which weaves

These are of two classes, plain and ribbed. The plain is formed from satin weaves which are doubled or trebled, giving a very close intersection of threads and producing very strong fabrics. The ribbed is made by adding a plain weave to a warp rib weave, the warp being arranged so that the ribs are alternately right and left-hand twist. The cloths are bleached and dyed for China and other Far Eastern markets. They are made all-cotton or all fine worsted yarns. Representative cloths are made: - Ribbed soleils are a form of ottoman, but have a smaller rib effect.

The name given to a style of woven fabrics which have been developed in Spain by combining diamond designs as weave in geometrical forms as figure. They are arranged on the sateen order of distribution. The regular satin weave selected as a groundwork and on this are traced the lineal figures required.

When two separate fabrics are woven together in the loom and are to be joined, the process is termed binding. Any thread which is used to bind or hold these two cloths together is termed a binding thread. This can be done by lifting a warp thread from the back cloth, over a face cloth pick, and lifting the face cloth threads on each side. Another method is to use an extra warp which weaves under the back cloth picks and over the face cloth picks, and is thus so covered, that it is not seen.

عَنْكَبُوت \ spider: a wingless insect with 8 legs, which weaves a net (its <?th=7pt>WEB<?th=9pt>) to catch flies.

عَنْكَبُوت \ spider: a wingless insect with 8 legs, which weaves a net (its <?th=7pt>WEB<?th=9pt>) to catch flies.

Originally a silk cloth with warp predominating over weft. The weft is almost completely covered, giving a very smooth warp face. The best satin weaves are those in which the intersections are distributed widely and equidistantly spaced. Satin weaves can be made on any number of ends and picks above four, but the perfect satins, e.g., those in which the intersections are equidistant in warp and weft are few, see examples numbered 5, 10 and 13. The 8-end satin also has good distribution of the intersections. In all satin weaves each thread and pick intersects once only in each repeat. This permits fabrics to be made with a greater number of warp threads per inch than picks; or a greater number of picks per inch than warp threads. In both cases maximum smoothness of surface appearance is obtained, especially when the Schreiner finish is applied. A great variety of fabrics are made in the satin weave; silk, rayon, wool, cotton, flax, etc., are all used. Silk satins very often have a cotton back formed by using cotton yarn as weft.

Ex: If they were watching the nimble movements of a compositor as he gathered the types from the hundred and fifty-two boxes of his case, they would run into a ream of wetted paper weighted down with paving stones.

Ex: The computer room must be kept tidy so that staff are less likely to trip on wires or accidentally pull equipment off shelves.

Ex: Some of the information from the EEC Government in Brussels is provided off the record, which sometimes runs up against the UK Government's wall of secrecy.

This is a general term for dress twill fabrics made from botany yams in 2 x 2, 3 X 3, and 4 X 4 twill weaves, and many fancy twill weaves. They are all clear finished, which allows the face to be clearly seen. Qualities are numerous.

A weave in which the twill line is broken by a deviation from a regular step, as in the satin weave. The illustration shows the four-shaft and six-shaft weaves. Other broken twill weaves are: - Coutil, Campball, Cut Checks, Cut Stripes, Chevron, Arrowhead or Feather, Lorraine, Mayo and Metz Cord (see under each name)

The Silk Association of Great Britain and Ireland, Inc., has formulated the following definitions of " Silks ": - (1) Silk means the natural product of the silkworm, whether net, spun, or schappe silk. (2) Woven or knitted textiles and articles made therefrom. Silk goods may only be so called if they contain no other fibre than silk. They may be further qualified as pure silk goods if they contain no tin weighting and no added weight of any kind other than that which is an essential part of dyeing and finishing. (3) The word silk may be used for articles containing silk and other fibres provided it is clearly qualified, as for example, silk warp taffeta, silk warp poplin, silk pile velvet, silk mixture, silk union, etc. (4) Smallwares, certain smallwares containing silks in combination with other fibres (such as Paris bindings, gimps, eyeglass cords, etc.), have been by long established custom known as "silks." Only where there is a clear long established custom may they continue to be described as silk, otherwise the general principles set forth above will apply. The more generally known silk fabrics are as given below: - Armures - Barathea, Loisine, Natte, Ottoman, Roy ale. Repp. Figured Silks - Arras, Broche, Brocatelle, Brocades, Chevron, Chine warp prints. Cote-line, Damassin, Foulard, Lampas, Matelasse, Striped tabaret. Satins - Duchesse, Meteor, Mervelleux, Peau de Soie, Radyimar, Raadames, Radium, Satin mousseline. Satin messaline. Satin lus-mineaux. Satin charmeuse. Satin de Lyon, Satin chine. Satin lumiere, Soleil, Soie de Devil. Twills - Serge, Surah, Sarcenat. Velvet, or pile weaves - Terry velvet frese, Utrecht, Velours de nord. Velours de chiffon, Velours de sabre. Silk warp, wool weft - Bengaline, Cotele, Crepon, Irish poplin, Popeline, Poplinette, Sultane, Sicilienne, Velours Victoria, Veloa-tine. Silk warp, cotton weft - Moirette, Polonaise, Satins, Satinet, Striped linings. Taffetas, plain weaves - Bengaline de Soie, Epingle, Faille Francaise, Glace, Gros grain, Gros de Tours, Gros de Naples, Gros de Suez, Lustring, Pongee, Poult de Soie, Royale, Tabaret, Taffeta mousseline. Taffeta chiffon. Crepe de chine, Ninon, tulle, voile, Marquisette, Moire onde. Moire Faconne, Moire Francaise, Moire Antique.

The jacquard machine is an essential addition to looms intended for weaving ornamental designs that are beyond the scope of stave -work. The machine is made in many forms and sizes for different branches of the weaving industry, but its characteristic feature is that it furnishes the means whereby every individual thread in a design may weave differently from all the others. This permits the delineation of all forms and shapes and the fineness of the detail is only limited by the texture, e.g., the number of ends and picks per inch. The action of the jacquard machine is communicated to the warp threads through a system of cords known variously as the harness mounting and jacquard harness. Actually, loom harness ante-dated the jacquard machine by many centuries, and many draw loom harnesses were much more complicated than modern jacquard harnesses. An essential feature of a jacquard is that each hook in the machine can be lifted at will independently of the others. The selection of which hooks shall lift and which shall be left down is made by the designer, by painting marks on squared paper to indicate the hooks that must be lifted on each pick. In cutting the pattern cards, a hole is cut for every mark or filled square on the design paper, and a blank is left for every empty square on the paper. Assuming that each pattern card represents one pick of weft, when the card is pressed against the needles of the jacquard, the blanks push the unwanted needles and hooks out of the path of the lifting griffe; the holes allow the needles to pass through and thus remain stationary, so that the corresponding hooks remain in the path of the lifting griffe and cause the corresponding warp threads to be lifted. Jacquard: Single-lift, single-cylinder - In this machine there is only one griffe which lifts on every pick, and only one pattern cylinder, which strikes every pick. This restricts the speed at which the loom can be operated. Jacquard: Double-lift, single-cylinder - This is the machine in most common use for ordinary jacquard work. There are two lifting griffes and twice as many hooks as in a single-lift machine, but only the same number of needles and one card cylinder. The shed formed is of the semi-open type, which causes less movement of the warp threads, as any threads which require to be up for two or more picks in succession are arrested in their fall and taken up again. Double-lift jacquards give a greatly increased loom production as compared with single-lift machines, as they permit the speed of the loom to be increased to about 180 picks per minute for narrow looms, as compared with 120 to 140 picks per minute for single-lift jacquards. Jacquard: Double-lift, double-cylinder - In this machine there are two sets of hooks and needles, two lifting griffes and two card cylinders, odd picks in one set of cards and even picks in the other set. This permits maximum loom speed, it prolongs the life of the pattern cards, but is open to the serious drawback that spoiled cloth is caused whenever the two card cylinders get out of correct rotation. Jacquard: Cross Border - Fabrics with borders, such as tablecloths, bed quilts, etc., are woven with jacquards with two griffes, two sets of hooks and two card cylinders. The cards for weaving the border are laced together and weave on one cylinder, while the centre cards are on the other cylinder. The loom weaves at the speed of a single-cylinder, single-lift machine, and the change from the border to the centre cards can be made by hand or automatically

These are exceedingly useful machines for forming the shed in weaving, since they can be used for both simple and complicated weaves. There are many types in use, most of which are negative acting in so far as they only lift the healds, springs being used beneath the healds to bring them down again after being lifted by the dobby. In the cotton trade 16 up 20 jacks is usual. Dobbies in common use are known as single lift, double lift, negative, positive, open shed, closed shed, and crossborder. Single Lift - In this type there is a single knife or griffe in use to raise the heald stave. The whole of the shafts return to their original position after each pick. A fresh selection of staves to be raised is made for each pick. Looms fitted with this dobby run slower than others, about 140 picks per minute. Double Lift - These machines are fitted with double selecting and lifting parts which move at half the speed of the loom. They give an open or semi-open shed. The speed of the loom is considerably more than for the single-lift type. Crossborder - This machine is used when headings or a change of weave is required as for bordered handkerchiefs, serviettes, towels, etc. Positive - Dobby machines which make an open shed and positively lift and depress the heald staves as required by the design. Negative - Dobbies which only lift the heald staves, and require springs or other means to move the staves to the bottom position. Centre Shed - Every thread of the warp is moved for every new shed. The shed opens from the middle. Some healds ascend and the others descend. Closed Shed - So termed because all the warp threads are brought to one level after each succeeding pick as in single-lift machines. Open Shed - The type generally used for automatic looms, also the double-lift machines. After a heald stave is lifted it remains up until it is required to be down again. The warp threads constantly form two lines, upper and lower, and the only changes are when threads move from line to the other. Semi-open Shed - This shed has a stationary bottom line, and to make changes, threads pass from the top to the bottom, or from the bottom to the top. The threads which remain up for more than one pick in succession only fall halfway and then go to the top again.

Originally velvet was a fabric made with a short dense pile woven from silk warp. Now the term is applied to fabrics made partly of silk or rayon, and partly of other materials, and to fabrics made entirely of other yarns, besides being indiscriminately confused with velveteen, which is a weft pile texture. There is a constructional difference between warp and weft pile textures. In warp pile velvets the length of the pile is determined by the size of the pile wire, or in other ways, and the pile is cut in the loom. Many velvets are woven double, face-to-face, and cut apart while on the loom. In weft pile velvets the length of pile- is determined by the length of the pile weft floats, and the pile is cut in a supplementary operation after the cloth has left the loom. The distinguishing feature of velvet is a succession of rows of short cut tufts of fibres standing so close together as to present a uniform surface with a rich appearance and entrancing softness to the touch. The quality of velvets is determined by the closeness of the pile tufts and the manner in which they are bound to the ground texture. Various weaves are used according to the weight of fabrics, yarns used, and density of pile desired. The binding of the tufts usually follows one or two systems, either single tufts which are held by only one binding pick, as shown at S, or fast pile tufts which are interwoven with three weft picks as shown at W.

סָכַךְI (b. h.) to interlace, entangle; to be entangled, ramified.Denom. סֻכָּה. Hif. הֵיסֵךְ 1) to weave. Sabb.VII, 2 והמֵיסֵךְ and the work of the weaver. Y. ib. VII, 10c top משום מֵיסֵיךְ his act coming under the category of weaving; משום מֵיסֶכֶת her act coming Tosef. ib. VIII (IX), 2 המוסיך שלשהוכ׳ ed. Zuck. (corr. acc.) he who weaves three threads (on the Sabbath); a. fr. 2) (denom. of סֻכָּה) to hang over, shade. Ohol. VIII, 2; M. Kat. 5b אילן המיסך על הארץ a tree (with a seat of uncleanness on one of its boughs) throwing a shadow (forming a tent, cmp. אֹהֶל) over the ground; a. e.; v. סְכָכָה. 3) ה׳ רגליו to cross ones feet, euphem. for: to ease ones, self. Yoma III, 2. Y.Ber.IX, 14b bot.; a. e. Pi. סִכֵּךְ, סִיכֵּךְ 1) to cover with boughs, esp. to cover the festive booth ( Succah). Ber.62b (ref. to להסך את רגליו, 1 Sam. 24:4, v. supra) מלמד שס׳ עצמו כסוכה this intimates that he shaded himself (retired in a chaste manner) as in a booth. Succ.I, 4 הדלה … וס׳ על גבה if he trained a vine over the booth and put twigs over it. Ib. אין מְסַכְּכִים בו you must not use it for covering. Ib. 14b סִיכַּכְנוּ עלוכ׳ we covered a stable with them. Lam. R. to I, 17 (ref. to בסך, Ps. 42:5) לשעבר … ואילנות מְסַכְּכוֹתוכ׳; formerly I went up (to Jerusalem) with trees forming shades over my head; a. fr.Part. pass. מְסוּכָּךְ; f. מְסוּכֶּכֶת. Succ.8b ובלבד שתהא מס׳וכ׳ provided the Succah is covered according to law. Gen. R. s. 42 (ref. to עמק סכות, Ps. 60:8) עמק שהוא מס׳וכ׳ the valley which is shaded with trees. B. Bath.25b Ms. M., v. אַכְסַדְרָא. 2) to weave; to intertwine plants; to train a creeper over another plant. Men.97a (expl. יֻסַּךְ, Ex. 25:29) the tubes שמְסַכְּכִין בהןוכ׳ with which they interweave the show bread (which they lay crosswise between the loaves, to allow the air to pass through). Tosef.Kil.I, 6, v. סִיכּוּךְ. Y. ib. II, end, 28b (not; מסבכין). Lev. R. s. 14, end (ref. to Job 10:11 תשככני) סִכַּכְתַּנִי אינו אומר אלא תְּסוֹכְכֵנִי it does not say, Thou hast woven me, but, Thou shalt weave me (in the future world). 3) to form shade, to creep, intergrow. Y. Kil. l. c. דלעת מצרית שהיא מְסַכֶּכֶת the Egyptian gourd which creeps. Ib. שאין כולן מְסַכְּכִיןוכ׳ not all of them creep like the Egyptian gourd.

סָכַךְI (b. h.) to interlace, entangle; to be entangled, ramified.Denom. סֻכָּה. Hif. הֵיסֵךְ 1) to weave. Sabb.VII, 2 והמֵיסֵךְ and the work of the weaver. Y. ib. VII, 10c top משום מֵיסֵיךְ his act coming under the category of weaving; משום מֵיסֶכֶת her act coming Tosef. ib. VIII (IX), 2 המוסיך שלשהוכ׳ ed. Zuck. (corr. acc.) he who weaves three threads (on the Sabbath); a. fr. 2) (denom. of סֻכָּה) to hang over, shade. Ohol. VIII, 2; M. Kat. 5b אילן המיסך על הארץ a tree (with a seat of uncleanness on one of its boughs) throwing a shadow (forming a tent, cmp. אֹהֶל) over the ground; a. e.; v. סְכָכָה. 3) ה׳ רגליו to cross ones feet, euphem. for: to ease ones, self. Yoma III, 2. Y.Ber.IX, 14b bot.; a. e. Pi. סִכֵּךְ, סִיכֵּךְ 1) to cover with boughs, esp. to cover the festive booth ( Succah). Ber.62b (ref. to להסך את רגליו, 1 Sam. 24:4, v. supra) מלמד שס׳ עצמו כסוכה this intimates that he shaded himself (retired in a chaste manner) as in a booth. Succ.I, 4 הדלה … וס׳ על גבה if he trained a vine over the booth and put twigs over it. Ib. אין מְסַכְּכִים בו you must not use it for covering. Ib. 14b סִיכַּכְנוּ עלוכ׳ we covered a stable with them. Lam. R. to I, 17 (ref. to בסך, Ps. 42:5) לשעבר … ואילנות מְסַכְּכוֹתוכ׳; formerly I went up (to Jerusalem) with trees forming shades over my head; a. fr.Part. pass. מְסוּכָּךְ; f. מְסוּכֶּכֶת. Succ.8b ובלבד שתהא מס׳וכ׳ provided the Succah is covered according to law. Gen. R. s. 42 (ref. to עמק סכות, Ps. 60:8) עמק שהוא מס׳וכ׳ the valley which is shaded with trees. B. Bath.25b Ms. M., v. אַכְסַדְרָא. 2) to weave; to intertwine plants; to train a creeper over another plant. Men.97a (expl. יֻסַּךְ, Ex. 25:29) the tubes שמְסַכְּכִין בהןוכ׳ with which they interweave the show bread (which they lay crosswise between the loaves, to allow the air to pass through). Tosef.Kil.I, 6, v. סִיכּוּךְ. Y. ib. II, end, 28b (not; מסבכין). Lev. R. s. 14, end (ref. to Job 10:11 תשככני) סִכַּכְתַּנִי אינו אומר אלא תְּסוֹכְכֵנִי it does not say, Thou hast woven me, but, Thou shalt weave me (in the future world). 3) to form shade, to creep, intergrow. Y. Kil. l. c. דלעת מצרית שהיא מְסַכֶּכֶת the Egyptian gourd which creeps. Ib. שאין כולן מְסַכְּכִיןוכ׳ not all of them creep like the Egyptian gourd.

A fabric woven from the silk waste yarns of this name which gives a knotty and uneven surface. Plain weave, in coarse reed and pick of several qualities. Much used for men's and women's clothing, which are cheap but very durable ———————— A silk dress material in which a rough surface is produced by using lumpy knotted yams. The roughness is in both warp and weft and this forms the stripes and checks as seen in the illustration. Many qualities are also made from silk waste yams, very rough and knotty, in the plain weaves.

This is a fault that causes serious trouble to finishers and is due to the unequal distribution of the weft threads on the back and the face of the cloth. The remedy is to weave flat selvedges and this can be done by using suitable weaves for the fabric to be woven, and a weave that does not give a tight selvedge. Manufacturers can avoid curling selvedges and by a little experimenting at the beginning of the warp the right weave can be quickly obtained. Curling selvedges in wool, invariably present themselves in the making of heavily-felted cloths (e.g., the Army greatcoat), when the weave shows a preponderance of warp or weft on one side, such as prunelle crow or sateen. The defect is partly overcome by weaving the selvedges in warp cord, weft cord, or hopsack. For fulling, the piece should be doubled as a bag, with the face inside, and the lists stitched flat together; or two pieces may be put face to face and the lists stitched. This arrangement, by keeping the pieces flat, also prevents mill marks. Other causes are: The use for the selvedge of odd yam which mills quicker than the cloth itself, and curls as it becomes shorter. In such cases the listing yarn should be harder twisted, or warped a little longer. Narrow selvedges which cannot resist the one-sided pull of the weft in shrinking are drawn in and rolled. (French Army cloths are milled from 102-in. to 55-in. The lists in these are made with ten very thick twofold threads, two to three times as heavy as the single ground yam). Skying the listing threads too closely is a cause of the defect.

There is also the float that is not required and which is a most objectionable fault in any cloth. It is often caused by careless weaving, although inferior yarn is very liable to produce this fault. End breakages, incorrect shedding, faulty action of the shedding mechanism, wrongly pegged dobby lags, wrongly cut jacquard cards, etc., are prolific causes of floats. ———————— Warp or weft threads which pass over the threads of the opposite series are said to be floated, and in twill, satin crepe and other weaves the length of the float is named in terms of the number of threads the floating thread passes over between two intersections. In very many cloths the sole means of figuring is the floating of the warp or weft according to a defined and prearranged plan.

A fabric in which an open effect is woven by causing certain threads named doup threads to cross over one or more threads, termed standard threads. Very fancy and beautiful cloths are produced by combining this cross-weaving with other weaves. The term is applied generally to all light fabrics in which the cross-weaving principle is used.