Brown16816.12...
Green84.8.8..
Yellow.26.4.4.
Black.....2.2

In this pattern there are 100 courses in one complete repeat of the pattern, and to produce this a pattern chain would require to be drawn out which by its projections would cause connecting fingers to swing into the carrier as indicated by the colours of the pattern. In all such patterns the colours introduced are part and parcel of the fabric and in direction run crosswise in the texture. Outer wear fabrics made predominantly of cross stripe are not popular because of the reasons already shown, but they are often used for trimming garments, for borders of coats, cuffs and collars, and for fancy shirts they are often quite effective. One point must be borne in mind in selecting fancy colours in fine materials such as silk, etc.; the size of the fancy yarn chosen has to be approximately equal to that of the ground texture, or the fancy threads will cause a space more or less open to appear in the fabric so as to spoil its amenity.

Vertical Stripes.—For most kinds of knitted articles the vertical stripe is extremely difficult to produce without extra tackle on the machine, and most examples of vertical lines are produced by means of yarn inserted in addition to the ground of the fabric, notably in the case of clocking introduced in hosiery articles and vertical striped effects so popular in the men's shirting trade. In both these cases the effect is introduced as a form of embroidery worked as an addition to the fabric, where the fancy yarn is made to exhibit itself prominently on the face of the goods and only comes to the back for purposes of intersection. The materials employed for such colour effects are usually of the lustrous variety, silk or mercerized cotton, and they are forced into prominence on the face by the upward thrust of the ground yarn which they cover. A feature of the vertical stripe effects produced on Cotton's Patent frame is the variety of colours which it is feasible to insert, for every extra thread introduced can be of a different colour if necessary, as each yarn proceeds independently from its own bobbin. In regard to the scope of design, this is generally restricted to solid vertical stripes, and very interesting and effective variations are produced by a zig-zag motion given to the thread guides in knitting.

Tuck Work.—The term tuck is employed to indicate a class of fabric where certain stitches are tucked in the cloth, that is, they are not permitted to form their stitches in the ordinary way but are retained on the needles to be worked in along with the following stitch. This tucking of a yarn into another stitch is performed by means of tuck pressers on bearded needle machines, these pressers being cut so that during the knitting operation the needles affected are left unpressed, that is, they are not permitted to discharge their thread in the normal manner but are held up on the stem of the needle to be discharged as part of a second course of loops. Naturally the omission of the pressing operation cannot be allowed for long, because this would cause a conglomeration of unworked yarn on the needle stems which would in a few courses lead to disaster in the fabric; an essential of the pattern arrangement is to insure that the tucked stitches are cleared from the needle stems after every two courses or so. On the hand frame and the patent rotary machine tuck pressers are of the form shown in Figs. 53 and 54, being the ordinary kind of presser cut with spaces so that the needles which come under the spaces of the presser are not pressed but have their yarn retained on the needle stems. These stitch portions are pushed back on the needles, and when the next yarn is fed into them, the presser is moved along so that needles left unpressed at the last course are now pressed and two yarns are discharged in place of one. In the figures the points marked N represent the needles, and in Fig. 53 the spaces are noted to be over every second needle, 2, 4, 6, etc., whilst the remaining needles, 1, 3, 5, etc., are pressed by the projecting pieces. The odd numbered needles are being pressed in Fig. 53 whilst the even needles are left unpressed. At the next course the presser is moved one needle sidewise, so that the even needles are pressed to discharge their double loops whilst the odd numbered needles remain unpressed. The third course sees further reversal of the presser back to start again when the operation is repeated as before. In Fig. 54 is given another design for a tuck presser, this being termed a 2 and 1 pattern, and every third needle is left unpressed whilst the remaining two-thirds of the needles are pressed as usual. This presser is also given a sidewise movement to insure that the needles are cleared of their stitches every two courses or so. The 2 and 1 presser and the 3 and 3 presser are often used in conjunction with other patterns such as the 1 and 1 or 2 and 2 to form patterns more fancy in style and character. Very effective patterns can be produced in colour by working the 3 and 3 tuck presser in co-operation with the 1 and 1, whilst very effective designs may be made with 2 and 2 tuck presser and a plain presser alternately.

Fig. 53

Fig. 54

Figs. 55 & 56