Sunday, 16 August 2009

Fabric Parameters: Understanding the Basic Construction of Woven Fabric



Fabric Parameters: Understanding the Basic Construction of Woven Fabric

A woven fabric may look simple from the outside, but its behaviour is controlled by a few important constructional parameters. These parameters decide how compact, heavy, soft, firm, transparent, flexible, or durable a fabric will be. For a merchandiser, designer, weaver, buyer, or textile student, understanding these parameters is essential because they form the language through which fabric quality is described.

In woven fabrics, the most important basic parameters are ends per inch, picks per inch, yarn count, crimp, and weave structure. Apart from these, fabric weight, cover factor, and thickness are also important when one has to evaluate or compare fabrics technically.

Table of Contents

  1. Basic Woven Fabric Parameters
  2. Ends Per Inch and Picks Per Inch
  3. Yarn Count
  4. Crimp in Fabric
  5. Weave or Fabric Structure
  6. Fabric Weight
  7. Cover Factor
  8. Fabric Thickness
  9. Practical Importance for Merchandisers
  10. Related Reading
  11. General Disclaimer
Map of Basic Woven Fabric Parameters
Visual 1: Map showing how EPI, PPI, yarn count, crimp, weave, GSM, cover factor and thickness are connected.

1. Basic Woven Fabric Parameters

There are four basic constructional parameters that are essential for describing almost every woven fabric. These are ends per inch and picks per inch, yarn count used in warp and weft, crimp in warp and weft yarns, and weave or fabric structure.

These four parameters are interconnected. A change in one parameter usually affects the others. For example, if the EPI and PPI are increased without changing the yarn count, the fabric becomes more compact. If the yarn becomes coarser, the same construction may become heavier and stiffer. If the crimp changes, the fabric weight, handle, and dimensional behaviour may also change.

Parameter Meaning Practical Effect on Fabric
EPI Number of warp yarns per inch Affects width-wise density, cover, strength and appearance
PPI Number of weft yarns per inch Affects length-wise density, compactness and fabric feel
Yarn Count Fineness or coarseness of yarn Affects weight, thickness, drape and handle
Crimp Bending of yarn due to interlacement Affects cover, elongation, shrinkage and softness
Weave Arrangement of warp and weft Affects texture, strength, drape and surface effect

2. Ends Per Inch and Picks Per Inch

Ends per inch, or EPI, refers to the number of warp yarns present in one inch of fabric width. Picks per inch, or PPI, refers to the number of weft yarns present in one inch of fabric length. Together, EPI and PPI describe the thread density of the fabric.

The usual method of determining thread density is by using a pick glass or fabric counting glass. The fabric is placed under the glass, and the number of warp and weft threads in a fixed area is counted. In many fabric specifications, EPI and PPI are written together in the form:

\[ EPI \times PPI \]

For example, a fabric construction written as \(74 \times 66\) means that the fabric has 74 ends per inch and 66 picks per inch. This construction gives a first-level idea of how closely the fabric is woven, but it does not by itself explain the complete fabric character.

Practical note: EPI and PPI strongly influence fabric compactness, cover, appearance and weight. A loosely set fabric may feel open and breathable, while a densely set fabric may feel compact, firm and less transparent.

Balanced Construction

A fabric is sometimes called balanced when the number of warp yarns and weft yarns per inch are nearly equal. However, balance should not be judged only by EPI and PPI. Yarn count, yarn diameter, crimp and weave structure also influence whether a fabric behaves in a balanced manner.

For example, a fabric may have almost equal EPI and PPI, but if the warp yarn is much finer than the weft yarn, the fabric may not look or behave as truly balanced. Therefore, construction balance must be understood in relation to yarn size and fabric structure.

3. Yarn Count

Yarn count expresses the fineness or coarseness of yarn. In fabric construction, the yarn count of both warp and weft is important because it directly affects fabric weight, thickness, cover, strength and handle.

In the tex system, yarn count represents the weight in grams of 1000 metres of yarn. Therefore:

\[ Tex = \frac{\text{Weight in grams}}{\text{Length in metres}} \times 1000 \]

A higher tex value means a coarser or heavier yarn. A lower tex value means a finer yarn. If two fabrics have the same EPI and PPI but one uses coarser yarn, that fabric will generally be heavier, thicker and more compact.

Merchandising note: Fabric weight cannot be judged only by looking at EPI and PPI. Yarn count must also be checked because a fabric with fewer threads but coarser yarn may still be heavier than a fabric with more threads but finer yarn.
Effect of Yarn Count EPI and PPI on Fabric Compactness
Visual 2: Diagram showing how yarn count, EPI and PPI combine to influence fabric compactness and weight.

4. Crimp in Fabric

Crimp refers to the waviness or bending of yarn caused by interlacement with yarns running in the opposite direction. In a woven fabric, warp yarns pass over and under weft yarns, and weft yarns pass over and under warp yarns. Because of this interlacement, the yarn path inside the fabric is not straight.

Crimp is calculated by comparing the length of yarn removed from the fabric with the length of fabric from which it was removed. If \(L_y\) is the length of yarn after removal and straightening, and \(L_f\) is the original length of fabric, then:

\[ Crimp = \frac{L_y - L_f}{L_f} \]

When expressed as a percentage:

\[ Crimp\% = \frac{L_y - L_f}{L_f} \times 100 \]

For example, if a yarn is removed from 1 metre of fabric and its straightened length is 1.08 metres, then:

\[ Crimp\% = \frac{1.08 - 1.00}{1.00} \times 100 = 8\% \]

Crimp values commonly fall within a broad range depending on fabric type, yarn type, construction, tension and weave. In many woven fabrics, crimp may range from low single-digit values to higher values such as 10 percent or more.

Important clarification: The crimp formula without multiplication by 100 gives the crimp ratio. To express it as crimp percentage, the ratio should be multiplied by 100.

Why Crimp Matters

Crimp affects many fabric properties, including cover, thickness, softness, extensibility, shrinkage and hand feel. A fabric with higher crimp may feel fuller or softer, but it may also show higher dimensional changes during finishing or washing.

Crimp balance is also important. If the warp tension during weaving is high and the weft tension is low, the weft may develop more crimp while the warp remains comparatively straighter. Such imbalance can affect appearance, dimensional stability and wear behaviour.

5. Weave or Fabric Structure

Weave refers to the arrangement of warp and weft yarns in the fabric. It tells us how the warp and weft interlace with each other. The three fundamental weave families are plain weave, twill weave, and satin or sateen weave.

In plain weave, every warp yarn alternately passes over and under every weft yarn. This creates a firm and stable fabric structure. In twill weave, the interlacement pattern creates diagonal lines on the fabric surface. In satin and sateen weaves, longer floats create a smoother and often more lustrous surface.

The weave structure affects strength, drape, surface texture, abrasion behaviour, appearance and even the apparent compactness of the fabric. Therefore, two fabrics may have the same EPI, PPI and yarn count but behave differently because their weave structures are different.

6. Fabric Weight

Fabric weight is generally expressed as grams per square metre, or GSM. In a woven fabric, the total fabric weight is the sum of the weight contributed by warp yarns and weft yarns.

If \(W_1\) is the warp weight per square metre and \(W_2\) is the weft weight per square metre, then:

\[ Total\ Fabric\ Weight = W_1 + W_2 \]

Warp Weight Per Square Metre

The warp weight per square metre can be calculated as:

\[ W_1 = \left[n_1 \times 100 \times \frac{100 + C_1}{100}\right] \times \frac{N_1}{1000} \]

Where \(n_1\) is ends per cm, \(N_1\) is warp count in tex and \(C_1\) is warp crimp percentage.

Weft Weight Per Square Metre

Similarly, the weft weight per square metre can be calculated as:

\[ W_2 = \left[n_2 \times 100 \times \frac{100 + C_2}{100}\right] \times \frac{N_2}{1000} \]

Where \(n_2\) is picks per cm, \(N_2\) is weft count in tex and \(C_2\) is weft crimp percentage.

Piece Weight

Once the GSM is known, the weight of a fabric piece can be calculated as:

\[ Piece\ Weight = GSM \times Piece\ Length \times Piece\ Width \]

Here, length and width should be taken in metres. The final value will be in grams if GSM is used.

Example

Suppose a fabric is 120 metres long and 1.3 metres wide. It has 30 ends per cm of 12 tex warp and 24 picks per cm of 15 tex weft. The warp crimp is 5 percent and the weft crimp is 8 percent.

The fabric particulars can be written as:

\[ 30 \times 24;\ 12\ tex \times 15\ tex;\ 5\% \times 8\% \]

Warp weight per square metre:

\[ W_1 = \left[30 \times 100 \times \frac{105}{100}\right] \times \frac{12}{1000} \]

\[ W_1 = 37.8\ g/m^2 \]

Weft weight per square metre:

\[ W_2 = \left[24 \times 100 \times \frac{108}{100}\right] \times \frac{15}{1000} \]

\[ W_2 = 38.88\ g/m^2 \]

Therefore:

\[ GSM = 37.8 + 38.88 = 76.68\ g/m^2 \]

Now, piece weight:

\[ Piece\ Weight = 76.68 \times 120 \times 1.3 \]

\[ Piece\ Weight = 11962.08\ g \]

Therefore, the piece weighs approximately:

\[ 11.96\ kg \]

7. Cover Factor

Cover factor indicates how much of the fabric area is covered by yarns. It gives an idea of the closeness or compactness of the fabric construction. A higher cover factor generally means a more compact fabric, while a lower cover factor indicates a more open fabric.

Warp cover factor can be calculated as:

\[ K_1 = \frac{n_1 \times \sqrt{N_1}}{10} \]

Where \(K_1\) is warp cover factor, \(n_1\) is ends per cm and \(N_1\) is warp count in tex.

Similarly, weft cover factor can be calculated as:

\[ K_2 = \frac{n_2 \times \sqrt{N_2}}{10} \]

The total cover factor is:

\[ K = K_1 + K_2 \]

Example of Cover Factor

For a fabric with 30 ends per cm and 24 picks per cm, using 12 tex warp and 15 tex weft:

\[ K_1 = \frac{30 \times \sqrt{12}}{10} = 10.39 \]

\[ K_2 = \frac{24 \times \sqrt{15}}{10} = 9.30 \]

Therefore:

\[ K = 10.39 + 9.30 = 19.69 \]

Practical note: Cover factor is useful when comparing fabrics of different constructions. However, it should not be used alone. Yarn hairiness, yarn structure, weave, finishing and fibre type also affect actual fabric cover.
Fabric Weight and Cover Factor Calculation Flow
Visual 3: Calculation flow for moving from EPI, PPI, yarn count and crimp to GSM and cover factor.

8. Fabric Thickness

Fabric thickness is the distance between the upper and lower surfaces of the fabric under specified pressure. For many apparel fabrics, thickness may not be the first parameter used in buying specifications. However, it becomes very important in technical textiles, belts, felts, coated fabrics, interlinings, upholstery, blankets and performance fabrics.

Thickness affects warmth, cushioning, stiffness, handle, compressibility and bulk. Two fabrics may have the same GSM but different thickness because of differences in yarn type, weave, finishing and fibre characteristics.

9. Practical Importance for Merchandisers and Fabric Buyers

Fabric parameters are not merely academic terms. They are practical tools for fabric identification, costing, sourcing, quality checking and complaint analysis. A merchandiser who understands EPI, PPI, yarn count, crimp, weave, GSM and cover factor can communicate more accurately with mills, suppliers, designers, buyers and testing laboratories.

For example, if the fabric feels too light, one can check whether the issue is due to lower EPI, lower PPI, finer yarn count, reduced crimp or a change in width. If the fabric appears too open, the reason may lie in lower cover factor, finer yarn or an unsuitable weave. If the fabric shrinks more than expected, crimp and finishing history may need to be examined.

Observation Possible Parameter to Check
Fabric feels lighter than approved sample GSM, EPI, PPI, yarn count and width
Fabric looks more open or transparent Cover factor, yarn count, weave, EPI and PPI
Fabric has poor dimensional stability Crimp, finishing, relaxation and yarn tension
Fabric feels stiff Yarn count, construction density, finish and thickness
Fabric surface looks different Weave, yarn type, crimp balance and finishing

Conclusion

The basic parameters of woven fabric are like the grammar of fabric construction. Ends per inch and picks per inch define thread density. Yarn count defines the fineness or coarseness of yarn. Crimp explains how yarn behaves inside the fabric. Weave determines the interlacement pattern. Fabric weight, cover factor and thickness help us evaluate the final fabric more completely.

A good understanding of these parameters helps in fabric development, costing, quality control, sourcing and troubleshooting. Whether one is a student, merchandiser, designer or textile professional, these concepts form the foundation for understanding woven fabrics in a practical and technical way.

General Disclaimer

This article is intended for educational and practical understanding of woven fabric parameters. Formulae and examples are simplified for learning purposes. In industrial practice, actual fabric behaviour may vary depending on fibre type, yarn structure, loom settings, finishing treatments, testing conditions, moisture regain and measurement standards. For formal testing, commercial decisions or quality disputes, relevant textile standards and laboratory test methods should be followed.

Friday, 7 August 2009

Care of Linen Fabrics



Care of Linen Garments

1. Washing

Washing is recommended. One can use hand or machine washing but take care of the following points

- Use a gentle wash cycle and use a gentle soap.
- Use cool to warm, not hot water.
- Wash colored linens in cool water.
- Use soft water
- Use oxygen bleaches ( hydrogen peroxide) for white linen. Chlorine bleaches can cause yellowing.
- Never wash darker-colored pieces together with the lighter colored articles.
 

2. Drying

Can use any of the drying methods, but bring linen in while it is still damp. If linen dries thoroughly, it may become brittle. Damp Linen also helps in ironing. If a linen has become thoroughly dried, put them in a plastic bag in the refrigerator before ironing.

3. Ironing

Iron with lot of steam at a medium to hot setting. Iron Linen until smooth but not dry. Once wrinkles are gone, hang the linen items until it is bone dry.

4.Storing

Clean linen items before storing .

-Avoid folding linen garments. Linen clothing should be hung on a padded clothes hanger in a cool dry environment.

- If you decide to warp the linen, use bags of linen, cotton or muslin, never plastic bags.  

Monday, 3 August 2009

Career in Journalism



Career in Journalism

Being a specialist helps. It helps more if you can deliver that specialised knowledge to the general audience in a way that is interesting and that they can understand. A career in Journalism is one of the options that a Textile Technologist or a Textile specialist can pursue. This is all the more relevant because entertainment and media are one of the hottest careers in the days to come.


An effort to this direction has been made by 9.9 School of Convergence by introducing a course called Diploma in Applied Journalism .The admissions are open with the session starting from September 20th. The aim of this course is to inculcate in a person some high quality editing, writing and reporting skills. The classes are scheduled on Sundays so that the professionals don't have to leave their regular jobs. One can contact them and find more about the details.


As their website suggests, their placement services or "career services" do more than just getting a student a full time job. The career is shaped from the beginning of the course looking at a person's abilities and aspirations. The 9.9 School of Convergence has 100% placement with clients like NDTV, STAR, CNN-IBN to boast of . The leadership team has Dr. Pramath Raj Sinha, Dr. Eric D Saranovitz, Pooja Kothari and Gunjan Aggarwal who have links deep into the media industry.


It can be understood that with a specialisation and a career in journalism, the jobs will be much more enriching and satisfying ( and more lucrative) than with a specialisation alone.

Sunday, 2 August 2009

How to Resist Print using Reactive Dyes



How to resist print using reactive Colors

In resist printing using reactive colors, non-carbonic acids such as Tartaric Acids or Citric acid can be used.These acids act as resist agents. As acids are used therefore such a thickner is selected that does not degrade in acid. Here Methylhydroxy-ethylated cellulose ethers are used.
The following resist paste formula is used to print on the fabric:

For White Resist

Citric Acid- 50 gms
Water- 50 gms
Thickener- 600 gms.
To recognise the the printed design, sometimes tints such as CI Acid Blue-1 can be used. Also Fluorescent Brightening Agent can also be used which is visible in UV light.

After printing, the substrate is padded with concentrated solution of reactive colors, containing very less amount of Sodium Bicarbonate.The color is fixed after drying the cloth.

The following formule is used to:

1. Pad the cloth:

Reactive color: 20 gms
Resist Salt: 7 gms
Hot Water: 393 gms

Mix the three, let the solution to cool and then add the following chemicals:

3% Sodium Bicarbonate: 500 gms
Thickner: 80 gms
Make it to 1 kg.

2. Fixation Solution:

Caustic Soda -32.5%: 20ml
Glauber's Salt : 200 gms
Common salt: 100 gms

Make it to 1 liter.
Now steam the fabric for 20 seconds after padding with fixation solution.

For Color Resist

Thickner (Cellulose Ether): 100 gms
Emulsifier: 8 gmsWater: 110 gms
Pigment Binder:140 gms
White Spirit: 617 gms
Phosphoric or if Roller printing then Tartaric Acid: 120 gms

Print the fabric with the formula as given above. Then pad with reactive colors and Dry. Then Steam the cloth for 2-10 minutes, rinse and dry.

Disclaimer: Please test on a small piece before going for full fledge project. The receipe is meant to be used by professionals who know the behaviour of various chemicals and their interactions. Take all the precautions in handling chemicals. Don't use any combination of chemicals about which you don't know the outcome.

Saturday, 1 August 2009

Amazing Explanation of Cotton, Wool and Silk Fabric



An Amazing dictionary of the cotton, silk and wool fabrics is given in this directory of Internet Centre of Canadian Fashion and Design.

It is different from the other dictionaries in that the explanation is divided into four parts: Fiber, Weave, Characteristics and uses.

The following Fibres are covered:

Cotton Fabrics:
Armure Batiste Birdseye Broadcloth Brocade Buckram Butcher Linen Calico Cambric Candlewick Fabric Canton Flannel Canvas Chambray Chamois Cloth Chamoisette Cheesecloth Chenille Fabric Chino Chintz Chite Corduroy Cotton Crepe Crettone Denim Dimity Domett Flannel Dotted Swiss Drill Duck Flannelette Fustian Gabardine Gingham Homespun Hopsacking Jersey Lawn Madras Monk's Cloth Nainsook Organdy Oxford Percale Pique Plisse Point d'esprit Poplin Provence Sailcloth Sateen Seersucker Terry cloth Tiking Velveteen Velour Vichy Voile Whipcord

Wool Fabrics
Agneline Albert Cloth Astrakhan Barathea Beaver Cloth Bedford Cord Birdseye Blanket Cloth Bolivia Bombazine Boucle Broadcloth Cavalry Twill Challis (Chalys) Cheviot Chinchilla Covert Crepe Doeskin Donegal Duvetyn(e) Eponge (Souffle) Felt Flannel Wool Flannel Worsted Flannel Fleece Gabardine Homespun Hopsacking Jersey Wool Jersey Doubleknit Kersey Lambswool Loden ClothMackinaw Melton Monk's Cloth Montagnac Pin Check, Pinhead and Pick Pyrenees Repp or Rep Serge Sharkskin Shatush Shetland Suede Tricotine Tropical Worsteds Tweed Harris Tweed Venetian Viyella Whipcord Wool Zibeline

Silk Fabrics
Bayadere Bengaline Brocade Brocatelle Camocas Cendal Chiffon China Silk CrepeCrepe-back satin Crepe de ChineCreponGeorgette CrepeFlat CrepeMoss Crepe Degummed Silk Doupion, Douppioni Duchesse Faconne Faille Foulard Frise Glove Silk Habutai Honan Illusion Lame Marquisette Matelasse Messaline Mousseline de Soie Moire Net Ninnon Organza Ottoman Panne Peau de Cynge Peau de Peche Pongee Rajah SatinSatin-back Crepe Satin-backDouble-face SatinDuchessSatin FaconneSlipper SatinPaillette SatinPeau de Soie Shantung Sharkskin Sheer Silk Spun Rayon Surah TaffetaFaille TaffetaPaper TaffetaPoumpadou TaffetaShot TaffetaTissue TaffetaWarp-print TaffetaTricot Tulle Tussah VelvetCisele VelvetFaconne VelvetLyons VelvetNacre VelvetPanne VelvetPlushTransparent VelvetUtrecht VelvetVelvet Satin

I just wish it were supplemented by pictures !!

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