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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, intable, 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
tliepatterns 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.
which they
Colors, therefore, with respect to the effect
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 color, such as light and
same
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
itvery 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-
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.
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 endeavor to answer the question before us by
shall
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
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-INSTRTTCTOlTr
respect, is as execrable as theirmechanical 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 f the number; 50$ equals -f^ 'or
r i 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
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 and this character
riser, 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 sy11011 ?*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, ^
a11 of which are ônymous terms,
Sarnes^Chain, }
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.
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.
\ /
338
222 X ,
3
,'
1 11111
2
1
_
FIG. 2.
( ffiBHS^^fflSB
BIBtBIBI 'BIBtBIBt BIBI IB
j-jmaujg
iB SSi i SiSSFPPifiS fiii5i5fBi5MiF&ifi
Har. Nos. !B!B!*!-"HBg!glgL. BlBiBlffHI .Iff
!e ilffi
Fig. the drawing-in draft of a six-harness
1 illustrates
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.
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 itwere 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, would divide both the dressing pattern
it
and drawing-in draft, thus giving thework 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.
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
___ _
IzzBilzs IzzzIIizzzIS?
iS
S.-yu
.
_ _[_[ HH
F
_ii_i
,
< ^gZ^
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 number
.:
of
!HHHHH
'
heddles for each harness.

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,pick of black, and 1 pick of drab, alter-
1
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 See pickout.
up.
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.
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
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
isfigured 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.
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 =
than the former figuring. This is owing to the
5 Ibs. less
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 and 35$, according to quality of
vary between 15
and supervision of the work in the
stock, general facilities,
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
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 =
50 -r- 4
36 =
12i. Or 5 thr's per dent, thus
1800
-r- 36 =
50 H- 5 reed. =10
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
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 the number most commonly used.
is
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.
number of yards calculated for a warp by
Multiply the
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 =
2200; add a little for loss in tying up. etc.
5
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:
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
keep the harness numbers before us in the same position as

the harnesses occupy when hung up for the drawer-in.
Thrs. Pats. .
Harness No. has 17 X 20 = 340 heddles.

13 X 20 = 260
13 X 20 = 260
21 X 20 = 420
13 x 20 = 260
13 X 20 = 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:
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.
(Continued on next page.)


" 9 X 20 = 180
" =
9 20 X 180

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.

6 X 20 = 120
6 X 20 = 120
17 x 20 = 340
13 X 20 = 260
13 X 20 = 260
15 x 20 = 300
7 X 20 = 140
7 X 20 = 140

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:

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
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.
Wemight 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-
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 Hence, the convenience of minute
use.
must be apparent.
records, in estimating stock,
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.
losson 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.
For the
filling yarns, we have previously figured on 382
of black, and 382 Ibs. of drab; to each of which we will
Ibs.
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 sample figuring,

No. weighed when finished, just 9, oz. per yard;
1.
4
(1
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.
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.
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. pulled20 Ibs.
Oregon 70 Ibs.
Pa, fleece 65 Ibs. olive,
Ohio " 65 Ibs.
Va. " 50 Ibs. 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.
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. ofclean 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.
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
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 weave; and the filling should be of the same
in the
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. Wewill,
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
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:
2d
H 1st
|
I 3d i 4th I 5th
E|
H sect, i sect. I sect.
J
sect. 1 sect,
pj
Thefinished width of each section is 5^ inches; making

in 27 i inches inside of the selvage. Each section con-
all,
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.
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
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.
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 amount of filling, proceed as follows:
ascertain the
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 one yard of cloth.
of ounces of filling to
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.
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 method, we will take Fig. 1, which is

illustrate this
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
7
''mmammm m 6
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.
2
SI!!! psiilisi
!sis!
a>B>
4
sisSIssI
mmamma m <<
t>
m ! 'nn "
EBBBH8
;ii r
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 ATo. #,
made from this same weave.
The main point to overcome, when attaching a filling
back, isnot 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
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.
igy
_ms
"
''
Bfl
881159!
Hence it will be seen, that in attaching a warp back,

thenumber 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
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
aa
":::: i:z i
!
:
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
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. FIG. 20. FIG. 21.
1 nnniBMnnnni
2 DHnMBnDBOBnn i iiiii; ;' f Sir mu'^
3 BBBBB BEBBB
KM
9
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
11
B
'
BH
:BBBBB BBB
BB:
"
B :: .
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. FIG. 27.
2 BBBBrBBBBBH
-: B B : :: BB: :: :
4 BBH: : :: 'BB:
> BB BBBBD HBB
') B: : B*B: B :: :
7 : T;:BB::. BB :
;
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. 20and 25 combined, and rep-
in Fig. 24.
Fig. 30, illustrates Figs. 20 (with the backing bars

placed one nearer to the top) and 27 combined, and rep-
in Fig. 26.
FIG. 28. FIG. 29.
5
e
-
:-
zLinnnurii
--^zz:;z: ~
These three latter figures were designed more especially

to show thereader, 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
mmmmmmmmmmmn
i E9i.FEi^
BBBB DBBBBBB
I
.::T.MB
3 3 ~ 3 -
-
--- ~~
^r:r:B p 4
5
um~~~
--
~BM :::!*
-4
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 moreespecially 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.
BBBBBBBP i n eacn case,
every fourth thread, thus (
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. FIG. 36. FIG. 37.
nnnn..nnnn BPBPP: -B: :Br:r.n BBpppBBGnnn
IBPP~BPB' BBPPP'tBBpnnn B-BP: :PBBP* '" BBPPPBB: n
~
'PP
-wiRiSSBB
n: B*B'~~n B'~B
:
SSRB.SSgnSBg
P: .BBL :PBBP :: ':
gS*.p.p.S'.S5
PPPB*BPPPB'B
ggSBBSSSBSS
pnpBB'*pntBBn
B BHBBB BBBB BBBBB' BBBBBPj BBBBBBBPBBBB BBCBBBBBBBBB
BinBnnnBnBnn' BB~ LJPBBP: pn
:
"
BP:B:P 'B 'B BBPL:: BBPPP>
B BS*Snn
B'
: :
BB:"P PPBBPI-:P> B-BnntB-Bcn nnr.:rBB*i- P

BBBBPBBBBBPB BBPBQBBBPBBB BBBBBBBBBBPB BBBBBBBBQBB
'B"""'"B"'B pL.'BBpnnnBBn
" nnnBr.BPDEBrB PPBB: PPLIBBO
RPPB'
P; :B'
:
''B:":P: :B'B
'
"BB' 'pn>BB :
*
nppB^BnnpB'*B nnnBBnnnnBB<t>
BPBBBBBPBBBB BBBBBPBBBBBn BCBBBBBBBBBB BBBBBBBB BBB
and 40, are those of the regular six-harness

Figs. 38, 39
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.
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. FIG. 44.

^
^BSIilîMsiiii
"
:: r:"B.n
'
mm 7 BT
^mmmm
: :
S~mm
:
! ] : iiBBDBBEia :
JvB
:mmmmm BBBBB BBB
n: "M* :;;:;:;:
:: !:
"
LJL^:-- ,- ..-^ am m
.. -.
mmmmm: I BSBHB
:.
:
nn**"5":*:: :":**:"
N BB
'
: :: : :: :
"' BBJB BDBGBBaa BBBB

ilnîsT "" ~
M #:::-":: ;:
:
:~m: :mm: ::::^nn
:: :: BB :: :
IBB BBBBB BBBBB jgi_
FIG. 45>, FIG. 45. FIG. 46.

nnnnnBiBin
ant unmmma
Smm:
mm:
mmn
D BBB*IH BHBMBHHn : ;
B9BBDBDBBBBtIBQB
:mmm :: : BBwnnnnnMBMn _.nnni_:BiHBnnnLiiii '
S
B:;;
H 3*r
.Sv :;;; "'^' nmm*
'
-'
m" : " ''
^'555
: '
^'V
mmm^mmmmmmmammmm QBMBM : BHBBBBBBBBBB
FIG. 47. FIG. 48. FIG. 49. FIG. 50.

nnonnnMCMBQ nBBnnninnnn rMBCBmnn
ntiBiH*-BBn Bnn '^nMnnnnr
BB '
BBBBB BBBBH BBBBBBB:~:BBI

'
B BB- B
II
-
: BB BB :
"B""'
! BBB B
~."BB 'BBnn
:
BBB"':
BB
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.
51.
FIG^
"
~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.
QBflHIBBIBDBBBB mn~cm^Mn.nn
35!
"55 :::
IT
figure to its lowest terms, and of making out the chain drafts
FIG. 53. FIG. 54. FIG. 55. FIG. 56.
SSSSffi
: :I
~BT ;
:
'
'I
and dra wing-in drafts as shown in Figs. 53, 54, 55 and 56.
9
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.
*:
B.IBH
"
:; :: n
- :
*- tO CC W o
4k. 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

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
Byreferring 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
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
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
BB EI BB
'
KB
:. BB
::
::
: :
mm
:
BB: :: :: :;:: BB : ;:
:;
:: :
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
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 retain44 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 BBBB :BBB~ DBBI
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
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.
""urMncMB
7.
" FIG.
'
8.
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
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.
6-har.
^1 H
3-har.
5SM2
m am m
OM^MMM '..:.
diagonal. 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-
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
MB::: mm: m~-mm-~.m: ::-.m :::
HB BB
:M ::
:
'm
mm - m - m
~m ^m - H
: - : : ^
BB B BBJI B BBB a BOH DB BB BB
7~~mm~-~: ::: : :: :: BBBB IB BB DB BB
::::
::::
".~M:
~ "MM:: ~~~~~~~~'
:_MMBB::::::::BBMB::::; :::::::::::::: ".::
::::: 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
ner an unlimited number of different combinations may

7
be made; and of which, such are used in weaving ladies
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-
1234
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.
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; '::
V SM"
: : : :
2341
O O
.' 5'.3
"-' "
5 * A
4 -I
1 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.
1 222
2 1 1 2
2 1 1
2 2 2
mucmmcm
iniLiiiMHHn
Again, we will take the same numbers and arrange

them in another position, which will give us Fig. 18.
FIG. 18.
BfflraySBSKMSSB
12222
ByBSISSsiS K.5
:.S5
21111
::
::: :: : : :; : : :
.PBULI 21221
Srz
::
:: : : :: :: :: :
21221
c: ': :' ': ::
::
:
: :: ::
:
::
:
:
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 ;: [PHdi 'Oman

221122 : \f:m- ;:
immnmmm:-:ui'M:
::
:: :
114411
,; ;
* '
114411 "*B: ;:*

:
::
'
::
221122
::
':
: .: :: :;
: :: :: :
321123
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 method, a designer can- put his ideas on
this figure
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.
': :: ::
'
rB
BUB
BBB ;
II
::
nnnfiBBa
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 BBBBB BB BOB BBB EBB
BUB BED EBD BBB BBB
" " "
BBH BBB* ": ".
p ;:
5: :'*: r:55* BBB

:
BB ;-: ~ZBHB_- mmm -mmm:^::.mmu-n~mmm-

S^mmm^mm^.'-.r.'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"
B
.:" BBB
BBB
.v.B -'
MvA-
BBB B BOB BBB m::.'C."^:'J
BBB :BHB
~
*B B BBH BBB::BBBBB::BBBBB
BBB
:
iss-^ss-
BBB: ;
:
: :: :B: :B:
s
;
'
s
::;:'
B' 'B:
is 'B;
:
.- ^ss^^y..^!.
:.BB' T:::BBB: : B : :
B ::: :
1
^s 1 -M!!"%:i"
m m m n BBB KB a
.ss" .si" BBB:
.is" BEB .s."Eii3.i
::-" BBB:;::: : : :
: :B' 'B l B B' B' B' B EBB 9EB 9BB EEB B B B
Br'n : "
: :B::B: :::"::::::: ...L::
:
:BB :::.BB: :;::-BBB::: :

-
r: B.
BBBBB B B '..PBB BHB
"
'BBB: DBB BBB :
'
: 7." BB.
BBB " BBI
'.'. .'. '.
:: B B B B BBB BBB BBB '

]'.
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 ":..B:::: r
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-
BBB a
B B B B
:. : B
:
a
:
m.
: BBB'
m m 'm'
BB
u
53'
m: mm iSS"
B B
y
.::.::.r'.
.:.::: : ..::
E3
B' B .:::.
"
.. inmi
fl B BBBBB BBB : BBB fl B BTBBB EBB BBB
m~ '...' 'BBB" :B B::. ::::::'.: BB: BJ.BC
mma
BUB :: BBDBB BBB
:::::::
BRB
""MB .,
: :
"'
B '..
'"""
: BBBBB' B .:
'*'.
' p~
: r
lB.r:2
:. :'..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
B B
mm
m m
:
; ;
mmm
:
:
m nmm .
BBS
amm m
:
mmm
mmm 'm 'm
;
amm
m~jm
: a
mmm
:
: :
:
-
: :
-
.
mmm:: m m m m mmm mam m mmm mm

:: msm m
:
: : ... :: ::::ijiii:
B K BBB ;
.B :. : :...: ;
i5z"""... 5""i
BB.
m mmm mmm
:
:;:>;.;;:::;: :r.:îii:::
.B.ECBBB
III :
BBC MBH
~~^_iiin~znizziîzii: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
B.._.:
M
:
-
..
- n
. .-;
H
,.
B H
.
mm ;
. .. ~m.
n
mm.
::
mm
.. !
'
B .
-
z.:
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 m --
'- :-
BniMnpBBWi
; BBB: BBBB: :BB: ;: :t ::
Bam BBBB ~ :&BB: _

:
::_:: :: :
:~: BBBB
BBBB ....... BBBB' BBB.
: :: : :: .
aam ma:: B .....

:
'BBBB: 'BBB B
"ma '
- ;
BBBBBBB" '
:
:
'BB
"
BBBB' BB B BBBB' BBB HB
UBBBBC: .MrrrBBB: :BBB^:-'BBn
:':!:::
" '
BB.....
BB ' '
:: ::
BBBB '
B '
BB BBB
BBCB :: BB BBBB : : : :
BBB :BBnnnnBBBBn :
'BB. : : : BBBB: 'B
which
We
56 will now call

illustrates the first three bars or picks of
diagonal, composed in the following manner:
the reader's attention to Fig.
7
25,
a fancy
In connection herewith, we illustrate a four, six and an

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.
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
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.
2 Bn<y :::: r:n..ar..
6.
B BBBBBB
,'
..s:
;:::.
SMSSS S|P =
:
.: .r ..:;:..
MQO~ .... : :: aa : ;
Now take the bars, or back filling threads, numbered

4, ('), 8, 10, 12, 14 and 10, and set them down under each
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, the four-harness twill, and back weave;
which is
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 :
::
a
i:nrrr.
mamma
:ri
;:;:
Q
::::!
n
;;
:
:"';:::
:. :: ::
!-!
..... '
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. again, we find Fig. 10
Then in place of Fig. 4,
which contains Fig. 5.
If filling tie" were desired,
a "warp and 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.
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.
;'.
- vmmmmmmmmmm
B Bl mmammma* mi
.........
B mm
Commencing with the first pick, which is a face thread,

we setit 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
except where the tie comes on the third harness.
all risers
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 10, 12, 14 and 16, and set them
2, 4, 6, 8,
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
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

combined, but not
5 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 i
.LI i . t . -i
:
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
itwere, 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 X -i 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.. B :"":"":".'
:
jddpdd :UL:::M:": ; :
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
::
BD^.
: :: :
B
:: ; w "B"iB~nut B
::
B
::
a
'
:' ~BB
:;:....BBBB
idBPB^Bndnan : ;; :: :: '::' :: .: :nn
IdMuBHd
';
'
'. ''"''M' 'M' "LJ

'
SBSBSSffigB
~
Maonin
SS 5!5""" '
:
;
:___
FIG. 26. FIG. 27.
:.....::.::
BSB:BBS5^Sy
idddn*H: :n
mauaummmummm '
nnmnMnBaMnnd
ir"
!
dd::~:
-v
'":::
":
mamammamK -
n: ::: ': :B J.
............
.: :
inddunnnBd BE. B: ; : ":.'i

B "
.BBiggsiHiBBS i;i"." 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.
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
i;":
'.
s
-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
(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. 35and 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"
"""
IB' B
SnBBBBBBBBi
::.::
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.
BBBBBBBB
B' 'B' 'B.' B
'n.n'BnBBBBBB :BBBBBBBI
B- ;-"-
'BBBBBBBB
:r::_:::: ::.:~: :
B BB B B
.'
nnnnnnn
oaa .
-::: : i: : ,: :
DBnBDBn
ffiôD^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 :
;SE
pa DOC
I!
BBBBBBBB
5 SES?
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
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
mam
s-
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
m
(3)
single weaves he may choose to use. As will be seen, we

have marked the weaves named above, (1, 2, 3,) and placed
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. 1. FIG. 2. FIG. 3.
123123123123 123123123123 123123123123
i nnnnanpppni: 1 ppppnppppppn
2 i
pf 3
1 nc
2 ppn
3PP1
i PPE
3 nnnnnnnnnninn 3 pppppppppppp
FIG. 4. FIG. 5.
123123123123 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
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: 2 :::

1 :
: :-':
'
;
:
:i:
H 3
i BLJ:
nmnvm s
i
:::;
''
2 :; : : : 2 n L::::BBa 2
''
m
...... ::
'' ; ;.. .;
. ;: ;
3 BB HH 3
: ; i nncM' y ": in i n
2
'
::": :
;
z
3
mmû~ um^.f^n 2
: .
:.-... Bi:i~n "
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
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
mmmmmnm ...
BBM (2)
HIM n 2 inSi
nga XON me r~M":I~3
! I
-:
MM: :MMBMMBBHn
i n
i M ' :
a IMMMMM
Fig. 9 is composed of the three weaves represented, con-

sisting of a double-pick face, plain middle, cassimere back.
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.
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.
FIG. 10. FIG. 11.
(1) (l) 123123123123
nncBnuMnnMnn
::.
m"m'm mm+mucmncmmn
(2) i HSS (2)
SSBS
Sam
men
(3) B*B
HCM
:
a
B
:.:;j
maw Bfl
maHBBBBB
: :
mm* y
:M:J: *:::-:
mm am mmm

consisting of a cassimere, broken twill face, the four-har-
ness, broken twill middle (one up and three down), and the
cassimere twill back.
cansisting of a plain face, cassimere broken twill middle,
and a cassimere twill back.
FIG. 12.
(1) 123123123123 (1)
ZMH i nnnanBnnnnn na
mm
::: : * B B nmn
BB Mna
cmm :: CMIUM
~
iye
inn
(3) 2 mcc~mm:~m >M::::I
'A mm mmmmmmmy
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.
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.
_z ~i
3 ~irM:ii
Ucncn'" BIB
IBB By B DBBBBI
BB B :
BB BB MB BB BBB
:.
E
.
B --
r
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.
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.
îMEiIiB"::J5i"îFrE 5SE5i
.. .51
M~ PP
" B
"'
:
5^
i
: :: :HL:I 'S"l
[..Si
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 _ û^n LjEiBonnnniEiGDBr
BB mm m m m m 1 BB B B B B
SaBa
BBBBBCBBBBBBB BB BB BB BBSB BB Bl
5S SBBBBBBBBB BB BB 3IB
m
.. . .
BB .
Bl
55 55 :.
._ ,....
BBBBBBBBBBBBBBBB
.
BB BB ~ ~ BliBflBHBBBBBBBfl
H-tccc*.cncr;îx--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
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
::
.
-tcwô. * :
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.
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 " " = number.
spun silk 1
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.
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-
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 = = 10, the number of runs; or,
16800 -4- 1600
20 X 840 = 16800 -r- 240 = 70, the number of cuts.
20 X 840 = 16800 -h 560 = 30's, the number of worsted.
No. worsted thread, is equal to what size of cotton
40's,
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.
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.

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.
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.
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.
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 TV 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.
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
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.
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. drab.
1 )
3
, .
times '
2 white. white,
1 f
1 black and white D. & T. 1 drab.
23 white. 14 white.

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.

inside of selvage.
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 thework 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. Weave No. 8.

ma mm
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.
'anan
'
Snn~
ii mm BIBBBI
Weave No. 3.
B ~~ii.iB'~i"
an m iii
nnnnr.MM_____^
SSSi ESEiEi ....
Weave No. 4. Weave No. 6.

SdSnn2S5Snn
: ::. IB! BB BBB
nnniM. BB
mai ::
..! M
y^S M3
:J
**:* -53***
mmm
Sample No. 1.
Sample No. 3. Sample No. 4.
Sample No. 5.
Sample No. 7.
ii ji inni H n innnrnnnnnni 11 n <i n 11 II~MI
Kwini !i .Mt
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
pMncw
nnnm
ni:;"
" ""ptiiir
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
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.
SBBHi
BRB BB Bfl
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 BBI:: m~

BHEB
BBBH BB B
m~~
: m'
' '~'
B B BB~' B
'm~mm' ~m'zm
*
B BBB
BBBB BSD
BH B
niMBiB^nGHM E-Izir:BZB_:;i:z^ ;:rziilji v LÎIM
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 coveredby the warp on both sides of the fabric.
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
B BBB EBRBBBBB
ian . :'
.-: :. .:.:..: 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
BBB
B
' '
:::::.
B D flfl
..E
B fl B
B . :*.
BFBBBE
SB
'"''."'
B BB B B
fl
"'::' 'TBiaM
B BH BBB
fl
_ ,___
BBBB B B IFB
D
,_,-. _^
BB B B D B am. '.mr'mammmmmm
..:.:: .M;;
u m m m
B B*
mm m BBBBBB fl 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 : : : :
BBBB
IB9B I
: ::
- B ''BB B :
a
'
pgjpij- ; :: :
B B B B B
BBB': ':
:::M: ::
B BBBB
: :
B BB ::
'
:: :
__ EBBBB
Figs. 21, 22, and 23 represent weaves designed more

especially for light-weight worsteds which are extensively
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 mm m ... B..BQ
:L:IIII :iir;
::
mi:! inning
: : :
: :::
::
B BBBBB
B
:
"
.:
: :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. FIG. 33.
mm mm m sm m
ana
BBBH
MB BB '
.a
:
9BB BBB B BinnBinBipn*

BBBB BBBHBH .H
SSSSS'Sg *r nnHuMBQ
BBB
BBBBOBBB
:!! nBMBnBnnBBn
SBB
IHHLJPiBlli
BBBBBB
mmormu
an mam a mn
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. FIG. 35.
REI B BOB
B RHB BB :: SE5B555B5S
: : BB B BUM
: BBB : -BB :B
DBBinBinBBiBnB
nnrBB'"n
mm^mammmaau
mm'ârmmnmnm
mamammmnnnm
mnnrmmnuamm
nmnmmmannmm
FIG. 37. FIG. 38. FIG. 39.
SEISB5BSS
S3*5g
: B :
'
:::i:;BMnn
IT
'"
'* O :M
BBB ' ' '
pina
mmrii
*BS ^-.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.
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

~~m
mamm mmnmmaopmn
mm-~~m-m
m\~--'.".mmm
m mmm ma
mm
mmm- -:::::;:;;-:
maam ::;;:ma
:
::::
mm m mm~ mm am* m mmmm mm'" 'mm
m m mm m mma m m "mmmm mm m
mm .......
:.";:.
m ma m am mm m mam mmm mm mmmm ~~ mm
mm :m 'mm BIBB
mm mm' mmmm~~-:_jt
:
mm":: ::m : m mam am mmnm r

:
m mm BB *i B
m mmsm :mm "_;:: :mmmm "^
m mm mm mm mm mm omm a -mm::~mmmm-::
:: B BB aa IB BB
m mm mm am am
BIBB
mmm mmmm
::: .BJBJ-.::
:
::
IB
Ba
BB
BB
..^z
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.
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. FIG. 49.
m m em
MS.""
am : i
: :: : ;
...
""
sii :!:
n: ::
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
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.
BBBBB
^^nMnnninn
H
-
::.:::::::::::-:
BBIBHIBBII
mmama mm a '
::.:
'
a mmam
m mm
"ia!i*B *BB*B" *:: :*:.:""!
B BBBB am
:
mm
BB
m ma
B'
B
a
B
:*
m
ammmm mm m
mamma mm
BBBBH BB
mamna: m :
mm
m:::
I
:;;: .:
I IBOa IHII 9BHB
epaa BBBH HIIH
B
BHBB BHHI BHBB B
mm B BI
.
B
IUBII
::
.
BBBBB
BIBI
B
aaaa aiai IUBB
B ma
c BB a
a BB
BB B HI
:
a
a
B
:
'
: IBH
flBB BBBB BIBB H B
a am
ma a a* B aa B BBBB yaoa a
Sam
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:-: r,mmm:i BB :_:mm : mm
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
: BBB ai
:
::;
:
::
ai
IB
IBI
a: :
;:: :: :
mm m mm am aaa B aa : aa aa :: ia HI
BB '
;: BB : ma 'mm' m u \\ \ I . I
mm
Dt :;
"mm ."mmm'mm
:M BIB
.' K S
R 5. "mm *m* mm* mm' mm
"* ''mm* 'mm*- 'mm*
Si -""
i u mm ;.
:
B HJ BB^B :
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 BB '
: flfl a Bfl :
: Bfl ii .
IB
ma 'm mm am a BB IB flfl:; ::
a ai as a aa BB BB BI ia
BflB ::.; :_:_ _"__*fl ;nB.~l B:::.BB ::
_:_flfl:_;-_BB._.:_BB v :: [
;
i
Fig. 54 represents a pretty diagonal wale, with a basket

effect, suitable for either worsted or common woolen yarns.
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. FIG. 58.
B B B B B EBB
V
' ' '
::' .PU
. B
mn '
ssysss
:
IE-! : s :
*!
I
iiG!
PBPI
1
SS
BBrffiBRBIRBBH
;
' :; T:
;: :'
:BU
::: : :
BPii"
: 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.
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. 59. FIG. 60.
ma amm mmmm BPBB BBBB: .BBP.BB r.BB

BBPBBBB BBPBB: 'BBPPnBBn
..
SSSSESSKift BB: :BBBB' BBPBB ::' HBHH
DBBBBiUBBnBBrzBB' TIPBB
'"
:
.BB .:BB
:
::
::
'
'L:: :
;
:::: no NBBI
B~ :;
'EJ
: mn vmam '
B BD
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
il
FIG. 63.
iPBBdBBBnnpn
JBBBdBBDBBBB
S
DBBBDBBBan F IBBPBBPBBBBP
BannpBBBaBB
rairiDBBBBBB BBB BBB :.::.::::....:
BPBBDBBBBPBBrjBBBPP am
_ _ _ _
! rBBnBBBBnBBriBBBnnnnDBBB
IBDD mmm mm mmmm mm
: :
PBBBOnPnB ff mmma mm fmm mmm

SRS.Sg^gR
BBDDPPBBB
... IPBBPBBMPP' '
BBBBBBDD nat =
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-
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
ischanged 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
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 passed, and another riser is placed on the third
is
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.
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, respectively; consequently, are imperfect twills, al-

4,
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
isthe smallest satin that can be woven on an even number
of harnesses.
11. FIG. 12.
thus
Fig. 11 is found to raise each alternate harness,
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.
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. FIG. 15.

nnnnnpnnnc
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.
Fig. 18, to raise one and pass two, thus 1, 4, 7, 10, 13, 3.
6, 9, 12, 2, 5, the use of other characters in this

8, 11. By
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~
ID
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 weaves from five to

illustrated all of the satin
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.

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 more after the doeskin style, we have to
required,
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,
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
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 alternately, and weave it a five-harness satin, warp
1
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
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 Yards per Ib.
400 8400 16400 24400

800 8800 16800 24800
1200 9200 17200 25200
1600 9600 17600 16 25600
2000 10000 18000 26000
2400 10400 18400 2(5400
2800 10800 18800 26800
3200 11200 19200 27200
3600 11600 19600 27600
4000 12000 20000 28000
4400 12400 20400 17% 2S400
4800 12800 20800 18 28800
5200 13200 21200 29200
5600 13600 21600 lS\t 29600
6000 14000 22000 1824 30000
6400 14400 19 3040 )
6800 14800
7200 15200 23200 3120)
7600 15600 23600 3160)
8000 16000 ^4000 20 3200 )
This table will be found a ready-assistant in yarn calcu-

lations, asit gives the length in yards per pound of any size
thread, from one-fourth run to twenty runs, by fourths.

TABLE SHOWING THE NUMBER OF YARDS PER POUND OF

WORSTED YARN FROM No. 1 TO No. 120.
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.
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.
TABLE SHOWING EQUIVALENT NUMBERS BY THE RUN, CUT

AND No. SYSTEM. FOR WOOLEN, WORSTED,
COTTON AN' SPUN-SILK YARNS.
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
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,
218.75 43.75 24.305 13 16.8271 12.868

194.445 42.682 23.972 16.667i 12.774
175. 41.667 23.648 16.51 12.681
159.09 40.698 9% 23.334 liM 16.355 17% 12.59
145.833 39.773- 9>2' 23.026 16.204 17^ 12.5
134.615 *% 38.889 22.727 16.055 17% 12.411
125. 5% 38.043 22.436 15.932 12.324
116.667
109.375
x 37.234
36.458 10
22.15^
21.875
13%
14
15.766
15.625
,t
18
12.238
12.153
102.941 6% 35.714 21.605! 15.487 18% 12.069
97.223 35. 21.341 15.351 11.986
* 92.105 34.314 21.084 14% 15.217 11.905
87.5 33.654 20.833 15.086 18|| 11.824
e>a i4y2
2 5S 83.334 6% 33.019 10% 20.588i 14% 14.957 18% 11.745
2?4 - 79.545
$
3
76.087
72.915
6^
6jj
32.412
31.818
31.25
10%
10%
11
20.349
20.115
19.886.
m
15
14.831
14.706
14.583
18%
18%
19
11.667
11.589
11.513
^B 70.
67.308
m 30.702
30.172
19.663
19.445
15% 14.453
14.344
19% 11.438
11.364
64.815 29.661 19.231 14.228 11.3
62.5 29.166 19.022| 14.113 19% 11.218
60.345 28.688 18.817 14. 19% 11.147
58.334 ~\ 28.226 18.617 13.889 1934 11.076
56.452 7% 11.007
r 54.687
27.778
27.344 12
18.421
18.229
15%
16
13.78
13.672
19%
20 10.938
4% 53.03 26.923 18.041! 13.566 20^ 10.87
51.47 26.515 17.857J 13.461 20% 10.803
50. 26.119 17.677 16% 13.359 10.736
48.612 25.735 17.5 13.258 10.67
? 47.297
46.052
25.362
25.
17.327
17.157
16%
16%
13.158
13.06 20%
10.606
10.542
k 44.872 24.648
12%| 17. 16% 12.963 20% 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.

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. this If runNow
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 run. H
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.
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 woolen yarns is as fol-
of calculating
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.
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:
Ifa 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.
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 yarn is 54 inches round, 80 threads
reel for cotton
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.
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 spun from fla*x, and reeled on a ten-quar-
is
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 ownestimates, 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
TV 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.
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
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 2, 4, and hitching the treadles up in their regular
y
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,
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 us, and hold it up before us, we find that
from
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,
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.
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,
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.
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
crafty may correspond with the careful labor bestowed upon
it, by the author.
ten Arm f!
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AN INSTRUCTOR & GUIDE ADAPTED TO THE REQUIREMENTS

AMOS A. BALDWIN, PUBLISHER.

fulfilling a task so difficult as that of writing a "Self-

easily learned, and practically applied by those who are

Delicacy and Correctness of Taste 13

How to Become a Designer. 15

Estimating the Per Cent, to allow for Loss of Stock

On page 32, twentieth and twenty-first lines, read "into

A Practical Guide in Desiram & f m

HINTS TO WOULD-BE DESIGNERS.

|^\ ESIGNING is that branch of textile manufacturing

which requires each and every part thereof to be

taste than a design crowded with an incongruous assem-

tliepatterns of others, but is a man of original power, who

particular effect to meet the wants of the fastidious public.

contrasting color, yellow inclining to green; purple, inclin-

strated theories of writers on questions that underlie manu-

DELICACY A:ND CORRECTNESS OF TASTE.

Since taste has such a controlling power in every class

implies those finer organs of power which enables us to dis-

correctness, mutually imply each other. No taste can be

HOW TO BECOME A DESIGNER.

Without doubt there is not a question relating to the

First, the four principal rules of arithmetic should be

some idea of the latitude that is to be experienced as a

investigations will have an absorbing interest; they will

respect, is as execrable as theirmechanical execution may

EXPLANATION OF THE SIGNS AND CHARACTERS

The necessity of introducing certain mathematical

bers, signifies that one number is to be divided by the other;

The characters used to represent the working of threads

publications is in order. When originating a design, or dis-

EXPLANATION OF DIFFERENT TERMS USED BY DESIGNERS.

There are so many different terms used by designers,

to each other, and their proper use and full meaning as

herring-bone and basket pattern, made out with figures: