TXL560 : Chemical Finishes of Textiles
(Laboratory Report 3)
Group : AS2504A
Date of Lab Activities : 26 April 2024
Date of Submission : 14 June 2024
Title : Songket
Students Name & Students Id : Nur Aziemah binti Abdul Halem. (2022615968)
: Nur Khairunnisa binti Muhammad Khairi. (2022850992)
Instructor Name : Dr. Mohd Iqbal bin Misnon
1.0 Objective
● To create design and motifs using provided figures and justify the choice.
● To determine the number of headframes required for the design.
● To implement the “Tekat 3” set up to create motifs and lift plan sections.
2.0 Procedure
2.1 Tekat 3
1. Since Figure 1b may be utilized in reverse as well, it was developed as the base design to
produce the motives.
X X X X
X X X X
Figure 1b Figure 2a Figure 2b
2. Next, the healed frames were changed to 20, and since two healed frames were added to
divide the border for "Tekat 3," the total is 22.
3. The "Tekat 3" arrangement was then employed, as seen in Figures 2a and 2b.
4. Then, in the lift plan section, the motif and Tekat 3 were produced. Not to be forgotten,
an empty pick line was added as well, beginning with picks 1, 3, 5, and so on. Next, using
the provided figure 3, the developed structure was verified twice.
Figure 3
5. Figure 4 illustrates how additional yarn gets added at pick 1, 3, 5, and subsequent yarn
orders.
Figure 4
6. Colors: Reddish for the warp yarn, Black for the ground weft yarn, and Gold for the
effect weft yarn. The entire fabric structure was then obtained by reversing the lift plan,
as shown in Figures 5a and 5b.
Figure 5a Figure 5b
Tekat 5
1. Figure 1b was established as the basis design to produce the motives because it can also
be used in reverse.
X X X X X X
X X X X X X
Figure 1b Figure 2a Figure 2b
2. Next, the healed frames were adjusted to 28, and the total now stands at 30 because two
more healed frames were added to separate the border for "Tekat 5."
3. Then, as Figures 2a and 2b show, the "Tekat 5" configuration was used.
4. Next, Tekat 5 and the motif were created in the lift plan portion. Not to be overlooked,
starting with picks 1, 3, 5, and so on, an empty pick line was also included.
5. Next, the yarn was added at pick 1, 3, 5, and all future yarn orders was as “Tekat 3”.
6. Colors: dark blue for the warp yarn, Black for the ground weft yarn, and soft pink for the
effect weft yarn. The entire fabric structure was then obtained by reversing the lift plan.
3.0 Results
Two Weft Colors
Figure 3.1. Draft View of Two Weft Colors Figure 3.2. Fabric Yarn View of Two Weft Colors
Figure 3.3. Drapery View of Two Weft Colors
Three Weft Colors
Figure 3.4. Draft View of Three Weft Colors Figure 3.6. Fabric Yarn View of Three Weft Colors
Figure 3.6. Drapery View of Three Weft Colors
4.0 Discussions
This lab report investigates the creation and analysis of Songket fabric using two different
designs, "Tekat 3" and "Tekat 5", incorporating both Figure 1a and Figure 1b. The process
involves selecting base designs, setting up healdframes, creating motifs, and implementing a lift
plan. Figures from the lab manual support and illustrate these steps, ensuring clarity and
precision in the execution.
Both Figure 1a and Figure 1b were utilized to explore the impact of different base designs on the
final fabric structure. Figure 1a, with its simpler design, facilitated straightforward motif
development, while Figure 1b offered a more complex pattern that tested the limits of our
weaving setup. By using both designs, we could compare the ease of manipulation and the
aesthetic outcomes, highlighting the versatility and adaptability required in Songket weaving.
For the "Tekat 3" design, a specific number of healdframes was required. We needed three
healdframes for the pattern formation and added two more to separate the border, totaling five
healdframes. This setup, as shown in Figures 2a and 2b, was crucial for achieving the desired
weave structure and ensuring accurate motif representation. Using both Figure 1a and Figure 1b,
we demonstrated how different base designs could be integrated into the same healdframe setup.
The motif development in the lift plan section was carried out using the "Tekat 3" setup. Empty
pick lines were added in a sequence starting with picks 1, 3, 5, and so on, as illustrated in Figure
3. This methodical addition ensured proper spacing and alignment of the motifs. Extra weft yarns
were incorporated at these picks to enhance the texture and appearance of the fabric, with
specific colors (gold for effect weft, black for ground weft, and reddish for warp yarn) as shown
in Figures 4 and 5a. Reversing the lift plan, demonstrated in Figures 5a and 5b, provided a
complete view of the fabric structure and verified the weave’s integrity.
Repeating the procedures with "Tekat 5" involved adjusting the healdframe setup and lift plan to
accommodate the more complex design. This process showcased the technique's flexibility and
its ability to produce varied and intricate patterns. Using both Figure 1a and Figure 1b in this
context underscored the importance of base design selection in Songket weaving. The laboratory
exercise highlighted the meticulous planning and execution required to create beautiful and
complex traditional fabrics, demonstrating the rich possibilities within Songket weaving.
5.0 Conclusion
In conclusion, this laboratory exercise on Songket weaving effectively demonstrated the
intricate process of creating traditional fabric using both "Tekat 3" and "Tekat 5" designs with
base patterns from Figure 1a and Figure 1b. Through careful selection of base designs, precise
healdframe setup, and methodical motif development, we showcased the versatility and
complexity of Songket weaving. The addition of extra weft yarns and the use of a lift plan
highlighted the detailed craftsmanship involved. Ultimately, the exercise underscored the
importance of meticulous planning and execution in producing aesthetically pleasing and
structurally sound Songket fabrics.
