Treatise on the designing and construction of woven fabrics

Book One

Page 6, first line should read : Figure 4 shows four repeats and also in the first line of the fifth paragraph it should read four repeats.

Page 17, first word in the last line of the third paragraph should be weave.

Page 21, first line should read made from pointed twills, figured plains, etc.

Page 22, first paragraph, second line should have a comma after double.

Page 32, figure 61 should have the first end and first pick in the place where the last end and last pick now is.

Chapter One

sTo. Page.

The Composition of Textile Fabrics, Point Paper, The Foundation Weaves 3 — 9

1. Ends and picks 3

2. Textile designing paper 3

3. The foundation weaves 4

4. The plain weave 4

5. The twill weaves 5

6. Regular satin weaves ......-,; 7

Chapter Two. •

Fancy Effects in Plain We^ave Fabrics and Those Derived from the Plain Weave . '. 10 — 17

7. Plain weave fabrics figured by means of coarse and fine yarn . . 10

8. Plain weave fabrics figured by means of two or more colors in warp and filling •, . . ._.,.„,1,, ..';.,, .._..,' 10

Rib weaves ..." 12

Figured rib weaves 14

Oblique rib weaves 15

Basket weaves 16

Figured plain weaves 17

Chapter Three. Fancy Effects tn Twill Weaves, Drafting, and Weaves

Derived from the Regular Twills 18 — 41

Figured effects produced by ineans of two or more colors in

warp and filling 18

Drafting 19

Broken twills 24

Figured broken twills 26

Skip twills 26

Fancy skip t\A'ills 28

Diagonal twills 28

Reclining twills 31

Curved twills 33

Pointed twills 33

Figured pointed twills 34

Double twill effects 34

Fancy twill effects 35

Entwining twills 36

Fancy twills produced on the entwining twill principle 37

Corkscrew weaves 38

Figured corkscrew weaves 40

Chapter Four. Weaves Derived from the Satin Weaves 42 — ^46

Double satins 42

Granite weaves 43

Clear breaks in satin weaves 44

Shaded satins 45

No! Page.

Chapter Five. Weaves for Fabrics Constructed ivith two Warps and one FiUing47 — 51

35. An extra warp for weight 47

36. An extra warp for figure 49

37. Lappet and swivel weaving 50

Chapter Six. Weaves for Fabrics Constructed ivith One Warp and Tivo

Fillings 52 — 58

38. An extra filling for weight 52

39. An extra filling for figure 53

40. Coin spots 54

41. Rib fabrics produced b)^ means of two fillings and one warp . . 54

42. Figured beavers 57

Chapter Seven. Double Cloths 59 — 75

43. The principle and construction of double cloths 59

44. Double plain weaves 63

45. Tricot weaves 66

46. Combination of single and double plains 67

47. Matelasse weaves 67

48. Pique weaves 69

49. Marseilles weaves 70

50. Crepons 70

51. Weaves for beavers, kersevs and ineltons 72

52. Chinchillas ' 73

Chapter One

THE COMPOSITION OF TEXTILE FABRICS, POINT PAPER, THE FOUNDATION WEAVES.

1. Ends and Picks. Textile Fabrics are composed of two distinct systems of threads, known as " Warp Threads " and " Filling Threads." The ivarp threads always run lengthwise in the fabric, while the filling threads run crosswise.

In this book, the warp threads will be called Ends and the filling threads Picks. When the term threads is used it includes both ends and picks. The warp is also sometimes called Woof^ and the filling Weft, but these terms will not be used in this book.

The warp and filling are interlaced with each other at right angles. The interlacing is done by raising a number of ends^ allowing the other ends to remain down in a fixed order, and by passing the filling through the opening thus obtained. This opening is termed a shed. In Fig. 1 the interlacing of the warp and filling is illustrated. The two systems of threads can be distinguished very readily. The threads marked A, or the longitudinal threads (those running lengthwise), and which are usually shown on the paper in a vertical position, are the ends, and the threads Figure i

in the horizontal position, B, are the picks. From this figure it can also be seen that the ends are at times raised and lowered over and under the picks.

The raising and lowering of the ends is planned on point, or squared designing paper, — the lines on this paper running vertically and horizontally. The spaces between the vertical lines indicate the ends and the spaces between the horizontal lines indicate the picks.

2. Textile Designing Paper. Point, or squared designing paper, as used for textile design, is ruled with both fine and heavy lines; the fine lines form small squares, or rectangles, which are generally termed blocks, and the heavy lines form squares, which are always termed squares. Every square, as formed by the heavy lines, encloses a number of the small blocks. Point paper is designated according to the number of blocks enclosed by every one of the squares.

The designing paper mostly in use is laid off in squares containing 8x8, or 64 blocks. The sizes of the blocks and squares vary according to the different sizes preferred by each designer and according to the kind of fabrics to be designed. The point paper, designated by 8 x 8, is usually made with squares of lo" , V in size, and larger. If a design is to be made which requires a large number of threads the designing paper with the smaller squares is to be preferred; if, on the other hand, designs are to be made which require but a small number of threads, the paper with the larger squares is preferable. The number of blocks to the square warpwise is always indicated first.

The heavy lines, or squares, serve as a unit for measurement, as well as in helping to count off the required number of blocks. In this way they help to find the size of any design on point paper, at a glance.

For ordinary designing, i. e., when designing for harness looms, point paper is generally used which has the same number of blocks each w^ay; such as 8 x 8, 10 x 10 and 12 x 12.

The point paper, for figured designs, is selected according to the texture of the fabric for which the design is to be made. For instance, if a fabric is to be woven which is to have 80 ends and 100 picks, an 8 x 10 point paper must be used, as the proportion of warp and filling is as 8 to 10.

3. The Foundation Weaves. All weaves may be divided into three main classes: These three classes of weaves are termed the Foundation Weaves. The three foundation weaves are:

I. The Plain Weave.

II. The Twill Weaves.

III. The Satin Weaves.

All weaves are derived from some one of these three classes, and, in order to become a successful designer, it is necessary to understand these three weaves thoroughly. The first of these is :

4. The Plain Weave. There is only one plain weave, which is illustrated by Fig. 1 ; from this figure it can be seen that every other thread weaves, or interlaces, in the same manner. The first end (the one farthest to the left) is raised over the first pick, then lowered under the second pick, raised over the third pick, then lowered under the fourth pick, etc., etc. The second end from the left is lowered under the first pick, raised over the second pick, lowered under the third pick, and raised over the fourth pick, etc., etc. The third end interlaces in the same manner as the first end, and the fourth end interlaces in the same manner as the second end, etc. From this it can be seen that two threads are repeated over the whole plan. These two threads, or two ends and two picks, constitute what is termed the Repeat of the weave. In other words, one repeat of any weave indicates the nufnber of ends and picks necessary to complete the weave.

The interlacing of the warp and filling, the weave, is usually planned out on point, or squared designing paper. When planning out a weave it is customary to indicate the raising and lowering of the ends. Where an end is to be raised over a pick, the block, at which the end is crossed by the pick over which it is to be raised, is painted; this painted block is then known as a Raiser. Where an end is to be lowered under a pick, the block, at which the end is crossed by the pick under which it is to be lowered, is allowed to remain blank, or white; this A — blank block is then known as a Sinker. Fig. 2 illustrates the plain weave with four repeats in each direction; the painted, or solid, blocks indicate raisers and the blank blocks indicate Figure 2 sinkers. In Fig. 2 it can readily be seen that every alternate end and pick interlaces in the same manner. The lines marked A indicate one repeat.

When planning a weave on point paper, we usually start at the lower left-hand corner of the space reserved for the weave.

Fig. 3 is the section-cut of a fabric woven with the plain I ^_^ weave, showing six warp threads

I SS^^/iS^^^s/^Ss<^^s^^ in black. The filling is represented

by a light pick (1), and by a shaded pick (2).

The plain weave is the most closely inter' aced of all weaves. This makes the fabric strong and durable. Small perforations are formed, due to the manifold interlacing of each thread; a very high texture cannot be used in connection with the plain weave.

The plain weave is employed in all kinds of fabrics. In cotton goods it is better known as the Cotton Weave and in silks it is known as the Taffeta Weave.

5. The Twill Weaves. The second class of the foundation weaves, the twill weaves, can be made in many varieties. Any number of ends and picks may be used in one repeat of a twill weave; the smallest twill that can be woven repeats on three ends and three picks, but any number of ends and picks may be used for one repeat, from three upwards.

DESIGXIXG AXD CONSTRUCTION

Fig.

A—

4 shows five repeats each way of the ^-^ twill. The lines marked A indicate the size of one repeat. From Fig. 4 it can be seen that diagonal lines are formed in fabrics woven with twill weaves, caused by the manner in which they interlace.

In the case of the plain weave, every alternate end interlaces in the same manner, but in twill weaves we find that eveiy successive end interlaces one pick higher than the pre-

A~

A-

A ceding one.

Twill weaves, in turn, may be divided into three classes:

(1) twills that are made up of more sinkers than raisers, which are termed Filling- Effects, as shown in Fig. 4;

(2) twills that are made up of more raisers than sinkers, which are termed Warp- Effects, as shown in Fig. 5, and (3) twills that are made

up of as many raisers as sinkers, which are termed Even-sided Twills, and are shown in Fig. 6.

Filling-effects are so called because fabrics woven with such a twill have more filling than warp on the top, or face. Warpeffects are so called because fabrics woven with such a twill have more warp than filling on the top, or face. An even-sided twill is so called because fabrics woven with such a twill have as much warp as filling on the top, or face.

Fig. 5 illustrates the ^x twill, carried out for ^yq repeats.

Figvire 8

Fig. 6 illustrates the ^^ twiU, carried out for three repeats. This is also known as the cassimere twill. It is used in all kinds of fabrics, probably the best known being "cassimere suiting," from which it receives its name.

TwiU weaves are usually indicated according to the interlacing of the first end; sometimes according to the interlacing of the first pick. The first method is used in this book.

Twill weaves enter into almost all classes of woven fabrics, and their variety is practically unlimited; Figs. 7, 8, 9 and 10 illustrate a few more patterns. Fig. 7 shows the regular twill known as the ^-j~- twill. Fig. 8 shows the warp-effect of the twill illustrated by Fig. 7, and is known as the ^t-t twill; both of these twills can be woven with five harness-frames. Fig. 9 iUustrates a 16-harness twill, known as the -^-t-t-t-t-'-? twill; Fig. 10 shows another 16-harness twill, known as the -3-^-3 twill.

6. Regular Satin Weaves. Satin weaves are bare of the characteristic degree lines, which we find in twill weaves, but have, instead, a smooth-appearing surface. The interlacing of the ends and picks is done in a different rotation from that in twill weaves, where every successive end interlaces one pick higher than the preceding one. This is never the case in regular satin weaves.

In satin weaves the points of interlacing are scattered as much as. possible, but they are still arranged in regular order. The farther apart the points of interlacing are, the less they will be noticeable on the face of the fabric, giving it a fine and smooth appearance.

The smallest regular satin that can be woven is one repeating on five ends and five picks. This satin is technically known as the five-harness, or "five-leaf," satin.

Satin weaves are usually indicated by the number of ends and picks they repeat on, or by the number of harness frames required to weave them (which is the same, as every end in one repeat of a satin weave requires one harness frame) : thus we speak of a seven-end, or seven-harness, satin, etc.

Every end interlaces but once, i. e., with one pick, in one repeat of any regular satin weave, and every pick interlaces but once, i. e., with one end in one repeat of any regular satin weave.

To find the points of interlacing for any regular satin, the number indicating the satin (or indicating the number of ends and picks the satin repeats on, or the number of harness frames required to weave the satin in question), is divided into two unequal parts which have not a common divisor, nor should one of the parts be the unit 1; either one of these parts is termed and may be used as the Counter.

Rule: To find the points of interlacing for any regular satin weave, add the counter to the numeral one (1), then add the counter to this sum. Keep on adding the counter to the sums until a sum exceeds the number which indicates the satin weave in question; from this last sum subtract the number indicating the satin, and add the counter to the difference, then add the counter to the sum, etc., etc. Keep on adding the counter to the sums (which do not exceed the number indicating the satin), and differences, until the difference of one (1) is obtained. The sums, not exceeding the number indicating the satin weave in question, and the differences [excepting the last one (1)], are the points of interlacing.

For an illustration of the above rule the finding of the points of interlacing for a five-harness satin is given by the following: The number 5 can be divided into two unequal parts as 2 and 3. Either the 2 or the 3 may now be taken for the counter. Taking the number 2 and adding it to the numeral 1, and to the different sums and differences obtained through the following of the rule, gives j_+2=3+2=5+2=7— 5=2+2== 4-|-2=6 — 5=1. Underlining the sums [considering the numeral one (1) as the first sum] not exceeding the number indicating the satin weave (in this case 5) and the differences, and then writing these points of interlacing separately and

1, 2, 3, 4 5.

numbering them in rotation there is 1, 3, 5, 2 and 4. Now considering the large numbers, or the pqints of interlacing, as the ends and the small numbers as the picks we find :

That the first end interlaces with the first pick.

That the third end interlaces with the second pick.

That the fifth end interlaces with the third pick.

That the second end interlaces with the fourth pick.

And that the fourth end interlaces with the fifth pick.

Fig. 11 represents a five-harness satin, two as the counter,

A —

A — filling-effect, carried out for four repeats each way. The projecting lines A indicate the size of one repeat. Fig. 12 is the warp-effect of the same satin.

Satin weaves are used for sateens, linings, and other hightextured fabrics; they are also largely employed as stitching in double cloths, etc., and as ground weaves for all kinds of fancy fabrics woven on the Jacquard loom. The best known of these fabrics is probably the Linen Damask used for table covers, etc. For this purpose satin weaves are used, which repeat on as many as 21, and sometimes 36, ends and picks.

Chapter Two

FANCY EFFECTS IN PLAIN WEAVE FABRICS AND THOSE DERIVED FROM THE PLAIN WEAVE.

7. Plain Weave Fabrics Figured by Means of Coarse (heavy) and Fine Yarn. This method of figuring fabrics which are to be woven with the plain weave, is largely carried on in producing fancy borders and edges as they are found in Cambric Handkerchiefs.

In cotton goods, used for shirtings and shirt waistings, over-checks are produced by means of heavy threads in warp and filling, or by having two or more threads side by side weaving together taking up the space of but one thread. In this same manner so-called corded effects are produced in silk goods, etc.

8. Plain Weave Fabrics Figured by means of Two or More Colors in Warp and Filling. This idea is largely carried out in cottons, woolens, worsteds, and silk goods destined for ladies' dress goods. It is also employed in men's woolen and worsted wear.

By having two or more colors in the warp and one color in the filling, broken stripes w411 be produced running lengthwise in the goods. If colored picks, corresponding to the color arrangement in the warp, are introduced into a warp which has a fancy color arrangement, solid colored stripes and checks will be the result, depending upon the arrangement of the colors in the warp and filling.

When planning a color effect on paper, it is customary to reserve a large enough space for the Color Arrangement effect, indicating the color arrangement of Warp. Qf -(-]^g warp above this space, and the

color arrangement of the filling on the

left-hand side, placing the weave in the upper left-hand corner. See Fig. 13.

After having indicated the color arrangement of the warp and filling, the plain weave should be dotted (with pencil) in the space reserved for the color effect, always starting by raising Figure 13 the first end over the first pick. The

Weave.

effect may then be painted. This is done by painting all the ends (with their respective color) wherever they are raised over the picks, and by painting all the picks (with their respective color) wherever they pass over the ends; i. e., warp shows at raisers and filling shows at sinkers.

Figure 14 Figure 15

Fig. 14 illustrates the color effect obtained by having the warp and filling colors arranged, one of black, one of white. The effect is carried out for 8 repeats. This is known as the Tricot Effect, having stripes of solid color running across the fabric.

Fig. 15 illustrates the color effect obtained by having the warp colors arranged one of black, one of white. The filling colors are arranged one of white, one of black. The effect is carried out for 8 repeats. This is known as the Hair-Line Effect, having stripes of solid color running lengthwise in the fabric.

A combination of checks of hair-line and tricot effects may be obtained by having the warp and filling colors arranged one of black to alternate with one of white for a total of from 4 to 16 threads or more, then reversing the order arranging the colors one of white to alternate with one of black for a total of from 4 to 16 threads or more. The size of the checks depends upon the total number of threads for which each color arrangement is repeated before the arrangement of colors is reversed. In this way many different effects may be obtained.

Fig. 16 illustrates the effect obtained by having the warp and filling colors arranged two of black, two of white. It is carried for four repeats, and is somewhat of a Star Effect.

Jrt-*

9. Rib Weaves. Rib weaves are derived from the Plain, or cotton weave, and are divided into two classes.

A. Warp-Rib Weaves.

B. Filling- Rib Weaves.

A. As seen in Chapter 1, Section 4, in the plain weave every other end interlaces in the same manner, i. e., when one end is raised, the next but one is also raised, etc. This is also the case with Warp- Rib Weaves. Warp-rib weaves differ from the plain weaves by having the ends raised for more than one pick (at least once in one repeat of the weave) causing two or more picks to enter the same shed. This causes cords or Rib Lines to form running in the direction of the filling. The larger these rib lines are to be, the more picks must enter the same shed, or the coarser must be the material required for the filling. Both the face and back of fabrics, which have been woven with the warp-rib weave, are made up of the warp, the interweaving filling being invisible. From this fact we derive the name, Warp-Rib Weaves.

In order to have more than one pick enter the same shed, extra raisers and sinkers must be added on top of those of the plain weave. In this way, one end is raised for more than one pick in succession, and the ends, on either side of the raised end, remain down for more than one pick. In regular warp-rib weaves all ends are raised and lowered alternately, every lowered end remaining down as long as the raised ends are up, i. e., the ends lowered remain down for as many picks as the raised ends remain up.

Having the face and back of fabrics, woven with warp-rib weaves, made up of warp and entirely covering the filling, calls for a large number of ends per inch, i. e., a high texture is required. Warp-rib weaves are indicated by naming the number of picks which enter each shed. For instance, a 2 and 2 warp-rib weave has two picks enter each shed that is formed, two sheds completing the weave. A 2 and 2 warp-rib weave repeats on 2 ends and 4 picks. A 2 and 3 warp-rib weave indicates that 2

picks are to enter the first

and 3 picks the second

shed; this warp-rib weave

also repeats on 2 sheds.

The entire weave repeats

on 2 ends and 5 picks.

All regular warp-rib

weaves repeat on 2 ends ^^^'^ 1^ and at least 3 picks. ^'^' ^^

Fig. 17 illustrates a 2 and 2 warp-rib weave, — 8 repeats wide and 4 repeats high.

Fig. 18 illustrates a 2, 2, and 4 warp-rib weave, 8 repeats wide and 1 repeat high. This weave repeats on 6 sheds or ribs. Two picks enter the first shed, two picks enter the second, four picks enter the third, two picks enter the fourth, two picks enter the fifth and four picks enter the sixth. Thus 6 sheds are necessary to complete this weave, because every other one (according to the plain weave) is formed alike; the odd numbered sheds are formed by the raising of the odd numbered ends, while the even numbered ones are formed by the raising of the even numbered ends. Now if the weave is started over again after the third shed, the next one, or first shed, would be the same as the third, both being numbered odd; this would cause all the picks from the third shed and all the picks from the first to be thrown together.

B. The face and back of fabrics woven with Filling-Rib Weaves are made up of the filling, the warp, lying in between the filling, being invisible. In this case two or more ends (at least once in one repeat) which lie side by side interlace in the same manner; this causes cords, or Rib Lines, to form, running in the direction of the warp. The larger the rib-lines are to be, the more ends, lying side by side, must weave together, or the coarser must be the material required for the warp.

In order to have two or more ends, lying side by side, interlace in the same manner, extra raisers and sinkers must be added on the side of those of the plain weave.

Filling-rib weaves are indicated by the number of ends, side by side, interlacing in the same manner. For instance, a 2 and 2 filling-rib weave has all the ends working in pairs; that is, the first two ends are raised while the next two ends are lowered, etc., according to the plain weave. All regular filling-rib weaves repeat on at least 3 ends and 2 picks.

Fig. 19 shows a 2 and 2 filling-rib weave, 4 repeats wide and 8 repeats high.

Fig. 20 is a 2, 2 and 4 filling-rib weave, 1 repeat wide and 8 repeats high. In this, the first two ends weave to- Figure 19 gether forming the first rib; ^^eure 20

the next two ends weave together forming the second rib; and the next four ends weave together forming the third rib, etc., etc. This, like the corresponding weave of the warp-rib type, requires six ribs to be complete.

10. Figured-Rib Weaves. The simplest way of figuring rib weaves is to cause breaks in the rib Hues. This is done by laying out a regular rib weave, for the distance the rib line is to continue without a break, and then start the next end in such a manner that the highest raiser, of a series of raisers.

comes in the centre of a series of sinkers of the preceding end. Continue the rib weave in accordance with this last end until another break is required.

Fig. 21 illustrates this principle as applied to a warp-rib weave. It is made from the regular 4 and 4 warp-rib weave. A break in the rib line occurs after every sixth end. ^ ;

Fig. 22 illustrates the same principle, carried out withja filling-rib weave. It is made from the regular 4 and 4 filling-rib weave. A break in the rib line occurs after every sixth pick.

Another method of figuring these weaves is to combine warp and filling-rib weaves. This is done by laying out a ground of either warp or : filling-rib weave and figuring this ground with the opposite rib weave. The simplest form of tliese figured-rib weaves is shown in Fig. 23. It is composed of blocks of warp-rib weave alternating with blocks of filling-rib weave, a 2 and 2 . warp and filling-rib weave being used. ■

This class of figured-rib weaves is usually figured according to some Motive, / or pre-arranged plan.

A " motive " is a pre-arranged plan or design according to which a weave may be carried out. The motive, like the weave (in Weave Formation), is laid out on point paper, every block in the motive representing a certain number of blocks in the m

1 8 rB,B : a 8 a SB aasiiasaaiass.

aVa'a'a'a'n a a a a a a...—.

:kw--khs^^ a a a I a a a 8 a ■"«■■" as weave. In motive Fig. 23 A, every block represents eight ends and eight picks, causing the weave to repeat on sixteen ends and sixteen picks. Fig. 24 shows another of these figured-rib weaves carried out according to motive A; every block in the motive represents nine ends and nine picks. A 1 and 2 warp-rib weave is used for the ground and a 3 and 3 filling-rib weave is used for the figure.

11. Oblique Rib Weaves. Oblique rib weaves represent another form of combination warp and filling rib weaves arranged in an entirely different manner from the figured rib weaves described above.

They are constructed in the following manner. First determine on the point paper the size of one repeat of the weave which is to be laid out. Next divide this space into eight equal sections (see diagram, Fig. 25), by drawing one line horizontally and one line perpendicularly through the centre of the space, and then by drawing lines diagonally (one from left to right and the other from right to left), through the centre. Then number these sections, beginning at the lower left-hand corner, up and around until all the sections have been numbered.

There are two methods in which the oblique rib weaves may be constructed. First method: Fill out every odd numbered section with a filling-rib weave and every even numbered section with a warp-rib weave. (See Fig. 26.)

Second method: Select two connecting sections, such as 1 and 2, and fill them out with filling-rib weave; then take sections 3 and 4 and fill them out with warp-rib weave; next take sections 5 and 6 and fill them out with filling-rib weave; sections

DESIGXIXG AND CONSTRUCTION 7 and 8 are then filled out with warp-rib weave. (See Fig. 27.)

Oblique rib weaves are used in a line of fabrics known as *' Basket Cloth "; in worsted-suitings, dress goods, cloakings, etc.

12. Basket Weaves. " Basket," like rib weaves, are derived from the plain weave, and in cloth have the appearance of a combination of warp and filling blocks, which are either square or oblong in shape. Basket weaves on paper have the appearance of a combination of blocks of raisers and sinkers. In other words, basket weaves have the appearance of an enlarged plain weave.