Textiles Test 4

Front 1

two or more sets of yarns interlaced at right angles

Back 1

woven fabric

Front 2

the yarns in the vertical position

Back 2

warp

Front 3

yarns in the horizontal position

Back 3

weft/filling

Front 4

what machine is used for woven fabrics

Back 4

a loom

Front 5

raising harness (warp yarns)

Back 5

shedding

Front 6

insertion of filling yarns

Back 6

picking

Front 7

reed/ beater bar pushes filling yarns together

Back 7

beating

Front 8

rolling the fabric onto cloth beam

Back 8

take-up

Front 9

a type of loom in which the filling yarn is inserted in the shed with a stream of water

Back 9

water jet
-shuttleless looms

Front 10

gripper/projective
air jet
circular

Back 10

shuttleless looms

Front 11

length of yarn on the surface of a fabric between adjacent intersections

Back 11

float

Front 12

what does float length affect?

Back 12

luster
flatness/texture
susceptibility to snagging
strength of fabric

Front 13

higher elongation in filling
warp yarns lie straighter
fancy yarns inserted in filling direction

Back 13

woven fabrics

Front 14

position of warp to filling

Back 14

grain

Front 15

skewed of bowed

Back 15

off grain
not a good thing

Front 16

the number of warp and filling yarns per inch (warp by weft)

Back 16

fabric count

Front 17

ratio of warp to filling yarns

Back 17

balance

Front 18

what makes a fabric balanced?

Back 18

if there is one warp yarn for every filling

Front 19

measurement from selvage to selvage

Back 19

width

Front 20

less than 4 oz/yard

Back 20

top weight

Front 21

between 4-6oz/yard

Back 21

medium weight

Front 22

more thatn 6oz/yard

Back 22

bottom weight

Front 23

simplest
most common
"over one, under one"
made from any type of yarn
no technical face or back

Back 23

plain weave

Front 24

warp and filling are same size and relative distance apart

Back 24

balanced plain weave

Front 25

-heavy weight
-napped suiting fabric

Back 25

flannel

Front 26

-higher number of yarns in one direction

Back 26

unbalanced plain weave
aka ribbed

Front 27

two or more warp and/or two or more filling yarns side by side as one yarn

Back 27

basket weave

Front 28

-basket weave
-usually 4 x 4, 8 x 8

Back 28

monks cloth

Front 29

-basket weave
-cotton or blends
-shirting
-usually a 2 x 1

Back 29

oxford cloth

Front 30

-basket weave
-stiff
-made of heavy yarns

Back 30

canvas

Front 31

-weave repeats on three or more warp and filling yarns
-progression of interlacing by "one"
-produces diagonal lines

Back 31

twill weave

Front 32

wale line angle of 45 degress to the selvage edge

Back 32

regular twill

Front 33

-wale line angle of 63 degree angle
-materials which are made more durable
-have a high warp count (stronger in the warp direction)

Back 33

steep twill line

Front 34

warp floats over same number of filling as it floats under

Back 34

even-sided:reversible twill
ex: herringbone, houndstooth

Front 35

-warp lies predominately on the face of the fabric
-warp floats over more filling than they pass under

Back 35

warp-faced
ex: denim, jean, gabardine, chino

Front 36

-warp of filling floats over 4-12 yarns before passing under one
-no twill line
-fewer interlacing per square inch
-noted for aesthetics (drape, luster)
-less durable
-fine filament yarns work wel
-iron on backside
-satin
-sateen

Back 36

satin weave

Front 37

fabrics with a small woven in design

Back 37

dobby

Front 38

-dobby
-small, diamond-shaped figures

Back 38

bird's eye

Front 39

-dobby
-raised square gritted pattern

Back 39

waffle cloth

Front 40

-dobby
-raised round gritted pattern

Back 40

pique

Front 41

fabrics with intricate, detailed, wove-in motifs; expensive

Back 41

jacquard

Front 42

-jacquard
-embossed appearance;pattern and ground are different weaves

Back 42

brocade

Front 43

-jacquard
-reversible; patterns are subtle; satin floats on satin background

Back 43

damask

Front 44

-either a jacquard or hand technique; most complicated
-always two or more sets of warp and filling yarns

Back 44

tapestry

Front 45

-warp yarns cross pairwise to form a figure 8 pattern
-creates an open weave effect
-ability to snag easily

Back 45

leno weave

Front 46

-two layers of fabric are interlaced at intervals, joining the layers
-can be reversible fabrics
-additional warmth/bulk
-good resiliency

Back 46

double cloth

Front 47

-formed by an extra set of yarns (warp or filling) that produces the pile surface by forming loops
-either loops or a smooth 'furry' surface
-may crush

Back 47

pile weave

Front 48

-composed of inter-meshing of yarn
-comprise half of apparel produced
-high rate of production
-more yarn used

Back 48

knits

Front 49

loops of the yarns lie on the width

Back 49

weft knits

Front 50

loops of the yarns lie vertically

Back 50

warp knit

Front 51

are there warp and filling yarns?

Back 51

NO

Front 52

refers to the yarns path in a filling-knit fabric as it moves across the fabric

Back 52

course

Front 53

refers to the diagonal line developed by the interlacing of patterns of twills or the column of stitches made by one needle in a knit fabric

Back 53

wale

Front 54

how is a knit different from wovens?

Back 54

courses and wales can be made from one set of yarns

Front 55

basic unit of knit fabric

Back 55

loops

Front 56

another word for the loops made in knitting, they are named based on how they are made

Back 56

stitches

Front 57

openness or closeness of the intermeshing loops

Back 57

gauge
-the higher the gauge, the closer the loops

Front 58

number of stitches per unit area (usually one inch) in a knit fabric

Back 58

stitch density
-similar to yarn count for wovens

Front 59

the number of stitches per unit area in a knit is

Back 59

stitch density

Front 60

comfort, freedom of movement, soft draping, snags easier, poor shape retention, more likely to shrink

Back 60

performance of knit apparel

Front 61

limited, good extension and recovery

Back 61

performance of knit furnishings

Front 62

high elongation
better elastic recovery than knits
poor shape retention
(will run/ladder: unravels and leave a space in the knit)
strength depends: tends to distort and shift sideways
high wrinkle resistance

Back 62

knits

Front 63

yarn forming the fabric run...

Back 63

crosswise

Front 64

how are yarn introduced

Back 64

in a crosswise direction, at a right angle to the growth direction of the fabric

Front 65

-basic
-curves are on back of fabric
-vertical sides of stitch are on face of fabric

Back 65

knit stitch

Front 66

-some stitches tuck under two loops
-used to create designs in the fabric

Back 66

tuck stitch

Front 67

-a stitch skips over a space or two forming floats

Back 67

float/miss stitch

Front 68

-fabric is identical on face and back, and look like the technical back of a knit stitch (curves are shown on both sides)
-draws the loops (curves) to the back on one course, and to the face on the next

Back 68

purl/ reverse stitch

Front 69

one set of needles used

Back 69

single filling knits

Front 70

-two yarns fed into machine at same time
-loops of one yarn remains on surface
-imitation furs, knitted terry cloths

Back 70

Pile Jersey
single filling knits

Front 71

uses knit stitches
tshirt, sweaters, hoisery

Back 71

Plain Jersey Knit
single filling knit

Front 72

design of two or more colors
combo of stitch type

Back 72

jacquered jersey
single filling knit

Front 73

extra yarn laid in course (row

Back 73

weft insertion jersey
single filling knit

Front 74

-two sets of needles
-more stable than single knits
-interlock

Back 74

double filling knit

Front 75

yarns are carried both lengthwise and diagonally
machine technique only
way of interlocking with loops in adjacent wale

Back 75

warp knits

Front 76

generic name for most warp knit fabrics
looks like plain weft stitch on face but has distinctive back

Back 76

tricot

Front 77

-made from polymer solution "dope"
-instead of spinning into a fiber, extruded in form of a sheet
-food wrap packaging, tablecloths, upholstery

Back 77

films
-fabric from solutions

Front 78

puffs of air inserted into the solution, with different sizes of air cells yielding different densities of foams

Back 78

foams
-fabric from solutions

Front 79

-stuffing of pillows, stuffed animals
-batting used for quilts
-fusible nonwovens
-interfacings, interlinings
-provide stability/stiffness in waistbands, collars, lapels

Back 79

fiberfill

Front 80

fibers tangled or fused together into sheets

Back 80

fiberfill

Front 81

-wool, or wool blend
-steam
-heavy rollers or plates
-further compacted through agitation, pounding, and shrinkage
-warm, stiff, weak, subject to pill

Back 81

felt: oldest technique

Front 82

skins and hides of animals, reptiles, etc.

Back 82

leather

Front 83

treatment to make leather/suede water and rot resistant

Back 83

tanning

Front 84

animal skin to which the hair, fleece, or fur fibers are still attached

Back 84

furs

Front 85

tanning, combed, brushed, drumming in sawdust

Back 85

furs

Front 86

any process used to convert greige, unfinished goods into a completed fabric

Back 86

finishing

Front 87

what can a finish alter

Back 87

luster
drape
texture
hand

Front 88

-can use either an additive or subtractive method depending on desired result

Back 88

luster finish

Front 89

passing fabric between two cylinders

Back 89

calenderizing

Front 90

luster of entire fabric is increased by calanderizing

Back 90

glazing (luster)

Front 91

watermark effect; surface looks like wood grain by calanderizing

Back 91

moire (luster)

Front 92

produces designs in the fabric by calanderizing

Back 92

embossing (luster)

Front 93

producing a transparent fabric by partially dissolving it in acids

Back 93

parchmentizing (drape)

Front 94

chemical solvent used on a blend and applied in select areas to create a design (the weaker fiber will dissolve)

Back 94

burned out (drape)

Front 95

adding stiffness, weight, and body

Back 95

sizing/starching (drape)

Front 96

changes the texture and hand

Back 96

pleating

Front 97

solution applied to fabric in strips

Back 97

plisse (texture and hand)

Front 98

-imitation pile by adding fibers to a finished fabric
-raised dots only on one side of fabric

Back 98

flocking (texture and hand)

Front 99

sewing loops onto the surface of a finished fabric

Back 99

tufting (texture and hand)

Front 100

-lightweight/heavyweight
-slack tension weave
-vertical crinkles or two sets of warp yarns

Back 100

seersucker

Front 101

the part of the loom that is used to carry filling yarns through the shed

Back 101

shuttle

Front 102

organdy
gingham

Back 102

balanced plain weaves

Front 103

taffeta
shantung

Back 103

unbalanced plain weaves

Front 104

chiffon
organdy
organza

Back 104

lightweight fabrics

Front 105

perale
crepe
calico
flannel
gingham
chambray

Back 105

medium weight fabrics

Front 106

flannel
tweed

Back 106

heavyweight fabrics

Front 107

crepe de chine

Back 107

lightweight ribbed fabrics

Front 108

taffeta
shantung

Back 108

medium weight ribbed fabrics

Front 109

poplin

Back 109

heavyweight ribbed fabrics

Front 110

two yarns in contrasting colors in the warp and filling are used in groups of four to create the distinctive pattern

Back 110

hounds-tooth

Front 111

the self edge of the fabric where filling yarns end or turn to go through another shed

Back 111

selvage

Front 112

70% wool
made by interlocking the scales of wool fibers through the use of heat, moisture, and agitation

Back 112

felt

Front 113

has row of chainlike loops called pillers, with laid-in yarns in various lapping

Back 113

raschel warp knits