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Understanding Satin Weave Structures

Weaving involves the interlacing of warp and weft yarns at 90 degree angles to form fabric. There are an unlimited number of interlacement patterns (weave designs) that determine the structure and appearance of woven fabrics. Drawing-in is the process of manually or automatically threading the warp yarns through the heddles and reed of a loom when starting a new fabric style. Common basic weave designs include plain weave, twill weave, and satin weave. Plain weave has the warp and weft yarns alternating over and under each other, while twill weave produces diagonal lines and satin weave features long floats of warp or weft yarns

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Shahan Akhtar
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403 views7 pages

Understanding Satin Weave Structures

Weaving involves the interlacing of warp and weft yarns at 90 degree angles to form fabric. There are an unlimited number of interlacement patterns (weave designs) that determine the structure and appearance of woven fabrics. Drawing-in is the process of manually or automatically threading the warp yarns through the heddles and reed of a loom when starting a new fabric style. Common basic weave designs include plain weave, twill weave, and satin weave. Plain weave has the warp and weft yarns alternating over and under each other, while twill weave produces diagonal lines and satin weave features long floats of warp or weft yarns

Uploaded by

Shahan Akhtar
Copyright
© All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd
  • Introduction
  • Drawing In
  • Basic Weave Designs
  • Weave Properties and Types
  • Satin Weave and Fabric Properties
  • Face and Back of Woven Fabric
  • Distinguish Warp and Weft

Introduction

Weaving is the interlacement of warp and weft yarns at 90 degree


Weave Design
 The sequence of interlacement of two sets of yarns (Warp and weft)

Structure and Appearance

 Unlimited number of interlacement pattern (weave designs)


In woven fabric’s, yarns interlacement is at 90
Warp yarns/ends
length wise through fabric
Weft yarns/picks/filling
width wise through fabric
Interlacing order, depends
Warp yarns through healed wires, DID
Order of lifting the frames, Peg Plan
Weave Repeat
 Minimum number of warp and weft needed to identify the weave structure completely.
Weave Diagram (Symbolic Representation)
Weave Diagram
 Columns: Warp/ends
 Rows: Weft/picks
Numbering
Ends: from left to right
Picks: from bottom to top
1 Square = 1 intersection of 1 end & 1 pick
Intersection
 Warp over weft : square is filled or marked X
 Weft over warp : square is empty or marked .
Drawing In
Drawing-in is the entering of yarns from a new warp into the weaving elements of a weaving
machine, namely drop wires, heddles and reed, when starting up a new fabric style.

In the manual mode of drawing-in, one person sorts the warp and the other draws it through from
the other side. 

(A drop wire is a narrow metal sheet that that is hung in the air by the tensioned warp yarn. If the
warp yarn is broken or slacken(loose), then the drop wire drops and touches a metal bar. After
drop wire, the warp yarn goes through the heddle eye (there is only one warp yarn per heddle
eye). This is done according to a plan called drawing-in-draft. Then the yarn is threaded through
the reed spaces. A reed space is the opening between two dents (metal) in a reed. In general, one,
two or three warp yarns are passed one reed space. The reed plan specifies the number of yarns
per reed spaces. )

 Preparation of the sized warp beam to be placed on the weaving machine (loom).
 Entering of the (new) warp yarns, when starting a new fabric style, into the weaving
elements of a loom i.e.
Drop wires
 Heald/heddle wires
 Reed
Manually, two persons one sorts the warp yarn
And other draws it from the opposite side
 Can be done automatically.
Tying-in:
After the depletion of a warp beam on the weaving machine, if there will be no change
in design, then the drawing-in process needs not be repeated. The ends old warp beam
(now a fabric beam) are cut and the ends of the of the new warp beam are tied to the
corresponding ends of the beam which is called tying-in process. Then, the warp ends
are pulled through the heddle eyes and reed until the knots are cleared.

 Tying in of the new warp ends to the depleted warp, when a new pattern is not required.
 Ends of old warp beam are cut and tied to the ends of new warp beam correspondingly
 Warp ends are then pulled through the heald wires, reed until knots are cleared.
 Speed of knotting m/c is from 60 – 600 knots per minute.
Basic Weave Designs
 Plain Weave
 Twill Weave
 Satin Weave

Plain weave derivatives

Warp Rib (regular/irregular)

Weft Rib (regular/irregular)

Matt Weave:

Plain weave properties


 It has the maximum number of binding points
 The threads interlace on alternate order of 1 up and 1 down
 The thread density is limited
 Cloth thickness and mass per unit area are limited.
 Maximum level of yarn crimp in structure due to 1/1 interlacement.
 It produces a relatively stronger fabric that is obtained by any other simple combination of
threads, excepting that of “gauze”or “cross weaving”.
 Plain weave finds extensive uses. It is used in cambric, muslin, blanket, canvas, dhothi,
saree, shirting, suiting, etc.

Twill weave
 Warp faced twill 3/1
 Weft faced twill 1/3
Twill Weave Properties
 They form diagonal lines from one
selvedge to another.
 More ends per unit area and
picks per unit area than plain cloth.
 Less binding points than plain cloth.
 More cloth thickness and mass per unit area.
Types
 Ordinary or continuous twills, S or Z
 Zig zag , pointed or wavy twills
 Combination twills
 Broken twills
 Figured and other related twill weaves
 Plain Weave
Each weft yarn goes alternately over and under one warp yarn. Each warp yarn goes alternately over and under each weft yarn. Some
examples of plain weave fabrics are crepe, taffeta, organdy and muslin. The plain weave may also have variations including the following:

 Rib weave: the filling yarns are larger in diameter than the warp yarns. A rib weave produces fabrics in which fewer yarns per
square centimeter are visible on the surface.
 Matt Weave or Basket weave: Here, two or more yarns are used in both the warp and filling direction. These groups of yarns
are woven as one, producing a basket effect.
 Basket weave is the amplification in height and width of plain weave. Two or more yarns have to be lifted or lowered over or under
two or more picks for each plain weave point. When the groups of yarns are equal, the basket weave is termed regular, otherwise it is termed
irregular.
Twill weave: Also known as twill fabric, the threads in a twill weave run in a ribbed diagonal pattern. When weaving twill, the
weft thread (the horizontal thread) is woven over one or more warp threads (the vertical thread held taught on a loom) and then under one
or more warp threads.
Satin weave: Satin weave features four or more weft threads going over one warp thread, or the opposite: four or more warp
threads going over a weft thread. This type of woven fabric has four or more weft yarns floating over a warp yarn, or vice versa. 

SAT ↑ N SATEEN
e/in>p/in p/in>e/in

A) is 4 end satin-irregular (with no fix pattern) and the design


(B) is 5 end satin-regular with a move no. of 3.
Satin/Sateen weave properties
 Satin is a warp faced
 Sateen is a weft faced
 They are either warp or weft faced weaves.
 Have no prominent weave structures.
 Only one binding point in each end or pick.
 No continuous twill lines.
 Have poor seam strength due to thread mobility.
 More thread density is possible in warp and weft.
 More mass per unit area is possible.
 Have less binding points and more float lengths.
 Use of move numbers (intervals of selection) is necessary to construct these weaves.

Face and back of woven fabric


In defining which is the face or back of woven fabric, it is mainly according to the type of
material, yarn count, arranging of yarn, dyeing and printing, weave pattern, finishing effect.
Typical for fabric surface (face) are:
 Smoother and lustrous.
 Soft handle.
 The face with solid jacquard pattern, pattern weave or printed design.
 In satin and twill weaves, warp float will be on face.
 In fancy weaves, the design may be clear on the front but not the back.
 Fabric with special effects, the effects usually appears on the face.
 While in case of fabric back, knots and imperfections usually appear on the back.

Distinguish of Warp and Weft

Warp Weft
Yarns Yarns
1. Run parallel to the selvedge. 1. Run perpendicular to the selvedge.
2. Usually thinner. 2. May be bulkier.
3. Usually stronger. 3. May be weaker.
4. Usually have more twist. 4. May have less twist.
5. In an unbalanced weave, are 5. In an unbalanced weave, are usually
usually greater in number. fewer in number.
6. Are usually straighter and more 6. Fancy or special-function yarns are
parallel than filling yarns. usually in the filling direction.
7. If both filament and staple yarns are 7. If both filament and staple yarns are
used in one fabric, the filament yarns used in one fabric, the staple yarns
are usually the warp yarns. are usually the filling yarns.
8. Usually Sized. 8. No sizing.
9. End spacing is more uniform. 9. Pick spacing is more irregular.
10. Higher tension. 10. Lower tension
11. Fabric crimp is usually less for warp 11. Fabric crimp is usually greater for
yarn. filling yarn.

Common questions

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Plain weave involves the basic interlacement of warp and weft yarns in an alternating pattern, creating fabrics with maximum binding points, leading to limited thread density and fabric thickness . In contrast, satin weaves are characterized by longer float lengths, with four or more weft threads floating over a warp or vice versa, resulting in a smoother face and higher density . This structural difference makes plain weaves more durable and commonly used for strong fabrics like canvas and muslin, whereas satin weaves are utilized for fabrics where a smooth, lustrous finish is desired.

Twill weave is characterized by diagonal lines across the fabric, more end and pick density, and fewer binding points compared to plain weave, providing thicker and heavier fabrics . Unlike the even interlacement in plain weave, twill weave's design allows for distinct front and back sides, similar to satin, but with pronounced lines rather than a smooth finish . This makes twill ideal for applications like denim and work clothes due to its durability and distinctive appearance .

In satin weaves, fill yarns, due to their lower tension compared to warp yarns, extend over multiple warp yarns, creating longer float lengths that result in a lustrous, smooth fabric surface and increased fabric density . These properties are crucial for the distinct appearance and luxurious feel of satin fabrics, but at the cost of reduced seam strength and increased susceptibility to snagging, making it ideal for aesthetics-focused applications like formal wear and luxury goods.

The reed plan determines the distribution of warp yarns across the reed spaces, critically affecting yarn density and the uniformity of fabric texture . Proper reed spacing ensures even distribution, contributing to fabric strength and symmetrical patterns. Incorrect spacing can lead to variations in texture and stability, impacting the fabric's functionality and aesthetic appeal, thus making it a crucial aspect of the weaving process that affects both efficiency and outcome.

Tying-in involves connecting new warp yarns to the depleted ones on a weaving machine, which allows the continuation of production without needing a complete rethreading . This process is crucial for maintaining production efficiency—especially when the weaving pattern doesn't change—by minimizing downtime and ensuring consistent tension and alignment in the warp, thereby maintaining fabric quality .

Warp rib variations, which involve altering the diameter of the filling yarns within the plain weave context, lead to fabrics with pronounced vertical ribs and a stiffer handle . These variations impact fabric performance by increasing visual texture and surface interest, while potentially affecting drape and flexibility. The production may result in increased yarn consumption due to additional fabric thickness, impacting costs and influencing fabric suitability for applications demanding durability and design variation.

Warp yarns are under higher tension than weft yarns, leading to greater strength and straighter, more consistently spaced yarns . This increased tension in warp yarns results in less crimp compared to weft yarns, contributing to the fabric's durability and serviceability . The lower tension on weft yarns allows for greater flexibility and the potential for introducing design elements via yarn variation, impacting fabric texture and appearance.

Identifying the face and back of woven fabrics is crucial as it affects aesthetic applications and practical uses in design and manufacturing. The face typically exhibits smoother, more lustrous finishes, often used for patterns and prints visible during wear . Conversely, the back is where construction imperfections and knots often appear. In textile design, utilizing the face for presentation optimizes visual impact, while understanding these roles informs fabric treatment processes and quality control, influencing the overall design integrity and user satisfaction.

Drawing-in involves threading warp yarns through the weaving elements of a loom, such as drop wires, heddles, and reeds, when starting a new fabric style, which is crucial for setting up the loom correctly . This process, whether done manually or automatically, affects production efficiency significantly—inaccuracy or misalignment can lead to defects and machine stoppages . Accurate drawing-in ensures consistency in fabric quality and machine uptime, directly impacting overall production efficiency and cost.

Basket weave, a variation of plain weave, employs two or more warp and weft yarns treated as a single group to create a distinct basket-like texture . This weave increases fabric flexibility and provides a more textured appearance than the smooth finish of plain weave. However, it may be less strong due to fewer intersection points and is often used for decorative or less structural applications, contrasting with the durability and utility of traditional plain weaves like muslin or canvas.

Introduction Weaving is the interlacement of warp and weft yarns at 90 degree Weave Design The sequence of interlacement of
Drawing In Drawing-in is the entering of yarns from a new warp into the weaving elements of a weaving machine, namely drop w
Basic Weave Designs Plain Weave Twill Weave Satin Weave Plain weave derivatives Warp Rib (regular/irregular) Weft Rib (reg
It produces a relatively stronger fabric that is obtained by any other simple combination of threads, excepting that of “ga
Satin weave: Satin weave features four or more weft threads going over one warp thread, or the opposite: four or more warp t
Satin/Sateen weave properties Satin is a warp faced Sateen is a weft faced They are either warp or weft faced weaves. Ha
1. Run parallel to the selvedge. 2. Usually thinner. 3. Usually stronger. 4. Usually have more twist. 5. In an unbalanced wea

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