Textile Structure
how cloth is put together
Generator

What a muslin passes, against how closely it is set

What a muslin passes, against how closely it is set
What a muslin passes, against how closely it is set. A muslin's air permeability at 100 Pa as the sett is closed from 6.9 to 34.2 threads per centimetre, with the two paths separated. The channels between the threads carry 8285 mm/s at the open end and 1330 at the close one, and they go to zero when the cloth jams. The threads themselves carry 1.7 to 6.4 mm/s and never go to zero at all, because a thread is sixty per cent fibre whatever the sett is. Extended to a cloth with no channel left, that path is 8.1 mm/s — a floor set by the yarn rather than by the construction, and a specification asking for less has asked for a fabric that cannot be woven from this yarn at any sett.

A muslin's air permeability at 100 Pa as the sett is closed from 6.9 to 34.2 threads per centimetre, with the two paths separated. The channels between the threads carry 8285 mm/s at the open end and 1330 at the close one, and they go to zero when the cloth jams. The threads themselves carry 1.7 to 6.4 mm/s and never go to zero at all, because a thread is sixty per cent fibre whatever the sett is. Extended to a cloth with no channel left, that path is 8.1 mm/s — a floor set by the yarn rather than by the construction, and a specification asking for less has asked for a fabric that cannot be woven from this yarn at any sett.

17 essays call pass-curve. The drawing above is what it returns with no arguments at all; every call below passes it something, because a placement that passes nothing draws whichever member of the family the generator happens to default to rather than the weave its essay argues about.

Where it is called

Changing this generator changes every one of these figures.

Two layers of one cloth, against how they happen to lie. Two identical muslins laid over one another and slid across each other by one thread spacing. In register the pair passes 37.9 per cent — as much as one cloth, because every hole is over a hole — and it falls linearly to 12.5 per cent before rising again at the next thread. The rule everybody uses is that two layers pass the product of their open areas, which is 14.3 per cent. That number is the average of this curve over all offsets, exactly — an identity, not a fit — and it is the answer at two points on it and nowhere else. Nothing about a real pair of layers is at its average, and the openness varying from place to place across a folded cloth is what a moiré is. Pattern and colour

Two layers are the product on average and nowhere

Everybody knows what two layers of a cloth pass: the product of their open areas. That figure is exactly right — it is the mean of the true answer over every way the two layers can lie — and it is the answer at two registrations out of a continuum. In register a doubled cloth is as open as a single one; half a thread out it can be shut completely. The variation across a folded curtain is what a moiré is.

 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. Pattern and colour

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.

 When a knit has a hole between its loops, and when it has none. A loop's occupancy is its length times its diameter over the cell it sits in, and Munden's constants make that cell ℓ²/(k_c·k_w). The loop length cancels once and what is left is d·k_s/ℓ, where k_s is Munden's own stitch-density constant — so whether a knit has a hole between its loops depends on d/ℓ and on nothing else: no gauge, no count, no fabric dimension. The three curves are the three relaxed states of 20 tex cotton. Each crosses one at a loop length of 3.34, 3.63, 3.95 mm respectively, and a jersey is knitted at 2.63 to 3.44 mm — the shaded band. Every commercial jersey is therefore on the wrong side of the threshold in at least two of its three states: it closes its own holes as it relaxes, and its air goes through its threads rather than between them. Knits and other structures

A knit has no hole to lose

Every argument in this ladder is planar: threads at a spacing, a rectangle between four of them, a channel down it. Applied to a jersey it returns nothing at all, and the nothing is the finding. A loop's occupancy is its diameter times Munden's own stitch-density constant over its loop length, with no gauge and no fabric dimension in it — and the whole commercial range of tightness is on the wrong side of the threshold.

 Seven weaves at one construction, and what each of them really passes. Every weave here is drawn at the same filter — the same yarn, the same sett, the same cover and therefore the same open area, equal to twelve decimal places. Each one shows an opening of 263.7 µm to anybody looking straight through it, and that is the number a specification quotes. The bar is what each will actually let past, which is the narrowest section anywhere along the channel rather than the narrowest view down it. The plain weave passes exactly what it shows and it is the only weave here that does: its ends transit at every gap, so the four threads round every hole are level in pairs and the waist is at the middle. A float leaves two ends together at the top of the cloth, their neighbours at the bottom, and a passage between them that is wider than its own mouth — up to 12.8 per cent over the rating, for the basket. Cloth doing a job

A filter is rated by the hole it does not show

A woven filter cloth is sold on two numbers pulling opposite ways: an opening small enough to hold the soil and an open area large enough to pass the water. Both are computed from the same holes, and they are not computed from the same statistic of them. One reads the maximum and the other reads the mean, so a change that improves either can worsen the other without moving a single measurable property of the cloth.

 What a muslin passes, against how closely it is set. A muslin's air permeability at 100 Pa as the sett is closed from 6.9 to 34.2 threads per centimetre, with the two paths separated. The channels between the threads carry 8285 mm/s at the open end and 1330 at the close one, and they go to zero when the cloth jams. The threads themselves carry 1.7 to 6.4 mm/s and never go to zero at all, because a thread is sixty per cent fibre whatever the sett is. Extended to a cloth with no channel left, that path is 8.1 mm/s — a floor set by the yarn rather than by the construction, and a specification asking for less has asked for a fabric that cannot be woven from this yarn at any sett. Cloth doing a job

A cloth stops having holes before it stops passing air

Close a woven cloth up and the channels between its threads shut. What passes through it does not go to zero, because a thread is sixty per cent fibre and forty per cent air and stays that way whatever is done to the construction. So a fabric's permeability has a floor, the floor belongs to the yarn rather than to the weaver, and no sett on any loom reaches it.

 Four ways of closing a muslin, and the floor under all of them. The same muslin at four states: as woven, calendered to 3:1, wetted so its fibres swell by 20 per cent, and with the channel between its threads gone altogether. Air permeability at 100 Pa falls from 3505 mm/s to 8.1 — a factor of 434 — and stops there. The last figure is not a cloth with no holes in it: it is a cloth whose only remaining path is through the threads, which are sixty per cent fibre whatever is done to the construction. That number is the floor, it is a property of the yarn, and no sett reaches it. Note that the two middle routes are not in a fixed order: a 3:1 calender closes more than this swelling and a 2:1 calender closes less, so which is the stronger depends on how far each is taken. Cloth doing a job

A windproof cloth is at its yarn's limit

Windproof is a threshold on air permeability, and it is the only fabric specification on this site that the construction cannot settle. No weavable sett of an ordinary shirting yarn gets within two hundred times of it, layering the cloth barely helps because the resistance is inertial rather than viscous, and the floor set by the yarn's own porosity lands on the same order as the threshold with a fivefold bracket around it.

 Where Poiseuille's rule starts being true of a cloth. Every account of a fabric's air permeability quotes the fourth power: flow down a channel goes as the fourth power of its width, so a small change of sett is a large change of flow. That is Poiseuille's result and it is about the viscous drop. A channel through a cloth is about as long as it is wide and the air in it is moving fast, so most of the pressure goes on giving that air its kinetic energy instead — and the inertial term does not depend on the hole's size at all. Plotted against cover, the viscous share of the drop runs from 1.0 per cent in an open muslin to 61.6 in a close one, passing half at a cover of 0.571. Quoting the fourth power alone below that is wrong by a factor rather than by a correction: at the open end it overstates the flow 98-fold. Setting and geometry

The fourth power is a close cloth's rule

Every account of a fabric's air permeability quotes the same thing: flow down a channel goes as the fourth power of its width, so a small change of sett is a large change of flow. That is Poiseuille's result, it is about the viscous drop, and in an open cloth the viscous drop is two per cent of the pressure. The rule becomes true as the cloth closes, and where it starts being true is a number.

 A slot and a square of the same area do not pass the same air. A hole of 62500 square micrometres, drawn out from a square to a slot twenty times longer than it is wide, at constant area throughout. The open area is unchanged by construction and the flow is not: it falls to 39 per cent of the square's. Two things move the same way and neither is a correction to the other — the hydraulic diameter falls as the rectangle is drawn out, and the shape factor rises from 14.23 for a square towards 24 for an infinitely thin slit, which is Shah and London's result quoted rather than derived. This is why a weave's float matters to what it passes even where its cover does not: a float lays parallel threads side by side and the hole beside it is a slot. Weaves

A satin's hole is a slot

Two cloths at the same cover have the same open area, exactly, and do not pass the same air. A float lays parallel threads side by side and the hole beside them is long rather than square, and drawing a hole out at constant area cuts what it passes to two fifths — because the hydraulic diameter falls and the shape factor climbs, and both of them move the same way.

 How open a muslin is, against where the light is. One minus the cover is a cloth's openness to a light directly behind it, and for this muslin it is 37.9 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 36.1° across the ends. Averaged over the whole sky with Lambert's cosine weighting, the cloth is 5.36 per cent open — 7.1 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. Setting and geometry

One minus the cover is a cloth with no thickness

The covering rule says a cloth's openness is one minus its cover factor, and this collection derived it and has used it ever since. It is the answer for a light directly behind the cloth. Move the light and a line of sight has to clear the hole at the top of the fabric and the same hole one thickness below, so the openness falls, and it reaches nothing at thirty-six degrees. Averaged over the whole sky a muslin is a seventh as open as the rule says.

 Where a muslin's warmth actually is. A muslin's own thermal resistance is 0.0108 m²K/W, and the still-air layer clinging to its outside is 0.12 — so 92 per cent of what a person is wearing is air that is not in the cloth. Wind takes it: the boundary layer thins as the square root of the speed, and above a few metres per second the air is also being driven straight through the fabric, which shorts out whatever resistance the fabric had. The pair leaves 22 per cent of the still-air value at 16 m/s. Both mechanisms take away air rather than cloth, which is why a windproof layer works and a thicker weave does not, and why the fibre — which the conductivity bracket could not separate anyway — never enters this figure. Cloth doing a job

The wind takes the air and not the cloth

A shirting's own thermal resistance is eight per cent of what a person wearing it has; the other ninety-two is a still-air layer half a millimetre thick clinging to its outside. Wind destroys both, and it destroys the larger one first and by a mechanism that has nothing to do with the fabric — so a windproof layer works by keeping air still rather than by resisting heat.

 Eight fibres through one cloth, and the bracket that hides them. A muslin is 19 per cent fibre and the rest air, so its thermal conductivity is a two-phase mixture, and how the fibre and the air are arranged is not something any amount of knowing the fractions settles. What is settled is Wiener's pair of bounds: heat across a series arrangement sees the harmonic mean and along a parallel one sees the volume average, and every real arrangement lies between. Each bar here is one fibre's whole band, from the series bound at its lowest published conductivity to the parallel bound at its highest. Not one of the eight clears any other, so this model cannot tell wool from nylon in a fabric — and the same cloth at twice the thickness has twice the resistance, exactly. Air's own conductivity is marked, and every band sits within a fifth of it. Mechanics and drape

Warmth is a thickness of air

A fabric is a tenth fibre and the rest air, so its thermal conductivity is a mixture of the two — and the pair of bounds that any mixture must lie between comes out narrower than the difference between wool and nylon. The model cannot tell one fibre from another in a cloth. What it can tell, exactly and with no bracket at all, is that twice the thickness is twice the warmth.

 Where a muslin's air goes, as the cloth is set closer. A permeability computed from the average hole says nothing about which holes the air uses, and once the holes have a spread the answer is: not many of them. Two curves, both over the same population of holes — the share of the flow carried by the widest tenth, and how few of the holes carry half of it. At 16 ends per centimetre the cloth is nearly democratic: the widest tenth takes 12% and half the air needs 45% of the holes. At 44 the widest tenth takes 53% and half the air goes through 8.8%. Both inputs move together as the cloth closes — the spread in the holes rises because the spacing is fixed and the diameter is not, and the exponent rises because the pressure drop stops being inertial — so the concentration rises faster than either. Setting and geometry

Half the air goes through a tenth of the holes

A permeability computed from the average hole says nothing about which holes the air uses. Once the threads have a spread, the answer is: not many of them — and in a close cloth, half the flow leaves through less than a tenth of the openings.

 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. Pattern and colour

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.

 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. Pattern and colour

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.

 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. Pattern and colour

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.

 A voile hung at 2.5 times its window, seen in plan. A curtain of voile gathered to 2.5 times the width of its window, drawn in plan with the window above it and a line of sight crossing a flank. A length of cloth spans its own length times the cosine of its flank angle, so a fullness of 2.5 stands every flank at 66.4 degrees and a line of sight normal to the window meets the cloth at that incidence. This cloth's holes close completely at 47.3 degrees, which is a fullness of 1.48, so at 2.5 times every flank passes no line of sight at all and the whole of what comes through arrives at the crests. Flat the cloth is 49.3% open and hung it is 3.0%. What the plan cannot show is the cloth's own drape, which rounds every fold drawn here as a corner. Pattern and colour

A curtain is gathered so that it is seen edge-on

A curtain is hung with more cloth than window, and the surplus is not decoration. Laid in folds, a length of cloth spans its own length times the cosine of its flank angle, so the fullness is the secant of that angle exactly — and a line of sight through the window meets the cloth at it. A voile's view halves at a fullness of 1.08, its flanks shut completely at 1.48, and at the two and a half times a curtain is actually hung at, every flank passes nothing and the whole of what comes through is the crests.

 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. Pattern and colour

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.

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