Assam ASSEB HSLC Weaving & Textile Design cheat sheet

Weaving is the interlacing of two sets of yarns at right angles: the lengthwise warp and the crosswise weft (filling).

Warp yarns run parallel to the selvedge and are under tension; weft yarns are inserted across the warp by the shuttle or other inserter.

Selvedge: the self-finished lengthwise edge formed where the weft turns back; a firm selvedge reduces fraying and aids subsequent processing.

Ends per inch (EPI) counts warp threads per inch of width; picks per inch (PPI) counts weft insertions per inch of length.

Grain: warp direction is the lengthwise grain; weft direction is the crosswise grain; the bias lies at 45 degrees to both and stretches most.

Fabric cover factor compares yarn diameter spacing to yarn diameter; higher cover means less open space and lower air permeability.

Loom state terms: warp beam (back), cloth beam/roller (front), heddles control warp position, reed spaces and beats the weft.

Shed is the opening between raised and lowered warp yarns through which the weft passes; its size must suit the shuttle used.

Take-up is warp consumed by interlacing; let-off is the release of warp from the beam to keep tension steady as cloth winds on.

Natural fibres divide into vegetable (cotton, jute, linen, ramie), animal (wool, silk, eri, muga, pat), and mineral (asbestos).

Regenerated fibres include viscose rayon and acetate; synthetic fibres include polyester, nylon, acrylic and polypropylene.

Burning test: cotton and linen smell of burning paper and leave soft grey ash; wool and silk smell of burnt hair and leave a crushable black bead.

Synthetic fibres melt and shrink away from flame, forming a hard bead; polyester and nylon beads are hard and difficult to crush.

Bleach test: cotton and other cellulosics dissolve or swell in concentrated sulphuric acid; wool and silk are damaged by sodium hypochlorite bleach.

Muga silk is golden and glossy, produced in Assam; eri silk is non-mulberry, white, and known as ahimsa silk as the moth emerges naturally.

Yarn count: indirect systems (cotton count, metric) give higher numbers for finer yarns; direct systems (tex, denier) give higher numbers for coarser yarns.

Twist direction: S-twist spirals like the middle of the letter S; Z-twist spirals the opposite way; twist factor links twist per inch to yarn count.

Staple fibres are short and spun, giving hairiness and pilling; filament fibres are continuous, giving smoothness, lustre and higher strength per count.

The Assamese throw-shuttle loom (bana) has the warp stretched between two posts and the weft thrown by hand across a wide shed; it suits wide cloth.

The fly-shuttle loom uses a picking stick and cord to propel the shuttle across, allowing faster weaving and wider fabric than hand picking.

The loin loom (pit or body-tension loom) anchors the warp to a waist belt; tension is controlled by the weaver's body, common in North-East India.

Heddle types: string heddles on traditional Assamese looms versus metal wire heddles with eyes on frame looms; the eye carries the warp end.

The reed is set in the sley or beater; its dents per inch determine warp spacing, and the beater pushes each pick to the fell of the cloth.

Shuttle types include the boat shuttle, the throw shuttle and the stick shuttle; the pirn or quill holds the weft inside the shuttle.

A jacquard mechanism uses punched cards to select warp ends, allowing large motifs; a dobby controls smaller groups of ends for geometric effects.

Accessories: warp beam and cloth beam, lease rods that keep warp order, temples that hold cloth width, and treadles that raise heddle frames.

Plain weave (tabby): each warp passes alternately over and under each weft; it is the firmest, most interlaced structure, e.g. cotton muslin and silk taffeta.

Twill weave: each end floats over at least two picks with a one-step shift per pick, producing diagonal lines; 2/2 twill is balanced, 3/1 shows warp face.

Satin weave: long floats with a regular shift of four or more ends, giving a smooth lustrous face and a dull back; float length reduces abrasion resistance.

Sateen is the weft-faced counterpart of satin, common in cotton; satin is usually warp-faced.

Basket (mat) weave uses two or more warp and weft yarns interlacing as a unit, giving a checkerboard appearance.

Rib weave uses two warp ends to one weft pick or similar imbalance, producing prominent lengthwise cords.

Derivative weaves: warp or weft rib, hopsack, and mock leno are built on plain weave; twill derivatives include herringbone, diamond and steep twill.

Fabric sett formulas: ends per inch equals reed count times ends per dent; cloth width in the reed equals finished width plus shrinkage allowance.

Float length is the number of yarns a thread passes over or under without interlacing; long floats give lustre but snag easily.

Winding transfers yarn from hank or cone to pirn, bobbin or cheese, removing slubs and thick places and building a package that unwinds smoothly.

Warping arranges the required number of ends in the correct order and length; section warping builds a warp in bands, beam warping in a sheet.

Warp length needed equals cloth length times (1 + take-up and waste fraction); total ends equals EPI times cloth width in the reed.

Sizing coats warp yarns with starch or size to raise abrasion resistance and strength and to reduce hairiness; size add-on is reported as a percentage of yarn weight.

Size pick-up percentage = (weight of size on yarn / weight of unsized yarn) x 100.

Sizing recipe variables: size concentration, squeeze roller pressure, drying temperature and yarn speed all affect add-on and elongation.

Drafting (drawing-in) passes each warp end through a heddle eye in a fixed order; the draft determines which ends rise for each shed.

Denting passes groups of ends between reed dents; ends per dent times reed dents per inch gives EPI in the reed.

Warping faults to check: crossed ends, missing ends, wrong count, and uneven tension; these show later as floats or warp streaks.

Motif is a single repeated design unit; pattern is the arrangement of motifs across the repeat; repeat size is measured in ends and picks.

Symmetry types: mirror (bilateral), rotational, and translation (simple repeat); point repeat and half-drop repeat are common textile layouts.

Colour theory: primary colours of light are red, green, blue; of pigment, red, yellow, blue; secondary colours are mixed from two primaries.

Value is lightness or darkness of a colour; saturation or chroma is its purity; hue is the colour family name.

Complementary colours sit opposite on the colour wheel and give strong contrast; analogous colours sit next to each other and give harmony.

Colour and weave effects: the same weave in two contrasting colours produces a third apparent tone at a distance, letting a simple weave create pattern.

Traditional Assamese motifs include the kingkhap (comb), miri, kaziranga, gos and japi shapes, drawn from local objects and nature.

Graph design: one square equals one interlacing point; warp ends read along one axis and picks along the other, so a motif is planned in ends and picks.

Mekhela chador is the traditional two-piece Assamese drape: the mekhela is worn below the waist and the chador above, often with a blouse.

Riha is a narrow three-piece cloth traditionally worn across the upper body; it is a marker of Assamese identity.

Pat silk is a mulberry silk of Assam, white or off-white, used for mekhela chador and ceremonial cloth; muga silk is golden and naturally lustrous.

Eri silk, from Samia ricini, is a non-violent silk spun from open cocoons; it is warm, matte and often used for shawls and winter wear.

Gamosa is a white cloth with red border and motifs, used as a towel and mark of respect; bihuwan is a related ceremonial cloth.

Bodos weave dokhona (body wrap) and jwmgra (scarf); the Mishing weave gero and ege; the Rabha and Dimasa have distinct striped wraps.

Sualkuchi in Kamrup district is a major silk weaving centre; the Assam silk industry is supported by the Handloom and Textiles Department and state boards.

Common decorative techniques in the region: extra-weft (buta) work, supplementary warp stripes, and embroidery-like motifs worked in during weaving.

Loom checks before weaving: warp tension evenness, heddle and reed condition, shuttle smoothness, and freedom of sley and treadle movement.

Warp breaks are repaired by drawing the broken end through the correct heddle eye and reed dent, then tying to the cloth with a weaver's knot.

Rust on reeds and heddles stains cloth; metal parts are wiped dry and lightly oiled, and looms are kept in a dry, ventilated place.

Lint accumulates under the loom and around bearings; regular cleaning reduces fire risk and stops lint being woven into the cloth.

Wet processing of silk uses mild soap and cool water; strong alkali damages silk and wool, and silk should be dried in shade, not direct sun.

Store silk and wool garments folded with neem or cedar to deter insects; avoid plastic bags that trap moisture and encourage mildew.

Safety: tie back loose hair and clothing near moving parts, keep the shuttle path clear, and guard against flying shuttles on fly-shuttle looms.

Electrical looms need earthing, intact insulation and a switch within reach; stop the loom before cleaning or adjusting the warp or reed.

Total cost = direct material + direct labour + direct expenses + factory overhead + administration, selling and distribution overhead.

Prime cost = direct material + direct labour + direct expenses; factory cost adds works overhead; total cost adds office and selling overhead.

Selling price = total cost per unit / (1 - desired profit margin as a fraction); if margin is on cost, price = cost x (1 + margin).

Cost per metre = total cost of warp, weft, preparatory work and weaving for the lot / metres produced; include waste percentage in yarn quantity.

Break-even quantity = fixed cost / (selling price per unit - variable cost per unit).

Working capital covers yarn purchase, wages and stock until payment arrives; handloom units often need it before each production cycle.

Marketing channels: direct sale, exhibitions and fairs, cooperative societies, state emporia, and online platforms; each adds different margins.

Product differentiation for handloom: GI-tagged origin (such as muga silk), natural dyes, documented weaver identity, and consistent size and finish.

Records needed: yarn purchase and issue register, production register in metres, wage sheet, and sales invoice book; these support costing and credit.