CHAPTER XI.
COLOURING OF COMBINATION DESIGNS.
175. Principles of Colouring Weave-Combinations--176. Examples in Colouring Compound Designs--177. Main Points in applying Shades to Weave-Combinations--178. Examples in Drafted Patterns--179. Designs composed of Two Prunelle Twills-- 180. Drafted Designs composed of Two Four-Shaft Weaves-- 181. Styles composed of Prunelle and Cassimere Twills-- 182. Combinations composed of two-, Six-, Seven-, Eight-, and Nine-Shaft Weaves--183. Drafted Designs composed of Three or More Weaves--184. Fancy Stripe Combinations--185. Irregular Woollen Weave-Combinations--186. Cotton Stripes--187. Colouring of Designs containing several Weaves of Varied Construction--188. Figured Designs striped in the Warp.
175. _Principles of Colouring Weave-Combinations._--In applying fancy shades to designs containing several weaves, not only has the character of the pattern as a whole to be considered, but also the character of its component parts. That grouping of shades which forms a perfect style in the common twill may yield incongruous effects in other fancy weaves with which it may be associated, necessitating in some designs--particularly in those of a stripe and check order--the adoption of various systems of colouring, according to the structure of the crossings forming the different sections of the pattern. Generally, the elementary schemes of colouring are the most appropriate for weave-combinations, as they constitute the most uniform effects. To exemplify the methods practised in colouring this description of textile designs, some illustrations may be considered in detail. Supposing, in the first place, a design were composed of prunelle twills and the plain weave, and it were required to colour it on such lines as to obtain neat textural effects in each weave. Now, it will be clearly understood from the analyses made of Simple Colourings that several schemes might be employed, so far as the plain make is concerned, such as the one-and-one, the two-and-one, and the three-odd-thread systems; but if these analyses have been carefully studied, it will at once be evident that neither the first nor the last of these colourings would be suitable for application to this design, because, while producing satisfactory types in the plain sections, they form unsuitable ones in the twills; and it is imperative in this case to use a method of grouping shades that will give equally clear and regular effects in the prunelle as in the plain crossings. On this ground, therefore, both these systems must be rejected. There is not the same objection to the two-and-one arrangement, for it yields a good pattern in each of the makes. In the plain weave it forms a species of neat spotting; in the warp prunelle, lines lengthways of the fabric; and in the weft prunelle, lines of the two shades across the fabric.
176. _Examples in Colouring Compound Designs._--Let the following examples also be considered: I. a design composed of four-end twill and mat; II. a design with a cassimere twill ground, small upright twill for figure, and swansdown twills for extra spotting; III. a design consisting of six-shaft twill in the ground, with warp and weft cords for figuring; IV. a design containing mayo, common twill, and mat; and V. a design with twilled mat for ground and double-plain for figuring.
In the first design mentioned, two weaves are combined in which several schemes of colouring might be utilized, such as the two-and-two, the four-and-four, and the four-two’s arrangements. But assuming that it were required to adopt an order of colouring which would cause the twilled parts of the design to consist of minute checkings, and the hopsack parts of fine vertical stripes, then it would become a necessity to employ the two-and-two colouring. This order is, in some respects, one of the best that could be employed in all-over patterns consisting of twill and mat weaves, for it not only thus produces a distinct effect in both makes, which in figured styles would result in the precise development of the integral parts of the design, but also a combination in which the sections consisting of the respective crossings are equally pronounced.
The second type of design named contains four weaves, but the one most largely employed and which constitutes the ground of the fabric is common twill. Now, in colouring such patterns the ground weave must be primarily considered, other makes, so far as the application of fancy shades to the entire design is concerned, being of secondary importance. In a combination comprising four weaves it is not, however, usual to adopt an order of shades calculated to produce a special effect in any of the crossings, but rather to employ a scheme of colouring largely composed of one shade. In other terms, it is advantageous in designs of this class to allow the bulk of the fabric to be composed of yarns of one tint--any fancy threads which may be introduced being used sparingly, and frequently singly, and not in larger groupings, as is the case in other modes of colouring. By adopting this arrangement, the weave characteristics are clearly emphasized, and yet the surface of the texture is neatly embellished with fancy shades.
The six-shaft twill is the main factor of the third type of style. It is therefore a question of selecting in the first instance a plan of colours that is adapted to its structure. As it forms the bulk of the texture, it requires to be primarily considered. Reference should be made to the series of simple and compound colourings applicable to this weave, and then that method employed which, while making a neat pattern in the twill, will not form an unattractive effect in the cord weaves. Some of the standard groupings of shades for this weave are quite unsuitable when used with these cords. The three-two’s and two-three’s are arrangements of this character. They form neat patterns in the twill, but imperfect styles in the ribbed crossings. The one-and-one and the three-odd-thread schemes are the most appropriate in a combination of such weaves. They are both capable of producing regular effects in this compound design. Thus, take the thread-and-thread order. In the six-end twill it forms neat spotted work; in the warp rib, transverse bands of colours; and in the weft rib, vertical bands of colours, varying in dimensions according to the size of the rib-weaves used.
The IV. class of example in mayo, twill, and mat is a combination in which several schemes of shades are feasible. The point to be acquired when such is the case, is the employment of a method of colouring that will yield effects in each weave, sufficiently marked in character to contrast neatly with each other, and yet constitute a harmonious pattern. This can only be practically worked out by comparing the patterns resulting from each crossing in standard groupings of shades, which will lead to the application of that order of yarns known to develop forms of pattern in the respective makes, calculated to harmonize satisfactorily in combination.
[Illustration: FIG. 147.]
When single and double weaves are combined, as in section V., the elementary schemes of colouring to be used have also to be applied in relation to the general effects producible. Fig. 147 is a pattern containing such weaves, the ground being single in structure and the fingering double-weave structure. A section is given in Fig. 148. The simplest arrangement of colouring, one-and-one, has been used, because it produces the figure in light and dark portions, and the ground in intermingled colouring. The relation of the colour effect to each weave gives satisfactory definition to the figuring in contrast with the intermingling of the shades in the ground.
177. _Main Points in applying Shades to Weave-Combinations._--From these examples in the methods of colouring designs consisting of several elementary crossings, it is apparent that there are certain principles which must be observed in introducing fancy yarns into this class of woven patterns. First, whatever the character of the design, the primary factor for consideration is the structure of the weaves--the weave which occurs in the largest quantities being the most important, and requiring specific colour treatment. Second, when the weaves combined are similar in construction, a simple scheme of colouring should be adopted. Third, no order of shades should be employed which, while giving pleasing patterns in one weave, produces indifferent results in others. Obviously, these rules are only applicable to designs composed of elementary weaves, and in which the variety of crossings is very limited. For example, in designs comprising such a series of dissimilar weaves as obtains in Figs. 163 and 166, it will be clear that, to acquire a well-balanced pattern as to colouring, the several sections of the style must be specially treated in a colour sense. To warp an assortment of weaves of this type on one system throughout, could only result in the construction of a most unsatisfactory range of effects. The order of colouring must vary with the alteration in weave. This of course is only feasible in stripe and check designs, but is absolutely necessary in styles comprising a considerable diversity of intricate weaves arranged on either of these methods.
[Illustration: FIG. 148.]
178. _Examples in Drafted Patterns._--These may be considered as follows:--
I. Designs composed of weaves related to each other in structure and occupying a similar number of threads, and in which the several makes are used in corresponding proportions.
II. Designs of a stripe and check arrangement diversified in weave assortment.
III. Designs composed of several crossings, but with a simple twill, mat, or plain weave for the ground of the texture.
In the I. group a range of irregular patterns occur, consisting mainly of three-, four-, and six-end makes. In colouring these patterns, it is necessary to consider how the simple schemes of colouring develop in the several weaves combined, in order that the scheme which will give the most uniform result in all the crossings may be applied. If three or four weaves obtain in the same design it is occasionally advantageous to employ an irregular grouping of shades, or one which is not intended to give a particular type of pattern in any one of the weaves combined.
Increased colouring ingenuity and practical skill are required in the treatment of the second group; because in the designs included here, it is frequently necessary to adopt various orders of colouring--one for each type of weave in the design.
The third group of drafted patterns is largely developed in cotton fabrics, dress goods, and other fancy textures. The method of colouring these patterns is twofold, relating, first, to the treatment of the ground crossing, and second, to the use of a plan of shades that will yield neat effects in all the weaves combined.
Examples in each group will be fully analyzed and described.
179. _Designs composed of Two Prunelle Twills._--An extensive assortment of styles in woollen, worsted, and cotton yarns is obtained in these two weaves by drafting. These are produced in trouserings, suitings, dresses, etc. When these two makes are combined and coloured on the two-and-one method, they give opposite effects, the warp twill forming vertical, and the weft twill transverse lines of colour. It is this principle which governs all the patterns obtained in designs composed of these crossings. In making styles of this kind, the first work consists in mapping out the form of the design, and the second work in running the twills on to the ground and figured sections respectively. Fig. 149 is a pattern partially constructed from these weaves. Stripes _A_ are a composition of warp and weft twills. The reduced design and the draft for the same are furnished in Figs. 150 and 151. From these it will be evident that it is the transition from warp to weft twill which gives the results lettered _A_ and _B_ in the illustration taken from the woven fabric.
[Illustration: FIG. 149.]
[Illustration: FIG. 152.]
[Illustration: FIG. 150.]
Many types of figuring, whether floral or geometrical in arrangement, can be developed on this system.
There is another mode of colouring this design besides that considered. It consists in employing three shades in single threads, but as it is somewhat more intricate than the two-and-one system, and yields a similar pattern, it is not so extensively employed.
[Illustration: FIG. 151.]
[Illustration: FIG. 153.]
180. _Drafted Designs composed of Two Four-Shaft Weaves._--These obtain in greater diversity than designs resulting from three-shaft weaves. This is owing to the considerable series of makes of twill and mat types producible on four shafts, enlarging the scope for the origination of all classes of combination styles. Various illustrations in these designs will be examined, and the principles of colouring them explained. First, the pattern, Fig. 152, may be referred to. It has been obtained in the design and draft supplied in Figs. 153 and 154. Strictly speaking, it is composed of only one weave, which, to gain variety of effect, is twilled in two directions. It will be observed, if any of the sections are analyzed, that every other pick of this weave is plain. This accounts for the effect seen in the fabric in Fig. 152. The arrangement of the shades is one-and-one, so that one weave here being the reverse of the other, while the parts developed in ◼’s are forming one textural type, the parts developed in ⊡’s are yielding a second type. It is the plain picks of the respective sections which constitute the minute skeleton squares of grey and black; the twill picks filling up the spaces formed by the grey with black, and those formed by the black with grey. This pattern may be developed in various shades of fancy yarns; and the two weaves may also be blended on such methods as to form stripe and check styles of several descriptions.
[Illustration: FIG. 154.]
[Illustration: FIG. 155.]
[Illustration: FIG. 156.]
[Illustration: Plate XXIV
COLOURING OF DRAFTED STYLES 1. Weave Compound; Prunelle and [2\2] Twills 2. „ „ [1\3] [3\1], and [2\2] Twills 3. „ „ [1\3] [3\1], and [2\2] Twist-warp Yarns]
The fabric given in No. 1 on Plate XXIV. has some principles of construction common with the effect just described, inasmuch as the design employed in its manufacture is a composition of cassimere weave twilled to the right and left successively. Thus, it results from the plan and draft given in Figs. 155 and 156; hence it is, in reality, a cassimere twill pattern, for this is the only weave used. But as it runs forward for six picks, and then starts again--this process being repeated throughout sections _A_ and _B_, in which the weave twills in both directions--there is formed by the draft a check pattern, occupying forty-eight threads and picks, and in which the weave twills to the right in each alternate space of twenty-four threads. The order of colouring is somewhat intricate, being as appended:--
_Warp._
2 threads of a dark shade. _A._ For 16 threads. ⎧2 „ light „ ⎩2 „ dark „ 1 thread of a light „ 1 „ fancy „ _A._ For 12 threads. ⎧2 threads of a dark „ ⎩2 „ light „ 2 „ dark „ 4 „ light „ 2 „ dark „ 4 „ light „ 1 thread of a dark „ 1 „ light „ 1 „ fancy „ 4 threads of a light „ 1 thread of a fancy „ 1 „ light „ 1 „ dark „ 4 threads of a light „ 2 „ dark „ 4 „ light „ 2 „ dark „ _A._ For 16 threads. ⎧2 „ light „ ⎩2 „ dark „ 1 thread of a light „ 1 „ fancy „ _A._ For 12 threads. ⎧2 threads of a dark „ ⎩2 „ light „
_Weft._ For 21 picks. ⎧2 picks of a dark shade, ⎩1 pick of a light shade same as warp. 2 picks of a dark shade. 1 pick of a fancy „
There is a sort of broken or irregular shading produced by this arrangement, the construction of the design having an important effect on the grouping of shades. The particles of two-and-two colouring, which occur in brackets _A_, develop, in the weaves cutting each other, the waviness characterizing the coloured effects (Pattern I, Plate XXIV.). The comparatively large patches of one group of yarns in the warp do not form a clear stripe in the fabric, because the system of wefting is irregular, being such, however, as to tally with the plan of changing the twilling of the weave on every sixth pick. The effect of the two-and-two order of shades in the warp in this drafted design shows the extent to which the construction of the plan of interlacing may modify the result of a simple order of shades.
181. _Style composed of Prunelle and Cassimere Twills._--This is rather an irregular combination, but in the two-and-one system of colouring, if the weaves are skilfully adjusted, it is capable of producing a species of pattern rich in textural details. Referring, for example, to section _B_ of Fig. 149, the effect of the cassimere twill worked into checks of sixteen threads and picks in this grouping of shades is given. It is a neat type of pattern, contrasting with the effects of the prunelle twills with which it is combined. The quantity of cassimere twill must not be large in combinations of this class, or a cloth lacking uniformity of structure will be produced. Further, the weaves require to be correctly fitted together, or a fabric possessing an irregular surface will ensue. It is a suitable scheme of weaves for dress fabrics. The arrangement is also adaptive, in small styles, to trousering and similar fabrics.
182. _Combinations composed of two-, Six-, Seven-, Eight-, and Nine-Shaft Weaves._--There are several varieties of patterns obtained in designs containing six-end makes. As a rule the twill is the principal weave. One example in which the hopsack and a fancy crossing are combined may, however, be described, as it is an interesting and typical specimen of the general range of patterns obtained in this class of weaves. This style is sketched in Fig. 157, while the design producing it is a composition of the two makes in Fig. 158. The method of colouring is three threads of white and six threads of black in both warp and weft. In the mat sections the minute figures are formed, but the intermingled checking is a consequence of the weave marked in full squares in Fig. 158. These two crossings are combinable in figured arrangements suitable for costumes and dressing-gowns. In soft colours, brightened at intervals by a few fancy threads, this compound of weaves and scheme of colouring are capable of yielding a series of fancy fabrics. By changing the mat to twill, quite a distinct species of pattern is obtained. Both weaves now yield check effects, but the type of effect resulting from the twill is uniform and regular in appearance. Some neat figured and check designs are also obtained in six-shaft makes by employing the twill for the ground of the texture, and small weaves which may be readily combined with it, and colouring on the three-one’s, two-three’s, and three-two’s systems.
[Illustration: FIG. 157.]
[Illustration: FIG. 158.]
The variety of styles workable in seven-shaft crossings is somewhat limited. Such weaves as the corkscrew and twill, and the upright twill and small diagonals, are blended here.
In combinations containing a large portion of corkscrew, the one-and-one method of colouring is appropriate, particularly if the make is of a common twill construction. The five-and-two, four-and-three, and six-and-one groupings of shades are useful in designs in which an ordinary seven-shaft twill forms the bulk of the texture.
Eight-thread weave combinations comprise the largest variety of styles. Designs composed of several classes of twills, of simple, twilled, and fancy mats, of minute diagonals, and small figured types, are all colourable on the Simple and Compound systems of blending shades containing four and eight threads.
Nine-shaft compounds, consisting of weaves about equally balanced as to warp and weft floats, are principally developed in the following groupings:--
I. 5 threads of a dark shade. 4 „ „ medium „
II. 7 threads of a dark shade. 2 „ „ medium „
III. 3 threads of a dark shade. 3 „ „ medium „ 3 „ „ light „
IV. 4 threads of a dark shade. 3 „ „ medium „ 2 „ „ light „
183. _Drafted Designs composed of Three or more Weaves._--Four-, five-, six-, and eight-shaft weaves are all used in the construction of these designs, belonging to the second group, but such styles generally consist of four-end makes. For fine textures, and for fabrics in which a broad cast of pattern is required, weaves occupying a larger number of threads are employed. It will, however, be sufficient if illustrations are considered in designs composed of the four-thread weaves. These are given in Nos. 2 and 3 on Plate XXIV. They are taken from woollen textures. The colourings are as follows:--
PATTERN I.
_Warp._ 2 threads of white. 1 thread of black and scarlet. 2 threads of white. 1 thread of black and green. 2 threads of white. 1 thread of black and white.
_Weft._ Medium grey.
PATTERN II.
_Warp_. For 9 threads. ⎧1 thread of black and brown. ⎩1 „ brown and white. 1 „ scarlet and green. For 9 threads. ⎧1 „ brown and white. ⎩1 „ black and brown. 1 „ blue and green.
_Weft_. 1 pick of black. 1 „ black and white twist.
Referring to the draft (Fig. 159), and the reduced design for Pattern 2 (Fig. 160), these are arranged to form the same series of interlacings on each thread, which ensures the construction of a regularly-built fabric.
[Illustration: FIG. 159.]
It will be noticed that both plans of colouring are irregular, the first scheme containing nine, and the second scheme twenty threads. Now as the weaves forming the designs are on four shafts, the fancy yarns fall on different threads of the respective makes in different parts of the figuring. In this way a blended effect is acquired. The bulk of the first warp being white, and the weft of a medium shade, the weave details are clearly seen. The three makes, comprising the design (Fig. 160), are all traceable. The small spaces of white are due to the twill marked in crosses; the spaces of slate to the twill marked in full squares; and the spaces of slate and white, equally mixed, to the cassimere twill which forms the ground of the design. When the warp consists of broad bands of neatly contrasting shades, this type of weave-combination gives excellent results in dress and mantling fabrics.
[Illustration: FIG. 160.]
Pattern 3, Plate XXIV., though produced in the same draft and composed of similar weaves as Pattern 2, is very different from it in appearance and composition. It forms a type of granite mixture. The colours being arranged practically on the one-and-one system throughout the fabric, the effects of the various crossings are partially subdued. Cheviot yarns and medium counts of worsteds are adapted for this type of intermingled pattern in fancy costume fabrics.
184. _Fancy Stripe Combinations._--Designs of this class for worsted trouserings, cotton textures, and tweed mantlings, may be intricate in both weave and colour composition. Indeed, it follows as a natural sequence that if a striped design is well diversified in weave arrangement, it will be correspondingly complex in colouring. Not only in a weave, but in a textural and colour relation, is there intricacy of technical contrivance in these fabrics. First, a uniform texture is indispensable; second, this quality must be obtained in conjunction with novel weave effects; and, third, the arrangement of colouring must be harmonious in shading and in accordance with the structure of the weaves combined.
185. _Irregular Woollen Weave Combinations._--A compound of crossings, forming a style of design specially suitable for woollen yarns, is supplied in Fig. 161. Whether produced in fine or medium yarns for dress or cloaking fabrics, it forms an effective pattern. It is workable on fourteen healds, the plan of drafting being as follows: Threads 1 to 14 straight drawn, then shafts 6, 5, 4, 3, 2, 1, 7, 8, 14, 13, 12, 11, 10, and 9. Should this method of drafting be adopted, Parts _A_ and _B_ would constitute the reduced plan. Though the design contains fourteen distinct threads, it is, nevertheless, merely a modification of the first seven ends. These form a species of diagonal weave suitable for worsted coatings.
[Illustration: FIG. 161.]
The arrangement of this pattern may he divided into four sections. Parts _C_ and _D_ have the diagonal moving to the right, and parts _A_ and _B_ to the left. The manner in which each diagonal commences and terminates is the chief characteristic of the pattern, and is illustrative of a method of combining this type of weave that may be followed out with satisfactory results. For dress materials the following weaving particulars are appropriate:--
_Warp._ 1 thread of fine black and white twist. 5 threads of medium grey. 1 thread of fine black and white twist.
_Weft._ All dark grey.
Little variety of colouring is needed; a light shade of warp and a medium shade of weft are sufficient to give due precision and proper development to the various features of this design.
[Illustration: FIG. 162.]
186. _Cotton Stripes._--These have frequently a plain ground, and belong to the third group of drafted designs. The figuring is developed in warp and weft flushes neatly grouped in diamonds, twills, and fancy mats. An example of these designs is Fig. 162--a compound weavable on twelve shafts. It consists of bands of plain weave, warp rib, and wave effect. Section _A_ consists of objects of the same shape and dimensions developed in both warp and weft floats. Thus, while the figure marked in solid squares would, in the fabric, be composed of weft flushes, the part marked in crosses would consist of floats of warp; hence, providing the warp is light in shade, and the weft of an intermediate colour, these figures would be of distinct hues. The following scheme is illustrative of the methods generally adopted:--
_Warp._ 2 threads of lavender. 4 „ white. 2 „ lavender. 4 „ white. 2 „ lavender. 4 „ white. 2 „ lavender. 16 „ white. 2 „ lavender. For 18 threads. ⎧ 4 „ white. ⎩ 2 „ lavender. 8 „ bright blue.
_Weft._ All lavender.
[Illustration: FIG. 163.]
According to this arrangement of colours the rib section would consist of furrows of bright blue and lavender, while the bands of plain would be divided into stripes of solid lavender of two threads each, and of mixture stripes of white and lavender of two and four threads in width. As to the Section _A_, the effect in warp flushes would be solid white on a ground of lavender and white; whereas the effect in weft floats would be solid lavender on the same mixture ground. This order of colours, but in different shades, such as pink and white, slate and white, and salmon and white, also develops well. In these latter shades, bright and pale pinks, and salmon and a deep and pale slate, are requisite to obtain the proper gradation of tinting.
187. _Colouring of Designs containing several Weaves of Varied Structures._--Three typical illustrations in the methods of introducing fancy shades into this sort of compound designs may be considered. They are given in Figs. 163, 164, and 165. These examples show how full of weave effect, styles of this class may be. Thus, in the first design, Fig. 163, which is composed of three weaves, there are four distinct stripes, consisting of fancy mat weave, corkscrew, and rib respectively. An effective method of colouring such a compound is as follows:--
10 threads of light mixture. 10 „ medium mixture. 10 „ light mixture. For 15 ends. ⎧ 1 thread of light mixture. ⎩ 1 „ medium mixture. 10 threads of light mixture. 10 „ medium mixture. 10 „ light mixture. 2 „ medium blue silk. 2 „ white silk. 2 „ medium blue silk.
According to this system of colours, the rib section consists of medium blue and white silk, the bands of fancy mat of stripes of light and medium mixture yarns, and the section of corkscrew, being warped thread and thread, consists of diagonals of the two shades of yarns employed.
Fig. 164 is a composition of vertical and oblique twills, with a strong contrast in the weave effect. The make marked in ⊡’s forms an oblique twill, of about the same degree as the upright twill yielded by the crossing developed in solid marks. In combination, the weaves, though dissimilar in woven results, produce a uniform texture. The following is an appropriate scheme of colouring:--
8 threads of blue. 3 „ slate. 2 „ brown and white. 3 „ slate. 8 „ blue. 8 „ brown. ⎧1 thread of brown. Repeat ⎨1 „ black and crimson. ⎪1 „ brown. ⎩1 „ black and green. 8 threads of brown.
[Illustration: FIG. 164.]
The centre of the large band of twenty-four threads is thus neatly tinted with fancy twist threads; while the diagonals developed in ◼’s are composed of the blue, the same diagonal, when twilling to the right, consists mainly of slate, with a fine line of brown and white twist down the centre. There is, therefore, not only in this arrangement an apt grouping of shades in a colour sense, but the plan of adjustment produces a form of stripe in keeping with the construction of the design.
[Illustration: Plate XXV
FANCY YARNS 1. Ordinary Folded, or Two-Ply and Three-Ply Yarns 2. Flakes and Cloud Twists 3. Curl Twists 4. Gimp Twists]
The subsequent three-weave stripe--Fig. 165--is composed of an uncommon set of crossings, namely, of sixteen-shaft twilled hopsack, of an eight-shaft diagonal, and of a fine warp cord. The threads making the cord section ought to be on a separate beam.
[Illustration: FIG. 165.]
A good system of introducing colour here consists in shading the diagonal with colour, as indicated in the plan of working given below:--
16 threads of slatish green. 4 „ light brown. 4 „ medium brown. 4 „ dark brown. 4 „ white silk.
The depth of the brown and the slatish green must be about the same; if anything, the latter should be the darker.
It is not unusual in these designs to employ bright shades of silk for weaves of a rib class, which are so constructed as to show the characteristic qualities of yarns of this material. Moreover, it is almost a general rule to apply the brightest colours to those sections of the design composed of warp cord crossings.
[Illustration: FIG. 166.]
Fig. 166 is a worsted trousering style, and is composed of four weaves, namely, a warp wave, corkscrew warp flushed, corkscrew weft flushed, and of fine twill. But it is not merely the variety of crossings which deserves notice, but also the arrangement or plan of combination. On both sides of the warp wave are bands of weft twill, contrasting with not only the former weave, but the bold stripes of fine twill represented in dots. These latter bands are intervened by a line of nine-heald corkscrew or round twill. The scheme of warp colouring should be such as to admit of the corkscrew sections being developed in fine worsted and silk twist. This can be effected by colouring as below:--
_Warp._ For 16 ends. ⎧1 thread of light brown mixture. ⎩1 „ brown mixture. 23 threads of blue mixture. 10 „ fine worsted and white silk twist. 23 „ blue mixture.
_Weft._ All brown or blue mixture.
By this arrangement the bands of upright twill are developed in blue mixture, the warp wave in light brown and brown, and the corkscrew in silk twist threads. Should the weft be brown, the bands of weft twill marked in ⊠’s would be of this shade.
188. _Figured Designs striped in the Warp._--Designs of this type are chiefly workable in cotton and silk yarns. The idea is to obtain variety of colouring by the use of only one colour in the weft; therefore, the coloured style consists of some diversity of striping in the warp. For this purpose, the examples in fancy stripe colourings, Figs. 11 and 12, may be used. For instance, Fig. 167 (Design 167A) contains three weave effects, there being, first, the continuous line of figuring developed in ◼’s, and second, the detached smaller figures in ⊡’s, both being produced in weft, on a warp sateen ground. Underneath such figuring, stripe colouring may be arranged.
Two examples, based upon _C_, Fig. 11, and _D_, Fig. 12, are given. In order to fit carefully with the repeats of the design, the proportions of warp colouring in the former would be as follows:--
18 threads of white. Three times. ⎧5 „ medium heliotrope. ⎩5 „ white. 18 „ medium heliotrope. Three times. ⎧5 „ white. ⎩5 „ medium heliotrope.
[Illustration: FIG. 167.]
[Illustration: FIG. 167A.]
If a dark heliotrope were used in the weft, then the figuring would be woven in such colour upon the striping of white and medium heliotrope.
The design may also be woven in a stripe of a three-colour class. If _D_, Fig. 12, were used, suitable proportions of colours would be:--
40 threads of white. 8 „ green. 8 „ white. 8 „ pink. 8 „ white. 8 „ pink. 8 „ white. 8 „ green.
If two materials were used, say cotton in the warp and silk in the weft, then white silk would be suitable for the weft; but if the weft is cotton, then a light tone of heliotrope would form a pleasing contrast with the striping in the warp. It is a type of figured designing, economically coloured in the weft, but diversified both as to the degree of contrast of colour, and method of shade assortment or striping in the warp.