Fundamentals of Designing For Textiles and Other End Uses by J. W. Parchure

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J. w. PARCHURE
Textile Association of India

Woodhead Publishing India
Published by Woodhead Publishing India (P) Ltd. in association with The Textile
Association India
Woodhead Publishing India

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7/28, Ansari Road,
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First published 2009, Woodhead Publishing India (P) Ltd.

© 2009, Woodhead Publishing India (P) Ltd. and J.W. Parchure
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In Memory of
Late Mr. P. D. Pawaskar

(Pioneer in Textile Screen Making)
whose guidance enabled me
to use my brush, pen and
the brain too.
PREFACE
Unless and until the human race feels shy of covering itself with some kind of fabric, the textile industry will go on
performing its role in the civilization, as it has been, till this day. But it is also the duty of the artists' community to
save the mankind from such disastrous temptation towards modern primitivity, by continueously producing
attractive textile designs, and desist the susceptible species from jumping into the hell-pit of that temptation. I
hope, this book though infinitesimally, will help in that great cause.
Since its inception - from the time man first learned to wrap animal skin around his body for warmth - the textile
industry has undergone tremendous developments in all its branches. Textiles fulfill not only primary need of
protecting human body in all seasons, but also serves to decorate it. The idea of display entered the imaginative
human brain and the concept of 'DESIGN' was born .
Studying as an art student in Model Art Institute, Mumbai, I came across some books titled 'How to Draw'. Those
books fascinated me, but the idea of preparing a book on textile designing dawned five six years after I left the job
of a textile designer. I still wonder how and why a book on textile designing was not available before, the industry
being age old notwithstanding.
Unexpectedly ,one day the question struck me from within, "Why not yourself?" The germination of this idea
made me restless, compelling me to fold my sleeves and take it up . I was aware it was not so an easy task.
Considerable spadework was necessary as no book devoted entirely to this subject was available. In the system
prevailing earlier, and even at present, any novice aspiring for the career of a textile designer has to find a
tracer's job in some textile printing house or with a screen maker, observe the designer at work, and try to learn. If
that designer is willing to guide, well!, novice would be lucky. Otherwise the learning is somewhat difficult. Mere
observation may open the door, but only partly.
Considering the needs of the student, I have planned my book to help him/her to learn the designing with ease.
The script, the diagrams of constructions, motifs are all kept simple, and so are the different colour schemes. The
student, by studying the sample designs from every chapter, like examples in arithmatic and grammar, should try
to create his/her own designs in any size from monochromatics to multicolours. Simple motifs have been
purposely selected to instill confidence in the student. He/she should be able, not only to copy them in his / her
designs, but also meliorate them if he / she wished so.
The basic constructions of designs for wallpaper, linoleum (Floor Covering) and wrapping material being the
same as textile designs, are covered in this book. Chapters on needlework (socks, embroidery and lace-
designs) are also included, being an interesting and substantial part of textiles. Suitable designs for end uses are
also inserted to make the student more informed.
Though the textile design is presently taught in many art institutions, the absence of some kind of a text book
dealing entirely with textile design is still present. This book, I hope, will prove useful in filling that gap. It will be
useful not just to the students of all colleges that teach textile designing in one or other context, but also the
practicing designers working in the field of textiles, wall papers and Floor covers.
I feel really happy, that the concept of this book ideated in my mind & I could carry itthrough.
I will be ingrate, if I forget those who helped me in this book writing project.
ACKNOWLEDGEMENTS
First of alii must express my gratitude to Late Shri P. D. Pawaskar, whose affectionate guidance converted a
novice like me into a textile designer. I firmly believe that his soul has inspired me in this endeavour.
Shri M. G. Kulkarni encouraged me from the beginning. He perused the manuscript, scrutinized the designs and
also suggested changes wherever necessary. I couldn't have completed this job without his supportive
encouragement. I am grateful to him for allowing me to use his three designs in this book.
Shri Sudhakar Raje, a veteran journalist, long time regular columnist of 'Organizer' a weekly from Dehli, and ex-
cultural officer in Guyana in 1977-78, was kind enough to examine the manuscript carefully and made
constructive suggestions.
The initial typesetting was done by Shri Deodharwhich he did most heartily.
For the chapters on socks, embroidery and lace designs, Mayekar brothers of Sterling Hosiery Works, Shri Adi
Madan of Virat Industries Ltd., Ocean Embroideries, Shri Anish Gala of Gala International and Shri Raj Kumar
of Pioneer Embroideries (Hakoba) lent a helpful hand and supplied useful information and samples to get some
idea about the designs of needlework.
Relatives and friends also offered help as the work progressed. All who helped me and encouraged me from
time to time for completing this project are: Late Smt. Mathutai Pawaskar, Smt. Nirmala Vaidya, Late Shri S. P.
Vaidya and their son Chi. Subhash, Shri Ramakant alias Bal Lele, Shri Ramesh Koparkar, Late Shri K. D.
Sahasrabuddhe, Shri Arvind Vaidya and his son from Pune, Shri Deepak Moray, Shri M. S. Bichu and
Shri Anal Pandit.
I used some books to prepare the designs for embroidery and laces, and based some designs from the issues of
'The needlewoman and needlecraft', 'Needlework illustrated', 'Stitchcraft' and 'The cult of Needle (Home Art
Series, edited by Flora Klickman); I am indebted to these publications. Shri Chandragupta Pawaskar, son of
Late Smt. Mathutai and Late Shri P. D. Pawaskar, provided me these publications at my request.
Shri Bharat Parchure, prepared the pages of designs for end uses like carpets, wallpapers, wrapping materials
and some more including computer aided designs. Without his help, preparing this book would have been
impossible. He is an upcoming commercial artist having good command over the computer. He really did the
whole job with heart, hand and soul.
Shri Shashikant Gadgil, my friend from New York showed the ready pages to Shri Ashok Garde, Chairman of
The Book Publication Committee of the Textile Association (India). Shri Garde suggested, to add some items
like carpets, wallpapers and wrapping materials and the role of computer, to widen the span and scope of the
book.
Smt. Neela Salaskar of Bombay Textile Research Association supplied up-to-date information about
computerization.
Woodhead Publishing India Pvt Ltd & the Textile Association of India, are jointly publishing this book
& they have done a nice job. I must not forget, before putting my pen down, to thank Shri A. R. Garde of TAl
& Shri Ravindra Saxena of Sara Books Pvt Ltd, who have played a principal role in showing this book the 'light'.
"The Book Publication Committee of TAl is thankful to Reliance Industries Ltd for their generous
donation for making available TAl books at a concessional price to members."
J. W. PARCHURE
CONTENTS
1. Introduction 08 23. Dress Materials - Skirts 41
2. Collection of References as Raw Material 09 24. Indian Saree 43
3. Materials you need 11 25. Tee-Shirts 45
4. Difference between Textile & other designs 11 26. Towels and Napkins 46
5. Percentage of Covered Area in Design 12 27. Socks 47

6. Elements of Textile Design 13 28 . Cushion Cover and Pillow Case 49
7. Methods of Reproduction of Designs and 29. Table Cloth and Table Cover 51
Concept of Repeat 14 30. Bed Sheet and Bed Spread 53
8. Preparation of Motifs for Designs 17 31. Umbrella 55
9. Designs for Borders 18 32. Tote Bags 56
10. Basic Compositions for allover Designs 20 33. Tapestries , Curtains , Furnishing Fabrics ,
11 . One More Method of transferring Wall Hangings, etc. 57
the Motif on Repeat 21 34. Carpets 61
12. Allover Designs (Contd.) 22 35. Floor Mats 63
13. More Diagrams for allover Designs 28 36. Cross -stitch and Embroidery 64
14. The Colou r Wheel 28 37. Lace Designs 67
15. Colour Wheel in Action 29 Other Similar Products
16. Backgrounds 30 38. Linoleum 70
17. Half-Drops 31 39. Wall Papers 71
18. Step Down Repeats 33 40. Wrapping Material and End Paper for
19. Discharge Prints 35 Book binding 73
End Products 36 41. Lapmates , Placemats and Doormats 75
20. Dress Materials 37 42. Computer aided Designs 76
21. Neck-Tie 38 End of the Beginning 79
22. Handkerchiefs 39
INTRODUC ION
Almost all of us are possessed of the same heart that
leaps up at the sight of a rainbow. So did the heart of
Wordsworth. But he gave birth to a famous poem and we have
been reading it generation after generation. The difference with
Wordsworth lies in the ability of creative and expressive
exposition. That makes a genius. This ability is to some extent
and for some people Nature's gift or God's gift, but to some
extent it can be cultivated too. Nearly everyone is endowed with
some kind of a gift, in most cases in latent state. Very few find it
without even searching for it. It just comes to them
spontaneously from within. Some find and develop it after a hard
struggle. Some, the unlucky ones, cannot get hold of it even after
a life-long struggle. And the remaining majority is quite happy
without it. They do not even need it.
An artist or a designer cannot afford to live happily
without the ability of creative and expressive exposition. He has
to find it, cultivate and master it to his utmost capacity. This can
be done by reading, observing the works of other artists,
studying them and thinking over them. Hence this small guide on
textile designing.
A genius does not need such books. He himself is, or
becomes, the book. Others like us follow his path. We need
some kind of guidance, and providing that guidance is the limited
objective of this book. I hope, as you go on reading and studying
this book, think over it and experiment accordingly, the horizon of
your experience and judgment will also go on widening. So wake
up and look at the horizon. The bright Sun of textile designing is
about to dawn on you.
J. CW. epoflchuke
COLLECTION OF REFERENCES AS
RAW MATERIAL
FLOWERS
The sun, the moon, the stars, the
rainbow, the trees, leaves, flowers and
fruits, ponds and rivers, birds, animals
and fish, and even man-made things - all
are part and parcel of all pervasive
Nature. Human Beings , being an
inseparable part of Nature, love it, live
within it and also try to imitate it and try to
get some guidance from it.
A very handy proof of this can be seen on
the garments we wear. Many of the
LEAVES designs that decorate our clothes depict
the flora and fauna. But the artists who
draw and paint these designs do not stop
at Nature. They also decorate our
clothes with man-made things like bird's
cages, lamp-shades, vehicles like
vintage cars, and even the alphabet.
Before sitting at a drawing board for
preparing a textile design, you have to do
some spade-work, a must for every
artist. Look around and go on collecting
references - pictures that can be useful
WATER, FISH, SEA-SHELLS, ETC for your designs.
BACKGROUNDS-ABSTRACT
Fundamentals of Designing for Textiles and other end uses 09

COLLECTION OF REFERENCES (Contd.)
ANIMALS
The only criterion for the pictures is that
they should please the eye, not yours,
your customer's, so that after preparing
the design you can show it to him saying
"Foryoureyes only!"
What will you collect? Pictures of
flowers, leaves, shrubs, creepers and
trees, animals in different moods and
actions, birds, butterflies, dragonflies,
different species of fish, water, clouds,
the rainbow, mountain peaks, man-
made objects like fans, clocks, old and
new vehicles, boats, bridges - whatever
you see in pictures, sketches or
photographs. Make an album or file,
classify the references as you go on
collecting them and keep them ready for
use when required.
Floral designs are in vogue all the time.
So, whenever possible, draw and paint
from real flowers and leaves. Prepare
the drawings in details, study the
anatomy of the leaves and the petals, the
stems and buds. That will help you a lot MAN-MADE OBJECTS
in composing floral designs.
ABSTRACT FORMS
10 Fundamentals of Designing for Textiles and other end uses

MATERIALS YOU NEED
1) Hard Pencil3H or 4H, soft pencil HB and 2B 6) Black waterproof ink.
2) Tracing papers , comparatively thicker but 7) Drawing pins, thumb tacks, or paper fixing clips.
transparent. 8) Poster colours or designer's colours.
3) Drawing papers of different surfaces, smooth and 9) Crow-quill pen with holder or Rotring.
rough. 10) Drawing board. Imperial size is preferable.
4) Instrument box for drawing geometrical forms, 11) Brushes, sable hair alternative numbers 1, 3, 5, 7
circles etc. (Acompass and a divider will do) or 2,4,6,8 and a soft flat brush
5) A pair of set-squares.
DIFFERENCE BETWEEN TEXTILE AND OTHER DESIGNS

There is no compilation of rules regarding textile
designing. Compiled or not, they exist and are
necessary.
The rules are largelyforthe convenience of production.
At the same time they set a convention for the artist to
think over and go on improving upon. With the help of
these rules, the artist can produce the best possible
design.
The general rules to be observed while preparing a
pictorial design or a textile design are more or less the
same. The theme , the balance in composition , the
colour harmony, the relation between the forms or the
patterns used in the design and the accent - all are the
same.
DIFFERENCE
The difference between a textile design and other
any picture depicting any subject , you are not concerned
designs except wallpaper, linolium and wrapping
what happens beyond the frame of that picture. But while
material designs is that other designs are composed
preparing a textile design you have to be careful to see
within the framework of a given size or shape and are
what happens outside the marked borders, and there lies
complete by themselves in those areas. When you
the difference. When you compose a textile design in a
prepare a mural design, a landscape , a book-jacket or
square or a rectangle, whatever the size and dimensions,
your design should be complete by itself within that size
and yet it should be continuously related to the adjoining
rectangles on all sides, and those rectangles in turn
related to their next adjoining rectangles and so on. That
means the textile design, though composed in a
specifically chosen size, is not bound by and inside that
area alone. It goes on repeating itself outside that area on
all sides , i.e. vertically, horizontally as well as diagonally
to infinity.
In short, while other designs play within their marked
frames a textile design spreads all around its marked area
by reproducing itself continuously to infinity. It has a
continued relation outside its area and this should always
be borne in mind while preparing a textile design. This
repetition on all sides applies to allover designs.

RELATION BETWEEN REPEAT AND OVERALL SPACE
How is this relation formed and maintained? First a
unit that goes on repeating all over the fabric is
composed. While composing, it is carefully
observed that after repeating the unit, the
homogeneity of the design is maintained outside it.
If that is marred then something is lacking either in
the composition or in the colour distribution, or in
both. The method of repeating the unit was invented
for the convenience of reproduction. So repetition of
a unit is a rule.
Even if the defect is hidden in the original unit it will
definitely show up in printing. In some designs you
will see the continuance of one colour horizontally
or vertically, without breaking the line of that colour
by some other colours. In some others you will find
all big motifs in a line horizontally or vertically. In yet
other designs you will find continuous gaps. These
are the main defects that need to be taken care of.
PERCENTAGE OF COVERED AREA IN DESIGN

Sometimes you are asked to prepare a design which judgement is more important for a final check. You
has say, 30% coverage. If the size of your design is 9 should take measurements and calculate the
inches x 10 inches, you have 90 square inches. 30% percentage and add or eliminate something as required.
comes to 27 sq. inches. You have to compose the Have a look at the illustrations below. You will get some
design in such a way that the area covered by motifs will idea of the percentage of coverage.
be approximately to 27 sq. inches. Here too optical
20% COVERAGE 30% COVERAGE 40% COVERAGE
#...-.--
•
......
80% COVERAGE
• , .• 70% COVERAGE 60% COVERAGE

ELEMENTS OF TEXTILE DESIGN
Design is a composition of lines, DIFFERENT TREATMENTS FOR DIFFERENT SURFACES
forms or shapes, colour and
texture, painted for the purpose of Smooth Medium Rough
decoration. These elements
appear in the textile design
specifically in a decorative
manner. The concept of textile
designing exists since ancient
times - even in prehistoric cave
paintings. With the advancement
of civilization it has developed
into an intellectual endeavour.
The elements of textile design are
the same as any other designs.
They are as follows:
Lines: Lines indicate the shapes
and sizes of the objects. They
help to express emotions and
attitudes. Horizontal and vertical
lines suggest the static and
stationery - quietness and peace,
whereas lines of a diagonal
character give a general
impression of movement. Thin
lines suggest delicacy.
Form: Lines define contours and
divide the total area into forms
and spaces. The term 'form' or
'shape' is used to describe the
contour of the object as round,
oval, egg-shaped, triangular,
rectangular, square, or of an
irregular shape.
Colour: While creating a design,
colours should be selected
carefully according to the nature
and purpose of the design. Colour
plays a significant role in creating
illusions of warmth, coolness,
distance, etc.
Texture : The word 'texture'
indicates the nature of fabric
surface. There are various kinds
of textures such as soft or
smooth, hard, rough, silky,
leathery, etc. Each type of texture texture of jute. The designer should be comparatively bold lines and bigger
has its own effect which is to be aware of the effects of these factors, forms are drawn and painted for
considered while preparing a and use them to create the desired reproducing on medium and rough
design. The effect of a silky result. Delicate lines can be textured fabrics.
texture is different from the reproduced on smooth texture;

METHODS OF REPRODUCTION OF DESIGNS
Over many centuries a variety of technics for
reproducing the designs on fabrics have been evolved
in different parts of the world, such as,
1) Mordant printing 2) Stencilling
3) Flock printing 4) Resist printing or Batik
5) Vigoureux printing 6) Duplex printing
7) Discharge printing 8) Photographic printing
9) Heat transfer printing
Some of the processes mentioned above are
misnomers, because actually they are dyeing
ROLLER PRINTING
processes, and some are parts of other printing
processes. Here we are going to deal with the three In this process the size of the unit of a design depends
main processes which are still in practice. The designer upon the circumference of the roller on which the design
preparing the designs for mass-scale reproduction must is engraved for printing. (Generally rollers are made of
know the basics of these three processes. copper and do not exceed 14" x 18" in circumference.)
The design is first enlarged and then engraved on the
They are : 1) Block printing 2) Roller printing, and
roller with the help of a pentograph. In this process
3) Screen printing.
delicate and fine lines, stipples and half or quarter-tone
effects can be reproduced. Shirtings are printed mostly
BLOCK PRINTING by this process.
A design is transferred on a wooden block, then
engraved. For a multi-colour design, separation of
colours is done by engraving each colour on separate
wooden blocks. The portion to be printed is kept raised
and the remaining portion of the wood is engraved. The
printing dye or colour is applied to the raised surface
which is pressed against the cloth to get the impression.
(Complex designs are not advisable in this process.)
This size of the unit is also to be kept small so that the
wooden block should be pressed easily by hand on the
cloth with even pressure on all sides.

Lengthwise (warp) continuous lines can be nicely fabric by means of a squeegee. The design is
reproduced by this process; but because of converted, by copying, into a positive for exposing on
limited colour application on rollers, printing of the screen.
blotch (background of substantial coverage or solid big
patches) is perhaps little difficult.
MAKING THE POSITIVE

A positive is required for exposing the design on the
screen. It is produced by copying the design with
opaque ink on a transparent paper or a Kodatrace. A
Kodatrace is a film with an unglazed surface on one side
SCREEN PRINTING
which is used for tracing the design. It withstands all
In this process a fine silk cloth called 'bolting cloth' or temperatures and neither shrinks nor expands with cold
'sifting cloth' is stretched on a wooden or metal frame. or heat and therefore there is no problem at the time of
The stretched gauze is then sensitized with a light- exposing. The copying is done in full size or in a suitable
sensitive solution. When the coating of the photographic and convenient unit size. In case of a unit size positve,
solution dries the design is exposed to the cloth, more exposers are to be given by shifting the positive or
developed and dried. After exposing the design and the screen after every exposure. The lines, points or
developing it, closed parts and open printing spaces are patterns covered by the opaque ink remain unexposed
formed. The screen is lacquered after it is dried and and water soluble even after the exposure and can
retouched if necessary. It is then ready for printing. therefore be washed out after developing. Thus the
areas through which the colour is to pass are free of the
photo solution.
CONCEPT OF REPEAT AS A
KEYWORD IN TEXTILE DESIGNING
You already know that for reproduction a unit of the
design is composed and then repeated on all or two
sides according to the nature of the design. No design is
reproduced or can be reproduced without a suitable or
proper repeat. SO REPEAT is the key-word in textile
designing and stands on Number One position. The
The screen printing process is based on the principle of repeat of the designs are maintained in a fixed size
an even colour application through a partly covered (horizontally) where printing is done manually in small

according to the nature and subjects of designs different
repeats have to be used in all printing units. For designs
with very big motifs the repeats can be kept at 36 inches.
For such designs big screens are used.
Handkerchieves, pillow covers, bed covers, table-
cloths, scarves-all these vary in sizes and so their
repeats also vary. With screen printing machines by
means of cleverly constructed belt feed, any desired
length of repeat from 16" to 80 inches and in small
intervals of approximately half an inch can be obtained.
So the problem of composing the design in fixed sizes is
eliminated where printing. is done with the help of a
machine.
Rotary Screen Printing machines are in use in big textile
printing mills. Some old problems like lengthwise
continuous lines, printing of continuous background
colour, breaking of big motifs are eliminated because of
this invention. Printing is done continuously by the
printing houses. It is incovenient to change the rotation of round screen. Because of this invention in
registering and stop-systems for every design. So only screen printing process the artist has now more
one ortwo sizes are maintained. For example the repeat freedom than before.
on the printing table is fixed on every 18 inches. The
design is composed in 18" repeat or in any of the
fractions like 1",1112",2",2%" 3" 4112" 6" and 9 inches. In
the case of a saree design, if there is border on one side
or both sides the border can be composed in a 4Y2inch
repeat and the inner design can be composed in a 6" or
9" repeat. So both will synchronize on 18 inches. Still
"There is no Abstract Art. You always have to start with something".

- Pablo Picasso
What Picasso said is true not only with abstract art but with every form of art. It is more true with
textile designs. You always have to start with something that already exists. By observation,
imagination and with the skill in craftsmanship one has to convert that something into his own
creation. but even in the art form created by that artist, that 'something' still exists, though
invisible.
Textile designing being a small branch of commercial art or applied art as it is called in a more
technical term, the artist has to apply any piece of art to his purpose, converting it suitably to his
requirement and choice, using the original piece of art as a reference.
The nature or almighty already created everything before mankind was born. We are free to use
that 'every something' because the nature or almighty didn't take any 'patent', and now it is too
late to approach any patent office. Making use of any existing thing for our purpose is, no doubt
a kind of plagiarism, at least to some extent, which every artist has to do (we have now at our
hand, the confession of Picasso), though he may claim his creation an original piece of art.
The textile designer has to work with more limitations. He has to consider, before starting on any
design, its subject, suitable repeat size, number of colours restricted for printing, texture of
fabric etc.

PREPARATION OF MOTIFS FOR TEXTILE DESIGN
With drawing material now at your hand
and equipped with necessary information
you may start drawing and painting the
motifs for use in your designs. Search
your file of references, select some
subjects and start studying them one by
one.
Drawing papers playa great part in the
effects you obtain. So buy the papers of
different textures. Cover them with
practice drawings of flowers and leaves,
animals, birds and other subjects from
your reference album. Paint every
subject on different textures with different
treatments. Exercise the brush strokes
and washes. Don't think of it as a waste of
time and materials, but as a valuable part
of your training. The experience gained
can be used afterwards. Make your
exercise little masterpieces of
knowledge.
Take any picture from your reference
album and treat it as many ways you can.
The pictures in this page are treated
likewise. Try them again in your own way.

PREPARING TEXTILE DESIGNS: BORDERS
Now that we know some of the necessary and pillow-covers, bed-spreads, covers as well as
elementary things and have done some preparatory tapestries. Look at the borders shown here. Study them
work, we can start with the actual designing. We shall carefully. Find out their repeats, their widths. Some are
maintain only such repeats and sizes for our designs as geometrical, some floral, some decorative and some
will suit our page size. The repeats of the designs for abstract. Draw and create new borders from them. Treat
printing purposes are made in different sizes in order to each border as differently as possible. Some borders
suit the requirements of the designs and the process as have running repeats, some have symmetrical (mirror)
well. Let us first work on borders. Borders have a special repeats. In a mirror repeat the motifs are placed face to
place in textile designs. They can be used in sarees, face or back to back. In running repeats, the motifs-
skirts, shirtings, scarfs, handkerchiefs, table-cloths, flowers, creepers etc. run in the same direction.
SYMMETRICAL REPEAT
SYMMETRICAL REPEAT *-*

~SYMMETRICAL REPEAT
SYMMETRICAL REPEAT
RUNNING REPEAT RUNNING REPEAT

BORDERS (Contd.)
Sometimes there are more bo.rders in a design, two This continuity is visible in running borders. It is also
outer borders binding the inner one. The outer borders visible when the motifs in the design are connected to
are much smaller in the size and the repeat than the each other with lines or matching shapes. The important
inside one. While composing these borders care must point is, it should be felt in every design, even of
be taken to synchronize them at a certain distance, scattered flowers and leaves or abstract geometrical
togetherto form one unit. forms composed with some distance between them.
Some borders are not bound by small borders and are This sermon on continued relation should suffice for
kept free. Especially in floral borders, some flowerets, understanding its importance. You will be able to
buds or creepers roam freely leaving the mainstream. differentiate between good relatives and strangers as
you go on experimenting. Be alert!
We have discussed the continued relation of the units or
related continuity of the subject from repeat to repeat.
RUNNING REPEAT UNIT ------~)
Both these designs can be used for Sarees, Skirts or Curtains.
Up-till now you have

seen, studied and
crossed the border to
enter the dense forest
of textile designs, full of
not only flora and fauna,
but nearly all the
beautiful things in
Nature. Nothing to be
afraid of. Not a single
beast in this forest
is fearsome, and
no herb poisonous. All
are kind, gentle
and beautiful, eager
to climb on your
shoulders, creep and
surround your waist and
lovingly play with you.
---<
( RUNNING REPEAT UNIT )

ALL OVER DESIGNS (SOME BASIC COMPOSITIONS)
There are some basic compositions which are used by beginners and professionals as well. You will
find many designs in the market fitting into one category orthe other.
COMPOSING TWO MOTIFS IN

A REPEAT (OR UNIT)
Draw a rectangle or a square of required size. Join
the diagonals or divide all the sides and join the
dividing points as shown in figures below.
, ,
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,
,-
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;'
;'
..
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,-
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Draw a motif on or near point A. It is always

convenient to start the design on the left hand top
corner of the rectangle. Take a tracing paper slip
long enough to cover the vertical side of the
rectangle. Fix it on the left side of the rectangle so
lor
that line AD is at the centre of the slip. Trace the
motifs at A. Mark the cross marks (+) A and D.
Remove the slip and fix it on BC. Transfer the traced
motif on B. In the same way fix another slip on AB,
trace the motifs on A and B, mark the cross marks
(+) A and B and then transfer the motifs at A and B
on D and C. Now you have drawn the original (A)
motif and shown where it will repeat (on B, D and C).
Trace the same or a similar motif in the same or any

different position that will look better on point E in
such a way that this motif in the centre lies optically

equidistant from the motifs at A, B, C & D. The
words optically equidistant are very important.
Mechanical or measured equal distance is
sometimes deceptive. So the distance should be
optically equal.
JUDGEMENT OF OPTICAL DISTANCE
If motifs of irregular shapes are used, the
mechanically equal distance will not be always
possible. Possible or not, the distance should be
equal optically. So keep the words 'Optical
distance' always in mind. These two words stand
together on Number Two in the hierarchy of textile
designs. Number One is of course 'Repeat' . All
designs containing two motifs or two main motifs-
floral or any other objects-are composed in the
same manner.
Before painting , make the drawing perfect and
clean. Paint the design in one, two or more colours.
Treat the same design in three-four different ways
and styles. Remember, two shades of one colour
are treated as two different colours unless half-
tones are used in printing. Taking this into
consideration count the colours.
AN ALTERNATIVE METHOD OF TRANSFERRING THE MOTIF

ON REPEAT (Horizontally as well as Vertically)
Draw a rectangle ABCD of required size on a tracing transfer the composed portion on opposite sides as
paper. Draw a motif (rough form) on or near the point A. done before. After composing the design in vertical and
Roll the paper so that the side AD goes inside and the horizontal border areas, seal all the sides by transferring
points Band C overlap the points A and D. Fix the rolled the composed portion and then fill the vacant space .
paper on the drawing board in such a way that the points Some changes will still be necessary and convenient as
Band C exactly fall on points A and D. Trace the motif at well to compose the design as stated above, and
A on B. Remove the paper from the board and roll it transfer the composed portion at every stage before
horizontally. Now AB will go inside and the points D and drawing anything on the opposite side, to avoid
C will overlap A and B. Again fix the paper on the board unnecessary erasing , saving time and making your
and trace the motifs at A and Bat D and C. As you go on design as faultless as possible.
composing the design between AD, AB, BC and DC,
. A+B
~ ~ ¥
(r~- --------- - - -~-) ~-~- ________ n __ _ _ ~1
J
Fig. 4 Fig. 5
ofc
0+-
Fig. 1
* Fig. 2
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Fig. 3

TWO MOTIFS + TWO SMALL MOTIFS
This is a two motif composition, with an
addition of two small or subordinate
motifs. The small motifs are to be placed
~
,1
3
~
after the principal motifs are positioned.
But sometimes even for subordinate
motifs you have to shift the main motifs a 4- 4
little for adjusting the distance between 2
each other. This problem arises in case

of irregular shapes of the motifs.
The design on this page can be used for
dress material.
nh- .3
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"
(
+"
1) You may leave the background white, or paint it with plain colour or, 2) Fill the space with a suitable design as shown below.

FOUR MOTIFS COMPOSITION I I I
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A four motif composition, is in fact a modified \
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two motif composition. In this composition the \

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motifs fall in a line vertically or horizontally \
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(see figure). Objects or motifs of irregular \

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sizes should be used to break these lines. A I \ I \ I
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bunch of flowers and leaves with buds will be I

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more appropriate. You can use some design, I \ I \ I
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say, diagonal borders in the background. I \ I \I
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The design on this page can be used for dress material, if enlarged even for curtain.
•• ••
••
Keep the background white, or fill it with fillers or plain colour as shown below.
Below the emblem of Thai Airlines ' is transferred into different shapes. Two such shapes are used in the designs above.

COMPOSING SIX OBJECTS
This is a developed form of two-motif
composition. There are two principal
motifs and four subordinate ones.
Follow the diagram and compose the
design.
The design on right may be used for

dress material or Bedsheet,
furnishing material or curtain.
(Please see on Page No. 53)
The design at the bottom, though composed with a different

construction falls in the same category. See the diagram on right.
In the diagram below, the motifs will

have to be used somewhat in equal
sizes. Compose your own design
from this construction.

COMPOSING THREE MOTIFS
In the diagrams below, you get three
points for three motifs. Use a tracing
paper as in two motif designs. It is
necessary to fix the motifs on all corners
before making the placement of other
motifs. You may add fillers if you wish.
Treat the background as the subject
demands, but let not disturb the relation
between the motifs and the background.
Relation holds the third key portfolio in
the textile design administration.
-- - - -- -- - ,--
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When you prepare a design of three

motifs they always fall in a diagonal.
Motifs of irregular shapes should be
chosen as far as possible.
A square or a rectangle, the sides of
which do not differ much in length, is not
advisable for a three motif design.
Both the designs on this page can be
used for curtains.

FIVE MOTIF COMPOSITION
Join the points as shown in the diagram
below and compose the design.
See the design at the bottom, a border is

used to fill empty space. Here the borders
are the main subject and motifs become
fillers. Remove the five motifs, and the
design still looks complete.
To decide the repeat size of borders in
such designs, you have to measure the
length of DE and FB. Their total will have to
be divided into suitable fractions.
The design below can be used for curtains.

COMPOSING TEN MOTIFS
There are two methods for composing a ten
motif design. One of them is actually a five
motif composition with additional smaller
motifs.
Another method is shown in a diagram

below. The design of astrological motifs of
the signs of planets with matching
background is composed at right.
COMPOSING SCATTERED MOTIFS

WITHOUT HELP OF ANY GEOMETRICAL DIAGRAM
No diagram on previous
pages or on the following
pages applies to the design
shown here. It is a free
composition without using
any diagram as a base.
This design can be used for Sarees, Dress Materials or Bed sheets.

MORE DIAGRAMS FOR ALL OVER DESIGNS
I\"\1 -- . . . - - ,
\ \\ Try some compositions from the constructions
\ -- ..... ~ \-..... ......
\
\ shown on the left side.
\ \ ..... - - \3
\ \ - r-- Now you know an easier method to compose
\
1'_
,-\4\ ---- --. __\ \
\
\ designs with the help of geometrical constructions.
"
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-\
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\ -\-
\ ---- -- _ \6
Without the help of these constructions you can
compose the designs, but it will take much more
\ \ --\-.-
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\
1"--..
--- ..... \
\7
\----
\
\
\
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time to set a perfect composition. The scattered
\
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--
--\8-- - ~
\
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objects in a design composed with the help of
- -- - ~,
\
\
\
\
\
\ ....
\
geometrical construction, look placed in military-
like discipline. Such is not the case in a free
composition. But it is always necessary to take
care. Objects in your designs should be freely
scattered but with optical equidistance amongst
them. Freedom leading to indiscipline, is always to
be avoided; The free composition is a well
arranged composition of selected motifs, not like
'come-one-come-all' or an omnium gatherum. It
can be avoided by first studying the disciplined
compositions which you have just done.
THE COLOUR WHEEL

S5
Primaries Intermediates
P1. Yellow 7. Orange Yellow
P2. Red (Magenta) 8. Yellow Orange
P3. Blue (Cyan) 9. Vermilion
10. Crimson
Secondaries 11 . Violet Red
84. Orange 12. Red Violet
85. Violet 13. Blue Violet
86. Green 14. Violet Blue
15. Green Blue
Tertiaries 16. Blue Green
Every colour mixed 17. Yellow Green

with a little amount 18. Green Yellow
of opposite colour
Colours placed
is called a tertiary
between primaries
colour.
and secondaries
are intermediates.
7
P1
The Outer ring of the colour-wheel consists of three primary colours, three secondary colours, and twelve
intermediate colours. The First inner ring consists of tertiary colours which you get by mixing a little of a
complementary (colour directly across the circle) colour. The inner rings show the tone value scale of these tertiary
colours from dark to light.
You get Neutral grey when you mix three primary colours in equal part.

The designs are purposely arranged face-to-face. They are identical except their colour-schemes. They are quite
opposite. You will experience the theory of the colour wheel perfectly applied. Each and every colour is replaced with
its opposite. Shall we call it 'The Living Colour-Wheel'?

;
•.-i f

CROSS REPEAT OR HALF DROP
In allover designs there are two more methods of composition, used
generally in big size repeats. One of them is called HALF-DROP or a
CROSS REPEAT. In this composition the repeat drops exactly on half the
distance, vertically as well as horizontally. When it drops from the next step
a complete repeat is formed.
Suppose the full repeat of your intended design is 16in. (running in length)
x 19in.(in width). With the help of a half drop composition you can compose
your design in 16in. x 9 Y2 in. horizontally, or in 19in. x Bin. vertically, in such
a way that the composed half portion will fall as shown in figure. The portion
in AEIH will fall diagonally on IFCG, and that in EBFI will fall on HIGD.
If the motifs or the raw material to be used in the design is not sufficient to
cover the whole area you can use the available material and prepare a
HALF-DROP composition which looks better than any composition based
on geometrical constructions. This composition requires more skill, which
is not very difficult to attain.

HALF-DROP (Contd.)
This design is useful for curtains
or upholstery. Observe the
drawing at left carefully. It is an
example of half drop. The two
rows below together form a unit
which falls on half the distance
vertically and horizontally, thus
composing as horizontal half-drop
design.

------r-------\
I
I
I
I
STEP-DOWN REPEAT
I I
1 2 3 1 I 2 I
I
I
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I
A half-drop can also be called a STEP-
I I
I
------1 DOWN repeat, so also a STEP-DOWN
I
I
I
I
I
repeat, can be called a fractional drop. It
I
I 3 1 2 3 1 I
I is not necessary for a step-down repeat
I
I
I
1--------
I
to fall on a calculated fractional distance
I I
I
I
I
I
or step, but on any convenient step or
I
I
2 I
I
3 1 2 3 distance to suit the design. For the
I I
~ _______ l _______ convenience of reproduction it is
advisable to form a repeat in such a way
that it will drop on a fractional distance to
+ + - complete the cycle cf repeats in three or
four steps.
Just above < diagram depicting the
construction of a step-down repeat is
shown. For a design of three steps'
+ repeat, the whale area (forming a

complete repeat) IS divided into three
horizontal as well as vertical parts. From
numbers given to these parts you will
easily make out which part is shifted
where, in the stepping down process.
The same process of the design at the

bottom is shown at the left, with the three
steps painted in three different colours.
This design can be used for

dress material or curtains.
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Fundamentals of Designing for Textiles and other end uses 33

VERTICAL STEP-DOWN
Vertical Step-Down is the same construction
like a vertical half-drop. The only difference is
that the half-drop falls vertically only once, --1-
while in step-down there are more steps.
The design can be used for upholstery or
I
curtains.
-+-
DISCHARGE DESIGN
Discharge design is a misnomer. It is a printing process removing (discharging) of one colour and fixing of
that results in removing the original dye from the dyed another is done at the same time in a single process.
fabric on which the design is printed. Hence the name These types of designs are prepared and printed on
of the design which suits that process. In this process a coloured backgrounds, mostly medium or dark. With
new colour is fixed on the same spot from where the light or medium colour in the background you can use
previous colour is removed. So the double action of additional darker colours along with discharge.
In the design on the left, the paste (the

discharging agent) is added with yellow
and pink colours before printing
respective colours. No colour needs to be
added forwhite.
The design at the bottom at left has pink as a discharge

colour. Original background is in Red. Design on the
right has dark Purple as its original background. Light
brown and green are mixed with discharging agents. No
colour needs to be added for white.

•••• • ••••••••••• DRESS MATERIALS
.. :::~:.
. ~::: .. :::W i:'
. ~:::
We have so far studied the elements of textile design ,
I" ". I ••
.......... .. ...
. . .. ..
.. ....
.. .. ~ ..
.. -..
. ......
the concept of repeat and its importance in
......
~
.. .,.. ...... . -, ..
reproduction process , border designs, some basic
:::~.:' ::~.:'
. . ~.:: :. ~::
constructions for allover designs, halfdrop and step-
. :.:: .. . .. down repeats , discharge printing , back-ground and
. ~.
....... ..
....
-,.. .. ~.
....... ..
.... . M . •
-".. . ..... . -, ..
the percentage of design coverage.
In the following pages we shall see how these designs
. ~::: .. :::W i:'
.. :::t@:. . ~::: are used in dress materials as well as other products.
• I. •• Dress includes any garment or clothes one wears to
I
...
••
. .....
,
I'
•
..
••••
',...
.....
.. •••
,
..
..
-, ..
•
-
•••
...
cover and decorate the body. The dress covers many
items such as shirt, tee-sh irt, jacket, blouse , jumper,
.':~:
. .. :.:: . . ~.:: ..
.. :::W i:' :::~:.
. ~. ::
skirt , kerchief or scarf , pant , coat, maxi-gown ,
burmuda pant , Indian Saree and any fashion that is in
.. .. ~ .. ._.,.... .. .. ~ .. ._..,... ... .... ~ . ._,...... vogue at any time .
•• II" .. .. ...... .. II.... .. ••
Here are some designs for dress materials.

THE NECK-TIE
A Piece or a band of cloth was used to cover the
neck to protect it from the cold weather. There
were more than one type called necktee,
neckcloth, neckband, neckpiece, neckgear,
neckerchief, string-tie, neck-tie, etc. It is a natural
human tendency to decorate such useful wears
which easily catch the eye, and here enters the
design.
This necessary neck-wear by the passage of
time became customary, and as the society
prospered, the fashion came to stay with the
custom as a permanent family member. This can
be one of the reasons for the continuance of the
neck-tie. Fashion has up-til-now changed the
sizes, shapes, width, and designs of the neck-
ties and will do the same evermore. Woven and
printed designs as well as the combinations-
printed designs overlapping the woven designs
have won the tie-wearers approbation.
Neck-tie has become a part of the office dress the
world over. A stiff cloth - vigan or some canvas-
like cloth supports the neck-tie from inside to
stiffen it. In the front end there is a triangular
shape at the centre forming a 45% a n g l e . Though
not a rule, border design on a tie generally runs
parallel to that angle. The total length of the neck-
tie varies a little from 50 to 54 inches and it has a
joint on half distance, which is not easily visible.

HANDKERCHIEFS
Handkerchiefs can be divided into three categories - designs upto the edge of the fabric. While preparing the
Gents, Ladies and children. design, sufficient space should be left on all sides from
Gents : Plain handkerchiefs or designs with borders the edge of the cloth , approximately 3.4in. to 11/4in for
and lines ; one or two colours. Generally white cloth - gents;(3/4in for ladies and children). After leaving
15in. square approximately. 11/4in. on all sides you get a square of approximately
1Din. x 1Din. for gents design, which you can utilise for
For the sake of convenience, only the designs are
shown here leaving very small space outside the preparing your unit. Some borders are shown below.
Ladies : These are smaller in size and are decorated with delicate
designs.
Size: 1Din.to 12in. square approximately.
•
•

HANDKERCHIEFS (Contd.) - - - ~ - -
- - - - I I
I
I
I I
I C RNERS
I
I
I
l_
Children: Nursery designs are used to decorate children's
handkerchiefs. Nursery Rhymes with illustrations in two or
three colours are used. Size 7Y2inch to 9inch square
approximately.
CENTRE PIECE
1 - - - - - - CORNERS
- - - - - - - - - - - --
I
I
I
I
I
I
I
I
I
I
I
I
I
CENTRE PIECE

f I I
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fA I
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composed In such a way that two
I
I
\
I \ independent but identical units I
I \ collectively form a complete
\ repeat. I
I \
\ Considering the measurement' of I
/
.\ the waist of the user, the required I
I ~ pieces are cut on dotted lines,!
I I joined at their tops (smaller sideS
J
I
\ and bottoms (broader side) an
\ stitched . The skirt is ready.
\
1 I
I \
I \ I
\ I
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I \ I
\ I I~

SKIRT (Contd.) One more design for a skirt! Only the big border at the
bottom is shown here. Small bunches of flowers, leaves
or shrubs can be composed in the upper part upto the top
end. The same flowers and leaves used in the border,
are used in the remaining upper portion.

INDIAN SAREE (9 yards and 6 yards)
The saree is the most beautiful garment worn by Indian beautiful designs started flowing into the market.
women through generations. Woven designs from Traditional designs consisted of decorative Indian
different parts of India have attracted ladies of all age Motifs and mango shape borders on top and bottom in
groups in all classes. Every production centre was length and the same motifs used in borders, covered the
famous for something of its own - some for texture, space between the borders. The design at the end is
some for colours, some for designs. With the called "Pallu". The fashion of Pallu Border is still in
introduction of printing in the textile industry, the variety vogue. The width of Pallu border is fitted in the end part
increased. Khadi printing became and still is popular. In of the saree in such a way that while printing, the next
Khadi, white or yellow pigment is mixed with a saree continues after the Pallu border. Sometimes the
varnishlike medium used for printing. Small dots or stars border at the top is eliminated. Pallu is printed even in
are printed at equal distances and metallic or mica 36inches.
powder is spread over the printed surface while it is wet. When you know how to compose borders as well as
Because of the stickiness of the printing material the allover designs it will not be difficult for you to compose a
powder fixed on it shines with a brighter look. With the saree design with a pallu border. For more details see
introduction of block, roller and screen printing, new the following page.

The Designs on page 43 and 44 together
form one saree design. The border with '--- _._ ~
an allover design is shown on previous

page. The same border can run at the
top, parallel to one at the bottom. On this
page the main design consists of mango
motifs with borders running vertically.
You will find all the small borders in the
border section on page 18. You can
develop mango motifs from your own
imagination.

TEE-SHIRTS
The tee-shirts were probably introduced only for
children and teenagers. The whole design is one unit.
There are only two sides ; front and back. Sometimes
even sleeves have designs. Use any motif or subject
in vogue for front or back. You may use a symmetrical
design , if you like.
... - - .. .. _ . ... _ • _ _. _ ....... .... _ __ _ fI' _,. _ _ - ~ •
... - - .. .. _ . ... • _ ........... _ _ ~ _ fI' _ ,. ~ •
Sizes vary according to demands

TOWELS & NAPKINS
Nowadays even towels have designs. Earlier on, only strips or bold
borders used to decorate towels because of their surface formed by
loops, but now even elephants and bears help us to clean our body.
Designs with very bold lines and patches are advisable for towels and
napkins. The designs can be composed of key type borders or bold
decorative forms. Though the common sizes are mentioned below,
the towels and napkins can be produced in any convenient size
according to the requirements.
General Sizes:
36 x 72 inches apprx.,
27 x 54 inches apprx.,
27 x 27 inches apprx.

SOCKS
The meaning of this word as given in the dictionary necessary for boot or shoes wearers. Socks are
is 'a close covering for the foot and lower leg'. available in three categories, for men, women and
Socks - a light shoe, worn by Roman actors of comedy; children. Their sizes and the designs knitted on them
now 'a short stocking'. are different.
There are two more varities. One is 'Moggan' meaning These sizes also vary from country to country (The
'a footless stocking' and the other is 'Gaiter' meaning a approximate standard sizes are shown in the
covering for the lower leg but upto the ankle, more or diagrams).
less same as Moggan. The design is to be drawn on a graph paper in much
Stockings or socks might have been used, probably as larger size than it is actually reproduced. The size of the
protectors of feet from shoe-bites and cold, and like motif and the repeat (if the design runs horizontally
neck-tie gradually made their place as an essential part covering the entire circumference) of the design both
of the dress. Socks or stockings have became depend upon the number of needles fitted in the
SOCKS FOR GENTS

Mens' socks are in plain colours or with small vertical motifs on both
the inner sides of the socks. The designs are knitted on upper part
which remains out side the boot.

machine. If there are 168 needles, then the repeat to be damage the shape of the motif. This can be done using a
composed horizontally will be in fraction of 168, Le. 28, special software that is normally supplied with the
42, 56 or 84 needles. While preparing a design on a knitting machines. Without this software the socks
graph paper, one square is treated as one stitch. A designs cannot be transferred to the knitting machines.
vertical design should be composed in at the most 60 Before the advent of computer, reproducing the
stitches so that it should not get distorted, and be clearly complex designs on stockings was difficult, and the use
visible after the sock is worn. of colours was also restricted upto three. But with the
The design is to be composed and painted by filling the computerised machines, five to six coloured (5 colours +
squares. The artist has to be very careful while filling the body colour) designs can be reproduced and that also
squares. A small mistake of filling a wrong square can with better fineness.
damage the shape of the motif. This can be done using a
special software that is normally supplied with the
knitting machines. Without this software the socks SOCKS FOR LADIES
designs cannot be transferred to the knitting machines. Ladies' socks come in fancy colours , and are designed
with delicate and decorative designs.
SOCKS FOR CHILDREN

Socks for children are bright coloured and designed with comical pictures,
cartoons of animals, birds or any subject attracting the children.

PILLOW-CASES AND
CUSHION COVERS
DESIGNS OTHER THAN CONVENTIONAL
TYPES (
At the bottom is a pictorial design that can be used for /'
- /r:
pillow-cases or cushion covers. The border or a center- .
piece are eliminated. You can use any suitable and

pleasant subject. J ;

PILLOW CASES
Conventionally the designs for pillow cases consist of repeats. This is done only when the centre-piece is
borders on four sides with corners joining and binding decorated with a landscape, animals or any pictorial
those borders together and the centre-pieces. As this is subject.
an era of innovationalism, there is nothing wrong to As far as the kerchiefs are concerned, they are
choose your own different path and compose entirely a reproduced mostly on silk or some superfine cloth. The
different kind of design. The design is composed in a treatment of the kerchief-design should be delicate.
quarter of the whole size, then repeated symmetrically Always remember that other designs from this category
on all sides. Sometimes the centre-piece is a part of are going to decorate furniture while the kerchief alone
the original unit while sometimes it is treated as is meant for the decoration of human beings - especially
an independent complete unit without any fractional ladies.
I
/
)
Size:
/ 17 x 23 inches
,/
,.........
,...... or any required size
--~I<'-

TABLE CLOTHS
The table-cloth is used for covering the table, especially
~~ ~~ ~~ ~~ at meals or at teatime. It is in plain colours or with simple
~" ~~
~" ~~ designs with minimum colours. Tea-cloth is also a small
table-cloth used for smaller table. The purpose of the
table-cloth or tea-cloth is to protect the table from the
~~ .4~ ~~ .4~
dust as well as from the drinks or the foods split while
~,., ~~ ~,., ~
serving or eating.
The table-cover is a cloth for covering a table, at other
~~ ~~ ~ ~~ than meal times. It is used for protecting the table from
~" ~~
~" ~~ the dust as well as for decoration. It has more intricate
and colourful designs than the table-cloth.
The design of scarf is also composed in the same way
~~ .4~ ~~ .4 as of table-cover. The scarf is a light, usually decorative
~,., ~~ ~,., ~ piece of dress thrown loosely on the shoulders about
the neck or over the head.
..

TABLE COVERLETS, SHAWLS,
KERCHIEFS, etc.
These articles come in square size. Therefore running
repeats are possible for these designs. The symmetrical
repeat looks static, while a running repeat gives an effect of
movement and continuous flow. Observe the drawing at left
to see how the running repeat is composed.
In the design below, the dragons are swimming against the
waves. Visualise the full table-cover from the drawing at
right. The dragons will look like chasing or racing with each
other. Those at the centre are also trying to free themselves
to enter the fray.
The dragons at the centre are shown in different positions in
the drawing and the painted design. The choice is open.
Size : 36 x 36 inches or any convenient size. May vary
according to the width of the fabric.

BED·SHEET
BED-SHEET - Bed sheet is spread on the bed at bed-
time while the Bedspread is used to cover it during day-
time. It has a smooth surface and protects our body from
the surface of the mattress which is comparatively
rough than the bed sheet. It helps us for a sound sleep
and as it protects and pleases our body by its smoother
surface, it also protects the mattress from the dust, and
the sweat from our body as well. So it has double duty.
Though the bed sheets are in white or lighter and plain
colours, the design is no bar. The designs are
comparatively simpler than those of bed-spreads, with
simple motifs, strips or simple borders-running in
lenghth, width or even in diagonal direction.
Sizes - 60 x 90inches;
58 x 88inches or even little smaller.

BED-SPREAD
Bed Spread is a sheet of cloth used

to cover the bed during daytime, to
protect it from dust and to decorate
it - a kind of decorative furnishing
fabric to please the guests. It is
embellished with attractive motifs,
mostly with Decorative borders on
all four sides, and the same motifs
composed at the centre. Allover
Designs consisting big size flowers,
leaves etc. are also depicted on
bed-spreads. The designs are
mostly multicoloured.
Size - 60 x 90inches approximately.

UMBRELLA
Umbrella bear eight , ten or twelve design or border design will also do.
sticks , yet those with eight sticks are For making a perfect design it should
common. For the sake of be composed as shown in the
convenience , seven different diagram. You already know that some
designs , some having symmetrical skirt designs are also composed with
repeats are shown here. Allover the same construction.
\
\
\
\
\
\
\
\
\
\
\
\
\
\
\
\

TOTE BAGS
SANCHISTUPA
M.P. -INDIA
Heritage Bag
No one goes to the market without a

bag with him. Vegetables and other
articles peeping out from such bags
is a common sight around the
marketplace. Earlier, people used
the bags made of plain, thick cloth
of anyone colour. But today, with
the aesthetic sense and market
sense combined, manufacturers
bring out colourful bags of different
designs and sizes to attract the
public eye. We can even give
different names to those bags like,
'Heritage Bags', 'Environmental
Bags', 'Quote Bags', etc. Here are
some designs to inspire your mind's
eye for creating more designs.
Humorous quotations are likely to
Environmental Bag sell better. Who wants to stay Environmental Bag
pockerface all the day? ...
Behind every
poor (gentle) man
Che Sara Sara stands guard
(What will be will be!)
a
Behold! SUCCESSFUL
It is now happening! WOMAN
Quote Bag Quote Bag

TAPESTRIES, CURTAINS,
FURNISHING FABRICS,
WALL HANGINGS, ETC.
A tapestry is a handwoven textile, usually
made with heavy threads of several colours. It
is made by hand on a vertical loom and
requires much time and a great deal of skill.
Traditionally the tapestries are very expensive
and precious.
Ancient writings refer to tapestry weaving in
India, Persia, Phoenicia and Syria. Some
pictures in the tombs of Egypt show weavers
making tapestries on linen. These pictures
indicate that this art of tapestry weaving is
about 5000 years old. Samples of Greek
tapestry dating back to 500 B.C. are still
preserved in the desert of Tarim Basin.
Islamic religion being opposed to reproducing
human figures in art forms, their tapestries
depicted only the forms called arabesques,
based on Arabic script, abstract floral and
geometrical patterns.
A Printed Tapestry
A modern Tapestry designed and woven by Mr. M. G. Kulkarni (Courtesy Mr. M. G. Kulkarni)

Since 14th Century until the present, history of tapestry scenes were also the subjects of many tapestries
has been centred mainly in France and Flanders (now produced for indoor decoration.
Northern France and Belgium). The famous artist Flemish tapestries in 17th Century were known for
Raphael (early 16th Century A.D.) had designed for intricate patterns and colour.
tapestries. Known as 'Raphael Cartoons', they still William Morris, in the 19th Century, revived the art of
survive. The tapestries also decorate the Sisline
tapestry making and made a series of tapestries, with
Chapel.
figures based on 'cartoons' by Edward Burne Jones.
Goya and some other painters also had designed some Today tapestries can be produced even by printing
tapestries which are still on display in various historic process. Comparatively cheaper than woven
buildings. tapestries. They can also be produced in large quantity.
Apart from religious and mythological subjects, hunting
WALL HANGINGS,
CURTAINS, ETC.
As the tapestry is used to cover and decorate
the walls, so is wall-hanging. But the tapestry
used to decorate the walls in Palaces and
Castles of the emperors and knights or the
persons of similar status. Tapestries in olden
days were made in bigger sizes.
Comparatively the wall-hangings are much
smaller. Now-a-days screen printed wall-
hangings are available covering various
subjects. The picture on right is a scene from
Ajanta Caves (India), called 'The Black
Princess'. The picture from which this wall-
hanging is prepared was copied from a
Black Princess from Ajanta Frescos
photograph published in a magazine and then

converted into a seven coloured picture. No
half-tones were used. All colours were in line,
stiple-work and patch.
Design for wall hanging
58 Fundamentals of Designing for Textiles and other end uses _

MORE DESIGNS FOR UPHOLSTER~
WALL HANGINGS, CURTAINS, ETC.
Here are three designs useful for any of the above

purposes. The design at left which was originally
prepared for tapestry can also be used for furnishing
fabrics.
The designs at left, below and bottom left, designed and

woven by Mr. M. G. Kulkarni, can be useful for curtains
or upholstery.
Abstract design for wall hanging.
Alhambra Quilting

CURTAINS
The fabric used for curtains

should be thinner than that
used for tapestries. The
designs that are used for
wall-papers and tapestries,
can also be used for
curtains. The design at the
right, is developed from an
old wall paper, originally in
one colour.

CARPETS & SIMILAR PRODUCTS•••
The Carpets suggest the riches of the household. embroidered hangings designed by the legendary
Richer the family, more the floor covered by the carpets. William Morris. The subjects he used include pattern
Carpets are included in the category of furnishing motifs, floral and foliates predominently and the birds and
textiles. Aforetime, the carpet manufacturers produced human figures as well. Some of his tapestry designs were
both hand-knotted and machine woven carpets. Today printed even on wallpapers.
the p ri n te d ca rp ets a re a Iso a v a i Ia b Ie. Besides the above mentioned subjects utilised by William
The Victoria and Albert Museum of London has an Morris, other subjects like geometrical patterns,
enormous collection of textiles and textile designs, in mythological or historical personalities or events,
which William Morris (1834-1896) occupies a prominent monuments, and even calligrammes can be depicted on
place. This collection includes carpets, tapestries and carpets. All over designs are aptly convenient for the
corridors or stairs.
1/4 Section of the Carpet. See how the motif falls symmetrically at the centre as well as at the corner.

covering entire area of the room. (See the design at the
bottom.) Designs consisting running borders orthe borders
of mirror repeats of symmetrical motifs will adorn the
carpets covering the corridors or stairs.
Some famous names in the history of carpets are Wilton
Carpets, Brussels Carpets, Ax-minster Carpets,
Oudernarde Carpets, Kashmiri Carpets, Iranian Carpets,
Afghan Carpets and many others for their different
The Original motif. Notice how it is developed below
identities and peculiar designs.
Carpets are manufactured in different sizes as per
requirements for drawing rooms, bedrooms, corridors and
even the stairs. They have established themselves as
fashionable furnishings. The basics of the designs for
carpets being the same as of bed-covers and table covers,
they can be modified and used for the table and bed-covers
also. Now that you can make out the repeat and compose
the designs, try to alter or transform them according to your
requirements.
The unit above is used for this Carpet for Corridor or Stairs
An allover design for a carpet to cover the entire room from one end to another.

FLOOR-MATS
(COMMON MAN'S CARPETS)
Floor-mat is the most useful article in
every household for covering the floors,
or spreading it under the mattress to
protect it from dust or moisture. Fold it
and carry anywhere you want, be it a
picnic or a longer journey. Woven in thick
and tough threads to give it a long life, the
floor mat is available in jute or any other
material like the plastic fibres. Woven
and also printed, it comes in various
sizes.
You can also get it made to order, with
your name, logo or an emblem woven in
it. Comparing its prices with those of the
carpets, it is cheaper, in commoners'
reach, hence called common man's
carpet.
The designs are simple, with bright
coloured bands. Other designs are also
available in the markets. Printed floor-
mats are displayed at the entrance of the
shop, as a backdrop or behind the selling
counter, with a lion or a flock of deer
roaming in the jungle, printed on them.
Illustration of Panda is based on a photograph published in
National Geographic magazine
,
------------------------
.
Based on an old design for flooring.

CROSS-STITCH
Cross-stitch is an oldest and popular form of thread
embroidery found all over the world. In cross-stitch
X-shaped stitches are used to form a picture. It is
usually executed on easily countable even weave
fabric. The stitcher counts the threads in each
direction to get uniform size and appearance. This
form is also called counted cross-stitch.
Sometimes cross-stitch is done on designs printed
on fabrics which is called stamped cross-stitch.
Cross -stitch was often used together with other
stitches, sometimes in crewel embroidery. A
specialised historical form of embroidery using
cross-stitch is Assisi embroidery.
There are many stitches related to cross-stitch.
They are Celtic cross-stitch, Long-armed cross-
stitch, Ukrainian cross-stitch and Montenegrin
stitch. The double cross-stitch also known as
Leviathan stitch or Smyrna cross-stitch combines a
cross-stitch with an upright cross-stitch.
Cross -stitch is often combined with other popular
forms of embroidery or other embellishments such
as charms, small buttons, pailettes and speciality
threads of various kinds.

EMBROIDERY
The art of embroidery has been practised in India since
Vedic times. Embroidered fabric is mentioned in Vedic
literature as 'Peshas'. Some women did the business of
making embroidered fabrics, which was called
'Peshaskari'. Megasthenis and Erian have mentioned Berlin Wool-work
that Indians were fond of embroidered garments. A wide
variety of articles were richly embroidered with cotton
and woolen yarn, silk floss (rough silk threads on
silkworm's cocoon) and silver and gold threads as well.
In the 9th Century, some Arab traders returned home
from India carrying with them, exquisitely embroidered
cotton goods as a unique gift from India. Thus, iii ••
embroidery was introduced to the Arabian World. Candle Stand Embroidery on Hardanger Cloth
Even today, embroidered Kashmir shawls are famous.
Embroidery was popular in ancient China and Japan, so
also in Iran and Turkasthan. In ancient Greece, 'Peplos'
an embroidered garment was prepared to drape their
Goddess 'Athena', on which the scenes of wars
between Gods and Demons were depicted. Babilone
was a centre of embroidery business; and Egypt also did
not lag behind. Embroidery on white fabric with black silk
called 'Black Work' was popular in Elizabethan period in
England. Netherland was known for its beautiful
embroidery. In 17th Century Portuguese embroidery
was influenced by Indian motifs.
Embroidery is a 'Needle-craft', done using different
stitches. All the known forms of stitches, such as darn
stitch, satin stitch, stem stitch and chain stitch were
already applied in Indian embroidery. Early on
embroidery was practised as a personalised
Hungerian Embroidery
craftsmanship. Till recently it used to be, and to some

extent still is an household hobby of Indian women folk.
You may still find framed embroidered designs hanging
on the walls in some old houses.
Names of some known varieties of embroidery are -
1) Amager, 2) Berlin Wool-work, 3) Catalan, 4)
Bulgarian, 5) Hedebo, 6) The new Baro, 7) Hungerian,
Amager Embroidery
8) Rhodes embroidery or Punchwork and 9) Hardanger
Embroidery.
Some specimens are shown on this page.
Hand embroidery, though still popular, the machine
embroidery has made headway in apparel market,
becoming a part though relatively smaller, of the Textile
Industry. The computer has furthered the machine by
leaps and bounds in a very short period comparing to
the olden times.

Computerisation made revolutionary
changes by increasing speed of
production, enlargement and
reduction of the original design,
changes in colour schemes,
adjustments in stitches like increasing
or shortening the stitch, switching
over from one stitch to another etc.
The only thing necessary for
production is the continuity of the
design (thread will be more correct
word). If there is a break, the distance
should be as less as possible. The
visual difference between the original
Embroidered version of the design on left
artwork and the finished product is
distinct. Though the problem existed
afore-time also, the craftsman had
more freedom and leisure to handle it.
Today though the freedom may be
there, leisure is not.
The artist has to compose new
designs regularly as his duty. We
hope the students will get some
insight in visualising the designs if
they wish to turn to these industries
fortheir living.
Some of the designs on Pages No. 43,

65, 68, 69 and 75 are based on the
designs from 1) STITCHCRAFT (No.209)
of STITCHCRAFT LTD., Patons and
Baldwins Ltd., London and 2) THECULT
OF THE NEEDLE, edited by Flora
Klickmann, Curtis and Beamish Ltd.,
England.
Motif prepared for printing Embroidered version of the design on left

LACE
'It is difficult to see why lace should be so
expensive; it is mostly holes. '
Mary Wilson Litle
The statement though, seems to be funny, is at the
same time true. But these 'more than fifty percent
holes' are not less important. On the contrary they
are base important and therefore perfectly lace
important. Leave aside the pun, most of the laces
are made using these holes as the base or support.
The hole is called the mesh of the net. The mesh or
the net is selected according to the requirement of
the design. The lace is made from fine or coarse Normal Embroidered Lace with darker colour used for design
threads as the design demands, stitching into lovely
patterns. It may be made by hand or by machine.
Descriptive definition of lace: 'A string for passing
through holes; an ornamental fabric made by
looping, knotting, plaiting or twisting threads into
definite patterns.'
Handmade lace is made usually by one of the two
methods : the needlepoint method or bobbin
method. Needlepoint lace is made by drawing the
design on a thick piece of paper backed by linen.
The outline of the pattern is stitched onto the paper.
It is used as a framework. On it the lacemaker works
with a needle and single thread, building up the
pattern with looped stitches. The framework
stitches are, after the work is completed, clipped
and the lace is Iifted of the patte rn.
Bobbin lace is made with a large number of threads,
each fastened to a bobbin (spool). The pattern is
drawn on paper and the paper is fastened onto a
cushion. Then pins are stuck into the cushion to
keep the threads in position while the lace is being
made.
The most beautiful of the bobbin laces is Duchesse Normal Embroidered Lace with a different
colour used for embroidery
lace, which has an exquisite all over design.
Chantily lace has vine or spray patterns on a mesh
often used to trim children's dresses and household linens.
ground. Cluny lace is a fairly coarse bobbin lace,
The first true handmade lace was probably made in Italy in
the 15th century. During 1770's Belgium and France were
important lace-making countries.
The Leavers machine first used in Britain in 1813 for Lace
making was a very large machine. With the help of
computerised machines to produce the lace, lace making is
now done nearly all overthe world.
Some of the varieties of traditional laces shown on the next
page are 1) Bohemian Lace, 2) Fillet Lace, 3) Reticella Lace,
4) Mosaic Fillet Lace, 5) Innishmacsaint Lace, 6) Limeric
Tambour Lace and 7) Carricmacross Lace.
Normal Embroidered Lace designs with two different treatments

LACE Contd...
Some varieties of traditional laces
Bohemian Lace
Fillet Lace
. i
. " W
I ! I
Reticella Lace - The same design transformed into two different rL-+- :!
! O'
i
designs Used for Table Mat or Chair Seat
" I
~.
;_i_·.
" .. .
L . . ; ; , l: . ~' .- I '
i . "0' -· "1 :
·
d ... .
A border for table cloth - Fillet Chrochet Lace
Braided Lace - Bands in light Yellow colour are Braids
Teneriffe Half Wheels
Limeric
Run Lace
Chair Back

A FEW MORE LACE DESIGNS
Some of the Laces manufactured on computerised machines are shown in this page.
Boring Lace: Cut work on machine with Polyester yarn. This Lace is prepared on cloth.
Sequence Embroidery Lace: (Machine / Hand) with Polyfilm and / or metalised coating. This Lace is also done on cloth.
Rashel Lace: This Lace is done on cloth as well as on net.
Crochet Lace: This Lace is done on net or the mesh is prepared before making the Lace according to the design.
Cording Chemical Lace (with Polyester fibre or cotton yarn) is knitted on the base of foam and then the foam is removed.

LINOLEUM
Linoleum was invented by Frederick Walton, an
Englishman in 1863. He made it from a mixture of oxidised
linseed oil, kauri gum, resins, powdered cork or wood flour
and colour pigments. The mixture was spread onto a
burlap or canvas backing. Several weeks after heating
and applying pressure, it was waxed to make it stain
resistant. Floor coverings made of linoleum are cheaper
and within reach of common man. To make the product
attractive it has to be decorated with designs. The designs
printed on linoleums are mostly conventional, but you can
seek and find a new path.
The type of linoleum which is commonly used for floor
coverings is 118th inch thick.
Rotogravure vinyls are also used as floor coverings. They
come in a variety of sheet sizes. The designs on
rotogravure vinyls come in variety of colours, effects and
patterns.

WALL-PAPERS
The basics of the textile designs and wall-paper
designs being the same , the designs prepared
for textile printing can easily be used for wall-
papers. Wall-papers are usually coloured or
decorated with designs, for pasting on walls of a
room, instead of wall-painting.
Most common and conventional designs
depicted on wall-papers are of big repeats and
of half-drop constructions. The half-drop
construction is not only convenient, it looks
beautiful and well balanced , because of its
catercornered asscention or dissention. The
colours and the patterns are also distributed the
same way. Beside, the half-drop design requires
less material. The full unit is composed in such a
way that you only have to repeat the composed
half unit to get a full repeat.
Other types of designs also do. Please refer to
the chapter of tapestries or turn back to the
portion you have up-til-now studied. You yourself
will understand what will go with the wall-papers,
tapestries and even wrapping materials.
But if the walls were asked what they would prefer and if they
could answer, I think they would prefer omnidirectional designs
to cover their surface. Any allover design repeats itself,
horizontally, vertically and diagonally as well, turning the eyes
of the beholder on all the sides.

WALL-PAPERS (Contd ... )
Both the designs can be utilised for tapestries.
DADO
Sometimes the lower part of the wall is decorated with a border which is called
'DADO'. The colours of the wall-paper designs should be sober. The word 'sober'
explains everything.

WRAPPING MATERIALS
AND END PAPERS FOR
BOOK BINDING
When someone speaks of wrapping papers,
we think of some coarse and thick paper,
mostly a khaki coloured craft paper wrapped
around some article and tied with a string or
pasted by a cello-tape. Our imagination stops
here. But a craft-paper is one of the materials
used for wrapping. One time there were only
craft papers but now a variety of wrappages is
available. Erewhile, the paper manufacturers
wrapped their paper reams or rolls with some
coarse and thick paper or jute bags. Now they
drape their paper reams with designed
wrappers.
It is said that even if an ordinary product is
wrapped in silverfoil and kept in the showcase
of a shop, will sell. Catching the eye of the
customers is one of the purposes for designing
the wrappers. Wrapping papers on
sweetmeats and dry-fruit boxes, shoes, carry
bags of plastics with the names of the
shopkeepers printed on them, novelty items
covered by transparent and coloured paper-
foils printed with beautiful designs - all these
come under wrapping materials.

The size of the wrapping paper can be
43 cms. X 56 cms., 56 cms x 87 cms. or any
other size according to the quality and
category of the paper convenient for wrapping.
Corrugated Paper is also used as wrapping
material.
Lastly, the important point not to forget while
preparing a design for wrapping is, it should be
oligochromatic, i.e in minimum required
colours. The wrapping material is given nearly
free of charge covering the product. But it
should also be eye-catching. Therefore, it is
necessary for the artist to be ideative and
constantly keeping his hand in the designing.
Designs for end papers used for book binding
are also designed like allover textile designs or
designs like wrapping materials, but only in
one or two colours. All the designs shown in
these two pages can be used for end papers.

LAPMATES (Table Napkins) PLACEMATS
Lapmates are used for covering the laps of diners, so that Placemats are used on dining tables to place the
the clothes may not get spoilt by spilling the foodstuff pots of food, glasses, etc.at the time of breakfast
while eating. or lunch. The usual size of the placemat is
Lapmates come in two shapes, rectangular or oval. 12% inches x 18 inches, or according to the
Irrespective of shape, the dimensions are 14 x 20 inches customer's requirements. Placemats have loose
approximately. shreds on all for sides or on width side.
• IIIII •
III II
DOORMATS
Every door, whosoever lives
inside it, welcomes you with a
door-mat saying "WELCOME"
or with some designs on it. The
size of the door-mats is 24
inches in length and 15 inches
in width approximately. Door
mat is a common man's
product. You get them both
woven as well as printed. They
are made of fabric of sedge,
rushes, straw or coarse fibre
for wiping shoes, feet or other
things at a door.

COMPUTER AIDED DESIGNING
The advent of Computer, changed many faces; first, of shows that in the near future not more than 10% of the
industries, then, of the people depending upon them. total printing done in the world will be printed digitally.
The Textile Industry is not an exception. Obviously, the conventional i.e. flat-bed and rotary
In the field of textile printing and weaving, the Computer screen printing will remain as a major source.
technology has reached such a stage, that many in-
between stages or equipments up-til-now necessary,
can be set aside.
Details of the design printed on Digital Printing machine.
Achievements:
Digital Printing machine Despite all these things we cannot afford to ignore the
The printing can be directly done digitally from computer achievements in this field. Some of them are already
on Printing machine. The flat-bed and rotary screen applied to the screen printing process.
printing still continue their role the world over, Separation:
nevertheless, this new innovation has also entered the Separation of different hues and tints on positives is
field and is slowly making headway. done now with the help of computer. While the software
of textile designing separates all different shades of
different colours with 'spot colour' formula, the digital
software separates them by 'cmyk' formula. (Four
Colour combination as used in Offset Printing)
Magenta
. ~
Details of the design printed on Digital Printing machine.

But the speed of production is one of the key elements in
deciding its viability. Conventional printing can today
produce millions of meters per month. Figure of
production by digital printing is not available, but
according to the people in digital printing, it is nowhere Yellow Black
close to the conventional printing. Their market study Colour Separation: CMYK Formula for Digital Printing

Screen printing requires the dispensed printing pastes The Computer can modify your design to any extent you
of different colours according to the designs to be wish.
printed; while the digital printing requires only four inks,
cyan, magenta, yellow and black.
\ i<
* --)(-¥
* >f-*
'I ,
y
J .;'
Any portion of any design can be clipped and inserted it~
Red any other design suitably to make it a part of that design.
Grey
Traditional Colour Separation of the same design
by Spot Colour Formula for Conventional Printing
Though the above information is not less important, an

artist-designer is not concerned with it directly. For him,
it is more important to have a sense of colour and
composition of design, than to be an expert in printing.
But some other things the computer can do for the
improvisation of the textile designs are important for
him, as he is directly connected with the designing.
The helping role of the computer
The Computer can change, not only the face of the
design, it can transform it into an altogether different
You can resize your design by enlarging or reducing and

use it in your design.
3 4

You can reshape any required motif by enlarging, The colour schemes can be changed from warm to cool
expanding or condensing it and insert in any design you or any way according to the subject of the design.
want.
Warm Colour Scheme
Condensed Original Shape Expanded
You can eliminate some portion in your design and

readjust the spacing. Cool Colour Scheme
You can rotate the whole design or its part to position it
suitably in your proposed design.
Colour Scheme balancing

warm and cool colours
By repeating the original unit vertically and horizontally

and placing those units together, you can make out the
defects in your composition and make necessary
Any motif can be distorted and reshaped as per the alterations. If one observes the design below carefully,
requirement of the proposed design. he may find some defects therein.


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C?OD~0~[3 1JLNh0 @C?

Textile Association of India

Woodhead Publishing India

First published 2009, Woodhead Publishing India (P) Ltd.

Trademark notice: product or corporate names may be trademarks or registered

Woodhead Publishing India (P) Ltd. ISBN 13: 978-81-908001-0-5

Typeset, printed and bound by Replika Press Pvt. Ltd., India.

Late Mr. P. D. Pawaskar

1. Introduction 08 23. Dress Materials - Skirts 41

2. Collection of References as Raw Material 09 24. Indian Saree 43

3. Materials you need 11 25. Tee-Shirts 45

5. Percentage of Covered Area in Design 12 27. Socks 47

Fundamentals of Designing for Textiles and other end uses 09

10 Fundamentals of Designing for Textiles and other end uses

DIFFERENCE BETWEEN TEXTILE AND OTHER DESIGNS

Fundamentals of Designing for Textiles and other end uses 11

PERCENTAGE OF COVERED AREA IN DESIGN

20% COVERAGE 30% COVERAGE 40% COVERAGE

12 Fundamentals of Designing for Textiles and other end uses

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14 Fundamentals of Designing for Textiles and other end uses

MAKING THE POSITIVE

Fundamentals of Designing for Textiles and other end uses 15

"There is no Abstract Art. You always have to start with something".

16 Fundamentals of Designing for Textiles and other end uses

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SYMMETRICAL REPEAT *-*

RUNNING REPEAT RUNNING REPEAT

18 Fundamentals of Designing for Textiles and other end uses

RUNNING REPEAT UNIT ------~)

Both these designs can be used for Sarees, Skirts or Curtains.

Up-till now you have

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COMPOSING TWO MOTIFS IN

Draw a motif on or near point A. It is always

Trace the same or a similar motif in the same or any

20 Fundamentals of Designing for Textiles and other end uses

AN ALTERNATIVE METHOD OF TRANSFERRING THE MOTIF

Fundamentals of Designing for Textiles and other end uses 21

each other. This problem arises in case

22 Fundamentals of Designing for Textiles and other end uses

two motif composition. In this composition the \

(see figure). Objects or motifs of irregular \

bunch of flowers and leaves with buds will be I

Fundamentals of Designing for Textiles and other end uses 23

The design on right may be used for

The design at the bottom, though composed with a different

In the diagram below, the motifs will

24 Fundamentals of Designing for Textiles and other end uses

When you prepare a design of three

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See the design at the bottom, a border is

26 Fundamentals of Designing for Textiles and other end uses

Another method is shown in a diagram

COMPOSING SCATTERED MOTIFS

Fundamentals of Designing for Textiles and other end uses 27

THE COLOUR WHEEL

Tertiaries 16. Blue Green

Every colour mixed 17. Yellow Green

28 Fundamentals of Designing for Textiles and other end uses

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30 Fundamentals of Designing for Textiles and other end uses

Fundamentals of Designing for Textiles and other end uses 31

SYMMETRICAL REPEAT -