11/30/23, 10:20 AM Fabric Structure AND Design

AJK COLLEGE OF ARTS AND SCIENCE

Navakkarai, Coimbatore - 641 105

Subject Name: Fabric Structure and Design (43A)

Department: Costume Design and Fashion
Class: II B.Sc
Semester: IV
Syllabus
UNIT-I
Elements of woven design, Methods of fabric representation, draft and lifting plan,
construction of elementary weaves – plain, wrap rib, weft rib, twill, modification of twills,
satin and sateen weaves – their derivatives.
UNIT-II
Ordinary and brighten honey comb, its modification, huck a back and its modifications, crepe
weaves, mock leno.
UNIT-III
Extra warp and extra weft figuring – single and two colours, planting, backed fabric, warp
and weft backed fabrics.
UNIT-IV
Pile fabric – Formation of pile – weft pile – plain back, twill back – length, density and
fastness of pile – corduroy weft plush. Warp pile – Terry pile, with the aid of wires, face to
face warp pile.
UNIT-V
Double cloth –classification, self stitched – face to back, back to face, both. Centre stitched –
warp and weft. Interchanging double cloth.
REFERENCE:
1. Watson‟ s textile design and colour. Grosichkli Z Newness, Butter worths, London 1980.
2. Watson‟ s advanced textile design, Grosichkli Z Newness, Butter worths, London1989.
3. Textiles – fibre to fabric, corbmann B P , International students edition, Mc Graw Hill
book Co, Singapore 1985.

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11/30/23, 10:20 AM Fabric Structure AND Design

AJK COLLEGE OF ARTS AND SCIENCE

Navakkarai, Coimbatore - 641 105

UNIT-I
Elements of woven design, Methods of fabric representation, draft and lifting plan,
construction of elementary weaves – plain, wrap rib, weft rib, twill, modification of twills,
satin and sateen weaves – their derivatives.

AIMS & OBJECTIVES

In this chapter we discuss the elements of Elements of woven design & Methods of
fabric representation. The main aim of this chapter is to study the draft and lifting plan,
construction of elementary weaves – plain, wrap rib, weft rib, twill, modification of twills,
satin and sateen weaves – their derivatives
ELEMENTS OF WOVEN DESIGN
Definition
 Woven fabrics are composed of longitudinal warp threads and transverse weft
threads interlaced with one another according to the class of structure and form of
design that is desired.
 Warp threads are individually known as ends
 Weft threads are individually known as picks or filling

CLASSIFICATION OF WOVEN FABRICS

Simple structures
 Ends and picks intersect at right angles to one another and are parallel
 One series of ends and one series of picks are used in the weave
Compound Structures
 It constitutes more than one series of ends or picks.
 Some yarns are ground yarns forming body and some are employed for
ornamental purposes like figuring or face yarns.
 Threads may not be parallel in either plane

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 Some threads may project out at right angles from fabric surface forming pile
BASIC OPERATIONS IN WOVEN CLOTH PRODUCTION
A loom is a device that causes interlacement two sets of threads, namely, warp and
weft threads, to form a fabric. The very first loom in history is the pit loom. Subsequently the
handloom was developed and then the power loom. After the advent of power looms, a
number of developments have taken place. The very first power looms that had been
developed were of the non-automatic type. These looms had neither a positive let off device
nor a warp stop mechanism or a weft changing mechanism. This demanded a great deal of
attention from the weaver. The semi-automatic loom was then developed which incorporated
two out of the above three mentioned mechanisms. Then the automatic loom was developed
which had all the three essential mechanisms, namely, positive let off device, warp stop
mechanism and weft replenishment mechanism. The last century saw the development of
shuttle less weaving mechanisms.

The hand loom was operated by the weaver using his hands to propel the shuttle from
one end to another. The weaver used his foot to operate the healds. The production in this
type of loom was obviously very less and thus varied from weaver to weaver. The power
loom was operated by power. This reduced the strain of the weaver. Considerable automation
has taken place which resulted in lesser strain of the operatives and increasing the production
and efficiency of the loom. The shuttle less looms are good examples.
The tappet, dobby and jacquard are warp patterning mechanisms. Among the shuttle
looms, the tappet loom is the simplest. It is suitable for weaving up to 8 heald shafts. The
dobby loom is suitable for figuring upto 40 heald shafts and the jacquard is suitable for
elaborate designs running to several picks. The advantage of the jacquard mechanism is that
it can control individual warp ends and hence has a large figuring capacity.
The multiple box mechanism is suitable for weft patterning, particularly in creating
checked effects in the fabric. The colouring capacity of the multiple boxes ranges from 2 to
24. The shuttle less looms has the advantage of higher speed and efficiency than the

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conventional shuttle looms. Also larger weft packages minimize the frequency of weft
changes thus improving the loom efficiency.
Schematic Diagram of a loom
 The fabric is produced on the loom. Refer diagram

HEALD SHAFT
This part is related to the shedding mechanism. The heald shaft is made of wood or
metal such as aluminum. It carries a number of heald wires through which the ends of the
warp sheet pass. The heald shafts are also known as >heald frames? or >heald staves?. The
number of heald shafts depends on the warp repeat of the weave. It is decided by the drafting
plan of a weave. The main function of the heald shaft is as follows:
 It helps in shed formation
 It is useful in identifying broken warp threads
 It maintains the order or sequence of the warp threads
 It determines the order of lifting or lowering the required number of healds for a
pick. In other words it helps in forming the design or pattern in a fabric.
 It determines the warp thread density in a fabric, i.e. the numbers of heald wires
per inch determine the warp thread density per inch.

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SLEY OR LAY
It is made of wood and consists of the sley race or race board, reed cap and metal
swords carried at either ends. The sley mechanism swings to and fro. It is responsible for
pushing the last pick of weft to the fell of the cloth by means of the beat up motion. The sley
moves faster when moving towards the fell of the cloth and moves slower when moving
backwards. This unequal movement is known as >eccentricity of the sley?. It is needed in
order to perform the beat up and also to give sufficient time for passage of shuttle to pass
through the warp shed. The beat up of the lastly laid pick of weft is accomplished through a
metal reed attached to the sley.
SHUTTLE
It is basically a weft carrier and helps in interlacement of the weft with the warp
threads to form cloth. The shuttle which is made of wood passes from one end of the loom to
the other. It travels along the wooden sley race and passes between the top and bottom layers
of the warp sheet. The shuttle enters a shuttle box fitted at either ends of the loom, after
passing through the warp shed. A shuttle normally weighs about 0.45 kgs.
SHUTTLE BOX
It is the housing for the shuttle and is made of wood. It has a spindle and a picker. It
may also accommodate the picker without spindle. The top and side of the box towards the
sley race are open. The shuttle dwells inside the box for the intermediate period between two
successive picks.
PICKER
The picker is a piece made either of leather or synthetic material. It may be placed on
a spindle or grooves in the shuttle box. It is used to drive the shuttle from one box to another.
It also sustains the force of the shuttle while entering the box.
REED
It is a metallic comb that is fixed to the sley with a reed cap. The reed is made of a
number of wires and the gap between wires is known as dents. Each dent can accommodate
one, two or more warp ends. The count of the reed is decided by the number of dents in two
inches. The reed performs a number of functions which are enumerated as follows:
(i) It pushes the lastly laid pick of weft to the cloth fell
(ii) It helps to maintain the position of the warp threads
(iii) It acts as a guide to the shuttle which passes from one end of the loom to
the other.
(iv) It determines the fineness of the cloth in conjunction with the healds.

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(v) It determines the openness or closeness of the fabric.

There are various types of reed such as ordinary reed, gauze reed, expanding reed, V
reed etc.
WARP BEAM
This is also known as the weaver?s beam. It is fixed at the back of the loom. The warp
sheet is wound on to this beam. The length of warp in the beam may be more than a thousand
meters.
BACK BEAM
This is also known as the back rest. It is placed above the weaver?s beam. It may be of
the fixed or floating type. In the first case the back rest merely acts as a guide to the warp
sheet coming from the weaver?s beam. In the second case it acts both as a guide and as a
sensor for sensing the warp tension.
BREAST BEAM
It is also known as the front rest. It is placed above the cloth roller at the front of the
loom and acts as a guide for the cloth being wound on to the cloth roller. The front rest
together with the back rest helps to keep the warp yarn and cloth in horizontal position and
also maintain proper tension to facilitate weaving.
CLOTH BEAM
It is also known as the cloth roller. The woven cloth is wound on to this roller. This
roller is placed below the front rest.
PREPARATORY STEPS FOR WEAVING
Preparing the Weaver’s Beam
 Preparatory operations in making up the beam are winding, warping and sizing of the
warp yarns
 Sheet of warp yarn consisting of required number of ends are wound into considerable
length on a weaver?s beam
Specifications for making a beam are :
Type of yarn
a) Number of ends
b) Length of warp
c) Pattern if a cloth with colored stripes is to be produced

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Parts

1 - warp yarn

2- back rest

3- drop wires

4- healds

5- reed

6- shuttle

7- shed

Preparing the loom

 Back beam is also known as the back rest. It is placed above the weaver?s beam. It
may be of the fixed or floating type. In the first case the back rest merely acts as a
guide to the warp sheet coming from the weaver?s beam. In the second case it acts
both as a guide and as a sensor for sensing the warp tension.
 Warp yarns from the weaver?s beam are drawn through the drop wires and then
through the healds (4).

 From the healds they are threaded through the splits of the reed (5)
 Warp interlaces the weft which is supplied by the shuttle (6) through the shed (7)
 Cloth is formed at the fell (8)
 The cloth passes over the breast beam (9) round the take up roller (10) and wound on
the cloth roller (11)

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 Drawing-in is the entering of yarns from a new warp into the weaving elements of a
weaving machine namely drop wires, heddles and reed, starting up a new fabric
style.
 After the depletion of a warp beam on the weaving machine, if there will be no
change in design tying-in process is done
WEAVING PROCESS

Primary Motions
Shedding: Separation of warp threads into upper and lower layers forming a shed through
which the weft is passed. It is the heart of weaving as it determines the nature of interlacing
or the weave.

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 During this process warp threads are manipulated to produce a given interlacing.
 It is achieved by threading each end through an eye of a heald wire in harness and
raising or lowering this wire dependent on whether it is required to lift the end above
the weft, or to keep it below the weft during picking.
 In tappet and dobby shedding, heald wires are attached to heald frames or harnesses in
which a group of yarns with same interlacement are passed.
In Jacquard shedding individual warp yarns are controlled
i. Picking: Insertion of the weft through the shed

ii. Beating-up: Pushing the newly inserted weft into the already woven fabric to
the point called the fabric fell.

Ancillary motions
(i) Warp pay off/Warp letting-off: Delivering the warp to the formation zone by
unwinding it from the weaver?s beam. Determines the rate at which warp is fed
forward and tension of the warp yarn
(ii) Cloth take up:Moving fabric from the formation zone and winding the fabric onto a
cloth roller. Determines the speed of cloth withdrawal and the density of spacing of
weft picks in the cloth

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(iii)The weft color selector: For weaving crossover or transverse stripes consisting of
different kinds or colors of weft. Up to eight different weft threads can be introduced
in modern machines.
METHODS OF FABRIC REPRESENTATION
Plan Diagram or interlacing diagram.

 This method is rarely used in designing woven fabrics as they are too laborious to
prepare especially for large designs.
 The unit of woven fabric is the point of intersection of a warp end and a weft pick.
 A number of these interlacings combined together in both directions produce a unit
of design, or one repeat of the weave.
 The simplest weave, plain weave, requires two ends and two picks as a repeat of
design. Successive neighbouring units will be identical with the first. It can be pictured
as

 This shows that for 1st pick every odd end in the warp will be lowered and every
even one will be raised.

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Canvas Method using design paper also called point paper or squared paper.
 The standard textile design paper is ruled 8 X 8 these being separated by thicker bar lines.
 Point paper is the specific plan of the order of the interlacing of threads.
 Marks are used to denote interlacing of warp over weft and blanks to denote the
interlacing warp under weft. Reversal of convention if taken should be indicated.
 In each full repeat of weave every vertical space and every horizontal space must have at
least one mark and at least one blank
 Point paper does not indicate configuration of threads in the cloth so it may be
supplemented by section diagrams.
 Cross Section Diagram
 Longitudinal Section Diagram

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Canvas method

Weave Repeat Unit

 Any weave repeats on a definite number of ends and picks.
 Here is a plain weave. From the diagram, we can see, the 3rd warp thread has the same
movement with the 1st, and the 4th warp thread has the same movement with the 2nd.
Similarly, the 3rd weft thread is same with the 1st weft thread; the 4th is same with the
2nd

 Only one repeat need be indicated on design paper.

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 Commencing a weave at a dif ance of the cloth

 Marks and blanks should join correctly at sides, top and bottom of a design to get a
continuous and unbroken weave

 Warp Repeat: The minimal number of warp threads after which the movements of warp
threads repeat.
 Weft Repeat: The minimal number of weft threads after which the movements of weft
threads repeat.
 Weave Repeat: A complete element of the weave. The weave repeat can be equal in the
number of ends and picks.

 The weave repeat can be unequal

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 Shift
 Shift is the distance from a painted square on a thread to its corresponding painted
square on its adjacent thread.
 The shift can be counted in warp way, So, and in weft way, Sy, (mostly in warp way)
 The shift can be either positive or negative, depending on the direction of counting.
Counting from the left to right or from low to high gives positive shift.

Shift on warp , So = 3 (count made in vertical direction)

Shift on weft , Sy = 2 (count made in horizontal direction)
 Incomplete repeat result in a faulty construction
Weaving Plan
Weaving Plan consists of Design, Draft plan and Peg plan or Lifting plan

Drafts

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 Draft indicates the number of healds used to produce a given design and the order in
which the warp ends are threaded through the eyes of the healds.
 Healds are also called as shafts, leaves, staves, cambs and heddles.
 The basic principle in drafting is that ends which work in different order require separate
healds i.e., separate healds for ends working differently and same healds for ends working
alike.
 Number of weft yarns has no consequence on draft but should be considered for lifting
plan.
Lifting Plan
 Lifting plan (weaving or pegging plan) defines the selection of healds to be raised or
lowered on each successive insertion of the pick or weft.
 Lifting plan placed along side weave indicate order in which healds are raised and
depressed in forming the design.
 The numbered vertical spaces of vertical spaces of lifting plans correspond with the
numbers at the side of the drafts.
 Vertical space numbered 1 shows how first heald is operated; numbered two shows that
of second heald and so on.
 It further shows which healds are raised and depressed in the succeeding picks.
 In a straight draft lifting plan is same as design.
Weave/Design
 Depends on the order of drafting in the healds combined with the order of lifting or
lowering of the healds.
DRAFTS AND LIFTING PLANS
Methods of indicating drafts and Lifting plans
By ruling lines:-
 Horizontal lines represent healds
 Vertical lines represent warp threads
 Marks at the intersection indicate the
healds upon which the respective threads
are drawn
By the use of design paper;-
 Horizontal spaces represent healds

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 Vertical spaces represent warp threads

 Marks on the small squares indicate the healds upon which the respective
threads are drawn.
By numbering:-
 Numbers below the design refer to the number of healds
 Threads drawn on the healds in the order indicated by the numbers
Relations between Design, Draft And Lifting Plan
 These three elements are closely dependent on one another.
 If any two elements of the weaving plan are known, the third element can be
constructed.
Construction of Drafts And Lifting Plans From Given Design
 In a design the threads which are raised and depressed simultaneously may be
drawn on the same heald
 The threads that are different from each other must be drawn on different
healds.
 As many healds are required as there are threads working differently from
each other
Steps in constructing a draft plan and lifting plan are:

i) The first end is indicated on first heald.

ii) All warp yarns with same interlacement are indicated on first heald.
iii) The second end is indicated on second heald
iv) All warp yarns with same interlacement of second warp are indicated on second
heald and so on.
v) The working of the first heald is copied from the first vertical space of the design
to the first vertical space of the lifting plan.
vi) In constructing the lifting plan healds are taken in succession from front to back.
vii) In a lifting plan,
viii) Vertical spaces = no. of healds in the draft (no of rows in the draft plan)
ix) Horizontal spaces = No of picks in the design.

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Construction of Drafts From Given Designs And Lifting Plans

 In a draft number of horizontal spaces = number of vertical spaces in the

lifting plan
 Number of vertical spaces = number of warp yarns in the design.
 All the threads of the design which correspond to the interlacement of first
vertical space in the lifting plan are drawn on the same heald.
 All the threads of the design which correspond to the interlacement of second
vertical space in the lifting plan are drawn on the next heald and so on.
Construction of Design From Given Draft And Lifting Plan

 Number of rows in the design = number of rows in the peg plan

 Number of columns in the design = number of columns in the draft plan
 The first vertical space in the peg plan indicate that how the warp yarns that are
connected to the first heald shaft is raised and lowered over the weft yarns
 This interlacement is marked in the corresponding columns of the design as per the
markings in the first harness.

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SYSTEMS OF DRAFTING
Straight
 Commonly used draft and simplest of all the types of draft plans
 Drafting order progresses successively from first to the last heald frame i.e. first end
through first heald, second through the second heald and so on.
 Peg or lifting plan is same as the design

Skip and sateen

 Suitable for weaving fabrics having heavy warp thread density.
 Number of heald frames may be twice or more than the minimum required for a
weave
 Purpose is to distribute the warp threads more uniformly to prevent abrasion of
threads due to over crowding

Pointed
 Similar to straight draft
 Suitable for weaves such pointed twill, diamond weaves and ordinary types of
honeycombs
 Straight draft is reversed after half the repeat warp way

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Herringbone and broken

 Resembles a pointed draft but pointed effect is broken
 Suitable for weaves such as herringbone twill

Divided
 Used for weaving two series of warp threads such as terry, double cloth, etc
 Two sets of warp threads divided into groups

Grouped
 Employed for production of stripe and check designs in which stripes have different
weaves or their combination
 Repeat of draft is determined by the number of stripes and number of threads in each
stripe
 The number of shafts in the draft depends on the number of stripes and the warp
repeat of weave of each stripe.

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Curved
 Curved draft is used for the production of curved twills

Combined
 Two or more types of draft applied simultaneously. Eg., straight and sateen draft
combined
 Combined draft is most complicated and chosen only if there are some technological
or economical reasons
Denting

Design

Denting plan
 Drawing ends through a space-dent or split-between two wires in the reed
 If adjacent ends work alike and are drawn through same split of reed they would tend
to roll over one another and loss clarity of design.
 Ends which work alike are drawn through different dents to prevent roll over
 If fine dense lines are desired with the ends crammed closely together separated by
lines of open fabric, adjacent ends are drawn through same split and one empty dent is
left between each filled dent.
Construction of Elementary Weaves
Plain Weave
 Threads interlace in alternate order
 Each thread gives maximum support to adjacent threads
 Texture is stronger and firmer than any other cloth
 They range from canvas, blankets to cambric/muslin

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 Trade names are tabby, calico, taffeta

 Variety may be produced by:
(a) Threads which are different in colour, material, thickness, or twist or combination of
them

(b) The number of threads per split of the reed

(c) No of picks in a given space is varied in succeeding portions of the cloth
(d) The ends are brought from 2 or more warp beams which they are alternately
slackened and tightened
(e) By the process of dyeing, printing and finishing
 Rib or cord effects in plain weave is formed if there is considerable difference
between the warp and weft threads with to regards thickness and number per unit
space
 Cords are ribs which run in length of the cloth
 If number of ends per unit space is greater than that of weft warp rib structure results

Warp Rib
 Extension of plain weave vertically grouping together several picks in the same shed
result in warp rib

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 Regular warp rib is produced when each end passes alternatively over and under 2, 3
or 4 picks. Ends are brought prominently to the surface on both sides of the fabric,
Line or ribs that are equal in size are formed running the width of the cloth
 Irregular warp ribs produce horizontal lines that are unequal in size. One set of ends
are mostly on the surface and the other set are mostly in the back.
 Cloths produced are grosgrain, matelasse.
Weft Rib
 Extension of plain weave horizontally
 In regular weft ribs each pick passes alternately under and over 2,3,or 4 ends
 Weft is brought prominently to the surface and forms lines running the length
of the cloth on both sides

 Good effects is seen if there is high number of picks per inch and a comparatively low
number of ends/inch
 In irregular weft ribs a variation in the width of the rib is achieved by varying the
number of ends in each successive rib

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Hopsack/Mat/Basket

 Hopsack weaves are constructed by extending the plain weave both vertically and
horizontally
 Regular hopsacks are woven with the same number of ends and picks and the same
yarn count. Equal warp floats exchange with equal weft floats
 Different units of hopsack are arranged in one repeat, with the distribution of warp or
weft floats being equal or a predominance of either

Mock Rib
 Weaves produced in plain weave which resemble warp rib or weft rib
 Mock warp rib is achieved by doubling up two threads of weft in a pirn inserting
double weft in lieu of 2 single picks in warp rib construction
 Mock weft rib effect is obtained in plain weave by placing two ends in each mail
 If these two threads are differently coloured the rolling of the threads takes place and
causes colours to show intermittently in the cloth.
Twill Weave

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 The most characteristic of twill is that they have diagonal lines on the cloth.
 The twill weaves are expressed in the form of a fraction such as 3/1, 1/3, 2/1, 4/1
 Provides greater weight, closer setting and better draping quality than plain weave
formed with similar yarn
 In simple twills points of intersection move one outward and one upward
 Can be made with more than 2 threads
 Twill line is formed on both sides of the cloth
 Direction of lines either to right or to left
 Direction on one side of fabric is opposite to the other when cloth is turned over
 If warp prominent on one side weft will be prominent on the other.

Weft faced & Warp faced&

Right hand twill Left hand twill

 Warp Faced Twills

In these types of twills the warp thread floats over all the picks in a repeat except one
pick. The minimum repeat size required is 3. Examples of warp faced twills are 2/1, 3/1, 4/1,
5/1 etc.
Weft Faced Twills
These twills are the reverse of the previous ones. In these weaves the weft thread
floats over the warp on all picks in a repeat except one. Examples of weft faced twills are 1/2,
1/3, 1/4, 1/5 etc.
Balanced and Unbalanced Twills
In these types of twills the warp and weft floats may be equal or unequal. In other
words the twills may be of the reversible or irreversible types. Accordingly they may be
known as balanced and unbalanced twills. Examples of balanced twills are 2/2, 3/3, 4/4, 5/5
etc.
Examples of unbalanced twills are 2/3, 4/2, 5/3 etc. The 2/2 twill is popularly known
as <Gaberdene= weave. A and B show designs for balanced and unbalanced twills and C and
D show the interlacement diagrams of a 4/1 twill and ¼ twill (warp faced) (weft faced).

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Designation of Twills
 Twills are designated by describing the interlacing of the first thread 2 up & 2

down or 2- and -2 or 2/2 or .

 It means on the first pick first two ends are up and following 2 down or on the
first end first two picks are down and following 2 up.

 twill gives a repeat of 4 ends and 4 picks

 Warp faced twill shows more number of warp on the face and greater number of
ends per cm than picks per cm. Eg 3/1 twill
 Weft faced twill shows more number of weft on the face and greater number of
picks per cm than ends per cm. Eg 1/3 twill
 ½ or 2/1 is called cashmere, jean, jeanette and genoa
 1/3 or 2/2 called serge, blanket, sheeting or shalloon. 3/1 commonly called drill.
 Large twills commonly known as diagonals
Prominence of twill
The effect of using all of the twist combinations for this weave is given below. For a
Z twill fabric.
 S twist warp × Z twist weft = prominent twill
 S twist warp × S twist weft = warp twill prominent
 Z twist warp × Z twist weft = weft twill prominent
 Z twist warp × S twist weft = twill indistinct
The following factors determine the relative prominence of twill weaves

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