Colour in woven design

Front matter

EEE

Class. Book.) 2 2A0 Ae eecind Ok 1

Articte V.—The Library shall be divided into rwo cLASsEs ; the first comprising such works as, from their rarity or value, should not be lent out, all unbound periodicals, and such text books as ought to. be found in a library of reference except when required by Committees of the Institute, or by members or holders of second class stock, who have obtained the sanction of the Committee. The second class shall include those books intended for circulation.

Preface

THREE years ago the first edition of my work on “ Woollen and Worsted Cloth Manufacture” appeared, and in the preface of the book I observed that should it be satisfactorily appreciated I would write other treatises on specific branches of textile designing and weaving.

Partially in fulfilment of this promise, and partially because I have frequently been requested by designers, manufacturers, and students who have attended my lectures on textile colouring at Leeds, Huddersfield, and other places, to prepare a text-book on the application of colours to woven fabrics, this volume has been written, which, to use the hackneyed prefatory phrase, is intended to meet a long-felt want.

Though there are several useful works on Colour—to wit, those of Chevreul, Rood, Benson, Hay, Field, Maxwell, and Guichard—dealing with its scientific phases, yet they can scarcely be said to lend that kind of help to the student of applied design that is needed ; hence the necessity of this handbook, which is the first treatise published professing to treat exclusively of the colouring of woven styles.

During the last fifteen years various efforts have been made to teach textile designing and manufacturing systematically, and to specify the principles which underlie the origination of pattern in the loom. What to some extent was previously haphazard work, inasmuch as there were no schools for teaching textile technology, and those apprenticed in the mill were generally allowed to glean information as

Vill PREFACE.

best they could, has now become an exact science. Colouring, however, though practically of primary importance in design, has not been so efficiently taught as some branches of textile manufacturing. The object of this book is, therefore, to supply as far as possible a complete scheme of textile colouring, and to demonstrate the methods of applying fancy shades to all descriptions of woven manufactures.

Referring briefly to the plan of the book: In the early chapters the pigment and light theories of colour are succintly expounded, and also the attributes and qualities of colours, and the laws of contrast and harmony. Subsequently the technicalities characterizing woven colour combinations are analyzed in eatenso.

As the initiatory method of introducing tints and shades into fabrics consists in blending raw materials of divers colours, the art of mixing to obtain artistic mingled compositions is at the outset fully considered. This part of the subject is possibly of the first importance to those engaged in designing fancy tweeds and kindred classes of woollen goods.

After having treated of the combination of shades in “blending,” reference is made to the principles of developing simple patterns by amalgamating warp and weft yarns. The various kinds of stripe, check, mixture, and figured effects, and the tinting of all types of single, backed, and double cloths, of combination patterns, of fabrics figured in the warp, in the weft, and in both warp and weft, are all treated of at length. Woollen, worsted, cotton, and silk fabrics, and the specific styles of colouring applicable to each, have also obtained detailed notice.

The numerous illustrations—comprising woodcuts and coloured plates—should enhance the value of the book, and add to its use and intelligibility.

Many of the patterns printed on the plates have been

PREFACE. 1x woven at the Yorkshire College under my supervision, and are now published for the first time ; while the other figures, with the exception of a small number which has appeared in the ‘ Textile Recorder”’ in articles I have written for that journal, and which the Editor has kindly permitted me to use, have been specially prepared for this book. It need scarcely be observed that the coloured illustrations are unique, being exact representations of the woven textures.

_I have pleasure in acknowledging my indebtedness to my publishers, who have literally done all in their power to meet my wishes in the execution of the plates of woven samples. :

Ri -B.

Leeds, Sept. 1890.

Chapter I. Theories Of Colouring

1. Elements of Woven Pattern—2. Occurrence and Utility of Colour in Loom Products—3. Treatment of Colour in Relation to Textiles—4. Methods of Using Colours in Textiles—5. What is Colour ?—6. Analogy between the Phenomena of Light and Sound —7. Analysis of Light—8. Utility of Prismatic Experiments— 9. Schemes of Colouring—10. Spectral and Pigment Colours compared—ll. Classification of Colours—12. Compound Colours— 13. The Three Constants of Colours—14. Temperature of Colours... : ; é : ; ‘ : 2 . 1—25

CHAPTER ILI.

ATTRIBUTES OF COLOURS.

15. Utility of a Knowledge of the Qualities of Colours—16. Qualifications of the Textile Colourist—17. Functions of Pure Colours in Design—18. Red: its Characteristics—19. Methods of Modifying Colours—20. Derivatives of Red: their Qualities and their Province in Textiles—21. Blue: its Properties and Uses—22. Derivatives of Blue and their Application to Woven Textures—23. Shades and Tints of Blue mixed with Shaded and Tinted Reds and Yellows—24. Methods of Obtaining Well-balanced Colourings— 25. Uses of Blue in Twist Yarns—26. Points in the Application of Blue and Red to Textiles Summarized—27.. Attributes of Yellow —28. Province of Yellow in Woven Fabrics—29. Derivatives of Yellow—30. Secondary Colours—3l. Green: its Attributes and Derivatives—32. Tints of Green—33. Orange: its Shades and Tints—34. Purple . : é : : sonEae : 26—55

CONTENTS.

35. Colours Affected by Association—36. How Colours are Changed by Juxtaposition—37. Table Showing the Effects of Colour Association on Primary and Secondary Hues—38. Contrast 39. Helpful and Harmful Contrasts—40. Examples in Contrast _4]. Economic Contrasts—42. Two Kinds of Contrasts—43. Poly-chromatic Contrasts—44. Mono-chromatic Contrasts—45. Toned and Tinted Contrasts—46. Comparison of Contrasts by Shade and Contrasts by Colour—47. Shaded and Tinted Compositions—48. Primary Contrasts Modified with Black and White—49. Successive and Simultaneous Colour Effects—50. Methods of Neutralizing the Effects of Strong Colour Contrasts—6l. Colours in Relation to Light and Dark Grounds—52. Harmony—s3. Principles of Harmony . , : , : : : : ; 56—85

CHAPTER IV.

MIXTURES.

54. Varieties of Mixture Patterns—55. Elements of Mixture Colouring—56. Importance of Pure Materials—s7. Several Classes of Mixtures Compared—58. ‘‘ Blend” Mixtures—s9. Blends of Wools and Pigments Compared—60. Modes of Testing Compositions of Colours—61. Mixtures composed of Two Shades—62. Compounds of Two Colours in which White is used—63. Illustrations in Mixtures composed of White and a second Colour—64. Mixtures composed of Black and another Colour—65. Grey Mixtures—66. Bloomed Greys—67. Coloured Greys—68. Two-Coloured Mixtures __69. Multi-Shaded Mixtures—70. Twist Yarn Mixtures—71. Weave Mixtures . : ; 5 : : = : 86—117

CHARTER SV: ELEMENTS OF TEXTILE COLOURING—STRIPES.

72. Colours applied to Textiles on Various Systems—73. Types of Woven Colouring—74. Single Weave Colourings—75. Colour in relation to Backed and Double Cloths—76. Colour applied to Single-Make Figured Cloths—77. Fancy Shades applied to Backed and Double Weave Combination Designs—78. Colour in Designs in which the Figures are produced by the Weft Yarns—79. Figured Effects obtained by Warp Colouring —80. Colour in Textiles

CONTENTS. Xill

Figured by both Warp and Weft Yarns—81. Pattern Design— 82. Styles due to Colouring only —83. Stripes— 84. Checks—85. Mixtures—86. Figures—87. Classes of Striped Patterns—88. Hairlines—89. Stripes composed of Longitudinal and Transverse Lines , —90. Regular Stripes composed of Two Colours —9l. Regular Stripes composed of Three or more Colours—92. Irregular Stripes composed of Black and White Yarns—93. Irreeular and Indefinite Stripes in Two Colours—94. Irregular Stripes—Shades in Two

Colours—95. Shaded Stripes in Two Colours for Bed Ticks— 96. 4 Irregular Stripes containing several Colours—97. Shaded Stripes in several Colours : ‘ : ; ‘ : 3 118—149

CHAPTER a Vile CHECK PATTERNS.

98. Utility of Check Styles—99. Principles of Checking—100. ' Several Styles of Checks. CHECKS COMPOSED OF Two CoLOoURS— . 101. Forms of Checking in Two Shades—102. Common Check— 103. Modification of Common Check—104. Check consisting of Two Sizes of Squares—105. Patterns composed of Solid Squares and of an Overcheck—106. Counter-change Check—107. Compound Checking—108. Gradated Check—109. Broken Check in Two Colours—110. Basket Check. CHECKS COMPOSED OF THREE OR MORE CoLoURS—111. Principle of Checking with Three Colours—

112. Ordinary Three-shade Check—113. Set Check—1l4. Compound Checking in Three Shades—115. Counter-change Check in Three Shades-—116. Interchanging Check—117. Counter-change with Over-check. SHADED AND IRREGULAR CHECKS — 118. Shaded Check in Black and White in Cassimere Twill—119. Shaded Check in Two Colours due to using Designs composed of Various Weaves—120. Double-shaded Check in Three Colours— 121. Irregular and Mixture Checks—122. Fancy Broken Check 150—183

CHAPTER VII.

SIMPLE COLOURINGS. \

123. Simple and Compound Colourings—124. Regular Simple Colourings—125. One-and-One and Two-and-Two Systems—126. \ Figured Styles in Common Weaves and One-and-One Colouring— 127. Utility of the One-and-One Principle in Figured Textiles— 128. Three-and-Three Colouring—129. Four-and-Four Arrange-

XIV CONTENTS.

ment—130. Four-and-Four Method applied to Fancy Weaves— 131. Six-and-Six and Eight-and-Eight Schemes—132. Six-and- Six Colouring in Various Crossings — 133. Three-Odd- Thread Arrangement—134. Various Three-Shade Patterns—135. Simple Colourings composed of Four Shades — 136. Irregular Simple Colourings—137. Irregular Patterns of Two Shades—138. “ Trregulars” composed of Three Shades—139. “ Irregulars ” composed of Four Shades. . : ; ; ; : ‘ 184—223

CHAPTER VIII.

COMPOUND COLOURINGS.

140, Compounds—141. Compounds composed of Three Types of Elementary Colouring—142. Results of combining Simple Colourings—143. Compounds and Weave Combinations compared.—144. Utility of a Practical Acquaintance with the Woven Effects of Simple Colourings—145. Compound Patterns subjective to the Nature of the Fabrics Manufactured—146. Types of Compounds— 147. Compounds composed of Two Simple Types—148. Patterns composed of Two Types and Three Shades—149. Styles of Four Shades containing Two Simple Types—150. Styles composed of

Three Simple Types—151. Irregular Compounds. 224—256

CHAPTER IX.

FANCY SHADES APPLIED TO SPECIAL DESIGNS.

152. Colour epplied to Special Makes—153. Colouring of Corkscrews—l54. Modified Corkserews—155. Fancy Woollen Weaves 156. Granite Effects—157. Diagonals—158. Diagonals composed of Plain and Double Plain Makes—159. Stripe and Check Colourings on Diagonals—160. Methods of Colouring Fancy Weaves for Cottons—161. Gauze Textures—162. Systems of Colouring Gauzes 163. Imitation or Mock Gauzes—164. Colour in relation to Rib Oe kk eth gal a a Ge einen cen a aie

CHEAPER se COLOURING OF COMBINATION DESIGNS.

165. Principles of Colouring Weave-Combinations—166. Examples in Colouring Compound Designs—167. Main Points in applying Shades to Combinations of Crossings—l68. Species of Drafted Patterns—169. Designs composed of Two Prunelle Twills

CONTENTS. XV —170. Drafted Designs composed of Two Four-Shaft Weaves— 171. Style composed of Prunelle and Cassimere Twills—172. Combinations composed of Two-, Six-, Seven-, Eight-, and Nine-Shaft Weaves — 173: Drafted Designs composed of Three or More Weaves—174. Fancy Stripe Combinations—175. Irregular Woollen Combinations—176. Cotton Stripes—177. Colouring of Trouserings containing Three Weaves of Varied Construction—178, Compound Stripe Patterns containing Four Weaves : 286.—312

CHAPTER XI.

SPOTTED EFFECTS.

179. Varieties of Spotted Fabrics—180. Spots due to Specific Systems of Weaving—181. Swansdown Twill Spotted—182. Spots composed of Two Broken Swansdown Weaves—183. Weave-Spotting produced by both Extra Floats of Warp and Weft—184. Irregular Spotted Stripes and Checks —185. Spots developed by Extra Warp Threads—186. Fabrics Spotted with Weft—187. Mat Weaves Spotted—188. Corkscrew Weave with Extra Spotting Pick —189. Spotted Diagonals—190. Warp and Weft Spots compared —191. Spotting in both Warp and Weft—192. Advantages of the Warp and Weft Methods of Spotting—193. Yarns used for Spotting—194. Spotted Effects in Ordinary Weaves . 3138—342

CHAPTER XII.

COLOURING OF DOUBLE WEAVES AND REVERSIBLES.

195. Principles of Double Cloth Colouring —196. Styles of Colour Effects obtained in Double Weaves—197. Double Plains— 198. Classification of Double Plain Stripes —199. Double Plain Stripes in Two Shades—200. Two-Shade Stripes Warped Irregularly—201. Styles in Three Colours—202. Double Plains combined with other Weaves—203. Intermingled Double Plain Compositions —204. Reversibles — 205. Methods of Colouring Double Plain Reversibles—206. Colouring of Figured Designs containing Double Plain and other Weaves—207. Reversibles arranged Two and One—208. Double Twills . ‘ ‘ : f 343—369

CHAPTER XIII.

FIGURED TEXTILES COLOURED IN THE WARP.

209. Methods of Colouring Figured Fabrics—210. Special Ele--

XV1 CONTENTS.

ments of Ornamental Woven Design—211. Art and Technique— 212. Styles of Figured Fabrics Coloured in the Warp—213. Cotton Quiltings for Vests—214. Ornamental Characteristics of Quilting Designs—215. Attributes of Plush Fabrics—216. Origin of Velvet Weaving—217. Velvets, Compound in Structure—218. Two Classes of Plush Fabrics—219. Warp Plushes—220. Methods of securing the Pile—221. Analysis of the Process of Velvet or Warp Plush Weaving—222. Colouring of Warp Plushes and Figured Velvets __993. Brussels and Tapestry Carpets compared—224. How the Pattern is developed in Brussels—225. Structure of Brussels Carpets. ; . ‘ ‘ ‘ : ‘ ; 5 370—392

CHAPTER XIV.

WEFT-COLOURED FIGURED FABRICS—CURL TEXTURES.

996. Warp and Weft Colouring compared—227. Classes of Designs Coloured in the Weft—228. Designs in which the Pattern is a product of the Ground Weft— 229. Extra-Weft Styles—230. Vestings—231. Vestings with one Extra Weft—232. Two-Cover Vestings—233. Four-Cover Styles—234. Two-Cover Mantlings— 935. Three-Cover Mantlings—236. Double- Weft Reversibles—237. Warp and Weft Coloured Figuring —238. Curl Fabrics—239. Curls, Textiles of the Astrakhan Group—240. Four Types of Curled Effects—241. Curls obtained by Wires—242. Process of Weaving Curls produced by Wires--243. Curls formed by the Weft in which the Warp is Cotton —244. The Weave of Weft Curls—245. Structure of the Fabric—246. Operation of Cutting after Weaving—247. Figured Curled Fabrics—248. Curls developed by Milling—249. Points of dissimilarity in the various Builds of Curled Textures—250. Two kinds of Curls developed by Milling—251. Spiral Threads used for Warp—252. Variety of Pattern in Spiral-Warp Curls due to Colour—2o3. Stripes in Curls _954. Checked Curl Effects—255. Cotton Warp Curls—256. Twist- Yarn Cotton Warp Curls—257. Backed Weave for Curled Cloths _958. Essential Characteristics of Cotton Warp Curls due to Milling—259. Examples in Designs for Cotton Warp Curls 393—433

ERRATUM.

Page 20, On the 17th and 21st lines omit ‘‘ yellow”; and read “« three ” primaries instead of ‘‘ five” on the 20th line.

XII.

SCE,

XIV.

XV.

XVI.

LIST OF

COLOURED PLATES,

Prismatic colours.

Primary, secondary, and tertiary colours, according to the pigment theory of colouring.

Shades and tints derived from the primaries red, yellow, and blue.

Figured cotton fabric.

Tartan check.

Shades and tints derived from the secondaries. Figured woollen tweed for dr essing gown.

Specimens 1 and 2.

Specimen 3.

Specimen 1.

Specimen 2.

Specimen 3.

Examples in contrast.

Scrap of Japanese ornament.

Contrast by shade in brown.

Contrast by tint in lavender.

Combination of primary colours, and of black and white.

Specimen 1.

Specimen 2.

Specimen 1.

Specimen 2.

Specimen 3.

Specimen 1.

Specimen 2.

Specimen 3.

Specimen 1.

Specimen 2.

Specimen 3.

Specimen 1.

Specimen 2.

Specimen 3.

Figured pattern.

Red and green check.

Light, medium, three, and fone colours.

Blue and white cotton stri ipe.

Velvet finished doeskin stripe.

Striped dress fabric.

Fine worsted stripe in brown and white.

Shaded stripe for bed ticking.

Large shaded stripe for bed Gidene

Worsted stripe with brown ground,

Light-coloured worsted stripe.

Fancy woollen stripe.

Fine basket check.

Maroon and green check. .

Small shaded check.

Shaded check obtained by combining eight-shaft we and dark mixtures, composed of two, aves arranged on a sateen base.

b

XXVII.

XXVIII.

LIST OF COLOURED PLATES.

Specimen 1. Check with dark ground.

Specimen 2. Broken check with light ground.

Specimen 3. Mixture check made of twist yarns.

Figured design composed of cassimere twill.

Specimens 1 and 2. Fancy woollen checks.

Specimen 3. Gauze stripe.

Specimens 4 and 5. Worsted rib patterns.

Specimens 1, 2, and 3. Fancy woollens, drafted designs.

Specimen 1. Two- and three-ply twists.

Specimen 2. Cloud yarns.

Specimen 3. Curled yarns.

Specimen 4. Gimp and other fancy twists.

Specimen 1. Fancy tweed in which knop and cloud yarns appear.

Specimen 2. Figured mantling with cotton-twist knop yarns for warp, and woollen weft-for ground.

Cotton quilting with knop yarns for figure in various colours.

Specimen 1. Double plain stripe in two shades.

Specimen 2. Double plain stripe with diagonal band.

Specimen 3. Double plain and corkscrew stripe.

Specimen 4. Figured reversible pattern in two shades for shawls or mantlings.

Specimen 1. Double plain stripe in dark and light slate consisting of several sizes of lines.

Specimen 2. Double plain stripe in which the bands are of different dimensions.

Specimen 3. Double plain stripe in four colours.

Specimen 4. Double plain stripe in three colours.

Specimen 5. Drafted double plain, diamond pattern.

Specimen 1. Woollen mantling or rug. Wet raised in finishing.

Specimen 2. Woollen or worsted mantle, striped pattern.

Figured tweed curtain.

Specimen 1. Striped pattern figured by the warp threads,

Specimen 2. Style of quilting fabric originally made for vestings.

Specimen 1. Figured plush. Coloured one thread of brown, and one thread of bright drab in the

XXXII.

XXXII.

LIST OF COLOURED PLATES. X1x warp. The ground is cut pile and the figure loop pile.

Specimen 2. Figured plush in various colours with sateen ground.

Specimen 1. Cotton dress figured in the weft. Ground weave warp buckskin.

Specimen 2. Fancy vesting with worsted ground and silk spots.

Specimen 3. Dress pattern figured in the weft.

Specimen 4. Five-cover vesting.

Specimen 1. Vesting with corkscrew ground.

Specimen 2. Mantling pattern of the pine-figure class.

Specimen 1. Two-cover mantling.

Specimen 2. Warp and weft figured style.

Specimen 3. Silk pattern.

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i SEPHrI Sap wy ee CHPAAATPEWN PD iS) S ro bo i

LIST OF ILLUSTRATIONS.

Beam of light passing through a prism

Design for prismatic experiments

Lambert’s contrivance for mixing colours

Sketch of rug pattern

Simplest stripe producible

Simplest form of coloured diagonal .

Stripe composed of longitudinal and transverse ne: Buckskin stripe

. Ten-heald upright twill

Stripe effect in black and white

Most elementary form of check Modification of common check

Check composed of two sizes of squares . Elementary type of over-check Counter-change check

Compound check

Gradated check

Common three-shade Gaels

Set check .

Compound check in ies leas Counter-change check in three shades Interchanging check

Counter-change, with over-check Compound shaded check .

24 and 25. Parts of a shaded check ce

26 and 26a. Plain weaves 27 and 27a. Twills 28, 28a, and 29b. Effect of io re tie peaaces in the common twill Effect of two-and-two eieatuc in ihe pee shaft mat.

LIST OF ILLUSTRATIONS.

PAGE Fig. 30. Figured design composed of plain weaves P #192 Fig. 31. Pattern aitehnea in plain fabric. ; 193

Fig. 32. Figured pattern obtained in common ial by colouring thread-and-thread . 194

Figs. 33, 33a, and 33b. Patterns produced in anaes cane three colouring in the six-end twill . : : 196

Figs. 34, 34a, and 34b. Patterns produced in four-and- foun colouring in the four-shaft twill . ; os Fig. 35. Four-and-four colouring in the mat weave. 3 198 Fig. 36. Four-and-four colouring in a diamond weave . % 2109 Fig. 36a. A diamond weave 4 ee LO9 Figs. 37 and 37a. Stripes i in six-and-six cane. : . 200 Fig. 37b. Check in six-and-six colouring e : : . 201 Fig. 38. Check in eight-and-eight solpuniee : ; ; 5.201 Fig. 39. Broken check coloured six-and-six . F ; . 202 Fig. 39a. Broken rib weave 202 Fig. 40. Star check 203 Fig. 40a. Angled stripe . 203

Fig. 41. Pattern due to colouring ae plain weave one, one, and one 205

Fig. 42. Check pattern obtained the thine ee- ale prea delen of colouring : d ; : , . 206 Fig. 42a. Six-shaft twill cheek ; ‘ . 206 Fig. 43. Two, two, and two colouring in the six- ad twill =e 20% Fig. 44. Three, three, and three colour ing in the six-end twill 208 Fig. 45. Swansdown stripe 210 Fig. 46. Swansdown weave ‘ : ko Fig. 47. Four-shade check in cassimere fall : ‘ eal Fig. 48. Four-shade check in the six-end twill . ‘ en 2 Fig. 49. Four-shade check in the Mayo F ; : e212 Fig. 49a. Mayo weave . : : ; 5 PAD Fig. 50. Small effect in the fe end twill : : : . 214 Fig. 50a. Five-end twill . : 2 2S Fig. 50b. Four-and-two colouring in ses nae weave . a) 2p Fig. 51. Intermingled style in ae five-end twill . P » 215 Fig. 52. Check in a broken mat weave . : ‘ : . 216 Fig. 52a, Broken mat weave . 216 Fig. 53. Small star check ; . 2 2 ah iy Fig. 53a. Eight-shaft crape weave . , : ; ‘ = ONT Fig. 54. Check in eight-end diagonal . ; : 2 1 DS. Fig. 54a, Eight-end diagonal . 218

LIST OF ILLUSTRATIONS.

Fig. 55. Small three-shade pattern Fig. 56. Minute check . : ‘ : Figs. 57 and 58. Three-shade patterns . Fig. 59. Twelve-shaft fancy twill . : Fig. 60. Pattern produced i in the twelve- shaft yall Fig. 61. Check pattern in fancy twill Fig. 62. Four-shade pattern in the Mayo Fig. 63. Shaded check in four colours . Fig. 63a. Sixteen-shaft diagonal Fig. 64. Compound check, consisting of thread- and: thread and two-and-two colourings ig. 65. Compound check, consisting of three dohernes of colouring . ig. 66. Stripe composed of ‘four- and four ‘and ‘eight- and: eight colourings : ig. 67. Stripe composed of two schemes of cone woven with black weft Compound check consisting of fae ie fou aati eight-and-eight colourings Fig. 69. Compound stripe in three shades Fig. 70. Compound check in three shades Fig. 71. Stripe in three shades composed of six- one six a three-and-three colourings Fig. 72. Same stripe as fig. 71, with black weft : Fig. 73. Check in three ahades composed of the same colourings as fig. 71 : : Figs. 74 and 75. Compound pes in four shades . 246, Fig. 76. Compound check in four shades Figs. 77 and 78. Compound stripes containing ‘eee ty pes and composed of three shades . : Compound check containing three types and composed of three shades Irregular compound stripe teeen compound check Stripe composed of irregular and reg ruler oy pe Check composed of irregular and regular types Corkscrew stripe Irregular corkscrew .

Angled-stripe pattern in three ‘shades Intermingled woven effects Small check design .

Ot eit bd bo bo bw ky wt

LIST OF ILLUSTRATIONS.

Fig. 89. Weave design for granite pattern .

Fig. 90. Diagonal pattern

Rio OW Diagonal pattern conipeacd of double cal ee ‘plain weaves

Fig. 92. Design for preceding oe :

Fig. 93. Spotted sateen stripe

Fig. 94. Wave design .

Fig. 95. Gauze pattern

Figs. 96 and 98. Gauze weaves

Fig. 97. Healding draft for gauze

Fig. 99. Fancy gauze rc :

Fig. 100. Design for mock gauze .

Fig. 101. Stripe trousering anes

Fig. 102. Rib design

Fig. 103. Pattern coloured iyo, ae one ae Aoetarsee of prunelle and cassimere twills .

Fig. 104. Reduced design for fig. 103

Fig. 105. Healding draft for fig. 105

Fig. 106. Indistinct diagonal pattern

Figs. 107 and 108. Reduced design and hoaine draft ee fig. 106

Fig. 109. Reduced design Wormscced one cassimere i il,

Fig. 110. Healding draft for fig. 109

Fig. 111. Stripe pattern conpascd of six-shaft weaves .

Fig. 112. Weave design for fig. 111

Fig. 113. Fancy healding draft : : : :

Fig. 114. Reduced design for fig. 114, composed of four four-shaft weaves

Fig. 115. Fancy woollen weave design .

Fig. 116. Cotton stripe design

Fig. 117. Trousering stripe ‘composed me four weaves

Fig. 118. Stripe design composed of diagonal weaves .

Figs. 119 and 120. Trousering combinations ; . 308,

Fig. 121. Figured cotton stripe

Fig. 122. Twill stripe with warp spots .

Fig. 123. Pattern for fig. 122

Figs. 124 and 125. Spotted designs with crow twill Paend 316,

Figs. 126, 127, 128, 129. Spotted designs composed of broken crow weaves : i ) EBS: Fig. 130. Spotted design with plain g eaeunl Fig. 131. . Warp and weft spotted design

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267 269

291 292 293 291

294 296 297 298 299 300

319 322 323

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5°

LIST OF ILLUSTRATIONS.

132. Spotted check design

133. Warp-spotted design

134. Corkscrew, spotted

135. Mat weave, spotted F

136 and 137. Corkscrew with spotting picks 138. Spotted diagonal 139. Double spotted twill 140. Double plain stripe design 141. Double plain stripe design with fineene :

142, 143, 144, and 145. Striped double plains 352, 353, 146. Corkscrew and double plain design : 147. Reversible double plain weave ‘ ‘ ‘

148, 149, and 150. Sections of reversible figured

designs . ; . 358, 360, 151. Section of rev emmible psieeer n arranged two-and-one 152. Reversible double-twill design 153. Portion of design for a pattern figured by the Ww arp

154 and 155. Section of quilting festa : yal

156. Diagram of plush fabric.

157. Weave for multi-coloured plush

158. Section of Brussels carpet

159. Section of figured design coloured by the WwW eft

160 and 161. Partsoffigureddesign withextraweft 399, 162. Vesting design with rib ground 163. Vesting design with corkscrew ground .

164. Vesting design with diagonal ground

165. Section of vesting pattern in five colours

166. Section of two-cover mantling design

167. Section of three-cover mantling design .

168. Plan of threads in reversible rugs .

169. Weave for rugs

170. Bordered rug design

171. Section of desi golouradt! in rs warp gee Ww aft. 172. Plan of thvesda’s in curled fabric woven with wires

173, 174, and 175. Sections of curl textures. 419, 421, 176. Diagonal pattern with curl spot 177. Weave for backed curl fabric 178. Striped curl :

179. Design for striped curl . 180. Sketch of a large curl pattern ig. 181. Design for cotton-warp curl

COLOUR IN WOVEN DESIGN.

CHAPTER I.

THEORIES OF COLOURING.

1. Elements of Woven Pattern—2. Occurrence and Utility of Colour in Loom Products—3. Treatment of Colour in Relation to Textiles— 4, Methods of Using Colours in Textiles—5. What is Colour ?— 6, Analogy between the Phenomena of Light and Sound—7. Analysis of Light—8. Utility of Prismatic Experiments—9. Schemes of Colouring —10. Spectral and Pigment Colours compared—11. Classification of Colours—12. Compound Colours—13. The Three Constants of Colours —14, Temperature of Colours.

1. Elements of Woven Pattern.—Weave, Combinations of Forms, and Blends of Colours, are the three primary elements of textile design. They enter, either separately, or in conjunction with each other, into every species of loom effect. Weave relates specifically to the build or structure of the fabric, and is an indispensable factor in any type of cloth, whether plain, twilled, or ornamental in character. It may be defined as the system or plan of crossing the warp and weft yarns which constructs the fabric. In some makes of textiles weave is merely a simple principle of interlacing which produces a compact, substantial texture, being entirely subordinate in effect to other constituents of the style, such as colour, and decorative design resulting from intricate adjustments of form and figure. ‘Though weave may thus be regarded in textile designing as generally being a constructive and not an ornamental component of B the pattern, yet there are numerous examples in which it possesses both these characteristics. Textures of this description are neither embellished with figure nor colour, and therefore derive their design from the structural plan employed in the process of weaving. Schemes of intercrossing that give these results are devised in such a manner as to form in one operation an even and firm cloth, decorated with a type of pattern that usually consists of minute parts, but which is pronounced and decided in composition. Combinations of Forms, on the other hand, have no relation whatever to the structural or architectural arrangement of the fabric. The sphere of form in woven design is not constructive, nor even utilitarian, but in the amplest sense ornamental. It is surface decoration obtained by amalgamating, on defined principles, linear and curvilinear lines. Even in the development of figured patterns, in which this element of design plays an important part, weave is a useful factor. Ornament, comprising combinations of geometrical and floral figuring, is liberally applied to various types of loom textures, including styles for ladies’ robes, dresses, mantlings, silk goods, damasks, and quilts; and Brussels, Kidderminster, velvet pile, and other carpets. It is almost an invariable law for both weave and colour to be introduced into this kind of textile decoration ; hence the importance of first acquiring a knowledge of these principles of woven pattern before attempting to apply elaborate ornament to the surface of a loom product. Colour, the third element of all classes of designing, is very differently related to textile effects from either Weave or Form. Its specific province is to brighten and improve the qualities of the design due to the two latter principles. While in decorative arts generally it imparts boldness, unity, and richness of tone to the ornament resultant, in textiles it may be either the main constituent of the pattern or the developer of its integral parts. Any discarding of

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THEORIES OF COLOURING. a the use of fancy or coloured shades would diminish the elegance of design, impoverish its appearance, and all but annihilate some branches of woollen industry.

2. Occurrence and Utility of Colour in Loom Products.— It is only necessary to anatomise woven design to trace the extensive use of colour in textiles. Commencing with woollen fabrics, in every class of these cloths, whether i tweeds, flannels, and light textures for ladies’ robes, or thick figured mantlings, rugs, wraps, and shawls, it forms one of the main characteristics of the pattern. In the first three of these textures colour is the distinguishing element of the style. To remove it from such fabrics would result in a complete erasure of all design or ornament. Whether the pattern be stripe, check, figure, or intermingled effect, it obtains its outline and detail from the method of colouring adopted. But colour is not confined to woollens, it is also an important factor in design produced in worsted, silk, cotton, and jute yarns. There is in worsteds a larger diversity of weave design than in woollen, or carded-yarn textures; but still colour is very extensively employed to develop the effects due to Weave and Form, and also to impart a cheerful and lustrous appearance to the cloths.