Maarit Salolainen, Maija Fagerlund

Plain weave
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Plain weave is the oldest and most commonly used of the basic weave structures. Plain weave can be woven on only two shafts,
but often four or more shafts are used to avoid crowding of heddles and ease opening of the shed. In a balanced plain weave, the
ratio of ends to picks is one-to-one, i.e. the ends per cm equal the picks per cm. An unfinished plain-weave fabric has no particular
face or back, both sides are the same. The repeat unit of the plain weave is the smallest possible, consisting of two picks and two
ends interlacing in an over one, under one construction, hence this weave has the maximum amount of intersections. Due to being
closely bound, balanced plain-weave structures are generally strong, resist slippage, have an excellent abrasion resistance and good
dimensional stability but less elasticity and drape. However, as in all weaves, the inherent properties linked to the construction can
greatly be adjusted by choice of yarn quality.
Warp end 2
Warp end 1

Threading Tie-up

Shaft 1
Shaft 2

Pick (weft) 2
Pick (weft) 1
Treadle 1
Treadle 2

Cloth Diagram Treadling

Treadle = Pedal

Basket weave
Basket weave is a derivative structure of the plain weave. In comparison to the one-to-one plain weave, the repeat unit of a basket-
weave has a multiple-yarn configuration, the most common being of the ratio two-to-two and four-to-four. The result is a balanced,
loosely bound fabric due to less interlacing than in the strong and tightly bound plain weave. A commonly used variation of the
basket weave is the half basket, were the ratio of yarns is two picks to one end, consequently resulting in an unbalanced thread
count. The balanced basket appearance is however maintained due to use of weft yarns thinner than the warp yarns (oxford).
Basket weave is more soft, elastic and wrinkle resistant than plain weave, but has less strength, dimensional stability and abrasion
resistance.

Two-to-two basket weave:

Threading Tie-up

Cloth Diagram Treadling

 Maarit Salolainen, Maija Fagerlund

Unbalanced plain weave / Rib weave 2/10

Unbalanced plain weave or rib weave fabrics fall in two categories, warp- and weft-faced, depending on which set of yarns covers
the other.

An unbalanced plain weave can usually be identified through a pronounced rib in either horizontal direction, warp-faced plain
weave, or vertical direction, weft-faced plain weave. Industrially woven unbalanced plain weave fabrics are mostly horizontal
ribs. Vertical ribs are common in interior products such as carpets and place mats. The structure is typically an over-one, under-
one construction (Fig. a). however, in contrast to a balanced weave in same construction, with at least twice the amount of yarns
in either of the yarn sets, warp or weft. Alternatively, a weft-faced rib weave is created through applying warp yarns thicker than
weft yarns, or by adding the amount of ends in the tie-up unit. The same applies vice versa in the other set of yarns: thicker or
multiplied weft yarns result in a horizontal, warp-faced rib weave.

Rib weaves are tightly woven and generally strong and durable similarly to their balanced counterparts. Nevertheless, the
unbalanced ratio of picks and ends has an effect on performance. Horizontal ribs have substantial body, emphasising shape and
structure over drape whereas vertical, warp-faced plain weave fabrics have better drape qualities. The yarns covering the ribs are
exposed to wear, which may reduce the fabric’s abrasion resistance. This property can be however be compensated through use of
hard twisted yarns as in poplin, a popular warp-faced fabric.

Vertical rib weave

A weft faced plain weave can be achieved by picks and ens of
similar count by floating the pick over and under two or more
warp ends The result is a weft-faced rib weave, where the
warp is covered by the weft forming a vertical rib structure.

Horizontal rib weave

Alternating a coarse weft pick with a fine pick in an end
and end warp forms warp-faced, horizontal ribs of
unequal width. Alternatively, the effect can be achieved
by multiplying the number of picks per shed as in this
example. Small scale textures and patterns are achieved using
fine weft yarns, whereas thicker pick yarns enlarge the scale
and emphasise the contrast in the pattern.

A straight draft is the basis for all other threading plans and can
straight draft be used with any number of shafts. The warp ends are threaded
onto each shaft in a straight sequence, starting from the first shaft
and ending in the last shaft.
vertical rib weave

The threading plan on left shows an example of a straight draft

basket weave over six shafts.

plain weave
 Maarit Salolainen, Maija Fagerlund

Crepe weave
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Weave structures are combined to stabilise the construction as well as for textural and decorative purposes. To put it simple,
using different weave structures is a balance between hiding and showing, exposing a yarn on the surface, blending it or covering
it up. Combining structures on shaft looms is more restricted than on jacquard looms, which offer wide possibilities to weave
combinations and patterning.

A reason to combine weaves might be the need for a supporting structure. Further, structures are combined in order to add
textural interest to the fabric. Small-scale all-over weaves, which combine basic weave structures or rotate a basic weave, resulting
in grainy, non-directional repeat patterns, are called crepe weaves. A simple way of patterning with a restricted amount of shafts is
to combine weaves in horizontal stripes. As the following samples demonstrate, even though the different weaves are structurally
applied in stripes, the appearance especially in a the low-sett warp might be blocked and textural. This is a result the unique
properties of each weave in exposing, blending, shifting or covering up. The effects of structural combinations can further be
emphasized - or diminished - by alternating the yarn material or colour or pick density. With finer, denser warps weave stripes are
more evident.

On block warps on shaft looms structures can be combined vertically. Moreover, combining structures on jacquard looms, without
the repeat restrictions of shaft looms, leads to free patterning. Extra weft patterni, also called supplementary weft is commonly
used to decorate woven shaft weaves and jacquards. A similar concept can be applied in warp direction by using a supplementary
warp.
Two different weaves can be combined by Two different weaves
copying row by row alternately copying row with unequal repeat
from each design. sizes can be combined
(Silpala, Sidoksia kankaisiin) to form a crepe weave
by drawing the weaves
on top of each other
(www.weavestruct.de)

Crêpe weaves developed The structural drafts on

by turning a weave struc-
ture
(www.weavestruct.de)
right show how a crepe
weave is derived from a
warp -faced 10-end satin
weave.
(Silpala, Sidoksia kankai-
siin)
 Maarit Salolainen, Maija Fagerlund

Twill weaves
4/10

There are many variations of the twill weave. It can change

appearance depending on the thickness of the warp and weft yarn,
the number of shafts used as well as the threading pattern and
lifting plan. A pointed draft can be used as well as a straight draft or
variations and combinations of these. However all twill-weaves can
be recognized by the twill line, a diagonal line running aross the
fabric. When you designing twill variations on a ready-made warp
on the computer-aided looms, the treadling as well as the tie-up of
Weft-faced twill Balaced twill
the twill can be varied.

A twill weave can be warp-faced, weft-faced and balanced. In a

balanced twill the warp and weft floats are the same length and the
cloth is identical on the back and front. A warp-faced twill has the
majority of warp threads visible on the cloth surface whereas the
weft faced twill has majority of weft threads visible on the face of the
cloth.

Many variations can be derived from the twill weave. In pointed

twills the diagonal line forms a zigzag a pattern. Either the treadling
or the threading (point draft) or both can be pointed, as in diamond
twill.
Broken twill weave or herringbone
In a brocken twill the diagonal twill line is interrupted. The classical
herringbone pattern is a brocken twill. Other distorted twills are the
curved or undulating twill and disturbed twill.
(See more in Shenton 2014, pp 46-71, Alderman pp.25-62)

In a twill-weave the yarn intersections are less frequent and longer

yarn floats can move more freely than for example in plain weave.
As a result twill weave fabrics are more flexible and have a better
drape. A good example of a twill weave is the denim fabric, which is
a 2:1 twill woven on three shafts. Further, due to the large amounts
of variations, twill can be used for decorative surfaces. Ideas for
different twill weaves can be found in books, old textiles and for
example at www.weavestruct.de -> fabric-bindings

Reverse twill

Diamond twill
Balanced twill, which forms a colour and weave effect * * a pattern using two contrasting colours in both warp and weft directin in
houndsthooth pattern combination with a basic weave structure such as plain weave.
 Maarit Salolainen, Maija Fagerlund

Satin weaves
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The smooth and lustrous face of the warp-faced satin weave is formed of densly sett long warp end floats. As the satin weave
allows running long floats of threads on the face of the fabric, the colour as well as the material characteristics of the floating yarns
becomes a prominent feature of the fabric. For this reason, the weave is oftern used with lustrous, fine filament yarn warps such
as silk. The shiny yarns floating on the surface capture light and make a luxurious appearance to the cloth. Satin fabric with the
pick yarns floating on the face of the fabric is called weft-faced satin weave or sateen. Weft-faced satin weaves are oftern used for
striped effects in double width curtain fabrics. Turning these fabrics 90 degrees to form vertically striped curtain lenghts is called
railroading. The drape of a satin weave is better in the direction of the heavier yarn set.

On shaft looms, the warp-faced and weft-faced satins can be combined in one cloth to chequered patterns by using a block draft.
Fabrics patterned in this way are called Damasks. Patterned ornamental and floral damasks can be woven on jacquard looms.

The number of warp threads per cm is called the yarn sett, or density. Satins generally are woven with a close sett, or high density
in contrast to normal sett, which is sett based on a plain weave structure. Cramming the warp yarn floats creates the lustrous
seemingly unbrocken surface of the satin weave. In contrast to the twill weave, which is characterised by the prominent twill line,
the thread intersection points, or stitches, of satin weaves are scattered as widely as possible in a non-directional pattern. The
larger the repeat unit of the satin is, the longer the floats in the weave.

The intersection points of the satin weave can be scattered in an optimal way by using so called move numbers or satin intervals.
The move number defines the sequence of the intersection points in succeeding picks. It is calculated by dividing the basic
repeat unit in two so that both numbers add up to the basic repeat units yarn count but do not share common prime factors.
The satin is drafted by marking the first intersection point in the left corner of the basic repeat. The following stitches as marked as
defined by the chosen move number.
(see more: Silpala p. 75, Alderman p.64).

The weft-faced 5-end satin is

Examples of move numbers in regular satins constructed with move number
5-end satin, move numbers 2 or 3 3. As the examples demonstrate,
7-end satin move numbers are 2, 5, 3 or 4 move number can be used in
8-end satin move numbers are 3 or 5 most satin weaves.
10-end satin move numbers are 3 or 7
12-en satin move numbers are 5 or 7

Regular satins can not be made using four or

six shafts, as it is not possible to count a move
number for 4-end and 6-end weaves. However it
is possible to construct a so called irregular satin
which has a slightly pebbly look in contrast to the
smooth appearance of regular satins.

Irregular 6-end satin Irregular 4-end satin

Patterned cloth (damask) is achieved by using

warp-faced and weft-faced satins in one fabric.
Often a block draft is used.

In a block draft or block threading plan, the Patterned 8-end satin with
shafts are divided into two or more blocks, each a block draft
appointed to a different weave structure in the
tie-up or lifting plan. The threads of each weave
structure are drawn in on its’ own set of shats. The
blaok weave enables patterning using both vertical
and horizontal interchanging.
 Maarit Salolainen, Maija Fagerlund

Double cloth Double weave!! 6/10

Double weave!!
The double cloth, also called pocket weave, has two separate layers of fabric woven one above the other. Both layers, the face
cloth and back cloth, have their own warp threads and weft threads. Plain weave double cloth can be woven with four shafts.
Depending on the number of shafts available, other basic structures can also be used for double-cloth fabrics.

In order to maintain individual warp tension in each cloth, two warp beams are preferable in double weave structures, especially
if the warp is made of two different yarns. The two beams enable handling both fabrics individually, making pleats and puckering
effects possible.

The two fabrics can be woven on top of each other without any interlacement resulting in two separate fabric layers. Moreover,
a double-width cloth is formed if the layers are joined at one side while leaving the selveges on the other side open. Further the
fabric can be woven to create a tube with the layers joined on both sides.

To avoid sagging and hanging of the two layers, the face and back cloth are stitched together at regular intervals by interchanging
the positions of the face and the back cloth. The interchange of the cloth occurs horizontally in warp direction resulting in rows
of tubes, but if a block draft is applied (see satin weave), it can also occur vertically in weft direction. Additional sets of shafts are
needed if vertical interchange is desired and a block draft is applied. Double weave structures are used to form patterned fabrics
with two distinct colour areas. This characteristic is often used in end-and-end warps, when two distinct colour areas are needed.

The ratio of the ends and picks in both layers can be 1:1, with every other end and pick forming the face cloth and every other end
and pick forming the back cloth. However, the cloth layers can also have a different amount of either ends or picks or both. It is also
possible to plan a double cloth warp with yarns in two contrasting yarn sizes. In these ways the density of both cloth layers can be
varied.

The double-cloth construction enables horizontal pleats to be woven into the fabric. One of the warps is used to form the pleat
while the other warp forms the ground cloth. It is necessary to have both warps set on their own beams, as pleating requires
individual tensioning of the warps. After weaving both the ground cloth and pleat layer to the required height of the stripe, the
cloth layer which is to be pleated, is independently woven higher. Subsequently, the tension of the pleat warp is released enough
for the end of the woven pleat to meet the ground cloth. Both layers are then woven tightly together with plain weave ensuring that
the pleat is held firmly in place. A stick can be used in between the two layers to even the warps before weaving the two fabrics
together.

A backed weave is a double cloth structure in which the two fabrics are stitched together as they are woven. Similarly to the basic
double cloth, both sides of the fabric have their separate warp and weft. As a result, the fabric look can differ notably on the face
and reverse. However the difference between these two types of double cloth is in the stitching of the layers. In basic double cloth
complete layers interchange positions from back to face. In contrast, in the backed weave, the face and back of the fabric ar not
swapping sides and the layers of woven fabric are held together using binder threads. This type of stitching is often done in a way
that does not show on the other side. Backed weave structures are often used for upholstery fabrics, where a soft, fluffy face, such as
a plain weave of chenille yarns in warp and weft direction is attached to a more structurally stabile and densely sett backing on the
back.

pick25: white warp ends up, black warp ends down.

picks 17-24, ends 11-17: white ends and green picks

form the face cloth, black ends and grey picks form
the back cloth
picks 17-24, ends 1-10 and 17-38: black ends and
grey picks form the face cloth, white ends and green
picks form the back cloth

picks 9-16: white ends ja green picks form the face

cloth, black ends and grey picks form the back
cloth.

picks 1-8: black ends and grey picks form the face
cloth, white ends ja green picks form the back cloth
 Maarit Salolainen, Maija Fagerlund

Piqué weave
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The piqué weave has two warps - one for forming the face weave and a second one for stitching. Often the face of the piqué weave
is plain weave. As individual tensioning of the two warps is required to emphasize the furrowed, three dimensional piqué surtface
effect, each warp should be wound onto separate beams. The stitching warp is held in tension while the plain weave warp is woven
under moderate tension. Alternatively one or two sets of pick can be used: the pick for forming the face weave and an optional
filling, or wadding pick, which does not show on the face if the fabric. The stithing warp forms furrows on the face of the fabric
and long floats on the back of the fabric. These tensioned floats pull the face weave together, forming the three dimensional look
typical for the piqué weave. The three dimensional effect is strengthened further by tensioning the stitching warp more and by
adding a thick, fluffy wadding pick.

(See more: Alderman p.184-188)

face cloth warp

stitching warp

Ratio of the ends on the face to ends of the stitching warp: 2:1

face cloth pick

wadding pick

Ratio of the picks on the face to picks of the stitching warp: 2:1
 Maarit Salolainen, Maija Fagerlund

Textured weaves: mock leno / canvas 8/10

The slightly perforated, gauze-like texture of the mock leno, or canvas weave, is formed of two contrasting units of warp and weft
floats. The ends and picks of one unit are grouped next to each other. The structural contrast between the groups forms the “perfo-
rated” open area. The lacy appearance of the fabric can further be emphasized by leaving empty dents between the groups.

The cloth diagram of a mock leno weave reveals areas of similarily interlacing threads opposed to areas of contrasting interlace-
ment. The basic repeat unit is divided into four: two opposing structural groups of two similar units. The sharp contrast between
these structural groups keeps the yarns of the four units apart from each other.
 Maarit Salolainen, Maija Fagerlund

Textured weaves: waffle / honeycomb (UK)

9/10

Both the waffel weave and and the distorted weft structure (see following page) are based on the interplay of two contrasting
structural areas: tightly interlaced plain weave areas and a loose floats. Due to the textural contrast, both weave types change
dramatically when taken out of loom tension. The long floats of the waffle weave contract when released from tension, pushing
the plain weave areas down to form honeycomb-cell like notches. The dimensions of these depressions in the cloth depend on the
length of the floats as well as the elastic properties of the fibres used for the yarns, the yarn type and count.

The waffle weave is created from diamond shaped warp and weft float groups stabilized by an outlining of plain weave. The struc-
ture is drafted so that the weft faced areas are alternating with the warp faced areas in both warp and weft direction.

The honeycomb weave is derived from the diamond twill: If the weft floats are too long, they are stitched down
with a plain weave area:

Waffle structures and variations (www.weavestruct.de):

 Maarit Salolainen, Maija Fagerlund

Plain weave weft distortion

10/10

Similarily to the concept in the waffle weave, the three-dimensional surface of the plain-weave weft distortion is created by two contrasting
weave structures. In the distorted weft structure, two contrasting sets of wefts are used to further emphasize the three-dimensionality of this
texture with indentations outlined by undulating yarns. The weft yarns forming the trapped notches are interwoven to units of plain weave alter-
nating with blocks of floats on the back of the fabric, while the outlining weft forms a plain-weave structure across the fabric. Between the plain
weave units, warp floats remain on the face of the fabric. When the warp is taken out of loom tension, the end yarns contract, letting the outlining
plain weave layers to slip next to each other, in attempt to cover the warp yarns floats. Depending on the pick yarns used, the tightly woven plain
weave areas however remain more or less trapped between the undulating weft, forming medallion-shaped notches.

As noted earlier, in order to maximize the three-dimensional textural effect as well as to accentuate the curve of the outlining weft, two different
yarns can be used for the outlining weft and the cell weft. Differences in yarn properties, such as using soft, thick and elastic outlining weft in
contrast to thin and tightly woven cell weft emphazises the difference between the surface and the oval-shaped indentations. Further material
explorations, also with the opposing concept, help in understanding the fascinating correlation between yarn materials and weave structures. In
addition to variations with pick yarn, the threadling repeat can be altered in many ways by adding rows of either outlining wefts or plain weave
cell wefts.

Treadling repeat 2

Treadling repeat 1

weft forming the alternating blocks of plain weave and floats

Outlining weft

The block draft adds to patterning variations in the plain-weave weft distortion

* In the US, the distorted weft structure is referred to as honeycomb. However in the UK and commonly in the industry honey-
comb weave refers to the waffle weave.