Cotton Manufacturing

by Christopher Parkinson Brooks

Analysis of Patterns.

For purposes of reference and communication some method of representing cloth patterns on paper is necessary, and the one generally adopted is to use point paper ruled in small squares by thin lines; bolder lines group the smaller into larger spaces, generally 8 by 8, as shown in [Fig. 29]. Assuming that a row of horizontal spaces (not lines) represents a pick of weft, and correspondingly a row down the paper is indicative of a warp thread, a cross or mark is made where the twist shows on the face of the cloth. Thus, [Fig. 30] represents plain cloth.

FIG. 30.

FIG. 31.

Referring to [Fig. 30], and following each pick across, we find that first the warp and then the weft rise, and by tracing any end we see that it floats over and under the weft alternately—this giving the well-known plain weave. Wherever the warp shows, a cross is made in that intersection. The cross is only used for convenience. When a design has to be properly shown the whole of the intersection must be filled up thus: [@]

FIG. 32.

FIG. 33.

FIG. 34.

Advocating the method of placing a [@] for a twist riser is a departure from the rules of some authorities on weaving in the past, and also from the system adopted in other textile industries at the present. The reason for adopting the system mentioned is, that for most cotton fabrics it is advantageous in facilitating the reading of the design, for pegging in Keighley dobby, card-cutting in the jacquard, planning tappets, in showing up some classes of designs more clearly, less work in marking some ground cloths with preponderating weft, and in other technicalities, the whole of which compensate for the disadvantages of the system in some few classes of cloths where a designer uses the alternate system of [@] weft riser at his convenience. In reference to [Fig. 30], the beginner will clearly understand that the marks or crosses show the warp on the face of the cloth with the weft underneath it. The same square if left blank would show the weft on the face with the warp beneath it. Thus, the row of marks numbered 1 in [Fig. 32] shows number 1 warp thread floating over 7 picks out of 8, and the row of blank space numbered 8 shows the weft over warp thread number 8 for the space of 7 picks out of 8.

The cloth shown in [Fig. 31] has its representation on point paper at [Fig. 32], the numbers attached to the threads corresponding with the rows of spaces in the design.

In transferring a pattern from a piece of cloth to point paper, a beginner would pin it to a board, mark an end of warp, say No. 1 in [Fig. 31], and commencing with the bottom pick 1, mark crosses on his point paper where the warp shows at any square in that pick—thus, at the 1st, 2nd, 3rd, 5th and 9th ends—working upwards to the next pick, starting at the same end. Similarly a second pick is put down on the point paper above the first, always working in one direction, say from left to right. This is continued until the pattern begins to repeat itself, as at pick 9, when it is complete. A pattern is the least number of ends and picks on which a cloth can be woven, the picks or ends of a second pattern being facsimilæ of the first.

The analysis or pricking of patterns is performed by an experienced man without the tedious process of pulling the cloth asunder, the pattern being read from the face of the cloth by means of a cloth-glass.