Theory Of Silk Weaving

rear_, is used occasionally,
however, and in this case makes the first heddle on the left hand side of
the front shaft No. 1.

The making out of the _Drawing-in Draft_, which must indicate the
arrangement or the rotation in which the warp-threads are drawn in, can be
done in various ways, of which we will mention the two most popular
methods. The first is by using common designing paper, and indicating the
rotation by dots. The horizonal rows of squares represent the shafts, the
vertical rows the warp-threads. Fig. 1 shows four repeats of a straight
draw on six harness marked out according to this idea. A second method is
to use paper ruled horizontally, the lines representing the shafts; and to
draw vertical lines for the warp-threads. The latter are made to stop on
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the lines bearing the number of the shafts into which the respective
threads are to be drawn. Fig. 2 is such a draft, illustrating six repeats
of a draw on four harness from "Front to Rear."

* * * * *

SKIP DRAWS

[Illustration: Fig. 3]

* * * *

[Illustration: Fig. 4]

The draws coming under this heading are used very extensively in silk
weaving, especially for fabrics requiring a heavy warp and a large number
of shafts. Enter first the odd and then the even shafts. An 8 harness draw
of this kind, of which three repeats are shown in Fig. 3, runs as follows:
1, 3, 5, 7, 2, 4, 6, 8.

Fig. 4 is a 12 harness draw of the same class.

* * * * *

POINT DRAWS

[Illustration: Fig. 5]

* * * *

[Page 10]
[Illustration: Fig. 6]

* * * *

[Illustration: Fig. 7]

* * * *

[Illustration: Fig. 8]

* * * *

[Illustration: Fig. 9]

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Harold MacGrath (September 4, 1871 - October 30, 1932) was a bestselling American novelist, short story writer, and screenwriter. Also known occasionally as Harold McGrath, he was born in Syracuse, New York. As a young man, he worked as a reporter and columnist on the Syracuse Herald newspaper until the late 1890s when he published his first novel, a romance titled Arms and the Woman. According to the New York Times, his next book, The Puppet Crown, was the No.7 bestselling book in the United States for all of 1901. From that point on, MacGrath never looked back, writing novels for the mass market about love, adventure, mystery, spies, and the like at an average rate of more than one a year. He would have three more of his books that were among the top ten bestselling books of the year. At the same time, he penned a number of short stories for major American magazines such as The Saturday Evening Post, Ladies Home Journal, and Red Book magazine. Several of MacGraths novels were seriali

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