Tuck Work on Circular Frames.—In frames employing the spring or bearded needle arranged in circular machines which are largely employed for the making of fabric in the roll, tuck patterns can be produced by cutting the pressers in circular form as illustrated in Figs. 55 and 56. In the French circular frame, the presser consists of a plain circular disc which, by reason of its adjustment, presses the beards or springs of the needles as they revolve. Figs. 55 and 56 are the circular tuck pressers which correspond to Figs. 53 and 54, that is, 1 and 1 and 2 and 1 pressers. In Fig. 55 the circumference of the wheel is cut alternately in small spaces which come over the beards and press them, and larger spaces which by the depth of their incisions fit over the beards of the machine but do not press them. The wheel receives its motion by the revolving action of the needles in the circle, and the teeth have therefore to be cut to the gauge required, that is, the setting of the machine needles and the teeth in the wheel circumference require to coincide. In Fig. 56 every third space is cut large so as to grip the needle but not press it, whilst the remaining two spaces are cut with small indentations so that the needle will be pressed in the ordinary way. In circular frames there are several feeds, that is, the stitch-forming apparatus is repeated two or more times round the circumference of the machine which allows of a more convenient arrangement being made for the discharge of the unpressed loops. One way is to have a tuck presser and a plain presser arranged alternately in the machine so that there is a tucked pattern where the double stitches are discharged every second course. If, in addition, there is a different colour in each feed, we have an interesting colour effect which is different with every type of pattern wheel employed, whilst wheels can be cut with the greatest freedom right round the edge according to a predetermined design. What actually happens in the fabric with the use of tuck pressers may be better understood by a reference to Fig. 57, which is a diagrammatic enlargement of the pattern produced by the 1 and 1 tuck presser illustrated in Figs. 53 and 55. For the first course where needles 1, 3, 5, etc., are pressed to knit the odd numbered needles are worked, and this state of matters is represented in Fig. 57, where the needles are numbered 1 to 4 to correspond from left to right. Stitch 1 and stitch 3 are pressed as usual and form their ordinary stitches as given by the shape of the presser in Fig. 53, stitches 2 and 4 are left unpressed, and the yarn is noted to have fallen to the lower position marked a1, whilst the knitted loops are retained in their higher position a a. At the second course b, b1, the position is reversed, the stitches on needles 1 and 3 being tucked or left unpressed whilst those on needles 2 and 4 are knitted as usual. This effect may be traced by following the course of the thread marked b, b1, b, b1. From this diagram it will be evident that the whole structure of the texture is altered by the tuck presser, and that this will enable us to insert a greater weight of yarn into the fabric because the threads are not subjected to such a high degree of intersection, and the result is to give a cloth of greater weight and consistency suitable for a large variety of outer garments. Again, it is evident that when two or more colours are employed, novel and characteristic colour effects will result because of the way in which it is possible to pass one colour to the back at certain points and allow the other to show on the face and vice versâ.
Fig. 57
Check Designs.—By the structure of ordinary tuck work illustrated in Fig. 57 it is clear that the threads have a considerable mingling together, and the result will to a considerable extent be a melange colour effect. In what is termed check or press-off work in knitting a clear-cut colour effect of reversible character is often desired, that is, when a block of one colour is knitting on the face, the second colour is made to float loosely on the back, and this arrangement can be made to work with each colour in turn. To make such designs on the circular frame we have two pressers, one cut the reverse of the other, and these are used in succeeding feeds of the machine, so that the needles pressed at one feed have their stitches tucked at the next and vice versâ. The whole matter of tuck check designs belongs to the higher branches of designing of knitted fabrics. The term check in the ordinary way consists of a vertical colour scheme combined with a horizontal scheme of the same character, and whilst these are possible in the knitted fabric their production is somewhat difficult. Tartan hosiery can be produced in a number of colours having the vertical elements working on the embroidery system and with the corresponding cross colour scheme working in the ordinary horizontal stripe, but these effects require great skill in manipulation owing to the fact that the extra embroidery yarn is inserted over and above the ground, and this tends to show more prominently than the cross effects, and these require special treatment at the hands of the colorist if the balance of the colour scheme has to be preserved.
Spot Effects.—This type of colour effect is best produced on the Jacquard flat knitting machine which is the ordinary flat knitter with an attachment for making patterns of a raised character. These raised or knop effects are produced on the basis of the rib stitch where one needle bed is made to stop knitting for a few courses during which time the opposite side is making its loops as usual. The needle bed which does not knit has its stitches drawn tight and this causes the loops of the other bed to curve round and form an arched effect which can be made the basis of a most interesting pattern scheme. These raised or knop designs have the result of causing an uneven reflection of light, the ridges give a full reflection, whilst the light which falls into the hollows is dispersed and broken so as to cause an interesting play of light and shade. This is used to form novel designs on the flat knitter with the aid of the Jacquard selective mechanism, and when several colours are employed by means of the extra thread-carriers, these can be made to form spot effects with considerable facility. Here again the effects are very pronounced and produced by quite minor alterations in the machine mechanism.
CHAPTER XIII
Colour Harmony and Contrast
It should be stated that there is a great need for a fuller knowledge of the basic principles of colour harmony and contrast in the knitting industry if the artistic qualities of the knitted product are to be enhanced. Colours are too often employed together without due regard being paid to their suitability, and many knitted productions offend the aesthetic sense in a very marked degree. This is easy to explain, because for a long time the knitted industry was chiefly confined to the manufacture of articles used for underwear and as such did not require to be specially suitable in regard to colour selection, the tints were of the most ordinary character such as drabs, greys, naturals and whites. As the scope of the knitted texture became enlarged and outer garments produced, colour became more important, and those who had previously handled the dull shades extended their activities to the more highly-coloured varieties. The use of these garments has now come to assume such an important rôle that specialists in colour are required if the productions are to take their proper place on the market. The chief defect of these knitted productions has been their incongruous combinations of bright, strong colours with tints delicate in hue; there has also been too little appreciation of the relative weight of colour, strong contrasting colours being used in too great proportion to the more delicate variety.
Colour Theory.—Some useful hints regarding the use of colour in knitted goods may be gleaned by a study of the colour theory if the operator possesses the instinct to extend the theories to cases which do not come strictly under the technical definitions. According to the pigment theory of colour, which is generally recognized as having the closest application to textiles, three primary colours are given, namely, red, yellow and blue. These are taken as basic or elementary colours, which means that by combining these colours with each other in varying proportions and tinting with white or shading with black, all other colours can be produced. The general attributes of these colours may be given as follows—
Red is strong and vivid in its nature and at once arrests attention by its power and striking effect on the retina of the eye. It is symbolical of all the attributes of warmth, heat and agitation of the senses, the red cloth incenses the bull, whilst the red flag has also its associations of stirring character. It is used as a signal for danger, and at the same time is found in colour combinations where it is intended to produce an influence of comfort and warmth, the reds and their derivatives are found largely in articles intended for winter wear as the prevailing aspect is that of warmth.
Yellow.—Yellow as a colour calls up visions of a rather conflicting nature which are sometimes difficult to reconcile. At its worst it is regarded as a symbol of the past and indicates a glory that is faded and gone. When white deteriorates in hue, its place is usually taken by a dirty tone of yellow, whilst the yellow discoloured tinge of wool is the bane of many departments of textile manufacture, necessitating expensive bleaching operations. It is likewise the colour of the fading leaf and denotes decaying life in the vegetable world. In its sense as a primary colour, yellow has an entirely different meaning and denotes brightness and gaiety as prevailing characteristics, it is outstanding in the property of luminosity, it is bright and attractive, and its use on gala days greatly contributes to the festive spirit. Yellow by itself cannot be said to occupy a prominent place in the knitting industry except for the purposes of brightening up otherwise sombre blends, when it is used in a limited quantity according to the character of the ground. The colour in its modified form such as salmon and canary shades prove very attractive for the summer knitted coat and scarf trade; the most brilliant derivatives of yellow have an enormous success in certain years for the height of the summer season, these colours being of a brilliance and gaiety which could never be permitted in other departments of the textile industry. When toned down to make tan shades, it has an extensive use in all branches of the knitting industry.