Full-colour compound structure for digital jacquard fabric design

Textile Research Journal

et al. 2014

This study aimed to enhance the capability of multiple weave color reproduction for Jacquard textiles. Today, the subtractive color mixing of CMYK color system is being widely used for rendering weave patterns and assorting filling yarn colors. However, as Jacquard color creation involves optical color mixing, the direct application of pigment mixing is limited to corresponding to an artwork that involves red, green, blue and saturated solid black. Since Jacquard colors are realized by opaque and non-blended material of yarns, it requires a different approach of light and pigment mixing to simulate colors of an original image in woven forms. Therefore, in this study, the optimization of weave color reproduction was approached to properly embrace the proposed color gamut of the CMYK model in digital Jacquard textiles. Based on the ink densities of the CMYK color scope, segmentation was applied in reflection of optical thread color mixing to attain optimal weave patterns. A pair of primary color layers was merged by defining a set of rules to classify individual primary and secondary color patterns to designate colored threads in associated regions, and weave structures were designed and aligned to generate varied levels of color shades in weaving form. The correlation between shaded weave structures and the primary color-based weave patterns were matched to present a faithful color reproduction in weaving.

Section: Applied Theory Of Color Patterning For Woven Jacquard Textilesmentioning

confidence: 99%

mentioning

confidence: 99%

Patterning technique for expanding color variety of Jacquard fabrics in alignment with shaded weave structures

Textile Research Journal

et al. 2014

“…When building the first weave series, each pick line of a weave repeat receive one stitching point yet, it is transformed each time by adding interweaving points on a regular basis. While the second series is built in same principle, it takes different transition direction, step movement and starting point to the first series (Ng & Zhou, 2010). (Zhou, 2011) When an image is either designed or selected for fabrication, it is separated into its primary colour layers (e.g.…”

Section: Introductionmentioning

confidence: 99%

Gradient colour deviation in woven textiles to correspond to pictorial images in diversity

International Journal of Fashion Design, Technology and Educati

Zhou

et al. 2015

This study aims to propose optimal weaving conditions for creation of natural shading effect in woven textiles. By applying the weave structure and pattern theories, the two core parts of weaving are explored and examined towards improving realisation of gradient weave colours.When planning experiments, weave repeat sizes from 12-to 30-thread are created into a shaded weave series and compounded in multi-weft figuring method. In terms of weave pattern, a colour spectrum image is designed and its split primary colour layers (e.g. cyan, magenta, yellow and black) are employed as weave pattern. In conjunction with varied weaving conditions, a colour spectrum image is reproduced in 19 different woven forms. In this study, comparative analysis is approached based on the samples resulted from trials and the practical research is explained in details of weave structure and weave pattern specifications to propose the core principle of establishing gradient colour deviation.

“…For six groups (i.e., [C]+[M], [C]+[Y], [M]+[Y], [C]+[K], [M]+[K], [Y]+[K]) of actual weave color production, 16-thread sateen weave is created into a series of shaded weave structures and two different sets are built for even distribution of filling yarn floats. 5 Each pair produces 15 different shades with dissimilar cover factors in the warp and weft. Once all the weave samples are formatted in a standardized size (i.e., 6 cm × 6 cm), they are all measured by a Macbath color-eye 7000A spectrophotometer.…”

mentioning

confidence: 99%

Pigment mixing effect realized with pre-dyed opaque yarns for Jacquard textile design development

Textile Research Journal

Zhou

et al. 2017

In modern Jacquard weaving, the application of yarn color variety is limited to electronic Jacquard machinery and realizing a wide scope of weave colors can be challenging. Therefore, when reproducing a pictorial image with a small yarn variety, artwork colors are defined by a CMYK (cyan, magenta, yellow, and black) system and its primary color data are used to associate with weave structures. In alignment with a CMYK pattern layout, shaded weave structures are incorporated to expand the accessible gamut of weave colors and natural shading is realized by different cover factors in the warp and weft. The mixing effect of CMYK yarns is intended for resolving the technical limitations of current digital Jacquard weaving. In this study, quantitative research is designed to examine four yarn mixing effects for which pairs of CMYK yarns are superimposed (e.g., [C]+[M], [C]+[Y], [M]+[Y], [C]+[K], [M]+[K], [Y]+[K]) and 90 different weave colors are produced in six groups. Once they are formatted in a standardized size, weave samples are measured by a spectrophotometer and analyzed by three coordinates (L*, a*, and b*) of a CIELAB color system. As shown by the analysis results, the weave colors bear not only varied brightness, hue, and chroma alternations, but also a great similarity to the pigment mixing effect. In application of the color mixing effect, a new way of woven color presentation is achieved and introduced as a new development of Jacquard design.