Showing posts with label fabric structure. Show all posts
Showing posts with label fabric structure. Show all posts

Friday, 22 May 2026

Peirce’s Geometry of Cloth Structure: A Practical and Mathematical Explanation



Peirce’s Geometry of Cloth Structure: A Practical and Mathematical Explanation

F. T. Peirce’s 1937 paper, The Geometry of Cloth Structure, is one of the landmark works in textile science. Before Peirce, woven fabrics were commonly described through practical construction terms such as yarn count, ends per inch, picks per inch, crimp, cover, handle and tightness. These terms were useful, but they did not fully explain how fabric properties arise from the hidden three-dimensional arrangement of yarns inside the cloth.

Peirce’s important contribution was to show that a woven fabric can be understood as a geometrical system. In this system, yarn diameter, yarn spacing, interlacement, crimp, cover, thickness and fabric weight are not isolated ideas. They are mathematically connected. This is why the paper remains so important for fabric designers, textile technologists, weaving professionals, merchandisers and researchers.

Table of Contents

1. What Problem Was Peirce Trying to Solve?

A woven fabric looks like a flat sheet from the outside, but internally it is a three-dimensional arrangement of yarns. Warp and weft yarns cross over and under each other. Because of this interlacement, the yarns bend, compress, flatten and occupy space. The visible properties of the cloth are therefore controlled by hidden geometry.

Peirce asked a fundamental question: can we represent woven cloth as a geometrical structure and derive useful relationships between yarn size, yarn spacing, crimp, cover, thickness and fabric construction? His answer was yes, provided we accept some simplifying assumptions. The model is not a perfect photograph of real cloth, but it is a powerful engineering approximation.

Practical meaning: Peirce converted cloth from a descriptive subject into a mathematical subject. Instead of only saying that a fabric is tight, open, heavy, light, stiff or sheer, we can begin to explain why it behaves that way.

2. The Central Idea of Fabric Geometry

In plain weave, the warp yarn goes over one weft yarn and under the next. The weft yarn does the same in the opposite direction. This means that neither yarn system remains perfectly straight. Both yarn systems follow a wavy path inside the cloth.

This waviness creates crimp. Crimp means that the actual length of yarn inside the fabric is greater than the straight length of fabric it occupies. For example, if one inch of fabric contains 1.08 inches of warp yarn because the yarn bends over and under the weft, then the warp crimp is 8 percent.

The basic flow of Peirce-style fabric geometry can be understood as follows:

\[ \text{Yarn count} \rightarrow \text{Yarn diameter} \]

\[ \text{EPI and PPI} \rightarrow \text{Yarn spacing} \]

\[ \text{Diameter + spacing + interlacement} \rightarrow \text{crimp, cover, thickness and tightness} \]

3. Important Variables in Peirce-Style Cloth Geometry

Symbol Meaning Practical Textile Interpretation
\(E\) Ends per inch Number of warp yarns per inch of fabric width
\(P\) Picks per inch Number of weft yarns per inch of fabric length
\(s_w\) Warp spacing Distance between neighbouring warp yarn centre lines
\(s_f\) Weft spacing Distance between neighbouring weft yarn centre lines
\(d_w\) Warp yarn diameter Approximate thickness of warp yarn
\(d_f\) Weft yarn diameter Approximate thickness of weft yarn
\(T_w\) Warp tex Linear density of warp yarn
\(T_f\) Weft tex Linear density of weft yarn
\(C_w\) Warp crimp fraction Extra warp yarn length due to waviness
\(C_f\) Weft crimp fraction Extra weft yarn length due to waviness
\(G\) Fabric GSM Mass of fabric in grams per square metre

4. Yarn Spacing from EPI and PPI

The first mathematical step is to convert thread density into spacing. If \(E\) is the number of ends per inch, then the spacing between warp yarn centres is:

\[ s_w = \frac{25.4}{E} \]

Similarly, if \(P\) is the number of picks per inch, then the spacing between weft yarn centres is:

\[ s_f = \frac{25.4}{P} \]

Here, \(25.4\) is used because one inch equals 25.4 mm. If the fabric has 80 ends per inch, then:

\[ s_w = \frac{25.4}{80} = 0.3175 \text{ mm} \]

This means that the centre-to-centre distance between neighbouring warp yarns is approximately 0.3175 mm. This spacing becomes very important when we compare it with the diameter of the yarn. If spacing becomes too close to yarn diameter, the fabric becomes very compact and may become difficult to weave.

5. Estimating Yarn Diameter from Yarn Count

Peirce’s original treatment used a simplified circular-yarn assumption. In this approximation, the yarn is treated as if its cross-section were circular. If the yarn linear density is known in tex, the yarn diameter can be estimated from:

\[ d = \sqrt{\frac{4T}{1000\pi\rho}} \]

where \(d\) is the yarn diameter in mm, \(T\) is the yarn linear density in tex, and \(\rho\) is the fibre or yarn density in g/cm³. For cotton, a rough density value often used for approximate calculations is:

\[ \rho \approx 1.52 \text{ g/cm}^3 \]

For example, for a 20 tex cotton yarn:

\[ d = \sqrt{\frac{4 \times 20}{1000 \times \pi \times 1.52}} \]

\[ d \approx 0.129 \text{ mm} \]

This means that a 20 tex cotton yarn may be treated as having an approximate diameter of 0.13 mm under the simplified circular-yarn assumption. Real yarns are not perfect cylinders, and yarns inside woven fabric may flatten, but this approximation gives a useful starting point.

6. Crimp: The Core Geometrical Idea

Crimp is one of the most important ideas in fabric geometry. A yarn inside a woven fabric is not straight. It bends over and under the crossing yarns. Therefore, the yarn length inside the fabric is greater than the straight fabric length.

If the straight fabric length is \(L_0\), and the actual yarn length along the curved path is \(L\), then crimp fraction is:

\[ C = \frac{L - L_0}{L_0} \]

As a percentage:

\[ \text{Crimp \%} = \frac{L - L_0}{L_0} \times 100 \]

If one inch of fabric contains 1.08 inches of yarn, then:

\[ C = \frac{1.08 - 1.00}{1.00} = 0.08 \]

\[ \text{Crimp \%} = 8\% \]

This simple equation is very powerful. It explains why fabric weight, shrinkage, extensibility and handle are affected by yarn waviness. More crimp means more yarn is hidden inside the same apparent fabric length.

7. Sinusoidal Treatment of Yarn Path

A simple way to understand yarn waviness is to represent the yarn centreline as a sinusoidal curve. This is not exactly Peirce’s original contact model, but it is very useful for explaining the mathematics clearly.

\[ y = A \sin\left(\frac{2\pi x}{\lambda}\right) \]

Here, \(A\) is the amplitude of yarn waviness, \(\lambda\) is the wavelength of one full yarn wave, \(x\) is the horizontal direction, and \(y\) is the vertical displacement of the yarn centreline.

For plain weave, one full warp-wave cycle normally covers two weft spacings. Therefore:

\[ \lambda_w = 2s_f \]

Similarly, one full weft-wave cycle normally covers two warp spacings:

\[ \lambda_f = 2s_w \]

The actual length of a curved yarn over one wavelength is calculated using the arc-length formula:

\[ L = \int_0^\lambda \sqrt{1 + \left(\frac{dy}{dx}\right)^2} \, dx \]

Since:

\[ \frac{dy}{dx} = \frac{2\pi A}{\lambda} \cos\left(\frac{2\pi x}{\lambda}\right) \]

the actual curved yarn length becomes:

\[ L = \int_0^\lambda \sqrt{ 1 + \left( \frac{2\pi A}{\lambda} \cos\left(\frac{2\pi x}{\lambda}\right) \right)^2 } \, dx \]

The crimp is then:

\[ C = \frac{L - \lambda}{\lambda} \]

For small waviness, this can be approximated as:

\[ C \approx \frac{\pi^2 A^2}{\lambda^2} \]

This equation gives a deep insight. Crimp increases when the amplitude \(A\) increases, and crimp also increases when wavelength \(\lambda\) decreases. In textile terms, when yarns are more tightly packed, the yarn wave becomes more severe and crimp rises.

8. Warp Crimp and Weft Crimp

The warp yarn bends over and under weft yarns. Therefore, the wavelength of warp waviness is controlled by pick spacing. For warp crimp:

\[ \lambda_w = 2s_f \]

\[ C_w \approx \frac{\pi^2 A_w^2}{(2s_f)^2} \]

\[ C_w \approx \frac{\pi^2 A_w^2}{4s_f^2} \]

The weft yarn bends over and under warp yarns. Therefore, the wavelength of weft waviness is controlled by end spacing. For weft crimp:

\[ \lambda_f = 2s_w \]

\[ C_f \approx \frac{\pi^2 A_f^2}{(2s_w)^2} \]

\[ C_f \approx \frac{\pi^2 A_f^2}{4s_w^2} \]

This gives a beautiful practical insight: warp crimp depends strongly on pick spacing, while weft crimp depends strongly on end spacing. If picks are beaten closer together, the warp yarn has to bend more. If ends are set closer together, the weft yarn has to bend more.

9. Circular-Arc Treatment of Yarn Bending

Peirce’s original geometrical thinking is closer to a contact model using circular arcs and straight segments. In such a model, the yarn path is calculated by adding the lengths of curved and straight parts.

\[ L = \sum R_i\theta_i + \sum l_i \]

Here, \(R_i\) is the radius of a curved section, \(\theta_i\) is the angle of the curved section in radians, and \(l_i\) is the length of a straight section.

For a simple circular arc:

\[ \text{Arc length} = R\theta \]

If a symmetrical curved segment has actual arc length:

\[ L = 2R\theta \]

and projected straight length:

\[ L_0 = 2R\sin\theta \]

then crimp becomes:

\[ C = \frac{2R\theta - 2R\sin\theta}{2R\sin\theta} \]

\[ C = \frac{\theta}{\sin\theta} - 1 \]

This equation shows that crimp increases as the bending angle increases. A gently bent yarn has low crimp, while a sharply bent yarn has high crimp.

10. Cover Factor

Peirce’s geometry also helps explain fabric cover. Fabric cover is related to how much of the fabric surface is occupied by yarn. A simple warp cover ratio is:

\[ K_w = \frac{d_w}{s_w} \]

Since:

\[ s_w = \frac{25.4}{E} \]

we get:

\[ K_w = \frac{E d_w}{25.4} \]

Similarly, the weft cover ratio is:

\[ K_f = \frac{d_f}{s_f} \]

\[ K_f = \frac{P d_f}{25.4} \]

A simple combined cover estimate is:

\[ K = K_w + K_f - K_wK_f \]

The subtraction term \(K_wK_f\) is an overlap correction. It prevents the area covered by both warp and weft from being counted twice.

For example, if:

\[ K_w = 0.40 \]

\[ K_f = 0.30 \]

then:

\[ K = 0.40 + 0.30 - (0.40)(0.30) \]

\[ K = 0.58 \]

The estimated geometrical cover is therefore 58 percent. This helps explain opacity, sheerness, air gaps, porosity and visual compactness.

11. Fabric Thickness

In the simplest circular-yarn model, fabric thickness may be approximated by adding warp and weft yarn diameters:

\[ t \approx d_w + d_f \]

However, real yarns are compressible. They flatten under weaving tension, beat-up pressure and finishing processes. Therefore, real fabric thickness is usually less than the simple sum of yarn diameters.

A more realistic expression is:

\[ t = \alpha(d_w + d_f) \]

\[ 0 < \alpha < 1 \]

Here, \(\alpha\) is a compression or flattening factor. A soft and compressible yarn may have a lower value of \(\alpha\), while a harder and less compressible yarn may have a higher value.

12. GSM from Geometry and Crimp

Fabric mass per square metre can be estimated from yarn count, thread density and crimp. A practical GSM equation is:

\[ G = \frac{E T_w(1+C_w) + P T_f(1+C_f)}{25.4} \]

where \(G\) is GSM, \(E\) is ends per inch, \(P\) is picks per inch, \(T_w\) is warp tex, \(T_f\) is weft tex, \(C_w\) is warp crimp fraction, and \(C_f\) is weft crimp fraction.

This equation shows that GSM increases with higher EPI, higher PPI, coarser yarns and higher crimp. Therefore, fabric weight is not controlled only by yarn count and thread density. It is also controlled by how much extra yarn length is hidden inside the cloth due to crimp.

13. Worked Example

Let us take a plain woven cotton fabric with the following construction:

Parameter Value
EPI 80
PPI 64
Warp yarn 20 tex
Weft yarn 20 tex
Cotton density \(1.52 \text{ g/cm}^3\)

First, estimate the yarn diameter:

\[ d = \sqrt{\frac{4T}{1000\pi\rho}} \]

\[ d = \sqrt{\frac{4 \times 20}{1000 \times \pi \times 1.52}} \]

\[ d \approx 0.129 \text{ mm} \]

Now calculate warp spacing:

\[ s_w = \frac{25.4}{80} \]

\[ s_w = 0.3175 \text{ mm} \]

Calculate weft spacing:

\[ s_f = \frac{25.4}{64} \]

\[ s_f = 0.3969 \text{ mm} \]

Warp cover is:

\[ K_w = \frac{d_w}{s_w} \]

\[ K_w = \frac{0.129}{0.3175} \]

\[ K_w \approx 0.406 \]

Weft cover is:

\[ K_f = \frac{d_f}{s_f} \]

\[ K_f = \frac{0.129}{0.3969} \]

\[ K_f \approx 0.325 \]

Combined cover is:

\[ K = K_w + K_f - K_wK_f \]

\[ K = 0.406 + 0.325 - (0.406)(0.325) \]

\[ K \approx 0.599 \]

So the estimated geometrical cover is roughly 60 percent.

Now assume:

\[ C_w = 0.04 \]

\[ C_f = 0.06 \]

The estimated GSM is:

\[ G = \frac{80 \times 20(1+0.04) + 64 \times 20(1+0.06)}{25.4} \]

\[ G = \frac{80 \times 20 \times 1.04 + 64 \times 20 \times 1.06}{25.4} \]

\[ G = \frac{1664 + 1356.8}{25.4} \]

\[ G \approx 118.9 \]

The estimated fabric weight is therefore approximately:

\[ G \approx 119 \text{ GSM} \]

14. Tightness and Maximum Sett

Peirce’s geometry also helps explain why a fabric cannot be packed endlessly. If EPI or PPI is increased, yarn spacing decreases. At some point, the spacing becomes very close to the yarn diameter.

\[ s_w \rightarrow d_w \]

\[ s_f \rightarrow d_f \]

When this happens, yarns become crowded. Crimp increases, yarn compression increases, beating-up becomes difficult, fabric stiffness rises, and the construction may become impractical or impossible to weave. This is why a fabric construction that looks acceptable on paper may fail on the loom.

A simple tightness indicator can be written as:

\[ K_w + K_f \]

A higher value indicates a more compact construction. However, true fabric tightness also depends on weave structure, yarn compressibility, fibre type, twist, finishing and loom conditions.

15. Crimp Interchange and Shrinkage

Peirce’s geometry also helps explain crimp interchange. If warp crimp increases, weft crimp may reduce, and vice versa. This depends on weaving tension, finishing, relaxation and washing.

During weaving, high warp tension may keep the warp yarn relatively straight, causing the weft to take more crimp. After relaxation or washing, the warp tension is released, warp crimp may increase, and the fabric length may shrink.

If yarn length is approximately constant:

\[ L_y = L_f(1+C) \]

where \(L_y\) is yarn length, \(L_f\) is fabric length and \(C\) is crimp fraction. Rearranging:

\[ L_f = \frac{L_y}{1+C} \]

This equation explains why fabric length decreases when crimp increases. Crimp relaxation is therefore one of the geometrical reasons for shrinkage.

16. Limitations of Peirce’s Model

Peirce’s model is elegant and foundational, but it is idealized. It assumes that yarns are regular, circular, periodic and geometrically stable. Real yarns are hairy, twisted, compressible and irregular. Their cross-sections may become oval, flattened or racetrack-shaped under weaving and finishing conditions.

Real fabric geometry is also affected by loom tension, beat-up force, yarn twist, fibre type, finishing, washing, calendaring, mercerization, relaxation shrinkage and humidity. This is why later researchers extended Peirce’s model. Kemp, for example, developed an extension of Peirce’s cloth geometry to non-circular yarns. Hamilton later extended fabric geometry to a more general system for woven structures.

17. Summary of the Mathematical Treatment

The practical mathematical treatment of Peirce-style fabric geometry can be summarized through the following equations:

\[ s_w = \frac{25.4}{E} \]

\[ s_f = \frac{25.4}{P} \]

\[ d = \sqrt{\frac{4T}{1000\pi\rho}} \]

\[ C = \frac{L - L_0}{L_0} \]

\[ C \approx \frac{\pi^2 A^2}{\lambda^2} \]

\[ C_w \approx \frac{\pi^2 A_w^2}{4s_f^2} \]

\[ C_f \approx \frac{\pi^2 A_f^2}{4s_w^2} \]

\[ C = \frac{\theta}{\sin\theta} - 1 \]

\[ K_w = \frac{E d_w}{25.4} \]

\[ K_f = \frac{P d_f}{25.4} \]

\[ K = K_w + K_f - K_wK_f \]

\[ t = \alpha(d_w + d_f), \quad 0 < \alpha < 1 \]

\[ G = \frac{E T_w(1+C_w) + P T_f(1+C_f)}{25.4} \]

The essence of Peirce’s contribution is that fabric is not merely a flat assembly of threads. It is a constrained three-dimensional geometry of yarn diameter, spacing, bending, compression, cover and crimp. Once we understand this geometry, we can better understand fabric weight, tightness, thickness, opacity, stiffness, shrinkage and weavability.

19. Sources and Further Reading

  1. Peirce, F. T. (1937). The Geometry of Cloth Structure. Journal of the Textile Institute Transactions, 28(3), T45–T96. Available through Taylor & Francis: https://www.tandfonline.com/doi/abs/10.1080/19447023708658809
  2. Kemp, A. (1958). An Extension of Peirce’s Cloth Geometry to the Treatment of Non-circular Threads. Journal of the Textile Institute Transactions, 49(1). Available through Taylor & Francis: https://www.tandfonline.com/doi/abs/10.1080/19447025808660119
  3. Love, L. (1954). Graphical Relationships in Cloth Geometry for Plain, Twill, and Sateen Weaves. Textile Research Journal, 24(12), 1073–1083. Available through SAGE: https://journals.sagepub.com/doi/10.1177/004051755402401208
  4. Hamilton, J. B. (1964). A General System of Woven-Fabric Geometry. Journal of the Textile Institute. Available through Taylor & Francis: https://www.tandfonline.com/doi/abs/10.1080/19447026408660209
  5. Ozgen, B. and Gong, H. (2011). Yarn Geometry in Woven Fabrics. Textile Research Journal. Available through SAGE: https://journals.sagepub.com/doi/10.1177/0040517510388550

20. General Disclaimer

This article is intended for educational and technical understanding of fabric geometry. The equations and examples are simplified approximations based on idealized woven-fabric models. Actual fabric behaviour may differ because of yarn irregularity, yarn compression, fibre type, twist, loom settings, finishing, relaxation, humidity and testing conditions. For industrial use, laboratory testing and mill-specific validation should be carried out before finalizing fabric specifications.

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Monday, 6 October 2014

New Book-Compound Fabric Structure- Simplified




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This book introduces the concepts of compound fabric structure in a very gentle way. A complement to the earlier book "Fabric Structure- Simplified", this takes the reader through the fabric structure variations in fabrics such as damasks, tapestries, brocades, terry pile, velvet, plushes, double cloth, and backed fabrics. A must for textile designers, this book is equally useful for textile technologists and textile chemists in understanding the complexity of these weaves in a simplified manner.

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Thursday, 2 September 2010

What is Tapestry Weave



Tapestry is the name given to a weave in which two basic principles are found at play:

1. The hiding of the warp with a closely packed weft to secure solid planes of color.
2. Weaving of independent weft each confined to its own area within any given pick.

The places where the two colors junction intermingle, any one of the following methods may be employed:

If the two weft picks interlock each other, it is called interlock.

If the interlocking is on alternate rows it is called single interlock.

If it is practiced on each row it is called double interlock.

If the two weft picks interlock around a common warp without simultaneously interlocking with each other, it falls within the category of dovetail tapestry.

If there is no interlocking at color junction this is called slit tapestry or Kilim.

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Monday, 25 January 2010

Twill Variations-1



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Saturday, 23 January 2010

Introduction to Twill Weave



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Wednesday, 13 January 2010

Matt, Hopsack or Basket Weaves



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Tuesday, 12 January 2010

Plain Weave Variations- Ribs and Chords



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Sunday, 10 January 2010

Plain Weave for beginners-1



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Wednesday, 22 October 2008

Textile Costing, Fabric design, Weaving Calculation, woven fabric formation



This is an amazing website on textile costing, fabric design, weaving calculation and woven fabric formation. A must for a web textile technologist.

Sunday, 19 October 2008

Reed Calculations



Reed Calculations

In weaving, the reed is an important part of the loom. It helps to keep the warp ends evenly spaced and also helps in beating the weft into the fell of the cloth. Therefore, understanding reed count is essential for calculating the number of warp ends per inch in the fabric.

Reed calculations are often taught in a very short form, but a small mistake in terminology can create confusion. The reed count tells us about the number of dents, while the actual ends per inch depend on how many warp ends are passed through each dent. Similarly, heald calculations are related to the distribution of warp ends across shafts, not to the reed itself.

Stockport Reed System

Reeds are commonly counted by the Stockport system. In this system, the reed count is based on the number of dents in two inches. This point is important. The Stockport system does not directly tell us the number of warp ends in two inches; it tells us the number of reed dents in two inches.

For example, a 72s Stockport reed means:

\[ 72 \text{ dents in 2 inches} \]

Therefore:

\[ \text{Dents per inch} = \frac{72}{2} = 36 \]

So, a 72s Stockport reed has 36 dents per inch. If one end is passed through each dent, the ends per inch will be 36. If two ends are passed through each dent, the ends per inch will be 72. If three ends are passed through each dent, the ends per inch will be 108.

Stockport reed count showing dents in two inches and dents per inch
Visual 1: Stockport reed count explained as dents in two inches and converted into dents per inch.

Particulars of Reed While Ordering

A reed may be specified as:

100s ST, 18 G., 44" × 5", blue

This means that the reed has a Stockport count of 100. Since Stockport count is based on two inches, this means that the reed has 100 dents in two inches, or 50 dents per inch.

  • 100s ST: Stockport reed count is 100.
  • 18 G.: The reed is made using dents of 18s wire gauge.
  • 44": The reed is 44 inches long.
  • 5": The reed is 5 inches deep.
  • Blue: There will be blue paper on the baulk of the reed.

Here, “ST” refers to Stockport. The count tells us how many dents are present in two inches. The actual ends per inch will depend on the draft plan and the number of ends drawn through each dent.

Example 1: Finding Ends per Inch from Reed Count

Question: What will be the number of ends per inch at the reed in a reed of 3/80s Stockport?

Here, 80s Stockport means:

\[ 80 \text{ dents in 2 inches} \]

Therefore:

\[ \text{Dents per inch} = \frac{80}{2} = 40 \]

The expression 3/80s Stockport means that the reed is being drawn with 3 ends per dent.

Therefore:

\[ \text{Ends per inch} = 3 \times 40 = 120 \]

So, the reed will give:

\[ \boxed{120 \text{ ends per inch}} \]

This calculation is correct. However, it is technically clearer to say “ends per inch at the reed” rather than “ends per inch in the reed.” The reed contains dents; the warp sheet contains ends.

General Formula for Stockport Reed Count

For a Stockport reed:

\[ \text{Dents per inch} = \frac{\text{Stockport reed count}}{2} \]

If there are \(n\) ends per dent, then:

\[ \text{Ends per inch} = \frac{\text{Stockport reed count}}{2} \times n \]

Or:

\[ EPI = \frac{R \times n}{2} \]

Where:

  • \(EPI\) = ends per inch
  • \(R\) = Stockport reed count
  • \(n\) = number of ends per dent

For example, if a reed is 72s Stockport and the drawing is 3 ends per dent:

\[ EPI = \frac{72 \times 3}{2} = 108 \]

Thus, the fabric will have 108 ends per inch at the reed, assuming no other change due to contraction, crimp, or finishing.

Formula flow from Stockport reed count to dents per inch and ends per inch
Visual 2: Formula flow showing Stockport count, dents per inch, ends per dent, and final ends per inch.

Plain Set and Heald Count

When a set contains 4 shafts, it is called a plain set. The count of healds is expressed by the number of heald eyes per inch across the complete set of shafts.

For example, a 60s plain set means:

\[ 60 \text{ heald eyes per inch across 4 shafts} \]

Therefore, the number of heald eyes per inch per shaft is:

\[ \frac{60}{4} = 15 \]

So, in a 60s plain set, each shaft has:

\[ 15 \text{ heald eyes per inch per shaft} \]

If the same total of 60 heald eyes per inch is distributed across 6 shafts, then:

\[ \frac{60}{6} = 10 \]

So, for a 6-shaft set, each shaft would have:

\[ 10 \text{ heald eyes per inch per shaft} \]

This distinction is useful because the reed controls spacing at the reed, while the healds control the lifting and lowering of warp ends according to the weave structure.

Example 2: Heald Count for a 6-Shaft Satin Fabric

Question: Find the count of healds required for weaving a 6-shaft satin fabric using a 72s Stockport reed, drawn 3 ends per dent.

First, calculate the dents per inch:

\[ \text{Dents per inch} = \frac{72}{2} = 36 \]

Since the reed is drawn 3 ends per dent:

\[ \text{Ends per inch} = 36 \times 3 = 108 \]

So:

\[ EPI = 108 \]

Now, the fabric is woven on 6 shafts. Therefore, the number of heald eyes required per inch per shaft is:

\[ \frac{108}{6} = 18 \]

So, each shaft must have:

\[ 18 \text{ heald eyes per inch} \]

To express this in terms of an equivalent plain set, remember that a plain set has 4 shafts. Therefore:

\[ \text{Plain set equivalent count} = 18 \times 4 = 72 \]

Thus, the required heald arrangement is:

\[ \boxed{18 \text{ heald eyes per inch per shaft on 6 shafts}} \]

Or, expressed as a plain-set equivalent:

\[ \boxed{72s \text{ plain-set equivalent heald count}} \]

Heald count calculation for six shaft satin from reed EPI
Visual 3: Heald count calculation showing 108 EPI divided over 6 shafts and converted to plain-set equivalent.

Important Distinction Between Reed Count and Heald Count

A common confusion in weaving calculations is between reed count and heald count. The two are connected through warp density, but they are not the same thing.

A reed count tells us how many dents are present in a given length. In the Stockport system, this length is two inches. The reed controls the spacing of warp ends at the reed and helps beat the weft into the fabric.

A heald count tells us how many heald eyes are available per inch across the set of shafts. The healds control the lifting and lowering of warp ends according to the weave design.

Therefore, reed calculations are mainly concerned with:

\[ \text{Dents per inch and ends per dent} \]

Heald calculations are mainly concerned with:

\[ \text{Ends per inch and number of shafts} \]

Point of Comparison Reed Count Heald Count
What it refers to Number of reed dents Number of heald eyes
Main function Spaces warp ends and beats the weft Controls warp lifting according to weave design
Key calculation Dents per inch × ends per dent Total EPI divided by number of shafts
Common mistake Calling dents “ends” Confusing heald count with reed count

Summary

The Stockport reed system is based on the number of dents in two inches. To find dents per inch, divide the Stockport reed count by 2. To find ends per inch, multiply the dents per inch by the number of ends drawn through each dent.

For a 3/80s Stockport reed:

\[ \frac{80}{2} \times 3 = 120 \text{ ends per inch} \]

For a 6-shaft satin fabric using a 72s Stockport reed with 3 ends per dent:

\[ \frac{72}{2} \times 3 = 108 \text{ ends per inch} \]

Then:

\[ \frac{108}{6} = 18 \text{ heald eyes per inch per shaft} \]

And the plain-set equivalent heald count is:

\[ 18 \times 4 = 72 \]

So, the correct conclusion is:

\[ \boxed{\text{Required heald count = 72s plain-set equivalent}} \]

Or:

\[ \boxed{\text{6 shafts with 18 heald eyes per inch per shaft}} \]


General Disclaimer

This article is intended for educational understanding of basic weaving calculations. Actual production values may vary depending on loom type, yarn type, yarn tension, weave structure, crimp, reed space, drawing-in plan, fabric width, finishing shrinkage, and mill practice. The calculations shown here should be used as a technical starting point and should be verified through sampling before final production.

Sunday, 27 July 2008

Effect of Fabric Structure on Fabric Properties



Effect of Woven Fabric Structure on Fabric Properties

1. Tensile Strength: The more the crimp the less the strength. Other things being equal, plain weave fabrics which have the highest crimp have the lowest strength.

2. Extensibility: The more crimp there is in the yarn the more extensible is the fabric, therefor longer the floats, the less extensible is the fabric.

3. Surface Friction: Whether surface is smooth or rough. Long floats produce smooth fabrics with low crimp levels.

4. Tear Strength: In case of tensile loading, all the yarns in the direction of the loading share the load. In tear loading only one, two or at most few yarns share the load. In tight constructions, the movement of the yarn is restricted during loading and yarn will be presented to the load one by one; this results in a low tearing strength. Loose open constructions allow more freedom for the yarns to move and group together, thus presenting bundles of yarns to the tearing load, in consequence the tear strength is high. Designs which have group of yarns woven together such as rib or basket will have hight tear strength.

5. Abrasion Resistance: The most important factors are the crimp levels and the height of the crowns caused by the crimp. The greater the number of crowns/area or the greater the area of each crown, the less will be the stress concentration on the crowns and this leads to a high abrasion resistance. The longer the floats the larger the area of contact between the yarn and the abraidant and the higher the abrasion resistance.

6. Drape: Heavy fabrics from coarse yarns and dense constructions have poor drape characteristics. Fabrics with long floats in the weave permit the yarns to move freely; this reduces the bending and shear resistance of the fabric, leading to a better drape behaviour.

7. Crease Resistance: A plain woven fabric with a high fabric count puts a heavy strain on the fibres and limits the recovery of the fabric. The longer the floats, the higher will be the crease resistance of the fabric.


Saturday, 12 January 2008

My lectures on the subject of Elementary Fabric Structure



Please view them/ download from them here

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