draw, counter 2.
[Illustration: Fig. 44]
* * * *
[Page 35] _7 harness satin_
Straight draw, counter 3.
[Illustration: Fig. 45]
* * * *
_8 harness satin "Duchese"_
Skip draw, counter 3.
[Illustration: Fig. 46]
* * * *
[Page 36] _9 harness satin_
Straight draw, counter 4.
[Illustration: Fig. 47]
* * * *
_10 harness satin_
Straight draw, counter 3.
[Illustration: Fig. 48]
* * * *
[Page 37] _11 harness satin_
Skip draw, counter 5.
[Illustration: Fig. 49]
* * * *
_12 harness satin_
Skip draw, counter 5.
[Illustration: Fig. 50]
* * * *
[Page 38] _16 harness satin_
On 2 sections of 8 shafts each, drawn end and end, counter 7.
[Illustration: Fig. 51]
* * * *
[Page 39] _8 harness satin, warp effect._
Straight draw, counter 3.
[Illustration: Fig. 52]
* * * * *
IRREGULAR SATINS
_Satin Turc._
On 4 shafts straight through.
[Illustration: Fig. 53]
* * * *
[Page 40] _Satin à la Reine_
On 6 shafts straight draw.
[Illustration: Fig. 54]
* * * *
[Page 41] * * * * *
DERIVATIVE WEAVES
#1. From the Taffeta#
Royale is a modification of the regular Gros de Tours, inasmuch as the rib line, which in the latter runs straight across the cloth, is broken off after a given number of warp-threads. These groups, which may comprise 8, 12 or more threads, will interlace each one pick higher than the preceding one.
_Royale of 8 ends_
On 2 sections of 4 shafts each.
[Illustration: Fig. 55]
* * * *
_Velours Ottoman or Faille fran?aise._
In order to obtain a broader rib than that of Gros de Tours, and at the same time to lend firmness to the fabric, we add to the ground warp, which forms the ribs, another or binder warp, which works continually taffeta, [Page 42] while the ground warp changes only every 3 or 4 picks for the rib.
_Faille fran?aise._
4 ends of ground on the first section of 8 shafts, skip draw. 1 " binder " second " 2 "
[Illustration: Fig. 56]
* * * *
_Velours Ottoman without a Binder-warp._
In this weave, of which Fig. 57 illustrates a specimen, comprising 8 warp-threads and 32 picks in a repeat, the rib contains 4 picks. Of the 8 warp-threads, 3 float over and 3 under the rib, while the 2 others bind taffeta, which latter function is executed by 2 other threads in the next rib.
[Page 43] [Illustration: Fig. 57]
* * * * *
2. From the Twills
One variety is obtained by interlacing the warp-threads alternately one or more picks behind, and then a number of picks ahead of their respective neighbors; so the complete arrangement of the points of binding in a repeat will generally form two parallel diagonal lines. This will cause the twill lines to appear less pronounced than is the case in the regular twill, and the character of the fabric approaches more that of the satin.
[Page 44] [Illustration: Fig. 58]
_Satin Sergé._
On 8 shafts, straight draw.
* * * *
[Illustration: Fig. 59]
_C?te Satinée._
On 16 harness, skip draw.
* * * *
_Rhadzimir-Surah 2-2._ After a certain number of picks of the regular surah all the warp-threads are crossed in two's thereby causing a sort of a rib or cut line across the fabric.
[Page 45] _Rhadzimir of 4 picks._
On 8 shafts, straight draw.
[Illustration: Fig. 60]
* * * *
_Rhadzimir of 6 picks._
On 8 shafts, straight draw.
[Illustration: Fig. 61]
* * * * *
[Page 46] 3. From the Satin Weave
Satin Soleil shows a satin-like surface with a cross line appearance. Fig. 62 illustrates it as made on 8 shafts, straight draw.
[Illustration: Fig. 62]
* * * *
Satin Grec is a 12-harness satin, in which a taffeta point is added to each place of interlacing, thus giving the cloth a much firmer hand. Fig. 63 represents this weave on 12 shafts, skip draw.
[Page 47] [Illustration: Fig. 63]
* * * *
_Peau de Soie._ An 8-shaft satin with one point added on the right or left to the original spots, giving the fabric a somewhat grainy appearence. Fig. 64 represents a peau de soie on 8 shafts, straight through.
[Illustration: Fig. 64]
* * * *
[Page 48] _Fleur de Soie._ The face is a satin de Lyon (2-1 twill), with a backing interlaced on the 12-shaft satin principle, Fig. 65, on 12 shafts, skip draw.
[Illustration: Fig. 65]
* * * * *
[Page 49] CANNELE and REPP WEAVES
are in their construction related to the taffeta, and are used mostly in the form of stripes as an additional ornament to a fabric. The threads going into the composition of these effects exchange continually from taffeta interlacing to floating over a certain number of threads, and must be introduced either in warp or filling close enough to make the floats cover up the taffeta work entirely, and thus enable the material used to show up with the full brilliancy it possesses.
Cannele effects can be produced in two distinct ways. One is to let every individual thread work alternately taffeta and float, while in the other method one thread weaves always taffeta, and a second thread is used for the cannele exclusively. These latter
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