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In the contemporary textile industry, such processes have been enhanced by the incorporation of technology such as digital printing and computer-aided design (CAD) into the processes. In as much as the creating processes have undergone evolution, there are some aspects of textile design which remain intact over time. These include the inspirational factors, that is, the factors which direct a designer in creating a certain print, the creation process such as weaving or pleating, and the dyeing processes. To elaborate on this, the following study text will create an analysis of a textile object, and highlight all its constituent elements in a collective visual arts and textile design perspective.
The above object, figure1, is a finished textile object in its complete state where in its state depicts a complete woven fabric with colour imprints done on it. It is square in shape with a neat enclosing boundary around it. As one progresses inwards, there appears several patterns such as the outermost double line patterns, the inner floral patterns, and an innermost circular boundary enclosing an imprint. It seems like the initial colour of the fabric or yarn or fibre was pale beige. At each of the four corners is a square design done in chocolate brown colour. The highlights or most outstanding aspects about the textile object is a face imprinted at the centre of the fabric which is facing down towards the bottom left corner. It is done in a single deep grey colour on the background beige (Elsasser 2010, p. 134).
At the bottom of the fabric, to the left, is an imprint of a woman seated with her gaze thrown to the extreme right. She has golden hair and a white robe with golden seams. Her portrait is enclosed within a circular outline with yellow and green floral patterns. Her feet are entwined with those of another to the right of the bottom corner. The figure is that of
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