Advance Weaving BTDT, TD3077 Zuhaib Ahmad

WEAVING:

Weaving is the interlacing of warp and filling yams perpendicular to each

other. There are practically an endless number of ways of interlacing
warp and filling yarns. Each different way results in a different fabric
structure.

WEAVING MACHINES:
Weaving of yarns into a fabric is performed on a "weaving machine" which has also been
called a "loom". In practice, the weaving machines are named after their filling insertion
systems. Schematics of the filling insertion systems that are used in the market are shown in
Figure.

Based on the filling insertion systems, the weaving machines can be classified as shuttle and
shuttleless weaving machines. Shuttle looms have been used for centuries to make woven
fabrics. In this type of loom, a shuttle, which carries the filling yarn wound on a quill, is
transported from one side to the other and back. In the mid 20th century, other weaving
machines started to emerge that used other forms of filling insertion mechanisms such as
air, projectile, rapier and water. In reference to shuttle looms, these machines are called
shuttleless looms or shuttleless weaving machines. Today, the shuttle looms have become
obsolete and are not manufactured anymore except for some very special niche markets.

The existing shuttle looms have been replaced by the shuttleless weaving machines in
industrialized countries. Nevertheless, approximately 2.6 million of the 3.2 million looms in
existence throughout the world in 1998 were still shuttle looms [3]. However, they are being
replaced by the shuttleless weaving machines at a fast rate. Today, the three most popular
weaving machines are air-jet, rapier and projectile machines.
“Handbook of Weaving by Sabit Adanur, P-4,6”

WOVEN FABRICS:

Woven fabrics can be classified in many ways:

(1) Classification by weave type, i.e., plain, twill, satin, leno, etc.
(2) Classification by common names, i.e., denim, cheesecloth, percale, etc.
(3) Classification by weight, i.e., heavy fabrics and light fabrics
(4) Classification by coloration method, i.e., solution dyed, stock dyed, yarn or piece dyed
(5) Classification by the end-use, i.e., apparel fabrics, home furnishings and industrial fabrics

“Handbook of Weaving by Sabit Adanur, P-6”

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FLOW CHART OF WEAVING:

“Handbook of Weaving by Sabit Adanur, P-36”

Process involved in Weaving:

Winding:
Yarn is the basic building block in weaving. In practice the condition of the yarn produced on
spinning machine is not always good enough to be used directly for fabric formation.
Package size, yarn surface characteristics and other factors make it necessary for both filling
yarn and warp yarn to be further processed for efficient fabric formation. Winding is the
process of transferring yarn or thread from one type of package to another to facilitate
subsequent processing.

Warping:

In general terms, warping is transferring many yarns from a creel of single end packages
forming a parallel sheet of yarns wound onto a beam.

Sizing:
The weaving process requires the warp yarn to be strong, smooth and elastic or extensible
to a certain degree. To achieve these properties on warp yarns, a protective coating of

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polymeric film forming agent (size) is applied on the warp yarns prior to weaving; this
process is called slashing or sizing.

Drawing-In:
After sizing, the sized warp beam is prepared to be placed on the weaving machine and for
this purpose drawing-in is done. It is the entering of yarns from a new warp into the weaving
elements of a machine, namely drop wires, heddles and reed, when starting up a new fabric
style.

Tying-In:
Tying-in the new warp ends to the depleted warp is done when new pattern is not required.

Weaving:
Weaving is the interlacing of warp and filling yams perpendicular to each other t form a
fabric. Basic mechanisms which are essential for continuous weaving are:
 Warp let-off
 Shedding
 Filling Insertion
 Beat-up
 Fabric take-up

WOVEN FABRIC ANYLYSIS

Information from a woven fabric:

1. Weave (structure)
2. Order of coloring in warp and weft (if applicable)
3. Sett – ends (warp) and picks (weft) per inch
4. Yarn particulars
– Counts (Ne)
– Twist per inch
– S or Z twist
– Single or fold yarn
5. Crimp% in warp and weft
6. Width of warp in reed
7. Warp length for a given finished fabric length (m)
8. Weight of fabric per unit area (gm/sq.m)
9. Type of material for both warp and weft
10. Type of finishing applied
11. Other factors: tensile strength, resistance to abrasion, drape, shower resistance,
color fastness

Face and back of woven fabric:

In defining which is the face or back of woven fabric, it is mainly according to the type of
material, yarn count, arranging of yarn, dyeing and printing, weave pattern, finishing effect.
Typical for fabric surface (face) are:
– Smoother and lustrous.
– Soft handle.

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– The face with solid jacquard pattern, pattern weave or printed design.
– In satin and twill weaves, warp float will be on face.
– In fancy weaves, the design may be clear on the front but not the back.
– Fabric with special effects, the effects usually appears on the face.
While in case of fabric back, knots and imperfections usually appear on the back.

Distinguish of Warp and Weft

Warp Yarns Weft Yarns

1. Run parallel to the selvedge. 1. Run perpendicular to the selvedge.
2. Usually thinner. 2. May be bulkier.
3. Usually stronger. 3. May be weaker.
4. Usually have more twist. 4. May have less twist.
5. In an unbalanced weave, are usually greater 5. In an unbalanced weave, are usually fewer in
in number. number.
6. Are usually straighter and more parallel than 6. Fancy or special-function yarns are usually in
filling yarns. the filling direction.
7. If both filament and staple yarns are used in 7. If both filament and staple yarns are used in
one fabric, the filament yarns are usually the one fabric, the staple yarns are usually the
warp yarns. filling yarns.
8. Usually Sized. 8. No sizing.
9. End spacing is more uniform. 9. Pick spacing is more irregular.
10. Higher tension. 10. Lower tension
11. Fabric crimp is usually less for warp yarn. 11. Fabric crimp is usually greater for filling yarn.

Fabric Count/Density:

 Fabric Count, count, or fabric density is the number of warp and filling yarns per square inch
of gray goods (fabric as it comes from the loom).
 Count may increase due to shrinkage during dyeing and finishing.
 Count is writing with the warp number first, for example, 80 X 76 ( read as “80 by 76”); or it
may be written as the total of two, or 156.
 Count is not synonymous with yarn number or yarn count.
 Count is an indication of fabric quality; higher the count, better the quality for any fabric.
 Higher count also may mean less shrinkage and less reveling of seam edges.
 Count may vary depending on the end use or quality of fabric.

Woven Fabric Balance:

 Balance is the ratio of warp yarns to filling yarns in a fabric.

 A balanced fabric has approximately one warp yarn for every filling yarn, or a ration of 1:1
(read as “one to one”).
 An example of a balanced fabric is 78 x 78 print cloth.

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 An unbalanced fabric has significantly more of one set of yarns than the other.
 A typical unbalanced fabric is broadcloth, with a count of 144 X 76 and a ration of about 2:1.
 Balance is helpful in recognizing and naming fabrics.
 In a balanced fabric, warp and filling yarns are nearly identical in size and count.
 In fact, in balanced fabrics, it may be difficult to differentiate between warp and filling yarns
when the selvage is not present.
 Sometime, in balanced fabrics, warp and filling yarn size or the density between warp and
filling may be significantly different.

Selvages:

 A Selvage is the lengthwise self-edge of a fabric. On conventional shuttle looms, it is formed

when the filling yarn turns to go back across the fabric.
 The conventional loom makes the same kind of selvage on both sides of the fabric, but
shuttleless looms have different selvages because the filling yarn is cut and the selvage looks
like a fringe.
 In some fabrics, different yarns or interlacing patterns are used in the selvage.
 Fused selvages are formed in narrow fabrics of thermoplastic fiber.
 Main types of selvedges are normal, fringed, tucked, leno and fused selvage.

Fabric Weight:

 Fabric weight is often used to indicate quality. Toweling is a fabric in which weigh is very
important. Higher weight towels indicate more fiber and therefore better dyeing ability.
Also, carpets are frequently labeled with the weight of the fiber used in the pile.
 Fabric weight or fabric mass describes how much a fabric weighs for a given area or length of
fabric. It may be expressed as:
1. Ounces per square yard
2. Linear yard per pound
3. Ounces per linear yard
 Cotton, cotton blends and lightweight manufactured fiber fabrics are usually weighed in
yards per pound. Woolens, worsted and similar fabrics are usually weighted in ounces per
yard.
 Very lightweight and lightweight fabrics are usually softer and have better drape than
heavier fabrics. They also feel better against the skin. Heavier fabrics are more durable and
stiffer. Fabrics less than 4 ounces per square yard are often referred to as top-weight fabrics

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and are used for shirts, blouses, dresses and linings. Fabrics more than 4 ounces per square
yard are often called bottom-weight fabrics and are used for suits, slacks and skirts.

Weight Fabric Weight End Use(s)

Very light Less than 1 oz per square yard Gauze, mosquito, netting, sheer
curtains
Light 2 to 4 oz per square yard Blouses, Shirts
Medium bottom 4 to 8 oz per square yard Slacks, Skirts
Heavy 9 to 15 oz per square yard Work clothes
Very heavy 15 oz per square yard Heavy weight upholstery fabric

Woven Design Fundamentals

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.

Methods of Weave Representation:

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

Mostly canvas method is used, in this 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.

Weave Repeat:
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.

The three basic elements in a woven design are:

a. Design
b. Draft or drawing plan
c. 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 a number of squares, which constitute the repeat size of a design.

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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.

Basic Weaves and Their Derivatives

It is generally accepted that there are three basic weaves, which are
1. Plain Weave
2. Twill Weave
3. Satin Weave

1. Plain 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:
1. It has the maximum number of binding points
2. The threads interlace on alternate order of 1 up and 1
down.
3. The thread density is limited
4. Cloth thickness and mass per unit area are limited.
5. Maximum level of yarn crimp in structure due to 1/1
interlacement.
6. It produces a relatively stronger fabric that is obtained by
any other simple combination of threads, excepting that
of “gauze”or “cross weaving”.

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

Modification 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:

a) Warp Rib (regular/irregular):

b) Weft Rib (regular/irregular):

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.

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

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c) Matt Weave:

These weaves are also variously known as hopsack or basket

weaves.

Uses:
Matt weave finds extensive uses for a great variety of fabrics
such as dress materials, shirting, sail cloth, duck cloth etc.

2. Twill Weave:
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.
The basic characteristics of twill weaves are:
1. They form diagonal lines from one selvedge to another.
2. More ends per unit area and picks per unit area than plain cloth.
3. Less binding points than plain cloth.
4. More cloth thickness and mass per unit area.

Classification of twills:

The twill weaves are produced in a wide variety of forms. They are however classified broadly into
important categories, namely :
1. Ordinary or continuous twills
2. Zig zag , pointed or wavy twills
3. Rearranged twills such as satin/sateen weaves and corkscrew weaves
4. Combination twills
5. Broken twills
6. Figured and other related twill weaves

The above types of twills are further sub classified as:

(a) Warp face twills:

In warp face twills the warp thread floats over all the
picks in a repeat except one pick. The minimum repeat
size required is 3. Examples of warp faced twills are 2/1,
3/1, 4/1, 5/1 etc.

(b) Weft face twills:

Weft face twills are the reverse of the previous ones. In
these weaves the weft thread floats over the warp on all
picks in a repeat except one. Examples of weft faced
twills are 1/2, 1/3, 1/4, 1/5 etc.

(c) Warp and weft face twills:

In warp and weft face twills the warp and weft floats may be equal or unequal with either the warp
floats predominating the weft floats and vice versa. It is also called balanced or unbalanced twills.

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Angle of a Twill:
The angle of twill is the angle between the diagonal twill line and an imaginary horizontal line or axis
parallel to the weft. This angle is dependent on the ratio between the ends/inch and picks/inch in
the cloth. When the warp ends/inch is equal to the weft picks/inch, the twill angle will be 45°. When
the warp ends/inch exceeds the weft picks/inch the twill angle will be an obtuse angle i.e., >45° (high
angle or steep twill). When the weft picks/inch exceeds the warp ends/inch, the twill angle will be an
acute angle i.e., <45° (low angle or flat twill).

Factors determining the prominence of Twill Weaves:

The following factors determine the relative prominence of twill weaves.

1. Nature of the yarn

The fineness of yarn and the amount of twist given to it influence the prominece of the twill. A
coarse yarn of lower twist produces a greater effect on the twill as compared to a fine yarn of higher
twist. On the other hand doubled or ply yarns have a stronger effect on the twill as compared to
single yarns.

2. Nature of the weave

Twills with longer floats will give more prominence as compared to those with shorter floats. For
example, a 3/1 twill will be more prominent as compared to a 2/2 twill. It is to be noted that an
increase in float length has to be balanced by proportionately increasing the corresponding
threads/inch.

3. The warp and weft threads/inch, and

The twill prominence increases proportionately with the increase in warp and weft threads/inch.

4. The relative direction of twill and yarn twist

Another important factor that influences the prominence of twill is the direction of twist in the yarn.
When the direction of yarn twist is same as the twill direction, the prominence is reduced and when
the direction of the yarn twist is opposite to the twill direction, the prominence of the twill is
increased. In other words Z twill with Z twist yarn or S twill with S twist yarn shows less prominence.
On the other hand a Z twill with S twist yarn or S twill with Z twist yarn gives more prominence.

Pointed Twills:

These are also known as Zig-Zag or Wave twills. It is a combination of right hand and left hand twill.
In this right hand twill changes its direction to left hand twill about pivot point. The reversal of the
twill may be done in a regular or irregular manner.

Pointed twill of 2 / 2. 4R, 4L

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When combination of 4R, 4L will complete then we will get repeat. Here repeat of 2 / 2 pointed twill
is at 4 picks and 8 ends.

2/2 4R, 3L

The repeat will complete after 4 pairs, i.e.28 ends.

2/2 5R, 5L

5R 5L
The repeat will complete after one pair, i.e.10 ends.

Herringbone Twills:

In the case of these twills, the twill is reversed as in the case of pointed twills. However, the pointed
effect is broken. This type of construction produces a distinct stripe effect and also prevents the
formation of an extended float where the weave turns. In this aspect the herringbone twills are
considered to be more advantageous than the pointed twills. It has skeleton structure of fish, which
is found in Atlantic Ocean.

In this right hand twill changes its direction to left hand twill about pivot point by reversing the lifting
plan. We break the Zig-Zag effect because longitudinal cracks tend to be formed at the reversal and
due to this less snagging in fabric than pointed twill.

2/2 4R, 3L

4R 3L 4R 3L 4R 3L 4R 3L

The repeat will complete after four pairs, i.e.28 ends.

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3. Satin and Sateen Weave:

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:
1. They are either warp or weft faced weaves.
2. Have no prominent weave structures.
3. Only one binding point in each end or pick.
4. No continuous twill lines.
5. Have poor seam strength due to thread mobility.
6. More thread density is possible in warp and weft.
7. More mass per unit area is possible.
8. Have less binding points and more float lengths.
9. Use of move numbers (intervals of selection) is necessary to construct these weaves.

In the construction of satin/sateen weaves, the stitching points of warp or weft for a given repeat
size are 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.

In fig. given below the design (A) is 4 end satin-irregular (with no fix pattern) and the design (B) is 5
end satin-regular with a move no. of 3.

Similarly it is in case of Sateen as shown below.

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Stripe and Check effect:

By a combination of suitable identical satin-sateen designs, stripe and check effects can be produced
as shown in Figs.

Above Fig. (A) shows a satin-sateen stripe design constructed on 8 ends in a repeat and Fig. (B)
shows a satin- sateen check design constructed on 5 ends in a repeat.

End Uses:
Satin weaves find a wide range of application such as denim, interlining cloth, ribbons, dress
materials (lustrous), children’s dress materials etc.

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