Textile Weaving

Tangir Rahman

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Contents
Articles
Weaving 1
Warp (weaving) 7
Weft 8
Plain weave 9
Twill 10
Satin weave 12
Loom 12
Dobby loom 17
Jacquard loom 19

References
Article Sources and Contributors 21
Image Sources, Licenses and Contributors 22

Article Licenses
License 23
Weaving 1

Weaving
Weaving is a textile craft in which two distinct sets of yarns or threads
are interlaced to form a fabric or cloth. The threads which run
lengthways are called the warp and the threads which run across from
side to side are the weft or filling.
Cloth is usually woven on a loom, a device that holds the warp threads
in place while filling threads are woven through them. Weft is an old
English word meaning "that which is woven".[1] A fabric band which
meets this definition of cloth (warp threads with a weft thread winding
between) can also be made using tablet weaving techniques.
The way the warp and filling threads interlace with each other is called
the weave. The majority of woven products are created with one of
three basic weaves: plain weave, satin weave, or twill. Woven cloth
can be plain (in one colour or a simple pattern), or can be woven in Warp and weft in plain weaving

decorative or artistic designs, including tapestries. Fabric in which the

warp and/or weft is tie-dyed before weaving is called ikat.

Though traditional handweaving and spinning remain popular crafts, nowadays the majority of commercial fabrics in
the West are woven on computer-controlled Jacquard looms. In the past, simpler fabrics were woven on dobby
looms, while the Jacquard harness adaptation was reserved for more complex patterns. Some believe the efficiency
of the Jacquard loom, with its Jacquard weaving process, makes it more economical for mills to use them to weave
all of their fabrics, regardless of the complexity of the design.

Process and terminology

In general, weaving involves the interlacing of two sets of threads at
right angles to each other: the warp and the weft (older woof). The
warp are held taut and in parallel order, typically by means of a loom,
though some forms of weaving may use other methods. The loom is
warped (or dressed) with the warp threads passing through heddles on
two or more harnesses. The warp threads are moved up or down by the
harnesses creating a space called the shed. The weft thread is wound
onto spools called bobbins. The bobbins are placed in a shuttle that
carries the weft thread through the shed. An Indian weaver preparing his warp

The raising and lowering sequence of warp threads gives rise to many
possible weave structures:
• plain weave,
• twill weave,
• satin weave, and
• complex computer-generated interlacings.
Both warp and weft can be visible in the final product. By spacing the warp more closely, it can completely cover the
weft that binds it, giving a warp faced textile such as rep weave. Conversely, if the warp
Weaving 2

is spread out, the weft can slide down and completely cover the warp,
giving a weft faced textile, such as a tapestry or a Kilim rug. There are
a variety of loom styles for hand weaving and tapestry. In tapestry, the
image is created by placing weft only in certain warp areas, rather than
across the entire warp width.

A woman weaving with a manual loom

Ancient and traditional cultures

There are some indications that weaving was already known in the
Palaeolithic era. An indistinct textile impression has been found at
Pavlov, Moravia. Neolithic textiles are well known from finds in pile
dwellings in Switzerland. One extant fragment from the Neolithic was
found in Fayum, at a site dated to about 5000 BCE. This fragment is
woven at about 12 threads by 9 threads per cm in a plain weave. Flax
was the predominant fibre in Egypt at this time and continued
popularity in the Nile Valley, even after wool became the primary fibre
used in other cultures around 2000 BCE. Another Ancient Egyptian Prehistoric woven objects and weaving tools
item, known as the Badari dish, depicts a textile workshop. This item,
catalogue number UC9547, is now housed at the Petrie Museum and
dates to about 3600 BCE. Enslaved women worked as weavers during
the Sumerian Era. They washed wool fibers in hot water and wood-ash
soap and then dried them. Next, they beat out the dirt and carded the
wool. The wool was then graded, bleached, and spun into a thread. The
spinners pulled out fibers and twisted them together. This was done
either by rolling fibers between palms or using a hooked stick. The
thread was then placed on a wooden or bone spindle and rotated on a
clay whorl, which operated like a flywheel.

The slaves then worked in three-woman teams on looms, where they

stretched the threads, after which they passed threads over and under
each other at perpendicular angles. The finished cloth was then taken
to a fuller.
Easton's Bible Dictionary (1897) refers to numerous Biblical
references to weaving in ancient times:
Weaving was an art practised in very early times (Ex  35:35).
The Egyptians were specially skilled in it (Isa  19:9; Ezek  27:7),
and some have regarded them as its inventors.
In the wilderness, the Hebrews practised weaving (Ex  26:1,
Weaving in ancient Egypt
26:8; 28:4, 28:39; Lev  13:47). It is referred to subsequently as
Weaving 3

specially the women's work (Kings 2 23:7; Prov  31:13, 24). No

mention of the loom is found in Scripture, but we read of the
"shuttle" (Job  7:6), "the pin" of the beam (Judg  16:14), "the
web" (13, 14), and "the beam" (Sam 1 17:7; Sam 2 21:19). The
rendering, "with pining sickness," in Isa. 38:12 (A.V.) should be,
as in the Revised Version, "from the loom," or, as in the margin,
"from the thrum." We read also of the "warp" and "woof" (Lev.
Women weaving. Detail from an Ancient Greek
13:48, 49, 51–53, 58, 59), but the Revised Version margin has,
Attic black-figure epinetron, ca. 500 BC, from
instead of "warp," "woven or knitted stuff." Athens. Louvre Museum, Paris.

American Southwest
Textile weaving, using cotton dyed with pigments, was a dominant
craft among pre-contact tribes of the American southwest, including
various Pueblo peoples, the Zuni, and the Ute tribes. The first
Spaniards to visit the region wrote about seeing Navajo blankets. With
the introduction of Navajo-Churro sheep, the resulting woolen products
have become very well known. By the 18th century the Navajo had
begun to import yarn with their favorite color, Bayeta red. Using an
upright loom, the Navajos wove blankets and then rugs after the 1880s
for trade. Navajo traded for commercial wool, such as Germantown,
imported from Pennsylvania. Under the influence of
European-American settlers at trading posts, Navajos created new and
distinct styles, including "Two Gray Hills" (predominantly black and
white, with traditional patterns), "Teec Nos Pos" (colorful, with very
extensive patterns), "Ganado" (founded by Don Lorenzo Hubbell), red
Weaving a traditional Navajo rug
dominated patterns with black and white, "Crystal" (founded by J. B.
Moore), Oriental and Persian styles (almost always with natural dyes),
"Wide Ruins," "Chinlee," banded geometric patterns, "Klagetoh," diamond type patterns, "Red Mesa" and bold
diamond patterns. Many of these patterns exhibit a fourfold symmetry, which is thought to embody traditional ideas
about harmony, or hózhó.

Amazonia
In Native Amazonia, densely woven palm-bast mosquito netting, or tents, were utilized by the Panoans, Tupí,
Western Tucano, Yameo, Záparoans, and perhaps by the indigenous peoples of the central Huallaga River basin
(Steward 1963:520). Aguaje palm-bast (Mauritia flexuosa, Mauritia minor, or swamp palm) and the frond spears of
the Chambira palm (Astrocaryum chambira, A.munbaca, A.tucuma, also known as Cumare or Tucum) have been
used for centuries by the Urarina of the Peruvian Amazon to make cordage, net-bags hammocks, and to weave
fabric. Among the Urarina, the production of woven palm-fiber goods is imbued with varying degrees of an aesthetic
attitude, which draws its authentication from referencing the Urarina’s primordial past. Urarina mythology attests to
the centrality of weaving and its role in engendering Urarina society. The post-diluvial creation myth accords
women’s weaving knowledge a pivotal role in Urarina social reproduction.[2] Even though palm-fiber cloth is
regularly removed from circulation through mortuary rites, Urarina palm-fiber wealth is neither completely
inalienable, nor fungible since it is a fundamental medium for the expression of labor and exchange. The circulation
of palm-fiber wealth stabilizes a host of social relationships, ranging from marriage and fictive kinship
Weaving 4

(compadrazco, spiritual compeership) to perpetuating relationships with the deceased.[3]

Islamic world
Hand weaving of Persian carpets and kilims has been an important
element of the tribal crafts of many of the subregions of modern day
Iran. Examples of carpet types are the Lavar Kerman carpet from
Kerman and the Seraband rug from Arak.
An important innovation in weaving that was developed in the Muslim
world during the Islamic Golden Age was the introduction of foot
pedals to operate a loom. The first such devices appeared in Syria, Iran
and Islamic parts of East Africa, where "the operator sat with his feet
in a pit below a fairly low-slung loom." By 1177, it was further
developed in Al-Andalus, where having the mechanism was "raised
higher above the ground on a more substantial frame." This type of
Girls weaving a Persian rug, Hamadan, circa
loom spread to the Christian parts of Spain and soon became popular 1922. Note the design templates ( called
all over medieval Europe.[4] 'cartoons') at top of loom.

Europe

Dark Age and Medieval Europe

Weighted-warp looms were commonplace in Europe until the development of more advanced looms around the
10th–11th centuries. Especially in colder climates, where a large floor loom would take up too much valuable floor
space, the more primitive looms remained in use until the 20th Century to produce "homespun" cloth for individual
family needs. The primary material woven in most of Europe was wool, though linen was also common, and
imported silk thread was occasionally made into cloth. Both men and women were weavers, though the task often
fell to the wife of a farming household. Fabric width was limited to the reach of the weaver, but was sufficient for
the tunic-style garments worn in much of Europe at the time. A plain weave or twill was common, since professional
weavers with skills to produce better fabrics were rare.
Weaving was a strictly local enterprise until later in the period, when larger weaving operations sprung up in places
like Brugges, in Flanders. Within this setting, master weavers could improve their craft and pass skills along to
apprentices. As the Middle Ages progressed, significant trade in fine cloth developed, and loom technology
improved to allow very thin threads to be woven. Weaver's guilds (and associated craft guilds, like fullers) gained
significant political and economic power in some of the bigger weaving cities.
In the medieval period, weaving was considered part of the set of seven mechanical arts.

Colonial America
Colonial America was heavily reliant on Great Britain for manufactured goods of all kinds. British policy was to
encourage the production of raw materials in colonies. Weaving was not prohibited, but the export of British wool
was. As a result many people wove cloth from locally produced fibers in Colonial America.
In Colonial times the colonists mostly used wool, cotton and flax (linen) for weaving, though hemp fiber could be
made into serviceable canvas and heavy cloth also. They could get one cotton crop each fall, but until the invention
of the cotton gin it was a labor-intensive process to separate the seeds from the cotton fiber. Flax and hemp were
harvested in the summer, and the stalks rendered for the long fibers within. Wool could be sheared up to twice
yearly, depending on the breed of sheep. The relative ease of processing wool, and its durability, meant that a great
Weaving 5

proportion of weaving was wool cloth.

A plain weave was preferred in Colonial times, and the added skill and time required to make more complex weaves
kept them from common use in the average household. Sometimes designs were woven into the fabric but most were
added after weaving using wood block prints or embroidery.

Industrial Revolution
Before the Industrial Revolution, weaving was a manual craft, usually undertaken part-time by family craftspeople.
Looms might be broad or narrow; broad looms were those too wide for the weaver to pass the shuttle through the
shed, so that the weaver needed an assistant (often an apprentice). This ceased to be necessary after John Kay
invented the flying shuttle in 1733, which also sped up the process of weaving.

Great Britain
Edmund Cartwright was the first to attempt to mechanise weaving from 1785. He built a factory at Doncaster and
obtained a series of patents between 1785 and 1792. In 1788, his brother Major John Cartwight built Revolution Mill
at Retford (named for the centenary of the Glorious Revolution. In 1791, he licensed his loom to the Grimshaw
brothers of Manchester, but their Knott Mill burnt down the following year (possibly a case of arson). Edmund
Cartwight was granted a reward of £10,000 by Parliament for his efforts in 1809.[5] However, success in
power-weaving also required improvements by others, including H. Horrocks of Stockport. Only during the two
decades after about 1805, did power-weaving take hold. Textile manufacture was one of the leading sectors in the
British Industrial Revolution, but weaving was a comparatively late sector to be mechanised. The loom became
semi-automatic in 1842 with Kenworthy and Bulloughs Lancashire Loom. The various innovations took weaving
from a home-based artisan activity (labour intensive and man-powered) to steam driven factories process. A large
metal manufacturing industry grew to produce the looms, firms such as Howard & Bullough of Accrington, and
Tweedales and Smalley and Platt Brothers. Most cotton weaving took place in weaving sheds, in small towns
circling Greater Manchester and worsted weaving in West Yorkshire – men and women with weaving skills
emigrated, and took the knowledge to their new homes in New England, in places like Pawtucket and Lowell.
The invention in France of the Jacquard loom in about 1803, enabled complicated patterned cloths to be woven, by
using punched cards to determine which threads of coloured yarn should appear on the upper side of the cloth.
Weaving 6

America, 1800–1900
The Jacquard loom attachment was perfected in 1801, and was
becoming common in Europe by 1806. It came to the US in the early
1820s, some immigrant weavers bringing jacquard equipment with
them, and spread west from New England. At first it was used with
traditional human-powered looms. As a practical matter, previous
looms were mostly limited to the production of simple geometric
patterns. The jacquard allowed individual control of each warp thread,
row by row without repeating, so very complex patterns were suddenly
feasible. woven coverlets (bedspreads) became popular by
mid-century, in some cases being custom-woven with the name of the
customer embedded in the programmed pattern. Undyed cotton warp
was usually combined with dyed wool weft.

Natural dyes were used until just before the American Civil War, when
artificial dyes started to come into use.
Weaving can also refer to a person such as weave hair styles. Weaving Jacquard loom
or the term "weaver" can also refer to ones last name.

Notes
[1] deriving from an obsolete past participle of weave (Oxford English Dictionary,
see "weft" and "weave".
[2] Bartholomew Dean 2009 Urarina Society, Cosmology, and History in Peruvian
Amazonia, Gainesville: University Press of Florida ISBN 978-081303378 (http:/ /
www. upf. com/ book. asp?id=DEANXS07)
[3] Bartholomew Dean. "Multiple Regimes of Value: Unequal Exchange and the
Circulation of Urarina Palm-Fiber Wealth" Museum Anthropology February
1994, Vol. 18, No. 1, pp. 3–20 available online) (paid subscription) (http:/ /
www. anthrosource. net/ doi/ abs/ 10. 1525/ mua. 1994. 18. 1.
3?prevSearch=allfield:(Dean,+ Bartholomew)).
[4] Pacey, Arnold (1991), Technology in world civilization: a thousand-year history,
MIT Press, pp. 40–1, ISBN 0262660725
[5] W. English, The Textile Industry (1969), 89–97; W. H. Chaloner, People and
Industries (1093), 45–54

References
• This article incorporates text from Textiles by William H. Dooley,
Boston, D.C. Heath and Co., 1914, a volume in the public domain
A woman weaving. Ukiyo-e woodblock print by
and available online from Project Gutenberg (http://www.
Yōshū Chikanobu, 1890
gutenberg.org/etext/24077)

External links
• Encyclopædia Britannica 1911 – Weaving (http://www.1911encyclopedia.org/Weaving)
• Resource collection (http://www.cs.arizona.edu/patterns/weaving/weavedocs.html)
• Card Weaving (http://www.primitive.org/weaving.htm)
• Oriental rug weaving (http://www.oriental-rugs-history.com/weaving.html)
Warp (weaving) 7

Warp (weaving)
In weaving cloth, the warp is the set of lengthwise
yarns that are held in tension on a frame or loom. The
yarn that is inserted over-and-under the warp threads is
called the weft, woof, or filler. Each individual warp
thread in a fabric is called a warp end or end.[1] [2]
Warp means "that which is thrown across" (Old
English wearp, from weorpan, to throw, cf. German
werfen, Dutch werpen).

Very simple looms use a spiral warp, in which a

single, very long yarn is wound around a pair of sticks
or beams in a spiral pattern to make up the warp.[3]
Because the warp is held under extreme tension during
the entire process of weaving, warp yarn must be
strong. Yarn for warp ends is usually spun and plied
fibre. Traditional fibres for warping are wool, linen and
silk. With the improvements in spinning technology
during the Industrial Revolution, it became possible to
Warp and weft in plain weaving
make cotton yarn of sufficient strength to be used as the
warp in mechanized weaving. Later, artificial or
man-made fibres such as nylon or rayon were employed.

Notes
[1] Burnham (1980), pp. 170, 179
[2] Barber (1991), p. 79
[3] Burnham (1980), p. 132

Warp threads in tablet weaving

References
• Barber, E. J. W. (1991). Prehistoric Textiles. Princeton University Press. ISBN 069100224x.
• Burnham, Dorothy K. (1980). Warp and Weft: A Textile Terminology. Royal Ontario Museum.
ISBN 0888542569.
Weft 8

Weft
In weaving, weft or woof is the yarn which is drawn
through the warp yarns to create cloth. In North
America, it is sometimes referred to as the "fill" or the
"filling yarn".[1] [2]
Because the weft does not have to be stretched on a
loom in the way that the warp is, it can generally be
less strong.

Etymology
The words woof and weft derive ultimately from the
Old English word wefan, to weave.

Metaphorical use
The expression "woof and warp" (also "warp and
woof", "warp and weft") is sometimes used
metaphorically as one might similarly use "fabric"; e.g., Warp and weft in plain weaving
"the warp and woof of a student's life" means "the
fabric of a student's life." The expression is used as a metaphor for the underlying structure on which something is
built.

Other cultures
In India, the weft is referred to as "baana", which is derived from another Hindi word "bun na" or "bunai" which
means making with threads or strings, as is done in cane weaving and other forms of primitive weaving techniques.

In hairdressing
Weft is a hairdressing term for temporary hair extensions which are glued into a person's hair.[3]

Notes
[1] Burnham (1980), pp. 170, 179
[2] Barber (1991), p. 79
[3] Glossary of hairdressing and hair styling terminology (http:/ / www. leestafford. com/ uk/ thelook/ glossary/ #gloss_w) Lee Stafford.com

References
• Barber, E. J. W. (1991). Prehistoric Textiles. Princeton University Press. ISBN 069100224x.
• Burnham, Dorothy K. (1980). Warp and Weft: A Textile Terminology. Royal Ontario Museum.
ISBN 0888542569.
Plain weave 9

Plain weave
Plain weave (also called tabby weave or
taffeta weave) is the most basic of three
fundamental types of textile weaves (along
with satin weave and twill).[1] It is strong
and hard-wearing, used for fashion and
furnishing fabrics.

In plain weave, the warp and weft are

aligned so they form a simple criss-cross
pattern. Each weft thread crosses the warp
threads by going over one, then under the
next, and so on. The next weft thread goes
under the warp threads that its neighbor
A plain-woven fabric
went over, and vice versa.

• Balanced plain weaves are fabrics in

which the warp and weft are made of
threads of the same weight (size) and the
same number of ends per inch as picks
per inch.[2]
• Basketweave is a variation of plain
weave in which two or more threads are
bundled and then woven as one in the
warp or weft, or both.
A balanced plain weave can be identified by
its checkerboard-like appearance. It is also
known as one-up-one-down weave or over
Structure of plain-woven fabric
and under pattern.[3]
Some examples of fabric with plain weave
are chiffon, organza, and taffeta.

Designation
According to the 12th-century geographer
al-Idrīsī, the city of Almería in Andalusia
manufactured imitations of Iraqi and Persian
silks called ‘attābī, which David Jacoby
identifies[4] as "a taffeta fabric made of silk
and cotton originally produced in Attabiya,
a district of Baghdad."
Structure of basketweave fabric

Notes
Plain weave 10

[1] Kadolph, Sara J., ed.: Textiles, 10th edition, Prentice-Hall, 2007, p. 225-229
[2] Kadolph, Textiles, p. 229
[3] Kadolph, Textiles, p. 225-229
[4] Jacoby, "Silk Economics and Cross-Cultural Artistic Interaction: Byzantium, the Muslim World, and the Christian West" Dumbarton Oaks
Papers 58 (2004:197-240) p. 217, crediting al-Idrīsī.

References
• Kadolph, Sara J., ed.: Textiles, 10th edition, Saddle River, New Jersey, Pearson/Prentice-Hall, 2007, ISBN
0-13-118769-4

Twill
Twill is a type of textile weave with a pattern of diagonal
parallel ribs (in contrast with a satin and plain weave). This
is done by passing the weft thread over one or more warp
threads and then under two or more warp threads and so on,
with a "step" or offset between rows to create the
characteristic diagonal pattern. Because of this structure,
twills generally drape well. Examples of twill fabric are
chino, drill, denim, gabardine, tweed and serge.

Structure A twill weave can easily be identified by its diagonal lines.

This is a 2/2 twill, with two warp threads crossing every two
In a twill weave, each weft or filling yarn floats across the
weft threads.
warp yarns in a progression of interlacings to the right or left,
forming a distinct diagonal line. This diagonal line is also
known as a wale. A float is the portion of a yarn that crosses
over two or more yarns from the opposite direction.
A twill weave requires three or more harnesses, depending
on its complexity. A twill weave is the second most basic
weave that can be made on a fairly simple loom.
Twill weave is often designated as a fraction—such as
2/1—in which the numerator indicates the number of
harnesses that are raised (and, thus, threads crossed), in this
example, two, and the denominator indicates the number of
harnesses that are lowered when a filling yarn is inserted, in
this example one. The fraction 2/1 would be read as "two up,
one down." The minimum number of harnesses needed to
produce a twill can be determined by totaling the numbers in
the fraction. For the example described, the number of Structure of a 2/2 twill. The offset at each row forms the
diagonal pattern.
harnesses is three. (The fraction for plain weave is 1/1.)
Twill 11

Structure of a 3/1 twill

Characteristics of twill
Twill fabrics technically have a front and a back side, unlike plain
weave, where the two sides are the same. The front side of the
twill is the technical face and the back is called technical back.
The technical face side of a twill weave fabric is the side with the
most pronounced wale. It is usually more durable, more attractive,
and most often used as the fashion side of the fabric. This side is
usually the side visible during weaving. If there are warp floats on
the technical face (if the warp crosses over two or more wefts),
there will be filling floats (the weft will cross over two or more
A twill with ribs in both sides, called herringbone.
warps) on the technical back. If the twill wale goes up to the right
on one side, it will go up to the left on the other side. Twill fabrics
have no up and down as they are woven.
Sheer fabrics are seldom made with a twill weave. Because a twill surface has interesting texture and design, printed
twills (where a design is printed on the cloth) are much less common than printed plain weaves. When twills are
printed, they are most likely to be lightweight fabrics. Soil shows less on the uneven surface of twills than it does on
smooth surfaces, such as plain weaves. Thus, twills are often used for sturdy work clothing or durable upholstery
because soils and stains are less noticeable on this fabric. Denim, for example, is a twill.
The fewer interlacings in twills allow the yarns to move more freely, and thus they are softer and more pliable, and
drape better. Twills also recover from wrinkles better than plain-weave fabrics do. When there are fewer interlacings,
yarns can be packed closer together to produce high-count fabrics. In twills and higher counts, the fabric is more
durable and air- and water-resistant.
There are even-sided twills and warp-faced twills. Even-sided twills include foulard or surah, serge, twill flannel,
sharkskin, herringbone, and houndstooth. Warp-faced twills include lining twill, denim, jean, drill, covert, chino,
gabardine, cavalry twill, and fancy twill.
Satin weave 12

Satin weave
Satin weave is one of the three important textile
weaves. (The other two are plain and twill weave.) The
satin weave is distinguished by its lustrous, or 'silky',
appearance. Satin describes the way the threads are
combined, and the yarn used may be silk or polyester,
among others, giving different fabrics.

The satin weave is characterized by four or more cool

fill or weft yarns floating over a warp yarn or vice
versa, four warp yarns floating over a single weft yarn.
This explains the even sheen, as unlike in other weaves,
the light reflecting is not scattered as much by the
fibres, which have fewer tucks.
Satin weave for silk, with 16 warp yarns floating over each weft
yarn.
External links
• Anderson, Kim (January 2007). "It’s Not Just an Aesthetic Decision: Choosing the Right Weave Design" [1].
TechExchange.com. Retrieved 8 May 2009.

References
[1] http:/ / www. techexchange. com/ thelibrary/ itsnot. html

Loom
A loom is a device used to weave cloth. The basic purpose of any loom is to
hold the warp threads under tension to facilitate the interweaving of the weft
threads. The precise shape of the loom and its mechanics may vary, but the
basic function is the same.

Draper power loom in Lowell,

Massachusetts US
Loom 13

A woman in Konya, Turkey works at a

vertical loom.

An early nineteenth century Japanese

loom with several heddles, which the
weaver controls with her foot.

Weaving
See Weaving for more information.
See Textile manufacturing terminology for more terms
connected with looms.
Weaving is done by intersecting the longitudinal threads, the
warp, i.e. "that which is thrown across", with the transverse
threads, the weft, i.e. "that which is woven".
The major components of the loom are the warp beam, heddles,
harnesses, shuttle, reed and takeup roll. In the loom, yarn
processing includes shedding, picking, battening and taking-up
operations.
Woman weaving in Nepal
• Shedding. Shedding is the raising of the warp yarns to form a
shed through which the filling yarn, carried by the shuttle, can be inserted. The shed is the vertical space between
the raised and unraised warp yarns. On the modern loom, simple and intricate shedding operations are performed
automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series
of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which
hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and
the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the
heddles are dobbies and a Jacquard Head.
Loom 14

• Picking. As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling
yarn in inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each
end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which
in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the
loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle
moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the
fabric from raveling.
• Battening. As the shuttle moves across the loom laying down the fill yarn, it also passes through openings in
another frame called a reed (which resembles a comb). With each picking operation, the reed presses or battens
each filling yarn against the portion of the fabric that has already been formed. The point where the fabric is
formed is called the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per
minute.[1]
With each weaving operation, the newly constructed fabric must be wound on a cloth beam. This process is called
taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully
automatic, a loom needs a filling stop motion which will brake the loom, if the weft thread breaks.[1] An automatic
loom requires 0.125 hp to 0.5 hp to operate.

Types of loom

Back strap loom

A simple loom which has its roots in ancient civilizations comprising two sticks
or bars between which the warps are stretched. One bar is attached to a fixed
object and the other to the weaver usually by means of a strap around the back.
On traditional looms, the two main sheds are operated by means of a shed roll
over which one set of warps pass, and continuous string heddles which encase
each of the warps in the other set. The weaver leans back and uses her body
weight to tension the loom. To open the shed controlled by the string heddles, the
weaver relaxes tension on the warps and raises the heddles. The other shed is
usually opened by simply drawing the shed roll toward the weaver. Both simple
and complex textiles can be woven on this loom. Width is limited to how far the
A back strap loom with a shed-rod.
weaver can reach from side to side to pass the shuttle. Warp faced textiles, often
decorated with intricate pick-up patterns woven in complementary and
supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things
as belts, ponchos bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in
many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap
loom kits often include a rigid heddle.

Warp weighted loom

The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of
warp-weighted looms comes from sites belonging to the Starčevo culture in modern Hungary and from late Neolithic
sites in Switzerland.[2] This loom was used in Ancient Greece, and spread north and west throughout Europe
thereafter.[3] Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads
taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the
available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can
be unwound from the weights to continue. This frees the weaver from vertical size constraints.
Loom 15

Drawloom
A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each
warp thread separately.[4] A drawloom requires two operators, the weaver and an assistant called a "drawboy" to
manage the figure harness.

Handloom

Elements of a foot-treadle floor loom

• Wood frame
• Seat for weaver
• Warp beam- let off
• Warp threads
• Back beam or platen
• Rods – used to make a shed
• Heddle frame - heald frame - harness
• Heddle- heald - the eye
• Shuttle with weft yarn
• Shed
• Completed fabric
• Breast beam
• Batten with reed comb
• Batten adjustment
• Lathe
• Treadles
• Cloth roll- takeup

The earliest looms were wooden vertical-shaft looms, with the heddles fixed in place in the shaft. The warp threads
pass alternately through a heddle and through a space between the heddles (the shed), so that raising the shaft raises
half the threads (those passing through the heddles), and lowering the shaft lowers the same threads—the threads
passing through the spaces between the heddles remain in place.

Haute-lisse and basse-lisse looms

Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended
vertically between two rolls, and the basse-lisse looms, where the warp extends horizontally between the rolls.

Power looms
Edmund Cartwright built and patented a power loom in 1785, and it was this that was adopted by the nascent cotton
industry in England. A silk loom was made by Jacques Vaucanson in 1745, which used the same ideas but it wasn't
developed further. The invention of the flying shuttle by John Kay had been critical to the development of a
commercially successful power loom.[5] Cartwright's loom was impractical but the ideas were developed by
numerous inventors in the Manchester area in England, where by 1818 there were 32 factories containing 5732
Loom 16

looms.[6]
Horrocks loom was viable but it was the Roberts Loom in 1830[7] that marked the turning point. Before this time
hand looms had out numbered power looms. Incremental changes to the three motions continued to be made. The
problems of sizing, stop-motions, consistent take-up and a temple to maintain the width remained. In 1841,
Kenworthy and Bullough produced the Lancashire Loom[8] which was self-acting or semi-automatic. This enables a
15-year-old spinner to run six looms at the same time. Incrementally, the Dickinson Loom, and then the Keighley
born inventor Northrop working for the Draper Corporation in Hopedale produced the fully automatic Northrop
Loom which recharged the shuttle when the pirn was empty. The Draper E and X model became the leading
products from 1909 until they were challenged by the different characteristics of synthetic fibres such as rayon.[9]
From 1942 the faster and more efficient shuttleless Sulzer looms and the rapier looms were introduced.[10] Modern
industrial looms can weave at 2000 weft insertions per minute.[11] Today, advances in technology have produced a
variety of looms designed to maximize production for specific types of material. The most common of these are
air-jet looms and water-jet looms.

Gallery

Hand loom at Hjerl
Hede, Denmark,
showing grayish warp
threads (back) and cloth
woven with red filling
yarn (front)
A foot-treadle operated A power loom used in A Picanol rapier loom
Hattersley & Sons, Ettayapuram
Domestic Loom, built
under license in 1893, in
Keighley, Yorkshire.

Patents
• U.S. Patent 0000169 [12] – Loom

References
[1] Collier 1970, p. 104
[2] Barber & 1991 pp.93–96
[3] Crowfoot 1936, p. 36
[4] Burnham 1980, p. 48
[5] Marsden 1892, p. 57
[6] Guest, Richard (1823). "The Compendious History of Cotton-Manufacture" (http:/ / www. spinningtheweb. org. uk/ a_results. php?x=7&
y=2& QueryName=KeyWord& KeyWords=Compendious+ History). pp. 46. . Retrieved Feb 2009.
[7] Marsden 1892, p. 76
[8] Marsden 1892, p. 94
[9] Mass 1990
[10] Collier 1970, p. 111
[11] S. Rajagopalan, S.S.M. College of Engineering, Komarapalayam, Pdexcil.org (http:/ / www. pdexcil. org/ news/ 40N1002/ advances. htm)
[12] http:/ / www. google. com/ patents?vid=169
Loom 17

Bibliography
• Barber, E. J. W. (1991). Prehistoric Textiles. Princeton University Press. ISBN 069100224x.
• Burnham, Dorothy K. (1980). Warp and Weft: A Textile Terminology. Royal Ontario Museum.
ISBN 0888542569.
• Collier, Ann M (1970). A Handbook of Textiles. Pergamon Press. pp. 258. ISBN 0 08 018057 4, 0 08 018056 6.
• Crowfoot, Grace (1936/1937). "Of the Warp-Weighted Loom". The Annual of the British School at Athens 37:
36–47.
• Marsden, Richard (1895). Cotton Weaving: Its Development, Principles, and Practice (http://www.cs.arizona.
edu/patterns/weaving/books.html). George Bell & Sons. pp. 584. Retrieved Feb 2009.
• Mass, William (1990). "The Decline of a Technology Leader:Capabilty, strategy and shuttleless Weaving" (http:/
/www.h-net.org/~business/bhcweb/publications/BEHprint/v019/p0234-p0244.pdf). Business and Economic
History. ISSN 089-6825.

External links
• Loom demonstration video (http://www.youtube.com/watch?v=flUCPh9AsS0)
• "Caring for your loom" article (http://www.woolfestival.com/articles/loomcare.htm)
• "The Art and History of Weaving" (http://www.faculty.de.gcsu.edu/~dvess/ids/fap/weav.html)
• The Medieval Technology Pages: "The Horizontal Loom" (http://scholar.chem.nyu.edu/tekpages/loom.html)

Dobby loom
A Dobby Loom is a type of floor loom that controls the whole warp
threads using a device called a dobby. Dobby is short for "draw boy"
which refers to the weaver's helpers who used to control the warp
thread by pulling on draw threads.
A dobby loom is an alternative to a treadle loom. Each of them is a
floor loom in which every warp thread on the loom is attached to a
single shaft using a device called a heddle. A shaft is sometimes known
as a harness, but this terminology is becoming obsolete among active
weavers. Each shaft controls a set of threads. Raising or lowering
several shafts at the same time gives a huge variety of possible gaps or
'sheds' through which the shuttle containing the weft thread can be
thrown.

A manual dobby uses a chain of bars or lags each of which has pegs
inserted to select the shafts to be moved. A computer assisted dobby
loom uses a set of solenoids or other electronic devices to select the A loom from the 1890s with a dobby head.

shafts. Activation of these solenoids is under the control of a computer

program. In either case the selected shafts are raised or lowered by either leg power on a dobby pedal or electric or
other power sources.
On a treadle loom, each foot-operated treadle is connected by a linkage called a tie-up to one or more shafts. More
than one treadle can operate a single shaft. The tie-up consists of cords or similar mechanical linkages tying the
treadles to the lams that actually lift or lower the shaft.
On treadle operated looms, the number of sheds is limited by the number of treadles available. An eight shaft loom
can create 254 different sheds. There are actually 256 possibilities which is 2 to the eighth power, but having all
Dobby loom 18

threads up or all threads down isn't very useful. However, most eight shaft floor looms have only ten to twelve
treadles due to space limitations. This limits the weaver to ten to twelve distinct sheds. It is possible to use both feet
to get more sheds, but that is rarely done in practice. It is even possible to change tie-ups in the middle of weaving a
cloth but this is a tedious and error-prone process, so this too is rarely done.
With a dobby loom, all 254 possibilities are available at any time. This vastly increases the number of cloth designs
available to the weaver. The advantage of a dobby loom becomes even more pronounced on looms with 12 shafts
(4094 possible sheds), 16 shafts (65,534 possible sheds), or more. It reaches its peak on a Jacquard loom in which
each thread is individually controlled.
Another advantage to a dobby loom is the ability to handle much longer sequences in the pattern. A weaver working
on a treadled loom must remember the entire sequence of treadlings that make up the pattern, and must keep track of
where they are in the sequence at all times. Getting lost or making a mistake can ruin the cloth being woven. On a
manual dobby the sequence that makes up the pattern is represented by the chain of dobby bars. The length of the
sequence is limited by the length of the dobby chain. This can easily be several hundred dobby bars, although an
average dobby chain will have approximately fifty bars.
A computer controlled dobby loom (Computer-Dobby) takes this one step further by replacing the mechanical dobby
chain with computer controlled shaft selection. In addition to being able to handle sequences that are virtually
unlimited, the construction of the shaft sequences is done on the computer screen rather than by building a
mechanical dobby chain. This allows the weaver to load and switch weave drafts in seconds without even getting up
from the loom. In addition, the design process performed on the computer provides the weaver with a more intuitive
way to design fabric; seeing the pattern on a computer screen is easier than trying to visualize it by looking at the
dobby chain.
Dobby looms expand a weavers capabilities and remove some of the tedious work involved in designing and
producing fabric. Many newer cloth design techniques such as network drafting can only reach their full potential on
a dobby loom.
Historical Note: Dobby looms first appeared around 1843 -- roughly forty years after M. Jacquard invented the
Jacquard device that that can be mounted atop a loom to lift the individual heddles and warp threads. [1]

References
[1] Apparel Search Definition (http:/ / www. apparelsearch. com/ Definitions/ Miscellaneous/ dobby_loom. htm)
Jacquard loom 19

Jacquard loom
The Jacquard loom is a mechanical loom, invented by Joseph Marie
Jacquard in 1801, that simplifies the process of manufacturing textiles with
complex patterns such as brocade, damask, and matelasse.[1] [2] The loom is
controlled by punched cards with punched holes, each row of which
corresponds to one row of the design. Multiple rows of holes are punched on
each card and the many cards that compose the design of the textile are strung
together in order. It is based on earlier inventions by the Frenchmen Basile
Bouchon (1725), Jean Baptiste Falcon (1728) and Jacques Vaucanson
(1740)[3]

Principles of operation
Each position in the card corresponds to a "Bolus" hook, which can either be
Jacquard loom on display at Museum of
raised or stopped dependant on whether the hole is punched out of the card or
Science and Industry in Manchester,
the card is solid. The hook raises or lowers the harness, which carries and England
guides the warp thread so that the weft will either lie above or below it. The
sequence of raised and lowered threads is what creates the pattern. Each hook can be connected via the harness to a
number of threads, allowing more than one repeat of a pattern. A loom with a 400-hook head might have four
threads connected to each hook, resulting in a fabric that is 1600 warp ends wide with four repeats of the weave
going across.

The term "Jacquard loom" is a misnomer. It is the "Jacquard head" that adapts to a great many dobby looms such as
the "Dornier" brand that allow the weaving machine to then create the intricate patterns often seen in Jacquard
weaving.
Jacquard looms, whilst relatively common in the textile industry, are not as ubiquitous as dobby looms which are
usually faster and much cheaper to operate. However unlike jacquard looms they are not capable of producing so
many different weaves from one warp. Modern jacquard looms are controlled by computers in place of the original
punched cards, and can have thousands of hooks.
The threading of a Jacquard loom is so labor-intensive that many looms are threaded only once. Subsequent warps
are then tied in to the existing warp with the help of a knotting robot which ties each new thread on individually.
Even for a small loom with only a few thousand warp ends the process of re-threading can take days.

Importance to computing
The Jacquard loom was the first machine to use punched cards to control a sequence of operations. Although it did
no computation based on them, it is considered an important step in the history of computing hardware.[4] The ability
to change the pattern of the loom's weave by simply changing cards was an important conceptual precursor to the
development of computer programming. Specifically, Charles Babbage planned to use cards to store programs in his
Analytical engine.
Jacquard loom 20

Austrian Jacquard Close-up view of Jacquard loom

handloom, end of comber board,
19th century, harness, mails,
National Museum weights (Lingoes)
of textile Industry, and warp with
Sliven, Bulgaria 1040 ends

Punched card loom mechanism in Weaver in a silk weaving Close-up view of

silk weaving workshop; workshop; Varanasi, Uttar the 8 × 26 hole
Varanasi, Uttar Pradesh, India Pradesh, India punched
cards—one card
per pick (weft) in
the fabric

References
[1] Eric Hobsbawm, "The Age of Revolution", (London 1962; repr. 2008), p.45.
[2] "Fabric Glossary" (http:/ / www. christinalynn. com/ fabric-glossary. shtml). . Retrieved 2008-11-21.
[3] C. Razy p.120 (1913)
[4] Essinger, James (2004). Jacquard's Web: How a hand-loom led to the birth of the information age. Oxford: Oxford University Press.
ISBN 0192805770.

Sources
• Razy, C. (1913). Étude analytique des petits modèles de métiers exposés au musée des tissus. Lyon, France:
Musée historique des tissus.
This article was originally based on material from the Free On-line Dictionary of Computing, which is licensed
under the GFDL.
Article Sources and Contributors 21

Article Sources and Contributors

Weaving  Source: http://en.wikipedia.org/w/index.php?oldid=414632187  Contributors: 21655, A Macedonian, A9628, Aesopos, Alborz Fallah, AlexanderWinston, All4art, Amillar,
AmosWolfe, Ananiskey, Andonic, Andre Engels, Andrew Kelly, Anggoro, Antandrus, Apwoolrich, Aranel, ArchonMagnus, Arpingstone, BD2412, Bardsandwarriors, Barneca, Bdean1963,
Betterusername, Blad, Bobo192, Bonadea, Brianhe, Canisport, Capricorn42, Ceyockey, Chill doubt, Ciphers, Clamster5, ClemRutter, Cobaye, Courcelles, Cryptic, D, DanMS, Dehnvis74h,
Denseatoms, Dhollm, Dreadstar, Durova, Earthwin, Epbr123, Erath, Ewawer, Ewlyahoocom, Ex nihil, Eyrian, Faradayplank, Feeeshboy, Golfandme, GreyCat, Gwalla, Gwen Gale,
Hadrianheugh, Hasanbay, Henningklevjer, Hmains, Honarparvar, Hydriotaphia, Iridescent, IvanLanin, J8079s, JYolkowski, JaGa, Jagged 85, Jeff G., Jeff3000, Jeronimo, Jessofthebugs, Jh51681,
JoeSmack, John, JohnCD, Jordiferrer, Karen Johnson, Kathrynfrazer, Katieh5584, Keilana, Keno, Kevin B12, Kilonum, Kingboyk, Kingpin13, Kmg35, Knerq, Korpo, Krich, Lady Tenar,
LeaveSleaves, LindsayH, Lir, Lisamh, Loggie, Lollypopcandygum1, Lysy, Malhonen, Mani1, MarylandArtLover, Melchoir, Michael Devore, Michael Hardy, Mirv, Mojska, Mombas, Mongoass,
Montrealais, Mwalther, NEWUSER, Neon Fox, NewEnglandYankee, Noisy, Notheruser, Onionmon, Oydman, PKM, Paintsun, Paul August, Pax:Vobiscum, Persian Poet Gal, Peter Karlsen,
Peterkingiron, Phil Boswell, Polymerbringer, Pretzels, Pro bug catcher, Project Rastko, Proofreader77, PublicassistantJr, Pureweave, Quantpole, Qutezuce, RJASE1, Rajesh dangi, Raul654,
Ricardo Carneiro Pires, Rio4tense, Rklawton, Rosenknospe, Rotor DB, Rrburke, Sam, Sam Hocevar, Sandstein, Sazidrahman, Seb az86556, Shimmin, Silversmith, Slowking Man, Sonjaaa,
StenSmith, Stephen G. Brown, Struway, Suitov, Sundar, Tangent747, Tassedethe, Template namespace initialisation script, Tenmei, Tetraedycal, The Thing That Should Not Be, Theresa knott,
Thivierr, Thumperward, Tillman, Tim Starling, Tobias Hoevekamp, Triona, Troykyo, Turzh, Tweenk, Tydaj, Ubern00b, UkPaolo, Uppland, Uyvsdi, Versus22, WBardwin, Waggers, Wavelength,
Wejdas, Welsh, Wetman, WhisperToMe, WikHead, Wikibob, Woohookitty, Yak, Yamamoto Ichiro, Ерден Карсыбеков, 291 anonymous edits

Warp (weaving)  Source: http://en.wikipedia.org/w/index.php?oldid=413955698  Contributors: Ahoerstemeier, Ariadia, Bardsandwarriors, Bkonrad, Bobo192, Bonás, Carabinieri, Chris the
speller, CommonsDelinker, DJ Clayworth, Damast, Durova, Ewlyahoocom, Eyrian, Ghirlandajo, Glenn, Goldenrowley, Helix pomatia, Hexadude, Hyacinth, Kyle Barbour, Lady Tenar,
Mwalther, Noisy, PKM, ReyBrujo, Steinsky, UkPaolo, Vanisheduser12345, Vicarious, Vslashg, 29 anonymous edits

Weft  Source: http://en.wikipedia.org/w/index.php?oldid=413987614  Contributors: Aboalbiss, AgentPeppermint, Ahoerstemeier, Aranel, Baana, Balthazarduju, Bardsandwarriors,
Betterusername, Bobo192, Borgx, CommonsDelinker, CultureDrone, Dabbleday, Damast, Decltype, Durova, Ewlyahoocom, Glenn, GreyCat, Helix pomatia, JillandJack, Lady Tenar, Levin,
Lisamh, Loggie, Mitsukai, Noisy, OlEnglish, Onionmon, PKM, Pascalthed, Psychonaut, Qui1che, Reisio, Sisterdetestai, Sonett72, SpaceFlight89, The Thing That Should Not Be, Toddsoc,
Txomin, Vanished user 03, Varlaam, 36 anonymous edits

Plain weave  Source: http://en.wikipedia.org/w/index.php?oldid=397212404  Contributors: Aboalbiss, Allissonn, Bardsandwarriors, Bastian, Bento00, Bohemianroots, Citizen521, Crystallina,
Goldenrowley, IGeMiNix, Jhbdel, KimMart, Loggie, Magma2, Maralia, Nyeem, PKM, Samosa Poderosa, Saxifrage, Sonjaaa, Swpb, The Thing That Should Not Be, Wetman, Ypacaraí, 11
anonymous edits

Twill  Source: http://en.wikipedia.org/w/index.php?oldid=404501630  Contributors: -Grover, ACSE, Aboalbiss, Alan Liefting, Alynna Kasmira, Andreae, Apau98, Aranel, Bardsandwarriors,
Bohemianroots, DocWatson42, Durova, Ewawer, Extransit, Eyrian, Fishal, GreyCat, Heron, Jhbdel, John Smythe, Lady Tenar, Loggie, Lotje, Mais oui!, Michael Hardy, Minna Sora no Shita,
Officiallyover, Onionmon, PKM, Pandemix, Pruneau, Qui1che, Radioheadmilk, Rod57, Samosa Poderosa, Shir-El too, TheParanoidOne, TonyHagale, WookieInHeat, おむこさん志望, 67
anonymous edits

Satin weave  Source: http://en.wikipedia.org/w/index.php?oldid=402540255  Contributors: AgentPeppermint, Amatulic, Bardsandwarriors, Catgut, Citizen521, Goldenrowley, Kan8eDie,
KimMart, Mzmadmike, PKM, Rich Farmbrough, Tomas e, Trilobite, 19 anonymous edits

Loom  Source: http://en.wikipedia.org/w/index.php?oldid=414492526  Contributors: 0, 593alexandre, Aanwmo, Aboalbiss, Aditya, Ahoerstemeier, Alansohn, Alex earlier account, Amillar,
Andre Engels, Anna Lincoln, Annebipes, Antiuser, Aranel, Arthena, AshishG, Barca1au, Bcorr, Beetstra, Bgkoe, Bhadani, Black Stripe, Bobo192, Bolivianwarmi, Brighterorange, Brion
VIBBER, CardinalDan, Chadlongstaff, Chochopk, Chris83, Ckatz, ClemRutter, Click23, CommonsDelinker, Courcelles, Crazycomputers, Damast, David.Monniaux, Dehnvis74h, Dianebl,
DigitNe, Doug Coldwell, Duncanogi, Durova, EdH, Edal, Eekerz, Eloquence, Enviroboy, Eyrian, Ezuyok, Fang Aili, FreplySpang, Freshmaniac, Friviere, Gilliam, Gorank4, Grantmidnight,
GreyCat, Gwernol, HAHAHAHATHATS4HAS, Haade, Hadal, Helix pomatia, Helloaday, II MusLiM HyBRiD II, J.delanoy, Jaknouse, Jmundo, JohnCD, JohnOwens, Kapgains, Kazubon,
Kehrbykid, Krish Dulal, Kukini, LOL, Lady Tenar, Leafyplant, Lilac Soul, Loggie, Lotje, Luis Dantas, MER-C, Mageba, Masterpjz9, Mattbr, Mild Bill Hiccup, Mirrix, Mjresin, Moderateur,
Moishe Rosenbaum, Montrealais, Nedim Ardoğa, Neelix, NewEnglandYankee, Nicolae Coman, Noisy, NuclearWarfare, OSborn, Oliver202, Otolemur crassicaudatus, PKM, Pengo,
PericlesofAthens, Piano non troppo, Poeloq, Pschemp, Psyced, PublicassistantJr, Purlingsprite, Ragib, Randyoo, Rich Farmbrough, Rigadoun, Rillian, Rjm at sleepers, Rjwilmsi, Robina Fox,
Rosenknospe, SchfiftyThree, Silversmith, Simonxag, Slinger, Snek01, Snigbrook, Spellcast, Ssilvers, Steevo714, Strikesvl, Sundar, Superdude99, Sylent, TaintedMustard, The Thing That Should
Not Be, TheUNborn1, Thingg, Think outside the box, Timwi, Vanished user 39948282, Vedran12, Wavelength, Wetman, Wexeb, Wikibofh, ‫הענ‬, 249 anonymous edits

Dobby loom  Source: http://en.wikipedia.org/w/index.php?oldid=368494607  Contributors: Armeria, Auric, Bgkoe, Bird weaver, ClemRutter, Ftld, Gurchzilla, Noisy, NorthernThunder, PKM,
Phil Sandifer, TJRC, Traveler100, Wolfman, 13 anonymous edits

Jacquard loom  Source: http://en.wikipedia.org/w/index.php?oldid=410052179  Contributors: Aboalbiss, Acidburn24m, AeroChamber, Amillar, Antientropic, Armando82, Azabyaza121,
BanRay, Bass fishing physicist, Bcballard, Beetstra, Bender235, Black Widow, Camembert, ClemRutter, Cometstyles, Comrade Tux, ContivityGoddess, Conversion script, Cyan, DARTH
SIDIOUS 2, Damast, Dave6, David.Monniaux, Deathgecko, Devilboi07, Durova, Dysepsion, Edal, Emperorbma, Ezrdr, Ferkel, Fmccown, Frecklefoot, Gerbrant, Ghw, GreyCat, Hailey C.
Shannon, Hut 8.5, Iridescent, Island, JLaTondre, Jacquard1, Jamoche, Jordan.caldwell.15, Jordanzed, KnowledgeOfSelf, Koyaanis Qatsi, Kuru, Lady Tenar, Lazulilasher, Leibniz, Lexw,
LittleDan, Loggie, Luis Dantas, Lumarv, MZaplotnik, McGeddon, Midgrid, MisterSheik, Neural, Noctibus, Noisy, PKM, PamD, R'n'B, Recurring dreams, Rjwilmsi, RoyBoy, Rwwww, SDC,
Sannse, Ser Amantio di Nicolao, Sevilledade, Squirepants101, StaticGull, Steve.kimberley, Strait, Suzritch, Sxeptomaniac, Telestylo, TheEditrix2, Thebt, Tide rolls, Trevor MacInnis, Vary,
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Image Sources, Licenses and Contributors 22

Image Sources, Licenses and Contributors

File:Kette und Schuß.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Kette_und_Schuß.jpg  License: GNU Free Documentation License  Contributors: Durova,
LeastCommonAncestor, Ryj
Image:Weaver in India.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Weaver_in_India.jpg  License: Creative Commons Attribution 2.0  Contributors: Claude Renault (Crop
applied by uploader)
File:WeavingIndia.JPG  Source: http://en.wikipedia.org/w/index.php?title=File:WeavingIndia.JPG  License: Public Domain  Contributors: shefshef
Image:Prehistoric weaving.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Prehistoric_weaving.jpg  License: unknown  Contributors: Nikola Smolenski, Project Rastko, Red devil
666, Szajci, 1 anonymous edits
File:Вертикальный ткацкий станок Египет.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Вертикальный_ткацкий_станок_Египет.jpg  License: Public Domain  Contributors:
Karlusa
File:Gynaeceum scene Louvre MNC624.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Gynaeceum_scene_Louvre_MNC624.jpg  License: Creative Commons Attribution 2.5
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Origamiemensch, 3 anonymous edits
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Martin Hürlimann
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LeastCommonAncestor, Ryj
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anonymous edits
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WTCA
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