The centre of the large band of twenty-four threads is thus neatly tinted with fancy twist threads; while the diagonals developed in ◼’s are composed of the blue, the same diagonal, when twilling to the right, consists mainly of slate, with a fine line of brown and white twist down the centre. There is, therefore, not only in this arrangement an apt grouping of shades in a colour sense, but the plan of adjustment produces a form of stripe in keeping with the construction of the design.

The subsequent three-weave stripe—Fig. 165—is composed of an uncommon set of crossings, namely, of sixteen-shaft twilled hopsack, of an eight-shaft diagonal, and of a fine warp cord. The threads making the cord section ought to be on a separate beam.

A good system of introducing colour here consists in shading the diagonal with colour, as indicated in the plan of working given below:⁠—

The depth of the brown and the slatish green must be about the same; if anything, the latter should be the darker.

It is not unusual in these designs to employ bright shades of silk for weaves of a rib class, which are so constructed as to show the characteristic qualities of yarns of this material. Moreover, it is almost a general rule to apply the brightest colours to those sections of the design composed of warp cord crossings.

Fig. 166 is a worsted trousering style, and is composed of four weaves, namely, a warp wave, corkscrew warp flushed, corkscrew weft flushed, and of fine twill. But it is not merely the variety of crossings which deserves notice, but also the arrangement or plan of combination. On both sides of the warp wave are bands of weft twill, contrasting with not only the former weave, but the bold stripes of fine twill represented in dots. These latter bands are intervened by a line of nine-heald corkscrew or round twill. The scheme of warp colouring should be such as to admit of the corkscrew sections being developed in fine worsted and silk twist. This can be effected by colouring as below:⁠—

By this arrangement the bands of upright twill are developed in blue mixture, the warp wave in light brown and brown, and the corkscrew in silk twist threads. Should the weft be brown, the bands of weft twill marked in ⊠’s would be of this shade.

188. Figured Designs striped in the Warp.—Designs of this type are chiefly workable in cotton and silk yarns. The idea is to obtain variety of colouring by the use of only one colour in the weft; therefore, the coloured style consists of some diversity of striping in the warp. For this purpose, the examples in fancy stripe colourings, Figs. 11 and 12, may be used. For instance, Fig. 167 (Design 167A) contains three weave effects, there being, first, the continuous line of figuring developed in ◼’s, and second, the detached smaller figures in ⊡’s, both being produced in weft, on a warp sateen ground. Underneath such figuring, stripe colouring may be arranged.

Two examples, based upon C, Fig. 11, and D, Fig. 12, are given. In order to fit carefully with the repeats of the design, the proportions of warp colouring in the former would be as follows:⁠—

If a dark heliotrope were used in the weft, then the figuring would be woven in such colour upon the striping of white and medium heliotrope.

The design may also be woven in a stripe of a three-colour class. If D, Fig. 12, were used, suitable proportions of colours would be:⁠—

If two materials were used, say cotton in the warp and silk in the weft, then white silk would be suitable for the weft; but if the weft is cotton, then a light tone of heliotrope would form a pleasing contrast with the striping in the warp. It is a type of figured designing, economically coloured in the weft, but diversified both as to the degree of contrast of colour, and method of shade assortment or striping in the warp.