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THE CONSTRUCTION OF FABRICS Page 11
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Fabric construction
In this sheet we illustrate some weaves of the warp and weft threads usually adopted for the
construction of traditional fabrics and in particular the basic weaves (weaves) from which
all the others derive. The graphic representation of the weaves is carried out on squared paper,
where the vertical rows of squares represent the warp threads while the horizontal rows indicate
the plots.
The appearance and hand of the fabric largely depend on the type of weave.
It is possible to obtain different types of weaves by varying the lifting of the warp threads at the passage of the
wefts during the formation of the loom fabric.
A fabric with many interweaving points between warp and weft will have a more sustained hand, more
compact compared to a fabric with fewer crossings. All this obviously applies to
equal number of threads and wefts per centimeter and thickness of the yarns.
In the weaving of the fabric there are always threads that rise and fall as the wefts pass.
On the squared paper, a thread that rises when a weft passes, thus remaining above it,
is marked with a solid square, while a thread that remains lowered is marked with a
empty picture.
Construction
At the point where the sequence of empty stitches and full stitches repeats itself perfectly both in the sense of the warp and of the weft, there is the "ratio" of the weave, that is the number of threads and wefts that
perform a series of evolutions that are repeated a certain number of times over the entire fabric (see figures
A and B).
Explanation
The illustrations below show the graphical and squared representation of the plot
with the least number of warp threads and ratio wefts, i.e. 2 by 2 which means,
in order, 2 warp threads with different evolutions and 2 wefts with different evolutions. This
weaving is called "canvas" or "flat" or "taffeta" (see figures 1 and 2).
A succession of full or empty stitches in the weave constitutes a "bridle"; they can
therefore have warp bridles and weft bridles. Figures 3 and 4 show warp and warp bridles
plot.
If there are more empty points in the weaving ratio than the full ones, there will be a "light" weave
or by texture effect; otherwise (mostly full stitches) you will have a fabric
"Heavy" or due to the warp effect.
Schematic section
In some cases, when the representation on squared paper is not enough to convey the idea
of the weave, a schematic section of the fabric is represented, where the evolutions are more evident
of threads and wefts. This representation is called "profile" (see figures 5 and 6).
Warp profiles are obtained (fig. 5) when the evolution of the warp thread with respect to the wefts is visible
dissected; the weft profiles, on the other hand, show the evolution of the weft with respect to the sectioned threads (fig. 6).
The basic weaves, in addition to the cloth (fig. 1 and 2), are the thorn or twill of 3 (fig. 7) and the satin or
satin 5 (fig. 8), from which all the other types of weaving are derived by various techniques.
Satin
In satins with larger weave ratios (7 by 7, 8 by 8, etc.), the placement of the stitches takes place
according to very precise rules, as the distance between one point and another - called the scoccamento
- must always be regular.
Examples of intertwining and design effects among the innumerable combinations are presented below
possible, some of which are derived from fundamental intertwining.
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