Textile Structure
how cloth is put together
Concept

Transmittance — where it appears

The share of the light reaching a thread or a cloth that passes through it rather than being reflected or absorbed. For a sheer it is carried almost entirely by the open gaps, since a spun yarn blocks nearly every straight line of sight through itself.

Named by 7 essays across one field — each of them below, with the objects they name alongside it.

How open a batiste is, against where the light is. One minus the cover is a cloth's openness to a light directly behind it, and for this batiste it is 40.1 per cent. Move off the normal and a line of sight has to clear the hole at the top of the cloth and the same hole one thickness below, so what it can use falls as t·tan α is taken off each side — reaching nothing at 39.0° across the ends. Averaged over the whole sky with Lambert's cosine weighting, the cloth is 6.42 per cent open — 6.3 times less than the covering rule says, and the whole of the difference is the thickness. One minus the cover is the openness of a cloth with no thickness, and no cloth has none.

Opacity is not cover

The covering rule counts a thread as a bar that stops everything, and a single fine cotton thread held to a window plainly does not. What a cloth transmits is the open area plus whatever comes through the threads, so the covered fraction is a lever rather than a barrier — and the lever is longest exactly where the rule says the cloth is most closed. Nothing here computes a thread's transmittance, and saying why is the useful half.

pattern · Opacity Seeing through a white voile, from the street and from the room. How much of a scene's contrast survives a white voile, whose open area is 49%, looked through from the street into the room and from the room out to the street, against how much brighter the street is than the room. The scene comes through the clear lines of sight and nothing else; everywhere else the viewer sees thread lit from the viewer's own side, which returns light with no image in it. On a bright day, a hundred times brighter outside, 0.5% of the room's contrast reaches the street and 65% of the street's reaches the room. At equal light both are 28% — the curves cross at a ratio of one whatever the cloth — and with the lamps on after dark the room is the side on show, at 63%. What the plot cannot show is the threads' own optics: their reflectance and transmittance are assumed values for a white sheer rather than measurements, and only the crossing point is independent of them.

A sheer hides whichever side is darker

A net curtain hides a room by day and shows it at night, and the cloth has nothing to do with which. What a viewer sees through a sheer is an image through its clear lines of sight against a veil of lit thread, and the only thing that decides their balance is how much brighter one side is than the other. At equal light the two views are identical for every cloth there is. And a black sheer of the same openness shows twelve times more of the room by day than a white one.

pattern · Opacity A white thread 70% open figure in a white thread 49% open ground at 30 : 1, from both sides. A lozenge figure in a sheer, drawn as the street sees it and as the room sees it, with the street 30 : 1 as bright as the room. The ground is white thread 49% open and the figure white thread 70% open. Each region glows with the scene behind it through its holes and with its threads lit from both sides; from the street the figure's contrast against the ground is −24.6% and from the room +5.4%, a negative number being a figure darker than its ground. Each panel is shaded relative to its own brighter region, as an eye adapted to that view would see it, and both panels share one gain so that the two steps are to scale against each other. The contrast is stretched 3 times to be visible at all, so the numbers rather than the depth of the shading are the measurement. What the drawing cannot show is the absolute glow, which from the street is 9.35 and from the room 7.02 times the room's illuminance for the ground, nor the thread optics, which are assumed values.

A figured sheer is a negative from one side

A net curtain with a pattern in it carries two patterns, one for each side, and by day they are opposites. A more open figure in a white voile is a dark figure a quarter below its ground from the street and a light one five per cent above it from the room, and after dark the two views trade places exactly. The figure vanishes from the street at one light ratio and from the room at another. And a figure can be made that the room cannot see at all while the street sees it nearly black — along one line of openness and thread tone, and never from both sides at once.

pattern · Opacity A white thread 70% open figure behind a net 60% open, from both sides. A lozenge figure in the inner curtain of a pair, drawn as the street sees it and as the room sees it through a plain net 60% open, with the street 30 : 1 as bright as the room. From the street the figure's contrast against its ground is −7.0% where a single curtain would have given −24.6%; from the room it is +6.9% where a single curtain would have given +5.4%. Each panel is shaded relative to its own brighter region, both at one gain, so the two steps are to scale against each other, and the contrast is stretched 9 times to be visible at all — the numbers rather than the depth of the shading are the measurement. What the drawing cannot show is the light between the two curtains, which is 19.80 times the room's illuminance from the street and 0.57 from the room, nor the thread optics, which are assumed.

A net in front gives the figure to the room

The commonest double curtain is a plain net outside a patterned one, and the plain net does not merely dim the pattern. It weakens the figure from the street by a factor of three and a half and strengthens it from the room by a quarter, so a pattern four and a half times stronger outside than in becomes one the room sees slightly better. A figure designed to be invisible from indoors reappears at nearly three per cent, and the day-and-night exchange a single curtain obeyed exactly stops holding at all.

pattern · Opacity What a passer-by is looking at, for rooms of four reflectances. The street's view of a window behind a sheer white thread 49% open at 30 : 1, split into the part that is an image of the room, arriving through the holes, and the part that is the cloth's own threads lit by the street. a room reflecting 8% contributes 0.4% of the view; a room reflecting 20% contributes 1.0% of the view; a room reflecting 35% contributes 1.8% of the view; a room reflecting 60% contributes 3.1% of the view. The veil is identical in every row because the cloth and the street are: only the furniture changes. What the chart cannot show is where in each room that reflectance sits, and a dark room with a lit lamp in it is not its own average.

What a sheer hides is decided by the furniture

Every result these essays have produced assumed the room and the street reflect the same three tenths of the light on them. That was never a fact about cloth. A room reflecting a twentieth is hidden two hundred and thirty-eight times better than the street it faces and one reflecting four fifths only fifteen times, with the same curtain at the same window — and the day-and-night exchange they rested on, exact for equal scenes, is out by more than half the glow for an ordinary pair of unequal ones.

pattern · Opacity What a sheer multiplies a street reading's errors by. The factor by which an error in reading the light from a window is multiplied on its way into the room's reflectance, against the street-to-room light ratio, for three sheers and a room reflecting three tenths. It is the reading over the room's own image, the reciprocal of the share of the view that is room. white voile: 67.3 at 30 : 1, 3.6 at equal light, 1.6 at night; grey voile: 28.7 at 30 : 1, 2.1 at equal light, 1.3 at night; black net: 2.1 at 30 : 1, 1.1 at equal light, 1.0 at night. What the chart cannot show is the thread optics, which are assumed values here and not measured ones.

A sheer's privacy is the error it multiplies

Everything a passer-by sees of a room through a sheer is the room's image plus a veil the street lights, and the veil can be known without going in. So one subtraction and one division ought to read the room's reflectance from the pavement. They do not, and the reason is the curtain's whole purpose: every error in the veil arrives in the answer multiplied by the reading over the image — sixty-four through a white voile by day, three and a half at equal light. The privacy a sheer gives and the precision it denies are one number.

pattern · Opacity What a pane of glass does to a sheer's multiplier. The factor by which an error in reading a window is multiplied on its way into the room's reflectance, against the angle a passer-by looks at the glass from, at 30 : 1, for three sheers behind a pane of window glass. The dashed level beside each is the same cloth with no glass. white voile: 64.0 bare, 59.8 behind glass straight on, 65.7 at 60°, 92.7 at 75°; grey voile: 27.3 bare, 28.7 behind glass straight on, 34.7 at 60°, 61.7 at 75°; black net: 2.0 bare, 5.2 behind glass straight on, 8.8 at 60°, 25.4 at 75°. The white voile is easier to read through glass up to 56.7°, because the pane dims the street on its threads by more than it mirrors; the black net is harder at every angle. The pane mirrors a street reflecting 0.3; a sky in the mirror would be brighter, and nothing here models one.

Glass hides a black net and not a white voile

A window pane in front of a curtain mirrors the street, and a mirror is a veil with no thread in it. It also dims the street's light on the cloth. For a white voile the two nearly cancel, and straight on the dimming wins, so the voile is slightly easier to read through glass than without it. For a black net the mirror is most of what a passer-by sees: its multiplier goes from 2 to 5 head-on and to 25 from along the pavement. The glass makes the net private, not the voile. The angle at which it stops helping does not depend on the time of day, and a polarising filter at Brewster's angle takes the mirror out altogether.

pattern · Opacity

Named alongside it

The objects these essays reach for when they reach for this one.

OpacityOpen areaScatteringVeilFigure and groundClear openingCover factorPacking factorPolarisationRegistrationSpecular reflectionTwo pore systems

All concepts