Colour in woven design

206. Principles of Double Cloth Colouring.—As briefly indicated in Chapter V., the general principles of colouring fabrics of a backed and double-make structure, resemble those applied to single textures. Particularly is this the case when the fabrics are the ordinary types of trousering, coating, and suiting styles. This follows from the fact that the face of these cloths largely consists of patterns of similar composition to those produced in single textiles. Still there are some builds of backed fabrics, which, owing to being coloured on both surfaces, involve the employment of two distinct schemes of colouring—one for each side of the fabric. The object to be attained in such fabrics is the development on the under side of the texture of a pattern that will, in general tone and character, correspond with that appearing on the face; but, though this species of colouring on the back is frequently necessary, inasmuch as it enhances the selling qualities of the fabric, yet the grouping of the face shades is the primary consideration, for it must be in accordance with the weave-compound used in the construction of the cloth, whereas the scheme of colouring applied to the back is of secondary importance, and should be made to coincide in its main outlines with the style of colouring composing the face of the texture. An example may be analyzed. Fig. 163 is a weave-combination, which it is required to back with warp and colour on such lines as to obtain a stripe style of pattern on the under surface. The face order of colouring is given on page 261, and has already been treated of. Without describing the structure of this build of backed fabric, it may be stated that the arrangement is generally one thread of face weave and one thread of backing throughout the design. It is usual to plan the backing warp according to the composition of the face design, so that the following scheme would, in this instance, be appropriate:⁠—

This would result in the production of an effect in colouring on the back of Fig. 163 quite in keeping with the scheme applied to the face, though the exact order of the face warping is not followed. The simpler the arrangement of shades on the back the better, so long as it conforms with the order of colours producing the pattern on the face side.

Another method of duplicate colouring in double and backed cloths, consists in having any ordinary scheme on the back which comprises a number of threads that is a multiple of the number occupied by the face pattern. Thus, in the scheme of colours for the design considered, Fig. 163, there are eighty threads, hence arrangements comprising twenty, forty, and eighty threads might be utilized. These are divisible into two or four stripes, according to the style of effect required on the back of the texture. In this kind of colouring it is evident that the combination of face shades is not closely worked to—a stripe neat in colour composition being the main factor for development.

When the yarns for the face and back of the fabric are of the same size and material, it is a rule in making out the pattern of warp to combine the two schemes of colouring, but each scheme is necessarily designed separately. In fabrics backed on the warp principle, it is feasible to have patterns of a striped character on the under surface, while if the fabric is backed with weft, colouring on the back results in striping the texture transversely; it is, therefore, only by employing the double-cloth method that all forms of colour effects may be developed on both sides of the fabric.

207. Styles of Colour Effects obtained in Double Weaves.—While, as is evident from the brief definitions of the principles of double-cloth colouring furnished in the preceding paragraph, the application of fancy shades to the ordinary groups of double weaves is more or less analogous to their application to single weaves and compound designs, yet there are some builds of double cloths which produce specific styles of patterns, such as are not obtainable in other descriptions of weaving and schemes of colouring. Amongst the most useful of these types are the double-plain, the double-cassimere, the double-mat, and combinations of these weaves. Patterns obtained in these makes, cover a large diversity of styles for trouserings, coatings, suitings, mantlings, shawls, rugs, curtains, and carpets. Here, however, the plan of colouring is not usually elaborate, being adapted to the structure of the design. The main characteristic of these fabrics which distinguishes them from effects obtained in single-make designs is the firmness and strength of the cloth, combined with clearness and precision of ornament or pattern. The utility of this class of design is evident in the varieties of textures, in which patterns are products of the double-weave system of cloth construction. As the structure of the weave is uniform in the fabrics mentioned, there are certain principles of colouring applicable to each class of effects. But, generally speaking, the use of a new double-weave necessitates the practice of a distinct system of colouring.

208. Double Plains.—For giving variety of effect and pattern, there is no class of double make more useful than the double plain. The analyses made in Chapter VIII. of the schemes of colouring used in the single weave make it evident what are the common principles of gaining effect by combining fancy shades in double plain; and, moreover, what is the type of pattern here producible; for, as the system of interlacing is still plain—one fabric being formed above or over the other—whatever pattern is workable in the single weave may, by duplicating the plan of colouring, be also obtained in the double weave. Bearing this principle in mind, the methods of pattern development in double-weave designs of all classes will be readily understood.

The simplest type of effects developed in this structure of weave is stripe patterns. It includes fabrics of two, three, and four shades. As a rule, the shades combined are of a mellow and subdued character, being more in keeping with the build of the fabric than bright shades. Still, in fine worsted and cotton textures, somewhat brighter shades are employed than in woollen fabrics, which, being usually felted, mainly consist of patterns resulting from combining toned colours. These stripes may be of any dimensions, from line-like effects to broad bands several inches in width. Next to stripe patterns in importance are intermingled patterns. Such styles possess a peculiar diversity of minute effects, which makes them readily distinguishable from the mingled patterns obtained in other weaves and methods of colouring. Some of these effects will be analyzed. Checks, diagonals, small figured styles, and elaborately ornamented textiles, are also developed in these weaves. All these fabrics are double plain throughout. Though the weave is apparently an unimportant factor, yet it is closely related to the pattern produced, and has moreover to be modified with every change effected in the outline and form of the design resultant. Strictly speaking, all double plain patterns are composed of at least two weaves—one of which brings the odd series of yarns on to the face, and the other the even series. It follows that if a cloth is warped and woven one-and-one—say black and white—that one make gives a black, and the other a white effect on the face of the fabric. Remembering this principle, it will be evident how, by changing these weaves in working out figured or ornamental patterns, any construction of design may be acquired.

209. Classification of Double Plain Stripes.—Striped designs, obtainable by colouring double plain designs according to various systems, are as follows:⁠—

 I. Patterns in two shades.

 II. Patterns in three shades.

III. Patterns in four shades.

IV. Patterns in two, three, or four shades, comprising double plain and other weaves.

The most elementary form of pattern obtained in the double plain is the “hairline.” It resembles in appearance the effect produced by warping and wefting the single plain make thread-and-thread, only the fabric is sounder and firmer in build, as well as finer and more compact in construction. This simple style is a product of a certain method of colouring the double plain, but the same weave can be arranged and coloured to yield an endless variety of patterns.

Three-shade stripes are, on the average, richer in colouring than the first order of patterns, and include the most useful forms and builds of double plain stripes. The third class, while composed of a larger number of shades, lacks scope for diversity of arrangement. As to the patterns comprised in the fourth class, they are rarely composed of more than two shades, but owing to containing additional weave elements they are more diversified in design.

210. Double Plain Stripes in Two Shades.—These are of two types: I. Patterns warped and woven one-and-one; and II. Patterns coloured variously, but in strict accordance with the structure of the design used. Allusion will primarily be made to the I. type of these styles. In this form of pattern, it is a question of arranging the double plain weaves on such principles as to produce any style of stripe pattern. Take an illustration. Patterns 1 and 2 on Plate XXX. are double plain stripes obtained by this method. The colourings are as follows:⁠—

The feature for analysis is, how the various combinations of stripes, and in Pattern 2 of twilling, are developed in these textures, which are composed solely of double plain weaves. Pattern 1 is an assortment of small stripes of four different sizes worked out in two shades. If necessary, the design—i.e. the plan of weave—could be so modified as to give a pattern in which the stripes would not only run from a broad to a narrow band, but tone off on both sides. A brief analysis of the design for this texture, given in Fig. 190, will make it evident what the principles of weaving are, which determine the construction of this kind of pattern. Here two double plain makes are combined, one of which floats the odd, and the other the even threads and picks on the face. Now these weaves are so grouped in this design that they give a pattern corresponding in every detail with No. 1 on Plate XXX. The use of these two weaves, and the method of adjustment, are two elements of design to which all such styles of woven effects are due. The weave marked in grey is the reverse of that marked in dots, for it brings the even set of threads on to the face, while the weave, ⊡, takes them on to the back. When it is considered that the arrangement of colouring is one slate and one olive, and that each of these weaves forms two fabrics one over the other, it becomes obvious that in Sections A of the design (Fig. 190) a slate stripe of plain fabric will cover an olive stripe of similar dimensions; but in Sections B a plain olive band conceals a corresponding stripe of slate. Referring to Fig. 191, which is the weave arrangement for producing Pattern 2 of Plate XXX., it will be observed that it is a style containing, in addition to the stripe effects, a series of clear twills. Evidently these have been developed on the same system as the preceding example, which consists of the identical weaves and order of colouring as Fig. 191. Diversity of pattern has, therefore, been acquired by adopting a different method of combining the weaves. This is effected by first sketching out on point paper the exact form of the pattern required, and then adding weave A of Fig. 190 to the uncoloured parts, and weave B to the coloured sections. It will be subsequently shown that reversible double plain styles are but developments of this species of designing.

211. Two-Shade Stripes Warped Irregularly.—First, there are styles of this class which are compositions of two shades, and in which variety of pattern is only producible by ingenious methods of grouping fancy yarns. By the aid of two examples (Patterns 1 and 2, Plate XXXI.) it may, however, be shown that even when thus limited to the use of two colours a considerable range of patterns may be acquired. The order of shades for Pattern 1—the design for which is given in Fig. 192—is:⁠—

One principle that requires to be taken cognizance of in making double plain stripes is, that while only every other thread comes on to the face, every pick, to some extent, is useful in forming the pattern on the right side of the fabric. As the principal feature of such styles is the solidity of the several lines of colour, providing these do not exceed four in number, it becomes a problem of so constructing the design that each shade of weft used, shall only float or flush over that colour of warp yarn it is supposed to match. To produce a stripe in two colours is comparatively simple; but, in the example given in Pattern 2 on Plate XXXI., the difficulty of arranging the plan of weave is increased by varying the order and size of the lines of colour. Thus, there are bands of colour of eight, six, and two threads each, or, on the face, of four, three, and one thread respectively. If the design, Fig. 192, is examined, it will be observed that the odd picks only cover the face-threads in parts D, which are the slate threads in the fabric, while the even picks are arranged to cover the face-threads in part A only. Should the weave be further dissected, it will also be noticed that picks 1, 3, 5, and 7 interlace plain with the face-threads of D, but that picks 2, 4, 6, and 8 interlace plain with the face-threads of sections A. In this manner, the solidity of each stripe of colour, which is the essential feature of such styles, is kept intact, and a pattern formed possessing distinctness of parts. This example, and No. 1 of Plate XXXI., illustrate the numerous effects producible in these weaves by this method of colouring. Both parts A and B of Pattern 1 form stripe arrangements. By varying the number of bands of these respective combinations, useful species of pattern are producible. Pattern No. 2 shows how a broad band of one shade may be worked into the texture, and then a line-like stripe of a second shade formed upon it.

There is one peculiarity about the weave-design—Fig. 193—forming the drab band in Pattern 2 of this Plate, which contains eighteen threads. The ordinary double plain used in Figs. 190, 191, and 192 is untied; it follows that if some sixteen or more threads were used, as in this instance, the woven pattern would be loose and unsatisfactory in structure. So long as no more than eight threads form a stripe, tieing may not be necessary; but when this number is exceeded, a weave must be employed that, while tied or stitched, will not interfere with the neatness, compactness, and uniformity of this type of woven colouring. The weave generally used for this purpose is given in part A of Fig. 193. Though somewhat irregular in construction, it produces a fabric perfectly even on both surfaces, and as smart and clear in other respects as the double plain texture. The order of colouring for this example is: Warp, 18 threads of drab, 2 threads of brown; and weft, 1 pick of brown and 3 picks of drab. The drab picks never float over the face-ends of brown, and, on the other hand, the brown picks always float under the drab face-ends—this being the principle of intertexture to which the solidity of the respective lines of colour is due.

212. Styles in Three or more Colours.—Some extremely interesting and effective stripes are got in double plain weaves by employing three and four colours. Two examples—Patterns 3 and 4 on Plate XXXI.—are furnished in styles composed of three shades. The weave for producing the former (Fig. 194) is simple, being so constructed as to form lines of lavender, claret brown, lavender and white. By comparing the order of colouring—which is given below—with the weave, the principles of design in which the pattern is obtained are obvious:⁠—

It will be noticed that the first pick is lavender; the reason for this is, that in the design the face-thread of lavender is down, and if it were covered by any other colour but its match in shade, the solidity of the lavender line would be interrupted. Pattern 4 of this Plate contains the same number of colour elements, but is quite different in arrangement. The design for this styles—Fig. 195—is so planned as to yield an effect, on the face of the fabric, as follows: a stripe of four threads of claret brown and white twist, a fine line of lavender, a stripe of four threads of claret brown and white twist, a fine line of lavender, a fine line of claret brown, a fine line of twist, a fine line of claret, and a fine line of lavender; in other words, it forms a compound of eight separate bands of colour. The plans of warping and wefting are appended:⁠—

The effects in four shades are somewhat limited in variety, the respective stripes being of a single-thread character on the face. They are constructed on the same lines as the three-coloured patterns just described.

213. Double Plains combined with Other Weaves.—Patterns of this class are made in worsted, woollen and cotton yarns. Certain weaves of a warp flush character, including types of corkscrews, combine satisfactorily with this double plain. The twills or makes used should be capable of forming neat patterns when coloured on the one-and-one system, which is the invariable method of wefting such designs. Referring to Fig. 196, which is a weave compound of this description, stripes of double plain are united with a stripe of corkscrew, resulting in the construction of the style given in Pattern 3 on Plate XXX. The colours are maroon and dark green, and are grouped on the end-and-end system in both warp and weft; hence the solid lines of these shades in the double plain parts, and the oblique twills of maroon and green in the corkscrew sections of the fabric. Practically there are two points to consider in the selection of weaves for combining with double plain crossings, namely, the wefting capacity of the crossing, i.e., its power to weave regularly with the plain; and, second, its structure in regard to the scheme of shade-assortment practised in these designs. Respecting the first point, if another double make should be used, such as cassimere or mat for face, and plain for back, there would not be much liability to form a fabric lacking regularity of construction and hence evenness of surface; but, should the additional weaves be single in construction, they must be exactly of such structure as to work uniformly with the double plain. One point that may be noted in designing for these combinations, is to frequently divide the pattern, and so avoid the formation of broad bands of the several weaves. Then, as to the structure of the crossings in respect to colouring. Warp twills and warp weaves are most suitable, because they do not exhibit the weft colouring to any marked degree, and hence they allow of quite a distinct method of tinting being introduced in the warp of the sections of the design in which they occur.

Styles of this description are neat in form and colouring. Being characterized by smartness of composition and richness of textural effects, they are developed to a large extent.

214. Intermingled Double Plain Compounds.—The most uncommon effects producible in double plain crossings are possibly those resulting from employing schemes of colouring containing an odd number of threads, such as 2, 1, 1 and 1, and the 4, 1, 1 and 1 groupings. The weave used in such schemes of combining shades is given in Fig. 197. In larger styles, sections A and B are increased to sixteen threads and picks each. By the aid of an example the principles underlying this form of pattern construction may be expounded. Pattern 5, Plate XXXI., results from the following arrangement of colours and the weave, Fig. 197:⁠—

The pattern is weavable on eight shafts, one repeat containing 112 threads, so that it possesses the leading characteristics of a Jacquard design. The dimensions of each repeat of the pattern are due to the order of grouping the colours, combined with the weave. Thus, as there are fifty-six threads in each repeat of the colourings before the plan of weaving coincides with the order of the shades, the pattern of warp must run through two, and the weave through sixteen repetitions. The cause of the construction of this pattern consists in the appropriation of a system of colouring, containing a number of threads not a multiple of the number of ends and picks in the weave. This scheme of colouring is practised in fine worsteds and woollens for mantlings, in medium counts of yarns for suitings, and also in linen and cotton textures for vestings.

There is practically no limit to the variety of effects obtained on this system of colouring double plain designs. On the diamond base, forming Pattern 5 of Plate XXXI., an indistinct check in orange silk is distinguishable; and in this plan of weave and by irregular orders of colouring, many varieties of spotting, intermingled checkings, and other effects in minute and in clear, bold patterns, are produced in various counts of both woollen and worsted yarns. The 2 black, 1 twist, 1 grey, and 1 twist, method of colouring is also useful for this purpose, yielding a form of pattern that can be diversified by modifications in colouring.

215. Reversibles.—Double and treble weaves are employed in the construction of these effects. Amongst the compound weaves used for this purpose, the double plain is one of the most important. It gives a species of figuring as clearly developed on one side of the texture as on the other. The system of colouring is mainly one-and-one, with some slight modification, such as a stripe or check effect in addition to the ornamental details worked out in colour. This principle of weaving is practised in the decoration of woollen and worsted shawls and rugs, tapestries, curtains, and Kidder and Scotch and other carpets. In the examples given in No. 4, Plate XXX., and Nos. 1 and 2, Plate XXXII., two builds of fabrics are represented, namely, the double plain and the double twill. An important element of all such figuring, distinguishing it from that obtained by other schemes of weaving, is the clearness with which the details and component parts of the design are developed. This characteristic is a product of the double-weave arrangement. Taking, for instance, the shades of a texture thus constructed to be black and white, it follows that from any double-make combination in which the figuring is produced by changing the positions of the weaves, that is, by transferring that weave on to the back which has appeared on the face, and vice versâ, there must result a pattern clear in outline and general composition. No other principle of weaving is capable of giving effects so well pronounced in these features: other figured styles are more or less wanting in precision and regularity of outline. Reversibles are made in double weaves arranged on the one-and-one, the two-and-one, and the three-and-one principles. The first method is the most frequently practised. When the second and third schemes are adopted, the yarns used are of two sizes—that forming the figure being considerably thicker than that employed for the ground of the texture.

216. Methods of Colouring Double Plain Reversibles.—Generally these are not very intricate, the main work in ornamenting such fabrics consisting in the adoption of a well-arranged design, with the various sections of the figuring correctly represented on point paper. A few illustrations may be described. On Plate XXX., Pattern 4, and on Plate XXXII., are textures for dressing-gowns and shawls. Sections of each design are given in Figs. 198, 199, and 201. It should be observed that in executing these styles the first work relates to sketching the pattern on point paper, the weaves being subsequently added. The ground sections are occupied by the opposite weave to that applied to the figured parts. There should not be figure outlines requiring less than two threads and picks to develop, or the effect in the woven fabric will not be satisfactory. It should be considered in preparing these designs that practically every other thread and pick are duplicate yarns—both the odd and even threads not being utilized simultaneously in the construction of the pattern on the face of the cloth. Providing the figure has been correctly worked out on point paper, an appropriate scheme of colouring has then to be applied. Here various technical details and other points have to be considered, such as the structure of the design, whether bold or subdued colouring is the most suitable, and the scheme of grouping shades necessary to develop the ornamental forms of the style. First, the shades of yarn are arranged, one-and-one, throughout, in order to meet the structure of the double plain weaves. Second, it may be useful to consider types in which the designs are clearly pronounced in every detail, and others in which the figuring is more or less subdued. Take, for example, the worsted shawl pattern, No. 4 on Plate XXX. By warping and wefting thus:⁠—

the figuring on the face of the fabric is developed in the dark shade, and the ground in the white and blue, the effects on the under side being exactly the reverse of those on the face. For shawls few principles of design are more useful than this, for it gives a texture in every particular as neatly ornamented and constructed on one surface as the other. The border of these goods generally consists of a different pattern from the centre or groundwork of the shawl, and is also differently coloured. Take the following as an example:⁠—

The above arrangement is for a fine worsted shawl made of about twofold fifty’s yarns and set in twenty’s reed four’s. The centre and edges of the shawl are simple in colouring, but the border consists of checks of blue, scarlet, and orange on a white groundwork. As the white yarns alternate with each of these colours, the figuring on one side of the shawl in the border is solid white on the checks named, but on the reverse side the figuring is developed in the various colours, while the ground is white. Other and simpler forms of colouring besides this are adopted; for instance, another appropriate method of colouring the border and the centre of the shawl, Pattern 4 of Plate XXX., using a double-plain diagonal weave for the edges, is thus:⁠—