Woven Design

Introduction Of Woven Design::

1. A woven cloth is formed by the interlacement of two sets of threads, namely,

warp and weft threads.
2. These threads are interlaced with one another according to the type of weave
or design.
3. 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.
4. For the sake of convenience, the warp threads are termed as ends and the
weft as picks or fillings.

Classification of woven Structures:

There are to types of woven Structures,They are;

1.Simple structures

2. Compound structures

Simple Structures:

1. In case of simple structures, There is only one series of warp and weft threads.
2. Threadvs interlace with one another perpendicularly.
3. All the neighbouring warp and weft threads are parallel to one another, Both
plays equivalent role in fabric properties.

Compound Structures:

1. In case of compound structures, There may be more than one series of

threads, (one set forms the ground and the other forms the figure)
2. Unlike the simple structures, the neighbouring threads need not be parallel to
one another.

Methods Of Weave Representation:

Two kinds of interlacing are possible:

1.Warp overlap

2. Weft overlap,
 1. When the warp thread is lifted above the inserted weft a warp
overlap is obtained.
2. When the inserted weft thread is above the warp thread and the
weft overlap is obtained

There are two practical methods of weave representation.

 Linear
 Canvas

Linear ,

1. Each warp thread is represented by a vertical line and each weft thread by a
horizontal line.
2. The point of intersection of lines corresponding to a warp overlap is marked by the
dot,
3. The point of intersection corresponding to weft overlap remains unmarked.
4. It is seldom used because the designer has to draw plenty of horizontal and vertical
lines, which is time consuming.

Canvas,

1. A squared paper is employed, on which each vertical space represents a warp thread
and each horizontal space represents a weft thread.
2. Each square therefore indicates an intersection of warp and weft thread.
3. To show the warp overlap, a square is filled in or shaded.
4. The blank square indicates that the weft thread is placed over the warp (weft
overlap).
5. Several types of marks may be used to indicate the warp overlap.
6. The ‘x’ mark is most commonly used.

CANVAS METHOD LINEAR METHOD

Weave Repeat Size
1. The repeat of a weave is a quantitative expression of any given
weave.

2. It indicates the minimum number of warp and weft threads for a

given weave.

3. It comprises of warp and weft repeat.

4. The size of the repeat may be even or uneven depending upon the
nature of the weave.

5. In elementary weaves such as plain, twill, satin etc. the repeat size is
normally even.

6. However, in weaves such as honeycomb, huck a back the repeat

size may be even or uneven.

7. For any weave, the repeat size is the sum of the warp and weft
floats.

8. Thus in case of a 2/1 twill the repeat size is 3 x 3.

9. It is common practice to denote one repeat of a weave on design

paper.

Basic Elements Of Woven Design:

There are three basic elements of woven design,There are

1.Design

2.Draft or Drawing plan

3.Peg or Lifting plan

DESIGN:

1. The design indicates the interlacement of warp and weft threads in the repeat of the design.
2. It is made up of a number of squares, which constitute the repeat size of a design.
3. The vertical direction of the squares indicate the ends and the horizontal direction indicates
the picks.
4. A blank in a square indicates that a warp goes below the corresponding weft,
5. To show the weft overlap
 6. ‘X’ mark in the square indicates that the warp floats above the weft,
7. To show the warp overlap

Draft or Drawing Plan:

1. The draft or drawing plan indicates the manner of drawing ends through the heald eyes.
2. It also denotes the number of heald shaft required for a given weave repeat.
3. The choice of the type of drafting plan depends upon the type of fabric woven.

Peg or Lifting Plan:

1. The peg or lifting plan provides useful information to the weaver.

2. It denotes the order of lifting of heald shafts.
3. In a peg plan the vertical spaces indicate the heald shafts and the horizontal spaces
indicate the picks.
4. The peg plan depends upon the drafting plan

Types Of Draft Plans

Draft Definition:
1. Draft or drawing plan
The draft or drawing plan indicates the manner of drawing ends through
the heald eyes.
 2. It also denotes the number of heald shaft required for a given weave
repeat.
3. The choice of the type of drafting plan depends upon the type of fabric
woven.

Types Of Draft Plan:

1. STRAIGHT DRAFT
2. SKIP DRAFT
3. POINTED DRAFT
4. BROKEN DRAFT
5. DIVIDED DRAFT
6. GROUPED DRAFT
7. COMBINED DRAFT
8. CURVED DRAFT

STRAIGHT DRAFT:

1. This is the most common and simplest types of draft plans.

2. In this kind of draft, the drafting order progresses successively from first to
the last heald frame.
3. Thus, the first warp end of a weave is drawn through the first heald shaft,
4. 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.
5. Hence, it is sufficient to indicate only the design.
SKIP DRAFT:

1. The skip draft is suitable for a fabrics having heavy warp thread density.
2. In this kind of draft plan, the number of heald frames may be twice or more than the
minimum required for a weave.
3. Only to distribute the warp threads more uniformly so as to prevent abrasion of the
threads due to overcrowding.
4. The heald frames are divided into two groups.
5. All odd numbered warp threads are drawn through the first group of heald frames and
all even numbered warp ends are drawn through the second group of heald frames.

POINTED DREFT:
 1.This is similar to a straight draft. It is suitable for weaves, Such as pointed twill,
diamond weaves and ordinary types of honeycombs.

2.The straight draft is reversed after half the repeat in warp way.

3. The number of heald shafts is about half the repeat size of the weave.

4. The sateen draft serves the same purpose as the skip draft.

5.A skip draft is normally employed for weaves such as plain and twill up to a repeat of 4.

6. Whereas the sateen draft is used for weaves having repeat size of more than 5.

BROKEN DRAFT:

1. A broken draft almost resembles to the pointed draft. However, the pointed effect
is broken. This type of draft is suitable for weaves, Such as broken twill and
herring bone twills.
DIVIDED DRAFT:

1. This draft is used for weaves having two series of warp threads, Such as terry,
double cloth, etc.
2. The two sets of warp threads are divided into two groups, Which is called face
and back warps.
3. The first group is for 8 heald shafts and second for 9-12 heald shafts.

GROUPED DRAFT:

1. These drafts are employed for the production of stripe and check designs, in which
the stripes have different weaves or their combinations.
 2. This draft is used for producing the fabric with two different stripes.
3. The repeat of the draft is determined by the number of stripes and the number of
threads in each stripe.
4. The number of shafts in the draft depends upon the number of stripes and the
warp repeat of weave of each stripe.

COMBINED DRAFT:

1. Various methods of drawing-in can be combined in one draft for producing a

certain type of fabric.
2. Two or more drafts described above can be applied simultaneously, For example,
straight and skip or sateen, grouped and divided, and so on.
3. Combined draft is the most complicated and can be chosen only if there are some
technological or economical reasons.
4. The designer having a great experience can do it properly.

Relation BetweenDesign,Draft. Lifting

Plan

DESIGN DRAFT LIFTING PLAN

 8. The design indicates the
interlacement of warp
and weft threads in the
repeat of the design.
9. It is made up of a number
of squares, which
constitute the repeat
size of a design.
10. The vertical direction of
the squares indicate the
ends and the horizontal
direction indicates the
picks.
11. A blank in a square
indicates that a warp goes
below the corresponding
weft,
12. To show the weft overlap
13. ‘X’ mark in the square
indicates that the warp
floats above the weft,
14. To show the warp overlap
4. The draft or drawing 5. The peg or lifting
plan indicates the plan provides useful
manner of drawing information to the
ends through the weaver.
heald eyes. 6. It denotes the
5. It also denotes the order of lifting of
number of heald heald shafts.
shaft required for a 7. In a peg plan the
given weave repeat. vertical spaces
6. The choice of the indicate the heald
type of drafting plan shafts and the
depends upon the horizontal spaces
type of fabric indicate the picks.
woven. 8. The peg plan
depends upon the
drafting plan

Plain Weave
1. Plain weave is the simplest and most commonly used type of weave.
2. It found in a wide range of fabrics and also it has wide range of application.
Variously known as “calico” or “tabby” weave.
3. Plain weave is usually denoted by fractions,
4. The numerator refers to the number of warp overlaps.
5. The denominator refers to the number of weft overlaps.
6. It requires TWO harness for 1/1plain weave, Because the weave repeats every
two ends and picks. Weave repeat [R] = 2 and Shift [S] =1 But it requires four,
six or more heald shafts when the number of ends/cm becomes large with skip
draft.
Characterstics Of Plain Weave
1. It has firm construction, Because it has maximum number of binding
points.
2. The threads interlace on alternate order of 1 up and 1 down. (50% up
and 50% down)
3. The thread density is limited, Cloth thickness and mass per unit area
are limited.
4. It ravels less than other weaves.
5. It has good wear resistance than others (abrasion resistance).
6. It has lower wrinkle resistance than others. It has lower tear strength
than others, Because when tearing a plain weave fabric, the yarn
breaks once at a time.
7. It provides a good background for printed and embossed design,
Because it have a flat surface.

Modification Of Plain Weave

1. Plain weave is the simplest and most commonly used type of weave.
2. It found in a wide range of fabrics and also it has wide range of application.
Variously known as “calico” or “tabby” weave.
3. Plain weave is usually denoted by fractions,
4. The numerator refers to the number of warp overlaps.
5. The denominator refers to the number of weft overlaps.
6. It requires TWO harness for 1/1plain weave, Because the weave repeats every
two ends and picks. Weave repeat [R] = 2 and Shift [S] =1 But it requires four,
six or more heald shafts when the number of ends/cm becomes large with skip
draft.
Warp Rib:

1. These are produced by extending the plain weave in warp way direction and can be
constructed on regular and irregular basis.
2. The warp rib is denoted by a fraction.
3. The numerator shows the number of warp overlapping and the denominator, the
number of weft overlapping on the same thread within the repeat.
4. The sum of the fraction numerator and denominator is equal to the weft repeat.
WARP RIB

Weft Rib:
 1. Constructed by extending the plain weave in weft direction and can be constructed on
regular and irregular basis.
2. The sum of the fraction of numerator and denominator is equal to the warp repeat.
WEFT RIB..

Matt Rib:

1. These weaves are also variously known as hopsack or basket weaves.

2. The matt rib structures result from extending the plain weave in both directions.
3. In case of regular matt weave, the plain weaves are extended equally in the warp
and weft directions.
4. In case of irregular matt weaves, the plain weave is extended unevenly or irregularly
in the warp and weft directions.
 5. Matt weave finds extensive uses for a great variety of fabrics such as dress materials,
shirting's, etc.

Twill Weave
Definition Of Twill Weave:

1. A distinct design for the twill weave is, It can form a diagonal line.
2. Twill weave is usually denoted by fractions,
3. The numerator signifies the number of warp overlaps whereas the
denominator refers to the number of weft overlaps within the repeat.
4. Twill weave can be right-hand or left-hand twill.
5. ƒIn the right-hand twill, the diagonals run towards to the right wherein shift
[s] = +1 ƒIn the left hand twill, the diagonals run towards to the left wherein
shift [s]= -1
6. The direction of the diagonal line can aid in recognition of the face of the
fabric.

Characterstics Of Twill Weave:

1. The diagonally arranged interlacing of warp and weft, Provide greater pliability
and resilience than the plain weave.
2. Twill has less binding points than plain.
3. Twill weave fabrics are more tightly weave because the yarns are usually closely
beaten, Gives better cover than plain weave.
4. Not get dirty as quickly as the plain weave.
5. Making especially durable fabric.
6. Twill has more ends per unit area and picks per unit area than plain cloth.
7. Gives more cloth thickness and mass per unit area.

1.
 Continous Twill Weave
Warp Faced Twill::

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

Weft Faced Twills::

1. These 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.

2. Examples of weft-faced twills are 1/2, 1/3, 1/4, 1/5 etc.

3. In figure, B, C, and D show a right-handed or ‘Z’ twill and Fig.

4. A shows left-handed or ‘S’ twill.

Balanced And Unbalanced Twills

1. In these types of twills, the warp and weft floats may be equal or unequal.
2. In other words, the twills may be of the reversible or irreversible types.
3. Accordingly, they may be known as balanced and unbalanced twills.
4. Examples of balanced twills are 2/2, 3/3, 4/4, 5/5 etc.
5. Examples of unbalanced twills are 2/3, 4/2, 5/3 etc.
6. The 2/2 twill is popularly known as “Gaberdine” weave.
7. Fig. 4.3 A and B show designs for balanced and unbalanced twills and C
and D show the interlacement diagrams of a 4/1 twill and 1/4 twill (warp-
faced) (weft faced).
Warp And Weft Faced Twills
1. In these twills, the warp and weft floats may be equal or unequal with
either the warp floats predominating the weft floats and vice versa.
2. Some examples of these twills are shown in Fig. 4.4 A, B and C
respectively.

The Angle Of Twill

1. The angle of twill is the angle between the diagonal twill line and an
imaginary horizontal line or an axis parallel to the weft.

2. This angle is dependent on the ratio between the ends/inch and

picks/inch in the cloth.

3. When the warp ends/inch is equal to the weft picks/inch, the twill
angle will be 45°.

4. 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).

5. 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

 Nature of the yarn

 Nature of the weave
 The warp and weft threads/inch, and
 The relative direction of twill and yarn twist

Nature of the yarn:

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

Nature of the weave:

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

The warp and weft threads/inch:

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

The relative direction of twill and yarn

twist:
The relative direction of twill and yarn twist:
1. Another important factor that influences the prominence of twill is the direction of
twist in the yarn.
2. When the direction of yarn twist is same as the twill direction, the prominence is
reduced and when them direction of the the yarn twist is opposite to the twill
direction, the prominence of the twill is increased
3. In other words a Z twill with Z twist yarn or an S twill with S twist yarn shows less
prominence.
4. On the other hand a Z twill with S twist yarn or S twill with Z twist yarn gives more
prominence.
COMPARISON OF THE FIRMNESS OF
TWILLS:
COMPARISON OF THE FIRMNESS OF TWILLS:
1. The firmness of a weave depends on the number of intersections.
2. The greater the number of intersections, the better the firmness.
3. On the other hand lesser the number of intersections, greater will be the cover
of the cloth.
4. This is due to the increase in the floats of the threads.
5. Increase in the number of intersections restrict the thread density and vice
versa.

The illustration in Fig. shows three cases in which an 8 thread repeat of twill weave is chosen.

Case 1: In this case shown at A, a floating weave of 4/4 twill is chosen.

Case 2: In this case shown at B, a combination of 3/2 and 1 /2 twill is chosen

Case 3: In this case shown at C, a combination of 3/1, 1/1 and 1/1 weave is chosen

1. The corresponding cross sections are shown at D, E and F,

respectively.
2. The distance between the dotted lines represent a distance equal to the
diameter of a single thread.
3. It can be seen that design A occupies a space of ten threads (D), design
B occupies a space of twelve threads (E) , and design C occupies a
space of fourteen threads (F).
4. It can be seen that a spacing of 10 threads in G is occupied as against
the spacing of 14 threads at F.

The following conclusion can be drawn on observing the interlacings in the three above
cases:
In case 1, the cloth will have the minimum level of firmness and maximum cover.

In case 2, the cloth will have firmness and cover intermediate between 1 and 2.

In case 3, the cloth will have maximum firmness and minimum cover.
ZIG ZAG OR WAVY TWILLS:
ZIG ZAG OR WAVY TWILLS:

Pointed Twill

1. These are also known as pointed twills. In these classes of twill weaves the twill
progresses in one direction for half of the repeat and then is reversed for the next
half of the repeat.
2. The reversal of the twill may be done in a regular or irregular manner.
 3. Ideally the reversal of the twill should be done considering the series of threads
that predominate the face of the fabric.
4. Thus warp way reversal is done in cases where the warp predominates over the
weft and weft way reversal is done in cases where the weft predominates over the
warp.

Figure 4.6 shows a design of the pointed twills.

HERRING BONE TWILLS:

HERRING BONE TWILLS:
1. In the case of Herring Bone twills, the twill is reversed as in the case of pointed
twills.
2. However, the pointed effect is broken.
3. This type of construction produces a distinct stripe effect and also prevents the
formation of an extended float where the weave turns.
4. In this aspect the herringbone twills are considered to be more advantageous
than the pointed twills.

A typical example of herringbone twill is shown in Fig.

REARRANGED TWILLS:
REARRANGED TWILLS:
1. These twills are obtained by arrangement of a continuous twill either warp way
or weft way.
2. The rearrangement is normally done in a particular order or sequence.

Rearranged twills are of two types :

1. Satin/sateen weaves
2. Corkscrew weaves

SATIN and SATEEN WEAVES

SATIN and SATEEN WEAVES:
1. Satin is a warp faced rearranged twill and sateen is a rearranged weft faced
twill.
2. Thus satin is the reverse side of sateen weaves.
3. These weaves form an important category of weaves.
4. They are used in combination with other weaves, particularly in case of
ornamented fabrics.
5. The striking feature of these weaves is their bright appearance and smooth
feel.
The basic characteristic of satin/sateen weaves are :

 They are either warp or weft faced weaves.

 Have no prominent weave structures.
 Only one binding point in each end or pick
 No continuous twill lines
 Have poor seam strength due to thread mobility
 More thread density is possible in warp and weft
 More mass per unit area is possible
 Have less binding points and more float lengths
 Use of move numbers (intervals of selection) is necessary to construct these weaves.
1. In the construction of satin/sateen weaves, the stitching points of warp or weft for a
given repeat size is done by the use of move numbers or stitch or float numbers.
2. 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:

 The move number should not be equal to the repeat of the weave
 It should not be one less than the repeat size
 It should not be a factor of the repeat size, and
 It should not be a multiple of the factor .

The designs of some satin and sateen weaves are shown in Figs.
 1. A, B and C show the different types of irregular satins and Figs.  D
and E show the designs of regular satin.
2. Fig. A shows a 4 end irregular satin constructed by using a step
number of 1, while Fig. B show the same satin constructed using step
number of 2.
3. Fig. D shows a 5 end regular satin constructed with a step number of
3 and Fig.  E shows an 8 end regular satin constructed with a

step number of 3.
Fig.  F and G shows the corresponding interlacings of designs D and A respectively.
1. Figs.A, B and C show the design of irregular sateen weaves and Figs.
2.  D and E show regular sateen design. Fig. A shows a 4 end irregular
sateen constructed with the step number of 1 and Fig.  B shows the same
design using the step number f 2. Fig.
3.  C shows a 6 end irregular sateen. Fig.  D and E show the designs of a
regular 5 end and 8 end sateen constructed with step number of 3.
4. Fig.  F and G show the interlacings of design  D and A respectively.
5. The following table shows the intervals of selection for the construction
of satin weaves on five, and seven to twenty two threads.
6. Instead of the numbers given, their reciprocals may be taken.
7. Where two intervals are given, each of these or their reciprocals will
produce similar results.
8. 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:

STRIPE and CHECK EFFECT ON SATIN/

SATEEN WEAVES:
STRIPE and CHECK EFFECT ON SATIN/ SATEEN WEAVES:
1. By a combination of suitable identical satin-sateen designs, stripe and check effects can
be produced as shown in Figs.

Fig. shows a satin-sateen stripe design constructed on 8 ends in a repeat and Fig. shows a
satin- sateen check design constructed on 5 ends in a repeat.
CORK SCREW WEAVES::
CORK SCREW WEAVES:
 These are basically hard weaves and constitute another important
category of rearranged twills.
 They are capable of producing firm and compact textures of good
strength, durability and warmth.
 Hence these weaves are suitable in the production of garments
from worsted fabrics.
 The two important requirements in the construction of corkscrew
weaves are

1. The repeat size should be an odd number, and

2. The warp float should be one greater than weft float in case of
warp faced weaves and vice versa.

Corkscrew weaves are classified as

1. Warp faced corkscrew weaves, and

2. Weft faced corkscrew weaves.