_THE PRINCIPLES OF DESIGNING_
The simplest form of interlacing the threads is the plain or tabby
weave. In this weave the threads intersect as often as possible, and
thus the greatest possible amount of firmness and strength is obtained
from a given quantity of material by this weave, with the exception
of leno or cross weaving, where additional firmness and strength is
obtained by the warp threads being partly twisted round each other in
weaving. Plain cloths may be ornamented by using threads of different
colours and of different thicknesses, as, for instance, if four picks
of blue and four picks of white are alternately put into a cloth,
the warp of which is composed of four ends blue and four ends white
alternately, a check is formed although the weave is quite plain. A
check may also be formed on a plain cloth by using one or more thick
threads at intervals in both warp and weft.
There is, of course, a limit to the number of threads of a certain
count which can be put into a plain cloth. Assuming that the counts of
warp and weft are equal, and that the number of picks per inch required
is the same as the ends, the number of threads per inch which can be
satisfactorily put into the cloth would not much exceed half the number
which could be placed side by side in one inch. Some allowance must
be made for the threads being bent out of a straight line and for
compression. This branch of design will be treated of more fully in
a subsequent chapter, but it will be obvious that this limit to the
number of threads of a given count which can be used in a plain cloth
renders the weave unsuitable for heavy fabrics. If a plain cloth is
very heavy and thick, it must of necessity be coarse.
[Illustration: FIG. 172.]
[Illustration: FIG. 173.]
Plain cloth can be made by using two shafts, but four are usually taken
with the draft, as shown at Fig. 172. This prevents overcrowding the
healds. By tying the first and second together and the third and fourth
together, the effect is the same as by using only two staves, only two
lifts being required.
[Illustration: FIG. 174.]
[Illustration: FIG. 175.]
=Twills.=--The simplest twill is the “2 and 1” twill, which is
woven with three shafts. A section through this twill is given at Fig.
173, where it will be seen the weft passes under one end and over two.
The structure of the fabric is better shown on “point paper,” as at
Fig. 174. The spaces between the perpendicular lines represent the
warp threads or “ends,” and the spaces between the horizontal lines
represent the weft threads or “picks.” By filling in the first square
on the first pick, it is shown that the first end is lifted for that
pick; and by filling in the second end on the second pick, it is shown
that the second end is lifted on the second pick, and so on. It is not
always advisable to take a filled-in square as representing a lifted
end, as it is often more convenient to fill in the weft squares or
those which are left down in weaving. If necessary, it can be stated
along with the design whether the marks represent warp or weft up.
Twilled weaves enable a larger number of threads of a given count to
be put into a fabric than in a plain cloth, and therefore these weaves
are employed in the production of the heavier kinds of cloths where
closeness of the threads is also desired.
[Illustration: FIG. 176.]
With three staves the twill given at Fig. 174 is the only one which can
be woven. The same twill may be woven with the warp predominating on
the face, and this would be represented on paper as at Fig. 176, where
two ends are shown to be lifted on each of the three picks.
In weaving this pattern three staves would be taken with the draft, as
given for Fig. 174 (see Fig. 175). The first stave will be lifted for
the first pick, the second stave for the second pick, and the third
stave for the third pick. These three lifts being repeated over an
indefinite number of times will produce small diagonal lines running at
an angle of 45 degrees across the piece, if the number of warp and weft
threads in a given space are equal. This twill is sometimes called a
“Jean,” and is used in the production of a fabric of that name, as well
as in “Jeannettes,” the latter with warp predominating on the face of
the cloth. In all these fabrics a large range of qualities is made.
With four staves the following twills can be made:--
1. One up, three down;
2. Two up, two down;
3. Three up, one down.
These are shown on point paper at Figs. 177, 178, and 179 respectively.
The third pattern is really the same as the first, being the reverse
of that pattern. It is advisable, however, to consider them as two
distinct patterns, since they give different effects when used for
purposes of combination, as will be seen later.
[Illustration: FIG. 177.]
[Illustration: FIG. 178.]
[Illustration: FIG. 179.]
=Five-shaft Twills.=--With five shafts of staves the possible
twills are--
1. One up, four down;
2. Two up, three down;
3. Three up, two down;
4. Four up, one down;
5. Two up, one down, one up, one down;
6. Two down, one up, one down, one up.
[Illustration: FIG. 180.]
[Illustration: FIG. 181.]
[Illustration: FIG. 182.]
[Illustration: FIG. 183.]
[Illustration: FIG. 184.]
[Illustration: FIG. 185.]
These are shown on point paper at Figs. 180 to 185 inclusive. There are
really only three different methods of interlacing the threads in these
six patterns; but, as stated previously, different effects are produced
in combination twills by all of them.
=Six-shaft Twills.=--With the increase in the number of shafts the
number of twills increases very quickly, as with a “repeat” of six
ends the following simple twill can be woven:--
1. One up, five down;
2. Two up, four down;
3. Three up, three down;
4. Four up, two down;
5. Five up, one down;
6. Three up, one down, one up, one down;
7. Three down, one up, one down, one up;
8. Two up, two down, one up, one down;
9. Two down, two up, one down, one up.
There are here five distinct methods of intersection, the remaining
four patterns being reverses. The patterns are shown on point paper at
Figs. 186 to 194.
[Illustration: FIG. 186.]
[Illustration: FIG. 187.]
[Illustration: FIG. 188.]
[Illustration: FIG. 189.]
[Illustration: FIG. 190.]
[Illustration: FIG. 191.]
[Illustration: FIG. 192.]
[Illustration: FIG. 193.]
[Illustration: FIG. 194.]
=Eight-shaft Twills.=--With a “repeat” of eight ends and picks the
number of changes which can be made in the basis of the twill is much
larger, and as the size of the repeat increases the possible twills
increase enormously. A selection of eight-end twills is given at Figs.
195 to 204 inclusive.
=Satin Weaves.=--In simple twills every pick is interlaced with
the warp in the same manner, but each successive pick commences, as it
were, one end further to the right or to the left, thus enabling every
end to be bound into the cloth in regular order. In satins the picks
are arranged differently. The object in a satin cloth is to obtain
an even surface, free from the bold lines of a twill; and thus it is
necessary to distribute the points of intersection of the warp and weft
as evenly over the surface of the fabric as possible.
[Illustration: FIG. 195.]
[Illustration: FIG. 196.]
[Illustration: FIG. 197.]
[Illustration: FIG. 198.]
[Illustration: FIG. 199.]
[Illustration: FIG. 200.]
[Illustration: FIG. 201.]
[Illustration: FIG. 202.]
[Illustration: FIG. 203.]
[Illustration: FIG. 204.]
[Illustration: FIG. 205.]
The commonest form of satin is the five shaft, and this can be woven
with five shafts with a straight draft lifted in the order 1, 3, 5, 2,
4. The relation between this satin and a five-end twill is shown at
Fig. 180, where it will be seen that on the second pick of the satin
the third end is lifted, on the third pick the fifth end is lifted,
then the second is lifted, and lastly the fourth. This distribution of
the points of intersection produces a satin. A slight twill effect is
given by most of these weaves, but it is nothing like so decided as
where the adjacent ends are lifted on successive picks, as in twilled
cloths.
The direction of the twill in the satin at Fig. 205 is from right to
left.
This five-shaft satin weave is used with weft preponderating over
warp, and also the reverse. Immense quantities of cloth are made
on both principles, and in all qualities. A regular make with weft
predominating is made with about 72 ends per inch of 32’s twist, and
picks ranging from 100 to 200 per inch of 40’s weft. A finer make is
used in large quantities for printing upon. This cloth counts about 26
ends × 45 picks per quarter-inch, and the yarns used are 60’s twist,
70’s weft. These are two of the standard makes of satins, but for
special purposes all qualities are made in cotton.
With the warp predominating a cheaper fabric is produced, as less
time is required to weave a given length. “Drills” are woven on this
principle, the proportion of warp to weft being about two to one.
[Illustration: FIG. 206.]
Satins may be produced on any number of shafts from five upwards. Fig.
206 is commonly called a four-shaft satin, but this is better classed
as a broken twill. The principle of its structure is essentially
different to that of a true satin.
A simple method of making a satin weave on any number of ends is to
find the first number which is not a measure of the number of staves
used, and take this as the basis of constructing the satin, as follows:
The first number which is not a measure of five is 2. Then, taking this
as the basis of the satin, assuming that the first stave is lifted for
the first pick, the third stave must be lifted for the second pick.
This gives the number of ends to be “skipped” over, and thus we can
obtain the satin by skipping over one each time, viz. 1, 3, 5, 2, 4.
It is advisable to put the numbers in a line or in a circle, and
re-arrange them underneath.
The order of lifting the staves for an eight-end satin can be obtained
as follows:--The first number which is not a measure of eight is 3.
Then, taking this as the basis, we lift the first stave for the first
pick and the fourth stave for the second pick, and “skipping” over two
each time we get the order, 1, 4, 7, 2, 5, 8, 3, 6. This is shown on
point paper at Fig. 207.
[Illustration: FIG. 207.]
[Illustration: FIG. 208.]
[Illustration: FIG. 209.]
A six-stave satin is irregular. It is impossible to form a satin with
six staves by “skipping” over a regular number of staves each pick, but
the points of intersection can be separated and a satisfactory satin
formed by lifting the staves in the order, 1, 3, 5, 2, 6, 4, or 1, 4,
2, 6, 3, 5. These are shown on point paper at Figs. 208 and 209.
A six-end satin weave is extremely useful, as it takes rather more
material than a five, and its irregular appearance is an advantage for
some purposes.
Fig. 210 is a seven-end satin.
[Illustration: FIG. 210.]
[Illustration: FIG. 211.]
Fig. 211 is a ten-end satin. Three is the first number which is not a
measure of ten, therefore three is taken as a basis in constructing
the satin, and the fourth stave is lifted for the second pick, and the
others in regular order.
Fig. 212 is a twelve-end satin. The basis in this case is five, as five
is the first number which is not a measure of twelve.
[Illustration: FIG. 212.]
[Illustration: FIG. 213.]
=Combined Twills.=--A useful class of pattern is obtained by
combining pick and pick two simple twills. If two eight-end twills
are combined in this manner, a pattern repeating on eight ends and
sixteen picks is produced. At Fig. 213 a “three and five plain” twill
is combined with a “three, two, one, two,” twill, and different effects
may be obtained by combining the same twills in all the possible
positions.
Figs. 214 to 220 show the effect produced by all the changes in the
relative position of the two twills. An immense number of patterns can
be made on this principle, as all the simple twills may be combined in
every position, and in each case a different pattern results.
On six ends we have seen that nine simple twills can be made, and
as each may be combined with the others in six different positions,
the number of patterns which can be obtained from this system of
combination is as follows:--Fig. 186 combined with each of the
others in one position each gives eight patterns, and as there are
six positions in which they can be combined, this gives forty-eight
patterns. Fig. 187 combined with Figs. 188 to 194 gives seven patterns,
and these in six positions give forty-two patterns. Fig. 188 combined
with Figs. 189 to 194 gives six patterns, and in the six positions give
thirty-six patterns. By going through all the changes in this manner
we get successively 48, 42, 36, 30, 24, 18, 12, and 6, or a total of
216 patterns. In addition to these, each twill may be combined pick
and pick with itself in four different positions without giving double
picks.
[Illustration: FIG. 214.]
[Illustration: FIG. 215.]
[Illustration: FIG. 216.]
[Illustration: FIG. 217.]
[Illustration: FIG. 218.]
[Illustration: FIG. 219.]
[Illustration: FIG. 220.]
=Drafting.=--The arrangement of the draft is a very important
matter in connection with dobby or tappet weaving. In the case of
simple twills, satins, and other regular weaves, as each end, or warp
thread, in the design is required to be lifted differently, a separate
stave is required for each end in the design, but in some patterns this
is not the case.
Fig. 221 is a stripe design composed of twenty ends of five-shaft satin
and sixteen ends plain. The least number of shafts on which this could
be woven is seven, five for the satin and two for the plain. The number
of picks to the round, or the number of picks on which the pattern
repeats is ten, ten being the least common multiple of two and five.
The draft may be shown either by ruling lines to represent the staves
as at Fig. 222, or on point paper as at Fig. 223. The latter is the
readier way, and is the way usually practised. The order of lifting the
staves is shown in the “pegging plan” (Fig. 224). The term “pegging”
refers, of course, to the dobby loom; if the design is woven on a
tappet loom, “tappet plan” would be a more correct term to use.
[Illustration: FIG. 221.]
[Illustration: FIG. 222.]
[Illustration: FIG. 223.]
[Illustration: FIG. 224.]
[Illustration: FIG. 225.]
[Illustration: FIG. 226.]
[Illustration: FIG. 227.]
When two weaves which consist of different arrangements of the same
ends are combined in stripe form, the same shafts will do for both
weaves. Fig. 225 illustrates this principle. In the design there
are sixteen ends of an eight-end twill, “2 up 2 down, 1 up 1 down,
1 up 1 down,” and sixteen ends of a mixed effect, which is simply a
re-arrangement of the ends of the twill. Each of the ends in the crape
or mixed weave can be drawn through the same stave as one of the ends
in the twill, as will be seen from the draft (Fig. 226) given with this
design, and thus the whole design can be woven with eight staves. If
the staves are lifted to form the twill with the first sixteen ends,
the different order of drawing the ends in the second part of the draft
causes the desired change in the pattern. The pegging or lifting plan
(Fig. 227) will therefore be the first eight ends of the twill.
[Illustration: FIG. 228.]
[Illustration: FIG. 229.]
[Illustration: FIG. 230.]
[Illustration: FIG. 231.]
[Illustration: FIG. 232.]
[Illustration: FIG. 233.]
One of the most useful principles of drafting is the V draft, or point
draft. Fig. 228 is a design based upon this principle; the design is
repeated twice over in order to show the effect better, and it will
be seen that the basis of the pattern is a “four and four” twill. The
first eight ends are drawn from right to left, and by reversing the
draft, as in Fig. 229, the pattern is made to repeat on fourteen ends.
The pegging plan (Fig. 230) will be the first eight ends and picks of
the design. The first and eighth staves have each only one end out of
the fourteen drawn through them, whilst all the other staves have two
ends in each pattern. The number on each stave could be made equal by
making the pattern repeat on sixteen ends and reversing the draft from
the ninth stave, with an eight-end twill basis.
[Illustration: FIG. 234.]
[Illustration: FIG. 235.]
[Illustration: FIG. 236.]
The V draft is used in a great variety of forms. It is not only in
stripes that it is used. It is very often employed in weaving all-over
spot effects and diamond patterns.
[Illustration: FIG. 237.]
Fig. 231 shows the principle applied to an all-over design. The draft
(Fig. 232) is given, showing how the ends are drawn through the
thirteen staves required to weave the pattern, and the “pegging plan”
(Fig. 233) shows the order of lifting the staves.
[Illustration: FIG. 238.]
A very effective method of employing this draft is illustrated at Fig.
234. This is a stripe design, and the general appearance would lead one
to suppose that a larger number of staves are required to weave it than
the eighteen actually required. Fig. 235 is the draft and Fig. 236 the
pegging plan for this design.
[Illustration: FIG. 239.]
[Illustration: FIG. 240.]
Another class of pattern produced by the V draft is the “diaper” style.
Fig. 237 is a small design of this kind, and it will be noticed that
the draft (Fig. 238) plays a very important part in increasing the size
of the pattern. The draft given shows how the pattern would be made on
nineteen staves.
It is not always advisable to draft a pattern to its lowest number
of staves, as it is not worth while saving one or two staves at the
expense of an irregular draft.
[Illustration: FIG. 241.]
=Dice Checks.=--Fig. 239 is a simple dice check pattern. Alternate
squares of warp and weft twill form the check effect, and it is
necessary to arrange the bindings so as to cross each other at the
edges of the squares, as otherwise the ends would “slip.” Fancy dice
patterns are produced by employing squares of different dimensions.
Fig. 240 is a pattern of this description. The bindings are here those
of an eight-end satin. To obtain the crossing of the binding dots at
the edges of the squares it is necessary to run the satin in opposite
directions in the warp and weft squares.
A still more fancy dice effect is given at Fig. 241. The bindings are
on the five-end satin basis, and the blocks of warp and weft satin
are arranged so that the design repeats on fifty ends and picks. It
is necessary in this class of binding to commence the satin in the
position indicated in the design. By a judicious arrangement of the
warp and weft blocks a large variety of patterns can be produced. The
principle is extensively employed in the production of fabrics for both
the home and shipping trades.
[Illustration: FIG. 242.]
[Illustration: FIG. 243.]
“Barley corn” patterns are a related style. The structure of
these cloths is shown at Figs. 242 and 243. The former pattern is
manufactured on an extensive scale, as it is a fabric in regular use
for making-up purposes. Fig. 243 has the weft square rather larger than
the warp, and is usually made in rather a better quality than Fig. 242.
In fine makes the size of the squares is often increased.
[Illustration: FIG. 244.]
[Illustration: FIG. 245.]
[Illustration: FIG. 246.]
[Illustration: FIG. 247.]
[Illustration: Twill. FIG. 248.]
[Illustration: Re-arrangement. FIG. 249.]
[Illustration: Twill. FIG. 250.]
[Illustration: Re-arrangement. FIG. 251.]
[Illustration: Twill. FIG. 252.]
[Illustration: Re-arrangement. FIG. 253.]
[Illustration: Twill. FIG. 254.]
[Illustration: Re-arrangement. FIG. 255.]
=Patterns produced by Re-arrangements of Twills.=--If the ends
of any twill be re-arranged in some _regular_ order, another pattern
of a different character is produced. For example, by re-arranging
the eight-end twill given at Fig. 244 in “satin order” the effect at
Fig. 245 is produced. The method of re-arrangement is to take the
first end of the twill design and place it in the first place in the
re-arrangement. The fourth end of the twill is then placed in the
second end of the re-arrangement, the seventh end of the twill in the
third place, and so on, the satin order used being 1 4, 7 2, 5 8, 3
6. Fig. 246 re-arranged in this manner gives the effect at Fig. 247,
and, as will be seen from the remaining figures (Figs. 248-255), the
effects produced by the re-arrangement are all good serviceable effects
which are useful for a great many purposes. With larger twills the
effects produced are more elaborate and varied, and the principle is
distinctly useful for the production of new woven effects.
[Illustration: FIG. 256.]
[Illustration: FIG. 257.]
[Illustration: FIG. 258.]
[Illustration: FIG. 259.]
[Illustration: FIG. 260.]
[Illustration: FIG. 261.]
[Illustration: FIG. 262.]
[Illustration: FIG. 263.]
Combined twills may also be re-arranged in this manner for the
production of new effects. Figs. 256 and 258 are two five-end combined
twills, and the effect produced by re-arranging the ends in five-end
satin order is shown at Figs. 257 and 259, respectively.
[Illustration: FIG. 264.]
[Illustration: FIG. 265.]
Fig. 260 is an eight-end combined twill, and Fig. 261 shows the effect
produced by its re-arrangement in eight-end satin order.
[Illustration: FIG. 266.]
[Illustration: FIG. 267.]
Fig. 262 is a twelve-end combined twill, and when re-arranged in
twelve-end satin order Fig. 263 is produced.
The effects produced by re-arrangement in satin order are, as a rule,
mixed effects of a less decided character than the original twill.
There are many other useful systems of drafting or re-arranging
patterns.
[Illustration: FIG. 268.]
[Illustration: FIG. 269.]
[Illustration: FIG. 270.]
Fig. 265 is the re-arrangement of Fig. 264 in the order 1 2, 6 7, 3 4,
8 1, 5 6, 2 3, 7 8, 4 5. This is a regular draft obtained by skipping
three shafts between each two ends. Another draft is obtained by
skipping one end between each two ends drawn through the healds.
Fig. 267 is obtained by re-arranging Fig. 266 in the order of the draft
1 2, 4 5, 7 8, 2 3, and so on, the draft repeating on sixteen ends.
Another useful draft (Fig. 270) as a basis for re-arrangement is the
one employed in producing Fig. 269 from Fig. 268. The order of the
draft is shown along with the design; the order runs, 2 1, 3 2, 4 3,
and so on, repeating on sixteen ends.
[Illustration: FIG. 271.]
[Illustration: FIG. 272.]
Some novel effects are obtained by re-arranging the ends of a
sixteen-end twill in the order 1 4, 7 2, 5 8, 3 6, 9 12, 15 10, 13 16,
11 14. The effect of this system is shown at Fig. 272, which is the
result of re-arranging Fig. 271 in the above order. The system is of
course applicable to other twills than those on sixteen ends.
=Twills combined to form Square Patterns.=--Simple twills may be
combined to form “square” patterns by taking alternate picks of each.
If two eight-end twills are combined in this manner only four picks
of each twill will be used in the combination. The principle will be
understood from Fig. 273.
This is a pattern composed of alternate picks of two ten-end twills
making an effect repeating on ten ends and ten picks. The effect given
by re-arranging this in satin order is shown at Fig. 274.
[Illustration: FIG. 273.]
[Illustration: FIG. 274.]
[Illustration: FIG. 275.]
Fig. 275 is a twelve-end pattern made on the same principle, and if
this is re-arranged in satin order, another effect is obtained.
Fig. 276 is a sixteen-thread pattern, and when re-arranged this
produces the rather peculiar pattern Fig. 277.
[Illustration: FIG. 276.]
[Illustration: FIG. 277.]
An immense variety of useful weaves may be obtained on this system
of combination, the effects being perhaps more useful than when the
patterns occupy twice as many picks as ends.
=Unequal Twills combined.=--Some useful fancy effects are obtained
by combining two unequal twills “end and end,” or “pick and pick.”
Fig. 278 shows the effect produced by combining “end and end,” a “three
and two” twill, and “two and two” twill. As one twill repeats on five
picks and the other on four, the combined pattern will occupy twenty
picks--twenty being the L.C.M. of five and four. There will
require to be twenty ends of each twill used to make up a complete
pattern, therefore the combined design will repeat on forty ends and
twenty picks. If a four-end twill is combined with a three-end twill
in this manner, the complete pattern would occupy twenty-four ends and
twelve picks, as twelve is the least number of picks on which both the
four-end and three-end twills repeat.
[Illustration: FIG. 278.]
=Check Patterns produced by Re-arrangement of Twills.=--If an
eight-end twill “three and five plain” is re-arranged in the order 1 4,
7 2, 5 8, 3 6, the effect shown in the square A (Fig. 279), and if this
be again re-arranged in the same order, the original twill results. It
follows, therefore, that by placing the pattern A above the twill and
drawing the ends through eight staves as indicated in the draft (Fig.
280), a check pattern will be formed. The draft which produces the
crape from the twill also produces the twill from the crape. The first
eight ends and sixteen picks of the design is the pegging plan. By the
addition of two extra staves the floats may be prevented from passing
from one square to another. To produce the check effect properly, the
satin draft must be such a one that if the fourth end is drawn on the
second stave, the second end must be drawn on the fourth stave. If a
sixteen-end satin draft is used for making a check pattern on this
principle from a sixteen-end twill, the satin draft must be selected
from those which can be made on sixteen shafts, and must be such a one
that exactly the same pattern will be produced in the opposite squares
of the check. The sixteen-end satin which gives this effect is the one
made by skipping eight ends between each lift.
[Illustration: FIG. 279.]
[Illustration: FIG. 280.]
=Honeycomb Cloth.=--In this style of cloth the threads are
interlaced so as to form squares, the centres of which are lower than
the ridges which form the sides. Fig. 281 is a honeycomb pattern on
ten ends and ten picks. It will be noticed that the ridges or raised
portions of the honeycomb are formed by the gradually increasing floats
of the weft and warp threads. The hollows are formed by the threads
weaving plain for a few ends and picks. Any size of pattern, within
reasonable limits, may be formed on this principle. Fig. 282 is a 16 ×
16 honeycomb on the same principle.
For smaller sizes the principle requires a little alteration. Fig.
283 is a good 8 × 8 honeycomb, and gives a fairly good effect even
in low makes of cloth. These honeycomb weaves are used for quiltings,
towellings, and for fancy goods of all kinds. Some excellent effects
can be produced by combining honeycomb with satin or other weaves for
striped dress goods, and similar fabrics. A good effect is given by the
pattern, Fig. 284. The weave requires very thick yarns for giving the
best effect. The pattern is reversible, both sides of the cloth being
exactly alike.
[Illustration: FIG. 281.]
[Illustration: FIG. 282.]
[Illustration: FIG. 283.]
[Illustration: FIG. 284.]
=Mock Lenos, or Lace Weaves.=--These weaves are very extensively
used in cotton manufacture. The imitation of leno fabrics can be
made extremely close, often so close as to deceive even experienced
buyers. The simplest kind is the pattern at Fig. 285, a “three and
three” pattern. The threads are interlaced in such a manner that the
first ends are pulled together by the second and fifth picks, and the
picks are pulled together in threes by the second and fifth ends, and
as the shed is crossed between the third and fourth picks, the crack
in the cloth appears there. The open effect is greatly increased if
the ends are reeded “three in a dent,” the first three ends in the
pattern being together in one dent, so that the reed assists in forming
the open effect. Sometimes the ends are reeded in threes with a dent
“skipped” between each full one, and this greatly augments the open
effect. A “four and four” mock leno is the weave shown at Fig. 286. To
produce the best effect this requires to be reeded four ends in a dent,
commencing with the first four ends in the pattern. In this weave the
crack is made between the fourth and fifth ends and fourth and fifth
picks. The principle of the weave is exactly the same as in the “three
and three” pattern, but a slightly more open effect can be obtained
with the “four and four” pattern. It is also suitable for a finer
make of cloth, as the open effect can be made with a larger number of
threads per inch.
[Illustration: FIG. 285.]
[Illustration: FIG. 286.]
[Illustration: FIG. 287.]
[Illustration: FIG. 288.]
A “five and five” pattern is given at Fig. 287. The second, fourth,
seventh, and ninth ends serve to pull the picks together in fives, and
to make a decided crack in the cloth between the fifth and sixth picks
in the pattern. The same thing takes place with the ends, they are
pulled together in fives, by the second, fourth, seventh, and ninth
picks.
Probably the best open effect is produced by Fig. 288. This is called
a “five and one” mock leno or lace. To produce the best effect, the
pattern should be reeded as follows:--
Five ends one dent,
Skip a dent,
One end one dent,
Skip a dent.
Two repeats of the pattern are shown at Fig. 288, only six ends and
six picks being required to weave it. The first five picks are pulled
together by the second and fourth ends, and as the shed is crossed
between the fifth and sixth picks and between the sixth and the
succeeding pick, the single pick No. 6 is shown in the middle of the
crack between the bars of five picks. The same thing takes place with
the ends.
It is not absolutely necessary to reed the pattern other than two in
a dent; an open effect is produced with the ordinary reeding, but the
special reeding greatly increases it.
=Cords.=--Cords can be formed in cloth by simply making a number
of threads lift together, as in Fig. 289. The cord may be made across
the piece by putting a number of picks in a shed, as shown at Fig. 290.
This principle of forming cords has its disadvantages. If the cord
is going lengthwise of the piece a large number of picks per inch is
required to give a good and fine effect, and there is always a tendency
to show a perforated appearance in cords made on this principle, owing
to the threads being pulled together in threes or fours, or whatever
number of threads go to form a cord.
[Illustration: FIG. 289.]
[Illustration: FIG. 290.]
A good cord up the piece may be made by taking six or eight ends of
six-end satin and two plain ends. Fig. 291 is a pattern of this kind.
The six-end satin is used because the plain ends would make wrong
bindings with a five-end satin and the ends would slip. This principle
of making cords is very useful, as the effect being produced from the
warp, the cost is less than if produced from the weft.
[Illustration: FIG. 291.]
[Illustration: FIG. 292.]
[Illustration: FIG. 293.]
[Illustration: FIG. 294.]
[Illustration: FIG. 295.]
[Illustration: FIG. 296.]
For dobby patterns it is necessary to keep the number of shafts as
low as possible, and cords requiring only two shafts above the plain
are made as in Figs. 292 and 293. Fig. 294 gives a cord across the
piece, and is of rather a firmer character than an ordinary four and
four cord. Fig. 295 shows a useful principle of making cords across
the piece. Two picks are taken together, and three double picks from a
cord. The three plain picks serve to define the cord. A better effect
is obtained from Fig. 296, in which the double picks have a float
of five ends. This cord is very suitable for stripes, as it combines
extremely well with warp satin.
[Illustration: FIG. 297.]
[Illustration: FIG. 298.]
Fig. 297 gives a cord up the piece. The back of the cloth is plain,
each pick taking an equal part in forming the back. The plain also
serves to spread the ends, and so produces a firmer cloth than would
be obtained if the cord were formed on the principle of Fig. 299.
Sometimes the back of the cord is required to be rather looser, and is
woven to a small twill. At Fig. 298 a twelve-end cord is shown on this
principle, with a 2 and 1 twill pattern at the back.
[Illustration: FIG. 299.]
[Illustration: FIG. 300.]
Another form of cord is illustrated at Fig. 299. This shows a cord up
the piece caused by every pick interweaving with the first and second
ends, and only half the picks interweaving with the remaining six ends.
The ends interweaving with half the picks are looser than the other two
ends, and therefore have a raised appearance. The face of the cloth
is plain, with the lines formed by the two ends running up the piece.
A smaller cord is shown at Fig. 300, which repeats on six ends and
four picks. Fig. 301 is a pattern composed of crossed cords. Excellent
effects are obtained by combining larger cords in the same manner.
[Illustration: FIG. 301.]
[Illustration: FIG. 302.]
[Illustration: FIG. 303.]
[Illustration: FIG. 304.]
[Illustration: FIG. 305.]
[Illustration: FIG. 306.]
=Crapes.=--This is a name given to weaves of a small “seedy”
effect. Good effects of this kind are produced by Figs. 302 and 303,
which repeat on ten ends and six picks, and six ends and six picks,
respectively. Another very largely used pattern is that at Fig. 304.
This is a pattern of rather peculiar construction, as both sides of
the cloth are alike, and the small floats of three are bent somewhat
out of a straight line. The reason for this can be seen by a careful
examination of the pattern. Patterns of the same character, but with
very large repeats, are often used. In many of these there is no
regularity in the construction of the pattern. The chief object is to
get a perfect all-over effect free from lines or rows. This can be
accomplished by keeping about the same amount of float on every pick
and distributing the floats as evenly as possible. A pattern of this
kind, on forty picks and sixteen ends, is given at Fig. 305. It will be
seen that each pick has two floats on it.
=Fancy Effects.=--Some novel effects can be produced on the
principle of Fig. 306. Two picks are floated on the top of a plain
cloth every ten picks, and these loose picks are bound only by two ends
out of every twelve. The loose picks are pulled in opposite directions
by the loose ends, and the result is that small hexagonal figures are
formed after the manner shown at Fig. 307. By using coloured ends and
picks for the loose ones a still better effect is obtained.
[Illustration: FIG. 307.]
[Illustration: FIG. 308.]
=Crimp Stripes.=--These are usually produced by having two warps
at different tensions. The warp to weave the crimp is lightly weighted
as compared with the warp of the other stripe, which may be plain or
satin as desired, and is let off intermittently. If the crimp warp is
very hard twisted the effect is increased. Fig. 308 is the design of
a crimp stripe of rather a novel character. The ends woven entirely
plain are on a beam lightly weighted, whilst the other ends are heavily
weighted. The first two picks are of ordinarily twisted weft, and the
third and fourth picks are very hard twisted. These picks are thrown to
the back, and take no part in forming the cloth in one portion of it.
The consequence is that these picks, loose at the back of the cloth,
and being very hard twisted, pull the two edges of the stripe closer
together, and thus form a crimp or “tuck” the length of the piece. The
plain ends form a crimp in the ordinary manner, owing to being lightly
weighted.
[Illustration: FIG. 309.]
=Huck Patterns.=--This is the name given to a class of patterns
used for towellings. The object is to get a firm cloth with a rough
surface. Fig. 309 is a weave of this description, but there are many
others in use. The pattern repeats on ten ends and eight picks, and can
be drafted down to be woven on five shafts.
[Illustration: FIG. 310.]
=Extra Warp.=--When some warp ends are used for figuring without
taking any part in forming the ground or body of the fabric, they are
termed “extra warp” threads. The principle is much used for putting
coloured spots or figures on grounds of a different colour or material.
In Fig. 310 the ends on which the black squares occur are “extra ends,”
as they take no part in forming the ground of the fabric. In this
figure the black squares represent the warp lifted. Where the extra
warp is not forming the figure it is thrown to the back of the cloth,
where it hangs loosely unless it can be bound into the ground cloth
or cut off. Two or three differently coloured spots may be formed
one above the other. Fig. 311 will show the principle of this. The
ground of the cloth is plain, and these ends are distinguished by the
small dots in the design. The first and second ends in the design are
supposed to be of different colours. This design will repeat on forty
picks, and any desired number of ends may be used between each stripe
for the ground. The extra warp must be put “extra” in the reed, so
that, supposing there are two ends in a dent in the ground, there would
be six in a dent where the two extra warps occur. The principle is
useful for obtaining a large width of pattern.
[Illustration: FIG. 311.]
[Illustration: FIG. 312.]
The extra ends may be of the same colour as the ground, but of thicker
material, and may be used with the object of increasing the width of
the pattern. Fig. 312 is a small striped design illustrating this
principle. The ground is plain, and the extra warp threads, if of
sufficient thickness, give a bold well-covered figure, which enables
the design to be woven on nine shafts.
[Illustration: FIG. 313.]
=Extra Weft.=--Extra weft spots may be woven on exactly the same
principle by taking the weft “extra” instead of the warp. Fig. 313 is
a small spot design on the “extra weft” principle. The cloth would
require to have twice as many picks per inch as there are ends per inch.
The ground may be either plain, twill, or satin, but if it is required
to bind the extra material a twill is preferable.
Fig. 314 is the commencement of a small design for an extra weft figure
on a “two and two” twill ground, showing how the extra weft may be
bound to the ground of the fabric without showing through to the face.
The extra weft may be brought up under the weft floats of the twill,
and if a fair quantity of material is used the binding will not be
visible on the face of the cloth.
[Illustration: FIG. 314.]
[Illustration: FIG. 315.]
It is impossible to bind extra weft to a plain ground or to a warp
satin ground in the ordinary manner, as there is no float to hide the
binding under. It may, however, be bound to a warp satin ground by
means of stitching threads, after the manner shown in Fig. 315. This is
an extra weft spot on a warp twill ground, and the loose picks at the
back of the cloth are bound by the stitching thread A. This thread is
really an extra warp thread, and it is lifted in such a position that
the binding is hidden under the warp floats of the twill ground. One of
these threads may be used at intervals of an eighth to a quarter of an
inch.
In binding extra warp the same principle applies. Extra warp may be
bound to a warp ground by lifting it between two warp floats, or it may
be bound to a weft ground by using an extra stitching _pick_ on
the principle illustrated in Fig. 315.
[Illustration: FIG. 316.]
Extra warp or weft is often used to produce a solid figure on a light
or open ground. Fig. 316 is a small design of this kind, in which
one half the picks are thrown out of the cloth in the ground of the
pattern. The design gives a very close imitation of a figured leno
cloth, if woven with suitable yarns. To obtain a good effect there
should be at least twice the number of picks per inch that there are
ends or warp threads. When the cloth is taken out of the loom the loose
threads are clipped and passed through a shearing machine, where the
loose threads are cut off close to the figure.
The extra picks should be bound round the figure by weaving plain
for a few ends, to prevent the extra material being pulled out of the
figure in clipping or shearing.
=Extra Warp and Extra Weft combined.=--Where extra warp and extra
weft are used together in the same part of the design, the structure is
a little more complicated.
A small check pattern of this description is given at Fig. 317. Every
alternate end and every alternate pick are extra, and all the even
numbered ends and picks belong to the ground cloth, which in this case
is woven plain.
In making designs employing both extra warp and weft, it is advisable
to put the dots of the ground weave on the point paper first. Then dots
may be put on to lift the extra warp where it is required to form the
figure, and if it is required to throw the extra weft to the back of
the ground cloth when the extra warp is on the face, the ground ends
must be lifted on the extra weft picks where required.
[Illustration: FIG. 317.]
In Fig. 317 the ground weave is shown in solid squares; the extra warp
is lifted by the small circles, and the extra weft is thrown to the
back of the plain cloth by the small dots, which lift all the ground
ends on the extra picks where the extra warp is lifted. This design
is made for single picks, but in the majority of looms there are only
change boxes at one side, and so the design must be arranged for two
picks alternately of ground and extra weft.
=Double Weft Face.=--Double weft-faced cloths are made on the
principle shown at Fig. 318. There is a face weft and a backing weft,
and both sides of the cloth may be made alike by using only one count
of weft.
[Illustration: FIG. 318.]
The pattern is a four and one twill for both face and back, and it is
important that the binding should take place under the floats of the
twill, after the manner described in binding extra weft.
The face pattern may be different from the back, but it is not possible
to back a cloth with every pattern on this principle, as the binding
must not show through to the face, and therefore the back pattern must
be selected so as to give this result.
Fig. 319 is an eight-end twill backed with weft, the back pattern in
this case being a “seven and one” twill.
[Illustration: FIG. 319.]
[Illustration: FIG. 320.]
[Illustration: FIG. 321.]
[Illustration: FIG. 322.]
Suppose it is desired to put a weft back to the pattern, Fig. 320, and
to have two face picks to one back pick. The face pattern must be put
on the face picks as in Fig. 321, and the back pattern must then be put
on in such a manner that where the backing weft is passing over one of
the warp threads there must be at least one weft dot above and below
it, as in Fig. 321.
Two wefts of different colours may be made to form reversible figures
by making them change places, first one being on the face, and then the
other. The principle is shown at Fig. 322, where the alternate picks
are of different colours. The two wefts should be thick enough to cover
well, and a fine warp should be used.
[Illustration: FIG. 323.]
[Illustration: FIG. 324.]
[Illustration: FIG. 325.]
=Double Warp Face.=--This is the same as “double weft face”
weaving, with the exception that two warps are used instead of two
wefts. A four and one twill backed with warp is shown at Fig. 323. It
is necessary to have the warp threads close enough together to hide the
bindings. Fancy patterns may be backed with warp by binding the backing
warp under warp floats in the face cloth.
Corkscrew twills are those which have a warp face on both sides of
the cloth. The weave is chiefly used in the manufacture of worsted
coatings, and similar goods, but is often employed in cotton designs.
An eleven-thread corkscrew is given at Fig. 324, and a fifteen-thread
pattern is given at Fig. 325. The weave requires a large number of warp
threads per inch to give a good effect.
=Padded Cloths.=--To obtain a raised effect on cords or figures,
thick weft may be inserted between the face and back cloth, or between
the face cloth and backing ends when there is no backing weft used.
This thick weft takes no part in forming either the face or back cloth,
and is simply held in position by the binding of the backing material
to the face cloth.
[Illustration: FIG. 326.]
A simple example of this principle of weaving is given at Fig. 326.
This pattern may be woven with one shuttle, and a fine raised cord
across the piece is formed. The backing warp threads, on which the
solid squares are placed, should be on a separate beam, and should be
heavily weighted as compared with the other ends. All the marks in the
design represent the warp lifted, so that the empty squares represent
warp left down. It will be noticed that the heavily-weighted ends are
only lifted for two picks in every ten, and this forms a cord effect.
There are three picks in each cord which do not interweave with either
the face or backing ends, but they serve to increase the boldness of
the cord by giving it a raised appearance. The three picks which form
the padding are the second, fourth, and sixth in the design.
The section at Fig. 327 will better explain the principle of the
pattern. There are five plain picks in the cord, two plain picks
between the cords, and three padding picks, making altogether ten to
the round. These cloths are known as Piqués.
[Illustration: FIG. 327.]
[Illustration: FIG. 328.]
Another padded effect is given at Fig. 328. The double pick is the
padding weft, and should be of thick material. The plain face cloth is
developed in small dots, and the backing ends in solid squares. The
padding picks in this pattern are pulled out of a straight line, and a
diamond effect is produced on the cloth.
=Double Cloths.=--Double-warp-face and double-weft-face cloths are
usually classed as double cloths, but they are essentially different
from double cloths made from two warps and two wefts.
[Illustration: FIG. 329.]
[Illustration: FIG. 330.]
Figs. 329 and 330 will show how two separate cloths, one above the
other, can be woven in one loom. The first figure shows one of the face
ends only lifted, and a pick being put in the face or top cloth. It
will be noticed that both back ends are in this case down along with
one of the face ends. The second figure shows both face ends lifted and
one of the back ends, whilst a pick is being put in the back cloth.
Two separate cloths of any pattern may be woven by simply lifting the
face ends out of the way when a pick is being put in the back cloth.
If a pick is put in the face and back cloth alternately, the cloths
will be bound together at both selvedges; but if two picks are put in
each cloth alternately, they are only bound at one side. This will be
seen from Figs. 331 and 332. In the former the pick passes from the
face cloth to the back cloth at one side, and from the back cloth to
the face cloth at the other side of the loom. In Fig. 332 two picks
are put in each cloth in succession, and the cloth will open out to
double the width of the loom. The former principle is used for weaving
sacks, meat-bags, and seamless pillow-cases. In putting double cloths
on point paper it is usual to use different colours or marks for the
face and back cloths respectively, and also for lifting the face cloth
when weaving in the back one. It is also advisable to always take the
dotted squares as warp lifted.
[Illustration: FIGS. 331, 332.]
The following directions for double cloth designing will be found
useful.
First mark off the face and back ends and picks respectively. Then on
the face ends and face picks put the face pattern, and on the back ends
and back picks put the back pattern. On every back pick lift every face
end. This will make the two cloths separate.
[Illustration: FIG. 333.]
[Illustration: FIG. 334.]
[Illustration: FIG. 335.]
Fig. 333 is the design for two separate plain cloths bound at both
sides of the loom, and Fig. 334 is the pattern for the cloths bound
only at one side. The face and back cloths may be of different
patterns, and bound together to form one thick fabric.
Fig. 335 is a design for a double cloth with a two and two twill face
and a plain back. The design is end and end, and pick and pick.
[Illustration: FIG. 336.]
The binding of the two cloths together is a very important matter. It
must be done in such a manner that the bindings are not visible on
the face of the fabric. To find the best position for binding the two
cloths together it is generally advisable to make a section showing the
first two picks in the pattern, as at Fig. 336. A position can then be
found for passing a _back pick over a face end_ where the floats
of weft in the face pattern will hide the binding. It will be seen that
this can be done effectually by passing the back pick over the fourth
face end, and so in the design the fourth face end is not lifted when
the first back pick is being put in.
Sometimes the face cloth is required to be much finer than the back,
and so there may be two face ends and two face picks to one back end
and one back pick.
[Illustration: FIG. 337.]
[Illustration: FIG. 338.]
Figs. 337 and 338 show a design for a fabric of this description, the
face pattern being a two and two twill, and the back plain. Before
commencing to put the design on paper, it is best to make a section
showing in what relative positions it is proposed to start the two
patterns, and so enable the weaves to be placed in such positions that
a satisfactory binding is possible.
[Illustration: FIG. 339.]
Fig. 339 shows how the binding may be effected by placing the two
patterns in a certain position in relation to each other. The binding
in this, as in the previous case, is made by passing a back pick over a
face end.
The binding may also be made by lifting a _back end over a face pick_
where the warp floats in the face cloth would cover it. A design
illustrating this kind of binding is given at Fig. 340. The face
pattern is a “four and four” twill and the back a two and two twill,
and there are two threads of face to one of back. The two cloths are
bound together by lifting the first back end on the first face pick
where the binding dot comes between two warp floats. The full squares
in the figure represent the face ends lifted; the small dots represent
the back ends lifted; and the circles show all the face ends lifted on
the back picks, which keep the two cloths quite separate. The cross on
the first pick effects the binding.
[Illustration: FIG. 340.]
The question as to which is the better system of binding depends upon
the character of the two cloths. If the face weft covers better than
the warp, it is the better way to bind by passing the back pick over a
face end, whereas if the face warp covers better than the weft, a back
end lifted over a face pick is preferable.
[Illustration: FIG. 341.]
[Illustration: FIG. 342.]
=Three-, and more ply Cloths.=--Any number of cloths may be woven
separately, one above the other, or several may be bound together to
form a very thick fabric. Fig. 341 is a design for weaving four plain
cloths, one above the other, and if the picks are woven in the order
given in the design it will weave a cloth four times the width of the
loom when opened out. The passage of the weft from one cloth to the
other is shown at Fig. 342.
[Illustration: FIG. 343.]
[Illustration: FIG. 344.]
=Figured Double Plain Cloths.=--If the warp be taken with
alternate ends of two colours and picked in the same manner, figures,
checks, or stripes can be formed by weaving two separate cloths of the
different coloured yarns, making both cloths solid colour, and making
them change places so as to form the desired figure. Fig. 343 is a
design for a small check pattern on this principle. The odd ends and
picks are, we will suppose, black; and the even numbered ends and picks
white. It will be seen that in the bottom left-hand square of eight
ends and picks, the lifting marks for lifting the face cloth out of the
way when weaving in the back cloth are put on the black ends and white
picks, and therefore the black cloth is lifted to the face in this
square. On the opposite square of eight ends and picks, the lifting
marks for separating the two cloths are put upon the white ends and
black picks, and therefore the white cloth is here made the face cloth.
By bringing either the black or white cloth to the face, any figure
may be formed, and the surface of the fabric is quite plain, which for
some purposes is much preferable to floated figures. The weave used may
be a twill or satin instead of plain, if desired, or the two cloths
may be of different weaves, and one brought through the other to form
a figure. Fig. 344 is a design for a small spot pattern on the double
plain principle. The threads should be “end and end” and “pick and
pick” of different colours, the first end and first pick being, we will
suppose, black, and the threads for the second cloth being white. The
lifting marks for bringing the back cloth to the face are the solid
squares, whilst the white cloth is brought to the top by the circles.
[Illustration: FIG. 345.]
If all the black ends and picks are brought together and all the white
ends and picks brought together, the pattern of both sides of the cloth
can plainly be seen as well as the ground weave. Fig. 345 will show
this. The face pattern is shown on the first sixteen ends and picks,
and the back pattern on the second sixteen ends and picks, whilst the
ground weave is shown for both cloths in the opposite corner squares.
The patterns may be designed in this manner, and the full effect
produced by arranging the draft so as to give the required effect in
the cloth.
Some fine effects may be obtained by inserting a thick end in the form
of padding between two plain cloths, and binding the cloths together
so as to make the thick end form a cord. The cords may run either
lengthwise or across the piece. Fig. 346 is a section showing how the
cord is formed by the thick end coming between the two cloths without
interweaving with either of them, and Fig. 347 shows how the point
paper design is made. The end on which the crosses are placed is the
thick thread which is used for padding, and the four ends at each side
of this are the two separate plain cloths. At each side of this there
are two ends showing where the two cloths change places, and so bind
the thick end between the cloths and form the cord.
[Illustration: FIG. 346.]
[Illustration: FIG. 347.]
Double plain cloths may be bound together by using sufficient material
to cover well, but the binding is difficult to make without being
visible. This principle of binding is shown at Figs. 398 and 399.
=Leno Fabrics.=--In a previous chapter the method of interlacing
the threads in simple gauze has been shown. With the two staves and one
doup required to weave gauze a considerable variety of patterns can be
woven. A “five and one cross-over” has already been given, but it will
be obvious that the number of plain picks in each bar of the cross-over
may be any _odd_ number. A “seven and one,” “eleven and one,” and so
on, are regular weaves.
Where the crossing thread weaves plain first at one side and then the
other of the standard end, a simple crack is made in the cloth between
the bars of plain, and there is no single pick in the middle of the
crack. The most common pattern of this description is a “five and five
cross-over;” a plan, draft, and pegging-plan of this pattern is shown
at Fig. 348.
[Illustration: FIG. 348.]
In all these fabrics the effect is decidedly of an open or transparent
nature.
In some leno fabrics the object is not to get an open effect but to
get zigzag effects by crossing a thick end over a few plain ends. A
simple pattern of this kind was given at Fig. 139 in dealing with
leno weaving, but the effect may be varied by making the crossings at
irregular intervals.
[Illustration: FIG. 349.]
Fig. 349 is a fancy crossing in which the thick doup end is crossing
over three double plain ends.
Fig. 350 is another fancy effect on the same principle. The marks on
the plain ends show when these ends are lifted.
When the thick crossing ends all work in the same direction a “wave”
effect is produced, which is often employed in conjunction with the
“diamond” or “eye” effect, obtained from the opposite working of the
two thick ends.
[Illustration: FIG. 350.]
[Illustration: FIG. 351.]
By using two doups a great variety of effect can be obtained. Fig.
351 shows a method much practised of making the picks bend out of a
straight line. It is obvious that this will require two doups, because
one doup thread has to be lifted for the first six picks, and the other
doup thread does not lift until the fourth pick in the pattern.
[Illustration: FIG. 352.]
=Check Lenos.=--Where alternate squares of leno and plain are
required to be woven, it is necessary to have two doups if the leno is
required to be woven four ends in a dent, with two ends crossing two,
as in Fig. 352. It has been shown how a check leno or gauze can be
woven with only one doup at Fig. 144, but the principle only applies
to pure gauze, or one end crossing one. The draft and pegging plan for
weaving a small check on the principle of Fig. 352 is given at Fig.
353, where it will be seen that eight shafts or staves are required
with two doups and two slackeners.
[Illustration: FIG. 353.]
[Illustration: FIG. 354.]
[Illustration: FIG. 355.]
For dobby weaving, the leno principle is chiefly used in the production
of striped fabrics. One of the most popular classes of fabrics is a
combination of the thick zigzag effect with an open leno effect of any
kind. Fig. 354 is an example of this combined style, the stripe can
either be woven with a satin or plain ground fabric.
With three doups some very elaborate effects can be obtained, but the
increased cost is rather prohibitive.
A thick end can be crossed round a pair of ends weaving leno, as in
Fig. 355. It is necessary to bring the end from the back stave round
the doup B before crossing under the pair of leno ends, as this would
make the crossing easier.
[Illustration: FIG. 356.]
[Illustration: FIG. 357.]
=Weft Pile Fabrics, Velvets, and Corduroys.=--Practically all
cotton velvets are woven on the weft pile principle. The intricate
nature of the loom required for weaving warp cut-pile prevents its
adoption for cotton pile fabrics. There is no doubt that a warp pile
woven over wires is superior to any weft pile fabric, all the pile
being perfectly even. The principle upon which weft pile is formed is
illustrated at Figs. 356 and 357, the former showing the pile uncut,
and the latter cut.
In weft pile fabrics the pile weft is usually “extra weft” issuing
out of the ground fabric only between every pair of ends. This forms
grooves or “races” in the fabric, which allow of the insertion of a
“knife and guide” which cuts the pile about the middle of the float.
At Fig. 356 the ground fabric is plain, and between each ground pick
there are three pile picks. The first pile pick passes under the first
end, the second pick under the third end, and the third pick under the
fifth end, and if these are repeated there are formed small grooves for
the cutter’s knife every two ends. The pattern is given on point paper
at Fig. 358, extended a little in each direction as the pattern repeats
on only six ends and eight picks. The ground picks (plain) are put on
in circles. A large number of picks per inch are required; in a common
make about 260 picks per inch of 60’s weft are used, and about 74 warp
threads per inch, the counts of warp being usually 2-70’s.
[Illustration: FIG. 358.]
If there are 260 picks per inch, and one pick out of every four belongs
to the plain ground fabric or “back,” as it is sometimes called, there
will be sixty-five picks per inch in the plain, and the pile weft is
“extra” material forming grooves for the cutter’s knife on the face of
the cloth.
[Illustration: FIG. 359.]
After the cloth is woven it is stiffened, and stretched in a frame for
cutting. Fig. 359 shows the kind of knife used for this purpose. The
guide A is selected so as to fit under the float easily and lift the
centre of the float to the cutting edge B. The cutter inserts the knife
and guide every two ends or “race,” and thus in a common velvet, as at
Fig. 358, one-third of the pile picks are cut each time the knife is
run up the piece. The arrows show the ends where the knife is inserted.
Machine cutting is now adopted to some extent for velvets. The piece
is moved backwards and forwards automatically, and so the cutter does
not require to walk the length of the frame every time the knife is run
up the piece.
The term velvet is used by retailers and the general public as
referring to silk velvet, and by them all cotton pile fabrics are
termed velveteens; but in the trade the lighter and finer classes of
cotton weft pile fabrics are velvets, and the heavier kinds, such as
those used for clothing purposes, are called “velveteens.” There is no
very definite line drawn between the two classes.
Velvets are usually sold by weight when in the grey state. The pattern
given at Fig. 329 is made to weigh from 18 lbs. to 30 lbs. for 100 or
110 yards, 24 inches wide, the yarns being as previously stated, and
the various weights obtained by altering the number of picks per inch.
About 25 lbs. per 110 yards is a medium weight.
The usual width for home trade velvets is 24 inches (grey), but for
shipping 22½ inches is a very common width. The pieces are usually
woven two or three in a width of the loom, and afterwards torn asunder.
The length of the pile may be increased by increasing the length of the
float. Fig. 360 is a pattern with a seven float, and four pile picks to
each backing, or ground pick. This is usually called an E1 velvet, a
term probably handed down from the origination of the pattern.
[Illustration: FIG. 360.]
Until well into the last century the pattern Fig. 358 was the only
weave used in the production of cotton velvets, and a patent was
obtained for this E1 velvet, and the term “Patent” is still regularly
used when referring to velvets with a longer pile than a five float.
An E1 velvet requires considerably more picks per inch than a “common
velvet.” A good make will contain 400 or more picks per inch of 60’s or
70’s weft, woven in a 74 Stockport reed with 2-70’s twist.
Sometimes the points where the pile weft intersects are distributed in
satin order as in Fig. 361, but this makes no appreciable difference,
as the picks are so piled up on the top of each other that the bindings
of the four pile picks are practically in a horizontal line in either
of the methods given.
[Illustration: FIG. 361.]
[Illustration: FIG. 362.]
Fig. 362 is a design for a velvet with a nine float, and five pile
picks to one back pick or “binder,” as they are sometimes termed. This
would require a still larger number of picks, and would easily take 500
picks per inch of 70’s weft.
[Illustration: FIG. 363.]
A cloth is made with the same length of pile as the above, but with
only four picks of pile to each back pick. This pattern requires fifty
picks to complete it, as will be seen from Fig. 363. The pile in this
case will be much more firmly bound into the ground cloth than is the
case in Fig. 362.
=Fast Pile Velvets.=--When the pile weft is only bound under one
end it is rather liable to wear out, especially by rubbing at the back.
To obviate this, the pile weft is bound in the manner shown at Fig.
364, by which it is rendered much faster. When bound to the ground
fabric in this manner it is known as “fast pile.”
The method of binding detracts from the richness of the pile obtained
from a given quantity of material, but the fabric possesses much better
wearing qualities.
Fig. 365 shows the structure of an ordinary fast pile velvet with a
plain ground, and four pile picks to each back pick.
[Illustration: FIG. 364.]
[Illustration: FIG. 365.]
[Illustration: FIG. 366.]
A regular make of this fabric is as follows:
Width 26 inches, length 104 yards, weight 30 to 34 lbs. 76 reed, 420
picks per inch, 2-70’s twist, 50’s weft.
=Twill Backed Velvets.=--Some of the finest kinds of velvet are
made with a twill back. The chief advantage of a twill back over a
plain is that the bindings of the pile weft into the ground are hidden
by the twill floats at the back. This renders the pile much faster than
a common velvet; in fact, twill backs are usually sold as fast pile
velvets.
[Illustration: FIG. 367.]
Fig. 366 is a section showing the structure of the fabric, and it will
be easily understood that the pile cannot be so easily pulled out at
the back, owing to the weft covering the bindings. Fig. 367 is the
design for a good make of this kind of velvet, the back is a two and
one twill, and the pile weft floats over eleven ends.
An important thing to remember about twill backs is, that the pile
pick following a back pick must have the dot opposite a blank square in
the back pick. If this were not so, the picks would slip about and form
an irregular surface.
In the weave under notice, five pile picks are taken between the first
two back picks, two between the second and third, and five between the
third and first. This enables the proper bindings to be made.
This weave gives one of the best cloths that are made. It is usually
woven with about 600 picks per inch of 60’s weft, in a 76 reed with a
2-70’s twist.
[Illustration: FIG. 368.]
Another pattern of the same kind which will take still more weft is
given at Fig. 368. In this there are five pile picks to each backing
pick, and the pattern repeats on thirty-six picks.
=Plushes.=--When much longer piles are required the fabric is
called “plush.” These can be made on exactly the same principles as
the foregoing, or the principle embodied in Fig. 369 may be used. In
this weave the pile is bound in much oftener than in the shorter piled
cloths, as a long pile is much easier to pull out than a short one,
and therefore requires more firmly binding. The ground picks also in
this weave are all alike, i.e. they all pass under the same ends, and
this does not hold the pile weft as firmly as a proper plain back,
although it utilizes the binding of the pile weft as forming part of
the back pattern. The bindings of the four pile picks together form a
plain pick, and the back of the cloth thus appears perfectly plain.
To preserve an even surface of pile it is necessary to distribute the
points, where the first pick in each four commences, in satin order. As
there are in Fig. 369 twelve ends on which the pile picks are bound,
the basis upon which the bindings must be distributed is a twelve-end
satin, which runs 1, 6, 11, 4, 9, 2, 7, 12, 5, 10, 3, 8. The first
pile pick commences to bind on the second warp thread, and therefore
the first pile pick in the second set of four (the seventh pick) must
commence to bind on the sixth of the ends available for the purpose
(the twelfth end). The whole design will be complete on sixty picks.
[Illustration: FIG. 369.]
For a longer pile the weft would require to be bound under more ends,
especially if the backing picks are not crossed.
=Cord Velvets.=--A simple cord velvet can be made on the principle
of Fig. 370. The two plain ends on every six bind all the pile picks in
the form of a cord up the piece, and there is one ground pick to four
pile picks. The cutter’s knife is only run up every cord, and so the
cutting operation is much cheaper and more easily done than in the case
of velvets. After cutting, the pile is brushed, and the fibres spread
out so as to cover the space between the two binding ends as much as
possible.
An eight-end cord on the same principle is given at Fig. 371.
[Illustration: FIG. 370.]
[Illustration: FIG. 371.]
Round cords are made by employing floats of two lengths. In the
previous cords all the floats are equal, but in Fig. 372 one float is a
“thirteen” and the other a “fifteen.” When these are cut in the middle,
the short float forms the outside of a cord, and the long float the
inside, which gives the cord a round appearance. Fig. 373 shows the
appearance of the two pile picks when cut.
[Illustration: FIG. 372.]
[Illustration: FIG. 373.]
As a rule, these cords are used for very heavy fabrics, and twill and
satin backs are chiefly used, and as the pile weft is usually much
thicker than velvet weft, there are not so many pile picks between the
ground picks. A smaller cord on the same principle is given at Fig. 374.
[Illustration: FIG. 374.]