o • « < • e • M* ^./ -^M- ^o/ •^^^'^'^•' ^ .4 Oft O > (^390 TEXTILE DESIGNERS' Pocket Manual BY WALTER SCOTT M THIRD AND ENLARGED EDITION. PRICE $1.00, Published by **••' AIRICAN WOOL AND COTION REPORTER Frank P. Bennett <^ Co., Publishers 530 Atlantic Ave., Boston 2 Rector St., New York 308 Chestnut St., Philadelphia 208 Corcoran Building, Washington, D. C. Copyrighted, FRANK P. BENNETT & CO., Inc 1912 //.vTO :?Q (gCLA343063 K^ f CONTENTS Pages. 280 distinct weaves with the diameters and full warping and weaving particu- lars for each in 5 to 7 different weights in each weave and in all the following fabrics, viz. : worsteds, cassimeres, tweeds, cheviots, unions, tweed, dress fabrics, cotton and silk 9-60 Rules for fabrics and interlaces 61-73 Tables of diameters used for all the above fabrics in weights from 4 to 16 ounces in all weaves from plain cloth to 8 and 10- harness twills; also for double cloths in cassimeres, worsteds, cottons and silks 74-84 Rules for binding 2 or more fabrics 85 Widths to set different fabrics in reeds.... 85 Tables of yarn rates 86 How to find size of 2 or more laid together S7 How to find size and shrinkage of 2 or more twisted together 87 Sample of range ticket 89 Rules for numbering yarns, ranges, etc.. 89 Rules to find weights of ranges, shrink- age, etc 89-90 Rules for finishing cassimere ranges 90 Rules for finishing worsted ranges 90 Rules for finishing worsted ranges light weight cloaking 90 Rules for finishing worsted ranges heavy- weight cloaking 91 Rules for finishing tweed ranges 91 Rules for finishing cheviot ranges 91 Rules for finishing dress goods ranges... 91 Rules for finishing melton ranges 91 Rule to find diameter of runs, cotton worsted, cuts and skeins 92 Rule to find runs, etc., from diameter 92 Rule to find diameters to use for different number of harness 92 Rule to find diameter to use for different weights in same harness 93 Rules for figure weaving in various fabrics 93 Rules for canceling harness biy cross drawing 93-94 Rules for transposing in various ways 94-95 Publishers' Announcement. These chapters on textile designing were published in instalments in the AMERICAN WOOL AND COTTON REPORTER, beginning with the issue of November 17, 1910. The author, Mr. Walter Scott, formerly of Cornwall, Ont.. intended that they should be gathered together and bound in the form of a small pocket manual, and we have therefore issued them in the present form, which will be found con- venient for every day use. Copies of this v^crk will be sent, postage prepaid, to any address, on re- ceipt of one dollar at any of our offices, FRANK P. BENNETT &- CO., Publisher. INTRODUCTION As this work is intended for the de- signer alone, I liave confined myself "Chiefly to that department. Designing is probably the most ancient of all the arts. Primitive man, as we understand, designed and made his first garment in the garden of Eden. We find as time moved on that the innate vanity of the human species began to show it- self in the addition of various orna- ments to the dress, and thus begun, designing has been more and more developed as ages have rolled by, each designer showing his individual- ity in the construction of innumerable articles designed for useful and orna- mental purposes; and textile design has ever been a leading art. As a witness thereof, take the tapestries of the Middle Ages, some of which show most artistic conceptions in de- sign and execution; also take the shawls of India. Consider the pres- ent age. How much less satisfactory 6 TEXTILE DESIGNERS' would life be without the beautiful fabrics which are originated in the de- signers' brain, and produced by the loom. How much less attractive would be woman without the beautiful creations of textile art that aid in her adornment. Art in the form of silkS; velvets, laces, etc., will make the most plain attractive. It may be stated^ therefore, with good reason, that tex- tile designing is really the oldest, and at the same time, one of the most im- portant of the arts. A true designer must of necessity? have a creative fancy, else where would he originate his designs? He also must have a natural taste, I will not say for the beautiful alone, for the sublime, the grotesque and the ugly have their places in man's creative fancy as well as the beautiful, and each has its own votaries, but a natu- ral taste for one or the other is essen tial to the designer, I believe that a good deal of the art of design can be accpaired, but to have it in perfection, or at least as near perfection as man ever reaches here below, it must be inborn and then cultivated. It is a source of pain to see how this art has degenerated in textile fabrics, POCKET MANUAL, 7 more especially on this continent. It is a disgrace to the name of designer to be reduced to the mere level of copyists, as is the rule rather than the exception in America. I am pub- lishing this work not as a help to such, but in the hope that the practical rules, etc., contained herein, which have been gained by practical experi- ence in Scotland, England, Canada and the United States, may be of some value to the true born and as- piring designer just starting out on life's work. That he may herein find help to overcome some of the diHi- culties that beset us in our profes- sion, and help to again raise our art to its proper place in the world, is the earnest wish of The Author. CHAPTER 1. 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IS 61 ■■■■■aaDaoanDDDHaa ■■■■DBaODDDDCDanBB ■■■aaaGDaaDDDBDHBa BaaaDaGGGaDDaDaaaa aGaanGGGaaaaGBaaaa □aaGGaGanaBaaaaBBB ■GaaGaaGaBGBBBBBBa GGGGGGGGBGBBBBBBGB rJGGGGGDBGBBBBBBGBG DGGGGGBGBBBBBBGBGG aGDGGBGBBBBBBGBGGD DGGaBGBBBBBBGBGGGG DGGBGBBBBBBGBGGGGD DGBGBBBBBBGBGGGGGG UBGBBBBBBGBGGGGGGa ■DBBBBBBGBGGGGGGGG DBBBaBBQBGGGGGGGGB BaaBBBaBDDGGGGaGaQ 62 BBBGBGGGGGGGGtfGBBa BBBBGBGGGGGGf.'GBGBB BGBGGGGGGGGBGBBBBB BBaBGGaaaGGCBGBBBB BaGGaaaGGBaBBaBBBL] GB 'GOaGGGGBGPBBBBB GGGGDGGBGBBBBBBGBD aaGGGGGGBaBBBBBBGB GGGGGBGBBBBBBGBGGG GGDGGGBGBBBBBBaBGQ DGGBGBBBBBBGBGGGGD GDGGBGBBBBBBGBGGGD GBGBBBBBBGBGGGaGGD GGBGBBBBBBDBGGGGGD GBBBBBBGBGGGGGGGGB BDaBBBBBGBGGGGGGGG BBBBBGBGGCDDGGGBGB BBBBBBDBDaDaDGaCBD 63 ■DBaGDDDGGGBDBBBBB BBBBGBGGGDGGGGBGBB BaDDDGGGGBDBBBBBBG BBGB DGGGGGGGBGBBBB nnaaaDDBnBBBBBBGBD GBGGGGDGGGBGBBBBBB GGGGGBGBBBBBBGBDDG DGGGGGDGBGBBBBBBGB GGGBGBBBBBBGBGGGGG DGaaaaBGBBBBBBaBna aBGBBBBBBGBGGaaGDG GG nGBGBBBBBBGBaDGG I IBBBBBBGBGGGGDGDGB GGBGBBBBBBDaaaGaGG aaaaaaaGGaaaDnGaDB 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laa 2. laa laa IDO aaa aao oao » a 240 paaooaaaaaaa oon oaaaaaaaaaaa "39 oaaaaaaaaaaa oaaa oaaaaaaaaaaa aaaa oaaaaaaaaaaa aaaa aaaaaaaaaacjij aaaa aaaaaaaaaa:aa aaoaaaaaoaaa oaaaaaaaaaaa aaaa aoaaooa aaoaaa aoaao aaaoGaaaaaaa T|:XTILE DESIGNERS' 241 ■aDDanHBBGBa DaGaoanaHaaa DacjDZiaBanBDa DC}na:::n«naHaa ■■■aHBBonGGa D3nnnDHa:3Baa DaanGaar^DBna OaflBBHaDDBGa 242 ■KUiBlia □ GGlOMJ 2 caoiwo ^ ■najaiic L:aa GGG I bbgIgbo___ ■ GGiaGB ■ua ■■■ 3 CGG BGG ■Ga'BL]G ■■■,■01 1 ■ GG'GGG CGl CGI GBI GGB GHB GGB Gsa DGG GGB 1 GIB 243 GGGaanc:nBBB« GCGGnnnOBBBB UUa^BBBBGGGG nC3::3C]BBBBGGGG BBaBGGGG:::c::^a BBBBGGGGCiQaa 244 BBGBBBBBGBBBBGGBGBBGGBGBGGGGGBGGGGGV GGGGBGaGGGBGBGBBBBBGBBBBGGBGBBOGBDBB GBGBBGGBaBBnGGGBaGGGGBGGGBBBaBDBBBBB BBBBBQBBBBBGBGBBQGB ' BBGGGGBGGGGaBGGa BGBGGGGGBi'iGGGBBBBGBBBBBGBGBBOGBGBBGGB BBGGBGBBGGB 'BGGGGGBGGGGGBBBGBBBBBGBB BGGBGBBGGBDBGGGGGBGGGGGBBBGBBBBBGBBB BGBBBBBGBBBBBGBGBBGGB~'BBGGGGBGGGGGBa OGGBGG GGBGGGBBBBBGBBBBBGBOBBDGBGBBa BGBBGGGGBBGGGGBGGGGGB OGBBBBBDBBBBBG BBBBGBBBBBGGGBBnGBQBBGGBGBGG^'iG BOGGO BGGGGGBGGGG' BBBGBBBBBGBBBBQGBGBBaaBG QGGGGBG is a 5-h£rness inverted crow twill. 10 is a 5-harness doeskin being a trans- position of 9. 11 is a 6-harness twill. 12 is a 6-harness twill with herring bone draft. 13 is a (^-harness twill diaper using same draft as 12. 14 is a 7-harness filling twill 4 and 3. 15 is a 7-harness warp twill 4 and 3. Ifi is a T-harness doeskin. 17 is an 8-harness twill. 18 is a transposition of 17. 19 is a transposition of 18. POCKET MAI\aAL. Si 20 is an 8-harness warp twill. 21 is an 8-harness doesKin being a trans- position of 20. 22 is an 8-liarness doeskin being trans- position of 21. 23 is an 8-liarness Russian twill. 24 is a transposition of 23. 25 is a transposition of 24. 26 is another 8-harness Russian twill. 27 is a transposition of 26 and commonly called Mayo twill. 28 is a transposition of 27. 29 is a 9-liarnePS warp twill 7 and 2. 30 is a transposition of 29. 31 is a transposition of 30. 32 is a 5-harness warp twill 27 degree. 33 is a transposition of 32. 34 is a 10-harness Russian twill. 35 is a transposition of 34. 36 is a transposition of 35. 37 is a 12-harness Russian twill. .^)8 is a transposition of 37. 39 is a transposition of 38. . 40 is a transposition of 39. 41 is another style of 12-harness Russian twill. 42 is a transposition of 41. 43 is a transposition of 42. 44 is a transposition of 43. 45 is a 16-harness Russian twill. 46 is a transposition of 45. 47 is a transposition of 46. 48 is a transposition of 47. 49 is a transposition of 48. 50 is a transposition of 49. 51 is a transposition of 50. h'i is?, another 16-harness Russian twill. 53 is a transposition of 52. 54 is a transposition of 53. 55 is a transposition of 54. 56 is a transposition of 55. 57 is another 16-harness Russian twill. 58 is a transposition of 57. 59 is a transposition of 58. 60 is a transposition of 59. 61 is one of the original twills from Which a double twill is derived. 62 is a transposition of 61. 63 is a transposition of 62 showing edgeo twill. €4 is a transposition of 63 showing double twill. 65 is a transposition of 64 showing an- other formation of double twill. 56 is a transposition of 65 showing an- other formation of double twill. 40 TEXTILE DESIGNERS' • 67 is a 24-harness double twill, 12-hamess and 12 bars will do this. 6S is a fi7 reduced and transposed. 69 is a 68 transposed. 70 is a 69 transposed. 71 is another original twill from which the double twill is derived. 72 is the first transposition. 73 is the second transposition. 74 is the third transposition. 75 is the fourth transposition. 76 is the fifth transposition. 77 is the sixth transposition. 78 is a 5-hamess corkscrew. 79 is a Russian twill. 80 is a 7-harness corkscrew. 81 is a 7-harness warp twill from which the corkscrew 80 is transposed. 82 is a 9-harness corkscrew. 83 is a 9-harness warp twill from which 82 is transposed. 84 is an 11-harness corkscrew. 85 is the original twill from which 84 is transposed. 86 is a J5-harness corkscrew. 87 is the orig-inal twill from which it is transposed. 88 is a broken corkscrew 7-harness. 89 is the original from which it is trans- posed. 90 is a broken corkscrew 9-harness. 91 is the orig-inal from which it is trans- posed. 92 is an 11-harness flat corkscrew. 93 is the original from which it is trans- posed. 94 is a 15-harness flat corkscrew. 95 is the original from which it is trans- posed. 96 is a 9-harness broken corkscrew of another form. 97 is the intermediate transposition of 96 and 98. 98 is the original twill from which 96 is derived. 99 is an 11-harness broken corkscrew. 100 is the original transposition of 99 and 101. 101 is the original twill from which 99 is derived. 102 is a double plain drawn in and woven as shown. 103 is a chain transposition of 102 drawn in as shown and woven strai gh t. 104 is a draft transposition of 103 dfrawn in and woven straight. 105 is a .?-ply plain cloth. 106 is a chain transposition of 105. POCKET MANUAL. « 107 is a draft transposition of 106 unbound. 108 is a 4-ply plain cloth. 109 is a chain transposition of 108. 110 is a draft transposition of 109 unbound. See rule for binding-. 111 is a 3-harness filling twill double cloth. 112 is a chain transposition of 111. 113 is a draft transposition of 112. 114 is a 3-harness warp twill double cloth. 115 is a chain transposition of 114. 116 is a draft transposition of 115 117 is a 3-harness filling twill 3-ply fabric. 118 is a chain transposition of 117. 119 is a draft transposition of 118. 120 is a 3-harness warp twill face antf middle and a filling twill back. 121 is a chain transposition of 120. 122 is a draft transposition of 121. 123 is a common twill double cloth. 124 is a chain transposition of 123. 125 is a draft transposition of 124. 126 is a 4-harness crow double cloth. 127 is a chain transposition of 126. 128 is a draft transposition of 127. 129 is a common twill 3-ply fabric. 130 is a chain transposition of 129. 131 is a draft transposition of 130. 132 is a doeskin double cloth (5-harness). 133 is a chain transposition of 132. 134 is a draft transposition of 133. 135 is a 2 pick basket double cloth. 136 is a chain transposition of 135. 137 is a draft transposition of 136. N. B. the second transposition makes all of these double cloths straight-draw and straight-chain; they are all separate cloths, no binders being put in so as to be easier understood by learners (see rule for binding). 138 is a 6-harness twill double cloth. 139 is a chain transposition of 138. 140 is a draft transposition of 139. 141 is a 3-pick basket double cloth. 142 is a chain transposition of 141. 143 is a draft transposition of 142 144 is a 3-pick basket face and a 6-hamea8 twill back. 145 is a chain transposition of 144. 146 is a draft transposition of 145. 147 is an 8-hamess twill double cloth. 148 is a chain transposition of 147. 149 is a draft transposition of 148. 150 is a Russian twill face and a Mairo twill back. 42 T|:XTILE DESIGNERS' 151 is a chq^in transposition of 150. 152 is a draft transposition of 151. 153 is a common twill face and a plain back (Vz back). 154 is a chain transposition of 153. 155 is a draft transposition of 154. 156 is a 6-ha.rness twill face and a 3-har- ness twill back, 157 is a cliain transposition of 156. 158 is a draft transposition of 157. 159 is an 8-liarness twill face and a 4-har- ness twill back. 160 Is a chain transposition of 159. 161 is a draft transposition of 160. 162 is a common twill face and a satin warp back. 163 is 162 transposed to a straight draw. 164 is a common twill face and a satin % warp back. 165 is 164 transposed into straight draw. 166 is a common twill face and a filling back 2 and i. 167 is 166 transposed into straight chain. - 168 is an S-harness filling back 2 face and 1 back. 169 is a 12-harness Russian twill filling back 2 and 1. 170 is a transposition of 169 face with fill- ing back. 171 is a transposition of 170 face with fill- ing back. 172 is a transposition of 171 face with fill- ing back. 173 is a transposition of 172 face with fill- ing back. 174 is a double plain and filling rib com- bination. 175 is a double plain and filling rib and common twill combination. 176 is a warp crow and filling rib and common twill combination. 177 is a 27 degree twill filling rib and common twill combination. 178 is a warp broachie and filling rib com- bination. 179 is a warp broachie and filling rib com- bination. 180 is a 6-harness twill and filling rib com- bination. 181 is a half back and filling rib combina- tion. 182 is a warp broachie and filling rib com- bination with filling back. POCKET MANUAL. 43 183 is a Russian twill and a Mayo twill: combination. 184 is a cut weave. 1S5 is a cut weave combination. 186 is a cut weave combination. 187 is a cut weave combination. 188 is a cut weave combination. 189 is a cut weave combination. 190 is a cut weave combination. 191 is a cotton warp 2 face and 1 back. wool filling. 192 is a cotton warp 2 face and 1 back. witli wool stripe. 193 is a cotton and wool warp 4 and 4 cot- ton in rib. 1&4 is a cotton and wool warp 4 and 6 cot*- ton in rib. 195 is a coton warp filling rib. 196 is 195 with filling back. 197 is cotton warp rib with wool stripe. 198 is cotton warp rib with wool twills. 199 is a 4 colored filling stripe. 200 is a double plain cord 201 is a 2 fine and 1 coarse plait plain ground. 202 is a 3 fine and 1 coarse plait 3-harnes9 twill ground. 203 is a 4 fine and 1 coarse plait 4-harness twill ground. 204 is a 4 fine and 1 coarse plait plain ground. 205 is a 2 fine and 1 coarse plait plain ground. 206 is a 2 fine and 1 coarse plait plain ground. 207 is a 3 fine and 1 coarse plait plain ground. 208 is a 3 fine and 1 coarse plait 3-harness filling twill ground. 209 is a 4 fine and 1 coarse plait plain ground. 210 is a 2 fine and 1 coarse plait plain ground. 211 is a 2 plain ground and 2 plait all same size warp. 212 is a 4 plain ground and 2 plait all same size warp. 213 is a 4 common twill ground 2 plait all same size warp. 214 is a 3 fine and 1 coarse plait plain and 3-harness twill ground 215 i.«5 a 2 fine and 1 coarse plait plain an* basket .ground. 44 TEXTILE DESIGNERS' 216 is a 1 fine and 1 coarse warp flushing plain ground. 217 is a 1 fine and 1 coarse warp flushing plain ground. 218 is a 2 fine and 1 coarse warp flushing plain ground. 219 is a 2 fine and 1 coarse warp flushing plain ground. 220 is a 1 fine and 1 coarse warp flushing plain ground. 221 is a 1 fine and 1 coarse warp flushing plain ground. 222 is a 2 fine and 1 coarse warp flushing plain ground. 223 is a 1 fine and 1 coarse warp flushing plain ground. 224 is a 1 fine and 1 coarse warp flushing Celtic ground. 225 is a 1 fine and 1 coarse warp flushing plain ground. 226 is a 1 fine and 1 coarse warp flushing plain ground. 227 is a 1 fine and 1 coarse warp flushing plain ground. 228 is a 1 fine and 1 coarse warp flushing plain ground. 229 is a plain and 4 pick basket combina- tion dress goods. 230 is a plain and plait combination dress goods. 231 is a plan from which to make any figure in plain cloth. 232 is a basket figure (see rule for figure weaving). 233 is a 232 figure (the weave made from 231 plan to make). 234 is as 233 shows in fabric. 235 is another figure. 236 is the weave for 235. 237 is as it will show in fabric. 238 is a plan from which to make any figure in 2 fine and 1 coarse plait. 239 is the figure. 240 is a weave for figure 239. 241 is as 240 will show in fabric. 242 is a plan from which to make any figure in 3 ply and 3 colors. 243 is a figure. 244 is the weave for 243. 245 is a plan from which to make any figure in combination twill double cloth. 246 is a figure. POCKET :MANUAL. 45 247 is the weave for figure 246 made from.; plan 245. 248 is a plan from which to make any figure in double plain. 249 is a figure. 250 is the weave for figure 249 made from- plan 248. 251 is a plan from which to make any figure in 3-harness and inverted twill. 252 is a figure. 253 is the weave for figure 252 made from- plan 251. 254 is a plan from which to make any figure in crow and inverted crow. 255 is a figure. 256 is the weave for figure 255 made from- plan 254. 257 is 256 reduced to 12-harness (see rule for reducing). 258 is a plan from which to make any figure in 3-harness twill double cloth. 259 is a 6-harness twill figure. 260 is the weave for figure 259 made from> plan 258 261 is a plan from which to make any figure in 2 pick basket double cloth. 262 is a combination twill figure. 263 is the weave for figure 262 made from plan 261. 264 is a plan from which to make any figure m basket face and twill back. 265 is a figure. 266 is the weave for figure 265 made froni plan 264, 267 is the fate weave of a combination^ twill double cloth. 268 is the back weave of a combination twill double cloth. 269 is the back and face weave combined. 270 is 269 with all the face raised when= back pick goes in. 271 is 270 with binders. 272 is the face weave combination twill. 273 is the back weave 2 pick basket. 274 is 272 and 273 combined. 275 is 274 with all face raised when back pick goes in. 276 is the face weave of a 6-harness twill double cloth. 277 is the back weave of a 6-harness twill' double cloth. 278 is 276 and 277 combined. 279 is 278 with all face up when back pick: goes in. 280 is 279 bound. 46 TEXTILE DESIGNERS' ill H Q. < I O CO < D U H On 0^ > s ^ £ Z^ o z < £2 c c c a 3 P u u o o ^& )COr-( 4 d d 22; ■ 3 1^ 33333333 3- 8U30<=>OpU30ia e4i-iMrH>-Jwe4rHrH N N M* N N N N N N N N N N H N N N t; O O O O O O o O O O O O O O O O O o :f? :? 2 to M go C o c t3 POCKET MANUAL. 47 c ^ CI c 3 Si c c c o o o Cvl r^ ■*- ♦J ♦^ ■+-' ■*-' o o c o y o u u u o o o ci c c ^ ^ ^ c c c c: c c c c c c c c PPP PPPP3S33S3PP < r-l O moo M U5 OS M M IM rH OQioooooooinuso t^?. c^JOomOlr31-lPaect-^ O O o o o o o o COM*'eOC<>iH O^OOOOOOOOCOOCOOOOOOOOOOOOO rt ^*^ »l-^ *+i ^^ *r. i^-i ffo Oi ort rv^ _- £^^ Oi c^ r»» eo el>t> tn oi tn w o o _c y TI 'E 'E tl to CO to to-i-'-S-ii-S'"'"'^"*-' i o QJ S T T "r T" to to CO K r- h E- h C O O C D Q C 48 TEXTILE DESIGNERS' A bB 0) > 0) c c 3 3 u u >oo< Si lc<5«^ S^ rl -a OQ 00 o o c c o o 1> bi bi U o o o o 333'^l^'*'^3333333 (4 t. hi u h U u o o y o o o o o ** " *" «0 0> UiC^I ^i I o 00 ( < rH M 1 _ urs lO iM oi i -m o ■o-H i-H 1-1 i-t r-u^ --------- -•lO'iS a r* ^ "^ .-^ ^ «i-i I-* lo m lO U5 ui in in ?5 ca M M M w n . .us l^^l m ""I ^''S ^'S'^! ^Tji mm S5x5 cS'^?iM?S ■^•>o'cocoo5t-«0'9^*«C^J QO OO CO(M(3i t^ «Ot>- CM OOOOOOQOOOOOOOOOOOO ©■^■weoco^oot— oooiM-r-^iooo-^-OOT oooo eTe>JtCi-lt-'Jr-IC»;Of-mMr-lOO>t-IO> 1-H T-^ i--< rH M C^ r-T rH rH tH Cs 5 > 01 «J C t, > Ct. '?s*;?s*s« eoe<5^3e<5c^^evlc>^eoece^eoeoe»»coeoeoe«5««5eoeoeo cj© o e cyr o ce c^ ^ 00 w -M c^ 3 c- «D uj ■^ eo CO 04 cc e>3 N w eo N N "«!r"»"00-^ooiao» tH T-1 T— I W^O ' .?iia tc la us vfivfivNiiS us ^.M^WMCJ M r-trHTHr-trH X 31 o o 09 OtI CO OQ CO w c n CO 03 C C 3 o c_o c c c o §2 o o e c o o o o 01 at 01 o o o 6Q 93 OQ EQ CO re ^ I* (l* I* „, «, „ SSS^iiii'S.S -0.0.2.22.2^"" 0?^;^hhEHHOOUL;aQG 50 TEXTILE DESIGNERS' M OX) ,c a 'as C\i 60—^-1- — — — — •l-l ^ 3 3 . o CO ca92 o o m'w CO m u (-> U ki O O O o . C B fl C g § § o o o o g g £ o o o og!3^ y o cj u . . • ^- ■ oo c<5 o 00 'Z'Z'Z h u ti o o o cpcccccdc 333333333 'c>< >o O o o oo < > ^sf o 00 Tji r~ o < o o o o o o o • O ooooooooooooooooooooooo r^ooa>ocet-ooOAOT-4(M(x>oN';2 to o > *-• > >ooc O T— ( T ! 00 IM > h- 00 _ < iO O t— 1^ — . ^ rl r-i i-l ^ ;?! ^ -^' us in lo -" CO M 5C «D OrrOV>l''— -^OO'MO t* I^GO'VCC'lC^I-r^HTH COi-'OSOOlO— C/0«000^'-ICMO00TrC0.-lO-rT-l05t— O C^fl^rHr-Tcvfc^TrHi-i'i-HrHi— "M^JrHTHr-Ii-Ti-Ji-Hr-r rH XXX^ m xn 'A m CO a: vi Oi !» to I» £ c c c O O - u u o o c c c c c+-'-i-i*-'0'0'0'a o o o o •- •- •-> 9) V! .2.2 n u u m CO cQ ♦J *J > to O) (U d) X .C t; COP POCKET MANUAL. 51 g- g- cj fe^wc^c^ - - - a C C > III B B C B B B B E 3 3 3 T-T-T-To O O O 333'^'''^'^3333?333 OOO . O O O O O O O o022'^'~"~' OOUSOIOOOU5 ^eoMt- ^_ ^ «i V4 O c CS Cm O . 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IC tp CO •^ 1H ,H 1-1 CO tH r-( »c ^ ^'J ;^' ^;^^t^ -M O0©ooeot-e«!eo©ot-t-eooo«©t-«ee>oeoi-i»-it-t- ^ so X e^coojooMoo©oooooocoo»«>e«dooco«eco«oce)'*-tCCT»00C>J00Qp t>tr-o»iHeoi>--*itocoiM-^iHooOTti e^r CO CO eo rH CO c^i e»3 OT eo CO ^ ^ .li ji ^ iix isd • • • • • r^ ^^ ^^ -H 3 ** ' •—1 —1 'fH >— I •n .1^ -I-l • •^ -p-l = S 1 0309 O30Q QQGQ QQw o o o &S S3 i^^ o o ^ ^,§^ o S ^ ^^,S o o S; fc cflcccSS^iiflflSSiJiJcflSS^^cflSS BSSSBV.-^ 2 222-S-S S £22» » 2 SSSg g *jH_i+j+j+jai!Ccio-i-'-i-wtnoo4J-Min'» o o o o o s: u u o o o c K c ^ ^ o o ec ^^ O O CC ^ ^ CO POCKET MANUAL. 67 o o CO ■^ to .-O 1-1 ?5 rH r-t rH r-l O O 6 6 o o . . o o . CCUUG c »; d i ^ (. §fe O CO -. .^ «l r-i <-, ^ rl r-( U5 O "^ " rj rj . , . .«^ . .'-.■^. . .£^33 N N N N N N N N N N N N N N N N N ooooooooooooooooo N N N n" N N N N oooooooo W»? vN^ 1-^^ "j^ OQeoeococoooeocooocoeceoeocoeoeoeo <&cocoM<£- I-lrH^OI r5^t>-^T-(T-('->^ KS lO Tt- M< O Oi-f~ O OJ IN O t I I I I I I • t- s^ ^1 to V?) v?i ee N "MO «>i as ooooooooooooooooo «DOCsJO'^cDc-T»0'S"c— mtjioo CO NM M M CdrH ec <^f I^^rH COM MN C<3 e-f M rH CvT N j-T iH M »H oooooooo OC5 0tpO«OS<^< •^oct--oooecO»n JtfJd^ CO m en ta 09 « -co o 4) 0) - 93 m o o o ♦:; o o c c o o o o mm oi m ma CC4)a>cc M O! t^ t- BJ OS O O c3 CO ►-, »> m tti o o »■> r , ^^ 58 TEXTILE DESIGNERS' • d 3:::::::::::::::::::::::: tf '-l«OrltT-^OmO«DC<3i-IOOC<3CiCDeOrHt:-COi-(OT-'tO'<* N MiHrH'-l»-lffOr-teOiHev|i *^ © 00 li5 OJ 6 f' ^ O Q ^o- 5^-V ~ -• S ^ o IM J= ■<*<'*T»<^-«»<'^-«)<-^^-^-^T»<^Tt<-*T»!l<'«^'M (N «^ M Cq ?q (M (M 'N iM ^^^^^ <1) 1 1 1 1 1 1 1 1 1 ie OOvN 1 1 1 1 1 1 1 1 1 1 OJ00t-vBJ«O tH O OS 00 C- T-l t-^f-,-! .H rH>-'>^P>^r>-^eJ^ <0 1-1 tH rH ia O r-l O OS 00 l^ tH tH tH 1— 1 tn ooooooooooooooooooooooooo oocooo-^Mooeo->»OrHooo»o iHrH rHlH rH 216, 217. 220, 221, 223, 225, 226, 227, 228. 218, 219, 222. 224. 229, 230. 233, 236. #p e«5eqeo©oo eCNCJrHrHrHrHe^CQrH 1 1 1 1 1 C4 Oi rHrH rH rH T-l rH r-l rH 1 1 1 rH rH rH 1 1 1 rH OSOO C5 rH rH rH evi e-I N ejivfj^ejjrHvjjvjjjjij^vl^ NO>ir3 00'«»"ecooomLomcoio Qrf itri to id -^ ci ei 9 06 (o xQ -^ n C'i s OQ O C<900l0ia00<0OO^'-oooo«0'>«"e<3iMOO> "1 01 3 . a o o 0>0'-eoo'<4 C £ rt o CO o OOAOrHe^C-OOO>OfHC 666666666666666666666 R O ZZ^Z:^:,Z^^ZZZ^^^Z^^ZZ^Z xi •»-> 0) rt e<10'«»'0000«D'«}'OlMOO«0«Oe m P rHi-(-nH.-nH N iH i-t rH r-( iH 1-1 M rHiH ^ rH T-H tH (D a> 0) oi il . 11 . E coj: cojs c5-= 3 tH-C-M (-'©♦J C'o-M ft "S •^ »^ "^ '-•'is '^^ 00^- m •»J 4-> •■-> o ■ OCCT>Oi-(COi-((M'»" tCOOClC'-'IN'ftO O T— T-H»-ii-Ht— 1 ,-^^HrH»— ( T— ( t— T-H r-< T-^ T— c o o o ei3 5 0) > eg 01 o 00 "-H t- e<3 o 05 r- e rH iH 1-1 1-1 rH N tH rH rH T-l r-i 1-1 5<) M tH 1-1 i-l 1-1 r-l Jj w «©t-ooosOi-iiMOi-ie n> OXJ u B 3 V B £i 3 O 0) o "O J3 01 & 0) r/' 4-> CO «) TEXTILE DESIGNERS' o § O u P OOOOOOOOOOOOOOOOOOOO CHMev|iHi-(iHT-ti-)eMiHr-lT-(rHlHT-( OQ o 2; o H H o o o w Ft s H « o 0) 01 O 0) "5 ^ (US. £S o 00 ^ tot— oooo»-iee>t-oooiOi-iNoo«iO»HeM'<»<«o O 125 C o t McSiHtHi-I it-coeaowrtiwiHAoiMt-Tt^iHO) ' • eijwiHiHr-i eoeqr-tf-ii-t OOOOOOOOOOOOOOOOOOO •FN 0) > CO O CMW>-irHrHr-lrHegM.-HHi-HiHCqiHiHrHi-(iH OcOo Q OB O ■«o«et-o**ot-j (1) S C o C X a 3 C O o c o o o B > POCKET MANUAL. 81 Eh O I-) U H 02 .OB Med h" O o H W o c c 3 u & s 5 Se«iooiaOiA09U3iaiou3iAiaOoiokAe4 eookooiAi^oocvit-e4(oeiMc4e-4o> •HHr-iiH iH i-(i-l rH rH 1-t rl t-l i-l ?H iH i-( « 00 00 to HI . « . CS £5 *<-• 5^ S^ £ w fi!^ a c=: cd ^ «eosor-ieq'v«ooooiOiHcvi'>!f««cooo>o.-ie<»'«j<«e « |o Stoec^ooooiatAiotAcqiAOOMtaooo H00C0 '««WMi-ir-ii-}i-H'«j5eoe4oi»HrHTHO^C<5e4s^«-irH j oooomusooooooioooousooo OOlOeOOOCOO-^WSi-Hi-lkOOOTHtOOMi-tNeD OOW^COC)rHOO;Oia'<4 0) Ot-Ot-tOt-O'^'^OOUSintPNMONOOtOt-.T-l «DCOeviOO>0000«D'*lMi-IOOTOOt>'«D-<» a B CS c cd u cU Oi-ioi-iiM-*eoooo50i-ieDOC>DCiOO«DtDCOOOOO^OOT)>00 00me<5(MO0505i-H 1 Plain cloth. Double warp. Double warp. 3 har. twill. Double warp. 4 har. twill. O '^t^&cC50i-i(M;Dt-ooosOi-ieOiHcq 1— I T-* i-t iH 1— < tH »-< f-t r" POCKET MANUAL. 83 O M H-l l-l w q o . O g o < w c 3 s > ffloooooooiooinoinooooirtoifliflo inoooooiotD<>DO'>»'i-HMe<300'-iif3c^oc-ooi-i«o«5-(=t-a>05-<)<-^i2m > o -;'-' ft o cs P CO Zx 0) o o > CS 0) o be g u o 0) O c8 u 84 ;rEXTILE DESIGNERS' J I— I 12; M w H O ^» HO JH OEh o < m w bo fCH ft CO 03 5 01 > IS t5 o ooooooooocoooooooooooo OOOOOOOOOCOOOOOOOOOOOO oooooooooooooooooooooo i-HC^NrHT-lT-l eoC^Ji-ii— i-lrH C<3C>]Wi-(rHi-i o' o" o' o' o' o' 6 d d 6 6 d d d d d d d d d d d i>-eo"^OT-ic^r-cDC^o«D**iooooiM^oooooeco rHi-Hr-lrHrH rHT— 'i— -!-< U ft CO 5- ^1- CO i, ^•.O CO 00 CqoO«50'-' o OOOOOOOOOOOOOOOOOOOOOO usT-Hooi~u5'veo«o(MOoot-imr5MOoot-ioe<5THO» OOOOOOOOOOOOOOOOOOOOOO OOOOOOOOOOOOOOOOOOOOOO eotDMOoot-te-^ooiflc^ooocoooinwocootO'^ NiHi-Hi-l WtHtHi-ItH N r-1 iH 1-H iH OQ N r-t iH OOOOOOOOOOOOOOOOOOOOOO «Dl^lMOOmt^OO00t-OOir5O00l— OTte^oc50soo(Me o ft CO «- CO vM > «0l>00C5O,-,CO.-l'?J00OC>T-( CHAI*TER V. Instructions and Suggestions Pertaining to Various Fabrics and Yarns. BINDING TWO OR MORE FABRICS. When binding a double cloth or half back, raise one of the back warp threads when a face thread is up on each side of it, i. e., between two face risers when a face pick is going in, so that the face warp threads may cover the binder. In 3-ply, raise a back warp thread be- tween two middle risers when middle pick is going in, and a middle warp thread be- tween 2-face risers when a face pick is going in; should you, "owing to the weave," not be able to have a riser on each side, have at least one, although it will sliow an imperfection without two or more. When putting on a filling back, drop one of your warp threads or rather leave one down, which was already down wnen the back pick goes in, and if possible, it should remain down for the next face, i. e., it should remain down for at least three picks, the middle pick being tHe backing. CUTTING. When making diapers or herring bones always have a clean cut where the twill i.s reversed, i. e., have risers opposite silnkers; same in combination weaves; if not clean cut they look and are imper- fect. WIDTHS TO SET WARPS IN LOOM. Worsteds with worsted filling, 31 to 33" Worsteds with cotton filling, 29 to 31" Worsteds with wool filling, 32 to 34" All wool cassiraeres, 36 to 38" Wool and shoddy cassimeres, 35 to 37" Wool and shoddy and cott. cassimeres, 34 to 36 " Tweeds, all wool, 34 to 36" Cheviots, all wool, 33 to 35" Cheviots, wool and shoddy, 33 to 34" Dress goods, 6-4. 62 to 65" Unions, 34 to 37" Cotton, 28 to 30" It is difficult to give exact rules as to set- ting warp in reeds, as the stock and the weaves vary so, and the state of the mar- ket often demands changes. Some sea- sons a slazy fabric is in demand when less felting is required, and therefore they 86 TEXTILE DESIGNERS' don't require to be set wide in loom; other seasons the reverse is the case, but, as a general thing", the above widths will be found satisfactory. TABLE OF YARN RATES. Basis of rates in the following tables: 1 run woolen (U. S.) equals 1,600 yards per lb. of 16 oz. 1 cut woolen (TT. S.) equals 300 yards per lb. of 16 oz. 1 cut woolen (Scotch) equals 300 yards per lb. of 24 oz. 1 skein woolen (Yorkshire) equals 256 yards per lb. of 16 oz. No. 1 worsted equals 560 yards per lb. of 16 oz. No. 1 cotton equals 840 yards per lb. of 16 oz. No. 1 silk equals 840 yards per lb. of 16 oz. No. 1 linen equals 300 yards per lb. of 16 oz. TABLE NO. 1. To bring worsted numbers to woolens runs, multiply by 7 and divide by 20. To bring worsted numbers to cotton numbers, multiply by 2 and divide by 3. To bring worsted numbers to cuts (United States), multiply by 28 and divide by 15. To bring worsted numbers to cuts (Scotch), multiply by 14 and divide by 5. To bring worsted numbers to skeins (York- shire), multiply by 35 and divide by 16. Sillc is the same as cotton, and linen same as cuts (United States). TABLE NO. 2. To bring woolen runs to worsted numbers, multiply by 20 and divide by 7. To bring woolen runs to cotton numbers, mul- tiply by 40 and divide by 21. To bring woolen runs to cuts (U. S.), multi- ply by 16 and divide by 3. To bring woolen runs to cuts (Scotch), multi- ply by 16 and divide by 2. To bring woolen runs to skeins, multiplv by 25 and divide by 4. TABLE NO. 3. To bring cotton numbers to worsted numbers, multiply by 3 and divide by 2. To bring cotton numbers to woolen runs, mul- tiply by 21 and divide by 40. To bring cotton numbers to woolen cuts (United States) multiply by 14 and divide by 5. To bring cotton numbers to woolen cuts (Scotch), multiply by 21 and divide by 5. To bring cotton numbers to skeins, multiply by 105 and divide by 32. POCKET MANUAL. 87 TABLE NO. 4. To brins cuts (U. S.) to worsted numbers, multiply by 15 and divide by 28. To bring cuts (U. S.) to cotton numbers, mul- tiply by 5 and divide by 14. To bring cuts (U. S.) to woolen runs, multiply by 3 and divide by 16. To bring cuts (U. S.) to woolen cuts (Scotch), multiply by 3 and divide by 2. To bring cuts (U. S.) to woolen skeins, mul- tiply by 75 and divide by 64. TABLE NO. 5. To bring cuts (Scotch) to worsted numbers, multiply by 10 and divide by 28. To bring cuts (Scotch) to cotton numbers, mul- tiply by 10 and divide by 42. To bring cuts (Scotch) to woolen runs, multi- ply by 2 and divide by 16. To bring cuts (Scotch) to woolen cuts (U. S.), multiply by 2 and divide by 3. To bring cuts (Scotch) to woolen skein, multi- ply by 25 and divide by 32. TABLE NO. 6. To bring skeins (York.) to worsted numbers, multiply by 16 and divide by 35. To bring skeins (York.) to cotton numbers, multiply bv 32 and divide by 105. To bring skeins (York.) to woolen runs, multi- ply by 4 and divide by 25. To bring skeins (York.) to cuts (U. S.), multi- ply by 64 and divide by 75. To bring skeins (York.) to cuts (Scotch), mul- tiply by 32 and divide by 25. SIZE OF YARNS WHEN TWO OR MORE ARE LAID TOGETHER. Rule to find the mean size of yarn when two or more are laid together: Divide the highest number by itself, and by all the others, then by the difCer- ent answers added, the answer will be the mean size. EXAMPLE. 1 thread of 8 run; 8 -f- 8 1 1 thread of 4 run; 8 -f- 4=2 1 thread of 2 run; 8 -t- 2=4 7 I 8 1 1-7 run, mean size. SHRINKAGE AND SIZE OF TARNS WHEN TWISTED TOGETHER. To find shrinkage and size when twisted together, knowing the size of each of the 8S TEXTILE DESIGNERS' Single yarns before twisting. Find the yards per oz. after twisting, which multi- ply by 16 to bring to lbs,, and divide the answer by the size of each of the single threads separately; the result will be the number of oz. of each if laid straight; add them all together and substract from 16, i, e., one lb., the answer will show the shrinkage, by adding two ci- phers to said answer and divi- ing by 16 the percentage will be found which being added to the yarn will give the amount of singile required for one lb. of twist. , EXAMPLE. The above three threads after being twisted give 88 yards. Per oz. 88 16 oz. Run 8 I 1,408 yards per lb. 1.76 oz. of 8 run. Run 4 I 1,408 Run 2 1,408 3.52 oz. of 4 1,600 1,230 run. 702 oz. 352 176 of 2 run. 16 1 3,700 12.30 23 per 1,600-1,230—1,600 16 cent shrinkage. 1,230 1 25,600 2,080 amt. single yarn required for 1 lb. twist. SAMPLE OF RANGE TICKET. D. MANUFACTURING CO. Date, Sept. 4, 1895. Range, 1800. Picks, 40. Length, 6 yards. Threads, 1,440. Width, 36. Weight, . Reed, 10-4. Weave, Al. Warp Pattern. Filling Pattern. 101 4 102 4 118 4 103 4 101, 114 102, 105 101, 115 102, 105 101, 116 102, 106 101, 112 102, 107 101, 111 102, 108 POCKET MANUAL. 89 EXPLANATION OF RANGE TICKET. As will be noticed in the range ticket just given, the colors are represented by nunjbers instead of names, as being both a saving of space and labor; the designer should have a yarn book with pods of all his different stocks and colors, with the numbers alongside, according to the stock, i. e., suppose you have twenty colors of No. 1 sitock. Call j^our firs*^ color 101; second, 102; third, 103, and so on, doing the same in the other stocks, as No. 2 stock will begin 201, No. 3 stock, 301, and so forth so that the first figure of each designates the stock, and the last figure denotes the color. So in num- bering your ranges let the first figure represent the stock, and the second fig- ure the weight, as 1,700 -will stand for No. 1 stock, 7 ounces; 1,800, No. 1 stock, 8 02., and so on; 2,800 will signify 8 oz. in No. 2 stock; 3,900 shows that the fab- ric is 9 oz.. No. 3 stock, etc., the last figure .iust being altered to show the range number, as 1,800, 1,801, 1,802, etc. Shfuld you make more than 100 ranges of the one stock, when you come to the 100 mark as you can't change 1,700 into 1,800 with mixing your 708 oz. ranges, you add another cipher, as i7,001. 17,002, and so on. When each range comes out of loom it should be brought 'to the design room at the sam^e time bringing the ticket, which ticket after marking weight out of loom in place designated for that pur- pose should be filed, keeping the different stocks on separate files if possible; at any rate arranging them systemiatically so that they can be quickly found when wanted. How to find weight out of loom and length to which to full to get weight required when finished, find the weight of range in ounces, which multiplied by 36 and divided by its length in inches will give the weight per yard. EXAMPLE. Range weighs 26 ounces out of loom; measures 70 inches. 26 oz. 36 70 ! 936 13 26-70 oz. per yard. •90 TEXTILE DESIGNERS* To find length to finish, multiply the ounces by 36 as before; deduct, if in grease, 20 per cent for clear finish, and 15 per cent for natural finish; if clean, 10 per cent and 7 per cent, and divide the remainder by weight wanted, the answer will be length to full. EXAMPLE. 26 oz. 36 936 186 equals 20 per cent for l<^s. oz. 12 I 750 62V^ inches finished. 26 oz. 3. 936 93 equals 10 per cent clean shrinkage. oz. 12 I 843 70% inches finished, being natural length. FINISHING CASSIMERE RANGES. After being fulled to the required width and length and thoroughly washed, raise on dry gig, 1. e., with the range wet the way of the warp, then give it a few up and down runs on a wet gig, **i. e., having a perforated pipe throwing a stream of clear water on the piece" to clean it out Next extract, then dry and shear; after shearing, run over steam brush, hot press and steam. FINISHING WORSTED RANGES. Scour with fine soap, rinse, wasn thor- oughly first with luke-warm ard then cold water, run 30 minutes through 110 degrees of clear water on crabber^ gig a little on blunt teasels, dry and give a few more runs on gig, then shear, ^-un over brush, hot press and steam, ivlt.h wool filling; they may be gigged a little more while wet. FINISHING LIGHT-WEIGHT WORSTED CLOAKING RANGES. Scour as above, extract, crab, roll and steam, dye, speck dye if necessary, wash POCKET MANUAL. 91' and extract; dry gig a little on face and back, burl, shear, brush on back. Press, look over, and steam on brush. HEAVY-WEIGHT WORSTED CLOAK- ING RANGES. Scour, extract, gig a little on face as- before and back, according to finish wanted. Crab with face inside; after crabbing, lift on to rolling frame and re- roll tightly, face out cover with several rolls of cotton, tying the cotton tightly at the ends, set the roll upright In steam box and steam for 15 or 20 minutes, then dye and speck dye. rinse and extract, run a few times over gig, then shear, run over steam brush back down, press face up with steam on, run over steam brush. TWEED RANGES should be treated the same as cassimeres, but shear only top instead of shearing close. CHEVIOT RANGES should be principally done in the falling stocks if possible. TWEED DRESS FABRICS should be run a short while in stock to soften them. MELTON RANGES. As a close fine felt is required on those goods, they are laid extra wide in loom, so as to allow for a large amount of full- lling (see rule for meltons) after beinef fulled to the requisite point (sometimes they are fulled in grease, and sometimes- scoured, which is preferable first). After being thoroughly scoured and rinsed, which is essential, especially for steam- finished fabrics, extract, then gig all one way with old work on wet gig; after gig- ging a while extract and crop (not dry- ing), then gig again and crop as before; if neces.sary, three times, so as to get the required effect; after the last crop- ping, run a few times over very blunt tea.^els, then steam and gig alternately until the necessary nap and lustre are attained, then extract and dry, then run over steam brush, then shear and press and steam. 82 TEXTILE DESIGNERS' DIAMETERS OP^ COUNTS OF YARN. To find the diameters of the various counts of yarns multiply the yards con- tained in one pound of yarn hy its counts, and extract the square root of the prod- uct; the answer will be the diameter of the yarn, and show how many threads of that size will lie side by side in one inch. EXAMPLES. 1 lb. 4 run yarn = sq. r't fi,400 = 80 diam. 1 lb. No. 20 cot. y'n = sq. r't 16,800 = 4.10 dla. 1 lb. No. 16 wor. y'n = sq. r't 8,960 =n'ly 95 d. 1 lb. No. 28 cut y'n = iq. r't T.'.Oo = 86 104-lt;6d. To bring the diameter to runs, multiply the diameter by itself and divide by 16. To bring diameter to cotton numbers multiply by itself and divide by 840. To bring diameter to worsted numbers multiply by itself and divide by 560. To bring diameter to cuts (U. S.) multiply by itself and divide by 300. To bring diameter to cuts (Scotch) multiply by itself and divide by 450. To bring diameter to skeins (Yorkshire) multi- ply by itself and divide by 256. DIAMETER FOR DIFFERENT NUM- BER OF HARNESS. To find the diameter for different num- ber of harness and interlacers from any .given diameter: Multiply the given diam- eter by the number of harness and divide by the number of harness and interlacers required, then multiply the answer by the harness and interlacers and divide by the harness of the original diameter, the answer will be the new diameter to use. EXAMPLE. Diameter for 6-harness twill wanted; diameter for plain cloth 60 6 harness and 2 int. S I 360 45 4 orig'l ham's and interlacers. orig'l h'rn's 2 | 180 90 new dia. for 6 harness twill. POCKET xMANUAL. 93 DIAMETER FOR VARIOUS WEIGHTS. To find different diameters for various weights in same weave: Multiply diam- eter of the weave used by its own weight and divide by the weight wanted, the answer will be the diameter required. EXAMPLE. 80 dia. for 8 oz. in 4 harness twill cass. 8 oz. oz. 7 I 640 911/4 diam. for 7 oz. 80 8 oz. 9 I 640 71 diam. for 9 oz. 10 I 640 12 I 640 64 dia. for 10 oz. 53% dia. for 12 oz. RULES FOR FIGURE WEAVING. When using the single plain plan 231 on plate, first draw out any figure you want as shown in 232, then beginning at the lower left hand corner of figure go up the first bar and wherever there is a black in figure, put down the 4 squares marked B, and for the white in figure put down the 4 squares marked W, no matter how many black or white, keep repeating on that color until the change; after first bar take the second and do the same until all the figure is done; then reduce your harness (see reducing). When using the double plain plan 248 for every black in figure take 4 squares of the plan marked B. and for every white 4 of the squares marked W, beginning on first bar of figure with 1 on plan and taking odd and even alternately going up- ward, but keeping in the black half while on black, and in the white while on white. Should the black or white end on an odd number, be sure and begin with an even on the next color, and if ending on an even begin on an odd; be sure when you are on the odd bars in figure that you keep on odd in nlan and vice v^rpa. th*^ first 2 bars of plan being odd and only representing 1 of figure. M TEXTILE DESIGNERtJ' • Plans 245, 261 and 264 are on the same principle as 24S, only in place of taking 4 squares for each one of the figures, take 16 squares for each one. 258 and 238. are on the same principle as 248, only in place of taking only 4 squares, take 9 squares for each one of the figure. 242 is again on the same principle as 248, only take 9 squares and be sure and keep on the colors as marked, i. e., B, R, W, according as they come in your figure, also keep right with your odds and evens. 251 is the same principle as 231, only take 9 squares in place of 4. 254 is the same as 251, only take It- squares in place of 4. All the plans are warp and filling pat- tern one and one with the exception of 251 and 254, which are solid contrasting warp and filling. REDUCING HARNESS BY CROSS DRAWING. In reducing harness, as shown in 256 and 257, the one being 24-harness straight draw the other being the same weave but re- duced to 12-harness and draw, take the first harness and write it down as in 257, putting 1 alongside for the first thread in draft, then take the second and put it down with the second thread in draft alongside; continue thus until j'ou come to one that is the same as one of those al- ready put down, when instead of writing down again simply put the draft number on the same line as the other thread in the draft, i. e., where one of the same kind has been already marked as shown in 257 where 13 of 256 being the same as 9, the thread in draft is put there, 14 is the .same as 10, 15 as il, 16 as 12, 17 as 5, 18 as () and so on as the bars being the same> by putting threads on those harness they must weave the fame. TRANSPOSITION OF WEAVES. There are a variety of ways in which weaves can be transposed, I here give the manner of the various transposition shown in plates. In transpositions 18, 19, 21, 22, 24, 25, 27, 28, SO, 31, 33, 35, 36, 38, 39, 40, 42, 43, 44, 46, 47, 48, 49. 50. 51, 53, 54, 55, 56, 58, 59, 60, they nre all transposed by taking first bar and POCKET MANUAL. 96 the last, third and second, fifth and fourth and so on taking an odd and an even alternately. 62, 63, 64, 65, 66, 69, 70, 72, 73, 74, 75, 76, 77 are just transposed the same, only In place of taking the first and last bar and 90 on, take the first and last harness. i. e., transposing upward instead of across. 81, 83, 85. 87. 89, 31, 93, 95, 97, 100 and 101 are all transposed upwards taking all the odds first, then all the evens as 1, 3, 5, 7, 2, 4, 6, and so on. In transposing the 2, 3 and 4 ply cloths, take one bar of each fabric across for the first transposition, and one harness of each upward for the second transposition, taking the second transposition from the first transposition and the first transposi- tion from the original weave. In transposing warp backs as in 162, 163, take one of each fabric going up- wards. In filling backs, take one of each fabric going across. The above chapter concludes the publication of these chapters upon textile designing, which were begun In the American Wool and Cotton Re- porter of November 17, 1910. H 62 90 ^ •• o • a A^^^ ^ ^ . "'^^ci? . ♦rr,-' V • .0 ^*, ii^. .^^ /^V/k*o ^ A^ -*^