f ^p Wfgfffl Digitized by the Internet Archive in 2018 with funding from Getty Research Institute https://archive.org/details/glossaryofweavesOOunse [. c. s. REFERENCE LIBRARY A SERIES OF TEXTBOOKS PREPARED FOR THE STUDENTS OF THE INTERNATIONAL CORRESPONDENCE SCHOOLS AND CONTAINING IN PERMANENT FORM THE INSTRUCTION PAPERS. EXAMINATION QUESTIONS. AND KEYS USED IN THEIR VARIOUS COURSES GLOSSARY OF WEAVES ELEMENTARY TEXTILE DESIGNING ANALYSIS OF COTTON FABRICS ANALYSIS OF WOOLEN AND WORSTED FABRICS TWILL WEAVES AND DERIVATIVES SATIN AND OTHER WEAVES COMBINATION WEAVES CONSTRUCTION OF SPOT WEAVES WEAVES FOR BACKED COTTON FABRICS WOOLEN AND WORSTED PLY WEAVES LENO WEAVES PILE WEAVES COLOR IN TEXTILE DESIGNING DESIGNING IN GENERAL 3 '^RANTbfi ’ INTERNATIONAL TEXTBOOK COMPANY 92 Copyright, 1906, by International Textbook Company. Entered at Stationers’ Hall, London. Glossary of Weaves: Copyright, 1905, by International Textbook Company. Entered at Stationers’ Hall, London. Elementary Textile Designing: Copyright, 1903, by CHRISTOPHER Parkinson Brooks. Copyright, 1905, by International Textbook Company. Entered at Stationers' Hall, London. Analysis of Cotton Fabrics: Copyright, 1903, by Christopher Parkinson Brooks. Copyright, 1905, by International Textbook Company. Entered at Sta¬ tioners’ Hall, London. Analysis of Woolen and Worsted Fabrics: Copyright, 1902, by Christopher Parkinson Brooks. Copyright, 1905, by International Textbook Company. Entered at Stationers’ Hall, London. Twill Weaves and Derivatives: Copyright, 1902, by Christopher Parkinson Brooks. Copyright, 1905, by International Textbook Company. Entered at Stationers’ Hall, London. Satin and Other Weaves : Copyright, 1902, by Christopher PARKINSON BROOKS. Copyright, 1905, by International Textbook Company. Entered at Sta¬ tioners’ Hall London. Combination Weaves: Copyright, 1902, by CHRISTOPHER Parkinson Brooks. Copyright, 1905, by International Textbook Company. Entered at Sta-~ tioners’ Hall, London. Construction of Spot Weaves: Copyright, 1902, by Christopher Parkinson Brooks. Copyright, 1905, by International Textbook Company. Entered at Stationers’ Hall, London, Weaves for Backed Cotton Fabrics: Copyright, 1902, by Christopher Parkinson Brooks. Copyright, 1905, by International Textbook Company. Entered at Stationers’ Hall, London. Woolen and Worsted Ply 'Weaves: Copyright, 1902, by Christopher Parkinson Brooks. Copyright, 1905, by INTERNATIONAL Textbook Company. Entered at Stationers’ Hall, London. Leno Weaves: Copyright, 1905, by Intern ational Textbook Company. Entered at Stationers’ Hall, London, Pile Weaves : Copyright, 1905, by International Textbook Company. Entered at Stationers’ Hall, London. Color in Textile Designing: Copyright, 1900, by CHRISTOPHER Parkinson Brooks. Copyright, 1905, by International Textbook Company. Entered at Sta¬ tioners’ Hall, London. Designing in General: Copyright, 1901, by Christopher Parkinson Brooks. Copyright, 1905, by International Textbook Company. Entered at Sta¬ tioners’ Hall, London. All rights reserved. Press of International Textbook Company Scranton, Pa. 92 14755 THE GE TTY CENTER LIBRARY CONTENTS Glossary of Weaves Section Page Weaves Complete on 2 Ends.70 3 Weaves Complete on 3 Ends.70 4 Weaves Complete on 4 Ends.70 4 Weaves Complete on 5 Ends.70 7 Weaves Complete on 6 Ends.70 9 Weaves Complete on 7 Ends.70 11 Weaves Complete on 8 Ends.70 12 Weaves Complete on 10 Ends.70 15 Weaves Complete on 12 Ends.70 18 Weaves Complete on 16 Ends. 70 22 Weaves Complete on 20 Ends. 70 29 Weaves Complete on 24 Ends. 70 33 Elementary Textile Designing Fundamental Principles of Designing . . 71 1 Weave.71 2 Method of Indicating the Weave on Design Paper.71 5 Harness Draft. 71 9 Chain Draft. 71 11 The Effect of the Weave.71 16 Standard Types of Harness Drafts ... 71 17 Effects of the Harness and Chain Drafts . 71 23 Points to be Considered When Construct¬ ing Harness Drafts ..71 27 Analysis of Cotton Fabrics Particulars to bfe Determined by Analysis . 72 1 Warp Pattern.72 3 Filling Pattern .72 4 iii iv CONTENTS Analysis of Cotton Fabrics —Continued Section Page Picking Out.72 5 Harness or Drawing-in Drafts.72 14 Chain Draft.72 17 Additional Points to be Determined by Analysis.72 18 Analysis of Woolen and Worsted Fabrics Particulars to be Determined by Analysis 73 1 Dissecting or Picking Out.73 5 Additional Points to be Determined by Analysis.73 17 Twill Weaves and Derivatives Twill Weaves.75 1 Derivatives of Twill Weaves.75 10 Fancy Twills ... 75 17 Entwining Twills . .. 75 20 Curved Twills. 75 24 Skip Twills . . 75 27 Pointed Twills. 75 28 Diamond Weaves. 75 30 Diagonal Weaves. 75 31 Satin and Other Weaves Satins .76 1 Derivative Weaves .76 11 Granite Weaves ..76 12 Basket Weaves.76 13 Rib Weaves.76 15 Corkscrew Weaves ..76 18 Honeycombs. 76 21 Combination Weaves Stripes and Checks.77 4 Striped Weaves. 77 4 Check-Weaves.*. . . 77 12 Weaves Resulting From Other Combina¬ tions . 77 20 CONTENTS v Combination Weaves —Continued Section Page Weaves Formed From Motives. Four-Change Method of Constructing New Weaves. Construction of Spot Weaves Spot Weaves Formed With One System of Warp and Filling. Warp-Spot Weaves . Filling-Spot Weaves. Spot Weaves Formed With an Extra Sys¬ tem of Yarn. Spot Effects With Extra Warp. Spots Formed by Extra Filling. Weaves for Backed Cotton Fabrics Filling-Backed Cloth. Warp-Backed Cloths.„ . . Harness and Chain Drafts. Piques and Bedford Cords. Piques . Bedford Cords. Woolen and Worsted Ply Weaves Backed Fabrics. Filling-Back Fabrics.. . Cut Filling-Backed Fabrics. Filling Reversibles . Warp-Backed Fabrics . Drafting of Backed Weaves. Triple Cloths. Leno Weaves Plain Gauze. Plain Gauze on Close-Shed Looms . . . Plain Gauze on Open-Shed Looms .... Additional Mechanisms Required .... Fancy Gauze or Leno. Methods of Producing Fancy Gauze Effects Dissecting Leno Weaves. 77 20 77 22 78 1 78 1 78 8 78 11 78 11 78 22 79 1 79 8 79 11 79 15 79 15 79 20 80 3 80 3 80 9 80 10 80 13 80 19 80 36 81 1 81 3 81 26 81 26 81 34 81 34 81 64 vi CONTENTS Pile Weaves Saturn Page Construction of Pile Fabrics.82 1 Filling-Pile Fabrics. 82 4 Figured Filling-Pile Fabrics.82 Warp-Pile Fabrics.82 18 Figured Warp-Pile Fabrics.82 Varieties of Pile Fabrics. 82 33 Color in Textile Designing Principles of Coloring.83 Theory of Color.83 Classification of Colors. 83 Factors Modifying the Coloring of Textile Fabrics.83 12 Methods of Applying Color to Textiles . 83 14 Color Effects.83 14 Analyzing Color Effects.. . . 83 19 Simple and Compound Colorings ... 84 1 Two-Color Patterns.. ... 84 2 Three-Color Patterns . . 84 12 Four-Color Patterns.84 16 Irregular Simple Colorings.84 19 Compound Colorings . 84 24 Irregular Compound Colorings. 84 31 Stripes, Checks, and Spots.85 1 Stripes. 85 1 Checks. .... 85 12 Spots. .85 26 Designing in General Duties of a Designer. 86 1 Designing Department.86 2 Methods of Producing Samples.86 7 Origin of New Styles .86 7 Trial Samples. 86 7 Selling Samples. 86 16 GLOSSARY OF WEAVES INTRODUCTION The weave, or method of interlacing the warp and filling yarns, is, in the majority of fabrics, of primary importance, since it not only determines the actual structure of the cloth, but also greatly affects its ultimate appearance. Thus, fabrics composed of warp and filling yarns of the same material and counts vary greatly in appearance if woven with a plain weave or with a twill weave, etc. In designing fabrics of various types and constructions, it frequently happens that difficulty is experienced in obtain¬ ing a suitable weave with which to construct the cloth. It is also of great advantage to the designer if, when designing a fabric, a weave can be selected from a number of weaves that will give the best result and is best suited to the type of fabric that it is desired to produce. The utility of a collection of the more common and valuable weaves used in textile designing, arranged and classified in a compre¬ hensive manner, is therefore readily apparent. In this glossary, a large number of valuable weaves are given, classified according to the number of ends on which they are complete. Thus, in case a designer is laying out a fabric that it is desired shall be woven with a weave com¬ plete on 8 ends, a large number of weaves complete on this number of ends are available, from which a suitable weave may be selected. It will be understood that this collection of weaves does not contain every known weave, since it is possible to construct many thousands of differ¬ ent weaves; in fact, the number of.weaves that may be For notice of copyright, see page immediately following the title page §70 92—2 2 GLOSSARY OF WEAVES §70 made is unlimited. The collection of weaves given, how¬ ever, is complete enough for all ordinary purposes and con¬ tains examples of those types in most frequent use and that are therefore of more particular importance. While in some cases it may be found that none of the weaves contained in the glossary exactly meet the requirements of a designer who wishes to produce a certain fabric, yet the weaves shown will often be of service in suggesting new ideas for the construction of a weave suitable for the cloth that it is desired to produce, or it may even be found that a slight alteration of some one of the weaves shown will so change its structure and the effect that it will produce in a fabric as to render it perfectly adapted to the purposes of the designer. The weaves given are numbered consecutively, and throughout the following Sections dealing with the vari¬ ous features of textile designing, frequent reference is made to them. §70 GLOSSARY OF WEAVES 3 WEAVES COMPLETE ON 2 ENOS □BDBDBDB DflDBUBDB □□□□□□□□ □BDBDBDB B B B B DB iBDBDB □□□□□□□□ □BDBDBDB □BDBDBDB BDBDBDB . □BDBDBDD □BDBDBDB BDBDBDBD BDBDBDBD □BDBDBDD iLB'LB JB( jB □BDBDBDB □ B D'BDBDB □BDBDBDD BDBDBDBD BDBDBDBD □BDBDBD3 BDBDBDDD BDBDBDBD □BDBDBDB BDBDBDBD BDBDBDDD BDBDBDBD BDBDBDBD BDBDBDBD BDBDBDDD BDBDBDBD 1 2 3 4 BDBDBDBD □□□□□□□□ □□□□□□□□ •□□□□□□□□ ■DBDBDBU □□□□□□□□ □□□□□□□□ BDBDBDDD BDBDBDBU □□□□□□□□ BDBDBDDD □BDBDBDD LB! :B' iBDB BDBDBDBD □BDBDBDD □BDBDBDD BDBDBDBD □BDBDBDB □BUBDBDD □BDBDBDD BDBDBDBD □BDBDBDB □BDBDBDD □BDBDBDD BDBDBDBD □BDBDBDB □BDBDBDD □BDBDBDD □BDBDBDB BDBDBDBD BDBDBDDD BDBDBDDD 5 m 6 7 8 BDBDBDBD □BDBDBDB □□□□□□□□ □□□□□□□□ UBDB. 'BDB BDBDBDBD □□□□□□□□ □□□□□□□□ □B B fl B BDBDBDBD □BDBDBDD □BDBDBDD □BuBjBDB BDBDBDBD BDBDBDDD □BDBDBDD □BDBDBDB □BDBDBDB BDBDBDDD □BDBDBDD □BDBDBDB □BDBDBDB □BDBDBDD □BDBDBDD □Bl jBDBDB □BDBDBDB □BDBDBDD □BDBDBDD BDBLB LBD BDBDBDBD BDBDBDDD BDBDBDDD 9 10 11 12 □■□■□■□a ■ ji bdbdbdbd BDBDBDBD □bdbdbdb a a a ;a □BDBDBDB □BDBDBDB BDBDBDBD bdbdbdbd BDBGBGBG BDBDBDBD □BDBDBDB □BDBDBDB □bdbdsdb BUBdBDBU 13 BDBDBDBD bdbdbdbd bdbdbdbd BDBDBDBD □BDBDBDB □BDBDBDB □BDBDBDB □BDBDBDB BDBDBDBD BDBDBDBD BDBDBDBD BDBDBDBD □BDBDBDB □BDBDBDB □BDBDBDB BDBDBDBD 14 BDBDBDBD □BDBDBDB □BDBDBDB □BDBDBDB BDBDBDBD BDBDBDBD BDBDBDBD BDBDBDBD □BDBDBDB □BDBDBDB □BDBDBDB □BDBDBDB BDBDBDBD BDBDBDBD BDBDBDBD BDBDBDBD 15 □□□□□□□□ □□□□□□□□ □BDBDBDD □BDBDBDD BDBDBDDD □BDBDBDD □BDBDBDD BDBDBDDD □□□□□□□□ □BDBDBDB □BDBDBDB □BDBDBDB BDBDBDBD BDBDBDBD BDBDBDBD BDBDBDBD □□□□□□□□ □□□□□ODD □□□□□□□□ □BDBDBDD □BDBDBDD □BDBDBDD □BDBDBDD BDBDBDDD 16 17 18 4 GLOSSARY OF WEAVES §70 WEAVES COMPLETE ON 3 ENDS □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□■□■■□a □□□■■□■a □DBDHBDB □DDBBDBB □□□□□□□□ □□□□□□□□ □BDDDBDD bdbdbdbd dddbdddb □BDDDBDD BDBDBDBD □DDBDDDB 19 20 21 ■■□□□□□□ ■■□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □DBBBBDD □□BBDDBB □□□□BBBB □DBHHBDC □□BBDDBB □□□□BBBB - □□□□□□□□ □□□□□□□□ □DBBBDDD □□□□BBBQ ddbdddbb □□BBBann □DDDBBBD □DBDDDBB 22 23 □dbddbdd 24 □dbddbdd □□□□□□□□ □□□□□□□□ □BBDBBDD □□□□□□□□ □□□□□□□□ □□□BBQDD BBDDDBDD □□BDQDBB □DDBBDDD BBDDDBDn □DBDDDBB □□□□□□□□ □□□□□□□□ BDQBBQan BBDDDBBD □DBBDDJBB BDDBBDQD BBaQI JBBGl □□BBDDBB 25 26 27 WEAVES COMPLETE ON 4 ENDS BDG1BDDR □□BBDDEB □BBQDBBD BBDDSBDD BDDBBDDB □□BBDDBB □BBDDBBn BBQDBBQG □DDBDDDB □DBDDDBD □BDDDBDD bdddbddd □DDBDDDB □DBDDDBD □BDDDBDD bdddbddd □BBBDBBB ■ 9EB BB iBBBBB BBB. BBS : □BHBQBBB BQBBBQBB BBQBBBB BBBQBBBQ □DBDDDBD □DDBDDDB □BDDDBDD BDDDBDDD □DBDDDBD □DDBDDDB □BDDDBDD BDDDBDDD 28 29 30 31 BDBGBDEH □BHE3DSKS BBDBHEDH HHHDHBBD BGBBIDBB □BSHOSaB BBQBBBQ0 HBBDBBBD BBBB' HHDDEBDD BBBB □□BBDDBB bdh : b b bbddbbdd dbdbdbdb □□BBDDBB □BBDDBBD BBDDBBaD □BBDDBBn □□BBDDHB □BHDDBBD BBDDBBDD □BBDDBBn □ □S@BD.DBB □DBDDDBD □BBBDBBB BBDBBBDB BDDDBDDD □DBDDDBD □BBBDBBB BBDBBBDB BDDDBDDD 32 33 34 35 □□BBQQBE □□BBDDHB BBDDBBDD BBQDBBm □□BflQJBB □□BBLI. JBB BBDDBBDD BBDDBBDD □DBDDDBD □□BBGQBfl BBDDBBDD □BDDDBDD □DBDDDBD □□BBDDBB bbddbbdd □bdddbdd BDBBBDBB □□BBDDBB BBDDBBDD BBDBBBDB ■ L'jBBBQBB □□BBDDBB BBDDBBDD BBDBBBDB □□BBDDBB BBDDBBDD □□BBDDBB BBDDBBDD □□BBDDBB BBDDBBDD □□BBDDBB BBDDBBDD 36 37 38 39 §70 GLOSSARY OF WEAVES 5 WEAVES COMPLETE ON 4 ENDS — (Continued) DBBSDBBB ■BDDBBDD BBDDBBDD DBDBDBDB BDDDBDDD BDDDBDDD BBBDBBBD BDDDBDDD □BSBDBBB OODBDDOB DBBBDBSB DBDBDBDB BDDDBDDD DDBBDDBB DDBBDDBa DDBDDDBD □BBBDBS3 BBDDBBDD SBDDHBDD DBDBDBDB BDDDBDDD BDDDBDDD BBBDBBBD BDDDBDDD DBBB"B9B DDDBDDDB □BBBDEBfl DBDBDBDB BDDDBDDD DDBBDDBB DDBBDDBB DDBDDDBD 40 41 42 43 DBDDDBOD BBBDBBBD DBDDDBDD DDDBDDDB DBDDDBDD BBBDBBBD DBDDDBDD DDDBDDDB DBDBDBDB BBDDBBDD DBDBDBDB DDBBDDBB DBDBDBDB BBDDBBDD DBDBDBDB DDBBDDBB BDBDBDBD DBBDDBBD DBDBDBDB DBBDDBBD BDBDBDBD DBBDDBBD DBDBDBDB DBBDDBBD DBBBDBBB BDDDBDDD DDBDDDBD BBDBBBDB DBBBDBBB BDDDBDDD DDBDDDQD BBDBBBDB 44 45 46 47 DDOODDDD DDOOODDD DDBDDDBD DBBBDBBB DDBDDDBD BOODBOOO BBDBBBDB BDDDBDDD DDDDDDDD ODODOOOO DBDDDBDD BBDDBBDD DBDDDBDD DDBDDDBD DDBBDDBB DDBDDDBD DDDDDDDD DDDDDDDD BDDBBDDB DBDBDBDB BDDBBDDB DBBDDBBD □BDBDBDB DBBDDBBD DDDDDDDD DDDDDDDD BBDDBBDD DBDBDBDB DDBDDDBD DBDDDBDD BDBDBDBD □DBB( UDBB 48 49 50 51 DDDBDDDB DDDBDDDB DDBDDDBD DDBDDDBD DBDDDBDD DBDDDBDD BDDDBDDD BDDDBDDD BDDDBDDD BDDBBDDB DDDBDDDB DDBBDDBB DDBDDDBD DBBDDBBD DBDDDBDD BBDDBBDD BDDBBDDB DDBBDDBB DDBBDDBB DBBDDBBD DBBDDBBD BBDDBBDD BBDDBBDD BDDBBDDB DDBBDDBB DBBDDBBD DDBBDDBB BDDBBDDB BBDDBBDD DBBDDBBD BBDDBBDD BDDBBDDB 52 53 54 55 DBDBDBDB BDDBBDDB BDBDBDBD DDBBDDBB DBDBDBDB DBBDDBBD BDBDBDBD BBDDBBDD BDDBBDDB DBDBDBDB DDBBDDBB BDBDBDBD DBBDDBBD DBDBDBDB BBDDBBDD BDBDBDBD DDDBDDDB DBDBDBDB DDBDDDBD BDBDBDBD DBDDDBDD □BDBDBDB BDDDBDDD BDBDBDBD DDBBDDBB DDDBDDDB DBBDDBBD DDBDDDBD BBDDBBDD DBDDDBDD BDDBBDDB BDDDBDDD 56 57 58 59 BBDBBBDB □BBBDSSB BBBDBBBD DDBDDDBD DBBDDBBD BBDDBiDD □BDBDBDB DDBBDDBB ■□□BBQDB ■BDDBBDa BDBDBDBD □□BBDDBB BDBDBDBD BDDBBDDB DBDBDBDB DBBDDBHD BDBDBDBD □ BISDDBBD □BDBDBD0 BaaBBaas 60 61 62 63 6 GLOSSARY OF WEAVES 70 WEAVES COMPLETE ON 4 ENOS —(Continued) BDBDBDBJ BBDDBBDD DBDBDBDB BDBDBDBD 64 DB a b DB nr BHDC BB □r BBDD BB m BDBD B! 1 ns DBDB IB PS □DBA II J BB DDBB II J BD BDBD BU 65 □□BDDDBD BDBDBDBD □□BDDDBD □BDBDBDB BDDDBDDD 6 B 3 ,B BDDDBDDD CBIjB'JB' iB 66 □□BBDDBB □□BBDDBB □□BBDDBB □□BBDDBB BBDDBBDD SBDnBBQD BBDQBBDD BBDDBBn r 67 BDDBBDDB □□BBDDBB □□BBDDBB □□BBDDBB □BBDDBBD BBDDBBDD BBDDBBDD BBDDBBDD □BBBDBBB BDDDBDDD BBDBBBDB □□BDDDBD BDBBBDBB □BDDDBDD BBBDBBBD □□□BDDDB BDBBBDBB BDDDBDDD BBDBBBDB □□□BDDDB □BBBDBBB □BDDDBDD BBBDBBBD □□BDDDBD BDBDBDBD □BDBDBDB BBBDBBBD □BDBDBDB BDBDBDBD □BDBDBDB BBBDBBBD □BDBDBDB 68 69 70 71 □□BBDDBB BDDBBDDB □BBDDBBD □□BBDDBB BBDDBBDD □ BBDDBB! : BDDBBDDB BBDDBBDD 72 □□BBDDBB □□BBDDBB □BDDDBDQ BDDDBaDa □□□BDDDB □□BDDDBD BBDDBBDD BBDDBBDD □□□BDDDB □□BDDDBD □BDDDBDD BDDDBDDD 73 □□□BDDDB □□BDDDBD □□□BDDDB □□BDDDBD □BDDDBDD □□BDDDBD □BDDDBDD BDDDBDDD □BDDDBDD BDDDBDDD □□□BDDDB BDDDBDDD 74 □□BDDDBD □□BDDDBD DDDBBDD - □BDDDBDD □BDDDBDD □□BBDDBB BDDDBDDD BDDDBDDD □BBDDBBD □DDBDDDD DDDBDDDl BBDI IBBDD 75 □□□BDDDB BDDBBDDB BBDBBBDB □□BDDDBD □□BBDDBB BDBBBDBB □BDDDBDD □HHDDHBD □BBBDBBB BDDDBDDD BBDDBBDD esa i«aa 76 □BBDDBBD □□BDDDBD BBDBBBDB BBDDBBDD □BDDDBDD BDBBBDBB BDDBBDDBt BDDDBDDD □BBBDBBB □DBBDDBB □□□BDDDB iBBBDBBBD 77 §70 GLOSSARY OF WEAVES 7 WEAVES COMPLETE ON 5 ENDS ■□□□■ ORRRO ■■□DR □□□HR □□■■■ □□ROD ROROR □ROHR ■■□□□ ■■■□□ HRORO ■□□HR 78 79 80 81 82 □ ROOO HHHOH □OROR □ROHR □DORR □□□□H □ RRRH □ROOR ORHOR ORROO □□HDD RRORR □RORO ROROR ROOOR roddd RRHRD ROORO RORRO OORRO □□□HD HOHHH HORaa HRORO ■ ■□□□ 83 84 85 86 87 ORRRO □□□OR ROOOR ROOOR □□□OR ROOOR ORRRO □□□HO □□□HR ROOOR □□□HO □□□HR ORRRO OOROO OORRO □ORRR ROOOR ROOOR OOROO OORRO RHOOR ORHHO ORRRO □ROOD ORROO ORRRO ORRRO ROOOR □ROOD ORROO ROORH ORRRO ORRRO ROOOO RROOD RRROO ROOOR ROOOR ROOOO HROOO 88 89 90 91 92 □□□HR □ROOR □ROOR □ ROOR □□□OR ROOOR □ROOR ROOOR RROOR ROOOR OORRO ROORO ROORO ROORO □□□HO □□□HR ROORO □□□HR ROORR □□OR® ORROO □OROR □OROR □OROR OOROO OORRO □OROR OORRO □ORRR OORRO RROOO □RORO □RORO □RORO □ROOD ORROO □RORO ORROO ORRRO ORROO ROOOR ROROO ROROO ROROO ROOOO RROOO ROROO RROOO RRROO RROOO 93 94 95 96 97 □□□OR □□□OR □ROOR ORROR OORRO RROOO □ROOR □OROR □□□OR ORROO □□□HO □□□HO ROORO HRORO HROOO ROOOR ROORO □RORO □ □□HO ROOOR OOROO OOROO □OROR ROROR □□ORB □OORR □OROR ROROO OOROO BJOOOB □ROOD □ ROOO □ RORO □RORO HROOO OORRO □RORO □ROOR □ROOO ORROO ROOOO ROOOO ROROO RORRO OORRO ORROO ROROO ROORO ROOOO OOOHB 98 99 100 101 102 8 GLOSSARY OF WEAVES §70 WEAVES COMPLETE ON 5 ENDS—(Continued) BDDDB DDDBB DBDBD □ BDDB □DBDB DDDDB BBUDD BDDDB DDBBB □□□BB DDBBD BDBDD BDDBD DBDBD DDDBD □□□BE ebbed BDDDB DDDBB DBBBD □ □□HB □□□■□ DDBBD DBBDD □ BDDB BBDBB DDBDB BDBDD □DBDD □ ■HDD □aeon □□□BB DDBBD BBBDD BDDDS □BBBB DBBDD BBDDD BDDBD ■ □□□■ □□□□B DBDBO DBDDB DBDDO SIRDB DDBBD DBBDD BBDDB □□Ban □□bdd BBDDD BDDDB DDBDB ■anna BDBHB BDBDD BDDBD BDDDO BDDDD DBBDD BBDDD BDDBB 103 104 105 100 107 108 109 110 111 DDDBB BDBDD DDDDB DBBDD BBDDB BDDBB BDDDD BDDBD DBBDD DDDDB DDBDB DDBDD DDBBD DBDBD DDDBD DDSDBS BDDBB BBDDD BBBDD DDBBB BDDBB DDDDB DDDDB DBDDB BBDDD □DDDH BBDDD DDDBD BDDBD DBDDD DBDBD DDBBB DBBDD DDBDB □DBDD □DBEH DDDBD BDDDB DBBBD DBBBD DDDBD BDDDB DDDBD BDBDD BDDDB BDBDD DBBBD DDBDD DBDDB BDDDD DBSiD DDBDD BBDDD BDDBD DBDDD DDBDD DODBB □□□SB DDBBB BBBDD DBDDB BBBDD DDBDD DBDBD DDDBB iiBDD DBDDD DBDDD BDBDD DDDDB DBDDD DDBBD BDDDB DBDDB BDDDD BDDBD BBDDB DDBBD BDDBB BBDDB BBDD0 BDDDD DBDDD DDBDB DDBBD BDDDD DBBDD BDDDD DBDBD DDDBD 112 □□□BB □□□BB □BDDB DDDBB DDDBB DDBBD BDDDD □ BDDB DDDDB DBDDD BDBDD DBBDD DDBBD DDBBD BDDBD DDBBD DDBBD DBBDD DDDDB BDDBD DDDBD BDDDD □ BDDB BBDDD DBBDD DBBDD DDBDB DBBDD DBBDD BBDDD DDDBD DDBDB □DBDD DDDDB BDDBD BDDDB BBDDD BBDDD DBDBD BBDDD BBDDD BDDDB □DBDD DBDBD DBDDD DDDBD DDBDB DDDBB BDDDB BDDDB BDBDD BDDDB BDDDB DDDBB DBDDD BDBDD BDDDD □DBDD DBDBD DDBBD 113 114 115 70 GLOSSARY OF WEAVES 9 WEAVES COMPLETE ON 6 ENDS □□□□□■ □□□□■□ □■□□CO ■□□□□□ ■□□□■■ □□□■■a □□■■■□ □■■■□□ ■■■□□□ ■□□□■□ □□□ana □□■□■□ □■□■□□ ■□anno □■□□□a □□□■■a □□□■■a □■■■□□ ■■■□□□ ■■■□□□ ■□□□■a □□□□■a □□□□■a □□■■□□ □□■■□□ ■■□□□□ ■■□□□□ 116 117 118 119 120 □■□■■a ■■■□■□ ■□□□□■ □■■□□□ ■□□□□■ □■■□□□ □■■□□□ □□□■■□ ■□□□□a □■■□□□ □□□aan ■□□□□a □□□□■□ □□□□□a □□■□□□ □□□■□□ ■□□□□□ □■□□□□ □□■□□a □□□□■a □■□□an ■■□□□□ ■□□■□□ □□■■□□ 121 122 123 124 125 □□■□■■ ■■□■□□ □□□□■a □□■■□□ ■■□□□□ □□□■■□ ■□□□□a □■■□□□ □□□□□a □□□■□□ ■□□□□□ □□■□□□ □□□□■□ □■□□□□ □□□■■a □□□■aa □□□■■a ■■■□□□ ■■■□□□ ■■■□□□ ■■■□□□ ■■□□□□ ■□■□□□ □□□■■a □□□■■□ □□□■□a 126 127 128 129 130 □□□■■■ □■□■□■ ■■■□□□ ■□■□■□ ■■■□□□ §■»□□□ ■□□■■□ ■■■□□□ □□□■■a □■■□□a □□□IBB □□□■aa □□□■■a □■□■□a ■■■□□□ ■■■□□□ ■□■□■□ ■□□□□a ■■□□■a ■□□□□a □□■■□□ □■■■■□ □□■■□□ ■□■□■□ □□□■■a ■□■□■□ □■□■□a ■■■□□□ □a □■□■ 131 132 133 134 135 ■■■□□□ ■□□■□a ■□■□□□ ■■■□■□ ■■□■□□ □□■■□□ □□■■■□ a ]□□■■ ■□□□an □■□□■a «■■□■□ «□■□□□ □■□□□a ■■□□■□ □■□■■a □□□■□a □□■□■a □□■am □■asm ■■□□□■ □□□■■a ■□■□□a □□□■□a □■□■■a 136 137 138 139 □□□■iH □■■■■□ ■□■■□a ■□□■■□ aaamo amma □■□□■□ □□□a j □□□■■a □■■■■□ ■□■■□a ■■□a: ,□ ■aamn ■□□□□a ■□■■□a □□■□SB □□□■as □asaan □■□□■□ mama ■■■□□□ amma ■□■■□a □■■□□a 141 142 140 143 10 GLOSSARY OF WEAVES §70 WEAVES COMPLETE OX G ENDS—(Continued) BBDBBB DDDBDB DBDDDB DDDDBB BBDDDB DBDDBB DDBDBD DDBBDD aannaa DDDBDB DDBDBO DDBDBD DDDBBD bbhddd BDBDDD BDDBBD BDDBDD DBBDDD DDDBBB BDDDBB DBDBDD DBDDDB DDBBDD bdddbb BBBDBB DDBBDB BDDBDD BBDDDD BBDDDB BBDBBB BDBDDD DDBDBD DBBDDD BBBDDn BBDDDB DBBI JBD DDBDBD BDDDDB □□□BBB DDDBDB DBDDDB DBDDDB BBDDDD 0QDDBB BDBDDD BHDHOD BDDBDD DDDDBB BBDDDB BDDDBB BDDDBD DDBDBD BDDDDB BBBDDD BBBDBB BDBDDB BDDBDD DDDBB 144 145 146 147 148 DDDBBB DDDDDB BBDBDD DBDDDB DBDBDB DDBDDD DDBBDB BDBDDD DBDDBD DBDDBB DDflBBD DDDDBD DBBDBD DBDBDD BDBDBD □BDDDD DBBDBD DBDBDD BDBDDD BDDBBD DBBBDD DDDBDD DDBBDB BDBDDB DBDBDB BDDDDD SSDBDD DDBDBD BDBDBD DDBBDB BBBDDD DDBDDD BDDBBD DBDBDB BDBDBD □□DDDH BDBDDB DDDBDB BDDBDB DBBDBD BBDDDB DBDDDD DBDDBB DDDBDB DBDBDB DDDDBD DBDD®S BDDDBD DDBDBD BBDBDD HDDDHB BDDDDD BDBDDB DBDDBD BDBDBD DDDBDD BDDBBD DBDDDB BDDDBD BDBDDB 149 150 151 152 153 DBDDBB DDDBBB BBDDBD OBBBOD DDDBDB DBDBDB BDDBBD DIB9DB BBDBBD DBDDDB BDDBBD DBDBDD BDBBBD BDDDBD DDBDBD BDBDBD DDBDBD DBDDBB DBDDDB BDDDBD DDBBDB DBBDDH BDSSBDB DBBDBB DBDBDD DBDBDB BBBDDD BDBBDB DDBBBD DDDBDB DBBDBD □□□IBB BBDDBD BBDDDB BDBDDD BDBDBD DDSDBB DSBBDB DBBDBB DDBDBD ESSDHDD DBDDDB BDBBBD DDBDBD DBDDDB DBDBDB BDDDBD DBDDBB DBDBDD DBDBDD BDBDDB BBDBDD BDflBDfl BBDBBD BDDDBD BDBDBD BBBDDD BDBBDB BDDDBB BDBDDD 154 155 156 157 158 BDDnBD BDBDDD DBDDDD DBDDBD BBDDBD HDDBDD WDBBDB DDDDDB BDBDBD BBDBDD BDBDDD BDBDDD DDDBBD DBDDBD DDDBDB DBDDDB DBDBDD DBBDDD DDESDDB DBBDDB l JBODBD SHDKiD BDDDDD DBDBDB DBBDBD DBDBDD DBDBDD DDDDBB DDBDDB BDDDBD BDBDDD DDBDBD DDBBDD BDDBDD BDBBDD DDBDDB DBBDii DffiODDD BDBDBD DDBBDB DDBDBD DDBDBD BDDDDB BDDBDD DBDDDB DBDBDD DDDBDH DDDBBD DBDDBD DBDBBD BDDBDD HDBBDB DDBDDD DBDBDB BDDBBD DDDBDB DDDBDffl ^EEDDDD DBDDBD BDBDDD DDBDBD BDDI IBD DDDDOSS DDBDDB DDHDBB DBDDBD BHniSHD DDDBDD BDBDBD DBDDBB BDDDBD BDDI IBD DBBDDD DDBDDB DBDBDD DDDBDB DBDDDB B! OD( l® BDDBDD DDDBDB DDBDDB DBBDBB DDDDBD I BBB BDBDDB DBDDDB DBDDDB DDBBDD HDDBDD DDBDBD 159 160 161 162 163 70 GLOSSARY OF WEAVES 11 □□□□□□■ □□■□□□□ □□□□□■□ □■□□□□□ □□□□■□□ ■□□□□□□ 164 169 ■■□□□□□ □□□□■■□ □■■□□□□ □□□□□■■ ■□□□□□■ 174 □■■□□■a □□□□aan annnnna aannaan □□□BBOD □□□□□BB BODBBLJB □□Bacon □□□□BBD nDBBDBB □BBDDDD □nnaann □BBDBjBD BBDDDDn □□BBDDD BBDBBDD annnnna □Banana BDBBaaa □□□□□BB BBaaaaa 179 WEAVES COMPLETE ON 7 ENOS annnaan □□BBDBD BBDBDnn □BDDOBB □□□BBGB □Banana anaanaa annannn annnann □annann nannnan □□annan □□annna □□□anna □nnanan anannnn □□□□ana □anannn annnnan □nanann □annnna naannaa annnaan □nnaana □naanan □aanann aanannn anannna 165 ananann nnanana nananan annanan nnanana □annana 166 annanan □BBannn nannana □□Baann anannan □□□aaan 167 aannnan aanannn □nanaan annnaan naannaa □aanann 168 aannnan annannn □Banana □annann anaanaa □□annan annanan anannan nannana nananna anannan ananann nananna nananan □ananna □□□□BBB ananann anannaa nananan aannnna nnanana Baannan □nnanaa nannaa® anaannn □naanan annnana anannna □anaann □nnaana □anaann □□□anna □nanaan annnann □nnanaa nannnan aronana □□annna 170 aannann annanan □aannan nannana nnaanna nDannan 171 aanannn anannnn annnaan □□□□ana □aanann □anannn 172 annannn □aannnn annnann □□□□□BB □annann □□aannn 173 aanaanfi □nnanan aannaan anannnn □aanaan □□□□ana annaann nananna □annaan aannann □nannaa nannnan annanna □nannLB naannaa annnnan □naanan □nanann anannna □annnna □□□aana □nnanan nannnan annnnna □□annan □nnaann □nancna aacnnnn □□□anna □□□naan naannaa □anannn □naanaa annnnan anaanna □nanann annaana □annnna 175 □□□anna anannnn □nnaana □□annan □annnna 176 anannan □□aaann annnann nananna □□□aaan 177 □annnaa □nannnn □nnaana annnaan □annnnn 178 annnnan □nnaann annaann □annnna □□□naan □ananann □annanan annnanna □ananana nnananan □nannana anannnnn nannnan ananann □□□□BBB □□annna nananan annnaaa annannn □□Bnana □naanan □nnaana annnnnn □aanann □naanan □□□□□□a aanannn □aanann □annaan anannnn □nnnnaa □nannaa □anannn annnnna annanna □nanann □annannn anananna □nnanana annnnnan □anannnn □nananan □ananana aannnna □annann annanan aaannnn □□annan nannana □Baanna □□□anna □□□□□an anannna aanannn □nnnann naannaa anannna □nnanan annnaan aannnnn aannann □nnanan □aannnn 1 naannan □□□□ana □□aannn □□Banna 180 181 182 183 12 GLOSSARY OF WEAVES §70 WEAVES COMPLETE ON 8 ENDS ■■■□□□□a ■■□□□□■a BDULOBBa □□□□BBBB □□□BBBBD □□BBBBQD □BBBBDDD BBBBGDDD □□□□BBBB □□□□BBBB □□□□BBBB □□□□BBBB BBBannnn BBaanmn bbbbdddd BBsaDonn □□□□□BDD □□■□□□□□ □□□□□□□B □□□□Bonn □BaannoD □□□□□□BO □□□annnn anananan □DBnuBDD □□Banana □□□□anna □bddbddd □aaDanaa □□□annan Bnaannaa BoanaBaD 184 185 186 187 BBDDBDDB □BDDBBBD □ BBB_"JBO BDDBDDBB BQDBBBnn BBBDDBDD □□BDDBBB □□BBBDJB □□□BBQBB BB BB □ BBLlBBJU ■□□□BBQB B BB ] B □□aanaan BBnnnaan BBnBBQnn bbdbdddb BDBnanBB □BnnnBBB BunaBsan nnuBBBjB □□Baanan □Baanann BBBQBma BaaaaBBa LBLjDBB B □CBnanaa □ jDBGIBBB BBBijBnaa BBGBaBaa B'jBBDnBG □BBBaaaB 188 189 190 191 □□Banana □□Bnanna □annanas □aananaa □anannaa annannaa annanam anannano BnBBBBQB B BB MSB BBBBQBBQ BBQBBBBQ BB BB BB □BBBBDBB BB BBBB BBBQBBQB BBBanBDD a ] BEB annannaa □BBannan □Bnnaaan BBonanna □□BBBnna □nannaaB □□BBBDBB □BBBDOBB BBB_BBGC BBGnBBQB BaBBania □□BBGBBB ■annaBBa BBnBBBDD 192 193 194 195 aaBBaaan □□BOBBED BBanni B i aannanaa aanannuE □ananaaB □Baanann □□□sheds BBBnnnan Bnananaa BDBBannn □ □BnBBBiJ □Baanann □□□BBBGB ssBnannnB □HDDnBBB □Baannan BBBnnBna □□BBBnna □□BanBBB □ B BBS Bannanna annannaa bbbdbddd BBBDBQDD BBaaaaaa □□□BDBBB BBsaBaaa □□□BCBBB □□□BDBBB 196 197 198 199 Bnnaaana □■■□□bid □bbddbbd annamna anaanana BB II BQ □aannaan annaanna BDDBBBnD BBDDBBnn BBBaanaa □EBannnB BomBBan nannniBHB □□aannaa □□BBBinna BBDBBBDB B BBS □nannaaB BnannnBB BBnBBBnB BBBnanan □BBannan □□Baanan BaBBBnaa □□BBnBBa bbebbb: BBBBanna aGiG'DBBBB □BBBBBB □BBGBBQa □□□BBBOB 200 201 202 203 §70 GLOSSARY OF WEAVES 13 WEAVES COMPLETE ON 8 ENOS —(Continued) BDBBDBBD □■■□■■□a bbdbbdbd BDBBGBDB □BBDBDBB 204 BDBBGDBD □BjJBBGB BDBDBBDD □BDBDDBB □□BDBDBB BBDBDBDD BBDDBDBD □dbbdbdb 208 BDBBDDDB BBDBBDDD □BBDGBBD B'jGGBBGB □□□BBDBB □CBSDBBD BBGQBBDn □bbdddbb 212 BDBDBBDD GBDBB1DG ■□■□□□BB □BGBGOBB BBGGBGBG BBDDDBDB □ GBBB'jBn EB1DBDB 216 BDBBDDDB BBGBQBGD □BDDBBDB □□□BBDBB □□BBG1BBG BDBDBBDQ BBGGIGBG □aagaaBB 220 bbdddbdd BBDDBDDD □□BBQDDB □DBBDDBD □BDDBBDD bdddbbdc □□□BDDBB □□BaaoBB 205 BaaaaBDB □aaaaaBB aaaBGBBa □□aaBBaa □BQBBaBa BaBaaBaa □BBDBDDB BBDBDDBD 209 bdddbdbb □■□□□BBB BGBiaaaBa □BQBBQDB BDBBBDDD □BBBDBDD □BBUBGBD bddbdbdb 213 □BBaaaBB bdbddbdd BBQBBaaa □□BDBDDB □□BBDBBD dbddbdbd BanQBBDB bddbddbd 217 □□BDBBBD □BBBDBBB BBBDDDBD dbdddbdd BaaDBBBD BBDBSBGB bbbdbddd dbdddbdd 221 BDBDBBBB □□BaaDBD BuBGBBBB BDDDBDDD BBBBBDBD □□BaaDBD BBBBBDBD BaaaBaaa 206 □BBaaaBa BBBGBDDD BBDDDBDB BaaBDDBB □DBBBDDB □BaiflBDD ■□□□BBBD □□BDDBBB 210 DBDDBDBD BDDDDDBB □DDBBBDD □□BDDBDB □■■□□■□a BQBBBDDD BBDBDDDB □BBaaaBD 214 □BDDDDBD BDBDDBDB □BDBBDBa □□Banana □□BDDBDD □BDBBDBD BDBDDBDB □BaaaaBD 218 □□BBDBBD □BBDDDBB BDBBDDDB □□□BBDBB □BBrjBBDD BBDDDBBD BDDDBBDB BBDBBDIGD 222 BBB □BBBD 1 IBB BDDDB BI'IB BDDDB BB BDDDB BBB □BBBD nnr BDBBB 1IIII BBDBB □□□ BBBDB 207 □DDDBBDB bddddbbd □BBDBDDa BBDBDDDD BDBDDDDB DBDDDDBB □DBBDBDD □□□BBaaa 211 bdbdbbdd □□BBBDBD BBaaaiDB DBDBDDBH BBDDBDBG BDBDDDBI □BDBBBDD □DBBDBDB 215 □BDBDBDB BDBDBDBB □BDBDBaB BBB fl B □BDBDBDB BDBDBBBD □BDBDBDB BDBBBDBD 219 □BBDBDDB □BBDBDDB BDBDDBDB BDBDDBDB BDDBaBBD BDDBDBBD □BDBBDBD □BDBBDBD 223 14 GLOSSARY OF WEAVES §70 WEAVES COMPLETE ON 8 ENDS—(Coni inued) ■ H BBQDi JBBD □BBDBBQD i BB iTjliBB BQBBQDQB □□■■■□■■ BBBBBB KBBQBBQB ■□■■□( BB ■ BB BB ■BBUBBUB BBDBBBBG ■□!_!□■■□■ ■ ■■ ■ □□■■□□□■ 224 225 226 227 □bbbgbcd ■■■□■□□□ ■■□□■■□B ■□□□■■■□ □■■■□□□■ B BB BB □□□■□BIB □■■■■□□■ □■■■■□■□ ■□■■□■□□ ■□■■□□■□ ■□□□■■■□ □□■■□■□■ □□□■■■■□ 228 229 230 231 □□■□□BBB 1 B JBBBU □■□■■□□■ B J. 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an BGBBGBBG GB BaaaBGBa aa □BBGDB9G BB GBBGBBGB GG aaGBQaaB aa BBGBBGBB na BBGBBGGB BG BGBGGBGG BG BGBBGBGB BU 272 273 274 BGGGGBBO BG BGBBGGGB BG BGGGGBGG GG GBGBBGGG GB BBGBGBBG aa □BGGBGBG □B BGBGGBBG BG aaaBBGBa BB GGBBGBGB an □BGBGGGB aa GBBGGGBB GB □GBGBGBG B! 1 BGBGBGBG BG BGBGBBGG GB GBGBGBGB na BGGBQBGG BG GGBBGBGB BG BGBGBGBG *n GBGGBrBG GB BBGGGBBG BG GBGBGBGB gb GBGBGBGB GB GBGBBGGG BB □GBGBGBG BG QGBGGQBQ BG GBBGBGBB aa GGBBGBGB an GBGBBGGB GB BGGGBBGB GB □BGGBGBG □B 275 276 277 BB ■□■□□□■a gb bbbggbgb □GBGBBGB □□BBBBDD ■□□BBBBD GBGBBGBB □BBBGGBG □BGGGBBG BBDaBDDD □□ ma □B □□ □□ BG 278 BGGBBBGG BBBDDBDB □□ □GBGBGGB □BGGBBBG □BBBGGBG BGGBGBGG BGBGGBBB GGBBBGGB BBGGBGBG □BDBDDBB □B BG ■ B □□ □B □B 280 □GBBGBBG BG BBBGGBGG GB BGGGBBBB BBGBGGGB QQBGBQQB GGGBGBBG BBBGGGBG □BGGBBBB BBGBBGGG □GBBBGDB □G BG GB GG BG GB 279 GBGBGBGB GB GGBGBBBG BG GBGBGBBB BBBGGGBG BBGBGGGB BGBGBGBG GBGBGBBB BBBGGGBG BBGBGGGB BGBGBGBG GG BG GB BG GG BG GB BG 281 92—3 18 GLOSSARY OF WEAVES §70 WEAVES □BBB □BBQ ■□□□ ■□■■ □■■□□■■a □ □BB ■ ■□■ BBB 1 J □ ■■□ ■ □□■ BBGB ■ ■□□ □□BB 282 ■□■■■□■□ ■■□■□■□■ BBBDBDDD □■□■□■□□ □□an □□□B ■ □■□ □BBB ■□■□□□■□ □■□■□□□■ ■□□□■□■□ □■□□□■■■ □□BDBDBB □□□■■■□■ ■□■□■■■□ □■■■□■□■ ■□■■ BBDB BBBD □ BOB BDBD □BDB ■□□□ □ BDD 285 ■□■□■□■■ □□BBDBBB ■■□□■□□□ □■□■■□□□ □ □□B □ □□B BBBD BBDB ■□■■■□□□ □■□□□■■■ ■■□□□■■□ BBDGDBDD □□■■■□■■ □□■■□■□■ □□■□□■■□ ■■□■■□□■ BDDB □BBD BDBD BBDB □□BD □BBD BBBD □□□B 288 COMPLETE ON BBBD □BDD BBBB □□□B □□BB BBQD ■ □□□ BBBB □BDD □□BD □□BB BDBD ■□□□■□□□ □□□BBBBB BBBCOrBG □BDDDBBB BBBBBDDD □□□BDDDB □□BBBBBD ■■□□□■□□ BBBD BDBD BDDB BDDB DBDB DBBB DBDB ■ ■□□ 283 BDDBBDBB ■□□□■■□□ □BBBDBDD □■■■□□■■ □□BB BDBB BBDD □BBD □BBBDBBD BDDDBBDB BBDBBDDB □□BBDDDB □□■□■BBD BBDDBBBD BBBBB BDBBDDDB □□BB BBDB BBDD BBDB DDBB DBBD BBDD BDBB 286 BDBBDBDB BDBDBBDB DBDBBBDD BBDBDDBB BBDD DDBB BDBB BDBD BB : B BB DDBBBDBD BDBBDBDB BDBDBBDB DBDBBBDD BBDBDDBB BBDDBDKB DDBBBDBD □ BDB BBDB BBDD DDBB BDBB BDBD □ BDB BBDB 289 12 ENDS DBDBBBBD □BBBBDBD □BBBBDDB BBBDBDDD □■□□ □□■□ □□□■ ■□□■ BBBDDBDD BDBDDDBD BDDBDDDB BDDDBDDB □BDDDBDB □DBDDBBB □DDBDBBB BDDBBBBJ ■■■■■□□□ □□□■■■■■ □□■■■■■□ !□■□□□■■■ 284 DDBB □BBD BDDB BBDD BBBD □ BBB BDBB □ BDB □□■■ □■■□ ■□□■ ■■□□ BDDBBDBD □□□□BBDB □□□□BBBD BDDBDBBB □BBBDDBB BBBDBDDB BBDBDBBD ■DBDBBDD □□■■□■□■ □■■□■□■■ ■□□■□■■■ ■■□□■■■□ 287 BBBDBBBD □BBBDBDB BDBBBDBB BBDBBBDB ■■■□ ■■□■ ■□■■ □□□■ BBBDBBBD DBBBDBBB BDBBBDBB □■□BBBDB ■■□□□■□■ ■□□□□□■■ □■□□□■■■ □□□□ □□□■ ■□■■ □■■■ ■■■□ ■■□■ ■□■■ □■■■ 290 ■■□□ ■■■□ □□□■ ■□□□ □■□□ □□■□ ■■■■ ■■■■ □□□■ ■□□□ ■BDD ■■■□ □□□□ □□■□ □■□□ □□□□ ■ ■□■ □■□□ ■ ■■■ ■ ■□■ ■ ■□■ ■ ■■■ □ ■□□ ■ ■□■ ■ ■□□ BDBB □□■■ □ □■■ ■ ■□■ ■■■□ ■■■■ ■■■■ ■■□□ ■■□■ □□■■ □□■■ □■□□□■■■ □□■□□□■■ ■■■■□□□■ ■■■■■□□□ □■■■BBDD □□■■■■■□ □□□■□□□■ ■□□□■□□□ ■■□□□■□□ ■■■□□□■□ □□□■■■■■ ■□□□■■BB ■□■■■■□■ □□■□■■■■ ■■■■□■□□ ■□■■■■□■ ■■□■□□□□ ■■■■□■□□ □■□□□□■□ ■■□■□□□□ □□□□ □ ■□□ □ □■□ □ □□□ ■ □■■ □ □■□ ■ ■■■ ■ □■■ ■□■■■■■□ □■■■■■□■ □■■■■□□■ □■■■□□□■ ■□□□■■■□ ■□□□■■■■ ■□□□■■■■ ■ BMBBBBLI □■■■■□□■ 291 292 293 70 GLOSSARY OF WEAVES 19 WEAVES COMPLETE ON 12 ENDS—(Continued) □BOB GGBGI BGBG BBGG GBBGl BGGBBGGB GGBGBBGR BGBGGBBG BBGGBGBB 294 ■□■□■□□a BBDOIBGD QBQBQQBB BGGB GBBG BBGG GGBB □□BBnDBD BBGGBBGG ■GBQGBQB ■ BB B GGBBGGBB BBOGBBJB ■□■□■■□□ GGBBGGBB □BGGBGBB □BBGGBBG BGGBBGGB BGGBGBGB 297 aaaaaBGB BBBBGBGB UGGBGBGB BBGBGBGB BGBB BGGG BBBB aaaa aaaaBGBB BBBBBGGG aaaaaaaB BBBBHBGB □aaaaBGB BBBBGBGB aaaBaBGB BBGBGBGBj BGBB BGGG BBBB aaaa BBBB . GG J BBBB aaaa 300 ■GBBGGBG □BBBGGGB GGBBGGBB GGBBGGBB GGBB GGBB BBGG BBGG BBGGBBGG BBQGBBGG BGGGBBBG GBGGBBGB ■■■■aaaa ■BBBGGGG GGGGBBBB GGGOBBBS GGBB GGBB BBGG BBGG BBGG BBGG GGBB GGBB BBGBGGBB BBBGGGBB GRBGGBGB GGBGBBaa GGGB BGGG BBGG BBBG GGGBBBGG aaBBBaaa GBBBGGGB BBBGGGBB BBGGGBBH BGGGBBBG aaaBBBaa BGGBBGBG aaaaBBBG GBBBGGGB BBBGGGBB BBGGGBBB 295 GGBBGGBB GBBGGBBG BBGGBBGG BGGBBGBG GGBB BGGB BBGG GBGB GGBBGGBB GBBGBGGB BBGGBBGG BGBGGBGB GGBBGGBB BGGBGBBG BBGGBBGG GBGBBGGB BGGBBaaa BBGGBBGB GBBGGBBG GGBBGGBB 298 aBBaaaaa ■BBGBGGB BBGBGGBG BGBGBBGG BBGB GGBG GBGB BGGB GBGBBBGfl BGBBBGBG GGBBGBGB GBGGBGBB BGGBGBB* GGBaaBBG GBGGBGGB BGGBQQBG GGBG GBGG BGGB BGBG GBGG BGBB GBBB BBBG 301 GBBBGBBG BBGGGBBG BBGBBGGG GGGBBGBB GGBB BBBG BBGB BGBB GBBGGGBfl GBBGBBBG BGGGBBGB BBBB BC GGBBGBBB ■ BB BB ■BGBBBGB ■GBBGGGB BBGGGBBG GGBBGBBB ■GBBGGGB BGGGBBGB BGGBBGGB GBGGBGBB GBBGGBBG GGBGBBGG BGGB GGBB GBBG BBGB BGGBBGGB ■GBBGGBB GBBGGBBG BBGGBBGB BGGBBGGB aaBBGBaa GBBGGBBG BBGBGGBG BGGB GBGG GBBG GGBG BGGB BGBB GBBG BBGG 296 aaacBaaa GBBBGGGB GGBGGGBB ■■aaaBaa ■ ■■■ GGBG BBGG BGGB ■GGGBBBB aaaBGGBa GGBBBBGG GBOGBaGB ■BBBGGGG GGBGGBBB ■■aaaaBG ■GGBBBGG aaaa GBBB GGBG BBGG ■aaa GGGB GGBB GBGG 299 GBGBGBBB BGBGBBGG □BGBBBGG ■GBBGGBB GGBB BBBG BBGB BGBG GBBBGGBB ■BGGBBBG BBGGBBGB GGBBBGBG GGBBGBGB ■ ■■GB, jBG BBGBGBGB ■GBGBGBB GBGB BGBG GBGB BGBB GBBB BBGG BBGG GGBB 302 aaaBGBaa ■BGGBGBG GBGBGGBB aaBGBaaa BBBB GGBB BBGG ■ ■■■ GBGGBBBB ■GBGGGBB GGBBBBGG ■GGGBBBB ■BBBGGGB GGBBBBGG ■BGGGBGB ■■■■GGBG GGGB BBGG GBGB GGBG GBGG BGBG GGBB ■aaa 303 304 305 20 GLOSSARY OF WEAVES §70 WEAVES COMPLETE ON 12 ENDS-(Continued) □BBQBBQB SDBBrJEQD □□■□«■□■ □□□■ ■ □■□ as .■□□□■ □ ■ □□( B ■ SB jBI ■ □□□ ■□■a ■ ■□■ 306 ■■■□□□□□ BBBQiQBBB BBBQ HBB □□□□□BBB BBBQ □□□□ □□□□ □ BBB □□BBiDDa □□■■■□□□ □□□□□BBB ■■■□□■■■ BBBQQBB1 ■■■□□□□□ □□□■■■□□ □□□■■■□□ □ BBB □ BBB ■□□□ ■ □□■ ■ □□■ □□□B BBBQ BBBQ 307 BOGBOBI □□■■□□□□ □■□■■□■■ □ BBB □ ■■□ □■□■ ■□■□ BBQDOjBB □■■□□□an □□□■■■□■ ■□□■■□■□ □□□■□■□□ ■■■□■□□■ BBQIQQBB ■□■□□■□■ □■□□ ■ □□■ □□BB □■□■ ■ ■□□ □ ■■□ □□□□ ■□□□ 308 □□□□ □ □BB ■ □□□ □□□□ □■■□ ■□□□ ■ BGB BBBQ «□■■ ■ ■□□ ■ ■■□ ■ ■■■ □□□■□■■□ □□■■■□□■ □■■■□□■■ ■■■□□■□■ □■■■ □□■■ ■ □□■ ■ ■□□ □□□■ □□■□ □■□□ ■□□□ □□□□ □□□□ ■■■■ ■ ■■■ ■ ■■□ ■ ■□■ ■□■■ □■■■ □■□□■□□■ □□□□■□BB □□■□□■■■ □□■□■■■■ ■□□■■■■□ ■□■■■■□■ □■■■■□□B ■■■■□■□□ ■ ■■□ BBIJB ■ □□■ □ ■□□ □ ■□□ □□□□ □□■□ □ □■□ □■□□■■□□ ■□□■■■□□ ■□■□□□■■ □■■■□□■■ □□■■■□■□ ■□□■■■□□ ■■□□■□□■ ■■■□□■■□ ■ ■■□ □ ■□■ ■□□■ □□■□ □ ■■■ ■ ■■□ ■ ■□□ ■ □□□ □■□■□□□□ ■□■□□□□□ □■□■■■■■ ■□■□■■■■ □□■■□■■■ □□■■■□■■ □□■■■■□■ ■ ■■■ ■ ■■■ □□□□ □□□□ ■□□□ □■□□ □□■□ □□□■ 300 310 311 ■ □■□ □■□■ □□□□ □ □□□ □ □□□ □ □□□ ■ □■□ □■□a ■ BBB ■ BBB ■ ■■■ ■ BBB ■■■□■■■□ □■■■■■□■ ■□■■■□■■ □■■■ ■■■■ ■■■■ ■■■■ □■□□■■□□ ■□□■■□■□ □□■■□■□■ □■■□■■□□ ■■□■ □■■□ □□■■ ■□□■ □■□■□■□■ ■□■□■□■□ : ■&■■■ .B ■□■■BBBQ □■■■■■□■ ■□■■■■■□ □ ■□■i B ■ ■□■□■□■□ ■□□□□□■a □■□□□□□■ ■□□□□□■□ □■□□□□□■ ■■□■□■■■ ■□■■■□■■ □■■■■■□■ ■■■■■■■□ ■□■■■□■■ ■■□■□■■■ ■■■□■■■□ □■■■□■■■ ■■□■■■□■ ■■□■■■□□ ■□■■■■□□ □■□□□□■■ □□■□□□■■ ■□□■□□■■ ■■□□■□■□ □■■□□■□■ ■□■■□□■■ □■□□ □□■□ ■■□■ ■□■■ □■■□ ■■□□ ■□□■ □□■□ 312 313 314 ■ BB' BBB ■■□■■■□a ■ □■■■□BOB □■■■□■□□ □□□■ □□□■ □□□■ BBBQ □□■■■□□■ □■■■□□□■ ■■■□□■■□ ■■□□□■■□ ■ □□■ ■ □■□ □ ■□□ ■□□■ □ ■■□ □□■□ ■ ■□■ ■□□■ □□□■ ■ ■■□ ■ ■■□ BBBQ ■□□□ ■□□□ ■□□□ □■■■ ■BBDiBan ■■□■■■□□ ■□■□□□■■ □■■□□□BB ■■■□□□■□ □□□■■■□■ □□□■■□■■ □□□■□■■■ □ BED □ ■□■ ■□■■ □BBB ■ ■■□ ■ ■□■ «□■■ □ ■■■ ■□□■■□□■ □□□■■□■□ □■■□□■□□ □■HDBDDB ■□□■□□BB ■□■□□■■■ □■□□■■■□ ■□□■■■□□ □ □■■ □ ■■■ ■ ■■□ ■ ■□□ ■ □□■ □ □□■ □ ■■□ □ ■■□ ■□□■■■□□ ■■□■■■□□ □□■□□□■■ □■■□□□BE ■■■□□□■■ □□□■■■□□ □□□■■□■a □□□■□□■■ □■■□ □■□□ ■□■■ ■□□■ ■□□□ □■■■ □■■■ □■■■ 315 316 317 70 GLOSSARY OF WEAVES 21 WEAVES COMPLETE ON 12 ENDS—(Continued) ■■■□ ■□□■ B NH □BBB BBflfl ■■■□ ■a a □■■a ■■■■ aaaa BBBD ■ ■□□ ■ □■■ □ □BB ■ □■■ □□□■□■BB □□■□■BBD □BDBBBDD ■□BBBDBB □■■■ □ ■■■ □■■■ ■□□□ ■□□■■□□■ ■□□■■□■■ □■■□□■■■ □■■□■■■a ■□□naan ■■■■□■■□ BSID SB fl BDBD □ BBD BDCB BDDB □BBD □BBD ■□■■■■■□ 1BDBRBBB annual ■■□□□■■■ ■□■BBDBD □□BiiDDB ■□■■■□■a ■■□□□■■a ■ ■■□ □□□■ ■ BB □ BBB ■■■a ■■■■ ■ BBD SBDB □BBBDDBB ■■■□□□SB BB BBB . ■□□■earn □□□■■«□■ ■■■□□□■□ ■■■□□■□■ ■■■□■□BB ■□□■ ■□■□ □■□■ ■□■■ □■■■ ■ BBD ■ ■□□ ■□□□ 318 319 320 ■■■■□□■■ BBBBBBB □■■■■■□■ □□■■■■■□ BBDB BBBj ■ BBB ■ BBB □□BBnDBB □□■■□BBB ■■□□BBBD ■■□■■■□□ ■□■■ □□■■ ■ ■□□ ■ ■□□ □■□BBDBD ■□■□■■□■ ■■□■□■BB □■■□■□■□ ■ ■□■ ft □■□ □■□■ ■□■■ ■■■■■□□■ BBBBQDDB IIBDBBID ■■□■■■■□ ■□BBBBBQ □BBBBBDB lJBBBBI IBB □BBBDBBB □■■■ ■□□□ ■ ■■□ ■ ■■■ ■ ■■■ □ ■■■ □□■■BDBB □BBBDDBB BBB BB ■■□□■■□□ ■□■■□□BB □□BBDDBfl ■■□□■■□□ &■□□■■□■ □□■■ □□■■ ■ ■□□ ■ ■□■ □□■■ □BBB ■ ■■□ ■ ■□□ b ■■ .a m ■■□BBDBD ■□■■□■□■ □BBDBDBD BBDBDBBB ■□■□■■□■ □■□BBDBD ■□■BDBBB □■■□ ■■□■ □■■□ ■ □■■ □Bl <■ ■□■□ ■■□■ □■■□ 321 322 323 ■■□■□□■□ ■□■□■■□□ □■□□■■□■ ■□□■□□■□ □ ■□■ ■□■■ □■■■ ■■■□ □□■□□■□■ ■■□□■□■■ ■■□■□■■■ □□■□■■■□ □■□■■■□■ ■□■■■□■□ □■■■□■□□ ■■■□■□□■ ■ ■□■ ■□■□ □■□□ ■□□■ □□■□ ■■□□ ■■□■ □□■□ 324 □□■□□□■■ □□□■□□■■ ■□□□■■□□ □■□□■■□□ □□■■ □□■■ ■ ■□□ ■ ■□□ □□■■□□■■ □□■■□□■B ■■□□■■□□ ■■□□■■□□ □□■■□□■□ □□■■□□□■ ■■□□■□□□ ■■□□□■□□ □□■□ □□□■ ■□□□ □■□□ □□■■ □□■■ ■ ■□□ ■ ■□□ 325 □□□■□□■■ □□■□□■■■ ■■□□□■■□ ■□□□■■□□ ■□□■ □□■□ □ ■□□ ■□□■ ■□□■□□□■ □□■□□□■□ □■□□■■□□ ■□□■■□□□ □□■■■□□■ □■■■□□■□ □■■□□■□□ ■■□□■□□■ ■■□□■□□□ □■□□■■■□ □□■□□■■■ □□□■□□■■ ■■□■□□□■ ■□□□■□■□ □■□□□■□□ □□■□■□□□ □□□a □□BB □■■■ ■BBD □□□■□□□a ■□■□□□■a □■□□□■■■ ■□□□■■■□ □□□■■■□■ □□■■■□□□ □■■■□■□□ ■■■□□□■□ ■■□■ ■□□□ □■□□ □□■□ □□□■ ■□■□ □■□□ ■□□□ 326 327 22 GLOSSARY OF WEAVES §70 WEAVES COMPLETE ON 12 ENDS—(Continued) □DBDDBDB BDDBDBBD as aa ; ■□□□ bbdd ■■ <■ □bbd ■c □■□■□□■a ■ ■■□ ■ ■■□ □□□□□■□■ ■□■□■□■a □□□■□■□a □BDBDBBB □□BDBDBD BflBBBB DBDBDBDB DBDBBBBB BDBDBDBD BDBBBBBD □BDBDBDD DBBBBBB BDBDBDDD BBBBBDBG □BDBDDDD BBBBDBDr BDBCDDDD BBBDBDBD □BDDDDDB BBDBOBOr BDDDDDBD BQBDBDBO □BDB BBBB BDBD ■Ban a BBUB BDDD BDBD □□□□ □BDB □□□□ ■ a □□□a □BDB □naa BDBD □BDB □BDB BDBD BDBB □BDB □BBB BDBD 328 329 330 WEAVES COMPLETE ON 16 ENDS □□□□BBBB □□□□BBBB □□□□BBDD □□□□BBDD BBBBBB BBBBBBDD BBDDDDBB S1DDDD8B BBBBDDDD BBBBDDDD □DBBDDDD □DBBDDDD □DBBBBBB BBDDDDBB BBDDDDBB BBDDDDBB BBDDDDBB □DBBBBBB □DBBBBBB □DBBDDDD □DBBDDDD BBBBDDDD SBBI1DDDD BBDDDDBB BBDDDDBB BBBBBBDD BBBBBBDD □□□□BBDD □□□□BBDD □□□□BBBB □□□□BBBB 331 BBBDBDDB BBDDBBDD BDBDDBBD □DBBDDBB BDDBBDCB BBDDBBDD □BBDDBBD □DBBDDBD BDDBBDDB BBDDBDBB □BBDDBBB □DBDBBBB BDDBBBBD BDBBBBDD □BBBBDBD BBBBDDBB BDDBBDDB BBDDBDHB □BBDDBBB □DBDBBBB BDDBBBBD BDBBBBDD □BBBBDBD BBBBDDBB BBBDBDDB BBDDBBDD BDBD! IBBG □DBBDDBB BDDBBDDB BBDDBBDD □BBDDBBD □DBBDDBD 333 □DDBBBDD □DBBBDDD □BBBDDDB BBBDDDDB BBDDDBBD BDDDDBBD □DDBBDDB □DDBBDDB □BBDDBBD □BBDDBBD BDDBBDDD BDDBBDDD □BBDDDDB □BBDDDBB BDDDDBBB BDDDBBBD □BBDDBBD □BBDDBBD BDDBBDDD BDDBBDDD □BBDDDDB LBBDDGBB BDDDDBBB BDDDBBBD □DDBBBDD □DBBBDDD □BBBDDDB BBBDDDDB BBDDDBBD BDDDDBBD □DDBBDDB □DDBBDDB 332 □BDDBDBB □BDBDBDB BBDBDDBD □DDBDBDB BBBBDBDD □□□□□BDB BDBBBBDB □BDDDDDB BDBDDBDB BDBDBDBB BDDBDBBB BDBDBBBD □BDBBBDB BDBBBDBD □BBBDBDB BBBDBDDD BDBDDBDB BDBDBDBB BDDBDBBB BDBDBBBD □BDBBBDB BDBBBDBD □BBBDBDB BBBDBDDD BBDBDBBB BDBDDDDD DBDBBBBD BDDDDDBD □BBBBDBD □□□□BDBD BBBDBDDB □□BDBDBD 334 §70 GLOSSARY OF WEAVES 23 WEAVES COMPLETE ON 16 ENDS—(Continued) □■□■□■□a □□■□■□■□ ■□□■□■□□ □□■□■□■□ □BDBDBDB BDBDDDBD □BDDBDDB BDDBBBDD DDDDBDDD DBDBDBDB BBBDDDBB □BDBDBDB □DDDBDDD ■□■□□□■□ □BDDBDDB ■□□■■■□□ □DDDBDDD □BDBDBDB BBBDDDBB DBDBDBDB □DDDBDDD BDDBBBDD □BDDBDDB BDBDDDBD □BDBDBDB □□BDBDBD BDDBDBDD □□BDBDBD □BDBDBDB 335 □DBBBDDB □DBBDDDB □BBBDDBD □BIJBBDB BDDBDDBB □BBDDDBB BBBDDBBB BBDDDBB ~ BBDDBDDB BDBBDBBD □BDDBBBD BDDDBBDD BDDBBBDD □DDBBDBB □DBDDBDD BBDBBDDD BBDDBDDB BDBBDBBD □BDDBBBD ■□□□■■□□ BDDBBBDD □DDBBDBB □DBDDBDD BBDBBDDD □DBBBDDB □DBBDDDB □BBBDDBD □BBDBBDB BDDBDDBB □BBDDDBB BBBDDBBB BBDDDBBD 337 BDDBDDBB □BBDDBDB BDBDDBBD BBDDBDDB □DBBDDBD □BDBDDBB □BBDDBDD BDDBBDDB □DBDBDDB □DBBDDBD □BDDBBDD BDDBDBDD BDDBBDDB □DBDDBBD BBDDBDBD □BDDBBDD □DBDBDDB □DBBDDBD □BDDBBDD BDDBDBDD BDDBBDDB □DBDDBBD BBDDBDBD □BDDBBDD BDDBDDBB □BBDDBDB BDBDDBBD BBDDBDDB □DBBDDBD □BDBDDBB □BBDDBDD BDDBBDDB BBDBBBDD BBDDBDDD □DBBDBBB BDBBDDBD □BDDBBDB BBBDBBDD □DDBDDBB □DBBBDBB □BDDDBDD BDDDBBBD □DDBDDDB □DBDDDBB BBDDDBDD BDDDBDDD □BBBDDDB □DBDDDBD □BDDDBDD BDDDBBBD □DDBDDDB □DBDDDBB BBDDDBDD BDDDBDDD □BBBDDDB □DBDDDBD BBDBBBDD BBDDBDDD □DBBDBBB BDBBDDBD □BDDBBDB BBBDBBDD □DDBDDBB □DBBBDBB 336 □BBDBBDB BDDDBBBD BDBBDBBB □DBBBDBB BBDBBBDD ■BBDBBDB □BBBDDDB ■■□□□■■■ ■■□■■□■■ □DDBBBDB □■■□■■■D □■■■□■■□ ■□■■■□□□ ■■□■■□■■ ■BBDDDBB ■■□□□■■■ □DDBBBDB 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IBB j BBDBBDDB BBDBBDBB □BBDDBBD □BBDBBDB BDDBBDBB BDBB BBD □BBDBBDB BBDBBJDB 353 DBBDDBBD BB BB BDDBBDDB BDDHBDBD □BBDDBBD DBBDBDBD BDDBBDDB BDBDBDDB □BBDDBDB BDBDDBBD BDDBDBDB BDDBBDDB DBDBDBBD □BBDDBBD □BDBBDDB BDDBBDDB □BBDDBDB BDBDDBBD BDDBDBDB BDDBBDDB DBDBDBBD □BBDDBBD □BDBBDDB BDDBBDDB □BBDDBBD □BBDDBBD BDDBBDDB BDDBBDBD □BBDDBBD DBBDBDBD BDDBBDDB BDBDBDDB 354 BDDBBBDD BBBDDBBB BBBBDDBB DDBBBBDD □BBDBBDD BBDBBDBB BDDBBDBB □BBDDBBB BBBDDBBB BDDBBBDD DDBBBBDD BBBBDDBB BBDBBDBB □BBDBBDD DBBUi BOB BDDBBDBB BBBDDBBB BDDBBBDD DDBBBBDD BBBBDDBB BBDBBDBB □BBDBBDD □BBDDBBB BDDBBDBB BDDBBBDD BBBDUBBB BBBBDDBB DDBBBBDD □BBDBBDD BBDBBDBB BDDBBDBB DBBDDBBB 355 BDDBBDDB □BDDBBBD □BBDDBBB □DBBBDBB BDDBBBDB BBBDBBBD □BBBDBBB BDBBBDDB BBDBBBDD BBBDDBBD riBBBDi 1BD BDDBBDDB BBDDBDDB □BBDDBDD □DBDDBBD BDDBDDBB BBDBBBDD BBBDDBBD □BBBDDBD BDDBBDDB BBDDBDDB □BBDOBDD □DBDDBBD BDDBDDBB BDDBBDDB □BDDBBBD □BBDDBBB □DBBBDBB BDDBBBDB BBBDBBBD □BBBDBBB Bl BBB II IB □BBBDBBB BDBBBDBB BBDBBBDB BBBDBBBD □BBBDBDB BDBBBDBB BBDBDBDD ■BBDBBDD □BDBDDBB BDBBDDBD □BDDBBDB BBDDBDBD □DBBDBBB □DBDBDBB BBDBBBDB BDBDBBBD □BDBDDBB BDBBDDBD □BDDBBDB BBDDBDBD □DBBDBBB □DBDBDBB BBDBBBDB BDBDBBBD □BBBDBBB BDBBBDBB BBDBBBDB BBBDBBBD □BBBDBDB BDBBBDBB BBDBDBDD BBBDBBDD 356 □BBBDBDB BBBDBDBD BBDBDBDB BDBDBDBD □BDBDBDB BDBDBDBB □BDBDBBB BDBDBBBD □BDBBBDB BDBDBBBD □BDBDBBB BDBDBDBB □BDBDBDB BDBDBDBD BBDBDBDB BBBDBDBD □BDBBBDB BDBDBBBD □BDBDBBB BDBDBDBB □BDBDBDB BDBDBDBD BBDBDBDB BBBDBDBD BDBDBBBD □BDBDBBB BDBDBDBB □BDBDBDB BDBDBDBD BBDBDBDB BBBDBDBD □BBBDBDB 357 358 §70 GLOSSARY OF WEAVES 27 WEAVES COMPLETE ON ■□■□■□□a □■■□■□■a ■BBDDBBD ■BBBDBDB □BBBDBDB □■□■■□□■ BBDBDIBD □□□■□■□a BDBBDBDI ■□■□■□□■ ■□■□BBBD BBDBDDDB □□□■■■□■ □■■■■□■□ □■□□□□■■ □□BBBBDD ■BDDDBBB ■□■■□□□■ fl B BIB' □DBDDDBD ■■□■■■□■ BBBDDDBI □□■■■□□□ ■□□□■■■■ □■■■□□□□ □DGBGBBB ■■■□■□■■ □□BDBDBB □■□□■□■□ 359 ■■■■■□■■ □■■■■■□□ BGBBBBGB BBGBBBB BBBDfJBBB ■■■□■■BB ■■□■■■■■ □□□BBBBD □□□BBBBD BBDBBBBB BBBDBBBB ■BBDDBBB BBDBBDBB BDBBBBDB □BBBBBDD BBBBBDBB ■□□□■■□■ a BB BB QBBBBGBB DBBBBBDB BBBBBB BBDBBBBB BBBDBBBB BBBBDBBB BBDDBBBB □DBBDBBB □BBBBDBB □BBBBBDB BDBBBBBD BDDBBBBB □BBDBBBB 361 □BBDDBBD □BBDDBBD BDDDBDDB BDDBBDDB ■DDBBDBB □DBDDBBD □BBDDBBD □BBDBBBD □BBDDBBD BBBDDBBD BDDDBBBD BDDBBDDB BDDBBDDB □DBBBDBD □BBDDBBD □BBDDBBD BDDBBDDD BDDBBDDB BDBBBDDB □BBDDDBB □BBDDBBD BBBDDBBD BDDDBBBD BDDBBDDB BBBDBDDD BDDBBDDB BDDBBDDB BDBDDDBD □BBDDBBD DBBDDBBD BDDDBDDB BDDBBDDB BDDBBDDB □DBBBDBD □BBDDBBD □BBDDBBD ■BBDBDDD BDDBBDDB BDDBBDDB BDBDDDBD BDDBBDBB □DBDDBBD DBBDDBBD □BBDBBBD BDDBBDDD BDDBBDDB BDBBBDDB □BBDDDBB 16 ENOS—(Continued) BBBDDBBB □DDBBDBB BDDDBDBB □BBBDBDD □BBBDBBD BDBBBDDB BDBBBDDB □BDDDBBD □BBDDDBD BGGBBBGB BDDBBBDB □BBDBBBD □DBDBBBD BBDBDDDB BBDBBDDD BBBDDBBB BBBDDBBB □DDBBDBB BDDDBDBB □BBBDBDD □BBBDBBD BDBBBDDB BDBBBDDB □BDDDBBD □BBDDDBD BDDBBBDB BDDBBBDB □BBDBBBD □DBDBBBD BBDBDDDB BBDBBDDD BBBDDBBB 360 □BDBDBDB BBBDBDBD □BBBDBDB BDBBBDBB □BDBDBDB ■DBDBDBD □BDBDBDB BDBBBDBD □■□■■■□■ ■DBDBBBD □■□■□■□a ■□■□■□■□ ■BDBDBDB ■BBDBBBD □■□■□■■■ ■□■□■□■■ □■□BBBDB ■DBDBBBD □BDBDBDB ■□■□■□■□ ■BDBDBDB ■BBDBBBD □■□■□■■■ ■□■□■□■■ □BDBDBDB ■■■□■□■□ □BBBDBDB ■□■■■□■■ □BDBDBDB ■□■□■□■□ □■□■□■□a ■DBBBDBD 362 □□□■■■□□ ■■■□□■■■ □■■□□□□■ □■■■□□□□ ■□□□■■□□ ■□□□□□■■ ■■■□□□□■ □□■■■□□■ □□□□■□□□ ■□□□■■■□ □■■■□□■■ □□■■□□□□ □□■■■□□□ ■BDDDBBD □■□□□□□■ □■■■□□□□ ■□□□□□■■ ■■■□□□□■ □□■■■□□■ □□□□■■■□ ■□□□□□■□ □BBDDDBB □□□■■■□□ □□□□■■□□ □■□□■■□□ ■□□□■□□□ ■□□■■□□■ ■□□■□□□■ □■■■□□■□ □■□□■■■□ ■■□□■BSD ■□□□■□□■ □□■■■□□■ □□■■■□□■ □DBDDBBB DBDDDBDD □■□□■■□□ ■□□□■□□□ ■□□■■□□■ ■DDBDDDB DDBBBDDB □□□■■□□□ ■□□■■■□□ ■BBDDDBB □□■□□□□□ □□■■■□□□ ■BDDBBBD iBDDDDSB 363 364 28 GLOSSARY OF WEAVES §70 WEAVES COMPLETE ON 16 ENDS—(Continued) ■■□□□□□□ ■□□□□□□□ □□□□□□□□ □□□□□□□■ aaaaaaaa □□annana aaaaaaaa □Baaaaaa □□BDDBBB aaaaaflBB □aaaaBBa □□B'jBBBlj □□□□□□■□ □□□□□■□□ aaaaaaaa aaaaaaaa aaaaaaaa BBBBaaaa □aaaBBBB aaaaaaBB □■□□■■■a ■□□■□□■a □■□□■□□a ■□□■□□an □□aanana □aaaBBBB □□□aaaaa □aaaaaaa □□□aaaaa □□□□□ana □□□□□□□B □Baaaaaa aaaaaaaa Baaaiaaa BBBaaaaa □aaaBBBB □□□aaaaa aaaaaaaa □□□aaaaa aaaaaaaa □□□□□□an aaaaaaaa □□□□□aan □□□BOOBO □□□□BOOB □□Banana □□□BDDBQ 365 □BBBiaaaB BB B a B JBBBUBi J BBBaaaaa □aaBBaafl □BBBaaaa Baaaaaaa B BBB B ! 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■■□□DDBBBBDD □□□□ ■■■■□□■■! ■■■■Iddddbbbb □□■■■■□□ ■■■■□□■■ ■■□□■■■a DDBBBBDD ■■■■□□■■ ■BDDBBBB DDBBBBDD ■■■■□□■■ ■■□BBDBD ■■□■■□■□ □■■□■□□■ □■■□■□□■ ■□■□□■□a ■□■□□■□■ ■□□■□■■□ ■□□■□■■□ ■■■■□□□□ ■BDDBBBB □□■■■■□□ ■■■■□□■■ ■■□□■■■a □□■■■■□□ ■■■■□□■a ■■□□■■■■ □■■□ □■■□ ■□■■ ■□■■ ■■□■ ■■□■ □■■□ □■■□ 371 □■■□ □■□■ ■■□■ □□■□ ■■□■ □■□■ ■□■■ ■□□□ □■■■ □□□■ ■■■□ □□■□ ■ ■□■ □■□■ ■ □□■ ■ ■■□ □ □■□! ■ ■□□ ■□■■; ■□□□! ■□□■□■□■ ■□■□■■□□ ■□■■□□■■ □■□□■■□■ ■■□■■□□□ □■□□□■■□ ■□■■□■□■ ■□■□■■□■ ■ BDBBDDD ■■□□ ■□■■□□■■ ■□□■ □■□□■■□□ ■□■■ □BBBDBBD □■□□ ■□□■BDDB BBDB BBBDDBBD BDBD □□■■□■□■ DDBB □BDDBBDB ■■□□ ■□■□■□□□ □■■□■■□■ □■□■□■□■ ■□■■□□■□ BDBDBDBD □■□□■□■□ ■■□■■■□■ □■■□□■□■ BDDBDDBD □BDBBDBB □BDBBBDD HBBDDDBB □□□BBDBD □BDBDBBD □■■□BDDB ■□BDBBBD BDDBDDBD □□■■□■□■ ■■□□■■□□ ■□■■□■■■ 372 30 GLOSSARY OF WEAVES §70 WEAVES COMPLETE ON 20 ENOS —(Continued) ■■□■■□HE ■■■□□□■a bdddhbdb □DDBBDBB □BBDDDBB □BBDBBDD BDDDBBDB DDDB □ BBD □BBB BDBB BDBBDDDB □□BBDBBD B BDDDBBD BBDBBDDD □□□iBUBB BB 1 ) SB jBB.jBB.r_. BDDDHBDB BDBBDDDB □□BBDBBD ■BDDDBBB BQ BB BB □DDBBBDB L BB IBBBD □BBBDBBD BDBBBDDD BB B BBBD □ BBD BDDD BDBB □ DBB BBDD BBDB BDBBDDDB DDBBDBB . BB BBB BB BB SB □DDBBBDB BB BBB : 'BBB _'BBU BDBBBDdd BBDBBDBB HBBDDDBfl □BBDBBDD BDDDBBDB BDBBDDDB □□BBDBBD BBDDDBBD BBDBBDDD DDDB DBBD DBBD BDDD BDBB □DBB BBDD BBDB BDBDBDBD DBDBDBDB B B B a □BJBQB . B 373 BDBDBDBD □BDBBBDB BDBBBBBD □BDBBBDB BDBD □ BDB BDBD BBDB B' DBDBDBD □ BIJE JBDB B ! B B -| □BDB1 iB "iB Bi HBDBDBD DBDBDBDB BDBDBDBD BBB B B BDBDBDBB □BBBDBDB BBBBBDBD □BBBDBBB BDBDBBBB □BDBDBBB BDBDBDBD DBDBDBDB BBBD BBDB BDBD □ BDB BDBD DBDB BDBD □ BDB BBBBBDBD □ BBBI while the second end, as it interlaces with the filling differently from the first, must be drawn through a separate harness, or 10 ELEMENTARY TEXTILE DESIGNING §71 the second, as shown; the third end in the weave works like the first and therefore can be drawn through the same harness i 2 3 4 5 e 7 8 as the first end; the fourth end works like the second » and is consequently drawn through the same harness as the second. Thus it will be seen that the first end is drawn through the first harness and the next through the second, and that throughout the weave and the warp every alter¬ nate end is drawn through the same harness. The harness draft is simply a draft showing the person (b) who draws in the warp FlG - 6 ends through which har¬ ness each end of the warp is to be drawn, being so constructed that ends having the same interlacings are drawn on the same harness. Harness drafts are generally constructed for only one repeat of the weave, since all other ends are drawn in similarly to the ends in that repeat. Consequently, in making out the harness draft for the plain weave only the first two ends need be shown; there¬ fore, the first two ends in the harness draft, Fig. 6 {b), show the manner of drawing in all the ends of the warp. 9. The derivation of the harness draft for the plain weave, although a typical example of the method employed with all weaves, is comparatively simple; hence, to illustrate further this method another example is given in Fig. 7, where (a) shows a weave and ( b ) shows the harness □□□□□□□□ □■■■□□■a BBBDDDBB BBDDOBOB BDOOBBOD □BBBDDBB □OBBBDBO □OOBBBOD BOOOBBDD BBOOOBO" BBBDDDBB DODD DBBB DDBB DDDB BDDD BBG'D 9BBD □DOB DDBB DBBB BBBD BBDD BDDD (a) DOOOO03OO OODOSOOD OOOfflOODO DDE1DDDQDD DEIDDDDDE] mODDDDDD DEDD DDED ODDS) DDDD DDDD DDDD ( 6 ) Fig. 7 2 Harness 1 '— „ §71 ELEMENTARY TEXTILE DESIGNING 11 draft. By noticing the weave it will be seen that the first 6 ends interlace with the filling differently; therefore, they must all be drawn through separate harnesses. This is done in the harness draft (b ), which shows the first end drawn through the first harness, the second end drawn through the second harness, the third end drawn through the third harness, and so on up to the sixth end, which is drawn through the sixth har¬ ness. The seventh end of the weave is like the third and can therefore be drawn through the same harness. One point to be noted is that in making out a harness draft each row of squares running across the paper represents a harness. Therefore, when making out a harness draft, as each end is indicated, the number showing through which harness it is to be drawn must be placed in the horizontal row of squares representing that harness. Thus in this case, the number 3, which shows that the seventh end is drawn through the third harness, is placed in a square that will represent the seventh end and also the third harness, as shown. Continuing with the ends in the weave, it will be seen that the eighth end is exactly like the second; therefore, it can be drawn through the same harness as the second end, or the second harness, as shown. The ninth end is exactly like the first end; there¬ fore, it is drawn through the same harness as the first end, which is the first harness. The tenth end is like the sixth, the eleventh like the fifth, and the twelfth like the fourth; there¬ fore, the tenth end is drawn through the same harness as the sixth end, which is the sixth harness, the eleventh end through the fifth harness, and the twelfth end through the fourth har¬ ness, as shown in the harness draft. CHAIN DRAFT 10. After the harness draft has been made to show the method of drawing in the warp ends, a plan must be made to show how, or in what order, the harnesses must be lifted so that the ends drawn through them will interlace with the fill¬ ing according to the desired weave, or in other words a plan showing which harnesses are to be raised and which lowered 12 ELEMENTARY TEXTILE DESIGNING §71 on each pick. This plan is known as the chain draft and is obtained from the weave and harness draft as follows: Refer¬ ring to Fig. 6, it will be seen that the first end has been drawn through the first harness and that all the ends working like the first end have been drawn through that harness; so that if the first harness is raised and lowered in the order indicated by the first end of the weave, all the ends drawn Jirough that harness will be raised and lowered in the same manner and will therefore interlace with the filling in the same way. The second end has been drawn through the second harness and also all the ends that work in a manner similar to the second; consequently, if the second harness is raised and lowered in the same order as that indicated by the second end of the weave, all the ends drawn through that harness will interlace with the filling in a similar manner. The marks and blanks on the first end of the weave, as shown in (a), Fig. 6, indicate the manner in which that end is to be raised or lowered; consequently, by raising the har¬ ness through which that end is drawn, or the first harness, in the same manner as the first end is raised, all the ends drawn through that harness will be raised and lowered in their proper order. The marks and blanks on the second end of the weave indicate the manner in which that end must be raised and lowered; consequently, by raising the harness through which that end is drawn, or the second harness, in the same manner as the second end is raised, all the ends drawn through that harness will be raised and lowered in their proper order. This includes all the ends in the warp that work differently, and consequently two harnesses are all that are necessary to produce this weave. The manner of lifting and lowering the harnesses, or in other words the chain draft, is indicated on design paper by means of blank and filled-in squares, each filled-in square indi¬ cating that a harness is raised, while each blank square shows that a harness is lowered. To make a chain draft from the weave and harness draft, commence with the first end and copy the interlacings of each end in one repeat of the weave that is drawn in through a separate harness as indicated by §71 ELEMENTARY TEXTILE DESIGNING 13 the harness draft, placing these interlacings of the ends in the same relative position that the harnesses through which they are drawn occupy. Fig. 4 shows one repeat of the weave shown by the diagram Fig. 1, and since the first end is drawn through the first har¬ ness, the interlacings of the first end must be copied to show the manner in which this harness should be raised and lowered. The second end is drawn through the second harness; therefore, to show the workings of this harness the interlacings of this end, as shown in Fig. 4, must be copied. When this has been done it will be noticed that the chain draft is similar to the weave as shown in Fig. 4; therefore, this figure can be used to indi¬ cate the chain draft as well as to show the weave. 11. To illustrate further the method of obtaining the chain draft from the weave and harness draft, a chain draft is made for the weave and harness draft shown in Fig. 7. In Fig. 8, (a) represents one repeat of the weave; ( b) shows the har¬ ness, or drawing-in, draft; and ( c) shows the chain draft. The significance of the rows of squares in each figure should be carefully noted. In (a), each vertical row of squares represents one end; each row of squares across the design paper, one pick; and each filled square, an end raised over a pick. In (b ), each vertical row of squares represents one end, the same as in (a), but each row of squares across the design paper represents one harness, and each number the harness through which that particular end is drawn. In (c ), each vertical row of squares represents the working of one harness, or in other words the order of raising and lowering the harness, while each row across the design paper represents one pick, or 92—5 mmmuiEEEiE) □□□□□□□□ □□bbbdbd EMMS! □□□□ □BBB □□BB □□□B Bnm □□BBBQBD □□□BBBDD BDCOBBm BBCODBDB BBBDD: BB BBDD BBBM □□□B □□BB □BBB BBBD BBDD Bonn ( a ) □□□□□ODD □□□□SOHO □□□ffiDDDD □□SODDED □EDDDDDE □□□□□□□□ □□□□□□ □□□□□@ □□□□@D □□□SOD □□□□ S □□□□ - BDDD BBDD BBBD □ BBB □ □BB □□□B □□□□ □□□□ □□□□ □□□□ BBBDDDBB BBC'CCBL'H BnmBBOC □□□BBBDD □□BBBDBD □BBBddBB □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ (c ) Fig. 8 14 ELEMENTARY TEXTILE DESIGNING §71 one bar of the chain that is placed on the loom to govern the operation of the harnesses. To make a chain draft from a weave it is simply necessary to copy the interlacings of those ends that are drawn on separate harnesses. Therefore, in order to ascertain the number of ends that any chain draft will require it is only necessary to find the number of harnesses that the drawing- in draft occupies. By referring to Fig. 8 (b), it will be seen that 6 harnesses are used, and thus only six vertical rows of squares, representing the 6 ends of the weave that have dif¬ ferent interlacings, will be required for the chain draft. In copying the interlacings of those ends that are drawn on separate harnesses, since the first end is drawn through the first harness, the first harness shown in ( c) is marked the same as the first end shown in (a). The second end is drawn through the second harness, and consequently the second harness shown in (c) is marked the same as the second end shown in (a). This method is continued with the first 6 ends, all of which are drawn through separate harnesses. The seventh end of the weave is drawn through the third harness, but since the working of this harness has already been set down, it must not be marked again. The same can be said of the rest of the ends, all of which work in a manner similar to some one of the first 6 ends. There¬ fore, the chain draft is complete as shown in ( c ). 12. The expression chain draft is derived from the harness chain used on a woolen or worsted loom, which con¬ sists of bars on which rollers, or risers , and washers, or sinkers , are placed, each bar selecting the harnesses to be raised for 1 pick. With most woolen and worsted looms a roller raises the harness and a sinker causes it to be low¬ ered; thus, wherever a mark is placed in a square of the chain draft, a riser is placed on the harness chain, which will cause that harness to be raised, and wherever a blank square is left in the chain draft, a sinker is placed on the harness chain, which will cause that harness to remain down. The construction of some woolen and worsted looms is such that §71 ELEMENTARY TEXTILE DESIGNING 15 the reverse of this statement is true (namely, a roller on the harness chain lowers the harness, while a washer causes it to be raised), so that a mark on the chain draft indicates a washer on the harness chain and a blank square a roller. The term pegging- plan is also often used for chain draft, because the - pattern chain commonly used on a cotton dobby loom consists of wooden bars into which pegs are inserted. When a square is marked on the chain draft, a peg is inserted in the bar and the harness is raised; when the square is blank, the bar has no peg and the harness remains down. EXAMPLES FOR PRACTICE 1. Give the drawing-in draft for Fig. 9. 2. Give the chain draft for Fig. 9 to correspond with the drawing- in draft shown in answer to question 1. ■□■□■□□a □□■□HD ■■□BCD □■■S3 BO ■□Etnas □■□■□a (a) □□□□□□(ED □□□soman □□unsnan □!!)□□□□□□ □□□□□□□□ □□□□□□ [!□□□□□ □sauna □□snaD □□□□□□ Fig. 9 (5) Fig. 10 □■■■■□an ■□□□□BDB ■□□□□■□a ■□□□□■□a ■□□□ □ ■■■ naan □■■a »□□□□■□■ □BBaanan «□□□□■□■ □asaanan □BSSiaDHG □■Hannan □■■aanan ■□□□□ana BBIQ □□□■ aaan □□□■ □□□a □□□a □□□a aaan Fig. 11 3. Fig. 10 (a) and (b) shows a weave and drawing-in draft; give the chain draft to correspond with the drawing-in draft. 4. Give the drawing-in draft for the weave shown in Fig. 11 ; placing all ends that work alike on the same harness. 5. Give the chain draft for Fig. 11 to correspond with the drawing- in draft shown in answer to question 4. 16 ELEMENTARY TEXTILE DESIGNING 71 THE EFFECT OF THE WEAVE 13 . The weave, harness draft, and chain draft have thus far been explained in connection with specific cases, but these subjects will now be dealt with in a more general way. The weave may be said to influence the build of the fabric; for instance, if the interlacings of the different ends are not equally balanced, that is, if all the ends in one repeat of the weave do not interlace about the same number of times, it will be impossible to obtain a regular and uniform cloth. Fig. 12 shows a weave that will serve to illustrate this point. By examining this weave it will be noticed □ life that the first, second, seventh, and eighth ■■■■ ends make twelve interlacings, while the remaining ends make only four interla- □□□□ ei n & s i n on e repeat of the weave. A warp □□□□ en d is sa id to interlace, or to make one interlacing, each time that it passes through the cloth from the face to the back or from the back to the face; that is, an interlacing is made each time that the warp end is raised over, or depressed under, one or more picks. In the same way a pick is said to make an interlacing each time that it passes over or under one or more warp ends. Those ends and picks that make the greater number of interlacings will naturally be woven tighter than those that make fewer interlacings; therefore, with such a weave as is shown in Fig. 12 it is not possible to produce a level cloth. This weave is known as a honeycomb , and a level cloth is not desired but rather one with a honeycombed effect. The number of interlacings in a weave affects the length of warp required to weave a given length of cloth. For example, if cloths having the same number of picks per inch and the same counts of yarn were woven with the weaves shown in Figs. 3 and 5, the cloth made with the weave in Fig. 3 would require a longer warp than that woven with the weave shown in Fig. 5, if the same number of yards of each cloth were desired. This may be demonstrated by taking a ■□□□□□■□ □■□□□□□■ ■□□□□□■□ □■■■■■□■ ■□■■■■■□ □■■■■■□■ ■□■■■■■□ Fig.12 §71 ELEMENTARY TEXTILE DESIGNING 17 piece of thread and interlacing it two or three times between the fingers of one hand, having the thread pass over one finger, under the next, over the next, and so on, noting the length of thread that is taken up, and afterwards passing the thread back and forth again the same number of times but having it pass over two fingers and under two fingers, when the difference in the lengths required in the two operations may be noticed. It will be found that the length of the thread increases with the interlacings. It is exactly the same principle that necessitates a longer warp when there are more interlacings of the ends and picks. The interlacings also affect the number of ends and picks that can be placed in 1 inch of the cloth; the general rule being that the greater the number of interlacings, the smaller is the number of ends or picks that can be crowded together. The weave also affects the appearance of the cloth, since it is possible to produce a great many patterns in woven fabrics by simply changing the method of interlacing the warp and filling, no variety of colors or yarns being needed. Again, a weave may be used in a figured design that will influence the development of the details of the pattern; for instance, it may be desired to have a certain effect or to bring certain colors to the face of the cloth in some parts of the design. _ STANDARD TYPES OF HARNESS DRAFTS 14. Straight Drafts. —The simplest method of drawing the warp ends through the harnesses is that employed with the plain weave. As previously explained, in this weave there are only 2 ends in one repeat of the weave and they are drawn through 2 harnesses, first an end through one harness and then the next end through the other harness, and so on. This method of drawing in the warp ends is a standard method and is known as the straight draft. A straight draft is not confined to 2 harnesses, but may be defined as a draft in which the ends are drawn through the harnesses in regular order from front to back. To illustrate this, suppose that a weave occupied 10 harnesses instead of 2 harnesses and that the 18 ELEMENTARY TEXTILE DESIGNING §71 ends were drawn straight from the front harness to the back harness. Then the first end would be drawn through the first harness, the second end through the second harness, the third end through the third harness, and so on, ending with the tenth end, which would be drawn through the tenth har¬ ness. The draft would then commence another repeat with the first harness again, and the next, or eleventh, end would be drawn through that harness, the twelfth end would be drawn through the second harness, and so on. The harness draft is repeated in this manner until all the ends in the warp have been drawn in. It will be noted here that when the -- 7 'Z - 7 \/ ? 1 ^ / V 7 / S ^ Harness ^ tfo jra 2nd 1 s? 99 99 w J $1 Fig. 4 appeared still different. It is usually customary to arrange a combination weave of this character after the manner shown in Fig. 3 or in Fig. 4 (a). Designs are sometimes, however, arranged as shown in Fig. 4 ( b ) and (c ). By referring to Fig. 3, it will be seen that the first 12 ends of the cloth sample consist of the plain weave, which is complete on 2 ends and 2 picks. Consequently, when pick¬ ing out a weave of this kind it is only necessary to take out §72 ANALYSIS OF COTTON FABRICS 13 2 picks in order to learn the weave, after which it may be continued for as many ends and picks as may be desired by simply repeating the first 2 ends and picks. With weaves as simple as this it will be possible, after a little practice, to place the weave on the design paper by simply observing the cloth by means of the pick glass. After the first 12 ends, as shown in Fig. 3, a different weave is employed, and one repeat of this weave is complete on 5 ends, although the entire weave occupies 25 ends. This weave is known as a 5-end warp satin. One of these weaves, namely the plain weave, is complete on 2 ends and 2 picks, while the satin weave is complete on 5 ends and 5 picks. It might naturally be supposed that in order to show the complete weave only 5 picks would have to be taken out, but the two weaves must repeat together, and a plain weave cannot repeat on an odd number of picks. Consequently, while the satin weave would repeat on 5 picks, the plain weave would not. When two separate weaves are combined in a cloth similar to this one, the weave for the sample will not repeat in its picks until it is continued for a number of picks that is a multiple of the numbers represent¬ ing the picks on which each weave is complete. Naturally, the least common multiple will give the number of picks on which the entire weave repeats. For example, the plain weave is complete on 2 picks and the satin weave on 5 picks. The least common multiple of 2 and 5 is 10. Therefore, the entire weave is complete on 10 picks. Another important point that can be illustrated from this sample is the matching up of two weaves when used in the same cloth. By again referring to Fig. 3 it will be noticed that the plain weave is finished on the twelfth end and the satin weave commences on the thirteenth end. In order to have the cloth show as neat an effect as possible, these two ends should cut, or oppose, each other; that is, where a square is marked on the twelfth end, the next square to it on the thir¬ teenth end should be left blank. By referring to Fig. 3 it will be seen that on the first pick the twelfth end is down, while the thirteenth end is up; thus they oppose each other. 14 ANALYSIS OF COTTON FABRICS 72 On the second pick the twelfth end is up and the thirteenth end down, thus causing the 2 ends to oppose each other. They also cut on the third pick, but on the fourth pick both ends are up and consequently do not cut. The effect at this point will not be as neat in the cloth as it is where the ends oppose. However, it is not possible to have a plain weave cut at every point when combined with a 5-end satin. When desiring to have two weaves cut, both places where the weaves join should be carefully noticed; thus, in Fig. 3 it will be seen that the two weaves not only join at the twelfth and thirteenth ends but also at the first and last, since in showing a second repeat of the entire weave, the first end would be brought next to the last end. All cloths are not made up of two or more weaves, as this is the exception rather than the rule, and generally a cloth will be found to be made from but one weave repeated a number of times. HARNESS, OR DRAWING-IN, DRAFTS 12. It is comparatively easy to make the liai'ness draft from the weave, but regard should always be had to the best manner of weaving the cloth. Thus, by referring to Fig. 3, which is the weave of the cloth sample shown in Fig. 1, it will be seen that there are more than twice as many ends of the satin stripe as there are of the plain, and by examining Fig. 1 it will be noticed that these ends are cramped or crowded together. In such cases as this it is generally better to place these ends on the front harnesses. As the ends of the satin weave will take at least 5 harnesses, since there are 5 ends working differently, the ends forming the satin stripe, or the last 25 ends in Fig. 3, will therefore be placed on the 5 front harnesses. The reason for placing these ends on the front harnesses is that, as there are more of them, more of them are liable to break during weaving, and it is much easier for a weaver to draw a broken end through a front harness than through a back one. There is also not so much strain on the ends drawn through the front harnesses as there is on those drawn through the back; §72 ANALYSIS OF COTTON FABRICS 15 consequently, this lessens to a certain degree the liability of these ends breaking. The ends forming the plain weave will be drawn through the harnesses next to the five on which the ends forming the satin are drawn. The first 12 ends of Fig. 3 could be drawn through 2 harnesses, since they weave plain and every other end works alike, but it will no doubt be found better to draw the ends through 4 harnesses instead of 2 harnesses, since by this means there will be fewer ends drawn through a harness, which will be found to be an advantage in many ways. This draft then will call for 9 harnesses—five for the satin ends and four for the plain. If the loom in which this cloth is to be woven cannot take this number of harnesses but can take seven, the weave must be drafted to 7 harnesses, which is the smallest number on which it is possible for it to be woven. In many cases there will be found circumstances that will influence the number of harnesses on which to draft a weave. Some of these have been pointed out but many others will be met with in practice; consequently, a student of designing should be constantly looking for new information, especially in a weave room where there is an opportunity for examining a sample of cloth and finding the lowest number of harnesses on which it can be woven and also the actual number of harnesses on which it is being made. If more harnesses are being used than the lowest possible number, the reason should be learned; or on the other hand, if the weave is drafted to the lowest number of harnesses, the reason that extra harnesses are not necessary should be ascertained. It should be stated here that with many weaves it will not be possible to learn the exact number of harnesses that it will take by simply glancing at the pick-out, but it will be neces¬ sary to study the interlacings of each end separately and Isarn if it is similar to any other end in the weave. 13. Beginning with the first end of the pick-out as shown in Fig. 3, this end will be drawn through the sixth harness, the second end through the seventh harness, the third end through the eighth harness, the fourth end through the 92—7 16 ANALYSIS OF COTTON FABRICS §72 ninth harness, and then the ends will commence to repeat; that is, the next end will be drawn through the sixth harness; and so on for the first 12 ends. Commencing next with the thirteenth end, or the first end of the satin weave, this end will be drawn through the first harness, the fourteenth end through the second harness, the fifteenth end through the third harness, the sixteenth end through the fourth harness, and the seventeenth end through the fifth harness. At this point the ends will begin to repeat; that is, the eighteenth end will be drawn through the first harness, and so on. Fig. 5 shows the harness draft complete. In Cotton Cloth Calcula¬ tions it was shown that this cloth contains eighty-eight pat¬ terns and 8 ends over, and since the draft shown in Fig. 5 shows how the ends in only one repeat are drawn in, it must be repeated eighty-eight times in order to draw in all the □□□anno® □□□HODDD □□□□□□□□ □□□□□□□□ □□□□□ □□□□□□BD □□□□□□□□ □□□□□□BD □□□□□□□a □□□□□□□□ [$□□□□□□□ □□□□□□□□ □□□□□□□IS □□□□□□mo □□□□□HOD □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ ©□□□□isdd □□□□!£□□□ □□□&□□□□ □□eddddiii □□□□□□no □□□□□□□□ □□□□□□□□ □□□□□□□□ □□tSDDDDIS □SODDDSID BODDDSIDD □□□□(!]□□□ □□□□□□□□ □□□□□ □□□□□ □□□□□ □□□□IS □□□SO □□($□□ □eddd □□□□□ Fig. 5 ends in the warp. The 8 extra ends are to be used for the plain; therefore, the person drawing in the warp will finish by drawing in 8 ends of plain after finishing drawing in the eighty-eight repeats. By referring to Fig. 5, it will be seen that if, after one repeat has been drawn in, the first end of the second repeat is drawn through the sixth harness, this will bring the same number of ends on each of the last four harnesses. But for the purpose of illustration suppose that there are only 10 ends of plain; then the last end of plain, as shown in the drawing- in draft, will be drawn through the seventh harness, and if the first end of the second repeat is drawn through the sixth harness, this will bring more ends on the sixth and seventh harnesses than on the eighth and ninth. Consequently, the person drawing in the warp can begin the first end of plain in the second repeat on the eighth harness instead of the sixth. §72 ANALYSIS OF COTTON FABRICS 17 This will give the same effect in the cloth, since the sixth and eighth and the seventh and ninth harnesses work alike; it will also give the same number of ends on each harness. 14. It is always advisable when making out a harness draft first to make it out in such a manner that it will be as nearly a straight draw as possible; this is a great aid to the weaver when drawing in broken ends. Second, as nearly as possible the same number of ends should be placed on each harness; this is a great aid to the good running of the loom. Third, if it is necessary to have more ends on certain harnesses than on others, those harnesses with the most ends should be placed at the front of the loom, unless there is a good reason for not doing so. CHAIN DRAFT 15. Since the eliain draft is obtained from the pick-out and the harness draft, it is necessary to have these two items before this draft can be obtained. By referring to Fig. 5, which shows the harness draft, it will be seen that the first end is drawn through the sixth harness; therefore, the inter¬ lacings of the first end, as shown in the pick-out, must be the workings of the sixth harness; or in other words, the inter¬ lacings of the first end, as shown in the pick-out, give the manner of raising and lowering the sixth harness. The second end is drawn through the seventh harness; therefore, the inter¬ lacings of the second end, as shown in the pick-out, give the manner of raising and lowering the seventh harness. The third end is drawn through the eighth harness, and conse¬ quently the eighth harness will be raised and lowered as indicated by the third end of the pick-out. The fourth end is drawn through the ninth harness, and the operation of this harness, as shown in the chain draft, will be the same as the fourth end shown in the pick-out. The fifth end is drawn through the sixth harness, but since the working of this har¬ ness has already been obtained nothing more needs to be done with this. The same is true of all the ends until the thirteenth 18 ANALYSIS OF COTTON FABRICS §72 is reached, which is drawn through the first harness; conse¬ quently, the interlacing of the thirteenth end, as shown in the pick-out, will give the workings of the first harness. For the same reason, the sec¬ ond harness will work like the fourteenth end of the pick-out; the third harness will work like the fifteenth end of the pick-out; the fourth harness, like the sixteenth end; and the fifth harness, like the seventeenth end. This will complete the chain draft, since the manner of raising and lowering all the harnesses has been learned. Fig. 6 shows the completed chain draft made from the harness draft, Fig. 5, and the pick-out, Fig. 3. fl □ B □■■■■■□■ 1 1 ■■□■■□an B BBBBDBDB 1 1 BDBBBDBD B BBBDBBOB 1 J □BBBBDBD B BBDBBBDB □ Fig. 6 ADDITIONAL POINTS TO BE DETERMINED BY ' ANALYSIS 16 . In addition to the requirements listed in Art. 2 , there are several items that must in most cases be deter¬ mined when analyzing a fabric. Some of these items are unnecessary in themselves, but must be ascertained in order that still others may be accurately found. These items are as follows: (1) determination of face and back of fabric; (2) determination of warp and filling; (3) determination of the direction of twist in warp and filling; (4) finding the percentage of contraction in the length of the warp during weaving; (5) the number of beams necessary for the warp yarn; (6) the raw material. DETERMINATION OF FACE OF FABRIC 17 . As previously explained, when desiring to find the pick-out of a sample of cloth it is always necessary first to determine which is the face and which is the back, in order that the results obtained may be accurate for reproducing the cloth. In most fabrics this is easily done, although some cloths baffle the most experienced designer. The face of a cotton 72 ANALYSIS OF COTTON FABRICS 19 fabric will sometimes show a much clearer and better pattern than the back. By noticing the cloth sample that has been dealt with, it will be seen that the satin stripe on one side of the cloth shows up much more prominently than it does on the other side. The side that shows the design more promi¬ nently is the face. When the fabric is a backed or double cloth, the face can be readily distinguished from the back by means of the style of the cloth or the finish. When dealing with warp-backed fabrics, the face can be readily distin¬ guished from the back, since in this case there will be ends floating for some distance at the back. In a filling-backed fabric, the backing filling floats on the back of the cloth and is generally a soft-twisted yarn in order to give bulk to the cloth. DETERMINATION OF WARP 18. There are several methods by which the warp may be distinguished from the filling. If the sample submitted for analysis contains a part of the selvage, the warp can be readily distinguished from the filling, since the selvage ends always run in the direction of the warp. In many cases the body of the cloth will be found to be woven from single yarn, while the selvage is woven from 2-ply, or double, yarn. If the yarns in one system are harder twisted, or have more turns of twist per inch, than those in the other, the harder- twisted yarns are generally the warp yarns. If the sample of cloth has what is called a face finish, or nap, the direction of the nap indicates the warp, since these cloths have passed through the machine in the direction of the warp. The counts, or numbers, of the yarn used in each system will often assist in indicating which is the warp and which is the filling, since in many cases the warp yarns are of coarser counts than the filling. If in any case one series of yarn is of different materials, such as cotton and wool or cotton and silk, while the other series of yarn is of one system, the series of yarn that is composed of different systems is gen¬ erally the warp yarn, although this is not an invariable rule. If one system of yarns has been sized and the other has 20 ANALYSIS OF COTTON FABRICS §72 not, the former is the warp. This is difficult to determine after the cloth has been finished, but is a good test for brown —i. e., unbleached—cotton goods. If the sample contains reed marks, they will indicate the warp, since they always run warp-way. These marks are caused by the reed wires getting out of place, thereby crowding some of the ends near them and allowing others too much space. In any fabric of a striped character, or in a checked effect in which one direc¬ tion of the lines is prominent compared with the other, the direction of the stripes or the prominent lines in the check usually indicate the direction of the warp. The twill, if the design is a twill, generally runs up diagonally from the left to the right, so that if the face of the cloth is ascertained it will be readily seen which is warp and which is filling. If one series of yarns is ply and the other single, the ply yarns are generally the warp. In samples of cloth similar to that con¬ sidered x'n this Section, the stripes always run warp-way. DETERMINATION OF TWIST 19. By the term twist of yarn is meant both the direc¬ tion of the twist and also the amount of twist; that is, the number of turns of twist per inch placed in the yarn. The direction of the twist of the yarns in a cloth becomes an important matter when reproducing cloth, since a different effect will sometimes be produced by simply changing the twist in either the warp or filling. Yarns may be twisted in one of two directions, which are technically known as right twist and left twist. There is considerable difference of opinion as to what constitutes a right-twist or a left-twist yarn, as some mills consider as right-twist what other mills consider left-twist yarn. However, the character of the yarns to which these names are most commonly applied will be explained here. By holding the yarn between the thumb and forefinger of each hand, the direction of the twist may be learned. If when turning the yarn from the body with the right hand it is twisted harder, it is left-twist; but if the yarn is untwisted §72 ANALYSIS OF COTTON FABRICS 21 when turned in this manner, it is right-twist. Another method of determining the twist of the yarn is to observe which way the twist marks on the surface of the thread are inclined when the thread is held upright. If they slant up to the left, the yarn is left-twist; if up to the right, it is right-twist. This is the method adopted with screws for determining the twist of the screw thread. Fig. 7 represents a yarn that would be known as a right-twist yarn, while Fig. 8 illus¬ trates a left-twist yarn. By closely examining the warp yarns in the sample, it will be seen that they are right-twist. As previously stated, twist also refers to the I Fig. 18 (<7); the warprflush crow , Fig. 18 (). This leaves two blank spaces, as shown, in which any desired weave may be inserted, thus pro¬ ducing a fancy entwining twill, as shown in Fig. 42 (c), where the inserted weave is indicated by the shaded risers. CURVED TWILLS 16. Curved twills are those in which the twill lines have a wavy, or curved, nature instead of being perfectly straight as in an ordinary twill weave. There are two methods of constructing these weaves, although the results are very similar in either case. The first method consists of amalgamating several sections of twill weaves running at different angles, while by the second method the curved effect is obtained with a regular twill weave for a chain draft and a drawing-in draft so arranged as to produce the desired effect. Fig. 43 shows several repeats of a curved twill constructed in accordance with the first method. This weave repeats on 32 ends and 8 picks and is composed of four sections of 8 ends each; the first sec¬ tion is the regular 8-end 45° twill ^r; the second section is a twill having an angle of 63°; the third section is a twill with an angle of 72°; and the fourth section is like the second. It will be noticed that each end of the weave interlaces in the same manner as some one of the first 8 ends; therefore, the weave may be woven with 8 harnesses and the first 8 ends as a chain draft if the proper drawing-in draft is used; this shows that the second method of constructing curved twills is really based on the first. Fig. 44 (a) shows several repeats of a curved twill con¬ structed by the second method with the chain draft shown in §75 TWILL WEAVES AND DERIVATIVES 25 □□□□■■■a ■■□□□□■a □□□□BBBB □□BBDDBB □□BBDDBB □BBDDBBD □BBDDBBD BBDDBBDD BBDDBBDD BDDBBDDB iRDDBRDDR BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB □□BBDDBB □□BBDDBB □BBDDBBD □BBDDBBD BBDDBBDD BBDDBBDD BDDBBDDB BDDBBDDB □DHDHBDH □HHDBDDB □BDDBDBB □HDHBDBD HHDHDDHD BDDBOBBD BDBBDBDD RDHDDHDH RBBDDDDB □□BBBBDD BDDDDBBB BBBBDDDD □□DBBBBD BBDDDDBB □BBBBDDD □□□□BBBB BBBDDDDB □□BBBBDD BDDDDBBB BBBBDDDD □□DBBBBD BBDDDDBB □BBBBDDD □□□□BBBB BBBDDDDB □□BBBBDD BDDDDBBB BBBBDDDD □□DBBBBD BBDDDDBB □BBBBDDD □DDDBBBB □□BBDDBB □□BBDDBB □HHDDHRD □BBQDBBD BBDDBBDD BBDDBBDD RDDRRDDR BDDBBDDB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD □DDDBBBB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD □DDDBBBB BBDDDDBB BBBBDDDD □□BBBBDD □DDDBBBB ■□□□□■BB BBDDDDBB BBBDDDDB BBBBDDDD □BBBBDDD □□BBBBDD □□DBBBBD □□□□BBBB BDDDDBBB BBDDDDBB BBBDDDDB BBBBDDDD □BBBBDDD □□BBBBDD □□DBBBBD □□□□BBBB BDDDDBBB BBDDDDBB BBBDDDDB BBBBDDDD □BBBBDDD □□BBBBDD □□DBBBBD □□□□BBBB BDDDDBBB BBDDDDBB BBBDDDDB BBBBDDDD □BBBBDDD □□BBBBDD □□DBBBBD □□□□BBBB BBDDDDBB BBBBDQnn □□BBBBDD □□□□BBBB BBDDDDBB BBBBQDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD □DDDBBBB BBDDDDBB BBBBDDDD □□BBBBDD □DDDBBBB BBDDDDBB BBBBDDDD □□BBBBDD □DDDBBBB BBDDDDBB BBBBDDDD □□BBBBDD □DDDBBBB BBBDDDDB □□BBBBDD ■□□□□BBB bhbbdddd □□□BBBBG BBDDDDBB □BBBBDDD □□□□BBBB BBBDDDDB □□BBBBDD BDDDDBBB BBBBDDDD □□DBBBBD BBDDDDBB □BBBBDDD □□□□BBBB BBBDDDDB □□BBBBDD BDDDDBBB BBBBDDDD □□DBBBBD BBDDDDBB □BBBBDDD □DDDBBBB BBBDDDDB □□BBBBDD BDDDDBBB BBBBDDDD □□DBBBBD BBDDDDBB □BBBBDDD □DDDBBBB HHDDDDHH BBBBQQQQ □□BBBBDD □□□□BBBB BBQQDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD □DDDBBBB BBDDDDBB BBBBDDDD □DRBBBDD □DDDBBBB BBDDDDBB BBBBDDDD □□BBBBDD □□□□BBBB BBDDDDBB BBBBDDDD □□BBBBDD □DDDBBBB BDDDDBBB BBDDDDBB BBBDDDrjB BBBBDDDD □BBBBQDD □□BBBBDD □□DBBBBD □□□□BBBB BDDDDBBB BBDDDDBB BBBDDDDB BBBBDDDD □BBBBDDD □□BBBBDD □□DBBBBD □□□□BBBB BDDDDBBB BBDDDDBB BBBDDDDB BBBBDDDD □BBBBDDD □□BBBBDD □□DBBBBD □DDDBBBB BDDDDBBB BBDDDDBB BBBDDDDB BBBBDDDD □BBBBDDD □□BBBBDD □□DBBBBD □DDDBBBB 92—11 1st section 2d section 3d section 4th section 26 TWILL WEAVES AND DERIVATIVES §75 Fig. 44 ( b ) and the drawing-in draft Fig. 44 ( c ). The first end of the effect in Fig. 44 (a) is like the first end of Fig. 44 (b); the second end is like the fourth end; the third, □■■■□■□a □□■□■□■a ■□■□■□BB BBBBDBBD □BDBDBBD □BDDBBDB BDDBDDBB □DBDDBBB □BBDBBBD BBDBBBDD BDDBBBDB □DBBBDBB BDDDBBBD □DBBBDDD □BBBDDDB BBDDDBBB BDDDBBBB □DBBBBBB □DBBBBBB BBBBBBDD BBBBBDDD BBBDDDBB BBDDDBBB □DDBBBDD □DBDDBBB □BBDBBBD BBDBBBDD BDDBBBDB □DBBBDBB □BBBDDBD DBDBB BDBBG BDBBD □BBDB □BBDB BBDBD BBBDBBDB BDBBBDBD BDDBBDBD BBDBDBDB □BBBDBDB □DBDBDBB BDBDBDBB BBBBDBBD □BBBDDBD BBBDDBDD BBBDBBDB BBDBBDBB BDDBDDBB □DBDDBBB DBBDBBBD BBDBBBDD □BBBBBBD BBBBBDDD BBBBDDDB BBDDDBBB BDDDBBBD □DBBBDDD □BBBDDDB BBDDDBBB □DBBBDDD BBBDDDBB BBDDDBBB □DDBBBBB □DBBBBBB BBBBBBDD BBBBBDDD BBBDDDBB BBBDDBDD BBBDBBDB BBDBBDBB BDDBDDBB □DBDDBBB □BBDBBBD BBDBBBDD BDDBBBDB BBDBD BDBDB BDBDB DBDBB DBDBB BDBBD BDBBD □BBDB □BDBDBBD □BDDBBDB BBBDBBDB BDBBBDBD BDDBBDBD BBDBDBDB □BBBDBDB □□BDBDBB BDDBBBDB □DBBBDBB □BBBDDBD BBBDDBDD BBBDBBDB BBDBBDBB BDDBDDBB □DBDDBBB BDDDBBBB □DBBBBBB □BBBBBBD BBBBBDDD BBBBDDDB BBDDDBBB BDDDBBBD □DBBBDDD BBDDDBBB □DDBBBDD □DBBBDDD BBBDDDBB BBDDDBBB □DDBBBBB □DBBBBBB BBBBBBDD □DBBBDBB □BBBDDBD BBBDDBDD BBBDBBDB BBDBBDBB BDDBDDBB □DBDDBBB □BBDBBBD □BBDB BBDBD BBDBD BDBDB BDBDB DBDBB DBDBB BDBBD BDBDBDBB BBBBDBBD □BDBDBBD □BDDBBDB BBBDBBDB BDBBBDBD BDDBBDBD BBDBDBDB □BBDBBBD BBDBBBDD BDDBBBDB □DBBBDBB □BBBDDBD BBBDDBDD BBBDBBDB BBDBBDBB □BBBDDDB BBDDDBBB BDDDBBBB □DBBBBBB □BBBBBBD BBBBBDDD BBBBDDDB BBDDDBBB BBBBBDDD BBBDDDBB BBDDDBBB □DDBBBDD □DBBBDDD BBBDDDBB BBDDDBBB □DDBBBBB BBDBBBDD BDDBBBDB □DBBBDBB □BBBDDBD BBBDDBDD BBBDBBDB BBDBBDBB BDDBDDBB BDBBD □BBDB □BBDB BBDBD BBDBD BDBDB BDBDB DBDBB (a) □DDMDDDD □□□□□□□□ !□□□□□□□ □□□□□□□HI UDDDDDDD □□□□□□□□ □□□□□□nil □□□□□(HDD □DDDDDDD □□□DU □□□□□ □□□□□□□m □DDDDDDD □□□□□DIED □□□□□□□□ DffiDDDSlDD □□□□□□□□ □DDDEIDDD DDDDDDDD □□□□□DUD □□□□□□□□ □DDDDEDD □DDDEDDD □DDS1DDDD □□□□□□□□ □DHDDDDD □DDDDDDD □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□IS □DDDDISIIID □DDD31DDD □DEE1DDDD □DDDDDDD □DDfflffiDDD □DSDDDDD UDDDDDDD □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD □DDDDDDD (UDDDDDDD □□□SID □□□□□ □DtSDD □□□□□ DI31DDD □□□□□ DDDDD □□□□□ M Fig.44 like the seventh; the fourth, like the tenth; and so on, each end of Fig. 44 (b) being taken in the order indicated by the drawing-in draft in Fig. 44 (c). §75 TWILL WEAVES AND DERIVATIVES 27 SKIP TWILLS 17 . Skip twills are a type of broken twill effects formed by a skip drawing-in draft and a regular twill weave as a chain draft. The drawing-in draft is made so that the ends are drawn in straight for a certain number of harnesses; a number of harnesses are then missed; and afterwards the ends are again drawn in straight. The draft is so con¬ structed that when the harnesses are skipped, the end in the harness just before the skip will rise and fall exactly oppo¬ site to the next end; by this means a broken effect is formed in the cloth. In Fig. 45 (a) is shown a skip twill that is made with the 6-end regular twill Fig. 45 (c), as a chain draft and the skip draw¬ ing-in draft shown in Fig. 45 (5). In this draft the first 3 ends are drawn straight; then 2 harnesses are skipped; 3 more ends are then drawn straight, and so on until a repeat is found. In this weave the fourth end rises and falls exactly opposite to the third end. This is accom¬ plished by means of drawing the fourth end through the sixth harness instead of the fourth, as would be done with a straight draft. The seventh end rises and falls exactly opposite to the sixth, the tenth end opposes the ninth in the same manner, and so on until the eighteenth end is reached, which rises and falls exactly opposite to the first end. One end rising and falling in opposition to another in this man¬ ner is termed cutting. Skip twills are best constructed from equally flushed twills. IDl □ □□ □□ □□□@□□□10 □□□□□□HD □□□□□□□□ □□(!]□□□□□ □mnnniuDD mOOQEQQP (a) □□□(£)□□□□ □□mtzomsn □fflDDDfflDD □□□□□□□12 □□□□□□□□ □□ □□ □ffl an □□ □□ (6) □□□■■■ □□■■■□ □■■■□□ ■■■□□□ ■■□□□■ ■□□□■■ (c) Fig.45 28 TWILL WEAVES AND DERIVATIVES §75 POINTED TWITES 18 . Another class of twill weaves obtained by means of the harness draft includes those weaves obtained by point drafts, which form wave effects across the cloth known as pointed twills. These effects are also frequently spoken of as herring bones , or herring-bone stripes , because the radiating twill lines suggest the radiating bones of a fish’s backbone. Suppose that it is desired to make a pointed, or wave, effect with the 45° twill shown in Fig. 46 (a) as the chain draft; Fig. 46 (b) shows the harness draft that will be used, while Fig. 46 (e) shows the effect obtained in (a) □□□□□□BID □□□□□HDD □□□unman msnmm □(!)□□□□□□ □□□□□□□a □□□□□□ □□□□□□ □Emm mrnnm □□□man □□□□so □□□□□(2 □□□□□□ ( 6 ) ■□□■□□□■ □□■□□□■■ □■□□□■■a ■□□□■■□□ □□□■■□□■ □□■■□□■a □■■□□■□a ■■□□■□□□ □□□■□□ ■□□□■□ ■■□□□■ □■■□□□ □□■■□□ ■□□■■□ □■□□■■ □□■□□■ One important point in connection with point drafts is that they always end on the second harness and not on the first, that is, assuming that the draft begins on the first harness. For in¬ stance, in Fig. 46 (b), the ends are drawn straight for the first 8 harnesses, when they are (c) Fig.46 reversed, commencing with the seventh harness; when the harness draft reaches the second harness after being reversed, one repeat of the draft is obtained. If the last end of the draft were drawn through the first harness, the first and last ends of each repeat would work exactly alike, which would give in the cloth 2 ends side by side working alike. This would cause a serious defect in the fabric. If the weave shown in Fig. 46 (e) is repeated two or □□□□□□□El □□□□□□□□ □□□□□Em □□□□moan □□□(!)□□□□ □□soman □mamma □□□□□□□a □□□□□mm □□□□□□HD □□□□□mm □mamma □□□soma msnmm □mmmm □□□□□□□□ □□□□□□ mamm □manna □□mom □□□mm □□□□so □mmm □□□□□□ (a) ■□□■□□□■ □□■□□□■■ □■□□□■■□ ■□□□■■□□ □□□■■□□■ □□■■□□■a □■■□□■□□ ■■□□■□□□ ■□□■□□□■ □□■□□□■■ □■□□□■■a ■□□□■■□a □□□■■□□■ □□■■□□■□ □■■□□■□a ■■□□■□□□ □□■□□□■■ □■□□□■■a ■□□□■■□□ □□□■■□□■ □□■■□□■□ □■■□□■□□ W Fig. 47 75 TWILL WEAVES AND DERIVATIVES 29 three times in both ends and picks, a better idea of the waves formed by these weaves will be obtained. Many good effects can be obtained by this method by changing the harness draft and using the same chain draft. Thus, instead of using a regular point draft like that shown in Fig. 46 ( b ), a draft like that shown in Fig. 47 (a) may be used; the effect, or weave, in this case, will be similar to that shown in Fig. 47 (b ). 19 . The point twills thus far described will make waves across, or widthwise of, the cloth. The same effects, however, may be made to extend lengthwise of the cloth by simply reversing the chain draft in the same manner that the harness draft was reversed when making waves across the cloth. Suppose that it is desired to make a chain draft that will give a wave running lengthwise of the cloth from the twill shown in Fig. 48 (< 2 ). It is simply neces¬ sary to make a chain draft that will have the first 12 picks similar to Fig. 48 (a) and the remaining picks made by reversing these first 12 picks; that is, the thirteenth pick will be like the eleventh; the four¬ teenth, like the tenth; the fifteenth, like the ninth; the sixteenth, like the eighth; the seventeenth, like the seventh; the eighteenth, like the sixth; the nineteenth, like the fifth; the twentieth, like the fourth; the twenty-first, like the third; and the twenty-second, like the second. Here the chain draft will stop, in order to avoid having the first and last picks alike, on the same principle that the harness drafts of weaves making waves across the cloth stop on the second harness. Fig. 48 (b) shows the chain draft to give the wave lengthwise of the cloth; the har¬ ness draft will be a 12-harness straight draft. BDDDBBDD BDDB □DIB □BBD BBDD ■■□□■□□a ■□□■□□■a □dbbdddb □BBDDDBB BBDDDBBD BDDD □DDB □DBA □BBD BBDD BDDB □DBD □BDD (a) □BBDDDBB □DBBDDDB BDDBBDDD □BDDBBDD □DBDDBBD BDDBDDBB □DBD BDDB BBDD □BBD □DBB □DDB HHDDBDDB □BBDDBDD □□■■□□ID □□□■■□□I BDDDBBDD □□□■■□□I □DBBDDBD □BBDDBDD BDDD BBDD □BBD □DBA BDDB □DBB □BBD BBDD BDDBDDBB BBDDBDDH □BBDDBDD DDBBDDBD □DDBBDDB BOODBBDD IBDDDBBD □BBDDDBB BDDD □DDB □DBB □BBD BBDD BDDB □DBD □BDD W Fig. 48 30 TWILL WEAVES AND DERIVATIVES §75 DIAMOND WEAVES 20. By reversing both the harness and chain drafts of any regular twill, another class of weaves that is very largely used, and known as diamond weaves from the effects formed in the cloth, will result. Fig. 49 (a) shows a regular twill from which it is desired to construct a diamond weave. First build the chain draft by reversing the picks exactly as when forming waves lengthwise of the cloth. For the purpose of illustration, however, the picks will be reversed from the first pick, instead of from the last as in the previous illustration. It should be under¬ stood that in either case the weave will be the same. Fig. 49 ( b) shows Fig. 49 (a) reversed in this manner. Fig. 49 ( b ) should be considered as the chain draft of the desired weave, while the drawing-in draft will be a regular point draft made on the same principle as the drawing-in drafts for the regular weaves that were made into waves extending across the cloth. The chain draft occupies 12 harnesses and consequently the draw¬ ing-in draft will be the 12-harness regular point draft. In other words, the ends will be drawn in the following order: 1, 2, 3, 4, 5, 6, 7, 8,9, 10, 11, 12, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2. It should be noticed that in this case, (c ) as well as in weaves form- Fig . 49 ing wave effects, the last ■□□■□□■a □□annaan annaannn aann □aan □□BB □□□a □□■■□□□a □BBDDDBB BBDDDBBD annnaann □□□Banna □naannan □aannann BBQDBnnB anna □□an □ana BlJIJB □□BB □aaa BBDia anna (a) annannaa □□annaan □annaann annaannn □□□B □□BB □aaa aaan □□aanana □Baannaa BB:'JlfJBBJ annnaann □□□aaaDB □□BBODBD □aannann aannanna BDDB □□an □am anna □□BB □ BBD ■■□□ anon annaannn □□Banana □BBDDDBB IBDDDBBD annnaann □□□Banna □naannan □aannann !□□aB□□B□| □aannann BaDDIDDB lannannaal □annaann □□aanaaa □aaa □□BB (£) annaanaa □□annaan □annaann annaannn □□□annna □□Baanan □ BBL jBBG'IJ Baannaan Banana aannan □aanna □naann □□naan annnaa aanana naanan anaana annaan naanaa □□BDDB □□Banana □BBDaaaa aananaan ananaanD □□□Banna □□aannaD □aannana aannanna annannaa □□aaaaDB □ananaan annannan □□BBBaaa □aanaana Baannaan aannanaa aaaaaana □□Banana □aaaaaBB aananaan aannaann □□□aanna □□aanaan □aannaanl Baannaan □aanaann □□BBBaaa annannaa □annoann □□ananaa annanaaB aananaan ananaanni aananaan □BBnnnaa □□aannna annaanna □annaanD □BDDBBDD □□aanaan □BBaaaaa □□aaaaan □aanna aanaan §75 TWILL WEAVES AND DERIVATIVES 31 pick joins perfectly with the first; also the last end with the first. In order to show the effect that will be formed in the cloth when using Fig. 49 ( b ) for the chain draft and draw¬ ing in the warp ends as described, the weave has been worked out and is shown in Fig. 49 ( c ). DIAGONAL WEAVES 21. Shaded Diagonals.—Diagonal weaves may be considered as a type of twill weaves, the term being gen¬ erally confined to bold twills running at angles greater than 45°, although often regular 45° twills are spoken of as diagonals; regular diagonals are generally formed by com¬ bining two regular 45° twills in their picks or ends. As the formation of other weaves by combining twills pick and pick or end and end has been fully explained, it will not be neces¬ sary to give further details of these weaves, but simply to state that all the examples under this method of forming weaves may be considered as diagonals. There is, however, a subdivision known as shaded diagonals, which are formed on a twill basis by taking as the base of the twill a different number of risers and sinkers in the different sections, grading from light to dark or from dark to light. For instance, suppose that a shaded diagonal is to be made from a regular 45° twill that is complete on 42 ends and 42 picks. Divide the first pick of the weave into six sections of 7 ends each. Then beginning with the first section leave only 1 end down; that is, this part would be marked S. In the next section leave 2 ends down, making this section S. Continuing in this manner, the next section will be -3-; the next section, Sr; the next section, S; while the last section will be marked S; therefore, the first, pick of this weave would be marked SSSSSS. It is next necessary to run up this twill in the regular 45° manner until it is complete; that is, until it occupies 42 ends and 42 picks. Fig. 50 (a) shows the complete weave. After the regular twill has been formed it is necessary to decide what angle the diagonal shall form. If it is to be 32 TWILL WEAVES AND DERIVATIVES §75 a 63° diagonal, every other end of the regular twill may be taken. If it is to form an angle of 72°, every third end of the regular twill will be taken, and so on. Suppose that in □c □c □c ■■ □c ■■■■■■□■ □□□■■■■a □□□□□□■a □dbddddd □□□□□■□□ □■■□□□□□ BBBBDDBB BDBBBBBD BBBBDBBB □BBBBBBD □□□□BBBB bddddddb BBDDDBBB □BBBBDDD BBDDBBBB BBBBBDDB BBDBBBBB BBBBBDBB DDDDBBDD BBBDDDDB DDDBBBDD BBBDDDBB □□BBBBDD BBBDDBBB □DDBDDDD BDDDDDBD □DBBDDDD BDDDDBBD DBBBDDDD BDDDBBBD ■■ □c ■H □H BB ■ ■ ■■ ■ ■ DDDDBBDD bbbddddb DDDBBBDD bbbdddbb □□BBBBDD BBBmaaa □BBBBBDD BBBDBBBE □DDBDDDD BDDDDDBD □dbbdddd BDDDDBBD dbbbdddd BDDDBBBD BBBB M B / BBBB' □DBBBBBB □□□□□BBB □BDDDDDD □□□□BDDD BBDDDDDB □□□BBDDD BBDDDDBB □DBBBDDD □BBBBBDD BBBDBBBB BBBBBBDB □□□BBBBB □□□□□□BB □DBDDDDD □□□□□BDD □BBDDDDD BBBBDDDB BDDBBBBD BBBBDDBB BDBBBBBD BBBBDBBB □BBBBBBD □□□□BBBB BDDDDDDB ■■ □ H BBBBDBBB BBBBBDBB BBDDBBBB BBBQQBBB □DDBBBDDIDDBBDDDD bdddbbbdIdddbbddd □BDDDDDD □DBDDDDD □□ □□ □□ □ □ □□ □□ BBBBBBDB □BBBBBBD □□flBBBBB □□□BBBBB □□□□BBBB □□□□□BBB □□□□□□BB BDDDDDDB BBBBDDBB BBBBBDDB □BBBBBDD BDBBBBBD BBDBBBBB BBBDBBBB BBBBDBBB BBBBBDBB BBDDDBBB DDDDBBDD BBBDDDBB BDDDDBBD bbbbdddbIbbddddbb □BBBBDDD BBBDDDDB □□BBBBDD DBBBDDDD BDDBBBBD DDBBBDDD BBDDBBBB DDDBBBDD BBBDDBBB] BDDDBBBD □DDBDDDD □□□□BDDD □□□□□BDD BDDDDDBD BBDDDDDB □BBDDDDD □DBBDDDD □□□BBDDD □□ □□ □□ ■■ □□ □□ □amoma □DBDDDDD □ddbdddd □□□□Bonn □□□□□BDD BDDDDDBD BBDDDDDB □BBDDDDD BBBBBBDB □BBBBBBD □DBBBBBB □□□BBBBB □□□□BBBB □□□□□BBB □□□□□□BB bddddddb BBBBDDBBIBBDDDBBB BBBBBDDB BBBDDDBB □BBBBBDD BBBBDDDB BDBBBBBD DBBBBDDD BBDBBBBB DDBBBBDD BBBDBBBB BDDBBBBD BBBBDBBB BBDDBBBB bbbbbdbbIbbbddbbb DDDDBBDD BDDDDBBD BBDDDDBB BBBDDDDB DBBBDDDD DDBBBDDD DDDBBBDD BDDDBBBD □□ ■ ■ ■■ □ □ □□ □DBBDDDD □□□BBDDD DDDDBBDD BDDDDBBD BBDDDDBB BBBDDDDB DBBBDDDD □□BBBana □BDDDDDD □DBDDDDD □ddbdddd □□□□BDDD □□□□□BDD BDDDDDBD BBDDDDDB □BBQDDDD BBBBB BDBIBBBBDDBB □BBBBBBD BBBBBDDB □DBBBBBB DBBBBBDD □□□BBBBB BDBBBBBD □□□□BBBB BBDBBBBB □□□□□BBB BBBDBBBB □□□□□□BB BBBBDBBB BDDDDDDBlBBBBBDBB BBDDDBBB BBBDDDBB BBBBDDDB □BBBBDDD □□BBBBDD BDDBBBBD BBDDBBBB BBBDDBBB ■■ ■ ■ ■ ■ □□ ■■ ■ ■ DDDBBBDD BDDDBBBD BBDDDBBB BBBDDDBB BBBBDDDB □BBBBDDD ODBBBBDD an: ibbbbd □□BBDDQD □□□BBDDD DDDDBBDD BDDDDBBD BBDDDDBB BBBDDDDB dbbbdddd DDBBBDDD □BDDDDDD □DBDDDDD □DDBDDDD □□□□BDDD □□□□□BDD BDDDDDBD BBDDDDDB □BBDDDDD BBBBBBDB □BBBBBBD □DBBBBBB □□□BBBBB □□□□BBBB □□□□□BBB □□□□□□BB BDDDDDDB BBBBDDBB BBBBBDDB □BBBBBDD BDBBBBBD BBDBBBBB BBBDBBBB BBBBDBBB BBBBBDBB ■■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ bbddbbbb ■BB BBB bbbbddbb BBBBBDDB □BBBBBDD BDBBBBBD BBDBBBBB BBBDBBBB □□□BBBDD BDDDBBBD BBDDDBBB BBBDDDBB bbbb: iddb □BBBBDDD □□BBBBDD b: T 'BBBB. ; □DBBDDDD □□□BBDDD DDDDBBDD BDDDDBBD BBDDDDBB BBBDDDDB DBBBDDDD DDBBBDDD □BDDDDDD □DBDDDDD □DDBDDDD □□□□BDDD □□□□□BDD BDDDDDBD BBDDDDDB □BBDDDDD BBBBBBDB □BBBBBBD □DBBBBBB □□□BBBBB □□□□BBBB □□□□□BBB □□□□□□BB BDDDDDDB this case it is desired to have the diagonal form an angle of 72°. Then every third end of the regular twill shown in Fig. 50 (a) will be taken. As 3 can divide evenly into 42, Fig. 75 TWILL WEAVES AND DERIVATIVES 33 the number of ends on which Fig. 50 ( a ) is complete, the diagonal is complete on 42 ■— 3, or 14, ends. Commencing then with the first end in Fig. 50 (a) and taking every third □□□ □□□ ■■□□□■■■ □□■■□□□■ □□□□■■□□ □□SiiBDI ■a :l asaa □■■■□□■a ■■■□□■■a □■■■■□□s ■■□■■■■□ □□□■■□□□ ■■□□□■an □■■■□□□a ■□□■■a □■■■■□ □■□□□□■■ □□□■□□□□ ■□□□□■□□ □■■□□□□■ □□□■■□□□ ■■□□□■■□ □■■■□□□■ ■□□■■■□□ □□□■■■□□ ■■□□□■■a □□■■□□□a □□□□■■□□ □■□□□□■a □□□■□□□□ ■□□□□HDD □■■□□□□a ■■■■□■■a □□■■■■□a ■■□□■■■a □■■■□□■a □□□■■■□□ ■■□□□■■a □□■■□□□a □□□□■■□□ ■□□■■■□□ ■■■□□■■a □■■■■□□a ■■□■■■■□ ■■■■□■■a □□■■■■□a ■■□□■■■a □■■■□□■a ■■■■□■ □□■■■■ □□■HDD □□□□■■ ■■■□□■■a □■■■■□□■ ■■□■■■BD ■■■■□■■■ □□■■■■□■ ■■□□■■■■ □■■■□□■a □□□■■■□□ □□□■■□□□ ■■□□□■■□ □■■■□□□a ■□□■■■□□ ■■■□□■■a □■■■■□□a ■■□■■■■□ ■■■■□■■■ □■□□□□■a □□□■□□□□ ■□□□□■□□ □■■□□□□a □□□■■□□□ ■■□□□■■□ □■■■□□□a ■□□■■■□□ □□□■■■□□ ■■□□□■■a □□■■□□□a □□□□■■□□ □■□□□□■a □□□■□□□□ ■□□□□■□□ □■■□□□□a ■□□□□■ □■□□□□ □□■□□□ □□□■□□ □□□□■□ ■□□□□■ ■□□□■■■□ ■■□□□aai □BBDDDBB □□aanana □□□■■□□□ □□□□■■□□ □■■■■□■a □□■■■■□a ■□□■■■■□ ■■□□■■■a ■■■□□■■a □■■■□□■a ■■□□■■an ■■■□□■■a ■■■■□□■a □■■■■□□a ■□■■■■□□ ■■□■■■■□ □□■■□□□□ □□□■■□□□ ■□□□■■□□ ■■□□□■■□ ■■■□□□■a □■■■□□□a ■■□□□□ □■■□□□ □□□■■□ ■□□□■■ ■■□□□■ ■■■□□□ □■■■□□ ■□□□□aan □■□□□□■a □□■□□□□a □□□■□□□□ □□□□■□□□ ■□□□□■□□ ■■□□□□an □■■□□□□a □□■■■□□a □□□■■■□□ ■□□□■■■□ ■■□□□■■a □■■□□□■a □□■■□□□a □□□■■□□□ □□□□■■□□ ■■■□■■■a aaaa aia □■■HBDBB □□BBBBDB ■□□■aaaa ■■□□■■■a ■■■□□■■a □■■■□□■a □□■■■□□□ ■□□■■■□□ ■■□□■■■□ ■■■□□■■a ■■■■□□■■ □■■■■□□a ■□■■&■□□ BHDaaaaD □□■■■□ ■□□■■■ ■■□□■■ ■■■□□■ ■■■■□□ □■■■■□ ■□■■■■ ■■□■■■ □□aamao □□□Banna ■□□□■■□□ ■■□□□■BD ■bb! :□..:■■ □■■■□□□H □□■■■□□a ■□□IBBDD ■□□□□■■□ □■□□□□■a □□■□□□□a □□□■□□□□ □□□□■□□□ ■□□□□■□□ ■■□□□□■□ □■■□□□□a □□■■■□□a □□□■■■□□ ■□□□■■■□ ■■□□□■■a □■■□□□■a □□■■□□□a □□□■■□□□ □□□□■■□□ ■■■□■■■a aaaaaaia □■■■■□■a □□■■■■□a ■□□■■■■□ ■■□□■■■a ■■■□□■■a □■■■□□■a ■■■□■■ ■■■■□■ □■■■■□ □□■■SI ■□□■■a ■■□□■■ ■■■□□■ □■■■□□ ■■□□■BID mmmaasmm aBBBDDBB □■■■■□□■ ■□■■■■□□ BBDBaBBD ■■■□■■■a ■■■■□■■a □□■■□□□□ □□□■■□□□ ■□□□■■□□ ■■□□□■■□ ■■■□□□■a □■■■□□□■ □□■■■□□□ ■□□■■■□□ ■□□□□■an □■□□□□■a □□■□□□□a □□□■□□□□ □□□□■□□□ ■□□□□■□□ ■■□□□□■□ □■■□□□□a □□■■■□□a □□□■■■□□ ■□□□■■■□ ■■□□□■■a □■■□□□■a □□■■□□□a □□□■■□□□ □□□□■■□□ □□□□■■□□ □□□■■□□□ □□■■□□□■ □■■□□□■■ ■■□□□■■■ ■□□□■■■□ □■■■■□■a □□■■■■□a ■□□■■■■□ ■■□□■■■a ■■■□□■■a □■■■□□■a □□■■■□□a □□□■■■□□ ■■□□■■■□ ■■■□□■■a ■■■■□□■a □■■■■□□a ■□■■■■□□ ■■□■■■■□ ■■■□■■■a ■■■■□■■a □□■■□□□□ □□□■■□□□ ■□□□■■□□ ■■□□□■an ■■■□□□■a □■■■□□□a □□■■■□□□ ■□□■■■□□ ■□□□□■■□ □■□□□□■a □□■□□□□a □□□■□□□□ □□□□■□□□ ■□□□□■□□ ■■□□□□■□ □■■□□□□a end of the weave, Fig. 50 (b) will result. Thus, the first end of Fig. 50 {b) is the first end of Fig. 50 (a); the second end of Fig. 50 (b) is the fourth end of Fig. 50 (a); the third 34 TWILL WEAVES AND DERIVATIVES §75 end of Fig. 50 ( b ) is the seventh end of Fig. 50 (a); and so on until every third end of the regular twill has been taken. Fig. 50 ( b ) will form a shaded effect in the cloth; that is, commencing with a certain part of the weave a large part of the warp will be found to float on the surface. The weave is then shaded gradually until a point is reached where the filling will be found to predominate largely on the surface. In many cases these diagonals are made to shade in both directions; that is, the warp floats will be found gradually to grow less until the filling predominates, when the weave will again be shaded until the warp predominates, instead of breaking off suddenly as in Fig. 50 {b). In making the regular twill weave for the base of a shaded diagonal, the most perfect results are obtained if the weave is equally flushed. In order to find this base, the following method is employed: Mark the numbers that indicate the number of warp ends to be lifted over the first pick, begin¬ ning with 1 and running up as high as desired, repeating the highest number and then grading down again but stopping with 2 instead of 1; thus, 1 - 2 - 3 - - 4 4 - 3 - 2 . Then put 1 to represent one end down between the two highest numbers and grade in each direction until the highest number is reached at each end; thus, This method makes a perfect, equally flushed weave, since the same number of warp ends are up as are down, and also where 4 warp ends are up in succession 1 end is down between them, and where 4 warp ends are down in succession 1 warp end is up between them. Fig. 51 (a) shows the regular twill weave formed in this manner with the base given, and Fig. 51 ( b ) shows a 63° diagonal derived by taking every other end in proper rotation. Shaded diagonal weaves are woven with a warp of one solid color and a filling of another solid color opposed to that of the warp, as for instance, a black warp and white filling, or vice versa; this brings out the shaded effect of the weave. §75 TWILL WEAVES AND DERIVATIVES 35 EXAMPLES FOR PRACTICE 1. Make a regular twill weave from the base 1 5 - 2 4 3 ^ 4 2 B 1 . 2. From the weave given in answer to question 1 construct a 72° shaded diagonal. 3. Extend the base of the twill given in question 1 and from the twill formed by this new base construct a 63° shaded diagonal that will be shaded in both directions. 4. Make an original diamond weave. SATIN AND OTHER WEAVES SATINS 1. Satin, or sateen, weaves constitute one of the most valuable classes of fundamental weaves, and are used in almost every branch of weaving and with yarns of every material. They are used in woolen cloths to produce doe¬ skins , in cotton cloths for the production of sateens and satineltes, and in silk goods for satins. One of the largest uses of satin weaves is in the production of linen damasks, in which warp-flush and filling-flush satins are combined to produce figured table cloths, napkins, etc. They are also largely used as ground weaves for spotted and figured cloths and are often combined to form check and stripe effects in various fabrics. 2. Comparison of Twills and Satins. —Satin weaves, in a certain sense, are the exact opposite of twills, since while it is the object of a twill weave to show a twill line running diagonally across the cloth, in the satin weave all twill lines are avoided as far as possible, although in some cases a slight twill effect is shown in a cloth woven with a satin weave, by means of the direction of the twist in the warp and filling yarns. Another of the principal features of a twill weave is the supporting of one end by another, but in a satin weave this is carefully avoided; that is, in a satin weave the interlacing of each end is at least 1 pick apart from the interlacing of either of the ends next to it. In a regular satin weave, each end interlaces with the filling only For notice oi copyright, see page immediately following the title page 276 2 SATIN AND OTHER WEAVES §76 once in one repeat of the weave. Fig. 1, which shows a 5-end warp-flush twill, and Fig. 2, which shows a 5-end warp-flush satin, illustrate these points. Although in the twill weave only one interlacing is made on each pick, the ends support each other, since on the first pick the first end is down and on each succeeding pick the next end is down, thus forming a twill line. With the satin weave, only 1 end is down on each pick, it being in this respect similar to the twill weave, but the interlacing of each end is at least 1 pick apart from the inter¬ lacing of either of the 2 ends next to it. Thus on the first pick, the first end is down; on the next pick, the fourth end is down; on the third pick, the second end is down; on the fourth pick, the fifth end is down; and on the fifth pick, the third end is down; consequently, the points of interlacing do not run up in regular order, as is the case in a regular twill weave, but are scattered over the weave. By this means the interlacings of the warp and filling are almost entirely hidden, while the cloth produced is smooth and soft, this being the object of the weave. ■■■■□ ■■■□■ □■■■■ ■■■■□ ■□■■■ ■■■□■ □■■■■ Fig. 1 Fig. 2 3. Base for Satin Weaves. —The order in which the ends are raised or lowered when forming a satin weave is generally indicated by a series of figures, in which each figure represents an end, while its position in the series indicates the pick on which it is moved. Thus, referring to the 5-end satin in Fig. 2, the ends would be said to be low¬ ered in 1,4, 2, 5, 3 order: 1 being the first number, shows that the first end is lowered on the first pick; 4 being the second number, shows that the fourth end is lowered on the second pick; 2 being the third number, shows that the second end is lowered on the third pick; 5 being the fourth number, shows that the fifth end is lowered on the fourth pick; and 3 being the fifth number, shows that the third end is lowered on the fifth pick. Considering the order of moving the ends, as shown in Fig. 2, on each successive pick, the third end (counting §76 SATIN AND OTHER WEAVES 3 from left to right) from the one previously lowered is down. Thus, on the first pick, the first end is down; on the second pick, the third end from that, or the fourth, is down; on the next pick, the third end from the fourth, or the second, is down; and so on for the 5 picks that complete one repeat of the weave. This is known as moving in threes; that is, 3 is taken as a base for constructing the weave. When deter¬ mining the base on which to construct a satin weave, any number may be taken that is neither a factor of the whole number of ends in one repeat nor a multiple of any such factor, exclusive of the number 1 and the number that is 1 less than the number of ends on which the satin under con¬ sideration is complete. Thus, in the case of the 5-end satin, 3 is a number that cannot be equally divided into 5, the number of ends in the repeat; neither can any number that is equally divisible into 5 be equally divided into 3. The number 2 could also be taken as the base for a 5-end satin, in which case the ends would be moved in the following order: 1, 3, 5, 2, 4. 4 . Warp- and Filling-Flusli Satins. —Satin weaves may be either warp-flusli or filling-flush; the former con¬ tains more warp yarn on the face, while the latter contains more filling on the face. Warp and filling satins, as shown on design paper, may be readily distinguished, for if there are more filled-in than blank squares, as in Fig. 2, the warp will predominate, since filled-in squares represent the warp ends lifted, and the weave will be a warp satin. In case there are more blank than filled-in squares, as in Fig. 3, the weave will be a filling satin, since the blanks represent filling over warp. When a satin is a warp satin, the ends are said to be lowered in a certain order, while with a filling satin the ends are said to be raised in a certain order. Thus, for example, in speaking of the weave in Fig. 2, the ends are said to be lowered in 1, 4, 2, 5, 3 order, while the ends of the filling satin shown in Fig. 3 a're said to be lifted in 1, 4, 2, 5, 3 order. □□□□■ □■□□□ □□□■□ ■□□□□ 4 SATIN AND OTHER WEAVES §76 Cloths with a satin weave are sometimes woven face down, in which case a warp satin has the ends raised according to the base of the satin, while a filling satin has the ends lowered according to the base. In this Course, however, cloth will always be considered as woven face up unless a definite statement to the contrary is made. A filling satin generally contains more picks per inch than ends, so that the ends that are raised over the picks are nearly covered, thus causing the cloth to have a very soft feel¬ ing. A similar effect is produced in a warp satin, which generally contains more warp ends per inch than picks, thus causing the warp ends to crowd over the picks that are raised. 5 . Six-End Satin. —The smallest number of ends on which a regular satin can be constructed is 5. It cannot be constructed on 6 ends, although in many cases a weave known as an irregular satin is made on 6 ends, the order of moving the harnesses being either 1, 3, 5, 2, 6, 4 or 1, 4, 2, 6, 3, 5. With weaves in which the ends are raised or low¬ ered in either of these orders, no two adjacent ends are moved on successive picks; or in other words, no two ends support each other, and yet the same number of ends are not skipped between successive picks. Take, for example, the first order. If a warp satin is being considered, on the first pick the first end is lowered; on the second pick the second end from the one previously lowered, counting from left to right, or the third, is lowered; on the the third pick the second end from the previous one, or the fifth, is lowered; but on the next pick the third end from the fifth, or the second, is low¬ ered; on the next pick the fourth end from the second, or the sixth, is lowered; while on the last the fourth end from the sixth, or the fourth, is lowered. Thus, in certain parts of the weave the base for counting off the ends is 2; in others it is 3; while in still others it is 4. 6. Construction of Satin Weaves. —To illustrate more fully the method of obtaining the base for any satin weave, it will be supposed that it is desired to make a regular satin on 7 ends. In any case where it is desired to construct §76 SATIN AND OTHER WEAVES 5 a satin weave on an odd number of ends, 2 can always be taken as the base, since 2 is neither a factor of any odd number nor a multiple of any factor of an odd number. Thus, in a 7-end satin the ends can be moved in 1, 3, 5, 7, 2, 4, 6 order, in which case the order of moving the ends is regular, and at the same time no two ends support each other; consequently, the satin will be regular. Another order of moving the ends in a 7-end satin is by threes, in which case the following results: 1, 4, 7, 3, 6, 2, 5; that is, on the first pick the first end is moved; on the second pick, the fourth end; on the third pick, the seventh end; on the fourth pick, the third end; on thq fifth pick, the sixth end; on the sixth pick, the second end; and on the seventh pick, the fifth end. Still another base that may be taken for a 7-end satin is 5, in which case the ends are moved in the following order: 1, 6, 4, 2, 7, 5, 3. Another base is 4, in which case the ends are moved as follows: 1, 5, 2, 6, 3, 7, 4. For another example, suppose that it is desired to con¬ struct a satin weave on 9 ends. It is first necessary to obtain a number smaller than 9 that is not equally divisible into the total number of ends and that cannot be divided equally by any number that can be divided into 9. The number 5 answers these conditions, and if taken as a base for moving the ends will give the following: 1, 6, 2, 7, 3, 8, 4, 9, 5. With this order, the first end is moved on the first pick; on the second pick, the sixth end is moved; on the third pick, the second; on the fourth pick, the seventh; and so on until all the ends are moved once, which gives one repeat of the weave. Fig. 4 shows a 7-end filling satin constructed on a base of 3. On the first pick, the first end is raised; on the second pick, 2 ends are missed and the fourth end raised; on the next pick, 2 ends again are missed and the seventh end raised. This method of skipping is continued for 7 picks, which is one repeat of the weave. When the last end, or in this case the seventh, is reached, the next end to be counted is the first. Thus, for instance, on the third pick of this weave the seventh end \ □□□□■□□ □■□□□□□ □□□□□■□ □□■□□□□ □□□□□□■ ■□□□□□□ Fig. 4 92—12 6 SATIN AND OTHER WEAVES 76 □□□□□■□□ □□■□□□□□ □□□□□□□■ □■□□□□□□ □□□□□□■□ ■□□□□□□□ Fig. 5 □■□□□□□□ □□□□□□■□ □□■□□□□□ □□□□□□□■ □□□□□□□□ ■□□□□□□□ Fig. 6 is raised. Counting from this end to see which end will be raised on the next, or fourth, pick, the first end is considered as 1, the second as 2, and the third end from the seventh will be the third end of the weave, which will be the end to be raised on this pick. This is due to the fact that as one repeat of the weave occupies only 7 ends, the eighth end of the weave is like the first, the ninth like the second, and so on. Fig. 5 shows an 8-end filling satin constructed on a base of 3; that is, one end is raised on one pick and on the next pick the third end from the one previously raised is lifted. Fig. 6 shows a 9-end filling satin weave constructed on a base of 4. Thus, on the first pick, the first end is raised; on the second pick, the fourth end from this one, or the fifth, is raised; on the third pick, the fourth end from the fifth, or the ninth, is raised; on the fourth pick, the fourth end from the ninth, or the fourth, is raised. This is continued for the 9 picks, which completes the repeat. Fig. 7 shows a 10-end filling satin with a base of 3. Fig. 8 shows a 9-end warp satin weave constructed on a base of 4. In warp satins all the ends in one repeat of the weave are up on each pick with the exception of one pick. Thus, in the case of Fig. 8, on the first pick all the ends are raised with the excep¬ tion of the first end; on the second pick, the fourth end from this first end, or the fifth, is lowered; on the third pick, 3 ends are skipped and the ninth end is lowered; the fourth pick, 3 ends are skipped □□□□□□□■ □■□□□□□□ □□□□□□□□ □□□□□■□□ □□■□□□□□ □□□□□□□□ □□□□□□■□ ■□□□□□□□ □□ □□ □□ □□ □□ □□ □□ □□ Fig. 7 ■■■■■□■a B a aaaa BBDB a aaaa a a aaac BBS m n aaaa r BBB a a on Fig. 8 and the fourth end is lowered. This is continued for the 9 picks that complete one repeat of the weave. 76 SATIN AND OTHER WEAVES 7 Fig. 9 shows a 10-end warp satin weave constructed on a base of 3. 7. The lifting of the harnesses in a filling satin weave is given in the order that the ends are raised on each successive pick. Thus, for instance, in Fig. 5 the har¬ nesses are raised in 1, 4, 7, 2, 5, 8, 3, 6 order. This indicates that on the first pick, the first harness is raised; on the second pick, the fourth harness is raised; on the third pick, the seventh harness is raised; on the fourth pick, the second harness is raised; on the fifth pick, the fifth harness is raised; on the sixth pick, the eighth harness is raised; on the seventh pick, the third harness is raised; on the eighth pick, the sixth harness is raised. BHBBBBBD BB Bfl 1 IB ■■■■■□■■ BB BBQHIIB BB Bl 1 BBBBBBDB BB BBBOBBBB BB □BBBBBBB BB Fig. 9 5-End Satins 1, 4, 2, 5, 3 1, 3, 5, 2, 4 10-End Satins 1, 4, 7, 10, 3, 6, 9, 2, 5, 8 1, 8, 5, 2, 9, 6, 3, 10, 7, 4 6- End Satins 1, 3, 5, 2, 6, 4 1, 4, 2, 6, 3, 5 7- End Satins 1, 4, 7, 3, 6, 2, 5 1, 3, 5, 7, 2, 4, 6 1, 6, 4, 2, 7, 5, 3 1, 5, 2, 6, 3, 7, 4 8- End Satins 1, 4, 7, 2, 5, 8, 3, 6 1, 6, 3, 8, 5, 2, 7, 4 9- End Satins 1, 3, 5, 7, 9, 2, 4, 6, 8 1, 8, 6, 4, 2, 9, 7, 5, 3 1, 5, 9, 4, 8, 3, 7, 2, 6 1, 6, 2, 7, 3, 8, 4, 9, 5 11- End Satins 1, 3, 5, 7, 9, 11, 2, 4, 6, 8, 10 1, 10, 8, 6, 4, 2, 11, 9, 7, 5, 3 1, 4, 7, 10, 2, 5, 8, 11, 3, 6, 9 1, 9, 6, 3, 11, 8, 5, 2, 10, 7, 4 1, 5, 9, 2, 6, 10, 3, 7, 11, 4, 8 1, 8, 4, 11, 7, 3, 10, 6, 2, 9, 5 1, 6, 11, 5, 10, 4, 9, 3, 8, 2, 7 1, 7, 2, 8, 3, 9, 4, 10, 5, 11, 6 12- End Satins 1, 6, 11, 4, 9, 2, 7, 12, 5, 10, 3, 8 1, 8, 3, 10, 5, 12, 7, 2, 9, 4, 11, 6 Generally a chain draft for a satin weave is made like the weave; that is, in most cases the weave is also the chain draft, and when this is the case the ends are drawn in straight, or in other words, through the harnesses in con¬ secutive order. 8 SATIN AND OTHER WEAVES §76 The preceding table gives the different orders of moving the ends in satin weaves complete on 12 ends or less. 8. Double Satins.—Weaves known as double satins are sometimes constructed from regular satins. These are made by adding one mark to each mark in a regular satin; that is, in case the satin is a filling satin, each end will be raised an extra time during one repeat of the weave, and in case the satin is a warp satin, each end will be lowered an extra time during one repeat of the weave. These marks may be placed above, below, or at the side of the regular Double satin weaves are principally used when it is desired to increase the strength of the goods and yet retain the satin face. Fig. 10 illustrates a double satin. The crosses represent a regular 8-end satin weave constructed on a base of 3, giving the follow¬ ing order of lifting the harnesses: 1, 4, 7, 2, 5, 8, 3, 6. In order to convert this regular satin weave into a double satin, one riser is placed on each pick in addition to the riser of the regular satin weave. Thus, on the first pick, in addition to the first end being raised the seventh end is also raised. In all double satin weaves the extra risers must be placed in regular order; that is, on the second pick the extra riser must be placed in the same relative position to the riser of the regular satin on that pick as was the extra riser on the first pick to the riser of the regular satin weave on that pick. Thus, on the first pick of the weave shown in Fig. 10, 5 ends are skipped after marking the riser for the regular satin, and the seventh end marked with an extra riser; on the second pick the fourth end is marked with a riser of the regular satin, 5 ends skipped, and the second end raised, which corresponds to the method of marking the extra riser on the first pick of the weave. This is continued throughout the 8 picks that complete one repeat of the weave. Fig. 11 is another illustration of a double satin weave. In this case the extra risers are placed at the right of the risers satin marks. □□□■□ECO ■□snnnna □□□□□■□E □□■□Bonn □□□□■□sn □■□EDDDD BroaaaBa Fig. 10 SATIN AND OTHER WEAVES 9 § 76 □□SBD ■□□□S □□□SB SBDDD Fig. 11 □□□□□SBD ■□□□□□□S □□□□SBDD □SBDDDna □□□□□□SB □□□SBDDD Fig.12 of the regular satin weave. Thus, on the first pick the first end is raised for the regular satin weave, and in order to make a double satin the square to the right of the one containing the riser of the regular satin weave is marked, or in other words the second end is raised with the first. The same method is fol¬ lowed with each pick of the weave. Fig. 12 shows an 8-end double satin. The crosses show the order of lifting the ends for a regular satin weave, while the filled-in squares show the extra ends that are raised in order to make the satin double. Double satins are sometimes constructed by dividing the base that would be used for a reg¬ ular satin into two numbers and using these numbers alternately for marking the risers of the double satin. Fig. 13, which is a 12-harness double satin constructed on this principle, illustrates these weaves, in this case the number 7, which could be used for the base of a regular satin on 12 ends, is divided into the two numbers 3 and 4 and these numbers used for construct¬ ing the weave. Considering first the squares that are marked with crosses, on the second pick, the fourth end from the end raised on the first pick is raised; on the third pick, the third end from the end raised on the second pick is raised; on the fourth pick, the fourth end from the end raised on the third pick is raised; on the fifth pick, the third end from the end raised on the fourth pick is raised. This is continued for the 12 picks, when it is necessary to return to the first pick; since on the twelfth pick the fourth end from the end raised on the eleventh pick is raised, on the first pick the third end from the end raised on the twelfth pick is raised. The filled-in squares show the risers that are obtained by continuing the process through the ends and picks the second time. Fig. 14 shows a weave made on somewhat the same prin¬ ciple as Fig. 13. In this case, however, the two risers are □□□□ □□□□ □□□s snnn □□□□ □□□□ □□□s scon □[*]□□□□□■ ■□□□□□ISO □□□□□■□□ □■□□□□□a □□□□SDDD □□□□ □son □□□□ ■□□□ □□□s □□□□ □□□□ Fig. 13 10 SATIN AND OTHER WEAVES §76 marked on 1 pick before moving to the next pick. Thus, on the first pick the first end is raised and also the third end from the first. Moving to the second pick, the fourth end from the last end raised on the first pick is raised, which £P ves a r i ser ° n the eighth end for the □□□□ secon d pick. In addition to this end being □□□□ ra i se d on the second pick, the third end from it is also raised, which gives a riser on the eleventh end. Moving to the third pick, as the eleventh end was the last end to be marked on the second pick, the third end, which is the fourth end from the eleventh, will be raised on the third pick. In addition to this end the third end from it, or the sixth, is also raised on the same pick. This method is con¬ tinued throughout the 12 picks. □■□□□□□□ □□□□□□□□ □□□□□□■□ □□■□□□□□ ■□□□□□□□ □□□□□□□■ Fig.14 EXAMPLES FOR PRACTICE 1. Make a warp satin on 16 harnesses, moving in fives. 2. Make a filling satin on 16 harnesses, moving in sevens. 3. From the weave formed in answer to question 2 construct a double satin by adding one riser on each pick of the satin weave. 4. ( a ) What is the smallest number of harnesses on which a regu¬ lar satin weave can be constructed? (6) Show a satin weave on this number of harnesses. §76 SATIN AND OTHER WEAVES 11 DERIVATIVE WEAVES 9. Satin Derivatives.—Satin weaves provide a ready means for constructing other weaves, or derivatives, as they are called. In almost every case satin derivatives are formed by adding one or more extra risers to the risers of a regular satin. Fig. 15 shows one that might be considered Fig. 15 HHDBD0DH □□SOBBDD □□0DBBBD BDIEOBBBM □BBDDDD0 □BBBDDD0 □BSBDBDS ■□□HD □□□□SDBB BDDD0DBB BDBD0DBB □scan □SDBBDDD □0DBBBDD □IEOBBBDB BBQDDDBD BBBOnCNED BBBDBDSO □□SDB □□□0DBBD □□□EDBBB □BD0DBBB 0CMCD SaBBODDD 0DBBBDDD 0DBBBDBD Fig.16 Fig. 17 Fig. 18 a double satin, and yet would form a fine, upright twill in the weave. In the figures illustrating satin derivatives, the crosses show the method of raising the ends for the regular satin, while the filled-in squares show the risers that are added in order to form the derivatives. Fig. 16 is a satin deriva¬ tive formed by adding two filled-in squares to each riser in a regular 8-end filling satin weave. Fig. 17 is one formed 0BDD □□□□ □□□B □□□El □BBD □0BD BDDD anna Bonn ama □SBa □BBD BnaUBBDD BaanaasB □SBnDDBB □BBDDaDD □□□(*«□□□ □□□BBDDD □□□□□BBQ SBnnDBBQ □□□0 □□□B □□□□ 0BDD BBQQ □□SB □□BB □□□□ Fig. 19 BaanaaBB □BBQDBSB Bi^lBDCBB'D BBODDDDB □□BBQDB0 □BSBQQBB □BBnazon □□□BBDQB □□B0BDDB □□Banana □□□□BBDD BQDBlElBnn BDOBBann □□□□□BBD BBDDBSBD SBDDBBQn □□B0BDDB □□BBDDm □□□□BBOD BDDBSBDa BnnBBaan □□□□□BBD BBQDBBBD SBaDBBDa BnannoBB □BBDDBSB B0BDQBBQ BBaannoB □□BBDDBB □BBBDDBB □BBnnaan □□□BBQQB Fig. 20 by adding three risers to each riser in a regular 8-end satin. Fig. 18 is one formed by adding four risers to each riser of a regular 8-end satin weave. In all these cases, whenever it is necessary to extend the risers beyond the last end of the 12 SATIN AND OTHER WEAVES §76 weave they are carried to the first end, and in case it is necessary to extend the risers beyond the bottom pick of the weave they are carried to the top pick, or vice versa. Fig. 19 shows a derivative weave formed by adding three risers to each riser of a regular 12-end filling satin. Fig. 20 shows a satin derivative formed by adding six risers to each riser of a regular 16-end filling satin. GRANITE WEAVES 10 . In a granite weave, the intersections of the warp and filling are disposed throughout the weave in an irregular manner so that the floats of warp and filling will produce an indistinct yet regular pattern consisting of small broken effects. Granite weaves are largely used in almost every class of fabric, the cloths often being piece-dyed, but some¬ times having the warp of one color and the filling of a con¬ trasting color, thus giving the cloth a speckled appearance. They are made largely from regular satins by adding one or more risers to the risers of the satin weave; Figs. 16, 17, and 18 are good examples ■■ ot granite weaves con- 52 structed in this manner. "5 These weaves may also be □2 obtained by rearranging a 5g regular twill in so-called satin order; that is, taking the ends of the twill in the order followed when making a satin weave. For example, if the ends of an 8-end regular twill are rearranged in satin order on a base of 3, the ends are taken as follows: 1, 4, 7, 2, 5, 8, 3, 6; that is, the first end of the new weave will be like the first end of the twill; the second end will be like the fourth end of the twill; the third end will be like the seventh; the fourth end, like the second; the fifth end, like the fifth; the sixth end, like the eighth; the seventh end, like the third; and the eighth end, like the sixth. In other cases, granite weaves are constructed from regular twills by taking a certain number ■■ ■□□■□□■a □□ □□ ■■ Fig. 21 □□■□■□■a DBDBDDBD DBBDBDD DDBOBBDB dbddbdbd ■BDBDBDD ■DBDBBDB DBDDBDBB ■ BOBDIZIBD ■DBBDBDB Ftg 99 §76 SATIN AND OTHER WEAVES 13 of ends of the twill and then skipping a certain number, this being continued until the weave repeats. In the granite weave shown in Fig. 22, the ends of the regular twill shown in Fig. 21 have been rearranged by taking 2, skipping 4, and so on until the weave repeats. BASKET WEAVES 11 . Regular Basket Weaves. —Basket weaves are used frequently in all classes of woven fabrics; their chief, feature is the regular occurrence of large floats of both warp and filling. The first type of basket weaves consists of those in which the squares of warp and filling are of equal size. These baskets are simply extensions of the plain weave both warp way and filling way, and it is always possible to weave them on 2 harnesses. Fig. 23 is a basket weave of this type, in which each square marked in a regular plain weave has simply been extended for 2 ends and 2 picks, thus making each mark occupy four squares instead of ■■*□□□ one. Fig. 24 shows another basket weave of this li| _ type, in which each mark of the plain weave has Fig. 24 been extended for 3 ends and 3 picks; thus, instead of occupying only one square, each mark occupies nine. In Fig. 25, each mark is extended for 4 ends and 4 picks, and consequently occupies sixteen squares instead of one. 12 . Twill Baskets. — A second type of basket weaves consists of twill baskets, which are generally constructed on a satin base and produce much neater effects than the basket weaves just described. In making these weaves from a satin base, first mark out a satin weave on the desired number of ends and picks; then fill in squares around each of those marked off for the satin base, in such a manner that these groups of filled-in squares will form squares that run up in twill order. Fig. 26 shows a twill basket weave □□□□BBBB □□□□BBBB □□□□BBSS □□□□BflBB BBBBEDm BBBsnmn SBBBDDDD BSBBDDDD Fig. 25 □DBBDnESB □□BBDDBS BBDDBBm BBonaann □□BBQQBB □□BBDDBB BBQDHHDD BBDDBBDD Fig. 23 14 SATIN AND OTHER WEAVES §76 constructed in this manner from an 8-end satin weave with a base of 5. The crosses show the satin weave, while the filled-in squares show the risers that are added in order to obtain the basket weave. In making- these weaves, care should always be taken to have the filled-in squares around each mark of the satin base correspond in every particular; ■■□EBDDn □□□■■□SB □SHDOOBB □■■□&■□□ ■□□□■■□S ■□EBDOpB □□■■□®BQ •'B ''-■■'- Fig.26 □□□SBDBB □□ ■□□□□□SB □■ ■□■■□□□□ □□SBQBBQ □□□□□SBQ □■■□□□□□ □BBOBBOT □□□□SBDB ■■□□□□□S SBDBBDaa □B □□ □□ ■ □ ■ □ □□ Fig. 27 □□□■ □□□■ □□□□ ■EDO ■■□□ □□BE □□■■ □□□□ □□□□ □□SB □□■■ EBDQ □EBnaaao □■■□□□SB ■□□□□□■■ ■□□□SBDQ □□□□■■□□ □□saanm □□■■□□□E &■□□□□□■ ■■□□ □□□□ □□□E □□□■ □EBD □■■□ ■□□□ ■□□□ Fig. 28 that is, if on the first mark of the satin weave one square to the right and two below are filled in, as in Fig. 26, in the case of every other mark of the satin weave the correspond¬ ing squares must be filled in. Fig. 27 shows a twill basket weave constructed from a 10-end satin with a base of 7. Fig. 28 shows another one constructed from a 12-end satin with a base of 7. 13. Irregular weaves consists of of warp and filling □□□■BBB □□□SBBB □□□■a □□□■BBB □□□■■ □□□ESIB ■■■□□ ■■■□□□□ ■■■□□ ■■Honm ■■■□□ ■BBoana Fig. 29 Fig. 30 by extending the 3 picks and in the Baskets.—A third type of basket irregular baskets; in these the squares are not exactly equal. Thus, in Fig. 29, the filled-in squares in one portion of the weave occupy 3 ends and 3 picks, whilefin another portion they occupy but 2 ends and 2 picks. In Fig. 30, the weave is formed warp floats in one case for 3 ends and other for 4 ends and 4 picks. □□□■■■ □■□■□■ □□□BBB ■■■□□□ ■□■□■□ ■■■□□□ Fig. 31 14. Fancy Basket Weaves.—A fourth type of baskets consists of fancy basket weaves. In Fig. 31, the squares of filling are broken in the center by a float of warp, while the squares of warp are broken by a float of filling. Fig. 32 §76 SATIN AND OTHER WEAVES 15 is another fancy basket weave constructed in the same manner. Fig. 33 shows a fancy basket weave constructed by separating warp floats of 4 ends and 4 picks each by 3 ends and 3 picks and filling in these intervening ends and picks with a suitable □□□□ □□□□ ■■■■ ■■■■ ■■■■ ■■■■ □□□a □□□□ □□BB □□BB ■■■■■■□□ □□□□ BBBBBBDD □□□□ □□□□□□■■ BBBB □□□□□□■■ BBBB □□■■□□■a □□BB □□■■□□■a □□BB BBBB Fig. 32 □□□□BOBO BBBB. B B □DDDBDBD BBBBDBDB BBBBDBDB rbbb.:b b bdbddd □BGBBB bdbddd □BGBBB □BGBBB DBDBHH BBBB B B DDDDBDBD BBBBDBQB □DDDBDBD BBBBDBDB BBBBDBDB BBBBDBDB BBBBDBDB BBB :B ! □□□BOB BBBDBa □□□BOB BBBDBD BBBDBa IBBQBa BHBDBD Fig. 33 weave. Two repeats of this weave in both ends and picks are shown in this figure. Fig. 34 is another weave made in somewhat the same manner. In this case, a plain basket weave consisting of warp and filling floats of 4 ends and 4 picks has the floats separated by 2 ends and 2 picks, which are filled in with a suitable weave. Two repeats of the weave in both ends and picks are given. RIB WEAVES 15 . Warp Ribs. Rib, or cord, weaves are simply extensions of the plain weave in either the ends or picks alone and are of two classes— warp ribs and filling ribs. A warp-ri 1) weave is an exten¬ sion of a plain weave in its picks. In order to illustrate the construction of these weaves, Fig. 35, which shows a warp- rib weave, has been divided into two sections (a) and (b). In (a), all the odd numbered ends float over the filling for □□□□BDBB BBBflLBi J.J DDDDBDBB □□□□BDBB □□□□BDBB □□□□BDBB BBBBDBDD □□□□BDBB BBDBDDDD DDBDBBBB BBDBDDDD BBDBDDm BBDBDDDD BBDBDDDD DDBDBBBB BBDBDDDD BDBBBBDfl DBDDDDBD BDBBBBDB BDBHBBDB BDBBBBDB BDBBBBDB DBDDDDBD BDBBBBDB HSHinBCID BBBBDBDD BBBB .B BiBBDBDD □□□□BDBB BBBBDBDD □□□□BDBB □□□□BDBB DDBDBBBB DDBDBBBB DDBDBBBB DDBDBBBB BBDBDDDD DDBDBBBB BBDBDDDD BBDBDDDD DBDDDDBD DBDDDDBD DBDDDDBD DBDDDDBD BDBBBBDB DBDDDDBD BDBBBBDB BDBBBBDB □□□□BDBB □□□□BDBB BBBBDBDD □□□□BDBB BBBBDBDD BBBBDBDD BBBBDBDD BBBBDBDD BBDBDDDD BBDBDDDD DDBDBBBB BBDBDDDD DDBDBBBB DDBDBBBB DDBDBBBB DDBDBBBB BDBBBBDB BDBBBBDB DBDDDDBD BDBBBBDB DBDDDDBD DBDDDDBD DBDDDDBD DBDDDDBD Fig. 34 16 SATIN AND OTHER WEAVES §76 4 picks, while the even-numbered ends are down. In (b), the reverse is the case; that is, the even-numbered ends float over the filling-, while the odd-numbered ends are under the filling. With this class of weaves, a distinct line is formed across the cloth by means of the ends covering the filling. Thus in Fig. 35 (a), for the 4 picks in which (b) the odd-numbered ends are over the filling the ends will have a tendency to crowd . together, especially if there are more ends (fl) than picks per inch in the weave, as there should always be in a warp-rib weave; that is, the first and third ends will cover the 4 picks of filling that are raised over the second end; the third and fifth ends for these 4 picks will cover the filling that is raised over the fourth end; the fifth and seventh ends will cover the filling that is raised over the sixth end; and the seventh and first ends will cover the filling that is raised over the eighth end. For the next 4 picks the reverse will be the case; that is, in (b) the second and fourth ends will cover the filling that is raised over the third end; the fourth and sixth ends will cover the filling that is raised over the fifth end, and so on. Consequently, in these 8 picks two distinct lines will be formed across the cloth because of different ends covering the filling in these two sections. This weave repeats on 2 ends and 8 picks, but four repeats of the weave in the ends are shown here in order that the construction of the weave may be understood more clearly* 1(>. Filling-rib weaves are the exact opposites of warp-rib weaves. As the filling covers the ends in these weaves, ribs are formed lengthwise of the cloth, and for this reason the cloth should always contain more picks per inch than ends. Fig. 36 is an illustration of a filling-rib weave. In (a), all the odd-numbered picks float over the 4 ends, while all the even-numbered picks are under the ends. In this case, the first and third picks will crowd over (a) (b) Fig. 36 Fig.35 §76 SATIN AND OTHER WEAVES 17 the ends that are up on the second pick and completely cover them; the third and fifth picks will cover the ends that are raised on the fourth pick; the fifth and seventh picks will cover the ends that are raised on the sixth pick; and the seventh and first picks will cover the ends that are raised on the eighth pick, thus showing a distinct line of filling floats lengthwise of the cloth. In (b) the exact reverse is the case; that is, all the even-numbered picks are raised over the ends, while the ends are raised on the odd-numbered picks. By this means the second and fourth picks will cover the ends that are raised on the third pick; the fourth and sixth picks will cover the ends that are raised on the fifth pick, and so on, thus forming another rib of filling floats lengthwise of the cloth. This weave is complete on 2 picks and 8 ends, four repeats of the weave in its picks being shown here. In warp-rib weaves the filling, and in filling-rib weaves the warp, is usually considerably coarser than the other series of yarn, in order to accentuate the ribbed effect in the cloth. In cloths woven with warp-rib weaves, there should be more ends than picks, and with filling-rib weaves, more picks than ends per inch. 17 . Unequal Rib Weaves.—In Figs. 35 and 36, the ribs formed by the weaves are of equal size. This is not always the case, however, for unequal rib weaves are frequently used. Fig. 37 is an illustration of a weave of this kind. In the lower section, the odd- numbered ends float for 5 picks, while in the upper section the even-numbered ends float for only 3 picks. In this case there are two ribs of unequal size across, one rib being the width of 5 picks, while the other is the width of 3 picks. Unequal filling-rib weaves are formed in the same manner; that is, by having the filling float over an unequal number of ends. Fig. 37 18 SATIN AND OTHER WEAVES §76 CORKSCREW WEAVES 18. Corkscrew weaves may be considered a class of rib weaves; but while in rib weaves the ribs extend in a straight line either across the cloth or lengthwise of it, in corkscrew weaves the ribs from a twill line, and for this reason are sometimes known as corkscrew twills. Although these weaves may be formed on any number of ends or picks above 5, the best effects are obtained with weaves complete on an uneven number of ends and picks. One method of making a corkscrew weave that will be found as simple as any is as follows: Suppose that it is desired to form a cork¬ screw weave that will be complete on 7 ends and 7 picks. Divide 7 into two numbers one of which will be larger than the other by 1—in this case 3 and 4—then take 3 down and 4 up as the basis on which to mark each end in the corkscrew weave. The first end, as shown in Fig. 38 (a), will be lowered for 3 picks and raised for 4 picks. For the second end of the weave, begin on the first pick on which the first end is raised and mark the second end 4 up and 3 down, counting down. For the third end of the weave, commence on the first pick on which the second end is raised and mark 4 up and 3 down, counting down. Continue in this manner until the weave is com¬ plete. Corkscrew weaves that are complete on an odd number of picks will always be complete on the same number of ends as picks. Thus, in the case under con¬ sideration, since the weave is complete on 7 picks it will also be complete on 7 ends. The complete weave is shown in Fig. 38 (b). This weave is termed a waop corkscrew , since the warp ends cover the filling and, consequently, nothing but warp shows either on the face or the back of the cloth. In order that these weaves may appear to best advantage, it is necessary, as in the case of warp-rib weaves, to have more ends than picks per inch. Any warp corkscrew weave when turned quarter way around will give a filling corkscrew weave. ■□□□□□□ ■□□□□□□ ■□□□□□□ ■□□□□□□ □□□□□□□ □□□□□□□ □□□□□□□ (a) ■□■□■□a □■□■□■a □BBUBrjB (b) Fig.38 76 SATIN AND OTHER WEAVES 19 Warp corkscrews made on an even number of ends and picks will not repeat until carried out for twice as many ends as picks. In constructing these weaves the number that represents the number of picks on which the weave is complete must be divided into two numbers, one of which will be larger than the other by 2. Suppose, for an example, that it is desired to construct a corkscrew weave that will be complete on 8 picks. The two numbers into which 8 is divided are 5 and 3. Mark the first end of the weave 3 down and 5 rip, as shown in Fig. 39 (a). For the second end of the weave, commence on the first pick on which the first end is raised and raise the second end on this pick and also on all the picks on which the first end is low¬ ered. The second end will therefore be up 4 picks and down 4 picks, whereas the first end is down 3 picks and up 5 picks. Marking the third end in the same manner as the sec¬ ond, this end will be up for 1 pick, down 3, and up 4 picks; it will thus be similar to the first end with regard to the length of the floats. The complete weave is shown in Fig. 39 (/;). Since the ribs of this weave are formed by the ends that are raised crowding over the filling, two ribs will be formed diagonally across the cloth, one of which will be the width of 5 picks, while the other □□□■■■■■ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ (a) ■□■□■□■□ ■□■□■□■■ ■□■□■■□■ ■□■■□■□■ ■■□■□■□a □■□■□■■□ □■□■■□■□ □■■□■□■□ ■■■■□□□■ □□□□■■■■ ■■■■■□□□ ■□□□□■■■ □■■■■■□□ ■■□□□□■■ □□■■■■■□ ■■■□□□□a (b) Fig.39 □□□■ □□□■■■ □□□■■■■ □□■■sin □■■■■□□ ■□■□■■□■ ■□■■□■□■ ■■□■□■□a □■□■□■■□ □■□■■□■□ □■■□■□■□ ■□■□■□■■ □■□■■□ □»■□■□ ■□■□■□ £□■□■■ ■□■■□■ ■■□■□■ □■□■□■ Fig.40 Fig.41 will be the width of only 4 picks. 19 . Corkscrew weaves are often formed from twills: (1) by rearranging the ends or picks of a regular 45° twill; (2) by combining two twills end and end or pick and pick. Considering first the formation of corkscrew weaves by rearranging the ends of a regular 45° twill, suppose that it is desired to rearrange the ends of Fig. 40 in satin 20 SATIN AND OTHER WEAVES § 76 order on a base of 4 to form a corkscrew weave. This will result in the corkscrew shown in Fig. 41, which gives two repeats of the weave in its ends. By rearranging the ends of a weave in this manner warp corksc 7 ~ews are formed, while by rearranging the picks filling corkscrews are formed. Corkscrew weaves cannot readily be formed by rearranging the ends of every 45° twill; weaves sim¬ ilar to that shown in Fig. 40 are most suitable for this purpose. When combining twills end and end or pick and pick to form a corkscrew weave, care should be taken to select such weaves as will give the desired effect. Figs. 42 and 43 □□□■■■■■ □□■■■■■□ ■■■□□□□□ ■■□□□□□■ □□□□□■■■ ■□■□■□□a bdbcobdb BCOBDBDB □BDBDBBD □BDBBDBD □BBDBDBD BOBDBDBD BBBBBCHZD □□□□□BBB □BBBBBdD ■□□□□□■I □□BBBBBD BBDDDDDB □□□BBBBB BBBdDODD Fig.42 Fig.43 Fig. 44 show two 8-end twills that it is desired to combine end and end to form a corkscrew weave. Fig. 44 shows a weave formed in this manner; the first end of Fig. 44 is the first end of Fig. 42; the second end of Fig. 44 is the first end of Fig. 43; the third end of Fig. 44 is the second end of Fig. 42; the fourth end of Fig. 44 is the second end of Fig. 43, and so on for the 16 ends. By combining these two twills, the ends of which have different lengths of floats, there is formed a corkscrew twill that will have ribs of unequal size running diagonally across the cloth, since all the odd- numbered ends are up 5 picks and down 3 picks, while the even-numbered ends are up 3 picks and down 5 picks. □□□□■□ □■□□□□ Fig. 45 20. Another class of corkscrew weaves includes those known as warp corkscrews with filling effects. These weaves may be formed by taking the ends of any filling- flush twill in such a manner as to form ribs in a twill line i 76 SATIN AND OTHER WEAVES 21 across the cloth and at the same time show a distinct line of filling- floats. Fig. 45 is such a weave, constructed by- taking the ends of the regular 45° 7-end twill in 1, 6, 2, 7, 3, 1, 4, 2, 5, 3, 6, 4, 7, 5 order. HONEYCOMBS 21 . Honeycomb weaves are very common and are extensively used in making towels. When coarse, soft-twisted yarns are employed they make a spongy cloth well suited to this purpose. It is possible to make honeycomb weaves on any number of ends from 4 upwards, but the best effects are obtained with an even number of ends. When making these weaves the first thing to be decided on is the number of ends to be used. Suppose that it is desired to make a honeycomb weave on 8 ends and 8 picks. Raise all the ends, except the first, on any one pick of the weave, preferably one near the center of the design, as shown in Fig. 46 («), in which the fourth pick has been selected and all the ends raised except the first. Next form a warp spot by marking the risers in regular 45° order from the first and last ends, as shown in Fig. 46 (b). After the spot has been formed, run a line of risers around it, leaving one blank space between these risers and those forming the spot, and confining this line of risers to 8 ends and 8 picks. On the pick shown in (a), which is the fourth pick in (b ), no riser can be added to those in the spot figure, since it would not be possible to have a blank space between them; consequently, commencing with the next, or fifth, pick, mark the first end, which will leave a blank space between it and the first end marked in the spot figure on this pick. Running up this line in a regular 45° manner, it stops on the fourth end on the eighth pick. Continuing this line of risers completely around the spot, Fig. 46 ( c) is obtained. □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □■■■■■■a □□□□□□□□ □□□□□□□□ □□□□□□□□ («) □□□□□□□□ □DDDBDDD □□■■■■■□ □■■aSHBI □DBBBBBD □DDBBBDD □DDDBDDD ( b) □DDBDBDD □□BDBDBD □BDBBBDB BDBBBBBD □BBBBBBB BDBBBBBD □BDBBBDB □□BDBDBD (c) Fig. 46 92—13 22 SATIN AND OTHER WEAVES §76 EXAMPLES FOR PRACTICE 1. Make a twill weave with the base ? 3 2 2 1 i - 2. From the weave given in answer to question 1 construct a weave by taking the ends in satin order, moving in sevens. 3. Construct a 15-end twilled basket. 4. Construct a rib weave that will make uneven ribs across the cloth. 5. Construct a rib weave that will make even ribs lengthwise of the cloth. 6. Make a twill weave with the base s -j, and from this twill con¬ struct a warp corkscrew weave; state the order in which the ends of the twill are taken to form the corkscrew. 7. Construct a honeycomb weave on 10 ends. COMBINATION WEAVES INTRODUCTION 1. One of the most common methods of producing new or novel weave effects in a fabric is by combining two or more weaves as a whole. In this method of amalgamating weaves, one or more repeats of each weave are joined together, instead of combining the weaves pick and pick or end and end. As twill, basket, satin, corkscrew or other weaves produce entirely distinct effects in a fabric, a large field is opened by this method for the production of new effects. In the formation of combination weaves there are two important points that should be taken into consideration. In the first place, the yarns with which the cloth is to be woven, whether woolen, worsted, silk, or cotton, must be con¬ sidered. If the yarn is woolen, the weaves must be uniform in structure, as woolen yarn is so constructed that it is not especially adapted for developing weave effects, the surface of the yarn being too rough and fibrous. Simple combina¬ tions and good colorings are the essential points in woolens. In worsted or cotton fabrics, a large diversity of fancy weaves may be used, since the yarns are comparatively smooth (the fibers being laid in parallel order) and are thus excellently adapted for bringing out every detail of the weave. Silk is a still more suitable yarn for developing weave effects. The second point, to which it is especially desired to call attention, is that however widely the weaves that are to be For notice of copyright, see page immediately following the title page \ 77 2 COMBINATION WEAVES §77 combined may differ in respect to the effects that they pro¬ duce in the cloth, they must be somewhat similar as regards the number of interlacings of the warp and filling, otherwise they cannot be made to weave together evenly. When desiring to form new effects by the method of combining two or more weaves, this latter fact should constantly be borne in mind, as it is absolutely essential to the satisfactory weaving of the cloth. 2. Fig. 1 is a representation of a sample of cloth made by combining two weaves without regarding the number of interlacings of warp and filling. The ends in (a) are inter¬ laced on the 6-end-basket principle, while those in ( b) are working plain, so that the ends in (a) interlace with the fill¬ ing only four times in the 12 picks shown in this figure, while the ends in ( b ) interlace twelve times during the same num¬ ber of picks. The re¬ sult of this will be a tendency to prevent the picks of ( b ) from be¬ ing as closely pressed against one another as those in (a), where the intersections are not so frequent. In ( b) the warp yarn interlaces at every pick; therefore, the ends lie between one pick and the pick following, separating these by a distance nominally represented by the diameter of the warp yarn, and thereby preventing each pick from being beaten up against the preceding one. In (a), there is nothing to prevent one pick from being beaten up against the adjoining one in those places where the picks are three in a shed, supposing, of course, that this weave was being used Fig. 1 77 COMBINATION WEAVES 3 alone irrespective of the weave used in (/>); but between the third and fourth, sixth and seventh, ninth and tenth, and also the twelfth and first picks, the warp yarns change positions, and those lying between the third and fourth picks prevent these picks from being beaten up against each other, while the same is true in each of the other cases. The more frequently the warp and filling interlace with each other, the greater difficulty there will be in driving each pick of filling closely against the preceding one; conse¬ quently, if the picks were beaten up close together in (a), the warp ends in ( b ) being deflected from a straight line to a much greater extent than those in («), would take up faster and consequently work tighter during weaving, which would soon produce a cockled, or wrinkled, appearance. On the other hand, the more open the weave, the closer can the filling be inserted; for instance, as 3 ends of warp are depressed or elevated during 3 picks in succession in (); the eleventh end, the fourth end of Fig. 5 (/;); and so on. 6 . Another good method of forming combination weaves with warp- and filling-flush weaves is to combine two twill weaves in one of which the warp flushes to an extent equal to the filling flushes of the other weave. Fig. 6 (a) and (b) are two such twill weaves, and by combining them as shown in Fig. 6 (c) , they form a weave that cuts perfectly where the two weaves are joined. In Fig. 6 (c), both of the weaves that are combined have been repeated in both ends and picks. □□□□■ □□□■□ □■□□□ ~DDDD □l (□I ID (a) ( 6 ) (c) Fig. 6 IDI □I □□□■ ■□□□ (a) (*) ■■□■□□□a ■■■■ BDBBDDBD □■■■ □BBiDiDD BBBDBDDD □□■■■□■a l C ) dbdbbbbd ■■■■ □BBBDBDD BBBDBDDD BBDBDDDB BDBBDDBD (cl) Fig. 7 In these figures, the twill in one figure runs in a direction opposite to the twill in the other; that is, the twill in Fig. 6 (a) runs to the right, while that in Fig. 6 {b) runs to the left. If it is desired to combine warp- and filling-flush twills in which the twill lines run in the same direction, it will be found necessary either to continue the weaves as a whole or else to continue one of the weaves for a portion of a repeat, in order to make them cut. For instance, suppose 8 COMBINATION WEAVES §77 that it is desired to combine Fig. 7 (a) with Fig. 7 ( b ) so that the width of each section of the stripe will be equal; that is, so that each will contain one repeat of the weave, or 4 ends in this instance. If this weave is made as shown in Fig. 7 (c), a perfect cut is not obtained between the eighth and first ends, but if it is continued as shown at Fig. 7 ( d ), the last, or sixteenth, end will cut perfectly with the first, and perfect cuts will also be made at all the other places where the warp-flush weave joins the filling-flush weave, or vice versa. In each section of Fig. 7 {d ), the weaves shown in Fig. 7 (a) and (b) are used, but the sections that have been repeated are started on different ends, so as to make perfect cutting possible. Another method of obtaining a perfect cut in a case like this is to continue one section for a number of ends sufficient to make a perfect cut; thus, 2 extra ends are added to the filling- flush weave in Fig. 8, or, in other words, a repeat and a half of this weave is used, which makes the last end of the weave work exactly opposite to the □□ first, thus insuring a perfect _12 cut. This method makes Fig - 9 one stripe, in this case the filling-flush stripe, wider than the other. If even stripes are desired and the method employed in Fig. 7 (d) cannot be used, perfect cuts can be made by adding 1 end to both the warp- and the filling-flush section of the weave, as shown in Fig. 9. In this case a perfect effect in the cloth will be obtained, although even repeats of each weave will not be shown, each section having 1 end in excess of a repeat. □□ □□ □ B ED Fig. 8 COMBINATIONS OF EQUABLY FLUSH WEAVES 7. Very frequently stripe weaves are formed by using an equally flush twill as a chain draft and arranging the draw¬ ing-in draft so as to produce the required stripe effect. Fig. 10 (a) shows a stripe weave made in this manner, in which the first 4 ends are the cassimere twill -S - ; the next 2 ends nave the same interlacings as the second end; the 77 COMBINATION WEAVES 9 next 2 ends have the same interlacings as the fourth end; the next 8 ends are the regular twill commencing with the second end; the next 2 ends have the same interlacings as the third end; the next 2 ends have the same interlacings as the first end; w'hile the last 2 ends are the cassimere twill commencing with the third end and running in regular order. It will be noticed that the last 2 ends are a continu¬ ation of the first 4 ends; that is, the last end does not cut with the first end but con¬ tinues the weave regularly. In all other places where this weave changes, the ends cut. By this means a perfect stripe is obtained that is the same as though the basket were combined with the cassimere twill, yet the stripe may be obtained by using the cassimere twill as the chain draft and drawing the warp ends through the harnesses, as indicated by the drawing-in draft shown in Fig. 10 ( b ). Fig. 11 (a) is another stripe weave formed in a similar manner from the equally flush twill The first 18 ends of this stripe design are formed by running the regular twill ■■□□□■■■ ■□□□■■■□ □□□■■■□□ □□■■■□□□ □BBBmDB BBB. :BB □□□■■■□□ □□■■■□□□ □BBBDDOB ■ BB BB bb;j:.i :bbb B maaasn □BnaaBOB BBDQBQBB BB B BB BQBBQQBQ □□BBOBDa □□BDiBDD □BBBaaBB □□BBiasa □□□BBBaa BnaaBBm BBDDDBDB BBiaaase □ana ■Baa ■■□■ ■□■■ □□■■ □□■□ (a) □□□□□□□□ □□□□□□□□ □ □□□□$)□□ □□□□!]□□□ □□□□□□□□ □□!!]□□□□□ □□□□□□□m □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□!$]□□□□ □□(!]□□□□□ □mnnnnnm ^□□□□□ian □□□□□man □□□□□□□□ □□□□□□□□ □□□□□□□□ ^□□□□□(sin □□□manna □□□□□□□□ □□□□anna □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□$]□□□□ □□□□□man □□□□□□□a □□□□□□□□ □□□□□□□□ □□□□ □□□□ □son (sam □□□si □□so □□□□ □□□□ (b) Fig. 11 in regular order; the next 2 ends are the same as the third and fourth ends of the twill; the next 2 ends are similar to the first and second; and the next 2 ends are similar to the □□■■□□■■ □■■□□■■□ ■■□□■■□□ ■□□■■□□a □□■ana (a) □□□menus] □□[$□□□□□ □ammm □□□□□□□□ □□sonnso □□□□□son □□□□□□□n □□□□□□□Hi □□□□□m sisonso □□□□□□ □□□□□□ (*) Fig.10 10 COMBINATION WEAVES 77 fifth and sixth. The next 6 ends are the regular - 3 - twill with the twill running in the opposite direction, and com¬ mencing with the third end. The next 2 ends are the same as the first and second ends; the next 2 ends are similar to the fifth and sixth; while the last 2 ends are similar to the third and fourth. In this case, as in the previous one, each end in Fig. 11 (a) is a certain end of the regular twill, and, consequently, it is possible to weave this design on 6 harnesses. The harness draft for Fig. 11 (a) on 6 har¬ nesses is shown in Fig. 11 (b ). 8 . Another method of forming stripe weaves, and one that is quite generally adopted, is that of running a regular equally flush twill up for a certain number of ends and then reversing the weave, but commencing with an end that will cause the weave to cut where it is reversed. This effect may be ob¬ tained by using a regular equally flush twill weave as a chain draft with an angled drawing-in draft. Fig. 12 (a) shows a weave of this class, while Fig. 12 (b) gives the har¬ ness draft, which, it will be noticed, is an angled draft. In Fig. 12 (a), the weave is repeated in its picks, since 16 picks are shown, although the weave is really complete on 16 ends and 8 picks. At the ninth end it is reversed, and this end is the same as the fourth end; the weave also cuts at this point, as the warp and filling floats of the eighth end oppose the warp and filling floats of the ninth end. The warp and filling floats of the first end also oppose the warp and filling floats of the last end, thus causing the weave to cut at this point, since these 2 ends come together in the cloth. The width of either section of the stripe can readily be changed by repeating that section of the drawing-in draft. ■■■■□□□□ □■■■■□□□ □□■■■■□□ □□□■■■■□ □□□□■■■a □BBBBonn □□BBBBDD □□□EBBBGi □□□□BBBB BQOTDBBB BBQDDDBB EBBDDODB BBBBQCOCJ ■■■□□□□■ ■amnaaB aaaanBBB □□□□BBBB □□□BBBBD □□BBBBQD □ BBBBrOLI BBBBannn BBBBIGOJGI BBBJDiGGB BBDQDDBB BQDDDBBB □□□□BBBB □□□BBBBQ □□BBBBDD □BBBBDDD (a) □□□□□□□El □□□□□□□□ □□□□□©□□ □□□□[§]□□□ □□□[$□□□□ □□^□□□□a □£!□□□□□□ □□□□□□□□ □□□□mma □□□□□□□□ □□□□□□so □□□□□□□E !!□□□□□□□ □($□□□□□□ □□!)□□□□□ □□□□□□□□ (*) Fig.12 §77 COMBINATION WEAVES 11 Thus, if the first 8 ends of the drawing-in draft were repeated four times and the last 8 ends were not repeated, the first section would be complete on 32 ends and the last section on 8 ends, the whole weave being complete on 40 ends, although it would require only the same number of harnesses to weave it, namely 8 harnesses. By changing the drawing-in draft in this manner, a large number of different weaves can readily be formed, and by changing the twills in the weave, a still greater variety can easily be obtained. ■□■*□**□ □■■□■■□a □ □I □ Fig. 13 SINGLE-END STRIPES 9. Another class of stripe designs that is met with quite frequently includes weaves known as single-end stripes. These weaves are generally formed by opposing a warp- flush weave with a single end of a filling-flush weave, or vice versa, having the ends cut where the two weaves oppose each other; the effect of this is to form a cut mark , or fine indented line, which is generally arranged to run warp way of the cloth. Fig. 13 illustrates one of these weaves; the first end is an end of a filling-flush weave; the next 6 ends are the regular warp-flush twill; the next end is a filling-flush end; the next 6 are the twill; the next end is a filling- flush end; and the last 3 are the twill. Where the weaves are combined they cut on both sides of the single end, and in order to accomplish this it is necessary to have the end on one side of the single end of the filling flush exactly like the end on the other side. Thus, the seventh and ninth ends of the weave illustrated are the same, also the fourteenth and sixteenth, and also the second and eighteenth. E XAM PLES FOR PRACTICE 1. Make a stripe design on 12 ends by reversing the 6 -end twill - 5 ; have the weaves cut where they reverse. 2. Make a single-end stripe design on 20 ends, using the 4-end twill 12 COMBINATION WEAVES §77 3. Make a stripe design on 14 harnesses, using warp- and filling- flush satins; have the weaves cut where combined. 4. Make a stripe design on 20 ends, using the 5-end warp and filling satins repeated in the ends. 5. Give a harness draft complete on 24 ends that will give a stripe effect in the cloth when using the ^ twill for a chain draft. CHECK-WEAVES COMBINATIONS OF EQUALLY FLUSH WEAVES 10. Clieck-weaves may be made in a variety of ways, many of these weaves having a twill or satin base. In many cases the figure on one part of‘the check will be found to be produced by the warp, while the figure on the other part will be produced by the filling. Check-weaves to a certain extent may be considered as simply extensions of stripe weaves. It has been explained how a stripe may be formed in the cloth by opposing one weave with another; if, after this is done, the weave should be extended in its picks, taking pains to have the picks oppose one another in the same way as the ends were opposed in the stripe weave, the resulting figure will form a check in the cloth. 11 . Suppose, for example, that it is desired to make a check-weave with the regular equally flushed weave shown in Fig. 14 (a) as a base. First, it is necessary to form a stripe design from the regular twill. Fig. 14 ( b ) shows the stripe design formed from the regular twill shown in Fig. 14 (a). The formation of this weave agrees with the descriptions given, and the harness draft for it will be an angled draft. Next consider the stripe as two separate sections, that is, the first 6 ends will be one section and the last 6 ends will be another, after which extend each section in its picks, taking care to have the weaves cut in the picks the same as in the ends when forming the stripe'. In other words, extend each section as if it were to form a stripe across the cloth instead of lengthwise. Fig. 14 ( c ) §77 COMBINATION WEAVES 13 shows the first 6 ends extended in this manner, while Fig. 14 (d) shows the last 6 ends extended. The weaves cut perfectly in their picks, since in both weaves the sixth pick opposes the seventh, and the first and last picks oppose each other. In actual practice the picks in each of the two sections of the weave, as shown in Fig. 14 {b ), would be run up without separating the weaves; they have been separated here simply to make the process clearer. Therefore, the complete check-weave will be the weave shown in Fig. 14 (e ), which is Fig. 14 (r) and ( d) brought together. An important point that should be noted in connection with this check is that the weave cuts all around; that is, the sixth pick opposes the seventh pick; the sixth end opposes the seventh end; and, further, the first and last picks, and also the. first and last ends, oppose each other. This feature should be pres¬ ent in check-weaves formed in this manner. The same harness draft that would be used in connec¬ tion with the weave shown in Fig. 14 ( b ) would also be used for the weave shown in Fig. 14 (e ). Therefore, in actual practice, when it is desired to change a stripe weave to a check, all that is necessary is simply to alter the chain draft to give the desired effect. With stripes formed on this principle, the size of the stripe can be enlarged to any desired extent by simply altering the drawing-in draft. The same rule holds good when dealing with checks formed in this manner, with the exception that in the latter case the chain draft must also BBamana BBnn BDaDSBDD ■Ban □□□BBBnD □ BBB □□naan □□BSBQBD □□as □BBBQDBB □□na aaannn HBBQQDSB anna (a) W □□□■■a □□□BSE □□BSSBD ■■□□□a □seam SBBnm □■■HDD aanana ano^aa □BBBaa ■□□□■a □□BBBD □□□EBB □□□EBB □□BBBQ BDDDBB □asam Banana BBBDDD BBBDm M (d) □□□BBBDD aaanaam aannnana aaannnaH □aaa BID 1 '] Bam *□□□ □Baannaa □□Baanan aannaana aannaaaa □□□BBBDO □□Baanan □Baannaa BBB'IQnBB □□□a □□aa aann aaan □BBB □□BB □□□a anna M Fig.14 14 COMBINATION WEAVES §77 be altered, that is, the size of the check may be increased as desired by changing the drawing-in draft and chain draft to suit the requirements. Fig. 15 illustrates a design formed by this method of enlarging a check-weave; it has been formed by simply ex¬ tending each section of Fig. 14 ( e) in both ends and picks. Take, for example, the section oc¬ cupying the lower left- hand corner in both. Figs. 14 ( e) and 15. Both of these weaves are the same, the only difference being that while in one case the weave occupies 6 ends and 6 picks, in the other it occupies 12 ends and 12 picks. The same has been done with each of the four sections, thus causing the new weave to occupy 24 ends and 24 picks, where it originally occupied but 12 ends and 12 picks. The weave shown in Fig. 14 ( e) can be made on 6 harnesses, which is the same number on which Fig. 15 can be woven. 12. Stripes may be formed in a variety of ways, not only by equally flushed twills but also by opposing a warp-flush twill with a filling-flush twill. The same is equally true of checks and, consequently, a check- design may readily be formed from a stripe design that has been ob¬ tained by combining warp- and filling-flush twills. Fig. 16 is an example of this type of check-designs. The first 8 picks of this design alone form a stripe design, obtained by com¬ bining the warp-flush twill with the filling-flush twill -S'. BBBQIBBQ □BBBOBBB BIJBBBiJBB BBCBBBDB BBfllJBBBIJ □BBBDBBB BDBBBDBB BBDBBBDBl □■■■□■■a ■ BBnBBBIJ ■BDBBBDB BdBBBDBB □ BBBLIBBB BBBDBBBD □BDDDBan □□BDDDBD □□□Banna annnannn □annnann □nannnan □□□annaa annnannn Fig. 16 BDDDBBBD □□BBannD □BBBnnna BBBDDDBB BBDDDBBB BlDDBBBD □□□BBBDDI □BflBnnna □□flsnnBB □□□BQBBB BnnnBBBn BBnnBann BBanannn □BBBnnnB □□BBnnBB BBnnnaBB annnBBBn □□□BBann □□BBannn □BBBnnna BBBnnnBB BannnBBB BnnnBBBn BBDDDBBB BBBnnnBB □BBBnnna □□BBannn ■■□□□BBS annnBBBn □□□BBann □□BBannn □nnanaBB BnnnBBBn BannBBnn BBanBnnn □□□■□BBB □□BBnnBB □BBBnnnB BBanannn □□BBnnBB □nnanaBB BnnnBBBn BannBBnn BBanannn nBBBnnna □□BBnnBB □nnanaBB □BBBnnna BBBnnnBB BBnnnaBB BnnnBBBn □□□BBann □□BBannn □BBBnnna BBBnnnBB BannaBnn annnBBBn □nnanBBB □□BBnnBB □BBBnnnB BBanannn BannBBnn BnnnBBBn □BBBnnnB □□BBannn □□□BBann BnnnBBBn BBnnnaBB BBBnnnBB □BBBnnna □□Baannn Fig. 15 §77 COMBINATION WEAVES 15 The next 8 picks are formed by opposing the warp-flush sec¬ tion with the filling-flush weave and the filling-flush section with the warp-flush weave. This weave cuts perfectly at all points. 13 . Warp- and filling-satin weaves are often combined to form stripe weaves, and these also may be extended to check-weaves and made to cut at all points. Fig. 17 is an example of a cut check-weave made from warp and filling satins. When combining weaves of this class to form a check, the explanations given for stripe weaves made by combining satins should be carefully noted, especially with regard to the relation that the base of the warp satin should bear to the base of the filling satin in order to make the weaves cut at all points, and also with regard to starting the weaves on certain ends and picks for the same purpose. In Fig. 17, the eighth and ninth ends and the first and last ends, also the eighth and ninth picks and the first and last picks, cut perfectly, since in each case the warp and filling floats of one weave oppose the filling and warp floats of the other. It will be found advantageous to practice making these weaves, as well as all weaves that are explained in this Course, as it is only by constant practice that familiarity with the methods employed can be obtained. In making a check-weave, it is simply necessary to decide on the weave that is to form the base and run this weave up for as many ends and picks as desired. From this weave, form a stripe design by following the explanations given for stripes and afterwards extending the weave in its picks to form a check, always being careful, however, to see that the weaves cut at all points. Check-weaves constructed after the manner of Figs. 16 and 17 are known as diaper weaves. ■■■■■■■□ ■□■■■■■■ ■■■■■■□■ ■■■□■■■a □■■■■■■■ ■■□■■■a! BDDnaaco □□□BOnOD □□□□□□an □□□□ammo □□□□□□□a □□□□□ana □(!»□□□□□ □□□□□BCD annDnDDD □□□□□□an □BCDDDDn □□□□amen □□□□□□□a BBnBBBBB BBBBBLJBB □BBBBBBB BBBDBBBB aiBBiina aaaaBBBB BBBBIJBBB Fig. 17 92—14 16 COMBINATION WEAVES §77 CHECKS FORMED BY REVERSING 14. Another method of forming checks is by means of what is termed reversing, or transposing, and consists of taking any simple weave as a base and combining it with a weave that contains filling floats where the original weave has warp floats and warp floats where the original has filling floats. The combination of these weaves will make a stripe from which a check may be formed by reversing or trans¬ posing the stripe design in the same manner as the original weave was transposed to obtain the stripe. To illustrate this method of forming checks, suppose that it is desired to form a check-weave using the weave shown in Fig. 18 (a) as a base. This figure oc¬ cupies 5 ends and 5 picks; taking the next 5 ends and 5 picks across the design paper, fill in those squares that correspond to the squares left blank in the original figure, leaving blank those squares that were filled in in the original figure. In order to make this somewhat plainer, the weave will be made from Fig. 18 (a), keeping the weaves separate, although in reality they should be combined when making the stripe design. Fig. 18 ( b) shows the weave obtained by transposing the weave shown in Fig. 18 (a). In transposing a weave in this manner to form a stripe, the first end of the new weave is to be the reverse of the last end of the original weave; the second end of the new weave is to be the reverse of the next to the last end of the original; and so on. Considering Fig. 18 (a) and (b), the last, or fifth, end of Fig. 18 (a) is lowered on the first pick, raised on the second □□□■□ ■■■■□ □■■■■ □■□□□ (a) ■□■■■ ■□□□□ □□□□■ ■ ■■□■ (*) □□ (c) ■ ■ □□ id) ■□□□□■■a BDBDBDBD □□□□BOB BBBDBDBD □□□BDBD BBBBDBDD □BDBDBD - □ BBBBLIiJiJ □BDDDBB BD IS BB □□ BB □□ □B □ B □B M Fig. 18 §77 COMBINATION WEAVES 17 □■■■□□ns □□□i □□r □ pick, and lowered on the third, fourth, and fifth picks. The first end of Fig. 18 ( b ) is exactly the reverse, since it is raised on those picks on which the fifth end of Fig. 18 (a) is lowered, and is lowered on those picks on which the fifth end is raised. The fourth end of Fig. 18 (a) is exactly the reverse of the second end of Fig. 18 (b) , since on those picks on which one end is raised the other end is lowered, and also on those ends on which one end is lowered the other end is raised. The same is true with the third end of Fig. 18 (a) and the third end of Fig. 18 ( b ); with the second end of Fig. 18 (a) and the fourth end of Fig. 18 ( b ); with the first end of Fig. 18 (a) and the last end of Fig. 18 (b). Thus, if these two weaves were combined to form a stripe, they would be found to cut perfectly. Fig. 18 (c) shows the stripe weave formed in this manner. It next becomes necessary to form a check-design from the stripe shown in Fig. 18 (c). In order to form this weave, the stripe must be extended in its picks by reversing the picks. This will be dealt with in the same manner as when forming the stripe from the original weave. Fig. 18 ( d) shows the weave formed from the stripe that must be combined with it to make the check. This weave is formed by reversing the picks of Fig. 18 ( c ) in the same manner as Fig. 18 ( b ) was formed by reversing the ends of Fig. 18 (a). Thus, the first pick of Fig. 18 (d) is the reverse of the fifth pick in Fig. 18 ( c ); the second pick of Fig. 18 (d) is the reverse of the fourth pick of Fig. 18 (c); the third pick of Fig. 18 (d) is the reverse of the third pick of Fig. 18 ( c ); and so on for all the picks. By combining these two weaves, the check-design shown in Fig. 18 ( e ) is obtained, which cuts at all points. Fig. 19 (a) is another base from which to form a check-weave after the manner described, while Fig. 19 (b) shows the completed weave. This weave also cuts at all points—a feature that □■■■□□■a BHBannsa ■□□□ 2SS»Bl1 □□□■ ■□□□ (a) W Fig. 19 18 COMBINATION WEAVES §77 is always desirable with these weaves. Check-weaves are produced by a variety of methods. It is not necessary always to have the different weaves that form the check cut perfectly, although much neater and clearer effects are produced when this is the case. COMBINATIONS OF WEAVES OF DIFFERENT STRUCTURE 15. Another method of forming check-weaves is that of combining different weaves in such a manner that distinct effects will be formed in the cloth, so arranged that the whole will produce a check. Fig. 20 shows a check-weave formed in this manner. The whole figure may be divided into four parts; namely, the lower left-hand corner, the □□BBDDBB □□BBDDBB BBDDBBDD BBDDBBDD □□BBDDBB □□BBDDBB BBDDBBDD BBDDBBDD □□BBDDBB □□BBDDBB BBDDBBDD BBDDBBDD □□BBDDBB □□BBDDBB BBDDBBDD BBDDBBDD □□BBDDBB □□BBDDBB BBDDBBDD BBDDBBDD □□BBDDBB □□BBDDBB BBDDBBDD BBDDBBDD □□■■□□■a □□■■□□■a □□BBDDBB □□BBDDBB □BDDDBBB BDDDBBBD BDDDBBDD □DBBDDDB □BBBDDDB BBBDDDBD BBDDBBDD □□BBDDBB □BDDDBBB BDDDBBBD BDDDBBDD □DBBDDDB □BBBDDDB BBBDDDBD BBDDBBDD □□BBDDBB □BDDDBBB BDDDBBBD BDDDBBDD □DBBDDDB □BBBDDDB BBBDDDBD BBDDBBDD □□BBDDBB □□BBDDBB BBDDBBDD BBDDBBDD □□BBDDBB □□BBDDBB BBDDBBDD BBDDBBDD BBDDBBDD BBBDDDBD □BBBDDDB □DBBDDDB BDDDBBDD BDDDBBBD □BDDDBBB □□BBDDBB BBDDBBDD BBBDDDBD □BBBDDDB □DBBDDDB BDDDBBDD BDDDBBBD □BDDDBBB □□BBDDBB □□BBDDBB □BDDDBBB BDDDBBBD BDDDBBDD □DBBDDDB □BBBDDDB BBBDDDBD BBDDBBDD □□BBDDBB □□BBDDBB BBDDBBDD BBDDBBDD □□BBDDBB □□BBDDBB BBDDBBDD BBDDBBDD □□BBDDBB □BDDDBBB BDDDBBBD BDDDBBDD □DBBDDDB □BBBDDDB BBBDDDBD BBDDBBDD BBDDBBDD BBBDDDBD □BBBDDDB □DBBDDDB BDDDBBDD BDDDBBBD □BDDDBBB □□BBDDBB □□BBDDBB □BDDDBBB BDDDBBBD BDDDBBDD □DBBDDDB □BBBDDDB BBBDDDBD BBDDBBDD Fig. 20 lower right-hand corner, the upper left-hand corner, and the upper right-hand corner. The weave in the lower left-hand corner is the regular 4-end basket repeated twice in its ends and six times in its picks; the weave in the upper right-hand corner is the same, but instead of occupying the same number of ends and picks in this case, it is repeated §77 COMBINATION WEAVES 19 six times in its ends and twice in its picks. The weave in the upper left-hand corner is a fancy twill complete on 8 ends and 8 picks, while in the lower right-hand corner the same weave is repeated three times in both ends and picks. By combining these weaves in this manner, a distinct check 1 1 1 BDDBBDDB ■■□□■■□□ □BBDDBBD □DBBDDBB anDBBDDB □□BBDDBB □BBDDBBL BBDDBBDC ■□□BBDDB □□BBDDBB □■■□□■■□ BBDDBBm ■□□■■□□■ □□■■□□■■ □■■□□■■□ ■■□□■■□□ ■□□■■□□■ □□■■□□■■ □■■□□■■□ ■■□□■■□□ □■■□□■BE □□■■□BBB ■□BBDDBB ■■□■□□■□ □■□■□□BE □■□■■□■■ ■■□■■□□■ ■■□□■■□□ □■■□□■BE □□■■□■■■ ■□■■□□■fl ■■□■□□BE □■□■□□BE □■□■■□■■ ■■□■■□□■ ■■□□■■□□ □BBDDBBD □DBBDBBB ■DBBDDBB ■■□■□□■□ □■□■□□■□ □■□■■□■■ ■■□BBDDB ■■□□Hann □DBBDDBB ■□□BBDDB BDDBBDDB BBDDBBDD □BBDDBBD □□BBDDBB ■□□■■□□■ ■■□□■■□□ □BBDOBBD □□BBDDBB ■□□■■□□■ □□■■□□■■ □■■□□■■□ ■■□□■■□□ ■□□■■□□■ □□■■□□■■ □■■□□■■□ ■■□□■■□□ □■■□□■■□ □□■■□■■■ ■□■■□□■■ ■■□■□□■□ □■□■□□■□ □■□■■□■■ ■■□■■□□■ ■■□□■■□□ □BBDDBBD ■■■■■■□□ ■BDDDDOB □DDDDBBB □■■■■■■□ BBBDDDDD ■□□■■■■■ □DBBDDBB ■■□□■■□□ ■■■■■□□a □□□□□■■■ □■■■■■■□i ■■■□□□□□i ■□□□□□■■i □□■■■■■■! □BBDDBBD1 1 BDDBBDDB 1 BBDDBBDC □■■□□■BE □□■■□□■a ■□□■■□□■ ■■□□■■□□ □BBDDBBD □DBBDDBB ■□□■■□□■ □□BBDDBB □BBDDBBD BBDDBBDD ■□□BBDDB □□BBDDBB □■■□□■■□ ■■□□■■□□ ■□□■■□□■ □□■■□□■■ □■■□□■■□ ■■□□■■□□ ■□□■■□□■ □□■■□□■■ □■■□□■■□ ■■□□■■□□ □■■□□■■□ □□■■□■■■ ■DBBDDBB ■■□■□□■□ □■□■□□■□ □■□■■□■■ ■■□■■□□■ BBDDBBDD □BBDDBBD □□■■□■■■ ■□BBDDBB ■■□■□DBD □■□■□□■□ □BDBBDBB ■■□BBDDB BBDDBBDD □BBDDBBD ■BBBBBDE ■■□□□□□■ □□□□□■■■ □BBBBBBD ■■■□□□□□ ■□□■■■■■ □□■■□□■n i dbbddbbe 1 BBBBBBDE 1 ■■□□□□□■ □□□□□BBB □ BBBBBBlJ ■■■□□□□□ ■□□■■BBB □DBBDDBB □■■□□■■□ ■■■■■■□□ ■■□□□□□■ □□□□□■■■ □■■■■■■□ ■■■□□□□□ ■□□■■■■■ □□■■□□■■ □□■■□□■■ ■□□■■□■■ ■■□■■□■□ □■□□■□■□ □■□□■□■■ ■■□□■■□■ ■■■□■■□□ □BBDDBBD □□BBDDBB □BBDDBBD ■■□□■■□□ BDDBBDDB □□■■□□■■ □BBDDBBD ■■□□■■□□ BDDBBDDB □□BBDDBB □BBDDBBD BBDDBBDD ■□□■■□□■ □□BBDDBB □BBDDBBD BBDDBBDD BDDBBDDB □DBBDDBB □BBDDBBD ■■□□■■□□ BDDBBDDB □□■■□□■a □BBDDBBD ■■□□■■□□ ■□□■■nni □aannaar BBBBBBIjr ■■□□□□□■ □□□□□BBB □■■■■■■□ ■■■□□□□□ ■LBBBBB □DBBDDBB □□■■□□El ■□□■■□■■ ■■□■■□■□ □■□□■□■□ □■□□■□■■ ■■□□■■□■ ■■■□■■□□ □■■□□■■□ □□■■□□■■ ■□□■■□■B ■■□■■□■□ □■□□■□■□ □■□□■□■■ ■■□□■■□■ ■■■□■■□□ □■■□□■■□ □□■■□□■■ □BBDDBBD ■■□□■■□□ BDDBBDDB □□■■□□■■ □BBDDBBD ■■□□■■□□ BDDBBDDB □DBBDDBB □BBDDBBD ■■□□■■□□ ■□□■■□□■ □DBBDDBB □BBDDBBD ■■□□■■□□ ■□□■■□□a BBDDBBDD □BBDDBBD □DBBDDBB BDDBBDDB ■■□□■■□□ □BBDDBBD1 □DBBDDBBI BDDBBDDB1 □□BBDDBB BDDBBDBfl ■■□■■□■□ □■□□■□■□ HBDQBQBB ■■□□■■□a BBBDBBDD HBBDDBBD ■■□□■■□□ ■■■■■□□■ □□□□□■■■ □■■■■■■□ ■■■□□□□□ ■□□□□□■■ □□■■■■■■ □■■□□■■□ □□■■□□■■ ■□□■■□■■ ■■□■■□■□ □■□□■□■□ □■□□■□■■ ■■□□■■□■ ■■■□■■□□ □■■□□■■□ □□■■□□■■ □BBDDBBD BBDDBBDD ■□□■■□□■ □□■■□□■■ □BBDDBBD ■■□□■■□□ ■□□■■□□■ □DBBDDBB □BBDDBBD ■■□□■■□□ ■□□■■□□■ □DBBDDBB □BBDDBBD ■■□□■■□□ ■□□■■□□■ 1 BDDBBDDB ) ■■□□■■□□ 1 □■■□□■■□ □DBBDDBB ■□□■■□□■ ■■□□■■□□ □BBDDBBD □□■■nma Pig. 21 effect is formed in the cloth, and they cut perfectly where joined. Although this weave occupies 32 ends and 32 picks, it is possible to draft it down to 16 harnesses. Checks formed by combining different weaves in this manner are more difficult to construct than those previously 20 COMBINATION WEAVES §77 described, on account of the difficulty in finding weaves of different constructions that will cut perfectly. In all cases, perfect cuts are not obtainable in this class of checks, but the joining places should always be made as perfect as possible and the weaves should be combined in such a manner that the floats of warp or filling will not be any longer than possible. 16 . Check-weaves are sometimes formed by combining twill weaves that form different angles in the cloth. Fig. 21 is an example of this class of weaves, in which the check is formed by combining a cassimere twill that makes an angle of 45° with a fancy upright twill complete on 8 ends and 8 picks. The weave is complete on 48 ends and 48 picks, but can be drawn and woven on 16 harnesses. Check- weaves made on this principle can very rarely be made to cut perfectly all around, as is the case with Fig. 21. WEAVES RESULTING FROM OTHER COMBINATIONS WEAVES FORMED FROM MOTIVES 17 . When weaves are to be combined so as to produce a more or less elaborate pattern instead of a simple arrange¬ ment as in stripes and checks, the order or method of their arrangement is usually indicated by a motive. A motive as considered in this connection is a weave figure that shows the arrangement of the separate weaves in the combination weave. It may be defined as a plan, or skeleton, of the desired pattern that may be enlarged into an extensive design; the motive simply shows the general arrangement of the pattern, but gives no idea of the ultimate extent of the resultant combination weave nor of what weaves are to be combined. In using a motive as a plan for combining weaves, the filled squares of the motive are assumed to represent one of the weaves to be combined and the blank §77 COMBINATION WEAVES 21 squares another weave, the combination weave being made of any desired size by extending the motive. For instance, Fig. 22 ( a) shows a motive from which it is desired to produce a design that will be complete on 16 ends and 16 picks. The motive occupies 4 ends and 4 picks, and the filled-in squares and the blank squares of the motive rep¬ resent two distinct weaves. The first item to be determined when constructing a weave from a motive is the number of ends and picks occupied by the weave that is represented by each square of the motive. Thus, since the constructed weave is to occupy 16 ends and 16 picks, while the motive occupies 4 ends and 4 picks, each square of the motive must represent 4 ends and 4 picks of the constructed weave (16-f-4 = 4), or, in other words, the weave represented by each square of the motive must oc¬ cupy exactly 4 ends and 4 picks, in order to make the constructed weave complete on 16 ends and 16 picks. It will be assumed that each blank square of the motive represents the filling crow twill -Hr, while each filled-in square of the motive rep¬ resents the warp crow twill - r. It now remains to combine these weaves in such a manner that they will occupy the same relative positions in the constructed weave that the filled-in and blank squares occupy in the motive. Fig. 22 (b) shows the weave made in this manner from the motive shown in Fig. 22 (a). Comparing these views, the square in the lower left-hand corner of the motive is blank; therefore, the first 4 ends and 4 picks of Fig. 22 (b) are composed of the filling crow twill. The next square of the motive counting across the page is marked; therefore, the next 4 ends and 4 picks are composed of the warp crow twill. This method- is continued throughout the weave, and the effect when produced in the cloth will be similar to the motive shown in Fig. 22 ( a ). □□■c ■■■□ □■■■ U) ■□■■■□■a DBBBDBBB BBBDBDDD BBDBDBDD HDBBDDBO □BBBDDDB BBBDBDDD BBDBDBDD BDBBDDBD □BBBDDDB BDODBBBD □BODBBDB DDBDBDBB □□□BOBBB BDDDBBBD DBDDBBDB □□■□■□■a □□□BfUBBB BBBDBBBD BBDBBBDB BDBBBDBB DBBBDBBB BDDDBDDD DBDDDBDD DDBDDDBD DDDBDDDB (b) Fig. 22 22 COMBINATION WEAVES §77 EXAMPLES FOR PRACTICE 1. Make a check-weave on 16 ends and 16 picks with the ^ twill. 2. Enlarge the weave given in answer to question 1 so that it will occupy 32 ends and 32 picks. 3. Form a check-weave with a 5-end warp-flush and a 5-end filling- flush satin. 4. Form a check-weave by reversing weave 32, Glossary of Weaves. 5. Considering weave 200, Glossary of Weaves, as a motive, con¬ struct a weave on 32 ends and 32 picks, using the filling-flush crow twill weave for the filled-in squares of the motive and the warp-flush crow twill for the blank squares. FOUR-CHANGE METHOD OF CONSTRUCTING NEW WEAVES 18 . New and novel weaves may be constructed from simple foundation weaves by means of what is known as the four-change method. Some of the weaves thus obtained will be found to be granite weaves, while others partake of the nature of small fancy twills. In constructing a new weave by four changes, a simple weave of regular structure, such as the cassimere twill, the crow weaves, 6-, 7-, or 8-end twills, etc., should be selected as a foundation. It is also important to select a weave for a base that repeats on the same number of ends as picks. The new weave obtained will always be complete on twice as many ends and picks as the foundation weave; thus, if a weave is used for a base that is complete on 6 ends and 6 picks, the derived weave will occupy 12 ends and 12 picks. To illustrate this method of originating weaves, suppose that it is desired to construct a new weave from the cassimere twill, Fig. 23 (a). Since the cassimere weave is complete on 4 ends and 4 picks, the new weave in this case will occupy 8 ends and 8 picks. The first step is to place the foundation weave on design paper in such a manner that each end of the weave is separated from the next by 1 blank end, and each 77 COMBINATION WEAVES 23 pick from the next by 1 blank pick, as shown by the l’s in Fig. 23 (b). The design paper is then turned one-quarter way around to the right, that is, so that the last end will be in the position of, and considered as, the first pick, and the same weave placed on the design in exactly the same relative position as in the first instance, as shown by the 2’s in Fig. 23 (c ). The design paper is then turned a quarter way around again, that is, so that the last pick in Fig. 23 (b) will occupy the position of, and be' considered as, the first pick, and the weave again placed on the design in exactly the same manner, as shown by the 3’s in Fig. 23 (d). The design □□■a M □□□□□□□□ □□□□□□ODD □□□□□□□□ □□□□mama □□□□□□□□ □□mmfflDco □□□□□□□□ □□□□□□BD OBDDDBdlB BDBBBBBB □□□□HOOD □□BBBBBB □□EDEIBBB □□□□BBBB SBEDBBBB (*) (c) 1st Insertion 2d Insertion 0DBBBIUSID SnUBBBSlB HBSEDBfflBB □□□□SIBHIB □EDBCE0BBB □□SODBBB □[□□□BBSCkl S1BS1DBBDB aBBBBESIll ffiBBBBBSlB BBSEBEBB □□□EH50SO □EBHBBBB □□BlBfflHOB □EJBBBBSm BIBSIBBBBB HBBBBBBD 0DBBBSDD □□□BBBHB □BBBBBBB □□BBBBBB □BQDBQBB KBSLZOmB (d) 3d Insertion («) 4th Insertion (/) Fig. 23 paper is then turned in the same ‘direction another quarter revolution, so that the first end will occupy the position of, and be considered as, the first pick, and the same weave inserted for the fourth and final time, as shown by the 4’s in Fig. 23 (se in Fig. 15, which rep¬ repeats of the same twill filing and arranged 2 face and 1 back. In Fig. 15, B HE® (x| ns lx® EE B gnSHEHEE EH F □□□□□■■■ Bfl F an B EE (HE EE EH EH B HEEEEEEE MIJ F □□□■■■■a 1 IIJ F □□■■■■■□ 1 II J B □EEHHHEH |x||x| B HEEEHEEa EE F □■■■■■□□ UU F BBBBBIIIIQ □□ B [x]|x] [x]|x] HE EH riM B EHHEEDHS EE F ■■■■□□□□ IJB F □□□□□ BB B [x]|x] |x]|x] [x]|x] IDE ME B EEHnEHEH EE F ■■□□□□□■ Bfl F ■□□□□□■■ BB Fig. 14 notice should be B F F B F F ehhuhhhh □□□□□■BB □□□□■■■■ EOHHEEEE □□□■■■■■ □□■■■■■□ HE BB ■□ HH □□ □□ as well as t resents two backed with B bbshesee nn F □□□■■□■■ F □■■■■■□□ LJI 1 B ebebhdhe F ■■■■■□□□ 1 Jl 1 F □■■□□□■■ B |x][x] E[x][x] Ego EH F □■■□■■□□ F ■■■■□□□□ 1 IB B EEEOEEEE F ■■■□□□□□ ■■ F ■□□□■■□■ B shhhhdhh EH F ■□■■□□□■ F ■■□□□□□■ ■ ■ B SDBBBBBB F ■□□□□□■■ ■ ■ F □□■■□■■□ B HHnEHHEE EH F ■■□□□■■□ F □□□□□■■■ ■ ■ B EHBEBBED F □□□□■■■■ ■1 1 F ■■□■■□□□ B □ehehhhe EH F □□□■■□■■ F □□□■■■■■ nn B □bhheebh F □□■■■■■□ i ii i F □■■□□□■■ B ehhhhhhh □E F □■■□■■□□ F □■■■■■□□ nn B eehebedb F ■■■■■□□□ i ii i F ■□□□■«□■ B BEEEEHDH HE F ■□■■□□□■ F ■■■■□□□□ UB B ehhhqeeh F ■■■□□□□□ ■■ F □□■■□■■□ B ehhhdhhh EE F ■■□□□■■□ F ■■□□□□□■ ■■ B EHnEEEEE F ■□□□□□■■ ■■ F ■■□■■□□□ the backing filling is tied on every other end by two lines of twills, thus tying on all the ends in the warp. In order to obtain a good system of tying, it is often necessary to re¬ peat a design. Thus, for instance, if it was desired to use heavy or coarse backing filling in the de¬ sign shown in Fig. 4, it would be necessary, in order to tie on every end to either bind the filling once in every 4 warp ends or repeat the design and bind as shown in Fig. 16, which shows Fig. 4 repeated in its picks. Fig.15 Fig.16 8 WEAVES FOR §79 When tying a backing filling to a face cloth that has long filling floats, the tying places should always be as near the center of these floats as possible, since, when tied in this manner, the binding points will be more easily covered. EXAMPLES FOR PRACTICE 1. Make a filling-backed weave arranged 1 face, 1 back, using the ^4 regular twill for the face; tie the backing filling perfectly once on each warp end. 2. Make an 8-end filling satin and back it with filling, arranging it 1 face and 1 back. 3. Back the cassimere twill with filling, the weave to be arranged 1 face and 1 back and capable of being woven on 4 harnesses. 4. If a 12-harness regular twill is backed with filling, the weave being arranged 1 face, 1 back, 1 face, on how many ends and picks will the weave be complete? 5. Back the regular twill t with filling, arranging the weave 1 face and 1 back. Tie each backing pick once in 10 warp ends. G. Back the twill, twilled to the left, with the 8-end satin, arran¬ ging the weave 1 face and 1 back; have the face-filling flush follow rather than precede the back-filling flush. WARP-BACKED CEOTHS 9. Warp-backed fabrics are those cloths constructed with one system of filling' and one system of warp yarns for forming the face of the goods and also an extra system of warp yarn for making a heavier and warmer fabric than would be possible with a single cloth. These cloths require more harnesses than filling-backed cloths, on account of the extra, or backing, warp, while on the other hand they can be woven in looms with single boxes, since there is only one system of filling to be placed in the cloth. This is a great advantage in those cases where single-box looms are all that can be used. This of course applies only to cloths in which one kind or color of face filling is used, since if more than one kind is used a box loom will be necessary. §79 BACKED COTTON FABRICS 9 It requires only the same amount of time to weave warp- baeked fabrics that would be occupied in weaving any cloth with the same number of picks per inch, since there are no extra picks of backing filling to be placed in them. Color can also be applied to the back of warp-backed fabrics to advantage, since stripe effects can be easily made, while with filling-backed cloths only bars across the cloth can be made, which is rarely a satisfactory method of applying color. However, care should 'be taken in all cases where a different color from that of the face yarn is applied to backed cloths, to have the binding points perfect, so that the color of the backing yarn will not show on the face of the goods. In weaving the majority of cloths backed with warp two beams are required, since the backing warp is generally of a coarser yarn and has different, interlacings with the filling than has the face warp, thus causing a different amount of contraction. It is necessary that the backing yarn in a warp-backed fabric should be harder-twisted than the back¬ ing yarn in a filling-backed fabric, since it has to withstand the strain that comes on all warp yarn during weaving. On this account warp-backed fabrics will feel harsher and stiffer than filling-backed fabrics, in which soft-twisted yarns are almost exclusively used for the backing filling. 10 . There are several important points that should be noted when considering warp-backed fabrics. (1) The backing-warp must be raised over a pick in every instance where it is desired to bind the backing warp to the face cloth; this, it will be seen, is the reverse of the case with filling-backed fabrics, where a warp end is depressed, in order to bind the cloth. (2) In warp-backed fabrics, the tying places should always be placed between two warp flushes of the face cloth, in order that the tying may be covered and not show on the face of the cloth; if in any case this is impossible, the backing warp may be raised either to the right or left of a face-warp flush. (3) If there are more interlacings of the face warp with the filling than there are of the back warp with the filling in a given number of 92—17 10 WEAVES FOR §79 picks, or if one series of warp yarn is coarser than the other, it will be necessary to place the two warps on separate beams, since the take-up of the warps in weaving will be different. (4) It is always best to select weaves of regular structure, such as satins, broken crow, etc., for the backing weave, so that each backing end will have the same number of interlacings. (5) If a warp-backed fabric is arranged 1 face and 1 back, the backing warp should never be of heavier yarn than the face, since if this is the case the back will show through on the face of the cloth. (6) If the design is arranged 2 face and 1 back, a proportionately heavier yarn can be used for the back warp. 11 . Suppose that it is desired to back the cassimere twill with warp, using the 8-harness satin weave for binding the backing warp to the cloth, the design to be arranged 1 face end and 1 back. As the back weave in this case will require 8 ends, it will be necessary to show two repeats of the face weave in the complete design, the cloth being woven 1 and 1. Therefore, the finished design will be complete on 16 ends and 8 picks. The first operation is to shade or in some other manner to indicate the backing ends, in orcler that nmnmamnm amumnmum nunmonam uMowumaw nmnmamnm nwnmamom CMMDUDB nmnmumnm nmnmamnm □llDlllIliSlIlll nmnmamnm □anSUDHDH □HDUDIlCIlll ownwoMUM nmnmnmmm mmnmnmmm nmnmmmmm, nmnmmmmm nmwmmmnn □0B3BBDB nmmmnwnm mmmmnmnm H3D0DBB0 mmnmnmmm □HB3B3BB nmnmmmmm nmmmmmnm □BB0BHD0 mmmmnmnm FBFBFBFB PBFBFBFB FBFBFBFB FBFBFBFB Fig. 17 Fig. 18 they may be distinguished from the face ends. The method of doing this is shown in Fig. 17, where the vertical rows of squares for the backing weave are shaded, while those for the face weave are left blank. Fig. 18 shows the cassimere weave, which is to be used for the face weave in this design, placed on the face ends. The next step is to place the back¬ ing weave on the design. As the back weave, which is to be the 8-end satin, must flush on the back of the cloth, each back-warp end' should be raised only once in 8 picks and in §79 BACKED COTTON FABRICS 11 satin order. The method of placing the back weave on the design paper is shown in Fig. 19, where the design is shown complete, crosses indicating where the backing warp is raised. In this figure, the method of raising the back warp at the ■□□□□□■El □□□□■□■□ □□■E»nan ■□■□□□□□ ■□□□□□■□ □□□□■eibo □□■□■□□□ ■£»□□□□□ ■□□□□□■□ □□□□■EMD □□■□■□□□ ■^■□□□□n ■□□□□□■El □□□□■□■□ □□■swoon ■□■□□□□□ □□□■EBDD □□■■□□□□ ■□■□□□■El ■□□□□■■□ □□□■□■□□ □□■■□□□□ ■□■□□□■□ ■□□□□■■□ BFBFBFB FBFBFBFB Fig. 19 ■□□□ □□□■ □■SB ■□□□ □□□■ FBFFBFFB FFBF Fig. 20 tying places between two face-warp flushes should be care¬ fully noted, the object of course being to allow the floats of face warp to crowd over and hide the tie. 12 . Fig. 20 is another design showing the cassimere twill backed with warp. In this case, however, the ends are arranged 2 face and 1 back and the back warp is bound in left twill order. Fig. 21 shows still another method of back¬ ing the cassimere twill with warp, each backing warp end being tied once in 8 picks and the ends arranged 1 face and 1 back. Fig. 22 is a design for a basket weave backed with the 8-end satin weave, the ends being arranged 2 face and 2 back. ■□□□□□■□ ■□■□□□□□ ■□□□□□■s □□□□■SBD ■SBDDDm □□□□■EMD □□■EMann ■Ewnnana ■□□□□□■□ □□□□■□■□ □□■□■□□□ ■□■□□□□□ FBFBFBFB Fig FBFBFBFB . 21 □■□□ □■sin ■□□□□I ■□□□□ □■□El - ■□□□□ ■□□□□ □□□ □□□ □S □□ □□□ □□□ □□ sn □■□SBDQQ □■□□■□□□ ■□□□□■□□ ■□□□□■sa □■□□■□□□ □■□□■□□□ ■□□□□■□El ■□□□□■□□ FFBBFFBB FFBBFFBB Fig. 22 HARNESS AND CHAIN DRAFTS 13 . Ordinarily, with filling-backed fabrics, only as many harnesses are required to weave the design as are required for the face weave alone. In the case of warp-backed fabrics, however, as the backing warp always interlaces with the filling differently from the face warp, it must be drawn in 12 WEAVES FOR §79 on separate harnesses. A warp-backed weave may be drawn in exactly as a single cloth if it is so desired. In this case, if the weave is arranged 1 face and 1 back, the first harness will be used for the face warp, the second harness will have the backing warp, and so on, each alternate harness being used for the backing harness. This method of drafting is adopted in some instances in connection with warp-backed fabrics of simple design, but in the majority of cases it is desirable to separate the harnesses for the backing warp from those through which the face warp is drawn, since it makes the harness draft much simpler for the weaver, thus rendering the liability of broken back-warp ends being tied in on harnesses through which face ends should be drawn, or vice versa, less probable. There are two methods of separating the harnesses carry¬ ing the backing warp from those carrying the face, the first being that of drawing in the back warp on the back harnesses and the second being that of drawing the back warp through the front harnesses. Both methods are. largely in use, but for certain reasons the latter is to be preferred. By draw¬ ing the backing ends through the front harnesses they are more readily accessible to the weaver, and as the backing ends are frequently of poorer material and thus break oftener, this is somewhat of an advantage. For the same reason, namely, that the backing ends are often weaker than the face ends, it is also an advantage to place the backing warp on the front harnesses, since the back harnesses are lifted higher during weaving, thus bringing more strain on the yarn drawn through them. 14 . The method of making the drafts for a warp-backed fabric will be explained, taking Fig. 19 as an example. The first step is to make the harness draft. In drafting this design, the back warp will be placed on the front harnesses and consequently will be drafted first. Since in this example the backing weave is an 8-harness satin, it will require 8 harnesses. Proceed exactly as in single cloth, taking care, however, as this weave is arranged 1 face and 1 back, to §79 BACKED COTTON FABRICS 13 leave every other vertical row of squares on the design paper for drawing in the face warp. Next make the harness draft for the face weave, placing it above the draff for the back weave but on the vertical rows of squares reserved for the face warp. As the face of Fig. 19 is a 4-harness weave, there will be two repeats of the face drawing-in draft to one repeat of the back. The complete drawing-in draft obtained as explained above is shown in Fig. 23 (a), the back warp being drawn in on the front harnesses. In making the chain draft, the same system as that explained in connection with single cloths is adopted; and □□□□□□lEO BlDDDDDaD □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□GO □□□□□&□□ □□□manna □□□□□□□□ □□□□□□ran □□□□(!□□□ □□!!□□□□□ maaaaaaa □□□□□□□m □□□□□□□□ □□□$!□□□□ □[§]□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□a □□□□□□□a (a) □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ §□□□ □□□□ □§□□ □□□□ □□BD □□□□ □□□@ □□□□ □□□□□□□□ □□□!!□□□□ □!)□□□□□□ □□□□□□ain □□□□!!)□□□ □□mnnnnn □□□□□□□□ □□□□□□□□ □□□□annn □□□□□□□□ □□□□□□□□ □□□□□□sn □□□□□□□□ (a) □□□manna □□□□□□so □(^□□□□□a □□□□bood □□□□□□□m □□(§)□□□□□ □□□□□son [*]□□□□□□□ ■□□■ □□■■ □■■□ ■■□□ ■□□■ □□■■ □■■□ ■■□□ ( 6 ) Fig. 23 ■ □□■□□□IS) □□■■□□□□ □■■□□man ■■□□□□□□ ■□□■□□□□ □□■■□□bid □■■□□□□□ □□□□ □□so □□□□ □□□si □□□□ □man □□□□ (b) Fig. 24 since the warps have been separated and drawn in on sepa¬ rate harnesses, the face and back weaves will be separated in the chain draft. Fig. 23 (b) shows the chain draft for Fig. 19 drawn in according to the harness draft shown in Fig. 23 ( a ); the crosses show the picks on which the back- warp harnesses are raised. If it were desired to draft Fig. 19 with the back warp drawn in on the back set of harnesses, the harness draft would be made as shown in Fig. 24 ( a ). When making the chain draft for Fig. 19 according to the harness draft shown in Fig. 24 («), the same method is observed as with single cloth, which gives the draft shown in Fig. 24 {b ). 14 WEAVES FOR §79 15 . When drafting warp-backed weaves that are arranged 2 face and 1 back, the same methods are employed as those previously explained except that 2 face ends are placed con¬ secutively on the drawing-in draft in accordance with the design. The method of making this style of draw¬ ing-in draft is shown in Fig. 25 (6), which is the drawing-in draft for Fig. 25 (a). The chain draft for Fig. 25 ( a ) according to the drawing- in draft shown in Fig. 25 ( b) is shown in Fig. 25 (c). □■□SB JH ■□□■■sn ■ ■(£]■■□□ FBFFBFFB F F B F F B F (a) □□□□□□□□ □□□□□□□□ □□□□□ran □□ODDDD □□□□□□□El □□□□mnnn □□□□□□ED □□□□□ana □□□HIDDDD □□(!]□□□□□ □□□□□□□□ □□□@□□□0 □□□□□□□a □□□□BDDD □□□□□□□□ □□□□□□HD □□□□□□□□ (b) □■■■■□EC ■■■□■SOD □□ □ □ □□ □a an EXAMPLES FOR PRACTICE 1. Back the regular twill with warp, arranging the ends 1 face and 1 back; tie each backing end perfectly. 2. Back the 4 2 3 3 regular twill with warp, arranging the ends 1 face and 1 back; tie the backing warp in 12-end satin order. 3. Make a design for a warp-backed fabric having the -y regular twill on the face and the 8-harness satin weave on the back, arranging the ends 1 face and 1 back; show harness and chain drafts with the back warp drawn in on the front harnesses. Cc) Fig. 25 4. Back the -S: regular twill with warp, arranging the ends 1 face, 1 back, 1 face; tie the backing warp in 5-end satin order and show harness and chain drafts with the face warp drawn in on the front harnesses. §79 BACKED COTTON FABRICS 15 PIQUES AND BEDFORD CORDS PIQUES 16. Although piques cannot strictly be classed with either filling-backed or warp-backed cloths, they have features similar in many respects to both types. For example, a pique cloth has a separate system of filling, known as the wadding filling, and in this respect resembles a filling- backed fabric. It also has a separate system of warp ends, in which respect it resembles warp-backed fabrics; but unlike warp-backed fabrics these backing ends in piques are for the purpose of holding the wadding filling and also to cause ridges across the cloth, not to add any weight or warmth to the fabric. In making a design for a pique, the following • points should be noted: (1) When placing the weave on design paper, the first step is to indicate the vertical rows of squares on which the face ends are to be placed and also the vertical rows of squares on which the backing ends are to be placed; this can be done by shading the vertical rows of squares representing the backing ends, as was done when making warp-backed designs. (2) The proportion of face ends to back ends in piques is generally 2 face and 1 back; that is, every third end on the design paper will be a backing end. (3) The picks on which the wadding filling is to be inserted should be indicated in some way. (4) The proportion of face picks to wadding picks depends to a large extent on the kind of yarn to be used for the wadding; in case it is coarser than the yarn for the face picks, the proportion is generally 2 face to 1 wadding, although different proportions are used to suit different requirements. (5) In addition to the face 16 WEAVES FOR S70 and wadding picks there are what are known as the cutting picks; these are the picks on which the backing ends are brought to the face for the purpose of pulling down the face cloth between the wadding picks, thus forming furrows across the cloth, and should be indicated on the design paper in some manner. (6) The number of picks between the cutting picks is determined by the design to be woven; how¬ ever, if possible, there should be at least 2 picks of the face weave between the wadding picks and the cutting picks. (7) The face weave is placed on all the face ends, neglecting the backing ends and wadding picks entirely; this is done F & c F & C F F W W F F W W F F F & C F & C F F W w F F W W F F Fig. 26 Fig. 27 in exactly the same manner as was explained with warp- backed fabrics. The face weave of piques is generally the plain weave. (8) All the face ends are raised on the wadding picks. (9) All the backing ends are raised on the cutting picks. 17. Fig. 26 shows the design paper marked out for a pique design occupying 18 ends and 24 picks. The shaded squares indicate those on which the backing warp and the wadding filling are to be placed. The ends and picks are also marked with the letters F, face; B, back; IV, wadding; F & C, face and cutting. The next step in the formation nmnnmnni nmnnmnm nmnnm nmnnmnnm nmnnm nnm nmnnmnn nmnnmnn □HDD nmnnmnnm □anoBiniiia nnmnamnn nnmnamnn nnmnamnn nnmnamnn nnmnamnn nnmnamnn nnmnamnn nnmnamnn nnnnnmnn nnmnamnn nnmnamnn nnmnamnn nnwnmwnn nnmnamnn __ nnmnamnn mn nmnnunnm nnmnamnn mn 0D mn □ mn □- mn mn an F & C F & C F F W W F F W W F F F & C F & C F F W W F F W W F F □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □ □ □□ □□ □ □ □ □ □ □ □ □ □ □ □ □ □ □ □ □ □□ □ □ □ □ □ □ □ □ FBFFBFFB FFBFFBFF BF FBFFBFFB FFBFFBFF BF 79 BACKED COTTON FABRICS 17 is the placing of the face weave on the squares that are not marked for back ends and wadding picks. Fig. 27 shows the design with the plain weave inserted for the face. The next step is to mark the design to show all the face warp ends raised on the wadding picks, since these are inserted so as to cause the face cloth to be pushed upwards between the cutting picks. The back warp must remain down on the wadding picks to bind the wadding picks to the fabric. The next step is to raise the backing ends on the cutting picks. This requires the backing ends to be raised on the eleventh and twelfth, also the twenty-third and twenty-fourth picks. The effect of this is to bind the backing ends to the fabric and pull down the face cloth to form a hollow place after a certain number of wadding picks have been inserted, in this case 4 picks, and after a certain amount of face cloth has been woven, in this case 6 picks. Fig. 28 shows the design complete. The first 2 picks are plain, the backing ends being down and consequently not showing on the face at all. On the third and fourth picks, the wadding is inserted. While this is done all the face warp is raised, as shown by the crosses, and the back warp is down; consequently, the picks of wadding will lie in between these two series of yarns and will not show on the face, but being heavier than the face yarns will tend to raise the cloth constructed by the face weave. The next 4 picks are repetitions of the first 4 picks, and them come 2 more face picks. On the eleventh and twelfth picks, in addition to the plain weave of the face cloth, the backing warp is brought to the surface, as shown by the dots. These are the cutting picks. In weaving a pique design, the backing warp is generally placed in a separate F & C F & C F F W w F F W W F F F & C F & C F F W W F F W W F F dsbdsbd® bsdbsdb® 0D00D00D 0D00D00D BD®BD@BD □ISDISDI BDDBDDBD □BDDBDDB 00D00D00 00D00D00 BDDBDDBD 0D00D00D 0D00D00D ■□□■□□an □@■□@■□0 B®DB®DBS DDBDDBDD BDDBDDBD 00D00D00 (30D00D00 BDDBDDBD □BDDBDDB BDSBDSBD □BSDBSDB BDDBDDBD □BDDBDDB 0D00D00D 0D00D00D DDBDDBDD BDDBDDBD ®d®®d®®d ®d®®d®®d DDBDDBDD BDDBDDBD [xj[xlD(x)ix)D(xi(a 00D00D0® BDDBDDBD □BDDBDDB 00D00D0® 00D00D0E) BDDBDDBD □BDDBDDB @9 ®D □H □□ □0 □0 □□ D® □0 □□ ®B ®d □a □□ □□ □® □® □□ FBFFBFFB FFBFFBFFBF Fig. 28 18 WEAVES FOR §79 beam that is weighted heavier than that containing the face warp, thus causing the backing warp to be under greater tension. When this backing warp is brought to the face, as it is under greater tension, it will of course'tend to draw down the face yarns, thus causing a furrow between those parts of the cloth that contain the wadding picks. The next 12 picks are but repetitions of the first 12 picks and consequently need no further explanation. Fig. 28 shows 6 repeats of the ends and 2 repeats of the picks, the design being complete on 3 ends and 12 picks. The design has been extended in this figure in order to show more clearly the construction of these weaves. 18. When studying the construction of a pique design, it should be understood that the wadding picks do not show on the face of the cloth at any point, but simply lie between Fig. 29 the face and back ends. Again, the backing ends do not show on the face of the cloth at all, except where they are raised for the purpose of pulling down the face cloth. Consequently, the face of a cloth woven with a design such as the one shown in Fig. 28 would be similar to plain cloth, with the exception of the raising of the cloth in ridges through the effect of the wadding picks, and also the floating of the back warp over 2 picks in certain parts of the cloth. The position that the different ends and picks occupy when woven into cloth with this design is more clearly illustrated in Fig. 29, where a sectional view of 3 ends and 24 picks is shown. The heavy, dark line represents the backing end, while the other two lines running in the same direction show 2 face ends. The larger cross-sections marked w show the wadding picks, while the smaller cross-sections show the face picks. By referring to this figure it will be seen how the face picks interweaving with the face warp crowd over §79 BACKED COTTON FABRICS 19 the wadding picks, thus hiding them. It will also be seen how the backing end rising over the interlacings of the face filling and face warp draws them down, thus forming a furrow across the cloth. DISSECTING A PIQUE 19. When dissecting fabrics of this type, the following points will be found to be of considerable assistance: (1) Find the proportion of face ends to the back ends by counting on the back of the cloth the number of backing ends per inch and then counting on the face of the cloth the number of face ends per inch. Suppose, for example, that there are found to be 30 backing ends and 60 face ends in an inch, then there are 2 face ends to every backing end and the pickout should be marked out in this manner. (2) Find the proportion of face picks towadding picks. (3) Find the weave for the face cloth and place it on all the face ends, omitting the wadding picks. (4) Find the order of raising the back warp into the face; this can readily be done by taking a small part of the sample the wrong side up and pulling out the ends, one by one, instead of the picks, noting on the design paper whenever a back end is raised into the face cloth. (5) Raise all the face ends on the wad¬ ding picks. 20. In making the harness and chain drafts for a pique design, the backing and face warps are drawn through sepa¬ rate sets of harnesses, as explained when dealing with cloths backed with warp. The backing warp is in most cases drawn through the back harnesses and the face warp through the front harnesses. When pique cloths are arranged 2 face to 1 back they are as a rule reeded 3 in a dent; that is, 2 face ends and 1 back end are drawn in each dent of the reed in such a manner that there will be 1 face end on each side of the back end in the dent. Piques are high-pick cloths, the number of picks per inch being largely in excess of the number of ends per inch. 20 WEAVES FOR §79 □@000001! SDH SUSHI! □SDBDDBn □000110011 @□000000 □0DBDDBD SDBDDBDD 0®nsnBDD SSSDBDDB □BD00000 80000000 00O0OBOO 000OBOOB □BO00000 BO0O0000 BIJI'JB □OBO 0000 0000 BOOB □□BD OCFFWFFW FFCCFFWF FWFF M BEDFORD CORDS 21 . Although Bedford cords have the same general appearance as piques with the exception that the furrows run lengthwise of the cloth instead of across the cloth, their con¬ struction will be found to differ to a very large extent. Thus, in Bedford cords there will be found to be wadding ends instead of wadding picks. These wadding ends are held in the cloth by means of the same picks that form the face of the cloth instead of using backing picks, while 2 ends a b working plain throughout the entire length of the cloth form the furrow. Fig. 30 (a) shows one repeat of the ends and two repeats of the picks of a Bedford-cord design; the furrows length¬ wise of the cloth, which are characteristic of Bedford cords, are formed by the first and second, also the eleventh and twelfth ends, which work plain throughout the cloth, while the weaves between them form the ridges. The parts of the design between the ends working plain are marked a and b. In section (a) the fifth and eighth ends, marked W, are the wadding ends. Dealing now only with the third, fourth, sixth, seventh, ninth, and tenth ends it will be noticed that they work plain on the first and second picks and are all raised on the third and fourth picks. This being one repeat of the design in its picks, the others are only repetitions of these first 4 picks. The effect of raising the ends in this manner is to cause the second and fifth picks and also the first and sixth to come together and thus produce a plain weave on the face of the cloth. It will also be noticed that on those picks on which all these ends are raised the wad¬ ding ends are also raised. The filling floating at the back will in this manner bind the wadding ends between the face □□□□moots □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□aooao □omoomoo □fflOODDOO □]□□□□□□□ □□□□□□□□ □□□□□□mo □□□□□$)□□ □□□□sod® □aoooooo mooooooo □□□moooo □□[[]□□□□□ □□□□ □man Ennis □ □(SO □□□□ □□□□ □□□□ □□□□ (b) Fig. 30 §79 BACKED COTTON FABRICS 21 cloth and these picks of filling, not allowing the wadding ends to show on the face and yet holding them securely in position. Referring now to section (b), it will be seen that this cor¬ responds to section (a) with the exception that the position of the picks is reversed; that is, while in section (a) the face ends are working plain on the first and second picks, in section (b) they are all raised; and while in section (a) all the face ends are raised on the third and fourth picks, in section (b) they are working plain. Thus, the same picks, that are weaving plain to form the face cloth in section (a) are floating at the back to hold the wadding ends in section (b); and the reverse is also true. The first, second, eleventh, and twelfth ends, which work plain throughout the cloth, will work tighter than the rest of the ends in the warp, and make the furrows between those parts of the cloth that contain the wadding ends. DISSECTING A BEDFORD CORD 22. In dissecting a cloth of this character, the following points will be found of assistance: (1) Notice the ends that work plain throughout the weave and that form the furrows running lengthwise of the cloth; these are the ends that correspond to the first, second, eleventh, and twelfth ends in Fig. 30 (a). (2) Count the ends working plain on the face of the cloth in the raised portion between the furrows. It will be seen that in Fig. 30 (a) there are 6 ends. Then by looking at the back of the cloth the number of wadding ends can readily be determined, thus learning the proportion of face ends to wadding ends. (3) Arrange the ends on the design paper after the manner shown in Fig. 30 (a), taking care to have the wadding ends come between the face ends and also to have the face ends that are working plain in one section raised in the next, and vice versa. It is not possible to pick out one of these cloths in the same manner as is done with cloths containing but one system of warp and one system of filling, but by having a 22 BACKED COTTON FABRICS 79 good general knowledge of their construction it is possible to learn the weave of any sample by simply studying the cloth by means of a pick glass. Bedford cords are high-sley goods and the number of ends per inch is always in excess of the number of picks per inch. 23. When making the drawing-in draft, the wadding ends are generally drawn through the back harnesses, while the face ends are drawn through the front harnesses. In reeding these cloths, each wadding end should be drawn into a dent with 2 or more face ends if possible. Fig. 30 (b) shows a drawing-in draft for Fig. 30 (a). In reeding the ends when drawn through the harnesses in this manner the best plan would be to draw 5 ends in a dent, commenc¬ ing with the second end; that is, the second, third, fourth, fifth,' and sixth ends would occupy one dent; the seventh, eighth, ninth, tenth, and eleventh, another; the twelfth, thirteenth, fourteenth, fifteenth, and sixteenth, another; and the seventeenth, eighteenth, nineteenth, twentieth, and first, another. This will bring each wadding end in a dent between 2 or more face ends. WOOLEN AND WORSTED PLY WEAVES INTRODU CTICfN 1. In the.manufacture of woolen and worsted fabrics, and especially in the production of the former, it is often desired to make a heavier and warmer fabric than is possible when only two systems of yarns are employed, as in single cloths. Since it is desirable to produce a fabric with a fine face, the additional weight cannot be obtained by increasing the size of the yarns; nor is it feasible to increase the number of ends and picks in the fabric, because of the difficulty in weaving and the impossibility of making a level cloth. It therefore becomes necessary to add one or more systems of yarn, either of warp or filling or both, to the back of the cloth, thus producing what is known as a ply fabric. Ply fabrics are also often manufactured for the purpose of pro¬ ducing a cheap fabric that will have the weight of more costly cloths. This is readily accomplished by using cheaper yarns for that portion of the fabric that constitutes the back of the cloth; in this manner, the weight is gained, and a thicker and more substantial cloth produced at only a slightly increased cost, and without injuring the quality or appearance of the face of the goods. 2 . Classification of Ply Fabrics.— -There are two general classes of fabrics to which extra yarn is added for the purpose of giving thickness, weight, and warmth. The first class includes those fabrics to which only one system Copyrighted, by International Textbook Company. Entered at Stationers' Hall, London l 80 2 WOOLEN AND WORSTED PLY WEAVES §80 of yarn is added (that is, cloths with a backbig warp or fill¬ ing); these are known as backed cloths, and are divided into warp-backed fabrics and filling-backed fabrics. The sec¬ ond class includes fabrics constructed of two or more distinct cloths stitched, or bound, together at intervals and consisting of two or more distinct series of both warp and filling; this class of fabrics includes double and triple cloths , which are made not only for gaining weight and warmth, but also, in many cases, for producing a double face on the goods, or to obtain two distinct effects, one on each side of the cloth. In a fabric of the latter description, the face of the cloth may be of a solid color, say blue, while the back of the fabric, which will form the Mning of the garment when the cloth is made up, may show a plaid pattern, or vice versa. Such goods as these are frequently used for golf caj$es and over¬ coats, the fabrics being often three-ply cloths. Double cloths are largely used for suitings, both worsted and woolen, while backed fabrics are also used for suitings, trouserings, etc. to a large extent. All fabrics having two or more systems of both warp and filling do not, of necessity, have the same number of systems of each, some having three warps and two fillings or three fillings and two warps, etc. Yarn added in this way to pure double or triple cloths is usually for tying purposes if warp yarn, and for wadding if filling yarn, to make the cloth heavier. Such fabrics could truly be called two-and-a-half- ply fabrics, etc. 80 WOOLEN AND WORSTED PLY WEAVES 3 BACKED FABRICS FILLING-BACKED FABRICS 3. Filling-backed, cloths are the simplest in structure of all ply fabrics, being somewhat simpler than warp-backed fabrics, since the latter involve special methods of con¬ structing drawing-in and chain drafts. A filling-backed fabric may be considered as a single cloth consisting of one warp and one filling, but having bound, or tied, to the back an extra system of filling threads that are interlaced with the face cloth just enough to keep them attached and prevent their forming long, loose floats on the back of the cloth. This effect is obtained by so raising the warp yarn that when the face filling is inserted it will interlace with the warp according to the weave desired on the face of the cloth. When the pick of backing filling, however, is placed in the cloth, the whole warp is raised, with the exception of those ends that are depressed, in order to bind, or tie, the backing filling to the face cloth. This has the effect of making the pick of backing filling float on the back of the cloth, except where it passes over the few ends that tie it to the cloth. The method of attaching the backing yarn to the cloth is known as binding , tying , or stitching , and the places where the backing yarns are interlaced with the face cloth are known as the binding points, stitching places, tying points, ties, etc. These tying places should be so arranged that the backing filling will float over the warp thread between two floats of the face filling over the same end. The object of this is to cover the tying places so that they cannot be seen on the face of the cloth, the two floats of the face filling, one on each side of the float of backing filling on the face, crowding over the backing pick and thus hiding it from view. Not only should the tying places be so arranged as to be 92—18 4 WOOLEN AND WORSTED PLY WEAVES §80 invisible on the face of the cloth, but they should also be distributed uniformly throughout the fabric so that the cloth will not cockle or finish unevenly. The best method of distributing the tying places is in satin order, as by this means not only are they evenly distributed, but all liability of the binding points forming twill lines on the face of the fabric is obviated. Many weaves, especially those con¬ structed on a satin basis, can usually be tied in satin order when backed with warp or filling. Although the method of distributing the tying places in satin order is the most satisfactory, because of the scattered, yet uniform, distribution of the interlacings of the backing filling with the warp, it often happens that the character of the face weave is such that the tying places cannot be distributed in this manner, and at the same time have each occur between two flushes of the face filling. When such is the case, it is always better to adopt some other system of binding rather than run the risk of having the backing yarn show on the face of the goods. The designer should always distribute the tying places as evenly and uniformly as possible; if not in satin order, then in some other regular order, so that each end will be depressed under the backing filling the same number of times. This is not so important when the backing filling is compara¬ tively fine as when a coarse, heavy backing yarn is used. Sometimes a weave may be tied to advantage in broken crow order. 4. Filling-backed fabrics are made with 1 pick of face and 1 pick of back, with 2 picks of face and 1 pick of back, and also with 2 picks of face and 2 picks of back, etc. As filling-backed fabrics necessitate the use of two fillings, a box loom must be employed for their production, unless the same yarn is used for the backing filling as for the face fill¬ ing. However, this is not usually the case, as the backing yarn is generally softer twisted, in order to give the fabric a soft, warm feeling, and in the majority of cases is also composed of cheaper material, and often of coarser yarn. □■■□□□■a □BBUBBP BaDDBBDB BQBBDDDB □□BflDBBD ■■□□□■ID BBDBBDnP Fig. 1 B B B ■ B PB BBBB F □□□□□□□□ F □□□BBPBB F □□□■■□IB B n’T )\ in- < r m B f < •. : B BBBBBPBB F □□□□□□□□ F -BB " ‘ -BB F □BBgggaa B B B F □□□□□□□□ F □BBPBBgg F □ BB BBPZi B n n' i nn B n n n; i ^ ^ B BBBPBBBB F □□□□□□□□ F BPggBBPB F BPjBBPB B ■ B B BBBBBBPB F □□□□□□□□ F BPBBgggB F BPBBggga B B i' J • j □ B BiJBBBBBB F □□□□□□□□ F □□BBPBBP F BB BB . B nummimi! B B BBBBPBBB F □□□□□□□□ F BBgggBBg F aapppaag B - , - ■ i B □ j-nnu33 B F □□□□□□□□ F BBPBBpgg F BBPBBggg Fig. 2 Fig. 3 Fig. 4 ■■ BB BB □□□BBJBB BBBB BB □BBDPQBB .BB' BBBB □BBPBBDD BBB BB B □□□BBDB ■ BBBB B I EBB BBB □□BB'JBB J BBBBLBBP □□□BBP □BBBB□ □BBjg g Fig. 5 : r r . nom ■a j i □□aaggi iggi iggi igg igg □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ Fig. 6 □□□BBOi 1BBBB BB □aaggpi □BBPBBgg . . BB BB BflflBB BB □bbpppbb BBBB BBBPBBBB BPggBBPB ■□BBgggB BBBBBBB □ jbbiji BB gggi □ □ BBBBBBB _ BBEBBggg □□□BBPBB □BBBBBBB □BagggBB □ BB jBB ]□ BBBBBgfl □□□BBOB -□BBggga B8BBPBBB □□aagiig BBgggiag BflgBBBBB BBQBBggg Fig. 8 F □□BBPPBB F □□flBPgBB Fig. 7 B F aaggaagg F BBPPBBgg B Fig. 9 B BBQBBBBB 19 F □□□□□BBB BB F B BB BB B F □□□□BBBB BP B a B BBPBBBBB BB F □BBDBBDB B B an B BBBQBBBB a F □□□BBBBB i ii 'i F BBBBBB □ F PPBBBBBP i ii i F □□BBPPBB B □ B B BfJBBBPBB F BPBBDBB.il B B BBBBBBBp BB F □□Bannaa B BBBBPBBB B F BBBBB- 1 II 1 F BBUPBBPQ F BB BB B B F BBBBB .□□ UU B BBBPBBBU B IB B □B F BBaDBBPD F BBQIBZBB □ B F □□aaarjBa B BBBBfliBB a F BBBBDDDD 1 IB B □BBBPBBB F BIPBB jBBiJ B F BBBDQnm BB F □□BBPnBB B B B F BBnDBBDQ F □BBPBBPB B B B BBIJBBBDB B BBBBBBPB B F BBoanaaB BB I-' BBPriBBnn F BBPBBPBB □ F BaaaggBB BB Fig. 10 Fig. 11 Fig. 12 92 § 80 80 WOOLEN AND WORSTED PLY WEAVES 5 Weaves with 2 consecutive picks of face and 2 of back are necessary in case the cloth is woven in a loom with extra boxes on one side only, since with this type of loom it is not possible to put in a single pick of filling, as the shuttles always come to rest on the side of the loom that has the changeable boxes. Fabrics that have a single pick of back¬ ing filling require a pick-and-pick box loom, with changeable boxes on each side, unless, as previously stated, the backing filling is of the same yarn as the face filling. When, as is often the case, coarser yarn is used for the backing than is used for the face filling, the fabric should be made with 1 pick of backing and 2 picks of face, and sometimes in extreme cases 3 or even 4 face* picks should alternate with 1 backing pick. With filling-backed fabrics, it is impossible to form any fancy effects on the back of the fabric; and, in fact, this is not desired, the main object being to obtain a heavy- or medium-weight fabric, yet with a fine face produced with yarns of comparatively high numbers. 5 . When making weaves for filling-backed fabrics, the first step is to indicate the face and backing picks on the design paper, in order that they may not be mistaken and the weaves placed on the wrong picks. If the design is to be composed of 1 pick of face alternating with 1 pick of backing, it is better to start at the bottom of the design and make the first pick a face pick. The second pick should be made a backing pick, and so on until sufficient picks on which to place the design have been marked. When a fabric is to be composed of 2 face picks alternating with 1 backing pick, it is customary to mark off the design paper 1 face, 1 back, 1 face. When the weave is made with 2 face and 2 back, it may be laid out 1 face, 2 back, 1 face. The above methods, of course, make no real difference in the weave and are not always used by any means. They are mentioned only in order that it may be understood that although the first pick of the weave may be a face pick and the next a backing pick, it may be laid out with 2 face picks alternating with 6 WOOLEN AND WORSTED PLY WEAVES §80 1 backing pick, since the next 2 picks may be face picks. When making a filling-backed weave of any description, care must be taken to have both the face and backing weaves evenly repeated on the face and backing picks, respectively. The method of backing must also be carefully considered in this connection; that is, whether the weave is arranged 1 face and 1 back or 2 face and 1 back, etc. 6. To illustrate the method of constructing filling-backed weaves, suppose that it is desired to back the 8-harness twilled basket weave shown in Fig. 1 with filling, the cloth to be woven with 1 pick of face and 1 pick of backing filling. The complete weave will require 16 picks, 8 picks for the face weave and 8 picks for the backing weave. The first opera¬ tion in constructing the weave is to indicate which are to be the face and which the backing picks. This may be done in any convenient manner, it being advisable for a beginner to shade the backing picks with a pencil; in Fig. 2, the backing picks are indicated by the pink-shaded squares. The next step is to place the face weave (in this case Fig. 1) on the picks that have been indicated (in Fig. 2) as face picks. The method of doing this is shown in Fig. 3, and it should be carefully noted that as yet the backing picks remain unmarked. The pink-shaded squares in Figs. 2 and 3 do not represent the warp as lifted, but simply indicate which picks are the backing picks. The next operation is to place risers on the backing picks, raising all the warp ends except such as are left down to bind the backing filling to the fabric, thus, in reality, forming a backing weave. The method of accomplishing this is shown in Fig. 4, in which the backing weave is shown by red squares and where it will be seen that the warp ends are depressed to form the tying, or bind¬ ing, points at those places where the face filling will float over the same end before and after the backing pick. Thus, the filling floats of the first and third picks will cover the tying place on the second pick, and similarly, throughout the whole design, each tying place will be covered by the face filling. It should also be noted that the tying places are §80 WOOLEN AND WORSTED PLY WEAVES 7 distributed in 8-end satin order, thus forming a perfect filling- backed weave. Both black- and red-filled squares, in Fig. 4, represent the warp raised over the filling. In Fig. 4, the backing filling is bound into the cloth only once in 8 ends, but it is possible in this design, if a firmer fabric is desired, to increase the number of tying places, thus making the floats of the backing filling shorter. This may be done, as shown in Fig. 5, by arranging two tying places on each pick. In this weave, it will be noticed that the same perfect structure is retained, and that each end of the warp is depressed under the backing filling the same number of times, thus insuring equality of take-up inweaving. Suppose that it is desired to back the same weave, Fig. 1, with a coarser backing filling, the cloth to be arranged with 2 picks of face and 1 of back. The design paper may be shaded off as shown in Fig. 6 and the weave constructed on the principTes previously explained. In this case, however, only 12 picks will be required for the complete weave, 8 face and 4 backing picks. In order that each end of the warp shall take up the same in weaving, two ties must be placed on each backing pick and so arranged that each end will be depressed under the backing pick once; this is accomplished in Fig. 7, which represents Fig. 1 backed as stated. If it were desired to back the 8-harness twilled basket with filling having the weave arranged 2 face and 1 back and having the backing filling tied only once in 8 ends, it would be advisable to repeat the weave, as shown in Fig. 8, since by no other means would it be possible to have a tying place on each end. If, as is often the case, a face weave complete on a few ends and picks is used and it is desired to tie the backing filling loosely, repetition of the weave is necessary; while in many other instances repeating the weave will enable a more perfect tying arrangement to be used. 7 . In arranging the face weave, it is important in many cases to consider its best relation to the backing weave. For instance, suppose that it is desired to back the 4-harness basket weave with filling and that the weave is placed on 8 WOOLEN AND WORSTED PLY WEAVES §80 design paper as shown in Fig. 9; in this case, there is no place where the backing can be raised for binding without having the warp up on one side, and, as previously explained, the stitching is liable to show on the face of the goods unless covered by face-filling floats. If, however, the face weave is placed on the design paper, as shown in Fig. 10, the backing can readily be stitched to the face, as shown, without any danger of its appearing on the surface. The back weave in this case is the broken crow weave. Weaves that have a large percentage of warp on the face, especially warp-flush twills, are the hardest to back with filling, on account of there not being places in the weaves where perfect tying places can be arranged. When such weaves are backed with filling and it is impossible to have a face-filling flush on each side of the tying place, the design should be so arranged that the flush of face filling that is beside the tying place will follow rather than precede the tie. When the face-filling flush precedes the binding point, the tie will show up prominently on the face of the goods; but when the face flush follows the tie, the reed of the loom will push the face pick over the raised backing pick. This method is employed in Fig. 11, where the warp-flushed prunelle twill has been backed in the filling with the 9-har- ness satin. When filling-flush weaves are backed with filling, the tying places should be arranged as near the center of the face-filling floats as a regular system will allow, in order that the tie may be as well covered as possible. Considerable ingenuity must occasionally be employed in tying the backing filling to the cloth, especially in cases where a coarse backing filling must be used and it is desir¬ able to arrange the tying places so that each warp end will be depressed under the backing filling the same number of times. In fact, almost every weave requires some particular system of tying, and each should be carefully considered, in order to determine how it can be tied to the best advantage. 8. Fig. 12 shows the 10-end regular twill ~t backed with filling, the weave being arranged 2 picks of face and 2 of B F F B F F B F F B F F B F □□□□□BBB □□□□BBBB □□□■BBBB ■ BBBB ■■□■□□ BBBflniJ B F B F B F B F BBBBBBBB □■■■■■□□ BBBBB .... 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The method of tying the backing filling should be particularly noticed in this design, as well as the arrange¬ ment employed in Fig. 13, which represents 2 repeats of the same twill backed with filling and arranged 2 face and 1 back. The tying places are arranged in two twill lines, being alter¬ nated so that each backing pick is tied once in the repeat of the weave and each end contains one tying point. CUT FILLING-BACKED FABRICS 9 . Cut filling-backed fabrics are generally made for trousering or suiting patterns and show on the face of the goods a fine cut mark , or indentation, running usually in the direction of the length of the piece. This cut mark is com¬ monly produced by allowing the backing filling to float over certain ends of the warp throughout the weave; this also binds the backing filling to the cloth. When the cut marks are to be near together, it is usually unnecessary to bind the backing filling to the cloth in any other manner; but if the stripe between the cut marks is to be wide, it is advisable to bind the backing filling in the ordinary manner, in addition to where the cut is to be formed. Generally two cutting ends are used, and although both are depressed on every backing pick, they are usually arranged to work in plain order with the face picks. In Fig. 14, the cassimere twill is shown backed with filling and arranged to form a stripe of 8 ends and then a cut. The backing filling floats over both cutting ends, which, however, as shown by the blue risers, work in plain order with the face filling. If desired, the cut may be made to run diagonally across the cloth instead of lengthwise. This is sometimes done when backing twill weaves, the backing filling being arranged to float over the warp in the same direction as the twill of the face weave, thus making the cut accentuate the boldness of the twill. Fig. 15 shows the 8-end twilled basket weave backed with filling in such a manner as to make a diagonal cut mark. 10 WOOLEN AND WORSTED PLY WEAVES §80 10 . When all the filling is of the same material, another method of producing cut marks may be employed. The fill¬ ing yarn is brought to the face in one section, or stripe, and interweaves with the warp according to the face weave, while in the other section the same pick is allowed to float on the back of the cloth as a backing pick. Fig. 16 shows a design constructed on this principle, the face weave being the regular twill. The first pick is a face pick for the first sec¬ tion of 8 ends and then it passes to the back of the cloth and becomes a backing pick for 8 ends, when it comes to the face again. In the same manner, the second pick is a backing pick for 8 ends and then a face pick for 8 ends. In this way, a cut mark is made at.the first and sixteenth and the eighth and ninth ends, where the filling is reversed. If a prominent cut mark is desired, the face weave should not be placed on the cutting ends, which should be left as shown in Fig. 16. Each pick is as much a backing pick as a face pick and vice versa, so that if a fabric of uniform appearance is to be made, the filling must all be of uniform size and quality. FILLING REVERSIBLES 11 . When filling-flush weaves are backed with filling interlacing with the warp after the same manner as the face filling, a reversible, or double-faced, fabric is formed having the same appearance on both sides; that is, if both fillings are of the same material and color. Satin weaves are generally used for these designs and the cloths are known as satin reversibles. Twill weaves are also used. In cloths of this description, the warp yarn is entirely concealed, being embedded between the two fillings, and consequently is usually of a cheaper material, cotton warps being largely employed. Fig. 17 shows a 5-end satin reversible, which, if woven, would have a filling-flush satin face on each side of the cloth. If this weave is picked 1 black and 1 red, the face of the cloth will be black and the back red, since each color will show only on one side. Fig. 18 is a filling reversible weave with 80 WOOLEN AND WORSTED PLY WEAVES 11 the Lr twill running to the right on each side of the cloth. When making weaves for this class of fabrics, the backing weave should be twilled in the opposite direction to the face weave, in order that it may run in the same direction when the cloth is turned over. In Fig. 18, it will be noticed that two of the tying places are not perfect; however, they have been arranged so that the face filling flush follows the tying point instead of preceding it. Then again as the backing and face filling in this class of fabrics are usually of the same material, there is not so much danger of the tying showing prominently on the face of the goods; that is, if the face filling and the backing filling are of the same color, as well as of the same material. 12. Figured Filling Reversibles.—Designs for fig¬ ured filling reversibles are usually made, according to a given motive, with two filling reversible weaves, one arranged to throw the odd-numbered picks on the face and the even- numbered picks on the back, and the other arranged to produce the opposite effect. Thus, if the weave is picked, say, 1 white and 1 green, the motive will be reproduced in white on a green ground on the face of the goods, and in green on a white ground on the back of the cloth, or vice versa. Since the warp is entirely hidden in the fabric, cotton warps are commonly used and the fillings are of equally good quality. Any two filling reversible weaves may be used in constructing designs of this description, but those complete on a small number of ends and picks are to be preferred if the motive is comparatively small. Take, for instance, Fig. 19 (a) and (b ). In both of these weaves, the filling- flush broken crow weave is backed with filling tied in broken crow order; in other words, both are filling reversibles. In (a), however, the odd-numbered picks are the face picks and the even-numbered picks the backing picks, while in (b) the reverse is the case; so that if these designs are woven, say, 1 white and 1 green, (a) will produce a cloth white on the face and green on the back, and (b) a cloth green on the face and white on the back. It will be seen, therefore, that 12 WOOLEN AND WORSTED PLY WEAVES §80 these two weaves may be combined to produce figured effects. The arrangement of the weaves, as already stated, is usually accomplished according to a given motive. Suppose, for instance, that a simple checker-board effect, with square figures arranged in plain order, is desired; then all that is necessary is to lay out the motive the required size, and place the weave shown in Fig. 19 (a) on it, and that shown in Fig. 19 ( b) on the ground, or vice versa. When arran¬ ging the motive for the reception of the weaves, it should be enlarged twice as much filling-way as warp-way, since filling- backed weaves arranged 1 face and 1 back require twice as many picks as ends to give the same number of face or back¬ ing picks as ends, or, in other words, to give a squarely built texture to the face and back. If the motive were not laid out in this manner, the length of the check or other figure, as the case might be, would be reduced one-half, which would cause it to appear distorted. The assumption in this case is, of course, that it is desired to construct the cloth with as many face or backing picks as ends per inch; if, however, the proportion of face or backing picks to ends is different, the weave must be constructed accordingly, in order to retain the symmetry of the motive. Fig. 20 ( a) shows a motive for a checker-board effect, the light-blue- shaded squares indicating the motive and the blank squares the ground. Fig. 20 {b) shows the check effect constructed with the weaves shown in Fig. 19 (a) and (b), Fig. 19 (a) being placed on the motive and Fig. 19 (b) on the ground. If this design were woven with 1 pick of white and 1 pick of green filling, a white-and-green check would be made on both sides of the cloth, which would be of the reversible type, the green portion on the face covering a white check on the back, and vice versa. Other weaves than Fig. 19 (a) and (b) may easily be made, and any suitable motive may be used as a basis for combining them to produce figured filling reversible cloths. SO WOOLEN AND WORSTED PLY WEAVES 13 EXAMPLES FOR PRACTICE 1. Construct a filling-backed weave arranged 1 face, 1 back, using the W regular twill as a face weave and tying the backing filling perfectly on each warp end. 2. Make an 8-end satin filling reversible weave arranged 1 face and 1 back. 3. Back the cassimere twill with filling, the weave to be arranged 1 face, 1 back, and to be capable of being woven on 4 harnesses. 4. If a 12-end regular twill is backed with filling, the weave being arranged 1 face, 1 back, 1 face, on how many ends and picks will the design be complete, supposing that only 1 repeat of the face weave is shown? 5. Back the regular twill with filling, arranging the weave 1 face, 1 back. Tie each backing pick once in 10 warp ends. 6. Back the twill twilled to the left with the 8-end satin, arran¬ ging the design 1 face, 1 back, and being careful to have the float of face filling follow, rather than precede, the tying point. WARP-I5ACKEI) FABRICS 13 . Warp-backed fabrics are cloths constructed with one system of filling yarn and two systems of warp yarn, in which one system of warp interlaces with the filling to form the face of the cloth, while the other floats on the back of the cloth for the purpose of adding weight and warmth to the fabric. Warp-backed fabrics are similar in construction to filling-backed fabrics, with the exception that the backing yarn is warp instead of filling. They require more harnesses than filling-backed fabrics, because of the extra, or backing, warp, but on the other hand may be woven on single-box looms; that is, if the filling is of the same color and material throughout. The same length of time is required to weave warp-backed cloths as single cloths, since the former require only as many picks as the latter; a longer time is necessary, however, for the weaving of filling-backed fabrics, owing to the extra picks of backing filling that must be put into the cloth. 14 WOOLEN AND WORSTED PLY WEAVES §80 Color also can be applied to the back of warp-backed fabrics to advantage, since stripe effects can be easily made, while with filling-backed cloths only bars across the cloth can be produced, and this is rarely a satisfactory method of applying color. However, particular care should be taken, in all cases where a different color from that of the face yarn is applied to the reverse side of backed clolhs, to have all binding points perfect, so that the color of the backing yarn will not show on the face of the goods. In many warp-backed cloths, two beams are required, since the backing warp is often a coarser yarn and also interlaces differently with the filling than the face warp, except in the case of warp reversibles. It is necessary for the backing yarn in a warp-backed fabric to be harder twisted than the backing yarn in a filling-backed fabric, since there is always more strain on warp than on filling yarn. Thus, it will be seen that warp-backed fabrics are generally harsher and stiffer feeling goods than filling-backed fabrics, in which soft-twisted yarns are almost exclusively used for the backing filling. Warp-backed cloths are largely used for producing heavy fabrics with a cheaper back than face, as for instance, worsted suitings and trouserings with a fine worsted face and woolen back. However, if very cheap and tender yarn must be used for the back, a filling-backed weave is to be preferred. 14 . In constructing weaves for this type of fabric, there are several important points that should be noted: (1) The backing warp must be raised over a pick in every instance where it is desired to bind the back to the face cloth. With filling-backed fabrics the reverse is the case; there a warp end is depressed in order to bind the extra system of yarn to the cloth. (2) In warp-backed fabrics, the tying places should always be placed between two warp flushes of the face cloth, if possible, in order that the tying may not show on the face of the goods; if in any case this is impos¬ sible, the backing warp should be raised either to the right or to the left of a face-warp flush, although the most perfect rmnmrmrm DODODO □□ B osol B B B □fioQonoo j □ 0005. fl B □gpOBOBO □□□•JO' □ J □□□□□□□□ n ■□■jdlj □ OB B iOO □ □ □ OOOOOE iOP B BOOOO’-J B' B O- □•' □ r □ □□□□ □□□' )□□□□ ■ ogooa B 0|0|,B □ □ □□□ OODOOOOO □ □ B B □ : □ B B J □: ; □poeooop , B -BSog □ B B JQ. j □□□□□□□□ O O io 10 B BOC B .B r -.JDOaO FBFBFBFB FBFBFBFB Fig. 23 FBFBFBFB FBFBFBFB Fig. 21 F B F B F B F B F B Fig. 22 BOOBBona BOOOOOOO BBOOBBOO □□□□□BOO □BBDDBBD □□BDonnn □□BBOOBB BDDBBDOB □□□□BODQ BBuDBBDO □BDODDOD □BBDOBBD □□□□□□BD □□BBDDBB □□□BDODO BBQDBBDD □Boononn □BBDOBBD □OBBDOBB □□□BDDDD BDDBBODB BBOOBBDO □□□□□BDD ■ □□□ □ □□■ ■ □□□ □ □□■ FBFFBFFB FFBF Fig. 24 F F B B F F B B FFBBFFBB Fig. 25 □ □ FBFBFBFB FB Fig. 26 ■ ■ ■ ■□■□■□■a BBBDOOBO BOBDBOBO BDBDBBBD FBFBFBFB FBFBFBFB Fig. 27 BOBBBDOO B .B Bfl BBBDDQBQ BOBDBBBD BOODBOBD BO BO BO DO FBFBFBFB FB ( a ) OBOOOBBB BBOBDBOO OOOBBBOB OBOBOOOB IIB I B OB OB OB DO B F B F B F B F B F (b) Fig. 28 §80 WOOLEN AND WORSTED PLY WEAVES 15 results cannot be obtained by this means. (3) If there are a great many more intersections of the face warp with the fill¬ ing than of the backing warp with the filling in a given num¬ ber of picks, or if one series of warp yarn is coarser, it will be necessary to place the two warps on separate beams, since the take-up of the warps in weaving will be different. (4) It is always best to select weaves of regular structure, such as satins, twills, broken crow, etc., for the backing weave, so that each backing end will have the same number of interlacings. (5) Care should be taken to have the face and backing weaves repeat evenly on the design, so that the number of ends in the complete design will be the least common multiple of the number of ends in the two weaves; that is, supposing the design to be arranged 1 face and 1 back. Warp-backed fabrics, however, are often arranged with 2 ends of face and 1 end of back, and sometimes with 2 ends of face and 2 of back. Care should be taken, though, in any case, to have the face and backing weaves evenly repeated. In addition to the above, there are often many other things to be considered when constructing weaves for warp-backed cloths. For instance, if a design of this class is arranged 1 face and 1 back, the backing warp should never be of heavier yarn than the face, since, if this is the case, the back is liable to show through on the face of the cloth. If the design is arranged 2 face and 1 back a proportionately heavier yarn can be used for the backing warp. If cheaper material is used for the backing warp and the cloth is to be fulled, a backing yarn of as nearly as possible the same fulling prop¬ erties as the face yarn should be used. 15. To illustrate the method of constructing a warp- backed weave, suppose that it is desired to back the cassi- mere twill with warp, using the 8-harness satin weave on the back of the goods, or in other words tying the backing warp in 8-end satin order, the design to be arranged 1 face warp and 1 backing warp. As the backing weave in this case will require 8 ends, it will be necessary to show two repeats of the face weave in the complete design; therefore, the 16 WOOLEN AND WORSTED PLY WEAVES §80 finished weave will require 16 ends and 8 picks. The first operation is to shade, or in some manner indicate, the back¬ ing ends, in order that they may be distinguished from the face ends. The method of doing this is shown by the pink- shaded squares in Fig. 21, where the design paper is prepared for the reception of the face weave. Fig. 22 shows the cas- simere weave, which is used for the face weave in this design, placed on the face ends. The final step is to place the back¬ ing weave on the design. As the backing weave, which is to be the 8-harness satin, must flush on the back of the cloth, it should be raised only once in 8 picks on each backing end and in satin order, as shown by the red squares in Fig. 23. The method of raising the backing warp at the tying places between two face-warp flushes should be noted carefully, the object, of course, being to allow the flushes of face warp to cover and hide the tie. Fig. 24 shows the cassimere twill backed with warp, arranged 2 ends of face and 1 end of back, the backing warp being tied in regular twill order. BTg. 25 is a warp- backed weave having a 4-harness basket face weave backed with the 8-end satin, the design being arranged 2 ends of face and 2 ends of backing warp. WARI 1 REVERSIHL.ES Id. Double warp-faced fabrics are made with the reverse face put on with warp in a somewhat similar manner to that employed in filling-reversible cloths, and like them are generally made with satin weaves, the face warp flushing on the face of the cloth and the backing warp on the back. Weaves for these cloths are constructed as for other warp- backed fabrics, but the backing warp is usually of as good quality as the face, while the filling, as it is entirely concealed in the fabric, may be of cotton or other cheap material. Since both the face and backing warps interlace with the fill¬ ing in the sarpe manner, cloths of this description require only one beam for weaving. 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BBB ■□□□□□□□ BlflBQBQB □□□□□□□□ BflBBBB □□□□Bonn □■□BBBBB □□□□□□□□ □□□□□□□□ ■BBBBQBQ □□□■□□□□ ■□BBIBIG □□□□□□□□ B: B BBBB □□□□□□□B ■BBGBQBB ■■□■□BBB □□□□□□□□ ■■■■□■□■ □□■□□□□□ □■■■■■□■ □□□□□□□□ □■□■■■■■ □□□□□□■□ FBFBFBFB FBFBFBFB Fig. 30 92 § 80 §80 WOOLEN AND WORSTED PLY WEAVES 17 arranged 1 face and 1 back and both having perfect tying places. 17 . Figured warp reversibles may be constructed in a similar manner to that employed in producing figured filling- reversible effects, with the exception that the designs are con¬ structed by amalgamating two warp-reversible weaves instead of two filling-reversible weaves. The design is usually figured, according to a given motive, with these two warp reversibles, one of which is arranged to throw the odd-num¬ bered ends on the face and the even-numbered ends on the back, and the other to produce the opposite effect; thus, if the cloth is warped 1 white and 1 black, the motive will be reproduced in white on a black ground on the face of the cloth and in black on a white ground on the back of the cloth, or vice versa. Since the filling is entirely hidden in the fabric, cotton filling is commonly used; but the warp yarns should be of equally good quality, since the warp alternately appears on the face and back of the cloth. Any two warp- reversible weaves may be used in constructing designs of this description, but those complete on a small number of ends and picks will be found most convenient. Fig. 28 ( a ) shows a warp-reversible weave constructed with the 5-harness satin on the face and back, while Fig. 28 ( b) shows the same reversible weave with the exception that in (a) the odd-num¬ bered ends are the face ends and the even-numbered ends the backing ends, while in ( b ) the reverse is true. If these designs are warped 1 white and 1 green, ( a ) will produce a cloth with a white face and a green back, while ( b ) will pro¬ duce a cloth with a green face and a white back. Therefore, if these two weaves are combined according to a proper motive, a figured effect will be obtained. Suppose, for instance, that a simple checker-board effect con¬ sisting of square figures arranged in plain order is desired; then in order to form a figured warp reversible all that is neces¬ sary is to lay out the motive to the required size and place Fig. 28 (a) on the motive and Fig. 28 ( b ) on the ground, or vice versa. When arranging the motive for the reception of 18 WOOLEN AND WORSTED PLY WEAVES §80 the weaves, it should be enlarged twice as much warp-way as filling-way, since warp-backed weaves arranged 1 face and 1 back require twice as many ends as picks to give the same number of face or backing ends as picks per inch. If the motive is not laid out in this manner, the width of the check or other figure, as the case may be, will be reduced one-half, while the length will remain the same, that is, if there are the same number of picks as face ends, which will cause it to appear distorted. Fig. 29 (a) shows the motive for the desired check effect, the light-blue-shaded squares indicating the motive and the blank squares the ground. Fig. 29 ( b ) shows the weave for the check effect desired, constructed with the weaves shown in Fig. 28 (a) and (b ), Fig. 28 (a) being placed on the motive and Fig. 28 (b) on the ground. If this design, therefore, is warped 1 white and 1 green, a white-and-green check will be made on both sides of the cloth, which will be of the reversible type, a green check on the face covering a white check on the back, and vice versa. Other weaves than Fig. 28 (a) and (b) may easily be made, and any motive may be used as a basis for combining them to produce warp-reversible fabrics. For instance, if the first 5 picks of Fig. 29 are considered as the complete weave and the warp is arranged 1 white and 1 green, a white- and-green reversible stripe will be produced. WARP-BACKED CLOTHS WITH A WADDING FILLING 18. In some cases, the required weight cannot be obtained by backing with warp alone and at the same time the appearance and texture of both the face and back of the fabric be retained. When this is the case, extra picks of fill¬ ing, known as wadding picks, may be inserted in such a manner that they will not show either on the face or back of the cloth. In order to obtain this result, it is only necessary to raise all the face warp and depress all the backing warp when the wadding pick is inserted, thus laying the pick between the two warps, but not interlacing it with either. §80 WOOLEN AND WORSTED PLY WEAVES 19 The wadding filling may be of any cheap material, as it does not show at all, but should not be much larger in size than the face warp if a level cloth is desired. Fig. 30 shows the warp-backed weave shown in Fig. 23 arranged alternately with 1 pick of face filling and 1 wadding pick. The blue squares show the face warp raised over the wad¬ ding picks. DRAFTING OF BACKED WEAVES 19 . Filling-backed weaves, since they contain only one system of warp yarn, may be drawn through the harnesses, and the chain and drawing-in drafts constructed exactly the same as for a single cloth. In these weaves, only as many harnesses are required as are necessary for producing the face weave. In the case of warp-backed fabrics, however, since the backing warp interlaces with the filling differently from the face warp, it must be drawn in on separate harnesses; therefore, in these fabrics, one set of harnesses is required to produce the face weave and an additional set to govern the interlacings of the backing ends. A warp-backed weave may be drawn in exactly as a single cloth, if it is so desired. In this case, if the weave is arranged 1 face and 1 back, the first harness will be a face harness, the second harness will have the backing warp drawn through it, etc., each alternate harness being a backing harness; that is, with a straight draft. If the weave were arranged 2 face and 1 back, 1 backing warp harness would alternate with 2 face harnesses. This method of drafting is adopted in some instances in connection with warp-backed fabrics of simple design, but in the majority of cases it is desirable to separate the harnesses for the backing warp from those through which the face warp is drawn, since this method makes the harness draft much simpler for the weaver, thus rendering the liability of broken backing warp ends being tied in on face harnesses, or vice versa, less probable. There are two systems of separating the harnesses through which the backing warp is drawn from those through which 92—19 20 WOOLEN AND WORSTED PLY WEAVES §80 the face warp is drawn. The first method consists of draw¬ ing the backing warp on the back harnesses and the second of drawing the backing warp on the front harnesses. Both of these systems are largely in use, but the latter method is to be preferred, as by this means the backing warp is more readily accessible to the weaver, and since the backing ends are frequently of poorer material and break oftener, this is somewhat of an advantage. For the same reason, namely, that the backing ends are often weaker than the face ends, it is an advantage to place the backing warp on the front harnesses, since the harnesses in the rear are lifted higher than those in the front of the loom, thus bringing more strain on the yarn drawn in on those harnesses. If, however, the face warp has a fancy pattern, it is better to draw it on the front harnesses. 20. To illustrate the method of making the drafts for a warp-backed weave, suppose that it is desired to construct harness and chain drafts for Fig. 23. The first step is to make the harness draft, which is accomplished in identically the same manner as with single cloth, except that two proc¬ esses are required in order to draft both the face and backing weaves. It will be supposed in this case that the backing warp is to be drawn on the front harnesses. The drawing-in draft for the backing weave will therefore be made first, and as in this case the backing weave is an 8-harness satin it will require 8 harnesses. Proceed exactly as in single cloth, taking care, however, as Fig. 23 is arranged 1 face and 1 back, to leave every other vertical row of squares of the harness draft for drawing in the face warp. Next, indicate the drawing-in draft for the face weave, placing it above the draft for the backing weave, but on the vertical rows of squares reserved for the face warp. As the face weave in Fig. 23 occupies but 4 harnesses, there will be two repeats of the face drawing-in draft to one repeat of the draft for the backing weave. 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J | □' □' □' n r 3 □ ' a: □ O 3 F ■ ■ nmuMWBWM mwmmmm B □: s r jf:iu; f .1 □□□ J □□□' (□( O- i □( ■>□' .□□□□ F niiaiBas □0B0BQD3 wmMmmwm 1 ; r i r i : i B j ’ j' ( : j ’ j ■ ] : i' j j | 1 r J : | r J’ 1■ ’ | n n □: a: i □□□□□□□□ F ■ ■ □□□□■ B B □ □ F II F II F II F II F 11 F II F II F I! F H F BFBFB FBFBFBFB Fig. 34 Fig. 35 §80 WOOLEN AND WORSTED PLY WEAVES 21 face warp through the last 4 harnesses, as explained. Care should always be taken to arrange the alternation of the face and backing ends in the drawing-in draft exactly the same as they occur in the weave; that is, if the first end of the weave is a face end, the first end of the drawing-in draft must be drawn through a face harness, and if the second end of the weave is a backing end, it must be drawn through a backing harness. Thus, in Fig. 31 (a), the end drawn through the first harness is the first backing end, which is the second end of the weave; therefore, this end occupies the second verti¬ cal row of squares in the drawing-in draft. Having obtained the drawing-in draft as shown in Fig. 31 (bb* agg sag gggg ag® gggg FBTFBTFB TFBT Fig.46 h agaaia f agggga n BBaaga f ggga a k agaaaa f ggaagg h asaaga f a aggg F B F F B F Fig.44 a gaaggg aagaagaa BBflBBB ag agggg aggggggg agBaaaga BBBBB JB gggggggg gaagggg ggag agg gaagaaBB gggggaag gaggggag gaaggaaa ggggggga aagaagaa aggaaBBa ggggagga gggaa ga agaaaaga aasaagga aggaag a a gaaggg aagaagaa aggaaBBa ag agggg aggggggg agaaBaga BBBaagga gggggggg FBBFFBBF FBBFFBBF Fig.45 1 •ig®g®g®g aaa 'B aa aggggga ®g®g®g®g agagaBaa ggggagag ®g®g®g®g B' BBBBB • g •g^gsg aaa a aa agggggag ig*g.«g«g agagaBaa gggga ag ®g@g®g®g a:.JBBBBB gga aggg ®g®g®g@g aaaaagau agaggggg ®g®g®g@g Baagigaa anggggag sig®g®g® g ggagaggg ®gi.g®g-.g BBaangag a aggggg ®g®g®g@g SSHHaBB" o g eg•g agagaBaa gggga ag ®g@g@g@g agjaflflaa ggagaggg ®g@g®g®g BBaaanflg a aggggg agagaBaa ngggagag ®g®g®g®g arjaaaaa J gga aggg ®g®g@g@g BBBBBGBi j agaggggg F li F B F B F B F B F B F B F B Fig. 47 BB*Bg*ag aggggggg Bg*ag*aa ggggggag ag*aa®BB ggga gag BB®BB®ag aggagggg • BB • BB • B □a gaggg ®BB®ag®B gagggggg • a' *a: !>a igggggga • ag»aa»a □ggga ga U• BG Iaa• gggggagg □®BBEBB® gga gagg a •aa•ag• ggaggggg BEageag® gggggggg BB • B: :*B aggggggg ag*ag®aa gggggga BD'BB•BB gggaggag aa• bb* ag a gagggg • BB * BB•B gaggaggg •aa•a •a gagggggg ®ag@ag®a ggggggga •ag•aa«a ggggagga ggflg«aa« ggggga g □ •aa•aa• ggaggagg BEBBsag® gaggggg a®ag®ag® gggggggg FBWFBWFBWFBWFBWFBfFBffFBT Fig.48 92 §80 4 * M ' □□□□ □□□□□□ n j □ mumumuMu □□□□ □□□□□□□□. □□ a nan □ jCjSaCD- :□ □ CjlI □ □: i i : j i ri □□□□ □ □ □□□□□□□□ □□□□UDQS3 □□□□□□HC □■ □ □ a □.jD □ □ □□□□□□□□ □ umumu □□ c :□□□□ □□□□□□□□ □ □ □ □ □□□□□□□□ □□□□□□□a SSSSd^d □ nmumn wnwnwnwn □□□□□□□□ □□□□□□□□ □□□□□□CD □ id’an □□□□□□□□ □□□□l □□□ □□□□□□ Ed □□□□pdcb IHlHIalg □□□□□Sad □□□□□□□□ □□□□□□□□ .. □. □□□:. □□□□□□□□ mmsccc nmcmoogn □HOT □ □ ; □□□□□□□b □□□□□□□□ □ ;□!□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □Said □ □ □ □ D uvmmmmwm □pa□□□□□ □□□□□□□■ i wSlic^ j □□□□□□□□ n; gr jHr -rj □§□85851 OTOTd □ □Pa^aHQH □□□ □ .□ ] □□□□□□□□ □sasDiag □hotO d □□□inanl □ □ □....□□ □ '□■□■ □ BSBSBSBS j □ □ □ □□□□□□□□ □□□□□□□□ □□□□□□□ □□□□□□□□ □ □ □ □ HOUQUQS □ □ □ Fig.49 □■□□□□□a □■■■□■■■ □□□■□■□□ □■□■■■□■ □□□■□■□□ ■■□■□■■■ □□□□□□□■ □■■■□■□■ ■■■■■□■■ ■□■□□□■□ ■□■■■■■□ ■□■□□□□a ■■■□■■■■ □□□□■□■□ ■□■■■□■■ ■□□□■□■□ □■□■■■□■ □■□□□□□□ ■■□■□■■■ □□□■□■□□ □■■■□■□■ □□□■□■□□ ■■□■■■□■ □□□□□□□■ ■■■■□■■■ □■□■□□□■ □■■■■■□■ □■□■□□□□ ■■□■■■■■ □□□□□■□■ □■■■□■■■ □■□□□■□■ □■□■□□□■ ■■□■■■□■ □■□■□□□□ ■■■■□■■■ □□□□□■□■ □■■■■■□■ □■□□□■□■ ■■□■■■■■ □■□□□□□□ □■■■□■■■ □□□■□■□□ □■□■■■□■ □□□■□■□□ ■■□■□■■■ □□□□□□□■ □■■■□■□■ ■■■■□■■■ □■□■□□□■ □■■■■■□■ □■□■□□□□ ■■□■■■■■ □□□□□■□■ □■■■□■■■ □■□□□■□■ □■□■■■□■ □■□□□□□□ ■■□■□■■■ □□□■□■□□ □■■■□■□■ □□□■□■□□ ■■□■■■□■ □□□□□□□■ □■■■□■■■ □■□□□□□□ □■□■■■□■ □□□■□■□□ ■■□■□■■■ □□□■□■□□ □■■■□■□■ □□□□□□□■ ■■□■■■□■ □■□■□□□■ ■■■■□■■■ □■□■□□□□ □■■■■■□■ □□□□□■□■ ■■□■■■■■ !□■□□□■□■ ■□□□■□□□ ■□■□■□■■ □□■□□□□a ■□■■■■■a ■□□□□□■□ ■□■■■■■a □□□□■□□□ ■■■□■□■a □ *□■□□□■ ■■■■□■■■ □■□■□□□□ □■■■■■□■ □□□□□■□■ ■■□■■■■■ □■□□□■□■ □■■■□■■■ ■■□■■■□■ □■□■□□□■ ■■■■□■■■ □■□■□□□□ □■■■■■□■ □□□□□■□■ ■■□■■■■■ □■□□□■□■ □■■■□■■■ □■□□□□□□ □■□ ■■ ■□■ □□□■□■□□ ■■□■□■■■ □□□■□■□□ □■■■□■□■ □□□□□□□■ □■□■□□□■ □■□■□□□□ □■■■■■□■ □□□□□■□■ ■■□■■■■■ □■□□□■□■ □■■■□■■■ □■□□□□□□ □■□■■■□■ □□□■□■□a ■■□■□■■■ □□□■□■□□ □■■■□■□■ □□□□□□□■ ■■□■■■□■ 92 § 80 Fig. 50 §80 WOOLEN AND WORSTED PLY WEAVES 29 • cheap a grade of yarn for a wadding warp as for a wadding filling since a warp yarn must always possess a certain amount of strength in order to withstand the chafing of the harnesses and reed during the weaving process. CUT DOUBLE CLOTHS 29. Double-cloth weaves that produce fine indented lines, or cut marks , on the surface of the fabric are known as cut double cloths. These cut marks may be produced in double-cloth weaves arranged 1 face and 1 back by reversing the weave in either the,warp or filling or both, the principle being similar to that employed for producing a cut mark in the filling-backed weave shown in Fig. 16. The cut marks are generally arranged so as to run lengthwise of the fabric or else so as to run both lengthwise and crosswise and produce checks in the fabric. Suppose, for example, that it is desired to produce a cut double-cloth weave in which the cut marks shall run in the direction of both the warp and the filling. The first step in the production of such a weave is to shade the design paper so as to indicate which are the backing and which are the face ends and picks, at the same time arranging for reversing the weaves to produce the cut marks. Fig. 49 shows the design paper shaded in this manner, the pink-shaded squares indicating the backing ends and picks; it will be noticed that in the first section of 16 ends the odd-numbered picks are the face picks and the even-numbered picks the back¬ ing picks, while in the second section of 16 ends the reverse is true. Thus, the first pick of the weave is a face pick for 16 ends and between the sixteenth and seventeenth ends passes to the back of the cloth and becomes a backing pick, while the second pick is a backing pick for the first 16 ends and then passes to the face of the cloth and becomes a face pick. The filling passing to the back and to the face between the six¬ teenth and seventeenth ends throughout the cloth will produce a fine cut mark the whole length of the piece. In a similar manner, the first end of the weave is a face end for 16 picks and then passes to the back of the cloth and becomes a 30 WOOLEN AND WORSTED PLY WEAVES §80 backing end for 16 picks, while the second end is a backing end for the first 16 picks and a face end for the next 16 picks, and so on throughout the weave. Thus, it will be seen that the ends, in passing from face to back and back to face between the sixteenth and seventeenth picks, will produce a cut mark running across the fabric. After the design paper is shaded in this manner, it is simply necessary to place a face weave on the face ends and picks and a backing weave on the backing ends and picks and to raise all the face warp on the backing picks. In Fig. 50 the completed design is shown, the 2 1 1 a 1 1 regular twill being used for a face weave and the 8-end twill basket for a backing weave. Generally, it is unnecessary to introduce the ordinary double-cloth binding between the face and the back cloths, as the transposing of the face ends and picks and backing ends and picks serves to bind the cloth securely on each cut mark both warp-way and filling-way; but in case the cut marks are arranged so as to form checks of any consid¬ erable area, it is advisable to tie the face and backing weaves in each section exactly the same as in an ordinary double cloth, since the pockets formed between the cut marks will other¬ wise be too large and thus render the fabric somewhat loose in structure. The cut marks can be made much more prominent by using a cut check weave for the face weave or for both the face and backing weaves and reversing the warps and fillings at the points where the cut of the face or face and backing weaves occurs. By this means, the cut marks that would naturally occur by using a cut check weave in the cloth are greatly accentuated and serve to divide the sections of the check very prominently. Cloths woven with weaves like Fig. 50 are generally woven white and then piece-dyed one solid color, and as both series of yarns appear on the face, both should be of the same quality. 30. When it is desired to produce cut marks in double¬ cloth weaves arranged with two face threads alternating with one back thread, a somewhat different method is □□□ □BDD □ BBB BBBD □DDD BBDD □ BDB □ BDD □□□ □DDBDDDD ID BIBB BDBBB B BDDDDDBD BBBBDDBB BBDBDBBI □DDBDDDD □ BBB BBBD □ □□□ BBDD □BDB □BDD □ □□□ BDDBBBID S B SB 3 BDDDDDBD BBBBDDBB BBDBDBBB □DDBDDDD □□ □□□ □□□ □□□□ BBBD □ BBB □BDD □ BDB BBDD □□□□ BBBD BDDDDDBD BDBBBDBD BDDBBBBD □DDBDDDD BBDBDBBB BBBBDDBB BDDDDDBD BDBBB j BC □ BBB □BDD □BDB BBDD □□□□ □ □□□ □BDD BDDBBBBD □DDBDDDD BBDBDBBB BBBBDDBB BDDDDDBD □ □ □□□ □ □□ □DDBDDDD □ BBB BBBD □ □□□ BBDD □ BDB □BDD □ BBB BBBD BDDBBBBD BDBBBDBD BDDDDDBD BBBBDDBB BBDBDBBB □DDBDDDD BDDBBBBD BDBBBDBD □ □□□ BBDD □ BDB □ BDD □ □□□ □□□□ BBBD BDDDDDBD BBBBDDBB BBDBDBBB □DDBDDDD □□ □□□ □□□ BDDDDDBD BDBBBDBD □ BBB □ BDD □ BDB BBDD □□□□ BBBD □ BBB □ BDD BDDBBBBD □DDBDDDD bbubzhh BBBBDDBB BDDDDDBD Bi. 1BBBDBD BDDBBBBD □DDBDDDD □ BDB BBDD □ □□□ BBBD □ BBB □BDD □ BDB BBDD BBDBDBBB BBBBDDBB BDDDDDBD BDBBBOB.- ■DDBBBBD □DDBDDDD BBDBDBBB BBBBDDBB □ □□□ BBBD □ BBB □BDD □BDB BBDD □□□□ □ BDDDDDBD BZ'BBBDian BDDBBBBD □DDBDDDD BBJBDBBB BBBBDDBB BDDDDDBD □ □' □□□ BB ■■ ■□□■■□□a DDBBDDBB □BBDDBBD BBDDBBDC BQDBIDDB IDBBgnBB BB BB Z □BBDDBBD I'DBBDDBB BDDBBDDB BBDZBBDZ □BBZZBBZ □□BBDDBB BZIBBDZB BB BB BBDDBBDD ■□□■■□□I □□BBDZBB □BBDDBBD BBDZBB ZZ BDDBBDDB 'BBDZBB □BBDDBBD ZDBBDDBB BDDBBDDB BBDDBBDD □BBDDBBD 1DBBDDBB BDDBBDDB BBDDBBDD □BBDDBBD □□BBDDBB BDDBBDDB BBDDBBDD □BBDDBBD □□BBDDBB BDDBBDDB fc CO Ct, CC Ct. u. 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In this case, if a cut mark running lengthwise of the goods is desired, 2 ends are inserted in the weave that interlace with both the face and backing filling exactly as in a single-cloth weave; or if a cut mark across the cloth is called for, 2 picks similarly interlaced with both warps are inserted. Fig. 51 is a double-cloth weave with cut marks made by this method, arranged to run lengthwise of the fabric. The face weave in this case is an angled stripe weave made with the cassimere twill as shown in Fig. 52, while the backing is the plain weave. Wherever it is desired to make a cut mark, 2 cutting ends are substituted for 2 face ends, these ends being arranged to interlace alternately ^ with the fillings, as shown by the green squares. Thus, cut marks will be produced between the second and seventy-first, twenty-sixth and twenty-ninth, forty-first and forty-fourth, fifty-sixth and fifty-ninth ends. It will be noticed that the cut marks are so arranged as to coincide with and accentuate the cuts that would naturally occur in the face weave. By arranging a weave with cutting picks, the cut marks may be made to run across the fabric; and by combining both methods, the cut marks may be made to form checks in the fabric. A cut double-cloth weave arranged in this manner is shown in Fig. 53, the face weave being a cut check made with the Mayo weave, as shown in Fig. 54, and the backing weave plain. DOUBLE PLAIN WEAVES 31. Double plain weaves, although constructed simi¬ lar to ordinary double-cloth weaves, are never tied by raising the ends or picks of the backing fabric into the face fabric, but always by reversing the positions of the two cloths; that is, by bringing the backing ends and picks to the face and pass¬ ing the face ends and picks to the back. A double plain fabric consists of two plain cloths, that is, cloths woven with the ^r, or plain, weave, arranged so that one cloth is above the other in the loom exactly like an ordinary double cloth. A weave that will produce this effect is shown in Fig. 55, which is an ordinary double-cloth weave with the plain 32 WOOLEN AND WORSTED PLY WEAVES § SO weave on the face ends and picks and also with the plain weave placed on the backing ends and picks. The face and back cloths in this weave are not tied together, and so two plain woven cloths will be formed in the loom, one above the other, as shown in Fig. 56. If Fig. 55 were warped and woven 1 black, 1 red, that is, if all the face ends and picks were black and the backing ends and picks red, the face fab¬ ric would be black and the back fabric red, as indicated in Fig. 56. By comparing Figs. 55 and 56, it will be seen that this is true, since the first pick (black) floats under the first end, over the second, third and fourth, under the fifth, and over the sixth, seventh and eighth, while on the second pick (red), the filling floats over the fourth and eighth ends and under the first, second, third, fifth, sixth and seventh, etc., the filling alternately interlacing first with one cloth and then the other, each color being always interlaced with its own color of warp. A section of the weave shown in Fig. 55 is shown in Fig. 57, and indicates the interlacing of the filling with the warp. The ends are numbered from 1 to 8, the odd numbers being on the face of the cloth and the even numbers on the back. In this case, however, the cloth is not warped and picked 1 black and 1 red, as in Fig. 56, but is all of one color, being woven from one shuttle, so that the two cloths will be tied at each edge, thus producing a tube, or bag, in the loom. In Fig. 57 only 8 ends are shown, but it will be understood that actually there are a large number of ends working like ends 3, 4 , 5, and 6, and that the cloth is bound only on each edge. If it is desired to produce a cloth that is interwoven at one edge only, and will thus open out to twice its width when taken from the loom, 2 picks should be placed in the face, then 2 picks in the back, instead of 1 face and 1 back. The weave for accomplishing this is shown in Fig. 58, while a section of the fabric is shown in Fig. 59. 32. In order to bind double plain cloths so as to pro¬ duce a firm double fabric, it would be impractical to raise a §80 WOOLEN AND WORSTED PLY WEAVES 33 backing warp thread to the face on account of the impossi bility of finding a place in the face weave that would cover the tying place perfectly. The system adopted, therefore, for amalgamating the face and back fabrics and at the same time for producing patterns with double plain weaves is to reverse the fabric; that is, to pass the face cloth, warp and filling, through the fabric to the back and the backing yarns to the face. Double plains are largely used in producing stripe pat¬ terns, it being possible by their employment to produce a heavy fabric of fine texture with stripes of solid color on both sides of the cloth. As a rule, the filling yarn should be finer than the warp yarn in this class of fabrics, and there should be more picks than ends per inch. If there are more ends than picks, the lines or stripes of color will not be so perfect or compact. In designing a double plain stripe, the simplest method is to shade the ends 1 face and 1 back, as in the case of double cloth, reversing the weave by bringing 2 back or 2 face ends together. By this means, since the warp is dressed with a thread of one color alternating with a thread of another color, one color of the warp is brought to the face in one portion of the stripe and the other color is brought to the face for the other stripe. The filling inter¬ laces first on the face and then on the back of the cloth, according to which color of warp is on the face or back, each pick of filling always interlacing with its own color. Fig. 60 shows the design paper shaded for a double plain stripe arranged in the warp 1 face and 1 back for 8 ends and then 1 back and 1 face for 8 ends, in order to reverse the weave as previously explained. The first pick is a face pick for the first section of 8 ends and a backing pick for the next 8 ends, while the second pick is the reverse of the first, so that the filling being picked alternately with different colors will interlace with its own color of warp both on the face and back of the cloth. After the design paper is shaded, it is simply necessary to place the plain weave on both the face and the backing ends and picks and to raise the face warp on the backing picks, as shown by the blue squares, 34 WOOLEN AND WORSTED PLY WEAVES §80 in order to complete the weave as shown in Fig. 61. If this weave is warped and woven 1 black and 1 red, black and red stripes will be formed on both sides of the cloth, the black stripe on the face covering the red stripe on the back, and vice versa. That this is true may be seen by examining the section of this design given in Fig. 62, which shows the method in which each pick interlaces with the warp. From this section, it will be seen that the black picks, which are put in the cloth alternately, interlace only with the black, or odd-numbered, ends, and the red picks interlace only with the red, or even-numbered, ends. Where the odd- and even- numbered, or the black and red, ends change places at 7, 8, 9, and 10, the two cloths are tied together. The cloths are also tied together, of course, at the fifteenth, sixteenth, first, and second ends. 33. Double plain fabrics are useful in producing many other varieties of patterns besides stripes. Fig. 63 shows the design paper shaded for a double plain checker-board effect, while Fig. 64 shows the complete weave, the face and back plain weaves being placed on the face and backing ends and picks, respectively, and the face warp raised on the backing picks. If this weave is warped and picked 1 black and 1 red, a reversible checker-board effect consisting of black and red checks on the face and back of the goods will be formed, the black checks on the face covering the red checks on the back of the goods, and vice versa. The weave is bound at the first and thirty-second and the sixteenth and seventeenth ends and picks by reversing the cloths. This will have the effect of forming pockets in the cloth, each check being the extent of the pocket. Double plains are not confined to the simple effects that have been described here, as solid twill lines of color, fancy, or figured effects may be readily obtained, the method being to mark out the desired motive and place the double plain weave on it, then reverse the weave around the outline of the figure, and place the reverse double plain weave on the ground. By this means, a weave may be warped and woven 1 black and 1 red and a red spot fbfbfbfb Fig. 56 1 2 3 4 5 6 7 8 II B F f FBFBFBFB Fig. 58 Fig. 57 2 3 45678 9 1011 12 13 U15 16 □■■■□■■a □■□□□■□a Fig. 61 92 § 80 Fig. 62 DCPCPlPD □ cPCPcPd icpcpcpd ICPCPCPD aaaasaoa 1 CD CD CD C 3CPCPCDD aaoHPQPP i CD CD CD □ CDJCP.Qpp CPCfjCpDJ CP CP yD CP □DCDCPCP CD CD CP OP □□□□□□CD cDcPpncp □a □□□□□□ ummmnun □p CD CP CD □a CD CD DP gCPCPCPC icPcPddd 1J[MD IfiaSaalfi 0 gDcPCPD acDcpnpc dcPcPdQd 3'rpcpSjf. □□□□□□□□ s§bbbbss 31 Si Si SI □p □□□!□□ □□□□□□□□ SiBl aa SI pa CD CD 03 CP 03 CP CD mmmuwmwm, □ □ J □ S □a cp cp cd llBll^Q CP CD CO CP CD CD CP C0 CP CD CP CD 'CP CP co rM mnmnmuuu CD CD CD CD CD CD CD CD CD CD CD CD CD CD CD CD prac Islslsls SS1BSS1S □ □□eg nag IsSBBoS 83S8BK □□□□□□□□ C0 C@ CP CP CD CD CP CD CD CD CD CD CD CP CP CD CD rD CD CD CD CD CO DO CB CD CD CP 'CD CD CD CD pcDcpcDc 13S35 a CD cp cdc ISSSIfl ISdIBId 8 SB Si SB B Fig. 63 □□□■□□□■ □■■■□■■■ □■□□□■□□ ■■□■■■□a □□□■□□□■ □■■■□■■a dbdddbdd a acaa ana □□□BDDDB DBBBDBBB □BDDDBDD BB iflflBDB □□□BDDDB DBBBDBBB □BDDDBDD BBDBBBDB BDBBBDBB □DBDDDBD BBBDBBBn BDDDBDDD BDBBBDBB □DBDDDBD BBBDBBBD BDDDBDDD bdbbbdbb □DBDDDBD BBBDBBBD BDDDBDDD B' iBBBDBB □DBDDDBD BBBDBBBD BDDDBDDD □□□bdddb □BBBCBBB dbdddbdd BBDBBBDB □□□BDDDB □BBBnBBB □bdddbdd aacBaana □□□BDDDB DBBBDBBB □BDDDBDD BBDBBBDB □□□BDDDB DBBBDBBB □BDDDBDD BBDBBBDB BDBBBDBB □DBDDDBD BBBDBBBD BDDDBDDD BDBBBDBB □DBDDDBD BBBDBBBD BDDDBDDD BDBBBDBB □DBDDDBD BBBi JBBBI BDDDBDDD BDBBBDBB □DBDDDBD BBBDBBBD BDDDBDDD BDBBaDBB □□annnBD BBBDBBflD bdddbddd bdbbbdbb □□aonnan BBanaBan annDBDnn BDBBBDBB □DBDDDBD BBBDBBBD BDDDBDDD BDBBBDBB □DBDDDBD BBBDBBBD BDDDBDDD □□□BDDDB DBBBDBBB □BDDDBDD BBDBBBDB □□□BDDDB DBBBDBBB □BDDDBDD BBDBBBDB □□□BDDDB DBBBDBBB □BDDDBDD BBDBBBDB □□□BDDDB DBBBDBBB □BDDDBDD BBDBBBDB flaBBBDBB ddbdddbd bbbcbbbc bdddbddd bdbbbdbb □DBDDDBD bbbdbbbd BDDDBDDD bdbbbdbb □DBDDDBD BBBDBBBD BDDDBDDD bdbbbdbb □DBDDDBD bbbdbbbd BDDDBDDD □□□BDDDB DBBBDBBB □BDDDBDD BBDBBBDB □□□BDDDB DBBBDBBB □BDDDBDD BBDBBBDB □□□BDDDB DBBBDBBB □BDDDBDD ■bmbbbdb □□□BDDDB DBBBDBBB □BDDDBDD BBDBBBDB 92 §80 Fig. 64 80 WOOLEN AND WORSTED PLY WEAVES 35 or figure on a black ground made on the face of the cloth, while the back of the cloth will show a black figure on a red ground. _ DRAFTING OF DOUBLE-CLOTII WEAVES 34. In constructing the harness and chain drafts for double-cloth weaves, the same methods are employed as for warp-backed weaves. Double-cloth weaves may, of course, be drafted exactly the same as single-cloth weaves, but for the reasons given, when dealing with warp-backed weaves, it is better to separate the harnesses through which the face and backing warps are drawn, constructing the chain draft in each instance to correspond with the method adopted for drawing in the warps. The following drafts for double-cloth weaves indicate the method employed: Fig. 65 (a) is the drawing-in draft and Fig. 65 ( b) the chain draft for the double-cloth weave shown in Fig. 38, the backing warp being drawn on the front and the face warp on the back harnesses. Fig. 66 (a) is the drawing-in draft and Fig. 66 ( b) the corresponding chain draft for Fig. 40, the face warp in this case being drawn on the front harnesses and the backing warp on the back harnesses. Reversible weaves in which the warp alternately interlaces on the face and on the back of the fabric are best drafted exactly like single cloths, although double plain weaves are occasionally drafted so that one color will be drawn on the front harnesses and the other on the back harnesses. EXAMPLES FOR PRACTICE 1. Construct a double-cloth weave arranged 1 face and 1 back in both warp and filling, placing the 8-harness twilled basket on the face and the plain weave on the back and tying the backing weave perfectly to the face in 8-harness satin order. Make harness and chain drafts with the face warp drawn on the front harnesses. 2. Make a double-cloth weave arranged 1 face, 1 back, 1 face in both warp and filling, placing the cassimere weave on the face and the 4-end basket on the back and tying the backing weave perfectly to the face in 8-end satin order. Make harness and chain drafts with the backing weave drawn on the front harnesses. 92—20 36 WOOLEN AND WORSTED PLY WEAVES §80 3. Make a double-cloth weave arranged 1 face and 1 back in the warp and 1 face, 1 back, 1 face in the filling, the face weave to be the s -2 Z t regular twill and the backing weave plain. Make two repeats of the face weave in the filling and alternately tie the backing ends to the face weave on the warp-flush twill line. Make harness and chain drafts, the backing weave to be drawn in on the back harnesses. 4. Make a double-cloth weave arranged 1 face and 1 back in both warp and filling, the face weave to be the regular twill and the backing weave to be a 5-harness satin showing a filling flush on the back of the cloth. Stitch in regular order and show harness and chain drafts with the face warp drawn in on the front harnesses. 5. Make a double plain weave on 16 ends that if warped and picked 1 black, 1 red will show a black stripe on the face of the cloth three times the width of the red stripe, and vice versa-on the back—a red stripe three times the width of the black stripe. TRIPLE CLOTHS 35. Triple-cloth weaves are used for heavy-weight woolen goods, such as golf capes, cloakings, etc. As the name indicates, a triple cloth is composed of three cloths woven one on top of the other in the loom. These three cloths are known as the face , center, and back cloths. The center cloth is tied to the face cloth and the back cloth to the center cloth, thus uniting all three cloths into a strong heavy-weight fabric. The same laws regarding tying that were laid down when dealing with double cloths are appli¬ cable to triple cloths. When binding the back to the center, however, more care should be taken to bind every end regu¬ larly than to lay any stress on raising the backing end between two warp floats of the center cloth, since imperfect stitching of this description cannot show on the face of the goods. Wherever possible the back cloth should also be tied to the center cloth so that the tying points will be covered on the back of the cloth. When laying out triple-cloth weaves, it is always better to use some loose weave for the center cloth, since this cloth does not affect the appearance of the goods, but simply adds weight. Satin weaves are especially appropriate to use in this connection. The first step when making a triple-cloth □□□□□□HD □□(!□□□□□ §□□□ □□□□ □aaa □□□□ □□an □□□□ □□□a □□□□ □□□□Sana □□□□□□□□ □□□□□eon □□□□□□□□ □□□□□□®n □□□□□□□□ □□□□□□□0 □□□□□□□a □□□□□□□□ □□□□@□□0 □□□□□□□□ □□□□□§□□ □□□□□□□□ □□□□□□an □□□□□□□□ □□□□□□□@ (a) Fig.65 □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□ana □@na □□□□ □□□□ □□an □□□□ □□□□ □□□a □□□□ □□□□□□□□ □□□□□□□ (z □□□□!□□□ □§□□□□□□ □□□□□Sinn □□□($□□□□ □□(§□□□□□ □□□□□□mo □□[&□□□□□ □□□□□□□a □□□□□□□□ □□□□□□□□ □□□£)□□□□ □[$□□□□□[1) maannaso □□□□□□□□ □□□□snnn □□□□□□□□ □□□□□enn □□□□□□an □□□□□□□□ □□□□□□□El □□□□snnn □□□□□□□□ ( a) Fig. 66 □□■■□□■a □□□□□□□ □□■■□□■■ □□ □□□□□ ■■□□■■□□ □□□□□ □□ □□□□□□□ aaaa annu aaaa □□aa BBBB □aan aaaa aann □□■■□□■a □□□ □□□□ □□■■□□■a □□□□□□ □ □ □□□□□□ □□□□ □□□ BBBR anna aaaa □□aa aaaa □aan aaaa aann (b) ■□□■□□□□ ■aaaaana □□■■□□□□ □■■□□□□□ ■aaaariBi j ■ana □□□ aunamaa BBBBIIBI IB □□□□ □ana □ □□ □□□□ BDBD □ □□□ □ □□□ (JBDB □□aarjQD □aaannaa BBflflBQBQ aannnnan aananma BBBBGBr.B □□aan □□ □aamnnn □□□□ □□□□ an an □□ □ □□□□ □ana □□□□ □□□□ aamaBBa bbbdbdbb □bbbbqqb □■□aaaaa □annnnaa □□□□anon annnnna □□□□anno aaaa □□□ □□□□ □ BOB □□□ □□□□ BDBD □□□□ (b) Fig. 67 92 § 80 §80 WOOLEN AND WORSTED PLY WEAVES 37 weave is to shade the design paper, and for this purpose two differently colored pencils may be used, one to shade the center ends and picks and the other to shade the backing ends and picks. As more familiarity with the construction of both double and triple cloths is obtained, it will be possible to construct the simpler weaves without shading the ends and picks, but for the beginner, or with complicated and large designs, shading is to be preferred, as it eliminates the possi¬ bility of error. To illustrate the construction of a triple-cloth weave, suppose that it is desired to make a weave having the cassi- mere twill on the face, the center cloth to be an 8-end satin, and the back of the fabric to show the 4-harness basket weave. The center cloth is to be bound to the face cloth and the back to the center in 8-end satin order, the weave to be arranged 1 face, 1 center, 1 back, in both warp and filling. The first step is to shade the center and backing ends and picks with differently colored pencils after the manner shown in Fig. 67, in which the light-blue-shaded squares represent the center ends and picks, and the pink-shaded squares the backing ends and picks. The next process is to place the face, center, and backing weaves on their respective ends and picks, as shown in Fig. 68, where the face weave is shown in black, the center weave by the blue marks, and the backing weave by the red-filled squares. After placing the weaves on the design paper, the cloths are tied by raising the center ends over the face picks, arranging the binding points in 8-end satin order and so that the center end will be raised between two face warp floats. This binds the center to the face, but does not bind the back cloth, this latter being accomplished by raising the backing warp ends over the center picks in a similar manner. After the separate cloths are tied together, the next step is to raise each face end over the center and backing picks and each center end over the backing picks, in order that each filling may interlace with its own warp. The completed triple-cloth weave with each of the above points worked out is shown in Fig. 69, where it will be noticed that the binding of both the center to the 38 WOOLEN AND WORSTED PLY WEAVES §80 face and the back to the center cloth is accomplished in satin order. In this design, the black squares represent the face weave; the blue squares, the center weave; and the red squares, the backing weave. The green squares show the method of stitching the center to the face, and the green dots indicate the tying of the back to the center cloth. The black-shaded squares indicate the face warp raised over the backing and center picks, while the light-blue-shaded squares indicate the center warp raised over the backing picks. DRAFTING 36. When making the drafts for triple-cloth weaves, it is always better to separate the face, center, and backing ends, as by this means the harness draft is simplified for the weaver. The method of procedure in drafting is the same as that employed for double cloths, except that three separations are made instead of two. Fig. 70 (a) shows the harness draft for Fig. 69 with the face ends drawn in on the first 4 harnesses, the center on the next 8, and the back on the last 8 harnesses. The chain draft for Fig. 69, according to the drawing-in draft in Fig. 70 (a ), is shown in Fig. 70 (b). EXAMPLES FOR PRACTICE 1. Make a double plain stripe weave complete on 8 ends and 4 picks, which, if dressed and woven 1 red and 1 black, will produce red and black stripes on each side of the cloth. 2. Make a triple-cloth weave, the face to be the regular twill, the center weave the 8-harness satin, and the backing weave the cassi- mere twill. Tie the center to the face and the back to the center in 8-harness satin order. The design is to be arranged 1 face, 1 center, and 1 back. Give harness and chain drafts. 3. Make a double plain weave for a stripe, the face of the cloth to show 8 red ends, 4 black, 8 red, and 2 black. 4. Make an original triple-cloth design. 5. Make a double plain checker-board weave on 24 ends and picks, that if dressed and woven 1 black and 1 white, will show solid checks of black and white on each side of the cloth. B C F B C F B C F B C F B C F B C F B C F B C F □□□□□□□□ □□□□□□□□ ■□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□■□ □□□□□□■□ □□□□□■□□ □□□□□□□□ □■□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□■□□ □□□□□□■□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ ■□□□□□□□ □□□□□□□□ □□□□□□□■ □□□□□□■□ □□□□□■□□ □□□ :□ □□■□□□□□ □■□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□■□ □□□□□■□□ □□□□□□□□ □□□□□□□■! □□□□□□□□ □□□□□□■□ □□□□□□□□ □□□□□□□□ ■□□□□□□□ □□□□□□□□ □□□□□□□□ □□□□□□□□ □■□□□□□□ □□□□□□□□ □□□□□□□□ □□□■□□□□ F C B F C B F C B F C B F C B F C B F C B F C B Fig. 68 ■□□□□□□□ BOHBOnDB nmmomaam □B □BDDD BBrllBB mam □□□□□□□ □Bmmm ammammmm □□□□□□□□ HLf 1'iB.J'jl □□□□□□□ □□□□□BOD □□0OB0OB □noamm □□B □■(□□ □ □□□□□□ nwanmnnw □■□□□□□□ □mama □□□□□ □amama □SSBCiaBH amaammas □□□□B QB □Bmirnn mnamcmna □□Banana OBO □□□□□ □□□□□□□□ □□□□□□□□ wommmunm □□□□□0BO □□□□□B □ mnmmmmnm □□□□□□OB □□□□□□B wmmmmmm □□□on on □□□BQDBD ■ mrnmmm m mm □□□□□□ b namm □□□BBaSB □□BOOB □ □□□□□□□□ □□□□□□□□ □□□□□am □□□□□□□□ mo aom mamam nmmmwmmm □mmom □□□□□□a □□□□□□□□ □□□□□□□a FCBFCBFC B F C B F C B F CBFCBFCB Fig. 69 19- 18 17 16 15 14 1^ 12 II 10 6 8 7 6 5 4 4 3 3 2 2 1 1 (a) Fig. 70 BISSSSb BDDBDm^ mwmwunnn ooiamBB □□□□□□□□ □□□□□□□□ wmmmnumm □□Bonn □ □□ □□□□□ aaiiBBoo □□□□□□□□ □»□□□□ moomaooij □□□□□□□□ □n®Bam Bonn □□□ □□□□□□□ □□□□□□BB □□□Bonn □□□ □□□□ □□□□□□BB mmmmoo bo □ mmmmmuuu BBna □□□ □□□□□□□□ □□Li: «□□□ □□□□□□□□ □□□□□□□□ mamam □□bd ■□□ □□□□□□□□ □□□□□□□□ □□□ □□□□ □□□□ □□□□ □ □□ □□□□ □□□□ □□□□ □□□□ □□□□ □□□□ □□□□ □□□□ □□□ □□□□ w 92 § 80 LENO WEAVES PLAIN GAUZE INTRODUCTION 1. Leno weaves is the general term applied to all classes of weaves of a peculiar structure in which some of the warp ends do not lie parallel with, but are twisted partly around, other ends. This principle of interweaving is called leno weaving, or cross-weaving, and admits of a great number of variations and combinations in developing ornamental effects decidedly different from those produced by the ordinary method of fancy weaving. As every leno weave is what is termed the plain gauze weave, or some vari¬ ation or enlargement of it, or a combination of an ordinary weave with it, known as fancy gauze, the subject of leno weaves is best treated in its natural divisions—plain gauze and fancy gauze. Fig 1 2. A plain, or pure, gauze fabric, as represented in Fig. 1, is one in which an end of the warp is raised on one side of an adjacent end on one pick and raised on the other For notice of copyright, see page immediately following the title page 2 81 2 LENO WEAVES §81 side of the same end on the next pick. Thus in Fig. 1, the end a , which is known as the doup end, is raised over the first pick on the left of the end a u which is called the ground end; but on the second pick, a is raised on the right of a,. It will also be noted that the doup end a is raised and the ground end a x depressed on every pick, the formation of the cloth being made possible by the doup end crossing the ground end between the picks. The weave is complete on 2 picks, as the succeeding picks are merely repetitions of the picks described. Two ends only are required for the completion of this weave, since the entire warp is composed of pairs of ends, each pair working similarly to the 2 ends described. Thus throughout the width of the warp the doup ends are raised over every pick inserted, first on one side and then on the other side of the ground ends around which they twist. Between the picks, each doup end crosses under the ground end with which it works. This method of interlacing results in several features peculiar to leno weaves. Since the ends of the warp cross each other and more room is usually allowed them than if they were parallel in the cloth, an openwork effect is pro¬ duced. This open effect is often increased by leaving more space between the pairs of ends than is actually required for their proper working; this is done by leaving certain dents of the reed empty. Since the crossing of the ends prevents the beating up of the filling as close as in ordinary cloths, the openness of leno fabrics is still further increased. The crossing of the warp yarn binds the warp and filling very firmly together, so that the plain gauze weave makes the strongest cloth that can be woven with a given weight of yarn. A gauze fabric may thus have an open, or lace-like, appearance, be light in weight, and yet possess sufficient strength to wear well. A peculiar zigzag effect, due to the twisting of the ends, is also characteristic of leno fabrics, but this effect is much more noticeable in fancy gauze than in plain gauze weaves for reasons that will be obvious as these weaves are studied in detail. §81 LENO WEAVES 3 PEAIN gauze on ceose-shed eooms BOTTOM DOTJPS 3. The majority of gauze fabrics are woven on dobby looms, of either the close-shed, or open-shed type. The terms close-shed dobby and open-shed dobby are practically synony¬ mous with the terms single-lift dobby and double-lift dobby so frequently used in the cotton-mill industry. There is some confusion as to the exact meaning of these latter terms, but the consensus of opinion is that a single-lift dobby is one with but one lifting knife, or bar, while a double-lift dobby is equipped with two knives. Single¬ lift dobbies form a close shed, while double-lift dobbies, such as are ordinarily used in cotton mills, generally form open sheds. A close-shed dobby is therefore usually understood to be a single¬ lift dobby, while the term open- shed dobby generally infers a double-lift dobby. 4. Harnesses. —The crossing of the ends in weaving plain gauze requires extra harnesses, so that 4 harnesses are necessary, as well as special mechanisms, to control the warp yarn. Two of the har¬ nesses are of the usual type, but in gauze weaving they are called the ground and the back harnesses. of peculiar construction and are called the standard and the doup harnesses. The standard harness, shown in Fig. 2, is like an ordi-* nary harness with the exception that each heddle has two eyes instead of one. Sometimes heddles are used that have eyes The other harnesses are 4 LRNO WEAVES §81 of the same size, but heddles with the upper eye, in the case of bottom doups, considerably larger than the lower are often used on the standard harness. A standard heddle that has one eye larger than the other will not chafe the doup so much as when both eyes are of small size. The doup harness, shown in Fig. 3, consists of a frame similar to that of an ordinary harness, to the lower part of which are attached worsted, cotton, or linen loops, called doups—bottom doups in this case, because they are attached to the lower part of the harness frame. Worsted yarn is preferred for this purpose on account of its elasticity and superior wearing qualities. Heddles are not used on the doup harness. In order to provide for crossing the doup and ground ends in weaving, it is necessary to combine the doup and the standard harnesses in the manner shown in Fig. 4. In attaching the doup harness to the standard har¬ ness one end of the doup is fastened to a cord stretched tightly across the lower part of the doup-harness frame; 81 LENO WEAVES 5 the other end is passed around the heddle bar, through one eye of the standard heddle, back through the other eye, and, after being passed around the heddle bar again, is fastened to the cord beside the first end. It is not essential that the cord be placed in the exact position shown in Fig. 3. It may be higher up and nearer to the heddle bar, or it may be about i inch above the heddle bar; in fact, the latter is the position preferred by many. It is secured on each side either by being passed through holes in the side piece of the harness frame and tied there, or by being attached to hooks fixed on the inside of each side piece of the harness frame. Some¬ times the doups are merely fastened to the heddle bar and no cord is used. In Fig. 3, the proper method of passing the doups around the heddle bar of the doup-harness frame is shown; in Fig. 4, and other figures, the doup is simply indicated as being attached to the cord. No ends are drawn through the standard heddle, but the doup end is drawn through the loop formed by the doup passing through the eyes of the standard heddle. If the loop is on the right of the standard heddle, as in Fig. 4, it is a right-hand doup; if on the left, it is a left-hand doup. 5 . The Slackener. —The normal position of the doup end is on one side of the ground end, but on every alternate pick it is crossed under the ground end and raised on the opposite side. Whenever this crossing takes place, an addi¬ tional strain would be brought on the doup ends if some arrangement were not provided to compensate for the extra length of warp yarn required by the crossing action of the doup ends. To obviate this difficulty a mechanism, called the slackener, easing bar, or easer, is applied to the loom, the object being, as previously intimated, to give a little slack to the doup ends when they are raised out of their normal position. This arrangement is shown in Fig 5; d is a rod extending the width of the loom, attached at one side to an arm d 3 and at the other side to a similar arm. These arms are fastened to a rod d 2 , to the end of which nearest the dobby another arm d t is fastened. The arm d l is connected 6 LENO WEAVES §81 Fig. 5 §81 LENO WEAVES 7 by a strap <4, which passes over a separate sheave attached to the arch of the loom, as shown in Fig. 5, to one of the harness levers of the dobby. This lever is usually the one farthest from the fell of the cloth and is operated in the ordi¬ nary manner by the dobby. The warp in weaving a plain gauze is usually wound on one beam c, and the ground ends a, passed over the whip roll c x in the ordinary manner. The doup ends a, however, are passed over the bar d of the slack¬ ened thus whenever the doup ends are required to cross the ground ends and be raised out of their normal position, they may be slackened by placing a peg in the harness chain so as to raise the lever that operates the slackener. When this lever is raised, the bar d will be drawn in so as to give the required- slack to the doup ends; this is necessary on every alternate pick of a plain gauze weave. 6. Arrangement of Harnesses and Ends. — The crossing of the doup and ground ends in weaving necessi¬ tates a peculiar arrangement of the harnesses and the ends controlled by them. The 4 harnesses already mentioned are arranged in the following order, beginning at the front: doup harness, standard harness (through the heddles of which the doups pass), ground harness, and back harness. The ground and the back harnesses are usually placed as far back as pos¬ sible, so as to put the least possible strain on the doup ends when the crossing takes place. In the European method of weaving lenos, the relative position of the last 2 harnesses is reversed; but they are operated in the same manner as in the American system to obtain like results. Fig. 6 shows the arrangement of the harnesses and the method of drawing in the doup and ground ends. The doup end a is first drawn over the slackener rod d , Fig. 5, and through the back harness and doup, as shown in Fig. 6. Although this end is usually called the doup end, it is also called the douping end, crossing end, or whip end. The ground end a x is drawn in the usual manner over the whip roll and through the ground harness, but is then crossed over the doup end; it is then drawn in the same dent in the reed as the 8 LENO WEAVES §81 doup end. This reeding is absolutely necessary in order to allow the ends to cross in front of the reed. If the ground end and the doup end were not drawn through the same dent of the reed, whenever the doup end crossed the ground end the split of the reed would prevent the crossing from passing forwards; and in consequence, no shed could be formed in front of the reed. This would take place on every alternate pick in the case of plain gauze. It must be understood that in plain gauze every alternate end throughout the body of the warp is a doup end drawn in like a, and that the other ends are ground ends drawn in like a,, though for conve¬ nience of explanation only 2 ends are shown. 7. Operation of Harnesses. —The operation of the harnesses when a plain gauze fabric is being woven on a close-shed loom, will now be considered. It has been noted in Fig. 1 that the doup end a is raised on every pick, but on §81 LENO WEAVES 9 successive picks is on opposite sides of the ground end. On the first pick, the doup end is raised on the left of the ground end and passes straight from the back harness to the fell of the cloth, as shown in Fig. 7. On this pick the ground harness remains down, as does also the standard harness; the back harness is raised, in order to lift the doup end, and the doup harness must also be lifted, so that the doup end in rising may pull the doup through the eyes of the standard heddle. If the doup harness were not raised, the back har¬ ness could not raise the doup ends, as the doups would hold them down. After the pick has been inserted in the shed, the harnesses are returned to the bottom of the shed, as shown in Fig. 6. On the second pick the doup end is raised on the right of the ground end, which it crosses in forming 10 LENO WEAVES §81 the shed, as shown in Fig. 8. The doup end is raised on this pick by lifting both the doup and standard harnesses, which act as one. As the ground harness is down, the back harness must also be down to avoid straining the doup end, since the doup end crosses the ground end directly in front of the ground harness. It is evident that when this crossing of the ends takes place and the shed is formed wholly in front of the ground harness, there is considerable strain on the doup end. The slackener, shown in Fig. 5, is designed to relieve the tension of the doup ends, which are drawn over it, by moving the rod d forwards as the crossing takes place, 'fhis second pick completes one repeat of the weave, and after it has been inserted the doup and standard harnesses, as well as the lever of the dobby that operates the slackener, §81 LENO WEAVES 11 are lowered and all the harnesses are level at the bottom of the shed, as shown in Fig. 6, ready for another repeat of the weave. In summarizing the operation of weaving plain gauze on a close-shed dobby, it may be said that the ground harness is never raised and that on one pick the doup and back harnesses are raised, while on the next pick the doup and standard harnesses are raised and the slackener is operated. 8. A careful study of Figs. 6, 7, and 8 will show that the several harnesses and the slackener must be operated as described, in order to form properly the sheds required in weaving plain gauze without putting undue strain on the yarn and the doups. The positions of some of the harnesses might be changed and plain gauze could still be woven, but these changes would be of no particular advantage and would involve several disadvantages. As has already been stated, in the European method the ground ends are drawn through the last harness and the doup end through the next to the last harness. The ends controlled by these harnesses, how¬ ever, are operated in the manner described, and there is practically no choice between the convenience and effective¬ ness of the two systems. The doup and standard harnesses could be reversed in position, but there would be no advan¬ tage in this arrangement, and broken doups could not as easily be replaced. 9. When the crossing of the doup and ground ends occurs, it is desirable, in order to put the least strain on the ends, to reduce as far as possible the angle formed by the ends in front of the point of their intersection, which is just in front of the heddle eye through which the ground end is drawn. This object is accomplished by placing the ground and back harnesses as far back in the loom as possible, and the doup and standard harnesses at the front. In weaving plain gauze, the available harnesses between the doup and standard harnesses at the front and the ground and back harnesses at the rear are not used at all. When the plain gauze weave is combined with a plain or a fancy weave in 12 LENO WEAVES §81 the production of fancy gauze, or leno, fabrics, as explained later, the ends required for the ordinary weave are drawn on the inner harnesses between those that are required at the front and back for weaving the gauze. 10. The doup harness is so constructed that when it is lifted it lifts only the bottom of the doup, while the doup itself must be lifted from the top either by the doup end, when it is raised by the back harness on one side of the ground end, the standard harness being down and the doup sliding loosely through the eyes of the standard heddle, or by the standard harness, when it raises the doup end on the other side of the ground end. If the standard harness is raised, in order to raise the doup end, and the doup harness is not lifted, the entire weight of the doup harness must be sustained by the doups; thus they will be strained or worn out very quickly. On the other hand, if the back harness is raised without raising the doup harness, the doups will hold down the doup ends, thus preventing the formation of a shed and producing considerable strain on the doups and the doup ends. This difficulty, however, is obviated if the doup harness is raised when the back harness is raised, since the only strain on the doups is, in this case, their own weight and a slight amount of friction, which is unavoidable. In view of these facts, it is evident that in weaving plain gauze it is necessary to raise the doup harness on every pick, since the standard harness must be raised on one pick and the back harness on the next pick. Another important matter connected with the doup and its operation is the relative position of the loop and the standard heddle. In order that the standard and doup harnesses may work properly in weaving plain gauze, it is necessary to have the loop of the doup on the same side of the standard heddle that the ground end is drawn. Thus in Fig. 6, the ground end is drawn at the left of the standard heddle, and the doup end, drawn through the back harness at the left of the ground harness, passes under the ground end through a left-hand doup. If the doup and ground ends were drawn at §81 LENO WEAVES 13 the right of the standard heddle, a right-hand doup would be required. 11. Methods of Representing the Weave, and Har¬ ness and Chain Drafts. —The study of gauze weaving brings up for the consideration of the designer several points that are not involved in the weaving of ordinary fabrics. Among the most important of these are the representations on paper of the weave and the harness and chain drafts. In a fabric woven in the ordinary manner, each end of the warp is drawn through one harness only and is drawn straight from the beam through the harness to the reed. So far as the weave itself is concerned, the number of harnesses used is the same as the number of ends in the warp that have different inter¬ lacings, and the chain draft shows the operation of each harness. In gauze fabrics, the ground ends are drawn through one harness of the ordinary type, while the doup ends are drawn through an ordinary harness at the back, crossed under the ground ends, and also drawn through the doups, which are controlled by both the standard and doup harnesses at the front. Thus in weaving plain gauze, twice as many harnesses are required as there are ends that work differently. In order to show clearly the method of drawing in the doup and ground ends and their operation, a special system of representing the harness and chain drafts must be used. In making the harness and chain drafts it is necessary to keep in mind which are the doup ends and which are the ground ends. When looking at the surface of a plain gauze fabric that is up in the loom, the doup end is the one that is raised on every pick, but on successive picks is raised on opposite sides of the ground end, which is depressed on every pick. 12. The Weave.— The representation on paper of a gauze weave does not follow the rules that apply to the representation of the weaves of ordinary fabrics. The ordi¬ nary method makes use of design paper divided into squares by vertical and horizontal lines. A vertical row of squares is 92—21 14 LENO WEAVES §81 used to show the interweaving of a warp end and a horizon¬ tal row shows a pick of filling. Thus each square represents the intersection of an end and a pick. If the square is marked, it indicates that the end is raised over the pick; if it is blank, it indicates that the end is depressed and the filling floats over it at that point. This method of representation cannot be applied to the weave in gauze fabrics. The first pick of a plain gauze weave, shown in Fig. 1, may be represented in accord with the principles of this method, since there would be a mark on each alternate end, showing that the first, third, fifth, and seventh ends were raised above the filling and the second, fourth, sixth, and eighth ends depressed, just as in the rep¬ resentation of an ordinary plain weave. The second pick, however, presents several difficulties, since the first end is found to have changed its place and to have assumed a 4th Pick 4th Pick □BDBDBDB 4th Pick ®D0D®D®D an b a j BdEQBDBD BUBSJBUBU ■□aDBaaa B' ISSUES JB an®n®D@D 1st Pick a a a a < 1st Pick BDSOBUBD 1st Pick BDBUBl JBU Fig. 9 Fig. 10 Fig. 11 position that in the plain fabric would have been occupied by the second end, which has also changed position and assumed the place of the first end. If this change in the positions of the ends is ignored and the interlacing of the ends is marked on design paper in the ordinary way, the result will be a series of black marks in one vertical row and blanks in the next vertical row, as shown in Fig. 9. This will show one-half of the warp ends raised and the other half depressed on every pick, in which case there will be no interlacing of warp and filling, and hence no production of a fabric. If the change in the position of the ends is taken into account, but the crossing itself is ignored and the ends are marked accord¬ ing to their position in the cloth, the result will be that shown in Fig. 10; this gives the impression that the fabric is an ordinary plain cloth, which is obviously incorrect. 13. Two methods of representing gauze weaves on paper suggest themselves. The first is to use design paper, but to §81 LENO WEAVES 15 adopt different marks to indicate different positions of the ends. Since the ground ends are never raised, the squares showing the working of these ends are left blank. Two marks should be used to indicate the working of the doup ends, one mark, a filled-in square, for instance, for the raising of the end on one side of the ground end in its normal posi¬ tion, and the other mark, a dot, for the raising of the end on the other side of the ground end in its crossed position. According to this method, the weave shown in Fig. 1 would be represented on design paper as shown in Fig. 11. On the first pick, the first, or doup, end is shown raised in its nor¬ mal position, in this case on the left-hand side of the ground end, and the next end, which is the ground end, is shown depressed, as indicated by the blank; the other pairs of ends are repeats of the first and second ends. On the second pick, the crossing end is raised, but as this is shown by a dot instead of a filled square, it indicates that the doup end is raised on the opposite, or right-hand, side of the ground end after the crossing has been completed. The second, or ground end, is shown depressed by means of a blank, as on the first pick. The other pairs of ends are repetitions of the' first and second ends, and the third and fourth picks are repetitions of the first and second picks, since the plain gauze weave is complete on 2 ends and 2 picks. The system just described is not one that gives at first glance a clear conception of the fabric represented, as it requires a little study before the observer can correctly picture the fabric in his mind. It may be made more clear by the use of color; for instance, by using marks of different colors to represent the raising of the crossing end in different positions; but even these markings are not satisfactory, and this system is therefore not commonly used. 14. The other method of representing a gauze weave on design paper is a diagrammatic one. A typical representa¬ tion of such weaves that would be entirely satisfactory and could not possibly lead to error or misinterpretation would be to make a sketch or drawing of the ends and picks 16 LENO WEAVES §81 composing the fabric, showing their relative positions to one another at every pick and the crossing between the picks; but this would require too much time and practice and some knowledge of freehand drawing. A system, therefore, in common use is a modified system of sketching the cloth, representing it by a diagram. In this case, lines are ruled on a piece of paper, as shown in Fig. 12 (a) dividing it into equal-sized squares. Each vertical line represents a ground end, and each horizontal line, a pick of filling. This differs from the regular use of design paper, where the rows of squares, or the spaces between the lines, represent ends and picks, respectively. In this system some method must be adopted to indicate when an end is up and when it is down. Therefore, at each point representing the intersection of (a) (b) Fro 1? warp and filling, a short, oblique mark is made where the warp is raised over the filling, and no mark where the filling is over the waro. By such a system an ordinary plain weave (not a plain gauze weave) would be shown as in Fig. 12 (b). A plain gauze cloth, as shown in Fig. 1, is shown on paper by this system in Fig. 12 (r). Curved marks, either in black ink or colored ink, are made to indicate the crossing of the doup end and show on which picks it is raised on the right of the ground end and on which picks it is raised at the left of the same end, as will be seen by comparison with Fig. 1. 15. Harness Draft.—The majority of gauze fabrics are woven on dobby looms, but simple leno weaves may be made on cam-looms, although this is seldom if ever done. Whether cams or dobbies are used, it is necessary to adopt 81 LENO WEAVES 17 a system of representing the method by which the ends are drawn through the harnesses, so that when prepared by the designer it may be intelligible to the person who must draw in the ends. In making a harness draft for a gauze fabric it is neces¬ sary to keep in mind the construction and arrangement of the harnesses and the method of drawing in the ends, since these differ radically from the arrangement of harnesses and method of drawing in employed in weaving fabrics of the ordinary construction. It is customary when indicating the drawing-in draft of a gauze, or leno, fabric to make a diagrammatic sketch, ruling horizontal lines to represent the Fig. 13 harnesses, vertical lines to represent the doup ends, and curved lines to represent the ground ends, marking with a small cross where each end is drawn through its respective harness. Such a harness draft is shown in Fig. 13, the hori¬ zontal lines, representing the harnesses, being marked with the names Back , Ground , and Doup and Standard; the ends drawn through each harness are indicated as explained, as is also the position of the doup end with relation to the ground end. This draft shows the drawing in of the 8 ends represented in Fig. 1, with the harnesses arranged as in Fig. 6. In Fig. 13, it will be noticed that the doup and standard 18 LENO WEAVES §81 harnesses are shown as 1 harness. This is because the doup end passes through the loop that is formed by the doup pass¬ ing through the eyes of the standard heddle. So far as position is concerned, the doup and standard harnesses may be considered as one when drawing in the ends, but it must be kept in mind that no end is drawn through either eye of the standard heddle. There are numerous modifications of the draft shown in Fig. 13 in use in different mills, one of them being like Fig. 13 with the exception that the doup and standard harnesses are shown separate. A very common method of representing the harness draft is similar to that shown in Fig. 13, with the exception that the doup end is shown by a curved line and the ground end by a straight line. In another system, the draft is marked on design paper, with each horizontal row of squares denoting a harness and each vertical row representing an end, as shown in Fig. 14, which gives a draft of the same ends as those shown in Fig. 13, the doup and the ground ends being drawn through the twelfth and eleventh harnesses, respectively, the doup ends also passing through the doups connected with the second, or standard, harness, as indicated by the short oblique lines. In Fig. 14 it will be noticed that 8 harnesses have been skipped, in order to allow room between the standard and ground harnesses for the crossing of the ends to take place. The manner in which the doup and ground ends that work together are reeded is so well understood by the person who draws in the ends that the reeding is not always indicated. If, however, it is indicated, the ordinary method of enclosing, by marks placed below the harness draft, those ends that are reeded in the same dent is usually employed. If any dents are skipped between the pairs of doup and ground ends, in order to produce a more open effect, they are indicated in the Fig 14 §81 LENO WEAVES 19 ordinary manner by the reed draft at the bottom of the harness draft. 4th Pick ■■□□□□□■ ■□□□□□■□ ■■□□□□□■ ■□□□□□■□ 16. The chain draft for a gauze weave is shown, in the 'same manner as other chain drafts, by means of design paper on which the vertical rows of squares represent the harnesses, and the horizontal rows, the picks, or bars, of the harness chain. A marked, or filled-in, square shows that the harness represented by the vertical row of squares in which it is placed is raised over the pick represented by the horizontal row of squares in which it is placed. Three columns must be reserved to indicate the working of the 3 harnesses required to manipulate the doup end; also one column for the ground harness; and one column for the harness lever that works the slackener. The standard and doup harnesses each require a vertical row of squares to show their operation. With Fig. 13 for the harness draft, the gauze weave shown in Fig. 1 is produced by the chain draft shown in Fig. 15. In Figs. 13 and 15, the number of harnesses skipped to allow for the proper crossing of the ends is not definitely indicated, since this varies and does not affect in any way the drawing in and operation of the ends. It will be well to keep in mind the fact that, although the harness and chain drafts show the working of 8 ends for 4 picks, the weave itself is complete on 2 ends and 2 picks. Fig.15 TOP DOUPS 17. While all the explanations given have referred to the production of plain gauze by means of bottom doups, it is also possible to produce plain gauze on a close-shed dobby by using top doups, or doups that are attached to the upper part of the doup harness. Top doups have certain advantages and disadvantages in weaving leno fabrics on open-shed dobbies, which will be considered later in their proper place. So far as the weave itself is concerned, there is no face or back to a plain gauze fabric, since both sides appear alike. 20 LENO WEAVES §81 The interlacing of the doup end when one side of the cloth is viewed is .the same as that of the ground end when the other side is examined. As the interlacings are the same, the deflection of the doup and ground ends from a straight- line is equal. Therefore, a study of the use ot top doups will show that although in weaving the cloth in the loom the relative positions of the doup and the ground ends are reversed, the product will be a cloth that when turned over will show the same interlacings of both the doup and ground ends as in the cloth woven with bottom doups. In the fabric woven with top doups, the same similarity in appearance of the two sides will be noticed as was observed in the fabric woven with bottom doups. It is thus apparent that it is impossible to tell from £ sample of a pure gauze fabric whether it was woven with top or botton doups, or right- or left-hand doups; these particulars can only be told when it is known which side of the fabric was uppermost in the loom and which end is the doup end. 18. Construction and Arrangement of Harnesses. The same number of harnesses is required in weaving a plain gauze fabric with top doups as is required for weaving it with bottom doups. The ground and back harnesses are of the ordinary construction. The standard harness, if it carries heddles having both eyes of the same size, is also the same as when used in connection with bottom doups, but if, as is sometimes the case, it carries heddles having eyes of unequal size, these are reversed, so that the large eye is the lower, and their action in conjunction with the top doup, therefore, will be the same as when used with the large eye uppermost, as with bottom doups. The doup harness is constructed the same as when used with a bottom doup, with the exception that the doup is attached to the top of the harness frame instead of to the bottom. The doup and standard harnesses are connected by carrying one end of the doup through one eye of the standard heddle, then back through the other, and fastening both ends of the loop at the top of the doup-harness frame. When top doups are under consideration, a left-hand 81 LENO WEAVES 21 doup is one in which the loop of the doup is at the left of the standard heddle, and a right-hand doup, one in which the loop is at the right of the standard heddle, exactly the same as in the case of bottom doups. The harnesses are arranged in the same order as already described for bottom doups— the doup harness at the front of the loom, the standard har¬ ness next, then the ground harness, and finally the back harness at the rear. The construction and arrangement of harnesses just described is shown in Fig. 16. The doup and ground ends are drawn through the har¬ nesses when top doups are used in exactly the same manner as when bottom doups are employed, with the one exception that when top doups are used, the ground end must be crossed under the doup end instead of over it, as is the case with bottom doups. 19. Operation of Harnesses. —An understanding of the operation of the harnesses when weaving plain gauze with 22 LENO WEAVES §81 bottom doups will enable one to comprehend readily their operation when producing the same cloth with top doups. When top doups are used to weave gauze, the doup end remains down and the ground end is raised on every pick. If the doup end a , Fig. 16, is to be depressed under the first pick on the left of the ground end a,, it is necessary that the back harness and the doup harness be left down, the doup slipping through the eyes of the standard heddle and allowing the back harness to retain, the doup end a at the bottom of the shed as the standard harness is raised. The ground end \ s) \ v \ / ' / / V V ' \ v k v ft'*' N U ' J - 4 l I*r>ic/e Fig.19 Buck Ground, Fig. 20 woven with top doups the end represents the doup end, since when top doups are used the doup end is below every pick, and also that the end a is the ground end, which is raised over every pick. §81 LENO WEAVES 25 21. The harness draft for. top doups is made on the same principle as that explained for bottom doups and shown in Fig. 13. The only change that must be made is to indi¬ cate that in drawing in the ends the doup end must be crossed above the ground end. Fig. 20 is the harness draft for the 8 ends shown in Fig. 1 with the harnesses arranged for top doups, as in Fig. 16. The more simple harness draft made on the principle exemplified in Fig. 14 can easily be changed to apply to top doups by merely indi¬ cating on the draft that the doup end is crossed over the ground end when drawing in the warp instead of under it, as in the case of bottom doups. 22. The chain draft for top doups, giving the lifting of the harnesses on different picks, is made according to the method explained for bottom doups and shown in Fig. 15. When weaving with top doups, however, the doup end is below every pick that is inserted, whereas in the case of bottom doups its position is above every pick. It is therefore evident that in order to produce the same cloth with top doups as with bottom doups, the oper¬ ation of the harnesses must be reversed. If on any pick the doup end is to remain down in its normal position, the doup and back harnesses are not lifted, but the standard and ground harnesses are. On the next pick, the doup end must be crossed over and depressed on the other side of the ground end, so that the doun and standard harnesses remain down and the ground and back harnesses are raised. As the crossing of the ends occurs on this pick, the slackener must be operated. Aftei the insertion of this pick, the harnesses are returned to the bottom of the shed, ready for the next repeat of the weave. According to this method, Fig. 21 is the chain draft, which must be used in connection with the harness draft given in Fig. 20 in order to produce the fabric shown in Fig. 1. 23. There is only one noticeable advantage that top doups have o'ver bottom doups in weaving plain gauze; that 4th pick □□□□□■■■ 1st Pick □□□□□BBIB c z a ~ Qtf] O CC c/2 Fig. 21 26 LENO WEAVES 81 is, that they are more easily repaired or replaced. As top doups are attached to the upper part of the doup harness, they are easily accessible for repairs or replacement; but in order to put in new bottom doups it is necessary for the weaver to reach down through the warp ends to attach the loops to the bottom part of the doup harness. For reasons that will be given later, bottom doups are in more common use in weaving leno fabrics, so that all references in this Section, unless otherwise stated, should be understood to apply to them. PLAIN GAUZE ON OPEN-SHED LOOMS ADDITIONAL MECHANISMS REQUIRED 24. The description given so far refers to the weaving of plain gauze on a single-lift, or close-shed, dobby, in which all the warp ends are level at the bottom of the shed after the insertion of each pick. An understanding of the explanations that have been given will show that in order to make the crossing of the ends required in weaving plain gauze, it is nec¬ essary to have the doup and the ground ends level between the insertions of successive picks. This point need not be considered when weaving gauze with a close-shed dobby, for on such a loom all the ends are lowered after each pick. When gauze is to be woven on a double-lift, or open-shed, dobby, this point is important, as it necessitates the use of extra mechanisms to bring the doup and ground ends level after the insertion of each pick. On such a loom, an end in the top shed is never lowered until it is required in the bottom shed on the next pick, and an end in the bottom shed is never raised unless it is required in the top shed on the following pick. As the standard and back harnesses are alternately raised and lowered on successive picks, their operation presents no difficulty with this type of loom. Since, however, the doup end is raised and the ground end depressed on every pick, additional mechanisms are applied to an open-shed dobby to raise the ground harness and lower §81 LENO WEAVES 27 the doup harness to the center of the shed and return them to their original positions between the insertions of successive picks of filling, so that the ground and doup ends may meet and cross each other and then return to the bottom and top sheds, respectively. Two devices are used to enable the crossing of the doup and ground ends to take place; namely, the jumper, to operate the ground harness, and the yoke, to operate the doup harness. 25. The Jumper. —The most .practical movement of the harnesses is to move each harness one-half of the full throw, so that the doup and ground ends are leveled at the center of the shed, as previously described. The jumper is designed to raise the ground end to the center of the shed and lower it again to its position in the bottom shed between successive picks. Fig. 22 shows this mechanism. To the dobby rocker- arm e is attached an arm e , connected by a rod e 2 to a togglejoint e 3 that is hinged at e t . This joint is connected at one end to the dobby frame at / and at the other end to an arm g attached to the shaft g,, to which a segment h is set- screwed. Fastened to the top of the segment is a strap h, connected by a wire h s to a loop h 3 through which the dobby lever j passes. This loop must be at least equal in length to the distance that the lever will travel in lifting the harness half the distance of the shed, so as to allow h 3 to move as desired in weaving without interfering with the lever j, which, when plain gauze is being woven, is stationary. This arrangement of the dobby lever and the loop h 3 allows the lever to raise the ground harness, to which h 3 is connected in the ordinary way, to the top shed, as is often required when weaving fancy gauze, or leno, patterns, in the manner to be described later. The dobby operates in such a way that the top and bottom arms of the rocker e move alternately outwards and inwards on successive picks. This motion is such that e 3 has a vertical movement, being raised on one pick and lowered on the next pick. Fig. 22 shows the position of the dobby 28 LENO WEAVES §81 when the shed is formed and the rod e 2 is in its lowest position. As the rocker moves so as to form the next shed, the rod 1 2 f - Ground, Doup and Standard Fig. 33 Fig.32 §81 LENO WEAVES 41 □■□□□□□■ the same jumper attachment, but at the same time to have each harness connected to its individual lever, in order that each may be lifted in plain order when desired. The follow¬ ing is as simple a rule as any to follow when making a chain draft for these weaves. On the picks that are to work plain have the levers that work the ground harnesses lifted and lowered as they would be when producing a plain weave; on those picks on which the douping takes place have all the levers that work the ground harnesses lowered, since on these picks the jumper will perform all the necessary work. Fig. 34 shows the necessary chain draft for this weave. On the first pick the doup and back harnesses are raised, thus bringing the doup end over the pick of filling. On this pick, also, the first ground harness is lowered, while the second ground harness is raised. Since the first Y and third ground ends are drawn through 6[1 the first ground harness, and this harness is lowered on this pick, these ends will be under the pick of filling. Since the second ls ground end is drawn through the second ground harness, which is raised on this pick, the second ground end will be over the pick of filling, as shown in Fig. 32. On the second pick, as shown in the chain draft, the only harness that is raised is the first ground harness, and since the first and third ground ends are drawn through this har¬ ness, these ends will be over the pick of filling, while the other ends will be under the pick of filling. The third pick is the same as the first. On the next pick, however, the standard and doup har¬ nesses are raised—the latter by the yoke—and the slackener is operated, thus bringing the doup end up on the right of the 3 ground ends and causing a turning of the ends. When causing a turn in the ends on an open-shed dobby, it is necessary to bring all the ends level at about the center of the shed. With the weave being illustrated, this is accom¬ plished as follows: On the third pick the doup end is over the pick of filling, which is in accordance with the instructions o 3 Q <2 Fig. 34 42 LENO WEAVES §81 previously given that the doup end should be over the filling on the picks immediately preceding and following the pick on which the douping takes place. On the fourth pick the doup and back harnesses are lowered, which causes the doup end to drop, but the standard harness is raised. As the lever oper¬ ating the standard harness rises, it will catch the hook attached to the doup harness when the doup end has dropped half the space of the shed, and thus this eild will be brought from the top of the shed to the center and then back to the top again. Considering next the first and third ground ends, which work alike and are therefore drawn through the same har¬ ness, it will be seen that on the third pick they are both down; consequently, on the fourth pick some means must be adopted to bring them to the center of the shed and then lower them again. According to the chain draft, on the fourth pick the lever operating the first ground harness through which these ends are drawn is not raised; but, since this harness is also attached to the jumper, it will be under the control of this mechanism when not lifted by its lever, and will therefore be brought to the center of the shed and then lowered to the bottom. On the third pick the second ground end is raised, while on the fourth pick it is lowered; consequently, in passing from the top of the shed to the bottom, it will necessarily meet the other ends at the center. It is in this manner that on the pick on which the douping takes place the doup end and the ground ends are brought level at the center of the shed, permitting the crossing of the ends. The fifth and sixth picks are similar to the first and second, respectively. I 40. The weave shown in Fig. 32 is typical of a large variety of weaves in which 1 doup end crosses 2 or more ground ends. Though the variations in the interlacings of these ends are many, they present no difficulties to one who understands the method of reproducing the weave given in Fig. 32. Weaves of this character might be made by having 2 or more doup ends drawn through separate back harnesses, 81 LENO WEAVES 43 under 1 ground end, and through the same doup, but as this method is not as convenient as that just described, it is not used to any extent. 41 . A common method of obtaining leno effects is by a combination of the two methods just mentioned; that is, by having 2 doup ends drawn through 2 back harnesses, under 2 ground ends, which are drawn in 2 harnesses, mMgz and then through 1 doup harness at the front. A leno pattern obtained in this way is shown in Fig. 35, the harness and chain drafts being given in Figs. 36 and 37. The pattern is complete on 8 picks, though in Fig. 35 the first pick is repeated, in order to Qthpicfc Fig.35 show the complete working of the ends. In this system, it is evident that as the doup ends are both drawn through the same doup, which is raised by the standard harness when the douping takes place, these ends must be raised together when this action occurs. Though the doup ends are thus limited when raised out' of their normal position the ground 44 LENO WEAVES 81 ends are not restricted and may be operated separately as desired on all douping picks; it is seldom, however, that the ground ends are worked separately on such picks, it being customary, in order to bring out the full effect of the crossing of the ends, to depress both ground ends on the pick, or picks, inserted when the doup ends are raised out of their normal position. When the doup harness is raised and the standard harness remains down, the doup ends can be raised independently of each other and of the ground ends, since they are raised in their normal position, and as the ground ends can also be operated independently, all 4 ends can be utilized to weave plain cloth as shown in Fig. 35, picks 3 to 7, inclusive. This weave necessitates a different use of the yoke from that explained in connection with the weaving of gauze on an open-shed dobby, where the doup harness is readily operated so as to prevent any great amount of slack in the, doup, which slackness would be liable to entangle and break the ends. If the 2 doup ends, which are drawn through the same doup, as shown in Fig. 36, worked alike throughout the weave, as they do on the first 2 picks of the weave shown in Fig. 35, the arrangement of the yoke connected with the doup and the standard harnesses would be the same as that used in weaving plain gauze on an open-shed loom with 1 doup end crossing 1 ground end. When, however, as in this case, the doup ends drawn through the same doup work differently, two levers are required to operate the doup har¬ ness, while the standard harness is operated by the third lever, to which it is attached in the ordinary manner. As has been stated, the first 2 picks present no difficulty, because the doup ends work alike, so that if the doup harness is worked correctly as for 1 doup end, the doup will remain practically taut throughout its movement. On the third pick, 1 doup end is depressed, but the other doup end is raised and retains the doup in position; consequently, no difficulty is j j □□□□□□□ ■□□□□□■□ □■□□□□□■ ■□□□□□□□ □■■□□□□□ ■□□□ ■□□□ □□□■ a a 2 o o S Q ft ca § I ® 5 Fig. 37 §81 LENO WEAVES 45 experienced on this pick. On the fourth pick, however, the positions of the doup ends are reversed; as the end that was raised on the previous pick descends, it will allow the doup to become slack until it meets, at the center of the shed, the other doup end, which is rising, unless at the same time the doup harness is moved to the center of the shed and returned to the top shed. This movement is the same as that which would be given if the yoke were attached to the levers oper¬ ating the doup and the standard harnesses; but as the lever operating the standard harness is not raised on the next pick, this arrangement cannot be used. In order to give the required movement to the doup har¬ ness the yoke is connected to the first two levers of the dobby, but is entirely independent of the third lever that operates the standard harness. The yoke, to which the doup harness is connected, is attached to levers that operate in the same way as the doup and standard levers when con¬ nected by a yoke, as previously explained. As the doup harness is lowered by one of the levers to which the yoke is attached, the doup is lowered to the center of the shed at the same time that the end previously raised is descending; the doup harness is then raised by the other lever while the end previously depressed is rising; consequently, the doup is kept practically taut, and tangling and breaking of ends is avoided. In weaves of this character the standard harness is oper¬ ated as required, independently of the two levers connected by the yoke for the purpose of operating the doup harness. The first two levers are operated alternately on all picks where the doup ends work differently, in order to lower the doup harness to the center of the shed and return it to its position between successive picks. One of the yoke levers should, of course, always be raised whenever the standard is raised to enable the douping to take place. 46 LENO WEAVES §81 EFFECTS REQUIRING MORE THAN ONE SET OF DOUP ENDS 42. In many leno weaves, the douping of one set of ends occurs on one pick while the douping of another set occurs on another pick. In such cases, it is necessary to employ as many sets of doup and standard harnesses as there are sets of doup ends. Two sets of doup and standard harnesses are the most common, although in some cases more are used. A good plan to follow when seeking to determine the number of ends that doup differently, is first to determine the doup ends in one repeat of the pattern of the weave, and next to follow the interlacings of the different picks and determine the number of sets of doup ends that doup on different picks. If one set of doup ends is found to doup on a different pick than the others, those ends require a separate doup, a separate standard, and a separate back harness; that is, there must be as many different sets of these harnesses as there are different sets of doup ends that work differently, somewhat more clearly; on third and fourth doup ends doup, while on the fourth and eighth picks the first and second doup ends doup. Consequently, in this weave there are two sets of doup ends, which are actuated by two sets of harnesses; that is, the first 2 doup ends are drawn through one set of harnesses and the last 2 doup ends through another set. When more than one set of doups are used to weave a fabric, the order in which the harnesses are usually arranged is as follows: doup, standard, doup, standard, and so on, until the number of doups and standards that are required Fig. 38 illustrates this point the second and sixth picks the §81 LENO WEAVES 47 are used; next follows the ground harness for the end that is crossed by the doup end drawn through the front doup, and next the back harness for that doup end; after this fol¬ low the ground and back harnesses for each set of doup and standard harnesses in regular order. This order, although not always adopted, is the general one and will be found to give the best satisfaction. 43 . Considering the drawing-in draft for Fig. 38, the first 2 doup ends work alike and also the first 2 ground ends; therefore, one set of doup, standard, ground, and back har¬ nesses will serve for these 4 ends, left-hand doups being used. The third and fourth doup ends, although they work alike, work in a manner entirely different from the first and second doup ends, and while they may be drawn in similarly to each other, they must occupy a separate set of harnesses from the first 2 doup ends. The same is true of the third and fourth ground ends when considered in relation to their respective doup ends and the first and second ground and doup ends. The complete drawing-in draft for these ends is shown in f^ig. 39; the first doup and standard harnesses, the first ground harness, and the first back harness are used for the first 4 ends of Fig. 38, while the remaining harnesses are used for the second 4 ends. Fig. 40 shows the chain draft that will give the effect shown in Fig. 38 with the ends drawn in 48 LENO WEAVES 81 as shown in Fig. 39. Considering the first pick of Fig. 40, the first doup and first back harnesses are raised, which raises the first and second doup ends; the second doup and second back harnesses are also raised, which raises the third and fourth doup ends. As the other harnesses are not lifted on this pick, the remaining ends will be down. On the second pick, the second standard harness is raised, which by means of the yoke raises the second doup harness, causing the third and fourth doup ends to doup. The first doup and first back harnesses are also raised on this pick, which will cause the first and second doup ends drawn through these harnesses to be lifted. The third pick is the same as the first. On the fourth pick, the first standard, and consequently the first doup, harnesses are raised, causing the first and second doup ends to doup. As the second doup and second back harnesses are also raised, the third and fourth doup ends will be up on this pick. The last 4 picks are simply repetitions of the first 4 picks. Each set of doup and standard harnesses must have its own slackener; thus, Fig. 40 provides for two slackeners, one for the first set of doups and another for the second set. When the first and second doup threads are made to doup, as they are on the fourth and eighth picks, the first slackener is operated, while the second slackener is operated when the third and fourth doup ends are douped, as on the second and sixth picks. In every case where more than one set of doup ends is adopted there must be a slackener for each set and the doup ends drawn over their respective slackeners. 44. It is possible to weave on a comparatively small number of harnesses a variety of leno effects somewhat elaborate in appearance that seem to require a large number of harnesses for their production. In such weaves separate back and ground harnesses are required for each pair of doup and ground ends that work differently from every other pair. 8th Pick 1st Pick □■■□□□□□ □■■□□□□□ !□■□□□□■ !□□■□□□■ !□■□□□□■ □ BHD □ HDD □ □□■ □ HDD □ BHD □ HDD □□□a □ HDD QmQx Cca CfSKco Fig.40 §81 LENO WEAVES 49 Only 1 doup and 1 standard harness is used, however, all the doup ends being drawn through doups on the one doup har¬ ness, as they all doup on the same picks. Such an arrange¬ ment is possible because on every alternate pick the doup and standard harnesses are both raised, while on the other picks the doup harness alone is raised. On the picks first mentioned, every doup end is raised out of its normal posi¬ tion by the lifting of the doup and standard harnesses. On the second pick and every alternate pick, there are. two pos¬ sible manipulations of the ends that work together, so that either the ground end or the doup end may be raised. In the first case the ground end is raised by lifting the ground harness, but as the back harness remains down the doup end is down and, consequently, the doup retains its position, although the doup harness is lifted. In the second case the doup end is raised by lifting the back harness, this being possible because, as already noted, the doup harness is raised on this pick. If the pick on which the doup end is raised out of its normal position is alternated with the pick on which the ground end is raised, it will result in weaving plain cloth. If the pick first mentioned is alternated with the pick on which the doup end is raised in its normal position, the result will be plain gauze. Since each pair of doup and ground ends is drawn in on separate back and ground harnesses, it is evident that one pair of ends may weave plain cloth and another pair weave plain gauze throughout a repeat of the weave, or that any pair of ends working together may weave plain cloth for part of the weave and plain gauze for the remainder. The latter method is in general use for producing elaborate effects with a relatively small number of harnesses. In such weaves a groundwork of plain cloth is produced by raising the ground ends on those picks where there is a choice in the working of the ends, and the design is made by weaving plain gauze by raising the doup ends on the required number of these same picks. Fig. 41 shows the weave of a leno design made on this principle, which will give a zigzag effect in the cloth, and 50 LENO WEAVES §81 Figs. 42 and 43 show the requisite harness and chain drafts, the latter being for a elose-shed loom. The weave is com-' plete on 16 picks, though Fig. 41 gives the last pick of the previous repeat and the first pick of the following repeat of Fig.41 the weave. This weave shows the features peculiar to leno fabrics woven on this principle with only one set of doup and standard harnesses. On the second and every even-numbered pick, every doup end is raised out of its normal position. On the first and every odd-numbered pick, certain doup ends are §81 LENO WEAVES 51 raised in their normal positions, while certain others remain down and the ground ends that work with them are raised. In either case the ends are raised on the side opposite to that on which the doup ends were raised on the previous pick. 16th Pick ■□□□□EOS ■■□□□□□□ ■□□□■□□El ■■□□□□□□ ■□□□■□■□ ■■□□□□□□ ■□□□□san 1st Piok !■□□□□□□ !□□□■□■□ !■□□□□□□ ■□□□■□□E !■□□□□□□ ■□□□□EOS !■□□□□□□ ■□□□□EBP □□□□■ _!□■□□ □□□□■ □Sana □□□□■ □EQED □□□□■ HQQEO 45. A simple and accurate method of making weaves of this character is as follows: Mark on design paper as a motive the effect that is desired. Then on the chain draft allow for 1 doup harness, 1 standard harness, 1 slackener, and twice as many harnesses for the doup and ground ends as there are ends in the motive that work dif¬ ferently; also allow for twice the number of picks required by the motive; the allowance for ends is made because each end of the motive represents 2 ends—a doup and a ground end working together—and the allowance □□□□■ □EDED □□□□■ □EBDD □□□□■ _!□■□□ □□□□■ □□BO 3 M 3 Hi 3 M Fig.43 52 LENO WEAVES §81 for picks because in weaving the design all the pairs of ends must weave alike on half the picks. In making the chain draft, mark, every alternate pick to raise the doup and the standard harnesses and operate the slackener. These picks will always be marked alike, irrespective of the design, and on these picks no marks are ever placed to operate any of the ground or back harnesses. Next mark the draft to raise the doup harness on all those picks that have not been marked. Since it is on these picks that the choice is given of raising either the ground or the doup ends, and the desired figure is produced by raising certain doup ends so as to weave plain gauze, the design should be marked on the back harnesses on these picks. As the last step, mark the chain draft on these same picks to raise the ground harness of every pair of ground and back harnesses, where the back harness has not been marked to raise the doup end drawn through it. The motive for the weave shown in Fig. 41 is given in Fig. 44, and is shown properly placed on the chain draft by the crosses in Fig. 43. The principles involved in producing leno effects by this method are fully explained with reference to the weave shown in Fig. 41, which is sufficiently large to give the desired effect on certain classes of goods. On many fabrics, however, it is necessary, in order to bring out the effect to the greatest advantage, to use all the available harnesses for the differently working pairs of ends, and to extend the number of picks proportionately. _ Fig.44 COMBINATION LENO EFFECTS 46. Although the illustrations given deal only with doup and ground ends, leno effects are not made up entirely of these, since almost all leno patterns are made by combining a plain or fancy gauze weave with some other weave of ordinary structure, thus forming stripes, checks, and many other effects. With the designs so far given, it has been the object to explain the different leno weaves that are com¬ monly used in combination with some other weave, and it §81 LENO WEAVES 53 should he understood that it is possible to combine any of these weaves, or, in fact, several of them, with other weaves, such as plain or twill, and in this manner form numerous and varied effects. 47 . When weaving a gauze, the back harness and the harness through which the ground ends are drawn should be placed as near the back of the loom as possible and operated by the back levers of the dobby, in order to give the doup ends room in which to cross the ground ends. In cases where a leno design is composed of some other weave in addition to the gauze, it is the custom to place the harnesses carrying the ends forming this weave between the standard and the ground harnesses and to have them operated by the center harness levers of the dobby. In all illustrations given of this class of weaves, this order of placing the harnesses will be observed. 48 . Combinations of Plain and Gauze Weaves. Fig. 45 shows a leno design in which the first 24 ends work plain, producing a stripe of plain weave. The remaining ends produce a stripe of gauze, but while some of the ends are douping to the right, others are douping to the left, and as all these ends do not interlace with the filling in exactly the same order, widely varied effects are produced. The first point to determine when reproducing a leno fabric is the number of sets of doup 'harnesses necessary for the doup ends. When a doup end is found to doup on a pick on which the other doup ends do not, that end must have a separate doup and standard harness. On the first pick shown in Fig. 45, all the doup ends are operated in the same manner; consequently, as far as this pick is concerned, only one doup and standard harness are necessary. The same is true of the second and third picks. On the fourth pick, however, two methods are adopted, since while the first two and also the last two sets of crossing ends doup on this pick, the second two do not, but remain as they were on the third pick; conse¬ quently, thus far at least two sets of doup and standard harnesses are necessary. Comparing the interlacings of the §81 LENO WEAVES 55 doup ends on each pick of Fig. 45, it will be seen that two sets of doup harnesses will be sufficient to weave this design, since these are the only two sets of doup ends that work differently. Having determined the number of doup and standard harnesses, next learn in the same manner the number of ground harnesses required. When each doup end crosses only 1 ground end, as is the case in this figure, there will be the same number of ground harnesses as there are doup harnesses. The number of back harnesses will, of course, be the same as the number of doup harnesses in every case, with the exception of weaves made on the principle of that shown in Fig. 41. The ends so far considered will require 2 doup, 2 standard, 2 back, and 2 ground harnesses, making eight levers of the dobby that will be required for this part of the weave. The first 24 ends of Fig. 45 can be placed on 2 harnesses, since this is the plain weave. However, it would be better to draw them in on 4 harnesses, which method will be adopted. It also becomes necessary before making out the harness draft, to determine which ends are drawn through right-hand doups and which require left-hand doups. Refer¬ ring to Fig. 45, the first, third, and fifth doup ends are drawn through right-hand doups, while the second, fourth, and sixth doup ends are drawn through left-hand doups. It is possible now to commence to make the harness draft, shown in Fig. 46, the ends and the harnesses, through which they are to be drawn, being as follows: The first and second harnesses are the first doup and the first standard harnesses, through which the first, second, fifth, and sixth doup ends are drawn; the third and fourth harnesses are the second doup and the second standard harnesses, through which the third and fourth doup ends are drawn; the fifth, sixth, seventh, and eighth harnesses have the ends working plain drawn through them; the ninth harness is a ground harness, through which the first, second, fifth, and sixth ground ends are drawn; the tenth harness is a back harness, through which the first, second, fifth, and sixth doup ends are drawn; the eleventh harness is 56 LENO WEAVES 81 a ground harness, through which the third and fourth ground ends are drawn; the twelfth harness is a back harness, through which the third and fourth doup ends are drawn. 49. As it is always necessary to have as many slackeners as there are sets of doup and standard harnesses, two slack¬ eners will be required in this case, which will necessitate using two more levers of the dobby, making fourteen 81 LENO WEAVES 57 altogether. When a gauze weave is combined with some other, such as plain, as in Fig. 45, it is customary to have at least a slight space between the front harnesses that carry the doup ends and the harnesses through which the ends forming the other weave are drawn. It will be assumed that with this weave two levers are omitted between those operating the two sets of doup and standard harnesses, and those operating the harnesses carrying the ends that work plain. The harnesses and dobby levers will therefore be connected in the following manner: First lever operates first doup harness; second lever operates first standard harness; third lever operates second doup harness; fourth lever operates second standard harness; fifth lever skip; sixth lever skip; seventh lever operates first plain harness; eighth lever operates mhpick second plain harness; ninth leaver operates third plain harness; tenth lever operates fourth plain harness; eleventh lever, also jumper, operate first ground harness;' twelfth lever operates istpick first back harness; thirteenth lever, also jumper, operate sec¬ ond’ground harness; fourteenth lever operates second back har¬ ness; fifteenth lever operates slackener for first set of doups; sixteenth lever operates slackener for second set of doups. The first and second and third and fourth levers are, of course, connected with yokes. Thus, with the har¬ nesses arranged in this manner, a dobby with a capacity of at least sixteen levers will be required to weave the cloth, although, by not skipping any levers and by drawing the plain ends on 2 harnesses, it would be possible to reduce this number to twelve. 50 . Fig. 47 shows the chain draft for the weave Fig. 45 with the ends drawn in as shown in Fig. 46; by following each pick of Fig. 47 it should be readily seen hew the effect Y Y □■□a □□□□ □□□□ i / ■□□□ i □■■■ J J BnnDDDHB □■□BDBDD ■□□■□□□B □■□■□■□□ a B BBC ■ ana aa □□□□□□□□ □□□□□□□□ □BDBDBDB BDBDBDBu □BDBDBDn BHOBDDDB □BDBDBDD ■□□□□BHD □BDBDBDD ■□□□□□BB □BDBD0DD a. ■§ a “ .3 .5 .3 § a 3 a § d § «3 Q 02 a aa £ £ ££OMOca