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In this sheet we illustrate some weaves of warp and weft threads usually used for the
construction of traditional fabrics and in particular the fundamental weaves (weaves) from which
all the others derive. The graphic representation of the plots is carried out on graphed paper,
where the vertical rows of squares represent the warp threads while the horizontal rows indicate
the plots.
The appearance and feel of the fabric largely depend on the type of weaving.
It is possible to obtain different types of weaves by varying the lifting of the warp threads as they pass
wefts during the formation of the loom fabric.
A fabric with many interweaving points between warp and weft will have a more sustained feel
compact compared to a fabric with a smaller number of crossings. All this applies, of course, 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 graphed 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 square.
At the point in which the sequence of empty stitches and solid stitches is repeated perfectly both in the direction of the warp and the weft, we have the "ratio" of the weave or the number of threads and wefts that
perform a series of evolutions that is repeated a certain number of times throughout the fabric (see figures
A and B).
The illustrations below show the representation of the weaving on graphed and graphic paper
with the smallest number of warp threads and 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 “plain” or even “taffeta” (see figures 1 and 2).
A succession of solid stitches 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 bridles
plot.
If there are more empty stitches than full stitches in the weave ratio, you will have a "light" weave.
or by texture effect; otherwise (majority of solid points) you will have a fabric
“heavy” or by warp effect.
In some cases, when the representation on graphed paper is not sufficient 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).
We have warp profiles (fig. 5) when the evolution of the warp thread with respect to the wefts is visible
sectioned; the weft profiles instead show the evolution of the weft compared to the sectioned threads (fig. 6).
The fundamental weaves, in addition to the canvas (fig. 1 and 2), are the 3-gauge herringbone or twill (fig. 7) and the satin or
satin of 5 (fig. 8), from which all the other types of weaving derive through various techniques.
In satins with larger weave ratios (7 by 7, 8 by 8, etc.), the placement of the stitches occurs
according to very precise rules, as the distance between one point and another - called distance
– must always be regular.
Below are examples of weaves and design effects among the countless combinations
possible, some of which are derived from the fundamental plots.
After the sale of the machinery, we also assist you in logistics and, if desired by the customer, we have technicians capable of reassembling and starting up the machinery.
© 2024 All rights reserved
Project by UsedTextilemachines.eu
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