Jacquard Weaving and Designing

by T. F. Bell

Fig. 73

This painting, omitting the twilling, would suit for a pressure harness, with each line of the design paper representing two or three threads of both warp and weft. No twilling is required on a pressure-harness pattern, as the texture is wrought by the front mounting; otherwise the pattern is the same, bearing in mind that as each check represents two or three threads, it will not be reduced on the cloth as a full-harness pattern would. The twilling of this pattern is the 8-leaf satin, which is generally used for fine damask, giving a much richer effect than the 5-leaf satin.

It will perhaps be well to make some reference as to the desirability of using these natural forms for designs, though it would be useless to enter into the oft-disputed point of whether it is correct or in good taste to attempt to imitate natural forms upon cloth, or whether even shaded or rounded forms should be treated upon a flat surface. To the latter I would answer without hesitation, by all means do so, but make the appearance satisfactory and keep them in good taste; and this can be done if the subject treated is duly considered.

The former, it must be admitted, is rather pandering to the popular taste than following the dictates of decorative art. One thing is certain, that the ‘million’ are better satisfied with floral forms than any other class of ornament, and the more loosely treated these are, or the further they are from ornament, the more pleasing they are to those uninitiated in the beauty of line, wanting which no ornamental forms can be pleasing to those educated in art. However, these natural forms suggest Nature, and their admirers have so little idea of Nature’s beauties that they do not see the defects in the attempted representations. At the same time, it must not be understood that a pleasing design, or one in good taste, cannot be composed of natural forms—quite the contrary; for small, simple patterns, principally for light fabrics, they are perhaps more suitable than any other ornament, giving lightness and gracefulness of appearance, as may frequently be seen from the designs on the better class of dress goods, whether woven or printed; but the natural treatment must be kept subservient to the flow of the design. Generally, a moderately flat treatment without any strong attempts at light and shade is most successful, the treatment consisting of a graceful arrangement of forms drawn from nature. Everyone knows the beauty and grace of the Japanese designs; but this is not simply because they are natural forms: it is the arrangement of the forms that gives the effect. Very effective patterns can be made for dadoes of coloured curtains from natural objects, as here they can have the upright forms suited to them; but for coloured work, generally speaking, and for carpets in particular, natural forms, unless treated flatly and conventionally, are rarely either pleasing or in good taste. With them it is difficult to obtain that intermingling of colours, be they bright or dull, that produces a neutral bloom and a satisfactory result. Another important point in a pattern, and often overlooked, or not understood, is that, unless the pattern, as a whole, is satisfactory, no variety or beauty of detail can make it a good design. The general character or lines of the pattern must first be made satisfactory, after which the detail may be made as interesting as possible, provided it does not injure the general effect, and is not incongruous to the nature of the design. As to whether flat surfaces should be treated with shaded ornament or not is a point that will always be in dispute, but it may be asked why should a designer be hampered with such restrictions? If he can produce a satisfactory pattern by using either flat or shaded ornament, or both, why not let him do so? The criterion should be whether the result is satisfactory or not. Of course such barbarous work as representing leopards or tigers prowling over carpets or hearthrugs, or even decorating them with the more homely duck or drake nestling, or waddling through water, cannot be too strongly condemned, highly though they were once appreciated, and though they still find favour with many: even shading forms or objects in such a manner as will produce a feeling of weakness, insecurity, or danger, can never be upheld—that is, such a practice as shading ribbons flowing over carpets or hearthrugs like snares, and buttoned down at certain points; or making the surface of the carpet appear very irregular, which has often been done, and is often seen in coloured tile pavements. Of course these remarks refer more or less to any fabric, but a little relief in a curtain would not be nearly so objectionable as on a carpet, so that almost everything turns upon whether the result produced is satisfactory or not—of course, to those competent to judge, and who are not overcome by biassed prejudices. Natural or semi-natural floral ornament will rarely be injured by a little shading, whether on a white or coloured fabric, but it should not be overdone—a moderate amount of shading or a half-flat treatment generally giving a more pleasing effect. Conventional floral ornament is, perhaps, best treated flatly, or with a very little shading on some portions that require a little relief. A richer and purer effect in colour can be got with flat than with shaded colours.

Fig. 74

[Fig. 74] is an example of a small floral pattern of a class much used for dress goods, either woven or printed, and gives a very pleasing effect. One repeat of the pattern is bounded by the lines a b c d, or the whole might be taken as one repeat, and instead of having a row of pears on a line, have a pear and some other fruit alternately, and the same with the apples. This pattern is a semi-natural floral treatment, and if on a larger scale a little more shading on the fruit and a few turned-over leaves or half-open flowers would not injure it, but would add to its richness.