. Colour in woven design . Fig. 47. Fig. 48. A more marked and better pronounced style of courseensues when the quantities of the several shades are in-creased, and a weave selected of an opener structure. Thesepoints are brought out in fig. 48, in which the same arrange-( ment of shades obtains as in fig. 47, only the quantity ofi each colour is augmented one-third, and the six-shafti twill substituted for the four-shaft twill. Broader effectsi are therefore the result. Were this sketch repeated, to1 show the outline of the pattern more clearly, it would beI observable that the black, dark gr
. Colour in woven design . Fig. 47. Fig. 48. A more marked and better pronounced style of courseensues when the quantities of the several shades are in-creased, and a weave selected of an opener structure. Thesepoints are brought out in fig. 48, in which the same arrange-( ment of shades obtains as in fig. 47, only the quantity ofi each colour is augmented one-third, and the six-shafti twill substituted for the four-shaft twill. Broader effectsi are therefore the result. Were this sketch repeated, to1 show the outline of the pattern more clearly, it would beI observable that the black, dark grey, mid grey, and white1 shades all form checkings, which, in the fabric, are quite 212 COLOUR IN WOVEN DESIGN. distinct from each other. As the order of shades here—Scheme III. of Class C, Simple Colourings—containstwelve threads, the six-shaft twill is one of the best thatcan he employed for regularly and equally distributing the Eight-shaft makes being repeated three times before they. Fig. 49. meet the plan of colours, give more irregular and mingledeffects. Where indistinct checks are important, they arepreferable to six- and twelve-end makes. The last example in Simple Colourings obtained bycombining four shades is given in fig. 49. It hasbeen produced in the Mayo weave, represented in fig. common twills of more uniform inter-lacing^, it necessarily gives a pattern ofmore decided markings. Here the weavehas broken up the groups of fours into whichthe colours are divided. As a consequence,the resultant style is characterized by soft-ness and intermingled colouring. The weaveeffect noticeable is an important enhances the beauty of the textural effect. Eithersets of hues of different colours of the same depth, or setsof shades in one colour, may be employed in this scheme.
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Keywords: ., bookcentury1800, bookdecade1890, booksubjectcolorin, bookyear1890
