fancy shades to designs containing several weaves, not only has the
character of the pattern as a whole to be considered, but also the
character of its component parts. That grouping of shades which
forms a perfect style in the common twill may yield incongruous
effects in other fancy weaves with which it may be associated,
necessitating in some designs--particularly in those of a stripe and
check order--the adoption of various systems of colouring, according
to the structure of the crossings forming the different sections of
the pattern. Generally, the elementary schemes of colouring are the
most appropriate for weave-combinations, as they constitute the most
uniform effects. To exemplify the methods practised in colouring this
description of textile designs, some illustrations may be considered
in detail. Supposing, in the first place, a design were composed of
prunelle twills and the plain weave, and it were required to colour
it on such lines as to obtain neat textural effects in each weave.
Now, it will be clearly understood from the analyses made of Simple
Colourings that several schemes might be employed, so far as the plain
make is concerned, such as the one-and-one, the two-and-one, and the
three-odd-thread systems; but if these analyses have been carefully
studied, it will at once be evident that neither the first nor the last
of these colourings would be suitable for application to this design,
because, while producing satisfactory types in the plain sections,
they form unsuitable ones in the twills; and it is imperative in this
case to use a method of grouping shades that will give equally clear
and regular effects in the prunelle as in the plain crossings. On this
ground, therefore, both these systems must be rejected. There is not
the same objection to the two-and-one arrangement, for it yields a good
pattern in each of the makes. In the plain weave it forms a species of
neat spotting; in the warp prunelle, lines lengthways of the fabric;
and in the weft prunelle, lines of the two shades across the fabric.
176. _Examples in Colouring Compound Designs._--Let the following
examples also be considered: I. a design composed of four-end twill and
mat; II. a design with a cassimere twill ground, small upright twill
for figure, and swansdown twills for extra spotting; III. a design
consisting of six-shaft twill in the ground, with warp and weft cords
for figuring; IV. a design containing mayo, common twill, and mat; and
V. a design with twilled mat for ground and double-plain for figuring.
In the first design mentioned, two weaves are combined in which several
schemes of colouring might be utilized, such as the two-and-two, the
four-and-four, and the four-two’s arrangements. But assuming that
it were required to adopt an order of colouring which would cause
the twilled parts of the design to consist of minute checkings, and
the hopsack parts of fine vertical stripes, then it would become a
necessity to employ the two-and-two colouring. This order is, in some
respects, one of the best that could be employed in all-over patterns
consisting of twill and mat weaves, for it not only thus produces a
distinct effect in both makes, which in figured styles would result
in the precise development of the integral parts of the design, but
also a combination in which the sections consisting of the respective
crossings are equally pronounced.
The second type of design named contains four weaves, but the one most
largely employed and which constitutes the ground of the fabric is
common twill. Now, in colouring such patterns the ground weave must
be primarily considered, other makes, so far as the application of
fancy shades to the entire design is concerned, being of secondary
importance. In a combination comprising four weaves it is not,
however, usual to adopt an order of shades calculated to produce
a special effect in any of the crossings, but rather to employ a
scheme of colouring largely composed of one shade. In other terms,
it is advantageous in designs of this class to allow the bulk of the
fabric to be composed of yarns of one tint--any fancy threads which
may be introduced being used sparingly, and frequently singly, and
not in larger groupings, as is the case in other modes of colouring.
By adopting this arrangement, the weave characteristics are clearly
emphasized, and yet the surface of the texture is neatly embellished
with fancy shades.
The six-shaft twill is the main factor of the third type of style. It
is therefore a question of selecting in the first instance a plan of
colours that is adapted to its structure. As it forms the bulk of the
texture, it requires to be primarily considered. Reference should be
made to the series of simple and compound colourings applicable to this
weave, and then that method employed which, while making a neat pattern
in the twill, will not form an unattractive effect in the cord weaves.
Some of the standard groupings of shades for this weave are quite
unsuitable when used with these cords. The three-two’s and two-three’s
are arrangements of this character. They form neat patterns in the
twill, but imperfect styles in the ribbed crossings. The one-and-one
and the three-odd-thread schemes are the most appropriate in a
combination of such weaves. They are both capable of producing regular
effects in this compound design. Thus, take the thread-and-thread
order. In the six-end twill it forms neat spotted work; in the warp
rib, transverse bands of colours; and in the weft rib, vertical
bands of colours, varying in dimensions according to the size of the
rib-weaves used.
The IV. class of example in mayo, twill, and mat is a combination in
which several schemes of shades are feasible. The point to be acquired
when such is the case, is the employment of a method of colouring that
will yield effects in each weave, sufficiently marked in character
to contrast neatly with each other, and yet constitute a harmonious
pattern. This can only be practically worked out by comparing the
patterns resulting from each crossing in standard groupings of shades,
which will lead to the application of that order of yarns known to
develop forms of pattern in the respective makes, calculated to
harmonize satisfactorily in combination.
[Illustration: FIG. 147.]
When single and double weaves are combined, as in section V., the
elementary schemes of colouring to be used have also to be applied
in relation to the general effects producible. Fig. 147 is a pattern
containing such weaves, the ground being single in structure and the
fingering double-weave structure. A section is given in Fig. 148. The
simplest arrangement of colouring, one-and-one, has been used, because
it produces the figure in light and dark portions, and the ground in
intermingled colouring. The relation of the colour effect to each weave
gives satisfactory definition to the figuring in contrast with the
intermingling of the shades in the ground.
177. _Main Points in applying Shades to Weave-Combinations._--From
these examples in the methods of colouring designs consisting of
several elementary crossings, it is apparent that there are certain
principles which must be observed in introducing fancy yarns into
this class of woven patterns. First, whatever the character of the
design, the primary factor for consideration is the structure of the
weaves--the weave which occurs in the largest quantities being the
most important, and requiring specific colour treatment. Second, when
the weaves combined are similar in construction, a simple scheme
of colouring should be adopted. Third, no order of shades should
be employed which, while giving pleasing patterns in one weave,
produces indifferent results in others. Obviously, these rules are
only applicable to designs composed of elementary weaves, and in which
the variety of crossings is very limited. For example, in designs
comprising such a series of dissimilar weaves as obtains in Figs. 163
and 166, it will be clear that, to acquire a well-balanced pattern
as to colouring, the several sections of the style must be specially
treated in a colour sense. To warp an assortment of weaves of this type
on one system throughout, could only result in the construction of a
most unsatisfactory range of effects. The order of colouring must vary
with the alteration in weave. This of course is only feasible in stripe
and check designs, but is absolutely necessary in styles comprising a
considerable diversity of intricate weaves arranged on either of these
methods.
[Illustration: FIG. 148.]
178. _Examples in Drafted Patterns._--These may be considered as
follows:--
I. Designs composed of weaves related to each other in structure and
occupying a similar number of threads, and in which the several makes
are used in corresponding proportions.
II. Designs of a stripe and check arrangement diversified in weave
assortment.
III. Designs composed of several crossings, but with a simple twill,
mat, or plain weave for the ground of the texture.
In the I. group a range of irregular patterns occur, consisting mainly
of three-, four-, and six-end makes. In colouring these patterns, it
is necessary to consider how the simple schemes of colouring develop
in the several weaves combined, in order that the scheme which will
give the most uniform result in all the crossings may be applied. If
three or four weaves obtain in the same design it is occasionally
advantageous to employ an irregular grouping of shades, or one which
is not intended to give a particular type of pattern in any one of the
weaves combined.
Increased colouring ingenuity and practical skill are required in the
treatment of the second group; because in the designs included here, it
is frequently necessary to adopt various orders of colouring--one for
each type of weave in the design.
The third group of drafted patterns is largely developed in cotton
fabrics, dress goods, and other fancy textures. The method of colouring
these patterns is twofold, relating, first, to the treatment of the
ground crossing, and second, to the use of a plan of shades that will
yield neat effects in all the weaves combined.
Examples in each group will be fully analyzed and described.
179. _Designs composed of Two Prunelle Twills._--An extensive
assortment of styles in woollen, worsted, and cotton yarns is obtained
in these two weaves by drafting. These are produced in trouserings,
suitings, dresses, etc. When these two makes are combined and coloured
on the two-and-one method, they give opposite effects, the warp twill
forming vertical, and the weft twill transverse lines of colour. It
is this principle which governs all the patterns obtained in designs
composed of these crossings. In making styles of this kind, the first
work consists in mapping out the form of the design, and the second
work in running the twills on to the ground and figured sections
respectively. Fig. 149 is a pattern partially constructed from these
weaves. Stripes _A_ are a composition of warp and weft twills. The
reduced design and the draft for the same are furnished in Figs. 150
and 151. From these it will be evident that it is the transition from
warp to weft twill which gives the results lettered _A_ and _B_ in the
illustration taken from the woven fabric.
[Illustration: FIG. 149.]
[Illustration: FIG. 152.]
[Illustration: FIG. 150.]
Many types of figuring, whether floral or geometrical in arrangement,
can be developed on this system.
There is another mode of colouring this design besides that considered.
It consists in employing three shades in single threads, but as it
is somewhat more intricate than the two-and-one system, and yields a
similar pattern, it is not so extensively employed.
[Illustration: FIG. 151.]
[Illustration: FIG. 153.]
180. _Drafted Designs composed of Two Four-Shaft Weaves._--These
obtain in greater diversity than designs resulting from three-shaft
weaves. This is owing to the considerable series of makes of twill
and mat types producible on four shafts, enlarging the scope for the
origination of all classes of combination styles. Various illustrations
in these designs will be examined, and the principles of colouring them
explained. First, the pattern, Fig. 152, may be referred to. It has
been obtained in the design and draft supplied in Figs. 153 and 154.
Strictly speaking, it is composed of only one weave, which, to gain
variety of effect, is twilled in two directions. It will be observed,
if any of the sections are analyzed, that every other pick of this
weave is plain. This accounts for the effect seen in the fabric in Fig.
152. The arrangement of the shades is one-and-one, so that one weave
here being the reverse of the other, while the parts developed in ◼’s
are forming one textural type, the parts developed in ⊡’s are yielding
a second type. It is the plain picks of the respective sections which
constitute the minute skeleton squares of grey and black; the twill
picks filling up the spaces formed by the grey with black, and those
formed by the black with grey. This pattern may be developed in various
shades of fancy yarns; and the two weaves may also be blended on such
methods as to form stripe and check styles of several descriptions.
[Illustration: FIG. 154.]
[Illustration: FIG. 155.]
[Illustration: FIG. 156.]
[Illustration:
Plate XXIV
COLOURING OF DRAFTED STYLES
1. Weave Compound; Prunelle and [2\2] Twills
2. „ „ [1\3] [3\1], and [2\2] Twills
3. „ „ [1\3] [3\1], and [2\2] Twist-warp Yarns]
The fabric given in No. 1 on Plate XXIV. has some principles of
construction common with the effect just described, inasmuch as the
design employed in its manufacture is a composition of cassimere weave
twilled to the right and left successively. Thus, it results from the
plan and draft given in Figs. 155 and 156; hence it is, in reality, a
cassimere twill pattern, for this is the only weave used. But as it
runs forward for six picks, and then starts again--this process being
repeated throughout sections _A_ and _B_, in which the weave twills
in both directions--there is formed by the draft a check pattern,
occupying forty-eight threads and picks, and in which the weave twills
to the right in each alternate space of twenty-four threads. The order
of colouring is somewhat intricate, being as appended:--
_Warp._
2 threads of a dark shade.
_A._ For 16 threads. ⎧2 „ light „
⎩2 „ dark „
1 thread of a light „
1 „ fancy „
_A._ For 12 threads. ⎧2 threads of a dark „
⎩2 „ light „
2 „ dark „
4 „ light „
2 „ dark „
4 „ light „
1 thread of a dark „
1 „ light „
1 „ fancy „
4 threads of a light „
1 thread of a fancy „
1 „ light „
1 „ dark „
4 threads of a light „
2 „ dark „
4 „ light „
2 „ dark „
_A._ For 16 threads. ⎧2 „ light „
⎩2 „ dark „
1 thread of a light „
1 „ fancy „
_A._ For 12 threads. ⎧2 threads of a dark „
⎩2 „ light „
_Weft._
For 21 picks. ⎧2 picks of a dark shade,
⎩1 pick of a light shade same as warp.
2 picks of a dark shade.
1 pick of a fancy „
There is a sort of broken or irregular shading produced by this
arrangement, the construction of the design having an important effect
on the grouping of shades. The particles of two-and-two colouring,
which occur in brackets _A_, develop, in the weaves cutting each other,
the waviness characterizing the coloured effects (Pattern I, Plate
XXIV.). The comparatively large patches of one group of yarns in the
warp do not form a clear stripe in the fabric, because the system of
wefting is irregular, being such, however, as to tally with the plan
of changing the twilling of the weave on every sixth pick. The effect
of the two-and-two order of shades in the warp in this drafted design
shows the extent to which the construction of the plan of interlacing
may modify the result of a simple order of shades.
181. _Style composed of Prunelle and Cassimere Twills._--This is rather
an irregular combination, but in the two-and-one system of colouring,
if the weaves are skilfully adjusted, it is capable of producing a
species of pattern rich in textural details. Referring, for example,
to section _B_ of Fig. 149, the effect of the cassimere twill worked
into checks of sixteen threads and picks in this grouping of shades
is given. It is a neat type of pattern, contrasting with the effects
of the prunelle twills with which it is combined. The quantity of
cassimere twill must not be large in combinations of this class, or a
cloth lacking uniformity of structure will be produced. Further, the
weaves require to be correctly fitted together, or a fabric possessing
an irregular surface will ensue. It is a suitable scheme of weaves for
dress fabrics. The arrangement is also adaptive, in small styles, to
trousering and similar fabrics.
182. _Combinations composed of two-, Six-, Seven-, Eight-, and
Nine-Shaft Weaves._--There are several varieties of patterns obtained
in designs containing six-end makes. As a rule the twill is the
principal weave. One example in which the hopsack and a fancy crossing
are combined may, however, be described, as it is an interesting and
typical specimen of the general range of patterns obtained in this
class of weaves. This style is sketched in Fig. 157, while the design
producing it is a composition of the two makes in Fig. 158. The method
of colouring is three threads of white and six threads of black in both
warp and weft. In the mat sections the minute figures are formed,
but the intermingled checking is a consequence of the weave marked
in full squares in Fig. 158. These two crossings are combinable in
figured arrangements suitable for costumes and dressing-gowns. In soft
colours, brightened at intervals by a few fancy threads, this compound
of weaves and scheme of colouring are capable of yielding a series of
fancy fabrics. By changing the mat to twill, quite a distinct species
of pattern is obtained. Both weaves now yield check effects, but the
type of effect resulting from the twill is uniform and regular in
appearance. Some neat figured and check designs are also obtained in
six-shaft makes by employing the twill for the ground of the texture,
and small weaves which may be readily combined with it, and colouring
on the three-one’s, two-three’s, and three-two’s systems.
[Illustration: FIG. 157.]
[Illustration: FIG. 158.]
The variety of styles workable in seven-shaft crossings is somewhat
limited. Such weaves as the corkscrew and twill, and the upright twill
and small diagonals, are blended here.
In combinations containing a large portion of corkscrew, the
one-and-one method of colouring is appropriate, particularly if
the make is of a common twill construction. The five-and-two,
four-and-three, and six-and-one groupings of shades are useful in
designs in which an ordinary seven-shaft twill forms the bulk of the
texture.
Eight-thread weave combinations comprise the largest variety of styles.
Designs composed of several classes of twills, of simple, twilled,
and fancy mats, of minute diagonals, and small figured types, are
all colourable on the Simple and Compound systems of blending shades
containing four and eight threads.
Nine-shaft compounds, consisting of weaves about equally balanced as
to warp and weft floats, are principally developed in the following
groupings:--
I.
5 threads of a dark shade.
4 „ „ medium „
II.
7 threads of a dark shade.
2 „ „ medium „
III.
3 threads of a dark shade.
3 „ „ medium „
3 „ „ light „
IV.
4 threads of a dark shade.
3 „ „ medium „
2 „ „ light „
183. _Drafted Designs composed of Three or more Weaves._--Four-, five-,
six-, and eight-shaft weaves are all used in the construction of these
designs, belonging to the second group, but such styles generally
consist of four-end makes. For fine textures, and for fabrics in
which a broad cast of pattern is required, weaves occupying a larger
number of threads are employed. It will, however, be sufficient if
illustrations are considered in designs composed of the four-thread
weaves. These are given in Nos. 2 and 3 on Plate XXIV. They are taken
from woollen textures. The colourings are as follows:--
PATTERN I.
_Warp._
2 threads of white.
1 thread of black and scarlet.
2 threads of white.
1 thread of black and green.
2 threads of white.
1 thread of black and white.
_Weft._
Medium grey.
PATTERN II.
_Warp_.
For 9 threads. ⎧1 thread of black and brown.
⎩1 „ brown and white.
1 „ scarlet and green.
For 9 threads. ⎧1 „ brown and white.
⎩1 „ black and brown.
1 „ blue and green.
_Weft_.
1 pick of black.
1 „ black and white twist.
Referring to the draft (Fig. 159), and the reduced design for Pattern 2
(Fig. 160), these are arranged to form the same series of interlacings
on each thread, which ensures the construction of a regularly-built
fabric.
[Illustration: FIG. 159.]
It will be noticed that both plans of colouring are irregular, the
first scheme containing nine, and the second scheme twenty threads.
Now as the weaves forming the designs are on four shafts, the fancy
yarns fall on different threads of the respective makes in different
parts of the figuring. In this way a blended effect is acquired. The
bulk of the first warp being white, and the weft of a medium shade, the
weave details are clearly seen. The three makes, comprising the design
(Fig. 160), are all traceable. The small spaces of white are due to
the twill marked in crosses; the spaces of slate to the twill marked
in full squares; and the spaces of slate and white, equally mixed, to
the cassimere twill which forms the ground of the design. When the
warp consists of broad bands of neatly contrasting shades, this type
of weave-combination gives excellent results in dress and mantling
fabrics.
[Illustration: FIG. 160.]
Pattern 3, Plate XXIV., though produced in the same draft and composed
of similar weaves as Pattern 2, is very different from it in appearance
and composition. It forms a type of granite mixture. The colours being
arranged practically on the one-and-one system throughout the fabric,
the effects of the various crossings are partially subdued. Cheviot
yarns and medium counts of worsteds are adapted for this type of
intermingled pattern in fancy costume fabrics.
184. _Fancy Stripe Combinations._--Designs of this class for worsted
trouserings, cotton textures, and tweed mantlings, may be intricate
in both weave and colour composition. Indeed, it follows as a natural
sequence that if a striped design is well diversified in weave
arrangement, it will be correspondingly complex in colouring. Not only
in a weave, but in a textural and colour relation, is there intricacy
of technical contrivance in these fabrics. First, a uniform texture is
indispensable; second, this quality must be obtained in conjunction
with novel weave effects; and, third, the arrangement of colouring must
be harmonious in shading and in accordance with the structure of the
weaves combined.
185. _Irregular Woollen Weave Combinations._--A compound of crossings,
forming a style of design specially suitable for woollen yarns, is
supplied in Fig. 161. Whether produced in fine or medium yarns for
dress or cloaking fabrics, it forms an effective pattern. It is
workable on fourteen healds, the plan of drafting being as follows:
Threads 1 to 14 straight drawn, then shafts 6, 5, 4, 3, 2, 1, 7, 8,
14, 13, 12, 11, 10, and 9. Should this method of drafting be adopted,
Parts _A_ and _B_ would constitute the reduced plan. Though the design
contains fourteen distinct threads, it is, nevertheless, merely a
modification of the first seven ends. These form a species of diagonal
weave suitable for worsted coatings.
[Illustration: FIG. 161.]
The arrangement of this pattern may he divided into four sections.
Parts _C_ and _D_ have the diagonal moving to the right, and parts
_A_ and _B_ to the left. The manner in which each diagonal commences
and terminates is the chief characteristic of the pattern, and is
illustrative of a method of combining this type of weave that may
be followed out with satisfactory results. For dress materials the
following weaving particulars are appropriate:--
_Warp._
1 thread of fine black and white twist.
5 threads of medium grey.
1 thread of fine black and white twist.
_Weft._
All dark grey.
Little variety of colouring is needed; a light shade of warp and a
medium shade of weft are sufficient to give due precision and proper
development to the various features of this design.
[Illustration: FIG. 162.]
186. _Cotton Stripes._--These have frequently a plain ground, and
belong to the third group of drafted designs. The figuring is developed
in warp and weft flushes neatly grouped in diamonds, twills, and fancy
mats. An example of these designs is Fig. 162--a compound weavable
on twelve shafts. It consists of bands of plain weave, warp rib, and
wave effect. Section _A_ consists of objects of the same shape and
dimensions developed in both warp and weft floats. Thus, while the
figure marked in solid squares would, in the fabric, be composed of
weft flushes, the part marked in crosses would consist of floats of
warp; hence, providing the warp is light in shade, and the weft of
an intermediate colour, these figures would be of distinct hues. The
following scheme is illustrative of the methods generally adopted:--
_Warp._
2 threads of lavender.
4 „ white.
2 „ lavender.
4 „ white.
2 „ lavender.
4 „ white.
2 „ lavender.
16 „ white.
2 „ lavender.
For 18 threads. ⎧ 4 „ white.
⎩ 2 „ lavender.
8 „ bright blue.
_Weft._
All lavender.
[Illustration: FIG. 163.]
According to this arrangement of colours the rib section would consist
of furrows of bright blue and lavender, while the bands of plain would
be divided into stripes of solid lavender of two threads each, and
of mixture stripes of white and lavender of two and four threads in
width. As to the Section _A_, the effect in warp flushes would be solid
white on a ground of lavender and white; whereas the effect in weft
floats would be solid lavender on the same mixture ground. This order
of colours, but in different shades, such as pink and white, slate
and white, and salmon and white, also develops well. In these latter
shades, bright and pale pinks, and salmon and a deep and pale slate,
are requisite to obtain the proper gradation of tinting.
187. _Colouring of Designs containing several Weaves of Varied
Structures._--Three typical illustrations in the methods of introducing
fancy shades into this sort of compound designs may be considered.
They are given in Figs. 163, 164, and 165. These examples show how
full of weave effect, styles of this class may be. Thus, in the first
design, Fig. 163, which is composed of three weaves, there are four
distinct stripes, consisting of fancy mat weave, corkscrew, and rib
respectively. An effective method of colouring such a compound is as
follows:--
10 threads of light mixture.
10 „ medium mixture.
10 „ light mixture.
For 15 ends. ⎧ 1 thread of light mixture.
⎩ 1 „ medium mixture.
10 threads of light mixture.
10 „ medium mixture.
10 „ light mixture.
2 „ medium blue silk.
2 „ white silk.
2 „ medium blue silk.
According to this system of colours, the rib section consists of medium
blue and white silk, the bands of fancy mat of stripes of light and
medium mixture yarns, and the section of corkscrew, being warped thread
and thread, consists of diagonals of the two shades of yarns employed.
Fig. 164 is a composition of vertical and oblique twills, with a strong
contrast in the weave effect. The make marked in ⊡’s forms an oblique
twill, of about the same degree as the upright twill yielded by the
crossing developed in solid marks. In combination, the weaves, though
dissimilar in woven results, produce a uniform texture. The following
is an appropriate scheme of colouring:--
8 threads of blue.
3 „ slate.
2 „ brown and white.
3 „ slate.
8 „ blue.
8 „ brown.
⎧1 thread of brown.
Repeat ⎨1 „ black and crimson.
⎪1 „ brown.
⎩1 „ black and green.
8 threads of brown.
[Illustration: FIG. 164.]
The centre of the large band of twenty-four threads is thus neatly
tinted with fancy twist threads; while the diagonals developed in
◼’s are composed of the blue, the same diagonal, when twilling to
the right, consists mainly of slate, with a fine line of brown and
white twist down the centre. There is, therefore, not only in this
arrangement an apt grouping of shades in a colour sense, but the
plan of adjustment produces a form of stripe in keeping with the
construction of the design.
[Illustration:
Plate XXV
FANCY YARNS
1. Ordinary Folded, or Two-Ply and Three-Ply Yarns
2. Flakes and Cloud Twists
3. Curl Twists
4. Gimp Twists]
The subsequent three-weave stripe--Fig. 165--is composed of an uncommon
set of crossings, namely, of sixteen-shaft twilled hopsack, of an
eight-shaft diagonal, and of a fine warp cord. The threads making the
cord section ought to be on a separate beam.
[Illustration: FIG. 165.]
A good system of introducing colour here consists in shading the
diagonal with colour, as indicated in the plan of working given below:--
16 threads of slatish green.
4 „ light brown.
4 „ medium brown.
4 „ dark brown.
4 „ white silk.
The depth of the brown and the slatish green must be about the same; if
anything, the latter should be the darker.
It is not unusual in these designs to employ bright shades of silk
for weaves of a rib class, which are so constructed as to show the
characteristic qualities of yarns of this material. Moreover, it is
almost a general rule to apply the brightest colours to those sections
of the design composed of warp cord crossings.
[Illustration: FIG. 166.]
Fig. 166 is a worsted trousering style, and is composed of four weaves,
namely, a warp wave, corkscrew warp flushed, corkscrew weft flushed,
and of fine twill. But it is not merely the variety of crossings which
deserves notice, but also the arrangement or plan of combination.
On both sides of the warp wave are bands of weft twill, contrasting
with not only the former weave, but the bold stripes of fine twill
represented in dots. These latter bands are intervened by a line of
nine-heald corkscrew or round twill. The scheme of warp colouring
should be such as to admit of the corkscrew sections being developed
in fine worsted and silk twist. This can be effected by colouring as
below:--
_Warp._
For 16 ends. ⎧1 thread of light brown mixture.
⎩1 „ brown mixture.
23 threads of blue mixture.
10 „ fine worsted and white silk twist.
23 „ blue mixture.
_Weft._
All brown or blue mixture.
By this arrangement the bands of upright twill are developed in blue
mixture, the warp wave in light brown and brown, and the corkscrew in
silk twist threads. Should the weft be brown, the bands of weft twill
marked in ⊠’s would be of this shade.
188. _Figured Designs striped in the Warp._--Designs of this type
are chiefly workable in cotton and silk yarns. The idea is to obtain
variety of colouring by the use of only one colour in the weft;
therefore, the coloured style consists of some diversity of striping in
the warp. For this purpose, the examples in fancy stripe colourings,
Figs. 11 and 12, may be used. For instance, Fig. 167 (Design 167A)
contains three weave effects, there being, first, the continuous
line of figuring developed in ◼’s, and second, the detached smaller
figures in ⊡’s, both being produced in weft, on a warp sateen ground.
Underneath such figuring, stripe colouring may be arranged.
Two examples, based upon _C_, Fig. 11, and _D_, Fig. 12, are given. In
order to fit carefully with the repeats of the design, the proportions
of warp colouring in the former would be as follows:--
18 threads of white.
Three times. ⎧5 „ medium heliotrope.
⎩5 „ white.
18 „ medium heliotrope.
Three times. ⎧5 „ white.
⎩5 „ medium heliotrope.
[Illustration: FIG. 167.]
[Illustration: FIG. 167A.]
If a dark heliotrope were used in the weft, then the figuring would be
woven in such colour upon the striping of white and medium heliotrope.
The design may also be woven in a stripe of a three-colour class. If
_D_, Fig. 12, were used, suitable proportions of colours would be:--
40 threads of white.
8 „ green.
8 „ white.
8 „ pink.
8 „ white.
8 „ pink.
8 „ white.
8 „ green.
If two materials were used, say cotton in the warp and silk in the
weft, then white silk would be suitable for the weft; but if the weft
is cotton, then a light tone of heliotrope would form a pleasing
contrast with the striping in the warp. It is a type of figured
designing, economically coloured in the weft, but diversified both as
to the degree of contrast of colour, and method of shade assortment or
striping in the warp.
CHAPTER XII.
SPOTTED EFFECTS.
189. Varieties of Spotted Fabrics--190. Spots due to Specific
Systems of Weaving--191. Swansdown Twill Spotted--192. Spots
composed of [1\3] and [3\1] Twills--193. Weave-Spotting produced
by both Floats of Warp and Weft--194. Irregular Spotted Stripes
and Checks--195. Spots developed by single Extra Warp Threads--
196. Fabrics Spotted with Single Picks of Weft--197. Mat Weaves
Spotted--198. Corkscrew Weaves with Extra Spotting Picks--199.
Spotted Diagonals--200. Warp and Weft Spots compared--201.
Spotting in both Warp and Weft--202. Advantages of the Warp
and Weft Methods of Spotting--203. Yarns used for Spotting--204.
Spotted Effects in Ordinary Weaves--205. Application of Fancy
Yarns to Compound Weaves.
189. _Varieties of Spotted Fabrics._--Woollen, worsted, cotton, and
linen fabrics are all more or less ornamented on the spotted principles
of designing and colouring. In all cases, it is sought to distribute or
arrange, on a tinted groundwork, a series of minute spots, which may
be composed of either the same or of distinct shades from those used
in the construction of the general surface of the fabric. When this
species of pattern is developed in woollens and worsteds, the spotting
consists of mere specks of colouring, resulting from the employment of
a special scheme of interlacing the warp and weft yarns. Cotton and
linen styles require bolder and clearer spots than woollens, and, as a
rule, are fuller of effects. There are various points to be considered
in the construction of these patterns, relating to the method of
development, the plan of grouping, and the dimensions of the spots.
Respecting the method of development, this is subjective to the
facilities at command. Thus, if the spotting can only be worked out
in those yarns that constitute the ground of the texture, then it is
more a matter of inventing a suitable scheme of weave-design than
of any specific process of colouring. But should a special series of
warp threads be used for the spotting, then it becomes necessary to
utilize both a particular type of weave and order of colours. Generally
considered, spotted patterns are of four varieties, as follows:--
I. Spots developed by the ordinary warp and weft of the fabric.
II. Spots obtained by using an extra series of warp yarns.
III. Spots obtained by using an extra series of weft yarns.
IV. Spots obtained by using both an extra series of warp and weft yarns.
[Illustration: FIG. 168.]
The first is the simplest class of spots. It is due to special
schemes of floating the warp, weft, or both these sets of yarns, at
regular intervals in constructing the fabric; that is to say, if the
construction of the texture were of the mat order, here and there the
mat effect would be substituted by groups of warp and weft flushes,
lending to the surface of the fabric a spotted aspect. This type
of spotted weaving is largely practised in designing for various
descriptions of fancy woollens, worsteds, and cottons. In the second,
third, and fourth classes of these patterns extra groups of shades,
entirely independent of those forming the ground of the texture, are
employed. They allow of the production of more intricate effects than
those developable by the first system, but are more difficult to
manipulate in both weave and colour combinations. Ornamental styles
coloured in the warp for vestings, dresses, robes, and mantlings,
also in the weft, and in both warp and weft, are but developments of
these forms of weaving and shade-arrangements. Subsequent analyses of
these textiles will demonstrate the affinity of the principles of their
construction with those of the spotted designs now under consideration.
[Illustration: FIG. 169.]
[Illustration: FIG. 170.]
190. _Spots due to Specific Systems of Weaving._--As these are purely
a product of the plan of building the fabric, they may be designated
Weave-Spots. Thus the design given in Fig. 168 would yield a spotted
effect, however simple the system of colouring might be. The pattern
resulting, Fig. 169, is an example. The shades in this texture are
slate and white--the latter being the warp--and the effects consist
of small white spots on a twilled surface. Of course in silk and
worsted dress fabrics the spots are of various forms, and are arranged
on geometrical bases; but in woollens small effects, as in the
illustration, are the most appropriate. Still, the principles of this
type of designing, whatever the form of the spot and the scheme of
distribution, are the same, relating primarily to a diversification of
the plan of weaving. In Fig. 168 the twill is interrupted at certain
periods, to allow of the formation of a spot composed of floats of
warp yarn of some three threads in width and five picks in length. In
Section _A_ such spots lean to the right, and in Section _B_ to the
left, or in both parts of the style they run with the twill. It should
be observed that, when modifying a common weave to develop spotted
results, care must be exercised not to injure the general build of the
fabric, for this is a factor that must always remain intact. As to the
size of the spot, it varies according to the fineness of the fabric and
the nature of the pattern to which it is applied.
[Illustration: FIG. 171.]
191. _Swansdown Twill Spotted._--The spots in this instance are due
to the weft yarn. They may consist of small diamonds, minute figures,
and other forms, and be arranged in diagonals, twills, or on such a
system as to constitute an irregular effect. For example, in Fig. 170
they run in oblique lines, and in Fig. 171 they compose a vertical
diagonal. As a rule, the colouring of these styles is of a simple
order, merely comprising the employment of neatly-contrasting shades.
If any additional shade-effects, besides those yielded by the spots of
weft yarn, are required, fancy yarns are introduced into the warp to a
limited extent. Take an illustration in colouring Fig. 170, in which
the yarns are combined to form a striped pattern for cotton dresses:--
_Warp._
26 threads of medium blue.
2 „ „ slate.
2 „ „ medium blue.
2 „ „ white.
2 „ „ medium blue.
2 „ „ slate.
_Weft._
All bright medium brown
This arrangement gives a pattern consisting of a bold band of medium
blue, succeeded by fine lines of slate and white ornamented with
spots of bright brown on a warp-twill ground. Now consider Fig. 171
in relation to worsted dress goods. Taking the warp to be a light
fawn shade and the weft brown, again a texture results with a twilled
surface, but in this instance the ground parts are fawn spotted with
brown. It will be apparent from these illustrations that in designs
of this class but a small variety of colouring is needed, and that
the fancy shades are usually worked into the warp, while the weft, in
order to afford uniform emphasis to the spotting, is of one shade
throughout the texture.
[Illustration: FIG. 172.]
[Illustration: FIG. 173.]
[Illustration: FIG. 174.]
192. _Spots composed of_ [1\3] _and_ [3\1] _Twills._--The main elements
of these styles are the irregular character of the spotting, the
uniformity of the weft floats--these never covering more than three
threads in succession--and the clearness of the patterns when shades
forming a strong contrast are used for warp and weft. They form an
extensive series of weave combinations, and examples are given in Figs.
172, 173, 174, 175, and 176. Whatever the weft yarn employed in the
manufacture of these textiles, it constitutes, as in the preceding
styles, the spotting, while the warp yarns tint the ground of the
fabric. Though in these designs the spots generally appear to be
irregularly arranged, still, on closer examination, it will be obvious
that in the planning of each weave well-defined principles of textural
composition are observed. Thus, in Fig. 172 each thread is depressed
six times in each repeat of the design; in Fig. 173 sixteen times;
and in Figs 174 and 175 eight times. Here, therefore, is one element
of uniformity of structure denoting the designing principles in these
weaves. This uniformity of interlacing extends to the picks also, hence
the designs are essentially regular in construction, and, with the
exception of Fig. 172, yield patterns in which the flushes of warp and
weft are equally balanced. It is needless to observe that this is an
all-important characteristic in the build of spotted combinations.
[Illustration: FIG. 175.]
[Illustration: FIG. 176.]
Respecting the schemes of colouring practised here, they are so various
that only a few of them may be indicated. First, suppose Fig. 172
were woven in a brown and white twist warp, and crossed with black,
slate, or blue weft. The pattern resulting from this arrangement
would consist of a brown and white twist ground spotted with minute
spots of different shapes of black, slate, or blue, according to the
weft yarn used. Fig. 173 produces a more regular cast of pattern
than the preceding style. Here an appropriate method of colouring in
the warp is two-and-two, while the weft again should be one solid
shade. For example, let the warp be 2 threads of slate and 2 threads
of medium blue and white twist, and the weft brown, then the pattern
would consist of some diversity of tinting. It is only furnished as
an illustration in shade-arrangement, and ought, in practice, to be
considerably varied; a fabric would result possessing a brown, slate,
and medium blue and white twist ground, spotted with small patches of
twist threads and of brown.
[Illustration:
Plate XXVI
FANCY YARN COLOURINGS
1. Donegal Tweed
2. Compound Weave Worsted]
A still more irregular plan is given in Fig. 174, by which a marked
intermingled effect is acquired. The warp and weft shades used in this
design should slightly contrast, but produce a soft mellow colouring.
The pattern may be striped in the warp, 16 threads of medium grey, and
16 threads of light grey, and woven with blue weft.
The shade of blue used should form exactly the same depth of contrast
with the light as with the medium grey.
Fig. 175 is of the striped order, for the spotted effect is here
combined with a band of sixteen threads of cassimere twill. Any simple
method of colouring the twilled section may be practised, because if
the scheme of colouring is too elaborate it does not contrast well with
the shades forming the latter part of the design. Such a scheme as the
one appended is typical of what is usually applied in this class of
effects:--
_Warp._
1 thread of black and grey twist.
1 „ black and green twist.
2 threads of black and grey twist.
2 „ brown.
1 thread of black and green twist.
2 threads of black and grey twist.
1 thread of black and green twist.
2 threads of brown.
2 „ black and grey twist.
1 thread of black and green twist.
1 „ black and grey twist.
16 threads of brown.
_Weft._
Blue.
[Illustration: FIG. 177.]
The former, or twilled part of the style, would thus be striped
with lines of colour, while the latter part of the design would be
developed in brown and blue, the brown shade composing the ground, and
the blue the figured or spotted appearance.
[Illustration: FIG. 177A.]
Figs. 176 and 177 are examples in the methods of colouring such weave.
compounds in the weft, the weaves being grouped to form types of broken
figuring. Both patterns are wefted one-and-one, but two-and-two and
irregular weftings are also practised, the warp being, in each case,
of one shade, but contrasting in colour with the shades used in the
weft. Fig. 177 gives the effect seen in Fig. 177A, the warp of which
is cotton and the weft fine woollen. Another feature of Fig. 177 is
that the floats of weft are increased in order to produce an additional
effect in the fabric. This principle of designing and colouring is
applicable to fabrics of a figured character, and may be developed in
dress, vesting, and fancy cotton textures.
[Illustration: FIG. 178.]
[Illustration: FIG. 179.
◻’s and ⊠’s = warp. ⊡’s and ◼’s = weft.]
193. _Weave-Spotting produced by both Floats of Warp and Weft._--A more
elaborate and interesting species of patterns results from this plan
of spotting than from that of producing the spots by the warp or weft
separately. All the shades entering into the texture now assist in the
development of the spotted effects--an element of the designs which
increases the diversity of colouring and pattern formation feasible.
Three very distinct specimens of this scheme of spotting are Figs.
178, 179, and 180. Considering Fig. 178 first, it has a plain ground,
the spots being arranged on an eight-shaft sateen base. Such a design
may be coloured on two methods--the warp and weft may be of distinct
or of the same shades. Supposing, therefore, that in the first place
the warp is of one colour only, such as brown mixture and crossed with
blue mixture, then the mingled effects due to the plain ground would
be enhanced by the specks of these colours resulting from the spots in
the weave marked in full squares. By adopting, in the second instance,
the thread-and-thread system of colouring in both warp and weft, a
still more diversified style would ensue. In such a case the ground of
the fabric consists of vertical lines with slightly indistinct spots
at regular intervals. For fabrics in which clear effects are requisite
this latter system of colouring is the most appropriate, but in goods
where mingled colouring is required the former scheme of colouring is
preferable. Fig. 179 shows how this principle of spotting is applied
to designs of a more figured character. Section _A_ may be used
separately, forming a series of broken twills composed of spots of warp
and weft floats alternately. The extended design gives a more varied
style of pattern, but the principle is the same. Several schemes of
colouring might be practised. First, the Simple orders of shades, such
as one-and-one, and two-and-two, woven as warp in the same or different
colours, or crossed in the weft: that is to say, one-and-one warping
woven with two-and-two wefting, and _vice versâ_. Another method is to
colour in stripe arrangement in the warp, and to use one shade of weft:
the weft spots then form a distinct feature of the pattern. Fig. 180
is a compound of cassimere twill and of a spotted weave. Part _A_ is
a spotted twill, the spotting comprising both warp and weft flushes,
thus securing a proper balance of colouring when fancy yarns are used.
The design is capable of modification, both in weave and colouring. For
example, if it were worked out on twenty-four threads and twenty-four
picks, with the same size of spots, these would be grouped on a sateen
base. Provided a stripe were required, the eight threads of twill,
bracketed _B_, might be added. A check, in which the same weave forms
the principal factor, is obtainable by surrounding Section _A_, which
should be doubled in size, with a band of eight threads and picks of
common twill.
[Illustration:
Lift blanks and crosses.
FIG. 180.
Spots ⊠ = warp. ⊡ = weft.
◼ = weft. ◻ = warp.]
A standard method of colouring is:--
_Warp._
2 threads of medium grey.
2 „ dark grey.
_Weft._
1 pick of medium grey.
2 picks of dark grey.
1 pick of medium grey.
The small spots developed in the design in ⊠’s by this scheme of
colouring consist in the woven sample of dark grey warp, while
the spots developed in ◼’s consist of medium grey weft; but as the
groundwork of the pattern is a compound of small dark and medium grey
checks alternating, the spots would not be pronounced. Another useful
method of colouring is as follows:--
_Warp._
12 threads of brown mixture.
1 thread of black and blue twist.
1 „ black and crimson twist.
2 threads of brown mixture.
1 thread of black and crimson twist.
1 „ black and blue twist.
6 threads of brown mixture.
_Weft._
Blue mixture.
In this instance, the spots marked in the design in ⊠’s would, in the
texture, be brown mixture, and those in ◼’s blue. This arrangement of
spotted pattern is also coloured on such principles as to form mixture,
check, and other styles.
194. _Irregular Spotted Stripes and Checks._--These styles constitute
a further important type of weave-spotting. Designs constructed on
this base are compounds of three weaves. Generally the ground weave
is common twill, but it may be also mat or any other crossing which
combines well with the twills employed in forming the spotted lines.
If the weaves are of the four-shaft class they are generally those
combined in Fig. 181. This pattern (see Fig. 182) is a spotted check.
The fine warp and weft lines running transversely and longitudinally
in the fabrics are of similar dimensions. Thus the effects formed by
threads _A_ exactly correspond to those formed by picks _A_′. In both
instances there is one small weft and warp line, and one large weft
and warp line. It is a rule for each spotting thread and pick in these
designs to be of the same interlacings.
[Illustration: FIG. 181.]
[Illustration: FIG. 182.]
If Fig. 181 is woven in a white warp and dark weft the cassimere twill
sections would be a mixture of brown and white twills, while the
surface of the texture would be dotted with lines of the respective
shades, so grouped as to form indefinite rectangular figuring. Should
the picks _A_′ be changed to common twill, the spotting would only be
lengthways of the fabric, illustrating the principle on which the
spots are made to produce striped patterns.
There are several methods of colouring practised in this build of
design. Firstly, the spotting threads and picks are alone fancy yarns,
the intervening threads and picks being composed of solid colours,
thus:--
_Warp._
10 threads of medium grey.
1 thread of black and green twist.
1 „ black and orange twist.
_Weft._
10 picks of dark grey.
1 pick of black and blue twist.
1 „ black and orange twist.
Secondly, the ground or common twill parts may consist of small
checkings, and the spotting threads of bright shades. This scheme is
worked out in fancy suitings and dress fabrics. A third arrangement
comprises the use of cotton, silk, and worsted yarns, warping and
wefting ten dark and two light, as in Fig. 182. This method is varied
by using three or more colours for the spotting threads and picks,
thus:--
_Warp._
10 threads of white.
2 „ light blue.
10 „ white.
2 „ light brown.
10 „ white.
2 „ green.
_Weft._
Same as warp.
195. _Spots developed by Single Extra Warp Threads._--Patterns of this
character are applicable to woollen, worsted, and cotton and silk
textures. Differing in construction from the preceding examples, the
system provides for the interlacings of a special series of fancy warp
yarns in developing the spotted effects. These threads yield a pattern
supplementary to that resulting from the colourings forming the
ground of the fabric, and from the twilled or other weaves used in the
structure of the cloth. Any plan of weave or system of colouring may
be adopted in producing the general foundation of the pattern; for the
spotting is obtained by a distinct set of threads, and is controlled
by a section of the weaving plan entirely independent of the design
giving the cloth proper. As all spots got on this principle are due to
the use of a regular yarn, and not to fancy twists of a knop, cloud,
or spangle class, the fabric resultant is quite uniform in texture and
smooth on the surface. This is a feature the weave method of spotting
possesses over the yarn system. Threads of a knop type, though giving
the requisite spot, yield a fabric more or less rough in appearance and
handle, while the patterns, as regards the spotting, have no definite
form or arrangement. On the other hand, in the weave system, the spots
may be located or distributed over the face of the fabric according
to the effect required. If desirable, the spotting may be arranged to
form check, diamond, small figure, and other designs. Further, there
is another difference between these two systems of introducing spots
of bright colouring into woven pattern. When fancy twist yarns are
used for spotting, the whole design, both ground and weave effects,
results from the interlacing of these threads; whereas, in the weave
arrangement, the spotting yarns do not constitute the groundwork of the
texture, but merely add freshness to the pattern.
[Illustration:
⌻ = Spotting threads depressed. ⊡ = Weft.
◼ = Spotting threads on face of fabric. ◻ = Warp.
FIG. 183.]
Fig. 183 is an illustration in this method of spotting. It will be
observed that there are eight threads of twill to one thread of
spotting. According to the patterns of warp which are given below,
the spotting yarns are much brighter in colour than those forming the
ground of the fabric. This is the general rule. The spots appear on the
face of the pattern in those positions in the design where they flush
over three picks in succession, but run on the back of the texture in
all other instances. The spotting ends are so controlled that the small
specks of bright colouring they give are arranged on the four-shaft
broken swansdown base, and hence are not only regularly distributed,
but are also at equal distances from each other in the woven cloth. The
groundwork of the pattern is simple in colouring, and forms a species
of shaded check.
[Illustration:
Plate XXVII
COLOURING WITH CURL AND KNOP YARNS
1. Twill Weave
2. Small Figure]
Two examples in colouring this design are appended:--
_I. Warp._
1 thread of tan.
4 threads of black.
4 „ medium grey.
1 thread of blue.
4 threads of light grey.
4 „ black.
1 thread of scarlet.
4 threads of medium grey.
4 „ light grey.
_I. Weft._
4 picks of black.
4 „ medium grey.
4 „ light grey.
_II. Warp._
1 thread of green.
4 threads of black.
4 „ brown.
1 thread of lavender.
4 threads of medium brown.
4 „ black.
1 thread of orange.
4 threads of brown.
4 „ medium brown.
_II. Weft._
4 picks of black.
4 „ brown.
4 „ medium brown.
[Illustration: FIG. 184.]
196. _Fabrics Spotted by Single Picks of Weft._--There are various
methods of producing weft spots, but they may be grouped under two
heads, thus: First, effects in which certain picks of the weave are
removed and substituted by special picks that will bring the spotting
yarns on to the face of the texture; second, effects in which a special
series of spotting picks is employed. The latter system is the one
most practised, because it gives the best results and the most uniform
style. Fig. 184 is an illustration of the first method. It is a weave
with a corkscrew-twill ground, the fifth pick of which has been
changed to the pick marked in squares, which brings the fancy silk
pick on to the face. The warp is usually a solid or mixture shade, and
the weft the same or a contrasting shade, with the spotting pick in
bright colour.
197. _Mat Weaves Spotted._--One of the most useful methods of spotting
with weft is given in Fig. 185. The spotting picks, _A_, appear on
the face of the fabric where the full squares are seen. They have
been arranged on the eight-shaft sateen base, which ensures an even
and regular distribution of the spots. The structure of the design is
elementary. It only differs very slightly from the hopsack weave backed
with weft. The solid squares ◼, are the only features which cause it
to possess a different structural appearance from the same weave when
backed with the [1\3] twill. These marks are, however, sufficient to
produce the required spotted effect in the woven cloth, when fancy
yarns are introduced into picks _A_ of the pattern.
The following are two typical methods of colouring this class of weave.
In the first system, the ground of the fabric is one solid colour, but
in the second system, it is striped with twist yarns.
_I. Warp._
Blue or slate mixture worsted.
_I. Weft._
2 picks of blue or slate mixture worsted.
1 pick of silk, or worsted and silk twist.
_II. Warp._
16 threads of brown.
1 thread of black and scarlet.
1 „ brown.
4 threads of black and lavender.
1 thread of brown.
1 „ black and scarlet.
_II. Weft._
2 picks of black.
1 pick of black, blue, and white silk twist.
198. _Corkscrew Weaves with Extra Spotting Picks._--The scheme of
spotting given in Fig. 186 possesses one advantage over that in
Fig. 184--the ground weave or crossing is kept intact. Any weave or
combination of weaves may be employed for forming the texture, and the
spots may be distributed on any simple principle. If a fancy effect
is required, special spots can be made to form diamond, check, and
small figured patterns. The spots are somewhat more distinct than in
the previous design, but in this example they have only been arranged
to give a very minute dot in the fabric. Should a heavier texture be
wanted than it is possible to produce by this single weave, a warp
back, as in Fig. 187, may be added. In a single-make fabric it may be
woven in one shade of warp and ground weft, with the spotting pick in
bright colour.
[Illustration: FIG. 185.]
[Illustration: FIG. 186.]
[Illustration: FIG. 187.]
199. _Spotted Diagonals._--Fancy diagonals, as well as other types of
fancy weaves, are frequently spotted with silk yarns, particularly
in the construction of vesting patterns. An example in this class of
designing is furnished in Fig. 188, which consists of a twenty-four
shaft diagonal composed of corkscrew and ordinary twilled effects.
Here special picks have been inserted for developing the spot. Thus
the picks _A_, marked in ⊠’s, produce the spotting. They form a broken
twill pattern, two of the spots leaning to the left and two to the
right. The weave comprises three distinct effects: first, a solid,
compact warp twill; second, a similar twill of weft-flush; and, third,
a furrow of corkscrew twill. The warp colouring might be solid, but
the weft should consist of one pick silk and of six picks of worsted.
[Illustration: FIG. 188.]
200. _Warp and Weft Spots compared._--Probably the method of developing
spots by an extra series of warp threads is better adapted to woollens
and cottons than to worsteds. In the last style of fabrics silk is the
common material used for spotting purposes. Being fine and lustrous, it
imparts richness of character to the woven fabric. For several reasons
it is preferable to use extra picks in spotting worsteds. Thus the
weft principle of spotting allows of considerable latitude for figured
work and variety of pattern, and does not largely increase the cost of
weaving, nor add materially to the complication of design construction.
In spotting worsteds by the warp system with silk, an extra warp or
chain beam is required, and an additional set of healds--which multiply
the difficulties of the weaving process. Even when these increased
facilities are requisitioned, the amount of figuring feasible is
limited; whereas, by the weft method, the spot can be of any form or
dimensions. On the other hand, the warp scheme is specially suitable
for woollen effects of a tweed order in which colouring is the main
element, and where the extra yarns form mere dots of colour on the
surface of the texture. Each principle has therefore its specific place
in textile designing.
201. _Spotting in both Warp and Weft._--This principle of design
combines the two preceding methods of spotting--making it feasible
to spot the surface of the fabric both in the warp and weft. It
follows that patterns fuller of effect and richer in spotting are
producible by this system. There is, however, one disadvantage in the
employment of this method of spotting--it adds to the intricacy of the
weaving operation, for special threads and picks are necessary in the
production of fabrics.
[Illustration:
▧ Weft Spots ◼ Warp Spots
FIG. 189.]
The spotted twill, Fig. 189, illustrates the plan of arrangement. The
twill or ground weave is, in designs of this class, continuous, and
forms, independently of the spotting threads and picks, a perfect
texture. Further, the spotting is so arranged that it does not
interrupt the twilled effect. It is an additional and separate element
of the design. When constructing such styles, the order and size of
the spots are the two main points for consideration. The methods of
grouping the spots are similar in both warp and weft; thus, if there
are four threads of ground weave to one thread of spotting in the warp,
there will be the same proportion of ground and spotting picks in the
weft. Adherence to this rule results in the manufacture of a uniform
pattern. Having decided upon the scheme of grouping, say five threads
of ground to one thread of spotting, as in Fig. 189, proceed by marking
out the spotting threads and picks on point paper in colour, next add
the ground weave, and, lastly, determine the dimensions and order
of the spots. As to the ground, it may consist of any well-planned
assortment of twills, mats, or fancy weaves. With regard to the size
of the spots, this varies according to the class of the texture being
manufactured. For tweed fabrics, small effects are the neatest, but
in some types of mantlings, in which the spotting yarn is mohair or
lustre worsted, large, clear, and bold spots yield the best patterns.
Worsteds, linens, and cottons, with silk or mercerized cotton yarns
for spotting, are, as a rule, designed with minute, precise, and
smart effects. Distribution of the spots is done on numerous systems,
such forms of arrangement as the diamond, simple figures, and sateens
being used. In the example, Fig. 189, the spots are grouped on a
broken-check base. Three methods of colouring this design require
explanation.
I.--COLOURING FOR COTTONS.
[14] _Warp and Weft._
For 5 threads. ⎧1 thread of tan.
⎩1 „ fawn.
1 thread of pale blue (spotting).
For 5 threads. ⎧1 thread of fawn.
⎩1 „ tan.
1 thread of rose pink.
II.--COLOURING FOR WORSTED SUITINGS.
[14] _Warp and Weft._
5 threads of dark blue mixture.
1 thread of black worsted and green silk twist.
5 threads of dark blue mixture.
1 thread of black worsted and russet silk twist.
III.--COLOURING FOR WOOLLENS.
[14] _Warp and Weft._
4 threads of black.
1 thread of dark blue.
1 „ dark brown and green.
3 threads of dark blue.
2 „ black.
1 thread of black and tan.
2 threads of black.
3 „ blue.
1 thread of dark brown and green.
1 „ dark blue.
4 threads of black.
1 thread of black and tan.
4 threads of dark blue.
1 thread of black.
1 „ dark brown and green.
3 threads of black.
2 „ dark blue.
1 thread of black and tan.
2 threads of dark blue.
3 „ black.
1 thread of dark brown and green.
1 „ black.
4 threads of dark blue.
1 thread of black and tan.
In the first colouring, the ground of the fabric is a composition of
tan and fawn grouped on the thread-and-thread system, the spotting
yarns being pale blue and rose pink. The second scheme is for textures
consisting of one solid shade in the ground; the surface of the fabric
in this instance is dark blue mixture, having the check spotting
produced by the weave--Fig. 189--in fancy worsted and silk twists. The
third arrangement is a simple four-and-four check composed of black
and blue, the spots falling in different parts of the checks. Should
it be necessary to have the spotting always in the centre of the four
threads, the construction of the design would have to be modified.
Instead of the arrangement being five threads of ground to one thread
of spotting, it would require to be four threads of ground to one
thread of spotting.
202. _Advantages of the Warp and Weft Method of Spotting._--In all
fabrics in which spotting is the chief characteristic, the warp and
weft principle of design construction is the most effective. Mantlings
of a matelasse order, worsted dress textures, fancy cottons for
vestings and quiltings, are all spotted by this method. Allowing, as
it does, for the employment of a double series of spotting yarns,
it yields patterns characterized by much diversity of tinting and
intermingled effects. By causing the two sets of spotting threads to
interlace with each other, and arranging for them to be of different
colours, patterns full of textural details are produced. Still, for
ordinary suiting fabrics either the warp or weft method is generally
practised, because in these textiles the spotting yarns are only
intended to dot the surface of the fabric with minute specks of bright
colouring, and not to form decided patterns, as in mantling and dress
styles.
203. _Yarns used for Spotting._--The yarns used for spotting purposes
are of various types. All classes of fancy threads, including knop
yarns produced in carding, but single in construction, and twists or
folded yarns of various types are used.
The first type is that employed in the production of Donegal tweeds,
where the yarns are single, but coloured knops or specks are formed
at intervals on the thread. These are due to distributing on the
material, during carding, neps of fibrous material of different
colours, which enter into the condensed sliver and become part of the
spun thread. By this method the position of the colour on the thread is
not mechanically controlled, but the selection of the nebs of fibres
used for spotting determines the harmony of colour result in the
woven fabric. There must first be a suitable blend of ground colour
obtained in the carding of the material, and this having been fixed,
the strength and blend of colour for nepping purposes is arranged.
No Donegal pattern would be satisfactory in colour quality--which
is the chief design characteristic such fabrics possess--unless the
nepping colours gave strength and character of contrast to the ground
colouring, as seen in No. 1, Plate XXVI.
Some of the fancy and folded threads used for similar purposes as knop
carded yarns, are those illustrated in Plate XXV., comprising 3-ply,
cloud, knop produced in twisting, curl, and gimp yarns. Yarns _A_, _B_,
and _C_ are ordinary threefold twists, being composed thus: _A_, black
and scarlet worsteds, and salmon silk; _B_, black and green worsteds,
and salmon silk; _C_, black, russet, and orange. For spotted worsteds,
there are few yarns so useful as this class of worsted and silk twists.
Samples _D_, _E_, _F_, _G_, and _H_ are cloud threads. They are chiefly
used in fancy tweeds. As a rule, they are rich in colouring. Threads
_D_, _E_, _G_, and _H_ are analogous in construction, for they are all
composed of four colours and have one thread, which may be termed the
central or principal yarn, all other threads twisting or twining round
it. The composition of these respective twists is as follows:--
_D._ Black for the central thread or shade, and crimson, green, and
blue for the intermittent colours.
_E._ Grey for the central thread or shade, and scarlet, black, and tan
for the intermittent colours.
_G._ Dark olive for the central thread or shade, and blue, yellow, and
light olive for the intermittent colours.
_F._ Light drab for the central thread or shade, and black, scarlet,
and tan for the intermittent colours.
[Illustration:
Plate XXVIII
COSTUME COLOURING IN FANCY YARNS]
Obviously, the result of using such yarns is to spot the surface of the
texture with the various tints entering into their composition.
Threads _F_, being of several thicknesses, differ in construction
from threads _D_, _E_, _G_, and _H_. Still, this type of thread gives
effects in the fabric somewhat resembling those resulting from the
yarns with which it is grouped, and is also designated a “cloud” or
“flock.” It is, however, less complex in colouring, and forms an
elongated spot in the texture.
The curled yarns are illustrated in types _I_, _J_, and _K_. Three
examples are given--slate, crimson, and fawn. The curls or loops are of
different sizes. Such threads are applied to both woollen and worsted
fabrics, but mainly to tweeds and fancy costumes. They give to the
pattern a richly-tinted aspect. Some classes of trimmings may be made
entirely of these threads, but their relation to spotted fabrics is
here alone considered.
Gimp and knop twists are also employed largely in designs of a spot
class. Five illustrations of these are given in samples _L_, _M_,
_N_, _O_, and _P_ on Plate XXV. These threads are generally only
applied to the more fancy designs. Yarn _L_ is a composition of three
threads--black, blue, and tan. The black and blue form a two-ply twist
to which the tan is added in the twisting operation. Small knops,
causing the yarn to be somewhat irregular in thickness, are formed
at intervals by the tan thread. Compound _M_ is more irregular in
colouring and construction. Loose in twine, and of various thickness,
it gives a novel type of spot, but on account of the lack of
adhesiveness in its composition it is a difficult thread to manipulate
in weaving, and hence is but sparingly employed. Yarn _N_ is a real
gimp. Two black threads, well tensioned in twisting, have been combined
with yellow and crimson threads of slack twist, and running loosely.
Thread _O_ is similarly constructed to _N_, only the gimp is not so
prominent, owing to the several colours being more evenly tensioned
during twisting. Compound P is a combination of gimp and knop. Thus
knops or buttons of tan colour--see _a_--are formed at intervals on the
thread. Yarns _N_, _O_, and _P_ are suitable twists for spotted goods
of various descriptions.
204. _Spotted Effects in Ordinary Weaves._--The several classes of
spotted patterns analyzed have all resulted from the employment of
special builds of weaves. There are, however, some important species
of these effects obtained in designs constructed on the ordinary
principles of intertexture, which are extensively developed in both
plain and ornamental fabrics. Allusion will now be made to several
types of these patterns. It may be observed that in producing the
spotting in these styles the fancy twists described in the preceding
paragraph are utilized. Pattern No. 1 on Plate XXVII. is a specimen
of fancy tweed spotted by this method. The cloth is woven from a
twelve-end twill, the weft being black, and the order of warping as
appended:--
2 threads of dark blue.
1 thread of black and tan curl.
2 threads of dark brown.
1 thread of black, brown, and white small curl.
2 threads of dark grey.
1 thread of black and blue curl.
It is scarcely necessary to observe that the curled yarns are the
main elements of this colouring, spotting the fabric with small loops
of tan, blue, and white. Knop, cloud, and gimp threads are similarly
introduced into fancy fabrics. The effect of the knop twist is seen in
the next illustration--Pattern No. 2, Plate XXVII. The minute figuring
is due to combining two broken crow weaves. It is a style of design
for union mantlings, and is capable of being varied to an unlimited
extent in both colouring and ornament. The warp is entirely composed
of brown and white knop cotton twist. The dots of white noticed in the
texture are a product of the warp yarns, and not of any peculiarity
in the structure of the weave or design. Such an irregularly spotted
combination as this sample is only producible by yarns of the knop and
cloud kind.
A third example, full of colour elements, No. 1, Plate XXVIII., may be
described. It has been designed for a fancy coloured costume in the
plain weave, and is illustrative of the variety of effect producible
by order of warping and wefting, and diversity of yarn structure in
which hues, tints, and shades of colours are used. The yarns are of six
varieties, _A_, _B_, _C_, _D_, _E_, and _F_, being composed of two or
more colours, and all different in construction. _A_ is a pronounced
knop yarn; _B_ a curl yarn, of four varieties of colour, namely, deep
crimson, orange, pale orange, and green; _C_ shows the difference in
thickness and in wavy effect possible in gimp yarns; _D_, irregular
twist with knops of fibres; _E_ and _F_, more ordinary twists, slack
and hard spun intermittently. These, when arranged as in the fabric to
make a check pattern, with over-checking in green, make a groundwork
of colour which can only be acquired in textiles by using diversity of
yarn structure. Blending in the material, or distributing colour in
the weave, as in the spotted designs, Nos. 168 to 180, all repeat the
colour regularly or in a prescribed pattern; but when the yarns are so
diversified in construction, the colours are, as seen in the fabric,
not selected on any definite method.
205. _Application of Fancy Yarns to Compound Weaves._--Only two
examples need be considered here, as the character of the results
is similar to that of those obtained in single weave fabrics; only
by reversing the position of the threads in the warp and weft, a
prescribed form of pattern, see Plate XXIX., may be produced. On
this principle, any type of design, as to figure or form, may be
constructed, but it will have the same varied tinting as single weave
fabrics, in which similar yarns are used. In this design, fancy knops
and other cotton twists have been used. These yarns give the spots of
lavender, tan, and scarlet, which are regularly distributed throughout
the pattern. It is a double-weave structure arranged one thread ground,
one thread of fancy yarn, and one thread of ground.
A different example produced in worsted yarns, and worsted and cotton
twists, is that given in No. 2, Plate XXVI. It is double in structure,
arranged one thread ground, and one thread fancy yarn, and not
two-and-one, as the style on Plate XXIX. The ground yarn is a single
thread, forming the plain portions of the fabric, the curled yarn
being in dark crimson, heliotrope, orange, and pale orange. A certain
simple outline of pattern is formed by reversing the face and backing
yarns. It is a good blend of colour, in which there is contrast of hue
between the heliotrope and orange, and contrast of tone between the
crimson and heliotrope; but the chief characteristic is the diversity
of colour surface due to the curl or loop twist yarns, and the way in
which the colours in consequence of their arrangement are softened in
quality.
FOOTNOTES:
[14] _In each case, the order of picking must correspond
with the order of the spotting picks, in the designs._
CHAPTER XIII.
COLOURING OF DOUBLE WEAVES AND REVERSIBLES.[15]
206. Principles of Double Cloth Colouring--207. Styles
of Colour Effects obtained in Double Weaves--208. Double
Plains--209. Classification of Double Plain Stripes--210.
Double Plain Stripes in Two Shades--211. Two-Shade Stripes
Warped Irregularly--212. Styles in Three Colours--213.
Double Plains combined with other Weaves--214. Intermingled
Double Plain Compounds--215. Reversibles--216. Methods of
Colouring Double Plain Reversibles--217. Colouring of Figured
Designs containing Double Plain and other Weaves--218.
Reversibles arranged Two-and-One--219. Figured Compound Weave
Patterns--220. Compound Colourings in Compound Weaves--221.
Colouring of Double Cloths, such as Golf Cloakings and Rugs.
206. _Principles of Double Cloth Colouring._--As briefly indicated in
Chapter V., the general principles of colouring fabrics of a backed
and double-make structure, resemble those applied to single textures.
Particularly is this the case when the fabrics are the ordinary types
of trousering, coating, and suiting styles. This follows from the
fact that the face of these cloths largely consists of patterns of
similar composition to those produced in single textiles. Still there
are some builds of backed fabrics, which, owing to being coloured
on both surfaces, involve the employment of two distinct schemes of
colouring--one for each side of the fabric. The object to be attained
in such fabrics is the development on the under side of the texture of
a pattern that will, in general tone and character, correspond with
that appearing on the face; but, though this species of colouring
on the back is frequently necessary, inasmuch as it enhances the
selling qualities of the fabric, yet the grouping of the face shades
is the primary consideration, for it must be in accordance with the
weave-compound used in the construction of the cloth, whereas the
scheme of colouring applied to the back is of secondary importance,
and should be made to coincide in its main outlines with the style
of colouring composing the face of the texture. An example may be
analyzed. Fig. 163 is a weave-combination, which it is required to
back with warp and colour on such lines as to obtain a stripe style
of pattern on the under surface. The face order of colouring is given
on page 261, and has already been treated of. Without describing the
structure of this build of backed fabric, it may be stated that the
arrangement is generally one thread of face weave and one thread of
backing throughout the design. It is usual to plan the backing warp
according to the composition of the face design, so that the following
scheme would, in this instance, be appropriate:--
30 threads of light mixture.
14 „ medium mixture.
30 „ light mixture.
6 „ slatish blue.
This would result in the production of an effect in colouring on the
back of Fig. 163 quite in keeping with the scheme applied to the
face, though the exact order of the face warping is not followed. The
simpler the arrangement of shades on the back the better, so long as it
conforms with the order of colours producing the pattern on the face
side.
Another method of duplicate colouring in double and backed cloths,
consists in having any ordinary scheme on the back which comprises a
number of threads that is a multiple of the number occupied by the face
pattern. Thus, in the scheme of colours for the design considered, Fig.
163, there are eighty threads, hence arrangements comprising twenty,
forty, and eighty threads might be utilized. These are divisible into
two or four stripes, according to the style of effect required on the
back of the texture. In this kind of colouring it is evident that the
combination of face shades is not closely worked to--a stripe neat in
colour composition being the main factor for development.
When the yarns for the face and back of the fabric are of the same
size and material, it is a rule in making out the pattern of warp to
combine the two schemes of colouring, but each scheme is necessarily
designed separately. In fabrics backed on the warp principle, it is
feasible to have patterns of a striped character on the under surface,
while if the fabric is backed with weft, colouring on the back results
in striping the texture transversely; it is, therefore, only by
employing the double-cloth method that all forms of colour effects may
be developed on both sides of the fabric.
207. _Styles of Colour Effects obtained in Double Weaves._--While, as
is evident from the brief definitions of the principles of double-cloth
colouring furnished in the preceding paragraph, the application of
fancy shades to the ordinary groups of double weaves is more or less
analogous to their application to single weaves and compound designs,
yet there are some builds of double cloths which produce specific
styles of patterns, such as are not obtainable in other descriptions
of weaving and schemes of colouring. Amongst the most useful of these
types are the double-plain, the double-cassimere, the double-mat,
and combinations of these weaves. Patterns obtained in these makes,
cover a large diversity of styles for trouserings, coatings, suitings,
mantlings, shawls, rugs, curtains, and carpets. Here, however, the
plan of colouring is not usually elaborate, being adapted to the
structure of the design. The main characteristic of these fabrics
which distinguishes them from effects obtained in single-make designs
is the firmness and strength of the cloth, combined with clearness
and precision of ornament or pattern. The utility of this class of
design is evident in the varieties of textures, in which patterns are
products of the double-weave system of cloth construction. As the
structure of the weave is uniform in the fabrics mentioned, there are
certain principles of colouring applicable to each class of effects.
But, generally speaking, the use of a new double-weave necessitates the
practice of a distinct system of colouring.
208. _Double Plains._--For giving variety of effect and pattern,
there is no class of double make more useful than the double plain.
The analyses made in Chapter VIII. of the schemes of colouring used
in the single weave make it evident what are the common principles
of gaining effect by combining fancy shades in double plain; and,
moreover, what is the type of pattern here producible; for, as the
system of interlacing is still plain--one fabric being formed above
or over the other--whatever pattern is workable in the single weave
may, by duplicating the plan of colouring, be also obtained in the
double weave. Bearing this principle in mind, the methods of pattern
development in double-weave designs of all classes will be readily
understood.
The simplest type of effects developed in this structure of weave is
stripe patterns. It includes fabrics of two, three, and four shades.
As a rule, the shades combined are of a mellow and subdued character,
being more in keeping with the build of the fabric than bright shades.
Still, in fine worsted and cotton textures, somewhat brighter shades
are employed than in woollen fabrics, which, being usually felted,
mainly consist of patterns resulting from combining toned colours.
These stripes may be of any dimensions, from line-like effects to broad
bands several inches in width. Next to stripe patterns in importance
are intermingled patterns. Such styles possess a peculiar diversity
of minute effects, which makes them readily distinguishable from the
mingled patterns obtained in other weaves and methods of colouring.
Some of these effects will be analyzed. Checks, diagonals, small
figured styles, and elaborately ornamented textiles, are also developed
in these weaves. All these fabrics are double plain throughout. Though
the weave is apparently an unimportant factor, yet it is closely
related to the pattern produced, and has moreover to be modified with
every change effected in the outline and form of the design resultant.
Strictly speaking, all double plain patterns are composed of at least
two weaves--one of which brings the odd series of yarns on to the face,
and the other the even series. It follows that if a cloth is warped and
woven one-and-one--say black and white--that one make gives a black,
and the other a white effect on the face of the fabric. Remembering
this principle, it will be evident how, by changing these weaves in
working out figured or ornamental patterns, any construction of design
may be acquired.
[Illustration:
Plate XXIX
REVERSIBLE KNOP-TWIST YARN PATTERN]
209. _Classification of Double Plain Stripes._--Striped designs,
obtainable by colouring double plain designs according to various
systems, are as follows:--
I. Patterns in two shades.
II. Patterns in three shades.
III. Patterns in four shades.
IV. Patterns in two, three, or four shades, comprising double plain and
other weaves.
The most elementary form of pattern obtained in the double plain is the
“hairline.” It resembles in appearance the effect produced by warping
and wefting the single plain make thread-and-thread, only the fabric
is sounder and firmer in build, as well as finer and more compact in
construction. This simple style is a product of a certain method of
colouring the double plain, but the same weave can be arranged and
coloured to yield an endless variety of patterns.
Three-shade stripes are, on the average, richer in colouring than the
first order of patterns, and include the most useful forms and builds
of double plain stripes. The third class, while composed of a larger
number of shades, lacks scope for diversity of arrangement. As to the
patterns comprised in the fourth class, they are rarely composed of
more than two shades, but owing to containing additional weave elements
they are more diversified in design.
210. _Double Plain Stripes in Two Shades._--These are of two types:
I. Patterns warped and woven one-and-one; and II. Patterns coloured
variously, but in strict accordance with the structure of the design
used. Allusion will primarily be made to the I. type of these styles.
In this form of pattern, it is a question of arranging the double plain
weaves on such principles as to produce any style of stripe pattern.
Take an illustration. Patterns 1 and 2 on Plate XXX. are double plain
stripes obtained by this method. The colourings are as follows:--
1.
1 thread of olive.
1 „ slate.
2.
1 thread of brown.
1 „ brown and white twist.
The feature for analysis is, how the various combinations of stripes,
and in Pattern 2 of twilling, are developed in these textures, which
are composed solely of double plain weaves. Pattern 1 is an assortment
of small stripes of four different sizes worked out in two shades. If
necessary, the design--_i.e._ the plan of weave--could be so modified
as to give a pattern in which the stripes would not only run from a
broad to a narrow band, but tone off on both sides. A brief analysis of
the design for this texture, given in Fig. 190, will make it evident
what the principles of weaving are, which determine the construction of
this kind of pattern. Here two double plain makes are combined, one of
which floats the odd, and the other the even threads and picks on the
face. Now these weaves are so grouped in this design that they give a
pattern corresponding in every detail with No. 1 on Plate XXX. The use
of these two weaves, and the method of adjustment, are two elements of
design to which all such styles of woven effects are due. The weave
marked in grey is the reverse of that marked in dots, for it brings the
even set of threads on to the face, while the weave, ⊡, takes them on
to the back. When it is considered that the arrangement of colouring
is one slate and one olive, and that each of these weaves forms two
fabrics one over the other, it becomes obvious that in Sections _A_
of the design (Fig. 190) a slate stripe of plain fabric will cover an
olive stripe of similar dimensions; but in Sections _B_ a plain olive
band conceals a corresponding stripe of slate. Referring to Fig. 191,
which is the weave arrangement for producing Pattern 2 of Plate XXX.,
it will be observed that it is a style containing, in addition to the
stripe effects, a series of clear twills. Evidently these have been
developed on the same system as the preceding example, which consists
of the identical weaves and order of colouring as Fig. 191. Diversity
of pattern has, therefore, been acquired by adopting a different method
of combining the weaves. This is effected by first sketching out on
point paper the exact form of the pattern required, and then adding
weave _A_ of Fig. 190 to the uncoloured parts, and weave _B_ to the
coloured sections. It will be subsequently shown that reversible double
plain styles are but developments of this species of designing.
[Illustration: Fig. 190.]
[Illustration: Fig. 191.]
[Illustration: Fig. 192.]
211. _Two-Shade Stripes Warped Irregularly._--First, there are styles
of this class which are compositions of two shades, and in which
variety of pattern is only producible by ingenious methods of grouping
fancy yarns. By the aid of two examples (Patterns 1 and 2, Plate XXXI.)
it may, however, be shown that even when thus limited to the use of two
colours a considerable range of patterns may be acquired. The order of
shades for Pattern 1--the design for which is given in Fig. 192--is:--
_Warp_.
For 54 threads. ⎧ 6 threads of slate.
⎩ 2 „ black.
For 58 threads. ⎧ 8 threads of black.
⎩ 2 „ slate.
_Weft_.
1 pick of slate.
1 „ black.
One principle that requires to be taken cognizance of in making double
plain stripes is, that while only every other thread comes on to the
face, every pick, to some extent, is useful in forming the pattern on
the right side of the fabric. As the principal feature of such styles
is the solidity of the several lines of colour, providing these do
not exceed four in number, it becomes a problem of so constructing
the design that each shade of weft used, shall only float or flush
over that colour of warp yarn it is supposed to match. To produce a
stripe in two colours is comparatively simple; but, in the example
given in Pattern 2 on Plate XXXI., the difficulty of arranging the plan
of weave is increased by varying the order and size of the lines of
colour. Thus, there are bands of colour of eight, six, and two threads
each, or, on the face, of four, three, and one thread respectively. If
the design, Fig. 192, is examined, it will be observed that the odd
picks only cover the face-threads in parts _D_, which are the slate
threads in the fabric, while the even picks are arranged to cover the
face-threads in part _A_ only. Should the weave be further dissected,
it will also be noticed that picks 1, 3, 5, and 7 interlace plain with
the face-threads of _D_, but that picks 2, 4, 6, and 8 interlace plain
with the face-threads of sections _A_. In this manner, the solidity of
each stripe of colour, which is the essential feature of such styles,
is kept intact, and a pattern formed possessing distinctness of parts.
This example, and No. 1 of Plate XXXI., illustrate the numerous effects
producible in these weaves by this method of colouring. Both parts _A_
and _B_ of Pattern 1 form stripe arrangements. By varying the number of
bands of these respective combinations, useful species of pattern are
producible. Pattern No. 2 shows how a broad band of one shade may be
worked into the texture, and then a line-like stripe of a second shade
formed upon it.
There is one peculiarity about the weave-design--Fig. 193--forming
the drab band in Pattern 2 of this Plate, which contains eighteen
threads. The ordinary double plain used in Figs. 190, 191, and 192 is
untied; it follows that if some sixteen or more threads were used, as
in this instance, the woven pattern would be loose and unsatisfactory
in structure. So long as no more than eight threads form a stripe,
tieing may not be necessary; but when this number is exceeded, a weave
must be employed that, while tied or stitched, will not interfere
with the neatness, compactness, and uniformity of this type of woven
colouring. The weave generally used for this purpose is given in part
_A_ of Fig. 193. Though somewhat irregular in construction, it produces
a fabric perfectly even on both surfaces, and as smart and clear in
other respects as the double plain texture. The order of colouring for
this example is: _Warp_, 18 threads of drab, 2 threads of brown; and
_weft_, 1 pick of brown and 3 picks of drab. The drab picks never float
over the face-ends of brown, and, on the other hand, the brown picks
always float under the drab face-ends--this being the principle of
intertexture to which the solidity of the respective lines of colour is
due.
[Illustration: FIG. 193.]
[Illustration: FIG. 194.]
212. _Styles in Three or more Colours._--Some extremely interesting and
effective stripes are got in double plain weaves by employing three
and four colours. Two examples--Patterns 3 and 4 on Plate XXXI.--are
furnished in styles composed of three shades. The weave for producing
the former (Fig. 194) is simple, being so constructed as to form lines
of lavender, claret brown, lavender and white. By comparing the order
of colouring--which is given below--with the weave, the principles of
design in which the pattern is obtained are obvious:--
_Warp._
4 threads of lavender.
2 „ claret brown.
4 „ lavender.
2 „ stained white.
_Weft._
1 pick of lavender.
1 „ stained white.
1 „ lavender.
1 „ claret brown.
It will be noticed that the first pick is lavender; the reason for this
is, that in the design the face-thread of lavender is down, and if it
were covered by any other colour but its match in shade, the solidity
of the lavender line would be interrupted. Pattern 4 of this Plate
contains the same number of colour elements, but is quite different in
arrangement. The design for this styles--Fig. 195--is so planned as to
yield an effect, on the face of the fabric, as follows: a stripe of
four threads of claret brown and white twist, a fine line of lavender,
a stripe of four threads of claret brown and white twist, a fine line
of lavender, a fine line of claret brown, a fine line of twist, a fine
line of claret, and a fine line of lavender; in other words, it forms
a compound of eight separate bands of colour. The plans of warping and
wefting are appended:--
_Warp._
8 threads of claret brown and white twist.
2 „ lavender.
8 „ claret brown and white twist.
2 „ lavender.
2 „ claret.
2 „ claret brown and white twist.
2 „ claret.
2 „ lavender.
_Weft._
1 pick of claret brown and white twist.
1 „ lavender.
1 „ claret brown and white twist.
1 „ claret.
The effects in four shades are somewhat limited in variety, the
respective stripes being of a single-thread character on the face. They
are constructed on the same lines as the three-coloured patterns just
described.
[Illustration: FIG. 195.]
213. _Double Plains combined with Other Weaves._--Patterns of this
class are made in worsted, woollen and cotton yarns. Certain weaves
of a warp flush character, including types of corkscrews, combine
satisfactorily with this double plain. The twills or makes used
should be capable of forming neat patterns when coloured on the
one-and-one system, which is the invariable method of wefting such
designs. Referring to Fig. 196, which is a weave compound of this
description, stripes of double plain are united with a stripe of
corkscrew, resulting in the construction of the style given in Pattern
3 on Plate XXX. The colours are maroon and dark green, and are grouped
on the end-and-end system in both warp and weft; hence the solid lines
of these shades in the double plain parts, and the oblique twills of
maroon and green in the corkscrew sections of the fabric. Practically
there are two points to consider in the selection of weaves for
combining with double plain crossings, namely, the wefting capacity
of the crossing, _i.e._, its power to weave regularly with the plain;
and, second, its structure in regard to the scheme of shade-assortment
practised in these designs. Respecting the first point, if another
double make should be used, such as cassimere or mat for face, and
plain for back, there would not be much liability to form a fabric
lacking regularity of construction and hence evenness of surface; but,
should the additional weaves be single in construction, they must be
exactly of such structure as to work uniformly with the double plain.
One point that may be noted in designing for these combinations, is
to frequently divide the pattern, and so avoid the formation of broad
bands of the several weaves. Then, as to the structure of the crossings
in respect to colouring. Warp twills and warp weaves are most suitable,
because they do not exhibit the weft colouring to any marked degree,
and hence they allow of quite a distinct method of tinting being
introduced in the warp of the sections of the design in which they
occur.
[Illustration: FIG. 196.]
Styles of this description are neat in form and colouring. Being
characterized by smartness of composition and richness of textural
effects, they are developed to a large extent.
214. _Intermingled Double Plain Compounds._--The most uncommon effects
producible in double plain crossings are possibly those resulting from
employing schemes of colouring containing an odd number of threads,
such as 2, 1, 1 and 1, and the 4, 1, 1 and 1 groupings. The weave used
in such schemes of combining shades is given in Fig. 197. In larger
styles, sections _A_ and _B_ are increased to sixteen threads and picks
each. By the aid of an example the principles underlying this form of
pattern construction may be expounded. Pattern 5, Plate XXXI., results
from the following arrangement of colours and the weave, Fig. 197:--
_Warp and Weft._
⎧ 4 threads of brown.
For 42 threads. ⎨ 1 thread of black and white twist.
⎪ 1 „ brown.
⎩ 1 „ white.
⎧ 4 threads of brown.
For 14 threads. ⎨ 1 thread of black and white twist.
⎪ 1 „ brown.
⎩ 1 „ orange silk.
[Illustration: FIG. 197.]
The pattern is weavable on eight shafts, one repeat containing 112
threads, so that it possesses the leading characteristics of a Jacquard
design. The dimensions of each repeat of the pattern are due to the
order of grouping the colours, combined with the weave. Thus, as there
are fifty-six threads in each repeat of the colourings before the plan
of weaving coincides with the order of the shades, the pattern of warp
must run through two, and the weave through sixteen repetitions. The
cause of the construction of this pattern consists in the appropriation
of a system of colouring, containing a number of threads not a multiple
of the number of ends and picks in the weave. This scheme of colouring
is practised in fine worsteds and woollens for mantlings, in medium
counts of yarns for suitings, and also in linen and cotton textures for
vestings.
[Illustration:
Plate XXX
DOUBLE-PLAIN STYLES
1. 2. 3. Stripe Patterns
4. Figured Shawl]
There is practically no limit to the variety of effects obtained on
this system of colouring double plain designs. On the diamond base,
forming Pattern 5 of Plate XXXI., an indistinct check in orange silk
is distinguishable; and in this plan of weave and by irregular orders
of colouring, many varieties of spotting, intermingled checkings, and
other effects in minute and in clear, bold patterns, are produced
in various counts of both woollen and worsted yarns. The 2 black, 1
twist, 1 grey, and 1 twist, method of colouring is also useful for
this purpose, yielding a form of pattern that can be diversified by
modifications in colouring.
215. _Reversibles._--Double and treble weaves are employed in the
construction of these effects. Amongst the compound weaves used for
this purpose, the double plain is one of the most important. It gives a
species of figuring as clearly developed on one side of the texture as
on the other. The system of colouring is mainly one-and-one, with some
slight modification, such as a stripe or check effect in addition to
the ornamental details worked out in colour. This principle of weaving
is practised in the decoration of woollen and worsted shawls and rugs,
tapestries, curtains, and Kidder and Scotch and other carpets. In the
examples given in No. 4, Plate XXX., and Nos. 1 and 2, Plate XXXII.,
two builds of fabrics are represented, namely, the double plain and the
double twill. An important element of all such figuring, distinguishing
it from that obtained by other schemes of weaving, is the clearness
with which the details and component parts of the design are developed.
This characteristic is a product of the double-weave arrangement.
Taking, for instance, the shades of a texture thus constructed to be
black and white, it follows that from any double-make combination in
which the figuring is produced by changing the positions of the weaves,
that is, by transferring that weave on to the back which has appeared
on the face, and _vice versâ_, there must result a pattern clear in
outline and general composition. No other principle of weaving is
capable of giving effects so well pronounced in these features: other
figured styles are more or less wanting in precision and regularity
of outline. Reversibles are made in double weaves arranged on the
one-and-one, the two-and-one, and the three-and-one principles. The
first method is the most frequently practised. When the second and
third schemes are adopted, the yarns used are of two sizes--that
forming the figure being considerably thicker than that employed for
the ground of the texture.
[Illustration: FIG. 198.]
216. _Methods of Colouring Double Plain Reversibles._--Generally these
are not very intricate, the main work in ornamenting such fabrics
consisting in the adoption of a well-arranged design, with the various
sections of the figuring correctly represented on point paper. A few
illustrations may be described. On Plate XXX., Pattern 4, and on Plate
XXXII., are textures for dressing-gowns and shawls. Sections of each
design are given in Figs. 198, 199, and 201. It should be observed
that in executing these styles the first work relates to sketching the
pattern on point paper, the weaves being subsequently added. The ground
sections are occupied by the opposite weave to that applied to the
figured parts. There should not be figure outlines requiring less than
two threads and picks to develop, or the effect in the woven fabric
will not be satisfactory. It should be considered in preparing these
designs that practically every other thread and pick are duplicate
yarns--both the odd and even threads not being utilized simultaneously
in the construction of the pattern on the face of the cloth.
Providing the figure has been correctly worked out on point paper, an
appropriate scheme of colouring has then to be applied. Here various
technical details and other points have to be considered, such as the
structure of the design, whether bold or subdued colouring is the most
suitable, and the scheme of grouping shades necessary to develop the
ornamental forms of the style. First, the shades of yarn are arranged,
one-and-one, throughout, in order to meet the structure of the double
plain weaves. Second, it may be useful to consider types in which the
designs are clearly pronounced in every detail, and others in which the
figuring is more or less subdued. Take, for example, the worsted shawl
pattern, No. 4 on Plate XXX. By warping and wefting thus:--
96 ⎧1 thread dark shade, 96 ⎧1 thread dark shade,
⎩1 „ blue, ⎩1 „ white,
the figuring on the face of the fabric is developed in the dark
shade, and the ground in the white and blue, the effects on the under
side being exactly the reverse of those on the face. For shawls few
principles of design are more useful than this, for it gives a texture
in every particular as neatly ornamented and constructed on one
surface as the other. The border of these goods generally consists of
a different pattern from the centre or groundwork of the shawl, and is
also differently coloured. Take the following as an example:--
1 thread of dark brown.⎫ ⎫
1 „ blue. ⎭ For 96 ⎬ 192 threads--the edge of the shawl.
1 thread of dark brown.⎫ ⎪
1 „ white. ⎭ For 96 ⎭
1 thread of blue. ⎫ ⎫
1 „ white. ⎭ 24 ⎪
1 thread of scarlet. ⎫ ⎪
1 „ white. ⎭ 24 ⎪
1 thread of blue. ⎫ ⎪
1 „ white. ⎭ 24 ⎪
1 thread of orange. ⎫ ⎪
1 „ white. ⎭ 24 ⎪
1 thread of blue. ⎫ ⎬ Border--repeat; 768 threads in border.
1 „ white. ⎭ 192 ⎪
1 thread of orange. ⎫ ⎪
1 „ white. ⎭ 24 ⎪
1 thread of blue. ⎫ ⎪
1 „ white. ⎭ 24 ⎪
1 thread of scarlet. ⎫ ⎪
1 „ white. ⎭ 24 ⎪
1 thread of blue. ⎫ ⎪
1 „ white. ⎭ 24 ⎭
1 thread of dark brown.⎫ ⎫
1 „ blue. ⎭ For 96⎬3648 threads--centre of the shawl.
1 thread of dark brown.⎫ ⎪
1 „ white. ⎭ For 96⎭
Repeat the border.
Repeat the edge.
[Illustration:
FIG. 199.
(Section only.)]
The above arrangement is for a fine worsted shawl made of about twofold
fifty’s yarns and set in twenty’s reed four’s. The centre and edges of
the shawl are simple in colouring, but the border consists of checks
of blue, scarlet, and orange on a white groundwork. As the white yarns
alternate with each of these colours, the figuring on one side of the
shawl in the border is solid white on the checks named, but on the
reverse side the figuring is developed in the various colours, while
the ground is white. Other and simpler forms of colouring besides this
are adopted; for instance, another appropriate method of colouring the
border and the centre of the shawl, Pattern 4 of Plate XXX., using a
double-plain diagonal weave for the edges, is thus:--
1 end of white. ⎫
1 „ light grey. ⎭ 96
1 end of white. ⎫
1 „ dark grey. ⎭ 96
[Illustration:
Plate XXXI
VARIOUS DOUBLE PLAIN DESIGNS
1. Warped and Wefted one-and-one
2. 3. 4. System of Warp Colouring Coinciding
with the Weave Construction
5. Irregular Warp and Weft Colouring]
When this class of designing and colouring is executed in woollen yarns
for rugs, the fabrics are covered with pile on both surfaces, causing
the colourings to possess a very mellow aspect. Pattern I on Plate
XXXII. is an example of this kind. The design (Fig. 199) is made on
the same system as that for the preceding style. The arrangement of
shades is as follows:--
_Warp._
1 thread of dark grey. ⎫ For 48 threads.
1 „ white. ⎭
1 thread of light grey.⎫ For 48 threads.
1 „ white. ⎭
_Weft._
1 pick of dark grey. ⎫ For 48 picks.
1 „ white. ⎭
1 pick of brown. ⎫ For 48 picks.
1 „ white. ⎭
[Illustration: FIG. 200.]
217. _Colouring of Figured Designs containing Double Plain and other
Weaves._--One illustration in this type of fabric will show the
principles of colouring and weaving which have now to be considered.
The object is to obtain three or more effects in figured fabrics mainly
composed of double plain crossings, and at the same time to develop
with special emphasis the ornamental forms combined. A feature to be
avoided in the construction of these designs is the employment of such
quantities of the single weaves as will result in the production of
a fabric irregular in build. Fig. 200 shows the manner of combining
the different crossings to obtain such effects. Intricate orders of
colouring are feasible here, providing the thread-and-thread scheme is
retained: the more ingenious the system of grouping the shades, the
more valuable the results.
[Illustration:
FIG. 201.
⊡ = Weft in ground. ◻ = Warp in ground.
◍ = Weft figure. ⧄ = Warp figure.]
218. _Reversibles arranged Two-and-One._--This type of textiles is
produced in various kinds of yarns, such as worsted, woollen, fancy
cottons, and mohair. It is a useful build of fabric, being developed
in dresses, suitings, mantlings, vestings, and quiltings. An example
in cottons is given on Plate XXIX. A section of the design used in
producing this fabric is Fig. 201, from which it is evident there are
two ends and picks of ground weave to one end and pick of figure. The
weave applied to the ground may be plain, twill, mat, or any other
simple crossing, but that applied to the figuring threads is invariably
plain in order to secure a texture quite fast in build throughout. The
following is the method of colouring practised here:--
1 thread of fine white cotton.
1 „ thick white cotton twisted with scarlet (knop).
2 threads of fine white cotton.
1 thread of thick white cotton twisted with lavender (knop).
2 threads of fine white cotton.
1 thread of thick white cotton twisted with tan (knop).
1 „ fine white cotton.
When the following scheme of shades is adopted, the aspect of the
design is completely changed:--
1 thread of fine medium blue cotton.
1 „ thick white „
1 „ fine medium blue „
This latter order gives a solid blue ground with a clear figure.
There are several distinct methods of colouring these designs. First,
the figuring threads, as in the first of these examples, are coloured
variously, while the ground threads are of one shade. This affords
a clear development of the design, particularly when the ground and
figuring yarns are of contrasting shades. The production by such
arrangements of a monotonous groundwork is obviated by spotting here
and there with the figuring yarns, as in the patterns on Plates VII.
and XXIX. A second system admits of the ground being composed of
stripes or checks of any dimensions over which the figuring in bright
colourings is distributed. Third, for woollen vestings, to which this
type of design in simple twill and spotted effects may be applied, such
orders of colouring as are given below being practised:--
I.
1 thread of black.
1 „ black and blue twist.
2 threads of brown.
1 thread of black and light olive twist.
2 threads of blue.
1 thread of black and scarlet twist.
1 „ black.
II.
1 thread of light grey. ⎫
1 „ black and white twist. ⎬ For 9 threads.
1 „ light grey ⎭
1 thread of dark grey. ⎫
1 „ black and white twist. ⎬ For 9 threads.
1 „ dark grey. ⎭
The ground shades in the first method should be of similar depths of
hue, while the twists must not only harmonize with them but also with
each other. The checks of light and dark grey in the second example
may, in practice, be of different sizes. One feature of this system is
that the groundwork may be varied in colour composition, but the twist
yarns making the small ornamental effects suitable for fancy coatings,
are of the same shade in both sections of the pattern.
[Illustration: FIG. 202.]
219. _Figured Compound Weave Patterns._--In general colouring these
are treated on similar principles to reversible double plains--such
duplicate schemes of shades as are workable in the single weaves being
employed. Double cassimeres are coloured on such various methods as to
be used in the manufacture of plain and figured textures. From Fig.
202, which is a plan of the weaves for the curve effect seen in Pattern
2, Plate XXXII., it will be apparent how the designs are constructed.
It is the same weave which is run on to the ground as on to the figure,
only in the former the odd threads appear on the face, and in the
latter they appear on the back, while the even threads come on to the
face. The order of warping and wefting is one thread of blue and one
thread of stained white, so that the structure of the weave-design
produces the ground of the texture in blue, and the figure is stained
white. The opposite effect obtains on the reverse side of the fabric
from that represented in the illustration, the colours which form the
ground on one side composing the figure on the other.
220. _Compound Colourings in Compound Weaves._--This is a good
principle of colouring for vesting styles, either in woollen or worsted
yarns. Some diversity of yarn structure is used, that is to say,
woollen combined with worsted, or with worsted and silk, in order
to obtain a difference in brightness of surface in the texture. No.
1, Plate XXXIII, is an example. The ground colouring is one-and-one
in a double cassimere twill; and by reversing, the square spots in
the illustration are developed in other methods of colourings which
harmonize with the thread-and-thread order. A section of the design is
given in Fig. 203, showing how the reversing is effected. This brings
on to the face in one portion of the design the two-and-two colouring,
and in another part of the design the four-and-four colouring. Other
compound arrangements may be used.
[Illustration:
FIG. 203.
▨ ⎫ Sections in which the colours are reversed from
⊡ ⎭ back to face of the texture.]
The method of designing consists in arranging, first, the face
warp and weft, usually in some simple order of colouring; and,
second, a compound scheme for the back, of two or more simple orders
of colouring, which, by combining reversible double weaves, may
interchange with the face to give the style required. In addition, it
is usual in such patterns to colour the face to form either a stripe or
a check, irrespective of the special design or pattern due to reversing
the backing scheme of colourings to the face, as shown in No. 1,
Plate XXXIII. In this pattern, for example, the face colouring is as
follows:--
_Face Warp._
For 24. ⎧1 thread of white woollen.
⎩1 „ dark grey woollen.
For 16. ⎧1 thread of white silk.
⎩1 „ dark grey woollen.