FANCY WEAVES AND ADVANCE STRUCTURES

Woven fabrics

• Knitted are stretchable, woven are structured which means, doesn’t differ when
wore
• Firmer, more rigid if you (tug) pull on it due to right angle position of the interlacing
yarn
• Less drapable depending on the thickness of the fabric
• Not vey extensible
• Ideal for form fitting trousers and dresses
• Tend to remain in shape
• Usually has a lot of structure, retaining its shape rather than softly draping around
things
• Twill weave – hand peach hand feel effect
• By doing brushing or razing, fibers come out hence soft. To have fibrous soft number
of fibers come out and the length should be same
• Fanel fabrics for small babies

Structural properties of woven fabrics cover factor

• Warp and weft densities – fabric sett -a number that indicates the extent to which the area of a
fabric is covered by one set of threads
• Warp and weft yarn counts
• Weave -ability of an item to occupy an area

• Crimp – waviness - better cover -warmer, more substantial, durable

• Weight
• Thickness Fabrics range in weight sheer to heavy are include such types as
• Cover -organdy
-muslin
• Fabric width and piece length -taffetea
-shantang
Fabric specifications -canvas
-tweed
• Fabric sett – the details measured
• Yarn linear density
• Fabric weight per area
Plain weave - visual effects/ decorative effects varied by
They are three basic weaves
-using novelty yarns
1. Plain -using textured yarns
-different size yarns
2. Twill -low or high twist yarns
3. Satin/sateen -yarns of varied counts
-cramming and spacing of warp and weft yarns
Plain weave end uses cramming - pack tight
clothing and furnishing fabrics because of its structured look
suits, shirts, and fixture decorations
In shirt category business shirts, button ups, in suits category blazers, trench coats
n fixture deco category, upholstery fabrics
Sofa, chair, and footstool covers, cushions, rugs
fashion prototypes, specially muslin cotton fabric
baseball caps, lining of evening wear, bridal gowns
Velvet fabrics are used to manufacture using this weave
 Classification of plain woven fabrics

1)According to warp and weft cover factor

FANCY WEAVES AND ADVANCE STRUCTURES
-approximately square cloth
-EPI=PPI
1)PLAIN WEAVE -warp count = weft count
-wap cover factor = weft cover factor
Derivatives of plain weave -warp crimp % = weft crimp %
-warp and weft ends are equally prominent
a) Warp rib weave – warp ribs is produced because weft yarns are thicker than warp
**more picks - not profitable
yarns. Ex: POPLIN
X
X
x 1)warp face fabrics
X EPI>PPI
X warp count > wet count
x warp cover factor > weft cover factor
warp crimp%> weft crimp %
warp prominent on both sides
b) Weft rib weave 100x50/30x10
x x 2)weft face fabrics
x x
EPI<PPI
warp count < wet count
c) Matt or hopsack or basket weave warp cover factor < weft cover factor
warp crimp%< weft crimp %
x X weft prominent on both sides
x x 50x100/10x30
X x ---do not manufacture
x X

2)TWILLS
Unbalance cloth
-right hand twills / left hand twills -EPI = PPI but warp count = weft count
-EPI = PPI but warp count = weft count
-all denims are twill -EPI = PPI but warp count = weft count

1. Unbalanced twill – EPI ≠PPI

2. Balance twill EPI = PPI (can see same number of x s and spaces)

Warp faced twills weft faced twill

x x X X
X x x x X
x x x X X
x x x x X
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Angle of twill can change using thread density, yarn count, twill moving number or shift
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Pointed draft
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Pointed draft
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Vertical wave

6 x4 repeat

Straight draft pointed draft

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FANCY WEAVES AND ADVANCE STRUCTURES

Characteristics of twill

• Permits more yarns per inch in fabric

• Textured and patterned surface in both front and back
• Pliable softer than plain weave
• Better recovery from wrinkles
• Fewer interlacements compare to plain
• Yarns can move freely
• Heavier than plain weaves
• Not suitable for printing
• Compact, stronger and more durable to use

3)SATIN/SATEEN

-for sateen number of ends and number of picks should be same.

-weft sateen

x
X
X
X
X

-warp satin

x x x x
x x x X
X x x x
x x X X
x x x X

Moving number rules (following should not be included)

1
same size as repeat
repeat size -1
any common factors

1)regular satin – 5,7,8

2)irregular satin – 4,6 (not twill, twills should have continuity)

FANCY WEAVES AND ADVANCE STRUCTURES

X Shiny, reflective surface due to its less binding points and filaments.
X Very smooth texture due to its long floats.
Due to its long floats satin has lustrous look and good drapability.
X Thicker satin resist wrinkles.
Highly resistance to soiling.
X More robust material than most plain weave fabrics, therefore durable. But the smaller number of binding
4 x 4 sateen points may lead it into another direction.
Stretchability and drapability is high due to its long floats.
Due to its long floats snagging can be happened, this might ruin the fabric.
X Fabric cannot handle tension well because number of binding points are low.
High care is needed.
X
X
X Used for royal garments due to their shiny appearance.
Evening wear, curtains are produced due to its flowing drapability.
X Ballet pointe shoes, to its stretchability.
Hair pieces, purses, clutches, and upholstery.
X Bed lining due to its smooth and luxurious feel.
6 x 6 sateen

Repeat Moving number

size
1 1
2 1 2
3 1 2 3
4 1 2 3 4
5 1 2 3 4 5
6 1 2 3 4 5 6
7 1 2 3 4 5 6 7
8 1 2 3 4 5 6 7 8

• Distinctive shine, glossy

• Satin is produced exposing more warps than fillings on the right side of the fabrics
• Long floats
• Liable, flexible, can bend
• Fewer interlacing gives its smoothness
• Good drapability (to have a good drapability thickness of the yarns should be lower)
• Yarns will easily shag
• Not stronger due to less binding points
• Seam slippage may occur. Hence seams may open up, happens in tight fitted
garments mostly.
• In market mostly get 5x5 repeat, less sateen
• Gives maximum achievable cover factor in this weave
• Hotel bed spreads
FANCY WEAVES AND ADVANCE STRUCTURES

Lifting plan – for weft insertion - How many order of lifting in heald shaft

Drafting/ Drawing - in plan – for Heald frames – how do you draw the warp ends through the
heald shaft – number of needed heald shafts

Split draft – when number of ends are higher in the number of heald shafts can bbe a
multiple of the repeat

Denting plan – for the reed. Dent means split of the reed. This is crucial to have unless,
warp yarns overlap each other. SLOUTION is to couple edge, middles yams separately
together because then can manage the yarn tension. cant go beyond 4 Binding points/ cutting points should be
numbered with a continuity to get a flatter
surface. to avoid weaving difficulties. (8th
Color and weave effect lecpart1 1hr)

The weave tends to break the continuity of colour and color shows on the face of the fabric.

1)Hairline effect

-solid vertical or horizontal stripes

-strip pattern
-can have many numbers of colors
-plain weave is preferred to have a single thread effect
-the cloth is fuller and softer, and handle is easy
-when used for the double-thread effect, the 4-thread satin yields a smoother and softer
texture than 2-and-2 hopsack weave. Same can produce using 2x2 matt weave. But satin is
flatter, hence smoother
FANCY WEAVES AND ADVANCE STRUCTURES

Compound weave and color effect

FANCY WEAVES AND ADVANCE STRUCTURES

2)Crow’s foot

X X X X X X
x x x x x x
X X X X X X
X X X X X X
X X X X X X
X X X X X X
X X X X X X
X X X X X X
X X X X X X
X X X X X X
x x x x x x
X X X X X X

3)Bird’s Eye

X x X X
X X X X X x
X X X x X X X X
x x x X X X x X
X X x X x X X x X x
X X X X X x x x X X
X X x X x X x x
X x x x x X x X
x x

-small spot patterns/ spotting effect

-shirts
 FANCY WEAVES AND ADVANCE STRUCTURES

8x8

4)

Can use in home interior applications such

as cushion covers, curtains
Upholstery designs for furniture.
Coats and suits provide warmth.
Scarves and skirts have visual interest.
Sports jackets.
Bags and purses.

Cotton fabrics with dog’s tooth effect are easy to

maintain than wool.
It does not necessarily always need to be ironed,
because the weave disguise wrinkles well. Deeply set
wrinkles may need some ironing.
Either dry cleaning or laundering methods can be
used to clean.
High natural elasticity can be observed when natural
fibers such as wool or cotton are used.
Naturally pliable.
Durability is based on the yarn type used. But booth
natural yarns such as cotton and wool and synthetic
yarns such as polyester and nylon are durable.
Dog’s tooth often offers a stronger resistance to
twisting.
Visually striking effect reflects its color and weave
pattern.
Synthetic yarns give more flexible drape, but the
weave pattern doesn’t contribute toward the
drapability much.
Synthetic fibers give more resistance to abrasion.

-Shirts
-due to thickness properties and creasing effect this
FANCY WEAVES AND ADVANCE STRUCTURES

5)

2 up 1 down – to deepen the step

3)All-over effect

-the color effect runs more or less connectedly over the surface of the cloth.

-they are best constructed by arranging the repeat of the color plan and the repeat of the
weave on such numbers that two or more repeats of each are required to produce one
complete repeat of the pattern.
 Fancy weaves
-intrelacing varing from the basic weaves already
FANCY WEAVES AND ADVANCE STRUCTURES accomplished.
-utilise characteristic features of weave for useful
purposes.
4 up 4 down | Moving number 6 | cannot see a solid design -decorative

Huckaback -Repeat is divided into four equal -Suitable for

parts, two parts are filled with plain producing
weave and remaining two parts are thick and
filled with long float motif heavy
-Absorb moisture quickly – long floats textures
-Firmness – Plain weave -Largely used
-Stripe and check effect for linen and
-Dobby loom fitted with a fast reed cotton
mechanism is needed. towels,
-drafting plan – odd threads two front glass-cloths
healds, even threads are two back -coarser
healds cloth
-weave tends to draw the ends into -finer cloth –
groups of five, it is customary to place due to long
last end of same group in the same floats and
split of the reed as the first end of the less number
next group, while the centre three of binding
ends are placed in one split. points, flat
-rough surface - floating threads in a group arranged on aplain weave basis cloths
Honeycomb Huckaback/ -face and back are identical -hand towels coarser yarns

Waffle -3 D effect -bedcovers

-back – bump -quilts
Front – small square ridges and -shirts - fine yarns
hollows
-rough surface
-good moisture absorbency
-warps and wefts float somewhat
freely on both sides of the fabric
-full of floats

Ordinary Honeycomb -Similar effect on both sides

3 3 2 or 2 2 3 denting plan, cant
go beyond 4
-in most cases can use point drafts
-single line crossing a single line or
double line crossing a double diagonal
line.
-one cell per one repeat
-cell like appearance with ridges and
hollows
-more warp and weft floats

Brighton honeycomb -Non-reversible cloth

FANCY WEAVES AND ADVANCE STRUCTURES
Mockleno (perforated fabric in
imitation of open gauze
effects)
Mockleno (distorted thread
effects in imitation of spider or
net leno style)
Bedfordcord
Warp rib (codes are in horizontal
way)
-straight drafts only (means each and
every yarn is different from each
other)
-a single diagonal line crosses a
double diagonal line.
-four cells per repeat, two large two
small cells
-repeat size/number of threads in a
repeat is a multiple of 4
𝑁
-length of longest floats 2 −
1, 𝑁 𝑖𝑠 𝑟𝑒𝑝𝑒𝑎𝑡 𝑠𝑖𝑧𝑒
-finer yarns are used -ornamental
-denting plan – because we need fabrics
-cheap fabrics for window curtains
more holes perforates in this structure -curtains
-light dress fabric
-particular texture effect plain -fashionable
-need special heald frames
-expensive or cheap? garments
-blouse aprons
-twisted warp yarns -Shawls
-open mesh effect
-gauze
-decorative open-work effect -table cloths
-shirts
-glouse -hand embroidery - cross
mock -canvas stitch pattern
-no open structures -towels
-some yarns are not straight
-oriented in a distorted manner
-either warps or weft or both can be
distorted
-can either have a compact or open
structures
-distorted yarns should be thicker
than the normal other yarns or should
choose any other color to emphasis
the distortion.
-in weaving machine must have
additional beam to place effect ends.
---Because have to give less tension
to have an effective effect.
---To follow a different path.
-arranged on a pointed draft
-the shafts for the distorted ends are
in the front
-sunken line or cords
-longitudinal codes
-similar to weft ribs (usually weft ribs
are reversible) but not reversible
-run in warp direct
FANCY WEAVES AND ADVANCE STRUCTURES

-there re two types

---plain faced
--face – plain
--corded effect – by allowing
alternate pairs of weft threads to float
on the back of the fabric behind each
cord.
-cutting ends – threads which
interweaved in plain order with the
outside ends of each cord
-floating ones - wefts
---twill faced
-purpose of floats which are not on
the face side – to make the face side
puker

- Number binding points

with a continuity (1,2,3..)
- cannot put cutting end
with the same dent

Red colored
ones are cutting
ends

Crepe -can produce in two ways -crinkled fabrics - uneven surface

(rough irregular surface)
-crepe is a term where u have 1)with high twisted yarn – no straight ex: 1)georgettee
very puckered rough surface, yarns, high roughness in a plain weave silk texture
translucent
cannot exactly say it is only in 2)only using weaving structures – with slightly puckered surface
beautiful drape
the plain weave difficult to understand the structure light weight
without opening the fabric for larger semi transparent
s-z twists
area
2)chiffron
-light fabrics
-see through
-crockery towel
FANCY WEAVES AND ADVANCE STRUCTURES

-appearance is like being covered by

minute spots or seeds
-can use alone or combine with the
others , fabric snar and shrink in water, create crinkle
-formed mainly by four methods
1)construction of crepe weaves upon
sateen base
2)combination of a floating weave
with plain threads
3)by reversing a small motif
4)insertion of one weave over another
Sateen base crepe -for sateen number of ends and
number of picks should be same.
-weft sateen
-warp satin

Moving number rules

-no
1
same size as repeat
repeat size -1
any common factors

1)regular satin – 5,7,8

2)irregular satin – 4,6 (not twill, twills
should have continuity)
Repeat Moving number
size
1 1
2 1 2
3 1 2 3
4 1 2 3 4
5 1 2 3 4 5
6 1 2 3 4 5 6
7 1 2 3 4 5 6 7
8 1 2 3 4 5 6 7 8
Floating weave with plain
threads
FANCY WEAVES AND ADVANCE STRUCTURES

By Reversing

Insertion of one weave over

another

Venetian

Repp -comes under plain

(not necessary for exam, to
understand pique need this)
-warp phase plain weave – warp
interlacements are higher at the face
side
- if the number of ends per inch higher
can make warp phase plain weaves
-in these fabrics’ weft is much thicker
than the warp
-prominent weft-way ribs
-made from two warps and two wefts
-depending on the prominence of the
rib (rib is a derivative of plain) repp
fabrics are known in increasing order
--taffeta
--poult
--faille
--grosgrain
FANCY WEAVES AND ADVANCE STRUCTURES

Pique/ welt -in filament weaving section, where

pique is used to refer as Bedford cord
-but the cords are running across the
fabric
-normally skipped draft is used to
produce this weave
G - grounding yarns
S - stitching yarns

2 up 1 down twill - jeans

Watson’s textile design and color – elementary weaves

Plain structure variation

Voile -distance between two yarns are higher

-sarees than the yarn diameter. Hence kind of an
-millinery open structure
-semitransparent curtains -finer yarns
-frocks -perforated structure
-lightweight
-sheer structures
-has sufficient twist to resist flattening
(twist should be must because we use finer
yarns)
-slippery texture
-light drape
-breathable
-firm
-durable
Crepe -high twisted yarns are used hence yarn
-lingerie will be curlier. This gives much more
-blouses roughness. This outputs crinkle effect.
-dresses - To output crinkle effect
-linings - yarn must be tightly twisted
-soft furnishing - fibers must swell on wetting out

Chiffon -very soft and filling plain woven silk texture

-finest and hard twisted yarns are used
-woven in gum condition (a treatment for
silk yarns)
-afterward degummed
FANCY WEAVES AND ADVANCE STRUCTURES

Seersucker -created by holding some warp yarns at

tight tension and some at slack tension
- slack tension yarns puff up t0 form a Blis-
Ter-effect (waviness or puckering effect –
this is a line effect)
Poplin -yarn spaces are lesser than the yarn
-lining material diameter, hence cover factor is higher.
-dresses Opposite of voile
-strong
-closely woven threads
-simple crisscross pattern
-light weight
-Cool weave with smooth and silky finish
-very breathable

Crinkled fabric This side crinkles are here and there. Number of holdings

There are 2 ways to produce crinkled fabrics

-by the weaving structure – in one direction of the fabric should
have a different in the twist in consecutive yarns by any number.
Can have for both directions -but crinkliness will be high, hence
folding will run towards one direction. Hence will neutralize the
fabric.
-by the finishing – squeeze the fabric and apply finishing agents,
not a permanent crinkle(durability of the fabric depends on the
texture of the fabric)
Structure -plain
Texture is different
In this side yarns are not Table cloth, window clothing, household apparel, fashionable
straight dresses

Crepe fabric
FANCY WEAVES AND ADVANCE STRUCTURES

-high twisted yarn in plain weave (high twisted warp

yarns or wefts)

-rough surface

-High weight

-High waviness, nice drape

-sarees, dresses, women apparel

-4 other different ways

Voile
Light weight
Air permeability high
Sarees, dresses
Yarns diameter lesser than the distance between 2 yarns
High drape
Normally go for print
Filament yarns will be used
Can see wavinesss -
due to high tension

Seersucker

Blis-ter-effect

Frocks, shirting material,

structure-simple plain

Texturing effect
FANCY WEAVES AND ADVANCE STRUCTURES

Oganza

-baby wear, party dress, occasional

dresses

-cannot iron or wash frequently

-use vey finer filaments – nylon and

polyester

-very light weight

Honeycomb

small hollow structure

face towels, kitchen towels, table cloths, table mats

inside have tight structure outside float structure

due to tension will give 3D effect

ordinary honeycomb

cotton

filament yarn - shiny

Mockleno

-see through fabric

-linen/ cotton

-dresses, curtains, bedsheets, sarees with

filaments, fashionable dresses

-air permeability is high

-can see holes

FANCY WEAVES AND ADVANCE STRUCTURES

Dog’s tooth

if gsm high- bed sheet, table cloth, warm textiles, pillow

cases, blasers, ladies coat beyond knee level
not recommended for colder weather
hats, shoes have this pattern
gives luxury effect
otherwise shirting material
can get check effect

-high moisture absorbance

FANCY WEAVES AND ADVANCE STRUCTURES

-cut piles are there

-warm jackets, winter cloths, fancy trousers

-towels -without cutting – with loops can create moisture absorbance

Functional or aesthetic properties can be gotten by changing the texture of the fabrics.

COMPLEX FABRIC
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FANCY WEAVES AND ADVANCE STRUCTURES
FANCY WEAVES AND ADVANCE STRUCTURES
FANCY WEAVES AND ADVANCE STRUCTURES

Pile fabrics
1)Warp pile
-velvet
-terry towel
2)weft pile
-velveteen
-corduroy
FANCY WEAVES AND ADVANCE STRUCTURES

face fabric with face warps and face weft

Face fabric with a back fabric

Back fabric with warp only one set of

yarns.

Back warp is binned with face weft at some points. Hence two fabrics are together.
FANCY WEAVES AND ADVANCE STRUCTURES

BAKED FABRIC

There is a total fabric

-characterised by an additional series either of warp or weft threads employed /employ

additional set of back warp and bind them on the face side of the cloth

-for the purpose of increasing their strength, secure a greater weight and thickness, bulk
and warmth retaining qualities without affecting their surface appearance

-equally fine on the surface such as satin (fine polyester yarns) or fancy yarns

-can be either reversible (can use both sides of the fabrics to make a garment) or non
reversible

-jackets for cold weather

FANCY WEAVES AND ADVANCE STRUCTURES

Hide binding warps from the face side

FANCY WEAVES AND ADVANCE STRUCTURES

Red points are

-the best binding points – because binding points will be covered with the long floats
-binding points are in the twill order (can use any weave for binding points can even use
satin, easiest one is twill tho)
-back warp to insert with the face wefts
-with those points the face fabric is connected with the back fabric

Back warp is located behind the face fabric

Inserting binding points

-Mark face and back ends

-mark face weave on face ends only
-insert back weave on back ends and face picks
-binding marks should be well hidden from face side (center point of the long float is the
best point for binding point)
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FANCY WEAVES AND ADVANCE STRUCTURES

Gives fullness to the fabric due to long floats. Hence one binding point is enough.

Face – fine yarns

Back – coarser yarns
Hence 2:1 is okay
FANCY WEAVES AND ADVANCE STRUCTURES

Binding points in twill order

DOUBLE CLOTH BINDING PATTERNS

There are two fabrics together

A- Self-stitch double cloth – face warp makes binding points with back weft

D- Center stitch double cloth -face and back fabrics separately exist.
FANCY WEAVES AND ADVANCE STRUCTURES

F- one face to one back

G- two face to one back
H- two face to two back
J- four face to one back
Depends on the face and back yarn thickness
FANCY WEAVES AND ADVANCE STRUCTURES

1st method for binding

Blue -binding points. They may either lift the fabric up or stretch downward
FANCY WEAVES AND ADVANCE STRUCTURES

2nd method of binding

Put binding points where the face wefts are (lower x table)

Why choosing these as binding points?

-because they are center points

FANCY WEAVES AND ADVANCE STRUCTURES

For binding points face warp should be lowered down.

FANCY WEAVES AND ADVANCE STRUCTURES

Cannot use 2nd method in this method because no much face area in this. Which means no
much long floats.
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FANCY WEAVES AND ADVANCE STRUCTURES