FANCY WEAVING, TAPPET AND DOBBY WORK, ANALYSIS OF CLOTH, TAPPETS,
CLOTH, DOBBIES, DOBBY CLOTH, GAUZE, HANDKERCHIEF MOTION.
An important and increasingly successful department of cotton
manufacturing is that comprised under the heading of fancy work. Here
a great amount of skill and intelligence is necessary, and in the more
complicated goods a display of talent uncalled for in the limited and
well-trodden ways of plain manufacturing. In fancy weaving not only do
we come across the variations of manufacturing details which present
themselves in the ordinary branches, but, in addition, an infinite
variety of patterns and different designs crowd upon the one side,
while on the other an artistic eye is required to combat with and blend
the varied groups of colours and shades in harmony and beauty.
A moment’s reflection will remind the reader of the great number of the
cotton cloths which come under the heading of fancies, and for purposes
of convenience we must treat of them under the headlines of three
chapters--Simpler fancies, Jacquard and complicated fancies and Checks.
CLASSIFICATION OF CLOTH.
Woven fabrics of any material may be divided into four main
classes:--Plain, figured, gauze and woven pile cloths; laces formed on
an entirely different structure being disregarded.
Plains show no figure of any nature on the face of the cloth, have
every end and pick interwoven alternately, while the warp forms a right
angle with the weft. Apparent figures, ribs and stripes may be made
by using fine and coarse weft or alternate counts of warp. Stripes or
checks of colour may be introduced, but if the weave be unaltered the
cloth still is classed as plain.
Figured is a very comprehensive group, consisting of the twills,
sateens, velveteens, figured borders, figured checks, damasks,
brocades, dimity, weft pile, counterpanes, fustians, cords, etc., and
almost all fancy cloths, except gauze and warp pile.
Gauze has a peculiar structure, pure gauze differing from plain cloth
in the ends, weaving at an angle more acute than a right angle. Leno is
one kind of gauze.
Woven or warp pile cloth has a nap woven on the face and cut whilst
in the loom--a class of cloth not frequently met with in cotton, but
generally in the silk and carpet trades.
[Illustration: FIG. 29.]
ANALYSIS OF PATTERNS.
For purposes of reference and communication some method of representing
cloth patterns on paper is necessary, and the one generally adopted
is to use point paper ruled in small squares by thin lines; bolder
lines group the smaller into larger spaces, generally 8 by 8, as
shown in Fig. 29. Assuming that a row of horizontal spaces (not lines)
represents a pick of weft, and correspondingly a row down the paper is
indicative of a warp thread, a cross or mark is made where the twist
shows on the face of the cloth. Thus, Fig. 30 represents plain cloth.
[Illustration: FIG. 30.]
[Illustration: FIG. 31.]
Referring to Fig. 30, and following each pick across, we find that
first the warp and then the weft rise, and by tracing any end we see
that it floats over and under the weft alternately--this giving the
well-known plain weave. Wherever the warp shows, a cross is made in
that intersection. The cross is only used for convenience. When a
design has to be properly shown the whole of the intersection must be
filled up thus: [@]
[Illustration: FIG. 32.]
[Illustration: FIG. 33.]
[Illustration: FIG. 34].
Advocating the method of placing a [@] for a twist riser is a departure
from the rules of some authorities on weaving in the past, and also
from the system adopted in other textile industries at the present.
The reason for adopting the system mentioned is, that for most cotton
fabrics it is advantageous in facilitating the reading of the design,
for pegging in Keighley dobby, card-cutting in the jacquard, planning
tappets, in showing up some classes of designs more clearly, less work
in marking some ground cloths with preponderating weft, and in other
technicalities, the whole of which compensate for the disadvantages
of the system in some few classes of cloths where a designer uses the
alternate system of [@] weft riser at his convenience. In reference
to Fig. 30, the beginner will clearly understand that the marks or
crosses show the warp on the face of the cloth with the weft underneath
it. The same square if left blank would show the weft on the face with
the warp beneath it. Thus, the row of marks numbered 1 in Fig. 32 shows
number 1 warp thread floating over 7 picks out of 8, and the row of
blank space numbered 8 shows the weft over warp thread number 8 for the
space of 7 picks out of 8.
The cloth shown in Fig. 31 has its representation on point paper at
Fig. 32, the numbers attached to the threads corresponding with the
rows of spaces in the design.
In transferring a pattern from a piece of cloth to point paper, a
beginner would pin it to a board, mark an end of warp, say No. 1 in
Fig. 31, and commencing with the bottom pick 1, mark crosses on his
point paper where the warp shows at any square in that pick--thus, at
the 1st, 2nd, 3rd, 5th and 9th ends--working upwards to the next pick,
starting at the same end. Similarly a second pick is put down on the
point paper above the first, always working in one direction, say from
left to right. This is continued until the pattern begins to repeat
itself, as at pick 9, when it is complete. A pattern is the least
number of ends and picks on which a cloth can be woven, the picks or
ends of a second pattern being facsimilæ of the first.
The analysis or pricking of patterns is performed by an experienced man
without the tedious process of pulling the cloth asunder, the pattern
being read from the face of the cloth by means of a cloth-glass.
DESIGNING.
Designing (actual) is a very different process. A figure or figures
of some character must be originated suited to the class of cloth for
which it is intended. This is first sketched on plain paper, called a
rule, painted (if colour be desired), and having due regard to economy
in the weaving, it is transferred to point paper.
This is done by ruling the design in inch squares, and should the reed
and pick per inch be equal, 8 × 8 paper is used; if the reed and pick
are in proportion to 8 and 6, 8 and 10, 12 and 8, or any other ratio,
point paper of that size is used, and the figures will appear in the
cloth proportioned as in the rule. The leading figures of the pair of
numbers are, in jacquard work, always equal to the number of rows of
needles, thus 8 ×--is for a 400 machine, 12 ×--for a 600.
DRAFTS.
After having obtained the pattern of a cloth it is necessary to draft
the ends on the least number of healds on which the cloth can be woven.
Drafts are represented in various ways--_e.g._, by drawing lines
representing the healds and marking the order in which the ends are
drawn on them; thus, if the first end be drawn on the first or front
heald, the second on the second heald and so on, we get a straight
draft as shown in Fig. 35.
[Illustration: FIG. 35.]
The numbers represent the heald on which the end is drawn. The ends are
lettered in their order.
Should the first end be on the first heald, the second end on the
third heald, the third end on the second heald, the fourth on the
fourth heald, we get a skip draft--thus:
[Illustration: FIG. 36.]
In practice it is usual to omit the lines and just give the draft,
thus:--
4
3
2
1
This is a very convenient method of representing a draft for the use of
the drawer-in or the weaver, but when using point paper it is better
to reserve a few picks above the design to represent as many healds
and indicate on which the end is drawn by making a small circle. Thus,
a honey-comb design is shown in Fig. 37, A. It can be reduced to and
woven on 8 picks and 8 ends, as at B, the pattern; the draft is shown
at C, the 8 ends being drawn on 5 healds. Below is shown the method of
obtaining these plans--a study of which remarks will enable the reader
to perform similar work for other cloths. Commencing at the first end
on the left-hand side, it is placed on the first heald, H 1; looking
across the pattern we find no other end working like it. Proceeding
to the second end, it is placed on heald number 2, and as the eighth
end works like it, it is placed on the same heald shaft. The third and
seventh ends are marked for the third heald. The fourth end working
differently to any other except the sixth, these two are placed on H 4;
whilst the fifth end only is left for the fifth heald. This draft, from
its appearance, is dubbed a point draft or V draft.
[Illustration: FIG. 37.]
LIFTING PLANS.
It is now necessary to indicate when the healds shall be lifted to make
the cloth with the given draft. A portion of the point paper is taken
as many spaces wide as there are healds, and as long as there are picks
to the round.
Taking Fig. 37 again, for example, we find the lifting plan at D, the
ends and picks being numbered. The marks indicate where the heald has
to be lifted at the pick indicated; thus, taking the first heald, we
find it to be lifted at the 2nd, 3rd, 4th, 5th, 6th and 8th picks, a
working necessary for the first end, which is drawn on the heald in
question. The pegging plan for a dobby is a modification of this. (See
page 106.)
For a straight draft the pattern is exactly a duplicate of the lifting
plan. Other names for this plan are tie, working design, treading
plan, and shedding plan. The tie is a plan serving the same purpose of
the lifting plan, but somewhat differently arranged, the end being laid
horizontally in a line with the heald through which they are drawn;
thus, for the honeycomb, Fig. 37, the tie-up is shown at Fig. 38, in
which A is the tie-up.
[Illustration: FIG. 38.]
The lifting plan for Fig. 32 is shown at Fig. 34, A, while the tie-up
is shown at Fig. 34, B.
SHEDDING.
The principal motions for shedding--_i.e._, raising the ends in the
required order for producing the desired weave of cloth--are tappets,
the dobby, and the jacquard. The tappets and the dobby are described in
this Chapter. The tappets, which have the smaller range of work, are
taken into consideration first.
TAPPETS.
For the simpler classes of fancy weaving, designated stavework,
tappets are often used. These are arrangements of plates carrying
projections to raise the healds when required, the plates being placed
so that the projections in several plates which are to act at one
pick are in line with each other, so as to raise the different healds
at one and the same time. Tappets are fixed either above the loom
(and are named motions or Jamieson’s tappets), or at the side of the
loom--as, for instance, the Woodcroft tappets. In some cases, for
three and four-shaft twills, under-heald tappets are used, and fixed
on the twill-shaft previously referred to (page 76). In setting out
a tappet--for a sateen motion, for instance--first get our pattern,
Fig. 41, which is composed of Fig. 39, a satin, and Fig. 40, a plain
for the selvage. Fig. 41 is the pattern on 7 healds and 10 picks to
the round, that number being the least that will contain both 2 and 5
without remainder. The draft being straight over the pattern is also
the lifting plan, and the first plate is required to lift the healds
at the 1st and 6th picks. Dividing a circle into 10 parts, we take
the first part, and allowing half a revolution of the crank-shaft for
dwell, obtain an inclined portion C for the raising, and D for the
depression of the heald (as described in Chapter IV.), by dividing E C
into six parts, and describing six arcs of a circle, afterwards drawing
a line diagonally. The tappet follows the circumference of the inner
circle until it arrives at the 6th pick, when another projection must
be raised. The complete tappet follows the form shown by the thick line.
[Illustration: FIG. 39.]
[Illustration: FIG. 40.]
[Illustration: FIG. 41.]
It will be seen now that, as the tappet only moves 1/10th of a
revolution for one pick of the loom, the heald connected with this
plate will be actuated just as is required in the treading plan.
Four other similar plates must be cast for the other satin healds,
which five will be bolted together so as to have projections at the
1, 3, 5, 2 and 4 picks, as shown at A. To these are bolted two plain
plates, or, as is more usual, one casting equal to the whole seven.
The plates for plain show an alternate projection and space. By the
kindness of Messrs. Willan & Mills, of Blackburn, a sketch of their
loom with one of these motions (Smalley’s patent) affixed to it is
shown.
[Illustration: FIG. 42.]
[Illustration: FIG. 43.--LOOM WITH SMALLEY’S MOTION.
_To face pp. 98 and 99._]
The tappet is fixed on the upper frame-work of the loom and short
treadles arranged above it. To these the healds are attached and lifted
by the plates, being drawn down afterwards by springs and the healds.
In a recently-improved form the treadles raise the jacks to which the
healds are attached, giving a straight lift. These tappets are seldom
used for more than 8 healds and 12 picks to the round. Above this
extent in tappet work, a Woodcroft sectional tappet is used, arranged
at the loom side. In these tappets the projections (called risers
and fallers) are removable, the tappet being adaptable to different
patterns up to 14 staves and 20 picks. In the Yorkshire loom, Fig. 23,
the tappets are placed at the loom side, and are connected with the top
of the healds by rods.
Tappets possess the advantage over other shedding motions of larger
capacity, such as the dobby: (_a_) in lower first cost; (_b_) steadier
and stronger lift without risk of hooks slipping; (_c_) in having a
split shed--_i.e._, a shed which has one portion pulled down while the
other is drawn up, saving time. Dobbies and jacquards generally have a
sunk shed, and if by those machines a shed 2 inches deep is required,
the lifting knives have to be raised the whole distance, from the
bottom to the top.
[Illustration: FIG. 44.]
[Illustration: FIG. 45.]
CLOTHS WOVEN BY TAPPETS.
Among the cloths woven on tappets there are twills, cloths in which
a figure is woven diagonally across the cloth by raising the healds
consecutively. They are in large variety, being woven on three shafts
upwards and not confined to the lifting of a single heald at each pick;
as in some cloths two or three out of a larger number may be raised,
but the same number is up at every pick, although moving one end or
more at each pick. A serge is a modification of a simple twill woven
in this manner. Fig. 44 represents a 4-shaft twill rising one in four,
while Fig. 45 shows a 4-end twill rising two in four, called a denim,
swansdown, or cashmere twill. The satin weave is a broken twill--that
is, instead of lifting consecutively at each pick, an end, or in some
cases two ends, are passed over, as shown in Fig. 39 (sateen). The ends
are lifted in this order: 1, 3, 5, 2, 4. A 5-stave, showing a weft
satin, is the standard for _sateen_. The satin or broken twill applies
to any number of twill staves--_e.g._, a 12-stave satin, passing 4 ends
over, lifts 1, 6, 11, 4, 9, 2, 7, 12, 5, 10, 3, 8.
A perfect satin never shows contiguous ends lifting together, as such
would give a “spotty” appearance. As almost all the weft shows at one
side of the cloth, the parallelism of the threads gives to this weave
its well-known lustre, but unless fine yarns and reed with heavy pick
are used a very frail structure is the resultant.
_Stripes_ are of various kinds. The herring-bone or reversed twill
forms an undulating pattern by using a point draft. Simple figures, on
not more than six or eight staves, woven cramped between stripes of
plain, are called doriah stripes.
PILE CLOTHS.
[Illustration: FIG. 46.]
Velveteens are woven by motions similar to the one in Fig. 46,
generally on six staves. The object aimed at in this cloth is to
produce a firm ground cloth with picks of pile weft floating over
several ends of warp. Pile picks are inserted between plain or twill
ground picks and are firmly bound in at intervals, so that when the
floating portion is slit by the cutter the pile threads will not be
loose. In the uncut cloth a slight rib of weft is seen transversely.
A pattern of velveteen is given at Fig. 46. Velveteen is classed with
the figured cloths, for as it leaves the loom it presents no appearance
which warrants other classification. The fourth class of fabrics--woven
piles--is woven in an entirely different manner. A wire is inserted
in every fourth shed instead of weft; picks of weft are then put in
and the wire withdrawn. As it carries a knife, the loops of warp over
the wire are cut as it is pulled out, leaving a pile on the cloth, the
length of which is perfectly regular, differing from the weft pile
velveteen in this respect. The wires are inserted and withdrawn by
additional mechanism attached to the loom.
[Illustration: FIG. 47.]
CORDS, FUSTIANS.
Cords, moleskins, corduroy, fustian, bull-hides, thicksets, are all
pile fabrics of a heavy character. The pile is all in the weft floating
upon a ground cloth. Different makes of each fabrics are woven and
named frequently according to the style of this ground or backing
weave--_e.g._, tabby back means plain, Genoa is a 4-end twill, Jeanette
is a 3-end twill, double Genoa, double Jeanette. Woodcroft tappets
are chiefly used in the production of these cloths. The cords show a
broad wale or stripe running lengthway of the piece, consisting of weft
floating over the warp and ground cloth, and in such a manner that when
slit along the centre of each stripe the divided threads stand up to
form a cord. The weft of the next wale being cut similarly, a stripe of
pile fabrics is now formed, having its centre above the groove which
divided each stripe of uncut yarn. A rounded effect is given to these
cords by having the threads forming the centre of greater lengths than
the sides of the cord, they having had a longer float in the weaving.
This cloth is dyed and finished, being sold as corduroy.
Cords are of several kinds, one class named “constitution,” of which
a pattern is given at Fig. 47, on 12 ends and 12 picks, requiring 8
staves to weave it. The constitution is the broadest cord, the thickset
cord being the finest, whilst 8 and 9 shafts, bang-up, Mellor’s round
top and cable cords are names given to other varieties.
Constitutionals are generally made on 8 shafts; yarns, 30/2 fold twist;
16’s to 20’s weft; 120 to 140 picks to a quarter inch; 36 to 44 reed,
Stockport; 31 inches wide, 100 yards long. Cables are on 10 and 12
shafts. Thicksets are on 6 ends and 9 picks, 30 inches wide; 30 to 44
reed, Stockport; 90 to 120 picks to quarter inch; 14’s twist, 22’s
weft. In imitating skins of animals the bull-hide weave is resorted
to either for beaver or lambskin finish; woven on 8 ends and 8 picks.
Moleskin is a smooth, solid cloth, and, before finishing, shows a very
slight longitudinal rib which distinguishes it from the cotton velvets,
which have a transverse rib. Moleskin is often called velveteen,
although not correctly so; really, velveteens are the cotton weft pile
velvets previously described.
These classes of cloth are woven with the non-positive or drag take-up
motion, which draws forward the cloth as it is knocked up by the slay.
A catch is raised by the rocking shaft of the loom, and actuates by a
ratchet worm and wheel the cloth roller. The catch is only weighted
sufficiently to draw the cloth forward when it is knocked up, thus not
acting when no weft is in the loom.
There is a heavy cloth woven from coarse (waste) yarns named cotton
blankets or cotton flannel. This fabric passes through a raising
machine, in which its surface is scratched by pointed steel teeth. It
is exported chiefly.
Double cloth may be woven by tappets, but as it is more frequently done
in the dobby, we will consider it in connection with that machine; the
same may be said of some spots, handkerchiefs, and other goods.
DOBBIES.
These shedding motions, in principle, perhaps, bear more relation to
the jacquard than to the tappets, but are included in the same chapter
as the last in consequence of their frequent association in the same
shed of looms, both being adapted for stave work.
The dobby, for very many classes of fancy cotton cloth, has gained a
reputation as a good shedding motion, and is well worthy the attention
of a student of this branch of industry. Its capacity is superior to
tappets, extending to 40 shafts, and over two hundred picks to the
round in some makes.
The machine is fixed above the loom, Plate VII., giving a direct lift
to the healds, which are kept down by springs or dead weights.
[Illustration: FIG. 48.--KEIGHLEY DOBBY.]
Dobbies are occasionally of single lift, but in the cotton trade far
more frequently double. The difference is in the double lift having two
sets of knives: either knife can lift any heald, and, by duplicating, a
second knife can be preparing for and even commencing to lift a heald
as the first drops; it thus saves time and increases speed. In single
lift machines only one knife is used, and in case of a heald having
to be raised two picks in succession, it would have to be dropped
to the bottom of the shed after the first pick, and raised again. A
double lift Keighley is often called, in error, a single lift, in
consequence of only one shedding rod being used; it however lifts twice
in one complete stroke. Dobbies have the advantage over tappets in
increased power of weaving fancier cloths, a greater number of picks to
the round, and a possibility of changing to other patterns.
[Illustration: FIG. A. FIG. B. FIG. C.
PLATE VII. _To face pp. 104 and 105._]
The leading characteristic of dobbies is, that by means of pegs placed
in revolving lattices, any heald can be selected and raised by the
machine.
The favourite dobby is the improved Keighley, first patented in 1867 by
Messrs. Hattersley & Smith, of that town--it was used to a considerable
extent, but recent improvements have greatly increased its value. Plate
VII. and Fig. 48 show a general view of the machine--one of Henry
Livesey’s, Limited, make, on Ward’s principle, 20 jacks, double lift.
At the under side is seen a pegged lattice; immediately above the pegs
and resting on the topmost lag is a row of levers, double the number of
shafts or jacks representing the capacity.
The [T] knife lever works on the centre shown, and slides the knives
backwards and forwards in grooves at A and B.
The jacks to which at one end the heald cords are attached have at
the other end latches fixed to them, which are out of the way of the
sliding knives, unless purposely dropped on to them.
When a lag is in gear without any pegs, none of the latches touch the
knives, and there is consequently no raising of the healds. If all
the holes be pegged, one end of each lever is raised, the other end
depressed, and consequently all the latches drop on the knives; at the
next stroke of which all the healds will be lifted.
By pegging a few of the holes, say the 1st, 3rd, and 10th, we should
find only those three healds lifted; in this manner any desired working
of the healds may be obtained. The lattice is made up of lags, each
of which suffices for two picks, and as the barrel of the dobby will
not hold less than 8 lags, a pattern of 16 picks or more is required,
unless a smaller pattern be repeated.
In pegging, the lags are placed so that the lattice stands as in the
machine, thus:--
[Illustration: FIG. 49. Numbers 1 to 10 indicate the picks; L 1 to L 5
indicate the lags.]
In a left-hand machine the numbers here given (Fig. 49) represent the
order of the picks, the lattice when in use moving over to the left. B
indicates the peg-hole for the back-jack, the front or first jack being
at A, and the other holes ranging between; there are two rows of holes
on each lag, each equal to 1 pick.
Taking Fig. 37, showing lifting plan which occupies 5 healds and 8
picks, the pegging for this dobby will be as under, the small number
indicating where the peg is placed and which jack is lifted, the picks
being also indicated:--
[Illustration: FIG. 50. PEGGING FOR HONEYCOMB, LEFT-HAND DOBBY.]
As at least 16 picks are required, a lattice would be prepared for 8
lags, 4 being a repeat of those given.
For the other hand of dobby the pegging would commence at the right
hand for the first pick, and move towards the left.
[Illustration: FIG. 51.]
The tie-up, shown in Fig. 38, A, is correct pegging for a right-hand
Keighley or Ward dobby, as is also 34, B.
Among other makes of shedding machines the common dobby or witch
machine may be mentioned. It is of earlier invention than the Keighley,
patents having been taken out for it at varying dates from 1830 to
1850. In it the knives slide vertically; there are two lattices, all
the odd picks being on one side, the even ones on the other, and a peg
indicates a faller--contrarily to the Keighley.
A sketch of a double-lift machine on this system, called by the makers
a Blackburn dobby, is shown at Fig. 51.
The connection of the jacks with the lifting knives is made by hooked
wires, 2 wires to each jack. Where there is no peg these hooks are in
position over the knives; thus, whichever knife should lift, the jack
will be lifted by one of the two hooks. Where there is a peg, however,
the wire is pressed back slightly, sufficiently so as to remove the
hook at the top of the wire away from the knife; and there is no lift
for the jack to which the wire is attached.
The pegging for a Blackburn dobby of pattern Fig. 32 is shown in Fig.
52, which represents six jacks and four lags on each side of the
machine, a lag in the Blackburn dobby only carrying the pegs for one
pick. The large figures indicate the picks and the smaller ones the
jack pegged for the picks against which they stand.
[Illustration: FIG. 52.]
The Keighley is generally preferred by practical men for its strength
and less liability of getting disarranged or broken. Other makes of
dobbies are made, resembling in principle one or other of the types
given.
CLOTHS WOVEN ON THE DOBBY
Include all makes from plain to 40-shaft patterns. Stripe patterns
of the character described on page 101 are frequent; indeed, this
shedding motion is useful for stave work of all kinds, including:--
_Spots or Brilliantes_--- Small figures woven in the fabric at regular
intervals, often made from 10 to 14 shafts, on a plain ground. Also,
cotton dress materials woven in figured stripes, or a combination of
stripes to form figured checks, spot figures, satin stripes and checks,
spot figures on plain satin or oatmeal ground--the latter weave being
used frequently in fancy cloths woven with coarse yarn, the effect
being to show short floating ends apparently irregularly on the face of
the cloth, and thus a rough appearance is imparted. The oatmeal weave
is in different styles up to 40-shaft.
Double cloth is not now often made in cotton, except for pillow slips,
light bags, and similar cloths.
The semi-double cloth of the Yorkshire trade, formed by having an
extra weft or warp for putting a cheap back to the cloths, is not
known in Lancashire; the extra weft of the velveteen being most nearly
approaching the principle. In plain, double cloth weaving, both warps
are on one beam, four healds being employed, each movable, independent
of the others. Two healds carry the top cloth ends and two the bottom
cloth. The shuttle first puts a pick in the top cloth, passing over
three ends out of four, all the ends for the bottom cloth being down
and half of the top cloth ends; then all the top cloth ends are raised
with half of the bottom cloth ends, the shuttle passing under three out
of four, and throwing a pick into the bottom cloth. The ends of the top
cloth are drawn in the first and second healds, those for the bottom in
the third and fourth, thus:--
B------4
B--3----
T----2--
T-1-----
and are lifted as under:--
The pegging being--
4th pick = Nos. 1, 2, 3 . * . .
3rd pick = No. 2 . . . *
2nd pick = Nos. 1, 2, 4 . * * *
1st pick = No. 1 * * . *
1 2 3 4
The selvages are bound by the weft passing from the upper to the lower
cloths, and _vice versâ_.
In some cloth, for bags, plain weaving of all the ends is resorted
to at certain points to seam up the cloth. A three-stave twill weave
may be used by arranging the draft and pegging for six healds or a
five-thread satin on ten healds.
FIGURED DHOOTIES.
In no stripe pattern, perhaps, is the dobby more generally used than
in these cloths. They differ from the ordinary plain dhootie in having
coloured ends woven to a pattern along each selvage, or occasionally
12 or 15 inches from the side also. The patterns at each side are
balanced--that is, similar in figure, with the inner part of the figure
at one side being also the inner part at the other side. This style of
cloth may be described as figure with extra warp, for the plain weave
extends under the figure, the figuring ends being “cramped” between the
plains, and bound by passing through the plain cloth. In designing for
these the plain end may be neglected.
The width of the coloured border is generally about 1 inch, although
extending to 4 inches in special cases.
The beams are warped in the manner described for plain dhooties, but
only the grey ends are drawn in the healds with any coloured warp
which has to weave plain. The ends which form the pattern are drawn
through harness composed of separate leashes and mail eyes, each with
an elastic thread tied to them. These we will refer to as the leashes.
They are placed behind the healds and tied as required to the jacks
above; the elastic cords are fixed to a bracket below, so as to draw
down the leash after the shedding. Above the mail eye is fixed a cumber
board perforated with rows of small holes, and used for keeping the
leashes in proper order, so as not to become entangled in the weaving.
A clear pattern is a great desideratum in this cloth, consequently it
is generally woven face down to prevent spoiling face by drooping ends.
In pegging for it the wrong side of the cloth is taken, a pattern of
it obtained from the coloured figuring ends only in the usual way, and
drafted on the required number of jacks. The leashes are drawn through
the cumber board about 6 in each row, but so arranged as to have all
those to be tied to one jack drafted together.
The ends are drawn through at the drawer-in’s frame, and the leashes
having been previously looped in bunches, each bunch containing those
intended for one jack, the beam is ready for the loom.
In gaiting up, the coloured ends often pass over a small special back
rest, and the bunches of leashes are tied to their respective jacks.
By pegging the dobby in the required order any desired jack or jacks
may be raised, and those ends kept above the plain cloth. When the
jacks are lowered back the same ends will weave below the plain cloth.
The body of the cloth is generally of plain weave, although stripe and
check patterns are occasionally introduced.
[Illustration: FIG. 53.]
GAUZE AND LENO CLOTH.
This class of fabric is frequently woven by means of the dobby,
although the tappet and jacquard are occasionally used should the
pattern come within the scope of either. The peculiarity of gauze
is, that some of the warp ends cross over one or more of the other
warp ends between the picks, giving an open fabric, sometimes of a
beautifully delicate nature, and yet strong, considering the small
amount of material used. When gauze weaving is combined with plain it
is styled leno. The latter name is sometimes erroneously attached to
the gauze itself.
[Illustration: FIG. 54.]
Fig. 53 shows a pure gauze in plan, and Fig. 54 the same in section.
[Illustration: FIG. 55.]
Fig. 55 is the plan of a leno. The threads marked heavily in each
case are the crossing threads. It will be noted from Fig. 54 that the
crossing thread passes up alternately at each side of the backing
thread, pick by pick.
The operation of crossing is performed by doup healds. In these an
additional loop or half heald carrying a stave at the bottom is slung
through the eye of an ordinary heald (Fig. 57). For the purpose of
description, the whole of this heald will be termed the doup. This
heald is used for crossing purposes, while two or more ordinary healds
are provided for the purpose of varying the working, if necessary. The
draft for cloths, Figs. 53 and 55, is as shown by Fig. 56. The crossing
thread is drawn through two healds and passes under the backing thread
as shown.
[Illustration: FIG. 56.]
[Illustration: FIG. 57.]
However, the heald No. 2 can be used to raise the crossing thread on
the left-hand side of the backing thread, although it is drawn to the
right of it at the front, as whenever the back heald is lifted, the
loose stave of the doup is lifted also, and the crossing thread is thus
free to be wrought by No. 2.
The weaving of the plain is performed by either No. 2 and the doup, or
by Nos. 1 and 2. In weaving the gauze portion, healds No. 1 and the
doup are used only.
Four jacks are required--one for the back heald, one for No. 1 heald,
one for lifting the whole doup when weaving gauze, and a fourth for
raising the half loop when necessary to release the crossing thread.
To weave the design Fig. 55 with the given draft, at the bottom pick
No. 2 heald and the loop will be raised, at the next pick above the
whole doup requires lifting, at the third No. 2 and the loop, at the
fourth the doup, at the fifth No. 2 and the loop, at the sixth the
plain commences and the doup is raised, at the seventh No. 1 is raised,
eighth the doup, ninth No. 1, tenth the doup, which completes the
pattern, the eleventh being a repeat of the first.
It is not necessary that the crossing should be round one thread only,
but may be round three or four; to do this, of course, the crossing
thread would have to be drawn under three or four backing ends in the
healds.
The crossing may also be in opposite directions, say--
[Illustration:
() ()
)( )(
() ()
)( )(
FIG. 58.]
as in Fig. 59, where the crossing thread passes over two backing ends.
Every alternate end is, in this case, douped contrarily, the same
healds being used--the difference being made in the draft. This style
is called netting.
All the patterns hitherto mentioned have been single doups. A more
highly-ornamental class of goods is made in double-douped cloth. Here
two-doup healds are used, and, consequently, half of the crossing
threads may be weaving plain at the same picks that the others are
douping, and then a reversal is made--the first half commencing to
doup while the other section is weaving plain. Thus, check patterns
are made alternately gauze and plain. Double-douped netting and
stripe patterns may also be made. With a single doup, only stripe
patterns may be produced with the gauze running either transversely or
longitudinally. For more complicated patterns three or even four doups
are employed.
[Illustration: FIG. 59.]
Gauze patterns are not generally marked on paper as are other fabrics,
but sketched thus:--
[Illustration: FIG. 60.--GAUZE SKETCH.]
HANDKERCHIEFS.
Handkerchiefs are made in cotton, either by the drop-box, the dobby, or
by a handkerchief motion. We are referring now to those made without
colour, with ribbed side and cross borders. A stripe border is made by
warping the necessary coarse ends (to form the selvage) with the plain
ends. To put in the cross border, either the drop-box loom is used
with two or more shuttles having different counts of yarn, or, as is
more general, the shed is kept open for the reception of several picks
of weft in the same counts as the body of the handkerchief. This is
easily done by the dobby, which also continues to hold the weft at each
selvage by a few plain ends worked from a different jack, or by a catch
cord.
It is impossible to have a lattice with as many lags as there are picks
from heading to heading, consequently lags are pegged to weave the
heading only, the lattice being stopped during the time that the plain
body of the handkerchief is being woven. In the double-lift dobby it is
possible to stop it, so that the pegging of the lags where the motion
of the lattice is arrested will suffice to weave plain until motion is
again communicated to the lattice.
Sometimes a special handkerchief motion is used. In this arrangement
a chain of lags is arranged, each lag having holes for three pegs.
By means of this motion, which is shown in Fig. 61, “a border can be
obtained without drop-boxes or dobby, _and without reducing the speed
of the loom_. The tappets, which are of the usual form for plain
weaving, are not secured to the tappet shaft, but are driven from it
through the medium of a clutch, which, when disengaged, allows the
shaft to continue revolving whilst the tappets remain stationary;
thereby enabling any required number of picks, even or odd, to be put
into the same shed, according to the length of time they are kept in
this condition. The clutch is under the control of a set of lattice,
which cause the disengagement of the clutch, and a succession of pegs
causes the tappets to remain out of action according to the desired
number of picks required.”
[Illustration: FIG. 61.--HANDKERCHIEF LOOM. _To face pp. 116 and 117._]
The other pegs regulate, secondly, the stoppage of the take-up to
give a better defined rib; and thirdly to stop the chain itself when
necessary. The chain only represents the picks in the heading, and
is stopped during the plain weaving of the body. It is started again by
an ingenious measuring motion, which by a contrivance of levers starts
the chain one pick, after which the catch put out of gear by peg three
continues the motion. The makers claim for this motion a high rate of
speed, and a low first cost of apparatus.
[Illustration: Decoration]