Odisha CHSE +2 Vocational Textile Designing cheat sheet

Elements of design in textiles: line, shape/form, space, texture, colour, value and pattern; line direction controls visual movement (vertical = elongation, horizontal = calm/width, diagonal = action).

Principles of design: balance (symmetrical, asymmetrical, radial), rhythm (repetition, gradation, radiation, alternation), proportion, emphasis/focal point, harmony and unity; a design is judged on how these are applied, not on motif complexity alone.

Colour dimensions: hue (name/family), value (lightness-darkness, tint = hue + white, shade = hue + black, tone = hue + grey), saturation/chroma (purity/intensity).

Primary pigment colours: red, yellow, blue; secondary: orange, green, violet; tertiary: mixtures of adjacent primary and secondary, e.g. red-orange, blue-green.

Complementary pairs sit opposite on the colour wheel (red-green, blue-orange, yellow-violet); analogous schemes use 3-5 adjacent hues; split-complementary uses a hue plus the two neighbours of its complement.

Simultaneous contrast: a hue appears changed by its surrounding hue; grey looks darker on white and lighter on black (value contrast rule).

Warm hues (red, orange, yellow) advance visually and enlarge apparent area; cool hues (blue, green, violet) recede and contract; use to correct proportion in garment design.

Colour fastness is not a design property but constrains colour choice: dye selection must match the fibre class and the intended end use before the palette is finalised.

Fibre classification: natural (vegetable/cellulosic: cotton, linen, jute; animal/protein: wool, silk; mineral: asbestos) and man-made (regenerated: viscose, modal, acetate; synthetic: polyester, nylon, acrylic, spandex).

Key identification tests: burning test (cotton = paper smell, grey ash; wool/silk = burnt hair smell, crushable black bead; synthetics = melting, hard bead), plus microscopic, chemical solubility and stain tests.

Staple fibres are short and must be twisted to hold together; filament fibres are continuous. Staple length and fineness determine yarn quality: longer, finer fibres give smoother, stronger yarns.

Yarn count systems: indirect (cotton count Ne, metric Nm, worsted) - higher number = finer yarn; direct (tex, denier) - higher number = coarser yarn. tex = grams per 1000 m; denier = grams per 9000 m.

Twist direction: S-twist (spiral like the middle of S) and Z-twist; twist multiplier/level affects strength, handle and lustre - higher twist gives stronger, harder, less lustrous yarn.

Yarn types: single, plyed/folded, cabled, core-spun, fancy yarns (slub, bouclé, chenille, spiral); blending combines fibre properties, e.g. polyester-cotton for strength plus absorbency.

Weave structures: plain (maximum interlacing, firm, least lustrous), twill (diagonal wale, 2/1 or 3/1, floats give drape and soil-hiding), satin/sateen (long floats, high lustre, low abrasion resistance), plus dobby and jacquard patterning.

Other fabric structures: knitted (wales and courses, interlooped, stretchy), non-woven (bonded web, no yarn), and braided; fabric cover factor and sett (ends × picks per inch) determine density and opacity.

Printing methods: block, screen (flat-bed and rotary), roller, transfer/sublimation (disperse dyes on polyester), digital inkjet, batik (wax resist), tie-dye (bound resist), and discharge print (colour removed by a discharging agent).

Print paste essentials: dye/pigment + thickener (guar gum, sodium alginate) + mordant/fixative + water; thickener choice depends on dye class - alginate suits reactive dyes, starch suits vat/pigment.

Print defects and causes: bleeding (insufficient thickener or washing before fixation), uneven print (screen clogging, uneven squeegee pressure), registration mismatch (misaligned screens), colour variation (paste viscosity drift).

Dye classes by fibre: reactive and vat and direct for cotton; acid and metal-complex for wool/silk; disperse for polyester; basic/cationic for acrylic; vat dyes give the highest fastness on cellulosics.

Dyeing stages: fibre (stock), yarn (hank/package), piece (fabric), garment; dyeing methods include exhaust, pad-batch, pad-dry-cure, and jigger/winch for fabric.

Fastness properties to verify: wash, rub/crock (dry and wet), light, perspiration and sublimation fastness; fastness ratings use the grey scale (1 poor to 5 excellent).

Hand embroidery stitches grouped by function: line (running, stem, chain, back), filling (satin, long-and-short, herringbone), edging (blanket, buttonhole, couching), and knot work (French knot, bullion).

Embellishment techniques: appliqué, patchwork, quilting, mirror work (shisha), beadwork, sequins, zari/zardosi, cutwork, and kantha running-stitch quilting.

Motif sources: direct observation (flora, fauna, architecture, folk art), stylisation, and geometric derivation; a motif is the single unit, a pattern is the repeated arrangement of motifs.

Repeat systems: full drop/straight repeat (motifs align in rows and columns), half-drop (alternate columns offset by half the repeat height), brick, ogee, and mirror/reflect repeat.

Repeat calculation rule: a design repeats correctly when motifs crossing the repeat boundary are duplicated at the opposite edge by the same offset; the repeat unit must tile seamlessly in both warp and weft directions.

Repeat dimensions must divide the printable/weavable width to avoid an unfinished edge; for rotary screen printing, the repeat circumference must match the screen circumference.

Layout types: all-over, border, pallu/end-piece, buti (single scattered motif), buta (large single motif), stripe, check and panel placement.

Balance in repeat: motifs need equal visual weight on both axes; scale hierarchy (large hero motif plus small filler) prevents a flat, monotonous surface.

Colourway development: one design rendered in 3-4 colourways; keep the number of colours low (typically 4-8 screens) to control cost and registration risk.

Documentation practice: design sheet records motif source, repeat size, colourway numbers, and technique; technical repeats are drawn to scale (e.g. 1:1 or 1:5) with registration marks.

Bandhani (Gujarat/Rajasthan) is a tie-resist technique producing dotted patterns; Patola of Patan is a double-ikat silk with identical pattern on both faces.

Ikat: warp ikat (Pochampally, Sambalpuri), weft ikat, and double ikat (Patola); the pattern is dyed on the yarns before weaving, so edges are characteristically feathered.

Sambalpuri bandha (Odisha) is a tie-dye weft/warp ikat tradition of western Odisha, noted for motifs such as shankha (conch), chakra, phula (flower) and animals; fabrics are often cotton or silk.

Odisha handloom centres: Cuttack and Nuapatna (silk, Khandua/Manibandha with temple and lotus motifs), Berhampur (silk), Bargarh and Sonepur (ikat), Gopalpur (tussar), Kotpad (Mirgan dyeing with natural dyes).

Odisha crafts: Pipili appliqué (chandua), Pipli and Puri; silver filigree (tarakasi) of Cuttack; Pattachitra painting of Raghurajpur; palm-leaf etching; Dhalapathar Parda weaving; Bomkai and Pasapali sarees.

Other Indian traditions to distinguish: Banarasi brocade (zari, Uttar Pradesh), Kanchipuram silk (Tamil Nadu), Jamdani (West Bengal, discontinuous weft brocade), Chanderi and Maheshwari (Madhya Pradesh), Kota doria (Rajasthan), Kalamkari (Andhra Pradesh, pen/block resist-dyed painting).

GI tag relevance: geographical indication protects regional identity, e.g. Sambalpuri bandha, Bomkai, Kotpad, Pipili appliqué and Pattachitra are Odisha-linked GI-protected crafts.

Natural dye sources: madder (alizarin, red), indigo (blue), turmeric (curcumin, yellow), pomegranate rind and onion skin (yellow-tan), catechu (brown), iron salt (black/grey saddening).

Raster images are pixel-based (resolution-dependent, suit photographic/printed effects); vector images are object/path-based (resolution-independent, suit repeats, motifs and CAD production work).

Resolution rules: 300 ppi at final print size for photographic print output; screen display needs ~72-96 ppi; file size scales with the square of resolution, so doubling ppi quadruples pixels.

Colour modes: RGB for screen, CMYK for print; convert to CMYK before final output because gamut differences shift bright colours; spot/Pantone colours are used for exact brand matching in screen printing.

Repeat creation in CAD: offset/tile filter, half-drop by shifting the layer 50% vertically, mirror filter; the offset filter is used to check and repair seams at repeat boundaries.

File formats: TIFF (lossless, print), PSD (layered working file), PNG (lossless with transparency), JPEG (lossy, avoid repeated saves), PDF/EPS/AI (vector output), and .cxf or .ase for colour palettes.

Digital printing: inkjet (reactive, acid, disperse, pigment inks) has no screen cost and no repeat limitation, so short runs and many colourways become economical; limitation is speed and ink cost per metre.

Textile-specific CAD categories: dobby/jacquard point-paper and weave simulation, knit structure software, print repeat and colourway tools, 3D garment drape and virtual sampling, and embroidery digitising (stitch types, density, pull compensation).

Digital colour management: calibrate monitor, use ICC profiles for printer/paper, and keep a physical colour standard (lab-dip) for approval - on-screen colour is not a contractual match.

Standard bodies and tests: IS (BIS, India), ISO, ASTM, AATCC; common tests include count, twist, tensile strength, tear strength, abrasion (Martindale), pilling, shrinkage/dimensional stability, and colour fastness.

Yarn count formulas: Ne = length in hanks (840 yd) per pound; tex = weight in g per 1000 m; conversion tex = 590.5 / Ne (cotton). Denier = 9 × tex.

Fabric weight: GSM = grams per square metre; convert from oz/yd² by multiplying by 33.91. Fabric width and GSM together give the weight per running metre.

Tensile testing: strip and grab methods on a constant-rate-of-extension tester; results reported as breaking force and elongation at break; gauge length and test speed must be stated.

Abrasion and pilling: Martindale uses rub cycles to a defined end point (e.g. 20,000 rubs for upholstery); pilling rated 1-5 on visual standards, higher is better.

Dimensional stability: shrinkage % = (original length − final length) / original length × 100; wash test conditions (temperature, detergent, drying) must be specified with the result.

Care labelling: fibre content and wash/care symbols per IS 460/ISO 3758; symbols cover wash temperature, bleach, tumble dry, iron temperature, and dry clean.

Quality control tools: 4-point fabric inspection system (defect points per 100 yd²), AQL sampling for lot acceptance, and root-cause analysis (fishbone, 5-why) for recurring defects.

Cost sheet structure: direct material + direct labour + direct expenses = prime cost; + factory overheads = works cost; + administration = cost of production; + selling/distribution = cost of sales; + profit = selling price.

Fabric costing: fabric cost per metre = (GSM × width in m × 1 m × rate per kg) / 1000; add process charges (dyeing, printing, finishing) per metre.

Print costing drivers: number of screens/colours, repeat size, run length, screen engraving charge, paste and dye cost, registration wastage, and reject percentage.

Break-even quantity = fixed cost / (selling price per unit − variable cost per unit); contribution per unit = selling price − variable cost.

Pricing methods: cost-plus (markup on cost), competitive/market-rate, and value-based; markup % on cost = (price − cost)/cost × 100, margin % on price = (price − cost)/price × 100.

Working capital cycle in textiles: raw material purchase → production → credit sales → collection; longer credit to buyers raises the working capital requirement.

Marketing mix (4P): product (design, quality, colourway range), price, place (retail, exhibitions, e-commerce, export), promotion (catalogue, social media, trade fairs, craft clusters).

Enterprise formalities in India: Udyam (MSME) registration, GST registration above the threshold, current account, and for handloom/artisan units, registration with the Handlooms, Handicrafts, Textiles and Handicrafts Department (Odisha) or similar state body for scheme benefits.

Dye and chemical hazards: reactive dyes are respiratory and skin sensitisers; sensitisation is permanent, so exposure control and health surveillance matter more than treating symptoms.

Formaldehyde in finishing (easy-care, shrink-resistant), azo dyes that cleave to carcinogenic amines, and heavy metals in certain pigments are restricted substances; restricted substance lists (e.g. OEKO-TEX, ZDHC) define limits.

Machine guarding: nip points on padding mangles, calenders, and rollers; interlocked guards, emergency stop, and no loose clothing or open hair near rotating parts.

Physical hazards: noise above 85 dB(A) requires hearing protection and monitoring; ergonomic risk from repetitive stitching and standing; heat stress in dye houses and stenter areas.

Dust and fibre control: cotton dust causes byssinosis; local exhaust ventilation, dust masks and regular air monitoring are the controls.

Effluent: dye house wastewater has high BOD/COD, colour, salts and pH extremes; treatment train is screening → equalisation → coagulation/flocculation → biological treatment → tertiary colour removal; ZLD is required for many textile clusters.

Water and energy conservation: low liquor-ratio dyeing, pad-batch instead of exhaust, reuse of cooling water, condensate recovery, and heat recovery from stenters.

Waste hierarchy for textiles: reduce (right-first-time dyeing, cutting efficiency), reuse (offcuts, deadstock), recycle (shredding to shoddy/recycled yarn), recover energy; textile waste must not be burned in the open.

Portfolio structure: cover, contents, statement of intent, research and mood board, motif development sheets, repeats and colourways, technique samples, final products, costing sheet, and reflection.

Sample documentation standard: each sample records fibre/fabric, technique, dye or print recipe with quantities, tools, process steps, and a photograph or swatch mounted with a caption.

Mood board and storyboard: 8-12 images plus a colour palette of 4-6 swatches; the palette must be traceable to the research, not chosen at random.

Repeat and technical sheet: repeat size in cm, number of colours/screens, registration marks, scale, and colourway codes so the design can be reproduced by a third party.

Project report essentials: aim, objectives, methodology, materials, process record, observations, cost analysis, conclusion and references; dated entries and photographs support authenticity.

Presentation: mount work on neutral boards, keep a consistent visual grid, label every piece, and prepare a 3-5 minute verbal walkthrough covering concept, process and outcome.

Assessment criteria typically weight: design originality and research, technical skill and finish, documentation completeness, costing accuracy, and presentation quality.

Safety in the studio: dye and chemical handling with gloves and eye protection, ventilation for solvent and fixative use, safe iron and steamer use, and correct disposal of dye baths and sharps.