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THE JACQUARD MACHINE Analyzed and Explained: WITH AN APPENDIX ON THE PREPARATION OF JACQUARD CARDS, AND PRACTICAL HINTS TO LEARNERS OF JACQUARD DESIGNING.
THE JACQUARD MACHINE Analyzed and Explained: WITH AN APPENDIX ON THE PREPARATION OF JACQUARD CARDS, AND PRACTICAL HINTS TO LEARNERS OF JACQUARD DESIGNING.
BY E. A. POSSELT, Head Master, Textile Department, Pennsylvania Museum and School of Industrial Art , No. 1336 Spring Garden Street . With 230 Illustrations. PHILADELPHIA, PA.: PUBLISHED UNDER THE AUSPICES OF THE SCHOOL. 1888. Copyrighted , 1887, BY E. A. POSSELT. Press of Dando Printing and Publishing Co. , 34 S. Third St., Philadelphia. Photo-Engravings by The Levytype Company , Philadelphia....
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PREFACE.
PREFACE.
Very little has been written upon the Jacquard machine, and the fabrics produced by it; and nothing at all has been heretofore published in this country with regard to the machines and systems, as employed here. Greatly assisted by the guidance, help and advice of Mr. T. C. Search, President of the Philadelphia Textile Association, and Vice-President and Chairman of the Committee of Instruction of the Pennsylvania Museum and School of Industrial Art, the author gives here the results of his prac
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HISTORY OF The Jacquard Machine.
HISTORY OF The Jacquard Machine.
The Jacquard machine was named after Joseph Marie Jacquard. Jacquard was born in Lyons, France, on the 7th of July, 1752. His parents were employed in the manufacture of silk fabrics. The first trade Jacquard learned was book-binding; type-founding and cutlery following successively. He was 20 years of age when his father died, leaving him a small house and hand-loom in the village of Cauzon, near Lyons. He commenced to invent different improvements in the line of weaving, but without other succ
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The Jacquard Machine.—General Arrangement and Application.
The Jacquard Machine.—General Arrangement and Application.
If a fabric contains a great number of ends of warp bound differently in the filling, the method of guiding the warp by harness frames is too cumbrous and inefficient; in such cases it becomes necessary to use the Jacquard machine for raising the warp-threads separately by means of hook and leash. The hooks as used for raising leash, mail, lingo, and warp-thread, consist of wires 16 to 17 inches long, with a crook on each end. On the lower crook is fastened the leash by means of the neck-cord. T
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THE FRAME.
THE FRAME.
Fig. I. , [A] represents the side view of the “frame” of a common 200 Jacquard machine by a , b , c , d . The width of the frame in its main part [see 6 to 7] is 9-1/2 inches. 1-1/8 inches is the width of the iron casting at the places marked 8 and 9. 2 inches is the height of casting at the place indicated by 1. 1-1/2 inches is the height of casting at the place indicated by 3. 1-3/4 inches is the height of casting at the place indicated by 5. The open part of the frame, marked 2 in drawing, is
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THE PERFORATED BOARD.
THE PERFORATED BOARD.
The perforated bottom board, through which the neck-cords are passed, contains one hole for every hook in the machine, and is illustrated in Fig. II. separately. It shows the following measurements: Distance of first row from the part of the frame illustrated in Fig. I. , 2-3/4 inches. Distance of first row from the rear part of the frame, 2-1/2 inches. This board is fastened by screws to the frame at places indicated in Fig. I. by 11 and 12....
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THE PLUNGER.
THE PLUNGER.
Besides the frame, Fig. I. illustrates: Under I. the Jacquard plunger, 3/4 inch diameter, for guiding the griffe (attached to its head) when raising. To strengthen the steadiness of this latter movement shoulders are attached to the frame at the three places where the plunger slides. Screws, f , dotted in drawing, on head of plunger, fasten the griffe to it. Part III. in Fig. I. illustrates the attachment for providing the lifting of the plunger in a hand-loom, likewise the griffe, etc. This con
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THE CATCHES.
THE CATCHES.
At IV., Fig. I. , the “catches” for turning the cylinder at the lantern are illustrated. The distance of the centre of the screws which hold the catches to the frame is 4-3/4 inches. Between these two catches the cylinder is adjusted to the batten, and the direction of its turning is regulated by the catch which is brought in contact with the lantern. If the catch, y , turns, the cylinder will turn the card situated on its top towards the needle-board, and if catch, z , is brought into contact w
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THE GRIFFE.
THE GRIFFE.
Fig. III. illustrates the top view of the griffe. As mentioned before, the griffe is fastened to the plunger by means of screws. In the drawing the dark shaded places marked f are the hollow places in the griffe, through which the screws fasten the latter to the plunger. The griffe, like the other parts explained, is made of cast iron, and the machine is of the following dimensions:...
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THE HOOK.
THE HOOK.
Fig. V. represents a hook as used in the present machine, made of No. 13-1/4 bright spring wire. Height, a to c , = 16-5/8 inches. Height of rester, b to c , = 6-5/8 inches....
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THE NEEDLE.
THE NEEDLE.
Fig. VI. illustrates a needle, as used in connection with the hook. Distance from head to loop, 9-1/8 inches, = a to c . Length of loop, 1-5/8 inches, = c to d . 10-3/4 inches entire length. The distance from head to eye (for passing through the hook) is regulated according to the row in which the needle belongs. In the present illustration this is, Head to eye, = 7 inches, = a to b . The eye, = 3/8 inch, = b . Eight different positions of the distance of the eye from head will be required by an
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THE BATTEN MOTION.
THE BATTEN MOTION.
Fig. VIII. represents the batten motion to be attached to the guiding-rod, [see No. 14, in Fig. I .], and the frame, [see No. 16, in Fig. I .] The batten, 2, is connected to a triangular lever by means of lever, d . Another vertical lever connects the lower part of this triangular lever to a projecting bolt, k , fixed to the guiding-rod of the griffe. By raising the guiding-rod, thus raising lever, k , in the direction of the arrow, the batten is thrown outwards, [see direction of arrow below c
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THE CYLINDER.
THE CYLINDER.
Fig. IX. represents the cylinder, with the lantern for turning the same by means of the catches. The dimensions for the cylinder in the present machine are as follows: This cylinder is carried in the batten, the latter moving in the groove provided for it under 10, Fig. I. This batten has sufficient vibratory motion to enable it to move the required distance away from the needle-board. After coming in contact with the catch it still moves until the cylinder has performed a complete turn. The cyl
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THE HAMMER.
THE HAMMER.
Fig. X. illustrates the hammer as attached to the batten; a to b , (equals 3 inches in width in our present illustration), represents the head of the hammer, forming the foundation for steadying the cylinder in its turning. The hammer is pressed for this purpose towards the cylinder by means of the spring, s to r . Parts h and k guide the hammer in its up and down movements, and are solid parts of the batten. By turning the cylinder the hammer is pushed down in the direction of the arrow, t , th
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THE NEEDLE-BOARD.
THE NEEDLE-BOARD.
As before mentioned, the heads of the needles are passed through the needle-board. A drawing of this board, representing the front view, is shown in Fig. XI. The following are the dimensions: a to c , = 9-1/2 inches. a to b , = 2-3/8 inches. Each side of the prism, always technically called the cylinder, has a protruding peg about 1/2 inch in length. When in contact with the needle-board these pegs enter the black holes shown upon either side in drawing. The 208 needles and holes in the present
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THE JACQUARD CARDS.
THE JACQUARD CARDS.
Fig. XIV. represents a single Jacquard card, as required for the 200 Jacquard machine, 1/4 of its actual size. This shows 26 rows of holes in its width and 8 rows in its depth, 208 holes. These holes are shown in black, one for each hook in the machine. Besides these a large hole on each side permit the pegs of the cylinder to enter into the needle-board. The cards are interlaced in an endless arrangement. Fig. XV. illustrates four cards laced together. The large holes (marked d in drawing) are
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The Comber-board and Methods of Figuring for it.
The Comber-board and Methods of Figuring for it.
There are two kinds of comber-boards used upon Jacquard looms: 1st. Comber-boards made of a solid piece of material, either wood or porcelain. 2d. Comber-boards made in strips of either of the materials above named, and adjusted afterwards in a wooden frame....
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Comber-boards Made of a Solid Piece of Material.
Comber-boards Made of a Solid Piece of Material.
Before ordering a comber-board, it is necessary to know the texture of the fabric in the loom, and also the number or size of the machine to be used; for the number of holes per inch in the comber-board is regulated by this. Afterwards, we may, if we choose, arrange the number of holes in depth of the comber-board, according to the number of griffe-bars in the machine, (guided by the fabric to be made). We may have eight griffe-bars in the machine, and arrange the comber-board 4, 6, 8, 10, 12 ro
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The Changing of Solid Comber-boards for Different Textures.
The Changing of Solid Comber-boards for Different Textures.
In Jacquard work we generally use the same texture, or as near as possible, as the loom is tied up for; but changes are sometimes unavoidable. If we reduce the texture of the fabric in a Jacquard loom tied-up for a solid comber-board, we must reduce proportionally the number of hooks and needles used in designing, and hence the number of heddles used per inch. These heddles will thus be left empty when drawing in the warp. To accomplish this lift the full machine and throw the hooks not to be us
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Comber-boards made in Strips and Adjusted afterwards in a Frame.
Comber-boards made in Strips and Adjusted afterwards in a Frame.
By these comber-boards which are used to a great advantage on narrow loom work up to 36 inch fabrics, we can change the texture for the fabric; for the strips composing the comber-board may be drawn apart, thus changing the higher texture to lower; whereas in a solid comber-board this could only be done by re-tying the harness or changing the number of needles used in the machine. To give a clear understanding Figs. XVIII. , XIX. , XX. are needed. Fig. XVIII. represents an 8-row deep comber-boar
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Divisions of the Comber-board.
Divisions of the Comber-board.
Under this heading we classify one repeat of the arrangement of threading harness-cords in the comber-board, and therefore one repeat of the design of the fabric. We find fabrics in which are used one or more divisions of one system of threading harness-cords in the comber-board; again, there are others in which one or more divisions of one system are combined with one or more divisions of another, or even of two or three other systems....
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Heddles for the Jacquard Harness.
Heddles for the Jacquard Harness.
After the harness-cords are threaded through the comber-board the heddles are adjusted. Of these there are two kinds: Fig. XXI. illustrates a regular twine heddle one-fourth of its actual size. Fig. XXII. illustrates the method observed for combining heddle and harness-cords. a , the guide-board, to get the mails regular in height; b , the knot combining heddle and harness-cord. [See a in Fig. XXI .] c , the mail. d , the lingo. Fig. XXIII. illustrates the average position of the mail in a loom.
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The “Leasing” of the Harness.
The “Leasing” of the Harness.
This requires a clear conception of the rotation in which the different heddles are threaded, according to the tie-up employed. Two methods are in use: 1st. The heddle nearest the weaver is the first to be threaded, and the heddle of the same row in rear of the comber-board is the last. 2d. This principle reversed, thus arranging the leasing from rear to front. The latter method is the one most generally observed. Every row in depth of comber-board is leased separately, and in rotation secured t
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1. The Straight-Through Tie-up.
1. The Straight-Through Tie-up.
This tie-up contains in its principle the foundation of all the others. Three methods are in common use, which we will now explain....
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1st. The Jacquard Harness threaded on the machine in the direction from Front to Rear.
1st. The Jacquard Harness threaded on the machine in the direction from Front to Rear.
This tie-up is represented in Fig. XXV. As mentioned in the heading of this article, the Jacquard harness, or the leashes, are fastened to the machine in rotation from front to rear, the threading of the comber-board being done from rear to front. The comber-board is in three divisions. The machine used for illustrating is a 400 Jacquard 8-row machine, and the comber-board used is also 8 rows deep. This method of tying-up of the leashes forms what is technically known as “open harness.” As the d
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2d. The Jacquard Harness threaded on the machine from Rear to Front.
2d. The Jacquard Harness threaded on the machine from Rear to Front.
This is the second method for the straight-through tie-up, and is illustrated in Fig. XXVIII. The Jacquard harness is fastened to the machine, at the neck-cords, from rear to front. The threading of the comber-board is also from rear to front. In this method the work of attaching the leashes to the neck-cords is commenced in the rear instead of the front of the machine, thus giving a different view and arrangement of the tie-up. This disposition of the threads is called a “sectional harness arra
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3d. The Straight-Through Tie-up on the English System.
3d. The Straight-Through Tie-up on the English System.
The English system, which is widely used, has the Jacquard machine so adjusted upon the loom as to have the cylinder lengthways, running in the same direction as the comber-board; or, what is the same thing, running in the direction of the width of the fabric. [See Fig. XXX .] The 8 hooks of one cross-row (one hook from each of the 8 griffe-bars) run in the direction from the cloth beam towards the warp beam. Having the same number of rows in depth, in comber-board as there are griffe-bars, one
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II. Straight-Through Tie-up for Repeated Effects, in one Repeat of the Design.
II. Straight-Through Tie-up for Repeated Effects, in one Repeat of the Design.
This method of arranging the tying-up of the Jacquard harness is based upon the necessity for producing patterns having a larger number of warp-threads than the Jacquard used has needles. The principle to be observed is found in producing small effects which repeat themselves in the general design. The number of cords for the leashes depends upon the frequency with which these repeats occur. Fabrics with stripe effects offer greater opportunities for reducing the number of hooks and needles than
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III. Straight-Through Tie-up of a Jacquard Loom having Front Harness Attached.
III. Straight-Through Tie-up of a Jacquard Loom having Front Harness Attached.
As mentioned in the beginning of this work, every Jacquard machine contains two reserve rows, which may be used for various purposes. One of the purposes to which these rows are frequently put is the enlargement of the design of the fabric by using harness on the front of the comber-board, technically known as “front harness.” For example, in damask table-cloths, we may use the Jacquard harness for producing the border of the fabric. The centre part may be produced with front harness, forming a
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IV. The Centre Tie-up.
IV. The Centre Tie-up.
The centre tie-up, also called the point tie-up, has for its purpose the enlargement of the design in fabrics such as table-covers, dressgoods, etc. This tie-up resembles in its principle that of a common point-draw on the harness-loom. After drawing from front to rear once straight through the entire set of harness, draw from rear to front and repeat. The only difference between harness-work and Jacquard work is in the fact, that with harness we commence to draw in from the first harness straig
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V. “Straight-Through” and “Point” Tie-ups Combined.
V. “Straight-Through” and “Point” Tie-ups Combined.
A.—For fabrics requiring for their centres a straight-through tie-up and for their borders a point tie-up, one-half division of it for each border. These tie-ups are used to a great extent for napkins, handkerchiefs, scarfs, and similar damask fabrics, in which the centre part of the fabric is worked on the straight-through method; the borders on each side on the point tie-up, repeating equally from centre towards the selvedge. In the other two borders to be woven at the beginning and the end of
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Straight-Through and Point Tie-ups Combined.
Straight-Through and Point Tie-ups Combined.
B.—For fabrics requiring for their centres a straight-through tie-up, and for their border on point tie-up one full division for each border. This arrangement of both foundation tie-ups resembles the preceding. The only difference is found in employing the full division of the centre or point tie-up for each border instead of the half division. Fig. XLI. illustrates this method of tying-up adjusted to a 600 Jacquard machine. The centre of the fabric requires 400 needles and hooks in 6 repeats or
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Straight-Through and Point Tie-ups Combined.
Straight-Through and Point Tie-ups Combined.
C.—For fabrics having the centre for straight-through, with the border for straight-through and point tie-ups, (half divisions), combined. This method of tying-up is illustrated in Fig. XLVI. , and the fabric produced in Fig. XLVII. With this method of tying-up is usually introduced an extra margin for the purpose of separating the ornamentation of the design, so as to permit of a clearer definition. This is tied-up on 8 needles and hooks, situated between border and centre, (24 ends) shown at m
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Straight-Through and Point Tie-ups Combined.
Straight-Through and Point Tie-ups Combined.
D.—For fabrics composed of the straight-through tie-up for centre; the point tie-up, half divisions, and the point tie-up, full divisions, for borders. This method of tie-up is used to a great extent in the manufacture of damask napkins, containing in its centre the monogram of hotels, restaurants, or private names. This effect is produced by floating the filling. In this manner, we find tie-up, Fig. XLIX. , and fabric sample, Fig. L. , executed, using for explanation a 400 Jacquard machine, cer
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Straight-Through and Point Tie-ups Combined.
Straight-Through and Point Tie-ups Combined.
E.—Mixed Tie-up. Containing in one repeat of the design the straight-through tie-up and the point tie-up, one full division, for the centre; the point tie-up, in half divisions, repeating once through on each side of the fabric, to make the border. These arrangements of tie-ups are used to a great extent in the manufacture of damask fabrics of every denomination. The principle of using mixed tie-ups, Fig. LII. , is found in the necessity of producing large designs, containing varied effects, wit
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VI. The Straight-Through Tie-up in Two Sections. A.—Using machine and comber-board in two equal sections.
VI. The Straight-Through Tie-up in Two Sections. A.—Using machine and comber-board in two equal sections.
This tie-up, Fig. LIV. , is used on fabrics having two different kinds of warp, which, as a rule, are of different colors. One of these warps is shown working at B in the comber-board, and also at the bottom-board. The other warp employed for the figure effect is shown working at A . Fabrics that are made on this tie-up can also be made on the common straight-through; but the work of designing and card stamping will be largely increased. In the illustration all the figure-threads, and also all t
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B. Using two machines and a comber-board having equal sections.
B. Using two machines and a comber-board having equal sections.
Sometimes two or more machines are employed in producing fabrics having two systems of warps; each machine working on its own system. In this manner Fig. LVI. is executed, representing a straight-through tie-up arranged for two Jacquard machines, S and H , in which the warp is drawn in the Jacquard harness as follows: one end from machine S , one end from machine H . For explanation two 100 Jacquard machines are used for the purpose of simplifying the arrangements of laying out and threading the
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C.—Using one machine and one comber-board: the machine unequally divided and the comber-board equally divided.
C.—Using one machine and one comber-board: the machine unequally divided and the comber-board equally divided.
To explain, take the regular upholstery fabric tie-up known as “petty point,” on a 600 machine 12 rows in depth. 600 ÷ 12 = 50 + 2 rows reserve = 52 rows in width. We find used— 41 (rows figure) × 12 (needles for one row) = 492 needles to be used for figure. 10 (rows binder) × 12 (needles for one row) = 120 needles to be used for binder. Suppose we have four divisions in loom, hence, four harness-cords to one leash, for the figure section, or 492 × 4 = 1968 ends of warp used for figure. 1968 thr
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VII. Tying-up a Jacquard Harness for Figuring Part of the Design with an Extra Warp, (part for Two Sections, part for Single).
VII. Tying-up a Jacquard Harness for Figuring Part of the Design with an Extra Warp, (part for Two Sections, part for Single).
This tie-up (the character of which is indicated in Fig. LVIII. ) is used for textile fabrics having two distinct warps in part of the fabric, and a single warp in the remainder, for ground only. It will readily be seen in the drawing which explains this tie-up that one part of the fabric will have to contain more ends of warp per inch than the other, as the figuring is done with an extra warp upon the regular ground cloth. The number of ends of ground warp per inch will, as a general rule, be t
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VIII. The Straight-Through Tie-up in Three Sections.
VIII. The Straight-Through Tie-up in Three Sections.
The straight-through tie-up in three sections, which is illustrated by drawings, Figs. LIX. and LX. , is largely used in the manufacture of fancy plushes and velvets, and also in the construction of any other kinds of fabrics in which the face is figured in three systems of warps, or in two systems of warps for the face and one system for the binder. If it were required, these fabrics could be made on the straight tie-up, (Figs. XXV. , XXVIII. and XXX. ), but, as will readily be seen, they may b
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IX. The Point Tie-up in Three Sections.
IX. The Point Tie-up in Three Sections.
This method of tying-up Jacquard looms shows the point tie-up applied to the three-section arrangement, on the same principle as the straight-through in paragraph VIII. Fig. LXII. shows the comber-board divided into three distinct sections, marked I. , II. and III. For explanation, take a 300 machine; allow 100 needles and hooks for each section, distributed as follows: Section I., 1 to 100; Section II., 101 to 200; Section III., 201 to 300. Each section contains 200 warp-threads; and the comple
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X. Combination Tie-up in Two Sections. (“Tie-up Amalgamate.”)
X. Combination Tie-up in Two Sections. (“Tie-up Amalgamate.”)
This tie-up illustrates the point tie-up and the straight-through combined on the two-section system. In Fig. LXIII. , a 600 machine is used for illustration; the comber-board being divided into two parts: a , b , c , d , for No. 1 section; e , f , g , h , for No. 2 section. No. 1 section requires the use of needles and hooks 1 to 200 on the straight-through principle, four divisions, taking 800 warp-threads. No. 2 section requires the use of needles and hooks 201 to 600 on the point principle,
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XI. The Straight-Through Tie-up in Four Sections.
XI. The Straight-Through Tie-up in Four Sections.
Fig. LXV. shows 384 needles and hooks of the Jacquard machine, threaded in four sections in comber-board, A , B , C , D . The threading of comber-board is as follows: 1st, No. 1 leash in section 1. 2d, No. 2 leash in section 2. 3d, No. 3 leash in section 3. 4th, No. 4 leash in section 4. 5th, No. 5 leash in section 1. 6th, No. 6 leash in section 2. 7th, No. 7 leash in section 3. 8th, No. 8 leash in section 4. 9th, No. 9 leash in section 1. And so on. The threading of the harness is explained bel
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XII. Tying-up of Jacquard Looms with Compound Harness attached.
XII. Tying-up of Jacquard Looms with Compound Harness attached.
Tying-up of Jacquard looms with extra compound harness, consists in applying two separate systems of harness in the loom. The warp-threads, after having passed through the Jacquard harness, are passed through harness in front. Each system of harness performs special duty, although they are both working the same warp. The Jacquard harness is used for forming the general design on a large scale; the second harness divides this pattern into detail, (twills, satins, or any other desired weave). The
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The Kind of Heddles Required for Compound Harness.
The Kind of Heddles Required for Compound Harness.
The eyes of these heddles are much longer than those of common heddles. They must be sufficiently long to allow the six movements illustrated in Fig. LXX. to LXXV. , hence the height of these heddle eyes will influence the height of the shed....
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Working the Compound Harness by a Separate Machine.
Working the Compound Harness by a Separate Machine.
For working compound harness a separate small witch-loom is generally used, thus saving, to a great extent, the Jacquard cards. In this manner the ground may be easily altered without changing any cards, it being only necessary to change the small set of cards on the witch-loom controlling one repeat of the body weave for the harness. The number of picks for the harness can also be readily adjusted to one change in the Jacquard figure without disturbing the cards of any consequence. For example:
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Number of Compound Harness to Use.
Number of Compound Harness to Use.
The number of harness used is regulated by the weave required for raising, and the weave required for lowering. The number of harness may vary to a large degree, as we may use any suitable weave from the 4-leaf twill up to the 16-leaf satin. As a general rule, for fine damasks we use the 8-leaf satin, requiring 8 harness....
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Positions of Compound Harness During Weaving.
Positions of Compound Harness During Weaving.
There are three distinct positions for the harness: 1st, centre; 2d, up; 3d, down. Fig. LXVIII. , p. 60, illustrates the 8-leaf satin combining filling and warp up in one design....
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A few Different Weaves for Working Compound Harness.
A few Different Weaves for Working Compound Harness.
A great variety of combinations of different weaves for this class of textile fabrics exist. It is only necessary to illustrate a few more examples to guide us in finding the principles underlying these changes. Fig. LXXIX. is an example of warp and filling, binding in a 4-leaf twill. Both systems are illustrated for a clear understanding: [X] Fig. A , indicates the raising of the harness for forming the upper part of the shed; □ Fig. B , indicates the rotation of drawing warp-threads from the u
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XIII.—Tying-up Jacquard Looms for Gauze Fabrics.
XIII.—Tying-up Jacquard Looms for Gauze Fabrics.
Gauze fabrics are produced by a separate system of weaves, which have the peculiar characteristic of warp-threads not lying parallel to each other. One kind of this warp is called the “douping warp” or “whip-threads;” these are twisted around the ground-warp. The ground-threads, as well as the whip-threads, which work together, must be drawn into one dent. Jacquard gauze can be worked in various ways; for example: One whip-thread against one or more ground-threads. More than one whip-thread agai
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I. Double Lift Single Cylinder Jacquard Machine.
I. Double Lift Single Cylinder Jacquard Machine.
The principle of this machine consists in raising the warp-threads any number of times in succession without allowing the shed to close, thus performing the work in nearly half the time, and with less wear and tear on the warp. Fig. XCVI. represents the sectional cut of one row across all the griffe-bars. The machine selected for the illustration is of the 12-row type. Jacquard machines of this description have two hooks to one needle; therefore in the drawing twenty-four hooks are represented.
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II. Double Lift Double Cylinder Jacquard Machine.
II. Double Lift Double Cylinder Jacquard Machine.
The principle of this machine consists in the combination of two separate Jacquard machines. Two hooks (one of each machine) are connected to one leash of the Jacquard harness, and as each machine is operated alternately, a high speed is attained, which is the purpose of the machine. For example: 140 picks per minute (speed of loom) only requires 70 picks per minute from each part of the double lift double cylinder. In Fig. CIII. this is clearly illustrated. It shows two 12-row machines ( E and
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III. The Substitution of Tail-cords for Hooks.
III. The Substitution of Tail-cords for Hooks.
Jacquard machines having this construction are generally employed in the manufacture of ingrain carpets. Fig. CV. represents the sectional cut of one row of needles across the machine; also the necessary boards for guiding and operating the tail-cords. This machine consists of two divisions (I. and II.,) which are worked alternately for the common 2-ply ingrain carpet. A , represents the top board, to which the tail-cords are fastened around a wire by knot shown below the boards. Each board is 6
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I. The Straight-Through Tie-up for Ingrain Carpets.
I. The Straight-Through Tie-up for Ingrain Carpets.
Fig. CVIII. , p. 73, represents the arrangement of the neck-cords with the heddles (through the harness-cords). There are two separate bottom boards in the machine, marked A , B , for ground and figure; also two corresponding lifter-boards, which are illustrated separately by Fig. CIX. The four journals are clearly illustrated by Fig. CX. (each journal carrying its own set of threads). The first thread in the loom (left side) will be found on the first journal. The second thread in the loom (lef
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II. The Point Tie-up for Ingrain Carpets.
II. The Point Tie-up for Ingrain Carpets.
This method of tying-up is based upon the straight-through tie-up principle, arranged as follows: The design in the fabric repeats from its centre equally towards each selvedge. Figs. CXVI. and CXVII. illustrate two fabric designs, a to b , the width of the fabric or one yard on the loom; c is the centre or point of the design; b to d is the repeat of a to c , where the widths are sewed together. Fig. CVIII. , p. 73, shows the first and last rows, also the two centre rows of the journals threade
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Preparing.
Preparing.
The Jacquard card consists of a strong, durable pasteboard cut to the exact size of the cylinder. For cutting or preparing the cards to the required size, a table is used with the different sizes of cards indicated on its surface. A sharp steel blade is adjusted to the side of the table. A heavy knife of sufficient length, and containing a second steel blade, is secured to a projecting bolt on the rear end of the table, allowing enough play for the knife to be easily raised and lowered. The blad
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Card Stamping.
Card Stamping.
The oldest method for stamping cards, now only occasionally used, consists of two perforated steel plates, between which the blank cards are placed, and the required holes stamped by hand by means of punches. It will easily be seen that this method is not up to the present advanced times, hence various machines have been introduced for arranging the punches. Among those most generally used are:...
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I. Dobby Card Punching Machines.
I. Dobby Card Punching Machines.
These machines, illustrated by Fig. 1. , (W. P. Uhlinger, builder), are used for stamping cards for the smaller Jacquard machines, technically termed “Dobbies.” They are of very compact build, and operated by belt-power. The whole card is punched at one revolution or stroke. The rack on top of the machine holds the design. The punches for peg-holes and lace-holes are immovable, while the key punches act independently, at the will of the operator. Jacquard cards for these machines are generally c
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II. Piano Card Stamping Machines.
II. Piano Card Stamping Machines.
These are operated in two ways, by the belt or foot-power. There are two kinds of each: “French index” and “American index.” Figs. 2 to 11 are drawn to one-half the actual size of the “Uhlinger Card Stamping Machine.” Figs. 13 , 16 , 17 , 18 , 19 are drawn to one-quarter the actual size of the “Royle Card Stamping Machine.” Figs. 2 and 13 ( E , F , G , H ,) represent the top view of the head (cover taken off), the twelve holes for holding the punches for one row, also the large hole for holding
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The Stamping of Cards.
The Stamping of Cards.
Before commencing this work a clear conception of the tie-up and leasing of the heddles is required. The holes in the cards for the needles to penetrate, or the spots in cards where no hole is to be stamped, must be arranged in an uninterrupted chain from one row to the other, until all the rows are taken up. As previously mentioned, the method observed in tying-up the loom is the guide for stamping the cards. The number of ends required in a certain design may repeat only once in the number of
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III. Repeating Jacquard Pattern Cards by the Positive Action Repeater.
III. Repeating Jacquard Pattern Cards by the Positive Action Repeater.
If several sets of cards of one design are required for starting a corresponding number of looms, and the first set has been produced by the “piano machine” exact duplicates can easily be obtained at small cost to the manufacturer by the “Repeating Machine.” This machine is built by Messrs. John Royle & Sons, Paterson, N. J., and is illustrated by Fig. 25 in a perspective view. Fig. 26 , p. 94, represents the front elevation of the throat-piece through which the cards that are to be cut
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A. Lacing of Jacquard Cards by Hand.
A. Lacing of Jacquard Cards by Hand.
For this purpose the cards are put on a common frame containing on its surface pegs of a corresponding size to those used on the cylinder. The pegs on the frame are made of hard wood, and the pegs of the cylinder of brass. These pegs on the frame are located at exact distances apart, and the frames are built to hold from 30 to 50 cards, superficially arranged. Figs. 30 and 31 illustrate the frame under S , showing at a three cards arranged for a fabric, with a twill effect from left to right; an
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B. Lacing of Jacquard Cards by Machine.
B. Lacing of Jacquard Cards by Machine.
Different styles of machines are constructed for doing this work, among which we find machines requiring two needles for each series of holes in the Jacquard cards, and machines using one shuttle in connection with each needle. The Jacquard cards mostly needed are for machines containing 400, 600, etc., hooks and needles. The Jacquard cards for these sizes have three series of lace-holes, and the number of needles, or needles and shuttles, used in the machine, is proportionally increased. Is the
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PRACTICAL HINTS TO LEARNERS OF JACQUARD DESIGNING.
PRACTICAL HINTS TO LEARNERS OF JACQUARD DESIGNING.
Designers for Jacquard work, in addition to being good draughtsmen, must be thoroughly acquainted with the three systems of weaves: plain, twills and satins, and their sub-divisions; also with the structure of double cloth, three-ply cloth, four-ply cloth, etc. He must know the influence of the texture upon the weaves and the fabric; the arrangement of the threads in the dents of the reed; the different systems of tying-up the Jacquard harness; and the stamping of the Jacquard cards for the vari
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Practical Use of the Heavy Square in Designing Paper.
Practical Use of the Heavy Square in Designing Paper.
The heavy square serves as a unit of measurement, as well as a means of calculation, and shows readily and exactly the size of the design. The eye becomes accustomed to grasping the meaning of this large square, and comprehends at a glance the situation. For instance: On 8 × 8 paper, 25 squares means 8 × 25, or 200 rectangles each way. 10 × 10 paper, 10 × 25, or 250 rectangles each way. 10 by 12 paper, 10 × 25, or 250 rectangles one way, and 12 × 25, 300 rectangles the other way. These rectangle
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Selection of Designing Paper for Single Cloth.
Selection of Designing Paper for Single Cloth.
For single cloth the character of the designing paper is ascertained by the number of warp and filling threads required per inch in the finished fabric. For example: A damask fabric with a texture, when finished, of 80/120 (80 ends warp and 120 picks filling per inch) will require a designing paper of corresponding proportion, or as 80 is to 120, = 8 × 12. In stripes, checks, etc., the texture in part of the fabric is changed; such changes require separate designs. If the difference is only slig
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Selection of Designing Paper For Double Cloth.
Selection of Designing Paper For Double Cloth.
In fabrics where one line (visible across the face) is produced by two or more different colored threads, (each pick forming part face, part body or back of the fabric), the designing paper to be used is shown by the proportion of the line effects to the warp-threads (figure) per inch. Example: Take a dress-goods fabric, extra figured in the filling, having the following texture: Warp, 60 ends per inch; filling, 100 picks per inch, double system, 1 pick for ground, 1 pick for figure. The paper r
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Selection of Designing Paper for Two-ply Ingrain Carpets.
Selection of Designing Paper for Two-ply Ingrain Carpets.
Always observe the proportion existing between the number of warp and filling-threads. For instance, take a carpet having 1072 ends warp (536 ground and 536 filling) per yard, with 30 picks per inch (1 pick ground and 1 pick filling, or 15 pair). Then, 1072 ÷ 36 = 29-28/36 ends of warp per inch. The proposition is as 29-28/36: 30; or, what is practically the same, 30: 30, showing that the paper must be equally divided, and 8 × 8 may be used, as is usually done. Again, take a carpet having 832 en
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Selection of the Proper Brush for the Different □ Designing Papers.
Selection of the Proper Brush for the Different □ Designing Papers.
The brush used by the designer must be clipped according to the size of the rectangles of the paper. It should cover the rectangle in warp direction at one sweep of the hand; hence each size of the squared paper requires a specially prepared brush for quick, good, and perfect work....
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Colors used For Painting Textile Designs.
Colors used For Painting Textile Designs.
For this purpose take common colors (in powder), and mix with water and mucilage to avoid rubbing off after application. Use no more mucilage than necessary, as too much will be followed by slow and imperfect work. Colors mixed in this manner must be kept moist by adding a few drops of water daily. The colors most generally used for painting textile designs are: Vermilion. Lamp Black. White Lead. Emerald Green. Chrome Yellow. Burnt Umber. Cobalt Blue. Carmine, etc. A few drops of alcohol will gr
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Preservation of Textile Designs.
Preservation of Textile Designs.
To prevent textile designs (painted on the □ designing paper) from being soiled, apply a thin solution of white shellac varnish, which dries almost instantaneously. A design preserved in this manner can be cleaned off at any time with a wet sponge, and after years have passed will appear bright and distinct. The first work to be done in making an original design, or in reproducing a design by making an analysis of a woven fabric, is to prepare the “ sketch .” This sketch may be arranged the exac
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Methods of Setting the Figures.
Methods of Setting the Figures.
To give a clear illustration of this, Figs. 69 , 70 , 71 , 72 , 73 , 74 , 75 , and 76 are designed, representing a few of the methods most frequently used. A separate explanation of each will familiarize the student with this part of the work. Fig. 69 illustrates the setting of a figure in “ plain .” The space allowed for one repeat (outline of the square) is shown divided horizontally and vertically into two equal parts each way. [See dotted lines a , b , and c , d , thus giving the centre for
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Size of Sketch Required.
Size of Sketch Required.
This is regulated by the number of harness-cords in one repeat or division, the method of tie-up employed, and the texture of the finished fabric. For example: Take 400 harness-cords for one division. Texture of the fabric when finished 100/90. Tie-up employed, straight-through. Required : The size of one repeat for the sketch. Answer : 400 ÷ 100 = 4 inches. The figures may be arranged in this sketch to repeat one, two, three, four, or more times in the 4 inches thus available....
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Enlarging and Reducing Figures for Sketches.
Enlarging and Reducing Figures for Sketches.
Figures are not always enlarged or reduced by free-hand drawing. Some designers always use the “ squaring off ” process. The latter is clearly illustrated by Figs. 78 and 79 . Fig. 79 shows the reduction of Fig. 78 , and Fig. 78 the enlargement of Fig. 79. The method observed is of different size squares for each design. Each square of Fig. 78 containing the same proportion of the whole design as is shown by the corresponding squares of Fig. 79. Fig. 80 illustrates another method of ruling off a
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Transferring of the Sketch to the Squared Designing Paper.
Transferring of the Sketch to the Squared Designing Paper.
Having obtained a perfect sketch of the design as it appears in the fabric, or as it is desired to show, the outlines are transferred to the □ designing paper. This always requires an enlargement of the design, and to accomplish this the sketch itself must be ruled proportionally to the heavy squares found on the □ designing paper. If these squares should be too small for the sketch, they may be enlarged by throwing 4, 9, or 12 of the “squares” into one large one; which is indicated by extra rul
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Outlining in Squares.
Outlining in Squares.
This consists in painting the small squares forming the outline of the figure as called for by the outline of the drawing. Two methods are observed: One “ outlining in squares” inside the “drawing outline;” the other “outlining in squares” outside the “drawing outline.” If painting outside the outline, no small squares are taken, in which the drawing outline, taken from inside the figure, encloses more than one-half of their surfaces. If painting the “outline in squares” inside the “drawing outl
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Rules for “Outlining in Squares” Inside or Outside the Drawing Outline.
Rules for “Outlining in Squares” Inside or Outside the Drawing Outline.
The outlining in squares outside the drawing outline is observed in designs having the figure produced by the filling. The outlining in squares inside the drawing outline is observed in designs having the figure produced by the warp. By reversing these two rules, the figure in the design would be changed from the sketch, for if outlining in squares inside the drawing outline, using filling for figure, the figure would be reduced proportionally to the reduction made or taken away by the outline s
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Illustration of a Sketch.
Illustration of a Sketch.
Outlining on □ paper—finished design and fabric sample. For single-cloth fabrics, as damasks, dressgoods, etc. To give a clear illustration of the entire process from sketch to finished design, Figs. 89 , 90 , and 91 are designed. Fig. 92 showing the effect of the design on the fabric after being woven. Fig. 89 represents a sketch for a fabric supposed to be executed with 80 warp-threads in one repeat; thus, if using 8 by 8 □ designing paper, (texture in this example supposed to be equal in fill
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Design for Damask Fabrics to be Executed on a Jacquard Loom, with Compound Harness Attached.
Design for Damask Fabrics to be Executed on a Jacquard Loom, with Compound Harness Attached.
These designs require no special weave, as that is taken care of by the compound harness in front of the Jacquard harness, as explained in Chapter XII., page 58. After painting in the design, it is finished, ready for card-stamping. Fig. 93 shows us a leaf, taken from sketch ( Fig. 80 ), which may be used in connection with a larger design, but will clearly illustrate this division of textile work....
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Designs for Two-ply Ingrain Carpet.
Designs for Two-ply Ingrain Carpet.
In these fabrics, when the ground and figure are indicated in the design, the same is considered as finished. As previously stated in the article devoted to these fabrics, a two-ply ingrain carpet is composed of two fabrics, in which the journals introduce the weave, and the double-acting Jacquard machine the exchange of ground and figure effect. Fig. 94 represents a small portion of a design illustrating the three principal effects of this operation. I. = figure up. II. = ground up. III. = effe
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Designs for Dressgoods Figured with Extra Warp (one end Ground, one end Figure), and Executed on the Double Section Tie-up.
Designs for Dressgoods Figured with Extra Warp (one end Ground, one end Figure), and Executed on the Double Section Tie-up.
In the article explaining the double section tie-up, [see Chapter VI., p. 48 ], as well as the one on the selection of the proper squared paper required for these fabrics, the general character of these fabrics has been explained. As mentioned in Chapter VI., the machine is divided in two parts, figure and ground; the Jacquard harness is leased one end figure, one end ground, and repeated. Fig. 96 illustrates a part of such a design, and is to be cut for the figure part of the needles. Fig. 97 s
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Designs for Figured Pile Fabrics.
Designs for Figured Pile Fabrics.
Designs for figured pile fabrics (terry or velvet), Plushes, Astrakhans, etc., are also executed without introducing a weave in the design. The design is only intended for the pile-threads, which are raised when introducing the wire; the front harness operating the ground-warp. The pile-warp, when raised over the wire, is bound by means of the previous pick, as well as by the pick following by the filling to the ground cloth....
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The Shading of Textile Fabrics by the Weave.
The Shading of Textile Fabrics by the Weave.
This is generally done in the “figure” part (especially in flowers, leaves, etc.), of damasks and similar textile fabrics. The shading can be applied to the satin weaves to the best advantage....
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Rule for Shading with Satin Weaves.
Rule for Shading with Satin Weaves.
Put the ground weave (filling for face) over the entire part of the □ designing paper, which is required to be shaded; afterwards add one, two, three or more horizontal or vertical (connecting) spots to the one spot which forms the foundation or satin filling for face. The heaviness of the shade is regulated by the sketch or the fabric. For example: In an 8-leaf satin the difference between filling for face and warp for face may be made with three or four changes only; or with the entire seven c
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