1803

- Jacquard loom was invented

WEAVES
BASIC WEAVES
What is Weaving?
- production of fabric by interlacing two sets PLAIN WEAVE
of yarns (warp and weft) so that they cross
each other, normally at right angles, usually
accomplished with a hand or
power-operated loom
- The process of combining warp and weft
components to make a woven structure.
widely used constructional method because
it is cheap, basically simple, and adaptable - or tabby
- simplest and most common of all weaves.
- Made by passing each filling yarn over and
under each warp yarn, with each row
alternating, producing a high number of
intersections
variations
Rib Weave
- uses one
heavyweight yarn; the
result is a fabric that has
*Warp- lengthwise yarns raised ribs either
*Weft- crosswise yarns horizontally or vertically
down the fabric,
HISTORY OF WEAVING depending on whether the
- since Paleolithic era heavier, thicker yarn is used for the warp or
- Flax weavings found in Fayum, Egypt, the weft.
around 5000 BC
- Early looms need one or two persons to Basket Weave
work on them. Bible refers to loom and - identified by its
weaving in many places. crisscross pattern that
- 700 AD, horizontal and vertical looms could forms a checkered design
be found in Asia, Africa and Europe with two or more threads in
- Loom with heddles for feet became the one group.
standard European loom

Medieval Europe
- weaving done at home and sold at fairs; the TWILL WEAVE
guilds were established.
Colonial America
- Plain weave was preferred; decorations
woven into the fabric or wood block printing.
Industrial revolution
- switched weaving from hand to machine.
1785
- first factories for weaving
 - distinguished by diagonal lines. COMPLEX WEAVES
- In regular twill the diagonal line is repeated
regularly, usually running upward from left PILE WEAVE
to right at a 45° angle - have a ground
fabric plus an extra set of
SATIN WEAVE yarns woven or tied into
the ground and projecting
from it as cut ends or
loops.

- There is no strong diagonal line, and the variations

fabric is smooth faced, with an unbroken
surface made up of long floating warp
yarns.
- A true satin must have at least five warp
and weft yarns in each complete weave
repeat and thus requires at least five
harnesses.

Loop Pile
- Loops are uncut

Cut Plie
- The loops are cut

INLAID WEAVE
- designs are
created by inserting
pattern warp or weft
yarns between ground
warps or wefts

JACQUARD WEAVE
- used to make allover figured
fabrics such as brocades,
tapestries, and damasks, is
woven on a loom having a
Jacquard attachment to
control individual warps.
- Costly because of the time
and skill involved
in making the Jacquard cards
threads under tension to facilitate the
interweaving of the weft threads
Back Strap Loom
- a simple loom that has
its roots in ancient
civilizations.
- Both simple and
complex textiles can be
woven on this loom.

DOBBY WEAVE
- made on looms
having a dobby
attachment, with narrow
strips of wood instead of Draw Loom
Jacquard cards. - a hand-loom
- limited to simple, for weaving figured
small geometric figures, cloth.
with the design repeated - Operated by
frequently, and are fairly 2 people
inexpensive to produce

GAUZE OR LENO WEAVE

Hand Loom

- an open weave made by twisting adjacent

warps together

LOOM

- machine for weaving cloth. The basic

purpose of any loom is to hold the warp
 random, or in rows that form stripes.
Modern Looms
- a hand-loom for weaving figured cloth. COLOR
- grouped into two classes according to - designs are so classified when a particular
whether they produce cloth in plane or dye is the strongest element of their look.
tubular form.
➔ Flat looms PRINTING STYLE
➔ Circular - Warp printing never reproduces a pattern
without imposing a certain visual style on it.

FABRICATION
- The cloth that takes the pattern also affects
the way it looks
-
BASIC STYLES/ PATTERNS OF
DESIGN MOTIF
- is an element of a pattern, image or part of
APPLIED DESIGN(decorative design) one, or theme. A motif may be repeated in a
- Refers to the ornamentation by means of design or composition, often many times, or
surface enrichment of the structural design, may just occur once in a work. A motif may
thereby making the structure more be an element in the iconography of a
impressive. particular subject or type of subject that is
seen in other works. Any motif or image can
Requirements of a good decorative design: be used in textile designing based on the
1. Decoration should be used in moderation end use of the fabric., as the scale and the
2. There should be enough background space complexity of an image is often different for
to give an effect of simplicity and dignity to clothing and furnishing.
the design.
3. It should be suitable to the material and for Decorative or ornamental design may be
the service it must give. expressed five ways:
4. If a design is to give the maximum amount 1. Naturalistic
of satisfaction it cannot stop at being merely 2. Stylized
correct. It should have character and 3. Geometric and Abstract
individuality. 4. Ethnic
5. Art Movement and Period Styles
TEXTILE DESIGNS BREAKS DOWN THE
FAMILIES INTO CATEGORIES BASED ON ONE NATURALISTIC
OR MORE OF THE FOLLOWING CRITERIA: - These designs
represent nature such
MOTIF as flowers, leaves, fruits,
- the most important factor in any design, animals, landscapes etc.
determines the family to which the pattern every effort is made to
belongs. This is the basic image –a rose, a keep the motif realistic
square, a paisley so that it appears as an
exact reproduction.
LAYOUT Reproduces a motif from
- It describes the arrangement of the motif nature in its natural
whether it is spaced widely or closely on the form.
ground, in neat order or apparently at E.g.: flowers scattered in the fabric.
STYLIZED OR CONVENTIONAL STYLE
- The design is not the
exact replica of natural thing.
The natural motif is treated in
such a way that it is
displayed. It is generally
necessary to simplify the
form of an object, only the
essential characteristics
feature being abstracted.
➔ Uses designs from nature in a simplified or
adapted way.
➔ The pattern is still recognizable as the
natural object, but is not reproduced in its
naturalistic state.
➔ Modernized
- Ex. Simple florals, hearts, and altered
animal prints
GEOMETRIC
- Designs which are
purely geometric result from
the embellishment of
interscalene vertical,
horizontal, diagonal, circular
and radiating lines. Such
designs may include
conventional form or they may
be adaptation of the earlier
style.
ABSTRACT
- Design departs from
nature.
- Inspiration isn’t
recognizable & the source is
unknown.
- The pattern is less
predictable
ART MOVEMENTS & PERIOD STYLES
- Designs like these
are often the links
between cloth and the
fine arts- they are part of
movements and ideas of
the age, and are moved
to carry theme through in
textiles.
- Examples are
Jacobean looks and
super graphics.
ETHNIC
- Art typical of a
specific nationality or a
design based on folk art.
- It belonging to or
deriving from the
cultural, racial, religious,
or linguistic traditions of
a people or country.
- The ethnic styles
have their day in
western design and then
submerge, to reappear
whenever someone
senses that the time is
right for a new twist on the constant demand
for a folkloric pattern.
- Examples are American Indian look, batik
and Indonesian look, Egyptian look,
Mexican design and paisley, tie and dye
patterns.
LAYOUT
- Layout is the placement of one motif relative
to another. It takes into account the distance
as well as the direction; the second motif is
from first one and of course this applies to
all the motifs in the sketch
NON-DIRECTIONAL LAYOUT
- The pattern looks the
same when viewed from any
direction.
ONE-DIRECTIONAL LAYOUT
- The pattern has a distinct
top and bottom– you would get a
good view only from one
direction. The motifs will be
facing one single direction.
TWO-DIRECTIONAL LAYOUT
- The motifs face two different
directions. In this half, the motifs
face an opposite direction, for
example: up and down.
FOUR-WAY LAYOUT
- The motifs are
placed so that they face all
four directions.
FRIEZE PATTERN LAYOUT
- A frieze pattern is an
infinite strip with a repeating
pattern. This pattern repeats in
only one direction and is usually
used as a border design.
GRADATION PATTERN
- This pattern type has
motifs of different sizes and/or
shades of colors
ASYMMETRICAL LAYOUT
- This is a layout in which
you will not find any symmetry in
the placement of motifs or the
motifs themselves– no rhyme or
reason why they are arranged
the way they are but can be as
equally captivating as any
carefully planned motif
placements.
ALLOVER LAYOUT (OVERALL)
- Basically means
covering the whole extent or
surface. This is a layout with
motifs distributed all over the
fabric– Here the motifs are
randomly placed with regular
or irregular spacing between
them, but usually very close to
each other and facing different
directions.
BLOCK REPEAT
- The motifs are placed
directly on a horizontal line to
the left or right of the original
motif. Ie. they are laid up and
down and/or side to side. Itt is
the most simple layout; when
complete, it looks as if the motifs are
stacked in an imaginary grid.
BRICK LAYOUT
- A layout in which
every second row is placed
halfway to the front– it looks
like the way bricks are laid out
on the brick wall.
DIAMOND LAYOUT
- Motifs are placed in a
pattern resembling a diamond
shape.
TEXTILE PRINTING
HISTORY OF TEXTILE PRINTING
- The art of applying patterns on fabric by
printing dates back to at least 3000 BC, as
evidenced by some early wooden blocks
that have been found.
- Block printed and resist dyed (tie- dyed)
cotton fabrics from India became an
extensively traded commodity throughout
Asia and the Mediterranean region after
Alexander’s invasion of India in 327 BC.
- In parallel with India, block printing existed
in China for a long time. Intricately printed
Chinese cotton fabric and Chinese motifs
became very popular in Europe, especially
in France, during the Rococo period in the
first part of the 18th c.
- In 1752, copper plate printing, invented by
Francis Nixon in Ireland, enabled a finer
resolution and larger repeat of printing.
By 1797, Christophe-Philippe Oberkampf’s
factory in France printed cotton toiles of
excellent quality, which came to known as
toile de jouy and still popular for their
distinctive style.
- Resist printing and dyeing are other
patterning techniques that were developed
in different parts of Asia and also Africa, e.g.
ikat, batik, shibori or plangi.
2 DIVISIONS OF DIGITAL PRINTING
ANALOGUE PRINTING
DIGITAL PRINTING
- You can print any graphic on the fabric,
without any limitation on the number of
colors or tonal transitions between the
colors.
- Printing is the result of applying microscopic
droplets of paint (dye) on fabric resulting in
the creation of a pattern.
- The printer is able to reproduce virtually any
color from the normal color palette through
a combination of four basic colors from the
CMYK palette (cyan, magenta, yellow,
black).
➔ It is usually carried out on white fabric.
➔ Digital printing on fabric works perfectly for
printing photos, detailed patterns, tonal
transitions and graphically complex designs.
➔ No printing screens– no initial cost
➔ The number of colors and the appearance
of the print does not affect the cost of
manufacturing.
Textile design and printing technology have
greatly benefited since the advent of the digital
age in the late twentieth century.
Computer aided textile design, digital printing and
digital embroidery are some of the textile processes
that can now be executed with a greater choice and
control than ever possible before.
Improvements in the printhead, ink dispersion
techniques (such as the valve-jet process that uses
valves which dispense ink droplets at high velocity
and pressure, and are capable of opening and
shutting independently) and the availability of an
increasing choice of dye and pigment-based ink-jet
inks specifically for textiles, are some of the
reasons behind the increasing popularity of digital
printing.
PRINTING TECHNIQUES
DIRECT STYLE
- the most widely used method of printing in
the industry and involves application of the
printing paste directly onto the fabric in a
single step, followed by fixation.
BLOCK PRINTING
- a hand printing technique that has been
traditionally used in many cultures around
the world. Blocks of rubber, wood or
linoleum are prepared by chiseling away the
background of the design, leaving only the
pattern in relief.
SCREEN PRINTING
- involves pressing the paint through a
printing screen and thus making a print.
This operation can be performed manually
(the paint is then squeezed manually
through the screen) or with a machine (the
paint is automatically pressed by the
machine through the screen).
➔ By means of screen printing, one color is
printed at a time as each color is a separate
layer.
➔ For this reason, screen printing is not
particularly recommended for multicolor
prints –in such cases, digital printing will
work much better.
➔ High cost of entry – preparation of
expensive screens
➔ Each color requires the preparation of a
separate screen
➔ Limited number of colors
➔ Number of colors used in the project has a
significant impact on the cost of printing
➔ Cost-effective when printing in bulk – with
an increase in the number of goods
produced, the price of a single unit
noticeably decreases
Types of Screen Printing
FLAT SCREEN PRINTING
- Most often used for printing on ready-made
objects (shirts,bags)
ROTARY SCREEN PRINTING
- used for printing on entire rolls of fabric. The
initial cost is high because the preparation
of the cylinders significantly raises the price
HAND-SCREEN PRINTING
- Printing by hand
ROLLER PRINTING
- a copper printing roller with the design
engraved on its surface and fed with the dye
paste from another roller, imprints the
design on the fabric that is rolled against its
surface under pressure by a larger cylinder.
- There are as many printing rollers as the
number of colors in the design and their
precise placement and rotation around the
fabric roller ensures the correct registration
of each color in the design. Roller printing,
being an expensive process, has been
completely outdated by rotary screen
printing.
HEAT TRANSFER OR SUBLISTATIC PRINTING
- employs high temperature and pressure to
transfer a design printed in disperse dyes
on a waxed paper, onto a fabric surface.
The heat and pressure cause the dye to
vaporize from the paper and sublime onto
the fiber, with which it has a greater affinity.
- Transfer printing, being fast and efficient,
allows flexibility in production but has the
disadvantage of low dye penetration.
RESIST STYLE
- the most widely used method of printing in
the industry and involves application of the
printing paste directly onto the fabric in a
single step, followed by fixation.
TIE-DYE
- an ancient patterning technique, used in
many cultures and known by different
names, such as ‘shibori’ in Japan, ‘plangi’
and ‘tritik’ in Indonesia and Malaysia and
‘badhni’ in India, to mention a few. The
basic process involves binding, knotting or
tying bunches of the fabric before
immersing it in the dye bath.
- Alternatively, the fabric can be stitched,
folded, clamped or wrapped around a pole
and gathered before applying the dye. The
resulting effect in each case is a pattern of
undyed areas where the dye could not
reach the fabric. This process can be
repeated to produce a layered effect.

BATIK
- is a very old technique of resist dyeing. In
the process, molten wax (usually a mixture
of paraffin and beeswax) is applied to the
fabric by painting, stamping, or pouring from
a special container called ‘tjanting’.
- When the wax dries, the fabric is immersed
in the dye bath. After dyeing, the removal of
the wax from the fabric leaves undyed
areas, where the wax resisted the dye, in
sharp contrast with the dyed background.

IKAT
- Ikat is a special effect, created in a fabric
woven with a warp sheet and/or weft yarns
that has been tie-dyed prior to weaving.
This process requires a lot of precision and
skill. The resultant effect after weaving is a
beautiful defocused pattern.

CHEMICAL RESISTS
- is employed mainly for cellulosic fibers and
involves the use of a chemical, which may
be an acid, alkali, salt, reducing or oxidizing
agent, to prevent the development or
fixation of the color on the fabric.
Pigment-reactive and reactive-reactive are
the most widely used chemical resist
techniques.