WOVEN FABRIC DESIGN AND STRUCTURE

WOVEN FABRIC
STRUCTURE AND
DESIGN

MOHD PAHMI SAIMAN
AKMAL UZIR

JABATAN KEJURUTERAAN
MEKANIKAL
POLITEKNIK SEBERANG PERAI

WOVEN FABRIC
STRUCTURE AND

DESIGN

Mohd Pahmi Saiman
Akmal Uzir
2021

Mechanical Engineering Department
Politeknik Seberang Perai

©All rights reserved. No part of this publication may be translated or reproduced in
any retrieval system, or transmitted in any form or by any means, electronic,
mechanical, recording, or otherwise, without prior permission in writing from
Politeknik Seberang Perai.

ii PSP eBook | Woven Fabric Structure and Design

All rights reserved

No part of this publication may be translated or reproduced in any retrieval system,
or transmitted in any form or by any means, electronic, mechanical, recording, or

otherwise, without prior permission in writing from Politeknik Seberang Perai.

Published by

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Email: [email protected] Website : www.psp.edu.my
FB : politeknikseberangperai Ig : politeknikseberangperai

Perpustakaan Negara Malaysia Cataloguing-in-Publication Data

Mohd Pahmi Saiman
WOVEN FABRIC STRUCTURE AND DESIGN / Muhammad Pahmi bin Saiman,

Akmal bin Uzir.

Mode of access: Internet
eISBN 978-967-0783-90-1

1. Textile fabrics.

2. Textured woven fabrics.

3. Textile design.
4. Government publications --Malaysia.

5. Electronic books.

I. Akmal Uzir.
II. Title.

677.02864

PSP eBook | Woven Fabric Structure and Design iii

Acknowledgement

Bismillahirahmanirahim,

Thank you and Alhamdulillah, the highest gratitude is elevated to divine dignity
because with his grace we were able to complete the writing of this book
successfully.

On this occasion, we would like to thank both of our parents who have encouraged
us to keep working until we achieve for success. Not forgetting also to the friends
who have helped a lot and sparked ideas throughout the writing process. Many
things have been learned throughout the preparation of this writing done. It gives
a thousand and one meanings in acquiring this knowledge.

Lastly, the appreciation goes to everyone who was directly or indirectly involved in
the process of writing this book. We would like to thank and appreciate all those
involved.

Thank you, Wassalam

Mohd Pahmi Saiman
Akmal Uzir

iv PSP eBook | Woven Fabric Structure and Design

Preface

This book is designed to be a quick reference for technical institution students. It
provides suggested guidelines for dealing with the concepts discussed in the course.
If the curriculum is followed correctly, learners should achieve significant learning
outcomes at the end of the course, as specified in the curriculum. The main
objective is to publish the common method in designing and preparation of different
types of fabric for common use. As a result, the authors’ goal is to suit the subject's
fundamentals with the level of the average student. The book's unique feature is
its simplicity. The book is well-organized, with clear explanations and illustrations.

Fabric structures deal with the properties and the aesthetic value of the fabric.
There are three different types of common fabric which includes woven fabric,
knitted fabric and nonwoven fabric. However, the different structure with different
basis manufacturing has become the priorities in understanding for fabric use.
Regarding to their design, the construction is different in the view of their designer.
If fabrics are engineered for their properties compared to its appearance, the
constructional parameters for its use is highly emphasized.

The book is enhanced by the chapter end review questions and exercises. In other
words, the book is created for students. We are grateful to everyone who has
helped and supported in the writing of this book. Corrections, additions, and
modifications that would improve the book are warmly welcomed. If there is an
error, please accept my apologies.

PSP eBook | Woven Fabric Structure and Design v

Table of Content Pages

Chapter 1
6
CHAPTER 1: INTRODUCTION TO WEAVING STRUCTURE 9
1.1 The Concept of Woven Fabric Formation 14
1.2 The Parameters of Fabric Structure
1.3 Classification of Fabric Weave 19
Tutorial 19
21
CHAPTER 2: WEAVING PLAN 23
2.1 Introduction 23
2.2 Weave Representation Method 31
2.3 Weave Repeat and Shift 35
2.4 Elements of a Weaving Plan 36
2.4.1 Draft 43
2.4.2 Lifting Plan
2.4.3 Denting Plan 50
2.5 Weaving Plan Construction 51
Tutorial 52
56
CHAPTER 3: SIMPLE WEAVE DESIGN 59
3.1 Fundamental Weave Design 59
3.1.1 Plain weave 61
3.1.2 Twill weave 77
3.1.3 Sateen and Satin Weave 80
3.2 Derivatives from Fundamentals Weaves 80
3.2.1 Plain weave derivatives 84
3.2.2 Twill weave derivatives 89
3.2.3 Sateen Weave Derivatives 92
3.3 Fancy or Combined Weave 94
3.3.1 Crepe weave
3.3.2 Honeycomb weave
3.3.3 Corkscrew weave
3.3.4 Huckaback weave

Tutorial

vi PSP eBook | Woven Fabric Structure and Design 103
103
CHAPTER 4 : SPECIAL WEAVE DESIGN 105
4.1 Compound and Complex Weave 107
4.1.1 Back Warp Weave 108
4.1.2 Back Weft Weave 109
4.1.3 Pile Weaves 113
4.1.3.1 Plain Velveteen 121
4.1.3.2 Terry Toweling Weave
4.1.4 Jacquard Weaves vii
Tutorial

Bibliography

1CHAPTER PSP eBook | Woven Fabric Structure and Design 1

INTRODUCTION TO
WEAVING STRUCTURE

1.1 The Concept of Woven Fabric Formation

Woven fabric can be defined as an interlacing of two set of yarns consists of a set of warp
yarns or ends and a set of weft yarns or picks or filling at right angles to each other. It weaves
on a loom according to the design and transferred it into a compact fabric with various
appearance. Apart from the appearance, the fabric properties are also a priority in fabric
construction especially for technical application. The selection of the structural properties is
highly dependent on the hierarchy of woven fabric construction beginning from fibres type,
yarn properties, fabric density and fabric weave. It must be understood that all those
elements will affect the performance and the behaviour of the structure.

The formation of the interlacement is done on a “loom”, a word commonly used for
shuttle weaving machine while shuttleless looms is weaving machine. Figure 1.1 shows the
arrangement of the set of warp yarn beginning with warp beam as warp yarn supply, a set of
healdframe for up and down movement, reed for the mode of warp yarn spacing and, lastly
the fabric weave rolled on to the fabric beam.

Figure 1.1 The formation of fabric weave (Source: dynamiclooms.tumblr.com)

2 PSP eBook | Woven Fabric Structure and Design

The construction of the fabric weave mainly happens due to the three different types
of motion occurs on the weaving machine. It is the basic motion which consists of primary
motion, secondary motion and auxiliary motion. It requires the loom mechanisms
interconnected and synchronize to ensure it is guided and produce the required output
motion. Figure 1.2 shows the classification of loom motion

Figure 1.2 Classification of loom motion
a. Primary Motion

i. Shedding motion
The movement of two warps layers producing an opening to facilitate a passage for
weft yarn carrier crossing through it. Next, the warp shed is either in stationary
position or in a closing motion according to the movement of up and down of
healdframes. The movement of healdframes is based on the design and it is
controlled by three major types of shedding mechanism namely cam, dobby and
jacquard. The use of such mechanism is depending on the type of design produced.
Figure 1.3 shows the movement of shedding motion.

PSP eBook | Woven Fabric Structure and Design 3

Figure 1.3 Shedding Motion (Source: textilelearner.net)
ii. Picking Motion

The weft insertion movement of the weft carrier across the opening shed occur from
one side to the other side or from weft supply to the receiver which normally
happens in modern looms. The weft carrier for conventional is shuttle while in
unconventional are projectile, rapier, air jet and water jet. Figure 1.4 shows the
movement of picking motion.

Figure 1.4 Picking Motion (Source: textilelearner.net)

4 PSP eBook | Woven Fabric Structure and Design

iii. Beating Motion
The beating motion is a movement to push the last weft yarn towards the fabric fell
due to the force from the reed. The reincorporating movement of the reed gets from
the sley mechanism and the result of a rotating motion of crank shaft. The reed size
or the dents per inch will determine the densities of the fabric in warp direction.
Figure 1.5 shows the movement of beating motion

Figure 1.5 Beating Motion (Source: textilelearner.net)
b. Secondary Motion

i. Let-off motion
The let-off motion happens as the warp beams released the warp yarns in a required
rate and tension intending to deliver it to the formation zone. In a modern weaving
loom, the movement of the let off motion is controlled by sensors to determine the
angular displacement of the warp beam. Figure 1.6 shows the movement of let-off
motion

Figure 1.6 Let-Off Motion (Source: textile-craft.blogspot.com)

PSP eBook | Woven Fabric Structure and Design 5

ii. Take-up motion
A take-up motion occurs by dragging the formed fabric from the formation zone at a
constant rate and tension and winding it onto a fabric beam. Controlling the speed
of the movement will determine the densities of weft yarns and it is done by a set of
gearing system. Reducing the take-up speed will add the amount of weft yarn in an
area and vice versa when speed is increase. Figure 1.7 shows the movement of take-
up motion

Figure 1.7 Take-Up Motion (Source: textile-craft.blogspot.com)

c) Auxiliary system
In general, the auxiliary system is used to produce a good quality of fabric and to gain
maximum output. The system is added to prevent from fabric damage occur and making
sure the weaving machine is in high productivity. Normally, a weaving machine equipped
with warp stop motions, weft stop motions, warp protector motion, brake motion and
temple motion. The warp and weft stop motion is to detect when a warp or weft yarn
break or excessively loosened. The warp protector motion is to protect the warp yarn by
stopping the machine if a weft yarn fail to reach its destination. The brake motion is a
mechanism tend to stop the machine immediately when it is required. A temple is used to
hold the width of the fabric weave to prevent from fabric shrinkage.
Most of the complete system can be seen mostly in an automatic weaving machine but for
a loom only the basic component is used. Nowadays, traditional looms being used for
woven craft products while for shuttleless weaving machine being use for highly
production. In a traditional textile structure such as clothing and household textiles their

6 PSP eBook | Woven Fabric Structure and Design

production doesn’t need any special mechanism. However, to produce special weave
structure for example terry weave and double cloth, it requires more complicated weaving
machine with special equipment for its construction. Figure 1.8 shows the difference with
traditional and 3-Dimensional weave structure.

(a) (b)
Figure 1.8 (a) Twill Weave (traditional weave structure)

(b) 3-Dimensional Weave (special weave structure)

1.2 The Parameters of Fabric Structure

Woven fabric structure is the arrangement between warp yarn and weft yarn which will result
a composition of fabric elements represent the properties of the fabric being constructed.
The elements involved are types of fibres, yarn formation, weave design, fabric densities and
construction factor during weaving will produce different kind of properties. Those elements
will be inherited by the fabric and will determine the performance and the aesthetic value.
However, the weave structure can be manipulated and control as it depends on the will of
the designer.

Therefore, the followings are the elements that contained in the fabric structure which
will affect on the properties and the fabric performance:

a. Type of fibre
Fibres, hierarchically are the earliest element as it is the raw material in the fabric
structure. The selection on its type will determine the properties of the finished fabric

PSP eBook | Woven Fabric Structure and Design 7

as the inherent characteristics of fibre properties will influence the overall performance.
Therefore, understanding it will give advantages in determining the desired fabric
properties. Fibre types cover a lot of parameters which include mechanical properties
such as strength and elongation, chemical properties, length, fineness, absorption
properties, density and cohesiveness.

b. Yarn formation
The yarn formation includes yarn types (spun yarn or filament yarn), yarn count, yarn
linear density, yarn twist and yarn shape (single, ply, cord or cable). The impact from
yarn formation can be seen throughout its physical and mechanical properties. For
example, fine yarn will produce elastic and low drape ability of fabric while course yarn
produces stiff and high drape ability.

c. Fabric Weave designs
The weave design indicates the interlacement between warp yarn and weft yarn in the
repeat. Basically, the weave design will give the idea how the fabric being weaved on a
weaving machine such as the position of warp yarn and weft yarn and the interlacement
between it. Figure 1.9 shows how the warp yarn and weft yarn interlaced in forming the
fabric structure according to the weave design. The position of both yarns greatly
influenced the properties of the fabric such as long float produces looser structure
compared to short float which is firmer.

Figure 1.9 The design and the formation of fabric weave

8 PSP eBook | Woven Fabric Structure and Design

d. Fabric densities
Fabric density refers to the number of warp yarns and weft yarns in an area. The
determination of fabric densities obviously can be done either yarns per cm or yarns
per inch and yarn spacing. Figure 1.10 shows the position of yarns per cm and yarn
spacing. Determining the fabric densities will control the thickness, weight, and porosity
of the fabric.

Figure 1.10 Yarn per cm and yarn spacing
e. Construction factor during weaving

The factors introduced during weaving occur on machine setting such as machine
speed, secondary motion speed and shedding angle which usually influenced yarn
tension. Such factor commonly affects towards fabric structure such as the effect on
the crimp which is the shape of the waviness of the yarn in the woven fabric. The tension
of yarn influences both warp and weft crimps, changing their values and ratio. The warp
and weft crimps affect the physical properties of the fabric such as tensile strength,
elongation at break, wear resistance, etc.

PSP eBook | Woven Fabric Structure and Design 9

1.3 Classification of Fabric Weave

Fabric weave can be classified according to the arrangement between warp and weft yarn
during the interweave. However, most of the weave designs begin from the three
fundamental weaves which are plain, twill and satin thus resulting variation of design.

Figure 1.11 Classification of Fabric Weave

10 PSP eBook | Woven Fabric Structure and Design

Figure 1.11 shows the classification of fabric weave consists of simple weave and special
weave. In each classified weave is included with several examples available in market.
However, the name of the weave sometimes is different when it is on the market such as
Chevron fabric from Herringbone weave, Chire come from Taffeta weave and Denim is a Twill
weave. The brand’s name being used is for marketing purpose in which a company creates it
making sure it is more identifiable and easier to remember.

a. Simple Weave
The weave structure is between series of warp yarn interlaced with series of weft yarn
according to the design and each series of yarns positioned in parallel. The weave can
be categorized into three different categories:
i. Fundamental weave
The simplest structure by interlacing between a series of warp yarn and a series of
weft yarn. It is divided into three basic weaves which are plain weave, twill weave
and satin or sateen weave. The number of warp repeat equivalents to weft repeat
whereas only one warp over weft or one weft over warp for each yarn within the
repeat. Figure 1.12 shows the fundamental weave of Twill 2/2.

Figure 1.12 Example of fundamental weave of Twill 2/2

PSP eBook | Woven Fabric Structure and Design 11

ii. Derivative weave
The weave constructed from the fundamental weave by changing the arrangement
of the original order of plain weave, twill weave or satin weave. Therefore, the weave
characteristics are like the basic weave it is derived. The changes being made such as
adding the overlap, rearranging the yarns or combing the yarn with various weave
design. Since the weave is quite large compared to fundamental weave, it is usually
produced using weaving machine equipped with dobby mechanism. Figure 1.13
shows the derivative of Warp Rep 2/2

Figure 1.13 Example of derivative weave of Warp Rep 2/2

iii. Fancy weave
The fancy weave is to create an aesthetic or decorative weave design. It is
constructed by combining two or more fundamental weave and its derivatives
weave. Various products are produced from fancy weave such as home furnishing,
towels, ladies wear, etc. Figure 1.14 shows the fancy weave of honeycomb.

Figure 1.14 Example of fancy Weave of Honeycomb

12 PSP eBook | Woven Fabric Structure and Design

b. Special Weave
A fabric weave needs special method and equipment to create and produce it. It can be
divided into two categories:
i. Compound weave
A type of weave that needs two or more sets of warp yarn or weft yarn to be
manipulated into different design. It involves different types of yarn, yarn count,
fabric densities and colour. The set of warp yarn or weft yarn may be divided either
into the body or ground and the figuring or face of the fabric weave producing loops
and pile. This method needs special equipment that needs to be installed on the
weaving machine such as double beams, double warp let-off motions and loop
formation mechanism. Figure 1.15 shows example of Compound Weave.

Figure 1.15 Example of Compound Weave (Source: www.behance.net)

ii. Complex weave
Complex weave structure is produced by using jacquard mechanism which is install
in a loom or weaving machine. The capability of the machine is the control
movement for each warp yarn and its quantity to build a complex and large design.
The number of warp yarn with different interlacing can reaches into thousands of
numbers and it is the same with the number of weft yarn in the repeat. Figure 1.16
shows the example of Complex Weave.

PSP eBook | Woven Fabric Structure and Design 13

Figure1.16 Example of Complex Weave (Source: www.humphriesweaving.co.uk)

14 PSP eBook | Woven Fabric Structure and Design

Tutorial 1A

Match the following term in weaving motion

Shedding to release the warp after beating of every
inserted pick and to regulate the warp
Picking tension.
Beating division of warp sheet in to two parts of
Let-off inserting weft
Take-up it performs driving the last pick of weft to the
fell of the cloth.
to draw the fabric and wind it on to the cloth
roller or take up roller regularly as it is woven.
inserting a weft thread across the warp
through during weaving.

PSP eBook | Woven Fabric Structure and Design 15

Tutorial 1B

Please use an appropriate mind map method to show how the elements below
will affect the properties of the fabric

i. Types of fibre
ii. Yarn formation
iii. Fabric Weave designs
iv. Fabric densities

Tutorial 1C

Complete the classification of fabric weave based on figure below:

16 PSP eBook | Woven Fabric Structure and Design

Tutorial 1D

1. What is weaving?
2. How many sets of yarn are used in weaving?
3. Is weaving fabric produce by interlacing?
4. What is shedding?
5. Write down/what are the types of shedding mechanism?
6. What is the primary motion?
7. What is the secondary motion?
8. What is picking?
9. What is the object of beat-up mechanism?
10. What is the function of take-up mechanism?
11. What are the basic weave structures?
12. What is warp & weft crimp?

PSP eBook | Woven Fabric Structure and Design 17

Tutorial 1E

Please choose the correct answer.

1. The vertical threads which form the base of the weaving.
A. Loom
B. Weft
C. Warp

2. Which basic weave (plain twill or satin) is strongest?
A. Plain
B. Twill
C. Satin

3. Which basic weave (plain twill or satin) is shiniest?
A. Plain
B. Twill
C. Satin

4. Which basic weave (plain twill or satin) snags the most?
A. Plain
B. Twill
C. Satin

5. Which basic weave (plain twill or satin) wrinkles the most?
A. Plain
B. Twill
C. Satin

18 PSP eBook | Woven Fabric Structure and Design

6. Which basic weave (plain twill or satin) is easiest identified with diagonal
lines on the surface?
A. Plain
B. Twill
C. Satin

7. Minimum how many frames are required for producing plane fabrics?
A. 2
B. 3
C. 4

8. What do you mean by Primary motion of a weaving machine?
A. Shedding, picking and beat-up
B. Shedding and picking
C. Picking and beat-up

9. Minimum how many frames are required for producing of twill fabrics?
A. 2
B. 3
C. 4

10. What do we mean by Secondary motion of a weaving machine?
A. Shedding
B. Picking
C. Let-off motion

2CHAPTER PSP eBook | Woven Fabric Structure and Design 19

WEAVING PLAN

2.1 Introduction

Weaving plan is a full layout of warp yarn and weft yarn position in a weaving machine as a
form of instruction to construct a woven fabric. It is a plan to indicate synchronization
between machine mechanism involve. Therefore, the movement between warp yarns and
weft yarns can be controlled sequentially according to the design. The weaving plan is not
only an instruction towards the machine movement, but it also affects on the fabric’s
aesthetic and properties.

2.2 Weave Representation Method

The design of fabric weave can be represented by determining the position of warp yarn and
weft yarn. The formation of the interlacement between warp yarn and weft yarn is only either
the warp yarn on top of the weft yarn or vice versa. Therefore, the bearings of both yarns are
divided into warp overlap and weft overlap. Figure 2.1 shows example the position for warp
and weft yarn on side view at warp and weft direction according to the design paper. The
warp overlap happens when warp is over weft and occurs when warp yarn is lifted (performed
by harness in weaving machine) and the weft yarn is inserted below the warp yarn. To obtain
weft overlap is to gain weft yarn over warp yarn by lowering the warp yarn while the weft
yarn is inserted above the warp yarn.

Figure 2.1 Representation of warp yarn and weft yarn position

20 PSP eBook | Woven Fabric Structure and Design

Normally, there are two different methods in weave representation for warp and weft yarn:
a. Linear method
The simplest method but seldom use by the designer as it needs only to draw vertical
line representing warp yarn and horizontal line for weft yarn. The point of intersection
between horizontal line and vertical line indicates the occurrence of overlap between
the warp yarn and the weft yarn. The intersection lines corresponding to a warp overlap
is marked by a X mark or by a dot and the point of intersection corresponding to a weft
overlap remains unmarked. Figure 2.2 shows the linear method.

Figure 2.2 Linear Method
b. Canvas method

In the canvas method, a design paper or a squared paper is used whereas each vertical
square space represents a warp yarn, and each horizontal square space represents weft
yarn. Each intersection between warp yarn and weft yarn is shown through every
square. The warp overlap is indicated by either “X” mark or shaded, or some used digit
1 while the weft overlap represented by blank square or digit 0. The representation of
digit 1 and 0 has produced a matrix which is suitable for the computer as shown in
figure 2.3.

Figure 2.3 (a) Canvas Method using Square Paper (b) Canvas Method using Digit 1/0

PSP eBook | Woven Fabric Structure and Design 21

2.3 Weave Repeat and Shift

The repeat of weave is a complete of element or the smallest in a fabric repeating pattern
and some called it as unit cell for certain textile field. In a design paper, only one repeat is
shown to avoid any confusion about the design. The repeat will be used as the basis to
construct the woven fabric of required size. In a repeat at vertical position is call warp repeat,
Rx while the horizontal position is weft repeat, Ry and it indicates the minimum number of
warp and weft yarn in each weave. In Figure 2.4, the minimal number of Rx and Ry on the
design paper are even which is four weft yarns and four warp yarns with both repeats is the
same as found on the actual fabric. However, the number of the repeat for Rx and Ry may be
even as the given example or it may be uneven depending upon on the weave design. Next,
the repetition will occur for the entire fabric.

Design

Rx - WaPrappreerpeat

Actual Woven Ry - Weft repeat

Fabric
Figure 2.4 A repeat from a weave design of basket 4/4

On the design paper for canvas method, there are several ways to get started as practiced by
most designers. However, for uniform representation it is advised to begin the construction
of the repeat from the point of intersection at the bottom left of the design paper. At this
point, it will be the first warp and the first weft yarn and the numbers continuously in
sequence according to the direction in vertical for Rx and horizontal for Ry as shown in Figure
2.5. In the Rx, the sequence for the first repeat is between warp yarn number 1 to number 7
and follow by repeat number 2 from warp yarn number 7 to number 14. The same condition

22 PSP eBook | Woven Fabric Structure and Design

occurs for Ry and it is being designated that the warp repeat, Rx equal to 7 while the weft
repeat, Ry is also 7. Therefore, the repeat size of the weave design for Sateen 7/3 is 7 X 7 and
normally only one repeat of a weave is sketched on the design paper.

14

13

12

11

10

9

8 Rx = 7
Ry = 7
7 123 Sx = 3

63 12

5 12 3

4 Ry 2 3 1

3 1 23

2 123

1

Starting Rx
point 1 2 3 4 5 6 7 8 9 10 11 12 13 14

Figure 2.5 Sateen 7/3

The shift is the move of a shaded square toward the next related shaded square, for example
in figure 2.5. The horizontal shaded square from warp and weft yarn number 1 is shifted to
warp number 4 and weft number 2 and the number of shifts, Sx = 3 for the whole repeat. The
shift can be 0, 1, 2, 3, etc. and fundamental weave normally is a constant shift with Sx = 1
while other kind of design has various of shifts. Some of the designs may be positive or
negative depending on the counting direction either from left to right (positive shift) or right
to left (negative shift) as shown in figure 2.6.

PSP eBook | Woven Fabric Structure and Design 23

+Sx -Sx
-Sy X X -Sy

+Sy X X +Sy
+Sx -Sx

Figure 2.6 Positive and negative of shift direction.

2.4 Elements of a Weaving Plan

The elements in a weaving plan consists of weave design, draft or drawing plan, lifting plan
and denting plan. The weave design will be discussed in chapter three which covers a major
part in the construction of fabric structure. Each element has its own parts in constructing the
working layout so it can synchronize with the weaving machine in producing the woven fabric.
Weave design, draft and lifting plan are dependent on one another but knowing any two of
these elements can construct complete weaving plan.

2.4.1 Draft

Draft or drawing plan is an indicator or a mapping for the position of warp yarns through the
sequence of the healds eye and the number of heald frame or heald shaft for the purpose of
ups and downs movement in one repeat. By raising and lowering the heald frames, a shedding
motion of two layers of warp yarns is introduced for the purpose of weft yarn insertion. This
movement according to the drawing plan will form the weave as being planned in the design.
Figure 2.7 shows the position of warp yarn through heald eyes on a set of harness and to the
reed dent. Each heald shaft contains a big number of healds and each heald has eye. Hence,
the warp yarn can pass through it where the ends are needed in raising position the yarn is
lifted due to the upward movement of heald shaft. The entering of warp yarn into the drop

24 PSP eBook | Woven Fabric Structure and Design

wire, healds eye and reed are done in a drawing-in process. It is done before the weaving
process according to the drawing plan.

Figure 2.7 Drawing-in process
The selection of the draft is according to the weave design and normally it is constructed by
using design paper. Figure 2.8 is an example of a draft where the horizontal square with “X”
mark represents the heald frames or heald shaft number 1 and 2 and the vertical squares
represents the warp yarns. The “X” marks inside the square of intersection between the
vertical and horizontal square indicate the selected shaft with the drawn ends. The number
of warp repeat, RX = 2 and the total draft, Rd = 2 and the thick line is the first repetition and
the others are next repetition. Usually, the weave design and the draft only shown one repeat
in a design paper and being interpreted as:

a. Rd = RX
(Except for draft with many healds to avoid friction between yarns such as skip draft)

b. The bottom part with left side square is the first draft and the numbering start from left
to right.

c. The first shaft is the nearest to the reed.

PSP eBook | Woven Fabric Structure and Design 25

Rd = Total draft
RX = Warp repeat

Figure 2.8 Drawing plan according to weave design Plain 1/1

Draft has several different types and it can be classified as:
i. Straight draft
The most common and simplest draft used for most of the weave design. The sequence
of the yarn begins by referring the weave design, the first warp yarn is drawn onto the
first shaft, the second warp yarn on the second shaft, the third warp yarn on the third
shaft, and so on successively until it reaches the last shaft. Next, the marking is repeated
on the second repeat, and so on. The number of draft repeats, Rd equal to the number
of warp repeat, RX. Figure 2.9 shows example of straight draft.

4 XXX
3X X X
2X X X
1X X X

Rd

Rd = Total draft

Figure 2.9 Straight draft

ii. Skip draft
It is suitable for the use of large amount of warp yarns (high density fabric). The number
of shaft, Ns can be two times or more than the, Rx and it can be sorted into group. The
reason is to reduce the quantity of the healds in each shaft to avoid serious friction
between warp yarns or between warp yarns and healds. Figure 2.10 shows a skip draft
being applied for weave design plain 1/1. The shafts are divided into two groups and
each group has three shafts. The number of Rx is 2 and it needs three repetitions to

26 PSP eBook | Woven Fabric Structure and Design

complete the Rd which is 6. The first group consists of odd number yarns which are 1, 3
and 5. While the second group consists of even number warp yarn 2, 4 and 6. It means
that the first warp yarn is drawn on the first group at the first shaft and the second warp
yarn is on the second group at the first shaft and it continues alternately.

Group 2 Rd = 6
Ns = 6
6X
Group 1 5X
4X
3X
2X
1X

Rd = Total draft
Ns = Number of shaft
Rx = Warp repeat

123456

Rx = 2
Figure 2.10 Skip draft with plain weave

The total warp yarns have been reduced on its compactness as the total number of
warp yarn for each shaft has been divided into group with alternating arrangement.
Figure 2.9 is for plain weave with total number of shafts are six and if for example a
total number of warp yarn in fabric per cm is 60, it is distributed alternately into 10
warp yarns per cm for each shaft. Shaft number 1, 2 and 3 are lifted into first layer of
shedding while 4, 5 and 6 forming the second layer. Compare to minimal shaft of plain
is two, therefore each shaft will have 30 warp yarns per cm. The compactness in this
situation will cause friction between yarns or yarns with healds and it may impossible
to weave.

PSP eBook | Woven Fabric Structure and Design 27

iii. Pointed draft
Pointed draft or V draft is similar with straight draft but the difference is it has a reversed
position when it reaches half warp repeat. It is suitable for symmetrical weave design
such as honeycomb, pointed twill and diamond weave which impossible for straight
draft to be applied. The point of reversal is on the first and last shaft as the straight draft
then it starts to reverse by considering Ns = Rx/2 + 1. As for figure 2.11, the Ns = 8/2 + 1
= 5 shaft and the point of reversal is on shaft number 5 as the last shaft and it reaches
the last Rx.

Rd

5X

4 XX

Ns 3 X X
2 X X

1X

8 Rd = Total draft
7 Ns = Number of shaft
6 Rx = Warp repeat
Ry 5 Ry = Weft repeat
4
3
2
1

12345678
Rx

Figure 2.11 Pointed draft with honeycomb weave

28 PSP eBook | Woven Fabric Structure and Design

iv. Broken draft
A broken draft is considered as a draft that has been modified from pointed draft. The
difference is the exchange point which is broken whereas the direction either the same
as the starting point or in reversal position for the next group. The reversed part cannot
be started on the first or the last shaft. The number of the warp yarns for the next group
must be lower or higher of the preceding group, as shown in figure 2.12. The number of
warp yarn before it reverses is 4 which is warp number 5, 6, 7 and 8 and the number of
the next group is 2 (warp number 9 and 10). Therefore, it will break the axis of symmetry
as required in the design and the position is opposite to the preceding group. This kind
of draft is normally being used for weave design such as, herringbone twills, diaper
design, etc.

Rd

4 X XX X

Ns 3 X X X X Rd = Total draft
2 X X X Ns = Number of shafts
X Rx = Warp repeat
Ry = Weft repeat
1X X XX

8 9 10 11 12 13 14 15 16
7
6 Rx
5
Ry
4
3
2
1

12345678

Figure 2.12 Broken draft with waved twill

PSP eBook | Woven Fabric Structure and Design 29

v. Divided draft
This draft is used purposely for weave design with two sets of warp yarn, such as pile
weave, double warp weave, derived weave, etc. Figure 2.12 shows a double weave with
two sets of warp yarn with Ns = 8 shafts divided into two groups. The first group is for
shaft number 1 to 4 is for top layer fabric (face) while the second group is shaft number
5 to 8 for bottom layer fabric (back). The type of draft for each group depends on the
suitability of the weave design. Figure 2.13 it uses straight draft for each group.

8X X

7X X

6X X

5X X

4X X

3X X
2X X
1X X

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Figure 2.13 Divided draft

vi. Grouped draft
This draft is used for producing check and stripe design with combination of different
weave design. In figure 2.14, the draft of Ns = 6 is used to produce check design with
combination of plain 1/1 and twill 3/1 weave design. It has 2 different checks with 4
warp yarn at each stripe and the total Rd = 8. The weave of the first check need 2 shaft
(1 and 2) while the second check required 4 shaft (3, 4, 5 and 6), both used straight draft.

30 PSP eBook | Woven Fabric Structure and Design

Rd

6X

5X

4X

Ns 3 X

2X X

1X X

Rd = Total draft
Ns = Number of shaft
Rx = Warp repeat

12345678
Rx

Figure 2.14 Grouped draft with stripe design

vii. Curved draft
This draft usually applied in fancy weave with large number of warp repeat. It is an
irregular draft and cannot specifically classified as it needs a specific instruction from
the designer. Figure 2.15 is an example of curved draft which is used to create a curve
represented in a fabric.

8 XXXX

7 XX XX

6 XX XX

5X X

4X X

3X X

2 XX XX

1XX XX

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26

Figure 2.15 Curved draft

PSP eBook | Woven Fabric Structure and Design 31

viii. Combined draft
This draft used two or more drafts combined in one draft to produce certain type of
weave design such as straight draft with skip draft, grouped draft and divided draft, etc.
Practically, it is complicated to combine several drafts into one draft. Usually this is
made only for economic and technological purpose.

2.4.2 Lifting plan

Lifting plan is a form of instruction towards the set of shafts to perform lifting movement in a
weave construction. The position of the lifting plan depends on the position of the lifting
mechanism mounted on the weaving frame. However, most designers prefer to locate the
lifting plan on the right side if the information position is not included. The condition of lifting
plan has the intersection between horizontal and vertical square with “X” mark and blank
mark. The “X” mark is an indication for the selected shaft to be lifted forming an open shed.

4 DRAFT X LIFTING PLAN 4

3 X XX 3
Ns 2 X
XX HORIZONTAL
1 X
XX 2 SQUARE

XX 1

1234

VERTICAL
SQUARE

4 Rd = Total draft
3 Ns = Number of shafts
Ry 2 Rx = Warp repeat
Ry = Weft repeat
1
1 23 4
Rx

WEAVE DESIGN
Figure 2.16 Lifting plan on right position

32 PSP eBook | Woven Fabric Structure and Design

Figure 2.16 shows an example of lifting plan on the right position for design of Twill 2/2 with
straight draft. The total number of vertical squares in lifting plan is equal to the number of
shedding formation in one weft repeat, Ry of the weave design. If there are 4 vertical square
means that there will be 4 shedding movements of 4 Ry. The total number of horizontal
squares in lifting plan is equal to the number of Ns in the draft as it is the order of the lifting
plan towards the shaft in the draft. For example, the vertical square number 1 shows the “X”
marks in horizontal space number 1 and 4. This means that during the first pick insertion or
the first shedding formation (Ry number 1) the shaft number 1 and 4 will be lifted while shaft
number 2 and 3 are at rest. The order of lifting plan continues until it reaches for one repeat.

The position of lifting plan in right side can also describe as in figure 2.16. In this method, the
position of the vertical and horizontal square in lifting plan difference in its combination
compare to lifting plan in figure 2.16. The vertical squares in lifting plan is equal with the
number of horizontal squares in draft. An additional element with black dot is needed for
each vertical square as its route in lifting plan towards the horizontal square in draft.
Meanwhile, some designers used arrows showing the route of the vertical square in lifting
plan. The total numbers of horizontal square in lifting plan is equal to the number of shedding
formation in one Ry of the weave design.

PSP eBook | Woven Fabric Structure and Design 33

DRAFT ADDITIONAL
ELEMENT

4X 4
3
3 X 2
Ns 2 X 1

1X

4 X X4

3 Rd = Total draft XX 3
Ry 2 Ns = Number of shafts XX
Rx = Warp repeat HORIZONTAL
1 Ry = Weft repeat
2 SQUARE

X X1

1234 1234
Rx
VERTICAL
WEAVE DESIGN SQUARE

LIFTING PLAN

Figure 2.17 Lifting plan at the bottom right position

For example, in figure 2.17 the arrangement of “X” mark in the horizontal space number 1 is
same with the shaded square of Ry number 1 or the first shedding formation. It means that
the first horizontal square Ry has “X” mark number 1 and 4, therefore following the route with
the black dot showing the draft number 1 and 4 will be lifted. This will lift the warp yarn
number 1 and 4 as shown in shaded square and lowered warp yarn number 2 and 3 with blank
square of the first pick insertion or Ry number 1. The next order in horizontal square number
2 of lifting plan is the “X” mark at number 1 and 2 which Ns number 1 and 2 will be lifted. The
shaded square of Ry number 2 is located at number 1 and 2 which means that pick number 2
will going through lifted warp yarn number 1 and 2 while number 3 and 4 are lowered and so
on. Most of the method are used for large repeat.

34 PSP eBook | Woven Fabric Structure and Design

The lifting plan can be in the left position of the weaving machine as being used to position
dobby shedding mechanism. Figure 2.18 shows an example of lifting plan on left position. The
sequence of the number for the vertical square in lifting plan is done from right to left whereas
the first number located to the nearest to the draft. The vertical square in lifting plan is equal
to total number of Ry. In figure 2.18, there are 2 “X” marks in the first vertical square which
are at horizontal square 1 and 2. At Ry = 1, the shaft Ns 1 and 2 are lifted while 3, 4, 5 and 6
are lowered. Therefore, the number of 1, 2 and 10 of Rx are raised forming the upper layer of
the shedding while the first pick inserts under the upper layer of warp yarns. This is following
the weave design as the shaded square is at number 1, 2 and 10. The next order in the lifting
plan and the upward and downward movement in draft with shedding and pick insertion
occur in sequence.

LIFTING PLAN DRAFT

6XX X6

5 XX XX 5

VERTICAL 4 XX X X 4
SQUARE 3 XX X X
3 Ns

2 XX X X2

1X X X1

654321

HORIZONTAL
SQUARE

6

5

Ry 4

3
2
1

1 2 3 4 5 6 7 8 9 10

Rx

WEAVE DESIGN

Figure 2.18 Lifting plan on left position N
Ns

s

PSP eBook | Woven Fabric Structure and Design 35

2.4.3 Denting Plan

The denting plan is the order of the total number of warp yarn or ends inserted through the
dents of reed. Figure 2.19 shows the regular denting plan in most of the canvas method.
Normally, the total number of warp yarn inserted in the dent as one, two, three and four
ends per dent. However, two ends per dent were most frequently used in the fabric
construction. The position of the “X” mark as the end and the dent separated by alternate
position. However, some types of fabric may require irregular type of denting arrangement
such as in figure 2.19 (e). The number of ends is 2 ends per dent, 3 ends per dent and 2 ends
per dent in one repeat of weave design.

XXXX XX X XXX
(a) X XXX

(b) (c)

XXXX XXX
XXXX
XX XX
(d)
(e)

Figure 2.19 Denting plan of regular dent; (a) 1 end/dent (b) 2ends/dent (c) 3 ends/dent and (d) 4
ends/dent and Irregular dent; (e) 2/3/2 ends per dent

The number of dents denotes the number of ends per cm or per inch which indicates the
density of the warp yarns in the fabric. Normally in weaving plan, the denting plan is separate
from the weaving plan, but some designers will include it as shown in figure 2.20.

36 PSP eBook | Woven Fabric Structure and Design

DRAFT LIFTING PLAN
4X
3X X X4
2X
1X XXX X 3

X XXX2

XX XXX X1

12345678

8 WEAVE DESIGN
7
6
5
4
3
2
1

1234

XX
XX

1234
DENTING PLAN

Figure 2.20 Denting plan included in weaving plan

2.5 Weaving Plan Construction

The construction of weaving plan depends on the elements of weave design, draft, lifting plan
and denting plan but most designers will skip the element of denting plan. Each of the three
elements is dependable on one another and weaving plan can be constructed if there are two
elements are known. If only weave design is given, designer should select the suitable type of

PSP eBook | Woven Fabric Structure and Design 37

draft and lifting plan to be constructed. There are few tips to be considered during selecting
the type of draft:

a. Make sure that the draft is according to the weave design and if the draft repeat is
cannot less than the warp repeat (Rx), it should be equals with it.

b. Determining the minimal total number of shaft considered the weave design as shown
in figure 2.21. An example of weave design of Twill 3/3, therefore the repeat size is (3 +
3) = 6 X 6 whereas the similar weave design (thick line square is the first repeat) is
identified and being located at the same shaft as pointed through the arrows. The total
shaft for this design is 6 shaft and the position of warp yarn in each number of shaft is
determined in table 2.1.

c. As the number of warp yarns with different interlacing equal to 6 shaft which should not
less than the warp repeat, it is possible to use straight draft.

Ns 6 2 34 5 6 1 2 3 4 5 6
Ns 5
Ns 4
Ns 3
Ns 2
Ns 1

1
12
11
10

9
8
7

6
5
4
3
2
1

1 2 3 4 5 6 7 8 9 10 11 12

Figure 2.21 Twill 3/3 design with arrow pointing the position of shaft number.

38 PSP eBook | Woven Fabric Structure and Design

Table 2.1 Determining the numbers of shafts according to different interlacing of warp yarn

Number of warp yarn Number of shaft

1 and 7 1

2 and 8 2

3 and 9 3

4 and 10 4

5 and 11 5

6 and 12 6

d. Figure 2.22 shows a weave design which uses draft with less than the total number
of warp yarns in a repeat.

Ns 4
Ns 3
Ns 2
Ns 1

8
7
6
5
4
3
2
1

12345678
Figure 2.22 Crepe weave design with arrow pointing the position of shaft number.

Table 2.2 Determining the numbers of shafts for crepe weave design

Number of warp yarn Number of shaft

1 and 6 1

2 and 5 2

3 and 8 3

4 and 7 4

PSP eBook | Woven Fabric Structure and Design 39

e. In actual condition, each shaft on the weaving machine will have different heights of
lifting to gain a clear shedding (figure 2.23). The adjustment on the maximum height of
each shaft depends on the distance between the shaft and the fabric fell. Keep in mind
that to produce an even shed path, the greater the distance of the shaft, the greater the
height of lifting which indirectly will produce high tension towards the warp yarns.
Therefore, consideration on the front shaft which received the lowest tension on the
warp yarn usually is use for warp yarns with frequent interlace, low breaking strength
or warp yarn with biggest number if the distribution is not equal.

Figure 2.23 Warp tension on a clear shed

The next step is to determine the position of “X” mark on the lifting plan. The “X” mark
indicates that the shaft is lifted with the selected warp yarn forming a path of shedding. Figure
2.24 shows example from the weave design of Twill 3/3. In order to lift the warp yarn, the “X”
needs to be marked on the square of the lifting plan towards the corresponding shaft
according to the steps below:

a. The warp repeat is 6 and the shaft is determined as a straight draft with 6 shafts.
b. The order of the lifting plan is accordance to the warp overlap in the weave design.

40 PSP eBook | Woven Fabric Structure and Design

c. The warp overlap (shaded square) on the first pick occur on the warp number 1, 5 and
6. Therefore, to lift the selected warp yarn, shaft number, Ns 1, 5 and 6 need to be lifted

d. So, the order on the lifting plan begins from vertical square number 1 with the “X” mark
on the horizontal square number 1, 5 and 6.

e. The next step is to refer on table 2.3.

6X XX X6
5X
4X X XX5
3X
2X XXX4
1X
XXX 3

XXX 2

XXX 1

123456

6
5
4
3
2
1

123456
Figure 2.24 Weaving plan for Twill 3/3

PSP eBook | Woven Fabric Structure and Design 41

Table 2.3 The position of “X” mark on lifting plan for Twill 3/3

Pick Warp Overlap Shaft Lifting Plan

Number Number Number Vertical Square Number Horizontal Square

number

1 1, 5 and 6 1, 5 and 6 1 1, 5 and 6

2 1, 2 and 6 1, 2 and 6 2 1, 2 and 6

3 1, 2 and 3 1, 2 and 3 3 1, 2 and 3

4 2, 3 and 4 2, 3 and 4 4 2, 3 and 4

5 3, 4 and 5 3, 4 and 5 5 3, 4 and 5

6 4, 5 and 6 4, 5 and 6 6 4, 5 and 6

Example on figure 2.25 can be refer on table 2.4.

4 XX X XX 4

3X X XX X 3

2X X XX X2

1X X X X X1

12345678

8
7
6
5
4
3
2
1

12345678
Figure 2.25 Weaving plan for crepe weave design.

42 PSP eBook | Woven Fabric Structure and Design

Table 2.4 The position of “X” mark on lifting plan for Crepe Weave

Pick Warp Overlap Shaft Lifting Plan

Number Number Number Vertical Square Number Horizontal Square

number

1 3, 4, 7 and 8 3 and 4 1 3 and 4

2 3 and 8 3 2 3

3 1, 2, 5 and 6 1 and 2 3 1 and 2

4 2 and 5 2 4 2

5 3, 4, 7 and 8 3 and 4 5 3 and 4

6 4 and 7 4 6 4

7 1, 2, 5 and 6 1 and 2 7 1 and 2

8 1 and 6 1 8 1

PSP eBook | Woven Fabric Structure and Design 43

Tutorial 2A

Draft plan is classified by various types. Name eight (8) drafts based on the given
diagram below.