⎩1 „ dark grey woollen.
For 16. ⎧1 thread of white silk.
⎩1 „ green worsted.
_Face Weft._
For 32. ⎧1 thread of medium grey woollen.
⎩1 „ white woollen.
For 16. ⎧1 thread of medium grey woollen.
⎩l „ white silk.
For 32. ⎧l thread of medium grey woollen.
⎩1 „ white woollen.
For 16. ⎧1 thread of white silk.
⎩1 „ olive brown worsted.
One colour thus alternates with the white woollen and white silk, and,
in the last portion, the white silk alternates with the green worsted
warp and olive brown weft.
The backing warp and weft are:--
_Warp._
For 24. ⎧1 thread of white woollen.
⎩1 „ dark grey woollen.
For 16. ⎧2 threads of white woollen.
⎩2 „ dark grey woollen.
For 24. ⎧1 thread of white woollen.
⎩1 „ dark grey woollen.
For 16. ⎧4 threads of white woollen.
⎩4 „ dark grey woollen.
_Weft._
For 32. ⎧1 thread of medium grey woollen.
⎩1 „ white woollen.
For 16. ⎧2 threads of medium grey woollen.
⎩2 „ white woollen.
For 32. ⎧1 thread of medium grey woollen.
⎩1 „ white woollen.
For 16. ⎧4 threads of medium grey woollen.
⎩4 „ white woollen.
Or three simple orders of colouring, either the two-and-two or
four-and-four being brought on to the face to form the squares.
[Illustration:
Plate XXXII
REVERSIBLE DOUBLE-WEAVE FABRICS
1. Double-plain: Velvet Finish
2. Double-twill]
221. _Colouring of Double Cloths, such as Golf Cloakings and
Rugs._--These are compound in structure, so that a different scheme of
colour may be employed for the face from the back of the fabric. It is
not, as in the preceding example, a question of reversing the position
of the colours, but of confining one scheme of colour arrangement
to each side of the fabric. In Pattern 2, Plate XXXIII., the face
side is one colour, khaki, and the under-side a tartan check; but,
as seen from Fig. 205 (weave 205a), both sides of the fabric may be
coloured variously. This applies both to the ordinary golf cloaking
or wrap, and to double-weave rugs, where the material, as well as the
colouring, may be different on the face and the back of the texture:
but in the example on Plate XXXIII., the weave, Fig. 204, is of a
special structure in order to produce on the face side a sateen warp
effect, in which the colouring for the back does not penetrate on to
the face, nor the face colouring penetrate on to the back. The weave
for the under-side is [2/2] twill, suitable to the development of such
colouring. The scheme of colouring for the backing warp and weft is as
follows:--
_Backing Warp._
Red 60 - 60 - - - - - -
Black 8 8 60 4 4 - 4 4 60
Blue 12 - - - - - - - -
Blue green - - 12 12 48 48 12 12 -
Yellow - - - - 12 - - - -
_Backing Weft._
Red 56 - 56 - - - - - -
Black 8 8 64 4 4 - 4 4 64
Blue 12 - - - - - - - -
Blue green - - 12 12 42 42 12 12 -
Yellow - - - - 12 - - - -
The weft is similar in colouring but the number of picks is not the
same as the threads of warp. The colour compound forming the check
consists of red, black, blue, blue green, and yellow, the method of
finishing the fabric having toned the colours into each other, and
softened or mellowed the style of the check. The difference between the
effect on the face and on the back is here extreme, but it serves to
illustrate how distinct in colour quality each side of such a fabric
may be, by employing a suitable weave and counts of yarn.
[Illustration:
FIG. 204.
◼ = Face weave.
⊠ = Backing weave.]
[Illustration:
FIG. 205A.
◼ = Face weave.
⊠ = Backing weave.
⊡ = Contre warp stitching.]
The method of colouring Fig. 205, produced in Fig. 205A, is as
follows:--
_Face Warp._
3 threads of heliotrope and white twist.
6 „ brown and white twist.
_Face Weft._
3 threads of brown and white twist.
2 „ „ fawn „
2 „ „ white „
2 „ „ fawn „
[Illustration: FIG. 205.]
_Backing Warp and Weft._
30 threads of white woollen.
2 „ brown and white twist.
2 „ white woollen.
2 „ brown and white twist.
2 „ dark olive and white twist.
4 „ white woollen.
4 „ brown and white twist.
2 „ dark olive and white twist.
4 „ white woollen.
2 „ dark olive and white twist.
2 „ white woollen.
2 „ dark olive and white twist.
2 „ white woollen.
4 „ dark olive and white twist.
4 „ white woollen.
4 „ brown and white twist.
Contrasts in form of pattern--on the face and back of the cloth
respectively--as in this example, are applied to golf cloakings and
rugs, in stripe and check combinations.
FOOTNOTES:
[15] For information on the principles of designing
double-make fabrics, the reader is referred to
_Woollen and Worsted Cloth Manufacture._
CHAPTER XIV.
FIGURED TEXTILES COLOURED IN THE WARP.
222. Methods of Colouring Figured Fabrics--223. Special
Elements of Ornamental Woven Design--224. Art and Technique--
225. Styles of Figured Fabrics Coloured in the Warp--226.
Cotton Quilting Fabrics--227. Ornamental Characteristics of
Quilting Designs--228. Attributes of Plush Fabrics--229.
Origin of Velvet Weaving--230. Velvets, Compound in
Structure--231. Two Classes of Plush Fabrics--232. Warp
Plushes--233. Methods of securing the Pile--234. Analysis
of the Process of Velvet or Warp Plush Weaving--235. Colouring
of Warp Plushes and Figured Velvets--236. Brussels and
Tapestry Carpets compared--237. How the Pattern is developed
in Brussels--238. Structure of Pile Carpets.
222. _Methods of Colouring Figured Fabrics._--There are three distinct
systems of colouring figured textiles--namely, colouring in the warp,
colouring in the weft, and colouring in both warp and weft. According
to the first method, the fancy shades are introduced into the warp
only--the weft being of one colour throughout the texture. This scheme
of colouring is practised in various types of mantlings and dress
fabrics, also pile textures of a figured velvet and plush class, and
Brussels, tapestry, and velvet pile carpets. Each additional colour in
these styles of woven productions may involve the use of a separate set
of warp yarns, which, as will be indicated, materially increases the
complications of manufacture. Turning to the second system of colouring
named, which also obtains in certain descriptions of dress textiles,
and in vestings, rugs, and matelasses, it necessitates the employment
of several groups of weft threads of different colours. On comparing
these two distinct schemes, it may be observed that while the former
relates to the utilization of various warp shades--which multiplies the
difficulties of weaving in two ways, first, by requiring a Jacquard
of large figuring capacity; and, second, by increasing the diversity
of the warp colouring--the latter relates to the employment of various
groups of weft yarns, which add to the complexity of production by
increasing the number of cards necessary in the construction of the
design, and by making the use of a number of shuttles a necessity.
Lastly, the third method is a combination of the arrangements just
considered, and is applicable to similar fabrics. It is, for obvious
reasons, the most complex system of colouring, and is only feasible
in looms specially constructed and mounted for the weaving of figured
fabrics, comprising both warp and weft colouring in a considerable
diversity of shades.
223. _Special Elements of Ornamental Woven Design._--Woven design
requires distinct treatment from other species of decoration; it is not
simply surface ornamentation, for it also relates to the production
of a suitable fabric for developing the details of the pattern. Every
description of textile designing has, in a word, a two-fold relation,
for it is both utilitarian and ornamental. Primarily, it relates to
the construction of a texture uniform in surface and of the requisite
quality and strength; and, secondly, it relates to the decoration of
the fabric. Ornament in woven structures is inseparable from the weave
which produces it. Consequently, it cannot be applied with the same
facility to a textile surface as to paper-hangings, porcelain, etc. In
these instances, the designer’s work consists in the embellishment of
an article obtained by a distinct process of manufacture; whereas, in
textiles, warp and weft are the elements out of which both the pattern
and the fabric are evolved. Design or ornament and texture have by
these agents to be developed simultaneously. Instead of manipulating
straight and curved lines in the formation of the pattern, threads of
warp and weft have to be interlaced on such methods as to constitute
the design required. In order to develop the integral parts of woven
design, by imparting appropriate prominence to certain sections and
subordinating others, a knowledge of the structure of textile fabrics
in general is indispensable. Elaborate textile designing is only
perfect so far as the various figures and details of the ornament are
clearly defined in weaving. The correct delineation of the objects,
and evenly-balanced grouping and distribution of figure, chiefly affect
the artistic phases of the subject. Textile pattern is too frequently
marred by defective and faulty development. Either the materials used
are unsuitable for displaying the characteristics of the style, or the
designer has only partially understood the work. With the form and
general conception of the design there is no fault to be found, but
with the manner in which it has been executed.
[Illustration:
Plate XXXIII
1. VESTING
2. REVERSIBLE GOLF CLOAKING]
224. _Art and Technique._--It will be obvious from the preceding
paragraph that technical dexterity in textile designing is the power
of developing, with appropriate emphasis, all types of ornamental
effects, whether in relation to form or colour, with the construction
of a fabric uniform in texture and soundly built. Technology relates
primarily to weaving, but in an ampler sense to the invention and
combination of schemes of crossings calculated to add novelty and
uniqueness to woven design. Technical or weave patterns provide,
however, infinite diversity of texture. It may be ribbed, furrowed,
twilled, diagonalled, or covered with pile. Weave design is the feature
of the ornamentation of some types of silk patterns (see Fig. 232).
Of course it is materially enhanced by artistic elements of form and
colour, for technique and art are, in these fabrics, essential to
each other. In all woven decoration, art is the natural and requisite
associate of technique. Technique determines the strength and fineness
of the fabric; art determines its ornamental force and symmetry of the
design. Technique regulates the distribution of materials; art appoints
the forms, groups the figures, and blends the colours.
225. _Styles of Figured Fabrics Coloured in the Warp._--The simplest
type of figured textures coloured on the warp principle is essentially
single in construction. There is no duplicate series of yarns for
colouring purposes, but a special set of threads used in certain
sections of the ground warp of the fabric. Pattern 1 on Plate XXXIV.
illustrates this scheme of colouring. From this example and the section
supplied of the design in its production--Fig. 206--it is apparent
that the texture is constructed on the single-weave principle, the
only irregularity consisting in a number of threads--white in the
pattern--being flushed or floated on the surface of the fabric to
form the figure in stripes _A_, _B_, _C_, and _D_. The weft effect
is therefore concealed in these sections of the texture. In warp
matelasses, the same principles of weaving and colouring obtain--the
weft yarns acting as binding agents, and not appearing on the face in
the figuring, unless a special set of weft yarns is employed, as in
some styles of matelasse vestings, spotted with bright colours. This
description of warp effect is, however, a compound fabric, possessing
two warps and two wefts, and may be arranged two threads of figuring
to one thread of ground in the warp, but one-and-one in the weft. The
ground warp is invariably cotton, but the figuring warp is worsted,
silk, or mohair. One weft is thick cotton or wool, and is used for
wadding or for giving fulness and clearness to the design, and the
other is fine cotton, worsted, or silk, according to the quality of
fabric produced. Not infrequently, an additional woollen weft is
employed for backing.
[Illustration: Part 4 of Pattern 1, Plate XXXIV.
▨ ◼ = warp.
FIG. 206.]
[Illustration: Marks = warp.
FIG. 207.]
[Illustration: First 16 threads of Fig. 207.
FIG. 207A.]
Quite a distinct scheme of warp colouring is practised in some classes
of dress and plush textures from that just alluded to. These fabrics
are, in those sections in which several colours run m the same line of
the design, two-, three-, and fourfold in structure, according to the
number of colours used. In Pattern 2 on Plate XXXIV. a fabric coloured
on this principle is given. It is a vesting style of the quilting
character, but is illustrative of the common methods of colouring by
extra series of warp yarns. On analysis, it is found to be composed
of three tints--a white ground, and brown and tan figuring. These
are introduced in the warp. Now in such textures there is invariably
a ground warp or chain which runs through the fabric, and forms,
conjointly with the weft, a firm fabric to which the figuring yarns
are secured. This ground warp, usually of one colour, is drawn on to
a set of shafts, and is worked plain, twill, mat, and other simple
crossings. The method of combining the figuring yarns is shown in Figs.
207 and 207A. In the former, the effects are arranged as they are seen
in the texture, the blank spaces representing the ground of the fabric,
the greys the tan spotting, and the solid blacks the brown figuring.
Fig. 207A shows how the figuring threads succeed each other in the
harness. Between each two threads of figuring there is one ground end.
When three or four colours are employed in figuring, there is one
ground end for each group of threads. The different series of fancy
yarns, working on distinct systems with the weft, have to be run on to
separate beams--an arrangement which adds to the cost of manufacture.
Moreover, the principle of construction minimizes the weaving capacity
of the machine. If a design, for example, requiring a 192 Jacquard
to produce it when developed in one colour, had to be modified to be
woven in three colours, each of which formed some part of the figure,
it could not be produced in a machine possessing a less capacity than
576 wires. In addition to this machine, the ground of the texture would
be obtained by shafts or heddles. The same design, if coloured in the
weft, would be weavable in a 192 Jacquard, but would require 576
cards for developing the figure and 192 cards for producing the ground
of the fabric. Hence, while the warp method of colouring is the most
economical in respect of cards, weaving, and card stamping, the weft
method does not necessitate the employment of a Jacquard of such large
figuring capacity.
Amongst the ornamental styles of woven goods coloured in the warp that
may be analyzed, are cotton quiltings, velvets, and various classes of
pile fabrics.
226. _Cotton Quilting Fabrics._--Quiltings being one of the most
interesting and important of warp-coloured figured textures, may be
primarily examined.
In texture and ornament, they constitute a specific type of woven
fabrics. One essential in which they differ from other textures of
a vesting character consists in the figure or ornamentation being
produced by several colours, or rather series, of warp threads.
Belonging to that class of fabrics figured by the warp and not by
the weft yarns, the designs are arranged to elevate or depress any
particular set of threads, according to the section of the pattern
being formed. The threads which constitute the ground of the texture,
compose what is termed the ground warp, while other series of yarns are
“extras.” A similar arrangement of warps is employed in some classes of
plush, tapestry, and carpet weaving, but in no fabric is an identical
effect obtained to that which characterizes this kind of vesting.
The warps which produce the figured pattern in quiltings do not flush
or float loosely on the surface, but are regularly secured to the
foundation texture, making a “fast” figure, that is, a pattern which,
though marked and well pronounced, is even on the surface and firm in
construction.
[Illustration:
Plate XXXIV
EXTRA-WARP COLOURING
1. Stripe Design
2. Quilting Texture
]
Generally, quiltings have a light or white groundwork, which is neatly
ornamented with small lozenge, diaper, or other figured effects. The
plan of the design (No. 2, Plate XXXIV.) is geometrical, yet there is
an absence, due to the floral details, of that rigid appearance which
is frequently associated with patterns constructed on this base. Weave,
or the system of interlacing adopted, is the factor which imparts a
variety of tone and effect to the style. The texture is woven in three
colours--brown, tan, and white. The floral and sprig combinations
are formed of the first colour, the raised or diamond portions of
white, and the indentions of tan. The quantity of white or tan in
any particular part of the fabric is due to the structure of the
design employed. The groundwork of the fabric is neat and effective.
It consists of a fine texture of white, slightly raised above the
indented border surrounding the figures. The small diamond effects
are produced by the lifting of the figuring warp, which imparts an
indented appearance to the cloth. On this groundwork, two rectangular
objects are placed in such a way that the inverted figures they contain
oppose each other. Treating of the rectangular objects first, they are
separated by the diamond groundwork, and also by the narrow border of
dotted effect, in which, in the fabric, the tan colour is the most
prominent. The space between this edging and the central figures on
which the floral and sprig work are delineated, consists of rib or rep.
Here the white and tan are equally balanced. The sprig ornamentation is
characteristic of this style of vestings. It has not been produced, nor
can it be applied with such facility, to other types of woven fabrics.
The fineness of the texture, and smallness of the threads employed,
make it possible to develop the most minute figuring quite distinctly.
A neat and interesting contrast is obtained by having the sprig effect
in one figure faintly marked, while in the other the floral work is
both bolder in form and more compact in arrangement.
227. _Ornamental Characteristics of Quilting Designs._--The ornament
applied to this make of fabric is so unique that it deserves to be
briefly noted. It is typical of the texture in which it is developed,
being, so to speak, part of its construction. No other build of fabric
admits of the production of such fine, line-like, and detailed figured
effects as are obtainable by this principle of weaving. The most
minute decoration is here delineated with a precision that it would
be difficult to surpass with the pencil. All the figures employed
are graceful and delicate in appearance, due mainly to the absence
of floats of warp or weft from their composition. Elaborate designs,
crowded with combinations of form, are thus produced by a neat,
tasteful method. Some patterns which would appear coarse in other
makes of fabric, possess in these textures clearness, combined with
an effective arrangement. The examples supplied in Pattern 2 on Plate
XXXIV., and Pattern 1, Plate XXXV., are illustrations of the minute
character of the ornamental forms developed in these fabrics. Whatever
the class of figuring practised, it is full of small twig and floral
effects and clear and precise details.
228. _Attributes of Plush Fabrics._--Another description of woven
production coloured in the warp is plushes, including imitation
astrakhans, the figured velvet, and several classes of carpets, for
example, Eastern, tufted, and Axminster. The distinguishing quality
of all plush fabrics is the soft shag or pile with which they are so
covered that one of the essential features of a woven texture--namely,
the crossing of warp and weft threads--is entirely concealed. The
pile is of two kinds: in some fabrics it consists of a uniform mass
of cut short filaments, while in others it is in the form of minute
curls or loops compactly clustered together; but in both cases, it
projects from the surface of an ordinary texture. The fineness of the
fibre and density of the plush both combine to conceal the foundation
on which it is produced. The characteristic appearance of velvet, as
well as its quality of softness, which distinguishes it from all other
loom products, are due to the pile alone. The beauty of the fabric
is dependent upon the compactness and uniform evenness of the pile,
any inequality in the length of the fibres of which it is composed
producing an irregular and defective appearance in the texture. In
plush weaving, one series of threads forms a species of curl or loop on
the ground of the fabric; or such threads, after having been secured to
the foundation of the texture, are cut into short filaments, causing
them to be erect on the surface of the texture: hence a plush or velvet
fabric is an ordinary texture overspread with a compact, dense pile.
229. _Origin of Velvet Weaving._--Velvets are said to have been
originally produced in Asia. The Chinese claim to have been the makers
of a fabric of this description at a comparatively early date. Velvet
manufacture, for a considerable period after its introduction into
Europe, was confined to Italy, where, in the weaving establishments
of Venice, Milan, Florence, and Genoa, it was extensively carried on
with marked success. Two Genoese manufacturers, Etienne Turquetti and
Barthélemy Narri, under the patronage of Francis I., in 1536, are
reported to have commenced velvet weaving in Lyons, at which place
it has down to the present day remained an important industry. The
productions of the French looms speedily surpassed those of Italy, both
in fineness of texture and in soft, lustrous appearance. Rather more
than a century after velvet manufacture had been established in France,
it was introduced into England by the refugees of that nation when
compelled, by the Revocation of the Edict of Nantes, in 1685, to leave
their country, who, coming over to England, settled in Spitalfields,
the ancient seat of the English silk industry, and there domesticated
this important textile art.
230. _Velvets, Compound in Structure._--All velvets are what may be
termed compound in construction--that is to say, one series of threads
is appropriated to the production of the _ground_ of the texture, while
a second series is employed in the formation of the _pile_; in other
words, there are distinct warps or wefts necessary to produce the plush
and foundation of the fabric respectively. As to the ground, it may be
formed of the plain make or of a fine twill. The threads used in the
production of the pile may be of various colours, and treated in such
a manner as to yield a shag or plush of several lengths. When the pile
is obtained in the warp it may be either cut or uncut; that is, the
plush may be formed of small, curl-like loops, or of merely the ends of
threads projecting from the body of the cloth. In figured plushes, the
various parts of the pattern are developed by resorting to these two
modes of producing effects, some sections of the pile being cut, and
others remaining uncut, while to further enhance the character of the
design an ottoman rib effect may also ornament specific portions of the
fabric.
231. _Two Classes of Plush Fabrics._--Technically, plushes are
divisible into two great classes: (1) Weft plushes, or fabrics in which
the pile is formed of flushes of extra weft yarns distinct from those
producing the ground of the fabric. (2) Warp plushes, or fabrics in
which the pile results from the use of extra warp yarns distinct from
and independent of the warp utilized in forming the foundation of the
texture proper.
The richest effects are producible on the latter principle, which is
probably the original method of plush weaving. Weft plushes comprise,
however, a considerable variety of textures, including velveteens,
corded velveteens, corduroys, astrakhans, and feather trimmings.
232. _Warp Plushes._--In the first place, let it be understood that
for whatever purpose the fabric is intended, at least two warps are
essential in its production. Though wound on to separate beams and
subjected to different tensions, yet they are so combined by the weft
yarn, that they both, when amalgamated, become important factors in the
same texture. The weave used in the construction of a warp plush is
essentially of a two-fold character, consisting of a ground crossing,
and of a flush arrangement for producing the pile effect. Plain, mat,
rib, and twill weaves are applied to the ground, according to the
fineness and characteristics of the required texture. As to the pile,
it may be either cut or uncut, of one or several colours, and also of
such variable lengths as are requisite to the development of the forms
contained in the pattern. Whatever the character of the plush, it is
due to the employment of wires which are inserted between the threads
of the pile warp. Thus the wires are introduced when the series of
threads in the ground warp is depressed, and such threads elevated in
the pile warp as are in accordance with the formation of the design.
In some velvets the whole of the pile warp is lifted for the insertion
of each wire. Fig. 208 illustrates the system on which the wires are
employed, as well as the manner in which they produce the pile. Only
nine warp threads, six picks of weft, and three wires are represented.
The threads lettered _A_ form the pile, and those lettered _G_ the
ground warp. In this diagram the wires are shown entering the warp when
threads _G_ are depressed and threads _A_ elevated.
[Illustration: FIG. 208.]
233. _Methods of securing the Pile._--Fastening the pile is an
important feature of the weaving process. Unless a sufficient number of
ground picks is inserted between the wires, and unless they form such
interlacings with the pile warp as to secure the threads it contains
to the ground of the texture, whether the plush is looped or cut, it
will draw out, and the result will be a defective fabric. A point,
therefore, that should have careful attention is that of securing the
pile in such a manner that it will remain erect after the withdrawal
of the wires. The usual method of effecting this consists in arranging
for the ground picks to float over the pile threads, both immediately
before and after the insertion of the wires, as illustrated in Fig.
208. This plan is adopted, because it has not only a tendency to force
the wires into position, but to keep them there. It is not, however,
the only system; in fact, there are two other useful methods of forming
a “bed” or foundation for the wires. One feature of this arrangement
is common to all systems, namely, the pile warp is depressed after the
insertion of each wire; consequently any difference existing between
this and other modes of fastening the plush will be found in the plan
of interlacing the picks _preceding_ the wire. For example, in making
tapestry carpets, the pile warp is not down, but up, in the shed before
that formed for the wire; while in a third system, the pile threads
float over two ground picks and the wire in succession. Both these
systems are better adapted for the insertion of a large number of
wires to the inch of the fabric than the first method described.
234. _Analysis of the Process of Velvet or Warp Plush Weaving._--The
The weaver, having interlaced the requisite series of ground shoots
between the threads of the combined warps, proceeds to form a division
in the threads, by depressing the whole of the ground warp, and in
some cases the half of the pile warp, for the admission of the wire.
This shed remains formed until the wire has been passed from side to
side of the warp and with the grooved edge towards the sley of the
going part. On the wire having thus been fixed, the reed is brought
against the texture already woven, carrying the wire along with it,
which it causes to rest on its lower edge. In this upright position
it is maintained by keeping the going part in contact with it, till a
new division of the threads (obtained by depressing all the threads
covering the wire and elevating a portion of those floating under it)
is secured, when the sley or reed is removed from the fell of the cloth
and a ground pick introduced to be driven into contact with the ground
shoot which preceded the wire. On this principle the wires are bound to
the ground of the fabric, for the threads covering them are not only
securely woven into the texture by the shoots preceding, but also by
those following their insertion. After the proper complement of ground
picks has been added, the process of inserting the wires is repeated,
several wires always being retained in the fabric. The necessity for
this is obvious; thus, if the weaver, before he has introduced a
sufficient number of wires, passes his knife within the groove of the
first wire, and so cuts the loops covering it, the pile ends would,
when tension was put on the warp in the formation of the next shed,
draw out, and thus the plush would be destroyed. This is descriptive
of the hand method, by which some of the finest decorative silk pile
fabrics are produced. In ordinary velvets and carpet weaving, whether
Brussels (loop pile) or Axminster (cut pile), the wires are inserted
and withdrawn by automatic mechanism. In cut pile carpet weaving, at
the end of each wire is a short blade tapering to the end of the wire,
so that, when the wire is withdrawn, the threads of pile warp covering
its upper edge are cut.
[Illustration:
Plate XXXV
COLOURING OF FIGURED FABRICS IN THE WARP
1. Old Vesting Style (Quilting)
2. Cut and uncut Pile Pattern]
235. _Colouring of Warp Plushes and Figured Velvets._--Plushes made in
imitation of animal skins may be composed of several colours, and also
of different lengths of pile. Fig. 209 is a weave for a plush of this
order. Threads _B_ are grey pile, and threads _T_ are white pile. The
ground of the texture is formed by threads and picks _G_. The two sets
of pile yarns are wound on to separate beams. As the marks in this case
indicate threads lifted, it will be noticed that on the first wire only
one pile thread is up, namely, _B_¹, both the white and the ground ends
being depressed. The second wire elevates _T_¹, the third wire _B_²,
and the fourth wire _T_²; so that in each repeat of the design all the
pile yarns are up once. This is one method of colouring plush fabrics,
and is practised in the production of fancy effects in which no figure
or ornamental design is required. When colour is introduced into styles
of a figured class for robes and mantlings, it is accomplished on other
systems. Pattern 2, Plate XXXV., and Pattern 1, Plate XXXVI., are
illustrations of two types of plush or velvet colouring.
[Illustration: FIG. 209.]
Pattern 2 on Plate XXXV. is a velvet pile colouring. Several warps
have been employed in its construction, white silk for ground, pale
sage green for the principal figure, and variously coloured warps for
the minor parts of the pattern. To produce elaborate textiles of this
description a complicated form of loom mounting is necessary. First,
the ground warp, which is run off a special beam, is passed through a
set of shafts hung before the harness and worked by the Jacquard or a
dobbie machine. Second, one section of the harness receives the green
warp, and other sections the various hues composing the remaining
warps. These figuring warps are also mounted on separate beams or run
off bobbins or miniature beams, each thread being tensioned separately.
The designs have to be so prepared that all the effects which are
intended to be of one colour will fall exactly in the same line or
occupy the same threads in design.
This is also illustrated in Plate XXXVI., a pattern with silk sateen
ground, and with the figuring developed as follows:--
Green leaves and stems in loop and cut pile.
Tinted-rose flowers in loop and cut pile.
Underneath or subdued design in terry or loop pile.
An effective contrast, which is characteristic of pile colouring, is
seen in the tone of the cut and loop pile in the green and tinted
rose. The difference is so marked as to appear the result of colours
of dissimilar qualities. The cut pile imparts a soft, full colour, and
the terry, an apparently lighter colour, but of the same hue. This
technicality relates specially to pile-fabric colouring. By using the
same colour of yarn, _e.g._ green or salmon pink, two tones of green
and two tones of pink are acquired. This design element is used in the
development of ornamental details; shading in either leaves or flowers
being rendered feasible with one colour of yarn.
Another contrast to be noted is that between the sateen ground and the
terry pile figuring. The terry is deeper in quality, and, if produced
in cut pile, would be still fuller in depth of tone. In construction
or loom mounting, the sateen warp would be on one beam, the ground
or foundation warp on a second beam, and the pale green, dark green,
and salmon-pink warps on bobbins, being individually tensioned, as in
Axminster or Brussels carpet weaving.
236. _Brussels and Tapestry Carpets compared._--Brussels and tapestry
carpets are so similar in appearance that they might be regarded as
fabrics of the same structure. But, when the principles on which the
pattern is obtained in the respective carpets are examined, it is at
once evident that in the Brussels the design is purely a woven effect,
in the tapestry it is a print. The technical differences between
these manufactures being understood, there are causes apparent for
the superior wearing qualities of the Brussels. First, in point of
colouring it possesses a distinct advantage over the tapestry, for
all the shades used in its composition are supposed to be “fast,” the
yarns being hank dyed and not coloured in the warp. Second, the pile is
fuller and made of better materials, while the thickness and substance
of the fabric are not due to strengthening threads, like the “body” of
the tapestry, but to the worsted yarns used in the formation of the
pile. Third, the pattern is more smartly defined, its various parts
being clearly and distinctly developed; whereas the figure in tapestry
carpets is more or less indistinct, arising from the system on which
the pattern is produced.
237. _How the Pattern is developed in Brussels Carpets._--The weaving
of this carpet possesses some characteristic features. The pile warp,
for instance, instead of running off ordinary yarn beams, is wound, as
stated, on bobbins, or miniature beams, fixed in frames, or a large
creel, placed behind the loom. Each colour requires what is technically
called a separate frame. A five-frame Brussels is a carpet with this
number of colours succeeding each other in the same line of the fabric.
The manner in which the various colours are controlled--in other
words, in which they are concealed from, or brought into, view--is
an important factor in the manufacture of this article. On examining
a Brussels carpet, it will be observed that the individual threads
forming the pile seem either to be composed of several colours, or
to be substituted by yarns of other shades, according to the section
of the pattern being formed. For instance, in the same line of the
design, looking at the fabric lengthways, apparently in the same
thread, as many as from three to five colours, such as brown, green,
fawn, scarlet, and blue, form the pile in succession. If these effects
are not due to a printed yarn, they result from the employment of five
distinct threads, each of which is so controlled that it only appears
in the pile when assisting to develop the design. The question occurs,
How are the threads concealed when not appearing on the face of the
fabric? An important principle of weaving is implied in the production
of results of this character. Whatever the colour of the warp yarn in a
single cloth, the pattern is, throughout the piece, continuously tinged
with that shade, excepting in such positions as it is crossed with
the weft thread. In a double cloth two colours of warp yarns may be
applied to one line of the fabric; that is to say, supposing the shades
selected were black and white, the pattern produced might be composed
of these colours alternately, while in a triple-make fabric three
shades could be brought on to the surface of the texture in succession.
Effects of this order are due to changing the positions of the threads
of the respective warps by reversing the weaves. The several shades of
a Brussels carpet are manipulated on this compound-weave principle of
intertexture. To obtain a three-frame pattern composed, say, of green,
scarlet, and olive, at least three separate weaves are necessary--one
for each shade. Thus the weave used in forming the shed in the warp
for the green pile is so arranged as to depress the scarlet and olive,
while that for giving the scarlet pile conceals the green and olive
threads, and lastly, that for producing the olive pile conceals the
green and scarlet ends; so that, by an appropriate application of these
respective weaves to the design, the colours are brought up in the
figure where required.
[Illustration: FIG. 210.]
238. _Structure of Pile Carpets._--Fig. 210 is a sketch of the
interlacing of the threads in a section of this class of carpet, and
is a three-frame structure. The positions the threads occupy when not
covering the wires, will be evident on examining the illustration.
Thus it is clear that when a thread of pile yarn is not active in the
formation of the figure, it is covered or concealed by the wire and
ground shoots of weft. Take thread _b_, for instance, which, having
covered the first two wires shown, floats underneath the succeeding
wires; a similar arrangement obtains in the interlacings of thread _c_,
which floats under wires 1 and 2, and over wires 3 and 4, while thread
_a_ is covered by the first four, but flushes over the last two wires;
hence each class of pile threads interweaves with the ground weft on
the same system, producing a carpet of uniform strength, and one in
which every species of pile is equally permanent.
[Illustration:
Plate XXXVI
FIGURED PILE SPECIMEN, SATEEN GROUND]
CHAPTER XV
WEFT-COLOURED FIGURED FABRICS--CURL TEXTURES.
239. Warp and Weft Colouring compared--240. Classes of Designs
Coloured in the Weft--241. Designs in which the Pattern is a
Product of the Ground Weft--242. Extra-Weft Styles--243.
Vestings--244. Vestings with one Extra Weft--245. Two-Cover
Vestings--246. Four-Cover Styles--247. Honeycomb Vestings--248.
Two-Cover Designing--249. Four-Cover Pine Design--250. Paisley
Shawl Colouring--251. Compound-Weft Reversibles--252. Warp
and Weft Coloured Figuring--253. Curls, Textiles of the Astrakhan
Group--254. Four Types of Curled Effects--255. Curls obtained
by Wires--256. Process of Weaving Curls produced by Wires--257.
Curls formed by the Weft in which the Warp is Cotton--258. The
Weave of Weft Curls--259. Structure of Weft-Curl Fabrics--260.
Operation of Cutting after Weaving--261. Curls developed by
Milling--262. Points of dissimilarity in the various Builds of
Curled Textures--263. Two kinds of Curls developed by
Milling--264. Spiral Threads used for Warp--265. Variety
of Pattern in Spiral-Warp Curls due to Colour--266. Twist-Yarn
Cotton Warp Curls--267. Backed Weaves for Curled Cloths--268.
Essential Characteristics of Cotton Warp Curls due to Milling--
269. Examples in Designs for Cotton Warp Curls.
239. _Warp and Weft Colouring compared._--This class of figured styles
is the most comprehensive. It includes vestings, robes, ribbons, and
an endless diversity of ornamental textures. Richer combinations of
tints are more feasible by this than the warp method of colouring.
A comparison of these two important systems of introducing colours
into figured fabrics, shows that the actual weaving process is less
intricate so far as shuttling is concerned--not more than one or
two shades of weft being employed--in warp-tinted textiles; but, as
explained in Chapter XIV., each additional colour in the same line of
the design requires a special warp beam. These arrangements are just
reversed in the weft system, for here there may be from two to six
shades of weft running in the same line of the fabric, but only one
warp is utilized. These conditions make the production of such fabrics
a laborious operation, inasmuch as the number of picks inserted to
the inch in four- or five-colour styles may be very large. Thus, in a
pattern composed of the latter number of colours throughout, two or
more hundred picks to the inch is not uncommon.
Whatever number of shades occur in succession across the pattern it is
exactly so many fold in the weft, whereas if the colours are introduced
in the warp the texture is several fold lengthways. The different kinds
of weft or warp form layers of threads in the woven product. When
they are composing the ornamental details of the design they appear
on the face of the fabric, but when not thus used they float loosely
on the back, only being stitched at intervals, and in patterns of
several shades they are frequently not stitched at all. The loose yarns
flushing on the under surface of the texture may be cut off. One other
detail in the two systems affecting economic production is, that in the
weft system, a somewhat inferior or rather less costly yarn may be used
than when colouring by the warp scheme. There is a minimum degree of
tension put on weft yarns and a maximum degree applied to warp yarns
in weaving. In coarse fabrics and cotton textiles this condition does
not materially alter the cost of manufacture, but in fine productions
it is an item that has to be considered. Summarizing these points of
dissimilarity, the warp method of colouring affords the most scope for
the development of ornament in pile or plush goods; does not multiply
the intricacies of shuttling, but tends to diminish the figuring power
of the Jacquard, and requires yarns of a better quality than may be
adopted for wefting; on the other hand, the weft method practically
allows of more latitude for diversity of colouring and ornamentation of
all types of fabrics excepting the plush and leno, and it is, moreover,
in fine textiles, less costly, in so far as it makes it feasible to
employ an inferior fancy thread with satisfactory results; and lastly,
it utilizes the utmost capacity of the Jacquard in the construction of
a figured design.
240. _Classes of Designs Coloured in the Weft._--Fabrics figured and
coloured by the weft yarns are of various kinds, but to facilitate
analysis they may be considered under the following distinguishing
types:--
I.--Designs in which the figure is a product of the ground weft.
II.--Designs requiring one extra weft.
III.--Designs requiring two extra wefts.
IV.--Designs requiring three extra wefts.
V.--Designs requiring four or five extra wefts.
VI.--Designs composed of two or more wefts and reversible.
As in warp colouring, a ground warp is an essential element of
the fabric, in textiles coloured in the weft--Classes I. to V.
inclusive--there must also be a ground weft, which forms a suitable
texture on which the more elaborate ornamentation due to the fancy
shades may be produced. By extras are meant the shades of weft in
addition to the ground picks. A design with two extra wefts is called
two-cover; with three extras, three-cover, and so on--the ground weft
always being added. The word “cover” is therefore synonymous in this
sense with “extra,” and has probably been adopted because it partially
describes the texture to which it relates, which consists of so many
layers or covers of weft threads in thickness.
241. _Designs in which the Pattern is a Product of the Ground
Weft._--In this build of fabric there is comparatively little
complication of fabric-structure, of weaving, and of colouring. Thus
the weft, which interlaces with the warp to form the ground of the
fabric, is also used in the construction of the design. Some types of
dress fabrics, particularly those of a lustre character, and mantlings
for summer wear, are coloured and ornamented on this principle. It may
be regarded as the most elementary type of figured fabric. An example
is given in Pattern 1 on Plate XXXVII., which will show the scheme of
colouring generally practised in this style of textures. A section of
the weave-design is that in Fig. 211. It will be observed that the
small figures are composed of solid weft floats, and are arranged
on a fine sateen twill groundwork. The warp is composed of lavender
cotton, and is mainly useful in constituting the foundation of the
fabric, and in concealing the weft picks when they are not forming the
figured effects. The small objects are chintzed with weft colouring,
the order of picking being four of dark blue and four of white. This
gives the pattern the aspect of a cloth composed of extra wefts. It
should be noted that such a contrast in weft colouring, as obtains
in this specimen, is only satisfactory in this build of texture when
the warp is closely set, and flushes well in the ground sections. If
these conditions were not complied with, the pattern produced would be
chintzed by the weft in not only the figure, but also in other parts of
the texture. A plain or twill weave, for example, would expose the blue
and white shades right across the sample.
[Illustration: FIG. 211.]
[Illustration: FIG. 212.]
Respecting the construction of this style of fabric: it is based on
the single-make principle of design. The figure is purely a product of
floats of the weft yarn, which are determined by the form of the figure
being developed. In some patterns the ornamental sections are composed
of twill and other fancy weaves to increase the diversity of effects
obtained.
[Illustration: FIG. 213.]
242. _Extra Weft Styles._--Fabrics of this description are practically
two-fold in the weft. An illustration will make the scheme of colouring
and design arrangement evident. Pattern 3, Plate XXXVII., is compound
in the weft and single in the warp; for the wefting consists of deep
lavender-blue wool, and of white silk, and the warping entirely of
lavender cotton. The warp threads are concealed, but this is not an
invariable rule, for they may be a different shade from the wefts, and
be flushed on the surface of the texture. When this is the case, a
buckskin weave is generally used for the ground of the cloth. Should,
however, the wefts be worsted and silk, or woollen and silk, and the
warp cotton, it is customary to conceal the latter by employing a weave
which flushes the ground weft on the face. For vesting and mantling
fabrics, this is the common arrangement, but in dresses and cottons,
the warp is also used for enhancing the colouring of the fabric. This
latter type of design is a compound form of the system illustrated in
Fig. 211, two wefts being used instead of one, and each being utilized
in the construction of the figured effects, and also in forming a
fine warp twill in the ground of the fabric. Different principles of
designing are practised from these, in the construction of such styles
as are typified by Pattern 3 of Plate XXXVII. Figs. 212 and 213 are the
weave designs to Section _A_ of this pattern. The former illustrates
the method of preparing designs of this class on point paper for the
loom, and the latter the method by which the two series of picks are
amalgamated during weaving. Fig. 213 is the last eight picks of Fig.
212, the ◼’s of which form the odd and the ⊡’s the even picks. This
is the structure of the fabric; for in stamping the cards each pick
of the design as given in Fig. 212 is treated twice: I., the ⊡’s and
the ◻’s are cut; II., the ◼’s and ◻’s are cut. The stitches for the
silk or figuring picks are added during stamping, and occupy similar
positions in the design to those on picks _A_ and _B_ of Fig. 213. The
principle of stitching here corresponds to that of stitching cloths
backed with weft--so that the ties are, as far as feasible, introduced
in such positions in the picks, that the threads on which they occur
are depressed both before and after their insertion. Thus thread
seventeen, on which the tie on pick _A_ occurs, is depressed on picks
twelve and fourteen--resulting in the concealment of this tie.
Whatever the number of colours used in the construction of this style
of figured fabrics, the designs are simply drawn out as in Fig. 212,
which shows the relation of the colours to each other in the woven
structure.
The manner in which the different effects seen in Pattern 3 of Plate
XXXVII. have been produced may be explained by referring to Fig. 213.
The first pick of this sectional design--marked in solid squares--is
a figure pick, being white in the texture, and corresponding to pick
25 of Fig. 212. The second pick is ground, and also corresponds to the
twenty-fifth pick. Now it will be observed that the figuring picks
in Fig. 213 float under the threads occupied by the ground picks
_succeeding_ them; and also that the ground picks float under the
threads occupied by the figuring picks _preceding_ them. In this way
the effects due to the two series of picks--lavender and white, or
ground and figure--are kept separate and distinct, and a clear pattern
is developed on an equally clear and regular groundwork.
The figured sections here, as in Pattern 1 of the same plate, may be
chintzed, as this process does not increase the number of “extras”
required. As to the ground of these styles, it is generally a solid
colour.
[Illustration:
Plate XXXVII
FIGURED AND SPOTTED FABRICS. WEFT COLOURING
1. Chintzed
3. Extra weft
2. 4. Extra weft Spotting]
243. _Vestings._--One of the most important species of woven design to
which this scheme of colouring relates is vestings. These fabrics are
composed of various materials, and constructed on different principles
of design, and may be figured in the warp, weft, or both, but in this
example only coloured and figured by the weft yarns. It necessarily
follows that the most elementary type of this class of patterns only
possesses one extra weft, as the example just considered. This extra
colour does not, however, always run through the texture, but merely
spots it at intervals. Some of these fabrics are composed of cotton
and linen in the ground, with these materials or silk for spotting;
others possess a worsted or woollen warp, with worsted or woollen
ground weft and silk extras; a third class has a cotton warp, with
woollen ground and silk figuring; while a fourth class has silk warp
and weft for face, and cotton warp and weft for foundation. The first
group is mainly produced in light shades for summer wear; the second
series has either light or dark grounds; the third series is invariably
developed in dark shades, and the fourth in dark and light colours. In
the cotton and linen vesting the compound principle of intertexture is
utilized; but whatever the weave-construction of the fabric, the scheme
of colouring is uniform. Moreover, in the woollen and cotton ground
textures, but little diversity of weave is practised in producing the
groundwork of these styles; whereas, in the worsted and silk types,
various crossings and combinations of weaves are used for this purpose.
The construction of the worsted warp vesting affords scope for weave
ornamentation in the foundation of the fabric as well as for elaborate
figuring by variety of colouring. The two worsted vestings given in
No. 2 and No. 4, Plate XXXVII., are, for example, very different from
each other in groundwork. The former has a broad diagonal foundation
(Fig. 216) composed of several thirteen-shaft weaves; but the latter a
fine corkscrew twill in the ground. Fig. 214 also illustrates another
system of ornamenting the ground of these textures with weaves. If the
spots developed in ⌻’s were removed, this design would be a rib pattern
composed of fine twill and weft cord. With the addition of the spots
it forms a neat vesting. In colouring, the rib consists of a distinct
shade from either the twilled parts or the spotting. This is obtained
by wefting as follows:--
For 12 picks. ⎧1 pick of black worsted.
⎩1 „ dark blue worsted.
⎧1 pick of silk.
For 8 picks. ⎨1 „ black worsted.
⎪1 „ silk.
⎩1 „ dark blue worsted.
This grouping of shades gives a silk spot in the twill parts on a black
ground, and a rib effect in dark blue.
In the designing of the ground sections of worsted vestings, it is
important to obtain an effect which combines neatness with novelty and
richness of colouring.
244. _Vestings with one Extra Weft._--Only one specimen in this type
of vesting is furnished. It is given in Pattern 4 on Plate XXXVII.,
and, as stated in the previous paragraph, has a corkscrew ground.
The weaving plan for this pattern is supplied in Fig. 215. The spots
of which it is composed are arranged on the six-end sateen base. The
silk picks used in forming the spotted effects are tied regularly, as
indicated by the small line marks in the design; hence, in preparing
for the loom, the first pick would be stamped twice thus: I., cut all
but the marks ▨ and--; II., cut all but the marks ⌻.
[Illustration: FIG. 214.]
[Illustration: FIG. 215.]
It will be observed that the spots in the fabric (Pattern 4, Plate
XXXVII.) are composed of green, blue, and crimson. This is due to the
system of weft colouring practised, which is as appended:--
For 8 picks. ⎧ 1 pick of black worsted.
⎩ 1 „ crimson silk
For 8 picks. ⎧ 1 pick of black worsted.
⎩ 1 „ blue silk.
For 8 picks. ⎧ 1 pick of black worsted.
⎩ 1 „ green silk.
Of course it is feasible to colour a design of this arrangement on
other systems. Thus the spots could all be developed in the same
colour, or they might each have been composed of two tints, such as
crimson and white, claret and lavender, and blue and olive. The base
on which the design is constructed causes the respective spots of blue,
green, and crimson in the pattern to be neatly distributed over the
corkscrew twill surface forming the groundwork of the fabric.
[Illustration: FIG. 216.]
245. _Two-Cover Vestings._--Vestings of this class possess one
ground weft and two “extras” for figuring. Loud patterns only being
occasionally required in these textures, a scheme of figuring is
practised which reduces the cost of production. Thus the spots or
figures are only produced here and there in the fabric, a considerable
number of ground picks intervening. In this way, the quantity of silk
used is considerably diminished. An example may be considered in which
two extras are necessary in developing the spotted effects. It is
the diagonal pattern given in No. 2 on Plate XXXVII., and referred
to in the previous paragraph. The ground design here is composed of
four weaves--fine corkscrew, weft sateen, twilled mat, and an upright
twill--and, apart from the small figures, occupies 288 picks. The
spots are developed in two hues, and are arranged on this diagonal
base on a sateen method, six occurring in each repeat of the pattern.
Those sections of the design--Fig. 216--in which the spots occur are
three-fold in composition, the ground, crimson, and green wefts being
combined. Picks lettered _A_, for example, comprise one spot, and
include the ground, crimson, and green picks. The ties for the extra
wefts are on the principle indicated. The system of wefting which has
been practised in producing the pattern formed of the design worked out
on the base of Fig. 216 is as follows:--
⎧ 1 pick of black worsted.
For 24 picks. ⎨ 1 „ crimson silk.
⎩ 1 „ green silk.
40 picks of black worsted.
Blue and white, orange and blue, and salmon and light-blue, also
give neat patterns. Light shades may be, moreover, employed, with
satisfactory results, in the ground of the fabric.
[Illustration: FIG. 217.]
246. _Four-Cover Styles._--Having considered two specimens of vestings
in worsteds an example in five shades, may be examined in woollens.
Each shade of weft in figured textiles adds to the construction of
this type of design. First, it implies a larger number of cards; and,
second, more picks to the inch, necessitating more weaving. While,
however, these complications are the result of the employment of a
diversity of colours, yet it is mainly by multiplying the shades
of weft that richness of design is obtained. In the example in the
four-cover vestings, Design 217, the foundation of the texture is
broken crow or weft swansdown. All the effects are due to solid weft
floats. The marks ⧅ represent Shade 1 in the fabric, the ▨’s Shade 2,
the ⊡’s Shade 3, the ◼’s Shade 4, and ⌻’s Shade 5. The order of weft
colours is:--
For 26 picks. ⎧ 1 pick of Shade 1.
⎩ 1 „ „ 2.
⎧ 1 pick of Shade 1.
For 12 picks. ⎨ 1 „ „ 2.
⎩ 1 „ silk, Shade 3.
⎧1 pick of Shade 1.
⎪1 „ „ 2.
For 8 picks. ⎨1 „ silk, Shade 3.
⎩l „ „ 4.
⎧1 pick of Shade 1.
⎪1 „ „ 2.
For 20 picks. ⎨1 „ silk, Shade 3.
⎪1 „ „ 4.
⎩1 „ „ 5.
⎧1 pick of Shade 1.
For 9 picks. ⎨1 „ „ 2.
⎩1 „ silk, Shade 4.
For 12 picks. ⎧1 pick of Shade 1.
⎩1 „ „ 2.
In preparing the cards, first cut all but ⧅; second, cut all but ▨;
third, cut all but ⊡; fourth, cut all but ◼; and, fifth, cut all but ⌻.
Picks _A_ are stamped twice, picks _B_ three times, picks _C_ and _E_
four times, and picks _D_ five times.
[Illustration: FIG. 218.]
247. _Honeycomb Vestings._[16]--These are an old style of woven
textural effect produced in weaves irregular in structure, or in which
there is contrast of warp and weft floats, forming diamond, mat, and
other effects. The fabrics may be single, backed, or compound in
structure. An example of the first type is given in Pattern 1, Plate
XXXVIII., the weave being Fig. 218, on a diamond base. The warping and
wefting are as follows:--
2/18ˢ white 2 21 21 21 19
Double 22’s/2 yellow silk 3 - - - -
2/16ˢ black - 3 - 3 -
10’s/2 red silk - - 3 - -
A more irregular type is that seen in Fig. 219, in which the diamond
principle is combined with mat weave, Fig. 220. The method of
manufacture is as follows:--
_Warp._
Three-fold 2/30’s white worsted - 24
Four-fold 2/36’s blue „ 4 8
_Weft._
Three-fold 2/30’s white worsted.
[Illustration: FIG. 219.]
It will be seen from both examples that there is much irregularity of
weave structure and also in counts of yarn.
[Illustration: FIG. 220.]
248. _Two-Cover Designing._--Several types of fabrics in addition to
Pattern 2, Plate XXXVII., are coloured and figured on this system,
which admits of the production of a considerable diversity of effects.
Pattern 1 of Plate XXXIX. is an example. The warp of this fabric is
cotton, but as the ground weave is a five-end weft sateen, it flushes
the worsted picks constituting the foundation of the texture on
the surface, concealing thereby the cotton yarns. A section of the
design used in weaving this example is given in Fig. 221. By changing
the ground weave to twill, and employing a shade of warp distinct
from the weft, the pattern could be improved in colouring. As here
tinted, however, it is evident that by this scheme of designing
ornamental details may be clearly developed in the texture. The order
of wefting is one pick of light fawn, one pick of black silk, and one
pick of lavender silk. The texture being two-cover, the process of
card stamping is as follows: I., cut blanks, solid blacks, and small
circles; II., cut crosses, blanks, and circles; and III., cut crosses,
blacks, and blanks.
[Illustration: FIG. 221.]
249. _Four-Cover Pine Design._--An interesting specimen of four-colour
figuring is given in Pattern 2 on Plate XXXVIII. It is a good
combination of colours, textile effects, and principles of weaving.
First, as to the blending of tints and the figuring obtained. Though
only four colours are used in the weft--claret, lavender or blue grey,
olive, and salmon--yet five-tinted effects are produced. The extra tint
is due to interweaving the warp--which is a bright crimson--plain with
the salmon weft, forming that intermingled colouring composing the
ground of the interior of the pine figures. The rich claret shade which
constitutes the ground of the fabric gives a velvety aspect to the
entire pattern, and develops the other tints in the texture.
[Illustration: FIG. 222.]
The order of wefting and colouring is thus: _warp_, all crimson;
_weft_,1 pick of claret, 1 pick of salmon, 1 pick of lavender, and
1 pick of olive. Each shade runs through the fabric, and is
continually helpful in imparting tone and character to the whole
composition of both ornamental and textural details.
[Illustration:
Plate XXXVIII
1. HONEYCOMB PATTERN
2. PINE FIGURING]
As to the construction of the design. The ground weave--Fig. 222--is a
weft broken [1\3] twill. All the figured parts of the design, excepting
where the warp yarns work plain with the salmon picks, are flushed
solid. This is apparent from Fig. 222, which is the weave-design of
the upper part of the pine figures. Here the solid squares correspond
to the claret in the texture, the dots to the salmon, the circles
to the lavender, and the grey marks to the olive. Every pick of the
weave-design is stamped four times as follows:--
I. Cut all marks but solid black.
II. „ dots.
III. „ circles.
IV. „ greys.
The ground weft is tied regularly, but the other wefts are flushed on
the under surface of the fabric.
250. _Paisley Shawl Colouring._--Fig. 223 is on the pine base, similar
to No. 2, Plate XXXVIII., but the ornament is of a more elaborate
character. The structure of the fabric is seen from the section of a
design of this character, Fig. 224, the colours being inserted chiefly
in the weft. The weaves in the various parts of the figuring are fine
twills running in different directions, and the ground is warp twill.
Each kind of mark represents the different colour of weft in which
the figuring is developed. Each colour stitches in the weft to make a
continuous twill.
[Illustration: FIG. 223.]
251. _Compound-Weft Reversibles._--Reference should be made, in
treating of fabrics coloured in the weft, to rugs and reversible
textures, for some classes of shawls, and--in light materials--for
mantlings. These textures are composed of weaves which are double or
three-fold in the weft but single in the warp Thus they are of such a
character as to allow of the employment of two series of weft threads
of different colours. One layer of picks is spread over the other. This
will be understood on referring to Fig. 225. The weaves used in the
construction of this 2-ply build of fabric are supplied in Fig. 226.
They are simply swansdown twills backed, hence, when combined and woven
in a warp composed of small yarns, and with thick weft yarns arranged
one pick black and one pick grey, a textile is produced of the same
structure as that represented in Fig. 225. Here it is apparent that
the system of weaving causes the black picks to cover the grey picks
in part _A_, and _vice versâ_ in part _B_. In the actual texture, the
black picks are close together, completely concealing the layer of
picks over which they are spread. The same may be remarked of the grey
picks in part _B_; consequently the warp threads, being small, are all
but entirely hid, and indeed they should not be observed on either side
of the finished fabric.
[Illustration: FIG. 224.]
As the designs are two-fold in the weft, they may contain twice the
number of picks to threads per inch, in which case they would be
worked out on 8-by-16 point paper. Having determined on the ornamental
arrangement of the pattern, say that given in Fig. 227, the sketch is
transferred on to the plan paper on the same principle as in designing
for double-plain reversibles. Weave _A_ of Fig. 226 is then applied to
the figured sections, and weave _B_ to the ground, and for the hard
effect or shade, a weave arranged 2 picks face and 2 picks backing,
intermingling the two colours, is also used. Should black and white
wefts be employed, the figure on the upper surface would be in black
and the ground in white, and the grey portions, Fig. 227, in black and
white.
[Illustration: FIG. 225.]
[Illustration: FIG. 226.]
In the 3-ply colouring, Fig. 228, weaves, threefold in structure in the
weft, have been used. A simple type of weave for this purpose is given
in Fig. 229, where the face and back of the texture are in weft twills,
and the centre in plain weave. If a finer fabric is required, then
six-end sateen with warp prunelle twill in the centre may be used, Fig.
230. By such weaves, three colours of weft may be combined, one for
each part of the figuring, and the pattern developed in three shades.
[Illustration: FIG. 227.]
[Illustration: FIG. 228.--Three-ply Weft Reversible.]
252. _Warp and Weft Colouring._--This species of colouring is
principally practised in figured textiles. The ordinary system relates
to flushing the warp and weft--which are of different shades--in the
construction of the figure, as is instanced in Pattern 3 of Plate
XXXIX. Here the outside of the oblong figures consists of floats of
weft, and the interior of floats of warp. Now by warping 96 ends of
crimson and 96 ends of lavender, and weaving 96 picks of tan and 96
picks of white, several tinted effects are obtained. First, a solid
square of lavender is formed; second, square _B_ is composed of crimson
and lavender; third, square _C_ is composed of crimson and tan; and
fourth, square _D_ is composed of tan and lavender. By this scheme of
colouring and weaving, considerable diversity of pattern is producible.
[Illustration: FIG. 229.]
[Illustration: FIG. 230.]
Design 231 is an example in compound warp and weft colouring. The
colour of the warp of this fabric would partially form both the ground
and the figured effects. Two wefts might be used, say brown and light
brown, the former producing the figure and the latter the ground of
the texture. The ⌻’s represent the rib groundwork, the dots the light
brown, and the greys the solid floats of warp. Being composed of two
wefts, the design is prepared for the loom by first cutting all but
⌻’s; and, second, by cutting all but ⊡’s. The light brown is regularly
tied to the under-side of the texture.
Other types of colouring, having “extras” in both warp and weft, are
also practised. They are, however, mainly compounds of the two systems
of colouring already illustrated.
A useful example is Pattern 2, Plate XXXIX. The broader floral figuring
is developed in warp cord (see sectional design 232). Between such
floats of warp making the cord, a firm groundwork is formed. The weft
figuring consists of long floats of the light silk yarn, underneath
which is also constructed a fast woven texture. The ground weave is a
fine cord.
[Illustration: FIG. 231.]
253. _Curls, Textiles of the Astrakhan Group._--“Curls” are a type of
textile that belong, strictly speaking, to fabrics of the astrakhan
and lambskin type. One of the objects here is to manufacture a fabric
similar in appearance, texture, and general character to the original
astrakhan. But at the same time, it is sought to acquire these effects
by cheaper and more expeditious methods than are practised in making
astrakhan, lambskin, and similar fabrics. The production of cheap,
serviceable “curls” has led to the construction of spiral, curled, and
knopped yarns--all threads which, when appropriately employed, impart a
curly surface to the cloth.
[Illustration: FIG. 232.--Section of Design for Pattern 2, Plate XXXIX.]
254. _Four Types of Curled Effects._--Curled effects may be classified
under four heads:--
(1) Those in which the effect is obtained by employing wires in weaving.
(2) Those in which the yarn is curled previous to weaving, and the
flushes of weft thread cut after the piece leaves the loom.
(3) Curls due to the employment of yarns composed of two or more
classes of materials. The curl in this case is developed in milling.
(4) Fabrics in which a curled thread is used in the weft.
[Illustration: FIG. 233.]
The first and second classes of curls represent the original methods
of gaining effects of this kind, while the third and fourth classes
represent the modern principles of manufacture. Examination of the
different classes will show that each possesses some advantages which
the other lacks, and also that certain defects are characteristic of
each process of production.
In the first species of curls--in which colour is introduced into the
warp--are astrakhans, lambskins, and other classes of similar fabrics.
255. _Curls obtained by Wires._--Curls obtained by the use of wires
are fabrics containing two warps--one of which forms the foundation,
and the other the curled effect of the texture. The ground warp is
usually cotton, the curled warp mohair, and the weft woollen. The
mohair yarn is submitted to a process of curling or crimping before
weaving, so that when the threads are cut over the wires, in the actual
manipulation of the fabric, the ends thus produced twist, twirl, and
roll into all kinds of shapes. The larger the curl, the thicker and
more curly the material used in its formation, and the deeper the wires
inserted into the cloth during weaving. Fig. 233 will illustrate the
principle on which the wires are employed and the part they play in the
development of the curly appearance of such fabrics. In this sketch,
which is a sectional drawing showing the interlacing of the threads
and the position of the wires in a simple astrakhan prior to cutting,
threads _A_ represent the mohair warp, threads _C_ the ground warp, _b_
the picks or shoots of weft, and _W_ the wires. It will be observed
that there are several picks between each wire which interlace with
threads _C_ to form a texture, or foundation fabric, on to which a
layer of curls, closely grouped together, is secured. There is a firm
woven cloth in addition to the curled effect in all such structures;
and it should be noticed that the more substantial this concealed
portion of the foundation, the more durable the texture produced. An
insecure ground texture should be prevented in the manufacture of all
fabrics in which wires are employed. The picks _b_ interweave with
threads _C_ on the plain principle, but not invariably so, as the
three-end twill sometimes forms the plan of intersection for these
yarns.
No less than five ground picks are inserted between each wire in the
fabric sketched, forming a firm foundation for the wires. Another point
secured, by having this number of ground shoots intervening the wires,
is the production of a large curl, because the wires are not forced
into close or absolute contact with each other.
256. _Process of Weaving Curls produced by Wires._--The routine of
the actual operation of weaving this style of curl may be briefly
stated:--The proper number of ground picks _b_, having been interlaced
with yarns _C_, one half of the mohair warp is elevated and wire 1
inserted; the same number of ground picks is again introduced into the
warp _C_, and then the reverse half of the mohair warp raised and wire
2 inserted. This completes the process as far as the interlacing of the
threads is concerned. One particular that has not been noticed is the
mode of binding the curled warp to the texture; this is effected by
depressing the mohair yarns both previous to, and after the insertion
of the wires, crossing them of course with the picks b. After some
five or six wires have been secured, as shown in the illustration,
cutting takes place. This is done by the weaver running his knife down
the grooved part of the wire, a process which divides the loops and
liberates the threads, when their curling properties cause them to
twist and curl so effectually together as to entirely cover the surface
of the ground fabric on to which they have thus been fastly woven.
The spiral condition into which the ends twist themselves on being
liberated, is seen in Figs. 234 and 235, a section of an astrakhan
fabric after cutting.
[Illustration: FIG. 234.]
A feature in which this class of curls differs from others is that if
two or more shades of yarn, and several depths of wires are used, one
for each colour of curled warp, then, by a suitable arrangement in the
design, an attractive combination of effects results.
[Illustration: FIG. 235.]
257. _Curls formed by the Weft in which the Warp is Cotton
Threads._--This class of “curls,” which may be examined in detail, also
includes fabrics of the astrakhan group. But here, instead of the curl
being obtained in the warp, it is obtained in the weft yarn. In cloths
of this order the warp is invariably cotton, while the weft is woollen
and mohair--the wool being utilized in the construction of the ground
of the texture, and the mohair in the formation of the curly effect.
The system of forming the curl by the warp offers larger scope for
variety of pattern and texture, than when it is produced on the weft
principle. In this instance, the cloth is simple in structure. It is
possible, however, on this principle of intertexture, to have either
a short or long curl. As in warp effects, the mohair yarn has to be
curled or crimped prior to weaving by submitting it to a process of
boiling, which may be continued for two or three hours, according to
the quality of the yarn and the permanence with which it is sought to
fix the curl.
258. _The Weave of Weft Curls._--The weave of this type of fabric is
arranged on a simple principle. It first admits of several mohair or
flush picks being introduced into the warp, which are followed by a
plain ground shoot. If the weave occupies, say twenty-four threads,
each flushing pick might float over seventeen ends, and then form a
plain interlacing with the remaining seven ends of the series. This
process securely fastens the curl picks on to the ground of the fabric.
[Illustration: FIG. 236.]
259. _Structure of Weft-Curl Fabrics._--Fig. 236 is a section of the
interlacing of the warp and weft yarns in this make of textile. Here
dots _a_ represent the ends of the warp threads; _B_, the mohair weft
yarns or flushing picks; and _c_, the plain ground picks. The fabric
is twofold in the weft and single in the warp. Picks lettered _B_ are
placed, in weaving, over the picks or shoots _c_, which produce, along
with the ends lettered _a_, a foundation texture on to which shoots _B_
may be fastened. The warp threads are thus made to interlace with both
kinds of weft, producing, with the cotton or woollen weft _c_, a plain
fabric, and, with the mohair picks _B_, a cloth in which the face is
formed of long flushes of weft yarn.
[Illustration:
Plate XXXIX
FIGURED STYLES DEVELOPED IN WARP AND WEFT COLOURINGS]
Feather trimmings, Fig. 237, are made on this principle, only
several widths, _A_, _B_, _C_, of the curl effect are formed in one
width of the fabric. The mohair yarn to form the curl is crimped or
curled before weaving. The floats in the texture vary in length, and
extend from Series _A_ to Series _B_, and from _B_ to _C_ In the
illustration, the weft threads floating over such spaces have been
severed and allowed to form the curl effect of which the trimming
consists. Many methods of colouring are practised in the production of
such fabrics, and also, as seen from the specimen _D_, special figuring
due to the ordinary type of weaving.
[Illustration: FIG. 237.]
260. _Operation of Cutting after Weaving._--When the cloth leaves the
loom there is no appearance of a curl effect, its under surface being
nothing but a plain weave, and the face consisting of long floats of
mohair yarn. To produce the curl these flushes require to be severed or
cut, when the ends thus obtained twist and twirl into the spiral forms
shown in Fig. 235. The cutting process is done as follows:--About two
yards of cloth having been stretched tightly on a frame, the cutter
inserts the fine point of the knife and guide under one of the row of
long flushes formed by picks _B_, Fig. 236; the loops or flushes being
arranged in rows, the knife can be made to travel very accurately under
each row of loops to the end of the length of texture spread on the
frame. As it is forced through this tunnel of loops, it severs the
threads, and, as the yarns were curled or crimped previous to weaving,
they immediately assume curly, spiral conditions.
By a slight modification of this principle of weaving it is possible
to produce a large variety of patterns. One example of this class of
effects is a pattern with a figured design (see _D_, Fig. 237), in
which the pine pattern is developed in extra silk weft in addition
to the curl effects. Mohair may be the material used for the curled
figures and silk for the figuring.
261. _Curls developed by Milling._--In the two classes of these fabrics
already described, the curl effect is the result of preparing the yarn
by subjecting it to a crimping process before using it as warp or weft
in the composition of the cloths. Both types of curls considered are,
moreover, submitted to a cutting operation, which, severing the loops
or flushes of mohair yarns, results in the production of the curled
characteristic of the textures. In the curled cloths produced in
milling, the curl is not due to cutting one series of the yarns in the
fabric, but to the more rapid shrinking of some threads in the texture
than others, a process which develops loops on the surface of the
piece. The curl in this instance is produced by the doubling of certain
threads, and not by any curling and cutting operations the yarns may be
subjected to either previous to, during, or after weaving.
262. _Points of Dissimilarity in the Various Builds of Curled
Textures._--If a fabric in which the curl is obtained in the warp and
by the use of wires is dissected, it will be observed:--On removing,
in the first place, to withdraw a curl thread it would be found to be
divided into short lengths, each curl being a separate length. The
entire series of curls might be removed and still a plain woven texture
would remain intact; if, however, either the warp or weft of this
foundation structure were disturbed, the whole fabric would be reduced
to a group of loose ends.
Let a fabric in which the curl is formed by the weft yarn and developed
by cutting, after the piece leaves the loom, be next analyzed. Here
it is possible to remove the curls, as in the other fabric, and yet
to retain a woven texture. The wide dissimilarity between this fabric
and the warp curl is to be found in the fact that the various short
lengths of mohair which form the mass of small curls, covering the
texture, are in this case sections of picks of weft and not threads of
warp.
Curl textures, which obtain the curly appearance in the milling machine
(see Figs. 239, 241, and 243), are constructed on an entirely different
principle of manufacture. To remove any thread or pick from this
fabric, curl or otherwise, destroys the structure of the cloth. In this
type of curl there is only one warp and one weft, the threads of which
appear alternately on both sides of the piece. Either warp or weft
may contain both woollen and mohair yarns, but still the cloths are
constructed from single weaves.
263. _Two kinds of Curls developed by Milling._--Curled fabrics of this
group may be divided into two classes: (1) those in which the curl yarn
is introduced into the warp; and (2) those in which it is employed in
the weft. The warp thread which forms the curl is in some cases made
of the noil resulting from combing mohair or alpaca, or the waste from
the machines in making lustre worsted yarns. These materials possess
exactly the curling properties that are requisite to the production of
the effect characterizing this kind of curl. As to the weft thread, it
is made chiefly of “extract” and similar materials.
264. _Spiral Threads used for Warps._--The warp is composed of twist
threads known as “spirals,” a name applied to them on account of their
crimpy form. They derive their principal characteristic from the system
on which they are prepared; thus one of the two threads utilized
in their production is, during twisting, only slightly tensioned,
while the other thread is highly tensioned. This arrangement causes
the compound yarn resultant to be crimpy or spiral, and to possess
an undulated, wavy appearance. When the piece is subjected to heat,
soapy moisture, and the friction of the milling process, the thick,
slack thread shrinks up into loops, or forms small buttons, or curls,
on the surface of the cloth. The process of fulling these cloths
is interesting. Previous to this operation the fabric possesses a
level surface; for there is little indication in the cloth when it
leaves the loom as to any curly or looped effect. This is entirely a
subsequent development. As soon as the felting operation commences,
this characteristic appears, the thick and soft threads of the twist
yarns forming loops or curls which cover both sides of the fabric.
265. _Variety of Patterns in Spiral-Warp Curls due to Colour._--Pattern
or design in these goods is mainly due to colour combinations. As the
weave is generally a four-end twill, there is facility for developing
effects of this character with precision and clearness. Styles of a
mixture, stripe, and check class are employed. One example of a mixture
effect is as follows: Warp, two ends of maroon (spiral) and two ends
of green (spiral); weft, all olive brown. The pattern thus obtained
is intermingled in colouring, the warp threads giving indefinite and
mellow patches of maroon and green, while the weft forms a solid and
continued series of olive-brown twills.
[Illustration: FIG. 238.]
266. _Twist-Yarn Cotton-Warp Curl._--This is a backed fabric, the
face or right side being formed of curled twists and the back or
under side of woollen yarn. Diversity of pattern or style is, in this
kind of curl, obtained by employing several colours or shades of
twists. Amongst the twists which are largely used three or four may be
mentioned, namely, black and white, black and steel grey, black and
olive, and black and medium blue, the white, steel grey, olive, and
medium blue forming the loops or curls of the respective threads.
267. _Backed Weave for Curled Cloth._--A reference to FIG. 238, which
is a standard example of the description of crossing employed in
making this sort of curls, shows that in reality this curled texture
is constructed on the backed weave principle, a system of intertexture
which readily allows of the production of a thick cloth. The picks
marked in ⊠’s represent the woollen yarns, or weft for the ground, and
the picks marked in ◻’s form the weave for the curl effect, or the
looped twist weft. On examining the former series of picks, it will be
observed that they interlace weft cord with the warp threads. The face
weave--marked in dots--is the eight-heald doeskin or sateen, a plan of
crossing which not only permits the curled yarn to be flushed on the
right side of the fabric, but attaches it to the woollen and cotton
ground texture in a uniform and secure manner. While the curl yarn
should not show on the back of the cloth, the woollen yarn should not
be visible on the face.
Of course it will be understood that the character of the curly effect
is dependent on the kind of twist weft employed; thus, should the yarn
be of several colours and the loops on its surface large, a clear, bold
curl will result; but should the loops be more of a knop than a curl,
the pattern will be correspondingly indistinct.
[Illustration: FIG. 239.]
268. _Essential Characteristics of Cotton-Warp Curls due to
Milling._--The cotton warp, which constitutes the foundation of the
fabric, possesses no felting power, but the mohair yarn which forms the
weft, though not possessing the same fulling quality as some classes of
wools, yet when floated on the surface of a cloth of this character,
felts to such an extent as to draw, or compress, the warp ends into
closer contact with each other; and it is this contracting of the
texture in the direction of the weft that produces the curly or looped
appearance desired.
[Illustration: FIG. 240.]
It must not be understood that because the curliness is entirely
developed in fulling, the structure of the weave in no way affects
the pattern obtained, for striped and other effects, can be woven by
a proper modification in the arrangement of the design. A sketch of a
curled stripe made on this principle is supplied in Fig. 239.
269. _Examples in Designs for Cotton-Warp Curls._--The weave, Fig.
240, is technically called a plain rib, being so constructed as to
flush the curl yarn on the face of the cloth, and yet produce a fast,
plain woven texture underneath the floats. All designs for curls of
this description are made on the principle illustrated in this weave,
and also Fig. 243, it being of equal importance to secure a fast fabric
as to float the mohair yarn on the face side of the texture.
[Illustration: FIG. 241.]
[Illustration: FIG. 242.]
Part _A_ of the design forms the small curly effects drawn in Section
1 of Fig. 239, while part _B_ gives the piping of curls represented
in Section 2. When the odd picks--1, 3, 5, and 7--are woven into the
warp they flush over the entire series of threads in _A_, but form a
plain interlacing with the threads in Section _B_. On the other hand,
when the even picks--2, 4, 6, and 8--are introduced into the warp, they
flush over the threads in part _B_, but work plain with the threads in
_A_. The woven result of this weave is, first, a striped pattern is
formed on the upper side of the cloth, consisting of two distinct bands
of curls; second, a firm cloth is produced, though the weft is flushed
to such an extent on the upper surface as to conceal the cotton warp,
for the picks which give the flushes for the curl in _A_, form a plain
cloth under the picks which float over the threads _B_, while the picks
yielding the curly appearance due to Section _B_ of the design, at the
same time form a plain texture underneath the shoots of weft which pass
over threads _A_. So that on this principle, facility is afforded for
a proper flushing of the weft yarns on to the upper side of the cloth,
yet provision is made in the weave for the construction of an all but
plain fabric to which the flushes of mohair that form the curl are
securely attached.
Generally these textures are piece-dyed, but in such patterns as those
given in Figs. 239, 241, and 243, some excellent styles may be obtained
by using two colours of weft yarn, such as black and maroon, blue and
olive, and black and white. In such combinations one shade would form
the broad and the other the narrow stripe of curls.
[Illustration: FIG. 243.]
In Fig. 241 a fabric is sketched in which the curls are distributed,
without any apparent design; yet according to the weave--Fig.
242--there is really a twilled or diagonal distribution of the curls.
Felting, however, destroys this characteristic.
[Illustration: FIG. 244.]
A more irregular pattern is that in Fig. 243, produced in Fig. 244,
being woven one pick of light, and one pick of dark yarn alternately.
In this way, varied colourings and forms of designs are obtainable in
these structures.
FOOTNOTES:
[16] _Not infrequently with extra colour weft or warp
spotting, but the example--Pattern 1, Plate
XXXVIII.--is coloured on the ordinary method._
INDEX.
Adjacent colours, effects of, 42.
Analogous colour contrasts, 50, 55.
Analysis of colour compounds, 72.
of light, 9.
of standardization scheme of colouring, 62.
Art and technique in design, 320.
Astrakhan fabrics, 354.
Attributes of blue, 27.
of green, 37.
of orange, 37.
of purple, 40.
of red, 23.
of yellow, 37.
Backed cloths, colour applied to, 94.
Backed-weave combinations in relation to colour, 96.
Black and bright colour contrasts, 55.
use of, in mixtures, 78, 80.
Blending, use of standard colours in, 63.
Blends, simple, 70.
Blue, derivatives of, 28.
its properties and uses, 27.
shades and tints of, 30.
uses of, in twist yarns, 33.
Brodie tartan, 150.
Brussels carpets, 332.
Carpets, tapestry and Brussels, 332.
Characteristics of red, 23.
Check, basket (in two colours), 128.
broken (in two colours), 128.
(common) modification of, 132.
consisting of two sizes of squares, 124.
counter-change, 126.
graduated, 127.
interchanging, 135.
ordinary (in three shades), 130.
patterns, 119.
set, 131.
shaded (in black and white), 136.
(in two colours, using designs composed of several weaves), 139.
Check and stripe designs, spotted, 277.
Checking, compound (in three shades), 133.
principles of (in three shades), 129.
CHECKING, PRINCIPLES OF. _See_ List of Figs., page xix.
Checks, 102.
fancy, 145.
irregular and mixture, 142.
Citron, 16.
Clan Alpin tartan, 157.
Colour applied to single-make figured fabrics, 95.
effects in the plain weave, 99.
in the [2/2] twill, 99.
COLOUR EFFECTS, ELEMENTARY STANDARD. _See_ List of Figs., page xx.
COLOUR EFFECTS IN COMPOUND WEAVE DESIGNS. _See_ List of Figs., page
xxii.
Colour, method of applying to textiles, 5, 7.
in relation to backed and compound cloths, 94.
in simple and fancy weaves, 93.
occurrence and utility of, in fabrics, 3, 4.
phenomena of, 7.
Colour standardization, 61.
analysis of the scheme of, 62.
application of, 60.
by selected colours, 62.
standards, use of in blending, 63.
Colouring, elements of, 92.
figuring in the weft, 96.
warp, 97.
warp and weft, 97.
1-and-1, figured styles in, 164, 167.
3-and-3, effects in, 170.
4-and-4, effects in, 171.
4-and-4, effects in (fancy weaves), 172.
6-and-6 and 8-and-8, 173.
6-and-6 in various weaves, 174.
mixture, 67.
simple weave, 94.
three-odd-thread arrangement of, 175.
COLOURING OF SPOTTED DESIGNS. _See_ List of Figs., page xxii.
COLOURING SPECIFIC WEAVES AND DESIGNS, ILLUSTRATIVE OF. _See_ List of
Figs., page x.
Colouring, tartan, 145.
types of woven, 93.
COLOURING IN THE WARP, PRINCIPLES OF. _See_ List of Figs., page xxiii.
COLOURING IN THE WEFT, PRINCIPLES OF. _See_ List of Figs., page xxiii.
Colourings, 1-and-1 and 2-and-2, 163.
irregular simple order of, 182.
methods of obtaining well-balanced, 32.
(regular type), table of, 161.
simple, 159.
simple in four shades, 180.
Colours, changed by juxtaposition, 42.
constants of, 17.
methods of modifying, 25.
primary, 15.
pure, functions of, in design, 21.
qualities of, 20.
spectral, weave frequency of, 9.
temperature of, 17.
tints and tones of, 25.
Composition of coloured lights, 14.
Compound colouring, 192.
composed of three elementary types, 194.
in compound weaves, 312.
types of, 199.
COMPOUND WEAVE COLOURING. _See_ List of Figs., page xxiii.
COMPOUND COLOURINGS, EXAMPLES IN. _See_ List of Figs., page xxi.
Compound colours, 15, 72.
Compounds composed of two simple types, 201.
two types and three shades, 203.
four shades, 219.
irregular, 218.
Contrast, 43.
economic, 47.
examples in, 46.
kinds of, 38.
mono-chromatic, 47, 50.
poly-chromatic, 48.
shaded and tinted, 53.
(strong colour) methods of neutralising, 57.
tinted, 50.
Cord or rib weaves and colouring, 240.
Corkscrew weaves, colouring of, 221.
modified and colouring, 223.
and other weaves spotted, 282.
Cotton quiltings, 324.
stripes, 259.
weaves, colouring applied to, 232.
Crawford tartan, 150.
Cuninghame tartan, 150.
Curl textures, 354.
(cotton warp) designs for, 365.
developed in milling, 362.
by using spiral twist yarns, 363.
effects produced in, with wires, 357.
formed in the weft, the warp being cotton, 359.
four types of, 357.
varieties of, due to colour, 364.
(weft principle) structure of, 362.
Derivatives of blue, 28.
of green, 37.
of orange, 39.
of purple, 40.
of red, 23.
of yellow, 36.
Design, elements of woven, 1.
function of pure colours in, 21.
Designs composed of several weaves of varied structures, 261.
Diagonals, 230.
composed of single and double weaves, 231.
spotted, 283.
Double cloths, colour in relation to, 94.
principles of colouring, 295.
styles of colour effects in, 296.
Double-plain stripes, 296.
in two shades, 297.
(warped irregularly), 298.
in three shades, 301.
intermingled pattern, 302.
weaves combined with other makes, 302.
Douglas (Grey) tartan, 149.
Dundas tartan, 155.
Duke of Rothesay tartan, 146, 150.
ELEMENTARY COLOUR EFFECTS, STANDARD. _See_ List of Figs., page xx.
Elements of textile colouring, 91.
Elliot tartan, 153.
Erskine tartan, 146.
Examples in colour contrasts, 46.
EXAMPLES IN COMPOUND COLOURINGS. _See_ List of Figs., page xxi.
Extra-weft patterns, 336.
colouring (two-cover styles), 346.
(four-cover styles), 347.
Fabrics, compound patterns in, 198.
Fancy broken check, 145.
weaves, colouring of, 168.
Feather trimming (weft-pile fabric), 360.
Figured fabrics, 95.
methods of colouring, 319.
striped in the warp, 264.
warp colouring of, 97, 321.
and weft colouring of, 97.
Gauze textures, 234.
imitation, 238.
systems of colouring, 237.
Gimp twist yarns, 289.
Golf cloakings, 315.
Gow tartan, 150.
Granite effects, 228.
Green, attributes of, 37.
derivatives of, 37.
tints of, 38.
Grey (bloomed) mixtures, 81.
(coloured) mixtures, 82.
(neutral) mixtures, 80.
Hairline patterns, 105.
Hamilton tartan, 151.
Harmony, principles of colour, 59.
Hay tartan, 146.
Indian shawl, colouring of, 22.
Irregular compounds, 218.
simple patterns in two shades, 184.
in three shades, 186.
simple colourings, tables of, 182.
stripe and check spotting, 277.
Irregulars in two shades, 183.
in three shades, 186.
in four shades, 188.
Juxtaposed colours, 43.
Keith tartan, 150.
Knop twist yarns, 289.
Light, analysis of, 9.
Lights, coloured, composition of, 14.
Loom productions, occurrence and utility of colour in, 3.
MacArthur tartan, 150.
Macintosh tartan, 150.
MacKinnon tartan, 154.
MacLean tartan, 157.
MacLeod tartan, 150.
Makes of fabric, colour applied to, 221.
Marls, 90.
Mat weaves spotted, 282.
Materials, importance of pure in mixtures, 68.
Mathieson tartan, 150.
Maxwell tartan, 151.
Menzies tartan, 146.
Methods of applying colour to textiles, 5.
of modifying colours, 25.
Mixture checks, 142.
Mixtures, bloomed grey, 81.
coloured grey, 82.
composed of a colour and black, 78.
of a colour and white, 77.
of two shades, 75.
of two shades and black, 78.
of two shades and white, 76.
elements of colouring of, 67.
multi-colour, 87.
patterns, 66, 103.
twist yarn, 89.
two colour, 86.
varieties of, compared, 69.
weave, 91.
Mono chromatic contrasts, 47, 50.
Montgomery tartan, 147.
Neutralizing strong colour contrasts, 57.
Orange colour, 15.
qualities of, 37.
shades and tints of, 39.
Overchecking, examples in, 125.
Paisley shawl colouring, 349.
Pattern design, 98.
Patterns, checks (_see_ also Checks), 102.
drafted, 249.
(drafted) consisting of two four-shaft weaves, 251.
consisting of prunelle and [2\2] twill, 254.
consisting of three or more weaves, 256.
figured, 104.
hairline, 105.
mixture, 66.
stripe, 101.
Persian carpet, 22.
Pigment and wool blends compared, 71.
Pigments, colours resulting from combining, 15.
Pile and curl fabrics, weft type of (cutting after weaving), 361.
Plaids, types of, 146.
two-colour, 146.
three-colour, 150.
four-colour, 153.
five, six, and multi-colour, 157.
Plush fabrics, 326.
two classes of, 327.
warp, 328.
Poly-chromatic contrasts, 48.
Primary colours, 15.
PRINCIPLES OF CHECKING. _See_ List of Figs., page xix.
Principles of checking, 120, 129.
Prismatic experiments, utility of, 11.
Pure colours, functions of, in design, 21.
Purple, 40.
Qualifications of the textile colourist, 21.
Qualities of colour, 20.
Red, characteristics of, 23.
derivatives of, 26.
Reversibles arranged 2-and-1, 310.
figured (double-plain and other weaves combined), 309.
in compound weaves, 293.
in double and compound weaves, 305.
methods of colouring, 306.
weft compound, 349.
Rib or cord weaves, colouring applied to, 240.
Ross tartan, 150.
Royal Stuart tartan, 157.
Russet, 16.
Scale or “base” standard colours, 62.
Schemes of colouring, 13.
Shade and tinted contrast, 53.
Shaded checks, 136.
figuring, 142.
stripes, 113.
Shades and tints of blue, 30.
of colours, 25.
of green, 38.
of orange, 39.
Shawl (Paisley), colouring of, 349.
Single pick weft spotting, 281.
thread warp spotting, 279.
Skene tartan, 150.
Spectral colours, wave frequency of, 9.
Spots composed of warp and weft floats, 271, 274.
SPOTTED DESIGNS, COLOURING OF. _See_ List of Figs., page xxii.
Spotted effects, 267.
due to system of weaving, 269.
in ordinary weaves, 290.
STANDARD ELEMENTARY COLOUR EFFECTS. _See_ List of Figs., page ix.
Standardization of colour, 60.
applications of the scheme of, 65.
by selected colours, 62.
scheme analyzed, 62.
systems of, 61.
Stripe and check designs, spotted, 277.
Stripes, 101.
composed of longitudinal and transverse lines, 106.
of two colours, 107.
of three or more colours, 109.
hairlines, 105.
in double-plain weave, 296.
(two shades), 297.
irregular and indefinite in two colours, 111.
composed of black and white lines, 110.
containing several colours, 116.
(shades in two colours), 112.
shaded (in two colours), 113.
(in several colours), 118.
Strong colour contrasts, methods of neutralizing, 57.
Swansdown twill ([1\3] or [3\1]) spotted, 270.
Table of compound colourings, 199.
Tapestry and Brussels carpets, 332, 333.
Tartan, Brodie, 150.
Clan Alpin, 157.
Crawford, 150.
Cunningham, 150.
Duke of Rothesay, 146, 150.
Dundas, 155.
Elliot, 153.
Erskine, 146.
Fraser, 156.
Gow, 150.
Grey Douglas, 149.
Hamilton, 151.
Hay, 146.
Keith, 150.
MacArthur, 150.
Macintosh, 150.
MacKinnon, 154.
MacLean, 157.
MacLeod, 150.
MacQueen, 150.
Mathieson, 150.
Maxwell, 151.
Menzies, 146.
Montgomery, 147.
Ross, 150.
Royal Stuart, 157.
Skene, 150.
Wallace, 150.
TARTANS. _See_ List of Figs., page viii.
examples in the colouring of, 145.
two-colour, 146.
three-colour, 150.
four-colour, 153.
five, six, and multi-colour, 157.
types of, 146.
Temperature of colours, 17.
Tertiary colours, 16.
Textile colourist, qualifications of, 21.
Three-and-three colouring, effects in, 170.
odd thread colouring, arrangement of, 175.
shade patterns, 179.
Tinted contrasts, 51, 53.
Tints of blue, 30.
of colours, 25.
of green, 38.
of orange, 39.
Toned contrasts, 51, 53.
Tones of colours, 25.
Treatment of colour in textiles, 4.
Twist yarn mixtures, 89.
yarns, uses of blue in, 33.
Two-and-two twill colour effects (warp 1-and-1), 99.
Two-shade compounds (in which white or black is one shade), 75.
(in which black is used), 78.
(in which white is used), 76.
Types of woven colourings, 93.
Utility of colour in loom productions, 3.
of prismatic experiments, 11.
Velvets, compound in structure, 327.
figured, 331.
weaving, operation of, 330.
origin of, 326.
Vestings, 340.
cotton quiltings, 324.
four-cover colouring, 344.
honeycomb, 345.
two-cover colouring, 343.
Violet in compounds of coloured lights, 15.
in prismatic experiments, 10.
wave frequency of, 9.
Wallace tartan, 150.
Warp and weft colouring, 352.
compared, 335.
colouring and figured textiles, 97.
(extra colouring) spotted, 284.
colourings, figured effects obtained by, 97.
figured fabrics coloured in the, 321.
plushes, 328.
(single-thread) spotting, 279.
striping in figured designs, 264.
Wave frequency of spectral colours, 9.
Weave and colour compounds compared, 197.
(single) colourings, 94.
(backed and double) combinations, colour applied to, 96.
compounds, 244.
composed of two, 6, 7, 8, or 9-shaft weaves, 254.
examples in colouring of, 245.
mixtures, 91.
Weaves (compound), application of fancy yarns to, 291.
figuring in, 312.
(double) styles of colour effects in, 295.
fancy, 1-and-l and 2-and-2 colourings in, 168.
(ordinary) spotted effects in, 290.
Weft colouring, 336.
figured effects obtained by, 96.
compound reversibles, 349.
(extra) styles, 338.
(ground) used for figuring, 337.
(single-pick) spotting, 281.
Weftings, cross, 190.
White and bright colour contrasts, 55.
use of in mixtures, 76, 77.
Wool and pigment blends compared, 71.
Woollen, fancy weaves and colouring in, 226.
irregular weave compounds in, 268.
Woven design, elements of, 1.
(ornamental) elements of, 320.
effects and simple colourings in, 197.
Yarns (fancy) with compound weaves, 291.
gimp and knop twists, 289.
marl, 90.
composition of, 90.
twist-yarn mixtures, 89.
used for spotting, 288.
Yellow, attributes of, 34.
derivatives of, 36.
in woven design, 35.
PRINTED BY NEILL AND CO., LTD., EDINBURGH.