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diff --git a/old/14600.txt b/old/14600.txt new file mode 100644 index 0000000..0a90beb --- /dev/null +++ b/old/14600.txt @@ -0,0 +1,2882 @@ +Project Gutenberg's Theory Of Silk Weaving, by Arnold Wolfensberger + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Theory Of Silk Weaving + +Author: Arnold Wolfensberger + +Release Date: January 5, 2005 [EBook #14600] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK THEORY OF SILK WEAVING *** + + + + +Produced by Stan Goodman, Keith Edkins and the PG Online Distributed +Proofreading Team + + + + + + [Page 1] +THEORY OF SILK WEAVING + + + [Page 3] +THEORY OF SILK WEAVING + +A Treatise on the Construction and Application of Weaves, and the +Decomposition and Calculation of Broad and Narrow, Plain, Novelty and +Jacquard Silk Fabrics + +Containing 95 Plates + +_By_ ARNOLD WOLFENSBERGER + +Graduate of the Textile Institute of Zurich, Switzerland + + * * * * * + +Second Revised and Enlarged Edition + + * * * * * + +NEW YORK + +_Issued by_ THE AMERICAN SILK JOURNAL + +CLIFFORD & LAWTON + +_Publishers_ + +_1921_ + + [Page 4] + * * * * * + +COPYRIGHT. 1921. by CLIFFORD & LAWTON + +_All rights reserved_ + + * * * * * + +GROLIER CRAFT PRESS, Printers. 229 West Twenty-eighth Street, New York City + + * * * * * + + [Page 5] +PREFACE + +The silk industry of America has of late years rapidly advanced to the +front rank among the great textile industries of the world. It may indeed +be proud of this position, to which that enterprising spirit and untiring +energy peculiar to our nation, combined with our great technical and +natural resources, has brought it. + +That we are, on the other hand, not yet at the height of perfection we are +also compelled to acknowledge, but if we consider the short space of time +that the American industry has required for its development, as compared to +the decades, almost centuries, to which some of the great European silk +centers can look back, the fact is neither surprising nor discouraging. + +While it must not be our aim to imitate or copy their ways, inasmuch as out +conditions and circumstances are quite different from theirs, we may still +profitably study their methods in order to overcome our deficiencies. + +The greatest advantage which our competitors derive from such a long +existence consists in having at their disposal a force of skilful, trained +help. The manufacturers, appreciating the importance of this factor, make +great efforts and pecuniary sacrifices to elevate and maintain the high +standard of their industry. + +For instance, they support textile schools and lecture courses, where young +men can acquire a thorough technical education and equip themselves for a +career of usefulness, thereby serving their own interests and at the same +time furthering those of their chosen profession. + + [Page 6] +This beneficial influence cannot fail to exert itself from the standard of +the higher employer down to that of the weaver, who would naturally take +more pains and interest in his work than if he were a mere mechanical +appendage to his loom in order to keep it in motion. + +Very little has been done in his country for technical education as far as +the silk industry is concerned, and it was on this special branch, that +prompted the author to offer in the present little work a treatise on the +theory of shaft weaving for broad silks and ribbons. + +It is divided into three principal parts: + + #1st. Drawing-in the warp in the harness. + 2nd. The weaves and their application. + 3rd. Decomposition or analysis of the cloth.# + +To the foregoing there have been added in the revised and enlarged edition +several additional parts covering the following: JACQUARD WEAVES, BOX LOOM +WEAVES, including CREPES, and COST CALCULATIONS for plain and fancy weaves. + +The subject while condensed, is made as clear and comprehensible as +possible, and to many desirous of increasing their knowledge in this +direction, this should prove a valuable help. + +The author, through the medium of this work, hopes to win the approval and +encouragement of the manufacturers, and will feel amply repaid should his +efforts tend to develop a deeper interest in the "Queen of Textiles." + + * * * * * + + [Page 7] +THEORY OF SILK WEAVING + +DRAWING-IN + +With this term we designate the operation preceding the weaving, by which +all the warp-threads are drawn through the heddles of the harness. + +The order in which this is done varies according to the weave and the +nature of the fabric to be produced; so we distinguish: + + #Straight draws, + Skip draws, + Point draws, + Section draws.# + + * * * * * + +STRAIGHT DRAWS + +[Illustration: Fig. 1] + + * * * * + + [Page 8] +[Illustration: Fig. 2] + +These form the simplest and most common method of drawing-in. We begin with +the first heddle on the left side of the shaft _nearest to the warp-beam_, +then take the first heddle of second shaft and so on until all the shafts +the set contains are used in rotation. This completes one "draw," and this +operation is repeated until all the warp-threads are taken up. + +The method of making the shaft nearest to the warp-beam the first, is +almost universal with the silk business and is technically called +_drawing-in from back to front_. + +The opposite, or drawing in from _front to rear_, is used occasionally, +however, and in this case makes the first heddle on the left hand side of +the front shaft No. 1. + +The making out of the _Drawing-in Draft_, which must indicate the +arrangement or the rotation in which the warp-threads are drawn in, can be +done in various ways, of which we will mention the two most popular +methods. The first is by using common designing paper, and indicating the +rotation by dots. The horizonal rows of squares represent the shafts, the +vertical rows the warp-threads. Fig. 1 shows four repeats of a straight +draw on six harness marked out according to this idea. A second method is +to use paper ruled horizontally, the lines representing the shafts; and to +draw vertical lines for the warp-threads. The latter are made to stop on + [Page 9] +the lines bearing the number of the shafts into which the respective +threads are to be drawn. Fig. 2 is such a draft, illustrating six repeats +of a draw on four harness from "Front to Rear." + + * * * * * + +SKIP DRAWS + +[Illustration: Fig. 3] + + * * * * + +[Illustration: Fig. 4] + +The draws coming under this heading are used very extensively in silk +weaving, especially for fabrics requiring a heavy warp and a large number +of shafts. Enter first the odd and then the even shafts. An 8 harness draw +of this kind, of which three repeats are shown in Fig. 3, runs as follows: +1, 3, 5, 7, 2, 4, 6, 8. + +Fig. 4 is a 12 harness draw of the same class. + + * * * * * + +POINT DRAWS + +[Illustration: Fig. 5] + + * * * * + + [Page 10] +[Illustration: Fig. 6] + + * * * * + +[Illustration: Fig. 7] + + * * * * + +[Illustration: Fig. 8] + + * * * * + +[Illustration: Fig. 9] + + [Page 11] +Point draws are a combination of a regular straight draw from back to front +and one from front to back, the first and the last shafts only being used +once, while the rest receive two ends each in one repeat of the draw. Fig. +5 illustrates a regular point draw in 2 repeats on 10 shafts. It will be +seen that 14 ends make a repeat; in fact, the number of warp-threads +required for one draw will always be double the number of harness less 2, +hence a 12 harness regular point draw will require 22 warp-threads for a +repeat. + +The drawing-in draft illustrated in Fig. 6 is a slight variation of the +regular point draw; it consists, as will be seen, of a draw from back to +front, and also a full one from front to back, there by causing a _double +point_. + +Another change from the regular point draw is illustrated in Figs. 7 and 8; +this class may be called _Broken point draws_, because a new draw is begun +before the other one is complete. Fig. 9 also comes in this class and +represents a _zigzag draw_ on 10 harness. + +The drawing-in drafts which we have described under the head of "Point +draws," are used mostly to obtain the various pointed and zigzag effects. + + * * * * * + +SECTION DRAWS + +[Illustration: Fig. 10] + + * * * * + + [Page 12] +[Illustration: Fig. 11] + + * * * * + +[Illustration: Fig. 12] + + * * * * + +[Illustration: Fig. 13] + + * * * * + +[Illustration: Fig. 14] + + * * * * + + [Page 13] +[Illustration: Fig. 15] + +This division of drawing-in drafts is used extensively in silk +manufacturing; for instance, in all fabrics having a ground warp and a +binder warp, also in double-face goods, or where two different weaves are +combined in one effect. + +One or more threads are drawn on the first section, then one or more on a +second and third, if the harness is divided in so many sets. + +The following examples will illustrate the principle of these draws. + +In Fig. 10, shafts 1, 2, 3, 4 from the first set, shafts 5 and 6 the +second, 8 threads are drawn straight on the first, then 2 on the second +section. + +Fig. 11, first set shafts 1 to 6 inclusive, second set shafts 7 and 8. + +Fig. 12 is drawn end and end on two sections having 8 shafts each. + +Figs. 13, 14 and 15, while not strictly belonging to the class of section +draws, may, however, be considered under this heading. The idea is to draw +a certain number of ends in one part of the harness and another group in +another part, be it straight, point or skip, which will cause the effect on +the cloth to be accordingly transposed or broken up. + + [Page 15] + * * * * * + +THE WEAVES AND THEIR CONSTRUCTION + +In any woven fabric we distinguish two systems of threads, the _Warp or +Chain_, running lengthways in the cloth, and the _Filling or Weft_, +crossing the former at right angles. + +This crossing or interlacing consists of every individual warp-thread being +placed alternately under and over one or more threads of the filling +system. The arrangement of this interlacing is technically called the +_Weave_, and the variety in which the points of crossing can be distributed +is practically endless. + +It is principally the weave that lends to a fabric its character, +influenced, of course, by the material used, the size and tension of the +threads and the combination of the colors. + +The weaves are divided into three main classes: _the Foundation weaves_. In +the silk business they are known under the following names: + + #The Taffeta Weave, + The Serge Weave, + The Satin Weave.# + +In the foundation weaves each thread effects only one crossing in one +repeat of the weave, and the points of interlacing occur in a given +rotation. A repeat in the foundation weaves comprises the same number of +warp-threads as of _picks_ or filling threads, and if this number is 8, for + [Page 16] +instance, the weave is called an 8-shaft or an 8-harness weave. In marking +out a weave, the warp-threads are represented by vertical lines, the +filling by horizontal ones, or in each case by the space between these +lines. The places where a warp-thread lies over the filling are marked with +paint or simply with a cross. In a similar manner we mark out the _chain +draft_, which indicates the rotation in which the shafts are raised. + + * * * * * + + [Page 17] +THE TAFFETA WEAVE + +[Illustration: Fig. 16] + + * * * * + +[Illustration: Fig. 17] + + [Page 18] +This is the simplest and oldest method of interlacing. The odd numbers of +warp-threads cross the even numbers after every pick; hence of two +warp-threads one will always go over the first pick and under the second, +and the other end under the first and over the second pick. Taffeta cloth, +therefore, has the same appearance on both sides, and in cotton and wool +weaving this weave is technically--and properly indeed--called the _Plain +Weave_. It has the smallest repeat, 2 warp-threads and 2 picks, and the +exchanging of warp and filling is the most frequent possible. The cloth +thus produced is firmer and stronger than that obtained with any other +weave. + +Fig. 16 is a taffeta on 4 shafts straight draw, the draft executed in the +manner which we have already mentioned in explaining the drawing-in drafts. + +Fig. 17 on common designing paper, illustrates a taffeta made on 8-harness, +skip draw. + +Be it mentioned that the drawing-in draft and the chain draft will be added +throughout this work, the former over the weave to correspond with the +respective warp-threads, the latter to the right of the drawing-in draft. + + * * * * * + + [Page 19] +GROS DE TOURS WEAVES + +[Illustration: Fig. 18] + + * * * * + +[Illustration: Fig. 19] + +In this weave the working of the warp is the same as in taffeta, except +that instead of one pick, two or more are inserted in the same shed. It is +mostly used in selvedges, where it serves to give more firmness to the edge +of an otherwise loosely woven cloth, and prevents the weaving ahead of the +edge in a tight weave. Gros de Tours is sometimes used, especially when +cotton or wool filling is employed, with a view to lay two picks nicely +side by side, whereas a thread entered two ply with the taffeta weave will +always receive some twist, which may disturb the perfect evenness of the +fabric. + +Fig. 18 is a Gros de Tours with two picks on four harness straight through. + +Fig. 19 illustrates this weave with three picks drawn end and end on two +sections of four shafts each. + + * * * * * + + [Page 20] +SERGE or TWILL WEAVES + +While the taffeta weave produces either an entirely smooth fabric, or one +with a distinct transverse rib as in gros-grain, the twill weave forms +diagonal lines on the cloth, running either from left to right or from +right to left. + +To make a twill, not less than three ends and three picks are required, of +which each thread floats over two of the other system and interlaces with +the third. The rotation of the interlacing is always consecutive, that is +it moves with each succeeding pick one thread to the right (or to the left +if the lines are to run in that direction). If warp and filling have the +same texture, that is the same number of threads in a given space, the +twill lines will form an angle of 45 deg.; if the warp stands closer than the +filling, the incline will be steeper, and in the opposite case the angle +will approach more the horizontal. + +The weaves can be expressed in numbers, for instance: the 3-end twill warp +effect would be marked 2-1, which indicates that each warp-thread goes over +two and under one pick. + +Twill weaves are called _evensided_ when the arrangement of "warp up" and +"filling up" are evenly balanced, and _unevensided_ if either warp or +filling predominate on the face of the fabric; the latter class is +therefore subdivided in _Warp effects_ and _Filling effects_. + +In the following a number of serge weaves are illustrated, the French +designations being added in some cases, as they are still extensively used +in the trade. + + [Page 21] + * * * * * + +FILLING EFFECTS + +_Satin de Lyon,_ 2-1. + +On 6 harness straight through. + +[Illustration: Fig. 20] + + * * * * + +_Levantine,_ 3-1<h/5> + +On 8 shafts skip draw. + +[Illustration: Fig. 21] + + * * * * + + [Page 22] +_Polonaise,_ 5-1 + +On 12 harness skip draw. + +[Illustration: Fig. 22] + + * * * * + +_Serge grosse cote,_ 7-1 + +On 8 shafts straight through. + +[Illustration: Fig. 23] + + * * * * + + [Page 23] +_Serge remaine,_ 6-2 + +On 8 shafts skip draw. + +[Illustration: Fig. 24] + + * * * * + +_Serge,_ 5-1, 1-1. + +On 8 shafts skip draw. + +[Illustration: Fig. 25] + + * * * * + + [Page 24] +_Serge,_ 4-2, 1-1, 1-1. + +On 10 harness straight through. + +[Illustration: Fig. 26] + + * * * * + +_Serge,_ 7-1, 1-1, 1-1, 1-1, 1-1. + +On 16 shafts skip draw. + +[Illustration: Fig. 27] + + * * * * * + + [Page 25] +WARP EFFECTS + +_Levantine,_ 3-1. + +On 4 shafts straight through. + +[Illustration: Fig. 28] + + * * * * + +_Serge,_ 5-1, 1-1. + +On 8 shafts skip draw. + +[Illustration: Fig. 29] + + * * * * * + + [Page 26] +EVENSIDED TWILLS + +_Surah,_ 2-2 + +On 4 shafts straight through. + +[Illustration: Fig. 30] + + * * * * + +_Croise,_ 3-3, 2-2, 1-1. + +On 12 shafts straight through. + +[Illustration: Fig. 31] + + * * * * + + [Page 27] +_Serge,_ 7-7, 1-1, 1-1, 1-1 + +On 20 shafts skip draw. + +[Illustration: Fig. 32] + + * * * * * + +POINTED TWILLS + +in the direction of the filling and also of the warp. + +[Illustration: Fig. 33] + +On 4 shafts point draw, weave 3-1. + + * * * * + + [Page 28] +[Illustration: Fig. 34] + + On 6 shafts point draw, drawn as follows: + + Eighteen ends from back to front and 4 ends from front to rear, weave + 5-1. + + * * * * + +[Illustration: Fig. 35] + +On 8 shafts pointed draw, weave 5-1, 1-1. + + * * * * + + [Page 29] +[Illustration: Fig. 36] + +On 10 shafts, with weave 3-3, drawn as follows: + + 7 threads from back to front. + 3 " " front to rear. + 6 " " back to front. + 2 " " front to rear. + + * * * * + +[Illustration: Fig. 37] + +On 6 shafts straight draw, pointed weave 5-1. + + * * * * + + [Page 30] +[Illustration: Fig. 38] + +On 8 shafts straight through, pointed weave 5-1, 1-1. + + * * * * + +[Illustration: Fig. 39] + +_Broken pointed twill_, on 8 harness. + + * * * * + + [Page 31] +[Illustration: Fig. 40] + +On 6 shafts point draw, pointed weave 5-1. + + * * * * + +[Illustration: Fig. 41] + +On 8 shafts point draw, pointed weave 5-1, 1-1. + + * * * * + + [Page 32] +[Illustration: Fig. 42] + +_Fancy twill_, on 16 shafts straight draw. + + * * * * * + +SATIN WEAVES + +The distinct diagonal lines which characterize the class of weaves +explained in the previous chapter are absent in the satin weaves; and while +the interlacing in the former is done in a strictly consecutive order, we +endeavor to scatter the points of stitching in the latter as much as +possible, in order to create an entirely smooth and brilliant surface on + [Page 33] +the cloth. + +In all satins the number of ends in a repeat is the same in warp and +filling. + +The lowest repeat of a regular satin comprises five threads of each system, +and the interlacing is done in the following order: + + The 1st pick with the 1st warp-thread + " 2d " " 3d " + " 3d " " 5th " + " 4th " " 2d " + " 5th " " 4th " + +Fig. 43 illustrates this weave. An examination of the rotation, as given +above, will show that every warp-thread intersects two picks apart from its +neighbor. The number "2" is in this case what is technically known as the +_counter_, that is the number which indicates the points of interlacing by +adding it to number 1 and continuing so until all the warp-threads are +taken up. + +The following is the rule to find the counter for any regular satin: + +Divide the number of harness into two parts, which must neither be equal +nor have a common divisor. Any of these two numbers can be used for +counting off, but usually the smaller one is taken. According to this rule +we obtain a regular satin + + On 5 harness with counter 2 + " 7 " " 2 or 3 + " 8 " " 3 + " 9 " " 2 or 4 + " 10 " " 3 + " 11 " " 2, 3, 4 or 5 + " 12 " " 5 + " 13 " " 2, 3, 4, 5 or 6 + " 14 " " 3 or 5 + " 15 " " 2, 4 or 7 + " 16 " " 3, 5 or 7. + + [Page 34] +The 4 harness broken twill, Fig. 53, is sometimes classed among the satins. + +The 6 harness satin, Fig. 54, is irregular; as a counter cannot be derived +from number 6 by the given rule. The rotation generally used is 1, 3, 6, 4, +2, 5. + + * * * * * + +Regular Satins + +_5 harness Satin, "Satin de Chine."_ + +Straight draw, counter 2. + +[Illustration: Fig. 43] + + * * * * + +_7 harness Satin, "Satin Merveilleux."_ + +Skip draw, counter 2. + +[Illustration: Fig. 44] + + * * * * + + [Page 35] +_7 harness satin_ + +Straight draw, counter 3. + +[Illustration: Fig. 45] + + * * * * + +_8 harness satin "Duchese"_ + +Skip draw, counter 3. + +[Illustration: Fig. 46] + + * * * * + + [Page 36] +_9 harness satin_ + +Straight draw, counter 4. + +[Illustration: Fig. 47] + + * * * * + +_10 harness satin_ + +Straight draw, counter 3. + +[Illustration: Fig. 48] + + * * * * + + [Page 37] +_11 harness satin_ + +Skip draw, counter 5. + +[Illustration: Fig. 49] + + * * * * + +_12 harness satin_ + +Skip draw, counter 5. + +[Illustration: Fig. 50] + + * * * * + + [Page 38] +_16 harness satin_ + +On 2 sections of 8 shafts each, drawn end and end, counter 7. + +[Illustration: Fig. 51] + + * * * * + + [Page 39] +_8 harness satin, warp effect._ + +Straight draw, counter 3. + +[Illustration: Fig. 52] + + * * * * * + +IRREGULAR SATINS + +_Satin Turc._ + +On 4 shafts straight through. + +[Illustration: Fig. 53] + + * * * * + + [Page 40] +_Satin a la Reine_ + +On 6 shafts straight draw. + +[Illustration: Fig. 54] + + * * * * + + [Page 41] + * * * * * + +DERIVATIVE WEAVES + +#1. From the Taffeta# + +_Royale_ is a modification of the regular Gros de Tours, inasmuch as the +rib line, which in the latter runs straight across the cloth, is broken off +after a given number of warp-threads. These groups, which may comprise 8, +12 or more threads, will interlace each one pick higher than the preceding +one. + +_Royale of 8 ends_ + +On 2 sections of 4 shafts each. + +[Illustration: Fig. 55] + + * * * * + +_Velours Ottoman or Faille francaise._ + +In order to obtain a broader rib than that of Gros de Tours, and at the +same time to lend firmness to the fabric, we add to the ground warp, which +forms the ribs, another or binder warp, which works continually taffeta, + [Page 42] +while the ground warp changes only every 3 or 4 picks for the rib. + +_Faille francaise._ + + 4 ends of ground on the first section of 8 shafts, skip draw. + 1 " binder " second " 2 " + +[Illustration: Fig. 56] + + * * * * + +_Velours Ottoman without a Binder-warp._ + +In this weave, of which Fig. 57 illustrates a specimen, comprising 8 +warp-threads and 32 picks in a repeat, the rib contains 4 picks. Of the 8 +warp-threads, 3 float over and 3 under the rib, while the 2 others bind +taffeta, which latter function is executed by 2 other threads in the next +rib. + + [Page 43] +[Illustration: Fig. 57] + + * * * * * + +2. From the Twills + +One variety is obtained by interlacing the warp-threads alternately one or +more picks behind, and then a number of picks ahead of their respective +neighbors; so the complete arrangement of the points of binding in a repeat +will generally form two parallel diagonal lines. This will cause the twill +lines to appear less pronounced than is the case in the regular twill, and +the character of the fabric approaches more that of the satin. + + [Page 44] +[Illustration: Fig. 58] + +_Satin Serge._ + +On 8 shafts, straight draw. + + * * * * + +[Illustration: Fig. 59] + +_Cote Satinee._ + +On 16 harness, skip draw. + + * * * * + +_Rhadzimir-Surah 2-2._ After a certain number of picks of the regular surah +all the warp-threads are crossed in two's thereby causing a sort of a rib +or cut line across the fabric. + + [Page 45] +_Rhadzimir of 4 picks._ + +On 8 shafts, straight draw. + +[Illustration: Fig. 60] + + * * * * + +_Rhadzimir of 6 picks._ + +On 8 shafts, straight draw. + +[Illustration: Fig. 61] + + * * * * * + + [Page 46] +3. From the Satin Weave + +_Satin Soleil_ shows a satin-like surface with a cross line appearance. +Fig. 62 illustrates it as made on 8 shafts, straight draw. + +[Illustration: Fig. 62] + + * * * * + +_Satin Grec_ is a 12-harness satin, in which a taffeta point is added to +each place of interlacing, thus giving the cloth a much firmer hand. Fig. +63 represents this weave on 12 shafts, skip draw. + + [Page 47] +[Illustration: Fig. 63] + + * * * * + +_Peau de Soie._ An 8-shaft satin with one point added on the right or left +to the original spots, giving the fabric a somewhat grainy appearence. Fig. +64 represents a peau de soie on 8 shafts, straight through. + +[Illustration: Fig. 64] + + * * * * + + [Page 48] +_Fleur de Soie._ The face is a satin de Lyon (2-1 twill), with a backing +interlaced on the 12-shaft satin principle, Fig. 65, on 12 shafts, skip +draw. + +[Illustration: Fig. 65] + + * * * * * + + [Page 49] +CANNELE and REPP WEAVES + +are in their construction related to the taffeta, and are used mostly in +the form of stripes as an additional ornament to a fabric. The threads +going into the composition of these effects exchange continually from +taffeta interlacing to floating over a certain number of threads, and must +be introduced either in warp or filling close enough to make the floats +cover up the taffeta work entirely, and thus enable the material used to +show up with the full brilliancy it possesses. + +Cannele effects can be produced in two distinct ways. One is to let every +individual thread work alternately taffeta and float, while in the other +method one thread weaves always taffeta, and a second thread is used for +the cannele exclusively. These latter threads must come from a separate +warp, which is introduced to embellish the ground or taffeta part of the +fabric. + +The floating threads can either stitch all on one pick and so form a +continuous cut line, or be divided in groups, of which one will bind in the +middle of the floats of the other group. The following designs show both +the face and backside of the respective weaves: + + [Page 50] +_Alternating Cannele_ of 6 picks. + +On 4 shafts, straight through. + +[Illustration: Fig. 66] + + * * * * + +_Canelle_ (2 beams). Over 3 picks, interlacing on every fourth pick, drawn +end and end on 2 sections of 4 shafts each. + +[Illustration: Fig. 67] + + * * * * + + [Page 51] +_Cannele_ over 5 picks, binding on the sixth, but every second thread +advanced 3 picks (to the middle of the float of the first thread), drawn +end and end on 2 sections of 4 shafts each. + +[Illustration: Fig. 68] + + * * * * + + [Page 52] +_Cannele_ arranged in groups of 8 threads, floating over 6 picks and +binding on the seventh and eighth, drawn on 2 sections, with 4 shafts in +first and 2 in second section. + +[Illustration: Fig. 69] + + * * * * + +_Repp_ on 8 shafts straight through. Rotation of filling. 1 pick taffeta, 1 +pick float (rib). + +[Illustration: Fig. 70] + + * * * * + + [Page 53] +_Repp_ of 8 threads, on 2 sections of 4 shafts each, 8 ends per section. + +[Illustration: Fig. 71] + + * * * * + +_Repp_ of 5 threads, binding on the sixth; every second pick binds on the +middle of the first pick. On 6 harness straight draw. + +[Illustration: Fig. 72] + + * * * * + + [Page 54] +_Repp_ in groups, floating over 6 ends and binding on the seventh and +eighth on 8 shafts straight draw. + +[Illustration: Fig. 73] + + * * * * * + + [Page 55] +DOUBLE FACED FABRICS + +In this class we find either two systems of warp or of filling so combined +that only one will be visible on either side. The color on one side is +generally different from the other, and so may the interlacing be of a +different nature on face and back. In the latter case great care must be +exercised not to allow the weave on one side to disturb the one on the +other, and as a rule the points of interlacing of the first warp or filling +system are placed as much as possible in the middle of the floats of the +second. This will prevent either color or weave to be seen on the opposite +side, as the floats of one side will naturally lay themselves over the +binders of the other. The number of ends in a repeat of the two weaves must +either be alike or one a multiple of the other. + +Warp Effects + +_Levantine_ on 8 shafts straight draw. + +[Illustration: Fig. 74] + + * * * * + + [Page 56] +_Serge_ 6-2 on 2 sections of 8 shafts each. + +[Illustration: Fig. 75] + + * * * * + +8 _shaft satin_ on 2 sections of 8 harness each. + +[Illustration: Fig. 76] + + * * * * + + [Page 57] +12 _shaft satin_ on 2 sections of 12 shafts each. + +[Illustration: Fig. 77] + + * * * * + +_Cannele_ of 8 picks on 2 sections of 4 shafts each. + +[Illustration: Fig. 78] + + * * * * * + + [Page 58] +FILLING EFFECTS + +_Serge_ 5-1 on 6 harness straight draw. + +[Illustration: Fig. 79] + + * * * * + +10 _harness satin_ on 10 shafts skip draw. + +[Illustration: Fig. 80] + + * * * * + + [Page 59] +_Repp_ on 2 sections of 4 shafts each, 8 threads per section. + +[Illustration: Fig. 81] + + * * * * + + [Page 60] +PEKINS + +With this name we designate fabrics in which stripes of a different +interlacing run in the direction of the warp. In combining these weaves it +is advantageous to have them contrast distinctly, for instance, a short +weave such as taffeta or Gros de Tours, with a longer and looser one such +as satin, serge or cannele, also changes from warp to filling effects. Care +must be taken to arrange the joining of the two weaves so that the last +thread of one weave will cross the first thread of the other. This will +prevent the threads from either stripe to slide over into the other, and so +make a clean cut line. + +#Pekin.# A stripe of + + 2 dents of 8 ends each, 8 shaft Satin, on 8 shafts straight draw. + 12 " 2 " Taffeta " 4 " " " + +[Illustration: Fig. 82] + + * * * * + + [Page 61] +#Pekin#. A stripe of + + 12 ends Cannele of 6 picks on 1st section of 4 shafts. + 12 " Repp " 6 threads on 2d and 3d section of 2 shafts each. + +[Illustration: Fig. 83] + + * * * * + + [Page 62] +#Pekin.# A stripe of + + 10 ends 5 leaf Satin on the 1st section of 5 shafts straight draw. + 4 " Taffeta " 3d " 2 " " " + 18 " Serge 3-1, 1-1 " 2d " 6 " " " + +[Illustration: Fig. 84] + + * * * * * + + [Page 63] +BAYADERES + +While pekins are formed by warp stripes, bayadere shows us stripes of +different weaves running in the direction of the filling. The rules given +in the previous chapter as to the joining of the weaves will also apply +here. The warp which was raised on the last pick of the weave must stay +down wherever possible on the first pick of the following weave. The number +of shafts employed must go up evenly in the repeat of each one of the +weaves that go into the make up of the bayadere. + +#Bayadere# + + A stripe of 24 picks Gros de Tours } + } on 8 shafts straight through. + " 8 " 8-shaft Satin, } + +[Illustration: Fig. 85] + + * * * * + + [Page 64] +#Bayadere# + + A stripe of 18 picks 6-shaft Satin } + " 6 " Serge 5-1, } on 6 shafts, straight draw. + " 4 " Taffeta, } + +[Illustration: Fig. 86] + + * * * * * + + [Page 65] +CHECKS AND PLAIDS + +If pekin and bayadere stripes are combined, we obtain checked fabrics, and +of these an endless variety and pleasing effects can be produced with the +aid of suitable color combinations. + +#Check# + + of 16 threads and 12 picks of the 4 end broken twill, + and 16 " " 12 " " Royale of 8 threads, + drawn on 4 sections of 4 shafts each. + +[Illustration: Fig. 87] + + * * * * + + [Page 66] +#Check# + + of 20 threads and 16 picks of 8-shaft Satin, + " 20 " " 16 " " Taffeta, + 4 " " Surah 3-1, + drawn on 2 sections of 8 shafts each. + +[Illustration: Fig. 88] + + * * * * * + + [Page 67] +DECOMPOSITION + +Under the name of _Disposition_ we comprise all those points and details +which we must ascertain before we can proceed with the construction of a +fabric. They are: + + 1. #The weave.# + + 2. #Length and width of the cloth.# + + 3. #The stock and the dyeing thereof.# + + 4. #Reed calculation# (number of dents and ends per inch and total number + of dents required). + + 5. #Drawing-in the warp in harness and reed.# + + 6. #Texture and arrangement of warp# (warping ticket) + + 7. #Arrangement of harness.# + + 8. #Reduction of filling.# + + 9. #Calculation of warp and filling.# + + 10. #Finishing.# + + 11. #Calculation of cost.# + + [Page 68] +1. THE WEAVE + +If a given sample is to be reproduced or imitated, it must be analyzed, and +the following hints will greatly facilitate this operation to the beginner. + +Cut the sample straight on two sides, and draw out a number of warp and +filling threads until there is a small fringe of perhaps 1/4 of an inch. This +will allow a thread to be raised a little for examination, without danger +of its falling out of the fabric. In most cases it is easier to dissect the +filling side, that is, the interlacing of each warp-thread in the threads +of the filling system. With the help of the microscope or counting glass we +can easily determine over and under how many picks that thread passes and +the points of interlacing are accordingly marked on designing paper. This +being done for at least the length of a repeat warpways, we take it out and +examine the following thread, and so on until the repeat filling-ways is +complete. It is advisable to ascertain how many picks ahead or back of the +first examined thread the next following one binds before taking the former +out. + +A knowledge of the construction of weaves as explained in the foregoing +chapters will enable us to determine the weave of a simple pattern by +merely raising a warp-thread with a needle on any point of interlacing and +counting off how many picks apart from this place it makes an impression. + +2. LENGTH AND WIDTH OF THE FABRIC + +To the length and width which the finished product is to have, we must add +a certain allowance for shrinkage and _taking up_ of warp during weaving. +It may differ from one to ten per cent., according to the texture and weave +of the fabric, and can be ascertained with sufficient accuracy by +stretching out and measuring a thread of warp and filling and comparing +their length with the respective measurements of the sample to be +reproduced. + + [Page 69] +3. THE STOCK AND ITS DYE + +Under this heading we must give the particulars as to nature, _twist_, +_quality_ and _size_ of the silk, and the directions for the dyeing, +whether _bright_ or _souple_, and in what colors, also whether to be +weighted or not. + +The size is generally ascertained (in practical work) by comparing it with +other silk of which the exact count is known. Another method is to count +the number of cocoon threads which a thread of the sample contains, adding +to that 1/3 or 1/4, according to the quality of the silk; the result will be +the count in deniers. To obtain it in drams, divide the latter number by +17,3 as 1 dram is equal to 17,3 deniers. + +Suppose we find 20 cocoon ends in a thread of silk: add 1/3, and we have +26-2/3 deniers, which, divided by 17,3 make 1,54 drams. + +As silk is always more or less uneven, it is safer to count the cocoon +fibers of several threads and to take average thereof. + +It requires the experience of years to judge with any degree of certainty +as to the origin and quality of silk, whether it be "classical," "extra," +"sublime," etc. + +There are machines wherewith to ascertain exactly the twist, that is, the +number of turns the silk has received in the throwing process. + +In the dyeing we distinguish two great classes, of which the names +themselves give a good definition. "Bright" has a brilliant luster, while +"souple" has more of a dull, subdued appearance. To find out whether the +silk has been weighted in the dyeing process, we may compare it with other +silk of which the exact conditions are known, or we may burn a small +quantity of it. Unweighted silk does not burn readily and leaves a residue +of white ashes, while heavy weighted silk burns lively, leaving black, +charry ashes. + + [Page 70] +4. REED CALCULATION + +We count the number of repeats of the weave in a given space, generally 1/4 +or 1/2 inch, and multiply this with the number of threads one repeat +contains, which gives us the reduction of the warp. + +Suppose we had a taffeta, which, as we know, has only 2 ends to a repeat, +and counted 30 interlacings per 1/4 inch on one pick; we would have 60 +threads per 1/4 inch or 240 per one inch. In this case the reed may be 80 by +3 or 60 by 4. + +Another instance: In an 8-shaft satin we count 10 warp-threads, which bind +on the same pick in 1/4 inch; this, multiplied by 8, equals 80 ends per 1/4, or +320 per one inch; the reed will be an 80 with 4 in a dent or a 64 by 5. + +In short, the number of the reed is found by dividing the number of +warp-threads that are to go in one dent, in the number of ends per inch. +Sometimes, the reed marks are clearly visible in a sample by holding the +latter against the light. Silk fabrics move with very few exceptions within +the limits of 50 and 90 dents per inch. + +To learn the full number of dents required for the width of the cloth, +simply multiply the dents per one inch with the width, adding a certain +allowance for shrinkage. The edges, of course, must also be taken in +consideration, and very often the dents that are taken up by the latter are +used to counter-balance that shrinkage. + +5. DRAWING-IN THE WARP IN HARNESS AND REED + +Here we must specify the number of dents that contain the same number of +ends, and whether the latter are single or double, also the number of +shafts and the method of drawing-in. + + [Page 71] +6. WARPING TICKET + +To make out the warping ticket, we need to ascertain the total number of +ends, whether leased single or double, and the arrangement of the colors. + +7. HARNESS ARRANGEMENT + +This is governed by the number of ends to be drawn in and the necessary +shafts. If we have, for instance, 100 threads per inch to be drawn on 4 +shafts, we must give each shaft 25 heddles per inch. There are generally +between 25 and 45 heddles per inch on one shaft. + +8. REDUCTION OF THE FILLING + +Here we state the number of picks per inch, give directions as to doubling, +if such is necessary, and if more than one color or shuttle is used, the +rotation thereof. + +9. CALCULATION OF WARP AND FILLING + +The system adopted in this country for specifying the size of silk is based +on the weight in drams (avoirdupois) of a skein containing 1000 yards. A +skein, thus weighing 5 drams, is technically called 5-dram silk. The number +of yards of 1-dram silk to a pound must accordingly be 256000. The formulas +for figuring the amount of silk required for a piece of cloth are as +follows: + +Warp Calculation + + _Multiply_: Number of endsxlengthxcount + ----------------------------- + _Divide by_: 1000 yardsx256 drams + + [Page 72] +Filling Calculation + + _Multiply:_ Picksxxplyxwidthxlength of piecexcount + -------------------------------------- = lbs. + _Divide by:_ 1000 yardsx256 drams + + The result in both cases will be in pounds. + +The system of grading the silk which is in vogue in Europe, and which is +employed by a number of mills on this side, is as follows: + + 1 skein of 500 meters, weighing 0,05 grams = 1 denier international + or 1 " 476 " " 0,053 " = 1 " Turin system + or 1 " 476 " " 0,051 " = 1 " Milan " + +The warp calculation, taking the international denier, would run: + + ends in warpxlengthxdenierx0,05 gram + -------------------------------------- + _divided by:_ 500 meters + + for the filling: Picks per meterxxplyxwidthxdenierx0,05 gram + --------------------------------------------- + _divided by:_ 500 meters + + Result in metric weight, kilograms and grams. + +10. FINISHING + +Give directions as to the process of finishing to which the goods are to be +subjected, whether to be pressed, calendered, sized, moired, etc. + +11. CALCULATION OF COST + +If all the foregoing conditions are ascertained, and a sample or a piece of +the fabric executed, it remains to the manufacturer to determine the exact +figure at which he can produce the article. That this must be done with +great accuracy is naturally of the utmost importance, and the calculator + [Page 73] +must know in the first place the raw stock prices, and also be acquainted +with the details of the manufacturing process and the rates of wages paid +therein. As a rule, the manufacturer establishes a scale of prices covering +all the items of labor cost, mill expenses, etc., and uses this as a basis +for his calculations. + +A rule or formula for this operation cannot very well be given, as the +methods vary in almost every establishment, each choosing the one best +adapted to its ideas or dictates of circumstances and conditions. + + [Page 75] +DISPOSITION 1 + +_Taffeta glace_ + +[Illustration: Fig. 89] + + [Page 76] + #Length and Width#--One piece 100 yards long, 183/4 inches wide. + + #Stock and Dye#--_Warp._--Ital. Organ., 24/26 deniers = 1,47 drams, + brown, bright, 14/16 oz. + _Filling._--Japan Tram, 28/30 deniers = 1,65 drams, + gold, bright 14/16 oz. + + #Reed Calculation#--Per 1 inch, 70 dents at 3 single ends. + " 183/4 " 1313 " + add 13 " = 1% for shrinkage + ---- + Total 1326 dents. + + #Drawing in#--1st edge, 9 dents at 3 double ends. + Ground, 1308 " at 3 single " + 2d edge, 9 " at 3 double " + on 6 shafts, straight through. + + #Warping Ticket#--1st edge, 27 double ends, brown. + Ground, 3924 single " " + 2d edge, 27 double " " + ---- + Total 4032 single ends. + Length of warp 110 yards, including 10% for take up. + + #Harness#--6 shafts, 3978 heddles per 19 inches. + 1 " 35 " " 1 " + + #Reduction of Filling#--Per inch, 100/102 picks, 2 ends. + + #Warp Calculation#--? lbs = 4032 ends. + 1 end = 110 yards. + 1000 yards = 1,47 drams. + 256 drams = 1 lb. + 100 = 104 (4% waste). + + 4032x110x1,47x104 + ------------------- = 2,65 lbs., or 2 lbs. 10,4 oz. + 1000x256x100 + + [Page 77] + #Filling Calculation#--? lbs. = 100 yards + 1 yard = 36 inches. + 1 inch = 102 \ picks. + 2 / ends. + 1 pick = 19 inches. + 36 inches = 1 yard + 1000 yards = 1,65 drams. + 256 drams = 1 lb. + 100 = 108 (8% waste). + + 100x36x102x2x19x165x108 + ------------------------- = 2,73 lbs., or 2 lbs. 11,7 ozs. + 36x1000x256x100 + + * * * * + + [Page 79] +DISPOSITION 2 + +_Surah 3-1_ + +[Illustration: Fig. 90] + + [Page 80] + #Length and Width#--1 piece 50 yards long, 231/2 in. wide. + + #Stock and Dyeing#--_Warp._--Ital. Organ., 1,30 drams = 20/24 deniers, + black, bright, 40/50% = 22/24 ozs. + _Filling._--Cotton No. 120/2 black. + + #Reed Calculation#--Per 1 inch, 80 dents at 2 single ends. + " 231/2 inch, 1880 " + add 36 " = 2% for shrinkage. + ---- + Total 1916 dents. + + #Drawing-in#--1st edge, 8 dents, 2 double ends. + Ground, 1900 " 2 single " + 2d edge, 8 " 2 double " + on 4 shafts, straight draw. + + #Warping Ticket#--1st edge, 16 double ends, black. + Ground, 3800 single " " + 2d edge, 16 double " " + ---- + Total 3864 single ends. + Warp 54 yards long = 8% for take up. + + #Harness#--4 shafts, 3832 heddles per 24 inches. + 1 " 40 " " 1 " + + #Reduction of Filling#--Per 1 inch, 120 picks, 1 end. + + #Warp Calculation#--? lbs. = 4264 ends. + 1 end = 54 yards. + 1000 yards = 1,30 drams. + 256 drams = 1 lb. + 100 = 104 (4% waste). + + 3864x54x1,30x104 + ------------------ = 1,10 lbs., or 1 lb. 1,06 oz. + 1000x256x100 + + [Page 81] + #Filling Calculation#-?lbs. = 50 yards. + 1 yard = 36 inches. + 1 inch = 120 picks. + 1 pick = 24 inches. + 36 inches = 1 yard + 840 yards = 1 skein. + (No. 120/2) 60 skeins = 1 lb. + 100 = 110 (10% waste). + + 50x36x120x24x110 + ------------------ = 3.14 lbs., or 3 lbs. 2.24 ozs. + 36x840x60x100 + + * * * * + + [Page 83] +#DISPOSITION 3# + +_Satin Duchesse._ + +[Illustration: Fig. 91] + + [Page 84] + #Length and Width#--One warp 300 yards long, 10 pieces of 60 yards + 23 inches wide, 2 pieces in width, with one cut edge. + + #Stock and Dyeing#--_Warp._-- Ital. Organ., 1-55/100 drams, black, + bright, 20/22 oz. + _Filling._-- Jap. Tram., 1-8/10 and 2-7/10 + drams, black, souple, 40/44 oz. + + We should use for this fabric 1 end filling, 5-thread, 4-5/10 drams, + but as we have none of this size on hand, we take: 1 end, 2 thread, + 1-8/10 drams, and 1 end, 3 thread, 2-7/10 drams. + + #Reed Calculation#--1 inch, 66 dents, 4 single ends. + 46 " 3036 " + 54 " (13/4% shrinkage). + ---- + Total ... 3090 dents. + + #Drawing-in#-- { + 1st edge, { 2 dents, 6x2, black. + { 13 " 4x2, white. + Ground, 1514 " 4x1, black. + + { 2 " 6x2 " + Cut Edge { 1 " 2x4, " + { 3 " empty. + { 1 " 2x4, " + + Ground, 1514 " 4x1, black. + + 2d edge, { 2 " 6x2, black. + { 13 " 4x2, white. + + Satin on 8 shafts, straight draw. + Cross-thread for split edge on 3 shafts, see design. + + #Warping Ticket#-- Edge, { 12/2 black. } + { 52/2 white. } + Ground, 6056/1 black. } twice over. + Edge, { 52/2 white. } + { 12/2 black. } + + 12208 ends black, { 318 yards long. + 416 " white, { = 6% shrinkage. + + 2/4 black for ground thread, 300 yards long. + 2/4 " " whip " 360 " " + each one on a separate little roll. + + [Page 85] + #Harness#--8 shafts, 12368 heddles, 47 in + 1 " 33 " 1 " + for the split edge 3 shafts, of which one has only half a heddle. + + #Filling#--Per 1 in., 80 picks, 2 ends (as described before). + + #Warp Calculation#--? lbs. = 12224 ends, black (416 white). + 1 end = 318 yards. + 1,000 yards = 1,55 drams. + 256 drams = 1 lb. + 100 = 104 (4% waste). + + (416) 12224x318x1.55x104 + -------------------- = 24,477 lbs. org. black. + 1000x256x100 = 0,833 " " white. + + #Filling Calculation#--? lbs. = 300 yards. + 1 yard = 36 inches. + 1 inch = 80 picks. + 1 pick = 47 inches. + 36 inches = 1 yard. + 1000 yards = 4,5 drams. + 256 drams = 1 lb. + 100 = 108 (8% waste). + + 300x36x80x47x4,5x108 + ---------------------- = 21,414 lbs. + 36x1000x256x100 + + * * * * + + [Page 87] +DISPOSITION 4 + +_Armure Satinee_ + +[Illustration: Fig. 92] + + [Page 88] + + #Length and Width#--One piece 60 yards long, 19 in. wide. + + #Stock and Dyeing#--_Warp._--Jap. Organ., 1,48 drams, black, bright, + 18/20 oz. + _Filling._--3 threads Jap. Tram., 2,95 drams, + black, bright, 24/26 oz. + + #Reed Calculation#--Per 1 inch, 60 dentsx4 single ends. + " 19 " 1140 " + 32 " (3% for shrinkage). + ---- + Total . . . 1172 dents. + + #Drawing-in#--1st edge, 12 dents x 4 double. + Ground, 1148 " x 4 single. + 2d edge, 12 " x 4 double. + on 12 shafts, straight through, + or on 6 shafts, as design indicates. + + #Warping Ticket#--1st edge, 48/2 black. + Ground, 4592/1 " + 2d edge, 48/2 " + ------ + Total . . . 4784 single ends 64 yards long. + =61/2% for take up. + + #Harness#--6 shafts, 4688 heddles per 191/2 inches. + 1 " 40 " " 1 " + + #Reduction of Filling#--Per 1 inch, 104 picks, 2 ends. + + #Warp Calculation#--? lbs. = 4784 ends. + 1 end = 64 yards. + 1000 yards = 1,48 drams. + 256 drams = 1 lb. + 100 = 104 (4% waste). + + 4784x64x1,48x104 + ------------------ = 1,84 lbs., or 1 lb. 13,44 ozs. + 1000x256x100 + + [Page 89] + #Filling Calculation#--? lbs. = 60 yards. + 1 yard = 36 inches. + 1 inch = 104 } picks. + 2 } ends. + 1 pick = 191/2 inches. + 36 inches = 1 yard. + 1000 yards = 2,95 drams. + 256 drams = 1 lb. + 100 = 108 (8% waste). + + 60x36x104x2x19,5x2,95x108 + --------------------------- = 3,03 lbs., or 3 lbs. 0,48 ozs. + 36x1000x256x100 + + * * * * + + [Page 91] +DISPOSITION 5 + +_Surface Printed Armure._ + +[Illustration: Fig. 93] + + [Page 92] + #Length and Width#--One piece 50 yards long, 181/2 in. wide. + + #Stock and Dyeing#--_Warp._--Ital. Organ., 1,50 drams, 24/28 deniers, + white bright, pure dye. + + _Filling._--5 thread Ital. Tram., 4 drams, 13/14 + deniers, white, bright, pure dye. + + #Reed Calculation#--Per 1 inch, 52 dents, 2x2. + " 181/2 " 962 " + 20 " (2% shrinkage). + ---- + Total . . . 982 dents. + + #Drawing-in#--1st edge, 7 dents, 4x2 gros de Tours. + Ground, 968 " 2x2 armure + 2d edge, 7 " 4x2 gros de Tours. + Armure ground on 12 shafts, straight draw. + Gros de Tours, edges on 4 shafts. + + #Warping Ticket#--Ground warp, 54 yards. + 1936/2 white. + Gros de Tours edges, 55 yards. + 2x28/2 white, on separate rolls. + Total . . . 3984 single ends. + + #Harness#--12 shafts, 1936 heddles, per 181/2 inches. + 1 " 8-2/3 " " 1 " +4 Shafts gros de Tours edges, with 28 heddles on each side. + + #Reduction of Filling#--Per 1 inch, 96 picks, 1 end. + + #Warp Calculation#--? lbs. = 3984 ends. + 1 end = 54 yards. + 1000 yards = 1,50 drams. + 256 drams = 1 lb. + 100 = 104 (4% waste). + + 3984x54x1,50x104 + ------------------ = 1,31 lbs., or 1 lb. 4,96 ozs. + 1000x256x100 + + [Page 93] + #Filling Calculation#--? lbs. = 50 yards. + 1 yard = 36 inches. + 1 inch = 96 picks. + 1 pick = 19 inches. + 36 inches = 1 yard. + 1000 yards = 4 drams. + 256 drams = 1 lb. + 100 = 108 (8% waste). + + 50x36x96x19x4x108 + ------------------- = 1,54 lbs., or 1 lb. 8,64 ozs. + 36x1000x256x100 + +After weaving, the small flower effects have to be printed on the cloth. + + * * * * + + [Page 95] +DISPOSITION 6 + +_Pekin_: 8 shaft satin and repp. + +[Illustration: Fig. 34] + + [Page 96] + #Length and Width#--1 piece 100 yards long, 201/4 in. wide. + + { Ital. Organ., 1-35/100 drams, black, + { bright, 20/22 oz. + #Stock and Dyeing#--_Warp._ { Ital. Organ., 1-15/100 drams, sky, + { bright, pure dye + { Cotton No. 100/2, scarlet. + + _Filling._--3 threads, Jap. Tram., 2-8/10 drams, + scarlet, bright, 14/16 oz. + + {6x1, black satin + #Reed Calculation#--Per 1 inch, 68 dents, {6x2, colored " + {2x1, " repp. + " 201/4 " 1377 " + 23 " (11/2% for shrinkage). + ---- + Total 1400 dents. + + #Drawing-in#--1st edge, 7 dents, 6x2 satin. } + Ground, 34 " 6x1 " } + 2 " 6x2 " } + 10 " 6x1 " } twice } + 2 " 2x1 repp. } over. } + 10 " 6x1 satin. } + 2 " 6x2 " } + 39 " 6x1 " } + 5 " 2x1 repp. } twice } + 4 " 6x1 satin. } over. } 7 times + 5 " 2x1 repp. } over. + 15 " 6x1 satin. } + 2 " 2x1 repp. } + 15 " 6x1 satin. } + 5 " 2x1 repp. } twice } + 4 " 6x1 satin. } over. } + 5 " 2x1 repp. } + 5 " 6x1 satin. } + 28 " 6x1 " } + 2d edge, 7 " 6x2 " } + Satin on 1st section of 8 shaft skip draw. + Binder " 2nd " " 2 " + Repp " 3d " " 2 " + + [Page 97] +On each side of every repp stripe two ends of the satin warp must be +entered on the 2 binder shafts (2d section), to prevent the ends of the +satin to slide over into the repp stripes. + + #Warping Ticket#--I. _Beam satin_, 106 yards. + 1st edge, 42/2 black. + Ground, 204/1 " } + 12/2 sky. } + 180/1 black. } + 12/2 sky. } + 234/1 black. } + 48/2 sky. } 7 times over. + 180/1 black. } + 48/2 sky. } + 30/1 black. } + 168/1 " } + 2d edge, 42/2 " } + + 6132 single ends black. + 1680 " " sky. + + II. _Beam repp_, 110 yards. + 4/1 scarlet. } + 4/1 " } + 10/1 " } + 10/1 " } + 10/1 " } 7 times over. + 4/1 " } + 10/1 " } + 10/1 " } + 10/1 " } + + 504 single ends scarlet cotton + +This warp has to be beamed in stripes. Make out a diagram for the warper +the same as shown in Fig. 95. + + [Page 98] +[Illustration: Fig. 95] + +#Harness#--Fig. 95 shows how to make a diagram of a harness for a Pekin. +The heddles are marked per one shaft. As the repp stripes are only small +ones, we use for the satin a full harness, that is, one without open spaces +for the repp stripe. All together we have in the satin warp 6888 single and +double ends to draw in; of these 252 ends are used for binders, on both +sides of the repp stripes. Thus remain for + + 8 shafts, 6636 heddles per 201/2 inches + 1 " 40 " " 1 " + + #Reduction of Filling#--Per 1 inch, 144 picks, 1 end. + + #Warp Calculation#--? lbs. = 6132 ends (1680 ends sky). + 1 end = 106 yards. + 1000 yards = 1,35 drams (sky 1,15 drams). + 256 drams = 1 lb. + 100 = 104 (4% waste). + + 6132x106x1,35x104 + ------------------- = 3,56 lbs. for black, or 3 lbs. 8,96 ozs. + 1000x256x100 + + 1680x106x1,15x104 + ------------------- = 0,83 lbs. for sky, or 0 lbs. 13,28 ozs. + 1000x256x100 + + [Page 99] + + ? lbs. = 504 ends. + 1 end = 110 yards. + 840 yards = 1 skein. + (No. 100/2) 50 skeins = 1 lb. + 100 = 104 (4% waste). + + 504x110x104 + ------------- = 1,37 lbs. scarlet cotton, or 1 lb. 5,92 ozs. + 840x50x100 + + #Filling Calculation#--? lbs. = 100 yards. + 1 yard = 36 inches. + 1 inch = 144 picks. + 1 pick = 21 inches. + 36 inches = 1 yard. + 1000 yards = 2,8 drams. + 256 drams = 1 lb. + 100 = 108 (8% waste). + + 100x36x144x21x2,8x108 + ----------------------- = 3,57 lbs., or 3 lbs. 9,12 ozs. + 36x1000x256x100 + + * * * * * + + [Page 100] +JACQUARD WEAVES + +Jacquard weaves usually show on a plain ground figure or flower effects. To +obtain these effects the ground is made of one weave, say taffeta, while +the figures or flowers are produced in another weave, say satin. + +We enter the warp through a jacquard harness, and according to the repeat +use a 200, 400, 600, 900, 1200, etc., hook jacquard machine, which means +200, 400, 600, 900 and 1200 ends per repeat. + +With a 600-hook machine a larger repeat can be produced than with a +499-hook machine. For instance, if we want to make a cloth the figures of +which are to be two inches apart, it is a two-inch repeat, and use the +count of 50/4 or 200 ends per inch, we can use a 400-hook machine, 2 in. x +200 ends. But we can make this cloth also on a 1200-hook machine, only the +repeat must be designed three times. The advantage of using a 1200-hook +machine with the count 50/4 is that 2, 3, 4, 6-inch repeats can be +produced, while with a 400-hook machine, only a 2-inch repeat can be made. + +There is no end to all the different weaves and the possible flower and +other pattern effects that can be made with the jacquard machine. For a +jacquard weaving plant the designing is the most important factor. + + * * * * * + +BOX LOOM WEAVES INCLUDING CREPES + +Box looms are required for weaves such as bayaderes, checks, plaids (see +pages 63-65), bengalines, crepes, etc., where two or more shuttles are +needed to bring out the effect. + +For the crepes (crepe de chine, crepe georgette) only two shuttles are +needed, while plaids and other articles are made with more shuttles. + +To weave such articles the loom or the lay must be fitted with two or more +shuttle boxes on one or both sides of the loom. + + [Page 101] +If a manufacturer decides to change plain looms to box looms or buy new box +looms, it is wise to get 4 x 4 boxes, or four shuttle boxes on each side. + +With these looms about everything can be made that is called for in +box-loom effects, and as styles change, it is wise to be prepared. + + * * * * * + +MANUFACTURING COSTS + +The calculator first ascertains for the warp: What silk will be used, the +cost of the same, total number of ends in the warps for the amount of silk, +cost of throwing, dyeing, winding, warping, twisting, entering, and +weaving. + +Then the filling: Silk to be used, how much, cost of silk, cost of +throwing, dyeing, winding, doubling, quilling. + +After this determine the cost of weaving, cloth picking, finishing, factory +costs, and selling expenses. + +To-day most of the operations are paid by "piece work." + +The calculator must always take into consideration that poor raw silk or +poor dyeing make production slow, increase the cost of labor, and also that +more waste will be made. + +THROWING: Regular organ usually has 16 turns per inch in the first twist +and 14 turns to the inch in the second or reverse twist. Tram receives only +one twisting, about three turns to the inch. + +As the warp twisting-in is paid for at so much per hundred or thousand +ends, no matter how short or long the warp is, it is a saving to make the +warps as long as possible, especially in raw, black and staple colors. + +The calculator must not forget the cost of entering the first warp in a +harness, also the reeding. + +Most mills figure the cost of harness and reed in the expense accounts. If +plain and fancy goods are made an extra percentage should be figured for +the latter. + + [Page 102] +EXPENSES are figured differently, as almost every manufacturer has his own +system. If a mill makes only a few staple articles it is easy to put down +the cost of expenses. Say the mill has a production of 500,000 yards per +year, that the expense amounts to $35,000, the cost then is 7 cents per +yard. + +Manufacturers making all kinds of goods sometimes figure the expenses in +percentage, say, for plain goods, with a few picks, like gros-grain, peau +de soie, etc., 10 per cent. per yard. Taffeta, satin, etc., having more +picks, 121/2 per cent. per yard, and fancy and jacquard goods, 15 per cent. +per yard. In the expense account we include all charges except raw silk, +throwing, dyeing and piece work. + +SELLING EXPENSES. Before a calculation is finished we must add the selling +expenses to the cost, also take account of the trade discount. Small mills +usually sell through a commission house, which pays all expenses and +charges a certain commission. Many large firms have their own selling end, +and some have their sales guaranteed by a commission house or a bank. + + [Page 103] +CALCULATIONS + +The prices marked in the following calculations are about as in "normal +times." Absolutely correct piece work prices cannot be given as different +localities have different prices. + +Calculations are usually made per 100 yards, 100-meter warps. + +Most goods gain from 3 to 7 per cent. in weaving. That is, if we make a +warp of 300 meters for a satin and we obtain 315 yards of cloth, this gain +should not be calculated, as usually there is no account taken of samples +used in the selling department. But the loss in length should be figured +and taken account of on goods with a heavy rib, such as moire, faille, etc. + +DISP. 7--A 3 1/3-inch repeat can be obtained with a 600-hook jacquard +machine, seven repeats in a width of 23 inches. + +DISP. 8--Taffeta weave, but the two cotton picks must go in one hole. This +article can only be made with at least two shuttle boxes on each side. For +warping use a single and double cross reed, heavy cotton, no knots must be +tied. + +DISP. 10--This article must be warped with as much tension as possible and +no knots should be tied in. Silk is to be delivered on bobbins from +throwster. + +CANTON CREPE + +DISP. 9--Can also be made with Canton silk for filling and may be called +Canton crepe. As Canton silk is much cheaper than Japan, the manufacturer +can use 4-thread Canton instead of 3-thread Japan for filling at a little +difference in cost, thus the cloth will be heavier, but Canton silk is not +as even and clean as Japan. + + [Page 104] + Article--TAFFETA GLACE Reed 70/3 + Disp. 1 Width 183/4 in. + Warp--Ital. Ex. Class 12/14 $5.00 raw silk + .60 throwing + 2-Thread Organ. brown bright .45 dyeing + 16-oz. .15 winding + ----- + raw lbs. 2.60 $6.20 $16.23 + Warping--4032 at 3c. 1.21 + Twisting--3978 at 25c. per 300 meters .33 + Filling--Jap. Tram. Best No. 1 13/15 $4.25 raw silk + .45 throwing + 2/2 ends 104 picks .45 dyeing + .15 winding + gold bright 16 oz. .15 doubling + .10 quilling + ----- + raw lbs. 2.73 $5.55 15.02 + Weaving 7.00 + Picking 1.00 + Finishing 1.00 + Expenses 7.00 + ------ + $48.79 + 5% trade discount + 71/2% selling commission + Divide by 871/2 + Cost per yard = $0.5576 + + * * * * + + Article--SURAH 3-1 Reed 80/2 + Disp. 2 Width 36 in. + Warp--Ital. Ex. Class. 10/12 $5.20 + .65 + 2-Thread Organ. bright black .81 discount 15% + 24 oz. .30 dyed 20% + ----- + lbs. 3.36 $6.96 $23.39 + Warping--5904 at 23/4c. 1.62 + Twisting--5872 at 35c.--600 lb. warp .25 + Filling--cotton 120/1 $1.25 + .10 dye + black 1 end 120 picks .08 winding + .07 quilling + ----- + lbs. 9.50 $1.50 14.25 + Weaving 12.00 + Picking 1.50 + Finishing 2.00 + Expenses 7.00 + ----- + $62.01 + 5% discount + 6% commission + Divide by 89 + Cost per yard = $0.6967 + + + * * * * + + [Page 105] + Article--SATIN DUCHESSE Reed 66/4 + Disp. 3 Width 2 x 23 in. + Warp--Ital. Ex. Class. 12/14 $5.00 + .60 + 2-Thread Organ. black bright .73 + 22 oz. .21 + ----- + lbs. 8.50 $6.54 $55.59 + Warping--12624 at 23/4c. 3.47 + Twisting--12256 at 25c. 600 meters .51 + Filling--Jap. Tram No. 1--14/16 $4.00 + .40 + black souple 44 oz. 1.60 net + .40 + 1/2 and 1/3 = 1/5 80 picks .40 doubling + .30 + ----- + lbs. 7.14 $7.10 50.69 + Weaving 13.00 + Picking 2.00 + Finishing 2.50 + Expenses 8.00 + ------- + $135.76 + Divide by 89 + Cost per yard = $0.7627 + + + * * * * + + Article--ARMURE SATIN Reed 60/4 + Disp. 4 Width 26 in. + STOCK AND DYE + Warp--Jap. Ex. 12/14 $4.75 + .60 + 2-Thread Organ. black bright .64 + 20 oz. .19 + ----- + lbs. 4.30 $6.18 $26.57 + Warping--6520 at 23/4c. 1.79 + Twisting--6424 at 25c. 600 meters .27 + Filling--Jap. Tram No. 1 16/18 $4.00 + .30 + black bright 26 oz. .94 + .25 + 2/3 ends 104 picks .25 + .17 + ----- + lbs. 6.80 $5.91 40.19 + Weaving 10.00 + Picking 1.00 + Finishing 1.00 + Expenses 7.00 + ------ + $87.82 + Divide by 89 + Cost per yard = $0.9867 + + * * * * + + [Page 106] + Article--PRINTED ARMURE Reed 52/2/2 + Disp. 5 Width 181/2 in. + STOCK AND DYE + Warp--Ital. Ex. Class. 12/14 $5.00 + 2-Thread Organ. white bright .60 + P.D. .23 + .12 + ----- + lbs. 2.62 $5.95 $15.59 + Warping--3984/1 at 3c. 1.20 + Twisting--1992/2 at 30c. 300 meters .20 + Filling--Ital. Tram. souple 13/14 $4.50 + .30 + white bright P.D. .23 + .10 + 1/5 end 96 picks .07 + ----- + lbs. 3.08 $5.20 16.02 + Weaving 8.00 + Picking 1.00 + Finishing and Printing 5.00 + Expenses 8.00 + ------ + $55.01 + Divide by 871/2 + Cost per yard = $0.6287 + + * * * * + + [Page 107] + Article--SATIN STRIPED REPS Reed 60/62 + Disp. 6 Width 201/4 in. + STOCK AND DYE + Warp--Ital. Ex. Organ. 24/26 $5.00 + black bright 22 oz. .60 + .73 + .21 + ----- + lbs. 3.56 $6.54 $23.28 + Ital. Ex. Organ. 18/20 $5.20 + .65 + sky bright P.D. .23 + .12 + ----- + lbs. .83 $6.20 5.15 + Cotton 100/2 $1.00 + .12 + .08 + ----- + scarlet lbs. 1.37 $1.20 1.64 + Warping--8316 at 4c. 3.32 + Twisting--7434 at 50c. 300 meters 1.24 + Filling--Jap. tram. No. 1 14/16 $4.00 + .35 + scarlet bright 16 oz. 1/3 ends .45 + .15 + 144 picks. lbs. 3.57 .10 + ----- + $5.05 18.04 + Weaving 12.00 + Picking 1.00 + Finishing 1.00 + ------ + $66.67 + Expenses 15% 10.00 + ------ + $76.67 + Divide by 871/2 + Cost per yard = $0.8763 + + * * * * + + [Page 108] + Article--MESSALINE BROCADE Reed 60/3 + Disp. 7 Width 23 in. + Warp--Jap. Ex. 13/15 $4.50 + .60 + 2-Thread navy bright 16 oz. .45 + .15 + ---- + lbs. 3.20 $5.70 $18.24 + Warping--4320 at 3c. 1.30 + Twisting--4260 at 30c. 300 meters .41 + Filling--Jap. Tram No. 1 13/15 $4.00 + .35 + emerald ex. bright dye 24 oz. .95 + .25 + 1/3 ends 100 picks .15 + ----- + lbs. 2.50 $5.70 14.25 + Weaving 9.00 + Picking 1.00 + Finishing 1.00 + ------ + $45.20 + Expenses 15% 6.78 + ------ + $51.98 + Divide by 871/2 + Cost per yard = $0.5941 + + * * * * + + Article--BENGALINE Reed 72/2 by 1 single; 1 double + Disp. 8 Width 36 in. + Warp--Jap. ex. 13/15 $4.50 + .60 + 2-Thread Organ. black bright .64 + 20 oz. .19 + ----- + lbs. 5.77 $5.93 $34.22 + Warping--7964 at 23/4c. 2.19 + Twisting--5296 at 30c. 600 meters .27 + Filling--56 picks by $4.50 + 5 organ. 2 Cotton .60 + .64 + .19 .45 + .12 .10 + ----- + 40 picks Organ. as warp $6.05 .08 6.05 + lbs. 1 .07 + 16 picks black cotton 15/4 ----- + lbs. 22.50 $ .70 15.75 + + Weaving 12.00 + Picking 1.50 + Finishing 3.00 + Expenses 8.00 + ------ + $82.98 + Divide by 91 + Cost per yard = $0.9119 + + * * * * + + [Page 109] + Article--CREPE DE CHINE (Taffeta weave) Reed 60/2/2 + Disp. 9 Width 40 in. + 441/2 in. in reed + Warp--Jap. Ex. Grege 20/22 $4.50 + .05 winding + ----- + 2% waste lbs. 5.60 $4.55 $25.48 + Warping--5340/2 at 21/2c. 2.67 + Twisting--5340/2 at 25c. 600 meters .23 + Filling--Jap. No. 1 13/15 + 4 ends hard twist 60 turns $4.00 + 1.25 throwing + 84 picks by 2 right, 2 left 0.05 quilling + twist ----- + 25% waste and shrinkage $5.30 + lbs. 6.00 31.80 + Weaving 9.00 + Finishing and dyeing 5.00 + Picking 1.00 + Expenses 7.00 + ------ + $82.18 + 5% discount + 5% selling expense + Divide by 90 + Cost per yard = $0.9131 + + * * * * + + Article--CREPE GEORGETTE Reed 50/2 + (Taffeta weave) by 1 right, 1 left twist + Disp. 10 Width 40 in. 47 in. in reed + Warp--Ital. Ex. Class 16/18 Raw $5.20 + 1.60 + ----- + 2-Thread hardtwist 75 turns $6.80 $36.72 + 30% shrinkage and waste lbs. 5.40 + Warping--4640/1 30/2 4760 at 4c. 1.90 + Twisting--4700 at 50c. 600 meters .40 + Filling--Same silk as warp + 100 picks by 2 right, 2 left + twist $5.20 + 1.60 + .10 + ---- + lbs. 5.00 $6.90 34.50 + Weaving 15.00 + Picking 1.00 + Finishing and dyeing 6.00 + ------ + $95.52 + Expenses 121/2% 11.94 + ------- + $107.46 + Divide by 871/2 + Cost per yard = $1.2281 + + [Page 110] +CALCULATION BLANK + + ARTICLE_____________________________________REED_____________________ + + DISP________________________________________WIDTH____________________ + + WARP_________________________________________________________________ + | | | | | + --------------------------------------------|---|---|---|---|-------- + | | | | | + --------------------------------------------|---|---|---|---|-------- + | | | | | + --------------------------------------------|---|---|---|---|-------- + | | | | | + WARPING_____________________________________|___|___|___|___|________ + | | | | | + TWISTING____________________________________|___|___|___|___|________ + | | | | | + FILLING_____________________________________|___|___|___|___|________ + | | | | | + ____________________________________________|___|___|___|___|________ + | | | | | + WEAVING_____________________________________|___|___|___|___|________ + | | | | | + PICKING_____________________________________|___|___|___|___|________ + | | | | | + FINISHING___________________________________|___|___|___|___|________ + | | | | | + EXPENSES____________________________________|___|___|___|___|________ + | | | | | + | | | | | + --------------------------------------------+---+---+---+---+-------- + + + PRICE PER YARD + + [Page 111] +INDEX + + DRAWING-IN, 7 + Straight Draws, 7 + Skip Draws, 9 + Point Draws, 9 + Section Draws, 10 + THE WEAVES AND THEIR CONSTRUCTION, 15 + The Taffeta Weave, 17 + Gros de Tours Weaves, 19 + Serge Weaves, 20 + Twill Weaves, 20 + FILLING EFFECTS 21 + Satin de Lyon, 21 + Levantine, 21 + Polonaise, 22 + Serge grosse cote, 22 + Serge Romaine, 23 + Serge, 23 + WARP EFFECTS, 25 + Levantine, 25 + EVENSIDED TWILLS, 26 + Surah, 26 + Croise, 26 + POINTED TWILLS, 27 + SATIN WEAVES, 32 + Satine de Chine, 34 + Satin Merveilleux, 34 + 7 Harness Satin, 35 + Duchesse, 35 + IRREGULAR SATINS, 39 + Satin Ture, 39 + Satin a la Reine, 40 + DERIVATIVE WEAVES, 41 + From the Taffeta, 41 + From the Twills, 43 + From the Satin Weave, 46 + Cannele and Repp Weaves, 49 + DOUBLE FACED FABRICS, 55 + Warp Effects, 55 + FILLING EFFECTS, 58 + Pekins, 60 + Bayaderes, 63 + [Page 112] + Checks and Plaids, 65 + DECOMPOSITION, 67 + The Weave, 68 + Length and Width of the Fabric, 68 + The Stock and Its Dye, 69 + Reed Calculation, 70 + Drawing-in the Warp in Harness and Reed, 70 + Warping Ticket, 71 + Harness Arrangement, 71 + Reduction of the Filling, 71 + Calculation of Warp and Filling, 71 + Finishing, 72 + Calculation of Cost, 72 + DISPOSITIONS, 75 + JACQUARD WEAVES, 100 + Box Loom Weaves Including Crepes, 100 + Manufacturing Costs, 101 + CALCULATIONS, 103 + Calculation Blank, 110 + + [Page 113] +OTHER BOOKS + +Published by + +CLIFFORD & LAWTON 373 Fourth Avenue New York. + + * * * * * + +THE AMERICAN SILK JOURNAL + +Established 1882. A monthly magazine devoted exclusively to dress silks, +ribbons, and all silken materials, reflecting the progress of mill and +market, fashions, trade events and news. Published on the first of each +month. + +Subscription: United States, $3; Canada, $3.50; Foreign, $4 a year. + +SERIVALOR or the True Value of Raw Silk + +By ADOLF ROSENZWEIG, + +The great international authority on silk. A practical and logical system +of standardizing raw silks. Price, $4.25 postpaid. + +DICTIONARY OF SILK TERMS + +The most complete and authentic dictionary ever published on silk terms, +from the raw silk to the finished broad and narrow silks, including weaves, +styles, patterns, effects, colors, trade-marks, etc. Bound in cloth, 93 +pages, price, $1.50 postpaid. + +COLOR VALUE + +By C.R. CLIFFORD. + +A valuable book treating on color contrasts and harmonies. 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