,page #a ,,theory ,,of ,,silk ,,weaving ,page #c ,,theory ,,of ,,silk ,,weaving ,a ,treatise on the ,construction and ,application of ,weaves1 and the ,decomposition and ,calculation of ,broad and ,narrow1 ,plain1 ,novelty and ,jacquard ,silk ,fabrics ,containing #ie ,plates ,by ,,arnold ,,wolfensberger ,graduate of the ,textile ,institute of ,zurich1 ,switzerland 99 99 99 99 99 ,second ,revised and ,enlarged ,edition 99 99 99 99 99 ,,new ,,york ,issued by ,,the ,,american ,,silk ,,journal ,,clifford ,,lawton ,publishers #aiba ,page #d 99 99 99 99 99 ,,copyright4 #aiba4 by ,,clifford ,,lawton ,all rights reserved 99 99 99 99 99 ,,grolier ,,craft ,,press1 ,printers4 #bbi ,west ,twenty-eighth ,street1 ,new ,york ,city 99 99 99 99 99 ,page #e ,,preface ,the silk industry of ,america has of late years rapidly advanced to the front rank among the great textile industries of the world4 ,it may indeed be proud of this position1 to which that enterprising spirit and untiring energy peculiar to our nation1 combined with our great technical and natural resources1 has brought it4 ,that we are1 on the other hand1 not yet at the height of perfection we are also compelled to acknowledge1 but if we consider the short space of time that the ,american industry has required for its development1 as compared to the decades1 almost centuries1 to which some of the great ,european silk centers can look back1 the fact is neither surprising nor discouraging4 ,while it must not be our aim to imitate or copy their ways1 inasmuch as out conditions and circumstances are quite different from theirs1 we may still profitably study their methods in order to overcome our deficiencies4 ,the greatest advantage which our competitors derive from such a long existence consists in having at their disposal a force of skilful1 trained help4 ,the manufacturers1 appreciating the importance of this factor1 make great efforts and pecuniary sacrifices to elevate and maintain the high standard of their industry4 ,for instance1 they support textile schools and lecture courses1 where young men can acquire a thorough technical education and equip themselves for a career of usefulness1 thereby serving their own interests and at the same time furthering those of their chosen profession4 ,page #f ,this beneficial influence cannot fail to exert itself from the standard of the higher employer down to that of the weaver1 who would naturally take more pains and interest in his work than if he were a mere mechanical appendage to his loom in order to keep it in motion4 ,very little has been done in his country for technical education as far as the silk industry is concerned1 and it was on this special branch1 that prompted the author to offer in the present little work a treatise on the theory of shaft weaving for broad silks and ribbons4 ,it is divided into three principal parts3 #ast4 ,drawing-in the warp in the harness4 #bnd4 ,the weaves and their application4 #crd4 ,decomposition or analysis of the cloth4 ,to the foregoing there have been added in the revised and enlarged edition several additional parts covering the following3 ,,jacquard ,,weaves1 ,,box ,,loom ,,weaves1 including ,,crepes1 and ,,cost ,,calculations for plain and fancy weaves4 ,the subject while condensed1 is made as clear and comprehensible as possible1 and to many desirous of increasing their knowledge in this direction1 this should prove a valuable help4 ,the author1 through the medium of this work1 hopes to win the approval and encouragement of the manufacturers1 and will feel amply repaid should his efforts tend to develop a deeper interest in the ,queen of ,textiles4 99 99 99 99 99 ,page #g ,,theory ,,of ,,silk ,,weaving ,,drawing-,,in ,with this term we designate the operation preceding the weaving1 by which all the warp-threads are drawn through the heddles of the harness4 ,the order in which this is done varies according to the weave and the nature of the fabric to be produced2 so we distinguish3 ,straight draws1 ,skip draws1 ,point draws1 ,section draws4 99 99 99 99 99 ,,straight ,,draws ,illustration3 ,fig4 #a 99 99 99 99 ,page #h ,illustration3 ,fig4 #b ,these form the simplest and most common method of drawing-in4 ,we begin with the first heddle on the left side of the shaft nearest to the warp-beam1 then take the first heddle of second shaft and so on until all the shafts the set contains are used in rotation4 ,this completes one draw1 and this operation is repeated until all the warp-threads are taken up4 ,the method of making the shaft nearest to the warp-beam the first1 is almost universal with the silk business and is technically called drawing-in from back to front4 ,the opposite1 or drawing in from front to rear1 is used occasionally1 however1 and in this case makes the first heddle on the left hand side of the front shaft ,no4 #a4 ,the making out of the ,drawing-in ,draft1 which must indicate the arrangement or the rotation in which the warp-threads are drawn in1 can be done in various ways1 of which we will mention the two most popular methods4 ,the first is by using common designing paper1 and indicating the rotation by dots4 ,the horizonal rows of squares represent the shafts1 the vertical rows the warp-threads4 ,fig4 #a shows four repeats of a straight draw on six harness marked out according to this idea4 ,a second method is to use paper ruled horizontally1 the lines representing the shafts2 and to draw vertical lines for the warp-threads4 ,the latter are made to stop on ,page #i the lines bearing the number of the shafts into which the respective threads are to be drawn4 ,fig4 #b is such a draft1 illustrating six repeats of a draw on four harness from ,front to ,rear4 99 99 99 99 99 ,,skip ,,draws ,illustration3 ,fig4 #c 99 99 99 99 ,illustration3 ,fig4 #d ,the draws coming under this heading are used very extensively in silk weaving1 especially for fabrics requiring a heavy warp and a large number of shafts4 ,enter first the odd and then the even shafts4 ,an #h harness draw of this kind1 of which three repeats are shown in ,fig4 #c1 runs as follows3 #a1 #c1 #e1 #g1 #b1 #d1 #f1 #h4 ,fig4 #d is a #ab harness draw of the same class4 99 99 99 99 99 ,,point ,,draws ,illustration3 ,fig4 #e 99 99 99 99 ,page #aj ,illustration3 ,fig4 #f 99 99 99 99 ,illustration3 ,fig4 #g 99 99 99 99 ,illustration3 ,fig4 #h 99 99 99 99 ,illustration3 ,fig4 #i ,page #aa ,point draws are a combination of a regular straight draw from back to front and one from front to back1 the first and the last shafts only being used once1 while the rest receive two ends each in one repeat of the draw4 ,fig4 #e illustrates a regular point draw in #b repeats on #aj shafts4 ,it will be seen that #ad ends make a repeat2 in fact1 the number of warp-threads required for one draw will always be double the number of harness less #b1 hence a #ab harness regular point draw will require #bb warp-threads for a repeat4 ,the drawing-in draft illustrated in ,fig4 #f is a slight variation of the regular point draw2 it consists1 as will be seen1 of a draw from back to front1 and also a full one from front to back1 there by causing a double point4 ,another change from the regular point draw is illustrated in ,figs4 #g and #h2 this class may be called ,broken point draws1 because a new draw is begun before the other one is complete4 ,fig4 #i also comes in this class and represents a zigzag draw on #aj harness4 ,the drawing-in drafts which we have described under the head of ,point draws1 are used mostly to obtain the various pointed and zigzag effects4 99 99 99 99 99 ,,section ,,draws ,illustration3 ,fig4 #aj 99 99 99 99 ,page #ab ,illustration3 ,fig4 #aa 99 99 99 99 ,illustration3 ,fig4 #ab 99 99 99 99 ,illustration3 ,fig4 #ac 99 99 99 99 ,illustration3 ,fig4 #ad 99 99 99 99 ,page #ac ,illustration3 ,fig4 #ae ,this division of drawing-in drafts is used extensively in silk manufacturing2 for instance1 in all fabrics having a ground warp and a binder warp1 also in double-face goods1 or where two different weaves are combined in one effect4 ,one or more threads are drawn on the first section1 then one or more on a second and third1 if the harness is divided in so many sets4 ,the following examples will illustrate the principle of these draws4 ,in ,fig4 #aj1 shafts #a1 #b1 #c1 #d from the first set1 shafts #e and #f the second1 #h threads are drawn straight on the first1 then #b on the second section4 ,fig4 #aa1 first set shafts #a to #f inclusive1 second set shafts #g and #h4 ,fig4 #ab is drawn end and end on two sections having #h shafts each4 ,figs4 #ac1 #ad and #ae1 while not strictly belonging to the class of section draws1 may1 however1 be considered under this heading4 ,the idea is to draw a certain number of ends in one part of the harness and another group in another part1 be it straight1 point or skip1 which will cause the effect on the cloth to be accordingly transposed or broken up4 ,page #ae 99 99 99 99 99 ,,the ,,weaves ,,and ,,their ,,construction ,in any woven fabric we distinguish two systems of threads1 the ,warp or ,chain1 running lengthways in the cloth1 and the ,filling or ,weft1 crossing the former at right angles4 ,this crossing or interlacing consists of every individual warp-thread being placed alternately under and over one or more threads of the filling system4 ,the arrangement of this interlacing is technically called the ,weave1 and the variety in which the points of crossing can be distributed is practically endless4 ,it is principally the weave that lends to a fabric its character1 influenced1 of course1 by the material used1 the size and tension of the threads and the combination of the colors4 ,the weaves are divided into three main classes3 the ,foundation weaves4 ,in the silk business they are known under the following names3 ,the ,taffeta ,weave1 ,the ,serge ,weave1 ,the ,satin ,weave4 ,in the foundation weaves each thread effects only one crossing in one repeat of the weave1 and the points of interlacing occur in a given rotation4 ,a repeat in the foundation weaves comprises the same number of warp-threads as of picks or filling threads1 and if this number is #h1 for ,page #af instance1 the weave is called an #h-shaft or an #h-;harness weave4 ,in marking out a weave1 the warp-threads are represented by vertical lines1 the filling by horizontal ones1 or in each case by the space between these lines4 ,the places where a warp-thread lies over the filling are marked with paint or simply with a cross4 ,in a similar manner we mark out the chain draft1 which indicates the rotation in which the shafts are raised4 99 99 99 99 99 ,page #ag ,,the ,,taffeta ,,weave ,illustration3 ,fig4 #af 99 99 99 99 ,illustration3 ,fig4 #ag ,page #ah ,this is the simplest and oldest method of interlacing4 ,the odd numbers of warp-threads cross the even numbers after every pick2 hence of two warp-threads one will always go over the first pick and under the second1 and the other end under the first and over the second pick4 ,taffeta cloth1 therefore1 has the same appearance on both sides1 and in cotton and wool weaving this weave is technically--and properly indeed--called the ,plain ,weave4 ,it has the smallest repeat1 #b warp-threads and #b picks1 and the exchanging of warp and filling is the most frequent possible4 ,the cloth thus produced is firmer and stronger than that obtained with any other weave4 ,fig4 #af is a taffeta on #d shafts straight draw1 the draft executed in the manner which we have already mentioned in explaining the drawing-in drafts4 ,fig4 #ag on common designing paper1 illustrates a taffeta made on #h-;harness1 skip draw4 ,be it mentioned that the drawing-in draft and the chain draft will be added throughout this work1 the former over the weave to correspond with the respective warp-threads1 the latter to the right of the drawing-in draft4 99 99 99 99 99 ,page #ai ,,gros ,,de ,,tours ,,weaves ,illustration3 ,fig4 #ah 99 99 99 99 ,illustration3 ,fig4 #ai ,in this weave the working of the warp is the same as in taffeta1 except that instead of one pick1 two or more are inserted in the same shed4 ,it is mostly used in selvedges1 where it serves to give more firmness to the edge of an otherwise loosely woven cloth1 and prevents the weaving ahead of the edge in a tight weave4 ,gros de ,tours is sometimes used1 especially when cotton or wool filling is employed1 with a view to lay two picks nicely side by side1 whereas a thread entered two ply with the taffeta weave will always receive some twist1 which may disturb the perfect evenness of the fabric4 ,fig4 #ah is a ,gros de ,tours with two picks on four harness straight through4 ,fig4 #ai illustrates this weave with three picks drawn end and end on two sections of four shafts each4 99 99 99 99 99 ,page #bj ,,serge or ,,twill ,,weaves ,while the taffeta weave produces either an entirely smooth fabric1 or one with a distinct transverse rib as in gros-grain1 the twill weave forms diagonal lines on the cloth1 running either from left to right or from right to left4 ,to make a twill1 not less than three ends and three picks are required1 of which each thread floats over two of the other system and interlaces with the third4 ,the rotation of the interlacing is always consecutive1 that is it moves with each succeeding pick one thread to the right 7or to the left if the lines are to run in that direction74 ,if warp and filling have the same texture1 that is the same number of threads in a given space1 the twill lines will form an angle of #de2 if the warp stands closer than the filling1 the incline will be steeper1 and in the opposite case the angle will approach more the horizontal4 ,the weaves can be expressed in numbers1 for instance3 the #c-;end twill warp effect would be marked #b-a1 which indicates that each warp-thread goes over two and under one pick4 ,twill weaves are called evensided when the arrangement of warp up and filling up are evenly balanced1 and unevensided if either warp or filling predominate on the face of the fabric2 the latter class is therefore subdivided in ,warp effects and ,filling effects4 ,in the following a number of serge weaves are illustrated1 the ,french designations being added in some cases1 as they are still extensively used in the trade4 ,page #ba 99 99 99 99 99 ,,filling ,,effects ,satin de ,lyon1 #b-a4 ,on #f harness straight through4 ,illustration3 ,fig4 #bj 99 99 99 99 ,levantine1 #c-a;h_/#e ,on #h shafts skip draw4 ,illustration3 ,fig4 #ba 99 99 99 99 ,page #bb ,polonaise1 #e-a ,on #ab harness skip draw4 ,illustration3 ,fig4 #bb 99 99 99 99 ,serge grosse cte1 #g-a ,on #h shafts straight through4 ,illustration3 ,fig4 #bc 99 99 99 99 ,page #bc ,serge remaine1 #f-b ,on #h shafts skip draw4 ,illustration3 ,fig4 #bd 99 99 99 99 ,serge1 #e-a1 #a-a4 ,on #h shafts skip draw4 ,illustration3 ,fig4 #be 99 99 99 99 ,page #bd ,serge1 #d-b1 #a-a1 #a-a4 ,on #aj harness straight through4 ,illustration3 ,fig4 #bf 99 99 99 99 ,serge1 #g-a1 #a-a1 #a-a1 #a-a1 #a-a4 ,on #af shafts skip draw4 ,illustration3 ,fig4 #bg 99 99 99 99 99 ,page #be ,,warp ,,effects ,levantine1 #c-a4 ,on #d shafts straight through4 ,illustration3 ,fig4 #bh 99 99 99 99 ,serge1 #e-a1 #a-a4 ,on #h shafts skip draw4 ,illustration3 ,fig4 #bi 99 99 99 99 99 ,page #bf ,,evensided ,,twills ,surah1 #b-b ,on #d shafts straight through4 ,illustration3 ,fig4 #cj 99 99 99 99 ,croise1 #c-c1 #b-b1 #a-a4 ,on #ab shafts straight through4 ,illustration3 ,fig4 #ca 99 99 99 99 ,page #bg ,serge1 #g-g1 #a-a1 #a-a1 #a-a ,on #bj shafts skip draw4 ,illustration3 ,fig4 #cb 99 99 99 99 99 ,,pointed ,,twills in the direction of the filling and also of the warp4 ,illustration3 ,fig4 #cc ,on #d shafts point draw1 weave #c-a4 99 99 99 99 ,page #bh ,illustration3 ,fig4 #cd ,on #f shafts point draw1 drawn as follows3 ,eighteen ends from back to front and #d ends from front to rear1 weave #e-a4 99 99 99 99 ,illustration3 ,fig4 #ce ,on #h shafts pointed draw1 weave #e-a1 #a-a4 99 99 99 99 ,page #bi ,illustration3 ,fig4 #cf ,on #aj shafts1 with weave #c-c1 drawn as follows3 #g threads from back to front4 #c front to rear4 #f back to front4 #b front to rear4 99 99 99 99 ,illustration3 ,fig4 #cg ,on #f shafts straight draw1 pointed weave #e-a4 99 99 99 99 ,page #cj ,illustration3 ,fig4 #ch ,on #h shafts straight through1 pointed weave #e-a1 #a-a4 99 99 99 99 ,illustration3 ,fig4 #ci ,broken pointed twill1 on #h harness4 99 99 99 99 ,page #ca ,illustration3 ,fig4 #dj ,on #f shafts point draw1 pointed weave #e-a4 99 99 99 99 ,illustration3 ,fig4 #da ,on #h shafts point draw1 pointed weave #e-a1 #a-a4 99 99 99 99 ,page #cb ,illustration3 ,fig4 #db ,fancy twill1 on #af shafts straight draw4 99 99 99 99 99 ,,satin ,,weaves ,the distinct diagonal lines which characterize the class of weaves explained in the previous chapter are absent in the satin weaves2 and while the interlacing in the former is done in a strictly consecutive order1 we endeavor to scatter the points of stitching in the latter as much as possible1 in order to create an entirely smooth and brilliant surface on ,page #cc the cloth4 ,in all satins the number of ends in a repeat is the same in warp and filling4 ,the lowest repeat of a regular satin comprises five threads of each system1 and the interlacing is done in the following order3 ,the #ast pick with the #ast warp-thread #b;d #c;d #c;d #eth #dth #b;d #eth #dth ,fig4 #dc illustrates this weave4 ,an examination of the rotation1 as given above1 will show that every warp-thread intersects two picks apart from its neighbor4 ,the number #b is in this case what is technically known as the counter1 that is the number which indicates the points of interlacing by adding it to number #a and continuing so until all the warp-threads are taken up4 ,the following is the rule to find the counter for any regular satin3 ,divide the number of harness into two parts1 which must neither be equal nor have a common divisor4 ,any of these two numbers can be used for counting off1 but usually the smaller one is taken4 ,according to this rule we obtain a regular satin ,on #e harness with counter #b #g #b or #c #h #c #i #b or #d #aj #c #aa #b1 #c1 #d or #e #ab #e #ac #b1 #c1 #d1 #e or #f #ad #c or #e #ae #b1 #d or #g #af #c1 #e or #g4 ,page #cd ,the #d harness broken twill1 ,fig4 #ec1 is sometimes classed among the satins4 ,the #f harness satin1 ,fig4 #ed1 is irregular2 as a counter cannot be derived from number #f by the given rule4 ,the rotation generally used is #a1 #c1 #f1 #d1 #b1 #e4 99 99 99 99 99 ,regular ,satins #e harness ,satin1 ,satin de ,chine4 ,straight draw1 counter #b4 ,illustration3 ,fig4 #dc 99 99 99 99 #g harness ,satin1 ,satin ,merveilleux4 ,skip draw1 counter #b4 ,illustration3 ,fig4 #dd 99 99 99 99 ,page #ce #g harness satin ,straight draw1 counter #c4 ,illustration3 ,fig4 #de 99 99 99 99 #h harness satin ,duchese ,skip draw1 counter #c4 ,illustration3 ,fig4 #df 99 99 99 99 ,page #cf #i harness satin ,straight draw1 counter #d4 ,illustration3 ,fig4 #dg 99 99 99 99 #aj harness satin ,straight draw1 counter #c4 ,illustration3 ,fig4 #dh 99 99 99 99 ,page #cg #aa harness satin ,skip draw1 counter #e4 ,illustration3 ,fig4 #di 99 99 99 99 #ab harness satin ,skip draw1 counter #e4 ,illustration3 ,fig4 #ej 99 99 99 99 ,page #ch #af harness satin ,on #b sections of #h shafts each1 drawn end and end1 counter #g4 ,illustration3 ,fig4 #ea 99 99 99 99 ,page #ci #h harness satin1 warp effect4 ,straight draw1 counter #c4 ,illustration3 ,fig4 #eb 99 99 99 99 99 ,,irregular ,,satins ,satin ,turc4 ,on #d shafts straight through4 ,illustration3 ,fig4 #ec 99 99 99 99 ,page #dj ,satin la ,reine ,on #f shafts straight draw4 ,illustration3 ,fig4 #ed 99 99 99 99 ,page #da 99 99 99 99 99 ,,derivative ,,weaves #a4 ,from the ,taffeta ,royale is a modification of the regular ,gros de ,tours1 inasmuch as the rib line1 which in the latter runs straight across the cloth1 is broken off after a given number of warp-threads4 ,these groups1 which may comprise #h1 #ab or more threads1 will interlace each one pick higher than the preceding one4 ,royale of #h ends ,on #b sections of #d shafts each4 ,illustration3 ,fig4 #ee 99 99 99 99 ,velours ,ottoman or ,faille franaise4 ,in order to obtain a broader rib than that of ,gros de ,tours1 and at the same time to lend firmness to the fabric1 we add to the ground warp1 which forms the ribs1 another or binder warp1 which works continually taffeta1 ,page #db while the ground warp changes only every #c or #d picks for the rib4 ,faille franaise4 #d ends of ground on the first section of #h shafts1 skip draw4 #a binder second #b ,illustration3 ,fig4 #ef 99 99 99 99 ,velours ,ottoman without a ,binder-warp4 ,in this weave1 of which ,fig4 #eg illustrates a specimen1 comprising #h warp-threads and #cb picks in a repeat1 the rib contains #d picks4 ,of the #h warp-threads1 #c float over and #c under the rib1 while the #b others bind taffeta1 which latter function is executed by #b other threads in the next rib4 ,page #dc ,illustration3 ,fig4 #eg 99 99 99 99 99 #b4 ,from the ,twills ,one variety is obtained by interlacing the warp-threads alternately one or more picks behind1 and then a number of picks ahead of their respective neighbors2 so the complete arrangement of the points of binding in a repeat will generally form two parallel diagonal lines4 ,this will cause the twill lines to appear less pronounced than is the case in the regular twill1 and the character of the fabric approaches more that of the satin4 ,page #dd ,illustration3 ,fig4 #eh ,satin ,serg4 ,on #h shafts1 straight draw4 99 99 99 99 ,illustration3 ,fig4 #ei ,cte ,satine4 ,on #af harness1 skip draw4 99 99 99 99 ,rhadzimir-,surah #b-b4 ,after a certain number of picks of the regular surah all the warp-threads are crossed in two's thereby causing a sort of a rib or cut line across the fabric4 ,page #de ,rhadzimir of #d picks4 ,on #h shafts1 straight draw4 ,illustration3 ,fig4 #fj 99 99 99 99 ,rhadzimir of #f picks4 ,on #h shafts1 straight draw4 ,illustration3 ,fig4 #fa 99 99 99 99 99 ,page #df #c4 ,from the ,satin ,weave ,satin ,soleil shows a satin-like surface with a cross line appearance4 ,fig4 #fb illustrates it as made on #h shafts1 straight draw4 ,illustration3 ,fig4 #fb 99 99 99 99 ,satin ,grec is a #ab-;harness satin1 in which a taffeta point is added to each place of interlacing1 thus giving the cloth a much firmer hand4 ,fig4 #fc represents this weave on #ab shafts1 skip draw4 ,page #dg ,illustration3 ,fig4 #fc 99 99 99 99 ,peau de ,soie4 ,an #h-shaft satin with one point added on the right or left to the original spots1 giving the fabric a somewhat grainy appearence4 ,fig4 #fd represents a peau de soie on #h shafts1 straight through4 ,illustration3 ,fig4 #fd 99 99 99 99 ,page #dh ,fleur de ,soie4 ,the face is a satin de ,lyon 7#b-a twill71 with a backing interlaced on the #ab-shaft satin principle1 ,fig4 #fe1 on #ab shafts1 skip draw4 ,illustration3 ,fig4 #fe 99 99 99 99 99 ,page #di ,,cannele and ,,repp ,,weaves are in their construction related to the taffeta1 and are used mostly in the form of stripes as an additional ornament to a fabric4 ,the threads going into the composition of these effects exchange continually from taffeta interlacing to floating over a certain number of threads1 and must be introduced either in warp or filling close enough to make the floats cover up the taffeta work entirely1 and thus enable the material used to show up with the full brilliancy it possesses4 ,cannele effects can be produced in two distinct ways4 ,one is to let every individual thread work alternately taffeta and float1 while in the other method one thread weaves always taffeta1 and a second thread is used for the cannele exclusively4 ,these latter threads must come from a separate warp1 which is introduced to embellish the ground or taffeta part of the fabric4 ,the floating threads can either stitch all on one pick and so form a continuous cut line1 or be divided in groups1 of which one will bind in the middle of the floats of the other group4 ,the following designs show both the face and backside of the respective weaves3 ,page #ej ,alternating ,cannele of #f picks4 ,on #d shafts1 straight through4 ,illustration3 ,fig4 #ff 99 99 99 99 ,canelle 7#b beams74 ,over #c picks1 interlacing on every fourth pick1 drawn end and end on #b sections of #d shafts each4 ,illustration3 ,fig4 #fg 99 99 99 99 ,page #ea ,cannele over #e picks1 binding on the sixth1 but every second thread advanced #c picks 7to the middle of the float of the first thread71 drawn end and end on #b sections of #d shafts each4 ,illustration3 ,fig4 #fh 99 99 99 99 ,page #eb ,cannele arranged in groups of #h threads1 floating over #f picks and binding on the seventh and eighth1 drawn on #b sections1 with #d shafts in first and #b in second section4 ,illustration3 ,fig4 #fi 99 99 99 99 ,repp on #h shafts straight through4 ,rotation of filling4 #a pick taffeta1 #a pick float 7rib74 ,illustration3 ,fig4 #gj 99 99 99 99 ,page #ec ,repp of #h threads1 on #b sections of #d shafts each1 #h ends per section4 ,illustration3 ,fig4 #ga 99 99 99 99 ,repp of #e threads1 binding on the sixth2 every second pick binds on the middle of the first pick4 ,on #f harness straight draw4 ,illustration3 ,fig4 #gb 99 99 99 99 ,page #ed ,repp in groups1 floating over #f ends and binding on the seventh and eighth on #h shafts straight draw4 ,illustration3 ,fig4 #gc 99 99 99 99 99 ,page #ee ,,double ,,faced ,,fabrics ,in this class we find either two systems of warp or of filling so combined that only one will be visible on either side4 ,the color on one side is generally different from the other1 and so may the interlacing be of a different nature on face and back4 ,in the latter case great care must be exercised not to allow the weave on one side to disturb the one on the other1 and as a rule the points of interlacing of the first warp or filling system are placed as much as possible in the middle of the floats of the second4 ,this will prevent either color or weave to be seen on the opposite side1 as the floats of one side will naturally lay themselves over the binders of the other4 ,the number of ends in a repeat of the two weaves must either be alike or one a multiple of the other4 ,warp ,effects ,levantine on #h shafts straight draw4 ,illustration3 ,fig4 #gd 99 99 99 99 ,page #ef ,serge #f-b on #b sections of #h shafts each4 ,illustration3 ,fig4 #ge 99 99 99 99 #h shaft satin on #b sections of #h harness each4 ,illustration3 ,fig4 #gf 99 99 99 99 ,page #eg #ab shaft satin on #b sections of #ab shafts each4 ,illustration3 ,fig4 #gg 99 99 99 99 ,cannele of #h picks on #b sections of #d shafts each4 ,illustration3 ,fig4 #gh 99 99 99 99 99 ,page #eh ,,filling ,,effects ,serge #e-a on #f harness straight draw4 ,illustration3 ,fig4 #gi 99 99 99 99 #aj harness satin on #aj shafts skip draw4 ,illustration3 ,fig4 #hj 99 99 99 99 ,page #ei ,repp on #b sections of #d shafts each1 #h threads per section4 ,illustration3 ,fig4 #ha 99 99 99 99 ,page #fj ,,pekins ,with this name we designate fabrics in which stripes of a different interlacing run in the direction of the warp4 ,in combining these weaves it is advantageous to have them contrast distinctly1 for instance1 a short weave such as taffeta or ,gros de ,tours1 with a longer and looser one such as satin1 serg or cannele1 also changes from warp to filling effects4 ,care must be taken to arrange the joining of the two weaves so that the last thread of one weave will cross the first thread of the other4 ,this will prevent the threads from either stripe to slide over into the other1 and so make a clean cut line4 ,pekin4 ,a stripe of #b dents of #h ends each1 #h shaft ,satin1 on #h shafts straight draw4 #ab #b ,taffeta #d ,illustration3 ,fig4 #hb 99 99 99 99 ,page #fa ,pekin4 ,a stripe of #ab ends ,cannele of #f picks on #ast section of #d shafts4 #ab ,repp #f threads on #b;d and #c;d section of #b shafts each4 ,illustration3 ,fig4 #hc 99 99 99 99 ,page #fb ,pekin4 ,a stripe of #aj ends #e leaf ,satin on the #ast section of #e shafts straight draw4 #d ,taffeta #c;d #b #ah ,serge #c-a1 #a-a #b;d #f ,illustration3 ,fig4 #hd 99 99 99 99 99 ,page #fc ,,bayad,,res ,while pekins are formed by warp stripes1 bayadre shows us stripes of different weaves running in the direction of the filling4 ,the rules given in the previous chapter as to the joining of the weaves will also apply here4 ,the warp which was raised on the last pick of the weave must stay down wherever possible on the first pick of the following weave4 ,the number of shafts employed must go up evenly in the repeat of each one of the weaves that go into the make up of the bayadre4 ,bayadre ,a stripe of #bd picks ,gros de ,tours on #h shafts straight through4 #h #h-shaft ,satin1 ,illustration3 ,fig4 #he 99 99 99 99 ,page #fd ,bayadre ,a stripe of #ah picks #f-shaft ,satin #f ,serge #e-a1 on #f shafts1 straight draw4 #d ,taffeta1 ,illustration3 ,fig4 #hf 99 99 99 99 99 ,page #fe ,,checks ,,and ,,plaids ,if pekin and bayadre stripes are combined1 we obtain checked fabrics1 and of these an endless variety and pleasing effects can be produced with the aid of suitable color combinations4 ,check of #af threads and #ab picks of the #d end broken twill1 and #af #ab ,royale of #h threads1 drawn on #d sections of #d shafts each4 ,illustration3 ,fig4 #hg 99 99 99 99 ,page #ff ,check of #bj threads and #af picks of #h-shaft ,satin1 #bj #af ,taffeta1 #d ,surah #c-a1 drawn on #b sections of #h shafts each4 ,illustration3 ,fig4 #hh 99 99 99 99 99 ,page #fg ,,decomposition ,under the name of ,disposition we comprise all those points and details which we must ascertain before we can proceed with the construction of a fabric4 ,they are3 #a4 ,the weave4 #b4 ,length and width of the cloth4 #c4 ,the stock and the dyeing thereof4 #d4 ,reed calculation 7number of dents and ends per inch and total number of dents required74 #e4 ,drawing-in the warp in harness and reed4 #f4 ,texture and arrangement of warp 7warping ticket7 #g4 ,arrangement of harness4 #h4 ,reduction of filling4 #i4 ,calculation of warp and filling4 #aj4 ,finishing4 #aa4 ,calculation of cost4 ,page #fh #a4 ,,the ,,weave ,if a given sample is to be reproduced or imitated1 it must be analyzed1 and the following hints will greatly facilitate this operation to the beginner4 ,cut the sample straight on two sides1 and draw out a number of warp and filling threads until there is a small fringe of perhaps of an inch4 ,this will allow a thread to be raised a little for examination1 without danger of its falling out of the fabric4 ,in most cases it is easier to dissect the filling side1 that is1 the interlacing of each warp-thread in the threads of the filling system4 ,with the help of the microscope or counting glass we can easily determine over and under how many picks that thread passes and the points of interlacing are accordingly marked on designing paper4 ,this being done for at least the length of a repeat warpways1 we take it out and examine the following thread1 and so on until the repeat filling-ways is complete4 ,it is advisable to ascertain how many picks ahead or back of the first examined thread the next following one binds before taking the former out4 ,a knowledge of the construction of weaves as explained in the foregoing chapters will enable us to determine the weave of a simple pattern by merely raising a warp-thread with a needle on any point of interlacing and counting off how many picks apart from this place it makes an impression4 #b4 ,,length ,,and ,,width ,,of ,,the ,,fabric ,to the length and width which the finished product is to have1 we must add a certain allowance for shrinkage and taking up of warp during weaving4 ,it may differ from one to ten per cent41 according to the texture and weave of the fabric1 and can be ascertained with sufficient accuracy by stretching out and measuring a thread of warp and filling and comparing their length with the respective measurements of the sample to be reproduced4 ,page #fi #c4 ,,the ,,stock ,,and ,,its ,,dye ,under this heading we must give the particulars as to nature1 twist1 quality and size of the silk1 and the directions for the dyeing1 whether bright or souple1 and in what colors1 also whether to be weighted or not4 ,the size is generally ascertained 7in practical work7 by comparing it with other silk of which the exact count is known4 ,another method is to count the number of cocoon threads which a thread of the sample contains1 adding to that #a_/c or 1 according to the quality of the silk2 the result will be the count in deniers4 ,to obtain it in drams1 divide the latter number by #ag1c as #a dram is equal to #ag1c deniers4 ,suppose we find #bj cocoon ends in a thread of silk3 add #a_/c1 and we have #bf-b_/c deniers1 which1 divided by #ag1c make #a1ed drams4 ,as silk is always more or less uneven1 it is safer to count the cocoon fibers of several threads and to take average thereof4 ,it requires the experience of years to judge with any degree of certainty as to the origin and quality of silk1 whether it be classical1 extra1 sublime1 etc4 ,there are machines wherewith to ascertain exactly the twist1 that is1 the number of turns the silk has received in the throwing process4 ,in the dyeing we distinguish two great classes1 of which the names themselves give a good definition4 ,bright has a brilliant luster1 while souple has more of a dull1 subdued appearance4 ,to find out whether the silk has been weighted in the dyeing process1 we may compare it with other silk of which the exact conditions are known1 or we may burn a small quantity of it4 ,unweighted silk does not burn readily and leaves a residue of white ashes1 while heavy weighted silk burns lively1 leaving black1 charry ashes4 ,page #gj #d4 ,,reed ,,calculation ,we count the number of repeats of the weave in a given space1 generally or inch1 and multiply this with the number of threads one repeat contains1 which gives us the reduction of the warp4 ,suppose we had a taffeta1 which1 as we know1 has only #b ends to a repeat1 and counted #cj interlacings per inch on one pick2 we would have #fj threads per inch or #bdj per one inch4 ,in this case the reed may be #hj by #c or #fj by #d4 ,another instance3 ,in an #h-shaft satin we count #aj warp-threads1 which bind on the same pick in inch2 this1 multiplied by #h1 equals #hj ends per 1 or #cbj per one inch2 the reed will be an #hj with #d in a dent or a #fd by #e4 ,in short1 the number of the reed is found by dividing the number of warp-threads that are to go in one dent1 in the number of ends per inch4 ,sometimes1 the reed marks are clearly visible in a sample by holding the latter against the light4 ,silk fabrics move with very few exceptions within the limits of #ej and #ij dents per inch4 ,to learn the full number of dents required for the width of the cloth1 simply multiply the dents per one inch with the width1 adding a certain allowance for shrinkage4 ,the edges1 of course1 must also be taken in consideration1 and very often the dents that are taken up by the latter are used to counter-balance that shrinkage4 #e4 ,,drawing-,,in ,,the ,,warp ,,in ,,harness ,,and ,,reed ,here we must specify the number of dents that contain the same number of ends1 and whether the latter are single or double1 also the number of shafts and the method of drawing-in4 ,page #ga #f4 ,,warping ,,ticket ,to make out the warping ticket1 we need to ascertain the total number of ends1 whether leased single or double1 and the arrangement of the colors4 #g4 ,,harness ,,arrangement ,this is governed by the number of ends to be drawn in and the necessary shafts4 ,if we have1 for instance1 #ajj threads per inch to be drawn on #d shafts1 we must give each shaft #be heddles per inch4 ,there are generally between #be and #de heddles per inch on one shaft4 #h4 ,,reduction ,,of ,,the ,,filling ,here we state the number of picks per inch1 give directions as to doubling1 if such is necessary1 and if more than one color or shuttle is used1 the rotation thereof4 #i4 ,,calculation ,,of ,,warp ,,and ,,filling ,the system adopted in this country for specifying the size of silk is based on the weight in drams 7avoirdupois7 of a skein containing #ajjj yards4 ,a skein1 thus weighing #e drams1 is technically called #e-;dram silk4 ,the number of yards of #a-;dram silk to a pound must accordingly be #befjjj4 ,the formulas for figuring the amount of silk required for a piece of cloth are as follows3 ,warp ,calculation ,multiply3 ,number of endslengthcount ----------------------------- ,divide by3 #ajjj yards#bef drams ,page #gb ,filling ,calculation ,multiply3 ,picksxplywidthlength of piececount -------------------------------------- lbs4 ,divide by3 #ajjj yards#bef drams ,the result in both cases will be in pounds4 ,the system of grading the silk which is in vogue in ,europe1 and which is employed by a number of mills on this side1 is as follows3 #a skein of #ejj meters1 weighing #j1je grams #a denier international or #a #dgf #j1jec #a ,turin system or #a #dgf #j1jea #a ,milan ,the warp calculation1 taking the international denier1 would run3 ends in warplengthdenier#j1je gram -------------------------------------- divided by3 #ejj meters for the filling3 ,picks per meterxplywidthdenier#j1je gram ---------------------------------------- ----- divided by3 #ejj meters ,result in metric weight1 kilograms and grams4 #aj4 ,,finishing ,give directions as to the process of finishing to which the goods are to be subjected1 whether to be pressed1 calendered1 sized1 moird1 etc4 #aa4 ,,calculation ,,of ,,cost ,if all the foregoing conditions are ascertained1 and a sample or a piece of the fabric executed1 it remains to the manufacturer to determine the exact figure at which he can produce the article4 ,that this must be done with great accuracy is naturally of the utmost importance1 and the calculator ,page #gc must know in the first place the raw stock prices1 and also be acquainted with the details of the manufacturing process and the rates of wages paid therein4 ,as a rule1 the manufacturer establishes a scale of prices covering all the items of labor cost1 mill expenses1 etc41 and uses this as a basis for his calculations4 ,a rule or formula for this operation cannot very well be given1 as the methods vary in almost every establishment1 each choosing the one best adapted to its ideas or dictates of circumstances and conditions4 ,page #ge ,,disposition #a ,taffeta glac ,illustration3 ,fig4 #hi ,page #gf ,length and ,width--,one piece #ajj yards long1 #ah inches wide4 ,stock and ,dye--,warp4--,ital4 ,organ41 #bd_/bf deniers #a1dg drams1 brown1 bright1 #ad_/af oz4 ,filling4--,japan ,tram1 #bh_/cj deniers #a1fe drams1 gold1 bright #ad_/af oz4 ,reed ,calculation--,per #a inch1 #gj dents at #c single ends4 #ah #acac add #ac #a for shrinkage ---- ,total #acbf dents4 ,drawing in--#ast edge1 #i dents at #c double ends4 ,ground1 #acjh at #c single #b;d edge1 #i at #c double on #f shafts1 straight through4 ,warping ,ticket--#ast edge1 #bg double ends1 brown4 ,ground1 #cibd single #b;d edge1 #bg double ---- ,total #djcb single ends4 ,length of warp #aaj yards1 including #aj for take up4 ,harness--#f shafts1 #cigh heddles per #ai inches4 #a #ce #a ,reduction of ,filling--,per inch1 #ajj_/ajb picks1 #b ends4 ,warp ,calculation--8 lbs #djcb ends4 #a end #aaj yards4 #ajjj yards #a1dg drams4 #bef drams #a lb4 #ajj #ajd 7#d waste74 #djcbaaja1dgajd ------------------- #b1fe lbs41 or #b lbs4 #aj1d oz4 #ajjjbefajj ,page #gg ,filling ,calculation--8 lbs4 #ajj yards #a yard #cf inches4 #a inch #ajb picks4 #b _/ ends4 #a pick #ai inches4 #cf inches #a yard #ajjj yards #a1fe drams4 #bef drams #a lb4 #ajj #ajh 7#h waste74 #ajjcfajbbaiafeajh ------------------------- #b1gc lbs41 or #b lbs4 #aa1g ozs4 #cfajjjbefajj 99 99 99 99 ,page #gi ,,disposition #b ,surah #c-a ,illustration3 ,fig4 #ij ,page #hj ,length and ,width--#a piece #ej yards long1 #bc in4 wide4 ,stock and ,dyeing--,warp4--,ital4 ,organ41 #a1cj drams #bj_/bd deniers1 black1 bright1 #dj_/ej #bb_/bd ozs4 ,filling4--,cotton ,no4 #abj_/b black4 ,reed ,calculation--,per #a inch1 #hj dents at #b single ends4 #bc inch1 #ahhj add #cf #b for shrinkage4 ---- ,total #aiaf dents4 ,drawing-in--#ast edge1 #h dents1 #b double ends4 ,ground1 #aijj #b single #b;d edge1 #h #b double on #d shafts1 straight draw4 ,warping ,ticket--#ast edge1 #af double ends1 black4 ,ground1 #chjj single #b;d edge1 #af double ---- ,total #chfd single ends4 ,warp #ed yards long #h for take up4 ,harness--#d shafts1 #chcb heddles per #bd inches4 #a #dj #a ,reduction of ,filling--,per #a inch1 #abj picks1 #a end4 ,warp ,calculation--8 lbs4 #dbfd ends4 #a end #ed yards4 #ajjj yards #a1cj drams4 #bef drams #a lb4 #ajj #ajd 7#d waste74 #chfdeda1cjajd ------------------ #a1aj lbs41 or #a lb4 #a1jf oz4 #ajjjbefajj ,page #ha ,filling ,calculation-8lbs4 #ej yards4 #a yard #cf inches4 #a inch #abj picks4 #a pick #bd inches4 #cf inches #a yard #hdj yards #a skein4 7,no4 #abj_/b7 #fj skeins #a lb4 #ajj #aaj 7#aj waste74 #ejcfabjbdaaj ------------------ #c4ad lbs41 or #c lbs4 #b4bd ozs4 #cfhdjfjajj 99 99 99 99 ,page #hc ,,disposition #c ,satin ,duchesse4 ,illustration3 ,fig4 #ia ,page #hd ,length and ,width--,one warp #cjj yards long1 #aj pieces of #fj yards #bc inches wide1 #b pieces in width1 with one cut edge4 ,stock and ,dyeing--,warp4-- ,ital4 ,organ41 #a-ee_/ajj drams1 black1 bright1 #bj_/bb oz4 ,filling4-- ,jap4 ,tram41 #a-h_/aj and #b-g_/aj drams1 black1 souple1 #dj_/dd oz4 ,we should use for this fabric #a end filling1 #e-thread1 #d-e_/aj drams1 but as we have none of this size on hand1 we take3 #a end1 #b thread1 #a-h_/aj drams1 and #a end1 #c thread1 #b-g_/aj drams4 ,reed ,calculation--#a inch1 #ff dents1 #d single ends4 #df #cjcf #ed 7#a shrinkage74 ---- ,total 444 #cjij dents4 ,drawing-in-- #ast edge1 #b dents1 #fb1 black4 #ac #db1 white4 ,ground1 #aead #da1 black4 #b #fb ,cut ,edge #a #bd1 #c empty4 #a #bd1 ,ground1 #aead #da1 black4 #b;d edge1 #b #fb1 black4 #ac #db1 white4 ,satin on #h shafts1 straight draw4 ,cross-thread for split edge on #c shafts1 see design4 ,warping ,ticket-- ,edge1 #ab_/b black4 #eb_/b white4 ,ground1 #fjef_/a black4 twice over4 ,edge1 #eb_/b white4 #ab_/b black4 #abbjh ends black1 #cah yards long4 #daf white1 #f shrinkage4 #b_/d black for ground thread1 #cjj yards long4 #b_/d whip #cfj each one on a separate little roll4 ,page #he ,harness--#h shafts1 #abcfh heddles1 #dg in #a #cc #a for the split edge #c shafts1 of which one has only half a heddle4 ,filling--,per #a in41 #hj picks1 #b ends 7as described before74 ,warp ,calculation--8 lbs4 #abbbd ends1 black 7#daf white74 #a end #cah yards4 #a1jjj yards #a1ee drams4 #bef drams #a lb4 #ajj #ajd 7#d waste74 7#daf7 #abbbdcaha4eeajd -------------------- #bd1dgg lbs4 org4 black4 #ajjjbefajj #j1hcc white4 ,filling ,calculation--8 lbs4 #cjj yards4 #a yard #cf inches4 #a inch #hj picks4 #a pick #dg inches4 #cf inches #a yard4 #ajjj yards #d1e drams4 #bef drams #a lb4 #ajj #ajh 7#h waste74 #cjjcfhjdgd1eajh ---------------------- #ba1dad lbs4 #cfajjjbefajj 99 99 99 99 ,page #hg ,,disposition #d ,armure ,satine ,illustration3 ,fig4 #ib ,page #hh ,length and ,width--,one piece #fj yards long1 #ai in4 wide4 ,stock and ,dyeing--,warp4--,jap4 ,organ41 #a1dh drams1 black1 bright1 #ah_/bj oz4 ,filling4--#c threads ,jap4 ,tram41 #b1ie drams1 black1 bright1 #bd_/bf oz4 ,reed ,calculation--,per #a inch1 #fj dents#d single ends4 #ai #aadj #cb 7#c for shrinkage74 ---- ,total 4 4 4 #aagb dents4 ,drawing-in--#ast edge1 #ab dents #d double4 ,ground1 #aadh #d single4 #b;d edge1 #ab #d double4 on #ab shafts1 straight through1 or on #f shafts1 as design indicates4 ,warping ,ticket--#ast edge1 #dh_/b black4 ,ground1 #deib_/a #b;d edge1 #dh_/b ------ ,total 4 4 4 #dghd single ends #fd yards long4 #f for take up4 ,harness--#f shafts1 #dfhh heddles per #ai inches4 #a #dj #a ,reduction of ,filling--,per #a inch1 #ajd picks1 #b ends4 ,warp ,calculation--8 lbs4 #dghd ends4 #a end #fd yards4 #ajjj yards #a1dh drams4 #bef drams #a lb4 #ajj #ajd 7#d waste74 #dghdfda1dhajd ------------------ #a1hd lbs41 or #a lb4 #ac1dd ozs4 #ajjjbefajj ,page #hi ,filling ,calculation--8 lbs4 #fj yards4 #a yard #cf inches4 #a inch #ajd picks4 #b ends4 #a pick #ai inches4 #cf inches #a yard4 #ajjj yards #b1ie drams4 #bef drams #a lb4 #ajj #ajh 7#h waste74 #fjcfajdbai1eb1ieajh --------------------------- #c1jc lbs41 or #c lbs4 #j1dh ozs4 #cfajjjbefajj 99 99 99 99 ,page #ia ,,disposition #e ,surface ,printed ,armure4 ,illustration3 ,fig4 #ic ,page #ib ,length and ,width--,one piece #ej yards long1 #ah in4 wide4 ,stock and ,dyeing--,warp4--,ital4 ,organ41 #a1ej drams1 #bd_/bh deniers1 white bright1 pure dye4 ,filling4--#e thread ,ital4 ,tram41 #d drams1 #ac_/ad deniers1 white1 bright1 pure dye4 ,reed ,calculation--,per #a inch1 #eb dents1 #bb4 #ah #ifb #bj 7#b shrinkage74 ---- ,total 4 4 4 #ihb dents4 ,drawing-in--#ast edge1 #g dents1 #db gros de ,tours4 ,ground1 #ifh #bb armure #b;d edge1 #g #db gros de ,tours4 ,armure ground on #ab shafts1 straight draw4 ,gros de ,tours1 edges on #d shafts4 ,warping ,ticket--,ground warp1 #ed yards4 #aicf_/b white4 ,gros de ,tours edges1 #ee yards4 #bbh_/b white1 on separate rolls4 ,total 4 4 4 #cihd single ends4 ,harness--#ab shafts1 #aicf heddles1 per #ah inches4 #a #h-b_/c #a #d ,shafts gros de ,tours edges1 with #bh heddles on each side4 ,reduction of ,filling--,per #a inch1 #if picks1 #a end4 ,warp ,calculation--8 lbs4 #cihd ends4 #a end #ed yards4 #ajjj yards #a1ej drams4 #bef drams #a lb4 #ajj #ajd 7#d waste74 #cihdeda1ejajd ------------------ #a1ca lbs41 or #a lb4 #d1if ozs4 #ajjjbefajj ,page #ic ,filling ,calculation--8 lbs4 #ej yards4 #a yard #cf inches4 #a inch #if picks4 #a pick #ai inches4 #cf inches #a yard4 #ajjj yards #d drams4 #bef drams #a lb4 #ajj #ajh 7#h waste74 #ejcfifaidajh ------------------- #a1ed lbs41 or #a lb4 #h1fd ozs4 #cfajjjbefajj ,after weaving1 the small flower effects have to be printed on the cloth4 99 99 99 99 ,page #ie ,,disposition #f ,pekin3 #h shaft satin and repp4 ,illustration3 ,fig4 #cd ,page #if ,length and ,width--#a piece #ajj yards long1 #bj in4 wide4 ,ital4 ,organ41 #a-ce_/ajj drams1 black1 bright1 #bj_/bb oz4 ,stock and ,dyeing--,warp4 ,ital4 ,organ41 #a-ae_/ajj drams1 sky1 bright1 pure dye ,cotton ,no4 #ajj_/b1 scarlet4 ,filling4--#c threads1 ,jap4 ,tram41 #b-h_/aj drams1 scarlet1 bright1 #ad_/af oz4 #fa1 black satin ,reed ,calculation--,per #a inch1 #fh dents1 #fb1 colored #ba1 repp4 #bj #acgg #bc 7#a for shrinkage74 ---- ,total #adjj dents4 ,drawing-in--#ast edge1 #g dents1 #fb satin4 ,ground1 #cd #fa #b #fb #aj #fa twice #b #ba repp4 over4 #aj #fa satin4 #b #fb #ci #fa #e #ba repp4 twice #d #fa satin4 over4 #g times #e #ba repp4 over4 #ae #fa satin4 #b #ba repp4 #ae #fa satin4 #e #ba repp4 twice #d #fa satin4 over4 #e #ba repp4 #e #fa satin4 #bh #fa #b;d edge1 #g #fb ,satin on #ast section of #h shaft skip draw4 ,binder #bnd #b ,repp #c;d #b ,page #ig ,on each side of every repp stripe two ends of the satin warp must be entered on the #b binder shafts 7#b;d section71 to prevent the ends of the satin to slide over into the repp stripes4 ,warping ,ticket--,i4 ,beam satin1 #ajf yards4 #ast edge1 #db_/b black4 ,ground1 #bjd_/a #ab_/b sky4 #ahj_/a black4 #ab_/b sky4 #bcd_/a black4 #dh_/b sky4 #g times over4 #ahj_/a black4 #dh_/b sky4 #cj_/a black4 #afh_/a #b;d edge1 #db_/b #facb single ends black4 #afhj sky4 ,,ii4 ,beam repp1 #aaj yards4 #d_/a scarlet4 #d_/a #aj_/a #aj_/a #aj_/a #g times over4 #d_/a #aj_/a #aj_/a #aj_/a #ejd single ends scarlet cotton ,this warp has to be beamed in stripes4 ,make out a diagram for the warper the same as shown in ,fig4 #ie4 ,page #ih ,illustration3 ,fig4 #ie ,harness--,fig4 #ie shows how to make a diagram of a harness for a ,pekin4 ,the heddles are marked per one shaft4 ,as the repp stripes are only small ones1 we use for the satin a full harness1 that is1 one without open spaces for the repp stripe4 ,all together we have in the satin warp #fhhh single and double ends to draw in2 of these #beb ends are used for binders1 on both sides of the repp stripes4 ,thus remain for #h shafts1 #ffcf heddles per #bj inches #a #dj #a ,reduction of ,filling--,per #a inch1 #add picks1 #a end4 ,warp ,calculation--8 lbs4 #facb ends 7#afhj ends sky74 #a end #ajf yards4 #ajjj yards #a1ce drams 7sky #a1ae drams74 #bef drams #a lb4 #ajj #ajd 7#d waste74 #facbajfa1ceajd ------------------- #c1ef lbs4 for black1 or #c lbs4 #h1if ozs4 #ajjjbefajj #afhjajfa1aeajd ------------------- #j1hc lbs4 for sky1 or #j lbs4 #ac1bh ozs4 #ajjjbefajj ,page #ii 8 lbs4 #ejd ends4 #a end #aaj yards4 #hdj yards #a skein4 7,no4 #ajj_/b7 #ej skeins #a lb4 #ajj #ajd 7#d waste74 #ejdaajajd ------------- #a1cg lbs4 scarlet cotton1 or #a lb4 #e1ib ozs4 #hdjejajj ,filling ,calculation--8 lbs4 #ajj yards4 #a yard #cf inches4 #a inch #add picks4 #a pick #ba inches4 #cf inches #a yard4 #ajjj yards #b1h drams4 #bef drams #a lb4 #ajj #ajh 7#h waste74 #ajjcfaddbab1hajh ----------------------- #c1eg lbs41 or #c lbs4 #i1ab ozs4 #cfajjjbefajj 99 99 99 99 99 ,page #ajj ,,jacquard ,,weaves ,jacquard weaves usually show on a plain ground figure or flower effects4 ,to obtain these effects the ground is made of one weave1 say taffeta1 while the figures or flowers are produced in another weave1 say satin4 ,we enter the warp through a jacquard harness1 and according to the repeat use a #bjj1 #djj1 #fjj1 #ijj1 #abjj1 etc41 hook jacquard machine1 which means #bjj1 #djj1 #fjj1 #ijj and #abjj ends per repeat4 ,with a #fjj-;hook machine a larger repeat can be produced than with a #dii-;hook machine4 ,for instance1 if we want to make a cloth the figures of which are to be two inches apart1 it is a two-inch repeat1 and use the count of #ej_/d or #bjj ends per inch1 we can use a #djj-;hook machine1 #b in4 x #bjj ends4 ,but we can make this cloth also on a #abjj-;hook machine1 only the repeat must be designed three times4 ,the advantage of using a #abjj-;hook machine with the count #ej_/d is that #b1 #c1 #d1 #f-;inch repeats can be produced1 while with a #djj-;hook machine1 only a #b-;inch repeat can be made4 ,there is no end to all the different weaves and the possible flower and other pattern effects that can be made with the jacquard machine4 ,for a jacquard weaving plant the designing is the most important factor4 99 99 99 99 99 ,,box ,,loom ,,weaves ,,including ,,crepes ,box looms are required for weaves such as bayadres1 checks1 plaids 7see pages #fc-fe71 bengalines1 crpes1 etc41 where two or more shuttles are needed to bring out the effect4 ,for the crpes 7crpe de chine1 crpe georgette7 only two shuttles are needed1 while plaids and other articles are made with more shuttles4 ,to weave such articles the loom or the lay must be fitted with two or more shuttle boxes on one or both sides of the loom4 ,page #aja ,if a manufacturer decides to change plain looms to box looms or buy new box looms1 it is wise to get #d #d boxes1 or four shuttle boxes on each side4 ,with these looms about everything can be made that is called for in box-loom effects1 and as styles change1 it is wise to be prepared4 99 99 99 99 99 ,,manufacturing ,,costs ,the calculator first ascertains for the warp3 ,what silk will be used1 the cost of the same1 total number of ends in the warps for the amount of silk1 cost of throwing1 dyeing1 winding1 warping1 twisting1 entering1 and weaving4 ,then the filling3 ,silk to be used1 how much1 cost of silk1 cost of throwing1 dyeing1 winding1 doubling1 quilling4 ,after this determine the cost of weaving1 cloth picking1 finishing1 factory costs1 and selling expenses4 ,to-day most of the operations are paid by piece work4 ,the calculator must always take into consideration that poor raw silk or poor dyeing make production slow1 increase the cost of labor1 and also that more waste will be made4 ,,throwing3 ,regular organ usually has #af turns per inch in the first twist and #ad turns to the inch in the second or reverse twist4 ,tram receives only one twisting1 about three turns to the inch4 ,as the warp twisting-in is paid for at so much per hundred or thousand ends1 no matter how short or long the warp is1 it is a saving to make the warps as long as possible1 especially in raw1 black and staple colors4 ,the calculator must not forget the cost of entering the first warp in a harness1 also the reeding4 ,most mills figure the cost of harness and reed in the expense accounts4 ,if plain and fancy goods are made an extra percentage should be figured for the latter4 ,page #ajb ,,expenses are figured differently1 as almost every manufacturer has his own system4 ,if a mill makes only a few staple articles it is easy to put down the cost of expenses4 ,say the mill has a production of #ejj1jjj yards per year1 that the expense amounts to #ce1jjj1 the cost then is #g cents per yard4 ,manufacturers making all kinds of goods sometimes figure the expenses in percentage1 say1 for plain goods1 with a few picks1 like gros-grain1 peau de soie1 etc41 #aj per cent4 per yard4 ,taffeta1 satin1 etc41 having more picks1 #ab per cent4 per yard1 and fancy and jacquard goods1 #ae per cent4 per yard4 ,in the expense account we include all charges except raw silk1 throwing1 dyeing and piece work4 ,,selling ,,expenses4 ,before a calculation is finished we must add the selling expenses to the cost1 also take account of the trade discount4 ,small mills usually sell through a commission house1 which pays all expenses and charges a certain commission4 ,many large firms have their own selling end1 and some have their sales guaranteed by a commission house or a bank4 ,page #ajc ,,calculations ,the prices marked in the following calculations are about as in normal times4 ,absolutely correct piece work prices cannot be given as different localities have different prices4 ,calculations are usually made per #ajj yards1 #ajj-meter warps4 ,most goods gain from #c to #g per cent4 in weaving4 ,that is1 if we make a warp of #cjj meters for a satin and we obtain #cae yards of cloth1 this gain should not be calculated1 as usually there is no account taken of samples used in the selling department4 ,but the loss in length should be figured and taken account of on goods with a heavy rib1 such as moir1 faille1 etc4 ,,disp4 #g--;,a #c #a_/c-;inch repeat can be obtained with a #fjj-;hook jacquard machine1 seven repeats in a width of #bc inches4 ,,disp4 #h--,taffeta weave1 but the two cotton picks must go in one hole4 ,this article can only be made with at least two shuttle boxes on each side4 ,for warping use a single and double cross reed1 heavy cotton1 no knots must be tied4 ,,disp4 #aj--,this article must be warped with as much tension as possible and no knots should be tied in4 ,silk is to be delivered on bobbins from throwster4 ,,canton ,,crepe ,,disp4 #i--;,can also be made with ,canton silk for filling and may be called ,canton crpe4 ,as ,canton silk is much cheaper than ,japan1 the manufacturer can use #d-thread ,canton instead of #c-thread ,japan for filling at a little difference in cost1 thus the cloth will be heavier1 but ,canton silk is not as even and clean as ,japan4 ,page #ajd ,article--,,taffeta ,,glace ,reed #gj_/c ,disp4 #a ,width #ah in4 ,warp--,ital4 ,ex4 ,class #ab_/ad #e4jj raw silk 4#fj throwing #b-,thread ,organ4 brown bright 4#de dyeing #af-oz4 4#ae winding ----- raw lbs4 #b4fj #f4bj #af4bc ,warping--#djcb at #c4 #a4ba ,twisting--#cigh at #be4 per #cjj meters 4#cc ,filling--,jap4 ,tram4 ,best ,no4 #a #ac_/ae #d4be raw silk 4#de throwing #b_/b ends #ajd picks 4#de dyeing 4#ae winding gold bright #af oz4 4#ae doubling 4#aj quilling ----- raw lbs4 #b4gc #e4ee #ae4jb ,weaving #g4jj ,picking #a4jj ,finishing #a4jj ,expenses #g4jj ------ #dh4gi #e trade discount #g selling commission ,divide by #hg ,cost per yard #j4eegf 99 99 99 99 ,article--,,surah #c-a ,reed #hj_/b ,disp4 #b ,width #cf in4 ,warp--,ital4 ,ex4 ,class4 #aj_/ab #e4bj 4#fe #b-,thread ,organ4 bright black 4#ha discount #ae #bd oz4 4#cj dyed #bj ----- lbs4 #c4cf #f4if #bc4ci ,warping--#eijd at #b4 #a4fb ,twisting--#ehgb at #ce4--fjj lb4 warp 4#be ,filling--cotton #abj_/a #a4be 4#aj dye black #a end #abj picks 4#jh winding 4#jg quilling ----- lbs4 #i4ej #a4ej #ad4be ,weaving #ab4jj ,picking #a4ej ,finishing #b4jj ,expenses #g4jj ----- #fb4ja #e discount #f commission ,divide by #hi ,cost per yard #j4fifg 99 99 99 99 ,page #aje ,article--,,satin ,,duchesse ,reed #ff_/d ,disp4 #c ,width #b x #bc in4 ,warp--,ital4 ,ex4 ,class4 #ab_/ad #e4jj 4#fj #b-,thread ,organ4 black bright 4#gc #bb oz4 4#ba ----- lbs4 #h4ej #f4ed #ee4ei ,warping--#abfbd at #b4 #c4dg ,twisting--#abbef at #be4 #fjj meters 4#ea ,filling--,jap4 ,tram ,no4 #a--ad_/af #d4jj 4#dj black souple #dd oz4 #a4fj net 4#dj #a_/b and #a_/c #a_/e #hj picks 4#dj doubling 4#cj ----- lbs4 #g4ad #g4aj #ej4fi ,weaving #ac4jj ,picking #b4jj ,finishing #b4ej ,expenses #h4jj ------- #ace4gf ,divide by #hi ,cost per yard #j4gfbg 99 99 99 99 ,article--,,armure ,,satin ,reed #fj_/d ,disp4 #d ,width #bf in4 ,,stock ,,and ,,dye ,warp--,jap4 ,ex4 #ab_/ad #d4ge 4#fj #b-,thread ,organ4 black bright 4#fd #bj oz4 4#ai ----- lbs4 #d4cj #f4ah #bf4eg ,warping--#febj at #b4 #a4gi ,twisting--#fdbd at #be4 #fjj meters 4#bg ,filling--,jap4 ,tram ,no4 #a #af_/ah #d4jj 4#cj black bright #bf oz4 4#id 4#be #b_/c ends #ajd picks 4#be 4#ag ----- lbs4 #f4hj #e4ia #dj4ai ,weaving #aj4jj ,picking #a4jj ,finishing #a4jj ,expenses #g4jj ------ #hg4hb ,divide by #hi ,cost per yard #j4ihfg 99 99 99 99 ,page #ajf ,article--,,printed ,,armure ,reed #eb_/b_/b ,disp4 #e ,width #ah in4 ,,stock ,,and ,,dye ,warp--,ital4 ,ex4 ,class4 #ab_/ad #e4jj #b-,thread ,organ4 white bright 4#fj ,p4,d4 4#bc 4#ab ----- lbs4 #b4fb #e4ie #ae4ei ,warping--#cihd_/a at #c4 #a4bj ,twisting--#aiib_/b at #cj4 #cjj meters 4#bj ,filling--,ital4 ,tram4 souple #ac_/ad #d4ej 4#cj white bright ,p4,d4 4#bc 4#aj #a_/e end #if picks 4#jg ----- lbs4 #c4jh #e4bj #af4jb ,weaving #h4jj ,picking #a4jj ,finishing and ,printing #e4jj ,expenses #h4jj ------ #ee4ja ,divide by #hg ,cost per yard #j4fbhg 99 99 99 99 ,page #ajg ,article--,,satin ,,striped ,,reps ,reed #fj_/fb ,disp4 #f ,width #bj in4 ,,stock ,,and ,,dye ,warp--,ital4 ,ex4 ,organ4 #bd_/bf #e4jj black bright #bb oz4 4#fj 4#gc 4#ba ----- lbs4 #c4ef #f4ed #bc4bh ,ital4 ,ex4 ,organ4 #ah_/bj #e4bj 4#fe sky bright ,p4,d4 4#bc 4#ab ----- lbs4 4#hc #f4bj #e4ae ,cotton #ajj_/b #a4jj 4#ab 4#jh ----- scarlet lbs4 #a4cg #a4bj #a4fd ,warping--#hcaf at #d4 #c4cb ,twisting--#gdcd at #ej4 #cjj meters #a4bd ,filling--,jap4 tram4 ,no4 #a #ad_/af #d4jj 4#ce scarlet bright #af oz4 #a_/c ends 4#de 4#ae #add picks4 lbs4 #c4eg 4#aj ----- #e4je #ah4jd ,weaving #ab4jj ,picking #a4jj ,finishing #a4jj ------ #ff4fg ,expenses #ae #aj4jj ------ #gf4fg ,divide by #hg ,cost per yard #j4hgfc 99 99 99 99 ,page #ajh ,article--,,messaline ,,brocade ,reed #fj_/c ,disp4 #g ,width #bc in4 ,warp--,jap4 ,ex4 #ac_/ae #d4ej 4#fj #b-,thread navy bright #af oz4 4#de 4#ae ---- lbs4 #c4bj #e4gj #ah4bd ,warping--#dcbj at #c4 #a4cj ,twisting--#dbfj at #cj4 #cjj meters 4#da ,filling--,jap4 ,tram ,no4 #a #ac_/ae #d4jj 4#ce emerald ex4 bright dye #bd oz4 4#ie 4#be #a_/c ends #ajj picks 4#ae ----- lbs4 #b4ej #e4gj #ad4be ,weaving #i4jj ,picking #a4jj ,finishing #a4jj ------ #de4bj ,expenses #ae #f4gh ------ #ea4ih ,divide by #hg ,cost per yard #j4eida 99 99 99 99 ,article--,,bengaline ,reed #gb_/b by #a single2 #a double ,disp4 #h ,width #cf in4 ,warp--,jap4 ex4 #ac_/ae #d4ej 4#fj #b-,thread ,organ4 black bright 4#fd #bj oz4 4#ai ----- lbs4 #e4gg #e4ic #cd4bb ,warping--#gifd at #b4 #b4ai ,twisting--#ebif at #cj4 #fjj meters 4#bg ,filling--#ef picks by #d4ej #e organ4 #b ,cotton 4#fj 4#fd 4#ai 4#de 4#ab 4#aj ----- #dj picks ,organ4 as warp #f4je 4#jh #f4je lbs4 #a 4#jg #af picks black cotton #ae_/d ----- lbs4 #bb4ej 4#gj #ae4ge ,weaving #ab4jj ,picking #a4ej ,finishing #c4jj ,expenses #h4jj ------ #hb4ih ,divide by #ia ,cost per yard #j4iaai 99 99 99 99 ,page #aji ,article--,,crepe ,,de ,,chine 7,taffeta weave7 ,reed #fj_/b_/b ,disp4 #i ,width #dj in4 #dd in4 in reed ,warp--,jap4 ,ex4 ,grege #bj_/bb #d4ej 4#je winding ----- #b waste lbs4 #e4fj #d4ee #be4dh ,warping--#ecdj_/b at #b4 #b4fg ,twisting--#ecdj_/b at #be4 #fjj meters 4#bc ,filling--,jap4 ,no4 #a #ac_/ae #d ends hard twist #fj turns #d4jj #a4be throwing #hd picks by #b right1 #b left #j4je quilling twist ----- #be waste and shrinkage #e4cj lbs4 #f4jj #ca4hj ,weaving #i4jj ,finishing and dyeing #e4jj ,picking #a4jj ,expenses #g4jj ------ #hb4ah #e discount #e selling expense ,divide by #ij ,cost per yard #j4iaca 99 99 99 99 ,article--,,crepe ,,georgette ,reed #ej_/b 7,taffeta weave7 by #a right1 #a left twist ,disp4 #aj ,width #dj in4 #dg in4 in reed ,warp--,ital4 ,ex4 ,class #af_/ah ,raw #e4bj #a4fj ----- #b-,thread hardtwist #ge turns #f4hj #cf4gb #cj shrinkage and waste lbs4 #e4dj ,warping--#dfdj_/a #cj_/b #dgfj at #d4 #a4ij ,twisting--#dgjj at #ej4 #fjj meters 4#dj ,filling--,same silk as warp #ajj picks by #b right1 #b left twist #e4bj #a4fj 4#aj ---- lbs4 #e4jj #f4ij #cd4ej ,weaving #ae4jj ,picking #a4jj ,finishing and dyeing #f4jj ------ #ie4eb ,expenses #ab #aa4id ------- #ajg4df ,divide by #hg ,cost per yard #a4bbha ,page #aaj ,,calculation ,,blank ,,article,,reed ,,disp,,width ,,warp ---------------------------------------- ------------------------ ---------------------------------------- ------------------------ ---------------------------------------- ------------------------ ,,warping ,,twisting ,,filling ,,weaving ,,picking ,,finishing ,,expenses ---------------------------------------- ------------------------ ,,price ,,per ,,yard ,page #aaa ,,index ,,drawing-,,in1 #g ,straight ,draws1 #g ,skip ,draws1 #i ,point ,draws1 #i ,section ,draws1 #aj ,,the ,,weaves ,,and ,,their ,,construction1 #ae ,the ,taffeta ,weave1 #ag ,gros de ,tours ,weaves1 #ai ,serge ,weaves1 #bj ,twill ,weaves1 #bj ,,filling ,,effects #ba ,satin de ,lyon1 #ba ,levantine1 #ba ,polonaise1 #bb ,serge grosse cot1 #bb ,serge ,romaine1 #bc ,serge1 #bc ,,warp ,,effects1 #be ,levantine1 #be ,,evensided ,,twills1 #bf ,surah1 #bf ,croise1 #bf ,,pointed ,,twills1 #bg ,,satin ,,weaves1 #cb ,satine de ,chine1 #cd ,satin ,merveilleux1 #cd #g ,harness ,satin1 #ce ,duchesse1 #ce ,,irregular ,,satins1 #ci ,satin ,ture1 #ci ,satin la ,reine1 #dj ,,derivative ,,weaves1 #da ,from the ,taffeta1 #da ,from the ,twills1 #dc ,from the ,satin ,weave1 #df ,cannele and ,repp ,weaves1 #di ,,double ,,faced ,,fabrics1 #ee ,warp ,effects1 #ee ,,filling ,,effects1 #eh ,pekins1 #fj ,bayadres1 #fc ,page #aab ,checks and ,plaids1 #fe ,,decomposition1 #fg ,the ,weave1 #fh ,length and ,width of the ,fabric1 #fh ,the ,stock and ,its ,dye1 #fi ,reed ,calculation1 #gj ,drawing-in the ,warp in ,harness and ,reed1 #gj ,warping ,ticket1 #ga ,harness ,arrangement1 #ga ,reduction of the ,filling1 #ga ,calculation of ,warp and ,filling1 #ga ,finishing1 #gb ,calculation of ,cost1 #gb ,,dispositions1 #ge ,,jacquard ,,weaves1 #ajj ,box ,loom ,weaves ,including ,crpes1 #ajj ,manufacturing ,costs1 #aja ,,calculations1 #ajc ,calculation ,blank1 #aaj ,page #aac ,,other ,,books ,published by ,,clifford ,,lawton #cgc ,fourth ,avenue ,new ,york4 99 99 99 99 99 ,,the ,,american ,,silk ,,journal ,established #ahhb4 ,a monthly magazine devoted exclusively to dress silks1 ribbons1 and all silken materials1 reflecting the progress of mill and market1 fashions1 trade events and news4 ,published on the first of each month4 ,subscription3 ,united ,states1 #c2 ,canada1 #c4ej2 ,foreign1 #d a year4 ,,serivalor or the ,true ,value of ,raw ,silk ,by ,,adolf ,,rosenzweig1 ,the great international authority on silk4 ,a practical and logical system of standardizing raw silks4 ,price1 #d4be postpaid4 ,,dictionary ,,of ,,silk ,,terms ,the most complete and authentic dictionary ever published on silk terms1 from the raw silk to the finished broad and narrow silks1 including weaves1 styles1 patterns1 effects1 colors1 trade-marks1 etc4 ,bound in cloth1 #ic pages1 price1 #a4ej postpaid4 ,,color ,,value ,by ,c4,r4 ,,clifford4 ,a valuable book treating on color contrasts and harmonies4 ,it will assist the manufacturer1 styler1 designer and retailer in the selection of colors4 ,colored plates and diagrams illustrating the fundamental principles of the subject1 of inestimable value to either student or artisan4 ,price1 #a4ej postpaid4 ,,period ,,furnishings ,by ,c4,r4 ,,clifford ,an encyclopedia of furnishings1 decorations1 furniture4 ,contains #b1gca illustrations1 #bff pages1 size #i x #ab2 #aab fabric illustrations1 covering all periods4 ,price1 #f4jj postpaid4