3. Why would this kind of weaving be spoken of as 4-harness weave?
4. What popular dress fabric is of twill weave?
=Experiment 4--Comparison of Plain and Twill Weave=
Apparatus: Pick glass, dissecting pin, foot-rule.
Material: 4 sq. in. of burlap, 4 sq. in. of serge.
References: _Textiles_, pages 58, 59, 60.
_Directions_
1. Examine the burlap under the pick glass, noting the structure and number of threads to the inch in the warp (called _ends_) and the number of threads to the inch in the filling (called _picks_). Verify with foot-rule.
2. Repeat the above, using serge.
_Questions_
1. What is meant by a number of "ends to the inch"? a number of "picks to the inch"?
2. How many ends to the inch in the burlap? How many picks to the inch?
3. How many ends to the inch in the serge? How many picks?
4. Note several differences between cloth produced by plain weaving and cloth produced by twill weaving.
=Experiment 5--Pile Weave=
Apparatus: Hand loom, two pencils, scissors.
Materials: White cotton warp, filling yarn of two colors.
Reference: _Textiles_, page 62.
_Directions_
1. Thread the loom two warp threads to a notch until there are 20 ends (warp threads).
2. Use a pencil as a harness. Raise the 1st, 3d, 5th, 7th, and 9th sets of warp threads.
3. Fasten securely the green filling yarn at one end and pass it through the shed formed by carrying out Direction 2. Draw the filling thread tight and wind once or twice around the outside warp end.
4. Use a second pencil as a harness and raise the sets of warp threads that are now down, forming a new shed.
5. Fasten the red filling yarn at one end and pass it through the shed. Wind once or twice about the outside warp end.
6. Raise the red filling to form a loop in each place where it (the red filling) has passed over a warp end.
7. Form a shed by raising the first harness and pass through the green filling thread, drawing it tight to hold the red filling above it in place. Wind about the outside warp end.
8. Repeat Directions 2-7 several times, each time raising the red filling to form loops and each time drawing the green filling tight to hold the red in place.
9. Cut with scissors the loops formed by raising the red filling.
10. As well as you can with scissors, shear the pile (the soft, thick covering on the face) to make a fairly even surface.
11. Cut the sample away from the loom and mount.
_Questions_
1. What are some varieties of cloth that are woven with a pile surface?
2. Sometimes the loops of the pile are cut and sometimes left as loops. What fabrics are examples of cut pile? uncut pile?
3. What is meant by the _pile_ of velvet or carpet?
=Experiment 6--Other Classes of Weave=
Apparatus: Pick glass, dissecting needle.
Materials: Samples of satin, voile, lace curtaining, double cloth, carpeting.
Reference: _Textiles_, pages 58-64.
_Satin Weave_
1. Examine the sample of satin under the pick glass. Notice that the warp and filling interlace in such a way that there is no trace of the diagonal on the face of the cloth.
_a._ Is satin of a close or loose weave?
_b._ What can you say of the surface of satin?
_c._ What effect has this smooth surface on light?
_d._ This is called a satin weave. Why?
_e._ What is the most extensive use of the satin weave?
(See _Textiles_, page 1.)
NOTE.--Sometimes fabrics of other weaves will have a satin stripe.
_Gauze Weave_
2. Examine the sample of voile under the pick glass. This is a type of what is known as gauze weave.