Professional Documents
Culture Documents
Fabric Structure and Design Module 2023
Fabric Structure and Design Module 2023
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.
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.
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.
5 4
11 10 9 8
12
1
13
1 – Weavers Beam 9 – Feel of the Cloth
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:
(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
(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.
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.
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
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.
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.
A weave is the interlacing pattern of the warp and weft. Two kinds of interlacing are possible:
(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.
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
• 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
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.
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.
(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.
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:
Plain weave finds extensive uses. It is used in cambric, muslin, blanket, canvas, saree, shirting,
suiting, etc.
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.
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.
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.
These weaves are also variously known as hopsack or basket weaves. The matt rib structures result
from extending the plain weave in both directions.
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 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.
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.
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.
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.
1. Feature of weave
The prominence of twill line on feature of weave in the following ways;
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.
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.
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.
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.
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.
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-
Same twill direction: In the same twill direction step may be occur after the repeat or any desired
number of threads.
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.
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.
The shade effect is created by the combination some thick to thin twills and thin to thick twills.
Types:
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.
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:
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.
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
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.
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]
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
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
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
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)
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
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:
N.B. a ≠ R/2
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.
Ry = Ryb
Ro= Rob(Rob-1)
Ex. 1. Construct a Shaded sateen on the base of sateen 5 with move number=3
Ry = Ryb= 5
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,
(b) Single line crossing a single line or double line crossing a double diagonal line
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.
(d) Length of longest floats is N/2 -1, where N is the repeat size
(f) Formation of 4 cells per repeat i.e., two large and two small cells (ordinary honey
The following cloth quality particulars are suitable for both ordinary and Brighton honey comb
weaves,
Ends/inch- 50
Picks/inch-20
Ends/lnch-88
Picks/inch -82
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
The loom equipment required would ideally be a dobby loom fitted with a fast reed mechanism.
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.
(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.
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.
In this method a floating weave is inserted upon a plain weave to get the desired crepe effect as
shown in fig.6.5
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.
At A, is shown a simple motif and at B, is shown the crepe designs obtained by reversal of the
motif at regular intervals.
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.
Warp- 18s
Weft - 18s
Warp yarn should have a little more twist than the weft.
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.
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.
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
Green
Violet
Green
Blue Blue
Blue Green
Blue
Green
Blue
Green
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
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.
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
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
(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.
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.
This results from combination of different tints or shades of a colour, if the difference between
them is not too marked.
Harmony of contrast
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.
(a) Combination of two or more types of fibres and dyeing the fabric made out of them.
(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
Fig. 7.3 shows the different stages of designing a colour and weave effect.
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.
By applying simple weaves to simple orders of colouring the following effects can be produced
(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
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
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
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.
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.
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.
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.
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.
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?
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