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Odisha CHSE +2 Vocational Textile Designing study materials
Odisha CHSE +2 Vocational Textile Designing study resources

Odisha CHSE +2 Vocational Textile Designing practice questions

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Question 1Fundamentals of Textile Design: Elements, Principles and Colour Theory

In textile design, which element refers to the surface quality of a fabric as perceived by touch or by the eye, such as smooth, rough, glossy or nubby?

  1. Line
  2. Texture Correct answer.
  3. Form
  4. Value

Explanation

Texture is the element that describes surface quality, whether felt by hand or suggested visually by the way light strikes the yarns and weave structure. It is distinct from line, which is a directional mark, and from value, which concerns lightness or darkness.

Question 2Fundamentals of Textile Design: Elements, Principles and Colour Theory

A designer repeats a small floral motif at regular intervals across a saree border. Which principle of design is being applied?

  1. Proportion through scale change
  2. Contrast through opposition
  3. Rhythm through repetition Correct answer.
  4. Emphasis through isolation

Explanation

Rhythm is created when an element such as a motif is repeated at regular intervals, producing a sense of organised movement the eye can follow. The regular spacing is what makes the repetition read as rhythm rather than random placement.

Question 3Fundamentals of Textile Design: Elements, Principles and Colour Theory

Which pair of colours are complementary colours on the traditional artist's colour wheel?

  1. Yellow and green
  2. Blue and violet
  3. Red and blue
  4. Red and green Correct answer.

Explanation

Complementary colours sit directly opposite each other on the colour wheel, and red faces green on the traditional wheel. Such pairs produce maximum contrast when placed together and neutralise each other when mixed as pigments.

Question 4Fundamentals of Textile Design: Elements, Principles and Colour Theory

In colour theory, what is the name given to the pure, unmodified hues such as red, yellow and blue from which other colours are derived?

  1. Tertiary colours
  2. Secondary colours
  3. Neutral colours
  4. Primary colours Correct answer.

Explanation

Primary colours are the base hues that cannot be created by mixing other colours in the given system, and from which secondary and tertiary colours are produced. In the traditional pigment system these are red, yellow and blue.

Question 5Fundamentals of Textile Design: Elements, Principles and Colour Theory

Which term describes the lightness or darkness of a colour, independent of its hue?

  1. Saturation
  2. Value Correct answer.
  3. Temperature
  4. Hue

Explanation

Value measures how light or dark a colour is on a scale from near-white to near-black, and it can be judged even in a monochrome image. Hue identifies the colour family, while saturation describes its purity or intensity.

Question 6Fundamentals of Textile Design: Elements, Principles and Colour Theory

A woven shawl shows a large paisley motif in the centre with a wide plain field around it. Which principle explains why the paisley draws the viewer's attention first?

  1. Emphasis Correct answer.
  2. Rhythm
  3. Balance
  4. Harmony

Explanation

Emphasis is the principle that creates a focal point so the eye is drawn to a particular area first. A large, detailed motif surrounded by a quiet plain field dominates through contrast of interest and placement.

Question 7Fundamentals of Textile Design: Elements, Principles and Colour Theory

Which of the following is an example of a cool colour commonly used to suggest calm in furnishing fabrics?

  1. Orange
  2. Blue Correct answer.
  3. Yellow
  4. Red

Explanation

Cool colours are those associated with water, sky and shade, and blue is the standard example used to suggest calm and recession. Warm colours such as red, orange and yellow tend to advance and stimulate.

Question 8Fundamentals of Textile Design: Elements, Principles and Colour Theory

A designer mixes a pure red pigment with increasing amounts of grey of the same value. What happens to the resulting colours?

  1. They shift in hue towards the complementary colour
  2. They become progressively lighter in value while saturation is unchanged
  3. They become progressively less saturated while their value stays similar Correct answer.
  4. They become fully neutral black at the midpoint

Explanation

Adding grey of matching value reduces chroma, so the mixture becomes duller or less saturated without a large change in lightness. This is the standard way to produce tones or muted colourways for a fabric range.

Question 9Fundamentals of Textile Design: Elements, Principles and Colour Theory

A block-printed bedcover uses dark maroon motifs on a pale cream ground. Which design principle is most directly responsible for the motifs reading clearly at a distance?

  1. Repetition
  2. Proportion
  3. Unity
  4. Contrast Correct answer.

Explanation

Contrast is the principle that uses strong difference between elements, here a large value difference between dark motifs and a pale ground, to make shapes legible from a distance. Without that difference the motifs would merge into the background.

Question 10Fundamentals of Textile Design: Elements, Principles and Colour Theory

Which colour scheme is described as analogous?

  1. Three primaries spaced equally around the wheel
  2. Three neighbouring hues such as blue, blue-green and green Correct answer.
  3. A single hue with black and white only
  4. Two hues directly opposite on the wheel

Explanation

An analogous scheme uses hues that sit next to each other on the colour wheel, giving a close, harmonious relationship with little hue contrast. Because the hues are neighbours, the scheme relies on value and saturation for variety.

Question 11Fundamentals of Textile Design: Elements, Principles and Colour Theory

In a dress fabric, a fine vertical stripe makes the wearer appear taller. Which element of design is chiefly responsible for this effect?

  1. Line Correct answer.
  2. Form
  3. Space
  4. Texture

Explanation

Line directs the eye along its path, and repeated vertical lines carry the gaze upward, creating an illusion of height. The effect comes from direction rather than from surface quality or volume.

Question 12Fundamentals of Textile Design: Elements, Principles and Colour Theory

A textile designer wants a colour scheme that feels balanced and lively, so she chooses violet, green and orange. Which classic scheme has she used?

  1. Complementary pair
  2. Monochromatic scheme
  3. Achromatic scheme
  4. Secondary triad Correct answer.

Explanation

Violet, green and orange are the three secondary colours, spaced around the wheel to form a secondary triad. A triad gives strong but balanced variety because the hues are evenly distributed rather than opposed in pairs.

Question 13Fundamentals of Textile Design: Elements, Principles and Colour Theory

Which statement correctly distinguishes hue from saturation?

  1. Hue names the colour family, while saturation describes its purity or intensity Correct answer.
  2. Hue and saturation are two words for exactly the same property
  3. Hue describes warmth, while saturation describes lightness
  4. Hue describes lightness, while saturation names the colour family

Explanation

Hue identifies where a colour sits in the spectrum, such as red or blue-green, while saturation measures how pure or greyed that colour is. A dull brick red and a vivid scarlet can share a hue but differ greatly in saturation.

Question 14Fundamentals of Textile Design: Elements, Principles and Colour Theory

A printed fabric repeats a motif in steadily increasing size from one selvedge to the other. Which principle is illustrated?

  1. Emphasis by isolation
  2. Harmony by similarity
  3. Gradation as a form of rhythm Correct answer.
  4. Symmetrical balance

Explanation

Gradation is a gradual change in size, colour or spacing that produces rhythm without exact repetition. Because the motif grows step by step, the eye travels along the sequence, which is a recognised rhythmic device.

Question 15Fundamentals of Textile Design: Elements, Principles and Colour Theory

Which pairing best describes the relationship between tint and shade?

  1. A tint is a hue darkened with black, while a shade is lightened with white
  2. A tint is a hue lightened with white, while a shade is a hue darkened with black Correct answer.
  3. A tint is a pure hue, while a shade is a neutral grey
  4. A tint is a hue mixed with grey, while a shade is mixed with its complement

Explanation

Tints are made by adding white to a hue, raising its value and lowering saturation, while shades are made by adding black, lowering value. Tones, by contrast, are made by adding grey to a hue.

Question 16Fundamentals of Textile Design: Elements, Principles and Colour Theory

A designer places a small bright yellow motif on a large deep violet ground. Which explanation best accounts for the motif appearing to vibrate or advance?

  1. Yellow and violet are analogous, so they blend into a single harmonious field
  2. Yellow and violet are near-complements, so their juxtaposition creates strong simultaneous contrast Correct answer.
  3. Yellow and violet are both cool colours, so the motif appears calm
  4. Yellow and violet have the same value, so the motif recedes into the ground

Explanation

Yellow and violet sit almost opposite on the wheel, so placing them side by side heightens perceived contrast and can make the smaller area appear to advance or shimmer. The effect is strengthened by the large value difference between the bright motif and the dark ground.

Question 17Fundamentals of Textile Design: Elements, Principles and Colour Theory

Which arrangement of a border design demonstrates formal (symmetrical) balance?

  1. Identical motifs mirrored on either side of a central axis Correct answer.
  2. A single motif placed off-centre near one corner
  3. A large motif on one side balanced by several small motifs on the other
  4. A random scatter of motifs across the field

Explanation

Formal or symmetrical balance occurs when elements are mirrored about a central axis so both halves carry equal visual weight in the same arrangement. This produces a stable, orderly reading that suits borders and centre-medallion layouts.

Question 18Fundamentals of Textile Design: Elements, Principles and Colour Theory

A designer needs a muted, sophisticated colourway for a cotton kurta and decides to add grey to each chosen hue. What are the resulting colours called?

  1. Pure hues
  2. Shades
  3. Tones Correct answer.
  4. Tints

Explanation

Adding grey to a hue produces a tone, which is lower in saturation but retains a mid-range value. Tones are widely used in textile ranges where bright pure hues would look too harsh.

Question 19Fundamentals of Textile Design: Elements, Principles and Colour Theory

Which statement best explains why a small area of a bright warm colour can balance a much larger area of a dull cool colour in a textile composition?

  1. Cool colours always carry more visual weight, so the warm area must be smaller to avoid dominating
  2. Visual weight depends only on the area covered and never on colour
  3. Dull colours advance towards the viewer, so they need less area to be noticed
  4. Warm, saturated colours carry more visual weight per unit area, so a smaller amount can counterbalance a larger dull area Correct answer.

Explanation

Visual weight increases with saturation and warmth, so a small intense warm patch can hold its own against a much larger muted cool field. This is why designers often use bright accents sparingly when balancing large quiet areas.

Question 20Fundamentals of Textile Design: Elements, Principles and Colour Theory

A designer wants a repeated motif to read as a half-drop repeat rather than a straight repeat. Which description of the layout is correct?

  1. Motifs are arranged in a circular ring around a central point
  2. Motifs are placed at random with no fixed spacing
  3. Every motif sits directly below the one above in perfectly aligned rows and columns
  4. Each vertical column of motifs is offset by half the repeat height relative to the neighbouring column Correct answer.

Explanation

In a half-drop repeat, alternate columns are shifted vertically by half the repeat height, which breaks the visible grid and gives a softer, less mechanical distribution. A straight repeat keeps motifs aligned in both directions.

Question 21Fundamentals of Textile Design: Elements, Principles and Colour Theory

Two fabrics use the same red hue, but one appears dull and the other vivid under the same light. Which colour dimension differs between them?

  1. Temperature
  2. Saturation Correct answer.
  3. Value
  4. Hue

Explanation

When the hue is identical, a difference in vividness is a difference in saturation, that is, how pure or greyed the colour is. Value and temperature could also vary, but the question specifies the same hue and describes only purity.

Question 22Fundamentals of Textile Design: Elements, Principles and Colour Theory

A designer builds a scheme from yellow-green, yellow-orange and red-orange. Which description of this scheme is most accurate?

  1. It is a monochromatic scheme using one hue only
  2. It is an achromatic scheme using no hue
  3. It is a complementary scheme built on opposite hues
  4. It is an intermediate or tertiary scheme in which the hues share yellow as a common parent Correct answer.

Explanation

Tertiary or intermediate colours arise from mixing a primary with an adjacent secondary, and these three hues all contain yellow, which gives the scheme an underlying family relationship. Sharing a common parent hue is what keeps such a scheme harmonious despite the wide spacing.

Question 23Fundamentals of Textile Design: Elements, Principles and Colour Theory

A reviewer says a printed textile lacks unity because its colours, motifs and textures all compete. Which change would most directly restore unity?

  1. Increase the number of distinct hues used across the design
  2. Add a further contrasting motif to distract from the competing elements
  3. Introduce a strongly textured ground to compete with the printed motifs
  4. Establish a dominant colour family and repeat one motif shape so the other elements support it Correct answer.

Explanation

Unity is achieved when one element or family dominates and the rest support it, so limiting the palette and repeating a motif shape reduces competition. Variety still exists, but it is held within a clear dominant idea.

Question 24Fundamentals of Textile Design: Elements, Principles and Colour Theory

A dyer observes that a red fabric placed next to a green fabric makes the red look more intense than when it is viewed alone. Which principle explains this?

  1. Colour constancy, in which a colour looks the same regardless of surroundings
  2. Simultaneous contrast, in which adjacent complementary colours heighten each other's apparent intensity Correct answer.
  3. Additive mixing, in which the two fabrics combine to form a new hue
  4. Metamerism, in which two samples match under one light but not another

Explanation

Simultaneous contrast describes how a surrounding colour shifts our perception of a neighbouring colour, and complementary pairs heighten each other's apparent intensity. The effect is perceptual rather than a physical change in the fabric.

Question 25Textile Fibres, Yarns and Fabric Structure

Which natural fibre is obtained from the stem (bast) of a plant rather than from a seed hair?

  1. Cotton
  2. Kapok
  3. Jute Correct answer.
  4. Coir

Explanation

Jute is a bast fibre harvested from the stem of Corchorus plants, where long fibre bundles lie in the phloem tissue. Cotton and kapok are seed hairs, while coir is a fruit-husk fibre, so only jute belongs to the stem group.

Question 26Textile Fibres, Yarns and Fabric Structure

In the standard textile fibre classification, silk is grouped under which category?

  1. Mineral fibre
  2. Regenerated fibre
  3. Animal fibre Correct answer.
  4. Vegetable fibre

Explanation

Silk is a protein filament secreted by the silkworm, so it is classified as an animal (protein) fibre together with wool and hair fibres. Vegetable fibres are cellulosic, mineral fibres occur as asbestos or glass, and regenerated fibres are man-made from dissolved polymers.

Question 27Textile Fibres, Yarns and Fabric Structure

Which property of wool is chiefly responsible for its warmth in winter garments?

  1. Its high lustre
  2. Its natural crimp trapping air Correct answer.
  3. Its smooth scaleless surface
  4. Its low moisture regain

Explanation

Wool fibres have a natural crimp and a porous, bulky structure that traps still air, and still air is a poor conductor of heat. This trapped air layer insulates the body and explains the warmth of woollen fabrics.

Question 28Textile Fibres, Yarns and Fabric Structure

A yarn is described as having 30 tex. What does this count express?

  1. The mass in grams of 1000 metres of the yarn Correct answer.
  2. The number of 840-yard hanks in one pound
  3. The diameter of the yarn in millimetres
  4. The number of twists per metre inserted in the yarn

Explanation

Tex is a direct yarn numbering system defined as the mass in grams of 1000 metres of yarn. A 30 tex yarn therefore weighs 30 grams for every kilometre of its length.

Question 29Textile Fibres, Yarns and Fabric Structure

In a plain weave fabric, the repeat of the interlacing pattern consists of how many ends and picks?

  1. Two ends and two picks Correct answer.
  2. Four ends and four picks
  3. Five ends and five picks
  4. Three ends and one pick

Explanation

Plain weave is the simplest interlacing, where each warp end passes over one pick and under the next. The pattern therefore repeats on the smallest possible unit of two ends and two picks.

Question 30Textile Fibres, Yarns and Fabric Structure

Which fabric structure is produced by interlocking loops of yarn rather than by interlacing warp and weft?

  1. Plain weave
  2. Twill
  3. Satin
  4. Knit Correct answer.

Explanation

Knitted fabric is formed by drawing loops of yarn through previously formed loops, giving the characteristic wale and course structure. Woven fabrics such as twill, satin and plain weave are made by interlacing two sets of threads at right angles.

Question 31Textile Fibres, Yarns and Fabric Structure

Which fibre is a regenerated cellulosic fibre manufactured from wood pulp?

  1. Polyester
  2. Viscose rayon Correct answer.
  3. Nylon
  4. Acrylic

Explanation

Viscose rayon is made by dissolving purified wood pulp cellulose and extruding it into a coagulating bath, so it is regenerated cellulose. Nylon, polyester and acrylic are fully synthetic fibres built from petrochemical polymers.

Question 32Textile Fibres, Yarns and Fabric Structure

A cotton yarn has a count of 40s Ne. What does this count indicate about the yarn?

  1. It contains 40 fibres in its cross-section
  2. It has 40 hanks of 840 yards in one pound Correct answer.
  3. It has 40 twists per inch
  4. It weighs 40 grams per 1000 metres

Explanation

The English cotton count is an indirect system in which the count equals the number of 840-yard hanks in one pound of yarn. A 40s yarn therefore gives forty such hanks per pound and is finer than a 20s yarn.

Question 33Textile Fibres, Yarns and Fabric Structure

Why is a yarn with higher twist generally stronger than a similar yarn with very low twist up to a certain point?

  1. Twist converts the yarn into a filament
  2. Twist adds lateral pressure so fibres grip each other Correct answer.
  3. Twist increases the fibre length
  4. Twist removes short fibres from the yarn

Explanation

Inserting twist winds the fibres helically and presses them together, creating friction and lateral pressure so that the load is shared rather than slipping. Strength therefore rises with twist until the optimum, after which over-twisting makes the yarn weaker.

Question 34Textile Fibres, Yarns and Fabric Structure

A fabric shows a diagonal line running from bottom left to top right across the surface. Which weave is most likely used?

  1. Plain weave
  2. Satin weave
  3. 2/2 twill Correct answer.
  4. Leno weave

Explanation

In twill weave, the interlacing points are stepped by one end and one pick in each successive row, producing a continuous diagonal line. Plain weave gives a small checkerboard, satin gives long floats, and leno gives an open crossed structure.

Question 35Textile Fibres, Yarns and Fabric Structure

Why does a satin weave fabric appear more lustrous and smooth than a plain weave fabric of the same yarn?

  1. It has more interlacing points per unit area
  2. Its long floats reflect light in one direction Correct answer.
  3. It uses only weft threads
  4. It is always made from silk

Explanation

Satin weave is built with long floats that cover the interlacing points, so the surface is dominated by straight, parallel yarn segments. These reflect light uniformly and give a smooth, lustrous appearance, whereas frequent interlacing in plain weave scatters light.

Question 36Textile Fibres, Yarns and Fabric Structure

Two yarns have counts of 20 tex and 40 tex. What is the relationship between them?

  1. The 20 tex yarn is finer but heavier per metre
  2. Both yarns have equal linear density
  3. The 20 tex yarn is twice as coarse as the 40 tex yarn
  4. The 40 tex yarn is twice as coarse as the 20 tex yarn Correct answer.

Explanation

Tex is a direct system, so a higher number means a heavier and coarser yarn. Since 40 tex is double 20 tex, the 40 tex yarn has twice the mass per unit length and is twice as coarse.

Question 37Textile Fibres, Yarns and Fabric Structure

A single yarn has a count of 60s Ne. If two such yarns are plied together without twist take-up, what is the approximate resultant count?

  1. 60s Ne
  2. 30s Ne Correct answer.
  3. 15s Ne
  4. 120s Ne

Explanation

In indirect count systems, plying equal yarns divides the single count by the number of plies, so 60 divided by two gives about 30s Ne. The plied yarn is coarser and heavier than a single 60s yarn.

Question 38Textile Fibres, Yarns and Fabric Structure

Which spinning system produces a yarn by wrapping fibres around a core using a rotating hollow spindle and a false-twist jet, without a conventional traveller?

  1. Hand spinning on a charkha
  2. Rotor spinning
  3. Ring spinning
  4. Air-jet spinning Correct answer.

Explanation

Air-jet spinning uses high-pressure air jets to wrap surface fibres around a core of parallel fibres, giving a distinctive wrapper-fibre structure. Ring spinning uses a traveller and spindle, rotor spinning uses an opening roller and rotor, and hand spinning uses a spindle or wheel.

Question 39Textile Fibres, Yarns and Fabric Structure

Why is combed cotton yarn smoother and stronger than carded cotton yarn of the same count?

  1. Combing adds synthetic fibres to the blend
  2. Combing reduces the twist needed to zero
  3. Combing increases the moisture regain of cotton
  4. Combing removes short fibres and aligns the long ones Correct answer.

Explanation

Combing removes short fibres, neps and impurities, leaving long fibres that are parallel and better aligned. The resulting yarn has fewer protruding fibre ends, so it is smoother, more even and stronger than a carded yarn.

Question 40Textile Fibres, Yarns and Fabric Structure

A leno weave fabric is used for curtains and bags because the structure provides which feature?

  1. A dense waterproof surface
  2. A diagonal rib effect
  3. An open, firm mesh with crossed warp ends Correct answer.
  4. A high lustre from long floats

Explanation

In leno weave, pairs of warp ends are crossed over each other and locked by the weft, producing an open but firm mesh that resists slipping. This makes it suitable for curtains, nets and bags where openness with stability is wanted.

Question 41Textile Fibres, Yarns and Fabric Structure

Which weave would you select to produce a fabric with a small all-over geometric motif created by floating warp and weft threads in a planned order?

  1. Mock leno
  2. Dobby weave Correct answer.
  3. Plain weave
  4. Rib weave

Explanation

Dobby weave uses a dobby mechanism to control groups of healds so that small geometric motifs and textured patterns can be produced within a limited repeat. Plain weave cannot form motifs, rib weave gives cord lines, and mock leno gives an open imitation of leno.

Question 42Textile Fibres, Yarns and Fabric Structure

A fabric sample is found to shrink excessively and lose strength when treated with a strong alkali. Which fibre is most likely present?

  1. Polyester
  2. Wool Correct answer.
  3. Nylon
  4. Glass

Explanation

Wool is a protein fibre and is attacked by strong alkalis, which break the disulphide and peptide bonds, causing loss of strength and shrinkage. Polyester, nylon and glass are far more resistant to alkali under normal conditions.

Question 43Textile Fibres, Yarns and Fabric Structure

Which feature distinguishes a filament yarn from a staple yarn?

  1. Filament yarn is composed of continuous strands of indefinite length Correct answer.
  2. Filament yarn is made from short fibres twisted together
  3. Filament yarn is produced only from natural fibres
  4. Filament yarn always has a lower twist than staple yarn

Explanation

A filament yarn consists of continuous strands that run the full length of the yarn, either from natural silk or from extruded synthetic polymer. Staple yarns, by contrast, are made by twisting together short fibres of limited length.

Question 44Textile Fibres, Yarns and Fabric Structure

A cloth is found to have a low cover factor and a large number of open pores. Which combination of sett and yarn count best explains this?

  1. Equal warp and weft sett with medium yarn
  2. Low ends per inch with fine yarn Correct answer.
  3. High ends per inch with coarse yarn
  4. High picks per inch with coarse weft

Explanation

Cover factor depends on both the yarn diameter and the number of threads per unit length. Few threads per inch combined with fine yarn leaves large gaps, giving a low cover factor and an open, porous fabric.

Question 45Textile Fibres, Yarns and Fabric Structure

A 2/1 twill and a 1/2 twill are woven with the same yarns and sett. Which statement about their appearance is correct?

  1. The 2/1 twill shows more warp on the face and the 1/2 twill shows more weft Correct answer.
  2. The 1/2 twill has no diagonal line
  3. Both twills show identical faces because the repeat is the same
  4. The 2/1 twill is a plain weave variant

Explanation

In twill notation the first figure gives the number of warp ends lifted, so a 2/1 twill floats warp over two picks and shows a warp-faced diagonal. A 1/2 twill floats weft over two picks and therefore presents a weft-faced diagonal on the face.

Question 46Textile Fibres, Yarns and Fabric Structure

Why does ring-spun yarn generally have higher strength than rotor-spun yarn of the same count from the same cotton?

  1. Rotor yarn has no twist at all
  2. Ring yarn has a more parallel fibre arrangement and better fibre migration Correct answer.
  3. Rotor yarn contains more long fibres
  4. Ring yarn is always made from finer cotton

Explanation

Ring spinning drafts fibres into a highly parallel ribbon and inserts twist with good fibre migration between core and surface, so most fibres contribute to strength. Rotor spinning is faster but produces a less parallel structure with more wrapper fibres and a weaker core.

Question 47Textile Fibres, Yarns and Fabric Structure

A designer needs a fabric with high abrasion resistance for upholstery. Which combination of structure and fibre gives the best balance?

  1. An open leno weave in viscose
  2. A firm 2/2 twill in a polyester-cotton blend Correct answer.
  3. A loose plain weave in fine silk
  4. A satin weave in fine wool

Explanation

A firm twill interlocks threads closely and spreads abrasion over many contact points, while a polyester-cotton blend combines polyester toughness with cotton absorbency and body. Loose or open structures and delicate fibres wear quickly under rubbing.

Question 48Textile Fibres, Yarns and Fabric Structure

In a crepe fabric, the pebbly, rough surface is chiefly produced by which means?

  1. Using highly twisted yarns that kink and untwist in the cloth Correct answer.
  2. Weaving with a very open leno sett
  3. Brushing the surface after weaving
  4. Using only untwisted filament yarns

Explanation

Crepe effects come from yarns with very high twist, which tend to snarl and kink when free, so the cloth develops a pebbly, irregular surface. Untwisted filaments, open leno setts or brushing do not create the characteristic crepe texture.

Question 49Surface Ornamentation Techniques: Printing, Dyeing, Embroidery and Embellishment

In Odisha's traditional Ikat weaving, the coloured pattern is produced mainly by which process?

  1. Resist-dyeing the yarns before weaving Correct answer.
  2. Painting the pattern with a brush after weaving
  3. Block-printing the finished cloth
  4. Stamping metallic foil onto the loom

Explanation

Ikat is a yarn-resist technique: selected yarns are tied and dyed so that the pattern appears when the loom interlaces them. The design is thus built into the yarn before weaving, not applied to finished cloth. Bandha work of western Odisha depends on this pre-dyeing alignment.

Question 50Surface Ornamentation Techniques: Printing, Dyeing, Embroidery and Embellishment

Which thick paste is traditionally used in Odisha's hand block printing to resist dye and later washed out to leave a pale pattern?

  1. Hot melt adhesive sprayed through a stencil
  2. Polyurethane lacquer baked onto the cloth
  3. Wax-resin paste applied with a carved wooden block Correct answer.
  4. Sodium alginate thickener mixed with reactive dye

Explanation

Traditional resist printing uses a thick paste printed with carved wooden blocks; the paste blocks dye penetration and is later removed by washing. Reactive dye thickeners, by contrast, carry colour rather than resist it. The result is a light motif on a darker dyed ground.