_FIGURED DESIGN_
In figured fabrics it is most important that the distribution of the
parts of the figure should be such that the eye is not attracted
by lines formed by the unequal distribution of the figure. The
objectionable feature is most likely to occur in designs of an all-over
character, as it is almost impossible to tell if the distribution is
perfect without extending the design to cover a considerable space.
[Illustration: FIG. 375.]
In designs which consist of set or detached figures, it is a
comparatively easy matter to cover the surface of the fabric equally
by distributing the figures in some pre-arranged order. The simplest
method of arranging detached figures is to arrange them “one and one,”
as in Fig. 375. This is a small spot arranged from two points on twelve
ends and twelve picks, and the same principle will apply whatever the
size of the figure. The space to be covered, twelve ends and twelve
picks, is divided into two, both in warp and weft, and it will be
noticed that the central dot in each spot is in the same position in
each square of 6 × 6.
In designs of a floral character the two figures are generally turned
in different directions, and if the centres of the figures be properly
placed they may be turned in any direction, and still preserve the
equal distribution. Detached figures may be arranged in the order of
any satin, but the regular satins show the figures too much in lines,
and the system is not much practised on that account. Irregular satins
give much better effects. Fig. 376 is a design consisting of six spots
arranged in six-end satin order, on thirty ends and thirty picks;
the ground being five-end satin. In making the design the space to
be covered is divided into six parts, both in warp and weft, by the
crosses at the corners of the squares.
[Illustration: FIG. 376.]
The squares are numbered at the side in the order of the satin, viz.
1, 3, 5, 2, 6, 4, and the first spot is placed in the left-hand bottom
corner, the central dot of the spot being placed in the centre of its
square. The next figure is placed in the third square, on the second
five picks, the central dot again being placed in the middle of the
square. The third spot is placed in the fifth square, on the third
division of the picks; and so on, until the six figures have been
placed on the thirty ends and picks.
If the central dot is always placed in the correct position in each
division, the figures may be turned round or placed in any direction.
The ground weave is a five-end satin, and care must always be taken,
in designing, that the ends and picks in the pattern are a multiple of
the ends and picks in the ground weave, or there will occur a broken
pattern at the joining of each “repeat.”
[Illustration: FIG. 377.]
Fig. 377 is a small spot arranged in the order of a regular eight-end
satin on sixteen ends and sixteen picks. In making this design the
sixteen ends and picks divided into eight will give only two ends and
picks for each division, so that if the central dot of the first spot
is placed on the third pick, the centre of the next spot will come on
the fifth pick, and so on.
[Illustration: FIG. 378.]
As previously stated, when set figures are distributed in regular
satin order a stiff appearance is given to the design by the figures
showing in lines. It is therefore necessary to get some irregular
order as a basis to work upon, which will distribute the parts of the
figure equally, and give a mixed up appearance. A design based upon an
irregular eight-end plan is given at Fig. 378. The irregular satin upon
which it is based is given at Fig. 379. The method of constructing the
design is precisely the same as in the previous examples; the space
to be covered is divided into eight parts in each direction, and the
figures are arranged in the same order as the dots in Fig. 379. If ten
spots or figures are to be arranged in a design, an irregular ten-end
satin may be used. In arranging the order care must be taken to have
the dots evenly distributed.
[Illustration: FIG. 379.]
=Transferring from Sketch to Point Paper.=--In transferring a
design from the sketch to point paper, it is usual to rule the sketch
into small squares, each square to represent sixteen or twenty-four
ends and picks, and to mark the point paper into squares of this number
of ends and picks. The outline of the sketch is then drawn on the point
paper; the squares into which the sketch and point paper have been
divided render it a simple matter to enlarge the sketch and preserve
the proportions of the various parts of the design. If the sketch
measures four inches for one repeat of the pattern, and the design is
to be made on 400 ends, and say 500 picks, on 8 × 8 point paper, the
sketch may be ruled with lead pencil into twenty-five parts in the
warp, and the same number of parts in the direction of the weft. The
point paper would then require to be divided into spaces of sixteen
ends and twenty picks.
400 500
--- = 16 ends --- = 20 picks
25 25
=Development of the Pattern.=--When the outline of the figure has
been drawn on the point paper, it may be coloured in. This is done by
going over the line carefully and filling in all the squares that the
outline passes through. If the ground of the fabric is to be plain, the
outline of the figure must be kept plain--that is, it must move an odd
number of threads each time, so that the plain ground may be carried up
to the figure without spoiling it.
[Illustration: FIG. 380.]
If a solid weft figure is required on a warp satin ground the figure
may be coloured all over with, say, red paint, and the developing
dots be put on in blue or other colour; but if much shading or fancy
treatment is required, it is more convenient to develop the figure
in one colour, as in Fig. 380. Some designers colour the ground with
red, and put the satin or other dots over this in another colour,
leaving the figure white, and then develop the figure by putting on the
required red dots to lift the warp for shading or binding.
This method is advantageous where there is more figure than ground,
which is often the case; but, as a general rule, the figure is coloured
with red, and the binding dots of the ground in the same colour,
another colour being used for the binding of the figure when required.
[Illustration: FIG. 381.]
Fig. 380 illustrates the principle of developing a weft figure on a
warp satin ground by shading from warp to weft.
The outline of the figure is first sketched on the point paper, and
then the whole is covered with the satin dots. By adding single dots
where required any degree of light and shade can be obtained. It is
best to add the dots all to the same side of the float, and, as a rule,
it is most convenient to add them singly. The effect is obtained by
gradually increasing the float from one to seven, and thus there are
seven degrees of light and shade between the two opposite eight-thread
satins.
Fig. 381 will illustrate the principle of shading more perfectly. This
is a small stripe of shaded eight-end satin. The space to be shaded is
divided into seven equal parts of five threads each, as there are seven
changes to be made. The first five ends are left as they are, and a dot
is added to each one in the second division, two dots are added to each
in the third division, and so on, until the float of seven is reached
at the right-hand side of the stripe.
In a five-shaft satin there are only four possible changes, and
therefore this is not of much use for figured design in cotton goods.
The larger satins, such as eight, ten, and twelve-shaft satins, are
most useful for this purpose.
Twills may be shaded in the same manner as satins by gradually adding
to the float of a warp twill until a weft twill is reached.
Satin figures are somewhat flat and indistinct when woven with grey
warp and weft, and therefore in cotton fabrics the figures are more
often developed in twill or fancy weaves of a bold character, unless
coloured yarns are used. The best effect is obtained when a number of
different weaves are employed in developing a design; the variety in
itself prevents any appearance of flatness, which a design developed
entirely in satin or twill possesses, and the weaves may be selected so
as to suggest the beauties of the flower, leaf, or other object which
forms the basis of the design.
The object of the designer need not be to render a direct imitation of
nature; but there is no reason why a textile designer should not use
the power at his disposal of suggesting the surface appearance, or the
beauties, or characteristics of the object which forms the subject of
the design.
A portion of a design developed in a variety of weaves is given at Fig.
382. The combination of the solid weft mixed fancy weaves gives a good
effect.
In designs of the more conventional kind the outline of the figure
may be solid weft float, and the inside any other weave that fancy may
suggest.
[Illustration: FIG. 382.]
If the figures are formed from extra warp or weft, the same principles
of development will apply. Any variety of light and shade can be
obtained, and bold effects may be produced by twilling, or subdued
effects by interweaving the threads more closely and in satin order.
=Sizes of Patterns, and Casting Out.=--The Jacquard machine most
generally used in the cotton trade is a 400’s, which weaves a design
made on 400 ends or warp threads in a “repeat.” If the harness is tied
up to the 400 neck cords, and the warp drawn through every mail in the
harness, the designs made for this loom must either be on 400 ends or
on a number of ends which is a measure of 400. Thus a 400’s harness
will weave the following sizes of patterns:--
One pattern to 400, or 400 end pattern
Two patterns to 400, „ 200 „
Four „ 400, „ 100 „
Five „ 400, „ 80 „
Eight „ 400, „ 50 „
Ten „ 400, „ 40 „ and so on.
If it is required to make a design with three patterns to the four
hundred ends, the design must be made three times over, two patterns
occupying 133 ends each, and the other pattern occupying 134 ends to
make up the 400 ends.
A design six patterns to the four hundred may be made by designing four
patterns on sixty-seven ends each and two patterns on sixty-six ends
each, and other sizes not exactly divisible into the four hundred may
be made to come in on the same principle.
In designing for Jacquard weaving care must be taken that the ground
weave will divide exactly into the number of ends in the harness,
otherwise the pattern will be broken. Sometimes the figure will allow
of the ground being broken at some point or other without the break
being visible. Such opportunity occurs where the ground narrows down to
a fine point; but in ordinary cases, where it is necessary to make a
design with a ground weave repeating on a number not a measure of 400,
some of the mails must be “cast-out.”
For example, if the ground weave is required to be a 12 × 12 honeycomb,
as it will not divide equally into 400, but will divide into 396, the
design may be made on this number, and four mails in the harness left
empty.
Casting out is also resorted to when it is required to reduce the
fineness of the reed. For instance, if one-eighth of a 400’s harness be
cast out, there will be 50 ends less per pattern, and if the pattern
measures four inches, the reed would be reduced from a 100’s to an 87’s.
[Illustration: FIG. 383.]
If several rows are cast out, it is best to leave them out in two
places; usually one-half is left out in the first half of the machine,
and the remainder in the second half.
In designing for a machine which is “cast out,” it is necessary to know
in which part of the machine the ends are cast out, so that the design
may be made to tie up properly, and that proper instructions may be
given to the card-cutter.
=Striped Designs.=--Striped fabrics are always largely made for
dress goods and other purposes. An endless variety of styles may be
made by combining stripes of any two contrasting weaves. If the weaves
are combined for dobby weaving, care must be taken that too many shafts
are not required for the value of the effect obtained, but if intended
for Jacquard weaving, the stripes may be figured as desired.
Some of the most effective combined styles are made of satin and leno
in various forms and proportions. If for dobby weaving, the designs
may be spotted to come in on a reasonable number of shafts, but if
for the Jacquard, the satin is figured. The satin stripes are usually
crammed--that is, there are more ends in each dent of the reed in
the satin than in the other part of the fabric. Fig. 383 is a stripe
design, composed of alternate stripes of figured satin and “5 and
1” lace or mock leno. The reeding plan for this fabric will be as
follows:--
_Reeding Plan for Fig. 383._
48 ends satin, 4 in a dent = 12 dents
5 ends 1 dent }
Skip 1 dent } three times = 12 dents
1 end 1 dent }
Skip 1 dent }
5 ends 1 dent = 1 dent
---
25 dents in pattern.
This system of reeding the open work is the best for obtaining an open
effect, as pointed out in a previous chapter. Twenty-five dents are
occupied in reeding each pattern of seventy-one ends, and assuming the
harness to have one hundred threads per inch, the reed required to keep
the cloth the same width in the reed as in the harness will be--
71 : 100 ∷ 25 : 35·2 dents per inch.
The reed required is one with 35·2 dents per inch, or a 70’s
“Stockport” reed would be used. This calculation is for a complete
number of patterns, and does not allow anything for balancing the piece
by having a satin stripe at both sides, as is often the case.
In figured stripe designs the general effect is much improved by
placing the figure in different positions on each stripe in the 400
ends. If there are four figured stripes in the 400 ends, and the figure
repeats on 100 picks, the figure may be placed in four different
positions, moving twenty-five picks each time, in which case it would
have to be designed on 400 ends; or in two different positions, in
which case it would be designed on 200 ends. The object of this
distribution is to prevent the figure appearing in rows across the
piece.
[Illustration: FIG. 384.]
=Figured Diagonals.=--As previously explained, striped designs are
complete on the lowest number of picks into which all different weaves
in the design will divide without remainder. In figured diagonals the
design is complete on the first number that the diagonal and figure or
figures counted diagonally will divide into without remainder. Thus,
in Fig. 384 the design is complete on 48 picks, because the diagonal
repeats on 24 picks and the figure repeats on 16 picks, and the L.C.M.
of 24 and 16 is 48; therefore this is the number of picks to which the
design must be carried before it is complete.
=Selection of Point Paper.=--Point paper is divided into small
squares to represent the ends and picks, and if the designs are for a
300’s or 400’s Jacquard a thick line is required every eight in the
warp direction to mark off the number of rows of eight needles in the
machine. In 100’s Jacquards the needles are placed in 25 rows of four
needles in a row; in 200’s the needles are in 25 rows of eight needles,
in 400’s there are 50 rows of eight needles, and in 600’s there are
twelve needles in a row. The design on point paper must be divided by
a thick line to mark off the number of needles in a row; in a 400’s
machine this is always eight, in 600’s machines it is always twelve.
If the paper has a thick line every eight in the picks as well as in
the warp it is called “8 × 8,” and a design made on this paper will be
proportionately the same if woven into cloth with the same number of
ends as picks per inch.
If it is desired to make a design for a fabric with 96 ends per inch
and 60 picks per inch for a machine with eight needles in a row, the
paper required to keep the figure of the same proportions as it will
appear in the cloth will be 8 × 5.
96 : 60 ∷ 8 : 5
If the design is intended for a 600’s machine, the paper must be 12 ×
(_x_). If the cloth is to have 96 ends per inch and 120 picks per inch
in a 600’s machine, the paper required would be 12 × 15.
96 : 120 ∷ 12 : 15
In selecting paper for a figured crammed stripe design, a rather more
complicated calculation is necessary. It is necessary to obtain the
number of ends per inch in the figured stripe, thus:--If the satin is
figured in a stripe
{96 ends, 4 in a dent, satin}
{50 ends, 2 in a dent, plain}
woven in a harness 100 ends per inch, and the same width in the reed as
in the harness, the ends per inch can be obtained as follows:--
96 ends, 4 in a dent = 24 dents
50 ends, 2 in a dent = 25 dents
--- ---
146 ends. 49 dents.
If 49 dents are required for 146 ends, the number of dents per inch in
the reed will be--
146 : 100 ∷ 49 : 33-82/146 dents per inch, or a 67 reed.
If the reed used is one with 33½ dents per inch and the satin is
four ends in a dent, there will be 33½ × 4 = 134 ends per inch in the
satin; and if there are to be 100 picks per inch in the cloth, the
paper required to keep the figure proportionate would be for a 400’s
machine, 134: 100 ∷ 8: 6 (nearly).
Therefore the paper required is 8 × 6.
It is not at all necessary to use point paper ruled exactly in
proportion to the warp and weft, as the design can easily be elongated
or otherwise. It is only necessary to rule the sketch into squares,
representing a certain number of ends and picks, and to mark off the
point paper accordingly.
=Designs for Split Harness.=--In designing for the split harness,
Fig. 124, no ground dots are required on the design, as the shafts
under the comber-board which are lifted by the spare hooks weave the
ground pattern. The design is simply coloured in, and the binding dots
put on the figure only.
In a double-scale split harness every hook lifted takes up two ends,
and thus the bindings in the figure will appear in twos, and will
therefore appear rather coarse. In the ground every end is woven
separately by the shafts, and these will require to be lifted to give
the required ground weave. All that is required, therefore, is to put
the lifting dots on the point paper in the position required to operate
the hooks which lift the shafts. Except for the limit with regard to
the ground weave, designs for the split harness are prepared in the
same manner as for an ordinary harness.
=Pressure Harness Designs.=--In designs for the pressure harness
no binding dots are required on the point paper in either the figure or
ground, as the shafts or “pressure healds” in front of the harness do
all the binding.
This harness is chiefly used in fine goods. Several warp threads are
drawn through each mail in the harness, and afterwards woven singly by
the pressure healds in front.
The edges of the figure are stepped according to the number of ends in
each mail.
The structure of a pressure harness damask fabric, woven six ends in a
mail with eight shaft satin bindings, is shown at Fig. 385. Of course
it is not necessary to make the design on point paper in this manner;
all that is necessary is to sketch the figure and colour it in where
the warp satin is required. All the binding is done by the pressure
healds, as explained with Fig. 125.
[Illustration: FIG. 385.]
Designs woven with this harness have always a flat appearance, but this
is suitable for hangings, for which the harness is chiefly used.
A considerable number of weaves may be employed in binding the ground
or figure. Any two weaves can be used in conjunction for the ground and
figure which do not interfere with each other in the working.
[Illustration: FIG. 386.]
[Illustration: FIG. 387.]
[Illustration: FIG. 388.]
In addition to simple satin and twill weaves, Figs. 386 and 387 can be
used in conjunction, the figure being woven to either pattern. Fig. 388
will show that the two weaves do not interfere with each other--that
is, an end is never required to be lifted and left down at the same
time.
Figs. 389 and 390 can be used together, one forming the figure and the
other the ground.
The best way of compiling weaves to give variety to pressure harness
fabrics is to put the satin clots on paper first, and then to arrange a
pattern to fit in the empty squares.
[Illustration: FIG. 389.]
[Illustration: FIG. 390.]
[Illustration: FIG. 391.]
=Designing for Edleston’s Harness.=--When designing for the patent
harness, illustrated at Fig. 129, the sketch is put on point paper
in the ordinary manner, but it must be remembered in doing so that
the figure when woven will be on double the number of ends which it
apparently occupies on point paper.
[Illustration: FIG. 392.]
If the spot shown at Fig. 391 is put on point paper and woven in this
harness the effect shown at Fig. 392 will be obtained in the cloth. The
number of ends between the spots would only be nine on paper to give
the eighteen in the cloth.
It was pointed out in explaining the structure of this harness that
a weft figure could not be put upon a warp ground, as it is obvious
that not more than half the warp can be lifted at once, and the figure
must therefore be obtained by leaving the warp down. The designs are
confined to plain grounds, or weft figures may be thrown on weft satin
grounds, and twill or cord grounds may with advantage be used. The
method of putting eight-end satin on point paper is given at Fig. 130.
The principle of putting on paper any weave possible on this harness
will be understood by referring to the explanation given with the
illustration of the harness.
=Figured Lenos.=--Some of the most beautiful of all fabrics are
made with the leno harness, the combination of plain or floated figures
with the open and firm leno ground giving a fabric which is both
serviceable and effective. The structure of the harness has already
been explained with Fig. 145, and it has been shown how “four and four”
leno and a plain or floated weave can be combined.
[Illustration: FIG. 393.]
The method of putting the design on point paper for a figured leno
harness with 500 needles and 600 hooks (see Fig. 145) will be
understood from Fig. 393. This is a small portion of a design which
includes “four and four” leno, plain, and floated weft or warp. The
solid squares show the crossing threads lifted by the ground harness,
and the circles show the same ends lifted by the doup. There will thus
be four ends in a dent and four picks in a shed in the leno, and when
these are woven plain the contrast is very effective.
Two colours are necessary for putting the design on paper, and in
cutting the cards from the design the solid squares in the leno portion
will be cut opposite the third and fourth or seventh and eighth needles
in the ground set, whilst the circles in the design which show where
the doups are to be lifted will be cut opposite either the first or
tenth row of needles. In a ground weave of this kind both doups are
never lifted together, as the weave is easier when they are lifted
separately.
Some beautiful striped designs are made by using thick whip threads
to give a lace effect, and various fancy leno weaves can be made and
employed for giving variety to the effect.
If there are more than four picks in a shed on the leno it is often
necessary to lift one of the crossing ends when the standard ends are
lifting in order to prevent the threads from “slipping” or “fraying.”
[Illustration: FIG. 394.]
Fig. 394 will give a well-known two-doup effect, and other patterns may
be devised quite easily, the power of the harness being practically
unlimited.
Sometimes leno figures are woven on plain grounds, but the opposite is
the general rule. Floated figures are not much used, as the contrast
of the plain and leno is very effective, and is more serviceable than a
loose figure.
A very fair imitation of a four in a dent figured leno can be made by
using one doup stave in front of an ordinary Jacquard harness, and
crossing one end under three. By lifting the doup every other pick a
plain figure can be woven on the leno ground, one crossing three, on
the principle explained with Fig. 144.
[Illustration: FIG. 395.]
=Toiletings.=--In toilet quilts a raised plain figure is formed by
an extra warp from a separate beam interweaving with the plain cloth
where the ground of the design is required. Fig. 395 is a portion of a
design for a cloth of this kind. Every third end is an “extra” end, and
where the raised figure is required these ends are left down, but where
the ground of the design is required the extra ends interweave with
the plain cloth and bind it down. The tension of the extra warp causes
the figure to stick up more than would otherwise be the case. The
principle can be made to give innumerable effects by different methods
of introducing the extra warp, but the ends must not be left out of the
cloth for too long together, or they would be too loose at the back and
would be likely to catch. Fig. 396 is a section showing the binding of
the extra warp into the plain figuring cloth.
[Illustration: FIG. 396.]
The principle is well adapted for the production of large figures such
as are required on quilts and similar fabrics, owing to the fact that
only one-third of the warp threads are required to pass through the
Jacquard harness; the plain ends can be lifted by shafts.
In the better classes of toiletings two shuttles are used, and the
extra ends are woven plain at the back instead of hanging loose. The
principle is otherwise the same as in a one-shuttle toileting.
[Illustration: FIG. 397.]
In some quilts a padding weft is inserted between the face and back
cloth on the principle explained in Figs. 326-328. “Marseilles” quilts
are made in this manner. Fig. 397 will show how a padded figure is
formed, the dots represent the weft, and the principle of forming the
figure is the same as in Figs. 326 and 328.
When the padding picks are being put in, the face cloth is all lifted,
and the back cloth left down.
There are various other makes of quilts, of which the “Mitcheline”
type is extensively manufactured. These fabrics are characterized by
a raised figure of coarse texture upon a ground of comparatively fine
texture. Fig. 398 shows how this is effected.
[Illustration: FIG. 398.]
Two systems each of warp and weft are used, the warp being drawn in the
harness and reed as follows:--
one face end fine counts: (say white)
two figuring ends medium counts: (say brown).
The order of picking is--
two coarse figuring picks (white)
two fine ground picks (brown).
Two plain cloths are woven, one being white and the other brown, and
these are made to change places so as to form the desired figure in the
manner shown in Fig. 398.
The two cloths are bound together in both the figure and the ground.
When the white cloth is at the top, as in the first part of Fig. 398,
a ground pick is passed over a white face end under the float which
follows, and the binding is perfectly hidden. When the brown cloth is
at the top a white end is lifted, and as this is of a fine count and
the brown warp threads are rather closely set to the reed, the binding
is obscured.
A portion of a design of this weave is given at Fig. 399, the structure
of which will repay careful study along with the section at Fig. 398.
Twilled cloths are sometimes used for figuring on this double cloth
principle, and the binding can be much more easily effected, although
the weave is more expensive than double plain, if the same firmness is
desired. Fig. 400 is a section showing how the figure can be formed
from two twill cloths, and how the binding can be best effected. The
cloths in this example are of equal fineness.
[Illustration: REFERENCE.
[symbol] = White face warp-ends raised above coarse white figuring
picks.
[symbol] = Brown figuring warp-ends raised above fine brown ground
picks.
[symbol] = White face warp-ends raised above fine brown ground
picks, in the figure.
[symbol] = Brown figuring warp-ends raised above coarse white
figuring picks.
[symbol] = White face warp-ends raised above fine brown ground
picks, in the ground.
FIG. 399.]
[Illustration: FIG. 400.]
Fig. 401 is a design for this fabric, showing a small portion of both
ground and figure. The cloths are bound together once in every eight
threads.
[Illustration: FIG. 401.]
=Figured Weft Pile Velvets.=--When figuring with weft and pile,
the chief difficulty is the cutting of the fabric after weaving, owing
to the difficulty of keeping the knife-guide in the race when passing
from one portion of the figure to another across the ground.
A considerable quantity of fabrics had been made with velvet cord
figures--which are easy enough to cut--before it was found possible to
cut the real velvet figure. This was rendered possible by throwing the
short floats of pile weft to the back of the cloth at the edges of the
figure, and always moving in steps or races at the edges of the figure,
and in addition to this always keeping the end upon which the knife
runs, to the inside of each step. By throwing out the short floats the
chief difficulty was overcome, as the obstruction caused by these was
the chief cause of the knife and guide being thrown out when cutting.
These improvements were simultaneously devised by the writer and Mr. T.
Anderson, of Wyke, and a large quantity of cloth was turned out a few
years ago, but owing to the cottony appearance of the ground the demand
quickly fell away.
[Illustration: FIG. 402.]
Two large manufacturers took out a patent to include all figured weft
pile fabrics, but a thorough search could not have been made, as the
writer recently came across a heap of patterns woven on the same
principle, including the stepping in races, and also with a coloured
extra warp ground, which had been made at least before the year 1870.
The method of putting the designs on point paper is shown at Fig. 402.
The weave generally used is an ordinary E1 velvet with about 400 picks
per inch, woven in an 80 reed 2-60’s twist, 70’s weft. It will be seen
that the figure steps in twos at the edges, and that all floats less
than five are thrown to the back of the cloth by the small dots in the
design. The blanks represent the weft on the face, and the inside of
the step or race is arranged to come on the third, fifth, seventh ends,
and so on, these being the ends along which the knife runs. Where a
turn is made in the figure it must be on an odd number of ends in order
to keep the race in this position.
Other systems of making figured weft pile fabrics have been tried. One
of these was to use an extra warp at the back for binding the pile
picks where the ground is required, and binding the picks where the
figure is required, to the ordinary warp. When the pile is cut the
extra warp is torn away, pulling the pile with it where the ground of
the pattern occurs.
Another method is to weave the figure fast pile, and the ground loose
pile, and to brush the loose pile away at the back.
Velvet and leno stripes have been woven. As velvet requires a large
number of picks and leno a small number, there is a difficulty in
cutting the picks at the back of the leno stripe away. This can be
overcome by interweaving the picks to be taken away at the back of the
leno with some extra ends, and when the velvet stripe is cut, the back
cloth can be torn away quite easily.
=Solid Coloured Borders.=--In some fabrics, such as dhooties, the
borders are sometimes made with coloured warp and weft, and the middle
of the piece with white or grey yarns. The method of obtaining the
solid border is rather ingenious, and is as follows.
A coloured end is placed at each side of the warp, and this thread
hangs loose from the bobbin, so that not much force is required to pull
the thread into the border. The warp ends forming the border are on
separate staves from the ground ends, and lift so as to allow two picks
to go through each shed while the middle weaves ordinary plain cloth.
The coloured end A (Fig. 403) is lifted every other pick, and the
shuttle containing the white weft will pass round it, and as the shed
is not changed in the border ends, the coloured thread is taken into
the border, thus forming a solid coloured border on an ordinary grey or
white cloth. In the border, there will be two picks in a shed.
[Illustration: FIG. 403.]
[Illustration: FIG. 404.]
The point paper plan showing the difference in the shedding between the
border and the middle is given at Fig. 404. The coloured thread from
the bottom may be lifted by the plain staves.
=Direction of the Twist in Yarns.=--Warp yarns are usually twisted
so as to show the lines of the twist from right to left, and weft yarns
are twisted in the opposite direction. The reason for this is that when
the yarns are woven into cloth the lines of both warp and weft run in
the same direction, and the threads become embedded together as closely
as possible through the strands falling into each other. This is shown
at Fig. 405, where at A and B the warp and weft yarns are shown laid
side by side. At C the same yarns are shown as laid in the cloth, when
it will be seen that the lines of twist appear in the same direction,
and the threads have thus a chance of getting together as closely as
possible.
[Illustration: FIG. 405.]
If the weft is spun in the same direction as the warp, or “twist way,”
as it is termed, when woven the lines or strands appear in opposite
directions, and each thread has a tendency to be kept apart from the
others, and appears separately. This, if anything, makes the cloth
feel slightly thicker, and is preferred by many for certain purposes,
including some classes of printing cloths. The finer appearance is
obtained by the yarns spun in opposite directions.
[Illustration: FIG. 406.]
In twill and satin cloths, and similar fabrics, the direction of the
twist has a very important bearing upon the appearance of the fabric.
The finest and closest effect is obtained by using warp and weft yarns
spun in opposite directions, so that when woven the lines appear in the
same direction, and the direction of the twill should be opposite to
both. This is why one side of a twill cloth has a finer appearance than
the other, as the twill runs against the lines on one side, and with
the lines on the other side of the cloth, the former having the finer
appearance. Fig. 406 shows the yarns spun oppositely, and the twill
running in a direction opposite to the lines.
In sateen cloths there is a kind of twill in one direction, as shown in
Fig. 407, and the above principle applies to this as well as regular
twills.
[Illustration: FIG. 407.]
It often occurs that for printing and dyeing purposes the weft is
preferred spun “twist way,” and as the weft greatly predominates over
the warp, the direction of the twill should be contrary to the lines
of the weft. Not much difference is noticeable in the better makes
of cloth, but when there are few picks, a frayed appearance is often
produced if the direction of the twill is not reversed.
To keep the twill in a given direction, the twist may be spun “weft
way” to give the desired effect.
In very small twills, such as Jeannettes, a more decided twill is
obtained by using weft spun in the same way as the twist or warp yarns,
but in larger twills the best effect is obtained in the opposite
manner.