Color and Weave Relationship in Woven Fabrics

In woven designs from colored threads, a colored pattern is a consequence of two possible arrangements where warp is over the weft or vice versa. Thus the primary elements of woven fabric design are combination of weaves and blending of colors using such weaves. Weave is the scheme or plan of interlacing the warp and weft yarns that produce the integrated fabric. Weave relates specially to the build or structure of the fabric. Color is differently related to effects of weave and form. The methods of utilization of color in woven textiles depend upon the composition of the weave design to be woven and the structure parameters of the cloth. Color and ornamentation in woven fabrics is imparted through the pre-determined placement and interlacing of particular sequences of yarns. A solid color is produced by employing the same color in warp and weft. On the other hand, different colors may be combined to produce either a mixed or intermingled color effect in which the composite hue appears as a solid color. Figured ornamentation is created through the selection of different groups of colored yarns, placed in the warp and/or in the weft; while in certain patterns, textural effects may be created entirely through the use of different values and closely associated hues of certain colors. The figure is formed for the purpose of displaying different pattern formations, adding dimension or color reinforcement and for enhancing a particular motif. Modern CAD systems provide a variety of design tools that are supported by standardized color databases that allow simulation of weave structures on the computer monitor that could be printed on paper. However, deviations of the color values of these simulations still occur. Also, the color on fully flat fabric simulations on paper or computer screen is twodimensional that differs from the real three-dimensional nature of fabrics and yarns. In textile wet processing, the uses of colorimetry systems and associated software have proven their worth over the years, in objective estimation of color, and have minimized misunderstandings between textile manufacturers and their customers. However, color communication within textile design is largely a subjective process. Recent experimental studies (Osaki 2002; Dimitrovski & Gabrijelcic 2001, 2002, 2004) have revealed that the use of colorimetry has helped to achieve better reproducibility and accuracy in the shade matching of textiles products. Colorimetry is, however, less used when fabrics are made from colored