The elements of design provide the tools to use in creating textile art. Through the selective and creative use of these tools, a huge variety of impressions and moods can be achieved. In this post I will examine three of the elements of design; line, texture and pattern.
Line ←↖↶↑↝
Lines can be vertical, horizontal, diagonal, curved, soft, harsh...the possibilities are endless. They can be created by design detail in a garment, colour variations, the edges of an item, or even knitting and weaving techniques. To look at some of these variations of line, I chose five different examples of lines that I found in textile items at home and school.
This rugby jersey demonstrates use of broad horizontal striped lines, created by the use of contrasting colours. This makes the garment stand out, which would be desirable in a team uniform where quick identification of team members would be important. Fans supporting the team could also be quickly identified due to the visual impact of the stripes. Horizontal lines suggest stability and broaden the appearance of the wearer, characteristics that would be a benefit in a sport like rugby. The use of this kind of line in a garment where the wearer was hoping to blend in would not be effective. This is probably why military personnel do not dress in bright stripes! The other line obvious in this garment is the V-neckline. The diagonal line used here gives the impression of action as well as elongating the appearance of the wearer. So we have lines that create a broad, active and somewhat tall effect - pretty well perfect for a rugby player. If however, you were hoping to make yourself appear less broad and robust, this type of horizontal stripe would not be a good choice.
This garment also uses horizontal lines, but they create a quite different effect. The horizontal illusion of broadness is still there, however the colour variations are more gradual than the abrupt transition seen in the rugby jersey which gives a more restful appearance. The edges of the lines are much softer in nature, which creates a correspondingly more relaxed feeling. This casual feeling is further enhanced by the curved neckline and the soft, rounded lines formed by the gathering at the neck and sleeves. This is a good example of how both the printed lines in the fabric, and the structural lines formed from the garment construction, can combine to achieve a desired appearance. This type of line use is best suited to an informal garment. The soft and relaxed effect of the lines would not be appropriate where a more formal or businesslike appearance is desired.
This suit jacket uses a subdued vertical line and creates a much more formal appearance. The structural lines have sharp edges which are consistent with a feeling of formality and more serious business. Vertical lines tend to add height to the wearer, as well as creating a slimming effect, therefore giving a more streamlined appearance. The deep V of the lines at the front of the garment further contribute to the illusion of height. This is a type of line often used in tailored garments and appropriate for formal occasions and situations where the wearer wants to appear in control and professional. This would not be a good combination of structural and design lines to use when a more casual, perhaps more approachable appearance was wanted. The rigid appearance of the lines in this suit may suggest severity and not be conducive to situations where you were hoping to be comfortable and relaxed, or make others feel at ease.
Here I found another example of mainly vertical lines in a garment, but used in a less severe way. While the illusion of height and slimness is still there, the rounded edges of the knit cable lines create a softer appearance. The diagonal lines at the front of the garment work to draw attention to the center, which further enhances the slimming effect. However, due to the more curved edges of the lines the effect is more playful and fun then the rigid lines in the suit jacket. The repetition of the diagonal lines in the smaller cables on the side of the garment continues a feeling of movement in the design. This is a good example of how line can be created in textiles without any variation of colour. In this case all the lines visible are made by the pattern of the knitting. A similar effect could be created by weaving techniques in woven fabrics. The lines in this garment are appropriate when looking for a casual but creative appearance. To get the full effect of the design you do need to be quite close to the wearer since there is no colour change. This would not be effective in a garment that was going to be viewed at some distance and needs to stand out, such as in a stage performance for example.
The lines in this example are the boldest and most dramatic I found. This is a piece of fleece fabric that my students are using to make hats. The jagged diagonal lines are very lively and suggest lots of activity. The sharp colour contrasts also make the lines stand out. They would be overwhelming in an entire outfit and could appear too busy. In a small area, such as a hat, the lines can create a fun appearance. This fabric could also be effectively used for accent items in home decor, such as throw blankets or pillows.
Pattern ⧫⏩⏫⏪⧫
Pattern can draw attention to a certain part of a textile item, add interest, represent ideas and communicate feelings. Like line, it can be created from the fabric structure or printed on to the fabric after construction. In fact line can be a big part of pattern, combined with colour, shape and other design features. Pattern can be many things but is seldom dull! Below are some of examples of pattern I found around me.
The pattern in this quilt combines a regular grid of squares, with a mixture of fabric colours and designs to create a unique visual feast. My mother made this quilt for me and when I look at this pattern I feel a sense of security and family. I think this is probably true of most quilt patterns, whether they have actually been made by family members or not, they evoke a traditional sense of home and comfort. The hand stitching over the entire quilt adds further pattern and is testimony to the amount of work that goes in to making a quilt by hand. There are many recognizable quilts patterns, such as log cabin and bear's paw, which provide a sense of continuity and textile heritage when these patterns are used. The colourful pattern of this quilt would be the focal point of a room design and would clash if there was too much other coloufully patterned designs nearby. This type of pattern is well suited to bed coverings and wall hangings but does not lend itself as much to clothing garments. When a quilting type pattern is used in garments, it is most effective in a small area, such as a vest or jacket, as opposed to an entire outfit where the busyness could be overwhelming to the eye.
This is another example of a quilted bed covering, but this time all the pattern comes from the stitching on the fabric, as the entire quilt is one colour. This shows how pattern can be achieved in different but equally effective ways. This quilt was not hand stitched and this time the repeated pattern is round instead of square, as it was in the first example. Up close this creates a beautiful design, but it is not as obvious from farther away. As part of a room design, this plain coloured quilt would lend itself to fitting in with a variety of other patterns throughout the room, while still providing interest due to the stitching detail. The intricate motifs of this quilt are displayed to their best advantage in a large textile item like a bed covering. If the pattern was interrupted by being cut up and pieced together, as it would have to be in a clothing garment, much of the effectiveness of the pattern would be lost.
The pattern on this biking jersey, as well as being visually rich in colour and design, has another specific purpose. In this case, pattern is used for safety purposes. Road biking can be dangerous and it is essential that the biker be as visible as possible to motorists. Therefore biking jerseys, as this example clearly demonstrates, are usually covered with a series of shapes, colours and patterns that work together to make the wearer stand out. There are contrasting stripes of colours on the sleeve bottoms and side panels to create more chaotic pattern and draw further attention. The wording is also incorporated into the overall pattern. While this could be seen as simply advertising, I think it adds to the consistent busyness of the pattern and is a part of most biking jersey designs. The pattern, including the words, can become a momento of an event. This jersey is my husband's and was from a bike ride event he took part in last summer. While this is a unique type of patterned garment that I don't think would translate well into many other uses, there are many times we use textile items with pictures and words as souvenirs; music concerts, t-shirts from vacations, even tea towels or reusable bags can announce where we have been or what we support! Patterns such as clan or provincial tartans are readily identified without any words. In this way pattern on textiles becomes a means of communicating who we are and what is important to us.
This is a very simple style of dress that is made more interesting by the pattern used. While there is pattern throughout the dress, the size and direction of the lines and shapes leads the eye upward and to one side. This has a lengthening and slimming effect and creates a focal point for the design where the various patterns meet near the waistline. Though the fabric used in this dress is actually smooth, an appearance of animal skin like texture is created by the pattern used. This illusion is enhanced by the fact that there are not a variety of colours used but just a simple animal print like colouration. The slight gathering and draping on one side of the waistline works with the fabric pattern to enhance the upward sweep of the design. The overall effect is one of sleekness with a touch of drama. This is the kind of pattern that works well for a special occasion outfit. It appears dressy rather than relaxed and would not work as well for casual outfits or when the wearer did not want to stand out. This type of pattern is also often used for accessories such as handbags and scarves.
Unlike the patterns in most of my other examples, the pattern in this long top does not stand out. It is a simple repeated white polka dot on a plain black background. The pattern is consistent throughout the entire garment and therefore does not draw attention to any particular part of the garment or the wearer. The small size of the dots draws the eye over the entire surface without interruption. This may be the desired effect in some cases and allows the wearer to use other items to create interest, such as jewelry, scarves, etc. The black and white colour are quite stark and cool in appearance. This may suggest a more formal use for this outfit, especially if paired with black leggings. If brighter coloured leggings were used, the outfit could become more casual and fun. A small overall pattern like this is effective for a smaller person as it does not overwhelm their size like large patterns may. This type of small pattern is actually appropriate for most people and adds interest without being too bold. It always pairs well with plain colours.
Texture ⇜⇝
Texture is what makes us want to reach out and feel a fabric. A texture can be rough, smooth, soft or hard. It can be what we expected when we reached for the fabric or we can be surprised when we discover that the texture suggested by our visual perusal was just an illusion created through clever use of other design elements. There are a huge variety of textures in textiles items, ranging from the stiff crispness of upholstery fabric to the gauzy lightness of a wedding veil. Below are just a few examples of textures I found in my closet.
This is a flower girl's dress I wore many, many years ago at an aunt's wedding. The shiny, smooth texture of this fabric reflects the light and seems to shimmer. In the close up view you can see that an almost watermark type design is created. The addition of the lace at the bodice line breaks up the shiny surface with a rougher texture that draws the eye to this detail. The lace is made of cotton and therefore more dull in appearance which serves to further enhance the contrast in textures. This type of smooth, shiny texture is very appropriate in special occasion dresses where the wearer wants to stand out and create a memorable impression. It suggests a fanciness that would not be expected or practical for everyday wear. More care is required to properly look after this type of fabric and it would not be a good choice for items that would require frequent laundering.
This top features a lot of design elements, one of which is the interesting use of texture. The bottom left pattern is made from a nubby yarn which is sewn onto the background fabric. There are also strands of yarn incorporated into the circular pattern on the right side. The rough texture of the yarn against the otherwise smooth texture of the top, creates an eclectic and lively appearance. This is a creative use of mixed textures and makes the design both interesting and dynamic. The rest of the pattern is created with line and colour, which gives the impression there is a different texture in the patterned areas of the top, when in fact the fabric is all smooth with the exception of the added embellishment of the yarn. This is a good example of the appearance of textures being created both through illusion and actual variations in materials. This type of texture use is quite artistic and would not work in all types of garments. It could be distracting in clothing that is meant to be more business like and would not be conducive to frequent laundering. When using different fibres in clothing you would need to be careful that the fibre care would be compatible. This used of mixed materials would be very appropriate in textile art where washing is not a concern. Crazy quilts come to mind as a textile art form where mixed textures are widely used and contribute significantly to the overall effect of the design.
Unlike the last example, where the texture was all added on the surface of the fabric, in this skirt the texture comes completely from the fabric construction. This is a woven fabric and when seen up close, you can see the yarns are quite thick and rough, leading to slubs of yarns showing through on the surface of the fabric. The crosswise and lengthwise yarns are clearly visible. This creates a rough texture that does not reflect as much light. Though the bright colour of the skirt seems to be somewhat shiny in the picture I took, in reality it has quite a dull, non reflective appearance. The plain nature of this skirt is made more interesting by the texture and is what attracted me to it in the vintage store where I bought it. This type of thick, rough texture works best in bottom weight garments like skirts or pants. It could also work in jackets or blazers but would not be appropriate for clothing where more drape was required, such as blouses and dresses. This type of rough texture could be used in other household textile items, for example drapes and pillow covers.
There is lots of texture going on in this dress, which is not as apparent from a distance. I have tried to get a close up to show some of the detail. The gold thread used in the interlocking circles that are throughout the the entire dress, adds a shiny appearance and seems to lift the design off the dark background. There are also very fine rhinestones sewn randomly throughout the design, which catch the light and sparkle (blue and red rhinestones can be seen near the middle of the close up picture). The yellow looking circles on the cream colour pattern, are actually clear plastic-like discs that form another opportunity for sparkle when they catch the light. The overall effect is a shiny texture but more of a sparkling shiny nature than overall shine. The cream colour pattern in the dress creates another texture illusion that reminds me of a tapestry design. This really is an illusion as the fabric of the dress is very loose and flowing, though heavy enough to drape well. All of this texture and pattern combination creates a garment that is meant for wearing on special occasions. The effort to even produce this much texture detail would not be practical on more everyday wear. It would also not be effective in a more structured garment, the simple, flowing design of this dress allows for the movement that displays the design to its best effect.
In case it seems my closet is full of impractical clothing, this last texture example is a much more durable and easy care garment. The raised texture is knit into the fabric and gives it a strong, thick appearance. The regular diamond shapes create interest but without drawing too much attention and the overall effect is muted. The thickness of the leather ties at the neck opening are consistent with the weight of the rest of the design. A lighter weight top needs to be worn with this garment to prevent the texture from becoming too overwhelming. This type of texture is appropriate in more casual settings and could be used in many comfortable, informal garments. Though it is a knit fabric and stretches well, it would be too thick a texture for t-shirts and other more fitted garments. It would be best used for dresses and skirts similar to the style shown here, or jackets and sweaters. It could also be a texture that would work well for hats and other accessories. The raised diamond shaped texture is something that would be appropriate for upholstery as well.
Resources for Elements of Design
1. The
book
Clothes and Your Appearance was provided to all teachers of Textiles Arts 7 when the new curriculum was introduced in NS several years ago. It has a section on the Elements of Design (pp.205-210) that provides a good introduction and background to this topic.
Liddell, L and Samuels,C. (2008) Clothes and Your Appearance. Goodheart-Wilcox, Illinois.
2. The resources below also provide simple background information on the elements of design as they relate to textiles, including some presentations that could be used directly with students. The first two are created to be used with 4-H sewing projects.
McCorkle, Angela. (n.d.) Design elements & principles in clothing. Retrieved from
http://williamson.agrilife.org/files/2014/09/principleselements.pdf
Penn State Extension. (n.d.) Design a garment. Retrieved from
http://extension.psu.edu/4-h/leaders/resources/publications/j0312a-textile-science-design-a-garment.pdf
Roueche, Joanne and Shirley, Lindsey. (n.d.). Elements and principles of design. Retrieved from http://digitalcommons.usu.edu/cgi/viewcontent.cgi?article=2503&context=extension_curall
www.jdss.bwdsb.on.ca/JDSS_Library/Elements_&_Principles_of_Design.ppt
Suggested Activity for Student Learning
The concept of the elements of design could be introduced to students using one of the presentations in the above resources, a teacher generated slide show, or with real textile examples. Following that, I have created an independent assignment students could complete to demonstrate their understanding of line, pattern and texture in clothing. This assignment can be accessed
here. The assignment is meant to be used in Textile Arts 7 and is therefore quite basic to allow Grade 7 students to successfully complete it independently. I also find I spend the majority of my time in Textile Arts 7 doing hands on sewing. This can be a problem if I ever have to be away from class, as it is difficult to get a substitute teacher who has sewing skills. Therefore in these blog posts, I will try to suggest activities that could be left for situations where a substitute teacher needs to facilitate a lesson but may not have a sewing and textile background.
I settled on two items I could access this time of year; red cabbage and turmeric. I am hoping at least one of these will work for me!
I started by simmering the articles I wanted to dye in water and vinegar for about an hour, to act as a fixative and make the dye take better. Several sources had said to use vinegar as a fixative for plant dyes, and salt for berries. Hope vinegar is right for turmeric as well as cabbage!
I then strained out the plant material and added the items I wanted to dye, the skirt, baby hat and pants, and put it back on the stove to simmer for another hour.
After an hour of simmering I turned off the stove. At this point I gave up on the skirt as it did not appear to have taken up any of the dye at all. Perhaps the fiber content was not really cotton as the label said, or the small amount of spandex messed it up? The original colour of the skirt may have been too dark to dye successfully. It is also possible my vinegar fixative was not appropriate. The fault may be with my red cabbage dye itself. Maybe it needed to simmer longer or had too much water in it. I left the baby pants and hat in longer, but it soon became obvious that they were not going to be very successful either. They changed colour a little, but were a not very satisfactory shade of pinkish purple when they first were removed from the dye and lost most of that after rinsing and washing. So, unfortunately, I would have to say my red cabbage dye was a failure. I will hope for better results from the turmeric dye.
I then added the tank top. I did the baby t-shirt separately in another batch. I let the top sit in the turmeric solution for about 30 minutes.
After removing the tank top from the turmeric solution and running it under cold water, it remained quite a satisfying shade of yellow! The baby t-shirt also turned out a good yellow. The colour stayed true after washing and drying. A much better result than the red cabbage. 
