CHAPTER X.

FANCY SHADES APPLIED TO SPECIAL DESIGNS.

162. Colour applied to Special Makes--163. Colouring of Corkscrews--164. Modified Corkscrews--165. Fancy Woollen Weaves--166. Granite Effects--167. Diagonals--168. Diagonals composed of Plain and Double Plain Makes--169. Stripe and Check Colourings on Diagonals--170. Methods of Colouring Fancy Weaves for Cottons or Silks--171. Gauze Textures--172. Systems of Colouring Gauzes--173. Imitation or Mock Gauzes--174. Colour in relation to Rib or Cord Styles.

162. _Colour applied to Special Makes of Cloth._--Having examined the various schemes of grouping shades in relation to the elementary order of weaves, and also the methods of combining colours in both warp and weft, analysis may next be made of the principles of textile colouring for the development of specific woven effects. Here it may be an adaptation or an origination of a scheme of shades--the structure of the weave being the principal modifying factor. It is not now a matter of the application of a system of colouring, irrespective of any particular type of weave, but a question of employing that assortment of colours which will prove most effective in a certain design. The build of the fabric, the method of intertexture, and the weave, are fixed factors; and it becomes a problem of what grouping of threads will yield the most satisfactory style and best emphasize the design elements. All weaves employed in developing colour effects in simple fabrics belong to one of the orders of crossings given below:--

I. Weaves in which there is a preponderance of warp. II. Weaves in which there is a preponderance of weft. III. Weaves in which the warp and weft effects are equally pronounced.

The I. class of weaves, which may be termed warp effects, includes corkscrews, sateens, buckskins, certain species of diagonals and twilled mats; the II. class--weft weaves--is not so comprehensive, being composed mainly of ribs or cords, twills and small diagonals. A very extensive series of fancy makes of various types is found in the III. class.

But in addition to these important orders of intertexture, practised in the construction of single-make fabrics requiring special plans of colouring, there are some kinds of backed and double weaves that are so unique in build as to need exceptional treatment in a colour sense. This, however, is not so largely the case in backed as in double-make cloths. Backed, and also some types of double textures, such as trouserings, coatings, and simple effects in mantlings, are practically coloured on the same principles as single cloths. The under surface of these builds of woven styles is occasionally distinctive in shade-arrangement, but the face generally corresponds in scheme of colouring to single-make textures. In the combinations of double weaves, the exceptions to this method occur. Double-plain fabrics, for example, are coloured on quite distinct principles from some other descriptions of pattern. The double-plain weave is adapted to the development of a specific range of style, due to the utility of a formula of colouring only applicable to its structure. Some other types of double weaves have also their peculiar orders of shades.

163. _Colouring of Corkscrews._--As corkscrews form one of the principal types of warp weaves, the application of colours to their construction may be primarily considered. The methods of colouring adopted here, relate collaterally to other weaves in which the warp effect is the most clearly developed on the face of the fabric. Corkscrews are adapted for several orders of warp colouring. Fancy shades are specially distinct when introduced into the warp of textures in which such weaves are used, making strong contrasts and high colourings in the warp unnecessary. But while these weaves thus afford ample provision for various methods of tinting in the warp, they neutralize the effects of weft colouring. This might be changed from black to dark blue in the common corkscrew without the character of the face of the fabric undergoing any perceptible modification in hue. If, for example, the warp and weft were, in such a weave, twelve threads of brown and twelve threads of blue, a stripe, and not a check, pattern would result. Of course in a common twill this colouring would yield a decided check. There are two reasons why in corkscrews, warp cords, and similar weaves, such a scheme of shades forms a stripe--first, because textures composed of this class of weaves possess a warp face; and second, because they, if properly made, contain a larger proportion of warp than weft threads to the inch; hence the weft yarns are almost entirely concealed by the warp. On these grounds it will be obvious that variety of pattern in these weaves, when due to colouring, is a product of the warp. To the typical methods, therefore, of grouping fancy shades in the warp for corkscrew and kindred weaves, attention has mainly to be directed. In such instances, the weft is the factor which binds the threads together, and produces or builds, in conjunction with the warp yarns, the fabric; and hence it only to a small degree affects the style of the pattern, and consequently is a minor consideration in producing the design.

[Illustration: FIG. 125.]

Patterns illustrative of the ordinary methods of colouring applied to corkscrew weaves are given in Figs. 125, 126, and 127. The style in Fig. 125 is a combination of three effects, viz., of the bands of solid colour, of the stripes _A_, and of the stripes _B_. The textural types, seen in the lettered sections, are due to two distinct but simple schemes of grouping shades, namely, the one-and-one and the two-and-one systems. They frequently occur in this weave, giving neat effects. The plan of warp colouring is as appended:--

18 threads of black worsted. _A._ For 9 threads. ⎧ 1 thread of white silk. ⎩ 1 „ black worsted. 17 threads of black „ _B._ For 10 threads.⎧ 1 thread of white „ ⎩ 2 threads of blue „

Should part _A_ be modified thus:--1 thread of white and 1 thread of black for six threads; 1 thread of white and 1 thread of crimson for three threads; and 1 thread of white and 1 thread of black for six threads--a very different style would ensue. Section _A_ would, in this arrangement, consist of two small stripes of twills of black and white separated by a minute band of fine twills of crimson and white. Another alteration of this base, which is also frequently adopted, is as follows:--

9 threads of black. 9 „ brown. 9 „ black. _A._ For 27 threads. ⎧ 1 thread of brown. ⎩ 1 „ black. 9 threads of black.

_B._ For 6 threads. ⎧ 1 thread of tan silk. ⎩ 1 „ black.

_C._ For 6 threads. ⎧ 1 thread of slate silk. ⎩ 1 „ black.

_D._ For 6 threads. ⎧ 1 thread of tan silk. ⎩ 1 „ black.

On analyzing this group of shades it will be evident that it comprises several elements. First, there are the three nine-thread stripes, viz., black, brown, and black. These are succeeded by stripe _A_, composed of twills of black and brown. Between this part and Sections _B_, _C_, and _D_ there is another series of nine threads of black. Coming to the last three groups, the black yarns alternate with both the tan and slate silk in succession--an arrangement which tends to mellow the effect of the bright hues here employed. Of course the number of threads in the several sections of this pattern of warp may be varied according to the dimensions of the style required.

Two further examples developed in warp corkscrew are those in Figs. 126 and 127, the colourings being:--

For Fig. 126:--

For 4. ⎧1 thread of lavender. ⎩1 „ black. 1 „ lavender. For 4. ⎧1 „ lavender silk. ⎩1 „ black. 1 „ lavender silk. For 4. ⎧1 thread of lavender. ⎩1 „ black. 1 „ lavender. For 30. ⎧1 „ lavender. ⎩1 „ slate. 1 „ lavender silk. 1 „ slate. 1 „ brown silk. 1 „ slate. 1 „ lavender silk. For 30. ⎧1 „ slate. ⎩1 „ lavender.

_Weft._ All one shade.

[Illustration: FIG. 126.]

[Illustration: FIG. 127.]

For Fig. 127:--

For 108. ⎧1 . . . Shade 1. ⎩1 . . . „ 2. For 6. ⎧1 . . . „ 1. ⎩1 . . . „ 3. For 6. ⎧1 . . . „ 1. ⎩1 . . . „ 2. For 6. ⎧1 . . . „ 1. ⎩1 . . . „ 3.

_Weft._ All one shade.

164. _Modified Corkscrews._--In order to obtain a weft effect in corkscrews, the weaves are altered in the principles of construction. Take an example. The weave supplied in Fig. 128 is in reality a corkscrew, for should the ⊠’s be erased and the ◼’s be added, the weave, though occupying twenty-four threads,--which is not a number on which this type of weave is usually constructed,--would possess the main features of this description of twill. But the weave must now be considered as being composed of the ⊡’s and ⊠’s only--the ◼’s corresponding to the ◻’s. The thread-and-thread scheme of warping in this modified corkscrew has a different effect from what it has in the common type of this weave. Taking the shades to be brown and slate, and the weft blue, a pattern containing four species of work results. First, there are the two fine twills of the respective shades of warp yarn; and, second, a furrow of intermingled colouring, due to the solid floats of warp in the design. These effects are purely warp products. In addition to these, a fine diagonal of blue, resulting from the flushes of weft, is also formed, so that an alteration of this kind in the corkscrew system of twilling considerably increases the diversity of work producible by a simple arrangement of shades.

[Illustration: FIG. 128.]

[Illustration: FIG. 129.]

Another very useful style might be developed in this crossing (Fig. 128) by warping nine threads of a dark and three threads of a light shade of yarn, and weaving with a medium colour of weft. Supposing the shades to be black and white for warp, and grey for weft, then a pattern consisting of a series of furrows of black interrupted by small effects of white, arranged on a grey surface, would result.

In Fig. 129 is given the effect of twilling this weave, Fig. 128, to the right and left alternately, when the thread-and-thread system of warping is adopted, and when the weft is all one colour. If the ordinary build of corkscrew had been employed, the diagonal of: black and white would only have been produced. The grey twills are distinctly a weft development, and result from the ⊠’s in the weave. This and the preceding examples are but types of the styles producible, by modifying this useful weave, in worsted fabrics.

[Illustration: FIG. 130.]

[Illustration: FIG. 131.]

165. _Fancy Woollen Weaves._--There is not a large diversity of weaves employed in the construction of woollen fabrics; still there are some crossings used in these textures which require specific colouring. Patterns are produced by using weaves which are tinted on principles harmonizing with the scheme of interlacing. Such an example is given in the upper section of Fig. 130. A neat combination of textural effects has here been obtained by the employment of an uncommon weave. (See Fig. 131.) The scheme of colouring for this style belongs to the elementary class, being as follows in both warp and weft:--

_A._ For 24 threads. ⎧ 1 thread of black. ⎨ 1 „ grey. ⎩ 1 „ black.

_B._ For 24 threads. ⎧ 1 thread of grey. ⎨ 1 „ black. ⎩ 1 „ grey.

Hence it is the weave which has given the novelty of cast to the pattern. In a simple twill it would yield an ordinary style, but in this weave (Fig. 131) it forms a series of minute effects. The weave is of a check type, and is workable on twelve shafts. In the sections marked ▨ and ⌻, the weft floats on the surface of the texture, while in the sections marked ◻, the warp effect is clearly emphasized. Both warp and weft are equally prominent. But as the method of floating these threads, groups the weft effects and the warp effects alternately, the result is a pattern possessing minute markings of an interesting character. These are the products of three shades. If a twill or mat had been used, this diversity of pattern composition by three colours and simple plan of shade-arrangement would not have been possible; so that it is obvious that new systems of weaving on a small and regular base may be employed in woollen textures to advantage, if novel patterns are required. The intermingled check characteristic of the style is due to the system of grouping the shades. Thus the plan of colouring is in two parts; in _A_ black is the principal, and grey the secondary shade; and in _B vice versâ_. By this means, in some parts of the fabric a dark or black groundwork is figured with grey, and in others a grey ground with black. The scheme of colouring here illustrated is also applicable to worsted and cotton as well as to the woollen textures.

A different style is supplied in Nos. 1 and 2, in Plate XXIII., to that described. Its novelty is, however, due to the use of an uncommon weave; this is of a fancy twill order, being arranged on the base of the following plan of interlacing, which is the first pick of the design:-- [3\1][3\2][2\2][1\3][1\2][2\2] .

Had, for instance, the six-end twill been used, the patterns would have lacked that richness of style and newness of colour by which they are characterized. It may therefore be understood that in woollens of a suiting and costume class, the weave may be arranged to add to the freshness of the styles obtainable from given methods of colouring. The scheme of shade-grouping in these samples is:--

_Pattern 1_ (Plate XXIII.). 4 threads of fawn. 2 „ olive brown. 2 „ brown. 4 „ dark brown. 2 „ brown. 2 „ olive brown.

_Pattern 2_ (Plate XXIII.). 4 threads of grey. 2 „ olive green. 2 „ dark brown. 4 „ blue. 2 „ dark brown. 2 „ olive green.

The order of the weft colouring for Pattern 1 is the same as the warp; but in Pattern 2 slate takes the place of olive green. By varying the weftings, modifications of these effects may be acquired. One rule should be observed in this work--the warp colourings should slightly preponderate. They should in no case be subordinated to the scheme of wefting, which is rather a subsidiary, than a primary element, of this class of patterns.

[Illustration: FIG. 132.]

The diagonal utilized here being a combination of twills, each of which floats the warp and weft to a different degree on the face of the fabric, yields a style composed of various effects.

[Illustration: Plate XXIII

CHECK AND STRIPE PATTERNS 1. and 2. Checks 3. Gauze Stripe 4. 5. Cord or Rib Stripes]

_166. Granite Effects._--These are produced in woollen yarns, the nature of which is adapted to the construction of blended and intermingled styles. Patterns of this class may be due to the employment of special kinds of fancy yarns, or to the use of a peculiar type of weave in combination with a given order of threads. With these effects, as producible by coloured yarns, there is no need to deal, as they have been treated of with the ordinary class of mixtures. Reference may therefore be made to the function of weaves in the production of granite and other blended styles. The pattern supplied in the lower section of Fig. 130 is an example of this species of weaving. Its mottled effect is mainly due to the construction of the design used and the order of colouring practised. The weave is given in Fig. 132. It is a compound of several crossings, warp and weft cords, and warp and weft prunelle twills. The order of colouring for both warping and wefting is thus:--

For 24 threads. ⎧1 thread of black. ⎩1 „ slatish lavender. 2 threads of black.

For 6 threads. ⎧1 thread of black. ⎩1 „ slatish lavender. 2 threads of black.

For 10 threads. ⎧1 thread of black. ⎩1 „ slatish lavender. 2 threads of black.

For 6 threads. ⎧1 thread of black. ⎩1 „ slatish lavender. 2 threads of black.

For 26 threads. ⎧1 thread of black. ⎩1 „ slatish lavender.

This scheme of warping and wefting, conjointly with the weave to which it is applied, cannot fail to give an intermingled pattern. Even if the weave were of a common class, the result of this series of shades would be a broken, irregular style; but the design is arranged on a base to give a mixed distribution of colouring. The warp and weft cords in the plan are useful weaves for mingling fancy shades, and so are the twilled weaves combined. Add to these characteristics the arrangement of the design, which groups the several weaves into small figures of different forms. The style is workable in worsted, woollen, and cotton yarns, and in twists as well as self-colours. This assortment of weaves is appropriate for patterns in which mingled colouring, combined with a definite species of marking or textural form of effect, is required.

[Illustration: FIG. 133.]

167. _Diagonals._--As a rule, diagonals are but plainly coloured. Being complex in weave-construction, they do not require elaborate colouring; moreover, they are frequently of such a character as to yield intricate and textural patterns in the simplest arrangements and contrasts of shades; there are, however, some exceptions. Certain important types can only be satisfactorily developed when specific colouring is practised. Some illustrations in these may be considered. First, suppose two corkscrews--flushing the warp and weft respectively--were combined in a diagonal pattern of medium size. This arrangement of weaves, if the yarns were grouped on the one-and-one method in both warp and weft, would form a style in which one section of the diagonal would be developed in the warp and the other in the weft. By arranging the bands of the diagonal to run at a different angle from the twills of either the warp or weft corkscrew of which it is composed, an additional effect is obtained, than would have been the case if they had moved in a line with the twills. Regarding the application of this principle of pattern development, it relates to all diagonals composed of two or more simple weaves. One of the methods of applying colour to such designs is to adopt a simple scheme of shade-grouping, which develops neat but contrasting effects in the several makes combined.

[Illustration: FIG. 134.]

_168. Diagonal composed of Plain and Double Plain Makes._--In Fig. 133 is furnished an example of how simple schemes of colouring may be made to produce quite a diversity of effects running diagonally in the fabric. This style has been developed by arranging the colours one thread of white and one thread of black, in the warping and wefting alike, and constructing the design on the base of the sixteen picks given in Fig. 134. It is unnecessary to explain here how the several effects have resulted, as the principles involved in producing the types _A_ and _B_, which are composed of plain weave, are already understood; while the varieties of patterns obtainable in the double-plain makes, forming Sections _C_ and _D_, will be considered in a subsequent chapter. Still, it may be observed that in solid shades such a grouping of weaves would give but an indefinite pattern, one lacking character and precision of outline. The weaves employed in this example, are the only ones which can be made to develop effects of this order, though in some types of simple, double, or compound weaves, such figured designs are producible by dissimilar schemes of colouring. There are certain restrictions to the methods of combination. Figuring, requiring large spaces of the double-plain makes, is not feasible; these crossings are necessarily looser and more open in structure than the single weaves, and may therefore only be used in comparatively small quantities; moreover, the weaves may not be grouped in the stripe form, or the texture will not be satisfactory as to firmness and soundness, nor will it weave regularly. The fact that the weaves in the example run diagonally, equalizes the interlacing of the warp and weft and ensures the construction of a uniformly-built fabric.

169. _Stripe and Check Colourings on Diagonals._--Other methods of colouring weaves of a diagonal construction comprise the development of stripe and check effects, in neatly-toned shades. Coatings, dresses, and vestings comprise patterns of this order. It is necessary, in order to have the same weight of colouring in both warp and weft of such styles, to modify the design on those threads and picks on which the fancies occur. Unless this is done, the effect produced is irregular and imperfect. By, however, altering the design where these bright striping or checking shades are added, complete balance of colouring is acquired both across and lengthways of the fabric.

170. _Methods of Colouring Fancy Weaves for Cottons or Silks._--Generally, these require brighter and more cheerful combinations of shades than woollen or worsted fabrics, but the weaves, when of a similar construction to those used in the production of these textures, are coloured on similar principles. It is in the selection of the shades where specific treatment is required. There are, however, some specially-constructed weaves employed in the manufacture of fancy cottons, and these have to be coloured according to their principles of arrangement and the type of pattern they are required to form.

Amongst these weaves are small fancy effects, such as those illustrated in Figs. 135 and 136, and leno and gauze combinations. Reference may, in the first place, be made to Figs. 135 and 136. The former is a striped pattern composed of two sateen weaves. The alternate bands have warp- and weft-flushed grounds. On the weft-flushed surface a warp spot is formed, and on the warp-flushed surface a weft spot. A marked and well-emphasized contrast of effects is thus secured. The arrangement is an excellent one, and capable of many modifications. Section _B_ might, for example, be repeated several times, or the whole design might be enlarged with good results. A third variation is possible by converting the pattern into a check. A light warp and a medium shade of weft should be used. Supposing, for instance, the warp were light blue and the weft medium blue, then stripe _A_ would consist of light blue ornamented with small spots of medium blue, whereas stripe _B_ would consist of medium blue mainly, with light blue spotting. This method of colouring is useful where the designs are arranged on a base of this character. Another plan of introducing fancy shades in such weaves involves the use of two shades in the warp--one for stripe _A_ and another for stripe _B_.

One further method of varying styles of this kind may be mentioned. Add to the design as here given a band of fancy twill, which might be coloured with bright yarns in the warp, and the sateen sections plainly coloured, allowing of clear and distinct development of the spotting.

[Illustration: FIG. 135.]

[Illustration: FIG. 136.]

The next weave, Fig. 136, may be more diversified in colouring. In the woven texture, it forms a species of serpentine pattern filled in with small figures of plain make. The warp and weft flushes compose similar figuring. Analysis of its composition shows that it comprises three varieties of crossings. First, there are the plain weave parts; second, the solid warp-flush figuring; and lastly, the wave effect formed by the solid floats of weft. If the thread-and-thread system of colouring were adopted, an interesting woven effect results. Thus, assuming the colourings to be pale blue and light olive, the plain sections would consist of longitudinal stripes of these colours; the blank spaces in the weave would give warp floats of the same shades; and the solid floats of weft transverse but very diminutive lines of olive and blue. Should one colour of warp yarn be used--such as light fawn, and a second colour for weft, tannish brown, for instance--quite a different species of style would be obtained. In this example, a wave figure of light fawn would be adjacent to a similar figure of tannish brown, and the oblong figures composed of plain weave in mixed colouring.

These styles, Figs. 135 and 136, when coloured on the lines indicated, are suitable for silk and mixed materials, as well as cotton textures, for which they have been arranged.

[Illustration: FIG. 137.]

[Illustration: FIG. 138.]

[Illustration: FIG. 139.]

[Illustration: FIG. 140.]

[Illustration: FIG. 141.]

171. _Gauze Textures._--Gauze or leno effects are different in structure and appearance from ordinary woven fabrics. When combined with the common methods of weaving, a variety of useful designs may be obtained. Compared with ordinary woven results they are what may be defined as porous or transparent in composition, or, more strictly speaking, they consist of compact and open spaces which regularly alternate. The dimensions of the perforations, and the intervals at which they occur, are determined by the weave used and the method of healding adopted. On examining a sample of these textures, the threads appear to be drawn together in some sections and in others to be separated and apart. Section _A_ of Fig. 137 affords some idea of the mode in which the yarns twirl round, over, and under each other. Note, for example, the crossings of threads I and 2 with 3 and 4. The two former rise alternately on the right and left of the two latter. Further analysis shows that some of the threads--namely, those lettered _s_--are not drawn out of their positions. They preserve uniform fixedness of position, being always under the picks of weft and twined round by the whip yarns 1 and 2, and 5 and 6, etc. If one of these yarns is removed, the whole structure of the fabric is decomposed. Fig. 138 is a photo-micrograph of a cotton warp and silk weft gauze fabric showing distinctly the twisting of the double warp threads round the soft floss weft. In the sample of fancy gauze, Fig. 137, two whip threads rise on the left and on the right of the threads _s_ simultaneously, forming a wavy texture. The picks are introduced at such intervals as to be bound together in pairs, first by ends 1 and 2, _D_ and _E_, _F_ and _G_, etc.; and, second, by ends 5 and 7, _E_ and _F_, _G_ and _D_, etc. The bending of the picks is due to the method of coupling them together. In producing such a style, first arrange for a band or stripe, of about one inch in width, of the gauze effect _A_, and then for a band of 1½ to 2 inches in width of the plain, like the sections lettered _B_. The weaving plan of this pattern is Fig. 139, and the healding draft Fig. 140. A word or two of explanation is necessary on the latter. Shafts 1 and 2 are the doupe heddles. In healding, the whip threads are first entered into shafts 3 or 4, then into shafts 1 or 2, as the case may be. It is necessary that these should be drawn underneath the stationary ends. When the doupe heddles rise, the whip ends are lifted on the right of the fixed threads, but when shafts 3 and 4 rise they are lifted on the left. The weave given in Fig. 141 is a modification of this structure. This weave, in the same draft, gives the stripes of plain unaltered, but those of leno are more pronounced in waviness, for four picks are in this case grouped together at each change of the whip threads. Numerous variations might also be wrought in the same method of healding, and by the same plan, by simply altering the dimensions of the respective stripes.

[Illustration: FIG. 142.]

The style given in Fig. 142 is of a different class from that sketched in Fig. 137. For some sixteen picks the gauze yarns interweave regularly, and then pass round four threads, being thereby drawn together by the picks, and at the same time made to prevent them from being forced into contact with each other. It is thus that the porous features of the pattern are originated. Between each series of gauze effects there is a band of twelve threads of fine cotton, not including the side threads which, conjointly with the whip yarns, form the interstices at intervals. In healding for this style, the douping threads pass under four ends in succession, so that five threads are sleyed together in the gauze sections. In the plain parts, however, only four threads are entered into each reed, while a vacant split is allowed between the different sets of these yarns. This sample, like the preceding one, and that given in No. 3 on Plate XXIII., illustrates the diversity of textural arrangement feasible in gauze fabrics.

172. _Systems of Colouring Gauzes._--The methods of colouring these patterns may be grouped under three heads, as follows:--

I. Gauze patterns in which colour is applied to those sections composed of the ordinary principles of intertexture only.

II. Gauze patterns in which colour is applied to the gauze parts only.

III. Gauze patterns coloured in both the ordinary and gauze sections.

Examples in each class may be considered. Primarily, then, it is feasible to apply colour to these styles on such a system that the gauze sections will be developed in one shade, while the adjoining effects may be coloured on any system applicable to single-make designs composed of simple weaves. Thus, taking Fig. 137 as a design which it is required to colour by this method, then the weave of parts _B_ being plain, any of the Simple or Compound Schemes of Colouring might be used; or these parts might be coloured on a special system to form, for example, a shaded band of tints. If the colours used were pink and white, the maximum quantities of pink could approach the band of gauze effects, when the largest portion of white would fall in the centre of the plain stripe; or the shading might proceed from white at the edges to a pink central band. Whether the first or the second arrangement is adopted, the stripe of gauze should be in white, and the weft also of this shade. Obviously the ordinary schemes of colouring are applicable to such sections as _B_ of any gauze pattern. With some slight modification, or rather adaptation, they also relate to the leno or gauze portions of these styles. When it is required to introduce the fancy shades into the gauze proper, the structure of the fabric has to be taken into consideration. Fig. 142 is a sample of gauze in which the fancy yarn constitutes the gauze effect. By making it such, the character of the pattern is more clearly developed. It is only by an arrangement of this kind that the twisting of the gauze yarns can be prominently brought out. If the ground threads had been white, and the whip yarns black, the effect would not have been nearly so good. Hence it is advantageous in applying colours to these textures to make the twisting or whip threads into fancies.

Another important feature about the application of colour to gauze effects is that different materials and thicker yarns may be employed for the whip than for the ground ends of the fabric. This is the case in Fig. 142, where the gauze threads are silk and several fold in thickness. The object of this contrast of materials and in sizes of yarns is to cause the gauze effects to appear prominent and distinct from the other characteristics of the pattern.

The third example in the colouring of these styles is Pattern 3 on Plate XXIII. There are several textural principles here for analysis. The gauze sections are developed in three kinds of yarns. The variegated silk threads form the main element of the tinting. Such yarns are only used in the finest of these fabrics. They impart richness of tone and lustre to the whole effect. Next there are the thick threads of cotton forming the diamond-work in the gauze parts. Intervening these thick yarns, and constituting the smaller interstices, the fine threads occur. These various yarns are effectively employed--the silks give the twisting, the thick threads the open gauze, and the fine threads the groundwork. The other sections of the style are composed of twill and plain. Fancy shades might be forcibly added to the twilled part, and so the pattern converted into a colouring of the third class of gauze styles.

In addition to these striped combinations, a limited range of checkings in gauze are obtained, while figured effects are produced in this scheme of weaving in a considerable diversity of tints.

173. _Imitation or Mock Gauzes._--The somewhat intricate mounting required to produce gauze fabrics has led to numerous ingenious attempts to obtain a gauze effect in the texture without increasing the complication of the weaving process. One of the most important methods of accomplishing this is shown in Fig. 143. The small weave (Section A) in this design, marked in ⊠’s, yields an imitation of the real gauze, and so groups the threads and picks that they result in forming a fabric full of small perforations. It is used in combination with the plain weave and fancy makes in the origination of various descriptions of patterns. As a rule, the colourings are of a simple order, only a limited variety of shades being used. The stripe in Fig. 143 may be colourable in the warp as follows:--

20 threads of tan. 32 „ light blue. 20 „ tan. 24 „ light blue.

The weft might be either light blue, tan, or a tint that would contrast with both the colours in the warp. Assuming it to be blue, the pattern resultant would consist of a stripe of mock gauze in solid blue, a stripe of plain in brown and blue neatly mingled, a stripe of hopsack in which the respective shades would form small diaper-work, and of a second stripe of plain weave of intermingled colouring. The novelty of these patterns is largely proportionate to the ingenuity exercised in varying the methods of combining the weaves and in the selection of new types of crossings; while the special function of the colourings is to develop the weave elements.

[Illustration: FIG. 143.]

The check example, Fig. 144, further illustrates the method of colouring these mock effects. Fig. 144A is a photo-micrograph of the fabric, showing the interlacing of the threads, and the difference in structure of “mock” and gauze fabrics (Fig. 138). It is produced in Fig. 144B, and coloured:--

Light green 12 12 12 12 24 - White 48 24 - 12 - 24 Medium green - - 24 12 12 -

[Illustration: FIG. 144.]

[Illustration: FIG. 144A.]

174. _Colours in relation to Rib or Cord Styles._--The rib make of cloth is utilized in the construction of fancy patterns. It is one of the neatest schemes of weaving that can be used for this purpose. It allows of considerable scope for both colouring and designing. Though two wefts may be employed in producing this class of design, only one of them appears on the face of the fabric when forming the rib or cord effect. As a result of the cord may be variously coloured, and yet quite independently of the other sections of the style. Fig. 145, which is the plan of the rib style given in Pattern 4, on Plate XXIII., illustrates the base on which such designs are arranged. Part _A_ forms the cord. It is produced solely by the even picks. These, in weaving, come as close together as if the odd picks were not part of the construction. At the same time they float under the several sets of threads forming the other parts of the style. It is this arrangement which makes it feasible to develop the cord in any order of colours without modifying the pattern as a whole. Pattern 4, Plate XXIII., shows the rib of a distinct shade. The method of colouring is as appended:--

[Illustration: FIG 144B.]

_Warp._ 10 threads of brown. 10 „ brown and white twist. 20 „ brown. 10 „ brown and white twist. 10 „ brown. 10 „ brown and white twist. 6 „ brown. 10 „ brown and white twist. 10 „ brown.

_Weft._ 1 pick of brown. 1 „ black.

[Illustration: FIG. 145.

(If necessary, stitch or tie beneath the cord section _A_.)]

It is the black weft which forms the cord. Greater diversity of effect in this section of the fabric might have been acquired by wefting thus:--

For 92 picks. ⎧1 pick of brown. ⎩1 „ black.

For 4 picks. ⎧1 pick of brown. ⎩1 „ silk.

In this scheme of wefting the rib is spotted with silk. Occasionally two colours of silk are employed, so that there is evidently some facility for fancy weft tinting in designs of this character. It is not necessary to enter into the details of the warp colouring, which depend largely on the weaves combined.

[Illustration: FIG. 146.]

Pattern 5 of Plate XXIII. is a rib of a different arrangement from that of the preceding example. In Fig. 146, used in its manufacture, three sizes of ribs are combined. It should be noted that where more than one rib constitutes any stripe, both the odd and even picks are utilized in forming the corded effect, and, as a consequence, it is no longer possible to have the whole of the rib stripes of a distinct weft shade from the rest of the design. If Band _A_ only contained three ribs, the pick-and-pick method of colouring might be practised, because in such an arrangement the fine twill would start on the first pick of the design in both Sections _C_ and _D_, admitting of the small ribs in _A_ and of the large ribs in _B_ being of a different colour from the opposing cords and also from the twilled parts. But this order of wefting, if applied to the design given in Fig. 146, would partially destroy the solidity and neatness of one of the twilled bands. Should the odd picks be selected for the fancy colour, it would be stripe _C_, but should the even picks be selected, it would be stripe _D_ that would be modified by the additional shade of weft.

It may be observed that as a rule weaves of a warp type are combined with corded effects; clearer patterns, comprising more forcible contrasts of textural work, result from the use of these than from employing crossings which flush a considerable proportion of the weft yarn on the face of the fabric. Mellow and choice colouring is therefore important in the warp of these styles, because the yarns composing it float with comparatively few weft interruptions on the upper surface of the texture.