Topic: Creating Designs – Texture, Pattern & Shape
Learning Objective
Students will design and produce an original textile or fashion piece in which they deliberately develop texture, pattern and shape. They will demonstrate:
- effective first‑hand and secondary research,
- cultural and social awareness,
- clear organisation of visual information,
- the use of a wide range of techniques (hand, industrial, digital, recycled),
- critical reflection on the design process.
All activities are mapped to the Cambridge IGCSE Art & Design (0400) specification.
The Four‑Stage Artistic Process
- Intention – Define the brief, target audience and personal success criteria.
- Research & Visual Investigation – Gather, record and organise first‑hand and secondary information.
- Realisation (Design & Production) – Develop ideas, experiment with techniques and construct a prototype.
- Reflection & Refinement – Evaluate the outcome against the brief, research and audience needs; plan improvements.
1. Intention
- Purpose statement (e.g., “to explore sustainable surface patterning for urban wear”).
- Target audience – consumer market, exhibition visitors, a specific cultural group, etc.
- Success criteria – measurable goals for texture, pattern, shape and sustainability (e.g., “use at least two tactile textures”, “repeat unit must be ≤ 20 cm”).
2. Research & Visual Investigation
Record‑keeping tools
- Sketchbook – hand‑drawn studies, colour chips, drape tests, material notes.
- Mood‑board – physical collage or digital board (Pinterest, Canva).
- Digital folder structure – e.g.
/Research/Textures, /Research/Patterns, /Research/Culture.
Research Log Checklist
| Date | Source (first‑hand / secondary) | Observation | Relevance to texture / pattern / shape | Action taken |
|---|
| 01‑03‑2026 | Market visit – tactile | Coarse jute, stiff linen | Texture – structural | Collect swatch, note drape |
| 04‑03‑2026 | Article on digital printing | High‑resolution colour gradients | Pattern – repeat precision | Bookmark tutorial, test in Illustrator |
Information‑Organisation Flowchart
- Observation & data capture (sketchbook, photos)
- Categorise → Texture | Pattern | Cultural | Technical
- Annotate mood‑board with key findings
- Formulate design brief & success criteria
3. Cultural & Social Context
- Research symbolism of colour, pattern and shape (e.g., tartan in Scotland, batik motifs in Indonesia).
- Investigate ethical sourcing, up‑cycling and the environmental impact of chosen fibres.
- Identify local crafts or community practices that could inform the design.
4. Material & Technique Exploration
Students should experiment with at least one technique from each media family.
| Media family | Example technique | Typical outcome for texture / pattern / shape |
|---|
| Hand techniques | Embroidery, appliqué, block printing, batik | Physical relief, hand‑drawn repeats, organic silhouettes |
| Industrial techniques | Screen‑printing, digital textile printing, laser‑cutting, sublimation | Sharp repeats, precise colour control, engineered cut‑outs |
| Digital tools | Adobe Illustrator, Inkscape, CLO 3D, Fabric.js | Vector repeats, 3‑D drape simulation, rapid prototyping |
| Recycled & sustainable media | Up‑cycled denim, organic cotton, reclaimed silk, mushroom leather | Eco‑friendly texture, irregular pattern fragments, unconventional shape |
5. Design Development (Realisation)
- Concept Development – rapid sketch studies; decide which element (texture, pattern or shape) will dominate.
- Pattern Design – create a repeat unit; calculate repeat length using
p = L ÷ n (where p = repeat length, L = total design area, n = number of repeats).
- Colour & Scale Planning – use the quick‑reference tables below for colour relationships and scale ratios.
- Construction Planning – draft technical flats, mark seams, darts, pleats or laser‑cut lines that will give the intended shape.
- Prototype Production – produce a mock‑up (sample garment, scarf, swatch book) using the chosen techniques.
Considering Texture
- Visual vs. tactile – Is the texture an illusion (printed) or a physical relief (embroidery, raised weave)?
- Effect on drape & comfort – Stiffened fabrics create structure; soft knits add fluidity.
- Mood alignment – Plush textures for comfort; crisp, ridged textures for dynamism.
Pattern Development
- Choose a scale appropriate to the garment (small repeat for close‑up detail, large repeat for statement pieces).
- Use colour contrast to enhance readability; test on both light and dark backgrounds.
- Experiment with direction – vertical for elongation, diagonal for movement, radial for focal points.
Quick‑Reference: Pattern‑Repeat Calculation
| Design Area (L) | Desired Repeats (n) | Repeat Length (p) |
|---|
| 120 cm | 4 | 30 cm |
| 80 cm | 5 | 16 cm |
| 150 cm | 6 | 25 cm |
Shape & Silhouette
- Geometric vs. organic – Straight lines convey order; flowing curves suggest softness.
- Proportion & balance – Relate volume (e.g., balloon sleeves) to negative space; use the Golden Ratio (1 : 1.618) as a guide.
- Construction elements – seams, darts, pleats, gussets that define the final shape.
Colour Theory & Scale (Quick Reference)
| Colour Relationship | Effect |
|---|
| Complementary (blue ↔ orange) | High contrast, energetic. |
| Analogous (red‑orange‑yellow) | Harmony, calm. |
| Monochrome (tints & shades) | Elegant, unified. |
| Scale Ratio | Typical Use |
|---|
| 1 : 4 (motif : garment) | Detail work, accessories. |
| 1 : 1 | Statement pieces, outerwear. |
| 2 : 1 | Oversized prints, avant‑garde. |
Designer Spotlight
William Morris (1834‑1896) – Arts & Crafts pioneer; hand‑woven textiles with intricate natural patterns.
Zandra Miyake (b. 1947) – Innovative pleating that manipulates shape and texture.
Stella McCartney (b. 1971) – Sustainable fashion; recycled polyester & organic cotton combined with digital printing.
Studio Zero Waste Daniel – Up‑cycles textile scraps into bold, irregular patterns.
Timeline of Key Textile Innovations
- c. 3000 BC – Early loom weaving in Mesopotamia.
- 16th century – Block‑printed cotton in India.
- 1855 – Power loom industrialises weaving.
- 1930s – Synthetic fibres (nylon, polyester) introduced.
- 1960s – Screen‑printing becomes mass‑production.
- 1990s – Digital textile printing enables on‑demand colour control.
- 2010s – Laser‑cutting & 3D‑knitting reshape silhouette creation.
- 2020s – Circular design & bio‑fabrication (e.g., mushroom leather) gain prominence.
Assessment Criteria (Sample)
| Criterion |
Level 1‑2 |
Level 3‑4 |
Level 5‑6 |
| Use of Texture |
Limited exploration; texture does not enhance design. |
Appropriate texture selected; contributes to overall effect. |
Innovative texture use; enhances function and aesthetic. |
| Pattern Development |
Pattern is basic or inconsistent. |
Pattern shows clear repeat and relevance to concept. |
Complex, well‑controlled pattern that adds depth. |
| Shape & Silhouette |
Shape is undeveloped or unrelated to brief. |
Shape supports concept and is well executed. |
Original shaping that demonstrates advanced understanding. |
| Technical Skill |
Limited handling of materials and techniques. |
Competent use of chosen techniques. |
Highly skilled execution with refined finishing. |
| Research & Cultural Awareness |
Superficial or absent research. |
Clear evidence of relevant research and cultural insight. |
Extensive, critical research that directly informs design decisions. |
| Reflection & Evaluation |
Superficial evaluation. |
Clear reflection on strengths and areas for improvement. |
Insightful, critical analysis linking decisions to outcomes and audience needs. |
Reflection Template (Stage 4)
| Prompt | Your Response |
|---|
| What was my original intention? | |
| How did my research (first‑hand & secondary) influence texture, pattern and shape? | |
| Which techniques worked well and why? | |
| What challenges arose in achieving the intended scale or repeat? | |
| How does the final piece meet the needs of the identified audience? | |
| What would I change for a future iteration? | |
Skills‑Audit Sheet (Aligned to Syllabus Skill Clusters)
| Skill Cluster | Evidence Required | Self‑Rating (1‑6) |
|---|
| Form & Scale | Accurate repeat calculations; proportionate silhouette. | |
| Colour Relationships | Use of complementary / analogous schemes; colour‑value control. | |
| Texture & Surface | Physical or visual texture that supports function. | |
| Pattern Development | Consistent repeat; clear direction and rhythm. | |
| Material & Technique | Range of techniques tried; justification for chosen media. | |
| Research & Context | Documented primary & secondary sources; cultural relevance. | |
Suggested Classroom Activities
- Texture Hunt – Students collect fabric swatches, classify them as tactile or visual, and record observations in the research log.
- Pattern Block Exercise – Using graph paper or a CAD grid, design a repeat unit, calculate the repeat length with
p = L ÷ n, then produce a small printed sample.
- Shape Sketching Sprint – Rapid silhouette studies from fashion magazines; focus on proportion, darts and pleats.
- Mini‑Project: Sustainable Scarf – Design a scarf that integrates a chosen texture (up‑cycled yarn), a repeat pattern (digitally printed), and a distinctive shape (asymmetrical drape). Present a design board containing mood‑board, technical flats and a completed reflection sheet.
- Digital Exploration Lab – Students use free vector software (Inkscape) to create a repeat pattern, then export it for a small‑scale digital print on fabric.
- Technique‑Range Audit – Each pupil completes the Skills‑Audit Sheet, ensuring they have tried at least one technique from each media family.
Resources & Further Reading
- Cambridge IGCSE Art & Design syllabus (0400) – official 2026 specification.
- “Textile Design: Principles, Advances and Applications” – comprehensive overview of contemporary techniques.
- Online textile collections: Victoria & Albert Museum digital archive, Textile Museum London.
- Design journals: Surface Design Journal, Textile Outlook.
- Software tutorials: Adobe Illustrator repeat patterns, CLO 3D garment simulation, Inkscape pattern basics.
Diagram Suggestion (to be added by teacher)
Flowchart of the Four‑Stage Artistic Process highlighting decision points for texture, pattern and shape. Use colour‑coded boxes (e.g., blue = texture, green = pattern, orange = shape) to show where each element is considered.