Z/S directions spinning textile – What is yarn? It is the essential constructive component of textile items in various techniques. We make yarns from fibers by twisting them together in a tight, smooth thread. The twisting can be to the left (Z-direction) or the right (S-direction). Yarns always have long, continuous lengths but small cross-sections. The method of twisting is the fundamental factor in determining the properties of textile thread. A higher twist level increases yarn strength. The spinner holds one end of a fiber strand, and the other spins around a spindle`s axis, winding the finished yarn around the spindle. So, yarn twisting means a spiral movement that holds the fibers together, forming a thread usable for further textile production.
You can easily see a very cool fact about letters Z and S. How the middle of the letter matches the strict way your yarn twists. For the “Z” twist, the slope matches the middle part of the Z; for “S”, the yarn’s twist angle is like the middle part of the S.
Z/S directions spinning textile – processing the most popular global textile raw materials
Natural fibers of animal (wool, silk) and plant (flax, hemp, cotton) origin, in any case, are of insufficient length, and inconvenient for use directly from nature, in weaving, knitting, or crocheting… Because it is necessary to join more fibers and twist them together in a continuous rotation process into thread or yarn.
The traditional spinning of the primary, single thread is Z in a clockwise direction, but for spinning multiple threads into a complex one, the opposite S direction. No one seems to understand why it is this way. However, if we use your right hand to spin the spindle top from right to left, you will get a Z-direction yarn. For right-handers, it is a natural manipulation, which is probably why the tradition arose. Wool has no natural resistance to torsion, while tow tends to Z-twist.
Z/S directions spinning textile – Linen S, and Cotton Z-twist.
For example, we know flax processing in Ancient Egypt as facing rich illustrative sources. With a long-axis spindle and a high-set discoid weight, they spun wet flax fibers rolling into the S-direction. The reason was the natural orientation of the fiber tissue.
But cotton fiber naturally spins into strong, stretchy threads along the Z direction. Thanks to widespread cultivation in tropical and subtropical regions, cotton is the dominant material for canvases in various forms. Further, an image from Codex Mendoza presents scenes of an Aztec woman who spins cotton at home. She uses a wooden spindle, a ceramic whorl, and a small ceramic bowl.
This Image is in the Manuscript Codex Mendoza, from 1542. A historical description of daily life among the Aztecs. Bodleian Library, MS. Arch Seld. A.1.
Z/S directions spinning textile – Sheep’s wool may easily twist in both directions
Z/S spinning textiles directions of the animal fibers, abundance of sheep’s wool, have universal application in continental and high regions. Since it is a very elastic, flexible material with a flaky surface, wool easily twists in both directions. For example, in Eastern areas Z direction is familiar for primary monofilament yarn and warping. But traditionally, Serbian women want soft, elastic weft spin S-direction yarns.
How do textile fibers join and hold together in thread?
During spinning, the unspun fiber forms a triangle at the place where the loose fiber becomes yarn. Due to torsion, the fiber is drawn to the sharp tip of the triangle, straightened, joined together, and developed in a twisted form.
In alternating phases, the twisting and winding, the spinner carefully maintains the required twist degree. Having control of the degree of spindle rotation, she twisted the thread uniformly. Over-tight twisted thread, while it is tensioned, when removing the loop from the top of the spindle, it tangles when winding.
How do textile fibers join and hold together in a yarn? A microscopic view shows that the surfaces of various textile fibers are not entirely smooth, but contain husks, protrusions, or creases. Fibers are dented due to torsion, hooks, and join together in a yarn. (spin fibers into yarns).
Number of threads in the yarn structure
Additionally, with twisting or plying, the number of threads in the yarn structure is among the basic features of yarn. Basic models are Single and Plied yarn; Third, the Cord of several already spun and plied threads, afterward, joined and twisted into a complex yarn.
Single yarns twist directly from fibers as just one thread, at an extra high or low twist. The rounded cross-section of singles allows better fill. So, the fabric has a cohesive look and a cozy feel. Smooth and bright, without the shadows that come from complex plies. But singles don’t suit items for a lot of wear and tear.
The plied yarn consists of at least two singles, clockwise (z) or counterclockwise (s), joined into a complex yarn plied S or Z. Two or more single yarns are twisted together. Plying is the opposite direction to twisting the singles, which stabilises the yarn. Wavy edges arise because two strands wind around each other. They are stronger than single-ply yarns, protected from breaking by the extra twist. They are also more balanced. A wavy edge means they can be suitable for multicolor work, blending the borders of color changes. They are also traditionally used for lace knitting.
Types of yarn and their use
As they are the primary textile materials, I will write about natural fiber yarns, primarily cotton, hemp, flax, and wool. Two or more strands twisted together add strength and durability to the yarn. So, the amount of twist in the yarn affects its texture, drape, and strength to achieve the desired characteristics for a particular application.
According to the direction, Z or S twisting affects how the yarn behaves when weaving or knitting. Z-twist yarns tend to tighten and are usually convenient for warps and stitches. The other, S-twist, is soft and looser, commonly used in weaving weft or knitwear. The popular majority tend to spin singles as Z and then ply S. But, crocheters prefer yarn as the Z final twist direction. Strength of the yarn twist in textile works: Tightly twisted, stable yarn is often good for weave warps. The loosely twisted yarn makes a good weft for textiles that retain heat and keep you warm in winter.
Different yarn twisting causes aesthetic effects, altering appearance, thickness, and light reflection. Different twist levels give patterns in a fabric by using similar yarns. Also, shadow stripes in weaving alternate S or Z twisted yarns. The level of twist can also enhance or subdue twill effects.
Z/S spinning textiles directions – In the Textile Sources from Archaic cultures
Archaic textile sources testify to visual effects, such as the Neolithic woven belt from Borum Eshøj (Denmark) and ancient Peruvian weavings (Mexico).
The woolen belt from Borum Eshøj in Denmark is among the famous Danish finds at Copenhagen Natural Museum. Dates in 1344 BC. Manner of creating apparent zig-zag patterns. Structurally simple, dense warp-faced tabby with a zigzag optical illusion. In Bronze Age Europe, instead of colors, people combined strips with nuances of natural sheep’s wool in warp-faced plain/tabby weave. Alternating groups of Z and S spun threads, shadow stripping.
The belt was in plain weave with a zigzag optical illusion. The impression of diagonal ribbing comes from packing one set of elements so closely together that the other set can’t be seen. Thus, in a warp-faced weave where the warp is S-spun, so the fillers appear to have negative slope, the eye will travel up toward the right, that is, along a positive slope; and if the warp is Z-spun (positive slope), the eye will seem to see a diagonal moving up to the left (negative slope). So the warp of the belt shows 12 S-spun threads in edge strips, with 16 Z-spun threads in the middle.
Early Peruvian patterned textiles with alternating groups of Z & S twist threads in the warp
Indigenous Peruvian textiles include examples with patterns accented on alternating groups of warp threads in Z and S directions. Here is a detail from a Shawl at the Exhibition Hidden Threads from Peru by Ann Polar Rowe and John Cohen, Textile Museum, Washington, DC, 1999. Otherwise, the entire content demonstrates the continuity and discontinuity of Andean weaving techniques from pre-Hispanic to modern times.
We are familiar with the colorful weavings of American Indians on simple looms. How are weavers skilled in manually selecting threads in each weft row according to the pattern? So, here complex patterns originate from a simple device. For the art of Peruvian weaving, the key reason is the manual picking of the warp.
In our example, a slanted ribbed structure is visible, dominated by a pattern with alternating groups of Z and S threads of the warp. And that oblique lines are meticulous movements in the warp.
A similar case is in Elena Phipps’s article about Early Peruvian textiles in Washington’s Textile Museum. It is how plain-weave looks like a herringbone twill. This makes sense for fabrics woven hundreds of years ago, when a simple backstrap loom was the only existing weaving tool.
What a wonder! Plain-weave fabric creates the illusion of a multi-shaft twill.
Weaver Tom Knisely began by spinning two bobbins with Z-spun singles and plied them with S-twist. Then spun two bobbins with S-spun singles and plied them with Z-twist. Set groups, labeled carefully (red thread). Following Peruvian tradition, Tom warped eight strands of Z-plied thread with eight strands of S-plied thread in a warp. Both yarns were off-white and arranged by marking the thread on the warping board. After all, he only needed to weave a simple plain weave. After the wet-finished scarf, the pattern became well noticeable.
Z/S directions spinning textile – Twist directions of yarn, a factor that influences the prominence of twills.
The direction of the twist in the yarn influences the prominence of the twill. If the yarn twist direction is the same as the direction in the twill structure, the relief of the designed twill reduces. But when the direction of the yarn twist is opposite to the twill direction, the prominence of the twill increases. Even in Z or S twill, the direction of the twist in the warp and weft yarns causes the prominence of twill lines. The right-hand warp twill (Z-twill) is more prominent with the S-twist in warp and weft, and the opposite, left-hand warp twill (S-twill) is more prominent with the Z-twist in warp and weft.
Those decorative spin patterns were popular in Central Europe’s Bronze and Iron Ages (Hallstatt). The effects were combinations of different yarns (Z or S direction). The threads appear lighter or darker depending on whether the light falls on the fabric parallel or at an angle. Thus, the prehistoric weaver obtained a checkered pattern in a monochromatic yarn of Z and S directions in both thread systems (warp and weft). Warp was hard twisted for strength, while the weft was usually softer. The two yarns were spun in the opposite direction for decorative qualities. Many fabric scraps are of yarns spun in opposite directions to create subtle designs when light hits each yarn differently.
Alternating twist directions optically cause Spin or Shadow patterns
Thanks to preserved textiles from the Copper and Iron Age, in salt mines at Hallstatt, we can discuss the issue. Even textile techniques, such as Spin or shadow patterns. Yarns of Z or S twist appear lighter or darker depending on whether light falls parallel or at an angle on the surface.
Decorative spin patterns are combinations of different yarns (Z or S direction), popular in Central Europe’s Bronze and Iron Ages (Hallstatt). Optically, the threads appear lighter or darker depending on whether the light falls on the fabric parallel or at an angle. Here we have warps set as delicate stripes in simple tabby/plain weave. Then, the prehistoric weaver could obtain much more complicated patterns. Even in a monochromatic yarn of Z and S directions, in both thread systems (warp and weft).
This sample consists of sequenced groups of s and z-spun yarns, which reflect the sunlight differently. Mostly, these groups are regular with a specific number of Z or S yams. But the grouping can be irregular, too. Depending on the angle of the light falling on the fabric, some stripes appear darker than others. This creates the impression of a stripe pattern. Here, the setting pattern is in the warp direction. This is the usual solution, but sometimes, warp and weft, a checkered pattern effect.
Now, follows a spin pattern with the intersection of S and Z spin directions in twill. A piece of cloth from Hallstatt, inv. no. 73,341. The technique is a basic Z-twill, but there is a hint of a check pattern. This causes the alternate stripes of S and Z yarns to cross warp and weft in both thread systems.
Z/S directions spinning textile – Transition from basket weave to twill on the same piece of Textile.
A particular illustration of the ultimate Weaver’s skill from the Hallstatt site 255. They even knew how to switch from basket weave to 2/2 twill, on the same piece. It is a large brown textile piece in twill, with a basket-woven band. Warping is with four heddle rods (No. 1-4). The basket section goes by raising rods 1 and 2 together, passing two weft threads through the shaft. Then, rods 3 and 4 lift together, and a further pair of weft yarns is passed through the shaft. At switch, for the 2/2 twill, the heddle rods have to rise in the following order: 1+2, 2+3, 3+4, and 4+1.
I have marked the section in the photo and the scheme (vertical red line separates the S and Z twist; horizontally, between green and purple are two transitional rows.
Over time, cultures across a wide area perfected yarn dyeing techniques. Thus, multicolored ornamentation in weaving was popular in prehistoric times. This suppressed monochrome shadowing textures among the elite of that time. The design of prehistoric textiles primarily followed the crafts. At first, a simple use of warps or wefts in different colors was used in the design of textiles. Checkered patterns arise when applied to both systems, the warp and weft. The same happened in various twill patterns in the Early Bronze Age.
Finally, and in Further…
At the moment, I feel it is better to end this introduction to the extensive subject of textile threading directions. As weaving is the basic textile technique, I presented evidence of Z/S twisting in the earliest designed fabrics. On another occasion, I would further research the effects of the S or Z direction of threading in handwork textile techniques. It may be interesting, especially for knitters, crocheters, embroiderers, etc.
Until the next reading, best regards,
Branka on Textiles
