126 woollen and worsted woven fabric design

126 Woollen and Worsted Woven Fabric Design Số trang: 151 trang Ngôn ngữ: English ---------------------------------------------------- Description Today it is as essential as ever to design, develop and produce saleable and commercially sound woven fabrics within considerable financial restraints. However, in teaching woven fabric design, emphasis appears to have shifted away from the practicalities of cloth construction and design development. This practical handbook provides explanations and answers to some of the technical and practical problems encountered in the development, design and manufacture of woollen and worsted woven fabrics.

Convert Direct (Tex) to Direct (Denier)

Conversely, to (convert Direct (Denier) to Direct (Tex), divide Denier count by 9

1.11 Convert Direct (Tex) to Indirect

To convert Tex to any in the Indirect system, the following constants may be used:

8 Woollen and worsted woven fabric design

- 590 - 590 Tex to Cotton = Tex e.g 45 Tex 45 = 13.1 Cotton

- 884 - 884 Tex to Worsted = Tex e.g 50Tex 50 = 17.7 Worsted

Tex to Metric = Tex e.g 20Tex 20 = 50 nm Metric

Tex to Yorkshire = Tex e.g 100Tex 100 = 19 sks Yorkshire

Tex (2ply) to Worsted (2ply)

Calculate average yarn counts in the Direct system

To determine the average yarn count of two or more yams, calculate the arithmetical mean as follows:

Woollen and worsted weaving yarns 9

1 thread of 30 Tex ,1 thread of 35 Tex

1.13 Resultant yarn counts in the Direct system

Example 3 60 Tex / 40 Tex / 30 Tex = R130 Tex / 3

Percentage take-up has not been allowed for in the above samples

2 threads of 30 Tex are written as R60 Tex / 2

2 threads of ;!O Tex are written as R40 Tex / 2

2 threads of 300 Denier are written as R600 Denier / 2

Table 1.4 Indirect yarn numbering systems

Area Length unit Weight unit Standard no

Universal Hanks of 560 yards Per 1 Ib 560 Cotton Universal Hanks of 840 yards Per 1 lb 840

Table 1.4 shows the various Indirect systems, most of which (with the exception of Metric) are hardly ever used today

Yarn count is a crucial measure indicating the thickness of yarn, with higher numbers signifying finer or thinner yarn In the Indirect system, the yarn count represents the number of length units contained in a specific weight of yarn.

Scotland Cuts of 300 yards Per 1.5 lbs 200 Yorkshire Skeins of 256 yds Per 1 lb 256

1/20 worsted indicates 20 x 560 yards of yam weigh 1 pound

1/40 worsted indicates 40 x 560 yards of yarn weigh 1 pound

1/30 cotton indicates 30 x 840 yards of yarn weigh 1 pound

15 cut Galashiels indicates 15 x 200 yards of yarn weigh 1 pound

16 skeins Yorkshire indicates 16 x 256 yards of yarn weigh 1 pound

30 nm Metric indicates that 30 x 496 yards of yam weigh 1 pound

1.15 Calculate Indirect count from a given length and weight of yarn

L = length of yarn sample (yards)

W = unit of weight of the system

Wt S = standard number of the yarn system weight of yarn sample in units of the system at official regain

Example 1 Weight of yam sample = 50 grains

Length of yarn sample = 120 yards Standard no (worsted) = 560 yards Unit of weight (llb.) = 7000 grains

Example 2 Weight of yarn sample = 90 grains

Length of yarn sample = 75 yards Standard no (Yorkshire) = 256 yards Unit of weight (llb.) = 7000 grains

Example 1 Convert 2/48 worsted to Metric

Example 2 Convert 24 sks Yorkshire woollen to Worsted

Example 3 Convert 2/40 cotton to Metric

Example 4 Convert 15 cut Galashiels to Yorkshire woollen

Example 5 Convert 16 sks Yorkshire woollen to Metric

Example 6 Convert 2/20 cotton to Galashiels woollen

1.17 Calculate! average yarn counts in the Indirect system

Example 2 1 end of 20 sks Yorkshire woollen

1 end of 30 sks Yorkshire woollen

2 ends of 18 sks Yorkshire woollen

30 x 4 5.84 = 20.55 = 20.5 sks Yorkshire woollen Average count =

1 end of 16s worsted 1/16 worsted to Cotton = 840 = 10.67s Cotton

1.18 Resultant yarn counts in the Indirect system

The resultant yarn count is the count of two or more yarns twisted together

Example 1 24 sks Yorkshire / 16 sks Ysrkshire

First convert 32 cotton to worsted =

40 x 840 Convert 2/80 cotton to worsted = 560 = 60 worsted

Percentage take-up refers to the additional length of single yarns per unit length of folded yarn, which has not been addressed in previous examples It is essential to consider this factor in calculations to ensure an accurate resultant count.

The take-up rate varies based on the thickness of the component yams and the number of turns per inch during the twisting process Increasing the turns per inch leads to a higher percentage of take-up and results in a thicker final count.

To calculate the unknown component yarn count in a two-ply twist yarn, it is essential to know both the count of the single component yarn and the resultant count This calculation is widely utilized in the textile industry for accurate yarn specifications.

24 metric count and one thread of an unknown count What is the unknown yarn count?

A two ply twist yarn of 8 metric resultant count is composed of one thread of

24units of 8 metric = 3 so 24units of ‘x’ metric = 3 - 1 = 2

Therefore the unknown yarn count is equal to 24 divided by 2 = 12 metric

Example 2 worsted Wha.t is the count of the other component?

A resultant two ply yarn count of 16 worsted has one component yam of 36

144 units of 16 worsted = 9 so 144 units of ‘x’ worsted = 9 - 4 = 5

Therefore the unknown yarn count is equal to 144 divided by 5 = 28.8 worsted

A two-ply yarn in the Tex direct system consists of one thread measuring 40 Tex and another thread of unknown count, resulting in a total count of 100 Tex To determine the count of the other component yarn, one must analyze the relationship between the individual thread counts and the resultant count.

The simple answer to this one is 100 minus 40 which is 60 Tex, the count of the unknown yarn

Example 2 thread of 70 Tex and one unknown Tex count The resultant count is 150 Tex third component as 30 Tex

A three-ply yarn in the Tex direct system consists of one 50 Tex thread and an unknown yarn count The calculation for the unknown count is derived from 150 minus 50 minus 70, resulting in the final yarn count.

Modern industry employs advanced equipment and techniques to evaluate the diverse properties of yarns Although this publication does not focus on specific apparatus or test outcomes, it is important to highlight the key properties being assessed.

Number of thick and thin places and neps

Faults (slubs, fly, piecings etc.)

This chapter addresses the essential knowledge of yarns, yarn counts, and manufacturing processes, providing a foundational understanding of the topic While it offers a general overview, it does not delve deeply into the complexities of carding and spinning, as woven fabric designers typically do not tackle these issues, leaving such challenges to more specialized professionals.

The research on Direct and Indirect yarn numbering systems reveals that the Direct system is simpler and more user-friendly It facilitates easier calculations for average yarn count, resultant yarn count, and yarn twist.

This chapter outlines the fundamentals of woven cloth construction, including essential cloth setting rules and formulas It features comprehensive tables detailing the making specifics for various fabrics, applicable to both womenswear and menswear woven apparel, using the same yarn count All fabrics discussed are commercially viable and serve as reliable references for developing textiles in different yarn counts.

A crucial responsibility of a woven fabric designer is to act as a cloth adjuster and modifier, adapting existing fabrics to achieve different weights, weaves, or yarns while maintaining the original fabric's firmness Successfully implementing these modifications requires a solid grasp of the relevant formulas This chapter provides multiple examples illustrating how to apply these essential formulas effectively.

Throughout the weaving and finishing processes, it is essential to anticipate changes in fabric weight and dimensions Proper adjustments must be made to ensure that the final product meets the standard width and the initially quoted weight in grams per running meter.

Finished cloth analysis is a crucial topic, as fabrics sourced from customers and other origins are frequently replicated for various purposes Accurately assessing the finished properties of these fabrics is vital, enabling the necessary adjustments to provide precise in-loom specifications for effectively reproducing the cloths.

The topics in this section address the practical cloth-making responsibilities of the woven fabric designer, rather than the creative and aesthetic ones

2.2 Relationship between yarn count and thickness

Before exploring cloth setting formulas, it's crucial to comprehend the correlation between yarn count and thickness For instance, if yarn A is stretched to four times its initial length, the resulting yarn B will be thinner with a smaller radius, yet both yarns will maintain the same weight and volume, differing only in their yarn counts.

The weight of 20 crns of yarn B is equivalent to that of 5 crns of yarn A, meaning that 5 crns of yarn B weighs one quarter of 5 crns of yarn A If yarn A has a thickness of 100 Tex, stretching it to four times its original length results in yarn B having a thickness of 25 Tex.

2.1 Yarns A and B have the same weight and volume but different yarn counts

Volumes of yams A and B are the same, both being equal to the area of cross-section multiplied by length z A 2 x 1 = ITB’ x 4

As A = B x 2, the radius of yarn A is twice the radius of yarn B, therefore yam A is twice the thickness of yarn B

Introduction

Understanding yarn types and counts is essential for anyone studying woven fabric design and production This section provides an overview of the yarn manufacturing processes for both woollen and worsted systems.

The yarn industry utilizes two numbering systems: the rarely used Indirect system and the more common Direct system While few modern spinners are familiar with the Indirect Galashiels and Yorkshire woollen yarn systems, historical records in mills across Scotland and Yorkshire likely still document successful cloths with yarn details from these older systems Therefore, understanding how to convert these traditional yarn counts to the contemporary Direct system is valuable.

This section outlines methods for calculating the average yarn count when multiple counts are involved, as well as the resultant yarn count when different yarn counts are twisted together It includes examples from both Direct and Indirect yarn numbering systems to illustrate these calculations effectively.

Woollen and worsted systems

The key distinction between the Worsted and Woollen systems lies in their treatment of fibers In the Worsted system, all short fibers are eliminated, resulting in long fibers that are aligned in parallel Conversely, the Woollen system retains short fibers, leading to a mix where some fibers are parallel while others are arranged randomly.

The following from Textile Terms and Definitions (loth edition)’ describe differences between the two systems:

The terms 'woollen' and 'worsted' are often used descriptively, with 'wool' added to specify content, such as 'wool worsted.' Since woollen yarns rarely consist of 100% wool, it is common to describe the blend when necessary, for instance, by using terms like '100% wool woollen spun' or '100% wool woollen.'

Woollen, woollen yarn or woollen fabric is descriptive of the fibre - that is wool fibre spun on the woollen system

Woollen spun, woollen type fabric or condenser spun is descriptive of the system - that is any fibre spun on the woollen system

Worsted, worsted yam or worstedfabric is descriptive of the fibre - that is wool fibre spun on the worsted system

Worsted spun or worsted type fabric is descriptive of the system

Woollen fabric, distinct from worsted fabric, is crafted from yarns made of wool fibers of varying lengths, spun using a woollen spun system This spinning method allows fibers to be arranged haphazardly, resulting in yarns with a rough texture and full handle While both woollen and worsted yarns are derived from wool fiber, they differ significantly; woollen spinning utilizes a diverse range of shorter wool types, often blended with a small amount of re-processed wool to lower costs, whereas worsted spinning exclusively employs pure new wool.

Woollen and worsted woven fabrics are crafted using longer wool fibres, often enhanced by blending with man-made fibres like polyester These blended yarns can be produced through either woollen or worsted systems; however, they do not retain the characteristics of pure woollen or worsted fabrics.

The main processes in woollen yarn production are described briefly as follows:

Sorting, once a highly skilled manual operation for categorizing fleece by quality, is now infrequently employed for this purpose Today, it is primarily used to eliminate heavily contaminated, matted, or weathered wool, as well as to remove heavily stained or pigmented patches.

Scouring is the process of cleaning raw wool by passing it through a series of scouring bowls filled with hot water and detergent, followed by rinsing and drying This method effectively removes contaminants such as wool grease (lanolin), animal sweat (suint), animal waste, and mineral dirt from grazing areas The amount of greasy wool weight lost during scouring varies based on factors like the country of origin, sheep wool type, and fiber characteristics, with a minimum loss of 20% being common In some instances, only 20% of the greasy wool weight may consist of actual wool fiber On average, Australian wool yields about 65% clean wool, a figure that is gradually increasing due to advancements in farming practices.

Carbonising is a crucial process in wool preparation that involves treating scoured wool with acid to remove seeds and burrs that sheep may have picked up After the wool is treated, it is dried, and the seeds are crushed into a powder, which is then separated from the wool This method ensures that the wool is clean and free from unwanted debris, enhancing its quality for further processing.

As carbonising tends to weaken and discolour wool, it is processed as a small percentage of a blend

Blending involves the combination of various fibre lots to achieve the desired quality and performance of the final product while maintaining cost-effectiveness During this process, fibre lubricants are introduced to enhance processing efficiency Depending on the specific blend and the intended end product, oil and anti-static additives can be incorporated in amounts ranging from 2% to 15%.

Carding and condensing involve disentangling and mixing blended wool fibers through a series of large cylinders and rollers equipped with wire teeth As the fibers progress through the carding process, the spacing between the rollers decreases, the wire teeth become finer, and roller speeds increase This process transforms the material into a uniform web of fibers, which is then split lengthwise into strands of untwisted slubbing and wound onto spools for spinning.

Spinning involves adding twist to untwisted slubbings to create strong, single yarns on spinning machines While the mule spinning machine, known for its complex operation, has largely become obsolete due to the more efficient ring spinning frame, it still produces superior yarn quality for specific raw materials The mule's carriage moves back and forth to draw slubbing to the desired thickness while rotating spindles twist and wind the yarn onto tubes In contrast, ring spinning frames offer higher production rates and larger take-up packages, operating continuously and more quickly Recent advancements in engineering and computer control have revitalized mule spinning, highlighting its ability to deliver better quality yarn despite the advantages of modern spinning technologies.

Twisting: yarns) for increased thickness, strength or effect

The resultant spun yarn can be used in single form, or folded with itself (or other

Dyeing: the type of fabric required

This may be carried out on loose fibre, spun yarn or woven cloth, depending on

The worsted process

Worsted fabric is a high-quality all-wool cloth made from yarns produced through the worsted spinning system, which involves more operational stages than woollen yarn spinning This process includes multiple drafting stages and a combing operation, resulting in yarns where fibers lie parallel to each other, enhancing smoothness, strength, and appearance Worsted yarns are lighter and finer compared to woollen yarns made from the same fiber micron Additionally, wool can be blended with synthetic fibers like polyester, creating fabrics that combine the luxurious feel and drape of wool with the easy-care benefits of polyester.

The initial stages of worsted yarn production closely resemble those of woollen yarns, involving blending, scouring, and carding However, a key distinction lies in the blending process, where worsted components are combined in their greasy state and typically share similar quality This eliminates the need for special blending, as sufficient mixing occurs during subsequent processing.

The extra processes in worsted yarn spinning after carding are described briefly as follows:

Preparatory gilling involves preparing carded slivers for combing by drawing them through two pairs of rollers, which helps to straighten the fibers The process includes pinned bars, known as fallers, positioned between the rollers to control the fibers during drafting and enhance their parallelism.

Combing is essential in the production of worsted yarns, where 20 to 30 slivers are processed through a combing mechanism This process effectively removes most short fibers, known as noils, while aligning the remaining fibers parallel to each other The resulting slivers are then termed 'tops'.

Finisher Gilling involves the use of additional gill stages to blend tops, achieving a consistent and specified linear density This processed material is then ready for sale to spinners, who will draw and twist it into yarn.

To create colored tops, the dyeing process must occur before drawing and spinning, involving the application of a dyeing solution Following this, the tops undergo additional gilling and combing, preparing them for the final stages of being drawn and spun into yarn.

The drawing process aims to progressively reduce the thickness of the top into a roving suitable for yarn spinning, typically achieved through gill box drawing The roving frame acts as an intermediary between gilling and spinning, drafting a fine sliver to an appropriate thickness for the spinning frame It may also add a few twists or lightly rub the sliver to enhance cohesion before winding it onto a large bobbin This twisting or rubbing action ensures that the fine fiber assembly maintains its integrity as it is drawn from the bobbin into the spinning machine.

Spinning is the final stage of fiber processing, where drafting reduces the thickness of the fiber strand In worsted spinning, the drafting ratio is typically 20, meaning the fiber assembly becomes 20 times longer and thinner as it exits the delivery rollers compared to its entry at the feed rollers This represents the highest draft level the fiber will undergo In contrast, gill boxes usually have a draft ratio of about 8, while roving frames have a draft of 12 Woollen spinning, however, features a significantly lower draft, often below 2, with the final count established at the carding stage.

The final count of yarn is influenced by both the spinning draft and the type of fiber utilized, with coarse counts from synthetic fibers often drafted at 35 or higher After drafting the fiber, the strand is twisted and wound onto a package using the ring and traveler unit.

Final yarn processing: faults in the yarn, such as thick and thin places and this operation is known as clearing

Winding machnes are fitted with devices for detecting and removing

Most single worsted yarns are twisted into two-folded strands, enhancing their performance in fabric production Additionally, combining single yarns of various colors can significantly enhance the aesthetic appeal of the yarn.

Woollen and worsted weaving yams 5

Wool fibre diameter is usually expressed in microns (one micron = 1/1000 mm) and is expressed by the Greek letter p

25 e.g 20 p := 20 microns = 20/1000 mm or 1/50 mm fibre diameter

Table 1.1 illustrates that wools with low micron counts are utilized for finer, lighter-weight fabrics, while medium to higher micron counts are employed for coarser, heavier fabrics.

1.6 Number of fibres in yarn cross-section

The number of fibers in the cross-section of a yarn is crucial in the drafting and spinning processes As illustrated in Table 1.2, typical fiber counts for worsted yarns are provided, along with the methods used for their calculation.

Wool worsted single yarns typically contain no more than 42 fibres in their cross-section due to the high cost of finer wool fibres Only when the micron count exceeds approximately 24, where the differences between microns are minimal, can yarns with more than 42 fibres be produced In contrast, synthetic yarn production allows for a higher number of fibres in the yarn cross-section, as the raw materials are more affordable and finer fibres have a lower price ratio.

9 16.9 x Tex Number of fibres per cross-section = micron2

Table 1.2 Worsted yam fibres per cross-section

Average number of wool fibres

1.7 Twist in single and folded worsted yarns

Approximate folding twist in relation to single twist

0.67 x single spinning twist 0.50 x single stinning twist 1.00 x single spinning twist

The following formula is used to calculate the number of turns per metre to be inserted in a single or two-fold worsted yarn

Turns per metre = 0~ JResultant yam count (nm)

Single yarn = = 85 to 95 for plain yarns

2 fold yarn = = 100 to 130 I in pure new wool

Single yarn turns per metre = 95 J60 = 735 e.g 2/60nm

2 fold yam turns per metre = 120 430 = 657

Most two-fold worsted yarns feature a folding twist that opposes the direction of the single spinning twist While there are several exceptions, Table 1.3 serves as a helpful guide for classifying the twist of different yarn types.

In the Direct system, the yarn count number indicates the weight in grams of a specific length of yarn; thus, a higher yarn count number signifies a heavier or thicker yarn.

In the Direct universal Tex system, yam count number indicates ‘the weight in grammes of

1000 metres of yarn’ e.g 30 Tex indicates that 1000 metres of yam weigh 30 grammes, e.g 50 Tex indicates that 1000 metres of yam weigh 50 grammes, e.g 70 Tex indicates that 1000 metres of yam weigh 70 grammes

In the Direct denier system, the yarn count number indicates ‘the weight in grammes of 9 000 metres of yarn ’

Decitex (or Dtex) yarn count number indicates ‘the weight in grammes of 10 000 metres of yarn ’

1.9 Calculate Direct count from a given length and weight of yarn

L = length of yarn sample (metres)

Wt = weight of yam in units of the system at official regain

L1 = unit of length of the system

Example 1 ?weight of yarn sample = 1.67 grammes length of yarn sample = 100 metres unit of length (Denier) = 9000 metres

Example 2 >weight of yarn sample = 1.75 grammes length of yam sample = 90 metres unit of length (Tex) = loo0 metres

1.10 Convert Direct (Tex) to Direct Denier

Conversely, to (convert Direct (Denier) to Direct (Tex), divide Denier count by 9

1.11 Convert Direct (Tex) to Indirect

To convert Tex to any in the Indirect system, the following constants may be used:

- 590 - 590 Tex to Cotton = Tex e.g 45 Tex 45 = 13.1 Cotton

- 884 - 884 Tex to Worsted = Tex e.g 50Tex 50 = 17.7 Worsted

Tex to Metric = Tex e.g 20Tex 20 = 50 nm Metric

Tex to Yorkshire = Tex e.g 100Tex 100 = 19 sks Yorkshire

Tex (2ply) to Worsted (2ply)

1.12 Calculate average yarn counts in the Direct system

To determine the average yarn count of two or more yams, calculate the arithmetical mean as follows:

1 thread of 30 Tex ,1 thread of 35 Tex

1.13 Resultant yarn counts in the Direct system

Percentage take-up has not been allowed for in the above samples

2 threads of ;!O Tex are written as R40 Tex / 2

2 threads of 300 Denier are written as R600 Denier / 2

Indirect yarn numbering system

Table 1.4 Indirect yarn numbering systems

Area Length unit Weight unit Standard no

Universal Hanks of 560 yards Per 1 Ib 560 Cotton Universal Hanks of 840 yards Per 1 lb 840

Table 1.4 shows the various Indirect systems, most of which (with the exception of Metric) are hardly ever used today

Yarn count is a crucial measure of yarn thickness, indicating the number of length units in a specific weight of yarn within the Indirect system A higher yarn count number signifies a finer or thinner yarn, making it an essential factor in selecting the right yarn for various textile applications.

Scotland Cuts of 300 yards Per 1.5 lbs 200 Yorkshire Skeins of 256 yds Per 1 lb 256

1/20 worsted indicates 20 x 560 yards of yam weigh 1 pound

1/40 worsted indicates 40 x 560 yards of yarn weigh 1 pound

50 nm Metric indicates that 50 x 496 yards of yam weigh 1 pound.

Calculate Indirect count from a given length and weight of yam

L = length of yarn sample (yards)

W = unit of weight of the system

Wt S = standard number of the yarn system weight of yarn sample in units of the system at official regain

Example 1 Weight of yam sample = 50 grains

Length of yarn sample = 120 yards Standard no (worsted) = 560 yards Unit of weight (llb.) = 7000 grains

Example 2 Weight of yarn sample = 90 grains

Length of yarn sample = 75 yards Standard no (Yorkshire) = 256 yards Unit of weight (llb.) = 7000 grains

Convert Indirect to Indirect

Example 1 Convert 2/48 worsted to Metric

Example 2 Convert 24 sks Yorkshire woollen to Worsted

Example 3 Convert 2/40 cotton to Metric

Example 4 Convert 15 cut Galashiels to Yorkshire woollen

Example 5 Convert 16 sks Yorkshire woollen to Metric

Example 6 Convert 2/20 cotton to Galashiels woollen

Calculate average yarn counts in the Indirect system

Example 2 1 end of 20 sks Yorkshire woollen

1 end of 30 sks Yorkshire woollen

2 ends of 18 sks Yorkshire woollen

30 x 4 5.84 = 20.55 = 20.5 sks Yorkshire woollen Average count =

1 end of 16s worsted 1/16 worsted to Cotton = 840 = 10.67s Cotton

1.18 Resultant yarn counts in the Indirect system

The resultant yarn count is the count of two or more yarns twisted together

Example 1 24 sks Yorkshire / 16 sks Ysrkshire

First convert 32 cotton to worsted =

40 x 840 Convert 2/80 cotton to worsted = 560 = 60 worsted

Percentage take-up refers to the additional length of single yarns per unit length of folded yarn, which was not included in previous examples It is crucial to factor this into calculations to ensure an accurate resultant count.

The take-up rate varies based on the thickness of the component yams and the number of twists per inch applied during the twisting process Increasing the number of turns per inch leads to a higher percentage of take-up and results in a thicker final count.

To calculate the unknown yarn count in a two-ply twist yarn, it is essential to know the count of one single component yarn as well as the resultant count This calculation is commonly utilized in the textile industry to ensure accurate yarn specifications.

In a two-ply yarn measured in Tex (Direct system), one thread has a count of 40 Tex, while the count of the second thread is unknown The combined resultant count of the two-ply yarn is 100 Tex To determine the count of the other component yarn, further calculations are necessary.

A three-ply yarn in the Tex (Direct) system consists of one thread measuring 50 Tex The unknown yarn count can be determined by subtracting 50 and 70 from 150, resulting in a count of 30 Tex.

Modern industries employ advanced equipment and techniques to evaluate the diverse properties of yarns Although this article does not delve into specific apparatus or test outcomes, it is important to highlight the key properties assessed during these evaluations.

This chapter addresses the essential knowledge of yarns, yarn counts, and manufacturing processes, providing a foundational understanding of the topic While it does not delve deeply into technical aspects, it highlights that woven fabric designers typically do not engage in solving carding and spinning issues, as those tasks are better suited for specialized professionals.

The research on Direct and Indirect yarn numbering systems reveals that the Direct system is easier to use, as it simplifies calculations for average yarn count, resultant yarn count, and yarn twist.

This chapter outlines the fundamentals of woven cloth construction, including essential cloth setting rules and formulas It features comprehensive tables detailing the production specifics for various fabrics, utilizing the same yarn count for both womenswear and menswear woven apparel All fabrics presented are commercially viable and serve as precise references for developing cloths in different yarn counts.

A key responsibility of a woven fabric designer is to adjust and modify cloths, which may involve altering the weight, weave, or yarn of existing fabrics while maintaining their original firmness Achieving these modifications accurately requires a deep understanding of essential formulas This chapter provides various examples demonstrating the application of these formulas.

During the weaving and finishing processes, fabric weight and dimensions undergo significant changes that must be anticipated To ensure the final product meets customer expectations, it is essential to account for these variations, delivering the fabric at the standard finished width and within the initially quoted weight in grams per running meter.

Finished cloth analysis is a crucial topic, as fabrics sourced from customers and other locations are frequently replicated for various purposes Accurately assessing the finished properties of these fabrics is essential for ensuring quality The results obtained are then refined to provide the necessary specifications for in-loom production, enabling precise reproduction of the cloths.

Before exploring cloth setting formulas, it's crucial to grasp the connection between yarn count and thickness For instance, if yarn A is stretched to four times its original length, the resulting yarn B will be thinner with a smaller radius, while both yarns maintain the same weight and volume but differ in yarn counts.

The weight of 20 crns of yarn B is equivalent to 5 crns of yarn A, indicating that 5 crns of yarn B weighs one quarter of 5 crns of yarn A If yarn A has a thickness of 100 Tex, stretching it to four times its original length results in yarn B having a thickness of 25 Tex.

In the Direct Tex yarn numbering system, halving the yarn count effectively reduces its thickness by 50% For instance, a 25 Tex yarn is half as thick as a 100 Tex yarn This demonstrates that the thickness or diameter of a yarn is directly proportional to the square root of its count.

Diameter of 25 Tex : diameter of 100 Tex = : f i

- Therefore 25 Tex is half the diameter or thickness of 100 Tex

Yarn twist calculations

To calculate the unknown component yarn count in a two-ply twisted yarn, it's essential to know both the count of the other single component yarn and the resultant count This calculation is frequently utilized in the textile industry to ensure accurate yarn specifications.

A two-ply yarn in the Tex (Direct) system consists of one thread measuring 40 Tex and another thread of an unknown count, resulting in a total count of 100 Tex To determine the count of the other component yarn, we can analyze the relationship between the yarns and their combined weight.

A three-ply yarn in the Tex direct system consists of one 50 Tex thread The unknown yarn count is calculated by subtracting 50 and 70 from 150, resulting in a final count.

Yarn testing

Modern industry employs advanced tools and techniques to evaluate the diverse properties of yarns Although this publication does not delve into specific apparatus or test outcomes, it is important to highlight the key properties being assessed.

This chapter addresses the essential knowledge of yarns, yarn counts, and manufacturing processes, providing a foundational understanding of the topic It emphasizes that woven fabric designers typically do not need to tackle carding and spinning issues, as these tasks are best handled by specialists in those areas.

The research on Direct and Indirect yarn numbering systems reveals that the Direct system is more user-friendly and efficient It simplifies the calculations for average yarn count, resultant yarn count, and yarn twist, making it easier for users to work with.

Introduction

This chapter covers the fundamentals of woven cloth construction, including essential cloth setting rules and formulas It features comprehensive tables detailing the making specifics for various fabrics, utilizing the same yarn count for both womenswear and menswear woven apparel All fabrics presented are commercially viable and serve as precise references for developing textiles in alternative yarn counts.

A crucial responsibility of a woven fabric designer is to adjust and modify cloths, often requiring alterations in weight, weave, or yarn while maintaining the original fabric's firmness Successfully implementing these changes necessitates a solid grasp of the relevant formulas This chapter provides multiple examples demonstrating the application of these essential formulas.

During the weaving and finishing processes, fabric weight and dimensions undergo significant changes that must be anticipated It is essential to account for these variations to ensure that the final product meets the standard width and the originally quoted weight in grams per running meter, delivering quality to the customer.

Finished cloth analysis is a crucial aspect of fabric evaluation, as it allows for the accurate determination of the properties of fabrics sourced from customers and other origins This analysis is essential for replicating cloths, as it provides the necessary adjustments to the in-loom specifications needed for precise reproduction.

Understanding the relationship between yarn count and thickness is crucial before exploring cloth setting formulas For instance, if yarn A is stretched to four times its original length, it transforms into yarn B, which is thinner and has a reduced radius Despite both yarns maintaining the same weight and volume, they will exhibit different yarn counts.

The weight of 20 crns of yarn B is equivalent to 5 crns of yarn A, meaning that 5 crns of yarn B weighs one quarter of 5 crns of yarn A For instance, if yarn A has a specification of 100 Tex, stretching it to four times its original length results in yarn B having a Tex value of 25.

In the Direct Tex yarn numbering system, halving the yarn count results in a reduction of thickness by a quarter For instance, a yarn with a count of 25 Tex is half as thick as one with a count of 100 Tex This illustrates that the thickness or diameter of yarn is directly proportional to the square root of its count.

Diameter of 25 Tex : diameter of 100 Tex = : f i

- Therefore 25 Tex is half the diameter or thickness of 100 Tex

In the Direct Tex yarn numbering system, the thickness or diameter of a yarn is directly proportional to the square root of its count, as demonstrated by figures 2.2 and 2.3 This relationship can be further clarified through the accompanying equations.

2.2 Yarn A with a relative diameter of six, assume the yarn count is unknown

2.3 Yarn B with a relative diameter of three, assume the yarn count is 25 Tex

2.4 Yarn A with a relative diameter of six, assume the yarn count is unknown

2.5 Yarn B with a relative diameter of three, assume yarn count is 16 sks Yorkshire woollen

In the Indirect yarn numbering system, yarn thickness is inversely related to the square root of the count, meaning that as the count increases, the yarn diameter decreases This relationship is illustrated in Figures 2.4 and 2.5, which detail the use of Yorkshire skeins for measuring woollen yarn counts.

Diameter of :16 sks YSW : diameter of 4 sks YSW = f i : &

Therefore 16 sks YSW is half the diameter of 4 sks YSW

Relationship between frequency of interlacings and density of fabric

2.6 Cross-section of 24 threads side by side just touching in the space of one inch

2.7 Plain weave interlacing allows only 12 threads in the space of one inch

2.8 In 2/2 twill there is sufficient space to allow 16 threads in the space of one inch

2.9 In 3/3 twill only six interlacings provides space for 18 threads in the space of one inch

Using the same thickness of yarn across various weaves, such as plain weave, 2/2 twill, and 3/3 twill, demonstrates that fewer interlacings in the weave allow for a higher density of threads to fit within the same area.

Ashenhurst's initial theory suggested that one interlacing occupies the same space as a single thread; however, this theory has been deemed somewhat inaccurate and later replaced by the angle of curvature theory, which will be discussed in a subsequent section.

Diameter reciprocal weave value and percentage reduction below maximum

Cloth setting refers to the number of ends and picks per inch or centimetre that are incorporated during weaving This process is affected by the yarn's density and thickness, as well as the overall firmness of the weave.

A cloth setting formula comprises three parts:

The diameter reciprocal is a key component of the setting formula, as it identifies the maximum number of threads that can be placed side by side, just touching, within a one-inch space for a specific yarn count.

Attempts to establish a relationship between yarn count and diameter reciprocal were made by Thomas Ashenhurst in the early 1880’s when he provided the following formula for worsted yarns:

Diameter reciprocal = 0.9 JYarn Count xStandard number

This can be applied to any Indirect yarn numbering system, using the appropriate yarn counts and standard numbers

To determine the value for a specific weave, first calculate the number of threads that can fit side by side in one inch based on the diameter reciprocal of the yarn count Then, account for the necessary spaces needed for the interlacing of warp and weft in the chosen weave.

Weave value = F/(F+l), where F = average float e.g Plain weave = l/(l+l) = 1/2

To determine the theoretical maximum setting in weaving, the diameter reciprocal and weave value are utilized However, this maximum figure is adjusted to calculate the actual number of ends and picks per inch required during the weaving process This percentage reduction is informed by practical experience and comparisons with other commercially viable fabrics.

This final reduction influences firmness, drape, handle, weight and suitability of the fabric for its intended end use.

Ashenhurst’s cloth setting formula

Maximum sett = k ,/Yards per pound x F/(F+l) = ends, picks per inch k value for woollens = 0.84 k value for worsteds = 0.90 k value for cottons = 0.95

Diameter reciprocal (woollens) and F = average float

= 0.84 Jcount x standard number Diameter reciprocal (worsteds) = 0.90 Jcount x standard number

Diameter reciprocal (cottons) = 0.95 Jcount xstandard number

= k Jyardsnb x 1 3 2 5 Maximum setting (2/2 twill) = k ,/yards/lb x 2/3

Ashenhurst established a weave value of F/(F+l) by allocating one thread space for each intersection in the weave; however, this method was subsequently shown to be flawed in two key aspects.

1) The angle of curvature theory showed geometrically that the space occupied by one intersection in a weave was less than the diameter of one thread - actually 0.732 of a diameter See section 2.6

In floats exceeding two, threads tend to bunch and overlap rather than align neatly side by side, which creates additional space beyond what is needed for a single thread, contrary to Ashenhurst's initial assumption.

Later setting theories, including Law's, acknowledge key considerations from earlier models While Ashenhurst's original theory may underestimate maximum ends and picks per inch, it still provides a reasonably accurate assessment for plain weave, 2/1 twill, and 2/2 twill fabrics.

Ashenhurst’s formula for determining diameter reciprocal used the Indirect yarn numbering system, but adjustments can be made to accommodate Direct yam numbering systems such as Tex

Yards per pound of any Tex yarn count can be calculated as follows: lo00 x 39.37 x 454 496 499

For example, diameter reciprocal for worsted yarn in Tex count is:

Bearing in mind that Ashenhurst’s settings are lower than those of his successors a more accurate value might be: 660 / &

Cloth setting is an imprecise process, where the maximum setting derived from diameter reciprocal and weave value serves merely as a starting point The final decision on the number of ends and picks per inch (or centimetre) to be used in weaving is made after considering the percentage reduction from the calculated maximum setting Examples can be illustrated using the original Ashenhurst setting formula.

Example 1 weave, 20% below maximum setting

Calculate setting for a fabric using 20 sks Yorkshire woollen yarn in plain

= 0.84 420x256 x 95 x 80/100 = 24.04 ends and 24.04 picks per inch

Example 2 Calculate setting for a 2/2 twill fabric, 10% below maximum setting using 2/56 worsted yarn

Sett = 0.90 428x560 x 2/3 x 90/100 = 67.6 ends and 67.6 picks per inch

If ends and picks per centimetre are preferred, calculated ends and picks per inch are simply divided by 2.54

In figure 2.10 the angle between adjacent threads at an intersection is assumed to be 30” in a balanced, square woven cloth

2.10 The square of the hypotenuse on a right-angled triangle is equivalent to the sum of the squares of the other two sides

AB = 2 diameters (or 1 diameter plus 2 x ‘/2 diameters) = 2

Therefore, if CB equals one diameter plus one interlacing, then one intersection is equal to

After the angle of curvature theory Ashenhurst’s new formula for maximum setting

DR x F/(F+I) where DR = diameter reciprocal became:

Weave value for plain weave = 1/( M 732) = U1.732

Comparing the original Ashenhurst formula with the later one based on the angle of

Old formulil = 63 X 2/(2+1) = 63 X 2/3 = 42 ends, picks per inch

Later formula = 63 X 2/(2+0.732) = 63 X 212.732 = 46 ends, picks per inch curvature theory for a 2/2 twill fabric with a DR of 63 below:

Ashenhurst’s original formula, based on diameter intersection theory, provides reliable cloth settings for plain weave, 2/1 twill, and 212 twill; however, it is less effective when the average float exceeds two To enhance the maximum settings for square sett cloths, Law developed a new formula, J500X yarn count, to determine the draft ratio (DR) for yarns, incorporating an additional 5% for each float above two.

Below is a comparison between the two theories for an imaginary setting in a 3/3 twill cloth made with 2/18 worsted yarn count:

Maximum sett = 4500 x C x F/(F+ 1) + 5% for every end in

This is the setting rule generally used in the Worsted industry the average float above 2

Maximum sett = JG- x F/(F+l) + 5% for every end in the average float above 2 This is the setting rule generally used in the Yorkshire woollen industry

Law's rules for maximum settings in the following weaves:

Sateens: DR x F/(F+l) + 5.5% for every end in the average float

2/2 twill lFace, lBack warp or weft backed fabric, sateen stitched, reduce face setting by 6.75%

2/2 twill lFace, lBack warp or weft backed fabric, twill or crow stitched, reduce face setting by 13.5%

2/2 twill lFace, lBack double cloth, sateen stitched, reduce face setting by 10%

Twill or crow stitched, reduce face setting by 20%

Double sateen stitched, reduce face setting by 20%

Double twill stitched, reduce face setting by 25%

Double crow stitched, reduce face setting by 25%

To create a fabric with a steeper twill than the standard 45° square sett, one can easily achieve this by increasing the number of warp ends per inch The challenge lies in calculating the appropriate reduction in the number of weft picks per inch needed to ensure the cloth retains its desired firmness.

A square sett 2/2 twill cloth typically features 64 ends and picks per inch; however, by increasing the ends to 120 per inch, a significantly steeper twill effect can be achieved This adjustment results in a reduced number of weft picks per inch, enhancing the fabric's overall texture and appearance.

If X is the increase in ends per inch above square sett, the decrease in picks per inch is

1.8 - 4 = 1.8 $56 = 13.5 decrease in picks per inch

So the setting required to preserve the firmness of the original square sett cloth will be 120 ends and 50 (64-14) picks per inch

The square sett 2/2 twill fabric, originally designed with 64 ends and 64 picks per inch, can be modified to achieve a flat twill effect by increasing the picks to 96 per inch This adjustment necessitates a recalculation of the reduced number of ends per inch.

If X is the increase in picks per inch above square sett, then the decrease in ends per inch is 3.6 f i 3.6 4 s = 3.6 a = 20.36 decrease in ends per inch

Therefore, the setting required to preserve the firmness of the original square sett cloth is

96 picks and 44 (64-20) ends per inch.

Different fabric weights densities and in-loom particulars using woollen 2.9

One yarn count can be used to make at least three different, basic cloths:

The three types of cloth vary in weight, density, drape, handle, price, and intended use Each cloth can be produced in both lighter and heavier versions, with lighter fabrics featuring fewer ends and picks per centimeter, while heavier fabrics have more ends and picks per centimeter.

When determining cloth setting, it is crucial to avoid setting lighter weight fabrics too loosely, as this can lead to seam slippage in garments Conversely, overly firm settings may cause difficulties in weaving due to excessive warp end breakages Therefore, it is recommended to consult internal fabric-making records maintained by woven cloth manufacturers to establish a baseline by comparing the weight and firmness of commercially acceptable fabrics Since there is no standard formula for calculating the total number of warp threads needed to achieve a finished fabric width of 150 centimeters, these internal records can offer valuable guidance.

Cloth setting involves more than just calculating warp ends and weft picks per centimetre; it requires careful consideration of the desired weight in grammes per linear metre and the total number of warp ends needed to achieve a finished width of 150 crns If the finished width falls below the standard, it can lead to issues for garment makers, potentially resulting in rejection of the fabric While widths exceeding 150 crns by two or three centimetres may be acceptable to customers, cloth manufacturers risk incurring losses since their costings are based on the 150 crns standard.

The tables 2.1 to 2.7 serve as precise guides for 'in-loom' fabric production, detailing recommended warp and weft specifications, resulting weights in grams per linear meter, and the total number of threads needed for fabrics at standard finished widths They also indicate the percentage width shrinkage from the 'in-loom' width and the finished length yield from a standard 70-meter warp length Additionally, the cloth setting formula outlines the calculation of loom ends and picks per centimeter, which are then adjusted to determine the appropriate metric reed and picks per 10 centimeters to be used in the loom.

The data provided in the tables is from commercially acceptable fabrics and serves as an accurate guide for developing other pure new wool woven fabrics

Table 2.1 details the comprehensive 'in-loom' specifications for three distinct menswear jacketing fabrics, all crafted from the same single lambswool yarn in a 2/2 twill weave These fabrics vary in key attributes such as weight, firmness, drape, handle, and price, highlighting the diversity within this material category.

In weaving, Cloth 1 experiences a 45% reduction, Cloth 2 a 35% reduction, and Cloth 3 a 25% reduction from the calculated maximum number of ends and picks per centimetre on the loom Each cloth's metrics are then adjusted to determine the appropriate reed size and the number of picks per 10 centimetres for weaving It's important to note that as the percentage reduction from the maximum decreases, the settings become firmer, leading to reduced width shrinkages.

Calculating the total number of warp ends needed for a standard finished width of 150 centimeters in cloth is not straightforward, as there is no definitive formula Instead, it relies on practical experience and comparisons with commercially acceptable fabrics.

Cloths 4, 5, 6 and 7 in table 2.2 are made from the same single Shetland yarn Two of the cloths are made in plain weave, the other two in 2/2 twill

Plain weave fabrics are tightly set, making them ideal for lightweight women's jackets and skirts, as indicated by the percentage reduction in maximum setting In contrast, 2/2 twill fabrics are woven more loosely, providing excellent options for jacketings suitable for both women's and men's apparel.

Table 2.3 showcases two-ply Shetland yarns, highlighting one in plain weave and the other in a 2/2 twill Cloth 8, made from plain weave, is set 25% below its maximum, though a reduction of 20% or 30% is feasible, depending on personal preference and experience Meanwhile, the heavier Cloth 9 in 2/2 twill is set wider on the loom to accommodate greater width shrinkage during finishing, resulting in a desirable fuller handle for women's coatings.

Table 2.4 showcases four traditional Donegal cloths that are perfect for both womenswear and menswear Cloths 10 and 11, crafted from the same Donegal yarn, feature a plain weave and a 2/2 twill weave, respectively These fabrics are ideally suited for jacketings, offering the distinctive homespun aesthetic that Donegal is renowned for.

Cloths 12 and 13 feature plain weave and 2/2 twill patterns, crafted from a thicker Donegal yarn compared to Cloths 10 and 11 Both plain weave fabrics exhibit a similar percentage reduction from their maximum settings, a trend that also applies to the twill fabrics.

Table 2.5 showcases two Cheviot wool cloths, including Cloth 15, which is crafted in a 2/2 twill weave using a single Cheviot yarn with a 7 nm count for both warp and weft This cloth is set at 45% below the maximum, resulting in a finished weight of 385 grams per linear meter and a width of 150 crns It serves as an excellent choice for jacketing suitable for both men and women.

Plain weave Cloth 14 is made with a two-ply version of the same Cheviot yarn, sett firmly in loom (only 10% below maximum) to give a substantial coating fabric for womenswear

Table 2.6 presents two lightweight worsted fabrics, one featuring a plain weave and the other a 2/2 twill, both crafted from the same 2/48 nm worsted yarn Notably, the plain weave cloth, identified as Cloth 16, is characterized by a firm sett.

The 2/2 twill Cloth 17 is set looser at 15% below the maximum, while the firmer settings at 5% below the maximum create a sleek and smooth handle typical of worsted fabrics Both types of fabric are ideal for lightweight menswear jacketings.

Table 2.1 outlines the 'in-loom' specifications for various menswear jacketings crafted from a single lambswool yarn The data includes cloth weight, weave type, and loom dimensions, highlighting the differences in metrics such as picks, warp, weft, and standard width For instance, the first entry features a U2 twill with a cloth weight of 1756 grams per linear meter, while the second and third entries utilize a 2/2 twill, showcasing weights of 1888 and 2100 grams per linear meter, respectively Each entry details the loom's standard width and reed specifications, providing a comprehensive overview of the production characteristics for these jacketings.

Changing cloth weights and settings

Consider two ways to increase the weight of any woven fabric

1) By using thicker yarn, because yarn count reflects weight a direct change of yarn count used in a cloth implies a direct change of weight

A fabric constructed with a 20 nm yarn count for both warp and weft weighs 300 grams per linear meter Conversely, if the same fabric is made with a 10 nm yarn, which is twice the thickness of the 20 nm yarn, its weight increases to 600 grams per linear meter While this relationship appears logical, it is ultimately impractical.

The cloth weight has increased proportionally, but there has been no adjustment for the 10 nm increase in yarn diameter If the original fabric has an acceptable level of firmness, the heavier version will be excessively firm, making it difficult or impossible to weave.

2) By increasing the number of ends and picks per centimetre, the desired change of weight might be achieved

Doubling the number of ends and picks per centimeter in a yarn count from 16 to 32 would theoretically double the weight of the fabric However, without accounting for the increased number of ends and picks, simply doubling the quantity is as impractical as increasing the yarn thickness to achieve the same weight in cloth.

To effectively alter fabric characteristics while maintaining firmness, it is essential to adjust both yarn count and weaving settings Utilizing finer yarns necessitates an increase in the number of ends and picks per centimeter, whereas thicker yarns require a reduced number of ends and picks This approach ensures that the modified cloth retains similarities to the original in terms of texture and durability.

In the Indirect yarn numbering system, yarn diameters are inversely related to the square root of the counts, while cloth settings are directly proportional to the square root of the counts This relationship is effectively demonstrated in the plain weave cross-sections shown in figures 2.1 la, 2.1 lb, and 2.1 lc, where the weave and firmness remain consistent Each weave intersection occupies an area equivalent to the diameter of a single thread, based on the pre-angle of curvature theory, to facilitate subsequent calculations.

2.1 l a Yarn diameter takes up 4 squares on point paper

2.1 l b Yarn diameter takes up 3 squares on point paper

2.1 l c Yarn diameter takes up 6 squares on point paper

To determine the yarn count and ends per inch for the cloth shown in figure 2.1 lc, we start with the assumption that the yam in figure 2.1 l a is a 9 skeins Yorkshire woollen count with 20.5 picks per inch By applying the appropriate formula, we can easily calculate the necessary metrics for the fabric.

Jcount c Diameter A (yam diameters are in inverse proportion

By cross-multiplication: to the square root of the counts)

Jcountc Ends C (cloth setting is in direct proportion

By cross-multiplication: to the square root of the count)

Therefore ends C = (20.5 x & ) / = 13.67 ends, picks per inch

Cloth in figure 2.1 l a with an assumed count of 9 sks Yorkshire and 20.5 ends/picks per inch, Cloth in figure 2.1 lc with a calculated count of 4 sks Yorkshire and 13.67 enddpicks per inch

To verify the accuracy of the calculated yarn count and cloth settings in Figure 2.1 1 c, apply Law’s formula for both cloths, incorporating a 10% reduction from the maximum setting for each.

Similarly yarn count and ends calculated as follows:

= 13.65 ends, picks per inch per inch for cloth B in the same firmness as cloth A are

(yarn diameters in inverse proportion to the square root of the counts)

JcountB Ends B (cloth setting is in direct proportion to

- the square root of the count)

So ends B r- (20.5 x J16 ) / f i = 27.3 ends, picks per inch

Cloth in figure 2.1 1 a with an assumed count of 9 sks Yorkshire and 20.5 enddpicks per inch, Cloth in figure 2.11b with a calculated count of 16 sks Yorkshire and 27.3 enddpicks per inch

To verify the accuracy of the calculated yarn count and cloth settings depicted in Figure 2.11b, apply Law’s formula for both settings while incorporating a 10% reduction from the maximum setting for each calculation.

This section highlights the crucial role of the woven fabric designer as a cloth modifier and adjuster While previous sections discussed the use of setting formulae in creating new fabrics, this part focuses on the necessary adjustments and alterations made to existing cloths.

To adjust the weight of a fabric, you can add or remove one or two ends and picks Adding ends and picks will result in a firmer cloth, while removing them will create a looser fabric These modifications are acceptable for achieving the desired weight and texture of the material.

Ideally therefore any alteration to cloth setting should be such that the adjusted cloth retains the same firmness as the original one

Woven fabrics exhibit similar firmness when they are reduced by the same percentage below their maximum setting For instance, in the examples calculated according to Law, each fabric is uniformly reduced by 10% from the maximum setting, regardless of the weave type, resulting in comparable firmness across all samples.

4 s - x F/(F+l) x 90/100 = ends, pickdinch, 10% below maximum setting,

2/56 worsted, 2./2 twill, 10% below maximum = 7 1 ends, pickdinch,

2/32 worsted, 2/2 twill, 10% below maximum = 54 ends, pickdinch,

2/48 worsted, plain weave, 10% below maximum setting = 49 ends, pickdinch

To maintain consistent firmness in adjusted cloth, it is essential to proportionally increase or decrease the yarn diameter and the number of threads per inch (or centimeter) The following formulas effectively achieve this balance.

Formula for use with yarn counts in the Indirect yarn numbering system:

W1 = weight of original or known cloth,

C1 = yarn count of the original or known cloth (Indirect system),

E l = ends, pickshnch of the original or known cloth,

W2 = weight of the adjusted cloth,

C2 = yarn count of the adjusted cloth (Indirect system),

E2 = ends, pickdinch of the adjusted cloth

Formula for use with yarn counts in the Direct yarn numbering system:

W 1 = weight of original or known cloth,

C l = yarn count of the original or known cloth (Direct system),

E l = ends, pickdinch of the original or known cloth,

C2 = yam count of the adjusted cloth (Direct system),

The examples that follow show how the formulae work by cross-multiplication

Change setting and yarn count but in the same weave:

To create a cloth with similar firmness using an alternative yarn count of 2/56 worsted, it would require 64 ends and 2.57 picks per inch This adjustment ensures that the new fabric maintains comparable density and texture to the original cloth made with 2/48 worsted yarn.

? ends, picks/inch, 2/56 worsted yarn

By cross-multiplication we get the following equation:

In a fabric trial, designers often experiment with solid wefts of varying yarn counts on a shared warp To ensure that all wefts produce fabrics with comparable firmness, it is essential to adjust the picks per inch for each type of yarn This process involves calculating the appropriate pick density for each weft.

If the pick density had not been adjusted, wefts 2 and 3, which are finer than weft 1, would have resulted in a looser texture, while weft 4, being thicker than weft 1, would have created a firmer structure Adjusting the sett, yarn count, and weight within the same weave is crucial for achieving the desired balance in fabric characteristics.

How to calculate warp and weft weights for piece and sample length

There are three different basic formulae depending on which yarn numbering system is used:

1) Direct Tex yarn numbering system,

2 ) Indirect metric yarn numbering system,

3) Indirect (yardsAb) yarn numbering systems - worsted, cotton, etc

Total ends x length (metres) x Tex x waste

Pickskm x length (metres) x width (cms) x Tex x waste

To calculate the warp and weft weights for a 64-meter long piece using 280 Tex yarn, with 1190 warp ends and a density of 5.9 picks per centimeter, and a loom width of 199.7 centimeters, one must also account for a 2.5% waste factor.

2) Indirect metric yarn numbering system:

Total ends x length (metres) x waste

Pickdcm x length (metres) x width (cms) x waste

To calculate the required weights of warp and weft for two pieces, each measuring 70 meters in length, with a total of 1,348 warp ends and a width of 186.3 cm on the loom, while maintaining a density of 7.5 picks per centimeter, we begin by noting that both the warp and weft yarn count is 7 nm Additionally, it is essential to account for a 2% allowance for waste in the calculations.

3) Indirect (yards/lb) yarn numbering system:

Total ends x length (vards) x waste

Warp = count x standard number = lbs

Pickshnch x length (yards) x width (inches) x waste

Weft = count x standard number = lbs

To calculate the warp and weft weights for a 75-yard piece of 15 sks Yorkshire woollen with a total of 1,328 ends, first note that the loom width is 76.5 inches and the fabric has a density of 18.5 picks per inch Additionally, it is essential to account for a 3% waste in the warp These parameters will guide the accurate determination of the required weights for both warp and weft in the weaving process.

Influences on both weight and dimensional changes in woven fabrics

The standard finished width of woollen or worsted woven apparel fabric is 150 centimeters within the selvedges, with lengths ranging from 60 to 75 meters, depending on the manufacturer's warp length Variations in length, width, and weight occur at different manufacturing stages before the final cloth is prepared for dispatch It is essential that the fabric meets the specified finished width and weight in grams per linear meter.

The weight and dimensional changes that occur in a piece of woven fabric during manufacture might be recorded as follows:

In-loom reed width - 188 crns

Ex-loom piece width - 178 crns

Ex-loom piece weight -26.0 kgs

The difference between warp length and woven length is due to wastage in starting up in loom and take-up in warp thread interlacings during the weaving process

The variation between woven length and finished length is primarily caused by length contraction that occurs during scouring and milling, making it essential to monitor this difference closely, as excessive shrinkage results in reduced cloth availability for sale Additionally, the ex-loom width is narrower than the in-loom width due to the relaxation of weft interlacings after being held at loom width by the reed during weaving Finally, the weight of the finished piece is lower than that of the ex-loom piece due to the loss of oil and fibers during the scouring and milling processes.

To achieve a finished cloth width of 150 crns, careful attention must be paid to the factors affecting the fabric during both wet and dry finishing processes This analysis is crucial for determining the appropriate loom width needed to produce the desired final dimensions.

1) shrinkage during wet finishing than say a polyester/wool or synthetic yarn

Raw materials used - a pure new wool weft yarn will encourage greater weft

Soft or hard spun yarn - naturally a soft spun yarn will contract more in wet finishing

3) greater width shrinkage than one with short floats and more frequent interlacings

Weave structure - a weave with long floats and few interlacings will encourage

4) there is likely to be

Density of ends and picks - the denser and firmer the fabric the less width shrinkage

5 ) the more width and length shrinkage

Finishing routine - generally speaking the more scouring and milling a fabric receives,

When creating new woven fabrics, it is crucial to anticipate and account for weight and dimensional changes Accurate calculations of cloth-making specifications are essential to ensure that the final products meet the standard finished width of 150 centimeters and maintain a weight within ±4% of the previously specified grams per linear meter.

Accurate records of weight and dimensional changes are normally kept for every piece produced and should be studied and used as accurate guides when developing new fabrics.

Finished cloth analysis

The following information is required to reproduce an unknown fabric:

1) Fabric weight in grammes per linear metre

Trim, measure and weigh the finished fabric sample and calculate as below:

Dimensions of sample = grammes/linear metre

2) Finish.ed warp ends per centimetre (or inch)

Using a piece glass, carefully count the number of ends in one inch

3) Finished weft picks per centimetre (or inch)

In a like manner count the number of weft picks in one inch

Put down on point paper each warp and weft thread interlacing in one repeat of the weave Determine draft and peg plan required to reproduce the weave

To determine the average stretched length of warp ends from a pre-measured fabric sample, take several warp ends and measure their stretched lengths individually using a ruler Once all measurements are taken, calculate the average stretched length based on these values.

Stretched length minus unstretched length x 100

Stretched length = percentage warp shrinkage

Take a few weft picks from the pre-measured fabric sample and calculate as previously:

Stretched length minus unstretched length x 100

Stretched length = percentage weft shrinkage

Weigh the warp ends previously taken from the fabric sample having first determined the total unstretched length of yarn and calculate thus:

36 x weight (grammes) x 256 = clean yarn count (Yorkshire woollen)

Weigh the weft picks taken from the sample and calculate as before:

36 x weight (grammes) x 256 = clean yarn count (Yorkshire woollen)

The above finished state particulars then have to be modified in order to provide the necessary ‘in-loom’ particulars and dimensions to accurately reproduce the original fabric

How to calculate in-loom particulars from finished state

1) number of ends by the weft shrinkage

‘In-loom’ warp ends per centimetre (or inch) are calculated by reducing the finished

Example: A finished fabric has 20 warp ends per centimetre and weft shrinkage is known to be 11% What would be the number of warp ends per centimetre in loom?

In-loom ends per cm = (20 x 89) / 100 = 17.8

2) ‘In-loom’ picks per centimetre (or inch) zre calculated by reducing the finished number of weft picks by the warp shrinkage

Example: A finished fabric has 16 weft picks per centimetre and warp shrinkage is known to be 5% Calculate the number of weft picks per centimetre in loom

‘In-loom’ width of warp is calculated by increasing the finished width by the weft

Example: Standard finished width of a piece is 150 cms and the width shrinkage is 12.5% Calculate the width in loom to give 150 cms finished width of cloth

4) To calculate the woven length required to give 1 metre of finished cloth increase the finished length by the length shrinkage

Example: If length shrinkage is 6% what will be the woven length?

Woven length = (1 x 100) / 94) = 1.064 metres to yield 1 metre finished cloth

5) To calculate the greasy warp yarn count from clean count, use length shrinkage and oil loss as follows:

Example: Clean warp count 21 sks Yorkshire woollen

Greasy warp count = (21 x 100 x 92) / (95 x 100) = 20.3 sks Yorkshire

6 ) To calculate the greasy weft yarn count from clean, width shrinkage and oil loss in finishing are used as in the previous example:

Example: Clean weft count 22 sks Yorkshire woollen

Warp and weft yarn counts are affected by yarn contraction during the weaving process, along with additional contraction and weight loss that occur during finishing While warp or weft contraction results in thicker yarn counts, the finishing process causes them to become thinner, effectively balancing each other out to some degree.

How to determine finished fabric weight in grammes per linear metre at

Method A: This is done in four stages as follows:

1) Calculate the greasy weight (kilos) of warp yarn required for a piece of cloth, excluding waste

2) Calculate the greasy weight (kilos) of weft yam required to weave the piece, excluding waste

3) Add the two weights together and reduce by the anticipated weight loss in finishing

To calculate the weight of one meter of finished cloth that is 150 cm wide, take the total clean weight in kilograms, multiply it by 1000, and then divide by the known or estimated finished length of the piece in meters.

Information required to make the calculation:

Total number of ends in warp,

Width of warp in loom,

Picks per centimetre in loom,

Greasy warp weight (kilos) Total ends x wan, length (metres) n m x 1000

Pickskm x 100 x woven lgth (m) x loom width (cms) Greasy weft weight (kilos) = 100 x nm x 1000

The information required for this alternative method is as follows:

Percentage reduction warp to woven length (W%),

Percentage reduction woven to finished length (F%),

Percentage weight loss in finishing (L%),

Total number of ends in warp,

Width of warp in loom (crns),

Picks per centimetre in loom,

(W%, F% and L% values can be supplied by production control or estimated)

Wtofwarp(gms) Totalends x 100 X 100 x (100-L) for l m fin cloth = nm x (100-W) x (100-F) x 100

Wt of weft (gms) for l m fin cloth = 100 x nm x (100-F) x 100 picks/cm x 100 x loom width (cms) x 100 x (100-L)

Add warp and weft weights together to give the weight in grammes of 1 metre of finished cloth, 150 cms wide

This chapter outlines the application of various cloth setting formulas in woven fabric construction, demonstrating through tables how different types and weights of cloth can be produced from the same yarn These tables provide manufacturing details for commercially acceptable fabrics made from pure new wool, serving as valuable guides for the creation of other fabrics.

Woven fabrics can be designed either through inspiration or imitation, with a thorough exploration of how to precisely define the 'finished' characteristics of the material Additionally, the article discusses the crucial process of transforming this information into actionable 'in-loom' manufacturing data.

Cloth modification and adjustment is a crucial aspect of fabric design, often overlooked in discussions For instance, a woven fabric designer may need to recreate an existing fabric using different weights, yarn counts, or weaves while maintaining the original's firmness It is essential to study the necessary formulas thoroughly to achieve this successfully.

This chapter starts with a simple sketch illustrating the various parts of the loom and their roles in the weaving process It explores a diverse range of weaves for fabric construction, each depicted on point paper with the initial thread positioned on the left and the first pick along the bottom Additionally, it provides instructions for creating basic color and weave effects, accompanied by examples for better understanding.

The English system of drafting and pegging is explained in detail with examples provided

Initially, this business may appear complex, but with thorough examination, it becomes more comprehensible The process of sleying, also known as denting, is an integral part of drawing and is explained in detail.

Figure 3.1 illustrates essential components of weaving, including warp, healds (or shafts), reed (or sley), weft, a warp beam, and a woven cloth beam The term "warp" refers to the vertical threads on the loom, which can be organized in various predetermined color patterns These arrangements may create designs such as stripes or checks, while a self-colored fabric consists of threads in a single hue For example, in a dogtooth check design, the warp threads are arranged in a sequence of four threads of color A followed by four threads of another color.

Woven cloth beam 3.1 The basic requirements and principles of the weaving process

In a Prince of Wales or glen check design the warp threads might be arranged as follows:

In tartan designs up to as many as five or six different yarn colours might be arranged in a complex sequence in order to achieve the desired effect

The warp is initially organized into equal-length sections on a warp mill and then transferred to a warp beam, which is positioned at the back of the loom for weaving Following the warping process, drawing and sleying are performed before the warp beam is installed in the loom During the drawing phase, each warp end is threaded through the metal eye of a heald on various shafts in a specific order based on the draft Once drawing is finished, the warp ends are grouped together, typically in sets of 2, 3, or 4, depending on the desired cloth sett and weave, and then pulled through a split in the reed.

The weaving process involves projecting weft yarn across the warp in a specific color sequence that complements the warp arrangement Each pick passes through a 'shed' created by the movement of shafts carrying the warp threads After insertion, the reed beats the weft against the woven fabric, and the shafts reposition to form a new shed for the next pick This operation is repeated thousands of times at high speed during the creation of a 70-meter piece of cloth Key variables in fabric construction will be addressed throughout the book.

Warp and weft yarn counts

Number of warp ends per centimetre in loom

Number of weft picks per centimetre in loom

Total warp ends in loom to give standard finished cloth width of 150 cms

Sequence of warp end colours (warp set-in)

Sequence of weft pick colours (weft set-in)

Number of shafts required to reproduce the weave

Sequence of drawing individual warp ends through eyes on the shafts (Draft)

Number of warp ends to be sleyed together in each dent of the reed

Instructions to raise or lower every shaft (Peg plan)

Introduction 53

This chapter begins with a simple sketch illustrating the various parts of the loom and their roles in the weaving process It explores a diverse range of weaves utilized in fabric construction, with each weave depicted on point paper, showing the first thread on the left and the first pick along the bottom Additionally, the chapter provides instructions for creating basic color and weave effects, accompanied by practical examples.

The English system of drafting and pegging is explained in detail with examples provided

At first glance, this business may seem complex, but a thorough examination reveals its simplicity The process of Sleying, also known as Denting, is an integral part of drawing and is explained in detail.

The weaving process

Figure 3.1 illustrates key components of weaving, including warp, healds (or shafts), reed (or sley), weft, a warp beam, and a woven cloth beam Warp refers to the vertical threads on the loom, which can be organized in various colors to create patterns such as stripes or checks In self-colored fabrics, all warp threads are typically the same color For instance, in a dogtooth check design, the warp threads would alternate between four threads of color A and four threads of another color.

Woven cloth beam 3.1 The basic requirements and principles of the weaving process

In a Prince of Wales or glen check design the warp threads might be arranged as follows:

In tartan designs up to as many as five or six different yarn colours might be arranged in a complex sequence in order to achieve the desired effect

The warp is initially organized into equal-length sections on a warp mill before being transferred to a warp beam, which is positioned at the back of the loom for weaving Following the warping process, drawing and sleying are performed before the warp beam is installed in the loom During the drawing operation, each warp end is threaded through the metal eye of a heald on designated shafts according to a specific draft order Once drawing is finished, the warp ends are grouped together—typically in sets of 2, 3, or 4—based on the desired cloth sett and weave, and then pulled through a split in the reed.

During the weaving process, weft yarn is inserted across the warp in a specific sequence of colors that harmonizes with the warp arrangement Each pick travels through a 'shed' created by the movement of the warp threads, and after insertion, the reed beats the weft against the woven fabric The shafts then reposition to form a new shed for the next pick, repeating this operation thousands of times at high speed to create a 70-meter piece of cloth This article will explore the various variables involved in constructing woven fabric throughout the book.

Warp and weft yarn counts

Number of warp ends per centimetre in loom

Number of weft picks per centimetre in loom

Total warp ends in loom to give standard finished cloth width of 150 cms

Sequence of warp end colours (warp set-in)

Sequence of weft pick colours (weft set-in)

Number of shafts required to reproduce the weave

Sequence of drawing individual warp ends through eyes on the shafts (Draft)

Number of warp ends to be sleyed together in each dent of the reed

Instructions to raise or lower every shaft (Peg plan)

3.2 Terms used to describe fabric interlacings

The woven fabric or structure consists of two series of yarns (warp and weft) that interlace at right angles to each other

In figure 3.2, 'weave' describes the interlacing of warp and weft threads, while 'design' illustrates how this weave is depicted on squared or point paper The vertical lines on point paper symbolize warp ends, and the horizontal lines represent weft picks A mark or cross within a square signifies that the warp is lifted over the weft, whereas a blank square indicates the weft is over the warp.

Weaves typically repeat over a specific number of ends and picks, with only one design repeat displayed on point paper The ends and picks in a repeat can be equal or unequal, but the overall weave must form a square or rectangle For a balanced and durable fabric, it is essential that each end and pick has a similar number of interlacings within a single weave repeat.

The most commonly used weaves are plain, twill and sateen They are the elementary weaves from which nearly all others are derived

Plain weave, depicted in figure 3.3, is the most fundamental weaving technique, characterized by the highest number of interlacings, which contributes to its strength This weave is capable of producing the lightest fabric weight across any yarn count By employing two or more ends and/or picks together, the threads can be densely packed, resulting in fabrics that possess greater body and substance compared to standard plain weave In larger hopsack weaves, the warp and weft threads lie flat, creating a lustrous appearance and a smoother texture Examples of modified plain weave can be found in figure 3.4.

3.3 Plain weave as represented on point paper

Woven fabric design 57 Twill weaves

3.5 Common twill as represented on point paper

Twill weaves are characterized by diagonal lines that ascend from left to right at a 45-degree angle The most common type is the 2/2 twill, where each thread interlaces two up and two down Larger twill weaves, such as hopsack, create fabrics that exhibit increased luster, a smoother texture, and greater substance Additionally, twills can be designed to run in various directions, including right, left, or in a herringbone or chevron pattern.

Twill weaves can be designed to emphasize either the warp or weft on the fabric's surface, such as in 3/2 or 2/1/3 twills To achieve wide twill patterns while maintaining strong interlacings, the lengths of the floats can vary within the weave repeat, exemplified by a 3 up, 2 down, 1 up, 2 down twill structure.

When creating double, treble, and multiple twills, it's essential to consider the desired breadth of effect, the balance between visible warp and weft on the surface, and whether the final outcome justifies the dimensions used.

Examples of these and other twill weaves are shown in the following figures 3.6 and 3.7

3.8 A sateen weave as represented on point paper

Sateen weaves, among the oldest weaving techniques, are characterized by a unique interlacing pattern where the warp or weft threads are mostly concealed, creating a smooth surface Warp sateens feature an uninterrupted warp surface, while weft sateens showcase a seamless weft surface These weaves can be categorized as regular, where the sateen number and move number share no common factors, or irregular, where the move is interrupted multiple times within the repeat, allowing for a specific distribution of marks on each warp end and weft pick.

Figure 3.9 shows examples of sateen weaves and derivatives that feature steep twills of warp as well as flat twills of weft

Figures 3.10 and 3.11 showcase a variety of weaves appropriate for both womenswear and menswear fabrics These practical weaves, while not confined to a specific category, can be utilized on various occasions.

Basket weaves (or entwining twills)

Figure 3.12 illustrates various weaves created using standard interlacings in the warp, where every alternate end in each of the six designs interlaces in a 2 up, 2 down pattern Notably, all these designs can be woven on a single warp utilizing the same ten shaft draft.

Steep twill effects can be achieved through weaves featuring long warp floats, where each end in the design steps two or more, or by employing a basic twill weave while adjusting the ratio of warp ends to weft picks These fabrics exhibit pronounced steep twills of warp and are known as whipcords.

The 11-end Indian whipcord weave is commonly utilized in riding fabrics made from wool and worsted materials, as well as in looser sett fabrics for women's outerwear Additionally, this weave can be crafted in straightforward twill patterns featuring oversett warp ends For visual examples, refer to figure 3.13.

3.12 Basket weaves (or entwining twills)

To enhance the weight and texture of cloth without significantly altering its surface appearance, additional warp ends or picks can be woven into the fabric's back In warp-backed cloths, the stitching technique involves lifting the backing end over a weft pick, ensuring that the face warp remains prominent on both sides For instance, a stitching mark is positioned between two face weave marks, allowing the backing warp ends to 'hang' at the back while being securely tacked to the face in a systematic manner.

Sleying (or Denting)

After threading the warp ends through the wire eyes on the shafts, they are collectively sleyed through the splits in the reed The reed, which is positioned at the front of the loom, moves back and forth during the weaving process.

The number of ends sleyed in each split can vary between 2, 3, or 4, depending on the warp density and weave type Typically, in plain weave, ends are sleyed at a rate of 2 per split, regardless of the warp setting In contrast, 2/2 twill may utilize 2 or 4 ends per split, while weaves like 2/1 twill and barleycorn generally employ 3 ends per split.

There are three different reed numbering systems used today, namely Metric, Huddersfield and Scottish

Metric: Where the reed number indicates the number of splits in 1Ocms

For example, 43 reed indicates 43 splits in 1Ocms

43/2 reed indicates there are 2 ends per split, giving 86 ends in lOcms,

4314 reed indicates there are 4 ends per split, giving 172 ends in 1Ocms

Huddersfield : Reed number indicates the number of splits in one inch

For example, 16 reed indicates 16 splits in one inch

16/2 reed indicates there are 2 ends per split, giving 32 ends per inch,

16/4 reed indicates there are 4 ends per split, giving 64 ends per inch

Scottish: The reed number here indicates the number of splits in 1.85 inches

For example, 21 reed indicates there are 21 splits in 1.85 inches

2 1/2 reed gives 42 ends in 1.85 inches which is equivalent to 22.7 ends per inch,

21/4 reed gives 84 ends in 1.85 inches which is equivalent to 45.4 ends per inch

This chapter covers basic weaves and the straightforward concepts of warp and weft coloring effects, making the weaving process easy to grasp However, drafting and pegging are more intricate, and efforts have been made to simplify these concepts with clear examples A deeper understanding of the subject will require consistent reading and study of the relevant sections.

Introduction 95 4.2

This concluding chapter focuses on the woven fabric designer's role as a creator of commercially viable and economically produced textiles It highlights the designer's importance in a dynamic industry while addressing the significant financial and commercial constraints they face.

This article explores the process of section blanket making, focusing on the creation and coloring of designs while highlighting common manufacturing pitfalls to avoid It aims to provide clear and imaginative insights into various section blanket design and color layouts, encouraging readers to visualize the vibrancy of color through descriptive language.

This publication intentionally excludes the connection between CAD and CAM, as my experience shows that the effectiveness of CAD is closely tied to the user's practical skills in cloth making, creativity, and color perception It is unlikely that any CAD system can make up for deficiencies in these essential qualities.

4.2 The role of the woven fabric designer

In an ideal business environment, woollen and worsted woven fabric manufacturers would focus on producing simple cloths in long production runs, minimizing the variety of yarn qualities, counts, colors, designs, and plans used Most manufacturers currently utilize modern and efficient looms that are perfectly suited for this streamlined approach.

In today's business landscape, manufacturers face a significant challenge as long production runs are becoming increasingly rare This shift is compounded by a growing trend towards smaller, fragmented orders, which are less economical to produce and not well-suited for modern high-speed looms.

The modern woven fabric designer plays a crucial role in balancing the interests of fabric manufacturers and garment makers, as their expertise significantly impacts the success or failure of this dynamic They must continuously develop fashionable and marketable designs while minimizing the variety of yarn counts, colors, and section blankets This necessitates a creative approach to design that effectively navigates substantial commercial constraints.

Using fewer yam counts and colors in a collection can result in larger dye lots and spinning batches, which increases efficiency By consistently utilizing common warps and drafts in section blankets, designers can combine smaller sample orders into longer production runs, thereby reducing the frequency of small orders This approach minimizes the tendency to create numerous section blankets, designs, and colorways, ultimately leading to more successful collections Implementing these strategies will encourage designers to streamline their processes while maintaining quality.

Yarn counts and qualities: grammes/linear metre

Table 4.1 Menswear fabrics in 2/52 nm worsted yarn

Weave I Ends, pickslcm (in loom) I Approx weight in

Ends, picks/cm (in loom) Approx weight in grammes/linear metre Plain weave

Table 4.2 Womenswear fabrics using 8.5 nm Shetland yarn

A single yarn count can produce at least three distinct fabrics, each varying in weight, weave, density, drape, handle, selling price, and intended use Combining this yarn with others can yield even more fabric variations, as illustrated in tables 4.1 and 4.2.

A well-curated selection of running colors in each yarn count is crucial for designers, as a limited range of thoughtfully chosen colors offers greater creative flexibility than a larger assortment of mismatched hues.

In woven fabrics, a basic grey can be effectively represented by three evenly graded tones ranging from light to dark, allowing for a diverse array of tonal depths When creating a three-section blanket, using the same yarn color for both warp and weft results in three distinct tones, while variations in warp and weft colors can introduce additional combined tones, potentially yielding up to five different shades of grey from just three basic yarn colors This principle extends to other ground colors such as brown, blue, olive, and burgundy, where corresponding light tones will match in depth, as will medium and dark tones, ensuring a cohesive color palette across different hues.

In addition to the fundamental ground colors, a selection of decorative yarn colors, including tan, red, turquoise, gold, and emerald in light, medium, and dark shades, along with white and black, can effectively enhance a comprehensive palette of thirty-two running colors for stripes and overchecks.

To maintain control over the total number of running colors in each yarn count, it's essential to consistently monitor the color inventory When new colors are introduced, existing ones should be promptly removed to ensure an optimal balance.

Section blanket design & colour layout light grey mid grey dark grey

Warp 1 crossed with weft 1 would give: solid light grey

Warp 1 crossed with weft 2 would give: light grey/mid grey

Warp 2 crossed with weft 2 would give: solid mid grey

Warp 2 crossed with weft 3 would give: mid grey/dark grey

Warp 3 crossed with weft 3 would give: solid dark grey

4.1 Five shades of grey fabric from three shades of grey yam

In the selected crossings of light grey/mid grey and mid grey/dark grey, the lighter shade is positioned in the warp while the darker shade is in the weft It may seem possible to use a common warp for both pairs, but the lighter color consistently appears more vibrant and visually appealing when placed in the warp.

The importance of selecting the ‘right’ ones from pairs of ‘opposites’ which appear in section blankets made with weft colours as warps is explained more fully later on

The five shades of grey in this blanket range uniformly from light to dark Additionally, incorporating a black weft into the dark grey warp can create a sixth shade of grey, enhancing the overall design.

This article explores a diverse palette of colors, including shades of grey such as light grey, mid grey, and dark grey, as well as various tones of brown like light brown, mid brown, and dark brown It also highlights blue hues, featuring light blue, mid blue, and dark blue, alongside olive shades, which include light olive, mid olive, and dark olive Additionally, the article discusses burgundy shades, encompassing light burgundy, mid burgundy, and dark burgundy, and concludes with light tan, showcasing a comprehensive range of colors for various applications.

32 mid tan dark tan light red mid red dark red light turquoise mid turquoise dark turquoise light gold mid gold dark gold

1 ight emerald mid emerald dark emerald white black

As decoration colours are mostly used sparingly they can be package dyed in smaller lots.

Section blanket making

Section blankets are essential yet costly components in woven fabric manufacturing, serving as a foundation for design and color development, as well as for creating swatches and mill references While the variety of section blankets is vast, they can be categorized into two basic types The first type features a limited number of warps and wefts, typically consisting of ten meters in warp length with configurations of three or four warps and wefts These can be arranged in various color tones, such as greys, browns, or other colors like blue, olive, or burgundy Additionally, different designs can be used for each warp and weft, allowing for diverse combinations, such as varying shades of the same color, which enhances the creative possibilities in fabric design.

This type of section blanket gives designers a single opportunity to achieve the desired design and color effects in a variety of colorways suitable for selection When successful, this method minimizes material waste, making most of the section blanket usable However, it limits designers' ability to experiment with unique weaves, designs, and yarn color combinations, as unsuccessful attempts can lead to significant financial losses due to discarded colorways.

Figure 4.2 presents the recommended 'in-loom' specifications for a blanket featuring a three warp, three weft configuration Meanwhile, Figure 4.3 outlines the anticipated final dimensions of the blanket Additionally, Figure 4.4 demonstrates the potential use of any of the nine equally sized sections for swatching and other applications.

4.2 ‘In-loom’ dimensions for a three warp, three weft section blanket

7 metres woven length (approx), 6.5 metres finished length (approx),

4.3 ‘Finished’ dimensions of a three warp, three weft section blanket

This provides: 9 - 16cms (wide) x 23cms (long) swatches for reps etc.,

16 - 23cms (wide) x 16cms (long) clips for customers’ requests, plus mill reference pattern material

4.4 Pattern material available from one section of a three warp, three weft blanket

The second type of section blanket offers a unique design opportunity, featuring the same overall dimensions as the first type but incorporating up to ten warps and twenty wefts While individual colorway sections may be too small for swatching, they enable designers to experiment with various weaves, designs, and color combinations, leading to innovative and captivating patterns Accidental crossings can produce fresh and appealing designs that may inspire further development into a three warp, three weft version Any standout design or colorway can be enhanced with additional options and reintroduced in the other section blanket format, ensuring a diverse selection of four to five compelling colorways.

The quantity of random section blankets, consisting of ten warp and twenty weft types, will differ among companies However, only a limited number is necessary for established fabric quality to create an engaging and sufficient collection.

When creating section blankets for swatching, some waste is inevitable due to the presence of 'opposites' in section ranges, where weft colors differ from warp colors For swatching, three solid colorways with matching warp and weft yarns are chosen, along with one pair of 'opposites' that consist of 50% of one color for the warp and 50% of another for the weft For example, one 'opposite' may feature a light grey warp and light fawn weft, while the other reverses these colors Although they are technically identical, one will typically appear more appealing and be selected for swatching, while the other is discarded as waste Ultimately, from nine colorways in the blanket, only five or six will be deemed distinct enough for selection, resulting in three or four being unavoidably discarded.

Swatches play a crucial role in enticing customers to make purchases by instilling a sense of confidence in their choices of designs and colors However, an overwhelming variety of designs, colors, and themes can lead to confusion, leaving customers feeling that the collection lacks a clear message or authority.

A successful collection is built on thorough research into past sales performance, identifying what sold well in the previous season and understanding the reasons behind it Designers should consider the natural progression of designs and colors, while also integrating current fashion trends The adage "what sold well last season - but different" holds true, emphasizing the importance of innovation while staying connected to successful elements from the past.

Modern designers frequently travel globally to attend trade fairs, explore markets, and meet clients This travel allows them to observe firsthand consumer preferences and fashion trends, helping them anticipate the next big styles in the industry.

Before creating a seasonal collection, it's essential to conduct thorough research while considering the most suitable and cost-effective fabrics and designs that manufacturers prefer to use.

Fabric manufacturers can embrace innovative design by utilizing more standardized warps and drafts, reducing the number of yarn colors This approach facilitates larger spinning and dyeing batches, ultimately resulting in fewer section blankets.

Fabric manufacturers often maintain a minimum order list that outlines the necessary quantities to cover production costs for section blankets Failing to adhere to this list can lead to unexpected challenges, as manufacturers may discover they lack the capacity to fulfill excessively large orders for section blankets.

Section blanket design & colour layout r- weft 3-3 light olive weft 2+ light fawn weft 1-3 light grey light grey

4.5 Unavoidable wastage in section blanket making

In weaving, if the weft colors match the warp colors—specifically, light grey for warp 1 and weft 1, light fawn for warp 2 and weft 2, and light olive for warp 3 and weft 3—then all three colors maintain the same tone and depth Once the section blanket is woven, the final colorways are chosen for swatching.

Warp 1 crossed by weft 1 = solid or ‘true’ light grey

Warp 2 crossed by weft 2 = solid or ‘true’ light fawn

Warp 3 crossed by weft 3 = solid or ‘true’ light olive

Warp 1 crossed by weft 2 = light grey warp with light fawn weft)

Warp 2 crossed by weft 1 = light fawn warp with light grey weft) opposites

Warp 1 crossed by weft 3 = light grey warp with light olive weft)

Warp 3 crossed by weft 1 = light olive warp with light grey weft) opposites

Warp 2 crossedl by weft 3 = light fawn warp with light olive weft)

Warp 3 crossedl by weft 2 = light olive warp with light fawn weft) opposites

The selection process involves choosing three solid colorways along with one of the three pairs of contrasting colors, resulting in a total of six colorways for swatching The remaining options will be discarded.

‘opposites’ would go into the waste bag as unavoidable waste

Section blanket design and colour layouts

Figures 4.6 to 4.12 showcase basic design and color layouts that can be creatively enhanced in various ways These examples highlight the value of traditional designs, demonstrating that they can be revitalized and made visually appealing through innovative color applications.

When designing a section blanket, it is essential to incorporate at least three distinct color combinations that share the same depth, contrast strength, and color intensity This approach guarantees that the final woven blanket will feature four or five harmoniously balanced colorways that complement each other when displayed together in a swatch.

The herringbone design illustrated in Figure 4.6 should be colored to ensure a strong contrast between the warps and wefts, effectively highlighting the herringbone pattern In this case, there are six viable color options available from a total of nine, resulting in minimal material waste.

For optimal visual appeal in textile design, it's advisable to position the lighter color in the warp and the darker shade in the weft when there is a contrast between the two.

A poorly planned design and color layout can lead to significant waste, as illustrated in figure 4.7, where only three out of nine colorways are viable options, leaving six to be discarded To minimize waste, it is essential to carefully consider color choices in any design, aiming to maximize the number of usable colorways while reducing unnecessary waste.

The classic 4 and 4 dogtooth design features simple color arrangements in black and white, along with various grey combinations, as illustrated in figure 4.8 A total of six colorways are available for swatching.

The dogtooth design showcased in a 4 and 4 gunclub arrangement, as seen in figure 4.9, features a tone-on-tone color scheme of grey, brown, and burgundy, but it offers numerous coloring possibilities Bright decorative colors can replace mid tones, or contrasting shades like red and tan, blue and green, or tan and green can be used instead of mid and dark colors Additionally, light tones can be substituted with mid tones while keeping the dark tones intact, creating a dynamic interplay of colors The potential for coloring variations is extensive.

The 2 and 2, 4 and 4 gunclub coloring arrangement depicted in Figure 4.10 illustrates a typical Glen or Prince of Wales check in a common twill weave The additional picks in the 2 and 2 section of the weft set-in are designed to create a slightly elongated appearance in the weft, enhancing the overall aesthetic and ensuring the design looks smarter, as opposed to the square and squat appearance that would result if the warp and weft set-ins were identical.

The Prince of Wales check, often mistaken for a traditional tartan or district check, is actually a variation of the glen check design This distinctive pattern gained popularity through its association with the former Prince of Wales, who later became known as the Duke of Windsor.

Section blanket design and colour layout mid grey weftl+ 1 warp1 warp2 warp3 white midgrey darkgrey 4.6 Contrasting warp and weft showing herringbone design effect

Warp 1 (white:) crossed by weft 1 (mid grey) = possible selection

1 weft 2 (dark grey) = possible selection

Warp 2 (mid grey) crossed by weft 1 (mid grey) = herringbone does not show

Warp 3 (dark grey) crossed by weft 1 (mid grey) = not considered*

3 weft 2 (dark grey) = herringbone does not show

* It is always preferable to have the lighter tone in the warp rather than weft, not the other way round as in this example

In this section, a maximum of three colorways from the white warp, two from the mid grey warp, and one from the dark grey warp are deemed suitable for swatching.

Section blanket design and colour layout

4.7 Only three colourways show the herringbone design effect

Warp 1 (light grey) crossed by weft 1 (light grey) = herringbone does not show

I weft 2 (mid grey) = possible selection

Warp 2 (mid grey) crossed with weft 1 (light grey) = not considered*

2 weft 2 (mid grey) = herringbone does not show

Warp 3 (dark grey) crossed with weft 1 (light grey) = not considered*

3 weft 2 (mid grey) = not considered*

3 weft 3 (dark grey) = herringbone does not show

* Not considered because warp yarn colour is darker than weft and the opposite is preferred

When designing a herringbone pattern, it's essential to carefully select weft colors, even though matching them exactly to the warp colors is uncommon In this case, the light grey warp offers two viable options for swatching, the mid grey warp provides one option, while the dark grey warp has yielded no selections, resulting in a complete waste of that color.

Section blanket design and colour layout weR 3+

4.8 Dogtooth design with classic 4 & 4 colouring

Warp 2 and weft 2 Light grey

Warp 3 and weft 3 Mid grey

Black The most 1ikt:ly selections might be:

Warp 1 crossed by weft 1 - ‘true’ or perfect (warp and weft the same)

Warp 2 crossed by weft 2 - ‘true’ or perfect

Warp 3 crossed by weft 3 - ‘true’ or perfect

Section blanket design and colour layout weft 3+ weft 2+ i i I

4.9 Dogtooth design with 4 & 4 gunclub colouring

Warp 2 and weft 2 Light brown

Warp 3 and weft 3 Light burgundy

The three ‘true’ or perfect colourways would be selected for swatching, together with one or other of the three pairs of ‘opposites’, making a total of six colourways

Section blanket design and colour layout t !

4.10 Glen check (or Prince of Wales check) with a gunclub colouring arrangement

Three colourways for this design might be chosen from the following:

1 White / mid grey / dark grey

2 White: / mid brown / dark brown

3 White: / mid olive / dark olive

4 White / mid burgundy / dark burgundy

5 White / mid blue / dark blue

The glen check design can be enhanced by employing three distinct warping and wefting arrangements of similar dimensions within the same section range For swatching, three 'trues' will be chosen, focusing on unique crossings where weft set-ins differ from warp set-ins In the styles illustrated in figure 4.1, weft set-ins are depicted as warp for convenience Additionally, it's essential to add extra picks to the two and two weft sections to extend the designs slightly.

The design showcased in Figure 4.12 presents a womenswear jacketing cloth featuring natural color combinations, primarily in greys and fawns Utilizing three yarn colors—A, B, and C—in each of the warps and wefts, the colors are shifted one line at a time within each warp, creating three distinct 'true' designs and colorways with unique and unpredictable crossings This technique is especially effective with neutral and classic colors in various check designs, allowing for diverse proportions of the three colors.

While various section blanket designs and color layouts could be explored, the showcased examples aim to illustrate how the selected yarn colors for warps and wefts interact during the weaving process.

When creating section blanket layouts, designers should aim to maximize the variety of designs and colorways selected for swatching while minimizing the number of yarn colors, drafts, and loomings used.

l a Yarn diameter takes up 4 squares on point paper

2.1 l b Yarn diameter takes up 3 squares on point paper.

lc Yarn diameter takes up 6 squares on point paper

To determine the yarn count and ends per inch for the cloth in figure 2.1 lc, we start with the assumption that the yarn in figure 2.1 la is 9 skeins of Yorkshire woollen count with a pick density of 20.5 picks per inch By applying the appropriate formula, we can easily calculate the necessary values for the cloth.

Jcount c Diameter A (yam diameters are in inverse proportion

By cross-multiplication: to the square root of the counts)

Jcountc Ends C (cloth setting is in direct proportion

By cross-multiplication: to the square root of the count)

Therefore ends C = (20.5 x & ) / = 13.67 ends, picks per inch

Cloth in figure 2.1 l a with an assumed count of 9 sks Yorkshire and 20.5 ends/picks per inch, Cloth in figure 2.1 lc with a calculated count of 4 sks Yorkshire and 13.67 enddpicks per inch

To verify the accuracy of the calculated yarn count and cloth settings depicted in Figure 2.1 1 c, utilize Law’s formula while applying a 10% reduction from the maximum setting for both cloths.

Similarly yarn count and ends calculated as follows:

= 13.65 ends, picks per inch per inch for cloth B in the same firmness as cloth A are

(yarn diameters in inverse proportion to the square root of the counts)

JcountB Ends B (cloth setting is in direct proportion to

- the square root of the count)

So ends B r- (20.5 x J16 ) / f i = 27.3 ends, picks per inch

Cloth in figure 2.1 1 a with an assumed count of 9 sks Yorkshire and 20.5 enddpicks per inch, Cloth in figure 2.11b with a calculated count of 16 sks Yorkshire and 27.3 enddpicks per inch

To verify the accuracy of the calculated yarn count and cloth settings in Figure 2.11b, apply Law's formula for both settings while incorporating a 10% reduction from the maximum allowable setting for each.

This section highlights the crucial role of woven fabric designers as cloth modifiers and adjusters While previous sections discussed the use of setting formulas in creating new fabrics, this part emphasizes the importance of making adjustments and alterations to existing textiles.

To adjust the weight of a fabric, you can add or remove a few ends and picks; adding them will result in a firmer cloth, while removing them will create a looser texture These modifications are acceptable for achieving the desired fabric weight.

Ideally therefore any alteration to cloth setting should be such that the adjusted cloth retains the same firmness as the original one

Woven fabrics exhibit similar firmness when they are reduced by the same percentage below their maximum setting For instance, according to Law, each example discussed is uniformly decreased by 10% from its maximum setting, regardless of the type of weave, resulting in comparable firmness across all fabrics.

4 s - x F/(F+l) x 90/100 = ends, pickdinch, 10% below maximum setting,

2/56 worsted, 2./2 twill, 10% below maximum = 7 1 ends, pickdinch,

2/32 worsted, 2/2 twill, 10% below maximum = 54 ends, pickdinch,

2/48 worsted, plain weave, 10% below maximum setting = 49 ends, pickdinch

To maintain consistent firmness in adjusted cloth, it is essential to proportionally increase or decrease the yarn diameter and the number of threads per inch (or centimeter) The following formulas effectively achieve this balance.

Formula for use with yarn counts in the Indirect yarn numbering system:

W1 = weight of original or known cloth,

C1 = yarn count of the original or known cloth (Indirect system),

E l = ends, pickshnch of the original or known cloth,

W2 = weight of the adjusted cloth,

C2 = yarn count of the adjusted cloth (Indirect system),

Formula for use with yarn counts in the Direct yarn numbering system:

W 1 = weight of original or known cloth,

C l = yarn count of the original or known cloth (Direct system),

E l = ends, pickdinch of the original or known cloth,

C2 = yam count of the adjusted cloth (Direct system),

The examples that follow show how the formulae work by cross-multiplication

Change setting and yarn count but in the same weave:

To create a cloth with similar firmness to the existing fabric made of 72 ends and 2 picks per inch using 2/48 worsted yarn, an alternative yarn of 2/56 worsted would require adjustments Specifically, to maintain the same weave structure, the new cloth would need approximately 64 ends and 2 picks per inch This adjustment ensures that the fabric retains its desired characteristics despite the change in yarn count.

? ends, picks/inch, 2/56 worsted yarn

By cross-multiplication we get the following equation:

In a fabric trial, a designer may want to use solid wefts with varying yarn counts on a shared warp To ensure that all wefts produce fabrics with comparable firmness, it is essential to adjust the picks per inch for each weft This process involves calculating the appropriate pick density for each yarn count.

If the pick density had not been adjusted, wefts 2 and 3, which are finer than weft 1, would have been looser, while weft 4, being thicker than weft 1, would have been firmer Adjustments in sett, yarn count, and weight are crucial in achieving the desired balance in the weave.

To maintain a similar firmness in the fabric while using 2/40 nm yarn instead of 2/48 nm, the threads per centimeter would need to be adjusted accordingly For a comparable weave, the threads per centimeter would increase to accommodate the thicker yarn Additionally, the weight of the new cloth made with 2/40 nm yarn would also change, reflecting the denser construction and different yarn specifications.

2/48 nm, 24 threaddcm, 2/2 twill, 370 grammes/linear metre,

44 Woollen and worsted woven fabric design by cross-multiplication: E2 x 16 = El x f i

To create a plain weave fabric with a similar firmness that weighs 300 grammes per linear metre, the new yarn count should be adjusted to 21.0 threaddcm using 2/48 nm yarn for both warp and weft This adjustment will ensure the fabric maintains its quality while achieving the desired weight.

Cloth 1 2/48 nm, 19.5 threaddcm, plain weave, 280 grammedlinear metre,

Cloth 2 ? ? plain weave, 300 grammes/linear metre

To create a cloth with similar firmness but 25% heavier than one made with 60 ends and picks per inch using 2/48 worsted yarn in a 2/2 twill weave, the loom specifications would need to be adjusted accordingly This would involve increasing the yarn count to maintain the desired density while accommodating the additional weight, ensuring the fabric's structural integrity and quality.

2/48 worsted, 60 ends,picks/inch, 2/2 twill, weight 1,

Woven fabric construction 45 cross-multipl:y: J c 2 ~ ~2 = Jcl x W I a= (Jclx W1) / w 2

Changing sett, yarn count weight and weave:

Recent modifications have focused on weight, settings, and yarn count, utilizing formulas to cross-multiply and generate various equations based on the unknown variables involved.

Woven fabric designers must address everyday technical questions, making it essential to study the relevant formulas Without this knowledge, aspiring designers and fabric makers may encounter challenges when they begin their careers in woven fabric manufacturing.

Twill weaves

3.8 A sateen weave as represented on point paper

Sateen weaves are among the oldest weaving techniques, characterized by a unique interlacing pattern that conceals the threads, resulting in a smooth surface In warp sateens, this creates an almost uninterrupted warp surface, while weft sateens achieve a similar effect with the weft Sateen weaves can be classified as regular or irregular; regular sateens have no common factors between the sateen number and move number, while irregular sateens feature breaks in the move, allowing for varied mark distribution on each warp end and weft pick.

Figure 3.9 shows examples of sateen weaves and derivatives that feature steep twills of warp as well as flat twills of weft

Figures 3.10 and 3.11 showcase a variety of weaves suitable for both womenswear and menswear fabrics These practical weaves, while not confined to a specific category, offer versatile options for occasional use in garment design.

Figure 3.12 illustrates various weaves created using standard interlacings in the warp, where every alternate end in each of the six designs interlaces in a pattern of 2 up and 2 down Notably, all these designs can be woven on a single warp utilizing the same ten shaft draft.

Steep twill effects can be achieved through weaves featuring long warp floats, where each end in the design steps two or more, or by employing a simple twill weave with an overset of warp ends compared to weft picks These fabrics exhibit pronounced, steep twills of warp and are known as whipcords.

The 11-end Indian whipcord weave is utilized in riding fabrics made from wool and worsted materials, as well as in more relaxed sett fabrics for women's outerwear Additionally, this weave can be crafted in straightforward twill designs featuring oversett warp ends.

Sateen weaves

Secondary weaves

Whipcords

To enhance the weight and texture of the fabric without altering its fine appearance, additional warp ends or picks can be woven into the back of the cloth In warp-backed fabrics, the stitching technique involves lifting the backing end over a weft pick, ensuring that the face warp remains prominent on both sides For instance, a stitching mark is positioned between two face weave marks, with the backing warp ends hanging on the back of the cloth while being securely tacked to the face in a systematic manner.

Proper distribution and frequency of stitching are crucial to avoid surface defects like double twill or cross twill Binding should be uniform, free from irregularities, and can incorporate backing ends in ratios such as 1:1 or 2:1 with face ends Stitches can follow a twill order for twill weaves, a sateen order for sateen weaves, or alternate and irregular distributions when a regular pattern isn't feasible For visual examples, refer to figure 3.14.

Extra warp ends can create decorative spots on fabric, either as single floats or in groups for larger designs When not in use, these extra warp ends are secured on the fabric's back Spots can be arranged in various patterns, including plain, twill, or sateen, depending on the design Color variations can enhance the visual appeal, with different colors for individual spots or multiple colors in a group Effect yarns are most effective when they are more lustrous than the base fabric yarns Incorporating extra warp ends requires additional shafts for weaving, and careful tension control is essential to prevent slack In some cases, a second warp beam may be needed.

Double cloths feature a plain weave on both the front and back, creating an intriguing interplay of texture and effect These versatile fabrics are suitable for both womenswear and menswear, with unique figured effects achieved through varied sections of color, particularly appealing in womenswear designs The construction principles for double plain weaves are illustrated in figure 3.16, with self-stitching occurring in either the warp or weft.

Figure 3.17 illustrates weaves that create continuous geometric patterns using two or more solid colors, where the interchange of warp and weft eliminates the need for self-stitching However, if the sections of color are excessively large, self-stitching may be required to prevent the face and back weaves from becoming partially separated.

Figures 3.18 and 3.19 illustrate four distinct motifs that can be created using double plain structures with one light and one dark thread for both warp and weft While the sections can be enlarged in either warp or weft direction, excessive size increases may lead to partial separation All four designs can be woven from a single warp, utilizing the same 16 shaft straight-over draft and varying the peg plans.

Double plains

Thxs gives 4 sections, each one a different

Figure 3.20 illustrates a diagonally interchanging double plain that mimics a 4/4 twill pattern, featuring both light and dark variations This design also showcases an interchanging double plain that creates four distinct patterns within a single fabric, including warp hairlines, weft hairlines, a solid color section, and a striking 4-point star effect.

This section introduces essential weaves that every woven fabric designer should know While there are more complex weaves available, they are rarely utilized in contemporary fashion Currently, the majority of woven fabrics for both womenswear and menswear predominantly feature plain weave or 2/2 twill.

However no publication of this type would be complete without touching on crammed line stripe designs and extra warp stitched double cloths

Crammed line stripes, once a popular trend, may see a resurgence in the fashion world as styles from the past often re-emerge for new generations This cyclical nature of fashion suggests that what was once old can become fresh and relevant again Examples and insights into this trend can be found in Figure 3.21.

To ensure uniform density in stripe designs using fine silk or mercerised cotton decoration yarns, it is essential to 'cram' these threads into splits in the reed or sley Failing to do so can result in inconsistencies, such as thin spaces appearing at each stripe due to the disparity between fine silk threads and thicker ground threads in adjacent splits This article will illustrate how adjusting the total number of threads in each split can effectively prevent these thin areas and maintain an even appearance across the warp.

Extra warp stitched double cloths effectively conceal stitches on both the front and back surfaces, as demonstrated in figure 3.22 This structure consists of two distinct fabrics—one for the front and the other for the back or lining—joined by extra warp threads The stitching threads are positioned between the two cloths, alternatingly lifted and dropped between warp floats on the front and weft floats on the back, securely binding the fabrics without visible stitching Typically, the back fabric is finer than the front, leading to a common weaving technique known as 'back up.'

Double plains (continued)

Woven fabric design 75 ends, and ground threads are sleyed 4 per split

The design features a 2/2 twill pattern on the front and a contrasting 2/2 twill on the back The stitching alternates between two marks of the face weave and drops between two blank sections of the back weave, which are visible when the fabric is flipped over This technique guarantees a consistent and visually appealing finish.

This design is identical to the above except that it shows 2/2 twill on the back as well when it is turned over, thereby showing 2/2 twill right face and back

Backed cloths

Thxs gives 4 sections, each one a different

Figure 3.20 illustrates a diagonally interchanging double plain that mimics a 4/4 twill pattern, featuring both light and dark shades This design showcases an interchanging double plain that creates four distinct styles within a single fabric, including warp hairlines, weft hairlines, a solid color section, and a captivating 4-point star effect.

This section introduces essential weaves that every woven fabric designer should know While there are more complex weaves available, they are rarely utilized Currently, the majority of woven fabrics for both womenswear and menswear predominantly feature plain weave or 2/2 twill.

However no publication of this type would be complete without touching on crammed line stripe designs and extra warp stitched double cloths

Crammed line stripes, once a popular trend, may see a resurgence in the fashion world as styles from the past often re-emerge for new generations This cyclical nature of fashion suggests that what was once considered outdated can become fresh and relevant again For further insights and examples, refer to Figure 3.21.

To ensure consistent density in stripe designs using fine silk or mercerised cotton decoration yarns, it is essential to 'cram' these yarns into the splits of the reed or sley Failing to do so can result in a 'thin space' at each stripe, caused by the disparity in thickness between fine silk threads and thicker ground threads in adjacent splits To avoid this issue, adjustments must be made to the total number of threads in each split, ensuring uniformity across the warp.

Extra warp stitched double cloths effectively conceal stitches on both the front and back surfaces, as demonstrated in figure 3.22 This structure consists of two distinct fabrics—one for the face and one for the back—joined by extra warp threads The stitching threads are strategically placed between the two cloths, alternating between being lifted and dropped, which secures the fabrics without any visible stitching on either side Typically, the back fabric is finer than the face, leading to a 'back up' weaving technique.

Woven fabric design 75 ends, and ground threads are sleyed 4 per split.

Cramme.d line stripes

The design features a 2/2 twill pattern on the front and a contrasting 2/2 twill on the back The stitching alternates between two marks on the face weave and drops between two blank areas on the reverse side, which correspond to the marks when flipped This technique guarantees a seamless and cohesive finish.

This design is identical to the above except that it shows 2/2 twill on the back as well when it is turned over, thereby showing 2/2 twill right face and back

3.22 Extra warp stitched double cloths

3.4 Simple warp and weft colour effects

Colour can be added at any one of the following stages in woven fabric manufacture:

- By loose fibre dyeing, prior to carding and spinning processes

- By top dyeing the white sliver from which the worsted yarn will be spun

By yarn package dyeing white or ecru woollen or worsted yarns

By piece dyeing white or ecru woollen or worsted woven fabric

By the: arrangement of different coloured warp and weft yarns during weaving

This chapter deals with the latter method and figures 3.23 to 3.29 inclusive give step by step guides on how to colour up basic, standard weave effects

3.24 Plain weave colouring arrangements (continued)

Plain weave colouring arrangements (continued)

3.29 Colouring arrangements for other weaves

3.5 Drafting rind pegging (English system)

The weaving operation consists of three primary motions described as follows:

Shedding refers to the process of separating warp ends into upper and lower layers, creating a 'shed' or tunnel for the insertion of individual weft picks This 'shed' configuration changes with each weft pick insertion, facilitating the weaving process.

Picking: The insertion of each pick through the ‘shed’ or tunnel

Beating up: The movement of the sley in forcing the newly inserted pick up into the already woven cloth

In weaving, the actions of picking and beating remain constant, while the shedding motion varies The lifting or lowering of warp ends is achieved through shafts or healds equipped with wire eyes, through which each warp end is threaded in a specific sequence This procedure of threading the warp ends through the wire eyes is referred to as drawing.

In Drafting and pegging, three separate questions have to be addressed:

1 How rriany shafts are required in the loom to reproduce a particular weave?

2 How is the sequence of drawing each end separately through an eye on a particular shaft muranged, namely, the Draft?

3 How is the peg plan constructed to raise or lower each shaft in sequence during weaving in order to reproduce the required weave?

In weaving, shafts are numbered sequentially from front to back, with shaft number 1 closest to the loom operator The warp ends extend from the far left to the far right across the entire warp The number of shafts needed for a specific weave corresponds to the number of unique warp end interlacings present in one complete repeat of that weave.

The most elementary example is shown in figure 3.30

3.30 Elementary example of design, draft and peg plan

In design, the process begins by examining the first warp end located on the far left side, followed by a thorough analysis of the vertical interlacing for each subsequent warp end.

End number 1 interlaces 2 up, 2 down

End number 2 interlaces 1 down, 2 up, 1 down (different to end I )

End number 3 interlaces 2 down, 2 up (different to both ends I and 2 )

End number 4 interlaces 1 up, 2 down, 1 up (diferent to ends I , 2 and 3)

This means that the draft requires four shafts (because of the four different interlacings) and gives the following information to the drawer (or healder):

Warp end number 1 has to be drawn through an eye on shaft 1

Finally, the four different warp interlacings in one repeat of the weave form the peg plan, reading as always from left to right

Figure 3.31 gives two further examples, one a simple herringbone design, the other a herringbone plus barleycorn design

3.31 Designs, drafts and peg plans for two simple herringbone effects

The design in Figure 3.32 is more intricate, yet follows the same examination procedure Starting from the left side, each warp end interlacing is analyzed sequentially Warp ends 1, 5, 9, and 13 exhibit an identical interlacing pattern of 2 up and 2 down, and will be individually threaded on shaft number 1 In contrast, warp ends 3, 7, 11, and 15 display a different interlacing of 2 down and 2 up, and will be threaded individually on the subsequent shaft.

In the design, there are 16 warp ends represented by the numbers 2, 4, 6, 8, 10, 12, 14, and 16, each featuring unique interlacings However, despite having 16 warp ends in a single repeat, only 10 distinct interlacings exist, necessitating the use of 10 shafts for the draft.

The drawer (or healder) will then proceed as follows:

Warp end 1 will be threaded through an eye on shaft number 1,

Finally, the 10 different warp end interlacings reading from left to right in the Design will form the Peg plan

The following is an explanation of what each shaft actually does during the weaving operation, when using the Draft and Peg plan in figure 3.32

When pick inumber 1 is inserted, shafts 1, 3, 5, 6 and 9 are raised and shafts 2,4, 7, 8 and

When pick number 2 is inserted, shafts 1 , 4 , 7 , 8 and 10 are raised and shafts 2, 3,5, 6 and

When pick number 3 is inserted, shafts 2,4, 5 , 7 and 10 are raised and shafts 1, 3, 6, 8 and

9 are lowered - and so on

3.32 Example of a slightly more complex draft

Different types of Drafts might be explained as follows:

1) Straight over where warp ends are threaded in strict sequence

2) Herringbone or Chevron which can be straight over and reverse alternately with groups, or sections of threads narrower or wider as required with clean cut junctions preferable

3) Pointed or reverse herringbone where the reverse section meets the obverse to form a point

4) Sateen or skipshaft order where a warp end is threaded on one shaft then one or more shafts are ‘skipped’ before selecting the next shaft

5) Sectional in which several warp ends are individually threaded on a group of shafts and others threaded on another group

6) Irregular where no regular sequence is possible

See figure 3.33 for examples of the above

A final example in figure 3.34 shows a clean cut herringbone Design combined with another weave: and the appropriate Draft and Peg plan

3.34 Design, draft and peg plan for herringbone design combined with another

Once the warp ends are individually threaded through wire eyes on the shafts, they are collectively sleyed through the splits in the reed This reed is positioned at the front of the loom, which moves back and forth during the weaving process.

The number of ends that can be sleyed in each split varies based on the warp density and weave type, typically ranging from 2 to 4 ends For instance, in plain weave, it is standard to sley 2 ends per split, while in 2/2 twill, either 2 or 4 ends may be used Additionally, weaves like 2/1 twill and barleycorn typically require 3 ends per split.

There are three different reed numbering systems used today, namely Metric, Huddersfield and Scottish

Metric: Where the reed number indicates the number of splits in 1Ocms

For example, 43 reed indicates 43 splits in 1Ocms

43/2 reed indicates there are 2 ends per split, giving 86 ends in lOcms,

4314 reed indicates there are 4 ends per split, giving 172 ends in 1Ocms

Huddersfield : Reed number indicates the number of splits in one inch

For example, 16 reed indicates 16 splits in one inch

16/2 reed indicates there are 2 ends per split, giving 32 ends per inch,

16/4 reed indicates there are 4 ends per split, giving 64 ends per inch

Scottish: The reed number here indicates the number of splits in 1.85 inches

For example, 21 reed indicates there are 21 splits in 1.85 inches

2 1/2 reed gives 42 ends in 1.85 inches which is equivalent to 22.7 ends per inch,

21/4 reed gives 84 ends in 1.85 inches which is equivalent to 45.4 ends per inch

This chapter presents basic weaving techniques, focusing on simple warp and weft coloring effects, which are easy to grasp While drafting and pegging are more intricate, we strive to clarify these concepts with straightforward explanations and clear examples Gaining a deeper understanding of weaving will require consistent reading and study of the relevant sections.

This concluding chapter focuses on the woven fabric designer's role in creating commercially viable and economically produced textiles It highlights the challenges designers face in an evolving industry, emphasizing the significant financial and commercial constraints that influence their work.

This article explores the process of section blanket making, focusing on the creation and coloring of designs while highlighting common pitfalls to avoid during production It aims to provide clear and imaginative insights into various design and color layouts, encouraging readers to visualize the impact of color through descriptive language.

This publication deliberately omits the connection between CAD and CAM, as I believe the effectiveness of CAD relies heavily on the user's practical skills in cloth making, creativity, and color perception Ultimately, no CAD system can make up for deficiencies in these essential qualities.

4.2 The role of the woven fabric designer

In an ideal business environment, manufacturers of woollen and worsted woven fabrics would focus on producing simple textiles in long production runs, utilizing a minimal variety of yarn qualities, counts, colors, designs, and plans Most manufacturers today are equipped with modern, efficient looms that are perfectly suited for this streamlined approach.

In today's business landscape, manufacturers face a significant challenge as long production runs are increasingly rare This shift is leading to a rise in smaller, fragmented orders that are less cost-effective and not well-suited for modern high-speed looms.

Today's woven fabric designer navigates the complex interplay between fabric manufacturers and garment makers, where their expertise is crucial to achieving success They must continuously create fashionable and marketable designs while minimizing the variety of yarn counts, colors, and section blankets This requires a balance of creative design within significant commercial constraints, ensuring that both aesthetic appeal and practicality are maintained.

Tiêu đề	Woollen And Worsted Woven Fabric Design
Tác giả	E. Grant Gilligan
Trường học	The Textile Institute
Thể loại	Book
Năm xuất bản	2004
Thành phố	Boca Raton

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Số trang	146
Dung lượng	14,65 MB