4.6 Bedford cord and piqu é

1. 4.6 Bedford cord and piqué I: Concept II : Principle of the construction of Bedford III: Weave drawn IV : Modification V : Figured Bedford cord

2. 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. Schematic diagram Fabric sample

3. 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.

4. 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.

5. 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.

6. 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.

7. Construction of Bedford ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ 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

8. 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.

10. V Figured Bedford cord 1）Warp and weft faced cord .See Fig. 4.29 and 4.30.

11. 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.

12. 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.

13. 4.7 Distorted weave • Concept • The principle of distorted weave Distorted weave fabric sample

14. 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.

15. Distorted weave schematic diagram Fig.4.35 Distorted weave effects (1)

16. 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.

17. 2) Distorted weft effects (2)

18. 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.

19. 3) Distorted warp effect (1) Fig.4.37 Distorted weave effects (3)

20. 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.

21. 4) Distorted warp effect (2)

22. 5) Combined distorted warp and weft effects

23. 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

24. 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.