Transcript Document
4.6 Bedford cord and piqué
I: Concept
II : Principle of the construction of Bedford
III: Weave drawn
IV : Modification
V : Figured Bedford cord
I Concept
Both of these weaves are characterized by rounded cords
with fine sunken lines between. See the fabric sample and
schematic diagram following.
The distinction between a Bedford cord and a piqué is
that in the former the cord runs along the length of the cloth.
However, very few true piqués are produced now.
Fabric sample
Schematic diagram
II Principle of the
construction of Bedford
See Fig. 4.25. The face of the cord is generally a plain
weave. The rounded cord effect is achieved by pair of weft
threads floating across the back of the cord and being
woven in to form the sunken lines.
III Weave drawn
The Bedford weaves are constructed by
combining a long float weft rib as base weave and
plain or basic twill as face.
The steps are as following
1) Calculating the repeats:
RO = base weave repeat
Ry = weft repeat of base weave× weft repeat of face weave repeat
2) Drawing the outline of the repeat, and the base weave,
weft rib.
3) Filling the long weft floats with face weave.
Example:
Based on a 6/6 weft rib and a plain for face of the cord,
draw a Bedford weave diagram (The face weave repeat should be
factor of the base weave).
1) The repeats:
RO =base weave repeat = 6 + 6 =12
Ry = weft repeat of the base weave× weft repeat of face weave repeat
=2×2=4
2) Drawing the outline of the repeat, and the base weave, weft rib
3) Filling the long weft floats with face weave.
Construction of Bedford
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A: Calculating the repeats and drawing the outline
B: Drawing the outline of the repeat and the base weave –weft rib
C: Filling the long weft floats with face weave—plain weave
IV Improvement
1) Put two weft floats together in order to accentuate the effect of the
cord. See previous Fig. 4.25.
2) The rib is accentuated through adding cutting ends in plain weave on
either side of the cord, and by proper denting in separating them by
the splits of the reed. See Fig.4-27.(it is essential to select a strong
yarn for the cutting ends)
3) Wadding ends are used to give the cord further stability and help to
prevent it from becoming flattened. See Fig. 4.28.
4) Further emphasis can be achieved by using a harder twist for the weft,
which will shrink more in the finishing.
V Figured Bedford cord
1)Warp and weft faced cord .See Fig. 4.29 and 4.30.
2) Figured Bedford cord
Fig.4.31 Figured
Bedford cord (1)
In this example
one square in the
motif is equal to 6
cord ends and 2
picks.
3) Bedford cord with a diagonal effect
This Bedford cord is arranged
to give a diagonal effect;
again warp rib between the
cord creates a cut.
4.7 Distorted weave
Concept
The principle of distorted weave
Distorted weave fabric sample
I Concept
In this weave, there are tighter groups and
loose groups interlacing. This results in warp
threads and weft threads distorted, so we call
this as distorted weave. See the previous fabric
sample and schematic diagram.
Distorted weave schematic diagram
Fig.4.35 Distorted weave effects (1)
II the principle of distorted weave
Distorted weft effects (1) see Fig 4-35
Method of development
Group (a): ends and picks interlace in plain weave
Group (b): all ends float on the face, all picks float on the back.
Between succeeding groups two picks (c) interlace with all ends in
groups (a) and (b) in plain weave.
The areas of tighter interlacing (a) is built up in the normal way, but
require more space than the areas with long floating threads (b) which
offer no resistance and allow picks (c) to move into this area. This
causes a weft distortion and the formation of cell-like effects.
It is advisable to weave it with a high warp tension and reduced weft
tension.
2) Distorted weft effects (2)
The important point about these
structures is that picks which are allowed to
float on the face of the fabric move into the
direction of least resistance. This causes the
picks to diverge from their normal straight
line and distort into zigzag lines.
3) Distorted warp effect (1)
Fig.4.37 Distorted weave effects (3)
Notes:
Generally, thicker yarns of contrasting colors are
employed to highlight the effect.
The effect ends are placed on a separate beam or
roller, woven with less tension and drawn in
additionally to the ground ends into the reed.
The weave is arranged on a pointed draft and the
shafts for the distorted ends are located in the front.
4) Distorted warp effect (2)
5) Combined distorted
warp and weft
effects
Summary of Chapter 4 :
1. stripe and check weaves
main points: calculation
2. crepe weaves
3. mock leno weaves
4. huckaback weaves
5. Honeycomb weaves
6. Bedford cord
7. distorted weave effects
Home works:
Drawing the following Bedford cords:
1. Base weave is 6/6 weft rib, face weave
is plain.
2. Based on the previous weave, adding
cutting ends on either side of the cord.