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DP XI
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DP XI
DYEING & PRINTING (THEORY)
50 marks Unit Topic Sub –topic Thrust area
1 Study of
design & its
components.
Elements of design:
*line
*Basic types of lines - Straight &
curved.
*Effect of lines.
*Optical illusion of lines.
*Form *Basic types of shapes.
*Basic types of forms.
*Effects of forms.
*methods of creating different
effects by forms.
*Space *Positive space, Negative space.
*Advancing technique.
*Flattening technique.
*Space around a design.
*Division of space
*Colour
*Texture
Principles of design:
*Balance.
*Proportion & scale.
*Rhythm.
*Emphasis.
*Harmony & contrast.
Formal/symmetrical balance,
Informal /Asymmetrical balance.
Fluid & Staccato rhythm.
-Rhythm by repetition.
-Rhythm by progression/ Gradation
-Rhythm by radiation.
-Rhythm by continuously flowing
lines.
2 Textile
design, their
arrangement
and pattern
layouts.
*Introduction.
*Different styles of
making a design.
-Realistic,
-Stylized,
-Geometric.
-Abstract,
-Traditional,
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-Folk.
Different types of
fabric designs.
-Floral design.
-Geometrical: - Stripes, Checks,
Plaids, Dots.
-Abstract designs:-
-Nursery design :-
-Traditional design:-
-Animal kingdom design:-
-Figure design:-
-Fantasies design:-
-Contrapuntal design:-
-Border design:-
*Aspects of Textile
Design.
-Repeat patterns for unlimited
areas.
-Pattern layouts for limited areas.
3 Colour &
colour
schemes
*Introduction
*Colour wheel Colour family.
*Prangs colour
theory:
Primary, secondary (binary),
Intermediary, Tertiary, Quaternary
*Dimensions of
colour:
Hue –name of colour.
Value – tints & shades.
Intensity or Chroma –brightness or
dullness of a colour.
*Colour types:
-Neutral colours
-Cool colours.
-Warm colors
*Colour schemes:
Related colour
schemes.
Monochromatic colour scheme
Analogous colour scheme
Accented neutral colour scheme.
Contrasting colour
schemes.
Simple complimentary,
double complimentary,
split complimentary,
triad colour scheme,
Tetrad colour scheme.
4 Dyeing *Introduction
*Dyes.
*Classification of
dyes
-Advantages & disadvantages
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-Natural dye &
- Chemical dyes
*Different types of
Natural dyes.
-Substantive dye –e.g. Onion skin,
Indigo, Lichens.
-mordant dye—e.g. Henna, tea,
pomegranate rind, Turmeric, Red
cabbage, Flowers, Beetroot,
Black berry, Walnut rind.
*commercial dyes. -Hot water dye &
-Cold water dye.
* Synthetic/Chemical
dyes.
-Acid dye.
-Basic dye.
*Suitability of dyes
on different types of
fabric.
*Application of dyes. -Preparation of the fibre/fabric.
-Preparation of the dye bath.
-Application of the dye
-Finishing.
5. Printing Introduction
Styles of printing:
Direct, Dyed,
Discharge, Resist,
Digital.
Direct style of
printing- Hand /
fabric painting.
Introduction.
Equipment required.
Techniques of painting.
Finishing.
Transfer printing. Introduction
Hot iron transfer.
Marble printing.
Printed & painted
textiles of India.
Types of painted textiles:
*Kalamkari of Andhra Pradesh
*Madhubani of Bihar.
*Bagru printing of Rajasthan.
*Ajrakh printing.
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DYEING AND PRINTING (PRACTICALS) 100 marks
Unit 1
Lines
-Draw the basic types of lines.
-Grading of pencils to be done on cartridge paper.
-Draw a design with different grades of pencils.
-Draw design to show the effect of lines & mention the effects.
-Draw designs that can be created by optical illusion of lines.
-Draw design using straight lines.
-Draw design using curved lines.
-Draw design using combination of lines.
Shape & Form
-Draw the basic shapes (symmetrical & Asymmetrical)
-Draw a shape (2- D) & its form (3-D)
-Draw designs to show the effect of forms & mention the effects.
-Draw designs using same form in different sizes.
-Draw designs using same form in different colours.
Space
-Draw design blocks to understand positive & negative space.
-Draw design to understand the illusion of depth created by spacing of design
motif.
- Draw design to understand spacing with colours.
-Draw design to understand formal division of space.
-Draw design to understand informal division of space.
Proportion:
Draw design to understand proportion.
Rhythm:
Draw design to understand effect created by rhythm.
Balance:
Draw design to understand symmetrical & Asymmetrical balance.
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Emphasis:
Draw design to understand emphasis in a design.
Harmony & Contrast:
Draw design to understand the difference of harmony & contrast.
Project /Assignment
UNIT 2
*Draw the different styles of a motif.
*Draw the traditional/Indian designs.
*Draw the different type’s fabric designs:
- Floral designs
-Geometrical designs: - Stripes, Checks, Plaids, Dots.
-Abstract design,
-Nursery design,
- Indian design,
- Animal kingdom design,
-Figure design,
-Fantasies design,
-Contrapuntal designs,
-Border designs.
-Collect fabrics of different types of designs (any 10)
-Draw a design from a motif (motif development.)
-Illustration & placement of motifs/design on apparel
(E.g. dress, skirt, trouser, salwar kameez, orhni, blouses)
& various parts of the apparel (e.g. Pocket, sleeve, collar, neckline, belt, hemline,
Centre front)
Project / Assignment.
UNIT 3
*Grading of brushes & different types of brush strokes.
*prepare a design with primary colours.
*prepare a design with secondary/ binary colours.
*prepare a design with intermediary colours.
*prepare prangs colour wheel.
*prepare a value chart of any ONE hue- tints & shades.
*Prepare a design with Neutral colours.
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*Prepare a design with cool colours.
*Prepare a design with warm colours.
Related colour schemes.
*Prepare a design with monochromatic colour scheme.
*Prepare a design with analogous colour scheme.
*Prepare a design with accented neutral colour scheme.
Contrasting colour scheme.
*Prepare a design with simple complimentary colour scheme.
*Prepare a design with double complimentary colour scheme.
*Prepare a design with split complimentary colour scheme.
*Prepare a design with triad colour scheme.
*Prepare a design with tetrad colour scheme.
Project /Assignment.
UNIT 4
*Prepare a sample with natural dyes: Onion skin, Henna, Pomegranate rind,
Turmeric, Beetroot, Tea powder, Flowers etc.…. (Any 5 samples to be prepared)
*Prepare a design on paper using natural colours.
Hand /Fabric painting [Sample size 5”x 6”] (Individual sample)
*prepare a sample of painting by filling the design.
*prepare a sample of painting on the outline of the design.
*prepare a sample of painting by center shading the design.
*prepare a sample of painting by side shading the design.
*prepare a sample of painting by using the Dry brush method.
*prepare a sample of painting by using the sponge method.
*prepare a sample of painting by using the Flat brush method.
*prepare a sample of painting by using the finger method.
*prepare a sample of painting by using the spray painting method.
*prepare a sample of painting by using the cotton method.
*prepare a sample of painting by using the cone.
*prepare a sample of painting by using one brush with two colours.
*prepare a sample of painting by using Puffy medium/ Puff on colours.
*prepare a sample of painting by using stippling method.
*prepare a sample of painting by using wet stippling method.
*prepare a sample of painting by doing mosaic painting.
*prepare a sample of thread painting by using one thread.
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*prepare a sample of thread painting by using two threads with two colours.
Transfer printing (Sample size 5”x6”)
*prepare a sample of direct transfer (hot iron transfer).
Marble printing (Sample size 5”x6”)
*prepare a sample of one colour.
*prepare a sample of two or more colours.
Textile prints.
Collect samples/pictures and draw the prints of Kalamkari, Madhubani, Bagru &
Ajrakh
Project /Assignment
Units 1 & 2 have to be completed in the 1st term.
Units 3 & 4 have to be completed in the 2nd term.
Marks to be given as per the checklist & Performa (continuous evaluation)
All the projects /Assignments have to be done individually by each student during
school hours.
A record of the practical marks obtained by each student should be
maintained.
This record should be presented to the auditor/examiner at the time of the
Audit/inspection.
Maintain a journal /file for the practical which should be used in the Std XI &
XII.
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CHAPTER 1
ELEMENTS OF DESIGN
What are Elements of Design?
The elements of design are the basic components used as part of any composition,
they are the objects to be arranged, the constituent parts used to create the
composition itself and in most situations the elements of design build upon one
another, the former element helping to create the latter, and the elements are line,
form & shape, space, texture and colour.
LINES:
Lines is drawn by joining any two points .it shows its effect in the design. Lines
can be straight or curved. It can be broken, continuous, thick or thin, hard or soft,
dark and heavy or very faint and delicate.
Lines in any design suggest movement. Every line of any type has some meaning,
it can also be straight or dotted, horizontal or vertical, curved or slanting, Zigzag or
crossed or parallel. It all depends on how you draw a line and use its effects in
design. Line is the key element of art.
CLASSIFICATION OF LINES
STRAIGHT CURVED
vertical horizontal diagonal. Wavy circular semi-circular.
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BASIC TYPES OF LINES
1. STRAIGHT LINES
2. CURVED LINES
STRAIGHT lines is essentially just a line, with no curve. Straight lines may be
drawn in different direction and are given three names, they are
a) Horizontal lines
b) Vertical lines
c) Diagonal lines.
Horizontal lines go side to side, they are straight lines that extend from side to side
laying down parallel. They look like they are lying down, at rest, asleep. They
suggest calm and quite, a relaxed comfort. Horizontal lines cannot fall over. They
are stable and secure.
Vertical lines go up and down, they can also be used to divide space separately
images into columns. They are perpendicular to the horizon. Vertical lines are
strong and rigid, they can suggest stability, especially when thicker. Vertical lines
accentuate height and convey a lack of movement. Which is usually seen as
horizontal.
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Diagonal line are unbalanced .they are filled with restless and uncontrolled energy.
They can appear to be either rising or falling and convey action and motion.
Diagonal lines are more dramatic than either horizontal or vertical lines.
CURVED LINES are softer than straight lines. They sweep and turn gracefully
between end points. They are less definite and predictable than straight lines. They
bend, they change direction. Curved lines express fluid movements, they can be
calm or dynamic depending on how much they curved. Curved lines are drawn in
three types, they are wavy, circular, semicircular lines.
WAVY LINES
Wavy lines are rising or swelling in waves.
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EFFECT OF LINES:
1. Vertical lines: they show rigidity firmness and stability. Uninterrupted
vertical lines express stateliness and dignity when vertical. In design they
express qualities of alertness.
2. Horizontal lines: It follows the position of things at rest and suggests
silence, repose and peace in design it gives a character of quietness and serenity.
3. Diagonal lines: Active, dynamic diagonal lines assume the character of the
direction which they most nearly proximate. As diagonals flatten out, they assume
the tranquility of horizontal and consequently have a broadening effect
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4. Curved lines: it create different moods and are considered to be more
graceful, these lines are the lines of nature flowing soft and graceful.
5. Spiraling curve: Repeated spiraling curve in design show dynamic
movement. When used all over the effect is very exhausting and confusing.
6 .Zigzag line: Repeated zigzag lines is as disturbing as chain lightening, their
movement and generally very violent and their effect vary with the angle.
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7. V-shape line: It moves like alphabet "V" and so called v-shape line. They
express increase in length, if the angle between two lines is kept less and broadness
in design if the angle between two lines is more. Inverted V-shape lines gives
shape effect in opposite direction.
8.Broken line: In this type of line, vertical and horizontal lines are kept same,
but their direction are changed after regular intervals called broken lines in design
they are used to show the mixed effects of vertical and horizontal lines.
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OPTICAL ILLUSION BY LINES:
Two identical may look different with two types of arrow on it. One looks longer
than the other.
Optical illusion a) straight vertical lines
b) Downward arrow on both sides makes lines little shorter
than a,
c) Outward arrows on both sides make line looks longer
Than b
(a, b): Rectangle divided by vertical line.(a) looks narrow than an identical
rectangle divided by horizontal line (b).
(a, b): In two identical Rectangles one divided with the narrow panel (a) appears
much narrower than the one divided with the wide panel(b).
a b c
a
b
a b
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(a, b): diagonal lines with different slant when divide rectangle give different look.
Shape & Form
FORM is composed of lines of various types. The shape of an object is called
form. This form may be actual or imaginary. All forms are the variations and
combination of the four basic shapes the sphere, the cone, the cube, and the
cylinder.
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Basic types of Forms
Forms or shapes may be of two types:
1. Symmetrical or regular
Have two halves which are identical. But these shapes have monotony and
little creativity is exhibited through these in design.
2. Asymmetrical or irregular
Have two identical halves but asymmetrical forms are more interesting to
look at and these are difficult to balance too, as shown in fig.
Effects of forms
Form too has symbolic meaning,
1. Square or rectangle forms shows Strength, stability and unity.
SYMMETRICAL ASYMMETRICAL
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2. Irregular forms have permanence, security, evolution.
3. Oval forms designs have grace charm and creativeness in designs
4. Circular forms have fullness charm and motion.
Methods of creating different effects by forms
1) Monotony of design can be avoided by use of various sizes of same forms
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2) By use of different colour combination and texture in the same form
SPACE
Space is an important element of visual design. It is the area from which a
composition is made, it may be two dimensional or three dimensional. Smaller
areas are usually called as shape and larger areas as space. A patterned surface is
more easily named as shape then a plain area, which is generally perceived as
space .there are two kinds of space they are negative space and positive space.
POSITIVE SPACE
Positive space are the area that are occupied by an objects and forms. It refers to
the main focus of a picture.
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NEGATIVE SPACE
Negative space is the area in between, around through or within an object negative
space refers to the background.
ADVANCING TECHNIQUE
This technique is for creating bold effect, in this
technique shape should be small and completely
surrounded by solid thick line and shapes should be
in advancing colours.
FLATTENING TECHNIQUE:
This technique is for
creating soft effect
in it. Shape should
be of neatly equal
size to space. The
Shape should touch
each other and
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should not be completely surrounded by space. Lines used to enclose the shape
should be fuzzy, thin and broken. And their shape should be in receding
colours.
SPACE AROUND A DESIGN:
Enough empty space to clarify the pattern is an important as the quality of the
motif .pattern should not have so much space around it, that the eye leaps from unit
to unit.
Always judge the arrangement of the units. To stabilize the pattern, the space
around each unit much be greater. Or less than the unit itself never equal to it.
A dotted, or striped design or pattern and background equally spaced is dazzling to
look at.
DIVISION OF SPACE
FORMAL DIVISION: Lines are so draw that the design space is equally divided
horizontally and vertically. This division exhibits balance, unity and equality.
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INFORMAL DIVISION: Lines are drawn to make shapes but not in a symmetrical
way. But a feeling of balance is brought. This division symbolizes progress,
creativity, and action.
In design one shape should lead and should be
supported by all the others. A combination of varied
shapes produces the most arresting patterns solid
masses, such as stylized flowers and leaves combine
with thinner lines such as steam .the thin lines
connecting the solid shapes produce continuity of
motion.
COLOUR
Colour has three properties, the first is hue, which is the name of colours. The
primary hues are yellow, red and blue. Secondary colours are made by mixing two
primaries. Intermediate colours are mixtures of a primary and an adjacent
secondary colour.
The secondary property of colour is value, which refers to the lightness or darkness
of hue
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The third property of colour is intensity, which refers to the brightness or dullness
of hue also called Chroma.
TEXTURE
Texture refers to the surface quality, both simulated and actual of artwork.
Everything has some type of texture, things as being rough, smooth, silky, shiny,
and fuzzy. Some things feel just as they appear this is called real texture and things
looks like they are rough but are actually smooth texture, created to look like
something it is not, is called visual texture.
PRINCIPLES OF DESIGN
Principles of designing guide and control handling the art element, line space,
form, texture and colour. Principles leads to artistic development only if combined
with personal, feeling, taste and imagination.
BALANCE
Balance is the arrangement of lines, colour, textures, forms and space. There are
two types of balance, formal symmetry balance and Informal symmetrical balance.
Balance is defined as the equal distribution of weight from
a central point or area.
SYMMETRY - FORMAL BALANCE
It requires exact quality of left and right halves, as well as
the more subtle balance of the unequal upper and lower
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section of the design .the identical repetition of parts on either side of an imaginary
center line is called formal balance.
ASYMMETRY -INFORMAL BALANCE:
To balance a design informally, the right and left
halves although different in size and shapes must
appear to weight the same. This require the feeling
for balance. True asymmetry is far more complicated
the various parts of a design, although shape
differently and made separately, must be assembled
so that the balance is subtle .an arrangement of shapes
and lines on one side can balance a different
arrangement on the opposite sides if correctly placed
this arrangement is called informal balance.
PROPORTION AND SCALE
"Proportion", also known as spacing, is the arrangement of forms and shapes in
space, and refers thus, to the relations of the parts of the other and to whole
composition. Every design should be composed of shapes and spaces, related
without too great difference or too much similarity. No shape should be so
dominant that all others are insignificant, no background space should be entirely
ignored .the eye seeks an orderly arrangement of space with variety, yet similarity.
SCALE also has to do with proportion, in designs cutting down or increasing the
size of all shapes and details,
Proportionate design Unproportionate design
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RHYTHM
The term “rhythm" in design, is the measure of the line movements so that one
form predominates in a single design. Rhythm gives feeling of energy and force. It
is of special importance in decorative designs. Rhythm refers to the way in which
the eyes move from one part of a design to another.
1. Fluid Rhythm:
When transitional curves or radiating oblique lines
produce the dominating harmony.
2. Staccato Rhythm:
When opposing shapes and spaces are harmoniously
repeated .Rhythm is altogether lacking when the forms
are so confused that no one form is clearly evident.
Staccato refers to abrupt changes with a dynamic
contrast. Unity is important when choosing a staccato
rhythm.
Types of Rhythm
Rhythm Can Be Obtained in Four ways.
i) Rhythm by Repetition: In design rhythm can
be obtained by repetition of regular shapes,
motif, colours etc. rhythm are created by
repeating shapes, colour, pattern and texture.
shown in fig
ii) Rhythm by Progression or Gradation: When an
element is repeated in different amounts, gradation
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occurs and it is more pleasing. Rhythm created by gradation changes in
size or colour.
iii) Rhythm by Radiation: Radiation is an organised
movement of element emanating from center of a point.
All parts of composition are balanced and repeated around
a centre.
iv) Rhythm by continuously flowing lines. It need
not always be in a regular series but may be in
some line, colour, texture, occurring in the main
theme of the look.
EMPHASIS
Every successful design contains many points of interest subordinated to one major
theme. When several points for attention no clear plan is dominant, A design is
appears confused. One form of rhythm always must be emphasized to establish one
dominant interest. Leading the eye smoothly through out a design requires skillful
repetition of shapes or flow of lines. If lines and shapes does not accomplish thus
with enough force, contrast of colour may be tired.
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HARMONY
Harmony means mean unity or a single idea or impression, that is produce an
impression of unity through the selection and arrangement of consistent objects
and ideas which have a strong family resemblance and which combine to create
and integrate and beautiful effect. Harmony should not be simply dullness, it is
best achieved with a variety, shown in figure.
CONTRAST
Contrast can be achieved by placing together colours and objects with opposite
qualities .it is important in any kind of design as it makes the flat surface live.
Contrast of colour, line, shape, and texture will create emphasis, when contrast are
kept close together, continuity of the idea comes in to better focus.as shown in
figure.
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REVIEW QUESTIONS
1. What are elements of design?
2. Give the classification of lines?
3. What are the different types of lines?
4. Draw and show the different effects of lines?
5. What are the lines which are kept same but are changed at regular interval?
6. Distinguish between Symmetrical and Asymmetrical forms?
7. Draw a design with the form?
8. How you will explain space as element of design?
9. Explain flattening technique with an example drawn.
10. How you will explain colour as an element of design?
11. How you will explain proportion and scales in principle of designs?
12. What is Rhythm, Explain different types of rhythm?
13. Explain Harmony and Contrast in a design.
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CHAPTER 2
TEXTILE DESIGNS:
THEIR ARRANGEMENTS AND PATTERN
LAYOUTS
We have already studied about the rich heritage of traditional textiles which
provides numerous ideas to a textile designer. The traditional ideas studied in
reference to textile designing combine two major aspects of textile designing.
Firstly traditional ideas are sketched or drawn according to the basic shapes taken
and secondly in terms of technique used in their reproduction. This actually adds a
new dimension to the original idea which was purely a part of fine art. The
decorative motif may be called an ornament which is being adapted by several
techniques used in printing, weaving or dyeing and creates numerous varieties of
textile designs.
All these folk and traditional motifs can be divided into the following categories:
Natural objects.
Geometrical shapes.
Manmade objects and articles.
These provide all the subject matter for designing
1. Natural Objects:
Nature provides the maximum ideas to a designer. There is nothing in nature
that has not been used in textiles. Flowers, birds, animals, reptiles, butterflies and
foliage give us enormous ideas in terms of shapes, colors, arrangements and
textures. The beautiful shapes all around us changing colors of the seasons and
textures of birds and animal skins etc. give us a rich source of design ideas. Even
the human figure is used for designing in textiles. So practically nothing is left in
nature which is not suitable as a design idea in textiles.
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Designs from nature
2. Geometrical Shapes:
There is a large group of designs consisting of lines, dots and several geometrical
shapes which is also used as a subject matter.
Geometrical designs are strong, sharp or sometimes static or rigid. But they
flow is always there. The geometric lines and shapes join up to create rhythmic
effect. Sometimes optical illusions are also created and a sort of movement is seen
in the design as shown below.
Geometrical designs
Geometric representation together with values and textures create a three
dimensional effect also shown in the following figure
Three dimensional effects
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Geometry is very important for a textile designer. It provides a number of
geometric shapes as well as various graphs and network on which the motifs are
made and represented to form a pattern as we have already studied in the previous
chapter.
3. Manmade Objects and Articles: Apart from Natural and Geometrical shapes
there are several other themes which are used as design ideas for textiles. All the
man made articles such as a piece of furniture, huts and houses, sports, goods,
musical instruments, means of transport, toys, dolls, pots and pans etc. form a
major part of subject matter for textiles.
All these types of motifs again take on new shapes when they are sketched or
drawn in a particular style. There are six different styles of making a design. These
categories are as follows:
Realistic.
Stylized.
Geometric.
Abstract.
Traditional.
Folk.
Here one should be careful not to get confused by the similar names used
previously. There is a difference between having a
certain type of traditional design and designing a
motif in traditional style as seen in the figure.
Realistic:
It is the natural rendering of the objects using
natural values and intensities if color is used. It
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depicts natural shape and shading of an object taken – be it human, animal,
plant or manmade.
2. Stylized:
By stylization motifs and designed in such a way so as to retain their original
source of inspiration. Sometimes the shape is simplified and at times it is
exaggerated to give a new form. In a way stylization distorts the original shape
in a creative manner. A paisley design for example is said to be originated from
the mango, brinjal or a leaf motif at different places. The other method of
stylization is to fill up the shape with other decorative lines and shapes leaving
the outline of the object in a suggestive manner as shown in the figure. One can
observe that the outline of figure is not drawn it can only be felt. That is
why these are known as ‘Felt lines’.
3. Geometric design:
Geometric interpretations give sharp cuts
and curves to a shape of a motif as
shown in figure.
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4. Abstract:
In an abstract treatment although the motifs are picked up from the above
mentioned categories they do not have any similarity with them. While
designing the shapes are totally destroyed and it is difficult to identify their
names as shown in figure.
5. Traditional:
Traditional style of motifs is generally made
in curved and flowing lines giving them a
formal look. They are definite and repeated
on a regular pattern. They have a flow in their
movements which gives a rhythm. A trained
hand is required for making a traditional
motif. Following figure shows a good
flowing traditional design.
6. Folk:
Folk motifs on the contrary are the expressions of the untrained
hands. Where the expression of meaning is more important than
the lines, shapes and proportion of the figure. These designs are
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mostly made by the women folk trying to express their feelings in a simple but
colorful and effective way.
DIFFERENT TYPES OF FABRIC DESIGNS
Floral Design:
They come in all varieties, from tidy little buds neatly arranged to the foliage found
on Hawaiian shirts blooming in vivid profusion. Generally relegated to ties and
sport shorts floral from time to time enjoy brief spurts of importance on dress
shirting.
Geometrical Design:
Geometric patterns are just that, designs based on geometric figures, such as
circles, squares, triangles, hexagons. The shapes may be used alone or in various
combinations vastly scaled or undersized.
Certain designs are offshoots of geometric patterns, often due to the type of weave
employed. The birds eye design, for example has small, somewhat triangular
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shapes overall, with small, centered dots resembling (some say) a bird's eye.
Structured patterns became very important in suiting in the late 70's.Often in
tweeds, the fabrics then and still are not geometric but only vaguely suggest tiny
geometric shapes because of variations in texture.
Paisley might fancifully be considered a fluid interpretation of the triangle,
softening and curving the three sides. Other characteristic design might be said to
look like an amoeba convention. Whether or not it's considered a geometric or a
fantasy print, paisley is used widely in menswear in neckwear and from time to
time other items too.
STRIPES
Everyone knows what a stripe look like simply a band of color atop an expanse of
another color. Usually used in multiples, stripes contrast with the background of
the fabric, called the ground, so that the stripes are more prominent when the
contrast is greater. Stripes can be very narrow or very broad, and terminology
defining them usually but not always refers to the width.
Pin Stripes. These very slender stripes can be in
any colour, though often they're gray or white on a
darker ground. They can be as narrowly or widely
spaced, although the distance between them should
remain constant.
Hairline Stripes. These are the thinnest of stripes,
often of white sometimes in a color. They are
usually, but not necessarily, spaced evenly from
each other.
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Pencil Stripes. Next in scale up from pin stripes,
these are about the width of a mark made with a
dull pencil. They can be any distance from the
next stripe in the series.
Chalk Stripes. So named because they appear to be drawn with a piece of chalk,
they are obviously wider than pencil stripes and are usually white, chalk stripes are
consistent in their spacing from each other.
Regimental Stripes. Associated with neckwear, they come in even diagonal
stripes that are originally in the colors of a particular British regiment but are now
mainly suggestive of those distinctive striping’s. Some are still authentic.
Shadow Stripes. They’re not really stripes in the usual sense but give an indistinct
striped impression due to the type of weave, achieved by alternating wrap yarns of
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the same color but of different tightness. The term
shadow is applied because the striped effect is
produced by light hitting the yarns differently.
Satin Stripes. These are associated with shirting
fabrics where a stripe of a satin weave is woven
into a fabric of another basic weave, so the satin
stripes appear more lustrous even when they are
the same color as the ground.
CHECKS
A checked pattern is composed of contrasting squares of any size (although they
are often relatively small) which are repeated to resemble, with some variations, a
checkerboard. The name check also applies to each individual square.
Broken Checks. Although the placing of the individual checks remains regular,
the design of each square or check is irregular that is, does
not form a perfect square. Each
imperfect square is uniform in its
irregularity. A popular example is
the hounds tooth, large or small,
vividly or subtly contrasting, each
irregularly square simulating a
canine tooth and repeated
regularly.
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Buffalo Checks. These are sometimes called a plaid, but plaids need not be based
on squares. Buffalo checks are big squares in block of, color usually red and black,
generally on heavy fabrics. Some so called lumber jack plaids are buffalo checks.
Glen Checks. These are district checks, each one unique to a particular glen (in
Scottish, originally meaning valley) or area. The patterns usually consist of varying
colored checks. Which have other checks or line in different colors imposed over
them. Frequently used in tweeds, glen checks cover a broad range of colors and are
often also referred to as glen plaids.
Over Checks. The term covers both glen and gun club checks. Generally over
checks may have two or more checks, one over the other.
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Gun Club Checks. Also widely used in tweeds, these are double checked designs
consisting of a big check superimposed over a small
one.
Pin Checks. A checked pattern in which the square are extremely small, smaller
than a shepherd checks.
Shepherd Checks. Designs of small, even
checks in black and white, brown and white, or
occasionally other contrasting colors. One
theory for the name’s origin is that the wool for
it could be shorn from the sheep and woven
without any dyeing. Many shepherd checks are
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also district checks.
Tattersall’s Checks. They are regularly-spaced over checks framed by horizontal
and vertical stripes generally in two colors on a light-colored ground, similar to the
checks on some English horse blankets once used by Richard Tattersall. An
example is blue stripes running horizontally, brown ones running vertically, on a
tan ground. According to the traditional shirting specifications, the lines should
cross at less than one-inch intervals and are frequently much closer together than
that, though seldom wider.
PLAIDS
These wide ranging patterns are composed of bars of varied, multiple stripes which
cross each other at right angles to form squares or rectangles of different designs
and / or colors that are regularly repeated.
Argyle Plaid
Like the design of argyle socks, this plaids is made of small but more often large
diamonds, usually with contrasting diagonal thin over stripes running through the
diamonds, creating other diamond designs.
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Blanket Plaid
This plaid is quite large and often comes in dark rich colors with lighter – colored
over striping.
Glen Plaid
A shortening of Glenurquhart plaid, characteristically this design consists of
squares of small woven check alternating with same-sized squares of larger checks;
often utilizing one or two colors with white. However, while the foregoing
describes the classic Glenurquhart, plaids of greatly divergent appearances are
commonly called glen plaids, probably because the scots produced such a wealth
of district checks and
plaid.
Hunting Plaids
Likewise originating in Scotland, the hunting plaid is another generic type. Many
various were worn by different clans while hunting or for everyday dress. The
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colors often harmonized with landscape, so the hunters could surreptitiously blend
into the surrounding, while pursuing the quarry.
Lattice Plaid
A simple plaid pattern woven in squares separated by narrow bands to set off the
squares.
Over Plaid
As the name implies, two or more plaids are combines together to appear as if one
is atop the other.
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Tartan Plaid
Once again, this is a generic description covering any of many distinctively
designed plaids (tartans) various Scotch Highland clans.
Window Plaids
In contrast to the sometimes tartan plaids, this simple motif has stripes (either
singly / doubly) running both vertically and horizontally to produce large barred
framework of rectangle said to resemble window panes.
DOTS
When they’re big enough, dots could conceivably be considered geometric patterns
too, but since they run their own dotty distances, they deserve a separate but short
listing. They are usually positioned in a regular pattern; although they can appear
randomly. Sizes mainly determine how they are named.
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Pin dots
Pin dots, on the other hand, are among the smallest dots used and may be no larger
than the head of a pin.
Polka dots
Polka dots are probably the most well known. They are about the size of an
average aspirin and not the more petite ones that are often mistakenly called polka
dots. Their other names aspirin dots are more descriptive.
Coin dots
Coin dots are even larger, from the size of a
nickel up to that of a quarter. Higher change
would be approaching circles, no longer dots.
It’s a toss-up whether to call dots
dimensioned like dimes polka or coin dots.
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Confetti dots
Confetti dots are bigger than pin dots, in fact
can be about any size. Unlike the earlier
versions, which are usually in one or
occasionally two colors, confetti dots are
many colored and are more likely to be spaced
randomly.
Nursery Designs. These are mostly used for baby or children’s apparel. Different
designs of toys, alphabets and white colored background are available.
Traditional Designs. India is a country with an ancient clothing design tradition.
The history of clothing in India dates back to ancient times, yet fashion is a
new industry, as it was the traditional Indian clothing with regional variations, be it
the sari, ghagra choli or dhoti. Traditional Indian techniques, in weaving, printing,
dyeing or embroidery, including ikat, patola (double-ikat), bandhani (tie-dye)
and shisha (mirror embroidery) Chamba, Kalamkari are some of the ancient Indian
designs.
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Animal Kingdom Design. Animal print is a clothing and fashion style in which
the garment is made to resemble the pattern of the skin and fur of an animal such
as a leopard, cheetah, zebra, tiger, spotted hyena, striped hyena, African wild
dog, giraffe or monkey. Animal print is also used
for room decoration, handbags and footwear and
even some jewellery.
Animal prints have long been a popular style for
many reasons. For one, they are generally expensive
and considered rather exotic; hence they are a
symbol of wealth and status. Throughout history,
kings and other high people have used animal print
rugs and such as a sign of status just as mounted
animals are kept as trophies.
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Figures Design
These pictorial like human or non-human living creature in some type of design
motif, more often appearing on sweater than other garments. In the early to mid-
70, a flurry of “conversational” prints was introduced in shirts. These either
suggested dramatic scenes or actually incorporated cartoonlike dialogue. The craze
was short – lived.
Fantasies
They are the stuff that dreamy or nightmarish are made of. They fit no other
category, being the fanciest all patterns, sometimes incorporating floral and figures
or paisleys in any conceivable colorations.
Contrapuntal Patterns
These may incorporate a bit of the fantasy or not, essentially, they are a
combination of two or more patterns in a single pattern, such as taking a basic
argyle plaids and floral within the regular sets of the diamonds, or breaking
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conventional plaids with periodic bold hands of contrasting stripes. Although some
of the combinations can sound they need not be if attention is paid to scale and
coloration.
Border Design. Borders of dress materials or sarees with different motifs like
floral prints, animal prints etc are available
ASPECTS OF TEXTILE DESIGNS
Aspects of textile design are being explained, they are as follows:
1. Repeat patterns for unlimited areas
2. Pattern layouts for Limited areas.
We have learnt about different placements and general layouts in previous chapter.
But actually any placements of patterns layout has to be calculated according to
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full repeat size of the method of printing or the article size .Full repeat size is the
actual dimension of the article or the size of the complete block, screen roller or a
loom. This will be dealt in detail in the next chapter when we are going to take a
specific design problem and analyse it. Before that we must understand what are
repeat pattern and pattern layouts.
Repeat patterns for unlimited areas:-
The word pattern is different from the word design as design is a broader why
doubt I'm including the planning aspects for a pattern where is pattern in textile
designing means and artistic placement arrangement of design ideas while learning
about different types of placements in previous chapter a dot motive was taken
which did not have any direction and it was Placed openly leaving places in
between but it is not always that a motifs is in a circle and it is placed leaving
places. In textile designing motifs are placed regularly in different types of formats
or structures and new patterns are formed. Sometimes motifs are also overlapped
and again new ideas develop.
In repeat patterns we have learnt that a graph or a square is necessary for repeating
motifs. Setting a motif in single unit is also very important if the design has to be
printed by a certain method of printing. In the square graphs diagram, some basic
network of different geometric figures such as the Oggy can be constructed to be
used as design basis. All the shapes interlocking and repeat continuously. Using
them as guidelines, any type of motif can be arranged to make endless design
possibilities. Here it is very important to note that and all this net forming shapes
graph of square is always present.
There are four basic repeat methods in which all the Motifs can be repeated to form
patterns. These are as follows:-
1. Block repeat
2. Drop repeat
3. Brick repeat
4. Half drop repeat
1. BLOCK REPEAT
The single block of square in which motif is drawn
is repeated in the new evolved pattern and the
change single units. Note the drop and the brick
repeat are quite similar in sense that in drop repeat,
square is shifted vertically and in brick repeat it is
shifted horizontally.
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2. DROP REPEAT
The Drop repeat is so called because each unit is
dropped halfway vertically. However, it could be
dropped a quarter, one third or three fourth of a
unit also.
3. BRICK REPEAT A brick repeat is produced by repeating the motif at the sides as before, but moving
the second row sideways as shown, like the pattern formed in for example a brick
wall.
4. HALF DROP REPEAT A half-drop is similar to a brick repeat but is produced by repeating the motif at the
sides as before, but dropping the next row down.
One should remember that the square and other networks are there to help repeat a
motif but the final effect of the design depends upon the motif itself. Motifs should
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be carefully design so as to suit the placement intended as explained in the
previous chapter. Students experiment with different type of motifs to find out the
effects. But it should be remembered that whatever is the network for the method
of repeat there is always a graph of single unit which is absolutely necessary for
the production purpose. One should notice that in different repeat method
sometimes the single unit changes.
Pattern layout for Limited areas
Designing for Limited areas such as bed covers, bed sheets, table covers, dining
table Mats and napkins etc, demand a different types of adjustment of the motif to
be made. This will be clearly explained by an illustration taken. The assignment is
to make a design for a bed cover to be printed by hand screen printing. The
designer starts from the final effect or the general layout which he has in hand then
works out the sizes of the design repeat and the markings on the bed covers
according to the size of the bed cover general layout is shown .The designer wants
an all-round border and two semicircle placements of design in the centre.
REVIEW QUESTIONS
1. What are natural objects, give an example?
2. What are geometrical designs, give an example?
3. What are manmade objects, give an example?
4. Enlist in brief the different types of Stripes?
5. Enlist in brief the different types of Checks?
6. Enlist in brief the different types of Plaids?
7. Enlist in brief the different types of Dots?
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8. Explain any 2 or 3 styles of making a design under manmade objects
or articles.
9. Differentiate between
a. Plaids and Checks
b. Pin stripes and chalk stripes
c. Coin dots and pin dots
d. Glen checks and Glen Plaids
10. What are Folk designs?
11. What are Traditional designs?
12. Explain a pattern layout.
13. What is Animal Kingdom design?
14. What are Figure designs?
15. What are Fantasies designs?
16. What are Contrapuntal Patterns?
17. What are Border designs?
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CHAPTER 3
COLOUR AND COLOUR SCHEMES
Introduction to Colour:-
Obviously there are thousands of variations of colors but any one dye color can
look quite different on two different fabrics because of the contrast in texture.
Think of the difference in appearance between a piece of blue velvet and a piece of
canvas in the same blue. Dyes are more like ink than they are like paint, that is why
being colored they are also transparent and will only stain a paint if sufficient coats
are applied will obliterate the color underneath it. So when dyeing, you must
remember that the final result will be strongly influenced by the original color of
the article. For e.g. a light blue dress dyed rose red will not come out rose red but
will turn purple. You can only dye to a color which is darker than the original color
of the item. However because of the staining as opposed to covering properties of
dye, you can have a lot of fun trying out different color combinations on both plain
single color fabrics and on multi-colored patterned material.
A bright fabric can be dyed to any color but a pale color fabric may influence the
new dye color depending upon how intense the original color is. A pale grey rust
dyed cream will become a pale greyish-cream rust, a much better idea would be a
strong red or blue.
Any color can be dyed to black but don’t expect a selection of different colored
items to come out all looking the same black some may appear bluish – black
others brownish – black, some a very dark grey.
You might be surprised to learn, that the human eye sees as many as six to seven
million colors. Colours can inspire .Colours can influence .Colours can have a
huge impact on our lives. It is one of the least expensive factors that can be altered
in the production of clothing. It is the essence of dressing successfully, it is the first
thing that others see about you & probably what they will remember about you.
Once you understand & use the magic of colours, you will be able to harness its
power to look better, feel healthier & energize you and the people you meet & all
of that just from colour.
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To work with color, you need a system that organizes hues into a logical pattern.
Such a system can help you manage any possible color combinations and
determine how the colors work together. Artists color wheel is a system that places
colors around a circle. Position on the wheel show how the colors relate to each
other.
The color wheel:
Primary Colors: Red, Yellow, and Blue are the three primary colors, the
basic colors from which all other colors are made. These three colors are
equally spaced from each other on the wheel.
Secondary Colors: Combining equal amounts of two primary colors create a
secondary color. These three colors appear halfway between the three
primary colors. Blue and yellow makes green. Blue and red makes violet,
which is often called purple & Red and yellow makes Orange.
Intermediate Colors: If you combine a primary color with a neighbouring
secondary color, an intermediate color is created. Blue and green combine to
make blue – green. Red combines with orange to make red-orange, likewise
yellow-green, yellow-orange, red-purple, blue-purple, colours are obtained.
There are many theories of colour, but most commonly used is PRANGS
COLOUR THEORY. . Prang was a printer and developed a four-color printing
process known as chromolithography in the 1860's. Prang's system was the first
workable system to reproduce color in print. He is sometimes referred to as the
father of the American Christmas Card. The Prang color system is most often used
by artists in determining what paint pigments to mix in order to produce desired
colors out of the basic primary colours.
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Prangs colour theory. The Prang color system is the basis of the artist's color wheel, and it uses red, blue
and yellow as its primaries. This system theorizes that the three primary colors
can't be produced by mixing other hues.
Secondary/Binary colour: These are orange, green and violet in the Prang system.
These can be produced by mixing together two primary hues.
Intermediate colour: When a primary and a neighboring Secondary/binary are
mixed, the resultant is an intermediate hue. In appearance, the intermediate hue is
halfway between the two colors. There are six of these intermediate hues: yellow-
green (YG), blue-green (BG), blue-purple (BP) or blue violet (BV), red-purple
(RP) or red violet (RV), red-orange (RO), and yellow-orange (YO).
Tertiary colours: When two binary colors are mixed a tertiary colour is obtained.
The tertiary colors are yellow, blue, and red, much neutralized. Tertiary yellow
resembles a smoky yellow, Tertiary blue is known as slate blue, &Tertiary red is
the colour of old red brick.
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Quaternary colours.
A mixture of two tertiary colors gives a quaternary. The quaternary colors are
green, purple, and orange, much neutralized. They are sometimes spoken of as
olive, prune, and buff. Quaternary green is a mixture of the tertiaries yellow and
blue. Tertiary yellow (B + Y + Y + R) added to tertiary blue (R + B + B + Y) gives
this sum of colors-three parts of yellow, three parts of blue, and two parts of red.
The result of the mixture is green, from the predominance of yellow and blue, and
it is much dulled with the red. The quaternary purple is 'a mixture of the tertiaries
blue and red. R + B + B + Y and Y + R + R + B make three parts of red and three
parts of blue, giving purple, with two parts of yellow to dull it. Quaternary orange
is tertiary red (Y + R + R + B) mixed with tertiary yellow (B + Y + Y + R). This
makes three parts of yellow and three parts of red, which give orange and the two
parts of blue neutralize the orange.
Tertiary colours
Quaternary colours
Tertiary Yellow + Tertiary Red=
(2Y+1R+1B) (2R+1B+1Y)
Tertiary Red + Tertiary blue
(2R+1B+1Y) (2B+1Y+1R)
Tertiary blue + Tertiary Yellow
(2B+1Y+1R) (2Y+1R+1B)
Quaternary Orange (Qo) (Buff)
(3Y+3R+2B)
Quaternary Purple (Qp) (Prune)
(3R+3B+2Y)
Quaternary green (Qg) (Olive)
(3B+3Y+2R)
Secondary colours Tertiary colours
Orange + Green =
(R+Y) +(Y+B)
Purple + Orange =
(B+R) +(R+Y)
Green + Purple =
(Y+B) +(B+R)
Tertiary Yellow (Ty) (Smoky yellow)
(2Y+1R+1B)
Tertiary Red (TR) (Old red brick)
(2R+1B+1Y)
Tertiary blue (TB) (Slate blue)
(2B+1Y+1R)
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Dimensions of colour:-
On a color wheel, the colors are very bright and vivid. Most colors that you see
around you, however, are lighter, darker, or softer than the hues on the color wheel.
Just as every object has length, breadth, width, every colour has three properties or
qualities of colour also known as the dimensions of colour. They are hue, value, &
intensity.
a) Hue:
Have you ever owned a box of crayons that offered more colors than you knew
existed, with names that were just as imaginative? A crayon might be cherry, ruby,
or flame. A more precise way to describe color is with the specific names that
identify them, such as red, green, and blue. These are called Hues. A HUE is the
purest or brightest form of a color that have not been mixed with white, gray, or
black. The difference between blue & the green is the difference in hue just as
soon as green turns bluish, it has changed its hue & would be called blue-green
instead of green.
b) Value :-It is the second dimension of colour, it is independent of its hue. It
tells the lightness or darkness of a hue. The lighter values are called tints and the
darker ones are shades. The hue may be mixed with just a touch of white or with
so much white that the hue is very faint. A color that is lightened by adding white
is called a TINT. The pastels of pink, mint green, and baby blue are tints. A color
that is darkened by the addition of black is called a SHADE. Navy blue is a shade
of blue; brown is a shade of orange. . The hue mixed with any amount of gray is
considered a TONE of the hue.
TINT SHADE TONE
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Adding white or black to a color changes its value. Every color has a wide range of
value, from very light to very dark. e.g. Red can go from a very pale pink to a dark
burgundy. A value scale runs from white to black. White is pure light, black is the
total absence of light, adding white lightens a colour and adding black darkens it.
c) Intensity or Chroma:-
The third dimension of colour refers to how bright or dull a colour looks, bright
colors are considered more pure, they have a higher intensity as compared to pale
or dull colours, For example, Chroma is considered to refer to the brightness of a
color when it is compared to the brightness of another color that appears white.
Bright colors are deep and vivid because they contain the most colour pigment,
they are Jewel intense. Tones, such as emerald green and ruby red, are examples of
high intensity colors.
Dull colors, despite the term, are not necessarily boring or drab. Colors like dusty
rose and khaki green are softer, muted, or subdued. You can reduce the intensity of
a color by adding grey or its complimentary color. Adding grey to yellow for
example, creates beige. Like pure colors, tints and shades can also have different
intensities. The pink of a rose petal can be very soft and pale, while pink nail
polish may be fluorescent bright. The higher intensity hues are known as jewel
tones while the pale intensity hues are called muted tones (dull colors can appear
indistinguishable or gray)
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Colour Types:
Warm colours, cool colours, & neutral are three colour types. Colors have
symbolism and meanings & telling us something about the personality of the
wearer. As you design, it is helpful to keep in mind how the eye and the mind
perceive certain colors. Sometimes colors create a physical reaction (red has been
shown to raise blood pressure) and at other times it is a cultural reaction (in the
N.A. white is for weddings, in some cultures, white is the color for mourning and
funerals). Colors follow trends as well.
a) Cool Colors (calming): colors that
symbolize cold temperatures are ice, water,
sky i.e. blue, green and light purple have the
ability to calm and soothe. Where warm colors
remind us of heat and sunshine, cool colors
remind us of water and sky. The cool colors
have a receding effect that is, making the
objects appear smaller and farther away as
compared to the object s in warmer hues.
Therefore they have a minimizing effect on the
body.
b) Warm Colors (exciting): Colors that
symbolize to make you think of sunlight and heat, fire and make your body
temperature rise, i.e. Red, Yellow, Orange (& Black). As the name indicates, they
tend to give warmth. Warm colors look as though they come closer, or advance (as
do dark colors).
Mixed Cool/Warm Colors: Colors that are made of both a warm and a cool
color. The symbolism of a mixed color depends on whether there is warmer or
more cool used to make the color, i.e. green, Purple.
c) Neutral Colors (good for backgrounds): Colors with no strong differentials.
You may wonder why black and white are not on the color wheel. In technical
terms, they are not true colors because they do not have color pigment. You see
them because of what happens to light. When all the light rays are absorbed by a
surface, you see the surface as black. When all the light rays are reflected from a
surface, you see white.
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Black and white are called neutral colors. Gray, a combination of black and white,
is also a neutral color. Sometimes tints and shades of beige are being considered
neutrals, but they aren’t true neutrals because they have yellow or green base.
Neutral colors are very useful. You’ve already seen how they can change the value
and intensity of a color. E.g. Adding white to orange produces a peach tint. Adding
gray to orange softens the intensity to buff. Neutral colors have become very
popular over the past several years for their versatility and ability to pair with
many other colors and materials. Gray paint color can be cool or warm
Creating a color scheme:
Suppose a young family member puts on an orange and blue shirt with a pair of
dark red pants. You might decide to suggest a color combination that is more
pleasing to the eye.
Knowing what colors work well together takes an understanding of color and the
differences between the many values and intensities. To make it easier, experts
have identified several color scheme that can be used as guidelines. A color
scheme is a plan for using a color or a combination of colors – to decorate a room
or put together an outfit.
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Color schemes:
Colour schemes are often described in terms of logical combinations of colors on
a color wheel. Color schemes are used to create style and appeal. Colors that create
an aesthetic feeling when used together will commonly accompany each other in
color schemes. A basic color scheme will use two colors that look appealing
together. More advanced color schemes involve several related colors in
"Analogous" combination.
Related colour schemes:
a) Similar harmonies:
Monochromatic colors: Are all the colors (tints, tones, and shades) of a
single hue. Monochromatic color schemes are derived from a single base
hue, and extended using its shades, tones and tints (that is, a hue modified by
the addition of black, gray (black + white) and white. As a result, the energy
is more subtle and peaceful due to a lack of contrast of hue.
Analogous colors: (also called Dominance Harmony) color scheme are
groups of colors that are adjacent to each other on the color wheel, with one
being the dominant color, which tends to be a primary or secondary color,
and two on either side complementing, which tend to be tertiary e.g. Blue-
violet, Blue, Blue- green.
It is the scheme which creates a rich, monochromatic look. It’s best used
with either warm or cool colors, creating a look that has a certain
temperature as well as proper color harmony. It lacks contrast and is less
vibrant than complementary schemes.
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Accented Neutral:
Since neutrals have no hue, they combine well with any color. Matching
white, black, or grey with a smaller amount of a color results in an accented
neutral color scheme. The accent color brightens up the neutral color. A gray
suit might be accented with a yellow tie or scarf, or a blue handkerchief. An
accented neutral scheme is more often used to create a focal point, or
point of interest. The eye is drawn to the accent color, making the areas
more noticeable.
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b) Contrasting harmonies:
Simple complementary colors:
Those colors across from each other on a color wheel e.g. Green, Red.
Double complementary:
Two complementary color sets; the distance between selected
complementary pairs will effect the overall contrast of the final composition
e.g. Red, Red orange, Green, Blue green.
Split-Complementary: One hue plus two others equally spaced from its
complement e.g. Blue green, Red, Orange.
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Triad color:
The triad color scheme uses three colors equally spaced around the color
wheel. The easiest way to place them on the wheel is by using a triangle of
equal sides. Triad color schemes tend to be quite vibrant, even when using
pale or unsaturated versions of hues, offers a higher degree of contrast while
at the same time retains the color harmony. This scheme is very popular
among artists because it offers strong visual contrast while retaining balance,
and color richness. The triad scheme is not as contrasting as the
complementary scheme, but it is easier to accomplish balance and harmony
with these color e.g. Purple, Orange, Green.
Tetrad colors
The tetradic (double complementary) colors scheme is the richest of all the
schemes because it uses four colors arranged into two complementary color
pairs. This scheme is hard to harmonize and requires a color to be dominant
or subdue the colors; if all four colors are used in equal amounts, the scheme
may look unbalanced e.g. Orange, Yellow green, Blue, Red purple.
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REVIEW QUESTIONS
1. Why red, blue, yellow are called as primary colours?
2. What is a Hue?
3. What is Value?
4. What are tints, shades & tones of a colour?
5. Mention the Colour obtained:
By mixing any two primary colours? @ {secondary colour is obtained}
By mixing a primary with neighbouring secondary colour?@{Intermediate colours
are obtained.}
By mixing two secondary colours?@{Tertiary colours are obtained.}
By mixing two Tertiary colours?@{Quaternary colours are obtained}
6. Explain Dimensions of colour.@{Hue, Value, & Intensity.}
7. Why are cool colours called as calming colours?
8. What are neutral colours?
9. Explain in detail: Related colour schemes.@{Monochromatic, Analogous,
Accented neutral}
10. Explain contrasting harmonies.@{Simple complimentary, Double
complimentary, Split complimentary, Triad, Tetrad.}
11. Explain the Prangs Colour Theory.
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CHAPTER 4
DYEING
INTRODUCTION
eautifully coloured fabrics dating back several thousand years have been
unearthed in china and some areas of Europe.
Prior to 1856 all the dye stuffs were made from
natural materials mainly animals and vegetable. A ‘bright
red’ was obtained from a tiny insect called ‘cochineal’.
Other ancient dyes include a red dye from roots of a plant
blue from stigmata.
Dyeing and printing fabric is made simple today by the
variety of commercial dyes and kits which need only a few
hours work and little knowledge.
Dyeing is a process in a fiber, yarn or fabric is impregnated with colour by using
any of the available dye stuffs. The colour applied on to the fabric must be
appealing, uniform, and fast to washing and wearing. The process should not be
very expensive and should be environment friendly.
Although small yardages can be dyed at home or by the local dryer, dyeing is a
commercial process carried out by specialized equipment with a varieties of dyes
B
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or pigments. Hundreds to thousands of meters of fabric is dyed by professional
dyers to avoid problems in the dyeing process and the final product.
Dyes
A coloured organic compound or mixture that may be used for imparting colour to
a substrate such as cloth, paper, plastic or leather.
Dyes needs to be dissolved in water or any other agent
for it to penetrate into the fiber. After entering the
fiber, the dye chemically reacts with the fiber. The
undissolved particles of the dye remain on the fabric
surface, and therefore are removed on washing and
rubbing. Dyes have much more colour strength than
pigments and a small amount of dye can colour large
quantities of fabric.
Dyes are applied in the required conditions of suitable water temperature, steam,
and dry heat, to achieve perfect penetration. Certain chemicals, such as common
salt or acids, are added to regulate this penetration. The dyeing procedure can be
carried out at under any stage of the fabric manufacturing process but it is
important that the dye reacts with the fabric under each stage.
Different dyes of different colours have different degrees of fastness under various
conditions, such as washing, rubbing, light, and perspiration. A complete range of
shades is not available in any of the dye classes. The dyer chooses a single dye or a
variety of dyes to attain the required colour suitable as per the fiber content, end
use of the product.
Mordants
Mordants have a fair colour range but the colours produced are lighter than acid
dyes shades. mordants require addition of chrome and are used for dyeing mainly
protein fibers, which have good fastness qualities. Man-made fibers can also be
dyed with these.
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Mordants give good wash and light fastness but they can easily stain other fibers,
such as silk and nylon. The resistance to perspiration, rubbing, and sea water is
also good.
Classification of dyes
A very common classification of the dye is based on the source from which it is
made. Accordingly the classification could be
Natural dyes
Chemical dyes
Natural Dyes
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Natural dyes can be sorted into three categories: natural dyes obtained from plants
(Indigo), seeds, barks, etc. e.g. Onion skin, pomegranate rinds, henna, turmeric,
black berries, beetroot, saffron, ginger, tea leaves, apple skin etc. To prepare
natural dyes has to take lot of trouble. The effect of the dye depends on the time,
place, weather, where the material was gathered and in which season. The natural
colours have their even quality. They are highly concentrated. Additives are used
with dyes they were discovered by Perkin in the 19th century. Those obtained from
animals (cochineal), and those obtained from minerals (ocher). Although some
fabrics such as silk and wool can be coloured simply by being dipped in the dye.
Others such as cotton require a mordant.
Natural dyes cannot be used on man-made fibers fabrics. They may be used on
natural fiber fabric or yarns.
Although natural dyeing takes longer than synthetic dyeing. The colours obtained
are often more attractive than those produce by modern chemical dyes. Natural
dyes produce a certain lustre and softness in the fabric or yarns.
Most plants will produce the staining juice if crushed and but comparatively few
produce a fast dye when applied to fabric or yarn. Some of these plants produce
juices which are known as mordant dyes that is the fabric or yarn to be dyed must
be subjected to a preparatory bath containing a metallic mineral or mordant to
enable the dye to penetrate the yarn fibers.
There are also a few substantive or non-mordant dyes that do not require a
finishing agent. However mordanting is a vital process for are unevenly mordant
yarns or fabric will not dye evenly.
Wool is easy to mordant as the fibers are porous but silk, cotton and linen are more
difficult, silk has to be steeped for a long time in a cold mordant and often loses its
lustre and cotton and linen fibers are so tough that is difficult to get the mordant to
penetrate evenly .wool is the best fiber to dye.
Natural dyes obtained from plants
One example of a natural dye obtained from plants is madder, which is obtained
from the roots of the madder plant. The plants are dug up, the roots washed and
dried and ground into powder. During the 19th century, the most widely available
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fabrics were those which had been dyed with madder. The 'turkey red’ that was so
popular at that time, was based on madder. This red was considered brilliant and
exotic. The madder plant continued to be used for dyeing until the mid-1800s when
a synthetic substitute was developed.
Another example of a natural dye obtained from plants is woad. Until the middle
Ages, Europeans used woad to create a blue fabric dye. The woad was a shrub that
grew abundantly in parts of Europe. The colouring was in the leaves, which were
dried and ground, mixed with water and made into a paste. This dye was
supplanted by indigo, an ancient shrub well known to the Egyptians and Indians.
Like woad, its colour lay in its leaflets and branches. The leaves were fermented,
the sediment purified, and the remaining substance was pressed into cakes.
Indigo prevailed as the preferred blue dye for a number of reasons. It is a
substantive dye, needing no mordant, yet the colour achieved is extremely fast to
washing and to light. The manufacture of natural indigo lasted well into the early
1900s.
Natural dyes obtained from minerals
Ocher is a dye obtained from an impure earthy ore of iron or ferruginous clay,
usually red (hematite) or yellow (limonite). In addition to being the principal ore of
iron, hematite is a constituent of a number of abrasives and pigments.
Natural dyes obtained from animals
A good example is cochineal, which is a brilliant red dye produced from insects
living on cactus plants. The properties of the cochineal bug were discovered by
pre-Columbian Indians who would dry the females in the sun, and then ground the
dried bodies to produce a rich, rich red powder. When mixed with water, the
powder produced a deep, vibrant red colouring. Cochineal is still harvested today
on the Canary Islands. In fact, most cherries today are given their bright red
appearance through the artificial colour "carmine", which comes from the
cochineal insect.
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Advantages of natural dyes
1. Natural dyes are more eco-friendly than the synthetic dyes, as the synthetic
dyeing procedure can produce pollutants and are carcinogenic.
2. Most natural dyes are easily available in the surrounding and if collected
make an economical dye.
3. Clothes dyed with natural dyes could be sold at higher prices.
4. Depending on the mordant used with one dye can give variety of colours
which also depend on the source of the dye.
5. Natural dyes are all derived from natural sources unlike their counter parts,
synthetic dyes.
6. Inconsistencies in colour could be marketed as unique or one of a kind
Disadvantages of natural dyes
1. It is time consuming to extract from the raw materials.
2. Availability of the natural dyes are limited.
3. As the natural dyes are extracted from the plants mostly they are dependent
on the growing seasons, which is unlike the synthetic dyes that are produced
in the laboratories.
4. Even though natural dyes produce bright colours and variety of shades but
tend to fade faster than the synthetic dyes.
5. Some fiber such as silk and wool can be dyed by simply dipping them in the
dye but cotton requires a mordant.
6. Synthetic fibers which are becoming widely popular cannot be dyed with
natural dyes.
Different types of natural dyes
There are two different kinds of natural dye. One type
known as substantive dye, needs no additives.eg. Of
substantive dyes are those produced by onion skins, lichens
and sloes.
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The other type of dye is called mordant dye. Here the extracted colour will not
adhere properly to the wool or be fast unless the wool is treated with chemical
solution.
Some common natural dyes are.
Henna
Henna for long has been dyed, as an article for bridal
make up. Investigations have revealed that the
colouring matter of henna can be suitably employed
for dyeing textiles. Colours obtained from henna are
moderately fast and can withstand great extent of
washing, chlorine bleaching and light. It’s greatest
advantage is its economy.
A pound of henna leaves can yield a substantial quantity of colouring matter. The
dyeing solution is obtained by adding crushed henna leaves to water and soaking
overnight. This mixture is sieved through a piece of cloth, it is then mixed with a
small quantity of dilute acetic acid and heated. The mixture so obtained produces a
large variety of colours ranging from reddish brown to mildly brownish yellow.
Pomegranate rind:-
The colouring matter is extracted from the
powder of the rind by boiling it with water.
Thus infusion is strained through a piece of
calico and the insoluble residue is thrown away.
The strained infusion is yellowish brown in
colour.
Wool is dyed a 20% shade by first boiling it for
2 hours in the infusion of the rind the material
is then left to cool in the bath for 12 hours. It is then squeezed and developed in a
bath containing 3-4% bichromate of potash (chrome) a soda and about 1-2% acetic
acid. The wool is soaked in cold water for a few minutes and the temperature is
than raised to boil and the wool is soaked in it for a period of 20 – 30 minutes
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finely it is washed and soaped thoroughly, the material is than passed through a
bath to which a little tartaric is added and dried without washing.
Turmeric:-
A 10-50% of a dye will give a deep yellow shade about a or 20% acetic acid or
alum is necessary. If the bath is alkaline to
any degree the fibre is not dyed at all & the
colouring matter begins to decorate in the
dye bath. Turmeric is dissolved in hot water
and the dyeing is
Carried out at a temperature never
exceeding 60 c. Turmeric does not
withstand high temperature and it is found
that on dyeing wool, duller or paler shades
results in differences in boiling . After dyeing for half an hour the material is taken
out squeezed and washed and acetic acid is added to the bath.
The following shades are obtained when dyeing with various mordants.
Alum – bright yellow
Chrome – brownish yellow
Tin – bright orange
Ferrous sulphate – olive colour
Walnut rind:-
The rind is ground to a coarse paste
or powder and the colouring matter
is extracted by boiling repeatedly in
water. It should be boiled 2 or 3
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times.
Equal amount of wool and extract are boiled for about half an hour in 6 times the
amount of water. The wool is than allowed to be in a cool bath for about 8-12
hours. It is than after treated with different metallic salts.
Ferrous sulphate gives a deep olive brown.
Chrome gives yellowish brown.
In case of after treatment the material may be previously mordanted and then dyed.
In such cases alum gives bright brown shade.
Black berries:-
The fruits of black berries picked in spring should be boiled with the yarn for an
hour or more. Iron mordant (ferrous sulphate)
and cream of tartar should be added and the
dyeing is continued for half an hour to yield a
deep black colour. Berries which produce a
bluish grey colour should be crushed put in
cold water and boil, the yarn which should be mordant with alum before
immersion is placed in the dye and simmered until the required depth of colour is
obtained.
Lichens: - (non-mordant)
It should be scraped from the surface of walls or rocks well brushed, and crushed
and put alternate layers of lichens and yarn into the dye bath, fill the dye bath in
with cold water and bring to boil. Simmer for some hours until the required depth
of colour is reached, wash well. The colour will be very fast and ranging from dark
brown to pinkish orange or pale yellow.
Onion Skins: - (non mordant)
Only the dry outer skins are used. Put the
onion skin in a large dye container and soak
in water. Bring the water up to simmering
point and allow the concoction to simmer for
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half an hour. Then drain the liquid off into another container. Discard the skin
(residue) and heat the liquid again to simmering point. Wash and remove the wool
and place it into the dye. Allow the dye to simmer gently but do not let it boil. Stir
the wool occasionally with a clean stick. Wool left in for a few minutes will dye to
yellow. Left for longer it will turn to orange or ginger colour. When you reach the
colour of your choice, remove the wool. Wearing rubber gloves very gentle press
the excess dye out of the wool & then put it into a bowl of warm clean water. Rinse
it repeatedly until the rising water is colourless & than hang it up to dry.
Commercial Dye:-
There are two basic types of commercial dye suitable for home dyeing one using
cold water the other hot water
Cold water dyes:
These are only suitable for natural fibre fabrics but with the exception of woollens.
They give excellent strength of colour and will withstand frequent washing. They
are ideal for bed linen, curtains towels, table cloth made from any of the natural
fibres. Wool can be dyed with cold water dye but only a pale version of the colour
with result. Check the manufacturer’s instructions as the procedure for dyeing
wool with cold water dyes is slightly different to that for others fabrics. When
buying your dye be sure to see what, if any other additives are required. These may
be a special dye fix, salt washing soda or vinegar.
You will definitely need a pair of rubber gloves a clean stick or an old wooden
spoon and a contains large enough to take your dye mixture and the fabric and to
allow ample soon to stir it all around. This could be the sink, provided it isn’t
chipped or scratched a plastic bucket or a dustbin. Afterwards any dye stains cab
be removed with scorning powder or diluted bleach large article can be dyed with
cold water dyes in a washing machine if the machine will run a cold cycle it is
sensible to wear old clothes when doing dyeing and to cover working surfaces with
plastics or newspaper.
Hot water dyes:
These will dye both natural and synthetic fibre fabrics. These dyes have a little less
colour and light fast than the cold water dye. There you will need a large heat-
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proof container a big saucepan or metal bucket, and a stick or old wooden spoon
with which to keep the fabric constantly moving that water dyes may also be used
in a washing machine.
Especially intended for dyeing large items easily a bedspread for instance a special
dye and detergent blend such a dylon wash ‘n’ dye. It cleans and dyes
simultaneously in washing machine. These blends will dye all natural fibre and as
explained on the colour chants many synthetics.
Wools and yarns for knitting embroidery and weaving may be dyed. As usual a dye
that is correct for the fibre must be used. An economy wit-wool form hand-knitted
garments cab be successfully recycled unpick the garment and wind the wool into
skins. At this yet, it will be very unskilled but washing will straighten it out. Any
wool old or new should be washed prior to dyeing. To do this loosely tie a string
around each skin at three equally spaced points winding the string in a figure of
eight, so that it doesn’t all come unrolled in the skeins and dye it as would of
fabric. However don’t allow hot water dye to heat up to simmering point you
wouldn’t want for a woolen sweater. Certain cold water dyes give special
instructions on using water for wool just to confuse: dye the total amount of wool
required for an article all at the same time be sure match.
Synthetic/chemical dyes
Synthetic dyes are man-made. These dyes are made from synthetic resources such
as petroleum by-products and earth minerals.
Acid dye
Acid dyes have a complete colour range and can be used on protein fibers and
man-made fibers such as polyester, acrylic and rayon. The dyes produce bright
colours but have poor fastness to washing and therefore fabrics need to be dry
cleaned. The dye tends to bleed and stain adjacent fibers. The fastness to light is
usually good but can vary from poor to excellent. It has fair resistance to
perspiration and sea water, but excellent rubbing fastness.
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Basic dye
The first synthetic dyes produced belonged to the class of basic dyes. These dye
also have a complete colour range with bright colours, but have limited use these
days. These can be used to dye cottons with the help of modartants, while other
fibers, such as wool, silk, nylon, acrylic, and polyester, can be dyed without
mordanting. Basic dyes are mainly used on acrylics and for direct printing on
acetate and discharge printing on cottons.
The dye has poor light and dry cleaning fastness, except when used on acrylics.
The wash fastness is poor on cottons while being good for other fibers. It tends to
bleed on protein fibers, but not on man-made fibers. The resistance to perspiration,
sea water, and rubbing is also good, but only in the case of acrylics.
Suitability of dyes on different types of fabrics
All the natural fiber fabrics will readily accept any type of dye. Natural fiber
fabrics will readily accept any type of dye. Natural fiber fabrics are cotton wool,
silk, linen and viscose rayon. Viscose rayon is made from Cellulose.
Most fabric that can be washed can be dyed at source, but there are a few
exceptions. These include everything with the specially treated permanent furnish
such as flame proofing, drip dry, water proofing or glazing of acrylic fabrics.
Certain polyesters may accept the dye colour only in a reduced form thus giving
pale colours and some polyester cotton mixtures may dye in an even but all over
mottled effect. This is because there are cotton fibers in the material that will
absorb more dye than the polyester fibers.
Steps in dyeing:-
The fibre may be dyed as stock yarn or fabric. The basic operation of dyeing
includes.
1. Preparation of the fibre
2. Preparation of the dye bath
3. Application of the dye and
4. Finishing
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Fiber preparation
It involves scouring to remove foreign material and ensure even access to
dye liquor. Some natural fibers are contaminated with fatty material and dirt.
Synthetic fibers have been treated with sizing which must be removed, some fibers
may also require bleaching before they are ready for use.
Dye bath Preparation
Preparation of the dye bath may involve simply dissolving the dye in water
swelting agents, salts, “carriers”, retarders and other dye assistants may also be
added carriers are swelting agents which improve the dyeing rate of very
hydrophobic fibre such as polyester e.g. Phenyl. Retarders are colourless
substances that complete with dyes for dye sites and act to slow down the dyeing
rate. Their use is necessary when rapid tends to cause evenness in the dyeing.
Application of the Dye
During application dye must be transferred from the dye bath to the fibre and
allowed to penetrate. In the simplest cases it is done by immersing the fibre in the
dye bath for a prescribed period of time at a suitable temperature. Unless the dye is
unstable, the bath is usually heated to increase the rate of dying. To ensure an even
up take of dye it is desirable to stir the bath. This is done with the dye liquor which
is picked up from a shallow pan the excess is squeezed out by rollers, and
penetration is assured by steaming.
Finishing
The finishing steps for many dyes, such as the direct dyes, are very simple. The
dyed material is merely rinsed and dried. Vat dyed material on the other hand must
be rinsed to remove reducing agents oxidized rinsed again and soaped before the
final rinsing and drying steps must fix the colour and remove any loose dye from
the surface of the fibre. Residual dyeing assistants such as ‘carriers’ must also be
removed.
Occasionally Fibres are bleached or otherwise modified after dying some after
treatments are intended to improve dye fastness. Some dyes are improved in
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fastness to light treatment of the dyed goods with a metal salt. Others especially
direct dyes, are improved in fastness to washing by treatment of the goods with
resins containing certain quaternary ammonium compounds.
Dyeing equipment
Stock dyeing is carried out in large heated kettles made of stainless steel or other
compression resistant metal.
Yarns in Packages are dyed in machines that move them through the dye liquor
either under tension (jig) or relaxed (beck).
Fabrics are dyed in full width by winding on a perforated beam through which hot
dye liquor is pumped.
Fabrics may be treated with dye liquors or pastes continuously and then steamed or
heated in a chamber to cause penetration of the dye.
Fixation of Dye Stuff
Usually in case of liquid dyes stuff gets fixed to the fabric by the pre-treated of the
fabric by mordanting which is addition of salts of metallic oxides which act as
fibres.
In case of fabric printing inks and fabric dye pastes fixation is done by heat setting.
In case of small scale dyeing such as home dyeing. Heat setting is done by ironing
the fabric.
Following are the different methods of fixation
1. Steaming
The fabric is lead through the steamer. The steam condenses on the fabric, the dye
stuff diffuses into the fibre substances together with chemicals in the printing paste
due to high temperature chemical reaction which occurs at this stage.
Cotton viscose staple or wool (hydropliylic fibres these are water boring fibres),
require steaming with slight super pressure and on the hydrophobic synthetic fibres
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(ware repelling fibres). (Steaming with saturated steam under pressure is needed a
temperature of about 125o C to 130oC is used).
2. Fixation by dry heat.
Dry heat is used to napthol as well as reactive dry stuffs. This method of fixation is
used for synthetic fibres, in this case it is known as thermosol process. It has
proved extremely suitable in the application of dispersed dye to polyester material.
Fixation in dry heat is used on a very large scale in pigment printing since cross
linking reaction takes place under this condition.
3. Wet Development
Fixation is achieved by passing the printed fabric through the chemical solution for
the dye stuff group used. No elaborate apparatus needs to be provided. It is mainly
used for napthol dye stuff recently wet development has been used for the fixation
of the reactive dye stuff on cotton regenerated fibres.
4. After treatment
After fixation any unfixed dye stuff and also thickening agent must be removed
from the material, this is achieved by rinsing and soaping process.
5. Heat Setting
All water based ink must be heat set 24 hours after printing, for small design
setting can be done with a hot iron. Cover the design on both the sides with tissue
paper move the iron back and forth over the work, every area should receive at
least 3 minutes of the iron heat for larger designs setting can be done in an oven.
cover the fabric with tissue paper or cloth and role it into a loose cylinder, heat for
10 minutes at 250o F in an electric oven, if gas oven is used preheat the oven to
300oF than turn up the gas and put in the role of fabric and paper. Fabric which are
printed by blocks, stencils screens, spray painting and fabric painting are heat set.
REVIEW QUESTIONS
1. What is a Dye?
2. What is Mordant?
3. How dyes are classified?
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4. How natural dyes are obtained?
5. Name any 4 natural dyes?
6. What are the advantages and disadvantages of natural dyes?
7. How henna dyes are prepared?
8. What are acid dyes?
9. What are basic dyes?
10. What type of fabrics is suitable when dyeing with natural dyes?
11. Explain the steps in dyeing fibers.
12. Explain the different methods of fixation of dye stuff.
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CHAPTER 5
PRINTING
INTRODUCTION OF TEXTILE PRINTING
The term “Textile Printing” is rather abstract one which is used to show the
patterning of cloth by means of printing, dyeing and painting. It is possible to
divide printed fabrics into four different classes or styles. The resist, the dyed, the
discharged, the direct style and the digital printing. Of these the first two styles are
the oldest styles of printing. All the four styles can be used in conjunction with a
great variety of devices, from the simplest brush or thread as in tie and dye to the
most elaborate and sophisticated modern screen printing machinery.
DIFFERENT STYLES OF PRINTING
1. THE DIRECT STYLE
In this style the printing is done with a paste containing dyes, thickeners ‘and the
mordant or substances necessary for fixing the colour on the cloth are printed in
the desired pattern. The fabric is steamed to fix the dye and finish by washing and
drying.
2. THE DYED STYLE
In this case a mordant or fixer is used to fix the dye on the fabric. The colouring
matter obtained from animal and vegetable sources needs to be used in conjunction
with a fixing agent (mordant usually in the form of metallic oxide or acetate) in
order to make the dye soluble when washing and fast when exposed to light. The
pattern is printed with mordant. The entire piece is than placed in a dyed
containing a mordant dye, but only the mordanted areas are dyeable. This is
because the mordant and vegetable colouring matter forms an insoluble colour
after fixing in the open air. Washing them clears the dye from the in mordanted
areas leaving the patterns in colour.
3. THE RESIST STYLE
The principle of this method is that the pattern area is printed or stamped with a
resist made from rice paste, clay or some type of wax also thread is used as a resist
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such as in tie and dye. Then the cloth is dyed leaving the pattern areas reserved in
white against a dyed background. In the earlier days the patterns were stamped
with small blocks in geometric shapes, several being used in different combination,
the fabric was then passed through a dye such as indigo or other blue dyes. This
style has known since ancient for ex: Batik and Tie and Dye.
4. THE DISCHARGE STYLE
Discharge printing, in which a bleaching agent is printed onto previously dyed
fabrics to remove some or the entire colour.
5. THE DIGITAL PRINTING
It refers to methods of printing from a digital based image directly to variety of
media. It usually refers to professional printing where small-run jobs from desk top
publishing and other digital sources are printed using large- format and / or –
volume or inkjet printer.
Digital textile printing is referred to when identifying either printing smaller
designs onto garments (t-shirts, dresses, promotional wear; abbreviated as DTG,
which stands for DIRECT TO GARMENT) and printing larger designs onto large
format rolls of textile. The latter is a growing trend in visual communication,
where advertisement and cooperate branding is printed onto polyester media for
E.g.: flags, banners, signs, retail graphics.
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DIRECT STYLES OF PRINTING
HAND\FABRIC PAINTING
INTRODUCTION
Fabric painting is the application of paints on fabric. Ideally tightly woven fabrics
are perfect to paint on like cotton and silk. A lot of interesting effects can be
created on fabric through different techniques like sponging, using toothbrush,
rollers etc. can be used.
The consistencies of paints that are used for fabric painting are varied too. Runny
and watered down paints are usually used to create a transparent effects, opaque
paints are used to cover the fabric well, there are also puffy paints that give your
work a relief look. While painting on fabric one should consider the final effects
once it dries, at times the paint if strained tends to crack on fabric.
Pants, jackets and shirts can all be painted, as can household items such as napkins
and drapes. Items that need to be washed must be treated with additional care when
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they have been painted, as the paint may come off. Fabric paining is an excellent
and versatile technique for decorating fabric items and can be used to give old
clothes new style. Fabric painting designs can be explored on various garments to
get your own style quotient.
EQUIPMENTES REQUIRED
Fabric, paints (fevicryil) brushes, pins, thermocol sheets or embroidery ring.
Mixing pallate, glass of water or medium.
TECHNIQUES OF PAINTING.
Sponge Painting On Fabric
The design area can be filled by dipping small piece of sponge in paint and
painting it. This requires some practice and is used in case of bold simple designs.
Cone Painting
Here the paint is put into cones made of butter paper or polythene. The tip of
the cone is cut slightly to produce a fine line when painting. Just try along the
outline of the design as in like painting. This type of painting is also done for
wall hangings made of fabric.
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Puff painting
Puffy medium is applied to the fabric design. After twenty four hours, the
design is ironed on the wrong side with a very hot iron. The paint puffs up. This
puffed up design can be than painted with different colours of shades.
Mosaic painting
Mosaic designs are normally made by cutting glass or coloured tiles into small
pieces then cementing them on to a wall or floor to create a picture or pattern.
The ancient Greeks and Romans are famous for mosaic.
To work on fabric, a piece of high density foam is cut into small squares and
stuck to a wooden block. The block is then used to print mosaic designs on
fabric. One could use thick cardboard instead of wood, but his means that it
cannot be washed and re-used.
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FINISHING
After the painting session is over, lay the fabric flat on any surface to dry. After
twenty four hours, iron with a hot iron on the wrong side of the fabric.
Store all the remaining paints in small jars for further use. Wash all the
equipment used, brushes, pallets etc. After finishing painting, wash with warm
water as they will get spoilt by becoming stiff.
TRANSFER PRINTING
Introduction
Transfer printing means putting the images onto a special paper and then using
that printed paper to transfer the images to fabric with hot iron or hot press.
Transfer Printing With Hot Iron Transfers
* The direct transfer: has to be placed on to the fabric and ironed with a hot iron-
(not steam iron).
* The peel off transfer: The paper has to be peeled off and stuck on the fabric and
ironed with a hot iron. eg. sticker tattoos.
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MARBLE PRINTING
Marbling is the process of floating oil paints on surface of water. The floating
paints are swirled into patterns. The patterned is captured by laying piece of fabric
or paper down on top of the paint to transfer the swirls to the fabric or paper.
Take a large shallow tray or bowl like a photographic developing tray. You will
need some fabric printing ink which is oil based, some white spirit, small jars and
spoon for colour mixing. Keep some clean paper sheets on which you can lay the
fabric to dry as soon as you have finished marbling.
Fill the tray with water (cold). Put a little printing ink in jar and mix it with a little
spirit until it becomes a creamy. In another container dilute another colour. Now
using mixing spoon, drip a little of the first colour on to the water. It should float,
spreading out over the surface. If the colour spreads immediately over the water
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DP XI
then the ink mixture is too liquidy. So you must add more ink. On the other hand if
the blob of the colour sinks, the mixture is too thick, so add some more spirit.
When you have achieved the right consistency, drop in some of the colour and stir.
This will cause, swirling weird patterns. Carefully place a sheet of paper on to the
surface of the water, let it float for a second. Then peel away from the water. The
paper will lift the marbled patterns off the surface of the water. Then lay the paper
flat to dry. In the same way you can do on the cloth. This is how marbled patterns
are achieved on cloth.
PRINTED & PAINTED TEXTILES OF INDIA:
-Kalamkari of Andhrapradesh
-Madhubani of Bihar
-Bagru Printing of Rajasthan-Ajrakh printing.
-Ajrakh printing.
KALAMKARI OF ANDHRAPRADESH
Kalamkari is an exquisite ancient craft of painted and printed fabrics. It is a form
of resist printing. It derives its name from Kalam meaning Pen, and Kari meaning
work, literally Pen-work. It is a form of hand painting as well as block printing
with vegetable dyes. Techniques of craftsmanship in kalamkari were handed down
within the families from generation to generation.
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DP XI
ORIGIN
It is said that kalamkari art evolved around 3000 years ago in Andhra Pradesh. The
earliest samples used in Ramayana and Mahabharata as inspiration. A Persian
influence can be seen after 1950.
As kalamkari draws inspiration from religion, groups of kalamkari artists sat near
temples and painted cloths that illustrated scenes from the Mahabharata and
Ramayana, with text explaining the sketch. These cloths were primarily used as
holy canopies. New themes have been introduced over the years and this has given
kalamkari a new lease of life.
MATERIAL
The painting is done on cotton cloth made in plain weave.
COLOURS
Colour is the most outstanding feature of this art. Colour flow into one another
with an aesthetic simplicity. The basic colours used in kalamkari are black, yellow,
blue, green, and ochre.
DYES
Vegetable dyes are used for painting the cloth.
MOTIFS
The old traditional block prints were largely used with Persian motifs, such as
trees, creepers, flowers, and leaf designs. A European influence could be seen with
an increase in demand from Europe.
Temples were a major source of inspiration for the craft and had a demand for
these textiles. The art flourished under the patronage of the temples with their
demands for scrolls and wall hangings with story figurative and narrative
components. The scrolls and hangings displayed episodes and wall hangings with
Mahabharata, Ramayana and other mythological stories painted in panels with a
script running along the border. The subjects chosen to paint were restricted to
Gods, such as Krishna, Brahma, Ganesha, Durga, Shiv, Parvathi.
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DP XI
PROCESS
The Kalamkari art of painting is more undergoes a laborious, slow process of
mordant dyeing and hand print. Many stages have to be undergone before the final
results are achieved. Unlike other styles of painting, kalamkari painting demands a
lot of treatment before and after then painting is completed on the cotton fabric.
Depending on the treatment of cloth or quality of the mordant, the colours change
accordingly. Every step from, soaking of the cloth to sketching the outlines to
washing and drying the cloth is done carefully and correctly. Natural dyes are used
for kalamkari painting. The artists believe in using natural dye, extracted from
bark, flower and root.
ARTICLES
Kalamkari is mainly done on bed covers, curtains and dress materials. The main
articles are canopies and wall hangings used in temples. These days, block printed
kalamkari dress materials and bed spreads are available.
Madhubani Painting of Bihar
Bihar is famous for its Madhubani paintings. Madhubani paintings are also
referred to as Mithila art, as it flourishes in the Mithila region of Bihar. These
paintings were initially drawn on the walls and were known as Bhitti Chitra. The
paintings were mainly created by village women. The techniques and styles are
passed from one generation to another.
Even though women in villages’ around madhubani have been practising this folk
art for centuries, the world at large has come to know about these women and to
consider them as artists only in the last 40 years or so major drought in 1966-68.
In order to create a new source of non-agricultural income, the all-India handicrafts
board encouraged these women artists to produce their traditional paintings on
handmade paper for commercial sale.
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DP XI
ORIGIN
The actual era of this art form cannot be traced but it is centuries old and is
associated with the normal lives of the villagers. Paintings were to decorate houses
at the time of wedding in the family.
MATERIAL
The paintings were originally done on mud walls but now they are also done on
paper and fabric.
COLOURS
These paintings are popular because of their tribal’s motifs and use of bright earthy
colours.
DYES
The paintings are done with mineral pigments and the figures or images are drawn
with thick lines.
MOTIFS
As the skill is passed from one generation to the other, traditional designs and
patterns are still used. The motifs are generally inspired from nature and
mythology. Hindu deities and other related motifs are painted, such as Krishna,
Shiva, R9ami, Ganesha, Durga, Lakshmi are a common motif depicting that she
walked through the house. Court scenes, wedding scenes, and other social
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DP XI
happenings are also painted. Floral, animal, bird and geometric motifs are used to
fill up the gaps.
The most elaborate paintings are done in the nuptial chamber, known as Khobar
Ghar. These paintings are assembly of images of the Lotus, Bamboo grove, Fishes,
Birds and Snakes in union and represent fertility and proliferation of life.
PROCESS
The walls and floor of the house served as the canvas for these paintings. The walls
and floor were coated with cow dung and mud paste so as to get a dark background
to the bright paintings done with white rice paste and vegetable dyes. The brush
used for painting is made wrapping cotton around a bamboo stick.
Nowadays, paintings are done on hand made paper which also coated with a thin
layer of cow dung for obtaining proper colours and better absorption of the
colours. Instead of vegetable dyes, poster colours are used these days because of
easy availability.
ARTICLES
Madhubani art form has moved from the house walls to paper and fabric, and thus
can be seen on wall hangings and garments such as suits, dupattas, kurtis,and saris.
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DP XI
Bagru Printing Of Rajasthan
Bagru products of Rajasthan are made by using natural factors that support hand
block printing, such as water , shine, atmospheric humidity, and the local herbs
and flowers used during the printing process. In bagru, the motifs are bold and the
colours are deep and dazzling, it has a yellowish or brown tinge backgrounds.
Origin
Bagru is derived from the word Bagora – the name of an island in a lake where the
city was originaly built. The chippas of bagru came here from the adjoining
districts of Jaipur and made bagru their home, some 300 years ago. Bagru prints
are spectacularly distinct and highly specialized.
Material
The base material used for printing is cotton.
Colours
Rich colours, such as the indigo blue, iron black and bright yellow, are used to
print on base which has been coloured with mud mixed in water.
Motifs
Patterns inspired from the local sources, such as the flowers, animals and bird
forms are used. The motifs are large with bold line. In old style, the motifs were
arranged in a linear pattern but now geometrical motifs and forms of arranging
motifs, such as circles, semi circles, squares, and cones, have been introduced.
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DP XI
Process
In Bagru, the white fabric is dyed with mud mixed in water along with a local
plant. This mud gives the fabric its distinguishable yellow base colour. The fabric
is than dyed with indigo blue and sometimes other natural colours. The mud is
removed by boiling and washing the fabric in water.
Articles
In the past, hand printed textiles made by the Chippas of Bagru were produced
lugdis, angochas, and rezais for the local population. The traditional product range
of Bagru has moved over the years from production for local usage to creation of
kaftans, wraparound and middies.
AJRAKH PRINTING
It is a combination of sanganeri and bagru printing. The prints have floral motifs
placed in a complicated geometrical arrangement. In this style of printing, first
printing is done with mordants to obtain a multicoloured print then the printed
fabric is covered with mud and the fabric is dyed to attain colour on the print and
the dyed background.
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DP XI
REVIEW QUESTIONS
1. What is textile printing?
2. Explain in brief the resist style of printing.
3. What is digital printing?
4. Write a short note on fabric painting?
5. Explain in brief the process of making marble printing.
6. What is Mosaic printing?
7. Explain the term Kalamkari.
8. Describe the origin of Kalamkari in textile printing?
9. Name the basic colours used in Kalamkari textile printing?
10. Describe the motives used in Kalamkari textile printing?
11. Write a short note on Madhubani printing of Bihar?
12. Describe briefly the Bagru printing of Rajasthan?
13. What is meant by Ajrakh printing?
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DP XI
CONTINUOUS COMPREHENSIVE EVALUATION
DYEING AND PRINTING (PRACTICALS)
XI CGDM
Note: use the following quality rating scale & submission rating scale for your
evaluations.
RATING SCALE: Poor------ 1mk, Average 2mks, Good----3mks, V. Good ---
4mks, Excellent--- 5mks.
SUBMISSION RATING SCALE: On time --- 5mks, 2days late---4mks, 4days
late---3mks, week late --- 2mks, 2weeks late--- 1mk
UNIT 1
Sub Unit 1
Lines
* Draw the basic types of lines.
Drawing of the lines ---- 5mks.
Neatness & Presentation on the journal --- 5 mks.
Submission ------- 5mks. Roll No. Drawing
(5)
Presentation
(5)
Submission
(5)
Total A
(15)
*Draw design with the different grades of pencil.
Creativity of Drawing….. 5mks.
Neatness & presentation on the journal------ 5mks.
Submission --------5mks. Roll No. Drawing
(5)
Presentation
(5)
Submission
(5)
Total B
(15)
* Draw designs to show the effect of lines & mention the effects
Draw of the lines --------------5mks.
Neatness & presentation on the journal------ 5mks.
Submission --------5mks Roll No. Drawing
(5)
Presentation
(5)
Submission
(5)
Total C
(15)
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DP XI
*Draw designs that can be created by optical illusion of lines.
Drawing of the lines ---------------5mks.
Neatness & presentation on the journal------ 5mks.
Submission ------------- 5mks. Roll No. Drawing
(5)
Presentation
(5)
Submission
(5)
Total D
(15)
* Draw designs using straight lines.
Drawing of the design ---------------5mks.
Neatness & presentation on the journal------ 5mks.
Submission ------------- 5mks. Roll No. Drawing
(5)
Presentation
(5)
Submission
(5)
Total E
(15)
* Draw designs using curved lines.
Drawing of the design ---------------5mks.
Neatness & presentation on the journal------ 5mks.
Submission ------------- 5mks. Roll No. Drawing
(5)
Presentation
(5)
Submission
(5)
Total F
(15)
*Draw designs using combination of lines.
Drawing of the designs---------------5mks.
Neatness & presentation on the journal------ 5mks.
Submission ------------- 5mks. Roll No. Drawing
(5)
Presentation
(5)
Submission
(5)
Total G
(15)
Form
*Draw the basic shapes & forms (symmetrical / asymmetrical)
Drawing of the shapes ---------------5mks.
Neatness & presentation on the journal------ 5mks.
Submission ------------- 5mks Roll No. Drawing
(5)
Presentation
(5)
Submission
(5)
Total H
(15)
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DP XI
*By combining 2-3 shapes, design a motif.
Drawing of the shapes ---------------5mks.
Neatness & presentation on the journal------ 5mks.
Submission ------------- 5mks. Roll No. Drawing
(5)
Presentation
(5)
Submission
(5)
Total I
(15)
*Draw / show design using regular shapes.
Drawing of the shapes ---------------5mks.
Neatness & presentation on the journal------ 5mks.
Submission ------------- 5mks. Roll No. Drawing
(5)
Presentation
(5)
Submission
(5)
Total J
(15)
*Draw / show design using irregular shapes.
Drawing of the shapes ---------------5mks.
Neatness & presentation on the journal------ 5mks.
Submission ------------- 5mks. Roll No. Drawing
(5)
Presentation
(5)
Submission
(5)
Total K
(15)
*Draw designs to show the effect of forms & mention the effects.
Drawing of the designs ---------------5mks.
Neatness & presentation on the journal------ 5mks.
Submission ------------- 5mks. Roll No. Drawing
(5)
Presentation
(5)
Submission
(5)
Total L
(15)
*Draw designs using same form in different sizes
Drawing of the designs ---------------5mks.
Neatness & presentation on the journal------ 5mks.
Submission ------------- 5mks. Roll No. Drawing
(5)
Presentation
(5)
Submission
(5)
Total M
(15)
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DP XI
*Draw designs using same form in different colours.
Drawing of the designs ---------------5mks.
Neatness & presentation on the journal------ 5mks.
Submission ------------- 5mks. Roll No. Drawing
(5)
Presentation
(5)
Submission
(5)
Total N
(15)
CONTINUOUS EVALUATION OF UNIT 1 …..I
Roll
No.
A
(15)
B
(15)
C
(15)
D
(15)
E
(15)
F
(15)
G
(15)
H
(15)
I
(15)
J
(15)
K
(15)
L
(15)
M
(15)
N
(15)
TOTAL
(210)
Average
(10)
To find the average add all the totals of the practical sample and divide it by 21.
Ex. Average =Total * 10/210.
Sub Unit - II
Space *Draw design blocks to understand positive & negative space.
Drawing of the designs ---------------5mks.
Neatness & presentation on the journal------ 5mks.
Submission ------------- 5mks. Roll No. Drawing
(5)
Presentation
(5)
Submission
(5)
Total A
(15)
*Draw designs to understand the illusion of depth created by spacing of design motif.
Drawing of the designs ---------------5mks.
Neatness & presentation on the journal------ 5mks.
Submission ------------- 5mks. Roll No. Drawing
(5)
Presentation
(5)
Submission
(5)
Total B
(15)
*Draw designs to understand spacing with colours.
Drawing of the designs ---------------5mks.
Neatness & presentation on the journal------ 5mks.
Submission ------------- 5mks. Roll No. Drawing
(5)
Presentation
(5)
Submission
(5)
Total C
(15)
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DP XI
*Draw design to understand formal division of space.
Drawing of the designs ---------------5mks.
Neatness & presentation on the journal------ 5mks.
Submission ------------- 5mks. Roll No. Drawing
(5)
Presentation
(5)
Submission
(5)
Total D
(15)
*Draw design to understand informal division of space.
Drawing of the designs ---------------5mks.
Neatness & presentation on the journal------ 5mks.
Submission ------------- 5mks. Roll No. Drawing
(5)
Presentation
(5)
Submission
(5)
Total E
(15)
Proportion
*Draw design to understand proportion.
Drawing of the designs ---------------5mks.
Neatness & presentation on the journal------ 5mks.
Submission ------------- 5mks. Roll No. Drawing
(5)
Presentation
(5)
Submission
(5)
Total F
(15)
Rhythm
*Draw design to understand effect created by rhythm.
Drawing of the designs ---------------5mks.
Neatness & presentation on the journal------ 5mks.
Submission ------------- 5mks. Roll No. Drawing
(5)
Presentation
(5)
Submission
(5)
Total G
(15)
Balance
*Draw design to understand symmetrical & asymmetrical balance.
Drawing of the designs ---------------5mks.
Neatness & presentation on the journal------ 5mks.
Submission ------------- 5mks. Roll No. Drawing
(5)
Presentation
(5)
Submission
(5)
Total H
(15)
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Emphasis
*Draw design to understand emphasis in design.
Drawing of the designs ---------------5mks.
Neatness & presentation on the journal------ 5mks.
Submission ------------- 5mks. Roll No. Drawing
(5)
Presentation
(5)
Submission
(5)
Total I
(15)
Harmony & Contrast
*Draw design to understand the difference of harmony & contrast.
Drawing of the designs ---------------5mks.
Neatness & presentation on the journal------ 5mks.
Submission ------------- 5mks. Roll No. Drawing
(5)
Presentation
(5)
Submission
(5)
Total J
(15)
CONTINUOUS EVALUATION OF UNIT 1 …..II Roll
No.
A
(15)
B
(15)
C
(15)
D
(15)
E
(15)
F
(15)
G
(15)
H
(15)
I
(15)
J
(15)
TOTAL
(150)
Average
(10)
To find the average add all the totals of the practical sample and divide it by 15.
Ex. Average =Total* 10/150.
Project/Assignment ------- 5mks.
*Prepare a chart/portfolio on any of the topics done in this unit.
Report should be written in the journal.
Roll
No.
Planning
(2)
Process
(2)
Product
(2)
Attitude &
Precautions
(2)
Submission
(2)
Total
(10)
Average
(5)
To find the average for the project divide it by 2.
Ex. Average = Total * 5/10.
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DP XI
Statement of marks of Continuous Evaluation in Practical of DYEING &
PRINTING
UNIT 1
Sr. No. Roll No. Name of the Student I
(10)
II
(10)
Project
(5)
Total
(25)
Subject in Charge
Date:
UNIT 2 * Draw the different styles of motif.
Drawing of the different styles ---- 5mks.
Neatness & color combination --- 5 mks.
Presentation on the journal---5mks.
Creativity---5mks
Submission ------- 5mks. Roll No. Drawing of the
different style
(5)
Neatness &
color
combination
(5)
Presentation on
the journal
(5)
Creativity
(5)
Submission
(5)
Total A
25
* Draw the traditional /Indian designs.
Drawing of the different styles ---- 10mks.
Neatness & color combination --- 5 mks.
Presentation on the journal---5mks.
Submission ------- 5mks. Roll No. Drawing of the
different style
(10)
Neatness & color
combination
(5)
Presentation on
the journal
(5)
Submission
(5)
Total B
25
*Draw the different types of fabric designs.
Floral design, Geometrical designs:-Stripes, Checks, Plaids, Dots.
Abstract design, Nursery design, Indian design, Animal kingdom design,
Figure design, Fantasies design, contrapuntal design, Border designs.
Drawing of the different styles(floral design, geometrical) ---- 5mks.
Neatness & color combination --- 5 mks.
Presentation on the journal---5mks.
Creativity---5mks
Submission ------- 5mks.
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DP XI
Roll No. Drawing of the
different types of
fabric design
(10)
Neatness &
color
combination
(5)
Presentation on
the journal
(5)
Submission
(5)
Total C
25
(Note: prepare a similar Checklist & Performa for the different types of deigns)
* Collect fabrics of different types of design. (Floral design, Geometrical designs:-
Stripes, Checks, Plaids, Dots. Abstract design, Nursery design, Indian design,
Animal kingdom design, Figure design, Fantasies design, contrapuntal design,
Border designs.
Collecting different types of fabric designs---------------10mks.
Unique fabric designs-----------5mks
Presentation on the journal------ 5mks.
Submission ------------- 5mks. Roll
No.
Collecting different
types of fabric designs
(10)
Unique fabric
designs
(5)
Presentation on
the journal
(5)
Submission
(5)
Total D
(25)
* Draw a design from a motif (motif development)
Creation of designs from a motif -----5mks.
Neatness & color combination ----- 5 mks
Presentation on the journal------ 5mks.
Creativity ----5mks
Submission ----- 5mks. Roll
No.
Creation of
designs from a
motif
(5)
Neatness &
color
combination
(5)
Presentation on
the journal (5)
Creativity
(5)
Submission
(5)
Total E
(25)
* Illustration and placement of motifs/design on apparel (eg. dress, skirts,
trouser, salwar kameez, orhni, blouses) and various parts of the apparel (eg.
Pocket, sleeve, collar, neckline, belt, hemline, centrefront.)
Drawing of the different styles -----5mks.
Neatness & color combination------ 5mks.
Presentation on the journal------ 5mks
Creativity-----5mks
Submission ------ 5mks. Roll
No.
Drawing of the
different styles
(5)
Neatness & color
combination
(5)
Presentation on
the journal
(5)
Creativity
(5)
Submission
(5)
Total F
(25)
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DP XI
CONTINUOUS EVALUATION OF UNIT 2….Samples
Roll
No.
A
(25)
B
(25)
C
(25)
D
(25)
E
(25)
F
(25)
TOTAL
(150)
Average
(20)
To find the average of unit 2 add all the totals of the practical sample and divide it
by 15.
Project/Assignment ------- 5mks.
*Prepare a chart/portfolio on any of the topics done in this unit.
Report should be written in the journal. Roll
No.
Planning
(2) Process
(2)
Product
(2)
Attitude &
Precautions
(2)
Submission
(2)
Total
(10) Average
(5)
Statement of marks of Continuous Evaluation in Practical of
DYEING & PRINTING UNIT 2
Sr. No. Roll No. Name of the Student Samples
(20)
Project
(5)
Total
(25)
Subject in Charge
Date:
UNIT 3
*Grading of brushes & different types of brush strokes
Different types of brush strokes/grading of brushes………. 5 marks
Neatness & color combination………. 5 marks
Presentation on the journal………. 5 marks
Submission………. 5 marks Roll
No.
Different types
of brush strokes
(5)
Neatness & color
combination
(5)
Presentation on
the journal
(5)
Submission
(5)
Total A
(20)
*Prepare a design with primary colors
Neatness & colour combination………. 5 marks
Creativity………. 5 marks
Presentation on the journal………. 5 marks
Submission………. 5 marks
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DP XI
Roll
No.
Neatness & colour
combination
(5)
Creativity
(5)
Presentation on the
journal
(5)
Submission
(5)
Total B
(20)
*Prepare a design with secondary/binary colors
Neatness & colour combination………. 5 marks
Creativity………. 5 marks
Presentation on the journal………. 5 marks
Submission………. 5 marks Roll No. Neatness & colour
combination
(5)
Creativity
(5)
Presentation on the
journal
(5)
Submission
(5)
Total C
(20)
*Prepare a design with Intermediary colors
Neatness & color combination………. 5 marks
Creativity………. 5 marks
Presentation on the journal………. 5 marks
Submission………. 5 marks Roll No. Neatness & color
combination
(5)
Creativity
(5)
Presentation on the
journal
(5)
Submission
(5)
Total D
(20)
*Prepare the color wheel.
Drawing of the color wheel………. 5 marks
Neatness & color combination………. 5 marks
Creativity………. 5 marks
Presentation on the journal………. 5 marks
Submission………. 5 marks Roll
No.
Drawing of the color
wheel
(5)
Neatness &
color
combination
(5)
Creativity
(5)
Presentation
on the journal
(5)
Submission
(5)
Total E
(25)
*Prepare the value chart of any 1 hue – tints & shades
Drawing of the value chart………. 5 marks
Neatness & color combination………. 5 marks
Presentation on the journal………. 5 marks
Preparation of the value………. 5 marks
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DP XI
Submission………. 5 marks Roll
No.
Drawing of the
value chart
(5)
Neatness & color
combination
(5)
Presentation
on the journal
(5)
Preparation
of the value
(5)
Submission
(5)
Total F
(25)
*Prepare a design with Neutral colors: Black, Grey, White
Neatness & color combination………. 5 marks
Creativity………. 5 marks
Presentation on the journal………. 5 marks
Submission………. 5 marks Roll
No.
Neatness & color combination
(5)
Creativity
(5)
Presentation on the journal
(5)
Submission
(5)
Total G
(20)
*Prepare a design with cool colors
Correct choice of cool colors………. 5 marks
Neatness & color combination………. 5 marks
Creativity………. 5 marks
Presentation on the journal………. 5 marks
Submission………. 5 marks Roll No. Correct choice
of cool colors
(5)
Neatness & color
combination
(5)
Creativity
(5)
Presentation on
the journal
(5)
Submission
(5)
Total H
(25)
*Prepare a design with warm colors
Correct choice of warm colors………. 5 marks
Neatness & color combination………. 5 marks
Creativity………. 5 marks
Presentation on the journal………. 5 marks
Submission………. 5 marks Roll No. Correct choice of
warm colors
(5)
Neatness & color
combination
(5)
Creativity
(5)
Presentation on
the journal
(5)
Submission
(5)
Total I
(25)
CONTINUOUS EVALUATION OF UNIT 3………. COLOUR
Roll
No.
A
(20)
B
(20)
C
(20)
D
(20)
E
(25)
F
(25)
G
(20)
H
(25)
I
(25)
Total
(200)
Average
(10)
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DP XI
To find the average for color add the totals of the practical sample and then divide
it by 20
Related color schemes
*Prepare a design with Monochromatic color scheme,
Combination of the colors………. 5 marks
Neatness………. 5 marks
Creativity………. 5 marks
Presentation on the journal………. 5 marks
Submission………. 5 marks Roll
No.
Combination of the colors
(5)
Neatness
(5)
Creativity
(5)
Presentation on the
journal(5)
Submission
(5)
Total A
(25)
*Prepare a design with analogous color scheme,
Combination of the colors………. 5 marks
Neatness & color combination………. 5 marks
Creativity of design………. 5 marks
Presentation on the journal………. 5 marks
Submission………. 5 marks Roll
No.
Combination of
the colors
(5)
Neatness & color
combination
(5)
Creativity of
design
(5)
Presentation
on the journal
(5)
Submission
(5)
Total B
(25)
*Prepare a design with accented color scheme,
Combination of the colors………. 5 marks
Neatness & color combination………. 5 marks
Creativity of design………. 5 marks
Presentation on the journal………. 5 marks
Submission………. 5 marks Roll
No.
Combination of
the colors
(5)
Neatness & color
combination
(5)
Creativity of
design
(5)
Presentation
on the journal
(5)
Submission
(5)
Total C
(25)
Contrasting color scheme
*Prepare a design with simple complimentary color scheme,
Combination of the colors………. 5 marks
Neatness & color combination………. 5 marks
Creativity of design………. 5 marks
109
DP XI
Presentation on the journal………. 5 marks
Submission………. 5 marks Roll
No.
Combination of
the colors
(5)
Neatness & color
combination
(5)
Creativity of
design
(5)
Presentation
on the journal
(5)
Submission
(5)
Total D
(25)
*Prepare a design with double complimentary color scheme,
Combination of the colors………. 5 marks
Neatness & color combination………. 5 marks
Creativity of design………. 5 marks
Presentation on the journal………. 5 marks
Submission………. 5 marks Roll No. Combination
of the colors
(5)
Neatness & color
combination
(5)
Creativity of
design
(5)
Presentation
on the journal
(5)
Submission
(5)
Total E
(25)
*Prepare a design with split complimentary color scheme,
Combination of the colors………. 5 marks
Neatness & color combination………. 5 marks
Creativity of design………. 5 marks
Presentation on the journal………. 5 marks
Submission………. 5 marks Roll
No.
Combination of
the colors
(5)
Neatness & color
combination
(5)
Creativity of
design
(5)
Presentation on
the journal
(5)
Submission
(5)
Total F
(25)
*Prepare a design with triad color scheme,
Combination of the colors………. 5 marks
Neatness & color combination………. 5 marks
Creativity of design………. 5 marks
Presentation on the journal………. 5 marks
Submission………. 5 marks Roll No. Combination
of the colors
(5)
Neatness & color
combination
(5)
Creativity of
design
(5)
Presentation
on the journal
(5)
Submission
(5)
Total G
(25)
*Prepare a design with tetrad color scheme,
Combination of the colors………. 5 marks
110
DP XI
Neatness & color combination………. 5 marks
Creativity of design………. 5 marks
Presentation on the journal………. 5 marks
Submission………. 5 marks Roll
No.
Combination of
the colors
(5)
Neatness & color
combination
(5)
Creativity of
design
(5)
Presentation
on the journal
(5)
Submission
(5)
Total H
(25)
CONTINUOUS EVALUATION OF UNIT 3………. COLOUR SCHEMES
Roll
No.
A
(25)
B
(25)
C
(25)
D
(25)
E
(25)
F
(25)
G
(25)
H
(25)
Total
(200)
Average
(10)
To find the average for color add the totals of the practical sample and then divide
it by 20
Project/Assignment………. 5 marks
Roll
No.
Planning
(2)
Process
(2)
Product
(2)
Attitude &
Precautions
(2)
Submission
(2)
Total
(10)
Average
(5)
To find the average for the project divide it by 2.
Statement of marks of Continuous Evaluation in Practical of
DYEING & PRINTING
UNIT 3
Sr.
No.
Roll
No.
Name of the student Color
(10)
Color
scheme
(10)
Project
(5)
Total
(25)
Subject in charge:
Date:
UNIT 4 Sub unit I
(sample size 5”x6”)
*Prepare samples with Natural dyes on cloth (natural and synthetic fabrics): onion
skins, henna, pomegranate rind, turmeric, beetroot, tea powder, flowers etc. (any 5)
111
DP XI
Technique of dyeing ------5mks
Accuracy in preparing the dye bath --------5mks
Evenness and brightness of dye --------5mks
Presentation on the journal --------5mks
Submission --------5mks Roll
No
Technique of
design
(5)
Accuracy in preparing
the dye bath
(5)
Evenness/
brightness of dye
(5)
Presentation on
the journal
(5)
Submission
(5)
Total
(a)
(25)
(NOTE: Prepare similar checklist and Performa for the different types of dyes)
*Prepare a design on paper using colours from natural sources
Choice of design --------5mks
Effect of the dye -------- 5mks
Neatness and colour combination --------5mks
Presentation on the journal --------5mks
Submission --------5mks
Roll
no.
Choice of
the design
(5)
Neatness and colour
combination
(5)
Effect of the
dye
(5)
Presentation
on the journal
(5)
Submission
(5)
Total
(b)
(25)
Transfer printing (sample size 5”x6”)
*Prepare a sample of Direct transfer (hot iron transfer)
Choice of transfer...... 5mks.
Correct placement of transfer......5mks.
Neatness........5mks.
Presentation…….5mks
Submission.....5mks. Roll no. Choice of
transfer
(5)
Presentation
(5)
Neatness
(5)
Correct placement of
design
(5)
Submission
(5)
Total
(c)
(25)
Marble printing (sample size 5”x 6”)
*Prepare a sample of one colour.
Effect of the dye......5mks.
Choice of fabric......5mks.
Neatness........5mks.
112
DP XI
Presentation…….5mks.
Submission.......5mks. Roll
no.
Choice of
design
(5)
Neatness & Colour
combination
(5)
Evenness of
applying colour
(5)
Presentation
(5)
Submission
(5)
Total
(d)
(25)
*Prepare a sample of two or more colour.
Effect of the dye........5mks.
Choice of the fabric......5mks.
Neatness and Colour Combination.....5 mks.
Submission.........5mks.
Presentation……..5mks Roll
no.
Choice of
design
(5)
Neatness & Colour
combination
(5)
Presentation
(5)
Evenness of
applying colour
(5)
Submission
(5)
Total
(e)
(25)
*Collect samples/ pictures of different types of prints and draw the prints.
(Kalamkari, Bagru, Madhubani, Ajrakh)
Collecting samples/pictures of different types of prints ......10mks.
Drawing of prints........5mks.
Neatness…………5mks.
Submission...........5mks. Roll
no.
Collecting of different
types of print
(10)
Drawing of
prints
(5)
Neatness and colour
combinations
(5)
Submission
(5)
Total
(f)
(25)
NOTE: Prepare a similar checklist and Performa for the above prints.
CONTINUOUS EVALUATION OF UNIT 4......1
Roll
no.
a
(25)
b
(25)
c
(25)
d
(25)
e
(25)
f
(25)
TOTAL
(150)
Average
(10)
To find the average add all the totals of the practical sample and divide it by 16.
Sub unit II
HAND/ FABRIC PAINTING [Sample size 5”x6”( individual sample)]
*Prepare a sample of painting by filling the design.
Choice of design......5mks.
Evenness of applying colour......5mks
113
DP XI
Neatness and colour combination........5mks.
Submission..........5mks. Roll no. Choice of
design
(5)
Neatness & colour
combination
(5)
Evenness of
applying colour
(5)
Submission
(5)
Total A
(20)
* Prepare a sample of painting on the outline of the design.
Choice of design.......5mks.
Evenness of applying colour......5mks.
Neatness and colour combination.........5mks.
Submission........5mks. Roll
no.
Choice of
design
(5)
Neatness & colour
combination
(5)
Evenness of
applying colour
(5)
Submission
(5)
Total B
(20)
*Prepare a sample of painting by centre shading the design.
Choice of design........5mks.
Evenness of applying colour.......5mks.
Neatness and colour combination........5mks.
Submission........5mks. Roll
no.
Choice of design
(5)
Neatness & colour
combination
(5)
Evenness of
applying colour
(5)
Submission
(5)
Total C
(20)
*Prepare a sample of painting by side shading the design.
Choice of design........5mks.
Evenness of applying colour.......5mks.
Neatness and colour combination........5mks.
Submission........5mks. Roll no. Choice of
design
(5)
Neatness & colour
combination
(5)
Evenness of
applying colour
(5)
Submission
(5)
Total D
(20)
* Prepare a sample of painting by using the design Dry brush method.
Choice of design........5mks.
Evenness of applying colour.......5mks.
Neatness and colour combination........5mks.
Submission...........5mks.
114
DP XI
Roll
no.
Choice of
design
(5)
Neatness & colour
combination
(5)
Evenness of
applying colour
(5)
Submission
(5)
Total E
(20)
* Prepare a sample of painting by using the design Sponge method.
Choice of design........5mks.
Evenness of applying colour.......5mks.
Neatness and colour combination........5mks.
Submission...........5mks. Roll
no.
Choice of
design
(5)
Neatness & colour
combination
(5)
Evenness of
applying colour
(5)
Submission
(5)
Total F
(20)
* Prepare a sample of painting by using the flat brush method.
Choice of design........5mks.
Evenness of applying colour.......5mks.
Neatness and colour combination........5mks.
Submission...........5mks Roll
no.
Choice of
design
(5)
Neatness & colour
combination
(5)
Evenness of
applying colour
(5)
Submission
(5)
Total G
(20)
* Prepare a sample of painting by using the finger method.
Choice of design........5mks.
Evenness of applying colour.......5mks.
Neatness and colour combination........5mks.
Submission...........5mks Roll
no.
Choice of
design
(5)
Neatness & colour
combination
(5)
Evenness of
applying colour
(5)
Submission
(5)
Total H
(20)
* Prepare a sample of painting by using the spray painting method.
Choice of design........5mks.
Evenness of applying colour.......5mks.
Neatness and colour combination........5mks.
Submission...........5mks Roll
no.
Choice of
design
(5)
Neatness & colour
combination
(5)
Evenness of
applying colour
(5)
Submission
(5)
Total I
(20)
115
DP XI
* Prepare a sample of painting by using the cotton method.
Choice of design........5mks.
Evenness of applying colour.......5mks.
Neatness and colour combination........5mks.
Submission...........5mks Roll
no.
Choice of
design
(5)
Neatness & colour
combination
(5)
Evenness of
applying colour
(5)
Submission
(5)
Total J
(20)
* Prepare a sample of painting by using the cone.
Choice of design........5mks.
Evenness of applying colour.......5mks.
Neatness and colour combination........5mks.
Submission...........5mks Roll
no.
Choice of
design
(5)
Neatness & colour
combination
(5)
Evenness of
applying colour
(5)
Submission
(5)
Total K
(20)
* Prepare a sample of painting by using one brush with two colours.
Choice of design........5mks.
Evenness of applying colour.......5mks.
Neatness and colour combination........5mks.
Submission...........5mks Roll
no.
Choice of
design
(5)
Neatness & colour
combination
(5)
Evenness of
applying colour
(5)
Submission
(5)
Total L
(20)
* Prepare a sample of painting by using puffy medium/ puff on colours.
Choice of design........5mks.
Evenness of applying colour.......5mks.
Neatness and colour combination........5mks.
Submission...........5mks Roll
no.
Choice of
design
(5)
Neatness & colour
combination
(5)
Evenness of
applying colour
(5)
Submission
(5)
Total M
(20)
116
DP XI
* Prepare a sample of painting by using stippling method.
Choice of design........5mks.
Evenness of applying colour.......5mks.
Neatness and colour combination........5mks.
Submission...........5mks Roll
no.
Choice of
design
(5)
Neatness & colour
combination
(5)
Evenness of
applying colour
(5)
Submission
(5)
Total N
(20)
* Prepare a sample of painting by using wet stippling method.
Choice of design........5mks.
Evenness of applying colour.......5mks.
Neatness and colour combination........5mks.
Submission...........5mks Roll
no.
Choice of
design
(5)
Neatness & colour
combination
(5)
Evenness of
applying colour
(5)
Submission
(5)
Total O
(20)
* Prepare a sample of painting by doing mosaic painting.
Choice of design........5mks.
Evenness of applying colour.......5mks.
Neatness and colour combination........5mks.
Submission...........5mks Roll
no.
Choice of
design
(5)
Neatness & colour
combination
(5)
Evenness of
applying colour
(5)
Submission
(5)
Total P
(20)
* Prepare a sample of thread painting by using one thread.
Choice of design........5mks.
Evenness of applying colour.......5mks.
Neatness and colour combination........5mks.
Submission...........5mks Roll no. Choice of
design
(5)
Neatness & colour
combination
(5)
Evenness of
applying colour
(5)
Submission
(5)
Total Q
(20)
* Prepare a sample of thread painting by using two threads with two colours.
Choice of design........5mks.
117
DP XI
Evenness of applying colour.......5mks.
Neatness and colour combination........5mks.
Submission...........5mks Roll
no.
Choice of
design
(5)
Neatness & colour
combination
(5)
Evenness of
applying colour
(5)
Submission
(5)
Total R
(20)
CONTINUOUS EVALUATION OF UNIT 4......II
Roll
no.
A
(20)
B
(20)
C
(20)
D
(20)
E
(20)
F….
(20)
R
(20)
TOTAL
(360)
Average
(10)
To find the average add all the totals of the practical sample and divide it by 36.
PROJECT/ASSINGNMENT---------5mks.
*Painting-------1item (e.g. baby layette set, blouse, 6 handkerchiefs, pillow cases,
etc.)
Report should be written in the journal.
Roll
no.
Planning
(4)
Process
(4)
Product
(4)
Attitude &
Precautions
(4)
Submission
(4)
Total
(20)
Average
(5)
Statement of marks of continuous Evaluation in practical of DYEING & PRINTING.
UNIT 4
Sr.
No.
Roll
no.
Name of the student I
(10)
II
(10)
Project
(5)
Total
(25)
Subject in charge
Date:
Statement of marks of continuous evaluation in practical of DYEING & PRINTING
STD XI
Sr.
No.
Roll
no.
Name of the
student
Unit 1
(25)
Unit 2
(25)
Unit 3
(25)
Unit 4
(25)
Total
(100)
Subject In-charge School Seal Principal
118
DP XI
DESIGN OF THE QUESTION PAPER
Class: XI CGDM
TIME: 01 HOUR SUB: DYEING AND PRINTING MAX. MARKS: 20
The weightage of the distribution of marks over different dimensions of the question paper shall be as follows:
1. Weightage of learning outcomes:
Sr.No Learning outcomes Marks Percentage of marks 1 Knowledge 6 30 %
2 Understanding 6 30%
3 Application 4 20%
4 Skill 4 20%
5 TOTAL 20 100%
2. Weightage to content / subject units Sr. No Units Marks
1 ELEMENTS OF DESIGN 14
2 TEXTILE DESIGNS THEIR ARRANGEMENTS AND PATTERN LAYOUTS
06
3 TOTAL 20
3. Weightage to form of questions
Sr. No Form of questions Marks for each
question
Number of questions
Total marks
1 Long answer type (LA) 5 1 5
2 Short answer type (SA - 1) 2 3 6
3 Short answer type(SA – 2) 3 2 6
4 Very short Answer type(VSA) 1 3 3
5 Total 20
119
DP XI
The expected time for different types of question would be as follows:
Sr. No Form of Questions Approx.time for each Question in minutes (t)
Number of questions (n)
Approx.Time for each form of questions in mins (n x t)
1. Long Answer Type (LA) 20 01 20
2 Short Answer Type(SA 1) 06 03 18
3 Short Answer type (SA 2) 08 02 16
4 Very Short Answer type(VSA)
02 03 06
5 TOTAL 60
As the total time is calculated on the basis of the number of questions required to
be answered and the length of their anticipated answers it would therefore be
advisable for candidates to budget their time properly by cutting out the
superfluous words and be within the expected time limits.
4. Scheme of options:
(There will be no overall choice. However, there is internal choice in D sub
questions of 05 marks category and ___ sub question of ___marks category ___
sub question of ___ marks category.)
5. Weightage to difficulty level of questions: Sr.No Estimated difficulty level of questions Percentage
1 Easy 20%
2 Average 60%
3 Difficult 20%
A question may vary in difficulty level from individual to individual. As such,
assessment in respect of each question will be made by the paper setter on the
basis of general anticipation from the group as a whole taking the examination.
This provision is only to make the paper balanced in its weightage rather than to
determine the pattern of marking at any stage.
6. Number of main questions: There will be 02 main questions of 10 marks each.
120
DP XI
MODEL QUESTION PAPER
HOME SCIENCE BASED VOCATIONAL COURSE
MID TERM TEST
Dyeing & Printing XI CGDM 20 marks 01 hour
INSTRUCTIONS:
1. All questions are compulsory. 2. Answer each question on a fresh page. 3. Write the number of each question and sub-questions clearly 4. Figures to the right indicate full marks. 5. Draw and use colours wherever necessary. 6. The question paper consist of 2 questions.
1A. Very Short Answers (VSA) {Select and rewrite the correct alternative from
those given below. OR Answer in 1 or 2 words} (01 mark)
B. Short Answer I (SA I) {Answer the following in 1-2 sentences.} (01 mark)
C. Short Answer II (SA II) {Answer the following in 5-6sentences.} (03 marks)
D. Answer ANY ONE of the following (05 marks)
Eg.1. Design the following……
2A. Very Short Answers (VSA) {Select and rewrite the correct alternative from
those given below. OR Answer in 1 or 2 words} (01 mark)
B. Short Answer I (SA I) {Answer the following in 2-3 sentences.} (02 marks)
C. Short Answer I (SA I) {Give two reasons for the following questions.}
(02 marks)
D. Short Answer I (SA I) {Answer the following in 2-3 sentences} (02 marks)
E. Short Answer II (SA II) {Answer the following in 5-6 sentences} (03 marks)
__________________________________________________________________
121
DP XI
DESIGN OF THE QUESTION PAPER
Class: XI CGDM
TIME: 2 HRS SUB: DYEING AND PRINTING MAX. MARKS: 40
The weightage of the distribution of marks over different dimensions of the question paper shall be as follows:
1. Weightage of learning outcomes: Sr.No Learning outcomes Marks Percentage of marks
1 Knowledge 06 15 %
2 Understanding 10 25%
3 Application 8 20%
4 Skill 16 40%
5 TOTAL 40 100%
2. Weightage to content / subject units Sr. No Units Marks
1 ELEMENTS OF DESIGN 12
2 TEXTILE DESIGNS THEIR ARRANGEMENTS AND PATTERN LAYOUTS
14
3 COLOUR AND COLOUR SCHEMES 14
TOTAL 40
3. Weightage to form of questions
Sr. No Form of questions Marks for each
question
Number of questions
Total marks
1 Long answer type (LA) 5 2 10
2 Short answer type (SA - 1) 2 6 12
3 Short answer type(SA – 2) 3 4 12
4 Very short Answer type(VSA) 1 6 06
5 Total 40
122
DP XI
The expected time for different types of questions would be as follows:
Sr. No Form of Questions Approx.time for each Question in minutes (t)
Number of questions (n)
Approx.Time for each form of questions in mins (n x t)
1. Long Answer Type (LA) 20 02 40
2 Short Answer Type(SA -1) 06 06 36
3 Short Answer type (SA – 2) 08 04 32
4 Very Short Answer type(VSA)
02 06 12
5 TOTAL 120
As the total time is calculated on the basis of the number of questions required to
be answered and the length of their anticipated answers it would therefore be
advisable for candidates to budget their time properly by cutting out the
superfluous words and be within the expected time limits.
4. Scheme of options: ( There will be no overall choice. However, there is internal choice in D sub
questions of 05 marks category and ___ sub question of ___marks category ___
sub question of ___ marks category.)
5. Weightage to difficulty level of questions:
Sr.No Estimated difficulty level of questions Percentage 1 Easy 20%
2 Average 60%
3 Difficult 20%
A question may vary in difficulty level from individual to individual. As such,
assessment in respect of each question will be made by the paper setter on the
basis of general anticipation from the group as a whole taking the examination.
This provision is only to make the paper balanced in its weightage rather than to
determine the pattern of marking at any stage.
6. Number of main questions: There will be 04 main questions of 10 marks each.
123
DP XI
MODEL QUESTION PAPER
HOME SCIENCE BASED VOCATIONAL COURSE
FIRST TERM EXAM
Dyeing & Printing XI CGDM 40 marks 02 hours
INSTRUCTIONS:
i. All questions are compulsory. ii. Answer each question on a fresh page. iii. Write the number of each question and sub-questions clearly iv. Figures to the right indicate full marks. v. Draw and use colours wherever necessary. vi. The question paper consist of 4 questions.
1A. Very Short Answers (VSA) {Select and rewrite the correct alternative from those given below. OR Answer in 1 or 2 words} (01 mark) B. Short Answer I (SA I) {Answer the following in 1-2 sentences.} (01 mark) C. Short Answer II (SA II) {Answer the following in 5-6 sentences.} (03 marks) D. Answer ANY ONE of the following (05 marks) Eg.1. Design the following…… 2A. Very Short Answers (VSA){Select and rewrite the correct alternative from those given below. OR Answer in 1 or 2 words} (01 mark) B. Short Answer I (SA I) {Answer the following in 2-3 sentences.} (02 marks) C. Short Answer I (SA I) {Give two reasons for the following questions.} (02 marks) D. Short Answer I (SA I) {Answer the following with diagrams only} (02 marks) E. Short Answer II (SA II) {Answer the following in 5-6 sentences} (03 marks) 3A. Very Short Answers (VSA) {Select and rewrite the correct alternative from those given below. OR Answer in 1 or 2 words} (01 mark) B. Short Answer I (SA I) {Answer the following in 1-2 sentences.} (01 mark) C. Short Answer II (SA II) {Answer the following in 5-6 sentences.} (03 marks) D. Answer ANY ONE of the following (05 marks) Eg. i. Design the following…… ii. Show the placement of motifs in a limited area…. 4A. Very Short Answers (VSA){Select and rewrite the correct alternative from those given below. OR Answer in 1 or 2 words} (01 mark) B. Short Answer I (SA I) {Answer the following in 2-3 sentences.} (02 marks) C. Short Answer I (SA I) {Give two reasons for the following questions.} (02 marks) D. Short Answer I (SA I) {Answer the following with diagrams only} (02 marks) E. Short Answer II (SA II) {Answer the following in 5-6 sentences} (03 marks
124
DP XI
DESIGN OF THE QUESTION PAPER
Class: XI CGDM
TIME: 02 HOURS SUB: DYEING AND PRINTING MAX. MARKS: 50
The weightage of the distribution of marks over different dimensions of the question paper shall be as follows:
1. Weightage of learning outcomes: Sr.No Learning outcomes Marks Percentage of marks
1 Knowledge 09 18 %
2 Understanding 15 30%
3 Application 8 16%
4 Skill 21 42%
5 TOTAL 50 100%
2. Weightage to content / subject units Sr. No Units Marks
1 CORE CONTENT - FIRST TERM PORTION 10
2 COLOUR AND COLOUR SCHEMES 10
3 DYEING 15
4 PRINTING 15
TOTAL 50
3. Weightage to Form of Questions
Sr. No Form of questions Marks for each
question
Number of questions
Total marks
1 Long answer type (LA) 5 3 15
2 Short answer type (SA - 1) 2 6 12
3 Short answer type (SA – 2) 3 5 15
4 Very short Answer type(VSA) 1 8 08
5 Total 50
125
DP XI
The expected time for different types of question would be as follows:
Sr. No
Form of Questions Approx. time for each Question in minutes (t)
Number of questions (n)
Approx. Time for each form of questions in mins (n x t)
1. Long Answer Type (LA) 16.5 03 50
2 Short Answer Type(SA -1) 4 06 24
3 Short Answer type (SA – 2) 6 05 30
4 Very Short Answer type(VSA) 02 08 16
5 TOTAL 120
As the total time is calculated on the basis of the number of questions required to
be answered and the length of their anticipated answers it would therefore be
advisable for candidates to budget their time properly by cutting out the
superfluous words and be within the expected time limits.
4. Scheme of options: (There will be no overall choice. However, there is internal choice in D sub
questions of 05 marks category)
5. Weightage to difficulty level of questions: Sr.No Estimated difficulty level of questions Percentage
1 Easy 20%
2 Average 60%
3 Difficult 20%
A question may vary in difficulty level from individual to individual. As such,
assessment in respect of each question will be made by the paper setter on the
basis of general anticipation from the group as a whole taking the examination.
This provision is only to make the paper balanced in its weightage rather than to
determine the pattern of marking at any stage.
6. Number of main questions: There will be 05 main questions of 10 marks each.
126
DP XI
MODEL QUESTION PAPER
HOME SCIENCE BASED VOCATIONAL COURSE
FINAL EXAM
DYEING AND PRINTING
XI CGDM
Marks: 50 Time: 2 hrs INSTRUCTIONS:
i. All questions are compulsory. ii. Answer each question on a fresh page. iii. Write the number of each question and sub-questions clearly iv. Figures to the right indicate full marks. v. Draw and use colours wherever necessary. vi. The question paper consist of 5 questions.
1A. Very Short Answers (VSA) {Select and rewrite the correct alternative from those given below. OR Answer in 1 or 2 words} (01 mark) B. Short Answer I (SA I) {Answer the following in 1-2 sentences.} (01 mark) C. Short Answer II (SA II) {Answer the following in 5-6 sentences.} (03 marks) D. Long Answer (LA) { Answer the following in 8-10 sentences } (05 marks) 2A. Very Short Answers (VSA) {Select and rewrite the correct alternative from those given below. OR Answer in 1 or 2 words} (01 mark) B. Short Answer I (SA I) {Answer the following in 1-2 sentences.} (01 mark) C. Short Answer II (SA II) {Answer the following in 5-6 sentences.} (03 marks) D. Answer ANY ONE of the following (05 marks) E.g. i) Design……… ii) Design……… 3A. Very Short Answers (VSA) {Select and rewrite the correct alternative from those given below. OR Answer in 1 or 2 words} (01 mark) B. Short Answer I (SA I) {Answer the following in 2-3 sentences.} (02 mark) C. Short Answer II (SA II) {Answer the following in 2-3 sentences. OR Give two reasons to the following questions.} (02 mark) D. Answer ANY ONE of the following (02 marks)
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DP XI
E. Short Answer (SA) {Answer the following in 5-6 sentences} (03 marks) E.g. 1. Design the following…… 4A. Very Short Answers (VSA){Select and rewrite the correct alternative from those given below. OR Answer in 1 or 2 words} (01 mark) B. Short Answer I (SA I) {Answer the following in 1-2 sentences.} (01 marks) C. Short Answer II (SA II) {Answer the following in 5-6 sentences) (03 marks) D. Long Answer (LA) {Design the following} (05 marks) 5A. Very Short Answers (VSA) {Select and rewrite the correct alternative from those given below. OR Answer in 1 or 2 words} (01 mark) B. Short Answer I (SA I) {Answer the following in 2-3 sentences.} (02 marks) C. Short Answer I (SA I) {Give two reasons for the following questions.} (02 marks) D. Short Answer I (SA I) {Answer the following} (02 marks) E. Short Answer II (SA II) {Answer the following in 5-6 sentences} (03marks
