FABRIC STRUCTURE VOLUME-1

TEXTILE

TECHNOLOGY

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SYLLABUS

1. INTRODUCTION

1.1 Fabric Structure

1.2 Design, Draft, Peg Plan, Lifting Plan, Denting Order

2. PLAIN WEAVE

2.1 Characteristics

2.2 Ornamentation of Plain Weave

2.3 Rib and Cord Effects Produced in Plain Weave

2.4 Derivatives of Plain Weave

2.4.1 Warp Rib

2.4.2 Weft Rib

2.4.3 Hopsack, Mat or Basket Weave

a) Stitched Hopsack Weave

b) Barley Corn Hopsack Weave

c) Twilled Hopsack Weave

3. TWILL WEAVE

3.1 Characteristics

3.2 Effect of Twist on Twill

3.3 DERIVATIVES OF TWILL WEAVE

3.3.1 Pointed Twill Weave

3.3.2 Waved or Zigzag Twill Weave

3.3.3 Herring Bone Twill Weave

3.3.4 Broken Twill Weave

a) By breaking at regular interval

b) By entering and skipping method or by filling and missing

3.3.5 Transposed or Rearranged Twill Weave

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4. SATIN/SATEEN WEAVE

5. DIAMOND

6. HONEY COMB WEAVE

6.1 Brighton Honey Comb Weave

6.2 Ordinary Honey Comb Weave

6.3 Difference between Brighton and Ordinary Honey Comb Weave

7. HUCK- A- BACK & MOCK LENO WEAVES

8. SPOT FIGURING DESIGN

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CHAPTER-1

1.1 Definitions

2 Textiles

3 Textile denotes fibres that can be spun into a yarn and then into a fabric by a variety of methods,

including weaving, knitiing, braiding, felting and twisting.

4 Textile Technology

5 Textile denotes all clothings including woven, knitted, non-woven etc., technical textiles. Technology

is the practice, description and the terminology of applied science with commercial value.

6 Textile Technology, therefore, denotes the arts and science of fibres and fabrics, including spinning,

weaving, knitiing, felting, bonding, braiding, technical use, dyeing etc., their mechanism, construction,

description and practice.

1.2Weaving

Weaving is the process in which woven fabric is manufactured by the interlacement of warp and weft

according to the design.

A woven cloth is formed by the interlacement of two sets of threads, namely warp and weft thread.

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 along the fabric. For the sake of convenience the warp threads are termed as ends

and the weft as picks or fillings.

1.3 Weaving machine and Passage of material

The machine used for weaving is called as loom. The passage of material is shown in the figure below. The

warp sheet is fitted on the back of the loom, on warper’s beam, or weaver’s beam on the back side of the

loom. The sheet is then passed over back rest. The drop wires are then put over to sense the warp breakage.

These warps are then passed through different heald eyes that is inside the healds. These healds are fitted in

the heald frame. The heald frames are attached with the ropes, on the roller on the top of the loom, and to

the cams from bottom. This helps in giving up and down motion to the heald shafts. Thus the sheet is

divided in two layers. This dividing of warp sheets in two layers is called as shedding. Then with the help

of shuttle, weft or pick is inserted between the two layers from one end to the other end. This is called as

picking. The shuttle runs on the sley. Sley gets a to and fro (forward and backward) motion. This to and fro

motion help in beat up of the inserted pick. Reed is fitted over the sley. The shuttle lies between the reed

and the end of the warp sheet. When the pick is inserted it is then pushed by the reed to the point where

cloth formation starts. This point where the warp sheet ends and the cloth starts is called as the fell of the

cloth. The pick inserted by the shuttle. The pushing of this pick by the reed to the fell of the cloth is called

as beat up. Without the 3 motions of shedding, picking and beat up, and in this sequence, fabric cannot be

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formed. So these motions are called as primary motions of weaving. The cloth is then taken over the front

rest, on to the take up roller and then on the cloth beam. As the fabric is made then more warp sheet has to

be released (let off motion) and the fabric made has to be wound on the cloth beam (take up motion). These

two motions of let off and take up are necessary for the continuous formation of fabric. These motions are

thus called as Secondary motions.

Classification of motions

i. Primary motions: motion without which weaving is not possible.

a. Shedding- dividing the warp sheet in two layers.

b. Picking- inserting of weft or pick in the shed from one end (selvedge) to another end

(selvedge).

c. Beat up- pushing the last pick inserted to the fell of the cloth.

ii. Secondary motions: motions that help in continuous formation of the fabric.

a. Let off motion- releasing of the warp sheet from the weaver’s beam.

b. Take up motion- winding the cloth on the cloth beam.

iii. Auxiliary motions: motions used for designing or quality of fabric.

a. Drop box motion- used for insertion of variety of picks.

b. Terry pile motion- used to make loops for toweling or absorbency purpose.

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6.1 Motions of Weaving

There are three types of motions, explained as under:

1.2.1 Primary motion

These are those motion of weaving in absence of any of them weaving is not possible. The primary

motions of weaving are:

i) Shedding:

It is dividing the warp threads into two layers, one above the other for the passage of the shuttle with a

pick of weft. Shedding mechanisms are the following:

a) Tappet shedding

b) Dobby shedding

c) Jacquard shedding

ii) Picking:

It consists in passing a pick of weft from one selvedge to the other selvedge of a cloth through the

division of warp threads.

iii) Beating-up:

It consists in beating-up the last pick of weft to the fell of the cloth with the help of a reed in the sley.

1.2.2 Secondary motion

Secondary motions are next in importance to primary motions. These presences are also necessary for

continuous and regular weaving of a piece of a fabric. The secondary motions are the following:

i) Take-up motion:

The take-up motion helps to wind the cloth on to the cloth roller and also influences the pick

density in the cloth.

ii) Let-off motion:

The let-off motion helps to let the warp from the weaver`s beam at an uniform rate thus

maintaining the warp tension constant throughout the weaving process.

1.2.3 Auxiliary motion

These motions are provided on a loom to make it more automatic to reduce weaver`s work load and

to improve quality of the fabric. The auxiliary motions are:

i) Warp stop motion:

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The warp stop motion is used to stop the loom in the event of warp breakage. This is necessary to

prevent fabric defects such as missing ends and floats.

ii) Weft stop motion:

The weft stop motion is used to stop the loom in the event of weft breakage. This is necessary to

prevent missing weft threads called cracks in the fabric.

iii) Warp protecting:

The warp protector is used to prevent multiple warp thread breakages in the event of shuttle

getting trapped in the middle of the warp thread.

Looms can be classified on the basis of shedding or picking mechanism used.

Classification as per shedding mechanism

i. Tappet: It is used to produce very small size designs. The repeat of design is on maximum of 6

ends.

ii. Dobby: this shedding mechanism is used to produce medium size designs. The size of design

that can be made on a dobby is maximum of up to 40 ends.

iii. Jacquard: This shedding device is used for preparing large size designs that are beyond the

capacity of tappet and dobby.

Classification as per picking mechanism

i. Shuttle looms: these are the looms where pick is inserted with the help of shuttle.

a. Hand looms: looms where pick is inserted with the help of hand.

b. Power looms: looms where pick is inserted by use of power or motor.

c. Automatic looms: these looms have an automatic mechanism of changing the shuttle or the pirn

that is inside the shuttle. The first type of looms is called as Shuttle change looms, and the other

type of looms are known as Pirn or Bobbin change looms.

ii. Shuttleless looms: Shuttle is very heavy and consumes very high power. It also reduces speed of

loom. So processes had been developed to either reduce the weight of shuttle, or remove it

completely. These are

a. Rapier looms: having small size grippers.

b. Air jet looms: use jet of air for inserting pick.

c. Water jet looms: use water jet for insertion of pick.

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1.8 Important parts of Loom

i) Heald shaft

A heald shaft is used to hold a number of healds that work in the same fashion. Heald shaft is made of

wood or metal such as aluminum. The number of heald shaft depends on the number of warp repeat of

the design and the fabric heaviness (epi and count), or the drafting plan. Main functions of the heald

shafts are as follows:

Shed formation.

Maintain order or sequence warp threds.

Helps in raising and lowering the warp or the healds.

Helps in thread density or epi.

iii) Shuttle

It is made of wood. It carries the weft from one end (selvedge) to the other end (selvedge) of the

loom. The weft carried is wound on the pirn that carries about 50 gms of pirn. The weight of

shuttle is about 450 gms.

iv) Reed

It is a metallic comb fixed at sley. It is used for guiding of warp, one or more at a time.

There are wires in between and the gap is called as dent. The count of reed or dents is

calculated per 2 inches. The main functions of it are to guide warp threads and the shuttle.

v) Sley or Slay

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A wooden piece on which the shuttle travels. The reed is fitted on the back side to support

the smooth transfer of shuttle.

vi) Beams

There are 3 beams on loom. The warp or weaver beam is fixed on the back side that has

warp sheet wrapped on it. Cloth beam on which cloth is wound. The back and the breast

beams placed on the back side and the front side of the loom, and above the warp beam and

the cloth beams respectively.

1.4 Fabric structure

Fabric structure deals with the design formation in a woven fabric, during weaving. It tells us or deals

with which of the warp is to be lifted up and which of the warp is to be brought down for insertion of

any particular pick. It does not deal with the mechanisms of weaving. It does not deal with the

designing done by dying and printing or after weaving.

1.5 Design

The design indicates the interlacement of warp and weft threads in the repeat of a design. It is made up

of a number of squares, which constitute the repeat size of a design. A blank in a square indicates that a

warp goes below the corresponding weft and ‘X’ mark in the square indicates that the warp floats above

the weft

1.6 Draft

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It indicates the number of heald shaft to be used to produce a particular design. It also indicates which

of the warp is to be passed through which heald shaft.

Normally the warps which work in the same fashion will pass through the same heald shaft. The

warps which function differently pass through a new heald shaft.

1.7 Peg plan or Lifting plan

It indicates which of the heald shaft are to be lifted up and which heald shaft are to be brought down

while insertion of any particular pick

Relationship between Dessign, Draft and Peg Plan

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Draft

Design Peg plan

1.6 Denting order

Warp ends during weaving are spaced out across the width of the warp sheet according to the desired density by the wires

of the reed. Denting order gives which of warp is to pass through which dent. The most frequent order of density is

one, two, three, four ends per dent. Basic purpose is to avoid entanglement of the warps during weaving. Some

fabrics, however, require an irregular order of denting.

Types of Drafts

The various drafts are classified as follows :

(i) Straight

(ii) Pointed

(iii) Skip and sateen

(iv) Broken

(v) Divided

(vi) Grouped

(vii) Curved

(viii) Combination

Straight Draft This is the most commonly used draft. It is the simplest of all the types of draft plans. In this kind of draft

the drafting order progresses successively from first to the last heald frame. Thus the first warp end of a

weave is drawn through the first heald shaft, the second warp through the second heald frame and so on.

One important feature of the straight draft that distinguishes it from other types of draft plans is that the

peg or lifting plan is same as the design. Hence it is sufficient to indicate only the design. Fig. 2.3 shows

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the straight draft.

Fig. 2.3. Straight

Draft

Skip Draft The skip draft is suitable for weaving fabrics having heavy warp thread density. In this kind of draft plan

the number of heald frames may be twice or more than the minimum required for a weave. The purpose

of using more heald frames than the minimum recommended is only to distribute the warp threads more

uniformly so as to prevent abrasion of the threads due to overcrowding. (Fig. 2.4)

Fig. 2.4. Skip Draft

Pointed Draft This is similar to a straight draft. It is suitable for weaves such as pointed twill, diamond weaves and

ordinary types of honeycombs. The straight draft is reversed after half the repeat warp way. The number

of heald shafts is about half the repeat size of the weave. Fig. 2.5 shows a pointed draft.

Skip or Sateen Draft The sateen draft serves the same purpose as the skip draft. A skip draft is normally employed for

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weaves such as plain and twill upto a repeat of 4. Whereas the sateen draft is used for weaves having

repeat size of more than 5.

Broken Draft A broken draft almost resembles the pointed draft. However the pointed effect is broken. This type of

draft is suitable for weaves such as herringbone twills (Fig. 2.6).

Divided Draft This draft is used for weaves having two series of warp threads such as terry, double cloth, warp backed

cloth etc. As can be seen in Fig. 2.7, the two sets of warp threads, say, face and back warps are divided

into two groups. The first group is for 8 heald shafts and second for 9-12 heald shafts.

Combined Draft Various methods of drawing in can be combined in one draft for producing a certain type of fabric. Two

or more drafts described above can be applied simultaneously, for example, straight and skip or sateen,

grouped and curved, and so on. Combined draft is the most complicated and can be chosen only if there

are some technological or economical reasons. The designer having a great experience can do it properly.

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Requirements to Drawing-In

Studied first using a straight draft then the simplest and suitable for the design. The number of shafts should be as small as possible, but the density of healds is to be

calculated and should not exceed the standard value.

The distribution of threads on different shafts should be as uniform as possible. Used the front shafts with minimal height of lifting for the threads with biggest number of

intersections in the weave repeat and for a weaker system of warp threads.

1. How are woven fabrics classified?

2. What are the basic elements of woven design?

3. Define the term ‘weave’.

4. Mention the practical methods of weave representation? Which one is preferred?

5. What is repeat of weave?

6. Mention the importance of design, draft and pegplan?

7. Mention the various types of drafts.

8. How does straight draft differ from other types of drafts?

9. When are skip and ‘sateen’ drafts used?

10. Mention the weaves which use pointed draft.

11. Mention the weaves which employ broken draft.

12. Give examples of weaves which use divided draft.

13. Where are grouped drafts used?

14. Under what circumstances are curved drafts used?

15. What is denting plan?

16. construct a draft and peg plan of the following design

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2. PLAIN WEAVE

There are three basic weaves in weaving:

1. Plain weave

This is the most basic and popular weave. It is based on the basic principle of weaving. The fabric

has the maximum number of interlacements with 1/1.

2. Twill weave

This is the next basic weave. This weave shows diagonal lines in the woven fabric.

3. Satin or Sateen weave

This weave has minimum number of interlacements. Due to this reason it forms the most lustrous

fabric. It has long floats, and is either total warp faced or weft faced.

2.1 Characteristics of Plain Weave

1. It is first basic weave.

2. The minimum repeat size is represented on 2-ends and 2-picks. i.e. - 2x2.

3. It has maximum number of binding ends.

4. It produces the strongest fabric.

5. If warp and weft threads are balanced. i.e.- same thickness and number per unit

Space, they bend equally.

6. It is most widely used fabric (80%).

7. The texture is strongest and firmer than any other ordinary cloth.

8. A wide variety of fabrics can be produced by this very heavy and course like

Canvas, blanket, duck, filter, belting is very fine or light like cambric, muslin.

9. Trade names such as tabby, calico, alpaca, and talent are applied to plain cloth.

10. Ends uses: long cloth, poplin, voile, cambric, muslin, blanket, canvas, sari, dhoti, lunge, suiting,

shirting.

Drafting: normally straight or skip type.

2 H.S. are used for deep and light fabric.

4 H.S. are used for plain or light fabric.

6 H.S. are used for heavy fine quality or light fabric.

Plain Weave

2.2 Ornamentation of Plain Weave

1. Using different color thread to get stripe and check effect.

2. By using fancy slub yarn.

3. Using differently twisted yarn (S and Z twisted) to produce zigzag effect.

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4. Using different count of yarn in warp and weft.

5. Using a varied stock of reed.

6. Using specialized take up and let off motion.

7. By using different tensions between the warp threads.

2.3 Rib and Cord Effects Produced in Plain Weave

If the difference in thickness, number of threads per unit space between the warp and weft, then rib

and cord effects is produced. This effect can be enhanced by use of differently tensioned

beams/threads as given below. Cord effects normally mean the lengthwise or widthwise line effect. A

different method of enhancing this effect is as under:

1. If the EPI>>PPI, then the former (ends) tend to bend around, the later. The effect is warp rib

structure. If EPI>>PPI and of some thickness, than picks bend around the warp and form a weft

rib.

2. This prominence can be increased if thick and thin warp and weft are employed alternately in

warp and weft. The thick warp end is over the thick pick and the thin end over thin pick. This

develops prominence as the gap is more visible. In warp rib EPI>> PPI, and in weft rib,

PPI>>EPI.

3. The permanency can be further enchanted, by using differently tensioned warp beams. The odd

numbered finer warp threads are heavily tensioned and lie straight in the fabric.

2.4 Derivatives of Plain Weave

2.4.1 Warp Rib

A. Vertical extension of plain weave.

B. Number of ends=two.

C. Number of picks =sum of weave numbers.

D. EPI>>PPI.

E. Horizontal lines of equal or unequal size are produce.

F. Best results are produced when high warp set in which the warp ends cover

the weft almost entirely.

G. Further prominence of lines can be achieved by using alternately course and

fine ends or; slack and tight.

H. Working of second end is opposite to first.

For e.g. 4/4 regular warp rib.

No. of picks = 4+4 = 8

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No. of ends = 2

4/4 Regular Warp Rib

2.4.2 Weft Rib

It is opposite of warp rib.

A. Horizontal extension of plain weave.

B. Number of ends =sum of weave numbers.

C. Number of picks = two.

D. PPI>>EPI such that the fabric is covered entirely.

E. Lines running vertically can be enhanced as maintained above.

F. Working of second picks is opposite to first.

For e.g. 4/4 regular weft rib

No. of ends = 4+4 = 8

No. of picks = 2

4/4 Regular Weft Rib

2.4.3 Hopsack, Matt or Basket Weave

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A. Vertical and horizontal extension of plain weave.

B. Working is opposite unit wise.

C. Number of ends=Number of picks=sum of weave number.

For e.g. 5/3 hopsack weave

No. of ends = 5+3 = 8

Warp = 8

Weft = 8

R.S. = 8x8

5/3 Hopsack Weave

2.4.3.1 Derivatives of hopsack weave

A) Stitched Hopsack Weave –

Stitching at certain intervals is done to provide firmness. This stitching may be in the center or

in warp or weft way.

For e.g. 4/4 stitched hopsack weave

R.S. – 8x8

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Another e.g. of stitched hopsack weave

R.S. – 10x8

S – Stitching

S S

B) Barley Corn Hopsack Weave –

A cross twill like that of barley corn is applied to provide firmness to the cloth.

For e.g.

R.S. – 10x10

C) Twilled Hopsack Weave –

In it, the small square are formed by only one series of threads. These weave are not so stiff

as ordinary hopsack and also be suitable for suiting and shirting.

For e.g.

R.S. – 8x8

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Fancy Basket Weave

4/1 1/4

R.S. 10x10

Questions

Give the other names of plain weave.

2. Mention the basic characteristics of a plain weave.

3. Define the term ‘texture’.

4. Mention the end uses of plain weave.

5. Classify the plain weave

6. Define warp rib, weft rib, and matt rib.

7. Give the standard quality particulars for a weft rib cloth.

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8. Give the other names of matt weave.

9. Give the typical constructional particulars for a warp rib structure.

10. Mention the end uses of rib weaves.

11. Give the end uses of matt weaves.

12. Give the design, draft and peg plan for the following :

(a) 2/3 warp rib

(b) 5/5 warp rib

(c) 4/2 weft rib

(d) 6/3 weft rib

(e) 4/4 matt rib

(f) 2/4 matt rib

(g) 4/3 matt rib

Also indicate the denting order for the above weaves.

3. TWILL WEAVE

3.1 Characteristics

1. It is second basic weave.

2. This weave produced diagonal effects.

3. In normal twill, angle of inclination,45O.

4. It produces a smoother and lusture when compared to a plain fabric.

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5. This weave are employed for the purpose of ornamentation to increase cloth weight, closer

setting, better drape quality to plain fabric when both are produced by similar particular.

6. Draft is straight.

7. Normal twill weave is constructed on a square.

8. Other uses of twill are many in trouser fabrics e.g. jeans, gabardine. 9. Minimum repeat size is 3X3.

3.2 Effect of Twist on Twill:-

Influence of twist of yarn:-

The twist of yarn, used to bind yarn affects the handle, strength, wearing properties of cloth

and appearance of cloth. More twist is required in yarn prepared with short staple, finer yarn and

warp yarns. The normal twist given is Twist/cotton worsted.

If the direction of the twist underside of the top thread is opposite to that of the upper side

of the lower thread, the thread do not rapidly bed into each other, but tend to stand off from each

other. This help in showing up the weave and the structure of the cloth distantly.

If these thread are in the same direction than condition are favorable for the threads to bed

into each other and form a compact cloth.

This, if the twill lines are to be prominently shown then the yarn twisted on surface and the

twill lines should be in opposite direction. If over, twill are to be shown indistingly then the twill

should run the same surface direction of the twist of yarn. If one yarn is dominant on surface then

that should be taken for reference.

3.3 Derivatives of Twill Weave

3.3.1 Pointed Twill Weave

A) It is a combination of right hand and left hand twill.

B) Normally used for decorative purpose.

C) It can be further divided into two types-

i) Simple Pointed Twill

ii) Broken Pointed Twill

i) Simple Pointed Twill – In simple pointed twill, number of ends=2n-2; where n= no. of heald shaft;

number of picks= n =sum of weave number. The base marks on any

pointed twill starts from first pick and ends on second pick.

For e.g. 3/5 pointed twill

n=3+5=8

Base marks= 1 2 3 4 5 6 7 8 7 6 5 4 3 2

End= 1 2 3 4 5 6 7 8 9 10 11 12 13 14

Repeat Size=14x8

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ii) Broken Pointed Twill – Broken pointed twill is used to produce twill line in pointed fashion. They

However differ from pointed twill when we need to produce the same on

less number of heald shaft or the perpendicular distance between twill line

is to be reduced.

For e.g. 3/5 broken pointed twill

n=3+5=8

End= 1 2 3 4 5 6 7 8 7 6 5 4 3 2

Base marks= 1 2 3 4 5 6 1 2 1 6 5 4 3 2

Repeat size= 14x6

3.3.2 Waved or Zigzag Twill

It is one of the simplest derivative of twill and can be produced just by reversing at suitable

interval. This twill should once touch the last pick and ended second last pick to maintain continuity. The

draft is normally pointed. The design can be numerous at the same number of ends and picks.

For e.g. 3/3 waved or zigzag twill on 18 ends

Repeat size= 18x6

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3.3.3 Herring bone Twill

The twill direction change is done in a different manner. The reversed direction is cut into half

and the lower half is first drawn. A distinct vertical line zigzag sort of effect is produced with a sort of cut

of effect. Uses are mostly in furnishing fabrics, bed covers, toweling fabrics.

Repeat size is equal to 2n x n and draft is same as base marks, n should be an even number so

as to break from the middle.

For e.g. 2/2 herring bone twill

n=2+2=4

Repeat size= 2n x n

2(4) x 4

8 x 4

Base marks= 1 2 3 4 2 1 4 3

3.3.4 Broken Twill

In his case the twill lines are produced in such a fashion that they are visible as broken after

certain interval at diagonal lines. This break of twill lines at regular intervals is produced by various

methods.

i) By breaking at regular interval

There factor “k” is taken as break unit factor.

k= 2, 3, 4, 5….

For example, the ordinary twill the base marks are;

a) Base marks= 1 2 3 4 5 6 7 8 ; if k=2

1 2 4 3 5 6 8 7

b) Base marks= 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3; if k=3

1 2 3 6 5 4 7 8 1 4 3 2 5 6 7 2 1 8 3 4 5 8 7 6 1 2 3 (no. of ends=24)

c) Base marks= 1 2 3 4 5 6 7 8; if k=4

1 2 3 4 8 7 6 5 (no. of ends=8)

For e.g. 2/6 broken twill ;if k=2

n= 2+6=8

Here break unit is a factor of repeat of original weaves than

Repeat size= 8x8

Base marks= 1 2 3 4 5 6 7 8

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1 2 4 3 5 6 8 7

Thus, if break unit is a factor of repeat of the original weave then the size of new repeat unit is unaltered.

If break unit (k) is not a factor of the weave number than,

No. of ends= L.C.M. of the break unit and the original repeat.

If k=3, n=8

Then no. of ends= L.C.M. of 3and 8

= 24

No. of picks= 8

Repeat size= 24x8

ii) By entering and skipping method or by filling and mixing method

In this, the normal twill weave is drawn with certain base marks being entered and the other being

skipped.

For example if then= 8; and entered= 4 and skipping= 3, than the original base marks i.e.

Base marks= 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3

4 5 6 7 8 1 2 3 4 5 6 7

Base marks= 1234 8123 7812 6781 5678 4567 3456 2345

Normally the entered (E) = n/2

Skipped(S) = n/2-1

But any particular entering and skipping can also done for specific requirement such as; 4E 2S 2E 2S.

For e.g. 2/6 Broken Twill; if E=4 & S=3

Base marks= 1234 8123 7812 6781 5678 4567 3456 2345

Repeat size= 32x8

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3.3.5 Transposed or Rearranged Twill

This twill produced inter potation in the continuity of the twill line by rearranged or changing its

direction, after a certain breaking factor (k). Either all the broken lines are rearranged (fully transposed) or

alternately they are rearranged (half transposed). Like in earlier case (broken twill); if the factor is a repeat

of unit design, then the repeat will be same as original. If k is not a factor of original design the end =

(L.C.M. of k and n) and picks= n

For e.g. 2/6 fully transposed; k= 3

n= 2+6=8

No. of ends = L.C.M. of 8 and 3= 24

Repeat size= 24x8

Base marks= 123 456 781 234 567 812 345 678

321 654 187 432 765 218 543 876

4. SATIN/SATEEN WEAVE

4.1 Characteristics

1. It is the third basic weave.

2. Satin is warp faced weave, while sateen is weft faced weave.

3. It produced the smoothest and lustrous fabric of all of the three weave.

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4. It is also called as floating weave and can be used for producing large floral design like bed cover,

curtain etc.

5. These weave is also used to produce high quality dress material especially for ladies.

6. Draft is straight. Denting is 4 or more.

7. Minimum repeat size= 4x4(irregular)

5x5(regular)

To produce satin/sateen the base marks are drawn first. Then, the extension is marked. The base marks are

drawn in steps and the steps for regular satin/sateen should be any number between 1 and n, with the

exception of 1, n-1 and the number having a common factor with the repeat (no. of thread, n) of the weave.

For example for 8-end regular satin steps can be 1 to 7 but 1 and (8-1) cannot be taken. Also 2, 4 and 6

are factor of 8. Hence the final steps are 3 and 5 only vertically or horizontally.

Thus the minimum repeat= 5x5

SATEEN STEPS CAN BE

8-end 3, 5

10-end 3, 7

12-end 5, 7

For e.g. 5x5 Regular satin

Steps= 2 or 3

Irregular satin/sateen

For irregular sateen, the total numbers of ends or picks are even. The steps are:

Steps up to n/2 picks, n/2-1

Up to n/2 picks Next Rest

Step (n/2-1)

4 1 2 1

6 2 3 2

8 3 4 3

10 3 5 3

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12 3 & 5

Alternately

SATINETTE (4x4 irregular satin)

For e.g. 10/2 Irregular satin

Repeat size= 12x12

5. DIAMOND And DIAPER

Diamond is an extension of twill weave. It is mainly used for ornamentation of fabric s like curtains, sofa

cover, fancy dress material, and decorative purpose.

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Diamond can be prepared by 3 different method:

TYPE OF DIAMOND DRAFT PEG PLAN

1. ORDINARY OR PIONTED

DIAMOND

POINTED TWILL POINTED TWILL

2. CUT DIAMOND/DIAPER HERRING BONE TWILL HERRING BONE TWILL

POINTED TWILL OR ZIG-ZAG.10&16END

Diamond can best be prepared by first drawing the draft and peg plan and then developing the design. The

diamond repeat is in two form

1. x cross

2. like diamond.

Repeat size – 10x10

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End - 1 2 3 4 5 6 7 8 9 10

Base mark – 1 2 3 4 5 6 5 4 3 2

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CUT-DIAMOND OR DIAPER

n n

n/2 n/2 + 1

1

1

Repeat size – 12x12

End - 1 2 3 4 5 6 7 8 9 10 11 12

Base marks - 1 2 3 4 5 6 3 2 1 6 5 4

6. HONEYCOMB WEAVE

This weave forms ridges and hollow, a cell type appearance texture. The fabric is mainly used for

absorbency purpose, like towels, and various forms of bed covers and quilts when used in combination with

other weaves. There are two type of honeycomb weaves.

6.1 Ordinary Honey comb Weave

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1. Pictorial view ..

2. It is mostly used for absorbancy purposes like toweling.

3. There is one warp diamond and one weft diamond in the repeat.

4. Draft is pointed.

5. Minimum repeat size is 6X6.

6. it can be made on both even and odd number of ends, and on square and rectangle. Example is 8x8, 6x6,

14x12.

Drawing of Ordinary Honey comb weave

Method 1

1. Draw a pointed twill draft without extension. A pointed

2. Draw the same pointed draft in the peg plan with extension.

3. Then fill the design as per draft and peg plan.

Method 2

1. Make a square.

2. Fill cross diagonally from left start to right top.

3. Fill another cross diagonally from one step up or down of diagonal line (ending on second pick, or

second last end).

4. If the repeat size is large, structure will be loose. Then draw two such diagonal lines(ending on

second pick, or second last end).

5. Fill diamond on one side.

How to make a honey comb in rectangle

1. Make pointed twill in the side that is smaller. For example, in case of 14x12, make it on 12 picks. It

shall start from the corner and end in second pick.

2. Make another pointed twill opposite to it such that the start of the base mark from corner is from

opposite corner.

3. Fill a warp diamond in the larger side. Example, in case of 14x12 repeat fill a warp diamond in the

14 ends.

6.2 Brighton Honey Comb Weave

1. Pictorial view

2. This weave is usually used for decorative purpose like bed covers, curtains clothes.

3. There are 4 warp diamonds (2 full and 4 half), and 4 weft diamonds (2 full and 4 half).

4. Minimum repeat size possible is 8x8.

5. Draft is straight, so the peg plan is same as design.

6. It can be made on square with repeat size divisible by 4. Example is 8x8, 12x12, 16x16.

Drawing of Brighton Honey comb weave (considering 16x16 R.S.)

1. First, a diamond base is made by inserting single row of base marks diagonally from left bottom to top

right.

2. Then a double row is made for base marks from right top corner to left bottom corner. The two lines are

made one above and one below the diagonal lines. These will start from second last pick and second

end, and will end on second pick and second last end.

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3. The size of warp diamond is = size of weft diamond= n/2 -1

In case of 16x16, n=16. Size= 16/2 -1= 8-1= 7.

4. Position of the 1 full diamond will be at n/2 +1 vertically, from the starting point.

In case of 16x16, n=16. Position will be 16/2 +1= 8+1 = 9 th pick.

5. Similarly, position of the 2nd full diamond will similarly be vertically down, from the top right end

(opposite to the starting point).

6. One side of the diamonds will be touching the double line base marks.

7. The similar weft diamonds are made in the opposite areas. This is done by filling 2 half diamonds. For

this the 9th horizontal warp is left blank. The larger side of the warp diamond is made with one side

joining the double base mark line. The other half diamond has smaller side. Then the other half is

filled to the opposite side to complete the 2 half diamonds.

8. One of the dies of each of the four warp diamonds touch the double side base in the diamond.

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7.HUCK-A-BACK and MOCKLENO Huck-a-Back

1. Pictorial diagram

2. The weave is normally used for linen and cotton towels, glass clothes etc.

3. The spot is used for absorbancy and the plain weave is used for firmness.

4. Draft: normally odd ends are taken in first two heald shafts and even ends on back heald shafts so

that coupling of 1 &2, 3 & 4 can be done together.

5. Denting: it is customary to palce last end of the first group and the first end of the last group in one

split.

6. Hack-a-back spot is normally odd sized. Example 3x3, 5x5, 5x3.

The 6-pick figure 6(a) is called as ‘Davon’ huck. It is used for lower grade of clothes. The design,

draft and peg plan of the same are shown. Figure 6(b) is a 10x10 (with 5x5 spot). Figure 6(c) is the

modification of a 10x10 huck-a-back on 8x8 R.S.

Mock Leno

1. Pictorial diagram.

2. The fabric prepared is used for decoration, embroidery work. It can also be used for suiting, shirting

and dress materials.

3. This fabric has perforations, and is used for decorations.

4. ..

5. Denting order: All the threads in the group are to be taken in one dent and next dent can be

skipped so as to maintain regularity.

6. Mockleno is normally even sized. Example 4x4.

This has a guaze and leno type appearance in the fabric. In this, instead of plain weave the mirror image

(i.e. opposite of warp spot) is there. Figure 6(d) and 6(e) shows the example. Figure 6(d) represent with

a spot of 6(a) in which the huck-a-back and mock leno are designed with the use of a 5x3 spot. The

figure also shows the denting order.

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SPOT FIGURING

The spot figuring has a ground and a spot weave. Ground weave is usd to hold the warp and weft firmly

in the fabric. The ground weave can be any of the 3 basic weaves i.e. plain, twill or sateen. A spot/

design is then taken. The design or spot that is fixed, is put up in an order of any of these three basic

weaves. This order of placement spot weave is same as the ground weave. The spot figure of a size is

considered. Then the placement of this figure is done in the repeat as per the order taken. A ground

weave as per the order is taken and adusted in the repeat size. It is then filled in such a fashion to show

the spot and to provide basic frame.

Spot figuring can be done in 3 orders :

1. Plain order

Figure 7 (a) shows the plain order. A 4x4 spot is considered to be filled in the plain order i.e. 1/1,

and opposite in next unit. Thus the R.S. = 8x8. In the area where spot is not filled a ground weave

of 1/1 plain is filled.

2. Twill order

Figure 7 (b) shows the twill order of spot. The spot size taken is 3x3. It is filled in twill order. Let it

be ½ twill. Thus the R.S. that fits spot is 9x9. Now a twill ground weave is taken to fit in this. 3/6 or

2/7 twill can be best suited for the purpose as it shows the spots properly as well as gives firmness

to the fabric. The ground weave shall be started from a point such that it shows the spot clearly.

3. Sateen order

Figure 7(c) shows the sateen order spot figuring. A spot size of 3x3 is taken with a placement of 4-

end satinette. Thus the repeat that suits is 12x12. The ground weave that suits best and can be fitted

in is 6-end sateen.

Assignments

S. No. Ground weave Spot figure Spot figure Repeat size

1. 5x5 end sateen 4x4 end sateen 5x5 20x20

2. 5 end sateen 6 end irregular sateen 5x5 25x25

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WELT AND PIQUE

These structure consists of a plain face fabric composed of one series of warp (face ends) placed on a

moderate tension beam, woven with one series of weft; and a series of back or stitching warp threads

placed on a separate heavily tensioned beam. These tight ends are stitched woven at a fixed interval in the

plain face texture, as a result of which these are pulled down and an indentation is formed.

If the indentation is of continuous sunken lines that run horizontally, it is called a welt structure.

But, it is not in a horizontal line but arranged in alternate group, then it is a pique.

A) ORDINARY WELT STRUCTURE: -----

(I) IT IS IN 1F 1WELT& 1F COMBINATION.

(II) The welt end has just warp over two picks for stitching. However, the maximum length of

consecutive stitched picks can not me more than 12.

e.g.—10 pick welt: R.S=10.6

B) WEFT WADDED WELT: -----

The welt is wadded to increase prominence of welt. If the wadded thread is inserted is of low

quality and course count and with changing shuttle box on a single side, then two picks are wadded

simultaneously. If the same thread are used for wadded then (it is used if there is single shuttle box on both

sides) only the wadded thread can also be inserted.

e.g. 10 picks+2+2 =14 picks.

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WAVED PIQUE: -----

The indentations are not in horizontal line; but group of mark do not overlap each other. The mark in

design indicates the lifts of stitching ends.

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CORKSCREW WEAVE

They are twilled ribs (diagonal ribs). They can use alone, or in combination with other weaves for a

number of purpose.

WARP CORKSCREW: they are produced on odd number of warp threads; with satin base and a

counting of outward. The numbers of filled marks are one more than the blank

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BEDFORD CORDS

This type of weave produces longitudinal lines (bulginess) in the cloth, with sunken lines (grooves) in

between.

These weave are used fir toweling purposes. They can also be used for shirting and other

types of dress material, used and also furnishing fabrics.

CLASSIFICATION: ---

1. Plain-Face Bedford cord.

2. Wadded Bedford cord.

3. Bedford cord on alternate picks.

4. Twill Bedford cord.

5. Crepe Bedford cord.

Cords ends are responsible for producing bulginess, and two plain weave ends are used to

produce sunken lines.

1. PLAIN FACES BEDFORD CORD: ---

The number of ends between the pairs of plain ends can be varied, as per the width of cord required.

PROCEDURE: ---

(A). Insert the plain weave after the interval of cords; in 4 ends (sunken lines).

(B). INSERT CORD ENDS: 1. Insert first end second pick of one cord with all warps up.

2. Insert third end fourth pick of other cord with all warp up.

(C). Insert plain weave on the other part of cord i.e. on two picks alternately.

DRAFT: --- plain ends (sunken lines) on first Healed shaft.

LIFTING PLAN: --- It is a combination of plain and twill weave.

To develop sunken lines prominently, plain should be separated by the splits of the reed.

Sometimes, the pair of plain ends is dented together. Number of ends passed through each

split as per fineness of the cloth (2, 3 or4).

WADDED BEDFORD CORD: ---

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In this extra wadded ends, which do not weave, lie between the weft floats and the cord warp ends. The

wadded ends is used of

(A). to increase weight of the fabric (made waste material) that lower cost of material.

(B). to increase prominence of cord without disturbance. the wadded end in design are up all picks with the

cord and down all picks in the other (plain weave)interweaving portion.

DRAFT: --- Wadded ends are fills after sunken plain weave heald shaft and before cord ends.

DENTING: - They are adjusted along with the corded end, in the split.

BEDFORD CORD ON ALTERNATE PICKS:---

In this alternate picks are floating at the back, instead of the two cords running simultaneously.

The marks of plain ends are also changed accordingly. So, that

the plain end and the marks of the cord end up and down not join.

If wadded threads are introduced then wadded warp are up only at corded picks.

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TWILL FACED BEDFORD CORD: ---

Instead of plain weave that was filled up with the cord picks, now twill faced is being used.

e.g. Face weaves: 2\1 twill. So, cord on :( 3 or 6 or 9+2) ends.

i.e. 5, 8, 11 etc….

And number of picks now required = 3+3=6, instead of 4, as in plain face, Bedford cord.

E.g. 8.2+6=2, R.S. =16.6