Colors used For Painting Textile Designs.
For this purpose take common colors (in powder), and mix with water and mucilage to avoid rubbing off after application. Use no more mucilage than necessary, as too much will be followed by slow and imperfect work. Colors mixed in this manner must be kept moist by adding a few drops of water daily. The colors most generally used for painting textile designs are:
Vermilion. Lamp Black. White Lead. Emerald Green. Chrome Yellow. Burnt Umber. Cobalt Blue. Carmine, etc.
A few drops of alcohol will greatly assist the mixing of vermilion, umber, and similar colors which have no affinity for water. Chloride of lime is used on colors having a vegetable basis (as carmine, etc.,) for correcting imperfections, applying weaves or changes in the colored part of a design.
If the designing paper becomes greasy, the colors will not adhere. To cure this take a moist sponge and wipe off the paper.
To prevent textile designs (painted on the [O] designing paper) from being soiled, apply a thin solution of white shellac varnish, which dries almost instantaneously. A design preserved in this manner can be cleaned off at any time with a wet sponge, and after years have passed will appear bright and distinct.
Sketching of Designs for Textile Fabrics to be Executed on the Jacquard Machine.
The first work to be done in making an _original_ design, or in reproducing a design by making an _analysis_ of a woven fabric, is to prepare the “_sketch_.” This sketch may be arranged the exact size of pattern needed, or it may be proportionally larger or smaller. If the design is a reproduction from a woven fabric, a correct duplicate on the regular drawing paper is required; for this sketch is of the same value to the designer for Jacquard work as the correct picking out of a weave is to the designer for harness loom-work.
In preparing an _original sketch_, the points to be considered are: _The setting of the figure, and the most practical size_.
To give a clear illustration of this, Figs. 69, 70, 71, 72, 73, 74, 75, and 76 are designed, representing a few of the methods most frequently used. A separate explanation of each will familiarize the student with this part of the work.