The article covers thoroughly about the basic structure of weaving and what are the different functionality of it. The opening of the article is really interesting and I think it relates to the essence of our discussion through the course.

The structure of a fabric or its weave is as much a determining factor in its function as is the choice of the raw material.

It is fascinating to learn that the simple interrelation of two can create a diverse pattern and structure, this also reminds me of our reading from last week. How the Gothic architecture starts with a simple undefined Rib and through bundling and extending, the action creates structure and configuration. Pattern creates form and the form is related to functionality, then the beauty and aesthetic just appears within the transformation.

Through this reading, I get to learn the basic knowledge behind weaving, but I am also interested to discover what I think after really trying out in the upcoming class. Thinking through making!


Note from reading:

3 fundamental weaving construction:

  • Plain weave
  • Twill weave
  • Satin weave

2 threads type:

  • Warp threads: threads group vertically or lengthwise; stationary in the process.
  • Filling threads: threads running horizontally or crosswise; in motion during the weaving.

Minimum set of warp and filling for construction:

  • Palin weave: 2
  • Twill weave: 3
  • Satin weave: 5

 

Basic-weave-types-a-plain-weave-b-twill-weave-and-c-eight-harness-satin-weave

 

Warp + Weft/ Filling/ Woof/ Pick
Weaver for the most part deals with the filling threads which explain why it has more term.

Live within the limits.
Acceptance of limitations, as a framework rather than as a hindrance, is always proof of a productive mind.

A process reduced to just the essential allows for the broadest application.

Plain weave

  • Firm structure with solid rectangular shape.
  • Warp and weft appearing in equal measure and producing the same effect on the front and back.
  • Threads can not be pushed together very closely, so it appears perforated against light.
  • Most practical of all thread constructions and at the same time also the one most conducive to aesthetic elaborations.
  • Equal amounts and intersect visibly leads to the use of contrasting materials and colours.
  • Stripes, checked effects.
  • Tapestries, pictorial character. The problem of dealing with a mixture of warp and weft is overcome by deviating from the balance character and using disproportionately more filling. So the weft can be beaten together closely to cover up the warp threads and the filling becomes the sole agent of the surface.

Twill weave

  • Can be either balanced or unbalanced weave. It is unbalanced when either warp or filling is predominant.
  • Warp twill when warp prevails on the surface; Filling twill when there is more filling than warp.
  • Successive filling threads move over one warp thread or over a group of warp threads, progressively placing this thread or group of threads one warp thread to the right or to the left of the preceding one. Producing diagonal lines.
  • The proportion of warp and filling on the face of the fabric will be reversed.
  • The slant direction with the twist direction of the yarn influence the relief effect.
  • The angle of the slant varies with the relationship of warp to weft, regarding the size of the threads and the closeness of the setting. If they are equal, it will be 45°; if warp is thicker or more closely set than filling, the incline will be steeper; if warp is thinner or more loosely set than the filling, it will be more gradual.
  • With longer floating threads are softer and can be woven more closely. It is also more pliable and inclined to give way more easily to diagonal pull.

Satin weave

  • The opposite of the plain weave. The satin weave can only be unbalanced, can only produce a fabric different on either side, can show either warp or filling.
  • The farthest intersection within a given unit is chosen for a satin weave.
  • The long, floating threads allow them to be beaten together closely, so a uniform, smooth surface is achieved, lacking any obviously visible structural effects.
  • Stitchers: to discover the best position for the points of intersection of warp and weft. Ex: A unit of five threads. 5=2+3 → 1,3,5,2,4 or 1,4,2,5,3
  • The weaving can be highly glossy when executed in a lustrous material because of the homogeneous surface of either warp or weft, like silk satin.
  • Compare to the serviceable construction of plain weave, satin weave is a luxurious one.

 

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