Novelty Fabrics from Basic Weaves

Novelty effects in fabrics are in large part a result of selection of novelty yarns for incorporation into fabrics made in one of the basic weaves. 

Crepe Fabrics 

Crepe weave fabrics is special novelty fabrics from basic weaves may be defined as fabrics characterized by a crinkled, pebbly surface. Originally, crepe fabrics were made from crepe yarns, that is, yarns with an exceptionally high degree of twist, up to sixty-five turns per inch. Most standard crepe fabrics were made in the plain weave, some with rib effects, and some in satin weave, as in crepe-backed satin. With the advent of synthetic fibers, however, many crepe effects are achieved through the use of textured yarns, bicomponent yarns in which uneven shrinkage creates a crepe like surface, or embossing or stamping a crepe like texture on the surface of the fabric. Most fabrics made from these more recent processes will be durable only if they are made from heat-treated thermoplastic fibers. Another method uses a special crepe weave that breaks up the surface of the cloth into a random sequence of interlacings. Careful examination of fabrics having a crepe like appearance will reveal that relatively few of them are actually woven with crepe yarns. 

Seersucker 

Seersucker, another plain-weave fabric, is created by holding some warp yarns at tight tension, some at slack tension. Those at slack tension puff up to form a sort of “blister effect.” Seersucker surface effects are permanent. Often the slack and tight yarns are each made from a different colored yarn, to provide a decorative striped effect. Seersucker should not be confused with fabrics having puffed effects created by chemical finishes, such as plisse or embossing, which are much less durable. 

Hand-Woven Tapestries 

Tapestries woven by traditional methods differ from jacquardwoven fabrics having the appearance of a tapestry in that the traditionally woven tapestries are made using hand techniques. Jacquard-woven tapestry fabrics generally use repeated patterns of finite size. Traditional tapestry weaving is used to produce enormous fabrics that can form one large picture. Tapestry weaving may be compared to painting with yarn. Since it is basically a hand technique, tapestry is made on an elementary loom. 

In the weaving of European tapestries, the loom followed the basic form of the two-bar loom. The loom was set up either vertically or horizontally, and warp yarns were measured and affixed to the loom. Filling yarns were prepared in the appropriate colors. The design of the tapestry was first worked out in a drawing, or cartoon, as it was called. The artist who created the drawing may have been one of great stature, and painters such as Raphael and Rubens served as designers of sixteenth- and seventeenthcentury tapestries. The cartoon was sometimes traced onto the warp yarns. In other instances it was mounted behind the loom, and the tapestry weaver looked through the warp yarns to the design, following the plan of the drawing. The tapestry was woven with the wrong side facing the weaver. Sometimes a mirror was set up beneath the tapestry so that the weaver could check the progress on the right side. The various colors of yarns were wound onto sharp, pointed bobbins that were introduced into the warp, and the weaver proceeded to fill in the area of that particular color. When the weaver reached the end of one color, a new bobbin was used for the next section. This created a problem, because as the weaver worked back and forth in a particular segment of the 

design, the yarns of one color did not join with the yarns of the adjacent color. This produced slits in the fabric at the place where each new color began. Sections of the tapestry could be sewn shut, but this caused the fabric to be weaker at the spots where the fabric was seamed together. Two other methods were also used to prevent the formation of slits. Where the color of one section ended and another began, both the old and the new color could be twisted around the same warp yarns. This system worked well except that it created a slightlyindistinct or shadowy line. Where clear, well-defined lines were required, the yarns of adjacent colors were fastened together by looping one yarn around the other.In traditional tapestry weaving, all the warp yarns are completely covered by filling yarns, so it is the filling yarns that carry the design. The warp yarns serve only as the base.

Satin Weave; Produce woven fabric with Warp faced satin weave and Weft-faced Satin (Sateen) weave

Weft-faced Satin (Sateen) weave

It is characterized by long floats on the surface of the fabric. In basic construction, the satin weave is similar to twill weave but floats in satin fabric may cross from four to twelve yarns before interlacing with another yarn. No pronounced diagonal line is formed on the surface of the fabric because the points of intersection are spaced in such a way that no regular progression is formed from one yarn to that lying next to it. When warp yarns form the floats on the face of the fabric, the fabric is a warp-faced satin. They are usually made from filament yarns and are called SATINS. When filling yarns float on the face, the fabric is a filling-faced satin. This is called SATEEN WEAVE Satin-weave fabrics are made by allowing yarns to float over a number of yarns from the opposite direction. Interlacing are made at intervals such as over four, under one (using five harnesses); over seven, under one (eight harnesses); or over eleven, under one (twelve harnesses). Floats in satin fabrics may cross from four to twelve yarns before interlacing with another yarn. No pronounced diagonal line is formed on the surface of the fabric because the points of intersection are spaced in such a way that no regular progression is formed from one yarn to that lying next to it.When warp yarns form the floats on the face of the fabric, the fabric is a warp faced satin. 

When filling yarns float on the face, the fabric is a filling faced satin. Satin-weave fabrics made from filament yarns are called satins; those from spun yarns are sateen. Most warp-faced weaves have filament yarns because filament yarns do not require a tight twist to serve as warp yarns, whereas cotton, being a staple fiber, must be given a fairly high degree of twist if it is to serve as a strong warp yarn. Therefore, sateen fabrics are usually filling faced, although some warp sateens are made. 

Warp faced satin weave Weft faced satin

Satin-weave fabrics are highly decorative. They are usually made from filament yarns with high luster to produce a shiny, lustrous surface and tend to have high fabric counts. They are smooth and slippery in texture and tend to shed dirt easily. The long floats on the surface are, of course, subject to abrasion and snagging. The longer the float, the greater the likelihood of snags and pulls. Satins are often used as lining fabrics for coats and suits because they slide easily over other fabrics. The durability of satin-weave fabrics is related to the density of the weave, with closely woven, high count fabrics having good durability. Satins made from stronger fibers are, of course, more durable than those made from weaker fibers. 

The following are some names given to satin fabrics. 

1. Antique satin, a satin made to imitate silk satin of an earlier period, often uses slubbed filling yarns for decorative effect. 

2. Peau de soie is a soft, closely woven satin with a flat, mellow luster. 

3. Slipper satin is a strong, compact satin, heavy in weight. It is often used for evening shoes. 4. In crepe-backed satin, loosely twisted, lustrous warp yarns are combined with tightly twisted, creped filling yarns. The floats on the surface are created by the warp, so that the face of the fabric is chiefly made up of warp yarns with a satin appearance, whereas the back of the fabric is made up largely of tightly twisted filling yarns that produce a crepe or rougher surface texture with a flat, less shiny appearance.

• Satin weaves are lustrous because of more yarn showing on surface 

• Fabric is comparatively weaker due to long floats, which represents minimum of interlacing. 

• Satin weave has a distinctive reversible side 

• Excellent drapability 

• Easily to slip on and off the fabric i.e. the fabric is smooth to touch that’s why used as lining material also 

• Ex: Satin, Sateen, etc.

Selvags, Two edge of woven fabric

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Selvags
Selvage is one of the most important parts of woven fabric. It plays vital roles during weaving. Selvage could be defined as the two end of the woven fabric width or the edge of woven fabric. This is different from main fabric. Most of the selvage made with strong thread like nylon thread. It holds the woven fabric and helps to maintain the shape of fabric. It takes all the pressure of weaving machine and protect the fabric from damage.
Selvags (Selvedges) As the shuttle moves back and forth across the width of the shed, it weaves a self-edge called the selvage, or selvedge, on each side of the woven fabric. The selvage prevents the woven fabric from raveling. 

It is usually made more compact and stronger than the rest of the woven fabric by using more or heavier warp yarns or by using a stronger weave. There are different kinds of selvages. The kind of selvage used depends upon economy of production and the expected use of the woven fabric. 

Plain Selvages 

These selvages are constructed of the simple plain weave with the same size yarn as the rest of the fabric, but with the threads packed more closely together. Such selvages are fairly durable and firm. 

Tape Selvages 

The tape selvages are sometimes constructed with the plain weave but often are made of the basket weave, which makes a flatter edge. Tape selvages are made of heavier yarns or ply yarns, which provide greater strength. 

Split Selvages 

Split selvages are made by weaving a narrow width fabric twice its ordinary width with two selvages in the center. The woven fabric is then cut between the selvages, and the cut edges are finished with a chain stitch or hem. 

Fused Selvages 

These selvages are made on fabrics of thermoplastic fibers, such as nylon, by heating the edges of the fabric. The fibers melt and fuse together, sealing the edges. This technique is sometimes used to split wide fabrics into narrower widths. 

Leno Selvage 

The leno selvage is used on some shuttle less looms as well as weaving machine. The construction utilizes a narrow leno weave, which locks the cut ends along the fabric edge. A loose weave generally requires a tight leno selvage, whereas a light weave may have a leno selvage with less tension. 

Tucked Selvage 

The tucked selvage is a technique used on some shuttle less looms. A device is used to tuck and hold the cut ends into the fabric edge. The construction of the selvage is dependent upon the particular weave and a number of other factors. A formula for weaving the tucked selvage considers fiber density, the diameter of the yarns (which is also affected by twist, ply, and count variation), as well as the yarn diameter balance, or ratio of the diameter of the filling yarn to that of the warp yarn in effect, if the diameter of the filling yarn is finer than the diameter of the warp yarn, fewer fillings can be inserted in themfabric selvage, because the warp intersection requires more space between the fillings than one diameter of the filling.

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