Contents

Chapter no. Chapter name Page no.

Chapter 1 Introduction of F.S.D……………………… 9
Chapter 2 Basic structure of Woven Fabric…………. 31
Chapter 3 Twill weave………………………………… 44
Chapter 4 Satin…………………………………………. 66
Chapter 5 Fancy design of Fabric…………………….. 71
Chapter 6 Colour and weave effect…………………... 94
Chapter 7 Basic weft knitted structure………………. 109
Chapter 8 Stitched double cloth……………………… 119
Previous questions………………………… 133
 Chapter 1

Introduction Of F.S.D.

Types of Fabric:
1. Woven Fabric.
2. knitted.
3. Non woven.
4. Braid.
Structure: In the manufacturing process of a cloth by weaving on loom, the technique how the
two series of threads are interlaced at right angles to each other is called structure i.e. Structure
is the interlacement of warp and weft yarn or interloping of loops.
Foundation of the woven cloth structure or variation of woven cloth structure depends on:
 The nature /type of yarn used.
 The count or relative thickness of the yarns used as warp or weft.
 Thread density of a fabric.
 The order of interlacing the ends and picks.
 Modification produced by finishing treatment.
Classification of woven Fabric Structure:
Woven structures may be conveniently divided into two principal categories:
1. Simple Structure.
2. Compound Structure.
1. Simple Structure:
The ends and the picks intersect one another at right angles and in the cloth are
respectively parallel with each other
There is only one series of ends and one series of picks.
All the constituent threads are equally responsible for the utility or performance in a
fabric and the aspect of aesthetic appeal.}
Example: Plain, Twill fabric.
2. Compound Structure:
More than one series of ends and picks are used in this structure.
 Some of threads may be responsible for the body of the fabric whilst some may be
employed entirely for ornamental purposes.
In the clothes, some threads may be found not to be in parallel formation one to
another in either plane.
Example: Pile, Towel fabric.
Texture: The quality or properties which we get from fabric by interlacing of warp and
weft yarn; such as handle properties, shinning properties, draping properties.
Texture of woven fabric depend on-
Yarn (warp, weft) count
EPI, PPI
Yarn twist.
Characteristics of fibre.
Interlacement.
Methods of Fabric Representation:
The unit of woven fabric is the point of intersection of a warp end and a weft pick. The
interlacing is of two possible kinds-
1. warp over weft interlacing.
2. warp under weft interlacing.
warp warp

weft weft

Interlacing Type A Interlacing Type A

Warp over weft Warp over weft

1. In this interlacing, the warp thread is raised to produce interlacing.

2. In this interlacing, the warp yarn is lowered to produce interlacing.
x x x x
x x x x
x x x x
x x x x
x x x x warp
x x x x
x x x x
x x x x
#
weft
Feature of design:
 The vertical lines/ space is to represented a warp end
 The Horizontal space is to represented to a weft pick.
 Each square indicates an intersection of an end and a pick.

 x  represents warp up over weft. And  represents weft up over warp.

 There are two and only two possibilities of each crossing, either the end passes over the
pick or the pick passes over the end.
 Only one repeat should be shown on design paper.

 Symbols indicate repeat unit.

 # Represents starting point.
Formula Number: Formula number is notation diagram which represent the warp and weft
interlacing point. The system of expressing the fabric representation is called Formula number.
The warp floats coming up are put above the fraction line and the weft floats going down are
put above the fraction line and the weft floats going down are put under the fraction line.
2 2 1 2 x x x x x x x
Formula no of weft =
1 1 2 2
x

1 1 1 1 x
Formula no of warp =
1 2 1 1
Some important Terms:
I. Contact field: These are the contact points betn warp and weft crossing at right angle.
The number of contact field always equals the product of the number of warp and weft
threads.
Contact field = RNwa X RNwe
Here, R Repeat number.
Nwa warp.
New  weft.
 II. Interlacing field: These are the points where a yarn of one system of threads changes
its position in relation to the other system. A distinction is made betn single and double
interlacing field.
a) Single interlacing field : The yarn bends from the top of the fabric to the
bottom and covers two or more yarn.
Ex: Twill weave.
b) Double interlacing field: The yarn bends, covers a following yarns, bends
again and reappears at the same fabric side.
Ex: Plain weave.

3
Open field.
2

1 2 3
Interlacing diagram

X – section of weave.
III. Free field: These are the zones where the warp and weft yarns do not touch and do not
change fabric side. Because of the free field, floats are formed and the yarns in the weave
may shift.
IV. Open field: These are the zones where warp nor weft thread occurs. The no of open
field is important for air and water permeability.
Ex: Parachute.
Open field = Contact field.
Interlacing Ratio: The interlacing ratio of a fabric is the ratio betn the actual number of
interlacing fields and the maximum number of interlacing fields.
Actual no of interlacin g field.
Interlacing ratio =
Maxmum no of interlacin g field.

Degree of interlacing: When interlacing ratio is expressed as percentage, it is called degree of

interlacing.
Degree of interlacing = I.R. X 100%
Repeat number: It indicates the number of warp and weft yarns in a repeat.
Warp repeat no  The no of warp yarns in repeat.
Weft repeat no  The no of weft yarns in a repeat.

In fig, Repeat size  2 X 2 x x

x x
Warp repeat no 2 x x
x x
Weft repeat no 2

Repeat Unit: A no. of interlacing between warp and weft yarns combined together in both
directions i.e. longitudinal and transverse, produces a unit of design or one repeat of the weave.

Calculation:
1) Interlacing field warp = NFNwa X RNwa.
2) Interlacing field weft = NFNwef X RNwef.

3) Free field warp =  nFNwa  NFNwa X RNwa

4) Free field weft =  nFNwe  NFNwe X RNwe

FNwa, FNwef = Formula Number of warp

& weft.
RNwa,RNwef = Repeat Number of warp
& weft.

Problem 01: x
x
1 x
twill
2 1
2
Solution:
Interlacing field warp = NFNwa X RNwa.
=2 X 3
=6.
Interlacing field weft = NFNwe X RNwe.
=2 X 3
=6.
 Total Interlacing field = 6+6=12.
Free field warp =  nFNwa  NFNwa X RNwa
= (3-2) X 3
=3

Free field weft =  nFNwef  NFNwef X RNwef

= (3-2) X 3
=3
 Total Free field = 3+3
=6
5
Problem 02: Formula No (warp) =
2
5
Formula No (warp) =
2 x x x x x

Solution : x x x x x
x x x x x
1. Contact field = RNwa X RNwe
x x x x x
=7 X 7 x x x x x

=49  [5+2=7;5+2=7] x x x x x
x x x x x
2. Interlacing field wa = NFNwa X RNwa
=2 X 7
=14

3. Free field warp =  nFNwa - NFNwa  X RNwa

=(7-2) X 7
=35
 4. Interlacing Ratio =
 nFNwa XRNwa   nFNwe X RNwe
2 X RNwa X RNwe
7 X7  7 X 7
=
2 X 7 X7
4 3
Problem 03: Twill
2 1
Solution:
1. Contact field = RNwa X RNwe = 10 X 10 = 100
2. Interlacing field= NFNwa X RNwa + NFNwe X RNwe.
=4 X 10 + 4 X 10 =80

3. Free field =  nFNwa - NFNwa  X RNwa +  nFNwef  NFNwef X RNwef

= 10  4  X 10   10  4 X 10 
=60+60 = 120
3 x x
Problem 04: warp rib
2
x x
1. Contact field = RNwa X RNwe
x x
=2 X 5 repeat no. 2 X 5 =10
x x
2. Interlacing field = NFNwa X RNwa+ NFNwe X
x x
RNwe.
=2 X 2 + 2 X 5
=14

3. Free field warp =  nFNwa - NFNwa  X RNwa

= (5-2) X 2
=6

4. Free field weft =  nFNwef  NFNwef X RNwef

= (5-2) X 5
= 15
Classification of Parts of a complete design for a woven fabric:
1) Weave Plan.
2) Drafting Plan.
3) Lifting Plan.
 4) Denting Plan.
1) Weave Plan: It represents the interlacement of warp and weft yarn. It shows the ups
downs of each yarn in a fabric sample it draws on the graph paper. The warp face and
weft face are identified by any symbol and blank space respectively. The vertical spaces
are warp and horizontal are weft.
2) Drafting Plan: The process of drawing the warp yarn into the heald eye according to
the weave plan or design is called drafting and the plan by which drafting is indicated
called drafting plan. It indicates the no. of heald shafts required to make a design. It is
drawn on the top of the weave plan. The vertical spaces are warp and horizontal are
healds.
3) Lifting plan: Lifting plan defines the selection of healds to be lifted or lowered on each
successive insertion of weft or pick.
Lifting plan is drawn at the right side of weave plan.
4) Denting plan: The process of inserting warp yarn through reed is called denting. The
planning of this denting according to order is called denting plan.
Normally two yarns are passed through dent.
x x
x x
x x
x x
Denting plan

x x x x x x
x x x x x x
x x x x x x
x x x x x x
#
Lifting plan
Weaving plan

Methods of Indicating of drafting plan:

1) By ruling line.
2) By design paper.
3) By Numbering.
 1. By ruling line: In which the horizontal lines represent the healds and the vertical lines
represent warp threads. The insertion point of the lines indicates the end has passed
through that particular heald shaft.
2. By design Paper: In which the horizontal spaces represent healds and vertical spaces
warp threads. The cross marks are drawn inside the squares of graph paper which
indicates warp thread are passed through respective heald shaft.
3. By numbering : Under weave plan numbers are written. This numbers indicate the no. of
heald shafts. Through which that particular warp thread has passed through.

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
1 2 3 4 5 6 7 8
Fig: 1 Fig: 2 Fig: 3

System of drafting/Classification of drafting:

1) Straight draft.
2) Skip draft.
3) Pointed draft/ V –draft.
4) Broken draft.
5) Divided draft.
6) Grouped draft.
7) Combined draft.
8) Curved draft.
9) Bed fort cord.
1. Straight draft.
 This draft is the simplest type of draft which forms the basis of many other drafts.
 It is the most common draft and it can be used with any number of heald shafts.
 Each successive thread is drawn on each successive heald shaft. The 1st thread is drawn
through the first heald shaft and the 2nd through the second shaft and so on .
So the no. of heald shaft equals the no. of warp threads in a repeat.
 Used in twill design.
 x x
x x
x x
x x

Straight draft.

2) Skip draft:
 This draft is used in weaving the fabric with high density of warp threads.
 The no of heald used is multiple of 2 than the no of threads in warp repeat.
 This enables to decrease the density of heald on each shaft and to reduce the
friction thread against thread and thread against shaft.

x
 In case plain of dividing each heald x
shafts into two, the odd number of x

threads are drawn through the 1st set x

x
of heald shafts and the even number x
of threads are drawn through the 2nd skip draft

set.
3) Pointed or V – draft:
 Used to produce fabric with symmetrical design e.g. jig jag twill, Diamond.
 This are used where the straight draft can not be applied because a large warp repeat.
 This draft can be considered as a combination of straight drafts.
 A straight draft is returned in the opposite direction at a predetermined point.
 The 1st and last heald shafts contain two warp ends.
 The number of heald shafts equals to half of the no of threads in warp repeat.
x
x x
x x
x x
x
Pointed draft

4. Broken draft:
 This draft can be considered as a modified pointed draft.
 This is a combination of straight drafts with different directions of constructions.
 The reversal of direction is not on the last or the first shaft as in pointed draft.
  When the direction is reversed the first thread of the next group is started higher or
lower than the last thread of proceeding group.
 The last thread of 1st group is warp float and
1st thread of 2nd group is weft float
 The design is not considered to symmetrical design.
 Applied for producing herring bone twills, diaper design and so other design.
x x
x x
x x
x x
x x
x x

Broken draft.

5. Divided draft:
 In this draft, the heald shafts are divided into two or more groups.
 For every group, suitable draft is selected.
x
x
x
x
x
x x
x x x
Divided draft

 Used in double warp weaves, two ply weaves, pile weaves i.e. two or more set of
warp yarns required .
 More frequently inter weaving threads are kept in the front heald shafts.
 In warp pile fabric, the ground warp threads are passed through the front heald
shafts and the pile warp threads are passed through the front heald shafts and
the pile warp threads are passed through the back heald shafts.
6. Grouped draft:
 This draft is used for producing check & stripe fabrics.
 Two sets of stripes are used in two set heald shafts.
 Warp of each group passed through a particular group of healds adjacently and the
other set of warp is inserted through another group of healds adjacently.
  The repeat of draft is determined by the no. of stripes and the no. of threads in each
stripe.
x
x x
x x
x x
x
x x
x x
x x
x x
Grouped draft

7. Curved draft:
 Used to produce decorated weave with large repeat unit.
 Used to reduce the no. of heald shafts.
 Irregular drafting and not classified.

x
x x x
x x
x
x x
x
x
x x
x x
x x
x x x
x
Curved draft

8. Combined draft:
 In producing some special types of fabrics different type of drafts are required to
be mixed.
 It is a very complicated type of draft.
 It can be chosen if there are some technological or economical reasons.
 Great experience is required for such drafting plan.
 x x x
x x x x x
x x x x x
x xx x x
x x x x
Combined draft

Difference between Straight & Skip draft:

Straight draft. Skip draft.

1. It is a straight type of draft. 1. It is a of cross draft.

2. Straight draft is the simplest 2. It is comparatively a
type draft and is the basis of complicate type of draft.
many other drafts.

3. In case of straight draft 3. Not same.

design the weave plan and
lifting plan are the same.

4. In repeat the no of heald 4. The no of heald shafts

shafts is equal to the no of are 2 or more times
warp threads. greater than the no of
warp threads in a
repeat.
5. The heald shafts are 5. A group of heald shafts
individually lowered or (in each group 2 or more
lifted. healds are lowered or
lifted at a time.

6. In twill design, this draft is 6. In plain weave, this draft

used. is used.

7. The 1st thread is drawn 7. In case of dividing each

through the 1st heald shaft heald shafts into two,
and the 2nd through the 2nd the odd number of
shaft and so on. threads are drawn
 x x through the 1st set of
x x
x x heald shafts and the
x x even number of heald
Straight draft. shafts and the even
number of threads are
drawn through the 2nd
set.

x
x
x

x
x
x
skip draft

Difference between Broken draft & Divided Draft:

Broken draft Divided draft.
1. This draft can be 1. It is a combination of two
considered as a modified or more group of drafts.
pointed draft.

2. Heald shafts are not 2. Heald shafts are divided

divided into two or more into two or more groups
groups. and for each group,
suitable draft is chosen.
3. In this draft, the direction 3. More frequently
is reversed the 1st thread of interweaving threads are
the next group is started kept in the front heald
higher or lower then the shafts.
last thread of proceeding
group.

4. Used for producing 4. Used for producing pile

herring bone twills, diaper weaves, double warp
 design etc. weaves etc, two ply

5. The fabric contains no 5. The base fabric contains

ornament or extra yarn extra yarns which are
responsible for creating
pile or design.
x x x
x x x
x x x
x x x
x x x
x x x x
x x x
6. Broken draft. Divided draft
6.

Difference between divided draft and group draft:

Divided draft Group draft
1. Heald shafts are divided 1. Heald shafts are not
into two or more groups. divided.
2. It is used for producing pile 2. It is used for producing
weaves, double warp weave. check or stripe fabrics.
3. In pile fabric, ground warp 3. Warp at each group pass
thread are passed through through a particular group
the front heald shafts. of heald adjacently.
4. The repeat at draft is not 4. The repeat of draft is
determined by the no. of determined by the no. of
threads. threads in each stripes and
the no. of stripes.
x x
x x x
x x x
x x x
x x
x x x x
x x x x x
5. Divided draft x x
x x
5. Grouped draft
 Chapter 2

Basic Structure Of Woven Fabric

1. Plain weave.
2. Twill weave.
3. Sateen weave.
Features of plain weave:
 The plain weave is obtained by raising all even numbered warp ends at one pick and
raising all the odd numbered one at the other pick.
 The repeat contains 2 ends and 2 picks.
 Both sides of the weave are identified.
 It comprises a high production of the total output of woven fabric.
 Made from all kinds of textile raw mtls and yarns i.e. cotton, jute, man made from
both spun and continuous filament.
 Thread interlacing in alternate order.
 Each thread gives maximum amount of support to the adjacent threads.
 Texture is stronger and finer than any other structure.
 2 heald shafts are sufficient to produce plain weave when the no. of ends/cm is large,
4 or 6 heald shafts are used with skip draft.
End use:
 It is used for structures which range from very heavy and coarse canvas and
blankets made of thick yarns to the lightest and finest cambries and muslins
made in extremely fine yarns
 Rib fabric: dress, Coat, suit, lace and upholstery and drapery.
 Matt from wool and worsted suiting & coat
 Matt from cotton or linen – sports
Trade name of Plain fabric:
Name Specification
 1. Poplin. 14 s
2 X 60 s
60 X 14
2. Sheeting. 33  38tex 
18 X 18 - 24cm 

3. shirting. 27  38tex 
22 X 26 - 28cm 

4. Voile 64  50
60 X 50
5. Cambric. 90  60
90 X 50
Classification of plain weave:
(A)
1. Approximately square cloth:
 Warp count = weft count.
 Thread density equal i.e. E.P.I. = P.P.I.
 Warp and weft faces are equal on both sides of the cloth.
 Warp crimp weft crimp.
 Warp cover factor = Weft cover factor.

30 ' s X 30 ' s
Fabric specification: X 45"
100 X 100
Uses: Cheese cloth, surgical dressing, tracing cloth.
2. Warp faced cloth:
 Prominence of warp yarn is more than that of weft yarn.
 Finer warp yarn but coarser weft yarn.
 Warp crimp > Weft crimp.
 Fabric shrinkage to the warp.

60 ' s X 30 ' s
Fabric specification: X 45"
120 X 100
Uses: Denim, Gabardine., Terylene.
3. Weft faced cloth:
 Prominence of weft yarn is more than that of warp yarn.
  Finer weft yarn but coarser warp yarn.
 Weft crimp > Warp crimp
 Fabric shrinkage to the weft.
 Production cost of this fabric is high.

30 ' s X 30 ' s
Fabric specification: X 45"
80 X 120
Uses: Cotton firebrick, cotton casement cloth etc.
(B)
1. Balanced cloth.
2. Unbalanced cloth.

1. Balanced cloth:
 Warp count = Weft count.
 EPI = PPI
 Warp and weft faces are equal on both sides of the fabric.

30 ' s X 30 ' s
Fabric specification: X 45"
100 X 120
2. Unbalanced cloth:
 EPI = PPI but warp count  weft count.

60 ' s X 30 ' s
Fabric specification: X 45"
100 X 120
 Warp count = weft count. But EPI  PPI.

60 ' s X 60 ' s
Fabric specification: X 45"
120 X 100
 Warp count  Weft count; EPI  PPI.

60 ' s X 30 ' s
Fabric specification: X 45"
120 X 100
Ornamentation of Plain cloth:
1. By using extremely fine yarn; e.g. Muslins.
2. By using coarser yarn. e.g. Jute Hessian.
3. Threads of different colours are combined in check forms.
4. The threads both warp and weft may vary in colour and count.
5. Various raw cotton: Warp polyester + weft cotton.
6. Various type of yarn.
7. Various type of fibre.
8. Changing of thread density.
9. By using fancy slub yarn.
10. By using different order of denting.
11. By using different twisted yarn.
12. By using warp beam of different tensioned.
13. Special type of reed.
Derivatives of Plain weave:
(1) Rib
weave

Warp Rib.

Regular
warp Rib.

Irregular
warp Rib.

Weft Rib.

Regular
warp Rib.

Irregular
warp Rib.

(2) Matt
weave.

Regular matt
weave.

Irregular
matt weave.

Stitched mat
weave.

Fancy matt
weave.

Features of Warp Rib:

 It produces Rib or Cord effect in the weft direction.
 Finer yarn used as warp and coarser as weft.
  The no of ends are more than the no of picks in unit space.
 Low twisted yarn is used in weft.
 The ends interlace with the picks.
 Warp yarn single yarn and weft yarn bundle or grouped yarn.
 Two or more weft yarns pass over or under a warp.
 Each end is brought prominently to the surface on both side of the cloth.
I. Regular warp Rib:
 In bundle, the no of weft yarn is equal.
 Found regular appearance in fabric.
x
 Formula number = warp rib [x = No of warp yarn in every rib]
x

II. Irregular warp Rib:

 In bundle the no of weft yarn is different /unequal.
 Irregular appearance is shown in the fabric.
x
 Formula number = warp rib [x and y individually indicates the no of
y
warp yarn. ]
Uses: Used extensively in the production of the various grosgrain cloths and meatless fabric.
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 x x x x x x
# #
4 5 warp rib
4 warp rib. 1

Features of weft Rib:

 Produce ribs or cords in the warp direction.
 Finer yarn used as weft and coarser as warp.
 The no of picks is more than no of ends.
 Production ability is high.
 Warp yarn bundle and weft yarn single.
 Two or more warp yarns and weft yarns pass under or over a weft yarn.
 Both sides of fabric is weft faced cloth.
 Opposite to warp Rib weaves.
 The weft is brought prominently to the surface and forms lines running the length of the
cloths on both sides.
 The picks interlace with the ends.
I. Regular weft rib:
 In bundle equal no of warp yarn.
 Regular appearance.
1
 Formula number = x weft rib. [x = No of warp yarn in every rib]
1
II. Irregular weft rib:
 In bundle, unequal no of warp yarn .
 Irregular appearance.
1
 Formula no = x  y  [x and y individually indicates the no of warp yarn.]
1
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 #
#
1
1
(3) weft rib (2+3) weft rib
1 1

Uses: Blankets, hair cords etc.

Features of Matt weave:
 Matt weave is constructed by extending the plain weave both warp and weft / vertically
or horizontally.
 Combination of warp and weft Rib.
 It is heavier than a square fabric made from the same yarn but thickness will be same.
 Greater resistance to tearing.
  Loose structure.
 Matt weaves tend to give smooth surfaced fabrics and more flexible fabrics and more
flexible fabrics than plain weave.
Regular Matt:
 Same count yarn and No of warp yarn = No of weft yarn.
 Combination of regular warp rib and Regular weft Rib.
x
 Formula number = x matt. [x = no of warp and weft yarn.]
x
Irregular matt:
 In same repeat, the no of warp and weft is different.
 Combination of irregular warp rib and weft rib.
x
 Formula no = x  y  matt. [x = no of warp; Y = no of weft yarn.]
y
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 x
x x x x x # 5
# 3 (5+3) matt.
4
4 (4) matt

Stitched matt:
 Stitch is used in matt.
 To avoid looseness of the yarns in the fabric.
stitch is used i.e. to produce firm cloth, stitch used,
 In warp face, the centered warp thread is lowered and in weft face, the centre weft thread
is up .
5
Example: 5
5
 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 x
x x x x x x x
5
5 (5) stitched matt

Fancy matt:
 Any rearranging except stitching of matt is called fancy matt.
 It is produced by combining matt and warp and weft rib.
x x 9
Ex: x  x  or x  or 9 fancy.
x x 9
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 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
# #
5 3
(5) fancy matt (3) fancy matt
5 3

Difference between Warp Rib & Weft Rib:

Warp Rib Weft Rib.
1. It produces rib or cord effect in the 1. It produces rib or cord effect in the warp
weft direction. direction.
2. finer yarn used as warp and coarser as 2. Finer yarn used as wdft and coarser as
 weft. warp.

3. The no of ends are more than the no of 3. The no of picks is more than the no of
picks in unit space. ends in unit space.

4. Warp yarn single yarn and weft yarn 4. Warp yarn bundle and weft yarn single.
bundle yarn.

5. Two or more weft yarns are passed 5. Two or more warp yarns passed over or
over or under a warp. under a weft.
6. The ends interlace with the picks. 6. The picks interlace with the ends .
7. Each end is brought prominently to 7. The weft is brought prominently to the
the surface on both side of the fabric. surface of the cloth on both side.

Difference between Matt & Rib:

Rib. Matt.
1. It produces Rib or Cord effect. 1. It not produces Rib or Cord effect i.e.
combination of warp and weft Rib.
2. Repeat size may not be a square. 2. Repeat size may be a square.
3. May be classified of two groups: 3. May be classified of 4 groups:
a. Warp rib. a. Regular matt weave.
b. Weft rib. b. Irregular matt weave.
c. Stitched matt weave.
d. Fancy matt.
4. Tight structure. 4. Loose structure.

Difference between Matt & Fancy Matt:

Matt. Fancy Matt.
1. It is produced by extend the plain weave 1. By combining
with warp and weft.
2. It is the Comb of warp Rib and weft Rib. 2. Any rearranging except stitched matt is c
3. 3.
 Chapter 3

Twill Weave

Twill weave: The order of interlacing which causes diagonal lines of warp and weft floats to
be formed in the fabric is called twill weave.
In the basic weaves these diagonal lines are continuous but in some of their derivatives they
may be broken or reverse periodically.
The simplest possible repeat for a twill weave is 3 ends X 3 picks and there is no theoretical
upper limit to the size of the repeat.

Features of Twill weave:

i) A twill weave is characterized by diagonal lines of warp and weft floats on the
face of the fabric.
ii) These twill lines are produced by letting all warp ends interlace in the same way
but displacing the interlacing points of each end by one pick relative to that of
the previous end.
iii) Twill lines are formed on both sides of cloth.
iv) The direction of diagonal lines on the face side of the cloth is opposite to that on
the wrong side coinciding respectively with the weft and warp floats on the
other side. Thus if warp floats predominate on one side of the cloth, weft floats
will predominate in the same proportion on the other side.
v) The simplest possible repeat for a twill weave is 3 ends X 3 picks.
vi) Diagonal lines running at angles varying between 15º to 75º.
vii) Straight draft is used for producing this weave.
viii) This weave is made from both of natural and man made fibre.
ix) These weaves are employed for the purpose of ornamentation.

Trade name:
Name Specification
 1. Jean. 30  30tex 
36 X 26cm 

2. Gabardine. 15  15 tex 
Fine cotton= 2 2
64 X 42cm 
30  30tex 
Coarser cotton= 2
43 X 30cm 
3. Denim. 20s  16s
90  60
4. Drill. 14  16(Tex )
50 X 32(cm)

Classification of Twill weave:

1. According to the direction of twill line:
i. S Twill: Downward displacement of the interlacing point i.e. Twill line is
produced by forwarding of each warp yarn to left side respect to each weft yarn.
The twill line of this fabric forwards to right to the left.
2
Example: s
3
ii. Z twill: Upward displacement of the interlacing point i.e. twill line is produced by
forwarding of each warp yarn to right respect to each weft yarn. the twill of this
fabric forwards to left to right.
1
e.g.: z
3
2. According to the Face yarn:
i. Warp face twill: Prominence of warp yarn on the face of the cloth.
1 3
e.g.: z or s
4 1
ii. Weft face twill: Prominence of weft yarn on the face of the cloth .
1 2
e.g.: s or z
4 3
 iii. Double face twill: Both faces of the cloth have the same appearance. Prominence of
warp and weft yarn on both side of the cloth is the same.
2
e.g.: s
2
3. According to the nature of the twill line:
i. Simple twill:
a. Simple warp twill.
b. Simple weft twill.
a. Simple warp twill: these are formed by passing of each warp threads in each
repeat of the pattern, on one pick.
3
E.g.: s
1
b. Simple weft twill: these are formed by passing over all weft threads, in each
repeat of the pattern, on each end.
1
E.g.: s
2

ii. Expanded twill:

a. Warp expanded twill.
b. Weft expanded twill.
b. Warp expanded twill: in the repeat each warp thread pass over or under one more
weft yarns. There is no 1 up or 1 down in twill.
4
Example: s
2
c. Weft expanded twill: Each weft thread pass over or under more warp yarns. There is
no 1 up or 1 down in twill.
2
e.g.: z
5
iii. Multiple twill: It contains more than one twill line which may be of different
width.
2 1 1 2 3
e.g.: or
3 4 1 3 2
 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 3 S - twill.
2 Z - twill. 2

Derivatives of Twill weave:

1. Zig – zag / Pointed /waved twill.
2. Herring bone twill.
3. Diamond twill.
4. Diaper design.
5. Broken twill.
6. Rearranged twill /transposed twill.
7. Stepped twill.
8. Elongated twill.
9. Shadded twill.
10. Combined twill.

1. 'Zig – zag / Pointed /waved twill: It is one of the most important modification of
twill weave produced by reversing the direction of the twill at a suitable interval and
combination of‘s’ and ‘z’ twill.
According to reversing of direction, two types of Zigzag twill:
a. Horizontal zigzag.
b. Vertical zigzag.

a. Horizontal zig-zag: When the reversal of twill direction occurs upon the warp
end it results a horizontal zig-zag.
Feature:
 Twill direction reverses upon the warp yarn.
  No of warp is double to the no of weft in the repeat.
 The change of direction of starts when finishes of basic twill repeat and makes point
in the moment of change.
 Basic twill runs along warp.
 V draft / pointed draft is found.
 This twill is made from any continuous twill.
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 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 Horizontal zig zag x x x x x x
2 x x x x x x
x x x x x x
x x x x x x
#
3 Vertical zig zag
2
weft way

b. Vertical zig-zag: When the reversal of twill direction occurs upon the weft yarn
and results a vertical zig – zag.
Feature:
 Twill direction reverses upon the weft yarn.
 No of weft is double to the no. of warp in the repeat.
 The reversal of direction starts when finishes of basic twill repeat and makes point in
the moment of reversal.
 Basic twill runs along weft .
 Straight draft is found.
 This twill is made from any complicated continuous twill.
Uses: Ornamented design, upholstery, wall covering, screen, various house hold item etc.
2. Herring bone twill: This twill is produced by reversal of twill direction at a suitable
interval unlike zig zag twill and the changing of direction of 1st warp /weft yarn’s
floating condition is reversed of the previous yarn and it is the combination of ‘S’ and
 ‘Z’ twill.
According to reversal of direction, two types of Herring bone twill-
a. Horizontal Herring bone twill.
b. Vertical Herring bone twill.
a. Horizontal Herring bone twill:
 Twill direction reverses upon the warp yarn on the principle of herring bone.
 No. of warp yarn is double to the no. of weft yarn.
 Basic continuous twill runs along warp.
 Broken draft is found.
 Horizontal stripe effect formed in the fabric.
b. Vertical Herring bone twill:
 Twill direction reverses upon the weft yarn on the principle of herring bone.
 No. of weft yarn is double to the warp yarn.
 Basic twill runs along the weft.
 Straight draft is found.
 In this fabric vertical stripe effect formed.
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 x x x x
# #
3
1 Horizontal herring bone

Uses: Suits, Coats, and ornamented fabrics.

3. Diamond design:
 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
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 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 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
#
5
Diamond design
3
repeat size (16 X 16)

 It is the derivatives of the twill weave.

 It is constructed / formed on the basis / principle of pointed.
 Diamond design is found by the combination of horizontal and vertical zig zag
twill.
 No. of both warp and weft threads are double than that of the base twill in the
repeat.
 In this twill, pointed draft is found.
 The design area is divided into 4 equal parts.
 Diamond designs are symmetrical about their vertical and horizontal axis.
 It is divided into equal parts both horizontal and vertical axis.
Uses: Towel, bed cover, Table cloth, Pillow cover etc.
4. Diaper design:
 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 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 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
#
4
4 Diaper design

repeat size (16 X 16)

 This twill weave derivatives is formed on the basis of herring bone principle.
 It is formed by the combination of horizontal and vertical herring bone.
 No. of both warp and weft are double than that of the base twill in the repeat.
 In this twill, broken draft and straight draft is found.
 It is divided into two equal parts along diagonal axis.
 This design is Symmetrical about their diagonal axis.
Uses: Towel, Bed cover, Table cloth, Pillow cover etc.
Distinguish between Diamond & Diaper:
Diamond design. Diaper design.
1. It is formed on the basis of pointed 1. It is on the basis of herring bone
principle. principle.
2. It is found by the combination of 2. It is formed by the combination of
horizontal and vertical zig-zag twill. horizontal and vertical herring bone.
3. Pointed draft is found. 3. Broken draft and straight draft is found.
4. This designs are symmetrical about 4. This design is symmetrical about their
their vertical and horizontal axis. diagonal axis.
5. It is divided into two equal parts both 5. This design is divided into two equal
horizontal and vertical axis. parts along diagonal axis.
 5. Broken twill:
 Broken twill is obtained by breaking the twill line of a regular twill.
 It is some what similar in appearance to zig – zag twill.
 A large variety of attractive effects can be produced by this twill.
 Broken twill is formed by dividing the continuous twill repeat in two sections or in 3
or 4 or more sections.
 Broken twill can be made3 either by warp way and weft way.
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
1 2 3 4 5 6 # 1 2 3 6 5 4
Base twill 3
3 Broken twill

 If the threads are divided in warp way direction, it will result a broken draft. If the
threads are divided in weft way sections and thus broken twill is obtained, it will
result in a straight draft.
 If the basic twill is broken at a regular interval, the produced stripes will be of equal
width, other wise the stripes will be unequal width.
Uses: Shirting, Suiting, designed fabrics etc.
6. Rearranged twill / Transposed twill: Rearrangement of twill is produced by the
transposition or rearrangement of the original order of threads in the regular basic
twill. This transposition may interrupt the continuation of twill line and thus may
give an effect of a broken twill design.
This twill can be constructed-
1. By rearranging the yarns individually.
2. By rearranging the yarns group wise.
3. By cork- screw weave.
a. Odd no. cork screw.
 b. Even no. cork screw.
a. Odd no. cork screw: Odd no. cork screw is produced by rearranging of any
continuous twill yarns in satin order. It is both of warp way and weft way. This
weave is formed from odd no. warp and weft yarns.

b. Even no. cork screw: Even number cork screw weave is produced from two same
repeat size of continuous twill of different basic twills. The no of warp threads in
repeat size of produced screw design is equal to the sum of warp threads in the basic
twill and the no. of weft threads in design repeat will be equal to the no of weft
threads in either basic twill. It may either be of warp floating or of weft floating.
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 x
1 2 3 4 5 6 a b c d e f x x x x x x x x
4 3 x x x x x x x x
2 3 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 x x x #
x x x x x x x 8
Cork screw / odd no. cork screw
# 1a 2 b 3 c 4d 5e 6 f 3
repeat 11 X 11
Even no. cork screw. for 11 move no. 4.

7. Stepped twill: Stepped twill is produced by stepping a continuous twill and

keeping the direction of twill line same or opposite.
Types of stepped twill:
i. Warp way step.
ii. Weft way step.
iii. Both warp and weft way step.
i. Warp way step: It can be formed by stepping of continuous twill either changing
the direction of twill line or by not changing the direction of twill line. If the direction
of twill line is not changed after some steps, herring bone twill is formed.
 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

2
same direction step twill
1

x x x
x x x
x x x

2
opposite direction step twill
1
(herring bone)

ii. Weft way step:

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 same
x direction opposite
x x direction
herring bone.

2 2
1 1

It can be formed by changing the direction of twill line or by not changing the direction after
some steps. But the weave is produced in weft direction. If the direction of twill line is changed
herring bone effect is formed.

x x x
iii. Both warp and weft x x x x way step: It is actually a
x x x x
diaper design. Where basic x x x x twill is extended in both warp
x x x x
and weft direction. x x x x
x x x x
x x x

3 opposite direction
1 (diaper)
 8. Elongated twill: The twill which is produced by twill angle in less than or more
than 45º respect to horizontal or vertical axis is called Elongated twill. ”Elongated
twills, running at various angles, can also be constructed by advancing the points of
insertion two or more threads in one direction to one thread in the other direction.”
Rate of advancemen t of twill upwards ends per cm.
tan  = X
Rate of advancemen t of twill outwards picks per cm.
Twill angle is determined by step number i.e. rate of advance from one interlacing
point to the next.
Two types of elongated twill:
a. Warp way elongation.
b. Weft way elongation.

a. Warp way elongation:

 2 or more pick displacement instead of 1 pick in each warp.
 Twill angle runs around 45º.
b. Weft way elongation.
 2 or more ends displacement instead of 1 end in each weft.
 Twill angle runs bellow 45º
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

4 4
warp way elongated warp way elongated
2 twill.(2 pick 2 twill.(2 pick)

9. Shaded twill:
Twill based shaded design:
a. Single shaded design.
b. Double shaded design.
Satin based shaded design:
 c. Single shaded design.
d. Double shaded design.
Single shaded design on twill base:
 Shading effect becomes gradually deep from thin and after being deep it again starts
to be thin and thus complete the whole repeat.
 It can be created by a continuous twill.
5 4 3 2 1
 Example:
1 2 3 4 5
Double shaded design on twill base:
 Shading effect become gradually thick from thin and again becomes thin or gradually
thin from thick and again becomes thick gradually and complete a repeat.
 This design is formed by continuous twill.
1234 55 43 2
 Example:
5 43212 345
a. Single shaded design on Satin base:
 In this method , some weft satin are made.
 Then units are divided into groups and each warp face are increased continuously in
the satin point of each section until conversion of weft satin into warp satin.
b. Double shaded design on Satin base:
 In this method, like single shaded effect, beside of some weft satin are made.
 Then units are divided into groups and each warp face are increased continuously in
the satin point of each section until conversion of weft satin into warp satin.
 Then each weft face are increased continuously in each next unit from this warp satin
until getting of previous weft satin again.
 This is repeat of double shading effect.
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 x x x

5 end sateen base double shaded design.

10. Combined twill: Combined twill is formed for different types of new design;
 Combined twills are formed by combination of two continuous twill.
  In combined twill, no practically limitations and varieties of design can be produced.
 It is capable of producing compact and firm textures.
 It may be both of warp face and weft face.
 In warp way combined twill divided draft and weft way straight draft.
1. In case of equal no. of base twill: 6 X 6 , 6 X 6 or 8 X 8 , 8 X 8
Warp way combination:
Ends of new design = Ends of base twill X 2.
Picks of new design = Picks of base twill.
Weft way combination:
Ends of new design = Ends of base twill.
Picks of new design = Picks of base twill X 2.
 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
a b c d x x x x x x x x x x x x
base twill 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
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
1 2 3 4 5 6 1a 2b 3c 4d 5a 6b 1 c 2d 3a 4b 5c 6 d

base twill warp way combined twill. repeat size 24 X 12

(divided draft)
d x x d x x x x x x
c x x 6 x x x x x x
b x x c x x x x x x
a x x 5 x x x x x x
b x x x x x x weft way combined twill.
base twill 4 x x x x x x
6 x x x a x x x x x x
5 x x x 3 x x x x x x
4 x x x d x x x x x x
3x x x 2 x x x x x x
2x x x c x x x x x x (Straight draft)
1x x x 1 x x x x x x
b x x x x x x
6 x x x x x x
a x x x x x x
5 x x x x x x
d x x x x x x
4 x x x x x x
c x x x x x x
3 x x x x x x
b x x x x x x
2 x x x x x x
a x x x x x x
1 x x x x x x

2. In case of unequal no. of base twill:4 X 4 , 6 X 6 or 8 X 8 , 6X 6

Warp way combination:
Ends of new design = L.C.M of no. of warp yarn of base twills X 2.
Picks of new design = L.C.M of no. of weft yarn of base twills
Weft way combination:
Ends of new design = L.C.M of no. of warp yarn of base twills
Picks of new design = L.C.M of no. of weft yarn of base twills X 2.
New combined design is formed by placing of continuously numbers.
 Factors affecting the Prominence of twill weave:
1. Characters of weave:
 Twill line of short floats Less prominence twill line.
 Twill line of long floats  More prominence but the produced fabric is of less
strength, creates looseness as less interlacement.
2. Characters of yarn:
 Twill line of coarse and soft twisted yarn  more prominence.
 Twill line of fine and hard twisted yarn  less prominence.
 Twill line of folded or ply yarn  more prominence.
 Twill line of single yarn  less prominence.
3. No. of ends and picks per inch /Thread per inch:
 More no. of ends and picks per inch  more prominence.
 Less no. of ends and picks per inch  less prominence.
4. Direction of twill in relation to twist direction:
 Same direction  less prominence.
 Opposite direction  more prominence.
Uses of Twill: Twill weaves are extensively used in manufacturing cloths for garments,
household cloths and industrial cloths.
i. Generally diamond, diaper and zig- zag twills are used for making pillow covers,
screens, table cloth, upholstery, bed sheets, towels etc.
ii. For making fabrics for shirting suiting and panting (Denim, gabardine ) are used for
continuous twills.
iii. For making various types of ornamental cloths other derivatives are used.
iv. Herring bone twills are used for suiting and overcoats.
From the point of view of manufacturing cloths twill weave is second in position in weaving
factories.
 Chapter 4

Satin

Satin / Sateen:
Features:
1. The fabric surface is very smooth and lusturious.
2. By using low twisted yarn, and by increasing EPI, smoothness can be increased.
3. Only one interlacement between one warp and one weft.
4. This interlacement point is covered with adjacent long float yarn.
5. No. of cross mark or base mark is equal to the no. of threads in the repeat.
6. Loose structure compared to plain and twill fabric.
7. Not visible of twill line in this weave.
8. Widely used in case of jacquard design.
Classification of Satin:

Satin.

Warp Weft satin

satin. / sateen

Regular. Irregular. Regular. Irregular.

Warp satin: If the prominence of warp floating are seen on the fabric surface, this satin are
called warp satin.
x
Warp satin is expressed by ( y)
1
Where, x=warp face and y=move no.(step value)
1. Regular warp satin.
2. Irregular warp satin
1. Regular warp satin:
 Repeat size is selected.
  From the repeat size, a step value is taken.
 The move no. is taken in the weft direction.
 The step value gives interlacement between warp and weft.
 The interlacement points are weft face and others are warp face.
2. Irregular warp satin:
 No fixed move no.
 Select repeat size.
 The interlacing points are placed on repeat randomly.
 Not more interlacing between warp and weft.
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 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

warp satin 10 end irregular warp satin

Weft satin: If the prominence of weft floating are seen on the surface of the fabric, it is called
weft satin/sateen
1
Weft satin is expressed by ( y)
x
Where x=weft face and y=move no.
1. Regular weft satin
2. Irregular weft satin
1. Regular weft satin: Repeat size is selected.
 From the repeat size, a step value is taken.
 The move no. is taken in the weft direction.
 The step value gives interlacement between warp and weft.
 The interlacing points are warp face and others are weft face.
2. Irregular weft satin:
 No fixed move no.
  Select repeat size.
 The interlacing points are placed on repeat randomly.
 Not more interlacing between warp and weft.
x
x
x
x
x
x
x
x
x
x

weft sateen 10 end

Move number: In case of satin weave, the distance between two adjacent interlacing points is
known as move number/step value.
Repeat size step value
5X5 2, 3
6X6 No
7X7 2, 3, 4,

Uses of Satin weave:

1. Widely used to produce lace.
2. Desks wear, curtain and decorative garments and upholstery.
3. Widely used to produce coat and suiting.
4. Used to produce multiply fabric.
5. Used to produce very costly fabric because of its smoothness.
6. Widely used incase of jacquard design in basic weave.
7. Used as ladies dress.
 Chapter 5

Fancy design of fabric

Types of fancy weaves:

1. Mock leno / limitation gauge weave.
2. Hucka back.
3. Honey comb.
a. Ordinary Honey comb.
b. Brighton Honey comb.
4. Distorted thread effect.
a. Warp distorted thread effect.
b. Weft distorted thread effect.
5. Crepe weave.
6. Bed cord.
7. Pique.

1. Mock leno / limitation gauge weave:

Feature:
a. The produced fabric is as like net / perforated.
b. Surface of this fabric is rough.
c. Repeat size is always even number such as 8 X 8, 10 X 10, 16 X 16 etc.
d. Mock leno weave can be produced without using leno heald.
e. Smallest repeat size 6 X 6.
f. This weave can be divided into two equal parts diagonally.
Uses:
 Used for curtain and under clothing, and decorative purposes.
 Used in embroidery cloths, canvas cloths and light-wt window curtains, roller towels.
 Used in combination with plain weave for decorative purposes. i.e. brocades, blouses,
dress wear, table liner.
 Mostly used for towels for good water absorbency power.
 Construction principle of Mock leno:
i. The repeat size is marked out and divided into quarters and a small motif is filled in two
opposite one .A
ii. The motif is completely reversed in the two remaining quarters substituting warp floating
for weft floating and vice versa B
iii. The final weave is produced C by combining A and B.

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 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
Fig: A Fig: B Fig: C

2. Hucka back:
i. Rough surface which is produced by floating threads in groups arranged on a plain weave
basis.
ii. Good moisture absorbency due to long floating.
iii. Fabric is look like skin of snake.
iv. A more balanced Hucka back is produced if the weave repeat size is twice an odd number
i.e. 2 X 5 = 10; repeat size 10 X 10.
v. It is by no means impossible to produce the weave on a repeat which is complete on twice
an even no. of threads.
vi. Smallest or widely used repeat size 10 X 10.
vii. Hucka back are symmetrical about their diagonal axis.
viii. The stiffness of this fabric is good.
ix. 10 X 6 Hucka back is one of the standard weave of this type. It is known as Devon Hucka
back.
Construction principle:
i) The repeat size is marked out and divided into quarters and filled in with plain weave in
two opposite ones as fig A.
ii) The other two quarters are filled in motif which is produced by taking plain weave and
adding some lifts i.e. floats are creates. So that the motif and plain weave bind together
effectively.
iii) The final weave C is Produced by combining A and B.

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 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
Fig: A Fig: B Fig: C

Devon Hucka back:

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

Devon Hucka back

Uses:
 Hard weaving qualities.
 Glass cloth.
 Linen and cotton towels.
 Shirting, dress wear, table linen.
 Good moisture pick up.
  Hand towels.
Difference between Mock leno & Hucka back:
Mock leno. Hucka back.
1. The fabric is as like net / perforated. 1. The fabric look like skin of snake.
2. Repeat size is even number. 2. R.S is twice of odd no.
3. smallest R.S. 6 X 6 . 3. Widely used R.S  10 X 10 and 10 X
6 called Devon hucka back.
4. The small motif is filled in two 4. The two opposite quarters are filled
opposite quarters and the motif is with plain weave and the other
completely reversed in the two opposites quarters are filled in a motif
remaining quarter substituting warp which is produced by taking plain
floating for weft floating. weave and adding some lifts i.e. floats
are created.
5. Matt principle. 5. Plain principle.
6. Less firm. 6. More firm.
3. Honey comb.
a. Ordinary Honey comb.
b. Brighton Honey comb.
Features:
a. Ordinary Honey comb:
i. Surface of produced fabric is rough.
ii. Similar appearance or effect formed in both sides of the fabric.
iii. In repeat size, ends and picks are equal or un equal.
iv. Repeat size is multiple of 2.
v. Smallest repeat size 6 X 4.
vi. One cell in each repeat.
vii. V – draft or pointed draft is found.
viii. Alternate raised and sunk diamond – shaped areas which give the effect of a Honey
comb.
ix. Construction – simple.
b. Brighton Honey comb:
 i) Rough surface.
ii) Similar appearance formed on both side of the fabric.
iii) It is designed to produce more Honey comb cells of varying size.
iv) In repeat, ends and picks are equal.
v) The no. of threads per repeat always should be multiple of four ( 8 X 8, 12 X 12, 16 X
16 ).
vi) Smallest repeat size 8 X 8.
vii) Straight draft is found.
viii) The longest float should always be one less than half the no. of threads in the repeat ( 16
/2 – 1 ).
ix) The construction – more complicated than ordinary Honey comb.
Construction principle:
1. Ordinary Honey comb:
1
i) A z twill started from the bottom left corner is constructed.
x
1
A s twill started one square in or one square down from the top left – hand corner
x
is constructed.
There will be clear intersection of twill lines as at A.
ii) One of the two diamonds produced, a row stitching points is left and then lift the
reminder of the diamond solid as fig – B.

x xx 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
Fig: A Fig: B
Repeat size 8 X 8

2. Brighton Honey comb:

 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
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
Fig: A Fig: B

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 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

Fig : C

1
i) Construct a z twill starting in the bottom left hand corner
x
1 1
and then construct a s twill, starting with the first warp lifts in the squares to
1 x
the right and below the square in the top left hand corner.
Indicate the points on the double row of binding which are immediately adjacent to
those of intersection as in A
ii) Using the point indicated in A as the extreme lift of the longer float, lift the six adjacent
ends as in B. (n/2 – 1 ).
iii) Each of these seven floats now form the centre float of a diamond which can be
completed C.
Uses:
i) Ordinary:
  Hand towel, Glass cloth, Roller towel, Bath matt.
 In similar coarse cotton, it is also used for quilts and soft furnishing.
 In finer qualities for shirts and brocades.
 Cellular blankets.
ii) Brighton:
 Quilts, brocades, hand towels, glass cloths, roller towel, crockery towels etc.
Difference between Ordinary and Brighton Honey comb:
Ordinary Honey comb Brighton Honey comb
1. Warps and wefts are equal or unequal. 1. In repeat, ends and picks are equal.
2. Repeat size is always multiple of 2. 2. The no. of threads per repeat should
always be multiple of 4.
3. Smallest repeat 6 X 4. 3. Smallest repeat 8 X 8.
4. One cell in each repeat. 4. More cells of varying size.
5. V – draft is found. 5. Straight draft is found.
6. Construction is simple. 6. The construction – more complicated
than ordinary Honey comb.
7. Used for hand towel, glass cloth, soft 7. Decorated cloths, brocades, crockery
furnishing, quilt. towels etc.
8. Higher absorbent to Moisture. 8. Less absorbent to Moisture.
9. Longest float can be any no. of ends. 9. Longest float should be less than ½ of
total ends.
4. Distorted thread effect:
Features:
i. The crossing end is made to lie at an angle to the normal direction of the warp and weft
threads.
ii. Initiations of this effect can be produced by other weaves designed to cause certain
selected threads to be distorted.
iii. The letter must float freely on the surface of the fabric. A firm ground weave that is plain
weave helps to develop the effect.
iv. When the fabric is relaxed after weaving, the floating ends are distorted.
 v. The design is always even number.
This effect can be of :
a. Warp distorted thread effect.
b. Weft distorted thread effect.
a. Warp distorted thread effect:

Construction:
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 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 x x x x x x x
x x x x x x x x x x x

Warp distorted thread effect

i) After indicating the threads in the warp and weft direction which is essential for forming
the distortion, all the remaining ends are filled in with plain weave as A.
ii) For warp distortion, the pre selected warp threads of A are lifted except where they cross
the pre selected weft threads and then all the remaining ground ends are lifted over the pre
selected weft threads in one group on the 1st pick and in the other group on 2nd pick as at B.
iii) The completed design C is obtained by combining A & B.

b. Weft distorted thread effect: In case of weft way distorted effect, distorted threads are
taken in warp way. No pick is taken as distorted thread.
 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
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 x x x x x x
Weft distorted thread effect

Uses:
Warp distorted:
 Light weight cotton and spun rayon qualities are used for ornamental dress wear and
shirting.
 Heavy qualities:
Cotton: soft furnishing.
Worsted: Suiting.
Woolen: Coats.
Weft distorted: Used for shirting, decorative purpose, home furnishing, Ladies wear etc.
Crepe / Oatmeal weave:
Features:
i) Any kind of weave which will produce a broken irregular appearance on the face of the
fabric is known as crepe weave.
ii) Rough irregular surface are often produce by using special warp and weft yarns which
have a high twist factor that causes them to crimp or curl when the woven fabric is being
finished. These yarns are known as crepe yarns and generally the fabrics are produced
from them are of plain cloth.
iii) Similar overall effects can be produced by using ordinary yarns in special weaves i.e. crepe
weave.
Four basic Methods of producing crepe weaves:
1. On a sateen base.
2. By reversing.
3. By super imposing.
4. On a plain weave base.
1. On a sateen base
a. Construct a sateen on the same repeat size as at A.
b. Construct a twill and show the starting point of the lift of each end as at A.
c. Using the sateen base as the starting point of each lift of the twill rearrange the twill
weaves on the sateen base.
xx 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
A B C

2. By reversing:
a. Any small motif is made at A (Motif float is not exceed 3).
b. ‘A’ is reversed by turning it over so that the warp lifts of the 4th end become the weft
lifts of the 5th end and similarly the 6th , 7th and 8th ends are the converse of the 3rd , 2nd
and 1st respectively and the design is now 8 X 4 at B.
c. Reverse B by turning it over in the weft direction & the final design C is thus
produced.

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
A B x x x x
x x x x
x x x x
x x x x

3. By super imposing:
a. An 8 ends sateen is constructed at A.
 b. An 4 ends sateen is constructed and make 4 repeats at B.
c. Super impose B on the A to give the final weave C.
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
A B C

4. On a plain weave base:

o o o o x o x o
6 x 6x x x x
5 x o x o o x o o o
4 x 5 x x x x
3 x o o x o o x o o
2 x 4x x x x
1x x o x o o o o o
1 2 3 4 5 6 3 x x x x
o o x o o o x o
2x x x x
x o o o x o o o
1x x x x
1 2 3 4 5 6

a. A sateen is designed on half the no. of ends and picks required in final design as at A.
b. ‘A’ is expanded so that the Sateen base appears on alternative ends and picks only and
1 1 3
this satin base is used as the starting point of each lift of a twill in this case
3 1 2
as at B
c. On the remaining ends, alternative ends of plain weave are inserted as at C.
d. B & C are combined to give the final weave D.
Uses:
 Dress wear: Shirt, pants or coat etc.
 Decorative purposes and jacquard design.
 Saris and Towels and home furnishing.
Crepe yarn: High twisted yarn which is used to produce crepe fabric.
Cord weave: Cord effect can be produced by
 By thick yarn or,
 By cord weave.
 1. Bed ford cord weave.
2. Pique weave.
1. Bed ford cord weave:
Features:
i) Cord effect along warp & rough fabric surface.
ii) Sunken line between two cords in warp.
iii) In a repeat two or more cord produced .
iv) Ends and picks are always even number.
v) Pick number is always 4.
vi) Weft float under cord effect.
vii) Wadded or padded i.e. low quality yarn is used to produce / increase the prominence
of cord effect.

Types of Bed ford Cord:

i) Plain face bed ford cord.
ii) Wadded bed ford cord.
iii) Crepon bed ford cord.
iv) Bed ford cord arranged with alternate picks.
v) Twill face bed ford cord.
i) Plain face bed ford cord:
a. The width of two cords ( in the example, each cord has eight ends ) is indicated and
then the outside ends of each cord known as cutting ends are shown and plain weave is
inserted as at ‘A’.
b. The 1st pair of picks, weave plain in the first cord but float under the warp ends and
thus on the back of the cloth on the 2nd cord at B.
c. The second pair of picks float under the warp ends in the first cord and weave plain in
the second cord as C.
d. The final design ‘D’ is produce by combining, A, B and C.
 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
   
Fig: A Fig: B

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

Fig: C Fig: D

x x x
x x x
x x x
x x x
x x
x x
drafting plan
4 x x x x x x x x x x x
3 x x x x x x x x x x x
2 x x x x x x x x x x x
1 x x x x x x x x x x x

ii) Wadded bed ford cord: The repeat design will contain two more ends than its corresponding
plain faced bed ford cord. These two more ends will be filled by wadded yarns.
a. The width of two cords is indicated and then the outside ends of each cord known
cutting ends are shown and plain weave is inserted and in the middle of two cords
along warp. Two wadded yarns are added as and as A.
b. The 1st pair of picks plain weave in the first cord without wadded yarn but float under
the warp ends in the 2nd cord as fig B.
c. The second pair of picks float under the warp ends in the 1 st cord and weave plain
without wadded yarn in the 2nd cord as C.
d. The final design D is produced by combining A, B, C.
 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
   
Fig: A Fig: B

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

Fig: C Fig: D

Uses:
Medium wt cotton or spun rayon: Ladies dress, sports wear.
Heavier qualities: Soft furnishing, and ornamental trimmings.
Worsted yarn: Trouser.

Wadded thread:
 Less twist.
 Coarser thread.
 Very cheap.
 Lowest quality thread.

Purpose of using wadded thread:

 To produce the prominence of cord effect
iii) Crepon bed ford cord.
iv) Bed ford cord arranged with alternate picks.
v) Twill face bed ford cord.
2. Pique weave:
Features:
i) The cords run across the fabric.
ii) Two sets warp and one set weft yarns are needed.
iii) One set of two sets warp yarn called stitching threads. The stitching threads take part
in interlacement in regular interval.
 iv) Wadded yarns are used in weft way.
v) One cord per repeat.
vi) Normally divided draft used.
vii) Smallest repeat size 6 X 8.
viii) The no. of warp ends in a repeat is always multiple of 3.

Types of pique:
i) Ordinary weft structure / Loose back without wadding pique / plain pique structure.
ii) Weft wadded pique / Loose back wadded.
iii) Waved pique.
iv) Fast back pique.

i) Ordinary weft structure / Loose back without wadding pique / plain pique
structure:
a. The order of warp thread arrangements are indicated which is always are ground,
one stitching end and are ground end, then fill in plain weave on the ground ends
as in B.
b. The stitching warp is lifted over the required number of picks as determined by
the requirements of the final fabric appearance as B.
c. The final weave, C is produced by combining B and C.
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

Fig: A Fig: B Fig: C

Uses: Mainly for trimmings and other ornamental uses.

ii) Weft wadded pique / Loose back wadded.
 x x x x
x x x x
x x
x x
x x
x x x x w
x x x x w
x x
x x
x x

Loose back pique.

iii) Waved pique.

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

Waved pique.

iv) Fast back pique.

x x x x
x x x x
x x
x x
x x
x x x x x w
x x x x x w
x x
x x
x x

Fast back pique.

Difference between Bed ford cord & Pique.

Bed ford cord Pique.
1. Cords runs in warp. 1. Cords run in the weft direction.
2. Two or more cords per repeat. 2. One cord per repeat.
3. the no. of picks per repeat is always 4. 3. No hard fast rule regarding this.
4. Wadded yarns are used in warp way. 4. Wadded yarns are used in weft way.
5. Sunken line in vertical direction. 5. Sunken line in horizontal direction.
6. Two sets of yarn is used. 6. 3 sets of yarn.
7. No stitching ends are used. 7. Stitching ends are used.
8. Grouped draft. 8. Divided draft.
9. In repeat there remains some cutting 9. No cutting ends are selected.
ends.
 Chapter 6

Colour and weave effect

Colour and weave effect: Simple weaves, such as plain, twill and matt may be used in
conjunction with two colour warp and weft patterns to produce small geometrical designs in
two colour. They are very frequently used in woolen and worsted fabrics for costumes, sports,
jackets and ladies coats.
Types of colour and weave effects:
1. Simple warping and simple wefting.
2. Compound warping and simple wefting.
3. Compound warping and compound wefting.
4. Simple warping and compound wefting.

Order of colouring:/ Arrangement of threads:

1. Simple order of colouring:
Regular: Both warp and weft colouring 2D : 2L; 3D : 3L : 3M etc.
Irregular: 3D : 1L ; 4D : 2L : 1M etc.
4D : 4L for warping pig and 2D : 2L for weft pig.
2. Compound order of colouring:
4D : 4L and 2D : 2L for warping &
3D : 3L and 1D : 1L for wefting.

Pattern table:
Types of weave 
Simple Stripe Check
Colour combination /
weave. weave. weave.
order of colouring.

1. Simple warping Simple Stripe Check

and simple wefting pattern. pattern. pattern.

2. Compound Stripe Stripe Check

 warping and pattern. pattern. pattern.
simple wefting
3. Compound Cross over Check Check
warping and pattern. pattern. pattern.
compound
wefting.

4. Simple warping Check Check Check

and compound pattern. pattern. pattern.
wefting

Designs produced by simple colour and weave effect:

Weave Colouring

1. Pin stripe / Hair line  2 2:2

z
2
2. Crows foot  1 2 2:2 or 4:4
or 2
1 2
3. Dog’s tooth / Hounds 2 4:4
z
tooth 2

4. Shappards check  2 6:6

z
2
5. Birds eye  Motif (plain/twill) 2:2

6. Stepped twill  3 2:2

z
3
7. All over effects  4 6:6
z
4
x x
x x

x x w w x x
x x w
x x b w x x
x x b
w
b x x
w b x x
b
b b b w w
b b w w b b w w crow's foot
Pin stripe
 w x x x x x x
w x x x x x x
w x x x x x x
w x x x x x x
w x x x x w x x x x x x
w x x x x w x x x x x x
w x x x x b x x x x x x
w x x x x b x x x x x x
b x x x x b x x x x x x
b x x x x b x x x x x x
b x x x x b x x x x x x
b x x x b x x x x x x
b b b b w w w w b b b b b b w w w w w w
Dog's tooth Shepered check

w x x x x x x
w x x x x x x
b x x x x x x
w x x x x b x x x x x x
b x x x x w x x x x x x
b x x x x w x x x x x x
w x x x x b x x x x x x
w x x x x b x x x x x x
b x x x x w x x x x x x
b x x x x w x x x x x x
b b w w b b w w b x x x x x x
Bird's eye b x x x x x x
b b w w b b w w b b w w
Stepped twill

w x x x x x x x x
w x x x x x x x
w x x x x x x
w x x x x x
w x x x x
w x x x x x
b x x x x x x
b x x x x x x x
b x x x x x x x x
b x x x x x x x
b x x x x x x
b x x x x x
b b b b b b w w w w w w
All over effects

Stripe & check: Stripe & check designs result from the combination of two, three or more
weaves in equal or unequal spaces. Weaves that are suitable for combining in stripe form can
also be combined in check form.
The introduction of differently coloured threads may modify the appear of both stripe and
check weave comes to a considerable extent

Classification:
 Designs in some weave is used through out but turned in opposite diamond
 Designs in which combinations of weaves are derived from the same base weave.
 Combination of warp and weft face weaves.
 Combination of different weaves.
Factors considered for check and stripe design:
1. Forms of stripe and check.
2. Selection of weaves.
3. Joining of weaves.
4. Relative firmness of the weaves.
Figuring with extra threads:
Extra thread: For producing various types of design on fabric, an extra one set warp or weft
threads used.
If extra warp or weft threads are drawn out, fabric design not present but the ground structure
would not be destroyed.

Extra threads are lusturious, it effects on ground fabric, figuring can be done by using extra
thread in either warp way or weft way or both way.
The purpose of using extra threads:
 To use bright colors of sharp contrast with ground.
 Pleasing colour combination may be obtained.
 To create elaborate design on the ground fabric.
Methods of using extra threads:
1. Extra warp design.
2. Extra weft design.
3. Both extra warp and weft design.

1. Extra warp design:

Features:
 Extra thread used as warp thread which produce design.
 Two set warp thread and one set weft thread and in two set warp thread – one set
called extra warp and other set called ground warp.
 For two set thread required of two separate beam and divided draft used during
weaving.
 The ground warp are passed through front heald shaft and the extra warp are passed
through the back heald shafts.
 The ground fabric is basically of plain weave.
Construction:
 A motif or spot is drawn on graph paper.
 Repeat size is selected and for 1:1ground warp and extra warp, warp in design repeat
is twice of warp in motif and weft in design is equal to weft in repeat.
 In graph paper, ground warp and extra warp are pointed.
 The ground warp are applied plain weave and extra warps will be applied the of
motif in extend ed form.
 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
1 2 3 4 5 6 7 8
motif

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 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
1 2 3 4 5 6 7 8

Advantages:
i) Productivity of loom is greater.
ii) No reed of using box motion or shuttle change mechanism.
iii) There is theoretically no limit to the no. of colours.
iv) In extra ends, either spotted or stripe patterns can be formed.
Disadvantages:
i) Two or more warp beams are required.
ii) In case of dobby wvg, drafting becomes difficult.
iii) The tension on extra warp is more. As a result, the yarns can not be lusturous and
soft.
iv) More difficult to cut away the extra ends than picks
Uses:
 Used in producing various fancy designs.
 Used for furnishing fabrics in case of coarser fabrics. And for making dress wear
in finer fabrics.
 Used for both ends and ground of sarees.
 2. Extra weft design:
Features:
i) Extra thread used as weft as weft thread which produce design.
ii) Two set weft thread and one set warp thread. And In two set weft thread, one set
called ground weft and other set called extra weft.
iii) One warp beam required for one set warp yarn.
iv) Normal drafting is used.

Construction:
 A motif or spot is drawn on graph paper.
 Repeat size is selected and for 1:1ground warp and extra warp, weft in design repeat
is twice of weft in motif and warp in design is equal to warp in repeat.
 In graph paper, ground weft and extra weft are pointed.
 The ground weft are applied plain weave and extra weft will be applied the of motif
in extended form.
8 x x 8 x x
7 x x x x x x x
6 x x x x x 7 x x x
5 x x x x x x x
4 x x 6 x x x x x
3x x x x x x x
2x x x x x 5 x x x
1x x x x x x x
4 x x
x x x x
3x x x
x x x x
2x x x x x
x x x x
x x x
x x x x

Advantages:
i) No extra beam is required.
ii) As the tension on weft yarn is less, required of lusturious and fine weft yarns
iii) In case of dobby wvg, fabric can be easily produced by using normal drafting.
iv) Removing of extra picks is easier than that of extra ends.
v) The presence of appearance of thread in fabric is high due to more shrinkage.
Disadvantages:
 i) Box motion and shuttle changing mechanism is required.
ii) The more number of coloured thread is not used due to using of box motion.
iii) The speed of loom is lower and production capability is lower.
Difference between extra warp and extra weft design:
Extra warp design. Extra weft design.
1. Extra warp thread used as warp thread. 1. Extra weft used as weft thread.
2. Two sets of warp thread and one set of 2. Two sets of weft thread and one set of
weft thread used. warp thread used.

3. The loom speed is high and production 3. The loom speed is low and production is
is high due to one set of weft thread. low due to 2 set weft thread.

4. Two set warp beamed is required. 4. One set warp beam is required.
5. Incase of dobby wvg, drafting is 5. In Dobby wvg, fabric can be produced
complex. by normal drafting.
6. Tension on extra warp is more, can not 6. Tension on weft is less soft and
use of lusturous and soft thread. lusturous thread used.
7. The appearance of thread in fabric is 7. Comparatively high.
comparatively less due to less shrinkage
of extra warp.

8. No need of box motion. 8. Box motion.

9. No limitation of use of more no. of 9. Not possible of using large no. of
coloured threads. coloured threads.
10. Removing of extra warps is complex / 10. Removing of extra weft is easier and
difficult and expensive. cheap.

11. Extra warp fabric stripe pattern 11. Extra weft fabric cross over pattern
produce. produce.

Fabric weight calculation:

EPI X PPI
X Fabric width.
warp count X weft count
 warp count X weft count
or X Fabric width.
EPI X PPI
10 X 8 70 X 50
Problem 01: Fabric specification: X 60" or X 60" calculate the fabric
70 X 50 10 X 8
weight of 1000m.
Soln: EPI = 70 and warp count = 10
Total no. of warp = 70 X 60 = 4200
Length of each end = 1000m + 1000 X 3% [3% =crimp ]
= 1030m.
Total length of warp = 4200 X 1030
= 4326000m.
LXw
Ne =
WXl
4326000 X .4536
10 =
W 840 X 0.91
4326000 X 0.4536
W=
10 X 840 X 0.91
W = 256.71 kg.
PPI = 50 and weft count =8.
Total no. of weft = 50 X 39.37 X 1000
Length of each weft = 60 + 60 X 5% [crimp = 5 % ]
= 63" = 1.6m
Total length of weft = 50 X 39.37 X 1000 X 1.6m
LXw
Ne =
WXl
50 X 39.37 X 1000 X 1.6
8=
8 X 840 X 0.91
W = 233.62 kg.
Total Fabric wt = 256.7 + 233.62
=490.33kg.
R in Yd:
Total no. of warp = 70 X 36
Length of each warp = 1 + 1 X 0.03 = 1.03 yds.
Total length of warp = 70 X 36 X 1.03
70 X 36 X 1.03 X 16
W1 = [16 oz = 1lb]
10 X 840
50 X 36 X 1.03 X 16
For weft, W2 =
8 X 840
70 X 36 X 1.03 X 16 50 X 36 X 1.03 X 16
W = W1 +W2 = +
10 X 840 8 X 840

36 X 16  EPI X 1.03 PPI X 1.05 

= 
840  warp count weft count 

 EPI X 1.03 PPI X 1.05 

= 0.686   oz /yd2
 warp count weft count 
For GSM,

39.37 X 453.6  EPI X 1.03 PPI X 1.05 

W=    gm / m 2
840 X 0.91  warp count weft count 
9 Ne  9 Ne
Problem 2: Calculate the weight in Kg following fabric of 1000 yds length 1.43m
75  60
Warp weight:
EPI= 75
Total No. of warp = 75 X 1.43 X 39.37
=4222.43
4223
Each warp length = 1000 yds
=1000+ 1000 X 2%
=1020 yds.
Total length of warp = 1020 X 4223
=4307460 yds
Lw
Ne 
W l
 L w
W1 
Ne  l
4307460  0.4536

9  840
 258.44kg.
weft weight
PPI=60
Total no. of weft = 60 X 1000 X 36
=2160000.
Each weft length = 1.43m
=1.43+1.43 X 5%
=1.43+0.0715
=1.5015 m
Total length of weft = 2160000 X 1.5015
=3243240 m
L w
 Ne 
l W
L w
W2 
l  Ne
3243240  0.4536

7840  0.914
 273.73kg .
Fabric weight = W1 + W2
=258.44+273.73
=532.17 kg Ans.
 Chapter 7

Basic weft knitted structure

1. Plain structure
2. Rib structure
3 .Interlock structure
4. Purl structure
Plain structure: Features:
i) Produced by single set of needle.
ii) Its technical face is smooth and V shape will shown in the Wales.
iii) Its technical back is rough and top arc and bottom arc visible.
iv) Extensibility to the length wise normal 10 – 20 % (moderate) and width wise  high 30
– 50 % i.e. 40 % potential recovery in width after stretching.
v) High covering power.
vi) Tendency of curling yarn.
vii) Plain can be un roved from the coarse knitted last by pulling the needle loops through
from the technical back or from the coarse knitted first by pulling the sinker loops
through from the technical face side.
viii) Un roving can be prevented by binding off.
ix) It has laddering problem.
x) Plain fabric is very warmer than woven fabric.
xi) Plain is the simplest and most economical knitted structure.
xii) It produces unbalanced fabrics.
Looping diagram:
Chain notation:

Graphical representation:
x x x o o o
x x x o o o

technical technical
face back

Features of Rib structure :

i) It is normally knitted with two sets of needles.
ii) Vertical cord appearance.
iii) 1 X 1 rib has the appearance of the technical face of plain fabric.
iv) The technical face and back side of the Rib structure are as the same.
v) Extensibility in width wise very high  60 – 100% but length wise  10 – 20 % .
vi) Relaxed 1 X 1 rib theoretical twice the thick ness and half the width of an equivalent
plain fabric.
vii) No curling tendency.
viii) It can be un roved from the end knitted last by drawing the free loop heads through to
the back of each stitch.
ix) Rib cannot be un roved from the end knitted first.
x) No laddering problem.
xi) More expensive to produce.
xii) Rib structure are more elastic and retain warmth better than plain fabric.
xiii) It required finer yarn than gauge plain m/c.
xiv) Heavier structure than plan fabric.

Looping diagram: Chain notation:

 x x x x o o o o
x x x x o o o o
x x x x o o o o
x x x x o o o o

Graphical representation: Face Back

Uses: Rib is particularly suitable for the extremities of articles such as tops of sock, cuffs,
sleeves, rib borders of gts, and stolling and strapping for cardigans. It is knitted at the tops at
the tops of plain knit socks and gloves.
Features of Interlock:
i) Interlock has the technical face of plain fabric on both side.
ii) Reverse loop is not seen.
iii) Interlock relaxes by about 30 – 40 % or more compared with its knitted width.
iv) Extensibility is lower than plain.
v) Produce two half gauge 1 X 1 courses.
vi) Produced fabric is thicker, heavier and narrower than rib.
vii) Requires a finer, better and more expensive yarn.
viii) Both horizontal and vertical stripes can be produced.
ix) Productivity is half compared to rib.
x) No curling tendency.
xi) It lies flat without curl.
xii) It can be un roved from the end point.
Chain notation:

Uses: Under garments clothing’s.

How can identify single, double & interlock :
single double Interlock
1. Technical face is smooth 1. Technical face side and 1. It has technical face of
and V shape. Technical back side is same. Vertical plain fabric on both sides.
back is rough and top and cord appearance. It has
bottom arc visible. Both the appearance of
side of fabric is different technical face of plain
fabric.

2. Extensibility is 30 – 50 %. 2. Extensibility is double of 2. Lower than plain.

plain.

3. Less thick, heavier. 3. Twice thickness and ½ the 3. Thicker, heavier,

width of plain fabric. narrower, than rib.

Features of Purl structures:

 i) Similar appearance to pearl drop lets.
ii) Purl structures have one or more water which contain both face and reverse loops.
iii) Both side needle and sinker loops are prominent.
iv) “Links – links” being generally applied to purl fabrics and m/cs.
v) The simplest purl is 1 X 1.
vi) Extensibility is moderate in width but very high in lengthwise.
vii) Purl structure is very much thicker than plain.
viii) It can be un roved both from the start and end point.
ix) No. curling tendency.
Uses: It is particularly suitable for baby wear where width and stretch is required and also for
adult knit wear.
Looping diagram: Chain notation:

Graphical representation:
o o o
x x x
o o o

Difference between single jersey and rib:

Single jersey / Plain. Rib structure.

1. Technical face is smooth and V – shape 1. Technical face of plain fabric is rough.
is found and technical back is rough and
top and bottom arc found.

2. Technical face and back is of different. 2. Technical face and back is of same.
3. Extensibility is of 10 – 20 % length and 3. Length 10 – 20 % but 60 – 100 % width
30 – 50 % width. i.e. twice of plain.
 4. Less thick and heavier. 4. Twice heavier and thicker than plain.
5. All are face other wise all are back loop. 5. One face loop and one back loop.
6. Graphical representation. 6. Graphical representation.
7. Chain notation. 7.
8. Laddering problem. 8.
9. Has curling tendency. 9.
10. It can be un roved by last and 1st. 10. By end point.

Difference between rib and purl:

Rib Purl
1. Rib has vertical cord appearance. 1. Not vertical cord appearance but purl
droplet appearance.
2. Wales of face stitches and wales back 2. It has one or more Wales which contain
stitches are knitted at each side of fabric. both face reverse loops.
3. It can be un roved only from end / last 3. It can be un roved both from th start and
point. end point.
4. Looping diagram. 4. Looping diagram.
5. Graphical. 5. Graphical.
6. Chain notation. 6. Chain notation.

Difference between interlock and purl:

Interlock. Purl.

1. Interlock has technical face of plain 1. It has the appearance of pearl droplets.
fabric on both sides.

2. Reverse loops are not seen. 2. Purl has one or more wales which
contains both face and reverse loops.

3. Extensibility is very lower. 3. Extensibility is very high in lengthwise.

4. Thicker, heavier, narrower than rib. 4. Very much thicker than plain.
5. It can be un roved form the end point 5. It can be un roved both start and end
 point.

Tuck loop Held loop

1. Heald loop is an old loop that is 1. Each new loop becomes a tuck loop
retained by needle. and not inter meshed through the old
loop.
2. It is not released until the new yarn 2. It is not intermeshed through the old
feed. loop.
Looping diagram of Tuck & Miss stitch:

Tuck stitch: A tuck stitch is composed of a held loop or one or more tuck loops and knitted
loops. It is produced when a needle ,holding its loop, also receives a new loop which becomes
a tuck loop because it is not intermeshed through the old loop.
Miss /float stitch: A float stitch is composed of a held loop, one or more float loops and
knitted loops. It produces when a needle ,holding its old loop, fails to receive the new yarn
which raised as a float loop to the back of the needle.
Drop / press – off stitch: A drop stitch fault will result if a needle releases its old loop without
receiving a new one. This technique is used to achieve a press – off on all needles at the end of a
garment – length sequence . A drop stitch is used very occasionally in flat knitting to cause
certain loops in a plain structure. To be much larger than the next.
 Chapter 8

Stitched double cloth

Stitched double cloth: Double cloths are fabrics in which there are at least two series of warp
and weft threads each of which is engaged primarily in producing its own layer of cloth, thus
forming separate face cloth and separate back cloth. Then the two layers may be connected
together by stitching and thus appear to form a complex single structure.
In this cloth, there are two series of warp of them, one set called face warp and other set called
back warp. In the same way, there are two series of weft, one set called face weft and other set
called back weft; one set called weft and other set called back weft.
Classification of double cloth: On the basis of construction: -
1. Self stitched double cloth.
2. Centre stitched double cloth.
3. Double cloth stitched by thread interchange.
4. Double cloth stitched by cloth interchange.
5. Alternate single ply and double ply construction.
1. Self stitched double cloth:

a. These fabrics contain only two sets of warp and two sets of weft yarns.
b. The stitching between face and cloth is accompanied by their own thread; i.e. no
extra thread used.
c. The stitching is done in one of the following three ways:
i. Face warp passes under back weft.
ii. Back warp passes over face weft.
iii. Combination of both.
2. Centre stitched double cloth:
 a. In this fabric, a third set of thread is used in warp or in weft direction. This separate
set of yarn is used for stitching.
b. This third set of yarn is called middle thread, centre thread, or stitched thread.
c. It takes position between the face and back cloth and imparts stitching step wise at
regular interval.
d. Strength of cloth depends on the density of stitched thread.
3. Double cloth stitched by thread interchange:

a. Not used of third stitching thread.

b. Stitching is performed by trans formation / interchange of thread.
c. In this cloth sometime one thread acts as face thread and some time acts as back
thread. For this in the fabric parts, face warp becomes interlacement back weft and
in some portion back warp becomes interlacement of face weft.
d. This process goes on continuously and stitching is performed in the point of
interchange position of threads.
4. Double cloth stitched by cloth interchange:
 a. Stitching is occurred by the interchanging of face cloth and back cloth.
b. Threads some times acts as a face warp and face weft.
c. This process goes on continuously and the degree of stiffness of fabric depends on
the frequency or order of cloth interchange i.e. no. of stitching point.
d. Stitching is performed in the cloth interchange point.
5. Alternate single ply and double ply construction:

a. In such fabric single ply cloth is formed by stitching of two ply in some areas, and
open double cloth like pocket is formed due to absence of stitching of two plies in
some areas of fabric.
b. In this way, some single ply and some double ply forms special type of double
cloth.

Points to be considered before going to construction of a cloth:

1. Relative properties and thickness of the face and back threads.
2. Selection of the face and back weaves.
3. Tying or stitching.
 Stitching from face to back.
 Stitching from back to face.
 Combination stitching.
 Stitching with and extra warp.
 Stitching with an extra weft.
 4. The construction of the point paper design.
5. The beaming drafting, the construction of the pegging or lifting plans, cross – section and
longitudinal section.
Uses of double stitched cloth:
 Decorative fabric such as sofa cove, furnishing cloth, curtain etc.
 Used in winter wear, blankets.
 Waist belt of army, various industrial fabric.
Basic principle of tubular cloth: / Double width fabric: / Seamless bag: A tubular fabric
consists of two district face and back fabrics in which selvedges are joined, because the shuttle
flies in the opposite direction inserting the back pick. When the pick is inserted into the face
fabric, all the threads of the back warp should be lowered and when the pick is inserted into the
back fabric, all the face warp threads should be raised.
While producing seam less bags, the shuttle inserts two face picks passing from left to right and
from right to left. Then two back picks are inserted. As a result only the left selvedges of the face
and back fabrics are joined forming the bottom of the bag. The sides of the bag are formed by
making a short length of the double fabric and then again a whole width of the bag.
Uses of tubular fabrics:
For making fire houses, seamless bag and socks,
Technical drying cloths, decorative and other cloth.

Multiply fabric: Multiply fabrics consists of 3 or more layers of fabric, woven one above the
other and stitched together of layers (3– 8).

1 2x x x x
1 1x x x
1 0x
9 x
8x x x x
7x x x x x
6x x x x x
5x x x
4x x
3 x
2x x x
1x x x x x

The name of three layers:

  Face warp and face weft.
 Centre warp and centre weft.
 Back warp and back weft.
Stitching systems of multiply fabric:
Two types of stitches:
1. Self stitching:
a. Stitching from face to back.
b. Stitching from back to face.
c. Combined stitching.
2. Centre stitching:
a. Stitching with a extra warp thread.
b. Stitching with a extra weft thread.
x x x x b o o x o o x o o x o o x
x x x x f x x  x x
x x x x b o x o o x o o x o o x o
x x x x f x x  x x
x x x x b o o x o o x o o x o o x
x x x x f x x  x x
x x x x b o x o o x o o x o o x o
x x x x f x x  x x
face cloth b o o x o o x o o x o o x
x x x x f x x  x x
x x x x b o x o o x o o x o o x o
x x x x f x  x x x
x x x x b o o x o o x o o x o o x
x x x x f x x x x 
x x x x b o x o o x o o x o o x o
x x x x f x x x  x
x x x x f b f b f b f b f b f b f b f b
back cloth Self stictched double cloth.(back to face)

x Face warp up over the face weft/back warp up over the back weft.
o Face warp up over the back weft.
 Back warp up over the face weft(back to face self stitch)
weft up over the warp
 x x x x b o o x o o x o o x  o x
x x x x f x x x x
x x x x b o x o o x o o x  o x o
x x x x f x x x x
x x x x b o o x o o x  o x o o x
x x x x f x x x x
x x x x b o x o o x  o x o o x o
x x x x f x x x x
face cloth b o o x  o x o o x o o x
x x x x f x x x x
x x x x b o x  o x o o x o o x o
x x x x f x x x x
x x x x b  o x o o x o o x o o x
x x x x f x x x x
x x x x b o x o o x o o x o o x 
x x x x f x x x x
x x x x f b f b f b f b f b f b f b f b
back cloth Self stictched double cloth.(face to back)

x Face warp up over the face weft/back warp up over the back weft.
o Face warp up over the back weft.
 Back weft up over the face warp ( face to back self stitch)
weft up over the warp

Function of wadded thread in double cloth:

 To increase the wt, thickness and flexibility of fabric.
 To make the fabric soft and comfortable.
 To obtain fine face appearance.
 To increase strength of a double cloth.
 To obtain increased fineness.
 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
face cloth x x x x
x x x x
x x x x
back cloth

x Face warp up over the face weft/back warp up over the back weft.
o Face warp up over the back weft.
 Back warp up over the face weft(back to face self stitch)
weft up over the warp

f x x  x x
b o o o o x o o o o x o o o o x o o o o x
f x x  x x
b o o x o o o o x o o o o x o o o o x o o
f x x  x x
b o o o o x o o o o x o o o o x o o o o x
f x x  x x
b o o x o o o o x o o o o x o o
o o x o o
f x  x x x
b o o o o x o
o o o x o o o o x o o o o x
f x x x x 
b o o x o o o
o x o o o o x o o o o x o o
f x x x  x
f w b f w b f w b f w b f w b f w b f w b f w b

Wadded double cloth

G.S.M Calculation:
WPI = 30
CPI = 34
Loop length = 2.5 mm.
Ne = 20
Wales /meter = 30 X 39.37
Coarse /meter = 34 X 39.37
LXw
Ne =
WXl
LXw
W=
Ne X l
30 X 39.37 X 34 X 39.37 X 2.5 X 453.6
W=
1000 X 20 X 840 X 0.91
W = 117.27 gm/m2
1. 1 X 1 weft lock knit:

 Unbalanced structure formed by knit loops and miss loops.

 One courses contain only knit loops and next course contain alternate knit and miss
loops and next coarse contain similarly all knit loops and the next course contain
alternative knit and miss loops.
2. 2 X 1 weft lock knit:

 unbalanced structure formed by knit loops and miss loops.

 Two courses contain only knit loops and next one courses contain alternate knit and
miss loops and similarly so on.

3. Cross miss design:

 This design consists of miss and knit loops.

 Each course is alternate knit loops and miss loops.
 Equivalent to single pique.
 Narrower in width and lighter in weight.
4. Cross tuck design:

 The design repeat consists of at least two coursed and each courses is alternate knit
loops and and tuck loops.
 This design consists of tuck loops and knit loops.

5. Double cross tuck / Polo pique:

 The design repeat consist of 4 courses.

 The first ( pair ) two courses the same i.e. one course consists of alternate tuck loops
and miss loops and 2nd course the same to 1st & the next pairs of courses consists of
alternate knit loops and tuck loops to 1st pair of courses.
6. Single Lacoste:

 This Structure consists of knit loops and tuck loops.

 In each odd no. course, alternate knit loops and tuck loops present and in each even
no. courses all knit loops.
i.e. One course contain only knit loops and next course contain alternate knit loops
and the next course contain alternate knit and miss loops.
7. Double Lacoste:

 This structure consists of knit loops and tuck loops.

 One course contain only knit loops and next two courses contain alternate knit loops
and next one course again contain all knit loops and so on.
8. cardigan stitches /fabric:

i) Half cardigan design:

a. Half cardigan is produced from dial cylinder m/c.
b. In 1st courses, knit loops produced in dial and cylinder & in 2nd course, knit loops
produced in cylinder and tuck loops produced in dial.
c. Unbalanced structure.
d. Produced on the basis of 1 X 1 Rib.
e. Different appearance on each opposite side / both side.

ii) Full cardigan design:

a. Consists of knit loop and tuck loop.
b. In 1st course, knit loops in dial and tuck loops in cylinder & in 2nd course tuck
loops in dial and knit loops in cylinder.
c. Cardigan repeat produced on the basis of rib gating.
d. Same appearance on both sides of fabric.
e. Balanced structure.