jacquard_compressed

Textile design AWDC ADVANCED WEAVE DESIGN AND CAD Advance weave Documention

Advance weave Documention Textile design

Textile design ADVANCED WEAVE DESIGN AND CAD National Institute of Fashion Technology CHENNAI Mohammed safwan B-des Textile design Advance weave Documention

Textile design CONTENTS 04 INRTODUCTION 07 RESIZING MOTIFS INTO 400 , 200 AND 100 HOOKS 11 IDENTIFYING AND ANALYSING JACQUARD FABRIC 17 CLEANING AND WEAVE SIMULATION OF 3 ARTWORKS 25 CLEANING AND WEAVE SIMULATION OF RESEARCHED JACQUARD FABRIC 37 SIMULATING WEAVES ON OUR PHOTOGRAPH 41 CREATE A COORDINATED COLLECTION OF MO- TIFS INSPIRED FROM CALIGRAPHY 47 CLEANING ARTWORKS 50 CLEANING AND PREPARING AN EXISTING DESIGN FOR JACQUARD WEAVING 54 RECREATE A LAMPAS DESIGN WITH 4 COLOUR WEFT , 3 COLOUR WEFT AND 2 COLOUR WEFT 58 FINDING REPEAT CLEANING AND PREPARING AN EXISTING DESIGN FOR JACQUARD WEAVING Advance weave Documention

Textile design 65 PREPARING AN MULTI COLOR DESIGN FOR JACQUARD WEAVING 73 COORDINATED JACQUARD COLLECTION 75 BRAND STUDY 80 ANALYSIS 84 IDEATION 93 EXPLORATION 97 COORDIATES DEVEOPMENT 106 WEAVE SIMULATION 104 COLLECTION 110 MOCKUPS 115 COLOURWAYS Advance weave Documention

004 Textile design JACQUARD Origin Loom Advance weave The weave of jacquard finds its history in Joseph Marie Jacquard started out as a Documention brocade. In 4th century Byzantium, linens draw boy. Draw boys were always small and wools were being woven into complex children, as they had to be able to climb patterns to form beautiful fabrics. With on top of the loom in order to work. They the import of silk weaving around the 6th typically spent 6-8 hours a day working, century, brocade became as luxurious to lifting about 30 pounds of weaving reeds at the touch as it was to the eyes. Byzantine a time, at the direction of the weaver. This craftsmen began to weave silk into bro- was backbreaking work, often done in hor- cades, damasks, and tapestry-like fabrics. rible conditions, and many draw boys were By the middle ages, brocades were so crippled by the profession. Jacquard knew expensive that they were only available to there had to be a better way. He dedicated the upper nobility and rich. Brocade soon his life to finding one. became a symbol of wealth and power, and was favored by monarchs throughout the By the late 1700’s, machines were being medieval world. developed to handle all sorts of repetitive tasks. They were already being widely used Throughout all of these centuries, brocades to create simple patterned fabrics, but bro- were woven by hand on large looms called cades still required an artist’s touch, since draw looms. These looms required two peo- their designs were far more complex. In ple to operate, a weaver and a draw boy. order to create such a pattern, there would The weaver would call out to the draw boy, need to be a way to program the machine letting him know which threads to lift and to change its weave depending on which when, so that the correct colored threads line of the pattern was being created. would show through each line of weave. Jacquard created a simple but ingenious This was an incredibly labor intensive and solution, using stiff punch cards similar slow process. By the end of a full day, a to the reels still seen in player pianos and good team of weaver and draw boy could mechanical music boxes today. In 1801, expect to have completed roughly two his initial concept won him the attention of square inches of finely patterned silk cloth. Napoleon himself, who called Jacquard to By the 1700s, several French inventors were Paris and commissioned him to perfect his hard at work to create a better loom, but process in the national interest. one former draw boy had a vision that The final version, which debuted in 1804, would change the world forever. became the world’s first programmable

Textile design Advance weave Documention machine. It was later a strong influence for Charles Babbage, credited with creating the world’s first computer, as well as many other uses of punch cards in all sorts of modern applications. The punch cards he created are also thought to be the origin of binary code systems. Modern Jacquard More than a century and a half after Mon- sieur Jacquard first revolutionized the textile industry, in the 1980’s the original electronic jacquard looms were brought to the market. Today, Jacquard’s punch card programming has widely been replaced by modern com- puter programming, allowing for far greater complexity of design. Yet the fabrics they produce still bear Jacquard’s name, an hom- age to the amazing advances he dreamed up centuries ago. Modern jacquard fabrics can be made from a variety of different fibers, from natural cottons and silks, to man-made polyester and poly- ester cotton blends. What all of them have in common is the method of construction. Generally they are intricate in design, and tend to be stronger and thicker than many other types of weave. The hallmark of jac- quard fabrics is that the design is woven into the fabric itself, rather than stamped, printed, or embroidered on top of it. Because of this, some jacquards are even reversible, with the negative of their pattern found on the back.

Advance weave 006 Documention Textile design

Textile design ACTIVITY 01 RESIZING MOTIFS INTO 400 , 200 AND 100 HOOKS Advance weave Documention

008 Textile design 200 hoooks REPEAT SET IN 4000 HOOKS, NUMBER OF REPEATS - 10 Advance weave Documention

Textile design 200 hoooks REPEAT SET IN 4000 HOOKS, NUMBER OF REPEATS - 20 Advance weave Documention

010 Textile design 100 hoooks REPEAT SET IN 4000 HOOKS, NUMBER OF REPEATS - 40 Advance weave Documention

Textile design ACTIVITY 02 To study of Chelsea harbour design centre and identify Jacquard fabrics. Advance weave Documention

012 Textile design SAMPLE 01 SAMPLE 1 - Nobilis NAME : Fantasia CATEGORY : UPHOLSTERY COMPOSITION : Coton 36%, Viscose 64%, Pile 100% WIDTH : 137 cm WEIGHT : 800 GSM Vertical repeat : 30.5 cm Horizontal repeat : 33.5 cm SHRINKAGE : 0 % Advance weave Documention

Textile design SAMPLE 2 - Nobilis NAME : Litho fabric SAMPLE 02 CATEGORY : UPHOLSTERY COMPOSITION : Coton 38%, Viscose 32%, Polyes- ter 19%, Modal 11% WIDTH : 144 cm WEIGHT : 550 GSM Vertical repeat : 66 cm Horizontal repeat : 71 cm SHRINKAGE : 0 % Advance weave Documention

014 Textile design SAMPLE 03 SAMPLE 3 - Nobilis NAME : Fresco fabric CATEGORY : UPHOLSTERY COM- POSITION : Polyester 35%, Coton 28%, Lin 19%, Viscose 18% WIDTH : 140 cm WEIGHT : 550 GSM Vertical repeat : 31.5 cm Horizontal repeat : 17.5 cm SHRINKAGE : 0 % Advance weave Documention

Textile design SAMPLE 4 - Nobilis NAME : Fresco fabric SAMPLE 04 CATEGORY : UPHOLSTERY COM- POSITION : Polyester 35%, Coton 28%, Lin 19%, Viscose 18% WIDTH : 140 cm WEIGHT : 450 GSM Vertical repeat : 59 cm Horizontal repeat : 70 cm SHRINKAGE : 0 % Advance weave Documention

Advance weave 016 Documention Textile design

Textile design ACTIVITY 03 Cleaning and weave simulation of 3 art works Advance weave Documention

018 Textile design Weave simulation Weave used : pick and pick ORIGINAL ARTWORK Advance weave Documention

Textile design Advance weave Documention Fabric view

020 Textile design Weave simulation Weave used : pick and pick ORIGINAL ARTWORK Advance weave Documention

Textile design Advance weave Documention Fabric view

022 Textile design Weave simulation Weave used : pick and pick ORIGINAL ARTWORK Advance weave Documention

Textile design Advance weave Documention Fabric view

Advance weave 024 Documention Textile design

Textile design ACTIVITY 04 To recreate artworks inspired form existing jaquard fabrics. Reducing the colour and cleaning and set- ting in repeat Advance weave Documention

026 Textile design Artwork recreated Original artwork 22.8 x 27.5 inches Advance weave Documention

Textile design Unit repeat 3520 x 2640 pixels colour reduced - 8 Advance weave Documention

028 Textile design Original artwork 31.5 x 17.5 inches Artwork recreated Advance weave Documention

Textile design Unit repeat 1831 x 1320 pixels colour reduced - 3 Advance weave Documention

030 Textile design Original artwork 26 x 28 inches Artwork recreated Advance weave Documention

Textile design Unit repeat 3699 x 2640 pixels colour reduced - 3 Advance weave Documention

032 Textile design Original artwork 26 x 28 inches Advance weave Documention

Textile design Unit repeat 5401 x 2640 pixels colour reduced - 6 Advance weave Documention

034 Textile design Original artwork 18.07 x 14 inches Advance weave Documention

Textile design Unit repeat Cleaned 1364 x 1056 pixels colour reduced - 5 Advance weave Documention

Advance weave Documention Textile design

Textile design ACTIVITY 05 Simulating weaves on photograph Advance weave Documention

038 Textile design ORIGINAL PICTURE COLOUR REDUCED - 16 COLOURS Advance weave Documention

Textile design Weave added Weave point simulation Advance weave Documention

Advance weave 040 Documention Textile design

Textile design ACTIVITY 06 CREATE A COORDINATED COLLECTION OF MOTIFS INSPIRED FROM CALIGRAPHY Advance weave Documention

042 Textile design 20 hooks 200 hooks 400 hooks Advance weave Documention

Textile design Advance weave Documention

044 Textile design Advance weave 20 hooks 200 hooks 400 hooks Documention

Textile design Size : 46 x 120’’ Body :Plain Weave Border and body motifs : Satin Weave Pallu : Sateen Advance weave Documention

Advance weave 046 Documention Textile design

Textile design ACTIVITY 07 Cleaning artwork Advance weave Documention

050 Textile design 22.8 x 27.5 inches Colour reduced Cleaning artwork Advance weave Documention