I85PREP
⌘ K
UPMSP Weaving Technology study materials
UPMSP Weaving Technology study resources

UPMSP Weaving Technology practice questions

One question at a time. Build your UPMSP Weaving Technology understanding.

First 50 of 200 questions. Each one lists the choices, the correct answer, and an explanation. The checker at the top of this page saves progress in this browser when it is available.

Continue in the practice tool above to load more questions, 50 at a time.

Question 1Textile Fibres and Yarn Fundamentals

In a cotton yarn used for plain-weave sheeting, which fibre property most directly determines the yarn's tenacity at break?

  1. Fibre moisture regain measured at standard atmosphere
  2. Fibre tenacity and the degree of fibre orientation along the yarn axis Correct answer.
  3. Fibre fineness uniformity measured by micronaire
  4. Fibre colour grade and the presence of neps

Explanation

Yarn strength depends mainly on how strong the individual fibres are and how well they are aligned and twisted together so that applied load is shared. Colour grade and neps affect appearance, and regain or micronaire influence processing and feel but do not by themselves set breaking tenacity.

Question 2Textile Fibres and Yarn Fundamentals

A yarn is described as 30 tex. What does this value express?

  1. The mass in grams of 1000 metres of the yarn Correct answer.
  2. The number of 840-yard hanks per pound of yarn
  3. The mass in grams of 9000 metres of the yarn
  4. The number of 1000-metre lengths per kilogram of yarn

Explanation

Tex is a direct (mass-per-length) system in which the number equals the mass in grams of 1000 metres. Higher tex therefore means a coarser yarn, unlike indirect count systems where a higher number means a finer yarn.

Question 3Textile Fibres and Yarn Fundamentals

Which natural fibre is a bast fibre obtained from the stem of its plant and is commonly blended with cotton for furnishing fabrics?

  1. Jute Correct answer.
  2. Cotton
  3. Silk
  4. Wool

Explanation

Jute is a bast (stem) fibre, extracted from the phloem region of the plant, and its high strength and low cost make it common in furnishing and packaging fabrics. Cotton is a seed hair, wool is an animal hair, and silk is a continuous filament from a cocoon.

Question 4Textile Fibres and Yarn Fundamentals

During drafting between two roller pairs, the surface speed of the front pair is 20 m/min and of the back pair is 2 m/min. What is the draft?

  1. 18
  2. 22
  3. 40
  4. 10 Correct answer.

Explanation

Draft is the ratio of front roller surface speed to back roller surface speed, here 20 divided by 2, giving 10. Draft expresses how much the material is attenuated, so the delivered strand is one-tenth the linear density of the feed.

Question 5Textile Fibres and Yarn Fundamentals

Which spinning system forms yarn by twisting a continuous ribbon of fibres held together largely by wrapper fibres rather than by a true twisted core?

  1. Flyer spinning
  2. Ring spinning
  3. Worsted ring spinning
  4. Rotor spinning Correct answer.

Explanation

Rotor spinning collects fibres in a rotating rotor and builds a yarn in which surface wrapper fibres provide much of the cohesion, giving a different structure from ring yarn. Ring, worsted ring and flyer spinning all insert genuine twist along the yarn axis by rotating the package or traveller system.

Question 6Textile Fibres and Yarn Fundamentals

What is the main purpose of combing in the preparation of fine cotton yarns?

  1. Increasing the linear density of the sliver
  2. Adding twist to the roving before spinning
  3. Removing short fibres and aligning the remaining long fibres Correct answer.
  4. Blending two different fibre types uniformly

Explanation

Combing removes short fibres (noils) and straightens and parallelises the longer fibres, which raises yarn strength, evenness and lustre. It does not increase linear density, insert twist, or perform blending as its primary function.

Question 7Textile Fibres and Yarn Fundamentals

A yarn of 40 tex is required in a doubled form with two identical ends. What is the resulting linear density?

  1. 160 tex
  2. 80 tex Correct answer.
  3. 20 tex
  4. 40 tex

Explanation

Doubling two identical ends adds their linear densities, so 40 tex plus 40 tex gives 80 tex. Twist is inserted afterwards to hold the plies together, but the mass per unit length is the sum of the components.

Question 8Textile Fibres and Yarn Fundamentals

In a cotton yarn, what does the term 'twist multiplier' relate?

  1. Yarn tenacity to the fibre micronaire
  2. Draft to the number of doublings
  3. Twist per unit length to the square root of the yarn count Correct answer.
  4. Winding tension to package density

Explanation

The twist multiplier links twist density and yarn count so that yarns of different counts can be compared for their twist level. It is derived from the twist per unit length divided by the square root of the indirect count, and it governs handle and strength.

Question 9Textile Fibres and Yarn Fundamentals

A sliver of 4 ktex is drawn on a machine with a draft of 8. What is the delivered sliver linear density?

  1. 32 ktex
  2. 0.125 ktex
  3. 0.5 ktex Correct answer.
  4. 12 ktex

Explanation

Draft reduces linear density in proportion, so 4 ktex divided by 8 gives 0.5 ktex. This relationship holds when the process is steady and there is no loss or addition of fibre mass.

Question 10Textile Fibres and Yarn Fundamentals

Why does excessive draft in a single drafting zone increase yarn irregularity?

  1. The roller nip pressure rises and crushes the fibres
  2. Fibres are accelerated unevenly because the drafting force cannot control all fibres Correct answer.
  3. Fibre moisture rises and causes static electricity
  4. Twist flows backwards into the drafting zone and blocks it

Explanation

When the draft is too high for the fibre control available, floating fibres move at intermediate speeds and are distributed unevenly, producing thick and thin places. Controlled drafting, roller spacing and fibre length distribution therefore limit the usable draft per zone.

Question 11Textile Fibres and Yarn Fundamentals

Which fibre property is measured by the staple length parameter and directly affects roller setting in drafting?

  1. Fibre crimp frequency
  2. Fibre moisture regain
  3. Fibre length distribution Correct answer.
  4. Fibre colour

Explanation

Roller settings must be chosen so that the longer fibres are controlled while short fibres are not nipped excessively, so length distribution is the key input. Regain, colour and crimp influence other properties but do not set the roller gauge.

Question 12Textile Fibres and Yarn Fundamentals

A yarn has a count of 20 tex. What is its approximate equivalent in the English cotton count (Ne)?

  1. About 20 Ne
  2. About 29.5 Ne Correct answer.
  3. About 59 Ne
  4. About 13.5 Ne

Explanation

The conversion is Ne approximately equal to 590.5 divided by tex, so 590.5 divided by 20 gives about 29.5. Tex is a direct system while Ne is indirect, so a low tex corresponds to a high Ne.

Question 13Textile Fibres and Yarn Fundamentals

In ring spinning, what is the function of the traveller on the ring?

  1. It sets the spindle speed independently of the bobbin
  2. It drafts the roving before the front rollers
  3. It guides the yarn and generates the winding tension while twist is inserted Correct answer.
  4. It combes the fibre fringe before twisting

Explanation

The traveller runs around the ring, lagging the spindle so that twist is inserted into the yarn between the front rollers and the traveller, and it also regulates winding tension. Drafting happens at the roller pairs, and combing is a separate preparation stage.

Question 14Textile Fibres and Yarn Fundamentals

A weaver needs a stronger, smoother yarn for warp use from the same cotton. Which change is most appropriate?

  1. Decrease twist and use carded, short-staple fibre
  2. Increase yarn tex while removing twist
  3. Increase twist and use combed, longer-staple fibre Correct answer.
  4. Reduce fibre length and increase draft

Explanation

Warp yarns must resist abrasion and tension, so higher twist plus combed longer fibres raises strength and smoothness. Shortening fibre or removing twist lowers strength, and higher tex alone does not improve smoothness.

Question 15Textile Fibres and Yarn Fundamentals

Which statement correctly distinguishes a filament yarn from a staple yarn?

  1. A staple yarn has no twist, while a filament yarn always has twist
  2. A filament yarn is made of continuous strands, while a staple yarn is made of short fibres twisted together Correct answer.
  3. A filament yarn is always coarser than a staple yarn of the same count
  4. A filament yarn is produced only from natural fibres

Explanation

Filament yarns consist of continuous strands, either natural silk or extruded man-made filaments, while staple yarns are built from short fibres held together by twist. Count, twist and fibre origin do not define the distinction.

Question 16Textile Fibres and Yarn Fundamentals

A 24 tex yarn is produced with a twist of 800 turns per metre. Using the twist multiplier formula TPM = TM times the square root of Ne, what is the approximate twist multiplier?

  1. About 8.0
  2. About 2.0
  3. About 4.0 Correct answer.
  4. About 16.0

Explanation

First convert count: Ne is about 590.5 divided by 24, roughly 24.6, whose square root is about 4.96. Dividing 800 by 4.96 gives a twist multiplier of about 4.0, a typical value for a medium-twist cotton yarn.

Question 17Textile Fibres and Yarn Fundamentals

Why is fibre fineness important in determining the minimum spinnable count of a cotton yarn?

  1. Finer fibres are always longer and therefore need no drafting
  2. Finer fibres have lower moisture regain and spin faster
  3. Finer fibres give more fibres per cross-section, so a finer yarn can still be strong and even Correct answer.
  4. Finer fibres have higher crimp and eliminate the need for twist

Explanation

A yarn's strength and evenness depend on the number of fibres in its cross-section, and finer fibres allow more fibres in a fine yarn. This is why fine cottons with good maturity can be spun to much lower tex values.

Question 18Textile Fibres and Yarn Fundamentals

A two-fold yarn is made from two 20 tex singles with a folding twist. What is the approximate resultant count in tex?

  1. 80 tex
  2. 40 tex Correct answer.
  3. 10 tex
  4. 20 tex

Explanation

Folding two identical singles doubles the mass per unit length, so two 20 tex ends give about 40 tex before allowing for the small contraction caused by folding twist. The count is not halved or quadrupled.

Question 19Textile Fibres and Yarn Fundamentals

In a yarn irregularity spectrogram, a periodic thick place recurring at regular intervals most probably indicates which fault?

  1. A defective or eccentric drafting roller in the preceding process Correct answer.
  2. Normal twist variation along the yarn
  3. A humidity fluctuation in the spinning room
  4. Random fibre arrangement in the sliver

Explanation

A periodic fault produces a distinct peak at a wavelength related to the circumference of the faulty roller, which points to an eccentric or damaged roller. Random fibre arrangement gives a broad, flat spectrum without a sharp peak.

Question 20Textile Fibres and Yarn Fundamentals

A yarn of 30 tex is required to have a twist multiplier of 3.5. Using TPM = TM times the square root of Ne, what twist per metre is needed?

  1. About 600 TPM Correct answer.
  2. About 150 TPM
  3. About 300 TPM
  4. About 1200 TPM

Explanation

The count in Ne is about 590.5 divided by 30, roughly 19.7, whose square root is about 4.44. Multiplying by the twist multiplier of 3.5 gives about 15.5 turns per centimetre, that is roughly 600 turns per metre.

Question 21Textile Fibres and Yarn Fundamentals

During drafting, a floating fibre in the drafting zone is one that is:

  1. Already twisted before entering the back rollers
  2. Not gripped by either roller pair at a given instant and moves at an uncontrolled speed Correct answer.
  3. Held firmly by the front rollers throughout the draft
  4. Too long to pass between the roller nips

Explanation

Floating fibres lie between the nips and are controlled only by fibre-to-fibre friction, so their speed is uncertain and they emerge unevenly distributed. Reducing the floating fibre population through roller setting and fibre length selection improves evenness.

Question 22Textile Fibres and Yarn Fundamentals

Two slivers of 3 ktex and 5 ktex are blended on a draw frame and the delivered sliver is 4 ktex. What is the actual draft?

  1. 2.0 Correct answer.
  2. 8.0
  3. 0.5
  4. 1.0

Explanation

The input linear density is the sum of the two fed slivers, 3 plus 5 equals 8 ktex, and the delivered density is 4 ktex. Draft is input divided by output, so 8 divided by 4 gives 2.0.

Question 23Textile Fibres and Yarn Fundamentals

A spinner finds that yarn strength falls when twist is increased beyond an optimum level. What is the best explanation?

  1. Fibres become inclined more steeply to the yarn axis, so a smaller share of their strength acts along the yarn Correct answer.
  2. Fibre moisture rises with twist and lubricates the fibres
  3. The yarn count becomes coarser as twist rises, weakening the structure
  4. Twist reduces the number of fibres in the yarn cross-section

Explanation

Beyond the optimum, the helix angle increases so fibre strength is directed across rather than along the yarn axis, and over-twisting can also cause fibre rupture and coil buckling. Strength therefore peaks at an optimum twist and then declines.

Question 24Textile Fibres and Yarn Fundamentals

A mill must spin a fine combed cotton yarn with minimum hairiness for a smooth fabric. Which combination is most sound?

  1. Short-staple cotton, high draft and open-end rotor spinning
  2. Long-staple combed cotton, moderate twist and a compact spinning zone Correct answer.
  3. Short-staple carded cotton, low twist and high draft
  4. Long-staple cotton, very high twist and no combing

Explanation

Hairiness is reduced by longer combed fibres, adequate but not excessive twist, and compacting the fibre strand before twisting so protruding fibres are trapped. Short fibre and very high draft increase protruding ends.

Question 25Fabric Structure and Weave Design

In a plain weave fabric, the repeat of the weave is best described by which interlacement pattern?

  1. The warp and weft interlace only at the selvedges, leaving the body as a float
  2. Every warp end and weft pick interlaces alternately, giving a 2x2 repeat Correct answer.
  3. Each warp end interlaces with each weft pick in a 2/2 step, giving a 4-end repeat
  4. Each warp end floats over three picks before interlacing, giving a 4-pick repeat

Explanation

Plain weave is the simplest interlacing: each end passes alternately over and under each pick, and each pick does the reverse, so the smallest possible repeat of 2 ends by 2 picks is obtained. This maximum interlacement gives the firmest, least lustrous structure and the highest crimp of the basic weaves.

Question 26Fabric Structure and Weave Design

A fabric is described as 2/1 twill. What does this designation state about the weave?

  1. The twill line advances two ends for every one pick
  2. Two ends float over one pick, producing a warp-faced twill Correct answer.
  3. The fabric contains two warp colours and one weft colour
  4. Two picks float over one end in every repeat unit

Explanation

In twill notation the first figure counts the lifting ends and the second the lowering ends within the repeat, so 2/1 means two ends up and one end down. Because the warp predominates on the face, the cloth is warp-faced and shows a steep, clearly defined diagonal.

Question 27Fabric Structure and Weave Design

Which weave produces the longest warp floats and therefore the highest lustre and smoothest surface among the three basic weaves?

  1. Five-end warp satin Correct answer.
  2. Regular 2/2 twill
  3. Plain weave
  4. Basket weave

Explanation

Satin weaves are built so that the binding points are dispersed and never adjacent, letting the warp (or weft) float over four or more threads. The long floats reflect light uniformly, giving the characteristic lustre and smooth handle, at the cost of abrasion resistance.

Question 28Fabric Structure and Weave Design

What is the weave repeat of a fabric?

  1. The distance between two adjacent binding points on one end
  2. The number of ends and picks per unit length in the cloth
  3. The total number of ends in the warp beam
  4. The smallest number of ends and picks after which the interlacing pattern repeats Correct answer.

Explanation

The repeat is the smallest block of ends and picks that, when repeated, reproduces the whole design. It is quoted as ends in the repeat multiplied by picks in the repeat and determines the size of the peg plan and draft.

Question 29Fabric Structure and Weave Design

On a point-paper design, a mark is placed in a square. What does this mark conventionally indicate?

  1. The pick is above the end at that intersection
  2. The pick has been inserted twice at that point
  3. The end is absent from the cloth at that point
  4. The end is above the pick at that intersection Correct answer.

Explanation

By convention a painted square on point paper shows a warp lift, that is the end passing over the pick. Blank squares therefore represent picks passing over ends, which lets the designer read float direction directly from the draft.

Question 30Fabric Structure and Weave Design

A 3/1 twill is woven with a 1-up, 3-down lifting order reversed. What visual effect results from reversing the direction of the twill step?

  1. The repeat size doubles in both directions
  2. The twill converts into a satin because the floats lengthen
  3. The twill line reverses from a right-hand to a left-hand diagonal Correct answer.
  4. The fabric becomes balanced and loses all directionality

Explanation

The twill direction is set by whether the binding point shifts one end to the right or to the left on each successive pick. Reversing the shift mirrors the diagonal, producing a left-hand twill (often denoted with a Z or S convention depending on the mill's system).

Question 31Fabric Structure and Weave Design

In a 5-end satin with a move number of 2, which binding sequence is produced on successive ends?

  1. 1, 5, 4, 3, 2
  2. 1, 4, 2, 5, 3
  3. 1, 3, 5, 2, 4 Correct answer.
  4. 1, 2, 3, 4, 5

Explanation

A move number of 2 means the binding point advances two positions on each succeeding end, so starting at the first square gives 1, 3, 5, 2, 4 within the five-end repeat. Because 2 and 5 share no common factor, all five positions are used and no two binding points touch.

Question 32Fabric Structure and Weave Design

Why must the move number chosen for a satin weave be coprime with the number of ends in the repeat?

  1. So that the weft density can exceed the warp density
  2. So that the twill line will be clearly visible on the face
  3. So that every end receives a binding point before the sequence repeats Correct answer.
  4. So that the fabric will shrink uniformly during finishing

Explanation

If the move number and the repeat share a common factor, the binding sequence returns to its starting end before all ends have been used. The unused ends then carry unbroken floats, creating a fault known as a satin skip or broken satin.

Question 33Fabric Structure and Weave Design

A herringbone effect is produced from a twill by which draft arrangement?

  1. Increasing the number of picks per repeat until the diagonal disappears
  2. Combining a plain-weave ground with an extra warp float
  3. Reversing the twill direction at a chosen point so the diagonals meet in a V Correct answer.
  4. Using a move number that is coprime with the repeat size

Explanation

Herringbone is a point-draft effect: the twill runs one way for part of the repeat and is mirrored to run the other way, so adjacent diagonals meet and form a chevron. The reversal point must be planned so the two halves join without a float or a gap.

Question 34Fabric Structure and Weave Design

A 2/2 matt (basket) weave is woven with two ends and two picks acting as one. What happens to the firmness of the cloth compared with a plain weave of the same sett?

  1. It becomes firmer because interlacing increases
  2. It is unchanged because the sett is identical
  3. It becomes firmer because floats reflect more light
  4. It becomes looser because the number of interlacings is halved Correct answer.

Explanation

Grouping ends and picks into pairs halves the number of binding points for a given sett, so threads can slide and the cloth is softer and looser. This is why matt weaves are used for coarse counts and why they are often finished with a slight felting or milling.

Question 35Fabric Structure and Weave Design

Which feature distinguishes a warp rib from a weft rib weave?

  1. The rib runs along the weft direction because the weft floats over grouped ends
  2. The rib runs along the warp direction because the warp floats over grouped picks Correct answer.
  3. The rib runs across the warp because the weft floats over grouped ends
  4. The rib runs along the warp direction because fine picks are used

Explanation

In a warp rib the warp threads are grouped so that one end floats over several picks while the other binds, producing cords that run in the warp direction. A weft rib is the converse: weft floats over grouped ends, so the cords run across the cloth in the weft direction.

Question 36Fabric Structure and Weave Design

A honeycomb weave is designed so that long floats are separated by binding points. What is the characteristic appearance of the finished cloth?

  1. A loose, open cloth with a net-like appearance
  2. A dense, warp-faced cloth with high lustre
  3. A cellular, quilted surface with raised walls around hollows Correct answer.
  4. A flat, uniform surface with a fine diagonal

Explanation

Honeycomb uses long floats arranged around small areas of plain weave, so the long floats pucker and rise while the binding areas pull in. The result is the cell-like, quilted texture that gives the weave its name.

Question 37Fabric Structure and Weave Design

In a leno (gauze) weave, how are the threads held in the open, crossed condition?

  1. By the natural crimp of the weft after wet finishing
  2. By a very low pick density that leaves the threads free
  3. By a doup harness that crosses the doup ends around the standard ends Correct answer.
  4. By a satin move number that spaces the binding points

Explanation

Leno relies on a doup harness, in which the doup ends are carried over the standard ends and cross them on alternate picks. The crossing locks the threads in position, so the open structure is stable even at low sett where a plain weave would slip.

Question 38Fabric Structure and Weave Design

A designer wants a fabric with small, regularly spaced spots of weft colour on a warp-colour ground using a single weft. Which weave principle applies?

  1. A spot is produced by a short weft float introduced into a plain ground Correct answer.
  2. A spot is produced by a long warp float introduced into a satin ground
  3. A spot is produced by reversing a twill at intervals
  4. A spot is produced by grouping ends into pairs

Explanation

With one weft, a weft-coloured spot must be shown by extra weft floats over the warp, inserted at planned positions in an otherwise firm ground. The ground binds the cloth while the short floats provide the contrasting spot.

Question 39Fabric Structure and Weave Design

What is the function of a draft in weave design?

  1. It records the number of ends per centimetre in the reed
  2. It records the order in which healds are threaded with the warp ends Correct answer.
  3. It records the finished width of the cloth
  4. It records the order in which picks are inserted

Explanation

The draft shows, for each end in the repeat, which heald carries it, and is drawn alongside the weave plan. Together with the peg plan, which controls pick order, it fully specifies the loom setting needed to weave the design.

Question 40Fabric Structure and Weave Design

A straight draft is used with a 4-end twill repeat on a loom with four healds. How are the ends threaded?

  1. Ends 1, 2, 3 and 4 are threaded on healds 1, 2, 3 and 4 in order and the sequence repeats Correct answer.
  2. Ends 1, 3, 2 and 4 are threaded on healds 1, 2, 3 and 4 in order
  3. Ends 1 and 2 are threaded on heald 1 and ends 3 and 4 on heald 2
  4. All four ends are threaded on heald 1 and lifted together

Explanation

In a straight draft each successive end in the repeat goes to the next heald in sequence, so the threading runs 1, 2, 3, 4 and then repeats. It is the standard draft for simple twills and satins because it needs the fewest healds.

Question 41Fabric Structure and Weave Design

A 4-end twill is to be woven with a pointed draft. What is the threading order across the healds?

  1. 1, 2, 3, 4, 1, 2, 3, 4
  2. 1, 1, 2, 2, 3, 3, 4, 4
  3. 1, 2, 3, 4, 3, 2, 1 Correct answer.
  4. 1, 3, 2, 4, 1, 3, 2, 4

Explanation

A pointed draft runs up to the highest heald number and then back down, giving 1, 2, 3, 4, 3, 2, 1 for a four-heald repeat. It is used for wave, zig-zag and diamond effects because the reversal mirrors the weave.

Question 42Fabric Structure and Weave Design

Why is a herringbone twill often preferred over a simple twill for suiting fabrics?

  1. It has longer floats and therefore greater lustre
  2. Its mirrored diagonals break up any streakiness and give a balanced, non-directional appearance Correct answer.
  3. It eliminates the need for a peg plan
  4. It uses fewer healds than a simple twill

Explanation

Because the diagonals alternate direction, the cloth shows no single dominant line and any irregularity in the yarn is less visible. This balanced appearance is valued in suitings, where a strong directional twill can emphasise streaks or barre.

Question 43Fabric Structure and Weave Design

A fabric shows a broken satin fault with an unbroken warp float running for several picks. What is the most likely cause?

  1. The move number shares a common factor with the repeat size Correct answer.
  2. The reed has been dented too heavily
  3. The weft count is coarser than specified
  4. The healds have been threaded in a straight draft

Explanation

When the move number and repeat size share a factor, the binding sequence returns early and some ends never bind, leaving long unbroken floats. Choosing a coprime move number ensures every end is bound within the repeat and removes the fault.

Question 44Fabric Structure and Weave Design

A 5-end satin is required with a move number that gives a left-hand (Z-direction) rise in the binding points. Which move number should be selected?

  1. Move number 3 Correct answer.
  2. Move number 2
  3. Move number 5
  4. Move number 1

Explanation

With a 5-end repeat, move numbers 2 and 3 are both coprime with 5, but they advance in opposite senses. A move of 3 steps the binding point three ends forward, which is equivalent to two ends backward, giving the opposite diagonal sense to a move of 2.

Question 45Fabric Structure and Weave Design

A weaver converts a plain weave to a 2/2 matt weave at the same reed and pick density. Which change in the cloth's properties should be expected?

  1. Lower crimp, softer handle and greater cover per thread Correct answer.
  2. Higher crimp and greater stiffness
  3. Increased binding points and greater abrasion resistance
  4. Complete loss of the weave repeat

Explanation

Grouping ends and picks reduces the number of interlacings, so yarn crimp falls and the cloth becomes softer and more supple. Because the grouped threads lie side by side, they also cover more area, improving opacity for a given sett.

Question 46Fabric Structure and Weave Design

A honeycomb design is found to have cells that collapse during finishing. Which design adjustment is most likely to correct the problem?

  1. Change the move number to a value coprime with the repeat
  2. Shorten the floats or increase the binding area so the cell walls are supported Correct answer.
  3. Convert the draft from a pointed to a straight arrangement
  4. Lengthen the floats further so the walls rise higher

Explanation

Honeycomb cells depend on a balance between long floats that pucker and firm binding areas that anchor them. If the floats are too long or the binding area too small, the structure cannot support the cell walls and the effect collapses in wet finishing.

Question 47Fabric Structure and Weave Design

Which combination of weave and finishing route would best produce a firm, smooth, lustrous lining fabric with good cover from a fine continuous-filament yarn?

  1. 2/2 matt weave with a raised finish
  2. Five-end warp satin with a calendered finish Correct answer.
  3. Leno weave with an open sett
  4. Plain weave with a low sett and a heavy milling finish

Explanation

A satin supplies the long floats that give a smooth, lustrous face, while calendering further smooths and polishes the surface. A fine filament yarn suits this because it can lie flat in the long floats without the hairiness that would dull the lustre.

Question 48Fabric Structure and Weave Design

A cloth is woven with a 3/1 twill in the warp and a 1/3 twill in the weft, arranged in blocks. What effect is produced on the face?

  1. The diagonals in the two blocks run in opposite directions, giving a shadowed block effect Correct answer.
  2. The blocks cancel each other and produce a flat, featureless surface
  3. The two blocks combine to give a uniform plain-weave appearance
  4. The cloth becomes a balanced satin across the whole repeat

Explanation

Warp-faced and weft-faced twills throw their diagonals in opposite senses, so alternating blocks catch the light differently. The result is the broken, shadowed block effect used in coatings and suitings, sometimes called a shadow or block stripe.

Question 49Fabric Structure and Weave Design

Which statement correctly describes the relationship between weave repeat and the number of healds required for a simple design?

  1. The number of healds is independent of the weave and depends only on the reed
  2. The number of healds must always equal the total number of warp ends
  3. The number of healds is set by the number of picks in the repeat
  4. The number of healds must be at least the number of ends in the weave repeat Correct answer.

Explanation

Each distinct lifting position in the repeat needs its own heald, so the heald count cannot be less than the number of ends in the repeat. More healds may be used, for example to allow a point draft, but never fewer for a simple design.

Question 50Fabric Structure and Weave Design

In a plain weave, what is the minimum number of harnesses (healds) required to weave the structure?

  1. 2 Correct answer.
  2. 4
  3. 3
  4. 1

Explanation

Plain weave has a repeat of 2 ends and 2 picks, with every end alternating over and under successive picks. Because the two ends move in opposite directions, two harnesses are sufficient: one for the odd-numbered ends and one for the even-numbered ends.