Designers for Jacquard work, in addition to being good draughtsmen,
must be thoroughly acquainted with the three systems of weaves: plain,
twills and satins, and their sub-divisions; also with the structure
of double cloth, three-ply cloth, four-ply cloth, etc. He must know
the influence of the texture upon the weaves and the fabric; the
arrangement of the threads in the dents of the reed; the different
systems of tying-up the Jacquard harness; and the stamping of the
Jacquard cards for the various kinds of textile fabrics.
Squared Designing Paper for the Different Textile Fabrics Executed on
the Jacquard Machine.
The classifying of the [O] designing paper is done by enclosing a
number of small rectangles, horizontal and vertical, within a certain
distance by a heavy line. Such enclosures are known in practice
as “squares.” The spaces between the vertical lines indicate the
warp-threads, and those between the horizontal lines the filling
threads. As a rule the warp dimension is indicated first; and a design
paper having five rectangles vertical with ten horizontal, is variously
read and indicated as 5 by 10, 5 × 10, or 5/10.
Figs. 46 to 68 represent some of the styles of [O] designing paper
most frequently used. The size of the square may vary in each kind of
paper, and must be selected according to the fabric to be sketched.
For example: There are three styles of 8 × 8 [O] designing paper in
general use: One forming 1/2 inch heavy squares, (Fig. 48), one forming
3/4 inch heavy squares, (Fig. 64), and the other forming 1 inch heavy
squares. These sizes may still be varied.
The principle of these three kinds of [O] designing paper is identical,
the size preferred being left to the pleasure of the designer. If a
design is to be made for a great number of needles, say 600, 900, 1200,
etc., it will be best to use the smallest size; whereas in a design for
only 100 to 200 needles the larger sizes may be employed.
[Illustration: _Fig 46. 8×6_]
[Illustration: _Fig 47. 8×7_]
[Illustration: _Fig 48. 8×8_]
[Illustration: _Fig 49. 8×9_]
[Illustration: _Fig 50. 8×10_]
[Illustration: _Fig 51. 8×12_]
[Illustration: _Fig 52. 4×8_]
[Illustration: _Fig 53. 4×12_]
[Illustration: _Fig 54. 4×20_]
[Illustration: _Fig 55. 4×24_]
[Illustration: _Fig 56. 5×8_]
[Illustration: _Fig 57. 6×10_]
[Illustration: _Fig 58. 6×12_]
[Illustration: _Fig 59. 9×10_]
[Illustration: _Fig 60. 10×10_]
[Illustration: _Fig 61. 10×12_]
[Illustration: _Fig 62. 12×12_]
[Illustration: _Fig 63. 24×12_]
[Illustration: _Fig 64. 8×8_]
[Illustration: _Fig 65. 10×14_]
[Illustration: _Fig 66. 8×15_]
[Illustration: _Fig 67. 8×16_]
[Illustration: _Fig 68. 5×16_]
Practical Use of the Heavy Square in Designing Paper.
The heavy square serves as a unit of measurement, as well as a means of
calculation, and shows readily and exactly the size of the design. The
eye becomes accustomed to grasping the meaning of this large square,
and comprehends at a glance the situation. For instance:
On 8 × 8 paper, 25 squares means 8 × 25, or 200 rectangles each way.
10 × 10 paper, 10 × 25, or 250 rectangles each way. 10 by 12 paper, 10
× 25, or 250 rectangles one way, and 12 × 25, 300 rectangles the other
way.
These rectangles in actual work represent threads or ends, thus:
200 ends on 8 × 8 paper require 25 squares.
300 " 10 × 10 " " 30 "
450 " 10 × 12 " " 45 squares one way,
and 450 ÷ 12, or 37 squares + 6 lines the other way.
The squares will also assist in putting the weave in a design. For
example: Suppose a design for a damask table-cover is required, having
for weaves the 8-leaf satin. By using the 8 by 8 paper the “risers”
or “sinkers” of the 8-leaf satin are found in the same place in each
square, thus any error in forming the weave is at once detected.
Sometimes more than one square is required for ascertaining this fact;
suppose in the preceding example the [O] paper to be 10 by 10, then the
number of threads represented by four successive squares = 4 times 10,
or 40, being five repeats of the 8-leaf satin, as 5 times 8 = 40.
Selection of Designing Paper for Single Cloth.
For single cloth the character of the designing paper is ascertained
by the number of warp and filling threads required per inch in the
finished fabric. For example: A damask fabric with a texture, when
finished, of 80/120 (80 ends warp and 120 picks filling per inch) will
require a designing paper of corresponding proportion, or as 80 is to
120, = 8 × 12.
In stripes, checks, etc., the texture in part of the fabric is changed;
such changes require separate designs. If the difference is only
slight, one kind of paper is used. Select the paper derived through the
proportion of the two as required. For example: A dressgoods fabric
forming two distinct effects in one repeat of 400 warp-threads (200
successive ends required for each effect).
The first effect made on a texture 60/80.
" second " " " 80/80.
Two distinct designs (one for each effect) are required:
For the first effect use a paper proportioned as 60 to 80, or 6 × 8.
" second " " " " 80 to 80, or 8 × 8.
If only one kind of [O] designing paper be used for both effects, find
the average of the warp, thus: 6 + 8 = 14, and 14 ÷ 2 = 7, showing that
paper 7 × 8 is the substitute. If using a designing paper under similar
circumstances the sketch must be squared to correspond.
Selection of Designing Paper For Double Cloth.
In fabrics where one line (visible across the face) is produced by two
or more different colored threads, (each pick forming part face, part
body or back of the fabric), the designing paper to be used is shown
by the proportion of the line effects to the warp-threads (figure) per
inch. Example: Take a dress-goods fabric, extra figured in the filling,
having the following texture: Warp, 60 ends per inch; filling, 100
picks per inch, double system, 1 pick for ground, 1 pick for figure.
The paper required is as 60:(100 ÷ 2) or as 60:50 = 12 × 10, or 6 × 5.
The figure is painted upon the paper in various colors and by the
card-stamping when cutting the ground cards. The extra colors are
treated as if they were ground. When cutting for the extra figure, deal
with it alone.
If a fabric has the double-cloth system applied to the warp, only
using one filling for both kinds of warp, and the Jacquard-harness is
tied-up for “single sections,” the squared designing paper required is
found from the proportion of the number of face and back warp-threads
per inch, to the number of picks per inch. Example: Take a dressgoods
fabric constructed on the following texture: 80 ends warp, 1 end
ground, 1 end figure, and 60 picks to 1 inch. The proportion for the
paper is as 80:60, or 8 × 6 designing paper.
If the tie-up in the loom is for double sections, (Fig. LIV. or LVI.),
the fabric in the previous example requires the comparison of the
face-warp with the filling, and the answer is: 80 ÷ 2 or 40 ends of
face-warp per inch, 60 picks filling per inch, giving the proportion of
40 to 60, requiring 8 × 12, or 4 × 6 designing paper for the figure.
The ground part of the design is executed separately on the same kind
of paper; or if the weave is of a short repeat, stamped without design.
In selecting the [O] designing paper for double cloth, such as
cloakings, coatings, etc., made with a back-warp, and executed on any
of the single section tie-ups, use the lines between the squares to
indicate the back-warp and back-filling. The proportion of ends of
face-warp to face-filling in one inch of the finished fabric indicates
the kind of paper needed.
Example: If a fabric has the following texture:
Warp, 2 ends face, 1 end back, 90 ends per inch.
Filling, 3 " 1 " 132 picks "
The kind of designing paper needed is found by dividing 90 by 3, and
multiplying by 2, thus: 90 ÷ 3 × 2 = 60, number of ends of face-warp
per inch, and 132 ÷ 4 × 3 = 99, number of picks filling per inch,
giving a 60 × 99 paper, or its equivalent, 6 × 10.
Face cards for these fabrics must be stamped twice, first for the face
weave, and afterward for the binder. If using a 12-row machine, use
punches 1, 2, 4, 5, 7, 8, 10, and 11, for face; 3, 6, 9, and 12, for
the back of the fabric.
Selection of Designing Paper for Two-ply Ingrain Carpets.
Always observe the proportion existing between the number of warp and
filling-threads. For instance, take a carpet having 1072 ends warp
(536 ground and 536 filling) per yard, with 30 picks per inch (1 pick
ground and 1 pick filling, or 15 pair). Then, 1072 ÷ 36 = 29-28/36
ends of warp per inch. The proposition is as 29-28/36: 30; or, what is
practically the same, 30: 30, showing that the paper must be equally
divided, and 8 × 8 may be used, as is usually done.
Again, take a carpet having 832 ends warp (416 ground, 416 figure) per
yard with 20 picks per inch (1 pick ground, 1 pick figure, or 10 pair).
Then 832 ÷ 36 = 23-4/36, and the proportion is as 23-1/9: 20, or as
7-19/27: 6-2/3, practically 8: 7; and 8 × 7 paper may be used.
NOTE.--It will always be advantageous for the card stamping if
the designing paper be selected so that the number of warp-ends
in one square equals the number of griffe-bars used in the
Jacquard machine.
Selection of the Proper Brush for the Different [O] Designing Papers.
The brush used by the designer must be clipped according to the size
of the rectangles of the paper. It should cover the rectangle in warp
direction at one sweep of the hand; hence each size of the squared
paper requires a specially prepared brush for quick, good, and perfect
work.
Colors used For Painting Textile Designs.
For this purpose take common colors (in powder), and mix with water and
mucilage to avoid rubbing off after application. Use no more mucilage
than necessary, as too much will be followed by slow and imperfect
work. Colors mixed in this manner must be kept moist by adding a few
drops of water daily. The colors most generally used for painting
textile designs are:
Vermilion.
Lamp Black.
White Lead.
Emerald Green.
Chrome Yellow.
Burnt Umber.
Cobalt Blue.
Carmine, etc.
A few drops of alcohol will greatly assist the mixing of vermilion,
umber, and similar colors which have no affinity for water. Chloride
of lime is used on colors having a vegetable basis (as carmine, etc.,)
for correcting imperfections, applying weaves or changes in the colored
part of a design.
If the designing paper becomes greasy, the colors will not adhere. To
cure this take a moist sponge and wipe off the paper.
Preservation of Textile Designs.
To prevent textile designs (painted on the [O] designing paper) from
being soiled, apply a thin solution of white shellac varnish, which
dries almost instantaneously. A design preserved in this manner can be
cleaned off at any time with a wet sponge, and after years have passed
will appear bright and distinct.
Sketching of Designs for Textile Fabrics to be Executed on the Jacquard
Machine.
The first work to be done in making an _original_ design, or in
reproducing a design by making an _analysis_ of a woven fabric, is to
prepare the “_sketch_.” This sketch may be arranged the exact size of
pattern needed, or it may be proportionally larger or smaller. If the
design is a reproduction from a woven fabric, a correct duplicate on
the regular drawing paper is required; for this sketch is of the same
value to the designer for Jacquard work as the correct picking out of a
weave is to the designer for harness loom-work.
In preparing an _original sketch_, the points to be considered are:
_The setting of the figure, and the most practical size_.
Methods of Setting the Figures.
To give a clear illustration of this, Figs. 69, 70, 71, 72, 73, 74, 75,
and 76 are designed, representing a few of the methods most frequently
used. A separate explanation of each will familiarize the student with
this part of the work.
[Illustration: Fig. 69.]
[Illustration: Fig. 70.]
[Illustration: Fig. 71.]
[Illustration: Fig. 72.]
Fig. 69 illustrates the setting of a figure in “_plain_.” The space
allowed for one repeat (outline of the square) is shown divided
horizontally and vertically into two equal parts each way. [See dotted
lines _a_, _b_, and _c_, _d_, thus giving the centre for the square
at _S_.] The design contains two circles in its repeat; one of these
circles is shown with its centre at _S_, and the other circle is
illustrated divided into four quarters, as shown in the four corners of
the square.
Fig. 70 represents another “_plain_” setting, but the figure employed,
a half-moon with a small circle near it, is set in two directions.
Fig. 71 illustrates a design having in its repeat two different
figures, each set by itself in “plain.” A third figure, ring _e_, _f_,
_g_, _h_, is used four times to break the general prominence of the
effect.
[Illustration: Diagram for Fig. 72.]
Fig. 72 shows the setting of a figure in a design similar to a
“_four-harness broken twill_.”
Fig. 73 shows a combination of one figure set in four-harness broken
twill style, the other set in plain.
Fig. 74 shows the setting of a figure in the “_five-leaf satin_” style.
[See diagram, p. 109.]
Fig. 75 shows the setting of two figures in the “_six-leaf satin_”
style.
Fig. 76 illustrates the setting of one figure in the “_eight-leaf
satin_” method.
[Illustration: Fig. 73.]
[Illustration: Fig. 74.]
[Illustration: Fig. 75.]
[Illustration: Fig. 76.]
[Illustration: Diagram for Fig. 74.]
[Illustration: Diagram for Fig. 76.]
In setting figures in a sketch the appearance of “_streaks_” must be
avoided. To do this it will be found advantageous to sketch more than
one repeat of the pattern; if possible, sketch two each way, that the
streaking, if any, may show itself in the sketch, and be corrected
there. Nearly all the patterns seen in fabrics which show streaks can
be traced to designers who prepare their designs without sketches; for
if a sketch had been made, the streaking of the fabric might have been
foreseen had the designer exercised proper care in the examination and
perfecting of his sketch. Figures taken from plants, or from life, can
be set in the same manner as explained for Figs. 69 to 76. For example,
Fig. 77, the figure for design. Fig. XXXIV., p. 32, the latter being
set after the method illustrated by Fig. 70.
[Illustration: Fig. 77.]
Figs. XXV., XXVI., XXXIII., XXXVIII., XLI., XLIV., XLV., XLVII.,
XLVIII., LI., LV., LVII., LXI., etc., all show sketches for fabrics
executed on one or the other methods of construction just explained.
Size of Sketch Required.
This is regulated by the number of harness-cords in one repeat
or division, the method of tie-up employed, and the texture of
the finished fabric. For example: Take 400 harness-cords for one
division. Texture of the fabric when finished 100/90. Tie-up employed,
straight-through. _Required_: The size of one repeat for the sketch.
_Answer_: 400 ÷ 100 = 4 inches. The figures may be arranged in this
sketch to repeat one, two, three, four, or more times in the 4 inches
thus available.
Enlarging and Reducing Figures for Sketches.
[Illustration: Fig. 79.]
[Illustration: Fig. 78.]
Figures are not always enlarged or reduced by free-hand drawing. Some
designers always use the “_squaring off_” process. The latter is
clearly illustrated by Figs. 78 and 79. Fig. 79 shows the reduction of
Fig. 78, and Fig. 78 the enlargement of Fig. 79.
[Illustration: Fig. 80.]
[Illustration: Fig. 81.]
The method observed is of different size squares for each design. Each
square of Fig. 78 containing the same proportion of the whole design as
is shown by the corresponding squares of Fig. 79.
[Illustration: Fig. 82.]
Fig. 80 illustrates another method of ruling off a figure preparatory
to enlargement, reduction, or duplication.
[Illustration: Fig. 83.]
[Illustration: Fig. 84.]
This “squaring off” is not always done in a sketch for the reasons
just mentioned, it being frequently done to assist the designer in
the original construction of his figure. Such an application of its
utility may be observed in Fig. 81, centre for Damask; Fig. 82, border
for Damask; and Figs. 83 and 84, sketches for Damask table-cover,
centre, with side border. The design of a border for a centre, or _vice
versa_, must be selected to correspond (Fig. 85).
[Illustration: Fig. 85.]
Fig. 86 shows a horizontal and vertical border, both of the same
design. It is obvious that it would be a very imperfect design if
either border should be allowed to form the corner, hence a union must
be carefully constructed embodying the same general features as the
design.
[Illustration: Fig. 86.]
Transferring of the Sketch to the Squared Designing Paper.
Having obtained a perfect sketch of the design as it appears in the
fabric, or as it is desired to show, the outlines are transferred
to the [O] designing paper. This always requires an enlargement of
the design, and to accomplish this the sketch itself must be ruled
proportionally to the heavy squares found on the [O] designing paper.
If these squares should be too small for the sketch, they may be
enlarged by throwing 4, 9, or 12 of the “squares” into one large one;
which is indicated by extra ruling off with pencil upon the required
heavy lines. In this case the sketch is ruled off corresponding
to these pencil lines. The transfer of the sketch to the required
[O] designing paper is governed by rules already explained for the
enlargement of a design on the regular drawing paper. After the design
is transferred to the [O] designing paper it must be “_outlined in
squares_.”
Outlining in Squares.
This consists in painting the small squares forming the outline of the
figure as called for by the outline of the drawing. Two methods are
observed: One “_outlining in squares” inside the “drawing outline;”_
the other _“outlining in squares” outside the “drawing outline.”_
If painting outside the outline, no small squares are taken, in which
the drawing outline, taken from inside the figure, encloses more than
one-half of their surfaces. If painting the “outline in squares”
_inside_ the “drawing outline,” this rule is reversed, thus no small
square can be taken which is overrun by the drawing outline more than
one-half from the outside of the design. The most difficult part of the
outlining in squares is to obtain the nearest possible reproduction of
the drawing outline. If circles, curves, etc., are to be made, they
must be reproduced as nearly correct as possible; no bunches, cuts,
etc., should disturb its symmetry.
[Illustration: Fig. 87.]
Fig. 87 shows the variations and methods to be resorted to in
“outlining by squares” the five circles, each of different size.
Fig. 88 shows the formation of projected straight lines varying from
a horizontal to a vertical direction. The full changes by 8^s, 7^s,
6^s, 5^s, 4^s, 3^s, 2^s, 1^s are shown in full black. The half changes
between the 2^s and 3^s are formed of 2^s and 3^s taken alternately as
shown by the shaded line. Another half change between 1^s and 2^s, also
represented by the shaded effect, shows the change to be a repetition
of the step 1, 1, 2. Between this last mentioned change and the regular
2^s change, we find the direction of a straight line as derived from
a repetition of 2, 2, 1, indicated by the [.] Below the regular
change by 1^s the straight line is formed by using 7 times 1 and once
2 repeated. Above the regular change by 1^s as shown by the black
diagonal, these same changes will form straight lines running from 45°
to 90°.
[Illustration: Fig. 88.]
Rules for “Outlining in Squares” Inside or Outside the Drawing Outline.
The outlining in squares outside the drawing outline is observed in
designs having the figure produced by the filling. The outlining in
squares inside the drawing outline is observed in designs having the
figure produced by the warp. By reversing these two rules, the figure
in the design would be changed from the sketch, for if outlining
in squares inside the drawing outline, using filling for figure,
the figure would be reduced proportionally to the reduction made or
taken away by the outline squares. Thus, also, if the warp formed the
figure, and the “outlining being done in squares,” outside the drawing
outline, the figure would increase proportionally the size of the
squared outline. These rules refer to painting the squares for warp
only. Some fabrics require also the painting of the filling squares.
The foregoing explanation may be reduced to the following _Rule_: If
the figure is required to be in white, “outline by squares” outside the
drawing outline; if the figure is required to be painted, “outline by
squares” inside the drawing outline.
After the design is outlined by full small squares, either the figure
or the ground (as required, but generally the figure) is painted all
over. The paint required for this work has been previously described.
It is only necessary to mention that it must have body enough to be
clearly visible, but not sufficient to obscure the black ruled lines
of the paper, which must show clearly through the paint. The weave, if
necessary, is next put on the required spots, either in white or black
paint.
Illustration of a Sketch.
[Illustration: Fig. 89.]
_Outlining on [O] paper--finished design and fabric sample. For
single-cloth fabrics, as damasks, dressgoods, etc._
To give a clear illustration of the entire process from sketch to
finished design, Figs. 89, 90, and 91 are designed. Fig. 92 showing the
effect of the design on the fabric after being woven.
[Illustration: Fig. 90.]
[Illustration: Fig. 91.]
Fig. 89 represents a sketch for a fabric supposed to be executed with
80 warp-threads in one repeat; thus, if using 8 by 8 [O] designing
paper, (texture in this example supposed to be equal in filling and
warp), the sketch must be divided and ruled off into eight parts each
way.
Fig. 90 illustrates the sketch transferred to the [O] designing paper.
Fig. _A_ represents the “drawing in outline.” Fig. _B_, the “outlining
in squares.” Fig. 91, the complete design; and Fig. 92, the fabric
sample.
[Illustration: Fig. 92.]
Design for Damask Fabrics to be Executed on a Jacquard Loom, with
Compound Harness Attached.
[Illustration: Fig. 93.]
These designs require no special weave, as that is taken care of by
the compound harness in front of the Jacquard harness, as explained in
Chapter XII., page 58. After painting in the design, it is finished,
ready for card-stamping. Fig. 93 shows us a leaf, taken from sketch
(Fig. 80), which may be used in connection with a larger design, but
will clearly illustrate this division of textile work.
Designs for Two-ply Ingrain Carpet.
In these fabrics, when the ground and figure are indicated in the
design, the same is considered as finished. As previously stated in
the article devoted to these fabrics, a two-ply ingrain carpet is
composed of two fabrics, in which the journals introduce the weave, and
the double-acting Jacquard machine the exchange of ground and figure
effect.
Fig. 94 represents a small portion of a design illustrating the three
principal effects of this operation.
[Illustration: Fig. 94.]