WOLLO UNIVERSITY

KOMBOLCHA INSTITUTE OF TECHNOLOGY(KIOT)

SCHOOL OF TEXTILE, LEATHER AND FASHION
TECHNOLOGY
DEPARTMENT OF TEXTILE ENGINEERING
FABRIC STRUCTURE AND DESIGN MODULE
FOR TEXTILE ENGINEERING STUDENT

PREPARED BY:
1. TESFAYE WORKU (MSc in Textile Manufacturing)
2. WUBESHET WALE (MSc in Textile Manufacturing)

KOMBOLCHA, ETHIOPIA
FABRUARY,2023
Table of Contents
CHAPTER-ONE ........................................................................................................................................... 4
LOOMS AND LOOM MECHANI SMS .................................................................................................. 4
1.1 INTRODUCTION .............................................................................................................................. 4
1.2 CLASSIFICATION OF LOOMS ............................................................................................................ 4
1.3 BRIEF DESCRIPTION OF VARIOUS LOOMS ...................................................................................... 4
1.4 BASIC LOOM MECHANISMS ........................................................................................................... 5
1.5 GENERAL PASSAGE OF MATERIAL THROUGH A LOOM ................................................................ 6
1.6 DESCRIPTION OF IMPORTANT PARTS OF A LOOM.......................................................................... 7
CHAPTER-TWO ........................................................................................................................................ 10
WOVEN DESIGN FUNDAMENTALS ............................................................................................... 10
2.1 INTRODUCTION ............................................................................................................................ 10
2.2 CLASSIFICATION OF WOVEN STRUCTURES .............................................................................. 10
2.3 METHODS OF WEAVE REPRESENTATION ...................................................................................... 10
2.4 WEAVE REPEAT (REPEAT SIZE) ....................................................................................................... 11
2.5 BASIC ELEMENTS OF A WOVEN DESIGN ...................................................................................... 12
2.6 TYPES OF DRAFT PLANS.................................................................................................................... 13
2.7 RELATION BETWEEN DESIGN, DRAFT AND LIFTING PLAN .......................................................... 17
CHAPTER THREE .................................................................................................................................... 19
PLAIN WEAVES .................................................................................................................................. 19
3.1 INTRODUCTION ............................................................................................................................ 19
3.2 TEXTURAL STABILITY OF PLAIN WEAVE IN RELATION TO OTHER WEAVES ........................... 20
3.3 RANGE OF TEXTURES PRODUCED IN PLAIN WEAVES ............................................................ 20
3.4 MODIFICATION(DERIVATIVE) OF PLAIN WEAVE .................................................................... 20
3.5 WARP RIB WEAVES .......................................................................................................................... 21
3.6 WEFT RIB WEAVES ........................................................................................................................... 22
3.7 MATT RIB WEAVES .......................................................................................................................... 23
CHAPTER-FOUR ...................................................................................................................................... 26
TWI LL WEAVES ................................................................................................................................... 26
4.1 INTRODUCTION ............................................................................................................................ 26
4.2 CLASSIFICATION OF TWILL WEAVE ....................................................................................... 26
4.3 DERIVATIVES OF TWILL WEAVE ............................................................................................. 35
CHAPTER SIX ........................................................................................................................................... 71
MISCELLANEOUS WEAVE STRUCTURES ......................................................................................... 71
6.1 HONEY COMB WEAVES .............................................................................................................. 71
6.2 QUALITY PARTICULAIS OF HONEY COMB WEAVES .......................................................... 74
 6.3 ENDUSESOF HONEYCOMB WEAVES ....................................................................................... 74
6.4 HUCK A BACK WEAVES.............................................................................................................. 74
6.5 ENDUSES OF HUCK A BACK WEAVES..................................................................................... 75
6.6 CREPE WEAVES ............................................................................................................................ 76
6.7 TYPICAL QUALITY PARTICULARS FOR A CREPE FABRIC ................................................. 79
6.8 END USES OF CREPE WEAVES .................................................................................................. 79
CHAPTER SEVEN .................................................................................................................................... 80
BASIC ASPECTS OF COLOUR AND ITS EFFECT ON WEAVES ....................................................... 80
7.1 INTRODUCTION ............................................................................................................................ 80
7.2 FUNDAMENTAL BASIS OF COLOUR ................................................................................................ 81
7.3 THEORIES OF COLOUR ..................................................................................................................... 81
7.4 VISUAL EFFECTS OF VARIOUS COLOURS................................................................................ 84
7.5 MODIFICATION OF COLOURS .................................................................................................. 84
7.6 IMPORTANT DEFINITIONS RELATING TO COLOUR THEORY ....................................................... 85
7.7 RELATIONSHIP BETWEEN FABRIC CHARACTERISTICS AND APPEARANCE OF COLOURS 87
7.8 METHODS OF COLOUR APPLICATION ........................................................................................... 87
7.9 COLOUR AND WEAVE EFFECTS.................................................................................................... 88
7.10 CLASSIFICATION OF COLOUR AND WEAVE EFFECTS .............................................................. 88
7.11 EFFECTS PRODUCED BY SIMPLE COLOUR AND WEAVE COMBINATIONS ......................... 89
Reference .................................................................................................................................................... 93
 CHAPTER-ONE
LOOMS AND LOOM MECHANI SMS
1.1 INTRODUCTION
A loom is a device that causes interlacement two sets of threads, namely, warp and weft threads,
to form a fabric. The very first loom in history is the pit loom. Subsequently the handloom was
developed and then the power loom. After the advent of power looms, a number of developments
have taken place. The very first power looms that had been developed were of the non-automatic
type. These looms had neither a positive let off device nor warp stop mechanism or a weft
changing mechanism. This demanded a great deal of attention from the weaver. The semi-
automatic loom was then developed which incorporated two out of the above three mentioned
mechanisms. Then the automatic loom was developed which had all the three essential
mechanisms, namely, positive let off device, warp stop mechanism and weft replenishment
mechanism. The last century saw the development of shuttle less weaving mechanisms.

1.2 CLASSIFICATION OF LOOMS

The chart below shows the broad classification of the various types of looms.

1.3 BRIEF DESCRIPTION OF VARIOUS LOOMS

The hand loom was operated by the weaver using his hands to propel the shuttle from one

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

The shuttle less looms have the advantage of higher speed and efficiency than the conventional
shuttle looms. Also larger weft packages minimize the frequency of weft changes thus improving
the loom efficiency.

1.4 BASIC LOOM MECHANISMS

The basic mechanisms in any type of loom can be classified as follows:

(a) Primary motions

(b) Secondary motions, and

(c) Auxiliary motions.

The primary motions can further be divided as shedding, picking and beat up motions. The
shedding opens the warp sheet into layers to facilitate passage of shuttle. The picking motion
causes the shuttle carrying weft to be propelled from one end of loom to another. The beat up
motion lays the previously laid weft to the fell of the cloth.

The secondary motions comprise of take up and let off motions. The take up motion helps to
wind the cloth on to the cloth roller and also influences the pick density in the cloth. The let off
motion helps to let the warp from the weaver’s beam at an uniform rate thus maintaining the
warp tension constant throughout the weaving process.

The auxiliary motions consist of the warp stop motion, weft stop motion and warp protector
motion. The warp stop motion is used to stop the loom in the event of warp breakages. This is
necessary to prevent fabric defects such as missing ends and floats. The weft stop motion is used
to stop the loom in the event of weft exhaustion or weft breakages. This is necessary to prevent
missing weft threads called cracks, in the fabric. The warp protector is used to prevent multiple
warp thread breakages in the event of shuttle getting trapped in the middle of the warp sheet.
1.5 GENERAL PASSAGE OF MATERIAL THROUGH A LOOM
The passage of warp through a loom is shown in Fig. 1.1. The warp after leaving the weaver’s
beam 1 passes over two bars 2 and 3 connected by a bracket at each end. One half of the warp
end now passes under the back lease rod 4, and the other half passes over this rod. Those warp
ends which pass under the back lease rod pass over the front lease rod 5, and ends from over the
back lease rod pass under the front lease rod. Therefore, the warp is completely divided as it
passes through the lease rods, and facilitates the straightening of any warp ends which may break
and become entangled before they reach the healds 6 and 7. The lease rods also assist in forming
an even shed. Leaving the lease rods, the warp ends next pass through the healds. Odd numbered
pass through the front heald 7, and the even numbered ends pass through the back heald 6. The
healds consists of heald wires with eyes at the center through which the warp ends are passed,
the warp ends being thus controlled in their upward and downward movement. The warp ends
next pass through the reed 8, this being comprised of a flat wire comb with the teeth secured at
both ends. Usually two ends pass between one tooth and the next—this space being termed
“dent”. In the figure, two warp ends are represented as being in the same dent.

PATH OF WARP YARN AND CLOTH THROUGH A LOOM

5 4

11 10 9 8

12
1
13
1 – Weavers Beam 9 – Feel of the Cloth

2,3 – Two bars of Back Rest 10 – Temple

14
4 – Back Lease Rod 11– Breast Beam
5 – Front Lease Rod 12 – Emery Roller 6 – Back Heald
13 – Tension Rod

7 – Front Heald 14 – Cloth Roller 8 – Reed

Fig. 1. 1 Passage of warp in a loom

 At the point 9 is what is known as the ‘Cloth fell’. It may be considered as the point where
the warp and weft become cloth, because it is at this point where the last pick of weft, which
was left by the shuttle, becomes beaten up. Passing forward, the cloth is held at each side by a
temple 10 which holds the cloth fell out to the width of the warp yarn, in the reed. From the
temples the cloth passes over the breast beam/front rest 11, partly round the sand or emery roller
K, over the steel roller, or tension rod L, and then on to the cloth roller M.

1.6 DESCRIPTION OF IMPORTANT PARTS OF A LOOM

1.6.1 Heald shaft

This part is related to the shedding mechanism. The heald shaft is made of wood or metal such
as aluminum. It carries a number of heald wires through which the ends of the warp sheet pass.
The heald shafts are also known as ‘heald frames’ or ‘heald staves’. The number of heald shafts
depends on the warp repeat of the weave. It is decided by the drafting plan of a weave. The main
function of the heald shaft is as follows:

(i) It helps in shed formation

(ii) It is useful in identifying broken warp threads

(iii) It maintains the order or sequence of the warp threads

(iv) It determines the order of lifting or lowering the required number of healds for a pick. In
other words, it helps in forming the design or pattern in a fabric.
(v) It determines the warp thread density in a fabric, i.e. the numbers of heald wires per inch
deter- mine the warp thread density per inch.
1.6.2 Sley or lay

It is made of wood and consists of the sley race or race board, reed cap and metal swords carried
at either ends. The sley mechanism swings to and fro. It is responsible for pushing the last pick
of weft to the fell of the cloth by means of the beat up motion. The sley moves faster when
moving towards the fell of the cloth and moves slower when moving backwards. This unequal
movement is known as ‘eccentricity of the sley’. It is needed in order to perform the beat up and
also to give sufficient time for passage of shuttle to pass through the warp shed. The beat up of
the lastly laid pick of weft is accomplished through a metal reed attached to the sley.

1.6.3 Shuttle
It is basically a weft carrier and helps in interlacement of the weft with the warp threads to form
cloth. The shuttle which is made of wood passes from one end of the loom to the other. It travels
along the wooden sley race and passes between the top and bottom layers of the warp sheet. The
shuttle enters a shuttle box fitted at either ends of the loom, after passing through the warp shed.
A shuttle normally weighs about 0.45 kgs.
1.6.4 Shuttle box

It is the housing for the shuttle and is made of wood. It has a spindle and a picker. It may also
accommodate the picker without spindle. The top and side of the box towards the sley race are
open. The shuttle dwells inside the box for the intermediate period between two successive
picks.
1.6.5 Picker

The picker is a piece made either of leather or synthetic material. It may be placed on a spindle
or grooves in the shuttle box. It is used to drive the shuttle from one box to another. It also sustains
the force of the shuttle while entering the box.
1.6.6 Reed

It is a metallic comb that is fixed to the sley with a reed cap. The reed is made of a number of
wires and the gap between wires is known as dents. Each dent can accommodate one, two or
more warp ends. The count of the reed is decided by the number of dents in two inches. The
reed performs a number of functions which are enumerated as follows:

(i) It pushes the lastly laid pick of weft to the cloth fell

(ii) It helps to maintain the position of the warp threads

(iii) It acts as a guide to the shuttle which passes from one end of the loom to the other.

(iv) It determines the fineness of the cloth in conjunction with the healds.

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

There are various types of reed such as ordinary reed, gauze reed, expanding reed, V reed etc.
1.6.7 Warp beam

This is also known as the weaver’s beam. It is fixed at the back of the loom. The warp sheet is
wound on to this beam. The length of warp in the beam may be more than a thousand meters.

1.6.8 Back beam

This is also known as the back rest. It is placed above the weaver’s beam. It may be of the fixed
or floating type. In the first case the back rest merely acts as a guide to the warp sheet coming
from the weaver’s beam. In the second case it acts both as a guide and as a sensor for sensing
the warp tension.
1.6.9 Breast beam

It is also known as the front rest. It is placed above the cloth roller at the front of the loom and
acts as a guide for the cloth being wound on to the cloth roller. The front rest together with the
back rest helps to keep the warp yarn and cloth in horizontal position and also maintain proper
tension to facilitate weaving.
1.6.10 Cloth beam

It is also known as the cloth roller. The woven cloth is wound on to this roller. This roller is placed
below the front rest.
 CHAPTER-TWO

WOVEN DESIGN FUNDAMENTALS

2.1 INTRODUCTION

A woven cloth is formed by the interlacement of two sets of threads, namely, warp and weft
threads. These threads are interlaced with one another according to the type of weave or design.
The warp threads are those that run longitudinally along the length of the fabric and the weft
threads are those that run transversely across the fabric. For the sake of convenience, the warp
threads are termed as ends and the weft as picks or fillings.

2.2 CLASSIFICATION OF WOVEN STRUCTURES

Woven structures are classified into the following categories:

(i) Simple structures

(ii) Compound structures

In case of simple structures, there is only one series of warp and weft threads. These threads
interlace with one another perpendicularly. All the neighboring warp and weft threads are parallel
to one another and play an equally important role in determining the properties of the fabric.

In case of compound structures, there may be more than one series threads, of which one set
forms the body or ground and the other forms the figuring or ornamentation. Unlike the simple
structures, the neighboring threads need not be parallel to one another.

2.3 METHODS OF WEAVE REPRESENTATION

A weave is the interlacing pattern of the warp and weft. Two kinds of interlacing are possible:

 Warp overlap in which warp is above weft

 Weft overlap in which weft is above warp
When the warp is lifted above the inserted weft, a warp overlap is obtained. When the warp
thread is lowered, the weft thread is inserted above the warp thread and the weft overlap is
obtained.

There are two practical methods of weave representation:

 (i) Linear

(ii) Canvas

In the linear method each warp thread is represented by a vertical line and each weft thread by
a horizontal line. The point of intersection of lines corresponding to a warp overlap is marked
by the dot, and the point of intersection corresponding to weft overlap remains unmarked.
Though this is a simple method, it is seldom used because the designer has to draw plenty of
horizontal and vertical lines, which is time consuming.

In the canvas method, a squared paper is employed, on which each vertical space represents a
warp thread and each horizontal space represents a weft thread. Each square therefore indicates
an intersection of warp and weft thread. To show the warp overlap, a square is filled in or
shaded. The blank square indicates that the weft thread is placed over the warp i.e. weft overlap.
Several types of marks may be used to indicate the warp overlap. The ‘x’ mark is most
commonly used.

A weave diagram is shown below (Fig. 2.1).

2.4 WEAVE REPEAT (REPEAT SIZE)

The repeat of a weave is a quantitative expression of any given weave. It indicates the minimum
number of warp and weft threads for a given weave. It comprises of warp and weft repeat. The
size of the repeat may be even or uneven depending upon the nature of the weave. In elementary
weaves such as plain, twill, satin etc. the repeat size is normally even. However, in weaves such
as honey comb, huck a back the repeat size may be even or uneven. For any weave the repeat
size is the sum of the warp and weft floats. Thus in case of a 2/1 twill the repeat size is 3 ¥ 3. It
is common practice to denote one repeat of a weave on design paper.
2.5 BASIC ELEMENTS OF A WOVEN DESIGN

The three basic elements in a woven design are:

• Design
• Draft or drawing plan
• Peg or lifting plan
1) design indicates the interlacement of warp and weft threads in the repeat of the design. It is
made up of a number of squares, which constitute the repeat size of a design.
The vertical direction of the squares indicates the picks and the horizontal direction indicates
the ends. A blank in a square indicates that a warp goes below the corresponding weft and ‘X’
mark in the square indicates that the warp floats above the weft.
2) draft or drawing plan indicates the manner of drawing the ends through the heald eyes and
it also denotes the number of heald shaft required for a given weave repeat. The choice of the
type of drafting plan depends upon the type of fabric woven.
3) peg or lifting plan provides useful information to the weaver. It denotes the order of lifting
of heald shafts. In a peg plan, the vertical spaces indicate the heald shafts and the horizontal
spaces indicate the picks.
The peg plan depends upon the drafting plan. In the case of a straight draft, the peg plan will be
the same as the design. Hence no peg plan is necessary in the case of a straight draft.
2.6 TYPES OF DRAFT PLANS

The various drafts are classified as follows:

 Straight
 Pointed
 Skip and sateen
 Broken
 Divided
 Grouped
 Curved
 Combination
a) Straight draft

This is the most commonly used draft. It is the simplest of all the types of draft plans. In this kind
of draft, the drafting order progresses successively from first to the last heald frame. Thus the
first warp end of a weave is drawn through the first heald shaft, the second warp through the
second heald frame and so on.

One important feature of the straight draft that distinguishes it from other types of draft plans is
that the peg or lifting plan is same as the design. Hence it is sufficient to indicate only the design.
Fig. 2.3 shows the straight draft.

b) Skip draft

The skip draft is suitable for weaving fabrics having heavy warp thread density. In this kind of
draft plan the number of heald frames may be twice or more than the minimum required for a
weave. The purpose of using more heald frames than the minimum recommended is only to
distribute the warp threads more uniformly so as to prevent abrasion of the threads due to
overcrowding. (Fig. 2.4)

c) Pointed draft

This is similar to a straight draft. It is suitable for weaves such as pointed twill, diamond weaves
and ordinary types of honeycombs. The straight draft is reversed after half the repeat warp way.
The number of heald shafts is about half the repeat size of the weave. Fig. 2.5 shows a pointed
draft.
 d) Broken draft

A broken draft almost resembles the pointed draft. However, the pointed effect is broken. This
type of draft is suitable for weaves such as herringbone twills (Fig. 2.6).
 e) Divided draft

This draft is used for weaves having two series of warp threads such as terry, double cloth, warp
backed cloth etc. As can be seen in Fig. 2.7, the two sets of warp threads, say, face and back
warps are divided into two groups. The first group is for 8 heald shafts and second for 9-12
heald shafts.

f) Grouped drafts
These drafts are employed for the production of stripe and check designs, in which the stripes have
different weaves or their combinations. This draft (Fig. 2.8) is used for producing the fabric with
two different stripes. The repeat of the draft is determined by the number of stripes and the number
of threads in each stripe. The number of shafts in the draft depends upon the number of stripes and
the warp repeat of weave of each stripe.

g) Combined draft

Various methods of drawing in can be combined in one draft for producing a certain type of
fabric. Two or more drafts described above can be applied simultaneously, for example, straight
and skip or sateen, grouped and curved, and so on. Combined draft is the most complicated and
can be chosen only if there are some technological or economic reasons. The designer having a
great experience can do it properly.

2.7 RELATION BETWEEN DESIGN, DRAFT AND LIFTING PLAN

The construction of any woven fabric depends upon the design, draft and the lifting plan and
these are very closely dependent upon one another. A thorough knowledge of this interdependence
is very valuable to the designer upon whose skill several mechanical limitations of the loom may
be imposed. In many cases it is only his innate acquaintance with the drafting systems and the
possibilities of manipulating the lifting orders which enables him to introduce variety into
apparently rigid mechanical systems of operation. In normal practice the designer has to produce
a range of designs for looms with a known pattern scope. This usually involves the draft and the
lifting plan construction. A similar procedure is adopted when the designer is asked to reproduce
a specific design from a sample. The weave in the sample is analyzed and a suitable draft and
lifting plan is derived.

DENTING PLAN

Warp ends during weaving are spaced out across the width of the warp sheet according to the
desired density by the wires of the reed. The most frequent order of density is one, two, three, four
ends per dent. There are some types of fabrics, however, which require an irregular order of
denting to emphasize certain design feature, and in such cases the order of arrangement of the
ends in the reed becomes an essential part of the design and must be indicated carefully and in
the correct relationship in respect of the weave and the draft. The various methods of indicating
the denting are shown in Fig. 2.9.
Review question
1.How are woven fabrics classified?
2. What are the basic elements of woven design?
3. Define the term ‘weave’.
4. Mention the practical methods of weave representation? Which one is preferred?
5. What is repeat of weave?
6. Mention the importance of design, draft and pegplan?
7. Mention the various types of drafts.
8. How does straight draft differ from other types of drafts?
9. When are skip and ‘sateen’ drafts used?
10. Mention the weaves which use pointed draft.
11. Mention the weaves which employ broken draft.
12. Give examples of weaves which use divided draft.
13. Where are grouped drafts used?
14. Under what circumstances are curved drafts used?
15. What is denting plan?
16. Explain the various elements of woven design with an example.
17. Explain the importance of the various types of draft plans and indicate their practical utility
 CHAPTER THREE
PLAIN WEAVES
3.1 INTRODUCTION

The plain weave is variously known as “calico” or “tabby” weave. It is the simplest of all
weaves having a repeat size of 2. The range of application of this weave is wide.

The plain weave has the following characteristics:

(i) It has the maximum number of binding points

(ii) The threads interlace on alternate order of 1 up and 1 down.

(iii) The thread density is limited

(iv) Cloth thickness and mass per unit area are limited.

(v) It produces a relatively stronger fabric that is obtained by any other simple combination
of threads, excepting that of “gauze “or “cross weaving”.
The principle involved in the construction of plain cloth is the interlacement of any two
continuous threads either warp or weft in an exactly contrary manner to each other, with every
thread in each series passing alternately under and over consecutive threads of other series
interlaces uniformly throughout the fabric. By this plan of interlacement, every thread in each
series interlaces with every thread in the other series to the maximum extent, thereby producing
a comparatively firm and strong texture of cloth. A complete unit of the plain weave occupies
only two warp threads and two picks of weft (Fig. 3.1), which is the design for that weave.
3.2 TEXTURAL STABILITY OF PLAIN WEAVE IN RELATION TO OTHER WEAVES

The firmness of any woven structure depends on the frequency of interlacing between the warp
and weft threads. The greater the number of intersections the better will be the firmness of the
cloth. Let us consider the case of two fabrics woven with identical warp and weft counts and
thread settings. Consider that one is woven as plain weave and the other with any other weave
such as twill, sateen etc. It will be seen that the latter will be less firm, and therefore of weaker
texture than the former, because the threads composing it would be bent in a lesser degree than
those of the plain weave, thereby causing them to be less firmly compacted. Thus it is important
that the counts of warp and weft, the number of warp threads and picks per inch, and the weave,
should be properly proportioned, in order to obtain the best results.

3.3 RANGE OF TEXTURES PRODUCED IN PLAIN WEAVES

The plain weave is produced in a variety of forms and textures, possessing totally different
characteristics, which adapt it for specific purposes. A variety of forms in textures are produced:

 By causing a differential tension between the warp threads during weaving.

 By using various counts of yarn for weaving different types of fabrics,
 By using warp and weft yarns of different counts in the same fabric,
The term ‘texture’ is related to type of material, counts of yarn, relative density of threads,
weight, bulk, feel during handle, and other properties. The range of textures produced in plain
cloth is wide. An ideal plain cloth is one which has identical or similar warp and weft
constructional parameters.
END USES

Plain weave finds extensive uses. It is used in cambric, muslin, blanket, canvas, saree, shirting,
suiting, etc.

3.4 MODIFICATION(DERIVATIVE) OF PLAIN WEAVE

The plain weave may be modified by extending it warp or weft way or both. The extension of
the plain weave thus produces a rib effect. A warp rib results from extending the plain weave in
the warp direction and a weft rib structure results from extending the plain weave in the weft
direction. A matt rib results from extending the plain weave in both directions.

The chart below shows the derivatives/modifications of plain weave:

3.5 WARP RIB WEAVES

These are produced by extending the plain weave in warp wary direction. Fig 3.2 shows the
warp rib weaves constructed on regular and irregular basis.
Features of Warp Rib
It produces rib or cord effect in weft direction.
Extending plain weave vertically.
Finer yarn used as warp and coarser as weft yarn.
The number of ends/inch are more than the number of picks/inch.
Low twisted yarn is used as weft.
Warp yarns are used as a single yarn and weft yarns are used as group or bundle yarns.
Regular warp rib:
Formula number: X/X [ X=Number of warp up in repeat]
Regular appearance is shown in the fabric.
Used as grosgrain cloth, mattress cloth etc.
 At A, B and C are seen regular warp rib weaves and at D, is shown the irregular warp rib weave. E
and F show the interlacing of D and A respectively.

3.6 WEFT RIB WEAVES

These are constructed by extending the plain weave in weft direction as shown in Fig. 3.3.
3/3,3/1,4/2 weft rib respectively.
Finer yarn used as weft and coarser as warp yarn.
The number of picks/inch are more than the number of ends/inch.
Low twisted yarn is used as warp.
Weft yarns are used as a single yarn and warp yarns are used as group or bundle yarns.
Used as hair cords, blankets etc.
Regular weft rib:
Formula number: 1/1 (X) [ X=Number of warp up in repeat]

In both the warp and weft rib weaves, the appearance of the cloth depends on the respective
thread settings, and to achieve good effects, it is necessary to weave a weft rib with a high number
of picks per inch and a comparatively low number of ends per inch. Similarly, the warp rib effect
can be enhanced with a high number of ends per inch and a comparatively low number of picks
per inch. The prominence of the rib can be increased by suitable use of coarse and fine yarns.
The dependence of all rib constructions upon the correct thread settings is marked.
USES

Rib weaves are used in gross grain cloths, matelassé fabrics, repp cloth which is extensively
employed for window blinds in railway carriages and other vehicles, upholstering furniture, and
cambric picket handkerchief.

3.7 MATT RIB WEAVES

These weaves are also variously known as hopsack or basket weaves. The matt rib structures result
from extending the plain weave in both directions.

The regular and irregular types are shown in Fig. 3.4

In case of regular matt weave, the plain weaves are extended equally in the warp and weft
directions, where as in case of irregular matt weaves, the plain weave is extended unevenly or
irregularly in the warp and weft directions.
USES

Matt weave finds extensive uses for a great variety of fabrics such as dress materials, shirting’s,
sail cloth, duck cloth etc.
Review question

1. Give the other names of plain weave.

2. Mention the basic characteristics of a plain weave.
3. Define the term ‘texture’.
4. Mention the end uses of plain weave.
5. Classify the plain weave.
6. Define warp rib, weft rib, and matt rib.
7. Give the standard quality particulars for a weft rib cloth.
8. Give the other names of matt weave.
9. Give the typical constructional particulars for a warp rib structure.
10. Mention the end uses of rib weaves.
11. Give the end uses of matt weaves.
Exercise

1. Give the design, draft and peg plan for the following:
(a) 2/3 warp rib
(b) 5/5 warp rib
(c) 4/2 weft rib
(d) 6/3 weft rib
(e) 4/4 matt rib
(f) 2/4 matt rib
(g) 4/3 matt rib
 CHAPTER-FOUR

TWI LL WEAVES
4.1 INTRODUCTION

Twill weaves are the weaves that find a wide range of application. They can be constructed in a
variety of ways. The main feature of these weaves that distinguishes from other types is the
presence of pronounced diagonal lines that run along the width of the fabric.

Features of Twill Weave

The main feature of twill weave are mention bellow –

 A twill weave is characterized by diagonal lines of warp and weft floats on the face of the
fabric.
 Twill line may be from lower lift to upper right (Z-twill) or from lower right to upper lift(S-
twill) corner.
 Smaller repeat twill is (3). It means take at least end and three picks produce twill weave.
 Three or more head shaft are required for shedding.
 Generally straight draft is used for twill weave besides this pointed or v draft is also used.
 Appearance it will design can be seen from both sides the fabric.
 Diagonal lines run at angle vary between (15-75) degree but in a continuous or regular twill
is 45 degrees.
 Twill lines are formed on both sides of cloths.
4.2 CLASSIFICATION OF TWILL WEAVE
Twill weaves can be classified from four points of view
a) According to the way of construction
 Warp-way twill weave: 3/1 warp-way twill, etc.
 Weft-way twill weave: 2/3 weft-way twill, etc.

b) According to the direction of twill lines on the face of the fabric

c) According to the face yarn (warp or weft)

d) According to the nature of the produced twill line

a) According to the way of construction

 Warp way twill weave: In warp way twill weave warp float run in the warp direction.
Fig: Warp and weft way twill weave

 Weft way twill weave: In weft way twill weave weft float run in the weft direction.

b) According to the direction of twill lines on the face of the fabric

S-Twill:
When the twill runs from the lower right to the upper left corner, the twill is known as a left-hand
twill. It is produced by downward displacement of the interlacing points, if the starting point is
bottom left corner or upward displacement of the interlacing points, if the starting point is bottom
right corner. For example, it is expressed by the formula number 3/2S, where S-indicate the
direction of twill line.
Fig: S-twill weave

Z-Twill:
When the diagonal line runs from the lower left corner to the upper right corner, the twill is known
as a right-hand twill. About85% of all twill-woven fabrics are right-hand twill. The alignment of
twill Line is parallel to the middle portion of ‘Z’, so it is called Z – twill.

Fig: Z-Twill weave

c) According to the face yarn (warp or weft)

Warp face twill weave:
Warp-faced twill have a predominance of warp yarns on the face of the fabric, with 2/1, 3/1, 3/2,
4/2 and so on. The top digit of the fraction line is higher than the bottom one, so it is called warp-
face twill.

Fig: Warp face twill weave

Weft face twill weave:

Weft-faced twill have a predominance of weft yarns on the surface of the fabric with 2/3, ¾, ½,
2/4. And so on. The top digit of the fraction line is smaller than the bottom one, so it is called
weft-face twill.

Fig: Weft face twill weave

Double face(balanced) twill weave:
Even sided twills expose an equal amount of warp and weft yarn on each side of a fabric. In this
case the top and bottom both are of the fraction line are same, so it is called double face twill.

Fig: Double face twill weave

d) According to the nature of the produced twill line

Simple twill weave:

There are two types of simple twill, such as simple warp twill and simple weft twills. Each warp
end is raised over or lowered under only one pick in the repeat, with pattern of ½, 1/3, ¼, 2/1,
3/1, 4/1, and so on. ½, 1/3, ¼, etc. are the simple weft twill and 2/1, 3/1, 4/1, etc. are the simple
warp twill.
Fig: Simple twill weave

Expanded twill weave:

Each warp end is raised over or lowered under more than one adjacent pick in the repeat. Lf the
warp and weft twill lines are of equal width; the fabric is double-faced. It is represented by the
formula number of 2/3, 3/2, 4/4, 2/4, and so on.
Fig: Expanded twill weave

Multiple twill weave:

In each repeat, there are at least two warp twill lines or two weft twill lines of different width. If
the prominence of warp yarn is more than it is called warp-face multiple twill and the
prominence of weft yarn is more than it is called weft-face multiple twill. If the prominence of
both warp and weft yarns are same than it is called double-face multiple twill. Lt is represented
by the formula number of and so on.

Fig: Multiple twill weave

e) Balanced and unbalanced twill
In these types of twills the warp and weft floats may be equal or unequal. In other words, the
twills may be of the reversible or irreversible types. Accordingly, they may be known as
balanced and unbalanced twills. Examples of balanced twills are 2/2, 3/3, 4/4, 5/5 etc. Examples
of unbalanced twills are 2/3, 4/2, 5/3 etc. The 2/2 twill is popularly known as “Gaberdene”
weave.

Fig: Balanced and unbalanced twill

Factor Affecting the Prominence of Twill Weave:
The following factor affecting the prominence of twill weave-

1. Feature of weave
The prominence of twill line on feature of weave in the following ways;

 The twill of short floats less prominent twill line.

 The twill line of long float more prominent.
2. Characteristic of yarn
It influence twill line as bellow:

 Twill off course and soft twisted yarn→ More prominent twill line.
 Twill of fine and more twisted yarn→ Less prominent twill line.
3. Thread per inch (TPI)
More number of ends or picks per inch causes more prominent twill line.

4. Direction of twill line in relation to yarn twist direction:

When direction of twill on fabric is opposite to the direction of twist in yarn the twill line
becomes more prominent and vice-versa.

4.3 DERIVATIVES OF TWILL WEAVE

There are many derivatives of twill are given bellow;

1. Zigzag/waved/pointed twill weave.

2. Hearing bone twill.
3. Diamond design.
4. Diaper design.
5. Broken twill.
6. Elongated design.
7. Stepped twill.
8. Shaded twill.
9. Combined twill.
10. Rearranged twill

1. Zigzag/waved/pointed twill weave

  It is the simplest and one of the most important modifications of twill weave produced by
reversing the direction of twill at suitable interval.
 A point is selected (usually the last warp is selected) as the reversing point and so it is
sometime call as point twill.
 In this twill pointed or straight draft is used.
 This twill is produced by combining S and Z twist.
According to reversing of direction there are two type of zigzag twill:

1. Horizontal zigzag twill.

2. Vertical zigzag twill.
Horizontal zigzag twill:
When the reversal direction of twill line occurs upon the warp yarn, it results a horizontal zigzag
twill. Here the basic twill is extended in warp direction. Here the number of warp yarn in a repeat
is double of the number of wefts. In horizontal zigzag twill pointed draft is used.

Features of Horizontal Zig-zag:

 Basic twill runs along warp.

 The twill direction reverses upon the warp after the basic twill.
 The no. of warp yarn is double to the no. of warp yarn of basic twill and the no. of weft yarn
is same as basic twill weave.
 The change direction starts when finished basic twill repeat and makes point in the moment of
change.
 Pointed draft is used to make zig-zag twill.
 This can be made from any continuous twill.
 Fig: horizontal zigzag twill

Vertical zigzag twill:

When the reversal direction of twill line occurs upon the weft yarn, it results a vertical zigzag
twill, here the basic twill is extended in weft direction. Here the number of weft yarn in a repeat
is double of the number of warps. In Vertical zigzag twill straight draft is used.

Features of vertical Zig-zag:

 Basic twill runs along weft.

 The twill direction reverses upon the weft after the basic twill.
 The no. of weft yarn is double to the no. of weft yarn of basic twill and the no. of warp yarn is
same as basic twill weave.
 The change direction starts when finished basic twill repeat and makes point in the moment of
change.
 Straight draft is used to make zig-zag twill.
 This can be made from any continuous twill.
 Uses: ornamented design, curtain, various house hold items.
 Fig: Vertical zigzag twill

2. Hearing bone twill

This twill is constructed in a different manner from the ordinary zigzag twill. Though it also
depends on reversal of twill direction.

Here reversal direction occurs after a middle line. Here at first the basic twill is drowning then the
number of central points is selected in zigzag twill. Rather in extended second half of basic twill
the following matter happened.

 The floating point of first half become down in second half.

 The down of first half become floating in second half.
 In hearing bone twill straight draft is used. There are two type of hearing bone design-
 1. Horizontal hearing bone twill.
2. Vertical hearing bone twill.
Horizontal hearing bone twill:
When hearing bone twill is created by extending the basic twill in warp direction, horizontal
hearing bone result in. The repeat size of horizontal herringbone is calculated from the regular
or base twill weave like as horizontal zigzag weave. In this case the number of warp yarn in
herringbone weave is double of the number of warp yarn of base twill and the number of weft
yarn is same as base twill weave.

Features of Horizontal Herringbone Twill:

 Basic twill runs along warp.
 The twill direction reverses upon the warp yarn after the basic twill.
 The no. of warp yarn is double to the no. of warp yarn of basic twill and the no. of weft yarn
is same as basic twill weave.
 Straight or broken draft is used to make zig-zag twill.
 This can be made from any type of regular basic twill weave.
 The horizontal stripe effect is produced on the surface of the fabric.

Fig: -3/2 horizontal hearing bone twill

Vertical hearing bone twill:
When hearing bone twill is created by extending the basic twill in weft direction, vertical hearing
bone result in. The repeat size of vertical herringbone is calculated from the regular or base twill
weave like as vertical zig-zag weave. In this case the number of weft yarn in herringbone weave
is double of the number of weft yarn of base twill and the number of warp yarn is same as base
twill weave.

Features of Vertical Herringbone Twill:

 Basic twill runs along weft.

 The twill direction reverses upon the weft yarn after the basic twill.
 The no. of weft yarn is double to the no. of weft yarn of basic twill and the no. of warp yarn is
same as basic twill weave.
 Straight draft is used to make zig-zag twill.
 This can be made from any type of regular basic twill weave.
 The vertical stripe effect is produced on the surface of the fabric.
 Uses: Coats, Suits and ornamented fabrics.

Fig: 3/2 Vertical hearing bone twill

3. Diamond design
It is a derivatives of twill weave. It constructed on the basis of zigzag twill principle. It is obtaining
by combining a horizontal and vertical zigzag twill. So here in the repeat the number of both warp
and weft thread are double then that in basic twill. Diamond is a reversible design. So, it may be
divided into two equal parts in both vertical and horizontal axes. Pointed or V-drafting system is
used to produce diamond design.

Diamond design geometrical about their vertical and horizontal axis. In this weave pointed draft
is obtained.

Fig: Diamond design

To contract a diamond design at first the design repeat is selected. It the basic twill is 3 up 3 down,
that is 6×6 in size, the repeat of design will be 12×12 in size.

Uses: Towel, Bed cover, Table cloth, Pillow cover etc.

Diaper design

This derivative of twill weave is created on the basis herring bone principle. This design is
constructed by combining horizontal and vertical hearing bone twill.
Fig: Diaper Design

In the repeat of a diaper design the number of warp and weft threads are two type more than that
in its basic twill. So, if the basic twill size is 8×8. Its diaper design repeats size will 16×16. In case
of diaper design, Broken or straight draft is used.

5. Broken twill

 This is obtaining by breaking the twill line of a regular twill. It is somewhat similar in
appearance Zigzag twill.
 Broken twill can be obtained in different ways. At first basic twill is divided into two section,
then the first section unchanged and the second section is reverse its order, that is to say if the
basic twill is made up of 8 warp threads namely1,2,3,4,5,6,7,8 then its broken twill derivatives
will obtain the order 1,2,3,48.7,6,5.
 Broken draft is used in broken twill.
 Fig: Broken twill

6. Elongated twill
A peculiar form of twill, known as an elongated or steep twill, is obtained when the warp float of
each thread rises two or more picks instead of one pick above the float of the preceding thread.

Normally the twill angle is 45 degrees where the end and pick per unit area are equal. But in
elongated twill, the twill angle more or less than 45 degrees any twill design without twill angle.

Elongated twill can be formed in two different ways:

  With the help of step number.
 By selecting starting of elongated twill with a base line.

(a) With the help of step number:

If the step number of elongated twills is two, then by taking only odd number of warp thread
from the basic twill here the warp number in step twill will be equal to the basic twill.

Fig: Elongated twill

(b) By selecting starting of elongated twill with a base line:

Here at first a step number is to be selected. In such a way that the repeat of base line become
devisable by that step number.

Fig: Elongated twill

For example, for a twill with formula number the repeat size will be 14×14.If we select move
number as 2 then in produced elongated twill the number of warp thread will be 7 and that of weft
thread will be 7 in case of weft faced twill.

There are two types of elongated twill:

❶ Warp way elongated twill
❷ Weft way elongated twill

Warp way elongated twill:

 Step upward at least two instead of one in each warp.
 The angle of warp way elongated twill is above 450.
 When the repeat size of basic twill is even number, then the no. of warp yarn in a repeat
size of elongated twill is half of the no. of warp yarn of basic twill and no. of weft yarn is
same as the no. of weft yarn of basic twill.
 When the repeat size of basic twill is odd number then the repeat size of elongated twill is
same as basic twill.
 Straight draft is used.
Weft way elongated twill:
 Step downward at least two instead of one in each weft.
 The angle of warp way elongated twill is below 450
 When the repeat size of basic twill is even number, then the no. of weft yarn in a repeat size of
elongated twill is half of the no. of weft yarn of basic twill and no. of warp yarn is same as the
no. of warp yarn of basic twill.
 When the repeat size of basic twill is odd number then the repeat size of elongated twill is same
as basic twill.
 straight draft is used.

7. Stepped twill
These weaves are generated by introducing a step into the design after a certain number of ends
or picks. At the step, every thread changes from up to down or vice versa. This are two type
stepped twill-

(a) Warp way stepped twill:

There are two types of warp-way step twill. One is created in the same twill direction and
another one is created by reversal of the twill direction.
 Fig: Warp way stepped twill

Same twill direction: In the same twill direction step may be occur after the repeat or any desired
number of threads.

Reversal of the twill direction: Same as horizontal herringbone twill weave.

(b) Weft way stepped twill:

There are also two types of weft-way step twill like as warp-way step twill weave. One is created
in the same twill direction and another one is created by reversal of the twill direction.

Same twill direction: In the same twill direction step may be occur after the repeat or any desired
number of threads like as warp-way step twill weave.

Reversal of the twill direction: Same as vertical herringbone twill weave.

8. Shaded twill
By shaded twill we can create shade effect on fabric Shade effect can be produce in different
way on the surface of the fabric.

It is formed shade effect on the surface of the fabric

The shade effect is created by the combination some thick to thin twills and thin to thick twills.
Types:

I) Twill based shaded design

a) Single shaded design on twill base:

Shedding effect is gradually decreasing from deep to light.

These effect are produced from the regular multiple twill.

Shading effect becomes gradually deep from thin and after being deep it again starts to be thin and
thus compute the whole repeat.
 It can be caused by continuous twill.

b) Double shaded design on twill base:

 Shedding effect is gradually increasing from light to deep and again gradually decreasing
from deep to light.
 These effect are produced from the regular multiple twill.
 Shading effect becomes gradually deep from thin and after being deep it again starts to be
thin and again becomes thin gradually and compute the whole repeat.
 These effects are produced from the regular multiple twill.
ii) Satin based shaded design
a) Single shaded design on satin based:

In this method some weft satin is developed side by side at first.

Then these satin units are divided into groups and each warp floats are increased gradually with
the interlacing points until it turns into a warp satin.

a) Double shaded design on satin based:

In this method some weft satins are developed side by side at first.

Then these satin units are divided into groups and each warp floats are increased gradually with
the interlacing points until it turns into a warp satin. Then each weft floats are increased gradually
with the interlacing points until it turns into the previous weft satin.
9. Combined twill

 Combined twill is formed by combination of two continuous twill.

 According to this combination, there are two types of combined twill, such as warp-way
combined twill and weft-way combined twill.
 In combined twill no practically, limitations exist and varieties of design can be produced.
 It may be both warp face and weft face.
 It is capable of producing compact and firm textures.
 In warp way combined twill divided draft and weft way, straight draft is produced.
 In case of equal no. of base twill: 6×6, 6×6; or 8×8, 8×8.
 In case of unequal no. of base twill: 4×4& 6×6; or 8×8 & 6×6.
 It is formed by combination two regular twill and arranging them alternately with each other’s.
 It is capable of producing compact and firm textures.
Types:
i) Warp way combined twill
ii) Weft way combined twill
 The repeat size of two basic twill weave may be equal or different.
 In warp way combined twill, divided draft is used. The heald shafts are divided into two
groups, first groups control the first design and second groups controls the second design.
 In weft way combined twill, straight draft is used.
Repeat size calculation:
a) If the repeat sizes of two basic twill are same, then
Warp way combination:
 Warp yarns of new design=Warp yarns of basic twill x 2
 Weft yarns of new design=Weft yarns of basic twill
Weft way combination:
 Warp yarns of new design=Warp yarns of basic twill
 Weft yarns of new design=Weft yarns of basic twill x 2
b) If the repeat sizes of two basic twill are not same, then
 Warp way combination:
 Warp yarns of new design=LCM of no. warp yarns of basic twill x 2
 Weft yarns of new design=LCM of no. weft yarns of basic twill
 Weft way combination:
 Warp yarns of new design=LCM of no. warp yarns of basic twill
 Weft yarns of new design=LCM of no. weft yarns of basic twill x 2
 Note: LCM means lowest common multiple
10. Rearranged twill
Rearrangement of twill is produced by the transposition of the original order of threads in the
regular basic twill. The transposition may interrupt the continuation of twill line and thus may an
effect of broken twill design. The twill can be constructed by –

 Rearranging the yarn individually

 Rearranging the yarn group wise
 Cork screw weave

Rearranging the yarn individually

One can rearrange weaves by changing the sequence of the warp ends. The following figure
represent 5 – end expanded weft twill 2/3 , rearranged as a steep or elongated twill by changing
the warp sequence to every 2nd end.

Fig: Rearranging the yarn individually

Rearranging the yarn group wise

With this type of rearrangement one divides the original weave into groups of two or more ends
and changes their sequence e.g. by reversing it or arranging them in satin fashion.

Cork screw weave

Cork screw weaves are a variety of rearranged twill. These weaves, also called diagonal ribs. The
peculiar feature of corkscrew weaves is the combination of two or more distinct twill lines,
which maybe of different colors. They are used for garment for which they are capable of
producing firm and compact textures of greater strength, warmth and durability. They are of two
kinds, such as
  Odd number corkscrew weave, and
 Even number cork screw weave.

Even number cork screw weave

Even number cork screw is produced from two different regular base twill of the same repeat
size. In this case the number of warp yarn in the repeat size of the resultant corkscrew weave will
be the sum of the number of warp yarn of the base twill weave and the number of weft yarn is
equal to the base twill.

Fig: Even number cork screw weave

Odd number corkscrew weave

 Rearrangement of continuous twill is satin order

 Can be produced in both warp way and weft way
 Weave is formed from odd no of warp and weft yarn.

Fig: Odd number corkscrew weave

Advantages of Twill Weave

 Twill weaves usually make fabrics closer in texture, heavier, and stronger than do plain
weaves.
 It is possible to produce more fancy designs in twills than in plain weaves.
 In addition to their distinctive appearance and high strength, twill fabrics tend to show soil
less readily than plain-weave fabrics.
 The major advantages of a twill fabric are that it is durable and wears well, resists soiling,
and has good resistance to wrinkling.

Disadvantages of Twill Weave

 Twills are more expensive to produce than plain-weave fabric

 It is more difficult to clean than plain weave fabrics
 It usually has a right and wrong side which may make garment design difficult.
 Unless given special treatments, some uneven twill fabrics produce garments that are prone
to twisting or skewing on the body after laundering.

Uses of Twill Weave

Twill weave are extensively used in manufacturing fabric for garments, household cloth and
industrial cloth.

1. Generally, diamond, diaper and zigzag twill are used for making pillow, cover, screen, bed
sheet, towel etc.
2. Continuous twill is used for making fabric for shirting, suiting and panting (denim,
gaberdine).
3. For making various type of ornamental cloth, other derivatives of twill weave are used.
4. Hearing bone twill are used in the cloth of suiting and overcoats.

Exercise
1. Mention the basic characteristics of twill weavers.
2. How are twills classified?
 3. What are warp faced and weft faced twills?
4. What is angle of twill? How is it influenced?
5. Mention the factors affecting the prominence of twill weaves.
6. What is twist-twill interaction?
7. What are re-arranged twills? Classify them.
8. Differentiate between satin and sateen weaves.
9. Mention the basic characteristics of satin/sateen weaves.
10. Give the end uses of satin/sateen weaves.
11. Mention the special features of corkscrew twills.
12. Mention the practical utility of corkscrew weaves.
13. Mention the methods of constructing combined twills.
14. Mention the end uses of twill weaves.

1. Give the design, draft and peg plans for the following twill
weaves: (a) 3/3 (b) 4/4
(c) 5/5 (d) [2/2, 4/4]

(e) [3/3, 5/5]

2. Give the design, draft and peg plans for the following warp
faced twills: (a) 5/3 (b) 6/4
(c) [4/2, 5/2] (d) 6/4

(e) [5/5, 6/2, 2/1]

3. Give the design, draft and peg plans for the following weft
faced twills: (a) 3/5 (b) 2/4
(c) [1/3, 1/2] (d) [ 3/2, 2/1, 4/2]

4. Give the design, draft and peg plans for the following pointed twills:
(a) Base twill of 2/2 (b) Base twill of 4/4
(c) Base twill of 5/5
 5. Give the design, draft and peg plans for the following herringbone twills:
(a) Base twill of 2/2 (b) Base twill of 4/4
(c) Base twill of 4/4 (d) Base twill of 5/5

6. Give the design, draft and peg plans for the following broken
twills:
(a) Base twill of 3/3 (ends to be missed is 2)
(b) Base twill of 2/2 (ends to be missed is 1)
(a) Base twill of 4/4 (ends to be missed is 3)
(b) Base twill of 4/2, 1/1 (ends to be missed is 3)
7. Give the design, draft and peg plans for the following combination twills:
(a) 3/3 and 2/4 twill - end and end combination
(b) 2/3 and 4/1 twill - pick and pick combination
(c) 2/2 and 2/3 twill - end and end combination
(d) 1/2 and 2/2 twill - pick and pick combination
 CHAPTER FIVE

SATIN AND SATEEN WEAVES

5.1 introduction
Satin is a warp faced rearranged twill and sateen is a rearranged weft faced twill. Thus satin is
the reverse side of sateen weaves. These weaves form an important category of weaves. They are
used in combination with other weaves, particularly in case of ornamented fabrics. The striking
feature of these weaves is their bright appearance and smooth feel. The basic characteristic of
satin/sateen weaves are:
(i) They are either warp or weft faced weaves. Have no prominent weave structures
(ii) Only one binding point in each end or pick
(iii) No continuous twill lines
(iv) Have poor seam strength due to thread mobility
(v) More thread density is possible in warp and weft
(vi) More mass per unit area is possible
(vii) Have less binding points and more float lengths
(viii) Use of move numbers (intervals of selection) is necessary to construct these weaves.
5.2 Features of satin/sateen

1. The fabric surface is very smooth and lustrous.

2. By using low twisted yarn and by increasing EPI, smoothness can be increased.
3. Only one interlacement between warp and weft.
4. The interlacement point is covered with adjacent long float yarn.
5. No. of cross mark or base mark is equal to the no. of threads in repeat.
6. Loose structure compare to plain and twill.
7. No visible twill line.
8. Widely used in case of jacquard design.
In the construction of satin/sateen weaves, the stitching points of warp or weft for a given repeat
size is done by the use of move numbers or stitch or float numbers. The move numbers are selected
according to the repeat size of the weave.
In choosing move numbers for the construction of satin/sateen weaves, the following rules are to be
adopted:
(a) The move number should not be equal to the repeat of the weave
(b) It should not be one less than the repeat size
(c) It should not be a factor of the repeat size, and

(d) It should not be a multiple of the factor.

5.3 Warp satin

If the prominence of warp floating is seen on the fabric, this satin is called warp satin. Warp satin
is expressed by 1/x (y). Where, x = warp face, y = move number (step value)

a) Regular warp satin:

 Warp satin is woven so that the warp may be seen on the surface of the fabric.
 Reflection of light on the floats gives satin fabric its primary characteristic of luster, which
appears in the direction of the warp.
 Select repeat size
 Identify move number
b) Irregular warp satin:
 There is no step value or move number to construct the irregular satin.
 Only 4 – end and 6- end satins are irregular.
 Straight drafting system is used to produce this weave.
The designs of some satin and sateen weaves are shown in Figs. 4.8 and 4.9

Figs. 4.8 A, B and C show the different types of irregular satins and Figs. 4.8 D and E show the
designs of regular satin. Fig. 4.8A shows a 4 end irregular satin constructed by using a step number
of 1, while Fig. 4.8B show the same satin constructed using step number of 2. Fig. 4.8D shows a
5 end regular satin constructed with a step number of 3 and Fig. 4.8 E shows an 8 end regular satin
constructed with a step number of 3. Fig. 4.8 F and G shows the corresponding interlacing of
designs D and A respectively.
5.4 Weft sateen
If the prominence of weft floating is seen on the fabric surface, this sateen is called weft sateen.
Weft sateen is expressed by 1/x (y). where, x = weft face, y = move number

 Regular weft sateen:

 Select repeat size
 Fixed move number.

a) Irregular weft sateen:

 There is no step value or move number to construct the irregular sateen.
 Only 4 – end and 6- end sateen are irregular.
 Straight drafting system is used to produce this Weave.
 Figs. 4.9A, B and C show the design of irregular sateen weaves and Figs. 4.9 D and E show
regular sateen design. Fig. 4.9A shows a 4 end irregular sateen constructed with the step number
of 1 and Fig. 4.9 B shows the same design using the step number of 2. Fig. 4.9 C shows a 6 end
irregular sateen. Fig. 4.9 D and E show the designs of a regular 5 end and 8 end sateen
constructed with step number of 3. Fig. 4.9 F and G show the interlacing of design 4.9 D and A
Respectively.

The following table shows the intervals of selection for the construction of satin weaves on five,
and seven to twenty-two threads. Instead of the numbers given, their reciprocals may be taken.
Where two intervals are given, each of these or their reciprocals will produce similar results.
Where more than two intervals are given, the number of numbers shown in heavy type (or their
reciprocals) will give the most perfect distribution of intersections.

Table showing suitable move numbers for the construction of satin weaves
Satin and sateen weave both are basic weaves. The main differences between satin and sateen
weaves are given below:
Regular satin/ sateen

The minimum repeat of regular satin/ sateen weave is possible in 5 x5. Two kinds of repeats are
usually woven there. One is 5 ends satin/sateen and another one is 8 end satin/sateen.
The five ends satin/sateen is made by using counting numbers 2 and 3. The weaves, drafts and
pen plans of both are given below:
5.5 Advantages and disadvantages of sateen weave
These constructions produce smooth, lustrous, rich-looking fabrics that give reasonably good
service if they are not subjected to excessive hard ware. Short float fabrics are more durable than
long-float fabric. When style calls for luxurious fabrics for formal wear, satin is often chosen. It is
an especially suitable fabric for coat linings.
Satin weave usually requires more shafts in the weaving than do the plain or twill weaves, thereby
increasing the cost of production.
End uses of sateen weave
Satin is commonly used in apparel: satin baseball jackets, athletic shorts, women’s lingerie,
nightgowns, blouses, and evening gowns, but also in some men’s boxer shorts, briefs, shirts and
neckties. It is also used in the production of pointe shoes for use in ballet. Other uses include
interior furnishing fabrics, upholstery, and bed sheets.
Variable shift Rules

Suppose given shift [s]=the irregular satin/sateen which has repeat [R], the shift will be:

Up to R/2 take shift [s] =a

At R/2+1 take shift [s]=R/2

Finally, the rest take shift [s] = - a

N.B. a ≠ R/2

5.6 Sateen Derivatives

(1) Reinforced sateen

It is similar to that of reinforced twill wherein one more overlap should be added for every overlaps
of the basic sateen. Additional overlaps in the repeat make the fabric structure stronger.

Example: -Construct reinforced sateen on the base of sateen end 8 with move number 5.
(2) Shaded sateen

Shaded sateen represents a gradual transition from the sateen with weft effect to, the sateen with
warp effect, and vice versa.

The Repeat Ry and Ro of the shaded sateen is determined by the formula:

Ry = Ryb

Ro= Rob(Rob-1)

Ex. 1. Construct a Shaded sateen on the base of sateen 5 with move number=3

The repeat Ry and Ro of the shaded sateen is determined by the formula:

Ry = Ryb= 5

Ro= Rob(Rob-1) =5(5-1) =20

 CHAPTER SIX
MISCELLANEOUS WEAVE STRUCTURES

6.1 HONEY COMB WEAVES

The honey comb weaves derive their name from their partial resemblance to the hexagonal
honey comb cells of wax in which bees store their honey. These weaves form ridges and hollows
which give a cell like appearance to the textures. Both warp and weft threads float somewhat on
both sides which coupled with the rough structure, renders this class of fabric readily absorbent of
moisture. The weaves are of two classes, namely,

(i) Ordinary honey comb or honey comb proper

(ii) Brighton honey comb

6.1.1 ORDINARY HONEYCOMB WEAVES

These weaves are characterized by the following features

(a) Cell like appearance with ridges and hollows

(b) Single line crossing a single line or double line crossing a double diagonal line

(c) More warp and weft floats

(d) Moisture absorbent due to floats

(e) Constructed with pointed drafts

(f) A reversible fabric having similar effect on both sides

Fig. 6.1. Ordinary Honey Comb

Fig. 6.1 A to F, show the design of an ordinary honey comb weave. Fig. 6.1 A shows the first
step of constructing the design (single diagonal line). Fig. 6.1 B, C and D show the design, draft
and peg plan on ordinary honey comb weave constructed on equal ends and picks. A pointed draft
is used here. Fig. 6.1 E shows the first step in the construction of the honey comb weave on unequal
ends and Dicks. Fig. 6.1 F shows the final design developed by incorporating a floating motif. Fig.
6.1 G shows the interlacement of design B.

6.1.2 BRIGHTON HONEYCOMB WEAVES

These weaves are characterized by the following features:

(a) Non-reversible cloths in which face appears different from back side of the cloth

(b) Constructed on straight drafts only

(c) Repeat size is a multiple of 4

(d) Length of longest floats is N/2 -1, where N is the repeat size

(e) A single diagonal line crosses a double diagonal line

(f) Formation of 4 cells per repeat i.e., two large and two small cells (ordinary honey

comb forms only one cell per repeat)

(g) The number of threads in a repeat must be a multiple of 4.

Fig. 6.2 shows the construction of a Brighton honey comb weave.

Fig.6.2 Brighton Honey Comb Weaves

 In the construction of Brighton honey comb weaves, a diamond base is first made by insertion
of a single diagonal and then a double diagonal to cross it. Suitable motifs as shown in figure above
are inserted inside the spaces of the diagonals. It is to be remembered that the length of the longest
float in the motif should not exceed (N/2-1), Where N is the size of the repeat of the weave. Fig
6.2 B and C show Brighton honey comb designs constructed on repeat sizes of 16 & 20
respectively.

6.2 QUALITY PARTICULAIS OF HONEY COMB WEAVES

The following cloth quality particulars are suitable for both ordinary and Brighton honey comb
weaves,

For a heavy cloth,

Warp -2/6s cotton

Weft -2/6s cotton

Ends/inch- 50

Picks/inch-20

For a lighter cloth,

Warp -25s cotton

Weft, 16s cotton

Ends/lnch-88

Picks/inch -82

6.3 ENDUSESOF HONEYCOMB WEAVES

The fabrics constructed from honey comb weaves have more thread floats on both sides and have
a rough structure. This renders more absorption of moisture. The weaves are therefore suitable for
towels and also in various forms for bed covers and quilts.

6.4 HUCK A BACK WEAVES

The huck a back weaves are basically toweling fabrics. They are generally associated with honey
comb fabrics and hence known as honeycomb effects. They are constructed by alternately
combining a floating with a plain weave. Interestingly, a number of weaves are derived from these
weaves. Huck a back weaves are suitable for producing thick and heavy textures. One of the well-
known heavier varieties of this class is the "Grecians". The design of huck a back weaves permits
Stripe and check effects to be brought out in the fabrics.

The huck a back weaves are generally characterized by the following features:

(a) Repeat is divided into four equal parts. Two parts are filled with plain weave and

remaining two parts are filled with long float motif.

(b) Plain weave gives firmness to the cloth.

(c) Long float motif gives moisture absorbency.

The loom equipment required would ideally be a dobby loom fitted with a fast reed mechanism.

Fig. 6.3. Design of Huck a Back Weave

The standard types of huck a back weaves are shown in Figs. 6.3 A and E. Fig. A-shows the design
of a “Devon” huck a back on 6 picks, which is used for lower grade of cloths and figure E shows
the design of another type of huck a back suitable for finer qualities of cloths. Figure H shows the
interlacement of design A.

6.5 ENDUSES OF HUCK A BACK WEAVES

Huck a back weaves are largely employed in the manufacture of both linen and cotton towels for
bath rooms and also linen towels for use as glass cloths.
6.6 CREPE WEAVES
Crepe weaves constitute a useful variety of simple weaves and are also known as "crape" or
"oatmeal" fabrics due to their pebbly or crinkled (rough) surface. The size of the pebbles and their
arrangement on the fabric surface determine the type of crepe fabric. The crepe effect can be
achieved either by the use of crepe yarns (highly twisted) or a crepe weave, and sometimes by
special process of finishing, i.e., embossing. Crepe weaves are commonly used in combination
with other elementary weaves, to produce a variety of various effects in elaborate jacquard designs
for brocade and related fabrics.

The crepe weaves are characterized by the following features:

(a) The contain no twilled or other prominent effects

(b) The cloth is covered by minute spots or seeds

(c) Highly irregular surface-puckered in appearance

(d) High twist yarns are used with controlled shrinkage

(e) Formed mainly by four methods, though several methods are available.

Crepe weaves are constructed in a variety of forms based on the end use requirements and the type
of texture desired. They are accordingly produced in light, medium and heavy constructions.
Generally, the count of the warp yarns used is finer than the weft yarn. The weave employed is of
an irregular nature.

Though several methods are employed in the construction of crepe weaves, four methods are
chiefly employed.

(i) Construction of crepe weaves upon sateen base

(ii) Combination of a floating weave with plain threads

(iii) By reversing a small motif

(iv) Insertion of one weave over another.

6.6.1 Construction of crepe weaves upon sateen base

In this case the base weave is sateen, upon which a chosen weave is inserted to get the irregular
effects. This is shown in Fig.6.4

Fig. 6.4 Crepe Weave upon Sateen Base

At Fig. A, is shown the base sateen weave and at Fig. B, is shown the crepe effect obtained by
insertion of a twill weave (3/1 and 1/3) upon the sateen base. The sateen weave has been marked
with a different notation in order to identity the base weave.

6.6.2 Combination of a floating weave with plain threads

In this method a floating weave is inserted upon a plain weave to get the desired crepe effect as
shown in fig.6.5

Fig. 6.5. Combination of a Floating Weave with plain threads

 At Fig. A. is shown the insertion of plain weave. The arrow marks indicate the boxes where
the floating weave is to be inserted. The floating weave chosen here is a combination of a 4 end
sateen and a twill (3/1 and 1/3). At C, is shown the 4 end irregular sateen, separately.

6.6.3 By reversing of a small motif

In this method a simple motif can be chosen and reversed at intervals within the design repeat to
get an irregular effect as shown in Fig. 6.6.

Fig. 6.6. Construction of Crepe Weave by Reversing of a Small Motif

At A, is shown a simple motif and at B, is shown the crepe designs obtained by reversal of the
motif at regular intervals.

6.6.4 Insertion of one weave over another

In this method two different weaves are chosen and are inserted over one another to get the desired
crepe effect as shown in the Fig. 6.7 In order to produce an irregular effect, at least one of the
weaves should be irregular and would be better if both are irregular. Sateen and sateen derivatives
are generally used in this method.
Fig. 6.7. Construction of crepe weave by insertion of one weave over another

In Fig. A, is shown a sateen derivative and in Fig.B, is shown a 4 end sateen. In Fig.C, is shown
the crepe effect obtained by the insertion of A Over B.

6.7 TYPICAL QUALITY PARTICULARS FOR A CREPE FABRIC

A typical type of a cotton crepe fabric of good quality and medium weight should have the
following specifications:

Warp- 18s

Weft - 18s

Warp threads/inch -56

Weft threads/inch -56

Warp yarn should have a little more twist than the weft.

6.8 END USES OF CREPE WEAVES

Crepe weaves are frequently employed in conjunction with other elementary weaves in order to
produce a variety of different and contrasting effects in elaborate jacquard designs for brocade and
similar fabrics. They are also employed in the production of cotton piece goods that are usually
woven in the grey state, to be afterwards bleached and used for a variety of domestic purposes.
Crepe fabrics are also sometimes printed with decorative designs and sold as a light and cheap
material known as ‘cretonne’ which is employed extensively as loose coverings for furniture,
antimacassars, covers, curtains and wall hangings, and for many other similar household articles.
 CHAPTER SEVEN
BASIC ASPECTS OF COLOUR AND ITS EFFECT ON WEAVES
7.1 INTRODUCTION
In the design of a fabric, luster and colour are two important aspects that can demand attention
from the textile designer as they have a considerable influence on the aesthetic appeal of the
fabrics.

Luster arises from the reflection of light from the surface of a textile material. Colour is due
to the reflection of light by the irregularities within fibres of a textile material. In case of luster,
the light reflection is regular, as if from a mirror and in case of colour, the light reflection is
diffuse, reducing luster, as in case of dyed materials.

The degree of luster of a textile material is influenced by the following factors:

(i) The characteristics of the fibres,

(ii) The manner of arrangement of fibres in the yarn

(iii) The type of weave

(iv) The type of finishing treatment.

Fibres such as Polyester, Viscose etc. have a smooth and uniform surface. They have the
ability to reflect light and thus give a very high luster. On the other hand, irregular and twisted
fibres such cotton gives very poor luster. Filament yarns with low twist present long continuous
surfaces to view, which give good reflection. In spun yarn composed of staple fibres, the twist
level is higher and thus the continuity of the surface is broken up and the luster reduced. Some
man made filaments, however, exhibit excessive luster or brilliance, which is undesirable for
the required uses and hence have to be delustred to a certain extent.

The nature of the weave too has a prominent influence on the luster. A weave such as sateen
has a longer float lengths of yarn in fabric and thus presents large continuous areas of yarn to
view. Similarly, finishes which are designed to enhance the luster increase the uniformity and
regularity of the cloth surface, e.g., calendaring, beetling etc., while techniques intended to
destroy luster achieve their aim by disturbing the surface, e.g. raising.

The observations of colour effects are purely subjective and, even when free from
physiological defects such as colour blindness no two people agree in their description of every
colour effect.
7.2 FUNDAMENTAL BASIS OF COLOUR
Experiments have determined the composition of white light and established that light is the
source of colour. When a narrow beam of sunlight passes through a glass prism, the light is
refracted and splits into its constituent elements, resulting in a band of different colours. These
colours are arranged in the manner of a rainbow and termed as spectral colours. The colours are
classified as - red, orange, yellow, green, blue, and violet. Though every gradation of colour is
seen in the spectrum, the change from one to another cannot be seen clearly. Yellow and green
colours constitute the brightest regions of the solar spectrum, while red and violet form the
dullest regions.

Light is an electromagnetic wave motion. It differs from radio waves and x-rays in the
frequency of vibrations. Visible light waves differ in frequency. The frequency increases through
the spectrum, going from red to violet and this is why the red rays are refracted less than the
violet ones. Thus a spectral colour can be described by its frequency, or more usually by its
wavelength, which decreases as frequency increases so that, frequency ¥ wavelength = a
constant. Any light when analysed will be found to be made up of light of different wavelengths
(or colours) in different proportions.

7.3 THEORIES OF COLOUR

There are two theories of colour mixing. These are

Light theory
Pigment theory.

The above two theories depend upon the twin ideas of reflection and absorption. In mixing
the differently coloured lights reflected by a body the colours are added, whereas in mixing
pigments, as in dyeing, the absorptions are added, and so far as colour is concerned, the process
is subtractive.
7.3.1 Light theory of colour

In this theory the colours are divided into primary and secondary colours. The secondary
colours are obtained by mixing of primary colours. The colour classification is shown below:
 Primary colours Secondary colours

Red Yellow

Blue Purple

Green Blue-Green
The secondary colour yellow is obtained by combination of red and green. Purple is obtained by
combination of red and blue and Blue-green is obtained by combination of blue and green. Mixing
the three primary colours can produce any colour including white. Thus white can be produced by
adding to any colour a mixture of the three primaries in a particular proportion. This mixture of
primaries will be a colour in its own right and is said to be complementary to the first colour. Thus
blue and yellow, green and purple, and red and bluish green are complementary. Any two
complementary colours are in the greatest possible contrast to one another. The Fig. 7.1 shows a
chromatic circle that enables the colours that are complementary to be readily seen.

Red Orange
Red
Purple Yellow

Purple Yellow Green

Green
Violet
Green
Blue Blue
Blue Green
Blue
Green
Blue
Green

Fig. 7. 1 Chromatic circle

The circle is divided into twelve equal parts. The primary colours—red, green and blue are
painted in. From the red to the green the colours are then changed to orange, yellow and yellow
green; from the green to the blue through greenish blue to bluish green; and from the blue to the
red through violet, purple and reddish purple. Opposite colours in the circle are complementary
and are in greatest contrast to one another.
7.3.2 Pigment theory of colour

In this theory the colours are divided into primary, secondary and tertiary colours. The secondary
colours are obtained by mixing of primary colours and tertiary colours are obtained by mixing
of secondary colours. The colour classification is as shown below:
Primary colours Secondary colours Tertiary
colours
Red Green Russet
Yellow Purple Citron
Blue Orange Olive

It is to be noted that the effects obtained by mixing dyes or coloured pigments together are
different from those resulting from the mixing of coloured lights. The colour effect produced by
mixing different coloured pigments is subtractive.

The pigment theory of colour is based on the Brewster theory, which explains the effects
produced by mixing coloured pigments. In this theory red, yellow and blue are the primary
colours. Primary colours cannot be obtained by mixing other pigment colours. The secondary
colour green is produced by combination of primary colours yellow and blue, purple is obtained
by combination of red and blue and orange is obtained by combination of red and yellow. The
tertiary colour russet is obtained by combination of secondary colours, purple and orange, citron
by combination of green and orange, and olive by combination of green and purple.

The tertiary colours result from the mixture of three primary colours as can be seen. However,
in each case one of the three is in excess of the other colours. The tertiary colours are duller in
appearance as compared with primary and secondary colours due to the predominance of a
colour. Thus red is the predominant colour in russet, yellow in citron, and blue in olive.

The arrangement of the primary, secondary, and intermediate colours as per Brewster theory is
shown in Fig. 7.2. The circle is divided into eighteen equal parts, and the primary colours, red,
yellow, and blue are placed equidistant from each other, with the secondary colours between
them. Between each primary and secondary colour two intermediate colours are indicated in
which the primary is in excess of the secondary in different proportions.
Fig 7.2 Brewster Circle

7.4 VISUAL EFFECTS OF VARIOUS COLOURS

Each colour creates a certain impression on the mind of the observer. Red appears as a brilliant
and cheerful colour, and gives the impression of warmth. It is a very powerful colour and appears
to advance towards the observer. Blue is a cold colour and appears to recede from the eye. Yellow
is a very luminous and vivid colour and conveys the idea of purity. The qualities of the secondary
colours are somewhat intermediate between the primary colours of which they are composed.
Thus orange is a very strong colour and possesses warmth and brightness, but it is not so intense
as yellow. Green is a retiring and rather cold colour, but appears cheerful and fresh. Purple is a
beautiful rich and deep colour, and for bloom and softness is unsurpassed. The primary and
secondary colours are too strong and assertive to be used in large quantities in their pure form
except for very special purposes. They are chiefly employed in comparatively small spaces for
the purposee of imparting brightness and freshness to fabrics. Their strength is greatly reduced
by mixing with black or white when they are used in large quantities as ground shades.

7.5 MODIFICATION OF COLOURS

Modification of pigment colours can be done in the following ways

(a) By mixing with a different colour

(b) By mixing a colour with black

(c) By mixing a colour with white.

A change in hue results by mixing two different colours. For example, scarlet colour is
obtained by adding a small quantity of yellow colour to red. The relative proportions of the
colours mixed determine
 the change in the degree of hue. For example, if red predominates in a mixture of red and blue the
hue is reddish violet.

7.6 IMPORTANT DEFINITIONS RELATING TO COLOUR THEORY

Tone
It results from mixing a colour with white or black
Tint
It results from mixing a colour with white in different proportions. It is a tone which is
lighter.
Shade
It results from mixing a colour with black in different proportions. It is a tone which is
darker.
Coloured grey
These are certain neutral or broken colours which result from mixing a normal colour with both
black and white in varying proportions.
Mode shade
It is a broken colour in which a certain hue predominates.
Monochromatic contrasts
These are contrasts in which two tones of the same colour are combined.
Example: Two shades of red or three tints of blue. Some of these contrasts in softer version
are suitable for over coatings, suitings and costumes.
Polychromatic contrasts

These are contrasts in which two or more different colours are combined which may be
alike or different in tone.

Example: Light green and light blue, light green and dark red.
Style

A style is one which partakes of both classes of contrast when a ground pattern, consisting of
different tones of the same colour, has bright threads of another colour introduced upon it at
intervals for the purpose of improving the effect.

Successive contrast

In successive contrast the colours are such a distance apart that one is perceived after the other.

Simultaneous contrast

In simultaneous contrast the colours are placed in juxtaposition so that both are seen at the same
time.
Contrast of hue

In contrast of hue each colour influences its neighbor.

Example: Dark blue and light blue and when dark and light colours are placed together - dark
blue and light green. The dark colour, by contrast, makes the light colour appear lighter than it
actually is, while the light colour makes the dark colour appear darker than it is.

Colour harmony

It results from any combination of hues that is pleasing and gives full satisfaction to the
observer.
Harmony of analogy

There are two ways of producing harmony of analogy:

(a) By the combination of tones of the same colour that do not differ widely from each other.

(b) By the combination of hues which are closely related and are equal or nearly equal in depth of
tone.

Example: Different tints of red, or shades of blue when combined, yield a harmony of analogy
of tone, if the difference between them is not too marked.

Tone shaded effects

These are produced by combining a series of scale of tones of a colour which are so graded and
arranged as to run imperceptibly one into other.

Harmony of analogy of tone

This results from combination of different tints or shades of a colour, if the difference between
them is not too marked.

Harmony of contrast

There are two ways of producing a harmony of contrast

(a) By the combination of widely different tones of the same colour.

(b) By the combination of unlike colours

An example of ‘harmony of contrast of tone’ is a pleasing combination of 2 tons of blue marked

by an interval in between.
An example of ‘harmony of contrast of hue’ is the harmonious union of red and green. Harmonies
of analogy are of chief value in producing quiet effects. Harmonies of contrast are useful when
clear and smart effects are required.

Harmony of succession or gradation of hue

It is one in which there is a succession of hues that pass gradually one into the other. The colour
spectrum is a typical example.

Divisional colours

These are colours which are introduced to separate two contrast colours, as other wise the colours
appear blurred and confused at their joining. By using divisional colours, the strength of the
contrast is thereby reduced, and the colours are made to appear clear and precise.

7.7 RELATIONSHIP BETWEEN FABRIC CHARACTERISTICS AND APPEARANCE OF COLOURS

Textile materials may be dyed during any stage of their processing such as fibre, sliver, roving,
yarn or fabric. The dyeing of the textile material at any stage has its own effect on the colour
appearance of the finished cloth. Besides this, the type of dyestuff, its quality, etc., affect the
nature of the luster of the finished textile material. The nature of the weave also has considerable
influence on the colour appearance.

7.8 METHODS OF COLOUR APPLICATION

The following are the various methods of producing colour application that give a mixed colour
effect:

(a) Combination of two or more types of fibres and dyeing the fabric made out of them.

(b) Printing of the spun yarn in different colours.

(c) Using differently dyed yarns which are arranged alternately, and weaving them in an
irregular or broken manner.
(d) Addition of small dyed tufts of fibres at some stage prior to spinning. This results in a
spotted colour effect on the yarn.
(e) Fibres of different colours can be blended to produce a mixture yarn.

(f) Twisting together differently coloured threads to produce fancy type yarns.

(g) By printing slivers in strands of different colours ‘melange’ yarns can be produced.
7.9 COLOUR AND WEAVE EFFECTS
When a fabric is woven with a particular weave using two or more colours in a particular pattern,
a colour and weave effect is produced. In such an effect the weave tends to show a discontinuity
of the colours of the warp and weft and the colour shows on the face of the fabric, irrespective
of the warp or weft float.

Colour and weave effects enable the designer to observe the effect that a colour plan will produce
for a given weave. They can be indicated on point paper and serve as an experimental tool in
assessing the effect. Three important parameters are required to be known, namely

(a) The order of warping

(b) The order of wafting, and

(c) The weave

Fig. 7.3 shows the different stages of designing a colour and weave effect.

Fig:- 7.3 Design of a colour and weave effect

Fig. A above shows the first step in the design of a colour and weave effect. The basic design
is a 4/ 4 twill represented by dots. The next step in Fig. B shows the shading of warp representing
dark colour and Fig. C shows the final design obtained by coloring/shading the weft representing
the dark colour.

7.10 CLASSIFICATION OF COLOUR AND WEAVE EFFECTS

The orders of colouring the threads can be classified as follows:

(a) Simple warping and simple wefting

(b) Simple warping and compound wefting

(c) Simple wefting and compound warping

 (d) Compound warping and compound wefting

In the first and the last the order of warping may be the same, or different from the order of
wefting. Simple stripe and check patterns may be applied to each order of colouring.

7.11 EFFECTS PRODUCED BY SIMPLE COLOUR AND WEAVE COMBINATIONS

In designing simple colour and weave combinations the arrangement of the threads as to colour
may be regular (e.g.: 2 dark, 2 light or 4 dark, 4 mediums, 4 light), or irregular (e.g.: 3 dark,
1 light, 3 dark, 2 mediums, 1 light). By arranging the weft in a different order from the warp,
attractive effects can be brought out.

By applying simple weaves to simple orders of colouring the following effects can be produced

(a) Continuous line effects

(b) Hound tooth patterns

(c) Bird’s eye and spot effects

(d) Step patterns

(e) Hairlines
All over patterns.

A CONTINUOUS EFFECTS

Here the line produced by the pattern runs lengthwise along the cloth. An example of this effect
is shown in Fig. 7.4

Fig: - 7.4 Design of continuous line effect

The figure above shows the typical line effect produced by colouring the 2 and 2 twill in the
 order of 2 dark, 2 light. The same effect can be produced in different ways such as symmetrical
zig zag, serrated etc.
7.12B, HOUND’S TOOTH PATTERN

Fig: - 7.5 Design of hound’s tooth pattern

In the above design, the order of colouring is 4 dark, 4 light in warp and weft, and the weave 2
and 2 twill. Different variations are possible by changing the weave and order of colouring

7.12C, BIRD’S EYE AND SPOT EFFECTS

These effects are related to patterns in which the surface of the cloth is covered with distinct,
small detached spots of colour. An example of this is shown in Fig. 15.6.

Fig: -7.6 Design of Bird’s eye effect

Spot patterns can be produced by simple orders of warping and wefting. A spot is formed where
a warp colour is intersected by the same colour of weft. Thus the desirable pattern can be
produced by arranging the warp or weft floats suitably at places where different colours
intersect.
7.12D, HAIRLINE EFFECT

These effects produce solid vertical or horizontal lines in 2 or more colours. Each line of colour
is equal to the width of one thread. It is possible to produce solid lines of colour which are equal
in width to two or more threads, by suitably arranging the weave and colouring. Fig. 7.7 shows
a hairline effect.

Fig: - 7.7 Design of hairline effect

Weaves such as plain, hopsack, satin etc., can be used with different colouring orders. Figure
above shows an effect produced by using a 4-thread twill (3/1) and choosing order of colouring
1 dark and 4 light both warp and weft way.

7.12 E, STEP PATTERNS

These patterns are those in which vertical and horizontal lines unite and form zig zag lines of
colour that run diagonally. An ordinary twill weave with equal warp and weft floats is suitable.
A typical design is shown in Fig. 7.8.
Fig: - 7.8 Design of a step pattern

The above design shows a 2 and 2 twill coloured 1 dark and 1 light. Similar effects can be
produced with different twills as 3 and 3, 4 and 4 etc. with different orders of colouring.
7.12F, ALL OVER EFFECTS

In these patterns, the colour effect runs in an unbroken pattern over the surface of the cloth. All
over effects can be constructed by suitably arranging the repeat of the colour plan and the repeat
of the weave in a such a way that two or more repeats of a weave are required to produce a
complete repeat of the pattern.

Fig: - 7.9 Design of all over pattern

 Reference

1. Bridgens, B., & Birchall, M. (2012). Form and function: The significance of
material properties in the design of tensile fabric structures. Engineering
structures, 44, 1-12.
2. Gokarneshan, N. (2004). Fabric structure and design. New Age International.

3. Lewis, W. J. (2013). Modeling of fabric structures and associated design

issues. Journal of architectural engineering, 19(2), 81-88.
4. Rassel, M. A. (2019). Effect of fabric structure and design on knitted fabric width,
weight and its strength. Journal of ELT and Education, 2, 25-30.
 Multiple choice questions

1. With respect to function of the heald shaft, which of the following statement is not true?
A. It is useful in identifying broken warp threads
B. It maintains the order or sequence of the warp threads
C. It determines the order of lifting or lowering the required number of healds for a pick.
D. It determines the weft thread density per inch.
E. All.
2. Which of the following weave give similar appearance for both face and back side of the
fabric?
A. Continuous Twill
B. Ordinary honey comb
C. Brighton honey comb
D. Plain E. B and D
3. Colour and weave effects require ______________ warp preparation?
A. Beam C. Vertical mill E. All
B. Ball D. Sectional
4. Which of the following statement is not the function of the Reed?
A. It pushes the lastly laid pick of weft to the cloth fell
B. It helps to maintain the position of the warp threads
C. It determines the fineness of the cloth in conjunction with the healds.
D. It determines the openness or closeness of the fabric.
E. All. F. none
5. Which of the following types of draft used to produce fabrics having heavy warp thread
density?
A. Straight draft B. Pointed draft C. Skip draft D. Broken draft E. all.
6. With respect of tear strength which of the following statement is correct?
A. Tear strength of plain weave greater than tear strength of twill weave.
B. Tear strength of high set fabric is higher than tear strength of low set fabric
C. Tear strength of a fabric does not depend upon type of weave.
D. Tear strength of a fabric depend upon thread strength.
 E. All
7. Which of the following weave provides a good background for printed and embossed design?
A. Plain B. twill C. sateen D. all. E. none.
8. With respect of plain weave characteristics, which of the following statements is not correct?
A. It has the maximum number of binding points.
B. It produces high drapable fabric.
C. Cloth thickness and mass per unit area are limited.
D. It produces a relatively stronger fabric that is obtained by any other simple combination
E. None.
9. Which of the following is not end use of Plain weave?
A. Cambric B. Muslin C. Denim D. Canvas E. none
10. Which of the following is not used to increases the prominence of warp rib?
A. Finer yarn used as warp and coarser as weft yarn.
B. The number of ends/inch is more than the number of picks/inch.
C. Warp yarns are used as a single yarn and weft yarns are used as group or bundle yarns.
D. High twisted yarn is used as weft.
E. All.
11. With respect of twill weave characteristics, which of the following statement is correct?
A. It has Closer setting than plain
B. It has Greater weight than plain
C. It has Better draping quality than plain
D. It has Better cover than plain weave
E. All.
12. With respect of prominence of the twill weave, which of the following statement is not
correct?
A. A coarse yarn of lower twist produces a greater effect on the twill as compared to a fine
yarn of higher twist.
B. Doubled or ply yarns have a stronger effect on the twill as compared to single yarns.
C. Twills with longer floats will give more prominence as compared to those with shorter
floats.
 D. The twill prominence increases proportionately with the decrease in warp and weft
threads/inch
E. None.
13. Which of the following is not end use of Twill weave?
A. Khakhi uniforms. B. denim cloth C. shirting and soft furnishings D. All. E. none.
14. With respect of satin/sateen weave characteristics, which of the following statement is not
correct?
A. Have poor seam strength.
B. More thread density is possible in warp and weft.
C. Have no prominent weave structures
D. Have low smoothness and luster than twill
E. None
15. With respect of wrinkle resistance which of the following statement is correct?
A. Plain has lower wrinkle resistance than twill and satin.
B. Twill has lower wrinkle resistance than plain and satin.
C. Satin has lower wrinkle resistance than twill and plain.
D. All.
E. None.
16. Which of the following is not Disadvantage of Twill Weave?
A. Twills are more expensive to produce than plain-weave fabric
B. It is more difficult to clean than plain weave fabrics
C. It usually has a right and wrong side which may make garment design difficult.
D. Some uneven twill fabrics produce garments that are prone to twisting or skewing on the
body after laundering.
E. All.
17. Smoothness of satin/sateen can be increased by?
A. Using high twisted yarn and by increasing EPI.
B. Using low twisted yarn and by increasing EPI.
C. Increasing binding point in each end or pick.
D. Reducing float length.
E. None.
18. Which of the following is incorrect rule in choosing move numbers for the construction of
satin/sateen weaves?
A. It should not be 1.
B. It should not be the repeat size itself.
C. It should not be more than the repeat size.
D. It should not be less than the repeat size by two.
E. It should not be a divisible factor of the repeat size.
19. Which of the following is true about the cost of production?
A. Satin have low cost of production than plain or twill.
B. Satin have high cost of production than plain or twill.
C. Twill has high cost of production than plain or satin.
D. A and C
E. None
20. With respect of crepe weave characteristics, which of the following statement is not correct?
A. It contains no twilled or other prominent effects.
B. The cloth is covered by minute spots or seeds.
C. Low twist yarns are used with controlled shrinkage.
D. Highly irregular surface-puckered in appearance
E. None.
21. From the following choose which one is the basic element in a woven design?
A) Peg/lifting plan
B) Design
C) Drawing plan/draft
D) All
22. ------------- indicates the manner of drawing the ends through the heald eyes and it also
denotes the number of heald shaft required for a given weave repeat.
A) design
B) Drawing plan/draft
C) Shift
D) Repeat
23. From the following design which one is a derivative of fundamental weave structure.
 A. Satin/sateen weave
B. Weft rib weave
C. Zigzag weave
D. Shaded sateen
E. all except A
24. which of the following design represent 4/2 weft rib weave?

25. from the following choose which one is warp face twill?
A. 4/2 twill C. 2/3 twill
B. 4/4 twill D. 3/5 twill
26. Vertical zigzag twill has the following feature except.
A. Basic twill runs along weft
B. The twill direction reverses upon the weft after the basic twill.
C. The no. of weft yarn is double to the no. of weft yarn of basic twill and the no. of warp
yarn is same as basic twill weave.
D. The twill direction reverses upon the warp after the basic twill.
27. Which of the following derivative of twill weave is created on the basis herring bone principle?
This design is constructed by combining horizontal and vertical hearing bone twill.
A. Diaper design
B. Diamond design
C. Hearing bone twill
D. Vertical zig zag
28. Using move number rule suitable move numbers for the construction of 6 END satin weaves?
A. 3&5
B. 4
C. Have no move number
D. 1,3,5
29. Using move number rule suitable move numbers for the construction of 12 END sateen weaves?
A. 5,6 &8
B. 5&7
C. 3,4,5,7&9
D. 6,8, &11
30. Though several methods are employed in the construction of crepe weaves, one is chiefly
employed?
A. Construct by reversing a small motif
B. Construct by Insertion of one weave over another.
C. Construct by Combination of a floating weave with plain threads
D. All
31. The degree of lustre of a textile material is influenced by the following factors
A. characteristics of the fibres
B. type of weave
C. type of finishing treatment
D. All
32. The following weave design represent?

A. 5 end satin B. 5 end shaded sateen C. 5 end sateen D. 20 end sateen

33. From the following one is not features of Warp Rib weave?
A. It produces rib or cord effect in weft direction
B. Finer yarn used as warp and coarser as weft yarn
C. Low twisted yarn is used as weft.
D. The number of picks/inch are more than the number of ends/inch.
34. ----- is derivative of plain weaves constructed by extended plain weave both in the warp and
weft directions.
A. Warp rib
B. Weft rib
C. Matt rib
D. All Except B
35. using 4/4 z basic twill weave design the following design show?

36. When the twill runs from the lower right to the upper left corner, the twill is known as-----
A. S-twill
B. Z-twill
C. Left hand twill
D. Right hand twill
E. A&C
F. B&D
37. Which of the following is true about compound twill weave?

A. Obtained in parallel construction of two or more twill weaves on the same area.
B. The number of shafts for producing compound twill is equal to its repeat.
C. compound twills retain the property of the original twill namely equality of repeat on
warp and on weft.
D. All