THE INNOVATION IN PAISLEY PATTERN CHENG YAN YAN, ARGIE

Transcription

THE INNOVATION IN PAISLEY PATTERN
CHENG YAN YAN, ARGIE
BA(Hons)Scheme in Fashion and Textiles
(Fashion and Textile Design Specialism)
INSTITUTE OF FASHION & CLOTHING
THE HONG KONG POLYTECHNIC UNIVERSITY
2012
THE INNOVATION OF PAISLEY PATTERN
A Thesis Submitted
in Partial Fulfilment of the Requirements
for the Degree of
Bachelor of Arts (Honours)
in
Fashion & Textiles
(Fashion and Textile Design Specialism)
under the Supervision of
Dr Frankie Ng
by
Argie, Cheng Yan Yan
Institute of Textiles & Clothing
The Hong Kong Polytechnic University
March 2012
i
ACKNOWLEDGMENTS
I would like to express my sincere gratitude to Dr Frankie Ng,
Associate Professor, Institute of Textiles and Clothing, The
Hong Kong Polytechnic University, for his invaluable and
professional
advices
throughout
the
process
of
this
dissertation.
I would also like to thank the interviewees for their invaluable
information as well as my parents, friends and colleagues who
support me always.
ii
CERTIFICATE OF ORIGINALITY
I hereby declare that this thesis is my own work and that, to the best of my knowledge
and belief, it reproduces no material previously published or written, nor material that
has been accepted for the award of any other degree or diploma, except where due
acknowledgement had been made in the text.
_____________________________________________________________(Signed)
Cheng Yan Yan
______________________________________________________(Name
of student)
iii
AUTHORISATION
I hereby give permission to the Hong Kong Polytechnic University, and such appropriate
persons/organisations as assigned by the University, to retain copies of this submission; and for this
work to be reproduced, communicated and archived for the purpose of detecting plagiarism,
research or private study.
Programme:
14090
Specialism:
Fashion and Textile Design Specialism
Year:
2011/2012
Project Title:
THE INNOVATION IN PAISLEY PATTERN
_____________________________________________________________(Signed)
____Cheng Yan Yan_____________________________________(Name of student)
10528324d___________________________________________(Student Number)
iv
ABSTRACT
Paisley pattern is a classic pattern that had been existed for over
three hundred years. The techniques and applications of creating
Paisley pattern have been developing alongside with the development
of technologies in different decades. The methods to develop the
innovative design of Paisley pattern are one of the main foci in this
study. The literature review studied the history and style of Kashmir
Shawls which contain Paisley pattern, the particular function of the
computer software Photoshop which could edit and create extra effects
for the design pattern was deployed. Digital printing is one of the
domain printing methods for textile design nowadays. Based on the
specific existing styles, a collection of three pieces handkerchief
with innovative Paisley patterns were created and presented.
The study recorded the data and processes to create several innovative
Paisley patterns. Experiments on certain novel optical effects were
conducted on the possibilities of combining the elements and the
techniques from existed Paisley pattern and integrated them with the
functions from computer software, Photoshop.
v
CONTENTS
ACKNOWLEDGEMENTS
ABSTRACT
LIST OF TABLES
LIST OF FIGURES
CHAPTER 1 INTRODUCTION
Page
1.1 Background of Study
1
1.2 Objectives
2
1.3 Scope of Study
3
1.4 Research Method
4
1.5 Planning of Methodology
5
CHAPTER 2 LITERATURE REVIEW
2.1 The Background of Paisley Pattern
6
2.1.1 Introduction
7
2.1.2 The brief history
9
2.1.3 Popularity and culture
11
2.2 Studies on the Style of the Paisley Patterns
2.2.1 Introduction
15
vi
2.2.2 The Kashmir shawl
15
2.3 Studies on the Principles of Fabric Design
24
2.3.1 Category of design layout
24
2.3.2 Category of repeating style
29
2.3.3 The general textile decoration techniques
30
2.4 Appraisal and Observation
35
2.4.1 The traditional style
36
2.4.2 The contemporary Style
41
2.4.3 The techniques
48
2.4.4 Summary
50
2.5 The Adobe Photoshop
51
2.5.1 Introduction
51
2.5.2 The filters
52
2.6 The questionnaire
56
2.6.1 Statistics
56
CHAPTER 3 SELF DESIGN & EXPERIEMENTS
3.1 Design of Paisley Patterns
3.1.1 Introduction
75
75
vii
3.1.2 Methodology
75
3.1.3 Design development
78
3.1.3.1 Experiment on design elements
79
3.1.3.2 Experiment on filters
98
3.1.5 Results of the final design pattern
3.2 Applications
102
106
3.2.1 Digital and transfer printing process
106
3.2.2 Experiment on fabrication
107
3.2.3 The handkerchief design
114
CHAPTER 4 RESULTS AND DISCUSSION
4.1 Results
114
4.2 Discussion
117
CHAPTER 5 CONCLUSION, LIMITATIONS AND RECOMMENDATIONS
5.1 Conclusion
121
5.2 Recommendation
120
5.3 Limitations
118
APPENDIX
REFERENCES
viii
LIST OF TABLES
Table 2.2.2a The table of the development of Kashmir Shawl.
Table 2.2.3a The styles form Kashmir Shawl period.
Table 2.4.2a The table of the Contemporary styles.
2.4.3a The table of the Paisley pattern style with particular
techniques.
Table 3.1.3.1a The table of the experiment on Design 1.
Table 3.1.3.1b The table of the experiment on Design 2.
Table 3.1.3.1c The table of the experiment on Design 3.
Table 3.1.3.2a The table of the experiment on filters.
Table 3.1.6a The demonstration on repeated style of the final
design.
Table 3.2.1a The experiments on the fabrication.
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LIST OF FIGURES
Figure 2.1.2a The motif from Kashmir Shawl.
Figure 2.1.3a An outfit from Etro,2012 ready to wear.
Figure 2.2.2a Naturalistic plant.
Figure 2.2.2b Foulard.
Figure 2.2.2c Flower-plant motif.
Figure 2.2.2d Flower-plant motif with ideogram root.
Figure 2.2.2e Bouquet of semi-nature flower.
Figure 2.2.2f The bouquet of flowers with a vase.
Figure 2.2.2g The evolution of the cone form.
Figure 2.2.2h Several styles of the cone form.
Figure 2.2.2i The abstract style.
Figure 2.2.2j Abstract style with non-construction line.
Figure 2.2.2k Cone form with unique tail design”
Figure 2.3.1a The example of One-Way and Two-Way layout.
Figure 2.3.1b The example of allover layout.
Figure 2.3.1c The example of Tossed design layout.
Figure 2.3.1d The example of Free-Flowing layout.
x
Figure 2.3.1e The example of Stripe layout.
Figure 2.3.1f The example of Border layout
Figure 2.3.1g The example of Set layout.
Figure 2.3.1h The example of Handkerchief square layout.
Figure 2.2.3a Cone form by single type of elements.
Figure 2.2.3b Cone form by multitype of elements.
Figure 2.2.3c Integrate with human elements.
Figure 2.2.3a Abstract
Style 1 from c.1800.
Figure 2.2.3b Abstract
Style 1 from c.1811.
Figure 2.2.3c Abstract
Style 2
Figure 2.2.3d Integrate with human pattern.
Figure 2.2.3e Integrate with Orient Elements.
Figure 2.2.3f Abstract Style 3.
Figure 2.2.3g Chequered.
Figure 2.2.3h Abstract style 4.
Figure 2.2.3i Integrate with architecture elements.
Figure 2.2.3j Integrate with a portrait.
Figure 2.2.3k Abstract style 5.
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Figure 2.2.3l Abstract style 6.
Figure 2.4.2a 60’s.
Figure 2.4.2b Check as background.
Figure 2.4.2c Integrate with butterfly.
Figure 2.4.2d Indio resistant.
Figure 2.4.2e Digital Psychedelic style.
Figure 2.4.2f 3D effect style.
Figure 2.4.2g Overlaying style.
Figure 2.4.2h Foulard style.
Figure 2.4.2i Integrate with floral.
Figure 2.4.2j Feather like paisley pattern.
Figure 2.4.2m Marbling effect.
Figure 2.4.2n Water color effect from Jil Sander 2011.
Figure 2.4.2o Fill in.
Figure 2.4.2p Text elements.
Figure 2.4.2q Integrate with animal pattern.
Figure 2.4.2r Figuration in Skelton pattern by Alexander
McQueen.
Figure 2.4.2s Surfing board by Chantilly Roach.
xii
Figure 2.4.2t Smudge style.
Figure 2.4.2u Burned style.
Figure 2.4.2v Minimalism style.
Figure 2.4.2w Overlaying style.
Figure 2.4.2x Gouache style.
Figure 2.4.3a Resist printing.
Figure 2.4.3b Ayrshire needlework.
Figure 2.4.3c Embroidery.
Figure 2.4.3d Lace style.
Figure 2.4.3e Overprinted with metallic pigments.
Figure 2.4.3f Patch work and over-printed.
Figure 2.4.3g Burnt out velvet.
Figure 2.4.3h Woodcarving.
Figure 2.4.3i Patchwork.
Figure 2.6a Pie chart for “Do you know what is Paisley Pattern?
Figure 2.6b Pie chart for “Where does Paisley pattern come from?
Figure 2.6c Bar chart for “Which place do you associate with
Paisley pattern?
xiii
Figure 2.6d Bar chart for “Which period do you associate with
Paisley pattern?”
Figure 2.6e Pie chart for “Which season do you associate with
Paisley Pattern?”
Figure 2.6f Bar chart for “In your view, the symbol meaning behind
the traditional Paisley pattern is?”
Figure 2.6g Pie Chart for “How do you describe the Paisley
pattern?”
Figure 2.6h Pie chart for “Do you own any products are in Paisley
Pattern?”
Figure 2.6i Bar Chart for “Would you like to wear any kind of
garments or accessories were in Paisley pattern design?”
Figure 2.6j Bar Chart for “Do you feel Paisley pattern is common
in everywhere?”
Figure 2.6k Bar Chart for “Which aspect could you find Paisley
Pattern design the most?”
xiv
Figure 2.6l Pie chart for “Do you feel interested that Paisley
Patterns integrating with graphic design elements likes images
and text?”
Figure 2.6m Bar chart for “Which kind of application method are
the best way to represent Paisley pattern?”
Figure 2.6o Pie Chart for “In your view, the Paisley Pattern to
keep a more traditional way or to create the innovation design?”
Figure 2.6p Pie Chart for “The Digital Printing method would be
the best way to print out the Paisley pattern on textile
nowadays?”
Figure 2.6q Bar chart for “In your view, which combination as
below would have potential to create the innovative Paisley
pattern?”
Figure 2.6r The options for “In your view, which combination as
pattern?”
Figure 2.6s Bar chart for “Which design as below would be the
best to achieve the innovation of Paisley pattern?
xv
Figure 2.6t The options for “Which design below would able to
achieve the innovation of Paisley pattern? “
Figure 3.1.3.1a “Design 1 template.”
Figure 3.1.3.1b “Design 1a”
Figure 3.1.3.1c “Reference style of design a”
Figure 3.1.3.1d “Design 1b”
Figure 3.1.3.1e “Reference style of design 1b”
Figure 3.1.3.1f “Design 1c”
Figure 3.1.3.1g “Reference style of design 1c”
Figure 3.1.3.1h “Design 1d”
Figure 3.1.3.1i “Reference style of design 1d”
Figure 3.1.3.1j “Elements of design 1d”
Figure 3.1.3.1k “Design 2 template”
Figure 3.1.3.1l “Reference style of design 2 template”
Figure 3.1.3.1m “Design 2a”
Figure3.1.3.1n “Reference style of design 2a”
Figure 3.1.3.1o “Elements of design 2a”
Figure 3.1.3.1p “Design 2b”
Figure 3.1.3.1q “Reference style of design 2b
xvi
Figure 3.1.3.1r “Design 2c”
Figure 3.1.3.1s “Reference style of design 2c”
Figure 3.1.3.1t “Design 2d”
Figure 3.1.3.1u “Reference style of design 2d”
Figure 3.1.3.1v “Design 3 template a”
Figure 3.1.3.1w “The demonstration of design 3 template a”
Figure 3.1.3.1x “Design 3 template b”
Figure 3.1.3.1y “Design 3a”
Figure 3.1.3.1z “Reference style of design 3a”
Figure 3.1.3.1aa “Elements of the design 3a”
Figure 3.1.3.1bb “Design 3b”
Figure 3.1.3.1cc “Reference style of design 3b”
Figure 3.1.3.1dd “Elements of the design 3b”
Figure 3.1.3.1ee “Design 3c”
Figure 3.1.3.1ff “Reference style of design 3c”
Figure 3.1.3.1gg “Elements of the design 3c”
Figure 3.1.3.1hh “Design 3d”
Figure3.1.3.1ii “Reference style of design 3d”
Figure 3.1.3.1jj “Elements of the design 3b”
xvii
Figure 3.1.3.2a “Glowing Edges filter to imitate the effect of
engraving”
Figure 3.1.3.2b“Patch work filter to imitate the effect of
mosaic wall.”
Figure 3.1.3.2c “mosaic filter to imitate the appearance of
leather”
Figure3.1.3.2d“The Satan Glass filter imitate the appearance
of net fabric.”
Figure 3.1.3.2e “The Sponge filters to create the Sponge printing
effect.”
Figure 3.1.3.2f “the sand tone options from Texture filter to
imitate the appearance of woolen fabric.”
Figure 3.1.3.2g “The Zigzag options from Distort filter to
imitate the appearance of the PVC fabric.”
Figure 3.1.3.2h “The Paint Daubs filter to imitate the
paper marbling effect.”
Figure 3.1.3.2i “The Rough pastel options from Texture filter
to imitate the like appearance of the twill fabric.”
xviii
Figure 3.1.3.2j“The Smudge filter to imitate the texture of
velvet.”
Figure3.1.3.2k “The Under paintings filter to imitate the
texture of rough fabric.”
Figure3.1.3.2l “The Craquelure filter to imitate the appearance
of the stone wall.”
Figure 3.1.3.2m “The spatter filter to imitate the towel fabric
effect.”
Figure 3.1.3.2n “The Bas Relief filters imitate the press
effect.”
Figure 3.1.3.2o “The Chalk filter to imitate to velvet effect.”
Figure 3.1.3.2p “The Water paper filter to imitate the appearance
of fine textile.”
Figure3.1.3.2q “The Notepaper filter to imitate the effect of
laser cut.”
Figure3.1.3.2r “The reticulation pigments filter to imitate the
effect brut out on to fabric.”
Figure 3.1.6a “The final design 1”
xix
Figure 3.1.6b “The final design 2”
Figure 3.1.6f “The final design 3”
Figure 3.2.2a “Fabrication swatches 1 to 4.”
Figure 3.2.2b “Fabrication swatches 5-7.”
Figure 3.2.2c “Fabric swatch 1”
Figure 3.2.2d “Fabric swatch 2”
Figure 3.2.2e “Fabric swatch 3”
Figure 3.2.1f “Fabric swatch 4”
Figure 3.2.2g “Fabric swatch 5”
Figure 3.2.2h “Fabric swatch 6”
Figure 3.2.2i “Fabric swatch 7”
Figure 4.1a “Handkerchief design 1”
Figure 4.1b “Handkerchief design 2.”
Figure 4.1c “Handkerchief design 3.”
xx
CHAPTER 1 INTRODUCTION
1.1 Background of Study
Paisley pattern is a “mango” or “tear-drop” motif origin from
India and Iranian and was renamed by Scotland which was described
as classic, historical and Indian style of brilliant development
with extraordinary styles in both Asian and Western. The Paisley
patterns were being applied in various categories of our daily
life, especially in textiles and fashion.
The Paisley patterns have appeared on textile for over three
hundred years; the styles of Paisley pattern are uncountable.
Besides,
the
Paisley
pattern
had certain symbol
meaning,
reputations and identity in numerous countries and regions in
particular
period.
Paisley
Pattern
reflects
the
textile
development in most of periods and conditions by hand-made
weaving to different kind of printing entirely. In addition,
there are multitudinous styles and elements of the combination
with certain layout styles to create the Paisley pattern on the
textile. The techniques to create textile products nowadays may
mostly by machinery and computer automatic frequently; therefore,
1
the Paisley pattern textile could create in some innovative way.
The experiments from this study showed the possibilities on the
revolution way to coordinate the certain existing style of
Paisley design and adding new elements to create innovative
styles.
As a result, the Paisley pattern design in this study were
examined and created the combination of several existed style
and the techniques by particular application.
1.2 Objectives

To examine innovative Paisley pattern designs by integrate
and adding innovational elements which were inspired by the
specific existed styles.

The study focused on the pattern design and created effect
on the imitation of textile decoration method which generated
by the computer software Photoshop.

To examine the application of the innovative Paisley pattern
by Digital Printing.
2

A handkerchiefs collection with 3 styles of innovative
Paisley
pattern
which
contained
both
innovation
and
commercial aspect were well present.

To evaluate the results of the self-design collection.
1.3 Scope of study

The study of the background and history of the Paisley
Pattern.

The study of several issues on popularity and culture of
Paisley Pattern.

The research on the symbol meaning and specific designs of
the motifs from the Kashmir Shawl.

The Appraisal and observation on particular style in Kashmir
Shawl period and the contemporary style.

The brief study about the fabric layout style and repeating
style.

The brief study about the textile decoration technique.
3

The brief study on specific functions of computer software
Adobe Photoshop and Illustrator.
1.4 Research method
Desk Research
The data information and reference of Paisley pattern and the
textile design principles were searched from books and journeys
in university libraries. The focus of the information collected
was mainly on Paisley pattern design of specific styles and
categories. The history of paisley pattern and the principle of
textile design from the past provided sufficient references and
inspirations to examine the innovation of Paisley pattern
designs for the self-design collection of this study.
Internet research
The
selective
contemporary
Paisley
pattern
designs
and
applications method were collected by internet websites and
divided into categories. An online survey within two months was
conducted during the self-design collection design development.
4
The aim of the questionnaire was to collect data about how Hong
Kong people view the innovation of Paisley pattern from various
aspects. The data from the result serves as references and the
ideas for the self- design collection.
Fabric research
Fabric swatches which contained Paisley pattern were collected
from the fabric suppliers at Sham Shui Po in Hong Kong. The
research from the fabric swatches provided certain references
and ideas on the contemporary style of Paisley pattern for this
study.
1.5 Planning of Methodology
Firstly, an online questionnaire about how Hong Kong people
viewed the Paisley pattern was prepared while references and
inspirations from existed design patterns were researched and
collected. Next, the issues about Paisley pattern in particular
periods, especially the period among 1960-1970, were researched.
5
The self-design collection were developed by both free-hand
sketches and edited by the computer software Adobe Illustrator,
Photoshop and other supported software. The layout, repetition
and extra effects were experimented by specific functions from
Photoshop to create unique and exceptional optical effects which
could imitate the appearance of specific textile decoration
techniques. The self-design collections were expected to have
certain innovative ideas to invent new Paisley patterns. On the
other hand, the digital transfer printing was as the exclusive
printing method for this study and the expected results could
be achieved by the aid of computer software.
CHAPTER 2 LITERATURE REVIEW
2.1 The Background of Paisley Pattern
Paisley pattern is a motif original from India and Persia for
over three hundred years (the Oxford Dictionary, 2011) of which
the appearances are in curved shape outline based on Indian
pine-cone objects. The Paisley pattern is an elegance and
6
attractive pattern which contains similar styles of floral and
sprigs with the compelling layout and details from the past
generally (Ed, 1980). The Paisley pattern reflected the textile
development in various stages and conditions that (Rossbach,
1997) had been influencing the culture movements, architecture
designs, textile design development, and fashion trends in both
Western and Eastern countries like India, France, United Kingdom,
United States from past to nowadays.
2.1.1 Introduction
The time when Paisley pattern was invented as ornamentation and
who was the first inventor of this unique pattern was unknown
because the Paisley patterns we could see nowadays look different
from the style at its beginning time before 1900
(Ames, 1989).
At the beginning stage of around 17th century, patterns were
found in the Indian Kashmir Shawls as the ornamentation on
architectures. The records showed that the primordial Paisley
pattern
was
a
single
form
of
nature
flower
or
plants
embellishment resembles the cone-like shape as that of today,
7
the symbol belief behind the pattern in that particular period
was about appreciation of nature, and eternity of the life and
health (Frank, 1986). Gadsby (2002) suggested that the pattern
was begun in Kashmir India and for over three hundred years
between 1526 to 1857 that had brightly developed. One of the
Emperor Akbar (1556-1605) who could be described as the most
significant people of Paisley pattern took the trade and loomed
the shawls in Kashmir. Incidentally, the Western started to be
inspired by the unique pattern and produced in their countries.
The Kashmir shawls represented the luxury and wealthy until the
nineteen century after the factory applied the printing method
to produce Kashmir shawls instead of producing the complicated
hand-weaving
techniques
to
satisfy
the
market
needs
and
concerns.
The name of Paisley pattern in different countries:

The American traditionalists called it “Persian pickles”.

The Welsh named it “Welsh pears”.

The Tamil called it “Mankolam”.
8

The Persian named it “Botehjeheh”

The modern French words called is“Boteh” and “Palme”

The Pakistan called it “Carrey design”
The Punjab called it “Ambi”
(answers.com 2011)
.
2.1.2 The brief history
Reilly (1989) suggested that the comparison of the style of
Paisley pattern before three hundred years ago could cover in
four main periods of the Kashmir Shawls period in India. These
periods are Mughal Period (1586-1753), Afghan Period (1753-1819),
Sikn Period (1819-1846) and Dorgra Period (1846-1877). The
Kashmir Shawls were fashionable among the wealthy people after
arrived in Europe around 18th century.
9
Figure 2.1.2a “The motif from Kashmir Shawl”
(Source: Frank, 1986)
Hence, the classic tear drop motif started to know as Paisley
pattern and recognized by the compress tree, curved outline with
floral and shrub as pine form after renamed by Scotland and the
Paisley Scottish town’s fabric mill started to produce the
popular cashmere shawls from India during the 19h century (Frank,
1986).
The fabric mills in Paisley modified the Kashmir cone motif as
before and weaved the motif onto large square shawls in shades
of red and brown that the particular pattern became known as
Paisley and appeared on the shawls and developed in the 19th and
early 20th centuries widely (Frank, 1997).
10
The Paisley pattern was only made for the King of the Indian
kingdom royal purpose like crowns or the court garments.
Nevertheless, after the India East Company purchased the Kashmir
shawl and sell to Europe, the Europeans started to love this kind
of patterns deeply, The Kashmir shawl became a fashion item and
was a desirable item among the ladies of the upper class in that
particular time and had becoming a classic and fashionable
pattern until now.
2.1.3 Popularity and culture
The popularity of Paisley patterns are multifarious and they are
being appled in various aspects like interior design, graphic
design,
fashion
and
textile
design.
The
patterns
are
traditionally used as ornaments of furniture, wall papers,
textile products and garments. The contemporary items we can find
in Paisley pattern nowadays are uncountable, the product
category of garments includes shawls, ties, handbags, jackets,
shirt, pants, dresses, skirts, gloves, hats, curtains. The item
11
contained Paisley pattern could be easily found in each season
from different target markets and myriad kind of retailers,
especially in high-end luxury brands.
The Paisley patterns contribute to, and specifically influenced,
the
symbolic
meanings
and
identification
of
culture
and
sub-culture in particular social groups.
2010 Winters Olympic
In 2010 Winters Olympic ,the uniform pants of the Azerbaijan
contained an attractive blue, red, green Paisley pattern, which
was eye-catching and inspired the fashion industry, even created
a new trend of applying Paisley patterns on sport wear markets
(Answer.com 2011).
Fashion Brand: Etro
A fashion brand Etro since 1981 had been featuring Paisley
pattern on certain outfits in each collection by a variety of
12
unique design with interesting combination and application on
fabrics.
Figure 2.1.3a
“An outfit from Etro, 2012 ready to wear.”
(Source: style.com, 2011)
Henna body art
Paisley patterns appear frequently in traditional Henna body art
from India, and the patterns represent great blessing luck,joy
and health(Answer.com,2011).
60’s
In the late 19 century, the Kashmir Shawl which contained Paisley
13
patterns did not represent the luxury as before. The reason was
about the tendency of appling the printing method instead of
hand-weaving method to manufacture the Kashmir Shawl(Tina,
1998).
Paisley pattern became the dominant trend in the 60’s again in
the form of psychedelic style which played a significant role
in the ethnic culture movement. In particular, the hippie’s
movements called 'summer of love' influenced both the lifestyle
and attitude at that time. Besides, the 60’s could be described
as another remarkable period of Paisley pattern.
In the Summer of Love period, the huge affection of Paisley
pattern trend among the public after the hottest rock band
Beatles in that time had spent a journey to India. The members
of Beatles wore the significant styles and accessories of the
Paisley pattern frequently; they even applied the Paisley
pattern on their own vehicles and musical instruments
(answer.com, 2011).
14
Psychedelic art
The Psychedelic art was one of the forceful art movements in 1960s
and the Paisley pattern provided the psychedelic style. The
Psychedelic Art is any art piece contains any forms of visual
image by the experience on the sense of psychedelic and narcotics
as inspirations. The Paisley pattern is one of the key elements
of the Psychedelic art which integrates with the fractal and
kaleidoscopic patterns.
2.2 Studies on the Style of the Paisley Pattern
2.2.1 Introduction
In fact, the existing styles of Paisley pattern are uncountable
and complicated to classify into categories. Paisley pattern may
contain traditional impression of India among general public
until today. Nevertheless, great amount of contemporary and
innovative designs are being created ceaselessly.
2.2.2 The Kashmir shawl
15
One of the possible ways to study the development of Paisley
pattern would be analyzing the styles from the history of the
Kashmir shawls. The four main stages in the Kashmir shawl period
were Mughals, Afghans, Sikhs, Dogras, and each of the stage
contributed to the unique aspects and influences. Since the
techniques to weave the Kashmir shawl were mostly weaved by hand
within the Kashmir Shawl period, the ornaments (Paisley pattern)
on the Shawl were measured accurately with the same size and same
angle so that the whole pattern are constructed orderly and
equally.
The aim of this study from this chapter was about the development
stages of the Paisley pattern design and the signature styles
within the four main Kashmir Shawl periods, to enhance the
knowledge of the traditional elements and inspiration to create
the innovative Paisley pattern.
Mughal Period.
16
At the beginning, the motifs on most of the Kashmir shawls, the
vases and dishes, were realistic and naturalistic plants. The
motifs usually were of single type of plant; the flower with
leaves may have specific symbolic meaning of admiring the nature.
The motifs on the shawl were constructed by numerous consolidated
and micro flowers and curved shapes in which the components of
the pattern would scarcely connect or cover with another (Frank ,
1986). The layout of the pattern was constructed cautiously in
which the pattern rippled graciously and the leaves folded or
twisted to show the effect of light and the shadow.
The Chinese cloud.
The early example from Mughal period showed that the Chinese
cloud appeared nearby or as the root of the motif. Besides, the
device and the stem were influenced by the Chinese ideograms.
The Chinese cloud’s shape was as the inner part of the border
of the pattern and near the root of the plants motif on the shawl
(Frank, 1997).
17
Afghan period
The styles of the patterns from the Afghan period were more
stylized and abstract when comparing with the style from the
Mughal period. The layouts of the motif were in bouquet form with
semi-naturalistic
styles
rather
than
the
single
type
of
naturalistic plants as the main elements. The shapes of
curvilinear outline were introduced through the intensity of
color of the figuration. The Chinese ideogram roots were
continued as a major element from the last period continually.
The vase at the root or bottom was introduced and could be one
of the important evolution elements to the development of Paisley
pattern period that the curvilinear shape or outline by variety
of flowers with the vase was the most likely with the cone form
of the Paisley pattern we could see today.
The
“Qajar”
pattern
which
certain
insignificant
flowers
integrated with the vase was one of the typical styles from
Kashmir Shawl. The “Qajar” motif usually showed the opposing
angles and the layout of the plant element motif is composed of
18
curvilinear shapes like a pine cone (Frank, 1986).
The radial flower style developed by the “Qajar” motif with small
floral composed a wheel which created a graphic dimension of
which concentric forms were developed increasingly.
The vase
Vase was one of the major features of the Paisley pattern
development by which the cone motif were developed by the vase’s
curvilinear form and radial flower technique or style. The
curvilinear form and the cone motif are in color instead of
showing specific nature style of floral species.
The Rose
Ed, R.(1980) Suggested that the lotus-like rose with different
styles would be the ordinary elements in all period of Kashmir
shawl motif and was usually formed as the curve line details of
the pattern. The symbolic meanings behind the rose were about
affection and passion.
19
The vine
The vine appeared in certain period in which the hooked vine was
one of the essential developments in this period; the branches
were vertical and interlaced with the inner position of the motif
being
surrounded by the Ogival pattern style of leaves and
narrow flowers(Frank, 19896).
Sikh period
In the Sikh period, the patterns were influenced by the Western
fashion, especially the French culture and the Industrial
Revolution of Europe between 1815-1820. The styles of the pattern
became flourished into ornate style and incorporate with
embellishment elements. The new abstract style was developed
after the curvilinear elements and became semi-necessary.
The bottom part of the Paisley pattern was shape like vase formed
by flowering and the outline was surrounded by various kinds of
small flowers liked roses and lotus flower.
20
The elements of the pattern were developed into aigrette or cap,
the leaf with serrate, roses like lotus, the incline and pudgy
motif with lengthy extremities, the crook vine, cypress tree
shape or outline, concentric cones and further unclassified
architectural embellishment.
The whole pattern usually was in huge size with uncountable of
curvilinear motifs or architectural patterns, the hollow part
of the pattern were detached in scattered directions from the
background. These elements emerged and fused to provide a new
image of the Paisley pattern.
The Dogra Period
There were only a few designs on innovations like the sweeping
zoomorphic motif known as “celery stalks “in 1848 when compared
with last three periods.
The patterns on the shawls were made by combining together
separate patchworks. The flower-plant motif with the signature
21
ideogram root and the Islamic elements from the pattern
eliminated or decreased and the cone form developed into the
leaves form became more abstract styles with non-construction
line and curve line.
The following tables showed the development of the ornament on
the Kashmir shawl within the Mughal Period (Figure 2.2.2a-e),
Sikh period (Figure 2.2.2f-g), Dogra Period (Figure 2.2.2h-i)
and Afghan period (Figure 2.2.2j-k) commonly. The cone form had
developed by the motif which contains a vase at the bottom part
with the increase of variations of the “mango shape” style were
developed.
The table of the development of Kashmir Shawl Period
particular style
22
Figure 2.2.2a Figure 2.2.2b Figure 2.2.2c Figure 2.2.2d
“Naturalistic
“Foulard”
“Flower-plant “Flower-plant
plant”
motif”
motif with
ideogram root”
Figure 2.2.2e Figure 2.2.2f Figure 2.2.2g Figure 2.2.2h
“bouquet of
“The bouquet of “The evolution
semi-nature
flowers with a
of the cone
styles of the
flower.”
vase.”
form”
cone form”
Figure 2.2.2i
Figure 2.2.2j
23
“Several
Figure 2.2.2k
“The abstract
“Abstract style with
“Cone form with
style.”
non-construction line”
unique tail
design”
Table 2.2.2a Development of Kashmir shawl period on particular
style
2.3 Studies on the Principle of Fabric Design
2.3.1 Category of design layout
One-way and two-way (no directional)
Figure 2.3.1a An example of one-way and two-way layout.
In the one-way layout, the motifs or pattern on the fabric are
effortlessly placed together in the same direction. In the
two-way layout, the motifs are positioned in more than two
24
directions and would not have observable difference among the
patterns when turned around or upside down. In addition, by using
this kind of layout, the fabric wastage could be minimized and
the design could cut in any direction (Carol, 1993).
Allover
Allover is one of the motifs or pattern repeats in all directions
on whole background (Carol, 1993).
Figure 2.3.1b An example of allover layout.
Tossed design
The tossed design layout is one with the motif pattern designed
in specific position to produce a varied and balance outcome
(Carol, 1993).
25
Figure 2.3.1c An example of tossed design layout.
Free-flowing
The Free-flowing layout is one with the motif or pattern designed
in balance with space that have irregular or asymmetrical layout
and able to create optical movement. (Carol,1993)
Figure 2.3.1d An example of Free-flowing layout.
Stripe
26
Figure 2.3.1e An example of stripe layout.”
The stripe layout are with same widths or combined with variety
of stripe widths, as well as integrating with other design
elements like the floral and geometrics.
Border
Figure 2.3.1f An example of border layout”
The border layout could create harmony for the pattern layout
and as a focal point of the design with complicated and numerous
types of elements that could be placed on single or both ends
27
of the design and the same border with two different styles (Carol,
1993).
Set
Figure 2.3.1g An example of Set layout.
The Set layout is a layout with the motifs or pattern repeated
in a
designed and measured position of exactly a square or half drop
repeat (Carol, 1993).
Handkerchief square
Figure 2.3.1h An example of Handkerchief square layout.
28
The handkerchief layout is usually in a square or diamond pattern
with a border around and contains certain continuous pattern with
specific direction (Carol, 1993).
2.3.2 Category of repeating style
By studying the principles and types of pattern in repeating
style of fabric design, the ability to use repeat on a pattern
can enhance a garment products through the creative use and
increase variations of style in design.
Half-drop and square repeats
The half-drop and square repeats are the basic kind of the
repeating style. The half-drop repeats are often preferred as
it flows better and appears less stiff. A square repeat is laid
out in the same arrangement as squares of tie, one unit of design
matches up with the side of the next one, to create a continuous
pattern both vertically and horizontally. A half-drop repeat is
laid out on the same basic principles as a square repeat, except
29
that the side repeat is simply dropped at exactly half the
vertical repeat size (Carol, 1993).
Stripe repeats
A plain stripe pattern appears as a continuous stripe running
the length of the fabric when printed. Simple stripe requires
only a side repeat, most stripes are designed with other motifs
and the requirement on both vertical and side repeats
(Baeden, 1994).
Border repeats
The unique characteristics of a border repeat is one with the
selvages at the top and bottom of the design, instead of on either
sides. This ensures that the borders would be printed down the
entire length of the fabric. Another variation on the border
design called flip and flop repeats and it shows pattern with
a border along both selvages, when folded in half, the pattern
creates an exact mirror or image of itself (Bawden, 1994).
30
2.3.3 The general textile decoration techniques
The aim of understanding the principle and the appearance of the
textile
decoration
techniques
was
to
collect
sufficient
inspirations and knowledge to create innovative design for the
self-design collection.
Batik technique
The Batik technique is one with ancient wax applied on the design
pattern on the surface of the textile and dipped in to the dye.
The position waxed resists penetration of colors of the dye and
additional design could be waxed again over the first layer. The
parts of design are usually more bight and contain white color.
The crackled effect could be done at the same time during the
penetration of dying and the wax cracking to the textiles.
Bleach technique
The Bleach techniques are a method to paint the whole background
of the textile around the motifs. The chemical of bleach removes
31
the color from a dyed ground of the areas. The light and bright
color on the darker color ground could create better effect by
this technique.
Spattering
Spattering technique is using tool such as spoon and toothbrush
to create color and resemble the airbrush effect.
Sponge technique
Sponge technique is applying the sponge as the tool and paint
colors on the design to create different texture effects of
flowers and pattern.
Embroidery technique by hand or machine
The entire design pattern can be created by different types of
embroidery stitched on the top or around the design area and
to create the applique look with color combination in difference
ranges of bright or dark tone.
32
Beading and sequinning
Beading and sequinning could create luxury texture to textile;
the design outcome would look like mosaic pattern by the choice
of color and the size of the beads and sequins.
Appliqué
Appliqué is a layer of fabric sewn over on another layer of fabric
by hand or machine to secure the edges of the placed down fabric
and as decoration.
Quilting
Quilting usually appears on the bed and padded garments for
warmth of which two layers of fabric are stitched and sewn
together enclosing the filling as decoration.
Patchworks
Patchwork technique is one of which certain components of fabric
in any form measured and cut are sew together to create a larger
33
size of pattern. The patterns are usually build up with various
color or design.
Burn-out
Burn out is a chemical etching process by applying specific acid
chemical pasted to specific area on the textiles with the fiber
like protein, cellulose or synthetic composed and carbonized
when heating.
Laser engraving
Laser engraving is the technique of which the surface of the
textile is removed by heating up and ablating the material out
through a versatile application of laser and the transfer the
pattern on the surface.
Embossing
Embossing technique is created by surface of durable embossment
which is usually made by metal press that is able to transform
the design pattern on to the textile by pressing with the
34
particular dyes and pigments.
Paper marbling
Paper marbling is a technique which uses the liquid as surface
design to create unique patterns like the smooth marble or stones.
Patterns are created and absorbed by the color floated on plain
water or the various solutions and the pattern was transferred
onto the absorbent paper or fabric.
Digital textile printing & transfer printing
The computer-generated design can be printed on a transfer paper
employing disperse-dye inks by an ink-jet printing. Design
pattern is transferred onto textile by the heat transfer machine.
2.4 Appraisal and Observation
The study and observation from this chapter were to acquire
sufficient inspiration to develop the innovate design for in
self-design collection. The existing styles selected were
divided into three categories: traditional styles, contemporary
35
styles and the techniques. The category of the traditional styles
included the specific style from the Kashmir shawls period which
was able to provide admirable concepts and criterion for
designing the innovative Paisley pattern with tradition elements.
The category of contemporary styles included a great amount of
styles from this century and showed the similarity and the
difference from the Kashmir Shawl period. The category of
techniques showed that the particular pattern design with
certain
textile
decoration
technique
could
be
served
considerable inspiration for the self-design collection.
2.4.1 The traditional style
The style form Kashmir shawl period:
36
as
Figure 2.2.3a
Figure 2.2.3b
Cone form by single Cone form by multitype of elements.
type of elements.
Figure 2.2.3c
“=Integrate with
human
(Source: Frank 1986 (Gadsby, 2002 p.95) elements.(Ames,1989
p.263)
Figure 2.2.3a
p.38)
Figure 2.2.3b
Abstract Style 1 from Abstract
Style 1”
Figure 2.2.3c
Abstract
Style 2.
c.1800.
from c.1811.
(Source: Chet,2002
(Source:Frank,1986
(Source:
p.251)
p.82)
Frank ,1997 p.88)
37
Figure 2.2.3d
Figure 2.2.3e
Figure 2.2.3f
Integrate with
Integrate with
Abstract Style 3.
human pattern.
Orient Elements.
(Source: Frank ,1986
(Source: Ed, 1980
(Ames,1989 p.35)
p.310)
Figure 2.2.3g
Figure 2.2.3h
Figure 2.2.3i
Chequered.
Abstract style 4.
Integrate with
(Source:Ed,1980
architecture
p.252)
p.268)
elements.
p.300)
38
p.154)
Figure 2.2.3j
Figure 2.2.3k
Figure 2.2.3l
Integrate with
Abstract style 5.
Abstract style 6.
portrait
(Source: Chet,2002 (Gadsby, 2002 p.245)
p.95)
p.136)
Table 2.2.3a The styles form Kashmir Shawl period.
Integrate with orient elements
39
The orient elements (Figure 2.2.3e), especially the Chinese
traditional element like the “Chinese cloud” and the ideogram
root, could fin? Kashmir Shawls (Frank, 1986).
Abstract
The abstract style (Figure 2.2.3a, c, f, h, k, l) created fantasy
effect and optical movement effect with several traditional
layouts for the pattern and provides great reference for creating
innovate Paisley pattern design(Chet, 2002).
Integrate with animal and human elements
The elements of the human and animal motif (Figure 2.2.3d) were
integrated with the Paisley pattern on the Kashmir shawl.
Integrate with architecture elements
Plenty of shawls are integrated with the elements of Indian and
Chinoiserie architecture ( Figure 2.2.3i).
Integrate with a portrait
40
The Kashmir shawl with a portrait (Figure 2.2.3j) is a shawl
featuring a portrait from Kashmir shawl period and might be the
first and earliest of all pictorial shawls. The shawl featured
the face of the first president of the United States George
Washington. As well as the text mentioned his born date and died
date on the shawl. The shawl demonstrated the positive of the
Paisley pattern generated with the text and the portrait that
could be applied in similar way into the innovation Paisley
pattern(Frank, 1997).
2.4.2 The contemporary style
The contemporary style of Paisley pattern had been developing
into
uncountable
multitudinous
styles
and
appearances
by
integrating with different elements like floral, animals, text
images and architectures. The Paisley pattern may not represent
any symbol behind meaning or message from most of the cultures
today.
41
Skinner (1998) had done a visual collection to compare couple
of common styles of the contemporary Paisley patterns with the
aim to stimulate the readers to create the innovative Paisley
patterns. Skinner suggested that some of the styles could evolve
from plant forms, elaborate borders, foulard patterns,
experiments in forms and psychedellc’60s as the ideas to create
the innovative designs.
Paisley patterns which commonly evolved from plant forms
contained various flowers, leaves or root were seen in the
seventeenth and eighteenth century India. Elaborate borders
showing
the
color
variations
by
border
prints
contained
multitudinous stylish and tear-drop shape patterns. Allover
patterns contained colorful image and appeared in bold colors.
They could not be easy to deal with the endless combination since
the colors might crash together. The foulard patterns contained
slightly size? of the repeated Paisley pattern and could
frequently be found in silk fabric and men’s neck ties.
The table of the Contemporary style
42
60’s
Check as background
Integrate with
butterfly
Figure 2.4.2a
Figure 2.4.2b
Figure 2.4.2c
60’s.
Checks as
Integrate with
(Source: Tina ,1998)
background.
butterfly.
(Source: Susan,
(Source: Skinner,
Joost, 1991 p.389)
1998 p.59)
Indio resistant
Digital Psychedelic
3D effect
Figure 2.4.2d
Figure 2.4.2e
Figure 2.4.2f
“Indigo resistant.
Digital Psychedelic
3D effect style.
(Source:
style.
(Source:
interiorsonline.com,
(Source:
homeandfurniturega
43
2011)
homeandfurnituregal
llery.com, 2008)
lery.com, 2008)
Overlaying
Foulard
Integrate with
floral elements
Figure 2.4.2g
Figure 2.4.2h
Figure 2.4.2i
Overlaying style.
Foulard style.
Integrate with
(Source:
(Source: Susan,
floral.
Tumlr.com,2011)
Joost, 1991 p.392)
(Source: Cheung
Kong company)
Feather like Paisley
Dot as background
Pointillism
Figure 2.4.2k
Figure 2.4.2l
pattern
Figure 2.4.2j
44
Feather like paisley Dot as background.
pattern.
Pointillism.
(Source: TMS, 2011) (Source: Skinner,
(Source: Susan,
1998 p.53)
Joost, 1991 p.38)
Marbling effect
Water color effect
Fill in
Figure 2.4.2m
Figure 2.4.2n
Figure 2.4.2o
Marbling effect.
Water color effect
Fill in.
(Source: Na Ying
from Jil Sander 2011. (Source: Valentina,
Company yarn dyed
(Source:style.com,
printing,2010)
2011)
Text elements
Integrate
with
animal pattern
45
2011)
Figuration in
Skelton
Figure 2.4.2p
Text elements.
(Source:Etsy.com)
Figure 2.4.2q
Integrate
with
Figure 2.4.2r
Figuration in
animal pattern.
Skelton pattern
(Source:Janet,Monis
from Alexander
ha, 2009 p.153)
Mcqueen.
(Source:
upscalehype.com,20
11)
Integrate with image
smudge
Burned
Figure 2.4.2s
Figure 2.4.2t
Figure 2.4.2u
46
Surfing
Board by
Smudge style.
Burned style.
Chantilly Roach.
(Source:K, 2003
(Source:Earth
(Source:vintage
p.44)
Textile
surfboard collector
Limited,2011)
uk,2011)
Minimalism
Overlaying-
Gouache
Figure 2.4.2v
Figure 2.4.2w
Figure 2.4.2x
Minimalism style.
Overlaying style.
Gouache style.
(Source:K, 2003 p.11)
(Source:K, 2003
(Source:K, 2003
p.54)
p.393)
Table 2.4.2a The table of the contemporary styles.
Pointillism
Figure 2.4.2l is one of the styles of Paisley pattern in
47
Pointillism style. The Pointillism was a technique developed by
Geoges Seurat in 1886 which was a one of the style from
Impressionism with the whole image or a pattern formed by an
amount of dots with certain size and color hue (Answer.com, 2011).
Digital art
The Digital art is the term for the general art works created
by digital technology. Innovation methods and styles are
constantly updated and that they provide a great number of
practices and reference to the fashion or textile design industry
( Philip ,2009).
Clip Art
The Clip Art today is pre-made images demonstrated in any media
form by multitudinous kinds of electronic components created by
hand or computer software(Gerber ,2002).
Mosaic
Mosaic is a decorative art technique by constructing separate
48
pieces or components of different kinds of material into images
for interior design mostly.
(Answer.com, 2011).
2.4.3 The techniques
The table of the Paisley pattern styles with particular
techniques.
Resist printing
Ayrshire needlework
Embroidery
Figure 2.4.3a
Figure 2.4.3b
Figure 2.4.3c
Resist printing.
Ayrshire needlework.
Embroidery.
((Source:
(Source: Ed. 1980)
(Source: TMS ,2011)
TMS ,2011))
49
Lace
Overprinted with
Patch work and
metallic pigments
over-printed
Figure 2.4.3e
Figure 2.4.3f
Figure 2.4.3d
Overprinted with
Patch work and
Lace style.
metallic pigments.
over-printed.
(Source:
(Source: Step Wealth (Source: activerain
eedyeing.com,
Piece Goods
2011)
Company,2011)
Burnt out velvet
Woodcarving
50
com, 2008)
Patchwork
Figure 2.4.3g
Figure 2.4.3h
Figure 2.4.3i
Burnt out velvet.
Woodcarving.
Patchwork.
Source:
(Source:
“
propstudios.co.uk,
(Source: TMS ,2011)
2009)
2.4.3a The table of the Paisley pattern style with particular
techniques.
2.4.4 Summary
The contemporary styles showed that Paisley pattern applied a
lot of new ideas from different cultures. The outlines of the
Paisley pattern from the common contemporary styles were created
by various width of line rather than constructed by the bouquet
of tiny flower like those in the traditional Kashmir shawl period.
Nevertheless, there are infinite ideas and methods of creating
Paisley pattern by different styles by combination of elements
and ideas.
2.5 The Adobe Photoshop
51
2.5.1 Introduction
Adobe Photoshop is a photo-editing program software with high
standard functions which has been made available since from last
century. Photoshop is using by photographers, illustrators and
designer frequently. It is described as the process of creative
development and the expansion of creative ideas. The ability of
this
software
provides
infinite
possibilities
by
using
multitudinous features and functions comprehensively (Corey,
2011).
The filters from Photoshop could create an imitation of specific
techniques of textile decoration methods and even could imitate
the appearance on the particular fabric by adjusting the size
of brush or other functions.
2.5.2 The filters
The options from the filter gallery (from the version of Adobe
Photoshop CS5) are as follow (Adobe Photoshop, 2011):
The category in the artistic group:
52

Colored Pencil

Cutout

Dry Brush

Film Grain

Fresco

Neon Glow

Paint Daubs

Palette Knife

Plastic Wrap

Poster Edges

Rough Pastels

Smudge stick

Sponge

Under painting

Watercolor
The category in the brush strokes group:

Accented Edges

Angled Strokes
53

Crosshatch

Dark Strokes

Ink Outlines

Spatter

Sprayed Stroke

Sumi-e
The category in the distort group:

Diffuse Glow

Glass

Ocean Ripple
The category in the sketch group:

Bas Relief

Chalk Charcoal

Charcoal Chrome

Conte Crayon

Graphic Pen

Halftone Pattern
54

Note Paper

Photocopy

Plaster

Reticulation

Stamp

Edges

Water Paper.
The category in the stylize group:

Glowing Edges

The category in the texture group:
Texture:

Craquelure

Grain

Mosaic Tiles

Patchwork

Stained Glass
55

Texturizer
2.6 The questionnaire
There
were
seventy
interviewees
participated
in
the
questionnaire, the age ranges were from below 15 to above 50,
with the majority of participants aged 20-25 (44.16%), and 15-20
(40.26%)completed the questionnaire. The questionnaire was
about how Hong Kong people viewed the innovation Paisley pattern.
Sufficient data were collected on how the interviewees viewed
the innovation of Paisley patterns and the impression and
conception of Paisley patterns.
2.6.1 Statistics
The charts below illustrate the results:
56
Figure 2.6a Pie chart for “Do you know what is Paisley Pattern?”
The result showed that nearly half of the interviewees (55%)could
identify Paisley pattern, but a great number of people (35%) were
not sure
and
could not(10%) identify the Paisley pattern
unless they sew the images of the pattern. One of the reasons
could be that the name of the Paisley pattern described in Hong
Kong might not relate to and be recognized as Paisley, people
in Hong Kong unusually describe the pattern as “pattern of cashew
nut” rather than
“Paisley”.
57
Figure 2.6b Pie chart for “Where does Paisley pattern come from?”
The result showed that 61% of the interviewees viewed from India,
28% viewed from France, 7% viewed from Scotland where the place
renamed the pattern, 3% viewed from China and 1% viewed from the
United States.
The reason that most of the people viewed the pattern from India
could be the obvious impression and elements of Indian culture
contain in the pattern and style.
58
Figure 2.6c Bar chart for “Which place do you associate with
Paisley pattern?”
When discussed about the places associated with Paisley pattern,
most of the interviewees ( forty-five out of seventy) answered
India as the Paisley pattern shown contained a high impression
of Indian style to these interviewees.
59
Figure 2.6d Bar chart for “Which period do you associate with
Paisley pattern?”
People associated Paisley pattern in various periods from before
1900 to 90’s. The 1900s was the one most interviewees associated
with and the 60’s was the second. Paisley patterns were the
fashion trends in these two periods. The results showed that
Paisley patterns are common and classic in history.
60
Figure 2.6e Pie chart for “Which season do you associate with
Paisley Pattern?”
The majority of people associated with spring (43%) and summer
(39%) with Paisley pattern, and few of people associated the
season of fall (10%) and winter (8%) about Paisley pattern
comparably.
Consequently, the results showed that Paisley pattern could
offer the impression of the four seasons, especially in various
color tones.
61
Figure 2.6f Bar chart for “In your view, the symbol meaning behind
the traditional Paisley pattern are?”
The result showed that near all the interviewees answered that
the appreciation on nature was the symbolic meaning behind the
traditional Paisley pattern. The reason could be that fact that
the majority of Paisley pattern designs contain floral and
plants.
62
Figure 2.6g Pie Chart for “How do you describe the Paisley
pattern?”
The result showed that most of the interviewees described the
Paisley pattern as a classic pattern (82%), however there was
a rarely group of interviewees (12%) who viewed Paisley pattern
as an old fashion pattern and diminutive of interviewees (6%)
viewed Paisley pattern as trendy.
63
Figure 2.6h Pie chart for “Do you own any products are in Paisley
Pattern?”
The result showed that 58% of interviewees did not own any
products in Paisley pattern and 42% of the interviewees had.
The result showed that Paisley pattern had been applied widely
in various aspects of products in our daily life; with near half
of people own products in the Paisley pattern.
64
Figure 2.6i Bar Chart for “Would you like to wear any kind of
garments or accessories were in Paisley pattern design?”
The result showed that more than half interviewees (58%) wore
garments and/or accessories in Paisley pattern, 34% of the
interviewees answered that they might accept to wear and 8%
answered that would not wear any.
65
Figure 2.6j Bar Chart for “Do you feel Paisley patterns are common
in everywhere?”
The results showed that the majority of interviewees (64%) did
not agree with Paisley patterns were common everywhere in Hong
Kong but a few of them (36%) agreed with the point.
66
Figure 2.6k Bar Chart for “Which aspect could you find Paisley
pattern designs the most?”
The result showed that the interviewees found the Paisley pattern
in various aspects and even all the aspects among the interior
design, graphic design, fashion design and textile design.
67
Figure 2.6l Pie chart for “Do you feel interested that Paisley
Patterns integrating with graphic design elements likes images
and text?”
The result showed that near most of the interviewees(83%)were
interested in having Paisley pattern integrated with graphic
design elements like images and text but certain of them (17%)
felt otherwise.
68
Figure 2.6m Bar chart for “Which kind of application method would
be the best way to represent Paisley pattern?”
The result showed that the interviewees viewed digital printing
(twenty five out of the seventy interviewees) and embroidery
(twenty three out of the seventy interviewees) were the best way
to represent Paisley pattern, followed by embroidery, knitting
and weaving.
69
Figure 2.6o Pie Chart for “In your view, should Paisley pattern
be kept traditional or to be innovative?”
The
result
showed
that
although
there
were
many
of
the
interviewees thought that the Paisley pattern should be kept
traditional of the Kashmir shawl period (34%), more interviewees
would be delighted to see the innovation (66%) of Paisley
pattern.
70
Figure 2.6p Pie Chart for “The Digital Printing method would be
the best way to print out the Paisley pattern on textile today?”
The interviewees conceived that the digital printing method
maybe the best way (59%) to print Paisley
patterns on textiles today. The uncertain issue would be examined
by the self-design design collection in the following chapter,
71
Figure 2.6q Bar chart for “In your view, which combination as
pattern?”
Figure 2.6r The options for “In your view, which combination as
72
pattern?”
The combination options:
A.(over layering + text elements integrate with image)
B.( resist printing + Patch Work technique + Chequered)
C.(Text elements + needlework technique + Chequered)
D.(Dot as Background + 3d effect + Patchworks technique)
E.(60’s+Resistent technique + stripe layout)
F.(The burnt out velvet + Floral + Text elements)
G.(Chequered + Fill in + Mosaic)
H.(Minimalism + overprinted + Lace)
The
result
showed
that
most
of
the
interviewees
viewed
combination A (eighteen out of the seventy interviewees)and H
(eighteen
out
of
the
seventy
interviewees)
as
combination to create innovative Paisley pattern.
73
the
best
Figure 2.6s Bar chart for “Which design as below would be the
best design to achieve the innovation of Paisley pattern?”
Figure 2.6t The options for “Which design below would able to
achieve the innovation of Paisley pattern? “
74
The result showed that most of the interviewees selected the
style E (twenty out of the seventy interviewees) which combined
the elements of text, over layer with the images and the extra
imitate decoration effect as the best design to achieve the
innovation of Paisley pattern.
As a result, Most of the interviewees in the survey did not agree
with Paisley pattern being ordinary in Hong Kong.
The combination of the over layering with text and image elements,
as well as the minimalism style of Paisley pattern by lace and
embellishment by pigments over the surface, the 60’s elements,
stripe layout with resist printing technique were those which
the interviewees viewed as innovation combination.
Design E which the outline of the Paisley pattern formed by text
on a floral background with imitated textile effect was well
accepted by the interviewees.
Furthermore, the results of the questionnaire showed that most
of the interviewees appreciated the innovation of Paisley
pattern and the innovative pattern could enhance the recognition
75
among public, as well as to increase the attraction among young
generation and increase the people viewed Paisley pattern being
a trendy pattern.
CHAPTER 3 SELF DESIGN & EEXPERIMENTS
3.1 Design of Paisley Pattern
3.1.1 Introduction
The self-design collection contained three innovative Paisley
patterns on the handkerchiefs by digital printing. The final
designs which selected from the experiments could be able to
achieve all the three aspects and contained unique elements and
combination form the existed Paisley pattern designs.
3.1.2 Methodology
The innovative design patterns were inspired and developed by
the historical data from the Kashmir shawl period, certain
specific Paisley pattern style from contemporary, particular
textile decoration methods and the filter effect functions from
the Adobe Photoshop.
76
Consequently, after the confirmation and improvements of the
final design pattern, the experiments of the fabrication were
conducted to examine the results of the printing onto the fabrics.
The result expected to ascertain that the appearances of the
design pattern were using the best fabrics and the method within
the experiment could achieve both a creative and marketing edge.
The reasons of choosing digital printing:
The abilities of digital printing today do not necessary concern
the difficulties of reproducing or capturing the quality aspect
of the image or pattern in diverse layout or style.
The ink-jet printing is able to print full-color and does not
have restriction on printing complicated details of the patterns
in any scale.
The design pattern printed by digital printing could be print
in numerous values and hues of color and it depends on the
competence of the pattern subtleties when printing out on objects
77
or surface.
Digital printing could build up considerable relationship
between the patterns and the objects because the design pattern
could design on specific precise position on textile.
The considertaions during printing
Polyester fabric would be the best fabric for ink-jet printing,
yet the quantities of polyester could affect the results. The
prints could not accept over print, the design pattern should
be finished before printing out onto the transfer paper, the
pattern needed to be adjusted to mirror when designed the pattern.
The image manipulation enabled the creative use of photographic
imagery through image manipulation. The inject printing could
make
a
real
contribution
in
relation
to
design
and
the
environment from a design perspective. The ability of printing
full-color, detail design using any scale or non-repeating
element, engineered printing gave this method plenty of scope
for innovation.
78
The metallic colors and materials could not be printed by digital
printing machine, the maximum width of printing was limited by
the machine width, the bulk production cost would be much more
than the other printing methods. There was a need to test the
optimal results by confirming the difference between the colors
of screen and the design pattern printed on the textiles. Caution
should be taken during the
process of transformation of the
prints on textile by heat transfer machine
because it was too
dangerous and it could not cover the prints more than one time,
so the pattern would need to be designed in different layers
(Bowles and Issac, 2009).
3.1.3 Design development
A total of three templates were prepared for the experiments on
the design pattern.
Figure 3.1.4a, Figure 3.1.4k and Figure 3.1.4v are the templates
of the self-design collection. The Paisley pattern design were
created by hand-drawing and then traced by the computer software
Illustrator.
79
Each of the temples was further developed into four design drafts
by the combination of a particular style from Chapter Two and
certain styles were duplicated to perform certain designs.
The whole images and the illustrations in the self-design
collection chapter were original works of the author except the
inspiration reference from existed styles from Chapter Two and
the fundamental elements of the design were showed in the table
below.
3.1.3.1 Experiment on design elements
The table of the experiment on Design 1
80
The template of the pattern “Design 1a
to 1d”.
The “Design 1 template” was a freehand
drawing inspired by the style from the
Kashmir shawls period when Paisley
pattern
contained
more
natural
elements like vines.
Figure 3.1.3.1a Design 1
template.
The inspiration from the “Design 1a”
was the style of weaving in chequered
layout(Figure 2.2.3g) and the moasic
techniques (Figure 2.4.3f).
The moasic-like background of the
design was created by numerous
illustration and images through the
Figure
1a.
3.1.3.1b
Design computer software Foto Mosaik Edda(A
software with unique function to
81
assemble minuscule photos that are
concordance with certain distance and
blended into a new image to create the
appearance of mosaic (Foto Mosaik
Edda,2011).
Reference style:
Figure 3.1.3.1c Reference style of
Design 1a
Design 1b was developed by Design 1a
and the design pattern imitates the
appearance of the Ayrshire needlework
technique (Figure 2.4.3b).
Reference:
82
Figure
3.1.3.1d
Design
1b.
Figure 3.1.3.1e Reference style of
Design 1b
Design 1c was inspired from the style
of
resist
printing
method
(Figure
2.4.3a) and the stripe layout(Figure
2.2.3b).
The
multi-color
stripes
with
corresponding width as the background
and the resist printing effect of
Figure 3.1.3.1f “.Design “templete of the Design 1” was created
1c.
by servel colours in each of colored
stripe.
Reference:
Figure 3.1.3.1g Reference style of
Design 1c.
83
Design 1d was inspired by the style with
text elements (Figure 2.4.2p) and the
overlayering style(figure2.4.g). The
background was a floral photo and
“Design 1 template” was edited to a
slightly scale and formed into the word
of “Love” by the same direction of
Figure
1d.
3.1.3.1h
Design repeation.
Reference photo:
Figure 3.1.3.1i Reference style of
design 1d.
Elements:
Figure 3.1.3.1j Elements of Design 1d.
Table 3.1.3.1a The table of the experiment on design 2.
84
The table of the experiment on Design 2
The components of “Design 2
template” were formed by various
Paisley patterns by free-hand and a
cartoon mouse illustration which was
inspired by the style of the Paisley
pattern integrated with animal
pattern (Figure 2.4.2q) in the
asymmetric layout.
Figure 3.1.3.1k Design 2 Reference:
template.
Figure 3.1.3.1l Reference style of
Design 2 template.
85
“Design 2a” was inspired by the
styles of digital art effect (Figure
2.4.2e)
and
the
style
of
the
overlaying effect (Figure2.4.2g).
Figure 3.1.3.1m
The background image was a floral
Design 2 a.
picture and the “Design 2 templates
2” was repeated in free flowing
layout of which parts of the template
was in transparency to create unique
a digital art effect.
Reference:
Figure3.1.3.1n Reference style of
design 2a.
Elements of the design:
86
Figure 3.1.3.1o Elements of Design
2a.
“Design 2b” was inspired by the text
elements (Figure 2.4.2p) and the
style of the Paisley pattern with the
3D optical effect (Figure 2.4.2f).
The background was the quote about
love from the Bible and the “Design
Figure 3.1.3.1p Design 2
2b.
template”
overlapped
background and shadow
the
was added to
create the 3D effect. The optical
effect of the top layer is flowing on
the background.
Reference:
Figure 3.1.3.1qReference style of
87
Design 2b.
“Design 2c” was inspired by the
abstract styles from the Kashmir
shawl
period
(Figure
2.2.3a
and
Figure 2.2.3l)of which the outline
of the Paisley pattern was created by
the indiscriminate background.
The background of the design pattern
Figure 3.1.3.1r
was the text about love from the Bible
Design 2c.
and repeate time and again randomly
in allover. The “Design 2 templete”
had been changed from black to white
to
imitate
the
resist
printing
effect(Figure 2.4.3a) when placed
over the text background of the
design.
Reference:
88
Figure 3.1.3.1s Reference style of
Design 2c.
“Design 2d” was inspired by the
abstract
style
period
(Figure
minimalistic
in
style
Kashmir
shawl
2.2.3h),
the
of
Paisley
pattern (Figure 2.4.2k) of which a
Paisley pattern was placed over the
dotted
background
from
the
Figure 3.1.3.1t
contemporary style.
Design 2d.
The
background
of
this
design
pattern was various dots placed in
allover and the text about love from
the Bible was over the dots. The top
layer was the “design two template”
89
which had changed the from black to
white.
Reference:
Figure 3.1.3.1u Reference style of
Design 2d.
Table 3.1.3.1b The table of the experiment on design 2.
Figure 3.1.3.1v is the third temple of which the outline was
formed by text and the contents of the text were a chapter from
the Bible about love. The intention was to renew the idea by adding
symbols behind meaning.
The text used for the text element for the self-design collection
was from the Bible:
“Love is never tired of waiting; love is kind; love has no envy;
love has no high opinion of itself, love has no pride, Love’s
90
ways are ever fair, it takes no thought for itself; it is not
quickly made angry, it takes no account of evil; It takes no
pleasure in wrongdoing, but has joy in what is true; Love has
the power of undergoing all things, having faith in all things,
hoping all things Though the prophet's word may come to an end,
tongues come to nothing, and knowledge have no more value, love
has no end.”
The table of the experiment on design 3
”Design 3
template a”:
The new elements was inspired by
the styles from the Kashmir shawl
period of which the floral and
plant were formed into a Paisley
pattern
and
the
“Design
3
template” was adjusted to use the
text elements by several front
91
Figure 3.1.3.1v Design 3 styles and sizes to
template a.
form
the
outline of a Paisley pattern.
The text as outline was created by
the Adobe Illustrator.
(First
the
Paisley
pattern
by
free-hand was prepared, then it
was scanned into the computer and
placing to the new file of the
Adobe Illustrator. The Paisley
pattern was outlined by the text
through
tracing
the
free-hand
drawing of the bottom).
Figure
3.1.3.1w
The
demonstration of Design 3 template
a.
92
“Design 3 template b” was the
development
of
the
“Design
3
template a”.
The additional Paisley pattern
motif which used the same method
of the “Design template 3” was
created
and
placed
in
two-way
Figure 3.1.3.1x Design 3 tossed layout.
template b.
“Design 3a” was a variation of the
“Design 3 template b” and was
inspired
by
the
style
of
overlaying of the image (Figure
2.4.2s).
Reference:
Figure 3.1.3.1y Design
3a.
Figure 3.1.3.1z
93
Reference style
of Design 3a.
Figure 3.1.3.1aa Elements of
the Design 3a.
“Design 3b” was a variation of
“Design 3a” that was inspired by
the style of floral integrate with
Paisley pattern (Figure 2.4.2i)
and the unique velvet effect by
burn out techniques.
Figure 3.1.3.1bb Design The background of “Design 3b”
3b.
was
adjusted to another plant image
which was edited from the orginal
94
color hue to violet to imitate the
appearance of the velvet fabric
(Figure 2.4.3d)
effect by the
Photoshop filters.
Reference:
Figure 3.1.3.1cc
Reference style
of Design 3b.
Elements of the design.
Figure 3.1.3.1dd Elements of the
Design 3b.
95
“Design 3c” was inspired by the
style of the dots as the background
(Figure
2.4.2k),
the
digital
(Figure
psychedelic
art
style
2.4.2e)
the
appearance
and
of
overprinting on fabric (Figure
2.4.3e).
Figure 3.1.3.1ee
Design 3c.
The
background
of
the
design
pattern was a dotted fabric image,
the “Design 3 template b” was
edited and repeated in several
colors in Lime yellow, turquoise,
orange
and
shocking
pink
with
various positions. The repeating
outlines of the Paisley pattern
created optical movement for the
pattern.
Reference:
96
Figure 3.1.3.1ff
Reference style
of Design 3c.
Elements of the design
Figure 3.1.3.1gg Elements of the
Design 3c.
Design 3d was inspired by the
resist printing technique (Figure
2.4.3a)
and
the
digital
psychedelic art (Figure 2.4.2e).
The Paisley pattern of the “Design
3 template b” was placed over the
background photo and was edited by
97
Figure 3.1.3.1hh
Design 3d.
the “glowing edges“ filter option
from
the
computer
software
Photoshop to create the unique
neon light effect.
Reference:
Figure3.1.3.1ii Reference style
of Design 3d.
Figure 3.1.3.1jj Elements of the
Design 3b.
Table 3.1.3.1c The table of the experiment on design 3.
98
3.1.3.2 Experiment on filters
The experiment two below was to examine whether the possibilities
of the several Photoshop filter effects were able to imitate the
textile decoration effects, as well as the texture of textile
decoration techniques on fabric and other effects which could
be applied to the final selection of self-design Paisley pattern
collection.
The table of the experiment on filters
Figure 3.1.3.2c
Figure 3.1.3.2a
Figure 3.1.3.2b
Mosaic filter to
“Glowing Edges filter Patch work filter to
imitate the
to imitate the effectimitate the effect of
appearance of
of engraving.
mosaic wall.
leather.
99
Figure3.1.3.2d
Figure 3.1.3.2e
Figure 3.1.3.2f
The Satan Glass filter The Sponge filter to The sand tone options
imitate the
appearance of net
create the Sponge from Texture filter to
printing effect.
fabric.
imitate the
appearance of woolen
fabric.
100
Figure 3.1.3.2g
Figure 3.1.3.2h
Figure 3.1.3.2i
The Zigzag options
The Paint Daubs filter The Rough pastel
from Distort filter to
to imitate the
options from Texture
imitate the
paper marbling
filter to imitate
appearance of the PVC
effect.
similar appearance of
fabric.
the twill fabric.
Figure3.1.3.2l
101
Figure 3.1.3.2j
Figure3.1.3.2k
The Craquelure
The Smudge filter to The Under painting filters to imitate the
imitate the texture of filter to imitate the appearance of the
velvet.
texture of rough
stone wall.
fabric.
Figure 3.1.3.2m
Figure 3.1.3.2n
Figure 3.1.3.2o
The spatter filter toThe Bas Relief filters The Chalk filter to
imitate the towel
imitate the press
imitate to velvet
fabric effect.
effect.
effect.
102
Figure 3.1.3.2p
Figure3.1.3.2q
The Water paper filter The Notepaper filter
Figure3.1.3.2r
The
to imitate the
to imitate the effect
reticulation
appearance of fine
of laser cut.
pigments filter to
textile.
imitate the effect
brut out on to fabric.
Table 3.1.3.2a The table of the experiment on filters.
3.1.4 Results of the final design pattern
Layout and repetition of the design of own collection
The repetition was less considerable in the own design collection,
the repeat styles of the own collection were on stripe repeat
and flip repeat that made the design pattern repeatable.
103
The demonstration on repeated style of the final design
Figure 3.1.6a The final design 1.
“Design 3b” was selected as the final design 1 for the
experiment(Figure 3.1.4bb)and applied the Craquelure filter
was applied to imitate the appearance of the stone wall (Figure
3.1.5l).
104
Figure 3.1.6b The final design 2.
“Design 2a” was selected as the final design 2 for the experiment
(Figure 3.1.4m)and the Water paper filter was applied to
imitate the appearance of fine textile (Figure 3.1.5p).
105
Figure 3.1.6f The final design 3.
“Design 3 template b” was selected as the final design (Figure
3.1.4x) for the experiment and the Mosaic filter was applied
to imitate the appearance of leather(Figure 3.1.5c).
Table 3.1.6a The demonstration on repeated style of the final
design.
3.2 Application
106
There were plenty of considerations when transferring the final
design to the handkerchiefs collection. Consideration of the
fabrics, the operation of equipment and the attention on safety
issue
should
be
well
prepared
during
the
printing
and
transferring process.
3.2.1 Digital and transfer printing process
The images of the final designs were set to the format in jpg
file to match the requirement of the Textile Jet TX2-1600 system.
Then, the final design pattern was printed by ink-jet printer
with the disperse-dye on to the specific transfer paper.
Meanwhile, the transfer machine was preheated to 200℃,. The
transfer paper which contained the final designs was placed onto
the selected polyester fabric. Next, an extra paper was placed
on the top of the transfer paper and the fabrics to prevent the
material from transferring or sticking to the transfer machine.
Lastly, the transformation was set to 40 seconds to create the
anticipated effect.
107
3.2.2 Experiment on fabrication
The table showed that the fabric swatches which had been chosen
for the experiment for the self-design collection. All the fabric
swatches contained unique texture and labeled by number. Fabric
swatch one is a 100% Polyester woven sheer fabric with the design
pattern printed in transparency. Fabric swatch two is a 100%
polyester knitted fabric with certain elasticity. Fabric swatch
three is a 98% polyester, 2% Spandex woven fabric with luster
appearance. Fabric swatch four is a 100% polyester twill fabric
with semi-luster appearance. Fabric swatch five is a 100%
polyester woven chiffon fabric with crinkle texture. Fabric
swatch six is a 100% polyester sheer fabric with unique grain.
Fabric swatch seven is a 100% polyester woven satin fabric with
high luster.
108
Figure 3.2.1a Fabrication swatches 1 to 4.
Figure 3.2.1b Fabrication swatches 5-7.
The aim of this experiment was to choose two fabrics for the
handkerchief design. The criteria of the fabrics were that the
result should be able to achieve and create the extra effects
for the design pattern generated by the Photoshop after printing
onto fabric.
109
The experiments on the fabrication
The
design
pattern
was
printed clearly onto the
sheer surface and a unique
transparency
created.
Figure
3.2.2c
Fabric
swatch 1.
110
effect
was
The design pattern could
not show clearly and was
obscured by the grain of the
fabric.
Figure
3.2.2d
Fabric
swatch 2.
111
The pattern was printed
clearly on the surface of
the fabric and the luster
appearance of the fabric
created a luxury
impression.
Figure
3.2.2e
Fabric
swatch 3.
112
The
design
printed
fabric
pattern
clearly
surface
was
on
the
and
the
extent of luster of the
fabric contained a similar
appearance of silk.
Figure
3.2.2f
Fabric
swatch 4.
The
design
pattern
was
concealed by the crinkle
texture of the fabric and
details of the pattern were
comparably dull.
Figure
3.2.2g
Fabric
113
swatch 5”
The
design
printed
fabric
pattern
clearly
surface
was
on
the
but
the
fabric was not stiff enough
and the prints would get
distorted easily.
Figure
3.2.2h
Fabric
swatch 6.
The luster of the fabric was
more spectacular than the
design pattern printed on
the surface.
Figure
3.2.2i
Fabric
swatch 7.
114
Table 3.2.1a The experiments on the fabrication.
3.2.3 The handkerchief design
The size of the handkerchiefs self-design collection set for the
handkerchief design one and two were 10”X10” and the handkerchief
design three was 16”X16”.
Handkerchief design one is shown in Figure 3.1.6a “The final
design 1”,the handkerchief design two is shown in Figure 3.1.6b
“The final design 2” and the handkerchief design three is shown
in Figure 3.1.6c “The final design 3”.
The fabrication of the final design one and three are shown in
Figure 3.2.1f “Fabric swatch 4” and the final design two used
“Fabric swatch 1” shown in Figure 3.2.1c.
CHAPTER 4 RESULTS AND DISCUSSION
4.1 Results
115
Figure 4.1a Handkerchief design 1.
116
Figure 4.1b Handkerchief design 2.
117
Figure 4.1c Handkerchief design 3.
4.2 Discussion
The
result
of
handkerchief
design
1
(Figure
4.1a)
was
satisfactory that the abstract design pattern imitated the
appearance of the stone wall. The design contained a unique
texture and optical effect on the surface of the plain fabric.
118
The
Handkerchief
design
2
(Figure
4.1b)
was
beyond
the
expectation of which the appearance of the imitation of texture
could not be seen clearly from the sheer fabric. However, the
result showed that the transparency of Paisley pattern effect
could be one of the innovative ideas for creating this pattern
in the future.
The results of handkerchief design 3 (Figure 4.1c) was fairly
satisfactory, although the design pattern could achieve the
objective from the study, the result of actual print effect on
the handkerchief was not pellucid as the screen viewed. The
effect could enhance by adjusting the degree of several options
from the filters.
CHAPTER 5 LIMITATIONS, RECOMMENDATION AND CONCLUSION
5.1 Limitations of Study
The study mainly focused on the pattern design by combination
of specific existing styles as well as the experiments on the
119
imitation of the textile decoration effects to create innovative
design by digital printing. However, there lacked studies and
analysis on several aspects to design innovative pattern and
further limited the creative scope of this study.
The limitations were as follow during this study:

The study only focused on the Paisley pattern on textile
aspect;

the studies on the coloration of Paisley pattern from the
history or style were limited;

the experiments on the color range in the self-design
collection especially the color difference with the digital
printing process as well as the consideration of the size
and the color difference between the print out pattern and
the screen color were insufficiency;

the
classifications
on
specific
existing
style
were
inconsiderable and were not sufficient for a greater extent
to create innovative design;
120

the layout and the consideration of the repeating method of
the style for self-design collection were limited; and

the fabrications were inadequate and the color of fabric was
mainly plain white and lacked color variation for innovative
pattern design presentation.
5.2 Recommendations
In the light of the limitations in this study, recommendations
are given as following:

The amount of existing Paisley pattern styles for
observation should be increased;

the number of interviewees from the questionnaire should be
increased;

the classification on particular styles should be more
accurate;

the elements of combination from the existing styles with
difference layouts and repeating methods should be
increased;

the experiments on the coloration should be conducted;
121

the experiments on the fabrication and application
techniques should be increased;

the outline of Paisley pattern could create and formed by
further elements apart the simple text elements;

more Photoshop filters and another functions could be applied
to the self-design collection;

an addition of extra trimming and embellishment after the
digital printing and transfer process could be considered;
and

the experiment on applying the neon color and metallic color
for the innovative design could be conducted in the future.
5.3 Conclusion
The study was about innovation of Paisley pattern design by
combining exiting style elements. From the literature
reviews, the existing styles and the questionnaire, Paisley
pattern had been developing with technologies in different
decades with infinite designs. The interviewees from the
questionnaire did not agree that Paisley patterns were common
122
in Hong Kong. However, they agreed that the pattern was a
classic
and
trendy
pattern
in
general
and
that
they
appreciated to see more innovative designs of the Paisley
pattern in future.
The observation from specific existing styles and the results
of the experiments for self-design collection showed that
Paisley
pattern
could
have
infinite
possibilities
by
combination with existed elements and modern concepts to
create innovative designs and to create innovative and trendy
images.
The fabric appearances imitated various textile decoration
techniques by the computer software Adobe Photoshop and were
printed by the digital and transfer printing contributed as
one of the means of creating innovative Paisley patterns.
Furthermore,
Internet
provided
a
global
platform
to
exchanging elements and ideas for creating innovative
Paisley pattern today.
123
APPENDIX A
QUESTIONNAIRE
I am an undergraduate of The Hong Kong Polytechnic University.
I am conducting a research on "The innovation of Paisley pattern".
All the data collected will be used for academic purpose only
and will be kept strictly confidential. Thank you.
________________________________________________________________________
1. Do you know what Paisley pattern is?
□Yes
□Not sure
□Not at all
2.Where does it come from?
□ France
□ United States
□ India
□ Scotland
□ China
3.Which period will you associate Paisley pattern with?
□ Before 1900
□ 20's
□ 30's
□ 40's
□ 70's
□ 50's
□ 80's
□ 60's
□ 90's
4.Which place will you associate Paisley pattern with?
□ India
□ China
□ France
□ Scotland
□ London
□ Japan. □ Indonesia
5.Which season will you associate Paisley pattern with?
□ Spring
□ Summer
□ Fall
6.Do you own any products are in Paisley Pattern?
124
□ Winter
□Yes.
□No.
7.Do you find Paisley pattern common in everywhere?
□ Yes
□ No
8.Where could you find Paisley pattern design the most?
□ Interior design
□ Fashion design
□ All
□ Graphic design
□ Textile design
9.In your view, the symbolic meanings behinds the traditional
Paisley pattern are?
□
□
□
□
□
□
About
About
About
About
About
About
appreciate on nature
family
love
friendship
human being
evil
10. How would you describe paisley pattern (a classic pattern
or old fashioned pattern or trendy pattern)?
□ Classic
□ Old Fashion.
□ Trendy
11. Would you like to wear any kind of garments or accessories
in Paisley patterns?
□ Yes
□ Maybe.
□ No
12. Are you interested in having Paisley pattern mixed with
graphic design elements like images and/or text?
□Yes
□No
13. In your view, Paisley pattern should keep its traditional
125
style or create more innovative designs?
□ Traditional
□ Innovation
14. Which kind of application method is the best way to represent
Paisley pattern?
□ Digital Printing
□ Embroidery. □ Weaving
□ Knitting
15. Is digital printing the best way to print Paisley
pattern on textile nowadays?
□ Yes
□ Maybe
□ No
16. Which combination(s) would have potential to create the
innovation Paisley pattern?
□A
□B
□C
□D
□E
126
□F
□G
□H
17. Which design(s) below would be able to achieve innovation
Paisley pattern designs?
□A
18
□B
□C
□D
□E
□F
Which is your age group?
□15-20
□45-50
□ Above 50
□20-25
□25-30
127
□35-40
APPENDIX B
handkerchief design 1
128
APPENDIX C
129
APPENDIX D
130
REFERENCES:
Book:
Ames,F.(1989). The official Illustrated History of the
Paisley Pattern, Shawl Production’, p.15,’Guide to Paisley
Shawls’, pp.89-99.
Bowles and Issac,(2009) Textile design.
Bawden,J., (1994). The art and craft of Fabric Decoration,
‘Transfer Printing’, pp.99-103, ’Silkscreen Printing’,
pp.104-108.
Campbell, K., (1998). Batik ‘get started in a new craft with
easy-to-follow projects for beginners, p.42.
Carol, J., (1993). Textile Design. The complete guide to
printed textiles for apparel and home furnishing, pp.79-93
and pp.107-114.
131
Chet,
G.,(2002). Victorian Paisley Shawls.
Corey, H., (2011). Focus on Adobe Photo Shop. Selective
Adjustments and Retouching, pp.149-154.
Ed, R.(1980). The Art of Paisley.,p.33, 39 84, 89, 99, 116,
119.
Frank, A., (1986). The Kashmir Shawl. Classification of the
Kashmir Shawl, pp.16-35.
Frank, A.,(1997). The Kashmir Shawl And Its Indo-French
Influence. Classification of the Kashmir Shawl, pp.81-118.
Feder, K. & Kirby, H.(1999). Transfer Designs from around the
world, 339 patterns to embroider or to paint, pattern 294,
307, 308, 309, 317, p.70.
132
Gadsby,S., (2002). Victorian Paisley Shawls ‘Brief history’
pp.11-13
Gerber, A., (2010). Graphic Design The 50 most influential
graphic designers in the world, The Assembler Filippo Tommaso
Marinetti, pp.92-93.
Gill. B, 2009.
Words into picture, Lewis Carroll's The
Mouse's Tale from Alice's Adventures in Wonderland in 1865,
p.8, p.9, Guillaume Apolinaire, the French Dadaist
Calligrammes with the publication of 2 Pleut. p.107 a poster
detail).
Janet, R. & Monisha, A., (2009. )Pashmina The Kashmir shawl
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Prakash, K. (2003). Textile designs: traditional & floral,
133
Linda, P., (1993). The Victoria & Albert Museum’s textile
collection, British textile from 1850 to 1900,p. 97.
Susan, M.
& Joost, E., (1991). Textile Design. Two hundred
year of European and American pattern for printed fabric
organized by motif, style, color, layout and period 1,823
illustration in color, pp.390-399.
Tina, S., (1998). Paisley: A visual survey of pattern and color
variations. Illustrated Guide Showing the Development of
Kashmir Shawl Pattern from the 17th to the 19th Centunry.,
pp.265-347.
Philip, A., (2009). The Adobe Photoshop CS4 Dictionary. The
A-Z desktop reference of Photoshop,p.2, 18, 34, 36, 53, 71,
73, 77, 82, 84, 86, 87, 99, 106, 109, 168, 170, 173, 256, 258,
261, 268, 283, 298-299, 306, 314-315.
Shoin K. ‘World Textile Collections 8, Paisley & Sarasa
134
Skinner. T, 1998. Paisley A Visual Survey of Pattern and Colour
Variation, p.5, 27, 41, 53, 59).
Online resources
The Oxford Dictionary, 2011.
Answer.com,2010.
www.answers.com/topic/paisley-1
http://video.answers.com/the-art-of-henna-315086477
http://www.answers.com/topic/1960s-1
http://www.answers.com/topic/psychedelic-art
http://www.answers.com/topic/digital-art
Jesslyn,2010,'Olympic Style'
www.imageinterpreters.com/1/previous/9.html
Etropia.com,2011, what_are_filters
www.extropia.com/tutorials/photoshop/what_are_filters.htm
l
Etro, 2011
www.etro.it/english/paisley/index.html
135
Style.com, 2011
www.style.com
Foto-Mosaik-Edda, 2011
www.fmedda.de/en/home
upscalehype.com, 2011
www.upscalehype.com/wp-content/uploads/2010/09/Alexander_
Mcqueen_Celtic_Skull_T-shirt.jpg
Valentina Ramos, 2011
www.valentinadesign.com
136

THE INNOVATION IN PAISLEY PATTERN CHENG YAN YAN, ARGIE

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