CHAPTER V.

MIXTURES.

55. Varieties of Mixture Patterns--56. Elements of Mixture Colouring--57. Importance of Pure Materials--58. Several Classes of Mixtures Compared--59. Simple Blends--60. Blends of Wools and Pigments Compared--61. Modes of Testing Compositions of Colours--62. Mixtures composed of Two Shades--63. Compounds of Two Colours in which White is used--64. Illustrations in Mixtures composed of White and a Second Colour--65. Mixtures composed of Black and another Colour--66. Grey Mixtures--67. Bloomed Greys--68. Coloured Greys--69. Two-Coloured Mixtures--70. Multi-Shade Mixtures--71. Twist-Yarn Mixtures--72. Marls--73. Weave Mixtures.

55. _Varieties of Mixture Patterns._--There are five methods of making mixture patterns, namely, (_a_) by carding several colours of fibrous materials together, producing _mixture woollen_ yarns; (_b_) by combining in the process of _drawing_ two or more slivers of different colours, producing _mixture worsted_ yarns; (_c_) by combining in the process of _roving_ two or more slivers of different colours, producing “_marl_” _worsted_ yarns; (_d_) by using fancy yarns; and (_e_) by mixing two or more classes of threads in the weaving process. Each system is extensively practised; but the most intermingled effects ensue from blending the various coloured elements in the fibrous form. This system of producing mixtures yields a yarn in which the separate particles of colour, however diverse, are uniformly distributed throughout its length. Carding affords every facility for obtaining a softly toned blend, or one in which the filaments of distinct colours are perfectly mixed and intermingled. The shades are, as it were, united in this instance in the powdered or most minute particled form possible in textile compositions; whereas the methods of combining twist yarns, and of weaving shades of distinct colours together to compose mixture effects, consist of blending comparatively larger particles of colours. Perfect promiscuity, as a consequence, characterizes mixtures produced in the willowing and carding processes. These compositions are also distinguished by softness and mellowness of tone, entirely foreign to corresponding effects got by other methods. So completely are the elements associated on this system, that if blue and yellow wools were compounded they would constitute a green mixture, not so pure, however, as if pigments were amalgamated, for reasons alluded to in the sequel, but still they form a suggestion of this process of combination. If the same colours were united in the yarn state, even in the form of twist threads, they would still appear as separate hues; in other words, the yellow would remain yellow, and the blue would remain blue. To borrow an illustration, these methods of compounding fragments of colours in the manufacture of so-called mixture patterns may be compared with chemical and mechanical mixtures of substances; for just as in the former the bodies unite to compose a third substance, and in the latter they are mixed but not changed, so in blending colours in the fibre the mixing may be so complete as to yield an additional shade, but in blending them in the thread each hue retains its individuality. Twist-yarn mixtures possess a motley appearance of a broader character than those of blends in the wool or material, but still the richness of intermingling of tints is not wanting. In self-coloured yarn patterns of a mixture class the patchy character and detachment of individual colours are increased, while the mellowness and toned softness of the composition are diminished.

56. _Elements of Mixture Colouring._--All mixtures require mellow treatment as to colour constituents. Patterns of this order should not be characterized by a patchy, but by a tinted appearance; every hue employed should be useful in composing an indefinite series of minute and closely mingled colour effects. To produce such styles no single hue should be allowed to obtain greater distinction or more prominence than other adjacent colours. Bright colours like red, crimson, blue, and yellow, seldom require to be used in large quantities. Black and white, browns, tans, medium blues, medium greens, olives, and other toned and tinted colours, form the main colouring of mixture compositions: the more potent hues find a province in enriching and imparting lustre into these patterns.

The principal colours should generally be of a tempered type; still, it is important to use bright and decided hues. Murky, dull, and insipid shades should be avoided, as they are only capable of yielding dingy effects. The fragmentary nature of mixture colourings largely affects the lustre of the pattern resultant. Two colours which, when combined in large quantities, may possess congruous attributes, on being broken up into particles and intermingled lose lustre. In blending colours in the natural state, the separate hues are distinguishable after carding, for each, in the carded sliver, helps to constitute quite a new and additional shade. If, for example, claret, fawn, and bright orange wools, in quantities of four parts of claret and one part of fawn and one part of the orange were scribbled together, neither the orange, fawn, nor claret would in the resulting “blend” possess precisely its original hue. Traces of each would be noticeable, but a species of indefinite drabbish-brown mixture, streaked with filaments of orange, would be the composition obtained.

57. _Importance of Pure Materials._--Bright and lustrous mixtures can only be secured by using pure wools. Such colourings are not feasible in the low materials used in making some classes of woven goods. Scotch mixtures will always excel in brilliant tinting so long as fibres of a mungo, shoddy, and extract class are rejected by manufacturers north of the Tweed. Having a good foundation to work upon--a fibre that will not only take a vivid colour but retain it--Scotch textures, notably Bannockburn and heather mixtures, are unsurpassed in lustre and mellowness of toning. Mixtures made in centres of the low woollen industry are not comparable with them as regards freshness of colouring. Of course, a passable imitation of the pure wool production is made, but the fabric lacks not only bloom and fulness of colouring, but quality and softness of handle. How is it feasible to get these elements of good mixtures developed to the same degree in these inferior articles, made of materials which in some instances have been utilized time after time in made up garments, and as frequently ground up or reduced to filaments, scribbled, spun into yarn, and woven into a marketable fabric, as are obtainable in the genuine woollen texture? If mixtures bright in colouring are to be acquired, resource must be had to wools of a sound quality. Stress is laid upon these points because they lie at the basis of good colouring in mixture styles; and also on account of the necessarily futile attempts made by some manufacturers to secure corresponding richness of composition in a mungo, or partially mungo production, as characterizes an all-wool article, which it is important to understand is totally impossible, for the simple fact that the better the raw material, the more lustrous the coloured effects secured.

[Illustration:

Plate XII. CHART Of SCHEME OF COLOUR STANDARDIZATION. Originated and Compiled by the Author and Mr. Thomas Hollis]

58. _Several Classes of Mixtures Compared._--The diversity of mixtures, acquired by blending several shades of fibres, is very large, comprising an infinite range of light, medium, and dark effects, in both woollen and worsted fabrics. There is, however, one quality characteristic of every species of this type of mixtures, namely, a rich, mottled aspect of colouring. Whether considered in the fibrous state or in the woven fabric, this mingled but continuous poly-tinted appearance is noticeable. Where the separate hues occur, and are lost to view, or how numerous they are, it is only possible to determine after careful examination. All the hues are scattered equally throughout the mixture, hence the blend in every part possesses similar qualities of bloom and diversity of tinting. These mixtures may be distinguished from those obtained by other processes, by the manner in which the various colourings are intermingled.

If a mixture fabric made on this system were compared, by analysis, with one got by using twist yarns, or by threads of divers colours in both warp and weft, some interesting results would be obtained. To dissect a mixture fabric produced by “blending,” the yarns of which the texture is composed would require to be reduced to the original filaments. The proportions in which the colours are combined, are far more difficult to arrive at than the nature of their hues. Having by this method secured the exact colour elements, some data has been discovered upon which to base experiments, which, if properly conducted, will lead to the determination of the quantities in which the colours have been combined in the production of the composition. Ordinary twist-yarn mixtures do not offer so many difficulties to the analyzer. First, as to their colour constitution: this is easy to discover if the different kinds of threads are classified, which can be done by unravelling the texture. Next, ascertain the colour composition of each by untwining the twists or separating the threads used in their construction. By adopting this system,of analysis, both the exact hue of the colours and the quantities in which they have been combined may be obtained. The reason why the routine of dissection is, in this case, comparatively simple, is because the coloured factors of the fabric may be feasibly separated, whereas in the preceding class of mixtures the isolation of the various hues of the filaments employed is more difficult to effect. To discover the composition of a mixture in which self-coloured yarns have been used, it is only necessary to ascertain the methods of warping and wefting, or the plan of combining the yarns in the production of the fabric. Evidently, in these two last styles of mixtures, exact analysis of the colourings, both as to quantities and hues, is quite feasible, but in the first kind the proportions, as well as the precise colours, are difficult to acquire.

59. _Simple Blends._--The most economical species of mixtures belonging to this class is that obtained by combining any one colour with white. Mixtures of this kind may be defined as tinted wools, for the process of production exactly coincides with that of forming tints with pigments. They differ, however, from the latter in appearance. A tint obtained by mixing red with white, for example, constitutes quite an even surface of pink; but mix white and red wools in similar quantities, and something more than a rose compound is produced, namely, a mottled, intermingled colouring, whether seen in the material, yarn, or piece. Equal quantities of blue and white, green and white, and orange and white wools, all form colourings streaked with their composing hues. It will be evident that this class of colour amalgamation opens up a wide field for investigation. First, there is the range of colours with which white may be associated, comprising both positive and tempered hues of a primary, secondary, and tertiary character. Second, there is the considerable diversity of proportions in which the elements forming the mixtures may be combined; for either the white or colour may preponderate, or the two shades may be equally mixed. In addition to these mixtures, which are of the most elementary class, there are those resulting from blending black with other colours, and from compounding materials of two or more colours. The two former kinds are utilized in the manufacture of yarns for serge dress textures, for which fabrics they are particularly well adapted. The tints and shades on Plates IV. and VI. illustrate the results obtained by this scheme of blending. In combining wools, however, or other materials, though the same proportionate quantities of tinting and toning elements were used as in forming these examples, still compounds of a somewhat different character would ensue, arising from the colour factors being of a fibrous character.

60. _Blends of Wools and Pigments Compared._--It is important that the dissimilarity between wool and pigment mixtures should be thoroughly understood; for it will be quite evident from the nature of these substances that, though in each the same quantities of similar colours were blended, yet the resulting compositions would be characterized by many features of difference. To these reference will next be made. When two or more shades of wools are amalgamated, each colour--however well the materials are grouped and intermingled in scribbling, carding, and spinning--retains its individuality of hue, which, of course, is opposed to the law of pigment combinations, in which all traces of the original colours, as separate hues, disappear by admixture. Still, when fibrous materials are associated, a sort of new shade, streaked more or less with its composing elements, is obtained. For example, a species of bluish-fawn mixture would result from blending wools as follows:--

9 parts of dark brown. 6 parts of fawn. 4 „ „ pale blue. 4 „ „ green.

But while the resultant composition in this example might be designated a kind of fawn, yet, if it should be closely examined, the brown, pale blue, and green would be discovered, which give bloom and saturation of tone to the whole shade. Providing the same elements were mixed in pigments, they would yield quite a different result. In only one particular would it correspond to its wool contemporary--it would be a fawn shade; more murky and dingy, however, and scarcely recognizable as being composed of exactly the same colours in like proportions. When paints are mixed, all colours, as individual hues, are totally obliterated, hence a shade is formed in this instance in which the green and blue can hardly be distinguished, the brown and fawn with which they are associated largely neutralizing their effect.

Of course their presence is perceivable, but not to the same degree as in wool mixtures, for the simple reason that, whereas in this latter instance, the fibres of blue and green are mixed and grouped with those of brown and fawn, and the four colours in association form a brownish-fawn mixture, tinted with each of its colour elements, in the case of pigments the particles of various colourings entirely disappear, and combine to constitute a perfectly new shade of somewhat indescribable qualities. It follows that, in one sense, fibrous blends of colours are more effective than those of pigments, for they not only possess the nature of new shades, but the several hues of which they are composed are kept unchanged, enhancing the beauty and intensity of the whole combination. Each colour of filament remains, and is traceable in the mixture as a separate hue, and thus a pleasing and attractive compound is obtained; one, moreover, only producible by blending different colours of fibrous materials. These effects are alone seen in woven textures, and in that class of fabrics in which the colours have been blended prior to weaving or in the carding operations. Should twist yarns be employed instead of various hues of fibres, a more patchy colouring results (see Pattern 2, Plate VII.); one, indeed, in which the colour factors are more prominently separated, and hence devoid of those qualities of neatness and softness invariably associated with mixtures produced in the processes of scribbling, carding, and spinning. Passing to mixtures got in the loom by self-coloured yarns, a still further divergence from a one-shade mixture, resulting from blending several colours, is obtained; for here the several tints employed remain quite detached and distinct. Undoubtedly, in woven fabrics, the most elegant style of mixture is that secured by combining the colours in the material form, or in mixing them in the production of the thread; which method produces a promiscuous shade, tinted, freshened, and brightened with every element of colour entering into its composition; and which constitutes, moreover, quite an evenly-balanced colouring.

61. _Modes of Testing Compositions of Colours._--Two methods of testing the effect of combining different shades may be practised. First, the most handy system consists in mixing various colours of pigments. Although it is barely possible to represent in this manner the precise result any compound of shades would have in textile materials when scribbled, carded, and spun into yarn, still a fairly accurate idea of the tone and general aspect of a mixture of tints may thus be arrived at. Tests of this kind also serve another purpose--they foster a taste for colouring, and develop the faculty of judging the depth and brilliance of the tone and tint of mixtures in general. This method of testing new sets of colours for mixtures is important. The pigments should be used in solution, which, for convenience, may be kept in small bottles, so that, in mixing, the minutest quantities can be readily and accurately measured off. When thus working with liquid colours, in order to properly test any group of shades, a surface should first be prepared of the principal colour in the mixture. Should this be black, brown, or any other dark colour, it will be necessary to mix the bright colours with white. After the body of the mixture--that is, in this instance, the black or dark brown--has been obtained, the whole should be completed by stippling on to it the other colours in succession, care being exercised not to apply a new colour before that previously used has become perfectly dry. Let an illustration be considered. A mixture of colours which it is required to put through this test is compounded thus:--

4 parts of black. 2 parts of medium green. 3 „ „ scarlet. 1 part of white.

The first process would be to prepare the black surface, employing for the purpose four parts from the bottle containing this pigment in the liquid form. After this has been done, the scarlet, which requires to be first mixed with white, would be stippled over the black, leaving intervals or small patches of the black ground uncoloured. The scarlet dried, two parts of green would be similarly added, and lastly one part of white. In each addition of colour minute spaces should be left of black, and when the last tint has been applied, there should be distinct streaks of the several colours, the black, of course, largely preponderating. If this routine is carefully observed, almost any variety and proportions of colours may be represented. Necessarily there is an absence in the blend thus acquired of that mingled colouring so characteristic of wool mixtures, but still the result is sufficiently accurate to enable the colourist to form a just conception of the value of any shade composition.

Now for the second method of experimenting with colour elements in the origination of new mixtures. Here, wools are used; small hand cards being constructed for the purpose. This is obviously the best system when the exact shades of wools can be acquired, but this is often both difficult and expensive. Where the spinning of mixture yarns is a speciality, it is, however, advantageous to have a small stock of wools in as many shades as possible, which the colourist can have access to and blend in any proportion his ingenuity may suggest.[11] In adopting this practical system of experimenting, the several colours selected for combination ought first to be compared on a convenient surface, preferably black, and then the quantities of the separate tints determined upon. This accomplished, mixing would follow, which consists of placing the various samples on the wire of two hand cards, and then passing the teeth of one card between those of its companion till the filaments have become as perfectly mingled as if the work of mixing had been effected by the scribbling and carding operation. Assuming, for the purpose of illustration, the colours selected to be brown, blue, fawn, and sage-green, and the proportions as follows: 3 parts of brown to 1 part of each of the remaining shades, then, providing the quantities have been weighed off, the several shades would be combined and mixed by the process just described. Care must be exercised not to overload the cards, or blending will only be imperfectly accomplished. Concluding that “carding” has been satisfactorily effected, a compound shade of a slatish or smokish class will be the result, which will contain visible traces of all the colour elements of its composition, namely, of brown, blue, fawn, and sage-green.

Both the “pigment” and the “fibrous” systems of experimenting with colour for blending purposes should be extensively practised. The former may be adopted with success when wools are not accessible, while the latter gives a result identical in every respect to that acquired in manufacturing operations.

62. _Mixtures composed of Two Shades._--These are of three kinds; first, those in which white is a factor; second, those in which black is used; and third, those in which two fancy colours, other than black or white, are combined, as brown and lavender, purple and gold, and tan and drab. Mixtures of this kind may not only be economically produced, but are simple and neat in composition. Many of them are largely used in the production of both woollen and worsted yarns, and are produced in light, medium, and dark shades. In textures where a neat effect is requisite, they make most satisfactory combinations. Still, they lack diversity of tint; and, as compared with blends containing a larger assortment of colours, they are characterized by tameness. Of course their degree of freshness and lustre is proportionate to the brightness of the hues amalgamated. If these are washy and murky, the resulting combination will be unsatisfactory. While it is impossible to enumerate all the colours suitable for this species of blending, yet it may be remarked that one of the hues should, at any rate, possess bloom and force of tone; not necessarily harshness of hue, but fulness of tint and definite emphasis of shade, in order that it may be capable of affording colour character to the mixture in which it is used. Such colours as claret, maroon, deep purple, russet, chocolate, tan, warm olive, full-toned drab, blue, and green drab, are appropriate for this purpose.

63. _Compounds of Two Colours in which White is used._--Blends of this class are both numerous and important. They are of many tones, depths, and intensities. Three illustrations are given on Plate XIII., comprising light and medium compositions. The first specimen (No. 1) results from mixing 3 parts of white with 1 of brown; the second (No. 2) is composed of 3 parts of fawn and 2 of white; and the third (No. 3) consists of 3 parts of reddish purple and 1 of white. In the first and last of these mixtures the proportions are the same, but in the former, white is the prevailing, and brown the subordinate tint, while in the latter, lavender is the main element, and white simply the secondary factor of the blend. This leads to the consideration that in forming such mixtures it is imperative to determine, in the first place, whether white or the colour element, whatever that may be, is to preponderate in the mixture about to be produced. Having decided upon this point, some calculation should be made as to the extent in which one element is to be overpowered by the other. The illustrations will assist us in the solution of this problem. Starting with the brown and white combination, it is quite apparent that, in this instance, it has been sought to acquire an effect of a light character, one, in a word, just tinged or toned with a brownish element. As a consequence, white should preponderate, but the point arises to what degree. If the proportions were four parts of brown to one part of white, the mixture would be too pale; if three parts of white and two parts of brown were combined, the mixture would assume a dark cast, for the brown element would be too potent; hence the proportions from which the illustration has been obtained are the most appropriate for producing a light-shaded compound. Results of this kind can only be arrived at by experiment. Theory merely expounds the principles of the art, practice alone can illustrate and verify them. With pigments, the reader may acquire much useful and reliable knowledge of these combinations; or by dyeing for himself in a small vessel a number of different shades, which is no difficult task, and using the hand cards alluded to in a previous paragraph, he may become a competent and skilful combiner of fancy shades for mixture yarns.

[Illustration: Plate XIII

BLENDS OF COLOURED WOOLS]

64. _Illustrations in Mixtures composed of White and a Second Colour._--Mixture 3, Plate XIII., is compounded of reddish purple and white. It is suitable for either worsted or woollen yarns intended for dress goods made in the plain weave or in the simple twill. It also forms a yarn capable of giving good results when blended with Mixture 1 of the same Plate. Stripes and check patterns formed of these two mixtures, make very neat and attractive styles. The pinky aspect of Mixture 3 causes it to be applicable to textures for ladies’ costumes, in which brightness and warmth of colouring are often a valuable acquisition to the fabric. The white beautifully softens the red purple, the two shades in union, and in the proportions rendered, forming a satisfactory mixture.

The remaining sample in these mixtures (No. 2, Plate XIII.) is the most suitable for tweeds, yet considered. As a compound shade, it possesses many excellent features for both summer and autumn styles. Here, as already stated, white is the minor element of the composition. While in the two preceding examples it predominates, here it simply acts as a tinting factor which gives softness and mellowness to the green drab forming the bulk of the mixture. The utility of white for this purpose is thus clearly seen.

Below are furnished some additional examples in this description of mixtures:--

I. 3 parts of light bluish drab. 1 part of white.

II. 3 parts of tan. 1 part of white.

III. 3 parts of olive brown. 1 part of white.

IV. 3 parts of slatish fawn. 1 part of white.

V. 2 parts of deep chocolate brown. 2 parts of white.

VI. 4 parts of chocolate. 1 part of white.

VII. 6 parts of white. 4 parts of deep slatish blue.

VIII. 3 parts of white. 2 parts of fawn.

Nos. I., II., and III. are specially suitable for yarns employed in the manufacture of dress and other thin fabrics of a bright and cheerful tone. No. IV. is an interesting compound after the nature of No. 2, Plate XIII., but deeper and stronger in cast. Such mixtures are most useful in the production of fancy tweeds and woollen and worsted textures intended for men’s wear. Blends V. and VI. are also appropriate for tweed goods. They are both of a brownish character, but the latter is the darker and more pronounced in tone. No. VII. might be defined as a slatish blue mixture. It makes a good fancy yarn, and, in fine worsted, a thread suitable for thin fabrics for costumes. The last of these combinations possesses a very mellow appearance. The fawn is a shade between olive and brown, approaching a species of tan. By altering the proportions to three parts of fawn and one part of white, an excellent mixture results, which might be used in combination with No. VIII. in the production of checks and stripes and a large diversity of other patterns.

65. _Mixtures composed of Black and another Colour._--These, if anything, have a more extensive application than the mixtures just alluded to, and are probably more diversified in composition and colouring. They are largely employed in the production of yarns for dark and medium-shaded goods. As the illustrations furnished on Plate XIII. indicate, many useful combinations may be obtained on this method. The first example (No. 4, Plate XIII.) that may be considered, is a russet-brown mixture. Probably, the russet is a degree too warm, but, for some purposes, the blend is all that could be desired. Bloom, mellowness of cast, and rich fulness of tint are its chief characteristics. As a tweed mixture produced by using two colour factors, it is invaluable. It contrasts with the following mixture, No. 5 of the same Plate, which results from blending one part of black with one part of light olive. The olive used is more drab than orange, and in association with the black assumes a greenish cast. By combining yarns made of this mixture with yarns made of the preceding mixture, some good patterns might be produced, simple, but neat in composition; the streaks of russet in the one harmonizing and contrasting with the filaments of olive in the other. The qualities of bloom and warmth lacked by this latter example are possessed by the russet blend, while the mellow characteristic of the olive mixture, when associated with the russet, yields a compound colouring of tasteful properties.

But one further illustration, No. 6, Plate XIII., in this species of blend calls for description, namely, a black and fawn combination in which fawn is the principal hue. It is illustrative of the diversity of effect that may be acquired by mixing two colour elements. As the fawn composes the bulk of the blend, it possesses, when viewed at some distance, a brownish tone, but on closer examination the small flakes of fawn colouring assume a rich bloom as well as a soft, mellow aspect.

Other examples in this style of mixture, not illustrated, may be briefly described, the colourings of which are:--

I. 5 parts of black. 2 „ tan.

II. 1 part of black. 1 „ tan.

III. 6 parts of black. 3 „ bluish green.

IV. 4 parts of black. 5 „ dark purple.

V. 3 parts of black. 2 „ sage green.

VI. 4 parts of black. 3 „ drabbish fawn.

VII. 4 parts of black. 1 part of lilac (medium shade).

VIII. 6 parts of black. 1 part of rose pink.

Combinations I. and II. are quite dark. The former is a warmish, and the latter a somewhat cool colouring. Yarns from these two mixtures harmonize well when associated in the same pattern. The tan used in No. I. is similar to No. 3, Plate IV., and the bluish green to No. 2, Plate VI., but rather more blue in tone. Mixture II. is a medium colouring, suitable for suitings and the general run of fancy tweeds. Warmth, freshness, and lustre are its main and characterizing elements. No. IV. is a unique colouring. It forms an admirable dark thread. A fabric in which the warp is composed of yarns made of this mixture and woven with yarn from Blend I. is an excellent combination of tints. Mixtures V. and VI. are both of a medium tone. No. V. is rather dull in tone as compared with No. VI., but both are useful colourings. Blends VII. and VIII. are of a different character. In these examples the colour element is small, but comparatively light and lustrous in tint. The object has been to obtain a black composition just streaked with filaments of a bright shade. The quantity of lilac in No. VII. is just sufficient to change the tone of the black, and to produce a compound approaching a species of grey, but bright and fresh in colouring. No. VIII., though very dark, is cheerful in quality, being suitable for a fancy yarn, or for thin textures for robes and costumes. It is unnecessary to multiply examples of mixtures in this class, as those furnished are typical of the endless variety of combinations which in practice are required by this scheme of colouring.

66. _Grey Mixtures._--Amongst the most useful mixtures resulting from combining two shades are those known as greys. These are sometimes bloomed or enriched with purple or full-toned blue, but they are more frequently constituted of black and white simply. Ranges of fancy woollen and worsted patterns are rarely made without their use. For ground shades, and also for fancy colours in check and stripe patterns, they are of great utility. Some of the most important and common proportions are as follows[12]:--

I. 6 parts of black. 1 part of white.

II. 5 parts of black. 1 part of white.

III. 4 parts of black. 1 part of white.

IV. 3 parts of black. 1 part of white.

V. 2 parts of black. 1 part of white.

VI. 1 part of black. 1 „ white.

VII. 2 parts of white. 1 part of black.

VIII. 3 parts of white. 1 part of black.

IX. 4 parts of white. 1 part of black.

X. 5 parts of white. 1 part of black.

XI. 6 parts of white. 1 part of black.

The most useful of these combinations are Nos. V., VI., and VII., which are in many instances the only ones used. No. V. is called dark, No. VI. medium, and No. VII. light grey.

To produce a perfectly gradated shade it is necessary to use some five or seven greys, but in ordinary styles, for both woollen and worsted textures, it is not customary to employ a larger number than the three mixtures just named. The following is an arrangement for a shaded pattern in five greys:--

5 or any appropriate number of threads of No. IV. 5 „ „ „ „ V. 5 „ „ „ „ VI. 5 „ „ „ „ VII. 5 „ „ „ „ VIII. 5 „ „ „ „ VII. 5 „ „ „ „ VI. 5 „ „ „ „ V.

Mixtures I., II., and III., form very dark shades; and Mixtures XI., X., and IX., form very light shades; and are only employed in the production of extreme fancies.

67. _Bloomed Greys._--These, as already explained, are greys tinted with some bright hue. The colours generally used for this purpose are very deep purple, rich blue, and red purple. The quantities of such hues are small, but sufficient to impart freshness of tone or lustre to the mixture. Blue is used chiefly in brightening light greys. For example, a much fresher light grey is formed by the following proportions than if black and white were alone used: 6 parts of white, 4 parts of black, and 1 part of blue. Though the blue only constitutes one-eleventh of the mixture, still it imparts freshness. An excellent medium grey, warmed with reddish purple, can be secured thus: 8 parts of black, 4 parts of white, and 3 parts of red purple. Deep purple is one of the most suitable hues for dark greys, as it possesses both the qualities of warmth and lustre, and is a most potent hue. Two examples follow in which it is used with satisfactory results:--

I. 6 parts of black. 2 „ deep purple. 1 part of white.

II. 3 parts of black. 3 „ white. 2 „ deep purple.

Both these mixtures possess richness and depth of tone, and are preferable to the common greys insomuch as they are fuller, more lustrous, and mellower in composition; No. I. is a dark, and No. II. a medium shade.

68. _Coloured Greys._--Mixtures of this kind are mainly compounded of black and white, but the colouring element introduced may be so potent in hue as to impart quite a tinted aspect to the shade. It will be sufficient for the purposes of illustration, to treat of mixtures of this class in which red, blue, yellow, orange, green, and purple, or the primary and secondary hues, are used as the tinting factors. It is very rarely that more than one colour is employed in the same blend, as the examples given will show. Four standard coloured greys, in which red is the tinting element, are as follows:--

I. 1 part of black. 1 „ white. 1 „ red.

II. 2 parts of black. 1 part of white. 1 „ red.

III. 2 parts of white. 1 part of black. 1 „ red.

IV. 2 parts of red. 1 part of black. 1 „ white.

These proportions, giving typical results, will be adopted throughout the exposition of these mixtures; that is to say, when the tinting element is changed to blue or orange, the same quantities will be combined as in those furnished in the above examples.

In No. 1 the shades are blended in equal proportions, hence there is no tint preponderating in the resultant mixture, which is a species of brownish grey, neat in composition, and one that is useful in textile designing. Black predominates in Mixture II., resulting in the production of a more appropriate shade than that formed by No. I. for autumn and winter cloths. Referring to No. III.--white is the chief element, hence a medium compound shade is acquired: somewhat pinky in appearance, owing to the entrance of white and scarlet into the blend, but still the whole is toned and increased in depth of composition by the admixture of black. It is, on account of its richness, more suitable for yarns for dress fabrics than for heavy goods for men’s wear. The same remark applies to Mixture No. IV., in which red is the preponderating hue. But this is a bright and cheerful colouring, and one that makes an excellent fancy yarn. These reddish-grey mixtures all form valuable shades for winter styles, as they are decidedly cheerful and warm in aspect, and produce a kind of pattern both bright and comfortable in character.

Grey, in conjunction with yellow, forms a species of drab mixture, which finds appropriate use in the manufacture of summer textures. Taking the same order of mixing as furnished in the red greys, the following results are obtained:--

V. 1 part of black. 1 „ white. 1 „ yellow.

VI. 2 parts of black. 1 part of white. 1 „ yellow.

VII. 2 parts of white. 1 part of black. 1 „ yellow.

VIII. 2 parts of yellow. 1 part of black. 1 „ white.

The equal quantities constitute quite a drab blend. In this example there is first the association of the black and white elements constituting mid grey, which receives additional lustre from co-mixture with yellow, which tinges the whole composition a drabbish olive. An agreeable variation may be made by employing a bright tan in the place of yellow. On allowing the black element to preponderate, as in No. VI. blend, a much darker result is attained, one, however, in which the olive cast is preserved, though the bulk of the composition is dark grey. A pleasing mixture ensues when white (No. VII. blend) is made the maximum element. It is soft and bright in colouring, and of extensive utility in the production of fancy yarns and fine worsted textures. Perhaps when yellow is the main shade (No. VIII. blend) the cast of the mixture assumes a too ochre-like aspect, but the yarn resulting from this composition has nevertheless its specific province in woven design.

Black and white mixed with blue form a valuable series of mixtures, more or less applicable to all classes of fancy goods. When the quantities of the several shades are equal (1 part black, 1 white, 1 blue), the mixture formed is of a peacock blue tone, streaked with grey. This mixture may be applied both as a fancy and as a ground shade, according to the texture being produced. Increasing the black (2 parts of black, 1 white, and 1 blue) results in the formation of a dark bluish grey, applicable to a large variety of fabrics. By giving preponderance to the white (2 parts of white, 1 black, and 1 blue), a slatish blue grey is obtained, which, in combination with certain brown mixtures, is capable of forming elegantly coloured patterns. When the blue element is the principal hue (2 parts of blue, 1 black, and 1 white), the mid grey, constituting one-half of the compound, assumes a mellow, quiet blue tone, making a mixture specially appropriate for goods, in which cheerful but soft colouring is an important feature of the design.

It is evident, from these examples, that a wide field of colouring is opened up in the admixture of black and white with the primary colours. In the illustrations considered, only four sets of proportions have been dealt with, but by multiplying these it will be obvious that an endless diversity of results, even with these five shades--black, white, red, yellow, and blue--can feasibly be acquired. But when it is taken into account that other hues besides those named are used in combination with black and white, it will at once be seen that the possibilities of this preliminary method of combining colours for textile work are largely increased. The subject cannot be followed further than the secondary colours at this stage: these, in conjunction with the primary combinations just described, will give a fairly comprehensive view of the styles of compound shades obtained in practice by this system.

In the first place, allusion may be made to the admixture of orange with black and white. Should the quantities be equal (1 part black, 1 white, and 1 orange), a drabbish grey is produced, a degree warmer in hue than if yellow were the colouring factor. On doubling the quantity of the black element (2 parts black, 1 white, and 1 orange) a greyish olive mixture tinged with a reddish tone is formed; while a light fawn mixture is produced if the white preponderates (2 white, 1 black, and 1 orange). A tannish grey composition, suitable for fancy yarns, results from the proportionate quantities being 2 parts of orange, 1 part of black, and 1 part of white.

Green, when associated with black and white on this system, does not constitute mixtures well adapted for yarns for fabrics of a heavy description, but yields compounds useful in the decoration of dress and other thin textures. These blends partake of a species of mellow, mingled, greenish grey. Such blends are more pleasing to the eye in woven fabrics than solid green, possessing a softer, quieter, and a more satisfactory tone. Beginning with white, black, and green, equally compounded, a mixture is obtained that may be appropriately described as a slatish green, the grey element imparting to the blend a rich mellow cast. By increasing the black factor (2 black, 1 white, and 1 green), the slatish tone is augmented, because it is due to the association of this shade with the green element of the blend. As black is, in this instance, the principal shade, the mixture, while mellow and greenish, is decidedly deep and full in tone. The employment of white as the leading shade (2 parts of white, 1 black, and 1 green) yields an interesting combination between a pea and a slate green. If the yarn made from this mixture, were associated in the same pattern with that resulting from blend No. III. of the red series, an exquisite assortment of tints would be obtained. It is by blending the yarn product of one combination with that of others that attractive colourings are arrived at. When the proportions are 2 parts of green, 1 part of black, and 1 part of white, the compound has too greenish a cast to be of extensive use in textile designing, hence this mixture is chiefly used in the form of a fancy or lively thread.

Allusion has now only to be made to the purple-grey combinations. First, when the proportions are 1 part of black, 1 part of white, and 1 part of purple, a distinctly purple grey is produced, owing to the extraordinary potency and diffusiveness of this secondary. Making black the predominant factor, a more useful compound from a textile standpoint is acquired; perhaps slatish in cast, but, nevertheless, warm and cheerful in tint. Should white preponderate, a pure slatish grey, just tinged with the warm, lustrous hue of purple, ensues. These two last combinations, in addition to the mixture resulting from compounding 2 parts of purple, 1 part of black, and 1 part of white, are chiefly useful in the form of fancy threads. If purple is employed in grey mixtures, for tweeds, and other medium and heavy textures, it must be in lesser proportions than here given, indeed on the principle indicated in the examples supplied in Paragraph 66.

Many other colours besides the primaries and the secondaries are blended with black and white in the production of mixture yarns, but the illustrations that have been treated of, will enable the reader to arrive at methods of combining other tints or shades, than those supplied in these mixtures--the most useful of all compound shades--namely, light, medium, and dark greys.

69. _Two-Colour Mixtures._--Next to the series of blends obtained by combining black or white with another colour, mixtures resulting from associating two colour elements are the most commonly produced. In addition to being the least costly of all fancy mixtures, into which black and white are not imported, they are neat, simple, and elegant in composition. Examples are given in Nos. 7, 8, and 9, Plate XIII. The first is compounded of 3 parts of bright brown and 2 parts of lavender; the second of 4 parts of claret and 1 part of gold; and the third of 3 parts of tan and 1 part of drab. In mixtures of this class, one shade should always be chosen for constituting the bulk of the compound; and this, of course, should be of such a character as to be suitable for application to fabrics intended for wearing purposes. Turning to these examples, it will be seen that shades of this kind have been adopted as the principal factors, for in one instance, dark brown is the body colour, in another claret, and in the third instance, tan. So that this law of using a comparatively mellow and unostentatious colour for the bulk of the combination has, in this type of mixtures, almost universal application. Alluding specially to the brown-and-lavender blend, the object here has been to secure an intermingled shade of rather more than medium depth. Both colours are prominent, yet they constitute quite a new shade of recognized utility in textile manufacturing. In the claret-and-gold mixture, claret largely predominates, and imparts depth and body of tone to the resulting compound. The function of the gold-coloured fibres is essentially to brighten and freshen the whole. The last example is quite a distinct species, having no common elements with the two preceding, beyond the fact that it only contains two factors of colouring, tan and drab. As these shades are more or less allied in hue, the mixture acquired by combining them is slightly wanting in diversity of tinting; yet it is a style of blend admirably adapted for producing fancy yarns for light goods in woollen materials. Two shades of brown, blue and slate, and olive and drab, similarly blended, would all form creditable mixtures. Some of the Bannockburn blends only contain two colours, though apparently full of variety of tinting. The peculiar nature of the wool fibre substantially contributes to the richness and elegance of these two-colour compounds.

70. _Multi-Shade Mixtures._--The general principles of the art of blending have now been explained, and it is not needful to treat extensively of the remaining kinds of mixtures. By the aid of further illustrations, the methods of combining any reasonable number of colours in the constitution of “stock” for fancy yarns, may be indicated. First, consider the claret-brown blend given in No. 10, Plate XIII., and composed of 4 parts of claret, 1 part of drab, and 1 part of gold. The colours combined not only harmonize when mixed, but also when separated. If any one of the colours were removed, the combination would be incomplete, showing the perfect union of the tints selected. Should four colours be blended, increased freshness and lustre of combination may be acquired, as is instanced by No. 11, which consists of 4 parts of black, 2 parts of drab, 1 part of scarlet, and 1 part of white. As in the previous example, a dark shade is here employed for the bulk of the mixture, the other tints combining to impart brightness to the whole colouring. The touch of scarlet is very appropriate, giving warmth and tone; the drab is useful as a filling-in factor, while the black and the white give that general mellowness which characterizes the whole blend. Another example, No. 12, of a dark description is a compound of three colours, blended thus:--

2 parts of purple. 1 part of orange. ½ a part of warm slate or smoke colour.

The orange should be verging on scarlet, and the purple possess a claret-like hue. A pleasing mixture is thus acquired, one in which the distinguishing features are mellowness and beauty of tone, combined with warmth and richness of composition. Purple and smoke colour are utilized in furnishing that peculiar varied tinting that constitutes the main element of the mixture, while the orange introduced affords brilliance, bloom, and warmth of hue. Other combinations are as follows:--

DARK BLENDS.

I. 4 parts of brown. 2 „ light brown. 1 part of lavender.

II. 4 parts of brown. 1 part of sage. 1 „ scarlet.

III. 6 parts of maroon. 1 part of medium green. 1 „ scarlet. 1 „ bright blue.

MEDIUM BLENDS.

I. 4 parts of brown. 2 „ light olive. 2 „ white.

II. 4 parts of claret. 3 „ white. 1 part of gold colour.

III. 8 parts of black. 2 „ white. 3 „ orange.

LIGHT BLENDS.

I. 4 parts mid brown. 1 part of drab. 1 „ white.

II. 2 parts of brown. 2 „ white. 1 part of fawn.

III. 4 parts of chocolate. 5 „ white. 2 „ orange.

71. _Twist-Yarn Mixtures._--Recurring to the three great classes of mixtures defined at the beginning of this chapter, twist-yarn mixtures were included in the second group. For many reasons they are not so extensively produced as raw-material mixtures: thus, they are more costly; they do not generally yield such elegant effects; and they lack that brilliance of colouring so universally characteristic of the latter description of mixtures. The twist used for this purpose includes two-, three-, and four-ply yarns, and curl, knop, cloud, and other fancy threads. Black and white twist mixtures in woollen, worsted, and cotton goods are extremely common. A more marked, and perhaps more streaky class of effects, is obtained by using these yarns than by employing mixture threads. If the twists were of the cloud kind, real spangles, more or less elongated, of black and white shades would be formed in the woven fabric; whereas if curl twists were adopted, loops of black and white would be irregularly spread over the surface of the cloth. Generally, the most elementary weaves are used in the construction of these goods, such as the plain make, and the common four-end and six-end twills. In worsteds, large quantities of these mixtures are made, the finest of these threads yielding a satisfactory species of intermingled colouring.

72. _Marls._--A series of grey and coloured mixtures obtained by the second method of blending (Class C, Par. 55) is illustrated in Plate XIV. These yarns show the principle of obtaining a marl mixture worsted thread, after combing and drawing, or in the operation of roving. An intermediate style of mixture is thus produced between that due to blending coloured slivers in drawing, and that due to folding or twisting two or more coloured yarns into a compound thread. The blending of the coloured elements is not, on this system, so complete as by the first method; nor yet are the specks of colour so distinct as in mixture yarns obtained in twisting. “Marls” made in this way are combined in stripe and check patterns with similar mixture yarns developed by doubling or folding.

The proportionate quantities of black and white in Series A and A′, and of black and a colour in Series B, B′ are as follows:--

PLATE XIV.

MARLS, SERIES A AND B. Specimen I. = 1 black thread twisted with 1 marl thread = 25% white or colour and 75% black. II. = 1 black thread twisted with 1 marl thread = 50% white or colour and 50% black. III. = 1 black thread twisted with 1 marl thread = 75% white or colour and 25% black. IV. = 1 marl = white or colour 25% and black 75%; twisted with 1 marl thread = 25%white or colour and 75% black. V. = 1 white thread twisted with 1 marl thread = 25% white or colour and 75% black. VI. = 1 white thread twisted with 1 marl thread = 50% white or colour and 50% black.

MARLS, SERIES A1 AND B1. Specimen I. = 1 marl thread = white 25%, black 75%; twisted with 1 marl thread = white 25%, black 75%. II. = 1 marl thread = white 50%, black 50%; twisted with 1 marl thread = white 25%, black 75%. III. = 1 marl thread = white 50%, black 50%; twisted with 1 marl thread = white 50%, black 50%. IV. = 1 marl thread = white 75%, black 25%; twisted with 1 marl thread = white 50%, black 50%. V. = 1 marl thread = white 75%, black 25%; twisted with 1 marl thread = white 75%, black 25%. VI. = 1 white thread twisted with 1 marl thread = white 75%, black 25%.

In Nos. I. to V., Series A′ and B′, each yarn is composed of two marl threads twisted together, but No. VI. consists of a white thread twisted with a marl; and in Series A and B, Nos. I., II., and III. are composed of a marl and black: No. IV. of two marls, and Nos. V. and VI. of a marl and white.

[Illustration: Plate XIV

SPECIMENS OF “MARL” YARNS]

73. _Weave Mixtures._--These are least manufactured of any of the three classes of mixtures. They result from intermingling self-coloured yarns in the loom. Plain and other elementary weaves are alone suitable for producing these effects. It is usual to have the warp of one colour, such as grey, and the weft of two or more colours; or the warp of two or more colours, and the weft of one. In neither of the two foregoing classes of mixtures could anything approaching a repetition of effect be traced in the woven sample, whose surface is invariably one mass of mottled tinting. For an analysis of the principles on which these patterns are acquired, the reader is referred to _Woollen and Worsted Cloth Manufacture_.

FOOTNOTES:

[11] In the Standardization Colour Scheme these initial colours, as the principal in the blend, are stocked. Bright or fancy colours might be dyed, in addition, for toning purposes.

[12] See also Par. 52 and Plate XII.