FIG. 381.
[Fig. 380] illustrates the principle of developing a weft figure on a warp satin ground by shading from warp to weft.
The outline of the figure is first sketched on the point paper, and then the whole is covered with the satin dots. By adding single dots where required any degree of light and shade can be obtained. It is best to add the dots all to the same side of the float, and, as a rule, it is most convenient to add them singly. The effect is obtained by gradually increasing the float from one to seven, and thus there are seven degrees of light and shade between the two opposite eight-thread satins.
[Fig. 381] will illustrate the principle of shading more perfectly. This is a small stripe of shaded eight-end satin. The space to be shaded is divided into seven equal parts of five threads each, as there are seven changes to be made. The first five ends are left as they are, and a dot is added to each one in the second division, two dots are added to each in the third division, and so on, until the float of seven is reached at the right-hand side of the stripe.
In a five-shaft satin there are only four possible changes, and therefore this is not of much use for figured design in cotton goods. The larger satins, such as eight, ten, and twelve-shaft satins, are most useful for this purpose.
Twills may be shaded in the same manner as satins by gradually adding to the float of a warp twill until a weft twill is reached.
Satin figures are somewhat flat and indistinct when woven with grey warp and weft, and therefore in cotton fabrics the figures are more often developed in twill or fancy weaves of a bold character, unless coloured yarns are used. The best effect is obtained when a number of different weaves are employed in developing a design; the variety in itself prevents any appearance of flatness, which a design developed entirely in satin or twill possesses, and the weaves may be selected so as to suggest the beauties of the flower, leaf, or other object which forms the basis of the design.
The object of the designer need not be to render a direct imitation of nature; but there is no reason why a textile designer should not use the power at his disposal of suggesting the surface appearance, or the beauties, or characteristics of the object which forms the subject of the design.
A portion of a design developed in a variety of weaves is given at [Fig. 382]. The combination of the solid weft mixed fancy weaves gives a good effect.
In designs of the more conventional kind the outline of the figure may be solid weft float, and the inside any other weave that fancy may suggest.