Miscellaneous Weaves: Honeycomb, Mock Leno, Huckaback, Dobby Figure Designs Designs in which the ornament consists chiefly of small, detached spots or figures are employed in nearly all classes of yarn and yarn combinations, for dress fabrics, fancy vesting, and other textures in which elaborate figure ornamentation is not desired.

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Miscellaneous Weaves:
Honeycomb, Mock Leno,
Huckaback, Dobby Figure Designs
1 Honeycomb
The weave diagram of the ordinary honeycomb can be seen in Figure 7.1. The vertical ridge of' the
fabric is composed of warp floats, and the horizontal ridge of weft floats, while the hollow is formed where
the two opposite twill lines cross.
The characteristic features of this weave are alternate raised and sunk
diamond-shaped areas which give the effect of a honeycomb. Its long floats
make it particularly suitable for hand towels, glass cloths, dispensed roller
towels and bath mats, where moisture absorption properties' are particularly
desired, but in similar coarse cotton qualities it is also used for quilts and soft
furnishings, and in finer qualities for shirts and brocades. In conjunction with
the newer textured yarns, it is produced in very coarse qualities for cellular
blankets.
The stages of constructing a honeycomb (Figure 7.2) are:
(a) Construct a
4
1
twill starting in the
bottom left-hand corner, then a similar one
running in the opposite direction and starting
one square in or one square down from the top
left-hand corner, so that there will be a
clean intersection of the twill lines, as at A;
Figure7.2 A honeycomb weave
(b) in one of the two diamonds produced, leave a row of stitching points and then lift the remainder of
the diamond solid (see B).
The draft (C) and lifting plan (D), are produced in the usual manner, but due to the method of designing
it can be seen that only five shafts (in V-draft form) are required to produce the eight-end weave.
Figure 7.3A shows a honeycomb produced on a larger repeat, and with the warp lift designed in the
opposite diamond, whilst Figure 7.3B shows a
AZMIR
MS

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Figure 7.3 Honeycomb weaves, A, large repeat; Figure 7.4 Honeycomb weave on 8
B, large repeat with double row of binding ends x lO picks
honeycomb weave on an even larger repeat size; instructed is case, a double row of binding has been
constructed by using a
x1
11
twill at stage (a), so that a firmer structure will be produced.
A closer examination of Figure 7.2B and Figure 7.3A and B will reveal that the long floats in the centre
of the diamonds are not equal, and if the fabric is being produced with a square sett, this can be detrimental
to the appearance of the cloth as they will produce a rectangular pattern instead of a square one. Two
methods are available for improving the appearance when this occurs: adjust either the sett or the weave.
If Figure 7.2B were produced with 35 ends and 35 picks/in., the longest weft float would be 7/35=1/5 in.
and the longest warp float would be 7/35=1/5 in., but by reducing the weft sett to 25 picks/in., and
increasing the coarseness of the weft yarn in order to retain the same cover factor, the longest warp float
would then be 5/25=1/5 in., equal to the longest weft float.
When equal floats are required in: the construction, it is necessary to construct a honeycomb in which
the shorter of the two long floats is the same as the required float length in the final design. Figure 7.4A
shows the original 10 ends x 10 picks honeycomb with the first end having a float of seven, The two
indicated centre ends are removed to give the final design on 8 ends x 10 picks (Figure 7.4B), with equal
longest floats of seven in both the warp and weft directions.
Figure 7.5shows a honeycomb on the same repeat size as the previous example, but with the warp lifts in
the opposite diamonds. In this case, the two centre picks of the design are removed to give a final design
Figure 7.5 Honeycomb weave on 10 ends x 8 picks Figure 7.6 Cross-section of honeycomb weave
on 10 ends x 8 picks.
The reason behind the formation of the cellular appearance will perhaps be understood more clearly by
studying the cross-sections through the warp of Figure 7.6. At A it is assumed that there will be no warp
crimp, but this cannot be true, and so, when the floating weft yarns are relaxed, they will tend to pull the
warp threads away from the body of the cloth. At B, pick 8 from Figure 7.2B is pulling the first end up,

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whilst pick 4 is pulling the 4th and 6th ends down. The intermediate threads take a path somewhere
between these extremes, thus producing a three-dimensional effect. In the same figure, by virtue of the
same inter-thread action, end 1 will be pulled up and end 5 will be pulled down. The combined result of this
effect is that end 1 and pick 8 will be pulled up to form a square on the face of the cloth, but this will create
a hollow in the back of he cloth where these two threads intersect. End 5 and pick 4 will be pulled down to
form a hollow on the face of the cloth and a square on the back. This effect can be utilized to form an
attractive colour-and-weave effect.
 BRIGHTON HONEYCOMB
The Brighton honeycomb is designed to produce more honeycomb cells of varying size (shaded squares
in Figure 7.7D). Although the weave is not as popular as the conventional honeycomb, it is used in similar
qualities for more decorative end uses such as quilts and brocades and, in some cases, hand towels and
glass cloths.
Figure 7.7 Brighton honeycomb Weave
When making the weave, the number of threads per repeat should always be a multiple of four (i.e. 16
ends x 16 picks), whilst the longest float should always be one less than half the number of threads in the
repeat (i.e. 16/2-1 =7). The construction, more complicated than the ordinary honeycomb, is illustrated by
Figure 7.7, with the following Stages:
(a) Construct a
x
1
Z twill, starting in the bottom left-hand corner, and then construct a
x1
11
S
twill, starting with the first warp lifts in the squares to the right and below the square in the top left-hand
corner, and indicate the points on the double row of binding which are immediately adjacent to those of
intersection that, will allow extensive floats in the weft direction, as illustrated in A; (b) using the points
indicated in A as the extreme lift of the longest float (in this case, 7), lift the six adjacent ends (B); (c) each
of these seven floats now form the centre float or a diamond which can be completed (C).
The draft of the Brighton honeycomb (crosses in Figure 7.7D) is straight, thus producing a lifting plan
which is identical, with the design; therefore, there is no saving of shafts as is the case with the V-draft of

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the ordinary honeycomb.
2 Mock Leno
In this weave it will be seen that the ends are not made to cross each other, and it is less expensive to
produce thin the true leno. The cellular or open, mesh effect is achieved by the spaces which develop in the
direction indicated on the weave diagram. The effect produced by this weave, which is shown in Figure 7.8,
may be used in a plain-weave fabric, for instance, to produce a decorative 'open-work' feature for dresses,
blouses and table, cloths; in addition, it is commonly used for hand embroidery 'canvas'.
In leno fabrics, a crossing end is made to pass from one side of a standing end
to the other and back again as required. Open perforated weaves are produced
when this is carried out in a simple patterned order, using approximately the same
counts of yarn throughout. This is due to the grouping together of the crossing and
standing ends which form the same group.
In a cheaper fabric, produced by a much simpler method, these effects are imitated by mock leno
weaves. Fabrics produced with this weave are used for embroidery cloths, canvas cloths and light-weight
window curtains, but it is also popular in combination with other weaves, particularly plain, in tablelinen,
brocades, blouses and dress-wear.
The stages in producing the weave are illustrated by Figure 7.9:
(a) mark out the repeat size, divide into quarters and fill a small motif in opposite quarters, as in A;
(b) completely reverse this motif in the two remaining quarters, by substituting warp lifts for weft lifts
and vice versa (B);
(c) combine A and B to give the final weave, C.
The draft and lifting plan (D and E) are produced in the conventional manner. The similarity of this
weave to the huckaback is obvious, but the method of denting is different, as is necessary to encourage
Figure 7.9 Mock leno weave Figure 7.10 Mock leno
on 10 ends x 10 picks weaves

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thread grouping. This is done by separating the two adjacent ends weaving plain with a reed wire so that
the end of a float and the denting coincide.
Pairs of ends weaving plain am not essential to the formation of groups of threads separated by reed
wires It is sufficient to arrange for a complete reversal of the lift of the adjacent ends at these places. This is
illustrated by the weaves shown in Figure 7.10A and B.
3 Huckaback
This weave is characterized by a rough surface, which is produced by floating threads in groups arranged
on a plain weave basis. Linen and cotton yarns are commonly used, and in coarser qualities they are
particularly suitable for hand towels, glass cloths, roller towels and quiltings. Shirtings, dresswear and table
linen are produced in the finer qualities.
A more balanced huckaback is produced if the weaver-repeat size is twice an odd number (i.e. 2 × 5 =
10; repeat size=l0 ends × l0 picks), but it is by no means impossible to produce the weave on a repeat
which is complete on twice an even number of threads.
Figure 7.11shows the stages in constructing the huckaback weave:
(a) mark out the repeat size, divide into quarters and fill in plain weave in two opposite ones, as
shown at A; (b) fill in a motif in the other two quarters, which is preferably produced by taking plain weave
and adding or removing some lifts, as at B; care should be taken to ensure that the motif and the plain
weave bind together effectively; (c) the final weave, C, is produced by combining A and B.
The conventional method of drafting D is commonly used in conjunction with the lifting plan E, but
the draft F may be found useful: it is based on skip drafting and a quick change to plain weave is easily
possible if desired, as can be Seen from the lifting, plan at G. This technique is used when the tappets for
the huckaback weave are carried on an auxiliary tappet shaft, and those for the plain weave are on the
bottom shaft. It is easy to slide the required tappets into position over the treadles and displace the
unwanted set of tappets, so that weave changes can be made quickly and economically as desired.
When denting, it is usual to place the two adjacent ends which are weaving plain throughout the repeat
in the same dent of the reed, so that the floating threads arc discouraged from pulling all the threads which
lie under them into groups.
Figure 7.12 Huckaback weaves.,
Figure 7.11 Huckaback weave A ,on 8 ends x 8 picks; B,with warp and weft floats ;
on l0 ends x l0 picks C, on 14 ends x 10 picks ;, D ,on 10 ends x 6 picks

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It has been mentioned already that huckaback structures having repeat sizes of 8 ends x 8 picks or 12
ends x 12 picks are inferior, and this can generally be traced back to the denting arrangement. Figure 7.12A
illustrates a huckaback on 8 ends x 8 picks in which the alternate ends and picks float at some stage, but at
no point do two adjacent ends weave plain. Under these circumstances some floats must terminate at the
point where a reed dent occurs, and this is inclined to cause thread grouping.
Figure 7.11C and Figure 7.12A show huckabacks which have all the warp floats on the face of the
cloth and all the weft floats on the back. This is not detrimental to the fabric as long as the warp and weft
particulars are similar, but it may be desirable at times to have both warp and weft floats on the same side
of the fabric (Figure 7.12B).
Although repeat sizes are usually square, this is not an essential point, as can be seen in Figure
7.12Cwhere the repeat size is 14 ends x 10 picks.
The Devon huckaback (Figure 7.12D) has had a reasonable amount of popularity in the past. It is
usually non-square and may have warp and weft floats on the surface. The repeat size is usually 10 ends x 6
picks, as the smaller number of picks per repeat makes it easier to design a tappet which can effectively
control the healds from beneath the loom.
As all the yarn used in huckaback weaves is supplied by the same beam, the floating threads will be
much looser than those continually weaving plain, as they make fewer intersections. This enhances the
rough surface of the fabric, which is ideal for moisture absorption, and by virtue of the fact that the
plain-weave portions spread out, due to the floating threads pulling in the threads over which they lie, a
form of thread distortion is created.
4 Dobby Figure Design
 SIMPLE SPOT DESIGNS
Designs in which the ornament consists chiefly of small, detached spots or figures are employed in nearly
all classes of yarn and yarn combinations, for dress fabrics, fancy vesting, and other textures in which
elaborate figure ornamentation is not desired. Spotted effects are produced in cloths different ways--e.g., by
employing fancy threads in which spots of contrasting colour occur at intervals, and by introducing extra
warp or extra weft threads which are brought to the surface where the spots are formed. In th8 following,
however, only the system of producing spot figures is considered in which the spots are formed by floating
the ordinary weft or warp threads on the surface of the cloth in an order that is in contrast with the
interlacing in the ground. (The examples will be found useful as an introduction to the designing of figured
fabrics, which is fully dealt with in subsequent chapters.) The figures show most prominently when the
warp and weft threads are in different colours or materials; but if the two series of threads are alike the
difference in the reflection of the light from the different weave surfaces is sufficient to render the figures
clearly visible. Other things being equal, the weft usually forms brighter and clearer spots than the warp: (1)
because it is more lustrous and bulky on account of containing less twist; and (2) because cloths generally
contract more in width than in length, the weft thus being brought more prominently to the surface than the
warp.

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 Methods of Drafting Spot Figures
Simple spot figures are readily designed directly upon point paper, and the outline may be first lightly
indicated in pencil, as represented at A in
Figure 7.13. The squares are then filled in
along the outline, as indicated at B, and this is
followed by painting the figure solid, as shown
at C. If the ground weave is plain, in painting
the outline, the moves should be in odd
numbers of squares, as shown at D, in order
that the edge of the figure will fit correctly
with the plain marks. If only short floats are
required in the figure a simple weave (e.g., a
twill or sateen) may be inserted upon it in a
colour of 1saint that is it; contrast with the first
colour, as represented by the blanks in the
figure shown at E. On the other hand, the
binding marks may be inserted in such a
manner as to give a special appearance to the
figure as indicated at F. The prominence of the figure is usually reduced about in proportion to the firm of
the binding weave, but, as a rule, however pronounced a figure is required to appear, a longer float than 0.5
cm in the cloth should not be made, or the structure will be too loose.
In producing a given size of figure in the cloth
the number of threads, upon which it is designed,
varies according to the sett of the cloth. For
instance, if a spot 0.5 cm in diameter is required:
For a cloth containing 24 ends and 24 picks per
cm the snot will be designed upon 12 squares in
each direction; whereas for a cloth counting 36
ends and 36 Picks per cm it will be designed upon
18 squares, as indicated at H. If the ends and picks
per unit space are unequal, to enable the figure to
be drawn in proper proportion, design paper
should be used which is ruled to correspond
Spot figures which are rather intricate may be sketched upon plain paper, and then be drafted upon
design paper in the manner illustrated at I, J, and K in Figure 7.14. As shown at I, two lines are drawn at
right angles to each other to correspond with the direction of the warp and weft threads, the position of the
lines in relation to the figure determining the angle at which the latter will be inclined in the cloth. The area
over which the figure extends is then divided into equal spaces, as shown at J, each space corresponding to

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a number of ends and picks in the cloth. The figure is then drawn to the required scale upon the design
paper, as shown at K in Figure 7.14, in which one large square, or eight ends and picks, correspond to one
space of the sketch J. If the figure is required to appear the same size in the cloth as in the sketch, the ruling
of the sketch and the number of small spaces of the design paper that each space in the sketch represents,
are determined by the number of ends and picks per em in the finished cloth. It is generally convenient, in
designing small figures, to rule the lines at such a distance apart in the sketch that they correspond to the
thick lines of the design paper. However, the need to sketch a figure prior to its transfer to the design paper
rarely arises in dobby designs and the full procedure involved in large designs is carefully explained in the
chapters on jacquard figure preparation.
 Distribution of Spot Figures
It is only in special cases, as for instance, when a spot is arranged to fit in the centre of a coloured check,
that a figure is used only once in the repeat of a design. Generally, two or more figures are contained in the
repeat, and it is necessary for them to be placed at a suitable distance apart, and evenly distributed over the
repeat area. The repeat must be at least so large that the figures do not encroach upon each other, and the
factors which influence the number of ends and picks in a repeat are as follows: (a) The size and shape of
the figure; (b) the number of figures; (c) the amount of ground space required; (d) the number of threads in
the repeat of the ground weave. Even distribution of the figures is secured by employing a simple
weave--such as plain and certain sateens--as the basis of the arrangement.
A method of distributing figures upon design paper, that will be found applicable to any shape of figure,
is illustrated in Figure 7.15, which shows the spot L arranged in the order of the 5-sateen base given at M
upon 30 ends and 40 picks. As shown at N, the figure is first painted in near the bottom left-hand comer of
the sheet of point paper, and the square which is nearest its centre is marked, as indicated by the cross on
the fifth end and sixth pick. From the
.
marked end and pick the repeat is divided in both directions into as many parts as figures to be used--in this
case five; and lines are lightly ruled in pencil on the spaces, as represented by the shaded lines in N. It will
be seen that the vertical lines occur at intervals of six ends and the horizontal lines at intervals of eight

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picks to correspond with the division into five parts each way of the repeat of 30 ends and 40 picks Then,
as indicated b the crosses in N, the squares where the divisional lines intersect are marked in the order of
the sateen base. The final stage in designing the figures consists of copying the first spot square by square
in the same relative position to each centre mark, as shown at O in Figure 7.15.
In the plain weave basis the figures are arranged in alternate order and the corresponding design
indicated at A in Figure 7.16. In this case, as there are two figures in the repeat, the number of ends and
picks in the design are divided into two parts from the eighth end and pick which form the centre of the first
spot.
In dobby weaving point drafts enable spot figures to
be produced with comparatively few healds. Thus, as
shown at B in Figure 7.16, the design A requires only
ten healds in addition to the two healds upon which the
ends, which work in plain order throughout, are drawn.
The lifting plan, to correspond with A and B, is given at
C. With a given draft a variety of spots can be formed,
and for the purpose of illustration examples are given at
D, E, and F, which are suitable for the draft B.
 PRINCIPLES OF FIGURING WITH
"EXTRA" MATERIALS
A Distinguishing feature of fabrics in which,
extra materials are employed is that the withdrawal of
the extra threads from the cloth leaves a complete
structure, which is more or leas perfect according to the manner in which the ground threads have been
interwoven under the figure. This is illustrated in Fig. Il0, where the lower portion of the extra warp figured
stripe, lettered A, is shown with the extra ends removed, leaving a perfect plain ground texture. The
figuring ends in stripe B are not extra, but are simply crammed in the reed, and, as shown in the lower
portion of the stripe, their withdrawal completely destroys the cloth structure since only the weft picks
remain. The formation of a figure by means of extra threads thus does not detract from the strength or
wearing quality of a cloth, except so far as the extra threads are liable to [ray out, whereas in ordinary
fabrics, in which the figure is formed by floating the weft or warp threads loosely, the strength of the cloth
is reduced somewhat in proportion to the ratio of figure and ground.
One of the advantages of figuring with extra materials is that bright colours--in sharp contrast with the
ground--may be brought to the surface of the cloth I any desired proportion. Pleasing colour combinations,
bright or otherwise, may thus be conveniently obtained, since the extent of surface allotted to the figuring
colour may be readily proportioned in accordance with the degree of its contrast with the ground shade,
without the latter being affected.
 METHODS OF LNTRODUCING EXTRA FIGURING THREADS—

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The extra threads may be introduced either as weft or warp, or the two methods may be employed in
combination. They may be inserted in the ordinary manner, or by special means--e.g. Is weft in the swivel
loom, or as warp by means Of the lappet mechanism; while after the cloth is woven the embroidery frame
is now largely requisitioned for producing the desired pattern. Compared with the ordinary system, the
special methods usually give greater fullness to the figure, combined in most cases, with considerable
saving of material.
In the ordinary method of introducing the extra materials the form of the design may render it
necessary for the extra threads to be inserted in continuous order with the ground threads, or in intermittent
order, while where they are introduced the arrangement of the figuring and ground threads: may be 1-and-l,
1-and-2, l-and-3, etc., according to the structure of the cloth and solidity of figure required. In extra weft
figures, for looms with changing boxes at one end only, similar results to the 1-and-1 order may be
produced by wefting 2-and-2; while the 2-and-4 order may be substituted for the 1-and.2, with, however,
less satisfactory results as regards the solidity of-the figure.
 METHODS OF DISPOSING OF THE SURPLUS-THREADS-
The disposal of the extra warp or weft threads, in the portions of the cloth where they are not required to
form figure, is of great importance, and one or other of the following methods my be employed:
(1) The extra yard is allowed to float loosely on the back in the ground of the cloth. This method is
suitable when the space between the figures is not excessive, and the ground texture is dense, but it is
usually not applicable to cloths in which the ground is so light and transparent that the positions of the extra
threads on the back can be perceived from the face side.
(2) The extra yarn is allowed to float loosely on the back, and is afterwards cut away. This method
is eminently suitable for light ground' textures, but if the extra picks float somewhat loosely on the surface
in forming the ornament, it is necessary for them to be bound in at the edges of the figure, or the loose
figuring floats will readily fray out from the surface. The firm interweaving of the extra picks at the edges,
however, makes the outline of the figure less distinct, and is rather objectionable unless employed in such a
manner as to assist in forming the figure.
(3) In compact fabrics the extra threads are bound in on the underside of the cloth, either between
corresponding floats in the ground texture, or by means of special stitching threads.
(4) The extra threads are interwoven on the face of the cloth in the ground for the purpose of giving
a rich and full appearance to what would otherwise be a bare ground texture.
 FIGURING WITH EXTRA WEFT
Extra weft figured fabrics nay be formed with one, two, or more extra wefts; thus, including the
ground threads, they consist of two or more series of weft threads and one series of warp threads.
 Continuous Figuring in one Extra Weft- One-and-One Wefting
The ground ends and picks interweave in plain order, while the extra picks float loosely on the back
where no figure is formed on the surface. The method of designing for the style is very simple, since it is
only necessary for the weft figure to be indicated on the paper, as shown in the corresponding design given

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at C in Figure 7.17.The card-cutting particulars are---cut blanks for the extra picks, and cut the ground
cards plain; the latter, however, are readily obtained by repeating. The complete structure, given at D in
Figure 7.17, shows the figuring picks arranged in alternate order with the ground picks, the former being
indicated by the full squares and the latter by the dots. A sectional drawing is given at D in Figure 7.18,
which shows how the picks 2, 3, and 4 of D in Figure 7.17 interweave with the ends 1 to 20.
 EXTRA WARP FIGURING
 Comparison with Extra Weft Figuring
In extra warp figuring there are two or more series of warp threads to one series of weft threads, and the
method has the following advantages and disadvantages, as compared with the extra weft principle:
Advantages:
(1) The productiveness of a loom is greater because only one series of picks is inserted, and a
quicker running loom can be used.
(2) No special picking, box, and uptake motions are required.

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(3) There is practically no limit to the number of colours that can be introduced.
(4) In an intermittent arrangement of the extra' ends either spotted or stripe patterns can be
formed, whereas a -similar arrangement in the weft can only be used to form spots (except
in special eases) because of the objectionable appearance of horizontal lines.
Disadvantages:
(1) Two or more warp beams may be required instead of one.
(2) If an ordinary jacquard and harness are employed she point-paper designing is more difficult;
and a less width of repeat is produced by a given size of machine; because the sett of the. harness
requires to be increased in proportion to the number of extra ends that are introduced in a design.
(3) In dobby weaving the drafts are usually more complicated.
(4) Stronger yarn is required for the figure, and the threads are not so soft, full, and lustrous.; extra
ends are subjected to greater tension during weaving than extra picks, and, as a rule, there is less
contraction in length than in width, and the result is that extra warp effects usually showless
prominently than extra weft figures.
(5) H the extra threads have to be removed from the under- side of tile cloth, it is more difficult and
costly to cut away extra ends than extra picks. The chief advantage, of the warp method is in
productiveness, but in order that elaborate designs may be designed and woven conveniently and
economically.
 Continuous Figuring in One. Extra Warp
Figure7.19 represents an extra warp figured fabric, in which the ends are arranged continuously in the order
of 1 extra 1 ground. The example is a style in which the extra ends are floated on the back during weaving,
but are cut away in the finishing processes, and the figure therefore stitched at the edges. The stitches,
however, are so arranged that, they soften the outline of the figure, and do not detract from its appearance.
A in Figure7.17 shows a portion of the extra warp figure, and B the weave of the ground, ends, while C
illustrates the method of constructing a point-paper draft of the figure and ground in full for an ordinary
jacquard and harness mount. The solid marks indicate the lifts of the extra ends which are drawn on the odd
harn as mails, while the lifts of the ground ends are represented by the dots, a crepe ground weave being
formed. The hollow circles in A show a sateen binding weave which is inserted on the figure to stop the
long warp floats. In the cloth the ground ends and picks per unit space are equal, so that, including the extra
ends, there are twice as many ends as picks per unit space, and 8 X 4 design paper is therefore suitable in
constructing the design in full. as shown at C in Figure 7.20.
 Heald and Harness Mounting
One of the simplest modifications of an ordinary jacquard and harness, used in weaving extra
warp-figured cloths, consists of mounting healds in front of, or behind, the harness. The figuring ends are
drawn on the harness, and the ground ends on the healds, but the method is, of course, only suitable for
ground weaves that requires a small number of healds. Figure 7.21 shows a draft in which four healds B are
placed behind the harness A, and can be used for 2 or 4-thread ground weaves. The extra ends can be raised

13. Fabric Structure and Design Azmir Latif, MSc in Textile Engineering
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in any desired order by the jacquard, but the use of
healds for the ground ends restricts the order in which
the latter can be operated; and the foundation weave
must be the same under the figure as in the ground
spaces. The system, however, enables all the hooks,
except a few that may be utilized to lift the healds, to be
employed for figuring; while a great advantage is the
simplification of the point-paper design, since no regard
need be taken of the ground weave.