1. Chapter Twelve Target Design and materials selection Introduction: Design work plays a vital role in a company or a factory. A product should be good in three aspects: functions, aesthetics, and benefits for the company. Design work includes the following:

2. 12.1 Target design: Target design 5 question words need to be considered: Where: Where the consumers come from, urban or rural area, hot or cold place? When: Is the fabric used for winter or summer? Who: Who will wear the cloth, man or woman; adults or children, rich or poor? What: What does the fabric used for, out-wear fabric or under-wear fabric ， Suits or leisure? Why: Why do the people wear that cloth, mainly for functions or aesthetics or to present rich?

3.  Target design is very important, and is a hard work. It needs experienced designer to perform. This work also needs the designer to study not only the market, but also the factory themselves and competitors. The right target selected, the half success achieved.

4. 2. Determine the fabric character and properties. 1) Apparel Fabrics: Outwear fabrics: Under-wear fabrics: Working cloths:

5. Outwear fabrics: In durability: needs adequate strength including tensile, tearing and bursting strength, resistance to abrasion. In aesthetic acceptability: needs adequate crease recovery, easy care properties, luster, appearance retention including color fastness, and color matching. In comfort: needs permeability to air and moisture vapor, stiffness and smoothness.

6. Under-wear fabrics:  Because the fabric touches the body directly, so the soft, comfort is very important. In this field, the cotton plays a major role.

7. Working cloths:  These fabrics need good strength. Some fabrics need special finishing such as flame resistance, waterproof, and resistance to acid, alkalis and some industrial solvents.

8. 2) Upholstery Fabrics Curtains: Curtains need good drape ability, also need good aesthetic properties. Better color fastness to light. Man-made fibers play an important part in this field. Covers of furniture. These fabrics need good abrasion resistance. The color should delicate. Various thickness and structures are used for this field. Polyester, woolen fabrics play a major role in this field.

9. Table 12.1 Requirements of varied kinds of fabrics Requirements Out- wear Under- wear Working cloths aesthetic Drape ability ☆☆△ Colour ☆△△ Luster ☆△△ Handle Stiffness ☆☆☆ Crease recovery ☆△△ Stretch and recovery ☆ × ☆ wrinkle ☆△△ Hygienic condition Permeability to air and moisture vapour ☆☆☆ Thermal insulation △☆△ Water absorbability △☆☆ Static ××× weight ☆☆☆

10. Antibiotic property Anti-mildew property ☆△ △ Moth repellency ☆ × × Chemical and physical Resistance of heat △ × ☆ Resistance of light ☆☆ ☆ Chemical △ × ☆ Care ability Washing ☆☆ ☆ Crease stability ☆△ △ Mechanical properties Tensile strength ☆△ ☆ Tearing strength ☆△ ☆ Resistance of abrasion ☆☆ ☆ Note: ☆ --necessary △ -- ordinary × -- unnecessary

11. 12.2 Material selection Introduction: The fabric properties are mainly depended on the fibers. There are numerous fibers to be selected. To be a fabric designer, you must be very familiar with every fiber. Some fiber’s wear behaviors are listed below at table 12.2.

12. propertiescottonPolyesteracrylicnylonacetateviscosewool Elastic △△○△○△☆ Bulk △☆☆☆△△☆ Crease recovery RH 65% ○☆○△○△☆ Crease recover RH 90% △☆△△△ × ○ Pleat stability RH 65% △☆☆○△○ Pleat stability RH 95% × ☆☆ ×××× Dimensional stability △☆☆☆☆ × ○ Tearing strength △☆△☆ ×× △ Abrasion resistance △☆△☆ ×× ○ Absorbency ☆ × △△☆☆☆ Note: ☆ -- excellent; ○ -- OK ; △ -- ordinary; ×-- bad

13. Chapter 13 Calculation and Selection of Varied Parameters Introduction:  The fabric is designed for a particular end use, and should possess certain properties, such as strength, flexibility, porosity, wear resistance, fineness, and many others. These properties are determined to a great extent by the structure of fabric, which is characterized by the fabric setting, the yarn properties, the weave, the fabric cover, the yarn crimp percentage, the mass per unit area of the fabric, and so on.

14. 13.1 Selection of weaves 1) Sheet, shirt fabric:  we want the fabric have adequate strength, thin, dimensional stability, etc. The plain weave is suitable for those requirements. If the strength is not taken into consideration, the comfort is necessary, the 2/2 twill weave, 2/2 weft rib weave may be selected.

15. 2) Coats cloth  we want the fabric to be thick, worm. Double or backed weave are preferable. If we want the fabric have pile surface, we have to select the pile weaves or weaves which have longer weft float for raising.

16. 3) Curtains Those fabrics need to be soft hand, good drape ability. The satin/sateen weaves are meet those requirements.

17. 4) Aesthetic pattern cloths we want the fabrics to have some patterns. The twill weaves derivatives are easy to form different patterns.

18. 13.2 Yarn Linear Density We have the formula: In theory, we can calculate the yarn linear density by above formula. The steps are: thickness of fabric diameter (d) of yarn yarn linear density. In practice, we select the yarn linear density according to the similar fabric. Then we modify it.

19. 13.3 Fabric Setting The term "sett" is used to indicate the spacing of threads in cloth. Usually, the sett is the number of threads per 1 cm, or per 10 cm. The terms "warp density" and "weft density" are also used.

20. In practice, the fabric densities are determined like these: 1) According to the thickness, calculate or select the yarn linear density. 2) According to the fabric properties required, select the fabric cover factor. (Reference cover factor are given at appendix tables). Calculate the fabric density according to formula:

21. For instance: Design a 3/1 drill: Select the linear density 32×32. Referring the hand book or appendix tables select the cover e o =88, e y =46 (for drill the warp cover factor is approximately two of the weft cover factor).

22. So, we calculate the fabric density as:

23. 13.4 Crimp of Yarn in Woven Fabric 1. Introduction  Fabric is produced by interlacing of warp and weft threads. Interlacing causes the bending of the threads round each other. Due to this, the warp and weft threads have a wavy shape in the fabric. The wavy shape of threads can be estimated either by crimp or by take-up.

24. Factors which can affect the crimp or take-up  There are lot of factors which can affect the crimp or take-up, main of these are summarized as following: 1) Materials: Usually, easy strain plastic fiber has a lower crimp, flexible fiber has a higher crimp. 2) Woven structure: The more interlacement, the higher crimp. 3) Linear density: When warp and weft have different count. The thicker yarn has a lower crimp. When warp and weft are same count, they have a higher crimp.

25. 4) Fabric density: There is a close relationship between fabric density and crimp. In a certain extent, if the structure and warp density fixed, increase the weft density, the warp crimp will increase. 5) The parameters of the weaving. The warp tension on the loom, the height of back rest, the time of the shedding, etc. are all affect the crimps.

26.  So many factors are needed to be considered. It is a very complicated issue.  Practically, we determine the crimp according the hand book in which the crimps or take up of the similar products is given. See table 13.1.

27. name Take-up (%) Warpweft Course plain7.0—12.55.5 – 8 plain5.0—8.6Around 7 Fine plain3.5 – 135 – 7 Single poplin7.5—16.51.5 – 4 semi-single poplin10.5 – 161— 4 Plied poplin10—12Around 2 Single twill3.5—104.5—7.5 Semi-single twill7—12Around 2.5 Single serge5– 66 – 7 Single gabardineAround 101.5—3.5 Plied gabardineAround 10Around 5 Single drill8 – 11Around 4 Plied drill8.5– 14Around 2 corduroy4—86—7 crepe6.55.5

28. 13.5 Twist Direction and the Twill Prominence Reflect belt theory  The theory is that the direction of the light reflecting belt of fibers is opposite with yarn twist direction. Twist/twill interaction

29. example : A 2/2 ↗ twill is taken  The effect of using all of the twist combinations for this weave is given below. For a Z twill fabric. S twist warp × Z twist weft = prominent twill S twist warp × S twist weft = warp twill prominent Z twist warp × Z twist weft = weft twill prominent Z twist warp × S twist weft = twill indistinct

30. 13.6 Selvedges  Proper selvedges not only give the fabric a good appearance, but also provide a good condition for finishing. The width of selvedges are approximately 0.5 ～ 1cm. The weaves of selvedge we often used are explained as following.

31. Principles:  The floats can not be too high.  The end crimps of fabric body and the selvedges should be as near as possible to avoid unevenness.

32. 1. Coarse sheeting fabrics  Weft ribs are preferable for the selvedges of these fabrics. In order to avoid the breaking, the selvedge ends are often doubled to draw in. 2. Poplin  The ground weave is used as selvedges weave. Sometimes, we reduce the denting to avoid the tendency of over-density of the selvedges.

33. 3. 2/1 twill  The ground weave is suitable for the selvedges. 4. 2/2 twill for gabardine, drill  2/2 basket weave is widely used for these kinds of fabric. 2/2 twill in opposite twill line to the ground twill is also used for these fabrics.

34. 5. 3/1 drills  2/2 basket weave is preferable as selvedge weave. 6. Satin/sateen  We should pay attention about the warp tension which should be approximately same. That means the interlacements in each repeat should be near, i.e. 5/2 sateen weave with 2/2 basket.