CHAPTER IX.

COMPOUND COLOURINGS.

150. Compounds--151. Compounds composed of Three Types of Elementary Colouring--152. Results of combining Simple Colourings--153. Compounds and Weave Combinations compared--154. Utility of a Practical Knowledge of the Woven Effects of Simple Colourings--155. Compound Patterns subjective to the Nature of the Fabrics Manufactured--156. Types of Compounds--157. Compounds composed of Two Simple Types--158. Patterns composed of Two Types and Three Shades--159. Styles of Four Shades containing Two Simple Types--160. Styles composed of Three Simple Types--161. Irregular Compounds.

[Illustration: FIG. 102.]

150. _Compounds._--As these are composed of several elementary schemes of colouring, they are generally patterns of some intricacy of composition. With only two shades it is possible to obtain varied effects in this style of woven colouring. When three or more shades are used, and several simple methods of grouping shades practised, though the weave may be of a common twill or mat description, Compound patterns may be quite elaborate in arrangement. The elaborateness of the style resultant is determined by several factors, such as the character of the types, number of the Simple Colourings combined, and the diversity of the shades employed. The simpler the schemes of colours selected, the fewer the elements of the compound, the more ordinary in cast and aspect is the pattern acquired. Still, the commonest groupings of shades, even when combined on the simplest system, form woven styles of considerable richness of composition. One example, Fig. 102, is suggestive of the characteristics of this species of textile colouring. It is the most elementary type of compound, resulting from combining Methods I. and II., supplied in Table IX., and consisting of black and white. But it is a pattern which comprises several styles of minute effects. It is divided into four rectangular spaces, _A_, _B_, _C_, and _D_: Each square is formed of a different kind of textural design. Thus, in Section _A_, which is composed of two threads of black and two threads of white in both warp and weft, it will be noticed there are small irregular checkings forming vertical lines; in _B_, where the one-and-one order of warp colouring is crossed by the two-and-two order of wefting, minute figures, or spots of white, separately surrounded with black, occur; in Section _C_ the same figures obtain as in _B_, only they are inverted, owing to the warp and weft colourings meeting each other in the reverse way to what they do in _B_; Section _D_ consists of small step-twill effects. So there are thus, in this pattern, four textural results so associated as to form a neat check design, which is producible in woollen, worsted, silk, and cotton yarns. It may be diminished or increased in size, and modified in various ways. For example, Checks _A_ and _C_ may be double the size of _B_ and _D_; or several striped patterns may be acquired by using Sections _C_ and _D_ together and Sections _A_ and _B_--the spaces of each effect being determined by the class of fabric in which the style is produced. For trouserings they must be comparatively small, but for dress textures and mantlings they may be some inches in width. In such shades and tints as are appended, both the original pattern and the modifications named may be developed:--

I.

For 24 threads. ⎧ 1 thread of Shade 2, Pl. IV. ⎩ 1 „ „ 8, „

For 24 threads. ⎧ 2 threads of Shade 2, Pl. IV. ⎩ 2 „ „ 8, „

II.

For 24 threads. ⎧ 1 thread of Shade 7, Pl. VI. ⎩ 1 „ „ 13, „

For 24 threads. ⎧ 2 threads of Shade 7, Pl. VI. ⎩ 2 „ „ 13, „

III.

For 24 threads. ⎧ 1 thread of Tint 4, Pl. IV. ⎩ 1 „ „ 4, „ VI.

For 24 threads. ⎧ 2 threads of Tint 4, Pl. IV. ⎩ 2 „ „ 4, „ VI.

IV.

For 24 threads. ⎧ 1 thread of Tint 10, Pl. VI. ⎩ 1 „ „ 16, „

For 24 threads. ⎧ 2 threads of Tint 10, Pl. VI. ⎩ 2 „ „ 16, „

These colourings, with the exception of No. 1, are more suitable for dress and fancy fabrics than for trousering and coating textures. They are too bright for the latter types of loom products, but are of the correct depth of colour for fancy dress and mantling fabrics.

151. _Compounds composed of Three Types of Elementary Colouring._--In the above example in Compounds, only two schemes of colouring obtain; but in Fig. 103 three elementary systems of grouping shades have been combined, yielding a style rich in diversity of small types of design. The schemes of shades employed in this construction are the I., II., and IV. Methods in Class A of the Simple Colourings. They constitute, in the fabric, nine distinct effects. These must be closely examined, in order that the principles of pattern design involved in the formation of the Compound style may be understood. Commence with the three effects succeeding each other in Bracket _A_. First, there is a square of similar minute figuring to that noticed in _C_ of Fig. 102; second, a rectangle of vertical stripes composed of neat markings; and third, a repetition of the effect seen in _D_, Fig. 102. Next, consider the types included in Bracket _B_. The first space here is a composition of the small checks referred to in Section _A_ of the former pattern; this adjoins a square filled in with vertical stripes; and then follows a space of similar dimensions, and of the same species of effects, as characterizes _B_ of the preceding style. Both the _A_ and _B_ series of the effects comprise two types of pattern like those composing Fig. 102, but in the _C_ and _E_ groups five entirely distinct types of textural work are developed. Two of these--the two vertical stripes--have been alluded to. The horizontal stripes, comprised in Bracket _C_ have not been described. They are similar to the stripes seen in Bracket _E_, only they are formed across instead of lengthways of the fabric. Between the rectangular spaces of these effects there is a square of black and white plaid. It may be useful to indicate how the several effects forming this compound may be utilized on other systems than that illustrated. The space of black and white checkings may be enlarged. But it is not simply in the form of checks these sets of colourings are combinable, for they may be associated on such principles as to yield an extensive range of stripe designs. Take, for example, the series of effects included in Bracket _A_. These of themselves make a neat stripe, especially if choice colourings are selected. Parts _D_, _E_, and _F_ may be varied in dimensions according to the class of texture being manufactured. About half an inch of _D_, an inch of _E_, and half an inch of _F_ makes a useful base. In the shades and tints furnished for the preceding example--Fig. 102--this form of stripe produces attractive styles.

[Illustration: FIG. 103.]

The group of types in _B_ should be similarly employed as that constituting _A_. After _B_ sections have been separated from the rest of the pattern they may be used thus for a dress fabric:--A band of two inches of the effect given over _F_, and bands of one inch in width of the two adjacent types. If the style is applied to trouserings, smaller quantities of each type should be employed, and some fancy twist yarns added to the shades forming the bulk of the pattern, to give freshness and diversity of colouring.

The series of broken or irregular types included in Bracket _C_ may also be worked into stripes for mantlings. In woollen yarns and mellow colourings, these broad effects in bands of about an inch in width yield effective patterns. Toned browns, slates, drabs, light greys, light olives, and lavenders are appropriate colours for this kind of textiles. Mixture yarns, of which several illustrations are given below, are also applicable.

I.

[13] ⎧1 thread of No. 1, Plate XIII. ⎩1 „ No. 2, Plate XIII.

[13] ⎧2 threads of No. 1, Plate XIII. ⎩2 „ No. 2, Plate XIII.

[13] ⎧4 „ No. 1, Plate XIII. ⎩4 „ No. 2, Plate XIII.

II.

[13] ⎧1 thread of No. 6, Plate XIII. ⎩1 „ No. 8, Plate XIII.

[13] ⎧2 threads of No. 6, Plate XIII. ⎩2 „ No. 8, Plate XIII.

[13] ⎧4 „ No. 6, Plate XIII. ⎩4 „ No. 8, Plate XIII.

III.

[13] ⎧1 thread of No. 5, Plate XIII. ⎩1 „ No. 7, Plate XIII.

[13] ⎧2 threads of No. 5, Plate XIII. ⎩2 „ No. 7, Plate XIII.

[13] ⎧4 „ No. 5, Plate XIII. ⎩4 „ No. 7, Plate XIII.

152. _Results of Combining Simple Colourings._--It will be obvious from these illustrations--Figs. 102 and 103--that, by combining several schemes of Simple Colouring, patterns are obtained rich in diversity of types of textural design, though the number of shades combined may be limited. This is not usually the case in Simple Colourings. If the shades in such arrangements are not numerous, the resultant effect is invariably plain; whereas, it is obvious that in Compounds, even should one weave only be employed and two shades combined, styles full of detail and minute textural patterns are producible. They represent an economical method of developing design in woven goods, for they are neither complicated in weave structure nor colour composition.

153. _Compounds and Weave Combinations compared._--Patterns of a Compound class, being composed of two or more Simple schemes of colouring, may be compared to designs resulting from combining several small weaves or crossings. Compound colourings bear the same relation to the general classes of coloured patterns, as combined weave designs bear to the effects obtainable by diversifying the systems of crossing warp and weft yarns. Thus, the former are the resultants of combining elementary schemes of colouring, and the latter the resultants of uniting elements of weaving. Moreover, the complexity of weave compounds is proportionate to the variety of weaves combined, and the class of the elementary schemes of intertexture employed. The complex arrangement and fulness of detail of Compound Colourings are determined by the number of “Simple Orders of Colouring” entering into their composition, and by the character of the methods of colouring utilized.

When constructing weave combinations, only those weaves should be used which fit with each other correctly, and which yield a fabric regular in structure; and when forming compounds, those schemes of elementary colouring should only be combined which produce a properly balanced style.

154. _Utility of a Practical Knowledge of the Woven Effects of Simple Colourings._--Before attempting to combine simple methods of arranging shades, in the construction of Compound patterns, the textural results of the various elementary systems of grouping colours already described should have been ascertained, if possible, by loom experiments. For the purpose of facilitating the combination of Simple Colourings, it will be found advantageous to make a collection of the woven patterns resulting from the adoption of the Schemes given in Paragraph 149 (see Plate XXII.). The utility of such a series of woven specimens may be indicated. Supposing, for example, a pattern were required in the cassimere twill in which the two-and-two and the one-and-one schemes of colouring were to appear. Then, by consulting the woven results of these two principles of grouping yarns, some calculation could be made of the actual aspect of the pattern to be originated. This, of course, is an advantage in designing. The most effective styles are those which the designer, by the aid of his technical knowledge, has been able to partially imagine the woven effect of, when the patterns were in the theoretical form.

155. _Compound Patterns Subjective to the Nature of the Fabric Manufactured._--Another factor which affects the selection of “Simple Colourings” in the construction of Compounds, is the class or description of fabric being produced. In some species of cotton and dress textures, bold and broad effects are required, necessitating the use of the larger types of elementary colourings; but in ordinary fabrics the neatest and smallest types are suitable. This may be regarded as a general rule, but the degree of colour contrast, and the fineness of the structure of the fabric, in some measure also modify the type of shade-arrangements most appropriate for any specific class of fabrics. It is chiefly a question of the size of the pattern required, which governs the dimensions of the various effects combined in its construction. So that, granting the class of fabric has been selected, and that its structure is known, then those Simple Colourings may be applied which will give a compound style of requisite textural composition, form, and size.

156. _Types of Compounds._--Compounds, like Simple Colourings, may be divided into Regulars and Irregulars, which may be subdivided thus: Compounds composed of two elementary schemes of colouring, and Compounds composed of three or more elementary schemes of colouring. Each of these subdivisions includes styles of two, three, or four shades. Examples in these several classes of Compounds are supplied in the Table given below:--

TABLE XI.

COMPOUND COLOURINGS.

REGULAR COMPOUNDS--

CLASS A.--COMPOUNDS COMPOSED OF TWO SIMPLE TYPES.

_I.--Styles in Two Shades._

_I. Scheme._ 1 thread of black. ⎫ _A._ 1 „ white. ⎭

2 threads of black. ⎫ _B._ 2 „ white. ⎭

_II. Scheme._ 2 threads of black. ⎫ _A._ 2 „ white. ⎭

4 threads of black. ⎫ _B._ 4 „ white. ⎭

_III. Scheme._ 3 threads of black. ⎫ _A._ 3 „ white. ⎭

6 threads of black. ⎫ _B._ 6 „ white. ⎭

_IV. Scheme._ 4 threads of black. ⎫ _A._ 4 „ white. ⎭

8 threads of black. ⎫ _B._ 8 „ white. ⎭

_II.--Styles in Three Shades._

_I. Scheme._ 1 thread of black. ⎫ 1 „ grey. ⎬ _A._ 1 „ white. ⎭

2 threads of black. ⎫ 2 „ grey. ⎬ _B._ 2 „ white. ⎭

_II. Scheme._ 2 threads of black. ⎫ 2 „ grey. ⎬ _A._ 2 „ white. ⎭

4 threads of black. ⎫ 4 „ grey. ⎬ _B._ 4 „ white. ⎭

_III. Scheme._ 3 threads of black. ⎫ 3 „ grey. ⎬ _A._ 3 „ white. ⎭

6 threads of black. ⎫ 6 „ grey. ⎬ _B._ 6 „ white. ⎭

_IV. Scheme._ 4 threads of black. ⎫ 4 „ grey. ⎬ _A._ 4 „ white. ⎭

8 threads of black. ⎫ 8 „ grey. ⎬ _B._ 8 „ white. ⎭

_III.--Styles in Four Shades._

_I. Scheme._ 1 thread of black. ⎫ 1 „ dark grey. ⎬ _A._ 1 „ grey. ⎪ 1 „ white. ⎭

2 threads of black. ⎫ 2 „ dark grey.⎬ _B._ 2 „ grey. ⎪ 2 „ white. ⎭

_II. Scheme._ 2 threads of black. ⎫ 2 „ dark grey.⎬ _A._ 2 „ grey. ⎪ 2 „ white. ⎭

4 threads of black. ⎫ 4 „ dark grey.⎬ _B._ 4 „ grey. ⎪ 4 „ white. ⎭

_III. Scheme._ 3 threads of black. ⎫ 3 „ dark grey.⎬ _A._ 3 „ grey. ⎪ 3 „ white. ⎭

6 threads of black. ⎫ 6 „ dark grey.⎬ _B._ 6 „ grey. ⎪ 6 „ white. ⎭

_IV. Scheme._ 4 threads of black. ⎫ 4 „ dark grey.⎬ _A._ 4 „ grey. ⎪ 4 „ white. ⎭

8 threads of black. ⎫ 8 „ dark grey.⎬ _B._ 8 „ grey. ⎪ 8 „ white. ⎭

CLASS B.--COMPOUNDS COMPOSED OF THREE SIMPLE TYPES.

_I. Scheme._ Composed of Two Shades. 1 thread of black. ⎫ _A._ 1 „ white. ⎭

2 threads of black. ⎫ _B._ 2 „ white. ⎭

4 threads of black. ⎫ _C._ 4 „ white. ⎭

_II. Scheme._ Composed of Three Shades. 1 thread of black. ⎫ 1 „ grey. ⎬ _A._ 1 „ white. ⎭

2 threads of black. ⎫ 2 „ grey. ⎬ _B._ 2 „ white. ⎭

4 threads of black. ⎫ 4 „ grey. ⎬ _C._ 4 „ white. ⎭

_III. Scheme._ Composed of Three Shades. 1 thread of black. ⎫ 1 „ grey. ⎬ _A._ 1 „ white. ⎭

3 threads of black. ⎫ 3 „ grey. ⎬ _B._ 3 „ white. ⎭

6 threads of black. ⎫ 6 „ grey. ⎬ _C._ 6 „ white. ⎭

_IV. Scheme._ Composed of Three Shades. 2 threads of black. ⎫ 2 „ grey. ⎬ _A._ 2 „ white. ⎭

4 threads of black. ⎫ 4 „ grey. ⎬ _B._ 4 „ white. ⎭

8 threads of black. ⎫ 8 „ grey. ⎬ _C._ 8 „ white. ⎭

IRREGULAR COMPOUNDS--

_I. Scheme._ Composed of Two Colours. 2 threads of black. ⎫ _A._ 1 thread of white. ⎭

4 threads of black. ⎫ _B._ 2 „ white. ⎭

_II. Scheme._ Composed of Two Colours. 1 thread of black. ⎫ _A._ 1 „ white. ⎭

3 threads of black. ⎫ _B._ 1 thread of white. ⎭

_III. Scheme._ Composed of Two Shades. 1 thread of black. ⎫ 1 „ grey. ⎬ _A._ 1 „ black. ⎭

1 thread of grey. ⎫ 1 „ black. ⎬ _B._ 1 „ grey. ⎭

_IV. Scheme._ Composed of Three Colours. 6 threads of black. ⎫ 4 „ grey. ⎬ _A._ 2 „ white. ⎭

3 threads of black. ⎫ _B._ 3 „ white. ⎭

NOTE.--Groups _A_, _B_, and _C_ may be repeated to any number of threads of which they form a multiple.

157. _Compounds composed of Two Simple Types._--Four examples in this class of Compounds are given in Class A of the Table. Three of them have been examined--namely, Schemes I., II., and III. The I. Scheme is analyzed in Paragraph 150, the II. Scheme produces a common check pattern, and the III. Scheme the basket check. Scheme II. is used in worsted designing for both suiting and dress fabrics, and also in cotton yarns. Both this and the III. Scheme are worked in the mat or hopsack, as well as in the four- and six-end twills. These forms of pattern also obtain in stripes and checks. No great contrast of colours is needed, as they are effective in a textural sense. The difference between the effects of the two-and-two and the four-and-four, and the three-and-three and the six-and-six orders of colouring, is so pronounced as to make decided shade composition unnecessary. Colours of the same hue, but of various depths, are appropriate. Another useful type of colour compound for these schemes of grouping shades is illustrated below:--

I. _A._ ⎧ 2 threads of brown. ⎩ 2 „ brown and light brown twist.

_B._ ⎧ 4 threads of brown. ⎩ 4 „ brown and light brown twist.

II. _A._ ⎧ 2 threads of light grey. ⎩ 2 „ light grey and white twist.

_B._ ⎧ 4 threads of light grey. ⎩ 4 „ light grey and white twist.

Parts _A_ and _B_ may be repeated two, four, or six times, according to the size of pattern required. A very mellow sort of style results from this system of colouring. The surface of the texture is one uniform tint, slightly diversified with the twist yarns, which develop the details of the pattern, due to the method of grouping the threads. This species of colouring is soft in tone and artistic in composition, being equally applicable to woollen, worsted, and cotton fabrics. In cottons, more pronounced colouring may be adopted, such shades as follow being useful: brown and slate, pink and white, and deep blue and pale lavender.

The woven effects of Scheme IV. are given in Figs. 104, 105, and 106. The weave employed in the production of these patterns is an eight-shaft twill. Whatever twill were used, providing it flushed the warp and weft equally, the general aspect of the patterns would be as here illustrated. In order to afford as clear an insight into the principles of Compound Colourings as possible, the effect of changing the weft on the pattern resultant, when the system of warping is not varied, is also shown in these examples. All the three patterns have the same arrangement of warp yarns, but in Fig. 104 the weft is white; Fig. 105, black; and in Fig. 106 it is like the warp. If the weft contrasted in hue with both the shades of warp yarns, quite a new type of effect would be acquired. Supposing, for illustration, it were blue. Such an alteration would completely change the appearance of the fabric. Neither the black nor the white stripes would be solid, but the former would be half black and half blue, and the latter half white and half blue. However the weft might be varied; the form of the pattern would remain the same--that is to say, it would always consist in the stripes (Figs. 104 and 105) of four broad lines and two narrow lines, and in the check (Fig. 106) of sixteen large and sixteen small squares.

[Illustration: FIG. 104.]

[Illustration: FIG. 105.]

Considering that only two shades are used, the patterns are full of textural detail. The series of effects given are useful in textile designing. The stripes possess diversity of composition, and are characterized by neatness and clearness of arrangement. Seeing that the shades used are black and white, the absence of bold and stiff outlines is an interesting feature, and one that suggests the utility of the base in the development of fancy fabrics. In the check there is much variety of work. In addition to the solid squares of black and white of two sizes, there are rectangles composed of twills of black and white blended, of several dimensions and shapes.

[Illustration: FIG. 106.]

[Illustration: FIG. 107.]

[Illustration: FIG. 108.]

158. _Patterns composed of Two Types and Three Shades._--Scheme I. of Class A of the Regular Compounds, in the styles composed of three colours and of two Simple types, gives somewhat mellow and subdued effects. The patterns sketched in Figs. 107 and 108 illustrate the style of design arrangement resultant when this method of colour-grouping is adopted. The stripe pattern has a mingled appearance. Parts _A_ of both the check and the stripe are composed of minute work, which neatly contrasts with the broader and more distinctly pronounced effects comprised in Section _B_. The patterns have a softer aspect and tone than if only two shades had been employed, the third shade adding diversity of colouring and freshness of the style. Fig. 107 is woven with a white weft, and Fig. 108 with exactly the same order of weft as warp shades. The two Simple schemes, forming this Compound, combine satisfactorily. The three-odd-thread grouping, constituting the _A_ sections of the fabric, yields a species of textural effect which affords prominence to the small spaces of black, grey, and white composing parts _B_. There is, in these samples, congruity of effects. This is one of the main elements of a well-arranged compound. It is a feature of all descriptions of designing that the styles amalgamated should suitably develop each other, and yield a well-balanced and effective scheme of ornamentation. Even in the smallest textural effects, resulting from combining various systems of shade-arrangement, this principle of design has to be taken into account. For example, the check style given in Fig. 111 would not form a satisfactory pattern if combined with the check in Fig. 108; although both styles are composed of similar arrangements of shades, and have precisely the same colour features. The character of the respective checkings is, however, very different. In Fig. 111 the patches of colours are so grouped as to yield a broad and clearly-pronounced series of effects, whereas Fig. 108 is a compound of various minute types of woven design; hence the incongruity which would ensue from their amalgamation. The elements of Figs. 107 and 108 are, on the other hand, suitable for this purpose. The stripe is a style that may be utilized in various ways. Should, for instance, bands _A_ and _B_ be varied in width, a range of useful patterns for dress and mantling textures may be produced. Thus, stripes averaging from two to four inches in width, in mellow shades of twist or self-coloured yarns arranged on this system, are developed largely in worsted, woollen, and cotton materials.

In the check, Fig. 108, the development of this Compound scheme of colouring is shown. It is made up of the two types lettered _A_ and _B_. Several groups of shades are given below illustrative of the type of colouring appropriate for the respective textures named.

I. CLOAKINGS.

_Example A._ ⎧ 1 thread of fawn. For 12 threads. ⎨ 1 „ light brown. ⎩ 1 „ brown.

⎧ 2 threads of fawn. For 24 threads. ⎨ 2 „ light brown. ⎩ 2 „ brown.

_Example B._ ⎧ 1 thread of light olive. For 12 threads. ⎨ 1 „ slate. ⎩ 1 „ medium blue.

⎧ 2 threads of light olive. For 12 threads. ⎨ 2 „ slate. ⎩ 2 „ medium blue.

II. DRESSES.

_Example C._ ⎧ 1 thread of white. For 24 threads. ⎨ 1 „ lilac (Tint 16, Plate VI.). ⎩ 1 „ olive (Shade 9, Plate VI.).

⎧ 2 threads of white. For 48 threads. ⎨ 2 „ lilac (Tint 16, Plate VI.). ⎩ 2 „ olive (Shade 9, Plate VI.).

_Example D._ ⎧ 1 thread of yellow olive (Tint 10, Plate VI.). For 24 threads. ⎨ 1 „ light blue (Tint 11, Plate IV.). ⎩ 1 „ olive (Shade 8. Plate III.).

⎧ 2 threads of yellow olive (Tint 10, Plate VI.). For 48 threads. ⎨ 2 „ light blue (Tint 11, Plate IV.). ⎩ 2 „ olive (Shade 8, Plate III.).

_Example E._ ⎧ 1 thread of light brown (No. 3, Plate IV.). For 6 threads. ⎨ 1 „ medium brown (No. 2, Plate IV.). ⎩ 1 „ dark brown (No. 1, Plate IV.).

⎧ 2 threads of light brown (No. 3, Plate IV.). For 12 threads. ⎨ 2 „ medium brown (No. 2, Plate IV.). ⎩ 2 „ dark brown (No. 1, Plate IV.).

_Example F._ ⎧ 1 thread of brown and white twist (No. 3, ⎪ Plate IV.). For 6 threads. ⎨ 1 thread of blue and white twist (No. 9, ⎪ Plate IV.). ⎩ 1 thread of olive and white twist (No. 15, Plate IV.).

⎧ 2 threads of brown and white twist. For 12 threads. ⎨ 2 „ blue and white twist. ⎩ 2 „ olive green and white twist.

The II. and IV. Schemes of the styles in three shades of Class A (see Table of Compounds) are not illustrated. The former style is most frequently worked in six-shaft weaves, and the latter in four-and eight-shaft weaves. On account of the colours being grouped in larger quantities than in Scheme I., they give patterns of a broader and more effective character. They are used for similar classes of textiles as those to which Scheme I. is applicable, being selected when styles composed of well-emphasized types of textural work are required. Should thick yarns be used, they give an excellent form of pattern for travelling rugs, shawls, and wraps.

[Illustration: FIG. 109.]

[Illustration: FIG. 110.]

The III. Scheme of these styles, consisting of three shades and of two simple types, is illustrated in the three patterns in Figs. 109, 110, and 111. The patterns are twice the size of Scheme III., that is to say, they contain fifty-four instead of twenty-seven threads, as given in the Table of Compounds, for Sections _A_ and _B_ in producing the fabrics have both been repeated. Types _A_ and _B_ here combined work well together, and form a species of pattern which may be dissected. Contrast the effect obtained in Fig. 109 with the effect obtained in Fig. 110. The arrangement of shades in the warp is the same as supplied in the Table in both styles; but in the former the weft is black and in the latter white. Had a blue shade of weft yarn been employed, or any colour which would have formed an equal weight of contrast with the black, grey, and white elements of the patterns, a species of design comprising increased effects would have resulted; or, had fancy colours instead of neutral shades been combined, a more elaborate type of colouring would have been produced. But to revert to the contrast of style due to changing the weft. It illustrates the importance of employing the proper shade of weft for developing the various elements of coloured styles. Each example is applicable to the dress and mantling branches of weaving, while in certain shades producing subdued and toned effects, they are used in trousering patterns. For dress textures, Sections _A_ and _B_ require to be increased in width in order to give more character and breadth of effect to the colourings.

[Illustration: FIG. 111.]

Fig. 111, which is composed of the same warp yarns as the two preceding examples, and woven with a similar order of weft as warp colouring, is an effective plan of arranging shades. In Fig. 109, the black lines in parts _A_ and _B_ are quite solid, and the white and grey effects broken, being crossed with black; in Fig. 110 the white lines are clear, and the grey and black mingle with white; but in Fig. 111 Sections _A_ and _B_ each contain rectangular spaces of various sizes and shapes of black, grey, and white yarns. These blend and interlace with each other. Part _A_ of this style, being composed of the three-threes system of grouping colours, consists of a smaller series of effects than Part _B_, which results from the three-sixes plan of combining shades. The dimensions of each section of the pattern are varied according to the description of fabric in which it is developed.

[Illustration: FIG. 112.]

[Illustration: FIG. 113.]

159. _Styles of Four Shades containing Two Simple Types._--Four examples are given in these styles in Table XI. They do not form patterns so rich in mingled effects as the preceding compounds. This arises from their occupying an even number of threads, and constituting, as a consequence, a more regular and set description of pattern. Schemes I., II., and IV. are not illustrated, but they produce a similar species of style to that resulting from Scheme III. in Figs. 112, 113, and 114. These types resemble each other in outline and textural detail. The only difference consists in the sizes of the effects produced. This is not the case in Schemes I. and II. of the styles in Three Shades, in which Parts _A_ are composed of an odd and Parts _B_ of an even number of ends. When the composition of the two types combined is thus dissimilar, the resultant compound is fuller of effects than if the two Simple Colourings both comprised an even number of threads. By, however, resorting to the use of fancy weaves, the textural appearance of the patterns referred to may be considerably diversified.

[Illustration: FIG. 114.]

Figs. 112, 113, and 114 have been acquired in the cassimere twill by repeating _A_ and _B_ of Scheme III. of the styles of Four Shades in Class A. In Fig. 112 the weft yarn is black; in Fig. 113, white; and in Fig. 114, the same as the warp. By using grey and light grey wefts, other stripes may be obtained. A contrasting shade of weft also forms a useful class of effects. Both Figs. 112 and 113 are bases employed in various kinds of woollen, worsted, and cotton textures. In Fig. 114, the black weft destroys the effect of the warp shades, hence brown, blue, or olive would be more suitable. The check is regular in arrangement. It is a common base, and is employed in larger or smaller forms in the construction of dress and other fabrics.

[Illustration: FIG. 115.]

[Illustration: FIG. 116.]

[Illustration: FIG. 117.]

160. _Styles composed of Three Simple Types_ (see Table of Compounds).--As pointed out in reference to Fig. 103, which results from the adoption of Scheme I. of Class B (see page 200), when three elements of Simple Colourings are combined, a pattern is acquired rich in diversity of textural work. This is apparent in the example. Composed of black and white yarns, it is a specimen of the diversity of style obtainable with two shades in compound patterns. It follows that if the number of the shades employed is increased, designs richer in character are producible. If Figs. 115, 116, and 117, which have been woven from the arrangement of shades supplied in Scheme II. of Class B, are examined, it will be noticed that though the number of effects corresponds with that of Fig. 103, yet the addition of the grey tint has produced quite a different form of style. Figs. 115 and 116 have been woven with white and black weft respectively. They are composed of three types of work, comprising minute effects in _A_, somewhat larger effects in _B_, and still broader details in _C_. The patterns are partially shaded, and as bases of colouring they are excellent. The three effects each contains, may be combined in various ways, giving stripes of suitable proportions for dresses, mantlings, and trouserings, according to the class of materials employed. A few examples in colouring this base are given. Any of the three shades of which they are severally composed may be used for weft.

_I. Example._ ⎧1 thread of brown (No. 1, Plate IV.). For 6 threads. ⎨1 „ blue (No. 7, Plate IV.). ⎩1 „ olive (No. 13, Plate IV.).

⎧2 threads of brown. For 12 threads. ⎨2 „ blue. ⎩2 „ olive.

⎧3 threads of brown. For 18 threads. ⎨3 „ blue. ⎩3 „ olive.

_II. Example._ ⎧1 thread of olive (No. 9, Plate VI.) and white twist. For 6 threads. ⎨1 „ blue (No. 9, Plate IV.) and white twist. ⎩1 „ slate and white twist.

⎧2 threads of olive and white twist. For 12 threads. ⎨2 „ blue and white twist. ⎩2 „ slate and white twist.

⎧3 threads of olive and white twist. For 18 threads. ⎨3 „ blue and white twist. ⎩3 „ slate and white twist.

_III. Example._ ⎧1 thread of light blue (No. 10, Plate IV.). For 12 threads. ⎨1 „ rose (No. 4, Plate IV.). ⎩1 „ white.

⎧2 threads of light blue. For 12 threads. ⎨2 „ rose. ⎩2 „ white.

⎧3 threads of light blue. For 36 threads. ⎨3 „ rose. ⎩3 „ white.

_IV. Example._ ⎧1 thread of russet (No. 7, Plate III.). For 12 threads. ⎨1 „ olive (No. 8, Plate III.). ⎩1 „ slatish purple (No, 14, Plate VI.)

⎧2 threads of russet. For 12 threads. ⎨2 „ olive. ⎩2 „ slatish purple.

⎧3 threads of russet. For 18 threads. ⎨3 „ olive. ⎩3 „ slatish purple.

The I. and II. Examples are for suitings--one for dark and the other for light fabrics. These may be produced in either woollen or worsted yarns. Example III. is for dress fabrics. The two smaller types of work of which it is composed form the same size of section in the texture; but the arrangement of the three 3’s yields a section half as large again as that formed by the other elements of the style. A bold and clearly-defined pattern is thus produced by this order of colouring.

[Illustration: FIG. 117A.]

Example IV. is intended for cloakings, and is composed of shades of a medium depth and intensity.

The checks, Fig. 117, in [2/2] twill, and Fig. 117A, in the [2/2] mat, contain nine species of work, well grouped and arranged. The two types _A_ and _B_ are just sufficiently emphasized to contribute to the neatness of the style, while the series of effects comprised in Bracket _C_ give a distinctness of outline. These checks are workable in the colourings supplied for the stripes.

It is unnecessary to illustrate Schemes III. and IV. of Class B of the Table, which give similar patterns to those described, though there is considerable dissimilarity in the types of effect making the respective patterns.

161. _Irregular Compounds_ (see Table XI.).--Styles of this class are generally quite mingled in colouring. They consist of such methods of grouping threads as comprise various quantities of the different colours used. Thus, in Scheme I. of the Irregular Compounds there are twice as many threads of black as white in both sections _A_ and _B_; in Scheme II. the black again predominates; while in Scheme IV. the several shades occur in different quantities. This is the colour feature which causes the dissimilarity between Irregular and Regular Compounds. In Part _A_, Scheme III., there is an excess of black, but in Part _B_ an excess of grey. This species of pattern is therefore obtained by taking a simple base, in which one shade is in excess, and repeating it for a suitable number of threads, and then reversing the positions of the shades. The following examples of this system of compounding elementary schemes of colouring may be considered in addition to that supplied in Scheme III. of the Table:--

_Example I._ _A._ For 18 threads. ⎧4 threads of black. ⎩2 „ brown.

_B._ For 18 threads. ⎧2 threads of black. ⎩4 „ brown.

_Example II._ ⎧4 threads of brown. _A._ For 16 threads. ⎨2 „ slate. ⎩2 „ blue.

⎧4 threads of slate. _B._ For 16 threads. ⎨2 „ blue. ⎩2 „ brown.

⎧4 threads of blue. _C._ For 16 threads. ⎨2 „ brown. ⎩2 „ slate.

[Illustration: FIG. 118.]

In the _A_ section of Example I. black is the principal and brown the secondary shade, but in the _B_ section the positions of the colours are reversed. Such a method of colouring frequently yields attractive styles. This scheme in the four-shaft mat produces a twofold effect. Section _A_, when this colouring is worked in the mat, forms a black ground on which small lines of brown are set at right angles to each other, but Section _B_ gives a brown ground with a similar series of black lines. The style is produced in both wool and cotton materials in the plain, twill, and mat weaves.

[Illustration: FIG. 119.]

Example II. illustrates the method of changing the positions of the shades when three colours are employed in this class of compounds. No perfect style can be obtained on this system unless each colour occupies every possible position in the repeat of the pattern. Reference to this example will make this point evident. Here three colours--brown, slate, and blue--are combined. In Part _A_ the brown leads, in Part _B_ the slate leads, and in Part _C_ the blue. Even distribution of colouring is thus secured, and the production of a pattern in which uniformity of effects is paramount is effected. The principle of the compounds illustrated by these examples affords considerable scope for ingenious arrangement of colours.

[Illustration: FIG. 120.]

Two of the Irregular Compounds given are illustrated by sketches of woven samples, namely, Schemes I. and IV. Figs. 118 and 119 have been produced by Scheme I.,--Section _A_ being repeated to 18, and Section _B_ to 18 threads. As this style is only composed of two shades, the textural result is somewhat wanting in variety of effect. Still, it is a useful base. Both the stripe and check arrangements are developed in woollen and worsted yarns. The check pattern is a compound of three effects, consisting of the spaces of vertical lines of black and white, of the parts of intermingled colouring, and of the sections of minute twilled work. In such couplets of shades as brown and fawn, blue and slate, and olive and slate and white twist, neater patterns may be obtained by this base than are producible in black and white.

[Illustration: FIG. 121.]

[Illustration: FIG. 122.]

[Illustration: FIG. 123.]

Scheme II. gives even more mingled styles than those resulting from Scheme I. It is a composition of a Regular and of an Irregular type; for grouping _A_ is the simplest scheme of textile colouring, but grouping _B_, containing three elements of black to one element of white, is an Irregular base. This arrangement is extended and worked out in a considerable diversity of weaves. Scheme IV. is also constructed on this system. Part _B_, in this instance, is composed of the Regular elementary type, and Part _A_ of the Irregular type. The class of patterns it yields is illustrated in Figs. 120 and 121. The former of these styles has been woven with black weft, and the latter with the same shades of weft as warp. Part _A_ has been repeated to twenty-four, and Part _B_ to twenty-four threads. More decided patterns generally result from combining Irregular and Regular types, than from combining two or more systems of each of these representative schemes of textile colouring. In the check pattern, Fig. 121, the Irregular type, constitutes broad rectangular spaces of white, grey, and black, which surround a series of small black and white checks. A diversity of shades and tints may be practised here, and the base modified and utilized in the construction of fancy fabrics of various descriptions.

[Illustration: FIG. 124.]

Figs. 122, 123, and 124 are other examples of compounds, the arrangement of the colours being as follows:--

_Fig. 122._ 3 black. ⎫ For 72. 3 white. ⎭ 4 black. ⎫ For 30. 2 white. ⎭

_Fig. 123._ 3 black. ⎫ For 54. 3 white. ⎭ 2 black. ⎫ 1 white. ⎬ For 36. 1 black. ⎪ 2 white. ⎭

_Fig. 124._ 3 black. ⎫ For 24. 3 white. ⎭ 2 black. 1 white. 2 white. 3 black. ⎫ For 24. 3 white. ⎭ 2 black. ⎫ 1 white. ⎬ For 36. 1 black. ⎪ 2 white. ⎭

They show how the simple grouping of colours may be effectively modified. In Fig. 122, the modification results in a compound of 3-and-3 and 4-and-2 colouring; the latter, causing the check to appear shaded on account of the 4-and-2 colouring, has one-sixth more black yarn than the 3-and-3. Fig. 123 consists of 3-and-3 colouring combined with 2, 1, 1, 2; and Fig. 124 of the same colourings differently grouped together.

FOOTNOTES:

[13] For any suitable number of threads and picks.