Woven Fabrics - Fairchild Books

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the same appearance as when the fabric is turned so that the edge that was at the top is at the bottom. Thus, it usually does not make any difference in appearance with these fabrics if a garment is made with its parts placed from top-to-bottom or if its parts are turned 180° and placed bottom-to-top. In fact, most mass-produced apparel is cut this way to interlock patterns efficiently. Nevertheless, this could be undesirable because there may be a slight difference in color or luster that is not noticeable in a smaller piece of fabric but is obvious in the full garment. Yarns Per Inch: A Measure of Fabric Quality The yarns per inch in a fabric is given by two numbers with an × between them. For example, 80 × 74 (pronounced “eighty-by-seventy-four”) means 80 yarns per inch in the warp and 74 yarns per inch in the filling. The first number is for warp yarns per inch and the second is for filling yarns per inch. A fabric with the same number of yarns per inch in both directions is said to be square. An 80-square print cloth has 80 ends and 80 picks per inch. The yarns per inch in the warp and in the filling is known as the fabric count, fabric density, or cloth count. Yarns per inch is a measure of fabric quality. Two broadcloths may differ in price because one has more yarns per inch. A higher number of yarns per inch gives the fabric more strength, more weight, better hand, reduced possibility of yarns shifting out of place (yarn distortion; see p. 324), and better abrasion resistance. Increasing the yarns per inch also increases the cost of the fabric. The type numbers given for sheeting are based on the number of yarns per square inch. The sum of the yarns per inch in the warp and the yarns per inch in the filling is referred to as the type number. For example, if sheeting has 100 ends and 100 picks per inch, the type number is 200 (100 plus 100). It is also referred to as 200count. For other fabrics, the value is given as 100 × 100, and not as a sum. Historically, manufacturers of sheets with a cloth count of 100 × 100 made of single yarns would indicate a 200 thread count on the package. Recently some manufacturers of sheets have counted ply yarns as two separate yarns when indicating the thread count. Thus the same sheet made of 2 ply yarns might indicate a 400 thread count. This confusion triggered a concern for the industry as well as the retailers and resulted in a FABRIC SCIENCE A 96 F Figure 5.6 Percale sheets by Martha Stewart Collection for Macy’s. class action suit and settlement. Thread count has long been recognized by consumers as a tool to determine quality (Figure 5.6). A contradiction in cloth count causes doubt and confusion for consumers. To learn how to determine the yarns per inch of a woven fabric, see page 309. Determining the Weave of a Fabric <strong>Woven</strong> fabric is analyzed to determine the weave. It is done by determining the order in which the yarns interlace. Fabric is usually analyzed on the face side, but sometimes the weave may be more clearly seen on the back. To determine the weave of the fabric, every interlacing is examined to determine whether the warp yarn or the filling yarn is on the surface. The weave may be illustrated on graph paper indicating the location of the warp yarn on the surface. If the warp yarn is on the surface of the fabric, it is indicated by marking in one box on the graph paper; if the warp yarn is on the back of the fabric, the box is left empty. Refer to page 314 for further information. The vertical and horizontal rows of squares are the same size. A weave diagram only shows the order in which the yarns interlace (Figures 5.7a–c). The weave diagram does not show the relative number of yarns per inch between warp and filling, nor does it indicate the yarn size and type. Thus sheeting fabric, voile, overcoat fabric, and lining could all have the same weave diagram but entirely different appearances and end-use applications.
21 16 11 6 1 22 17 12 7 2 23 18 13 8 3 24 19 14 9 4 25 20 15 10 5 21 16 11 6 1 22 17 12 7 2 23 18 13 8 3 24 19 14 9 4 25 20 15 10 5 Figure 5.7 (a) The interlacing yarns of a satin weave; (b) the numbered squares that correspond to the interlacings of the weave; and (c) the weave on graph paper. Table 5.1 Comparison oF basiC Weave properTies a b c WOVEN FABRICS A 97 F Weave Floats Warp yarns and filling yarns in a fabric interlace with each other. When one yarn does not interlace with the next adjacent yarn, but passes over two or more adjacent yarns, it is said to float. If a warp yarn passes over two or more adjacent filling yarns, a warp float results. When the filling yarn passes over warp yarns, a filling float occurs. Floats tend to make the fabric surface flat and increase the amount of luster. They also enable yarns to slide under each other in the fabric and are, therefore, used when fabrics of many yarns per inch are to be made. (See p. 102.) When the float is relatively long, a snagging problem frequently results. The yarn can easily catch and break on broken fingernails or other rough surfaces. Floats also weaken the fabric because they reduce the frequency with which yarns pass from one side of the fabric to the other (from the face to the back or from the back to the face). This affect can be offset by increasing the yarns per inch of the fabric. Basic Fabric Weaves There are three basic weaves: plain weave, twill weave, and satin weave. All other weaves are a variation or a combination of these weaves. The type of weave used in a fabric depends on the desired appearance and performance (see Table 5.1). Such factors as luster, strength, pattern, color effect, and, most importantly, cost, are considered before the fabric weave is chosen. Plain Weave Plain weave is the simplest and the most used weave. It is found in a wide range of fabrics, from the sheerest to the heaviest. <strong>Fabrics</strong> with a plain weave are reversible unless one side is made the face by a finishing or printing process. Tearing Wrinkle Weave Luster Snag Resistance Surface Effect Strength Resistance Plain Poor Good Flat, uninteresting Low Poor Twill Fair Good Twill lines Medium Fair Satin Good (especially with filament yarns) Poor if long floats Smooth High Good
Page 2 and 3: j.j. pizzuto’s FABRIC SCIENCE ten
Page 4 and 5: Executive Editor: Olga T. Kontzias
Page 6 and 7: Preface xv Acknowledgments xvii 1 T
Page 8 and 9: Secondary Manufactured Fibers for C
Page 10 and 11: 7 Other Types of Textiles 147 Objec
Page 12 and 13: Nonhazardous 224 Recycling 224 Work
Page 14 and 15: Fabric Performance Testing 316 Text
Page 17 and 18: air-jet bare elastic yarn blended y
Page 19 and 20: Identifying Spun and Filament Yarns
Page 21 and 22: Uses of Spun and Filament Yarns Som
Page 23 and 24: Fabrics made from worsted yarn are
Page 25 and 26: this system, one end of a fiber is
Page 27 and 28: textured yarn a b heater c d high p
Page 29 and 30: Table 4.1 Comparison oF sTreTCh Yar
Page 31 and 32: warp yarn Figure 4.14 Making chenil
Page 33 and 34: Table 4.2 Yarn number Conversions W
Page 35 and 36: Table 4.4 Thread Finishes and Their
Page 37: FABRIC SCIENCE / Swatch Kit Assignm
Page 40 and 41: Over 4,000 years ago, man created f
Page 42 and 43: yarn package yarn package yarn pack
Page 44 and 45: Figure 5.5 Various types of selvage
Page 48 and 49: More fabrics are made with plain we
Page 50 and 51: Most twills are either warp face or
Page 52 and 53: Figure 5.15 (a) Five-shaft warp-fac
Page 54 and 55: Figure 5.18 Filling-pile weave fabr
Page 56 and 57: Sometimes the pile loops are cut in
Page 58 and 59: light-pattern changes to create a r
Page 60 and 61: A product that can be considered as
Page 62 and 63: Glossary of Classic Woven Fabrics A
Page 64 and 65: Frieze: Heavy, thick, rough-surface
Page 66 and 67: Taffeta: Medium-weight, plain-weave

Woven Fabrics - Fairchild Books

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