As previously stated, when set figures are distributed in regular satin order a stiff appearance is given to the design by the figures showing in lines. It is therefore necessary to get some irregular order as a basis to work upon, which will distribute the parts of the figure equally, and give a mixed up appearance. A design based upon an irregular eight-end plan is given at [Fig. 378]. The irregular satin upon which it is based is given at [Fig. 379]. The method of constructing the design is precisely the same as in the previous examples; the space to be covered is divided into eight parts in each direction, and the figures are arranged in the same order as the dots in [Fig. 379]. If ten spots or figures are to be arranged in a design, an irregular ten-end satin may be used. In arranging the order care must be taken to have the dots evenly distributed.
Transferring from Sketch to Point Paper.—In transferring a design from the sketch to point paper, it is usual to rule the sketch into small squares, each square to represent sixteen or twenty-four ends and picks, and to mark the point paper into squares of this number of ends and picks. The outline of the sketch is then drawn on the point paper; the squares into which the sketch and point paper have been divided render it a simple matter to enlarge the sketch and preserve the proportions of the various parts of the design. If the sketch measures four inches for one repeat of the pattern, and the design is to be made on 400 ends, and say 500 picks, on 8 × 8 point paper, the sketch may be ruled with lead pencil into twenty-five parts in the warp, and the same number of parts in the direction of the weft. The point paper would then require to be divided into spaces of sixteen ends and twenty picks.
40025 = 16 ends 50025 = 20 picks
Development of the Pattern.—When the outline of the figure has been drawn on the point paper, it may be coloured in. This is done by going over the line carefully and filling in all the squares that the outline passes through. If the ground of the fabric is to be plain, the outline of the figure must be kept plain—that is, it must move an odd number of threads each time, so that the plain ground may be carried up to the figure without spoiling it.
FIG. 380.
If a solid weft figure is required on a warp satin ground the figure may be coloured all over with, say, red paint, and the developing dots be put on in blue or other colour; but if much shading or fancy treatment is required, it is more convenient to develop the figure in one colour, as in [Fig. 380]. Some designers colour the ground with red, and put the satin or other dots over this in another colour, leaving the figure white, and then develop the figure by putting on the required red dots to lift the warp for shading or binding.
This method is advantageous where there is more figure than ground, which is often the case; but, as a general rule, the figure is coloured with red, and the binding dots of the ground in the same colour, another colour being used for the binding of the figure when required.
