
hopsack, as well as in the four- and six-end twills. These forms of
pattern also obtain in stripes and checks. No great contrast of colours
is needed, as they are effective in a textural sense. The difference
between the effects of the two-and-two and the four-and-four, and
the three-and-three and the six-and-six orders of colouring, is so
pronounced as to make decided shade composition unnecessary. Colours
of the same hue, but of various depths, are appropriate. Another
useful type of colour compound for these schemes of grouping shades is
illustrated below:--
I.
_A._ ⎧ 2 threads of brown.
⎩ 2 „ brown and light brown twist.
_B._ ⎧ 4 threads of brown.
⎩ 4 „ brown and light brown twist.
II.
_A._ ⎧ 2 threads of light grey.
⎩ 2 „ light grey and white twist.
_B._ ⎧ 4 threads of light grey.
⎩ 4 „ light grey and white twist.
Parts _A_ and _B_ may be repeated two, four, or six times, according to
the size of pattern required. A very mellow sort of style results from
this system of colouring. The surface of the texture is one uniform
tint, slightly diversified with the twist yarns, which develop the
details of the pattern, due to the method of grouping the threads. This
species of colouring is soft in tone and artistic in composition, being
equally applicable to woollen, worsted, and cotton fabrics. In cottons,
more pronounced colouring may be adopted, such shades as follow being
useful: brown and slate, pink and white, and deep blue and pale
lavender.
The woven effects of Scheme IV. are given in Figs. 104, 105, and
106. The weave employed in the production of these patterns is an
eight-shaft twill. Whatever twill were used, providing it flushed the
warp and weft equally, the general aspect of the patterns would be
as here illustrated. In order to afford as clear an insight into the
principles of Compound Colourings as possible, the effect of changing
the weft on the pattern resultant, when the system of warping is not
varied, is also shown in these examples. All the three patterns have
the same arrangement of warp yarns, but in Fig. 104 the weft is white;
Fig. 105, black; and in Fig. 106 it is like the warp. If the weft
contrasted in hue with both the shades of warp yarns, quite a new type
of effect would be acquired. Supposing, for illustration, it were
blue. Such an alteration would completely change the appearance of the
fabric. Neither the black nor the white stripes would be solid, but the
former would be half black and half blue, and the latter half white and
half blue. However the weft might be varied; the form of the pattern
would remain the same--that is to say, it would always consist in the
stripes (Figs. 104 and 105) of four broad lines and two narrow lines,
and in the check (Fig. 106) of sixteen large and sixteen small squares.
[Illustration: FIG. 104.]
[Illustration: FIG. 105.]
Considering that only two shades are used, the patterns are full of
textural detail. The series of effects given are useful in textile
designing. The stripes possess diversity of composition, and are
characterized by neatness and clearness of arrangement. Seeing that the
shades used are black and white, the absence of bold and stiff outlines
is an interesting feature, and one that suggests the utility of the
base in the development of fancy fabrics. In the check there is much
variety of work. In addition to the solid squares of black and white of
two sizes, there are rectangles composed of twills of black and white
blended, of several dimensions and shapes.
[Illustration: FIG. 106.]
[Illustration: FIG. 107.]
[Illustration: FIG. 108.]
158. _Patterns composed of Two Types and Three Shades._--Scheme
I. of Class A of the Regular Compounds, in the styles composed
of three colours and of two Simple types, gives somewhat mellow
and subdued effects. The patterns sketched in Figs. 107 and 108
illustrate the style of design arrangement resultant when this method
of colour-grouping is adopted. The stripe pattern has a mingled
appearance. Parts _A_ of both the check and the stripe are composed
of minute work, which neatly contrasts with the broader and more
distinctly pronounced effects comprised in Section _B_. The patterns
have a softer aspect and tone than if only two shades had been
employed, the third shade adding diversity of colouring and freshness
of the style. Fig. 107 is woven with a white weft, and Fig. 108 with
exactly the same order of weft as warp shades. The two Simple schemes,
forming this Compound, combine satisfactorily. The three-odd-thread
grouping, constituting the _A_ sections of the fabric, yields a
species of textural effect which affords prominence to the small
spaces of black, grey, and white composing parts _B_. There is, in
these samples, congruity of effects. This is one of the main elements
of a well-arranged compound. It is a feature of all descriptions of
designing that the styles amalgamated should suitably develop each
other, and yield a well-balanced and effective scheme of ornamentation.
Even in the smallest textural effects, resulting from combining various
systems of shade-arrangement, this principle of design has to be
taken into account. For example, the check style given in Fig. 111
would not form a satisfactory pattern if combined with the check in
Fig. 108; although both styles are composed of similar arrangements
of shades, and have precisely the same colour features. The character
of the respective checkings is, however, very different. In Fig.
111 the patches of colours are so grouped as to yield a broad and
clearly-pronounced series of effects, whereas Fig. 108 is a compound of
various minute types of woven design; hence the incongruity which would
ensue from their amalgamation. The elements of Figs. 107 and 108 are,
on the other hand, suitable for this purpose. The stripe is a style
that may be utilized in various ways. Should, for instance, bands _A_
and _B_ be varied in width, a range of useful patterns for dress and
mantling textures may be produced. Thus, stripes averaging from two to
four inches in width, in mellow shades of twist or self-coloured yarns
arranged on this system, are developed largely in worsted, woollen, and
cotton materials.
In the check, Fig. 108, the development of this Compound scheme of
colouring is shown. It is made up of the two types lettered _A_ and
_B_. Several groups of shades are given below illustrative of the type
of colouring appropriate for the respective textures named.
I. CLOAKINGS.
_Example A._
⎧ 1 thread of fawn.
For 12 threads. ⎨ 1 „ light brown.
⎩ 1 „ brown.
⎧ 2 threads of fawn.
For 24 threads. ⎨ 2 „ light brown.
⎩ 2 „ brown.
_Example B._
⎧ 1 thread of light olive.
For 12 threads. ⎨ 1 „ slate.
⎩ 1 „ medium blue.
⎧ 2 threads of light olive.
For 12 threads. ⎨ 2 „ slate.
⎩ 2 „ medium blue.
II. DRESSES.
_Example C._
⎧ 1 thread of white.
For 24 threads. ⎨ 1 „ lilac (Tint 16, Plate VI.).
⎩ 1 „ olive (Shade 9, Plate VI.).
⎧ 2 threads of white.
For 48 threads. ⎨ 2 „ lilac (Tint 16, Plate VI.).
⎩ 2 „ olive (Shade 9, Plate VI.).
_Example D._
⎧ 1 thread of yellow olive (Tint 10, Plate VI.).
For 24 threads. ⎨ 1 „ light blue (Tint 11, Plate IV.).
⎩ 1 „ olive (Shade 8. Plate III.).
⎧ 2 threads of yellow olive (Tint 10, Plate VI.).
For 48 threads. ⎨ 2 „ light blue (Tint 11, Plate IV.).
⎩ 2 „ olive (Shade 8, Plate III.).
_Example E._
⎧ 1 thread of light brown (No. 3, Plate IV.).
For 6 threads. ⎨ 1 „ medium brown (No. 2, Plate IV.).
⎩ 1 „ dark brown (No. 1, Plate IV.).
⎧ 2 threads of light brown (No. 3, Plate IV.).
For 12 threads. ⎨ 2 „ medium brown (No. 2, Plate IV.).
⎩ 2 „ dark brown (No. 1, Plate IV.).
_Example F._
⎧ 1 thread of brown and white twist (No. 3,
⎪ Plate IV.).
For 6 threads. ⎨ 1 thread of blue and white twist (No. 9,
⎪ Plate IV.).
⎩ 1 thread of olive and white twist (No. 15,
Plate IV.).
⎧ 2 threads of brown and white twist.
For 12 threads. ⎨ 2 „ blue and white twist.
⎩ 2 „ olive green and white twist.
The II. and IV. Schemes of the styles in three shades of Class A (see
Table of Compounds) are not illustrated. The former style is most
frequently worked in six-shaft weaves, and the latter in four-and
eight-shaft weaves. On account of the colours being grouped in larger
quantities than in Scheme I., they give patterns of a broader and more
effective character. They are used for similar classes of textiles as
those to which Scheme I. is applicable, being selected when styles
composed of well-emphasized types of textural work are required.
Should thick yarns be used, they give an excellent form of pattern for
travelling rugs, shawls, and wraps.
[Illustration: FIG. 109.]
[Illustration: FIG. 110.]
The III. Scheme of these styles, consisting of three shades and of two
simple types, is illustrated in the three patterns in Figs. 109, 110,
and 111. The patterns are twice the size of Scheme III., that is to
say, they contain fifty-four instead of twenty-seven threads, as given
in the Table of Compounds, for Sections _A_ and _B_ in producing the
fabrics have both been repeated. Types _A_ and _B_ here combined work
well together, and form a species of pattern which may be dissected.
Contrast the effect obtained in Fig. 109 with the effect obtained in
Fig. 110. The arrangement of shades in the warp is the same as supplied
in the Table in both styles; but in the former the weft is black and
in the latter white. Had a blue shade of weft yarn been employed, or
any colour which would have formed an equal weight of contrast with
the black, grey, and white elements of the patterns, a species of
design comprising increased effects would have resulted; or, had fancy
colours instead of neutral shades been combined, a more elaborate type
of colouring would have been produced. But to revert to the contrast
of style due to changing the weft. It illustrates the importance of
employing the proper shade of weft for developing the various elements
of coloured styles. Each example is applicable to the dress and
mantling branches of weaving, while in certain shades producing subdued
and toned effects, they are used in trousering patterns. For dress
textures, Sections _A_ and _B_ require to be increased in width in
order to give more character and breadth of effect to the colourings.
[Illustration: FIG. 111.]
Fig. 111, which is composed of the same warp yarns as the two preceding
examples, and woven with a similar order of weft as warp colouring,
is an effective plan of arranging shades. In Fig. 109, the black
lines in parts _A_ and _B_ are quite solid, and the white and grey
effects broken, being crossed with black; in Fig. 110 the white lines
are clear, and the grey and black mingle with white; but in Fig. 111
Sections _A_ and _B_ each contain rectangular spaces of various sizes
and shapes of black, grey, and white yarns. These blend and interlace
with each other. Part _A_ of this style, being composed of the
three-threes system of grouping colours, consists of a smaller series
of effects than Part _B_, which results from the three-sixes plan of
combining shades. The dimensions of each section of the pattern are
varied according to the description of fabric in which it is developed.
[Illustration: FIG. 112.]
[Illustration: FIG. 113.]
159. _Styles of Four Shades containing Two Simple Types._--Four
examples are given in these styles in Table XI. They do not form
patterns so rich in mingled effects as the preceding compounds.
This arises from their occupying an even number of threads, and
constituting, as a consequence, a more regular and set description
of pattern. Schemes I., II., and IV. are not illustrated, but they
produce a similar species of style to that resulting from Scheme III.
in Figs. 112, 113, and 114. These types resemble each other in outline
and textural detail. The only difference consists in the sizes of the
effects produced. This is not the case in Schemes I. and II. of the
styles in Three Shades, in which Parts _A_ are composed of an odd and
Parts _B_ of an even number of ends. When the composition of the two
types combined is thus dissimilar, the resultant compound is fuller of
effects than if the two Simple Colourings both comprised an even number
of threads. By, however, resorting to the use of fancy weaves, the
textural appearance of the patterns referred to may be considerably
diversified.
[Illustration: FIG. 114.]
Figs. 112, 113, and 114 have been acquired in the cassimere twill by
repeating _A_ and _B_ of Scheme III. of the styles of Four Shades in
Class A. In Fig. 112 the weft yarn is black; in Fig. 113, white; and
in Fig. 114, the same as the warp. By using grey and light grey wefts,
other stripes may be obtained. A contrasting shade of weft also forms
a useful class of effects. Both Figs. 112 and 113 are bases employed
in various kinds of woollen, worsted, and cotton textures. In Fig.
114, the black weft destroys the effect of the warp shades, hence
brown, blue, or olive would be more suitable. The check is regular in
arrangement. It is a common base, and is employed in larger or smaller
forms in the construction of dress and other fabrics.
[Illustration: FIG. 115.]
[Illustration: FIG. 116.]
[Illustration: FIG. 117.]
160. _Styles composed of Three Simple Types_ (see Table of
Compounds).--As pointed out in reference to Fig. 103, which results
from the adoption of Scheme I. of Class B (see page 200), when three
elements of Simple Colourings are combined, a pattern is acquired
rich in diversity of textural work. This is apparent in the example.
Composed of black and white yarns, it is a specimen of the diversity
of style obtainable with two shades in compound patterns. It follows
that if the number of the shades employed is increased, designs richer
in character are producible. If Figs. 115, 116, and 117, which have
been woven from the arrangement of shades supplied in Scheme II. of
Class B, are examined, it will be noticed that though the number of
effects corresponds with that of Fig. 103, yet the addition of the
grey tint has produced quite a different form of style. Figs. 115 and
116 have been woven with white and black weft respectively. They are
composed of three types of work, comprising minute effects in _A_,
somewhat larger effects in _B_, and still broader details in _C_. The
patterns are partially shaded, and as bases of colouring they are
excellent. The three effects each contains, may be combined in various
ways, giving stripes of suitable proportions for dresses, mantlings,
and trouserings, according to the class of materials employed. A few
examples in colouring this base are given. Any of the three shades of
which they are severally composed may be used for weft.
_I. Example._
⎧1 thread of brown (No. 1, Plate IV.).
For 6 threads. ⎨1 „ blue (No. 7, Plate IV.).
⎩1 „ olive (No. 13, Plate IV.).
⎧2 threads of brown.
For 12 threads. ⎨2 „ blue.
⎩2 „ olive.
⎧3 threads of brown.
For 18 threads. ⎨3 „ blue.
⎩3 „ olive.
_II. Example._
⎧1 thread of olive (No. 9, Plate VI.) and white twist.
For 6 threads. ⎨1 „ blue (No. 9, Plate IV.) and white twist.
⎩1 „ slate and white twist.
⎧2 threads of olive and white twist.
For 12 threads. ⎨2 „ blue and white twist.
⎩2 „ slate and white twist.
⎧3 threads of olive and white twist.
For 18 threads. ⎨3 „ blue and white twist.
⎩3 „ slate and white twist.
_III. Example._
⎧1 thread of light blue (No. 10, Plate IV.).
For 12 threads. ⎨1 „ rose (No. 4, Plate IV.).
⎩1 „ white.
⎧2 threads of light blue.
For 12 threads. ⎨2 „ rose.
⎩2 „ white.
⎧3 threads of light blue.
For 36 threads. ⎨3 „ rose.
⎩3 „ white.
_IV. Example._
⎧1 thread of russet (No. 7, Plate III.).
For 12 threads. ⎨1 „ olive (No. 8, Plate III.).
⎩1 „ slatish purple (No, 14, Plate VI.)
⎧2 threads of russet.
For 12 threads. ⎨2 „ olive.
⎩2 „ slatish purple.
⎧3 threads of russet.
For 18 threads. ⎨3 „ olive.
⎩3 „ slatish purple.
The I. and II. Examples are for suitings--one for dark and the other
for light fabrics. These may be produced in either woollen or worsted
yarns. Example III. is for dress fabrics. The two smaller types of work
of which it is composed form the same size of section in the texture;
but the arrangement of the three 3’s yields a section half as large
again as that formed by the other elements of the style. A bold and
clearly-defined pattern is thus produced by this order of colouring.
[Illustration: FIG. 117A.]
Example IV. is intended for cloakings, and is composed of shades of a
medium depth and intensity.
The checks, Fig. 117, in [2/2] twill, and Fig. 117A, in the [2/2] mat,
contain nine species of work, well grouped and arranged. The two types
_A_ and _B_ are just sufficiently emphasized to contribute to the
neatness of the style, while the series of effects comprised in Bracket
_C_ give a distinctness of outline. These checks are workable in the
colourings supplied for the stripes.
It is unnecessary to illustrate Schemes III. and IV. of Class B of the
Table, which give similar patterns to those described, though there is
considerable dissimilarity in the types of effect making the respective
patterns.
161. _Irregular Compounds_ (see Table XI.).--Styles of this class are
generally quite mingled in colouring. They consist of such methods
of grouping threads as comprise various quantities of the different
colours used. Thus, in Scheme I. of the Irregular Compounds there
are twice as many threads of black as white in both sections _A_ and
_B_; in Scheme II. the black again predominates; while in Scheme IV.
the several shades occur in different quantities. This is the colour
feature which causes the dissimilarity between Irregular and Regular
Compounds. In Part _A_, Scheme III., there is an excess of black, but
in Part _B_ an excess of grey. This species of pattern is therefore
obtained by taking a simple base, in which one shade is in excess,
and repeating it for a suitable number of threads, and then reversing
the positions of the shades. The following examples of this system
of compounding elementary schemes of colouring may be considered in
addition to that supplied in Scheme III. of the Table:--
_Example I._
_A._ For 18 threads. ⎧4 threads of black.
⎩2 „ brown.
_B._ For 18 threads. ⎧2 threads of black.
⎩4 „ brown.
_Example II._
⎧4 threads of brown.
_A._ For 16 threads. ⎨2 „ slate.
⎩2 „ blue.
⎧4 threads of slate.
_B._ For 16 threads. ⎨2 „ blue.
⎩2 „ brown.
⎧4 threads of blue.
_C._ For 16 threads. ⎨2 „ brown.
⎩2 „ slate.
[Illustration: FIG. 118.]
In the _A_ section of Example I. black is the principal and brown the
secondary shade, but in the _B_ section the positions of the colours
are reversed. Such a method of colouring frequently yields attractive
styles. This scheme in the four-shaft mat produces a twofold effect.
Section _A_, when this colouring is worked in the mat, forms a black
ground on which small lines of brown are set at right angles to each
other, but Section _B_ gives a brown ground with a similar series of
black lines. The style is produced in both wool and cotton materials in
the plain, twill, and mat weaves.
[Illustration: FIG. 119.]
Example II. illustrates the method of changing the positions of the
shades when three colours are employed in this class of compounds.
No perfect style can be obtained on this system unless each colour
occupies every possible position in the repeat of the pattern.
Reference to this example will make this point evident. Here three
colours--brown, slate, and blue--are combined. In Part _A_ the brown
leads, in Part _B_ the slate leads, and in Part _C_ the blue. Even
distribution of colouring is thus secured, and the production of a
pattern in which uniformity of effects is paramount is effected. The
principle of the compounds illustrated by these examples affords
considerable scope for ingenious arrangement of colours.
[Illustration: FIG. 120.]
Two of the Irregular Compounds given are illustrated by sketches of
woven samples, namely, Schemes I. and IV. Figs. 118 and 119 have been
produced by Scheme I.,--Section _A_ being repeated to 18, and Section
_B_ to 18 threads. As this style is only composed of two shades, the
textural result is somewhat wanting in variety of effect. Still, it is
a useful base. Both the stripe and check arrangements are developed in
woollen and worsted yarns. The check pattern is a compound of three
effects, consisting of the spaces of vertical lines of black and white,
of the parts of intermingled colouring, and of the sections of minute
twilled work. In such couplets of shades as brown and fawn, blue and
slate, and olive and slate and white twist, neater patterns may be
obtained by this base than are producible in black and white.
[Illustration: FIG. 121.]
[Illustration: FIG. 122.]
[Illustration: FIG. 123.]
Scheme II. gives even more mingled styles than those resulting from
Scheme I. It is a composition of a Regular and of an Irregular
type; for grouping _A_ is the simplest scheme of textile colouring,
but grouping _B_, containing three elements of black to one element
of white, is an Irregular base. This arrangement is extended and
worked out in a considerable diversity of weaves. Scheme IV. is also
constructed on this system. Part _B_, in this instance, is composed of
the Regular elementary type, and Part _A_ of the Irregular type. The
class of patterns it yields is illustrated in Figs. 120 and 121. The
former of these styles has been woven with black weft, and the latter
with the same shades of weft as warp. Part _A_ has been repeated to
twenty-four, and Part _B_ to twenty-four threads. More decided patterns
generally result from combining Irregular and Regular types, than from
combining two or more systems of each of these representative schemes
of textile colouring. In the check pattern, Fig. 121, the Irregular
type, constitutes broad rectangular spaces of white, grey, and black,
which surround a series of small black and white checks. A diversity
of shades and tints may be practised here, and the base modified and
utilized in the construction of fancy fabrics of various descriptions.
[Illustration: FIG. 124.]
Figs. 122, 123, and 124 are other examples of compounds, the
arrangement of the colours being as follows:--
_Fig. 122._
3 black. ⎫ For 72.
3 white. ⎭
4 black. ⎫ For 30.
2 white. ⎭
_Fig. 123._
3 black. ⎫ For 54.
3 white. ⎭
2 black. ⎫
1 white. ⎬ For 36.
1 black. ⎪
2 white. ⎭
_Fig. 124._
3 black. ⎫ For 24.
3 white. ⎭
2 black.
1 white.
2 white.
3 black. ⎫ For 24.
3 white. ⎭
2 black. ⎫
1 white. ⎬ For 36.
1 black. ⎪
2 white. ⎭
They show how the simple grouping of colours may be effectively
modified. In Fig. 122, the modification results in a compound of
3-and-3 and 4-and-2 colouring; the latter, causing the check to appear
shaded on account of the 4-and-2 colouring, has one-sixth more black
yarn than the 3-and-3. Fig. 123 consists of 3-and-3 colouring combined
with 2, 1, 1, 2; and Fig. 124 of the same colourings differently
grouped together.
FOOTNOTES:
[13] For any suitable number of threads and picks.
CHAPTER X.
FANCY SHADES APPLIED TO SPECIAL DESIGNS.
162. Colour applied to Special Makes--163. Colouring of
Corkscrews--164. Modified Corkscrews--165. Fancy Woollen
Weaves--166. Granite Effects--167. Diagonals--168.
Diagonals composed of Plain and Double Plain Makes--169.
Stripe and Check Colourings on Diagonals--170. Methods of
Colouring Fancy Weaves for Cottons or Silks--171. Gauze
Textures--172. Systems of Colouring Gauzes--173. Imitation
or Mock Gauzes--174. Colour in relation to Rib or Cord
Styles.
162. _Colour applied to Special Makes of Cloth._--Having examined
the various schemes of grouping shades in relation to the elementary
order of weaves, and also the methods of combining colours in both
warp and weft, analysis may next be made of the principles of textile
colouring for the development of specific woven effects. Here it may be
an adaptation or an origination of a scheme of shades--the structure
of the weave being the principal modifying factor. It is not now a
matter of the application of a system of colouring, irrespective of any
particular type of weave, but a question of employing that assortment
of colours which will prove most effective in a certain design. The
build of the fabric, the method of intertexture, and the weave, are
fixed factors; and it becomes a problem of what grouping of threads
will yield the most satisfactory style and best emphasize the design
elements. All weaves employed in developing colour effects in simple
fabrics belong to one of the orders of crossings given below:--
I. Weaves in which there is a preponderance of warp.
II. Weaves in which there is a preponderance of weft.
III. Weaves in which the warp and weft effects are equally
pronounced.
The I. class of weaves, which may be termed warp effects, includes
corkscrews, sateens, buckskins, certain species of diagonals and
twilled mats; the II. class--weft weaves--is not so comprehensive,
being composed mainly of ribs or cords, twills and small diagonals. A
very extensive series of fancy makes of various types is found in the
III. class.
But in addition to these important orders of intertexture, practised
in the construction of single-make fabrics requiring special plans
of colouring, there are some kinds of backed and double weaves that
are so unique in build as to need exceptional treatment in a colour
sense. This, however, is not so largely the case in backed as in
double-make cloths. Backed, and also some types of double textures,
such as trouserings, coatings, and simple effects in mantlings, are
practically coloured on the same principles as single cloths. The under
surface of these builds of woven styles is occasionally distinctive
in shade-arrangement, but the face generally corresponds in scheme
of colouring to single-make textures. In the combinations of double
weaves, the exceptions to this method occur. Double-plain fabrics,
for example, are coloured on quite distinct principles from some
other descriptions of pattern. The double-plain weave is adapted to
the development of a specific range of style, due to the utility of a
formula of colouring only applicable to its structure. Some other types
of double weaves have also their peculiar orders of shades.
163. _Colouring of Corkscrews._--As corkscrews form one of the
principal types of warp weaves, the application of colours to their
construction may be primarily considered. The methods of colouring
adopted here, relate collaterally to other weaves in which the warp
effect is the most clearly developed on the face of the fabric.
Corkscrews are adapted for several orders of warp colouring. Fancy
shades are specially distinct when introduced into the warp of
textures in which such weaves are used, making strong contrasts and
high colourings in the warp unnecessary. But while these weaves thus
afford ample provision for various methods of tinting in the warp, they
neutralize the effects of weft colouring. This might be changed from
black to dark blue in the common corkscrew without the character of the
face of the fabric undergoing any perceptible modification in hue. If,
for example, the warp and weft were, in such a weave, twelve threads
of brown and twelve threads of blue, a stripe, and not a check, pattern
would result. Of course in a common twill this colouring would yield
a decided check. There are two reasons why in corkscrews, warp cords,
and similar weaves, such a scheme of shades forms a stripe--first,
because textures composed of this class of weaves possess a warp
face; and second, because they, if properly made, contain a larger
proportion of warp than weft threads to the inch; hence the weft
yarns are almost entirely concealed by the warp. On these grounds it
will be obvious that variety of pattern in these weaves, when due to
colouring, is a product of the warp. To the typical methods, therefore,
of grouping fancy shades in the warp for corkscrew and kindred weaves,
attention has mainly to be directed. In such instances, the weft is
the factor which binds the threads together, and produces or builds,
in conjunction with the warp yarns, the fabric; and hence it only to a
small degree affects the style of the pattern, and consequently is a
minor consideration in producing the design.
[Illustration: FIG. 125.]
Patterns illustrative of the ordinary methods of colouring applied to
corkscrew weaves are given in Figs. 125, 126, and 127. The style in
Fig. 125 is a combination of three effects, viz., of the bands of solid
colour, of the stripes _A_, and of the stripes _B_. The textural types,
seen in the lettered sections, are due to two distinct but simple
schemes of grouping shades, namely, the one-and-one and the two-and-one
systems. They frequently occur in this weave, giving neat effects. The
plan of warp colouring is as appended:--
18 threads of black worsted.
_A._ For 9 threads. ⎧ 1 thread of white silk.
⎩ 1 „ black worsted.
17 threads of black „
_B._ For 10 threads.⎧ 1 thread of white „
⎩ 2 threads of blue „
Should part _A_ be modified thus:--1 thread of white and 1 thread of
black for six threads; 1 thread of white and 1 thread of crimson for
three threads; and 1 thread of white and 1 thread of black for six
threads--a very different style would ensue. Section _A_ would, in
this arrangement, consist of two small stripes of twills of black and
white separated by a minute band of fine twills of crimson and white.
Another alteration of this base, which is also frequently adopted, is
as follows:--
9 threads of black.
9 „ brown.
9 „ black.
_A._ For 27 threads. ⎧ 1 thread of brown.
⎩ 1 „ black.
9 threads of black.
_B._ For 6 threads. ⎧ 1 thread of tan silk.
⎩ 1 „ black.
_C._ For 6 threads. ⎧ 1 thread of slate silk.
⎩ 1 „ black.
_D._ For 6 threads. ⎧ 1 thread of tan silk.
⎩ 1 „ black.
On analyzing this group of shades it will be evident that it comprises
several elements. First, there are the three nine-thread stripes, viz.,
black, brown, and black. These are succeeded by stripe _A_, composed
of twills of black and brown. Between this part and Sections _B_, _C_,
and _D_ there is another series of nine threads of black. Coming to
the last three groups, the black yarns alternate with both the tan
and slate silk in succession--an arrangement which tends to mellow
the effect of the bright hues here employed. Of course the number of
threads in the several sections of this pattern of warp may be varied
according to the dimensions of the style required.
Two further examples developed in warp corkscrew are those in Figs. 126
and 127, the colourings being:--
For Fig. 126:--
For 4. ⎧1 thread of lavender.
⎩1 „ black.
1 „ lavender.
For 4. ⎧1 „ lavender silk.
⎩1 „ black.
1 „ lavender silk.
For 4. ⎧1 thread of lavender.
⎩1 „ black.
1 „ lavender.
For 30. ⎧1 „ lavender.
⎩1 „ slate.
1 „ lavender silk.
1 „ slate.
1 „ brown silk.
1 „ slate.
1 „ lavender silk.
For 30. ⎧1 „ slate.
⎩1 „ lavender.
_Weft._
All one shade.
[Illustration: FIG. 126.]
[Illustration: FIG. 127.]
For Fig. 127:--
For 108. ⎧1 . . . Shade 1.
⎩1 . . . „ 2.
For 6. ⎧1 . . . „ 1.
⎩1 . . . „ 3.
For 6. ⎧1 . . . „ 1.
⎩1 . . . „ 2.
For 6. ⎧1 . . . „ 1.
⎩1 . . . „ 3.
_Weft._
All one shade.
164. _Modified Corkscrews._--In order to obtain a weft effect in
corkscrews, the weaves are altered in the principles of construction.
Take an example. The weave supplied in Fig. 128 is in reality a
corkscrew, for should the ⊠’s be erased and the ◼’s be added, the
weave, though occupying twenty-four threads,--which is not a number
on which this type of weave is usually constructed,--would possess
the main features of this description of twill. But the weave must
now be considered as being composed of the ⊡’s and ⊠’s only--the ◼’s
corresponding to the ◻’s. The thread-and-thread scheme of warping in
this modified corkscrew has a different effect from what it has in the
common type of this weave. Taking the shades to be brown and slate,
and the weft blue, a pattern containing four species of work results.
First, there are the two fine twills of the respective shades of warp
yarn; and, second, a furrow of intermingled colouring, due to the solid
floats of warp in the design. These effects are purely warp products.
In addition to these, a fine diagonal of blue, resulting from the
flushes of weft, is also formed, so that an alteration of this kind in
the corkscrew system of twilling considerably increases the diversity
of work producible by a simple arrangement of shades.
[Illustration: FIG. 128.]
[Illustration: FIG. 129.]
Another very useful style might be developed in this crossing (Fig.
128) by warping nine threads of a dark and three threads of a light
shade of yarn, and weaving with a medium colour of weft. Supposing
the shades to be black and white for warp, and grey for weft, then a
pattern consisting of a series of furrows of black interrupted by small
effects of white, arranged on a grey surface, would result.
In Fig. 129 is given the effect of twilling this weave, Fig. 128, to
the right and left alternately, when the thread-and-thread system
of warping is adopted, and when the weft is all one colour. If the
ordinary build of corkscrew had been employed, the diagonal of: black
and white would only have been produced. The grey twills are distinctly
a weft development, and result from the ⊠’s in the weave. This and the
preceding examples are but types of the styles producible, by modifying
this useful weave, in worsted fabrics.
[Illustration: FIG. 130.]
[Illustration: FIG. 131.]
165. _Fancy Woollen Weaves._--There is not a large diversity of weaves
employed in the construction of woollen fabrics; still there are some
crossings used in these textures which require specific colouring.
Patterns are produced by using weaves which are tinted on principles
harmonizing with the scheme of interlacing. Such an example is given
in the upper section of Fig. 130. A neat combination of textural
effects has here been obtained by the employment of an uncommon weave.
(See Fig. 131.) The scheme of colouring for this style belongs to the
elementary class, being as follows in both warp and weft:--
_A._ For 24 threads. ⎧ 1 thread of black.
⎨ 1 „ grey.
⎩ 1 „ black.
_B._ For 24 threads. ⎧ 1 thread of grey.
⎨ 1 „ black.
⎩ 1 „ grey.
Hence it is the weave which has given the novelty of cast to the
pattern. In a simple twill it would yield an ordinary style, but in
this weave (Fig. 131) it forms a series of minute effects. The weave
is of a check type, and is workable on twelve shafts. In the sections
marked ▨ and ⌻, the weft floats on the surface of the texture, while in
the sections marked ◻, the warp effect is clearly emphasized. Both warp
and weft are equally prominent. But as the method of floating these
threads, groups the weft effects and the warp effects alternately,
the result is a pattern possessing minute markings of an interesting
character. These are the products of three shades. If a twill or mat
had been used, this diversity of pattern composition by three colours
and simple plan of shade-arrangement would not have been possible;
so that it is obvious that new systems of weaving on a small and
regular base may be employed in woollen textures to advantage, if
novel patterns are required. The intermingled check characteristic of
the style is due to the system of grouping the shades. Thus the plan
of colouring is in two parts; in _A_ black is the principal, and grey
the secondary shade; and in _B vice versâ_. By this means, in some
parts of the fabric a dark or black groundwork is figured with grey,
and in others a grey ground with black. The scheme of colouring here
illustrated is also applicable to worsted and cotton as well as to the
woollen textures.
A different style is supplied in Nos. 1 and 2, in Plate XXIII., to
that described. Its novelty is, however, due to the use of an uncommon
weave; this is of a fancy twill order, being arranged on the base of
the following plan of interlacing, which is the first pick of the
design:-- [3\1][3\2][2\2][1\3][1\2][2\2] .
Had, for instance, the six-end twill been used, the patterns would
have lacked that richness of style and newness of colour by which they
are characterized. It may therefore be understood that in woollens of
a suiting and costume class, the weave may be arranged to add to the
freshness of the styles obtainable from given methods of colouring.
The scheme of shade-grouping in these samples is:--
_Pattern 1_ (Plate XXIII.).
4 threads of fawn.
2 „ olive brown.
2 „ brown.
4 „ dark brown.
2 „ brown.
2 „ olive brown.
_Pattern 2_ (Plate XXIII.).
4 threads of grey.
2 „ olive green.
2 „ dark brown.
4 „ blue.
2 „ dark brown.
2 „ olive green.
The order of the weft colouring for Pattern 1 is the same as the warp;
but in Pattern 2 slate takes the place of olive green. By varying the
weftings, modifications of these effects may be acquired. One rule
should be observed in this work--the warp colourings should slightly
preponderate. They should in no case be subordinated to the scheme of
wefting, which is rather a subsidiary, than a primary element, of this
class of patterns.
[Illustration: FIG. 132.]
The diagonal utilized here being a combination of twills, each of which
floats the warp and weft to a different degree on the face of the
fabric, yields a style composed of various effects.
[Illustration:
Plate XXIII
CHECK AND STRIPE PATTERNS
1. and 2. Checks
3. Gauze Stripe
4. 5. Cord or Rib Stripes]
_166. Granite Effects._--These are produced in woollen yarns, the
nature of which is adapted to the construction of blended and
intermingled styles. Patterns of this class may be due to the
employment of special kinds of fancy yarns, or to the use of a peculiar
type of weave in combination with a given order of threads. With these
effects, as producible by coloured yarns, there is no need to deal,
as they have been treated of with the ordinary class of mixtures.
Reference may therefore be made to the function of weaves in the
production of granite and other blended styles. The pattern supplied in
the lower section of Fig. 130 is an example of this species of weaving.
Its mottled effect is mainly due to the construction of the design used
and the order of colouring practised. The weave is given in Fig. 132.
It is a compound of several crossings, warp and weft cords, and warp
and weft prunelle twills. The order of colouring for both warping and
wefting is thus:--
For 24 threads. ⎧1 thread of black.
⎩1 „ slatish lavender.
2 threads of black.
For 6 threads. ⎧1 thread of black.
⎩1 „ slatish lavender.
2 threads of black.
For 10 threads. ⎧1 thread of black.
⎩1 „ slatish lavender.
2 threads of black.
For 6 threads. ⎧1 thread of black.
⎩1 „ slatish lavender.
2 threads of black.
For 26 threads. ⎧1 thread of black.
⎩1 „ slatish lavender.
This scheme of warping and wefting, conjointly with the weave to which
it is applied, cannot fail to give an intermingled pattern. Even if
the weave were of a common class, the result of this series of shades
would be a broken, irregular style; but the design is arranged on a
base to give a mixed distribution of colouring. The warp and weft cords
in the plan are useful weaves for mingling fancy shades, and so are the
twilled weaves combined. Add to these characteristics the arrangement
of the design, which groups the several weaves into small figures of
different forms. The style is workable in worsted, woollen, and cotton
yarns, and in twists as well as self-colours. This assortment of weaves
is appropriate for patterns in which mingled colouring, combined with a
definite species of marking or textural form of effect, is required.
[Illustration: FIG. 133.]
167. _Diagonals._--As a rule, diagonals are but plainly coloured. Being
complex in weave-construction, they do not require elaborate colouring;
moreover, they are frequently of such a character as to yield intricate
and textural patterns in the simplest arrangements and contrasts
of shades; there are, however, some exceptions. Certain important
types can only be satisfactorily developed when specific colouring
is practised. Some illustrations in these may be considered. First,
suppose two corkscrews--flushing the warp and weft respectively--were
combined in a diagonal pattern of medium size. This arrangement of
weaves, if the yarns were grouped on the one-and-one method in both
warp and weft, would form a style in which one section of the diagonal
would be developed in the warp and the other in the weft. By arranging
the bands of the diagonal to run at a different angle from the twills
of either the warp or weft corkscrew of which it is composed, an
additional effect is obtained, than would have been the case if they
had moved in a line with the twills. Regarding the application of this
principle of pattern development, it relates to all diagonals composed
of two or more simple weaves. One of the methods of applying colour
to such designs is to adopt a simple scheme of shade-grouping, which
develops neat but contrasting effects in the several makes combined.
[Illustration: FIG. 134.]
_168. Diagonal composed of Plain and Double Plain Makes._--In Fig.
133 is furnished an example of how simple schemes of colouring may be
made to produce quite a diversity of effects running diagonally in the
fabric. This style has been developed by arranging the colours one
thread of white and one thread of black, in the warping and wefting
alike, and constructing the design on the base of the sixteen picks
given in Fig. 134. It is unnecessary to explain here how the several
effects have resulted, as the principles involved in producing the
types _A_ and _B_, which are composed of plain weave, are already
understood; while the varieties of patterns obtainable in the
double-plain makes, forming Sections _C_ and _D_, will be considered in
a subsequent chapter. Still, it may be observed that in solid shades
such a grouping of weaves would give but an indefinite pattern, one
lacking character and precision of outline. The weaves employed in this
example, are the only ones which can be made to develop effects of this
order, though in some types of simple, double, or compound weaves, such
figured designs are producible by dissimilar schemes of colouring.
There are certain restrictions to the methods of combination. Figuring,
requiring large spaces of the double-plain makes, is not feasible;
these crossings are necessarily looser and more open in structure than
the single weaves, and may therefore only be used in comparatively
small quantities; moreover, the weaves may not be grouped in the stripe
form, or the texture will not be satisfactory as to firmness and
soundness, nor will it weave regularly. The fact that the weaves in the
example run diagonally, equalizes the interlacing of the warp and weft
and ensures the construction of a uniformly-built fabric.
169. _Stripe and Check Colourings on Diagonals._--Other methods of
colouring weaves of a diagonal construction comprise the development of
stripe and check effects, in neatly-toned shades. Coatings, dresses,
and vestings comprise patterns of this order. It is necessary, in order
to have the same weight of colouring in both warp and weft of such
styles, to modify the design on those threads and picks on which the
fancies occur. Unless this is done, the effect produced is irregular
and imperfect. By, however, altering the design where these bright
striping or checking shades are added, complete balance of colouring is
acquired both across and lengthways of the fabric.
170. _Methods of Colouring Fancy Weaves for Cottons or
Silks._--Generally, these require brighter and more cheerful
combinations of shades than woollen or worsted fabrics, but the weaves,
when of a similar construction to those used in the production of these
textures, are coloured on similar principles. It is in the selection of
the shades where specific treatment is required. There are, however,
some specially-constructed weaves employed in the manufacture of fancy
cottons, and these have to be coloured according to their principles of
arrangement and the type of pattern they are required to form.
Amongst these weaves are small fancy effects, such as those illustrated
in Figs. 135 and 136, and leno and gauze combinations. Reference may,
in the first place, be made to Figs. 135 and 136. The former is a
striped pattern composed of two sateen weaves. The alternate bands have
warp- and weft-flushed grounds. On the weft-flushed surface a warp spot
is formed, and on the warp-flushed surface a weft spot. A marked and
well-emphasized contrast of effects is thus secured. The arrangement
is an excellent one, and capable of many modifications. Section _B_
might, for example, be repeated several times, or the whole design
might be enlarged with good results. A third variation is possible by
converting the pattern into a check. A light warp and a medium shade
of weft should be used. Supposing, for instance, the warp were light
blue and the weft medium blue, then stripe _A_ would consist of light
blue ornamented with small spots of medium blue, whereas stripe _B_
would consist of medium blue mainly, with light blue spotting. This
method of colouring is useful where the designs are arranged on a base
of this character. Another plan of introducing fancy shades in such
weaves involves the use of two shades in the warp--one for stripe _A_
and another for stripe _B_.
One further method of varying styles of this kind may be mentioned.
Add to the design as here given a band of fancy twill, which might be
coloured with bright yarns in the warp, and the sateen sections plainly
coloured, allowing of clear and distinct development of the spotting.
[Illustration: FIG. 135.]
[Illustration: FIG. 136.]
The next weave, Fig. 136, may be more diversified in colouring. In the
woven texture, it forms a species of serpentine pattern filled in with
small figures of plain make. The warp and weft flushes compose similar
figuring. Analysis of its composition shows that it comprises three
varieties of crossings. First, there are the plain weave parts; second,
the solid warp-flush figuring; and lastly, the wave effect formed by
the solid floats of weft. If the thread-and-thread system of colouring
were adopted, an interesting woven effect results. Thus, assuming the
colourings to be pale blue and light olive, the plain sections would
consist of longitudinal stripes of these colours; the blank spaces in
the weave would give warp floats of the same shades; and the solid
floats of weft transverse but very diminutive lines of olive and blue.
Should one colour of warp yarn be used--such as light fawn, and a
second colour for weft, tannish brown, for instance--quite a different
species of style would be obtained. In this example, a wave figure of
light fawn would be adjacent to a similar figure of tannish brown, and
the oblong figures composed of plain weave in mixed colouring.
These styles, Figs. 135 and 136, when coloured on the lines indicated,
are suitable for silk and mixed materials, as well as cotton textures,
for which they have been arranged.
[Illustration: FIG. 137.]
[Illustration: FIG. 138.]
[Illustration: FIG. 139.]
[Illustration: FIG. 140.]
[Illustration: FIG. 141.]
171. _Gauze Textures._--Gauze or leno effects are different in
structure and appearance from ordinary woven fabrics. When combined
with the common methods of weaving, a variety of useful designs may
be obtained. Compared with ordinary woven results they are what may
be defined as porous or transparent in composition, or, more strictly
speaking, they consist of compact and open spaces which regularly
alternate. The dimensions of the perforations, and the intervals at
which they occur, are determined by the weave used and the method
of healding adopted. On examining a sample of these textures, the
threads appear to be drawn together in some sections and in others to
be separated and apart. Section _A_ of Fig. 137 affords some idea of
the mode in which the yarns twirl round, over, and under each other.
Note, for example, the crossings of threads I and 2 with 3 and 4. The
two former rise alternately on the right and left of the two latter.
Further analysis shows that some of the threads--namely, those lettered
_s_--are not drawn out of their positions. They preserve uniform
fixedness of position, being always under the picks of weft and twined
round by the whip yarns 1 and 2, and 5 and 6, etc. If one of these
yarns is removed, the whole structure of the fabric is decomposed.
Fig. 138 is a photo-micrograph of a cotton warp and silk weft gauze
fabric showing distinctly the twisting of the double warp threads
round the soft floss weft. In the sample of fancy gauze, Fig. 137,
two whip threads rise on the left and on the right of the threads _s_
simultaneously, forming a wavy texture. The picks are introduced at
such intervals as to be bound together in pairs, first by ends 1 and 2,
_D_ and _E_, _F_ and _G_, etc.; and, second, by ends 5 and 7, _E_ and
_F_, _G_ and _D_, etc. The bending of the picks is due to the method
of coupling them together. In producing such a style, first arrange
for a band or stripe, of about one inch in width, of the gauze effect
_A_, and then for a band of 1½ to 2 inches in width of the plain,
like the sections lettered _B_. The weaving plan of this pattern is
Fig. 139, and the healding draft Fig. 140. A word or two of explanation
is necessary on the latter. Shafts 1 and 2 are the doupe heddles. In
healding, the whip threads are first entered into shafts 3 or 4, then
into shafts 1 or 2, as the case may be. It is necessary that these
should be drawn underneath the stationary ends. When the doupe heddles
rise, the whip ends are lifted on the right of the fixed threads, but
when shafts 3 and 4 rise they are lifted on the left. The weave given
in Fig. 141 is a modification of this structure. This weave, in the
same draft, gives the stripes of plain unaltered, but those of leno are
more pronounced in waviness, for four picks are in this case grouped
together at each change of the whip threads. Numerous variations might
also be wrought in the same method of healding, and by the same plan,
by simply altering the dimensions of the respective stripes.
[Illustration: FIG. 142.]
The style given in Fig. 142 is of a different class from that sketched
in Fig. 137. For some sixteen picks the gauze yarns interweave
regularly, and then pass round four threads, being thereby drawn
together by the picks, and at the same time made to prevent them
from being forced into contact with each other. It is thus that the
porous features of the pattern are originated. Between each series of
gauze effects there is a band of twelve threads of fine cotton, not
including the side threads which, conjointly with the whip yarns, form
the interstices at intervals. In healding for this style, the douping
threads pass under four ends in succession, so that five threads are
sleyed together in the gauze sections. In the plain parts, however,
only four threads are entered into each reed, while a vacant split is
allowed between the different sets of these yarns. This sample, like
the preceding one, and that given in No. 3 on Plate XXIII., illustrates
the diversity of textural arrangement feasible in gauze fabrics.
172. _Systems of Colouring Gauzes._--The methods of colouring these
patterns may be grouped under three heads, as follows:--
I. Gauze patterns in which colour is applied to those sections composed
of the ordinary principles of intertexture only.
II. Gauze patterns in which colour is applied to the gauze parts only.
III. Gauze patterns coloured in both the ordinary and gauze sections.
Examples in each class may be considered. Primarily, then, it is
feasible to apply colour to these styles on such a system that the
gauze sections will be developed in one shade, while the adjoining
effects may be coloured on any system applicable to single-make designs
composed of simple weaves. Thus, taking Fig. 137 as a design which
it is required to colour by this method, then the weave of parts _B_
being plain, any of the Simple or Compound Schemes of Colouring might
be used; or these parts might be coloured on a special system to form,
for example, a shaded band of tints. If the colours used were pink
and white, the maximum quantities of pink could approach the band of
gauze effects, when the largest portion of white would fall in the
centre of the plain stripe; or the shading might proceed from white
at the edges to a pink central band. Whether the first or the second
arrangement is adopted, the stripe of gauze should be in white, and the
weft also of this shade. Obviously the ordinary schemes of colouring
are applicable to such sections as _B_ of any gauze pattern. With some
slight modification, or rather adaptation, they also relate to the leno
or gauze portions of these styles. When it is required to introduce
the fancy shades into the gauze proper, the structure of the fabric
has to be taken into consideration. Fig. 142 is a sample of gauze in
which the fancy yarn constitutes the gauze effect. By making it such,
the character of the pattern is more clearly developed. It is only by
an arrangement of this kind that the twisting of the gauze yarns can be
prominently brought out. If the ground threads had been white, and the
whip yarns black, the effect would not have been nearly so good. Hence
it is advantageous in applying colours to these textures to make the
twisting or whip threads into fancies.
Another important feature about the application of colour to gauze
effects is that different materials and thicker yarns may be employed
for the whip than for the ground ends of the fabric. This is the case
in Fig. 142, where the gauze threads are silk and several fold in
thickness. The object of this contrast of materials and in sizes of
yarns is to cause the gauze effects to appear prominent and distinct
from the other characteristics of the pattern.
The third example in the colouring of these styles is Pattern 3
on Plate XXIII. There are several textural principles here for
analysis. The gauze sections are developed in three kinds of yarns.
The variegated silk threads form the main element of the tinting.
Such yarns are only used in the finest of these fabrics. They
impart richness of tone and lustre to the whole effect. Next there
are the thick threads of cotton forming the diamond-work in the
gauze parts. Intervening these thick yarns, and constituting the
smaller interstices, the fine threads occur. These various yarns are
effectively employed--the silks give the twisting, the thick threads
the open gauze, and the fine threads the groundwork. The other sections
of the style are composed of twill and plain. Fancy shades might be
forcibly added to the twilled part, and so the pattern converted into a
colouring of the third class of gauze styles.
In addition to these striped combinations, a limited range of checkings
in gauze are obtained, while figured effects are produced in this
scheme of weaving in a considerable diversity of tints.
173. _Imitation or Mock Gauzes._--The somewhat intricate mounting
required to produce gauze fabrics has led to numerous ingenious
attempts to obtain a gauze effect in the texture without increasing the
complication of the weaving process. One of the most important methods
of accomplishing this is shown in Fig. 143. The small weave (Section A)
in this design, marked in ⊠’s, yields an imitation of the real gauze,
and so groups the threads and picks that they result in forming a
fabric full of small perforations. It is used in combination with the
plain weave and fancy makes in the origination of various descriptions
of patterns. As a rule, the colourings are of a simple order, only a
limited variety of shades being used. The stripe in Fig. 143 may be
colourable in the warp as follows:--
20 threads of tan.
32 „ light blue.
20 „ tan.
24 „ light blue.
The weft might be either light blue, tan, or a tint that would contrast
with both the colours in the warp. Assuming it to be blue, the pattern
resultant would consist of a stripe of mock gauze in solid blue, a
stripe of plain in brown and blue neatly mingled, a stripe of hopsack
in which the respective shades would form small diaper-work, and of a
second stripe of plain weave of intermingled colouring. The novelty of
these patterns is largely proportionate to the ingenuity exercised in
varying the methods of combining the weaves and in the selection of new
types of crossings; while the special function of the colourings is to
develop the weave elements.
[Illustration: FIG. 143.]
The check example, Fig. 144, further illustrates the method of
colouring these mock effects. Fig. 144A is a photo-micrograph of the
fabric, showing the interlacing of the threads, and the difference in
structure of “mock” and gauze fabrics (Fig. 138). It is produced in
Fig. 144B, and coloured:--
Light green 12 12 12 12 24 -
White 48 24 - 12 - 24
Medium green - - 24 12 12 -
[Illustration: FIG. 144.]
[Illustration: FIG. 144A.]
174. _Colours in relation to Rib or Cord Styles._--The rib make of
cloth is utilized in the construction of fancy patterns. It is one of
the neatest schemes of weaving that can be used for this purpose. It
allows of considerable scope for both colouring and designing. Though
two wefts may be employed in producing this class of design, only
one of them appears on the face of the fabric when forming the rib
or cord effect. As a result of the cord may be variously coloured,
and yet quite independently of the other sections of the style. Fig.
145, which is the plan of the rib style given in Pattern 4, on Plate
XXIII., illustrates the base on which such designs are arranged. Part
_A_ forms the cord. It is produced solely by the even picks. These, in
weaving, come as close together as if the odd picks were not part of
the construction. At the same time they float under the several sets of
threads forming the other parts of the style. It is this arrangement
which makes it feasible to develop the cord in any order of colours
without modifying the pattern as a whole. Pattern 4, Plate XXIII.,
shows the rib of a distinct shade. The method of colouring is as
appended:--
[Illustration: FIG 144B.]
_Warp._
10 threads of brown.
10 „ brown and white twist.
20 „ brown.
10 „ brown and white twist.
10 „ brown.
10 „ brown and white twist.
6 „ brown.
10 „ brown and white twist.
10 „ brown.
_Weft._
1 pick of brown.
1 „ black.
[Illustration: FIG. 145.
(If necessary, stitch or tie beneath the cord section _A_.)]
It is the black weft which forms the cord. Greater diversity of effect
in this section of the fabric might have been acquired by wefting
thus:--
For 92 picks. ⎧1 pick of brown.
⎩1 „ black.
For 4 picks. ⎧1 pick of brown.
⎩1 „ silk.
In this scheme of wefting the rib is spotted with silk. Occasionally
two colours of silk are employed, so that there is evidently some
facility for fancy weft tinting in designs of this character. It is not
necessary to enter into the details of the warp colouring, which depend
largely on the weaves combined.
[Illustration: FIG. 146.]
Pattern 5 of Plate XXIII. is a rib of a different arrangement from that
of the preceding example. In Fig. 146, used in its manufacture, three
sizes of ribs are combined. It should be noted that where more than one
rib constitutes any stripe, both the odd and even picks are utilized
in forming the corded effect, and, as a consequence, it is no longer
possible to have the whole of the rib stripes of a distinct weft shade
from the rest of the design. If Band _A_ only contained three ribs,
the pick-and-pick method of colouring might be practised, because in
such an arrangement the fine twill would start on the first pick of
the design in both Sections _C_ and _D_, admitting of the small ribs
in _A_ and of the large ribs in _B_ being of a different colour from
the opposing cords and also from the twilled parts. But this order of
wefting, if applied to the design given in Fig. 146, would partially
destroy the solidity and neatness of one of the twilled bands. Should
the odd picks be selected for the fancy colour, it would be stripe _C_,
but should the even picks be selected, it would be stripe _D_ that
would be modified by the additional shade of weft.
It may be observed that as a rule weaves of a warp type are combined
with corded effects; clearer patterns, comprising more forcible
contrasts of textural work, result from the use of these than from
employing crossings which flush a considerable proportion of the
weft yarn on the face of the fabric. Mellow and choice colouring is
therefore important in the warp of these styles, because the yarns
composing it float with comparatively few weft interruptions on the
upper surface of the texture.
CHAPTER XI.
COLOURING OF COMBINATION DESIGNS.
175. Principles of Colouring Weave-Combinations--176. Examples
in Colouring Compound Designs--177. Main Points in applying
Shades to Weave-Combinations--178. Examples in Drafted
Patterns--179. Designs composed of Two Prunelle Twills--
180. Drafted Designs composed of Two Four-Shaft Weaves--
181. Styles composed of Prunelle and Cassimere Twills--
182. Combinations composed of two-, Six-, Seven-, Eight-,
and Nine-Shaft Weaves--183. Drafted Designs composed of Three
or More Weaves--184. Fancy Stripe Combinations--185. Irregular
Woollen Weave-Combinations--186. Cotton Stripes--187.
Colouring of Designs containing several Weaves of Varied
Construction--188. Figured Designs striped in the Warp.