Fabric Design Techniques

Fabric and Garment Designing Technique
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CHAPTER I
ELEM ENTS OF DESIGN
The word 'design' has several meanings such as purpose, plan, scheme,
selection, arrangement and organization. It describes the entire design
procedure. Both design and designing are important in the field of fashion as
well as art. Design is a part of our daily life. It is found in nature as well as in
man-made environment. Shapes, forms, lines, light, colours and textures all
combine to become a unified whole which is commonly called a "Design". The
knowledge of elements of design is very important because they are the main
components with which artist/designers work, to create a basic design /
apparel.
LEARNING OUTCOM ES
At the end of this chapter, you should be able to:
 Define the term design;

 Identify the types of design;
 Compare different types of design;
 Compare the different types of lines and their characte r;
 Choose suitable lines in designing garments or textile s;
 Compare different types of shapes;
 Choose suitable shapes for garment designing;
 Compare different types of forms;
 Explain the properties of colour;
 Choose the appropriate colours for a design;
 Choose most pleasing colour schemes for garments;
 Explain the concept of colour rendering
 Create designs using rendering of colours.
 Define the term texture;
 Compare visual and tactile texture;
 Explain different methods to create texture effects;
 Create different textures in designing; and
 Explain the effect of natural and artificial light in garments.
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Definition of Technical Terms
Hue - is the other name for color. It is the particular shade of color that
differentiates one from another.
Design - A plan or drawing produced to show the look and function or workings of
a garment before it is made.
Chroma - the perceived intensity of a specific color
DESIGN
Design is an orderly arrangement of elements like lines, shape, form, texture etc. in
an aesthetic manner. Design can be described as a plan or a skilful way of doing a sketch
or drawing which is visualized and then represented for the construction of an object.
Design in Clothing
Many persons are particular about the clothes they wear. For instance, most
professionals strive to be well-dressed. They are conscious of what they wear for they
believe that the clothes they wear will spell out success in their field of work. Everyone
should develop good taste in the choice of clothes. This means that the person should be
able to choose clothes that are becoming to her and appropriate for different occasions.
A designer should realize that not all styles that are in vogue or popular in the
fashion world are the best styles. Dress designing should consider the individuality and
personality of the person.
TYPES OF DESIGN
1. Structural design - It is a method to decorate a garment by applying of the different

structural details like pleats, darts, tucks, gathering etc. In apparel structural design is more
important because it is the fundamental component of design. The requirements of a good
structural design are:
 The design must be functional in sense. It should be suitable for the purpose for which it
is made.
 The design must have correct proportions.
 It must be simple.
 It must be suited to the material of which it is made.
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Pleats Tucks
Tucks Gathers
2. Decorative design - It is another technique to decorate a garment by adding extra

materials such as laces, embroidery, printing, fabric painting and applique. In garments
decoration can be created through various types of prints, braids, embroidery, buttons
etc. The decorative design should fulfil several requirements:
 The decoration should be used in moderation and should be placed in structural

points, to strengthen the shape of the object.
 The decoration should be suitable for the purpose for which the object is made.
 There should be enough background space to give an effect of simplicity and
dignity to the design.
Lace Beads and Sequins
Embroidery Fabric Painting/Printing
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Another classification of designs is as

follows:
Naturalistic Design
It imitates or copies the nature in

a photographic manner. I include
pictures/designs/ photographs of
flowers, fruits, animals.
Stylized Design
These are simple designs which

have its original structure from natural
design. These are modified natural
designs.
Geometric Design
Combination of geometric
forms like line, circle, square etc.
Historic Design
These are designs which

indicate our glorious past or stories
of history.
Abstract Design
These designs are formed by

the indistinct fusion of lines, colours,
form texture etc. These are entirely
dependent on the skill of the
designer. They may not resemble real
objects.
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ELEM ENTS OF DESIGN
In designing a dress, one of the components which work together is the Art
Elements. The elements of design are flexible and should be understood within the
context of current fashion. A design can be defined as the organization of lines, shape,
colors and texture that create a visual image.
Elements of Design
1. Line - It provides the visual dimensions of length and width. When lines combine,
space is enclosed and forms shapes. Lines access a path of vision for the eyes when
wearing an outfit. The organization of lines in clothing design can affect the
appearance of an outfit.
Two kinds of Lines in Garments
a. Directional line such as vertical, horizontal, diagonal, checkered, broken and

curved. These affect the height and size of an individual. Lines are serving as
clothing designs like the art of printing flowers, dots and others on fabric.
Vertical lines
 They generally add height or length to the body.
 Gives the impression of being taller/thinner.
 Gives a feeling of dignity, strength, poise and sophistication.
 Vertical lines carry the eye upward and downward direction which will
give the illusion of tallness.
 Vertical lines can also be achieved by a row of knife pleats or pin tucks or
by piping inserted in a vertical seam, so as to emphasis the line.
 Vertical lines are also associated with formal wear.
Horizontal lines
 They make the eye travel from side to side and so give the effect of width
and shorten the body.
 Can attract attention towards one part of the body.
 They carry the eye across the body.
 Horizontal lines by spacing can produce the illusion of length.
 Gives the impression of being shorter and heavier.
 Gives a relaxed and calm feeling, suggests rest and gentleness.
 These lines are not flexible and informal and a horizontal effect can also
be achieved by rows of tucks or lace.
Diagonal lines
 Diagonal lines satisfy combination of both.
 They always show a movement or motion.
 They are slimming because they direct the eye over body curves at an
angle.
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Zigzag lines
 It is a series of connecting diagonal lines.
 It forces the eye to shift abruptly and repeatedly.
 They tend to increase the size of the area covered by them.
b. Structural lines are found on necklines, armholes, hemlines, darts, side seams,
sleeves, collars, tucks and pleats of garments
Curved Lines
Curved lines creates an entirely different mood and it considered to be
more graceful than a straight line. It can even add weight to a thin person.
Curved lines are graceful and gives a feminine effect.
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2. Form or Shape - refers to the form of a person which shows the curves of the body.
This includes the shape of the face, neckline and the full body or figure.
Body Shape
Your body shape is based upon the size of your physical features and the
overall balance of your body. These four shapes are spoon, cone, ruler and
hourglass and describe skeletal structure.
a. (Rectangle/ Banana Shape)

 Tend to be waif-like and slim.
 Shoulders, hips, waist almost same size.
 Very little indentation at waist.
 Tend to put on weight in stomach and bottom, while maintaining slender
arms and legs. Usually are ectomorphs.
 E.g. 34-30-35, 36-33-37, 40-36-42.
b. Hourglass Body Shape

 Well-proportioned upper and lower body.
 Shoulders and hips (almost) same size
 Dramatic indentation (6″ – some sources stipulate an indentation greater
than 8″, other 9″ and some sources even 10″) at waistline.
 Tend to gain weight all over your body, especially hip and chest area.
 Tend to be endomorphs or mesomorphs.
 Strictly female shape.
 E.g. 32-26-33, 33-27-35, 36-30-38.
c. Spoon Body Shape (Pear Shape)

 Larger lower bodies and smaller upper bodies.
 Shoulders narrower than hips (commonly found in women).
 Tend to gain weight below your waist.
 Small chests and flat stomachs, great abs.
 Usually are mesomorphs.
 E.g. 32-28-39, 34-30-38, 36-30-44
d. Cone Body Shape (Apple Shape)

 Wider shoulders than hips (usually found in men).
 Bigger on the top half of their bodies than on the bottom half.
 Slim hips and legs
 Large chest and stomach.
 Tend to gain weight above the waist or bottom.
 Usually are mesomorphs or endomorphs.
 E.g. 40-36-33, 36-32-30, 34-30-29
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There are five basic body shapes for men. Take a look at your body in
the mirror (while wearing tight-fitting clothing), and try to identify your own
body shape.
The Trapezoid: You have a broad chest and shoulders,

and a somewhat narrow waist and hips. As your upper and
lower body are in balance, you can wear nearly any style of
clothing.
The Inverted Triangle: You have a broad chest and

shoulders, and a very narrow waist and hips. Wearing straight
cut pants (rather than skinny styles) will help create balance
between your top and bottom halves. Avoid wearing jackets
with shoulder pads or wide necklines, as it will make your
upper half seem even broader.
The Rectangle: Your shoulders are the same width as your

waist and hips. Structured blazers and jackets will help create a
wider upper body, while narrowing your waist. Avoid wearing
sleeveless shirts, as they will emphasize the rectangular shape of
your body.
The Triangle: Your chest and shoulders are narrower

than your waist and hips, so your lower half appears wider than
your upper body. Try to wear fitted clothing – baggy outfits will
make you appear larger than you are. Create a strong shoulder
with structured jackets. Avoid wearing skinny pants, as they
will make your hips appear wider.
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The Oval: The widest part of your body is your

stomach. Wear vertical stripes to help you appear taller and
thinner. Avoid wearing bright colored belts, as they will
draw attention to your stomach. If you are short, make sure
that your pants are tailored so they aren’t too long.
Shapes of Faces
 Oval - The oval face shape is considered to be "ideal." The reason is

that oval face shapes are well-balanced, not overly sharp or angular,
and not overly rounded or full.
 Square - The square face and round face are the two most common
face shapes. The square face does not narrow much from the
cheekbone to the forehead, nor from the cheekbone to the jawline.
 Round - Round face shapes are exactly as they sound- the widest point
is across the cheekbones, narrowing some at the forehead and jawline .
This face shape is not angular at all, and is wider than the typical oval
or oblong face.
 Triangle or Pear - The triangle or pear shaped face is most narrow at

the forehead, and widest at the jawline. The jawline may be angular or
rounded.
 Heart or Inverted triangle - The heart shaped face is sometimes called

the inverted triangle, particularly if the hairline doesn't come to a point
on the forehead. This face shape is the opposite of the triangle or pear;
it is widest at the forehead and it narrows toward the jawline.
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 Oblong - The oblong face shape is rectangular, and has similar

qualities as the square face shape except that it's longer. It tends to be
angular, but not always. Oblong faces are pretty straight, with the
cheekbones not any or much wider than the forehead and jawline.
 Diamond - Diamond face shapes are not so common. They are

characterized by a narrow forehead and jawline, with the cheekbones
being the widest point of the face. The cheekbones are often high and
defined on this face shape.
Shapes of Necklines
The most balanced face shape is the oval face shape. The combination
of the face shape and the neckline aim to create balance, giving the illusion
of a more oval-shaped face. Here are some examples of face shapes and
necklines.
The Round Face
The round face needs

vertical space to balance out
the roundness. Necklines that
are flattering include v -necks,
shirt/blouse collars, Queen
Anne necklines and Empire
necklines
The Long Face
The long face needs

horizontal space to balance
out the long shape, making
the face appear wider and
more oval. Necklines that are
flattering include using
necklines that are shallower,
and which do not generate
such a downward focus. Neck
styles as the Sabrina, Bateau,
Portrait and Cowl Neck, are
also flattering.
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The Angular Face
The angular face needs

curves to balance out the
angles. These can come in a
variety of neckline styles, such
as the Scoop Neck, Sabrina,
Sweetheart and Cowl Neck
styles. The triangle, inverted
triangle and diamond shape
face all fall under the Angular
Face category, as do those
individuals with a Square Face
The Oval Face
The oval face can wear generally

any look, as it’s already
balanced.
4. Color - is a radiant energy loosely termed light that produces sensation in our
eyes. The color of the dress easily attracts the client’s attention and becomes her
basis in choosing her apparel.
 Hue is the other name for color. It is the particular shade of color that
differentiates one from another.
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1. Primary colors are red, blue

and yellow. They are the
basic colors where different
colors originated.
2. Secondary colors are

combinations of primary
colors such that yellow and
blue produces green, red and
blue produces violet, red and
yellow produces orange.
3. Intermediate colors stem

from the combination of
primary and secondary
colors.
4. Tertiary colors are obtained by mixing two secondary colors.
5. Neutral colors are the white, black and gray and are predominantly
grayish and brownish.
 Value is the lightness or darkness of color. White added to a color will

produce tints. Black added to a color will produce shades.
 Intensity or chroma is the chroma of a color corresponds to its purity

and saturation in a color other than black, white and gray.
W arm Colors
Warm colors include red, orange, and yellow, and variations of those three
colors. These are the colors of fire, of fall leaves, and of sunsets and sunrises, and
are generally energizing, passionate, and positive.
Red
Red is a very hot color. It’s associated with fire, violence, and warfare.
It’s also associated with love and passion. In history, it’s been associated with
both the Devil and Cupid. Red can actually have a physical effect on people,
raising blood pressure and respiration rates. It’s been shown to enhance
human metabolism, too.
Orange
Orange is a very vibrant and energetic color. In its muted forms, it can
be associated with the earth and with autumn. Because of its association
with the changing seasons, orange can represent change and movement in
general.
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Yellow
Yellow is often considered the brightest and most energizing of the
warm colors. It’s associated with happiness and sunshine. Yellow can also be
associated with deceit and cowardice, though (calling someone yellow is
calling them a coward).
Cool Colors
Cool colors include green, blue, and purple, are often more subdued than
warm colors. They are the colors of night, of water, of nature, and are usually
calming, relaxing, and somewhat reserved.
Blue
Blue is the only primary color within the cool spectrum, which means
the other colors are created by combining blue with a warm color (yellow for
green and red for purple). Greens take on some of the attributes of yellow, and
purple takes on some of the attributes of red. Use cool colors in your designs
to give a sense of calm or professionalism.
Green
Green is a very down-to-earth color. It can represent new beginnings
and growth. It also signifies renewal and abundance. Alternatively, gre en can
also represent envy or jealousy, and a lack of experience.
Blue
Blue is often associated with sadness in the English language. Blue is
also used extensively to represent calmness and responsibility. Light blues can
be refreshing and friendly. Dark blues are more strong and reliable. Blue is
also associated with peace, and has spiritual and religious connotations in
many cultures and traditions (for example, the Virgin Mary is generally
depicted wearing blue robes).
Purple
Purple was long associated with royalty. It’s a combination of red and
blue, and takes on some attributes of both. It’s associated with creativity and
imagination, too.
In Thailand, purple is the color of mourning for widows. Dark purples

are traditionally associated with wealth and royalty, while lighter purples (like
lavender) are considered more romantic.
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Neutrals
Neutral colors often serve as the backdrop in design. They’re commonly

combined with brighter accent colors. But they can also be used on their own in
designs, and can create very sophisticated layouts. The meanings and impressions
of neutral colors are much more affected by the colors that surround them than are
warm and cool colors.
Black
Black is the strongest of the neutral colors. On the positive side, it’s
commonly associated with power, elegance, and formality. On the negative
side, it can be associated with evil, death, and mystery. Black is the traditional
color of mourning in many Western countries. It’s also associated with
rebellion in some cultures, and is associated with Halloween and the occult.
W hite
White is at the opposite end of the spectrum from black, but like black,
it can work well with just about any other color. White is often associated with
purity, cleanliness, and virtue. In the West, white is commonly worn by brides
on their wedding day. It’s also associated with the health care industry,
especially with doctors, nurses and dentists. White is associated with
goodness, and angels are often depicted in white.
Gray
Gray is a neutral color, generally considered on the cool end of the color
spectrum. It can sometimes be considered moody or depressing. Light grays
can be used in place of white in some designs, and dark grays can be used in
place of black.
Color theory is as much about the feeling a particular shade evokes as anything
else. But here’s a quick reference guide for the common meanings of the colors
discussed above:
 Red: Passion, Love, Anger

 Orange: Energy, Happiness, Vitality
 Yellow: Happiness, Hope, Deceit
 Green: New Beginnings, Abundance, Nature
 Blue: Calm, Responsible, Sadness
 Purple: Creativity, Royalty, Wealth
 Black: Mystery, Elegance, Evil
 Gray: Moody, Conservative, Formality
 W hite: Purity, Cleanliness, Virtue
 Brown: Nature, Wholesomeness, Dependability
 Tan or Beige: Conservative, Piety, Dull
 Cream or Ivory: Calm, Elegant, Purity
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COLOUR SCHEM ES
Colour schemes or colour harmonies mean the different combinations of colours in

a design in a pleasing way. Colour schemes which are produced through the aid of a
prang colour wheel are of three types:
o Related Colour Schemes

o Contrasting Colour Schemes
o Achromatic Colour Schemes
Related Colour Schemes:
They are produced by combining colours that lie near to each other on the
prang colour wheel. Monochromatic Colour Scheme and Analogous Colour
Scheme are related colour schemes.
a. M onochromatic Colour Scheme: It is a one

colour scheme ('mono' means 'one' and 'chrome'
means 'colour'). It consists of combining different
values or intensities of the same hue.
E.g.:- Green, Light green and Dark green
b. Analogous Colour Scheme: An analogous

colour scheme or adjacent colour scheme is a
combination of two or three neighbouring
colours on the colour wheel. A combination of
colours within one quarter of the Prang
Colour Wheel, which include only one primary
colour, one secondary colour and one
intermediate colour, is more pleasing.
E.g.:- Yellow, Yellow-Green and Green is more
pleasing than Yellow Green, Green and Blue-
green.
Related Colour Schemes:
These are produced by combining colours

that are far apart on the colour wheel. There
are four types of contrasting colour schemes.
a. Direct Complementary Colour Scheme:

Complementary colours are those which lie
direct opposite to each other on the colour
wheel. There are six such pairs,
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 Yellow & Violet

 Yellow - Green & Red - Violet
 Green & Red
 Blue - Green & Red - Orange
 Blue & Orange
 Blue - Violet & Yellow Orange
b. Split Complementary Colour

Scheme: is obtained by using any one
colour and the two colours that lie on
either side of its complementary colour.
E.g.:- Yellow, Blue-Violet & Red-Violet
c. Double Complementary Colour

Scheme: It is obtained by combining two
adjacent colours and their complementary
colours. E.g.:- Yellow, Yellow - Green,
Violet & Red - Violet
d. Triad Colour Scheme: is one which

combines any three colours that form an
equilateral triangle on the colour wheel. There
are four such combinations.
 Primary triad -Yellow, Blue & Red

 Secondary triad -Green, Violet & Orange
 Intermediate triad I- Yellow-Orange, Red-
Violet & Blue-Green
 Intermediate triad II- Yellow - Green, Red
- Orange & Blue Violet.
Achromatic Colour Schemes
The word achromatic have been derived from a combination

of two word, ie., 'Achro' means the tones of black and 'Chromatic'
means combination of colours. Therefore, achromatic colour scheme
can be defined as tints or tones of black or shades of white ie.,
black, white and various shades of grey comprises of achromatic
colour scheme.
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COLOUR SCHEM ES IN DRESS
Colour schemes in dressing play an important role. Since they help to bring out their
personality. The colour of the clothes worn should suit the wearer, helps to enhance
his or her appearance.
a. Colour and Personality: The choice of colour in clothes is usually

influenced by a person's complexion, age, size, personality and income as well
as by the vocation and the season.
• Black is good for formal wear. It tends to be sophisticated.
• Brown is casual, natural and informal.
• Navy blue looks good on almost everyone and is good for sportswear
or classic styles.
• White looks good with all other colours.
• Off-white is better for most people than pure white.
• Red, green, and blue have many tints, shades and intensities which
make these hues suitable for almost all occasions.
• Yellow is good for casual, fun clothes, but it is not pleasing for many
skin tones.
• Bright colours are fun for active sportswear or as accents with
neutrals.
b. Colour and Character: It may be said that colours are index of character. It
is said that if you prefer:
Purple - you are magnetic

Pink - you are truly feminine.
Green - you are neighbourly.
Yellow - you are idealistic.
Red - you are passionate.
Blue - you are colour competent.
Orange - you are sociable.
c. Colour and Texture: Lighter shades suit thinner fabrics better than darker
shades. Darker shades and colours are becoming in thicker material. Pale lilac
may be unbecoming in a heavy khaki cotton sari, but will look charming in nylon
or georgette.
d. Colour and Age: Young, active and vigorous people can choose clothing of
either related or contrasting colour harmony. However, only clothing of related
colour harmonies is suitable for use by older persons. Persons past middle age
will do well to wear clothing of duller intensities.
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e. Colour and Occasions: Bright and cheerful colours befit festive occasions,
parties or marriages. White, silver, yellow, gold are most suitable for weddings
and generally adorn the bridal array. Men use clothing of dark coloured material
such as, navy blue, black, associative with sorrow and gayness. Cool colour such
as white, blue, green, are refreshing the summer while warm colours such as red,
pink orange and yellow, suitable in winter.
f. Colour and Light: Garments to be worn in the day time should be selected in
day light. Apparel for evening wear or for night should be viewed under artificial
light. Electric light can change red colour to brown, orange to khaki and yellow to
acid yellow green.
g. Visual Effects of Colour in Dress: Colours react with each other and the
effects they give depend on how light, dark or strong the colours are. Dark, cool
and dull colours make objects appear smaller than the same objects in warm,
light or bright colours. Warm and bright colours make a form seem larger due the
colours' advancing characteristics. Such colours are white, yellow, orange and
red. A single colour for an entire outfit makes a person look thinner and taller.
When combining two colours in an outfit, special precautions are ne eded. Sharply
contrasting colours appear to shorten the body. This effect can best be used for a
very tall person, dividing the top & bottom of the dress. When two hues of
identical tones are used together, they cause visual 'clashing'colours appears to
jump around because they both compete equally for attention. This effect is
reduced by changing the tone of one or both the colours.
5. Texture - As texture is the feel, drape and degree of stiffens and softness of the
fabric, it also creates a visual effect upon the wearer, given a small swatch of fabric,
the designer can visualize the texture and the fall of fabric which helps him to design
further.
Texture and accessories of a dress should also be complimentary to each

other. Dress should reflect a feeling of 'oneness'. Everything should be
complimentary to each other-the dress, the wearer, is occasion. Too much
similarity in a dress leads to monotony and uneasiness.
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Types of Texture
There are two types of texture:
i. Tactile Texture:- Texture that can be felt by touch. (rough, pricky).

The actual texture needs to either be felt, or seen with light raking
across its surface to make the texture visible
ii. Visual Texture:- Visual texture refers to the illusion of the surface's
texture. Texture that can be seen. (Shiny, dull, matte)
Illusions created by Textures in Clothing
 Smooth, flat textures make people look smaller.

 Shiny Textures make the body look larger because they reflect light.
They make fabric colours look lighter and brighter, thus making the
body look larger.
 Rough textures tend to subdue the colours of fabrics.
 Sheer fabrics reveal the true body shape. It tends to soften the figure
when used over a soft lining.
 Dull textures make a person appear smaller because they absorb
light.
 Clinging, soft textures reveal the body's true silhouette.
 Stiff crisp textures make the total shape appear bigger because they
stand away from the body.
 A small, overall print tends to make the wearer look smaller.
 Large, bold patterns increase the apparent size of the wearer.
LIGHT
Light is another element of design which creates many dramatic effects in the
appearance of design. Artificial lights tend to change the colour and appearance of
clothes. Hence the dress to be worn under daylight should be se lected in natural
light. Evening party wears and night wear dresses should preferably be selected
under artificial light to look attractive.
Physical Effects of Light
The quality of light is determined by the source. Light can accent, distort,
subordinate, minimize, and rearrange contours of shape.
1. Small sharp source will create
a. Bright highlights,
b. Sharp edges of the beam of light and the objects illuminated,
c. Darker shadows with defined edges,
d. Accents differences,
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2. Broad diffused source will
a. Soften shadows and highlights,

b. Flatten shapes,
c. Smoothens textures
3. The angle of incidence of light is equal to the angle of reflection
a. Sharp focus/low angle on shiny fabric creates more bounce toward

audience/viewer, flattens objects and causes objects to appear bright.
b. Sharp focus/high angle on shiny fabric will reflect more light reflected back to
viewer causing colours to appears brighter.
c. Sharp focus/high angle on dull fabric will be absorbed causing colours to
appear duller.
4. The intensity of the light source changes the perception of density
a. A dim source will cause all surfaces to appear more opaque than they are.
b. A bright source will cause transparent or semi-transparent surfaces to appear
non-existent or more transparent than they are
5. Temperature is both a physical and psychological attribute of light
a. Shiny surfaces are cool to the touch and reflect light making the viewer feel
cold.
b. Dull surfaces are warm to the touch and absorb light making the viewer feel
warm.
Psychological Effects of Light
Our moods and sense of well-being are affected by the qualities of light.
Lightness is associated with openness, clarity, awareness, alertness, and knowledge.
Expressions of lightness include "Seeing the light", "The age of enlightenment" or "
have a bright idea" • Too much light is tiring.
 Too bright/high intensity. Illuminates too large of a surface.

 Illuminates too evenly, causes objects to look flat or 2D.
Darkness is associated with gloom, mystery, quietness, seriousness,

depression, threat, fear of the unknown, ignorance, age, sophistication, and
experience.
Not enough light is tiring and make the viewer work too hard to see. The older
the viewer the more light is required to see as the eyes age. Hearing clearly can also
be affected by the ability to see what is making the noise or who is talking.
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CHAPTER II
PRINCIPLES OF DESIGN
Designing is not an end in itself but a means of accomplishment. It is a tool

for change towards meaningful objectives. Through thoughtful balancing moving,
repeating, emphasizing and contrasting the design elements, a thoroughly
satisfying and unified art form can be achieved. These principles of design are also
used in fashion designing and so this chapter is designed in such a way to impart
relevant information.
LEARNING OUTCOM ES
At the end of this chapter, you should be able to:
• Define the principles of design;
• Compare types of balance;
• Apply the principle of balance in fashion designing;
• Explain the principle of proportion;
• Apply the principle of proportion in fashion designing;
• Compare the different ways of producing rhythm;
• Apply the principle rhythm in fashion designing;
• Explain the principle emphasis;
• Apply the principle emphasis in fashion designing;
• Explain the principle harmony; and
• Use the principle harmony in designing.
23 | P a g e
PRINCIPLES OF DESIGN
The principles of design serve as a guide lines for combining elements. Again, the
way in which these principles are applied affects the expressive content, or the message
of the work. Fashion Designers are taught Principles of designs in beginning of their
student life, so in futures they may not consciously think of these principles as they
work but if something is wrong with a design, they are able to analyze the problem in
terms of proportions, balance, rhythm, emphasis and unity to create a harmonious
design.
Principles of Design
1. Balance - Balance refers to visual weight in design. A garment must be balanced to

be visually pleasing. Balance is also the concept of visual equilibrium, and relates to
our physical sense of balance.
Balance can be achieved in one of two ways: symmetrically or asymmetrically.

 Symmetrical balance - can be described as having equal "weight" on equal sides
of a centrally placed fulcrum. It is also known as formal balance. In this case the
design composition is same on both side of the garment, then the design is
considered symmetrical or formally balanced, following the natural bisymmetry of
the body.
 Asymmetrical balance - also known called informal balance. It involves

placement of objects in a way that will allow objects of varying visual weight to
balance one another around a fulcrum point. To achieve a more exciting, dramatic
effect asymmetrical or informal balance can be used.
24 | P a g e
2. Proportion - The principle of proportion, is also known as the 'law of relationships'. It

refers to how an object, idea or colour is related to other with regard to size, numbers,
quantity etc. Proportion is considered as a scale or ratio of the different parts of a design.
Every time two or more things are put together, good or bad proportion are established.
Articles of apparel worn together should not show too great a difference in size
relationship to wearer. The articles should not differ too greatly in size from each other.
The individual sections of the garment such as sleeves, pockets, collars, motifs or
surface patterns must all be related to the size of the wearer and to one another.
3. Rhythm - Rhythm is a sense of movement and is necessary to create interest in a

design and carry out the central theme. Rhythm can be achieved by the repetition of
lines, shapes and color to get direction.
 Rhythm by Repetition: Rhythm is produced when a line, shape or colour is repeated at

regular intervals. A common example for rhythm in dress is a series of buttons placed
along the front opening of dress.
 Rhythm by Gradation: It refers to gradual changes in colours, shapes or sizes. Gradation
means a sequence or regular progression of objects in a series. In dress it can be
produced by the use of tucks, ruffles of varying width etc. Gradation of colour is very
forcible and effective in garments.
 Rhythm by Radiation: In this type, the eye movement is from the central part of the
design to outer portions.
25 | P a g e
 Rhythm by Transition: It is created by curved lines that carry your eye across a straight
surface.
 Rhythm by Opposition: It is created by direct placement of lines, shapes, or colour to
create opposition through visual abrupt change.
Rhythm by Repetition Rhythm by Gradation Rhythm by Radiation
Rhythm by T ransition Rhythm by Opposition
26 | P a g e
4. Emphasis - Emphasis or a center of interest draws attention to the focal point of the
garment. It marks the locations in a composition which most strongly draw the
viewer’s attention. A center of interest should be related to the total structure of the
garment. A focal point can be achieved by color accents, significant shapes or details,
lines coming together, groups of details or contrast. The emphasis can be created
through,
a. use of special lines,

b. use of different shapes in a design,
c. leaving sufficient background space around the object,
d. use of contrasting colours,
e. grouping of objects,
f. use of decorations in a design,
g. Use of lights and shades.
5. Harmony-to be in harmony means to be in agreement and to be pleasant. It produces

an impression of unity in design through the selection and arrangement of different
elements of design. Harmony is the fundamental requirement in any piece of design.
There are six aspects of harmony:
b. Harmony in lines,
c. Harmony in shapes,
d. Harmony in size,
e. Harmony in texture,
f. Harmony in colour and
g. Harmony of ideas.
 Unity- It occurs when all the parts of a design are related by one idea.
 Variety- When multiple elements of design are used to add interest to a design.
27 | P a g e
Unity
Variety
28 | P a g e

Fabric Design Techniques

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Fabric and Garment Designing Technique

ELEM ENTS OF DESIGN

At the end of this chapter, you should be able to:

 Define the term design;

Definition of Technical Terms

Chroma - the perceived intensity of a specific color

1. Structural design - It is a method to decorate a garment by applying of the different

2. Decorative design - It is another technique to decorate a garment by adding extra

 The decoration should be used in moderation and should be placed in structural

Lace Beads and Sequins

Embroidery Fabric Painting/Printing

Another classification of designs is as

It imitates or copies the nature in

These are simple designs which

These are designs which

These designs are formed by

ELEM ENTS OF DESIGN

Two kinds of Lines in Garments

a. Directional line such as vertical, horizontal, diagonal, checkered, broken and

a. (Rectangle/ Banana Shape)

b. Hourglass Body Shape

c. Spoon Body Shape (Pear Shape)

d. Cone Body Shape (Apple Shape)

The Trapezoid: You have a broad chest and shoulders,

The Inverted Triangle: You have a broad chest and

The Rectangle: Your shoulders are the same width as your

The Triangle: Your chest and shoulders are narrower

The Oval: The widest part of your body is your

 Oval - The oval face shape is considered to be "ideal." The reason is

 Triangle or Pear - The triangle or pear shaped face is most narrow at

 Heart or Inverted triangle - The heart shaped face is sometimes called

 Oblong - The oblong face shape is rectangular, and has similar

 Diamond - Diamond face shapes are not so common. They are

The Round Face

The round face needs

The Long Face

The long face needs

The Angular Face

The angular face needs

The Oval Face

The oval face can wear generally

1. Primary colors are red, blue

2. Secondary colors are

3. Intermediate colors stem

4. Tertiary colors are obtained by mixing two secondary colors.

 Value is the lightness or darkness of color. White added to a color will

 Intensity or chroma is the chroma of a color corresponds to its purity

In Thailand, purple is the color of mourning for widows. Dark purples

Neutral colors often serve as the backdrop in design. They’re commonly

 Red: Passion, Love, Anger

Colour schemes or colour harmonies mean the different combinations of colours in

o Related Colour Schemes

Related Colour Schemes:

a. M onochromatic Colour Scheme: It is a one

b. Analogous Colour Scheme: An analogous

Related Colour Schemes:

These are produced by combining colours

a. Direct Complementary Colour Scheme:

 Yellow & Violet

b. Split Complementary Colour

c. Double Complementary Colour

d. Triad Colour Scheme: is one which