Crabbing consists of two operations, first the loosening process, then the setting process. Goods are run on a cylinder, then passed over several rolls, and are kept tight so as to avoid wrinkles. The cylinders are immersed in hot water and the goods are allowed to rotate in this water for about twenty minutes, after which they are taken out for one or two hours. They are then returned to the machine for about twenty-five minutes and are subjected to boiling and also to additional pressure. The boiling water sets the fabric and the additional pressure gives the desired finish.
Tentering. The object of tentering[14] is to straighten and level the fabric. After the cloth leaves the tentering machine it has lost its natural moisture, and is not at all fitted, as far as fiber condition is concerned, for the napping. To bring it into a fit state for this operation it is passed through a trough containing a brush which gives it the desired moisture. It is then ready for napping.
Napping. Most cloths at this stage of finishing are more or less unsightly on account of long and irregular fibers on the surface. A nap may be raised on the surface of a fabric for various reasons: in order to render the material warmer, softer, or more pleasant to the touch, as in the case of blankets and flannels intended to be worn next to the body; or for the purposes of increasing the durability of the fabric, as in the case of melton, kersey, broadcloth, and similar goods; or a nap may be raised with a view to removing all the fiber from the underlying structure in order to leave the pattern of the cloth well defined and free from hairiness. The covering of nap over the surface of the fabric tends to conceal many defects caused by imperfect yarns and faulty weaving. Coarse, inferior yarns at best produce an unsightly fabric, but when the cloth constructed of such threads is finished with a fine, delicate nap the surface takes on a softer and richer appearance. Not only are the defects in the structure concealed, but the material is rendered more sightly and desirable and appears to be more expensive than it really is.
The operation of napping is performed by passing the cloth in a tightly stretched condition over a revolving cylinder covered with teasels or steel hooks. These thousands of little hooks scratch the entire surface of the cloth, opening up the short fibers and covering the whole with a nap. Since the fibers are of different lengths it is necessary to brush the fabric vigorously and then pass it through the shearing machine in order to make an even and uniform length. The shearing machine acts on the principle of the lawn mower and either cuts the nap completely or leaves a pile surface. The cloth is cleaned by passing through a brushing machine.
Pressing Machine. The fabric now requires consolidating and lustering, or “smarting up” in appearance—practically pressing—before it is forwarded to the warehouse. This is done by passing the cloth over a pressing roll heated to a high temperature. Having obtained a satisfactory luster, it is necessary to fix this by winding the cloth on rollers and allowing dry steam to pass through the piece. This fixes a permanent luster and finish on the piece and sets it so as to prevent shrinkage. The cloth is now packed and sent to the jobbers or tailors to be cut up into suits.
Theories of Coloring in Textile Design. The three primary elements of textile design are weave, combination of form, and blend of colors. They enter either separately or in connection with each other into every species of loom effect. Weave relates specifically to the build or structure of the cloth and is an indispensable factor in any type of cloth. Schemes of weaves will produce in one operation an even and firm cloth, decorated with a type of pattern that usually consists of minute parts but which is pronounced and decided in combination. Combination of forms is a surface decoration obtained by uniting straight and curved lines. Color brightens and improves the qualities of the design. In fact, the discarding of color shades would diminish the elegance of the design and impoverish its appearance and would practically destroy the woolen industry. Whether the pattern be stripe, check, figure, or intermingled effect, it obtains its outline and detail from methods of coloring adopted. In worsted there is a larger diversity of weave design than in woolen; but still colors are very extensively employed to develop effects due to weave and form, and also to impart a cheerful and lustrous appearance to cloth.
Patterns in dress fabrics, shirtings, and other articles made entirely of cotton are frequently mere combinations of fancy shades, while fabrics composed of silk and jute materials, including silk ties, handkerchiefs, etc.—in fact the cloths in which fancy shades are used—show that coloring and its combinations in all woven product embellished with design, are elements which give tone and character to the styles. Though the cloth may be soft to the touch, substantially made, of uniform structure, and skilfully finished, yet a lack of brightness and elegance in coloring so powerfully detracts from the appearance of the pattern that these qualities alone are not sufficient.
On subjecting cotton, silk, wool, and worsted goods to inspection, color is found to have a different tone or cast in each fabric. Fancy colors in cotton, while decidedly firm and clear in effect, are non-lustrous, raw, and dull in toning. Silk colorings, on the contrary, possess both compactness and brilliancy; woolen colorings have a unique depth and saturation of hue characteristic of the material employed in the manufacture of woolen goods; while worsted colorings are bright, definite, and smart in appearance.
These differences are due to the physical properties of the several fibers. Thus a filament of silk is transparent and shines like smooth glass when light falls upon it; that of wool is solid and opaque in the center, but its exterior consists of a multitude of semi-transparent scales which, when of large dimensions and uniformly arranged—as in the best qualities of wool—reflect light with a small amount of dispersion and impart to the woven material a lustrous aspect. Cotton has no such partially transparent sheath. What light is reflected is so broken up that the color is poor. Compare three plain woven crimson textures made of silk, wool, and cotton respectively. The first literally shines; luster, brilliance, and richness are the elements of its coloring. Though bright, it lacks that fulness and depth of color which belongs to the wool product, whose millions of filaments, closely compounded, all tinted alike, possess a peculiar bloom and weight of color not to be found either in the silk or cotton article. Lastly, take the crimson calico. How deficient in warmth and richness it seems to be, after examining the woolen and silk texture! It is dull and has a raw and deficient character.
The various methods of employing fancy shades in patterns obtained in the loom may be briefly summarized: