Name/Title
Fabric Structure IIEntry/Object ID
1991.05.03.36Scope and Content
Light green notebook brand SOENNECKEN with eagel emblem over a pen. This is on both side of the notebook. Handwritten title on cover is "Fabric Structure II"
Contents;Handwritten notes and handdrawn weaving patterns. All on graph paper, in pencil and pencil crayon and doublesided.
Transcription of artifact is as follows:
[page one]
Fabric Structure II.
2nd term, January - March 1939.
H. Special Classes of Elementary Weaves 53
1 Ordinary diamond weave 53
2. Standard honeycomb. 55
3. Brighton “ 56’
4. Huckaback weave 57
5. Grecian weave 57’
6. Mock leno 58’
7. Distorted weaves 60
8. Crepe weaves 61
1 Colour and Weave Effects 63’
J. Stripe Fabrics 68
1 Shirtings 70’
2. Pyjamas 72’
K. Special Rib Structures 74
1 Bedford cords 74
2. Piques 75’
A ) Plain piques 75’
b) Fancy “ 79
[page 2]
81 3. The repps
81 a) plain repps
82’ b) Figured “
84’ c) Repp quilting
[page 3]
Fabric Structure, 2nd term, Jan. 1939
H. Special Classes of Elementary Weaves.
1 Ordinary diamond weave.
The patterns of this style are used a great deal for dress goods Are woven with cotton warp & artificial-silk weft. Are also used for woollen coating fabrics
Another use of the diamond weaves is for ground fillings in Jacquard designs.
The diamond base is used in the constructn of larger patterns. The base is a single twill line reversed in the warp directn by means of drafting & then again reversed by repetitn of the picks.
The nbr of heald shafts on which a diamond base can be woven is half the repeat +1 Thus a 12 ends diamond is drafted on 7 shafts
[page 4]
[the top of the page is mathematical equations which cannot easily be transcribed]
In makg the diamond weave we first lay out the single twill line. Then we add marks around this line to give the necessary bindg & to complete the pattern.
Design 1. (fig 60). The smallest repeat possible for a diamond : 4 x 4. On 3 shafts
Design 2. 8 ends diamond. Repeat 8 x 8.
Fig. 61a: Woven on 5 shafts
Fig. 61b: “ “ 4 “ (with a slight modificatn in the ground pattern).- The blue marks are the filling.
Design 3 (fig 62). 4 ends twill basis, drafted therefore on 4 shafts. Diamond repeat 16 x 16 .
Design 4 (fig 63). 8 ends base twill: 1/7. One single diamond, not several, as in design 3. Diamond repeat therefore 16 x 16 or 9 shafts Filling in blue.
[page 5]
Diamond weaves are used in bedspreads. Are then woven with medium count of warp: 24^ to 32^ & a coarse waste weft: 10^ to 16^.-
In order to increase a diamond pattern, the ends are sometimes taken in pairs.
Large diamond patterns can be constructed from a base twill repeating on 6, 12, 16 or more ends.
This twill base is extended in the warp directn by the usual procedure of drafting (fig 65). The same procedure is then repeated in weft directn. It is usually better to use for both warp & weft the same arrangemt, but one is not compelled to do so.
Design 5 (fig. 64): Base twill on 6 ends 2/1 ½ extended in both warp & weft directn
[page 6]
2. Standard honeycomb weave.
The characteristic textural appearance of the standard honeycomb weave are the square cells which are produced by floating warp & weft in alternate diamonds
The diamond is the basis of the honeycomb weave. But in ordinary diamond we can introduce any particular filling we like in each diamond. With the honeycomb weave we are restricted to warp & weft
[page 7]
Floats to make the walls of the cell.
The ordinary honeycomb weave is used for: 1) Towelling,
2) Ordinary honeycomb quilts & sometimes for 3) Dress goods.
For honeycomb quilts the warp & weft yarn is 2 or 3 fold. Mercerized yarn is often used. 36 to 44 ends & picks /” of 2/20^ or 2/30^. Woven in white conditn because the bleachg process would distort the cells The standard weave is 8 x 8.
For honeycomb towels a softer - spun yarn is used, which is more absorbant. To obtain a square cell equal nbr of ends & picks must be used
Design 1 (Fig 65). Honeycomb repeating on 8 x 8 (Fig 66a) - 48E & 48 P/” & on 8 x 6 (“ 66b) - 48E & 36 P/”
[page 8]
The nbr of ends & picks per inch depends whether there is an equal nbr of ends & picks in the repeat. It must be arranged as to obtain square cells
[the rest of the page is diagrams]
[page 9]
3. The Brighton Weave or Brighton Honeycomb
The weave is composed of cells like the ordinary honeycomb weave, but the cells are not of equal size.
This weave is used
1 ) In the quilt trade,
2) For dress goods,
3) For ties sometimes,
4) For woollen coating fabrics
The Brighton weave is constructed on diamond basis. A double binding line is introduced on 1 side of this basis. The weave is completed by warp or weft floats introduced inside the constructed basis
The Brighton weave requires straight drafting. The repeats of this weave are multiples of 4.
Design 1 (Fig 67) Repeat 12 x 12. On 12 shafts
A: In blue the diamond basis
“ green “ doubled line
“ red “ floats as filling
B: The same design in 1 colour.
[page 10]
[the top of the page is diagrams]
4. The Huckaback Weave.
Is used for friction towels & glass cloths. The best qualities are woven in all linen, the poorer qualities with cotton warp & linen weft.
There are long floats of warp & weft on a plain weave foundatn. The long floats give the fabric a rough spongy surface & make it more absorbent.
[the rest of the page is diagrams]
[page 11]
[the top of the page is diagrams]
5. The Grecian Weaves
Used in the quilt trade, also for cloakings & for heavy woollen coatings.
The term “Grecian” comes from the resemblance to the Greek key pattern in some of the weaves
The plain basis is used in the constructn of the Grecian weaves. Most of them make reversible cloth. They appear best when woven with coarse folded yarns of 2/20^ or 2/16^ & ~ 40 ends & picks per inch
One of the Grecian - weave designs gives an imitatn of a Matalasse
[page 12]
Weave. This weave produces a plain back, on the face side we have the long floats producing the pattern.
The “smaller Grecian” weave (fig. 71) is woven with fine yarns. It resembles a crepe weave & is no better than a crepe weave.
[the rest of the page is diagrams]
[page 13]
[the top part of the page is diagrams]
6. Mock Leno Weave
Real leno & gauge
The warp threads are crossed partially or wholly around adjacent warp threads producing an open woven texture
[page 14]
Mock Leno
The warp threads are parallel, but are grouped to make an open-woven texture. The weave & the denting produce the effect.
The mock leno is used:
1 ) in all cotton cloth,
2) in cotton - & - rayon brocades. Very often it is filled in as a ground weave for the pattern. This imitates the real lens brocades.
In some designs the mock leno weave is only introduced in the figures
3) in shirtings
It is not suitable for weavg with all-rayon continuous filament yarns
The weave by itself does not make a very good texture. The success of the cloth depends on the choice of yarn (rough surface to prevent slidg).
4) sometimes for a foundatn cloth for embroiderg purposes. It is then woven with stiff cotton yarns.
5) Combining the mock leno weave
[page 15]
With other standard weaves & using suitable motives, the effect is useful for dress goods.
[the rest of the page is designs]
[page 16]
7. Distorted Weaves.
These weaves imitate the real lace or net leno. Certain threads are deffected from the positions of vertical or horizontal lines. It depends largely upon the influence of the plain weave against loose bindg, to bring some of the ends or picks out of the normal positn.
The best effects are obtained by using coarse yarn for the threads to be deflected. This gives a better contrast against the fine woven ground cloth.
[the rest of the page is diagrams]
[page 17 is diagrams]
[page 18]
8. Crepe Weaves (Oatmeal Weaves)
The general texture appearance is a broken-up effect. All definitn of the pattern lines is obscured. In these fabrics the effect is due to the weave constructn & is not produced altogether by the yarn constructn (hard twist).
A crepe de Chine is a plain-woven fabric. A broken surface is made by using hard twisted & reversed yarns. Thus not in this class
In fancy rayon crepes for dress suits the cloth is woven with flat filament for rayon warp & a combinatn of flat filament rayon weft.
Printed cotton crepe cloths are used for cretonnes & furnishg purposes such as hangings & loose covers. The settg of the ends & picks is such that the cloth is not too closely woven. Sometimes with similar counts of warp & weft.
In other cases the ends are woven in pairs. Coarse waste weft is then used.
In some other cases coarse warp & coarse weft of ~ 10^ are used. The cloth is then
[page 19]
Woven with coloured stripes & called folk weaves.
As far as possible we aim at having reversible beam
Quality particulars of crepes:
Printed table cloth crepe weave 118 x 44 21^/12^ all cotton
Printed Cretonne 44 x 36 32^/10^
Dress fabric 88 x 88 2/40^/20^
Rayon crepe dress fabric 126 x 58 170 den/170 den acit
/ 30^ cotton crepe}:
2 acit
2 crepe Z
2 acit
2 crepe S
Weave construction.
Method I. Combining 2 or more standard weaves, one at least should be irregular.
Design 1 (fig. 80) combining end & end:
1 ) Plain weave (black)
2) 2 regular twills each running in opposite direction: ½ & ½
A shows the construction; b the resultg pattern
[pages 20 & 21 are diagrams]
[page 22]
Design 2 (fig 81). Combining end & end: (red) Pointed twill 4/2, turning every 4 ends (blue) Regular twill 2/2
Method 2. Rearrange a twill weave to a new draft.
Design 3 (fig. 82) 8 ends base twill
Taking the draft in pairs & introducing between pairs an 8 ends satin draft
A = the base twill
B = the new pattern
New repeat: 24 x 8.
Method 3. Superimposing one weave upon another. The choice of the base weaves is important: one of them must be irregular. It is better to take a weft faced weave because in the constructn of the crepe weave we are adding marks to existg ones.
Design 4 (fig. 83). Superimpose A on B
A is a 8 ends doubled sateen with a step 3.
B is a 4 ends irregular sateen: 4,3,1,2
[page 23]
Sample 2/90^ & 2/90^
1 Colour and Weave Effects.
The principal advantages in the use, when weaving a plain weave, colour in groups of threads, i.e. e. G. 2 colour & 2 white or 4 x 4, are:
1 ) Solid colour in the form of stripes is introduced.
2) The texture is unaffected, the uniform surface is maintained. The ordinary way, with floating threads of colour, would weaken the fabric.
3) Pattern productn can be developped on much greater extent.
The applicatn of this method of weavg is probably the most developped in the woollen & worsted clothing fabrics & also in silk for silk scarves handkerchieves etc. More use of this method of pattern productn is being made since poplin shirting were introduced.
Colour weaving effects are introduced into cotton Ginghams & some classes of The colour
[page 24]
Is arranged along with the white in different order or arrangement of warp, & the checking may be in the same or different way. In the cotton trade this necessitates the use of box looms. Circular box looms are the most used for cotton, first of all for ginghams.
The boxes are usually only on 1 end of the slay, so that we are restricted to pickg in multiples of 2 picks.
In woollen trade they have boxes on both sides, pick & pick weaves
With any standard weave different effects are made by changg the arrangement of warp & weft. Thus a stripe pattern can easily be produced by havg a nbr of ends with 1 arrangemt of warpg, say 2 + 2, & then another group of ends with the warpg of say 4 & 4. The weave will be regular throughout & so will be the draft.
We can obtain a similar effect by changg the positn of the weave in relatn to the colour order. This will mean a broken draft & may require
[page 25]
More heald shafts.
We always show the weave separate from the colour plan. In makg the colour plan, i.e. the effect seen on the cloth, we first show the weave in dots, i.e. where warp is lifted, & then colour is warp & weft threads, where the particular warp or weft thread is floating on the face.
A ) Colouring of plain weave.
Design 1. (Fig. 84). Colouring plain weave Warping : 2 ends red
2 “ green
Checking: 2 picks red
(wefting) 2 “ green
Design 2. (Fig. 85). Plain cloth.
Warping: Part A: End & end. Odd ends red
“ B: “ “ “ Even “ green
Checking: 2 & 2, red & green
Cotton fabrics are often woven with the 2 & 2 matt weave, because of the boxes at 1 end of the slay, & because the colour pattern is more prominent
[pages 26 & 27 are diagrams]
[page 28]
Design 3 (Fig. 86). 2 & 2 matt weave. Colouring 2 & 2 warp & weft, but positn of colouring changed to make the check pattern. Repeat 16 x 16. Weave unbroken throughout
[diagram]
Design 4. (Fig. 87). Similar effect to that of design 3 on a repeat of 48 x 48, using the given motive A ?
Design 5. (Fig. 88). 2 & 2 matt weave Colouring 2 green & 2 red with change of positn of the green & the red
Design 6 (Fig 89). Weave 2 x 2 Matt.
Colouring Warp 4 & 4
Weft 2 & 2
Design 7 (Fig. 90). Make a small design combining the plain & the matt weave on a repeat of 32 ends & picks. Introduce the 2 & 2 and the 4 & 4 colourg.
[page 29]
The check effect in the cloth is:
[diagram]
b) Colouring of twill.
Use even-sided base twills
Design 8 (Fig 91) Base twill 2/2. Varying colourg. One of the elements can be taken out, if giving satisfactory results.
It is of course not necessary to insert the weave spots on the whole design; this would take a too long time. The weave is marked only on the beginning, & then the colouring is directly put into the squares, followg the given order. First the end colour is done, then the pick colourg. E.g. in the 9th end of the cycle of colourg is: 1 white, 2 colour, 1 white, 1 colour; etc.
[page 30]
Design 9 (fig. 92). Base twill 2/1 1/1
Colouring: Warp 1 & 1
Weft 2 & 2
Repeat: 10E & 20P
Design 10 (fig. 93). Base twill 4/4
Colouring: Warp & Weft: 2 & 2.- Repeat 8 & 8
[the rest of the page is diagrams]
[page 31 is diagrams]
[page 32]
J. Stripe Fabrics
More variety in these fabrics than in any other class. Advantage: Convenience for cutting-up purposes.
[page 33 is blank]
[page 34]
In additn the cloth can be woven on very few heald shafts.
3 main groups:
1 ) The effect is produced by contrasts in weave. A very common combinatn is to weave satin stripes on plain ground. Rearranging drafts of a common base weave is an easy method.
2) The effect depends upon the use of colour yarn or yarn of different count or character, or by cramming the ends & picks as required
3) The effect is got by the combination of 1) & 2)
In the cotton trade crammed stripes are very common: shirtings, dress fabrics & easements.- The easements are woven with fine warp (120 e/”) & with coarse weft. More than 1 beam has to be used, because the take up of the satin warp is less than of the plain weave.
[page 35]
In makg the designs of stripe fabrics, we take care to note the intersectn at the side of the stripe.
With a 5 ends satin on a plain ground, we may be using a 2/72^ reed for the ground (72 e/”) & dent the satin 4 ends per dent (144 e/”)
The nbr of picks in the repeat of the pattern is always the LCM of the pick repeats of the composing weaves
Design 1 (fig. 95) Repeat {x ends [written below] 10 picks}
5 ends satin & plain weave
Design 2 (fig. 96) Reverse twills
4 shaft warp twill & 3 shaft weft twill
Design 3 (fig. 97) Make a stripe pattern on 96 (or 192) ends, that can be woven on not more than 16 heald shafts combine together a mock leno with another standard weave or use your own choice & weave on the Jacquard hand loom.
[page 36 is diagrams
1 The shirtings
The shirting fabrics belong mainly to group 3) of stripe fabrics (p. 69).
[page 37]
A ) Poplin Shirtings.
In the cotton trade the best shirtg probably is the poplin shirtg with thick setting of end & pick & usg the plain weave we get good solid colour stripes.
A good deal end - & - end colour effects are used & also shadg stripes by varying the depth of tone of colour & the proportn of colour & white
Sometimes a full - coloured weave effect is introduced, but this requires box looms.
Shadow - stripe poplins are sometimes woven & in additn we often have satin stripes.
In a poplin we can easily produce satin stripes because there are sufficiently ends in the reed to give the necessary cover without any denting change
b) Harvard shirting
This is a heavier type of cotton
[page 38]
Shirtg when it is finished, it stiffens up. It is suitable for workmen. A considerable amount of colour is used. The characteristic of the Harvard is the 2/2 twill, which may be used throughout the cloth. In other styles another weave is used for the stripes, but the 2/2 twill remains for the ground
Suitable particulars 72 x 60, 26^/14^
Main stripe colours: blue, light blue, red & sometimes helio
c) Oxford Shirtings.
Characteristic: Matt weave or an equivalent in the ground of the cloth. The Oxford shirtg is a better quality than the Harvard. Less colour is used in the warp. More ends /”. The weft yarn is of reasonable good quality.
Suitable particulars: 56 taped (in pairs) (112 e /”) x 50; 30^/14^. The coarse ct of weft weaves with the fine taped ends; this produces an imitatn of matt. Double Oxford are woven 2 ends per heald eye, single Oxford 1 e/h.e.
[page 39]
Oxfords are usually bleached & lightly calender finished.
d) Grandrelle & Satin Shirtings.
These fabrics are woven with a 5 drafts satin weave 80-100 ends /” of 20^ - 24^ & 48 to 56p/” of 12^-16^. The warp may be all Grandrelle yarn with different coloured stripes. The weft is ordinarily grey yarn.
The shirtg is made up in the grey loom state
e) Zephyr Shirtings
Replaced nowadays mostly by poplins
Foundatn: plain cloth woven ~ square 80 x 80 of 36^/40^. Cord ends used for stripes with colour. Sometimes artificial - silk weft.
f) Tennis Shirtings
A simple matt weave of good quality. A 2/2 twill sometimes ised. Medium cts of warp & coarse weft.
g) Leno Cellular Shirtings.
Suitable 60 x 40 2/40^ & 20^ In some
[page 40]
Cases the warp is single yarn. The texture has the open character produced by the leno weave, although this is reduced in some designs by weavg a nbr of picks plain cloth & then 1 or 3 picks leno. As regards leno weaves see later, p. 119
2. Pyjama Fabrics
One type is woven with a 4 shafts twill: 2/2 or 3/1, with medium warp & coarse weft. Colour introduced into warp for makg the stripes. The weft is soft spun yarn, may be mixed spun (with wool).
This cloth is slightly raised (“pirched”) to make a cotton yarn feel like wool.
Suitable: 90 x 64, 32^/24^: “Winceyette”
The smarter pyjamas: poplin grounds with broad / satin stripes. The repeats are 2” to 4”, much larger than in shirtgs. Sometimes coloured weaves are used, but check is rare.
[pages 41 & 42 are designs]
[page 43]
K. Special [word is obscured by rust mark] Structures
1 Bedford Cords.
This weave produces cords running the lengthway of the cloth. The cords are not produced by thick ends, as in cord stripes. They are usually not more than ¼” wide. The face weave of the cords is very often plain weave, but heavier makes are woven with a twill face.
Plain-face Bedfords are used mainly for dress goods. They are sold in the solite or dyed state, sometimes with coloured woven stripes & also may be printed. In the detail trade the majority of Bedford cords are sold as piques.
Twill-faced fabrics are used for riding breeches & upholstery or hand weavg cloth.
The weave repeats usually on 2 cords, but can repeat on 1 cord. The picks are usually arranged 2 picks into the first & 2 picks into the second cord, i.e. 4 picks in the repeat for a plain-face Bedford. When the picks are not weavg into the face cord, they are floatg loosely on the back of the other cord. It is due
[page 44]
To this floatg of picks that the cord liftg takes place. The width of the cords is determined by the nbr of face ends.
The cuttg ends divide the cords. Wadding ends may be used to give prominence to the cords; they are crammed into dents. I.e. if we have 3 face ends is 1 dent, where the waddg ends are placed, there may be 4 e/d, but the spacg of the ends is determined by the dentg of the face ends only.
The cuttg ends nearly always weave plain with all picks & are placed in separate dents to produce a better divisn between the cords.
Making the designs:
1 ) Mark out over the design, which are face, wadding & cutting ends.
2) Weave cutting ends plain on all picks
3) “ face “ “ with 1 pair of picks in 1 cord, lift them solid in the other cord. With the second pair of picks, the opposite is done.
[page 45]
Ornamentation of Bedford Cords
1 ) Variations in the width of the cords, i.e. the nbr of face ends.
2) Introduction of coloured-face or cuttg end
3) 2 & 2 pickg with coloured wefts or with crepe wefts in combinatn with ordinary weft.
4) Floats of weft to a limited extent (not to weaken too much the structure) to form spot figures: diamonds etc
5) Use of extra warp or weft on a Bedford ground cloth.
2. Piques.
A ) Plain piques
The ordinary piques are referred to sometimes as Welt. The term pique is used more for fancy cloth. Welt means properly raised ribs.
The weave produces cords or ribs which run from selvedge to selvedge, i.e. across the cloth.
Piques are woven with much finer reed & pick & counts of yarn than Bedfords. The structure produces a firmer
[page 46]
Cloth.
Back of the cloth: it is under heavy tension.
[diagram]
The face texture of the pique is plain weave throughout. The ribs are made by weavg an extra back warp, which is under high tension (separate beam). When this warp is lifted into the face texture on the cuttg picks, it makes an indentation in lines across the cloth. These lines are the hollows between the cords.
The pickg weave repeats on 1 cord. The 2 warps are referred to as face warp & back warp respectively. There are 2 face ends to 1 back end. The warp is dented 3 ends in a dent: 1 face, 1 back, 1 face.
There are 2 weaves: face warp woven under ordinary tension, back warp under
[page 47]
High tension. Thong [spelling uncertain] looms are required to weave the cloth, stiff frames. The looms are generally built with box motion, a positive sheddg is absolutely necessary. The drafts must be practically found out to get the very correct sheddg.
The face weft weaves plain with the face warp to make the plain face cloth. The same weft is used for the cuttg picks
Waddg weft is often introduced. This raises up the rib.
The back on stitching ends is a plain pique, are raised on cuttg picks right across the cloth.- In most qualities of piques the face warp weaves continuously plain on the face & the cuttg picks (as in fig. 103) To obtain a better cut between the ribs, the tab of the plain weave is changed sometimes on the cuttg picks, producg a 2 & 2 intersection (as in fig. 104 & 107).
[page 48]
[diagrams]
Good-quality piques are woven with changing the plain tab on the cutting picks & with wadding picks; see design 2.
[page 49]
[designs]
Design 3 (Fig 105) Plain - face Bedford cord.
Ends per cord: 12 face
2 wadding
2 cutting
Design 4 (Fig 106) Using the Bedford cord weave as a basis for larger patterns. Plain motif
The fig. 106 has 14 shafts: 6 for twill, 4 for face ends, 2 for wadding ends, 2 for cutting ends (plain) The whole design would require 2 x 12 + 2 = 26 shafts
[page 50]
Analysis of plain pique.
1 Remove the back ends from some of the ribs near the side of the cloth.
2. Remove the wadding picks
3. Ascertain the nbr of face picks in a rib or cord & also note if the face ends weave plain throughout it with face & cutting picks.
4. Ascertain the nbr of wadding picks per rib
5. Make a section through the weft & the design
[diagram
[page 51 is diagrams]
[page 52]
b) Fancy piques
These structures are very similar to the toiletg structures (see later, p. 90) There are 2 chief methods of ornamenting a plain pique:
Method 1. Raising the back ends to make some form of pattern other than lines across
Method 2. Floating the face warp to a limited extent to make a contrast with the plain pique ground.
The first method is more used, because the face cloth is not weakened in any way. The applicatn of the first method is used in “waved piques” (“Birdeye patterns”) & also in “Marcellas”, the latter being really a 3 pick toiletg.
Suitable quality particulars for a fancy pique (+ the same apply also for a standard pique):
96 face ends /” of 40^
48 back “ /” “ 30^
[page 53]
140 picks /” of 40^
48 waddg picks /” “ 16^ to 20^
The wave-pique structures are now applied for dress fabrics. Woven then with coarser quality particulars. There are printed designs on tinted grounds.
Design 1 (fig 108). Fancy pique with face - warp floating (method 2)
Ground pique: 4 face
2 cutting
[diagram]
Design 2 (fig. 109) Used for evening-dress shirtings, ties, & in some extent for dress & hat trimmings. Woven sometimes all black. Sometimes with artificial silk.
In making the design we first set out a motive for the liftg of the back ends. In order to obtain a waved pique, the waddg picks must be woven in the cloth at 1 point.
[page 54 is diagrams]
[page 55]
Design 3 (fig. 110).
Method 1 for motive B. Repeat of motive 22 x 14
2x {4 wadding picks
{3 face picks
{4 wadding picks
{4 face picks
Therefore repeat of design: 66 x 30 But figure 110 represents only the red rectangle with repeat 33 x 15
[the rest of the page is diagrams]
[page 56]
3. The Repps.
A ) Plain Repps.
Sample 35. For furnishing purposes. Woven with 2 warps & 2 wefts.
Counts: Warp Weft
Figuring 300 den. 2/8^
Ground 2/80^ 200 den
The real repp structure is woven with 2 warps & 1 or 2 wefts. The warps must be on separate beams, because the ground-warp beam is heavily tensioned. If we use 1 weft, the difference in warp tension produces the repps effect. Refer to section I.
Section I (through the weft)
[diagram]
In the trade a heavy poplin is often sold for repp, especially in the casement trade: “Poplin trade” - woven with 120 ÷ 140 E/”, 2/60^ warp & with coarse weft,
[page 57]
Best qualities with 3-fold weft, not much more than 44 picks /”, 10 ÷ 12^
[page 58]
The better qualities of real repps are not reversible
Section II. (Section through the weft). Using 2 wefts of contrastg thickness.
[diagram]
Weavg faults in good-quality plain repps:
The faults are probably more noticeable, when the plain repp is woven with silk or rayon figurg warp. Bright places are made by irregularities in the coarse weft & also when the fine bindg weft is not woven at a regular tension. If this fine weft is slack at the time of beatg-up, then a faulty place is likely to occur.
The majority of these faults are brought about by the varying tension between ground-warp beam & the fine bindg weft.
[page 59]
The following points are important:
1 ) The selection of the yarn.
For the figurg warp we must have a good lustrous yarn (often mercerized cotton). The balance of twist, regularity of yarn & cleanliness are very essential.
2) The preparation of warp & weft.
d) Good beams must be made, so that there are no tight & slack warp places.
D) The majority of the weft must be rewound weft. Rewindg ensures freedom from faults & tension regularity.
3) The weighting of the beams. Fixed by experience. The figurg warp is woven down very rapidly. It is better to use large-dia beams to avoid the variatn of tensions between full & empty beams (difference in dia).
b) Figured Repps.
Many are woven with 1 weft. Sometimes it is 100% cotton cloth. Then they are bleached or dyed & finished in some particular way. These fabrics have very
[page 60]
Large repeats of Jacquard designs. In order to save on the capacity of the Jacquard, we can weave the ground warp on healds, the figurg warp only being controlled by the Jacquard.
To weave the cloth with this arrangement we can also use a double - lift double - cylinder Jacquard. In this structure all the figuring warp is raised on alternate picks. Therefore if we have the pattern cards on 1 cylinder & the other cylinder is empty, then we can weave this structure & save a proportn of the cards.
Section III.
[diagram]
The figurg ends are always lifted over the uneven picks - (second, empty cylinder)
The lifting, or not lifting of the figuring ends over the even picks produces the design.
[page 61]
Making the designs for figuring repps
1 ) Use a simple motive. Marks in the motive indicate the lifting of the figurg warp (taken in pairs) on the ground picks, (“Figuring pick” means the pick on which the figurg warp is lifted throughout: “Ground pick” means the pick, on which the ground warp is lifted)
Design 1 (Fig. 111). Repeat 24 x 16, because in motive A (8 x 8):
1 green end = 2 figuring ends (F) + 1 ground end
1 “ pick = 1 “ pick (F) + 1 “ pick (G)
Red + blue give plain repp. Green gives figured repps
2) Great care is necessary in obtaining the equal distribution of figures. Stripe pattern may require more than 1 beam for the figurg warp
Design 2 (Fig 112) Use motive B (8 x 8). Repeat of design, as in design 1: 24 x 16. Colours as before.
Design 3. (Fig. 113). Motive C (8 x 8). Repeat of design, as in design 1: 24 x 16. The difference with design 1 & 2 is that the ground warp does not weave plain throughout, but that it has lo... [truncated due to length]Collection
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