Fig. 42.
Fig. 42.
The foregoing explanations will give the principle of this card-lacing machine as follows: “One needle holds the other’s twine until the other needle has moved one point ahead.”
Fig. 43.
Fig. 43.
Fig. 43illustrates the side elevation.Fig. 44illustrates the front elevation. The construction of this machine and its working are as follows:
Over the prisms,B,C,D, of the same size and shape as a cylinder of the Jacquard machine, run three endless chains. Surrounded by this endless chain is the shuttle-box,E, with three shuttles, one of which is illustrated inFig. 45. On each of these shuttles a toothed rod,K, is fastened, the teeth of which work in the circles,H,H, as soon as a shuttle is put in its lay,J. This toothed rod, which runs underneath the circles,H, is used to move the shuttles to and fro.Lindicates the pulleys for driving the machine.M´andO,O´, the gear-wheels;Q, the lever, andP, its guide, connected as shown. The bent needles,Z, work in connection with the shuttles,E. These needles are tubes through which the twine for lacing from spools,A, are passed. These tubes are adjusted to rod,S, which swings around pin,T, and gets its motion from rod,U,V,W.
Fig. 44.
Fig. 44.
The Jacquard cards are placed on the machine atB´, and move in rotation under needle,Z. The movement of the cards must be so regulated that, notwithstanding the want of uniformity in the arrangement of the holes, each hole in turn must come directly under the lacing needles.
The lacing of the cards is produced as follows: After the cards have moved one hole, the needles,Z, lower toP´,Fig. 43, making the shed. The shuttles movewith their points under the thread thus lowered by the needle, and pass clear through the loop. After the needles rise, they will in turn tighten the loop, the shuttles return to their original position, and the work repeats.
This method of lacing Jacquard cards has the disadvantage of compelling the machine to be stopped oftener than if using the two-needle system (Fig. 32), as the shuttles will only hold a small quantity of lacing twine.
Fig. 45.
Fig. 45.
Designers for Jacquard work, in addition to being good draughtsmen, must be thoroughly acquainted with the three systems of weaves: plain, twills and satins, and their sub-divisions; also with the structure of double cloth, three-ply cloth, four-ply cloth, etc. He must know the influence of the texture upon the weaves and the fabric; the arrangement of the threads in the dents of the reed; the different systems of tying-up the Jacquard harness; and the stamping of the Jacquard cards for the various kinds of textile fabrics.
The classifying of the □ designing paper is done by enclosing a number of small rectangles, horizontal and vertical, within a certain distance by a heavy line. Such enclosures are known in practice as “squares.” The spaces between the vertical lines indicate the warp-threads, and those between the horizontal lines the filling threads. As a rule the warp dimension is indicated first; and a design paper having five rectangles vertical with ten horizontal, is variously read and indicated as 5 by 10, 5 × 10, or 5/10.
Figs. 46 to 68represent some of the styles of □ designing paper most frequently used. The size of the square may vary in each kind of paper, and must be selected according to the fabric to be sketched. For example: There are three styles of 8 × 8 □ designing paper in general use: One forming 1/2 inch heavy squares, (Fig. 48), one forming 3/4 inch heavy squares, (Fig. 64), and the other forming 1 inch heavy squares. These sizes may still be varied.
The principle of these three kinds of □ designing paper is identical, the size preferred being left to the pleasure of the designer. If a design is to be made for a great number of needles, say 600, 900, 1200, etc., it will be best to use the smallest size; whereas in a design for only 100 to 200 needles the larger sizes may be employed.
Fig 46 to Fig 68.
The heavy square serves as a unit of measurement, as well as a means of calculation, and shows readily and exactly the size of the design. The eye becomes accustomed to grasping the meaning of this large square, and comprehends at a glance the situation. For instance:
On 8 × 8 paper, 25 squares means 8 × 25, or 200 rectangles each way. 10 × 10 paper, 10 × 25, or 250 rectangles each way. 10 by 12 paper, 10 × 25, or 250 rectangles one way, and 12 × 25, 300 rectangles the other way.
These rectangles in actual work represent threads or ends, thus:
200 ends on 8 × 8 paper require 25 squares.300 ends on 10 × 10 paper require 30 squares.450 ends on 10 × 12 paper require 45 squares one way, and 450 ÷ 12, or 37 squares + 6 lines the other way.
The squares will also assist in putting the weave in a design. For example: Suppose a design for a damask table-cover is required, having for weaves the 8-leaf satin. By using the 8 by 8 paper the “risers” or “sinkers” of the 8-leaf satin are found in the same place in each square, thus any error in forming the weave is at once detected. Sometimes more than one square is required for ascertaining this fact; suppose in the preceding example the □ paper to be 10 by 10, then the number of threads represented by four successive squares = 4 times 10, or 40, being five repeats of the 8-leaf satin, as 5 times 8 = 40.
For single cloth the character of the designing paper is ascertained by the number of warp and filling threads required per inch in the finished fabric. For example: A damask fabric with a texture, when finished, of 80/120 (80 ends warp and 120 picks filling per inch) will require a designing paper of corresponding proportion, or as 80 is to 120, = 8 × 12.
In stripes, checks, etc., the texture in part of the fabric is changed; such changes require separate designs. If the difference is only slight, one kind of paper is used. Select the paper derived through the proportion of the two as required. For example: A dressgoods fabric forming two distinct effects in one repeat of 400 warp-threads (200 successive ends required for each effect).
The first effect made on a texture 60/80.The second effect made on a texture 80/80.
Two distinct designs (one for each effect) are required:
For the first effect use a paper proportioned as 60 to 80, or 6 × 8.For the second effect use a paper proportioned as 80 to 80, or 8 × 8.
If only one kind of □ designing paper be used for both effects, find the average of the warp, thus: 6 + 8 = 14, and 14 ÷ 2 = 7, showing that paper 7 × 8 is the substitute. If using a designing paper under similar circumstances the sketch must be squared to correspond.
In fabrics where one line (visible across the face) is produced by two or more different colored threads, (each pick forming part face, part body or back of the fabric), the designing paper to be used is shown by the proportion of the line effects to the warp-threads (figure) per inch. Example: Take a dress-goods fabric, extra figured in the filling, having the following texture: Warp, 60 ends per inch; filling, 100 picks per inch, double system, 1 pick for ground, 1 pick for figure. The paper required is as 60:(100 ÷ 2) or as 60:50 = 12 × 10, or 6 × 5.
The figure is painted upon the paper in various colors and by the card-stamping when cutting the ground cards. The extra colors are treated as if they were ground. When cutting for the extra figure, deal with it alone.
If a fabric has the double-cloth system applied to the warp, only using one filling for both kinds of warp, and the Jacquard-harness is tied-up for “single sections,” the squared designing paper required is found from the proportion of the number of face and back warp-threads per inch, to the number of picks per inch. Example: Take a dressgoods fabric constructed on the following texture: 80 ends warp, 1 end ground, 1 end figure, and 60 picks to 1 inch. The proportion for the paper is as 80:60, or 8 × 6 designing paper.
If the tie-up in the loom is for double sections, (Fig. LIV.orLVI.), the fabric in the previous example requires the comparison of the face-warp with the filling, and the answer is: 80 ÷ 2 or 40 ends of face-warp per inch, 60 picks filling per inch, giving the proportion of 40 to 60, requiring 8 × 12, or 4 × 6 designing paper for the figure. The ground part of the design is executed separately on the same kind of paper; or if the weave is of a short repeat, stamped without design.
In selecting the □ designing paper for double cloth, such as cloakings, coatings, etc., made with a back-warp, and executed on any of the single section tie-ups, use the lines between the squares to indicate the back-warp and back-filling. The proportion of ends of face-warp to face-filling in one inch of the finished fabric indicates the kind of paper needed.
Example: If a fabric has the following texture:
Warp, 2 ends face, 1 end back, 90 ends per inch.Filling, 3 ends face, 1 end back, 132 picks "
The kind of designing paper needed is found by dividing 90 by 3, and multiplying by 2, thus: 90 ÷ 3 × 2 = 60, number of ends of face-warp per inch, and 132 ÷ 4 × 3 = 99, number of picks filling per inch, giving a 60 × 99 paper, or its equivalent, 6 × 10.
Face cards for these fabrics must be stamped twice, first for the face weave, and afterward for the binder. If using a 12-row machine, use punches 1, 2, 4, 5, 7, 8, 10, and 11, for face; 3, 6, 9, and 12, for the back of the fabric.
Always observe the proportion existing between the number of warp and filling-threads. For instance, take a carpet having 1072 ends warp (536 ground and 536filling) per yard, with 30 picks per inch (1 pick ground and 1 pick filling, or 15 pair). Then, 1072 ÷ 36 = 29-28/36 ends of warp per inch. The proposition is as 29-28/36: 30; or, what is practically the same, 30: 30, showing that the paper must be equally divided, and 8 × 8 may be used, as is usually done.
Again, take a carpet having 832 ends warp (416 ground, 416 figure) per yard with 20 picks per inch (1 pick ground, 1 pick figure, or 10 pair). Then 832 ÷ 36 = 23-4/36, and the proportion is as 23-1/9: 20, or as 7-19/27: 6-2/3, practically 8: 7; and 8 × 7 paper may be used.
Note.—It will always be advantageous for the card stamping if the designing paper be selected so that the number of warp-ends in one square equals the number of griffe-bars used in the Jacquard machine.
Note.—It will always be advantageous for the card stamping if the designing paper be selected so that the number of warp-ends in one square equals the number of griffe-bars used in the Jacquard machine.
The brush used by the designer must be clipped according to the size of the rectangles of the paper. It should cover the rectangle in warp direction at one sweep of the hand; hence each size of the squared paper requires a specially prepared brush for quick, good, and perfect work.
For this purpose take common colors (in powder), and mix with water and mucilage to avoid rubbing off after application. Use no more mucilage than necessary, as too much will be followed by slow and imperfect work. Colors mixed in this manner must be kept moist by adding a few drops of water daily. The colors most generally used for painting textile designs are:
Vermilion.Lamp Black.White Lead.Emerald Green.Chrome Yellow.Burnt Umber.Cobalt Blue.Carmine, etc.
A few drops of alcohol will greatly assist the mixing of vermilion, umber, and similar colors which have no affinity for water. Chloride of lime is used on colors having a vegetable basis (as carmine, etc.,) for correcting imperfections, applying weaves or changes in the colored part of a design.
If the designing paper becomes greasy, the colors will not adhere. To cure this take a moist sponge and wipe off the paper.
To prevent textile designs (painted on the □ designing paper) from being soiled, apply a thin solution of white shellac varnish, which dries almost instantaneously. A design preserved in this manner can be cleaned off at any time with a wet sponge, and after years have passed will appear bright and distinct.
The first work to be done in making anoriginaldesign, or in reproducing a design by making ananalysisof a woven fabric, is to prepare the “sketch.” This sketch may be arranged the exact size of pattern needed, or it may be proportionally larger or smaller. If the design is a reproduction from a woven fabric, a correct duplicate on the regular drawing paper is required; for this sketch is of the same value to the designer for Jacquard work as the correct picking out of a weave is to the designer for harness loom-work.
In preparing anoriginal sketch, the points to be considered are:The setting of the figure, and the most practical size.
To give a clear illustration of this, Figs.69,70,71,72,73,74,75, and76are designed, representing a few of the methods most frequently used. A separate explanation of each will familiarize the student with this part of the work.
Fig. 69.
Fig. 69.
Fig. 70.
Fig. 70.
Fig. 71.
Fig. 71.
Fig. 72.
Fig. 72.
Fig. 69illustrates the setting of a figure in “plain.” The space allowed for one repeat (outline of the square) is shown divided horizontally and vertically into two equal parts each way. [See dotted linesa,b, andc,d, thus giving the centre for the square atS.] The design contains two circles in its repeat; one of these circles is shown with its centre atS, and the other circle is illustrated divided into four quarters, as shown in the four corners of the square.
Fig. 70represents another “plain” setting, but the figure employed, a half-moon with a small circle near it, is set in two directions.
Fig. 71illustrates a design having in its repeat two different figures, each set by itself in “plain.” A third figure, ringe,f,g,h, is used four times to break the general prominence of the effect.
Diagram for Fig. 72.
Diagram for Fig. 72.
Fig. 72shows the setting of a figure in a design similar to a “four-harness broken twill.”
Fig. 73shows a combination of one figure set in four-harness broken twill style, the other set in plain.
Fig. 74shows the setting of a figure in the “five-leaf satin” style. [See diagram,p. 109.]
Fig. 75shows the setting of two figures in the “six-leaf satin” style.
Fig. 76illustrates the setting of one figure in the “eight-leaf satin” method.
Fig. 73.
Fig. 73.
Fig. 74.
Fig. 74.
Fig. 75.
Fig. 75.
Fig. 76.
Fig. 76.
Diagram for Fig. 74.
Diagram for Fig. 74.
Diagram for Fig. 76.
Diagram for Fig. 76.
In setting figures in a sketch the appearance of “streaks” must be avoided. To do this it will be found advantageous to sketch more than one repeat of the pattern; if possible, sketch two each way, that the streaking, if any, may show itself in the sketch, and be corrected there. Nearly all the patterns seen in fabrics which show streaks can be traced to designers who prepare their designs without sketches; for if a sketch had been made, the streaking of the fabric might have been foreseen had the designer exercised proper care in the examination and perfecting of his sketch. Figures taken from plants, or from life, can be set in the same manner as explained for Figs.69to76. For example,Fig. 77, the figure for design.Fig. XXXIV., p. 32, the latter being set after the method illustrated byFig. 70.
Fig. 77.
Fig. 77.
Figs.XXV.,XXVI.,XXXIII.,XXXVIII.,XLI.,XLIV.,XLV.,XLVII.,XLVIII.,LI.,LV.,LVII.,LXI., etc., all show sketches for fabrics executed on one or the other methods of construction just explained.
This is regulated by the number of harness-cords in one repeat or division, the method of tie-up employed, and the texture of the finished fabric. For example:Take 400 harness-cords for one division. Texture of the fabric when finished 100/90. Tie-up employed, straight-through.Required: The size of one repeat for the sketch.
Answer: 400 ÷ 100 = 4 inches. The figures may be arranged in this sketch to repeat one, two, three, four, or more times in the 4 inches thus available.
Fig. 79.
Fig. 79.
Fig. 78.
Fig. 78.
Figures are not always enlarged or reduced by free-hand drawing. Some designers always use the “squaring off” process. The latter is clearly illustrated by Figs.78and79.Fig. 79shows the reduction ofFig. 78, andFig. 78the enlargement ofFig. 79.
Fig. 80.
Fig. 80.
Fig. 81.
Fig. 81.
The method observed is of different size squares for each design. Each square ofFig. 78containing the same proportion of the whole design as is shown by the corresponding squares ofFig. 79.
Fig. 82.
Fig. 82.
Fig. 80illustrates another method of ruling off a figure preparatory to enlargement, reduction, or duplication.
Fig. 83.
Fig. 83.
Fig. 84.
Fig. 84.
This “squaring off” is not always done in a sketch for the reasons just mentioned, it being frequently done to assist the designer in the original constructionof his figure. Such an application of its utility may be observed inFig. 81, centre for Damask;Fig. 82, border for Damask; and Figs.83and84, sketches for Damask table-cover, centre, with side border. The design of a border for a centre, orvice versa, must be selected to correspond (Fig. 85).
Fig. 85.
Fig. 85.
Fig. 86shows a horizontal and vertical border, both of the same design. It is obvious that it would be a very imperfect design if either border should be allowed to form the corner, hence a union must be carefully constructed embodying the same general features as the design.
Fig. 86.
Fig. 86.
Having obtained a perfect sketch of the design as it appears in the fabric, or as it is desired to show, the outlines are transferred to the □ designing paper. This always requires an enlargement of the design, and to accomplish this the sketch itself must be ruled proportionally to the heavy squares found on the □ designing paper. If these squares should be too small for the sketch, they may be enlarged by throwing 4, 9, or 12 of the “squares” into one large one; which is indicated by extra ruling off with pencil upon the required heavy lines. In this case the sketch is ruled off corresponding to these pencil lines. The transfer of the sketch to the required □ designing paper is governed by rules already explained for the enlargement of a design on the regular drawing paper. After the design is transferred to the □ designing paper it must be“outlined in squares.”
This consists in painting the small squares forming the outline of the figure as called for by the outline of the drawing. Two methods are observed: One “outlining in squares” inside the “drawing outline;”the other“outlining in squares” outside the “drawing outline.”
If painting outside the outline, no small squares are taken, in which the drawing outline, taken from inside the figure, encloses more than one-half of their surfaces. If painting the “outline in squares”insidethe “drawing outline,” this rule is reversed, thus no small square can be taken which is overrun by the drawing outline more than one-half from the outside of the design. The most difficult part of the outlining in squares is to obtain the nearest possible reproduction of the drawing outline. If circles, curves, etc., are to be made, they must be reproduced as nearly correct as possible; no bunches, cuts, etc., should disturb its symmetry.
Fig. 87.
Fig. 87.
Fig. 87shows the variations and methods to be resorted to in “outlining by squares” the five circles, each of different size.
Fig. 88shows the formation of projected straight lines varying from a horizontal to a vertical direction. The full changes by 8s, 7s, 6s, 5s, 4s, 3s, 2s, 1sare shown in full black. The half changes between the 2sand 3sare formed of 2sand 3staken alternately as shown by the shaded line. Another half change between 1sand 2s, also represented by the shaded effect, shows the change to be a repetition of the step 1, 1, 2. Between this last mentioned change and the regular 2schange, we find the direction of a straight line as derived from a repetition of 2, 2, 1, indicatedby the [.] Below the regular change by 1sthe straight line is formed by using 7 times 1 and once 2 repeated. Above the regular change by 1sas shown by the black diagonal, these same changes will form straight lines running from 45° to 90°.
Fig. 88.
Fig. 88.
The outlining in squares outside the drawing outline is observed in designs having the figure produced by the filling. The outlining in squares inside the drawing outline is observed in designs having the figure produced by the warp. By reversing these two rules, the figure in the design would be changed from the sketch, for if outlining in squares inside the drawing outline, using filling for figure, the figure would be reduced proportionally to the reduction made or taken away by the outline squares. Thus, also, if the warp formed the figure, and the“outlining being done in squares,” outside the drawing outline, the figure would increase proportionally the size of the squared outline. These rules refer to painting the squares for warp only. Some fabrics require also the painting of the filling squares.
The foregoing explanation may be reduced to the followingRule: If the figure is required to be in white, “outline by squares” outside the drawing outline; if the figure is required to be painted, “outline by squares” inside the drawing outline.
After the design is outlined by full small squares, either the figure or the ground (as required, but generally the figure) is painted all over. The paint required for this work has been previously described. It is only necessary to mention that it must have body enough to be clearly visible, but not sufficient to obscure the black ruled lines of the paper, which must show clearly through the paint. The weave, if necessary, is next put on the required spots, either in white or black paint.
Fig. 89.
Fig. 89.
Outlining on □ paper—finished design and fabric sample. For single-cloth fabrics, as damasks, dressgoods, etc.
To give a clear illustration of the entire process from sketch to finished design, Figs.89,90, and91are designed.Fig. 92showing the effect of the design on the fabric after being woven.
Fig. 90.
Fig. 90.
Fig. 91.
Fig. 91.
Fig. 89represents a sketch for a fabric supposed to be executed with 80 warp-threads in one repeat; thus, if using 8 by 8 □ designing paper, (texture in this example supposed to be equal in filling and warp), the sketch must be divided and ruled off into eight parts each way.
Fig. 90illustrates the sketch transferred to the □ designing paper. Fig.Arepresents the “drawing in outline.” Fig.B, the “outlining in squares.”Fig. 91, the complete design; andFig. 92, the fabric sample.
Fig. 92.
Fig. 92.
Fig. 93.
Fig. 93.
These designs require no special weave, as that is taken care of by the compound harness in front of the Jacquard harness, as explained in Chapter XII., page 58. After painting in the design, it is finished, ready for card-stamping.Fig. 93shows us a leaf, taken from sketch (Fig. 80), which may be used in connection with a larger design, but will clearly illustrate this division of textile work.
In these fabrics, when the ground and figure are indicated in the design, the same is consideredas finished. As previously stated in the article devoted to these fabrics, a two-ply ingrain carpet is composed of two fabrics, in which the journals introduce the weave, and the double-acting Jacquard machine the exchange of ground and figure effect.
Fig. 94represents a small portion of a design illustrating the three principal effects of this operation.
Fig. 94.
Fig. 94.
I. = figure up.II. = ground up.III. = effect technically known as “shot-about,” derived from one pick, figure up; one pick, ground up; and repeated.
I. = figure up.
II. = ground up.
III. = effect technically known as “shot-about,” derived from one pick, figure up; one pick, ground up; and repeated.
InFig. 95a detailed description or analysis of the interlacing warp and filling ofFig. 94is given.
Fig. 95.
Fig. 95.
The two-ply ingrain carpet can also be made upon a Jacquard loom, tied up for double sections. [SeeChapter VI., page 48.] This is also extensively used in the manufacture of upholstery fabrics; in fact, the latter mentioned method is almost exclusively used in Europe.
InFig. 95the weave of the “shot-about” effect calls for two picks face, and two picks back. An examination of this part of the draft shows that the warp-thread represented by the light pick1up 3downis to be raised, or has been raised in the adjoining heavy pick3up 1down; further, we find the two light picks separated by the raising of a different warp-thread in each pick, which is also effected between the two heavy picks by the lowering of another warp-thread. This places the ground-thread below its corresponding figure or mate thread, or the figure thread below its corresponding ground-thread.
If these mate threads introduced in succession are required to show side by side, either on the face or the back of the fabric, these changes must be indicated on the design by different colors. If such effects are to be introduced when using the common ingrain Jacquard machine, the needles of the latter must be operated at each pick; this requires twice as many cards as are used in designs where the mate thread is always placed below or above its corresponding thread.
In the article explaining the double section tie-up, [seeChapter VI., p. 48], as well as the one on the selection of the proper squared paper required for these fabrics, the general character of these fabrics has been explained.
As mentioned in Chapter VI., the machine is divided in two parts, figure and ground; the Jacquard harness is leased one end figure, one end ground, and repeated.