Name/Title
Fabric Structure IIIEntry/Object ID
1991.05.03.37Scope and Content
Light brown notebook brand SOENNECKEN with eagel emblem over a pen. This is on both side of the notebook. Handwritten title on cover is "Fabric Structure III"
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 III.
2nd and 3rd term, March-June 1939.
L. Several Series of Threads 86
1 Extra warp and extra weft 86
2. Toiletings. 90’
3. Patent satin quilting 95’
4. Marseilles quilting 98’
M. Changing-Weave Effects 100
1 Diaper fabrics 100
2. Damasks 102
3. Brocades 103’
N. Backed Fabrics and Double Cloths 105
1 Backed fabrics 105
2. Tubular structures 106’
3. Double-width woven cloth 107’
4. Figured double cloth 109’
A ) Double plain cloth 111
b) Matalasse and cloque fabrics 115’
c) Double twills 118
O. Gauzes and Lenos 119
[page 2]
126 P. Pile Fabrics
126 I. Warp-Pile Fabrics
126’ 1. Wire-loom fabrics
128 2. Terry fabrics
128 a) Plain terries
131’ b) Fancy terries
133 I. Weft - Pile Fabrics
133 1. Revised fustians
134’ 2. Velveteens and corderoys.
[page 3]
L. Several series of threads.
1 Extra - Warp & Extra - Weft Structure
Sample 32. Extra - warp figured stripe used in cotton shirting
This method of figuring is used in a wide range of fabrics, from bed covers, casements to very light dress goods.
In the majority of fabrics the ground texture is plain weave, but there are many woven where a fancy weave is used for makg the ground.
If we weave an extra warp, the ground weave can be even-sided or weft-face but not warp-face; if extra weft, no weft-face ground
The extra warp & weft are primarily used for figuring purposes, but it also increases
[page 4]
The wgt of the cloth.
In extra-warp fabrics we often find that this extra warp must be bound at the back of the cloth, when not used for figurg. The best method however is to make the pattern reversible.
In extra-weft cloth, the ground texture may be light or open - woven plain cloth. In this case the extra threads must be cut away on the back of the cloth.
We can figure with extra warp or weft or a combinatn of both.
A ) Extra - warp figuring
1 ) all-over figuring
2) stripe “
3) spot “
1 ) The extra - warp all-over figuring is used mainly for bed-cloths & furnishing. The ground cloth is plain, twill or matt. I. Alhambra quilting. Suitable particulars 28 ground ends & 28 double ends (figurg warp) /” 24 picks /” ; 2/40^ & 2/24^ warp, 6^ weft
Alhambra quilts are woven with a combinatn of Jacquard & healds
[page 5]
The ground warp is woven on 2 or 4 healds, the extra warp is controlled by Jacquard. We require 2 warp beams, because the take up of the figurg warp.
The Alhambra may also be woven with 2 extra warps in different colours planting of colour in single extra warp is sometimes used to give the effect of 2 or more colours.
II. With casements the extra warp is nowadays nearly always rayon. Suitable particulars: 62 E/” of 36^ cotton ground warp weavg plain, 62 E/” of 140 den rayon figurg “
56 p/” of 20^ cotton
This gives a light-quality casement. The warp is drawn 1 by 1, dented 4 e/d. The fabrics are either piece dyed, which gives a different shade for rayon than for cotton, or bleached & printed.
2) Stripe figuring in extra warp
Applied in shirtings, domestic cloth, umbrella borders, aprons, Dhookie & Sari borders Dhookie/narrow borders, about ½” width; ground cloth of Dhookie is fine cloth, while in aprons it is stiffer. Sari: 2” borders
[page 6]
In majority of cases, these extra warp borders are woven with globbies, but special border Jacquards are also constructed.
Denting of the extra - warp stripe depends on the dentg of the ground warp & also on the proportn of the extra & “ “ If it is 1 : 1 & 2 e/d for the ground, then it is 4 e/d with borders.
In Dhootie borders the ground cloth is woven with 60 ÷ 70 E/” of 50^ ÷ 60^ twist & 56 ÷ 64^ of 70^ ÷ 90^ weft. Dhooties are often woven & sold grey, or bleached. In the latter case
The extra warp is coarser than the ground warp to show effectively.
Dhootie are woven on light loose-reed looms. Hook dobbies are used for the extra - warp borders.
Making the designs of extra warp:
1 ) Put down the motive showing the pattern of the extra warp,
2) Transfer this motive to the full workg design, which contains already the
[page 7]
Gound weave.
Design 1 (fig. 115) Alhambra quilting from the motive A. Note the solid blocks of extra warp which show more effectively than single threads.
End & end combinatn of ground warp, woven plain & marked in blue, & of extra warp, marked in red.
[diagram]
[page 8]
Design 2 (fig 116). Alhambra quilting Ground weave: 4 end diamond (blue)
Extra warp: the same motive (A) as in fig. 108, but only the first 8 ends, as marked in blue, are used in the design
[diagram]
b) Extra weft
Is mainly confined to spot figuring. All-over extra weft figuring or stripe effects are used sometimes for furniture fabrics, but as a rule for furnishings we use both wefts for figuring, whereas with extra weft 1 of the wefts is used for the ground & the other entirely
[page 9]
For figuring. It is possible in the latter case to use an inferior yarn for the ground weft. Extra weft has 1 distinct advantage: the ground cloth makes a good foundatn & is regular throughout.
In spot figuring the ground cloth is often a muslin quality. It is necessary to bind the extra weft in at the edges of the figures. The long floats are afterwards cropped off (sheared off), when the cloth is finished.
The extra weft is a soft-spun cotton weft or spun viscose. This gives good cover. In any case the count of the extra weft is much coarser than the ct of the ground weft.
The figuring is arranged 2 & 2, because of the changing boxes at 1 side only of the slay. In furnishg cloth we find pick - & - pick figurg, because they are woven on special looms.
c) Comparison of extra - warp & extra - weft figuring.
When we weave with extra warp or extra weft, we depend to some
[page 10]
Extent upon the effect to be introduced & the nature of the texture required.
For all-over figuring extra warp - may be the best, & for spot figuring extra weft is in most the most used.
I Extra warp
1 ) Yarn must be of good enough quality to weave as warp.
2) Requires as much preparatn as ordinary warp.
3) The nbr of heald shafts required is less than for extra weft. Large pattern can be drafted on very few heald shafts
4) A single-box loom can be used, which will run at higher speed & therefore the productn will be greater.
5) In many patterns cropping may not be necessary.
II. Extra weft
1 ) The yarn may not be a very good quality waste - cotton yarns are often used.
2) Preparation. Weft rewinding required. This costs less than preparing the warp.
3) More heald shafts required
[page 11]
4) Box looms is necessary. This means less productn because of slower speeds & also in proportn of extra picks woven in, which are not counted as nbr of picks per inch.
5) Cropping (shearing) required.
Design 3 (fig. 117). Extra - weft spot effect. Worked out from motive B. Ground cloth woven plain. Picking: 2 ground, 2 extra, in the figures.
[diagram]
The cloth is woven upside down, so that the green in B represents the actual weft pattern as it will appear.
[page 12]
2. Toileting Structures
The principal difference between a pique & a toileting is in the order of stitching down the face cloth. Whilst in piques the stitching is mainly in lines across, in the toileting any desired pattern can be woven.
The toiletings are mostly used for bed covers, but recently they have been woven for dress fabrics & printed bright colours on white or tinted ground
The toiletings are mostly used for bed covers, but recently they have been woven for dress fabrics & printed bright colours on white or tinted ground
The toileting structure is known by the picks per stitch; they are woven from 1 to 6 picks per inch.
[page 13]
1 pick per stitch }
2 picks “ “ }
Always loose back & 1 weft. Limited use for bed quilts, but used for dress fabrics.
3 “ “ “ loose or semi } 1 or 2 wefts
4 “ “ “ } }
5 “ “ “ } fast back } 2 wefts
6 “ “ “ } } fine & coarse
The 2 to 5 pick have 2 face picks per stitch. In 3 to 5 “, the remaining (1 to 3) picks are wadding picks. The 6 pick has 3 face & 3 waddg picks
All these fabrics have plain face cloth with an equal nbr of ends & picks per inch & similar cts.
Some are woven with a loose back, i.e. the figuring warp (= back warp) is floatg loosely on the back of the cloth, when it is not required for figurg. For small patterns this is not objectionable. But in some of the bed quilts the floats may be very long.
The long floats are avoided by makg the back warp weave plain, with back picks”. We have then converted a loose - back to fast - back structure.
[page 14]
Quality particulars
The reed is given in Bottom reed’s count; 3 ends/dent: 2 face & 1 back
[the following are headings for a table]
Type of cloth Reed Face Back Wadding Warp Fine Coarse Weft Fine Coarse
[row 1]
3 picks stitch fast 32 72 - 36 30^ 18^ 20^ 8^
[row 2]
4 picks “ “ 30 50 25 25 30^ 18^ 30^ 8^
[row 3]
5 picks “ “ 40 88 44 88 40^ 2/50^ 60^ 12^
[end of table]
The “back picks” are of the same ct as the wadding picks. They differ from them only that back ends are woven plain with back picks, while they always pass under wadding picks.
[page 15]
In making the designs for toiletings we work from a motive, which indicates the stitching of the back warp to form the pattern. The motive must be constructed on a plain weft basis, because the stitching only covers the nbr of picks in 1 stitch at any time. We never have a warp
[page 16]
Motive because this would indicate that the back warp is to float over a group of picks.
This binding on plain basis is used, because in fast-back structures the back ends lift is plain order the back picks. Unless we keep in the pattern on the same plain tab throughout the design, the back picks would float loosely on the back.
We have “stocking - back structures” used for 3 pick (sometimes 4 pick) toiletgs. Every third wadding pick weaves in plain order with the back ends.
In weavg loose-back toilets the face warp is controlled by 4 healds worked on tappets: box plate or woodcraft
[diagram]
Because these cloths are woven in wide widths.
The quilting trade uses 80” - 110” space looms. The back warp is controleld
[page 17]
With a Jacquard.
In weavg the fast - back structures, the Jacquard harness is knotted above the comber board
[diagram]
This method of using comber boards with healds (compound method) saves cards. We only require the figurg cards, when the back warp is raised over the face picks.
Toiletings woven with 2 wefts, fine & coarse, require changing boxes at 1 end of the loom: drop boxes are the best.
[page 18]
Design I (fig. 118). 1 pick toilet. Motive A.
1 appication of the toileting structures in the present time is in weaving of rayon cloques. The back warp is a crepe yarn, the face warp & the weft are flat filament (no twist).
When this cloth is piece dyed, the crepe yarn shrinks, makg an embossed effect on the face cloth. See later, p. 115’
Design II (fig. 119). Use the same motive A for a 2 pick toilet. It means that the back warp is raised over 2 picks instead of 1
Design III (fig 120). Motive B to be used for a 3 pick loose - back toileting. I.e. 1 pick in motive gives 3 picks in design:
2 face
1 wadding
Woven with 1 weft
[page 19 is diagrams]
[page 20]
Design IV (fig. 121). 3 pick stocking back. Its characteristic is that in every third stitch the wadding pick is woven plain with the back warp (the pick marked -)
1 stitch { 2 face picks
{ 2 wadding “
2 stitch { 1 “ “
{ 2 face “
2 wefts: fine (for face picks)
& coarse (“ waddg “)
[diagram]
[page 21 is blank]
[page 22 is diagrams]
[page 23]
Sample 47. Loose-back toileting
“ 48. Fast - “ “
Design V (fig. 122). Motive C: 4 pick diamond 4 pick fast back. 2 wefts: Fine face weft
Coarse waddg & back weft
Picking: 2 & 2
Design VI (fig 123) Motive C. 5 pick fast back. 2 wefts: fine face weft
Coarse wadding & back weft
10 picks (2 stitches) to the repeat:
1 stitch { 2 face
{ 2 wadding
{ 1 back
2 stitch { 1 face
{ 2 wadding
{ 1 face
{ 1 back
Etc
Section through the weft at point S.
[diagram]
[page 24]
3. Patent Satin Quilting.
Commonly referred to as the satin quilt, but the term satin does not refer in any way to the satin weave.
Developed by very slow stages. Has taken the place of the old toilet quilt
This cloth was first referred to as the “Mitcheline”, after the name of the manager who first produced it. The M. quilt was coloured quilt, generally woven with coloured ground & a white figure.
Several improvements were made in the M. quilt, invented by David Mitchell. It was first patented in 1881 & the patent rights extended for 21 years.
The fabric is made in all qualities from very fine to very coarse. Great care is taken in the selectn of the yarn, especially of the coarse figurg weft & of the figurg warp.
The coarse figuring weft is spun from comber waste. In the best qualities it is ~ 10^ in the low qualities down to 5^ or 6^.
[page 25]
The structure of the cloth.
There are 2 plain cloths bound together:
1 ) The ground cloth is woven with, say, 20^ warp & 50^ weft (coarse warp with fine weft)
2) The figuring cloth is woven with, say, 30^ warp & 6^ weft (fine warp with coarse weft
The warp is in the proportn of 2 coarse ends
To 1 fine end
(3 ends/dent: coarse, fine, coarse).
The coarser ground warp is controlled from a Jacquard (“Back ends”). The fine warp is controlled by 2 healds.
The picking: 2 fine picks
2 coarse “
The pattern is made by liftg the coarse figuring (back) ends over the coarse picks. The figure is a weft figure.
The patterns are painted in solid on design paper - The card cutting will be cut blanks (because it is a weft figure) The cloth is not reversible.
[page 26]
Quality particulars:
Size of quilt Ends & picks per inch Warp [“jacq” and “Healds” are written below] Weft
76” x 90” 90 x 120 2/30^ 2/80^ 60^ 10^
76 x 96 10^ 2/80^ 44^ 6^
80 x 90 60 x 70 2/16^ 2/80^ 40^ 3.5^
Fabric structure, 3rd term, April 1939.
[diagram]
Structure
2 warps: coarse (ground) & fine
2 wefts: fine (“) & coarse (figuring)
Coarse weft weaves with fine warp
Fine “ “ “ coarse “
Coarse warp on Jacquard
Fine “ “ healds
[page 27]
Jacquard griffe lifts: 2 up, 2 down, & is lifted on coarse picks [comber boards & griffe controlled [from tappet]]
Healds weave: 2 up, 2 down, but are arranged so that the coarse warp intersects with each weft for bindg.
Design 1 (fig 124). Motive A used.
1 square in the motive = 3 ends & 4 picks in the full design. In the condensed design marks are equal to coarse figurg weft on the face of the cloth.
[the rest of the page is diagrams]
[page 28]
[diagram]
4. Marseilles Quilting.
It consists of a double plain cloth with a very coarse wadding yarn lying between the 2 fabrics. The back ends stitch to the face cloth to make the quilting pattern. The face warp is drawn on 4 healds 1, 3, 2, 4 (2 healds can be used), & weaves plain on the face picks. Half of the back warp is drawn on 2 healds & the remaining half through 2 separate liftg comber boards. 2 back ends that are drawn to the harness are lifted with 1 hook of the Jacquard These 2 back ends are used to bind the 2 cloths & for stitching.
The back warp weaves plain on the back picks & the 2 back healds must lift with the harness comber boards so that the plain weave can be produced.
This method of weaving saves conside-
[page 29]
Rable cards & simplifies card cutting. It is a very ingenuous method.
The dentg of the warp is arranged so that we have 2 back ends lying between 2 face ends & drawn 4 in 1 dent
Boxes on 1 side of the loom are necessary. Usually only 2 wefts: fine & coarse, are used.
I making the design, we start with the condensed notice 1 square of the motive = 8 ends & 10 picks of the full design.
The Jacquard is only in operation for 2 face picks out of a total of 10 picks. The jacquard has therefore to be moved by a tappet; a Woodcroft tappet is often used.
The picking is arranged as follows:
2 face
2 back
2 face
2 wadding (= “roving”)
2 back
[page 30 is diagrams]
[page 31]
M. Changing - Weave Effects.
1 Diaper fabrics.
The original diaper fabrics were woven 100% linen. The patterns are generally of a geometric pattern. They can therefore be drafted on heald shafts & woven in a dobby loom.
The diaper patterns are produced by reversing warp & weft twills or satin & sateens. We
Require ~ 80 ÷ 100 ends & picks /” of 30^ warp & weft to produce a cloth with sufficient bulk.
Many of these patterns are woven on ordinary dobbies, but where cross borders are woven additionnal barrels are necessary for the cross-border work. The only disadvantage of using an ordinary dobby is the large nbr of pegs which have to be pegged
There is a special dobby termed the terfloths dobby. It is of hook type.
[diagrams]
[page 32]
The chain barrel 1 link per 5 picks.The cylinder moves 1 face per pick or tg-nev
With this dobby, there is a separate 5-sided metal cylinder with satin & sateen weaves bored out in holes. The dobby is a hook dobby, the needles are arranged in groups of 5 (for 5 shaft satin weave). The loom can accomodate 20 shafts at least it can also weave cross borders, if necessary
Making the designs.
The most important point is to lock the intersections at the edges of the figure. Because these patterns have large rectangular blocks of figure, the threads of the edge can be easily displaced, unless the intersectns are locked. We can arrange the binding weaves so that they lock each of the 4 sides of the repeat.. We then arrange the full repeat of the pattern on multiples of the base weave.
It is necessary to use for these patterns a motive A counterchange
[page 33]
Pattern is usually the most satisfactory. Some of these only contain 2 changes in the lifts. 1 square in the motive can equal to 1 repeat of ends & picks of the (base) weave. Thus if the condensed design (i.e. the motive) repeats on say 4 ends & 4 picks & the base weave is an 8 ends satin or sateen, then the full design of the cloth repeats on 32E & 32P.
Ordinary standard weaves, such as crepe, mock leno, are suitable for condensed designs, but the counterchange patterns, as previously stated, are the best.
Design 1 (fig 126). Motive A, which can be used as a condensed design 3 3 1 / 1 3 3
Design 2 (fig. 127) Motive B for a diaper-pattern condensed design (4 x 4)
Using 5 end satin & sateen for the base weave. 1 square in the condensed design = 5E & 5P of the cloth.- Repeat in the cloth: 20 x 20
[page 34 is diagrams]
[page 35]
2. The damasks
The true damask is essentially a uniform texture of satin & twill weaves, & the pattern is defined by the contrast between warp & weft surface. Nowadays there is a broad classificatn into 2 groups
1 Domestic damasks, e.g. table cloth,
2. Furnishing “
1 ) The best qualities of domestic damasks are woven with all linen yarn.
Poorer qualities are woven with 5 end satin & sateen. The best qualities, usually referred to as double damasks are woven with 8 end satin & sateen: 100 E & P/”, 60^ & 70^ linen lea count (=21^ + 25^ cotton ct)
Some of the damasks are woven with cotton warp & linen weft. Cotton damasks require a special finish to give them the appearance of a linen fabric.
Similar quality particulars in cotton damasks: 30^ warp, 36^ weft, 112 x 100.
[page 36]
Weft sateen figures are woven on a satin ground:
In the cotton trade, lower-quality damasks are woven with coloured weft.
There is a tendency from time to time to introduce colour into the table cloths. Some of the linen cloths are woven with coloured yarns.
For large patterns these damasks are not woven on ordinary Jacquard machines. The old method was to use “pressure harness”, & it is still used on hand looms. It is a combinatn of healds & Jacquard harness. The healds perform the bindg weave (satin or sateen) that the warp is strained & only a small shed is formed.
A special Jacquard used is the twilling Jacquard (or Bessbrook; it is the name of the firm). The twilling bars & hooks operate in 8 end sateen order. The griffe blades are movable, & the the twillg hooks are able to lift a whole row of hooks right across the machine. With this arrangment
[page 37]
We can cancel out the Jacquard lift by droppg 1 end out of 8 & we can cause 1 end to lift out of 8, quite independent of the Jacquard pattern.
1 card acts on 2 or more picks, 1 needle controls 2 or more hooks.
In this machine we get a normal size of shed: 1 end per mail eye.
400 cards with 1 needle for 3 hooks will figure 1200 ends.
2) Furnishing damasks
The main difference is in the wgt of cloths. Invariably woven with coarse cotton weft. The warp may be of coarser ct, 2/40^ ÷ 2/60^ with 120 ÷ 160 e/”. The warp is often mercerized cotton, often in artificial silk for better qualities.
44-60 picks /”, comparatively few, depending on the count of weft 8^ - 16^.
Woven on fine - pitch Jacquards. Repeats usually 12 or more inches in width, which makes them beyond the capacity of 2 x 600 machines.
[page 38]
Quality particulars for furnishing damasks
E & p/” Warp Weft
134 x 62 2/40^ 250 den
112 x 76 150 den 2/40^ merc
120 x 90 2/80^ 150 den acet
100 x 17 2/150 den Fancy slub or ordinary cotton 3 threads as 1 pick
3. Brocades
Can be classified in 2 main groups
1 ) 1 warp & 1 weft
2) 1 “ & 2 or 3 different wefts.
In the first class we have brocades used for linings (“lining brocades”), for corsets, for bedspreads etc.
The cotton brocade is still woven to a larger extent, although it is being displaced by the all - rayon brocade. For fur - coat linings, a Venetian (8 end satin) ground is used (rayon), the figure is developed in weft.
[page 39]
The best - quality coarser cloths are usually woven with mercer.- cotton warp & 2 wefts: 1) cotton ground weft,
2) rayon figuring “
The ordinary cotton brocade is sold in the bleached or dyed state & is given a very good finish: mercerized & Schreinered as a rule.
1 ) The 1 warp & 1 weft brocade depends upon the variatn of standard weaves to develop the patterns. The figures are bound with twills, satins, crepes. The ground weave of the pattern is either plain, matt, satin or sateen, or sometimes mock leno. The mock leno may also be introduced into figures
Quality particulars for brocades.
Cloth E & p/” Warp Weft
Casement brocade for cheap casements 60 x 60 36^ 18^
Ordinary cotton broc piece dyed, merc 100 x 80 60^ 30^
Satin ground cotton brocade 156 x 80 60^ 50^
[page 40]
Cloth E & p/” Warp Weft
Matt-ground brocade 110 x 40 46^ 12^
China brocade, very large patterns 104 x 132 70^ 60^
Plain-ground broc for bed covers 80 x 56 60^ 10^
Corset brocade 160 x 64 2/50^ 250 den acet
Cotton & rayon broc plain ground 72 x 60 2/80^ 150 den
Right & reverse
All-rayon broc 80 x 70 170 den 150 den
2) The several- wefts brocades are used chiefly for ties, dressing gowns, & some furnishing purposes bedspreads, cushions etc.
Tie cloths are invariably woven with 2 different colours of weft for figuring. It is equivalent to weavg with extra weft, because there is a ground & figurg weft. We must use high reed to produce the density in the ground cloth & cover the wefts, which are being bound. The picks/” are usually few in nbr. The variatn of the weaves used gives a great variety of colour - & - weave effects, because we have at least 3 different colours & we can combine any pair together.
[page 41]
Tutorial
1 Analyse the diaper cloth for design, draft & liftg plan, ends & picks /”, directn of twist. Put down the condensed design.
2. Samples of damask & brocade. Analyse for quality particulars & weaves
Sample 42. White damask. 2/80^; 150 den.
Sample 43. Furnishing “ (cotton) 2/36^; 4 ½ ^
Sample 44. Pink dyed cotton brocade (cheap corset brocade). Note the finish
Sample 45. Furnishing brocade: rayon warp slub cotton weft
N. Backed Fabrics & Double Cloths.
1 Backed fabrics.
The object of backg the cloth is to add more weight & to increase its wearing properties.
In case of double-face cloth we weave with 2 different types of yarn, either of
[page 42]
Different colour or different count or character. An example are the raised dressg - gown fabrics, cotton blankets & overcoat cloths.
In double - face fabrics there can be either plain or figured effects, because either of the 2 wefts & warps can be made to interchange to form a pattern. In many however the structure is uniform throughout.
In cotton blankets & dressg gowns, 1 warp & 2 wefts are used. Weft is soft - spun yarn, so that the cloth is suitable for raising. Woven with 64 ÷ 70 ends/” of 2/50^
& 90 ÷ 96 picks/” “ 8 ÷ 10^ in 2 colours.
In all these cloths it is essential in order to hide the backg threads that intersectns be avoided where a warp end is over & under a face & back pick consecutively.
[page 43]
[diagram]
Design I (fig. 129) 8 end sateen face backed with a 2/2 twill. 8 shafts. Picking: 1 face, 1 back
Design II (fig. 130) 8 end satin face backed with a 2/2 twill. 12 shafts Drawn: 1 face end, 1 back end
Design III (fig. 131) Reversible double weft faced cloth woven 2 colours of weft & 1 warp.
Uniform twill bindg throughout: ? twill.
Motive A used.
A shows pick & pick arrangemt
B “ picking 2 & 2 for boxes on 1 end of the loom
In the motive (condensed design) A:
1 end = 1 end in the cloth
1 pick = 2 picks “ “ “, 1 of each colour
Red = Face border or warp end over both picks
Green = Back “ “ “ “ under “ “
Blue = Blue weft on the face for pattern
Black = White “ “ “ “ “ “
[page 44]
In the design:
Red & blue marks indicate warp up
Green marks “ warp under both picks
[diagram]
Colours as in the motive.
B obtained from a by rearranging the picks. Red means of course warp up, the green crosses mean warp under both picks
2. Hollow or Tubular Structures.
This system of weavg is applied to many purposes: pillow slips, hose piping, pneumatic bedding, neck ties, double leno for gas mantles lamp wicks, driving belts, bags for cereals, papermakers’ felts etc.
The difference in the various types of fabrics is only a matter of change in the quality particulars. The majority are woven with plain weave, although the pillow cases are often woven with a
[page 45]
3 shaft warp twill
In making the design:
1 ) Put down the weave of the upper cloth on its own ends & picks
2) Put down the weave of the lower cloth on its own ends & picks.
3) Raise all the ends of the upper cloth when the picks of the lower cloth are woven in.
Design 1 (fig. 132). Plain tube
Picking face & back alternately
[red square] Face weave
[blue square] back weave
[green square] Face ends raised on back picks
Draft II if few ends per inch
“ I “ many “ “ “
[diagram]
[page 46]
Section 16. Adding 1 end to face or back to give a perfect tubular cloth
[diagram]
Design 2. (fig 133). Pillow case
Face weave 2/1 twill
Back weave ½ twill
When ready, the outer side is uniform throughout
3. Double-width woven cloths.
We require sometimes a cloth woven 2 or more times the width of the reed space. In this case we change the fig. 132 so that the picking becomes 2 face, 2 back
[diagram
[pages 47 & 48 are diagrams]
[page 49]
Design I. (fig. 134). Cloth open at 1 side.
Section through the warp
[diagram]
Weaving bags for grain & flour, we use the cloth for depth of bag, & 2 bags can be woven in width of reed space. See diagramm.
[diagram]
Design II. (fig. 135). Arranged for 1 shuttle. Note the change of the weave, where the single cloth is made.
[diagram]
[page 50]
[diagram]
Design III (fig. 136) Section of cloth weaving 2 bags is the width, (as in design II), but using 2 shuttles. The bags are open at the selvedge, but closed in the middle or bottom of the bag & also at the sides by weavg single cloth. The advantage of using 2 shuttles is solely to even the lift of the sheds.
[diagram]
4. Figured double cloths
The purpose of using double - cloth structure are:
1 ) To give added weight to textures & in the same time to retain the other properties of strength, wearing resistance etc. It is namely pos
[page 51]
Sible to obtain a greater nbr of intersectns in a given area.
2) To obtain greater scope in the ornamenting effect in regard to variety of texture & colour effect.
In figured double cloth the ornamental effect is brought about mainly by causing the 2 cloths to interchange in one, each cloth woven in different colours or different counts or character of the yarn.
These double cloths are used for dress & furnishing purposes, but - the bound or stitched double cloths are used in cases where strength & thickness is necessary.
The dress cloths are woven mainly in cotton & in rayon, sometimes also in wool. When the colour is planted & the simple motive used, the effect can be obtained in a simple dobby shed.
A dobby pattern with planted colours.
[page 52]
A good contrast between ground & figure cloths is obtained when 1 is woven in cotton & the other artificial silk. Blister effects are woven by weaving 1 cloth with flat-filament rayon yarn & the other with crepe rayon yarn; these fabrics are known as cloques (see later, p. 115’). When the cloth is finished the crepe yarn contrasts & causes the other cloth to pleat & to make a... [truncated due to length]Collection
Textile IndustryCataloged By
Murray, PamLexicon
Nomenclature 4.0
Nomenclature Tertiary Object Term
NotebookNomenclature Secondary Object Term
BlankbookNomenclature Primary Object Term
Book, WritingNomenclature Sub-Class
Writing MediaNomenclature Class
Written Communication T&ENomenclature Category
Category 06: Tools & Equipment for CommunicationLOC Thesaurus for Graphic Materials
Education, Fabrics, Textile industrySearch Terms
Manchester University, Notebook, Notes, SchoolLocation
Location
Drawer
D65Room
Collections RoomBuilding
M.V.T.M.Category
PermanentDate
November 7, 2023Location
Container
Archive Box 1Shelf
Shelf 2, Shelf 2Cabinet
Red SideboardRoom
Collections RoomBuilding
M.V.T.M.Category
PermanentMoved By
Whit, ElizabethDate
July 7, 2016Relationships
Related Person or Organization
Person or Organization
Bornet, George M.General Notes
Note
Status: OK
Status By: Cotter, Ellen
Status Date: 2022-06-07Created By
admin@catalogit.appCreate Date
July 3, 2010Updated By
admin@catalogit.appUpdate Date
November 12, 2023
