Part 2

_Satin Grec_ is a 12-harness satin, in which a taffeta point is added to each place of interlacing, thus giving the cloth a much firmer hand. Fig. 63 represents this weave on 12 shafts, skip draw.

[Page 47] [Illustration: Fig. 63]

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_Peau de Soie._ An 8-shaft satin with one point added on the right or left to the original spots, giving the fabric a somewhat grainy appearence. Fig. 64 represents a peau de soie on 8 shafts, straight through.

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[Page 48] _Fleur de Soie._ The face is a satin de Lyon (2-1 twill), with a backing interlaced on the 12-shaft satin principle, Fig. 65, on 12 shafts, skip draw.

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[Page 49] CANNELE and REPP WEAVES

are in their construction related to the taffeta, and are used mostly in the form of stripes as an additional ornament to a fabric. The threads going into the composition of these effects exchange continually from taffeta interlacing to floating over a certain number of threads, and must be introduced either in warp or filling close enough to make the floats cover up the taffeta work entirely, and thus enable the material used to show up with the full brilliancy it possesses.

Cannele effects can be produced in two distinct ways. One is to let every individual thread work alternately taffeta and float, while in the other method one thread weaves always taffeta, and a second thread is used for the cannele exclusively. These latter threads must come from a separate warp, which is introduced to embellish the ground or taffeta part of the fabric.

The floating threads can either stitch all on one pick and so form a continuous cut line, or be divided in groups, of which one will bind in the middle of the floats of the other group. The following designs show both the face and backside of the respective weaves:

[Page 50] _Alternating Cannele_ of 6 picks.

On 4 shafts, straight through.

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_Canelle_ (2 beams). Over 3 picks, interlacing on every fourth pick, drawn end and end on 2 sections of 4 shafts each.

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[Page 51] _Cannele_ over 5 picks, binding on the sixth, but every second thread advanced 3 picks (to the middle of the float of the first thread), drawn end and end on 2 sections of 4 shafts each.

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[Page 52] _Cannele_ arranged in groups of 8 threads, floating over 6 picks and binding on the seventh and eighth, drawn on 2 sections, with 4 shafts in first and 2 in second section.

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_Repp_ on 8 shafts straight through. Rotation of filling. 1 pick taffeta, 1 pick float (rib).

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[Page 53] _Repp_ of 8 threads, on 2 sections of 4 shafts each, 8 ends per section.

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_Repp_ of 5 threads, binding on the sixth; every second pick binds on the middle of the first pick. On 6 harness straight draw.

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[Page 54] _Repp_ in groups, floating over 6 ends and binding on the seventh and eighth on 8 shafts straight draw.

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[Page 55] DOUBLE FACED FABRICS

In this class we find either two systems of warp or of filling so combined that only one will be visible on either side. The color on one side is generally different from the other, and so may the interlacing be of a different nature on face and back. In the latter case great care must be exercised not to allow the weave on one side to disturb the one on the other, and as a rule the points of interlacing of the first warp or filling system are placed as much as possible in the middle of the floats of the second. This will prevent either color or weave to be seen on the opposite side, as the floats of one side will naturally lay themselves over the binders of the other. The number of ends in a repeat of the two weaves must either be alike or one a multiple of the other.

Warp Effects

_Levantine_ on 8 shafts straight draw.

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[Page 56] _Serge_ 6-2 on 2 sections of 8 shafts each.

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8 _shaft satin_ on 2 sections of 8 harness each.

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[Page 57] 12 _shaft satin_ on 2 sections of 12 shafts each.

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_Cannele_ of 8 picks on 2 sections of 4 shafts each.

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[Page 58] FILLING EFFECTS

_Serge_ 5-1 on 6 harness straight draw.

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10 _harness satin_ on 10 shafts skip draw.

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[Page 59] _Repp_ on 2 sections of 4 shafts each, 8 threads per section.

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[Page 60] PEKINS

With this name we designate fabrics in which stripes of a different interlacing run in the direction of the warp. In combining these weaves it is advantageous to have them contrast distinctly, for instance, a short weave such as taffeta or Gros de Tours, with a longer and looser one such as satin, sergé or cannele, also changes from warp to filling effects. Care must be taken to arrange the joining of the two weaves so that the last thread of one weave will cross the first thread of the other. This will prevent the threads from either stripe to slide over into the other, and so make a clean cut line.

#Pekin.# A stripe of

2 dents of 8 ends each, 8 shaft Satin, on 8 shafts straight draw. 12 " 2 " Taffeta " 4 " " "

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[Page 61] #Pekin#. A stripe of

12 ends Cannele of 6 picks on 1st section of 4 shafts. 12 " Repp " 6 threads on 2d and 3d section of 2 shafts each.

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[Page 62] #Pekin.# A stripe of

10 ends 5 leaf Satin on the 1st section of 5 shafts straight draw. 4 " Taffeta " 3d " 2 " " " 18 " Serge 3-1, 1-1 " 2d " 6 " " "

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[Page 63] BAYADÈRES

While pekins are formed by warp stripes, bayadère shows us stripes of different weaves running in the direction of the filling. The rules given in the previous chapter as to the joining of the weaves will also apply here. The warp which was raised on the last pick of the weave must stay down wherever possible on the first pick of the following weave. The number of shafts employed must go up evenly in the repeat of each one of the weaves that go into the make up of the bayadère.

#Bayadère#

A stripe of 24 picks Gros de Tours } } on 8 shafts straight through. " 8 " 8-shaft Satin, }

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[Page 64] #Bayadère#

A stripe of 18 picks 6-shaft Satin } " 6 " Serge 5-1, } on 6 shafts, straight draw. " 4 " Taffeta, }

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[Page 65] CHECKS AND PLAIDS

If pekin and bayadère stripes are combined, we obtain checked fabrics, and of these an endless variety and pleasing effects can be produced with the aid of suitable color combinations.

#Check#

of 16 threads and 12 picks of the 4 end broken twill, and 16 " " 12 " " Royale of 8 threads, drawn on 4 sections of 4 shafts each.

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[Page 66] #Check#

of 20 threads and 16 picks of 8-shaft Satin, " 20 " " 16 " " Taffeta, 4 " " Surah 3-1, drawn on 2 sections of 8 shafts each.

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[Page 67] DECOMPOSITION

Under the name of _Disposition_ we comprise all those points and details which we must ascertain before we can proceed with the construction of a fabric. They are:

1. #The weave.#

2. #Length and width of the cloth.#

3. #The stock and the dyeing thereof.#

4. #Reed calculation# (number of dents and ends per inch and total number of dents required).

5. #Drawing-in the warp in harness and reed.#

6. #Texture and arrangement of warp# (warping ticket)

7. #Arrangement of harness.#

8. #Reduction of filling.#

9. #Calculation of warp and filling.#

10. #Finishing.#

11. #Calculation of cost.#

[Page 68] 1. THE WEAVE

If a given sample is to be reproduced or imitated, it must be analyzed, and the following hints will greatly facilitate this operation to the beginner.

Cut the sample straight on two sides, and draw out a number of warp and filling threads until there is a small fringe of perhaps ¼ of an inch. This will allow a thread to be raised a little for examination, without danger of its falling out of the fabric. In most cases it is easier to dissect the filling side, that is, the interlacing of each warp-thread in the threads of the filling system. With the help of the microscope or counting glass we can easily determine over and under how many picks that thread passes and the points of interlacing are accordingly marked on designing paper. This being done for at least the length of a repeat warpways, we take it out and examine the following thread, and so on until the repeat filling-ways is complete. It is advisable to ascertain how many picks ahead or back of the first examined thread the next following one binds before taking the former out.

A knowledge of the construction of weaves as explained in the foregoing chapters will enable us to determine the weave of a simple pattern by merely raising a warp-thread with a needle on any point of interlacing and counting off how many picks apart from this place it makes an impression.

2. LENGTH AND WIDTH OF THE FABRIC

To the length and width which the finished product is to have, we must add a certain allowance for shrinkage and _taking up_ of warp during weaving. It may differ from one to ten per cent., according to the texture and weave of the fabric, and can be ascertained with sufficient accuracy by stretching out and measuring a thread of warp and filling and comparing their length with the respective measurements of the sample to be reproduced.

[Page 69] 3. THE STOCK AND ITS DYE

Under this heading we must give the particulars as to nature, _twist_, _quality_ and _size_ of the silk, and the directions for the dyeing, whether _bright_ or _souple_, and in what colors, also whether to be weighted or not.

The size is generally ascertained (in practical work) by comparing it with other silk of which the exact count is known. Another method is to count the number of cocoon threads which a thread of the sample contains, adding to that 1/3 or ¼, according to the quality of the silk; the result will be the count in deniers. To obtain it in drams, divide the latter number by 17,3 as 1 dram is equal to 17,3 deniers.

Suppose we find 20 cocoon ends in a thread of silk: add 1/3, and we have 26-2/3 deniers, which, divided by 17,3 make 1,54 drams.

As silk is always more or less uneven, it is safer to count the cocoon fibers of several threads and to take average thereof.

It requires the experience of years to judge with any degree of certainty as to the origin and quality of silk, whether it be "classical," "extra," "sublime," etc.

There are machines wherewith to ascertain exactly the twist, that is, the number of turns the silk has received in the throwing process.

In the dyeing we distinguish two great classes, of which the names themselves give a good definition. "Bright" has a brilliant luster, while "souple" has more of a dull, subdued appearance. To find out whether the silk has been weighted in the dyeing process, we may compare it with other silk of which the exact conditions are known, or we may burn a small quantity of it. Unweighted silk does not burn readily and leaves a residue of white ashes, while heavy weighted silk burns lively, leaving black, charry ashes.

[Page 70] 4. REED CALCULATION

We count the number of repeats of the weave in a given space, generally ¼ or ½ inch, and multiply this with the number of threads one repeat contains, which gives us the reduction of the warp.

Suppose we had a taffeta, which, as we know, has only 2 ends to a repeat, and counted 30 interlacings per ¼ inch on one pick; we would have 60 threads per ¼ inch or 240 per one inch. In this case the reed may be 80 by 3 or 60 by 4.

Another instance: In an 8-shaft satin we count 10 warp-threads, which bind on the same pick in ¼ inch; this, multiplied by 8, equals 80 ends per ¼, or 320 per one inch; the reed will be an 80 with 4 in a dent or a 64 by 5.

In short, the number of the reed is found by dividing the number of warp-threads that are to go in one dent, in the number of ends per inch. Sometimes, the reed marks are clearly visible in a sample by holding the latter against the light. Silk fabrics move with very few exceptions within the limits of 50 and 90 dents per inch.

To learn the full number of dents required for the width of the cloth, simply multiply the dents per one inch with the width, adding a certain allowance for shrinkage. The edges, of course, must also be taken in consideration, and very often the dents that are taken up by the latter are used to counter-balance that shrinkage.

5. DRAWING-IN THE WARP IN HARNESS AND REED

Here we must specify the number of dents that contain the same number of ends, and whether the latter are single or double, also the number of shafts and the method of drawing-in.

[Page 71] 6. WARPING TICKET

To make out the warping ticket, we need to ascertain the total number of ends, whether leased single or double, and the arrangement of the colors.

7. HARNESS ARRANGEMENT

This is governed by the number of ends to be drawn in and the necessary shafts. If we have, for instance, 100 threads per inch to be drawn on 4 shafts, we must give each shaft 25 heddles per inch. There are generally between 25 and 45 heddles per inch on one shaft.

8. REDUCTION OF THE FILLING

Here we state the number of picks per inch, give directions as to doubling, if such is necessary, and if more than one color or shuttle is used, the rotation thereof.

9. CALCULATION OF WARP AND FILLING

The system adopted in this country for specifying the size of silk is based on the weight in drams (avoirdupois) of a skein containing 1000 yards. A skein, thus weighing 5 drams, is technically called 5-dram silk. The number of yards of 1-dram silk to a pound must accordingly be 256000. The formulas for figuring the amount of silk required for a piece of cloth are as follows:

Warp Calculation

_Multiply_: Number of ends×length×count ----------------------------- _Divide by_: 1000 yards×256 drams

[Page 72] Filling Calculation

_Multiply:_ Picks×xply×width×length of piece×count -------------------------------------- = lbs. _Divide by:_ 1000 yards×256 drams

The result in both cases will be in pounds.

The system of grading the silk which is in vogue in Europe, and which is employed by a number of mills on this side, is as follows:

1 skein of 500 meters, weighing 0,05 grams = 1 denier international or 1 " 476 " " 0,053 " = 1 " Turin system or 1 " 476 " " 0,051 " = 1 " Milan "

The warp calculation, taking the international denier, would run:

ends in warp×length×denier×0,05 gram -------------------------------------- _divided by:_ 500 meters

for the filling: Picks per meter×xply×width×denier×0,05 gram --------------------------------------------- _divided by:_ 500 meters

Result in metric weight, kilograms and grams.

10. FINISHING

Give directions as to the process of finishing to which the goods are to be subjected, whether to be pressed, calendered, sized, moiréd, etc.

11. CALCULATION OF COST

If all the foregoing conditions are ascertained, and a sample or a piece of the fabric executed, it remains to the manufacturer to determine the exact figure at which he can produce the article. That this must be done with great accuracy is naturally of the utmost importance, and the calculator [Page 73] must know in the first place the raw stock prices, and also be acquainted with the details of the manufacturing process and the rates of wages paid therein. As a rule, the manufacturer establishes a scale of prices covering all the items of labor cost, mill expenses, etc., and uses this as a basis for his calculations.

A rule or formula for this operation cannot very well be given, as the methods vary in almost every establishment, each choosing the one best adapted to its ideas or dictates of circumstances and conditions.

[Page 75] DISPOSITION 1

_Taffeta glacé_

[Page 76] #Length and Width#--One piece 100 yards long, 18¾ inches wide.

#Stock and Dye#--_Warp._--Ital. Organ., 24/26 deniers = 1,47 drams, brown, bright, 14/16 oz. _Filling._--Japan Tram, 28/30 deniers = 1,65 drams, gold, bright 14/16 oz.

#Reed Calculation#--Per 1 inch, 70 dents at 3 single ends. " 18¾ " 1313 " add 13 " = 1% for shrinkage ---- Total 1326 dents.

#Drawing in#--1st edge, 9 dents at 3 double ends. Ground, 1308 " at 3 single " 2d edge, 9 " at 3 double " on 6 shafts, straight through.

#Warping Ticket#--1st edge, 27 double ends, brown. Ground, 3924 single " " 2d edge, 27 double " " ---- Total 4032 single ends. Length of warp 110 yards, including 10% for take up.

#Harness#--6 shafts, 3978 heddles per 19 inches. 1 " 35 " " 1 "

#Reduction of Filling#--Per inch, 100/102 picks, 2 ends.

#Warp Calculation#--? lbs = 4032 ends. 1 end = 110 yards. 1000 yards = 1,47 drams. 256 drams = 1 lb. 100 = 104 (4% waste).

4032×110×1,47×104 ------------------- = 2,65 lbs., or 2 lbs. 10,4 oz. 1000×256×100

[Page 77] #Filling Calculation#--? lbs. = 100 yards 1 yard = 36 inches. 1 inch = 102 \ picks. 2 / ends. 1 pick = 19 inches. 36 inches = 1 yard 1000 yards = 1,65 drams. 256 drams = 1 lb. 100 = 108 (8% waste).

100×36×102×2×19×165×108 ------------------------- = 2,73 lbs., or 2 lbs. 11,7 ozs. 36×1000×256×100

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[Page 79] DISPOSITION 2

_Surah 3-1_

[Page 80] #Length and Width#--1 piece 50 yards long, 23½ in. wide.

#Stock and Dyeing#--_Warp._--Ital. Organ., 1,30 drams = 20/24 deniers, black, bright, 40/50% = 22/24 ozs. _Filling._--Cotton No. 120/2 black.

#Reed Calculation#--Per 1 inch, 80 dents at 2 single ends. " 23½ inch, 1880 " add 36 " = 2% for shrinkage. ---- Total 1916 dents.

#Drawing-in#--1st edge, 8 dents, 2 double ends. Ground, 1900 " 2 single " 2d edge, 8 " 2 double " on 4 shafts, straight draw.

#Warping Ticket#--1st edge, 16 double ends, black. Ground, 3800 single " " 2d edge, 16 double " " ---- Total 3864 single ends. Warp 54 yards long = 8% for take up.

#Harness#--4 shafts, 3832 heddles per 24 inches. 1 " 40 " " 1 "

#Reduction of Filling#--Per 1 inch, 120 picks, 1 end.

#Warp Calculation#--? lbs. = 4264 ends. 1 end = 54 yards. 1000 yards = 1,30 drams. 256 drams = 1 lb. 100 = 104 (4% waste).

3864×54×1,30×104 ------------------ = 1,10 lbs., or 1 lb. 1,06 oz. 1000×256×100

[Page 81] #Filling Calculation#-?lbs. = 50 yards. 1 yard = 36 inches. 1 inch = 120 picks. 1 pick = 24 inches. 36 inches = 1 yard 840 yards = 1 skein. (No. 120/2) 60 skeins = 1 lb. 100 = 110 (10% waste).

50×36×120×24×110 ------------------ = 3.14 lbs., or 3 lbs. 2.24 ozs. 36×840×60×100

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[Page 83] #DISPOSITION 3#

_Satin Duchesse._

[Page 84] #Length and Width#--One warp 300 yards long, 10 pieces of 60 yards 23 inches wide, 2 pieces in width, with one cut edge.

#Stock and Dyeing#--_Warp._-- Ital. Organ., 1-55/100 drams, black, bright, 20/22 oz. _Filling._-- Jap. Tram., 1-8/10 and 2-7/10 drams, black, souple, 40/44 oz.

We should use for this fabric 1 end filling, 5-thread, 4-5/10 drams, but as we have none of this size on hand, we take: 1 end, 2 thread, 1-8/10 drams, and 1 end, 3 thread, 2-7/10 drams.

#Reed Calculation#--1 inch, 66 dents, 4 single ends. 46 " 3036 " 54 " (1¾% shrinkage). ---- Total ... 3090 dents.

#Drawing-in#-- { 1st edge, { 2 dents, 6×2, black. { 13 " 4×2, white. Ground, 1514 " 4×1, black.

{ 2 " 6×2 " Cut Edge { 1 " 2×4, " { 3 " empty. { 1 " 2×4, "

Ground, 1514 " 4×1, black.

2d edge, { 2 " 6×2, black. { 13 " 4×2, white.

Satin on 8 shafts, straight draw. Cross-thread for split edge on 3 shafts, see design.

#Warping Ticket#-- Edge, { 12/2 black. } { 52/2 white. } Ground, 6056/1 black. } twice over. Edge, { 52/2 white. } { 12/2 black. }

12208 ends black, { 318 yards long. 416 " white, { = 6% shrinkage.

2/4 black for ground thread, 300 yards long. 2/4 " " whip " 360 " " each one on a separate little roll.

[Page 85] #Harness#--8 shafts, 12368 heddles, 47 in 1 " 33 " 1 " for the split edge 3 shafts, of which one has only half a heddle.

#Filling#--Per 1 in., 80 picks, 2 ends (as described before).

#Warp Calculation#--? lbs. = 12224 ends, black (416 white). 1 end = 318 yards. 1,000 yards = 1,55 drams. 256 drams = 1 lb. 100 = 104 (4% waste).

(416) 12224×318×1.55×104 -------------------- = 24,477 lbs. org. black. 1000×256×100 = 0,833 " " white.