Textile Structure
how cloth is put together
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The thread: A mechanism, not a material — page 2

Page 2 of 6 of the essays on this thread.
Two pore systems in one cloth — 24 threads per centimetre. A plain weave of 20 tex cotton in section, at 24 threads per centimetre, so the yarn is 167 µm across and the clear hole between two picks is 250 µm. That hole's hydraulic radius is 124.8 µm. Inside the yarn, fibres 14 µm across packed at 0.6 leave spaces of hydraulic radius 2.33 µm — 53 times finer, and by Jurin's law 53 times higher: 6.37 m against 119 mm. The yarn's interior is magnified 6 times and the two discs at the foot are the only part drawn at one scale. Cloth doing a job

How high a cloth wicks

A woven cloth has two capillary systems and they are a factor of twenty to a hundred apart. The one every diagram draws — the hole between four threads — lifts 119 mm. The one nobody draws, inside the yarn, lifts 6.37 m.

 The energy well, and where the cloth sits in it. The bending energy of a sheeting at every state on its own constant-thread-length locus, plotted against how the crimp divides between the two systems. The minimum is at 1.22 and the value every Peirce solution here is drawn at is 1.00, marked. The well's depth decides how firmly the ratio is settled, which is why an open scrim's measured crimp scatters and a close sheeting's does not. What the plot cannot show is the friction that stops a cloth reaching the bottom, which turns the minimum into a band. Setting and geometry

The crimp ratio is not a measurement

Peirce's geometry is two thread systems, four unknowns and three equations. It cannot say how the crimp divides between warp and weft, so every cloth solved so far has been drawn at a ratio somebody chose. Give the threads a stiffness and the missing equation arrives — and for six of the eight cloths in the table it arrives with no material constant in it at all.

 A knit's restoring force, and the column that does not move. A plain knit of 20 tex cotton at a loop length of 3.5 mm, over the extension range its own geometry admits. The bending energy stored in one loop is the same number at every extension — the loop's arcs are held to a radius by the thread they wrap rather than by the fabric's dimensions, so extending the fabric does not bend anything more. The frictional resistance at the interlocks is not zero: it is μ times the force pressing there, times 2.34 interlocks per millimetre of width. So a knit's resistance to extension is dissipative rather than elastic, which is why it does not spring back and why its dimensions depend on how much it has been agitated. What the rows cannot show is the interlock force itself, which this site does not have for a knit and which is recorded as missing. Knits and other structures

What stops a knit extending

A knitted loop's bending energy does not change as the fabric extends — exactly, over the whole range its geometry admits. Something resists, and it is not stiffness. It is friction at the interlocks, which is dissipative rather than elastic, and that single fact accounts for why a knit does not spring back, why a softener changes its dimensions and why the constants its size is quoted with contain no yarn property at all.

 What a shed costs, in newtons. The tension the shed puts into one end at each shaft of a 24-shaft harness, for a 25 tex cotton yarn. The strain is set by the loom's geometry alone; the tension is that strain times the yarn's modulus. The front shaft holds 0.52 N and the back 1.95 N, which is 14 and 52 per cent of the yarn's breaking load. What the chart cannot show is the rest of the warp tension, which the let-off adds on top of all of these and which no geometry decides. Mechanics and drape

What the shed costs, in newtons

The shed's strain has been computed here and could not be priced: a strain is a length over a length and says nothing about how hard a thread is being pulled. A modulus turns it into a tension — and the back shaft of a twenty-four-shaft harness turns out to hold its ends at half their breaking load, all day, from the geometry alone.

 A loop's cell, dry and wetted. One stitch of a 20 tex cotton jersey at a 3.50 mm loop, drawn inside the rectangle of one wale by one course that its own dimensions give. The thread is drawn at its own width, and it already fills 1.129 of the cell dry — more than the whole of it, which is what an opaque jersey looks like from above. Wetting takes it to 1.355. So the reason a knit does not build a swelling pressure is not that it has room; it is that its dimensions are a loop length times a constant with no yarn diameter in them, so there is no closure condition to fail. What the drawing cannot show is the third dimension: the legs lie over one another rather than overlapping in the plane, which is exactly why an occupancy above one is possible. Knits and other structures

A loop has no closure condition

A woven cloth can run out of room: its two systems must supply its whole thickness between them, and past a certain swelling they cannot. A knit has no such equation, so no critical swelling and no pressure. The obvious explanation — that a knit is open and has somewhere to put the swelling — is false, and the arithmetic refuses it.

 What a coating does to seven properties of a cloth. Seven quantities computed for uncoated fabric, with what each becomes once a film bonds the crossings: the shear a cloth will take — changed in kind; tear strength — changed in kind; the loss from a hole — reversed; wicking — halved; air permeability — reversed; the sett's effect on strength — unchanged in sign; areal weight — added to. Two of the seven reverse outright. The table is a collection rather than a computation, and each row points at the essay whose result it qualifies. After the loom

Coated is a state

Almost every mechanism in a woven cloth assumes threads that can move relative to one another — the bias is a mechanism because the crossings rotate, a tear runs because threads gather, a cloth takes a hole without minding because the neighbours pick the load up. A film bonds the crossings. Two of those results reverse outright, the rest change in kind, and a fabric's quoted numbers almost never say which state they belong to.

 The beat-up, at the fell. The last picks of a sheeting at 26 picks per centimetre, with the beat-up zone shaded. Driving the fell forward makes the warp take more crimp and more crimp takes more thread, which the warp can only supply by stretching — so the force is the warp tension times the crimp's elasticity with respect to the pick spacing, 0.182 here. That is 0.205 N per end and 573 N per metre of reed. What the drawing cannot show is that the shaded band's width cancels out of the derivation exactly; it is drawn because a reader needs to see what is being compressed, not because the answer depends on it. Setting and geometry

The blow that sets the pick

The take-up gear decides how far the cloth moves between picks and says nothing about the blow that puts each pick where it goes. That blow is a force, and a virtual-work argument gives it in one line — with the length of the beat-up zone cancelling out of the answer exactly, which is the part worth having.

 The harness a strain budget buys. How many shafts stay inside a 1.0 per cent warp-strain budget, against the clear shed opening the loom needs at the reed: 12 mm gives 43, 16 mm gives 36, 20 mm gives 28, 24 mm gives 21, 30 mm gives 13, 36 mm gives 7, 44 mm gives 1. The shed's tangent enters the strain squared, so the opening is much the strongest thing a loom builder controls. Compound and figured cloths

The harness has a depth

Why does a dobby carry sixteen or twenty-four shafts rather than two hundred? The usual answers are about the mechanism — how many jacks a box can drive, how many hooks a dobby has — and they are real limits that are not the binding one. A stated tolerance on warp strain is a stated distance from the fell, and a stated distance is a whole number of shafts. One per cent buys thirteen.

 The load–extension curve, computed from a stiffness. The tension in one end of a sheeting against how far the cloth has been extended, computed as the slope of its bending energy along its own constant-thread-length locus. The curve passes through zero at the state of least energy, which is where an unloaded cloth sits, and rises either side of it. What the curve cannot show is what happens after the crimp runs out: past the end of the locus the load is carried by stretching yarn rather than by straightening it, and that is a modulus three orders of magnitude higher and a different figure. Mechanics and drape

The locus gets a force

This site has drawn the set of states a cloth can reach without stretching any yarn, and has never been able to say which of them it is in or what it would cost to move. Both questions are one derivative of a bending energy — and the answer explains the flat start every fabric's load–extension curve has, which is not slack yarn but a symmetry.

 A front on a thread with 8 per cent crimp. Three rows at one scale. The top row is the warp end laid out straight, with the wetted front marked at four equal quarters of its own length — which is where Washburn's law puts it at four times whose square roots are evenly spaced. The middle row is the same thread crimped at 8 per cent, so it covers 92.6 per cent of the paper the straight one did. The bottom row is the cloth, and the four fronts on it are the four above pulled back by 1.08. A coefficient is a length squared over a time, so it comes down by 1.1664 — exactly (1 + c)², with no property of the liquid or the fibre in it. The thread's thickness is not drawn and neither is the liquid: a meniscus in a 2.33 µm pore is finer than any line on this canvas. Cloth doing a job

Wicking is slower along a crimped thread

A front travelling up a warp end travels the thread's path, which is longer than the cloth by exactly the crimp. So the wicking coefficient measured on the fabric is the yarn's own divided by (1 + c)² — 14.3 per cent lost at eight per cent crimp, whatever the liquid.

 The resting band, not the resting point. The bending energy of a sheeting along its own constant-thread-length locus, with the band in which friction can hold it shaded. The minimum is a single state; the band is 10.9 per cent of length wide, because the cloth stops sliding as soon as the energy it can release falls below the 0.0756 N friction takes to move a crossing. What the drawing cannot show is which end of the band a given piece of cloth stops at, which depends on the direction it arrived from and is what makes relaxation hysteretic. After the loom

A cloth relaxes until its threads stop pushing

The finishing field treats the relaxed state as a place a cloth arrives at. With an energy along its own locus and a friction at its crossings it is not a place but a band — and which point of the band a piece of cloth stops at depends on which side it came from, which is why washing it twice gives two answers.

 A crossing before and after it is pressed. One warp end of a sheeting riding over three picks, drawn twice to the same scale. Unpressed, both sections are circles and the cloth is 0.388 mm thick. At 0.40 N per crossing the sections flatten to aspect ratios of 1.75 and 1.84, the cloth thins to 0.263 mm, and the warp runs flat for 0.109 mm over each pick before it begins to curve. What the drawing cannot show is why the cloth does not do this by itself: flattening shrinks the arc radius as well as the crimp height, so it costs bending energy, and a relaxed cloth keeps its threads round. Mechanics and drape

A flattened thread is a record of a force

A yarn in cloth is not round, and this site has modelled the flattening for as long as this collection has run with the amount of it left as a number somebody chose. Give the section a stiffness and ask what the cloth prefers, and the answer is a circle — at every stiffness, for every balanced cloth in the table. Flattening does not happen by itself; it happens because something pressed.

 Munden's states against the fibre swelling. What a plain knit does between its relaxation states, beside the swelling of the fibre it is made of. Going from dry-relaxed to wet-relaxed a jersey loses 5.66% along its courses and 2.44% across its wales, and going on to fully relaxed it loses 9.1% and 7.0%. The fibre swells 20%. Two things rule the swelling out as the cause: it is several times the whole change, and the change is markedly anisotropic while a swelling enters both of a loop's dimensions through the same loop length. What the bars cannot show is what does cause it, which is friction — water lets the loops move to where the yarn's own bending had been trying to put them. Knits and other structures

A knit's change of state is not its swelling

A jersey is smaller wet-relaxed than dry-relaxed, by 5.7 per cent along its courses and 2.4 across its wales. Water is obviously involved, so the swelling is the obvious cause. Two things rule it out, and both are properties of the constants rather than measurements of a fabric.

 A 40-by-40 motif on a poplin, drawn and finished. A motif 40 ends wide and 40 picks tall, at the setts the reed and the take-up were set to, and the same motif measured on the finished cloth. Point paper has one cell per end and per pick, so a motif's proportions are the ratio of the two setts — and both setts move in the finishing, in opposite directions. On the poplin the aspect changes by a factor of 0.8429, so a circle drawn as a circle at the loom's numbers comes back 15.7% out of round and a designer who wants a circle must draw an ellipse of 1.1863. What the drawing cannot show is that the correction is not a property of the design: it belongs to the cloth, so the same card woven on a different construction is a different shape. Pattern and colour

A motif is drawn at the wrong shape on purpose

Point paper has one cell per end and per pick, so a design's proportions on the cloth are the ratio of the two setts. Both setts move in the finishing and they move in opposite directions, so a circle drawn as a circle comes back out of round — by three per cent on a balanced cloth and by sixteen on a warp-dense one.

 Selectable against reachable. How far up the take-up gear's catalogue a beat-up force reaches, on a sheeting. The catalogue holds 4,825 distinct pick densities between 8 and 40 per centimetre, which is the previous rung's count of what the machine can select. At 200 N per metre only 548 of them can be woven; at 2,000 it is 4,256. The fineness of the choice is untouched by the ceiling and the top of the range is cut off entirely, so the weft direction's advantage is resolution rather than reach. What the chart cannot show is the loom's own force, which depends on the beat-up mechanism and is not a property of the cloth. Setting and geometry

A pick density is a force budget

The take-up ladder counted what a change-wheel take-up can select: 4,825 distinct pick densities between eight and forty threads per centimetre, against forty-nine warp setts a reed catalogue offers over the same range. That count assumed every setting is available. A beat-up force says otherwise, and cuts the top off the range without touching the fineness of the choice.

 What holds a tuft in, in newtons. The withdrawal force of a V-fastened and a W-fastened tuft over the reported range of yarn-on-yarn friction, on a duck ground with 1.00 N in each pick. Each is the friction at the wraps, with each wrap's share dragged around every wrap between it and the pulled end — a capstan series rather than a single factor. W runs from 0.79 to 6.84 N and V from 0.15 to 0.41. Both are an order of magnitude below what a carpet is specified at, which is a finding about carpets rather than about the model. What the chart cannot show is the backing, which is where the rest of a tufted carpet's anchorage comes from. Compound and figured cloths

What holds a tuft in, in newtons

The pile ladder computed a tuft's anchorage as a capstan ratio and said, correctly, that a ratio was all it could offer. A ratio multiplies a tension and there was no tension anywhere on this site. There is one now — and the answer, put beside what a carpet is actually specified at, falls short by a factor of three.

 A muslin's warp, drawn at the diameters it actually has. 18 ends of a muslin's warp yarn, drawn at a seeded sample of their own diameters — mean 167 µm, coefficient of variation 15% — and spaced exactly, because the reed does not vary. The threads look even enough. The gaps do not: the widest here is 280 µm and the narrowest 229 µm, against a mean of 250 µm, and their coefficient of variation is 7% — larger than the yarn's, by the ratio of the diameter to the gap. That amplification is the whole reason a close cloth's holes are so much less uniform than its threads, and it gets worse as the cloth is set closer, because the gap in the denominator is the thing being shrunk. What cloth is

A cloth is a population, not a thread

Every number in this collection was computed from a diameter, and no yarn has one. Putting the distribution back changes some answers by nothing at all, some by a few per cent, and some by a factor — and which of the three happens is decided by one derivative.

 A plain knit's two relaxation steps. Munden's three relaxation states are usually given as three sets of constants. Read as a path they are two steps, and the two compose to the whole exactly — which is a real check, because the three sets were measured independently. The first step is the larger in the course direction and the smaller across the wales, and the second is 0.64 of the first lengthwise. That is the shape of a laundering series and it is the same mechanism: a fully relaxed state is reached by tumbling rather than by waiting, so what the standard specifies is a quantity of agitation and not a duration. What the bars cannot show is the loop length, which cancels out of all four numbers because every dimension of a knit is a loop length times a dimensionless constant. Knits and other structures

A knit relaxes for as long as it is allowed to

Munden's three states are usually given as three sets of constants. Read as a path they are two steps, they compose exactly, and the second is not a smaller version of the first — the fabric shrinks twice as much along its courses as across its wales on the first step and rather less than half as much on the second.

 A crossing before and after it is pressed. One warp end of a sheeting riding over three picks, drawn twice to the same scale. Unpressed, both sections are circles and the cloth is 0.388 mm thick. At 0.42 N per crossing the sections flatten to aspect ratios of 1.79 and 1.88, the cloth thins to 0.260 mm, and the warp runs flat for 0.113 mm over each pick before it begins to curve. What the drawing cannot show is why the cloth does not do this by itself: flattening shrinks the arc radius as well as the crimp height, so it costs bending energy, and a relaxed cloth keeps its threads round. Setting and geometry

Peirce and Kemp are one cloth at two moments

This site has run two thread sections side by side since the setting field was built — a circle and a flattened racetrack — and said honestly that they disagree and that the disagreement is the point. They are not rival descriptions of the same fabric. They are descriptions of the same fabric before and after something pressed it, and the difference between them is a pressure that can now be named.

 How much too thick a round section is, and what reconciles it. For each cloth in the standard cloth table: the thickness a circular Peirce section predicts, the thickness a cloth of that construction measures, and the force per crossing that makes the flattened model reproduce the measurement. The over-prediction runs from 36% to 81%. The reconciling forces span a factor of 4.6 across a table whose counts span a factor of six, and every one of them is of the order of the contact force the cloth's own warp tension supplies — which is what makes this a model rather than eight fitted parameters. What the rows cannot show is that the thicknesses are trade figures for cloths of these constructions rather than measurements of these particular fabrics, so what is being read is an ordering. Compound and figured cloths

The criterion gets a force

This site's integrity criterion decides exactly whether a draft describes one cloth, and has one standing limitation: it says a tuft bound under one pick and a tuft bound under three are both attached, and it is right, and one of those is a carpet while the other sheds. What separates them needs a normal force in a fabric that is not under tension — the number the rung that computed it recorded as unavailable, and the one a thickness gauge now supplies.

 The bracket that closes and the bracket that does not. A 25 tex cotton yarn at a packing factor of 0.6. Its bending rigidity lies between 0.00117 N·mm² — the sum of its fibres', with them free to slide — and 0.478, a solid rod of its own diameter: a factor of 408, and both ends are derivations. Its resistance to being squashed out of round has an upper bound of the same kind, 369 N/mm² for a solid section, and no lower bound at all, because fibres free to slide resist a change of shape with nothing. That is why the aspect ratio of a flattened yarn has been a free parameter here since the setting field was built: a quantity bounded below by zero cannot be estimated from its bounds, and has to be measured. Mechanics and drape

The stiffness with no lower bound

A yarn's bending rigidity lies between two derivable ends and the ratio is the fibre count — wide, but closed. Its resistance to being squashed out of round has an upper bound of the same kind and a lower bound of exactly nothing, because fibres free to slide resist a change of shape with nothing at all. That is why nobody could ever compute the aspect ratio of a flattened thread.

 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.

 The resting band with two coefficients in it. The range of extensions a sheeting can be left in, at rest and while being agitated, at three ratios of kinetic to static friction. The upper bar of each pair is the stuck band, held by the static coefficient; the lower is the band a cloth being shaken can be left in, held by the kinetic one. Agitation narrows the band but by less than the ratio of the coefficients: at 0.75 the narrowing is 0.868. The restoring force is not linear in the extension, so cutting the friction by a quarter does not move the band's edges by a quarter of the way in. What the bars cannot show is where a given piece of cloth actually stops inside its band, which depends on which side it came from. After the loom

Why agitation helps a cloth relax

Every standard relaxation procedure agitates: tumble it, wash it, steam it, work it. The explanation given is that agitation lets the fabric find its own dimensions, which is true and is not a mechanism. The mechanism is that a sliding contact resists less than a stuck one — and putting a number on it shows the effect is real, is smaller than the obvious arithmetic suggests, and does not account for what a relaxation procedure achieves.

 From a calender's line load to a force at one crossing. A sheeting through a nip loaded at 30 N per millimetre of bowl width, with the cloth in contact over 5.0 mm. The pressure is the first divided by the second, 6.00 N/mm², and the force at one crossing is that pressure times the area a crossing owns — the product of the two thread spacings, 0.1374 mm². So the crossing carries 0.824 N, the sections flatten to 2.42 and 2.63, and the cloth thins from 0.388 mm to 0.218 mm. What the drawing cannot show is that two cloths through the same nip are not given the same treatment: the area a crossing owns varies fivefold across the standard cloth table, and it is a factor in the force. After the loom

A calender spends the compression for good

Calendering was described here as moving a cloth from one thread-section model to another, which was right and had no number in it because the amount of the move was a free parameter. It is a pressure now — and the same nip setting turns out to give two cloths quite different treatments, because the force at a crossing is the pressure times the area a crossing owns.

 Which knitted structures spiral, at a twist factor of 4.0. A yarn leaves the spinning frame with a torque it has not been allowed to release, and a loop knitted from it leans. The lean per unit of twist factor above balance is measured; what is counted here is the structure. A loop on the front bed and one on the back are mirror images, so their torques have opposite signs, and a fabric that knits equally on both beds nets to zero whatever the yarn is doing — which is why 1x1-rib, 2x2-rib, interlock do not spiral and plain, half-cardigan, tubular do. The count has to be made per fabric and not per structure: an interlock and a tube both knit equally on the two beds, and they are opposite cases, because an interlock's two components each straddle the beds while a tube's are each wholly on one. The integrity criterion, which asks what nothing holds together, is what tells them apart. What the bars cannot show is the tube's second face, which leans the other way. Knits and other structures

A jersey leans because its yarn still turns

A single-jersey T-shirt comes back from the wash with its side seam spiralling round the body, and a rib does not. The difference is not the yarn: it is a count. Loops on opposite beds are mirror images, so their torques oppose, and a fabric that knits equally on both nets to zero whatever the yarn is doing.

 The pressure a wetting generates in a close cloth. The pressure a sheeting's yarn is compacted at, against how far its fibres have swollen. Below 9.29% the cloth accommodates the swelling as a shape change and the pressure is nothing; above it there is no state at constant thread length, so the yarn must be compacted back to a diameter the geometry can hold and van Wyk's cube law prices it. At cotton's 20% it is 7.80 MPa. The other route out — stretching the threads until they are long enough to wrap the swollen partner — needs 9.1% of strain against a breaking strain of 6.6% computed from the site's own tenacity and modulus, so the thread would break first and there is one route rather than two. What the curve cannot show is its own uncertainty: van Wyk's constant runs from 0.003 to 0.011, so the height of this curve is known to a factor of nearly four and its shape is not. Compound and figured cloths

A wetting supplies the force the criterion needs

This collection's criterion decides whether a cloth is one cloth, exactly, and cannot see friction — so pricing what it misses needed a contact force, and the only one available had a measured fabric thickness inside it. A wetted close cloth generates one from geometry alone, and it lands within seven per cent of the measured route's answer.

 The size of the capstan correction. The ratio of the capstan crossover to the crossover a sum of independent contacts gives, for every cloth in the table at a friction coefficient of 0.30. It is exactly ln(1 + z)/z, where z is the thread's breaking load times the wrap angle, over the contact force — a quantity with no friction coefficient in it at all. That is why the earlier result that μ·L* is exactly constant survives this correction to twelve figures: μ was only ever in the factor outside the logarithm. The correction is largest for the duck, whose coarse strong yarn makes z large, and smallest for the batiste. What the rows cannot show is that a real cut edge frays at a friction nobody measured on that particular cloth. Cloth doing a job

How far a cut edge frays

A seam allowance, a fray width and a tuft's bound length are the same number wearing three hats, and the earlier estimate of it was four times too long. Correcting it moves the whole table across the boundary an ordinary allowance sits on — from four cloths holding and four slipping, to all eight holding — and turns a specification argument into a different one.

 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.

 How much too thick a round section is, and what reconciles it. For each cloth in the standard cloth table: the thickness a circular Peirce section predicts, the thickness a cloth of that construction measures, and the force per crossing that makes the flattened model reproduce the measurement. The over-prediction runs from 36% to 81%. The reconciling forces span a factor of 4.6 across a table whose counts span a factor of six, and every one of them is of the order of the contact force the cloth's own warp tension supplies — which is what makes this a model rather than eight fitted parameters. What the rows cannot show is that the thicknesses are trade figures for cloths of these constructions rather than measurements of these particular fabrics, so what is being read is an ordering. Mechanics and drape

The relaxed cloth's contact force

How hard two threads press on each other in a cloth that is not being pulled is the number this site's own integrity criterion has needed since its first essays, and the route to it was an elastica nobody had. A thickness gauge supplies it instead — because a cloth's thickness is a record of how flat its threads are, and how flat they are is a record of how hard they are pressed.

 A 5.0 mm cotton pile standing and crushed. A pile tuft standing 5.0 mm proud and the same tuft pressed flat, which turns it through a right angle over its own length and so bends it to a radius of 3.18 mm. Its fibres are strained 0.187% — an order of magnitude below the smallest strain anybody has measured a recovery at, so this file declines to say what fraction comes back. The consequence is that a crushed carpet is not held down by its fibres: what keeps a pile flat is the tufts leaning on one another and the friction where they touch. Below 0.469 mm the fibre does enter its measured range, which is the difference between a carpet and a velvet and has nothing to do with what either is made of. What the drawing cannot show is the neighbouring tufts, which are the mechanism. Compound and figured cloths

A crushed pile is not held down by its fibres

A carpet flattened under a foot has bent its tufts through a right angle, which sounds severe and is not: the fibres in a five-millimetre pile are strained under two tenths of a per cent, an order of magnitude below the smallest strain anybody has measured a recovery at. What holds a pile down is the tufts leaning on one another.

 The two halves of a beat-up force. The force the reed must apply per metre, for a sheeting, against the number of picks that are still sliding against the warp. The elastic half — the warp tension times the crimp's elasticity with respect to the pick spacing — is 573 N/m and does not depend on the zone at all; that cancellation is exact and is the result the rung below established. The frictional half is 1133 N/m per sliding pick and is nothing but zone. Against a reported 400–1500 N/m, that leaves room for at most 0.82 picks sliding — so the fell region a weaver can see, ten to fifty picks deep, is not the same quantity as the picks that are still moving. What the rows cannot show is that this is a static friction throughout, and a beat-up is a blow. Setting and geometry

The half of the beat-up that is all zone

The elastic half of the beat-up force is exact and the length of the beat-up zone cancels out of it, which is this site's own result and disagrees with every practical account of weaving. The frictional half is nothing but zone — and requiring the total to match the force a loom is actually built to apply puts the number of picks still sliding at about one.

 A sheeting's crossing, dry and wetted. One crossing of a sheeting in section at three swellings: dry, at the swelling where its geometry has its last state, and fully wetted at 20%. The closure condition is that the two systems' crimp heights add to the cloth's thickness, and each can supply at most the height it reaches when its straight portion has just vanished. Swelling raises the demand in proportion and the supply more slowly, so the margin closes and then goes negative — at 9.29% for this cloth against cotton's 20%. The bottom panel is drawn as far as the threads reach and no further, because there is no state to draw. What the drawing cannot show is what happens instead, which is that the yarn is compacted. Mechanics and drape

The swelling a cloth cannot take

Three of the eight cloths in this collection's table have no wet state at all. A thread of fixed length cannot wrap a partner that has grown by a fifth, so the closure condition fails and the geometry has nothing to offer. What happens instead costs megapascals, and the alternative route is not merely dearer but unavailable — the thread would break first.

 Shrinkage from wetting, cloth by cloth. The change in each cloth's relaxed construction when its threads swell by 20% across and 1.2% along. Both states are least-energy states of their own constant-thread-length locus, which is the only comparison the locus admits: its minimum is a state at its own sett, so it may be compared with another minimum and not with a quoted construction. Positive is smaller. Every cloth that has a wet state closes up except the cheesecloth, which opens by half a per cent because the fibre's extra hundredth of length outruns the extra crimp a thicker partner costs. What the bars cannot show is the three cloths that are missing, which have no wet state at all. After the loom

Two shrinkages, one tape measure

A cloth that comes out of a wash smaller has done two different things and the tape cannot tell them apart. One is geometric, recoverable and finished in minutes; the other is frictional, permanent and needs agitation. This collection can now compute both, and they have different signatures.

 Shrinkage from wetting, cloth by cloth. The change in each cloth's relaxed construction when its threads swell by 20% across and 1.2% along. Both states are least-energy states of their own constant-thread-length locus, which is the only comparison the locus admits: its minimum is a state at its own sett, so it may be compared with another minimum and not with a quoted construction. Positive is smaller. Every cloth that has a wet state closes up except the cheesecloth, which opens by half a per cent because the fibre's extra hundredth of length outruns the extra crimp a thicker partner costs. What the bars cannot show is the three cloths that are missing, which have no wet state at all. Cloth doing a job

A garment is cut dry and worn wet

A cutting allowance is one number and the thing it allows for is two, in two directions. Worse: when the two directions differ, a panel cut on the bias does not merely shrink — it rotates, by half a degree for an ordinary poplin, which is nine and a half millimetres of skew across a metre and is invisible to a tape measure.

 The shear a dome demands, against how far round it the cloth reaches. A flat sheet of inextensible threads takes a double curvature only by shearing, and the shear it needs depends on how far round the dome it has to reach rather than on how big the dome is — a knee, a shoulder and a beach ball demand exactly the same at the same fraction of their own radius. The horizontal line is the locking angle for a sheeting, where the threads are touching side by side and the mechanism has nowhere left to go. Reaching one radius round takes the cloth to 85% of that, and reaching 1.2 radii passes it. What the plot cannot show is the frictional part: a shear well inside the locking angle is still a shear at crossings friction is holding, so a knee that is domed a thousand times keeps a little of each one. Cloth doing a job

A knee is a dome imposed a thousand times

A flat sheet of inextensible threads takes a double curvature only by shearing, and how much shear it needs depends on how far round the dome it has to reach — not on how big the dome is. So a knee and a beach ball demand the same, and a trouser knee covered to its own equator is at 85 per cent of the angle at which the threads touch side by side.

 What holds a pick in. The holding force on one weft, as a multiple of the tension applied to its free end. For a plain weave it is the capstan on twice the weave angle, which Peirce's geometry gives at each sett and which falls towards nothing as the cloth opens out. For a leno it is the capstan on a half-turn, which the sett does not enter at all. Compound and figured cloths

A leno's hole cannot drift

A filter cloth is rated by its largest hole, and the largest hole grows one micrometre for every micrometre an end moves sideways. What holds an end in place in an ordinary weave is friction at its crossings, and that friction falls smoothly to nothing as a cloth opens — with no threshold to warn anybody. A leno's crossing does not: its ends are wrapped through half a turn by construction, so the grip has no sett in it, and at an open cloth it holds eighteen times what a plain weave manages.

 One weft fault at three periods, a fraction of a millimetre apart. A 260 mm slice of a 1500 mm cloth at 22 picks per centimetre, 220 picks deep, with a thick place recurring along the weft. Each pick takes a whole width of yarn, so the marks land 35 to a pick across the full width and step sideways by the remainder of the width divided by the fault's period. On the left that remainder is zero and every thick place in the piece falls in the same columns — a warp-way stripe made entirely by a weft fault. In the middle the period is five hundredths of a millimetre longer and the same fault draws steep diagonals. On the right it is a third of a millimetre longer again, the marks land nowhere near each other, and the fault reads as texture. Nothing about the yarn distinguishes the three; the cloth's width does. The slice is drawn rather than the whole width because thirty-five marks a pick fill a panel solid at any step but zero, which is a true picture of a dense pattern and a useless one of its structure. Pattern and colour

A slub finds the width of the cloth

A thick place recurring along a weft yarn does not make a bar. It makes diagonals — and when the cloth's width happens to be a whole number of fault periods, it makes stripes down the piece instead, from a fault that is entirely in the weft.

 Cover, dry and wetted. Warp cover for every cloth in the table when its threads swell by 20% and its spacings are held, with the dry value and the sett at which the swollen threads touch beside each bar. Cover is a diameter over a spacing and only the diameter moves, so every cover is multiplied by exactly 1.20 and every jamming sett divided by it — an identity rather than a result, and the one statement in this ladder a reader can check by hand. No cloth here reaches a cover of one, so none of them jams laterally on wetting; the closest is the sheeting at 0.628. What the bars cannot show is the through-thickness condition, which the sheeting fails at a swelling of half this one. Setting and geometry

A wet cloth is set closer than it was woven

Cover is a diameter over a spacing. Wetting moves the diameter and does not move the spacing, so every cover factor on this site is multiplied by exactly the swelling ratio and every jamming sett divided by it — which is an identity, and the one statement in this ladder a reader can check by hand.

 Cotton and viscose in every column this site carries. The two cellulosic fibres compared across every constant on this site. Both are cellulose at 1.52 g/cm³, both are given a modulus of 8 GPa and a fineness of 1.7 dtex, so a 20 tex yarn of either has the same diameter to the last figure — and therefore the same crimp, the same cover, the same jamming sett and the same bending bracket. Every geometric result on this site is the same number for the two fibres. Water separates them twice: viscose swells 1.75 times as far across and loses half its strength where cotton gains a tenth. What the table cannot show is why, which is a question about how cellulose is arranged inside a fibre and is not in this collection. Mechanics and drape

Water tells two fibres apart

Cotton and viscose are the same material by every constant this collection carries. Same density, same modulus, same fineness, so the same diameter at every count and the same crimp, cover, jamming sett and bending bracket. A wash separates them by a factor of two, and it is the only thing here that can.

 The ratchet a wool fibre is. A fibre with its scales, and the two strokes of one cycle of agitation. The push is the same in both directions; the distance is not, because the scales resist tip-first motion more than root-first. Every cycle therefore nets a displacement in one direction, and no amount of further agitation undoes it. After the loom

Why felting needs water

Wool felts in a wash and not in a drawer, and the usual explanation is that water lubricates the scales. It does the opposite of that. Water lowers one of wool's two friction coefficients and raises the other, so it widens the gap the ratchet rectifies — and what follows is a saturating function of the ratio, not of either coefficient.

 The surface of a 2/2 twill, in plan. One repeat of a 2/2 twill in sheeting, drawn 2 × 2 times, with every point painted in the colour of whichever thread owns the outside of the cloth there and at an opacity set by how high it is. The range is 221.0 µm from the highest point to the lowest, the root-mean-square roughness is 74.9 µm, and 30% of the plan is hole rather than surface. The bright ribbons are the float plateaux, where a thread lies straight across the threads it passes over and its outside is a horizontal line rather than a point — which is the whole of what follows. The warp crowns at 190.8 µm and the weft at 182.8 µm, a step of 8.0 µm, so the cloth touches the world on its warp alone until anything pressing on it has sunk that far. What cloth is

A cloth has an outside

Every quantity in this collection is a property of the inside of a fabric — a crimp, a cover, a hole, a fibre count. None of them says where the cloth stops. The outside is a height field the draft computes, its crowns stand at two different levels, and which of the two is higher decides what the cloth touches the world with.

 The same error twice: scattered, and in a period. Two bands of 96 ends, drawn at spacings that differ from the reed's by the same root-mean-square amount — 5% of a dent, which is 21 µm. The upper band's errors are independent; the lower band's repeat every 4 ends, which is what one shaft set forward or one dent of the reed too wide produces. The displacement is drawn 8 times over scale, because at true scale it is half a pixel and both bands are picket fences; the arithmetic below it is at the true amplitude. The upper band reads as an even cloth with a little texture in it and the lower one has stripes, and nothing about the eye is needed to say why: at 96 ends the periodic arrangement is 7.8 times stronger at its own frequency than the scattered one is at any frequency, and over the 256 ends a buyer takes in at once it is 12.8. The ratio grows as the square root of how much cloth is looked at, which is why a fault-finding sweep is done at a distance rather than close up. Knits and other structures

A course is one thread and a warp is many

A woven fabric draws its warp from two thousand packages side by side, so a yarn's drift averages out across the width. A weft knit takes whole courses from one package, so the same drift becomes a band — and the standard remedy for that turns an invisible error into a visible one.

 The poplin's two budgets as it is held stretched. What is left of a poplin's interchange in each direction as it is held at more and more warp strain. The warp's budget falls to nothing at 3.93%, which is the point of the curve; the weft's rises, because the crimp the warp gives up is crimp the weft takes on. There is one locus and one position on it, so the two are not two quantities that happen to be related — they are the two distances from one point to the two ends of one curve. The consequence is that a pre-tensioned cloth has almost no warp recovery left and more weft recovery than it started with. What the plot cannot show is that the exchange rate between them is not constant: the curve is not a straight line, and its slope is the Poisson ratio this site computes elsewhere. Mechanics and drape

A cloth has one budget for two directions

A woven cloth looks as though it carries two independent reserves of free extension, one along the warp and one across the weft. It carries one. There is a single curve of states and a single position on it, so every hundredth spent one way is refunded the other — which means a pre-tensioned cloth has not used its recovery up, it has moved it.

 Wash-by-wash shrinkage, reported and modelled. The shrinkage an unfinished cotton cloth shows in each of five laundering cycles, beside what a model with no rate in it predicts. The model says a wash lets every crossing whose frictional barrier is below the cloth's current excess slip to the edge of its own band, and that is a distribution rather than a rate. Two numbers are fitted — the excess the cloth came off the loom with, 7.13%, and the spread of the barriers, 37.2× — against the first two washes. Washes three, four and five are predictions with nothing left to adjust and come out at 0.506%, 0.284%, 0.179% against reported 0.50%, 0.30%, 0.20%. What the bars cannot show is the finding underneath: the reported yarn-on-yarn friction range gives a spread of only 1.34×, which would have the tail over by the third wash. After the loom

A cloth shrinks most the first time

A laundering test reports five numbers and they fall away like a geometric series. Nothing in a wash is slow — a cloth is agitated tens of thousands of times in half an hour — so a second wash that shrinks it again is direct evidence that its frictional barriers are spread, and the ratio between successive washes measures how far.

 A seersucker in section. A seersucker in section across four stripes, at a feed ratio of 1.30 — the slack warp let off 30 per cent faster than the tight one — over a 6.0 mm stripe. The surplus has nowhere to go in the plane, so it buckles, and the standard small-amplitude result gives 2.09 mm of rise, which is 4.2 times the cloth's own thickness of 0.500 mm. Nothing has to relax for this to appear: unlike a honeycomb, a seersucker comes off the loom already puckered, and washing deepens it rather than creating it. What the drawing cannot show is that the buckle's shape is an assumption — a sinusoid pinned at the stripe's edges — while its amplitude follows from the surplus and the half-wavelength alone. Weaves

A seersucker is made at the loom

Every other relief weave in this collection gets its shape after the loom, from a difference of crimp between two regions of a few per cent. A seersucker's surplus is thirty per cent and is put in as the cloth is woven — an order of magnitude more, which the square root turns into a factor of four in depth and no more than that.

 Shrinkage from wetting, cloth by cloth. The change in each cloth's relaxed construction when its threads swell by 20% across and 1.2% along. Both states are least-energy states of their own constant-thread-length locus, which is the only comparison the locus admits: its minimum is a state at its own sett, so it may be compared with another minimum and not with a quoted construction. Positive is smaller. Every cloth that has a wet state closes up except the cheesecloth, which opens by half a per cent because the fibre's extra hundredth of length outruns the extra crimp a thicker partner costs. What the bars cannot show is the three cloths that are missing, which have no wet state at all. Setting and geometry

Wetting moves a cloth to another locus

A cloth's constant-thread-length locus is built at a fixed thickness. Swelling changes the thickness, so a wetted cloth is not somewhere else on its own locus — it is on a different one, and the distance between the two least-energy states is the shrinkage. Five of the eight cloths here have a wet state, and one of them gets bigger.

 Three places a mistake can be made, and three shapes it leaves. A loom holds a design in three separate objects, and a single mistake in each of them produces a fault of a completely different size — not because the mistakes differ, but because of how many intersections each object controls. On a 50 m piece of muslin 1500 mm wide, holding 396,000,000 intersections: one end drawn on the wrong shaft is wrong at every pick for the whole length, 110,000 of them; one pick made in the wrong shed is wrong across the whole width once, 3,600; and one shaft tied wrongly to one treadle is wrong wherever that shaft's ends meet that treadle's picks, which is everywhere — 6,187,500, or 1.6% of the cloth. The ratio between the extremes is 1719 to one, and the largest of the three is the one nobody sees happen, because every thread is exactly where it should be. Compound and figured cloths

Three mistakes and the shape each one leaves

A loom holds a design in three separate objects, and one error in each of them is the same size of error. What they cost differs by a factor of seventeen hundred — and the largest of the three is the one nobody can see happening, because every thread is exactly where it should be.

 The stripe a knitting machine chooses. A circular machine takes its yarn from a fixed number of feeders arranged round the cylinder, and feeder k lays every F-th course. So any difference between packages — a shade, a count, an evenness — is reproduced in the fabric with a period of exactly F courses, and at 20 courses per centimetre that is a band every 48.0 mm on a 96-feeder machine. The machine chooses the period, not the yarn. The spacing is proportional to the feeder count and inversely proportional to the course density, as the turn of the cylinder requires whatever the bars show, and a one-feeder machine produces no band at all from the same packages. Knits and other structures

Why a knit shows a thick place

A woven cloth has hundreds of separate warp ends and averages a yarn's faults among them. A knit has one thread and a machine that repeats — so a difference between two packages becomes a stripe, and the machine chooses its period.

 The bearing curves of 4 weaves in one cloth. How much of the plan is within a given depth of the highest point, for plain, 2/2 twill, satin 5, satin 8 — all in sheeting, all at the same sett, the same counts and the same thickness. They differ only in their drafts. At a hundredth of the cloth's thickness the last of them is touching 9 times the area of the first, and the gap widens as the depth shrinks, because the curves do not merely differ by a factor — they have different exponents. A crown that is a line opens as the square root of the depth and a crown that is a point opens in proportion to it. What cloth is

The curve that says what a cloth touches with

Take a cloth's surface and ask what fraction of the plan lies within a given depth of its highest point. The answer is one curve, it answers every question of the form what does this touch, and its behaviour at the top is decided by a single bit of the draft — whether the longest float is one crossing or more than one.

 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.

 The tightest fold a 20 tex cotton yarn can be given. A cloth folded as sharply as it can be folded. The two yarn crowns on the inside of the fold cannot pass through one another, so the fold's radius is the yarn's own — 0.084 mm for a 20 tex cotton yarn — and there is no measurement of an iron anywhere in the argument. At that radius a fibre free to slide is strained 7.14%, which is √(packing × fibre tex ÷ yarn tex), and the whole yarn bending as a rod would be strained exactly one hundred per cent. Cotton's measured breaking extension is 6.0% to 10.0%, so the free bound does not survive and the locked one cannot. What the drawing cannot show is the fibres inside the yarn, which is exactly what the argument is about — the picture is the same either way and the strain is fourteen times different. After the loom

A crease is a fold the crimp cannot supply

A fold needs its outer face longer than its inner, and a woven cloth's way of supplying a length is to move crimp. That runs out at a radius of millimetres, and a pressed crease is tenths of one — so the fold is handed to the fibres. How hard it strains them turns on a question that two fields of these essays had left unsettled, and a crease settles it by refusing.

 Elastic recovery against strain, for seven fibres. The elastic recovery of seven fibres at the strains it is reported at: extend to a stated strain, unload, read the strain returned immediately. Each fibre's points are joined and the line stops where the measurements stop, which is the point of the figure — a fibre strained past the last point on its own line is a fibre this collection declines to answer for. Nothing here is measured below one per cent of strain, and a woven cloth just past its own interchange budget is at a thread strain of a few hundredths, so the region that matters most for a fabric is the region nobody has reported. Recovery falls monotonically for every fibre, which is what lets the unmeasured region be bracketed between the lowest measured value and one rather than extrapolated. What the plot cannot show is the delayed recovery, which is excluded by the convention and is largest for the fibre with the best reputation for recovering. Mechanics and drape

Recovery is measured and nothing predicts it

A fibre's stiffness is a bracket whose ends can be computed. What fraction of a strain it gives back is not: it has to be looked up, the tables are thin, they stop exactly where a fabric needs them, and the most attractive explanation for the ordering they show turns out to have no signal in it at all.

 How far each cloth's sett moves between the loom and the finished state. A cloth on the loom is held: the warp is under beam tension and the picks are driven up at whatever density the take-up says. Let it go and it relaxes to the least-energy state of its own locus, which is a state at a different sett. The bars are how far each sett moves, and they always move in opposite directions because there is one locus: warp ends per centimetre fall as the cloth widens and picks per centimetre rise as it shortens. Seven of the eight move a little over one per cent; the poplin, whose two counts and two setts are the only unbalanced pair in the table, moves six and ten. What the bars cannot show is what a designer does with them, which is that the two numbers a specification quotes are not two free numbers — the finished construction is a point on a one-dimensional curve. Setting and geometry

The construction a loom must be set to

A specification quotes ends and picks per centimetre in the finished cloth, and a loom is set to neither of them. The cloth relaxes to the least-energy state of its own locus, which is a state at a different sett — and because the locus is one curve, the two numbers a specification quotes are not two free numbers.

 The pressure a 30° twist puts on its own fibres. A twisted yarn squeezes itself. Every fibre under tension at a radius pulls inward with sin²θ of its tension per unit length, and integrating outward to the surface — where the pressure is zero by definition, because there is nothing outside to push against — gives p(r) = ½σ(cos²θ(r) − cos²α) in closed form. At a surface angle of 30° the pressure on the axis is 12.5 per cent of the core fibre's own axial stress and the mean over the section is 5.65 per cent of it. The shading is that closed form and the curve is the same function plotted; the shape is what matters, and its one uncompromising feature is the zero at the edge. The outermost fibres are held by nothing, which is why a yarn is hairy, why a surface fibre is the one that comes away on a finger, and why singeing changes a yarn's behaviour out of all proportion to the mass it removes. Compound and figured cloths

A tuft is set so it cannot untwist

A cut pile tuft has a free end, and at a free end the pressure holding the twist is zero. So the twist runs out over a computable length, the tuft opens, and a carpet loses its appearance long before it loses any material.

 A damask's figure and ground trade places when the cloth is turned. A satin 8 figure on a sateen 8 ground in sheeting — one cloth, one set of threads, one sett, and the ground is the figure's own complement. Their total specular areas are within a few per cent of one another, so neither is intrinsically the brighter. What differs is the direction: the figure's crowns run with the warp and the ground's with the weft. So the contrast between them is 2.0-to-one with the light coming from 8° and 0.47-to-one from 90° — it reverses, exactly, a quarter turn apart. That is what makes a damask visible in one colour, and it is not the step in its surface: the step is fifty micrometres and returns no light at all under a diffuse illumination, while this contrast is a factor of 2.0 and is present whenever there is a direction in the light. Pattern and colour

A figure shows by its shine, not its step

A damask is one cloth in one colour and its pattern is plainly visible. This collection attributed that to the step in its surface — fifty micrometres of relief, computed from the interlacing rates. The step is real and returns almost no light. What makes the figure visible is that its crowns run at right angles to the ground's, so the two trade places when the cloth is turned.

 single jersey, as loops. Three courses of the same structure drawn as yarn. A knitted needle takes a new loop through the one below; a tuck takes the yarn into the loop below and leaves it on the needle, so that loop is held for another course; a miss floats straight past. Six needles is as many as a loop diagram can carry, which is why the array beside it exists. Knits and other structures

A jersey has two surfaces

The face of a plain knit shows the legs of its loops, which run along the wale; the back shows the heads and feet, which run across it. So the two faces carry their crowns at right angles — the same situation as a damask's figure and its ground, in a fabric with no warp, no weft and no float.

 What a tensioned sheeting has left of its load. A sheeting pulled to a strain, clamped at that length and left. Its length does not change, and its load does: crossings rearrange locally until the load has fallen to what friction alone can hold, which is 0.0756 N per end and is the same number whatever the cloth was pulled to. So the fraction retained is that floor over the load applied, and it falls — a cloth tensioned to 4.94 per cent keeps 29 per cent of what it was given. Below the resting band's own edge nothing is lost at all, because the cloth was never outside what friction could hold. What the plot cannot show is time: nothing here says how long the rearrangement takes, only where it stops. Mechanics and drape

A tensioned cloth loses its load

Clamp a fabric at a fixed length and its tension falls overnight. Nothing crept and nothing flowed: the crossings rearranged locally until the load had dropped to what friction alone can hold, and that level is the same number whatever the cloth was pulled to — so the harder it was tensioned, the smaller the share it keeps.

 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.

 What it costs to touch a cloth. The pressure needed to bring a stated fraction of the plan into contact, for plain, 2/2 twill, satin 8 in sheeting. Reaching two per cent of the plan takes 2.83 kPa on a plain and 0.05 on a satin 8, a factor of 55. The stiffness in this figure is fitted and is labelled as such. A yarn's resistance to being squashed out of round has no lower bound at all — a bundle of fibres free to slide is a fluid in cross-section — so no bracket exists to compute this from, and what is used is the value this collection fitted to measured fabric thickness. Every curve moves together across its published range, which is why the ratio between weaves survives and the absolute values are quoted with the fit named. What cloth is

How much of a cloth is touching

Press a fabric against a flat plate with the weight of a hand and ask what fraction of it is actually in contact. The bearing curve answers, and the answer is about four per cent — of which the great majority is not the cloth's surface at all, but the hairs standing off it, which nothing in this arithmetic can see.

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