
 
 < 
 
 
 THE LIBRARY Of 
 
 VIN8OJI1VD JO 
 
 IHE UNIVERSITY 
 
 SANTA BARBARA 
 
 yr>,| 
 
 O JO MlWan 3Hi 
 
 Of CALIFORNIA 
 
 SANIA BARBARA 
 
 ' o VUVBHV9 V1NVS o 
 I 
 
 O 
 
 UISS3AlNn 3H1 O 
 
 \ 
 
 e THE UNIVERSITY o 
 
 THE LIBRARY OF 
 
 SANTA BARBAR 
 
 OF CALIFORMIA 
 
 jo Asviian am 
 
 THE LIBRARY OF 
 
 VINSOJI1VD JO 
 
 THE UNIVERSITY 
 
 SANTA BARBARA 
 
 
 THE LIBRARY OF 
 
 /8V8HV8 ViNVS 
 
 o THE UNIVERSITY 
 
 
 VINHOJITO JO 
 
 JO AUVWIl 3H1 
 
 SANTA BARBARA 
 
 THE LIBRARY OF 
 
 o THE UNIVERSITY o 
 
 SANIA BARBARA 
 
 OF CALIFORNIA o 
 
 jo xiiviian am " 
 
 i 
 
 o OF CALIFORNIA o 
 
 O JO AWflll 3H1 
 
 6 THE UNIVERSITY 
 & 
 
 SANTA BARBARA 
 
 o THE LIBRARY OF o 
 I 
 
 VHV8HV3 VINVS o 
 
 VIN3OJITV3 JO
 
 iJi 
 
 JUSCUWH 3Hi o 
 
 jo Aavaan 3Hl 
 
 THE UNIVERSITY 
 
 OF CALIFORNIA o 
 
 SANTA BARBARA 
 
 do Asvasn 3Hi 
 
 b 
 
 .0 AUSJBAlNfl 9W 
 
 THE UNIVERSITY 
 
 THE LIBRARY OF o 
 
 VV88V9 V1NV5 
 
 SANTA BARBARA 
 
 AilSH3AINn 3H1 
 
 VSV98V9 ViNVS o 
 
 THE LIBSARY OF 
 
 O THE UNIVERSITY 
 
 U1SH3AINH 3Hi 
 
 SANTA BARBARA 
 
 VSV9SV8 Y1MWS 
 
 o OF CALIFORNIA 
 
 THE UNIVERSITY o 
 
 jo wiv8n SHI 
 
 SANTA BARBARA 
 
 o THE UNIVERSITY o 
 
 9 
 
 O OF CALIFORNIA 
 
 VMV98V9 YINVS 
 
 SANTA BARBARA 
 
 o THE UNIVERSITY 
 
 SANTA BARBARA 
 
 THE LIBRARY OF a 
 
 I 

 
 THE 
 
 OR, 
 
 A Practical Guide in Designing & leaving. 
 
 AN INSTRUCTOR & GUIDE ADAPTED TO THE REQUIREMENTS 
 
 OF ALL ENGAGED IN THE ART. 
 
 ILLUSTRATED WITH 
 
 THREE-HUNDRED FIGURES REPRESENTING SINGLE, DOUBLE, 
 TRIPLE AND COMBINED WEAVES IN VARIOUS FORMS OF CON- 
 STRUCTION AND COMPLETION, THE PRINCIPAL METHODS OF 
 ATTACHING BACKS TO FABRICS, AND EIGHT CLOTH SAMPLES 
 MADE SPECIALLY TO DEMONSTRATE THE PRINCIPLES OF THE 
 WORK, INCLUDING A FANCY PICKOUT SHOWING FIVE METHODS 
 OF REDUCING AND WEAVING THE SAME; DIAGRAM OF PATTERN 
 SHEET; ALL MANNER OF STOCK FIGURING FROM THE WOOL 
 IN THE GREASE TO THE WOVEN STATE, INCLUDING MAKING 
 MIXES; ALSO YARN TABLES, RULES, CALCULATIONS, ETC., ETC. 
 
 The Most Practical and Complete Work on Designing and 
 Weaving Ever Offered to the Craft. 
 
 BY A. A. BALDWIN, 
 s\ 
 
 AUTHOR OF 
 
 "A Treatise on Designing and Weaving Plain and Fancy Woolen Cloths," "The Designers' 
 Chart," and "The Loom-Fixers' Manual." Also ex-Editor and Publisher of "The Designer 
 & Weaver" i8So-i, and "Baldwin's Textile Designer" 1888-9, both monthly publications. 
 
 BRASHER FALLS, N. Y. : 
 AMOS A. BALDWIN, PUBLISHER. 
 
 1890.
 
 PEEFACE, 
 
 PREFACE. 
 
 fulfilling a task so difficult as that of writing a "Self- 
 .Instructor in Textile Designing," the author feels it a 
 duty to state the causes which led him to undertake it, 
 and the principles which have guided him in carrying 
 it to a conclusion. First, to overcome past failures in books 
 relative to the Art, by demonstrating in a comprehensive 
 manner such points as have heretofore been ignored by their 
 authors; or, points on which they failed in conveying to the 
 reader the intended meaning. Second, to produce a self -in- 
 structor founded on practical experience and study of the 
 art; a work demonstrating so plainly, with the assistance 
 of the cloth samples made specially for it, that all who will, 
 may comprehend the whole and thus be their own instruc- 
 tor. Third, to spread a knowledge of designing as widely 
 as possible among those who have not the advantage of 
 personal instruction. 
 
 Furthermore, the author wishes to place in the hands 
 of would-be designers such a work on the subject as will 
 enable them to understand more clearly, and comprehend 
 more thoroughly the details and technicalities of the art. 
 That he has succeeded in this, and in bringing the rudiments 
 of designing to that state of perfection wherein they can be
 
 4 PREFACE. 
 
 easily learned, and practically applied by those who are 
 dependent almost wholly on books for their instruction in 
 designing, will, he believes, be conceded by all fair-minded 
 persons capable of judging. 
 
 The aim has been to lay before the craft a plain, clear, 
 practical view of all the rudiments required to be known by 
 those who are interested in an art, the fundamental princi- 
 ples of which have been heretofore but very imperfectly 
 demonstrated in books. Although not intended as a literary 
 production, and although apparently small, it is believed 
 that the work covers the entire field of designing for which 
 it is intended. That it may succeed in awakening among 
 the craft the same interest in its subject-matter which called 
 it into existance, is the earnest desire of the author. 
 
 A. A. BALDWIN. 
 Dec. 18, 1890.
 
 CONTENTS. 
 
 CONTENTS. 
 
 CAHPTER I. 
 
 Page 
 
 Hints to Would-be Designers 9 
 
 CHAPTER II. 
 Delicacy and Correctness of Taste 13 
 
 CHAPTER III. 
 How to Become a Designer. 15 
 
 CHAPTER IV. 
 
 Explanation of Signs and Characters used in Design- 
 ing. Mathematical Signs 18 
 
 Fractional Equivalents in Percentage. . . . . 19 
 
 Design Characters 20 
 
 CHAPTER V. 
 
 Explanation of Different Terms used by Designers. 20 
 CHAPTER VI. 
 
 Hints on Preparing and Examining Samples before 
 
 Dissecting 24 
 
 CHAPTER VII. 
 
 The Process of Dissecting and Layingout for the Fab- 
 ric, Illustrated with Pickout, and Cloth Sample. 26 
 To Find the Number of Threads in the Warp. ... ' 81 
 
 To Find the Amount of Yarn Required for Warp. 32 
 
 To Find the Required Reed. . . . . 33 
 
 To Find the Amount of Yarn Required for the Filling. 34 
 To Find the Number of Sections and Number of Spools 
 
 Required Up. . . 35 
 
 To Find the Number of Yards Required on Each Spool. 36 
 
 The Dressing or Warping. . . . . . . . . 37 
 
 To Find the Number of Heddles Required on Each 
 
 Harness when Using a Cross Draft 37
 
 6 CONTENTS. 
 
 CHAPTER VIII. 
 
 Estimating the Per Cent, to allow for Loss of Stock 
 
 During the Process of Manufacture. . . . . 41 
 
 Rule for Adding Percentage. 42 
 
 CHAPTER IX. 
 
 Estimating the Per Cent, of Colors in Mixes, and of 
 
 Different Wools in Batches 45 
 
 To Find the Amount of Each Color Required in a Batch, 
 
 the Size of Batch and Per Cent, being Known. 45 
 CHAPTER X. 
 
 Figuring the Shrinkage of Wools and Their Cost 
 
 when Scoured 47 
 
 To Find the Shrinkage of Unsecured wool 47 
 
 To Find the Cost of Scoured Wool, the Market Price 
 
 and Shrinkage being Known. 47 
 
 To Find the Amount of Wool Required in the Grease 
 to Produce a Given Amount Clean, the Shrinkage 
 being Known 48 
 
 CHAPTER XI. 
 
 Dressing Pattern Warps and Weaving Pattern Sheets 49 
 Pattern Sheet Illustrated by Diagram. . . 52 
 
 Figuring on the Weight of Cloth from Loom. . . 53 
 CHAPTER XII. 
 
 Three Methods of Attaching a Back to Fabrics fully 
 
 Demonstrated with Cloth Samples. . . 55 
 
 CHAPTER XIII. 
 
 Combining Weaves Illustrated. 68 
 
 CHAPTER XIV. 
 The Analysis of Double Weaves Their Construction 
 
 and Stitching Demonstrated with Cloth Sample. 81 
 CHAPTER XV. 
 
 The Construction of Triple or Three-ply Weaves- 
 Demonstrated with Cloth Sample. . . . . 90 
 
 CHAPTER XVI. 
 Relative Lengths Per Pound of Woolen, Worsted, 
 
 Cotton, and Silk Yarns their Explanation. . . 99
 
 CONTENTS. 7 
 
 CHAPTER XVII. 
 
 Samples of Fabrics with General Instructions for 
 
 Making Them Eight Samples. 102 
 
 CHAPTER XVIII. 
 
 Miscellaneous Weaves. 107 
 
 CHAPTER XIX. 
 
 Designing Broken Twills or Satin Weaves 117 
 
 Rule for Designing Satin Weaves. . . . . . . 122 
 
 "Double Satin Weaves." 123 
 
 CHAPTER XX. 
 Yarn Tables, Rules and Calculations. Table Showing 
 
 the Number of Yards Per Pound of Woolen Yarn 
 
 From I Run to 20 Runs 126 
 
 Table Showing the Number of Yards Per Pound of 
 
 Worsted Yarn from No. 1 to No. 120 127 
 
 Table Showing the Number of Yards Per Pound of 
 
 Cotton, or Spun-Silk Yarn from No. 1 to No. 90. 128 
 Table Showing Equivalent Numbers by the Run, Cut 
 
 and No. System, for Woolen, Worsted, Cotton 
 
 and Spun-Silk Yarns 129 
 
 Table Showing the Weight in Grains of 50 Yards of 
 
 Woolen Yarn, from 1 Run to 20| Runs. . . 130 
 
 Rules to Find the Size of Different Yarns, by Grains, 
 
 without Reference Tables. . . 131 
 
 Rule to Find the Number of a 2 or 3-ply Thread, in 
 
 "Worsted and Cotton Yarns . . . . 132 
 
 Rule to Estimate the Weight of Fabrics by the Weight 
 
 of One Square Inch 133 
 
 Weight Table in Grains. Rule to Find Average Picks 
 
 Per Inch in Uneven Cloths. Cotton Yarn Table. 134 
 
 Linen Yarn Table. Cloth Measure Table 135 
 
 Raw or Tram and Organzine Silk Yarns 136 
 
 CHAPTER XXL 
 
 Weaving Right and Left-hand Twills, on Cam and 
 
 Chain Looms Illustrated 137 
 
 CHAPTER XXII. 
 
 Directions for Making Wool Mixes. Conclusion. . . 141 
 A Centennial Calendar. 145
 
 ERRATA, 
 
 ERRATA. 
 
 On page 32, twentieth and twenty-first lines, read "into 
 5 warps, will give 440 yards per warp of 12 cuts, that is 36f 
 yards per cut or piece," instead of "into 6 warps, will give 
 350 yards per warp of 10 cuts, that is 35 yards etc." 
 
 On page 93, Fig. 8, bar 3, read "unununnuK," instead 
 of "cjuEinnn. " 
 
 On page 129, in table, second column, read "20i runs," 
 instead of "29i/' Also, in fifth column, read "35f Nos." 
 instead of "36f " 
 
 Besides the above, there are on other pages misprint 
 and typographical errors, but none that will in any way 
 lead the reader astray or change the general meaning. We 
 acknowledge, howewer, that such are due to carelessness 
 in proof reading and hurrying the work.
 
 THE 
 
 OR, 
 
 A Practical Guide in Desiram & f m 
 
 CHAPTER I. 
 
 HINTS TO WOULD-BE DESIGNERS. 
 
 |^\ ESIGNING is that branch of textile manufacturing 
 which requires each and every part thereof to be 
 performed both accurately and thoroughly. These 
 results cannot be expected from the novice, nor 
 from a person of no taste in the calling, as such can be 
 accomplished only by those who have more or less of the 
 natural qualifications for it. These qualifications are -by no 
 means of a superficial nature. The designer, like the artist r 
 ought to possess an unlimited fancy, a strong and lively 
 imagination, a refined taste, and good judgment. Of these 
 qualification, the judicious cultivation of taste should not 
 be neglected, for upon this largely hangs his fate. 
 
 Taste, (which will be more fully spoken of in another 
 chapter) is not simply an inborn faculty requiring no further 
 thought on the assumption that nature controls its actions; 
 but is an intellectual faculty, a perceptive power depending 
 on education and exercise nearly as much as any faculty of 
 the mind. It must not only be cognizant of the beautiful, 
 but trained by art to a familiarity with the laws governing 
 it. What can appear more offensive to a person of delicate 
 
 2
 
 1(1 THE SELF-INSTRUCTOR, 
 
 taste than a design crowded with an incongruous assem- 
 blage of colors? Good taste never changes, but fashion 
 changes often. 
 
 If the designer is employed in a mill of limited facilities 
 in the dyeing and weaving departments, it stands him in 
 hand to bring forth his best skill in the display of colors. 
 novel mixes and weaves in order to produce sufficient diver- 
 sity in his patterns. His work is certainly very tedious 
 and trying under the most favorable circumstances. 
 
 A design must be developed in the mind, to a certain 
 extent, before it can be committed to paper. Originating a 
 texture does not complete the whole; everything pertaining 
 to the manufacture of the fabric in its finished state, must 
 be taken into consideration. Even then, the design would 
 be almost useless should it call for expenditures too great 
 for the manufacturer to reap any profit from it. Hence, it 
 will be seen that, in the designing of a fabric, all details in 
 relation to its manufacture, appearance, sale, etc., must be 
 fully considered. The would-be designer who expects to 
 perform these duties in their entirety, must train his mind 
 to a realizing sense of the importance of every detail, as 
 well as to patience and perseverance. The lack of these vir- 
 tues have, without doubt, been the means of discouraging 
 many a promising young-man from following this vocation 
 who might, in time, have mastered the art. 
 
 The time has passed, when the would-be designer can 
 reasonably expect to reach the highest degree of success 
 while he neglects to educate himself for his vocation. As 
 well might the lawyer, the physician, or the clergyman ex- 
 pect distinction who ignores the necessity of mastering the 
 principles of his particular porf ession. There are text -books 
 for the design student as well as for those in other pursuits. 
 and he should study them as the law student would ''Black- 
 stone," or other similar works, until he is familiar with 
 their teachings. He, who plods on in ignorance of the 
 progressiveness in these modern times, can only look for 
 success to what may be termed fortunate accident. 
 
 The true designer is not one who gets his ideas from
 
 TEXTILE DESIGNING. 11 
 
 tlie patterns of others, but is a man of original power, who 
 knows when to design, what to design and how to design 
 it; how to apply colors, and what colors are required for a 
 particular effect to meet the wants of the fastidious public. 
 He understands the principle of arranging colors so as 
 to produce the strongest, as well as the faintest effect; 
 and also that of the weave to use. He knows that in the 
 arrangement of colors, some will have more brilliancy and 
 effect when placed together than when placed separately or 
 beside of others. This arises neither from taste nor imagi- 
 nation, but is founded upon nature and may be explained by 
 the principles of optics. He knows that the seven prismatic 
 colors red, orange, yellow, green, blue, violet and purple. 
 have the same relation to each other as the notes in an 
 octave of music; and that the effect, produced by artfully 
 disposing of these kindred colors, is no less pleasing to the 
 eye, than is the concord of musical sounds grateful to 
 the ear. 
 
 Colors, therefore, with respect to the effect which they 
 produce, may be properly arranged under two heads, 
 namely: those which are contrasting, and those which are 
 "harmonizing. The contrasting colors are those most opposed 
 to each other; the harmonizing colors are those intermedi- 
 ate tints which lie between the contrasting ones, and, as it 
 were, blends them together. 
 
 Contrasting colors may be discovered by a simple 
 experiment. For example, place a red wafer on a sheet of 
 white paper and look at it steadily until the eye becomes 
 tired when a ring of green will begin to appear around its 
 edge, and even after the eye has been removed to another 
 part of the paper the green ring will be visible. Hence, 
 green is said to be the contrasting color of red, and red the 
 contrasting color of green. In like manner it will be found 
 that purple is the contrasting color of yellow; blue, of 
 orange; violet, of a mixture of yellow and orange; and 
 black, of white. 
 
 The compounds of these colors will also have their con- 
 trasting colors. Thus, purple inclining to red, has for its
 
 12 THE SELF-IXSTRUCTOR, 
 
 contrasting color, yellow inclining to green; purple, inclin- 
 ing to blue, has yellow inclining to orange; likewise with 
 the other compounds. On the other hand, a harmonizing 
 color will be the nearest tint to the original, but farthest, 
 except the original, from the contrasting color. Yellow is. 
 therefore, the harmonizing color of white; orange, of yellow; 
 red, of orange; violet, of red; and blue, of violet; etc. 
 
 Different shades of the same color, such as light and 
 dark green; light and dark red; light and dark blue, etc., 
 when they are distinct, likewise form very bold contrasts. 
 But when the same color runs through a variety of shades 
 from a very dark to a very light tint, such tints approach 
 to the nature t)f harmonizing colors. 
 
 It is an established fact that there are persons who find 
 it very difficult to distinguish one color from another, in 
 consequence of which they make mistakes that appear per- 
 fectly incomprehensible to a person of ordinary vision. 
 Taking, for instance, red for green, is one of the mistakes 
 most frequently made among this class who are called 
 color-blind. A person thus afflicted, cannot reasonably 
 expect to succeed as a designer of textile fabrics. To suc- 
 ceed in this business, a man should have good eye-sight, 
 should be quick to discern colors, and well versed in their 
 effect. He will, if possessed of these qualities, be much 
 benefited in the early stages of his pursuit. 
 
 The procuring of a great variety of samples, of different 
 styles, and examining into their construction even to the 
 minutest detail, is of no small importance. This kind of 
 experience will greatly assist the beginner in putting into 
 shape such textures or ideas as his own fancy suggests; at 
 the same time he should avoid as much as possible a certain 
 sameness of style. His taste in this direction will govern, 
 in no small degree, his peculiar "style" ever after. Hence, 
 good taste is essential in every part of .designing. 
 
 We will now bring this chapter of "hints" to a close by 
 saying to the would-be designer, do not wait to obtain your 
 knowledge entirely by the slow process of personal experi- 
 ments; but study the published experiences and demon-
 
 TEXTILE DESIGNING. 13 
 
 strated theories of writers on questions that underlie manu- 
 facturing. If you will but study, and try to profit by such 
 teachings, keep a complete record of your own experience 
 with different weaves and combinations as applied to differ- 
 ent colors and mixes, their effect on the different grades of 
 yarn, and gather knowledge from all other available sources, 
 you may with proper care, close attention and practice after 
 the theory is thoroughly understood, reasonably anticipate 
 success. "Knowledge is power." 
 
 CHAPTER II. 
 DELICACY A:ND CORRECTNESS OF TASTE. 
 
 Since taste has such a controlling power in every class 
 of textile designing, and, at the same time, it is so difficult 
 to distinguish between the good and bad, it may be well to 
 present here a few brief remarks as to the true standard 
 by which the taste of different designers may be compared 
 with each other in order to discriminate between the true 
 and the false. 
 
 In some men only the feeblest glimmerings of taste are 
 visible, and things which they call beautiful are of the 
 coarsest kind. Even of these, they have but a week and 
 confused impression; while in others, taste rises to an acute 
 discernment, and a lively enjoyment of the most refined 
 ideas. In general, we may remark that in the powers and 
 pleasures of taste, there is more reasonable inequality 
 among designers than is usually found in point of common 
 sense, reason and good judgment. 
 
 The characteristics of taste are all reducible to two, 
 namely: delicacy and correctness. 
 
 Delicacy of taste represent, principally, the perfection 
 of that natural sensibility on which taste is founded. It
 
 14 THE SELF-INSTRUCTOR, 
 
 implies those finer organs of power which enables us to dis- 
 cover beautiful points that lie hid from the vulgar eye. One 
 may have a strong sensibility, and yet be deficient in deli- 
 cacy of taste. He may be deeply impressed by beauties as 
 he sees them, but he perceives only what is in some degree 
 coarse and bold, while the more chaste and simple beauties 
 escape his notice. In this state, taste generally exists among 
 those of an uncultivated mind. A designer of delicate taste 
 sees both keenly and accurately. He sees distinctions and 
 differences where others see none, while the most simple 
 thing does not escape his notice; he is also sensible of the 
 slightest fault. 
 
 Delicacy of taste is judged by the same tests that we 
 use in judging of the delicacy of an internal sense. As the 
 acuteness of the palate is not tested by strong flavors, but 
 by a mixture of ingredients, when, notwithstanding the 
 confusion, we become sensitive of each. In like manner 
 delicacy of taste is shown by a quick and lively sensitive- 
 ness of the finest as well as the most potent objects. 
 
 Correctness of taste represents chiefly the improvements 
 which the faculty has received through its connection with 
 the understanding. A designer of correct taste is one not 
 easily imposed upon by counterfits who carries in his mind 
 that standard of good sense which he employs in judging 
 of everything. He estimates with propriety the comparative 
 merit of the several beauties which he meets with in any 
 work of genius; refers them to their proper classes, discovers 
 the principles, so far as they can be traced, on which their 
 power of pleasing depends, and is pleased himself precisely 
 in that degree, in which he ought, and no more. 
 
 It is true that these qualities of taste, delicacy and 
 correctness, mutually imply each other. No taste can be 
 thoroughly correct without being delicate; but still a pre- 
 dominancy of one or the other quality in the subject is often 
 visible. The power of delicacy is chiefly observed in dis- 
 cerning the true merit of a work; the power of correctness 
 in rejecting false pretentious to merit. Delicacy leans more 
 to feeling; correctness more to reason and good judgment.
 
 TEXTILE DESIGNING. 15 
 
 The former is more the gift of nature; the latter, more the 
 product of culture and art. 
 
 From the above we desire the reader to understand that 
 a designer in the full sense of the term ought to possess, 
 like the poet and artist, an unlimited fancy together with a 
 strong and lively imagination, in order to be deeply im- 
 pressed with the objects of his work, and thus be able to 
 bring out the principal effect in his designs. 
 
 CHAPTER III. 
 
 HOW TO BECOME A DESIGNER. 
 
 Without doubt there is not a question relating to the 
 manufacture of textile fabrics which is asked so often, and 
 with so much earnestness, and usually receives such indif- 
 ferent answers, as that of the young man who asks: "How 
 can I become a designer?" 
 
 In nearly every case the young man asking this ques- 
 tion feels that the circumstances which surround him are 
 such as absolutely forbid his attending a designing school, 
 and not knowing of a good competent designer who would 
 personally instruct him in the rudiments, he turns away 
 discouraged. 
 
 It is for such young men that this chapter is intended. 
 In it we shall endeavor to answer the question before us by 
 speaking of those points which we know, from actual expe- 
 rience, are necessary in order to become a designer. And, 
 when we speak thus, we mean a designer in the full sense of 
 the term. Nearly any person, with a common-school educa- 
 tion, may become a designer theoretically, but only a few 
 become a designer practically. Hence, the former class we 
 shall not take into consideration, but will call the reader's 
 attention wholly to the latter.
 
 If? THE SELF-IXSTRUCTOR, 
 
 First, the four principal rules of arithmetic should be 
 thoroughly understood. 
 
 Second, a man should be gifted with good taste, good 
 judgment and originality. 
 
 Third, he should have a fair knowledge of the mechan- 
 ism of looms. 
 
 With these qualifications even without a common- 
 school education or attendance at a designing school, it is 
 safe to predict that a man may become a designer. To 
 aid him in the undertaking, he should purchase such good 
 practical books, relating to the art, as he can afford; books 
 written by practical men capable of handling the subject, 
 but stear clear of those* written by amateurs, or wholly from 
 theory. After purchasing such books, study them carefully. 
 Remember, that the watch-words of designing are, think, 
 study, advance: Think at all times; study in all places; 
 advance by degrees. One hour of earnest thought upon a 
 subject after studying it, will advance him more than ten 
 hours of continuous reading. The young man who persist- 
 antly follows this course will not down; but will certainly 
 come to the front, even though he has many jealous 
 opponents working against him. 
 
 Looking on the practical side of the question, the young 
 man should carefully study the class of goods with which 
 he comes in daily contact. A long time occupied with one 
 pattern may seem like waste of time, but if the pattern be 
 once thoroughly understood he has travelled a long way on 
 the road leading to the comprehension of many others. 
 
 By understanding a pattern, we mean not only under- 
 standing how it was woven, but how it was made in general: 
 the size of yarns, ends in warp, picks, stock, colors, propor- 
 tions of each, and, in fact, every thing pertaining to its 
 general construction. Nor is this all; every item in this 
 direction should be recorded and compared with his every- 
 day experience. After extracting satisfactory information 
 from one pattern, take up another of a different style and 
 go through it in the same manner as before; a comparison 
 of the first pattern, with that of the second, will give him
 
 TEXTILE DESIGNING. 17 
 
 some idea of the latitude that is to be experienced as a 
 designer of textile fabrics. 
 
 If the young man has the true designer's instinct, these 
 investigations will have an absorbing interest; they will 
 open up in his mind a field for thought that will in after 
 years bring forth better results than any school of design, 
 so called. 
 
 Designing is an art, which is advancing with time. 
 Although new ideas are not originated every day, yet 
 almost every day is productive of new novelties by some 
 designer gifted with originality, or by an attractive com- 
 bination of old-time novelties. Hence, it will be seen that, 
 the young man who starts out to follow this profession, and 
 is determined to reach the goal of his ambition, must be 
 ever 011 the alert for new ideas; and when brought in con- 
 tact with new novelties, he should be ever ready with his 
 pencil to sketch all attractive features from memory if 
 impossible to procure a sample of the fabric. For this pur- 
 pose, he should have a scrap-book in which to make such 
 sketches, and keep samples for future reference. By this 
 means, he will obtain many valuable ideas which otherwise 
 might never have come to his mind. 
 
 When an idea is obtained in this manner, proper atten- 
 tion should be paid in detail to its execution. If a stripe or 
 plaid is required in several colors, skill should be displayed 
 in their arrangement; the effect is invariably spoiled when 
 some unsightly color predominates. 
 
 If mixes are wanted, good judgment should be displayed 
 in the percentage to use of each color, as a little out of the 
 way here may spoil what would otherwise have been a 
 creditable result. Better have a less pretentious design, with 
 colors creditably displayed, than one too pretentious in 
 both texture and colors. 
 
 There is another feature to this question, of which we 
 wish to speak before closing, and which should be borne in 
 mind, namely: the exercise of good judgment in the selec- 
 tion of stock, and in deciding the size to spin the yarns. 
 
 There are too many designers, whose judgment in this 
 
 3
 
 I& THE SELF-INSTRTTCTOlT r 
 
 respect, is as execrable as their mechanical execution may 
 be commendable. In other words, from a purely mechanical^ 
 standpoint, their productions may be comparatively fault- 
 less, yet, they invariably display a lack of judgment and 
 appreciation in the "eternal fitness of things," which robs 
 the goods, as it were, of their merits. In this profession,, 
 as in all others, skill, directed by practical knowledge, will 
 prove the? victor. 
 
 Again, it will be well to remember, that whatever 
 prominence is attained by the young man of to-day, in the 
 art of designing, must, properly speaking, be the result of 
 his own industry and perseverance. Both in the mill and 
 out of it, he should be of an inquiring mind, ask for, as well 
 as give explanations, and make friends of those who are 
 willing to exchange knowledge with him. 
 
 CHAPTER IV. 
 
 EXPLANATION OF THE SIGNS AND CHARACTERS 
 USED IN DESIGNING. 
 
 The necessity of introducing certain mathematical 
 signs into a work of this kind is unavoidable, and perhaps 
 by some beginners the use of these signs may not be fully 
 understood especially by those of a limited education in 
 the use of figures. It is for this class of readers that the 
 following explanations are intended. 
 
 MATHEMATICAL SIGNS: 
 
 -f- Addition. 
 Subtraction. 
 X Multiplication. 
 -r Division. 
 ~ Equality. 
 % Per Cent. 
 -f- The sign of addition when placed between two num-
 
 5. or in a row of various numbers, signifies that they "are 
 $o be added together; the result obtained is called the sum* 
 
 The sign of subtraction, when placed between two 
 numbers, signifies that one number is to be subtracted from 
 the other; the result obtained is called the difference or 
 remainder. 
 
 X The sign of multiplication, "when placed between 
 two numbers, signifies that one number is to be multiplied 
 by the other; the result obtained is called the product. The 
 multiplicand is the number which is multipled by another; 
 the multiplier is the number by which the multiplicand is 
 multiplied, 
 
 -r* The sign of division, when pla'ced between two num- 
 bers, signifies that one number is to be divided by the other; 
 the result obtained is called the quotient. The number 
 which is divided by another is called the dividend; the one 
 by which it is divided is called the divisor, 
 
 = The sign of equality when placed between two num- 
 bers, signifies that what stands before it equals what comes 
 after it, whether it be the <l ttm > * ^remainder* "product," 
 or "quotient." 
 
 % The sign of per cent, is used for the words percent., 
 meaning by tne hundred. Thus, 20$ of a nunibe* equals 
 ^V r i f the number; 50$ equals -f^ 'or Of the number, 
 etc. Hence, it will be seen that, percentage or p&r cent, is 
 an allowance made by the hundred. The ba'se of percentage 
 is the number on which the percentage is reckoned. This 
 is fully illustrated by the following table, 
 
 FRACTIONAL EQUIVALENTS IN PERCENTAGE. 
 
 50$ =.50 =i 
 
 =.05 =, 
 
 The characters used to represent the working of threads 
 in a weave, design, texture, or fabric, differ among design- 
 ers as well as among publishers of textile works, each using 
 them according to their own liking. Hence an explanation 
 of the characters used by us both in designing and in our
 
 20 THE SELF-INSTRUCTOR, 
 
 publications is in order. When originating a design, or dis- 
 secting a sample, we use this character X to represent a 
 riser, or in other words, a thread up; to represent a sinker, 
 or in other words, a thread down, we skip one small square 
 of the design paper without making any mark. If we wish 
 to designate the points of binding as in case of a double 
 weave or backing, we use this character to represent a 
 binding riser, and this character to represent a binding 
 sinker. Sometimes we bring into play these two latter 
 characters for pointing out certain peculiarities in a design, 
 In the publishing business, we use the following 
 
 DESIGN CHARACTERS: 
 
 This represents a common riser. 
 
 This represents a binding riser. 
 
 n This represents a common sinker. 
 
 o This represents a binding sinker. 
 
 Of the different styles of characters used in publishing 
 in this line and there are many of them the above are far 
 ahead of all others. They are not only tasty and compact, 
 but show up a design to the best advantage. 
 
 Characters are sometimes used, by both the designer 
 and publisher, over the top and at the side of a design to 
 represent certain parts or threads, instead of writing out 
 and printing the particulars in full each time. When 
 such is the case there is, or ought to be, a reference made 
 to the fact in the subject-matter. 
 
 CHAPTER V. 
 
 EXPLANATION OF DIFFERENT TERMS USED BY DESIGNERS. 
 
 There are so many different terms used by designers, 
 and so many of which mean the same thing in mill par- 
 lance, that we deem it best to present here a few words of 
 explanation in regard to the relation these terms bear
 
 TEXTILE T/ESIG:NINGk 21 
 
 to each other, and their proper use and full meaning as 
 applied in this line of industry. 
 
 Dissecting, ) 
 
 Picking Out, 
 
 Pattern Picking, > are synonymous terms, which mean, 
 
 Drafting, 
 
 Copying, 
 
 taking a piece of fabric and picking the threads out from 
 each other in rotation, and marking down on design paper 
 the same in detail, for the purpose of ascertaining how it 
 was woven, the number of threads in warp, picks per inch, 
 different colors, proportions of each, kind of stock and size 
 of yarns; also all other points necessary in order to imitate 
 the fabric. Therefore, the beginner should bear in mind 
 that no matter how, or where, these terms are used in con- 
 nection with textile designing, they mean one and the same 
 thing. The term "dissecting" is, generally speaking, the 
 most proper, although "picking out" and < 'drafting" are 
 often used as the most natural, while "pattern picking" and 
 * 'copying" are used the least of all. 
 
 Pickout, \ 
 
 WravmgPlan, \ are sy 11011 ?* 10 ^ terms applied to the 
 
 Texture, ' J 
 
 full plan of interweaving the threads in a fabric; the plan 
 being obtained by dissecting a fabric, or from origination. 
 This result is then reduced (if possible, and found necessary) 
 to its lowest term for finding the weave, and drawing-in 
 draft. If, after dissecting or originating a design, it is 
 found that it cannot be reduced, it would be taken as the 
 
 Weave, ^ 
 
 Sarnes^Chain, } a11 of which are ^onymous terms, 
 
 Pegging Plan, J 
 
 and apply to the setting of that part of the loom which 
 causes the harnesses to work up and down in their respec- 
 tive order. The term "pegging plan" is seldom used except 
 in connection with looms not having the roller and tube 
 system of chain.
 
 22 THE SELF-INSTRUCTOR, 
 
 Drawing-in Draft, 
 
 Cross-drawing-in Draft, 
 
 Harness Draft, > are synonymous terms, and 
 
 Heddle Draft, 
 
 Cross Draw,, 
 
 apply to drawing the warp threads into the heddles in the 
 order as required on each harness. 
 
 If figures are employed to represent threads in the 
 drawing-in draft, each number is to represent one thread, 
 and to be drawn into a heddle on the corresponding number 
 of harness: If characters are employed, then each charac- 
 ter will represent a thread to be drawn into a heddle on the 
 number of harness in line of the character. Harnesses 
 should always be numbered from the front of loom to the 
 back or rear harness in their numeral order, as 1, 2, 3, 4, etc. 
 
 The above is fully demonstrated by the following 
 illustrations: 
 
 FIG. 1. 
 
 \ / , X ,' 
 
 338 3 
 
 222 2 
 
 1 1 1111 1 
 
 _ FIG. 2. 
 
 ( ffiBHS^^fflSB 
 Har. Nos. 
 
 !e j-jmaujg 
 ilffi 
 
 BIBtBIBI 'BIBtBIBt BIBI IB 
 
 iB SSi i SiSSFPPifiS fiii5i5fBi5MiF&ifi 
 !B!B!*!-"HBg!glgL. BlBiBlffHI .Iff 
 
 Fig. 1 illustrates the drawing-in draft of a six-harness 
 herring-bone and basket pattern, made out with figures: 
 The position of these figures clearly indicate which is the 
 front of the draft; hence it is not necessary that the har- 
 ness numbers be placed at the left. 
 
 Fig. 2 represents the same draft made out with charac- 
 ters, and the harness numbers given at the left. If these 
 numbers were not so placed, the drawer-in would have no 
 practical guide to follow; therefore, it is always best to 
 mark the harness numbers at the left of the draft, which- 
 ever way it is made out, to avoid mistakes. 
 
 The figure method is more practicable for general use 
 in mills; the character method is better adapted to publish- 
 ing, hence the reason of its being used so commonly.
 
 TEXTILE DESIGNING. 23 
 
 Straight Draft, ) 
 
 Draw-in straight across, > are synonymous terms signi- 
 
 Straight Draw, ) 
 
 fying to commence with the front harness and draw a 
 thread on each harness in numeral order to the back; thus 
 continuing throughout the warp. 
 
 Binding, ) 
 
 Stitching, [ are synonymous terms, and in this work 
 
 Tying, ) 
 
 apply to certain threads or parts of a texture which unite 
 separate weaves, one above the other, in such a manner that 
 when cloth is woven from them the result is one fabric; or, 
 in other words, unite fabrics of the same or different weaves 
 so that they appear and in fact become one. This is 
 accomplished by the warp of one being interwoven with 
 the filling of the other, or vice versa; but it should be done 
 in such manner as not to interfere with the general appear- 
 ance of the top weave or face of the cloth. Hence, it will 
 be seen that, the points selected for binding must be where 
 the filling of one, and the warp of the other meet, so that 
 there will be no chance when they do meet of one shoving 
 the other up to the surface. 
 
 The amount of binding is governed by the designer's 
 option. If he desires a tight and hard-feeling cloth, he will 
 bind the weaves as often as practicable; while on the other 
 hand if a loose and soft-feeling cloth be desired, he will 
 bind the weaves only as often as necessary to properly hold 
 them together. Whether it be desired to have the binding 
 of a tight or loose nature, the same principle should be 
 adhered to in regard to the point or place of binding. 
 
 The beginner will observe from these remarks that he 
 should possess a thorough knowledge of this branch of 
 weaving.
 
 THE* SELF-INSTRUCTOR,. 
 
 CHAPTER VI, 
 
 HINTS ON' PREPARING ANI> EXAMINING SAMPLES 
 BEFORE DISSECTING. 
 
 There is an unlimited number of styles in woolen 
 fabrics, all of which are dissected on the same principle; 
 but there are different methods of preparing samples for 
 dissecting, and determining the warp and filling., which 
 we will endeavor to explain in a comprehensive manner. 
 
 When having in hand, to dissect, a sample of the much- 
 felted kind with more or less nap on one or both sides, the 
 nap should be removed by shaving it off; or, by holding the 
 sample over a burning match until the nap is evenly singed, 
 then, with a knife, scrape off the burnt nap. Now, if the 
 threads do not show up clear on both sides, repeat the oper- 
 ation until they do, leaving the threads bear on both the 
 face and back of sample. 
 
 Now, with the dissecting instrument, which should be 
 a small, round, sharp-pointed awl, or a large needle fastened 
 into a handle suitable to the hand remove a few threads 
 each way of the sample, and by carefully testing their 
 strength, and the amount of twist in them, it may be easily 
 determined which are the warp and which the filling, as 
 the warp is supposed to be the harder twist and stronger 
 yarn of the two. 
 
 The above manner of ascertaining which way the warp 
 and filling run in the sample, is necessary only with those 
 of plain-face; as those having figures or stripes of different 
 yarns and colors, or a combination of weaves, make this 
 point discernible in the sample at once. There are, how- 
 ever, samples in which it is almost impossible to distin- 
 guish the warp from the filling except by backing threads 
 which if found to run one way only, may usually be 
 considered as filling. But if backing threads are found to
 
 TEXTILE DESIGNING. '25 
 
 run both ways, those in the warp are not usually as coarse 
 as those in the filling. 
 
 There is another class of fabrics in which it is almost 
 an impossibility to distinguish the warp and filling ways of 
 a sample except by dissecting and studying it out from the 
 appearance of the pickout; in such cases a man must be 
 pretty well versed in weaves or he will be led astray. 
 
 Again, there is a variety of fabrics which are woven 
 with what we call the square and evenly-balanced weaves; 
 that is, they have the same number of threads in the text- 
 ure both warp and filling ways, with the same number of 
 risers and sinkers. With this class of fabrics, it makes no 
 material difference which side up or which way a sample 
 is dissected, the result would be the same. 
 
 There is also a class of weaves, and goods, to which we 
 wish to call the beginner's particular attention. They are 
 known as "corkscrew" weaves, and the goods are usually 
 made of worsted, or an imitation of worsted yarns. These 
 goods are woven with an odd number of harnesses and bars 
 of chain both the number of harnesses and bars of chain 
 being equal when weaving plain, such as 5, 7, 9, 11, 13, 15, 
 etc. ; but when weaving in dots or figures of fancy colors, 
 the chain draft often exceeds the drawing-in draft several 
 times over and vice versa. 
 
 It would be very difficult for a beginner, not acquainted 
 with "corkscrew" weaves, to take a plain sample all of one 
 color, cut square, and tell either by the yarn or from the 
 pickout which is the warp way, and which the filling way. 
 However, this may be readily determined by the twill or bias 
 rib, which runs more biassing or diagonally across the fabric 
 the filling way, the least bias running the warp or length 
 way of the fabric being just opposite from what a person 
 would naturally think from general appearance, and never 
 having seen the goods in a full piece or made up.
 
 THE SELF-INSTRUCTOR, 
 
 CHAPTER VII. 
 
 THE PROCESS OF DISSECTING AND LAYING OUT 
 'FOR THE FABRIC ILLUSTRATED. 
 
 Having explained the signs, characters and principal 
 terms used in designing, and also the manner of preparing 
 samples for dissecting, we will now proceed with the dissect- 
 ing of a sample in the full sense of the term. For the pur- 
 pose of illustrating the operation, and to show the beginner 
 more fully whereof we speak, the author has expressly 
 designed and made the following fabric: See sample card, 
 Sample No. 1. 
 
 By referring to this sample it will be seen that it is 
 composed of two diagonal stripes with a basket stripe run- 
 ning between them, at each side of these there is a series 
 of narrow herring-bone stripes forming a stripe a trifle nar- 
 rower than the two diagonals and basket, making in all a 
 combined stripe, or pattern, of about 1| inches in width. 
 A glance at the sample is sufficient to show that the stripe 
 runs with the warp the short way, and that the filling runs 
 right and left the long way, also that it contains two com- 
 plete patterns; but as the sample was cut through the centre 
 of one of the diagonal stripes, it leaves eight or ten threads 
 at the right of the herring-bone stripe. 
 
 Now in making ready to dissect fancy patterns, bear in 
 mind to commence at some distinct point in the pattern 
 when possible to do so; that is to say, commence at the 
 beginning of a stripe or figure whether the same was pro- 
 duced in dressing the warp, or in weaving. For instance, 
 with this sample, it would be proper to commence on either 
 side of the herring-bone stripe, or with the basket stripe, 
 and pick out to another similar point in the sample; this 
 will produce the pattern on design paper undivided, while
 
 TEXTILE DESIGNING. '; 
 
 if it were commenced in the middle of the herring-bone, or 
 either of the diagonal stripes, it would divide that part of 
 the pattern and not produce as good an appearance on the 
 paper; besides too, it would divide both the dressing pattern 
 and drawing-in draft, thus giving the work a more compli- 
 cated appearance. This should be avoided if possible, and the 
 pickout made to appear as simple as possible. Of course it 
 does not, generally speaking, make any material difference 
 at what place in a sample you commence to dissect; for if 
 you pick out to the commencement point the result will be 
 the same. But always commence at the right-hand side of 
 a pattern and pick to the left, setting the result down on 
 design paper working to the left. We are well aware that 
 all designers do not agree with us in this manner of work- 
 ing, as some commence at the left-hand side and work to 
 the right, but practical experience will prove that the form- 
 er way is the better for general convenience. 
 
 The manner of holding the sample is as follows: Place 
 it in the left hand over the first or index finger, then bring 
 the thumb down on one side and the second finger up over 
 the sample on the other side; with the thumb and second 
 finger draw the sample down tightly across the first finger, 
 Now take the dissecting instrument in the right hand, with 
 it raise and pull out the filling threads until about ^-inch 
 of the warp threads are free and clear of the filling across 
 the sample, or as far as necessary to pick out, width way. 
 Now cut off a few of the warp threads on the right-hand 
 side of sample, down to the filling, and in for about i-inch. 
 Our sample in the present instance has, as before stated, 
 eight or ten threads of the diagonal stripe left at the right 
 of the herring-bone stripe; we will therefore cut off these 
 threads in to the first thread of this stripe, which, as will be 
 seen by referring to the sample, is a red and green double 
 and twist thread, (usually written D. & T. thread). This 
 being a fancy thread, and the first one come to in the her^ 
 ring-bone, we will take it as the guide thread or starting 
 point. Every thing now being in readiness for operation, 
 the dissecting is continued in the following manner.
 
 28 THE SELF-INSTRUCTOR, 
 
 With the dissecting awl, raise a filling thread up loose 
 from the others and on examination we find that it passes 
 under the first two warp threads; now as these two threads 
 must have been raised in order to admit the filling passing 
 under them, we call them two up and mark down the same 
 on design paper thus XX, then over the top of these, char- 
 acters write down the color and kind of thread each char- 
 acter represents. Now pass these two threads to the right 
 and under the second finger. Examine the next threads in 
 rotation (being careful not to get them crosswise of each 
 other), and we find there are three of them down in succes- 
 sion, under the filling thread; now as these threads must 
 have been sunk in weaving to admit the filling passing over 
 them, call them thr/e^spZand note the same on design paper 
 by passing three blank squares without making any mark, 
 or. by marking down three dots thus , after which the 
 color and kind of thread is written over the top of each char- 
 acter as before, then pass these threads to the right,under the 
 second finger. In this manner proceed to the left marking 
 down the warp threads as they appear over and under the 
 filling thread, whether one or more at a time, until a repeti- 
 tion of the work is found, or in other words, the full width 
 of the weaving plan. This brings us to a place in the pat- 
 tern corresponding to the place where we commenced. Now 
 pull out this filling thread, No. 1, and write down the color 
 with other particulars, if any, at the right. Now loosen up 
 another filling thread and proceed in the same manner as 
 before, except there will be no writing down of warp threads 
 as that was done away with in picking out the first thread. 
 The filling threads ought to be marked at the right of the 
 pickout only as they are taken out one at a time, and this 
 is not necessary unless there are two or more kinds of 
 filling. After taking out the second filling thread,then take 
 up the third, and so proceed until the twelfth thread is taken 
 out. which brings us to a repetition in the weaving of the 
 warp threads; that is, the thirteenth thread is found to be 
 the same as No. 1, thus making a repeat in the pickout both 
 warp and filling ways. This gives us what is called a
 
 save. Weave. 
 
 ZZZBMZ ZZMZ 5 
 - - 
 
 ___ _ 
 
 iS 
 
 IzzBilzs IzzzIIizzzIS? 
 
 S.-yu F . HH , ^gZ^ 
 
 _ _[_[ _ii_i < C^J iL^Hi L..J 
 
 Snnan^s ZZMZZ: 
 nnan 
 
 These fijrures represent the number of threads drawn on each barnesc, 
 and, if multiplied by the number of patterns ill the warp, will tfive the required 
 heddles for each harness. 
 
 .: !HHHHH 
 
 number of '
 
 TE1TTILE DESIGNING, . 29 
 
 . See Plate L On counting tlie threads hi this 
 pickout we find there are 90, or in other words, there are 
 90 threads in the pattern crosswise of the warp, the way 
 the filling runs; and 12 threads in the pickout crosswise of 
 the filling, the way the warp runs. Therefore, to weave 
 this pattern with a straight draft, that is, without reducing 
 it, would require a loom operating 90 harnesses and 12 
 bars of chain. Hence it will be seen, that to weave this 
 pattern in an ordinary fancy loom, it must be reduced and 
 wove with a cross draft, which is accomplished in the 
 following manner. 
 
 Commence with the first warp thread at the left-hartal 
 side of pickout which is called the "f rent," and reads from 
 the bottom upwards, 1 up, 1 down, 4 up, 1 down, .1 up, 4 
 down and mark it as No. 1, then proceed to the right, 
 looking over each warp thread in rotation, and all threads 
 found to read the same as No. 1, mark with the figure 1. 
 There are found, in looking through the whole pickout, B? 
 threads that read the same as No. 1, consequently each of 
 them is marked with the figure 1. All of these ^threads 
 are to be drawn into the heddles on No. J harness, and 
 as these threads read, so must that part of the chain draft 
 read that operates No. 1 harness. 
 
 Commence again at the left-hand side, the first thread 
 we come to which is not numbered, mark as No. 2, then pro- 
 ceed in the same manner as before, marking each thread 
 that reads the same as No. 2, with the figure 2. There are 
 found 13 threads, which are to be drawn into the heddles on 
 No. 2 harness, and as these threads read, so must that part 
 of the chain draft read that operates No. 2 harness.- 
 
 In the above manner continue the reducing, working 
 to right, numbering the threads found to read differently, 
 in their numeral order, until every thread in the pickout is 
 numbered. The highest number obtained represents the 
 least number of harnesses required to weave the pattern 
 with a cross draft. In the present instance, it will be seen 
 that the highest number is six; hence this pattern of 90 
 threads straight draft can be reduced to and woven on six
 
 :}() . THE SELF-INSTRUCTOR, 
 
 harnesses with a cross draft. Each thread, as numbered at 
 the bottom of the pickout, is to be drawn into the heddles 
 011 a corresponding number of harness. Also, the weaving 
 of one thread of each number, drawn off and set down in 
 their numeral order, produces the chain draft or wearc to 
 be used with the cross draft. 
 
 See first method of reducing, Plate I., which illustrates 
 the above and the pickout reduced to its lowest term; also 
 the dressing pattern, which is as follows: 
 
 21 White, 6 White, 
 5 Black, 6 Olive, 
 
 22 White, 6 White, 
 1 Red and Blue D. & T., 5 Olive, 
 
 5 Olive. 1 Red and Green D. & T. 
 
 6 White, 
 
 6 Olive, 90 threads in one dressing 
 
 pattern. Filling, 1 pick of black, and 1 pick of drab, alter- 
 nately commonly called "pick and pick." 
 
 If it is more convenient or easier to pick out the warp 
 threads from the filling, then commence at the lower right- 
 hand corner of sample, (see sample) turn it part way round 
 until this corner is in the position of the present upper right- 
 hand corner; then proceed with the dissecting as before 
 described, except in reading and writing down the result, 
 the work is just the reverse: Thus, for instance, when the 
 filling threads are down or under the warp threads they 
 should be read as UP, and when the filling threads are up 
 or over the warp threads they should be read as DOWN, and 
 marked on the design paper reading upwards so as to read 
 from the bottom to the top. Thus the first thread of the 
 pattern before us. picked out in this manner, would read 
 1 down, 1 up, 4 down, 1 up, 1 down. 4 up. See pickout. 
 
 The weaving of each thread should be marked down at 
 the left of the first, which will produce the same result as 
 though dissected the former way. 
 
 In dissecting this sample the filling way. there have to 
 be picked out 12 threads of filling that were interwoven 
 with 90 threads of warp; in dissecting it the warp way.
 
 TEXTILE DESIGNING. 31 
 
 there have to be picked out 90 threads of warp that were 
 interwoven with 12 threads of filling. 
 
 The next thing in order, in this business, is 
 
 TO FIND THE NUMBER OF THREADS IN THE WARP: 
 
 First, ascertain the number of warp threads contained in 
 one inch of the sample; in the present instance we find by 
 actual count that there are 66. Now multiply this number 
 by the number of inches the good are to measure when 
 finished, which is as a general rule 27 inches, (three-fourths 
 of a yard) for single width cassimeres inside the selvage. 
 
 Thus, 66 X 27 = 1782 threads; but as 1782 is not divisible 
 by 90, the number of threads in a pattern, and as it should 
 be, we will add 18 threads, making in all 1800 in the warp. 
 This number divided by the number of threads in one pat- 
 tern will give the whole number of patterns in warp, as 
 follows: 1800 -=-90 = 20 patterns of 90 threads each, thus 
 
 61 White, 
 5 Black, 
 
 22 Olive, 
 
 1 Red and Blue D. & T., 
 1 Red and Green D. & T. 
 
 90 threads in pattern; 20 patterns in warp would require 
 just twenty times that amount of each kind of yarn in a 
 warp, thus: 
 
 61 X 20= 1220 threads of white. 
 5 X 20 = 100 threads of black. 
 22 X 20 =r 440 threads of olive. 
 1 x 20 = 20 threads of red and blue D. & T. 
 1X20= 20 threads of red and green D. & T. 
 
 90 1800 threads in warp. 
 
 In estimating the number of ends in a warp on a basis of 
 27 inches, it is better to add to, than to take from the result, 
 as marketable goods are more apt to be 27^ or 28 inches in- 
 side of selvage than under 27 inches, hence the reason of 
 adding 18 threads in the above instance. 
 
 Some designers use 28 inches as a basis of figuring in
 
 32 THE SELF-INSTRUCTOR, 
 
 order to make sure of enough threads; in which case a few 
 threads may be taken from the result if found ne'cessary to 
 even up on the number of ends, or to secure whole patterns. 
 
 A warp should always contain a whole number of pat- 
 terns, (though the number of patterns may be odd or even) 
 that is, there should be no threads left over a whole pattern. 
 
 In dressing warps, if the warp is all one kind of yarn, it 
 will make no material difference in the result as shown 
 above, except, adding to, or taking a few threads from the 
 result, will often make the spooling and dressing much 
 handier, thus saving the dresser both time and trouble. 
 
 The next tiling with which we have to deal is the 
 laying out 
 
 TO FIND THE AMOUNT OF YARN REQUIRED FOR WARP. 
 
 For this purpose we will suppose that we are required to 
 lay out and make of finished goods 2000 yards like sample. 
 Roughly estimating, we will add for the takeup in weaving 
 and shrinkage in finishing 10 per cent. This will make a 
 total of 2200 yards of warp to figure on, which if divided 
 into & warps, will give 4H8 yards per warp of iCcuts, 
 that is .S^yards per cut or piece. 
 
 The warp yarns, in this sample, were spun as follows: 
 
 White 3f runs. 
 
 Black 3f runs. 
 
 Olive 3| runs. 
 
 Bhfe 7 mt [ W &ed in the D. & T., 3* runs. 
 
 G?een 7 rlmt | Weighed in the D. & T., 3* runs. 
 
 The question now before us is, how many pounds of 
 each kind of yarn are required in 2200 yards of warp? This 
 is figured out (and answered) as follows: 
 
 Multiply the number of threads of each kind, by 
 the number of yards of warp we are required to make; 
 the product will be the total length in yards of that partic- 
 ular thread or kind of yarn; this number divided by the 
 number of yards the yarn is spun to the pound, will give 
 the number of pounds of yarn required of that one kind.
 
 TEXTILE DESIGNING. 33 
 
 In this manner figure out for each different kind and size 
 of yarn used in the warp. Thus, 
 
 Threads of each Yds. of warp Yds. of each Yds. spun Lbs. of 
 kind in warp. required. kind. per Ib. each. 
 
 White 1220 X 2200 = 2,684,000 6000 = 448 
 
 Black 100 X 2200 = 220,000 5800 = 38 
 
 Olive 440 X 2200 = 968,000 6000 = 161 
 
 D. & T. 20 X 2200 = 44,000 5000 = 9 (4i each, r. & b. ) 
 
 D. & T. 20 X 2200 = 44,000 5000 = 9 (4 each, r. & g. ) 
 
 Total, 665 Ibs., the com- 
 bined weight of yarn required to make 5 warps of 440 yards; 
 being 12 cuts of 36| yards each, or in all, 2200 yards. 
 
 If the warp had all been of one kind of yarn, and spun 
 3f runs throughout, the figuring then would have been as 
 follows: 1800 X 2200 = 3,960,000 -^ 6000 = 660 Ibs.; being 
 5 Ibs. less than the former figuring. This is owing to the 
 black yarn weighing 1-run, and the double and twist f-run 
 heavier than the other yarn. Besides too, in the former 
 figuring, we reckoned all fractions of pounds as whole 
 numbers. This gave us whole pounds as follows: 448 white 
 yarn, 38 black, 161 olive, 9 red and blue D. & T., 9 red and 
 green D. & T. Of course, as red was used with both the 
 blue and green threads, there would necessarily be the same 
 amount of red yarn as in both those colors taken together; 
 making separately of the D. & T. yarns, 9 Ibs. of red, and 
 i Ibs. each of blue and green. 
 
 In figuring for the amount of clean wool required to 
 produce each kind of yarn, add a percentage sufficient to 
 cover the loss in carding, spinning, spooling, and dressing; 
 this will vary between 15 and 35$, according to quality of 
 stock, general facilities, and supervision of the work in the 
 several departments. The next thing in order is, 
 
 TO FIND THE REQUIRED REED. 
 
 Divide the total number of ends in warp, by the number 
 of inches wanted in the reed inside of selvage; this quo- 
 tient divided by the number of threads wanted in a dent, 
 will give the number of reed required. 
 
 EXAMPLE. The warp contains 1800 ends, and we desire 
 
 5
 
 34 THE SELF-INSTRUCTOR, 
 
 to lay it 36 inches in the reed, inside of selvage, 4 threads 
 per dent. What is the number of reed required? 
 
 Threads Inches Threads Threads No. of 
 in warp, in reed, per inch, per dent. reed. 
 
 1800 36 = 50 -r- 4 = 12i. Or 5 thr's per dent, thus 
 
 1800 -r- 36 = 50 H- 5 =10 reed. 
 
 In patterns of combined weaves, it is sometimes found 
 necessary to reed each weave or figure differently in order 
 to produce the desired effect in the finished fabric: that is, 
 each dent will not contain the same number of threads 
 throughout the reeding, as in the ordinary way. In cases 
 of this kind, we find the average number of threads in each 
 dent, then proceed as before. 
 
 EXAMPLE. Suppose we have a warp to reed, 2 threads 
 in the 1st dent, 3 in the 3d, 4 in the 3d, 5 in the 4th, and 6 in 
 the 5th; what will be the average number of threads in 
 each dent? 
 
 Add together the number of threads in the set, and 
 divide by the number of dents in that set. Thus. 
 
 2-f-3+4-|-5-|- 6=20 threads, in a set of 5 dents; 20-^5=4 
 threads, average per dent. 
 
 Again, suppose we wish to draw 6 threads in each of 
 six dents, and 3 threads in each of three dents: 
 
 6+6+6+6+6+6+3+3+3=45 threads in a set of 9 dent a; 
 454-9=5 threads, average per dent. In this manner the 
 average number of threads per dent, in any style of reeding, 
 may be easily found. The next thing, to which we will call 
 the reader's attention, is how 
 
 TO FIND THE AMOUNT OF YARN REQUIRED 
 FOR THE FILLING. 
 
 Multiply the number of picks per inch, in loom, by the 
 number of inches the warp is laid in the reed, including sel- 
 vage; the result obtained will be the number of yards of fill- 
 ing in one yard of flannel; multiply this product by the num- 
 ber of yards of warp to be filled, divide the result obtained 
 by the number of yards the filling is spun per pound, and 
 the quotient will be the total weight of filling required. 
 
 - To illustrate, suppose we find by actual count that there 
 are 65 picks per inch in the sample; the filling of which was
 
 TEXTILE DESIGNING. 35 
 
 spun 4 runs, or 6400 yards to the pound. Now, as there is 
 the "take-up" in weaving, as well as the contraction of the 
 cloth in finishing, for which we must make allowance, it will 
 not do to figure on 65 picks in loom; hence, we will calculate 
 on a shrinkage of 1 pick in 13, which will give us 60 picks 
 per inch in loom, for 65 picks per inch when finished. As 
 previously decided, the warp is laid 36 inches in the reed, 
 inside of selvage; to this we will add 1 inch for selvage, 
 making in all. 37 inches the total width in loom. This 
 multiplied by 60 picks per inch, will give the following: 
 
 37 X 60 = 2220, yards of filling in one yard of flannel. 
 This product multiplied by 2200, the yards of warp to be 
 filled, will give the following: 
 
 2220 X 2200 = 4,884,000 total number of yards of filling 
 required to fill 2200 yards of warp. This product divided 
 by i;400 yards, length the filling is spun per pound, will 
 give the following: 
 
 4,884,000 -^ 6400 = 763| Ibs., call it 764, of filling yarn 
 required to fill 2200 yards of warp; one-half (382 Ibs.) of 
 which is black yarn, and the other half (382 Ibs.) drab. 
 
 To get at the amount of clean wool required to make 
 each kind of filling, add a percentage sufficient to cover loss 
 in carding, spinning and weaving; this will vary in the 
 same manner as when figuring the wool for warp. 
 
 This figuring on the loss or shrinkage between the clean 
 wool, as taken to the picking room, and the finished goods 
 or even goods in the flannel, can be gotten down to a fine 
 thing only by close observation on the part of the designer 
 or superintendent; even then it requires much skill, as well 
 as practical experience. 
 
 Having figured for the warp and filling yarns in the 
 above calculations, the next thing in order is, 
 
 TO FIND THE NUMBER OF SECTIONS AND NUMBER OF 
 SPOOLS REQUIRED UP. 
 
 Divide the number of threads in warp, into sections 
 containing a whole number of patterns in each; that is. each 
 section should contain whole patterns, though these may 
 be either even, or odd in number; but no pattern should be
 
 .'{I THE SELF-INSTRUCTOR, 
 
 divided, by running part of it in one section and part in 
 another section, except in extreme cases. 
 
 In the present instance we have calculated on 1800 ends 
 in warp, which consists of 20 patterns of 90 threads each. 
 What is the required number of sections? Both 1800, and 
 20 are divisible by 2, 4, 5, 10 and 20 without a remainder, 
 hence one of these latter numbers must be taken as the 
 number of sections to make. Now as 2, 10 and 20, are in 
 the extreme, it rests with the number 4, or 5, and we will 
 proceed to find out which of the two is preferable. Thus, 
 
 Thr's in No. of Thr's in Thr's on No. of 
 warp. sect's, section. spool. spools. 
 
 1800 -r- 4 = 450 -r- 40 = lli up, in dresser frame: or, 
 1800 H- 5 = 360 -4- 40 = 9 spools up. In this figuring 
 we have based our calculations on 40 threads to a spool, as 
 that is the number most commonly used. 
 
 In the former figuring it would require 4 sections of 450 
 ends each, or Hi spools up; in the latter figuring it would 
 require 5 sections of 360 ends each, or 9 spools up. This 
 latter result being the more preferable of the two, we will 
 therefore base our figuring on 5 sections in the warp. Now 
 the next thing necessary, is 
 
 TO FIND THE NUMBER OF YARDS REQUIRED ON EACH SPOOL. 
 
 Multiply the number of yards calculated for a warp by 
 the number of sections; the result obtained will be the 
 number of yards required on each spool to run the length 
 of that warp. Thus, 
 
 Yd's in warp. Sections. Yd's on spool. 
 
 440 X 5 = 2200; add a little for loss in tying up. etc. 
 
 The above calculations are for straight work all of one 
 color; but in figuring and making up the spools for a warp 
 of different colors, like the sample just dissected proceed 
 as follows: Divide the number of threads of each color, by 
 the number of sections, which will give us the number of 
 threads there are of each color in a section; this quotient 
 divided by 40, (the number of threads on a spool) will give 
 us the number of spools, or parts of spools, required of each 
 color. Thus:
 
 TEXTILE DESIGNING. 
 
 37 
 
 ach kind 
 
 
 
 ch kind. 
 
 White 
 
 
 
 1220 - 
 
 - 5 
 
 zr 
 
 244 - 
 
 - 40 
 
 = 
 
 6, 
 
 4 
 
 thr's over. 
 
 Black 
 
 
 
 100 - 
 
 - 5 
 
 
 
 20 - 
 
 - 40 
 
 = 
 
 o, 
 
 20 
 
 threads. 
 
 Olive 
 
 
 
 440 - 
 
 - 5 
 
 = 
 
 88 - 
 
 - 40 
 
 = 
 
 2, 
 
 8 
 
 thr's over. 
 
 R.&B. 
 
 D. 
 
 &T. 
 
 20 - 
 
 - 5 
 
 = 
 
 4 - 
 
 -40 
 
 = 
 
 o, 
 
 4 
 
 threads. 
 
 R.&G 
 
 D. 
 
 & T. 
 
 20 - 
 
 
 
 
 4 - 
 
 -40 
 
 = 
 
 o,' 
 
 4 
 
 threads. 
 
 Totals, 1800 360 8 40 threads; 
 
 or 1 spool made up as follows: 4 white, 20 black, 8 olive, 4 
 red and blue D. & T., 4 red and green D. & T. This spool 
 added to the 6 spools of white, and 2 of olive, will give us 
 9 spools in all. Now we are ready for 
 
 THE DRESSING OR WARPING. 
 
 This is a process by which the warp yarns are arranged 
 on the dresser frame into patterns and sections, before be- 
 ing wound off to the warp or loom beam. In the dressing, 
 great care should be taken to have the patterns properly 
 arranged, as well as to have each section reeled alike, as 
 regards the tention on the dresser reel. Also avoid letting 
 the threads run loosely, and see that the lease is correctly 
 taken up. Make sure of this before putting in the lease 
 rods. Next in order is, 
 
 TO FIND THE NUMBER OF HEDDLES REQUIRED ON EACH 
 HARNESS WHEN USING A CROSS DRAFT. 
 
 Take each harness in its numeral order, and count the 
 number of threads drawn on it in one pattern, or a complete 
 drawing-in draft; this number multiplied by the number of 
 patterns or drafts in the warp, will give the required hed- 
 dles for that particular harness. In this manner proceed 
 with each harness. See 1st method of reducing Plate I. 
 
 By this method, we find that it requires six harnesses 
 to weave the pattern, and that there are 1 3 threads drawn 
 on each of the 1st and 2d harnesses, 21 on the 3d, 13 on each 
 of the 4th and 5th, and 17 on the 6th, as demonstrated by 
 the following table. It will be seen that in making out 
 this table, we commence with the back or 6th harness, and 
 work to the front or 1st harness. The object of this is, to
 
 THE SELF-INSTRUCTOR, 
 
 Harness No. 
 
 keep the harness numbers before us in the same position as 
 the harnesses occupy when hung up for the drawer-in. 
 
 Thrs. Pats. . 
 
 has 17 X 20 = 
 13 X 20 = 
 13 X 20 = 
 21 X 20 = 
 13 x 20 = 
 13 X 20 = 
 
 340 heddles. 
 
 260 
 
 260 
 
 420 
 
 260 
 
 260 
 
 Threads in pattern 90 X 20 = 1800 heddles. 
 
 See 2d method of reducing Plate I. By this method 
 we use twelve harnesses, and find that the number of hed- 
 dles required on each is as follows: 
 
 Thrs 
 
 
 Pats. 
 
 
 Harness No. 12 has 6 
 
 X 
 
 20 = 
 
 120 heddles. 
 
 
 
 11 
 
 6 
 
 X 
 
 20 = 
 
 120 
 
 
 
 
 10 
 
 6 
 
 X 
 
 20 = 
 
 120 
 
 
 
 
 9 
 
 6 
 
 X 
 
 20 = 
 
 120 
 
 
 
 
 8 
 
 6 
 
 X 
 
 20 = 
 
 120 
 
 
 
 
 7 
 
 6 
 
 X 
 
 20 = 
 
 120 
 
 
 
 
 6 
 
 11 
 
 X 
 
 20 = 
 
 220 
 
 
 
 
 5 
 
 7 
 
 X 
 
 20 = 
 
 140 
 
 
 
 
 4 
 
 7 
 
 X 
 
 20 = 
 
 140 
 
 
 
 
 3 
 
 15 
 
 X 
 
 20 = 
 
 300 
 
 
 
 
 2 
 
 7 
 
 X 
 
 20 = 
 
 140 
 
 
 
 
 1 
 
 7 
 
 X 
 
 20 = 
 
 140 
 
 
 Threads in pattern 90 X 20 =1800 heddles. 
 
 See 3d method of reducing Plate I. In this, we also 
 use twelve harnesses, and find that the number of heddles 
 required on each, is as follows: 
 
 Thrs. Pats. 
 
 lo. 12 has 4 
 
 X 
 
 20 
 
 
 
 80 heddles. 
 
 11 
 
 4 
 
 X 
 
 20 
 
 ~ 
 
 80 
 
 
 10 
 
 4 
 
 X 
 
 20 
 
 
 
 80 
 
 
 9 
 
 4 
 
 X 
 
 20 
 
 
 
 80 
 
 
 8 
 
 4 
 
 X 
 
 20 
 
 
 
 80 
 
 
 7 
 
 4 
 
 X 
 
 20 
 
 
 
 80 
 
 
 6 
 
 13 
 
 X 
 
 20 
 
 
 
 260 
 
 
 5 
 
 9 
 
 X 
 
 20 
 
 = 
 
 180 
 
 
 4 
 
 9 
 
 X 
 
 10 
 
 
 
 180 
 
 
 (Continued on next page.)
 
 TEXTILE DESIGNING. 
 
 39 
 
 Harness No. 
 
 has 17 X 20 = 
 
 " 9 X 20 = 
 " 9 X 20 = 
 
 340 heddles. 
 
 180 
 
 180 
 
 Harness No. 
 
 Threads in pattern 90 X 20 =1800 heddles. 
 
 See 4th method of reducing Plate I. By this method 
 we use nine harnesses, and find that the number of heddles 
 required on each is as follows: 
 
 Thrs. Pats. 
 
 has 6 X 20 = 
 6 X 20 = 
 
 6 X 20 = 
 17 x 20 = 
 13 X 20 = 
 13 X 20 = 
 15 x 20 = 
 
 7 X 20 = 
 7 X 20 = 
 
 120 heddles. 
 
 120 
 
 120 
 
 340 
 
 260 
 
 260 
 
 300 
 
 140 
 
 140 
 
 Threads in pattern 90 X 20 =1800 heddles. 
 
 See 5th method of reducing Plate I. This carries us 
 back to six harnesses, with the same number of heddles on 
 each as used in the first method, but it places the 3d, and 6th 
 harness in the position of the 1st and 2d, as follows: 
 
 Thrs 
 
 
 Pats 
 
 
 
 Harness No. 6 has 13 
 
 X 
 
 20 
 
 
 
 260 heddles. 
 
 
 
 5 
 
 13 
 
 X 
 
 20 
 
 
 
 260 
 
 
 
 
 4 
 
 13 
 
 X 
 
 20 
 
 
 
 260 
 
 
 
 
 3 
 
 13 
 
 x 
 
 20 
 
 
 
 260 
 
 
 
 
 2 
 
 17 
 
 X 
 
 20 
 
 = 
 
 340 
 
 
 
 
 1 
 
 21 
 
 X 
 
 20 
 
 = 
 
 420 
 
 
 Threads in pattern 90 X 20 =1800 heddles. 
 
 To make out a regular heddle list to go by in stringing 
 up a set of harnesses, cross out the two middle columns of 
 figures and use only the harness and heddle columns. An 
 allowance of a few extra heddles ought to be made for 
 broken ones, mistakes, etc. 
 
 Of the above five methods of reducing and drawing-in, 
 it may be well to state, that they are all practicable, and 
 will produce the same result in weaving. The first is the 
 original one and generally adopted, but we will endeavor to
 
 40 THE SELF-INSTRUCTOR, 
 
 show, that it is not always policy to use it. In the present 
 instance, it will be seen that, the third harness has to oper- 
 ate 420 threads, the sixth 340, while the remaining four have 
 each 260. This would not be an improper division with fine 
 and well-sized yarn; but with the yarn coarsely spun from 
 long coarse wool, it would be quite difficult to produce a 
 clear, open shed with this number of harnesses, owing to 
 the third and sixth having so much to carry: this would 
 cause the warp to cling and chafe, thus making bad work. 
 But, by using the second method this difficulty would be 
 overcome, as will be seen by the division of the warp on six 
 more harnesses. This change does not necessarily make it 
 any harder for the weaver, but easier on the yarn and loom. 
 
 If it be required to modify the work as much as pos- 
 sible for the weaver's benefit, the third method would be 
 the one to adopt; for in this the drawing- in draft is, what 
 might be called, a straight draw, except where the basket 
 figure comes in, thus making it much easier for the weaver 
 to keep the threads in right, especially when mending 
 large break-outs. Although, in this case, the warp is not 
 as equally divided as in that of the second method, yet, of 
 the two, all things considered, it is more preferable. 
 
 The fourth method is somewhat more complicated for 
 the weaver, but in case of an old and badly worn loom that 
 would operate all right nine harnesses, but not twelve: or in 
 case of being short of harnesses, we would prefer it to the 
 first method. 
 
 The fifth method is the most complicated of the five, for 
 both the drawer-in and weaver; and, on the other hand, is 
 the easiest for the loom, as it will be seen that the harnesses 
 carrying the most warp are brought to the front of loom. 
 With a good, fancy weaver, we would prefer this method 
 to all the others; and if desired, it could be easily carried 
 to twelve harnesses on the same principle. 
 
 We might illustrate several other plans for weaving 
 this design about which we have said so much: but believe 
 the above are sufficient for the beginner to comprehend our 
 meaning. However, it should be borne in mind, when lay-
 
 TEXTILE DESIGNING. 41 
 
 ing out for cross drafts, that the harnesses carrying an 
 extra amount of warp should be placed in front, and even 
 then, it is often advisable to double up on those particular 
 harnesses if on no others. 
 
 Production and quality are the two great points to aim 
 at in running a weave room. These results are more easily 
 accomplished if the work is laid out to the best advantage 
 for both the weaver and loom. Therefore, if the designer, 
 or overseer of weaving, finds that he can simplify a cross 
 draft by adding on harnesses, he ought to do so providing 
 it will not interfere too much with the working of loom, 
 which is often aided by such changes as much and some- 
 times more than the weaver. 
 
 CHAPTER VIII. 
 
 ESTIMATING THE PER CENT. TO ALLOW FOR LOSS OF STOCK 
 DURING THE PROCESS OF MANUFACTURE. 
 
 This is a branch of designing which brings into display 
 the designer's arithmetical qualifications, as well as his 
 judgment. In speaking of judgment, in this connection, 
 we wish it to be borne in mind, that judgment is the only 
 basis on which to figure, and this basis must be estimated 
 from personal observations. There is a wide variation in the 
 different grades of stock, in working with different mach- 
 inery, in different mills, and under different circumstances; 
 so that arbitrary rules in relation to these calculations are 
 of little or no use. Hence, the convenience of minute 
 records, in estimating stock, must be apparent. 
 
 To continue the work before us, Ave will take each kind 
 of warp yarn figured on in the preceding chapter, and esti- 
 mate the amount of wool required to be taken to the picking 
 room for each. To the white yarn, we will add 2(K for the
 
 42 THE SELF-INSTRUCTOR. 
 
 loss on wool, in reaching its spun state; and to each of the 
 colored yarns, we will add 25$ for loss before reaching the 
 spun state. Now the question arises, what amount of clean 
 dry wool of each color do we require of each to produce the 
 given number of pounds of yarn? 
 
 RULE FOR ADDING PERCENTAGE. 
 
 Divide the known number of pounds, by 100$ less the 
 per cent, to be added. This is done by annexing two ciphers 
 to the dividend, and dividing as though the divisor were a 
 whole number. The quotient will be the total number of 
 pounds required. Thus, 
 
 White yarn 448 Ibs., to which we wish to add 20$. 
 Black yarn 38 Ibs. ] 
 Olive yarn 161 Ibs. | 
 
 Red yarn 9 Ibs. |-to which we wish to add 25$. 
 Blue yarn 4 Ibs. 
 Green yarn 44 Ibs. J 
 
 EXAMPLE. 100$ less 20$ = 80$ for a divisor; take 44S. 
 the pounds known, with two ciphers annexed, as a dividend: 
 80)448.00(500 Ibs. of white wool required. 
 448 00 
 
 Again, 100$ less 25$ = 75$ 
 
 as a divisor, in figuring the wool for the remaining yarns: 
 75)38. 00(50| Ibs. black wool. 
 
 37 50 75)161.00(214| Ibs. olive wool. 
 
 160 50 
 
 50 
 
 50 
 75)9.00(12 Ibs. red wool. 
 
 9 00 75)4.50(6 Ibs. blue wool, and 
 
 4 50 6 Ibs. green wool. 
 
 This will give us wool lots, as follows: 
 White wool 560 Ibs. 
 
 Black wool 50| Ibs. (will call it 51 Ibs.) 
 Olive wool 214| Ibs. (will call it 215 Ibs.) 
 Red wool 12 Ibs. 
 Blue wool 6 Ibs. 
 Green wool 6 Ibs. 
 
 Ibs. or say 850, of warp wools required 
 to make 2200 yards of warp, as previously laid out.
 
 TEXTILE DESIGNING. 43 
 
 For the filling yarns, we have previously figured on 382 
 Ibs. of black, and 382 Ibs. of drab; to each of which we will 
 add 25^ for the loss on wool, to its spun state. What 
 amount of wool do we require for each kind of yarn? 
 
 EXAMPLE. 75)382,00(509^ Ibs. black wool, and 509* Ibs. 
 375 
 
 drab wool, or say 510 of each; 
 700 
 675 making in all, 1020 Ibs. of fill- 
 
 25 ing wool required to fill 2200 
 
 yards of warp. This will give us, as follows: 
 
 I,bs. warp wool. Lbs. filling wool. 
 
 850 -f 1020 = 1870 Ibs. of clean wool, in all, to pro- 
 duce 2000 yards of finished goods; weight, !',% oz. per yard. 
 
 To find the number of ounces of clean wool per yard, 
 multiply 1870 by 10 (ounces per pound), and divide the pro- 
 duct by 2000; the quotient will be the ounces per yard. 
 
 1S70 X 16 = 29,920 -h 2000 = 14-ftV oz. of clean wool 
 required to produce one yard of the finished goods, reckon- 
 ing on an average, a loss of 23^^ in the wool for picking, 
 carding and spinning; and 10# loss in the yarn for spooling, 
 dressing, weaving and finishing: In all, 33 ,%*,-, per cent. 
 
 The goods, for which we have been figuring, sample 
 No. 1. weighed when finished, just 9, 4 (1 oz. per yard; 
 being ^ oz. less than estimated in the above calculations, 
 which would have made the goods finish 0,y oz. per yard. 
 Therefore, considering that in all the preceding figuring for 
 both the yarn and wool, we reckoned each fraction as a 
 whole pound, and that our figuring has been done on the 
 basis of judgment, and not from records obtained in mak- 
 ing the fabric; it will be conceded that these estimates have 
 come out very close, under the circumstances. Then too, 
 if these estimates had been put into actual work, we might 
 have had a little of the warp or filling, or both, left over. 
 Again, the yarn might have been spun on the light side of 
 what was calculated. An}- one of these causes, say nothing 
 of taking them all together, would have caused this small 
 fraction of difference.
 
 44 THE SELF-INSTRUCTOR, 
 
 Above we spoke of the average loss being 23-$^; it 
 may be well for us. before proceeding any further, to dem- 
 onstrate how it was obtained. 
 
 To 665 Ibs. of warp yarn were added 185 Ibs. to find the 
 number of pounds of wool: and in the same way, to the 764 
 Ibs. of filling yarn were added '256 Ibs. to find the number 
 of pounds of wool. Now find the sum of the amounts 
 added: 185+256=441; annex two ciphers and divide by the 
 sum of the whole number of pounds of wool required for 
 both warp and filling. 850+1020=1870. 
 
 1870)441.00(23^0 Ibs., the average weight added to each 
 3740 
 
 Ibs. of yarn, which equals 
 
 6700 
 
 56 10 100 Ibs. of wool to produce the same. 
 
 10 90 remainder, this is equal to the above fraction 
 and a little over, but not sufficient to take into account. 
 This method of finding the average per cent, holds good in 
 figuring on any number of different percentages. 
 
 Before closing this chapter, we wish to remind the 
 reader that this percentage of loss must not be considered as 
 so much stock lost to the manufacturer, for only a part of it. 
 or such as consists of foreign matters in the wool, can be so 
 taken. The waste made in every department, from the 
 wool room to the goods in the case, can be again worked 
 over into other goods; if not in the mill where made, then 
 in some other mill that will pay cash for it. 
 
 Weight added to stock by oiling, we do not take into 
 consideration.
 
 TEXTILE DESIGNING. 45 
 
 CHAPTER IX. 
 
 ESTIMATING THE PER CENT. OF COLORS IN MIXES, 
 AND OF DIFFERENT WOOLS IN BATCHES. 
 
 In order to demonstrate this subject in a practical man- 
 ner, we will suppose that we are required to get up a batch 
 of 960 Ibs. of wool, to be composed of 70$ black, 20^ white, 
 and 10$ orange. What is the amount of each color required 
 to produce the batch of 960 pounds? 
 
 TO FIND THE AMOUNT OF EACH COLOR REQUIRED IN A BATCH, 
 THE SIZE OF BATCH AND PER CENT. BEING KNOWN. 
 
 Multiply the whole number of pounds in batch, by the 
 per cent, of each color, and point off two figures at the 
 right; the product will be the amount required of that par- 
 ticular color. Thus, 
 
 960 960 960 
 
 .70 black. .20 white. .10 orange. 
 
 672.00 192.00 96.00 
 
 This will give us wool as follows: 
 Black 672 Ibs. 
 White 192 Ibs. 
 Orange 96 Ibs. 
 
 Total, 960 Ibs. 
 
 Again, suppose we went into the wool room and made 
 up a batch, as follows: 
 
 Oregon 230 Ibs. ) ... 
 S. pulled 20 Ibs. 
 
 Oregon 70 Ibs. 
 Pa, fleece 65 Ibs. 
 Ohio " 65 Ibs. 
 Va. " 50 Ibs. 
 
 olive, 
 plum. 
 
 Total, 500 Ibs. in the lot. What is the per cent, of 
 each color? Also, what is the per cent, of each kind of 
 wool? Proceed in the following manner:
 
 4C THE SELF-INSTRUCTOR, 
 
 Annex two ciphers to the whole number of pounds of 
 each color, or kind of wool, and divide by the whole sum. 
 
 230 -f- 20 = 250 Ibs. white; annex two ciphers: 250.00. 
 
 250.00 -T- 500 = 50$ white. 
 
 70 -|- 65 -f 65 = 200 Ibs. olive; annex two ciphers: 200.00. 
 
 200.00 -r- 500 = 40$ olive. 
 
 50 Ibs. plum; annex two ciphers: 50.00 -=- 500 = 10$ plum. 
 This gives us the per cent, of each color. Now we will 
 find the per cent, of each kind of wool. 
 
 230 -|- 70 = 300 Ibs. Oregon; annex two ciphers: 300. oo. 
 
 300.00 4- 500 = 60$ Oregon wool. 
 
 20 Ibs. S. pulled; annex two ciphers: 20.00 -7- 500 = 4$ 
 super pulled wool. 
 
 (55 Ibs. Pa. fleece; annex two ciphers: 65.00 -7- 500 = 13$ 
 Pennsylvania fleece wool. 
 
 65 Ibs. O. fleece; annex two ciphers: 65.00 -7- 500 = 13$ 
 Ohio fleece wool. 
 
 50 Ibs. Va. fleece; annex two ciphers-. 50.00 -r- 500 = 10$ 
 Virginia fleece wool. 
 
 By the above figures, it will be seen that this rule works 
 the same, whether figuring the per cent, of colors, or the 
 qualities of stock. 
 
 Again, suppose we have 770 Ibs. of fleece wool, to which 
 we wish to add 30$ of shoddy. What will be the amount of 
 shoddy required? 
 
 Figure this as demonstrated in the preceding chapter: 
 100 30 = 70 for the divisor. 
 
 70)770.00(1100 Ibs., total weight; from which subtract 
 77000 lioo 
 
 the pounds known 770 
 
 330 Ibs., amount of 
 shoddy required. 
 
 On the other hand, if we had 330 Ibs. of shoddy to which 
 we wish to add 70$ of fleece wool, it would require 770 Ibs. 
 of wool, making a total of 1100 Ibs., shoddy and wool. 
 
 We believe the illustrations given under this head, are 
 sufficient for the reader to comprehend our meaning, and 
 will therefore bring the chapter to a close.
 
 TEXTILE DESIGNING. 4? 
 
 CHAPTER X. 
 
 FIGURING THE SHRINKAGE OF WOOLS, AND THEIR 
 COST WHEN SCOURED. 
 
 For the purpose of demonstrating the work under this 
 head, we will suppose that we have a lot of unsecured fleece 
 wool, the shrinkage of which is not known, but must be 
 obtained in order to know the cost when clean. 
 
 TO FIND THE SHRINKAGE OF UNSCOURED WOOL. 
 
 From the pounds taken in the grease, subtract the 
 pounds of clean wool got back after scouring and drying, 
 and divide the remaining pounds, with two ciphers annexed, 
 by the pounds taken for a trial; the quotient will be the 
 rate per cent, of shrinkage. 
 
 EXAMPLE. Had scoured, 500 Ibs. in the grease. 
 Got back, 300 Ibs. of clean wool. 
 
 Lost, 200 Ibs. in scouring, to which 
 annex two ciphers, and divide by 500 Ibs. 
 500)200.00(40$, rate of shrinkage, or 40 Ibs. lost for each 
 200 00 
 
 100 Ibs. 100 40=60 Ibs. of clean wool from 
 each 100 Ibs. in the grease. 
 
 This wool, we will suppose, cost 35 cents per pound, in 
 the grease. What is its cost in the scoured state? 
 
 TO FIND THE COST OF SCOURED WOOL, THE MARKET 
 . PRICE AND SHRINKAGE BEING KNOWN. 
 
 Divide the market price, with two ciphers annexed, by 
 the pounds of clean wool obtained from 100 Ibs. in the 
 grease; the quotient will be the cost per pound of clean wool.
 
 48 THE SELF-INSTRUCTOR, 
 
 EXAMPLE. Market price, 35 cents per pound; wool 
 shrunk 40$ in scouring, leaving GO Ibs. of clean wool from 
 100 Ibs. in the grease: 
 
 60)35.00 market price. 
 
 58i cents per pound, cost of the clean wool. 
 
 The reader should bear in mind, that the above figuring 
 does not include the cost of freight, cartage, sorting, and 
 scouring; all of which adds to the actual cost of scoured 
 wools, the extent depending on circumstances. 
 
 Again, suppose we wish to add to the 300 Ibs. of clean 
 fleece which we obtained from 500 Ibs. in the grease, being 
 40$ shrinkage, the same amount of clean second-grade 
 fleece, which we had previously found, shrunk 45 per cent. 
 How many pounds of the second-grade fleece, will it be 
 necessary to secure for the 300 Ibs. of clean wool? 
 
 TO FIND THE AMOUNT OF WOOL REQUIRED IX THE GREASE 
 
 TO PRODUCE A GIVEN AMOUNT CLEAN, THE 
 
 SHRINKAGE BEING KNOWN. 
 
 Divide the pounds of clean wool wanted, with two 
 ciphers annexed, by the pounds of clean wool obtained from 
 100 Ibs. in the grease to secure; the quotient will be the 
 pounds required in the grease. 
 
 EXAMPLE. The second-grade fleece shrinks 45??, which 
 gives us 55 Ibs. of clean wool for each 100 Ibs. in the grease, 
 and 300 Ibs. of clean wool are wanted: 
 
 55)300.00 pounds wanted. 
 
 545^ Ibs. required in the grease, at 45$ shrinkage, 
 to produce 300 Ibs. clean wool. The reverse of this rule 
 will also hold true. 
 
 We believe this, with the two preceding chapters, is 
 sufficient for the beginner to understand how to figure per- 
 centage from any standpoint; and we trust that they will 
 show him the necessity of thoroughly understanding this 
 branch of the business.
 
 TEXTILE DESIGNING. 49 
 
 CHAPTER XI. 
 
 DRESSING PATTERN WARPS AND WEAVING PATTERN SHEETS. 
 
 Nearly every woolen mill, and nearly every designer 
 have their own particular method of performing this piece 
 of work for the loom, any one of which may prove satsi- 
 factory to the designer under the circumstances surround- 
 ing him; hence we shall not attempt to lay down any new 
 methods, but simply give a few suggestions applicable un- 
 der certain conditions. 
 
 We always make it a point to dress a pattern warp on 
 the dresser frame, if convenient to do so: this spreads the 
 threads much evener, when reeling off to the warp beam; 
 gives an evener tension, and does away with watching the 
 lease and patterns so closely, when once rightly started: 
 besides, the work is then in a position for any length of 
 warp required. If only five or six pattern stripes are want- 
 ed, make each one a section in itself; but if several other 
 stripes are wanted, two of these pattern stripes may be run 
 in as one section. 
 
 Between each pattern stripe, run in two threads of a 
 fancy or different color, not too bold, or too faint, but such 
 as will make sufficient contrast and look well with the col- 
 ors with which they are to come in contact. Hence, it will 
 be seen, that it is not always policy to use the same color for 
 the dividing lines, as other colors in the same warp may be 
 often brought into use, for this purpose, with a decided and 
 pleasing effect. 
 
 Again, when only a few small changes are desired from 
 that of a regular warp, a good pattern sheet may be gotten 
 up by breaking out a few threads and tying other colors in 
 their place on the first end of warp, when being started in 
 
 7
 
 50 THE SELF-INSTRUCTOR, 
 
 the loom, or on the latter end when running out. A yard 
 or more can be finished on the end of a regular cut, and 
 thus save the expense of getting out a special pattern warp. 
 Of course, to produce a pattern sheet in this manner, the 
 number of harnesses in the loom, and style of drawing-in 
 must correspond with the designer's ideas; but a change in 
 the weave may be made if necessary. 
 
 Then again, when but a few changes are desired from 
 any one particular style, either in certain warp threads, or 
 in the filling, it is good policy to weave sufficient of each 
 change to make a pants' pattern. We have woven whole 
 cuts in this manner, when only slight changes were wanted. 
 These styles are cut apart after finishing, and will gener- 
 ally sell without causing any material loss to the manufact- 
 urer. When making patterns in this way, no change should 
 be made in the weave; and the filling should be of the same 
 size of yarn and kind of stock, to insure the same finish on 
 each style, and not cause too much unevenness in the piece. 
 These suggestions or methods, are calculated for use more 
 especially in mills not having a pattern loom, or ample 
 facilities for getting out regular pattern sheets. 
 
 Large mills usually have ample facilities in the pattern 
 department, which is fitted up to their own liking: and each 
 designer, in his turn, has to follow the same course as his 
 predecessor, so that to make any suggestions, relative to 
 them, would be of no material use. Suffice it to say, that 
 they all, generally speaking, have to dress their pattern 
 warps on the peg or "pin" system. With this system, some 
 use one style of frame for holding the bobbins of yarn, and 
 some another; each one of which is thought to be good 
 enough for its particular place. Therefore, comments, or 
 suggestions on them, would be out of place here. We will, 
 however, continue the subject by calling the reader's atten- 
 tion to our method of weaving a pattern sheet. 
 
 We have before us, a pattern sheet which we will en- 
 deavor to illustrate in such a manner that our idea on this 
 subject will be fully understood. This sheet was woven 
 with the regular eight-harness twill, and consists of a series
 
 TEXTILE DESIGNING. 51 
 
 of patterns made in mixes, solid colors, stripes, and plaids. 
 To begin with, it has five sections, or in other words, five 
 pattern stripes as follows: 
 
 H 1st | 2d I 3d i 4th I 5th E| 
 H sect, i sect. I sect. J sect. 1 sect, pj 
 
 The finished width of each section is 5^ inches; making 
 in all, 27 i inches inside of the selvage. Each section con- 
 tains 240 threads of 2-run yarn; this gives us, in five sec- 
 tions, 1200 threads independent of the dividing threads, or 
 selvage. 
 
 The yarns which compose the sections in this pattern 
 sheet, were spun from mixes as follows: 
 
 First section, No. 10 mix; 50$ black, and 50 dark olive. 
 (We always give our mixes a distinguishing number.) 
 
 Second section, No. 11 mix; 50^ red brown, and 50 white. 
 
 Third section, No. 8 mix; 85^ black, and 15 orange. 
 
 Fourth section, No. 14 mix; 45 red brown, 45 white, 
 and 10 orange. 
 
 Fifth section, No. 13 mix; 45^ black, 45 olive, and 10 
 white. 
 
 Between each pattern stripe or section, and also between 
 the outside ones and selvage, are two dividing threads, one 
 of red and green D. & T., and one of orange and black D. 
 & T. This completes the full construction of the warp. 
 
 The weaving of the pattern sheet is the next in order. 
 For this purpose, we have five kinds of mixes for the filling, 
 the same as used in the warp. After weaving in a fancy 
 heading, we commence with the first or left-hand section, 
 using filling of No. 10 mix, and weave in sufficient to bring 
 the pattern or sample out square when finished; or as near 
 that as we can calculate. Now we weave in two dividing 
 threads, the same as in warp; this gives us the first regular 
 pattern. Next we use filling of No. 11 mix, which corres- 
 ponds with the second section, and weave the same amount 
 as before; this gives us the second regular pattern. In this 
 manner we proceed with the third, fourth and fifth sections, 
 using filling to correspond with the mixes in those sections.
 
 52 THE SELF-INSTRUCTOR, 
 
 This will give us the third, fourth, and fifth regular pat- 
 terns. We have now taken up each section in turn, and 
 worked the whole width of the warp, making in all, twenty- 
 five patterns, as herewith demonstrated. 
 
 <?*-o 
 
 - i 
 
 
 
 
 5 
 
 | 
 
 5th filling 
 No. 13 mix. 
 
 4th filling 
 No. 14 mix. 
 
 3d filling 
 No. 8 mix. 
 
 2d filling 
 No. 11 mix. 
 
 1st filling 
 No. 10 mix. 
 
 I 
 
 
 
 4 
 
 
 \ 
 
 
 3 
 
 
 
 1 
 
 2 
 
 
 
 
 i 1 
 
 
 
 
 
 From this illustration, it will be seen that patterns 1, 2, 
 3, 4, and 5, are called "regulars;" that is, each one by itself 
 is the same in both warp and filling. The remaining twenty 
 patterns are called "irregulars," or, "hit-or-miss." Some- 
 times, called "bastards." It is in this irregular class of 
 samples, that the designer often finds his most attractive 
 and best selling patterns. 
 
 Presuming that the warp was four yards in length, and 
 having used only about 30 inches, or say one-fourth, of its 
 weaving capacity in making the first series of patterns, we 
 will now use five other kinds of filling, say of solid colors, 
 and work off another series of twenty -five patterns on the 
 same principle as before. Now we will break out a few of 
 the warp threads in any one section, or all of them, as de- 
 sired, and tie other colors in their place; this changes the
 
 TEXTILE DESIGNING, 53 
 
 plain work into stripes, with which we will use the first set 
 of rilling and weave another series of twenty-five patterns. 
 Again, taking the second set of filling, we will weave the 
 fourth and last series of patterns by running in, with each 
 kind of filling, such threads as were previously tied in the 
 warp, and in the same proportion, which gives us twenty- 
 five plaid patterns; making in all, one hundred patterns in 
 the whole pattern sheet. From this it will be seen, that 
 there is no end, so to speak, to the number of patterns and 
 changes that may be produced by following up this princi- 
 ple of pattern weaving. 
 
 On fancy warps, figured weaving, and cross-drawiiig-in 
 drafts, it will sometimes occur that only a limited number 
 of changes can be advantageously made. It is in such in- 
 stances that the designer needs to bring into play his best 
 skill, instead of working on the ''go-as-you-please" system. 
 
 The designer must use his own judgment, as regards 
 the size to weave his samples. If he is to get out a sheet of 
 fine, plain, and firmly woven samples, small ones will usu- 
 ally answer every purpose. On the other hand, if he is to 
 get out a sheet of large patterns, in the weaving, or dress- 
 ing, large samples are preferable. 
 
 We have made pattern sheets that contained as low as 
 three and as high as nine samples in width; but the usual 
 number is five, six, or seven, which makes a fair size 
 sample without much expense. 
 
 Our practice has been invariably, to make these sheets 
 wide enough to finish three-fourths in width; this gives us 
 a good basis on which to figure the weight of the goods, 
 shrinkage, etc. far better than if made narrower. 
 
 Speaking about figuring on the weight of goods, it may 
 be well to demonstrate here the manner of 
 
 FIGURING ON THE WEIGHT OP CLOTH BEFORE WEAVING. 
 
 Divide the number of ends in warp, by the number of 
 runs the yarn is spun, and point off decimally two figures at 
 the right of quotient; this quotient will then represent the. 
 number of ounces of warp in one yard of cloth.
 
 54 THE SELF-INSTRUCTOR, 
 
 EXAMPLE. Suppose that we have a warp of 2160 ends 
 of 4-run yarn, and 20 threads of selvage on each side, or 40 
 in all, of 2-run yarn; how many ounces have we of warp? 
 
 Runs, 4)2160 ends. Runs, 2)40 selvage threads. 
 
 5.40 oz. of warp. .20 oz. of selvage. 
 
 Add together these quotients, 5.40 -+- .20 = 5.60 oz. the total 
 weight of warp to one yard of cloth. 
 
 To ascertain the amount of filling, proceed as follows: 
 
 Multiply the number o^picks per inch, by the number 
 of inches the warp is laid in the reed; this product divided 
 by the number of runs the yarn is spun, with two figures 
 pointed off decimally at the right of quotient, will give the 
 number of ounces of filling to one yard of cloth. 
 
 EXAMPLE. Suppose that we put in 75 picks per inch, 
 of 5-run yarn, and the full width in reed is 40 inches; how 
 many ounces have we to one yard of cloth? 
 
 75 x 40 = 3000 -f- 5 = 6.00 oz. weight of filling to one 
 yard of cloth. This, added to the warp, gives 5.60 -|- 6.00 
 11.60 oz., or near enough, allowing for the "take-up," of 
 yarn in weaving to call it 12 oz. weight of cloth from loom. 
 
 The above manner of figuring on the weight of goods 
 previous to weaving, will give a good basis on which to 
 make other calculation, if followed out closely. Of course, 
 practical judgment is required, in order to estimate closely 
 what allowance to make for the "take-up," which must be 
 governed by the kind of weave used, size of yarns, and the 
 strain on warp. Then again, the yarn must be accurately 
 spun to the size figured on; if spun either too coarse, or too 
 fine, the result of the figuring will vary accordingly; while 
 if too many picks are put in, or not a sfficient number, the 
 result will also be too large, or too small as the case 
 may be.
 
 TEXTILE DESIGNING. 55 
 
 CHAPTER XII. 
 
 THREE METHODS OF ATTACHING A BACK TO FABRICS. 
 
 The designer is often called on to produce light-weight 
 fabrics in heavy weight. To do this, without changing the 
 appearance of the face of the fabric, is an undertaking of 
 no small importance; however, it can be done by attaching 
 a back. This back may be attached by the filling, warp, or 
 by both the warp and filling methods. One of the principal 
 points to observe, in this operation, is to have the binding 
 done in such a manner that the effect will not be noticed on 
 the face of the fabric when finished. 
 
 In the manufacture of worsted fabrics, this fact has an 
 especial bearing for the .reason that imperfections, in the 
 stitching or uniting of the textures, will show more in this 
 class of goods, than in common woolens, and fancy cassi- 
 meres. This is owing to the fact that worsteds are mostly 
 made in the loom, or in other words, are woven narrower, 
 and require but little or no felting. On the other hand, 
 common woolens, and fancy cassimeres, are woven much 
 wider, requiring considerable fulling, which has a tendency 
 to cover up a great many defects that would otherwise be 
 seen, especially in worsteds. 
 
 There are three methods of attaching a back to fabrics, 
 which we will illustrate; any one of which will answer for 
 its particular purpose. 
 
 First method. This is what is called a filling back; 
 that is, the warp works single, and the filling works double 
 one thread on the face of the fabric, and one on the back.
 
 5(i THE SELF-INSTRUCTOR, 
 
 To illustrate this method, we will take Fig. 1, which is 
 known as the four-harness cassimere twill, carried out to 
 eight threads both warp and filling ways, or in other words. 
 eight harnesses and eight bars of chain, as numbered at the 
 FIG. 1. FIG. 2. 
 
 1 = 2 
 
 - : 4 
 
 mm : MM'i.'^ 5 ''mmammm m 6 
 
 7 
 mm 9 a na an - 
 
 ^BBBBBB !- 
 
 Sjgnig 
 
 bottom and left-hand side. To this weave we will attach 
 Fig. 2, which is called an eight-harness doeskin weave. 
 
 Now, if we take Figs. 1 and 2, and unite them one bar 
 of each, alternately it will give us a weave of eight har- 
 nesses and sixteen bars. Hence, we will number the bars 
 at the right of each weave or figure, in the order in which 
 they will appear when united. 
 
 FIG. 3. FIG. 4. FIG. 5. 
 
 SI!!! 2 psiilisi 
 !sis! 4 sisSIssI 
 
 a>B> t> mmamma m << 
 
 m ! 'nn " 
 
 EBBBH8 
 r ;ii 
 
 
 mmnmmmmmu mm mmmmmn 
 nuBMnnBio MDn::ir:Mi5 
 
 mmmmm mm^ laaaa 
 
 Fig. 3, shows the face weave laid out in its order for 
 receiving the back. 
 
 Fig. 4, shows the back weave laid out in its order for 
 receiving the face. 
 
 Fig. 5, illustrates Figs. 3 and 4 united, making one 
 complete weave, ready for the loom. See Sample A T o. #, 
 made from this same weave. 
 
 The main point to overcome, when attaching a filling 
 back, is not to affect the appearance of the face of the 
 fabric. To avoid this, the binding must be done in such a 
 manner that the warp threads will all have the same ten- 
 sion. This is accomplished by placing the backing weave 
 in a position, that whenever, or wherever a back pick has
 
 TEXTILE DESIGNING. 57 
 
 a sinker, it should be preceded and followed by a sinker on 
 the face threads, which will give us three sinkers in succes- 
 sion, reading the warp way. This will bring the binding in 
 between the twills alternately, as will be seen by referring 
 to Fig. 5. However, there are weaves with which it would 
 be impossible to follow this rule closely: Sometimes a back 
 pick may have to be preceded by a sinker and followed by 
 a riser, or vice versa; but in no case should it be preceded 
 and followed by a riser on the face threads. 
 
 Second method. This is what is called a warp back, and 
 is woven in a reverse manner to that of the filling method; 
 that is, the warp works double and the filling single. To 
 illustrate this, we will take the same four-harness cassimere 
 weave, Fig. 1, to which we will attach a back, one and one; 
 that is, one thread on the face and one on the back, alter- 
 nately. For the backing weave, we will take an eight-har- 
 ness satin, Fig. 6, as it proves to be well adapted in this 
 instance, for even stitching. Again, we will attach a four- 
 harness satin twill repeated to eight harnesses and eight 
 bars. At the bottom of the face and both back weaves, we 
 have numbered the harnesses in their numeral order; also 
 a second time in the order in which they will appear when 
 united or stitched together. 
 
 FIG. 1. FIG. 6. FIG. 7. 
 
 _ms 
 
 igy 
 
 Bfl '' " 
 
 881159! 
 
 Hence it will be seen, that in attaching a warp back, 
 the number of harnesses have to be increased, while the 
 number of bars remain the same being just the reverse of 
 the former method. Proceeding in this manner, we will 
 carry out these weaves (Figs. 1, 6 and 7), in their respective 
 order for uniting, which will give us Figs. 8, 9 and 10. 
 
 Next in order, is the uniting of Figs. 8 and 9. To do 
 this, we will take the working of a harness from each fig- 
 ure alternately, and setting them down in their numeral
 
 58 THE SELF-INSTRUCTOR, 
 
 order, it will give us Fig. 11. See Sample No. 3, made from 
 this weave. In a similar manner, proceed with Figs. 8 and 
 10, the result will be as shown by Fig. 12. 
 
 FIG. 8. FIG. 9. FIG. 10. 
 
 nzrrzi 
 
 : :: 
 
 
 
 niBZHZu ":::: i:z i 
 
 a a ! 
 
 M_Z~:;::BHM : "/::: Z"::JI;BBM- : 
 
 _ ,- -- -, ^j^.-^npr: t - - .^ -, j x H ""X" 
 
 It will be observed, by examining those figures, that 
 wherever the backing threads rise, they come up in between 
 two risers of the face threads; that is, one face thread is up 
 on the right, and one up on the left reading the filling way. 
 This point should be observed, if possible, w-hen attaching 
 a warp back. There are instances, however, where this 
 rule cannot be adhered to, in which case we must do the 
 next best thing: have a face riser on one side of the back- 
 ing riser, and a sinker on the other side. In no case should 
 a backing thread be raised to the face of the fabric, where 
 there would be no riser on either side to join it. 
 
 The next thing which we will call the reader's attention 
 to is, that when required to unite two weaves, each con- 
 taining a different number of harnesses, or bars, or both, 
 they must be carried out to that point where both weaves 
 will repeat at the same time. This can be seen in the case 
 of Fig. 11; the cassimere weave being, originally, but four 
 harnesses in width by four bars in length; and the satin 
 eight harnesses in width by eight bars in length; in order 
 to have both weaves repeat at the same point, the cassimere 
 had to be carried out to its present size. But in the case of 
 Fig. 12, the backing weave being the four-harness satin 
 twill (Fig. 7), it will be readily seen, that both the face and 
 back weaves have been doubled each way, or in other words,
 
 TEXTILE DESIGNING, 
 
 repeated to four times their original size, as four harnesses 
 and four bars complete the full weave of either. We have 
 carried these weaves out to their present size for the pur- 
 pose of presenting a better illustration; besides, eight bars 
 of chain are necessary to reach around the chain cylinder 
 of the loom. 
 
 Fig. 11, shows each alternate backing thread tied in 
 each twill alternately. 
 
 Fig. 12, shows each backing thread tied in each twill 
 in succession. 
 
 We will now illustrate the manner of attaching a warp 
 back with two threads on the face and one on the back. In 
 this operation the same points must be observed as previ- 
 ously described, in regard to the uniting of the weaves, and 
 having the number of tyings equal in each twill. See Figs. 
 13, 14 and 15 completed for use; while Figs. 16, 17 and 18 
 shows the backing plans, with the working of the harnesses 
 numbered as they appear in the completed weaves. 
 
 FIG. 13. FIG. 14. FIG. 15. 
 
 FIG. 18. 
 
 MB 
 
 Fig. 13, has four risers on one pick and five on the next, 
 alternately, which is owing to the backing threads being 
 tied alternately in each twill. 
 
 Fig. 14, has four risers on one pick and six on the next, 
 alternately, which is owing to the backing threads being 
 tied in succession in each twill. 
 
 Fig. 15, has five risers on each pick in succession, which 
 is owing to the backing threads being tied irregularly; that 
 is, the tying is different on each alternate twill, although
 
 60 
 
 THE SELF-INSTRUCTOR, 
 
 each twill has the same number of tyings. This latter fig- 
 ure will answer in some cases and be preferred to all others; 
 but generally speaking, the two former are the most prefer- 
 able, and those usually adopted. 
 
 Third method. This is what is called a double or warp 
 and filling back, and consists of the two preceding methods 
 combined. This method is called by some, double weaving, 
 owing to there being two warps and two fillings employed 
 in weaving the fabric. While this may seem perfectly 
 proper, it will be shown further on in this work, that what 
 the author calls double weaves, are those having the face 
 weave doubled, or two separate fundamental weaves united; 
 the object being to produce the same design, or a different 
 one, on both the face and back of the fabric, in addition to 
 increasing the weight, without the aid of coarse yarns; 
 or, over-crowding of the warp and filling. Therefore, we 
 shall confine this principle of weaving wholly to that of at- 
 taching a back, whether" of coarse, or fine yarns, and not 
 for the purpose of adding beauty to the fabric, in the way 
 of stripes, checks, or plaids on the back, as usually done by 
 the regular double- weave method. 
 
 To continue the subject, we will take the same cassi- 
 mere weave as before, and to it attach a back, two and one; 
 that is, there will be two threads on the face of the frbric, 
 to one on the back, both warp and filling ways. To do this 
 
 FIG. 19. 
 
 1 nnniBMnnnni 
 
 2 DHnMBnDBOBnn 
 
 FIG. 20. 
 
 FIG. 21. 
 
 i iiiii; ;' f Sir mu'^ 
 
 3 BBBBB BEBBB 
 
 9 
 
 KM :: :: 
 IIB: : ; 
 
 we will carry out the cassimere weave to twelve harnesses 
 and twelve bars, as shown in Fig. 19. By this figure it will 
 be seen, that where the backing threads are to appear, on 
 both the harnesses and bars 3, 6, 9 and 12, we have all 
 sinkers. These sinkers are to be filled in by the texture of 
 the backing threads, as shown in Fig. 20, which is really a
 
 TEXTILE DESIGNING, 
 
 two-harness plain weave, when reduced to its actual weav- 
 ing capacity. Figs, 19 and 20, united, will give us Fig, 31; 
 but, as this figure now stands, the face and bak are not 
 stitched or tied together, hence it is not a completed weave. 
 
 Fig. 22, represents Fig, 21 completed, and tied on the 
 plan as shown by Fig. 23, being once on every third thread, 
 both warp and filling ways; thus making four risers on one 
 pick, and five on the next alternately face threads, 
 
 FIG. 22. Fro. 23, FIG, 24, 
 
 -2 "BVir^-B^Bm 
 
 o B ' BH :: " B . 
 11 BB: :BBBBB BBB 
 
 7 :; TBB ' :: :: :BB:~: 
 s ""Bra" : :: BB:~: : 
 s> BBBBB: :BBBBB ; 
 H>BB::: -;T -BB:::^ 
 nMnnLBf' 
 IBBBB: BBB 
 
 Fig, 24, represents the same weave, and tied on the 
 plan as shown by Fig, 25, being twice on every third thread, 
 both warp and filling ways; thus making four risers on one 
 pick, and six on the ^next alternately. See Sample No. J^ 
 made from this weave. 
 
 Fig, 26, also represents the same weave, and tied on the 
 plan as shown by Fig. 27, being twice on every third warp 
 thread, and once on each face filling thread; thus making 
 five risers on each face pick in succession. 
 
 FIG. 
 
 FIG. 26. 
 
 2 BBBBrBBBBBH 
 
 -: B B : :: BB: :: : 
 
 4 BBH: : :: 'BB: 
 
 > BB BBBBD HBB 
 
 ') B: : B*B: :: : B ; 
 
 7 : T;:BB::. : BB : 
 
 FIG. 27. 
 
 BB 
 
 IBB 
 
 .:B* 
 
 I2Q1 n ; 
 
 Fig. 28, illustrates Figs. 20 and 23 combined, and rep- 
 resents the backing texture, both warp and filling ways, 
 in Fig. 22. 
 
 Fig. 29, illustrates Figs. 20 and 25 combined, and rep- 
 resents the backing texture, both warp and filling ways, 
 in Fig. 24.
 
 62 THE SELF-INSTRUCTOR, 
 
 Fig. 30, illustrates Figs. 20 (with the backing bars 
 placed one nearer to the top) and 27 combined, and rep- 
 resents the backing texture, both warp and filling ways, 
 in Fig. 26. 
 
 FIG. 28. FIG. 29. 
 
 zLinnnurii 
 5 --^zz:;z: ~ 
 e :- 
 
 - 
 
 These three latter figures were designed more especially 
 to show the reader, the manner of drawing off and illus- 
 trating backing textures, in this class of weaving; and, we 
 believe them to be sufficient in their line. 
 
 Figs. 31 and 32, are the same as Figs. 22 and 24, except 
 the back filling threads float under eleven warp threads, 
 instead of five. 
 
 Fig. 33, weaves the same face as Fig. 26, but the tying 
 is done in the opposite direction, and the position of the 
 b&ck filling threads are changed. 
 
 FIG. 31. FIG. 32. FIG. 33. 
 
 i i E9i.FEi^ I 
 
 3 mmmmmmmmmmmn 3 BBBB DBBBBBB 3 .:: 
 
 - ^r:r:B p 4 um~~~ ~ -4 - - T.MB :::.. 
 
 --- ~~ 5 -- ~BM :::!* - r > m^~rm*m ..... ' : 
 
 mm mmaamamam <; H 
 
 T-----BJM ........ 
 
 s =- : -iB- : - . 
 
 B4HBB BHHBBB BBBBBBBBHIB 
 
 ' - " 
 
 ^ 
 
 - . _ 
 
 HBJ:_: '""":'"' B ..... UBI~~ZB:-:I 
 
 BBBBBHBBBBB BBBBaBDBHBB -BBBHnB 
 
 The style of back attached to these three latter weaves, 
 is more especially adapted for coarse stock, and a heavy 
 backing filling, as it has less tendency for the back to show 
 through, on the face of the fabric. 
 
 It will be observed, that the stitching or tying in this 
 method of backing fabrics, is conducted on the same prin- 
 ciple as in the preceding method; hence it requires no fur- 
 ther explanation in this direction. 
 
 By this combined warp and filling method of backing
 
 TEXTILE DESIGNING. 
 
 0:5 
 
 fabrics, a back may be attached to any weave desired, 
 on every second, third, or fourth thread, as the case may 
 require, by observing the following manner of running in 
 or weaving the back filling threads: For every second 
 thread, thus ( ***g ). eveiy third thread, thus ( KSH. ); 
 
 every fourth thread, thus ( 
 
 BBBBBBBP 
 
 i n eacn case, 
 
 as often as deemed necessary. 
 
 Following, we present a few illustrations of standard 
 weaves, with a back attached in various ways, which will 
 more fully demonstrate our ideas on the question of tying. 
 
 Figs. 34, 35, 36 and 37, are those of a double-pick or 
 basket weave, carried out to twelve harnesses and backed 
 every third thread, both warp and filling ways. 
 
 FIG. 34. 
 
 FIG. 35. 
 
 nnnn..nnnn 
 
 ~ 
 
 FIG. 36. 
 
 FIG. 37. 
 
 BPBPP: -B: :Br:r.n BBpppBBGnnn 
 IBPP~BPB' 'PP BBPPP'tBBpnnn B-BP: :PBBP* '" BBPPPBB: n 
 
 -wiRiSSBB SSRB.SSgnSBg gS*.p.p.S'.S5 ggSBBSSSBSS 
 
 n: : B*B'~~n B'~B P: .BBL :: ': :PBBP PPPB*BPPPB'B pnpBB'*pntBBn 
 
 B BHBBB BBBB BBBBB' BBBBBPj BBBBBBBPBBBB BBCBBBBBBBBB 
 
 BinBnnnBnBnn BB~ : LJPBBP: pn BP:B:P " 'B 'B BBPL:: BBPPP> 
 
 B B' ' : BS*Snn BB:"P : PPBBPI-:P> B-BnntB-Bcn nnr.:rBB*i- P 
 
 BBBBPBBBBBPB BBPBQBBBPBBB BBBBBBBBBBPB BBBBBBBBQBB 
 
 RPPB' 'B"""'"B"'B pL.'BBpnnnBBn nnnBr.BPDEBrB PPBB: PPLIBBO 
 P; : :B' ''B:":P: :B'B ' " "BB' 'pn>BB : * nppB^BnnpB'*B nnnBBnnnnBB<t> 
 
 BPBBBBBPBBBB BBBBBPBBBBBn BCBBBBBBBBBB BBBBBBBB BBB 
 
 Figs. 38, 39 and 40, are those of the regular six-harness 
 twill, backed every third thread, both ways. Figs. 41 and 
 42 are the same weave, with a backing every fourth thread. 
 
 FIG. 38. FIG. 39. 
 
 BBBBB'PBBBBB^BBBBBn HBBBEB9BI 
 
 npG'T BBPBn~npnBBn ; nnBPBBnnnpnB 
 
 ..::;:....::.. 
 ii-eiiBiPii.iisn. is;i" BB..s55yP s 
 
 BB*SyvSBSfflffl 
 
 BBBBBdBBBBBPBBBBBn 
 
 Figs. 43 and 44, are those of a six-harness basket weave, 
 backed every third thread, both ways. Figs. 45 and 46 are 
 the same weave, with a backing every fourth thread.
 
 THE SELF-INSTRUCTOR, 
 
 Figs. 47 and 48, are those of the regular eight-harness 
 twill, backed every third thread, both ways. 
 
 FIG, 41. 
 
 nnfinBwnnnnMnMBnn 
 ' BB B ' :: BBB ' 
 BBBBIBB BBBBBQBB 
 
 m": rrt 
 
 
 mnmmmummmmummmmmm 
 
 FIG. 43. 
 
 mm 
 
 ! ^mmmm 7 ] 
 
 JvB 
 
 :mmmmm BBBBB BBB 
 
 :;;:;:;: 
 
 I BSBHB 
 
 ^ FIG. 44. 
 
 ^BSIil^iMsiiii 
 
 " :: r:"B.n 
 
 S~mm : : BT ' : 
 : iiBBDBBEia : 
 
 n: :: !: "M* 
 
 " 
 
 mmmmm: : 
 
 iln^isT "' 
 
 IBB BBBBB BBBBB 
 
 LJL^: .. -. -- ,- ..-^ am m 
 
 nn**"5":*:: :":**:" 
 N BB : ' :: :. : :: : 
 
 BBJB BDBGBBaa BBBB 
 
 M #:::-":: ;: :~m: :mm: ::::^nn 
 "" ~ : :: :: BB :: : 
 
 FIG. 45>, 
 
 FIG. 45. 
 
 nnnnnBiBin 
 
 ant unmmma 
 
 jgi_ 
 
 FIG. 46. 
 
 Smm: 
 mm: 
 
 
 
 
 
 
 mmn 
 
 D 
 
 :mmm :: : BB 
 
 S B:;; H 3*r :;;; .Sv 
 
 mmm^mmmmmmmammmm 
 
 B9BBDBDBBBBtIBQB 
 
 BBB*IH : ; BHBMBHHn 
 
 wnnnnnMBMn _.nnni_:BiHBnnnLiiii 
 
 "'^' ' -' nmm* m" : " '' ^'555 : ' ' ^'V 
 
 QBMBM : BHBBBBBBBBBB 
 
 FIG. 47. 
 
 BB 
 
 FIG. 48. FIG. 49. FIG. 50. 
 
 nnonnnMCMBQ nBBnnninnnn rMBCBmnn 
 
 ntiBiH*-BBn Bnn '^nMnnnnr 
 
 BB ' BBBBB BBBBH BBBBBBB: :BBI 
 
 ' II B BB- B : - : BB BB : ! BBB B ~ 
 
 ~."BB 'BBnn "B""' BBB"':
 
 TEXTILE DESIGNING. 
 
 65 
 
 Figs. 49 and 50, are those of the eight-harness basket 
 weave, backed every third thread, both ways. 
 
 Fig. 51, represents a herring-bone and double-pick text- 
 ure combined four-harness work. 
 FIG^ 51. 
 
 : : ~BB~I:BB: :~Iy :: mm " '"": 
 *~~mm mm mm mm :: * 
 MI ::::;- mm mx am mm 
 
 Fig. 52, represents the same texture as the above, but 
 with a back attached every third thread, both warp and 
 filling ways. We illustrate four methods of reducing this 
 
 FIG. 52. 
 
 ~~ mn~cm^Mn.nn 
 
 QBflHIBBIBDBBBB 
 
 35! 
 
 "55 
 
 ::: 
 
 IT 
 
 
 figure to its lowest terms, and of making out the chain drafts 
 FIG. 53. FIG. 54. FIG. 55. FIG. 56. 
 
 
 
 : ~BT :I ; : 
 
 'I ' 
 
 and dra wing-in drafts as shown in Figs. 53, 54, 55 and 56. 
 
 9 
 
 SSSSffi
 
 66 THE SELF-INSTRUCTOR, 
 
 The first method of reducing is made out in the usual 
 manner, by commencing with the first left-hand thread and 
 working or reducing to the right, which will require a chain 
 draft and drawing-in draft as shown in Fig. 53. 
 
 Second method, we reduce the face threads first, in 
 their numeral order, then go back and take up the backing 
 threads in the same order, which will require a chain draft 
 and drawing-in draft as shown in Fig. 54. 
 
 Third method, we commence with the twenty-fifth 
 thread and reduce the double-pick (face threads), then go 
 back and take up the four backing threads in their numeral 
 order, after which we commence with the first thread and 
 reduce the remaining ones, which will require a chain draft 
 and drawing-in draft, as shown in Fig. 55. 
 
 Fourth method, we begin at the same place as before, 
 reduce all the face threads first, then take up the backing 
 threads in their numeral order, which will require a chain 
 draft and drawing-in draft as shown in Fig. 56. This latter 
 method it the best of all the others f or th'e harness layout. 
 
 Fig. 57, represents a herring-bone and basket texture 
 combined eight-harness work. 
 
 FIG. 57. 
 
 ~~ 
 
 rir 
 
 . : .::.;r; _:" 
 
 Fig. 58, represents the same texture as the above, but 
 has a back attached every third thread, both warp and 
 FIG. 58. 
 
 MB~ *::*: :: :"* :* ^:55r:55 : :~ 
 .::.. ...... 
 -:! ..:::" !:::: ::.. 
 
 ... ... BSlII: ... ..... "*". 
 
 .B. 
 
 *: " :: n - : 
 B.IBH :; : 
 
 *- tO CC W 4k. o C-T Ci ^- -^ QC t3 A. C*9 tC t5 tS Oc -1 O5 Cn O ^- H* 5D h- O Cn Cn ^ Cn O tO 
 
 filling ways. We illustrate three methods of reducing this
 
 TEXTILE DESIGNING. 
 
 67 
 
 figure to its lowest terms, and of making out the chain 
 drafts and drawing-in drafts, as shown in Figs. 59, 60 and 
 61: on the same principle as before described the latter 
 method being the best layout for the harnesses. 
 
 FIG. 59. FIG. 60. FIG. 61. 
 
 ManncM 
 
 By referring to the above combinations (Figs. 52 and 
 58), the reader will observe, that in each of them the back 
 filling threads are woven in the same every time; that is to 
 say, there are the same number of risers in succession on 
 each of those picks, across the whole width of the pattern; 
 or, in other words, no break in the risers where the weaves 
 change. This is a point which should be observed as much 
 as possible, in combining weaves with a backing; thus pro- 
 ducing an even back to the fabric, and often doing away 
 with bad effects on the face. 
 
 We have endeavored to demonstrate this subject of 
 attaching a back to fabrics, in as plain a manner as possible 
 on paper; and should anyone interested herein, fail to com- 
 prehend our meaning, we would advise copying off on 
 design paper, such figures as they do not understand, ob- 
 serving carefully the working of each harness and pick as 
 they do so. This will prove of great aid to the beginner in
 
 68 THE SELF-INSTRUCTOR, 
 
 enlarging his mind to a better understanding; or, in other 
 words, he will accomplish in this manner, what he might 
 not have accomplish in several hours of continuous reading 
 the subject. 
 
 CHAPTER XIII. 
 
 COMBINING WEAVES ILLUSTRATED. 
 
 Combining weaves is an important branch in the art of 
 textile designing. It is not only important, but it covers a 
 great field; in fact, so great that it is beyond the power of 
 man to comprehend its scope. Hundreds, yes, thousands 
 of designers, have been engaged in this business for many 
 generations, and yet, new combinations are being brought 
 out every day. How utterly useless then, for us to attempt 
 to cover the field, in its entirety, in a work of this character. 
 Therefore, all that we shall attempt to cover is, to bring up 
 and illustrate the principal points, obtained by practical 
 experience in the business. 
 
 In the first place, generally speaking, a complete break 
 or cut-off should be made when reversing the position of a 
 weave, or combining it with that of another, if possible to 
 do so; and thus avoid threads from floating over or under 
 each other any more than required in the regular weaving 
 of them. 
 
 In the second place, when a sufficient break or cut-off 
 cannot be made without causing too much of a float, an- 
 other method of weaving for one, two or more threads, as 
 the case may require, should be introduced between such 
 weaves, to form the cut-off and properly unite them. 
 
 In the third place, avoid combining weaves of too great
 
 TEXTILE DESIGNING. 69 
 
 a difference in the textures to be used in the same design, 
 as such are apt to cause the fabric to weave either too tight 
 or too loose in their respective places; thus making more or 
 less trouble and dissatisfaction from the weaving to the 
 selling of the goods; besides, greatly impairing the wearing 
 qualities. 
 
 In order to demonstrate the points spoken of, we will 
 call the reader's attention to the following illustrations: 
 
 Suppose that we wish to make a fabric consisting of a 
 four-harness cassimere twill, and a double-pick or basket 
 weave, combined as follows: 
 
 16 threads, right-hand twill; 
 4 threads, basket; 
 
 16 threads, left-hand twill; 
 
 8 threads, basket: in all, 44 threads with a perfect 
 cut-off, it will give us Fig. 1. 
 
 FIG. 1. 
 
 cmmnot 
 
 The manner or combining these texfhires would prove 
 all right in many cases, but were it required to run the fill- 
 ing two and two of different colors, and have the basket 
 show the same in both places of the pattern, either a per- 
 fect pin-check or stripe it would not answer tlie purpose. 
 For it will be seen by referring to the figure, that while the 
 eight threads of basket, at the right, were weaving as de- 
 sired, the four threads of basket, between the twill stripes, 
 would produce a broken appearance as shown by the differ- 
 ent characters; or, in other words, they would appear as 
 though woven pick and pick. Hence the combination must 
 be changed so that the basket, in both places of the pattern, 
 will stand in similar positions. By referring to Fig. 2, it 
 
 FIG. 2. 
 
 uumm: ^~nM~nMM"GMn:2MHGBM":nMM3CMWioni 
 ' : KB BB EI :: : : BB 
 
 BB: :: :: :: :;:: BB : ;: :. :; BB :: : mm 
 nnnmmznmmnumm:~-*++<^<>mmnummnnmu'3ummnmmnzmmnn 
 
 will be seen that this point has been overcome; but the re- 
 sult is, we have not got a perfect cut-off, there being three 
 risers and three sinkers, side and side, on each alternate
 
 70 THE SELF-INSTRUCTOR, 
 
 pick, as shown by the different characters. N"ow, this will 
 not do in a texture of this kind, for in those places the fab- 
 ric will show an over-shot appearance, which will spoil the 
 effect of the basket figure. If, for certain reasons, it were 
 essential that just 44 threads should be retained in the pat- 
 tern, and have a perfect cut-off, then change the position of 
 the middle basket figure, and the first thread on each side 
 of it to read as shown in Fig. 3. But if it were not essen- 
 FIG. 3. 
 
 B3! 
 
 tial to retain 44 threads in the pattern, then take out those 
 threads on each side of the basket, and transpose this basket 
 figure, as shown in Fig. 4; the result is, there are now but 
 fifteen threads in each twill stripe, while before there were 
 sixteen. 
 
 FIG. 4. 
 
 : :. ZIBB::: BB BB BB :: BB : BB : ^nHanHinnn 
 
 SSBg:3ByB3Bg53BS5BB5gBgSgBSSgB55gBSSBBKBB 
 
 FIG. 5. 
 
 KgBBBSBBBMgBB35BBBS5SBBSMgBMSBB355gBSHffl 
 
 FIG. 6. 
 
 SnnnnBBBBnnnnBBBBnnmBBBBnBBBBnBBBBnnnnBBBBnBBnn 
 BnadPBBBnnnnBBBBnnnBBBBmBBBBnaBBB-: ' ' 
 
 nnBBBBnnnBBBBnnnnBBBQnnnBBnnnnBBnniiiBBBBiirJijBBnrtBB 
 
 JXIBBBB: 'BBBB::' ::i: IBB: ir;j::jBnL: BBB I BBBB :BBB~ DBB 
 
 n: :U::BBBB. :BBBB:J: ::J:JB:J: :::L:BBBB:: :: -IBBBB: :BBBB: :BBBB::: BB 
 
 Fig. 5, illustrates a six-harness twill and basket weave 
 combined. 
 
 Fig. 6, illustrates an eight-harness twill and basket 
 weave combined. 
 
 On looking over the above figures it will be seen, that 
 in each one of them the twill stripes contain an uneven 
 number of threads. From this, we wish to have it under- 
 stood, that in order to combine twills with basket weaves 
 so as to have the basket figures stand in the same relation
 
 TEXTILE DESIGNING. 71 
 
 to each other, there must be an uneven number of threads 
 in the twill stripes or figures. But bear in mind, this is not 
 necessary when using all one kind of filling, or when run- 
 ning a filling pattern to produce a hit-or-miss effect. 
 
 When reversing regular twills, which contain an even 
 number of harnesses, for the purpose of producing herring- 
 bone effects, the cut-off should be made at the completion, 
 or in the middle of the twill, the same as shown in Figs. 7, 
 8 and 9. 
 
 FIG. 7. FIG. 8. 
 
 ""urMncMB " m~mm 
 
 ' 
 
 FIG. 9. 
 
 * 
 
 saam m ana :: mem 
 
 nnnr.MHMn".MM;:nn~MM 
 
 Each of these reversings may of course be carried out 
 to any size of pattern required. 
 
 The above described points apply equally the same 
 when combining twills and basket weaves, into patterns of 
 blocks, checks, or diamonds of any size, and of any number 
 of different combinations. 
 
 FIG. 10. 
 
 "SS, 
 
 LJ~I 
 
 Fig. 10, illustrates the manner of combining a cord with 
 a twill. In this figure, it will be seen that on each side of 
 the cord, one thread is run in on the plain-weave principle 
 to make a perfect cut-off for the cord. This is a rule quite 
 commonly adopted in this class of weaving, and often two 
 threads are wove in as a plain weave, in place of one for a 
 cut-off. However, it should be borne in mind that these 
 threads, in many instances, should be of a strong and elas- 
 tic nature, in order to stand the extra strain which comes 
 on them. On this principle a cord may be combined with
 
 72 THE SELF-INSTRUCTOR, 
 
 any style of weave. Although in some cases it is advisable 
 to run both the cord and cut-off with two picks in a shed, 
 instead of one. If two colors were used in the filling of 
 this pattern (Fig. 10), and run in pick and pick, the two 
 outside cords would be the same in color as one of those 
 colors, and the middle cord would be the same as the other 
 color; hence the position of the cords must be governed ac- 
 cording to requirements, on the same principle as demon- 
 strated in the first four figures. 
 
 FIG. 11. 
 
 ^^s^.s.ls^^^^.%1 
 
 Fig. 11, illustrates a combination of ribs and cords; as 
 here show, they represent but one independent weave, for 
 neither the rib nor the cord texture alone, make a complete 
 weave. Observe the position of each, which may be carried 
 out, or reduced to whatever size required. The texture of 
 this figure, forms a sufficient cut-off in itself without insert- 
 ing special threads for such. 
 
 FIG. 12. 
 
 ^1 
 
 6-har. 
 
 OM^MMM 
 diagonal. 
 
 3-har. 
 
 H 
 
 5SM2 
 
 m am m 
 
 '..:. 
 
 twill. 
 
 Fig. 12, illustrates a six-harness diagonal combined 
 with a cassimere twill, and basket weave. Although there 
 is a perfect cut-off in the twill and basket combination, yet 
 it will be seen, that such is lacking between the twill and 
 diagonal. However, in this place it is not necessary to have 
 a perfect cut-off, owing to the nature of the diagonal being 
 such that a float under four threads would not be out of 
 place. The diagonal in this figure is, of itself, a combined 
 weave as will be seen: If we commence with the top bar 
 and take each alternate bar or pick, and set them down un-
 
 TEXTILE DESIGNING. 73 
 
 der each other in the regular order, it will give us the six- 
 harness diagonal; and the remaining bars handled in a sim- 
 ilar manner, will give us the three-harness twill. 
 
 FIG. 13. 
 
 m~i'^.mm~~mu~~mm":~m~mi.mrm~mrm~m~m~m mm - m - m 
 MB::: mm: m~-mm-~.m: ::-.m ::: :: :M : 'm : - : ~m : ^m - H ^ 
 
 BB HB BB B BBJI B BBB a BOH DB BB BB 
 7~~mm~-~: ::: : :: :: BBBB IB BB DB BB 
 
 :::: :::: :_MMBB::::::::BBMB::::; :::::::::::::: ".:: 
 ".~M: "MM:: ::::: M::MMM~ ::M~MMM' : -~m-:~-.m-rmm- 
 ~ ~~~~~~~~' ' 
 
 Fig. 13, illustrates a peculiar combination, particularly 
 the middle part, which is often used in both light and heavy 
 weight goods. The texture is such that by aid of the cot- 
 ton stitch, it can be readily applied with nearly any weave, 
 and yet produce a sufficient cut-off. 
 
 Fig. 14, illustrates a five-harness doeskin and a five- 
 harness diagonal, combined. This does not make a perfect 
 cut-off, yet it is so near, owing to the nature of the weaves, 
 that no extra floats will be observed. From this it does not 
 follow that these weaves could be placed in any position 
 with each other, and obtain a similar result. For, were we 
 to move the diagonal up one pick on the doeskin, thus 
 FIG. JL4. 
 
 5-har. M'MMM^MMB! 5-har. 
 
 B BB BBBB B Bfl B * 
 
 BOB BB BB ama m am 
 
 B3B BBBB BH fl BIB 
 
 B9B BSB BBBB BB B 
 
 BB B B aaaoa B B 
 
 tmU. ---= diagonal. 
 
 throwing the top bar to the bottom, we would then have 
 seven risers side and side on the sixth bar. Hence, it will 
 be seen that when combining weaves, which will not admit 
 of a perfect cut-off without inserting extra threads or har- 
 nesses for such, the best position in each of them for uniting 
 is found on the cut-and-try principle. In the diagonal there 
 is combined a twill and diagonal of five bars each as shown, 
 which are found in the manner previously described. 
 
 Fig. 15, illustrates a five-harness doeskin, of both warp 
 and filling face; also the same texture arranged into twills, 
 of warp and filling face; all of which are combined into a 
 block pattern, forming a complete cut-off. In this man- 
 
 10
 
 74 THE SELF-INSTRUCTOR, 
 
 ner an unlimited number of different combinations may 
 be made; and of which, such are used in weaving ladies 7 
 dress goods. The three and four-harness weaves on this 
 principle are also used quite extensively for that purpose. 
 FIG. 15. 
 
 ' : '' ::.: 
 i :::; ::: 
 : :: :; : 
 mam m m mm mm 
 
 5 E5*K%'E K5i 
 
 Speaking of block combinations, perhaps it may be well 
 to illustrate a figure method which we use when combining 
 weaves of an equal size, both ways, that will make a per- 
 fect cut-off. For this purpose, we will take the four follow- 
 ing four-harness weaves, and call them 1, 2, 3, and 4; and 
 when using any one or all of these figures, they will each 
 respectively stand or represent that full weave. 
 
 1234 
 
 nnnn unum 
 
 ;~" : M~" HW_"U 
 
 55S5 S3BB Si!": SS3B 
 
 Suppose that it were required to combine all of these 
 figures (weaves) into a small block pattern, on the plan of a 
 twill, we would arrange the figures to read as below, which 
 would represent a pattern of sixteen threads both warp and 
 filling ways, as shown in Fig. 16. 
 
 FIG. 16. 
 
 1 ~ O t 
 
 I & o ,4; : : ':: : : 
 
 2341 .' 5'.3 V SM" 
 
 O 4 -I O "-' " 
 
 5 * 1 A ; m mm ------ 
 
 4123 s'.s % s.*: . 
 
 :: :: mme m : 
 
 :: :: :~ 
 : :::M : ;,:: : 
 " 
 
 Now we will take 1 and 2 only, and combine them into 
 another style of pattern by arranging them in the manner 
 given below, which will give us a pattern of sixteen 
 threads, both warp and filling ways, as shown in Fig. 17.
 
 TEXTILE DESIGNING, 
 
 (Of course, it will be understood that this style of patterns 
 are designed more especially for ladies' dress goods, than 
 for gentlemen's wear.) FIG, 17. 
 
 222 
 2 
 
 1 
 
 2 
 2 
 2 2 2 
 
 1 1 
 1 1 
 
 mucmmcm 
 
 iniLiiiMHHn 
 
 Again, we will take the same numbers and arrange 
 them in another position, which will give us Fig. 18. 
 FIG. 18. 
 
 BfflraySBSKMSSB 
 
 ByBSISSsiS K.5 
 
 ::: :: : : :; : : :. : 
 
 Srz :: :: : : :: :: :: : 
 :: :: : : : 
 c: ': :' ': :: : :: :: :: : 
 
 S5 
 
 .PBULI 
 
 12222 
 21111 
 21221 
 21221 
 21111 
 
 12222 
 
 : :: :: :: 
 IPLIPBBBPBBB: :: :: :: :::: 
 
 
 Again, taking 1, 2, 3, and 4, we will arrange them so 
 as to produce the pattern shown in Fig. 19. 
 
 FIG. 19. 
 
 321123 
 221122 
 114411 
 114411 
 221122 
 321123 
 
 : \f:m- ;: :: ;: [PHdi 'Oman 
 immnmmm:-:ui'M: :: ,; ; : 
 
 "*B: ;:* * : ' 
 : ' .: :: :: :; :: 
 
 : ': :: :: : :: 
 
 aw- Hsavd s
 
 ?6 THE SELF-INSTRUCTOR, 
 
 Thus it will be seen, that there is no limit to the num- 
 ber of combinations which may be made with these four 
 simple weaves. These combinations may be enlarged to 
 any size required. 
 
 By this figure method, a designer can- put his ideas on 
 paper much quicker, without even using either design 
 paper or characters and thus be enabled to lay out in a 
 few minutes, large designs which would otherwise have 
 taken several hours to accomplish. Of course, he will have 
 to familiarize himself sufficiently with it to keep in his 
 mind the exact weave, and the position which each figure 
 represents, in order to see, as it were, the run of the texture. 
 After having completed the design to his satisfaction, it 
 may be drawn on design paper in the usual manner if re- 
 quired; although, both the chain draft and dra wing-in draft 
 can be made out from the original work. 
 
 FIG. 20. 
 
 ~~~:-*mm~~~m. 
 ': :: : :: ' 
 
 nnnfiBBa ^ 
 
 BUB II 
 
 r B BBB ; :: EBB 
 
 ^BMBL^MM- 
 
 :: ::. ; mmm 
 
 a NIB mmm m mmm am* 
 
 .. . . . 
 
 mam mmm : HHB : :: HIM HBB ;: 
 
 mmm mm 'mmm' mam 
 mmm mmm : : - :: BBS B 
 ' 
 
 BBB : 
 ~r 
 
 i 
 
 a! 
 
 " m mm mm mm 
 
 -Mmm BB BBB BB BOB BBB EBB 
 
 BUB BED EBD BBB BBB 
 
 " BBH BBB* ": ". ;: " p " 
 
 S^mmm^mm^.'-.r.'mmm' : : 5: :'*: r:55* BBB 
 BB ;-: ~ZBHB_- mmm -mmm:^::.mmu-n~mmm- 
 
 Fig. 21, mustrates si plaid block patt&n, Composed of 
 common six-harness twills, all of which run in the same 
 direction. This design produced in all one color, and kind 
 of yarn, will show up the plaid effect to a good advantage.
 
 TEXTILE DESIGNING. 
 
 7? 
 
 owing to the sharp cut-off in the twills. In this manner 
 any evenly balanced twill may be arranged and carried out 
 to any size required. 
 
 FIG. 21. 
 
 nnr...::::::...::.-.".::.: :.r.::n 
 "- BBB::-" BBB: :::B' ; - B" :-: ~; :: : 
 
 B BBB : BMB B B: H B 
 
 Pi" .:" .v. MvA- 
 
 B BBB -' BBB B BBB B BOB BBB m::.'C."^:'J 
 : BBB : :BHB ~ *B B B' 'B: : BBH BBB::BBBBB::BBBBB 
 
 iss-^ss- s ; s is .- ^ss^^y..^!. 1 
 
 BBB ; BBB: : :: :B: :B: ' ::;:' 'B; :.BB' T:::BBB: : B : : B ::: : 
 
 ^s 1 -M!!"%:i" .is" .ss" .si" .s."Eii3.i 
 
 m m m n BBB KB a BEB : : BBB:;::: BBB: : ::-" 
 
 : :B' 'B B B' B' B' B EBB 9EB 9BB EEB B B B 
 
 Br'n l : : :B::B: :::"::::::: : ...L:: :::.BB: :;::-BBB::: : :BB - r: B. 
 
 BBBBB " B B '.'. '.. PBB .'. '. 'BBB: : ' BHB : ]'. DBB " BBB 7." BB. 
 
 :: B B B B BBB BBB " ' BBB BBB BBI 
 
 BBBBB :; ;; ;: :: -BBB. _: :: 'BB.;j::r:..B^~: BBB ;: ':-: 
 
 * r .:%5B*::*BBB*:: :: B::L! ^mdcrmmm-- 'BBB:: :-: cni 
 RBI :: :: 'BBB BBEBB BBBBB' :: BBBI::::: .;::: 
 
 B' 'BBB' BB9 fl ^ " CCCH.lBCBl 
 
 [-... BBB " BBBBB: BBBBB BBB r ":..B:::: 
 
 BIMM~:: BB. .: :: :B: : ' .":..:::: : BBL::::: 'BBB: .:::: . H 
 
 B "' BBB B BHBBBV'BBBBB H::: ; . .B..; :..' B B B B B: B B 
 
 B' ' BBO BBB : ". :: '' " : BBB::::: BBB B B B 
 
 :. ' BBB :' ': BBB BBBBB BBBBB ^ BBB BBB . 9 B B 
 
 ::::" .BB :: : n . : ::...:::::::.BB; ~B: : 'B: 
 
 35- M55- .. 53' iSS" y E3 
 
 BBB a : :. B a m. m m 'm' u m: mm .::.::.r'. B' B .:::. 
 B B B B : : : BBB' BB B B .:.::: : ..:: " .. inmi 
 
 fl B BBBBB BBB : BBB fl B BTBBB EBB BBB 
 
 a m~ '...' 'BBB" :B B::. ::::::'.: BB: : r BJ.BC 
 
 mm :: BBDBB BBB : BRB : "' : B '.. .: BBBBB' B p~ lB.r:2 
 
 BUB ::::::: ""MB ., :. :'..B;_::: '""" '*'. -H".'.,"" ' 
 
 mrF ::%*%%*:":"*::" :: ':"- " : 
 BBBBB: ::":: ' ::'::...:: BBBBBBBBE 
 
 "BBBBB*" 'SrS: :%":: .;' 'BBa*: :: BBBBB '::*" "B- .nn nr 
 .: '^: :::::; :B. : :BBB: : : BBB :::'.::::; 
 
 Fig. 21, illustrates a six-harness twill and basket-rib 
 combination, which is a novelty and should be thoroughly 
 studied, as there are some good points to be gained from it. 
 Notice how the cotton stitch or plain texture is used to pro- 
 duce a proper cut-off throughout the design; also how the 
 the two long twills join with others at the repeating of the 
 pattern, as we.ll as how the twills join on the basket-ribs. 
 There is not an excess number of risers, or sinkers, in any 
 one place throughout the design. 
 
 Fig. 22, illustrates another style of basket rib combined 
 with a creased stripe and twill. The two warp threads that 
 weave side and side, on the back, which read three down
 
 ?8 THE SELF-INSTRUCTOR, 
 
 and one up, make a perpendicular line or crease after the 
 style of a tricot weave; and produces a handsome effect in 
 combination with other weaves. It will be seen, at the cut- 
 off of the twill where the different characters are inserted, 
 that there are five risers in succession, the filling way, and 
 that to all appearances this would cause a float on the back 
 or a miss-pick effect on the face of the goods; but owing to 
 the middle thread, as shown by the different characters, be- 
 ing thrown to the back of the goods in the process of weav- 
 ing, it does away with this bad effect as appears. 
 FIG. 22. 
 
 ^--^-"--^. : : """"-' ^-3~filH 
 
 iriillzij'iiri'rji. ":':: ..III:.: :..li:..: 
 
 B mmm m mmm : ; ' : . : 
 
 B . B B mmm mam m mm* ; 
 
 B :. :. : : . : ; : : B : : 
 
 mmm mm ; ; : BBS : : amm - m mmm amm . a 
 
 B B m m mmm . m nmm : mmm 'm 'm - m~jm mmm 
 mmm:: m m m m mmm :: : mam m mmm mm msm m 
 
 : : ... :: ::::ijiii: 
 
 B K BBB ; 
 .B :. : :...: ; 
 
 i5z"""... 5""i 
 
 BB. : .B.ECBBB BBC MBH 
 
 m mmm mmm : :;:>;.;;:::;: :r.:^iii::: III 
 ~~^_iiin~znizzi^izii:iz:zi..:r..^r- :.i.:::inm 
 
 Fig. 23, illustrates another style of combination, with 
 the crease weave used to divide the diagonal and rib figures. 
 This style is quite often used in patterns for trouserings. 
 The diagonal stripe should, however, be carried out some- 
 what wider than the basket-rib stripe. 
 FIG. 23. 
 
 ^^^^.".^""Z.ZZ 
 
 ::::: B . .IB 
 
 " :: 
 
 II 
 
 - - n ,. . . .. ~m. . .. ! 
 
 B.._.: : . .-; mm ; mm mm 
 
 M .. H B H n :: 
 
 z.: B . - ' 
 
 Fig. 24, illustrates a diamond pattern composed from 
 what appears to be two different diagonals, but it is really
 
 TEXTILE DESIGNING. 
 
 only one or the same weave, transposed. It will be seen, 
 that the upper left and lower right-hand corners are formed 
 by the same sixteen-harness diagonal, and that there are 
 nine risers and seven sinkers on each thread, both ways of 
 the weave: while the upper right and lower left-hand cor- 
 ners are formed in a similar manner, but with the weave 
 transposed so that each thread has nine sinkers and seven 
 risers. This transposition is necessary in order to make a 
 perfect cut-off. Weaves not equally balanced in risers and 
 sinkers, are generally arranged in this manner when united 
 to form diamond patterns. 
 
 FIG. 24. 
 
 laSBnrSSEm 
 
 m ---:- mm y- mu \_'- mm EBBB :; 
 nnBBnnBBBnnnBBnuBBBBr 
 nnBBnnBBBL:B: :c::iBMnii!HMHi 
 nnnnBBr" BBI 
 BniMnpBBWi 
 
 '- : - m -- 
 
 ; BBB: BBBB: : :BB: ;: :t :: 
 
 Bam BBBB ::_:: :&BB: :: : 
 
 ~ 
 
 _ 
 
 : :~: :: BBBB : :: . 
 BBBB ....... BBBB' BBB. 
 
 "m - ; BBBBBBB" : 'BB 
 ' ' 
 
 aam :: ma : B a 'BBBB: 'BBB : B 
 
 BBBB' " BB B ..... BBBB' BBB HB 
 
 UBBBBC: :':!::: .MrrrBBB: :BBB^:-'BBn 
 " ' ' ' BB BB :: :: 
 
 B ..... BB 
 
 : : BB : : BBBB 
 : :BBnnnnBBBBn 
 'BB. : : : BBBB: 'B 
 
 BBBB ' ' 
 
 BBCB :: 
 
 BBB 
 
 BB BBB 
 
 We will now call the reader's attention to Fig. 25, 
 
 which illustrates the first three bars or picks of a fancy 
 diagonal, composed in the following manner: 
 
 56 7 
 
 In connection herewith, we illustrate a four, six and an
 
 80 THE SELF-INSTRUCTOR, 
 
 eight-harness twill, numbered 5, 6 and 7, respectively. Now 
 observe that the first bar of Fig. 25, is the same as that of 
 weave 5; the second bar is the same as the first of weave 6; 
 and the third bar is the same as the first of weave 7; each 
 instance the bars being carried out to twenty-four threads 
 or harnesses in width. Now to complete the figure, con- 
 tinue thus: take the second bar of each weave, in their res- 
 pective order, and set them in the same order under those 
 of the figure; then take up the third bar of each weave, 
 then the fourth, etc. ; continue setting them under those in 
 the figure until it is seventy-two bars in length. This will 
 complete the figure and give us a large, fancy diagonal. In 
 this operation, weave 5 had to be repeated six times; weave 
 6, four times; and weave 7, three times, both ways, before 
 all three weaves would repeat at the same point as started 
 on. Hence, it will be seen that, in combining two or more 
 weaves of different sizes, into continuous diagonals, they 
 must each be carried out to that point where they will 
 repeat at the same time or place of starting. On this prin- 
 ciple of composing diagonals, many beautiful and compli- 
 cated patterns are made for worsted fabrics; in fact, there 
 is no limit to them. 
 
 We might continue this subject, and illustrate many 
 other combinations if we deemed it necessary, but we be- 
 lieve a sufficient number and variety have been given, to 
 enable the beginner to form a good idea in this branch of 
 designing, so that by a little study and practice, he will be 
 able to comprehend its scope, as set forth in the first para- 
 graph.
 
 TEXTILE DESIGNING. 81 
 
 CHAPTER XIV. 
 
 THE ANALYSIS OF DOUBLE WEAVES THEIR CONSTRUCTION 
 AND STITCHING. 
 
 This is a subject requiring much study and practice in 
 weaving, as it were, on paper; in other words, the uniting 
 of weaves in various ways to learn the result or effect. To 
 be able to answer the following questions, after inspecting 
 or looking through a double weave, is a matter of no small 
 importance to both the professional and amateur, in these 
 days of modern competition in the profession. 
 
 First. What two weaves are used in the formation of 
 this double weave? 
 
 Second. Which one of them weaves the face of the 
 fabric, and which one the back? 
 
 Third. Are they properly stitched together? If so, by 
 the face weave, back weave, or both? 
 
 Fourth. How are we to know that this double weave 
 is correct in every respect, without trying the same in a 
 pattern loom? 
 
 The practical designer ought to be able to answer these 
 questions promptly and correctly, after looking the double 
 weave through. We are sorry to say, however, from per- 
 sonal observations, we know there are those who profess to 
 have this power, that are more or less deficient in the mat- 
 ter. It is for the benefit of those professed designers, and 
 particularly beginners, that this chapter is intended. 
 
 To begin the subject, we will take for illustration, 
 Fig. 1, which represents a double weave composed of the 
 
 11
 
 82 THE SELF-INSTRUCTOR, 
 
 regular eight-harness twill four up and four down for 
 the face: and the regular four-harness twill two up and 
 two down for the back. These weaves are tied or stitched 
 together by the back filling threads; in other words, it is 
 called a ''filling tie/' that is to say, the back filling threads 
 are brought up into the face of the fabric, by passing over 
 certain face threads of the warp, one at a time in regular 
 order. It will be observed, on looking at this double weave 
 (Fig. 1), that we have numbered the bars or filling threads 
 at the left from 1 to 16, in rotation; also that the harnesses 
 or warp threads are numbered at the bottom from 1 to 16 y in 
 rotation. 
 
 FIG. 1. FIG. 2. FIG. 3. 
 
 T2nmr.Kimnunu } Qnnn: ^'^^^^Q 
 
 BliiBOQp 
 aaaaa a BBaBB 7 lE.r:.' a :; ; 
 
 IBB. B BBBBB 9 m " 
 
 B .-. i3.nn: . 
 
 i. isnn : .. ::::::: 
 
 We will now analyze this weave for the purpose of 
 demonstrating its construction, as well as to see if the 
 above remarks prove true. To do this, proceed as follows: 
 Take the bars r or face filling threads, numbered l y 3, 5, 7, 
 9, 11, 13 and 15, and set them down under each other, in 
 their numeral order, the result is Fig. 2. From this figure, 
 take the harnesses, or face warp threads, numbered 1, 3, 5, 
 7, 9, 11, 13 and 15, and set them down along side of each 
 other, in their numeral order, the result is Fig. 3, which is 
 the eight-harness twill, and face weave. 
 
 FIG. 4. FIG. 5. FIG. 6. 
 
 2 Bn<y :::: r:n..ar.. B BBBBBB 
 
 ,' ..s: SMSSS S|P = .: .r ..:;:.. 
 
 ;:::. : 
 
 MQO~ .... : :: a a : ; 
 
 Now take the bars, or back filling threads, numbered 
 4, ('), 8, 10, 12, 14 and 10, and set them down under each
 
 TEXTILE DESIGNING, 83 
 
 other, in their numeral order, the result is Fig, 4. From 
 this figure take the harnesses, or back warp threads, num- 
 bered 2, 4, 6, 8, 10, 12, 14 and 16, and set them down along 
 side of each other, in their numeral order, the result is 
 Fig. 5, which is the four-harness twill, and back weave; 
 also the harnesses, or face warp threads, numbered 1, 3, 5, 
 7, 9, 11, 13 and 15, and set them down along side of each 
 other, in their numeral order, the result is Fig. 6, which 
 illustrates the method or plan of tying. 
 
 If a "warp tie" is desired, that is to say, the back warp 
 threads are brought up into the face of the fabric, passing 
 over the face filling threads, one at a time in succession, 
 the weave would then be as shown in Fig. 7, 
 
 FIG. 7. FIG. 8. 
 
 i nnn v: :M'inn i nnnnnntnnpn 
 
 !maidnnK] 
 
 QBOif 
 
 6 
 
 7 m*m : 
 :: 
 
 Q n ;; : 
 
 a mamma ;:;: ; 
 i:nrrr. :ri :. :: :: ::::! 
 !-! :"';::: 
 ..... ' 
 
 FIG. 9. FIG. 10. 
 
 6 :;; ;BHM: iarl 
 
 foSSBSsssKSBKK 
 i ::: : :".::: : :"|. 
 
 By analyzing Fig. 7, the same as just demonstrated 
 with Fig. 1, we find Fig. 8 in place of Fig. 2, which 
 contains Fig. 3, and also Fig. 9 which illustrates the tying 
 method. Then again, we find Fig. 10 in place of Fig. 4, 
 which contains Fig. 5. 
 
 If a "warp and filling tie" were desired, bringing both 
 of the above methods into operation at the same time we 
 would then have Fig. 11. From the analysis of this figure, 
 we get Fig. 8, which contains Figs. 3 and 9; and again, we 
 get Fig. 4, which contains Figs. 5 and 6.
 
 THE SELF-INSTRUCTOR, 
 
 Now we will proceed to find and lay out this double ty- 
 ing plan in its full and original form. To do this, we will 
 take Fig. 11, and proceed as follows: 
 
 FIG. 11. FIG. 12. 
 
 ;'. - 
 B Bl 
 
 vmmmmmmmmmm 
 mmammma* mi 
 
 ......... 
 
 B mm 
 
 Commencing with the first pick, which is a face thread, 
 we set it down as all sinkers except where the tie comes on 
 the eighth harness, we mark that as a riser; then taking 
 the second pick, which is a back thread, we set it down as 
 all risers except where the tie comes on the third harness. 
 we mark that as a sinker; in this manner we continue with 
 each of the sixteen filling threads in rotation, the result is 
 Fig. 12 which shows the whole tying plan, full size, both 
 filling and warp methods. 
 
 FIG. 13. FIG. 14.- 
 
 3o 
 >: 
 
 l-BI 
 
 :: 
 
 From Fig. 12, we will take the bars 1, 3, 5, 7, 9, 11, 13 
 and 15, and set them down under each other, in their nu- 
 meral order, it will give us Fig. 13, from which we will 
 take the harness numbers 2, 4, 6, 8, 10, 12, 14 and 16, and set 
 them down along side of each other, in their numeral order, 
 we obtain Fig. 9. Now we will take the remaining bars 
 or filling threads 2, 4, 6, 8, 10, 12, 14 and 16, and set them 
 down under each other, in their numeral order, the result is 
 Fig. 14, from which we will take the harness numbers 1, 3, 
 5, 7, 9, 11, 13 and 15, and set them down along side of each 
 other, in their numeral order, we obtain Fig. 6. By these
 
 TEXTILE DESIGNING. 85 
 
 figures it will be seen, that each demonstration has proved 
 itself true in every point. 
 
 Fig. 15, illustrates the two original _J T 5f- 15 - 
 
 weaves, Figs. 3 and 5 combined, but not kniE" ! 
 
 tied together. If we were to set a loom rn^mm : : 
 
 in operation, containing a warp drawn JJfBJI 
 
 in straight across sixteen harnesses, S5SE 
 with the harness chain built thus, the 
 
 result would be two separate pieces of Sr*"*"" 
 
 i .LI i . i . -i t : 
 
 cloth, but united at the selvage only. giig^ 
 
 The analysis of any double weave 
 may be conducted on the principle already described, and 
 should there be any mistakes in either of the component 
 weaves, or tying plans, such mistakes ,can be easily detected 
 by the deficiency or excess of risers, or sinkers, as the case 
 may be, which can be rectified on paper before building the 
 loom chain; thus saving time, trouble and annoyance of 
 finding such mistakes in the cloth, after the loom has been 
 put in operation. 
 
 Should the reader fail to comprehend our meaning, we 
 would advise the following: Take a sheet of design paper, 
 on it copy off all the above figures in their numeral order, 
 at the same time carefully read the directions which accom- 
 pany them; in this manner the reader will more readily un- 
 derstand our meaning it will all seem to come to him, as 
 it were, at once. 
 
 To assist the beginner further in this important branch 
 of designing, we will illustrate some of the most practical 
 double weaves in use at the present day, and the different 
 methods of stitching or tying them together. 
 
 FIG. 16. FIG. 17. FIG. 18. FIG. 19. 
 
 PR 
 
 * ammm :::: 
 
 tc u it - -i X t~ ~ i- ~. -i x 
 
 Figs. 16, 17, 18 and 19, represents the regular four-har- 
 ness cassimere twill, both the face and back weave. Fig. 1C
 
 si; 
 
 THE SELF-INSTRUCTOR, 
 
 shows the filling tie; Fig. 17, shows the warp tie; Fig. 18, 
 shows both warp and filling ties; and Fig. 19, shows a 
 broken warp and filling tie. 
 FIG. 20. FIG. 21. FIG. 22. FIG. 23. 
 
 il 1.. 
 
 jddpdd :UL:::M:": B : :"":"":".' ; : 
 
 Odqdnnan ^nd.idn^pHd B>B^nnannciBQ . :. ; :;;:~. : 
 
 Figs. 20, 21, 22 and 23, represents the regular six-harness 
 
 twill, both face and back. Fig. 20, shows the filling tie; 
 
 Fig. 21, shows the warp tie; Fig. 22, shows both warp and 
 
 filling ties; and Fig. 23, shows a broken warp and filling tie. 
 
 FIG. 24. FIG. 25. 
 
 BdtHQL-lLJd 
 BBBdOdB 
 
 :: : :: : :: ; w "B"iB~nut :: :: ' :' ~BB 
 
 BD^. B :;:....BBBB B B a 
 
 idBPB^Bndnan : ;; :: :: '::' :: .: :nn 
 
 IdMuBHd '. ''"''M' 'M' ' "LJ 
 
 SBSBSSffigB SS 5!5""" ' 
 
 ~ Maonin '; ; ' : 
 
 :___ 
 
 FIG. 26. FIG. 27. 
 
 :.....::.:: 
 
 BSB:BBS5^Sy 
 
 idddn*H: :n nnmnMnBaMnnd 
 
 mauaummmummm ' ": 
 
 ir" dd::~: '"::: 
 
 ! -v mamammamK 
 
 n: ::: ': :B - J. 
 ............ 
 
 .: : 
 
 inddunnnBd BE. B: ; : ":.'i 
 
 .BBiggsiHiBBS i;i"." B " i s. 
 
 Figs. 24, 25, 26 and 27, represents the regular eight- 
 harness twill, both face and back. Fig. 24, shows the filling 
 tie; Fig. 25, shows the warp tie; Fig. 26, shows both warp 
 and filling ties; and Fig. 27, shows a broken warp and 
 filling tie.
 
 TEXTILE DESIGNING. 87 
 
 Iii originating these double weaves, we placed each 
 single weave in such a position that the twills were made to 
 come directly over and under each other as near as possible. 
 This is a point which should be adhered to, so far as pos- 
 sible, in the formation of all such weaves, as it makes it 
 much more convenient for tying them together in a proper 
 manner. 
 
 FIG. 28. Ij^M. FIG. 30. 
 
 :" "_: 
 mm 
 
 --* HHBI 
 
 " BEBBBB BBB 
 
 TM: :#:::: z*. 
 
 B B EBBBB BB '. B B 
 
 s i;": 
 
 -tiic-^=-.-.x=;S=t'3 BZBT 
 
 :ES^ 
 
 nil 
 
 Figs. 28, 29 and 30, are respectively the above three 
 twills (four, six, and eight-harness), and will weave the 
 same fabrics as those; but in originating these latter figures 
 the single weaves were combined from a different point or 
 position, hence -the difference in their appearance. The ob- 
 ject of these figures is to demonstrate that, there is a right 
 and wrong way of putting together two single weaves for 
 the purpose of producing a double weave; not because it 
 makes any difference in the weaving or appearance of the 
 fabric, but that it does make a great difference in the man- 
 ner of stitching them together. In the former sets of fig- 
 ures it will be observed how systematic the stitching is ac- 
 complished, and, in accordance with rules previously laid 
 down; while in this latter set there is no such system to fol- 
 low. In the former, each place of stitching is completely 
 surrounded by either sinkers, or risers; in the latter, it takes 
 both sinkers and risers to surround each stitch or tie tie 
 where you will, the result will be the same. 
 
 Figs. 31 and 32, represents a double-pick face (two and 
 two, warp and filling) with a cassimere-twill back, show- 
 ing two methods of tying. 
 
 Figs. 33 and 34, represents a six-harness basket face
 
 88 
 
 THE SELF-INSTRUCTOR, 
 
 (three and three, warp and filling) with a six-harness twill 
 back, showing two methods of tying. 
 FIG. 31. FIG. 32. FIG. 33. FIG. 34. 
 
 '...:: 
 a 
 
 = 
 
 ....... 
 
 E : 
 
 .. .. . 
 3tun 
 
 gm;:nnE 
 t2*i** 
 
 Figs. 35 and 36, represents an eight-harness basket face 
 (four and four, warp and filling) with an eight-harness twill 
 back, showing two methods of tying. See Sample No. 5, 
 made from Fig. 36. 
 
 FIG. 35. FIG. 36. 
 
 nnnnnnnnBnBDBnB^ nronnnnnBnBnBBn 
 
 ' ! 
 
 :.:.:;:. 
 
 EMHB" """ 
 
 SnBBBBBBBBi IB' B 
 ::.:: 
 
 B .. 
 P 
 
 Fig. 37, represents a double-pick weave, both face and 
 back. 
 
 Fig. 38, represents a six-harness basket weave, both 
 face and back. 
 
 Fig. 39, represents an eight-harness basket weave, both 
 face and back. 
 
 FIG. 37. 
 
 FIG. 38. 
 
 FIG. 39. 
 
 
 'n.n'BnBBBBBB 
 B- ;-"- 
 
 
 
 
 
 .' 
 
 B 
 
 BBBBBBBB 
 B' 'B' 'B.' B 
 
 :BBBBBBBI 
 
 'BBBBBBBB 
 :r::_:::: : ::.:~: 
 
 BB B B 
 
 nnnnnnn 
 oaa . 
 
 -::: : i: : ,: : 
 
 DBnBDBn 
 ffi^oD^S^SSZE-,?. 
 
 If it should be desired to give these weaves a closer ty- 
 ing, insert a stitch between the present ones in rotation.
 
 TEXTILE DESIGNING. 
 
 Figs. 40, 41 and 42, represents respectively the same as 
 the three preceding figures, but combined from a defferent 
 standpoint, as described under Figs. 28, 29 and 30. Note 
 the difference in tying. 
 FIG. 40. FIG. 41. FIG. 42. 
 
 ZZZB 
 
 
 
 pa DOC 
 
 
 5 SES? 
 
 I! 
 
 : ;SE 
 
 
 
 BBBBBBBB 
 
 BBBBBBBH 
 
 Fig. 43, represents the regular, six-harness twill face 
 with the three-harness (two up and one down), twill back. 
 
 Fig. 44, represents the regular, six-harness twill face 
 with the three-harness (two down and one up), twill back. 
 
 Fig. 45, represents the regular, six-harness basket face 
 with the three-harness (two up and one down), twill back. 
 
 Fig. 46, represents the regular, six-harness basket face 
 with the three-harness (two down and one up), twill back. 
 FIG. 43. FIG. 44. FIG. 45. FIG. 46. 
 
 Dafl BBBBB 
 
 ~ 
 
 B< 
 
 ! 
 
 : 
 
 Only one method of tying has been illustrated in these 
 last four figures, which we consider is sufficient owing to 
 the close texture of the back weave; but should more tying 
 be desired in some cases, increase the number of stitches as 
 previously illustrated in the twill weaves. 
 
 If it should be required to reverse the position of any 
 one of these double weaves, Figs. 31, 32, 33, 34, 35, 36, 43, 
 44, 45 and 46, that is, to throw the face weave to the back, 
 and the back weave to the face, turn such figure one-fourth 
 way round, either to the right or left, and build the loom 
 
 12
 
 90 THE SELF-INSTRUCTOR, 
 
 chain with the figure remaining in that position. This will 
 turn the position of the weave so that the working of the 
 tilling threads as now, will then represent the working of 
 the warp threads; and the working of the warp threads as 
 now, will then represent the working of the filling threads. 
 We will now close this chapter, after illustrating the 
 following: Figs. 47, 48, 49 and 50, represents four different 
 movements for weaving two pieces of plain flannel, at the 
 
 FIG. 47. FIG. 48. FIG. 49. FIG. 50. 
 
 Mnnn annn man rrann 
 
 sese SKB sy^s s- 
 
 mam Sl^S 
 
 same time, one above the other. Hence, each one of those 
 weaves will produce the same result. It is on this principle 
 that double-width flannels are woven in single- width looms. 
 
 CHAPTER XV. 
 
 THE CONSTRUCTION OF TRIPPLE OR THREE-PLY WEAVES. 
 
 This is a class of weaves which are very little used in 
 comparison with those of the single and double classes. 
 Perhaps, if better understood by designers of fabrics for 
 wearing apparel, this class of weaves would be brought in- 
 to a more general use in the manufacture of certain heavy 
 fabrics. 
 
 Tripple or 3-ply weaves, are those having three weaves 
 united into one in such a manner that but one fabric is 
 produced, as it were, in the operation of weaving. Yet, in 
 reality, this one fabric is composed of three fabrics tied 
 or stitched together in such a manner, during the process of 
 weaving, that they really represent but one fabric. 
 
 The term "stuffed" is quite often used in preference to
 
 TEXTILE DESIGNING. 
 
 "tripple" or "3-ply," and quite appropriately too, as the prin- 
 cipal object in using this class of weaves, is for adding 
 weight or cheapness to the fabric by stuffing into its centre 
 a cheaper grade, or another class of stock; the face and 
 back fabrics completely covering from view the middle fab- 
 ric. On this principle of weaving, a cotton fabric can be in- 
 serted between two all-wool fabrics the three being stitch- 
 ed together as one, so that no one could detect it without 
 unravelling the same. This method of weaving is, there- 
 fore, adapted to the manufacture of chinchillas, worsted 
 cloakings, overcoatings, etc. 
 
 In order to demonstrate this subject in a comprehensive 
 manner, in the construction of the different illustrations or 
 figures, it will be necessary for us to use the terms "face," 
 * 'middle" and "back," a great many times in connection 
 therewith; hence, we desire the reader to keep in mind, the 
 following explanations: That these terms apply to the face 
 weave, the middle weave and the back weave, and will be 
 represented at the top, and at the side of these illustrations, 
 by the figures 1, 2 and 3, respectively. That is to say, the 
 figure 1, will represent the "face;" the figure 2, will repre- 
 sent the "middle;" and the figure 3, will represent the 
 "back." 
 
 We will now illustrate the manner of laying out and 
 constructing a tripple weave, to consist of the four-harness 
 cassimere twill on both the face and back, and the two-har- 
 ness cotton or plain weave in the middle. This manner of 
 procedure, when once thoroughly understood, will enable 
 the beginner to construct a tripple weave with any three 
 
 123123123123 
 
 (3) 
 
 m 
 
 single weaves he may choose to use. As will be seen, we 
 have marked the weaves named above, (1, 2, 3,) and placed
 
 THE SELF-INSTRUCTOR, 
 
 them in the position that they are to occupy in the tripple 
 weave. At the right of these weaves, we have illustrated 
 what is to represent a piece of design paper, marked at the 
 top and one side, 1, 2, 3, in succession. On this design 
 paper, we will proceed to lay out and construct the tripple 
 weave. In doing this work, it should be borne in mind that 
 each single weave is to occupy the positions on the design 
 paper in line of the figure which corresponds with that of 
 the weave being laid out, and no other, both ways of the 
 paper. 
 
 FIG. 2. 
 
 FIG. 1. 
 
 123123123123 
 
 FIG. 3. 
 
 123123123123 
 
 i nnnnanpppni: 
 
 pf 
 
 3 nnnnnnnnnninn 
 
 123123123123 
 
 1 ppppnppppppn 
 
 2 i 
 3 
 
 1 nc 
 
 2 ppn 
 
 3PP1 
 
 i PPE 
 
 . 
 3 pppppppppppp 
 
 FIG. 4. 
 
 123123123123 
 
 FIG. 5. 
 
 123123123123 
 
 3 PC 
 
 Fig. 1, illustrates the face weave laid out in its respec- 
 tive order. 
 
 Fig. 2, illustrates the middle weave laid out in its res- 
 pective order. 
 
 Fig. 3, illustrates the back weave laid out in its respec- 
 tive order. 
 
 Fig. 4, illustrates the face and middle weaves combined 
 in their respective order. 
 
 Fig. 5, illustrates the face, middle and back weaves 
 combined in their respective order. This figure, as it now 
 stands, would weave a single fabric of a filling face, diago- 
 nal appearance. Hence, another movement must be made 
 that will separate these textures, and allow each one to
 
 TEXTILE DESIGNING. 93 
 
 work independent of the two others. In other words, when 
 a filling thread is woven into either the face, middle, or 
 back fabric, the harnesses which weave that fabric must 
 work independent of the others. This will be seen by ex- 
 amining Figs. 6 and 7, particularly the latter one. 
 FIG. 6. FIG. 7. FIG. 8. 
 
 123123123123 123123123123 123123123123 
 
 1 M:_:: / . :. ; ": : i nnnn: 
 
 2 MB: "M: ; :::: :i: 2 ::: 
 
 1 : : :-': : i BLJ: 
 
 2 :; : : : 2 n 
 '' m :: ; ;. .; ;: ; 3 
 
 ...... '' 
 
 H 3 nmnvm s :::; 
 
 ' i '' 
 
 L::::BBa 2 
 
 . . BB HH 3 
 
 ...... : '' ; i nncM' y ": in i n 
 
 2 ::": : ; z mm^u~ um^.f^n 2 
 
 ' : . :.-... Bi:i~n 3 3 
 
 " 'n:: i nc ' 
 
 3 : : : HBBBLBBBBB ". EB BB BB BBB B 
 
 Fig. 6, illustrates the movements of the face and middle 
 textures completed and separated the filling way only. 
 
 Fig. 7, illustrates the movements of all three textures 
 completed and separated, both filling and warp ways. If a 
 harness chain were built from this figure, and attached to 
 a loom operating twelve harnesses with a warp drawn in 
 straight across, it would produce three separate fabrics con- 
 sisting of a cassimere twill on the top and bottom with a 
 plain flannel in between them the three pieces being united 
 by the selvage only. Now let us look closer into the con- 
 struction of this Fig. 7. Looking at it the filling way, we 
 find that the face picks or bars 1, 1, 1, 1, remain the same 
 as in the former figures, passing over all but two of the 
 warp threads. The bars 2, 2, 2, 2, show an increase of four 
 risers, all of which are marked over the face weave; thus 
 forcing the filling to pass under all of the face warp threads 
 and over all of the back warp threads, completely enclosing 
 this filling between the face and back fabrics; or, in other 
 words, allowing it to form a middle fabric independent of 
 the two others. The bars 3, 3, 3, 3, show an increase of 
 eight risers, all of which are marked over both the face and 
 middle weaves; thus forcing the filling to pass under all but 
 two of the warp threads, and they assist in weaving the 
 back fabric. Looking at it the warp way, we find that the 
 face warp works over all but two of the filling threads; the
 
 94 THE SELF-INSTRUCTOR, 
 
 middle warp works the same both ways; and the back warp 
 works under all but two of the filling threads. 
 
 Next in order, is the uniting or tying of these fabrics 
 together in such a manner that, when put into operation, 
 they will produce one combined fabric; in other words, the 
 three single fabrics will be united, and appear as one. 
 
 Fig. 8, illustrates the completed tripple weave, with the 
 tying as just described. On examining into this principle 
 of tying we find that, the first tie is made by raising a mid- 
 dle warp thread so that a face filling thread passes under it; 
 the second tie, by raising a back warp thread so that a mid- 
 dle filling thread passes under it; the third and fourth ties 
 are made in the same manner respectively. The first and 
 third ties, unites or binds the face to the middle weave, and 
 the second and fourth ties, binds the back weave to the mid- 
 dle; hence, it will be seen that, the middle weave is the 
 basis of tying for both the face and back. See Sample No. 
 6, made from this weave. 
 
 We do not wish the reader to understand that it were 
 necessary to go through with all of the above different 
 forms of construction, in order to lay out and construct this 
 tripple weave, as such incomplete figures are only intended 
 to illustrate our meaning in a better manner than could be 
 otherwise done. Fig. 8, contains all of the former figures 
 consolidated, and is in itself, the only one necessary to have 
 made were the principles previously understood. Hence, 
 we will not enter so fully into the details with the commiiig 
 figures as done with that of the present one. 
 
 FIG. 9. 
 
 (1) 123123123123 
 
 ssee ismygsB 
 
 BBM (2) mmmmmnm ... 
 
 HIM 
 
 n 2 inSi 
 
 nga XON me r~M":I~3 
 
 ! I 
 
 -: MM: :MMBMMBBHn 
 
 i n 
 
 a 
 
 i M : 
 
 ' IMMMMM 
 
 Fig. 9 is composed of the three weaves represented, con- 
 sisting of a double-pick face, plain middle, cassimere back.
 
 TEXTILE DESIGNING. 
 
 95 
 
 Fig. 10 is composed of the three weaves represented, 
 consisting of the four-harness, broken twill face (one down 
 and three up), plain middle, and cassimere twill back. 
 
 Fig. 11 is composed of the three weaves represented, 
 consisting of the four-harness, twill face (one down and 
 three up), cassimere twill middle, and the back the same as 
 the face weave reversed. 
 
 (1) 
 
 
 FIG. 10. 
 
 (2) 
 
 ::. 
 
 i 
 
 (3) 
 
 HCM 
 :.:;j 
 
 maw 
 
 (l) 
 
 m"m'm 
 
 HSS (2) 
 
 SSBS 
 
 FIG. 11. 
 
 a 
 
 : : B y 
 ma mm* 
 
 Bfl HBBBBB 
 
 123123123123 
 
 nncBnuMnnMnn 
 
 mm+mucmncmmn 
 
 Sam 
 men 
 B*B : 
 
 :M:J: *:::-: 
 mm am mmm 
 
 Fig. 12 is composed of the three weaves represented, 
 consisting of a cassimere, broken twill face, the four-har- 
 ness, broken twill middle (one up and three down), and the 
 cassimere twill back. 
 
 Fig. 13 is composed of the three weaves represented, 
 cansisting of a plain face, cassimere broken twill middle, 
 and a cassimere twill back. 
 
 (1) 
 
 ZMH 
 
 ::: : 
 mm 
 cmm 
 
 (3) 
 
 FIG. 12. 
 
 123123123123 
 
 i nnnanBnnnnn 
 
 * B B BB 
 
 :: 
 
 iye 
 
 inn 
 2 mcc~mm:~m >M::::I 
 
 'A mm mmmmmmmy 
 
 (1) 
 
 na 
 nmn 
 
 Mna 
 CMIUM 
 
 ~ 
 
 BB : 
 
 ?;;. 
 
 From the preceding illustrations, the reader will, no 
 doubt, obtain a pretty good idea of the construction of trip- 
 pie weaves, particularly those of the smaller class. We 
 will now illustrate some of the larger classes (within the 
 limit of twenty-four harnesses) without showing the weaves 
 from which they were composed, but will name such weaves 
 as well as the positions which they occupy. We shall, how- 
 ever, confine ourself to weaves of the common class.
 
 THE SELF-INSTRUCTOR, 
 
 Fig. 14, represents the common six-harness twill for 
 the face, the three-harness twill (one up and two down) for 
 the middle, and the six-harness basket for the back. 
 
 Fig. 15, represents the three-harness twill (two up and 
 one down) for the face, the six-harness basket for the mid- 
 dle, and the common six-harness twill for the back. 
 
 FIG. 14. FIG. 15. 
 
 Ucncn'" _z ~i 
 3 ~irM:ii 
 
 BIB 
 
 IBB By 
 
 B DBBBBI 
 
 BB B : 
 BB BB 
 
 MB BB BBB 
 
 :. 
 
 E 
 
 . 
 
 r 
 
 
 B -- 
 
 
 amm 
 
 Fig. 16, represents the six-harness basket for the face, 
 the common six-harness twill for the middle, and the three- 
 harness twill (two up and one down) for the back. 
 
 Fig. 17, represents the common six-harness twill for the 
 face, middle and back; each twill commencing on the same 
 point, so that the face and middle twills lay directly under 
 the face twill. 
 
 ^FiG._16. _ FiG^K.^ 
 
 ";:.,:..:. ::;:.:. h.h. 
 
 *"- _ 
 
 B BB B BB HB B BB 
 
 Ml 
 
 :.s: 
 
 IBBBBBBBBBBBB 
 
 :. :. : 
 
 Fig. 18, represents the common four-harness twill for 
 the face, the regular double pick (two and two) for the mid- 
 dle, and the common eight-harness twill for the back. This 
 tripple weave can be reduced and woven on eighteen har- 
 nesses, if desired.
 
 TEXTILE DESIGNING. 
 
 97 
 
 Fig. 19, represents the common eight-harness twill for 
 both the face and back, and the common eight-harness bas- 
 ket for the middle. 
 
 FIG. 18. FIG. 19. 
 
 ^iMEiIiB"::J5i"^iFrE 5SE5i 
 
 .. 
 
 .51 
 
 i 
 
 : :: :HL:I 
 
 M~ PP 
 
 B 
 
 " "' 
 
 [..Si 
 
 : 5^ 
 
 'S"l 
 
 Fig. 20, represents the common eight-harness basket 
 for both the face and back, and the common eight-harness 
 twill for the middle. 
 
 Fig. 21, represents the common double pick for the face, 
 the common eight-harness twill for the middle, and the 
 common cassimere twill for the back. 
 
 FIG. 20. FIG. 21. 
 
 *3iHM~:-jM~ nzr "" _ ~~' ^u^n LjEiBonnnniEiGDBr 
 
 SaBa BB mm m m m m 1 BB B B B B 
 
 BBBBBCBBBBBBB BB BB BB BBSB BB Bl 
 
 5S 
 
 SBBBBBBBBB BB BB 3IB 
 
 m 
 
 .. . . 
 
 BB Bl 
 
 . 
 
 55 55 :. 
 
 
 . ._ ,.... 
 
 BB BB BBBBBBBBBBBBBBBB BliBflBHBBBBBBBfl 
 
 H-tccc*.cncr;^ix--cc Pi H ~ K ~ 7 3 'r i : :.; i-*i-5M4.cnos^JOc^:o r7;: ^< r. 
 
 If required to reverse the position of any one of the 
 above figures, so that the face will represent the back, and 
 the back to represent the face, proceed in the same manner 
 as described in the preceding chapter. 
 
 13
 
 98 THE SELF-INSTRUCTOR, 
 
 Fig. 22, represents three two-harness plain weaves com- 
 bined, but not stitched together; hence, they will produce 
 three separate pieces of flannel, but bound together by the 
 selvage only. In this method of weaving, each fabric re- 
 ceives one pick in succession; hence if the warp is dressed 
 one thread of each of three different colors in succession 
 and filled in a like manner, the result would be three 
 fabrics of the different colors respectively. 
 
 FIG. 22. FIG. 23. FIG. 24. 
 
 mmmmm~i 
 
 r;n 
 m mm i a 
 
 :: : 
 
 . -tcw^o. * 
 
 Fig. 23 represents and will produce the same as Fig. 22, 
 but in this method of weaving, each fabric receives two 
 picks in succession, which completes the weave and pat- 
 tern while in the other method, each fabric receives but 
 one pick in succession. To weave, with this figure, three 
 fabrics each of a different color, the warp would have to be 
 dressed two of each color in succession and filled in a like 
 manner. 
 
 Fig. 24, represents four two-harness plain weaves com- 
 bined, and will produce four separate pieces of flannel. On 
 this principle, a weave can be carried out to any required 
 size, each two harnesses producing a separate piece of flan- 
 nel. By stitching such flannels together in the process of 
 weaving, any required thickness of cloth may be made for 
 feltings, or other similar purposes. Goods woven on this 
 principle are called 2, 3 or 4-ply cloth, according to the num- 
 ber of different sets of harnesses employed; each single 
 weave representing a set. 
 
 In dressing warps for 3-ply cloths, three times the num- 
 ber of ends should be used, if possible, in place of what 
 would be required for the face weave if used singly.
 
 TEXTILE DESIGNING. 99 
 
 CHAPTER XVI. * 
 
 RELATIVE LENGTHS PER POUND OP WOOLEN, WORSTED, 
 COTTON, AND SILK YARNS. 
 
 To give in detail the various systems of figuring yarns 
 in Foreign countries, would be of little or no use here to 
 the beginner; therefore, we shall confine this chapter to 
 the systems generally adopted in this country, which are 
 as follows: 
 
 1600 yards of single woolen yarn = 1 run. 
 
 240 yards " " " = 1 cut. 
 
 560 yards of single worsted yarn = 1 number. 
 
 840 yards cotton " = 1 number. 
 
 840 yards " spun silk " = 1 number. 
 
 NOTE. In our four-dollar work "A Treatise on Designing and 
 Weaving Plain and Fancy Woolen Cloths" published in 1878 we gave 
 300 yards as a cut ; since then we find there is a great diversity of opin- 
 ions as to which is correct, 300 yards, or 240 yards. After a careful 
 research we find that the former system is more generally calculated for 
 linen yarns, and the latter system for woolen yarns. 
 
 EXPLANATION: 
 
 A woolen thread spun to that size which requires just 
 1600 yards to weigh one pound, is called 1 "run." 
 
 A woolen thread spun to that size which requires just 
 240 yards to weigh one pound, is called 1 "cut." 
 
 A worsted thread drawn to that size which requires 
 just 560 yards to weigh one pound, is called 1 "number. "- 
 Written, No. Ts.
 
 100 THE SELF-INSTRUCTOR, 
 
 A cotton thread spun to that size which requires just 
 840 yards to weigh one pound, is called 1 "number. "- 
 Written, No. 1's. 
 
 A spun-silk thread that requires just 840 yards to weigh 
 one pound, is called 1 "number." Written, No. 1's. 
 
 There is an important difference between silk and wors- 
 ted, or cotton yarns, which requires to be borne in mind 
 when making a calculation in these yarns. This difference 
 refers to 2-ply yarns. In writing 2-ply 40's in worsted, or 
 cotton, it is usually written 2-40's; thus indicating clearly 
 that the actual counts of the yarn is only one-half of what 
 it is termed; or, in other words, the actual counts of the 
 yarn is 20's, simply because it is two threads of 40's put to- 
 gether, making one thread of double the weight. In writ- 
 ing 2-ply 40's in silk, it is usually written 40-2; thus indi- 
 cating clearly that the yarn is still 40's though a 2-ply yarn; 
 hence the single threads must each have been 80's. 
 
 COMPARISON. 
 
 5^ runs (woolen system) = 8400 yards to 1 pound. 
 
 35 cuts (woolen system) = 8400 yards to 1 pound. 
 
 No. 15's (worsted system) 8400 yards to 1 pound. 
 
 No. 10's (cotton system) = 8400 yards to 1 pound. 
 
 No. 10's (spun-silk system) = 8400 yards to 1 pound. 
 
 AGAIN: 
 
 6f cuts (woolen system) = 1 run in length and weight. 
 No. 2|'s (worsted system) = 1 run in length and weight. 
 No. lf's (cotton system) = 1 run in length and weight. 
 No. lf|'s (spun-silk system) = 1 run in length and weight. 
 
 Therefore it will be seen that, to convert runs into cuts, 
 multiply the number of runs by 1600, and divide the pro- 
 duct by 240; the quotient will be the number of cuts. 
 
 To convert runs into worsted numbers, multiply the 
 number of runs by 1600, and divide the product by 560; the 
 quotient will be the number of worsted. 
 
 To convert runs into cotton numbers, multiply the num- 
 ber of runs by 1600, and divide the product by 840; the quo-
 
 TEXTILE DESIGNING. 101 
 
 tient will be the number of cotton. Proceed in the same 
 manner to convert runs into spun-silk numbers. 
 
 On the other hand, to convert cut numbers into runs, 
 multiply the number of cuts by 240, and divide the product 
 by 1600; the quotient will be the number of runs. 
 
 To convert worsted numbers into runs, multiply the 
 number of worsted by 560, and divide the product by 1600; 
 the quotient will be the number of runs. 
 
 To convert cotton, or spun-silk numbers into runs, mul- 
 tiply the number of cotton, or spun silk by 840, and divide 
 the product by 1600; the quotient will be the number of runs. 
 
 EXEMPLIFICATION. 
 
 oi runs, woolen thread, is equal to what size of cotton 
 thread? Also what size of worsted thread? 
 
 5i X 1600 = 8400 ^- 840 = 10's, the number of cotton. 
 
 5i X 1600 = 8400 -^ 560 = 15's, the number of worsted. 
 
 No. 20's, cotton thread, is equal to what size of woolen 
 thread both systems? Also what size of worsted thread? 
 
 20 X 840 = 16800 -4- 1600 = 10, the number of runs; or, 
 
 20 X 840 = 16800 -r- 240 = 70, the number of cuts. 
 
 20 X 840 = 16800 -h 560 = 30's, the number of worsted. 
 
 No. 40's, worsted thread, is equal to what size of cotton 
 thread? Also what size of woolen thread both systems? 
 
 40 X 560 = 22400 840 = 26's, the number of cotton. 
 
 40 X 560 = 22400 1600 = 14, the number of runs; or, 
 
 40 X 560 = 22400 240 = 93, the number of cuts. 
 
 The beginner will find it for his interest to thoroughly 
 familiarize himself with the above systems of yarn calcu- 
 lations; therefore, if the same were committed to memory, 
 it would be time well spent.
 
 102 THE SELF-INSTRUCTOR, 
 
 CHAPTER XVII. 
 
 SAMPLES OP FABRICS WITH GENERAL INSTRUCTIONS 
 FOR MAKING THEM. 
 
 This chapter will be to a certain extent a recapitulation 
 of former ones, this we deem advisable in order to have 
 all of the samples with the weaves and general information 
 concerning them to appear under the same heading. 
 
 Sample No. 1 Weave No. 1. This represents a combi- 
 nation stripe composed of a six-harness diagonal, but wove 
 on twelve harnesses with a cross draw. Warp 1800 ends, 
 dressed as follows: 
 
 21 white. 6 olive. 
 5 black. 6 white. 
 
 22 white. 6 olive. 
 1 red and blue D. & T. 6 white. 
 
 5 olive. 5 olive. 
 
 6 white. 1 red and green D. & T. 
 
 90 threads in the pattern. 
 
 No. 12 reed, 4 threads in a dent: 36 inches inside of 
 selvage. 
 
 Filling, pick and pick of black and drab: 60 picks per 
 inch in the loom. 
 
 Weight from loom 11 oz. Finished weight 9 T * oz. For 
 further information, see chapters seven and eight. 
 
 Sample No. 2 Weave No. 2. This represents a cassi- 
 mere twill wove on eight harnesses, and backed 1 and 1 
 the filling way. 
 
 Warp 1440 ends of black, 3f runs.
 
 TEXTILE DESIGNING. 103 
 
 No. 10 reed, 4 threads in a dent: 36 inches inside of 
 selvage. 
 
 Filling, pick and pick, 1 pick of white for the face, and 
 1 pick of black for the back; both fillings spun 3| runs: 84 
 picks per inch in the loom. 
 
 Weight from loom 13^ oz. Finished weight 11 oz. 
 
 Sample No. 3 Weave No. 3. This represents a cassi- 
 mere twill wove on sixteen harnesses, and backed 1 and 1 
 the warp way. 
 
 Warp 2400 ends of 3| runs, dressed 1 thread of black 
 for the face, and 1 thread of brown for the back. 
 
 No. 11 reed, 6 threads in a dent: 36 inches and 4 dents 
 inside of selvage. 
 
 Filling, brown of 3f runs: 46 picks per inch in the loom. 
 
 Weight from loom 12 oz. Finished weight 10^ oz. 
 
 Sample No. 4 Weave No. 4. This represents a cassi- 
 mere twill wove on twelve harnesses, and backed 2 and 1 
 both warp and filling ways. 
 
 Warp 2160 ends, dressed 2 threads of dark brown 3f 
 runs for the face, and 1 thread of black 3 runs for the back. 
 
 No. 10 reed, 6 threads in a dent: 36 inches inside of 
 selvage. 
 
 Filling, 2 picks of white 3| runs for the face, and 1 pick 
 of black 2 runs for the back: 60 picks per inch in the loom. 
 
 Weight from loom 14^ O z. Finished weight 11 T V oz. 
 
 Sample No. 5 Weave No. 5. This represents a double 
 fabric wove on sixteen harnesses, and consists of an eight- 
 harness basket for the face, and the regular eight-harness 
 twill for the back. 
 
 Warp 3200 ends of 3f runs, dressed 1 thread of brown 
 for the face, and 1 thread of black for the back. 
 
 No. 11 reed, 8 threads in a dent: 36 inches and 4 dents 
 inside of selvage. 
 
 Filling, pick and pick, 1 pick of black for the face, and 
 1 pick of brown for the back; both fillings spun 3f runs: 
 96 picks per inch in the loom. 
 
 Weight from loom ISy^ oz. Finished weight 15^ oz. 
 
 Sample No. 6 Weave No. 6. This represents a triple
 
 104 THE SELF-INSTRUCTOR, 
 
 or three-ply fabric, wove on twelve harnesses, and consists 
 of a cassimere twill for both the face and back fabrics, and 
 a plain two-harness flannel in between them; or, in other 
 words, in the middle. 
 
 Warp 3360 ends of 3f runs, dressed 1 thread of brown 
 for the face, 1 thread of white for the middle, and 1 thread 
 of black for the back. 
 
 No. 12 reed, 8 threads in a dent: 35 inches inside of 
 selvage. 
 
 Filling, 1 pick of black for the face, 1 pick of white for 
 the middle, and 1 pick of brown for the back; all three fill- 
 ings spun 3f runs: 90 picks per inch in the loom. 
 
 Weight from loom 19^- oz. Finished weight 16^ oz. 
 
 Sample No. 7 Weave No. 7. This represents an eight- 
 harness diagonal stripe. 
 
 Warp 1056 ends of 3 runs for both the single and double 
 yarns, and dressed as follows: 
 
 1 black and white D. & T. 1 drab. ) , . 
 
 2 white. 1 white, f 3 times ' 
 1 black and white D. & T. 1 drab. 
 
 23 white. 14 white. 
 
 44 threads in the pattern. 
 
 No. 10 reed, 3 threads in a dent: 35 inches and 2 dents 
 inside of selvage. 
 
 Filling, dark blue of 2| runs: 32 picks per inch in loom. 
 Weight from loom 9^ oz. Finished weight 8^ oz. 
 Sample No. 8 Weave No. 8. This represents a combi- 
 nation stripe of a combined weave, fourteen harnesses 
 with a cross draw. 
 
 Warp 2800 ends of 2-40's worsted, dressed as follows: 
 20 black. 1 or. s. & blk. wors'd D. & T. 
 
 4 light drab.. 4 light drab. 
 
 1 or. s. & blk. wors'd D. & T. 20 black. 
 11 black. 9 black and white D. & T. 
 
 70 threads in the pattern. 
 
 No. 14 reed, 6 threads in a dent: 33 inches and 5 dents 
 inside of selvage.
 
 TEXTILE DESIGNING. 105 
 
 Filling, black, of shoddy and waste, 2 runs: 40 picks 
 per inch in the loom. 
 
 Weight from loom 12 oz. Finished weight 10^ oz. 
 
 The weight of each fabric, as weighed from the loom, 
 applies to one yard in length, regardless of the width; but 
 the finished weight applies to one yard in length, and 27 to 
 28 inches in width inside of selvage, in each instance. 
 
 In the first six samples the yarns in several instances, 
 both in the size and colors, were not just what they should 
 have been, neither were they what we desired them to be; 
 but the reader will please bear in mind that, to get out sam- 
 ples of only several yards each, with such a variation in 
 the style and construction, would require a larger range of 
 yarns, particularly as to their size, than is usually found in 
 any one well-regulated mill. Therefore, to avoid the addi- 
 tional expense of having the yarns manufactured expressly 
 to our liking, such yarns as were already at hand were used 
 in the construction of those fabrics; hence the reason of so 
 little variation in some instances and none at all in others 
 in regard to the size of the yarns used. The first six sam- 
 ples were accordingly made to our dictation in this State 
 (New York), while the two others, seven and eight, were 
 made in Bradford, England. 
 
 Sample No. 1 was designed especially as an illustrative 
 piece for the foundation of this work. 
 
 Samples No. 2, 3 and 4 were designed especially to illus- 
 trate the work and appearance of fabrics when backed in 
 accordance with the three methods demonstrated in chap- 
 ter twelve. 
 
 Samples No. 5 and 6 were designed especially to illus- 
 trate the work and appearance of two-ply and three-ply, or 
 double and triple, fabrics as demonstrated in chapters four- 
 teen and fifteen respectively. 
 
 In presenting in this work those latter five samples, we 
 have deemed it advisable to place them in such a manner 
 that the reader would see both the face and back of the 
 fabric at the same instant, thus enabling him a freer scope 
 for an intellectual view; hence the reason of each of those 
 
 14
 
 [06 
 
 THE SELF-INSTRUCTOR, 
 
 samples being inserted in two pieces. The following weaves 
 are those by which the samples were woven. 
 
 Weave No. 1. 
 
 Weave No. 2. 
 
 ma mm 
 
 Weave No. 8. 
 
 mams earn 
 
 B UBIBIB fl BB 
 
 mmm RBI nCIKZHZt ': B BBBB 
 
 B B. ni BBBB: :B "::: 
 
 B.: ' :::;::: B BB B B BBDB BBB B B 
 
 ... "' ' ' B BBB BBB : ::; B: BBB 
 
 B BB ..." HB BB ' BB DBBB 
 
 BB D B BBB BIBB BIB BBRB BBHB B 
 
 BSB ::: BB BB 
 
 B BB :; BBB BIBBBBB I 
 
 zr:' :: :: :z 
 
 :;:: :_: 
 
 :n 
 
 injpnL 
 
 Weave No. 7. 
 
 ^'"i 
 in . .;; - "~ 
 
 -= HI!! i....... 
 
 Weave No. 5. 
 
 Snn~ ' "' 'anan 
 ii mm BIBBBI 
 
 Weave No. 3. 
 
 B ~~ii.iB'~i" 
 an m iii 
 
 nnnnr.MM_____^ 
 
 SSSi ESEiEi .... 
 
 Weave No. 4. 
 
 : ::. 
 
 nnniM. :: BB 
 
 mai 
 
 ..! M y^S M3 
 
 **:* -53*** :J 
 
 mmm 
 
 Weave No. 6. 
 
 SdSnn2S5Snn 
 
 IB! BB BBB
 
 Sample No. 1. 
 
 Sample No. 3. 
 
 Sample No. 4. 
 
 Sample No. 5. 
 
 Sample No. 7. 
 
 Kwini ii ji inni H n innnrnnnnnni 11 n <i n 11 II~MI 
 !i .Mt
 
 TEXTILE DESIGNING. 107 
 
 CHAPTER XVItt 
 
 MISCELLANEOUS WEAVES. 
 
 The term "miscellaneous/' when used in this connec- 
 tion, covers a large field; in fact, so large that all we shall 
 undertake in this direction will be to give the reader a brief 
 description of a few of the many important weaves that are 
 in use at the present time, all of which have been selected 
 with care in the interest of the beginner. 
 
 Not one of the weaves herein given is imaginary, but 
 each and every one has been put into actual practical work- 
 ing; and a sample of the finished fabric, to match each 
 weave, is in the author's possession. 
 
 FIG. 1. FIG. 2. FIG. 3. FIG. 4. 
 
 ncMBD net- nMCMnnMnn 
 
 nnBPM nnnm ""ptiiir 
 
 pMncw ni:;" " 
 
 Fig. 1 represents a pretty little weave for light-weight 
 goods of small checks, or in solid colors or mixes. 
 
 Fig. 2 represents a weave which produces a cord effect, 
 the warp way, and is a good thing for fine stripes. 
 
 Fig. 3 represents a peculiar weave for stripes, and in 
 reality it is a combination; the last six harnesses work the 
 same as the first six but in a reversed position, and also the 
 working of both the warp and filling threads are reversed. 
 Harnesses 1, 3, 4, 6, 8, and 11, weave a warp back which 
 may be of cotton yarn, while the remaining harnesses
 
 108 THE SELF-INSTRUCTOR, 
 
 weave the face which should be of woolen yarn, with filling 
 the same; thus producing a fabric of an all-wool face and 
 a cotton back. 
 
 Fig. 4 represents a good thing for weaving fancy suit- 
 ings, dressed 1 thread each of three colors, or different kind 
 of yarns, and filled in a like manner. 
 
 FIG. 5. FIG, 6. FIG. 7. FIG. 8. 
 
 SBBH BRB BB Bfl 
 
 i 
 
 Fig. 5 represents a double plain weave suitable for 
 making light f eltings, or heavy meltons. 
 
 Fig. 6 represents the same as Fig. 5, but instead of be- 
 ing laid out 1 and 1 both warp and filling ways, it is laid 
 1 and 1 the warp way, and 2 and 2 the filling way. 
 
 Fig. 7 represents a pretty diagonal effect, and is a com- 
 mon weave for suitings, in either worsted or woolen yarns. 
 
 Fig. 8 represents a plain diagonal for light weights. 
 
 FIG. 9. FIG. 10. FIG. 11. FIG. 12. 
 
 :: :~BBBBr; ~m~m~mm:"m-m---~~ mmmmi:.:-. mm~rm~ 
 
 BB BBBB a mr, m a m E BBS B BE 
 
 em: :B::I: -~m^m~m BL::.:.BBB 
 
 U:BZ:;L:: r:: BUB^BB:-: BBBB~IT 
 
 BHEB m~~ B B BB B B BBB 
 
 ' '~' ~' * 
 
 : : 
 BBI:: m~ 
 
 B BH 
 
 BBBH BB B : m' 'm~mm' ~m'zm * BBBB BSD 
 
 niMBiB^nGHM E-Izir:BZB_:;i:z^ ;:rziilji v L^IIM 
 
 Fig. 9 represents a creased stripe, or, when produced in 
 fine worsted yarns it may be classed as a tricot weave, run- 
 ning lengthwise of the cloth. 
 
 Fig. 10 represents a double twill. The warp may be 
 made either plain or striped when, if the same be filled with 
 two colors, run in 4 and 4, it will produce a pretty pattern. 
 
 Fig. 11 represents a good weave for producing a cord 
 stripe in fine worsted yarns of all one color. 
 
 Fig. 12 represents a peculiar little weave, the fabric 
 when made of fine worsted yarns, resembles a perfect tricot 
 showing a very small rib the filling way. The filling is 
 entirely covered by the warp on both sides of the fabric.
 
 TEXTILE DESIGNING, 109 
 
 Fig. 13 represents a good weave for silk mixes, either 
 in worsted or common woolen yarns for suitings. 
 
 Fig. 14 represents the weave of an 8-thread rib with a 
 4-thread crease. If made of fine yarns it will produce a nice 
 pattern for trouserings. By following this principle of 
 weaving, a rib of any required size may be made. 
 
 FIG. 13. FIG. 14. FIG. 15. FIG. 16. 
 
 'aama nn.!TBinwjn nnrMBMn corMBn 
 
 BBB B EBBEBBBB FB BB DCBGMLM 
 
 ian 
 
 B BBB EBRBBBBB . :' 
 
 Ici3n 
 
 .-: :. .:.:..: 
 
 : '.f.BB : : ni:BL;Br;~Hn; nrpBCiLM BMPB' B ;:: 
 
 sissigs *S*!;!!2ffi 51HS39I bm-sygi 
 
 Fig. 15 represents a desirable weave for coarse yarns 
 in two, three or four colors, run in 4 threads of each color 
 both in the warp and filling. 
 
 Fig. 16 represents a good weave for producing a check 
 effect with a warp of all one color, and filling of another, 
 either in fine or coarse yarns. 
 FIG. 17. FIG. 18. FIG. 19. FIG. 20. 
 
 a B n n BB B E an B tiumnmm m m * 
 
 B B BP B E BE fl uM^BHJH: '' ' BB B E B BHBB 
 
 :::::. ..E BBB B . :*. 
 
 fl B D flfl fl B fl B BFBBBE 
 
 SB B ' ' 
 '"''."' "'::' 'TBiaM _ ,___ ,_,-. _^ 
 
 B BB B B B BH BBB BBBB D B B IFB 
 
 ..:.:: .M;; BB B B D B am. '.mr'mammmmmm 
 
 u m m m mm m BBBBBB fl B 
 
 B B* ]' ! B 
 
 s - SsSBSSKSLn^ 
 
 Figs. 17, 18, 19, and 20 represent what are known or 
 classed as cork-screw weaves, and are used extensively in 
 weaving worsted, and imitation of worsted suitings. 
 
 FIG. 21. FIG. 22. FIG. 23. 
 
 av'mam' 'm: *M 
 
 BH B 9 B 
 
 : B B ;B : : : : 
 
 pgjpij- - 
 B B B 
 
 ' B BB 
 
 B BB B : 
 
 '' ; ' a :: : 
 : :::M: ': B : :: B 
 
 BBB ': :: :: : 
 
 BBBB 
 IB9B I 
 
 : :: 
 
 B BBBB 
 EBBBB 
 
 __ 
 
 Figs. 21, 22, and 23 represent weaves designed more 
 especially for light-weight worsteds which are extensively
 
 110 THE SELF-INSTRUCTOR, 
 
 used in coatings, although the latter weave is used some- 
 what with common woolen yarns to produce a check effect: 
 Warp of all one color and filling of another. 
 
 FIG. 24. FIG. 25. FIG. 26. 
 
 . 
 
 Ham mm mm : ::: 
 ; ::: 
 
 & m ma m mm ... B..BQ 
 
 :L:IIII :iir; mi:! inning : :: : " .: ::: B 
 
 :: : : : B BBBBB 
 
 : :i: :: :m~.mm. : innii:::innnn :.:. : :; : :: :: .: 
 
 a . EBBS r HB . irjniri mmmma tamaan 
 
 mm aamam umm : m m 
 
 ys-r aaaypa n*:; n 
 
 Figs. 24 and 25 represent beaver weaves, backed 2 and 
 1 both ways of the fabric. Sometimes these weaves are 
 used for weaving very heavy meltons. 
 
 Figs. 26 and 27 represent fur-beaver weaves; they are 
 also used for weaving chinchillas. 
 
 FIG. 27. FIG. 28. FIG. 29. FIG. 30. 
 
 I 
 
 nnnnn 
 
 :5- 
 
 IB.D. 
 
 ::ni 
 
 Fig. 28 represents a weave of the fur-beaver style, or 
 chinchilla pattern. Harnesses 6 and 8 are for weaving a 2- 
 thread stripe on the back should no stripe be desired, drop 
 out those two harnesses, using but six. The distance be- 
 tween the stripes can be governed by the number of threads 
 drawn on harnesses 1, 2, 3, 4, 5, and 7 straight draw. 
 
 Fig. 29 represents a nice diagonal for common woolen 
 yarns. This weave is one that will form a perfect cut-off 
 in either a herring-bone or a diamond pattern. 
 
 Fig. 30 represents a pretty little diagonal throwing up 
 a nice, round cord for fine worsted coatings. This weave 
 is a combination of two five-harness twills a bar of each 
 alternately..
 
 TEXTILE DESIGNING. 
 
 Ill 
 
 Fig. 31 represents a weave used in making a class of 
 goods called Moscow-beavers, which are given a soft velvet 
 finish, and sold for cloakings and overcoatings. 
 
 Fig. 32 represents a weave designed for a cheap grade 
 of "Moscows" with a cotton-warp backing. 
 
 Fig. 33 represents a doeskin-beaver weave, designed 
 for fine-face goods of a high finish. 
 
 FIG. 31. 
 
 FIG. 32. 
 
 ana 
 
 BBBH 
 
 MB 
 
 BB 
 
 9BB BBB B 
 
 SSSSS'Sg 
 
 BBB :!! 
 
 BBBBOBBB 
 
 BinnBinBipn* 
 
 BBBB BBBHBH 
 
 *r nnHuMBQ 
 
 nBMBnBnnBBn 
 .a 
 
 FIG. 33. 
 
 mm mm m sm m 
 
 ' 
 
 B : 
 .H 
 
 IHHLJPiBlli 
 
 BBBBBB 
 
 mmormu 
 an mam a mn 
 
 SB 
 B 
 
 Fig. 34 represents a good diagonal for coatings, in eith- 
 er worsted or common woolen yarns. 
 
 Figs. 35 and 36 represent good, useful weaves for work- 
 in up various grades of cheap stock; sometimes they are 
 used in weaving a certain class of light-weight beavers. 
 
 FIG. 34. 
 
 REI B BOB 
 
 B RHB :: BB 
 
 : : BB B BUM 
 
 : BBB : -BB :B 
 DBBinBinBBiBnB 
 
 nnrBB'"n 
 mm^mammmaau 
 mm'^armmnmnm 
 mamammmnnnm 
 mnnrmmnuamm 
 nmnmmmannmm 
 
 FIG. 37. 
 
 FIG. 35. 
 
 SE5B555B5S 
 
 S3*5g 
 
 : : B ' 
 
 BBB 
 
 ' ' ' 
 
 *BS 
 
 FIG. 38. 
 
 SEISB5BSS 
 
 :::i:;BMnn 
 
 FIG. 39. 
 
 IT '" '* O :M 
 
 pina 
 
 mmrii 
 
 ^-.l r 
 
 Figs. 37 and 38 represent weaves used quite commonly 
 in making hair-lines, and various styles of narrow stripes. 
 
 Fig. 39 repsesents the common, four-harness tricot 
 weave for fine, piece-dyed, and highly finished tricots.
 
 112 THE SELF-INSTRUCTOR, 
 
 Fig. 40 represents a weave used in making a fine grade 
 of goods called Granite. They are usually woven white, 
 piece-dyed, and finished the same as fine broadcloths for 
 dress-up suitings. 
 
 FIG. 41. FIG. 42. FIG. 43. 
 
 . p~ B r- B - mm ~mm^mmnmmmnn ' ~m~m\-m.' : : 
 
 ;j B ':.. .M IBB IBB BIB 
 
 :-m'lm~mm-Mr.~ m~mm~mmm-. m ::_::::;:::: 
 
 ma m mm mmm mum m 
 
 m mm :H::.J~ :m:z mm am* an ca 
 
 " ~~'~~~ " " 
 
 SS?!3i!; 
 
 m :mm:.m F:BB HB 
 
 B KS I.SMM. "' 
 
 Fig. 41 represents a double twill which makes a hand- 
 some pattern when used on a warp of two colors, dressed 
 1 and 1, and filled with a third color. 
 
 Fig. 42 represents a weave which throws up a large di- 
 agonal cord, and is a desirable thing for coatings. 
 
 Fig. 43 represents a small, block weave having a rib 
 appearance when produced in fine worsted yarns, making 
 a pretty pattern for fancy suitings. 
 
 FIG. 44. FIG. 45. FIG. 46. 
 
 . 
 mm mm mm .mm :: '~M :~ mm mm 'mm 
 
 mamm mmnmmaopmn m\~--'.".mmm mmm- -:::::;:;;-: 
 ~~m mm-~~m-m m mmm ma : ::;;: 
 
 mm maam :::: ma 
 
 mm m mm~ mm am* m mmmm mm'" 'mm 
 m m mm m mma m m mmmm mm m 
 
 " 
 
 mm 
 
 :.";:. ....... 
 
 mm mmmm mm 
 ~~ 
 
 m ma m am mm m mam mmm 
 
 mm : :m 'mm BIBB mmmm~~-:_jt 
 
 mm":: ::m : m mam am mm : mm' mmnm r 
 
 m m mm BB *i B mmsm :mm "_;:: :mmmm "^ 
 
 m mm mm mm mm mm omm a ::: .BJBJ-.:: -mm::~mmmm-:: 
 
 :: B BB aa IB BB BIBB : IB BB ..^z 
 
 m mm mm am am mmm mmmm :: Ba BB BBBB 
 
 Fig. 44 represents a small, twill wale suitable for weav- 
 ing stripes for trousering, or fancy suitings. There being 
 more warp thrown to the face of the fabric than to the back. 
 and more filling thrown to the back than to the face, it does 
 away with that boldness commonly seen in plaids, caused 
 by the filling showing too prominently. 
 
 Fig. 45 represents the common eight-harness twill with 
 a filling back, and is a good thing for medium, or heavy- 
 weight fabrics.
 
 TEXTILE DESIGNING. 
 
 113 
 
 Fig. 46 represents a diagonal of good appearance in 
 light weights, either in solid colors, or fancy mixes; when 
 made of the latter, a few threads of fancy colors, or of D. 
 & T., dressed in the warp, will greatly add to the beauty of 
 the fabric. The filling should be all of one color or mix. 
 
 FIG. 48. 
 
 sii 
 
 n: :: 
 
 m 
 
 
 
 ... 
 "" 
 
 FIG. 49. 
 
 m em 
 
 MS."" 
 
 am : i 
 
 : :: : ; 
 : 
 
 :!: 
 
 
 Fig. 47 represents a fancy diagonal figure, composed of 
 small perpendicular cords, suitable for light-weight worsted 
 coatings; or, for ladies' dress-goods of cotton warp, and fine 
 single worsted filling. 
 
 Fig. 48 represents a fancy diagonal figure, consisting 
 of small bias cords with a rib effect; designed for suitings, 
 in fine worsted yarns. 
 
 Fig. 49 represents a pretty diagonal with a prominent 
 filling cord. Warp of one color, and filling of another. 
 FIG. 50. 
 
 ': 
 
 
 
 i :';::: : .::.::::_:_ 
 
 Fig. 50 represents a wide wale diagonal for cheviot suit- 
 ings, made from all-wool coarse stock, in light weights. 
 15
 
 114 THE SELF-INSTRUCTOR, 
 
 Fig. 51 represents a wide diagonal pattern; if produced 
 in fine all-wool yarns of fancy mixes, and given a melton 
 finish, it makes a desirable thing for business suitings, or 
 light-weight overcoatings. 
 
 FIG. 52. FIG. 53. 
 
 ^^nMnnninn BBIBHIBBII 
 
 BBBBB H - ::.:::::::::::-: 
 
 mmama mm a ' ::.: ' a mmam 
 
 ' ::.: 
 
 
 m mm 
 
 mm :* "ia!i*B *BB*B" *:: :*:.:""! 
 
 : B ammmm mm m mm B BBBB am 
 
 ' a mamma mm m::: :;;: .: 
 
 B BB B BBBBH BB I I IBOa IHII 9BHB 
 
 m ma : m : mamna m B epaa BBBH HIIH 
 mm B BI B :: B BHBB BHHI BHBB B 
 
 . . IUBII BIBI ma B 
 
 c BB a : a BBBBB aaaa aiai IUBB 
 
 : a BB a ' : IBH am a 
 
 BB B HI B flBB BBBB BIBB H B 
 
 Sam ma a a* B aa B BBBB yaoa a 
 
 BIB IB M _ ::_3nz:i| BBBIIIIBII 
 
 Fig. 52 represents a fancy diagonal for weaving worsted 
 coatings, the same produced in a plaid pattern would make 
 a good thing for fancy suitings. 
 
 Fig. 53 represents a double-pick diagonal effect, for a 
 piece-dyed fabric, highly finished. The warp should be of 
 good fine stock, as two-thirds of it appears on the face; but 
 a much poorer stock can be used to advantage in the filling. 
 
 FIG. 54. FIG. 55. 
 
 : : BB a : BTT.HB:-: BB :_:mm : mm r,mmm:i 
 
 BB II B BB II Bflfl~: aa BB BB BB Bfl B 
 
 B] Bfl B 13 : BB BBB fl BB BB B3 BB BDB 3 
 
 BI B IB aa B BBB BB : HO BI BB BB Q II 
 
 aa B BI ai aaa a : : BB :: am : ; :: 
 B aa BB a BIB BI : aa 11 DI 
 
 ma m ma me mmm ::; : ai ;:: IBI 
 
 : : : :: BBB ai :: : : IB a :: : 
 
 mm m mm am aaa B aa : aa aa :: ia HI 
 
 BB ' ;: : BB ma \\ 'mm' \ m I . u I 
 
 mm "mm ."mmm'mm K .' R S 5. "mm *m* mm* mm' mm 
 
 Dt :; i :M B BIB H J u mm ;. BB^B Si : -"" "* ''mm* 'mm*- 'mm* : 
 
 mm mm 'mmm m HI BB B mm mmm mm :: mm :: 
 
 I I IMI IB : .BB' B Bfl IB B IB HI '.' Bfl Bfl 
 
 r: BI 'in ai : BB B" BBB ai BB mm am 
 
 : m mm* mm mm a BB aa flfl ' a BB Bfl : 
 
 : . Bfl ii IB 
 
 ma 'm mm am a BB IB flfl:; :: 
 
 a ai as a aa BB BB BI ia 
 
 BflB ::.; :_:_ _"__*fl i ;nB.~l B:::.BB :: _:_flfl:_;-_BB._.:_BB v :: [ ; 
 
 Fig. 54 represents a pretty diagonal wale, with a basket 
 effect, suitable for either worsted or common woolen yarns.
 
 TEXTILE DESIGNING. 
 
 115 
 
 Fig. 55 represents an old-time design, used quite com- 
 monly in weaving fine light-weight cassimeres for suitings, 
 with a white or light mix warp and black filling. It makes 
 a perfect cut-off in the pattern both ways. There are twen- 
 ty-three harnesses and twenty-four bars; but if desired to 
 have the pattern finish as square as possible, it can be 
 turned side ways and woven with twenty-four harnesses and 
 twenty-three bars; in which case the filling should be, at 
 least, 1 run finer than the warp, 
 
 FIG. 5G. 
 
 B B B B B EBB 
 
 ::' ' ' ' : .PU 
 
 . B V mn ' 
 
 FIG. 58. 
 
 ssysss 
 
 IE-! 
 
 *! 
 
 : s : 
 
 I 
 
 iiG! 
 
 PBPI 
 
 SS 1 
 
 BBrffiBRBIRBBH 
 
 ; :; T: BPii" :BU 
 ' ;: :' ::: : : : n 
 
 ... 
 
 H: i: : 'B' :: :: ' : 
 
 FT B B B B B BHB 
 B B B B D : : 
 
 : B B B BOB 
 
 -nr:Mr.nHBHPpp 
 
 Fig. 56 represents a diagonal figure of a herring-bone 
 rib effect, designed for coarse worsted yarns, soft twisted. 
 
 Fig. 57 represents a small diagonal with a filling face, 
 and is a good thing for using single silk, twisted with the 
 filling, which will produce a silk mix effect for suitings.
 
 116 
 
 THE SELF-INSTRUCTOR, 
 
 Fig. 58 represents a diagonal wale of a filling-rib effect, 
 designed for solid colors in black, brown, or blue, or with 
 warp of one color and filling of another. 
 
 FIG. 60. 
 
 FIG. 59. 
 
 ma amm mmmm 
 
 SSSSESSKift 
 
 .. 
 
 BPBB BBBB: .BBP.BB r.BB 
 BBPBBBB BBPBB: 'BBPPnBBn 
 BB: :BBBB' BBPBB ::' HBHH 
 DBBBBiUBBnBBrzBB' TIPBB 
 .BB : .:BB : :: 
 :: 'L:: : ; 
 ' '" 
 
 B~ :; :::: no NBBI 
 
 'EJ 
 
 
 
 
 B BD 
 
 : mn vmam 
 
 ' 
 
 BL! 
 
 
 Fig. 59 represents an evenly balanced diagonal wale for 
 worsted coatings, in solid colors. 
 
 Fig. 60 represents a handsome diagonal wale. A rich 
 stripe effect can be produced with this weave by dressing 
 the warp, 22 threads of right-hand twist and 22 threads of 
 left-hand twist; both warp and filling of all one color. 
 
 FIG. 61. 
 
 ::"..... 
 
 rnnnnn 
 
 FIG. 62. 
 
 nBBBnnn^BBB 
 
 
 *" 
 
 FIG. 63. 
 
 rairiDBBBBBB 
 
 ! 
 
 IBDD 
 
 DBBBDBBBan 
 
 BannpBBBaBB 
 
 BBB BBB 
 
 iPBBdBBBnnpn 
 
 JBBBdBBDBBBB 
 IBBPBBPBBBBP 
 
 :.::.::::....: 
 
 BPBBDBBBBPBBrjBBBPP am 
 
 il 
 
 S 
 
 F 
 
 PBBBOnPnB 
 
 SRS.Sg^gR 
 
 BBDDPPBBB 
 
 _ _ _ _ 
 
 rBBnBBBBnBBriBBBnnnnDBBB 
 : mmm mm mmmm mm : 
 ff mmma mm fmm mmm 
 
 BBBBBBDD 
 
 
 ... 
 
 nat 
 
 IPBBPBBMPP' ' 
 = 
 
 Fig. 61 represents a diagonal rib, which can be used 
 either single or combined with other weaves to a good ad- 
 vantage for making fancy trouserings. It is a good weave 
 to use alone for a herring-bone pattern, producing a sharp-
 
 TEXTILE DESIGNING. 117 
 
 point effect, by commencing on the sixth harness for the 
 backward draw. A rib of any required size can be pro- 
 duced on this principle by increasing the width of the filling 
 float, or the warp wale, or both. 
 
 Figs. 62 and 63 represent desirable weaves for three- 
 color diagonals, the former being classed as a single diag- 
 onal, and the latter as a double diagonal. This latter figure 
 produced with a black warp and, blue and brown filling 
 pick and pick, will show up a black double wale, while the 
 filling will show one blue and one brown wale alternately, 
 making an attractive pattern for coatings. The former fig- 
 ure produced with a black warp and, two kinds of mixes for 
 the filling pick and pick, makes a rich-looking pattern for 
 either coatings or suitings. 
 
 Having given a fair synopsis in the field of miscellane- 
 ous weaves, we will now leave the subject, believing all has 
 been said that is necessary in this direction. 
 
 CHAPTER XIX. 
 
 DESIGNING BROKEN TWILLS OR SATIN WEAVES. 
 
 In satin weaves we do not see the prominent bias lines 
 or twills which are seen in weaves of the regular twill or- 
 der; hence, they present a smoother appearance on the face 
 of the fabric, and thus are known as broken twills, although 
 they are called perfect twills in the order of satin weaves. 
 
 In the regular order of twills, the floating threads have 
 the appearance of a series of small diagonal or bias ribs in 
 the fabric; but when the succession of raising the harnesses 
 is changed so as to raise them at intervals of one, two, three 
 or more from each other, the twill is said to be broken; and 
 the floating threads no longer run on a regular twill bias, 
 but are variously changed, according to the interval of
 
 118 THE SELF-INSTRUCTOR, 
 
 working the harnesses. In satin twills it will be found 
 that some are perfect in respect to the intervals at which 
 the harnesses can be raised, while others are imperfect in 
 this respect. When the harnesses can be raised regularly, 
 at intervals of one, two, three or more from each other, the 
 twill is said to be perfect; but imperfect, when the number 
 of harnesses does not admit of this arrangement. This will 
 be illustrated by the following figures and observations. 
 
 The smallest twill that can be broken is that of four- 
 harnesses, which is sometimes called a satin twill, but is 
 more properly called a satinet twill. 
 
 FIG. 1. FIG. 2. 
 
 Figs. 1 and 2 represent the broken and regular satin 
 twill respectively. The broken twill is laid out in the fol- 
 lowing order: commencing with the first or top pick No. 1 
 harness, we place a riser on the first harness; the second 
 harness is passed, and another riser is placed on the third 
 harness; the fourth and first harnesses are next passed, and 
 the third riser is placed on the second harness; the third 
 harness is now passed, and the fourth riser is placed on the 
 fourth harness. This gives us the order of working the 
 harnesses as 1, 3, 2, 4; consequently, in this order of weav- 
 ing, the harnesses cannot be raised at equal intervals; and, 
 therefore, is one of the imperfect twills. In the regular 
 twill, we find that each harness is raised in its numeral 
 order as 1, 2, 3, 4; consequently, is a perfect twill of the 
 regular order. 
 
 FIG. 3. FIG. 4. 
 
 Fig. 3 will be found to raise each alternate harness 
 throughout the whole pattern, thus 1, 3, 5, 2, 4. Fig. 4, to 
 raise one and pass two without interruption, thus 1, 4, 2, 
 5, 3; consequently, the five-harness twill is perfect by each 
 of these methods.
 
 TEXTILE DESIGNING. 
 
 119 
 
 Figs. 5, 6 and 7 are subject to imperfections similar to 
 that of four harnesses; the orders of working the harnesses 
 
 FIG. 5. FIG. 6. FIG. 7. 
 
 Mnnnnn 
 
 being as follows: 1, 4, 2, 5, 3, 6; 1, 3, 5, 2, 4, 6; 1, 3, 5, 2, 
 6, 4, respectively; consequently, are imperfect twills, al- 
 though the two former ones present as perfect appearance 
 as most any of the twills in the satin order. 
 
 FIG. 8. FIG. 9. 
 
 Fig. 8 will be found to raise each alternate harness 
 throughout the whole design, thus 1, 3, 5, 7, 2, 4, 6. Fig. 
 9, to raise one and pass two without interruption, thus 1, 
 4, 7, 3, 6, 2, 5; consequently, the seven-harness twill is as 
 perfect as that of five harnesses. 
 FIG. 10. 
 
 Fig. 10 makes a perfect twill by raising one harness, 
 and passing two without interruption either way of the de- 
 sign, thus 1, 4, 7, 2, 5, 8, 3, 6. This eight-harness twill 
 is the smallest satin that can be woven on an even number 
 of harnesses. 
 
 11. FIG. 12. 
 
 Fig. 11 is found to raise each alternate harness, thus 
 1, 3, 5, 7, 9, 2, 4, 6, 8. Fig. 12, to raise one and pass three, 
 thus 1, 5, 9, 4, 8, 3, 7, 2, 6.
 
 120 
 
 THE SELF-INSTRUCTOR, 
 
 Fig. 13 admists of raising one harness, and passing two 
 without interruption either way of the design, thus 1, 4, 7. 
 10, 3, 6, 9, 2, 5, 8. 
 
 FIG. 13. 
 
 nnnnnpnnn 
 
 FIG. 14. 
 
 nnnnnpnnnc 
 
 FIG. 15. 
 
 Fig. 14 will be found to raise one harness, and pass 
 two, thus 1, 4, 7, 10, 2, 5, 8, 11, 3, 6, 9. Fig. 15, to raise 
 one and pass three, thus 1, 5, 9, 2, 6, 10, 3, 7, 11, 4, 8. 
 FIG. 16. 
 
 Fig. 16 admits of raising one harness, and passing four 
 without interruption either way of the design, thus 1, 6, 
 11, 4, 9, 2, 7, 12, 5, 10, 3, 8. 
 
 FIG. 17. FIG. 18. 
 
 Fig. 17 will be found to raise one harness, and pass one 
 alternately, thus 1, 3, 5, 7, 9, 11, 13, 2, 4, 6, 8, 10, 12.
 
 TEXTILE DESIGNING. 
 
 121 
 
 Fig. 18, to raise one and pass two, thus 1, 4, 7, 10, 13, 3. 
 6, 9, 12, 2, 5, 8, 11. By the use of other characters in this 
 figure, the order of raising and passing the harnesses is 
 more fully represented. Fig. 19 will be found to raise one 
 FIG. 20. 
 
 EESBEEEE 
 
 r i "ncnnnnnrr 
 
 BBS 
 
 : :~m~r: 
 
 harness, and pass three, thus 1, 5, 9, 13, 4, 8, 12, 2, 6, 10. 
 Fig. 20, to raise one and pass four, thus 1, 6, 11, 3, 8, 13, 5. 
 10, 2, 7, 12, 4, 9. Fig. 21, to raise one and pass five, thus 
 1, 7, 13, 6, 12, 5, 11, 4, 10, 3, 9, 2, 8. Thirteen harnesses have 
 a larger number of arrangements for satin weaves, than 
 any other number of harnesses used in this order. 
 FIG. 22. FIG. 23. 
 
 232 
 
 
 "M~~~~ 
 
 Enlaijn 
 
 Fig. 22 will be found to raise one harness, and pass two, 
 thus 1, 4, 7, 10, 13, 2, 5, 8, 11, 14, 3, 6, 9, 12. Fig. 23, to 
 raise one and pass four, thus 1, 6, 11, 2, 7, 12, 3, 8, 13. 
 4, 9, 14, 5, 10. 
 
 FIG. 24. FIG. 25. FIG. 26. 
 
 an~ 
 
 
 
 
 
 i 
 
 ID
 
 122 THE SELF-INSTRUCTOR, 
 
 Fig. 24 will be found to raise one harness, and pass one 
 alternately, thus 1, 3, 5, 7, 9, 11, 13, 15, 2, 4, 6, 8, 10, 12, 14. 
 Fig. 25, to raise one harness and pass three, thus 1, 5, 9, 13 
 2, 6, 10, 14, 3, 7, 11, 15, 4, 8, 12. Fig. 26, to raise one and 
 pass six, thus 1, 8, 15, 7, 14, 6, 13, 5, 12, 4, 11, 3, 10, 2, 9. 
 
 Having illustrated all of the satin weaves from five to 
 fifteen harnesses, we will now demonstrate more clearly the 
 basis on which satin weaves are originated. 
 
 RULE FOR DESIGNING SATIN WEAVES. 
 
 Divide the number of harnesses into two parts, which 
 must not be equal, nor one number a multiple of the other; 
 now take one of the numbers to count off by, or add it. 
 Commencing to add or count off from No. 1 harness and 
 first pick, we place a riser at the end of each counting off 
 or addition, and continue in this manner until each warp 
 thread or harness is occupied by one riser. 
 
 ILLUSTRATION: Five-harness weave, 2 + 3 = 5. Com- 
 mencing with one and adding two points in succession, we 
 get as follows: 1+2=3+25+2 = 7 or 2, and 2+2=4. This 
 will give us the order of raising the harnesses, thus 1, 3, 5. 
 2, 4, as represented in Fig. 3. If we count off or add three 
 instead of two, we get as represented in Fig. 4. 
 
 In designing satin weaves of an even number of har- 
 nesses, such as 8, 10, 12, 14, etc., the following rule may be 
 used, if preferred, in place of the former one: Divide the 
 number of harnesses by 2, and if the quotient is an even 
 number, subtract 1; if the quotient is an uneven number, 
 subtract 2; and, in either case use the remainder for adding 
 or counting off. 
 
 ILLUSTRATIONS: Eight-harness weave, 8-7-2=4, which 
 is an even number; subtract 1, thus 4 1=3 for counting 
 off. Ten-harness weave, 10-7-2=5, which is an uneven 
 number; subtract 2, thus 5 2=3 for counting off. Twelve- 
 harness weave, 12-7-2=6 1=5 for counting off. Fourteen- 
 harness weave, 14-7-2=7 2=5 for counting off. Also 14-7-2 
 =72=5, and 52=3 for counting off . Therefore, both 5 
 and 3 can be used in this case, thus producing two weaves.
 
 TEXTILE DESIGNING, 123 
 
 Satin weaves are used both ways, that is to say, with 
 the filling up, as represented in the preceding figures; or, 
 with the warp up, as represented in the following Figs. 27 
 and 28. The former method is called a filling face; the 
 latter method is called a warp faca 
 
 FIG. 27. FIG. 28. 
 
 .... .B.I .... 
 
 1SI1IISI" 
 
 !"!!" 
 
 :::. 
 
 - 
 tmmrmmmm'zm 
 
 ...... 
 
 .... 
 
 If we want a five-harness satin with a filling face, and 
 the twill to show as prominent as possible, we have to use 
 Fig. 4. On the other hand, if we want a warp face with a 
 distinct twill effect, we have to use Fig. 27, which is Fig. 3 
 enlarged to ten threads and transposed, that is, we call the 
 risers, sinkers; and call the sinkers, risers. If a smoother 
 face is required, more after the doeskin style, we have to 
 use Fig. 28, which is Fig. 4 enlarged and . transposed as ex- 
 plained before. This method holds good in using any other 
 of the satin weaves for twill or smooth-face effects, or in 
 transposing from a filling to a warp face. 
 
 If we increase the number of risers in a satin weave by 
 placing one at the right or left, above or below, or a short 
 distance on a bias from each of the original risers, we get a 
 sub-division of satin weaves, which are classified under 
 
 "DOUBLE SATIN WEAVES." 
 
 This class of weaves being stitched twice as often as those 
 of the single class, so to speak, will naturally increase the 
 strength of the fabric. If we want a double weave, filling 
 face, we raise each warp thread next to the one already 
 raised in the original weave. If we want a double weave. 
 warp face, we arrange to hold each warp thread down once 
 more after being already down in the original weave; or, in 
 other words, when a harness is down it remains down for 
 two picks instead of one. 
 
 Fig. 29 represents the eight-harness satin, filling face,
 
 124 THE SELF-INSTRUCTOR, 
 
 doubled in the manner explained. In this weave we find 
 that instead of the filling floating over 7 and under 1, it 
 floats over 6 and under 2 warp threads; while the warp, in- 
 stead of being 1 up, 7 down, is changed to 1 up, 4 down, 1 
 up, 2 down. 
 
 FIG. 29. FIG. 30. 
 
 DMMO 
 
 BISHSU 
 
 Fig. 30 represents the eight-harness satin, warp face, 
 arranged on the double principle. In this weave it will be 
 seen, as before stated, that the original points for stitching 
 are down once more, or twice in succession continuously. 
 If it is required to have the twill of the fabric show a more 
 prominent streight-line effect, we arrange the weave so 
 that each warp thread or harness is down for three picks in 
 succession, as represented in Fig. 31. This principle of ar- 
 ranging double satin weaves, warp face, will hold good on 
 any number of harnesses. 
 FIG. 31. FIG. 32. FIG. 33. 
 
 Another principle for arranging satin weaves, is to 
 change the annex points from right to left, to up or down 
 as represented in Figs. 32 and 33, for a filling face. 
 FIG. 34. FIG. 35. FIG. 36. 
 
 II 
 
 The next and last principle of designing double satin 
 weaves, to which we wish to call the reader's attention, is
 
 TEXTILE DESIGNING, 
 
 125 
 
 to arrange the additional points for stitching, sideways on 
 a bias at a certain regular distance from each original point 
 In the single weave, as represented in Figs, 34, 35 and 36. 
 This order of weaving may be reversed for warp face, in 
 the manner illustrated before. 
 
 Satin weaves are used quite extensively in producing 
 color effects for stripes. If we dress a warp of two colors, 
 1 and 1 alternately, and weave it a five-harness satin, warp 
 face, we get a double-line effect as visible in the fabric as 
 seen in the design, Fig. 37. A similar effect will be visible 
 in stripes containing various number of threads and colors. 
 FIG 37. 
 
 The beginner may get a better view of any one or all of 
 the preceding figures, by drawing them off on design paper 
 and enlarging the design both ways, in the manner repre- 
 sented by the last~ figure. 
 
 We will now close these observations on designing satin 
 weaves, after calling attention to one other point, that is, 
 the selecting of the proper weave for the contemplated fab- 
 ric. This depends on the number of ends in warp, picks per 
 inch, and the size and quality of both warp and filling yarns 
 to be used in the fabric. Consequently, if we use a weave 
 having a too-long float for the "layout," we get a fabric of 
 a loose and spongy feeling. On the other hand, if we put 
 too many ends in the warp, we cannot get enough picks in 
 the fabric, hence we get an open, thread-bare appearance, 
 without proper strength the filling way. Therefore, it will 
 be observed that, great care should be used when selecting
 
 126 
 
 THE SELF-INSTRUCTOR, 
 
 the weave, otherwise it may be entirely unsuitable for the 
 contemplated fabric by having either too long or too short 
 stitching. The necessity of good judgment must be appar- 
 ent in connection with this branch of designing if we 
 would obtain the best results. 
 
 CHAPTER XX. 
 
 YARN TABLES, RULES AND CALCULATIONS. 
 
 TABLE SHOWING THE NUMBER OF YARDS PER POUND OF WOOLEN YARN 
 FROM % RUN TO 20 RUNS. 
 
 Runs. Yards per Ib. Runs. Yards per Ib. Runs. Yards per Ib. Runs 
 
 400 
 800 
 1200 
 1600 
 2000 
 2400 
 2800 
 3200 
 3600 
 4000 
 4400 
 4800 
 5200 
 5600 
 6000 
 6400 
 6800 
 7200 
 7600 
 8000 
 
 8400 
 8800 
 9200 
 9600 
 10000 
 10400 
 10800 
 11200 
 11600 
 12000 
 12400 
 12800 
 13200 
 13600 
 14000 
 14400 
 14800 
 15200 
 15600 
 16000 
 
 16400 
 16800 
 17200 
 17600 
 18000 
 18400 
 18800 
 19200 
 19600 
 20000 
 20400 
 20800 
 21200 
 21600 
 22000 
 
 23200 
 
 23600 
 
 ^4000 
 
 16 
 
 17% 
 18 
 
 lS\t 
 
 1824 
 19 
 
 20 
 
 Yards per Ib. 
 
 24400 
 24800 
 25200 
 25600 
 26000 
 2(5400 
 26800 
 27200 
 27600 
 28000 
 2S400 
 28800 
 29200 
 29600 
 30000 
 3040 ) 
 
 3120) 
 3160) 
 3200 ) 
 
 This table will be found a ready-assistant in yarn calcu- 
 lations, as it gives the length in yards per pound of any size 
 thread, from one-fourth run to twenty runs, by fourths.
 
 TEXTILE DESIGNING. 
 
 127 
 
 TABLE SHOWING THE NUMBER OF YARDS PER POUND OF 
 WORSTED YARN FROM No. 1 TO No. 120. 
 
 Number. 
 
 Yards per Ib. 
 
 Number. 
 
 Yards per lb. 
 
 Number. 
 
 Yards per lb. 
 
 1 
 
 560 
 
 41 
 
 22960 
 
 81 
 
 45360 
 
 2 
 
 1120 
 
 42 
 
 23520 
 
 82 
 
 45920 
 
 3 
 
 1680 
 
 43 
 
 24080 
 
 83 
 
 46480 
 
 4 
 
 2240 
 
 44 
 
 24640 
 
 84 
 
 47040 
 
 5 
 
 2800 
 
 45 
 
 25200 
 
 85 
 
 47600 
 
 
 
 3360 
 
 46 
 
 25760 
 
 86 
 
 48160 
 
 7 
 
 3920 ! 
 
 47 
 
 26320 
 
 87 
 
 48720 
 
 8 
 
 4480 
 
 48 
 
 26880 
 
 88 
 
 49280 
 
 9 
 
 5040 
 
 49 
 
 27440 
 
 89 
 
 49840 
 
 10 
 
 5600 | 
 
 50 
 
 280CO 
 
 90 
 
 50400 
 
 11 
 
 6160 
 
 51 
 
 28560 
 
 91 
 
 50960 
 
 12 
 
 6720 
 
 52 
 
 29120 
 
 92 
 
 51520 
 
 13 
 
 7280 
 
 53 
 
 29680 
 
 93 
 
 52080 
 
 14 
 
 7840 
 
 54 
 
 30240 
 
 94 
 
 52640 
 
 15 
 
 8400 
 
 55 
 
 30800 
 
 95 
 
 53200 
 
 16 
 
 8960 
 
 56 
 
 31360 
 
 96 
 
 53760 
 
 17 
 
 9520 
 
 57 
 
 31920 
 
 97 
 
 54320 
 
 18 
 
 10080 
 
 58 
 
 32480 
 
 98 
 
 54880 
 
 19 
 
 10640 
 
 59 
 
 33040 
 
 99 
 
 55440 
 
 20 
 
 11200 
 
 60 
 
 33600 
 
 100 
 
 . 56000 
 
 21 
 
 11760 
 
 61 
 
 34160 
 
 101 
 
 56560 
 
 22 
 
 12320 
 
 62 
 
 34720 
 
 102 
 
 57120 
 
 23 
 
 12880 
 
 63 
 
 35280 
 
 103 
 
 57680 
 
 24 
 
 13440 
 
 64 
 
 35840 
 
 104 
 
 58240 
 
 25 
 
 14000 
 
 65 
 
 36400 
 
 105 
 
 58800 
 
 20 
 
 14560 
 
 66 
 
 36960 
 
 106 
 
 59360 
 
 27 
 
 15120 
 
 67 
 
 37520 
 
 107 
 
 59920 
 
 28 
 
 15680 
 
 68 
 
 38080 
 
 108 
 
 60480 
 
 29 
 
 16240 
 
 69 
 
 38640 
 
 109 
 
 61040 
 
 30 
 
 16800 
 
 70 
 
 39200 
 
 110 
 
 61600 
 
 31 
 
 17360 
 
 71 
 
 39760 
 
 111 
 
 62160 
 
 32 
 
 17920 
 
 72 
 
 40320 
 
 112 
 
 62720 
 
 33 
 
 18480 
 
 73 
 
 40880 
 
 113 
 
 63280 
 
 34 
 
 19040 
 
 74 
 
 41440 
 
 114 
 
 63840 
 
 35 
 
 19600 
 
 75 
 
 42000 
 
 115 
 
 64400 
 
 36 
 
 20160 
 
 76 
 
 42560 
 
 116 
 
 64960 
 
 37 
 
 20720 
 
 77 
 
 43120 
 
 117 
 
 65520 
 
 38 
 
 21280 
 
 78 
 
 43680 
 
 118 
 
 66080 
 
 39 
 
 21840 
 
 79 
 
 44240 
 
 119 
 
 66640 
 
 40 
 
 22400 
 
 80 
 
 44800 
 
 120 
 
 67200
 
 128 
 
 THE SELF-INSTRUCTOTC r 
 
 TABLE SHOWING THE NUMBER OF YARDS PER POUND OF 
 COTTON, OR SPUN-SILK YARN FROM No. 1 TO No. 90. 
 
 Number. 
 
 Yards per Ib, 
 
 Number. 
 
 Yards per Ib. j 
 
 Number, 
 
 Yards per Ibi 
 
 1 
 
 840 
 
 31 
 
 26040 
 
 61 
 
 51240 
 
 2 
 
 1680 
 
 32 
 
 26880 
 
 62 
 
 52080 
 
 3 
 
 2520 
 
 33 
 
 27720 
 
 63 
 
 52920 
 
 4 
 
 3360 
 
 34 
 
 28560 
 
 64 
 
 53760 
 
 5 
 
 4200 
 
 35 
 
 29400 
 
 65 
 
 54600 
 
 6 
 
 5040 
 
 36 
 
 30240 
 
 66 
 
 55400 
 
 7 
 
 5880 ' 
 
 37 
 
 31080 ; 
 
 67 
 
 56280 
 
 8 
 
 6720 ' 
 
 38 
 
 31920 ; 
 
 68 
 
 57120 
 
 9 
 
 7560 i 
 
 39 
 
 32760 
 
 69 
 
 57960 
 
 10 
 
 8400 
 
 40 
 
 33600 i 
 
 70 
 
 58800 
 
 11 
 
 0240 
 
 41 
 
 34400 ! 
 
 71 
 
 59640 
 
 12 
 
 10080 
 
 42 
 
 35280 
 
 72 
 
 60480 
 
 13 
 
 10920 
 
 43 
 
 36120 
 
 73 
 
 61320 
 
 14 
 
 11760 
 
 44 ; 
 
 36960 
 
 74 
 
 62160 
 
 15 
 
 12600 
 
 45 
 
 37800 ! 
 
 75 
 
 63000 
 
 16 
 
 13440 ! 
 
 46 
 
 38640 
 
 76 
 
 63840 
 
 17 
 
 14280 
 
 47 
 
 39480 
 
 77 
 
 64680 
 
 18 
 
 15120 
 
 48 
 
 40320 
 
 78 
 
 65520 
 
 19 
 
 15960 
 
 49 
 
 41160 j 
 
 79 
 
 66360 
 
 20 
 
 16800 
 
 50 
 
 42000 i 
 
 80 
 
 67200 
 
 21 
 
 17640 
 
 51 
 
 42840 ! 
 
 81 
 
 68040 
 
 22 
 
 18480 
 
 52 
 
 43680 
 
 82 
 
 68880 
 
 23 
 
 19320 
 
 53 
 
 44520 
 
 83 
 
 69720 
 
 24 
 
 20160 
 
 54 
 
 45360 
 
 84 
 
 70560 
 
 25 
 
 21000 
 
 55 
 
 46200 
 
 85 
 
 71400 
 
 26 
 
 21840 
 
 56 
 
 47040 
 
 86 
 
 72240 
 
 27 
 
 22680 
 
 57 
 
 47880 
 
 87 
 
 73080 
 
 28 
 
 23520 
 
 58 
 
 48720 
 
 88 
 
 73920 
 
 29 
 
 24360 
 
 59 
 
 49560 
 
 89 
 
 74760 
 
 30 
 
 25200 
 
 i 60 
 
 50400 
 
 90 
 
 75600 
 
 N. B. 840 yards represents one number of cotton, or 
 spun-silk yarn; therefore, this table will apply correctly 
 for yarn calculations in either case.
 
 TEXTILE DESIGNING. 
 
 129 
 
 TABLE SHOWING EQUIVALENT NUMBERS BY THE RUN, CUT 
 
 AND No. SYSTEM. FOR WOOLEN, WORSTED, 
 
 COTTON AN' SPUN-SILK YARNS. 
 
 
 
 
 
 
 
 Pi'Ullll. 
 
 Svst.-m, 
 
 HUMS. 
 
 Svst. in, 
 Cut-. 
 
 System, 
 
 SysLcin 
 Nos. 
 
 Svstein, 
 Nos. 
 
 lOUO . . . . 
 
 1 
 
 OF 
 
 24 
 
 1W 
 
 144 
 
 2 : 00 
 
 li 
 
 10 
 
 44 
 
 4 
 
 4 
 
 28i >0 
 
 1 "- 
 
 llf 
 
 5 
 
 3 
 
 af 
 
 3000 
 
 21 
 
 15 
 
 64 
 
 44 
 
 44 
 
 4801) 
 
 3 
 
 20 
 
 84 
 
 54 
 
 54 
 
 5000 
 
 3:V 
 
 23| 
 
 10 
 
 6f 
 
 el 
 
 (iOOO 
 
 3l 
 
 25 
 
 104 
 
 74- 
 
 74 
 
 7200 
 
 44 ' 
 
 30 
 
 4 
 
 84 
 
 84 
 
 8400 
 9000 
 10800 
 
 5l 
 
 Of 
 
 35 
 40 
 45 
 
 15 
 17| 
 19f 
 
 10 
 
 114 
 
 124 
 
 io 7 
 
 114 
 124 
 
 11200 
 
 7 
 
 40 1 
 
 20 
 
 13i 
 
 134 
 
 12000 
 13200 . . . 
 
 n 
 
 81 
 
 50 
 55 
 
 21f 
 234 
 
 144 
 
 154 
 
 144 
 
 154 
 
 14000 
 
 8i 
 
 584 
 
 25 
 
 16| 
 
 16f 
 
 14400 
 
 9 
 
 00 
 
 25f 
 
 174 
 
 174 
 
 15000.- 
 10800 
 
 i 
 
 104 
 
 05 
 70 
 
 27f 
 30 
 
 184 
 20 
 
 184 
 20 
 
 18000 
 
 ill 
 
 75 
 
 32-V 
 
 21f 
 
 214 
 
 19200 
 
 12 
 
 80 
 
 34f 
 
 224 
 
 224 
 
 1DGOO 
 
 I2i 
 
 81| 
 
 35 
 
 23i 
 
 234 
 
 20400 
 
 12f 
 
 85 
 
 304 
 
 24f 
 
 244 
 
 21000 
 
 13^ 
 
 90 
 
 38^ 
 
 254 
 
 254 
 
 22400 . ... 
 
 14 
 
 93i 
 
 40 
 
 2Gf 
 
 26f 
 
 22800 
 
 I4i 
 
 95 
 
 404 
 
 274 
 
 274 
 
 24000 
 
 15 
 
 100 
 
 42f 
 
 284 
 
 284 
 
 25200 
 20400 
 
 15| 
 I6i 
 
 105 
 
 110 
 
 45 
 
 474 
 
 30 
 314 
 
 30 
 314 
 
 27000 
 28000 
 
 m 
 
 17| 
 
 115 
 
 11 Of 
 
 49f 
 50 
 
 324 
 33^ 
 
 324 
 33^ 
 
 28800 .... 
 
 18 
 
 120 
 
 514 
 
 344 
 
 344 
 
 30000 
 
 18f 
 
 125 
 
 534 
 
 $ 
 
 354 
 
 30800 
 
 i9| 
 
 128J 
 
 55 f 
 
 3Gf 
 
 3G| 
 
 31200 
 32400 
 
 12* 
 
 20i 
 
 130 
 135 
 
 554 
 57f 
 
 374 
 384 
 
 374 
 384 
 
 33000 
 
 21 
 
 140 
 
 60 T 
 
 40 
 
 40 
 
 N. B. In this table we give such numbers only as come the nearest 
 to whole numbers in woolen cuts and worsted numbers per pound. 
 17
 
 130 
 
 THE SELF-INSTRUCTOR, 
 
 TABLE SHOWING THE WEIGHT IN GRAINS OF 50 YARDS OF WOOLEN 
 YABN T FKOM 1 RUN TO 20% RUNS. 
 
 Grains. 
 
 Runs. Grains. Runs. 
 
 Grains, j Runs. 
 
 Grains. 
 
 Runs. Grains, 
 
 * 
 
 2 5 S 
 2?4 
 $ 
 
 3 
 
 ^B 
 
 r 
 
 4% 
 
 ? 
 
 k 
 
 218.75 
 194.445 
 175. 
 159.09 
 145.833 
 134.615 
 125. 
 116.667 
 109.375 
 102.941 
 97.223 
 92.105 
 87.5 
 83.334 
 - 79.545 
 76.087 
 72.915 
 70. 
 67.308 
 64.815 
 62.5 
 60.345 
 58.334 
 56.452 
 54.687 
 53.03 
 51.47 
 50. 
 
 48.612 
 47.297 
 46.052 
 44.872 
 
 *% 
 
 5% 
 
 x 
 
 6% 
 
 e>a 
 
 6% 
 6^ 
 6jj 
 
 m 
 
 ~\ 
 
 7% 
 
 43.75 
 
 42.682 
 
 41.667 
 
 40.698 
 
 39.773- 
 
 38.889 
 
 38.043 
 
 37.234 
 
 36.458 
 
 35.714 
 
 35. 
 
 34.314 
 
 33.654 
 
 33.019 
 
 32.412 
 
 31.818 
 
 31.25 
 
 30.702 
 
 30.172 
 
 29.661 
 
 29.166 
 
 28.688 
 
 28.226 
 
 27.778 
 
 27.344 
 
 26.923 
 
 26.515 
 
 26.119 
 
 25.735 
 
 25.362 
 
 25. 
 
 24.648 
 
 9% 
 
 9>2' 
 
 10 
 
 10% 
 
 10% 
 10% 
 
 11 
 
 12 
 
 12%| 
 
 24.305 
 
 23.972 
 
 23.648 
 
 23.334 
 
 23.026 
 
 22.727 
 
 22.436 
 
 22.15^ 
 
 21.875 
 
 21.605! 
 
 21.341 
 
 21.084 
 
 20.833 
 
 20.588i 
 
 20.349 
 
 20.115 
 
 19.886. 
 
 19.663 
 
 19.445 
 
 19.231 
 
 19.022| 
 
 18.817 
 
 18.617 
 
 18.421 
 
 18.229 
 
 18.041! 
 
 17.857J 
 
 17.677 
 
 17.5 
 
 17.327 
 
 17.157 
 
 17. 
 
 13 
 
 liM 
 
 13% 
 14 
 
 14% 
 
 i4y 2 
 
 14% 
 
 m 
 
 15 
 
 15% 
 
 15% 
 16 
 
 16% 
 
 16% 
 16% 
 16% 
 
 16.8271 
 
 16.667i 
 
 16.51 
 
 16.355 
 
 16.204 
 
 16.055 
 
 15.932 
 
 15.766 
 
 15.625 
 
 15.487 
 
 15.351 
 
 15.217 
 
 15.086 
 
 14.957 
 
 14.831 
 
 14.706 
 
 14.583 
 
 14.453 
 
 14.344 
 
 14.228 
 
 14.113 
 
 14. 
 
 13.889 
 
 13.78 
 
 13.672 
 
 13.566 
 
 13.461 
 
 13.359 
 
 13.258 
 
 13.158 
 
 13.06 
 
 12.963 
 
 17% 
 
 17^ 
 17% 
 
 ,t 
 
 18 
 18% 
 
 18|| 
 
 18% 
 
 18% 
 
 18% 
 
 19 
 
 19% 
 
 19% 
 
 19% 
 
 1934 
 
 19% 
 
 20 
 
 20^ 
 
 20% 
 
 20% 
 20% 
 
 12.868 
 
 12.774 
 
 12.681 
 
 12.59 
 
 12.5 
 
 12.411 
 
 12.324 
 
 12.238 
 
 12.153 
 
 12.069 
 
 11.986 
 
 11.905 
 
 11.824 
 
 11.745 
 
 11.667 
 
 11.589 
 
 11.513 
 
 11.438 
 
 11.364 
 
 11.3 
 
 11.218 
 
 11.147 
 
 11.076 
 
 11.007 
 
 10.938 
 
 10.87 
 
 10.803 
 
 10.736 
 
 10.67 
 
 10.606 
 
 10.542 
 
 10.479 
 
 NOTE. This table will be found more convenient, and in several 
 instances more accurate, than that published in our former work, owing 
 to giving the eighths of runs, and the decimals having been carried out 
 to the third figure ; and in many instances the last figure of the decimal 
 has been increased one, for in these calculations it is better always to 
 figure on the heavy side.
 
 TEXTILE DESIGNING, 131 
 
 The above table is to facilitate finding the weight of 
 double and twist, when two or more threads are twisted to- 
 gether; for instance, suppose we wish to make a three-ply 
 twist from yarns spun 3f, 5i and 8f runs respectively, what 
 would be the size of the three-ply thread? 
 
 EXAMPLE: 
 
 1 thread of 3| runs = 58.334 grains. 
 1 thread of 5i runs = 41.667 grains. 
 1 thread of 8f runs 25. grains. 
 
 Answer, 125.001 grains If run. 
 
 By referring to the grains column, it will be seen that 
 the sum 25.001 grains is equal to If run. Now this If run 
 is the combined weight of the three threads when folded, 
 but not twisted together; hence this three-fold thread when 
 given a medium twist, will weigh somewhat heavier, as it 
 takes up more or less in the act of twisting, so we will make 
 an allowance of \ run and call the twisted thread H run. 
 If a slack twist, of only four or five turns per inch, is given 
 the thread, an allowance of run will be sufficient, while 
 if hard twisted, f or even i run may be allowed. Of course 
 this allowance must be governed wholly by judgment, ac- 
 cording to the quality of stock and the amount of twist to 
 be given it, both in spinning and twisting. The exact size 
 of the D. & T. can be found after twisting by weighing fifty 
 yards, say five yards from each of ten bobbins; therefore, 
 the above is calculated only for previous estimates concern- 
 ing the original size to spin the yarns for the twist. 
 
 RULES TO FIND THE SIZE OF DIFFERENT YARNS, BY GRAINS, 
 WITHOUT REFERENCE TABLES. 
 
 1600 yards of 1 run yarn weighs just one pound Avoir- 
 dupois or 7600 grains troy. Divide 1600 by 50, or any other 
 number of yards used for a weighing, then divide 7000 by 
 the quotient, and the quotient obtained will represent the 
 weight in grains of 50 yards or whatever number of yards 
 weighed of 1 run yarn. 
 
 Thus, 1600 ^r 50 = 32. And 7000 -i- 32 = 218.75 grains.
 
 132 THE SELF-INSTRUCTOR, 
 
 Now take 218.75 grains for a dividend, the weight of a 
 weighing for a divisor, and the quotient will represent the 
 number of runs. For example, we will presume that the 
 weighing weighs 35 grains. 
 
 Thus, 218.75 -=- 35 = 6.25, or 6 runs. 
 
 Another method of calculating woolen yarns is as fol- 
 lows: 7000 -H 1600 = 4$ grains, the weight of one yard of 
 I run yarn; hence the number of yards required to weigh 
 4| grains will represent the number of runs. Thus, if it 
 takes 5 yards to weigh 4| grains, the yarn would be 
 5i runs. 
 
 ,For a standard weight in worsted yarns, divide 7000 by 
 560, which gives us 12^ grains as the weight of one yard of 
 $fo. 1 yarn; consequently, as many yards as it takes to 
 weigh 12| grains, so many numbers of 560 yards each will 
 be required to weigh one pound. 
 
 For a; standard weight in cotton, or spun-silk yarns, we 
 divide 7000 by 840, which gives us 8-J grains as the weight 
 of one yard of No. 1 yarn; therefore, as many yards as it 
 takes to weigh 8 grains, so many numbers of 840 yards 
 each will be required to weigh one pound. 
 RULE TO FIND THE NUMBER OF A 2 OR 3-PLY THREAD, IN 
 WORSTED AND COTTON YARNS, 
 
 A 2-ply thread is numbered according to the single num- 
 bers: thus, 2-ply No. 60's twisted together would equal, or 
 is called No. 30's; but in order to be what it is called, the 
 single threads would have to be somewhat finer than 60's, 
 because in twisting, after being doubled, the yarn takes up 
 more or less in length, which really makes the thread of 
 twist heavier or coarser than it appears. 
 
 Again, suppose two threads of different sizes are to be 
 twisted together, one of No. 60's and one of No. 40's, then 
 proceed in the following manner: Multiply one number by 
 the other number, and divide the result by the sum of the 
 two numbers. Thus, 60x40=2400 _ 
 
 ' 2400-^-100=: 24's, number 
 60+40= 100 ' 
 of the double thread.
 
 TEXTILE DESIGNING, 133 
 
 To find the number of a 3-ply thread when composed of 
 the same numbers. Divide one of the single numbers by 
 the number of ply: thus, 3-ply No. 90's equals No, 30's, and 
 4-ply No. 100*8 equals No. 25's. 
 
 Again, suppose three threads of different sizes, say No. 
 20's, No. 40's and No. 80's, are to be twisted together, then 
 the number of the 3-ply thread is found as follows: Divide 
 the highest number by each of the other numbers and also 
 by itself, after which divide the sum of the quotients into 
 the highest number. Thus, 
 
 8020=4 ) 
 
 SO 4C=2 [ 80^7=1 If s, number 
 
 8080=1 ) of the 3-ply thread. 
 
 The sum of the quotients is 7 
 
 This rule will answer when any number of threads of vary- 
 ing sizes are twisted together. It will also answer for cal- 
 culating woolen yarns by the run, but owing to the small 
 numbers and the fractions which are used in that system, it 
 is seldom brought into play when figuring woolen runs. 
 
 RULE TO ESTIMATE THE WEIGHT OP FABRICS BY THE . 
 WEIGHT OF ONE SQUARE INCH. 
 
 Multiply 36 inches, the length of a yard, by the width 
 of the fabric, which will give the number of square inches 
 in the yard. Multiply the number of square inches in the 
 yard by the number of grains one square inch weighs, which 
 will give the number of grains in the yard. Divide the 
 number of grains in the yard by the number of grains in 
 one ounce, which is 437i; the quotient obtained will repre- 
 sent the weight of the fabric in ounces. 
 
 EXAMPLE: 
 
 If a sample weighs 5i grains to the square inch, what 
 will one yard of the fabric weigh, 27 inches wide? 
 36 X 27 972 square inches to the yard. 
 972 X 5^ = 5103 grains to the yard. 
 5103 -4- 437i = 11.664 ounces to the yard. Answer.
 
 134 THE SELF-INSTRUCTOR, 
 
 WEIGHT TABLE IN GRAINS. 
 
 7000 grains (Troy) = 16 oz. or 1 pound avoirdupois. 
 5250 grains 12 oz. or f pound. 
 
 3500 grains = 8 oz. or i pound. 
 
 1750 grains = 4 oz. or i pound. 
 
 875 grains = 2 oz. or pound. 
 
 437i grains = 1 oz. or ^ pound. 
 
 218| grains = $ oz. or ^ pound. 
 
 109f grains = i oz. or ^ pound. 
 
 The above table will be found useful when calculating 
 the weight of fabrics. 
 
 RULE TO FIND THE AVERAGE PICKS PER INCH 
 IN UNEVEN CLOTHS. 
 
 If the cloth is unevenly woven, or thicker in one place 
 than another, take the number of picks to each count of the 
 pick-glass in different places of the cloth where it is thickest 
 and thinest, and add them all together; their sum divided 
 by the number of times the picks were counted, will give, at 
 an average, the picks per count. 
 
 Thus, supposing the pick-glass has one-fourth inch open 
 space, if there are 12 picks in one place of the cloth, 15 in 
 another, 14 in a third, 16 in a fourth, and 13 in a fifth; then 
 12+15+14+16+13=70, which divided by 5, the number of 
 counts, will give 14 picks as the average count; and 14x4= 
 56 picks per inch as the average in the cloth. 
 
 COTTON YARN TABLE. 
 
 H yard= 1 thread, or round of the cotton reel. 
 
 120 " = 18 " = 1 skein, or ley. 
 
 840 " = 560 " =7 " = 1 No., or hank. 
 15120 " =10080 " =126 " =18 " =1 spindle. 
 
 The reel for cotton yarn is 54 inches round, 80 threads 
 or rounds of which make a skein, ley or rap; 7 skeins make 
 a number or hank, generally contracted No. ; and 18 of these 
 Nos. make, what is called, one spindle. The length of the 
 several subdivisions of the spindle of cotton yarn will be 
 found in the above table.
 
 TEXTILE DESIGNING. 135 
 
 LINEN YARN TABLE. 
 
 2| yds.= 1 split, one ell, or 45 inches long (double). 
 
 50 = 20 = 1 porter or heer. 
 
 300 = 120 = 6 =1 cut. 
 
 600 = 240 = 12 =2=1 heer. 
 
 3600 =1440 =72 =12 =6 =1 slip or hank. 
 
 7200 =2880 =144 =24 =12 =2 =1 hesp. 
 
 14400 =5760 =288 =48 =24 =4 =2 =1 spindle. 
 
 Linen yarn is spun from fla*x, and reeled on a ten-quar- 
 ter or 90 inch reel, and tied up into cuts of 120 threads or 
 rounds of the reel; and 18 of these cuts represent a spindle. 
 The spindle of linen yarn, however, admits of other subdi- 
 visions, which, with the quantity contained in each, are 
 shown in the above table. 
 
 The fineness of linen yarn is commonly estimated by 
 the weight of a spindle, hesp, or hank. By comparing the 
 lengths of the spindles of cotton and linen together, it will 
 be seen that the former exceeds the latter by 720 yards. 
 
 CLOTH MEASURE TABLE. 
 
 2^ in. (inches) = 1 nail, marked - na. 
 4 nails = 1 quarter of a yard, qr. 
 
 3 quarters = 1 Ell Flemish, E. Fl. 
 
 4 quarters = 1 yard, yd. 
 
 5 quarters = 1 Ell English, E. E. 
 
 Cloth measure is used for measuring all kinds of cloth, 
 ribbons, and other articles sold by the yard. 
 
 The preceding tables are all that we deem proper to be 
 published in a work of this kind, and which will be found 
 practical in every respect to which they are applicable. 
 
 Knowing from past observations that many of the tables 
 heretofore published in works relative to the textile indus- 
 try, have been of little or no use, we have borne this in mind 
 and have compiled for this work only such tables as we 
 know from experience in teaching the rudiments of design- 
 ing, will prove the most useful to beginners in making their 
 yarn and weight calculations. In these tables we have
 
 136 THK SELF-INSTRUCTOR, 
 
 given several original features which were never published 
 before. If we deemed it advisable, we could insert many 
 other tables, but to do so, would, we believe, be of no mate- 
 rial benefit, while they might prove more an injury than 
 good to the beginner, by inducing him to depend too much 
 on them r instead of fitting himself capable of figuring out 
 his required results,, and thus be placed,, at times, in an em- 
 barrassing situation when not having printed tables before 
 him as a ready-reference. Therefore, as before inferred, 
 we consider the tables here given, are all that is advisable 
 in a work of this character, and that the information given 
 in the preceding chapters is sufficient to teach the beginner 
 in making his own estimates, for anything required in this 
 line of calculating, which will certainly be far more com- 
 mendable than having to depend on printed tables. 
 
 RAW OR TRAM AND ORGANZINE SILK YARNS. 
 
 We have not, as yet, treated on these yarns; suffice it 
 to say that, they are numbered according to the number of 
 drachms that 1,OOO yards weigh. The drachm referred to 
 is the avoirdupois and not the apothecaries' weight. It is 
 T V of an avoirdupois ounce, or 27.34375 grains troy. Hence 
 if 1,000 yards weigh one drachm or one-sixteenth of an 
 ounce, 16,000 yards will weigh sixteen ounces or one pound. 
 Therefore, 16,000 yards of No. 1's raw silk will weigh one 
 pound; or, in other words, a number represents 16,000 yards, 
 which is the standard or basis for calculating these yarns.
 
 TEXTILE DESIGNING. 137 
 
 CHAPTER XXI. 
 
 WEAVING RIGHT AND LEFT-HAND TWILLS, ON CAM AND 
 CHAIN LOOMS. 
 
 In the weaving of twills, it is usually necessary to have 
 them run with the twist of the warp, in order to have the 
 twill show up full and round, otherwise it will look flat and 
 not appear sufficiently above the face of the filling threads. 
 For instance, in a weave which throws the same amount of 
 warp and filling on both sides of the cloth, or in other words 
 is equally balanced in the warp, it will be noticed that the 
 twill on one side of the cloth looks flat, while on the other 
 side, it looks full and round. The former, is the back or 
 wrong side of the cloth, the twill running the reverse of the 
 twist; the latter, is the face or right side, the twill running 
 with the twist of the warp yarn. Hence, it will be seen, if 
 the warp is spun with a right-hand twist, the twill should 
 run to the right; and, if spun with a left-hand twist, it 
 should run to the left. 
 
 With the old-style treadle or cam loom, there are two 
 ways of producing those results: one is by the manner of 
 drawing-in the warp, the other is by the manner of hitching 
 or strapping the treadles to the harnesses. In being gov- 
 erned by the former method, draw in the warp the usual 
 way, commencing on No. 1 harness and working across to 
 the back, drawing a thread on each harness in succession, 
 will throw the twill one way; while commencing on No. 4 
 harness and working across to the front, drawing a thread 
 on each harness in succession, will throw the twill in an 
 
 18
 
 138 THE SELF-INSTRUCTOR, 
 
 opposite direction. In being governed by the latter method, 
 draw in the warp the usual way, and hitch up the treadles 
 as represented by Figs. 1 and 2, allowing the straight lines 
 to represent the treadles, and the figures thus 1, 2, 3, ^ the 
 order of hitching them to the harnesses. The figures thus 
 1, 2, 3, 4, represent the harness numbers. 
 
 FIG. 1. 
 
 FIG. 2. 
 
 Fig. 1 represents the number of a treadle hitched to a 
 corresponding number of a harness, which will throw the 
 twill one way; while Fig. 2 represents the treadles hitched 
 up just the reverse, that is, treadles 4, 3, 2, 1, are hitched 
 to harnesses 1 T 2, 3, 4 respectively, this will throw the twill 
 in an opposite direction. 
 
 If it were desired to produce the regular broken twill, 
 draw in the warp thus 1, 3, 2, 4, and hitch up the treadles 
 as illustrated by Fig. 1; or, the warp may be drawn in the 
 usual way (straight across), and the treadles hitched up 
 thus 1, 3, 2, 4, which crosses the straps on treadles 2 and 
 3, and will produce the same result. This latter change 
 may be made also by hitching up the harnesses at the top 
 thus 1, 3 y 2, 4, and hitching the treadles up in their regular 
 order, straight across. 
 
 With a fancy or chain loom, the twill of the fabric is 
 governed by the manner of building the harness chain, or 
 the way it is put on the chain cylinder. ' For instance, sup- 
 pose we buid a harness chain after the following weave,
 
 TEXTILE DESIGNING, 139 
 
 which, in the position it now stands, shows the twill run- 
 ning to the right: Take twelve bars of chain, place them 
 on the chain rack, take the links off on one side, strip the 
 bars free from the rollers and tubes for the required number 
 of harnesses; now commence at the back or last harness of 
 the weave, at the top, and build lengthwise of the chain, 
 thus 1 down, 3 up, 3 down, 2 up, 2 down, 1 up; or, width- 
 wise, thus 1 down, 1 up, 2 down, 2 up, 3 down, 3 up. In 
 either case, continue in that manner until the vacant space 
 on the bars is filled with the required rollers and tubes, after 
 which replace the links and pins. 
 
 Harness Chain. 
 -0- 
 
 -00 00 ( 
 
 Weave. 
 
 * : :"M": : i p 
 
 *3t 
 
 : 
 
 z 
 
 emm 
 
 )-000 00- 
 
 -0-000 00 
 
 000 000- 
 
 Now, if we pick up this chain by the top bar or the one 
 fartherest from us, and hold it up before us, we find that 
 the weave thus placed on the chain bars, stands in the same 
 position as the weave or chain draft does on paper. This 
 will be better understood on looking at the above illustra- 
 tions of weave and harness chain. 
 
 The chain is now attached to the chain cylinder of the 
 loom, in the following manner: If the cylinder revolves 
 outivard from the upperside, run the chain on from the un- 
 derside; if it revolves outward from the underside, run the 
 chain on from the upperside. In the former case attach the 
 lower end of the chain first, as it now stands, this will run 
 the weave upwards, from the bottom, producing it in the 
 same position as now; in the latter case attach the upper 
 end first, this will run the weave downwards, from the top,
 
 140 THE SELF-INSTRUCTOR, 
 
 producing it in an opposite position, although in looking at 
 the chain on the two cylinders, it would really stand in the 
 same position in both instances. If, on starting the loom 
 in either case, the twill should be found weaving in the 
 wrong direction, take off the chain, and the end that comes 
 off from the cylinder last, replace back on to the cylinder 
 from the opposite side of which it came off. This operation 
 will reverse the position of the chain and also the twill in 
 weaving. 
 
 In building a harness chain for any loom, place the 
 links with both ends in on one, and both ends out on the 
 other alternately. This is the right method and if carried 
 into effect, there will be no trouble arrising from the run- 
 ning of the chain. 
 
 From- the above remarks and illustrations, the beginner 
 will, we believe, be able to see and comprehend what is re- 
 quired, in operating cam and chain looms, to produce both 
 right and left-hand twills.
 
 TEXTILE DESIGNING, 141 
 
 CHAPTER XXIL 
 
 DIRECTIONS FOR MAKING WOOL MIXES. 
 CONCLUSION. 
 
 In mills running on fancy cassimeres, flannels, and 
 ladies' dress goods which are mostly composed of mixes, a 
 great deal depends upon these mixes for producing the de- 
 sired effects, as well as the success of the mills. In order 
 to be a successful designer in one of those mills, the design- 
 er must be thoroughly conversant in originating and imita- 
 ting mixes, otherwise he will prove himself a failure in the 
 undertaking, even though he may have proved himself a 
 successful designer in other mills running on goods of solid 
 colors and fancy double and twist yarns. 
 
 To be successful in originating mixes, the designer 
 should be well versed with colors, know what order to as- 
 sign them to, what class will produce the liveliest effect 
 when combined, and what ones will produce the mildest 
 effect; also to know what proportion one color will bear 
 with another in producing the desired result. No rule can 
 be accurately given, or table arranged by which those re- 
 sults can be obtained, or a mix of two or more colors may 
 be combined to form another color or shade, unless the dif- 
 ferent colors are represented by samples. 
 
 In imitating a mix, some idea of the colors and shades 
 in the combination may be formed by examination of the 
 fibres. Then with a set of scales that will weigh grains,
 
 142 THE SELF-INSTRUCTOR, 
 
 apothecaries' scales are the most convenient proceed in the 
 following manner: Suppose that we have a sample of cloth 
 in which there is a mix we wish to imitate, or in other 
 words, the sample is all of one kind of mix and that we 
 wish to imitate the goods. By a close examination of the 
 threads the mix appears to be composed of three colors, 
 black, orange and red; the black greatly predominates, the 
 orange and red appear equally divided, each of a small per- 
 centage, so we will call the black 80$, and the orange and 
 red 10$ each. Now weight 80 grains of black wool, and 10 
 grains each of orange and red wool. With a pair of hand 
 cards or strippers, mix the colors thoroughly and compare 
 with sample. If the mix obtained proves to be the right 
 shade, then use grains as pounds and lay out for the stock 
 accordingly. If the mix should not prove to be the right 
 shade, add more, or less of the color or colors as the case 
 requires, keeping an account of the grains. After getting 
 the mix to shade satisfactory, arrange it in a book for that 
 purpose with the per cent, of each color recorded by the side 
 of it, then give the mix a distinguishing number. After 
 some of the mix has been spun, procure several yards of the 
 yarn and wind it into a small skein, which also place by the 
 side of the mix and write down the number of runs the 
 yarn was spun. By following out this plan with every mix 
 made, a practical ready-reference may be obtained for pres- 
 ent and future use. 
 
 Following is a record of a few desirable mixes, which 
 were made and successfully used by the author in the man- 
 ufacture of various grades of fancy cassimeres. 
 
 No. 1=75$ black, 15 orange, 10 plum. 
 
 No. 2=85$ black, 10 green, 5 yellow. 
 
 No. 3=50$ white, 40 dark olive brown, 10 plum. 
 
 No. 4=50$ white, 25 black, 25 plum. 
 
 No. 5=75$ olive brown, 15 plum, 10 white. 
 
 No. 6=75$ black, 15 white, 10 orange. 
 
 No. 7=75$ red brown, 20 black, 5 white. 
 
 No. 8=85$ black, 15 orange. 
 
 No. 9=75$ olive brown, 25 orange.
 
 TEXTILE DESIGNING. 143 
 
 No. 10=25$ red brown, 25 black, 40 olive br., 10 orange. 
 
 No. 11=50$ red brown, 50 wbite. 
 
 No. 12=50$ red brown, 50 black. 
 
 No. 13=45$ black, 45 olive, 10 white. 
 
 No. 14=45$ red brown, 45 white, 10 orange. 
 
 No. 15=46$ red brown, 46 black, 8 yellow. 
 
 No. 16=75$ red brown, 25 white. 
 
 No. 17=75$ dark olive, 25 white. 
 
 No. 18=45$ red brown, 35 black, 20 yellow. 
 
 No. 19=50$ black, 40 olive brown, 10 orange. 
 
 No. 20=50$ black, 50 olive. 
 
 No. 21=85$ black, 9 white, 6 red. 
 
 No. 22=50$ white, 40 seal brown, 10 navy blue. 
 
 No. 23=25$ black, 25 white, 25 blue, 25 dark green. 
 
 No. 24=50$ white, 35 blue, 15 red. 
 
 No. 25=80$ black, 10 white, 5 yellow, 5 red. 
 
 No. 26=80$ black, 10 orange, 10 red. 
 
 No. 27=90$ black, 5 orange, 5 red. 
 
 No. 28=92$ black, 8 red. 
 
 No. 29=95$ dark blue, 5 orange. 
 
 No. 30=95$ dark blue, 5 garnet red. 
 
 From the above it will be seen that a plum color is used 
 in a good share of those mixes. In each instance this color 
 was used as so many pounds of black wool, for the purpose 
 of enlivening the effect of the mix. For instance, a mix 
 consisting of black and white may present a dull and dead- 
 like appearance, while if a small per cent, of plum be added 
 it will give the mix a bright and lively appearance. 
 
 CONCLUSION. 
 
 In the foregoing pages of this work we have given to 
 the craft the result of twenty years' practice and study of 
 the Art. During said time we have filled the position as 
 Weaver, Designer and Superintendent, and for the last ten 
 years have acted as private adviser and instructor for 
 Designers, Superintendents and Agents of mills in nearly 
 every state of the Union. This has placed us in a position 
 of seeing and knowing the deficiency of knowledge among
 
 144 THE SETLF-rNBTKTJCTO-K, 
 
 the craft i'n their respective callings. Our business as a 
 publisher also, and connestion with textile journals, has 
 enabled us to keep well posted in relation to other authors 
 and their works, as well as in the textile industry. From 
 these available sources of information, together with prac- 
 tical experience and the encouragement received from the 
 txtended sales of our former works, we were induced to- 
 write the present work, which we trust will prove an im- 
 portant adjunct in this branch of the textile industry. And 
 as far as our knowledge in manufacturing extends, we are 
 certain there is no more important and profitable branch 
 than that of designing. Although this work has not been 
 written with the expectation that every one who will pur- 
 chase a copy can become a successful designer by the peru- 
 sal of it, even though they understand thoroughly its teach- 
 ings, yet we feel assured and do expect that it will be found 
 clear,, methodical, thorough, and useful as well as a faithful 
 instructor. Nothing now remains but to give utterance to 
 the wish that the reception accorded to our work, by the 
 craft y may correspond with the careful labor bestowed upon 
 it, by the author.
 
 
 
 
 ten Arm 
 
 f! 
 
 s g, 
 
 s 
 
 1C tC tC t 1C 1C 1C 1C tC 1C * i- - i- M >-" M 
 
 C C X -1 5S -i " ic - '-S X -I ~ ii ~ t> C 
 
 =c^H^^2i/ia2^^^ji=cx^^^i! 
 
 i: i: 1C 1C tC 1C 8S 1C tv tC 1C M M M M I-" M M >-> !-> M M 
 - C - 3C -q -. -l: 1C - C " X -1 - 
 
 ~

 

 
 \ 
 
 
 \