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.
Filament-core yarns are produced to take advantage of both filament and staple fibre properties. They offer good strength and uniformity without sacrificing the staple fibre yarn-like surface characteristics. Core-spun yarns containing spandex provide fabric designers with broad possibilities, because such stretchable yarns can be constructed with a wide range of properties using virtually any type of hard fibres as the cover yarn. However, a disadvantage of the core yarns is that the staple fibre sheath may slip along the filament when being pulled to pass over or when being rubbed by machine parts during further mechanical processes. But it is very easy to produce core-spun yarn containing spandex in a conventional ring frame after doing some modification of the machine.
Interlock fabrics are a variation of rib knit construction where both sides of the fabric look identical due to a double knit construction. Interlock fabrics have identical appearances on the front and rear surfaces, making them double-sided. They are tightly knitted, giving a smooth surface and firm feel. Interlock fabrics have advanced dimensional stability and can stretch more in the lengthwise direction than widthwise. They provide better heat insulation than single knit fabrics due to an insulating layer of air between the front and rear surfaces.
This document discusses jammed fabric structures and provides mathematical models to predict their properties. A jammed fabric is one where the warp and weft yarns are in intimate contact with no mobility between yarns. Pierce's model and the racetrack model are presented to calculate thread spacing, fabric cover, and crimp based on yarn diameters. A truly square jammed fabric has equal warp and weft spacing, crimp, and angles. Such a fabric has 20.9% crimp and cover factors of 16.2. Jammed fabrics are closely woven and used for waterproof, windproof and bulletproof applications.
This document compares ring spinning and rotor spinning methods of yarn formation. It discusses that rotor spinning is a more recent method that omits the step of forming a roving. In rotor spinning, fibers are fed into a rotary beater and deposited onto the sides of a rotating disc called a rotor, where they are twisted without requiring package rotation. Rotor spinning allows for higher twisting speeds with lower power usage compared to ring spinning. It provides characteristics like higher productivity, larger sliver/package sizes, less power consumption, and more automation/flexibility. The document provides details on the parts of a rotor spinning machine and compares various parameters of ring-spun and rotor-spun yarns.
This document discusses Abdullah Al Mahfuj's presentation on weft knitting machines. It begins with an introduction to knitting versus weaving. It then classifies weft knitting machines based on frame design and needle bed arrangement. Specifically, it discusses circular and flat knitting machines. Within circular machines, it distinguishes between single and double jersey machines. The presentation highlights features of single jersey, rib, and interlock circular knitting machines. It concludes by describing the main parts of a knitting machine such as needles, cams, sinkers, dials, pulleys, belts, motors, and sensors and their functions.
Open-end spinning or rotor spinning is a technology for creating yarn without using a spindle. It separates fiber slivers into single fibers using an air stream and deposits them onto a collecting surface where they are twisted into yarn as it is drawn off. The principle is similar to a clothes dryer where individual sheets can be pulled out while twisting together. Fibers are fed onto the collecting surface which is continuously moving, aligning the fibers and twisting them into a thread that is wound onto a bobbin. Open-end spinning allows internal fiber stresses to relax and imparts twist directly onto the yarn end rather than drafting fibers. This makes the process faster and less labor intensive than ring spinning.
All content of this slide is not mine. Totally copy paste from Understanding Textiles for a Merchandiser-Shah Alimuzzaman Belal and Fabric Structure & Design-N.Gokarnishan, also from various websites.
I am just collect and rearrange them.
Nurunnabi
Lecturer
National Institute of Textile Engineering & Research
A terry towel is a textile product which is made with loop pile on one or both sides generally covering the entire surface or forming strips, checks or other patterns. Special type of weaving technique is required for terry towel manufacturing. Terry towels are often very complex with yarns of different types and colors, in combination with various loop pile and flat structures. The name "terry" comes from the word "tirer" which means to pull out, referring to the pulled out by hand to make absorbent traditional. Turkish toweling Latin "vellus" meaning hair has the derivation "velour" which is the toweling with cut loops.There are many types of towel. Baby Towel, Bath Towel, Beach Towels, Golf Towels ,Hand Towel and Hotel Towels now used commonly.
Filament-core yarns are produced to take advantage of both filament and staple fibre properties. They offer good strength and uniformity without sacrificing the staple fibre yarn-like surface characteristics. Core-spun yarns containing spandex provide fabric designers with broad possibilities, because such stretchable yarns can be constructed with a wide range of properties using virtually any type of hard fibres as the cover yarn. However, a disadvantage of the core yarns is that the staple fibre sheath may slip along the filament when being pulled to pass over or when being rubbed by machine parts during further mechanical processes. But it is very easy to produce core-spun yarn containing spandex in a conventional ring frame after doing some modification of the machine.
Interlock fabrics are a variation of rib knit construction where both sides of the fabric look identical due to a double knit construction. Interlock fabrics have identical appearances on the front and rear surfaces, making them double-sided. They are tightly knitted, giving a smooth surface and firm feel. Interlock fabrics have advanced dimensional stability and can stretch more in the lengthwise direction than widthwise. They provide better heat insulation than single knit fabrics due to an insulating layer of air between the front and rear surfaces.
This document discusses jammed fabric structures and provides mathematical models to predict their properties. A jammed fabric is one where the warp and weft yarns are in intimate contact with no mobility between yarns. Pierce's model and the racetrack model are presented to calculate thread spacing, fabric cover, and crimp based on yarn diameters. A truly square jammed fabric has equal warp and weft spacing, crimp, and angles. Such a fabric has 20.9% crimp and cover factors of 16.2. Jammed fabrics are closely woven and used for waterproof, windproof and bulletproof applications.
This document compares ring spinning and rotor spinning methods of yarn formation. It discusses that rotor spinning is a more recent method that omits the step of forming a roving. In rotor spinning, fibers are fed into a rotary beater and deposited onto the sides of a rotating disc called a rotor, where they are twisted without requiring package rotation. Rotor spinning allows for higher twisting speeds with lower power usage compared to ring spinning. It provides characteristics like higher productivity, larger sliver/package sizes, less power consumption, and more automation/flexibility. The document provides details on the parts of a rotor spinning machine and compares various parameters of ring-spun and rotor-spun yarns.
This document discusses Abdullah Al Mahfuj's presentation on weft knitting machines. It begins with an introduction to knitting versus weaving. It then classifies weft knitting machines based on frame design and needle bed arrangement. Specifically, it discusses circular and flat knitting machines. Within circular machines, it distinguishes between single and double jersey machines. The presentation highlights features of single jersey, rib, and interlock circular knitting machines. It concludes by describing the main parts of a knitting machine such as needles, cams, sinkers, dials, pulleys, belts, motors, and sensors and their functions.
Open-end spinning or rotor spinning is a technology for creating yarn without using a spindle. It separates fiber slivers into single fibers using an air stream and deposits them onto a collecting surface where they are twisted into yarn as it is drawn off. The principle is similar to a clothes dryer where individual sheets can be pulled out while twisting together. Fibers are fed onto the collecting surface which is continuously moving, aligning the fibers and twisting them into a thread that is wound onto a bobbin. Open-end spinning allows internal fiber stresses to relax and imparts twist directly onto the yarn end rather than drafting fibers. This makes the process faster and less labor intensive than ring spinning.
All content of this slide is not mine. Totally copy paste from Understanding Textiles for a Merchandiser-Shah Alimuzzaman Belal and Fabric Structure & Design-N.Gokarnishan, also from various websites.
I am just collect and rearrange them.
Nurunnabi
Lecturer
National Institute of Textile Engineering & Research
A terry towel is a textile product which is made with loop pile on one or both sides generally covering the entire surface or forming strips, checks or other patterns. Special type of weaving technique is required for terry towel manufacturing. Terry towels are often very complex with yarns of different types and colors, in combination with various loop pile and flat structures. The name "terry" comes from the word "tirer" which means to pull out, referring to the pulled out by hand to make absorbent traditional. Turkish toweling Latin "vellus" meaning hair has the derivation "velour" which is the toweling with cut loops.There are many types of towel. Baby Towel, Bath Towel, Beach Towels, Golf Towels ,Hand Towel and Hotel Towels now used commonly.
This document discusses different types of sewing threads used in the garment industry. It outlines seven main types: polyester core spun threads, spun polyester threads, staple spun cotton threads, textured polyester threads, polyester cotton core spun threads, embroidery viscose rayon sewing threads, and trilobal polyester threads. For each type, it provides a brief description of the materials and production process used, as well as typical applications. The goal is to provide an overview of common sewing thread options available to the garment industry.
Weft knitting is a method of knitting fabric where loops are formed horizontally from a single yarn. There are several types of weft knitted fabrics including plain knits, purl knits, interlock knits, and rib knits. Plain knits have different face and back sides while rib knits have the same appearance on both sides due to the use of two sets of needles forming alternating wales of stitches. Rib knits have excellent stretch widthwise and are heavier, warmer, and more expensive than plain knits. Weft knitting is used to produce various garments and textiles.
The Huckaback weave is used to manufacture non-pile towels. It has long warp and weft floats that make the fabric soft and absorbent, with plain weave threads that keep the structure firm. The weave creates a striped and checked effect with a rough surface. It is a balanced weave commonly using linen or cotton yarns and having a repeat size of 10 ends by 10 picks.
Warp knitting is a family of knitting methods in which the yarn zigzags along the length of the fabric, i.e., following adjacent columns ("wales") of knitting, rather than a single row ("course"). For comparison, knitting across the width of the fabric is called weft knitting
This document summarizes key properties of fabric, including:
- Ends/picks per inch, which measure thread density using a pick glass. A balanced fabric has equal warp and weft threads per inch.
- Crimp, which is the bending of threads and is measured as the ratio of yarn length to fabric length.
- Cover factor, which indicates the area of a fabric covered by threads, with separate factors for warp and weft.
- Tensile strength, which measures the force required to break a material.
- Tear resistance, which measures how well a material withstands tearing when under tension.
Terry fabric is a knitted fabric with ring yarn or terry covering at one or both sides. It belongs to one of the fancy knitted fabrics. Terry fabric is characterized by soft touch, thick texture, excellent water absorption and heat retention. Terry fabric can be divided into single-sided and double-sided terry loop fabrics. The terry can form pattern effect on the knitting surface distributed according to some certain rules. Terry fabric after shearing or other process can be turned into fleece fabric or velvet fabric.
The document provides information about circular knitting machines. It defines knitting as transforming yarn into interlocking loops. Circular knitting creates seamless tubes using circular needles or machines. Machine parts include the frame, power supply, yarn feeding system, and quality control components. Circular knitting machines are used to produce fabrics for various garments and other materials. Modern machines feature computer controls to monitor functions like speed and stops.
Details study on apron, condenser, spacer and top roller.Asif Ahmed TONMOY
This document discusses various components used in yarn manufacturing, including aprons, condensers, spacers, and top rollers. It provides details on the materials and construction of aprons, the purpose and placement of different condensers, how spacer size is determined by roving hank, and the properties and functions of top rollers in controlling drafting.
The document discusses wrap spinning and friction spinning systems for yarn production, including descriptions of the wrap spinning and DREF friction spinning processes, their advantages and limitations, end uses of wrap yarns, manufacturers of wrap spinning machines, classifications of friction spinning systems, and features of the DREF-II and DREF-III friction spinning machines.
Warp knitting is a method of knitting where loops are formed vertically along the length of fabric from warp yarns. There are several types of warp knitting including tricot, raschel, and milanese knits. Tricot knits use compound needles and are used for fabrics like lingerie, loungewear, and uniforms. Raschel knits use latch needles and heavier yarns, producing more textured fabrics for applications like carpets, home textiles, and outerwear. Milanese knits form diagonal patterns and are often made from filament yarns into lightweight fabrics.
1. Warping involves winding warp yarns from multiple packages onto a common beam. There are different types of warping including direct/beam warping and pattern/sectional warping.
2. Direct warping is used to produce warp beams for solid color fabrics directly from packages to the beam. Sectional warping is slower but used for short runs or complex patterns by making sections sequentially.
3. A warping machine has a creel to hold packages, a headstock to guide and tension yarns, and a control device. It measures and winds yarns uniformly to produce a warp beam meeting quality requirements.
Yarn unevenness and its empact on qualityArNesto WaHid
This document discusses yarn unevenness, its causes, measurement, and impact on quality. Yarn unevenness refers to variations in yarn thickness along its length. It is influenced by raw material variations and spinning process irregularities. Unevenness is measured using the irregularity percentage and coefficient of variation. Higher unevenness can reduce yarn strength, impact fabric appearance with defects, and lower productivity. Careful control of the spinning process is needed to minimize unevenness and maximize quality.
The document provides an overview of the basics of spinning, including the key processes and equipment used to transform raw cotton into yarn. It describes the sequential steps of ginning, blow room, carding, drawing, simplex, ring spinning and cone winding. It also defines important spinning concepts like count, draft and twist. The overall spinning process aims to parallelize, attenuate and impart twist to fibers through successive drafting and twisting operations to produce a compact yarn package.
This document discusses the rotor spinning process. It begins by describing the basic principle of open-end yarn formation and the different types of open-end spinning processes. It then provides details on the specific features, principles, and settings of rotor spinning machines. This includes descriptions of the feed, sliver opening, fiber transport, yarn formation, and winding processes. It discusses the raw material requirements and preparation for rotor spinning. Overall, the document provides a comprehensive overview of the rotor spinning process from fiber preparation through yarn formation and winding.
Rib structure is the second family of knit structures where wales of face stitches and back stitches are knitted alternatively on each side of the fabric. Rib fabrics are produced on machines with two sets of offset needles. The 1x1 rib structure has perfectly balanced stitches with high elastic recovery in the width direction. The 2x2 rib structure has 2 technical face loops and 2 back loops per repeat, making it popular for cuffs and waistbands. Rib fabrics have the same appearance on both sides with moderate lengthwise and very high widthwise extensibility, thickness, and no tendency to curl.
The document traces the history and development of the sewing machine from its earliest inventions in the late 18th century to modern computer-controlled machines. Key developments include the first patent for a sewing machine design by Thomas Saint in 1791; the lock stitch invention by Walter Hunt in 1833; Isaac Singer's invention of the rotary sewing machine in 1851, which combined elements of prior machines; and the introduction of the first electric sewing machines by Singer in 1889. The document provides details on various stitch types and their classifications, including lock stitch, chain stitch, and cover stitch. It discusses the applications and advantages of different stitch techniques.
This document discusses diamond and diaper fabric designs. Diamonds are symmetrical about vertical and horizontal axes and can be produced using point drafting and vertical waved twills. They converge to a vertex. Diapers are symmetrical along diagonal axes and use a herringbone draft. Key differences are that diamonds use a wavy twill construction while diapers use a herringbone twill. Both designs have characteristics like being divisible into quarters and having double the warp and weft yarns of basic twills. Diamonds and diapers are used for items like towels, bedding, and tablecloths.
The document provides an overview of the process sequence for weaving. It begins with yarn from the spinning department which then undergoes processes like cone winding, warping, sizing, tying-in, drafting, and denting to prepare the warp threads. The warp is then mounted on the loom and undergoes weaving to produce grey fabric. Key steps in weaving include shedding, picking, and beating-up. The woven fabric then undergoes inspection, folding, and baling before delivery. The document outlines the various motions and essential parts of a loom needed to carry out this weaving process.
Knitting is a method of fabric formation that involves interlocking loops of yarn. There are two main types of knitting - weft and warp. Weft knitting forms loops across the width of the fabric using a single yarn, while warp knitting forms loops along the length using multiple yarns. Common weft knits include plain, purl, rib, and interlock stitches which are used to make various garments and textiles. Warp knits like tricot and raschel are produced more quickly on specialized machines and can incorporate diverse yarn types and complex structures. Knitted fabrics have different properties depending on factors like stitch type, yarn used, and intended application.
This document discusses purl and interlock knit fabrics. It begins by defining purl fabric as having alternating knit and purl courses that create loops in opposite directions. Purl fabric is produced on special purl machines using double-headed needles that transfer between beds. Interlock fabric is made from two interlocked 1x1 rib structures that create a reversible fabric with technical faces on both sides. Interlock is produced on circular or flatbed machines using long and short needles and two feeders to knit separate half courses. Examples of applications for each fabric type are given.
THIS COVERS HONEY COMB, BRIGHTON HONEY COMB, HUCK A BACK, DISTORTED THREAD EFFECT AND OTHER WEAVES.. IT IS VERY MUCH USEFUL TO TEXTILE DIPLOMA AND DEGREE STUDENTS
This document provides information about tartan patterns and how they are constructed. It explains that tartans are based on repeating stripe patterns in the warp (horizontal) and weft (vertical) directions. The sequence of stripes, known as the sett, is mirrored around pivot points in both the warp and weft. This creates the signature tartan pattern. Tartans can be described using a thread count notation that specifies the color and width of each stripe. Some key points:
- Tartans are based on repeating stripe patterns that are mirrored in the warp and weft directions.
- The sequence of stripes, or sett, is mirrored around pivot points to create the signature tartan pattern.
- Tartans can
This document discusses different types of sewing threads used in the garment industry. It outlines seven main types: polyester core spun threads, spun polyester threads, staple spun cotton threads, textured polyester threads, polyester cotton core spun threads, embroidery viscose rayon sewing threads, and trilobal polyester threads. For each type, it provides a brief description of the materials and production process used, as well as typical applications. The goal is to provide an overview of common sewing thread options available to the garment industry.
Weft knitting is a method of knitting fabric where loops are formed horizontally from a single yarn. There are several types of weft knitted fabrics including plain knits, purl knits, interlock knits, and rib knits. Plain knits have different face and back sides while rib knits have the same appearance on both sides due to the use of two sets of needles forming alternating wales of stitches. Rib knits have excellent stretch widthwise and are heavier, warmer, and more expensive than plain knits. Weft knitting is used to produce various garments and textiles.
The Huckaback weave is used to manufacture non-pile towels. It has long warp and weft floats that make the fabric soft and absorbent, with plain weave threads that keep the structure firm. The weave creates a striped and checked effect with a rough surface. It is a balanced weave commonly using linen or cotton yarns and having a repeat size of 10 ends by 10 picks.
Warp knitting is a family of knitting methods in which the yarn zigzags along the length of the fabric, i.e., following adjacent columns ("wales") of knitting, rather than a single row ("course"). For comparison, knitting across the width of the fabric is called weft knitting
This document summarizes key properties of fabric, including:
- Ends/picks per inch, which measure thread density using a pick glass. A balanced fabric has equal warp and weft threads per inch.
- Crimp, which is the bending of threads and is measured as the ratio of yarn length to fabric length.
- Cover factor, which indicates the area of a fabric covered by threads, with separate factors for warp and weft.
- Tensile strength, which measures the force required to break a material.
- Tear resistance, which measures how well a material withstands tearing when under tension.
Terry fabric is a knitted fabric with ring yarn or terry covering at one or both sides. It belongs to one of the fancy knitted fabrics. Terry fabric is characterized by soft touch, thick texture, excellent water absorption and heat retention. Terry fabric can be divided into single-sided and double-sided terry loop fabrics. The terry can form pattern effect on the knitting surface distributed according to some certain rules. Terry fabric after shearing or other process can be turned into fleece fabric or velvet fabric.
The document provides information about circular knitting machines. It defines knitting as transforming yarn into interlocking loops. Circular knitting creates seamless tubes using circular needles or machines. Machine parts include the frame, power supply, yarn feeding system, and quality control components. Circular knitting machines are used to produce fabrics for various garments and other materials. Modern machines feature computer controls to monitor functions like speed and stops.
Details study on apron, condenser, spacer and top roller.Asif Ahmed TONMOY
This document discusses various components used in yarn manufacturing, including aprons, condensers, spacers, and top rollers. It provides details on the materials and construction of aprons, the purpose and placement of different condensers, how spacer size is determined by roving hank, and the properties and functions of top rollers in controlling drafting.
The document discusses wrap spinning and friction spinning systems for yarn production, including descriptions of the wrap spinning and DREF friction spinning processes, their advantages and limitations, end uses of wrap yarns, manufacturers of wrap spinning machines, classifications of friction spinning systems, and features of the DREF-II and DREF-III friction spinning machines.
Warp knitting is a method of knitting where loops are formed vertically along the length of fabric from warp yarns. There are several types of warp knitting including tricot, raschel, and milanese knits. Tricot knits use compound needles and are used for fabrics like lingerie, loungewear, and uniforms. Raschel knits use latch needles and heavier yarns, producing more textured fabrics for applications like carpets, home textiles, and outerwear. Milanese knits form diagonal patterns and are often made from filament yarns into lightweight fabrics.
1. Warping involves winding warp yarns from multiple packages onto a common beam. There are different types of warping including direct/beam warping and pattern/sectional warping.
2. Direct warping is used to produce warp beams for solid color fabrics directly from packages to the beam. Sectional warping is slower but used for short runs or complex patterns by making sections sequentially.
3. A warping machine has a creel to hold packages, a headstock to guide and tension yarns, and a control device. It measures and winds yarns uniformly to produce a warp beam meeting quality requirements.
Yarn unevenness and its empact on qualityArNesto WaHid
This document discusses yarn unevenness, its causes, measurement, and impact on quality. Yarn unevenness refers to variations in yarn thickness along its length. It is influenced by raw material variations and spinning process irregularities. Unevenness is measured using the irregularity percentage and coefficient of variation. Higher unevenness can reduce yarn strength, impact fabric appearance with defects, and lower productivity. Careful control of the spinning process is needed to minimize unevenness and maximize quality.
The document provides an overview of the basics of spinning, including the key processes and equipment used to transform raw cotton into yarn. It describes the sequential steps of ginning, blow room, carding, drawing, simplex, ring spinning and cone winding. It also defines important spinning concepts like count, draft and twist. The overall spinning process aims to parallelize, attenuate and impart twist to fibers through successive drafting and twisting operations to produce a compact yarn package.
This document discusses the rotor spinning process. It begins by describing the basic principle of open-end yarn formation and the different types of open-end spinning processes. It then provides details on the specific features, principles, and settings of rotor spinning machines. This includes descriptions of the feed, sliver opening, fiber transport, yarn formation, and winding processes. It discusses the raw material requirements and preparation for rotor spinning. Overall, the document provides a comprehensive overview of the rotor spinning process from fiber preparation through yarn formation and winding.
Rib structure is the second family of knit structures where wales of face stitches and back stitches are knitted alternatively on each side of the fabric. Rib fabrics are produced on machines with two sets of offset needles. The 1x1 rib structure has perfectly balanced stitches with high elastic recovery in the width direction. The 2x2 rib structure has 2 technical face loops and 2 back loops per repeat, making it popular for cuffs and waistbands. Rib fabrics have the same appearance on both sides with moderate lengthwise and very high widthwise extensibility, thickness, and no tendency to curl.
The document traces the history and development of the sewing machine from its earliest inventions in the late 18th century to modern computer-controlled machines. Key developments include the first patent for a sewing machine design by Thomas Saint in 1791; the lock stitch invention by Walter Hunt in 1833; Isaac Singer's invention of the rotary sewing machine in 1851, which combined elements of prior machines; and the introduction of the first electric sewing machines by Singer in 1889. The document provides details on various stitch types and their classifications, including lock stitch, chain stitch, and cover stitch. It discusses the applications and advantages of different stitch techniques.
This document discusses diamond and diaper fabric designs. Diamonds are symmetrical about vertical and horizontal axes and can be produced using point drafting and vertical waved twills. They converge to a vertex. Diapers are symmetrical along diagonal axes and use a herringbone draft. Key differences are that diamonds use a wavy twill construction while diapers use a herringbone twill. Both designs have characteristics like being divisible into quarters and having double the warp and weft yarns of basic twills. Diamonds and diapers are used for items like towels, bedding, and tablecloths.
The document provides an overview of the process sequence for weaving. It begins with yarn from the spinning department which then undergoes processes like cone winding, warping, sizing, tying-in, drafting, and denting to prepare the warp threads. The warp is then mounted on the loom and undergoes weaving to produce grey fabric. Key steps in weaving include shedding, picking, and beating-up. The woven fabric then undergoes inspection, folding, and baling before delivery. The document outlines the various motions and essential parts of a loom needed to carry out this weaving process.
Knitting is a method of fabric formation that involves interlocking loops of yarn. There are two main types of knitting - weft and warp. Weft knitting forms loops across the width of the fabric using a single yarn, while warp knitting forms loops along the length using multiple yarns. Common weft knits include plain, purl, rib, and interlock stitches which are used to make various garments and textiles. Warp knits like tricot and raschel are produced more quickly on specialized machines and can incorporate diverse yarn types and complex structures. Knitted fabrics have different properties depending on factors like stitch type, yarn used, and intended application.
This document discusses purl and interlock knit fabrics. It begins by defining purl fabric as having alternating knit and purl courses that create loops in opposite directions. Purl fabric is produced on special purl machines using double-headed needles that transfer between beds. Interlock fabric is made from two interlocked 1x1 rib structures that create a reversible fabric with technical faces on both sides. Interlock is produced on circular or flatbed machines using long and short needles and two feeders to knit separate half courses. Examples of applications for each fabric type are given.
THIS COVERS HONEY COMB, BRIGHTON HONEY COMB, HUCK A BACK, DISTORTED THREAD EFFECT AND OTHER WEAVES.. IT IS VERY MUCH USEFUL TO TEXTILE DIPLOMA AND DEGREE STUDENTS
This document provides information about tartan patterns and how they are constructed. It explains that tartans are based on repeating stripe patterns in the warp (horizontal) and weft (vertical) directions. The sequence of stripes, known as the sett, is mirrored around pivot points in both the warp and weft. This creates the signature tartan pattern. Tartans can be described using a thread count notation that specifies the color and width of each stripe. Some key points:
- Tartans are based on repeating stripe patterns that are mirrored in the warp and weft directions.
- The sequence of stripes, or sett, is mirrored around pivot points to create the signature tartan pattern.
- Tartans can
This document discusses derivatives of elementary weaves such as plain, twill, and satin/sateen weaves. It describes two types of rib weaves - warp rib and weft rib weaves - that are obtained by extending the plain weave in the warp or weft direction. Regular and irregular variations are discussed. Hopsack weaves are also described as extending the plain weave both vertically and horizontally in regular and irregular patterns. Examples of weave diagrams are provided to illustrate how to draw patterns for different weave derivatives. The applications of rib and hopsack weaves in various fabrics are mentioned.
This document discusses the Bedford cord fabric structure. It begins by defining the Bedford cord as having longitudinal warp lines with fine sunken lines in between, constructed on alternate or paired picks. Cotton or worsted yarns are commonly used. The design involves two warp thread groups - face threads that weave as cord and plain weave, and cutting ends that weave plain. Wadding threads are sometimes added between warp threads to increase prominence and weight. Bedford cords are classified as plain faced, plain faced wadded, or twill faced, and construction details are provided for each type. The document also discusses crepon, welts, piques, and references textile design books.
- The document discusses different types of plain and twill weaves.
- Plain weave is the simplest weave with threads alternating over and under each other. Twill weaves form diagonal lines across the fabric.
- Twill weaves can be classified as warp-faced, weft-faced, and warp/weft faced. They include variations like satin, herringbone, and broken twills.
- Fabric properties like strength, thickness and coverage depend on the type of weave and number of thread intersections. Twill weaves produce stronger, more compact fabrics than plain weave.
This chapter discusses derivatives of elementary weaves such as plain, twill, and satin/sateen weaves. There are three main types of derivatives: 1) plain weave derivatives like rib weaves and hopsack weaves, 2) twill weave derivatives, and 3) satin/sateen derivatives. Rib weaves are made by extending the plain weave in the warp or weft direction, forming vertical or horizontal ribs. Hopsack weaves extend the plain weave in both directions. These weaves are less stiff than plain weave and are used for fabrics like apparel, drapery, and selvedges. Students are assigned to draw weave diagrams for various rib
A woven cloth is formed by the interlacement of two sets of threads, namely, warp and weft threads.
These threads are interlaced with one another according to the type of weave or design. The warp
threads are those that run longitudinally along the length of the fabric and the weft threads are those that
run transversely across the fabric. For the sake of convenience the warp threads are termed as ends and
the weft as picks or fillings.
This document provides information on plain weave and twill weave structures. It discusses the key characteristics of plain weave, including that it is the simplest weave with a repeat size of 2 and produces a relatively strong fabric. Twill weaves are more complex and form diagonal lines. Different types of twill weaves are described, including warp face, weft face, and combination twills. The document also covers end uses for plain weave and twill weave fabrics.
This presentation introduces six team members and discusses four types of weaves: Mock Leno weave, Bedford Cord weave, Honeycomb weaves, and Sponge weave. Mock Leno weave produces a rough, perforated surface suitable for towels. Bedford Cord weave forms longitudinal cords used for military uniforms and suitings. Honeycomb weaves resemble hexagonal cells and are absorbent, used for towels. Sponge weave has a soft, absorbent cellular structure used for shawls and towels.
1) The document discusses different basic weaves including plain weave, twill weave, and satin weave. It explains how each weave is constructed and provides examples of fabrics made with each weave type.
2) Graph paper is used to represent weaves, with squares indicating where warp and weft threads interlace. Different graph paper sizes are used depending on the thread count of the fabric.
3) Derivatives and variations of the basic weaves are also covered, such as basket weave, rib weave, herringbone twill, and diamond and diaper twill designs. The uses of twill weave for different fabric types is mentioned.
Weaves are formed by interlacing two sets of threads called warp and weft. Woven structures are classified as simple or compound based on the number of thread series. The repeat of a weave indicates the minimum number of warp and weft threads for a given pattern, comprising the warp and weft repeat sizes. Weaves can be represented by design drafts showing the interlacing pattern, peg or lifting plans indicating heald shaft order, and drafting plans depicting thread arrangement. Basic elements include the design, draft, and peg plan. Plain weave and twill weave are common structures.
The document discusses defects that can occur in knitted fabrics. It begins by defining a fabric defect as an abnormality that spoils the fabric's appearance and affects its performance. There are many types of defects that can be caused by a variety of reasons. Specific defects mentioned include knots, which come from yarn winding and can cause breaks during knitting. Factors that influence the rate of end breaks due to knots are then discussed, such as knitting pattern, yarn type, tension, stitch depth, and machine settings. The document also mentions that computer vision methods like texture recognition can be used to detect common fabric defects like cracks, holes, and stains.
This document discusses different methods for constructing crepe and satin weaves. It describes four methods for making crepe weaves: using a crepe weave or yarn on a sateen base; combining a floating weave with plain threads; reversing a small motif at intervals; and inserting one weave over another to produce an irregular effect. It also provides guidelines for determining the move number in satin weaves based on the satin number.
The document discusses different types of twill weave structures and designs, including:
(1) Continuous twills that form diagonal lines across the fabric with variations in warp/weft float ratios.
(2) Zig zag and wavy twills that create non-straight diagonal patterns through periodic reversals of the twill direction.
(3) Broken and rearranged twills like herringbone that break up the twill lines through offsets, cuts, or changes in the float sequence.
(4) Combination twills that combine elements of different base twill structures to form complex patterns and designs.
This document discusses different methods for constructing crepe and satin weaves. It describes four methods for constructing crepe weaves: using a crepe weave or yarn on a sateen base; combining a floating weave with plain threads; reversing a small motif at intervals; and inserting one weave over another. It also provides guidelines for making satin weaves, noting that the move number cannot be less than or a factor of the satin number, and there should be no common factors between the move and satin numbers.
The document discusses different types of weaves used in fabric structures, including plain, twill, sateen, and their derivatives. It describes the parameters that define each weave type, such as repeat and shift. Derivative weaves are constructed from fundamental weaves and retain some of their structural features. Examples of derivative weaves include reinforced twill, compound twill, angled twill, and shaded twill or sateen, which create transitional effects between warp-faced and weft-faced structures. Diagrams and fabric samples illustrate several weave patterns.
Presentation on Fabric structure & design & Plain weaveImamHossain91
The presentation provided an introduction to fabric structure and design, focusing on plain weave as the most basic weave structure. Key aspects of plain weave were defined, including the interlacing of warp and weft threads at right angles. Variations of plain weave such as rib weave and matt weave were also described, highlighting differences in their structural properties and production methods.
This document provides information on extra warp and weft figured fabrics. It discusses two methods of producing these fabrics: 1) using extra warp threads and 2) using extra weft threads. For extra warp fabrics, a separate warp beam is needed along with a dobby mechanism. For extra weft, a drop box mechanism is required. Both methods allow figuring in single or multiple colors. The document provides examples of motif designs and how the ground and extra threads interlace to produce the final figured fabric pattern.
Similar to Honeycomb, Mock Leno, Huckaback weaves and Dobby Figure Designs (20)
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S phrase and S number: phrases related to the safe handling of hazardous preparations, and their numbers respectively.
Chemical Management System in Textile Manufacturing and Processing is required to achieve the safe use of chemicals and to control the hazards that they present to workers, the community and the environment. It can take a lot of chemicals to make clothes. The apparel sector certainly is not as chemical intensive as other global industries, but its variety of chemical operations and materials does present a range of potential hazards to its workers and the surrounding communities and environment.
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Honeycomb, Mock Leno, Huckaback weaves and Dobby Figure Designs
1. Fabric Structure and Design Azmir Latif, MSc in Textile Engineering
62
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
2. Fabric Structure and Design Azmir Latif, MSc in Textile Engineering
63
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,
3. Fabric Structure and Design Azmir Latif, MSc in Textile Engineering
64
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
4. Fabric Structure and Design Azmir Latif, MSc in Textile Engineering
65
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
5. Fabric Structure and Design Azmir Latif, MSc in Textile Engineering
66
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
6. Fabric Structure and Design Azmir Latif, MSc in Textile Engineering
67
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.
7. Fabric Structure and Design Azmir Latif, MSc in Textile Engineering
68
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
8. Fabric Structure and Design Azmir Latif, MSc in Textile Engineering
69
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
9. Fabric Structure and Design Azmir Latif, MSc in Textile Engineering
70
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
11. Fabric Structure and Design Azmir Latif, MSc in Textile Engineering
72
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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73
(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
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74
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.