Plain Weave

PRIYANK GOYAL’S LECTURES ON FABRIC STRUCTURE PLAIN WEAVE Structure It pattern.
A
lternative names It is also known as tabby, homespun or taffeta weave. Manufactu
re On the loom, the plain weave requires only two healed shafts. Manufacturing O
n the loom, plain weave requires only two harnesses. Each weft yarn goes alterna
tely under and over the warp yarns plain weave, each weft thread (filling) passe
s alternatively over and under each ways yarn in a square
across the width of the fabric.
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PRIYANK GOYAL’S LECTURES ON FABRIC STRUCTURE Appearance It has a flat appearance
. There are no distinct designs. However these may be produced if yarns have con
trasting colours or thicknesses. Properties It is easily produced. This is the m
ost made weave in the world. It is relatively inexpensive. Other Names Tabby, Ca
lico, alpaca and taffeta Variations of Plain weave 1. Square plain weave In such
weaves, warp and weft are present in equal amounts, or in other words, warp cov
er factor is equal to the weft cover factor. These are used as surgical dressing
s, dairy cloths, muslin dress fabrics, parachute fabrics, handkerchief fabrics,
fabrics for shoes and tents, sheeting fabrics; canvas for transport covers and f
abric for use as ribbons in type writers or computers. 2. Warp-faced plain weave
In these fabrics, warp cover factor is greater than that of weft cover factor.
This is normally achieved by having more ends than picks per cm. the warp crimp
is also high in these fabrics, while weft crimp is low. Thus very faint lines ac
ross the width of the fabrics are produced. A typical fabric in this group is po
plin. A typical construction for a polyester/ cotton poplin shirtings is 50x25;
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PRIYANK GOYAL’S LECTURES ON FABRIC STRUCTURE 16 tex x 16 tex; 14% x 93% giving a
weight of 130g/m 2 and a cover factor of 20.0+9.7 = 29.7. WEFT-FACED PLAIN WEAV
ES This is not a popular group of fabrics as it is normally produced with more t
han ends per cm, the rate of production in the loom will be greatly reduced. The
most popular fabric in this group is the limbric, which is used for dress print
s. ORNAMENTATION OF PLAIN CLOTH The appearance of a plain fabric can be changed
in many ways. 1. The use of colour In the warp direction, colour stripes are pro
duced along the length of the fabric. In the filling direction, colour stripes a
re produced across the width of the fabric. When used in both warp and weft dire
ctions, a check effect is produced. 2. Changing yarn court Stripes and check eff
ects can be produced by using different yarn count in one or both directions.
3.
Changing the yarn twist Using combinations of different twist levels and
directions in the warp or weft, different effects can be produced is the fabric
due to the changes in the orientations of the fibers as shown. Copyrights Reserv
ed with Priyank Goyal , pg2000in@gmail.com, pg2000in.googlepages.com
PRIYANK GOYAL’S LECTURES ON FABRIC STRUCTURE
4.
Different Finishing treatment Treatments such as dyeing mercerizing with caustic
soda
or coating can change the characteristics of plain fabric. 5. Any combination of
the above These are specialized types of plain weave fabrics. These fabrics are
produced using highly twisted two fold yarns. with the doubling twist in the sa
me direction as that of single yarn. For voile yarn the tex twist factor is gene
rally between 5000 and 7000, while for crepe yarn, it is nearer to 9000. Voilers
are used in lightweight, semi-opaque fabrics for dress saris and light filters.
Crepes are used dress, blouses and support bandages. Samples of some of the pla
in weaves. VOILE AND CREPE FABRICS
PLAIN WEAVE DERIVATIVES
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PRIYANK GOYAL’S LECTURES ON FABRIC STRUCTURE This group of structure comprise di
fferent simple weaves which are all extensions of the plain weave and can be pro
duced on two heald shafts. RIB AND CORD EFFECT PRODUCED IN PLAIN WEAVE Ribs refe
r to the lives in horizontal direction like
=á
whereas cord refers to the lines running in vertical direction ¦L L L here are m
any ways to produce rib and cords, some of ¦¦T these methods are as follows: (1)
By using different counts of warp and wefts By using different counts of thread
s, ribbed or corded effects can be produced throughout the fabric. The ribs or c
ords will be is the direction of coarsest threads. The figure illustrates an exa
mple of cloth woven from comparatively fine warp and coarse weft which develop a
series of ribs lying in the direction of weft and known as warp
ribs. If we take coarse warp and fine weft, the ribs would be called the weft ri
bs. Copyrights Reserved with Priyank Goyal , pg2000in@gmail.com, pg2000in.google
pages.com
PRIYANK GOYAL’S LECTURES ON FABRIC STRUCTURE (2) By using tension difference wit
hin warps and wefts Rib formation can be also be done by taking two series of wa
rp threads. One series of warp threads is at higher tension than the other. Only
one system of coarse and soft weft is used. During weaving the warp thread from
higher tension beams are held taut. Thus during weaving they are prevented from
bending, as shown: This causes weft to form prominent ribs on both sides of the
cloth. The slack warp threads freely bend over and under picks of weft to bind
these firmly in position.
(3)
By using two series of both warp and weft In this the warp series comprise two c
ounts of yarn, one
fine and strong, which is held at greater tension during weaving, and the other
coarse and soft, which is held at a lesser degree of tension. The weft series al
so comprise two Copyrights Reserved with Priyank Goyal , pg2000in@gmail.com, pg2
000in.googlepages.com
PRIYANK GOYAL’S LECTURES ON FABRIC STRUCTURE counts of yarn one fine and strong
and the other very coarse and strong. When coarse picks are inserted, all medium
warp threads only are raised to form ribs, and when fine picks are inserted, al
l fine warp threads only are raised, it causes deep furrows (dents) as shown in
figure.
(4)
BY USING NORMAL WARP AND WEFT Here we make use of the principle of fabric struct
ure says that “The relative prominence of threads
which
diminishes in proporation to the amount of bending performed by them in the clot
h.” Here the ribs or cords may be formed by causing two or more threads of one s
eries (i.e. either warp or weft) to lie closely side by side, so as to virtually
constitute a coarse thread composed of several strands not twisted together, an
d interveaving such groups of threads with separate threads of other side. Copyr
ights Reserved with Priyank Goyal , pg2000in@gmail.com, pg2000in.googlepages.com
PRIYANK GOYAL’S LECTURES ON FABRIC STRUCTURE Ribs Simple ribs in the direction o
f weft may be formed by separating alternate warp threads (as in calico plain we
ave) and inserting two or more picks of the weft in the same warp shed. Figures
shown below are designs for this class of rib weaves containing two, there, four
and six picks respectively in each warp shed:
Cords Similarly simple cords in the direction of warp may be formed by raising w
arp threads in uniform group of two or more threads. Figure given below are the
designs for chords in which three, four and six warp threads respectively are Co
pyrights Reserved with Priyank Goyal , pg2000in@gmail.com, pg2000in.googlepages.
com
PRIYANK GOYAL’S LECTURES ON FABRIC STRUCTURE grouped together.
As the horizontal and vertical lines produced in the above two cases are regular
in size so these are known as regular warp and weft ribs respectively Figures g
iven below represent
irregular or variegated chords which are unequal in size. Similarly irregular ri
bs can be produced by turning these
figures to sides.
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Summary plain weave Rib variation 1. Structuring process – Variation of plain we
ave – Plain weave loomset up – Different from plain weave due to warp/filling fa
bric yarn count unbalanced by process of packing of yarn in one direction, or by
combining large and small yarns in the weave. Large yarns produce a rib or bump
which may run along the warp or filling directions. 2. – – 3. – – – – 4. Identi
fying the weave Look for lengthwise cords or cross-wise ribs Scratch the fabric
surface with finger nails to detect ridges. Performance Characteristics compared
to plain weave fabrics More subject to yarn slippage and raveling. Less abrasio
n resistant. Softer. Crisper – if crisper yarn is used. Common fibres characteri
zed by Identifying characteristics • Light weight fabrics that are opaque with f
ilament yarns tissue-faille, taffetta. Copyrights Reserved with Priyank Goyal ,
pg2000in@gmail.com, pg2000in.googlepages.com
PRIYANK GOYAL’S LECTURES ON FABRIC STRUCTURE • Light weight fabrics that are tra
nslucent with spun yarns-dimity. • Medium – to-heavy weight fabrics that are opa
que with filament warp and filament or spun filling : taffeta, faille, repp, ott
oman, silk broad cloth. • Medium weight fabrics that are opaque with spun warp a
nd filling yarns: cotton/wool broad cloth, poplin, gross grain, ottoman, Bedford
cord. MAT HOPSACK OR BASKET WEAVES Simple matt weaves are those in which groups
of two or more adjacent warp threads and picks interlace with each others so as
to produce a chequred or dice effect as represented in designs below:
The simplest of there weaves is known as two-and-two and four-end matt weaves as
indicated in figure, in which warp threads and picks interweave in pairs throug
hout the fabric, on the principle of plain weaves. Copyrights Reserved with Priy
ank Goyal , pg2000in@gmail.com, pg2000in.googlepages.com
PRIYANK GOYAL’S LECTURES ON FABRIC STRUCTURE Variegated or irregular matt weaves
are developed by combining irregular groups of warp and weft threads on indicat
ed in Figures P,Q, R, S and T P = 5/3 matt irregular Q = Examples of fancy baske
t which in combination of warp and weft Rib. 3/1, 1/3 fancy basket R = Centre st
iched Hopsack Derivative S = Barley corn Hopsack. T = Stitched Hoprack-stitching
is done every where except centre.
P
Q
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T
Further extension of Hopsack Weaves (Variegated Hopsack) The purpose of modifyin
g Hopsack Weaves is to make the surface more firm and to get more variety of pat
terns. 1. Self Stictched hopsack weaves. In this weave one end is (or pair of en
ds) stitched down to give fancy appearance to fabric. How to make a self stitche
d Hopsack Let us take a 3-and-3 hopsack. It is represented as
A
We see that it is divided into four parts. To make it self
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PRIYANK GOYAL’S LECTURES ON FABRIC STRUCTURE stitched , reverse the working of t
he centre of each small square , that is where weft is up, make it down and wher
e warp is up make it weft up as shown in the given figure: We can also modify th
e hopsack by another method. Again we take the same weave as A and reverse the f
loat at one corner of each small square to get the required weave as shown
below: Barley Corn Weaves: The Barley Corn weaves are modified hopsack weaves wh
ich employ cross twill in their designs. The cross-twill in the designs gives a
considerable degree of firmness to a cloth as compared with ordinary hopsacks of
similar sizes.
R
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R is an example of Barley Corn Hopsack in 4-and-4 Hopsack. Stitched Hopsacks Sti
tched Hopsacks are used to impart firmness to large weaves by the introduction o
f plain stitching threads. In Design below the plain threads are introduced only
in the warp , so that the float in the weft sections of the design are broken.
This is known as Hopsack with Single Line Stitch.
Similarly we can make Hopsack with Double line Stitch in which certain threads o
f both series interweave plain to produce similar warp and weft sections as give
n below:
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SUMMARY PLAIN WEAVE – BASKET VARIATION Structuring Process Paired or grouped war
p and/or filling yarns interlaced in 1/1 repeat, common pattern include 2/2, 4/4
, 2/1. Performance characteristics • Compared to plan weave, fabrics tend to hav
e o Softer drape o Softer hand o More wrinkle resistance o More ventilation o Mo
re shrinking o More yarn slippage o Less abrasion resistance Common fabrics clas
sified by Identifying characteristics • Light weight, transparent, sheer, unbala
nced: dimity (also ribweave) Copyrights Reserved with Priyank Goyal , pg2000in@g
mail.com, pg2000in.googlepages.com
PRIYANK GOYAL’S LECTURES ON FABRIC STRUCTURE • Medium weight, opaque, balanced l
ook, soft hand-oxford cloth, chambray, sail cloth. • Heavy weight, operque, bala
nced look, soft hand: Hopsack, monk’s cloth. • Heavy weight, opaque, balanced lo
ok, crisp hand: canvas. duck
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PRIYANK GOYAL’S LECTURES ON FABRIC STRUCTURE PLAIN WEAVE Structure It pattern.

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