diff options
Diffstat (limited to 'old/68583-h')
72 files changed, 0 insertions, 4163 deletions
diff --git a/old/68583-h/68583-h.htm b/old/68583-h/68583-h.htm deleted file mode 100644 index b7a7128..0000000 --- a/old/68583-h/68583-h.htm +++ /dev/null @@ -1,4163 +0,0 @@ -<!DOCTYPE html> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta charset="UTF-8" /> - <title> - The Project Gutenberg eBook of Elastic and non-elastic narrow fabrics, by Samuel Brown - </title> - - <link rel="icon" href="images/cover.jpg" type="image/x-cover" /> - - <style> /* <![CDATA[ */ - -a { - text-decoration: none; -} - -body { - margin-left: 10%; - margin-right: 10%; -} - -h1,h2,h3 { - text-align: center; - clear: both; -} - -h2.nobreak { - page-break-before: avoid; -} - -hr.chap { - margin-top: 2em; - margin-bottom: 2em; - clear: both; - width: 65%; - margin-left: 17.5%; - margin-right: 17.5%; -} - -img.w100 { - width: 100%; -} - -div.chapter { - page-break-before: always; -} - -p { - margin-top: 0.5em; - text-align: justify; - margin-bottom: 0.5em; - text-indent: 1em; -} - -table { - margin: 1em auto 1em auto; - max-width: 40em; - border-collapse: collapse; -} - -th { - padding-left: 0.25em; - font-weight: normal; -} - -td { - padding-left: 0.25em; - vertical-align: top; -} - -.tdr { - text-align: right; -} - -.caption { - text-align: center; - margin-bottom: 1em; - font-size: 90%; - text-indent: 0em; -} - -.center, .chapter p { - text-align: center; - text-indent: 0em; -} - -.figcenter { - margin: auto; - text-align: center; -} - -.figmulti { - display: inline-block; -} - -.larger { - font-size: 150%; -} - -.nw { - white-space: nowrap; -} - -.pagenum { - position: absolute; - right: 4%; - font-size: smaller; - text-align: right; - font-style: normal; -} - -.smaller { - font-size: 80%; -} - -.smcap { - font-variant: small-caps; - font-style: normal; -} - -.spacer { - margin-left: 5em; -} - -div.titlepage { - margin: auto; - max-width: 25em; - border: thin solid black; - padding: 0.5em; -} - -p.titlepage { - text-align: center; - margin-top: 3em; - text-indent: 0em; -} - -.transnote { - background-color: #E6E6FA; - color: black; - font-size: smaller; -} - -.x-ebookmaker img { - max-width: 100%; - width: auto; - height: auto; -} - -/* Illustration classes */ -.illowp100 {width: 100%;} -.illowp30 {width: 30%;} -.x-ebookmaker .illowp30 {width: 100%;} -.illowp37 {width: 37%;} -.x-ebookmaker .illowp37 {width: 100%;} -.illowp43 {width: 43%;} -.x-ebookmaker .illowp43 {width: 100%;} -.illowp51 {width: 51%;} -.x-ebookmaker .illowp51 {width: 100%;} -.illowp52 {width: 52%;} -.x-ebookmaker .illowp52 {width: 100%;} -.illowp55 {width: 55%;} -.x-ebookmaker .illowp55 {width: 100%;} -.illowp58 {width: 58%;} -.x-ebookmaker .illowp58 {width: 100%;} -.illowp60 {width: 60%;} -.x-ebookmaker .illowp60 {width: 100%;} -.illowp61 {width: 61%;} -.x-ebookmaker .illowp61 {width: 100%;} -.illowp62 {width: 62%;} -.x-ebookmaker .illowp62 {width: 100%;} -.illowp65 {width: 65%;} -.x-ebookmaker .illowp65 {width: 100%;} -.illowp70 {width: 70%;} -.x-ebookmaker .illowp70 {width: 100%;} -.illowp75 {width: 75%;} -.x-ebookmaker .illowp75 {width: 100%;} -.illowp80 {width: 80%;} -.x-ebookmaker .illowp80 {width: 100%;} -.illowp87 {width: 87%;} -.x-ebookmaker .illowp87 {width: 100%;} -.illowp91 {width: 91%;} -.x-ebookmaker .illowp91 {width: 100%;} -.illowp95 {width: 95%;} -.x-ebookmaker .illowp95 {width: 100%;} - /* ]]> */ </style> - </head> -<body> -<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Elastic and non-elastic narrow fabrics, by Samuel Brown</p> -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world 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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Title: Elastic and non-elastic narrow fabrics</p> -<p style='display:block; margin-left:2em; text-indent:0; margin-top:0; margin-bottom:1em;'>and a chapter on narrow fabrics made on knitting machines</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Authors: Samuel Brown</p> -<p style='display:block; margin-top:0; margin-bottom:0; margin-left:2em;'>William Davis</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: July 21, 2022 [eBook #68583]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Charlene Taylor and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK ELASTIC AND NON-ELASTIC NARROW FABRICS ***</div> - -<p><span class="pagenum"><a id="Page_1"></a>[1]</span></p> - -<div class="titlepage"> - -<p class="center larger">Elastic and Non-Elastic<br /> -Narrow Fabrics</p> - -<p class="center"><i>By</i> <span class="smcap">Samuel Brown</span></p> - -<p class="center">and a Chapter on Narrow Fabrics<br /> -Made on Knitting Machines</p> - -<p class="center"><i>By</i> <span class="smcap">William Davis, M.A.</span></p> - -<p class="titlepage smaller">This book originally appeared serially in TEXTILE WORLD<br /> -and has been republished in this form at<br /> -the urgent request of many readers.</p> - -<p class="titlepage">BRAGDON, LORD & NAGLE CO.<br /> -<span class="smaller">TEXTILE PUBLISHERS</span><br /> -334 FOURTH AVENUE <span class="spacer">NEW YORK</span></p> - -</div> - -<p><span class="pagenum"><a id="Page_2"></a>[2]</span></p> - -<p class="titlepage smaller">Copyright 1923<br /> -<span class="smcap">Bragdon, Lord & Nagle Co.</span><br /> -New York</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_3"></a>[3]</span></p> - -<h1>Elastic and Non-Elastic Narrow Fabrics</h1> - -<h2 class="nobreak" id="Chapter_I"><span class="smcap">Chapter I.</span></h2> - -<p><i>Growth of Webbing Business—Attempts to Substitute Cut Products for -Individually Woven Webs Made on Gang Looms—Loom Setting -to Reduce Vibration—Capacity of Looms and Explanation -of the Various Motions That Are Employed</i></p> - -</div> - -<p>When we think of the discovery of rubber vulcanization and the effect -it has had on world affairs our minds naturally turn to the big -things, such as the automobile industry with its millions of rubber -tires in constant use. These may crowd from our notice a thousand and one -smaller things of importance. It is difficult to fully realize how many -comforts and conveniences we derive from rubber and not the least among -them is the multiplicity of woven fabrics which are used both for comfort -and convenience in a variety of ways and for innumerable purposes. It -is not only in such things as garters and suspenders, with which our minds -may first associate elastic webs, that these fabrics are used, but they find -employment in a variety of other products, which are growing more numerous -all the time. Today there are in operation thousands of looms and -braiders, in which many millions of dollars are invested and in the operation -of which, together with complementary machinery, about ten thousand -people are employed.</p> - -<p>It was about the year 1840 when the idea of weaving threads of elastic -in connection with other materials was first conceived. After long experiments -this was accomplished in the very simplest form of weaving. New -ideas were from time to time introduced, and new uses found for the product, -until now it covers a large variety of both plain and fancy weaves, -and the multiplicity of uses are so varied that few realize them who are not -closely associated with the business.</p> - -<h3><span class="smcap">American Industry Started About 1860</span></h3> - -<p>It was not until about the year 1860 that elastic web weaving was -introduced into this country, although for a number of years previous -England and Germany, and also France in a small way, had found here -a market for their product, particularly in cords, braids and shoe goring, -which at that particular time was fast growing in popularity. About 1860, -a few looms which had been used, were brought over from England and -located at Easthampton, Mass., and the manufacture of shoe goring commenced. -The rubber thread required was for some time imported from -England. The business grew rapidly, and factories were established in a -number of cities, more particularly at Boston, Lowell and Brockton, Mass., -Bridgeport, Conn., and Camden, N. J. An unfortunate labor dispute took -place about the year 1890, which developed into a long-drawn out strike, -ultimately precipitating friction between the shoe trade and the goring -web manufacturers, which finally ended in a positive boycott of this product -from which the trade has never recovered. Most of the looms which -were up to this time devoted to shoe goring have been remodeled and are -now used in the making of other types of elastic fabrics. In passing, it -may be interesting to note that some of the looms originally brought from -England 60 years ago are still in operation and doing excellent work along -other lines.</p> - -<p><span class="pagenum"><a id="Page_4"></a>[4]</span></p> - -<h3><span class="smcap">Attempts to Use Wide Looms</span></h3> - -<p>Attempts have been made from time to time to weave elastics on wide -looms, the cloth being divided at intervals by open spaces in the warps -at the front reed, at either side of which spaces binding threads were woven -in. These narrow strips were spaced in the front reed according to the -different widths which might be required, and could easily be changed to -meet the varying requirements by redrawing a few threads, inasmuch as -the whole weave was uniform throughout the full width of the cloth. -Between these spaces, but at a point away from the weaving line, were -arranged stationary knives by which the cloth was cut into the requisite -widths while it was being woven, and as it gradually passed by the knife -edges. These knives were so arranged that they could be adjusted to new -positions when it became necessary to change the widths of the individual -strips.</p> - -<p>While this method was more economical than weaving individual webs -in gang looms, the labor cost being much less, the narrow webs produced -having the cut selvages lacked the finished appearance which the individually -woven webs had. And sometimes the binding threads would give way, so -that the fabrics were not well received by the trade, and ultimately the -demand for them died out.</p> - -<p>Attempts were made to supersede the individually woven strips in -another direction by the use of two finely woven pieces of cloth, one to -form the back, and the other to form the face of the goods, with an elastic -substance mechanically stretched out and inserted between the two. These -different parts were calendered together and afterward cut into strips of -the desired widths. This method was not without many advantages. Strips -of different widths were easily made without the costly method of redrawing -the warps in the looms. An unlimited choice of both plain and fancy -fabrics could be used, having if desired distinctly different appearances -and constructions for face and back, and this alone opened up a wide range -of possibilities. The finished cloth lent itself admirably to fancy embossing -and printing and to various other forms of elaboration. But somehow -the trade did not take to it, and this also finally died out.</p> - -<p>The trade ultimately settled down to the weaving of elastic goods of -all kinds, both plains and fancies, in gang looms, and the business has -steadily grown ever since along these lines.</p> - -<h3><span class="smcap">Straight Shuttle and Circular Shuttle Looms</span></h3> - -<p>The looms employed are very varied, inasmuch as the requirements -cover a wide range and new uses are constantly arising with new demands. -The simplest form of weaving is that employed on the making of webs -such as are mostly used for garters, and which are also used for many -other simple purposes in nearly every household. These webs are commonly -known as loom webs, lisles and cables. They are generally made -on plain, narrow, cam looms, some of which are capable of accommodating -as many as 56 pieces or strips at one time.</p> - -<p>There are two distinct types of loom employed, one of which is known -as the straight shuttle and the other the circular shuttle loom. In the -former type, the straight shuttle, in traveling across the different spaces, -takes up more room than the circular shuttle, and thus somewhat curtails -the number of pieces which can be operated in the loom, limiting capacity -of production, and relatively increasing the cost. Very few of the straight -shuttle looms accommodate more than 36 shuttles, according to the width -of the goods required. The circular shuttles travel over a segment of a -circle and cross over each other’s tracks in their movement through the -shed, as shown in Fig. 1. This permits the crowding of the pieces of web -closer together, so that many more can be accommodated in the same loom -space than when the straight shuttle is used. This type sometimes runs -as high as 56 shuttles to the loom.</p> - -<p><span class="pagenum"><a id="Page_5"></a>[5]</span></p> - -<div class="figcenter illowp91" id="ch1-fig1" style="max-width: 43.75em;"> - <img class="w100" src="images/ch1-fig1.jpg" alt="" /> - <p class="caption">Fig. 1.—Circular Shuttle Webbing Loom</p> -</div> - -<div class="figcenter illowp100" id="ch1-fig2" style="max-width: 43.75em;"> - <img class="w100" src="images/ch1-fig2.jpg" alt="" /> - <p class="caption">Fig. 2.—Rack and Pinion Movement for Actuating Shuttles</p> -</div> - -<p><span class="pagenum"><a id="Page_6"></a>[6]</span></p> - -<h3><span class="smcap">Prevent Loom Vibration</span></h3> - -<p>These looms often are speeded as high as 180 picks per minute. To -operate at this speed with so many pieces of web and make satisfactory -goods, free from thick and thin places through irregularities of speed or -variable momentum in running, a very heavy type of loom is necessary. -They should be erected on solid foundations so as to eliminate all possible -vibration. A solid concrete floor into which timbers have been properly -set so that the feet of the looms may be securely anchored into them is the -ideal way, but where this is not practicable at least heavy foundation timbers -for anchoring the loom feet to should be arranged. The frames of -the looms should be heavy; also the main driving shaft, which should have -wide bearings so as to prolong the life of the shaft at the wearing points -and obviate loose play in the boxes.</p> - -<p>The crankshafts must also be very heavy and there should be enough -of them so as to rigidly withstand the repeated beat of the lay without -liability to take on any loose motion, which would be fatal to the production -of perfect goods. Weight and strength here is very essential, inasmuch -as it is not practical to get a direct line from the shaft to the lay -on account of the harness movement, and they must be built to drop below -the harnesses which form makes them subject to heavy strain at the beat -of the lay. They should also be made adjustable, each arm having a heavy -left and right threaded insert, so that the length of the weaving line may -be changed to meet the varying requirements of different webs. They -should also be constructed so that any wear may be taken up.</p> - -<p>The lay itself must necessarily be very heavy. It is generally constructed -of several thicknesses of timber of different kinds, so as to avoid -any possibility of warping and shrinkage. The shuttles used are mostly -made of applewood. While they must run smooth and be free from the risk -of slivers they must at the same time be very light so as to be freely drawn -across the multiple of web spaces. It will be easily seen that the drawing -of so many shuttles over a space of about three times their length, at -possibly 180 picks per minute, carrying and delivering the necessary weft -to the webs, each thread of weft being checked to a certain extent by -friction springs, requires great care and thought in construction. Shuttle -wood must be thoroughly seasoned by age or it will not serve the purpose.</p> - -<p>The shuttles themselves are very ingeniously constructed so as to -accommodate the greatest possible amount of filling, together with the -necessary space for springs to properly manipulate the tensions. Each -shuttle is bored through at either side so as to allow for the insertion of -a fine recoil spring, which is made fast at one end of the drilled hole at -the back of the shuttle. To the other end of the spring is attached a small -porcelain eye, through which is threaded the weft, making it possible to -govern and take up by the action of the spring the loose filling which is -thrown off as the shuttle passes and repasses through the shed. These side -recoil springs are not only useful for the taking up of the loose filling -but allow for a variety of threading up methods, so as to assist in the -governing of the tension of the weft at one or both sides of the web, -and thus afford a means of weaving the goods level. They aid in correcting -any tendency to long and short sided goods, of which we will say more -later.</p> - -<p>At the back of the quill or shuttle spool is arranged another spring<span class="pagenum"><a id="Page_7"></a>[7]</span> -on which is swivelled a porcelain device which presses against the quill, -and can be so regulated as to govern the tension. This spring is so -tempered that the most delicate adjustment of tension can be made.</p> - -<h3><span class="smcap">Rack and Pinion Movement</span></h3> - -<p>The shuttles across the entire width of the loom are drawn to and fro by -what is known as the rack and pinion movement. (See Fig. 2). This method -has pretty generally superseded the old-time plan of rise and fall pegs. The -rack runs back and forth in a slot grooved in the top of the lay bed, A, the -entire length of the loom. To the rack is attached leather straps G, or heavily -woven fabric straps, with which the rack B is pulled to and fro at each pick -of the loom. The rack is of wood, having rounded teeth-paced approximately -one-third of an inch apart. Into the rack are meshed pinions C, two to carry -each shuttle E, the teeth of which are correspondingly spaced. The rack is set -into a wood carrier which is about one inch deep and one inch wide, and -the full length of the lay. The pinions are made of either raw hide or -paper fibre, and these pinions again mesh into a series of racks D, grooved -in on the under side of each shuttle, and thus drive the shuttle to and fro -across the web spaces J.</p> - -<p>The constant travel of the driving rack running in the groove at the -top of the lay bed necessarily produces more or less wear at the bottom of -the rack. It therefore is advisable to place underneath this rack a false -bottom of wood of about ¼-inch thick, which after becoming worn by -constant use and contact with the ever-moving rack may be easily taken -out and replaced by a new one, thus keeping the rack and pinions and -shuttles at all times in proper mesh with each other.</p> - -<p>The rack is drawn backwards and forwards by the before-mentioned -straps, which are passed over pulleys and are either fastened to the rack by -means of wood screws, or securely locked with a metal clamp designed for -this purpose. These straps are sometimes separated by a pair of cams set -on a shaft making one revolution to each two picks of the loom. The -power from these cams is first communicated to eccentrically-shaped wood -pulleys, moving backwards and forwards, which are so formed as to start -and stop the shuttles slowly, and to operate them at a higher rate of speed -during their passage through the middle of the shed. This movement is -necessary to avoid a too early entrance of the shuttle into the weaving -shed before the harness is properly settled, and also to soften the hammering -at the close of its travel so as to reduce the wear and tear.</p> - -<p>It might be well to note here also that this hammering is also softened -by the placing of a piece of soft rubber H at each end of the rack run, -so that the rack strikes this soft cushion each time it goes home. While the -cam method has been extensively used to produce the kind of movement -most desirable for the travel of the shuttle, it has its drawback in the -momentum produced, which it is often found difficult to control.</p> - -<p>The Crompton & Knowles Loom Works have designed a shuttle motion -which effectively governs the desired speeds in the travel of the shuttles -while they are entering, passing through, and leaving the shed, by a dwelling -movement operated by a series of gear wheels and oscillating slotted -rocker. It is absolutely positive in action and does away with the uncontrollable -and erratic movement so often met with in the cam drive.</p> - -<h3><span class="smcap">Movement of Harnesses</span></h3> - -<p>Four-pick cams are all that are necessary to produce the plain webs -which are used for ordinary purposes. However, it is not the practice to -confine looms to the limitations of this capacity, but to put in either 8 or -12-pick cams. These, besides providing means to make the plain weave, -open up possibilities for a number of other weaves and combinations of -weaves, which add materially to the usefulness of the loom.</p> - -<p><span class="pagenum"><a id="Page_8"></a>[8]</span></p> - -<div class="figcenter illowp60" id="ch1-fig3" style="max-width: 25em;"> - <img class="w100" src="images/ch1-fig3.jpg" alt="" /> - <p class="caption">Fig. 3.—Direct Cam Movement</p> -</div> - -<div class="figcenter illowp100" id="ch1-fig4" style="max-width: 43.75em;"> - <img class="w100" src="images/ch1-fig4.jpg" alt="" /> - <p class="caption">Fig. 4.—Loom with Side Cam Method of Harness Control</p> -</div> - -<p><span class="pagenum"><a id="Page_9"></a>[9]</span></p> - -<p>There are two distinct types of cam movements used in looms of this -character for the making of ordinary webs. One is known as the direct -cam drive, where the cams are fitted on a 4 to 1 shaft, as shown in Fig. 3, -which runs lengthwise of the loom and from which the power is communicated -to the harnesses through a series of levers A, rocking poles B, levers -C, and lifting wires to the harness D.</p> - -<p>The other movement is known as the end-cam method, where a small -shaft is set at the end of the loom, running at right angles to the driving -shaft (See Fig. 4) from which it is driven by bevel gears. On this short -shaft are set the cams, usually 8 or 12 in number, which have a series of -grooves at their center so as to afford means of timing them in different -positions on a feather key which runs the full length of the shaft. These -cams operate what is known as the cam jacks, which may also be seen in -Fig. 4.</p> - -<p>The jacks are hung at the middle and are moved backwards and forwards -by the cams, communicating movement to the various harnesses. -The harnesses are connected at both the top and bottom of the jacks. -This connection at both ends of the jacks makes it possible to run the looms -at a very high rate of speed, as there are no weights or springs to contend -with, which limits speed.</p> - -<p>While the first described method of direct cams has some advantages -over the end cams, such looms are not nearly so economical to operate as -the end cams on account of the limited speed attainable. While the harnesses -are lifted by means of the cams they have to be pulled down by -weights or springs. The means of shed adjustment, however, enables the -attaining of a well graded shed. Furthermore, the cams themselves can -be so set on the shaft as to afford means of timing the movements of the -different harnesses so that excellent and easy shedding results may be -obtained. But the one great disadvantage is the limitation of the weaves -attainable, which limitation is largely overcome by the end-cam method.</p> - -<p>When the direct cam movement is used, and where the goods being -woven are of such a character as to demand a very slow speed of the loom, -it is practicable to bring the harnesses down by weighting them with wide -flat weights of the requisite size. But where higher speed is required than -is advisable for weighted harnesses, springs are more desirable.</p> - -<p>The simplest form of pulling do the harnesses is by the use of floor -blocks and direct springs. There is, however, a disadvantage in using the -direct spring on account of the pull increasing until the extreme lift of the -harness is reached, which necessarily increases materially the power expended -in operating same and makes an unnecessary strain. The better way -is to use what is known as spring jacks, which have an easier pull than the -direct spring inasmuch as the load eases off on the pull, diminishing from -the greatest pull at the start to the lightest pull at the extreme lift on the -lever, so that the load is uniformly distributed all through the movement -and less power is employed.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_10"></a>[10]</span></p> - -<h2 class="nobreak" id="Chapter_II"><span class="smcap">Chapter II.</span></h2> - -<p><i>Looms Should Be Adapted to Make a Wide Variety of Goods—Take-Up -and Let-Off Motions—Making the Rubber Warps for Different -Classes of Web—Importance of Uniform Tension—Defects -from Uneven Tension and Chafing of Threads</i></p> - -</div> - -<p>The greatest care is necessary in planning out the details of the harness. -On account of the great length it becomes necessary that everything -possible be done to avoid any chance of warping or sagging, -for the least irregularity which may be developed will of course interfere -with the evenness of the shed. The harness frames must be made of the -very best stock obtainable, thoroughly seasoned, and absolutely straight -grained. Each frame must be supported at regular and frequent intervals -by stays or supports mortised in the runners. These stays are slotted at top -and bottom to receive the heddle bars and keep them accurately in line, -and thus prevent them from catching on the neighboring harness during -the operation of the shedding process.</p> - -<p>It is necessary also that the top and bottom heddle bars be accurately -spaced so as to allow proper freedom for the heddles to ride easily on the -bars, and thus avoid any binding of heddles which would have a tendency -to crowd the warp stock together and prevent clearance of the shed. Steel -heddles are preferable to ones that bend and twist more or less and get -out of alignment. They are made from tempered steel which is very flexible -and they have round cornerless eyes that cannot possibly catch or chafe -the warp threads. They adjust themselves automatically to the frame and -cannot twist or bend while at work, and are made to accommodate themselves -to every conceivable kind of goods.</p> - -<h3><span class="smcap">Install Looms for Wide Range</span></h3> - -<p>In installing looms for narrow elastic fabrics it is advisable to make -ample provision for creeling the warps necessary for the different fabrics -which may from time to time be required. In the manufacture of the -light single cloth garter webs, not more than two warps to the piece are -required, a face warp and a gut warp, and the temptation to save a little -in the initial cost possibly may suggest a limitation of creel spaces to -immediate requirements. Added expense may seem for the time being an -unnecessary burden. But very soon there may arise a call for other goods -which cannot be made within the limitations of the two bank creel; therefore -changes become necessary which are generally much heavier than first -cost would have been.</p> - -<p>Nothing less than a five bank creel should be installed. Many times -the availability of six banks has solved knotty problems of warp division -to care for the various weaves and materials employed in some constructions. -If the entire capacity of the larger creel is not required when first -starting it will not be necessary to clothe all of it with levers, buttons, etc., -which may be procured later. But by all means ample provision should be -made for the full frame work and supporting rods for same.</p> - -<h3><span class="smcap">Take-Up Motion</span></h3> - -<p>Another important consideration is to make proper provision for a -reliable take-up motion, so that the goods may be taken away from the reed -while weaving without any liability to variableness. This liability was -present in many of the earlier looms and exists in some of the mills<span class="pagenum"><a id="Page_11"></a>[11]</span> -today. The old-time fine ratchet gear, even when provided with a number -of pawls, is always liable to erratic picking, which alone will ruin an -otherwise perfect piece of goods and materially change the cost of manufacturing. -A slight irregularity of picking may not be discernible in non-elastic -goods, which will be satisfactory so long as the variableness is not -easily seen and a reasonable average of picks per inch is maintained. But -in elastic goods, where the contraction takes place after they leave the -press rolls, every irregularity is revealed and intensified so there is no -room to take chances. The only safe way is to employ picking gears -making one tooth to each pick of the loom, and then to change the gears -when different picking becomes necessary.</p> - -<p>In many of the existing looms there has been no adequate provision -made for the weaver to let the web back to the reed mechanically when a -joining becomes necessary through the breaking of the filling while weaving, -or where a quill may have run off unnoticed. It is almost impossible to -make a joining satisfactorily without proper mechanism being provided for -this purpose. In some of the slow running looms provision is made for -this by the operation of each set of rolls independently (see Fig. 1), by -means of the ratchet gear and pawl A and worm motion B. This plan -has the one disadvantage of taking up too much space between the individual -pieces. Where the fabric woven is say four or five inches wide, and -the space will admit, it is all that can be desired, and the individually -weighted rollers C associated with the motion are admirably adapted to -variable pressure.</p> - -<p>For the very narrow elastic fabrics, which require considerable roller -pressure to hold the web snug and firm while weaving, and where it is -necessary to make very accurate joinings after a break has occurred, a better -movement is one in which the web roll is placed on the main take-up shaft -in the form of a sleeve. It is carried around by the shaft as it turns while -the goods are being woven, but can be released and turned both backwards -and forwards by a conveniently placed hand wheel, which operates a series -of differential gears. This movement is entirely independent of the movement -of the main take-up shaft drive.</p> - -<h3><span class="smcap">Tension on Rubber Warp</span></h3> - -<p>Too much importance cannot be attached to properly controlling the -tension of the rubber warp. On its uniformity depends not only the -quality, but also the cost of the web. The greater the weight of slack -rubber woven into the web the more costly it becomes and the poorer the -quality. A very accurate sense of touch is required in testing the tension -of the rubber threads as they are being delivered into the goods.</p> - -<p>The rubber warp requires the highest possible tension before breaking -or chafing of the thread takes place. Each rubber thread should be under -this high tension so that when the goods come through the press roll the -desired contraction will take place uniformly, and a flat piece of web will -be produced that will have plenty of life.</p> - -<p>It must always be remembered that the individual threads of rubber -which constitute a rubber warp will act as a series of small springs, working -in unison with each other. Each one should have equal power to contract -the fabric at its own particular part. If any one of these strands -or springs is chafed and weakened, it lessens the contracting power, and -the result is that the weakened or less contracted part is of relatively -greater length than the parts where the rubber threads have retained their -full power.</p> - -<p>Moreover, the appearance of the goods will be spoiled by the chafed -particles of rubber pricking through the face, particularly on the white -and lighter colored goods. Before such webs can be marketed they must be<span class="pagenum"><a id="Page_12"></a>[12]</span> -subjected to a buffing operation to remove these dirty particles, which is -accomplished by passing them over a highly speeded, cloth covered roller, -which will remove the loose particles by friction and high velocity. But -this operation adds to the cost.</p> - -<p>A high and uniform tension of the rubber warp is so important that -most manufacturers keep men specially employed in the testing of the -threads, instead of leaving this matter to the weavers. These testers acquire -such a keen sense of touch that they can obtain very economical and satisfactory -results. Talc or soapstone is freely used as a lubricant to reduce -the risk of chafing and breaking of the rubber threads. The warps are -arranged so as to allow the threads to pass through a bed of plush, loaded -with talc, which adheres to the rubber threads and makes them work very -smoothly. This is especially important in damp weather, which is the -worst condition for the weaving of elastic goods. At times factories have -stopped operations when the weather was especially humid.</p> - -<h3><span class="smcap">Let-Off Motion</span></h3> - -<div class="figcenter"> - -<div class="figmulti illowp37" id="ch2-fig1" style="max-width: 21.875em;"> - <img class="w100" src="images/ch2-fig1.jpg" alt="" /> - <p class="caption">Fig. 1.—Individual Take-Up Motion for Wide Space Looms</p> -</div> - -<div class="figmulti illowp37" id="ch2-fig2" style="max-width: 21.875em;"> - <img class="w100" src="images/ch2-fig2.jpg" alt="" /> - <p class="caption">Fig. 2.—Individual Rubber Warp Let-Off Motion</p> -</div> - -</div> - -<p>When we remember that the front reed will pass by the rubber threads -possibly six or seven hundred times from their entrance into the shed to -their reaching the leaving line, it is not to be wondered at that chafing is -liable to take place. With all this liability of spoiling goods it becomes<span class="pagenum"><a id="Page_13"></a>[13]</span> -readily apparent that any device employed to regulate such an important -feature as the tension of the rubber warps must be very sensitive and -dependable.</p> - -<p>On looms making wide goods, and where space will allow, regulation is -accomplished by a worm and gear movement as shown in Fig. 2. The -iron rubber beam is threaded on to a square shaft A, at one end of which -a gear wheel B is fastened. In this gear is meshed the worm C, which is -operated by a heavy linen cord D passed twice around a pulley E. The -cord derives its movement from a rocking shaft F, on which there is fastened -a screw extension G, by which adjustment can be made so as to -deliver very accurately any amount from the rubber beam.</p> - -<p>With this kind of movement, and in order to feed the thread uniformly -into the web, it becomes necessary to use mechanically made warps where -the same uniformity has been maintained in putting the warps on the beams. -The warps so made must come from the thread manufacturer in individual -warps, which are done up in chain form, each warp containing the requisite -number of threads.</p> - -<h3><span class="smcap">Making Rubber Warps</span></h3> - -<p>The machine used for making the warps, shown at Fig. 3, is mounted -on an iron frame A, which carries the power driven warp beam B. Behind -this is an open top expansion reed C, the dents of which are regulated to -open, coarse or fine by an internal spring which is regulated by a hand -wheel. This reed also has a screw sidewise adjustment for centering. -Behind the reed C are fixed two pairs of nip rolls, D and E, and an open -roller F, which is followed by a belt-driven beater roll G, used to beat the -threads out straight as they leave the chain.</p> - -<p>The rubber warp is first laid on a cloth on the floor, under the beater -roll. The end is then passed over the beater roll G, over the open roll F, -through the two pairs of nip rolls D and E, over the expansion reed C, and -then looped to a leader on the rubber beam, where the knot is put in a -counter-sink on the beam barrel, so as not to interfere with the lay of the -warp. The section of the warp between the two pairs of nip rolls is -brought down in loop form, shown at H, and the nip rolls are then closed -while the warp is in this position. The two sets of nip rolls are speeded -alike and the rubber is always kept slack between the gripping points, so -that all threads passing through the last set of nip rolls, D, are perfectly -gauged in length and tension when passing through the reed C and on to -the beam B. The threads of rubber are under considerable tension, inasmuch -as the beam B is driven faster than the nip rolls D and E.</p> - -<h3><span class="smcap">Friction Let-Off</span></h3> - -<p>Where there is limited loom space, and where a small number of -threads are employed, as in the narrower garter fabrics, it is not as practical -to have the warps made mechanically, and for this reason they are not -likely to be put on the beams with as much uniformity of tension. In -such cases it becomes necessary to have some automatic device that will -correct any irregularities and maintain a uniform delivery throughout. -The device for doing this is shown at Fig. 4.</p> - -<p>The warp carrier A is fastened to the back rail, which carries the -warp, over which is passed the friction cloth G which is hung from a rod -D. The friction cloth is fastened at the bottom to the graduated warp -lever E, which is bolted to the bottom rail H, as shown. The rubber -threads constituting the warp pass in a direct line to the harness C, and -then to the breast beam B. The lever E, and the weights F, allow for -proper adjustment of the friction cloth so as to keep the lever level as -the warp beam empties.</p> - -<div class="figcenter illowp100" id="ch2-fig3" style="max-width: 43.75em;"> - <img class="w100" src="images/ch2-fig3.jpg" alt="" /> - <p class="caption">Fig. 3.—Rubber Warping Machine</p> -</div> - -<p>In making the rubber warps for narrow fabrics such as garters and<span class="pagenum"><a id="Page_14"></a>[14]</span> -suspenders, where the last described method of warp delivery takes place, -it is customary to work from an entire sheet of rubber, splitting it up -into the required sections or strips of the various sizes called for in the -warps. This splitting and warping process must be done in a long room -where the warp can be stretched out to its full length, if possible, after -it is unchained. These warps are usually about 60 yards long. The “head”<span class="pagenum"><a id="Page_15"></a>[15]</span> -of the sheet, or the part where the cutting knife has not gone through, is -spread out flat on a series of hooks at the beaming machine and the tail -end is fixed securely on a strong hook at the other end of the room.</p> - -<p>The requisite number of threads for the several warps which are to -be beamed are counted off and each different section is fastened to a beam. -The end knot is laid snugly in the counter-sink made in the beam barrel -for this purpose. A wide reed is used, covering the number of beams -operated in the machine, which is usually about four, and the threads are -reeded over spaces opposite the different beams. This reed can be moved -sidewise across the face of the beams and each warp properly centered so -as to keep the warp level. The operator then starts the beaming machine, -which may be operated either by hand or power, and the warps are wound -up. At the same time a helper walks towards the beamer carrying the -tail end of the warps and keeping the tension as nearly uniform as possible. -When the warps are all wound on the several beams, a lease is taken in -each of them in the ordinary manner, and each separate section is securely -fastened.</p> - -<div class="figcenter illowp75" id="ch2-fig4" style="max-width: 43.75em;"> - <img class="w100" src="images/ch2-fig4.jpg" alt="" /> - <p class="caption">Fig. 4.—Automatic Friction Let-Off for Rubber Warps</p> -</div> - -<p>Should floor space be limited, a horizontal reel is used, which is about -six feet long and about five feet in diameter. On this the sheet of rubber -is wound after being split in proper sections at the head end and divided -by a coarse reed, so as to be able to distribute the different sections all -across the reel. Each section can then be taken off the reel as required -for the beams. The tension of the threads is governed by a weighted leather -strap passed over the face of the reel.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_16"></a>[16]</span></p> - -<h2 class="nobreak" id="Chapter_III"><span class="smcap">Chapter III.</span></h2> - -<p><i>Head Motion Looms and Dobbies for Making Fancy Effects—Tying Up -Harness—Construction of Loom Webs, Lisle Webs, French Web -or Railroad Weave and Cable Webs—Making Good -Selvages and Preventing Long-Sided Effect</i></p> - -</div> - -<p>So far we have mentioned only plain looms, or those limited to the -capacity of eight or twelve pick cams. Before we consider any of the -varied constructions relating to elastic webs it will be well to speak of -fancy looms. There are different types, adapted to a wide range of fancy -effects, but the fancy loom most generally used is what is known as the -chain head, an example of which is shown at Fig. 1. Such looms are -usually of 18 and 24 harness capacity, and are operated by a figure chain -of the length required to produce the desired figure. Chains are made up -of a series of bars, one bar operating with each pick of the loom and -having on it space for a roller or sinker for each harness to be operated.</p> - -<p>Wherever a roller is placed on the bar, the corresponding harness will -be raised, and wherever a sinker is used, the corresponding harness will be -dropped. A series of rollers following each other will hold the harness up, -and likewise a series of sinkers following each other will keep the harness -down, thus maintaining at all times an open shed.</p> - -<h3><span class="smcap">The Shedding Operation</span></h3> - -<p>The shedding operation is very simple. In the fancy head there are -two cylinders, each of which has gear teeth running the entire length. -These cylinders operate continuously in opposite directions. The teeth of -the cylinders do not go around the entire circumference as will be noticed -on the upper cylinder shown in Fig. 1, but there is a blank space provided -so as to allow for the engaging of the gear wheels brought into position at -the right time as the cylinders revolve.</p> - -<p>Between the two cylinders are vibrator gears, one for each harness, and -to these gears are attached arms which are connected with the different -harnesses. These vibrator gears can be thrown into position by the chain -rollers or sinkers, so as to come in contact with the teeth of either the upper -or lower cylinder, and are so timed that they take their position at the -moment when the blank part of the cylinder presents itself. A vibrator -gear engaging the upper cylinder is turned so as to lift the harness connected -with it, while a vibrator gear engaging the lower cylinder drops that -particular harness. The harnesses stay in their relative positions until the -chain calls for another change.</p> - -<p>Both cylinders and engaging gears are made of hard chilled steel, so -that wear and tear by hammering at the time of engagement are reduced to -a minimum. To further soften the engagement, the speed of the cylinder -is controlled by elliptical driving gears, which reduce the speed of travel -just at the moment when the engagement takes place.</p> - -<p>The timing of the various movements of the head is so well controlled -that there is little risk of any part failing to maintain proper relationship -with the other parts. But in the event of any accident or breakage occurring -which interferes with the free motion of the head, such strain is taken care -of by a soft pointed set screw on the head driving shaft, which shears off -and so prevents further serious damage.</p> - -<p>The capacity of the head is such that by careful arrangement of figures -and repeats it is quite possible to make several simple designs to run side -by side in the same harnesses and this is often done. Of this we may -write more later.</p> - -<p><span class="pagenum"><a id="Page_17"></a>[17]</span></p> - -<div class="figcenter illowp95" id="ch3-fig1" style="max-width: 43.75em;"> - <img class="w100" src="images/ch3-fig1.jpg" alt="" /> - <p class="caption">Fig. 1.—Fancy Loom for Weaving Narrow Fabrics</p> -</div> - -<div class="figcenter"> - -<div class="figmulti illowp70" id="ch3-fig2" style="max-width: 21.875em;"> - <img class="w100" src="images/ch3-fig2.jpg" alt="" /> - <p class="caption">Fig. 2.—Double Index Dobby</p> -</div> - -<div class="figmulti illowp100" id="ch3-fig3" style="max-width: 21.875em;"> - <img class="w100" src="images/ch3-fig3.jpg" alt="" /> - <p class="caption">Fig. 3.—Overshot Dobby</p> -</div> - -</div> - -<p><span class="pagenum"><a id="Page_18"></a>[18]</span></p> - -<h3><span class="smcap">The Overhead Dobby</span></h3> - -<p>A popular machine for light fancy warp figures is the overhead dobby -shown at Fig. 2, which may be used as auxiliary either to the plain cam -loom or the fancy head loom. It is placed on a well braced, rigid frame and -built as high as convenient so as to reduce the angle of the harness strings. -It is driven directly from a two to one shaft, which may be either underneath -the loom or at the end, and is connected with a threaded adjustable -rod, which is attached to a slotted lever and can be adjusted to govern the -depth of the dobby shed.</p> - -<p>It is customary to put two of these dobby machines over each loom, but -having only one main drive the two machines are coupled together and -work in unison. Such an arrangement has the double advantage of a less -acute angle at the harness tie-up, and also affords facilities for a distinctly -different pattern on either half of the loom. It minimizes the risk of the -harness threads cutting into the compart boards, and prolongs relatively the -life of the dobby harness. Furthermore it allows for a straight tie-up on -either machine so that there is no limitation to the length or character of -the design, as is often the case where two patterns are run together on the -same machine, or where point tie-ups are used, as would very likely be -necessary if only one machine was installed to cover different designs on -both halves of the loom. As we have previously stated it is not advisable -to limit capacity for the saving of a few dollars in the initial cost.</p> - -<h3><span class="smcap">Overshot Dobby</span></h3> - -<p>Another type of loom employed in the making of fancy goods is what -is known as the overshot loom. It is used for the introduction of a silk -weft figure effect, and is probably the most pronounced form of elaboration -introduced. It differs from the old rise and fall method in the economy of -operation. The overshot continues to weave the body of the goods right -along while the auxiliary shuttle is putting the silk figure in at the same -time. Not only is it economical in the respect of greater yardage, but the -method employed in binding the figure limits the use of silk to the actual -figure displayed, and does not carry the silk, which is the most expensive -material in the fabric, to the extreme selvage at every pick, as is the case -where the rise and fall method is employed.</p> - -<p>In the overshot system a specially designed dobby, shown at Fig. 3, is -used for operating the lightly weighted threads of the binder warps. Two -pairs of knives are employed, one of each pair operating far enough to -raise the threads used in the binder warp to the level of the top main shed, -while the other one of each pair carries the threads which are used for -figure purposes to a higher level, so that the overshot shuttle may pass -under them. This occurs every alternate pick of the loom, the body shuttle -making two picks while the upper or overshot shuttle makes only one.</p> - -<p>In levelling the harness, setting or timing of the loom, and making the -shed for overshot work, the plans followed are identically the same as in -ordinary single shuttle work, as the upper shuttle and upper shed are -distinctly auxiliary and subordinate to the main shed. The binder warp, -being necessarily but lightly weighted in its relationship to the upper and -lower cloths it is binding together, allows for the figure threads to be -strained out of their normal position, so that the upper shuttle may pass -under them. In order to conform to this strained position of the binder -figure threads, the upper shuttle must be acutely pitched downward at the -nose so as to get a good clearance, and thus avoid any binding in its -passages through the shed. This peculiar downward pitch of the shuttle -is very important and cannot be over emphasized. It is shown in Fig. 4.</p> - -<p><span class="pagenum"><a id="Page_19"></a>[19]</span></p> - -<p>The overshot dobby is so constructed that a different set of draw -knives operate on each alternate pick of the loom, one on the binder lift -and the other on the rubber lift. This not only allows for a silk figure -made with the shuttle but affords facilities for the introduction of a warp -figure also, a combination which can often be made very effective, as shown -in Fig. 5.</p> - -<div class="figcenter illowp100" id="ch3-fig4" style="max-width: 43.75em;"> - <img class="w100" src="images/ch3-fig4.jpg" alt="" /> - <p class="caption">Fig. 4.—Showing Auxiliary Shed and Pitched Shuttle as Used -in Overshot Work</p> -</div> - -<h3><span class="smcap">Importance of Dobby Harness</span></h3> - -<p>Too much importance cannot be attached to the rigging of the dobby -harness. A 30/9 ply linen cord is desirable and a lingo of about 16 to the -pound. After deciding on the character of the tie-up required, and when -the harness has been threaded in the compart boards, the lingoes should be -looped on the strings, and then left to stand and settle for a couple of days -before leveling. It is better still to run the dobby machine for a few hours, -lifting all the harness and then dropping them, so as to settle the strings -and take out any kinks or loose places which are bound to exist in a highly -cabled linen cord of this character.</p> - -<p>The labor required in the tying up and leveling of a string harness -suggests the advisability of great care in determining the tie-up to be used, -so that changes of pattern can be made easily without involving changes in -the tie-up. In order to prolong the life of the harness, in the adjustment -of which so much time and care must necessarily be spent, it is advisable to -apply a dressing of boiled linseed oil, which should be thoroughly worked -into the strings by running the harness for several hours, using one and -one change cards. This should be followed by a dusting of talc or soapstone, -which will add much to the smoothness of the finish.</p> - -<p>To reduce the friction of the strings which operate in the several outside -compart boards, where the strain and wear are particularly acute, and -also to prevent the strings from cutting into the boards themselves, it is -good practice to fix strips of ground glass between the different rows of -strings, just above the compart boards. These strips of glass may be -threaded through drilled holes in the compart board frame.</p> - -<h3><span class="smcap">Construction of Simple Webs</span></h3> - -<p>Before enlarging further on details of fancy looms, it will be well to -retrace our steps and consider the construction of some of the simpler -forms of web, such as are made on what we have described as plain looms. -The webs best known, perhaps, are those such as are used for men’s -ordinary garter wear, and for cutting up to retail in the regular dry goods<span class="pagenum"><a id="Page_20"></a>[20]</span> -and notions trade. They vary from one-quarter to 2 inches in width. There -are several distinct classes of these goods, the best known of which are the -loom webs, the lisles and the cables, all of which are of single cloth construction, -in which the filling is the main feature. There are generally two -cotton warps used in such goods, one of which is commonly called the binder -and weaves two up and two down, while the other is called the gut or filler, -and works with the rubber warp, one up and one down. The selvages of -these webs are made with the filling, which passes around a wire at each -pick, the wire remaining stationary while the web is taken away from it in -the process of weaving. An illustration of a loom web of this character is -shown at Fig. 6. The draft and cam arrangement are shown at Fig. 6A.</p> - -<div class="figcenter illowp100" id="ch3-fig5" style="max-width: 43.75em;"> - <img class="w100" src="images/ch3-fig5.jpg" alt="" /> - <p class="caption">Fig. 5.—Combination Warp and Shuttle Figure Produced on Overshot -Dobby.</p> -</div> - -<div class="figcenter illowp100" id="ch3-fig6-10" style="max-width: 43.75em;"> - <img class="w100" src="images/ch3-fig6-10.jpg" alt="" /> - <p class="caption">Fig. 6 <span class="spacer">Fig. 7</span> - <span class="spacer">Fig. 8</span> <span class="spacer">Fig. 9</span> - <span class="spacer">Fig. 10</span></p> -</div> - -<p>It is customary in some factories to use only one harness to carry both -rubber and gut, inasmuch as the weaving of the two are the same and they -both go in the same cavity or pocket of the web. Where such a method is -employed there is always a tendency for the gut threads to get out of their -proper places, and to fall together in pairs at irregular points, which will -produce an objectionable “rowey” appearance in the goods. This will be -noticed more particularly in white and light colored webs.</p> - -<p><span class="pagenum"><a id="Page_21"></a>[21]</span></p> - -<div class="figcenter illowp100" id="ch3-fig6a" style="max-width: 62.5em;"> - <img class="w100" src="images/ch3-fig6a.jpg" alt="" /> - <p class="caption">Fig. 6A.—Harness Draft and Weave for Three-Quarter Inch Loom Web</p> -</div> - -<div class="figcenter illowp100" id="ch3-fig7a" style="max-width: 62.5em;"> - <img class="w100" src="images/ch3-fig7a.jpg" alt="" /> - <p class="caption">Fig. 7A.—Harness Draft and Weave for One-Half Inch Lisle Web</p> -</div> - -<div class="figcenter illowp100" id="ch3-fig8a" style="max-width: 62.5em;"> - <img class="w100" src="images/ch3-fig8a.jpg" alt="" /> - <p class="caption">Fig. 8A.—Harness Draft and Weave for Three-Quarter Inch French Web</p> -</div> - -<div class="figcenter illowp100" id="ch3-fig9a" style="max-width: 62.5em;"> - <img class="w100" src="images/ch3-fig9a.jpg" alt="" /> - <p class="caption">Fig. 9A.—Harness Draft and Weave for Three-Quarter Inch Cable Web</p> -</div> - -<p><span class="pagenum"><a id="Page_22"></a>[22]</span></p> - -<p>In the harness draft shown, it will be seen that one harness is employed -for the rubber and one for the gut. It is thus possible to shed the gut -harness so as to open more than the rubber, having it travel both higher and -lower than the rubber harness at each alternate pick of the loom. By this -movement the gut threads will be kept in the desired position, and at the -same relative side of the rubber threads in each of the several pockets designed -to carry them both. If, from any unusual cause, any of the gut -threads get away from their proper places it is easy by this arrangement -of separation to lift the gut harness at any time, insert a thread of cotton -between the gut and rubber threads, and put them in their proper places -when commencing to weave again.</p> - -<p>The weave employed in the making of webs of this kind, although of a -very simple character, involves a condition which does not favor a straight -well woven fabric unless great care is taken to offset troublesome tendencies. -The nature of the weave is such that at one pick the binder harness changes, -while on the next pick it remains open and does not change, the rubber and -gut harness changing only. The result of this movement is such that one -shed clears for the reception of the filling much better than the other, so -that at one side of the web the filling will hug the edge wire, shown at -W in Fig. 6A, while at the other side of the web the failure to get a good -clearance prevents the filling getting so snugly around the wire. Therefore, -as the web draws away from the edge wire in the process of weaving, the -tendency is for one selvage rubber cavity to be small, while the other is -large, which means that at the open side there is a freedom for contraction -of the edge rubber which is not present at the other side, and a long-sided -uneven web is the result.</p> - -<h3><span class="smcap">Making a Good Selvage</span></h3> - -<p>To counteract this it is essential that great care should be taken to -get a good clearance of the shed. The shed should be timed as early as -possible, so as to give every particle of fibre on the warp a good chance to -separate and clear itself. When space permits, the front reed should be -set slightly over on one side of the reed space, so as to create a little -longer pull on the filling as it draws from the shuttle on the open side, -and correspondingly eases up the draw of the filling on the other side. -The warp stock used, however, may be of such a character that the loose -fibre on it makes even these precautions ineffective altogether to counteract -the trouble, and it may then become advisable to put in a fine edge wire on -the open side of the web to offset the creeping tendency of the selvage -rubber thread when contraction takes place after the web comes through -the press rolls.</p> - -<p>The feature which is aimed at, and which is most desirable in the -appearance of such goods, is a clean cut prominent rib at the rubber line, -and the avoidance of a flat paper-like look and feel of the web generally. -The prominence of the rib varies, of course, according to the size of the -rubber thread used, and the binder warp employed in dividing the same, -but even the very best of conditions may be spoiled if proper care is not -taken to get all the prominence of rib possible. Use as fine a binder warp -as is practicable, compensating for any loss of weight or excess of contraction -by using a heavier gut, which again of itself helps to fill in the -rubber cavity and thereby lends additional prominence to the rib. All the -weight possible should be carried on the binder warp up to a point of safety, -and care should be taken to get a very easy, uniform delivery of the warp -from the beam so as to avoid any erratic jerky movement of the warp lever.</p> - -<p><span class="pagenum"><a id="Page_23"></a>[23]</span></p> - -<p>The warp beams which are used on this delicate type of work should -be well balanced and true to center, and the flanges free from any -irregularity which would in any way interfere with the easy and uniform -operation of the warp lever.</p> - -<p>The gut, which weaves in with the rubber thread, is used for the two-fold -purpose of giving additional body to the fabric and of regulating in a -measure the length of stretch in the goods. The more gut there is used, -the less becomes the power of contraction of the rubber warp, and the -shorter the stretch produced.</p> - -<p>Aside from the fineness and body of the goods, the element of stretch -largely governs the market value of the fabric, so that good judgment and -great care must be exercised in the assembling of the different sizes of yarns -used. Weft, binder and gut all play their part in the governing of the -stretch, as also does the number of picks put in the goods. Any excess of -weight on the binder warp also materially reduces the stretch. In fact, -any one of these features, wrongly adjusted, may result in the difference -between the profit and loss.</p> - -<p>In making the selvage of these goods a hard steel wire is used, around -which the filling passes at each pick. This wire, shown at W in Fig. 6A, is -highly tempered piano wire, of the very best quality obtainable. Sharpened -to a needle point at one end, with a loop turned at the other end, it is -fastened at the back of the loom by a cord which has an adjustable slip -knot, so as to be able easily and quickly to regulate the length of wire -running in the web. It is then passed through a harness heddle eye on the -rubber or gut shaft, and through a reed space next outside the selvage -rubber thread. The constant wear of this wire on the reed dent makes it -necessary to have this dent of hardened steel so as to withstand the constant -wear of the wire, which is always being crowded against the dent by the -nipping action of the filling as it draws against the wire in the process -of weaving, and the repeated beat at the same place in the dent at the -weaving line. In any event, after a short time the dents in the reed will -be cut so that it becomes necessary to frequently replace them with new -ones, and for this reason it should be so arranged that they can be easily -and quickly removed from and replaced in the reeds.</p> - -<h3><span class="smcap">The Lisle Web</span></h3> - -<p>The lisle web, being perfectly plain, is similar in general character to -the loom web, except that it is made with high grade combed and gassed -yarns for the filling in place of cheaper stock used on the loom webs, and -is woven with four threads for the binder warp between each strand of -rubber, instead of two as in the loom web. The harness draft of the one-half -inch lisle web shown at Fig. 7, together with the weave, is shown at -Fig. 7A. The construction is as follows: Binder, 36 ends 80/2; gut, 8 ends -40/2; rubber, 10 ends 32s; reed, 21 dent; picks, 78 per inch; stretch, -75 per cent.</p> - -<p>It will be seen that all the binder threads operate two up and two -down, but change at each pick in rotation, making the repeat every four -picks of the loom. In a weave of this character the changes of the harness -are distributed uniformly at each pick, thus making it much easier to get -uniform conditions on each selvage. It differs from the loom web in this -respect, where the alternating light and heavy pick has to be contended with.</p> - -<p>Like the loom webs, prominence of the rib over the rubber thread is -the main feature aimed at in the general appearance of the fabrics, and -therefore everything possible should be done which will emphasize this. The -binder warp must be of fine yarns, and the warp must be weighted so as -to cut the warp line down sharp and clear up to a point of safety, being<span class="pagenum"><a id="Page_24"></a>[24]</span> -careful at the same time not to go to excess so as to narrow in the goods -or cause undue chafing of the rubber warp. The yarn most generally used -for filling is 26-2 comber and gassed high grade stock, of about 15 turns per -inch. It should be a well-rounded lofty yarn so as to obtain all the -covering property possible. It should be spun with the utmost uniformity, -as the slightest irregularity in the yarn will be noticeable in the goods.</p> - -<p>The dyeing and bleaching of the yarn used for filling is also of the -greatest importance. It is not an unusual occurrence to find otherwise -perfect goods made unmarketable as first class by the use of a filling -yarn which has not been properly processed. This faulty condition of the -yarn may be caused in a variety of ways; such as an irregular boil, poor -circulation of liquor in the kier, irregular drying, etc. Even when the -color appears to be perfect, poor processing will often prevent the smooth -running of the yarn from the shuttle, causing it to drag and thus create -irregular and crooked selvages which result in the repeated breaking of the -selvage rubber threads and ruin the goods.</p> - -<p>The many difficulties of this character which were encountered when -skein yarn was more generally used for filling led to the introduction and -almost general use of warp yarns for filling purposes, inasmuch as the -method of processing the warp yarns gives results which are not nearly so -variable. Furthermore the long unbroken runs of thread obtainable by -quilling avoid the many knots which are present when using skein yarn. -Knots are unsightly and objectionable when appearing on the face of the -goods.</p> - -<p>Chafed and broken edge rubber threads, however, are not always the -result of the conditions named, by any means, but may be caused by a -variety of other things. Not infrequently the edge wire may be weaving too -long in the web so as not to draw out freely. Sometimes it may be a bent -wire that causes the trouble, or it may be the rubber rolling around the -wire. Many times defects are caused by the edge wire having cut into -the dent, so that it has a file-like effect as the rubber thread passes by in -weaving. All these things require looking into, and when trouble comes -the cause should be found and not guessed at.</p> - -<h3><span class="smcap">French Web or Railroad Weave</span></h3> - -<p>Another plain web which has attained considerable popularity, and -which is a kind of intermediate grade between the loom web and the lisle, -is what is known as the French web or railroad weave, shown at Fig. 8. In -almost all respects the general treatment of this web is the same as already -described, and it differs only in the draft, which is shown at Fig. 8A. It -allows for the use of a somewhat finer yarn than is generally employed in -the loom web, and the draft changes at every two cords, which gives it a -peculiar “rowey” appearance from which it derives the name of railroad -weave.</p> - -<p>There is one feature associated with all these plain webs which it -might be well to speak of. The high tension at which it is necessary to -work the rubber warp, together with the light weight required on the cotton -warp and the crowding together of the picking, creates a tendency for the -goods to rebound at the front reed, accompanied by a backward and forward -sliding movement when passing over the rod at the breast beam. This -movement is liable to polish the goods, which is an objectionable feature. -To counteract this it is advisable to let the web pass over a small, felt-covered -wood tube, which revolves and responds to the movement of the -bounding web. In this way there is no friction to glaze or polish the web -and interfere with the bloom of the yarn. The same polish will occur as -the goods pass through the press rolls, unless they are felt covered.</p> - -<p><span class="pagenum"><a id="Page_25"></a>[25]</span></p> - -<h3><span class="smcap">Cable Web</span></h3> - -<p>The most popular web now made up into men’s garters is what is -known as the cable web, shown at Fig. 9. With the pronounced prominence -of the two-dent rib, which gives it a character peculiarly different from the -plain web, it is well adapted to this class of goods. Simple in appearance, -it nevertheless requires special care to manufacture, particularly when we -remember that it is not unusual to be required to make a finished stretch -of not less than 100 per cent. The harness draft and weave are shown at -Fig. 9A. The construction is as follows: Binder, 34 ends 80/2; Gut, 24 -ends 20/2; Rubber, 18 ends 28s; Reed, 20 dent; Picks, 80 per inch; -Stretch, 100 per cent.</p> - -<p>The filling, floating across the wide spaces under which lie the rubber -threads in pairs, is very easily thrown out of place, the result of which -may be an unsightly seersucker appearance, as shown in Fig. 10, which the -process of finishing aggravates rather than corrects.</p> - -<p>Trouble may manifest itself by the filling over the ribs opening up and -allowing the gut threads to prick through. To prevent this objectionable -feature it is necessary to use a good quality of moderately soft yarn for -the gut, not necessarily of high grade stock, but a yarn which is uniformly -spun and not at all hard or wiry. As these goods are being woven and -on full stretch, the gut threads, of course, are perfectly straight and -accurate in line, but when contraction takes place, to probably one-half the -former length, these heavy threads, which form probably about 25 per -cent. of the weight of the entire web, should bend or fold uniformly and -dispose of themselves in such a manner as not to appear in any way on -the face of the web, snugly housed away in the several pockets or cavities. -If the yarn composing these gut threads is spotty or irregularly spun, this -uniformity of fold inside the pockets will be broken up and the appearance -of the face of the goods is likely to be marred by unsightly specks of -cotton pricking through, which can be both seen and felt.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_26"></a>[26]</span></p> - -<h2 class="nobreak" id="Chapter_IV"><span class="smcap">Chapter IV.</span></h2> - -<p><i>Elaboration of Honeycomb Effects by Parti-Dyed and Printed Fillings—Bandage -and Surgical Webs Made with Plain and Covered Rubber—Frill -Web Woven on Cam Looms—Double Cloths—Importance -of Securing Balance Between Back -and Face of Goods</i></p> - -</div> - -<p>Among the group of single cloth webs confined to the capacity of -plain looms, is what is commonly known as the honeycomb, shown -at Fig. 1 and Fig. 1A. This is generally made with silk, wood silk, -or schappe filling. The smooth filling floating over two cords gives the -web a smooth feel, there being no rib effect noticeable whatever, making it -well adapted for a fine trade. The warp lines are almost entirely hidden -by the filling, so that it is not practicable to introduce any sharp stripe -fancy effects, which can be done both in the plain web and the cable. The -honeycomb is thus confined to plain solid colors or such elaboration as can -be obtained from the filling.</p> - -<p>Fancy effects are often secured by dyeing skein yarn in two or more -colors. Such yarns when woven in the goods produce alternating effects at -regular distances in different colors, such distances being governed by the -length of the dips and the width of the goods. The effects which can be -produced are quite varied. The simplest way of accomplishing this is to -use the regular 54-inch skein, having white or some light shade as a base, -and then dyeing a given portion of the skein another color. This process -is carried out by hanging the skeins on sticks placed in a rack at the -required distance above the color liquor, and then lowering them into the -vat and dyeing the immersed part in the usual manner.</p> - -<p>Where cotton is used for the filling and more elaborate effects are -desired, long reeled skeins are used, sometimes 108 or 216 inches, which -have been reeled on specially designed collapsible reels. Such skeins are -not practicable to handle in the dye house in the manner already described. -Sections of such skeins are wrapped in heavy waterproof paper and tied -tightly, so that the dye liquor cannot penetrate that portion, and then the -whole is put in the liquor, when the exposed part only will be dyed.</p> - -<p>Then again sometimes wood clamps are used, like that shown at Fig. 2, -having a recess into which part of the skein is laid after being carefully -folded. The two halves are clamped together tightly in such a manner -that the dye cannot penetrate the clamped part of the skein while the part -left outside the clamp is dyed when the whole is immersed in the dye -liquor.</p> - -<h3><span class="smcap">Printed Filling</span></h3> - -<p>Another form of elaboration used in such goods is printing the skein -yarn used for the filling. This is done by using a machine having a pair -of fluted brass printing rolls, one of which is made to open on a hinge -like a gate so that a skein of yarn can be put around it. This roller is -then closed to its original position, so that with the two rollers parallel -and close together, and the skein of yarn hugged tightly between them, the -turning of the rollers imprints color on the skein. The skein is then taken -out and dryed before spooling. Different sets of rolls are used so as to -get fine and coarse effects and various colors are used in printing.</p> - -<p>Where plaid or printed fillings are used for the elaboration of webs -of the honeycomb type, it is not unusual to introduce a couple of plain -cords in the center of the web, or possibly on either side, so as to break up -the flatness of the weave. This opens up the opportunity of using lines -of a different color in the warp which properly arranged will produce a -plaid-like effect.</p> - -<p><span class="pagenum"><a id="Page_27"></a>[27]</span></p> - -<div class="figcenter illowp37" id="ch4-fig1" style="max-width: 15.625em;"> - <img class="w100" src="images/ch4-fig1.jpg" alt="" /> - <p class="caption">Fig. 1.—Honeycomb</p> -</div> - -<div class="figcenter illowp100" id="ch4-fig1a" style="max-width: 43.75em;"> - <img class="w100" src="images/ch4-fig1a.jpg" alt="" /> - <p class="caption">Fig. 1A.—Harness Draft and Weave for Honeycomb.</p> -</div> - -<div class="figcenter illowp87" id="ch4-fig2" style="max-width: 43.75em;"> - <img class="w100" src="images/ch4-fig2.jpg" alt="" /> - <p class="caption">Fig. 2.—Clamp Used for Dying Parti-Colored Skeins</p> -</div> - -<p><span class="pagenum"><a id="Page_28"></a>[28]</span></p> - -<h3><span class="smcap">Bandage Webs</span></h3> - -<p>There is quite a large demand for surgical and bandage webs, Fig. 3, -in widths ranging from 2 to 4 inches. These webs are used for binding the -limbs and other purposes and are in the pure white or natural yarns. They -require to be made with a long soft easy stretch. An open reed of about 12 -dents per inch is employed. Four threads are generally used for the binder, -weaving two up and two down. The goods are similar in construction to -a regular lisle web, except that the gut is omitted in order to get the easiest -possible movement.</p> - -<div class="figcenter illowp100" id="ch4-fig3" style="max-width: 43.75em;"> - <img class="w100" src="images/ch4-fig3.jpg" alt="" /> - <p class="caption">Fig. 3.—Bandage Webs; Fabric at Left Made with Plain -Rubber; Web at Right Made With Covered Rubber</p> -</div> - -<p>The yarn is generally the same quality and size for both warp and -filling, and is usually a soft spun 2-20s. The side of rubber is generally -about 38 or 40, with 40 picks per inch and a finished stretch of 100 per cent. -The use such webs are put to, necessitating as we have already said a soft -and sluggish stretch, prevents the use of a heavy rubber thread, the result -being that when the bandage is kept in close contact with the warm body, -the life of the fine rubber is of short duration.</p> - -<p>This condition, and the open weave necessary to get the easy stretch, -have made it expedient to use in many of these goods strands of rubber -which have been covered with cotton threads before weaving. This process -not only prolongs the life of the web, but allows for even more open weaving, -the use of different weaves than would be possible where the uncovered -rubber thread is used, and the production of a fabric more suitable for -the purpose.</p> - -<p>In order to get the soft easy stretch which is the most desirable -characteristic of a bandage web, and yet have the necessary width, it is not -unusual to introduce a seersucker effect, as shown in Fig. 4, in sections of -the web so as to reduce the strong elasticity of the whole. In an ordinary -cotton cloth the seersucker or crinkle effect is usually produced by the use -of a separate warp of heavier yarn than the rest of the fabric, which warp -must be weighted differently and often a different weave is employed to -emphasize the contrast in the puckered seersucker effect.</p> - -<p>In the elastic web all this special preparation is unnecessary. Wherever -the seersucker stripe is desired, strands of rubber are left out which of -course takes away from these portions that element which contracts the other -part of the web, and a seersucker effect is the result. Such stripes are -often used for the ornamentation of some webs by having narrow sections -introduced for border effects, or running down the center, and in fact they -may be employed in a variety of ways, inasmuch as they lend themselves -effectively to different forms of coloring, in relief to the main fabric.</p> - -<p><span class="pagenum"><a id="Page_29"></a>[29]</span></p> - -<div class="figcenter illowp58" id="ch4-fig4" style="max-width: 21.875em;"> - <img class="w100" src="images/ch4-fig4.jpg" alt="" /> - <p class="caption">Fig. 4.—Seersucker Effect</p> -</div> - -<div class="figcenter"> - -<div class="figmulti illowp100" id="ch4-fig5" style="max-width: 21.875em;"> - <img class="w100" src="images/ch4-fig5.jpg" alt="" /> - <p class="caption">Fig. 5.—Frill Web Made on Cam Loom</p> -</div> - -<div class="figmulti illowp100" id="ch4-fig6" style="max-width: 21.875em;"> - <img class="w100" src="images/ch4-fig6.jpg" alt="" /> - <p class="caption">Fig. 6.—Plain Web</p> -</div> - -</div> - -<div class="figcenter illowp100" id="ch4-fig6a" style="max-width: 62.5em;"> - <img class="w100" src="images/ch4-fig6a.jpg" alt="" /> - <p class="caption">Fig. 6A.—Harness Draft and Weave for Fig. 6, Simplest Form of Double Cloth</p> -</div> - -<p><span class="pagenum"><a id="Page_30"></a>[30]</span></p> - -<p>In passing it might be well to note that where it is necessary to use -covered rubber threads special arrangements are required for making the -warps, as the covered thread cannot be handled like the ordinary thread. -The spools are placed in a rack which is required for each warp. Arrangements -have been made so that to each spool is attached a special head, -which can be weighted either by a lever brake or weight attached to a cord -running in a groove on the auxiliary head. By this arrangement uniform -delivery of the threads can be made to the warp beam so as to avoid any -puckering caused by irregular warping.</p> - -<h3><span class="smcap">Frill Web on Cam Loom</span></h3> - -<p>In single cloth webs as already stated, the scope for ornamental effects -is necessarily limited. The bulk of such webs, particularly those made with -a wire edge, are for the most part plain. There is a type of garter web, -however, characterized as “frill” and shown at Fig. 5, which may be made -within the narrow limitation of cam looms, although the frill feature is more -generally used in connection with more elaborate fancy effects.</p> - -<p>The frill part is practically a section of non-elastic of any desired -width woven on to a section of elastic, which likewise may be of variable -width. The strands of rubber used in the central section, being woven under -tension, contract this portion of the fabric after it leaves the press rolls. -The side sections having no rubber in them do not contract, but frill up -uniformly on either side of the web in regular fluted folds. No wire is -required for the selvage when a frill is made, and the tension of the filling -is adjusted so as to hug the outside threads of the frill warp and make a -neat selvage without narrowing it in beyond the width of the reed space -occupied by the warp.</p> - -<p>The frill part must be on a separate warp, apart from the binder -threads which are used in the central section. The elastic section is made -in the regular manner already described for webs of four harness capacity. -The frill is likewise constructed from the same harnesses, but the draft is -so arranged that two of the harnesses are used for one frill and two for -the other. This arrangement is made in order that the filling may only be -bound in alternating picks on the frill part, whereas in the body it is bound -at every pick. This method makes the frill soft and pliable, so that it -readily responds to the contraction which takes place in the body part, -and thus makes for regularity in the formation of the folds.</p> - -<p>Should an exceptionally fine frill be desired, the same two harnesses are -used for the frill at either side, and the filling is bound or woven in at -each passage of the shuttle. Wherever this method is employed, however, -it becomes necessary to use a much finer yarn for the frill warp, or a -fewer number of threads spread over the front reed in the frill. If such -precautions are not taken the frill will be harsh and stiff and will not fold -uniformly as the center contracts. It may even retard the desired contraction -of the body.</p> - -<p>It is not advisable in making frill webs to use a regular front reed -having the same spacing of dents all across. There is a liability of getting -a coarse looking frill, showing up the marks of the reed dents. The plan -more desirable is to use a reed with the dents required for the frill part -of the fabric spaced very much finer than those used for the body, generally -in the ratio of two to one, so that the frill threads may be evenly distributed -in ribbon-like formation and not show the coarse lines of the dents.</p> - -<p>Occasional calls are made for webs having a frill on one selvage only. -In this case it becomes necessary to use an edge wire on the side having -no frill, and exceptional care must be taken in this class of goods to produce -the proper balance. A soft frill is required and a limited contraction of -the body part.</p> - -<p><span class="pagenum"><a id="Page_31"></a>[31]</span></p> - -<h3><span class="smcap">Double Cloth Webs</span></h3> - -<p>Our remarks so far have been confined exclusively to single cloth webs -of a simple character, where, apart from the rubber and gut there is only -one warp used, and where both back and face of the web are alike. We -will now turn our attention to what are known as double cloth webs, where -two distinct cloths are woven, one for the face and one for the back, each -working independently of the other, but tied together by another warp -known as the binder, or else the two cloths interlock each other in such a -manner as to bind them together without the assistance of another warp.</p> - -<p>By this method of weaving much thicker and heavier webs may be -produced with a limitation of elasticity which cannot be obtained by the -single cloth method. The weaves and materials employed in the face and -back of the goods may be identical, or weaves of a different character and -stock of different qualities, sizes and colors may be used. Fancy effects may -be used to embellish the face, while the back may be perfectly plain and -free from any coloring whatever.</p> - -<p>There are certain features associated with the construction of double -cloth webs which make them entirely different to deal with. The different -weaves and the different stock employed necessitate splitting up the warps -into sections to accommodate such conditions. A separate warp is required -for both back and face and also one for the binder, which delivers a much -greater length of warp than either, necessitated by the character of the -weave used in binding the upper and lower cloths together. A separate -warp is also required for the gut, which goes in the web perfectly straight -and is shorter in length than any of the other sections. Such goods also -require a special warp for the selvage, so that in the simplest form of such -webs a bank of five warps is necessary. On fancy goods the introduction -of fancy warps may add to this number.</p> - -<h3><span class="smcap">Balance Between Back and Face</span></h3> - -<p>The element of a right balance between the back and face has to be -considered, and if care be not taken in the proper adjustment of the stock -the result may be that one side of the goods will assert control over the -other in such a manner as to prevent it lying flat and even. When such a -web is cut it will curl up so as to be almost uncontrollable. Such a condition -may arise from a variety of causes. If the weaves of the face and back -cloths are identical then it will be necessary to have the face and back -warps of the same size yarn or its equivalent. For instance, should the -face be a four-thread plain and 40/2 is used, and the back only two threads, -then the yarn used for the back warp must be 20/2 so as to equal the -four threads of 40/2 in the face. Should, however, the face be a more -open weave than the back, then an equal weight of yarn in both cloths -will not be right, and it will be necessary to use yarn of a heavier weight -for the face to compensate for the freedom of the more open weave and -effect a proper balance with the more tightly woven back. There can be -no fixed rule to apply to this, and only experience will indicate the proper -relationship between the two. In Figs. 6 and 6A are shown the simplest -form of double cloth, known as a plain web.</p> - -<p>By carefully following the weave it will be seen that while the face -weaves 3 up and 1 down, and the back 1 up and 3 down, the filling will -appear both on the face and back of the goods as 1 up and 1 down. If -the binder was not there it would be a tubular web, having the same appearance -all around. The binder, however, intersects the upper and lower cloths -at each pick and binds the two together in one complete whole, while the -rubber lies between the two, each strand being separated by the interlocking -binder threads.</p> - -<p><span class="pagenum"><a id="Page_32"></a>[32]</span></p> - -<p>It becomes necessary in order properly to connect the upper and -lower cloths at their extreme edges to use a selvage warp, which as will be -seen in Fig. 6A is drawn in on all four face and back harnesses, and the -threads of which are arranged so as to complete the weave all around. To -do this it will be seen that there is an odd thread at one side, otherwise -the weave at this point would show two threads operating together next -to each other, and would break up the continuity of the weave.</p> - -<div class="figcenter illowp87" id="ch4-fig7" style="max-width: 43.75em;"> - <img class="w100" src="images/ch4-fig7.jpg" alt="" /> - <p class="caption">Fig. 7.—Method of Banking a Set of Warps for Double Cloth Webs</p> -</div> - -<p>The selvage plays an important part in the structure and weaving of -the web. It forms the pocket for covering in which lies the outside rubber -threads, and it must be so arranged that these threads can function properly -so as to make a piece of goods that will lie flat. In the first place the -yarn must be of such a size that with the proper number of threads employed -the selvage will contract uniformly with the body of the goods, so -that the web will not “frill” on account of a too heavy selvage, or “belly” -because it is too light.</p> - -<h3><span class="smcap">Care for Selvage</span></h3> - -<p>The threads must be properly divided in the front reed so as to make -a good clearance for the filling, which otherwise would “nib” up and make -an unsightly selvage. Then again, a careful adjustment of the weight -carried on the selvage warp must be made so as to accommodate it to the -requisite tension of the filling as it is delivered from the shuttle, otherwise -the edge rubber threads will be liable to chafe and cut off when strained -out of proper alignment with the front reed. It will be observed in the -draft that two rubber threads are used in each selvage, which is necessary -in order to control the additional yarn used in the construction of the -selvage.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_33"></a>[33]</span></p> - -<h2 class="nobreak" id="Chapter_V"><span class="smcap">Chapter V.</span></h2> - -<p><i>Three Leaf Twill or Satin Face Woven in Conjunction with Plain Back—Position -of Back Rolls in Relation to Harness Shed—Use of Four -Leaf Twill—Filling Fancy Effects and Stitch Figures—Interchanging -Figure and Face</i></p> - -</div> - -<p>Turning our attention from plain webs to combination weaves, we -will take up what is popularly known as the three-leaf twill, or satin -face, woven in conjunction with a plain back. This is a type of web -not only used for suspenders, but employed extensively for corset -garter attachments also. A web of this character when properly constructed -has a smooth velvet-like face. The threads are uniformly distributed across -the width without showing any of the “rowy” effect from the binder warps, -which are completely hidden by the heavy pile produced by the float of -the face threads. When the contraction of the web takes place, these -floating face threads mass together in a velvet-like pile, not only producing -a smooth handling web but materially increasing the thickness. Such webs -are generally constructed with a six-thread face and a four-thread back, -and have what is termed a round edge, similar to the selvage used on a -plain web. This arrangement shows up the twill face by contrast and -gives the fabric a much finer appearance.</p> - -<h3><span class="smcap">Harness and Chain Draft</span></h3> - -<p>Fig. 1 shows the harness and chain draft of such a web, together with -the construction of a properly balanced web for standard goods of 1⅛ -inches wide. It will be noticed that the face, consisting of 150 threads, -is split up into two warps of 75 threads each. This arrangement is -necessary in order properly to weigh them so as to get a good clearance in -the shed. The warp has to be divided likewise in the harnesses and put -on six harness frames, although the weave could be produced on three. It -would not be practicable to crowd 50 threads on one harness frame in the -narrow space available, as the harness eyes would shoulder and crowd too -much when changing.</p> - -<p>In drawing-in this web, one face warp should be arranged so that the -threads are drawn on the first, third and fifth harnesses, and the other -face warp should be on the second, fourth and sixth. Such an arrangement -in the distribution of the warps makes it much easier on the mechanism, -and minimizes the risk of breakages. It is also important to make proper -divisions of the warps at the back rolls, inasmuch as some of the warps -have to be weighted heavily while others are only lightly weighted, and also -on account of the different take-up of the varied weaves.</p> - -<p>The back rolls should be set in a graded position so as to prevent -undue friction of one warp against another. The binder warp should be -worked under the front roll on account of the extremely light weight this -must carry. Fig. 2 shows the proper position of the back rolls in relation -to the harness shed.</p> - -<p>In a web of this character where the warp stock is somewhat crowded -in the front reed, there is always a tendency for a fibrous yarn to prevent -a perfect clearance in the shed, with a liability of producing occasional -floats through the shuttle skipping these threads. Such floats will pearl up -when the web contracts and make an imperfect face. This trouble may be -prevented by setting the back rolls a trifle higher than the breast beam rod, -so that the stock in the harness which is down will be slightly tighter than -that which is in the upper harness.</p> - -<p><span class="pagenum"><a id="Page_34"></a>[34]</span></p> - -<p>The chain draft is so arranged that the face harness will operate to -produce a twill which will be reverse to the twist of the yarn employed, and -thus reduce the prominence of the twill weave all possible. The filling yarn -should be soft, of about 15 turns per inch, and of good uniform quality, in -order to produce a nice selvage and not cut the rubber. The reed dent inside -the selvage rubber should be carefully twisted at an angle to conform to the -nipped in position to the rubber thread, so that the outside edge of the -dent will not cut the rubber when the reed beats against the goods at the -weaving line.</p> - -<div class="figcenter illowp100" id="ch5-fig1" style="max-width: 43.75em;"> - <img class="w100" src="images/ch5-fig1.jpg" alt="" /> - <p class="caption">Fig. 1.—Three Leaf Twill, or Satin Face. Woven in Conjunction With a Plain Back</p> -</div> - -<div class="figcenter illowp100" id="ch5-fig2" style="max-width: 43.75em;"> - <img class="w100" src="images/ch5-fig2.jpg" alt="" /> - <p class="caption">Fig. 2.—Showing Position of Back Rolls in Relation to Shed</p> -</div> - -<h3><span class="smcap">Use of Coarser Yarn</span></h3> - -<p>A fine looking twill may be produced with a somewhat coarser face -yarn by using a five threaded face over a six-thread repeat. This is shown -in the harness draft at Fig. 3.</p> - -<p>In non-elastic fabrics there are available a variety of twill and satin -weaves for the production of soft lustrous surfaces, but this is not so in -elastic webs, as the contraction of the goods after weaving would produce a -ragged, spongy surface. A float of three picks on the face is about the -limit it is practicable to go on an elastic web, with few exceptions, and -even this only in connection with fine picking.</p> - -<p><span class="pagenum"><a id="Page_35"></a>[35]</span></p> - -<h3><span class="smcap">Use of Four Leaf Twill</span></h3> - -<p>A four leaf twill, however, can be used to great advantage when a -heavy body is desired, as for example what is known as “farmer’s web.” -These are usually made about two inches wide, and to further add to their -weight they have what is termed a cushion back, the weave of which is 7 -down and 1 up. The use of these soft weaves on both face and back, -while giving the web great thickness on account of the deep velvet-like pile -produced, deprives it of much of its firmness. This condition is met by -the introduction of an auxiliary back warp, underneath the main back -warp, weaving 3 down and 1 up, which knits the upper and lower cloth -more firmly together, thus increasing the firmness of handles of the goods.</p> - -<div class="figcenter illowp100" id="ch5-fig3" style="max-width: 43.75em;"> - <img class="w100" src="images/ch5-fig3.jpg" alt="" /> - <p class="caption">Fig. 3.—Five Thread Face Over 6 Dent Repeat</p> -</div> - -<p>Another web among the plain loom products calling for passing mention -is that specially made for the police and fireman’s brace. While this -has a 7 down and 1 up cushion back similar to the farmer’s web, it differs -in having a smooth plain face in place of a twill. This arrangement of -combining a plain face with a cushion back necessitates selection of the -sizes of yarn used for the various warps so as to maintain a proper balance -of the different weaves employed in the face and back. Otherwise the goods -would curl up and it would be impracticable to cut them up for manufacture. -Consideration must also be given to the effect of padding the size -upon such goods in the finishing process, of which we will say more later.</p> - -<h3><span class="smcap">Filling Fancy Effects</span></h3> - -<p>All the webs so far described have been such as could be produced on -cam looms of various capacities. We will now turn our attention to what -are generally understood as fancy effects. It might be well to treat these -under two distinct headings. Those made with the shuttle, or what are -called filling patterns, and those made from the warp, or what are called -stitch patterns.</p> - -<p>The figures or fancy effects produced by floating the filling over sections -of the warp show up the filling with increased luster in contrast to the -warp. They are confined to no particular character of design, and may -range from the simplest effect produced on the fancy harness loom or -dobby to the more elaborate jacquard design. The ground or body may be -either plain or twill, or any other acceptable weave suitable as a base for -figuring, while the filling may be of a contrasting color, either of silk or -cotton as desired. The figure or design may be made from the same shuttle -used for the ground or it may be made by an auxiliary shuttle, either used -as an overshot or rise and fall, according to the character of web desired.</p> - -<p>Where the figure is made from the ground shuttle it is produced as a -sunken effect. It is made by burying sections of the face warp at intervals -so that in place of the face warp the filling is seen at these points. No -additional figure warps are required for this class of goods, and elaborate -designs are obtainable, although there is not the scope for cross coloring that -there is in the warp figure method.</p> - -<p><span class="pagenum"><a id="Page_36"></a>[36]</span></p> - -<h3><span class="smcap">Stitch Fancy Patterns</span></h3> - -<p>When the design is made from the warp, the figure threads are made -to float on the face of the goods so that upon contraction of the web after -weaving, these floats pearl up in prominence above the level of the face, -and make what is termed a stitch figure.</p> - -<div class="figcenter illowp87" id="ch5-fig4" style="max-width: 21.875em;"> - <img class="w100" src="images/ch5-fig4.jpg" alt="" /> - <p class="caption">Fig. 4.—Point Draw Stitch Figure</p> -</div> - -<div class="figcenter illowp100" id="ch5-fig4a" style="max-width: 62.5em;"> - <img class="w100" src="images/ch5-fig4a.jpg" alt="" /> - <p class="caption">Fig. 4A.—Harness and Chain Draft for Fig. 4</p> -</div> - -<p>It is not our purpose here to particularize in design, which is practically -unlimited, but only to refer to those features which govern the construction -and illustrate as necessary. In order to maintain a proper -balance where figures are introduced on single cloth weaves, it is necessary -to distribute the figure warp uniformly over both the face and back of the -goods so as to maintain a proper balance between the two. In the double -cloth webs the figure warp, when not appearing on the face of the goods, -is allowed to run straight between the upper and lower cloths, going in -the same cavity or pocket as the rubber threads, and it works at these times -as a gut. This, of course, in a measure interferes with the contraction -of the goods and has to be taken into consideration in the construction. -Here again we must note the effect of the contraction in piling up the -floating-figure threads, and the necessity of limiting the floats in making the -design so as to avoid any ragged appearance.</p> - -<p><span class="pagenum"><a id="Page_37"></a>[37]</span></p> - -<div class="figcenter illowp80" id="ch5-fig5" style="max-width: 21.875em;"> - <img class="w100" src="images/ch5-fig5.jpg" alt="" /> - <p class="caption">Fig. 5.—Interchanging Figure and Face</p> -</div> - -<div class="figcenter illowp100" id="ch5-fig5a" style="max-width: 62.5em;"> - <img class="w100" src="images/ch5-fig5a.jpg" alt="" /> - <p class="caption">Fig. 5A.—Harness and Chain Draft for Fig. 5</p> -</div> - -<p><span class="pagenum"><a id="Page_38"></a>[38]</span></p> - -<p>Fig. 4 shows a design of this character, with the harness and chain -draft at Fig. 4A. In this particular web there are six harnesses used for -the main body and ten for the figure, which is a point draw. While the -figure is evenly distributed on the web, wherever it is not seen it is running -between the upper and lower cloths, as already described, and acting as -a gut.</p> - -<p>In order to get a proper balance of the web it is necessary to put -gut threads into the two outer cords where no figure appears, which must -be equivalent in size to the figure threads employed in each of the 21 center -cords. If this is not done the web will contract unduly at the edges and -make it “belly.” The method here used of burying the figure between the -upper and lower cloths when not needed in carrying out the design, affords -opportunity for introducing additional warp threads of different colors, so -as to be able to bring up either one color or another as desired in a design.</p> - -<p>As most of the fancy head looms have not more than 18 harnesses, it -will be seen that the scope of design in this class of loom is somewhat -limited, therefore much ingenuity is required to get elaborate designs from -such limited capacity. But careful study opens up a variety of methods -by which a big range of designs is possible.</p> - -<h3><span class="smcap">Interchanging Figure and Face</span></h3> - -<p>Fig. 5 shows another type of design known as the “interchanging” -fancy in which the figure warp does not pile up above the surface as it -does in the stitch figure, but remains flat with the face of the web. The -harness and chain drafts are shown at Fig. 5A. In this character of design -a given number of face threads are duplicated by a like number of figure -threads, the same size of yarn being used for both. These face and figure -threads are drawn in duplicate harnesses and operated just reverse to each -other, so that when the figure is up at any particular part, the interchanging -face threads are down, and vice versa. The figure weaves only three picks -up on the chain draft, which is one face pick seen on the face cloth, and -this produces a perfectly flat web.</p> - -<p>Another form of elaboration is shown in this web, known as the -“picot” edge. It is generally made of a well cabled thread of silk and is -woven in the selvage, being bound in for several picks and then allowed to -float outside, so that upon the contraction of the web it will pearl out in -small loops, adding much to the elaboration of the web.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_39"></a>[39]</span></p> - -<h2 class="nobreak" id="Chapter_VI"><span class="smcap">Chapter VI.</span></h2> - -<p><i>Combination of Weaves in a Fine Web—Sunken Effects Made on Head -Motion and Jacquard Looms—Employment of More Than One -Bank of Shuttles—The Overshot Method—Use of Different -Colors and Grades of Stock—Binding Long Floats</i></p> - -</div> - -<p>A very effective combination of weaves in a fine web is seen at Fig. 1. -The middle of this web has for the face a 7 up and 1 down weave, -but the yarn and picking are fine. The yarn piles up just enough next -to the plain edge weave to set off the weaves in contrast to each other. -It will be noted that on either side of the silk figure there are two cords -with the binder thread left out between each, which further sharpens up -the contrast. The fancy effect is produced by the use of a heavy cabled -cord, the two outside threads being of reverse twist, so that when they -pearl up on contraction of the web, one turns to the right and the other -turns to the left, making an effective border.</p> - -<h3><span class="smcap">Sunken Effects</span></h3> - -<p>An altogether different type of figuring is seen in Figs. 2 and 3. -Both of these webs illustrate what is known as the sunken effect. In both -cases the face is a three-leaf twill, which character of weave is most -effective in hiding the filling beneath it. Therefore, the figure may be -worked out in sharp contrast. In Fig. 2, which is made on a fancy head -loom, it will be noticed that the face threads on the fifth cord on either -side are left out in order to assist in the carrying out of the plaid effect -aimed at in the figure. It will also be seen that the face warp is striped in -color. The character of the figure is such that the major part of the face -warp is operated in one solid block, making it practicable to produce this -on harnesses worked on a chain loom.</p> - -<p>In the web illustrated at Fig. 3, each thread is operated in the design -independently. Such designs are only producible on a jacquard loom. -But inasmuch as the threads used in forming the figure are confined to -the face warp, it is not necessary to operate the back or binder threads -from the jacquard. It is more convenient to have these worked from the -cams or fancy head in combination with the jacquard, for the reason that -a truer and clearer shed can be obtained.</p> - -<p>Furthermore, by having the back harness and the jacquard operated -from two distinct movements it becomes possible to time them differently so -as to obtain better results in the clearance of the stock in the shed. -A 208 hook machine affords ample capacity for the making of these -goods, allowing for 26 rows of 8 hooks each, which will cover the requirements -of nearly all classes of web, giving an entire row to each cord. -Such arrangements will allow for six hooks for the face, one for the -binder and one for the gut on each row. Thus it will be practicable to -use different colored threads for the gut, which may be brought up in the -design in relief effects to the main figure as required.</p> - -<h3><span class="smcap">Calculation for Figure Distribution</span></h3> - -<p>In this type of figuring, calculation must be made to distribute the -figure uniformly so as to get a well balanced flat effect of the web. As -already stated, wherever the filling is shown, all the face stock at these -points is buried between the upper and the lower cloths, and is acting as -filler or gut in these places, preventing contraction. Should heavy blocks -be thus designed, the web would pucker up in an unseemly manner. The<span class="pagenum"><a id="Page_40"></a>[40]</span> -filling used should be soft and uniformly spun, so that it will mass well -together and in a great measure prevent the buried face stock from -pricking through.</p> - -<p>In designing webs of this character, calculations have to be made from -the web after it is woven and finished, otherwise the design may be out of -the desired proportion. A web may have 60 picks per inch on the breast -plate while weaving, but when contraction has taken place after going -through the press, it may have shrunk as much as 50 per cent. The -steaming and finishing process may further contract it another 10 per -cent. which might make the picks about 100 per inch. Of these only one-half -appear on the face and the other half on the back. Therefore 50 -picks per inch will be the proportion in which the design should be made, -and paper scaled according must be used.</p> - -<h3><span class="smcap">Cross Shot Weaving</span></h3> - -<p>We have so far confined our remarks to webs made on single shuttle -looms. Turning our attention to the use of more than one bank of -shuttles we would first make note of what is known as the cross shot. This -is a form of weaving which largely increases the output and has in it the -further element of economy, inasmuch as by this method the rubber warp -can be worked at a much higher tension than by the single shuttle method.</p> - -<p>In the construction of single shuttle webs, the rubber harness rises and -falls at each passage of the shuttle across the shed. This movement -creates a friction on the rubber thread at the harness eye and an added -friction at the front reed by its passing up and down in the dent. Friction -is still further increased by the backward and forward movement of the -lay, which makes two such passages to one made by the cross shot.</p> - -<p>In the cross shot method, the rubber remains stationary, with no -upward and downward motion, which enables the rubber thread to be -stretched out to its extreme limit while weaving, with little danger of -chafing or breaking. Over and under this stationary rubber are two distinct -sheds, one making the upper and the other the lower cloth. These two fabrics -are stitched together by the binder warp, which travels up and down through -both of these sheds.</p> - -<p>In order to keep all the warp threads uniformly tight while shedding, -it is necessary to run these under separate back rolls, fixed at different -heights, properly centering the upper and lower sheds with the harness -and breast beams.</p> - -<h3><span class="smcap">Position of Rolls</span></h3> - -<p>Fig. 4 will explain the position of the various rolls in relation to the -breast beam. It will also show the peculiar formation of the shuttles used -for this type of weaving, both pointing to one common center, made -necessary by the character of the two sheds. The bow of the upper shuttle -must be tipped downwards, and the lower bank must be tipped upwards, -so as to reduce the friction of the shuttles all possible when they are -passing through the sheds.</p> - -<p>The round edge or covering for the outside rubber threads is drawn in -the harness on the upper shed, and while being woven this cloth is pulled -around the rubbers by the tension of the filling which is carried in the -lower shuttle. This tension is greater than that carried in the upper shuttle, -and so asserts itself by pulling the edge cloth around the outside rubber -until it meets the back cloth weave. The upper and lower fillings are connected -by what are known as tie threads. These threads are drawn in the -harness at each side of the body warp, next to the edge, and are part of -the binder warp. They are operated from the binder harness, but are -only allowed to travel through the lower shed as far as the center of the -web, instead of going all through both sheds, as do the balance of the -binder warp. This movement is accomplished by the use of long looped -harness eyes, which only carry these particular threads through the one shed.</p> - -<p><span class="pagenum"><a id="Page_41"></a>[41]</span></p> - -<div class="figcenter"> - -<div class="figmulti illowp87" id="ch6-fig1" style="max-width: 21.875em;"> - <img class="w100" src="images/ch6-fig1.jpg" alt="" /> - <p class="caption">Fig. 1.—Effective Combination of -Weaves In a Fine Web</p> -</div> - -<div class="figmulti illowp52" id="ch6-fig2-3" style="max-width: 21.875em;"> - <img class="w100" src="images/ch6-fig2-3.jpg" alt="" /> - <p class="caption">Figs. 2 and 3.—Sunken Effects</p> -</div> - -</div> - -<div class="figcenter illowp100" id="ch6-fig1a" style="max-width: 43.75em;"> - <img class="w100" src="images/ch6-fig1a.jpg" alt="" /> - <p class="caption">Fig. 1A.—Harness and Chain Draft for Fig. 1</p> -</div> - -<div class="figcenter illowp100" id="ch6-fig4" style="max-width: 43.75em;"> - <img class="w100" src="images/ch6-fig4.jpg" alt="" /> - <p class="caption">Fig. 4.—Position of Rolls in Relation to Breast Beam for Cross Shot Weaving</p> -</div> - -<p><span class="pagenum"><a id="Page_42"></a>[42]</span></p> - -<p>The binder movement, extending through the two sheds, is formed by a -longer sweep from extra throw cams, or by the use of extended cam -jacks, or by a combination of both. The balance of these goods may be -regulated both by the warp and the filling, and any tendency towards curling -may be corrected by changing the weight of stock used on either.</p> - -<h3><span class="smcap">Use of Different Stocks and Colors</span></h3> - -<p>The use of upper and lower fillings also allows for the use of different -grades of stock in either shuttle. Colors may be used to match the face -warps while white may be carried in the lower shuttle to match the back. -Silk or other expensive stock may be used for the face without changing -the character of the stock used for the back of the goods, which is not -practicable in single shuttle work.</p> - -<p>All this of course makes it possible to reduce the cost, making this the -most economical web produced. In the making of shoe goring, a considerable -quantity of which is still used for inserts for house slippers, this -is a very popular form of weaving, allowing for the production of a face -having a velvet-like pile of the color to match the shoe leather, while -the back may be perfectly plain and white.</p> - -<p>It is a method employed in combination with the jacquard, where -fancy figures may be obtained on the face, using the cam movement for -the back, binder and edge, the weave of which is the same for all of these -warps, being simply a one up and one down. In such a combination the -labor on the jacquard movement is much reduced, inasmuch as the travel -of the lingo is much shorter than is required when made in connection -with single shuttle.</p> - -<h3><span class="smcap">The Overshot Method</span></h3> - -<p>The overshot method, which we have previously referred to, is another -form of double shuttle web which has in it elements of economy differing -from the cross shot but equally important. This kind of weaving is designed -as a substitute for silk jacquard webs, which it has to a great extent -supplemented. Before its introduction it was customary to use a slow -running “rise and fall” lay movement, when making a silk figure with the -shuttle, putting in one pick of silk filling to each two body picks, so that -the output of web was only about one-half of what is possible in overshot -weaving. In the old method the silk used to pass from edge to edge of -the goods at each pick of the figure shuttle, and where the figure did not -appear it was buried between the upper and the lower cloths.</p> - -<p>In the overshot method the silk figure is bound down at the edge or -border of the figure and none of the silk is entirely buried out of sight. -In the overshot the body shuttle runs all the time, while the figure or silk -shuttle only runs with every alternate pick. The main body of the goods -is woven in every respect the same as in a single shuttle web, and it may -embrace all the weaves, such as plains, twills or fancies, which are common -to single shuttle weaving. Arrangements are made, however, for the -production of an auxiliary shed, by a movement which pulls certain threads -above the main shed, and while these are open to pass the extra shuttle -under them, and thus bind in the figure filling. The lower part of the -lay has straight shuttles, while the upper bank of shuttles is tipped down -to conform to the formation of the auxiliary shed they are designed to -pass through.</p> - -<p>The binder threads from which the overshot figure is generally operated, -are weighted very lightly so that the individual threads will easily stand<span class="pagenum"><a id="Page_43"></a>[43]</span> -the strain they will be subject to while making the auxiliary shed. The -Crompton & Knowles overshot dobby is generally used for this purpose. -This special machine is provided with two horizontal draw knives, operating -any or all of the 30 hooks, and is so arranged that the connected warp -threads may be lifted at either or both picks to the height of the main -shed, or to the additional height of the auxiliary shed.</p> - -<div class="figcenter"> - -<div class="figmulti illowp43" id="ch6-fig5" style="max-width: 21.875em;"> - <img class="w100" src="images/ch6-fig5.jpg" alt="" /> - <p class="caption">Fig. 5.—Simple Overshot Design</p> -</div> - -<div class="figmulti illowp30" id="ch6-fig5a" style="max-width: 21.875em;"> - <img class="w100" src="images/ch6-fig5a.jpg" alt="" /> - <p class="caption">Fig. 5A.—Draft for Fig. 5</p> -</div> - -</div> - -<p>In Fig. 5A is seen the draft of a simple overshot figure covering 23 -hooks, which are operated from one knife drawing in unison with the -binder harness, while the other knife is operating on the alternate shed, -or the heavy pick, and working in unison with the rubber harness. It will -be noticed that in the overshot design both sides of the figure do not -operate alike, but follow one pick behind the other. This is so arranged<span class="pagenum"><a id="Page_44"></a>[44]</span> -that the binder may come up at the right pick to properly bind down the -silk in the goods, and so avoid any irregularity or ragged appearance at -the border of the figure.</p> - -<h3><span class="smcap">Making Overshot Designs</span></h3> - -<p>In making overshot designs, care must be taken not to have the silk -float too long, or it will give the goods a rough coarse appearance. Should -the design call for a long span over a number of cords, it will be necessary -to bind at intervals as shown in Fig. 5A, and at each succeeding pick to -break the order of the binding as may seem advisable. The stitch or warp -figure coming up at each side of the main figure, must be pegged on the -dobby chain to operate on the reverse knife to the overshot figure, so as to -work on the pick when the binder harness is down.</p> - -<div class="figcenter illowp100" id="ch6-fig6-7" style="max-width: 43.75em;"> - <img class="w100" src="images/ch6-fig6-7.jpg" alt="" /> - <p class="caption">Figs. 6 and 7.—Other Forms of Overshot Design</p> -</div> - -<p>Fig. 6 is an example of another form of overshot design, known as -the “matelasse.” In this the silk filling extends from side to side of the -web, as in the old form of jacquard, being bound down at different points, -the bindings forming the figure.</p> - -<p>Fig. 7 shows still another form of overshot made by the operation of -the gut as figure instead of the binder, and which is worked on the heavy -pick instead of on the binder pick. This is done so that the intersecting -cords of face, which hide the silk at different points, can be raised in order -that the figure silk be hidden underneath it. To accomplish this, each of -these face threads is passed through slip leashes, which are operated from -the dobby. These slip leashes allow for the working of the face thread in -the main harness. At the same time it is possible to raise them to the -height of the upper shed so that the silk shuttle may pass under them.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_45"></a>[45]</span></p> - -<h2 class="nobreak" id="Chapter_VII"><span class="smcap">Chapter VII.</span></h2> - -<p><i>Making Frills in the Middle of Goods—Woven Shirred Effects—Novel -Decoration at Edge of Fancy Frills—Lappet Weaving on Elastic -Fabrics Affords Opportunity for Elaboration at Small Cost—Production -of Pearl Edge—Special Fancy Drafts</i></p> - -</div> - -<p>Woven elastic fabrics are open to many forms of elaboration that -are not possible in non-elastic weaving. We have already made -mention of the frills woven at the outer edges of the goods, formed -by the fluting of non-elastic sections produced by the contraction of the -center part. This same effect may also be used in the center of the goods. -To accomplish this it becomes necessary to employ a distinct set of harnesses -to operate each half of the web, together with additional harnesses on -which the frill sections are drawn in.</p> - -<p>The chain draft is arranged so that the shuttle is made to pass through -one-half of the web and a half section of the frill, and then return. The -shuttle then passes through the other half section of body and frill. The -operation is repeated continuously. Fig. 1 shows a sample of web in -which the frill is brought up for a distance and then buried inside the -goods for a short section. Fig. 1A gives the harness and chain draft.</p> - -<div class="figcenter"> - -<div class="figmulti illowp75" id="ch7-fig1" style="max-width: 21.875em;"> - <img class="w100" src="images/ch7-fig1.jpg" alt="" /> - <p class="caption">Fig. 1.—Web With Center Frill</p> -</div> - -<div class="figmulti illowp75" id="ch7-fig2" style="max-width: 21.875em;"> - <img class="w100" src="images/ch7-fig2.jpg" alt="" /> - <p class="caption">Fig. 2.—Fancy Figure With Seersucker Center</p> -</div> - -</div> - -<p>The weave used for producing a frill may also be used in the center of -the main body; it then produces a seersucker effect. At Fig. 2 there will -be seen an example of this, in combination with a figure on either side of -the seersucker, the figure part being bordered with a regular frill. The -insertion of this seersucker section lessens the number of rubber strands -used in the whole, and it therefore will be found advisable to use a somewhat -heavier size of rubber in the remaining cords to compensate for this. -The harness and chain draft for Fig. 2 are given at Fig. 2A.</p> - -<h3><span class="smcap">Woven Shirred Effect</span></h3> - -<p>Another example of an effective form of fancy elastic weaving may be -seen at Fig. 3, where the center or rubber part of the web is made to -imitate a shirred effect. In the regular method of shirring a piece of -plain elastic web is used, under tension, and is passed through a sewing<span class="pagenum"><a id="Page_46"></a>[46]</span> -machine where a wider piece of ribbon or some other light non-elastic -material is stitched to it by a series of needles running side by side. When -the web contracts, upon being released from tension, the non-elastic part -forms in a regular fluting on the face of the web. At the same time the -remainder of the wider non-elastic section frills up on either side of the -elastic part.</p> - -<div class="figcenter illowp100" id="ch7-fig1a" style="max-width: 62.5em;"> - <img class="w100" src="images/ch7-fig1a.jpg" alt="" /> - <p class="caption">Fig. 1A.—Harness and Chain Draft for Fig. 1</p> -</div> - -<div class="figcenter illowp100" id="ch7-fig2a" style="max-width: 43.75em;"> - <img class="w100" src="images/ch7-fig2a.jpg" alt="" /> - <p class="caption">Fig. 2A.—Harness and Chain Draft for Fig. 2</p> -</div> - -<p>The method of producing this effect direct upon the loom is done by -an interchange of weaves, first making a short section of single cloth<span class="pagenum"><a id="Page_47"></a>[47]</span> -and then changing to a short section of double cloth weave. There -being no binder warp employed to knit the upper and lower cloths -together, the strands of rubber will lie between the two cloths so -formed. Upon the contraction of these strands of rubber the outer cloths -are thrown out, and appear as flutings on the web, while the side sections -in which there is no rubber will complete the frill effect. This woven -method has in it the advantage of making both sides of the web alike, -whereas in the stitched shirring the back of the goods is not so presentable -and unfits it for many uses. It also eliminates the added expense of -labor in assembling the different parts.</p> - -<h3><span class="smcap">Novel Decoration at Edges</span></h3> - -<p>A novel form of decoration is seen at the extreme edge of the fancy -frill at Fig. 4. This may be produced by what is known as the draw-in -method. This effect was formerly produced by the use of additional banks -of shuttles in a rise and fall lay, but is now made by using two threads -of cabled silk coming from spools, these threads being worked by the -harness the same as a warp. They are very lightly delivered by a -delicately adjusted return spring arrangement. The threads are operated -on a special harness, being passed through the harness eyes outside of all -the other warp stock, and then through a dent in the front reed as far -away from the other stock as is desirable to form the size of the loop -required.</p> - -<div class="figcenter"> - -<div class="figmulti illowp61" id="ch7-fig3" style="max-width: 21.875em;"> - <img class="w100" src="images/ch7-fig3.jpg" alt="" /> - <p class="caption">Fig. 3.—Woven Shirred Effect</p> -</div> - -<div class="figmulti illowp61" id="ch7-fig4" style="max-width: 21.875em;"> - <img class="w100" src="images/ch7-fig4.jpg" alt="" /> - <p class="caption">Fig. 4.—Novel Edge Decoration</p> -</div> - -</div> - -<p>The harness used for these threads stands still a given number of -picks, and at regular intervals is brought down so that the draw-in -thread comes in contact with the shuttle filling, which then passes around it. -As the shuttle returns through the open shed, the filling or weft pulls the -easily running draw-in thread with it, until it comes in contact with other -warp threads, which the filling passes around, and so stops the further -progress of the draw-in thread into the shed. The thread at the same time is -carried around a wire which works in a dent next inside the one in which -the draw-in thread passes. Quite a variety of fancy effects may be -produced in this manner. Threads of different materials and colors may be -used and drawn across the face of the web at different points, and selvages -of a distinctly different color and character to the body of the goods -may be made.</p> - -<p><span class="pagenum"><a id="Page_48"></a>[48]</span></p> - -<h3><span class="smcap">Lappet Weaving</span></h3> - -<p>Lappet weaving on elastic fabrics is a method which has not been -extensively used, probably on account of the limitations of design obtainable -by this style of weaving. Nevertheless, it affords opportunity for considerable -elaboration at a very small cost. The loom attachment which -permits the making of these patterns, which are somewhat similar to -embroidery, is known as the lappet motion. Wherever it has been used -it has been found to be serviceable. It can be attached either to a plain -loom or a fancy loom. It is a system of levers operated by a chain composed -of different sized balls, arranged according to the pattern desired.</p> - -<p>On the loom lay are one or two slides running the full length of the -lay, which are moved laterally by the different sized chain balls. They can -also be raised and lowered as required by the design. Both these slides have -generally three needles for each suspender web, which are spaced at equal -distances apart, one or all of which may be threaded and used. When slides -are lowered into the web, the shuttle filling or weft passes over the yarn -which is carried in the needle eyes and binds it into the cloth. Then by -moving the slides backward and forward for succeeding picks, and each -time binding the thread into the cloth, the various lappet patterns are -produced.</p> - -<div class="figcenter"> - -<div class="figmulti illowp65" id="ch7-fig5" style="max-width: 21.875em;"> - <img class="w100" src="images/ch7-fig5.jpg" alt="" /> - <p class="caption">Fig. 5.—Lappet Weaving</p> -</div> - -<div class="figmulti illowp65" id="ch7-fig6" style="max-width: 21.875em;"> - <img class="w100" src="images/ch7-fig6.jpg" alt="" /> - <p class="caption">Fig. 6.—Broken Effect on Silk Frill</p> -</div> - -</div> - -<p>The figures are mostly irregular trailing patterns, as shown at Fig. 5, -and well adapted to narrow goods. Dots of different sizes and in different -positions may also be made, but it is not practical to get the finely -finished lines which can be obtained from other methods where there is -positive control of any particular warp threads or group of threads, as -for instance in jacquards and overshots.</p> - -<p>The sliding bar of the lappet motion may vary slightly in its movements -so that the needles will not always pierce through at exactly the -same points at each repeat of the pattern, although the general design will -be maintained. The threads which feed the needles should be of good -clear ply material, free from slubs and irregularities, so that they will -pass freely through the needle eyes, and they should have enough turns to -enable them to withstand the friction resulting from the backward and forward -sliding movements of the lay passages. The yarn must be delivered -from independent spools, which work with perfect freedom, and measures -should be taken to control the stock by the use of delicate springs.</p> - -<p><span class="pagenum"><a id="Page_49"></a>[49]</span></p> - -<p>The material used for the lappet figure is perhaps best run from -grooved spools which are so weighted that they feed easily through the -needles at every forward movement of the lay.</p> - -<h3><span class="smcap">Pearl Edge</span></h3> - -<p>An effective and inexpensive method of elaborating a silk frill is -found in what is known as the pearl edge. This adds much to the richness -of the goods, besides giving the appearance of greater width at slight -increase of cost. The pearl edge is produced by a series of fine steel edge -wires, which are carried in separate dents of the front reed outside of the -frill itself. Each wire is operated by a special harness which brings it into -the weaving lines as desired, so that the filling may pass around it and -make pearl loops at these particular places. It will be found necessary to -use hard steel dents in the front reed to work the wires in, otherwise the -dents will soon be cut from the constant wear of the wires.</p> - -<p>A silk frill may also be much enriched by special fancy drafts. These -allow for the operation of groups of threads so that the filling passes over -and under them and show up the luster of the silk filling in blocks contrasting -with the more plainly woven parts. An example of this is shown -at Fig. 6.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_50"></a>[50]</span></p> - -<h2 class="nobreak" id="Chapter_VIII"><span class="smcap">Chapter VIII.</span></h2> - -<p><i>Designs Produced by Use of Jacquard in Connection with Cams or Head -Motion—Weaving Buttonholes in Webs—Manufacture of Surgical -Belts and Bandages—Combination Woven and Printed -Designs—Method of Printing</i></p> - -</div> - -<p>In previous articles we have confined our remarks to the production -of elastic fabrics on plain and fancy looms. These machines are more -or less limited in capacity, and the stock must be operated in groups of -threads. Considerable care is necessary in the selection of patterns best -adapted to these looms. In jacquard weaving each separate thread is controllable, -and the scope of pattern and design is limited only by the space -available on the face of the fabric.</p> - -<p>Of course certain general rules, which have been laid down for the -production of designs on fancy looms, are applicable to the making of -jacquard designs. For example, where sunken effects are aimed at it is -necessary to uniformly distribute the buried stock, just as it is in the -fancy loom method; otherwise uneven or “cockled” web will result on -account of there being too much buried stock at some particular point, -which prevents uniform contraction.</p> - -<h3><span class="smcap">Designs in Sunken Effects</span></h3> - -<p>Fig. 1 is an illustration of a pattern where the sunken effect is well -distributed. This pattern also shows the operation of two sets of figure -threads brought up alternately. Both warps are buried to allow the back -filling to appear in relief. This indicates the wide scope of design possible -on a single shuttle, which is almost unlimited.</p> - -<p>Fig. 2 illustrates a double shuttle design which has a sunken warp -effect in connection with a silk figure. It also serves to illustrate the effect -of skein dyed silk for decorative purposes. Fig. 3 shows still another -type of double shuttle design, in which a parti-colored face warp lends -an entirely different effect to a design. Fig. 4 is an example of three -shuttle work where one shuttle is used for the ground, and two shuttles -for the silk figure.</p> - -<p>It would be easy materially to enlarge on the various types of design -possible in jacquard weaving of elastic webs but this is not necessary. If -a straight tie-up is used the scope of design is almost unlimited. The -custom generally adopted is to operate the back, rubber and gut from chain -or cam harness, as the same movement of all these threads is maintained -continuously, and to operate the face and binder from the jacquard. -Fig. 5 is an illustration of a fully rigged jacquard suspender loom, having -two machines mounted on it, and with the back and rubber harness operated -by the fancy head.</p> - -<h3><span class="smcap">Jacquard Tie-Up</span></h3> - -<p>Too much emphasis cannot be laid on the necessity for exercising the -greatest care in the jacquard tie-up and the leveling of the strings. As -already stated in a previous article, any failure in the initial arrangements -will result in constant trouble and faulty work. Mispicks and floats may -not be serious in many types of non-elastic fabrics, but in elastic webs a -float will so pearl up on construction that the goods will be ruined. Once -again, and of the greatest importance, measures should surely be taken to -have some form of screw adjustment for the raising and lowering of the -jacquard machines to compensate for expansion and contraction of the -strings, caused by changing atmospheric conditions.</p> - -<p><span class="pagenum"><a id="Page_51"></a>[51]</span></p> - -<div class="figcenter illowp100" id="ch8-fig1-4" style="max-width: 62.5em;"> - <img class="w100" src="images/ch8-fig1-4.jpg" alt="" /> - <p class="caption">Fig. 1 <span class="spacer">Fig. 2</span> - <span class="spacer">Fig. 3</span> <span class="spacer">Fig. 4</span></p> -</div> - -<div class="figcenter illowp100" id="ch8-fig6" style="max-width: 25em;"> - <img class="w100" src="images/ch8-fig6.jpg" alt="" /> - <p class="caption">Fig. 6.—Formation of Abdominal Belt</p> -</div> - -<p><span class="pagenum"><a id="Page_52"></a>[52]</span></p> - -<h3><span class="smcap">Weaving Buttonholes</span></h3> - -<p>In the assembling and making up of narrow elastic fabrics, particularly -suspenders, it is often necessary to use buttonholes in the finished products. -Sometimes the buttonholes are cut and worked on the ordinary buttonhole -sewing machines, but on account of the difficulty arising in the controlling -of the strands of rubber when it is cut for working, a very unsightly -buttonhole often results. It has therefore been found advisable to weave the -buttonholes, particularly for what is known as the “Guyot” suspender, -where elastic pieces having buttonholes are used for the back ends, and -non-elastic straps, also having buttonholes, are used for the front straps.</p> - -<p>The loom will automatically weave the buttonholes at any desired -place, and at the same rate of speed at which the plain part is woven. -This is accomplished by the use of two banks of shuttles, both of which are -running in the same direction at every pick of the loom, but only one of -which, (the upper) is engaged with the cloth while the plain part of the -goods is being woven, the other bank running “dead” underneath the goods -during the operation. When the buttonhole is about to be made, two distinct -sheds are formed and then the two banks of shuttles are engaged, -the upper bank on one half of the strap and the lower bank on the other -half, until the completion of the buttonhole. Then one shed is again -formed in place of the two, and the upper bank resumes the operation of -weaving the plain part of the strap.</p> - -<div class="figcenter illowp87" id="ch8-fig5" style="max-width: 43.75em;"> - <img class="w100" src="images/ch8-fig5.jpg" alt="" /> - <p class="caption">Fig. 5—Jacquard Suspender Loom With Two Machines and Fancy Head</p> -</div> - -<p>This process of changing from the single to the double shed is accomplished -by the use of a specially designed cam jack made in two sections, -to which are attached two harness frames, in each of which one side of -the strap is drawn. While weaving the plain part of the strap both sections -of the cam jack operate in unison, running side by side from the<span class="pagenum"><a id="Page_53"></a>[53]</span> -same cam, but when the buttonhole is “called on” a device for spreading -apart each pair of cam jacks is operated, and the two sheds are then -formed. At the same time a lever movement changes the position of the -lay, so that the two banks of shuttles take new positions and properly -engage the two sheds.</p> - -<p>Facilities are provided for governing the length of the straps and the -position and length of the buttonholes. When the lower shuttle is not -engaged in the buttonhole shed, the filling may run loosely beneath the -goods, and require trimming off between the buttonholes. This trimming -may be avoided by operating the center binder thread, putting the same -in a skeleton harness and giving it an extended shedding so that this -particular thread may be dropped below the main shed and allow the -lower shuttle to engage it. By this process the thread is bound in the -goods at every pick of the loom and does not need trimming.</p> - -<p>The elastic back end, having a buttonhole in it, is also made on a special -loom, which has a “rise and fall” movement of the lay. It has a chain -fancy head with what is known as a Gem multiplier on it for regulating -the length of the plain part, so that one repeat of the plain weave can be -multiplied indefinitely and the buttonhole chain called on as desired.</p> - -<p>In making up sections of elastic webs for various purposes, particularly -when required to be attached to garments, it is often found that the -joinings are bulky and unsightly on account of their thickness. A web is -made on the special loom just described of such character that it does -away with this objection. A section of plain web may be woven of any -desired length, and then another section made in which the upper and -lower cloth are woven separately for a given distance. After being taken -from the loom this double section is cut in the middle, so that the non-elastic -part may be used for attaching to the garment. When thus made -the rubber and binder lie “dead” between the two cloths, and are trimmed -off after the non-elastic part is cut in two.</p> - -<h3><span class="smcap">Making Abdominal Belts</span></h3> - -<p>There is a growing demand for webs of various characters for surgical -and orthopedic purposes. One of these which calls for special attention -is a web used in the manufacture of abdominal belts. The width -varies from about four inches, where it is used to support the back, to -about six inches at the part which is used for the support of the abdomen.</p> - -<p>Such a web is constructed in the regular manner employed on plain -webs, except that it is woven in a deep front reed made to taper from top -to bottom, from fine to coarse. This reed is arranged in a reed pocket -attached to the lay bed, and is designed to slide up and down behind it. -Underneath the lay is an adjustable screw mechanism, which is so operated -that it can be made to remain stationary for a given length of time, and -then gradually work up and down in a given period. This allows a web -to be produced with a formation similar to that shown at Fig. 6.</p> - -<p>The rubber cords lie close together while weaving the first narrow part, -and gradually spread while operating at the wide part, returning to their -original position for the other narrow end. If properly constructed the -goods will lie perfectly flat at the narrow ends, and the opening up of the -cords by the spreading of the reed dents at the wide center will give more -freedom to the individual strands of rubber in this section, which will cause -the goods to “belly” at this point. This rounding formation especially -adapts them for the purposes for which they are intended. Various modifications -of the taper web may be made in this manner, but the same general -plan is applicable to all.</p> - -<p><span class="pagenum"><a id="Page_54"></a>[54]</span></p> - -<h3><span class="smcap">Printing Designs on Elastic Web</span></h3> - -<p>The printing of designs on elastic web is a form of embellishment -which opens up large possibilities for variety of effect, and adds much to -the selling quality of many webs at slight additional cost. Moreover it -gives an opportunity for changing the character of many woven patterns -which may not have proved good sellers, but when printed will often become -the most popular patterns offered. A woven striped effect with a few -crossbars printed on, transforming it into a plaid, changes its character -entirely. Or a few dots distributed over a pattern hitherto undesirable -may make big changes in its selling qualities.</p> - -<p>But apart from this the field of original design is practically unlimited. -The work is most satisfactorily accomplished by using oil inks of -various colors, making proper arrangements for the drying so that the -colors are absolutely fast. Colors should not be used which are more or -less fugitive and liable to spread in the process of finishing.</p> - -<p>The goods, when printed, are run loosely in cans and allowed to stand -a reasonable time for proper absorption of the ink. They are then run -slowly through a heated chamber to set the colors, a number of strips -being put through the drying chamber at one time. The pattern rolls are -best made with the design raised on the face of the pattern, and the ink -uniformly distributed on the raised part. Care should be used to have -the set of the rolls so adjusted that the part where the figure does not -appear will not come in contact with the ink roll.</p> - -<p>This method has proved better than using engraved rolls, besides being -less expensive. After the design is drawn it is photo-engraved on a plate -of a given length so that it may be shaped and fitted around the printing -roll, great care being taken to have the repeat properly connected, particularly -where the pattern is a continuous one without any break in the -design.</p> - -<div class="figcenter illowp100" id="ch8-fig7" style="max-width: 43.75em;"> - <img class="w100" src="images/ch8-fig7.jpg" alt="" /> - <p class="caption">Fig. 7.—Diagram of Machine for Printing Elastic Fabrics</p> -</div> - -<p>Fig. 7 is a sketch of a printing machine. The design roll A is five -inches in diameter and constructed of a number of thicknesses of maple -wood, glued and screwed firmly together, with the grain well crossed to -prevent shrinkage and warping. The design plate is carefully fitted -around and pinned securely to this roll. The rubber covered rolls B and -C carry the ink and are positively driven. The small roll D, while revolving -by frictional contact with roll C, is also vibrated sidewise by a cam-driven -lever E, so as to distribute the ink uniformly. The rolls are run -on steel centers and can be so adjusted as to center any given pattern -on the goods.</p> - -<p>All the roll carriers are fitted in a taper groove which is planed to -the full length of the frame bed, so that the pressure of the different -rolls can be accurately adjusted. The machines are easily operated and -print 12,000 to 15,000 yards of web a day.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_55"></a>[55]</span></p> - -<h2 class="nobreak" id="Chapter_IX"><span class="smcap">Chapter IX.</span></h2> - -<p><i>Making Warps for Elastic Fabrics—Quills for Use in Shuttles—Effect of -Finishing Processes Must Be Calculated from Beginning of Web -Construction—Details of Processes and Machines for -Different Styles of Goods—Care to Avoid Acid in -Goods—Rubber’s Reaction on Copper</i></p> - -</div> - -<p>The making of cotton warps for elastic fabrics, particularly for double -cloth webs, involves considerable thought and care in view of the -number of sections necessary for a properly constructed fabric, and -the different weaves employed. Owing to the contraction of the rubber, -it is essential at all times that the proper balance be maintained between -the face and the back of the goods.</p> - -<p>This necessitates a uniform weight of stock where the weaves on the -face and the back are identical, no matter how the size of the yarns used -may vary, and a variable weight of stock where the weaves are different. -All this is determined by experimental work when establishing the grade. -These conditions necessitate separate warps for the face and back. Then -again the different weaves employed involve a variable length in the -take-up and this alone would make it impracticable to combine the various -weaves.</p> - -<p>It is invariably the plan to use fine stock for the face and a coarser -material for the back. Of course it would not be practical to put these -together on the same beam. The crowded condition of material used -necessitates the further splitting of the face and back sections. The -binder, which takes up so much faster than any of the other yarns, also -requires a special warp.</p> - -<h3><span class="smcap">Selvage Under Special Control</span></h3> - -<p>The general appearance of the finished product being so dependent -upon the character of the selvage, it is advisable to have these threads under -special control, so that they may be treated in the best possible manner -to produce a satisfactory shed, and allow the filling to get a good -clearance. So as to secure a smooth well-rounded edge it is therefore -necessary to have this on a special beam.</p> - -<p>It will be seen, therefore, that in an ordinary piece of double cloth -elastic web there will be required at least five warps: back, face, binder, -edge and gut. Figures and fancy effects will often necessitate auxiliary -warps. With very fine webs, having six threads to a cord, it is often found -necessary further to split up the face to obtain proper working conditions. -Figs. 1 and 1A show a six-cord web, together with warp calculations for -the goods.</p> - -<p>The employment of so many warps to each strip of web, which are -automatically delivered by the friction let-off levers described in a previous -article, prohibits the use of warps where the threads are equally distributed -across the beam, as is the practice in wide fabrics, the method usually -being to tape them on the beams.</p> - -<h3><span class="smcap">Warping Machine</span></h3> - -<p>The required spools for the number of threads in the warp are put in -a creel, each thread passing under an electrically connected wire, which is -held out of contact by the running thread while the warp is making. If<span class="pagenum"><a id="Page_56"></a>[56]</span> -the thread should break, the wire would drop and make an electrical -connection which would automatically stop the machine. Fig. 2 shows a -view of a warping machine such as is used for this work. They are -generally constructed so as to allow for two or four beams, all of which -may be run together or started, stopped or run individually, as required.</p> - -<div class="figcenter illowp87" id="ch9-fig1" style="max-width: 21.875em;"> - <img class="w100" src="images/ch9-fig1.jpg" alt="" /> - <p class="caption">Fig. 1.—Six-Cord Web</p> -</div> - -<div class="figcenter illowp87" id="ch9-fig1a" style="max-width: 43.75em;"> - <img class="w100" src="images/ch9-fig1a.jpg" alt="" /> - <p class="caption">Fig. 1A.—Harness and Chain Draft for Fig. 1</p> -</div> - -<p>Each beam is friction driven so that a uniform speed is obtained in -the delivery of the yarn from the spools. Beams are also so arranged -that they will stop automatically on reaching a given size. Each warp -thread is passed through a pair of reeds, fitted with dead stops in the -center of alternating dent spaces, so that leases may be put in the warps -at fixed intervals to assist in keeping them straight in the looms.</p> - -<p><span class="pagenum"><a id="Page_57"></a>[57]</span></p> - -<p>In taping the warps on the beams, it is customary in some mills to run -the threads over a small steel flanged pulley about one and one-half inches -wide, which will keep each thread in its proper position and make the tape -absolutely straight and flat as it leads to the beam. A perfect fabric is -largely dependent upon how well the warps have been made, but it must -not be forgotten that a good warp may be spoiled by a poor beam.</p> - -<p>Beam flanges should not lie flat against the warp creel standards, -but should be kept clear by the formation of the head near the barrel, -which should have enough prominence at this point to keep the flanges -clear, and thus reduce the friction to a minimum. The edges of the flanges -should be perfectly smooth so as to allow for uniform delivery by the -contact lever. Much of the beam abuse which occurs in many mills might -be avoided by provision being made for beam racks at convenient points.</p> - -<div class="figcenter illowp95" id="ch9-fig2" style="max-width: 43.75em;"> - <img class="w100" src="images/ch9-fig2.jpg" alt="" /> - <p class="caption">Fig. 2.—Warping Machine</p> -</div> - -<h3><span class="smcap">Quills for Shuttles</span></h3> - -<p>The making of proper quills for use in the shuttle is of no small -importance, for on this the evenness and uniformity of the selvage very -much depends. When flanged wood quills are used, the guides should be -carefully adjusted so that the filling is uniformly spread over the entire -length of the quill, allowing for perfect freedom at each end without -dragging. Quills should not be overloaded. In drum pressure quilling, the -automatic stop should be so arranged that the quill will be filled even -with the outer edge of the flanges and no more.</p> - -<p>Should there be any tendency to hardness in the material used for -filling, it may be found advisable to run the thread over a plush pad on -which has been applied a light application of cocoanut oil, but great -care should be exercised not to overdo this as there is nothing so hurtful -to rubber goods as oil.</p> - -<p><span class="pagenum"><a id="Page_58"></a>[58]</span></p> - -<p>The quills should only be of sufficient length to allow for uniform -delivery from the shuttle without dragging at the ends. To assist in this -elongated shuttle eyes are preferable to round ones, so as to shorten the -angle at which the filling leaves the quill when running from the extreme -end. Thumb bits should be so adjusted that the delivery is uniform from -start to finish. The quill flanges should not lie flat against the sides of -the quill opening, but should be pointed at the ends so as to reduce the -friction. Quill wires should be of hard tempered steel and be perfectly -straight at all times. When it becomes necessary to run narrow goods in -wide spaces, recoil springs should be provided to gather up the loose filling.</p> - -<h3><span class="smcap">Care Required in Finishing</span></h3> - -<p>The finishing of elastic fabrics is a process which demands great care, -and has to be taken into calculation from the beginning of the web construction. -Calculations must always be made as to what effect heat, -moisture and sizing will have upon the covered up elastic threads, confined -as they are in a multiple of small cavities and under high tension. As -soon as the softening influence of heat and steam operate upon the -covering of cotton yarn which confines these threads, the rubber strands -begin to assert themselves and contraction at once takes place. To what -extent this can go must be predetermined in fixing values, and a certain -degree of uniformity of contraction arranged for.</p> - -<p>Webs which are perfectly flat and straight when taken from the -looms are liable to be transformed into unshapely products and completely -ruined by unsuitable finishing. For instance, take a web with a twill -center and a plain border which is apparently flat and satisfactory at the -loom. The effect of heat and steam upon such a web will be to contract the -soft woven center more than the harder woven plain border, which will -cause the web to be long-sided and curl. Such a condition must be -anticipated in the construction of the web and provision made to offset its -occurrence. Sometimes it must be met by a change in the size of some of -the yarns used, or number of threads employed at given points, or perhaps -added gut threads must be introduced to stop contraction in certain places. -It must always be remembered that we are dealing with a very much -alive element when we are finishing rubber goods, and that unexpected -results may at any time arise.</p> - -<h3><span class="smcap">Finishing Machines</span></h3> - -<p>Finishing machines vary both in design and capacity, but the general -principle is the same in all. A series of drying cans are arranged for the -application of the sizing mixture. Some machines are laid out horizontally -and some are upright. In the longitudinal layout the machines are -more easily accessible in their different parts and under better control, -while the upright machines are more compact and occupy less floor space. -Fig. 3 shows a horizontal machine of the latest type. It has a drying -capacity of eleven cylinders, 24 inches wide, 36 inches in diameter, allowing -for a web contact of about 100 feet. These cylinders are arranged in two -decks so as to economize in floor space.</p> - -<p>The goods first pass through a pair of independently driven circular -brushes, fixed at the feed end of the machine, to clear them from lint and -dirt before being steamed and dried. They next pass between two pairs of -nip rolls between which are fixed the steaming and sizing attachments. -The goods pass through dry high pressure steam which is confined in a -steam chest. They pass into and out of this chest through slots underneath -the cover. A trough carries the condensed steam away from the -goods and prevents dripping, otherwise they would be spotted.</p> - -<p><span class="pagenum"><a id="Page_59"></a>[59]</span></p> - -<div class="figcenter illowp100" id="ch9-fig3" style="max-width: 62.5em;"> - <img class="w100" src="images/ch9-fig3.jpg" alt="" /> - <p class="caption">Fig. 3.—Narrow Fabric Finishing Machine</p> -</div> - -<p><span class="pagenum"><a id="Page_60"></a>[60]</span></p> - -<p>The steam pressure must be carefully controlled so as to get uniform -shrinkage of the goods. The steaming process softens the cotton, and the -rubber threads, which are under considerable tension, gradually creep up -and contract the goods. The steaming also makes the web more absorbent -and thus prepares it for the size bath, through which it is passed under -submerged brass rollers. The size is kept at a uniform heat by steam -heated copper coils. The web then passes through the second pair of nip -rolls, which are worked under pressure so as to squeeze out the size -before the web reaches the drying cans.</p> - -<h3><span class="smcap">Allowance for Contraction</span></h3> - -<p>The first of the dry cans is usually covered with cloth, so as to -absorb any size which may remain on the surface of the goods and allow -it to penetrate by further softening. As the goods continue to pass over -the hot cans a gradual process of contraction takes place. This contraction -is provided for by a corresponding regulation of the speed of the cans. -Intermediate expansion pulleys are provided for this purpose, so that -the speed adjustments can readily be made to meet the requirements of -different kinds of web.</p> - -<p>The two pairs of front rubber nip rolls are likewise independently -driven, so as to provide for the shrinkage which takes place at the steam -box and size bath. At the delivery end of the machine the goods pass -through a set of nip rolls which are belt-driven from cone pulleys, so as -to be able to deliver the goods at the speed they leave the last drying -cans. From these last nip rolls, which are fixed quite high, they drop -into receiving cans or boxes.</p> - -<p>Ten to twenty-five strips running side by side are finished at one time. -Adjustable guides are provided at different places on the machines to keep -the goods running in proper position. The speed of the machine is usually -governed by a Reeves transmission, and the delivery of the goods ranges -from 10 to 15 yards per minute, according to the requirements of finishing. -Three inches per yard is generally allowed for shrinkage, but this again -is determined by the goods. Neglect at any point in this process may so -interfere with the calculated shrinkage that values and costs are materially -changed.</p> - -<p>New patterns and grades should be tested for shrinkage as soon as the -goods come from the loom, as short lengths made in sample looms are not -at all times reliable. Frequent tests are also advisable to see that original -conditions are maintained, as changes made by heat, steam and speed are -always liable to occur.</p> - -<p>The immersing process is used mostly for single cloth garter webs. -Double cloth webs having a warp pile on the face are sized on the back -only. Exceptions are made on double cloth white webs used for the corset -trade, which are bathed with a very light size and often tinted in this -bathing process to the desired tone of white to match the cloths they are -to be associated with. Where the goods are sized on the back only the -effect of this has to be considered when they are constructed, and provision -made to maintain a proper balance under such conditions.</p> - -<p>In frilled webs the elastic portion only is sized, so as not to interfere -in any way with the soft flutings of the frill. This is done by guiding -each strip over narrow pulleys which are run through the size bath. The -size accumulated on these pulleys is absorbed by the web passing over them.</p> - -<p><span class="pagenum"><a id="Page_61"></a>[61]</span></p> - -<h3><span class="smcap">Acid in Goods</span></h3> - -<p>The requirements of the trade are so varied, and the types of web so -numerous, that no formula for size is suitable for general use. Care must -be taken, however, to avoid any sizes containing acids. Results from the -use of such preparations may seem excellent at the machine but later on, -when the goods are made up and come in contact with metal parts, the -metal is quickly tarnished, and the result may be heavy claims for damage.</p> - -<p>It may be well to note here that the sulphur used in the process of -vulcanizing the rubber has the effect of blackening the copper cans and the -rolls over which the goods must pass. This can be effectively prevented by -having the cans nickel plated, thus doing away with much risk of dirty -goods, and of constant scourings and washing of the different parts.</p> - -<div class="figcenter illowp87" id="ch9-fig4" style="max-width: 43.75em;"> - <img class="w100" src="images/ch9-fig4.jpg" alt="" /> - <p class="caption">Fig. 4.—Narrow Fabric Singer</p> -</div> - -<p>Provision should be made for sufficient depth in the sizing pans so that -they will hold a liberal supply of size. Replenishment should be made at -regular intervals and the heat maintained at a uniform temperature to -get satisfactory results. It is advisable to make provisions to travel the -web over the top of the machine for a distance after immersion in the -size bath, and before it strikes the hot cans, so as to allow for proper -absorption of the size.</p> - -<p><span class="pagenum"><a id="Page_62"></a>[62]</span></p> - -<p>All these details are best worked out by experience. Webs are generally -fed into the machine from racks after being properly wound up, -and great care must be taken to avoid any variable tension on the webs -when entering the machine.</p> - -<p>On lisle webs, a process of gassing or singeing takes place prior to -finishing for the purpose of removing any fuzz or fibre from the goods. -Fig. 4 shows a gassing machine used for this purpose. It is run at a -high rate of speed and several strips are gassed at once. When the machine -is running the flames are close to the web, but upon the stopping of the -machine the flames are carried away out of contact. In gassing white and -colors, great care must be exercised to have the gas mixture correct and -free from any carbonizing effect on the goods.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_63"></a>[63]</span></p> - -<h2 class="nobreak" id="Chapter_X"><span class="smcap">Chapter X.</span></h2> - -<p><i>Embossing Webs—Type of Construction and Design for Which Process is -Adapted—Braiding Flat Elastic Fabrics, Plain Cords for Athletics -and Airplanes, and Fancy Cords—How Sizes Are Indicated—Difference -Between Woven and Braided -Effects</i></p> - -</div> - -<p>The embossing of classic fabrics is a form of elaboration which is not -adapted for long stretch webs.</p> - -<p>It has been confined mostly to goods of short stretch, suitable for -use in the manufacture of suspenders. In long stretch webs the patterns -will not stand out prominently for any length of time. After repeated -stretchings and wear, they lose much of the desirable sharpness of detail, -and become flat and indistinct. Twills and loose weaves of a similar -character should be avoided for embossing. The best results are obtained on -firm, closely woven plain webs which take the impress of the design with -clearness and retain it for a greater length of time.</p> - -<h3><span class="smcap">Designs Suitable for Embossing</span></h3> - -<p>In planning such work it is well to avoid designs which run for any -great length with the warp, and to select effects where the general run -of the design is at an angle to the direction of the warp threads, rather -than with them. This will prolong the life of the figure.</p> - -<p>The process is similar to that used in embossing paper and leatheroid -goods. The machine must be heavy and made to stand considerable pressure. -It should be run slowly so as to allow the goods to get sufficient heat -while in contact with the embossing roll. The webs should pass through a -steam softening process just ahead of the embossing. This steaming is -done by having a perforated steam pipe confined in a covered box, the -web passing through slots at either side. It puts the goods in condition -to receive and retain the impress of the figure.</p> - -<h3><span class="smcap">Embossing Machine</span></h3> - -<p>Figs. 1 and 2 show a machine used for embossing elastic fabrics. It -consists chiefly of a heavy frame A, a case hardened steel roll B on which -the design has previously been engraved, and a hard paper roll C. The -engraved steel roll B is heated with steam and may be subjected to heavy -pressure by turning the hand wheels D.</p> - -<p>When putting in a new design and accompanying paper roll, it is -necessary to run the machine empty for a few hours, gradually applying -the pressure at the hand wheels in order to mesh the design into the paper -roll so as to get a strong impress on the goods. When moire-antique or -water effects are desired, the embossing rolls are engraved with straight -lines of the desired distance apart, and the goods are fed into the machine -after passing over irregularly formed rollers, which prevent them from -going through the machine straight. Fig. 3 is an example of this effect, -with the gros grain in the middle water-marked, and bordered with a -fancy effect not embossed.</p> - -<h3><span class="smcap">Braiding Elastic Fabrics</span></h3> - -<p>The braiding of elastic fabrics is a simple process when compared with -weaving. It does not lend itself to any great variety of fancy effects, -but a great variety of elastic goods are braided, which serve many purposes. -Round cords are made in sizes from a single strand of rubber thread, such -as is used for the protection of eye glasses, to the covering of multiple<span class="pagenum"><a id="Page_64"></a>[64]</span> -rubber threads for making a cord which may be one inch or more in -diameter. Some of these cords are used by professional athletes in -acrobatic work. Large quantities of heavy cord are now used for shock -absorbers in the manufacture of airplanes, and they are much used for -corset laces and doll cords.</p> - -<div class="figcenter"> - -<div class="figmulti illowp55" id="ch10-fig1" style="max-width: 21.875em;"> - <img class="w100" src="images/ch10-fig1.jpg" alt="" /> - <p class="caption">Fig. 1.—Embossing Machine</p> -</div> - -<div class="figmulti illowp51" id="ch10-fig2" style="max-width: 20.3125em;"> - <img class="w100" src="images/ch10-fig2.jpg" alt="" /> - <p class="caption">Fig. 2.—End View</p> -</div> - -</div> - -<div class="figcenter"> - -<div class="figmulti illowp58" id="ch10-fig3" style="max-width: 21.875em;"> - <img class="w100" src="images/ch10-fig3.jpg" alt="" /> - <p class="caption">Fig. 3.—Embossed Water-Marked Effect on Middle stripe</p> -</div> - -<div class="figmulti illowp58" id="ch10-fig4" style="max-width: 21.875em;"> - <img class="w100" src="images/ch10-fig4.jpg" alt="" /> - <p class="caption">Fig. 4.—At Top, Cord Used by Acrobats; At Bottom, Exercise -Cord In Two Colors</p> -</div> - -</div> - -<p>The braiding machines are small and compact, and are generally -operated in gangs on benches. One operator can care for many machines, -as they stop automatically when a thread breaks. Each machine may -consist of a variable number of spool carriers, according to the character -of the work they are engaged on. Carriers are made to travel around<span class="pagenum"><a id="Page_65"></a>[65]</span> -cam-like grooves formed in the bed of the machine, being operated by a -chain of gears which propel them around a predetermined course. Gears -and slots are so arranged that the carriers are made to cross and recross -each other in their passage, so that the various threads of yarn carried -are plaited around the strands of rubber. The spools used on the carriers -are specially designed, and have a series of notches on the upper end, -into which a stop will drop upon the breaking of any of the different -covering threads, automatically stopping the machine.</p> - -<p>The rubber is carried on a beam such as is used in weaving. These -beams are grooved on either side for receiving friction cords or belts, on -which are hung weights so as to govern the let-off of the beams and keep -the rubber at a high tension. The beams are hung on brackets underneath -the machines. If cords are being made, the rubber is delivered through a -central hole in the bed of the machine and fed up so that the covering -threads may be plaited around it. As there is no friction on the rubber -threads delivered in this manner (like the friction in weaving caused by -the repeated passage of the reed), the rubber can be worked at the -highest possible tension without fear of chafing or breaking, and economical -results in this respect are obtainable.</p> - -<div class="figcenter"> - -<div class="figmulti illowp80" id="ch10-fig5" style="max-width: 21.875em;"> - <img class="w100" src="images/ch10-fig5.jpg" alt="" /> - <p class="caption">Fig. 5.—At Bottom. Flat Braid Contracted; -At Top, the Same Braid Before Contraction</p> -</div> - -<div class="figmulti illowp70" id="ch10-fig6" style="max-width: 21.875em;"> - <img class="w100" src="images/ch10-fig6.jpg" alt="" /> - <p class="caption">Fig. 6.—At Bottom, Braided Frill; At -Top, the Same Frill Before Contraction</p> -</div> - -</div> - -<h3><span class="smcap">Flat Braids</span></h3> - -<p>Where flat braids are made the rubber threads are passed separately -through different holes in the machine bed and the yarn is braided in and -out between these threads, binding them together side by side so that -they are flat as in a woven fabric. By this method each of the different -covering threads passes from one side of the flat web to the other, giving -them a diagonal direction across the fabric. This diagonal crossing and -recrossing of the covering threads allows for the introduction of different -colors, which produce a plaid-like effect.</p> - -<p>In making the flat braid, when the individual rubber threads pass -through the separate holes on the outer part of the bed plate of the -machine, they all gather to one common center after they are through. -This causes the rubber threads, when they are at a very high tension, to -draw at a very acute angle at the edge of the hole, which necessitates -running them at a lower tension than is desirable for economy. It also -introduces a liability to break under the strain. In some mills this is cared -for by passing each thread over a small case hardened steel roller, thus -avoiding the friction at the edge of the hole.</p> - -<p><span class="pagenum"><a id="Page_66"></a>[66]</span></p> - -<h3><span class="smcap">Sizes of Cords</span></h3> - -<p>The sizes of cords are determined by the Birmingham wire gauge as -follows (Diameters in decimal parts of an inch):</p> - -<table> - <tr> - <td>Size 1</td> - <td class="tdr">.300</td> - </tr> - <tr> - <td>Size 2</td> - <td class="tdr">.284</td> - </tr> - <tr> - <td>Size 3</td> - <td class="tdr">.259</td> - </tr> - <tr> - <td>Size 4</td> - <td class="tdr">.238</td> - </tr> - <tr> - <td>Size 5</td> - <td class="tdr">.220</td> - </tr> - <tr> - <td>Size 6</td> - <td class="tdr">.203</td> - </tr> - <tr> - <td>Size 7</td> - <td class="tdr">.180</td> - </tr> - <tr> - <td>Size 8</td> - <td class="tdr">.165</td> - </tr> -</table> - -<p>In sizing or measuring the cord, it is passed easily into the gauge, so -that it hugs the sides without crowding. Any cords made heavier than a -No. 1 are designated by fractions of one inch in eighths.</p> - -<p>It becomes necessary in making heavy round cords, such as are used -by athletes and in the manufacture of airplanes, to have a very durable -covering over the strands of rubber. Such a covering is put on by using -double deck machines, where above the regular machine there is another -bed plate having a second set of carriers which travel around the braided -fabric coming up from the lower deck. In such cases the inner covering is -generally a cheap coarse material, while the upper deck of carriers braid -the outer covering around it, which is of a higher grade material, often a -highly glazed polished thread.</p> - -<p>Machines are made of a variable number of carriers to suit goods of -different character that are required. Provision is made to carry the rubber -beam in hanging brackets underneath the machine, which are of sufficient -strength and firmness to carry the maximum weight necessary for governing -the rubber tension. Above the machine there is a gear-driven take-up -shaft, on which are tension rolls to govern the feed of the goods when -braiding. The speed of these rolls can be regulated by change gears of -various sizes. The goods are then fed on a belt-driven spool. On the very -heavy goods it is necessary to pass them through other press rolls to prevent -any slipping back when feeding from the braiders.</p> - -<h3><span class="smcap">Fancy Braided Cords</span></h3> - -<p>The wide range of goods of this character, covering so many varied -uses, makes it impracticable to particularize on any special construction. -In the making of braids and Vienna cords, the general methods are much -the same as those described for braiding the round cords, except that the -travel of the carriers is different and the strands of rubber are fed up -singly, instead of in a group, so that the carriers may pass in and out -between them. A different machine is required for the various widths and -number of strands of rubber used. Two carriers are required for each -strand of rubber used and one over. For example, an eight strand braid -requires 17 carriers, while a 10 strand requires 21, and so on. The width -of the braid may be further regulated by the contraction of the goods -determined upon and provided for in the take-up; also by the size and -character of the material used for covering.</p> - -<p>On account of the diagonal formation of the covering threads when -braiding, it will be seen that variable contraction of the web will produce -variable widths. This is not so with a woven elastic fabric, inasmuch as -the weft lies straight across the web and therefore the same width is -maintained whether it is stretched or otherwise. In braiding, the threads -move both across and lengthwise of the fabric, taking the place of both -warp and filling, therefore increased contraction, no matter whether it is -produced from the use of heavier rubber, or changed material or take-up, -results in greater width, inasmuch as the lengthwise position of the threads -is brought into a new position which is more of a crosswise formation.</p> - -<p>This diagonal lay of the covering threads opens up possibilities for -very effective plaid effects, but this is the limit of color elaboration. A -fancy frill effect may be obtained by the omission of rubber threads at -the outer edges.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_67"></a>[67]</span></p> - -<h2 class="nobreak" id="Chapter_XI"><span class="smcap">Chapter XI.</span></h2> - -<p>WEAVING THE VAN HEUSEN COLLAR</p> - -<p><i>Heavy Loom Required—How Long-Sided Effect and Folding Line Are -Obtained—Cloth Construction</i></p> - -</div> - -<p>Until recently the soft collar was cut and carved into shape from -plain piece goods. The patented Van Heusen collar has done away -with much of this, for from the loom is produced a fabric properly -shaped and formed for the purpose, and ready to be cut into suitable -lengths. It is adapted to various styles. Clumsy joinings are done away -with and a collar is produced which combines shape, comfort and appearance. -Much labor in collar manufacturing is also eliminated by this -method of production.</p> - -<p>There have recently been quite a number of factories put on the -production of these goods, and at least one newly organized factory is -devoted exclusively to their manufacture. The main feature in the Van -Heusen collar is that it is woven in such a manner that when it leaves the -loom it is complete in respect of the cloth for the band and outer part, -with provision made for folding, thus doing away with any joining together -of the two parts as formerly.</p> - -<p>The formation of a cloth having the novel quality of allowing for a -greater woven length at the outer edge of the collar than at the band, -properly graded throughout so as to meet all the requirements of a collar -in comfort and fit, at the same time providing for the insertion of the -scarf so that it will run easily, and also allowing for the production of a -variety of styles, calls for features in manufacturing that are different in -many respects from the making of a flat fabric.</p> - -<h3><span class="smcap">Heavy Loom Required</span></h3> - -<p>The first essential is a loom of sufficient strength and firmness to withstand -the heavy beat of the lay resulting from packing in the filling, where -an aggregate weight of 1,000 pounds for each individual piece must be -carried. The looms which are now being used have from 12 to 16 pieces, -so that it will be seen that they must be very rigid indeed properly to -care for the weight carried on the combined pieces, and maintain uniform -picking. In order also to get the requisite shed opening, the strain on the -cams and cam jacks is severe, so that provision for ample strength at these -parts is essential.</p> - -<h3><span class="smcap">Cone-Shaped Take-Up Roll</span></h3> - -<p>The long-sided formation of the cloth is produced by the use of a cone-shaped -take-up roll, as shown in the illustration, which has a slope of 1 -inch in 6 inches. Above this cone-shaped roll is hung a straight roll, -which swings freely to different angles, so as to take care of the slack -delivered to the take-up roll. It will be noticed that one leg of the -swinging roll is longer than the other, thus allowing the straight roll to set -in proper position over the cone.</p> - -<p>At first thought it would seem advisable to provide a reverse cone-shaped -take-up roll, as shown in the illustration, which has a slope of 1 -<span class="transnote">[Transcriber’s Note: It’s possible that a line of text was missing here -from the original printing, as the sentence doesn’t make complete sense]</span> -the impracticability of such an arrangement and the straight roll with a -free movement as described is more desirable. It is also necessary, or at -least advisable, to use a slightly tapered roll on the breast beam, over -which the cloth passes.</p> - -<p><span class="pagenum"><a id="Page_68"></a>[68]</span></p> - -<h3><span class="smcap">Woven in Three Widths</span></h3> - -<p>The fabric woven is made in three widths, 4¼ inches, 4¾ inches and -5¼ inches, with the folding line in different positions in each width, so as -to provide for different styles. The great amount of stock employed over -these widths, and the difference in the take-up between one side of the -web and the other, makes it necessary to divide the warps into sections and -carry considerable weight on each, so as to obtain a perfect clearance in -the shed, and pack the filling in uniformly.</p> - -<h3><span class="smcap">The Weave</span></h3> - -<p>The weave employed is an ordinary double cloth plain, made with face, -back, binder and gut. It is necessary to have 2 back, 2 binder, 4 face and -4 gut warps. The accompanying table will show the number of threads -required in each warp, together with the weights carried on each one.</p> - -<p class="center">WARP DETAILS FOR VAN HEUSEN COLLAR</p> - -<table> - <tr> - <th></th> - <th colspan="4">4¼ Inch</th> - <th colspan="2">4¾ Inch</th> - <th colspan="2">5¼ Inch</th> - </tr> - <tr> - <th></th> - <th>No. of Warps</th> - <th>Threads (60/2)</th> - <th colspan="2">Weight Carried</th> - <th>No. of Warps</th> - <th>Threads (60/2)</th> - <th>No. of Warps</th> - <th>Threads (60/2)</th> - </tr> - <tr> - <td>Face</td> - <td class="tdr">2</td> - <td class="tdr">99</td> - <td class="tdr">8</td> - <td class="nw">lbs. each</td> - <td class="tdr">2</td> - <td class="tdr">109</td> - <td class="tdr">2</td> - <td class="tdr">119</td> - </tr> - <tr> - <td>Face</td> - <td class="tdr">2</td> - <td class="tdr">82</td> - <td class="tdr">7</td> - <td class="nw">lbs. each</td> - <td class="tdr">2</td> - <td class="tdr">92</td> - <td class="tdr">2</td> - <td class="tdr">104</td> - </tr> - <tr> - <td>Back</td> - <td class="tdr">1</td> - <td class="tdr">198</td> - <td class="tdr">13</td> - <td class="nw">lbs. each</td> - <td class="tdr">1</td> - <td class="tdr">218</td> - <td class="tdr">2</td> - <td class="tdr">238</td> - </tr> - <tr> - <td>Back</td> - <td class="tdr">1</td> - <td class="tdr">164</td> - <td class="tdr">12</td> - <td class="nw">lbs. each</td> - <td class="tdr">1</td> - <td class="tdr">184</td> - <td class="tdr">2</td> - <td class="tdr">208</td> - </tr> - <tr> - <td>Binder</td> - <td class="tdr">1</td> - <td class="tdr">99</td> - <td class="tdr">10</td> - <td class="nw">lbs. each</td> - <td class="tdr">1</td> - <td class="tdr">109</td> - <td class="tdr">1</td> - <td class="tdr">119</td> - </tr> - <tr> - <td>Binder</td> - <td class="tdr">1</td> - <td class="tdr">78</td> - <td class="tdr">7</td> - <td class="nw">lbs. each</td> - <td class="tdr">1</td> - <td class="tdr">88</td> - <td class="tdr">1</td> - <td class="tdr">100</td> - </tr> - <tr> - <td>Gut</td> - <td class="tdr">2</td> - <td class="tdr">99</td> - <td class="tdr">8</td> - <td class="nw">lbs. each</td> - <td class="tdr">2</td> - <td class="tdr">109</td> - <td class="tdr">2</td> - <td class="tdr">119</td> - </tr> - <tr> - <td>Gut</td> - <td class="tdr">2</td> - <td class="tdr">78</td> - <td class="tdr">7</td> - <td class="nw">lbs. each</td> - <td class="tdr">2</td> - <td class="tdr">88</td> - <td class="tdr">2</td> - <td class="tdr">100</td> - </tr> -</table> - -<p>It is essential that these warps be properly separated at the back -rolls; Use the first roll for two binder, second for 4 face, third for 2 back -and fourth for 4 gut. A 24 dent back reed should be used, which will -allow for 4 face, 4 gut, 2 back and 2 binders in each dent, which together -with the back roll separation of the different warps makes it convenient -to handle the various warp sections and keep the threads straight and -confined to the limitations of space available.</p> - -<div class="figcenter illowp62" id="ch11-fig1" style="max-width: 31.25em;"> - <img class="w100" src="images/ch11-fig1.jpg" alt="" /> - <p class="caption">Take-Up Giving Long-Sided Cloth</p> -</div> - -<h3><span class="smcap">Method of Reeding</span></h3> - -<p>The front reed used is a 40 dent, with one cord or seven threads to -each dent. In some mills, however, great advantage has been found in -using a 26½ dent front reed, drawing 10 threads in one dent and 11 in<span class="pagenum"><a id="Page_69"></a>[69]</span> -the next, splitting between face and back, which makes the stock work -much easier, and relatively increases the output. Any tendency to “rowing” -caused by the dents in this coarser reed are completely hidden in the -bleaching process.</p> - -<div class="figcenter illowp100" id="ch11-fig2" style="max-width: 43.75em;"> - <img class="w100" src="images/ch11-fig2.jpg" alt="" /> - <p class="caption">Harness Draft and Weave for Van Heusen Collar</p> -</div> - -<p>The folding line between the neck band and the outer fold of the -collar is made by leaving out the binder and gut threads in four cords at -the desired point, only retaining the face and back threads. The position -of the folding line may be varied in each of the three standard widths to -meet the requirements of the manufacturer and according to the style -of the collar desired.</p> - -<p>There are 104 picks per inch, counting at the folded line, as there are -more on the short side and less on the long side. High grade 60/2 C. P. -yarn is used throughout. The goods are woven in the gray and bleached -afterwards.</p> - -<p><span class="pagenum"><a id="Page_70"></a>[70]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_71"></a>[71]</span></p> - -<h2 class="nobreak" id="Knitted_Narrow_Fabrics">Knitted Narrow Fabrics</h2> - -<p>By <span class="smcap">William Davis, M.A.</span></p> - -<p><i>Branch of the Knitting Industry That Presents Interesting Features—Yarn -Testing—Manufacture of Cleaners and Meat Bags, Coverings for -Wires and Cables, Fancy Stitch and Colored Effects for -Trimmings—Use of Core Thread to Give Strength</i></p> - -</div> - -<p>Knitting machine builders are remarkable for the new inventions -and adaptations they are constantly bringing out on their machines. -Several important concerns in this line have recently been active in -producing types to deal with the large trade now being done in narrow -fabrics for various purposes.</p> - -<p>The ordinary circular knitting machine of small diameter has long been -recognized as a suitable means of making trials of new yarns to judge how -closely they match the original sample, because in knitting there is not the -necessity of elaborate warp preparation and loom mounting. The machine -generally employed for this purpose is an ordinary type of stocking knitter -containing 96 or 112 needles. If the machine is only to be employed as a -sampling machine it is by no means necessary to have a full stocking -machine, because in this work it is never necessary to use the ribber or -dial which is always supplied.</p> - -<p>The work of sampling to shade is done in most weaving or spinning -factories and a narrow width plain stitch knitting machine is satisfactory -for the purpose. It is usually quite suitable to work the machine by hand, -owing to the small lengths required and the frequent changes necessary -when testing different colors and qualities.</p> - -<p>The latch needle machine is much better for this purpose than the -bearded needle frame owing to the simplicity of loop formation and also -owing to the facility with which small or thick yarns can be made to give -good work on the machine with suitable adjustment of the stitch tensions. -It is also used as a means of producing samples of color, as the various -colors can be introduced rapidly one after the other on this machine.</p> - -<p>This type of frame with the needles stationary, and revolving cams and -thread guide has from the first been recognized as the best adapted for -knitting gas mantles from ramie. The yarn is working in long lengths -on a narrow width circular knitting machine using the latch needle and -this fabric is afterwards cut into lengths according to the mantles being -produced. Mantles of different sizes can be obtained by using different -diameters of machines as supplied by machine builders for this purpose.</p> - -<p>In most hardware establishments and department stores one sees woven -metal material knitted into fabric on such machines, and intended to be -used for cleaning pots and pans in household work. The wire has a sharp -edge so as to grip the matter to be removed. Knitting the metal material -into looped form enables the product to do its work with the greatest -efficiency.</p> - -<p>Another side line of the knitting industry is the production of what -are known as meat bags, with which the carcasses of frozen and ordinary -mutton and beef are covered prior to transport. These bags are usually<span class="pagenum"><a id="Page_72"></a>[72]</span> -made on circular knitting machines of large diameter using the latch needle, -and as the size of the yarn is fine compared to the set of the needles a -gauze-like character is obtained which allows free circulation of air as well -as affording a clean method of handling the meat and protecting it in the -course of transport on ship, train and truck.</p> - -<h3><span class="smcap">Plain Knitted Tube</span></h3> - -<p>Examples are given by the accompanying illustrations of a few products -of the narrow fabric branch of the trade. It will be evident at once what -an interesting field of application is afforded by this division of the knitting -industry. Fig. 1 shows a plain knitted fabric worked in circular form -on a knitting machine using the latch needle in which we have 40 needles in -the circumference, so that in this tube, front and back, are 40 stitches -shown here in flat form.</p> - -<div class="figcenter"> - -<div class="figmulti illowp65" id="knitted-fig1-2" style="max-width: 21.875em;"> - <img class="w100" src="images/knitted-fig1-2.jpg" alt="" /> - <p class="caption">Fig. 1 <span class="spacer">Fig. 2</span></p> -</div> - -<div class="figmulti illowp70" id="knitted-fig3-4" style="max-width: 21.875em;"> - <img class="w100" src="images/knitted-fig3-4.jpg" alt="" /> - <p class="caption">Fig. 3 <span class="spacer">Fig. 4</span></p> -</div> - -</div> - -<p>It is evident that this tubing can be used for the purpose of covering -wires and cables which slide inside the fabric. It has more elasticity than -woven fabric of similar form and is generally produced in a more simple -and direct manner. It should be pointed out, however, that this fabric is -susceptible to being torn and if it breaks at any point a little further strain -will cause it to unravel in a rapid manner. Thus it is clear that it cannot -be used by itself to any great extent in cases where great strain or pull will -be applied to it. Made in suitable materials, there is nothing to hinder -this tube from serving as lamp wicks.</p> - -<h3><span class="smcap">Introduction of Fancy Stitch</span></h3> - -<p>Fig. 2 shows the same fabric with a fancy stitch introduced at one -needle on the cylinder of the knitting machine to produce what is known as -“tuck” work. In this work the needle in question is made to hold its thread -for one course without knocking over its loop, and takes a second thread on -the next course so that two threads are knocked over together, giving rise -to the effect shown in the middle of the illustration.</p> - -<p>This effect is produced by inserting a needle at this point with a latch -which is longer than the other needle latches of the machine, with the result -that it does not knock over its stitches with the ordinary needles unless it -receives a specially deep draw down, which it gets every second course. All<span class="pagenum"><a id="Page_73"></a>[73]</span> -the stitches made on this needle are double as compared with the single -stitches in the rest of the tube. In a machine with 20 needles in the circumference, -one needle would be inserted with this extra long latch to give a -tuck stitch right down the tube.</p> - -<p>As regards the position of the fabric at which the tuck effect is made -to show, this is entirely a matter of arrangement in folding the tube. -According to the line of folding the tuck effect can be made to appear in -the middle or at the side.</p> - -<p>Further examples of this style of narrow fabric are given in Figs. 3 -and 4, made on the same diameter of machine. In Fig. 3 the tuck stitch -is made both front and back of the tape; that is, a long latch needle is -inserted in the cylinder every tenth needle so that there are two in the -circumference in place of the single line in Fig. 2. In Fig. 3 the second -vertical line of tucking stitches appears on the back of the fabric directly -under the line shown on the face, and this has the effect of making the -tuck stitch more pronounced.</p> - -<div class="figcenter"> - -<div class="figmulti illowp80" id="knitted-fig5-6" style="max-width: 21.875em;"> - <img class="w100" src="images/knitted-fig5-6.jpg" alt="" /> - <p class="caption">Fig. 5 <span class="spacer">Fig. 6</span></p> -</div> - -<div class="figmulti illowp70" id="knitted-fig7-8" style="max-width: 21.875em;"> - <img class="w100" src="images/knitted-fig7-8.jpg" alt="" /> - <p class="caption">Fig. 7 <span class="spacer">Fig. 8</span></p> -</div> - -</div> - -<p>In Fig. 4 it will be recognized that this idea is further developed by -having two vertical rows of tuck stitches showing on the face of the tube, -and these are supplemented by two others placed directly under them on -the other side of the fabric, thus giving a total of four long latch needles -in the circumference of the machine. To give the proper effect, the tube -as obtained from the machine has to be carefully pressed so as to show -the fancy effect at the correct place, for if the tube gets out of alignment -at any point, this will affect the form of the pattern.</p> - -<h3><span class="smcap">Use for Trimmings</span></h3> - -<p>In the knitting industry such pieces of tubing folded double are found -extremely useful in trimming garments, particularly in the circular or cut -trade, where so much depends on having articles tastefully ornamented at -a moderate cost. At present the manufacturer has often to buy these -touches of trimmings from the outside. The great advantage of doing the -work on his own premises and on his own machines is that he can install -such a machine at a very moderate cost and place among his ordinary knitting -machines at little or no extra cost for mechanics.</p> - -<p><span class="pagenum"><a id="Page_74"></a>[74]</span></p> - -<h3><span class="smcap">Patterns With Colored Yarns</span></h3> - -<p>Several other examples are given herewith of the application of this -principle of the latch needle knitting machine for tubular fabrics suitable -for narrow tapes or ribbons. Fig. 5 illustrates a fabric produced on a -machine of still narrower dimensions, having only 12 needles in the circumference -of the machine. In this case the pattern effect is introduced -by having several feeds of thread in the circumference; three different -colors are employed and introduced in the order of one white, one black, -and one tan all the way down the fabric, thus giving rise to a style of -pattern which is very suitable for many purposes of the knitting manufacturer, -particularly of outer garments. There are three yarn feeds round -the circumference of this machine and every revolution of the machine -creates three courses in the three colors named.</p> - -<p>It will be noted that this gives rise to a color effect showing at a -decided angle to the right, in place of being exactly horizontal, as would be -approximately the case in a machine of larger diameter. This is one of -the defects of all machines of this character where several feeds are used. -They create a decidedly spiral tendency and the color effects appear at an -angle. In many cases this is no disadvantage, but rather the reverse, as it -takes away the stiffness of the color scheme and produces attractive effects -in twill fashion similar to what can only be created in woven goods by the -aid of the corkscrew weave and an elaborate setting of the cloth.</p> - -<p>Fabrics of the character shown in Fig. 5 are very useful for edging -parts of knitting coats, jumpers or vestings, these edgings giving a suitable -finish for the edges of the garment. In addition to the color feature, these -bands are often made in a tight tension so as to give a rigid cloth which -will strengthen certain parts at which extra pull is applied, enabling the -garment to retain its shape.</p> - -<h3><span class="smcap">Knitted Cords</span></h3> - -<p>Fig. 6 gives a view of a narrow fabric made on a circular latch needle -knitting machine with only six needles in the cylinder. There are two -feeds, one supplying blue yarn to the needles and the other supplying -green, the pattern being alternate courses of green and blue. The material -is artificial silk and the cord, for it is nothing more, is employed for -threading through certain garments which have a kind of open trimming -through the spaces of which this cord is passed to complete the drawing -together of the part. Very often these drawing together cords are provided -with tassels at their extreme ends to afford a further ornamental -feature.</p> - -<p>Fig. 7 gives another variation of this pattern produced on the same -machine where the courses alternate with each other in red and green. -This sample shows the facility with which new color blends can be produced -to match any color of ground garment. One bobbin is simply replaced with -another on the machine, or both may be changed. In this pattern again -a decided tendency is shown for the effect to run in the direction of the -right owing to the tendency to a spiral effect.</p> - -<h3><span class="smcap">Use of Core Thread</span></h3> - -<p>In some cases the cord made of the knitted fabric itself is too elastic -and lacks the tensile strength required for certain purposes. In this event -it is an easy matter to arrange that a center core thread be run into the -machine as the fabric is being knitted. The core thread is made of some -strong, non-elastic material and is arranged on a bobbin above the machine. -That material is drawn off its bobbin and passes down the center of the<span class="pagenum"><a id="Page_75"></a>[75]</span> -circle of needles so that it is completely covered by the knitted fabric. Its -use considerably strengthens the cord and makes it suitable for certain -purposes for which it otherwise would not be satisfactory.</p> - -<p>Fig. 8 shows a sample of an actual cord made on the same type of -machine where we have only four needles in the cylinder, these being worked -with two yarn feeds, one black and one white, giving a one and one black -and white effect in the cord. For this style it is necessary to have a core -thread of material which passes into the center of the tube as the knitting -proceeds. This makes the cord bulk larger and causes it to be quite round -in effect.</p> - -<p>The smallest cord of this character is produced from one latch needle -by an arrangement such as is supplied with the Union Special sewing -machine, where the latch needle works by power, enters its loop and takes -the new thread, which it draws through the old one, thus making an endless -chain of loops in a very rapid manner. These strings are used as the -ground work of the ornamental edgings produced on this machine.</p> - -<p class="titlepage">THE ABBOTT PRESS, NEW YORK</p> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK ELASTIC AND NON-ELASTIC NARROW FABRICS ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks may be modified and printed and given away—you may -do practically ANYTHING in the United States with eBooks not protected -by U.S. copyright law. Redistribution is subject to the trademark -license, especially commercial redistribution. -</div> - -<div style='margin-top:1em; font-size:1.1em; text-align:center'>START: FULL LICENSE</div> -<div style='text-align:center;font-size:0.9em'>THE FULL PROJECT GUTENBERG LICENSE</div> -<div style='text-align:center;font-size:0.9em'>PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK</div> - -<div style='display:block; margin:1em 0'> -To protect the Project Gutenberg™ mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase “Project -Gutenberg”), you agree to comply with all the terms of the Full -Project Gutenberg™ License available with this file or online at -www.gutenberg.org/license. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -1.A. By reading or using any part of this Project Gutenberg™ -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg™ electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg™ electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the person -or entity to whom you paid the fee as set forth in paragraph 1.E.8. -</div> - -<div style='display:block; margin:1em 0'> -1.B. “Project Gutenberg” is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg™ electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg™ electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg™ -electronic works. See paragraph 1.E below. -</div> - -<div style='display:block; margin:1em 0'> -1.C. The Project Gutenberg Literary Archive Foundation (“the -Foundation” or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg™ electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg™ mission of promoting -free access to electronic works by freely sharing Project Gutenberg™ -works in compliance with the terms of this agreement for keeping the -Project Gutenberg™ name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg™ License when -you share it without charge with others. -</div> - -<div style='display:block; margin:1em 0'> -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg™ work. The Foundation makes no -representations concerning the copyright status of any work in any -country other than the United States. -</div> - -<div style='display:block; margin:1em 0'> -1.E. Unless you have removed all references to Project Gutenberg: -</div> - -<div style='display:block; margin:1em 0'> -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg™ License must appear -prominently whenever any copy of a Project Gutenberg™ work (any work -on which the phrase “Project Gutenberg” appears, or with which the -phrase “Project Gutenberg” is associated) is accessed, displayed, -performed, viewed, copied or distributed: -</div> - -<blockquote> - <div style='display:block; margin:1em 0'> - This eBook is for the use of anyone anywhere in the United States and most - other parts of the world 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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you - are not located in the United States, you will have to check the laws - of the country where you are located before using this eBook. - </div> -</blockquote> - -<div style='display:block; margin:1em 0'> -1.E.2. If an individual Project Gutenberg™ electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase “Project -Gutenberg” associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg™ -trademark as set forth in paragraphs 1.E.8 or 1.E.9. -</div> - -<div style='display:block; margin:1em 0'> -1.E.3. If an individual Project Gutenberg™ electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg™ License for all works -posted with the permission of the copyright holder found at the -beginning of this work. -</div> - -<div style='display:block; margin:1em 0'> -1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg™. -</div> - -<div style='display:block; margin:1em 0'> -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg™ License. -</div> - -<div style='display:block; margin:1em 0'> -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg™ work in a format -other than “Plain Vanilla ASCII” or other format used in the official -version posted on the official Project Gutenberg™ website -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original “Plain -Vanilla ASCII” or other form. Any alternate format must include the -full Project Gutenberg™ License as specified in paragraph 1.E.1. -</div> - -<div style='display:block; margin:1em 0'> -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg™ works -unless you comply with paragraph 1.E.8 or 1.E.9. -</div> - -<div style='display:block; margin:1em 0'> -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg™ electronic works -provided that: -</div> - -<div style='margin-left:0.7em;'> - <div style='text-indent:-0.7em'> - • You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg™ works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg™ trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, “Information about donations to the Project Gutenberg - Literary Archive Foundation.” - </div> - - <div style='text-indent:-0.7em'> - • You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg™ - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg™ - works. - </div> - - <div style='text-indent:-0.7em'> - • You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - </div> - - <div style='text-indent:-0.7em'> - • You comply with all other terms of this agreement for free - distribution of Project Gutenberg™ works. - </div> -</div> - -<div style='display:block; margin:1em 0'> -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg™ electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from the Project Gutenberg Literary Archive Foundation, the manager of -the Project Gutenberg™ trademark. Contact the Foundation as set -forth in Section 3 below. -</div> - -<div style='display:block; margin:1em 0'> -1.F. -</div> - -<div style='display:block; margin:1em 0'> -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg™ collection. Despite these efforts, Project Gutenberg™ -electronic works, and the medium on which they may be stored, may -contain “Defects,” such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. -</div> - -<div style='display:block; margin:1em 0'> -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right -of Replacement or Refund” described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg™ trademark, and any other party distributing a Project -Gutenberg™ electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. -</div> - -<div style='display:block; margin:1em 0'> -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. -</div> - -<div style='display:block; margin:1em 0'> -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. -</div> - -<div style='display:block; margin:1em 0'> -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. -</div> - -<div style='display:block; margin:1em 0'> -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg™ electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg™ -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg™ work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg™ work, and (c) any -Defect you cause. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 2. Information about the Mission of Project Gutenberg™ -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. -</div> - -<div style='display:block; margin:1em 0'> -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg™’s -goals and ensuring that the Project Gutenberg™ collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg™ and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at www.gutenberg.org. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 3. Information about the Project Gutenberg Literary Archive Foundation -</div> - -<div style='display:block; margin:1em 0'> -The Project Gutenberg Literary Archive Foundation is a non-profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation’s EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state’s laws. -</div> - -<div style='display:block; margin:1em 0'> -The Foundation’s business office is located at 809 North 1500 West, -Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up -to date contact information can be found at the Foundation’s website -and official page at www.gutenberg.org/contact -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ depends upon and cannot survive without widespread -public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine-readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. -</div> - -<div style='display:block; margin:1em 0'> -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular state -visit <a href="https://www.gutenberg.org/donate/">www.gutenberg.org/donate</a>. -</div> - -<div style='display:block; margin:1em 0'> -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. -</div> - -<div style='display:block; margin:1em 0'> -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. -</div> - -<div style='display:block; margin:1em 0'> -Please check the Project Gutenberg web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 5. General Information About Project Gutenberg™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -Professor Michael S. Hart was the originator of the Project -Gutenberg™ concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg™ eBooks with only a loose network of -volunteer support. -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. -</div> - -<div style='display:block; margin:1em 0'> -Most people start at our website which has the main PG search -facility: <a href="https://www.gutenberg.org">www.gutenberg.org</a>. -</div> - -<div style='display:block; margin:1em 0'> -This website includes information about Project Gutenberg™, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. -</div> - -</div> -</body> -</html> diff --git a/old/68583-h/images/ch1-fig1.jpg b/old/68583-h/images/ch1-fig1.jpg Binary files differdeleted file mode 100644 index 18a036f..0000000 --- a/old/68583-h/images/ch1-fig1.jpg +++ /dev/null diff --git a/old/68583-h/images/ch1-fig2.jpg b/old/68583-h/images/ch1-fig2.jpg Binary files differdeleted file mode 100644 index f673d85..0000000 --- a/old/68583-h/images/ch1-fig2.jpg +++ /dev/null diff --git a/old/68583-h/images/ch1-fig3.jpg b/old/68583-h/images/ch1-fig3.jpg Binary files differdeleted file mode 100644 index 9e5fa86..0000000 --- a/old/68583-h/images/ch1-fig3.jpg +++ /dev/null diff --git a/old/68583-h/images/ch1-fig4.jpg b/old/68583-h/images/ch1-fig4.jpg Binary files differdeleted file mode 100644 index 2b2f378..0000000 --- a/old/68583-h/images/ch1-fig4.jpg +++ /dev/null diff --git a/old/68583-h/images/ch10-fig1.jpg b/old/68583-h/images/ch10-fig1.jpg Binary files differdeleted file mode 100644 index 533c33e..0000000 --- a/old/68583-h/images/ch10-fig1.jpg +++ /dev/null diff --git a/old/68583-h/images/ch10-fig2.jpg b/old/68583-h/images/ch10-fig2.jpg Binary files differdeleted file mode 100644 index 640862b..0000000 --- a/old/68583-h/images/ch10-fig2.jpg +++ /dev/null diff --git a/old/68583-h/images/ch10-fig3.jpg b/old/68583-h/images/ch10-fig3.jpg Binary files differdeleted file mode 100644 index f2593b4..0000000 --- a/old/68583-h/images/ch10-fig3.jpg +++ /dev/null diff --git a/old/68583-h/images/ch10-fig4.jpg b/old/68583-h/images/ch10-fig4.jpg Binary files differdeleted file mode 100644 index f0ef881..0000000 --- a/old/68583-h/images/ch10-fig4.jpg +++ /dev/null diff --git a/old/68583-h/images/ch10-fig5.jpg b/old/68583-h/images/ch10-fig5.jpg Binary files differdeleted file mode 100644 index f5f1506..0000000 --- a/old/68583-h/images/ch10-fig5.jpg +++ /dev/null diff --git a/old/68583-h/images/ch10-fig6.jpg b/old/68583-h/images/ch10-fig6.jpg Binary files differdeleted file mode 100644 index 304e806..0000000 --- a/old/68583-h/images/ch10-fig6.jpg +++ /dev/null diff --git a/old/68583-h/images/ch11-fig1.jpg b/old/68583-h/images/ch11-fig1.jpg Binary files differdeleted file mode 100644 index 2bf2efa..0000000 --- a/old/68583-h/images/ch11-fig1.jpg +++ /dev/null diff --git a/old/68583-h/images/ch11-fig2.jpg b/old/68583-h/images/ch11-fig2.jpg Binary files differdeleted file mode 100644 index 304dec2..0000000 --- a/old/68583-h/images/ch11-fig2.jpg +++ /dev/null diff --git a/old/68583-h/images/ch2-fig1.jpg b/old/68583-h/images/ch2-fig1.jpg Binary files differdeleted file mode 100644 index 0fbfdab..0000000 --- a/old/68583-h/images/ch2-fig1.jpg +++ /dev/null diff --git a/old/68583-h/images/ch2-fig2.jpg b/old/68583-h/images/ch2-fig2.jpg Binary files differdeleted file mode 100644 index 6d67bfb..0000000 --- a/old/68583-h/images/ch2-fig2.jpg +++ /dev/null diff --git a/old/68583-h/images/ch2-fig3.jpg b/old/68583-h/images/ch2-fig3.jpg Binary files differdeleted file mode 100644 index 0c90ed2..0000000 --- a/old/68583-h/images/ch2-fig3.jpg +++ /dev/null diff --git a/old/68583-h/images/ch2-fig4.jpg b/old/68583-h/images/ch2-fig4.jpg Binary files differdeleted file mode 100644 index 1109ba2..0000000 --- a/old/68583-h/images/ch2-fig4.jpg +++ /dev/null diff --git a/old/68583-h/images/ch3-fig1.jpg b/old/68583-h/images/ch3-fig1.jpg Binary files differdeleted file mode 100644 index 9dd4d09..0000000 --- a/old/68583-h/images/ch3-fig1.jpg +++ /dev/null diff --git a/old/68583-h/images/ch3-fig2.jpg b/old/68583-h/images/ch3-fig2.jpg Binary files differdeleted file mode 100644 index 0b4a89d..0000000 --- a/old/68583-h/images/ch3-fig2.jpg +++ /dev/null diff --git a/old/68583-h/images/ch3-fig3.jpg b/old/68583-h/images/ch3-fig3.jpg Binary files differdeleted file mode 100644 index beb0bbb..0000000 --- a/old/68583-h/images/ch3-fig3.jpg +++ /dev/null diff --git a/old/68583-h/images/ch3-fig4.jpg b/old/68583-h/images/ch3-fig4.jpg Binary files differdeleted file mode 100644 index df18ce8..0000000 --- a/old/68583-h/images/ch3-fig4.jpg +++ /dev/null diff --git a/old/68583-h/images/ch3-fig5.jpg b/old/68583-h/images/ch3-fig5.jpg Binary files differdeleted file mode 100644 index 2996d63..0000000 --- a/old/68583-h/images/ch3-fig5.jpg +++ /dev/null diff --git a/old/68583-h/images/ch3-fig6-10.jpg b/old/68583-h/images/ch3-fig6-10.jpg Binary files differdeleted file mode 100644 index d138d89..0000000 --- a/old/68583-h/images/ch3-fig6-10.jpg +++ /dev/null diff --git a/old/68583-h/images/ch3-fig6a.jpg b/old/68583-h/images/ch3-fig6a.jpg Binary files differdeleted file mode 100644 index f2d1bd4..0000000 --- a/old/68583-h/images/ch3-fig6a.jpg +++ /dev/null diff --git a/old/68583-h/images/ch3-fig7a.jpg b/old/68583-h/images/ch3-fig7a.jpg Binary files differdeleted file mode 100644 index 5362428..0000000 --- a/old/68583-h/images/ch3-fig7a.jpg +++ /dev/null diff --git a/old/68583-h/images/ch3-fig8a.jpg b/old/68583-h/images/ch3-fig8a.jpg Binary files differdeleted file mode 100644 index 6f6d9f2..0000000 --- a/old/68583-h/images/ch3-fig8a.jpg +++ /dev/null diff --git a/old/68583-h/images/ch3-fig9a.jpg b/old/68583-h/images/ch3-fig9a.jpg Binary files differdeleted file mode 100644 index 1b97eb4..0000000 --- a/old/68583-h/images/ch3-fig9a.jpg +++ /dev/null diff --git a/old/68583-h/images/ch4-fig1.jpg b/old/68583-h/images/ch4-fig1.jpg Binary files differdeleted file mode 100644 index e982cfb..0000000 --- a/old/68583-h/images/ch4-fig1.jpg +++ /dev/null diff --git a/old/68583-h/images/ch4-fig1a.jpg b/old/68583-h/images/ch4-fig1a.jpg Binary files differdeleted file mode 100644 index 7e38e39..0000000 --- a/old/68583-h/images/ch4-fig1a.jpg +++ /dev/null diff --git a/old/68583-h/images/ch4-fig2.jpg b/old/68583-h/images/ch4-fig2.jpg Binary files differdeleted file mode 100644 index 542c58c..0000000 --- a/old/68583-h/images/ch4-fig2.jpg +++ /dev/null diff --git a/old/68583-h/images/ch4-fig3.jpg b/old/68583-h/images/ch4-fig3.jpg Binary files differdeleted file mode 100644 index f1b69d1..0000000 --- a/old/68583-h/images/ch4-fig3.jpg +++ /dev/null diff --git a/old/68583-h/images/ch4-fig4.jpg b/old/68583-h/images/ch4-fig4.jpg Binary files differdeleted file mode 100644 index 0f300f8..0000000 --- a/old/68583-h/images/ch4-fig4.jpg +++ /dev/null diff --git a/old/68583-h/images/ch4-fig5.jpg b/old/68583-h/images/ch4-fig5.jpg Binary files differdeleted file mode 100644 index bae49f2..0000000 --- a/old/68583-h/images/ch4-fig5.jpg +++ /dev/null diff --git a/old/68583-h/images/ch4-fig6.jpg b/old/68583-h/images/ch4-fig6.jpg Binary files differdeleted file mode 100644 index a1ef4c1..0000000 --- a/old/68583-h/images/ch4-fig6.jpg +++ /dev/null diff --git a/old/68583-h/images/ch4-fig6a.jpg b/old/68583-h/images/ch4-fig6a.jpg Binary files differdeleted file mode 100644 index 5adce37..0000000 --- a/old/68583-h/images/ch4-fig6a.jpg +++ /dev/null diff --git a/old/68583-h/images/ch4-fig7.jpg b/old/68583-h/images/ch4-fig7.jpg Binary files differdeleted file mode 100644 index bd136a9..0000000 --- a/old/68583-h/images/ch4-fig7.jpg +++ /dev/null diff --git a/old/68583-h/images/ch5-fig1.jpg b/old/68583-h/images/ch5-fig1.jpg Binary files differdeleted file mode 100644 index eb4713f..0000000 --- a/old/68583-h/images/ch5-fig1.jpg +++ /dev/null diff --git a/old/68583-h/images/ch5-fig2.jpg b/old/68583-h/images/ch5-fig2.jpg Binary files differdeleted file mode 100644 index 1bf37fa..0000000 --- a/old/68583-h/images/ch5-fig2.jpg +++ /dev/null diff --git a/old/68583-h/images/ch5-fig3.jpg b/old/68583-h/images/ch5-fig3.jpg Binary files differdeleted file mode 100644 index 023c014..0000000 --- a/old/68583-h/images/ch5-fig3.jpg +++ /dev/null diff --git a/old/68583-h/images/ch5-fig4.jpg b/old/68583-h/images/ch5-fig4.jpg Binary files differdeleted file mode 100644 index ecfd295..0000000 --- a/old/68583-h/images/ch5-fig4.jpg +++ /dev/null diff --git a/old/68583-h/images/ch5-fig4a.jpg b/old/68583-h/images/ch5-fig4a.jpg Binary files differdeleted file mode 100644 index 3e1214f..0000000 --- a/old/68583-h/images/ch5-fig4a.jpg +++ /dev/null diff --git a/old/68583-h/images/ch5-fig5.jpg b/old/68583-h/images/ch5-fig5.jpg Binary files differdeleted file mode 100644 index d384e05..0000000 --- a/old/68583-h/images/ch5-fig5.jpg +++ /dev/null diff --git a/old/68583-h/images/ch5-fig5a.jpg b/old/68583-h/images/ch5-fig5a.jpg Binary files differdeleted file mode 100644 index 3dce008..0000000 --- a/old/68583-h/images/ch5-fig5a.jpg +++ /dev/null diff --git a/old/68583-h/images/ch6-fig1.jpg b/old/68583-h/images/ch6-fig1.jpg Binary files differdeleted file mode 100644 index d6a4342..0000000 --- a/old/68583-h/images/ch6-fig1.jpg +++ /dev/null diff --git a/old/68583-h/images/ch6-fig1a.jpg b/old/68583-h/images/ch6-fig1a.jpg Binary files differdeleted file mode 100644 index fe1c916..0000000 --- a/old/68583-h/images/ch6-fig1a.jpg +++ /dev/null diff --git a/old/68583-h/images/ch6-fig2-3.jpg b/old/68583-h/images/ch6-fig2-3.jpg Binary files differdeleted file mode 100644 index 72bdc3f..0000000 --- a/old/68583-h/images/ch6-fig2-3.jpg +++ /dev/null diff --git a/old/68583-h/images/ch6-fig4.jpg b/old/68583-h/images/ch6-fig4.jpg Binary files differdeleted file mode 100644 index 6314e42..0000000 --- a/old/68583-h/images/ch6-fig4.jpg +++ /dev/null diff --git a/old/68583-h/images/ch6-fig5.jpg b/old/68583-h/images/ch6-fig5.jpg Binary files differdeleted file mode 100644 index 98dbfba..0000000 --- a/old/68583-h/images/ch6-fig5.jpg +++ /dev/null diff --git a/old/68583-h/images/ch6-fig5a.jpg b/old/68583-h/images/ch6-fig5a.jpg Binary files differdeleted file mode 100644 index c91c260..0000000 --- a/old/68583-h/images/ch6-fig5a.jpg +++ /dev/null diff --git a/old/68583-h/images/ch6-fig6-7.jpg b/old/68583-h/images/ch6-fig6-7.jpg Binary files differdeleted file mode 100644 index 4fa3708..0000000 --- a/old/68583-h/images/ch6-fig6-7.jpg +++ /dev/null diff --git a/old/68583-h/images/ch7-fig1.jpg b/old/68583-h/images/ch7-fig1.jpg Binary files differdeleted file mode 100644 index e7ab9dd..0000000 --- a/old/68583-h/images/ch7-fig1.jpg +++ /dev/null diff --git a/old/68583-h/images/ch7-fig1a.jpg b/old/68583-h/images/ch7-fig1a.jpg Binary files differdeleted file mode 100644 index a80b758..0000000 --- a/old/68583-h/images/ch7-fig1a.jpg +++ /dev/null diff --git a/old/68583-h/images/ch7-fig2.jpg b/old/68583-h/images/ch7-fig2.jpg Binary files differdeleted file mode 100644 index 8f6b0dd..0000000 --- a/old/68583-h/images/ch7-fig2.jpg +++ /dev/null diff --git a/old/68583-h/images/ch7-fig2a.jpg b/old/68583-h/images/ch7-fig2a.jpg Binary files differdeleted file mode 100644 index 0e880e9..0000000 --- a/old/68583-h/images/ch7-fig2a.jpg +++ /dev/null diff --git a/old/68583-h/images/ch7-fig3.jpg b/old/68583-h/images/ch7-fig3.jpg Binary files differdeleted file mode 100644 index c8779ed..0000000 --- a/old/68583-h/images/ch7-fig3.jpg +++ /dev/null diff --git a/old/68583-h/images/ch7-fig4.jpg b/old/68583-h/images/ch7-fig4.jpg Binary files differdeleted file mode 100644 index 17b88b9..0000000 --- a/old/68583-h/images/ch7-fig4.jpg +++ /dev/null diff --git a/old/68583-h/images/ch7-fig5.jpg b/old/68583-h/images/ch7-fig5.jpg Binary files differdeleted file mode 100644 index 5eb9849..0000000 --- a/old/68583-h/images/ch7-fig5.jpg +++ /dev/null diff --git a/old/68583-h/images/ch7-fig6.jpg b/old/68583-h/images/ch7-fig6.jpg Binary files differdeleted file mode 100644 index 7586b1b..0000000 --- a/old/68583-h/images/ch7-fig6.jpg +++ /dev/null diff --git a/old/68583-h/images/ch8-fig1-4.jpg b/old/68583-h/images/ch8-fig1-4.jpg Binary files differdeleted file mode 100644 index 264c01d..0000000 --- a/old/68583-h/images/ch8-fig1-4.jpg +++ /dev/null diff --git a/old/68583-h/images/ch8-fig5.jpg b/old/68583-h/images/ch8-fig5.jpg Binary files differdeleted file mode 100644 index d4b9577..0000000 --- a/old/68583-h/images/ch8-fig5.jpg +++ /dev/null diff --git a/old/68583-h/images/ch8-fig6.jpg b/old/68583-h/images/ch8-fig6.jpg Binary files differdeleted file mode 100644 index 0617aae..0000000 --- a/old/68583-h/images/ch8-fig6.jpg +++ /dev/null diff --git a/old/68583-h/images/ch8-fig7.jpg b/old/68583-h/images/ch8-fig7.jpg Binary files differdeleted file mode 100644 index 56817d7..0000000 --- a/old/68583-h/images/ch8-fig7.jpg +++ /dev/null diff --git a/old/68583-h/images/ch9-fig1.jpg b/old/68583-h/images/ch9-fig1.jpg Binary files differdeleted file mode 100644 index a465de0..0000000 --- a/old/68583-h/images/ch9-fig1.jpg +++ /dev/null diff --git a/old/68583-h/images/ch9-fig1a.jpg b/old/68583-h/images/ch9-fig1a.jpg Binary files differdeleted file mode 100644 index b7ed232..0000000 --- a/old/68583-h/images/ch9-fig1a.jpg +++ /dev/null diff --git a/old/68583-h/images/ch9-fig2.jpg b/old/68583-h/images/ch9-fig2.jpg Binary files differdeleted file mode 100644 index 70a6f9b..0000000 --- a/old/68583-h/images/ch9-fig2.jpg +++ /dev/null diff --git a/old/68583-h/images/ch9-fig3.jpg b/old/68583-h/images/ch9-fig3.jpg Binary files differdeleted file mode 100644 index 372e491..0000000 --- a/old/68583-h/images/ch9-fig3.jpg +++ /dev/null diff --git a/old/68583-h/images/ch9-fig4.jpg b/old/68583-h/images/ch9-fig4.jpg Binary files differdeleted file mode 100644 index 148fab9..0000000 --- a/old/68583-h/images/ch9-fig4.jpg +++ /dev/null diff --git a/old/68583-h/images/cover.jpg b/old/68583-h/images/cover.jpg Binary files differdeleted file mode 100644 index 0c46466..0000000 --- a/old/68583-h/images/cover.jpg +++ /dev/null diff --git a/old/68583-h/images/knitted-fig1-2.jpg b/old/68583-h/images/knitted-fig1-2.jpg Binary files differdeleted file mode 100644 index 786782e..0000000 --- a/old/68583-h/images/knitted-fig1-2.jpg +++ /dev/null diff --git a/old/68583-h/images/knitted-fig3-4.jpg b/old/68583-h/images/knitted-fig3-4.jpg Binary files differdeleted file mode 100644 index 9e6f91a..0000000 --- a/old/68583-h/images/knitted-fig3-4.jpg +++ /dev/null diff --git a/old/68583-h/images/knitted-fig5-6.jpg b/old/68583-h/images/knitted-fig5-6.jpg Binary files differdeleted file mode 100644 index 352a80f..0000000 --- a/old/68583-h/images/knitted-fig5-6.jpg +++ /dev/null diff --git a/old/68583-h/images/knitted-fig7-8.jpg b/old/68583-h/images/knitted-fig7-8.jpg Binary files differdeleted file mode 100644 index e9fb065..0000000 --- a/old/68583-h/images/knitted-fig7-8.jpg +++ /dev/null |
