. Colour in woven design . ally prominent. But as the method of floating thesethreads groups the weft effects and the warp effects alter-nately, the result is a pattern possessing an assortment ofminute markings of an interesting character. These are theproduct of three shades ; this is a remarkable element ofthe style. If a plain twill or mat make had been used, thisdiversity of textural composition by such a limited assort-ment of shades and simple plan of shade-arrangement wouldnot have been possible; so that it is obvious that new sys-tems of weaving on a small and regular basis may be em-
. Colour in woven design . ally prominent. But as the method of floating thesethreads groups the weft effects and the warp effects alter-nately, the result is a pattern possessing an assortment ofminute markings of an interesting character. These are theproduct of three shades ; this is a remarkable element ofthe style. If a plain twill or mat make had been used, thisdiversity of textural composition by such a limited assort-ment of shades and simple plan of shade-arrangement wouldnot have been possible; so that it is obvious that new sys-tems of weaving on a small and regular basis may be em-ployed in woollen textures to advantage if novel patternsare required. The check characteristic of the style is dueto the system of grouping the shades. Thus the plan ofcolouring is in two parts ; in A black is the principal,and grey the secondary shade; and in B vice versa. Bythis means in some parts of the fabric a dark or black ground-work is figured with grey, and in others a grey surface isfigured with black i { ii | / . 11
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Keywords: ., bookcentury1800, bookdecade1890, booksubjectcolorin, bookyear1890
