CHAPTER XV

WEFT-COLOURED FIGURED FABRICS--CURL TEXTURES.

239. Warp and Weft Colouring compared--240. Classes of Designs Coloured in the Weft--241. Designs in which the Pattern is a Product of the Ground Weft--242. Extra-Weft Styles--243. Vestings--244. Vestings with one Extra Weft--245. Two-Cover Vestings--246. Four-Cover Styles--247. Honeycomb Vestings--248. Two-Cover Designing--249. Four-Cover Pine Design--250. Paisley Shawl Colouring--251. Compound-Weft Reversibles--252. Warp and Weft Coloured Figuring--253. Curls, Textiles of the Astrakhan Group--254. Four Types of Curled Effects--255. Curls obtained by Wires--256. Process of Weaving Curls produced by Wires--257. Curls formed by the Weft in which the Warp is Cotton--258. The Weave of Weft Curls--259. Structure of Weft-Curl Fabrics--260. Operation of Cutting after Weaving--261. Curls developed by Milling--262. Points of dissimilarity in the various Builds of Curled Textures--263. Two kinds of Curls developed by Milling--264. Spiral Threads used for Warp--265. Variety of Pattern in Spiral-Warp Curls due to Colour--266. Twist-Yarn Cotton Warp Curls--267. Backed Weaves for Curled Cloths--268. Essential Characteristics of Cotton Warp Curls due to Milling-- 269. Examples in Designs for Cotton Warp Curls.

239. _Warp and Weft Colouring compared._--This class of figured styles is the most comprehensive. It includes vestings, robes, ribbons, and an endless diversity of ornamental textures. Richer combinations of tints are more feasible by this than the warp method of colouring. A comparison of these two important systems of introducing colours into figured fabrics, shows that the actual weaving process is less intricate so far as shuttling is concerned--not more than one or two shades of weft being employed--in warp-tinted textiles; but, as explained in Chapter XIV., each additional colour in the same line of the design requires a special warp beam. These arrangements are just reversed in the weft system, for here there may be from two to six shades of weft running in the same line of the fabric, but only one warp is utilized. These conditions make the production of such fabrics a laborious operation, inasmuch as the number of picks inserted to the inch in four- or five-colour styles may be very large. Thus, in a pattern composed of the latter number of colours throughout, two or more hundred picks to the inch is not uncommon.

Whatever number of shades occur in succession across the pattern it is exactly so many fold in the weft, whereas if the colours are introduced in the warp the texture is several fold lengthways. The different kinds of weft or warp form layers of threads in the woven product. When they are composing the ornamental details of the design they appear on the face of the fabric, but when not thus used they float loosely on the back, only being stitched at intervals, and in patterns of several shades they are frequently not stitched at all. The loose yarns flushing on the under surface of the texture may be cut off. One other detail in the two systems affecting economic production is, that in the weft system, a somewhat inferior or rather less costly yarn may be used than when colouring by the warp scheme. There is a minimum degree of tension put on weft yarns and a maximum degree applied to warp yarns in weaving. In coarse fabrics and cotton textiles this condition does not materially alter the cost of manufacture, but in fine productions it is an item that has to be considered. Summarizing these points of dissimilarity, the warp method of colouring affords the most scope for the development of ornament in pile or plush goods; does not multiply the intricacies of shuttling, but tends to diminish the figuring power of the Jacquard, and requires yarns of a better quality than may be adopted for wefting; on the other hand, the weft method practically allows of more latitude for diversity of colouring and ornamentation of all types of fabrics excepting the plush and leno, and it is, moreover, in fine textiles, less costly, in so far as it makes it feasible to employ an inferior fancy thread with satisfactory results; and lastly, it utilizes the utmost capacity of the Jacquard in the construction of a figured design.

240. _Classes of Designs Coloured in the Weft._--Fabrics figured and coloured by the weft yarns are of various kinds, but to facilitate analysis they may be considered under the following distinguishing types:--

I.--Designs in which the figure is a product of the ground weft. II.--Designs requiring one extra weft. III.--Designs requiring two extra wefts. IV.--Designs requiring three extra wefts. V.--Designs requiring four or five extra wefts. VI.--Designs composed of two or more wefts and reversible.

As in warp colouring, a ground warp is an essential element of the fabric, in textiles coloured in the weft--Classes I. to V. inclusive--there must also be a ground weft, which forms a suitable texture on which the more elaborate ornamentation due to the fancy shades may be produced. By extras are meant the shades of weft in addition to the ground picks. A design with two extra wefts is called two-cover; with three extras, three-cover, and so on--the ground weft always being added. The word “cover” is therefore synonymous in this sense with “extra,” and has probably been adopted because it partially describes the texture to which it relates, which consists of so many layers or covers of weft threads in thickness.

241. _Designs in which the Pattern is a Product of the Ground Weft._--In this build of fabric there is comparatively little complication of fabric-structure, of weaving, and of colouring. Thus the weft, which interlaces with the warp to form the ground of the fabric, is also used in the construction of the design. Some types of dress fabrics, particularly those of a lustre character, and mantlings for summer wear, are coloured and ornamented on this principle. It may be regarded as the most elementary type of figured fabric. An example is given in Pattern 1 on Plate XXXVII., which will show the scheme of colouring generally practised in this style of textures. A section of the weave-design is that in Fig. 211. It will be observed that the small figures are composed of solid weft floats, and are arranged on a fine sateen twill groundwork. The warp is composed of lavender cotton, and is mainly useful in constituting the foundation of the fabric, and in concealing the weft picks when they are not forming the figured effects. The small objects are chintzed with weft colouring, the order of picking being four of dark blue and four of white. This gives the pattern the aspect of a cloth composed of extra wefts. It should be noted that such a contrast in weft colouring, as obtains in this specimen, is only satisfactory in this build of texture when the warp is closely set, and flushes well in the ground sections. If these conditions were not complied with, the pattern produced would be chintzed by the weft in not only the figure, but also in other parts of the texture. A plain or twill weave, for example, would expose the blue and white shades right across the sample.

[Illustration: FIG. 211.]

[Illustration: FIG. 212.]

Respecting the construction of this style of fabric: it is based on the single-make principle of design. The figure is purely a product of floats of the weft yarn, which are determined by the form of the figure being developed. In some patterns the ornamental sections are composed of twill and other fancy weaves to increase the diversity of effects obtained.

[Illustration: FIG. 213.]

242. _Extra Weft Styles._--Fabrics of this description are practically two-fold in the weft. An illustration will make the scheme of colouring and design arrangement evident. Pattern 3, Plate XXXVII., is compound in the weft and single in the warp; for the wefting consists of deep lavender-blue wool, and of white silk, and the warping entirely of lavender cotton. The warp threads are concealed, but this is not an invariable rule, for they may be a different shade from the wefts, and be flushed on the surface of the texture. When this is the case, a buckskin weave is generally used for the ground of the cloth. Should, however, the wefts be worsted and silk, or woollen and silk, and the warp cotton, it is customary to conceal the latter by employing a weave which flushes the ground weft on the face. For vesting and mantling fabrics, this is the common arrangement, but in dresses and cottons, the warp is also used for enhancing the colouring of the fabric. This latter type of design is a compound form of the system illustrated in Fig. 211, two wefts being used instead of one, and each being utilized in the construction of the figured effects, and also in forming a fine warp twill in the ground of the fabric. Different principles of designing are practised from these, in the construction of such styles as are typified by Pattern 3 of Plate XXXVII. Figs. 212 and 213 are the weave designs to Section _A_ of this pattern. The former illustrates the method of preparing designs of this class on point paper for the loom, and the latter the method by which the two series of picks are amalgamated during weaving. Fig. 213 is the last eight picks of Fig. 212, the ◼’s of which form the odd and the ⊡’s the even picks. This is the structure of the fabric; for in stamping the cards each pick of the design as given in Fig. 212 is treated twice: I., the ⊡’s and the ◻’s are cut; II., the ◼’s and ◻’s are cut. The stitches for the silk or figuring picks are added during stamping, and occupy similar positions in the design to those on picks _A_ and _B_ of Fig. 213. The principle of stitching here corresponds to that of stitching cloths backed with weft--so that the ties are, as far as feasible, introduced in such positions in the picks, that the threads on which they occur are depressed both before and after their insertion. Thus thread seventeen, on which the tie on pick _A_ occurs, is depressed on picks twelve and fourteen--resulting in the concealment of this tie.

Whatever the number of colours used in the construction of this style of figured fabrics, the designs are simply drawn out as in Fig. 212, which shows the relation of the colours to each other in the woven structure.

The manner in which the different effects seen in Pattern 3 of Plate XXXVII. have been produced may be explained by referring to Fig. 213. The first pick of this sectional design--marked in solid squares--is a figure pick, being white in the texture, and corresponding to pick 25 of Fig. 212. The second pick is ground, and also corresponds to the twenty-fifth pick. Now it will be observed that the figuring picks in Fig. 213 float under the threads occupied by the ground picks _succeeding_ them; and also that the ground picks float under the threads occupied by the figuring picks _preceding_ them. In this way the effects due to the two series of picks--lavender and white, or ground and figure--are kept separate and distinct, and a clear pattern is developed on an equally clear and regular groundwork.

The figured sections here, as in Pattern 1 of the same plate, may be chintzed, as this process does not increase the number of “extras” required. As to the ground of these styles, it is generally a solid colour.

[Illustration: Plate XXXVII

FIGURED AND SPOTTED FABRICS. WEFT COLOURING 1. Chintzed 3. Extra weft 2. 4. Extra weft Spotting]

243. _Vestings._--One of the most important species of woven design to which this scheme of colouring relates is vestings. These fabrics are composed of various materials, and constructed on different principles of design, and may be figured in the warp, weft, or both, but in this example only coloured and figured by the weft yarns. It necessarily follows that the most elementary type of this class of patterns only possesses one extra weft, as the example just considered. This extra colour does not, however, always run through the texture, but merely spots it at intervals. Some of these fabrics are composed of cotton and linen in the ground, with these materials or silk for spotting; others possess a worsted or woollen warp, with worsted or woollen ground weft and silk extras; a third class has a cotton warp, with woollen ground and silk figuring; while a fourth class has silk warp and weft for face, and cotton warp and weft for foundation. The first group is mainly produced in light shades for summer wear; the second series has either light or dark grounds; the third series is invariably developed in dark shades, and the fourth in dark and light colours. In the cotton and linen vesting the compound principle of intertexture is utilized; but whatever the weave-construction of the fabric, the scheme of colouring is uniform. Moreover, in the woollen and cotton ground textures, but little diversity of weave is practised in producing the groundwork of these styles; whereas, in the worsted and silk types, various crossings and combinations of weaves are used for this purpose. The construction of the worsted warp vesting affords scope for weave ornamentation in the foundation of the fabric as well as for elaborate figuring by variety of colouring. The two worsted vestings given in No. 2 and No. 4, Plate XXXVII., are, for example, very different from each other in groundwork. The former has a broad diagonal foundation (Fig. 216) composed of several thirteen-shaft weaves; but the latter a fine corkscrew twill in the ground. Fig. 214 also illustrates another system of ornamenting the ground of these textures with weaves. If the spots developed in ⌻’s were removed, this design would be a rib pattern composed of fine twill and weft cord. With the addition of the spots it forms a neat vesting. In colouring, the rib consists of a distinct shade from either the twilled parts or the spotting. This is obtained by wefting as follows:--

For 12 picks. ⎧1 pick of black worsted. ⎩1 „ dark blue worsted.

⎧1 pick of silk. For 8 picks. ⎨1 „ black worsted. ⎪1 „ silk. ⎩1 „ dark blue worsted.

This grouping of shades gives a silk spot in the twill parts on a black ground, and a rib effect in dark blue.

In the designing of the ground sections of worsted vestings, it is important to obtain an effect which combines neatness with novelty and richness of colouring.

244. _Vestings with one Extra Weft._--Only one specimen in this type of vesting is furnished. It is given in Pattern 4 on Plate XXXVII., and, as stated in the previous paragraph, has a corkscrew ground. The weaving plan for this pattern is supplied in Fig. 215. The spots of which it is composed are arranged on the six-end sateen base. The silk picks used in forming the spotted effects are tied regularly, as indicated by the small line marks in the design; hence, in preparing for the loom, the first pick would be stamped twice thus: I., cut all but the marks ▨ and--; II., cut all but the marks ⌻.

[Illustration: FIG. 214.]

[Illustration: FIG. 215.]

It will be observed that the spots in the fabric (Pattern 4, Plate XXXVII.) are composed of green, blue, and crimson. This is due to the system of weft colouring practised, which is as appended:--

For 8 picks. ⎧ 1 pick of black worsted. ⎩ 1 „ crimson silk

For 8 picks. ⎧ 1 pick of black worsted. ⎩ 1 „ blue silk.

For 8 picks. ⎧ 1 pick of black worsted. ⎩ 1 „ green silk.

Of course it is feasible to colour a design of this arrangement on other systems. Thus the spots could all be developed in the same colour, or they might each have been composed of two tints, such as crimson and white, claret and lavender, and blue and olive. The base on which the design is constructed causes the respective spots of blue, green, and crimson in the pattern to be neatly distributed over the corkscrew twill surface forming the groundwork of the fabric.

[Illustration: FIG. 216.]

245. _Two-Cover Vestings._--Vestings of this class possess one ground weft and two “extras” for figuring. Loud patterns only being occasionally required in these textures, a scheme of figuring is practised which reduces the cost of production. Thus the spots or figures are only produced here and there in the fabric, a considerable number of ground picks intervening. In this way, the quantity of silk used is considerably diminished. An example may be considered in which two extras are necessary in developing the spotted effects. It is the diagonal pattern given in No. 2 on Plate XXXVII., and referred to in the previous paragraph. The ground design here is composed of four weaves--fine corkscrew, weft sateen, twilled mat, and an upright twill--and, apart from the small figures, occupies 288 picks. The spots are developed in two hues, and are arranged on this diagonal base on a sateen method, six occurring in each repeat of the pattern. Those sections of the design--Fig. 216--in which the spots occur are three-fold in composition, the ground, crimson, and green wefts being combined. Picks lettered _A_, for example, comprise one spot, and include the ground, crimson, and green picks. The ties for the extra wefts are on the principle indicated. The system of wefting which has been practised in producing the pattern formed of the design worked out on the base of Fig. 216 is as follows:--

⎧ 1 pick of black worsted. For 24 picks. ⎨ 1 „ crimson silk. ⎩ 1 „ green silk. 40 picks of black worsted.

Blue and white, orange and blue, and salmon and light-blue, also give neat patterns. Light shades may be, moreover, employed, with satisfactory results, in the ground of the fabric.

[Illustration: FIG. 217.]

246. _Four-Cover Styles._--Having considered two specimens of vestings in worsteds an example in five shades, may be examined in woollens. Each shade of weft in figured textiles adds to the construction of this type of design. First, it implies a larger number of cards; and, second, more picks to the inch, necessitating more weaving. While, however, these complications are the result of the employment of a diversity of colours, yet it is mainly by multiplying the shades of weft that richness of design is obtained. In the example in the four-cover vestings, Design 217, the foundation of the texture is broken crow or weft swansdown. All the effects are due to solid weft floats. The marks ⧅ represent Shade 1 in the fabric, the ▨’s Shade 2, the ⊡’s Shade 3, the ◼’s Shade 4, and ⌻’s Shade 5. The order of weft colours is:--

For 26 picks. ⎧ 1 pick of Shade 1. ⎩ 1 „ „ 2.

⎧ 1 pick of Shade 1. For 12 picks. ⎨ 1 „ „ 2. ⎩ 1 „ silk, Shade 3.

⎧1 pick of Shade 1. ⎪1 „ „ 2. For 8 picks. ⎨1 „ silk, Shade 3. ⎩l „ „ 4.

⎧1 pick of Shade 1. ⎪1 „ „ 2. For 20 picks. ⎨1 „ silk, Shade 3. ⎪1 „ „ 4. ⎩1 „ „ 5.

⎧1 pick of Shade 1. For 9 picks. ⎨1 „ „ 2. ⎩1 „ silk, Shade 4.

For 12 picks. ⎧1 pick of Shade 1. ⎩1 „ „ 2.

In preparing the cards, first cut all but ⧅; second, cut all but ▨; third, cut all but ⊡; fourth, cut all but ◼; and, fifth, cut all but ⌻. Picks _A_ are stamped twice, picks _B_ three times, picks _C_ and _E_ four times, and picks _D_ five times.

[Illustration: FIG. 218.]

247. _Honeycomb Vestings._[16]--These are an old style of woven textural effect produced in weaves irregular in structure, or in which there is contrast of warp and weft floats, forming diamond, mat, and other effects. The fabrics may be single, backed, or compound in structure. An example of the first type is given in Pattern 1, Plate XXXVIII., the weave being Fig. 218, on a diamond base. The warping and wefting are as follows:--

2/18ˢ white 2 21 21 21 19 Double 22’s/2 yellow silk 3 - - - - 2/16ˢ black - 3 - 3 - 10’s/2 red silk - - 3 - -

A more irregular type is that seen in Fig. 219, in which the diamond principle is combined with mat weave, Fig. 220. The method of manufacture is as follows:--

_Warp._ Three-fold 2/30’s white worsted - 24 Four-fold 2/36’s blue „ 4 8

_Weft._ Three-fold 2/30’s white worsted.

[Illustration: FIG. 219.]

It will be seen from both examples that there is much irregularity of weave structure and also in counts of yarn.

[Illustration: FIG. 220.]

248. _Two-Cover Designing._--Several types of fabrics in addition to Pattern 2, Plate XXXVII., are coloured and figured on this system, which admits of the production of a considerable diversity of effects. Pattern 1 of Plate XXXIX. is an example. The warp of this fabric is cotton, but as the ground weave is a five-end weft sateen, it flushes the worsted picks constituting the foundation of the texture on the surface, concealing thereby the cotton yarns. A section of the design used in weaving this example is given in Fig. 221. By changing the ground weave to twill, and employing a shade of warp distinct from the weft, the pattern could be improved in colouring. As here tinted, however, it is evident that by this scheme of designing ornamental details may be clearly developed in the texture. The order of wefting is one pick of light fawn, one pick of black silk, and one pick of lavender silk. The texture being two-cover, the process of card stamping is as follows: I., cut blanks, solid blacks, and small circles; II., cut crosses, blanks, and circles; and III., cut crosses, blacks, and blanks.

[Illustration: FIG. 221.]

249. _Four-Cover Pine Design._--An interesting specimen of four-colour figuring is given in Pattern 2 on Plate XXXVIII. It is a good combination of colours, textile effects, and principles of weaving. First, as to the blending of tints and the figuring obtained. Though only four colours are used in the weft--claret, lavender or blue grey, olive, and salmon--yet five-tinted effects are produced. The extra tint is due to interweaving the warp--which is a bright crimson--plain with the salmon weft, forming that intermingled colouring composing the ground of the interior of the pine figures. The rich claret shade which constitutes the ground of the fabric gives a velvety aspect to the entire pattern, and develops the other tints in the texture.

[Illustration: FIG. 222.]

The order of wefting and colouring is thus: _warp_, all crimson; _weft_,1 pick of claret, 1 pick of salmon, 1 pick of lavender, and 1 pick of olive. Each shade runs through the fabric, and is continually helpful in imparting tone and character to the whole composition of both ornamental and textural details.

[Illustration: Plate XXXVIII

1. HONEYCOMB PATTERN 2. PINE FIGURING]

As to the construction of the design. The ground weave--Fig. 222--is a weft broken [1\3] twill. All the figured parts of the design, excepting where the warp yarns work plain with the salmon picks, are flushed solid. This is apparent from Fig. 222, which is the weave-design of the upper part of the pine figures. Here the solid squares correspond to the claret in the texture, the dots to the salmon, the circles to the lavender, and the grey marks to the olive. Every pick of the weave-design is stamped four times as follows:--

I. Cut all marks but solid black. II. „ dots. III. „ circles. IV. „ greys.

The ground weft is tied regularly, but the other wefts are flushed on the under surface of the fabric.

250. _Paisley Shawl Colouring._--Fig. 223 is on the pine base, similar to No. 2, Plate XXXVIII., but the ornament is of a more elaborate character. The structure of the fabric is seen from the section of a design of this character, Fig. 224, the colours being inserted chiefly in the weft. The weaves in the various parts of the figuring are fine twills running in different directions, and the ground is warp twill. Each kind of mark represents the different colour of weft in which the figuring is developed. Each colour stitches in the weft to make a continuous twill.

[Illustration: FIG. 223.]

251. _Compound-Weft Reversibles._--Reference should be made, in treating of fabrics coloured in the weft, to rugs and reversible textures, for some classes of shawls, and--in light materials--for mantlings. These textures are composed of weaves which are double or three-fold in the weft but single in the warp Thus they are of such a character as to allow of the employment of two series of weft threads of different colours. One layer of picks is spread over the other. This will be understood on referring to Fig. 225. The weaves used in the construction of this 2-ply build of fabric are supplied in Fig. 226. They are simply swansdown twills backed, hence, when combined and woven in a warp composed of small yarns, and with thick weft yarns arranged one pick black and one pick grey, a textile is produced of the same structure as that represented in Fig. 225. Here it is apparent that the system of weaving causes the black picks to cover the grey picks in part _A_, and _vice versâ_ in part _B_. In the actual texture, the black picks are close together, completely concealing the layer of picks over which they are spread. The same may be remarked of the grey picks in part _B_; consequently the warp threads, being small, are all but entirely hid, and indeed they should not be observed on either side of the finished fabric.

[Illustration: FIG. 224.]

As the designs are two-fold in the weft, they may contain twice the number of picks to threads per inch, in which case they would be worked out on 8-by-16 point paper. Having determined on the ornamental arrangement of the pattern, say that given in Fig. 227, the sketch is transferred on to the plan paper on the same principle as in designing for double-plain reversibles. Weave _A_ of Fig. 226 is then applied to the figured sections, and weave _B_ to the ground, and for the hard effect or shade, a weave arranged 2 picks face and 2 picks backing, intermingling the two colours, is also used. Should black and white wefts be employed, the figure on the upper surface would be in black and the ground in white, and the grey portions, Fig. 227, in black and white.

[Illustration: FIG. 225.]

[Illustration: FIG. 226.]

In the 3-ply colouring, Fig. 228, weaves, threefold in structure in the weft, have been used. A simple type of weave for this purpose is given in Fig. 229, where the face and back of the texture are in weft twills, and the centre in plain weave. If a finer fabric is required, then six-end sateen with warp prunelle twill in the centre may be used, Fig. 230. By such weaves, three colours of weft may be combined, one for each part of the figuring, and the pattern developed in three shades.

[Illustration: FIG. 227.]

[Illustration: FIG. 228.--Three-ply Weft Reversible.]

252. _Warp and Weft Colouring._--This species of colouring is principally practised in figured textiles. The ordinary system relates to flushing the warp and weft--which are of different shades--in the construction of the figure, as is instanced in Pattern 3 of Plate XXXIX. Here the outside of the oblong figures consists of floats of weft, and the interior of floats of warp. Now by warping 96 ends of crimson and 96 ends of lavender, and weaving 96 picks of tan and 96 picks of white, several tinted effects are obtained. First, a solid square of lavender is formed; second, square _B_ is composed of crimson and lavender; third, square _C_ is composed of crimson and tan; and fourth, square _D_ is composed of tan and lavender. By this scheme of colouring and weaving, considerable diversity of pattern is producible.

[Illustration: FIG. 229.]

[Illustration: FIG. 230.]

Design 231 is an example in compound warp and weft colouring. The colour of the warp of this fabric would partially form both the ground and the figured effects. Two wefts might be used, say brown and light brown, the former producing the figure and the latter the ground of the texture. The ⌻’s represent the rib groundwork, the dots the light brown, and the greys the solid floats of warp. Being composed of two wefts, the design is prepared for the loom by first cutting all but ⌻’s; and, second, by cutting all but ⊡’s. The light brown is regularly tied to the under-side of the texture.

Other types of colouring, having “extras” in both warp and weft, are also practised. They are, however, mainly compounds of the two systems of colouring already illustrated.

A useful example is Pattern 2, Plate XXXIX. The broader floral figuring is developed in warp cord (see sectional design 232). Between such floats of warp making the cord, a firm groundwork is formed. The weft figuring consists of long floats of the light silk yarn, underneath which is also constructed a fast woven texture. The ground weave is a fine cord.

[Illustration: FIG. 231.]

253. _Curls, Textiles of the Astrakhan Group._--“Curls” are a type of textile that belong, strictly speaking, to fabrics of the astrakhan and lambskin type. One of the objects here is to manufacture a fabric similar in appearance, texture, and general character to the original astrakhan. But at the same time, it is sought to acquire these effects by cheaper and more expeditious methods than are practised in making astrakhan, lambskin, and similar fabrics. The production of cheap, serviceable “curls” has led to the construction of spiral, curled, and knopped yarns--all threads which, when appropriately employed, impart a curly surface to the cloth.

[Illustration: FIG. 232.--Section of Design for Pattern 2, Plate XXXIX.]

254. _Four Types of Curled Effects._--Curled effects may be classified under four heads:--

(1) Those in which the effect is obtained by employing wires in weaving.

(2) Those in which the yarn is curled previous to weaving, and the flushes of weft thread cut after the piece leaves the loom.

(3) Curls due to the employment of yarns composed of two or more classes of materials. The curl in this case is developed in milling.

(4) Fabrics in which a curled thread is used in the weft.

[Illustration: FIG. 233.]

The first and second classes of curls represent the original methods of gaining effects of this kind, while the third and fourth classes represent the modern principles of manufacture. Examination of the different classes will show that each possesses some advantages which the other lacks, and also that certain defects are characteristic of each process of production.

In the first species of curls--in which colour is introduced into the warp--are astrakhans, lambskins, and other classes of similar fabrics.

255. _Curls obtained by Wires._--Curls obtained by the use of wires are fabrics containing two warps--one of which forms the foundation, and the other the curled effect of the texture. The ground warp is usually cotton, the curled warp mohair, and the weft woollen. The mohair yarn is submitted to a process of curling or crimping before weaving, so that when the threads are cut over the wires, in the actual manipulation of the fabric, the ends thus produced twist, twirl, and roll into all kinds of shapes. The larger the curl, the thicker and more curly the material used in its formation, and the deeper the wires inserted into the cloth during weaving. Fig. 233 will illustrate the principle on which the wires are employed and the part they play in the development of the curly appearance of such fabrics. In this sketch, which is a sectional drawing showing the interlacing of the threads and the position of the wires in a simple astrakhan prior to cutting, threads _A_ represent the mohair warp, threads _C_ the ground warp, _b_ the picks or shoots of weft, and _W_ the wires. It will be observed that there are several picks between each wire which interlace with threads _C_ to form a texture, or foundation fabric, on to which a layer of curls, closely grouped together, is secured. There is a firm woven cloth in addition to the curled effect in all such structures; and it should be noticed that the more substantial this concealed portion of the foundation, the more durable the texture produced. An insecure ground texture should be prevented in the manufacture of all fabrics in which wires are employed. The picks _b_ interweave with threads _C_ on the plain principle, but not invariably so, as the three-end twill sometimes forms the plan of intersection for these yarns.

No less than five ground picks are inserted between each wire in the fabric sketched, forming a firm foundation for the wires. Another point secured, by having this number of ground shoots intervening the wires, is the production of a large curl, because the wires are not forced into close or absolute contact with each other.

256. _Process of Weaving Curls produced by Wires._--The routine of the actual operation of weaving this style of curl may be briefly stated:--The proper number of ground picks _b_, having been interlaced with yarns _C_, one half of the mohair warp is elevated and wire 1 inserted; the same number of ground picks is again introduced into the warp _C_, and then the reverse half of the mohair warp raised and wire 2 inserted. This completes the process as far as the interlacing of the threads is concerned. One particular that has not been noticed is the mode of binding the curled warp to the texture; this is effected by depressing the mohair yarns both previous to, and after the insertion of the wires, crossing them of course with the picks b. After some five or six wires have been secured, as shown in the illustration, cutting takes place. This is done by the weaver running his knife down the grooved part of the wire, a process which divides the loops and liberates the threads, when their curling properties cause them to twist and curl so effectually together as to entirely cover the surface of the ground fabric on to which they have thus been fastly woven. The spiral condition into which the ends twist themselves on being liberated, is seen in Figs. 234 and 235, a section of an astrakhan fabric after cutting.

[Illustration: FIG. 234.]

A feature in which this class of curls differs from others is that if two or more shades of yarn, and several depths of wires are used, one for each colour of curled warp, then, by a suitable arrangement in the design, an attractive combination of effects results.

[Illustration: FIG. 235.]

257. _Curls formed by the Weft in which the Warp is Cotton Threads._--This class of “curls,” which may be examined in detail, also includes fabrics of the astrakhan group. But here, instead of the curl being obtained in the warp, it is obtained in the weft yarn. In cloths of this order the warp is invariably cotton, while the weft is woollen and mohair--the wool being utilized in the construction of the ground of the texture, and the mohair in the formation of the curly effect.

The system of forming the curl by the warp offers larger scope for variety of pattern and texture, than when it is produced on the weft principle. In this instance, the cloth is simple in structure. It is possible, however, on this principle of intertexture, to have either a short or long curl. As in warp effects, the mohair yarn has to be curled or crimped prior to weaving by submitting it to a process of boiling, which may be continued for two or three hours, according to the quality of the yarn and the permanence with which it is sought to fix the curl.

258. _The Weave of Weft Curls._--The weave of this type of fabric is arranged on a simple principle. It first admits of several mohair or flush picks being introduced into the warp, which are followed by a plain ground shoot. If the weave occupies, say twenty-four threads, each flushing pick might float over seventeen ends, and then form a plain interlacing with the remaining seven ends of the series. This process securely fastens the curl picks on to the ground of the fabric.

[Illustration: FIG. 236.]

259. _Structure of Weft-Curl Fabrics._--Fig. 236 is a section of the interlacing of the warp and weft yarns in this make of textile. Here dots _a_ represent the ends of the warp threads; _B_, the mohair weft yarns or flushing picks; and _c_, the plain ground picks. The fabric is twofold in the weft and single in the warp. Picks lettered _B_ are placed, in weaving, over the picks or shoots _c_, which produce, along with the ends lettered _a_, a foundation texture on to which shoots _B_ may be fastened. The warp threads are thus made to interlace with both kinds of weft, producing, with the cotton or woollen weft _c_, a plain fabric, and, with the mohair picks _B_, a cloth in which the face is formed of long flushes of weft yarn.

[Illustration: Plate XXXIX

FIGURED STYLES DEVELOPED IN WARP AND WEFT COLOURINGS]

Feather trimmings, Fig. 237, are made on this principle, only several widths, _A_, _B_, _C_, of the curl effect are formed in one width of the fabric. The mohair yarn to form the curl is crimped or curled before weaving. The floats in the texture vary in length, and extend from Series _A_ to Series _B_, and from _B_ to _C_ In the illustration, the weft threads floating over such spaces have been severed and allowed to form the curl effect of which the trimming consists. Many methods of colouring are practised in the production of such fabrics, and also, as seen from the specimen _D_, special figuring due to the ordinary type of weaving.

[Illustration: FIG. 237.]

260. _Operation of Cutting after Weaving._--When the cloth leaves the loom there is no appearance of a curl effect, its under surface being nothing but a plain weave, and the face consisting of long floats of mohair yarn. To produce the curl these flushes require to be severed or cut, when the ends thus obtained twist and twirl into the spiral forms shown in Fig. 235. The cutting process is done as follows:--About two yards of cloth having been stretched tightly on a frame, the cutter inserts the fine point of the knife and guide under one of the row of long flushes formed by picks _B_, Fig. 236; the loops or flushes being arranged in rows, the knife can be made to travel very accurately under each row of loops to the end of the length of texture spread on the frame. As it is forced through this tunnel of loops, it severs the threads, and, as the yarns were curled or crimped previous to weaving, they immediately assume curly, spiral conditions.

By a slight modification of this principle of weaving it is possible to produce a large variety of patterns. One example of this class of effects is a pattern with a figured design (see _D_, Fig. 237), in which the pine pattern is developed in extra silk weft in addition to the curl effects. Mohair may be the material used for the curled figures and silk for the figuring.

261. _Curls developed by Milling._--In the two classes of these fabrics already described, the curl effect is the result of preparing the yarn by subjecting it to a crimping process before using it as warp or weft in the composition of the cloths. Both types of curls considered are, moreover, submitted to a cutting operation, which, severing the loops or flushes of mohair yarns, results in the production of the curled characteristic of the textures. In the curled cloths produced in milling, the curl is not due to cutting one series of the yarns in the fabric, but to the more rapid shrinking of some threads in the texture than others, a process which develops loops on the surface of the piece. The curl in this instance is produced by the doubling of certain threads, and not by any curling and cutting operations the yarns may be subjected to either previous to, during, or after weaving.

262. _Points of Dissimilarity in the Various Builds of Curled Textures._--If a fabric in which the curl is obtained in the warp and by the use of wires is dissected, it will be observed:--On removing, in the first place, to withdraw a curl thread it would be found to be divided into short lengths, each curl being a separate length. The entire series of curls might be removed and still a plain woven texture would remain intact; if, however, either the warp or weft of this foundation structure were disturbed, the whole fabric would be reduced to a group of loose ends.

Let a fabric in which the curl is formed by the weft yarn and developed by cutting, after the piece leaves the loom, be next analyzed. Here it is possible to remove the curls, as in the other fabric, and yet to retain a woven texture. The wide dissimilarity between this fabric and the warp curl is to be found in the fact that the various short lengths of mohair which form the mass of small curls, covering the texture, are in this case sections of picks of weft and not threads of warp.

Curl textures, which obtain the curly appearance in the milling machine (see Figs. 239, 241, and 243), are constructed on an entirely different principle of manufacture. To remove any thread or pick from this fabric, curl or otherwise, destroys the structure of the cloth. In this type of curl there is only one warp and one weft, the threads of which appear alternately on both sides of the piece. Either warp or weft may contain both woollen and mohair yarns, but still the cloths are constructed from single weaves.

263. _Two kinds of Curls developed by Milling._--Curled fabrics of this group may be divided into two classes: (1) those in which the curl yarn is introduced into the warp; and (2) those in which it is employed in the weft. The warp thread which forms the curl is in some cases made of the noil resulting from combing mohair or alpaca, or the waste from the machines in making lustre worsted yarns. These materials possess exactly the curling properties that are requisite to the production of the effect characterizing this kind of curl. As to the weft thread, it is made chiefly of “extract” and similar materials.

264. _Spiral Threads used for Warps._--The warp is composed of twist threads known as “spirals,” a name applied to them on account of their crimpy form. They derive their principal characteristic from the system on which they are prepared; thus one of the two threads utilized in their production is, during twisting, only slightly tensioned, while the other thread is highly tensioned. This arrangement causes the compound yarn resultant to be crimpy or spiral, and to possess an undulated, wavy appearance. When the piece is subjected to heat, soapy moisture, and the friction of the milling process, the thick, slack thread shrinks up into loops, or forms small buttons, or curls, on the surface of the cloth. The process of fulling these cloths is interesting. Previous to this operation the fabric possesses a level surface; for there is little indication in the cloth when it leaves the loom as to any curly or looped effect. This is entirely a subsequent development. As soon as the felting operation commences, this characteristic appears, the thick and soft threads of the twist yarns forming loops or curls which cover both sides of the fabric.

265. _Variety of Patterns in Spiral-Warp Curls due to Colour._--Pattern or design in these goods is mainly due to colour combinations. As the weave is generally a four-end twill, there is facility for developing effects of this character with precision and clearness. Styles of a mixture, stripe, and check class are employed. One example of a mixture effect is as follows: Warp, two ends of maroon (spiral) and two ends of green (spiral); weft, all olive brown. The pattern thus obtained is intermingled in colouring, the warp threads giving indefinite and mellow patches of maroon and green, while the weft forms a solid and continued series of olive-brown twills.

[Illustration: FIG. 238.]

266. _Twist-Yarn Cotton-Warp Curl._--This is a backed fabric, the face or right side being formed of curled twists and the back or under side of woollen yarn. Diversity of pattern or style is, in this kind of curl, obtained by employing several colours or shades of twists. Amongst the twists which are largely used three or four may be mentioned, namely, black and white, black and steel grey, black and olive, and black and medium blue, the white, steel grey, olive, and medium blue forming the loops or curls of the respective threads.

267. _Backed Weave for Curled Cloth._--A reference to FIG. 238, which is a standard example of the description of crossing employed in making this sort of curls, shows that in reality this curled texture is constructed on the backed weave principle, a system of intertexture which readily allows of the production of a thick cloth. The picks marked in ⊠’s represent the woollen yarns, or weft for the ground, and the picks marked in ◻’s form the weave for the curl effect, or the looped twist weft. On examining the former series of picks, it will be observed that they interlace weft cord with the warp threads. The face weave--marked in dots--is the eight-heald doeskin or sateen, a plan of crossing which not only permits the curled yarn to be flushed on the right side of the fabric, but attaches it to the woollen and cotton ground texture in a uniform and secure manner. While the curl yarn should not show on the back of the cloth, the woollen yarn should not be visible on the face.

Of course it will be understood that the character of the curly effect is dependent on the kind of twist weft employed; thus, should the yarn be of several colours and the loops on its surface large, a clear, bold curl will result; but should the loops be more of a knop than a curl, the pattern will be correspondingly indistinct.

[Illustration: FIG. 239.]

268. _Essential Characteristics of Cotton-Warp Curls due to Milling._--The cotton warp, which constitutes the foundation of the fabric, possesses no felting power, but the mohair yarn which forms the weft, though not possessing the same fulling quality as some classes of wools, yet when floated on the surface of a cloth of this character, felts to such an extent as to draw, or compress, the warp ends into closer contact with each other; and it is this contracting of the texture in the direction of the weft that produces the curly or looped appearance desired.

[Illustration: FIG. 240.]

It must not be understood that because the curliness is entirely developed in fulling, the structure of the weave in no way affects the pattern obtained, for striped and other effects, can be woven by a proper modification in the arrangement of the design. A sketch of a curled stripe made on this principle is supplied in Fig. 239.

269. _Examples in Designs for Cotton-Warp Curls._--The weave, Fig. 240, is technically called a plain rib, being so constructed as to flush the curl yarn on the face of the cloth, and yet produce a fast, plain woven texture underneath the floats. All designs for curls of this description are made on the principle illustrated in this weave, and also Fig. 243, it being of equal importance to secure a fast fabric as to float the mohair yarn on the face side of the texture.

[Illustration: FIG. 241.]

[Illustration: FIG. 242.]

Part _A_ of the design forms the small curly effects drawn in Section 1 of Fig. 239, while part _B_ gives the piping of curls represented in Section 2. When the odd picks--1, 3, 5, and 7--are woven into the warp they flush over the entire series of threads in _A_, but form a plain interlacing with the threads in Section _B_. On the other hand, when the even picks--2, 4, 6, and 8--are introduced into the warp, they flush over the threads in part _B_, but work plain with the threads in _A_. The woven result of this weave is, first, a striped pattern is formed on the upper side of the cloth, consisting of two distinct bands of curls; second, a firm cloth is produced, though the weft is flushed to such an extent on the upper surface as to conceal the cotton warp, for the picks which give the flushes for the curl in _A_, form a plain cloth under the picks which float over the threads _B_, while the picks yielding the curly appearance due to Section _B_ of the design, at the same time form a plain texture underneath the shoots of weft which pass over threads _A_. So that on this principle, facility is afforded for a proper flushing of the weft yarns on to the upper side of the cloth, yet provision is made in the weave for the construction of an all but plain fabric to which the flushes of mohair that form the curl are securely attached.

Generally these textures are piece-dyed, but in such patterns as those given in Figs. 239, 241, and 243, some excellent styles may be obtained by using two colours of weft yarn, such as black and maroon, blue and olive, and black and white. In such combinations one shade would form the broad and the other the narrow stripe of curls.

[Illustration: FIG. 243.]

In Fig. 241 a fabric is sketched in which the curls are distributed, without any apparent design; yet according to the weave--Fig. 242--there is really a twilled or diagonal distribution of the curls. Felting, however, destroys this characteristic.

[Illustration: FIG. 244.]

A more irregular pattern is that in Fig. 243, produced in Fig. 244, being woven one pick of light, and one pick of dark yarn alternately. In this way, varied colourings and forms of designs are obtainable in these structures.

FOOTNOTES:

[16] _Not infrequently with extra colour weft or warp spotting, but the example--Pattern 1, Plate XXXVIII.--is coloured on the ordinary method._

INDEX.

Adjacent colours, effects of, 42.

Analogous colour contrasts, 50, 55.

Analysis of colour compounds, 72. of light, 9. of standardization scheme of colouring, 62.

Art and technique in design, 320.

Astrakhan fabrics, 354.

Attributes of blue, 27. of green, 37. of orange, 37. of purple, 40. of red, 23. of yellow, 37.

Backed cloths, colour applied to, 94.

Backed-weave combinations in relation to colour, 96.

Black and bright colour contrasts, 55. use of, in mixtures, 78, 80.

Blending, use of standard colours in, 63.

Blends, simple, 70.

Blue, derivatives of, 28. its properties and uses, 27. shades and tints of, 30. uses of, in twist yarns, 33.

Brodie tartan, 150.

Brussels carpets, 332.

Carpets, tapestry and Brussels, 332.

Characteristics of red, 23.

Check, basket (in two colours), 128. broken (in two colours), 128. (common) modification of, 132. consisting of two sizes of squares, 124. counter-change, 126. graduated, 127. interchanging, 135. ordinary (in three shades), 130. patterns, 119. set, 131. shaded (in black and white), 136. (in two colours, using designs composed of several weaves), 139.

Check and stripe designs, spotted, 277.

Checking, compound (in three shades), 133. principles of (in three shades), 129.

CHECKING, PRINCIPLES OF. _See_ List of Figs., page xix.

Checks, 102. fancy, 145. irregular and mixture, 142.

Citron, 16.

Clan Alpin tartan, 157.

Colour applied to single-make figured fabrics, 95. effects in the plain weave, 99. in the [2/2] twill, 99.

COLOUR EFFECTS, ELEMENTARY STANDARD. _See_ List of Figs., page xx.

COLOUR EFFECTS IN COMPOUND WEAVE DESIGNS. _See_ List of Figs., page xxii.

Colour, method of applying to textiles, 5, 7. in relation to backed and compound cloths, 94. in simple and fancy weaves, 93. occurrence and utility of, in fabrics, 3, 4. phenomena of, 7.

Colour standardization, 61. analysis of the scheme of, 62. application of, 60. by selected colours, 62. standards, use of in blending, 63.

Colouring, elements of, 92. figuring in the weft, 96. warp, 97. warp and weft, 97. 1-and-1, figured styles in, 164, 167. 3-and-3, effects in, 170. 4-and-4, effects in, 171. 4-and-4, effects in (fancy weaves), 172. 6-and-6 and 8-and-8, 173. 6-and-6 in various weaves, 174. mixture, 67. simple weave, 94. three-odd-thread arrangement of, 175.

COLOURING OF SPOTTED DESIGNS. _See_ List of Figs., page xxii.

COLOURING SPECIFIC WEAVES AND DESIGNS, ILLUSTRATIVE OF. _See_ List of Figs., page x.

Colouring, tartan, 145. types of woven, 93.

COLOURING IN THE WARP, PRINCIPLES OF. _See_ List of Figs., page xxiii.

COLOURING IN THE WEFT, PRINCIPLES OF. _See_ List of Figs., page xxiii.

Colourings, 1-and-1 and 2-and-2, 163. irregular simple order of, 182. methods of obtaining well-balanced, 32. (regular type), table of, 161. simple, 159. simple in four shades, 180.

Colours, changed by juxtaposition, 42. constants of, 17. methods of modifying, 25. primary, 15. pure, functions of, in design, 21. qualities of, 20. spectral, weave frequency of, 9. temperature of, 17. tints and tones of, 25.

Composition of coloured lights, 14.

Compound colouring, 192. composed of three elementary types, 194. in compound weaves, 312. types of, 199.

COMPOUND WEAVE COLOURING. _See_ List of Figs., page xxiii.

COMPOUND COLOURINGS, EXAMPLES IN. _See_ List of Figs., page xxi.

Compound colours, 15, 72.

Compounds composed of two simple types, 201. two types and three shades, 203. four shades, 219. irregular, 218.

Contrast, 43. economic, 47. examples in, 46. kinds of, 38. mono-chromatic, 47, 50. poly-chromatic, 48. shaded and tinted, 53. (strong colour) methods of neutralising, 57. tinted, 50.

Cord or rib weaves and colouring, 240.

Corkscrew weaves, colouring of, 221. modified and colouring, 223. and other weaves spotted, 282.

Cotton quiltings, 324. stripes, 259. weaves, colouring applied to, 232.

Crawford tartan, 150.

Cuninghame tartan, 150.

Curl textures, 354. (cotton warp) designs for, 365. developed in milling, 362. by using spiral twist yarns, 363. effects produced in, with wires, 357. formed in the weft, the warp being cotton, 359. four types of, 357. varieties of, due to colour, 364. (weft principle) structure of, 362.

Derivatives of blue, 28. of green, 37. of orange, 39. of purple, 40. of red, 23. of yellow, 36.

Design, elements of woven, 1. function of pure colours in, 21.

Designs composed of several weaves of varied structures, 261.

Diagonals, 230. composed of single and double weaves, 231. spotted, 283.

Double cloths, colour in relation to, 94. principles of colouring, 295. styles of colour effects in, 296.

Double-plain stripes, 296. in two shades, 297. (warped irregularly), 298. in three shades, 301. intermingled pattern, 302. weaves combined with other makes, 302.

Douglas (Grey) tartan, 149.

Dundas tartan, 155.

Duke of Rothesay tartan, 146, 150.

ELEMENTARY COLOUR EFFECTS, STANDARD. _See_ List of Figs., page xx.

Elements of textile colouring, 91.

Elliot tartan, 153.

Erskine tartan, 146.

Examples in colour contrasts, 46.

EXAMPLES IN COMPOUND COLOURINGS. _See_ List of Figs., page xxi.

Extra-weft patterns, 336. colouring (two-cover styles), 346. (four-cover styles), 347.

Fabrics, compound patterns in, 198.

Fancy broken check, 145. weaves, colouring of, 168.

Feather trimming (weft-pile fabric), 360.

Figured fabrics, 95. methods of colouring, 319. striped in the warp, 264. warp colouring of, 97, 321. and weft colouring of, 97.

Gauze textures, 234. imitation, 238. systems of colouring, 237.

Gimp twist yarns, 289.

Golf cloakings, 315.

Gow tartan, 150.

Granite effects, 228.

Green, attributes of, 37. derivatives of, 37. tints of, 38.

Grey (bloomed) mixtures, 81. (coloured) mixtures, 82. (neutral) mixtures, 80.

Hairline patterns, 105.

Hamilton tartan, 151.

Harmony, principles of colour, 59.

Hay tartan, 146.

Indian shawl, colouring of, 22.

Irregular compounds, 218. simple patterns in two shades, 184. in three shades, 186. simple colourings, tables of, 182. stripe and check spotting, 277.

Irregulars in two shades, 183. in three shades, 186. in four shades, 188.

Juxtaposed colours, 43.

Keith tartan, 150.

Knop twist yarns, 289.

Light, analysis of, 9.

Lights, coloured, composition of, 14.

Loom productions, occurrence and utility of colour in, 3.

MacArthur tartan, 150.

Macintosh tartan, 150.

MacKinnon tartan, 154.

MacLean tartan, 157.

MacLeod tartan, 150.

Makes of fabric, colour applied to, 221.

Marls, 90.

Mat weaves spotted, 282.

Materials, importance of pure in mixtures, 68.

Mathieson tartan, 150.

Maxwell tartan, 151.

Menzies tartan, 146.

Methods of applying colour to textiles, 5. of modifying colours, 25.

Mixture checks, 142.

Mixtures, bloomed grey, 81. coloured grey, 82. composed of a colour and black, 78. of a colour and white, 77. of two shades, 75. of two shades and black, 78. of two shades and white, 76. elements of colouring of, 67. multi-colour, 87. patterns, 66, 103. twist yarn, 89. two colour, 86. varieties of, compared, 69. weave, 91.

Mono chromatic contrasts, 47, 50.

Montgomery tartan, 147.

Neutralizing strong colour contrasts, 57.

Orange colour, 15. qualities of, 37. shades and tints of, 39.

Overchecking, examples in, 125.

Paisley shawl colouring, 349.

Pattern design, 98.

Patterns, checks (_see_ also Checks), 102. drafted, 249. (drafted) consisting of two four-shaft weaves, 251. consisting of prunelle and [2\2] twill, 254. consisting of three or more weaves, 256. figured, 104. hairline, 105. mixture, 66. stripe, 101.

Persian carpet, 22.

Pigment and wool blends compared, 71.

Pigments, colours resulting from combining, 15.

Pile and curl fabrics, weft type of (cutting after weaving), 361.

Plaids, types of, 146. two-colour, 146. three-colour, 150. four-colour, 153. five, six, and multi-colour, 157.

Plush fabrics, 326. two classes of, 327. warp, 328.

Poly-chromatic contrasts, 48.

Primary colours, 15.

PRINCIPLES OF CHECKING. _See_ List of Figs., page xix.

Principles of checking, 120, 129.

Prismatic experiments, utility of, 11.

Pure colours, functions of, in design, 21.

Purple, 40.

Qualifications of the textile colourist, 21.

Qualities of colour, 20.

Red, characteristics of, 23. derivatives of, 26.

Reversibles arranged 2-and-1, 310. figured (double-plain and other weaves combined), 309. in compound weaves, 293. in double and compound weaves, 305. methods of colouring, 306. weft compound, 349.

Rib or cord weaves, colouring applied to, 240.

Ross tartan, 150.

Royal Stuart tartan, 157.

Russet, 16.

Scale or “base” standard colours, 62.

Schemes of colouring, 13.

Shade and tinted contrast, 53.

Shaded checks, 136. figuring, 142. stripes, 113.

Shades and tints of blue, 30. of colours, 25. of green, 38. of orange, 39.

Shawl (Paisley), colouring of, 349.

Single pick weft spotting, 281. thread warp spotting, 279.

Skene tartan, 150.

Spectral colours, wave frequency of, 9.

Spots composed of warp and weft floats, 271, 274.

SPOTTED DESIGNS, COLOURING OF. _See_ List of Figs., page xxii.

Spotted effects, 267. due to system of weaving, 269. in ordinary weaves, 290.

STANDARD ELEMENTARY COLOUR EFFECTS. _See_ List of Figs., page ix.

Standardization of colour, 60. applications of the scheme of, 65. by selected colours, 62. scheme analyzed, 62. systems of, 61.

Stripe and check designs, spotted, 277.

Stripes, 101. composed of longitudinal and transverse lines, 106. of two colours, 107. of three or more colours, 109. hairlines, 105. in double-plain weave, 296. (two shades), 297. irregular and indefinite in two colours, 111. composed of black and white lines, 110. containing several colours, 116. (shades in two colours), 112. shaded (in two colours), 113. (in several colours), 118.

Strong colour contrasts, methods of neutralizing, 57.

Swansdown twill ([1\3] or [3\1]) spotted, 270.

Table of compound colourings, 199.

Tapestry and Brussels carpets, 332, 333.

Tartan, Brodie, 150. Clan Alpin, 157. Crawford, 150. Cunningham, 150. Duke of Rothesay, 146, 150. Dundas, 155. Elliot, 153. Erskine, 146. Fraser, 156. Gow, 150. Grey Douglas, 149. Hamilton, 151. Hay, 146. Keith, 150. MacArthur, 150. Macintosh, 150. MacKinnon, 154. MacLean, 157. MacLeod, 150. MacQueen, 150. Mathieson, 150. Maxwell, 151. Menzies, 146. Montgomery, 147. Ross, 150. Royal Stuart, 157. Skene, 150. Wallace, 150.

TARTANS. _See_ List of Figs., page viii. examples in the colouring of, 145. two-colour, 146. three-colour, 150. four-colour, 153. five, six, and multi-colour, 157. types of, 146.

Temperature of colours, 17.

Tertiary colours, 16.

Textile colourist, qualifications of, 21.

Three-and-three colouring, effects in, 170. odd thread colouring, arrangement of, 175. shade patterns, 179.

Tinted contrasts, 51, 53.

Tints of blue, 30. of colours, 25. of green, 38. of orange, 39.

Toned contrasts, 51, 53.

Tones of colours, 25.

Treatment of colour in textiles, 4.

Twist yarn mixtures, 89. yarns, uses of blue in, 33.

Two-and-two twill colour effects (warp 1-and-1), 99.

Two-shade compounds (in which white or black is one shade), 75. (in which black is used), 78. (in which white is used), 76.

Types of woven colourings, 93.

Utility of colour in loom productions, 3. of prismatic experiments, 11.

Velvets, compound in structure, 327. figured, 331. weaving, operation of, 330. origin of, 326.

Vestings, 340. cotton quiltings, 324. four-cover colouring, 344. honeycomb, 345. two-cover colouring, 343.

Violet in compounds of coloured lights, 15. in prismatic experiments, 10. wave frequency of, 9.

Wallace tartan, 150.

Warp and weft colouring, 352. compared, 335. colouring and figured textiles, 97. (extra colouring) spotted, 284. colourings, figured effects obtained by, 97. figured fabrics coloured in the, 321. plushes, 328. (single-thread) spotting, 279. striping in figured designs, 264.

Wave frequency of spectral colours, 9.

Weave and colour compounds compared, 197. (single) colourings, 94. (backed and double) combinations, colour applied to, 96. compounds, 244. composed of two, 6, 7, 8, or 9-shaft weaves, 254. examples in colouring of, 245. mixtures, 91.

Weaves (compound), application of fancy yarns to, 291. figuring in, 312. (double) styles of colour effects in, 295. fancy, 1-and-l and 2-and-2 colourings in, 168. (ordinary) spotted effects in, 290.

Weft colouring, 336. figured effects obtained by, 96. compound reversibles, 349. (extra) styles, 338. (ground) used for figuring, 337. (single-pick) spotting, 281.

Weftings, cross, 190.

White and bright colour contrasts, 55. use of in mixtures, 76, 77.

Wool and pigment blends compared, 71.

Woollen, fancy weaves and colouring in, 226. irregular weave compounds in, 268.

Woven design, elements of, 1. (ornamental) elements of, 320. effects and simple colourings in, 197.

Yarns (fancy) with compound weaves, 291. gimp and knop twists, 289. marl, 90. composition of, 90. twist-yarn mixtures, 89. used for spotting, 288.

Yellow, attributes of, 34. derivatives of, 36. in woven design, 35.

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