Second card: Cut from same line of the design red solid on the first half of the card, and even numbers of white and odd numbers of red on the second half of the card. This is for the white shot.
Fig. 182
Third card, for black shot: Cut from the second line of the design even numbers of black and odd numbers of olive on the first half of the card, and olive solid on the second half of the card.
Fourth card, for olive shot: From the same line cut black solid on the first half, and odd numbers of olive and even numbers of black on the second half of the card.
These four cards are shown in [Fig. 182], from which the cutting may be traced. It must not be supposed, however, that cutting odd numbers of red and even numbers of white as on the first card, means that these colours of threads are to be raised; the colour has no reference to the threads—only to the coloured checks on the design paper.
For the first card the white checks on the design paper are cut solid on the second half of the card; this raises the white and olive warp corresponding to the white portion of the design. Then, to form the plain shed in the other warp, the even numbers of the white checks and the odd numbers of the red checks are cut on the first half of the card, which acts on the other warp. As the black warp is drawn on the even numbers of harness twines it will be raised for that portion of the design that is white, and the red will remain down to bind the red weft; but passing along the design till the red weft is above, it will be seen that the red warp should here be up to bind it, and the black should therefore be down, so, as the red warp is on the odd numbers of the harness and on the second half of the card, the odd numbers must be cut on the card for the red portion of the design. This gives a pure binding on both sides: and the same applies to the other colours. It will be seen that the first halves of the 1st and 3rd cards together work a broken plain texture, and the second halves of the 2nd and 4th cards do the same.
In case the card-cutter cannot follow this method of cutting, and if the design is so varied in order of weaving that a gamut or index for cutting cannot be arranged, then it will be necessary to paint the full texture of the pattern on the design paper in the same manner as is done for double cloth. The first row of designs of the pattern given in [Fig. 178] is painted out in full in [Fig. 183]. The shaded lines underneath represent the back warp, and the white lines the face warp. The black squares are the figure, and the large crosses the ground, or the white squares in [Fig. 178]. The dots are the rising marks for the texture of the back cloth, as would be formed by the back warp journals, and the small crosses are the same for the face warp.