This thesis is an exploration into the notation of weave structures. To do so, it analyses weave geometries from the perspective of negative space — here referring to the empty area in-between vertical warp threads and horizontal weft threads. Central to the research are the questions: what is the potential role and value of negative space in weave structure visualisation and can a holistic approach to the visualisation of weave structure uncover a new understanding of cloth construction and properties? Sparse attention has been given to weave structure notation prior to the First Industrial Revolution. This suggests that early weaving knowledge was likely to be tacitly passed on and learnt through the experience of making. Today, the modern notational system — a grid-like matrix of coloured squares — only indicates the movement of yarns on the machine (chapter 03). While weavers understand very well this way of visualising weave structure, others outside of the discipline struggle to make sense of it or understand woven cloth’s fluid nature — hindering innovative engagement with the craft and limiting its construction methodology to what the machine can/not do. The thesis investigates the potential development of an alternative weave structure visualisation for others to understand the tacit and experiential knowledge that cloth creation necessitates; and for weavers to approach their craft in holistic ways. This could help step away from understanding weave structure notation as a sole manufacturing tool. Following a practice-led methodology based on a ‘make-think’ approach to research, the study focuses on visualising the ‘unseen’ by asking: what is it that is not being looked at? (chapter 02). In order to understand empty space as a ‘material’ space (chapter 04), research draws on concepts within textile theory, semantics, fractal geometry and architecture for the purpose of using negative space as a practical tool to investigate weave geometries. Weave structure visualisation is explored through making processes while also including digital methods often used in material engineering (chapter 05 and 06). Initially, two experimental case studies present qualitative exploration both in the physical and virtual realm. First studied as a ‘structure unit’ and then within a ‘repeat’, findings identify that negative spaces repeat themselves in irregular ways — challenging the core parameter of repetition. The idea that rigid construction principles that produce fluid woven textiles places weaving as an antithetical craft — a notion that inspired its binary model is then put into question. This was explored through grey nuances (chapter 06), which reveals empty and occupied space’s interdependence. The study finds that although grey shades hinders the readability of weave structures, the proposed visualisation highlights the importance of craft weaving methods in order to develop a more holistic understanding of the technique. By questioning the fundamental knowledge contained within woven cloth construction, this alternative approach enables the craft to open up to interdisciplinary research (chapter 08). This is pertinent in regards to the development of novel assembly systems, which increasingly demand non-linear and organic modes of thinking. As a result, the research has value for weaving and other disciplines that aim to find alternative ways of doing things.