Color in Textiles.

Posselt's Textile Journal 7, 1908

Textile fabrics, as is a well known fact, are continually subjected to the whims of fashion, a feature which compels the designer to continually be on the lookout for new patterns. This don't always require a change in the material or the color of the yarn, but may only require the production of new styles by means of new weaves, or method of finishing. Provided the question should be raised by somebody not versed in designing and cloth construction: How many weaves have we in the textile industry at our disposal: The answer to give would be that their number is endless, a feature which possibly might suggest to the party who asked this question that there is no trouble for producing new styles. From a theoretical point of view, we would have to admit that this suggestion hit the nail on its head. However, the manufacturer, from a practical point of view, will have to think further than to using year in and year out new weaves, since the latter would by and by be of little or no practical value to him, for the fact that the more complex a weave, the more complicated its use; the less the production in a given time, the more experienced a weaver has to be, etc., all being items which must increase the cost of manufacturing, and which is a feature in direct opposition to the demand for the bulk of our textiles, i. e., the production of new styles in lower grades of fabrics.

To accomplish this result compels us to look further for such new styles than only a new weave, and which in turn will bring us into contact with the combination of differently colored yarns (warp and filling) in the formation of new styles, i. e., the influence of different color combinations upon the various standard weaves. This to a considerable extent will do away with the necessity of having to use continually new and consequently always more and more complicated weaves, with its consequent increase in expense to the manufacturer; at the same time giving us a chance to use less of a variety of yarns in the mill, a feature which is a great saving to any mill, since in turn less remnants of yarns at the end of a season, as well as less waste all around in the mill.

A little thought in the matter will readily show to the student how easy and at the same time economically new styles may be produced by means of what we will term the influence of color upon the weave.

For instance, consider a plain woven, unicolored fabric, which in most cases after a while will become more or less monotonous to the eye. Compare to it, for example, a fabric made with a light warp and a dark filling and when a mix will result, which will not be as monotonous to the eye. If again we use the combination of two or more colors, either in warp or in the filling, or in both systems of threads, this monotony of the face of the fabric will still more disappear, for the fact that designs will begin to form themselves. For example, arranging the warp one end dark to alternate with one end light, either with a dark or a light colored filling, will show minute spots either on a dark or a light ground, distributed all over the face of the fabric. If in turn we rearrange this dressing of the warp to 2:1 or 3:1 or 4:1 or 4:2, etc. used in connection with an unicolored filling, such arrangements will begin to take the shape of stripes (warp ways in the fabric—technically called hair-lines).

Now, if in turn we are to use also two or more colors in the filling, we drive in turn first towards the formation of small broken up effects, until finally running into checks or other designs. It will thus be readily seen that any amount of new designs, effects, or styles, as we may call them, can be produced with this plain weave, hence so much larger, if not endless, must be the variety of new designs, effects, or styles produced when considering the various twills, satins and its derivative weaves as well as those of the plain weave in the place of the latter.

Having referred to the importance of color and color combinations in the formation of new designs, effects, or styles, it will be readily seen that if colors are not properly blended (or combined) the result will be a failure. Many of the mistakes made by designers in coloring fabrics have their origin in a lack of proper perception of the conditions under which color is seen or the influence colors exercise, one upon the other, when combined side by side in the fabric.

Source of Color.
Color is due to light—where there is no light there is no color. Since light is the source of color, it is necessary to commence with an examination of its composition, as the laws of contrast of colors are entirely dependent upon it. When a ray of sunshine, or white light, as it is called, passes through a glass prism, it is decomposed, and if the image formed is received upon a white screen, it will be found to consist of the six colors of the rainbow, viz: blue, red, yellow, green, violet and orange.

The difference in colors is not due to the quantity or intensity of light—a red color will appear red whether we see it by a strong or a feeble light, the difference being due to the fact that there are different colors of light, i. e., red light, blue light, etc. If we look at a piece of red cloth, we see that it is red, because the cloth throws red light into our eyes; in the same way, a piece of blue cloth throws blue light into our eyes, and so with other colors. Now these colored lights do not come originally from the colored cloth, for if we take the red or blue cloth into a perfectly dark room, no light comes from either of them, and we could not distinguish one from the other; but if we light a lamp in the room we at once see which is the red and which is the blue cloth. Therefore, the light must come from the lamp, fall upon the cloth, and be thrown from the cloth into our eyes. But the light from the lamp is neither red nor blue, but white. Why, then, does the red cloth throw off the red light which falls upon it? Can the red cloth change white light into red light? Suppose we cover our lamp with a blue-glass shade, so that only blue light can get from the lamp and fall upon the pieces of red, blue and yellow-dyed cloth, then it will be seen that only the bluedyed cloth throws off any light to our eyes; the red and yellow bits appear just the same as if there were no light at all in the room; if we cover the lamp with a red-glass shade then it is only the bit of red-dyed cloth that can be seen; with a yellow-glass shade over the lamp it is only the yellow-dyed cloth that throws off any light, and so with other colors. In this way it can be shown that a certain colored cloth (say red for instance) cannot change the color of the light that falls upon it, and can only be seen to be red when red light falls upon it. How, then, is it that whatever color we dye a piece of cloth, we can always see that color by white light? Because white light consists of all the colored lights combined together; and when the white light falls upon a colored cloth, i. e., red—only the red constituent of the white light is thrown from the red cloth into our cyes. So when we want to dye a piece of white cloth a certain color, we must charge it with something which will reflect only the particular color of light which we want the cloth to appear.

Classification of Colors.

The same are divided into Primary, Secondary and Tertiary Colors.
Primary Colors, are red, blue and yellow; so called because it was supposed that all other colors could be made from them.
Secondary Colors, are orange, green and violet, so called because it has been thought they were made from combinations of the primary colors.
Tertiary Colors, are citrine, olive and russet, so called because it was thought that they were made from combinations of the secondary colors.
Neutral Colors, the name frequently given to black, white, gray, gold and silver.
Harmony of Colors, is the pleasing harmonious effect obtained by combining the proper colors in a fabric, one color thus improving the appearance of the other color by this combination.

Color Blindness, or imperfect color perception of persons thus afflicted, varies in kind as well as in degree, the most common defect of color blindness met with being a more or less imperfect sensation of red. To persons having this defect the solar spectrum appears to present various tones of two hues, which they call yellow and blue. They will sort skeins of different colored yarns in the most awkward way, mixing red and yellow skeins with such as dyed green, again they will mix blues and violets together. When such a person is in doubt as to whether he is choosing a skein of scarlet yarn for a skein of green, all he has to do is to view both through a piece of green glass, or through a piece of rich red glass, and when the scarlet yarn will seem to him nearly black, and the green yarn green, through the green glass, while through the red glass, the green yarn will appear nearly black and the red yarn red. Other varieties of color blindness exist, but they are not as common.

To Test the influence of one color upon another in connection with fabrics, for example, take a black ground warp in a pattern loom and produce upon it a design (check or stripe) in one section of said ground warp in blue, in another section in red, and in a third portion or section of the warp in orange, and when then it will be seen that although the same black is used for ground in either section, the quality of the black will appear different to the eye in each section—due to the influence of the respective colors (blue, red or orange) upon the black ground warp. The same remarks apply to the influence of one color upon another. Not only does the presence of different colors influence each other, but their relative quantity and the amount of light and shade, or black and white also.

In textile manufacturing two methods of color combinations are in use, viz:
(a) by mixing of the fibres in the manufacture of the yarn, or the twisting together of different colored singles.
(b) combining them in the shape of stripes, checks or figures.

Mixing of fibres in the manufacture of the yarn, i. e., by means of carding, affords the best chance for obtaining a thorough mix, the different colored fibres being then united in the most well distributed manner, whereas mixing by means of twist, yarns composed of two or more colors, means dealing with the mixing of comparatively larger particles of color. Always try and give a mix a mellow treatment as to colors selected and see to it that the processes of mixing, picking and carding are carried on properly, in order to distribute the variously colored fibres in the best possible manner, i. e., produce a perfect mix.

Never use bright colors like yellow, light blue or red in large quantities, black and white, medium and dark blues, browns, olives, etc.,•being the most satisfactory colors to use, bright colors being simply used in order to increase the richness of the mix. It must be at the same time remembered that two colors when broken up into a mix may lose lustre and brightness they formerly possessed. It will be readily understood that the nature of the material has a great deal to do with a perfect clear mix, for the fact that a pure wool dyed in certain colors, and then mixed will give a totally better result than if a low grade wool or shoddy was used in its place.

Color Effects.

We now will take up the formation of designs and color effects in fabrics produced by means of combining two or more colors in warp and filling, in order to produce stripes, checks, or other figures, as the fashion may desire. To illustrate the subject, the accompanying plate of color effects is given, a careful study of which will readily show the student how to plan for any color effect design required. In the various diagrams of this plate of designs, we have shown each individual diagram divided by means of one heavy line, both horizontal and vertical in two squares and two rectangles.

The upper left hand (small) square has been reserved for the weave.

The lower right hand (large) square has been reserved for the color effect produced in the fabric by means of the previously referred to weave, using an arrangement of warp as indicated in the upper rectangle in connection with an arrangement of the filling as is shown in the left hand rectangle.

Diagram Fig. i shows us the plain weave placed in heavy dots in its proper square, where we will show the weave hereafter regularly; two repeats of said plain weave each way, i. e., four repeats of the weave being given. In the large square we show this plain weave indicated with smaller dots.

Diagram Fig. 2 shows us the same plain weave as used before, in its small square, showing in the rectangle above the color effect the dressing of the warp to be one end light to alternate with one end dark. Considering the rule: Warp shows in the fabric on the face where there are risers in the weave, and the filling where there are sinkers; in connection with all light filling, as shown in the left hand rectangle of our diagram, will in turn result in the pincheck effect shown in the large square. Using all light warp in connection with one pick light to alternate with one pick (lark in the filling, will (as shown in connection with Fig. 3) produce the same pincheck effect.

Fig. 4 shows us the effect produced in connection with the plain weave, using one end light to alternate with one end dark, both warp and filling; this being what we technically call a hairline effect, i. e., fine stripes.

Fig. 5 shows us the mate to this effect, i. e., the tricot effect, i. e., lines running filling ways in the fabric, the same being produced by leaving the dressing of the warp the same as in the previously quoted example, but changing the arrangement of the filling from one light one dark, to one dark one light, without disturbing the placing of the weave.

The two effects as shown in Figs. 4 and 5 are the standard color effects, i. e., horizontal and vertical stripes in the fabric, and which by their proper combination and breaking up will produce the desired figures or designs in any shape or form. This will give us as a Rule: In order to produce stripes in a vertical direction, 1. e., warp ways in the fabric, cover the warp with its own filling, 1. e., insert the dark filling when the dark warp is down in the shed, and which we have done in connection with color effect shown in Fig. 4; the reverse, i. e.. covering each color in the warp by its other color in the filling, 1. e., inserting the dark filling when the light warp is down in the shed, in turn results in stripes running filling ways in the fabric, as shown in diagram Fig. 5.

Fig. 6 shows us the arrangement of these two effects (hairline and tricot) combined in the fabric, it being what we technically call a checkerboard effect. Arrangement of warp and filling, as shown in its respective rectangles reserved for this purpose in our diagram is:

1 end light	× 4 = 8 ends
1 end dark
2 ends light	= 2 ends
1 end dark	× 4 = 8 ends
1 end light

Repeat of pattern in warp and filling = 18 ends.

Fig. 7 shows us a pincheck effect in a light color produced on a dark ground (by means of all dark filling) i. e., the mate to the color effect shown in diagram Fig. 2, and where said pincheck effect was shown in a dark color upon a light ground.

Fig. 8 shows us a neat entwining of hairline and tricot effects, dark figure upon a light back ground, produced by means of arranging warp and filing end dark to alternate with 2 ends light.

Fig. 9 shows us a similar style of effect as given in the previously quoted example, with a light figure, placed upon a dark back ground, produced by means of arranging warp and filling to exchange alternately one end light, two ends dark.

Fig. 10 shows us a star effect, produced by means of arranging warp and filling 2 ends dark to alternate with 2 ends light.

Figs. 11 and 12 show the formation of color effects produced with the plain weave, in which the arrangement of warp differs from that of the filling; both diagrams showing the color arrangement of either system of threads in their proper rectangle, reserved for that purpose in every diagram of our collection of color effects.

Fig. 13 shows us a larger check produced with the plain weave by means of a uniform arrangement of colors, both for warp and filling.

Figs. 14, 15, 16, 17, and 18 show color effects produced by means of three colors, both in warp and filling, white representing light color or color number 1, shaded indicating a medium color or color number 2, and black indicating a dark color or color number 3, both in arrangement of warp and filling as well as the color effect itself.

Fig. 19 shows us a stripe effect produced in three colors in the warp and with two colors in the filling, in connection with the plain weave.

Figs. 20, 21, 22, 23 and 24 are color effects produced in connection with the 4harness even sided twill, using two colors in warp and filling.

Fig. 25 shows a check produced in three colors in warp and filling upon the 4harness even sided twill.

Figs. 26, 27, 28, 29, 3o and 31 show color effects produced upon the 4harness basket weave.

Fig. 32 shows us a neat hairline stripe produced by means of two colors in warp and filling upon the 4harness broken twill warp effect, i. e., the 3 up 1 down broken twill.

Diagram Fig. 33 shows a hairline effect produced in three colors upon the previously quoted weave. When making this hairline always be sure to adhere to the previously given rule: cover the warp by its own color in the filling.

Fig. 34 shows us a stripe effect produced by means of 2 up 1 down 3 up 3 down 1 up 2 down 12-harness regular twill, as given at the left hand side of the color effect.

Fig. 35 shows us a color effect produced by means of transposing the plain weave, using the uniform arrangement, 1 end light to alternate with 1 end dark, both for the warp and the filling, the change from hairline to tricot effect being in this instance accomplished by means of change of the plain weave, wherever we want to change from one effect to the other, as will be readily seen from weave given above the warp. Where such a change is required we must have two warp threads interlacing alike—see first and last thread of weave as well as warp thread i6 and 17, and which interlace in each instance alike.

Figs. 36 and 37 are color effects produced upon the plain weave under similar conditions, as explained in connection with the previously given example, only that the affair then explained with the warp only is in the present instance extended also to the filling, 2 warp threads and 2 picks working alike wherever the effect in the fabric requires a change from hairline to tricot effect, or vice versa. Diagrams 36a and 37a are the respective motives for producing these effects, every square indicated with a dot type in said motives standing for four warp threads and four picks of 1 up 1 down in connection with the plain weave, and every empty square in said motives standing for 1 down 1 up of said plain weave, i. e., the reverse starting of the former arrangement of the plain weave, both in the direction of warp as well as filling.

Fig. 38 shows us a color effect produced by means of 1 end dark, 1 end light, in warp and filling, upon a fancy weave, the latter being given in diagram 38a.