Fabric structure and design plain weave and derivatives

Fabric structure 1
 CLASSIFICATION OF TEXTILE FABRICS;
 CLASSIFICATION OF WOVEN FABRICS- SIMPLE, COMPOUND AND COMPLEX;
 FUNDAMENTAL ASPECTS OF WOVEN FABRICS - COUNT OF GRAPH PAPER, FACTORS
INFLUENCING THE SELECTION OF APPROPRIATE COUNT OF GRAPH PAPER,
GRAPHICAL REPRESENTATION OF STRUCTURE OF A WOVEN FABRIC- WARP WAY
AND WEFT WAY;
 STUDY OF PLAIN WEAVE, ORNAMENTATION OF PLAIN WEAVES;
 STUDY OF DERIVATIVE STRUCTURES OF PLAIN WEAVE – REGULAR AND IRREGULAR
WARP RIB, WEFT RIB, HOPSACK WEAVES.
 CATCH-CORD TECHNIQUE FOR WEAVING WARP RIB AND HOP-SACK; DESIGN, DRAFT,
DENTING, PEG/TIE-UP PLAN AND THREAD INTERLACING DIAGRAM OF ABOVE
WEAVES.
15-06-2021
R.PARANTHAMAN,
ASST.PROF.,
IIHT,
SALEM

Introduction
 Woven fabrics are composed of longitudinal or warp threads and transverse or weft threads, interlaced
with one another according to the class of structure and form of design that are desired. The terms “Chain or
Twist are applied to the warp, and the warp threads are known individually as, “Ends”, while the terms “picks
and filling” are applied to the weft threads. In the following the term threads is used in referring to warp and
weft collectively, but in order to distinguish clearly one series from the other the warp threads are mostly
described as, “ends” and the weft threads as, “picks”.
 Fabrics are classified into woven, knitted and non – woven. Woven fabrics are classified into simple,
compound and complex basing on its woven structures. It is dealt with the fundamental aspects of woven
fabrics, formation of fabric in the process of weaving. Warp ends and weft picks interlace with each other in
the process of weaving is graphically represented for easy understanding.
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R.PARANTHAMAN, ASST.PROF., IIHT, SALEM

CLASSIFICATION OF FABRICS
 Woven Fabrics – Woven fabrics are produced on weaving machine which is called as loom, may be handloom or
power loom. Woven fabric is the result of warp and weft interlacement. Woven fabrics are used as dress material and
home Furnishing.
 Knitted Fabrics – Knitted fabrics are produced on circular knitted machine. There is no warp and weft weaving
process on this knitting machine. But fabrics are manufactured with one series of threads. Knitted fabrics are used as
casual dress material and under garments.
 Non – Woven fabrics – These are manufactured by compressing the fibres and used for Industrial purpose like
laying roads, Helipads, etc. and penetrating into House hold purpose like door mats, cleaning brush, etc.
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CLASSIFICATION OF FABRICS
 Simple Fabrics – Warp and weft interlace at 90° and remain at
its original position.Examples are basic weaves like plain,
twill, sateen and its derivatives.
 Compound Fabrics – One series of either warp or weft
rise from the foundation of fabric to form piles.
Examples are Terry, Velvet and Velveteen. And also
multi layer fabrics like double cloth & triple cloth
 Complex Fabrics – Some threads inter weave on left and right to
adjacent threads. Examples are Gauze and Leno.
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Fundamental aspects of woven fabrics:
Fundamental aspects of woven fabrics are its appearance, feel, handle, drape,
weight and strength. Fabric structure subject refers to mostly woven fabrics as per
the syllabus. Woven fabrics are composed of two series of threads namely,
longitudinal and transverse threads. Longitudinal threads are in vertical axis and
transverse threads are in horizontal axis. A sheet of longitudinal threads are called
as, “Warp“ and one thread of warp is called as, “End“. All transverse threads in a
fabric are called as, “Weft” and one thread of weft is called as, “Pick”. Warp is
also called as, “twist or chain” and weft is called as, “filling”. Warp and weft
threads interlace with each other as per the design.
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Graphical representation of Structure of a woven fabric
 Woven fabrics are composed of warp and weft. Ends in warp and
picks in weft interlace with each other. Graphical representation of an
end and pick is illustrated.
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Warp direction Weft direction Warp up Weft up

Creation of draft, peg plan and tie – up from the weave repeat
 Design - Design in textile language will have a definite shape, form and
character. A design will have its shape on number of ends and picks, which
interlace with each other. Mark on design paper indicates end up and blank end
down.
 Draft - A draft indicates the number of healds used to produce a given design
and the order in which the warp ends are threaded through the mail eyes of the
healds. Draft is derived from the given design as differently interlacing ends in
its order.
 Peg plan - Lifting plan (Weaving or pegging plan) defines the selection of
healds to be raised or lowered on each successive insertion of the pick of weft.
 Tie up - Tie – up is the process of connections between heald shafts and treadles
with the aid of lams and “ V “ ropes. Number of heald shafts are 4 which are in
draft, where as treadles are to be decided from peg plan or lifting plan. To
decide number of treadles, read interlacement of all picks in peg plan and allot
Numbers to each differently interlacing pick in its order
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Tie up

Types of drafts
 The various drafts are classified as follows :
(i) Straight draft
(ii) Pointed draft
(iii) Skip and sateen draft
(iv) Broken draft
(v) Divided draft
(vi) Grouped draft
(vii) Curved draft
(viii) Combination draft
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Straight draft
 This system is particularly useful in weaving very densely set fabrics where normally a
small number of healds is required. In order that the mails will not be too crowded on the
shafts and to reduce friction and rubbing between the ends it is customary to use more
healds than the minimum necessary for the weave.
 This is the most commonly used draft. It is the simplest of all the types of draft plans. In
this kind of draft the drafting order progresses successively from first to the last heald
frame. Thus the first warp end of a weave is drawn through the first heald shaft, the second
warp through the second heald frame and so on. One important feature of the straight draft
that distinguishes it from other types of draft plans is that the peg or lifting plan is same as
the design.
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Pointed draft
 Point drafts are used for weaves which are symmetrical about the centre, and they are
frequently employed to produce waved or diamond effects. The main advantage of this system
is that it allows the production of quite large effects economically which if attempted on the
straight drafts would require almost twice the number of healds.
 The method used to construct these drafts and it will be seen that to achieve a well defined
point in the design the ends are drawn in straight order starting with heald 1 and finishing with
the last heald in the number employed, whereupon the order of drawing-in of the consecutive
ends is reversed. The first and the last healds carry only one end each, whilst all the healds in
the middle carry two ends each per repeat of the draft. As a result, using this system of drafting
the number of ends per repeat of the design is: 2 x (No. of healds) less 2.
 Further extension of design size is possible with special adaptations of the point draft and
several examples of this are given in chapters devoted to waved twills and diamonds
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Design
Draft
Peg plan

Skip draft
 The skip draft is suitable for weaving fabrics having heavy warp
thread density. In this kind of draft plan the number of heald frames
may be twice or more than the minimum required for a weave. The
purpose of using more heald frames than the minimum recommended
is only to distribute the warp threads more uniformly so as to prevent
abrasion of the threads due to overcrowding.
 The heald frames are divided into two groups. All even numbered
warp threads are drawn through the first group of heald frames and all
odd numbered warp ends are drawn through the second group of
heald frames. The sateen draft serves the same purpose as the skip
draft.
 A skip draft is normally employed for weaves such as plain and twill
upto a repeat of 4. Whereas the sateen draft is used for weaves having
repeat size of more than 5.
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Sateen drafts:
 Sateen drafts: The purpose of sateen draft is similar to
skip draft in that each is used to reduce friction between
adjacent warp ends and to alleviate the overcrowding of
the mails. In sateen drafts, however, this result is not
achieved by duplication of the healds but by staggering
the end placing.
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Broken draft
 A broken draft almost resembles the
pointed draft. However the pointed
effect is broken. This type of draft is
suitable for weaves such as
herringbone twills.
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Broken draft
Herring bone twill Peg plan

Divided draft
 This draft is used for weaves having two
series of warp threads such as terry,
double cloth, warp backed cloth etc.
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Draft
Design Peg plan

Grouped draft
 These drafts are employed for the production of stripe and check designs, in
which the stripes have different weaves or their combinations. This draft is
used for producing the fabric with two different stripes. The repeat of the
draft is determined by the number of stripes and the number of threads in
each stripe. The number of shafts in the draft depends upon the number of
stripes and the warp repeat of weave of each stripe
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Curved draft
 Construction of curved twills does not come under any
category.
 To decide the draft order, there is no rule need to apply.
 To derive and decide the draft, a curved line is drawn to suit
the requirement.
 Mark draft over the curved line finalized for curved twill.
 Then base weave is arranged as per the draft order.
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Combined draft
 Various methods of drawing in can be combined in one draft for producing a
certain type of fabric. Two or more drafts described above can be applied
simultaneously, for example, straight and skip or sateen, grouped and curved,
and so on. Combined draft is the most complicated and can be chosen only if
there are some technological or economical reasons. The designer having a
great experience can do it properly.
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Plain weave
 The plain weave is variously known as “calico” or “tabby” weave. It is the simplest of all weaves having a
repeat size of 2. The range of application of this weave is wide.
The plain weave has the following characteristics :
(i) It has the maximum number of binding points
(ii) The threads interlace on alternate order of 1 up and 1 down.
(iii) The thread density is limited
(iv) Cloth thickness and mass per unit area are limited.
(v) It produces a relatively stronger fabric that is obtained by any other simple combination of threads,
excepting that of “gauze”or “cross weaving”.
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Plain weave
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The principle involved in the construction of plain cloth is the
interlacement of any two continuous threads either warp or weft in an
exactly contrary manner to each other, with every thread in each series
passing alternately under and over consecutive threads of other series
interlaces uniformly throughout the fabric. By this plan of interlacement,
every thread in each series interlaces with every thread in the other series
to the maximum extent, thereby producing a comparatively firm and
strong texture of cloth. A complete unit of the plain weave occupies only
two warp threads and two picks of weft (Fig. 3.1), which is the design for
that weave.

Plain weave
 The chart below shows the derivatives/modifications of plain weave :
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Warp rib
 Warp rib
These are produced by extending the
plain weave in warp wary direction. Fig
shows the warp rib weaves constructed
on regular and irregular basis.
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Weft rib
 These are constructed by extending the plain weave in weft direction as shown in Fig.
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Matt Rib
 These weaves are also variously known as hopsack or basket weaves. The matt rib structures
result from extending the plain weave in both directions. The regular and irregular types are
shown in Fig.
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Matt Rib Regular Matt Rib Irregular

Ornamentation of plain weave fabrics
Following are some of the ways to ornament plain weave fabrics:
1) Plain weave is ornamented by using mono colour (single colour) in warp and the same
mono colour in weft, results the formation of solid colour effect.
2) Plain weave is ornamented by using mono colour (single colour) in warp and different
mono colour in weft, resulting the formation of shot effect. This is commercially called as
cross colour or double shade effect.
3) Plain weave is ornamented by using mono colour (single colour) in warp and white in
weft, resulting the formation of cross over effect. This is commercially called as
chambare effect.
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1
2
3

4) Plain weave is ornamented by using multi
colours in warp and single colour in weft,
resulting the formation of stripe effect.
5) Plain weave is ornamented by using multi
colours in warp and multi colours in weft,
resulting the formation of check effect.
6) Plain weave is ornamented by using different
counts like 80 and 20 in warp and only 80 in weft
resulting the formation of rib stripe or doria stripe
effect.
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4
5
6

7) Plain weave is ornamented by using different counts like 80 and 20
in warp and same 80 and 20 in weft resulting formation of rib check
or doria check effect.
8) Plain weave is ornamented by using different material like cotton in
warp and silk in weft or vice – versa or any other material, resulting
the formation of union fabric.
9) plain weave is ornamented by using different denting orders like 2
ends / dent for 6 times and 3 ends / dent for 6 times or any irregular
denting order will result the formation of rib effect.
10) Plain weave is ornamented by using two different tension warp
beams to weave seersucker fabrics and is also called as pucker
fabrics.
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7
9
10

11) Plain weave is ornamented by using zig – zag reeds
to produce wavy effects across the fabric.
12) Plain weave is ornamented in the post loom process
like bleaching, dyeing, printing,finishing, raising, etc.
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11
12

Construction of Plain weave
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Tie Up

Warp Rib Regular
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Warp Rib Irregular
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Weft Rib Regular
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Weft Rib Irregular
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Catch cord technique Catch cord technique for
weaving Warp rib and Hopsack weaves
 Catch cord technique is the simplest mechanical device used in handlooms and power looms to weave warp rib
weaves and mat weaves. In case of warp rib and mat weaves, it is necessary to weave more than one pick in the same
shed. Design ‘A’ is 3 and 3 warp rib weave.
 In this first, second and third picks are having same interlacement and then fourth, fifth and sixth picks are having
same interlacement. This design can not be woven with out catch cord arrangement. It is not possible to weave more
than one pick in the same shed unless it is held by the selvedges or some other mechanism like catch cord near
selvedges. A Catch cord technique is arranged in the looms, where warp ribs and mat weaves are to be woven. Catch
cord arrangement can be either one side or both sides. First pick is inserted in the first shed, and then the successive
picks are also in the same shed. It is necessary to hold the first and second picks at the selvedges.
 Otherwise when second pick is inserted, there will be no second pick instead first pick comes back; hence there will
not be any interlacement for first pick and also the successive picks. In the same style first pick is held by the catch
cord at the right side, second pick in the left side and the process will continue for any number of picks. Hence,
Catch cord arrangement will avoid return of picks in the same shed.
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Arrangement of the Technique
 Out side the selvedges an extra end (Red) on both sides is
drawn through mail eye (harness) or heald wire. This mail
eye or heald wire is taken over a pulley arranged on the
sley sword as shown in the figure and connected to the
picker in shuttle box as in the diagram. When shuttle is
not there in box, extra end which meant for holding the
pick at outside selvedges, will rest on the race board. If
the shuttle enters into the shuttle box, the extra end is
lifted up and holds the pick at the selvedges when the
shuttle moves. Extra end is through the harness Extra end
mail eye or heald mail is connected to picker or to Shuttle
not in box the dobby lever / jacquard hook.
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Setting and the working of catch cord
 The extra end arranged for catch cord (To hold) should touch
the race board when the picker is at the front of shuttle box,
means when there is no shuttle in the shuttle box. If the
shuttle enters the box, picker will move backside of the box
and the extra end meant for catch is lifted up. This will help to
retain any number of picks in same shed. Similar arrangement
on both the sides will help to weave any number of picks in
same shed of warp rib and mat weaves.
 Hence catch cord Technique is very essential to weave warp rib
weaves, mat weaves and solid border Sarees/Dhotis. Catch
cord technique is largely used in the industry for the weaving
of solid border sarees because no additional expenditure. The
technique is very much successful for solid border Saree and
Dhoti weaving.
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Shuttle

Text book and References
 1. Grosicki Z. J. “Watson’s Textile Design and Colour: Vo.1, Woodhead Publications, Cambride England, 2004.
 2. Grosicki Z. J., “Watson’s Advanced Textile Design and Colour”, Vol.II, Butterworths, London, 1989.
 REFERENCES:
 1. Wilson J., “Handbook of Textile Design”, Textile Instiute, Manchester, 2001.
 2. Home C.E., “Geometric Symmetry in Patterns and Tilings” Textile Institute, Manchester, 2000.
 3. Seyam A. M. “Structural Design of Woven Fabrics, Theory and Practice” Textile Institute, Manchester, 2002.
 4. Geormer D, “Woven Structure and Design, part 1: Single Cloth Construction: WIRA, U.K. 1986.
 5. Geomer D, “Woven Structure and Design, Part 2: Compound Structures” WIRA, U.K., 1989
 Dr. N. Gokarneshan “Fabric structure and design”, New Age International (P) Limited, Publishers 4835/24,
Ansari Road, Daryaganj, New Delhi – 110002.
15-06-2021
R.PARANTHAMAN, ASST.PROF., IIHT, SALEM 36

Fabric structure and design plain weave and derivatives

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