III. = effect technically known as “shot-about,” derived from
one pick, figure up; one pick, ground up; and repeated.
In Fig. 95 a detailed description or analysis of the interlacing warp
and filling of Fig. 94 is given.
[Illustration: Fig. 95.
[X] = figure up. } Produced by the
[D] = ground up. } Jacquard machine.
× = weave for ground. } Produced by
[.] = weave for figure. } journals.]
The two-ply ingrain carpet can also be made upon a Jacquard loom,
tied up for double sections. [See Chapter VI., page 48.] This is also
extensively used in the manufacture of upholstery fabrics; in fact, the
latter mentioned method is almost exclusively used in Europe.
In Fig. 95 the weave of the “shot-about” effect calls for two picks
face, and two picks back. An examination of this part of the draft
shows that the warp-thread represented by the light pick [1/3] is
to be raised, or has been raised in the adjoining heavy pick [3/1];
further, we find the two light picks separated by the raising of a
different warp-thread in each pick, which is also effected between the
two heavy picks by the lowering of another warp-thread. This places the
ground-thread below its corresponding figure or mate thread, or the
figure thread below its corresponding ground-thread.
If these mate threads introduced in succession are required to show
side by side, either on the face or the back of the fabric, these
changes must be indicated on the design by different colors. If such
effects are to be introduced when using the common ingrain Jacquard
machine, the needles of the latter must be operated at each pick; this
requires twice as many cards as are used in designs where the mate
thread is always placed below or above its corresponding thread.
Designs for Dressgoods Figured with Extra Warp (one end Ground, one end
Figure), and Executed on the Double Section Tie-up.
In the article explaining the double section tie-up, [see Chapter VI.,
p. 48], as well as the one on the selection of the proper squared paper
required for these fabrics, the general character of these fabrics has
been explained.
As mentioned in Chapter VI., the machine is divided in two parts,
figure and ground; the Jacquard harness is leased one end figure, one
end ground, and repeated.
[Illustration: Fig. 96.]
[Illustration: Fig. 97.]
[Illustration: Fig. 98.]
Fig. 96 illustrates a part of such a design, and is to be cut for the
figure part of the needles.
Fig. 97 shows the plain weave, which is cut without a design in that
portion of the card which operates the ground of the Jacquard harness.
Fig. 98 shows the analysis of the woven fabric for the design referred
to in Fig. 96.
[N. B.--The plain weave used for explaining the present example may be
substituted by other weaves, as a [2/1] twill, [2/2] twill, or the four
harness broken twill, etc., without changing the figure design.]
Designs for Figured Pile Fabrics.
Designs for figured pile fabrics (terry or velvet), Plushes,
Astrakhans, etc., are also executed without introducing a weave in
the design. The design is only intended for the pile-threads, which
are raised when introducing the wire; the front harness operating the
ground-warp. The pile-warp, when raised over the wire, is bound by
means of the previous pick, as well as by the pick following by the
filling to the ground cloth.
The Shading of Textile Fabrics by the Weave.
[Illustration: Fig. 99.--Shading of Flowers in Sketches for Damask
Fabrics.]
This is generally done in the “figure” part (especially in flowers,
leaves, etc.), of damasks and similar textile fabrics. The shading can
be applied to the satin weaves to the best advantage.
_Rule for Shading with Satin Weaves._
Put the ground weave (filling for face) over the entire part of the
[O] designing paper, which is required to be shaded; afterwards add
one, two, three or more horizontal or vertical (connecting) spots to
the one spot which forms the foundation or satin filling for face. The
heaviness of the shade is regulated by the sketch or the fabric. For
example: In an 8-leaf satin the difference between filling for face and
warp for face may be made with three or four changes only; or with the
entire seven changes.
For shading twill weaves no rule can be given.
[Illustration: Fig. 100.--5-Leaf Satin.
[4/1]
[3/2]
[2/3]
[1/4]]
Fig. 100 shows the shading of the 5-leaf satin, four changes, each
eight threads, giving 4 × 8, or 32 threads for the effect.
[Illustration: Fig. 101.--8-Leaf Satin.]
Fig. 101 illustrates the 8-leaf satin applied for shading a circle,
using in rotation every possible change.
[Illustration: Fig. 102.--10-Leaf Satin.]
[Illustration: Fig. 103. 8-Harness Twill.]
Fig. 102 illustrates the shading of the 10-leaf satin from filling for
face [1/9], to warp for face [8/2], and back again to filling for face.
Fig. 103 represents the [7/1] eight harness twill, shaded from the
filling for face to the warp for face effect; the change occurring
every eight picks.
Glossary and Index.
[Illustration: decorated horizontal rule]
Technical words, names and terms given in the Index, with
reference to the number of the page where explained, are a
complete collection used in the work.
The Glossary, connected with the Index, contains those terms
(mostly technical words) which to some extent have been
mentioned in the book, or terms which, in the course of study,
will appear alone. They are treated in a short but thorough and
comprehensive manner in this Glossary.