141. Six-and-Six Colourings in Various Crossings.—Two examples may be examined in which weave has been advantageously employed in these schemes of colouring. The first, Fig. 77, is a species of check, the patches of the two shades being differently shaped from what they are in Fig. 75B, which is a composition of the same order of shades. This arises from the structure of the weave employed. It is given in Fig. 77A, and is a combination of warp and weft cords. The warp cord causes the spaces of black and white to practically run into each other in the direction of the warp, and the weft cord makes them continuous in the line of the weft.

The next illustration, Fig. 78, is commonly termed the star check. It somewhat resembles Fig. 73, but the effects are more prominent and better developed. The weave used in this case is the six-end twill angled, Fig. 78A. In making the pattern, the first six picks should be black, otherwise they would not meet the interlacings in the weave on the system requisite to give this effect.

142. Three-Odd-Thread Arrangement.—For the plain weave, prunelle, and six-end twills, this is one of the useful schemes of colouring. In the plain it forms, when woven with the same order of weft as warp threads, the neat style sketched in Fig. 79. When the shades are black, grey, and white, as in Scheme I.,—Class B, of the Regular Simple Colourings,—small vertical and transverse lines of these shades are formed, meeting each other at right angles. Thus, in Fig. 79, the vertical lines of black oppose the transverse lines of black, and the same arrangement obtains in regard to the grey and white lines.

Check patterns are producible in this scheme of shades by colouring as follows:⁠—

In the first eighteen threads, the effects formed are of russet, citron, and olive; but in the last eighteen, blue takes the place of the olive, so that when the style is woven with the same series of weft as warp colourings, it makes a mellow check design.

Another method of adding to the utility of this form of pattern consists in introducing into its composition an over-check of fancy shades, which may be obtained thus:⁠—

There results from this method of grouping shades, a pattern consisting of a rectangular space of nineteen ends and picks of small effects, similar to those seen in Fig. 79, but consisting of black, brown, and black-and-white twist, instead of black, grey, and white. In the prunelle twill, this colouring produces hairline patterns in three shades. Other stripe and check designs result from combining the warp and weft weaves, and developing in the same colouring.

The effects obtained from using this colouring in the six-end twill are more diversified in character than those producible in the plain make. They are of three distinct styles. The style of pattern now acquired depends on the method in which the respective shades meet each other in the weave. The several effects obtained, when the [3/3] twill is used, are shown in Fig. 80. This has been developed in the weave given in Fig. 80a, which is a small check design composed of six-end twill, running in two directions. Let the sections of the woven pattern acquired in Fig. 80 be analyzed separately. It must be understood that the order of shades is the same throughout, namely, that in Scheme I. of Class B of the Regular Simple Colourings. Hence the diversification of style here noticed is a resultant of weave and not of colour combinations. The different effects acquired in Sections A, B, and D, show that makes of various constructions have been employed. A distinct style obtains, for instance, in Part A from Part B. In the former, lines of black are set at right angles to other lines of this shade, while the grey and white yarns form diagonals; but in B all the three shades run diagonally. Section C is practically the same as B, while D is also similar, only twilling to the left. The parts lettered A, B, C, and D in the design, Fig. 80A, correspond to those just described. One other effect may be got in the six-end twill besides those considered in this order of threads, namely, that in which two diagonals, grey and white, twill to the left, or the opposite to what they do in A, and small transverse lines of black be set across similar vertical lines. If the positions of the shades were altered, the grey or the white yarns might be made to form the disconnected spots.

A further principle of colouring suggested by this illustration is, that the same plan of shades and method of weaving are capable of yielding different woven results according to the system on which they are combined. Thus, as has just been indicated, without modifying the scheme of colours, the check design in the six-shaft twill gives the effects sketched in Fig. 80. Parts A and D are formed by one weave running to the right, yet how different they are in character! To what is the difference due? The design shows that the black threads and picks do not meet each other in the same way, for while in Part A of Fig. 80A the first pick is two threads down, three up, three down, three up, and one down; in Part D it is three up and three down, so that in reality the first pick in A corresponds to the fifth pick in D. Still, though the order of the threads is the same in both sections, the methods on which the colours are crossed in the respective parts of the texture are dissimilar, hence corresponding results cannot possibly ensue. This difference of effect, arising from commencing colouring on certain threads and picks of the weave, increases the variety of styles obtainable in the same order of threads and principle of intertexture.

143. Various Three-shade Patterns.—Amongst other Simple orders of colouring composed of three shades are those given in Schemes II., III., and IV. of Class B. Each system may be developed in the six-end twill—the last system, which may be termed the three-4’s, also produces standards in four-shaft weaves. Only two of these principles are illustrated, namely, the three-2’s and the three-3’s. It will be evident from the sketches, Figs. 81 and 82, that these patterns belong to a useful class of effects. Fig. 81 is a neat form of intermingled check. Such compounds of shades as the following may be applied:⁠—

I.

II.

III.

The I. and III. of these colourings are suitable for dress fabrics, but the II. is adapted for tweed suitings. This form of pattern should also be developed in mixture and twist yarns in woollen, worsted, and cotton materials.

As a result of employing this scheme of shades, three sets of checks, each formed within the other, are obtained in the fabric. By examining Fig. 81, it will be observed there is first the check of black; second, the check of grey; and third, the check of white. The character of the style due to the weave is apparent in this illustration. There is also perfect balance of shades. This feature, which mainly results from the twill employed in the construction of the pattern, contributes to the general character of the style. Still, it will be noticed that the manner in which the black threads interlace produces a different check from that resulting from the grey or white yarns.

Fig. 82 gives a more irregular style than Fig. 81, on account of the weave being repeated three times, and the order of the shades twice, before one complete pattern is acquired. This arises from there being nine threads in the plan of shades—3 of black, 3 of grey, and 3 of white—and six threads in the weave. The pattern sketched in Fig. 82 in one particular resembles the preceding style, for the shades combined form three broken checks, but in other characteristics it is quite different. The element of black is exactly proportionate to that of grey or white, and each shade constitutes a well-defined series of minute effects, which, by repetition, bring out the check character of the style. It is a base that is improved by diversity of colouring. In combination with Fig. 81, wefted either three-2’s or three-3’s, it yields stripe and check designs of a broad character.

144. Simple Colourings composed of Four Shades.—Each of the four arrangements in Class C of Simple Colourings is illustrated. Scheme I. is given in Fig. 83. It forms a hairline stripe of four colours if produced in the swansdown weave, when the order of the wefting is 1 pick black, 1 pick dark grey, 1 pick white, and 1 pick medium grey. This style is applied to fancy woollens, and also to worsteds. It is a standard colour-base for trouserings and fabrics in which a fine line pattern is required. The same arrangement of shades in the plain weave makes a mixture effect, and in the common twill the colourings form a minute broken check.

Fig. 84 results from the II. Scheme of Colouring given in Class C. The weave is cassimere twill, but the celtic or mat, and other weaves of a regular construction on four and eight shafts, are also used. Here are four more or less disconnected checkings of colours forming an intermingled pattern, choice in outline and soft in tone.

A more pronounced style is got when the quantities of the several shades are increased, and a weave selected of an open structure. These points are brought out in Fig. 85, in which the same arrangement of shades obtains as in Fig. 84, only the quantity of each colour is increased one-third, and the six-shaft twill substituted for the four-shaft twill. Broader effects are therefore the result. Were this sketch repeated, to show the outline of the pattern more clearly, it would be observable that the black, dark grey, medium grey, and white shades all form checkings, which, in the fabric, are quite distinct from each other. As the order of shades here contains twelve threads, the six-shaft twill is one of the best weaves that can be employed for regularly and equally distributing the shades.

Eight-shaft makes being repeated three times before they meet the plan of colours, give more irregular and mingled effects.

The last example in Simple Colourings obtained by combining four shades is given in Fig. 86. It has been produced in the Mayo weave, in Fig. 86a. In common twills of more uniform interlacings, it gives a pattern of more decided markings. The Mayo weave has broken up the groups of fours into which the colours are divided. As a consequence, the resultant style is characterized by softness and intermingled colouring. The weave effect is an important feature. Either sets of hues of different colours of the same depth, or sets of shades in one colour, may be employed in this scheme.

All the examples described in Regular Simple Colourings are of a typical character, and in practice are diversified in colouring and in weave.

145. Irregular Simple Colourings.—These are patterns in which the quantities of the different shades used, or the plans of colouring as to succession of colours, are not uniform. They are not so numerous as the “Regular Colourings” already considered, but they are important in pattern designing. The principal of these combinations are furnished in the Table below:⁠—

Table X.

Irregular Simple Colourings.

CLASS A.—COMPOSED OF TWO SHADES.

The II. Scheme finds application to five-shaft weaves. Thus, in twill, Fig. 87a, it makes the neat check style seen in Fig. 87. The same scheme is applied to cottons and fancy woollens. Some effective patterns ensue from colouring⁠—

The form of the pattern resultant from this arrangement comprises a series of effects similar to Fig. 87, and then a series of effects with a white ground and black spotting.

The extent to which one thread and a slight change in the weave may alter the nature of a woven pattern is illustrated by Fig. 87b, obtained in the four-end celtic and the III. Scheme of shades in Class A. The weave and the colours are combined on such a principle, that the shade used in the smallest quantity forms short vertical and transverse lines on the surface of the texture. This, like the preceding example, is an order of colouring that is frequently varied by transposing the shades thus:⁠—

Providing the weft is the same as the warp, a square is first formed in which the lines or spots are white, and arranged on a black ground, and then a check of black lines on a white ground. When the shades do not form strong contrasts, this base is capable of being utilized in the production of a large variety of fancy fabrics.

A more irregular effect, Fig. 88, results from employing Scheme IV., than either Schemes II. or III. The weave, Fig. 87a, produces the mingled cast of the pattern. Shades may be employed here that give well-emphasized contrasts.

There are several other forms of these colourings, such as the following:⁠—

The first of these is applicable to seven- and fourteen-shaft weaves, in which it may be made to produce some characteristic effects. The second of these additional irregular two-shade colourings is mostly employed in eight-end makes of special construction. Two patterns in which it has been used are sketched in Figs. 89 and 90. It is the structure of the respective weaves that is the cause of one pattern—Fig. 89—being a minute check of a clear outline, and of the other pattern—Fig. 90—being a bird’s-eye spot. In Fig. 89, the weave is a fancy mat, Fig. 89a. The white threads in both warp and weft fall on the 7th and 8th threads and picks in the weave. To these threads and picks, the check character of the pattern is due. They cause the black yarns to be grouped together in the form of a minute irregular rectangle, and the white yarns to give the skeleton check effect. In Fig. 90a, the same threads and picks again determine the specific effect of the pattern. They so control the grouping of the yarns that the white threads produce the small spot or star. These illustrations demonstrate the principle of originating plans of weaving, which will change the pattern produced by a given set of colours in such manner as to compose distinct styles.

The effect of the third arrangement given above is to form the pattern seen in Fig. 91. It is a base that frequently finds an important place in tweeds, flannels, dresses, and worsted suitings. It is a neatly-marked check. The weave employed in its construction is Fig. 91a. This scheme is developed in light, medium, and dark shades, and in self, compound, and mixture yarns. Considering that only two shades are used in its construction, it is a pattern having diversity of outline.

147. Irregular Simples, composed of Three Shades.—Brief descriptions need only be given of these. A small check is obtainable by the first of these schemes. It is best adapted for weaves occupying five threads. The weave employed in making this pattern—Fig. 92—is Fig. 87a.

The II. Scheme is workable in the six-end twill, in which it yields an ordinary suiting style (Fig. 93). The shades used in the largest proportions in this pattern should be the most subdued in tone, while the colour for the single thread should be the brightest. This arrangement has been adhered to in the illustration.

Schemes III. and IV. may be analyzed together. The former, Fig. 94, has been developed in the six-end twill, and the latter, Fig. 95, in the mat or celtic. They are two typical patterns. The latter pattern appears to combine both check and figured effects, the small detached lines of black producing the figured appearance, and the grey shade, in combination with the black and white, yielding the toned check characteristic. It is applicable to all classes of simple fancies. It does not possess that distinct check cast which is so apparent in Fig. 94. This style is really constructed on a similar principle to Fig. 93, for the respective shades gradually decrease in quantity from the beginning to the end of the pattern. All such arrangements admit of two methods of colouring. In the first place, the darkest shade may be made the principal factor, and in the second place, the lightest shade. The intermediate colour—in this instance grey—is invariably placed in the centre in this style of colouring.

148. “Irregulars” composed of Four Shades.—The first of these schemes gives an effect somewhat similar to that which results from Fig. 93, only here the cassimere twill may be employed, and probably a neater pattern acquired. In certain weaves, such as Fig. 96, the Second Scheme, Class C, produces an excellent type of suiting. It is illustrated in Fig. 97. If clearer effects are needed, common twills should be used, such as the six-end weave, which forms the pattern in Fig. 98. The III. Scheme yields in the Mayo a very effective pattern, as is seen in Fig. 99. Here the black yarns produce a broken line, while the other colours constitute intermingled checkings. This is a base, capable of being employed in the manufacture of various classes of fancy textures. Scheme IV., Fig. 100, is a neat method of grouping shades for fancy checks. The pattern sketched has been produced in the sixteen-shaft diagonal (Fig. 100a), but it might also be worked in common twill and mat weaves. Such a diagonal adds, however, to the attractiveness of the intermixture of shades. The characteristics of this example are due to the system on which the threads of warp and weft interlace. The pattern is a species of shaded check. From the tinted white to the black there is a graduated shade of greys, and in the following sets of colourings the same mellow toning would be observed.