Lab Manual: Fabric Structure and Design

Lab Manual
FABRIC STRUCTURE AND DESIGN
Ferdausee Rahman Anannya

LECTURER | DEPARTMENT OF TEXTILE ENGINEERING & MANAGEMENT, BUFT
Lab Manual: Fabric Structure and Design
Topics to be Covered
01. Study on fabric identification, weave design, drafting plan, and lifting plan of given
woven fabric samples (Plain).
woven fabric samples (Regular and Irregular Matt).
woven fabric samples (Vertical and Horizontal Zigzag).
woven fabric samples (Vertical and Horizontal Herringbone).
woven fabric samples (Diamond).
woven fabric samples (Diaper).
07. Study on fabric specification, design, needle set out, and cam arrangement of given
knitted fabric samples (Single Jersey Plain and Polo Pique).
knitted fabric samples (Single Lacoste and Double Lacoste).
knitted fabric samples (Double Jersey Rib).
knitted fabric samples (Double Jersey Interlock).
Page | 1
Index
Experiment No Experiment Name Page No
1 Analysis of Fabric Structure and Design of a Given Fabric Sample (Woven). 3-9
2 Analysis of Fabric Structure and Design of a Given Fabric Sample (Knit). 10-18
Page | 2
01. Analysis of Fabric Structure and Design of a Given Fabric Sample

(Woven).
Theory:
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.
The three basic elements in a woven design are:
(i) Design
(ii) Draft or drawing plan
(iii) Peg or lifting plan
The design indicates the interlacement of warp and weft threads in the repeat of the design. It
is made up of several 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.
The 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.
The 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. The design, draft and peg plan are illustrated with the aid of an example
shown below;
Fig 1: Basic Elements of a Woven Design
Page | 3
To produce the fabric, there is some more information about the fabric that is needed regarding
thread density and linear density of the thread. To analyze fabric specification, the following
things are needed to be found;
𝐸𝑃𝐼 ×𝑃𝑃𝐼
• Fabric Specification= 𝑊𝑎𝑟𝑝 𝐶𝑜𝑢𝑛𝑡(𝑁𝑒)×𝑊𝑒𝑓𝑡 𝐶𝑜𝑢𝑛𝑡(𝑁𝑒) × 𝐹𝑎𝑏𝑟𝑖𝑐 𝑊𝑖𝑑𝑡ℎ 𝑖𝑛 𝑖𝑛𝑐ℎ
• Crimp Percentage of Warp and Weft Yarns
• Fabric GSM
• Fabric Cover
The fabric width would be given in the order but the other values may have to find out.
Working Procedure:
• The sample has to be taken and some yarns from two adjacent selvedge or edge of the
fabric is required to be taken out to make intentional fringing of yarn as shown in the
following figure.
Fig 1: Fabric with Fringed Yarns at The Edge
Fig 2: Counting Glass
Page | 4
Fig 3: Analysis of The Fabric Sample with Counting Glass
Fig 4: Moving Out Fringed Yarn from Fabric Sample

• The counting glass has to be placed on the fabric sample and the thread density of two
adjacent ends can be calculated. One of the two values is ends per inch (EPI) and the
other is picks per inch (PPI). Generally, the greater one is EPI and the other one is PPI
but sometimes they can be the same. In that case, the finer yarn or the comparatively
stronger yarn between the two should be the warp and the other would be weft.
• Then the sample can be analyzed to find out the fabric structure. To do so, warp yarn
at the fringed edge has to be moved slowly with help of a needle as shown in figure 3
and figure 4 and the interlacement needs to be seen and noted 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. The method is shown in figure 1.
• The interlacement or path of warp over or under wefts needs to be seen and it should
be noted to prepare the design. The process needs to be continued until a repeat is not
found. 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.
• Then the drafting plan and lifting of the given sample can be produced from the design.
The following design is found from the given sample;
Page | 5
Fig 4: Huck A Back Weave (8×8)

• Percentage of crimp is the mean difference between the straightened thread length and
the distance between the ends of the thread in the cloth. It gives the measure of actual
length of warp and weft yarns required to weave a fabric. Crimp Percentage of Warp
and Weft yarns can be calculated by using the following formula;
L2 − L1
Crimp %, C = × 100
𝐿1
where, L2 = Straightened yarn length and L1 = Crimped yarn length in fabric.

The crimp percentage is calculated by using the two values, one is the cloth length from which
the yarns are removed, and the other one is the length of the straightened thread. To straighten
the threads, tension needs to be applied gently by hands or machine which must be just
sufficient to remove all the kinks without stretching the yarn beyond its original length.
• When the weight of a fabric is expressed in ‘weight per unit area’ then the term is
defined as GSM’ (grams per square metre). This expression is used by British Standard.
Fabric GSM is measured using GSM cutter or by using the following formula;
Page | 6
Fabric GSM= Weight of Warp per square of a fabric in grams + Weight of Warp per square of
a fabric in grams
𝐸𝑃𝐼×39.37×1×(100+𝑊𝑎𝑟𝑝 𝐶𝑟𝑖𝑚𝑝 𝑃𝑒𝑟𝑐𝑒𝑛𝑡𝑎𝑔𝑒)×453.6 𝑃𝑃𝐼×39.37×1×(100+𝑊𝑒𝑓𝑡 𝐶𝑟𝑖𝑚𝑝 𝑃𝑒𝑟𝑐𝑒𝑛𝑡𝑎𝑔𝑒)×453.6
= +
𝑊𝑎𝑟𝑝 𝐶𝑜𝑢𝑛𝑡 (𝑁𝑒)×840×100 𝑊𝑒𝑓𝑡 𝐶𝑜𝑢𝑛𝑡 (𝑁𝑒)×840×100
• Fabric Cover is a number that indicates the extent to which the area of a fabric is
covered by the two set of threads. For any woven fabric, there are a cover factor for
warp and a cover factor for weft. Fabric cover is the sum of both of these cover factors.
Here,
𝐸𝑃𝐼
Warp Cover Factor=
√𝑊𝑎𝑟𝑝 𝐶𝑜𝑢𝑛𝑡 (𝑁𝑒)
𝐸𝑃𝐼
Weft Cover Factor=
√𝑊𝑒𝑓𝑡 𝐶𝑜𝑢𝑛𝑡 (𝑁𝑒)
Warp Cover Factor × Weft Cover Factor

Fabric Cover= Warp Cover Factor + Weft Cover Factor - 28
• Then the sample can be then taken for determining the yarn count and Beesley’s
Balance would be useful.
• The fabric needs to be marked the fabric by using a template given with the Beesley’s
Balance.
• The marked fabric area should be cut and fringed yarns can be collected from the cut
ends of the required length. The lengths for different yarns and different systems are
fixed which are;
Cotton: 4.32 Inch, ½ cotton :2.16 Inch, Linen :1.543 Inch, Wool :1.315 Inch and
Worsted :2.88 Inch.
Fig 5: Beesley’s Balance

• The pointer needs to be set directly opposite to the datum line in the Beesley’s Balance,
with no material and counterweight in the places, by adjusting the leveling screw. The
counterweight for the particular length which is supplied with the instrument is chosen
and needs to be suspended at the notch D.
Page | 7
• Then the cut yarns withdrawn from the sample need to be placed on the sample hook
until the pointer comes in level with the datum line.
• At this stage, the threads have to be taken out and counted which givers directly the
count of yarn taken for testing. For example; if there are 30 threads in the sample hook
at the balanced condition so the count of the yarn is 30s.
Calculation:
Table for Determining Yarn Count Using Beesley’s Balance:
Sample Sample length Number of yarns required to 𝑋𝑎+𝑋𝑏+𝑋𝑐
Mean,𝑥̅ = 3
No inches balance the pointer and datum line
(X)
a
b
c
Here;
For Warp Yarn;
Sample length= 11cm
Number of yarns required to balance the pointer and datum line for sample ‘a’ Xa = 30
Number of yarns required to balance the pointer and datum line for sample ‘b’ Xb = 28
Number of yarns required to balance the pointer and datum line for sample ‘c’ Xc = 32
𝑋𝑎+𝑋𝑏+𝑋𝑐 30+28+32
Mean,𝑥̅ = = = 30
3 3
Similarly, for Weft Yarn;

Sample length= 11cm
Mean,𝑥̅ = 26.33 ≅ 26
L2 − L1
Crimp %, C = × 100
𝐿1
L2 − L1
Warp Crimp%, C1= × 100 [L2= 10.5 cm, L1= 10 cm]
𝐿1
10.5 − 10
C1 = × 100= 5%
10
L4 − L3
Weft Crimp%, C2= × 100 [L4= 10.7 cm, L3= 10 cm]
𝐿3
10.7 − 10
C2 = × 100= 7%
10
Page | 8
Fabric GSM= Weight of Warp per square of a fabric in grams + Weight of Warp per square of
a fabric in grams
𝐸𝑃𝐼×39.37×1×(100+𝑊𝑎𝑟𝑝 𝐶𝑟𝑖𝑚𝑝 𝑃𝑒𝑟𝑐𝑒𝑛𝑡𝑎𝑔𝑒)×453.6 𝑃𝑃𝐼×39.37×1×(100+𝑊𝑒𝑓𝑡 𝐶𝑟𝑖𝑚𝑝 𝑃𝑒𝑟𝑐𝑒𝑛𝑡𝑎𝑔𝑒)×453.6
= +
𝑊𝑎𝑟𝑝 𝐶𝑜𝑢𝑛𝑡 (𝑁𝑒)×840×100 𝑊𝑒𝑓𝑡 𝐶𝑜𝑢𝑛𝑡 (𝑁𝑒)×840×100
102×39.37×1×(100+5)×453.6 66×39.37×1×(100+7)×453.6
= +
30×840×100 26×840×100
= 75.90 + 57.75
= 133.65 ≅ 134
𝐸𝑃𝐼 102
Warp Cover Factor= = = 18.62
√𝑊𝑎𝑟𝑝 𝐶𝑜𝑢𝑛𝑡 (𝑁𝑒) √30
𝐸𝑃𝐼 66
Weft Cover Factor= = = 12.94
√𝑊𝑒𝑓𝑡 𝐶𝑜𝑢𝑛𝑡 (𝑁𝑒) √26
Warp Cover Factor × Weft Cover Factor

Fabric Cover= Warp Cover Factor + Weft Cover Factor - 28
18.62 × 12.94
= 18.62 + 12.94 - = 22.95
28
Result:
The found fabric specification is;
102 ×66
Fabric Specification= × 61′′ [Fabric width is given in order]
30×26
Crimp Percentage of Warp Yarn= 5%

Crimp Percentage of Warp Yarn= 7%
Fabric GSM= 134
Fabric Cover= 22.95
Page | 9
02. Analysis of Fabric Structure and Design of a Given Fabric Sample (Knit).
Theory:
For producing a knitted fabric by employing only yarns that resemble weft as used in the
weaving process is known as weft knitting, and the technique of converting a sheet of warp
yarns resembling a warp sheet of the weaving process into a knitted fabric is known as warp
knitting. The overall direction of the yarn path in the weft-knitting process is along the fabric
width. This is analogous to that of a pick of weft in the weaving process. The yarns are
interlooped in weft knitting to form the loops. Interlooping consists of forming yarn(s) into
loops, each of which is typically only released after a succeeding loop has been formed and
intermeshed with it so that a secure ground loop structure is achieved. The loops are also held
together by the yarn passing from one to the next.
Fig 1: Interlooping of yarns

This interloping takes place with the help of ascending and descending needles helped in their
movement via a type of track which is called cam which converts the rotary motion of the
machine to reciprocating motion of the needles. The sequence of interlooping and intermeshing
of loops is called the design of the fabric. Knitted loops are arranged in rows, roughly
equivalent to the weft and warp of woven structures. These are termed ‘courses’ and ‘wales’
respectively. A course is a predominantly horizontal row of needle loops (in an upright fabric
as knitted) produced by adjacent needles during the same knitting cycle. A wale is a
predominantly vertical column of intermeshed needle loops generally produced by the same
needle knitting at successive (not necessarily all) knitting cycles. These consist of the fabric as
well as the design of the fabric. The three basic elements in a knitted design are:
(iv) Design
(v) Needle setout
(vi) Cam arrangement
The design indicates the interlooping of yarns and the intermeshing of loops in the fabric. It is
a kind of sequence that is repeated all over the fabric. Depending on the type of intermeshing
there are three types of loops; knit loops, tuck loops, and miss loops. knit loops are the fully
intermeshed ones while the tuck loops are not fully interlooped as the tuck loops are quite
Page | 10
smaller and it is accompanied by a prolonged knit loop which is called the held loop. The miss
loop of float stitch is the one where no interlooping or intermeshing has taken place. Actually,
the design is a set of courses and wales. To produce the design on paper the following symbols
or notations are used.
Fig 2: Representation of stitches or loops

The knitting machine contains needles which make the loops. The needles move up and down
to catch the yarn and then turn it into a loop. The needles are moved using the tracks created
by cams put against the butt of the needles. The following figure shows different parts of the
latch needle, the most frequently used needle in knitting.
Fig 3: Main Parts of a Latch Needle
Page | 11
According to the position of the butt, the latch needles of circular knitting machines are of four
types which are numbered 1 to 4 as shown in the following figure.
1 2 3 4
Fig 4: Four Types of Latch Needle
To make two different types of loops, a different type of movement is required and for a
different type of movement different numbered needles are required as the cams are set one
below the other for different numbered needles and help to make a different type of loops in
the same course at adjacent positions.
The cam arrangement means the sequence of cam placement in the cam box against different
numbered needles. The cams are different for knit, tuck and miss loops as shown below;
Knit cam Tuck cam Miss cam

Fig 5: Different Cams
Page | 12
The cams are placed in the cam box in a sequence resembling the looping sequence of the
fabric to be produced as shown in the following figure;
Fig 6: Cam Box

Each cam box contains four tracks to allow four-needle butts to travel simultaneously
altogether. The top to bottom tracks is numbered for 1 to 4 numbered needles respectively. For
producing the cam arrangement on paper, cam shape or K, T and M are used for knit, tuck, and
miss cams respectively.
There is another term related to the cam box, which is the ‘Feeder’. It is the yarn guide which
feeds the yarns to needles. The number of courses in a design repeat is equal to the number of
minimum feeders required to produce the design. When only single jersey plain design is made,
only one feeder is enough while making single jersey derivatives like single lacoste, polo pique,
etc need a minimum of four feeders. If there is a greater number of feeders than required, the
course sequence or feeder sequence is repeated in other feeders. The number of cam boxes are
also equal to the number of feeders in the machine. So, each cam box means one feeder.
When the fabric is single jersey, there would be only one set of needles making one set of loops
but for double jersey fabrics, two sets of needles are introduced and it makes two sets of loops
on two sides of the fabric which make the double jersey fabrics similar on both sides on both
cases. In that case, there would be two sets of needles and also two sets of cams for the same
fabric.
To produce the fabric, there is some more information about the fabric that is needed regarding
thread density or loop density and linear density of the thread. To analyze fabric specification,
the following things are needed to be found;
• CPI= Courses per inch
• WPI= Wales per inch
• S.L= Stitch length
• Yarn Count
• Fabric GSM
• And Fabric Width in Inches
Page | 13
The fabric width would be given in the order but the other values may have to be find out.
Working Procedure:
• First of all, the face and back of the fabric are required to be found out for single jersey
fabric but it is not required for double jersey fabrics.
• The sample has to be taken and courses form the knitted edge of the fabric is required
to be taken out as long as to make the edge totally straight so that the courses can be
unraveled from one end to the other as shown in the following figure.
Fig 7: Fabric with unraveling courses on the edge
Fig 8: Counting Glass
Fig 9: Analysis of The Fabric Sample With Counting Glass
Page | 14
Fig 10: Unraveling a Course from Fabric Sample

• The counting glass has to be placed on the fabric sample and loops or stitch density in
the fabric needs to be found out. One of the two values is courses per inch (CPI) and
the other is wales per inch (WPI). Generally, the WPI can be measured easily from the
technical face of the fabric while the CPI can be measured easily from the technical
backside of the fabric. But in the case of complex designs, one inch needs to be marked
on the fabric vertically and the courses in the marked area need to be raveled. The
number of unrevealed courses would be CPI.
• Then the sample can be analyzed to find out the fabric structure. To do so, courses need
to be unraveled as shown in figure 7. The loops are required to be noted for each course
from a starting point. The starting point should be given before starting unraveling the
courses. The starting mark is a vertical line drawn along a wale as shown in the
following figure;
Starting Mark
Fog 11: Vertical Starting Mark on a Wale

• The design can be noted on paper as shown in the following figure;
Fig 12: Drawing the Design on Paper
Page | 15
• The required number of needles depends on the type of wales line in the design repeat.
Each type of wale needs a separate type or separately numbered needle. All the needles
in the machine need to be set according to the found sequence from the design.
• The number of courses is equal to the number of feeders and the cams and the cams are
required to be set according to the design for that course. Since each cam box needs to
carry the cams required to produce all loops of one course, the cam needs to be set
according to the looping sequence in the design.
The following design is found from the given sample;
C4
C3
C2
C1
F1 F2 F3 F4
Needle
Set-out
Cam Arrangement
Fig 13: Single Lacoste Design

• To measure the stitch length, a course has to be unraveled and the number of wales in
that course needs to be counted. Then the unraveled course is straightened and then the
length is measured. The loop length is determined as the length of the straightened
course is the total length of all the wales or loops in that course. From it, the length of
one wale or loop can be calculated.
• When the weight of a fabric is expressed in ‘weight per unit area’ then the term is
defined as GSM’ (grams per square metre). This expression is used by British Standard.
Fabric GSM is measured using GSM cutter or by using the following formula;
𝑇×𝐿×𝐶×𝑊
GSM= 10
Where T= Tex count
L= Loop length in cm
C= Courses per cm
W= Wlaes per cm
Page | 16
• Then the sample can be then taken for determining the yarn count and Beesley’s
Balance would be useful.
• Courses need to be unraveled from the fabric sample and the crimped yarns are required
to be straightened to measure its original length. Then the yarns have to be cut according
to the required length for Beesley’s Balance template which is 11cm or 4.32 inches for
cotton yarn (Cotton: 4.32 Inch, ½ cotton:2.16 Inch, Linen:1.543 Inch, Wool:1.315 Inch
and Worsted:2.88 Inch).
Fig 14: Beesley’s Balance

• The pointer needs to be set directly opposite to the datum line in the Beesley’s Balance,
with no material and counterweight in the places, by adjusting the leveling screw. The
counterweight for the particular length which is supplied with the instrument is chosen
and needs to be suspended at the notch D.
• Then the cut yarns withdrawn from the sample need to be placed on the sample hook
until the pointer comes in level with the datum line.
• At this stage, the threads have to be taken out and counted which givers directly the
count of yarn taken for testing. For example; if there are 30 threads in the sample hook
at the balanced condition so the count of the yarn is 30s.
Calculation:
Table for Determining Yarn Count Using Beesley’s Balance:
Sample Sample Number of yarns required Mean,𝑥̅ = 590.5
Tex Count=
𝑋𝑎+𝑋𝑏+𝑋𝑐 𝑁𝑒
No length to balance the pointer and
3
inches datum line (X)
a
b
c
Page | 17
Here;
Sample length= 11cm
𝑋𝑎+𝑋𝑏+𝑋𝑐 30+28+32
Mean,𝑥̅ = = = 30
3 3
590.5
Tex Count= = 19.68 Tex
30
CPI= 58
WPI= 28
𝐶𝑃𝐼 58
Course per cm, C= 2.54= 2.54 =22.83 ≅ 23
𝑊𝑃𝐼 28
Wales per cm, W= 2.54 = 2.54 = 11.023≅ 11
𝐿𝑒𝑛𝑔𝑡ℎ 𝑜𝑓 𝑠𝑡𝑟𝑎𝑖𝑔ℎ𝑡𝑒𝑛𝑒𝑑 𝑦𝑎𝑟𝑛 𝑖𝑛 𝑐𝑚 6.4
Stitch length. L= = = 0.256cm
𝑇𝑜𝑡𝑎𝑙 𝑛𝑢𝑚𝑏𝑒𝑟 𝑜𝑓 𝑙𝑜𝑜𝑝𝑠 25
𝑇×𝐿×𝐶×𝑊 19.68×0.256×23×11
Fabric GSM= = = 127.47≅ 127
10 10
Result:
The found fabric specification is;
• CPI= 58
• WPI= 28
• S.L= 0.256 cm
• Yarn Count = 30 Ne
• Fabric GSM= 127
• And Fabric Width in Inches= 58 [Fabric width is given in order]
Page | 18

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Lab Manual

FABRIC STRUCTURE AND DESIGN

Ferdausee Rahman Anannya

01. Analysis of Fabric Structure and Design of a Given Fabric Sample

Fig 1: Basic Elements of a Woven Design

Fig 1: Fabric with Fringed Yarns at The Edge

Fig 2: Counting Glass

Fig 3: Analysis of The Fabric Sample with Counting Glass

Fig 4: Moving Out Fringed Yarn from Fabric Sample

Fig 4: Huck A Back Weave (8×8)

where, L2 = Straightened yarn length and L1 = Crimped yarn length in fabric.

Warp Cover Factor × Weft Cover Factor

Fig 5: Beesley’s Balance

Similarly, for Weft Yarn;

Warp Cover Factor × Weft Cover Factor

Crimp Percentage of Warp Yarn= 5%

Fig 1: Interlooping of yarns

Fig 2: Representation of stitches or loops

Fig 3: Main Parts of a Latch Needle

Knit cam Tuck cam Miss cam

Fig 6: Cam Box

Fig 7: Fabric with unraveling courses on the edge

Fig 8: Counting Glass

Fig 9: Analysis of The Fabric Sample With Counting Glass

Fig 10: Unraveling a Course from Fabric Sample

Fog 11: Vertical Starting Mark on a Wale

Fig 12: Drawing the Design on Paper

Fig 13: Single Lacoste Design

Fig 14: Beesley’s Balance

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