Double-faced shading effect digital jacquard fabric with a weft-backed and warp-wadded structure

Abstract

Jacquard fabric produced by a weft-backed and warp-wadded structure is a traditional figured fabric in ancient China. However, it cannot express multi-color on the face of fabric due to the restriction of the woven structure produced in the traditional manner. At present, researchers focus more on archaeological discoveries and cultural relic replication of jacquard fabrics with a weft-backed and warp-wadded structure, but neglect research on expanding the color gamut through structural innovation. To achieve rich colors and a double-faced shading effect on jacquard fabric, this paper proposes a design principle and method for the weft-backed and warp-wadded structure under the layered-combination design mode. Four structural models of the weft-backed and warp-wadded structure are combined with full-color shaded weaves, and the effectiveness of the color shading effect is verified through a fabric specimen experiment. The results show that the average lightness difference ranges from 0.80 to 1.48, the color difference ranges from 1.67 to 3.03, and the variance ranges from 0.21 to 1.27 on both sides of the fabric specimens. The resulting fabric achieves a full-color shading effect of four mixed colors and high color purity on both sides. In addition, the color shading effect is stable and ideal. The results of this study are expected to have tremendous benefits for the creation of new jacquard fabrics that will be applied to apparel and home textiles.

Keywords

Digital jacquard fabric shaded weave woven structure color shading effect weft-backed and warp-wadded structure

The woven structure of traditional jacquard fabric is normally divided into four types: single-layer, backed (weft-backed, warp-backed), double-layer, and multi-layer.^1,2 As shown in Figure 1, compared to the weft-backed structure, the weft-backed and warp-wadded (WB-WW) structure is a special structure with wadding warps.³ In this case, the WB-WW structure woven by two warps and two wefts was considered as a transitional structure between the backed structure and double-layer structure in ancient China. The existence of wadding warps in the WB-WW structure would affect the thickness and weight of the fabric, so that the bulging pattern effect fabrics can be processed. However, traditional jacquard fabric with the WB-WW structure can only express two to five colors.

Figure 1.
Weave diagram of the weft-backed structure and weft-backed and warp-wadded (WB-WW) structure. (a) Weft-backed structure and (b) WB-WW structure.

The warp-backed and weft-wadded structure is created after rotating the WB-WW structure by 90 degrees.⁴ Compared to the warp-backed and weft-wadded structure, the WB-WW structure provides jacquard fabric with a delicate pattern and high design efficiency.⁵ Therefore, this paper focuses on the innovation of the WB-WW structure.

At present, research related to the WB-WW structure is mainly in archaeological discovery and cultural relic replication. Jia⁶ discovered jacquard fabrics with a WB-WW structure among the cultural relics excavated in Xinjiang. Luo⁷ replicated a jacquard fabric decorated with lion and floral motifs by applying the WB-WW structure. Later, Luo and Lv⁸ found that jacquard fabric with a mandarin duck pattern unearthed in Xinjiang applied the WB-WW structure.

Yet, few innovative studies have been conducted on the WB-WW structure. Xiao⁹ designed a bulging pattern effect jacquard fabric with the feature that wadding warps in the WB-WW structure increase the thickness. In this case, the number of colors could be increased by changing the weft in the same shuttle or adding a shuttle partially.¹⁰ The woven structure determines the fabric color. However, innovating the WB-WW structure to expand the color gamut has not been considered.

With the application of digital jacquard technology, the foundation has been laid for designing jacquard fabrics with a double-faced shading effect. In 2002, Zhou¹¹ suggested a method to design a figured double-faced jacquard fabric by combining two structures based on a double-layer structure. In 2006, Han and Zhang¹² designed a figured double-faced jacquard fabric by using irregular stitch weaves. Later, Ng and Zhou¹³ applied a full-color compound structure and regular stitch weaves under the layered-combination design mode to create a figured double-faced jacquard fabric. Since 2015, Zhang and Zhou^14–16 have designed double-faced shading effect jacquard fabrics by combining the full-color compound structure with three double-layer structures that use the stitching methods of self-stitching, center-weft stitching, and thread interchange, respectively.

In 2011, Zhang and Zhou¹⁷ created a double-faced jacquard fabric based on the weft-backed structure. From 2018 to 2021, Zhou and Bai^18,19 achieved a double-faced shading effect on traditional weft-backed woven fabrics by combining two-weft and three-weft full-backed structures with shaded weaves, respectively. The above research created double-faced shading effect jacquard fabrics based on the double-layer structure and weft-backed structure. However, applying the WB-WW structure to achieve the double-faced shading effect on jacquard fabric has not been studied yet.

In this paper, a design principle and method for double-faced shading effect digital jacquard fabric with a WB-WW structure is presented under the layered-combination design mode, and a fabric specimen experiment is conducted to verify the full-color shading effect of four mixed colors produced by warps and wefts on both sides of the fabric. The resulting jacquard fabrics are designed for ladies’ skirts, sleepwear, pillows, etc. It is envisaged that the results of the study will be of tremendous benefit to the creation of new jacquard fabrics of backed structure with inimitable digital effects.

Structural features of the weft-backed and warp-wadded structure

The features of the WB-WW structure are summarized as follows. Warps A and B are used as face warps and wadding warps, respectively, according to their function. Wefts A and B serve as face wefts and backing wefts, respectively (Figure 2(a)), and both express colors on the face side of the fabric. The WB-WW structure is divided into the face structure, backing structure, and wadding warp structure. The face structure is interwoven by face wefts and face warps according to the face weave. The backing structure is interwoven in accordance with the backing weave by backing wefts and face warps. The face weave and backing weave are selected from three elementary weaves. Once the face weave is determined, the backing weave is chosen from the same weave as the face weave (Figure 2(a)) or a weave that is covered by the face weave (Figure 1(b)).²⁰ The wadding warp structure is formed by interweaving wadding warps with face wefts and backing wefts by applying weft points and warp points, respectively. In this way, wadding warps not only are covered by face wefts but also cover backing wefts, so they are always hidden between face wefts and backing wefts (Figures 2(b)–(e)).

Figure 2.
Structural diagram and simulation diagram of the traditional weft-backed and warp-wadded structure. (a) Weave diagram; (b) face side of simulation diagram; (c) warp-sectional view; (d) weft-sectional view and (e) reversed side of simulation diagram.

Traditional jacquard fabric with a WB-WW structure can only express two colors woven by two wefts and face warps (Figure 2(b)). On the one hand, only one weave is applied to the face and backing structures. On the other hand, once the function of the two warps is determined, they must not be interchanged in the same fabric. Expressing more than two colors on the fabric can only be achieved by replacing the weft winding on the quill in the same shuttle.

Design principle

The WB-WW structure was improved in this paper to express rich colors and a double-faced shading effect while maintaining the wadding warps. (1) Full-color shaded weaves were applied to the face and backing structures to achieve full-color shading effect on both sides of the fabric. (2) Four structural models of the WB-WW structure were designed and applied to achieve four mixed colors of warps and wefts.

Principle of the double-faced shading effect

In the WB-WW structure, the face structure and backing structure are essential to achieve the double-faced shading effect. Due to the existence of the wadding warp structure, the jacquard fabric features a double-faced effect with opposite patterns and different colors when the same weave is applied to the face and backing structures in the WB-WW structure. Shaded weaves can express a color shading effect on jacquard fabric, since they are created by changing the primary weave from a warp-faced weave to a weft-faced weave, or vice versa.²¹ Therefore, both sides of the fabric achieve full-color shading effect by applying full-color shaded weaves to the face and backing structures of the WB-WW structure.

Principle of four mixed colors

Four structural models of the WB-WW structure allow the fabric to achieve four mixed colors formed by two wefts and two warps. As shown in Figure 3, four combinations of warps and wefts are available in the WB-WW structure, that is, Warp A and Weft A, Warp A and Weft B, Warp B and Weft A, and Warp B and Weft B. Besides, the WB-WW structure is designed according to the following principles. (1) The face structure and backing structure are located in the same column. (2) The warp points and weft points are located in the same column. (3) The face structure and weft points are located in the same row. (4) The backing structure and warp points are located in the same row. In summary, four structural models of the WB-WW structure can be created, namely AA, AB, BA, and BB (Figure 3). The first letter represents the warp for color expression (A represents Warp A while B represents Warp B), and the second letter represents the weft for color expression (A and B represent Wefts A and B, respectively). For example, AA indicates that the color on the face side of the fabric is interwoven by Warp A and Weft A. When four structural models are applied, four mixed colors are achieved because two warps can be interchanged on the fabric surface.

Figure 3.
Four structural models of the weft-backed and warp-wadded structure.

Structural design methods and fabric specimen experiments

Structural design method

According to design principles, the structural design method combined the features of the WB-WW structure and full-color shaded weaves based on four structural models of the WB-WW structure. As shown in Figure 4, the structural design processes included the following steps: selection of the primary weave, design of the full-color shaded weave database (SWD), and design of the full-color compound structures.

Figure 4.
Structural design processes of digital jacquard fabric with the weft-backed and warp-wadded structure.

Selection of the primary weave

The primary weave is a weft-faced weave selected in a range of twill and sateen, and its derivative weaves. The applicable weave repeats should range between 3 and 24. The fabric applying sateen expresses better gloss than that of twill.²² In addition, the maximum weave repeat is 16 due to the limitation of the floating length in this paper.²³ Furthermore, the color expression of 16-thread sateen is the smoothest.²⁴ Therefore, considering the effect of the fabric, 16-thread sateen was used here as the primary weave.

Design of the full-color SWD

The full-color SWD was obtained by gradually adding weave points to the primary weave in a certain direction. Here, N refers to the added value of the weave points, and it determines the total number of weaves in the full-color SWD; 1 ≤ N ≤ R and N is a positive integer, where R refers to the weave repeat. When N = 1, the total number of weaves is maximum, which is $(R^{2} - 2 R + 1)$ . When N = R, the total number of weaves is minimum, which is $(R – 1)$ . To make the floating length of the weft continuous, the primary weave was strengthened 16 points at a time along the weft direction to obtain the full-color SWD with minimum weave quantity (Figure 5).

Figure 5.
Minimum full-color shaded weave database (N = 16, weft direction).

Design of full-color compound structures

Databases of the full-color compound structures were designed based on the four structural models of the WB-WW structure (Figure 6). Firstly, two warps and two wefts were used. Then, Warps A and B were arranged from left to right at a 1:1 ratio, and Wefts A and B were arranged from bottom to top at a 1:1 ratio in a weave grid with the weave repeats of 32. Finally, each weave in the full-color SWD, weft points, and warp points were combined one by one to design the full-color compound structures according to the four structural models. As shown in Figure 6, four databases were designed, each of which contained 15 full-color compound structures.

Figure 6.
Databases of the full-color compound structures based on the four structural models. (a) Structure model of AA; (b) structure model of AB; (c) structure model of BA and (d) structure model of BB.

Fabric specimen experiments

Fabric specimens were woven based on the above databases, and then the fabric color was measured and analyzed to verify the full-color shading effect of the four mixed colors on both sides of the fabric.

Fabric specimen weaving and color measurement

In the experiment, four specimen strips were produced according to the databases of full-color compound structures (Figure 6). Each specimen strip contained 15 specimens, and each specimen was 52 mm × 30 mm. The surface color effect of the woven fabric is affected by parameters such as the density, fineness, and woven structure.²⁵ The purpose of this study was to investigate the color shading effect of the above databases, so all parameters were fixed except for the woven structure. The weaving specifications are listed in Table 1. The real fabric specimens are shown in Figure 7.

Table 1.
Weaving specifications

Parameters Warp Weft

Material Polyester 100%

Fineness 5.56 tex 8.33 tex

Density 1140 ends/10 cm 1000 picks/10 cm

Yarn color Black (Warp A) White (Warp B) Red (Weft A) Blue (Weft B)

Jacquard machine Staübli

Figure 7.
Real fabric specimens. (a) Overall fabric effects; (b) details of face side (left) and reversed side (right); (c) face side and (d) reversed side.

All fabric specimens were measured four times using a spectrophotometer (X-rite Color i7) with ultraviolet (UV) irradiation and a 17 mm measurement aperture.²⁶ The reflectance factors from 360 to 750 nm (Δλ = 10 nm), the illuminant CIE D65, and the CIE 10 observer were used to compute the color data in all cases.²⁷

Evaluation methods of the color shading effect

Parameters including L(lightness) value curves, lightness difference, color difference, and variance were used to scientifically evaluate the fabric color based on the collected color data (L, a, b), where a* and b* are redness–greenness and yellowness–blueness, respectively.

On the one hand, the L* value curve was used to determine whether the fabric features a color shading effect. The fabric features a color shading effect if the L* value curve shows a rising or falling trend, otherwise not. In addition, the rising and falling L* value curves indicate that the lightness of the fabric changes from dark to light and light to dark, respectively.

On the other hand, the lightness difference, color difference, and variance were used to evaluate the color shading effect. Firstly, the lightness difference, color difference, and variance were calculated using the following formulas. Equations (1) and (3) were used to calculate the lightness difference and color difference of two adjacent specimens in the same specimen strip and Equations (2), (4) and (5) were used to calculate the average lightness difference, average color difference, and variance of each specimen strip
$Δ L_{i}^{} = L_{i + 1}^{} - L_{i}^{}$
(1)

$\bar{Δ L^{}} = \frac{\sum_{i =1}^{n} Δ L_{i}^{}}{n}$
(2)

$Δ E_{ab i}^{} = \sqrt{{(L_{i +1}^{} - L_{i}^{})}^{2} + (a_{i +1}^{} - a_{i}^{})^{2} + (b_{i +1}^{} - b_{i}^{})^{2}}$
(3)

$\bar{Δ E_{ab}^{}} = \frac{\sum_{i =1}^{n} Δ E_{ab i}^{}}{n}$
(4)

$S^{2} = \frac{\sum_{i =1}^{n} {(Δ E_{ab i}^{} − \bar{Δ E_{ab}^{}})}^{2}}{n}$
(5)
where $L_{i}^{}$ , $a_{i}^{}$ , $b_{i}^{}$ and $L_{i + 1}^{}$ , $a_{i +1}^{}$ , $b_{i +1}^{}$ are the color values of two adjacent specimens in the same specimen strip, n is the number of specimens per specimen strip subtracting 1, where n = 14, $Δ L_{i}^{}$ and $Δ E_{ab i}^{}$ are the lightness difference and color difference of the ith specimen in the same specimen strip, 1 ≤ i ≤ n, respectively, and $\bar{Δ L^{}}$ , $\bar{Δ E_{ab}^{}}$ , and $S^{2}$ are the average lightness difference, average color difference, and variance of each specimen strip, respectively.

After calculating the data, the average lightness difference, average color difference, and variance were applied to evaluate the color shading effect of the fabric. The smaller the $\bar{Δ L^{}}$ value, the more uniform the transition of the color shading effect of the fabric.²⁸ The corresponding relationship between the color difference and color perception of human eyes is as follows. The color difference can be recognized if the $\bar{Δ E_{ab}^{}}$ value ranges from 1.5 to 3, and is more obvious if it ranges from 3 to 6.²⁹ In the color evaluation of fabric interweaving, a $\bar{Δ E_{ab}^{}}$ value between 2 and 5 is generally considered a better result.³⁰ The smaller the value for $S^{2}$ , the better the color shading effect of the fabric.³¹

Evaluation methods of the hue

Positive and negative values of a and b* were applied to evaluate the distribution of hues in the fabric. The positive and negative values of a* represent redness and greenness, while the positive and negative values of b* represent yellowness and blueness, respectively.³² The hue distribution of the fabric is determined by the hue corresponding to the values of a* and b. For example, the hue is distributed in the redness–yellowness region when the values of a and b* are both positive, and in the greenness–blueness region when the values of a* and b* are both negative.

In addition, a* and b* were used to evaluate the color purity of the fabric. The hues of the wefts in the experiment were red and blue. Thus, color purity is high if the values of a* and b* are both positive on the face side and negative on the reversed side, or vice versa.

Results and discussion

Analyses of the L* value curves, lightness difference, color difference, variance, and a* and b* values were used to verify the full-color shading effect of the four mixed colors on both sides of the fabric. Before the color data analysis, the overall color effect of the fabric specimens was observed (see Table 2).

Table 2.
Visual effects

Face side
Reversed side

F-AA F-AB F-BA F-BB R-AA R-AB R-BA R-BB

Color of face warps Black Black White White Black Black White White

Lightness change L-D L-D D-L D-L D-L D-L L-D L-D

Hue Red Blue Red Blue Blue Red Blue Red

D-L: dark to light; L-D: light to dark.

Analysis of the L* value

The L* value curves of the specimens (Figure 8) were analyzed as follows.

Figure 8.
Lightness value curves on both sides of the fabric specimens.Note: lines J and K are symmetrical axes for data analysis; they do not refer to any data.

The change of the L* value was consistent with the visual lightness of the specimens. The L* value curves of F-AA, F-AB, R-BA, and R-BB showed a decreasing trend, indicating that the lightness of these specimen strips changed from light to dark. Also, the L* value curves of F-BA, F-BB, R-AA, and R-AB presented an increasing trend, which showed that the lightness of these specimen strips changed from dark to light. F and R refer to the face and reversed sides of the fabric, respectively. In summary, all the L* value curves showed an upward or downward trend, showing that the fabric had a full-color shading effect on both sides.

The L* value curves of F-AA and F-AB, F-BA and F-BB, R-AA and R-AB, and R-BA and R-BB almost overlapped, showing that the lightness change of specimen strips AA and AB, and BA and BB was almost the same.

The L* value curves of F-AA, F-BA, R-AA, and R-BA are compared below. F-AA and R-AA were symmetrical with F-BA and R-BA about line J, respectively. F-AA was located under F-BA, except for the overlapping starting point. R-AA was located under R-BA, except for the overlapping ending point. This showed that the lightness of F-AA and R-AA was lower than that of F-BA and R-BA. Only the warp employed in the wadding warp structure differed between specimen strips AA and BA (Figure 6). The result indicated that the warp employed to the wadding warp structure affected the lightness change.

F-AA and F-BA were symmetrical with R-AA and R-BA about line K, respectively. The trends of F-AA and F-BA were opposite to those of R-AA and R-BA, respectively, showing that the lightness change on both sides of the same specimen strip showed an opposite tendency. The database used for all specimen strips was changed from weft-faced weave to warp-faced weave on the face side and from warp-faced weave to weft-faced weave on the reversed side. This indicated that the transition mode of the full-color SWD affected the lightness change.

In short, the fabric featured a double-faced full-color shading effect. In addition, the lightness on both sides of the fabric could be adjusted by the color of the warps and the transition mode of the full-color SWD.

Analysis of lightness difference, color difference, and variance

As shown in Table 3, the $\bar{Δ L^{}}$ values of F-AA, F-AB, F-BA, F-BB, R-AA, R-AB, and R-BA ranged from 0.80 to 1.44, and the $Δ E_{ab}^{}$ values were in the range of 1.67–2.96, which was able to be identified by the human eye. The $\bar{Δ L^{}}$ value of R-BB was 1.48, and the $\bar{Δ E_{ab}^{}}$ value was 3.03, which is in the range that human eyes can recognize. Overall, the $\bar{Δ E_{ab}^{}}$ value of the fabric specimens was between 1.67 and 3.03 and the value for S² was between 0.21 and 1.27, proving that the fabric had an ideal color shading effect.

Table 3.
Lightness differences and their average, average color difference, and variance of the real fabric specimens

Lightness differences of the face side
Lightness differences of the reversed side

No. F-AA F-AB F-BA F-BB R-AA R-AB R-BA R-BB

1 –0.78 –0.62 0.37 0.53 1.69 1.30 –2.95 –2.29

2 –0.53 –0.39 0.44 0.25 1.29 1.52 –3.11 –3.97

3 –0.20 –0.43 0.50 0.53 1.60 1.76 –3.63 –3.87

4 –0.85 –0.51 0.40 0.63 1.92 2.27 –3.25 –3.64

5 –0.62 –0.31 0.52 0.76 0.76 0.82 –1.14 –1.20

6 –0.45 –0.29 1.06 1.02 1.22 0.87 –0.52 –0.70

7 –0.51 –0.66 0.60 0.77 0.52 0.62 –0.92 –1.00

8 –0.63 –0.51 0.68 0.35 0.45 0.66 –1.14 –0.89

9 –0.73 –0.90 1.00 1.09 0.39 0.54 –0.66 –0.81

10 –0.52 –0.60 1.23 1.22 0.40 0.40 –0.68 –0.28

11 –2.46 –2.21 3.78 3.00 0.58 0.53 –0.72 –0.99

12 –1.50 –1.32 2.87 3.44 0.35 0.54 –0.62 –0.30

13 –1.36 –1.24 3.85 3.26 0.45 0.55 –0.18 –0.46

14 –1.15 –1.26 2.80 2.15 0.59 0.61 –0.52 –0.31

$\bar{Δ L^{}}$ 0.88 0.80 1.44 1.36 0.87 0.93 1.43 1.48

$\bar{Δ E_{ab}^{}}$ 2.50 1.67 2.96 2.12 1.72 2.51 2.19 3.03

S ² 0.51 0.21 1.10 0.91 0.28 0.72 1.07 1.27

Analysis of the hue

The hues of the specimens (Table 4) were analyzed as follows.

Table 4.
Analysis of the hue

Face side
Reversed side

F-AA F-AB F-BA F-BB R-AA R-AB R-BA R-BB

a + – + – – + – +

CR R G R G G R G R

b* + – + – – + – +

CR Y B Y B B Y B Y

Hue RY GB RY GB GB RY GB RY

CR: color representation; R: redness; G: greenness; Y: yellowness; B: blueness; RY: redness–yellowness; GB: greenness–blueness.

As shown in Table 4, the values of a* and b* were positive or negative, so the specimens possessed only the redness–yellowness and blueness–greenness hue, which was consistent with the observed hue. In addition, the lightness of the specimen strips changed from dark to light or light to dark (see Figure 8). To sum up, the fabric featured the full-color shading effect of four mixed colors.

The different hues on both sides of the same specimen strip indicated the high color purity of the fabric.

The hues of F-AA and F-BA were distributed in the redness–yellowness region, while the hues of F-AB and F-BB were distributed in the greenness–blueness region. The only difference between specimen strips AA and AB, and BA and BB was the weft applied to the wadding warp structure (see Figure 6). This indicated that the hue of the fabric was determined by the weft applied to the wadding warp structure.

In summary, the fabric featured four mixed colors of warps and wefts with high color purity. In addition, the hue on both sides of the fabric could be adjusted by the color of the wefts.

Distinction between traditional and digital jacquard fabrics with the WB-WW structure

The experimental results showed that new jacquard fabric with the WB-WW structure not only achieved a full-color shading effect of the four mixed colors produced by the warps and wefts, but also expressed more colors on both sides of the fabric compared to traditional jacquard fabric (see Table 5).

Table 5.
Distinction between traditional jacquard fabric and digital jacquard fabric based on the weft-backed and warp-wadded (WB-WW) structure

Characteristics Traditional jacquard fabric with WB-WW structure Digital jacquard fabric with WB-WW structure

Design concept Single plane design mode Layered-combination design mode

Weave design Three elementary weaves Full-color shaded weave database

Fabric structure Simple weave Four databases of full-color compound structure

Color number 2 4(R²–2R + 1)

Mixed color of warps and wefts 2 4

Color effect Individual color effect Full-color shading effect on both sides

Note: R refers to the weave repeat.

Conclusion

Compared to the traditional weft-backed structure, the WB-WW structure has wadding warps that make the fabric thicker. This paper proposed an innovative design principle and method for jacquard fabric with a WB-WW structure to express a double-faced shading effect. The specific methods were as follows: firstly, based on the WB-WW structure, four structural models of Warp A and Weft A, Warp A and Weft B, Warp B and Weft A, and Warp B and Weft B were created to express four mixed colors of warps and wefts through digital technology. Unlike the traditional WB-WW structure, two warps can both be used as face warps and wadding warps by this method. Then the corresponding full-color shaded weaves were designed to allow the four mixed colors of warps and wefts to achieve full-color shading effect on both sides of the fabric. Finally, the effectiveness of the innovative design method was verified by fabric specimen weaving, color measurement, and analysis. The experimental results showed that a full-color shading effect of four mixed colors was achieved on both sides of the resulting fabric. In addition, the average lightness difference ranged from 0.80 to 1.48, the color difference ranged from 1.67 to 3.03, and the variance ranged from 0.21 to 1.27 on both sides of the fabric specimens, indicating that the fabric obtained the expected double-faced shading effect. Moreover, the innovative structure allowed the mixed colors of warps and wefts to express the full color gamut. Experiments also revealed that the hue and lightness on both sides of the fabric could be effectively adjusted by changing the color of the warps and wefts and the transition mode of the full-color SWD. Therefore, compared to the traditional WB-WW structure, all warps and wefts of the innovative structure could express color, and both sides of the resulting jacquard fabric achieved the color shading effect with gradual color transition. The results of this study overcome the restriction of the traditional WB-WW structure in expressing a double-faced color effect, which not only innovates jacquard fabric varieties by digital technology, but also provides a reference for digital innovation of other traditional jacquard fabrics.

Parameters	Warp	Weft
Material	Polyester 100%
Fineness	5.56 tex	8.33 tex
Density	1140 ends/10 cm	1000 picks/10 cm
Yarn color	Black (Warp A) White (Warp B)	Red (Weft A) Blue (Weft B)
Jacquard machine	Staübli

	Face side	Reversed side
Color of face warps	Black	Black	White	White	Black	Black	White	White
Lightness change	L-D	L-D	D-L	D-L	D-L	D-L	L-D	L-D
Hue	Red	Blue	Red	Blue	Blue	Red	Blue	Red

	Lightness differences of the face side	Lightness differences of the reversed side
1	–0.78	–0.62	0.37	0.53	1.69	1.30	–2.95	–2.29
2	–0.53	–0.39	0.44	0.25	1.29	1.52	–3.11	–3.97
3	–0.20	–0.43	0.50	0.53	1.60	1.76	–3.63	–3.87
4	–0.85	–0.51	0.40	0.63	1.92	2.27	–3.25	–3.64
5	–0.62	–0.31	0.52	0.76	0.76	0.82	–1.14	–1.20
6	–0.45	–0.29	1.06	1.02	1.22	0.87	–0.52	–0.70
7	–0.51	–0.66	0.60	0.77	0.52	0.62	–0.92	–1.00
8	–0.63	–0.51	0.68	0.35	0.45	0.66	–1.14	–0.89
9	–0.73	–0.90	1.00	1.09	0.39	0.54	–0.66	–0.81
10	–0.52	–0.60	1.23	1.22	0.40	0.40	–0.68	–0.28
11	–2.46	–2.21	3.78	3.00	0.58	0.53	–0.72	–0.99
12	–1.50	–1.32	2.87	3.44	0.35	0.54	–0.62	–0.30
13	–1.36	–1.24	3.85	3.26	0.45	0.55	–0.18	–0.46
14	–1.15	–1.26	2.80	2.15	0.59	0.61	–0.52	–0.31
$\bar{Δ L^{*}}$	0.88	0.80	1.44	1.36	0.87	0.93	1.43	1.48
$\bar{Δ E_{ab}^{*}}$	2.50	1.67	2.96	2.12	1.72	2.51	2.19	3.03
S ²	0.51	0.21	1.10	0.91	0.28	0.72	1.07	1.27

	Face side	Reversed side
a*	+	–	+	–	–	+	–	+
CR	R	G	R	G	G	R	G	R
b*	+	–	+	–	–	+	–	+
CR	Y	B	Y	B	B	Y	B	Y
Hue	RY	GB	RY	GB	GB	RY	GB	RY

Characteristics	Traditional jacquard fabric with WB-WW structure	Digital jacquard fabric with WB-WW structure
Design concept	Single plane design mode	Layered-combination design mode
Weave design	Three elementary weaves	Full-color shaded weave database
Fabric structure	Simple weave	Four databases of full-color compound structure
Color number	2	4(R²–2R + 1)
Mixed color of warps and wefts	2	4
Color effect	Individual color effect	Full-color shading effect on both sides

Footnotes

Declaration of conflicting interests

The author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.

Funding

The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: Authors providing the funds by the 2018 “the Light of Textile” Foundational Applied Research Project, grant No. J201802.

ORCID iDs

Xi Peng

Jiu Zhou

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	Face side				Reversed side
	F-AA	F-AB	F-BA	F-BB	R-AA	R-AB	R-BA	R-BB
Color of face warps	Black	Black	White	White	Black	Black	White	White
Lightness change	L-D	L-D	D-L	D-L	D-L	D-L	L-D	L-D
Hue	Red	Blue	Red	Blue	Blue	Red	Blue	Red