Computer Aided Jacquard Designing

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Muhammad Usman Javaid

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COMPUTER AIDED JACQUARD DESIGNING Using NedGraphics

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Scope of the Training

Jacquard Machine

Images for Jacquard Designing

Harness Build Up

Weave Designing

Jacquard Design

Jacquard Controlling

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COMPUTER AIDED JACQUARD DESIGNING / MANUFACTURING Jacquard Machine

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Jacquard Machine • Jacquard is Warp Lifting/Shedding Mechanism:

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Parts of a Jacquard ‫‏‬Main Drive from loom to Jacquard also for motion synchronization

Jacquard System engine

Harnesses Area

Jacquard Electronic Controller

Loom

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Line diagram of Jacquard

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Mechanical Jacquard Lifting Animation

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Electronic Jacquard Shedding Animation

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Jacquard Controller

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Types of Jacquard Punch Cards • There are three types of Jacquard Punch Cards with

respect to density of holes in the cards: • English or Coarse Pitch Card has large hole and less density • Verdol or Standard Pitch Cards has smaller hole than English

pitched cards and relative high density • Fine Pitch Card has smallest hole and more density therefore will have less size and weight fore same number of needles

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Types of Pitches Type

Area

Pitch

English Coarse Pitch

412mm x 60mm

8 x 51 = 408

Verdol Standard Pitch

377mm x 69mm

(16 x 28 x 3)-24 =1320

Vincenzi Fine Pitch

320 mm x 27mm

8 x 56 = 448 x 6 = 2688

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One Direction Straight Tie

English Coarse Pitch

Verdol Standard Pitch

Vincenzi Fine Pitch

Pitch/Capacity

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Perpendi cular London, Cross, Quartertwisted Tie

Parallel Norwich, Straight Tie

Orientation of Design Cylinder w.r.t. Comber board

Single Tie

Mirroring, Pointed Tie

Mirror only at selvedge Border Tie

Mixed Tie

Lay-over or Repeating Tie

Number of Repeats

Types of Harness Ties

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Harness Ties • The jacquard harness is

the system of cords, healds, and lingoes that transmit the movement of the hooks to the individual warp threads • A simple form of harness is shown. • The jacquard machine is assumed to have 400 hooks which are represented in the diagram:


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Harness Ties • 8 Rows X 50 hooks /row =

400 hooks • Comber board is almost one meter below the bottom of the hooks. • The holes are arranged in rows of eight corresponding to the rows of eight hooks in the machine. • From the hooks cords are led thought the first, 401st, 801st and 1201st holes.


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Single Tie • When number of

harnesses are equal to the number of neck cords, i.e. there is only one repeat in whole width of the jacquard, is called single tie.


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Lay-over Ties


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Lay-over Tie • This is the most common design • •

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tie used for, both Norwich and London harness ties. The fabric contains more than one repeat of the design in its full width. Fig. 14.15 shows a portion of the repeating pattern. In this tie there must be as many harness cords tied to each neck cord as there are repeats in the full width of the fabric. Thus if there are 4 repeats of the pattern, In the width of the fabric then there will be 4 harness cords tied to each neck cord or hook.


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Center Tie • This type of tie is suitably

used, when a design is symmetrical if turned over Its central line, One such design Is shown ¡n Figure • For example suppose the design shown m the above figure complete on 800 ends in Its full repeat the number of ends from the central Line to each dotted line ¡s 400, representing a half repeat of the design, The threading of the harness tines through the comber board Is indicated in Figure.


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Center Tie • The harness tines are connected from 1st

to 400th hook in a regular order order then from the 399th hook, the harness lines are connected in the reverse Order i.e. from 399th to the 2nd hook from where the order is again reversed and the harness • Cord is passed through hole no. 1 in the comber board No. 400 is In the center and No. 1 repeat at the right. By this arrangement the texture of the cloth is slightly affected as no end is drawn through the No. 400 and No.1 repeats with a solid mark in the Figure The design with the Omission of these ends will have totally 798 ends instead of 800 ends Originally assumed. The centered tie is largely used for silk ribbons curtains, serviettes tray clothe, upholstery and carpets.


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Border Tie • Mainly used for bordered fabrics like •

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•

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handkerchief or table cloth. In this tie one repeat of the border figure is made at each side of the fabric only. The central design is, however, repeated a number of times. The central portion may have a repeating tie or a central tie and any appropriate number of hooks may be assigned for the border and the body design of the fabric. The illustration in the figure indicates the border figure is turned over at the sides and the body figure is developed by a centered tie repeating two times. A number of permutations can be used for a variety of effects.

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Mixed/Special Ties


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Card Cutting


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Card Cutting


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Electronic Jacquard Reading-In • The module is an assembly of elements • • • • • • • • • • • • • • •

comprising the following parts. 1 - Elements outside the module 2 - Elements inside the module 3 - Release hook return springs 4 - Release hooks 5 - Electromagnet 6 - Mobile hooks 7 - Hoist body 8 - Braces 9 - Reeling cable 10 - Harness threads 11 - Run up point 12 - Hoist pulleys 13 - Screws 14 - Ramp 15 - Armature

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COMPUTER AIDED JACQUARD DESIGNING Basics

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Path to follow Make its size SUITABLE. Choose Colors: Define different colored region to give different Weaves.

An Image

Manipulate the image as required i.e. Scaling, mirroring, drawing, etc. Add warp and weft pattern information

Make a loom readable Image and transport to loom

Add Weaves, Loom harness, and other practical information

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IMAGES FOR JACQUARD DESIGNING

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Why Images? • Fabrics and Images are very resembling to each other

• Let’s‫‏‬first‫‏‬look‫‏‬at‫‏‬what‫‏‬are‫‏‬images:

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Pixels and images • Image: is grid of pixels • Pixel is the unit of color

display of an image • Different Colors of pixels make up the colors of an image • dpi = Pixel per inch defines size of an image • Two Image of same size (width pixels x length pixels) but different dpi will have different dimensions width x length of the image


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Pixels and images • Pixels are squares

so usual image has same density of pixels in length and width direction • But It can be varied as needed by making pixel rectangle


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Pixels and images


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Fabric and Images • Fabric has yarn density • Fabrics can have warp

and weft densities different • Fabrics has few colors

• Images has Pixel

density • Images usually have same dpi but it can be made different • Images have many colors‫‏‬that’s‫‏‬why‫‏‬we‫‏‬ need to reduce the image colors that we need to convert to fabric

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Fabric and Images • Colors in fabric are from

either warp or weft w.r.t. weave (for YDF) • While images are used as‫‏‬fabric,‫‏‬they‫‏‬can’t‫‏‬ contain such information so details of yarn colors need to be saved separately. That is what a design (*.des) file does.

• Each Pixel in an image

has‫‏‬it’s‫‏‬own‫‏‬independent‫‏‬ color

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We Can Conclude: • Image consists of pixels: • No.‫‏‬of‫‏‬Pixels‫‏‬in‫‏‬an‫‏‬image’s‫‏‬width‫‏‬can‫‏‬represent‫‏‬a‫‏‬fabrics‫‏‬Warps • No.‫‏‬of‫‏‬Pixels‫‏‬in‫‏‬an‫‏‬image’s‫‏‬length‫‏‬can‫‏‬represent‫‏‬a‫‏‬fabrics‫‏‬Wefts • Pixels shape can be changed to show difference in densities of warp and weft. • Different colors in image can represent different weaves and color is nothing to do with weave expect a specific area of image where defined weave will be given. • Pattern of warp and weft must also be given separately.

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JACQUARD CAD SOFTWARE Introduction

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Jacquard Designing Path

Yarn + Weave + Artwork + Pattern

Jacquard Design

Loom File

Modules in Jacquard CAD Harness (Loom Editor)

Image Editor (Texcelle)

Communicati on (Fabric Editor)

Jacquard Software Simulations

Weaves

(True Coloring)

(Weave Editor)

Compile (Product Creator)

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IMAGES FOR CAD

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Introduction • Image editor is an image creation tool for the preparation

of artwork for use in jacquard design. • Basic artwork can be created: 1. 2. 3.

Freehand, Scanned in, or loaded from an existing file.

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Image editor Usage • Steps: 1. A graphics image is created. 2. Weave structures are created for each unique color in the graphics image. 3. The weave structures are applied to the graphics image to create a single total weave structure. 4. Warp and weft patterns and loom control informations are created and applied to the total weave structure to generated the woven jacquard design.

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Observations • On understanding this process, certain observations

should become clear. • Firstly, • each unique colour in the artwork image must be allocated a weave

structure - generally a different weave structure to those around it. • In order to keep the number of different weaves in the jacquard down to a workable minimum number you must control and minimize the number of unique colors in the artwork image.

• Secondly, • the physical appearance of the colours in the artwork is not important (except to distinguish between different colour areas) since these colours are only used to create a weave structure. • The colours in the finished design come from the warp and weft patterns and not from the artwork.

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Pixels and Resolution • A “pixel” is a single picture element (a dot on the screen) -

the smallest element that you can identify in a computer graphics image. • All graphics images are built up of pixels and these are fundamental to an understanding of computer graphics. • A pixel does not have an intrinsic size - the size of a pixel depends upon the device on which the image is displayed. • Graphics display devices all have a “resolution” associated with them and it is this resolution that determines the pixel size. The resolution is generally measured as a number of “dots per inch” (dpi) and this equates to pixels per inch.

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Pixels and Resolution • For example, a computer screen may have a resolution of

72 dots per inch. • This means that each pixel can be displayed at 1/72 of an inch. • So, if you display an image that is 72 pixels wide on this device

then it will measure exactly one inch on the screen.

• Colour printers usually have much higher resolutions than

computer screens - anything from 300 to 1440 dots per inch. • If you take the same 72 pixel wide image and print it directly to a colour printer with a resolution of 300 dots per inch then it would only be 72/300 inches wide. Thus the size of a pixel is determined by the resolution of the display device.

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Pixels and Resolution • You can only work with whole numbers of pixels - you cannot have

• • •

•

•

“half‫‏‬a‫‏‬pixel”‫‏‬since‫‏‬pixels‫‏‬are‫‏‬the‫‏‬smallest‫‏‬element‫‏‬of‫‏‬a‫‏‬computer‫‏‬ graphics image. It is common, however, to scale up pixels to obtain a larger image. This is often done when printing an image because of the higher resolution (and hence smaller pixel size) of printers. When sending an image from the screen to a printer, for example, each screen pixel (1/72 inch) might be converted into a block of printer pixels (1/300 inch) in an attempt to restore the image size. Using the above resolution figures you might use a scale factor of 4 so that each screen pixel is duplicated to become a block of 4 x 4 printer pixels. This would be equivalent to a printer resolution of 300/4 = 75 dots per inch which is much closer to the original screen resolution.

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Pixels and Jacquard Designs • When creating artwork for a jacquard design it is useful to

remember that a screen pixel represents a single lift in the resulting jacquard weave structure. • Single pixels in an jacquard artwork image are actually undesirable since they will become almost random lifts within the weave structure. Remember that each colour in the artwork represents a different weave structure. • Suppose you have artwork in which there is single red pixel surrounded by a large area of blue pixels. You assign a twill weave to the blue pixels and a plain weave to the red pixels. • In the jacquard weave the red pixel will become ONE LIFT of the plain weave in amongst the large area of twill weave.

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Pixels and Jacquard Designs • At best this one lift will not be seen and is therefore

superfluous. • At worst it may contribute to a longer floating thread sequence at

this area and is therefore a flaw in the fabric.

• For this reason single pixels, and single pixel width lines

are best avoided in jacquard artwork. • If you want to see the effect of a colour area in the finished

jacquard fabric then the width and height of that colour area in pixels should bear some relationship to the ends and picks of the weave structure that will be allocated to that colour.

• Screen pixel • Block of printer pixels occupying approx. same area as

screen pixel Single red pixel surrounded by blue Effect of this pixel in jacquard weave

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The Graphics Image • As mentioned previously, there are three main ways to

create a graphics image in the Image editorprogram. • 1. Freehand Artwork Creation • Image editorallows freehand painting directly onto the computer screen

using a mouse or pen and has a full range of image manipulation tools to assist with this. You can start with a blank screen and create the image that you want. • 2. Scanning • If you have a colour scanner you can scan existing paper artwork onto

the computer screen. Once on the screen you can use the freehand artwork tools to manipulate and edit the image as required. • 3. Loading from File • Image editorcan read (import) and write (export) all of the major

graphics files formats (e.g. TIFF, BMP, PCX etc.). This allows you to create an image using virtually any other graphics software (e.g. Photoshop, Corel Draw etc.).

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The Graphics Image • The image is created and stored using the other graphics

software then loaded onto the Image editorscreen. • Note that the CAD software package Jacquard Designer program will only accept files stored by Image editoras the basis for a jacquard design. • This is because the Jacquard designer program uses extra information stored alongside the image file which standard graphics files formats do not include. • For this reason you must go through the Image editorprogram as part of the jacquard creation process.

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COLOR ISSUES

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Colour Issues • When creating jacquard artwork it is important to

remember the following points 1. Each unique colour in the artwork represents a weave structure 2. The colour appearance of the artwork does not affect the jacquard fabric • The first point is important because it places a restriction on the number of colours you choose to use in your artwork.

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Colour Issues • For example, if you only want five different weave structures in your

jacquard fabric then you must have only five unique colours in your artwork. • Always work backwards from the jacquard fabric when constructing your artwork. Think of the number of weaves that you want to use (approximately) then equate this to unique artwork colours. If there are too many colours in your artwork then you may have to use colour compression techniques (see later) to reduce the number. • The second point refers to the actual physical appearance of the colours in the artwork. Given that the artwork is only an intermediate stage of the jacquard design process and that it is essentially used to create a total weave structure which is monochrome in colour, then you should not spend too much time on the actual colour appearance. • Colours are used only to distinguish different areas in the artwork. If it helps to identify these areas by using strongly contrasting colours then this is how your colour palette should be setup.

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24-Bit and 8-Bit Colour • Artwork Designer, in common with most professional

graphics‫‏‬software,‫‏‬supports‫“‏‬24-bit”‫‏‬and‫“‏‬8-bit”‫‏‬colour‫‏‬ images. These images are fundamentally different and it is worth taking a little time to understand the differences.

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8-Bit Color Images • An “8-bit” image uses up to 256 different colours. It has a

palette associated with it, which contains the 256 colour definitions. Each colour in the palette can be uniquely selected from a range of 16.7 million colours. • Each pixel in the image is a palette reference number between 0 and 255). To identify the colour of that pixel you must refer to the palette. For example, a pixel value of 34 means that the colour of that pixel is defined by the data in palette entry number 34.

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24-Bit Color Images • A “24-bit”‫‏‬image‫‏‬can‫‏‬have‫‏‬as‫‏‬many‫‏‬different‫‏‬colours‫‏‬as‫‏‬

there are pixels in the image. So, if the image size is 200 x 300 pixels then a 24-bit image can potentially have 200 x 300 = 60,000 unique colours. As the image size increases so does the potential colour range, up to a maximum of 16.7 million. • There is no palette associated with a 24-bit image. Each pixel consists of a red, green, and blue value each with the range 0 to 255, • Generally speaking, 24-bit images are suitable for photographic-type images where subtle shading and fine detail are of most importance. 24-bit images are NOT suitable for jacquard artwork as there are simply too many colours in the image.

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Colour Compression\Reduction • Colour compression is necessary when there are too many colours in your artwork image and you wish to

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reduce the number of colours (and hence the number of weaves required for a jacquard) to a more manageable number. This will typically be the case with a scanned image, which can have anything from 256 to several thousand unique colours. A large range of colours is used to preserve the image quality and realism and is essential when working with photographic images but a jacquard with 200 unique weaves is unworkable and unnecessary. Often individual colours will only appear as single pixels within the image and it would be unnecessary to allocate a weave structure which would only weave for one lift before changing to another structure. The above shows a scanned image with an area enlarged to show how many unique colours are present in this small area. Due to subtle shading there are many more colours present than at first meets the eye. The original image does in fact contain over 200 unique colours - most of which are subtle light and dark shades which are not immediately apparent. However, by looking at the image you can see that there are only three dominant colours - the mid-blue background, the dark blue, and a white colour. It should be possible to reproduce the essence of the image using only these three colours. There‫‏‬is‫‏‬no‫‏‬question‫‏‬that‫‏‬the‫‏‬original,‫‏‬uncompressed,‫‏‬image‫‏‬has‫‏‬more‫‏‬clarity‫‏‬and‫‏‬is‫‏‬more‫“‏‬correct”‫‏‬in‫‏‬a‫‏‬ photographic sense. But remember that the object of this exercise is to create jacquard artwork which will then be converted into weaves. This very process will result in some degradation of the image therefore the second, compressed, image is more than adequate for this purpose. In this example, colour compression has reduced the number of colours from over 200 to 3 and, in doing so, has made the artwork image much more suitable for use in a jacquard design.

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Colour Compression Techniques • CAD software package provides several methods for colour

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compression.‫“‏‬Decrease‫‏‬to‫‏‬256”‫‏‬will‫‏‬automatically‫‏‬reduce‫‏‬a‫‏‬24-bit image down to a maximum of 256 colours. This is generally the first step in compressing a scanned image. Once the image has been reduced to 256 colours you can choose from‫“‏‬Automatic”‫‏‬colour‫‏‬compression‫‏‬or‫“‏‬Manual”‫‏‬colour‫‏‬compression. “Automatic”‫‏‬compression‫‏‬attempts‫‏‬to‫‏‬use‫‏‬mathematics‫‏‬to‫‏‬work‫‏‬out‫‏‬the‫‏‬ relationship between colours and can be used to reduce an image to given number of colours. Sometimes, however, the mathematics of the colours in an image is such that the automatic compression algorithm is not successful and will not result in the desired effect. “Manual”‫‏‬compression‫‏‬allows‫‏‬you‫‏‬to‫‏‬manually‫‏‬select,‫‏‏‬from‫‏‬the‫‏‬ screen, the colours that you wish to remain in the image. All other colours in the image will become one of the selected shades. Again, mathematics is used to determine how the non-selected colours are changed.

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Scaling Issues • One of the most important issues when designing jacquard artwork comes in

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choosing the size of the artwork image. In this context, the size of the image is the width and height of the image measured in pixels (screen dots). Image‫‏‬editor‫‏‬can‫“‏‬scale”‫‏‬a‫‏‬image‫‏‬up‫‏‬or‫‏‬down‫‏‬to‫‏‬any‫‏‬requested‫‏‬size‫‏‬but,‫‏‬in‫‏‬doing‫‏‬ so, you will add or remove pixels to the image in order to generate the new sized image. When scaling an image up this‫‏‬typically‫‏‬leads‫‏‬to‫“‏‬jagged‫‏‬edge”‫‏‬stepping‫‏‬effects,‫‏‬ especially on diagonal lines within an image. When scaling an image down to a smaller size the problem is a loss of detail as pixels are discarded to reduce the image to a smaller size. If an image consists of single pixel-width lines (which themselves are not recommended for jacquard design) then these may disappear from the image altogether as a result of scaling down. To avoid these problems the simplest solution is to plan the image size carefully so that scaling is not necessary. To do this you must work backwards from the jacquard fabric size. Identify the jacquard repeat size (in ends and picks) that you will need to give you the fabric size that you require. To minimize scaling the artwork image should be the same size as the ends and picks of the jacquard repeat.

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Example 1 • Repeat size 6 x 8 inches

• Warp sett 32 ends per inch • Weft sett 40 picks per inch • Ends 6 x 32 = 192

• Picks 8 x 40 = 320 • Artwork Width 192 pixels • Artwork Height 320 pixels


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Example 2 • Repeat size 25 x 32 cm

• Warp sett 12 ends per cm • Weft sett 15 picks per cm • Ends 25 x 12 = 300

• Picks 32 x 15 = 480 • Artwork Width 300 pixels • Artwork Height 480 pixels • If the calculated artwork sizes are too large for the artwork

then reduce the artwork size by dividing these sizes exactly by 2, or 3 and so on. If the calculated sizes are too small then multiply them by 2 or 3 and so on to create new sizes. This will minimize any scaling required.

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Example 3: Scaling a Multiple-Layer Jacquards • The above examples assume that you are creating a

simple, single cloth jacquard with one face layer only. If your jacquard construction is multi-layer (e.g. 2 warps, 2 wefts, or 1 warp 3 wefts etc.) then to minimize scaling effects you should plan your artwork sizes as follows 1. 2. 3.

Work out the pixel sizes as described above. Divide the pixel width by the number of warp layers Divide the pixel height by the number of weft layers

• Note that the above size calculations are

recommendations only. There is nothing to stop you creating CAD software package artwork any size that you wish.‫‏‬However,‫‏‬you‫‏‬should‫‏‬be‫‏‬aware‫‏‬that‫“‏‬scaling”‫‏‬may‫‏‬ take place and that this will affect your artwork.

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COMPUTER AIDED JACQUARD DESIGNING / MANUFACTURING Jacquard Harness Build Up

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Woven Textile Software Packages • NedGraphics • ScotWeave

• Textronics • Arahne • Designcope Victor

Software Comparison NedGraphics

ScotWeave

Arahne

Scope

Weaving, Knitting, Weaving, Braiding Weaving + Printing, Fashion, Printing Interior and Textile Design

Commercial + Free

X

X

OK

OS

Windows + MAC

Windows

Linux

Price

Expensive

Expensive

Not very Expensive

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Jacquard Manufacturers

Staubli

Bonas

Grosse

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Communicating Design to Jacquard

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Jacquard Information • Without complete harness information it will be impossible to

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setup Jacquard Software (ScotWeave) correctly for jacquard loom and therefore impossible to transfer the design from CAD software package to jacquard loom. Harness information will have been supplied when the harness was fitted to your jacquard. If you do not have this information then you must contact whoever installed the harness and ask for this information. You may also need to contact the manufacturer/supplier of your jacquard mechanism for some additional information on how this is setup for reading data from a CAD system.

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Map of Hooks • A‫“‏‬map”‫‏‬of‫‏‬jacquard‫‏‬head‫‏‬lifters‫‏‬to‫‏‬harness‫‏‬cords‫‏‬is‫‏‬used‫‏‬

to show which lifters are attached to which harness cords and the function of each harness cord. • In addition to this, many electronic jacquard controllers have‫“‏‬electronic‫‏‬functions”‫‏‬or‫“‏‬electronic‫‏‬controls”‫‏‬which‫‏‬ can be used to control weft selection mechanisms and warp motion. • If these functions are used then they must also be mapped out.

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Types of Hooks


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Jacquard Loom


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Jacquard Harness Designing • Total Hooks

• Jacquard Short Rows and long rows measure • Weft Selectors • Regulators • Weft Density Control • Warp Tension Control • Machine Speed Control • Selvedge Hooks • Design/Body Hooks

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Stabuli Jacquard Function number Used for 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Weft selector number 1 Weft selector number 2 Weft selector number 3 Weft selector number 4 Weft selector number 5 Weft selector number 6 Weft selector number 7 Weft selector number 8 Weft selector number 9 Weft selector number 10 Weft selector number 11 Weft selector number 12 Weft selector number 13 Weft selector number 14 Weft selector number 15 Weft selector number 16

17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32

Density bit 0 Density bit 1 Density bit 2 Warp tension bit 0 Warp tension bit 1 Warp tension bit 2 Speed bit 0 Speed bit 1 Speed bit 2 Loop tension Terry/Flat Border End of rapport > managed by the JC4 Trennstuck weben Reserved Reserved

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Regulators: 3 bit controlled Function Bit 1

Bit 2

Bit 3

Index

0

0

0

1

1

0

0

2

0

1

0

3

1

1

0

4

0

0

1

5

1

0

1

6

0

1

1

7

1

1

1

8

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Single bit controlled Function

Bit 1

Index

0

1

1

2

82

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83

Creating a Loom Diskette • The process of creating a loom diskette involves selecting

a jacquard harness plan, then applying this to a CAD software package jacquard design to create information for a loom. • Whenever you begin the process of creating a new loom disk you will see the following dialog which will confirm the current harness plan that will be used

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Creating a Loom Diskette

84

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COMPUTER AIDED JACQUARD DESIGNING / MANUFACTURING Weave Designing

85

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• Weaving Designing • Direct Editing • Weave Creation • Through Weave Editor • Simple Weave Design • Complex (Layered) Weave Design

86

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COMPUTER AIDED JACQUARD DESIGNING / MANUFACTURING Jacquard Designing

87

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88

Parts of a Jacquard File • Image and Yarn information = .DES file

• Jacquard Harness Information = .HRS file • Pile Details = Selected from option design in .DES file • Yarn Density Information

• Design Repeat Information • Yarn Information • Weave Information

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Yarn Designing • Details of Yarns: • Yarn Count System • Yarn Count Number • Twist • Yarn (Visual) Type (Fancy yarns) • Yarn Color • Color Types • Total Yarns • Library of Yarn • Scanning Yarn

89

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Card View


90

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Design View


91

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Fabric Weaves


92

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Other Weaves


93

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Simulation


94

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COMPUTER AIDED JACQUARD DESIGNING / MANUFACTURING Jacquard Controlling

95

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Function of Jacquard Controller • Weaving from Files

• Importing Files • Exporting Files • Editing/Viewing Files

96

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Before we Design • End / inch

• Pick/ inch


97

Computer Aided Jacquard Designing

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