CHAPTER VII.
CHECK PATTERNS.
101. Utility of Check Styles--102. Principles of Checking--103. Several Styles of Checks. CHECKS COMPOSED OF TWO COLOURS--104. Forms of Checking in Two Shades--105. Common Check--106. Modification of Common Check--107. Check consisting of Two Sizes of Squares--108. Pattern composed of Solid Squares and of an Over-check--109. Counter-change Check--110. Compound Checking--111. Gradated Check--112. Broken Check in Two Colours--113. Basket Check. CHECKS COMPOSED OF THREE OR MORE COLOURS--114. Principle of Checking with Three Colours--115. Ordinary Three-shade Check--116. Set Check--117. Compound Checking in Three Shades--118. Counter-change Check in Three Shades--119. Interchanging Check--120. Counter-change with Over-check. SHADED AND IRREGULAR CHECKS--121. Shaded Check in Black and White in Cassimere Twill--122. Shaded Check in Two Colours due to using Designs composed of Various Weaves--123. Irregular and Mixture Checks--124. Fancy Broken Check--125. Examples in the Colouring of Tartans--126. Types of Tartans--127. Two-colour Plaids--128. Three-colour Plaids--129. Four-colour Plaids--130. Five-, Six-, and Seven-colour Plaids.
101. _Utility of Check Styles._--Checks form one of the commonest types of patterns developed in woven goods. They obtain in all species of colouring, such as subdued and tempered shades, and bright and lustrous tints. They are characterized by diversification of arrangement, outline, and dimensions. As a rule, the check styles appearing in cotton, silk, and worsted yarns are clearer in pattern than those produced in woollen fabrics, which are frequently more or less indistinct and intermingled in composition. Possibly no form of design or method of grouping shades is more extensively worked than that of checking. It affords scope for novelty of pattern construction. Figured goods occasionally possess a checked surface of mellow colouring, on which the floral or geometrical design is distributed. Not infrequently this check groundwork enhances the fabric and pattern in which it occurs, giving diversity of surface to the former, and developing with suitable precision the integral parts of the latter. But in addition to this principle of textile design being utilized in figured fabrics according to the system indicated, it is adopted in the construction of a wide series of styles. Shawls, mantlings, shirtings, flannels, suitings, coatings, dress fabrics, and other classes of textiles are coloured with this description of pattern. For dress materials and shawls, tartan and plaid checks are produced in a great variety of shades and systems of blending; in tweeds, ulsterings, and Irish homespuns, somewhat loud and broad checkings are applied, generally soft in colouring. When suitings and coatings are considered, the checks are usually small in size and neat in colour.
Checks vary in size and form from minute squares to patterns consisting of solid squares of colour several inches in a repeat; and from compact rectangular spaces of colour to intermingled line patterns, but which still form a decided square or check design.
102. _Principles of Checking._--There are many systems of checking, yet there are some principles of construction common to every class of check pattern. For example, whatever plan of colourings obtains in the warp, in order to make a perfect check the same set of colourings must be employed in the weft. This is the ordinary method of checking; it is the crossing of the warp shades with corresponding weft shades which constitutes the square or check divisions. All checks are formed of rectangular spaces of colours. Such designs may be defined as compositions of squares of various sizes, of distinct shades fitting into each other to form a complete pattern. When producing these styles, the first work to be accomplished is the arrangement of the warp threads, which will determine the plan of the check. Supposing this to be, for instance, the pattern given in Fig. 14 on page 111, then, in order to convert it into a check, the same order of wefting as warping would require to be adopted, which would yield a large check of black--formed by the eight ends of this shade in the warp and weft--filled in with a series of outline checks of white surrounding solid squares of black; or consider the tartan plaid given on Plate X. It is a plaid comprising in each repeat several sets of checks or square divisions. First, there are the line checks of yellow, lavender, dark green, and white; second, the squares of blue; third, the squares of scarlet; and fourth, the main checks of green. These various squares are so combined as to make a perfect pattern, or one in which each rectangular space neatly fits into the squares of colour with which it interchanges. In producing such a fabric, the system of colouring the warp is primarily determined as indicated, the wefting being a counterpart of it; though not necessarily so, because the idea is rather to maintain the clear squares of colour than precisely the same number of shots or picks as threads per inch.
[Illustration: Plate XVII FANCY TWEEDS]
It will be obvious that on this principle any form of check may be acquired; for by colouring, say, the shaded stripes given on Plate XVI. in the weft as in the warp, shaded checks would result. There is, however, one technicality to be considered, which adds to the intricacy of this kind of pattern construction, namely, the weave of the fabric. So long as the weaves employed, float the warp and weft equally and regularly on the respective sides of the fabric, the same balance of colouring is acquired in both the direction of the warp and weft; but should the weave bring more warp than weft, or more weft than warp, on to the face, then whichever factor predominates, it will be impossible to obtain a check style in which both the warp and the weft colouring will be equally pronounced. If, for instance, Fig. 13 were changed into a check, in order to obtain the same precision of white colouring across as lengthways of the piece, some alteration in the structure of the weave would be necessary. This will be evident on consulting Fig. 13A, the plan of the weave of this striped fabric. It will be observed that this weave floats ⅘ths of the warp to ⅕th of the weft on the face; hence, if it should be used as here given, and the same order of colouring practised in the weft as in the warp, the white lines in the weft would be less distinct on the face than on the back of the cloth, for they only cover one thread out of five. To get a similar prominence of white in the weft as is seen in the warp of the fabric, the weave would have to be extended to twenty threads and picks, and the 19th and 20th picks modified in such a manner as to bring ⅘ths of the weft ⅕th of the warp on the face of the texture. When, as in common twills and other simple weaves, there are equal quantities of warp and weft yarns appearing on both sides of the fabric, no difficulties of this kind arise in converting a stripe into a check pattern.
There are various kinds of “broken” checks in which the combination of warp shades is made to appear like a check by weaving it with some order of weft colouring which, while forming a series of transverse lines of colour, will develop the fancy yarns in the warp which constitute the main element of such patterns. These, as well as other recognized types of checking, which are particularly effective in the woven fabric, and illustrative of the general principles of this class of textile colouring, will now be described.
103. _Several Styles of Checks._--Check patterns may be classified under three heads, as follows:--
I. Checks composed of Two Colours. II. Checks composed of Three or more Colours. III. Shaded and Irregular Checks.
A considerable range of patterns is obtained in two shades; if the principles of checking with two shades are fully mastered, the more advanced species of check designs in which a large variety of colours obtains, will be readily understood. Indeed, it may be said that checks of three or more colours are elaborations of two-shade patterns. When a diversity of colours is employed, it does not follow that large quantities of each shade are used, but as a rule two shades compose the general cast of the pattern, while the additional hues are so many brightening factors. The art of checking consists in the skilful application of two or more shades, so that several useful schemes of grouping the threads in such patterns may be considered separately.
Intermingled and irregular checks are composed of square spaces of colour lacking clearness of character, and are useful for tweeds and certain classes of worsted goods.
CHECKS COMPOSED OF TWO COLOURS.
104. _Forms of Checking in Two Shades._--These are illustrated in Figs. 15 to 23 inclusive. The illustrations furnished are typical of the different systems of combining two shades in making check patterns. The forms of checking are, strictly speaking, unlimited. Beginning with the smallest check, consisting of two ends of a dark and two ends of a light shade alternately, the forms increase in intricacy and dimensions until patterns of several inches in size, and comprising several types of checking, are acquired.
105. _Common Check._--The commonest form of check is given in Fig. 15. It results from arranging the warp and weft threads as follows:--
8 or any number of threads of black. 8 „ „ „ white.
Of course the number of threads of each colour, as well as the shades, may be varied. This style of check is worked in shepherd plaids and in other patterns, and in all kinds of materials. The weaves generally employed are plain, cassimere twill, and mat, each make giving suitable clearness to the colours.
[Illustration: FIG. 15.]
[Illustration: FIG. 16.]
106. _Modification of Common Check._--Fig. 16 shows how, by a simple variation in the order of colouring the common check, it may be changed in character. This modification destroys the stiffness of the pattern. The plan of colouring in this example is as follows:--
8 threads of black. 8 threads of white. 2 „ white. 2 „ black. 8 „ black. 8 „ white.
An outline check of black is thus arranged to divide the squares of white into four sections, and an outline check of white to similarly divide the squares of black. It is a neat and useful form of pattern. Though only consisting of two shades, it comprises five effects, namely, solid squares of black, white, and squares of black and white equally mixed; and also of outline checks of black and white. Other colours besides those in which it is sketched are used in great variety, and it is a style applied with satisfactory results to rugs, shawls, dresses, cottons, woollens, and worsteds, being altered in size in the several fabrics according to the degree of loudness required.
[Illustration: FIG. 17.]
[Illustration: FIG. 18.]
107. _Check consisting of Two Sizes of Squares._--Another valuable form of check, and one that is extensively utilized, is that in Fig. 17. It is a combination of two sets of squares of different sizes; it is given in the most elementary form, the plan of colouring being twelve threads of black and six threads of white, but it is rarely employed without being subjected to various modifications. Some of these modifications may be alluded to. In the first example, the large checks of black, and also of white, are bisected. This is done without increasing the shade, as follows (Fig. 18):--
5 threads of black. 2 threads of white. 2 „ white. 2 „ black. 5 „ black. 2 „ white.
In this way, the stiffness of the pattern is removed and a check obtained on the same base, but containing fuller variation of construction. Secondly, the square of black might be warped and woven thread and thread, while the square of white should remain solid, making a pattern suitable for flannel shirtings. One further modification to which this style is subjective, consists in bisecting the square of black or of white, but preferably the former, because it contains the largest number of threads.
[Illustration: FIG. 19.]
[Illustration: FIG. 20.]
108. _Pattern composed of Solid Squares and of an Overcheck._--An over-check is a small line of colour forming a skeleton square, filled in with solid squares of several shades. This base--illustrated in Fig. 19--is employed in dress fabrics, shawls, and ulsterings, and, in small effects, in suitings and mantlings. The yarns are arranged--4 threads of black, 2 threads of white, 4 threads of black, 10 threads of white, 10 threads of black, and 10 threads of white. The characteristic feature here is that only every alternate square of black is bisected, causing the small line of white which divides it to form an over-check equal in size to four of the black or white squares. This outline or skeleton check contains one solid square of black, four squares of white, and four squares of black and white twilled. It is a plan of checking well adapted for plaids produced in two shades, and in such colours as blue and white, black and red, tan and medium blue (Nos. 2 and 7, Plate IV.), and lavender (No. 10, Plate IV.), and lilac (No. 16, Plate VI.). Fig. 19 is but a modification of the common check supplied in Fig. 15; for if the over-check were removed it would be reduced to precisely the same pattern. To obtain a change in this style, one of the squares of white is bisected with fine lines of black, leaving one black and one white check perfectly solid, but dividing one of the white checks into four equal sections. The order of colouring in such an instance would be thus (Fig. 20):--
10 threads of white. 4 threads of white. 10 „ black. 4 „ black. 4 „ white. 2 „ white. 2 „ black. 4 „ black.
This modified arrangement of Fig. 19 is one that is adopted in making this description of check in larger numbers of threads than here given, say twenty threads instead of the tens, and the other numbers similarly doubled. Patterns of these dimensions are mostly produced in bright or delicate colours for fabrics in fine worsted and cotton yarns.
[Illustration: FIG. 21.]
[Illustration: FIG. 22.]
109. _Counter-change Check._--A counter-change check is a pattern in which the several sets of squares are exactly reversed; thus, in Fig. 21, the checks included in the bracket 1 are just the opposite in shade, but of the same size, as those grouped in bracket 2. It will be noticed that the principal square of black has one square of white at each corner, while the principal square of white has one small square of black at each corner, forming the counter-change which gives this species of checking its designation. The arrangement as here given, obtains development in various materials. It is modified in size according to the fabric to which it is applied. The colourings may be grouped as below:--
8 threads of black. 8 threads of white. 8 „ white. 8 „ black. 16 „ black. 16 „ white.
The style lends itself to numerous schemes of modification, but two or three can only be named. Firstly, bisect the large squares of black with small lines of white, and the large squares of white with fine lines of black; secondly, divide the small squares of the respective shades with black and white lines; and thirdly, combine these two systems of alteration.
[Illustration: Plate XVIII
COMPOUND STRIPINGS IN BRIGHT COLOURS]
110. _Compound Checking._--This is one of the most useful schemes of checking. The example given--Fig. 22--only contains two sizes of checks, but such designs may be composed of a much larger series of different-sized squares. Here the plan of grouping is also elementary, including a set of eighteen small squares of black and white separated by similar-sized checks of white and black twilled, and also a number of large checks of black and white. The colourings are arranged as appended:--
4 threads of black. ⎫ For 24 threads. 4 „ white. ⎭ 8 „ black. 8 „ white. 8 „ black. 4 „ white.
In light shades and colours forming a mellow contrast, it makes a good style, being a check capable of development, and one that may be altered in several ways. Thus the single large square of white is divisible by two ends of black, which produce an over-check that considerably improves the whole pattern. Next, each of the squares of black should be divided with small lines of white, and lastly, both alterations should be combined.
[Illustration: FIG. 23.]
111. _Gradated Check._--This style--Fig. 23--is not so largely employed as those described, but it gives an attractive pattern. The object of the arrangement is to graduate from a series of small to a series of large checks. In the fabric, the respective checks appear to run into each other. No less than eight sizes of squares occur in this example, varying from a check of two to sixteen threads, the order of colouring being thus:--
2 threads of white. 4 „ black. 6 „ white. 8 „ black. 10 „ white. 12 „ black. 14 „ white. 16 „ black.
When using fine materials and high counts of yarns the series of gradations is largely extended, continuing to checks containing as many as forty-eight and even sixty-four threads. Occasionally, the check is graduated from a maximum to a minimum size on both sides of the extreme large square, and not simply shaded off on one side as in the illustration.
112. _Broken Check in Two Colours._--A species of irregular check in two colours is given in No. 1 on Plate XIX. The order of the threads is not intricate, being 8 threads of maroon, 8 threads of green, 2 threads of maroon, and 2 threads of green, and forms a mellow check style. This arises, first, from the corresponding strength of the two shades used; second, from the system of blending practised; and third, from the manner in which the weave distributes the threads. This pattern illustrates what neat effects may be acquired in two shades by an appropriate method of combining colours which contrast and harmonize. The style under consideration is composed of the contrasting colours green and maroon, which, when of corresponding intensities, as in this illustration, produce harmony. This is evident by the sense of completeness which characterizes the style when it is examined. It does not require any additional hue to brighten or freshen it, for it is apparently rich and mellow in colour composition.
The plan of grouping the shades causes the full checks of maroon and green to be in contact with each other, while the two threads of the respective hues give a shaded tone to the pattern--the colours seeming to vanish into each other. When making checks in which softness rather than loudness of effect is desirable, this toning of one colour into another is a very requisite element.
113. _Basket Check in Two Colours._--Basket checks are obtained in two shades, and comprise two sizes of checking. They are produced in both four-and six-shaft twills, and also in fine yarns in the eight-end make. They contain four varieties of work, due to the manner in which the several sets of threads interlace with each other. A reference to No. 2, Plate XIX., will make it evident what is the nature of these effects. This is a basket check which has been woven in the cassimere twill, and in the order of threads which follows:--
For 64 threads. ⎧ 4 threads of slate. ⎩ 4 „ white.
For 48 threads. ⎧ 2 „ slate. ⎩ 2 „ white.
The four-and-four grouping gives the shepherd-plaid effect bracketed A, and the two-and-two grouping the fine and minute checking bracketed B. The remaining effects in the pattern are due to the four-and-four wefting crossing the two-and-two warping--part C,--and the two-and-two wefting crossing the four-and-four warping in section D. In woollen, worsted, and other yarns this style of check is largely developed. In the illustration the sizes of the respective checks are not the same, the large plaid effect extending over 64 and the small plaids over 48 threads; but in some patterns they are exactly of the same dimensions. When the six-end twill is used, the shades are not grouped in fours and twos, but in sixes and threes, as in the example:--
For 48 threads. ⎧ 6 threads of white. ⎩ 6 „ fawn or brown and white twist.
For 48 threads. ⎧ 3 „ white. ⎩ 3 „ fawn or brown and white twist.
One feature in colouring these checks is that no strong contrast of shades is suitable. Seeing that the system of grouping the shades is enough to produce ample diversity of style, loudness of colouring is unnecessary. From the illustration given, it will be seen that there is no marked distinction of hue in the colours combined. Such shades as white, and slate and white twist; white, and brown and white twist; and white, and blue and white twist, all yield patterns of the requisite depth of contrast. These examples are in light shades, but this type of checking also obtains an important place in dark patterns for ulstering and mantling fabrics.
CHECKS OF THREE OR MORE COLOURS.
114. _Principle of Checking with Three Colours._--The principles of design and colouring involved in making check styles in three shades are more intricate than those relating to checking with two colours. More ingenious patterns, fuller of detail and more diversified in composition, are producible with three than two shades. The third colour is important and valuable in toning and mellowing the check arrangement. Thus, supposing a light and dark shade formed the principal sections of a check composition, then by introducing into it a third and intermediate colour, increased softness of effect could be acquired and harshness of contrast obviated. Check arrangements of this class are employed in many types of woven goods, and are particularly useful in designing for some species of suitings, mantlings, cotton and silk fabrics. They are not so formal in cast as two-shade patterns, the square spaces of colour being better toned. Some of the most generally adopted systems of grouping the shades in these styles are represented in Figs. 24 to 32 inclusive. By comparing them with the checks obtained in two colours given in Figs. 15 to 23, it will at once be evident that they contain a more complete range of effects and are more diversified in outline than the preceding examples. The function of the third shade and its utility in improving the aspect of the patterns will also be observed. Fig. 25, for instance, though a simple arrangement, possesses a mellower character than any of the checks developed in two shades. The grey factor not only increases the multiplicity of effects appearing in the patterns, but enhances the value of the respective checkings by giving a softly-toned cast to them. Amongst the forms of check combinations illustrated in these figures are the common three-shade pattern, the set check, the compound base, the counter-change base, the interchanging base, and counter-change with over-check base.
[Illustration: FIG. 24.]
115. _Ordinary Three-shade Check._--The commonest and most elementary form of three-coloured checking is that in which the squares of colour are equal in size, _e.g._, 10 black, 10 grey, and 10 white. When the squares of each colour are large, the check is satisfactory; but if they are minute, say about four threads each, and composed of neat colourings, it is improved in character. Should the colours be dark, medium, and light, or black, grey, and white, a shaded check is formed of limited gradation. In greys, blues, browns, or slates, this arrangement makes a very useful form of pattern, and one that may be modified in various ways. It might, for example, be shaded off on both sides by allowing the intermediate shade to alternate with the dark and light colours. Another change may be effected by bisecting one of the squares of colour, say the black, with two ends of a lighter shade, in which instance one outline check would be obtained in each repeat of the pattern, which would give quite a new aspect to the style. If this idea of dividing the checks is further worked, a considerable range of appropriate modifications of this base may be acquired. Let one example be considered. Alter this form by arranging the shades as below (Fig. 24):--
4 threads of black. 2 „ medium grey. 4 „ black. 4 „ medium grey. 2 „ black. 4 „ medium grey. 4 „ white. 2 „ medium grey. 4 „ white.
According to this scheme the check would be completely changed, though the base remains unaltered. Each square of colour is here divided into four sections. The black checks are divided with an outline check of grey, the grey with an outline check of black, and the white with an outline check of grey. It will be clear from this method of modifying the simple order of colouring, that it is an elementary principle of grouping three shades to form a check which may be utilized in the development of fancy patterns.
116. _Set Check._--A check pattern in which certain squares--namely, black in the illustration--form the main feature of the design, and are set at corresponding distances apart, with the respective shades alternately intervening, is supplied in Fig. 25. It is designated a “set” check, on account of the manner in which the large spaces of the leading shade in the pattern are arranged, these repeating on such a principle as to give a stiff and “set” appearance to the pattern.
It is made in various dimensions, according to the style of fabric being manufactured. The size of the black check in lining and shawl textures ranges from eight to forty-eight threads, but in suitings and other materials it is frequently not more than six or four threads, and the spaces of grey and white proportionately reduced.
[Illustration: FIG. 25.]
[Illustration: FIG. 26.]
Taking the order of the shades to be 16 threads of black, 8 threads of white, 16 threads of black, and 8 threads of grey, then one method of modifying this base practised with good results is (Fig. 26)--
6 threads of black. ⎫ 4 „ grey ⎬ = 16 black. 6 „ black. ⎭
2 „ grey. ⎫ 4 „ white. ⎬ = 8 white. 2 „ grey. ⎭
6 „ black. ⎫ 4 „ grey. ⎬ = 16 black. 6 „ black. ⎭
2 „ white. ⎫ 4 „ grey. ⎬ = 8 grey. 2 „ white. ⎭
The centre of each of the squares of black would, by this means, be occupied with a square of four threads of grey, while the square of white would be outlined with skeleton checks of grey, and that of grey with skeleton checks of white. When this system of alteration is adopted, a pattern fairly diversified in construction is the result.
[Illustration: FIG. 27.]
[Illustration: FIG. 28.]
117. _Compound Checking in Three Shades._--Fig. 27 forms a neat principle of checking in three shades in which several series of small squares of colour are combined. The manner in which the small checks are grouped, obviates the stiff cast which characterizes some forms of checking. It will be observed that the several shades do not occur in uniform quantities. White is the main element, alternating with both black and grey; then comes black, of which there are three sets of checks, but only two sets of grey. To produce the pattern, the yarns are grouped as indicated below:--
8 threads of black. 8 „ white. 8 „ black. 8 „ white. 8 „ black. 16 „ white. 8 „ grey. 8 „ white. 8 „ grey. 16 „ white.
The white not only produces minute checks, but also four large squares in each repeat of the design.
This base may be varied. One alteration consists in, dividing the large squares of white with fine lines of black; another modification practised changes the single square of white, intervening the checks of grey, into black; while a third system of alteration bisects each of the checks of black with outline squares of white; then a fourth principle (Fig. 28) combines these several methods of utilizing this form, making a pattern constituted thus:--
3 threads of black. ⎫ 2 „ white. ⎬ Repeat. 3 „ black. ⎪ 8 „ white. ⎭ 3 „ black. 2 „ white. 3 „ black. 6 „ white. 4 „ black. 6 „ white. 8 „ grey. 8 „ black. 8 „ grey. 6 „ white. 4 „ black. 6 „ white.
If this last scheme is employed, the cast of the pattern undergoes considerable change, and is characterized by much variation of checking and intermingling of shades. By adopting three tones or tints of one colour, such as brown, olive green, or slate, this mode of checking is capable of being used in the construction of effective patterns for mantling, dress, and other fancy fabrics.
[Illustration: FIG. 29.]
[Illustration: FIG. 30.]
118. _Counter-change Check in Three Shades._--The succeeding example (Fig. 29) is made up of equal quantities of black and grey and of a smaller portion of white. The checks of white are so introduced as to separate the four squares of black and also the four squares of grey, so that the white yarns form a comparatively large over-check. Both the black and grey threads, on the other hand, each compose two sets of checks working within one another. It is a base developed in cotton, worsted, and woollen yarns. One suitable plan of blending the shades is--8 threads of black, 8 threads of white, 8 threads of black, 8 threads of grey, 8 threads of white, and 8 threads of grey.
[Illustration:
Plate XIX
CHECK STYLES 1. Pattern in Maroon and Green 2. Compound Check 3. Small Interchanging check (Fancy Yarns)]
The style is susceptive of considerable elaboration. For example, the white check may be embellished with an over-check of black, the black squares with outlinings of white, and the s grey with skeleton checkings of black or white.
119. _Interchanging Check._--Three-shade checks on this base are illustrated in Fig. 30 and No. 3, Plate XIX. On examining Fig. 30, it will be seen that a group of small squares of black surround four similarly-sized checks of grey and nine of white. The grey and black checks interlace with each other. The principal shade in this pattern, white, is so arranged as to yield both small and large checks. It is a style which may range from a pattern of a fraction of an inch in suitings to six or eight inches in dress materials and shawl textures. When the following quantities are used, the base may be modified:--
12 threads of white. 6 „ black. 6 „ white. 6 „ grey. 6 „ white. 6 „ grey. 6 „ white. 6 „ black.
Various systems may be practised in dividing up the twelve threads of white. To begin with, this group of ends may be changed to 2 threads of grey, 8 threads of white, and 2 threads of grey; or the four threads in the centre of the twelve may consist of 2 grey and 2 black; while a third variation would change the white square into 4 threads of white, 4 threads of black or grey, and 4 threads of white. If other changes of this base are required, the small squares of white should each be bisected with two threads of black, the checks of grey with two threads of white, and the checks of black with two threads of grey.
An application of this principle to costume fabrics is given in No. 3, Plate XIX. Three colours are used, light brown or fawn, green, and blue, the blue and green interchanging with each other. The brown is an intermediate shade, checking with both the green and blue. The warping and wefting are as follows:--
Light brown or fawn 4 2 Green - 2 Blue 2 -
If the number of threads of each colour were doubled, some modifications could be applied: the eight threads of brown could be bisected with an additional colour, and some further alteration made in developing both the green and blue sections.
120. _Counter-change with Over-check._--Fig. 31 is a pronounced check form. It is mostly used in tartan patterns for cotton, fine worsted, and woollen-yarn dress fabrics. More variety of effect may be introduced into it by subdividing the main squares of black and white. Each of the spaces of white is in this instance split up by minute squares of black and lines of grey; and the squares of black by minute squares of white in addition to the lines of grey in the illustration. This form of check is often made in very large patterns, some four or five inches in size, and in strongly contrasting colours, for which it is, by arrangement, well adapted.
[Illustration: FIG. 31.]
It ought to be observed that all the examples described may be subjected to numerous modifications in sectional parts of the colouring, besides those quoted and analyzed. With a view of making it evident how the schemes of checking alluded to, are elaborated in practice, it has been shown to what an extent patterns of a check description are susceptive of variation in the loom. The principles of constructing these have been elucidated, and the chief forms of checking have been treated of.
SHADED AND IRREGULAR CHECKS.
121. _Shaded Check in Black and White in the Cassimere Twill._--In the construction of shaded checks either two or more colours may be employed. With these, and a proper method of grouping the yarns, a pattern may be produced of a shaded character. The weave used, if the order of shade arrangement is diversified, must be of a simple type. An example will demonstrate the principle of developing this useful description of woven design. It is given in Fig. 32, and is a shade in black and white, the cassimere twill being the weave used in constructing the fabric. There are several features of this pattern which may be considered. Obviously it is a compound check, combining both the ordinary and shaded schemes of checking. A set of common checks of a shepherd plaid type surround the shaded check proper. The shaded effect consists of three factors, which may be separately examined. In the square spaces, in which white is the main element, a light shade is acquired by gradually decreasing the quantity of black and increasing the quantity of white yarns until a perfect edging of white is acquired. Next there are lines of a deeper shade, due to the threads used in the composition of the principal check crossing those which occur in the shaded white checkings; and lastly, there is the broken square of black, which decreases by degrees in intensity from the centre to its respective edges. Though the shading as a whole is not uniformly continued, for there is a somewhat sudden change from dark to light shading, yet at this juncture the effect obtained is softly toned. Mellowness of gradation is an important element of the pattern.
[Illustration: FIG. 32.]
The irregular manner in which the white and black yarns appear, like specks on the surface of the fabric, arises from the employment of a print thread in which these shades alternate in lengths of about ⅜ths of an inch. Solid black and white threads alone would not yield the intermingled effect so prominent in this style. They would produce a much stiffer and more uniform result. If this system of checking should be applied to woollen and worsted or cotton goods, twist yarns may be employed in place of the printed threads. These, in all species of designing, give more intermingled patterns than self-coloured yarns, and for this reason are useful in the production of shaded effects.
The plan of colouring this example is rather complicated, running as follows:--
4 threads of black. ⎫ For 36 threads. 4 „ white. ⎭
6 threads of white. ⎫ Repeat. _A._ 1 thread of print yarn. ⎭
5 threads of white. ⎫ Repeat. 1 thread of print yarn. ⎭
4 threads of white. ⎫ Repeat. 1 thread of print yarn. ⎭
3 threads of white. ⎫ Repeat. 1 thread of print yarn. ⎭
2 threads of white. ⎫ Repeat. 1 thread of print yarn. ⎭
1 „ white. ⎫ Repeat. 1 „ print yarn. ⎭
8 threads of print yarn. ↠ _B._
1 thread of black. ⎫ For 6 threads. _C._ 1 „ print yarn. ⎭
2 threads of black. ⎫ Repeat. 1 thread of print yarn. ⎭
3 threads of black. ⎫ Repeat. 1 thread of print yarn. ⎭
6 threads of black. ↠ _D._
1 thread of print yarn. ⎫ Repeat. 3 threads of black. ⎭
1 thread of print yarn. ⎫ Repeat. 2 threads of black. ⎭
1 thread of print yarn. ⎫ For 6 threads. 1 „ black. ⎭
8 threads of print yarn. _E._
1 thread of white. ⎫ Repeat. 1 „ print yarn. ⎭
2 threads of white. ⎫ Repeat. 1 thread of print yarn. ⎭
3 threads of white. ⎫ Repeat. 1 thread of print yarn. ⎭
4 threads of white. ⎫ Repeat. 1 thread of print yarn. ⎭
5 threads of white. ⎫ Repeat. 1 thread of print yarn. ⎭
6 threads of white. ⎫ Repeat. _E._ 1 thread of print yarn. ⎭
The light shade, which composes the squares consisting mainly of white, is formed by the threads included within _A_ and _B_. This will be seen on examining the plan of colouring. At _A_ there are six parts of white to one part of black and white print yarn; but at _B_ there is a small quantity of print yarn only--the toning from extreme white to a complete mixture of black and white having been gradually effected by the intervening groups of shades. From _C_ to _D_ the dark shade is produced. Not containing as many changes as the light shade, it is more decided in composition. Practically this shade commences at _B_, which connects it with the adjoining gradated square of white and black. At _C_, however, the first move to black begins, for here black and print yarns are equally mixed. The number of black threads now increases until Section _D_ is reached, when it begins to diminish, ultimately shading off to a group of print threads as indicated at _E_. From this stage the white shade is renewed, and continues to the end of the pattern.
Apart from its value as a principle of shading, this style is extremely suggestive of what may be accomplished by grouping two shades in woven fabrics of a simple or common twill class.
[Illustration: FIG. 33.]
122. _Shaded Checks in Two Colours due to using Designs Composed of Various Weaves._--These patterns are in some respects simpler to produce than the preceding class of check. There is no diversity of shade arrangement in such styles, the warp and weft being solid colours throughout. Now in an ordinary twill such colouring would not give any form of check, so that this is quite a distinct principle of checking. It is one that is applied to worsted, silk, and cotton, but not to woollen textures to any large extent. The combination of weaves necessary is not so well adapted for development in woollen, as in the other classes of threads named. Colouring being simple, the design is correspondingly intricate. If this is well constructed it will yield a shaded pattern, though the warp and weft yarns be of precisely the same colour, size, and quality. When this sort of shade is formed, a better effect is produced in such yarns as worsted and silk. Cotton or woollen threads would not give the same effect in designs arranged on the principle of a gradual movement from a maximum warp to a minimum weft flush, and inversely, as in Figs. 33 and 34. The essential of shading consists in diversity of tinting. A brown, or any other shade, is producible if several colours of brown of variable depths are combined, but not otherwise. What in this instance is impracticable from a colour standpoint, is feasible by a suitable arrangement of weaves. The shade that may thus be produced is not, of course, so clear and pronounced as that due to a diversity of colouring, for it simply results from the difference in effect of the flushes of warp and weft yarns composing the pattern. As there is some visible distinction in the brightness of the floats of warp and weft respectively, if the weaves constituting the design are arranged on such a principle as to tone one into the other, they produce an effect of a shaded type. According to the example furnished, one set of weaves which combines admirably on this method is that derived from a sateen base. But these are not the only weaves used, many varieties of twills being employed for similar purposes; but sateens give the most uniform shades of any class of weaves that can be utilized. On referring to Figs. 33 and 34, it will be seen that the weaves differ from each other in the extent to which they flush the warp and weft yarns on the face of the texture. To construct a shaded pattern of this kind, commence with the extreme warp-flush weave, adjoining which place the weave most closely approaching it in structure; the diminution in warp and the increase in weft flush continuing from one weave to another, until the extreme or maximum weft flush is attained. In such a scale of shades, the extreme warp- and weft-flush weaves represent opposite ends of the shade, the weaves intervening completing the gradation or toning of the pattern. The form or outline of the check is first decided upon, and then the weaves combined according to the dark or light effect required in the various parts of the design.
[Illustration: FIG. 34.]
This style of checking is determined by the system of arranging the weaves used, and not, as in the previous examples, by changing the scheme of colouring; hence this species of shaded check is extremely simple to produce, so far as the blending of colours is concerned.
[Illustration: FIG. 35.]
A further application of this principle of weave shading in combination with a difference in the depths of colouring in the warp and weft is that developed in figured fabrics, of which Fig. 35 is an example and Fig. 35A a section of the complete design. There are other weaves forming sections of the figuring, but they would give a pronounced warp or weft colour effect: that is to say, should the warp be a light or pale heliotrope, and the weft dark heliotrope, there would be perfect shading from the dark to light in the floral parts, but in other sections, marked in ⊡’s and ◻’s, either a solid warp or weft colour would appear on the face of the fabric. The principle imparts definition to the colours used, and also to the integral parts of the design.
[Illustration: FIG. 35A.]
123. _Irregular and Mixture Checks._--The styles of this checking, on account of their neat and subdued character, are produced in many classes of woollen and worsted fabrics. Two typical examples will be considered--Nos. 1 and 3, Plate XX. No. 1 is an intermingled check in five colours, and possesses a black ground, the order of warp colouring being:--
3 threads of black. 1 thread of black and scarlet twist. 2 threads of black. 1 thread of black and green twist. 2 threads of black. 1 thread of black and scarlet twist. 3 threads of black. 2 threads of olive green. 3 threads of black. 1 thread of black and scarlet twist. 2 threads of black. 1 thread of black and green twist. 2 threads of black. 1 thread of black and scarlet twist. 2 threads of black. 3 threads of olive brown.
The method of wefting is much simpler than that of warping, consisting of 12 picks of black, 2 picks of olive brown, 12 picks of black, and 2 picks of olive green. The pattern is a combination of outline checks, enhanced with spotting threads of scarlet and black, and green and black twists. There is a skeleton check of olive green interlacing with a similar check of olive brown. The intensity of the two leading fancy colours ought in such patterns to be the same, as they should both be equally prominent in the texture.
Next, as to the twist yarn or mixture check--No. 3, Plate XX. Here the pattern is composed of green and olive twist. On the intermingled mixture ground formed by these threads, is a small check of maroon. This hue forms a mellow contrast with the general colouring of the fabric. Twist yarns are chiefly suitable for yielding the rich and mellow indistinctness of effect seen in this example. The maroon is a solid colour and gives character to the pattern. For costume fabrics this scheme of checking, in both woollen and worsted fabrics, is well adapted, as it combines softness of colouring with neatness of pattern.
[Illustration: Plate XX
CHECK STYLES 1 and 3. Intermingled Effects 2. Broken Check]
124. _Fancy Broken Check._--This is a species of check in which the plan of wefting differs from that of grouping the warp colours, the object being to produce a check-like effect more or less irregular in composition. No. 2, Plate XX., is one form of this sort of checking. A pattern composed of small checks is here obtained, analysis of the colourings showing the warp and weft to consist of different shades. Thus, while the order of warping is 5 threads of light fawn, 1 thread of green, 4 threads of slate, 5 threads of light fawn, and 5 threads of slate; the weft is 4 picks of black, 1 pick of scarlet, 5 picks of bluish grey, 5 picks of black, and 5 picks of bluish grey. The contrast between the warp and weft shades defines the weave, which, if the warp and weft colourings had been alike, would, in some parts of the pattern, have been indistinct.
The point to be observed in this type of colouring, is to employ shades of similar intensities in both warp and weft; thus, in this example, the slate is almost as prominent in the woven fabric as the black, the light fawn as the bluish grey, and the green as the scarlet. It is only by securing this balance of hues that harmonious colourings are producible in broken check patterns. Should any particular colour be stronger in character than others, it destroys some of the elements of the pattern. This principle of cross checking is also applied to various classes of striped fabrics, in which it is desirable to partially subdue the continuity of the warp colourings.
125. _Examples in the Colouring of Tartans._--These may be defined as squares of colour varying in size and arrangement, and are, strictly, an elaborate scheme of check design entirely in colouring. One interesting feature of these plaids is that the colours are usually of the same depth or degree of intensity, as illustrated by the Erskine plaid, a compound of bright scarlet and green. These two contrasting and complementary hues form a good checking. It is not, however, always the case that complementary colours are blended; for instance, the Montgomery tartan is composed of green and blue, two colours which, if not of the proper hue and intensity, would produce an incongruous pattern. Hence, here, as in many other plaids, it is a question of using the correct depth and hue of colour.
Tartans illustrate the hues which combine harmoniously, and also the quantities or areas in which bright colours unite in a satisfactory manner.
As illustrations of this, the Macdonald and Hunting Menzies may be compared. In both, exactly the same colours are used, with entirely different effects. The Macdonald, in consequence of the large quantity of scarlet entering into its composition, is a bright plaid; whereas the Menzies is much softer and mellower in appearance. The larger the variety of colours, the more interesting the result in the pattern. If, for instance, the Duke of Rothesay, a three-colour tartan, is compared with the Hay, a five-colour one, the value of the larger number of hues in multiplying the diversity of colouring will be understood. Both are satisfactory compounds of coloured yarns, but the superior richness of the Hay is apparent. In each, red, green, and white are used, with the addition of black and yellow in the Hay. The Rothesay has a large square of red, divided with stripes of white, whereas in the Hay a similar space of red is subdivided with stripes of white, black, and green. In the Rothesay the green sections are crossed with lines of red; but in the Hay, with lines of yellow and red, forming a check rich in colouring.
126. _Types of Tartans._--Tartans may be classified as follows:--
1. Plaids in two colours. 2. Plaids in three colours. 3. Plaids in four colours. 4. Plaids in five colours. 5. Plaids in six and seven colours.
It is difficult, on account of the varied colouring, to classify them according to hue; but the above subdivision comprises all the tartans, and makes it feasible to deal with them in a natural order, or in accordance with their colour composition.
127. _Two-Colour Plaids._--Amongst the most important of the two-colour tartans are the Menzies, Douglas, Montgomery, Macdonald, and the Erskine. The Menzies is produced in red and white, red and black, black and white, and red and green, the last being termed the Hunting Menzies.
The black and white Menzies, in its original form, is illustrated in Fig. 36, the order of shades in both warp and weft being as follows:--
Black 96 12 24 6 6 24 12 White 16 16 8 36 8 16 16
It is a forcible scheme of checking which may be developed on various lines. Two changes which affect the appearance of the check are given. In the first (Fig. 37) the largest quantity of one colour--the 96 of black--has been modified:--
4 black. ⎫ For 16. 4 white. ⎫ For 16. 4 white. ⎭ 4 black. ⎭ 64 black.
[Illustration: FIG. 36.]
[Illustration: FIG. 37.]
This slightly subdues the form of the check, which would be more apparent if the lines added were of a different colour from the rest of the pattern. The second change to form an overchecking is applied to the 12 threads of black in the centre of the squares of white:--
1 black. ⎫ For 4. 1 white. ⎫ For 4. 1 white. ⎭ 1 black. ⎭ 4 black.
Again, by having the odd threads in a bright colour, the tone of the pattern would be improved.
Another example, namely, the Montgomery (Fig. 38), with the derivations obtainable on this base, may be considered. It is composed of a peculiar hue of grass green and blue. The blue, however, by its softness and warmth of hue, arising from its purplish tone, makes a subdued contrast with the green. The colours being about equal in intensity, are combined in similar quantities. In a smaller checking, with the blue slightly predominating, this plaid would make a good lining style, especially in mantles where the face of the cloth may be a warm colour, such as deep fawn. The warping and wefting for Fig. 38 are:--
Green (black) 144 16 16 Blue (grey) 48 48 48
[Illustration: FIG. 38.]
[Illustration: FIG. 39.]
In Figs. 39 and 40, two simple changes, showing how the pattern may be altered in appearance, are given. In the former, the centre 48 threads of blue have been subdivided into
20 threads of blue (grey), 8 „ green (black), 20 „ blue (grey),
whilst in the latter, the 16 threads have been changed to
6 threads of green (black), 4 „ blue (grey), 6 „ green (black).
The check should be further modified in the large square of 144 threads of green, working either from the edges to the centre, or _vice versâ_, one scheme being as follows:--
Green (black) 24 16 8 16 24 Blue (grey) 8 20 20 8 -
[Illustration: FIG. 40.]
[Illustration: FIG. 41.]
The Grey Douglas is an effective pattern in black and grey yarns. As a basis of checking, it is simple in arrangement, and of such a character as to be capable of numerous modifications. In fine yarns and close setting, it might be used for dress materials, in worsted yarns for linings, and in woollen yarns for rugs and shawls: in thick and soft spun yarns, it would be also suitable for travelling rugs. A standard form of this tartan is sketched in Fig. 41, the warp and weft being:--
Black - 4 4 16 4 32 4 16 Grey 36 8 36 4 4 4 4 -
[Illustration: FIG. 42.]
[Illustration: FIG. 43.]
Figs. 42 and 43 give some idea of the diversity of style obtainable by extending the colouring. The form of this check makes it desirable, in combining other colours than black and grey, that there should only be a small degree of contrast between the shades, the best patterns resulting when the colours are of the same hue.
[Illustration: FIG. 44.]
When the plaid is developed on the lines illustrated in Figs. 42 and 43, it suffers somewhat in simplicity of character, but still makes an excellent pattern for linings, and in fine yarns for dress materials. The broken-up effects in these two checkings admit of more pronounced colour contrasts than are feasible in colouring Fig. 41. The sub-division of the various sections of 36 threads of grey has been acquired thus:--
8 threads of grey. 4 „ black. 8 „ grey. 4 „ black. 12 „ grey.
Fig. 43 results from dividing the 32 threads of black:--
8 black. 1 grey. ⎫ For 16. 1 black. ⎭ 8 black.
By changing the weave from 4- to 6-end twill, a very different colour effect is obtained, as shown in Fig. 44.
128. _Three-Colour Tartans._--These form an important variety, and may be considered under two heads,--the bright plaids, of which the Gow, MacLeod, Duke of Rothesay, Cuninghame, Brodie, Wallace, MacQueen, Crawford, Hamilton, Ross, Macintosh, Maxwell, Dunbar, Skene, and Mathieson are examples; and the dark plaids, including the Clergy, Hunting Mathieson, Keith, Hunting MacLean, MacArthur, and Elliot.
The following are the orders of colouring for the MacQueen, the Hamilton, and the Maxwell:--
MACQUEEN (Fig. 45). Black (black) 8 8 8 64 64 Red (grey) 28 28 28 - 28 Yellow (white) - - - 6 -
[Illustration: FIG. 45.]
Two modifications of this tartan are given in Figs. 46 and 47, and show how the base is adapted for detailed checking.
HAMILTON (Fig. 48). Scarlet (medium grey) 60 60 16 16 White (white) 12 - - - Blue (black) - 36 36 36
MAXWELL (Fig. 49). Scarlet (medium grey) 54 8 54 12 12 12 Green (light grey) 4 4 - 28 28 - Indigo blue (black) - - 12 - - 12
These tartans are examples of colouring in which red or scarlet is the most important colour employed.
[Illustration: FIG. 46.]
[Illustration: FIG. 47.]
Fig. 50, the Elliot, is not of this class, for it is composed of blue, brown, and a small band of scarlet, the red being used to give cheerfulness of tone. The order of colouring is:--
Blue (grey) 216 32 32 Brown (black) 64 - 64 Scarlet (white) - 12 -
It is a simple check, yet is exactly of that type which is capable of interesting development by modification.
[Illustration: FIG. 48.]
[Illustration: FIG. 49.]
129. _Four-Colour Plaids._--Three of the most interesting tartans of this class, whether produced in neutral shades or in the original colourings, are the MacKinnon, Dundas, and Fraser. They have few elements in common, as comparisons of Figs. 51, 54, and 57--the plaids in the unmodified forms--distinctly show. The MacKinnon in particular is characterized by simplicity of form and scheme of colouring; the Dundas is a heavier base; and the Fraser full of details and of shade contrasts. They are also dissimilar in colour qualities. The MacKinnon and Dundas are both dark plaids, the former being composed of brown, green, scarlet, and white, and the latter of black, green, scarlet, and blue. The Fraser is an admirable compound of scarlet, black, green, and white. The following are the orders of colouring for the respective tartans, with their modifications:--
THE MACKINNON (Fig. 51). Brown = black 64 64 - 64 64 - Green = medium grey 12 64 64 - 64 64 Scarlet = light grey - 8 - - 8 - White = white - - - 8 - -
[Illustration: FIG. 50.]
[Illustration: FIG. 51.]
MACKINNON--FIRST MODIFICATION (Fig. 52).
24 30 ⏞ ⏞ Medium grey - - - - - 12⎫ 64 64⎫ -⎫ 64 64 Light grey - - - - - - ⎬ Repeat 8 -⎬ Repeat -⎬ Repeat 8 - Black 6 2 10 6 2 - ⎪ A - -⎪ A -⎪ A - - White 2 2 - 2 2 - ⎭ - -⎭ 8⎭ - - \~~~~~~~~~~~/ A
MACKINNON--SECOND MODIFICATION (Fig. 53).
24 30 ⏞ ⏞ Medium grey - - - - - 12⎫ 12 4 4 4 4 4 12 - Light grey - - - - - -⎬ Repeat - - - - - - - 8 Black 6 2 10 6 2 -⎪ A - - 2 2 - - - - White 2 2 - 2 2 -⎭ 4 4 - - 4 4 - - \~~~~~~~~~~~/ \~~~~~~~~~~~~~~~~/ A B
[TN: Table continues:]
Medium grey ⎫ -⎫ -⎫ Light grey ⎬ Repeat Repeat -⎬ Repeat Repeat 8⎬ Repeat Black ⎪ B A -⎪ A B -⎪ B White ⎭ 8⎭ -⎭
Both these changes result in the formation of excellent plaids for travelling rugs. The check given in Fig. 53 would be difficult to improve upon by combining four shades.
THE DUNDAS (Fig. 54).
Black = black 40 8 40 - 8 - Blue = medium grey 40 40 - - - - Green = light grey - - 64 8 8 64 Scarlet = white - - 12 - 12 -
[Illustration: FIG. 52.]
[Illustration: FIG. 53.]
[Illustration: FIG. 54.]
[Illustration: FIG. 55.]
DUNDAS--FIRST MODIFICATION (Fig. 55).
Black 4 4 - 4 4 - 8 ⎫ - - 8 - White 4 4 4 4 - - - ⎬ Repeat - 12 - 12 Med. grey - 8 - - - 40 40 ⎪ A - - - - Light grey - - - - - - - ⎭ 64 8 8 64 \~~~~~~~~~~/ A
DUNDAS--SECOND MODIFICATION (Fig. 56).
Black 4 4 - 4 4 - 8 ⎫ - 2 - - - 2 - 8 - ⎫ White 4 4 4 4 - - - ⎬ Repeat - - 4 4 4 - 12 - 12 ⎬ Repeat Med. grey - 8 - - - 40 40 ⎪ A - - - - - - - - - ⎪ B Light grey - - - - - - - ⎭ 10 10 4 4 10 10 8 8 - ⎭ \~~~~~~~~/ \~~~~~~~~~~~~~/ A B
THE FRASER (Fig. 57).
Green = mid grey 24 - - 24 - Scarlet = light grey 12 12 12 48 48 Blue = black 24 24 - - - White = white - - - 12 -
[Illustration: FIG. 56.]
[Illustration: FIG. 57]
FRASER--FIRST MODIFICATION (Fig. 58).
Light grey 8 6 6 8 - ⎫ - 12 12 12 Black 4 - 4 - - ⎬ Repeat - 24 24 - White - 12 - - 12 ⎪ A - - - - Mid grey - - - - - ⎭ 24 - - 24 \~~~~~~~~~/ A
FRASER--SECOND MODIFICATION (Fig. 59).
Light grey 8 6 6 8 - ⎫ - - - 12 12 12 ⎫ Black 4 - 4 - - ⎬ Repeat - - - - 24 24 - ⎬ Repeat White - 12 - - 12 ⎪ A - 4 4 4 - - - ⎪ A Mid grey - - - - - ⎭ 4 4 4 - - - - ⎭ \~~~~~~~~/ \~~~~/ A B
130. _Five, Six, and Seven-Colour Plaids._--These are much more limited in variety, but the following may be given as examples:--
CLAN ALPIN (FIVE-COLOUR).
Black - - 32 32 - - 6 - - Indigo blue 32 - - - 32 8 - 8 - Green - - 6 - 8 36 36 - 8 Yellow - 6 - - - - - - - White - - - 6 - - - - -
[Illustration: FIG. 58.]
[Illustration: FIG. 59.]
ROYAL STUART (SIX-COLOUR).
Black - 20 - 10 - 10 - - 8 - - - 8 - - 10 - 10 - 20 - - Blue 16 - - - - - - - - - - - - - - - - - - - 16 - Green - - - - - - 40 - - - - - - - 40 - - - - - - - Scarlet - - - - - - - 20 - 8 - 8 - 20 - - - - - - - 220 Yellow - - 8 - - - - - - - - - - - - - - - 8 - - - White - - - - 8 - - - - - 8 - - - - - 8 - - - - -
MACLEAN (SEVEN-COLOUR).
Black - 6 - 6 - 12 - - - 12 - 6 - 6 - - - - 6 - - - Indigo - - - - - - - 24 - - - - - - - - - - - - - - Green 36 - - - - - - - - - - - - - 36 - - - - - - - Scarlet - - - - - - - - - - - - - - - 56 - 8 - 8 - 56 Yellow - - - - 4 - - - - - 4 - - - - - - - - - - - White - - 6 - - - - - - - - - 6 - - - - - - - - - Lavender - - - - - - 6 - 6 - - - - - - - 6 - - - 6 -
In the exposition of tartans given, it has been shown that this scheme of colouring is not only useful in the production of the original plaids, but that it may be subjected to almost an endless series of modifications. Many of these, as well as the plaids themselves, when developed in subdued colourings, are suitable for styles in dress and mantle fabrics. In recent years they have also been developed in the foundation of plush and other textures. They are specially suitable for such textures, inasmuch as the contiguity of the figuring formed in velvet or loop pile destroys any stiffness of character which lines of colour, cutting each other at right angles--as in all check patterns--must more or less possess. To the student of colour contrast and harmony these patterns are interesting and suggestive. They are illustrative, not only of how bright colours may be blended without yielding patterns in which the contrasts are displeasing, but also of the quantities of the colours which give the most harmonious composition. As they are distinctly textile colourings, and are the product of weaving, they possess qualities which are not to be found in any other type of colouring. The field which has been covered has by no means been fully explored. There are many possibilities in this branch of textile work which can only be analyzed by systematic experiments conducted in the loom.