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1950-51 Theatre Catalog, 9th Edition, Page 308 (286)

1950-51 Theatre Catalog, 9th Edition
1950-51 Theatre Catalog
1950-51 Theatre Catalog, 9th Edition, Page 308
Page 308

1950-51 Theatre Catalog, 9th Edition, Page 308

are imported from India, China, Iraq, Tibet, Argentina, and Scotland. In those countries fleece grows long and tough, lustrous and springy.

Booking Yarns

Backing yarns are important to the lasting power of carpets. Backing yarns are used in three ways during the weaving process. First of all, a weft yarn, running across the carpet from selvage to selvage, serves as a filling to hold the pile tufts in place and with the fine chain ties the fabric together. The fine chain is a binding warp, running lengthwise and tying the filling yarns together. Lastly, a warp yarn, running lengthwise of the fabric, is a studer to add firmness and body to the carpet. The most common backing materials are cotton, jute, and kraftcord. Kraftcord, a man-made yarn, has proved itself to be tough, longwearing, and is being used extensively. The uniform thickness of the yarns results in an improvement of the general appearance of the face of the carpeting, and the back has a more clean-cut and evenly defined appearance.

Other developments in carpet backing are adding greatly to the long life of carpeting. In one process, the pile yarns at the back are locked in by a plastic backing compound and securely fastened into the back of the carpet. A carpet made with this process is not bound, and it can be made over to fit different sized areas. It is cut and retaped, not sewn. Burned or damaged spots may be replaced. The spot is cut out, and a new piece, tufts, backing, etc., are inserted and taped to the back. In another process, a sponge rubber backing is blown into the carpet back. A rug lining is not necessary with this sponge rubber process. Among the advantages of these new backings are their non-matting, rotproof, damp-proof, moth-proof, and dustresisting qualities.

Mon-Mode Fibers

Today carpet manufacturers are giving increased attention to the use of various man-made fibers for soft floor coverings. These "chemifibersll are the result of many years of intensive research in the laboratory and have undergone countless tests for strength, durability, dirtresistance and dye-fastness. Due to their whiteness, the fibers take dyes beautifully, and the colors are clear with a fresh, frosty appearance. The man-made fibers which are being used in soft floor coverings have been engineered specifically for carpets and are being used by themselves in carpet weaving, or in combination with wool yarns. Carpets woven with chemifibers can be cleaned by standard carpet cleaning methods, and shrinkage is minimal.

Color and Design Selection

Once the weave has been selected, the choice of color and design becomes the prime consideration, for carpet can act as a dramatic point of departure for the entire theatre decor, or it can be a subtle background for other color and decorative elements. In selecting a color it is well to bear in mind the fact that, no matter how careful a cleaning a carpet receives, the color will ffgray down" after a few weeks of use. This is not

IUDGING A CARPET by (above) inspectinq the sturdiness of the backing, the depth and thickness of the wool pile. and the feeling of density or body. A new development (below) in the form of "cushionloc" sponge rubber bucking permits a closely joined seamless effect.

the fault of dyes in the wool yarns, but comes from the dust film which hangs over the cleanest of our cities. It is wise to choose a color that is a little more intense than the shade actually wanted. In view of the excellence of the dyes used by American carpet manufacturers today, carpet fading is virtually nonexistent.

The pattern or design for carpeting will be determined by the effect desired in the theatre. Consultation with the contract representative of a distributor or manufacturer can be of great help. His experience in the field will enable him to suggest designs and color which can achieve the particular effect desired in the house in question. If the carpet is to function as the focal point in a. severely plain architectural scheme, then a bold overscale pattern is the answer. Small figures, tone-on-tone, and textured carpets can give a note of informality in the intimate theatre, or act as a subtle background for warmly toned wall treatments and patterned drapery and upholstery fabrics in lobbies and lounges.

Long, straight lines, diamond patterns, and irregular wavy lines give an illusion of depth and space which can be used advantageously to enlarge an area. Warm colors give an air of warmth and welcome, while deep hot colors can give a dramatic feeling and add to the richness of the decor. Neutral and cool colors can be used as background where the main emphasis is on architectural elements.


Carpet underlining is an essential for theatre carpeting, unless, of course, a carpet with sponge rubber backing is used. Even then, underlining is desirable over stair treads and nosings to provide extra cushioning. Underlinings not only save wear and tear, prolonging the life of carpets, but they make the floor covering itself look richer. On concrete or marble floors, a carpet underlining saves the carpet from severe beating of heels above and the unyielding floor beneath. In addition, underlining keeps the pile from crushing and increases the effectiveness of vacuum cleaning by causing pockets of air which the machine draws through the fabric.

There are three types of underlining: all-hair; a combination of jute and hair; and sponge rubber. For theatre installations either the all-hair or sponge rubber underlining is recommended. In many instances, hair can be used in most parts of the theatre with the addition of onehalf-inch thick sponge rubber strips over stair treads and nosings for added pro' tection. Since jute is a plant fiber, it will eventually become flat and hard, thus making it a less durable choice for theatre installations.

All-Hair Type

One side of an all-hair underlining is waffled or ridged, while the other side is smooth. Between the two sides is an interlining consisting of burlap or cote ton sheeting. Underlinings are made by "felting"; in other words, the fibers are not woven, but power-pressed together, as is hat felt or pool-table felt. An 86-ounce underlining is preferable for lobbies and stairs, but a 64-ounce under THEATRE CATALOG 1950-51
1950-51 Theatre Catalog, 9th Edition, Page 308