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BSC Degree in Textile Design
1
st
Year

Design & Color Concept & its
Composition Part-A


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INDEX

Unit I .................................................... 3
Lesson 1: Elements of Design-
Introduction ............................................ 4
Lesson 2: Elements of Design .................. 7
Lesson 3: Texture .................................. 30
Lesson 4: Value and Color ..................... 38
Lesson 5: Value ..................................... 51

Unit II ................................................ 57
Lesson 6: The Principles of Design ........ 58

Unit III ............................................... 76
Lesson 7: Practical Exercises on Color ... 77
Lesson 8: Practical Exercise- Elements of
Design ................................................... 81



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Unit I








Lesson 1: Elements of Design Introduction
Lesson 2: Elements of Design
Lesson 3: Texture
Lesson 4: Value and Color
Lesson 5: Value




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Lesson 1: Elements of
Design-Introduction

Objective:
Designing is the process of combining known
components in different ways to create new
products or effects. The elements and
principles of design are the components the
designers employ in all forms of art and
design, including fashion, architecture,
graphic design, painting and sculpture, even
music and poetry. An understanding of how
the elements and principles work, and how to
manipulate them, enables the designer to
create different visual effects, and to analyze
and appreciate all art forms.
Structure:
1.1 Elements and Principles


1.1 Elements and Principles
Every visual design can be broken down into five
basic components, known as the elements of
design. These are
1. Line
2. Shape
3. Value
4. Color
5. Texture



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Design elements can be compared to the letters of
the alphabet. Twenty-six letters form the basis of
our written language, and can be rearranged and
used in different combinations to create hundreds of
words with many different meaning; so too can the
elements of design be arranged and organized in
many ways to create an infinite variety of designs.
The Principles of design are the ways in which
design elements may be used. These principles are :
1. Repetition
2. Gradation
3. Rhythm
4. Radiation
5. Harmony
6. Contrast
7. Dominance
8. Proportion
9. Balance
10. Unity

Different design theorists may group the elements
and principles differently and may also use slightly
different terminology. Visual design affects us
emotionally and psychologically because our senses
and instincts react to every design we see.
The elements and principles may be used on a
garment in one of the two ways; Structural use
refers to those methods which are used in the actual
construction of garment, such as seams, darts,
panels, openings, pleats, tucks hemlines and on.
Structural details are more noticeable on garments
with plain fabrics and minimal trims. The other use
of elements and principles is through decorative


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application. A detail is decorative if it can be
removed without interfering with the underlying
garment structure. These treatments include piping,
beading, embroidery, textile design, braids, lace,
trims, buttons and other trims which tend to be
used as a decorative finish only.
In a successful design, the structure and decoration
of a garment are in harmony with each other and
with the functions of the garment.


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Lesson 2: Elements of Design
Objective:
To learn what is a line, its functions and types.

Structure:
2.1 Line
2.2 Shape
2.3 Space


2.1 Line
Introduction

A line is series of connected points. It is the simplest
of the design elements and is incorporated into the
other four elements. All lines have direction length
and width. The functions of the line are.
a) Directing: Line creates movement by leading
the eye up and down, side to side or around
the garment line may be straight, cured or
bent, horizontal, diagonal or vertical; or it
may be a combination of these directions.


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b) Dividing; Line can divide large areas and
make shapes or connect shapes and garment
parts.

c) Psychological effect: We respond to the
quality and character of a line by associating
different types of line with certain emotional
and psychological states.

Repeated sharp zigzags are disturbing, like lightning
and their movement is too violent for heavy use in
clothing. A design may use soft curves to soften
their impact to create a forceful design.
A thick line seems to convey strength and alertness,
while a thin line implies weakness or delicacy; an
uneven line conveys uncertainty, while a straight
line implies firmness and surveys.

The type of line used should suit all the other
aspects of the garment. For instance, a wide neck
band and sleeve edge may be suitable for a strong
simple fabric like linen, but may look too severe or
heavy on delicate chiffon. For chiffon, a narrow band
on sleeves and neckline would be more suitable.
Similarly a bold zigzag print may be too aggressive


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on a casual summer dress, but would like more
appropriate on a dramatic evening gown.

d) Optical illusion: Lines may cause visual
distortions, which affect the way a garment
appears when being worn. Depending on the
skill of the designer, these effects may
conceal figure problems or exaggerate them.



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For example, vertical lines create the illusion of
height, elegance and slimness because they lead the
eye up and down; while horizontal lines emphasize
shortness and with because of their side to side
movement.
A vertical line also appears longer than the same
line used horizontally; so vertical stripes are usually
more flattering than horizontal stripes.
Curved lines can also create illusions. Because a
much curved line, makes the figure look rounder
and fuller than a slightly curved line. Slightly flatter
curves are more flattering.
Two lines making an angle create strong directional
effects. A narrow angle draws the eye down into
thenarrow point, where as a wider angle draws the
eye out and emphasizes width.


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Line Composition









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Some Different Types of Line Designs
Garments.

2.2 Shape
Shape is the outer edge or contour of an area
surrounded by a closed line. Silhouette is the shape
of the garment when being worm. Space is the area
within a shape, or the unenclosed area surrounding
a shape. Form is a three dimensional shape. We
speak of the human form when discussing body
shape interest in clothing is created through the
intervention shapes and the play of two-dimensional


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and three- dimensional areas, as the body turns,
moulds and moves.
Garments have a three dimensional form that they
are viewed from the pronto, back and sides space
and shape feature in the structural and decorative
features of the garment-the pockets buttons, collars
and spend lines.
There are 3 basic types of shapes
a) Natural: These shapes re found in nature and
living things. They are usually curved and
organic and may be a random appearance


b) Geometric: These shapes include circle
squares, rectangles ovals. They are regular and
can be easily measured. And able to be
constructed mathematically.






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c) Non-objective or abstract: These are either
geometric or natural and are generally human-
made or accidental.

Like lines, shapes too cause different sensory
responses.
The regular, strong angles and straight lines of
cubes, rectangles and Squares appear stable,
confident and powerful.
The sharp angles and diagonal lines of lozenges
ad pyramids seen unstable
But more existing.
Unequal geometric shapes are more interesting.
Curved shapes suggest felinity and confidence,
and are subtly intriguing
With their gentle changes indirection.


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The position of an item on a garment,
overlapping shapes, types of outline, size and
boldness all affect the apparent nearness or
distance of shapes to the victor. For example,
large bold patterns seen to advance, appear
larger and make the wearer seam bigger in size;
a fat person should avoid so bold prints or
designs. Small delicate patterns blend the
distance and do not jump out at the viewer.
Smaller shapes/prints/designs are more
flattering on larger persons.


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Natural Silhouette































Abstract Silhouette


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Geometrical Silhouette








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2.3 Space
Space is not as passive in design as we think. It
plays an important role in defining relationships
within a design because it forms the background
onto which a designer arranges other shapes.

As a background, the functions of space are;

1. To provide a usual rest as the eye moves over
the other details of the Design.
2. To accentuate or quantum the shapes arranged
on it.
3. To unite fore ground shapes by introducing
common features or define Shapes by separating
and isolating them.

Large, simple areas of space suggest calmness but
lack excitement. Small, complex shapes and spaces
are busy and interesting, but may cause confusion
and tension. If the space is too crowded the eye
becomes tired and distracted. Shapes that fit
together perfectly have no space between them.
Other shapes form spaces where edges do not
interlock, and create new interesting patterns.

Shape and space are created structurally in
garments through the use of seams and garments
edges, panel lines, darts, yokes and inserts. They
mould the shape of garment by tapering or adding
fullness to the silhouette.
Silhouette: This is the outline of the garment. The
size shape and proportion of the garment are easily
seen forms a distance and are therefore noticed
before all other details.



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The side seams, shoulder line, waist line and hem
line
all work together to create a strong shape or the
silhouette.

A basic silhouette can be changed by moving the
waistline; raising or lowering the sleeve, Jackets,
trouser and skirt lengths; or by widening or
narrowing shoulder, sleeve, trouser legs or skir

Techniques such as padding on shoulders and hips,
dropping, gathers and contour lines also create
exaggerated visions of the basic silhouette.

Fashion trends can be clearly observed by changes
in silhouette over the centuries. Within these seven
categories, there are endless variations in length,
waistline position, fullness and proportion.

Mens fashions silhouettes also change from body
hugging to baggy with changes in detail including
width of the neckties, cuffs, lapels, trouser legs.

There are seven silhouettes:

Tube (rectangle),Box (square),A-line (trapeze),
Wedge, Hour glass, Bell, Back fullness











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Back Fullness Shape

Hour Glass Shape
Box Shape
Tube Shape



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A-Line Shape
Wedge Shape



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Bell Shape Dress


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InText Question:

1. Define line-give suitable examples.
2. What are the functions of line?
3. Name and draw 10 types of line. Explain their
psychological association, visual effect and
structural use.
4. Name the elements of designs and the principles
of design and explain briefly how they work to
from a perfect design?
5. Elements and principles of design can be used
structurally and decoratively- Explain.
6. Explain the visual and psychological effect,
structural and decorative use of diagonal lines,
alternate lines, ogee and spiral.
7. Design a dress for a short thin and tall fat
woman using appropriate lines and colours.
8. What is the value of space in design?
9. What is a texture? How do textures communicate
visually?



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Lesson 3: Texture

Objective:
To acquire a knowledge about different surface
textures

Structure:
3.1 Texture
3.2 Visual effects of texture



Introduction
Texture describes the nature of a surface. In fashion
designing, texture refers to the nature of the
surface of fabrics and trimmings used in a garment.
It is important because consumers and first
attracted by the colour of a garment, then
automatically reach out to determine whether they
like the feel of the fabric.

1.1 Texture
Texture is considered a design element because all
fabrics have a surface texture which plays a major
role in every garment design.






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a) Visual

Light falling into a surface can be seen as shadows,
highlights, sheen etc. Light and shade play across
knitted rough woven surfaces such as hessian cloth.
Where as smooth surface such as satin have no
shadows and reflect light. A cloth appears
transparent when light passes through its surface. It
appears opaque when no light passes through it.
Visual texture may also be applied to fabrics
through surface treatments such as printing,
embroidery, smocking, quilting and appliqu.



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b) Tactile

Changes in fabric surface due to the arrangement of
the individual threads in weaving or knitting can
be felt on the skin. Hand refers to the feel of a
fabric, its coarseness, softness, drape and stiffness.




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c) Audible

The friction created by fabric surfaces rubbing over
each other can be heard. The crisp rustle of silk is
known as scoop.
Textures suggest the age, personality, degree of
sophistication, wealth, occupation and life style of
the wearer. E.g. Rough texture of cotton knits look
casual.

Textures fall into a basic categories:
a) Rough / Matt
These textures are sporty, casual and comforting.
Soft fluffy textures such as fleecy knits and lambs
wool seem to offer cosiness and comfort, while the
coarser textures of tweeds, hand knits and
corduroys suggest warmth and protection in casual,
out door environments.


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b) Rough / Glossy

Rich, luxurious and glamorous fabrics such as
shimmering lames, brocades, sequins and duping
silks seem to reflect the right lights.

c) Smooth / Matt

Business like, official and mature, these textures are
often found in suiting fabrics, these are wisp and
tightly woven. Fabrics with twill weave and
gabardine are of smooth matt textures.



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d) Smooth / Glossy

These textures are associated with young, fancy,
slinky, evening wear e.g. Taffeta, silk and satin.
The mood vested by fabric texture must suit all
other details of the garment, including the color,
prospection, shape, decoration and the function of
the garment.

1.2 Visual Effects of Texture
Textures create visual illusions that affect the
appearance of the figure. Coarse and bulky textures
have an enlarging effect. Bold checks, wide Wales
on corduroy, thick pile on fur and fluffy surfaces
conceal body Contours and make the figure look
larger. Large bold texture can also overpower small
garments or small figures so a texture must be in
correct
Proportion to the garment or trim for which it is to
be used.
Light weight fabrics with good drops such as satin,
crepe jerseys are very revealing because they cling


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to the body. Light stiff fabrics such as taffeta,
organza take on their form because they stand away
from the body, and are good for creating dramatic
silhouettes.
Smooth, plain surfaces tend to require more
construction and trimming detail to add interest to
the design. Dull textures are slimming because they
absorb light. Smooth, shiny surfaces like satin seam
to advances and endorse the figure.
They also make the color seem brighter than do
matt surfaces e.g. Red satin is brighter and more
noticeable than red flannel.






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InText Questions:

1. What are the three characteristics of textures?
Explain with suitable examples?





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Lesson 4: Value and Color

Objective:
To Study about Color Theories and Moods

Structure:
4.1 Color Schemes
4.2 Visual Effects of Color


Color is one of the more important elements of
fashion design because it is the first thing we notice
about a garment. A person with a normal vision can
distinguish over 10,000 colors.
To experience color three factors must exist
a) Light- this is the source of color.
b) Surface, which reflects color.
c) Eye which perceives color.



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When white light is passed through the prism it
breaks up into seven colors of V(Violet), I(Indigo),
B(Blue), G(green), Y(yellow), O(orange), R(red),
VIBGYOR. These are called the colors of the
spectrum.
Objects appear colored because their surfaces
absorb certain part of the spectrum and reflect
other parts back to our eyes. For example we see
red because the red is reflected into our eyes and
the rest of the spectrum is absorbed. A blue object
reflects blue and absorbs all other colors. A white
surface reflects all the colors and a black surface
absorbs all the colors, reflecting no color back into
our eyes.
All colors have three characteristics:
a) Hue: This is the name of the colour such as red,
yellow, blue, green. The term hue should not be
interchanged with the term color. Hue refers to only
one dimension of color.
b) Value: is also called the tone. This is the
lightness or darkness of the colour. It is the quality
which makes light blue different from dark blue.
If white is added to the Hue it because lighter. More
the white is added, lighter the colour becomes. This
is called the tint or pastel.


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If Black is added to the Hue it becomes darker. More
the black added, darker the colour becomes. This is
called the shade. For example.
White black
Pink <---------------Red -----------------> Maroon
Tint Hue Shade
c) Chroma: is the purity of colour. It is the clarity
intensity, brightness or dullness of a hue. It is the
quality which makes yellow different ochre or
lemon. The colours of the spectrum are pure in
chroma.
Selection of colour for a garment is governed by
personal preference, season and commercial colour
trend. Many people have there complexion, hair and
eye colours analyzed by professionals who
recommend the most flattering colour to wear.
Most colour systems divide human complexion
pallets into warm toned skin colour which have a
yellow under tone and cool toned skin colours which
have blue undertone. The colours of the skin help
the professionals to select the most suited colour of
the garment.
Seasonal colours are selected by analyzing the
traditional favourites. Neutral colours such as black,


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white, off white, Navy blue, beige, taupe, and the
grey family is included in almost every line.
The way we see colour. All light is reflected from a
white surface, a blue surface reflects only blue light,
a red surface reflects only red light, and all light is
absorbed by a black surface.
Colour predictions are made by fiber and textile
companies to guide designers. For designers to
match fabric and trim colours is the professional
colour selector there are several international colour
selection systems available. The Pantone
professional colour system is an American System,
commonly used in the world. It has approximately
1700 colour strips, each with its own code number,
which identifies the value, hue and chroma of the
colour.
More specifically for designers working with textiles,
Pantones textile colour selector and swatch cards
provide cotton fabric swatches and the appropriate
colour and colour codes, which give a clear idea of
how the final colour will appear.

Characteristics and Use of Colour
Sir Isaac Newton for the study of colour devised the
colour wheel. It explains colour relationships and
promotes our understanding of colour mixing and
colour schemes. This is a continuous circle of pure
colour with the colours occurring in the same
sequence as the rainbow.
Primary colours: These are the basic colours and
cannot be derived by mixing any other colour. i.e.
Red, Blue, and Yellow.
Secondary colours: mixing equal quantities of any
two primary colors i.e. green, orange and purple
derives these colours.


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Tertiary colours are formed by mixing one primary
and one neighbouring secondary colour in equal
quantities i.e. red-orange, orange-yellow, yellow-
green, green-blue, blue-violet and violet-red.
4.1 Colour Schemes
Colour schemes are the relationships between the
different colours in a design. It is the combination of
colours that can be used to suit the eye and the
mood of an individual.
1. Achromatic colour scheme is the one, which
uses only black, white and grey as a
combination. The effect may be soft or bold, but
it is always smart.


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2. Monochromatic Colour Scheme: is the one
which uses the tints and shades created from
any one hue e.g. pink, red, maroon used
together.

3. Complementary Colour Scheme: uses the
colours opposite to each other on the colour
wheel e.g. red and green. Blue and orange. Tints
or shades of the compliments can also be used.



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4. Split complementary colour scheme:
Consists of a hue and two hues on either side of
its complement e.g. red, blue green and yellow
green.

5. Primary colour scheme: uses the
combination of the three primary colours and
their shades or tints. E.g. pink, sky blue and
lemon or maroon, mustard and navy blue.
6. Secondary colour scheme: uses the
combination of the three secondary colours and
their shades and tints e.g. peach, lavender and
light green.
7. Tertiary colour scheme: uses the combination
of any three tertiary colours on the colour wheel
e.g. red-orange, blue-violet, yellow-green.
NOTE: Primary, secondary and tertiary are also
called triad colour scheme as they form an
equilateral triangle on the colour wheel.






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8. Clash Complementary or Contrasting:
Consists of a hue and any one hue to the
right or left of its complement. E.g. blue, red-
orange, Blue, orange yellow.








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9. Analogous Colour Scheme: Uses any two or
three neighbouring hues on the colour wheel or
any of their shades and tints. E.g. yellow, yellow
green and green.

10. Neutral Colour Scheme: Uses a hue which has
been diminished or neutralized by the additions
of black. This colour scheme usually consists of
browns.


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11. Warm Colour Scheme: Uses the warm-colours
on the colour wheel i.e. red, orange, yellow, red-
orange, orange, yellow and violet-red. Warm
colours suggest heat. They appear toadv ance
and attract attention.

12. Cool Colour Scheme: Violet, Blue-violet, blue,
blue-green, green and yellow-green make up the
cool colour Scheme. These suggest a cold
sensation and are associated with sea, water,
ice, sky and glass. Cool colours recede and make
objects appear similar and more distant.



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4.2 Visual Effects of Colour
Colours deceive the eye, they change continually
according to different light, surface, background and
position. Colour reacts with each other and to each
other. These reactions can create sometimes subtle
and sometimes very strong visual illusions. Proper
using and combining of colours can hide figure
flaws:
1. Light Colours

a) Light colours make the areas seen larger.
b) Direct the views eye to the light area when
contrasted with a large area of dark colour.
c) When worn at the neck, they emphasize and call
attention to the face.





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2. Bright Colours

a) Bright colours stand out or pop out. When
combined with dark or neutral colours, the bright
colour will attract the viewers eye and emphasize
the part of the body it converse.
b) Bright colours reflect on the face
c) Large areas of bright colours can cause eye
fatigue.





























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3. Dark Colours
a) Dark colours recede, and make the part of the
body they cover seem smaller.










b) Figures with heavy hips are recommended to
wear dark coloured lowers; and those with a heavy
top should wear dark uppers.


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Lesson 5: Value
Objective:
To study strength of color to create subtle
illusions and various components of color.

Structure:
5.1 The Value Key
5.2 Visual Effects of Value



Value is to contrast of light and dark. The designer
balances the use and strength of colour to create
subtle illusions and is often called up onto match
and blend colours so that various components of an
orbit are compatible.
Value is Measured in Two Ways: The value scale
measures degree of lightness or darkness, and the
value key measure the degree of harmony or
contrast created by combinations of light and dark.
Value Scale is a graded scale of nine tones ranging
from white at the top and grey at the bottom. The
scale is divided as follows:
a) 1-3 (white to light grey)- High value
b) 4-6 (mid greys) - intermediate value
c) 7-9 (dark grey to black)- low value.


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Values are aid to be contrasting when for apart on
the scale e.g. 2 and 9; and harmonious when close
together on the scale e.g.4 and 6.

White to Light Greys
Mid Greys
Intermediate Value

5.1 The Value Key
Tonal combinations are know as value keys, and my
be major or minor
Depending on whether they contrast or harmonies
Minor keys are harmonious and use combinations,
which are close together on the value scale, for
example 7, 8 and9. They are quiet and restrained.
Major keys have strong contrasts and are bold and
striking, for example 1, 5 and 8 on the value scale.


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Value key can be further defined according to their
use of High. Intermediate or low tones, and can be
classified as follows:
1. High Major Key this is predominantly light with
dark contrasts, and is confident, stimulating and up
beat.
2. Intermediate Major Key: This key has mainly
mid-tones, with small area of strong contrast, and is
powerful, still masculine.
3. Low Major Key: This is predominantly dark with
light contrast, and is dramatic dignified and formal.
High Major Key Intermediate Low Major Key

4. High Minor key: This key has very light tones
which are delicate terminate and peaceful.
5. Intermediate Minor key: This has closely
related mudstones and is retrained passive and
dreamy.
6. Low Minor key: Very dark tones, which may be
depressing and sinister or rich and formal, are
characteristic of this key.


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High Minor Key Intermediate Low Minor Key

Value keys work best when one tone dominates the
design, and the others work to support and add
interest. When several or all tones are equally
dominant, strong competition between them results
in visual confusion and disunity.

5.2 Visual Effects of Value
Lightness or darkness in value creates visual
illusions which affect the appearance of garments.
Light tones make forms advance and appear larger,
while darker values appear to recede and reduce in
size.
Knowledge of this effect can be used to visually alter
garment and body proportions. A dark skirt teamed
with a light bodice creates quite a different effect to
a light skirt with dark bodice, and can be used to
help correct bottom-heavy or top-heavy figures.


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The asymmetrical use of strong contrasts can distort
proportions and make one side of garment or figure
look quite lopsided in relation to the other side. To
correct this imbalance the stronger tone maybe use
din smaller quantities as an accent only.
Strong contrasts can be used to draw the every
away from an undesirable feature. And create a new
focal point. For example, a white collar on a dark
dress attracts the eye to and pleasantly frames the
wearers face.
When used together, light tones make dark tones
appear darker, and dark, tones make light tones
appear lighter. Light grey looks lighter when used
with black and a dark grey looks darker when used
with white.
Because contrasts in value are powerfully a designer
should ensure that they do not distort or over
whelm a garment but provide interest and variety
by supporting the initial design concept.
Visual effects lf value .The black and white widths
appear different; although they are actually the
same Although the white areas are the same size as
the corresponding black areas the illusion is that the
white areas are bigger.
Size effects of value. Figure problems can be
disguised by the illusions created through light and
dark contrasts. Garment is the most slimming
because the eye sees mainly the centre white panel.
Garment is more slimming than garment
Altering proportions with value, physical proportions
can be altered through the distribution of light and
dark values.
Strong contrasts used asymmetrically can upset the
balance of the figure, or correct on unbalanced
figure. Contrasting values used as an accent draw
the eye away from figure problems.


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InText Question:

1. What are the three characteristics of colour? How
do we see colour?
2. What is value and what are its visual effects?
3. What is a value key? Explain with diagrams.
4. Explain with the help of colour wheel, the
primary secondary and tertiary colours.
5. Explain in detail the twelve colour schemes.
















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Unit II


Lesson 6: The Principles of design




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Lesson 6: The Principles of
Design
Objective:
To study the principles of design are the
techniques designs. Use to organize the
elements of design.

Structure:
6.1 Repetition
6.2 Gradation
6.3 Rhythm
6.4 Radiation
6.5 Harmony
6.6 Contrast
6.7 Dominance or Emphasis
6.8 Proportion
6.9 Balance
6.10 Unity

Principles of Design Work in 3 Ways:
1. Directional: Principles with movement, which
lead the eye over the design, are said to be
directional. These include repetition, gradation,
radiation and rhythm.
2. Highlighting: Principles draw attention to a part
of a design and create a focal point e.g. radiation
dominance/emphasis or contrast.
3. Synthesizing: The effect here is unity, with
design details pulled together by repetition,
gradation, harmony balance, proportion and unity.
These principles draw the viewers attention to the


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common aspects of design; there by inter grating
and uniting them all.

6.1 Repetition
Introduction
Repetition occurs when a line, shape, space, value,
color, texture is used more than once in a garment.
Repetition is directional because the eye travels
over the repeated features, from one to the next
and so on. This movement emphasizes and links
common features in a design, thereby uniting the
design.

Objective
To understand how a motif can be repeated again
and again in different styles to form a design.
The symmetry of the human body ensures that
repetition occurs to a certain degree in every
garment design. Left and right sides of the collar,
lapel, sleeve and sometimes pockets are usually
repeated.
Structural use of repetition in a garment includes
pleats, gathers, darts, pockets, skirt lines, Yokes


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and panel lines. Trims can be easily repeated like
buttons, beading and braids.
Repetition is used in all printed, woven and printed
fabrics. In printed fabrics, motifs are repeated in
different ways producing different end results.

Repetition is of two types: Regular and
irregular
1. Regular repetition: is the same in all aspects of
the repeat and can be tedious if over used because
of the lack of variety. There are six basic regular
repeats. These are a) straight repeat, b) vertical
mirror repeat c) Horizontal mirror repeat d) vertical
half drop/brick repeat e) Horizontal half drop repeat
f) rotational mirror repeat.
A motif can be arranged and arranged using any of
the above repeats.
2. Irregular repeat occurs when there are slight
variations in spacing between the repeated features.
This introduces a degree of uncertainty into a
design, reduces the respective impact and is more
interesting. Example Irregular repeat.
Gradation can be introduced in the garment in the
form of pleats, darts, tucks, tiers, prints, 2.
Gradation is variation of repetition. It is directional
and synthesizing. The eye follows the



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6.2 Gradation
Gradation occurs when a series of two or more
parts, identical but for one detail, change with each
repetition inconsecutive increasing or decreasing
steps. Line, shape, space, value and colour use
gradation frequently but external gradation is
difficult to achieve in fabrics nodes not common,
gradually increasing or decreasing changes as they
more through the design, thus giving a harmonious
effect. colour tone and texture.


6.3 Rhythm
Rhythm is organised motion. It arranges the
features of a design so the eye moves easily over
the garment. Rhythm occurs when number of
components is arranged into an ordered, predictable
pattern, which the eye can follow:
Rhythm has a visual beat. The beat may be fluid, if
curves or gradual changes are harmonious or
staccato if the movement is sudden or opposite
Rhythmic effect becomes stronger when a pattern is
repeated, but repetition is not essential for this
effect.


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Rhythm is of the following types:
a) Regular rhythm follows an identical repetitive
pattern.
b) Gradated rhythm follows a regular but
increasing or decreasing pattern. Similar to the
widening ripples caused by a stone thrown into
water. This effect is also known as concentric
and can be seen into increasing layers of a tiered
sprit.
c) Random rhythm occurs at irregular intervals
throughout a design.
When line, shape space or color is used
rhythmically, its psychological, physical and visual
nature becomes part of the rhythm. Flowing
hemlines, gathers, frills, drapes, and curved seams
are used to create soft flowing rhythm. Pleats,
stitching, trucks, and sharp folds create abrupt,
staccato rhythms. Trims such as Vic-rac, scalloped
edges and prints also create rhythmic effects.


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6.4 Radiation
Radiation is the outward movement in all directions
from a central point. This powerful movement
spreading from the centre focuses interest on the
centre as well as the outer edges.
The placement of any radiating element should be
carefully handled or else it can be produce negative
effect. For example, if a peplum at the widest point
of the hips, they may appear much larger. At the
same time the narrowness of the waist is high
lighted because the tapering lines draw the eye to
that focal point.

Lines used at a similar angle or direction to each
other, led the eye in that direction.
Lines can radiate in one direction, opposite
direction, several directions and all directions.
Radiation is limited in use to live, shape and space.
It is evident in draps, folds, darts, gathers, sunray
pleats, flares, peplums and capes. Applied trims of
all sorts may be arranged in radiating lives. Bows
radiate from a centre point. Radiation works best
when used with restating and against a simple
background or else the garment will look very busy
and restless.


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6.5 Harmony
Harmony occurs when one or more qualities of a
design are alike. These similar features are reheated
throughout a design to create a feeling of
agreement and consistency. It is therefore a
synthesizing principle.
Shapes and spaces created by pockets, collars and
cuffs will harmonies if they are soft and curved, or
straight and angular, in accordance with the major
form of the garment. When two colours are related
to each other because they have one colour in
common for example red and orange both have red
in common, harmony is said to exist. Red and green
can be used successfully if linked with the colours,
which combine both, such as red brown or green
brown. This linking process is known as transaction
and can be used with opposing lines, shapes,
textures, tones or colors. For a garment to be in
harmony, the occasion, climate, size, gender, age,
personal coloring, lifestyle and personality, all need
to be considered.



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6.6 Contrast:
Contrasts opposition, conflict, tension, pure contrast
exists when two or more features are totally
unrelated, having absently nothing in common.
Tedium can occur in harmonious designs because
everything is same; in other words there is no
focus. A small amount of well-placed contrast can
overcome tedium without distracting too much from
there of the design.
Contrasting is a bright lighting principle because the
extreme differences magnify and draw attention. It
can be bold, exciting, or aggressive and disturbing.
For this reason placement of contrasting features is
important.




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6.7 Dominance or Emphasis:
Every design should have a focal point, a centre of
interest with a design mess age supported by the
other features in the design.
A well-designed garment has one strong feature,
which sets the them, or the mood, and the other
details follows to reinforce that mood. For example a
dress with a bold animal print needs very little
designing detail because the print is dominant and
any further additions would clutter the garment and
detract from the effect.
When there is no dominant feature, the eye because
bored and restless, and wanders over the garment
looking for something to hold attention.
Elements and principles which have strong
advancing qualities dominate most successfully
because they re more noticeable. Sharp, thick lines
are more dominant than delicate their lines; shiny
textures are more dominant than matt and warm
and bright colours are more dominant than cool dull
colours.


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6.8 Proportion:
Proportion is the way all parts in a design related to
each other individually and to the design as a whole.
Proportion is determined by Distances, sizes,
amounts, degrees or parts.
The golden mean is accepted through out the
western would as being the ratio of perfect
proportion. It is useful because it provides a on
mathematical means of dividing a design into
balanced segments.
The golden mean works on the principle that
proportion is most pleasing when all areas of a
design are not exactly the same, but when there is
a eye-satisfying relationship between the unequal
parts.


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The golden mean is based on the proportions of 3;
5;8;or 5;8;13. That is, the smaller part has the
same relationship to the larger part as the larger
part has to the whole. This ratio relates well to the
female form. The ideal figure is approximately 8
heads tall. With the natural division of the waistline
falling at the 3/8 level from the top of the head, and
the remaining 5/8 section extending from the waist
to the soles of the feet. When the natural waistline
is raised or lowered, of outer division are introduced
the Golden Men is helpful guide to creating
satisfying proportions.

A figure problem is one which deviates from the
ideal proportions our society sets as its standard
Garment proportions can be altered to visually
correct figure problems, especially when reinforced
with the visual illusions created by line, tone and the
other design elements and principles.

Different effects and styles can be created from one
design idea by changing the proportions
The figure looks tailor, slimmer and move youthful
with high waist and longer skirt.

Ever proportions emphasized square and make the
figure lock shorter.

The elongated torso creates the illusion of height,
but draws attention to the things.

Therefore, a person who has a short body and long
legs can adjust those imperfect proportions by
wearing belts and waistlines on the lower hip level,
the by creating the illusion of more evenly, more
perfectly, proportioned badly and legs. Of course,
this can also exaggerate imperfect proportions. The
above example of long legs and short body world
appear worse it belts and waistlines are raised so


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that the wearer appeared to have no body at all, but
legs which extend to the bristling. Colour proportion
can be varied according to the amount of hue
chromed land value used together. Different effects
are created according to the amount of green used
with red, bright used with dull, or light used with
dark. Colour changes within a garment also affect
proportions because visual divisions are created
between the colours, Bulky textures must be
considered in relation to the size of the space they
occupy. They can appear heavy and clumsy when
used in very small amounts.

Scale is an aspect of proportion which deals only
with the size of parts of a garment to the garment
as a whole and to the wears. The scale of garment
details is more effective when consistent for
example, mens shirt during the 1970s had large
cuffs and collars and were worn with wide belts,
wide ties, and flared pant. Conversely, small details
such as dainty pin tucks are usually termed with
narrow cuffs and collars and small buttons.

Scale also applies to fashion accessories. A huge
handbag on a petite woman looks oversized while a
handbag on a large woman looks ridiculously dainty
and makes the wearer seem larger by comparison.
However, a large handbag worn by large women
may, through repetition, also emphasize her size.

The relative sizes of pockets, collars, sleeves, cuffs,
peplums, belts, buttons, fabric prints or textures,
and trims of all descriptions play an important role
in determining the success or failure of a garment. A
garment, which looks awkward or clumsy, may
simply need a slight adjustment in the scale of its
component parts to achieve perfection.



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6.9 Balance

Introduction
Balance occurs when the visual weight of different
parts of a design are equally distributed so as to
create equilibrium. A sense of steadiness and
stability prevails when a design is perfectly
balanced.
The concept of visual balance is similar to that of
physical balance where stability is achieved when
the parts of a design are evenly distributed around a
balance line or point. It really works just like a pair
of scale.
Balance is of two types 1) Formal and 2) Informal.
Formal balance is symmetrical and occurs when one
side is repeated exactly on the other side of an axis
or is reversed to become a mirror image. It is
predictable, stable and serene. Formal balance
draws attention to the features it repeats, and may
emphasize body irregularities because it encourages
comparison of one side to the other.
Informal balance is asymmetrical and occurs when
the objects on both sides of the axis are equal in
visual weight but not identical. These differences
may be simple variations or strongly contrasting,


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but each side should compensate for what the other
side lacks to create a feeling of equality and unity.
The variety of informal balance is more exciting and
dramatic than formal balance because it allows the
eye to examine the differences between the
features.
Balance may also be horizontal, vertical or radial.
Horizontal balance occurs when the left and right
sides of the central balance line are equal. A
garment with horizontal balance will never look lop-
sided. Vertical balance occurs when the upper and
lower parts of a design are equal avoiding a top-
heavy or bottom heavy appearance. Radial balance
is the combination of horizontal land vertical
balance, so that will sides of the central point are
equal.
Structurally, balance in a garment can be adjusted
by moving darts seams yokes and panel lines by
adding or subtracting fullness through pleats,
gathers and ruffles, or by arranging openings
symmetrically or asymmetrically.
All decorative treatments convey different weights
and densities and their use must be considered in
the content of all the other garment parts

6.10 Unity:
Although the most important principle of design is
unity, it is considered last because it is the
culmination of the design process, the final step
which can only be completed when all the other
principles and elements have been dealt with.





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All design strives to achieve unity. Unity exists in a
design when every component supports the central
concept and there is a sense of cohesion and
oneness.
The combined effect of the elements and principles
used in a design should be to create a garment,
which is neither boring, not confused. Neither insipid
nor over whelming. Any tension or conflict must be
integrated into the design, instead of fighting
against it. Because strong competition between the
elements destroys unity, equally strong non-
competing forces should balance it.
Harmony and unity are not the same. A design may
be beautifully harmonized but lack the sense of
completion of perfect finish that a united design
displays. The best test for a completely united
garment is the sense that not one tiny detail, not
one line, shape or trim could be added, removed or
altered without spoiling the overall effect.






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In Conclusion
The elements of Design are the tools a designer
works with. The elements are arranged according to
the Principles of Design to create a garment, which
is suitable for its intended use.

Although each elements and principle has been
dealt with separately, they all work together to
create the final effect. The success of a garment
relies on the combination of all of the parts of the
design land they are all of equal importance.




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InText Questions:

1) Explain in detail the types of balance.


Learning Activity:

1) Draw 2 prints for a kitchen curtain
a) Having formal balance
b) Having informal balance.

2) Design 2 garments for a school going girl having
formal and informal balance.














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Unit III



Lesson 7 Practical Exercises on Color
Lesson 8 Practical Exercises - Elements of
Designs





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Lesson 7: Practical Exercises
on Color
Structure:
7.1 Practical Exercises on Colour



Exercise - 1
1. Each student is required to make a colour wheel
and paint it with the colours (primary,
secondary, and tertiary) using poster paints; size
of the cartridge sheet-A3 and diameter of the
circle 15 cm.

2. The colour wheel should be painted by mixing
and using red yellow and blue only. For example
mixing blue and yellow will make green; Poster
green will not be used. Similarly no other poster
colour has to be used except Red, Blue, and
Yellow.

3. The secondary colours are supposed to be
approved by the teacher, so that the student is
able to get correct tertiary, colours.



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Exercise - 2
1. Each student is required to create shades and
tints of any four colours on the colour wheel on
sheet size-A3.

2. Mixing white to a hue forms tints and mixing
black to the hue forms shades. The student has
to be very careful while using black. Very tiny
quantities of black have to be used while making
shades. Five tints and five shades have to be
created as follows;
The change in colour has to be very gradual.

Exercise - 3
1. Each student is required to paint twelve colour
schemes. (Refer to the topic colour.)

2. Any abstract, floral, geometric design has to be
made in a square of 10cm x 10 cm and approved
by the teacher.

3. This approved design has to be painted with all
the twelve colour schemes. There can be 2
schemes on one sheet of A-3 size; so total
number of sheets will be 6 with two colour
schemes one each sheet.

4. Analyse how a single design differs with different
colours and colour schemes.

Practical Exercise Repetition
Exercise 1
1. Developing geometrical motifs/designs and
treating them with different mediums.


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Each student is required to make 24 geometrical
designs in 3x3 square as shown. The size of the
sheet used in a half cartridge. All designs are to be
approved by the teacher.

2. These designs are categorized under three
categories. Each category includes eight designs.

- Category 1. (intricate pen work) black micro tip
or sketch pen are used to treat these designs.
(intricate designs)

- Category 2 (poster colour) Black poster colour
is used to paint the ensigns (Bold designs).

- Category 3 (Poster and pen) Black poster and
pen are used to treat these designs. (Bold and
intricate designs.)

All the above designs will be in black and white only.
Each design has to be neatly cut and pasted on
black sheets under three separate categories (sheet
size A3)
3. The best design will be selected and enlarged to
twice its size. This is called the Artwork. (6 x
6).

4. The student is supposed to make a mirror image
of the selected design as shown.

5. The students will get clear photo state of A and
B. Number of Photostats of A-75; and B-35.


6. The student will place these designs in six
different repeats as discussed under the topics
repetition. In each repeat order, a cartridge
sheet of 12 x 12 has to be used on which 16
SELECTED DESIGN


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Photostats of A + B will be pasted. In all repeat
order the first square will always be A (fig. 25).

7. The teacher will select any one of the most
interesting repeat order and the student will
make and end product using this repeated order.
All the sixteen squares have to be shown on the
end product. The dimension i.e. 12 x 12 can be
reduced or enlarged.

Different mediums can be used to bring out the
design on fabric e.g. fabric painting, spray painting.
Appliqu work, embroidery stencil and cut paper
stickers etc.

Practical Exercise-Line
Exercise 1
1.The aim of the exercise list to denote different
meanings through lines of varying thickness e.g.
curved, straight, angular, spiral (Refer to topic on
Lines).

2. Each student has to make 25 in still concepts.
Each concept has to make in a dimension of 3 x 3
on a cartridge sheet in pencil, as shown.

3. The meanings should not be direct. For example,
if Bellsor musicis written for concept No 2, its
incorrect. The teacher will select ten best concepts
out of twenty-five initial concepts. These 10
concepts have to be painted using white poster
paints on black sheets of 8 x 8. Later these 8x8
can be mounted on A3 size cartridge sheets. More
examples are shown for a better understanding.


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Lesson 8: Practical Exercise-
Elements of Design

Structure:
8.1 Practical Exercises - Elements of Design


8.1Practical Exercises Elements of
Design
1. There are five basic body types. a) Normal, b)
tall land fate) tall and slim d) short and fate)
short and slim.
2. Prepare a T-figure for different body types as
show and treat it accordingly. For example.
Stripes have to be thin with narrow spacing and
dark colours for a tall fat person. Floral prints
have to be large and light/bright colours for a
short thin person. All the five body types have to
be treated separately under each heading.
3. There will be six A3 size sheets in all. T-figures of
five body types have to be made on each sheet.
- Sheet 1 will have figures treated with
appropriate lines and colours.
- Sheet 2 will have figures treated with
appropriate shades and colours.
- Sheet 3 will have figures treated with
appropriate dots and colours.
- Sheet 4 will have figures treated with
appropriate floral paints and colours.


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- Sheet 5 will have figures treated with
appropriate design details like collars and
necklines and silhouettes.

Practical Exercise
Textures
Exercise-1
1. The students are required to pick up 50 surface
impressions from the surroundings on A4 size
bond sets. a) Twenty five impressions will be
picked up in black and white using HB pencils or
black crayons. b) Twenty-five impressions have
to be picked up using coloured pencils, crayons
or oil pastels.
2. All the above fifty sheets have to be neatly
bound.

Exercise-2
1. Each student is required to create fifty surface
textures.
2. On n sheet of 8x8 create textures using
different mediums of colour like poster colour,
crayons, oil pastels, colour pencils, oil paints.
3. The above mediums of colour can be used along
with different materials like-
- Thread - Tea leave - Comb Impression
- Leaf sugar - pin impression fevicol - rice
- Plaster of Paris - ribbons
- Foil - moli
- Sugi - bangles (broken)
- Sand - tar coal


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-Wax
4. Students are required to create interesting
surface effects by combining various mediums of
colour with different materials.
5. Each of the fifty final sheets has to be mounted
on a 10x10 hand made sheet and spiral bound.


Collage
Collage a method of making pictures by arranging
and gluing things like newspaper cuttings, cloth, and
photographs onto a flat backing. A picture made like
this is called a collage. A collage can be also be
defined as a number of things under same category
brought to gather to create a special effect.
Collages can be flat or three-dimensional. Flat
collages are the ones, which are created by pasting
pictures. There is no textural effect given to such
collages.
Three-dimensional collages are the ones where the
pictures are enhanced by using threads, beads,
sequence, buttons, or any other kind of textural
effects. The textures give a three-dimensional effect
to the collage. A three-dimensional collage may or
may not have pictures.

Exercise
1. The students are required to prepare two
collages. They could be flat or 3-dimensional.
2. Collage-1 is required to be prepared by using
fabrics like fabrics or compatible fabrics with
similar colours are to be arranged in any
fashion. For example different tints of Red can


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be arranged in a floral shape by using
georgette, chiffons, net, lace etc.
3. Collage-2 is prepared using waste material of
any kind, e.g. Broken bangles, broken crockery
etc. The waste material has to be arranged in
any manner pleasing to the eye.
4. The size of the collages has to be-A3 size sheet
of any kind mounted on a card board.