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Layout For Textile Surface Prints-Libre
Layout For Textile Surface Prints-Libre
Unit 1_Q9
Layouts
Textile design types may be categorized by layout as well as by motif or style of pattern.
The term layout refers to the arrangement of motifs in the framework of the design plane.
Unlike a painting or drawing, which is designed in relation to its boundaries or edges, the
elements in a textile design are designed in relation only to each other. There are no
boundaries; when the pattern is printed, it will continue over yards and yards of cloth. For
a textile design to be reproduced on fabric, it must eventually be developed into one
standard unit containing a specific arrangement of the desired motifs. This one unit,
called a repeat, will be repeated across the width and length of the fabric in a continuous
manner.
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The same feeling should be evoked if the frame were placed on any section even
though the sections were not identical. Although not in repeat, a croquis will have the
feeling of being in repeat; the motifs and colours are
arranged with no "line-ups"
with
motifs,
as
shown
figure
1),
"alleyways"
the
is
design
continued
or
space
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a Tree of Life,
shown in figure 8, is a type of all-over layout (also
called a meander). These designs feature elaborate,
embellished floral-like motifs that seem to grow and
wander across the design plane.
Figure 8 Tree o1 life design (meander), all- over
layout, print on cotton.
A pattern in which all motifs repeat directly
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under and directly across from one another at measured intervals is called a set or tailored
pattern. Small patterns of this type are Organic shapes
in all-over layout, also called foulards, which is the
French word for the silk or rayon fabrics for neckties and
scarves often printed with these patterns, as shown in
figures 9 and 10. Polka dots, for example, are a set
pattern.
Figure 9 Foulard design (set layout), print on
cotton/viscose.
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A once popular format rarely used
today except in wallpaper and traditional
damask patterns, is the ogee layout, which
utilizes onion-shaped motifs. The textile
illustrated in figure 12 shows how the
"points" of the onions fit together to form the
structure of the design. This type of pattern
almost always feature floral forms on urns or
vases as well as birds as motifs; the damask
and wallpaper designs in this layout are
Diagonal
stripes,
common
in
home
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Figure 14 Geometric design in border layout, tjanting and water- colour on masa
paper.
A border pattern, as in figure 14, is focused
along one selvedge with a ground extending to
the other selvedge. A border fabric is used for
garments (or draperies) with a border around
the hem; therefore, enough space must be
allowed in the design for the hem of the skirt or
dress to be turned under without distorting the design.
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In any type of layout, whether it is engineered, ogee, bouquet, etc., the direction of the
motifs must be considered. In a one-way pattern figure 17 all the motifs face upright in
the same direction.
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fabric is turned sideways so that the direction of the pattern runs vertically on the
furniture. Vertical one-way or two-way patterns are likewise convenient formats for
drapery fabrics, but most drapery manufacturers are unwilling to spend the extra time and
care required to line up horizontally positioned
patterns at the seams called "side matching" the
pattern. Therefore, horizontal drapery patterns are
uncommon unless the shapes are unspecific enough
that precise side matching is not required. European
drapery manufacturers are more willing to handle this
extra labour, and horizontal stripes are more
common.