Part 1 (1/1)

Theory Of Silk Weavingby Arnold WolfensbergerPREFACEThe silk industry of America has of late years rapidly advanced to thefront rank areat textile industries of the world It may indeedbe proud of this position, to which that enterprising spirit and untiringenergy peculiar to our nation, coreat technical andnatural resources, has brought itThat we are, on the other hand, not yet at the height of perfection we arealso coe, but if we consider the short space of timethat the American industry has required for its development, as coreat European silkcenters can look back, the fact is neither surprising nor discouragingWhile it must not be our aim to imitate or copy their ways, inasmuch as outconditions and circumstances are quite different from theirs, we may stillprofitably study their reatest advantage which our coexistence consists in having at their disposal a force of skilful, trainedhelp Thethe ireat efforts and pecuniary sacrifices to elevate and hstandard of their industryFor instance, they support textile schools and lecture courses, where youngh technical education and equip the their own interests and at the sae 6]This beneficial influence cannot fail to exert itself froher employer down to that of the weaver, ould naturally takemore pains and interest in his work than if he were a e to his loom in order to keep it in motionVery little has been done in his country for technical education as far asthe silk industry is concerned, and it was on this special branch, thatprompted the author to offer in the present little work a treatise on thetheory of shaft weaving for broad silks and ribbonsIt is divided into three principal parts: 1st Drawing-in the warp in the harness 2nd The weaves and their application 3rd Deco there have been added in the revised and enlarged editionseveral additional parts covering the following: JACQUARD WEAVES, BOX LOOMWEAVES, including CREPES, and COST CALCULATIONS for plain and fancy weavesThe subject while condensed, is made as clear and co their knowledge in thisdirection, this should prove a valuable helpThe author, through the ement of the manufacturers, and will feel amply repaid should hisefforts tend to develop a deeper interest in the ”Queen of Textiles” [Page 7]THEORY OF SILK WEAVINGDRAWING-INWith this ter, by whichall the warp-threads are drawn through the heddles of the harnessThe order in which this is done varies according to the weave and thenature of the fabric to be produced; so we distinguish: Straight draws, Skip draws, Point draws, Section drawsSTRAIGHT DRAWS[Illustration: Fig 1][Page 8][Illustration: Fig 2]These forin withthe first heddle on the left side of the shaft _nearest to the warp-beam_,then take the first heddle of second shaft and so on until all the shaftsthe set contains are used in rotation This completes one ”draw,” and thisoperation is repeated until all the warp-threads are taken upThethe shaft nearest to the warp-beam the first, isalmost universal with the silk business and is technically called_drawing-in fro in from _front to rear_, is used occasionally,however, and in this case makes the first heddle on the left hand side ofthe front shaft No 1The -in Draft_, which ement or the rotation in which the warp-threads are drawn in, can bedone in various ways, of which illco therotation by dots The horizonal rows of squares represent the shafts, thevertical rows the warp-threads Fig 1 shows four repeats of a straightdraw on six harnessto this idea A second method isto use paper ruled horizontally, the lines representing the shafts; and todraw vertical lines for the warp-threads The latter arethe number of the shafts into which the respectivethreads are to be drawn Fig 2 is such a draft, illustrating six repeatsof a draw on four harness fro 3][Illustration: Fig 4]The draws co are used very extensively in silkweaving, especially for fabrics requiring a heavy warp and a large numberof shafts Enter first the odd and then the even shafts An 8 harness drawof this kind, of which three repeats are shown in Fig 3, runs as follows:1, 3, 5, 7, 2, 4, 6, 8Fig 4 is a 12 harness draw of the sa 5][Page 10][Illustration: Fig 6][Illustration: Fig 7][Illustration: Fig 8][Illustration: Fig 9] [Page 11]Point draws are a coht draw from back to frontand one fro usedonce, while the rest receive two ends each in one repeat of the draw Fig5 illustrates a regular point draw in 2 repeats on 10 shafts It will beseen that 14 ends make a repeat; in fact, the number of warp-threadsrequired for one draill always be double the nuular point draill require 22 warp-threads for arepeatThe drawing-in draft illustrated in Fig 6 is a slight variation of theregular point draw; it consists, as will be seen, of a draw from back tofront, and also a full one fro a _doublepoint_Another change fros 7 and 8;this class unbefore the other one is cozag draw_ on 10 harnessThe drawing-in drafts which we have described under the head of ”Pointdraws,” are usedeffectsSECTION DRAWS[Illustration: Fig 10][Page 12][Illustration: Fig 11][Illustration: Fig 12][Illustration: Fig 13][Illustration: Fig 14][Page 13][Illustration: Fig 15]This division of drawing-in drafts is used extensively in silkround warp and abinder warp, also in double-face goods, or where two different weaves arecombined in one effectOne or more threads are drawn on the first section, then one or more on asecond and third, if the harness is divided in soexa 10, shafts 1, 2, 3, 4 from the first set, shafts 5 and 6 thesecond, 8 threads are drawn straight on the first, then 2 on the secondsectionFig 11, first set shafts 1 to 6 inclusive, second set shafts 7 and 8Fig 12 is drawn end and end on two sections having 8 shafts eachFigs 13, 14 and 15, while not strictly belonging to the class of sectiondraws,The idea is to drawa certain nuroup inanother part, be it straight, point or skip, which will cause the effect onthe cloth to be accordingly transposed or broken up [Page 15]THE WEAVES AND THEIR CONSTRUCTIONIn any woven fabric we distinguish two systethways in the cloth, and the _Filling or Weft_,crossing the for consists of every individual warp-thread beingplaced alternately under and over one or e is technically called the_Weave_, and the variety in which the points of crossing can be distributedis practically endlessIt is principally the weave that lends to a fabric its character,influenced, of course, by the material used, the size and tension of thethreads and the combination of the colorsThe weaves are divided into three main classes: _the Foundation weaves_ Inthe silk business they are known under the following nae Weave, The Satin WeaveIn the foundation weaves each thread effects only one crossing in onerepeat of the weave, and the points of interlacing occur in a givenrotation A repeat in the foundation weaves comprises the sa threads, and if this nue 16]instance, the weave is called an 8-shaft or an 8-harness weave In out a weave, the warp-threads are represented by vertical lines, thefilling by horizontal ones, or in each case by the space between theselines The places where a warp-thread lies over the filling are marked withpaint or simply with a cross In a similar manner we mark out the _chaindraft_, which indicates the rotation in which the shafts are raised [Page 17]THE TAFFETA WEAVE[Illustration: Fig 16][Illustration: Fig 17] [Page 18]This is the si The odd numbers ofwarp-threads cross the even numbers after every pick; hence of tarp-threads one will always go over the first pick and under the second,and the other end under the first and over the second pick Taffeta cloth,therefore, has the sa this weave is technically--and properly indeed--called the _PlainWeave_ It has the s of warp and filling is the most frequent possible The cloththus produced is fir 16 is a taffeta on 4 shafts straight draw, the draft executed in the the drawing-in draftsFig 17 on co paper, illustrates a taffeta -in draft and the chain draft will be addedthroughout this work, the former over the weave to correspond with therespective warp-threads, the latter to the right of the drawing-in draft [Page 19]GROS DE TOURS WEAVES[Illustration: Fig 18][Illustration: Fig 19]In this weave the working of the warp is the same as in taffeta, exceptthat instead of one pick, two or more are inserted in the saive eof an otherwise loosely woven cloth, and prevents the weaving ahead of theedge in a tight weave Gros de Tours is so is employed, with a view to lay two picks nicelyside by side, whereas a thread entered two ply with the taffeta weave willalways receive some twist, which18 is a Gros de Tours with two picks on four harness straight throughFig 19 illustrates this weave with three picks drawn end and end on twosections of four shafts each [Page 20]SERGE or TWILL WEAVESWhile the taffeta weave produces either an entirely sros-grain, the teave forht or froht to leftTo make a twill, not less than three ends and three picks are required, ofwhich each thread floats over two of the other system and interlaces withthe third The rotation of the interlacing is always consecutive, that isit ht (or to the leftif the lines are to run in that direction) If warp and filling have thesaiven space, thetwill lines will for, the incline will be steeper, and in the opposite case the anglewill approach more the horizontalThe weaves can be expressed in numbers, for instance: the 3-end tarpeffect would be oes overtwo and under one pickTeaves are called _evensided_ when the arrange up” are evenly balanced, and _unevensided_ if either warp orfilling predominate on the face of the fabric; the latter class istherefore subdivided in _Warp effects_ and _Filling effects_In the following a nunations being added in soe 21]FILLING EFFECTS_Satin de Lyon,_ 2-1On 6 harness straight through[Illustration: Fig 20]_Levantine,_ 3-1On 8 shafts skip draw[Illustration: Fig 21][Page 22]_Polonaise,_ 5-1On 12 harness skip draw[Illustration: Fig 22]_Serge grosse cote,_ 7-1On 8 shafts straight through[Illustration: Fig 23][Page 23]_Serge re 24]_Serge,_ 5-1, 1-1On 8 shafts skip draw[Illustration: Fig 25][Page 24]_Serge,_ 4-2, 1-1, 1-1On 10 harness straight through[Illustration: Fig 26]_Serge,_ 7-1, 1-1, 1-1, 1-1, 1-1On 16 shafts skip draw[Illustration: Fig 27] [Page 25]WARP EFFECTS_Levantine,_ 3-1On 4 shafts straight through[Illustration: Fig 28]_Serge,_ 5-1, 1-1On 8 shafts skip draw[Illustration: Fig 29] [Page 26]EVENSIDED TWILLS_Surah,_ 2-2On 4 shafts straight through[Illustration: Fig 30]_Croise,_ 3-3, 2-2, 1-1On 12 shafts straight through[Illustration: Fig 31][Page 27]_Serge,_ 7-7, 1-1, 1-1, 1-1On 20 shafts skip draw[Illustration: Fig 32]POINTED TWILLSin the direction of the filling and also of the warp[Illustration: Fig 33]On 4 shafts point draeave 3-1[Page 28][Illustration: Fig 34] On 6 shafts point draw, drawn as follows: Eighteen ends from back to front and 4 ends fro 35]On 8 shafts pointed draeave 5-1, 1-1[Page 29][Illustration: Fig 36]On 10 shafts, eave 3-3, drawn as follows: 7 threads from back to front 3 ” ” front to rear 6 ” ” back to front 2 ” ” front to rear[Illustration: Fig 37]On 6 shafts straight draw, pointed weave 5-1[Page 30][Illustration: Fig 38]On 8 shafts straight through, pointed weave 5-1, 1-1[Illustration: Fig 39]_Broken pointed twill_, on 8 harness[Page 31][Illustration: Fig 40]On 6 shafts point draw, pointed weave 5-1[Illustration: Fig 41]On 8 shafts point draw, pointed weave 5-1, 1-1[Page 32][Illustration: Fig 42]_Fancy twill_, on 16 shafts straight drawSATIN WEAVESThe distinct diagonal lines which characterize the class of weavesexplained in the previous chapter are absent in the satin weaves; and whilethe interlacing in the former is done in a strictly consecutive order, weendeavor to scatter the points of stitching in the latter as much aspossible, in order to create an entirely se 33]the clothIn all satins the nuThe lowest repeat of a regular satin co is done in the following order: The 1st pick with the 1st warp-thread ” 2d ” ” 3d ” ” 3d ” ” 5th ” ” 4th ” ” 2d ” ” 5th ” ” 4th ”Fig 43 illustrates this weave An exaivenabove, will show that every warp-thread intersects two picks apart frohbor The number ”2” is in this case what is technically known as the_counter_, that is the nu it to nu so until all the warp-threads aretaken upThe following is the rule to find the counter for any regular satin:Divide the number of harness into two parts, which must neither be equalnor have a co off, but usually the sular satin On 5 harness with counter 2 ” 7 ” ” 2 or 3 ” 8 ” ” 3 ” 9 ” ” 2 or 4 ” 10 ” ” 3 ” 11 ” ” 2, 3, 4 or 5 ” 12 ” ” 5 ” 13 ” ” 2, 3, 4, 5 or 6 ” 14 ” ” 3 or 5 ” 15 ” ” 2, 4 or 7 ” 16 ” ” 3, 5 or 7 [Page 34]The 4 harness broken twill, Fig 53, is so 54, is irregular; as a counter cannot be derivedfroenerally used is 1, 3, 6, 4,2, 5Regular Satins_5 harness Satin, ”Satin de Chine”_Straight draw, counter 2[Illustration: Fig 43]_7 harness Satin, ”Satin Merveilleux”_Skip draw, counter 2[Illustration: Fig 44][Page 35]_7 harness satin_Straight draw, counter 3[Illustration: Fig 45]_8 harness satin ”duchese”_Skip draw, counter 3[Illustration: Fig 46][Page 36]_9 harness satin_Straight draw, counter 4[Illustration: Fig 47]_10 harness satin_Straight draw, counter 3[Illustration: Fig 48][Page 37]_11 harness satin_Skip draw, counter 5[Illustration: Fig 49]_12 harness satin_Skip draw, counter 5[Illustration: Fig 50][Page 38]_16 harness satin_On 2 sections of 8 shafts each, drawn end and end, counter 7[Illustration: Fig 51][Page 39]_8 harness satin, warp effect_Straight draw, counter 3[Illustration: Fig 52]IRREGULAR SATINS_Satin Turc_On 4 shafts straight through[Illustration: Fig 53][Page 40]_Satin a la Reine_On 6 shafts straight draw[Illustration: Fig 54][Page 41]DERIVATIVE WEAVES1 Froular Gros de Tours, inasht across the cloth, is broken offafter a given nuroups, which may coher than the precedingone_Royale of 8 ends_On 2 sections of 4 shafts each[Illustration: Fig 55]_Velours Ottoman or Faille francaise_In order to obtain a broader rib than that of Gros de Tours, and at thesaround warp, whichforms the ribs, another or binder warp, which works continually taffeta, [Page 42]while the ground warp changes only every 3 or 4 picks for the rib_Faille francaise_ 4 ends of ground on the first section of 8 shafts, skip draw 1 ” binder ” second ” 2 ”[Illustration: Fig 56]_Velours Otto 57 illustrates a speci 8warp-threads and 32 picks in a repeat, the rib contains 4 picks Of the 8warp-threads, 3 float over and 3 under the rib, while the 2 others bindtaffeta, which latter function is executed by 2 other threads in the nextrib [Page 43][Illustration: Fig 57]2 Fro the warp-threads alternately one ormore picks behind, and then a nuhbors; so the coenerally foronal lines This will cause the twilllines to appear less pronounced than is the case in the regular twill, andthe character of the fabric approaches58]_Satin Serge_On 8 shafts, straight draw[Illustration: Fig 59]_Cote Satinee_On 16 harness, skip draw_Rhadziular surahall the warp-threads are crossed in two's thereby causing a sort of a ribor cut line across the fabric [Page 45]_Rhadziht draw[Illustration: Fig 60]_Rhadziht draw[Illustration: Fig 61] [Page 46]3 From the Satin Weave_Satin Soleil_ shows a satin-like surface with a cross line appearanceFig 62 illustrates it as62]_Satin Grec_ is a 12-harness satin, in which a taffeta point is added toeach place of interlacing, thus giving the cloth a 63 represents this weave on 12 shafts, skip draw [Page 47][Illustration: Fig 63]_Peau de Soie_ An 8-shaft satin with one point added on the right or leftto the original spots, giving the fabric a so64 represents a peau de soie on 8 shafts, straight through[Illustration: Fig 64][Page 48]_Fleur de Soie_ The face is a satin de Lyon (2-1 twill), with a backinginterlaced on the 12-shaft satin principle, Fig 65, on 12 shafts, skipdraw[Illustration: Fig 65] [Page 49]CANNELE and REPP WEAVESare in their construction related to the taffeta, and are used mostly inthe form of stripes as an additional orna into the coe continually fro over a certain number of threads, and h to make the floatscover up the taffeta work entirely, and thus enable the material used toshoith the full brilliancy it possessesCannele effects can be produced in two distinct ways One is to let everyindividual thread work alternately taffeta and float, while in the othermethod one thread weaves always taffeta, and a second thread is used forthe cannele exclusively These latter threads must coround or taffeta part of thefabricThe floating threads can either stitch all on one pick and so forroups, of which one will bind in thens show boththe face and backside of the respective weaves: [Page 50]_Alternating Cannele_ of 6 picksOn 4 shafts, straight through[Illustration: Fig 66]_Canelle_ (2 bea on every fourth pick, drawnend and end on 2 sections of 4 shafts each[Illustration: Fig 67][Page 51]_Cannele_ over 5 picks, binding on the sixth, but every second threadadvanced 3 picks (to the middle of the float of the first thread), drawnend and end on 2 sections of 4 shafts each[Illustration: Fig 68][Page 52]_Cannele_ arranged in groups of 8 threads, floating over 6 picks andbinding on the seventh and eighth, drawn on 2 sections, with 4 shafts infirst and 2 in second section[Illustration: Fig 69]_Repp_ on 8 shafts straight through Rotation of filling 1 pick taffeta, 1pick float (rib)[Illustration: Fig 70][Page 53]_Repp_ of 8 threads, on 2 sections of 4 shafts each, 8 ends per section[Illustration: Fig 71]_Repp_ of 5 threads, binding on the sixth; every second pick binds on theht draw[Illustration: Fig 72][Page 54]_Repp_ in groups, floating over 6 ends and binding on the seventh andeighth on 8 shafts straight draw[Illustration: Fig 73] [Page 55]DOUBLE FACED FABRICSIn this class we find either two syste so combinedthat only one will be visible on either side The color on one side isgenerally different fro be of adifferent nature on face and back In the latter case great care must beexercised not to allow the weave on one side to disturb the one on theother, and as a rule the points of interlacing of the first warp or fillingsystem are placed as much as possible in the middle of the floats of thesecond This will prevent either color or weave to be seen on the oppositeside, as the floats of one side will naturally lay themselves over thebinders of the other The number of ends in a repeat of the teaves musteither be alike or one a multiple of the otherWarp Effects_Levantine_ on 8 shafts straight draw[Illustration: Fig 74][Page 56]_Serge_ 6-2 on 2 sections of 8 shafts each[Illustration: Fig 75]8 _shaft satin_ on 2 sections of 8 harness each[Illustration: Fig 76][Page 57]12 _shaft satin_ on 2 sections of 12 shafts each[Illustration: Fig 77]_Cannele_ of 8 picks on 2 sections of 4 shafts each[Illustration: Fig 78] [Page 58]FILLING EFFECTS_Serge_ 5-1 on 6 harness straight draw[Illustration: Fig 79]10 _harness satin_ on 10 shafts skip draw[Illustration: Fig 80][Page 59]_Repp_ on 2 sections of 4 shafts each, 8 threads per section[Illustration: Fig 81][Page 60]PEKINSWith this nanate fabrics in which stripes of a differentinterlacing run in the direction of the warp In coeous to have them contrast distinctly, for instance, a shortweave such as taffeta or Gros de Tours, with a longer and looser one suchas satin, serge or cannele, also changes froe the joining of the teaves so that the lastthread of one weave will cross the first thread of the other This willprevent the threads from either stripe to slide over into the other, and somake a clean cut linePekin A stripe of 2 dents of 8 ends each, 8 shaft Satin, on 8 shafts straight draw 12 ” 2 ” Taffeta ” 4 ” ” ”[Illustration: Fig 82][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[Illustration: Fig 83][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 ” ” ”[Illustration: Fig 84] [Page 63]BAYADeRESWhile pekins are formed by warp stripes, bayadere shows us stripes ofdifferent weaves running in the direction of the filling The rules givenin the previous chapter as to the joining of the weaves will also applyhere The hich was raised on the last pick of the weave must staydoherever possible on the first pick of the folloeave The nuo up evenly in the repeat of each one of theweaves that go into the make up of the bayadereBayadere A stripe of 24 picks Gros de Tours } } on 8 shafts straight through ” 8 ” 8-shaft Satin, }[Illustration: Fig 85][Page 64]Bayadere A stripe of 18 picks 6-shaft Satin } ” 6 ” Serge 5-1, } on 6 shafts, straight draw ” 4 ” Taffeta, }[Illustration: Fig 86] [Page 65]CHECKS AND PLAIDSIf pekin and bayadere stripes are combined, we obtain checked fabrics, andof these an endless variety and pleasing effects can be produced with theaid of suitable color combinationsCheck 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[Illustration: Fig 87][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[Illustration: Fig 88] [Page 67]DECOMPOSITIONUnder the name of _Disposition_ we comprise all those points and detailswhich we must ascertain before we can proceed with the construction of afabric 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 nu-in the warp in harness and reed 6 Texture and arrangee 9 Calculation of warp and filling 10 Finishi+ng 11 Calculation of cost [Page 68]1 THE WEAVEIf a given sample is to be reproduced or ireatly facilitate this operation to the beginnerCut the saht on two sides, and draw out a nue of perhaps of an inch Thiswill allow a thread to be raised a little for exa out of the fabric Inside, that is, the interlacing of each warp-thread in the threadsof the filling systelass wecan easily determine over and under howare accordinglydone for at least the length of a repeat ays, we take it out andexa-ways iscomplete It is advisable to ascertain how many picks ahead or back of thefirst exa the fore of the construction of weaves as explained in the foregoingchapters will enable us to deter a warp-thread with a needle on any point of interlacing andcounting off how many picks apart from this place it makes an ith and width which the finished product is to have, weup_ of warp during weavingItto the texture and weaveof the fabric, and can be ascertained with sufficient accuracy bystretching out and th with the respective e 69]3 THE STOCK AND ITS DYEUnder this heading we ive 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 beweighted or notThe size is generally ascertained (in practical work) by co it withother silk of which the exact count is known Another method is to countthe number of cocoon threads which a thread of the sa to the quality of the silk; the result will bethe count in deniers To obtain it in drams, divide the latter number by17,3 as 1 dram is equal to 17,3 deniersSuppose we find 20 cocoon ends in a thread of silk: add 1/3, and we have26-2/3 deniers, which, divided by 17,3 make 1,54 dramsAs silk is always more or less uneven, it is safer to count the cocoonfibers of several threads and to take average thereofIt requires the experience of years to judge with any degree of certaintyas to the origin and quality of silk, whether it be ”classical,” ”extra,””sublime,” etcThere are machines ith to ascertain exactly the twist, that is, thenu processIn the dyeing we distinguish two great classes, of which the naht” has a brilliant luster, while”souple” has more of a dull, subdued appearance To find out whether thesilk has been weighted in the dyeing process, we may compare it with othersilk of which the exact conditions are known, or we hted silk does not burn readily and leaves a residueof white ashes, while heavy weighted silk burns lively, leaving black,charry ashes [Page 70]4 REED CALCULATIONWe count the nuenerally or inch, and multiply this with the nuives us the reduction of the warpSuppose we had a taffeta, which, as we know, has only 2 ends to a repeat,and counted 30 interlacings per inch on one pick; ould have 60threads per inch or 240 per one inch In this case the reed may be 80 by3 or 60 by 4Another instance: In an 8-shaft satin we count 10 warp-threads, which bindon the same pick in inch; this, multiplied by 8, equals 80 ends per , or320 per one inch; the reed will be an 80 with 4 in a dent or a 64 by 5In short, the nu the nuo in one dent, in the number of ends per inchSometi thelatter against the light Silk fabrics move with very few exceptions withinthe limits of 50 and 90 dents per inchTo learn the full number of dents required for the width of the cloth,si a certainallowance for shrinkage The edges, of course, must also be taken inconsideration, and very often the dents that are taken up by the latter areused to counter-balance that shrinkage5 DRAWING-IN THE WARP IN HARNESS AND REEDHere we must specify the number of dents that contain the sale or double, also the nue 71]6 WARPING TICKETToticket, we need to ascertain the total nueoverned by the number of ends to be drawn in and the necessaryshafts If we have, for instance, 100 threads per inch to be drawn on 4shafts, we enerallybetween 25 and 45 heddles per inch on one shaft8 REDUCTION OF THE FILLINGHere we state the nu,if such is necessary, and if more than one color or shuttle is used, therotation thereof9 CALCULATION OF WARP AND FILLINGThe syste the size of silk is basedon the weight in dra 1000 yards Askein, thus weighing 5 drams, is technically called 5-dram silk The nuly be 256000 The for the amount of silk required for a piece of cloth are asfollows:Warp Calculation _Multiply_: Nuthcount ----------------------------- _Divide by_: 1000 yards256 drath of piececount -------------------------------------- = lbs _Divide by:_ 1000 yards256 drarading the silk which is in vogue in Europe, and which isemployed by a number of hing 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 warplengthdenier0,05 gram -------------------------------------- _divided by:_ 500 ram --------------------------------------------- _divided by:_ 500 rams10 FINIshi+NGGive directions as to the process of finishi+ng to which the goods are to besubjected, whether to be pressed, calendered, sized,conditions are ascertained, and a sample or a piece ofthe fabric executed, it reure at which he can produce the article That this reat accuracy is naturally of the ute 73]must know in the first place the raw stock prices, and also be acquaintedwith the details of the es paidtherein As a rule, the all the items of labor cost, mill expenses, etc, and uses this as a basisfor his calculationsA rule or foriven, as the the one bestadapted to its ideas or dictates of circulace_[Illustration: Fig 89] [Page 76] Length and Width--One piece 100 yards long, 18 inches wide Stock and Dye--_Warp_--Ital Organ, 24/26 deniers = 1,47 dra_--japan Traht 14/16 oz Reed Calculation--Per 1 inch, 70 dents at 3 single ends ” 18 ” 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) 40321101,47104 ------------------- = 2,65 lbs, or 2 lbs 10,4 oz 1000256100 [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) 10036102219165108 ------------------------- = 2,73 lbs, or 2 lbs 11,7 ozs 361000256100[Page 79]DISPOSITION 2_Surah 3-1_[Illustration: Fig 90] [Page 80] Length and Width--1 piece 50 yards long, 23 in wide Stock and Dyeing--_Warp_--Ital Organ, 1,30 draht, 40/50 = 22/24 ozs _Filling_--Cotton No 120/2 black Reed Calculation--Per 1 inch, 80 dents at 2 single ends ” 23 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) 3864541,30104 ------------------ = 1,10 lbs, or 1 lb 1,06 oz 1000256100 [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) 503612024110 ------------------ = 314 lbs, or 3 lbs 224 ozs 3684060100[Page 83]DISPOSITION 3_Satin duchesse_[Illustration: Fig 91] [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 dra_-- 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 drale ends 46 ” 3036 ” 54 ” (1 shrinkage) ---- Total3090 dents Drawing-in-- { 1st edge, { 2 dents, 62, black { 13 ” 42, white Ground, 1514 ” 41, black { 2 ” 62 ” Cut Edge { 1 ” 24, ” { 3 ” ee, { 2 ” 62, black { 13 ” 42, 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) 12224318155104 -------------------- = 24,477 lbs org black 1000256100 = 0,833 ” ” white Filling Calculation--? lbs = 300 yards 1 yard = 36 inches 1 inch = 80 picks 1 pick = 47 inches 36 inches = 1 yard 1000 yards = 4,5 drams 256 drams = 1 lb 100 = 108 (8 waste) 3003680474,5108 ---------------------- = 21,414 lbs 361000256100[Page 87]DISPOSITION 4_Arth and Width--One piece 60 yards long, 19 in wide Stock and Dyeing--_Warp_--jap Organ, 1,48 dra_--3 threads jap Traht, 24/26 oz Reed Calculation--Per 1 inch, 60 dents4 single ends ” 19 ” 1140 ” 32 ” (3 for shrinkage) ---- Total1172 dents Drawing-in--1st edge, 12 dents 4 double Ground, 1148 ” 4 single 2d edge, 12 ” 4 double on 12 shafts, straight through, or on 6 shafts, as design indicates Warping Ticket--1st edge, 48/2 black Ground, 4592/1 ” 2d edge, 48/2 ” ------ Total4784 single ends 64 yards long =6 for take up Harness--6 shafts, 4688 heddles per 19 inches 1 ” 40 ” ” 1 ” Reduction of Filling--Per 1 inch, 104 picks, 2 ends Warp Calculation--? lbs = 4784 ends 1 end = 64 yards 1000 yards = 1,48 drams 256 drams = 1 lb 100 = 104 (4 waste) 4784641,48104 ------------------ = 1,84 lbs, or 1 lb 13,44 ozs 1000256100 [Page 89] Filling Calculation--? lbs = 60 yards 1 yard = 36 inches 1 inch = 104 } picks 2 } ends 1 pick = 19 inches 36 inches = 1 yard 1000 yards = 2,95 drams 256 drams = 1 lb 100 = 108 (8 waste) 6036104219,52,95108 --------------------------- = 3,03 lbs, or 3 lbs 0,48 ozs 361000256100[Page 91]DISPOSITION 5_Surface Printed Arth and Width--One piece 50 yards long, 18 in wide Stock and Dyeing--_Warp_--Ital Organ, 1,50 dra_--5 thread Ital Traht, pure dye Reed Calculation--Per 1 inch, 52 dents, 22 ” 18 ” 962 ” 20 ” (2 shrinkage) ---- Total982 dents Drawing-in--1st edge, 7 dents, 42 gros de Tours Ground, 968 ” 22 arround on 12 shafts, straight draw Gros de Tours, edges on 4 shafts Warping Ticket--Ground warp, 54 yards 1936/2 white Gros de Tours edges, 55 yards 228/2 white, on separate rolls Total3984 single ends Harness--12 shafts, 1936 heddles, per 18 inches 1 ” 8-2/3 ” ” 1 ”4 Shafts gros de Tours edges, with 28 heddles on each side Reduction of Filling--Per 1 inch, 96 picks, 1 end Warp Calculation--? lbs = 3984 ends 1 end = 54 yards 1000 yards = 1,50 drams 256 drams = 1 lb 100 = 104 (4 waste) 3984541,50104 ------------------ = 1,31 lbs, or 1 lb 4,96 ozs 1000256100 [Page 93] Filling Calculation--? lbs = 50 yards 1 yard = 36 inches 1 inch = 96 picks 1 pick = 19 inches 36 inches = 1 yard 1000 yards = 4 drams 256 drams = 1 lb 100 = 108 (8 waste) 503696194108 ------------------- = 1,54 lbs, or 1 lb 8,64 ozs 361000256100After weaving, the small flower effects have to be printed on the cloth[Page 95]DISPOSITION 6_Pekin_: 8 shaft satin and repp[Illustration: Fig 34] [Page 96] Length and Width--1 piece 100 yards long, 20 in wide { Ital Organ, 1-35/100 dra--_Warp_ { Ital Organ, 1-15/100 draht, pure dye { Cotton No 100/2, scarlet _Filling_--3 threads, jap Traht, 14/16 oz {61, black satin Reed Calculation--Per 1 inch, 68 dents, {62, colored ” {21, ” repp ” 20 ” 1377 ” 23 ” (1 for shrinkage) ---- Total 1400 dents Drawing-in--1st edge, 7 dents, 62 satin } Ground, 34 ” 61 ” } 2 ” 62 ” } 10 ” 61 ” } twice } 2 ” 21 repp } over } 10 ” 61 satin } 2 ” 62 ” } 39 ” 61 ” } 5 ” 21 repp } twice } 4 ” 61 satin } over } 7 times 5 ” 21 repp } over 15 ” 61 satin } 2 ” 21 repp } 15 ” 61 satin } 5 ” 21 repp } twice } 4 ” 61 satin } over } 5 ” 21 repp } 5 ” 61 satin } 28 ” 61 ” } 2d edge, 7 ” 62 ” } Satin on 1st section of 8 shaft skip draw Binder ” 2nd ” ” 2 ” Repp ” 3d ” ” 2 ” [Page 97]On each side of every repp stripe two ends of the satin warp must beentered on the 2 binder shafts (2d section), to prevent the ends of thesatin to slide over into the repp stripes Warping Ticket--I _Beae, 42/2 black Ground, 204/1 ” } 12/2 sky } 180/1 black } 12/2 sky } 234/1 black } 48/2 sky } 7 times over 180/1 black } 48/2 sky } 30/1 black } 168/1 ” } 2d edge, 42/2 ” } 6132 single ends black 1680 ” ” sky II _Beam repp_, 110 yards 4/1 scarlet } 4/1 ” } 10/1 ” } 10/1 ” } 10/1 ” } 7 tile ends scarlet cottonThis warp has to be bearae 98][Illustration: Fig 95]Harness--Fig 95 sho to ram of a harness for a PekinThe heddles are marked per one shaft As the repp stripes are only smallones, we use for the satin a full harness, that is, one without open spacesfor the repp stripe All together we have in the satin warp 6888 single anddouble ends to draw in; of these 252 ends are used for binders, on bothsides of the repp stripes Thus remain for 8 shafts, 6636 heddles per 20 inches 1 ” 40 ” ” 1 ” Reduction of Filling--Per 1 inch, 144 picks, 1 end Warp Calculation--? lbs = 6132 ends (1680 ends sky) 1 end = 106 yards 1000 yards = 1,35 drams (sky 1,15 drams) 256 drams = 1 lb 100 = 104 (4 waste) 61321061,35104 ------------------- = 3,56 lbs for black, or 3 lbs 8,96 ozs 1000256100 16801061,15104 ------------------- = 0,83 lbs for sky, or 0 lbs 13,28 ozs 1000256100 [Page 99] ? lbs = 504 ends 1 end = 110 yards 840 yards = 1 skein (No 100/2) 50 skeins = 1 lb 100 = 104 (4 waste) 504110104 ------------- = 1,37 lbs scarlet cotton, or 1 lb 5,92 ozs 84050100 Filling Calculation--? lbs = 100 yards 1 yard = 36 inches 1 inch = 144 picks 1 pick = 21 inches 36 inches = 1 yard 1000 yards = 2,8 drams 256 drams = 1 lb 100 = 108 (8 waste) 10036144212,8108 ----------------------- = 3,57 lbs, or 3 lbs 9,12 ozs 361000256100 [Page 100]JACQUARD WEAVESJacquard weaves usually show on a plain ground figure or flower effects Toobtain these effects the ground is ures or flowers are produced in another weave, say satinWe enter the warp through a jacquard harness, and according to the repeatuse a 200, 400, 600, 900, 1200, etc, hook jacquard machine, which means200, 400, 600, 900 and 1200 ends per repeatWith a 600-hook er repeat can be produced than with a499-hook ures ofwhich are to be two inches apart, it is a two-inch repeat, and use thecount of 50/4 or 200 ends per inch, we can use a 400-hook machine, 2 in x200 ends But we can make this cloth also on a 1200-hook ned three ti a 1200-hookmachine with the count 50/4 is that 2, 3, 4, 6-inch repeats can beproduced, while with a 400-hook machine, only a 2-inch repeat can be madeThere is no end to all the different weaves and the possible flower andother pattern effects that can beplant the designing is the most important factorBOX LOOM WEAVES INCLUDING CREPESBox looms are required for weaves such as bayaderes, checks, plaids (seepages 63-65), bengalines, crepes, etc, where two orout the effectFor the crepes (crepe de chine, crepe georgette) only two shuttles areneeded, while plaids and other articles are made with more shuttlesTo weave such articles the loom or the lay must be fitted with two or e 101]If a e plain looet 4 4 boxes, or four shuttle boxes on each sideWith these loo can be made that is called for inbox-looe, it is wise to be preparedMANUFACTURING COSTSThe calculator first ascertains for the warp: What silk will be used, thecost of the same, total number of ends in the warps for the a, twisting, entering, andweavingThen the filling: Silk to be used, how , quillingAfter this deter, factorycosts, and selling expensesTo-day most of the operations are paid by ”piece work”The calculator must always take into consideration that poor raw silk orpoor dyeing make production slow, increase the cost of labor, and also thatan usually has 16 turns per inch in the first twistand 14 turns to the inch in the second or reverse twist Tra, about three turns to the inchAs the warp twisting-in is paid for at sothe warp is, it is a saving toas possible, especially in raw, black and staple colorsThe calculatorthe first warp in aharness, also the reedingMost ure the cost of harness and reed in the expense accounts Ifplain and fancy goods are e 102]EXPENSES are figured differently, as almost every manufacturer has his ownsystem If a mill makes only a few staple articles it is easy to put downthe cost of expens