Weave structure and image pattern exploration for modern double-cloth design development by deploying digital technology

The use of digital technology can open up new opportunities for Jacquard fabric to provide novel forms of decorative fabrics. In additional to color, texture and material, multiple layer format such as double-cloth is considered a crucial design element. In using the traditional weaving method, double-cloth design features are limited to abstract styles (i.e., stripes and color blocks). However, by deploying digital technology it is possible to depict much complicated fashion on both sides of a fabric. Two distinguished images are realized through weft yarn colors of which face, and back layer equally offer unique design novelty that was not possible with existing weaving methods. Therefore, this study firstly explored on a weave structure development which is capable of presenting pictorial images on both sides of a fabric. Once the weave structure format is finalized, further experiment is carried out with the CMYK color threads to explore the possibility of expanding a weave color scope for double-cloth. Based on the two experiments results, the details of weave structure and the image pattern design are explained to propose new types of modern double-cloth

Two-color double-cloth development in alignment with subtractive CMYK color theory by deploying digital technology

This study aims to introduce new aesthetic values of modern double-cloth by resolving the current restriction in woven textile coloration. Previously, realizing pictorial images on both sides of a fabric was experimented with two weft yarns and further possibility was suggested to extend an applicable number of weft yarns for which a prototype of two-color double-cloth was tested and fabricated by employing four weft yarns. In this study, therefore, reproduction of highly complicated patterns in a two-color shading effect is aimed to further develop the current double-cloth design capability. The core principle lies on weave structure design to interweave two sets of warps and wefts into separate layers whilst two distinctive images are designed in alignment with CMYK color theory to enlarge a feasible weave color scope by using the subtractive primary yarn colors. Details of digital weave pattern design and weave structure development are explained based on empirical experiment results

Gradient colour deviation in woven textiles to correspond to pictorial images in diversity

This study aims to propose optimal weaving conditions for creation of a natural shading effect in woven textiles. By applying the weave structure and pattern theories, the two core parts of weaving are explored and examined towards improving realisation of gradient weave colours. When planning experiments, weave repeat sizes from 12- to 30-thread are created into a shaded weave series and compounded in a multi-weft figuring method. In terms of weave pattern, a colour spectrum image is designed and its split primary colour layers (e.g. cyan, magenta, yellow and black) are employed as a weave pattern. In conjunction with varied weaving conditions, a colour spectrum image is reproduced in 19 different woven forms. In this study, comparative analysis is approached based on the samples resulted from trials and the practical research is explained in detail of weave structure and weave pattern specifications to propose the core principle of establishing gradient colour deviation

Pigment mixing effect realized with pre-dyed opaque yarns for Jacquard textile design development

In modern Jacquard weaving, the application of yarn color variety is limited to electronic Jacquard machinery and realizing a wide scope of weave colors can be challenging. Therefore, when reproducing a pictorial image with a small yarn variety, artwork colors are defined by a CMYK (cyan, magenta, yellow, and black) system and its primary color data are used to associate with weave structures. In alignment with a CMYK pattern layout, shaded weave structures are incorporated to expand the accessible gamut of weave colors and natural shading is realized by different cover factors in the warp and weft. The mixing effect of CMYK yarns is intended for resolving the technical limitations of current digital Jacquard weaving. In this study, quantitative research is designed to examine four yarn mixing effects for which pairs of CMYK yarns are superimposed (e.g., [C]+[M], [C]+[Y], [M]+[Y], [C]+[K], [M]+[K], [Y]+[K]) and 90 different weave colors are produced in six groups. Once they are formatted in a standardized size, weave samples are measured by a spectrophotometer and analyzed by three coordinates (L*, a*, and b*) of a CIELAB color system. As shown by the analysis results, the weave colors bear not only varied brightness, hue, and chroma alternations, but also a great similarity to the pigment mixing effect. In application of the color mixing effect, a new way of woven color presentation is achieved and introduced as a new development of Jacquard design

Weave structure and image pattern exploration for modern double-cloth design development by deploying digital technology

The use of digital technology can open up new opportunities for Jacquard fabric to provide novel forms of decorative fabrics. In additional to color, texture and material, multiple layer format such as double-cloth is considered a crucial design element. In using the traditional weaving method, double-cloth design features are limited to abstract styles (i.e., stripes and color blocks). However, by deploying digital technology it is possible to depict much complicated fashion on both sides of a fabric. Two distinguished images are realized through weft yarn colors of which face, and back layer equally offer unique design novelty that was not possible with existing weaving methods. Therefore, this study firstly explored on a weave structure development which is capable of presenting pictorial images on both sides of a fabric. Once the weave structure format is finalized, further experiment is carried out with the CMYK color threads to explore the possibility of expanding a weave color scope for double-cloth. Based on the two experiments results, the details of weave structure and the image pattern design are explained to propose new types of modern double-cloth

Two-color double-cloth development in alignment with subtractive CMYK color theory by deploying digital technology

This study aims to introduce new aesthetic values of modern double-cloth by resolving the current restriction in woven textile coloration. Previously, realizing pictorial images on both sides of a fabric was experimented with two weft yarns and further possibility was suggested to extend an applicable number of weft yarns for which a prototype of two-color double-cloth was tested and fabricated by employing four weft yarns. In this study, therefore, reproduction of highly complicated patterns in a two-color shading effect is aimed to further develop the current double-cloth design capability. The core principle lies on weave structure design to interweave two sets of warps and wefts into separate layers whilst two distinctive images are designed in alignment with CMYK color theory to enlarge a feasible weave color scope by using the subtractive primary yarn colors. Details of digital weave pattern design and weave structure development are explained based on empirical experiment results

Reproduction of multi-coloured artwork in woven form with redefined subtractive colour systems [abstract]

This study enhances the capability to reproduce multi-coloured images in woven Jacquard forms where weave structure and pattern design were considerably involved in fabrication. In modern weaving, great convenience and efficiencies were established in both production and design process through digitalisation, while the colour adoption has been constrained as the applicable number of figuring yarns were limited. The enhancement toward colour realisation is traditionally related to weaving capability. Surface colour display is dominated by additive, subtractive or optical mixing (Mathur, 2007). An additive colour system offers the largest gamut among output models yet, the light mixing principle is not suitable to apply to weave colour creation. Pre-dyed opaque yarns are used and juxtaposed; small particles of yarn colours reflect lights and they were observed as a certain form of colour. The common and crucial criterial pertinent to an optical mixing of weave colours were aligned more with the subtractive mixing principle. A weave pattern was designed by subtractive primary colour classification and a multi-weft figuring method. Secondary colours are theoretically produced when coupled CMY layers are mixed(i.e., cyan + magenta = blue, cyan + yellow = green, magenta + yellow = red) and black is generated when all CMY primaries are mixed (Berns, 2000);however, non-bendable colours of threads are employed for colour reproduction in weaving and there is a limit to adopt a pigment mixing principle in the woven form. Therefore, each weave pattern required a modification to redefine primary colour regions and densities once an original artwork was separated and presented in greyscales levels. The weave patterns in an original subtractive scheme were altered by applying region-based segmentation to maximise the accessible colour gamut. In this study, the weaving application developed for the multi-coloured image was introduced and the design process was explained based on a practical experiment proceeded with a newly developed weaving application

Weave structure development to improve the current design capability for double cloth fabrication via digital Jacquard weaving

This study aims to improve the current design capability for double cloth fabrication by exploring weave structures via digital Jacquard weaving. New double cloth weave structures are developed as follows. First, a basic plain weave structure is employed to explore a traditional double cloth weaving technique via digital Jacquard weaving. The core principle lies in a weave structure design that interweaves several sets of warps and wefts into separate layers. Second, based on the plain weave experiment result, a feasible weave structure for double cloth fabrication is expanded to a sateen to investigate its possibility to realize complex pictorial images on both sides of a fabric. As a sateen weave can generate varied lengths of thread floats in a stable condition, the weave structure is not only capable of generating delicate details of an image, but it also maintains an appropriate structural balance in production. Therefore, the basic form is developed into a shaded weave structure series to align with complex images in a double cloth format. To verify the relevance of the newly developed weave structures, it is essential to produce an actual Jacquard sample. This study explains the details of double cloth weave structure experiments necessary to improve the design capability via digital Jacquard weaving

Reproduction of multi-coloured artwork in woven form with redefined subtractive colour systems [abstract]

This study enhances the capability to reproduce multi-coloured images in woven Jacquard forms where weave structure and pattern design were considerably involved in fabrication. In modern weaving, great convenience and efficiencies were established in both production and design process through digitalisation, while the colour adoption has been constrained as the applicable number of figuring yarns were limited. The enhancement toward colour realisation is traditionally related to weaving capability. Surface colour display is dominated by additive, subtractive or optical mixing (Mathur, 2007). An additive colour system offers the largest gamut among output models yet, the light mixing principle is not suitable to apply to weave colour creation. Pre-dyed opaque yarns are used and juxtaposed; small particles of yarn colours reflect lights and they were observed as a certain form of colour. The common and crucial criterial pertinent to an optical mixing of weave colours were aligned more with the subtractive mixing principle. A weave pattern was designed by subtractive primary colour classification and a multi-weft figuring method. Secondary colours are theoretically produced when coupled CMY layers are mixed(i.e., cyan + magenta = blue, cyan + yellow = green, magenta + yellow = red) and black is generated when all CMY primaries are mixed (Berns, 2000);however, non-bendable colours of threads are employed for colour reproduction in weaving and there is a limit to adopt a pigment mixing principle in the woven form. Therefore, each weave pattern required a modification to redefine primary colour regions and densities once an original artwork was separated and presented in greyscales levels. The weave patterns in an original subtractive scheme were altered by applying region-based segmentation to maximise the accessible colour gamut. In this study, the weaving application developed for the multi-coloured image was introduced and the design process was explained based on a practical experiment proceeded with a newly developed weaving application

A case study comparing textile recycling systems of Korea and the UK to promote sustainability

The aim of this study is to review the current textile recycling system of Korea in order to promote and build a sustainable textile recycling system. As fast fashion has changed the climate of the fashion and textile industry across the world, excess consumption is profoundly encouraged and the volume of textile waste has been notably increased. In recent years, Korea has also faced a large volume of textile waste and its related environmental and economic impacts. As a result, recycling practices have become critically important, yet its systems in Korea have not been fully settled as many interconnected problems are raised through the current process. Therefore, case studies are made between the UK and Korea systems, especially waste collection and distribution channels, to review and address the current problems in Korea with the aim of improvement