SURFACE ORNAMENTATION

TECHNIQUES - EMBROIDERY

1st Semester

TRADE THEORY

SECTOR: Textile & Apparel

DIRECTORATE GENERAL OF TRAINING

MINISTRY OF SKILL DEVELOPMENT & ENTREPRENEURSHIP
GOVERNMENT OF INDIA

NATIONAL INSTRUCTIONAL
MEDIA INSTITUTE, CHENNAI
Post Box No. 3142, CTI Campus, Guindy, Chennai - 600 032
Sector : Textile & Apparel
Duration : 1 - Year
Trades : Surface Ornamentation Techniques - Embroidery 1st Semester - Trade Theory

Copyright © 2014 National Instructional Media Institute, Chennai

First Edition : February 2015, Copies : 1,000
First Reprint : July 2016, Copies : 1,000
Second Reprint : July 2018, Copies : 1,000

Rs.170/-

All rights reserved.

No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including
photocopy, recording or any information storage and retrieval system, without permission in writing from the National
Instructional Media Institute, Chennai.

Published by:
NATIONAL INSTRUCTIONAL MEDIA INSTITUTE
P. B. No.3142, CTI Campus, Guindy Industrial Estate,
Guindy, Chennai - 600 032.
Phone: 044 - 2250 0248, 2250 0657
Fax : 91 - 44 - 2250 0791
email : nimi_bsnl@dataone.in
Website: www.nimi.gov.in
(ii)
 FOREWORD

The National Instructional Media Institute (NIMI) is an autonomous body under the Directorate General of
Employment and Training (DGE&T) Ministry of Labour and Employment has been developing, producing
and disseminating Instructional Media Packages (IMPs are extensively used in the Industrial Training
Institutes/Training centres in Industries to impart practical training and develop work-skills for the trainees
and the trainers

The Ministry of Labour & Employment constituted Mentor Councils (MCs) to revampcourses run / to be
run under National Council of Vocational Training (NCVT) in 25 sectors. The MCs have representatives
from thought leaders among various stakeholders viz. one of the top ten industries in the sector innovative
entrepreneurs who have proved to be game-changers, academic/professional institutions (IITs etc.), experts
from field institutes of DGE &T, champion ITIs for each of the sectors and experts in delivering education
and training through modern methods like through use of IT, distance education etc. The technical support
to the MCs is provided by Central Staff Training and Research Institute (CSTARI), Kolkata and National
Instructional Media Institute (NIMI), Chennai. Some of the MCs are also supported by sector-wise Core
Groups which were created internally in the Ministry (in 11 sectors).

A Steering Committee to provide overall coordination and guidance to Mentor Councils has also been
constituted and has representation from the MCs, Chair positions to be endowed by the Ministry, trade
unions, and experts on distance education and training. The MCs are mandated to work towards revamping/
suggesting new courses, improving assessment systems, overall learning etc. for subjects under the
purview of the NCVT.

Accordingly NIMI with the support and assistance of MC has developed Surface Ornamentation
Techniques - Embroidery Trade Theory 1st Semester in Textile and Apparel sector to enhance the
employability of ITI trainees across the country and also to meet the industry requirement.

I have no doubt that the trainees and trainers of ITIs & Training centres in industries will derive maximum
benefit from these books and that NIMI’s effort will go a long way in improvement of Vocational Training.

I complement Director, Mentor Council members, Media Development Committee (MDC) members and
staff of NIMI for their dedicated and invaluable contribution in bringing out this publication.

ALOK KUMAR, I.A.S.,

Director General of Employment &
Training/ Joint Secretary
Ministry of Labour and Employment
Government of India

New Delhi - 110 001

(iii)
 PREFACE
This National Instructional Media Institute (NIMI) was set up at Chennai by the Directorate General
of Employment and Training (DGE&T) Ministry of Labour and Employment, Government of India
with technical assistance from the Govt. of the Federal Republic of Germany. The prime objective
of this institute is to develop and disseminate instructional materials for various trades as per
the prescribed syllabi under the Craftsmen and Apprenticeship Training Schemes.
The instructional materials are developed and produced in the form of Instructional Media
Packages (IMPs). An IMP consists of Trade Theory book, Trade Practical book, Test and
Assignment book, Instructor guide, Wall Charts and Transparencies.
Hon'ble Union Minister of Finance during the budget speech 2014-2015 mentioned about
developing Skill India and made the following announcement
"A national multi-skill programme called Skill India is proposed to be launched. It would skill the
youth with an emphasis on employability and entrepreneur skills. It will also provide training and
support for traditional professions like welders, carpenters, cobblers, masons, blacksmiths,
weavers etc. Convergence of various schemes to attain this objective is also proposed."
The Ministry of Labour & Employment constituted Mentor Councils (MCs) to revamp courses
run / to be run under National Council of Vocational Training (NCVT) in 25 sectors which will give
a sustained skill based employability to the ITI trainees as the main objective of Vocational
training. The ultimate approach of NIMI is to prepare the validated IMPs based on the exercises
to be done during the course of study. As the skill development is progressive the theoretical
content on a particular topic is limited to the requirement in every stage. Hence the reader will
find a topic spread over a number of units. The test and assignment will enable the instructor to
give assignments and evaluate the performance of a trainee. If a trainee possesses the same it
helps the trainee to do assignment on his own and also to evaluate himself. The wall charts and
transparencies are unique, as they not only help the instructor to effectively present a topic but
also helps the trainees to grasp the technical topic quickly. The instructor guide enables the
instructor to plan his schedule of instruction, plan the raw material requirement ,
Thus the availability of a complete Instructional Media Package in an institute helps the trainer
and management to impart an effective training. Hence it is strongly recommended that the
Training Institutes/Establishments should provide at least one IMP per unit. This will be small,
one time investment but the benefits will be long lasting.
The Surface Ornamentation Techniques - Embroidery Trade Theory 1st semester in
Textile and Apparel sector is one of the book develop by the core group members of the
Mentor Councils (MCs). The 1st semester book includes Module 1- Basic sewing operations
, Module 2 - Elements of design and development , Module 3 - Zig Zag embroidery
machine, Module 4 - Aari embroidery.
The Surface Ornamentation Techniques - Embroidery Trade Theory 1st semester is the
outcome of the collective efforts of Members of Mentor Council which includes academic/
professional institutions (IITs etc.) , experts from field institutes of DGE&T, champion ITIs for
each of the sectors, and also Media Development Committee (MDC) members and staff of
NIMI.
NIMI wishes that the above material (Trade Practical & Trade Theory) will fulfil to satisfy the long
needs of the Trainees and Instructor and helps the trainees for their employability in vocational
training.
NIMI would like to take this opportunity to convey sincere thanks to all the Mentor Council members and
Media Development Committee (MDC) members.
A. MAHENDIRAN
Chennai - 600 032 Director , NIMI

(iv)
 ACKNOWLEDGEMENT

National Instructional Media Institute (NIMI) sincerely acknowledges with thanks for the co-operation and
contribution extended by the following Media Developers and their sponsoring organisation to bring out this IMP
(Trade Theory) for the trade of Surface Ornamentation Techniques - Embroidery under Textile and Apparel
Sector for Craftsmen Training Scheme. This Book is prepared as per Revised Syllabus.

MEDIA DEVELOPMENT COMMITTEE MEMBERS

Dr. Darlie Koshy - Director General & COE

ATDC & IAM, New Delhi
Chairman, Mentor council.
Shri. R.P. Dhingra - Director (P) ,
DGE&T, New Delhi
Mentor, Mentor council.
Shri. Rajinder Kumar - Joint Director of Training,
DGE&T, New Delhi.
Team Leader, Mentor council.
Smt. Chitra - Training Officer
RVTI, Panipat.
Member, Mentor council.
Smt. Kavita Sharma - Vocational Instructor,
RVTI, Panipat.
Member, Mentor council.
Smt. K.Rajalakshmi - Assistant Training Officer,
Govt ITI (W), Guindy.
Subject Expert, NIMI.
Ms. S E Sarala Devi - Subject Expert,
MDC Member, NIMI.
Ms. Abha Rastogi - Training Officer,
RVTI, Panipat.
Coordinator, Mentor council.
Shri. Subhankar Bhowmik - Training Officer,
NIMI, Chennai - 32
Co-ordinator, NIMI, Chennai.
Shri. V. Gopalakrishnan - Training Officer,
NIMI, Chennai - 32
Co-ordinator, NIMI, Chennai.
NIMI records its appreciation of the Data Entry, CAD, DTP operators for their excellent and devoted services in the
process of development of this instructional material.
NIMI also acknowledges with thanks, the invaluable efforts rendered by all other staff who have contributed for the
development of this Instructional material.
NIMI is also grateful to all others who have directly or indirectly helped in developing this IMP.

(v)
 INTRODUCTION

This manual of Trade Theory consists of related theoretical information for the first semester course of the Surface
Oranmentation Techniques - Embroidery trade. This manual is divided into 4 modules as given below

Module 1 Basic sewing operations

Module 2 Elements of design and development
Module 3 Zig Zag embroidery machine
Module 4 Aari embroidery

The Trade Theory has to be taught and learnt along with the corresponding exercises contained in the manual -
Trade practical. The correlation between practical exercises and theory lesson information is indicated by the
semester/module number and exercise/theory information number. For example, theory lesson No.1.1.05 indi-
cates that it relates to Exercise 5 of first module of first semester

It is preferable to teach/learn the trade theory connected to each exercise in advance before performing the related
practicals in the shop floor. The trade theory is to be treated as an integral part of each exercise.The material is
not a selflearning text and should be considered as supplementary to the classroom instructions.

While developing this theoretical manual, a sincere effort was made to prepare each lessons, which will be easy
to understand and carryout even by below average trainee. However, the development team accept that there is a
scope for further improvement. NIMI looks forward to the suggestions from the experienced training faculty for
improving this manual.

(vi)
 CONTENTS

Exercise No. Title of the Related Theory Page No.

Module 1: Basic hand stitches

1.1.01 Safety precation to be followed in the lab 1
1.1.02 Method of shrinking 2
1.1.03 Basic stitches by hand 5
1.1.04 Design transferring methods and study of fabric 6
1.1.05 Running stitch 8
1.1.06&7 Back stitch 9
1.1.08 Chain stitch 10
1.1.09 Lazy daizy stitch 11
1.1.10 Button hole stitch 12
1.1.11 Feather stitch 13
1.1.12 Herring bone stitch 14
1.1.13 Fish bone stitch 15
1.1.14 Satin stitch 16
1.1.15 French knot 17
1.1.16 Couching 18
1.1.17 Mirror work 19
1.1.18 Cross stitch 20
1.1.19 Composite stitches 21
1.1.20 Eyelet hole stitch 22
1.1.21 Importance of satin removal 23
1.1.22 Technical term for design and embroidery 24
1.1.23 Pressing equipments 25
Module 2: Elements of design and development
1.2.01 Elements and principles of design 28
1.2.02 Lines 33
1.2.03 Forms and geometrical design 37
1.2.04 Shapes and designs 40
1.2.05 Color and color combination 41
1.2.06 Color schemes 43
1.2.07 Grey scale 45
1.2.08 Enlargment and reduction of design 46
Module 3: Zig Zag embroidery machine
1.3.01 Types of embroidery machines 47
1.3.02 Introduction to zig zag embroidery machines 50

(vii)
Exercise No. Title of the Related Theory Page No.

1.3.03 Machine parts and their functions 51

1.3.04 Defects and remedies of embroidery machine. 54
1.3.05 Threading the machine 55
1.3.06 Bobbin einding 57
1.3.07 Setting the machine for embroidery 58
1.3.08 Embroidery machine attachments 60
Module 4: Aari embroidery
1.4.01 Tools for aari embroidery 62
1.4.02 Frame setting for aari 63
1.4.03 & 04 Chain stitch for aari embroidery 64
1.4.05 Utilities and scope of aari embroidery 65

(viii)
Textile and Apparel Related Theory for Exercise 1.1.01
Surface Ornamentation Techniques - Basic hand stitches

Safety Precautions to be followed in the lab

Objectives: At the end of this exercise you shall be able to
• state the importance of safety precautions
• explain the safety precaution to be followed
• explain the scope of trade.

Safety Precautions Introduction

Safety is important is every one. It is trainees responsibil- As we know that so clothes are the basic necessity of
ity to maintain a safe working place. Trainees should nudity and protect against injuries identification of dresses
keep their macine, work stations and tools clean and on characterises people as part of a special group or society.
right place. They should know the location of the main
power switch in case of on emergency. Keeping attention Clothes have also decorative function. People wear differ-
on your work and hand is very necessary while working on ent dresses in different occasion. There are more than a
machine. It helps to prevent injuries and accidents. All few different ways to occasion embellish our dress mate-
the trainess should learn the following safety rules and rial for by different using trimonings, printing tie of die and
practice them all the time. embroidery is a surface also known as surface or embroi-
dery has been a part of our social wear for hundreds of
1 Always keep your workshop floor clean, wipe up any oil years. It has been a medium for historical commentary
specified on the floor immediately to prevent any one and for expressive of creativity.
from slipping.
Scope and inspect of trade:
2 Always practice proper posture to reduce fatique and it
help prevent accident and increase efficiency. Embroidery a creative embellishment skills using both hand
& machine embroidery. It is a rich and versatile art that
3 Turn the motor of before cleaning, oiling and adjusting covers the every of ornamented work done with a needle.
the machine. Different effects like flat to raised can be produced by us-
4 Before operating the machine, be sure it is clean, ing different material like silk thread. Zari, stones and beads
threaded correctly and needle is properly set. etc.

5 When operating the machine, always keep your hand Job scope:
at a safe distance from the needle. The future scope of embroidery is up to individual.
6 Turn off the iron when it is not in use, do not be careless. The student after completing the embroidery course can
7 Do not use your hands to stop and start the hand wheel. fixed placement in garment industries.

8 Keep your feet off the treadle when you are setting or 1 One can work with textile units.
threading the needle. 2 Trainees can start up their own unit.
9 Turn off the motor off when you are not stitching. 3 Can supplying embroidered work to export houses.
10 Avoid loose fitting clothing when operating the machine Troubleshooting while stitching with machine:
and if your hair is long, tie it back.
Common troubles and their possible causes are listed
below. You can take care of most of these yourself and in
case of major troubles, the help of a qualified mechanic
should be obtained.

1
Textile and Apparel Related Theory for Exercise 1.1.02
Surface Ornamentation Techniques - Basic hand stitches

Method of shrinking
Objectives: At the end of this lesson you shall be able to
• explain the method of shrinking and it’s use.

Fabrics have a tendency to shrink when they are first that these are to be soaked in luke warm water.
dipped in water. Therefore, the fabric is made to shrink The shrinkage treatment for woollen fabric is given by
before stitching. Pre-shrunk material does not need steam, adopting any one of the two methods:
shrinking treatment.
A wet turkish towel is placed in between two layers of the
Shrinkage is not necessary in case of sanforized fabrics. woollen fabric so that the right sides touch the wet towel.
Non-sanforized fabrics like cotton, silk, wool etc. have to be Spread press cloth on the top layer and press it with hot
shrunk by different methods. iron. The steam generated from the wet towel ensures
After shrinking the fabric should be pressed well to remove shrinkage.
wrinkles. The other method is to spread a wet muslin cloth over the
There are several methods of shrinking. The fabric may be fabric and rolling the fabric together. Then the wet muslin
soaked in water for a few hours or the fabric may be is removed and the fabric is pressed with hot iron.
steamed. Precautions
Shrinking treatment for different fabrics: White fabrics – The container used for soaking and the wire ment for
(Cotton, Linen) should be soaked in hot water for minimum drying should be free from rust and dust
of four hours. The position of the fabric should be changed
once or twice to get uniformity in the shrinkage. Same – Two different coloured fabrics should not be soaked
treatment is applicable to coloured fabrics as well, except together
– Drying should be done under the shade.

Embroidery accessories
Objectives: At the end of this lesson you shall be able to
• explain the embroidery accessories and their uses.
Needle case
It is necessary to pressure the needle in a proper place.
Needle case is used to arrange the various sizes of needles
in a good manner.
Stiletto
This is a sharp pointed instrument for punching holes in a
material/fabric. It is used for forming eyelets in embroidery
work. It is made of steel. (Fig 1)
Cutting table
This tailors cutting table differs from ordinary table. It posses
a convenient height, length and width to aid the tailor in
marking, cutting and constructing garments. The
approximate size of the table is
Length: about 150 cm.
Dress maker’s carbon
Width: about 90 cm.
This is a tracing paper with one side waxed and is available
in different colours. It is used to transfer pattern marking Height: about 45 cm.
from paper patterns to the fabric.
The top of the table is nicely furnished with summica sheet.
Pin cushion (Fig 3)
Magnetic pin cushions are extremly helpful to the work
surface. The magnet helps in keeping pins located or
controlled and can pick up in seconds. A good pin cushion
is filled with saw dust and wool roving. The wool roving
contains lanolin and prevents the pin from rusting. (Fig 2)

2
Mirror Bobbin case
A full size (length and width) mirror is useful for checking The bobbin case is made of steel. It moves into position to
whether the garment is well fitting in size and design of catch the top thread and forms the stitch as the needle is
embroidery. (Fig 4) lowered into the bobbin chamber. A small screw is located
on the bobbin case. This screw is used to adjust the tension
of lower thread tension. (Fig 6)

Tailor’s square
This tailors square is called as “L” square mostly made of
wood and it is in ‘L’ shaped. This has a perfect right angle
corner and is used to draw lines at right angles at the time
Bobbin of drafting. It has two arms or sides. The long arm generally
61 cm and the small arm is 30.5 cm long. It has a scale
A bobbin is a spindle or cylinder in shape on which thread, on both the sides. The marked scale may be in inches or
yarn is wound. The bobbin provides temporary storage for in cm’s. It is helpful during the process of “Straight eming
yarn and thread. It is made of plastic or metal. Select the fabric” to check whether the corners of the fabric have got
bobbin according to the instructions of type of machine to the right angled structure. It is used for drafting the
be used. (Fig 5) garments. (Fig 7)

Textile and Apparel : Surface Ornamentation Techniques - Related Theory for - Ex 1.1.02 3
Thread trimmer/snipper Fashion disc
This thread trimmer/snipper is also called as palm scissor Fashion disc is a special attachment provided with the
and it is used for cutting the thread during embroidery embroidery machine. It is a small round shaped disc with
stitching. Trimmers have a ring which sits over the little different shapes of outer circumference in each disc, to
finger. It is operated by sequencing with the palm of the stitch different styles of embroidery stitches. It is made
hand. (Fig 8) up of plastic. It can be used with both the single and twin
needles. (Fig 9)

4 Textile and Apparel : Surface Ornamentation Techniques - Related Theory for - Ex 1.1.02
Textile and Apparel Related Theory for Exercise 1.1.03
Surface Ornamentation Techniques - Basic hand stitches

Basic stitches by hand

Objectives: At the end of this lesson you shall be able to
• describe the temporary and permanent stitches.

Basic hand stitches Permanent stitches

Basic stiches are divided into constructive and decorative This is the simples form of hand stitch used on almost
stitches. every garment.
Constructive stitches are further divided into temporary i Running stitch is the simplest of all the hand
and permanent stitches. stitches. It is used for sewing delicate fabrics seams,
tucks, gathering, shirring, quilting mending can be
Temporary Stitches
done with this stitch.
Basting or Tacking is a temporary stitches used for holding
two or more layers of materials together before the ii Hem stitch : This is used to secure down a folded
permanent stitches are given. edge of material. Hemming appears as slanting
Usually this stitch is horizontal and is worked from right to stitches on the wrong side and small at right side.
left. This is the only stitch which is started with a knot for
basting use a contrasting colour thread so that it can be These stitches should be fine and spaced close
easily seen and removed. enough to hold the told securely in place. Before
The length of the stitch will vary depending on the weight starting the hem fasten the thread with several tiny
of the fabric and how securely the pieces are to be held stitches on top of each other. Finish the hemming
together. with several stitches to fasten it securely.

To end basting make two stitches. One on the top of

iii Slip stitch : This is a type of hemming used to join two
another. There are several types of a basting stitches.
folded edges or to join one folded edge to the flat
They are surface. This stitch is faster and easyer to made a
• Even basting seam from the right side itself used to attach patch
pockets, jacket lining, securing.
• Uneven basting
• Diagonal basting iv Back stitch used to attach two pieces of cloth
together by using a hand made stitch. It is strong and
• Slip basting
sometimes substituted then machine stitching. Its
• Tailor tacks right and wrong side stitches are different. It is used
to repair a seam when you do not have machine.
1 Even basting is used on smooth fabrics and in areas
that require close control such as curved seams. All
stitches are of equal length and of equal distances. v Over casting : It used on raw edges either single or
double threaded or layer to prevent them from traying.
2 Uneven basting is used for general tacking for edges
that require less control during permanent stitch.
vi Whip stitch : This stitch is similar to over hand stitch
3 Diagonal basting is used to hold or control fabric layers used to finish edges. The only difference between is
within an area during construction and pressing. in overhead the needle is pushed slantingly and the
4 Slip basting is used mostly in machines seams in stitch is formed straightly and in whip stitch to needle
checked and striped fabrics. Tack intricately curved in pushed straight down forming slant stitches.
sections or to make fitting adjustments.
5 Tailor’s tacks are used to transfer individual pattern
symbols such as darts to double layers of fabric.

5
Textile and Apparel Related Theory for Exercise 1.1.04
Surface Ornamentation Techniques - Basic hand stitches

Design transfering method & study of fabric

Objectives: At the end of this lesson you shall be able to
• explain design transferring methods
• explain about embroidery threads.

Design transferring techniques An important precaution to be followed is not to lean or rub

the paper while drawing the design, as it may cause
Transferring the design to the fabric is the primary task in
smudges of the carbon marking on the fabric. (Fig.2)
embroidery. Other than in free machine embroidery, i.e.,
stitched without designs, it is necessary to transfer the Fig 2
design selected for your stitch onto the fabric. There is a
wide range of technique for this; each technique differs with
its application.
Select a design suitable for your work with respect to the
fabric used, design selected, materials available, etc. The
basic design transferring technique are traced method,
Dress maker's carbon paper method, pricking and pounc-
ing method and tacking/basting method.
Tracing method is most suitable when a light coloured,
light weight fabric such as cotton lawn or a fine calico is
used. When the design is drawn or printed in dark thick
colors, it easily helps to see through it with light colored
fabrics. The main advantages of this method are it is less

GAR596T0302
time consuming and requires no other materials except a EMBROIDERY SKEIN THREAD
sharp pencil or a disappearing ink pen and a light box. The
light box is used for transferring the design onto the dark
fabric. But care must be taken as we may ignore any detail Pricking and pouncing method is an ancient method of
of the design, resulting in an incomplete imperfect design. transferring the design onto the fabric. It is one of the
(Fig.1) methods followed widely throughout the medieval period
and before. While now mostly suspended by other more
Fig 1
convenient methods, it still works and is very useful for
transferring large designs, where the previous methods not
suitable. Use fine pouncing powder or similar, though for
pale fabrics where this doesn't show up sufficiently, blue
powder is available. Special pricking wheels are used for
transferring complex designs. Though, it is time consum-
ing it gives, good output and also it is less expensive. It is
suitable for all kind of fabrics other than the slippery
synthetic fabrics. (Fig.3)
Fig 3
GAR596T0301

TRACING METHOD

Dress maker's carbon paper method is an important

method widely used for transferring the designs. It works in
the same way as the stationary carbon, but it tends to be
on heavier paper, less likely to tear when pinned. It is
PRICK AND POUNCE METHOD
GAR596T0303

available in different colors like blue, white, yellow, etc.,

hence it is used with both dark and light fabrics.

6
Tracking (basting) method is another important transfer- 2 Pearl cotton is S-twisted, 2-ply thread with high sheen,
ring technique. Most of the transferring methods require the sold in five sizes or weights (No. 3, 5, 8, 12 and 16
fabric to be, worked to be marked up directly, whether with (Finaca), with 3 being the heaviest and 16 the finest).
a pencil, or disappearing ink pen, carbon paper or pounce
3 Matte embroidery cotton is a matte-finish (not glossy)
powder etc. in all these methods, there are chances to get
twisted 5-ply thread.
marks, which we didn't intend on the fabric, whether
smudges or lines. But, in basting method, the design is 4 Medici or broder medici is a matte-finish (not glossy)
tacked and can be unpicked carefully, if it is still visible, twisted 5-ply thread.
when the embroidery is completed. The main drawback in 5 Crewel yarn is a fine 2-ply yarn of wool or, less often,
this method is that it results in a mirror-image on the fabric. a wool-like acrylic.
(Fig.4)
Fig 4
6 Persian yarn is a loosely twisted 3-strand yarn of wool
or acrylic. Often used for needlepoint.
7 Tapestry yarn or tapestry wool is a tightly twisted 4-ply
yarn.
Threads for machine embroidery are usually of polyster or
rayon (less often cotton or silk).
Threads, like textiles, can contain compounds that may be
harmful to humans. Many dyes have been shown to be
allergenic. Testing for the presence of these dyes, and
GAR596T0304
other additives can be done at many commercial laborato-
ries.
TACKING METHOD Certification to the Oeko-tex standard may also be applied
for. This tests the component for over 100 different chemi-
Study of embroidery thread cals and certifies the component according to human
Embroidery thread is yarn that is manufactured or hand- ecological safety.
spun specifically for embroidery and other forms of needle-
work.

Threads for hand embroidery include

1 Embroidery floss or stranded cotton is a loosely twisted,
slightly glossy 6-strand thread, usually of cotton but
also manufactured in silk and rayon. cotton floss is the
standard thread for cross-stitch (Fig.5)
Fig 5

EMBROIDERY SKEIN THREAD

GAR596T0305

Textile and Apparel : Surface Ornamentation Techniques - Related Theory for - Ex 1.1.04 7
Textile and Apparel Related Theory for Exercise 1.1.05
Surface Ornamentation Techniques - Basic hand stitches

Running Stitch
Objectives: At the end of this lesson you shall be able to
• state the features of running stitch
• state the variation of running stitch.

Running stitch Pikenese running stitch:

Running stitch is the basic hand embroidery stitch. It is This is a variation of running stitch. Which come under the
the simplest variety of stitch, often used for outlining the decorative stitches. This is formed by interlacing using
design. This simple straight stitches are worked with even contrast colour thread in simple running stitch.
space in between each. This stitch type is suitable for
The main advantage of this embroidery is any kind of fab-
any kind of design. (i.e) for designs with lines curves etc.
rics can be used. Beginners can pratise this particular
It is worked with 2 strands of embroidery skein thread.
stitch or poplin ,but one can easily work this stitch in any
This stitch can also be used as decorative stitch by intro-
type of fabric. According to the type of design and applica-
ducing it in collar ends, sleeve hems and neck lines.
tion of design no.of strands can be increased working
All the 6 strands of the skein thread is used to give rich through. This stitch can also be used as filling stitch. While
look to the design.Beginers can practise this stitch in working with crewel embroidery. This stitch is more suit-
poplin and is worked easily in any type of fabric. 2 differ- able for geometrical designs.
ent colours of thread in a single needle is used to show-
case the stitch in a better way. This stitch is suitable in childrens wear as well as ladies
wear.

8
Textile and Apparel Related Theory for Exercise 1.1.06&07
Surface Ornamentation Techniques - Basic hand stitches

Basic stitches for embroidery

Objectives: At the end of this lesson you shall be able to
• know about the basic hand embroidery stitches
• application of stitches
• select suitable design for basic stitches.

Running stitch: It is essential that you lesson to work the

basic stitches, for successful embroidery work. While
beginning the embroidery, the design must be outlined
first. Running stitch used for outlining purpose oftenly, as
well as decorate stitch. This used for base stitch for
interlacing work. The various stitches are done by using
this basic stitch. Wipped running, laced running, double
back laced running, double wipped running, double laced
running are running stitch variations.
Use outlining stitch of a design and foundation stitch for
whipped and woven decorative stitches. This stitch must
be even in length and spaces between stitches even while
working. Keep stitch about three times as long as space
between.
Nice for curved line design. Running stitch variations
suitable for decorative border. Filling work of design done
by running stitch, which is easy and quick to work.
Back stitch: Back stitch also one of the basic stitch.
Strongest and most versatile of the hand stitches. Back
stitch may be combined with many other stitches to
produce special effects. For example work chain stitch first
and then, with contrasting colour, work back stitch into the
center of each loop, you have chained back stitch or work
large back stiches and then whip with contrasting colour for
whipped back stitch. This is the back of the outline stitch.
It follows a tight curve very well if the stitches are kept tiny. darker shades for contrast.
It is the base stitch for many other stitches like Pekinese,
Very suitable for outlining any area, stems etc. The
interlaced band etc.
stitches should be tiny, especially on a sharp curve. When
This stitch is suitable for all type of design. In small and curve is in the opposite direction, thread may be held
simple designs it give simple outlining effect. Very tiny always above the line. It gives the twisted cord effect.
back stitch used for sharp curved line in a design. Small,
evenly space and regular of this stich gives, the machine
stitch effect to the design.
Stem stitch: The stem stitch is most frequently used for
narrow, curving lines. This stitch is used as outlining stitch
for another stitch which used as filling to design edges,
accent etc. For example, work a design in Tambour
embroidery and then outline. Outside edge with lighter or

9
Textile and Apparel Related Theory for Exercise 1.1.08
Surface Ornamentation Techniques - Basic hand stitches

Chain stitches
Objectives: At the end of this lesson you shall be able to
• know about chain stitch and its variations
• use of chain stitch and cable stitch.

Chain stitch: This is one of the beautiful stitch used Cable chain: This is one of the variations of chain stitch.
embroidery work. Crewel from India is usually worked It looks like a heavy chain. Spacing of stitches is important.
entirely in chain stitch. For shading in Jacobean patterns, Make little longer chain than the tack for good look. Work
just work row upon row of chain, following contours. Chain very evenly for best effect.
stitch may be whipped or laced to decorate it further.
This is suitable in medium width borders. Used as decora-
It is used in line covering, outlining of a design like tive stitch. In smocking also it will be used. Work in single
branches, stem etc. This is the basic stitch for its varia- lines for beautiful appearance.
tions. Its variation stitches used for decorative borders,
filling etc. Zigzag chain, cable chain stitch, sloping chain, Simple and small designs are suitable for cable chain
Russia chain stitch, lazy daisy, open chain stitch are some stitch. This stitch give neatness to the single curved line
of its variations. designs. It is simply decorative to look. It can be finished
quickly. Use thick yarn to this stitch for attractive effect.
Floral design is suitable for this stitch. This is more
beautiful for stems, branches, leaves like designs. This is
one of the outlining stitch. Two strands of yarn is enough
for beautiful work.

10
Textile and Apparel Related Theory for Exercise 1.1.09
Surface Ornamentation Techniques - Basic hand stitches

Lazy daizy
Objectives: At the end of this lesson you shall be able to
• know about lazy daizy stitch and double lazy daizy
• gain knowledge about application and accessories.

Lazy daizy: Lazy daizy stitch is one of the decorative

stitches. It is also called "Loop stitch" as it is worked by
making a loop. Due to a gap between two stitches, it is
known as "detached chain" also. Its other name are
knotted knot stitch, picot stitch, tied loop stitch, tail chain
stitch.
Suitable for small handkerchiefs, baby frocks, bags, pillow
covers, table covers, sari sprays.
Double lazy daizy: One of the variation of lazy daizy.
When a petal is broad, two chains are made, one inside and
the other outside. This gives a filling effect and it is called
a "Double lazy daizy".
Just as we use two contrasting colour threads in the
chequred chain stitch, we can use two colours in the same
way in a broad petal also.
Two colour scheme makes it more attractive.

11
Textile and Apparel Related Theory for Exercise 1.1.10
Surface Ornamentation Techniques - Basic hand stitches

Button Hole stitch

Objectives: At the end of this lesson you shall be able to
• state the types of button hole stitch
• describe the features of button hole stitch.

Button hole stitch Closed Button hole stitch

Button hole stitch is a traditional embroidery stitch. It is Closed button is one of the variation of button hole stitch.
used as a decorative finish for edges of blankets and in This stitch are placed very close together to form a firm
making of hand worked button holes. edge. closed button hole stitch is more suitable for neck
line, sleeve and its easy to form a design.
Stitches may be of same size or grouped at regular inter-
vals. This stitch is more suitable for free hand design. This Cluster Button Hole
stitch is worked between pair of lines.
Cluster button hole stitch is a grouped button hole stitch.
It is also worked in cut work, eye let hole and applique The length of the stitch may vary according to design.
work. Button hole stitch is also used for filling the de- This stitch can be used in cushion covers, take covers for
signs. decorative purpose and for edge finish.

12
Textile and Apparel Related Theory for Exercise 1.1.11
Surface Ornamentation Techniques - Basic hand stitches

Feather stitches
Objectives: At the end of this lesson you shall be able to
• state the application of feather stitch and double stitches
• select a suitable design and accessories.

Feather stitch: This is also used as decorative stitch. It is guidelines drawn to work double feather stitch. This is used
great filling stitch when worked row after row. This stitch is for edges of blanket and baby kimonos. Select contrast
most suitable for fat flower stems, wide borders etc. feather colour thread to work this stitch. Thick layer thread is
stitch work with two parallel guide line. Working from top to suitable for attractive effect. The branches may be kept all
bottom, pick up several threads of the fabric to the left, even with each stitch the same length or they may be varied
holding the needle obliquely and stitching towards the in length.
centre with the thread under the needle.
Double feather stitch: This stitch is similar to feather
stitch. It is also used for filling effect for branches, stems
etc. Mainly useful for wide decorative borders. Three light

13
Textile and Apparel Related Theory for Exercise 1.1.12
Surface Ornamentation Techniques - Basic hand stitches

Herring bone stitch

Objectives: At the end of this lesson you shall be able to
• to know about the herringbone stitch and its variation
• gain knowledge about usage of herringbone stitch.

Herringbone stitch: It is use for hemming all my clothes. Double herringbone stitch: This stitch is one variation of
It gathers the lower fold gently and "floats" the hem over the herringbone stitch. Foundation stitch is done by basic
fabric. This stitch is also used as decorative stitch in wide herringbone stitch. In second journey, herringbone stitch
borders. Sleeve hemming edges decorative with this stitch work with another contrast colour thread. This second
for beautiful look. journey work between foundation herringbone stitch.
This is foundation stitch for its variations. If this stitch work This stitch is simple and beautiful to look. It is also easy to
closely, it is known as closed herringbone. In basic stitch, work You can finish it quickly. Contrast colour thread
interlace work done for laced herringbone, whipped herring- combination work gives the attractive effect. It used in wide
bone and woven herringbone stitch. borders.

14
Textile and Apparel Related Theory for Exercise 1.1.13
Surface Ornamentation Techniques - Basic hand stitches

Fish Bone stitch

Objectives: At the end of this lesson you shall be able to
• state the types of fishbone stitch
• state the features of fishbone stitch
• describe the applications of fishbone stitch.

Fish bone stitch

Open Roumanian stitch

This is one of the variations of the fish bone stitch. The

fabric is placed or fixed tightly in the embroidery frame to
avoid puckering, because of broad shapes of the designs.
This stitch work is similar to the herringbone stitch, it suited In broad leaf plait will be formed in the centre of the de-
for oval and narrow shape designs like leaf shapes. The sign. While in a narrow leaf the vein type of apperance will
vein of a leaf is used as the centre core and stitches are be seen after completing the design. Different shades can-
taken alternately to its leaf and to its right. not be taken in this embroidery. It is used for table covers,
sarees, bed sheets, pillow covers, peticoats, punjatri
The shape of the design in the vein is clearly seen after dresses etc.
completion of the embroidery. It can be used two shades
of the same colour are used in the design, to make it
more attractive.

The contrasting colour yarns are taken in the needle and

then each colour is used one after the other. The two shades
of a colour in the design gives the impression as if done
on wood. Embroidery of this stitch continue more time.
Thus it is used for more designs , were less embroidery is
needed.

The fishbone stitch is used to embroider bibs, baby frocks,

frock yoks, baby suits etc.

15
Textile and Apparel Related Theory for Exercise 1.1.14
Surface Ornamentation Techniques - Basic hand stitches

Satin Stitch
Objectives: At the end of this lesson you shall be able to
• state the features of satin stitch
• explain the raised satin stitch.

Satin stitch

Satin is a flat filling stitch that looks simple to work. It

gives neat finishing and good appearance only with good
practice of learning. Blocks of stitches can be worked in
different directions to create areas of different shades and
effects.

This stitch is most suitable for embroidering floral designs

as well as the other design patterns like geometrical, ani-
mal designs, natural scenerio etc. This stitch is worked
on all kinds of fabrics like satin, silk, linen corduroy,
georgette etc. It can be worked even in any type of can-
vas.

Padded satin

Unlike satin stitch has a slightly raised shape.It is used to

emphasize shapes by making them stand out from flat
areas of stitching. This stitch is worked with an embroi-
dery loop to prevent puckering.

The design is padded with closed worked.

16
Textile and Apparel Related Theory for Exercise 1.1.15
Surface Ornamentation Techniques - Basic hand stitches

French knot
Objectives: At the end of this lesson you shall be able to
• state the features of french knot
• describe the uses of bullion knot.

French knot: Bullion knot

French knot is a slightly textured and raised stitch. knots

can be worked close together to fill an area completely.
Producing a lumpy effects . Lumpy knots as desired within
design area.

French knots can be made larger by increasing number of

twists of thread around needle. These are mostly used for
floral patterns. All types of fabrics are suitable to work thin Button knot is the variation of the french knot. The stitch
stitch. Poplin is often used by the beginners, to achieve varies from the french knot with the number of thread twists.
good results. Apart from skein threads. Pearl threads and It is used for decorative purpose. This finished stitch, re-
woolen threads are also used.This stitches are widely used sembles the shape of a coil. while working, do not wrap
to embroider the ladies wear and kids wear. the thread tightly around the needle. So that to avoid be-
coming it hard to pull through, to fix them in place. Two
contrast colours of thread is in the needle to give an en-
hanced effect to the stitch.

It is often used to work the floral designs especially the

“rose” flowers

This decorative knot stitch is widly used to embroider the

flowers or buds. It should be worked patiently and one
attains perfection with good practice.

This stitch often used to embroider the sarees, baby frocks

and other articles.

17
Textile and Apparel Related Theory for Exercise 1.1.16
Surface Ornamentation Techniques - Basic hand stitches

Couching
Objectives: At the end of this lesson you shall be able to
• state the types of couching work
• state the uses of couching work.

Detached couching
Couching work is also known as laid work. It is worked
either by laying a single cord or more number of threads of Detached couching is one of the variety of couching
matching or contrasting colours. It is different from other work.Unlike couching work, detached couching is worked
embroidery stitches, as it is similar to a machine embroi- with two rows skein threads at the same time. As the
dery work cording. This stitch gives a embossed effect to work makes the fabric heavier than the couching heavier
the design. fabrics like corduroy, brocade etc are used. Hand embroi-
dery needles are selected with great care to suit the heavy
It is often used to outline the design. skein thread is most fabric. Apart from skein threads, woolen threads are also
preferably used for laying , where as woolen threads are used for detached couching work. Detached couching work
also used. Care must be taken to select the fabric for is suitable for cushion covers, bed spreads, carpets, table
couching work, as the embroidery work is heavier than cloths etc. Zari threads are also used to enhance the beauty
other stites. It should not form any wrinkle to the fabric. of the stitch.
Thick fabric like linen, poplin, silk and knitted fabrics are
suitable for couching work. Other than skein threads , zari
and pearl threads are also suitable.

18
Textile and Apparel Related Theory for Exercise 1.1.17
Surface Ornamentation Techniques - Basic hand stitches

Mirror work
Objectives: At the end of this lesson you shall be able to
• gain knowledge of mirror work
• known about application and accessories.

Mirror work: This is otherwise known as Abhu Bharat silken thread either with stem stitch or herringhone stitch
mirror work from Punjab, Kathiawar in which round pieces closely embroidered. The colours used for this embroidery
of mirror is attached, one button hole stitch pattern are is rich rust, red, light green, pine, indigo surrounds the
created with the fixing of round shaped mirrors. The design mirror. This is done on cholies, ghararas.
to be embroidered are first sketched out by hand. The
portion where the mirror has to be stitched is shown by a Motiefs are of flowers and creepers with rows of mirror. This
small circle, the rest of the embroidery is prepared with 2 is done on table cloths also. Same colour thread or
contrast colours also used.

19
Textile and Apparel Related Theory for Exercise 1.1.18
Surface Ornamentation Techniques - Basic hand stitches

Cross stitch
Objectives: At the end of this lesson you shall be able to
• state the features of cross stitch
• state the variation of cross stitch
• state the importance of cross stitch.

Cross stitch

20
Textile and Apparel Related Theory for Exercise 1.1.19
Surface Ornamentation Techniques - Basic hand stitches

Composite stitches
Objectives: At the end of this lesson you shall be able to
• state the application of wheat ear and fly stitching
• know about the uses of those stitches
• select a suitable design.

Wheat ear stitch: It is decorative and very simple method many other stitches. It is used as a very light powdery
of working. Stitch for ears of corn, grasses and other filling, as buds or as seed pods. Stacked fly can be used
growths. This is a combination of lazy daisy and fly stitch around a daisy when working double or triple daisy and the
worked together to form a wheat ear formation. They may center becomes too crowded.
be worked singly as a spot motif or to form a continuous
line. It may worked detach and also attached. This is also
for isolated stitches and used for filling. Arranged in pattern
for flowers or attached for borders.
Fly stitch: It is similar to lazy daisy stitch, but the ends of
the loop stitch are widely separated. Make a small back
stitch to anchor the centre in place, bringing needle up in
position for next stitch. Can be used as a scattered space
filler where a simple, textured background is desired. Fly
stitch, with a shortened tack, is used in conjunction with

21
Textile and Apparel Related Theory for Exercise 1.1.20
Surface Ornamentation Techniques - Basic hand stitches
Eyelet hole
Objectives: At the end of this lesson you shall be able to
• know about the eyelet hole application
• gain knowledge about usage of cutwork.

Eyelet hole: It is mainly used for Brodrie anglaise work.

Buttonhole stitch is used for eyelet hole. Badkin is used to
pierce the fabric for eyelet hole. Round shape and oval
shape is used for eyelet hole. For floral design, at centre
round shape eyelet hole and for petals oval shape eyelet
hole is used. This work is suitable for Baby's dresses,
frock, curtain, sofa covers, chairs back.
Cutwork: The background is cut away leaving the design
in the original fabric is known as cutwork. In planning, the
first point to remember is that the design must not
disintegrate when the background is cut away, and there-
fore it must be closely knit leaving only small space.
Pointed shapes must not be allowed to project or they will
flop when trained. Everything is outlined with closely
worked buttonhole edging stitch, with the heading towards
the background space.
A limited amount of other stitchery may be added as
explanatory details to the design. The shapes should be
cutout very sharp pointed scissors, first from the front and
finally from the back. The "prick pounce" method is best for
transferring the design from paper to fabric standard cotton
or filoseble give the most even results because the threads
blend together.

22
Textile and Apparel Related Theory for Exercise 1.1.21
Surface Ornamentation Techniques - Basic hand stitches

Importance of stain removal

Objectives: At the end of this lesson you shall be able to
• explain importance of stain removal.

Importance of stain removal 2 Avoid the usage of hot water for treatment of stain, as

Stains are the important demerit that spoils the quality of it will set the stain.
any fabric. Stain removal is an unavoidable process to 3 Approach the stain gently as harder treatment will
make a fabric or garment usable. The stain caused on a
fabric reduces its quality as well as use ability. The fabric spread the stain further.
stains may cause due to various reasons. As well as the 4 Work inwards towards the centre of the stain to remove
stain types and its severity also differs with every fabric.
Fabric stains may be caused by ice cream, milk, pencil, it easily.
mud, rust, grease, ink, fruits, adhesives, glue or stickers 5 Place a clean white towel under the embroidery before
and many others. Every stain removal method will give a
best result. Dry and wet stains are the two main categories sorting to prevent the fabric from picking up further
available in every stain type. It can be easily removed when stains from anything underneath it.
the stain is wet, where as the removal procedure becomes
6 Test the fabric for colour fastness before embroidery by
tideous when it gets dry.
rubbing a wet cotton bud over a small test sample of the
The following are the important points to be
fabric.
remember for stain removal
1 Treat the stain as quicker as possible for better result.

23
Textile and Apparel Related Theory for Exercise 1.1.22
Surface Ornamentation Techniques - Basic hand stitches

Technical terms related to design and embroidery.

Objectives: At the end of this lesson you shall be able to
• explain technical terms.

Tracing paper: The paper useful for tracing designs from Bobbin: The spool or device that holds the lower. Thread
a book or other sources. It comes in several weights. that interlocks with the needle thread to form a stitch.

Embroidery scissors: Small and have sharp points and Hue: A true colour, without tint or shade.
ideal for fine work like cut work.
Tint: Adding white to a pure colour.
Thimbles : Protect middle finger while embroidery comes
in sizes 6 to 12 Tone: Adding gray to a pure colour.

Embroidery floss: Loosely twisted 6 strands thread. Shade: Adding black to a pure colour.
Available in silk, cotton, rayon and in many colours. Works
well in every type of embroidery, strands can be separated Trimming: The action to cutting loose threads, removing
for finer work. backing etc,,. From the final embroidered product.

Tracing wheel: That mantel tool is used to transfer of Embroidery: Embroidery is a 'Thread Art' used to embel-
design to fabric. lish a garment with the help of needle, threads and
materials. Also known as surface ornamentation tech-
Pounce: This is a fine powder used in transferring the nique.
design by pricking method.
Design: Stitches that compose an embroidery pattern
Hoop/frame: Consists of two rings, fabric is stretched called embroidery design.
over the inner ring and held in place by the outer ring.
Comes in wood, metal and plastic, available in many sizes. Colour wheel: A circular diagram showing the relation-
ship between primary, tertiary, secondary colours. It has
Value: Refers to how to light or dark a colour is (light having three primary, three secondary and six tertiary colours.
a high value) Colours schemes are defined from the colours wheel.

Needle threader: Facilitates threadly yarn through eye of Water soluble pen and pencils : are used to transfer a
needle. design on to fabric temporarily. The marked lines wash out
when the article is laundered.
Seem ripper: It has sharp-edge for cutting seams.

Stiletto also known as 'Awl' is a small and sharp tool used

to make the round holes for eyelets.

24
Textile & Apparel Related Theory for Exercise 1.1.23
Surface Ornamentation Techniques - Basic hand stitches

Pressing equipment
Objectives: At the end of this lesson you shall be able to
• name the pressing equipment and its application
• explain the importance of pressing.

Pressing equipment
Fig 3
Electric iron: It is specially shaped with pointed nose and
parallel sides. The bottom plate of the iron is heavy, hard
and smoothly polished, so as to allow easy movement on
the fabric to be pressed. It is provided with a non-
conducting handle and a temperature regulator or a
thermostat. (Fig 1)
TAILORS HAM

Fig 1 LIGHT INDICATOR

CT110713
Fig 4
TEMPERATURE
REGULATOR
CT110711

Ironing board/pressing table (foldable): It is a flat, hard

board, made of either wood or metal. The board is stuffed
with cotton and covered with cotton fabric and it is fixed on
an adjustable stand to vary the height. (Fig 2)

Fig 2
COLLAR

CT110714
Sleeve board: It is a board with a narrow, long, flat surface
on which the seams and details of the narrow sections of
the garment, such as the sleeves and the legs of the trouser
can be easily pressed. (Fig 5)
CT110711

Fig 5 SEAM
Tailor’s ham: It is a firmly packed cushion with rounded
ends. It is used for pressing shaped areas such as bust
darts and curved seams; it is also used for moulding the
corner. (Fig 3)
Point presser: It is a sharp pointed wooden board and is
used for pressing seams in collars and for helping to bring
out the sharp points in collars, cuffs etc. (Fig 4)
CT110715

25
Needle board: It is a board with a collection of small not always clearly marked on the iron dial but should be
needles fixed on a wooden board. It is used to press pile graded from hot to cool in this order: linen - cotton - rayon
and nap fabric (e.g. corduroy, velvet) (Fig 6) - wool - silk - nylon (and other artificial fibres).

Fig 6 Wet pressing can easily be done with a steam iron.

Otherwise sprinkle water directly on the fabric and leave it
for a minute before ironing.
Another method of wet pressing can be done with the help
of a damp cloth. It is used for linen or wool fabric. For some
fabrics like spun rayons, embossed and glazed fabrics its
better to press dry. (Fig 7)
Techniques for pressing during construction
1 Pressing over basting is frequently necessary along

CT110716
Fig 7

Pressing is as important process during and after stitch- PRESS CLOTH

ing. Pressing will remove wrinkles, sharpen creases,

flatten bulky layers and open seams. Pressing can shrink
or stretch a fabric.
The main factors involved are heat, pressure and humidity.
These factors have to be harmonized with the fabric which

CT110717
shall be pressed.
Pressing is done edges with enclosed seams, pleats or hems. After a
1 during the construction of a garment (press flat seams, first light dry pressing, clip the basting, remove and
darts, press components in shape etc.) press again with dampness before the marks made are
set on the fabric. Never press over pins.
2 for finishing of a garment after stitching.
2 Press with the grains, also on bias components press
Differences between ironing & pressing: Ironing is the along the grains.
process by which the iron is pushed along the fabric in
lengthwise or crosswise direction. The ironing process is 3 Have scissors handy at the pressboard to release any
used for garments after they have been constructed. pull from points that are not sufficiently slashed. Cor-
ners or curves that are to be trimmed or slashed closely
Pressing is the process by which the iron is lifted up and are less likely to fray if they are dampened and well
set down on the fabric in a series of up and down motion, pressed before cutting.
in the lengthwise and crosswise direction. Pressing is
done for all garments during the process of constructing. 4 After a piece of garment is pressed, keep it pinned up
on a coat hanger or spread out carefully to dry so that
Safety precautions you won’t have to give it another pressing.
1 Do not let iron cord drag over your work. 5 Gathers are pressed by folding firmly at the stitching
2 Either use the iron stand or tilt the iron when not in use line in your left hand. For slow work reduce the heat.
depending on the type of iron you have. 6 Hold the side of the iron closely parallel to the stitching
3 Do not scorch the ironing board cover. line when fullness is to be shrunken out.

4 If starch is stuck to the iron, let it cool and then scour 7 Press-buttons, embroidery, lace, beading, braiding are
with soap or non-scratching scouring powder or baking to be pressed from the wrong side over a soft pad such
soda. as layers of turkish towel.

5 Use distilled water for steam irons; empty the same 8 Press collars, cuffs, belts and pockets first on the
when you have finished your work. wrong side then finish them on the right side very lightly
over a press cloth. Press first along the edges firmly,
6 Make sure that there is no leakage of electricity in any remove basting, press again. Work from the outer
part of the iron, the wire and plug pins. edges towards the inside. (Fig 8)
7 Never leave the heating surface of iron on the ironing 9 Do not press lengthwise creases in sleeve if you want
table or on the cloth when in rest, the iron must be kept a professional appearance, instead use sleeve board.
in erect position.
Set the regulator or control on your iron correctly for the
less heat resistant fibre in your fabric. Temperatures are

26 Textile and Apparel : Surface Ornamentation Techniques - Related Theory for - Ex 1.1.23
Fig 8 Order of pressing work
1 First press interior parts such as pockets, facings,
seams, linings and shoulder pads.
2 Then press sleeves.
3 Press ruffles and gathers before the parts they trim.
4 Press yokes and shoulder seams before the lower
blouse.
5 Press top parts of long garments before the lower parts
(blouse before skirt); skirt top before lower part of skirt.
COLLAR EDGE PRESSING
BEFORE TURNING
6 The collar is usually pressed last, because its position
next to the face is so important.
7 Finally remove any creases accidentally produced. Do
not put creases in sleeve or below dart or unpressed
pleats.

CT110718
COLLAR PRESSING
AFTER TURNING

Textile and Apparel : Surface Ornamentation Techniques - Related Theory for - Ex 1.1.23 27
Textile and Apparel Related Theory Exercise 1.2.01
Surface Ornamentation Techniques - Element of design and development

Elements and principles of design

Objectives: At the end of this lesson you shall be able to
• define designing
• explain method elements & principles of designing
• describe designs for dresses
• choose designs for dresses

Elements of Design: Definition Shapes are grometric figures made up of lines in different
formation, Shapes give apperance to a fashion figure. It is
The elements are components or parts which can be
an imporatant elelment of a design. The variation in sizes
isolated and defined in any visual design or work of art. They
and arrangement of lines and curves form different types of
are the structure of the work, and can carry a wide variety
shapes,Square,rectangle,triangle,oval,circle are basic
of messages.
shapes used in fashion sketching.
Direction of Lines (Fig 1)
Natural design
Fig 1 Natural shapes are found in nature or they can be manmade
shapes. Leaves are an example of a natural shape. An ink
blob is a natural shape. Natural shapes are often irregular
and fluid. Natural shapes can add interest and reinforce a
theme. Rather than a plain box, frame text with a coiling
rope or a spray of leaves or flowers. Use a freeform, non-
symmetrical shape to convey a feeling of spontaneity.
FAD901T1001

Stylized Design (Fig 2)

Fig 2

Vertical Line
Vertical lines communicate a feeling of loftiness and
spirituality.

Horizontal line
Horizontal line suggests a feeling of rest or repose. Objects
parallel to the earth are at rest in relation to gravity.
Therefore compositions in which horizontal lines dominate
tend to be quiet and restful in feeling.

FAD901T1002
Diagonal Line
Diagonal lines suggest a feeling of movement or direction.
Since objects in a diagonal position are unstable in relation
The Designs which are used to present in a conventional
to gravity, being neither vertical nor horizontal, they are
way from natural designs are known as stylized designs.
either about to fall, or are already in motion. Thus if a feeling
Some abstract shapes are almost universally recognized
of movement or speed is desired, or a feeling of activity,
and easily 'read' even when the text is in an unfamiliar
diagonal lines can be used.
language. The stylized wheelchair, the male and female
Curve Line symbols for restrooms, and the jagged steps for stairs or
an escalator are some examples
Curved lines do vary in meaning, however. Soft, shallow
curves suggest comfort, safety, familiarity, relaxation.
They recall the curves of the human body, and therefore
have a pleasing, sensual quality.

Shapes
A shape is an enclosed object. Shapes can be created by
line, or by color and value changes which define their
edges.

28
Geometric Design (Fig 3) While illusions distort reality, they are generally shared by
most people.[1] Illusions may occur with more of the
Fig 3 human senses than vision, but visual illusions, optical
illusions, are the most well known and understood. The
emphasis on visual illusions occurs because vision often
dominates the other senses.

Space (Fig 6)

Fig 6

FAD901T1003
In addition to the basic square, circle, and triangle dis-
cussed so far, other geometric shapes have specific
meanings, some culturally-based.

Abstract Design (Fig 4)

Fig 4

FAD901T1006
In a picture, the shapes that the artist has placed are
considered the positive shapes. The spaces around the
shapes are the negative spaces.
It is just as important to consider the negative space in a
picture as the positive shapes. Sometimes artists create
pieces that have no distinction between positive and
negative spaces.
FAD901T1004

Since objects in our environment look smaller when they

are farther away, the easiest way to show depth is to vary
the size of objects, with closer objects being larger and
Abstract shapes are stylized or simplified versions of more distant objects being smaller.
natural shapes. A symbol found on signs, such as the
stylized wheelchair shape for handicapped access, is one As well, we perceive objects that are higher on the page and
example. smaller as being further away than objects which are in the
forefront of a picture. (Fig 7)
Illusion (Fig 5)
Fig 7
Fig 5

FAD901T1007
FAD901T1005

An illusion is a distortion of the senses, revealing how the

brain normally organizes and interprets sensory stimula-
tion.

Textile and Apparel : Surface Ornamentation Techniques - Related Theory for - Ex 1.2.01 29
Texture Secondary colours are a mix of any 2 primary colors,
orange, green and purple.
Texture is the quality of an object which we sense through
touch. It exists as a literal surface we can feel, but also as Tertiary colours are a mix of the 3 primary colours, red,
a surface we can see, and imagine the sensation if we yellow and blue. Many different colours can be made by
feel it. changing the amount of primary colours used.
Texture can also be portrayed in an image, suggested to Colour has temperature - reds and oranges feel warm like
the eye which can refer to our memories of surfaces we the sun or desert. Cooler colours like blues and greens go
have touched. So a texture can be imaginary. more with water and ice.
Bristly, rough, and hard – this is what we usually think of Intensity of colour is its strength and purity.
as texture, but texture can also be smooth, cold and hard, Hue is the quality that separates one colour from another.
too. Tone value is the degree of lightness or darkness of a
Smooth, soft, and/or warm and Wet or dry are also colour, yellow is light, blue is dark.
textures; in fact, any tactile sensation we can imagine is Tints are made by adding white to a colour. Shades are
a texture. made by adding black to a colour.
In other words, all surfaces can be described in terms of
texture. Many artists and designers make use of texture as Principles of design
a dominant element in their work.
Harmony
This is particularly evident in craft media, such as fibers,
Harmony means pictorial elements of the same type that
metal, wood and glass, where the tactile qualities of the
"go" together.
material are a major feature.
Harmony can be made where the eye is used to seeing
Color, Value and Hue (Fig 8) objects together, so they form a group eg. Flower pot and

Fig 8
Fig 9

FAD901T1009
FAD901T1008

plants. (Fig 9)
HARMONY can create feelings, similar elements can
Color is one of the most powerful of elements. It has seem calm and pleasing eg. Blues and greens, rectangles
tremendous expressive qualities. Understanding the uses and squares or groups of organic shapes, while contrasting
of color is crucial to effective composition in design and the elements create energy, vitality, tension or anger eg.
fine arts. triangles with circles and squares
The word color is the general term which applies to the
whole subject - red, orange, yellow, green, blue, violet, Emphasis (Fig 10)
black and white and all possible combinations thereof. Fig 10
Hue is the correct word to use to refer to just the pure
spectrum colors. Any given color can be described in terms
of its value and hue. In addition, the various physical
phenomena and psychological effects combine to affect
our perceptions of a color.
Colour is an element of design with endless variety. Colour
is a mixture of 3 primary colors, red, yellow and blue.
FAD901T1010

30 Textile and Apparel : Surface Ornamentation Techniques Related Theory for - Ex 1.2.01
Emphasis is the part of the design that catches the viewer's Proportion is the feeling of unity created when all parts
attention. Usually the artist will make one area stand out (sizes, amounts, or number) relate well with each other.
by contrasting it with other areas. The area will be different When drawing the human figure, proportion can refer to the
in size, color, texture, shape, etc. size of the head compared to the rest of the body.

Balance PROPORTION involves the relationship between sizes -

scale.
Balance involves the distribution of elements in a work
of art. PROPORTION is about realistic relationship or ratio. As an
illustration, the ideal human proportion is eight heads high
Balance is the control of the elements in attracting atten- and the shoulders are two heads wide so artists can
tion. This attention must be evenly or unevenly spread over change these relationships or proportions for dramatic or
the area to make sure interest is kept up, all the way comic effect or to emphasize a feature or quality. In
through the art work, without being static or chaotic. cartoons the head and hands are emphasized by enlarging
Balance can be symmetrical or asymmetrical them beyond realistic scale.

Balance can create movement, tension or calmness. PROPORTION is familiar to us all so artists can use the
warping or normal proportions to suggest emotions or
Balance of the pictorial elements can act like a see-saw or affect the status of a subject.
lever.
Rhythm
The elements can be balanced around a vertical, horizontal
or diagonal Rhythm is created when one or more elements of design
are used repeatedly to create a feeling of organized
Imbalance/Asymmetrical balance/informal balance movement. Variety is essential to keep rhythm exciting
(Fig 11) and active, and moving the viewer around the artwork.
Rhythm creates a mood like music or dancing.
Fig 11

Rhythm through Lines (Fig 13)

Fig 13
FAD901T1011

SYMMETRIC ASYMMETRIC

Asymmetrical, or informal, balance is usually much more

interesting than symmetrical balance. In asymmetrical
balance the imaginary central pivot point is still presumed
to be present; however, instead of mirror images on each

FAD901T1013
side of the picture area, the subject elements are notably
different in size, shape, weight, tone, and placement.
Balance is established by equalizing the element forces in
spite of their differences RHYTHM is about the rate the eye moves throughout the
work of art. This is usually because the eye moves, jumps
Proportion (Fig 12)
or slides from one similar element to another in a way
similar to music.
Fig 12
GOOD PROPORTION

Rhythm through Gradation (Fig 14)

Fig 14

BAD PROPORTION

EQUAL DIVISION CREATES MONOTONY

FAD901T1012

FAD901T1014

DIVISION TOO UNEQUAL CREATES LACK OF HARMONY

Textile and Apparel : Surface Ornamentation Techniques - Related Theory for - Ex 1.2.01 31
Rhythm may be in the form of GRADATION where the Unity discusses the need to tie the various elements of a
repeated elements slowly become smaller or larger. work of art together. Unity is a measure of how the
elements of a page seem to fit together - to belong together.
Rhythm through Progression (Fig 15) A unified work of art represents first a whole, then the sum
of its parts.
Fig 15
Ways to Achieve Unity

Proximity
The simplest method of making objects appear to belong
together is to group them closely together. This allows us
to see a pattern.

Repetition

FAD901T1015
Another method often used to promote unity is the use of
repetition. Repetition of color, shape, texture or object can
be used to tie a work together.
The designs when it is progressed by any form of size, color Continuation
or shape repetitively then it is called rhythm through
progression. A much more subtle method of unifying a work involves the
continuation of line, edge or direction from one area to
Rhythm through Repetition another.
REPETITION is the use of similar or connected pictorial
elements. For example, similar shapes, colors or lines
that are used more than once.

UNITY (Fig 16)

Fig 16
FAD901T1016

32 Textile and Apparel : Surface Ornamentation Techniques - Related Theory for - Ex 1.2.01
Textile and Apparel Related Theory Exercise 1.2.02
Surface Ornamentation Techniques - Element of design and development

Lines
Objectives: At the end of this exerciseyou shall be able to
• explain the method of using tools for drawing
• explain precaution for drawing
• demonstrate the usage of lines in his design.

Pencil
A pencil is a writing implement or art medium usually Color Pencils (Fig 15)
constructed of a narrow, solid pigment core inside a
This introduces some basic color pencil strokes which will
protective casing. The case prevents the core from break-
be useful in your drawing. It is a good idea to spend some
ing, and also from marking the user's hand during use.
time exploring the color pencil medium with small pieces
Scale before attempting a major drawing.

A ruler-like device which facilitates the production of As with graphite pencil, there are a range of techniques
technical drawings which you can employ when drawing with colored pencil.
Which one you choose will depend on the final effect you
are aiming to achieve
Fig 14 Shading: Using a straightforward side-to-side shading
motion, a smooth even layer of color is built up. A very light
touch can be used to deposit the faintest amount of
pigment for graduated shading.
Hatching: Rapid, regular, evenly spaced lines are drawn,
leaving a little white paper or underlying color showing.
Cross-Hatching: Hatching overlaid at right-angles. This
can be done with different colors, or carried through
multiple layers, to create a textured effect.
FAD901T0114

Fig 16

Pencil Drawing and Mark-Making (Fig 14)

In this pencil drawing lesson, we'll focus on the importance
of mark-making. Mark-making is the expression we use to
describe the process of applying pencil to paper. You can
improve your pencil drawing skills by carefully considering
your pencil and how it hits the page.

Shading using normal pencil

Controlling and exploiting the possibilities of the mark is an
important step in developing as an artist.
FAD901T0116

Fig 15

Scumbling (Fig 16)

The 'brillo pad' method, tiny overlapping circles rapidly
drawn. Again, it can be used to build up a single color or
different colors.
Directional Marks: Short directional lines which follow a
contour, or the direction of hair or grass or other surfaces.
These can be densely overlaid to form a rich textural effect.
FAD901T0115

Incised Marks: Incised Marks: Two thick layers of color

are overlaid, then the top color gently scratched into with
a blade or pin to let the lower layer show through.

33
BURNISHING: Burnishing is simply layers of colored Shading is a process used in drawing for depicting levels
pencil overlaid with strong pressure so that the tooth of the of darkness on paper by applying media more densely or
paper is filled and a smooth surface results. This image with a darker shade for darker areas, and less densely or
shows a burnished surface compared with a basic overlay with a lighter shade for lighter areas.
of color. With some colors, especially with waxier pencils
There are various techniques of shading including cross
than the watercolor pencils used for this example, a quite
hatching where perpendicular lines of varying closeness
translucent and jewel-like effect can be obtained with
are drawn in a grid pattern to shade an area. The closer the
careful burnishing.
lines are together, the darker the area appears. Likewise,
Standard Precautions for Drawing the farther apart the lines are, the lighter the area appears.

• Sharpen your pencil before drawing Light patterns, such as objects having light and shaded
areas, help when creating the illusion of depth on paper.
• Be clear about the image to get the exact effect (Fig 2)
• Use a support under the sheet while drawing to avoid Fig 2
disturbances
• Get branded pencils to avoid breakage of pencil and
pencil nibs.

Understand Basic Drawing Techniques

Drawing is a form of visual art that makes use of any number
of drawing instruments to mark a two-dimensional me-
dium.
Instruments used include graphite pencils, pen and ink,

FAD901T0302
inked brushes, wax color pencils, crayons, charcoal,
chalk, pastels, various kinds of erasers, markers, sty-
luses, and various metals (such as silverpoint). An artist
who practices or works in drawing may be called a Shading alters the colors of faces in a 3D model based on
draftsman or draughtsman. the angle of the surface to a light source or light sources.
A small amount of material is released onto a surface, The first image below has the faces of the box rendered, but
leaving a visible mark. The most common support for all in the same color. Edge lines have been rendered here
drawing is paper, although other materials, such as card- as well which makes the image easier to see.
board, plastic, leather, canvas, and board, may be used.
The second image is the same model rendered without
Temporary drawings may be made on a blackboard or edge lines. It is difficult to tell where one face of the box
whiteboard or indeed almost anything. The medium has ends and the next begins.
been a popular and fundamental means of public expres-
The third image has shading enabled, which makes the
sion throughout human history. It is one of the simplest and
image more realistic and makes it easier to see which face
most efficient means of communicating visual ideas. The
is which. (Fig 3)
wide availability of drawing instruments makes drawing one
of the most common artistic activities. Fig 3

There are several categories of drawing, including figure

drawing, cartooning, doodling and shading. There are also
many drawing methods, such as line drawing, stippling,
shading, etc., (Fig 1)
FAD901T0203

Fig 1 Rendered image of a box. This This is the same image with the This is the same image rendered
FAD901T0303

image has no shading on its faces, edge lines removed. with shading of the faces to alter
but uses edge lines to separate the colors of the 3 faces based on
the faces. their angle to the light sources.
FAD901T0301

Line is the most basic design 'tool'. A line has length, width,
tone, and texture. It may divide space, define a form,
describe contour and suggest direction.

Shading & Lighting

Shading refers to depicting depth perception in 3D models
or illustrations by varying levels of darkness.

34 Textile and Apparel : Surface Ornamentation Techniques - Related Theory for - Ex 1.2.02
Lighting (Fig 4) Drawing lines
Fig 4 Lines drawing and painting colours are the two very
important steps towards sketching. Constant practice of
drawing lines and curves gives confidence to the student in
sketching .Painting strocks on the paper on the colour
wheel will give a knowledge of colour itself and learn the
combination of colour.
This exercise will help the student to implement his ideas
with lines and colours in this designing.
To start with this exercise a student has to practice drawing
lines and constantly being corrected by the instructor
which will take him on the right way.
Lines provide a visual dimension of length and width. Lines
offered a path of vision. When a (person)(customer) wears

FAD901T0304
an outfit.
SHADING EFFECTS FROM FLOOD LIGHT
Types of lines are:
Shading is also dependant on the lighting used. Usually,
Horizontal lines
upon rendering a scene a number of different lighting
techniques will be used to make the rendering look more Vertical lines
realistic. Different types of light sources are used to give Diagonal lines
different effects.
Curved lines
Ambient lighting
An ambient light source represents a fixed-intensity and
Horizontal lines:
fixed-color light source that affects all objects in the scene
equally. Upon rendering, all objects in the scene are These lines add width of the garments and cut the height.
brightened with the specified intensity and color. This type
Example:
of light source is mainly used to provide the scene with a
basic view of the different objects in it. This is the simplest A wide contrast belt with shorten the height of the figure by
type of lighting to implement and models how light can be divide the garment (dress) into two segments. But wearing
scattered or reflected many times producing a uniform a self colour belt will not give this effect. This trends to show
effect. tall person short.
Shading is interpolated based on how the angle of these Vertical lines:
light sources reach the objects within a scene. Of course,
these light sources can be and often are combined in a These lines add height to the garment and cut the width. A
scene. The renderer then interpolates how these lights contrast colour vertical band in the centre front or from the
must be combined, and produces a 2D image to be shoulder till the neckline gives an added height to the outfit.
displayed on the screen accordingly. (Fig 5) This trends to show short person to tall.

Fig 5 Diagonal line:

5 VALUE GRID
These lines add or cut the height depending on their slope.
These lines direct the vision through the diagonal weaves
or prints which makes the figure slim.

Cast Shadow Curve line:

Highlight This line reflects the shape of a natural body. Curve lines
shows both slim and bulkiness of a design or body. These
curved lines also shown in circular motion or way appear
Shadow Edge
Transfer slightly straight. These lines give gracefulness to the eye
when seen. Most of the curves lines can be seen on
diagonal direction denoting(showing)folds(pleats)ruffles (frill)
drape(tall of fabric on a dummy).
FAD901T0305

Reflected Light Shadow Edge

The way of arranging vertical ,horizontal, diagonal, curve
lines creates movements like opposition, transition, radia-
tion.

Textile and Apparel : Surface Ornamentation Techniques - Related Theory for - Ex 1.2.02 35
When in designing or drawing, oblique lines are used which Designing in organising or creating a design to
is the combination of Horizontal and Vertical lines. communicate an innovative idea. In this field clothing in
divided into two division.
Curve line drawing give the effect of transition. When a line
slips through another transition is seen. Structural Designing

Collar with Pin tuck stitches. Decorative designing

These are the factors designing.

Structural Design:
This defines the garment designed. Different part of a
garment in drawn separately to make sample pattern in the
industry by the pattern master. This work is done by the
designer in the buying house which specifies the construc-
tion, colour, thread, trimming and measurement, cuts
When lines highlights the stitching or folds, drapes, it gives
used. This system in used in industry.
the effect of radiation(attract attention).
Decorative design:
Line provides a path which the eye travels. The objective of
this Exercise is how to use lines and to show what type of This defines the garment detail which in designed in
human body, curve lines shows naturally human body, boutique (shop) which is custom made or one to one
Vertical lines slimes the human body, Horizontal lines bulk required design. Specification of this design is not prepared
the human body. and standard measurements are not used. This is made for
an individual.

36 Textile and Apparel : Surface Ornamentation Techniques - Related Theory for - Ex 1.2.02
Textile and Apparel Related Theory for Exercise 1.2.03
Surface Ornamentation Techniques - Element of design and development

Forms and geometrical drawings

Objectives: At the end of this lesson you shall be able to
• state the features of form
• list out the types and application of forms in designing
• state the different types of form used in geometrical drawing.

Forms and shapes are areas or masses which define

objects in shapes. Froms stands for shape and size. It
imply space; they can also be described as either organic
or geometric. Organic forms are most often thought of as
naturally occuring. Geometric forms are those which
correspond to named reular shapes such as squares,
rectangles, circles, cubes, spheres, cones and other
regular forms.
Type of Forms
Forms are of various types. In the art of drawing, only the
following five forms are used in designing basically With
these basic forms as axis, many other forms like polygon,
oval, cubical, cylindrical etc are prepared/ designed. (Fig
1)
These five basic forms also act as the base for non-
geometric designs when they are used as per requirement.
Various designs can be drawing with the help of these
forms and shapes.
Application of Forms
Application of forms in designing is an important feature of
the design. Placing the perfect form at suitable position in
a design gives it the perfect finishing. When a design/
form is misplaced or imperfect, the effect of the entire
design gets spoiled. The design selected to be drawn,
should be analysed and arrived at and identified the forms
in the design. It should be presented/ drawn with all its
requisite mixed at proportionate ratios.

37
• All the fabrics and garments made with plain, strips, Ellipse
chems, natural, animal and fruit designs. The designs An oval or a flattened circle.
are used in different occassion like marriage, birthday
party, uniforms and festivals straight lines and strong
angles of geometric shapes convey stability, power and
confidence. Curved shapes convey feminity and
confidence. Unequal geometric shapes have more
interest. Shape is a space enclosed by lines, e.g. a
silhouette is the outer shape of the garment. A shape
features in the garment structural and decorative feature
of the garment. The basic shapes are natural,
geometrical and abstract.
• Fabrics and garments are used by the people having
different types of human figure structure. Cone
Therefore a designer must undersatnd the different A shape with a flat round or oval base and a top which
types of forms in drawing to design the fabric/ garment narrows to a point
according to the uses and structure (Physical
appearance) of the body of the person.
Square
A flat shape with four sides are in equal length and for
angles are 90o.

Hexagon
A shape which has six straight sides hexagonal. All the
sides are equal.

Rectangle
A flat shape with four 90o angles and four sides, with
opposite sides of equal length.

Octagon
A flat eight sided shape. All the sides are equal.

Triangle
A flat shape with straight three sides

38 Textile and Apparel : Surface Ornamentation Techniques - Related Theory for - Ex 1.2.03
Pentagon Circle
Five-sided shape with five angles. A continuous curved line, the point of which are always
the same distance away from the fixed centre point.

Trapezium
A flat four sides shape where two of the sides are parallel.

Textile and Apparel : Surface Ornamentation Techniques - Related Theory for - Ex 1.2.03 39
Textile and Apparel Related Theory for Exercise 1.2.04
Surface Ornamentation Techniques - Element of design and development

Shapes and designs

Objectives: At the end of this lesson you shall be able to
• explain about shapes
• explain about designs
• explain creating of design.

Shape Creating a design

Shapes are geomentric figures made up of lines in different
The key to good design development is good research
formations. Shapes give appearance to a fashion figure. It
material that actually means something special for the
is an inportant element of a design. The variation in sizes
purpose. As the designing process continues different
and arragements of lines and curves from different types of
skills are required and personnel judgment, decision mak-
shapes. Square, rectangle, triangle, oval circle are basic
ing, is needed to select ideas thtat need to be developed.
shapes used in fashion sketching.
Starting to collect required materil will provide a focus for
Designs your thoughts and material from which to start generating
ideas. Collection of colour schemes, articles, sketches, it
Designs are the forms of shapes and sizes in appropriate can be come from anywhere can be completely original
proportions as suitable to the requirement. There are and connected to the designer in a very individualistic way,
different types of designs, scenic designs, abstract de- or can be the current trends.
signs etc., The design to be sketched is based on its
purpose. Line, shape, color, tone, texture, direction, size,
mass are the basic elements of a design.

40
Textile and Apparel Related Theory Exercise 1.2.05
Surface Ornamentation Techniques - Element of design and development

Color and color combination

Objectives: At the end of this lesson you shall be able to
• state about implementing of colour & learning of colour combination.

Colour: winter but use of this colour in large scale given depression.
The life giving element in fashion designing. Colours play a Black:
very important part in human life. Choosing effective colour
scheme is more important. Night, death, evil, black magic, orthodox colour an elegant
colour for party and evening wear, the light colour for winter.
Colours have to balance the harmony and rhythm in the
design to give proportionate effect on a design. They make (list the other reasons and uses of the above given colours).
a design attractive and lively and various emotion and Colour is divided into 3 elements (dimensions)
feeling can be expressed by colours.
Hue, value, intensity
Colours give both physical and psychological ef
fect to the eye. Hue:
Another name for colour.
There are some colour which are associated with emotion
such as- Value:
Red: Lightness or darkness of a colour.
Colour of blood, flame, and symbol of love when we come Intensity:
in contact of red it is attractive and it speeds up the body's Brightness or dullness of colour.
metabolism.
Colour Wheel:
Red is preferred colour indicated on valentine's day some
arranged function specious items (kumkum, bangles, Colour wheel has 12 colours and main or key colours on the
beads chain) wheel are primary colour,

Yellow: Secondary colour, tertiary colours. This colours are used

to establish their relationship with each other.
Gives happiness, sunshine, flowers, and cheerfulness.
Colour of spring .When your friend or you say are emotion- What is Primary colour ?
ally sad that when you see yellow than your mind stabiliser. Primary colour are natural colours which cannot be got by
Green: mixing any colour. They are Red Yellow, Blue.

Tranquil and colour of tree and grass (fertility) gives life. This How do you get secondary colour ?
colour is also dangerous because it is colour of poison and When two primary colour are mixed in equal proportions we
jealousy (felling bad for somebody) Olive green gives a get secondary colour.
sophisticated (elegant) look only to some people.
Red(1 drop)+ Yellow(1drop)= Orange
Blue:
Yellow(1drop)+Blue(1drop)=Green
Colour of sky sea. Light blue gives a younger look .Dark
blue has a dignified look. Blue(1drop)+Red(1drop)=Violet.

Purple: How do you get tertiary colour?

An elegant colour used by royal people, fashionable colour Mixing of one primary with secondary gives tertiary col-
used informal evening wear. Though it is an artificial colour ours.
the lighter shades of purple is used for women wear. Mixing colours with proportion
Brown: Red(2drop)+Yellow(1drop)=Red Orange
Soil and rich fertile gives sad and wistful feeling (day Yellow(2drop)+Red(1drop)=Yellow Orange
feeling). It can be a romantic colour if used colourfully while
designing. This stage we can see the family colour of Red.
(Red, Reddish orange, Orange, Yellowish Orange,
White:
Yellow).
Denote purity, innocence, peace this colour denote with

41
 Yellow(2drop)+Blue(1drop)= Yellow green Example:
Blue(2drop)+Yellow(1drop)=Blue green Orange and blue
There we see the family of green Yellow and violet
(Yellow, Light green, green, Blue ,Green, Blue) Green and purple.
Blue(2drop)+Red(1drop)=Blue violet Choosing of four colour on the wheel in split complimentary
color
Red(2drop)+Blue(1drop)= Red violet.
We also get to see the family of Blue Example:

(Blue, Royal Blue, Violet, Purple, Red) Yellow with yellow green

Mixing of colour must be proper given proposition which Blue violet with violet.
will give the actual colour. Colours without colour or natural colour are Achromatic
colour

What is Value ? Example :

When white colour or black colour is added to the natural White, Black, grey
colour we get to see lighter or darker shades of one colour. Using various value and intensity of a colour is
Monocromatic colour.
(Take one colour of your choice from the colour wheel, start
adding small drops of white colour to the natural colour step What is the quality of colour?
by step fill you gets white colours.
The combination of light, dark of a colour is called as
We can see the difference of one colour step by step from quality of colour.
natural to white). 1. Tone
On the colour wheel 2. Light colour
When all the 12 colours are painted it is divided into 2 as 3. Dull colour
warm colours and cool colours.
4. Dark colour
Warm colours are from purple to yellow and cool colours
are from light green to violet. 5. Vivid colour
Tones:
Warm colours are used in winter season reason these
colours keep you warm in cold weather. Cool colour are Mixing white or black to the base or natural colour this give
used in summer season reason these colours keeps you the brightness to a colour . It dullness to a colour has to be
cool in sunny weather. given then grey(combination of black and white together)
should be added to the natural colour.
Colour schemes or relation:
Light colour:
Selecting of 2 colour that are equally place on the colour
wheel are called Diad colour . Mixing white with natural colour. Here you can see the
lighter shades of a colour. You can find these lighter colour
Example: in the women collection of dresses.
Red with orange
But these colours denote catch the eyes, but have their
Yellow with green own vale in the group of colour scheme.
Blue with violet Dull colour:
Selecting of 3 colour that are placed equally on the Reducing the brightness of a colour by adding grey to the
colour wheel is called Triad colour. natural colour. These colours reduce tension. Adding of
Example: less grey gives diffuse or blue effect and adding more of
grey gives muddy effects.
Red, yellow, blue, orange, green, violet.
Dark colour:
Selecting of 4 colour or more on the colour wheel is
called tetrad. Dark colours relate to royalty .Adding of black give weight
to the colour and the dress. Most of the gents/men's wear
Combination of one colour with the opposite colour is have these colours. We can see in suits and formal wear.
called Complementary colour. When lighter colour are paired or combined with this dark
colour it is more conventional and comfortable in use.

42 Textile and Apparel : Surface Ornamentation Techniques - Related Theory for - Ex 1.2.05
Textile and Apparel Related Theory Exercise 1.2.06
Surface Ornamentation Techniques - Element of design and development

Color schemes
Objectives: At the end of this lesson you shall be able to
• explain feature of color harmonies.

Color Schemes (Color Harmonies): Warm Colors and Cool Colors

The warm colors include reds, oranges, and yellows, these

colors create the feeling of being closer; the cool colors
include blues, greens and violets, these colors have a
tendency to feel like they are receding or backing away
from you and they create cool tones.

Color schemes

Monochromatic color scheme

A monochromatic color scheme uses a single color mostly.

In this type of scheme, various darker shades, grayer tones,
and tints of the main color may be included in coloring. In
addition, the one color is often paired with white or another
Monochrome (meaning “one color”) color harmonies include neutral.
only one color in different value (i.e.) the lightness and
darkness of a color and intensity (i.e.) the brightness or Analogous color scheme
dullness of a color. An example of a monochrome color
Analogous colors are colors that are adjacent to each
scheme includes any color mixed with white, gray, or black.
other on the color wheel. Some examples are green, yellow
For example, red, rose and pink (red mixed with white)
green, and yellow or red, orange and yellow. This color
are monochrome.
scheme is often found in nature and are pleasing to the
Adjacent colors are also known as called analogous colors. eye. The combination of analogous colors give a bright
They uses colors that are adjacent to each other on the and cheery effect to the design. When using the analogous
color wheel. An example is a color scheme that includes color scheme, one should make sure there is one hue as
various values and intensities of blue and violet. the main color.

Complimentary colors are the colors opposite each other Complementary color scheme
on the color wheel. For example, violet and yellow, red
Colors that are opposite each other on the color wheel,
and green, and blue and orange are examples of
such as blue and orange, red and green, purple and yellow.
complimentary colors.
Complementary color schemes creates a more energetic
A single split complement uses a primary color with colors feel. The high contrast between the colors creates a vibrant
on either side of its complement. An example is a color look.
scheme that includes various values and intensities of
Split-complementary color scheme
violet, yellow - green and orange - yellow.
A color scheme that includes a main color and the two
A triad uses the colors at the points of an equilateral triangle
colors on each side of its complementary (opposite) color
(i.e.) three colors spaced equally on the color wheel. These
on the color wheel. These are the colors that are one hue
are also known as balanced colors. An example of a triadic
and two equally spaced from its complement. To avoid
scheme could be red, blue, and yellow; green, orange,
fatigue and maintain high contrast, this color scheme
and purple, etc.
should be used when giving power point presentations, or
A double split complement are also called tetradic, uses when using a computer for an extended period of time.
two pairs of complements, one apart on the color wheel. Additionally, certain colors should not be mixed, like red
An example is red, green, orange, and blue. and green. Colors that should be used are red/purple and
yellow/green.

43
Tetradic color scheme Warm and Cool Color Schemes

Tetrads or quadrates is the color scheme of any four colors A color scheme that does not include blue at all its Warm
with a logical relationship on the color wheel, such as color scheme. Where as, the color scheme that do not
double complements. include red at all is known as cool color scheme.

Neutral color scheme

A color scheme that includes only those colors that are not
found on the color wheel are known as neutrals. Beige,
brown, white, black, and gray are the examples of neutral
colors.

44 Textile and Apparel : Surface Ornamentation Techniques - Related Theory for - Ex 1.2.06
Textile and Apparel Related Theory Exercise 1.2.07
Surface Ornamentation Techniques - Element of design and development

Grey colours
Objectives: At the end of this lesson you shall be able to
• define White and Black colour.
• explain Grey colour using by white and black colour.
Black colour
Night, death, evil, black magic, orthodox colour on elegant
colour for party and evening wear. The right colour for
winter.
White colour :
Denotes purity, innocence, peace, this colour denotes with
winter but use of this colour in large scale given dipression.
When white colour or black colour is added to the natural
colour we get to the lighter or darker shades of one colour
black + white = grey color.
Black, White and Grey are not true colours. They are
considered to be neutral a chromatic colours.
Light colours or Grey colour:
Mixing white with black colour. Here you can see the lighter
shades of a colour. you can find these grey colour in the
dress

45
Textile and Apparel Related Theory Exercise 1.2.08
Surface Ornamentation Techniques - Element of design and development

Enlargement and reduction of designs

Objectives: At the end of this lesson you shall be able to
• state the features of enlargement and reduction of designs
• state the principles of making the design.
Designing is an art of expressing a value in a definite form. Enlarging or reducing a design is done following a definite
A design consists of various features and factors to be method. The design choosen is first viewed and analysed
considered while designing. A design may be a geometri- to decide upon either to enlarge or reduce it. The required
cal or non-geometrical pattern. At every place of its size of the design is finalised. The original design is then
application, the size of the design plays an important role. worked out to enlarge/ reduce it proportionately.

When the design drawn is all perfect in its every aspect The design is enlarged/ reduced using measurements of
but fails to satisfy the required size, it is of no use to increased (enlarge) or decreased (reduce) size. The
convey its purpose. Thus, the design selected can be either original design is measured and the ratio at which it should
enlarged or reduced as required to suit the purpose. be enlarged/ reduced is found out and changed.

46
Textile and Apparel Related Theory for Exercise 1.3.01
Surface Ornamentation Techniques - Zig Zag embroidery machine
Types of embroidery machines
Objectives: At the end of this exercise you shall be able to
• state the introduction to the machine
• explain the types of embroidery machines.

Embroidery is a rich and versatile art. This technique is

used to create pattern on fabric using threads, needle and
other material. Embroidery can be done by both hand and
machine.
There are different types of embroidery machines are in
the market and each one have its own special feature.
Generally three types of machines are categorized
according to their speed, accuracy and capability etc.
Types of different machines are as follow:

Embroidery machines

Manual machines Computerized embroidery

machine

Treadle machine

Power machine

Zig-zag embroidery Sewing and

machine embroidery machine

machine Domestic computerized Industrial Embroidery

machine machine

47
Manual Machine
Fig 3
It is a simple domestic sewing machine with its treadle
(Fig 1).

CT110923
Running stitch and zig-zag shape stitches can be done
using this machine. It creates running stitch or straight
stitch on ‘O’ no. and ziz-zag or satin stitch on ‘3-5’ no.
(Fig 4)
This machine is very easy to operate and its used for
embroidery. Embroidery frame is controlled freely by Fig 4
hands. (Fig 2)
Fig 2

SO1301H4
Embroidery hoop is controlled freely by hand.
Sewing and embroidery machine
This machine is also known as ‘Disk system machine’.
These machine have the capabilities of both sewing and
embroidery. Some particular embroidery pattern can be
done with this machine (Fig 5).
Fig 5
SO1301H2

Power machines
Power machine are motorised embroidery machines.
Two types of power machines are :
SO1301H5

Embroidery machines
This machine also known as zig-zag embroidery
machine (Fig 3).

48 Textile and Apparel : Surface Ornamentation Techniques - Related theory - Ex 1.3.01

 Some machine have separate embroidery units that Multi head computerized machine
attach to the machine while other have built n embroidery These machine are generally used in industries because
function that are out of the way when not in use (Fig 6) of production work. These machines have multi needles
Fig 6
in each one head. The number of needles can vary
according to the machine. (Fig 8, 9)

Fig 8

SO1301H6
Computerised embroidery machine

SO1301H8
There are many types of computerised embroidery ma-
chine are available in the market according to their size,
type and capabilities. These macine are controlled by Fig 9
computer and its work automatically. These machine are
operated by special software called ‘Embroidery digitizing
software’. Two types of computerised embroidery ma-
chines are as follow :
Domestic computerised embroidery machine
These machines have the capabilities of computerized
machine embroidery and also can be used for stitching
garments. These machines have coloured screen and
have one or two needles. (Fig 7)

Fig 7

SO1301H9
SO1301H7

Textile and Apparel : Surface Ornamentation Techniques - Related theory - Ex 1.3.01 49

Textile and Apparel Related Theory for Exercise 1.3.02
Surface Ornamentation Techniques - Zig Zag embroidery machine

Introduction to the zig-zag embroidery machines

Objectives: At the end of this exercise you shall be able to
• state the introduction to the zig-zag embroidery machine
• describe the setting of zig-zag embroidery machine.

Embroidery only machines known as power machines

Fig 3
and zig-zag embroidery machines. Creating embroidery
on fabric using this machine is an art and its needs lots of
practice. Because the embroidery hoop is controlled
freely by hand rather than being fixed to the machine.
(Fig 1)

Fig 1

SO1302H3
Using it width of stitches can be fixed from 0-8 mm
according to design and its is also can be controlled using
knee pad or knee lifter, to make pointed leafs shape etc.
Knee pad is located in the bottom side of the machine.
(Fig 4)
Fig 4
CT110923

Zig-Zag embroidery machine is a full shuttle easy to

operate machine. This machine has only one or two
needles. It can sews the stitch in zig-zag shape called
'satin stitch’ and straight called 'Running stitch'. (Fig 2)

Fig 2
SO1302H2

SO1302H4

Other stitches such as picot, darning, shade work, cording

scallops and appliqué work etc. can be done using this
machine. Any type of fabric such as silk, cotton, and rayon
This machine fits on metal or wooden stand. It is motor-
can be used for embroidery.
ised machine and generally 250 watt motor is used in this
Power machine has stitch controller located in front right machine. The zig -zag machine can sews generally 800-
side of the machine and it contains 0-8 numbers on it, 1200 stitches per minute. The speed of machine can be
which shows the width of stitches in mm (Fig 3). controlled by accelerator located at bottom part of stand.

50
Textile and Apparel Related Theory for Exercise 1.3.03
Surface Ornamentation Techniques - Zig Zag embroidery machine

Machine parts and their functions

Objectives: At the end of this exercise you shall be able to
• identify the parts of embroidery machine and name their functions
• explain the importance of machine maintenance
• explain the importance of needle guard policy.

Common parts of the embroidery machine and their func- 9. Needle bar :
tions are as follow: A vertical bar that holds the needle, and moves the needle
1.Belt (motor or machine) : up and down.
The belt transmit circular motion from the pulley to the 10. Needle bar clamp :
hand wheel allowing the machine to operate. The screw secure the needle in place.
2. Bobbin winder : 11. Oil guage :
The part that weld to fill the boobin. The part that indicates the amount of oil in self-oiling
3. Face plate : machine.
Located on the left side and cover the needle bar and 12. Machine pan :
pressure bar etc. The metal pan located under the head that catches oil
4. Hand wheel : and lint. On self-oiling machines, it holds the oil.
Also known as balance or fly wheel, controls the motion 13. Pulley :
of the machine manualy or electrically The wheel that attached to the motor and transmits mo-
tion from the motor to the hand wheel by a belt.
Fig 1
14. Rotary hook assembly :
That part holds the bobbin case.
15. Stand :
A metal or wooden structure upon which the table is fixed.
16. Switch :
A button that turns the machine on or off.
17. Stitch controller :
A device that regulates stitch width.
18. Slide plate :
CT110923

A removable cover at left side of the machine bed that

allows access to the lower mechanism.
5. Head : 19. Table :
The part of the machine above the table,containing the The cabinet up which the bed fixed.
stitching manchanism.
20. Take up lever :
6. Hook :
The part that loosen the top thread during the stitch for-
Known as rotary hook,a rotating device that hooks the mation then removes any stack to set the stitch.
needle thread to cary it around the bobbin and form the
lock on the lock stitch. 21. Thread guide :

7. Motor : The part that guide the thread from thread cone to the
needle smoothly and protect it from tangles.
The electrical unit that drives the machine.
22. Thread stands :
8. Needle :
A metal device that holds the thread cones.
The part that penetrate the fabric, it carries the upper
thread through the fabric to create a stitch.

51
23. Tension discs :
Fig 2
Two concave discs that control the delivery of the upper
thread from the spool to the needle.
24. Bed :
The working surface of machine under which is located
the mechanism.
25. Knee pad :
Also known as knee lifter or knee press. A lever located

CT11021F
under the sewing table to control the width of each stitch
with the right knee.
26. Pedal : To clean the shuttle race, remove the two screws holding
Known as accelarater. It controls machine speed. the shuttle race assembly to the machine, take out the
shuttle race, wipe its groove free of dirt, fluff and broken
Care and maintenance of machine bits of thread. Sometimes loose thread wind around the
In the apparel and textile industries a clean and well-oiled rivets of the treadle and make the machine hard to run.
machine is very essential for safety as well as good per- You should remove thread bits caught in the wheel and all
formance. The same is true in the classrooms or work lint and dust sticking to the treadle part. (Fig 3)
shops. Cleanliness of machine and other thing such as
table, stand, work station area and tools and equipment Fig 3
is the responsibility of students who use the machines.
The machines are given a quick oiling after every eight
hours of operation and cleaning once a week. Machines
are cleaned very frequently when sewing materials
produce a lot of lint.
Importance
- To prevent stitching faults.
- For safety purpose.

CT11021G
- For good performance
- for smooth production work Oiling: It is necessary to oil and lubricate the machine
- To prevent accidents periodically. If the machine is used everyday, oil it once a
week. If you use it infrequently then once a month should
- To prevent damage to the machine be sufficient. To oil thoroughly, remove the upper thread,
Regular cleaning, oiling and care of the machine ensures needle plate, slide plate, faceplate, bobbin case, needle
satisfactory sewing and a long life for the machine. When not and presser foot. Put special sewing machine oil in all oil
in use, keep your machine covered to prevent dust from holes and joints where one part rules against another.
settling on it. While oiling, turn the flywheel back and forth to help the oil
flow to the moving parts. (Fig 4 & 5)
Cleaning: You should always remove lint deposits, dust
and thread bits before oiling any part of the machine. Use Fig 4
a small dry brush or a toothbrush and a soft cloth to
remove dust and lint. Use a pointed instrument like a
needle to pick out bits of thread and lint that cannot be
brushed out. To clean the feed dog remove the needle
plate of the machine and brush off lint deposits and dirt
sticking to the feed mechanism. (Fig 2)
CT11021H

52 Textile and Apparel : Surface Ornamentation Techniques - Related theory - Ex 1.3.03

 Fig 5 Fig 7

CT11021I

CT11021K
After oiling the points on the head of the machine, tilt the
machine head back to oil the points on the bed of the Needle guard policy
machine. It is essential to oil the shuttle race. On a treadle
Needle guard policy is also known as needle control
machine, the belt will have to be released before tilting the
system. Needle control system is a part of product safety
machine head back. (Fig 6)
compliance. As per the survey reports United States and
Fig 6 European countries have strict regulations for children's
clothing. These regulations require the retailers, among
other things, to ensure that broken parts of needles or any
other metal object do not find their way into the garment
or its packaging, can cause injury to the customers.
Therefore, factories are required to put in place reliable
procedures to prevent needles, pins or other sharp metal
objects from entering the final products. Similar precautions
are also required for under garments.
Factories need to ensure that each and every needle in
the factory is accounted for. There should be no needles
in the factory anywhere except the ones attached to
machine and those in the stock. Broken needles parts
should be collected and kept safely for record.
Garment manufacturers should adopt a policy and a set
of operating procedures to prevent and detect a metal
CT11021J

contamination in the garment. A factory can take the

following measures to establish an effective needle control
system.
Do not forget to oil the machine stand. (Fig 7)
The needle control can be done by the following steps
When the machine has been thoroughly oiled, wipe away
excess oil and run it slowly for several minutes on a waste 1 The factory should keep the entire stock of new
piece of material. Before you close the machine, place a needles under lock and key and away from sewing
scrap of material under the pressure foot and lower the area.
needle. The fabric will absorb the excess oil that might 2 They can maintain the broken needles record.
drain down through the machine and will prevent formation
of oil spots on your work, when the machine is used. 3 All the parts of broken needles should be collected
immediately and disposed properly.
If there is excess oil in the machine, put a drop of kerosene
or petrol in each oil hole and joints and run it rapidly for 4 The factory should not allow the operators to keep
several minutes. Then wipe off the oil that oozes out with spares needles.
a soft cloth and re-oil the machine. It will need a second
oiling within a few hours after this treatment.

Textile and Apparel : Surface Ornamentation Techniques - Related theory - Ex 1.3.03 53

Textile and Apparel Related Theory for Exercise 1.3.04
Surface ornamentation technique

Defects and remedies of embroidery machine

Objectives: At the end of this exercise you shall be able to
• explain machine troubles occuring while embroidering with and name its ractification.

Fault Causes Remedies

Skipped Needle bent. Needle set to wrong side. Needle Check and fix the needle in a correct position.
stitches set with long groove turned inserted too high or Check whether it is threaded properly. Stitch with
too low in the needle bar. Needle too small. a scrap of material to remove excess oil.
Needle threaded from the wrong side. Excess oil
on shuttle.

Upper Poor thread. Machine incorrectly threaded. Select an appropriate (correct) thread and needle.
thread Needle set on wrong side. Needle too fine. Thread the needle properly. Check the upper
breaking for thread. Needle threaded from the wrong side. tension and the hole in the needle plate (which
Upper tension too tight. Sharp edge on needle should be smooth) and also for take up spring.
plate hole or shuttle thread. Take-up spring
broken.

Lower Poor thread. Lower tension too tight. Bobbin case Clean the bobbin case and select the correct
thread threaded wrongly. Sharp edge on the needle plate. thread and wind it uniformly. Check the lower
breaking Bobbin would too full or uneven. Dirt in the tension and check for a smooth hole in the needle
bobbin case. plate.

Fabric One or both tensions too tight. Stitches Select the correct needle. Check for both tensions.
puckering too long for material being sewn. Blunt needle. Fix the stitch length accurate to the fabric.

Needle Incorrect size of needle for thread and fabric. Set the presser foot properly. Select appropriate
breaking Needle bent. Pulling of material while embroidery needle and thread to match the fabric. Fabric
should not be pulled out while stitching.

Machine Lack of oil. Thread wound around the wheel Oil the machine periodically, clean the wheel and
runs or treadle bearings. Belt too tight. treadle bearing. Check the belt tension release the
heavily Winder pressed down. Thread jammed in bobbin winder. Clean the shuttle race. Use only
shuttle race. Gummed oil or dirt on bearings. sewing machine oil.

Lower Upper tension too light. Lower tension too loose Loosen the top tension. Use a different type of
thread is Bobbin threaded wrongly embroidery thread. Tighten the bobbin case.
visible on Re thread the bobbin
fabric

54
Textile and Apparel Related Theory for Exercise 1.3.05
Surface Ornamentation Techniques - Zig Zag embroidery machine

Threading the machine

Objectives: At the end of this exercise you shall be able to
• describe the process of threading the machine.

Zig Zag embroidery machines have so many operation

after knowing the parts of machine and their functions,
every trainee should have the knowledge of threading
the machine before operating it. It helps the smooth and
tangle free operation and prevents stitching faults. steps
of threading the machine and draw up the bobbin thread
are ( Fig 1 to Fig 3 )

Fig 1

GAR243P0303
1. Turn off the machine. 8. Pull the thread end about B” and hold the thread.
2. Pace the thread on the thread stand. Then pass the 9. Turn the hand wheel so that the needle moves down
thread oven the guide at the top of the thread stand and up again to catch the bobbin thread.
and threough the hole in the pspool pin.
10.I fthe thread doesn’t come up, check the machine
3. Guide the thread into the hole of the needle thread threading. Remove the bobbin case, rethread and
retianer. Then, guide it thoruhg the remaining hole. insert again.
4. Guide the thread between the tension discs. 11. Pull the needle thread fault to bring the bobbin thread
5. Guide the thread from right to left into the ey of the up through the needle hole.
take-up liver. 12. Pull both threads up to 5”.
6. Guide the threads through the remaining guides.
7. Trim the thread end as needed and thread it into the
ey of the needle from left to right.

55
 Fig 3
Fig 2

GAR243P0305
GAR243P0302

56 Textile and Apparel : Surface Ornamentation Techniques - Related theory - Ex 1.3.05

Textile and Apparel Related Theory for Exercise 1.3.06
Surface Ornamentation Techniques - Zig Zag embroidery machine

Bobbin winding
Objectives: At the end of this exercise you shall be able to
• explain winding the bobbin
• describe the process of inserting bobbin in to the bobbin case.

Every trainee or operater should have the knowledge of

Fig 4
correct bobbin winding before operating the machine. It
is very important to wind the bobbin evenly. It helps to
prevents stitching faults. Bobbin can be wind on bobbin
winder located on the left side of machine. (Fig 1)
1

To do bring thread down under the tension spring. Pull

thread over and round the end of the bobbin tension
spring. leave 10 cm long thread.
After threading the bobbin case, install it in the machine
(Fig 5&6).
5
Bobbin is wound with thread about 80% (Fig 2)

located on the left side of machine now days saparate

bobbin winder is also available in market to wind a
bobbin (Fig 3).
Fig 3

6
SO1307H3

Readymade bobbin called pre-wound bobbin are also

available in the market.
After winding the bobbin, put the bobbin into the bobbin
case (Fig 4).

57
Textile and Apparel Related Theory for Exercise 1.3.07
Surface Ornamentation Techniques - Zig Zag embroidery machine

Setting the machine for embroidery

Objectives: At the end of this exercise you shall be able to
• describe the process of setting the machine for embroidery
• state the zig-zag embroidery machine.

The processing of creating embroidery using an ordinary

sewing machine is called free motion embroidery. Free Fig 3
motion embroidery is an art and needs practise because
the ordinary embroidery hoop is controlled freely by hand
rather the being fixed to the machine. (Fig 1 to Fig 4)

Fig 1

Fig 4

Fig 2
CT110612

58
To prepare the machine for embroidery, drop the feed Fig 5
dog or cover it using embroidery needle plate. After drop-
ping the feed dog remove the pressure foot. Now cor-
rect thread tension is very important for successful ma-
chine embroidery. So moderate the upper and lower ten-
sion according to embroidery stitches. The top tension
usually needs to be looser the bottom. After adjusting the
thread tension change the needle. Mostly A 9 no and 11
no needle can be used accordingly to fabric. Now set the
sewing machine for straight stitch by setting the stitch
length/width at zero. Hoop the fabric using appropriate
backing and place the embroidery hoop in stitching area
for sewing embroidery stitches.
Check the setting before beginning the project.

CT110923
Embroidery only machines
This machine also known as zig-zag embroider machine.
Running stitch and zig-zag shape stitches can be done
using this machine. It creates running stitch or straight
stitch on ‘O’ no. and ziz-zag or satin stitch on ‘3-5’ no.
Embroidery hoop is controlled freely by hand. (Fig 5)

Textile and Apparel : Surface Ornamentation Techniques - Related theory - Ex 1.3.07 59

Textile and Apparel Related Theory for Exercise 1.3.08
Surface Ornamentation Techniques - Zig Zag embroidery machine

Embroidery machine attachments

Objectives: At the end of this exercise you shall be able to
• state the different types of embroidery attachments and their uses.

Embroidery machine attachments are very important to

design and use to increase the embroidery machines
versatility and efficiency. Most of them take the form
variations on the presser foot, but the group also includes
embroidery stitch pattern cams, and special purpose
attachments.
Some of the attachments are shown below in figures.
The names given to them may vary. Some manufactures
may combine several features into one foot. It should not
be assumed that all the attachments shown are available
for all the machines, they are interchangeable from one
machine to another. While using any type of presser foot,
it is important to know that the type of stitch which can be Cording foot
sewed with it. This is depends up on the needle hole of
This foot has a built-in device that provides for a steady
the machine. If the foot is small and round it can be used
supply of cord to be fed with and attached to the fabric.
only for straight embroidery stitches. If the hole is wide
Sometimes incorporated into button hole foot. (Fig 3)
the foot can be used for straight and zig-zag embroidery
stitches.
Straight stitch foot
This foot is best one to use when doing single needle
straight stitching. If is a narrow foot one toe is slimmer
than the other toe. (Fig 1)

Embroidery foot
This embroidery foot is best for stitching decorative stitch
pattern. Bottom of this foot is grooved to create a shallow
“tunnel” that permits the dense stitching to pass easily
Zig-zag foot under the foot. (Fig 4)
This foot often referred to as an all purpose foot. It is
used primarily for plain zig-zag stitches, but it can also
be used for straight stitches. (Fig 2)

60
 Hemmer foot
This hemmer foot allows a raw edge of fabric to be clean
finished. It does this by automatically turning under the
edge, which is then fed under the needle and stitched
into place. (Fig 6)

Fig 6

Gathering foot
This foot is used for gathers up a length of fabric as it is
being stitched. Some gathering foot will simultaneously
gather one layer of fabric while stitching it to another flat
piece of fabric. (Fig 5)

Special purpose foot

The special purpose foot provides ample visibility and
allows closely spaced zig-zag stitch to feed freely. It is
ideal for accurate placement of satin stitching in
monograms, motifs and applique. Eyelet in front of foot
accomodates a filler cord for corded applique. (Fig 7)

Textile and Apparel : Surface Ornamentation Techniques - Related theory - Ex 1.3.08 61

Textile and Apparel Related Theory Exercise 1.4.01
Suface Ornamentation Techniques - Aari embroidery

Tools for aari embroidery

Objectives: At the end of this lesson you shall be able to
• explain the tools and its uses.

1 Aari needle Scissors

It has a hooks at the tip of one end and wooden handle it is used for cutting the fabric with blent paint on upper
at the other end back. The needle are also available with blades prevent fabric from tearing while being cut.
plastic and iron handle.
12 Pin cusion
2 Zardozi
It is used for wrist or table
There are spring kind of threads they are cut into small
13 Hand needle (or) crewel needle
size and used as per the requirement.
Needle have a long oval eye are there fore easily
3 Gold & silver thread
threaded. The most suitable size for general hand
Zali or metallic threads are commonly used for aari sewing is crewel no .9
works. Threads of various colors are used.
14 Embroidery scissors
4 Silk thread
Sharp pointed embroidery scissors are essential. The
Silks thread which available is variety of shades and handle are longer. They have narrow and pointed
colors. blades. They are used for cutting fine and short threads.
5 Shiny stones 15 Thread cutter.
There are available in different shapes, sizes and It is used for trimming the thread with spring action
colors. blade.
6 Small beads 16 Mirrors
There beads come in different shapes and sizes. There are available in varites of shapes like round shape
and diamond shapes and squar shapes.
7 Sitara
17 Sequence lace
Sitara are small spangles, golden and silver colors.
Sequence lace is a soft, available in many and more
8 Sequins
shades.
Sequins available in many shapes of the typical circle
18 Tapestry needle
to star & flowers.
A tapestry needle is a blunt needle with a large eye. The
9 Tube beads
large eye is useful to needle workers because it can
The glass beads with cylindrical structure accomondate threads that are thick ordinary sewing
10 Stretched frame (adds) thread.

It is wooden adjustable frame consisting of four wooden 19 Stiletto.

bars. The colth on which the embroidery is supposed to It is stainless steel, has a light weight to it, in perfect
be done is stitched on two horizontal bars and stretched. smooth. It has very sharp tip.
It is then fixed tightly and locked on the other two
20 String (or) Nails.
vertically parallel bars.
It is used for stretched wooden frame.

62
Textile and Apparel Related Theory Exercise 1.4.02
Suface Ornamentation Techniques - Aari embroidery

Frame setting for aari

Objectives: At the end of this lesson you shall be able to
• explain how to stretch frame
• explain tracing method.

Stretched frame is a wooden or metalframe. It's another The cloth is pulled tightly to prevent it from moving while
name is called adda. Mostly wooden frame is used for aari works on it. The frame enables fastes works and clear
work. vision.
Stretched frame is a wooden adjustable frame consisting Tracing method for aari works - pounce method
of four wodden bars. Frames are a variable in different izes. Tracing the design on the plain cloth. The design is first
The height of the frame is 1,5-2 feet above the ground 4 to sketched on a tracing paper or butter paper and small holes
6 persons can sit on both the sides. are made on the outline of the designs using a needle.
Which gives the cloth a uniform tension also the frame can Therefore the cloth is placed on the frame the tracing sheet
be made to fit any size of fabric. The fabric is stitched on is placed on the position the design is required mixture of
to the wooden frame using thick cotton thread. The cloth on chalk powder and kerosene. A cloth dipped in either of the
which the embroidery is supposed to be done is stitched two solutions is rubbed on the tracing sheet so that the
on the two horizontal bars and stretched. It is fixed tightly solution seeps through the holes and reaches the cloth.
and locked on the other two vertically parallel bars. This This the design get traced on the cloth.
prevent the ccloth to move while working and also enable
clear vision and faster movement of the tool
Small metal frames may also be used if the embroidery
focus is in a small area.

63
Textile and Apparel Related Theory Exercise 1.4.03 & 04
Suface Ornamentation Techniques - Aari embroidery

Chain stitch for aari embroidery

Objectives: At the end of this lesson you shall be able to
• introduction to aari embroidery
• explain chain stitch for aari work.

Introduction to aari embroidery Lock stitch :

Aari embroidery is the method used for decorating fabrics lock stitch is called knot stitch. It is a starting stitches of
with a needle and a thread. Different types of embroidery chain stitch using by aari embroidery.
styles and techniques are used by aari embroidery. The
Start stitch :
word aari derives from the word 'aar' or the needle used for
this work. It is a kind of embroidery work done by aari Start stitch is a form of chain stitch. The stitches are very
needle. It is a beautiful embroidery work. The main advan- fine and small. Start stitch is a basic of aari embroidery
tage of aari is that very small embroidery is possible. stitch.
Aari chain stitch Finish stitch :
Aari work is done by stretching the fabric on a frame and Finish stitch is called final knot stitch It gives neat finishing
stitching with long hook (needle) Different sizes of frame of the embroidery.
and needle thread are used by ari work.
Curve lines :
Needle
Cureve stitch is a normal chains in plains and small chains
1 Tambour or luneville. in the bends and curves to turn the needle and the stitch.
2 Crewel By practising these embroidery pattern will be able to do
Threads chain stitches in forward,reverse and all directions

1. Silk
2. Zari (gold or silver)
3 cotton
Aari embroidery look like a chain stitch. The needle is
holding on the right hand. The other hand feeds the thread
from the backside, and the needle bring it up, making a
chain stitch. Chain stitch is a quiker stitch but it is a simple
stretched.Different types of pattern lines using by aari
embroidery. Straighylines,curvelines,sharplines,square
line etc as shown in Fig 1. Different types of lines are used
for aari embroidery
Fig 1

64
Textile and Apparel Related Theory Exercise 1.4.05
Suface Ornamentation Techniques - Aari embroidery

Utilities & scope of aari works

Objectives: At the end of this lesson you shall be able to
• utilities and scope of aari work
• different types of sequens
• explain the stitching method of sequins.

Sequins are round discs used for decorative purpose. They Cup sequins are usually round and unlike the common flat
are available in over a dozen popular colors. Sequins are sequined bead have a faceted surface and a can cave bowl
frequently used on clothing. Sequins are available in a like shape that helps reflect and catch light.
number of styles.
The different types of sequins are small size dated
Sequins types : sequence are called SITARA other sized sequences are
called devadas.
Flat sequins, cup sequins ,big sequins, pet sequins,
copper sequins, laser sequins & iron. Colour: Transparent colour, laser colour, rainbow colour
wood colour, metal brushed colours.
1 Halo grame.
Size : 2mm to 100mm sizes of are available.
2 Metallic.
3 Crystal iris. The needle used for aari work is needle no .14, which is
hooks shaped at one end and round shaped at the other
4 Transparent irides scent. end. It can have plastic or metal handle.
5 opaque irides scent. Aari works can be done with zari thread, cotton thread or
6 Crystal opaque. silks thread etc,. Only chain stitch can be done with aari
needle.
7 Silky & glossy.
The main advantages of aari work are :
8 Moonshine.
• Bead works can be done.
9 Satin.
• Zardori works & can be done.
10 Clearance .
• Sequence works & mirror can be done.
11 Printed sequins.
• Small embroidery can be done nearly.
12 New halograme shapes.
13 Halograme circles - new. The different types of sequences are :

14 New metallic shapes. 1 Smalll size dated sequences are called sitara

15 Large squares. 2 other sized sequences are called devadas.

Sequins comes in many shapes, from the typical circle to Sequence works have been famous since mughal period.
stars , flowers, snow flakes, Octagons and hexangons. It Even a simple aari works enhances the material to a large
made to be attached to fabric from the edge or middle of the extend.
sequins. In present days,aari work plays an important role in
fashion world both in traditional and western world. The
traditional wears includes, bridal dresses, western wears
include party wears.

65