DESIGN TOOLS

• The selection of a particular tool and a specific material

naturally affects the aesthetic style of a design.
• Design tools in CAD software systems developed from
traditional tools, methods, and principles used in art and
design, result in some consistencies in the two ways of
working.
• Blending traditional design practice with the digital is
effectively realized by scanning drawn, painted, collaged, and
photographed ideas created on paper into the computer.
COLOR
• Color can transform and enhance a textile design
and knowledge and experience how to mix,
match, and control it is crucial for designers, who
have often have to work within certain color
ranges or palettes depending in the trend,
season or client.
COLOR THEORY
• Johannes Itten was a twentieth- century guru in the area of
color in art and design.
• In his The Art of Color, published in 1961, he outlined basic
approaches and principles for color which can be invaluable
for textile design students as, properly assimilated, they will
ensure competence in its use.
• Rudimentary knowledge of color comes through the color
wheel
• The wheel is based on the
three primary colors- red,
yellow, and blue- from which
colors are mixed.
• 3 mixed colors are located in
the isosceles triangles, each
of which is a secondary color
composed of 2 primaries.
• Another circle is drawn at an
appropriate radius outside
the first one, creating a ring
that is divided into 12 equal
sections.
COLOR and CONTRAST
Color and contrast can generate myriad
design effects when they are applied to
textile. Contrast is the clear difference that
can be perceived between colors, and
intensifies or weakens them.
Hue contrast
• This contrast is straightforward because it is illustrated by
undiluted colors at their most intense luminosity.
• Yellow/ red/ blue is the extreme contrast of hue; others, such
as blue/yellow/violet and yellow/green/violet/red are less
extreme.
Black and White Contrast
Black and white represent the extreme of
light and dark contrast. To get a clear sense of the
gradations of transition from black to white, it is
useful to define 12 equidistant stages from white
to black. This can be repeated for each of the 12
hues of the color wheel.
Cold to Warmest Contrast
• Cold to warmest contrast
refer to the “temperature”
created by the visual impact
of a color.
• For instance, a design that is
predominantly blue and
green suggests coolness,
whereas one that is mainly
red and orange evokes
warmth.
Complementary Contrast
• Every color has a
complementary one,
and within the color
wheel they are
diametrically opposite
each other.
• Yellow and Violet
• Blue and Orange
• Red and Green
Simultaneous Contrast
Simultaneous contrast
is caused by the fact
that when looking at a
color the eye needs its
complementary one,
and creates it
spontaneously if it is
not already present.
Saturation Contrast
Contrast of saturation
is related to the
amount of pure
pigment within a
color: it is the contrast
between intense,
unmixed colors and
dull, diluted ones.
Extension Contrast
Contrast of extension
involves the relative
sizes of two or more
areas of color- for
example between large
and smaller ones in a
composition.
Pattern in textile design
Patterns can be simple
or complex, symmetrical
or asymmetrical, and
any identical or similar
image or motif that is
repeated can become a
pattern.
REPEATED PATTERNS
Block Repeats
A layout in which the
repeating unit
appears directly on
horizontal line to the
left or right of the
original design unit.
Half drop Repeats
Contrast of extension
involves the relative
sizes of two or more
areas of color- for
example between large
and smaller ones in a
composition.
Irregular Repeats
It is similar to half-
drops, but do not
follow regular repeat
intervals.