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The thread: Measured, not claimed — page 4

Page 4 of 6 of the essays on this thread.

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.

How hard a relaxed fabric presses on itself. The normal force at one crossing of a relaxed cloth, against the force at one interlacing of a relaxed jersey. The woven figures were recovered by inverting a thickness measurement through a compression energy; the knitted one comes from a solved shape and no measurement at all, so the two are genuinely independent rather than two readings of one number. Every cloth in the table presses harder than the knit — by between 5 and 22 times — and the knitted figure is an upper bound besides. One ratio is behind a list of differences usually explained separately: which fabric gives up a fibre end, which pills, which frays, which lets a seam slip.

Mechanics and drape

What a loop presses with

A knitted loop hangs on the loop below it and presses on it with a force nobody has been able to state. Solved from the loop's own bending it comes to about forty millinewtons a stitch — an order of magnitude under a woven crossing's, by two independent routes that have nothing in common.

What a knit gives when it is pulled. Force against course-wise extension for a 20 tex cotton jersey at a 3.5 mm loop, computed from the loop's own bending with the relaxed shape as the yarn's natural one. The loop length is the same at every point on the curve: nothing here is the yarn stretching. It reaches 92% extension at 2.96 N per metre and then stiffens by a factor of 85 over the rest of the range, as the straight line between two interlacings runs up against the yarn between them. This is the number the collection's second phase recorded as a lower bound it could not compute, and it is still a lower bound in one respect: friction at the contacts is not in it, so a real fabric is stiffer than this and does not come back along the same curve.

Cloth doing a job

A seam must give what the knit gives

A knitted seam fails because it is too short, not because it is too weak: the thread in it is nearly two thousand times stronger than the load it carries. What decides whether it survives is one line of geometry — the extension a seam can reach is twice the fabric's thickness times the stitches per unit length.

$A knit's warmth is its thickness, and a rib's thickness is a machine setting. Thermal resistance in tog for a 20 tex cotton at a 3.5 mm loop, for a plain jersey and for a one-by-one rib at four bed gaps. The bar is the lower bound and the mark beyond it is the upper — Wiener's two bounds on a mixture of fibre and air at the fabric's own fibre fraction, which is 26.6% for the jersey and falls to 8.9% for the widest rib. The jersey holds 0.088 tog and the rib at five diameters 0.334 — a factor of 3.8, bought entirely by opening the beds. Every one of these is a small fraction of the still-air layer that clings to a garment's outside, which is worth about 1.2 tog on its own.$ Setting and geometry

How dense a knitted fabric is

A fabric's areal weight is what the trade specifies and it says nothing about bulk. Divide it by a thickness and the answer is a density — 0.40 grams a cubic centimetre for a jersey, a quarter of the fibre it is made of — and that quarter, the share of the volume that is not air, is the number every other property follows.

What leaving the plane costs, which is less than nothing. Bending energy a stitch against how far the yarn climbs between one interlacing and the next, for a 20 tex cotton jersey at a 3.5 mm loop. The curve falls. A climb is not an extra bend added to a curve that was otherwise unchanged; it is part of the straight line the thread has to span, so a longer climb leaves less slack to be spent on curvature. At a jersey's own climb of one diameter the energy is 24395 nJ against 25060 for the planar model — 2.7% lower, where an earlier estimate on this site put the ride at three per cent of the loop's bending and had the sign the other way round. At a rib's climb of three or four diameters the fall is 33%.

After the loom

A rib's relaxation is not its bending either

A jersey does not settle where its bending energy is least, and this collection has said so for several rungs. A rib does not either, and the model now says how far from least it would have to go: sixteen yarn diameters of bed gap before the yarn runs out, against the two or three a machine is set to.

What links what, in the two ways of making cloth. The linking number between two adjacent courses, for a knitted tube of 12 wales, for the same tube as this collection's model draws it, and for a woven cloth's two thread systems. The fabric's is 12 — one for every needle loop drawn through the loop below. The model's is -0.0000, because it places the interlacing at a point where two centre lines pass a diameter apart and two curves passing beside one another are not linked. The woven cloth's is -0.0000 and always will be, at any crimp and for every weave. That last row is not a defect of any model: a woven cloth really is unlinked, and it is the reason it frays where a knitted fabric runs.

Knits and other structures

A point cannot link

A knitted fabric of n wales has a linking number of n between every pair of adjacent courses. This collection's model of the same fabric has zero, and it has zero because the interlacing was declared to be a point where two centre lines pass a diameter apart — which is a near miss, and a near miss is not a knot.

What a group of 2 threads behaves as. A group of 2 threads of 250 µm with nothing separating them, beside the single thread of the same width and the single thread of the same yarn, all drawn to one scale. The bars are the group's four readings as ratios. Cover is a width and adds, so the group covers exactly what a 500 µm thread would — with 50 per cent of its yarn. Bending rigidity is a second moment and does not add: 2 threads free to slide give 12.5 per cent of the thick thread's and the same 2 fused into one body give 62.5, so a real group is somewhere between and where depends on friction. Against the thread of the same yarn the two readings point opposite ways: the group covers 1.41 times as much and bends 0.50 times as stiffly if free. What the drawing cannot show is the friction that decides where between the two limits a finished cloth sits.

Weaves

A group is one thread for cover and two for bending

The rung below leaves a limitation standing: two ends with nothing between them lie touching, and whether they behave as one thread of twice the diameter was said to depend on twist, hairiness and finish. Three of the four measures have exact answers with no friction in them and no two agree. A pair covers exactly what a double-diameter thread covers, with half its yarn, and bends at between an eighth and five eighths of its rigidity — and at equal yarn it covers forty per cent more and bends half as stiffly.

What matching a pattern costs a cutting room. The cloth a matched panel needs beyond its own length, against the pattern repeat, for 6 panels of 70 cm. Every panel of a patterned cloth must start at the same phase of the repeat or the pattern breaks at the seams, so a panel's cut length is rounded up to a whole number of repeats. The bar is the allowance a cutting room budgets — a whole repeat a panel, because a panel's length is not a multiple of anything — and the mark is the waste actually expected, which is half a repeat. The two differ by (L + r)/(2L + r), which is between a half and two thirds and is nearer two thirds the larger the repeat. The rows marked in the second colour are the repeats that happen to divide the panel exactly and waste nothing at all, which is what makes the real cost jagged rather than smooth. What the bars cannot show is nesting: a cutting room lays many panels on one length and a short panel can sometimes be taken from another's waste.

What cloth is

A repeat has to fit the panel, and the panel is cut

The warp's width is fixed at warping and a piece's length is not, so the fitting problem in the two directions is not the same problem. Along the length a repeat has to fit a *panel*, because every panel of a patterned cloth must start at the same phase or the pattern breaks at the seams — and the allowance is a whole repeat per panel. A ten-centimetre repeat costs a seventy-centimetre panel twelve and a half per cent and a sixty-four-centimetre repeat costs it forty-eight.

Compound and figured cloths

The doup end pays for the crossing

A leno holds its picks because its doup end crosses under its partner and comes up on the other side — half a turn at every crossing, whatever the sett. That half turn is also a length. When 0.25 mm ends cross every millimetre, the doup end travels 22.5 per cent further than its partner: twenty-two metres of extra warp over a hundred-metre piece, and a shared beam a pick short within four and a half millimetres of cloth. The extra falls with the square of the crossing interval, which is why a leno is woven from two beams and its crossings are spaced as far apart as the cloth allows.

A 1.55 mm net 50 mm behind a 0.3 mm voile, from 0.6 m, 1.5 m, 4 m. A 1.55 mm net 50 mm behind a 0.3 mm voile, drawn across 40 mm of the near layer at true pitch as seen from 0.6 m, 1.5 m, 4 m. Two grids this different beat through a harmonic: the net's k-th against the voile's first, for the k nearest the ratio of their pitches as the eye sees them. From 0.6 m that is the fifth, in register every 6.2 mm; From 1.5 m that is the fifth, exactly in register, with no fringe; From 4 m that is the fifth, in register every 14.9 mm. What the strips cannot show is how strong each family is, which falls with the harmonic, nor the net's second family of threads at right angles.

Pattern and colour

A net over a voile beats through a harmonic

Two identical sheers hung apart make a moiré by perspective alone. A net in front of a voile is not two identical sheers — its mesh is five times the voile's pitch — and it beats anyway, through the net's fifth harmonic, which is a grid 3.3 per cent coarser than the voile. With the net behind, that is a pair of sheers with its coarser layer at the back, and the fringes vanish at exactly 1.5 metres. Closer in, the harmonic changes, the fringes dissolve into a texture twice the net's pitch and re-form, and they vanish again at 17 centimetres.

Where a loop's bending actually is. Half a stitch — from the crown of a needle loop's head to the bottom of the next sinker loop — with the curvature at every station drawn as a spine standing off the curve, in units of one over the yarn diameter. The centre line is drawn as a line rather than at the yarn's own width here, because the subject of this figure is the curvature and a yarn drawn at true width covers its own spines. The peak is 1.14, at 28% of the way along, and the curvature varies smoothly from one end to the other with no jump anywhere. That smoothness is the whole point: Peirce's construction joins an arc of constant curvature to a straight line of none, so its bending moment steps at the join, and a step in moment is a point force no thread can carry. An elastica has no steps in it, which is why its forces exist at all and his do not.

Mechanics and drape

What a loop model still cannot say

A planar rod with a natural curvature and point contacts gets a knit's forces, its modulus and its extension. It does not get torsion, it does not get the third dimension the interlacing actually needs, and it does not stop adjacent courses passing through one another — which is why its extension ceiling sits three times beyond any jersey.

A knit is warm because of where its yarn is not

Warmth is a thickness of still air, and until a knitted fabric had a thickness there was nothing to compute. It has one now, and the answer is that a rib's warmth is a machine setting: opening the beds from two diameters to five nearly trebles the fabric's resistance without changing a gram of yarn.

Two numbers that stay at zero however large the fabric gets. The linking number of two adjacent courses, and the writhe of one course per wale, for tubes of 6 to 20 wales. Both sit at zero and stay there: the largest departure anywhere on the plot is 1.5e+1, which is the sampling. A quantity that should grow with the fabric and does not is the cleanest kind of null result: the model has the geometry of knitting and none of its topology, and making the fabric bigger does not make the topology appear.

Knits and other structures

Five symptoms of one omission

Five things this collection recorded as unexplained, found in four different ladders over three years of work. They are the same defect seen from five directions, and the defect is one sentence written for good reasons with no visible cost at the time.

A slack twisted yarn takes a coil of one size. A 20 tex cotton at 800 turns a metre. Its own torque is 1.177 µN·mm at the free bound, and a rod under tension T is stable while its torque stays under 2·√(B·T). Below that tension the straight state stops being a minimum and the thread wraps on itself at a radius of 1.59 mm. That radius is 2B/M, which is 2/(r·ω) once the torque is written out: it depends on the twist and on the ratio of the two stiffnesses, and on neither stiffness itself.

Setting and geometry

Why a slack yarn snarls

Let go of a twisted thread and it wraps on itself. That is not the yarn being badly behaved: it is a buckling, it has a criterion, and the criterion turns a nuisance into an instrument for measuring the one constant this collection cannot pin down.

How much of a yarn has to hang before it stops snarling. The tension a 20 tex cotton needs to stay straight, at each twist level, expressed as the length of the yarn's own weight that would supply it. The two curves are the two ends of the stiffness bracket: the fibres free to slide, and the section coherent. At 800 turns a metre they are 1.9 metres and 616. Anybody who has let go of a twisted yarn knows which of those is right, which makes this one of very few places where the bracket can be closed from the everyday end. Both rise as the square of the twist, because the torque does and the criterion is quadratic in it.

After the loom

A yarn that has been set has no torque

Every torque on the torsion ladder assumes a yarn is elastic in twist for ever. It is not: a steamed yarn's residual torque is gone, its twist is unchanged, and the process that removes one without the other is the trade's whole answer to liveliness.

A warp rib's cord, at doublings of 2 and 4. One warp end drawn in section along the cloth, over the pick groups of a warp rib, at doublings of 2 and 4 and at one scale. The cord's crests are the pick groups and its two dimensions come from different places. The height is the weft's own crimp amplitude and Peirce's closure condition caps it at the two yarn diameters together — 500 µm here — so it runs 304 µm at a doubling of 2 and 361 at 4, which is 61 and 72 per cent of the ceiling. The pitch is the doubling times the pick spacing and has no ceiling at all. So a larger doubling gives a taller cord and a wider one, and wider faster: the aspect falls from 0.40 to 0.29. What the section cannot show is what a finish does, which flattens the cord without changing either the pitch or the ceiling.

Weaves

A cord's height has a ceiling and its width has none

A warp rib's cord is a wave, and its two dimensions come from two different places. The height is the weft's own crimp amplitude, and Peirce's closure condition caps it at the two yarn diameters together — 500 µm for a quarter-millimetre yarn, of which a 2/2 rib reaches 304 and a 6/6 rib 391. The pitch is the doubling times the pick spacing and has no cap at all. So a bolder rib is taller and wider, and wider faster: the aspect falls from 0.41 to 0.22.

What cloth is

A profile draft is a notation whose alphabet is weaves

The rung below measured four notations for a single weave and left open the notations for something larger. A profile draft is the first of them: a grid of blocks, each carrying a figure weave or a ground weave. Its image is enumerable and it is tiny — every pair of two-by-two weaves against every assignment of two-by-two blocks reaches 306 of the 22,874 interlacing four-by-four drafts, which is 1.34 per cent. And the 306 are the ones anybody weaves.

A bouclé cloth jammed at its loops and at its count, overfeed 0.8. Sections across 36 mm of plain-woven cloth in a bouclé of 89 tex — a 20 tex core, a 30 tex effect overfed 80% with loops every 3 mm, and a 15 tex binder — drawn to scale. The loops stand 2.10 mm off the core, so the yarn's outline is 4.43 mm across while the diameter its count implies is 0.352 mm, 12.6 times smaller. Jammed at the outline the cloth takes 1.13 ends a centimetre and weighs 20 g/m²; jammed at the count, 14.2 and 252 g/m². What the drawing cannot show is where between the two a real cloth jams, which is how far its loops interleave with their neighbours'.

Compound and figured cloths

A bouclé is set by its loops and weighed by its count

A bouclé yarn has two diameters: the one its count implies, a third of a millimetre, and the one its loops occupy, over four millimetres. A cloth jams where its yarns touch, and a bouclé's yarns can touch at either — so its jamming sett is a bracket twelve and a half times wide, from 1.1 to 14 ends a centimetre. The weight follows the count wherever in that bracket the cloth is set, which puts the open end at a twelfth of the close end's weight with four per cent of its area covered by yarn.

Setting and geometry

How much yarn has to hang

The tension a thread needs to stay straight, converted into the only unit anybody has an intuition for: the length of the yarn's own weight. One bound says two metres and the other says six hundred, and everybody who has handled thread already knows which.

Two courses at the yarn's own width, and the place they overlap. The solved course of a 20 tex cotton jersey at a 3.5 mm loop, drawn in plan with the course below it, each strand at the yarn's own diameter of 0.167 mm. Where the two overlap, the fabric is occupying the same space twice. The interlacing is where the model placed them one diameter apart. The closest they come is 0.130 mm — 0.780 of a diameter — and it is not at the interlacing. A round yarn cannot occupy this arrangement; a yarn flattened to 78% of its round diameter can, and flattened is what a yarn in a fabric measurably is.

Knits and other structures

The fabric that does not fit

Every solve in this collection minimises an energy over a centre line, and a centre line has no thickness. Nobody had checked whether the fabric that comes out of it can be built. It cannot: two adjacent courses of the relaxed jersey approach to four fifths of a yarn diameter, so the yarn passes through itself, at rest, everywhere.

After the loom

The twist a fabric gives back

A T-shirt that hung straight in the shop has its side seam round the front after three washes. The torque was there all along, the setting had hidden it, and the water gave it back — which makes spirality a finishing failure rather than a knitting one.

What a knitted band presses a limb with. Pressure against extension for a 20 tex cotton band at a 3.5 mm loop, wrapped round a 30 mm radius — a wrist. The pressure is the fabric's own tension per unit width divided by that radius, and the tension is the loop's bending with the relaxed shape as the yarn's natural one, so nothing here is fitted. Over the range a cuff is actually used across it runs from a twentieth of a millimetre of mercury to 0.85. The shaded bands are what a compression garment is specified at, and the curve does not reach the lowest of them until 277 per cent — which is not a cuff, it is a fabric stretched almost to the point where its yarn runs straight.

Cloth doing a job

What a cuff presses with

A rib cuff holds a sleeve on a wrist, so it must be pressing. Divide its own recovery force by the radius it is wrapped round and the pressure comes out at eight tenths of a millimetre of mercury — a fiftieth of the lightest medical compression, and two orders below what the same fabric resists being squashed with.

The crossed shed, with the back standard 4 shafts behind the doup. A leno's crossing end in section from the fell to the back rest of an ordinary broad loom, in the crossed shed. The doup 300 mm from the fell lifts it 50.0 mm; its back standard 64 mm further back leaves it 60.7 mm down, beneath its partner. Between the two eyes the end climbs 110.7 mm in 64 mm, and the whole path is 70.2 mm longer than the straight line, 5.85% of the free warp, of which 63.8 mm is that one climb. The same end in the open shed, lifted at its back standard, is 7.2 mm longer, and an ordinary end on the doup's shaft 5.5 mm: the crossed shed is 12.7 times the ordinary shed. Vertical scale exaggerated 3 times. What the drawing cannot show is friction at the eyes, which would keep the extra length in the short span between them.

Compound and figured cloths

An easer gives back the kink the crossed shed puts in

A leno loom gives its crossing ends slack at every crossed shed, and the obvious reason — the doup carrying its end sideways — is worth a hundredth of an ordinary shed. The length is one heddle further back. In the crossed shed the doup lifts the end on the far side of its partner while the end's own back heddle, a few shafts behind, holds it down, and between those two eyes the end climbs eleven centimetres in six and a half. On a loom that stretches an ordinary end 0.46 per cent, that is 5.85 per cent — nearly thirteen times as much — and no position of the back heddle takes it below four.

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.

How hard a fabric is to bend, per unit width. Bending rigidity in micronewton metres per unit width, computed the same way for eight woven cloths and for a jersey in each of its two directions: the yarn's own rigidity, times the length of yarn per unit area, times the fourth power of the cosine of the angle each element makes with the bending direction. The knit lands inside the band of the woven cloths rather than below it, which is worth knowing because a knit is usually called the softer fabric. It is not softer to bend; it is softer to stretch, by three decades. What it does have is direction: 2.17 to one between its two axes, where a balanced plain weave is near one, and the soft axis is the one a jersey rolls about at its top and bottom edges.

Mechanics and drape

A knit bends more easily along its courses

A jersey is not a soft fabric to bend. Computed the same way as this collection's woven cloths it lands inside their band, at the limp end — and the useful number is not the magnitude but the direction: two point two to one between its two axes, with the soft one being the axis it rolls about.

Setting and geometry

A snarl comes in one size

The radius a twisted thread coils to is twice its bending rigidity over its torque. Write the torque out and the bending rigidity cancels completely, leaving a number that depends on the twist and on the ratio of two stiffnesses — and on nothing else about the yarn at all.

The section the fabric asks for, beside the one the model drew. A 20 tex cotton yarn in cross-section, at 900 times life size. The circle is what every solve here has assumed: a diameter of 0.167 mm from the count and the packing factor. The ellipse has the same area and a minor axis of 78% of it, which is the closest the fabric's own adjacent courses come to one another — 0.130 mm. Nothing about that number was fitted to a fabric. It falls out of a solve that knew nothing about flattening, and it lands inside the range the trade reports for yarn in cloth, which has been carried here as a free parameter ever since it first put a number on a sett.

Knits and other structures

The flattening nobody fitted

A yarn in cloth is not round, everybody knows it, and nothing has ever predicted how flat. This collection's own knitted geometry turns out to require a flattening of four fifths — from a solve that knew nothing about flattening, made no allowance for it, and would have been written the same way if the idea had never occurred to anybody.

The flattening a knitted fabric asks for, against its own tightness. Every point is a solved fabric — 18 of them, over five loop lengths, three relaxation states and three counts — and the vertical axis is the closest its adjacent courses come, in diameters. The values run from 0.707 to 0.839 and they fall on one curve against the tightness factor, which is the model's only dimensionless group. That is what makes this a structural requirement rather than an arithmetical accident of one example: a tighter fabric demands a flatter yarn, by an amount its own tightness decides, and nothing about the fibre or the count enters except through that group.

After the loom

A wet knit's yarn is flatter

A knitted fabric's own geometry demands a flattened yarn, and how flat depends on how much room the fabric leaves. A wet cotton yarn is a tenth thicker than a dry one at the same length, so a wet fabric leaves less room — and asks its yarn to be flatter by an amount the geometry gives.

How hard each grouping holds its own threads. The grip a cloth has on one of its own threads inside a 10 mm seam allowance, for six members of the doubled family at 24 threads per centimetre and a friction coefficient of 0.3. Grip accumulates multiplicatively at every crossing — the capstan equation on Peirce's own weave angle — so it is exponential in the crossings, and the crossings are the interlacing rate times the intersections in the allowance. The family's interlacing rate has a closed form, (a + b)/2ab, which is half the sum of the two reciprocals — so the two groupings enter symmetrically and each one saturates. The dashed line is the thread's own strength: a cloth whose grip falls short of it lets the thread slide out rather than break, which is seam slippage. A 2/2 hopsack is below it at this allowance and a 1/4 warp rib is above, on cloths whose firmness differs by an eighth. What the bars cannot show is the friction coefficient, which is measured and is not a constant of cloth; the ordering holds at every value anybody reports and the sizes do not.

Weaves

What nothing separates comes out together

The doubled family's interlacing rate has a closed form — half the sum of the two groupings' reciprocals — so a seam's grip on its own threads is the exponential of a harmonic mean, and it saturates in each grouping separately. At a ten-millimetre allowance a 2/2 hopsack holds a thread at seventy-four times the applied tension and a 1/4 warp rib at two hundred and eighteen, on cloths whose firmness differs by an eighth.

Two lots of one cloth matched at the top over a 250 cm drop. Two lengths of the same patterned cloth, woven with the warp at tensions of 0.6 and 0.7, which relax by 6.80% and 7.94% along the length, hung side by side over a 250 cm drop and matched at the top, with a mark at every 32 cm repeat. The whole drop is drawn to scale on the left and the last mark at six times the scale on the right: lot B's repeat is 31.61 cm, and 7 repeats down its mark is 27.3 mm from lot A's. A 3 mm match holds for the first 25 cm. What the drawing cannot show is how large an offset an eye accepts across a seam, which the tolerance stands in for.

What cloth is

Two lots of one cloth drift apart down a drop

A pattern repeat is a count of picks, and its length in the finished cloth is whatever that count's loom length became after the cloth gave back its crimp. Two lots woven with the warp held a tenth harder give back 1.13 points more of their length — so matched at the top, two lengths from the two lots are thirty millimetres apart at a 250 cm hem, and visibly apart a quarter of a metre down. The size of the repeat does not enter, and no cutting allowance can take it out.

Bouclé loops on 3 mm binder spacing at overfeeds of 30%, 80%, 150%, 300%, 500%. Loops of an overfed effect thread drawn to one scale, each between two binder points on a straight core, as the curve of least bending energy with its ends along the core. Overfeed 30%: 1.30 times its base in thread, 1.10 mm tall, a bell, against a semicircle of 0.79 mm; Overfeed 80%: 1.80 times its base in thread, 1.95 mm tall, a bell, against a semicircle of 2.10 mm; Overfeed 150%: 2.50 times its base in thread, 2.92 mm tall, overhanging, against a semicircle of 3.94 mm; Overfeed 300%: 4.00 times its base in thread, 4.83 mm tall, overhanging, against a semicircle of 7.88 mm; Overfeed 500%: 6.00 times its base in thread, 7.25 mm tall, overhanging, against a semicircle of 13.14 mm. The dashed arcs are the semicircles, drawn where they fit. What the drawing cannot show is the binder's own path and thickness, which the loop's feet are taken to sit exactly on.

Compound and figured cloths

A bouclé loop is an elastica, not a semicircle

A bouclé's loop was taken to be a semicircle, and the semicircle cannot be right: it meets the core at a right angle, and at eighty per cent overfeed it is wider than the gap it stands in. Solved as what it is — a length of thread leaving the core along the core at two binder points — the loop is taller than the semicircle below an overfeed of two thirds and shorter above it, overhangs at 119 per cent and closes its neck at 559. Nothing of the fibre is in its shape, and the bouclé's jamming bracket at eighty per cent is 11.7 wide rather than 12.6.

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.

Mechanics and drape

What friction has to hold in a relaxed knit

A knit's bending energy slopes away from the fabric everybody measures, so something is holding it there. Along its courses friction holds comfortably. Along its wales the driving force is exactly the contact force, so the whole balance collapses to one condition — the friction coefficient must exceed a half — and no yarn in this collection reaches it.

Where a fold's two moments cancel, and where the trade folds. The two moments about a fold's own axis, for 2 singles of 20 tex cotton at 800 turns a metre. The falling curve is what the singles' own residual twist supplies, which the folding takes out of them; the rising one is what bending each single onto its helix costs. They cross at 161 turns a metre, a ratio of 0.201, and the closed form for that crossing is C/(B+C) — the ratio of the two stiffnesses and nothing else. The shaded band is where the trade actually folds, 0.6 to 0.75 of the singles twist. The balance point is nowhere near it, by a factor of three.

Setting and geometry

The folding rule is not a torque balance

Fold a two-fold yarn at about two thirds of its singles twist. This collection has carried that as a bracket copied from the trade and derived nowhere. It is now derivable, the derivation gives a fifth rather than two thirds, and reaching two thirds would need a fibre stiffer in torsion than in bending.

Knits and other structures

A flattening that follows the tightness factor

Eighteen solved fabrics — five loop lengths, three relaxation states, three counts — and the flattening each one's geometry demands falls on a single curve against one dimensionless group. Nothing about the fibre or the count survives except through that group, which is what turns an arithmetical result into a structural requirement.

$A knot, and the tension falling through it. A 20 tex cotton thread wrapped through 1 turn at a bend radius of 1 yarn diameters, with a coefficient of friction of 0.30. The wrap is drawn as a spiral because a thread taken round a pin comes back beside itself rather than onto itself. The marks round it are the fraction of the entry tension still there: 100%, 69%, 47%, 32%, 22%, 15%. The bend has already spent 3.6% of strain at the outside of the thread before any of that happens, against a breaking strain of 6.6%. So the largest total is at the entry, before the knot has done any gripping at all — which is where a knot in a real yarn is observed to break, and why a knot's efficiency is a property of its first bend rather than of the knot.$ Cloth doing a job

A knot is nothing but contact

A knot has no fastening in it. Nothing is glued, hooked, sewn or threaded through a hole: a thread is bent round itself until the friction where it presses on itself is more than the load. That makes a knot the purest contact problem in the subject, and the place to look first for what contact does.

Two courses at the yarn's own width, and the place they overlap. The solved course of a 24.2 tex cotton jersey at a 3.5 mm loop, drawn in plan with the course below it, each strand at the yarn's own diameter of 0.184 mm. Where the two overlap, the fabric is occupying the same space twice. The interlacing is where the model placed them one diameter apart. The closest they come is 0.140 mm — 0.761 of a diameter — and it is not at the interlacing. A round yarn cannot occupy this arrangement; a yarn flattened to 76% of its round diameter can, and flattened is what a yarn in a fabric measurably is.

After the loom

What wetting does to the bending limit

A rod cannot be bent to a radius below its own. A relaxed knitted loop sits at twice that limit, and a wet yarn is a tenth thicker in the same loop — so wetting moves a fabric a tenth of the way towards a bend it cannot physically take.

3 widths of cloth at 2% skew and 0% bow, hung level. 3 widths of a 140 cm patterned cloth hung side by side and joined at their selvedges, with three of its pattern rows drawn across each. The cloth's weft is skewed by 2% of the width and bowed by 0%. Hung level, every width starts its rows at the same height, so each seam shows the skew's 28 mm step. The rows' displacement is drawn 8 times its true size against the width. What the drawing cannot show is the ceiling, pole and hem a real hanging is seen against, which is what a tilt is read by.

What cloth is

A skew steps at every seam and a bow at none

A finished cloth's weft rows are seldom square to its selvedges, and on a patterned cloth the weft rows are the pattern rows. A skew — rows straight but slanting — puts its whole rise across every seam where two widths meet: two per cent on a 140 cm width is a 28 mm step, and matching the steps out tips the whole hanging instead, 112 mm across four widths. A bow — rows curving between level selvedges — matches perfectly at every seam and scallops each width in between. A three-millimetre match needs a skew under a quarter of a per cent, and down the seam a lot difference overtakes it.

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.

A bouclé loop at 80 per cent overfeed, pressed to four heights. One loop of a bouclé at 80 per cent overfeed on 3 millimetre binder spacing, drawn to scale at 100, 80, 50, 20 per cent of its free height, with the force it pushes back with beneath each. The pressed loop is the same elastica the free one is, with one condition added: at its apex the tangent is along the core again, so a pressed loop is two half-loops each with its rise prescribed. At 100 per cent it stands 1.95 millimetres and pushes with -0.00 millinewtons; At 80 per cent it stands 1.56 millimetres and pushes with 12.19 millinewtons; At 50 per cent it stands 0.97 millimetres and pushes with 10.02 millinewtons; At 20 per cent it stands 0.39 millimetres and pushes with 4.90 millinewtons. What the drawing cannot show is the stiffness bracket: the force is the lower bound, with the fibres free to slide.

Compound and figured cloths

A loop has a maximum force in it

A bouclé loop pressed by its neighbour is the same elastica the free one is, with one condition added — at its apex the tangent lies along the core again, so a pressed loop is two half-loops with their rise prescribed and needs no contact solve at all. Solved, the eighty-per-cent loop pushes back with nothing at its free height, twelve millinewtons at four fifths of it, and two and a half at a tenth. A curve with a maximum in it is a softening spring, and the promise this account made — a cloth's position read from its beat-up — cannot be kept, because the whole bracket sits at one pressure.

A knitted loop is a plane curve in a plane that is not the fabric's. A relaxed 20 tex jersey at a 3.5 mm loop, seen from the end of a course. Each course is a straight line because it is one: a half period leaves and arrives along the course direction, so the plane it bends in contains that direction, and a plane curve seen along a line in its own plane projects to a segment. The upper panel expands the thickness 3× so the arrangement can be seen and no angle may be measured off it; the lower panel is the same fabric at one scale, where the tilt is what it really is. The angle is 11.75°: a climb of one yarn diameter, 0.167 mm, against a drop of a course spacing and a diameter, 0.803 mm. Successive courses overlap by exactly one diameter, which is the interlacing, and the fabric is therefore 0.334 mm thick — two yarn diameters, with nothing fitted.

Mechanics and drape

A loop is a plane curve in another plane

A knitted loop was solved as a flat curve because two curves in one plane cannot pass through one another and a loop must. Letting it out of the plane turns out to change nothing about its shape: the loop is still planar, and its plane is the fabric's turned through twelve degrees.

Three rules for how hard to fold a yarn, and which one the trade uses. For 2, 3, 4 folds of 20 tex cotton at 800 turns a metre: the ratio that makes the fold's surface helix angle equal its singles', the ratio that sets the fold's net moment to zero, and the ratio the trade actually folds at. The surface rule is 1/√n exactly, because a fold of n singles is √n times the diameter. The torque balance is C/(B+C), which for this fibre is 0.201 and is the same at every count, every twist and every number of folds. The trade's brackets contain the surface rule in all three rows and the torque balance in none of them.

Setting and geometry

The folding rule is a surface angle

Fold at two thirds for two singles, six tenths for three, a half for four. Those are one over the square root of the fold count, they are what makes a fold's surface twist angle equal its singles', and all three of the trade's brackets contain the number exactly.

Where a knot breaks

It breaks at the entry, before the knot has done any gripping at all. Two quantities run along a knot's path and only one of them rises; the other falls from the first millimetre; and their sum is largest where the thread arrives.

Knits and other structures

A loop bends at twice its own radius

A rod of radius r cannot be bent to a centre-line radius below r without occupying its own space. A knitted loop's tightest bend is at 2.04 yarn radii — twice the hard limit, and falling as the fabric tightens. That is a ceiling on how tight a knit can be, from contact alone.

The section the fabric asks for, beside the one the model drew. A 24.2 tex cotton yarn in cross-section, at 900 times life size. The circle is what every solve here has assumed: a diameter of 0.184 mm from the count and the packing factor. The ellipse has the same area and a minor axis of 76% of it, which is the closest the fabric's own adjacent courses come to one another — 0.140 mm. Nothing about that number was fitted to a fabric. It falls out of a solve that knew nothing about flattening, and it lands inside the range the trade reports for yarn in cloth, which has been carried here as a free parameter ever since it first put a number on a sett.

After the loom

The diameter that does need a state

A fabric dimension quoted without its relaxation state is not a measurement. The rule was applied to the two plan dimensions and then to the thickness, and it was never applied to the one dimension that is not the fabric's at all — the yarn's.

Weaves

A cloth slips at its least-interlaced thread

A weave's firmness is quoted as one number, the interlacings per crossing averaged over the whole repeat. A cloth does not fail on average. A thread pulled through a seam or out of a cut edge is held by its own crossings, the grip is exponential in them, and the thread with fewest goes first. In every four-by-four draft but plain weave some thread interlaces twice a repeat — the fewest possible — whatever the average says, and a satin stripe on a plain ground averages 0.87 while its satin ends grip at a seventh of the average thread.

The edge of a warp line in a 2/2 twill, at 3 and 4 threads. A light line in a dark 2/2 twill, drawn at 3 and 4 threads wide over 3 repeats with both of its boundaries traced crossing by crossing. The line has no gap at either width, and neither boundary is straight: at the crossings where the outermost thread of the band is under the ground, the edge retreats to the next thread in. At 3 it swings 2 threads with a period of 4; At 4 it swings 2 threads with a period of 4. What the drawing cannot show is distance, at which a swing of one thread width is below what an eye separates and a swing of three may not be.

Pattern and colour

An unbroken line is not a clean one

A line of colour has two boundaries and neither is straight, in any weave there is. The thread at the edge must go under somewhere, and where it does the edge retreats to its neighbour — so the boundary steps, and by exactly one thread less than the narrowest unbroken line the weave draws. Over 22,874 drafts there are three widths and three swings and no draft anywhere else, and widening the line past its narrowest unbroken width leaves the edge precisely where it was.

A 100-gram bouclé in section, with the depth to its own load path. A bouclé cloth of 100 grams a square metre in section: the core and binder along the bottom, carrying everything, with the effect thread's loops standing 0.31 millimetres above them. The cloth's surface is the loops and nothing else — its loop envelope is 12.6 times its count diameter — so a rubbing surface meets effect thread first and reaches the core only after that depth. 60.7 per cent of the yarn's mass is effect thread on no load path and 39.3 per cent is core and binder. What the section cannot show is the third dimension: the loops of neighbouring yarns lie between these and are pressed by them.

Compound and figured cloths

A bouclé wears from the loops down

A cloth loses its strength before its mass, because a woven cloth's crowns are the very threads that carry the tension. A bouclé inverts it exactly. Its surface is its loops, its loops hang off a core that carries everything, and 61 per cent of its yarn is on no load path at all — so a rub takes three tenths of a millimetre of thread that does nothing before it reaches anything that does, and the cloth is ruined to look at while it is still as strong as it was woven.

The four-by-four catalogue's crown line, counted three ways. Every one of the 22,874 interlacing four-by-four drafts, binned by how much horizontal crown line it carries, under three counts: both systems summed, which is what the published census reports; the warp alone; and the weft alone. A bearing curve sees one system, because a plate meets whichever crown stands higher and meets nothing else until it has sunk past the step between them. Under the summed count 2 drafts carry none; under the warp alone 494 do, and under the weft alone 494. What the histogram cannot show is which drafts moved, which is most of them.

What cloth is

The census counted two systems and a surface has one

Two drafts of twenty-two thousand touch at points, and the two are the plain weave. That is a count of the crown line both systems carry, and a bearing curve sees one: a plate meets whichever crown stands higher and meets nothing else until it has sunk past the step. Counted the way a surface is read, 494 drafts touch at points rather than two — and which 494 depends on a crimp division already called a convention rather than a measurement.

Mechanics and drape

What leaving the plane costs

Every number the flat loop model produced, beside the same number with the climb in it. Four of the five fall, none moves by four per cent, and the estimate that priced the third dimension beforehand had the sign the wrong way round for a reason worth naming.

The fold the trade actually makes. 2 singles of 20 tex cotton at 800 turns a metre, folded at 566 — a ratio of 0.707. That is 1/√2, the ratio at which the fold's surface helix angle equals its singles' — 22.8° — because a fold of 2 singles is √2 times the diameter. The trade's own bracket for 2 folds is 0.6 to 0.75, and it contains this number.

Setting and geometry

What a balanced yarn is balanced about

A specification that says a yarn is balanced does not say which of two conditions it means, and the two have different numbers, different dependences and different consequences. One of them is what folding achieves and the other is what folding is said to achieve.

Cloth doing a job

A knot halves a yarn and says why

The rule is quoted for every rope and every knot and derived nowhere. It comes out at forty-six per cent for a cotton — but only if the yarn's fibres bend individually. A yarn bending as a solid section has already spent five times its breaking strain before any load arrives, so it could not be knotted at all.

The extension ceiling, with the yarn given a thickness. As a jersey is pulled along its courses the wale spacing grows and the course spacing has to fall, because the yarn between two interlacings is a fixed length. The upper curve is how small the course spacing may be before the yarn runs out; the lower is how small it may be before two adjacent courses occupy the same space. The geometric ceiling is 322% and the contact one 299% — 7% lower. That is the result and it is a negative one: a measured jersey extends by about a hundred per cent, so contact between courses is not what puts the computed ceiling three times beyond a real one. The candidate this ladder was written to test is ruled out.

Knits and other structures

Contact is not why a jersey stops

The model says a jersey can be pulled to three hundred and twenty per cent along its courses. Real ones stop at about a hundred. The recorded diagnosis was that nothing stops adjacent courses passing through one another — and giving the yarn a thickness closes seven per cent of a gap of two thirds.

A cotton yarn at a fold, at both ends of its bending bracket. The same 20 tex cotton yarn bent to a radius of 0.084 mm under the two assumptions this site's bending bracket is drawn between. If the fibres slide freely past one another each bends about its own middle and the surface strain is 7.14%; if they are locked the bundle bends as a rod and the outermost fibre is strained 100%. The ratio is 14.0, which is the ratio of the two diameters and therefore the square root of the fibre count over the packing — so the bracket of 327 this site carries in a stiffness is a bracket of 14.0 in a strain. What the drawing cannot show is which of the two a real yarn does, and the answer is settled by a refusal: at the tightest fold a cloth can make, the locked bound asks for a strain of one, and a creased cloth does not fall apart.

After the loom

A wrinkle cannot settle what a crease settles

The first rung of this ladder found that a pressed crease decides a question this collection had been unable to settle for two fields — whether a bent yarn's fibres slide or bend as one body — and it decides it by refusing: the coherent branch would strain the fibres by eighty-four per cent and cotton breaks at six. A wrinkle is the same fold at twenty times the radius, and there both branches are survivable. So the bracket that a crease collapses stays fourteen times wide at every radius anybody actually creases a cloth at accidentally.

The selvedge turns of a 2/2 twill, 4 ends wide, from the left. A strip of 2/2 twill 4 ends wide over 8 picks, the first thrown from the left, with the weft's turn between every pair of picks drawn at the edge it reaches. 0 of the 8 turns are caught, where the edge end is on the other face on the second pick, and 8 slip. Across all its edge placements the weave catches every turn at 8 of 16. What the drawing cannot show is how far a slipped loop travels, which the beat-up and the weft tension decide.

Weaves

A selvedge holds only where its edge end changes face

A shuttle weft goes out on one pick and back on the next, and between them it turns round the end at the edge. The turn is caught only if that end is on the other face on the second pick; otherwise the loop has nothing to wrap and slides off. Plain weave catches every turn at every width. A 2/2 twill catches them at half its widths, and only if the first pick is thrown from the right side. A 3/1 twill, a hopsack and every satin catch them nowhere, and of the 22,874 four-by-four drafts, 9,636 cannot hold a selvedge at any width at all.

A comber board for 60 ends a centimetre, in side elevation. A jacquard's comber board seen from the side, with the fell of the cloth at the left and the back rest at the right. The board carries one hole per end; at 60 ends a centimetre the ends are 0.167 millimetres apart and a cord with a mail on it needs 0.9, so the holes are ruled in 6 rows staggered fore and aft, 6 millimetres apart — a harness 30 millimetres deep. Each row's ends are strained by its own distance from the fell: 0.460 per cent at the front and 0.524 at the back, a spread of 0.0636. What the elevation cannot show is the sideways fan of the cords above the board, which is a separate and much larger geometry.

Compound and figured cloths

A jacquard's harness has a depth after all

A jacquard was said to escape the shaft loom's depth entirely, because every mail hangs at the same distance from the fell. Every mail does, if the comber board has one row of holes — and it cannot. At sixty ends a centimetre the ends are a sixth of a millimetre apart and a cord with a mail on it wants most of one, so the holes are ruled in six rows thirty millimetres deep. The escape is real and it is a factor of eight rather than a release, and it closes as the cloth is set finer.

The bearing crowns of 2/2 twill and 2/2 hopsack, over 3 repeats. The cells at which the warp is on the face, drawn over 3 repeats of each draft — which is the surface a plate meets, since the other system is a step below it. 2/2 twill has 1 component in its repeat and a path that runs the whole way across the cloth, in both directions; 2/2 hopsack has 2 components in its repeat and no path across the cloth at all. Both carry the same length of crown line by the bearing count, and one is a ridge while the other is a field of islands. What the drawing cannot show is the depth of the gaps between them, which is the step to the second system and is a few micrometres.

What cloth is

Four drafts in five have no path along their own crowns

A 2/2 twill and a 2/2 hopsack carry exactly the same length of bearing crown line, which the surface census noted and could not explain. One of them is a ridge running diagonally across the cloth without a break; the other is a field of square islands with no path between them. Counted over the whole catalogue, 4,016 of 22,874 drafts have a crown path that reaches the far side, 1,616 have one in both directions, and 130 have crowns with no neighbour at all.

The force at an interlacing, which no longer lies in the fabric. A crossing of a relaxed jersey in section on the left, with the thickness expanded 3×, and on the right the contact force drawn at the angle the solve gives it — which is a true angle, unlike anything in the section beside it. The head of one course and the feet of the next lie one yarn diameter apart through the fabric, 0.167 mm, so the interlacing is not a point in a plane and the force at it is not in one either. It comes out at 38.30 mN a stitch, turned 11.75° out of the fabric: 37.50 mN along the wales, which is what friction has to hold, and 7.81 mN through the thickness, which is what holds the two faces apart. Divided by the area a stitch occupies the second is 15.1 kPa, or 113 mmHg — a pressure, and the quantity a compression measurement reports.

Mechanics and drape

The force that holds a knit open

Resolving a knitted loop's contact force out of the fabric's plane leaves a fifth of it pointing through the thickness. That fifth is 7.8 millinewtons a stitch, fifteen kilopascals over the area a stitch occupies, and it is the whole reason a jersey has a thickness rather than a plan.

Setting and geometry

A cabled yarn is a fold of folds

The rule that sets a fold's twist is one over the square root of the number of components. Apply it twice and a cabled yarn's three twist levels are fixed by two integers — which is a prediction with no free constants, about a class of yarn the trade quotes no rule for at all.

Cloth doing a job

Which yarns knot well

A knot's efficiency depends on three things and only one of them is the knot. The other two are the fibre's fineness and its breaking strain, and across this collection's own table those give efficiencies from six per cent to eighty-three at exactly the same bend.

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