Fig. 333 is the design for two separate plain cloths bound at both sides of the loom, and Fig. 334 is the pattern for the cloths bound only at one side. The face and back cloths may be of different patterns, and bound together to form one thick fabric.

Fig. 335 is a design for a double cloth with a two and two twill face and a plain back. The design is end and end, and pick and pick.

The binding of the two cloths together is a very important matter. It must be done in such a manner that the bindings are not visible on the face of the fabric. To find the best position for binding the two cloths together it is generally advisable to make a section showing the first two picks in the pattern, as at Fig. 336. A position can then be found for passing a back pick over a face end where the floats of weft in the face pattern will hide the binding. It will be seen that this can be done effectually by passing the back pick over the fourth face end, and so in the design the fourth face end is not lifted when the first back pick is being put in.

Sometimes the face cloth is required to be much finer than the back, and so there may be two face ends and two face picks to one back end and one back pick.

Figs. 337 and 338 show a design for a fabric of this description, the face pattern being a two and two twill, and the back plain. Before commencing to put the design on paper, it is best to make a section showing in what relative positions it is proposed to start the two patterns, and so enable the weaves to be placed in such positions that a satisfactory binding is possible.

Fig. 339 shows how the binding may be effected by placing the two patterns in a certain position in relation to each other. The binding in this, as in the previous case, is made by passing a back pick over a face end.

The binding may also be made by lifting a back end over a face pick where the warp floats in the face cloth would cover it. A design illustrating this kind of binding is given at Fig. 340. The face pattern is a “four and four” twill and the back a two and two twill, and there are two threads of face to one of back. The two cloths are bound together by lifting the first back end on the first face pick where the binding dot comes between two warp floats. The full squares in the figure represent the face ends lifted; the small dots represent the back ends lifted; and the circles show all the face ends lifted on the back picks, which keep the two cloths quite separate. The cross on the first pick effects the binding.

The question as to which is the better system of binding depends upon the character of the two cloths. If the face weft covers better than the warp, it is the better way to bind by passing the back pick over a face end, whereas if the face warp covers better than the weft, a back end lifted over a face pick is preferable.

Three-, and more ply Cloths.—Any number of cloths may be woven separately, one above the other, or several may be bound together to form a very thick fabric. Fig. 341 is a design for weaving four plain cloths, one above the other, and if the picks are woven in the order given in the design it will weave a cloth four times the width of the loom when opened out. The passage of the weft from one cloth to the other is shown at Fig. 342.

Figured Double Plain Cloths.—If the warp be taken with alternate ends of two colours and picked in the same manner, figures, checks, or stripes can be formed by weaving two separate cloths of the different coloured yarns, making both cloths solid colour, and making them change places so as to form the desired figure. Fig. 343 is a design for a small check pattern on this principle. The odd ends and picks are, we will suppose, black; and the even numbered ends and picks white. It will be seen that in the bottom left-hand square of eight ends and picks, the lifting marks for lifting the face cloth out of the way when weaving in the back cloth are put on the black ends and white picks, and therefore the black cloth is lifted to the face in this square. On the opposite square of eight ends and picks, the lifting marks for separating the two cloths are put upon the white ends and black picks, and therefore the white cloth is here made the face cloth. By bringing either the black or white cloth to the face, any figure may be formed, and the surface of the fabric is quite plain, which for some purposes is much preferable to floated figures. The weave used may be a twill or satin instead of plain, if desired, or the two cloths may be of different weaves, and one brought through the other to form a figure. Fig. 344 is a design for a small spot pattern on the double plain principle. The threads should be “end and end” and “pick and pick” of different colours, the first end and first pick being, we will suppose, black, and the threads for the second cloth being white. The lifting marks for bringing the back cloth to the face are the solid squares, whilst the white cloth is brought to the top by the circles.

If all the black ends and picks are brought together and all the white ends and picks brought together, the pattern of both sides of the cloth can plainly be seen as well as the ground weave. Fig. 345 will show this. The face pattern is shown on the first sixteen ends and picks, and the back pattern on the second sixteen ends and picks, whilst the ground weave is shown for both cloths in the opposite corner squares. The patterns may be designed in this manner, and the full effect produced by arranging the draft so as to give the required effect in the cloth.

Some fine effects may be obtained by inserting a thick end in the form of padding between two plain cloths, and binding the cloths together so as to make the thick end form a cord. The cords may run either lengthwise or across the piece. Fig. 346 is a section showing how the cord is formed by the thick end coming between the two cloths without interweaving with either of them, and Fig. 347 shows how the point paper design is made. The end on which the crosses are placed is the thick thread which is used for padding, and the four ends at each side of this are the two separate plain cloths. At each side of this there are two ends showing where the two cloths change places, and so bind the thick end between the cloths and form the cord.

Double plain cloths may be bound together by using sufficient material to cover well, but the binding is difficult to make without being visible. This principle of binding is shown at Figs. 398 and 399.

Leno Fabrics.—In a previous chapter the method of interlacing the threads in simple gauze has been shown. With the two staves and one doup required to weave gauze a considerable variety of patterns can be woven. A “five and one cross-over” has already been given, but it will be obvious that the number of plain picks in each bar of the cross-over may be any odd number. A “seven and one,” “eleven and one,” and so on, are regular weaves.

Where the crossing thread weaves plain first at one side and then the other of the standard end, a simple crack is made in the cloth between the bars of plain, and there is no single pick in the middle of the crack. The most common pattern of this description is a “five and five cross-over;” a plan, draft, and pegging-plan of this pattern is shown at Fig. 348.

In all these fabrics the effect is decidedly of an open or transparent nature.

In some leno fabrics the object is not to get an open effect but to get zigzag effects by crossing a thick end over a few plain ends. A simple pattern of this kind was given at Fig. 139 in dealing with leno weaving, but the effect may be varied by making the crossings at irregular intervals.

Fig. 349 is a fancy crossing in which the thick doup end is crossing over three double plain ends.

Fig. 350 is another fancy effect on the same principle. The marks on the plain ends show when these ends are lifted.

When the thick crossing ends all work in the same direction a “wave” effect is produced, which is often employed in conjunction with the “diamond” or “eye” effect, obtained from the opposite working of the two thick ends.

By using two doups a great variety of effect can be obtained. Fig. 351 shows a method much practised of making the picks bend out of a straight line. It is obvious that this will require two doups, because one doup thread has to be lifted for the first six picks, and the other doup thread does not lift until the fourth pick in the pattern.

Check Lenos.—Where alternate squares of leno and plain are required to be woven, it is necessary to have two doups if the leno is required to be woven four ends in a dent, with two ends crossing two, as in Fig. 352. It has been shown how a check leno or gauze can be woven with only one doup at Fig. 144, but the principle only applies to pure gauze, or one end crossing one. The draft and pegging plan for weaving a small check on the principle of Fig. 352 is given at Fig. 353, where it will be seen that eight shafts or staves are required with two doups and two slackeners.

For dobby weaving, the leno principle is chiefly used in the production of striped fabrics. One of the most popular classes of fabrics is a combination of the thick zigzag effect with an open leno effect of any kind. Fig. 354 is an example of this combined style, the stripe can either be woven with a satin or plain ground fabric.

With three doups some very elaborate effects can be obtained, but the increased cost is rather prohibitive.

A thick end can be crossed round a pair of ends weaving leno, as in Fig. 355. It is necessary to bring the end from the back stave round the doup B before crossing under the pair of leno ends, as this would make the crossing easier.

Weft Pile Fabrics, Velvets, and Corduroys.—Practically all cotton velvets are woven on the weft pile principle. The intricate nature of the loom required for weaving warp cut-pile prevents its adoption for cotton pile fabrics. There is no doubt that a warp pile woven over wires is superior to any weft pile fabric, all the pile being perfectly even. The principle upon which weft pile is formed is illustrated at Figs. 356 and 357, the former showing the pile uncut, and the latter cut.

In weft pile fabrics the pile weft is usually “extra weft” issuing out of the ground fabric only between every pair of ends. This forms grooves or “races” in the fabric, which allow of the insertion of a “knife and guide” which cuts the pile about the middle of the float. At Fig. 356 the ground fabric is plain, and between each ground pick there are three pile picks. The first pile pick passes under the first end, the second pick under the third end, and the third pick under the fifth end, and if these are repeated there are formed small grooves for the cutter’s knife every two ends. The pattern is given on point paper at Fig. 358, extended a little in each direction as the pattern repeats on only six ends and eight picks. The ground picks (plain) are put on in circles. A large number of picks per inch are required; in a common make about 260 picks per inch of 60’s weft are used, and about 74 warp threads per inch, the counts of warp being usually 2-70’s.

If there are 260 picks per inch, and one pick out of every four belongs to the plain ground fabric or “back,” as it is sometimes called, there will be sixty-five picks per inch in the plain, and the pile weft is “extra” material forming grooves for the cutter’s knife on the face of the cloth.

After the cloth is woven it is stiffened, and stretched in a frame for cutting. Fig. 359 shows the kind of knife used for this purpose. The guide A is selected so as to fit under the float easily and lift the centre of the float to the cutting edge B. The cutter inserts the knife and guide every two ends or “race,” and thus in a common velvet, as at Fig. 358, one-third of the pile picks are cut each time the knife is run up the piece. The arrows show the ends where the knife is inserted.

Machine cutting is now adopted to some extent for velvets. The piece is moved backwards and forwards automatically, and so the cutter does not require to walk the length of the frame every time the knife is run up the piece.

The term velvet is used by retailers and the general public as referring to silk velvet, and by them all cotton pile fabrics are termed velveteens; but in the trade the lighter and finer classes of cotton weft pile fabrics are velvets, and the heavier kinds, such as those used for clothing purposes, are called “velveteens.” There is no very definite line drawn between the two classes.

Velvets are usually sold by weight when in the grey state. The pattern given at Fig. 329 is made to weigh from 18 lbs. to 30 lbs. for 100 or 110 yards, 24 inches wide, the yarns being as previously stated, and the various weights obtained by altering the number of picks per inch. About 25 lbs. per 110 yards is a medium weight.

The usual width for home trade velvets is 24 inches (grey), but for shipping 22½ inches is a very common width. The pieces are usually woven two or three in a width of the loom, and afterwards torn asunder.

The length of the pile may be increased by increasing the length of the float. Fig. 360 is a pattern with a seven float, and four pile picks to each backing, or ground pick. This is usually called an E1 velvet, a term probably handed down from the origination of the pattern.

Until well into the last century the pattern Fig. 358 was the only weave used in the production of cotton velvets, and a patent was obtained for this E1 velvet, and the term “Patent” is still regularly used when referring to velvets with a longer pile than a five float.

An E1 velvet requires considerably more picks per inch than a “common velvet.” A good make will contain 400 or more picks per inch of 60’s or 70’s weft, woven in a 74 Stockport reed with 2-70’s twist.

Sometimes the points where the pile weft intersects are distributed in satin order as in Fig. 361, but this makes no appreciable difference, as the picks are so piled up on the top of each other that the bindings of the four pile picks are practically in a horizontal line in either of the methods given.

Fig. 362 is a design for a velvet with a nine float, and five pile picks to one back pick or “binder,” as they are sometimes termed. This would require a still larger number of picks, and would easily take 500 picks per inch of 70’s weft.

A cloth is made with the same length of pile as the above, but with only four picks of pile to each back pick. This pattern requires fifty picks to complete it, as will be seen from Fig. 363. The pile in this case will be much more firmly bound into the ground cloth than is the case in Fig. 362.

Fast Pile Velvets.—When the pile weft is only bound under one end it is rather liable to wear out, especially by rubbing at the back. To obviate this, the pile weft is bound in the manner shown at Fig. 364, by which it is rendered much faster. When bound to the ground fabric in this manner it is known as “fast pile.”

The method of binding detracts from the richness of the pile obtained from a given quantity of material, but the fabric possesses much better wearing qualities.

Fig. 365 shows the structure of an ordinary fast pile velvet with a plain ground, and four pile picks to each back pick.

A regular make of this fabric is as follows:

Width 26 inches, length 104 yards, weight 30 to 34 lbs. 76 reed, 420 picks per inch, 2-70’s twist, 50’s weft.

Twill Backed Velvets.—Some of the finest kinds of velvet are made with a twill back. The chief advantage of a twill back over a plain is that the bindings of the pile weft into the ground are hidden by the twill floats at the back. This renders the pile much faster than a common velvet; in fact, twill backs are usually sold as fast pile velvets.

Fig. 366 is a section showing the structure of the fabric, and it will be easily understood that the pile cannot be so easily pulled out at the back, owing to the weft covering the bindings. Fig. 367 is the design for a good make of this kind of velvet, the back is a two and one twill, and the pile weft floats over eleven ends.

An important thing to remember about twill backs is, that the pile pick following a back pick must have the dot opposite a blank square in the back pick. If this were not so, the picks would slip about and form an irregular surface.

In the weave under notice, five pile picks are taken between the first two back picks, two between the second and third, and five between the third and first. This enables the proper bindings to be made.

This weave gives one of the best cloths that are made. It is usually woven with about 600 picks per inch of 60’s weft, in a 76 reed with a 2-70’s twist.

Another pattern of the same kind which will take still more weft is given at Fig. 368. In this there are five pile picks to each backing pick, and the pattern repeats on thirty-six picks.

Plushes.—When much longer piles are required the fabric is called “plush.” These can be made on exactly the same principles as the foregoing, or the principle embodied in Fig. 369 may be used. In this weave the pile is bound in much oftener than in the shorter piled cloths, as a long pile is much easier to pull out than a short one, and therefore requires more firmly binding. The ground picks also in this weave are all alike, i.e. they all pass under the same ends, and this does not hold the pile weft as firmly as a proper plain back, although it utilizes the binding of the pile weft as forming part of the back pattern. The bindings of the four pile picks together form a plain pick, and the back of the cloth thus appears perfectly plain. To preserve an even surface of pile it is necessary to distribute the points, where the first pick in each four commences, in satin order. As there are in Fig. 369 twelve ends on which the pile picks are bound, the basis upon which the bindings must be distributed is a twelve-end satin, which runs 1, 6, 11, 4, 9, 2, 7, 12, 5, 10, 3, 8. The first pile pick commences to bind on the second warp thread, and therefore the first pile pick in the second set of four (the seventh pick) must commence to bind on the sixth of the ends available for the purpose (the twelfth end). The whole design will be complete on sixty picks.

For a longer pile the weft would require to be bound under more ends, especially if the backing picks are not crossed.

Cord Velvets.—A simple cord velvet can be made on the principle of Fig. 370. The two plain ends on every six bind all the pile picks in the form of a cord up the piece, and there is one ground pick to four pile picks. The cutter’s knife is only run up every cord, and so the cutting operation is much cheaper and more easily done than in the case of velvets. After cutting, the pile is brushed, and the fibres spread out so as to cover the space between the two binding ends as much as possible.

An eight-end cord on the same principle is given at Fig. 371.

Round cords are made by employing floats of two lengths. In the previous cords all the floats are equal, but in Fig. 372 one float is a “thirteen” and the other a “fifteen.” When these are cut in the middle, the short float forms the outside of a cord, and the long float the inside, which gives the cord a round appearance. Fig. 373 shows the appearance of the two pile picks when cut.

As a rule, these cords are used for very heavy fabrics, and twill and satin backs are chiefly used, and as the pile weft is usually much thicker than velvet weft, there are not so many pile picks between the ground picks. A smaller cord on the same principle is given at Fig. 374.