Abstract
Digital Jacquard textiles have been introduced through various approaches to the capability enhancement of color expression and novel design proposition in modern weaving. Because of its a wide scope of weave colors with a small number of fillings, the basic weave structure of satin is widely adopted in the creation of shaded weave series, as they are highly reliable in presenting the natural color shading with maximized luster. However, its surface texture is limited with consistent traverse lines attributed to regular stitching points in their structure combination. Therefore, a new silhouette of shaded weave series is proposed and explored with twills to enlarge and vary the woven texture effects. The shading effect with single twills will be presented in a linear and contrasting way; when small twill lines are cut and replaced, the converted format will enable the creation of a varied surface touch. By finding the base marks where the total interlacement of a repeat is proportionally divided, small twill lines are transformed by adding interweaving points to build into a series. Furthermore, the basic principles received from satin-based shaded series are applied to the achievement of gradient shading effects. In terms of weave pattern design, each color layer is individually designed with levels of grayscales and defines each color region and color density to achieve a high-quality color presentation, as well as a unique texture.
Although modern Jacquard looms have perfected the traditional craft, the applicable number of filling yarn varieties remains limited with the automatic weft cycle index. 1 Furthermore, a continuous style of warp setting gives another difficulty in realizing a wide scope of color range. 2 Therefore, the shaded weave structure format has been used as an optimal solution to technical barriers. By applying a regular interlacement addition in the basic form of the weave structure, shaded weaves are created in series with high reliability to realize smooth color deviation. 3 The most common shapes used for shading effects have been twill or satin, 4 although their ways of offering shades appear fairly different.
Figure 1 shows an example of derivatives received by the double-shading effects of twill (a) and satin (c) weaves. The twill shading (a) appears with diagonal lines with one twill moving outward, another upward and so on. Its shading effects are presented in a linear manner and appear in a sharp and contrasting way. On the contrary, the interlacement distribution of satin shading (c) is vertically and horizontally connected. Therefore, when the additional colors of threads are juxtaposed with one another, the shading effect of satin weave (d) may appear less contrasting than twill (b).
Double-shading effects with satin and twill.
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When applying satin-based shaded weave series, woven colors receive maximized lusters, while the surface texture is limited with constant traverse lines resulting from a regular lifting plan through the single weave combination (Figure 2).
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As the interactive relationship between a lifting plan and surface texture is established, further potential to extend or vary the texture effects of woven Jacquard is projected and explored in company with smooth color deviation.
Texture of satin-based shaded weave series in multi-colored woven Jacquard.
In the traditional art form of weaving, twill is one of the basic formats used to generate shading effects
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and, therefore, a new possibility is detected with its simple shape. In the single form of twill, color effects may be presented in a contrasting manner, when interlacements are gradually added to a single weave and derivatives are compounded, and gradient color deviation can be achieved as filling yarn floats are varied and altered in a horizontal direction. In this work, developing a novel series of shaded weaves is introduced with the details of weave structure design and weave patterns. The proposed framework of the design process is shown in Figure 3.
The novel weave structure design process from satin to twill.
Weave structure design
Key principle of creating shaded weave series with a twill structure
The structural weave design is primarily associated with a lifting plan. As weave colors are created by optical color mixing,5,6 the composition made of thread colors plays an important role in yielding a color range. In modern weaving, the multi-weft figuring method is widely adopted for the reproduction of richly colored artworks. By regulating the varied lengths of pre-colored threads, projected colors are produced and lively color presentation achieved. When creating a series of shaded weave structures with the satin shape, (1) maintaining a structural balance by distributing interlacements evenly over a weave repeat and (2) preserving consistent thread float connections in the compound structure format are crucial to establish reliable weave databases. 3 When manipulating a twill, the aforementioned principles are fundamental to preserving the advantages (e.g. smooth color deviation and structural weave balance). In addition, as (1) their interweaving points are even-sided, (2) repeats can be separated into two halves of symmetrical shapes and (3) lifting points of the two halves are diametrically opposite to one another, 4 the total interlacement of a twill can be simply divided into comparative space units to generate and alter thread floats in a regular alternation.
In the ornamental manner of twill structure development, sharp and shallow twills are preferred as their line combination creates varied figures with lengthened or elongated lines. Step movement plays an imperative role in determining twill angles which depend on (a) the relative proportion of ends and picks in a unit space and (b) the ratio of growth of one interweaving to another. Defining base marks where floats of twill lines are cut and replaced in a proportional division is fundamental to building a stable settlement of interlacements and the marks are also used as a standard to gradually add interlacements along with twill lines. When twill lines are symmetrically placed alongside either horizontal or vertical axes, figured shapes appear more relaxed and steady. 4
A new silhouette of shaded weave series creation by transforming small twill lines
In a 40-thread weave repeat, the total interlacement is divided into four equal parts in which small twill lines are symmetrically placed. Figure 4 shows the first and second weaves developed for a shaded weave series, in which decorative diamond shapes consistently figure and appear in their repeat. The four different colors of arrows marked in a weave repeat (f) (Figure 4) indicate that interlacement addition is made to transform and generate derivatives based on interlacement accumulation.
First (e) and second (f) weave of the first shaded weave series.
When developing satin-based shaded weave series, an attainable total weave variety (T) is estimated by Equation (1),
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as an interlacement enhancement (E) is equally made each time with a common multiple of a weave repeat (WR). For example, when the 18-thread of a weave repeat is used for creating a shaded weave series with nine interlacement enhancements, the total achievable weaves are expected as 33 varieties.
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Interlacement addition (IA) made to transform a single weave
The first weave of the series is designed with 80 interlacing points, as each pick line receives two stitching points (e) and then is transformed into another derivative (f) by adding 41 interlacements to the first weave. Figure 5 shows the full transition, and 38 derivatives are created in a series as a result of the accumulation. Continuous change is perceived through the development and found to be capable of presenting varied diamond shapes according to the different levels of grayscales.
First set of diamond-shaped shaded weaves in full transition.
In the satin-based shaded weave series, two different sets of weave series are found to be more effective, as the combination assists in distributing interweaving points evenly over a weave repeat. Furthermore, the weft thread floats are well connected with one another when single weaves are compounded in a multi-weft figuring method. Applying a different transition direction and step movement is the key to satisfying the weaving conditions for building an optimal second shaded weave series. 8 Regarding color presentation and structural balance, the newly developed shaded weave series is also examined in its surrounding when single weaves are compounded.
Figure 6 shows the circumstance in which identical weave structures are applied to weaving. As two duplicate weaves are combined, stitching points are vertically lined up together and congregated in patches. Under these circumstances, broken streaks are expected when a high density is applied. Furthermore, the exhibited thread colors can be interrupted and be less effective in the optical thread color mixture. Therefore, the need for a second series is emphasized in optimizing weaving conditions.
Combination of two identical shaded weave structures.
In using the same size of a weave repeat, twill lines are replaced in another four equal divisions. By applying a different step movement to the first weave series (Figure 4), a new settlement of twill lines is discovered when each twill lines is symmetrically positioned within a compounded space. Figure 7 shows the first (g) and second (h) weaves of the second shaded weave series are settled by moving the small twill lines of the first weave (e) into another four equal divisions of total interlacement. To make a regular alternation in diamond shapes, an interlacement addition is made to the twill lines (h).
First (g) and second (h) weave of the second shaded weave series.
The possession of the second set is suggested for distributing interweaving points and optimizing thread color display. Figure 8 shows the compounded surroundings of single weaves from two sets, and thread colors are displayed in a more relaxed and effective way, while the structure balance is more stable compared to the first case (Figure 6).
Combination of two different diamond-shaped shaded weave series.
The identical interlacement additions applied to the first series (Table 1) are also provided to the second shaded weave series. Figure 9 shows the full transition of the second set, which is capable of presenting 38 different shading levels in conjunction with the first series.
Second set of diamond-shaped shaded weaves in full transition.
When the single weaves from the two series were compounded, the weft thread floats appear as presented in Figure 10. Nineteen different single weaves are selected from each series in which their progressive alternations deliver gradient color shading effects over the diamond-shaped texture through their combination.
Full transition of first and second weave series in weft figuring.
A weave pattern designed by color classification
The creation of weave color with pre-dyed threads is associated with optical mixing when small particles of thread colors are juxtaposed and viewed at a certain distance. 9 In contrast, when a woven cloth is produced in the indistinguishable feature of woven structure, a highly artistic value is accomplished and recognized. 10 In modern Jacquard weaving, only a small number of filling yarns can be applied and, thus, weave patterns are often designed with primary color classification. When an original image is directly invited as a weaving pattern, a specific color system is applied to the identification of each color information. On the other hand, an original image is separated by primary classification and individual color layers are designed with grayscales to recognize single color regions and densities. In subtractive mixing, grayscale levels indicate the required pigment amount for reproduction, while in weaving grayscales levels are used as a standard against which a corresponding shaded weave is selected for exhibiting a proper amount of thread color on the cloth surface.3,7 In addition, the number of grayscale varieties in each weave pattern should match the total weave variety of a shaded weave series so as to make a one-to-one correspondence between weave structures and patterns. 8
For experimentation, three different weave patterns are designed, as shown in Figure 11. To develop a woven texture variety, each color layer of a weave pattern is individually designed in a grayscale format in which the primary colors in the subtractive system (e.g. cyan, magenta and yellow) are selected to examine the color and texture effects. Many overlapped color regions are planned for enriching the diverse color ranges of [c] + [m] = [b], [m] + [y] = [r] and [c] + [y] = [g]. In addition, each grayscale weave pattern is designed with continuous tones of grays to avoid extreme variation and exhibit yarn floats gradually.
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When weave patterns are aligned with shaded weave structures, the grayscale variety is reduced to 38 varieties to match the total numbers of shaded weaves.
Three different weave patterns aligned with shaded weave series.
Experimentation: interaction between diamond-shaped shaded weave series and individual grayscale weave patterns
Technical setting for fabrication
Cyan, magenta and yellow are selected as colors of filling yarn, while the warp is fixed with off-white. As the warp is used in a continuous style with coarse yarns, applying fine yarns to wefts is considered a good way of minimizing weaving features for displaying yarn colors in high quality. The weave pattern (51.82 cm) is repeated over three times in alignment with the warp density (47.2 ends/cm) in which 30 hooks are settled for each side of selvage and the rest are applied for the weave pattern generation.
When fulfilling each weave pattern, the single weaves in the two different shaded sets are alternately applied. For instance, the cyan and yellow weave patterns are fulfilled with the first set of shaded weave series and the magenta pattern is completed by the second series to optimize the weave color presentation and structural balance. As a result, when they are produced in the multi-weft figuring method, picks are inserted in the cyan, magenta and yellow sequences. As the interweaving points are well distributed over the space, broken streaks are not found on the fabric.
As interlacements are added along with diagonal lines to texturize diamond shapes, natural shading effects are less than expected when using the satin-based shaded weave series. However, as shown in the resultant fabrication in Figure 12, the weaving application is able to embrace not only qualified gradient color shading but also an ornamental diamond-shaped texture. When the twill lines of single weaves are compounded in multi-weft figuring, the contrasting and linear manner of color shading effects is minimized and less prominent as the weft floats are varied in the horizontal direction. In addition, continuous tones of grayscales may further assist in generating lively color, as extreme variations in grayscale levels are avoided or smoothed. As weave patterns are designed and intended for exhibiting filling yarn color on the surface, the back side of the fabric appears white.
Resultant fabric from the combination of weave structures and patterns.
Conclusion
The basic twill weave structure is employed and explored for its possibility of creating a new form of shaded weave series. The important features are applied when building shaded weave series to the manipulation of small twill lines. By defining base marks that divide the total interlacement in equal parts, interlacement enhancement is made to alter diamond shapes in a regular form. In addition, when single weaves are compounded, filling yarn floats are designed to vary in the horizontal direction. Therefore, the presentation of gradient color is achieved in conjunction with a texturized woven surface. In consequence of the fabrication, a new prospect of innovative Jacquard design is motivated and suggested. Understanding the digital technology involved in weave structure and weave pattern design is considered fundamental to unveiling the great values of the traditional art of woven Jacquards.
Footnotes
Declaration of Conflicting Interests
The authors declared no potential conflicts of interest with respect to the research, authorship and/or publication of this article.
Funding
The authors disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: This work was supported by the General Research Fund of the Hong Kong Research Grant Council (project code PolyU 5274/09E) and the Hong Kong Polytechnic University (project code B-Q17G).