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ABSTRACT

THE DEVELOPMENT OF A CLASSIFICATION SYSTEM
FOR TWO-DIMENSIONAL PRINTED AND DYED
TEXTILE MOTIFS AND THEIR ARRANGEMENT

by

Sharla Jean Hoskin

A system of textile design classification for two-
dimensional printed and dyed patterned textiles based on the
character of motifs and their arrangement was developed.
The classification was proposed as a tool for a researcher
studying textile designs for description, comparison, or
development of design. It is an organizational, not an
evaluative system; so conclusions would be drawn about the
material classified after classes are defined in relation
to a specific problem, such as a comparison of line use in
two cultures. Revisions were made at three points in the
study, resulting in expansion of the subheadings and in
reorganization. Successful use of the outline in its
present form requires a working knowledge of classification
schemes.

The objectives of the study were to develop the system
of classification using the elements and principles of de-

sign; to test the system on cultural textiles examples; to

recommend ways which the system could be used, and to recom-
mend alternatives for studying other textiles besides pat-
terned designs. A personal objective was to reinforce the
idea that textiles are an art form.

It was assumed that an objective system could be de-
veloped to analyze design elements, that an objective system
could apply cross culturally, and that two-dimensional
printed and dyed textiles would not be too restricting for
creation of necessary categories.

The study was limited to patterned textiles and to
description, not interpretation of textile design. Historic
textiles were used as guides in the development of the
classification rather than a cross sampling of ethnic tex-
tiles. The review panels were limited to graduate students
and faculty in the Department of Human Environment and
Design at Michigan State University, not professionals in
the textile design or classification areas.

The first step in the procedure was the listing of de-
sirable criteria for the classification system. Among
these were ease of use, simple and clearly defined termin-
ology, objectivity, categories that are mutually exclusive,
internal consistency, flexibility, applicability to more
than one aesthetically oriented problem, relevance of
features, and a comprehensive number of features.

The form (xf classification chosen was paradigmatic,
so that features would not be weighted by importance. The

classification system was presented in outline form.

The attributes selected were line, space, form, value,
density, direction, position, structure, balance, symmetry,
scale, proportion, dominance of motif, subject matter, and
style. Rejected attributes were texture, color, emphasis,
rhythm, inspiration sources, and symbolism. The attributes
were chosen based on objectivity, ease of subdivision, and
importance of conveying a total picture of the design. The
features were grouped to describe three hierarchies of the
textile design. Hierarchy I was the General Characteris-
tics of the Textile Design. Hierarchy II was the Specific
Character of the Motif and Hierarchy III was the Specific
Character of Arrangement.

The classification outline was presented as a pretest
to ten graduate students and faculty in the Department of
Human Environment and Design. Revisions for clarity and
ease of use were made. The system was again tested by ten
members of a graduate student seminar. For both tests all
participants had a previous knowledge of the elements and
principles of design. Each was asked to classify two
textiles and evaluate the classification system based on
the desirable criteria listed at the beginning of the study.

Not all the criteria were satisfied; so further revi-
sions were made resulting in the subdivision of the large
outline into separate headings, each with its own instruc-
tions, definition. and example sections. Application to
other textile forms and use in comparison studies were

recommended.

It was concluded that more revisions toward simpli-
fication were necessary for ease of use and that the
classifier needed a working knowledge, rather than a

familiar knowledge, of design elements and principles.

THE DEVELOPMENT OF A CLASSIFICATION SYSTEM
FOR TWO-DIMENSIONAL PRINTED AND DYED
TEXTILE MOTIFS AND THEIR ARRANGEMENT

By

Sharla Jean Hoskin

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements

for the degree of

MASTER OF ARTS

Department of Human Environment and Design

1975

ACKNOWLEDGMENTS

The interest and guidance of several people made this
study possible. I extend thanks to my major professor
Joanne B. Eicher; my committee members Mary L. Shipley
and Grace 0. Martin; and my department chairman Robert R.
Rice. I give special thanks to Holly L. Schrank for her
direction in the early development of the study and in
testing.

Mr. Martin Baerlocher from the University of Basle,
Switzerland, and Mr. Milton Sonday of the Cooper Hewitt
Museum, New Yorkn gave valuable information on possible
approaches to the problem.

Many thanks go to the graduate students and faculty
who participated in the testingh especially Elaine Pedersen
for her extra help on revisions.

Finally, the most appreciation goes to my parents,
Charles and Ila Hoskin for continued moral and financial

support and to my friends for their understanding.

TABLE OF CONTENTS

Chapter

LIST OF FIGURES

I.

II.

III.

IV.

V.

INTRODUCTION

Statement of Purpose
Assumptions
Limitations

REVIEW OF LITERATURE

Classification Theory

Desirable Characteristics of a
Classification System

Organizational Systems for Textiles,
Ornament, and Archeology

Descriptive and Comparative Studies

METHOD OF PROCEDURE

Criteria for Development

Selection of the Classification Form
Selection of Diagnostic Attributes
Content of the Classification Outline
Justification of the System

Structure of the Classification System

TESTING THE SYSTEM

Test Panel Results on the Pretest

Revisions for Test

Test Panel Results on Revised
Classification System

Key to Test Textiles

Revisions after Revised Test

CLASSIFICATION SYSTEM

ii

Page

iv

mm-LT-PHH

Chapter Page

VI. SUMMARY AND CONCLUSIONS 204
Conclusions 20#
Recommendations 208
Directions for Further Use 210
Summary 216

BIBLIOGRAPHY 221

iii

Figure
1.

LIST OF FIGURES

Diagramatic comparison of paradigmatic
and taxonomic classification

Diagramatic comparison of analytic and
taxonomic classification

Diagramatic analytic classification using line
Use of the elements and principles of design
Reversal of positive and negative space

Chart form

Outline form

Diagram form

Information card

Test textiles; A - Pretest, B - Revised test
Test textiles; B - Pretest, A - Revised test

Paradigmatic classification of three
dimensions

Identification devices

iv

Page

12

14
15
5o
69
72
72
72
74
80
81

214
215

CHAPTER I

INTRODUCTION

Statement of Purpose

 

The purpose of this study is to develop a system of
textile design classification based on the characteristics
and arrangement of textile motifs. The design classifica-
tion categories are structured on aesthetic elements and
principles, but fiber, weave, function, method of design
application, date, and country of origin will be documented
for each piece.

The resulting system is intended to be objective and
specific in that a number or letter will be assigned to each
mutually exclusive characteristic analyzed. It is to be
specific enough to isolate varied details, so as not to
oversimplify comparisons or contrasts, but not overburden-
some so that each design is in a class by itself, proving
only that the design is different from all others.

A classification system for universal analysis of
structure and content of textile designs, considering
subtle variations in form, minute motif detail, and multiple
repeats has not been done. This type of system seems possi—
ble because systems of classification have been achieved
in the study of pottery and other archeological artifacts

I

2
with equal variety in shapes and ornament. These pottery
and the proposed classification systems are not inherently
cross-cultural, but should be flexible and adaptable to
several cultures. It is necessary that the possibility for
expansion or limitation be included because the range of
motifs, variation in arrangement, and diverse regional
styles cannot all be revealed by studying a single textile
group.

Statements by authors who expressed belief in a possible
classification system encouraged this study. Arnheim stated
that all existing things, no matter how complex, are made
up of geometric building blocks (Arnheim, 1954). Justema
believed that most patterns could be classified by surface
"coverage" and stated "the different kinds of motifs and
their combinations are not as numerous as they first appear
to be" (Justema, 1968, p. 41). He said that repetition is
the basis of pattern and since types of repetition can be
classified, pattern can be classified. Christie proposed
a classification by structure, which included type of repeat
and location of axes of symmetry (Christie, 1969). Meyer
grouped motif types, such as animal form or plant form
(Meyer, 1957). Gardin said that the great variety of design
compositions is tempered by the frequent recurrence of a few
themes (Gardin, 1958, p. 341) and Goodyear implied that all
motifs are borrowed and revived from earlier civilizations;
thus the basic source must merely be determined and

classified (Goodyear, 1891).

3

The classification system will be developed using
photographs and sketches from selected historic textile
sources. Historic textiles and the investigator's original
designs will demonstrate terms and give examples. A pre-
test panel of faculty and graduate students will be asked to
use the system as a test for workability, objectivity, and
general understanding of terminology. A revised classifica—
tion system is to be tested by a second graduate student
panel. Results will be reported with recommendations,
limitations, and objections defended.

The classification system is not an end in itself,
but a means or a tool to study an aspect of textile design.
The problem at which the system is directed is the analysis
of form and content of motifs plus structure of repeats
using the aesthetic elements and principles. Distorted
conclusions will result if users are not aware of the con-
cepts behind the system's development and its limitations.
No conclusions are to be drawn on possible pattern history
and development and no classes are formed, since classes are
formed only in relation to a specific study, such as compari-
son of line use. Further techniques, such as statistical
clustering or numerical taxonomy, are necessary for deter—
mining class and drawing comparisons or contrasts. The
classification system is a guide or key to questions that
a student of formal analysis should ask. The questions

provided will shorten preliminary steps in the student's

own research program.

L;

Assumptions

The following assumptions apply to the development of

the proposed textile design classification system:

1)

2)

3)

An objective system can be developed to analyze
design elements and their interrelations.

The system can be used to objectively analyze tex-
tiles of all cultures.

An inclusive system can be developed within the
design range limits of textiles with two-
dimensional ornamentation (dyeing, painting, stamp-

ing, stenciling, printing).

Limitations

The following limitations apply to the development of

the proposed textile design classification system:

1)

2)

3)

4)

The study is limited to two—dimensional patterned
textiles and their analysis by design elements and
principles.

The study is limited to use of historic textiles

in the development of the classification system
rather than a cross sampling of several ethnic
textiles.

The sample available for testing the classification
system was limited to graduate students and faculty
in the investigator's department.

The study is limited to the description of textile

design, not the interpretation or development.

CHAPTER II
REVIEW OF LITERATURE

The review of literature for the development of a tex—
tile motif classification system was concentrated in four
areas: (1) classification theory and types of classifica-
tion, (2) desirable characteristics of a classification
system, (3) existing information on organizational systems
for textiles, ornament, and archeology, and (4) comparative

and descriptive design motif studies.
Classification Theory

General Purposes and Limitations

McKern suggested the purpose of classification. He
said that classification reduces a great deal of information
into simplicity and order and supplies standard terminology,
so that students can converse intelligently and with ready
comprehension (McKern, 1939, p. 304).

Krieger listed the purposes of classification as three:
(1) "to standardize comparison of specimens over wide areas,"
(2) "to save time in sorting, tabulating, and describing
masses of material," (3) "to provide convenient reference
forms and terms to expedite field recording, surveying,
and cataloging (Krieger, 1944, p. 275).

5

6

Brew stated that classification is a tool of analysis--
a means to an end, not the end itself. The purpose of
classification is to "enable classifier to make inductive
generalizations concerning sense data he is classifying"
(Brew, 1946, p. 48).

Brew's main points relating to this study were that a
classification system is created by the student, the diag-
nostic criteria which are the characteristics used in de-
scription are defined by the student, and the objects are
placed in classes or units by the student. Types or units
containing like designs are made, not discovered. No
classification system is inherent in the material to be
analyzed. The classes are arbitrary and designed for an
immediate end (Brew, 1946, p. 46). Rouse wrote that the
opportunity for variation in classification systems and the
information they provide comes in the selection of diagnos-
tic criteria for the classes (Rouse, 1960, p. 313).

The important thing here is that the making of these

groups is an activity of reason and can and should be

manipulated at will to serve the purpose of the

student (Brew, 1946, p. 48).

A group of objects can be classified a number of dif-
ferent ways depending on the informatiOn sought. It is
important that any system be flexible as new facts are ob—
tained. This procedure involves classifying materials in
all the ways which will provide information. More and new
classifications should be made since no single analysis

will show all the evidence (Brew, 1946, p. 65).

7

The main value of a published description of a given
system is that it may then be adapted by another
student to his problem, not that he should force his
material into it (Brew, 1946, p. 65).

Brew stated that classification systems need to be

revised and continually analyzed. Distortion should be

looked for and users must always be informed of the con—

cepts behind the classification system's development (Brew,

1946, p. 65).

Dunnell clarified the following general statements re—

lating to the proposed classification system:

1.

Classification is arbitrary. Attributes defining
classes must be based on a specific problem. There
is no logic in using all attributes-—even if it
were possible--for the end result would be the
division of the field into an infinite number of
unique classes showing what is already assumed,
that everything is different from everything else
(Dunnell, 1971, p. 47).

Classification is a matter of qualification.
Attributes of classes must be articulated or
qualified (Dunnell, 1971, p. 52).

Classification only shows relationships between
units in the same system (Dunnell, 1971, p. 56).
Classification units are more important than their
labels, that is.a label is only a name. The label
could be changed, but the class would remain the

same (Dunnell, 1971, p. 59).

Dunnell summarized,

Classification assumes that the phenomenological world

is capable of order. To bring order and meaning to

phenomena four assumptions are made, two which locate
the classes (field and level), and two which stipulate
the means for ordering (distinguishing attributes and
selecting some as definitive). The product is a set

of equivalences (classes) and non-equivalences (rela-

tions between classes) (Dunnell, 1971, p. 59).

According to the quote.four decisions are made in the
development of a system outside the classification: (1) se-
lecting the field (the common feature of all objects),

(2) selecting a particular point at which classes are to be
formed, (3) recognizing boundaries for creating classes,
(4) selecting from those boundaries definitive attributes.
A system can only be evaluated on these decisions and their
relation to the proposed problem.

Limits of classification are that they only organize
phenomena. Classification is a formal structure and does
not provide explanation. It must be problem oriented, and
the organization resulting depends on the attributes and
other initial decisions mentioned above (Dunnell, 1971,

p. 64).

According to McKern (1939), Krieger (1944), Brew (1946),
and Dunnell (1971) the general purpose of the classification
system is to organize a mass of information for ease of
use and to standardize terminology for improved communica-
tion. Classification systems have limitations, but when

these limits and the inherent characteristic of artificiali-

ty are recognized and understood the process of

9

classification can be a valuable tool.

Typgglgf Classification Systems

Dunnell distinguished classification from grouping in
the following manner. Classification is definitive, it
relates to the ideational realm. Classification involves
listing necessary and sufficient conditions for membership
in an arbitrary class. A class is a unit of meaning created
by boundaries. The boundaries, being criteria, state
necessary and sufficient conditions for membership (Dunnell,
1971, p. 45).

Grouping is descriptive and relates to the phenomeno-
logical realm. It involves listing the attributes of an
individual case, which is bound to a position in time and
space (Dunnell, 1971, p. 45). Grouping can be based on
similarities (phenetically), descent of common line
(cladistically),or time (chronistically) (Sokal, 1966,

p. 108).

A process called identification links the two opera—
tions, classification and grouping. Identification is the
"process of using classes to assign phenomena to groups"
(Dunnell, 1971, p. 49).

Types of classification discussed by Dunnell were para-
digmatic and taxonomic. A paradigmatic classification has
distinctions that are equivalent, unstructured, and un-
weighted. It is considered dimensional (Dunnell, 1971,

p. 70)-

10

Individual class definitions will consist of one

feature drawn from each dimension, the number of

definitive features in each definition being a direct
reflection of the number of dimensions used in the

classification (Dunnell, 1941, p. 73).

For example, a definition of line could have three
parts, one from each of the dimensions of line. Direction
is one dimension with features such as vertical, horizontal,
and diagonal. Type is second dimension with features such
as straight, restrained curve, and rococo curve. Character
is a third dimension with features such as fine, heavy, or
broken. Each dimension mentioned is equivalent, unstruc—
tured, and unweighted. Sokal stated that it is not logical
to order or weight characteristics, since this influences
and limits the application of the system to other problems
(Sokal, 1966, p. 109).

Taxonomic classification uses features which are non-
equivalent, structured, and weighted. It is nondimensional
and there is an ordered set of oppositions (Dunnell, 1941,
p. 70). Ordering requires judgment of importance of de-
fining criteria (Dunnell, 1971, p. 76). This form of
classification restricts the number of features (Dunnell,
1971, p. 77). Sears objected to the "formal" taxonomic
classification system on the basis that it is imposing a
system on data and is not oriented to multiple analysis
(Sears, 1960, p. 325). A taxonomic system is not flexible
or suitable to description, only time-space placement of

artificts.

Using line as an example again, two directions would

ll
be paired in opposition, such as vertical versus horizontal,
instead of an opportunity to choose from any of the direc-
tions of lines. Binary oppositions for types of line and
character would follow. If direction of line is chosen as
the first attribute to be decided upon, then it is given
primary importance. If type of line is chosen as the second
attribute to be decided upon, then it is given secondary
importance with character of line having the least
importance.

Diagrams of the two classification forms follow in
Figure l for comparison. One should note that on the
taxonomic diagram the opposition 1-2 is relevant for the
Superclass A on the left hand side of the diagram. This
does not mean that objects or events which might be assigned
to h will not display attributes assignable to l or 2, but
since they display Attribute B, Features 1 and 2 will not
be considered (Dunnell, 1971, p. 77). The classes formed

from the following diagram are:

Classes from paradigmatic classification:

I A l a; line, vertical, straight, fine

I A l b; line, vertical, straight, heavy
I A 2 a; line, vertical, curved, fine

I A 2 b; line, vertical, curved, heavy

I B l a; line, horizontal, straight, fine
I B l b; line, horizontal, straight, heavy
I B 2 a; line, horizontal, curved, fine

I B 2 b; line, horizontal, curved, heavy
I C l a; line, diagonal, straight, fine

I C l b; line, diagonal, straight, heavy
I C 2 a; line, diagonal, curved, fine

I C 2 b; line, diagonal, curved, heavy

Classes from taxonomic classification:

12

 

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a; line, vertical, straight, fine

b; line, vertical, straight, medium

c; line, vertical, zig zag, continuous

d; line, vertical, zig zag, broken

e; line, horizontal, restrained curve, double
f; line, horizontal, restrained curve, single
line, horizontal, rococo curve, textured
h; line, horizontal, rococo curve, nontextured
1; line, diagonal, concave, shaded

j; line, diagonal, concave, nonshaded

k; line, diagonal, convex, linear

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Rouse (1960) differentiated between analytic classi-
fication and taxonomic classification (Figure 2). The in-
vestigator suggests that Rouse's analytic classification
and Dunnell's paradigmatic classification are the same
form.

Using the line example, the diagram is revised as
shown in Figure 3.

Although the diagramatic appearance of Rouse's (Figure
2) is different from Dunnell's, the method and end result
are the same. All objects in the total collection are
classified in regard to all possible features in the suc-
cessive attributes. Placement in any feature is possible.

Taxonomic classification results in a single series of
classes and analytic classification in a successive series
(Rouse, 1960, p. 316). Rouse concluded that both analytic
and taxonomic classification are needed to study any col-
lection completely.

Dunnell (1971) and Rouse (1960) were the authors who
discussed types of classification systems. Paradigmatic

or analytical systems have unweighted or unordered features,

 

-""“'Total Collection

Successive classi-
fication according-
to technology

Technology classes.
-—yielding tech-
nological modes

Successive classi-
fication according_.
to shape and
decoration

Style classes,
-yielding stylistic
modes

Successive classi-
fication according-
to use

Function classes,
-yielding modes of
use '

Analytic Classification
(Rouse, 1960, p. 315)

Division . .— -Classes of artifacts

Subdivision —-Subclasses yielding

types of artifacts

 

Taxonomic Classification
(Rouse, 1960, p. 316)

Figure 2. Diagramatic comparison of analytic and taxonomic
classification

15

  
   
   

Successive classi-
fication according
to direction

Direction class,
yielding direction
modes

Successive classi—
fication according
to type of line

Type of line class,
yielding type of
line modes

Successive classi-
fication accordin-
to character

Character class,
yielding character
modes

Figure 3. Diagramatic analytic classification using line

16
whereas taxonomic systems have weighted features. Para-
digmatic systems are more flexible and suited to descriptive
studies, since all objects can be classified in regard to
all possible features rather than paired opposites. Taxo-
nomic systems are limited to the study for which the

attributes were ordered in importance.

Mode and Type

Rouse differentiated between mode and type. Modes are
the end result of analytic classification and are defined as

any standard, concept or custom which governs behavior

of the artisans of a community, which they hand down
from generation to generation, and which may spread
from community to community over considerable dis-

tances (Rouse, 1960, p. 313).

In a design classification system, such as the one pro-
posed, a mode could be a single design technique or speci-
fication, for example motif content, which several arti-
facts share. Modes need not be all inclusive, that is,
modes can concentrate on technology, on shapes, or on de-
signs and need not include all three (Rouse, 1960, p. 314).
Modes are of two types, concepts conformed to by the arti-
san, such as material, shape, decoration or procedures in
manufacturing and use. Conceptual modes can be seen in the
artifacts, procedural modes must be inferred by the re-
searcher. Rouse believed that modes are inherent in a
collection (Rouse, 1960, p. 315).

He singled out cultural modes and stated that one way

to determine them is to

l7

examine a collection in terms of the artisan's pro-

cedure starting first with the materials he used,

continuing with his techniques of manufacture, and
then considering shapes, decoration, and uses (Rouse,

1960, p. 314).

After the system has been established new artifacts can then
be added.

Types result from taxonomic classification. Types can
be formed from original attributes or as suggested by Rouse,
from modes. A type is defined as a complex of modes or a
list of attributes, whereas mode is one attribute. Relating
type to design, type could be "style" (Rouse, 1960, p. 316).

Rouse noted several ways to form types.

The most systematic one is to divide the specimens_

into two or more classes on the basis of one set of

modes, for example, of materials; then to subdivide
each class on the basis of another set of modes, such
as shapes; and to continue this process until all the
artifacts of the same kind have been se arated into
a single sub-class (Rouse, 1960, p. 316).
Types imposed on a collection are arbitrary.

A Rouse stated that the practical number of modes used
for type criteria in taxonomic classification depends on the
complexity of the artifact and number of alternatives of the
artisan. He specified two kinds of types. Historical types
are time-space oriented and descriptive types refer to the
physical nature of the artifact (Rouse, 1960, p. 317).

Rouse (1960) defined mode as a standard, concept, or
custom which is outlined by use of analytical classifica-

tion, such as a geometric design style. Types, resulting

from taxonomic classification, are a group of modes or

l8
attributes. Conceptual modes and descriptive types would
be the specific kinds of modes and types relating to this
study; however, modes and types are not formed in this
research because no textile collection is analyzed for
interpretation. Modes and types are recognized after
classification and determination of common or contrasting
characteristics.
Desirable Characteristics 9f a
Classification System

From a review of articles on classification of archeo-
logical artifacts a list was compiled of characteristics
that an adequate classification should have:

1. The classification should be suitable to purposes
of more than one study (Gardin, 1958).

2. Personal interpretation must be restricted (Gardin,
1958, p. 338).

3. The system should be convenient and easy to use
(Krieger, 1944, p. 247).

4. There should be internal consistency (Dunnell,
1971, p. 60).

5. Decisions in the formation of classes must follow
a unified set of rules and the four initial assumptions--
field, scale, features,and definitive features--must be
relevant, economical.and apply to a stated problem (Dunnell,
1971, p. 60).

6. If choosing between two classification systems,

one which has more classes than necessary and one with only

19
the class required, the second is preferrable (Dunnell,
1971. p- 63).

7. There should be simple major divisions of easily
distinguishable forms, each division should be capable of
subdivision, and the system should be susceptible to con-
tinued subdivision (Krieger, 1944, p. 274).

8. Reference to a key to differentiate opposing fea-
tures should be limited. The key should be uncomplicated
(Krieger, 1944, p. 274).

9. The subtypes should be numerous enough to isolate
the most varied details (Gardin, 1958, p. 338). On the
other hand, Black and Weer listed the least possible amount
of description as beneficial (Black and Weer, 1936, p. 280).

10. The resulting description should give a proper
mental picture (Black and Weer, 1936, p. 280).

11. The classification needs to be open to addition
(Gardin, 1958, p. 338).

12. Krieger objected to artificial classification that
is too difficult to remember and a key must always be used:
thus a well planned classification system ordered by related
aspects would ease use (Krieger, 1944, p. 247).

13. Whiteford stated that artifact types should come
from the artifacts being analyzed. If an arbitrary classi-
fication is used, details are lost (Whiteford, 1947, p. 228).

14. An underlying trait should connect the entire

classification system (Krieger, 1944, p. 274).

20

The following list of desirable characteristics is in
reference to the terminology used:

1. Terms should be mutually exclusive in definition
(Gardin, 1958, p. 338).

2. The terms should be elementary with unique and
stable meanings (Gardin, 1958, p. 338).

3. Terminology should be universal or multilingual
and defined by the aid of drawings (Gardin, 1958, p. 339).

4. Few terms should be used for description and
boundaries should be given. For example, ratios are better
than listing numerical values. The classifier should be
able to choose between (a) greater than %, or (b) less
than % (Gardin, 1958, p. 340).

5. Applied linguistics for basic forms and operations
prevent an "alphabetical classification from interrupting
evident ornamental families" (Gardin, 1958, p. 342). For
example, Gardin used "spi" to represent the shape "SD"' The
operation of rotation, reflection, or so on is indicated
by another letter; thus forming words showing ornamental
relationships.

6. In the case of iconography or story telling motifs,
a condensed expression is needed for the figurative theme
(Gardin, 1958, p. 345).

Krieger is speaking against classification in his
article. He lists several disadvantages to a classification

system.

21

1. Division of criteria gives preference to some
traits over others. Some traits are mentioned and some
omitted in any form of description (Krieger, 1944, p. 276).
However, if the limitations of the classification system
are known, then it can be used to its best potential without
any misleading information. Omission of some traits is
acceptable, since not all traits relate to all problems of
study.

2. Krieger stated that morphologically based divi-
sions are "fallacious because the frequency with which
certain shapes occur constantly shifts in different runs of
material" (Krieger, 1944, p. 276). This is an accepted
disadvantage of classification, but it has already been
mentioned that a flexible system is advantageous. Research-
ers using classification systems are aware that new in-
formation is constantly being discovered.

3. Krieger stated that breaks are artificial (Krieger,
1944, p. 276). This is also a recognized disadvantage,
since most traits run on a continuum. Lines gradually
change from straight to curved, colors move gradually from
yellow through blue through red and back to yellow. For
comparison some point has to be chosen on the continuum and
it must be artifical.

4. Krieger complained that systems are by nature in-
flexible and not adaptable to other cultures and studies
(Krieger, 1944, p. 277). Brew pointed out that students are

not to squeeze their study in an existing system, but adapt

22
the system to their particular study (Brew, 1946, p. 49).

5. Krieger stated variation can only be accomplished
by increasing and decreasing the system (Krieger, 1944, p.
277). Variation can, however, come from equal amounts of
addition and subtraction as new information is gained. The
size of the system can be controlled, so as not to become
overburdened.

6. Krieger asked, "What are the basic features of
importance in comparative studies?" He believed the ques-
tion is unanswerable (Krieger, 1944, p. 277). The features
of importance in a comparative study, however, are those
set down by a researcher and those vary due to continued
search for information.

7. Krieger's last objection in an argument against
taxonomic classification stated that the subdivisions
under one main heading imply close relation to one another
in the genetic sense more than they do with the subdivi-
sions of any other headings (Krieger, 1944, p. 277). The
developer of the classification system can control the re-
lationships. Headings and subheadings can have a genetic
relationship if that is most valid for the system, but
are not necessary. One would not subdivide texture into
red, blue or yellow if a genetic relationship was desired,
but might if texture was the first dimension of importance
and color the preferred secondary dimension.

If a researcher developing a classification system is

aware of inherent disadvantages, solutions to the problems

23

raised by Krieger can be solved or reduced in effect.

Organizational Systems for Textiles,
Ornament, and Archeology

 

No system similar to the classification proposed for
this study was found in the literature surveyed. Meyer
made a beginning by developing a system for motif or orna~
ment and expressed the need to relate motifs in order to
trace evolution of design, interrelations of culture, and
to make cross-cultural comparisons (Meyer, 1957). Because
no extensive classification system has been developed,
comparisons of motif and arrangement have not been possible
without duplication of effort. Studies so far have been
limited to descriptive grouping. At present, in order to
use these studies as a basis for comparative research, each
investigator must develop his own classification system
based on such descriptions and account for the undefined
terms or for similar terms with different implications.
Thus, descriptions in texts or catalogues are not easily
adaptable to comparative studies. A consistent system is

needed.

Textiles and Ornament

Design is considered an important factor in the discus-
sion of ethnic or historical textiles and ornament. The
studies surveyed fall into six general applications:

1. General descriptions with no classification of

similar motif or pattern (Beer, 1970; Reath, 1937;

24
Weibel, 1952). Beer catalogued the textiles by
means of intended use, using categories such as
panel, hanging, quilt, or petticoat (Beer, 1970).
Reath used weave categories and Weibel used

weave and subject matter as classifying criteria
(Reath, 1973).

12. QUILT, center of painted cotton; lined with dark
green glazed linen, and with wide border of green
silk. Center made of two breadths of cotton, one
of 15 inches, one of 19 1/2 inches, seamed:
Coromandal coast, first half eighteenth century

Purchased in memory of Julia Hutchins Wolcott
Acc. no. 1968-79-1

Colors: two reds, blue, green, yellow,
brown, plum color; black for stem and details.

Design: A repeat pattern, balanced, sym-
metrical; flower sprays and flowering vines,
butterflies, flower, fruit, and other birds.
Red and light red predominate, with green for
foliage, bird's wings, reddish brown for other
birds, and touches of plum color. Much inner
detail in flowers. Birds about 3 1/2 inches,
flower spray 5 1/2 inches.

The additions of the lining, border of silk,
and quilting were made in Europe (Beer, 1970,

p- 79).

Example 5. Plate 5
PLAIN CLOTH BROCADED
011.B
Persian, XVIII century

Textile Museum of the District of Columbia
(3.100), Washington

Description: Repeats of a flowering plant on a
yellow ground. Blossoms in salmon pink and rose,
and in orange pink and white; leaves, light green,
outlined and veined in dark blue.
Material: silk
Weave: Warp: yellow -— arranged in pairs

Weft: yellow

Brocading: salmon pink, rose, orange pink,
white, light green, dark blue.

The ground of the fabric is in Plain cloth

weave, made by a yellow weft crossing regularly under

25

and over a pair of yellow warps. Weftwise -— that
is, horizontal -- ribbing is produced by the heavier
weft threads. The design is brocaded in colored
silks.

Note: On face: brocading threads float across each
detail of motive and are not bound down. On back:
brocading threads float across, and in some places,
between motives. Fairly heavy texture.

Size in meters: (of piece) length 0.365, width
0.40; (of motive) height 0.049 (Reath, 1937, p. 69).

100. Plain Compound Twill
Lions

East Iran, 8th—9th Century.
Boston, Museum of Fine Arts.

15 3/4 x 22 3/4 in. (41 x 58 cm). No. 47.1457.
Provenance: a church at Verdun-sur-le-Doubs. Ex-
coll. Claudius Cote; Mulliot, Sens; Maixmarron,
Dijon, 1867; Lienard, Verdun, c. 1860. The identical
speciman, the Sudarium of Ste. Columba at Sens, has
been published by Falke, I, pp. 99-110, fig. 190.

Yellow, white, light - and dark blue silks. Flattened
roundels are framed with triangles and a pearl band.
Two lions confronted stand above a palmette: triple-
rounded motifs indicate hilly soil. The horizontal
rows of roundels are separated by slender trees and
running dogs and foxes (Weibel, 1952, p. 108).

2. Very detailed description with cataloguing based
on subject matter (Kybalova, 1967).

5. Head of Woman, Square insertion. Rib weave;
slanting weft, 9 warp and 24 weft thread per cm.
Embroidery. Woven from the bottom as a separate
entity and sewn into the cloth. Wool and linen;
17.2 x 16.7 cm. Fourth century. Pushkin Museum
Moscow; Inventory No. 5151. Purchased by V. S.

Golentshchev in Egypt (Kybalova, 1967, p. 56).

3. Historical ornament texts which group motif and

some form of repeat (Estrin, 1947; Hornung, 1946;
Humbert, 1970; Meyer, 1957).

tion

26

'A. Geometrical Elements
B. Natural Forms
C. Artificial Forms

A. Bands

B. Free ornaments

C. Supports

D. Enclosed Ornaments or Panels

E. Repeating Ornaments (Meyer, 1957).

4. Grouping of general motifs for instructive pur-
poses (Birrell, 1959; Day, 1903; Fletcher, 1937).

5. Sociological classifications with descriptions
of color and motif (Harrell, 1967).

6. Classification of motif with numbers of classes
limited by a specific culture (Adam, 1969;
Langeweis and Wagner, 1964; Nielsen, 1974;
Sirelius, 1926; Williams, 1971).

Williams developed the following divisions for descrip-

of African ornament:

Symbolic and simple geometric motifs

Repetitive designs and textural patterns

Animals and mythical figures

Human beings ‘

Masks

Artifacts and objects with figural components
Artifacts and complex geometrical motifs (Williams,
1971 .

Adams outlined the plan for her study as follows:

THE: first task of this study is to establish the func-
tion of the decorative textiles by analyzing them in
their social setting; the second part will consist of
an examination of the structure and content of the de-
sign system. On the basis of these analyses, I will .
attempt to show links between the aesthetic and social
order in East Sumba, for decorative textiles, it seems
to me, embody in structure and function fundamental

conceptions of value held by the East Sumbanese
(Adams, 1969, p. iv).

27

She developed a system to categorize textiles into
motifs with a specific animal or plant; however, the classi-
fication number of the textiles applied to a museum code
rather than the assigned motif category. Since she worked
with a small group or finite group of textiles, she was
able to be very specific in motif groupings, but her system
was limited only to motifs represented. This system would
not be applicable to all textiles (Adam, 1969).

Nielsen also used a small collection and classified
by motif subject matter, but her classification number in-
dicated the motif depicted. She established the minimum
criteria for her classification system as:

1. State the classification clearly

2. Consider the dominant motif
. Describe rather than interpret
. Make the classification be comprehensive and ex-
pansive
Make the classification simple and easy to use

Facilitate grouping of samples for easy access
Number and catalog samples

3
L;
5
6
7

She ruled out use of selected divisional categories.
Traditional and nontraditional allowed for only two classes.
Symbolism and style were too subjective. Intent or source
of inspiration is not always evident from the piece. Shape
presupposes a knowledge of design and does not allow for
sufficient number of categories. Color may not always be
distinctive, since classifying only one cultural style or
technical level of textiles may show no color differentia-
tion. It is also possible that there may be too many colors

to show comparisons. Combination of these categories was

28

rejected by Nielsen, because one feature then becomes a

variance of the other and limits the particular problem

to be solved.

As discussed in the previous section, this

limitation depends on the form of classification system

used.

Nielsen ultimately subdivided the Eicher and Nielsen

Wax Print Collections by subject matter of the dominant

motif; however, for universal application choice of dominant

motif may be too subjective to use as a single criterion

(Nielsen. 1974).

Langeweis and Wagner used the following system:

I. Reserve Dyeing Technique

11. Weaving Technique

111. Other Ornament Techniques

A.
B.
C.

D.

Human figure

Animal figure

Representations of vegetable objects

Representations of other designs

Purely geometric designs

Other than purely geometric designs

Composite designs

1. Placed singly on a monochrome background

2. Metrically repeated; placed in horizontal,
vertical, and/or diagonal bands, forming
part of the total ornamentation

3. Metrically or nonmetrically repeated;

included (either separately or in

29
combination with other motifs) in the
decorative design of the central section
of the ornamentation
4. Metrically or nonmetrically repeated;
forming part of the total ornamentation.
Langeweis and Wagner's system used technology or design
technique as the highest level of classification. This
method differs from the proposed system, but points out that
subject matter, field and borders or overall arrangement,
and repeat are important. Langeweis and Wagner applied this
classification system to a particular culture, instead of
being universal in application (Langeweis and Wagner, 1964).
Sirelius used the expression "to classify", but he was
actually organizing and describing the ryijy (rya) of
Finland. He did, however, use design motif as the division-
al categories. He wrote:
It ii; obvious that more exact results can be achieved
by making the design the basis of comparison. And
this same method makes it possible to test one's
ideas as to the real derivations of degenerative or
conventionalized motives, a possibility often lacking
where detached motives or ornamental devices are sub-
jected to comparisons (Sirelius, 1926, preface).
Sirelius's chapter headings were ordered by designs
common on the ryijy, such as ordered geometric, free
geometric, hearts, trees, linked ovals, or tulips. In the
discussion he referred to characteristics such as symmetry,
placement in field or border, concentric groupings, regular
or irregular groupings, size, direction, rhythm (alternat-

ing direction of individual flowers), dominant motif,

3O
auxiliary motif, equal quantities of multiple motifs,
density, color, and style. Each of these characteristics
is a possible class for classification based on aesthetic
analysis.

His summaries were based on traditionalism, develop-
ment of motif from subordinate to major, development of
symmetry, styles and areas, evolution of a design or its
degeneration (Sirelius, 1926).

The literature reviewed was grouped into six cate-
gories: (1) general description with no classification of
motif, (2) very detailed description with cataloging based
on subject matter, (3) historical ornament texts with motifs
and repeats grouped, (4) instructional books with grouping
of motifs, (5) sociological classification, and (6) clas-
sification by motif within one culture. The practice of
naming motifs by these authors was considered for inclusion

of content or subject matter in the proposed system.

Archeological Studies

In the area of archeological classification more
complex systems were found. No relationship between the
increase of use of aesthetic elements for description and
the date of the articles surveyed was found, although early
articles did recommend a more thorough design analysis.

Several authors based classification on date, location,
process of manufacture, materia1,or possible use. Only

articles using design elements are recorded here.

31
Sources are grouped into five categories. Only White-
ford advocated any type of classification (a descriptive
system) (Whiteford, 1947). ‘The rest of the articles did
not give details of classification types. Their value to
this study is terminology and methodology.
1. Use of shape for classification (Black and Weer,
1936; Whiteford, 1947)

2. Use of symmetry (Brainerd, 1942)

3. Use of multiple elements for description
(Frederick, 1970; Johnson, 1958)

4. Detailed use of multiple elements for description
(Shepard, 1956)

5. Experiments in terminology (Gardin, 1958)

Black and Weer developed terminology for shape
classification. They admitted certain forms defy descrip-
tion and reduced shape to basic geometric form in order
to indicate the larger category. For example, a descrip-
tive term "rectanguloid" is preferred to rectangle.
Rectangle has a precise mathematical definition; whereas,
rectanguloid implies variation that the mathematical
definition does not. The second part of their problem was
to describe or classify the deviation from the basic form.
The geometric system is a suggestion for a textile motif
analysis:

for the very adequate reason that the terms apply

to any and all geometric forms wherever they are

found in nature or as the result of special treat-
ment and change by man (Black and Weer, 1926, p. 281).

32

The basic planar geometric forms are the circle,

triangle, and the square; all other forms are modifications

of these. Their system of gorget classification was as

follows:

tive

I. Geometric forms

. Circuloid

Elliptical

Oval or ovate

Rectanguloid

Trianguloid

Compound

Miscellaneous

A. Bipennate

B. Lunate

C. Unusual

D. Specialized

E. Asymmetrical

II. Morphological forms (shape known well, needs
no description)

III. Cultural forms (form particular to one culture)

(Black and Weer, 1936, p. 288)

\10\\n-(:'\.ONI-"

Whiteford proposed a terminological system or descrip-
system by which artifact features could be described:

With this accomplished it would be possible to test.
the variations of each element, alone and in combina-
tion with others, for significance before the formula-
tion of a classification or designation of type
(Whiteford, 1947, p. 228).

A descriptive system is not a classification system.

Its purpose is for cataloging and designed with two goals:

(1) use of criteria that are objective, understood, and

used by personnel untrained in archeology and (2) a complete

and accurate description of each artifact so that typing

and analysis are possible from the catalogue without

necessitation observation of each artifact (Whiteford,

l9u7l p- 229).

Areas of description included material and process of

33

manufacture, the basic shape and possible functional class,
details of specialization in shape, and size and overall
proportion (Whiteford, 1947, p. 230).

Whiteford's study dealt with projectile points so
"basic shapes" referred to a class, such as "single tapered"
with edges and base described as diagonal and vertical.
Specialization in shape referred to variation of basic
shapes, such as "shoulders" and "stems". Size was desig-
nated as small, medium and large. Proportion measured
length to width ratios. Whiteford concluded that no analyst
can determine which characteristics will be more signifi-
cant than others until all artifacts are classified. This
presents great difficulty in that all artifacts will never
be classified. His method is limited to finite collections
(Whiteford, 1947).

Brainerd stated the purpose of his paper as presenting
a "generally applicable, objective, terminology for
classification of conventional design" (Brainerd, 1942,

p. 164). His terminology is based on symmetry of arrange-
ment. Brainerd compared two design groups and noted variety
and predominance of symmetrical arrangement. Types of
symmetry included bifold rotational, mirror symmetry,

offset mirror symmetry, radial symmetry, and serial repeti-
tion of asymmetrical elements (Brainerd, 1942).

Friedrich's intent was to determine how pottery paint-
ing could serve as an indicator of frequency and intensity

of interaction between painters. She developed a system

34
for segmenting the artifacts surface, analyzing the design
configuration or arrangement of elements within the space,
and then analyzing the design elements, which she defined
as the smallest self-contained unit. The spatial divisions
utilized for segmentation were edges and interior spaces.
Design configuration determined arrangement, primary and
secondary elements, and the function of the design elements.
Function of the design elements refers to use of an element,
such as line used for cross-hatching or construction of a
flower.

The detailed method included determination of the
number of lines per inch, relative size of all elements, and
mode of conjunction of elements, such as variation in flower
centers or the way lines met (Friedrich, 1970).

Johnson compared pottery artifacts of Hohokam and
Chalchihuites, two Southwestern United States cultures.

She based her comparison on design elements (color, line,
form, texture, space) and found 32 shared traits suggesting
possible influence. Her list of design elements used for
comparison was:

Color

Form

Shallow bowl

Elliptical jar

Pedestal base

Tripod vessel

Low angular shoulder

Basket handle

Effigy handle

Bird-effigy vessel
Design layout

Quartered
Perpendicular panels

35

Linework
n Squiggly"
Ticking at rim
Fringe at rim

Elements of design
Interlocking scroll
Noninterlocking scroll
Rectilinear scroll
Herringbone
Small elements
Variations of the bull's-eye
Rows of dots

Life forms
Coiled snake
Outstretched snake
Bird
Bird-snake combination
Toothed animal
Humped-back quadruped (Johnson, 1958, p. 127)

Shepard's studies were a thorough analysis of pottery
based on physical property, composition of material, tech-
nique and style. Her discussion of style is most valid to
this study, since she indicated that aesthetic aspects have
not received a great deal of attention in archeology and
called the lack of attention unfortunate, since shape alone
cannot be used to adequately prove development or degenera-
tion of a style.

There :is no general inclusive system for the classifi-

cation of design structure, and for the present it is

important that there be direct and independent analysis
unrestricted by preconceived ideas of particular

systems (Shepard, 1956, p. 266).

The purpose of her study was to:

establish 21 general method for the systematic com-

parison of shape styles. The criteria chosen are all

geometric, they proceed from the general to the
particular, and the major categories are defined with
reference to limits which are easily established

(Shepard, 1956, p. 228).

Shepard suggested that connotative analysis be separate

36

from formal. The latter includes shape, composition, use
of elements and motifs, symmetry, relation of figure to
ground, and balance of dark and light. Most of these char-
acteristics can be described by inspection and a common
basis for judgment can be developed:

It ii; logical to commence the study of design with an
analysis of the manner in which it was planned, that
is, to identify the original outlines and the major
divisions of the field. Various well-defined plans
or methods of space breaking will be discovered in
this way; and often they will furnish a key in the
search for derivations and developmental stages in
the history of style. Also, relationships between
construction and such features as symmetry and
balance of light and dark will become evident
(Shepard, 1956, p. 264).

Her extensive comments on symmetry were most helpful
in this study. Shepard claimed that all that is necessary
to classify motif and repeats using symmetry is identifica-
tion of the fundamental part and the motion used to repeat
it. She also claimed that when studying pottery it is
important to note changes and their conditions and effects:

The need is to analyze in detail the particular

features that underwent change, considering the nature

of change -- how the persistent features compare with
the new, if new materials and methods were adopted
simultaneously, if technical development was accbm-
panied by stylistic change, what steps were passed
through before an innovation became established, and
if new features can be attributed to imitation of
intrusive pottery, to adoption of foreign techniques

or styles, or to a native invention (Shepard, 1956,

p- 317).

In a 1958 paper Gardin discussed "economical presenta-
tion and dissemination of artifact description" (Gardin,
1958, p. 335) and introduced terminology to classify metal

tools, containers, ornament, and iconography. The goal of

37
Gardin's study was to find the best terminology to analyze
data and translate it to punch cards. He suggested two
approaches to analyzing a trait in an artifact. The first
is to have a punch card for the trait with all objects
possessing that trait listed on the card. The second is
to have a punch card for the object and list its peculiar
characteristics. He concluded that the second option was
likely to prevail. The purpose of classification and
punch categorizing is to make vast stores of published and
unpublished information easily available (Gardin, 1958,
p- 338).

Gardin said:

Important descriptive details are scattered in the

text and in the illustrations, so that the student

must return again and again to the source once he

has located it. This process is repeated endlessly

by different archeologists using the same materials;

hence. the total duplication of effort is enormous

(Gardin, 1958, p. 335).

Gardin's discussion of ornament and iconography is
applicable to this study in textiles. Ornament was divided
into two parts. First was "signs", such as the Spiral and
the loop. These retain recognizable appearance through all
types of transformations and combinations. The second part
is "operations". Gardin identified symmetry, gradation
of line, and rotation as examples. Combinations of opera-
tions form distinct and familiar ornament as palmettes,
meanders, and rosettes or larger decorative patterns by

manipulating signs. A small number of signs (20) and

operations (15) were found. The six classes of operations

38
are:

Polygonal arrangement
Symmetrical arrangement
Radial arrangement
Linear arrangement
Interlocking arrangement
Intersecting arrangement

Chm-(:le-J

In addition to grouping ornament by sign and operation,
Gardin developed a nomenclature for the ornament. The word
"spi" indicated the sign spiral. Suffixes represented vari-
ous operations. This method prevents alphabetical classi-
fication from disturbing ornamental families. Gardin stated
that any ornament can be named by sign and operation if its
outline follows some apparent order. Ornaments are dif-
ferentiated as primary--one operation; secondary--two
consecutive operations, and so on (Gardin, 1958).

In iconography Gardin used rules of grammar to organize
ideas shown in a picture. Logic or frequency was considered
in the action depicted in the scene. Elements initially
considered are subject, object, instrument, location, and
qualifiers. Verbs are simplified to positive action or
negative action. In answering to the charge of over-
simplification, Gardin said:

When reducing the phenomenological diversity to

logical 'intersections' of broad categories, one

must be willing to give up certain subtleties of

direct perception. Otherwise the analytical system

will be even more obscure than the anarchy of immedi-

ate observations (Gardin, 1958, p. 349).

The system would never be so specific as to classify

"Hercules overpowering the Nemean Lion."

Gardin's classification is limited to the first level

39

of artistic expression as stated in Panofsky's theory
(Panofsky, 1955), which has three levels:

First comes a factual inventory, inferred from the

observations of constant relations between certain

forms and the 'natural' objects which they are meant
to represent; then follows the 'conventional' mean-
ing of the motifs thus isolated, the allusive quality
of the picture which together they compose; and
lastly, the 'symbolic' values of such themes, con-
sidered in relation to a large cultural context

(Gardin, 1958, p. 350).

In a 1967 article, Gardin explained rules necessary
for data analysis--rules for orientation, segmentation, and
differentiation. Orientation referred to the position
which the researcher should take in relation to the object.
Segmentation referred to a standard method of dividing the
artifact into sections for further description. Differentia-
tion dealt with determination of values which each variable
had in the description. It could also be looked at as a
further step in segmentation. Variables, such as degree
of a curve or density, vary on a continuum. For these
criteria, differentiation and quantification must be es-
tablished. The decision is relative and arbitrary. Visual
rather than verbal or numerical keys would be more effec-
tive in ornament for rules on orientation, segmentation,
and differentiation (Gardin, 1967).

The articles reviewed in this section were grouped
in five categories: (1) shape classification, (2) symmetry
classification, (3) use of multiple elements for descrip-

tion, (4) detailed use of multiple elements for description,

and (5) terminology. All of the authors included much more

40
detail in their analysis of artifacts than the authors
who wrote on historic or ethnic textiles and ornament
in the previous section. Their value to the proposed
classification system is terminology and methodology.
The elements used by these authors were shape, line, color,
symmetry or arrangement, value, density, and subject matter
or naming of traditional motifs, such as herringbone.
Gardin (1958) discussed nomenclature and orientation for

viewing a textile.

Miscellaneous Methods for Grouping Designs

Several suggestions can be obtained from authors not
’discussing a specific system. Some authors list elements
and principles that are different from the traditional--
space, form, color, line, texture, proportion, scale,
emphasis, balance, and rhythm. Two dominant methods of
grouping were discussed the authors surveyed:

1. Analysis by structure (Birkhoff, 1933; Christie,

1969; Justema, 1968)

2. Analysis by historical evolution (Goodyear, 1981)

Justema's book is a study of pattern characteristics,
analysis of good pattern, a brief history,and lessons in
creativity. Repetition is the "essense of pattern",
according to Justema. "Repetition makes pattern" and
"variation makes pattern interesting." "Together these two
properties of design can account for everything that happens

in a pattern" (Justema, 1968, p. 25).

41

Rhythm, symmetry, and balance can be described in terms
of repetition and variation. Repetition and variation are
the basis of pattern with structure, scale, coverage,
emphasis, and counterchange as the properties.

Structure refers to the two categories of repeat
recognized by Justema--block and brick. Scale is defined
as size in relation to number and complexity of motifs.
Coverage is the amount of configuration in a given space.
Emphasis determines primary and secondary motifs. Counter-
change is formed by reversal of black against white
(Justema, 1968).

In discussing style, Justema pointed out that patterns
fall on a continuum between naturalistic and geometric.
Most patterns do not fit either category precisely. He also
stated his conviction that a "sufficiently exhaustive study
of world pattern would reveal the possibility of classify-
ing most patterns by the manner in which the surface has
been covered." Such a system, he wrote, would be helpful
in establishing provenance or place of origin. His theory
is "that most periods and/or people have their own sense of
spacing and that this can go far towards identification"
(Justema, 1958, p. 34).

Birkhoff discussed aesthetic measurement and listed
positive and negative elements of order. The positive
elements are possible sources of classification. They are
vertical symmetry, balance, rotational symmetry, relation

to a network of lines, repetition, sequence, similarity,

42

spiral form, circular form, floral form, contrast, and
center of interest. Birkhoff discussed symmetry and motion
and illustrated the seven species of one-dimensional or
band ornament and the seventeen species of two-dimensional
or all-over ornament. He suggests classification of one-
and two-dimensional ornament into species of motions:

Two groups will be said to be of the same species

in case they can be defined by geometrically similar

ornaments undergoing similar motions, or at any rate

by ornaments similar except for a proportional re-

duction of distance in a single direction (Birkhoff,

1933. p- 54).

He cited an example of a diamond, suggesting that a
small diamond is in the same species as a large diamond,
but a diamond is not in the same species as a square.

Archibald Christie stated that rhythmic movement is
the basic principle to all patterns. Devices or motifs are
capable of expansion in vertical, horizontal, or diagonal
directions. Believing that craftsmen could not continue
to improvise patterns without method, Christie suggested a
formal classification of ornament which involves seeing
through the design to the basic structure.

Christie stated the aim and procedure of his method as
follows. Designs having structural characteristics peculiar
to themselves are grouped. One design most clearly showing
distinguishing features common to all members of the group
is taken as representative or the "type". More comprehen-
sive categories can be developed from the types, so that a

framework is formed in which new examples can be placed

43
(Christie, 1969).

The proposed system will show only relationships, not
justify or explain them. Christie stated:

The occurrence of the same pattern upon an early

piece of English pottery and a bowl-shaped capital

from an ancient Assyrian palace may mean either that
one copies the other, or that both are derived from

a common original, or that the design is so obvious

that no school or workers could possibly overlook it

(Christie, 1969, p. 61).

Christie's classification is based on the following
premises:

1. The elaborate elements are not of immediate
concern. For example, the central design in a
diagonal network can be a cross or a fluer-de-lis,
but the important fact is that the structure is.
a diagonal network. The central motif is secondary.

2. Growth as a pattern can be divided into two types--
an isolated unit, such as a dot or mass, and a
continuous unit, such as stripes.

Christie identified difficulties in determination of
motif and ground. For example, in some cases positive and
negative spaces virtually shift. Horizontal and vertical
intersecting bands may be dominant at one time and at
another time the square they form will seem primary. All
parts of the design are significant and a decision, possibly
arbitrary, must be made, if using motif as classification.
However, no matter which part of a changing visual expres-

sion is chosen for motif and which for ground, they are both

equally dependent upon a common structure. In a black and

44
white stripe or chessboard pattern, it can be questioned
whether the black is on white, the white is on black or the
black and white are covering a ground, but that all three
have the same structure is what is important to Christie.

Goodyear segmented motifs into their smallest element.
For example, he described a meander as several swastikas
together and each swastika as several lines. Line is the
basic element. He suggested that a spiral scroll was con-
centric circles with a tangent line. He asserted that
motifs date back to early civilizations, because it is
easier to borrow patterns than to invent new ones. Assuming
Goodyear's theory is correct, it should then be possible
to classify motifs by their basic form, such as lotus.cn?
by their original civilization, such as ancient Egypt.

Goodyear applied his theory to the study and dating of
metal artifacts. Simplication and conventionalization of
some motifs resulted because of a change in the original
media or an increased number in production. For example,
intricate tomb painted designs were difficult to reproduce
in small hard metal; so the design was simplified. The
design would also be simplified for rapid manufacture of
amulets (Goodyear, 1891).

In discussing pattern Christie (1969) and Justema
(1968) agreed that structure would be the underlying com-
monality for classification, although their terminology
differed. Justema placed more emphasis on the variations

in pattern and Christie on the similarities. Birkhoff

45
(1933) was more specific than Christie on structure, dis-
cussing symmetry of a motif and its repeating motion. He
showed clearly and diagramatically the species of one- and
two-dimensional ornament. Goodyear's (1891) study suggested
classification of simplified forms, based on origin. Use
of a system such as this would require extensive knowledge

in all types of historic ornament.
Descriptive and Comparative Studies

Authors on historical or ethnic textiles commonly trace
contact through a particular motif or discuss evolution,
development, or dating of styles by comparing motifs. For
example, Otto van Falke described the pattern of winged
griffons or horses placed in rows. He concluded that
Persian silk weavers' designs were taken from earlier
oriental tapestry workers, adding:

A similar continuity of textile patterns is also

to be found in Greece, thus establishing an obvious

relationship between the loom designs of early

antiquity and the first silk patterns of the late

antique period (van Falke, 1939, p. 1).

The following studies are not classifications, rather
written descriptions. Their purpose in this study is to
point out aesthetic elements and principles that authors
consider important for increasing clarity of a mental pic-
ture or comparison.

Goldman compared griffon styles stating that earlier

griffons had stockier proportions and a less sophisticated

degree of abstraction. His conclusion required the use of

46
aesthetic elements, proportion and style. Other elements
discussed by Goldman included position, dimensional repre—
sentation as well as figure's activity, facial expression.
decoration,and the nonaesthetic aspect, meaning (Goldman,
1960).

In a second article Goldman used decorative ornament
to establish a relationship between East and West. Shape
and position, basic geometric shapes of animals, styles,
and combinations with other motifs were used to show
similarities (Goldman, 1960).

Peter Floud established dates for William Morris pat-
terns by comparing motif arrangement and style. Floud
used terms, such as "framework emphasized" or "structure
concealed", "squared-up", rows, or diagonal pattern to de-
scribe arrangement. Formal, naturalistic, and conventional
were terms used to describe styles. Movement and direction
were also important to Floud and were expressed by "upward
movement", "swaying from side to side", vertical lines,
vertical emphasis, and horizontal and vertical grid. Ex-
amples of descriptions for symmetry are: "rigid symmetrical
formal patterns", "mirrorwise", vertical axis, asymmetry,
and "turn over structure". Floud also described the feeling
created by Morris patterns, for example, Hfree flowing
meandering naturalistic pattern" (Floud, 1959).

Several authors in descriptive studies list motifs
by name. For example, Ure names palmette, key pattern,

lotus, hippocamp (Ure, 1953). An alternative method would

47
be analysis of motifs by basic geometric shape or strictly
formal analysis (Arnheim, 1954; Goodyear, 1891).

Panofsky, in his discussion of iconography, designated
the naming of a motif (palmette, key pattern, lotus,
hippocamp) as pre-iconographical description or pseudo
formal analysis. This level is identification of pure
forms as human beings, animals, plants, houses, as well
as perception of expressive qualities as mournful, home-
like, or peaceful. Correctness of identification is not
guaranteed, but is based on practical experience and
familiarity with objects and events. Degree of correctness
is increased by a study of the history of styles and a
knowledge of the manner in which objects and events were
expressed by forms in the varying historical conditions
(Panofsky, 1955).

Adams stated that "identification of the motif as a
physical and cultural object is an essential preliminary
to interpreting a design system" (Adams, 1969, p. 129).

Ure considered whether or not the object was depicted
as a silhouette, outline,or in detail. He described the
color, direction, intensity of line or outline, composition,
scale, angularity of curves, and feeling. When describing
a human form used as a motif,he mentioned activity, physical
condition, clothing, hairstyle, and sex. An example of the
detail he included is "eyebrow that curves downward toward
the nose so that it almost meets the upper lid; nostril is

rendered by a single dot" (Ure, 1953, p. 246).

48

In two articles Brett not only discussed some of the
elements and principles of design mentioned previously
(style, symmetry, scale, value, feeling),but also named
flowers represented by their specific name, forget-me-not,
lily of the valley, tulip, rose, cabbage rose, hydrangeas,
and poppies. He designated also the floral arrangement,
garland, swag, medallion, bouquet, sprig, in a basket, in
a vase, or tied with a bow. In discussing one composition
he mentioned peacocks flanking the base of the tree of
life, thus using the element of position (Brett, 1955;
Brett, 1959).

The catalogue descriptions of several authors were
analyzed. Each author provided detailed information.
Weibel, for example, described the position of head and
arms of humans and head and paws of animals. She mentioned
scale, shading, mood, arrangement of individual motifs,
activity of persons, style, space fillers, costumes, propor-
tion, position (adjacent, touching), basic pattern names
(cloud, flame), basic structure (grid, ogibal), and color
distribution and gradation (Weibel, 1952).

Beer used arrangement or placement frequently in de-
scription. Common expressions included "on either side",
"at the base", "at either corner", "to the right", "field
and border". She also distinguished between primary and
secondary motifs. Beer named the character of the design,
such as Japanese and Chinoiserie for cultural examples or

rich color and free and sketchy for design character.

49
Choice was given when a specific motif could not be named,
for example, small leaf sprays qr curling waves. Even with
the great detail that Beer used, it is still necessary to
look at the textile to get an accurate impression (Beer,
1970).

Adam, Reath, and Kybalova used the previously mentioned
descriptions (symmetry, arrangement or space division, style,
scale, proportion, name of motif, name of patterns, color,
measurements, number of repeats, primary and secondary
motifs, and position) (Adams, 1969; Reath, 1937). In addi-
tion, Kybalova mentioned positive and negative space or
motifs merging with the background so that humans and
animals disappear. Adam stated that an analysis of motifs
must not only consider the range of motifs, but also fre-
quency and position in the composition (Kybalova, 1967).

Figure 4 summarizes the elements and principles used
by the authors discussed in this section.

The review of literature for the textile motif classi-
fication system included four areas: (1) classification
theory, (2) desirable characteristics for classification
systems, (3) existing information on organizational systems
and (4) descriptive design motif studies.

From the section on classification theory it was deter-
mined that a paradigmatic system would be appropriate for
the proposed classification, thus eliminating taxonomic and
grouping systems. The purpose of classification is to

organize masses of information for easy referral. If

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51
limitations are understood, classification can be benefi-
cial in research studies requiring mass organization for
comparison of items' characteristics.

Desirable characteristics for classification systems
and terminology are many. Most important factors are
clarity, ease of use, limiting of interpretation by '
classifier for internal consistency, flexibility, and
suitability to selected problems.

In the textile and archeological organizations re-
viewed, the archeological studies seemed most helpful to
this study. Technique used in pottery classification can
be translated to textile design. Textile studies used
primarily subject matter for grouping, whereas archeological
studies used shape, line, color, symmetry, value, density,
in addition to subject matter or motif name.

The descriptive and comparative design studies were
reviewed in order to see what items were used for basis of
comparison. 0f the authors reviewed four used iconography,
four used style,and four used design principles (balance,
rhythm, emphasis, proportion). Elements of line, shape,

color and value were used as well as motif combination.

CHAPTER III
METHOD OF PROCEDURE

The purpose of this study was to develop a classifica-
tion system for two-dimensional patterned textiles based on
motifs and their arrangement. Two-dimensional textiles
included design techniques, which result in a flat surface,
such as printing, dyeing, stenciling, painting, stamping,
and some types of weaving. Excluded were embroidery,
applique, trapunto, contemporary weaving art--scu1pture—
like forms, and weaving techniques adding dimension, such
as cut or uncut pile.

The classification system was arbitrary, because no
system is inherent in textile design. Attributes for an-
alysis were selected on objectivity, ease of subdivision
for classification, and ability in conveying a total picture
of the textile design. Attributes selected included space,
form, line, value, density, direction, position, structure,
balance, symmetry, scale, proportion, dominance of motif,
subject matter, and style.

Paradigmatic classification was chosen because it is
best suited to descriptive studies and studies where impor-
tance of attributes have not been established (Dunnell,

1971).
52

53

Before beginning the development of this classification
system, twelve criteria were established as goals or guide-
lines for ease of use, consistency.and terminology. The
intent of this study was to provide questions and sugges-
tions for organization of data that students analyzing tex-
tiles could use. This would eliminate a step in research
studies, that is the development of a classification system

from descriptive literature or textile samples.
Criteria for Development

The proposed classification system is to be evaluated
in terms of its logical consistency and in the choices of
field (textiles), scale (two-dimensional textile design),
criteria (design elements and principles), and distinguish-
ing criteria (the final elements and principles used in the
classification). The scope of the study is limited to the
development of a successful plan; no comparative study using
the system is involved. Criticism should be based, there-
fore, on the theory, definitions, and ease of use.

The criteria for the development of the classification
system are listed here. Response to their success in appli-
cation was asked for after the classification system had
been applied to two textile designs by two test groups.

1. The system should be easy to use.

2. Terminology should be simple and clearly defined.

3. The placement of a textile into a characteristic

feature is to be objective.

lo.

11.

12.

54
Attribute subdivisions are to be mutually
exclusive.
There is to be internal consistency. This means
that similar textiles will result in similar
classifications.
Only repetition necessary for clarity should be
included at a different level of hierarchy.
The system is to be descriptive, not interpre—
tative.
Attributes show no generic relationship to the
previous attributes. No attributes are weighted
in importance, for example, value is no more
important than line character.
The classification system is to be comprehensive
and open to expansion.
The details are to be numerous enough to isolate
variations in textile design, but limited so that
groups can be formed for comparison.
Classes are to be relevant to the proposed prob-
lem, which is the aesthetic analysis of textiles.
The classification system is to be applicable to

more than one aesthetic study.

55

Selection 3: the Classification Form

The method of classification selected for this analysis
of textile motifs is paradigmatic. In paradigmatic classi-
fication attributes are equivalent; thus one criterion is
as important as another (Dunnell, 1971, p. 70). In the
classification system that follows attributes are not
weighted by importance, but are ordered by complexity and
grouped by similarity. Features are listed only under
attributes when applicable. Attributes are the criteria
used to classify each textile design, for example. content,
style, line,or symmetry. Features are the specific charac-
teristics each attribute can have. They are subcategories
of attributes, for example, features of line direction are
vertical, horizontal, diagonal, equal emphasis,or non-
directional.

Classification was initially chosen over grouping,
because classification is definitive rather than descrip—
tive (Dunnell, 1971, p. 45). In the proposed classifica-
tion system, attributes for classes are being defined
rather than describing an actual textile collection to be
put into classes.

A class is defined by boundaries which state criteria
necessary and sufficient for membership (Dunnell, 1971, p.
45). By being placed in a class, the characteristics of
the object are known within allowed variation.

Relationships between classes are nonequivalent

56
equivalences in paradigmatic classification, meaning that
they are comparable, but there is no ordering of importance.
This type of classification is desirable for construction
of initial classification systems for objects. There is
less potential for ambiguity in application, because it is
applicable to more study problems (Dunnell, 1971, p. 73).

Relationships between classes in taxonomic classifica-
tion are noncomparable and ordered by importance. This type
of classification restricts its use to only one problem of
study; so there is greater potential for ambiguity in ap-
plication. Each decision for placement of a feature is a
choice between two opposites (Dunnell, 1971). Binary
opposition is not suitable to the methodology of this
study because of the frequency of multiple alternatives.

The investigator desired that no priority be placed on
features so that the system has wider application in
aesthetic study. A priori decisions increase subjectivity.

In paradigmatic classification:

Individual class definitions will consist of one

feature taken from each dimension, the number of

definitive features in each definition being a

direct reflection of the number of dimensions used

in the classification (Dunnell, 1971, p. 73).

In taxonomic classification individual class defini-
tions are formed by means of inclusion. The main objection
to the taxonomic system for the proposed study is that all
subfeatures are not listed under headings due to the arrange-

ment by weighting, rather by similarity.

The classification system is arbitrary, because no

57
system is inherent in textile design. Attributes for
analysis were selected on objectivity, ease of subdivision
for classification, and the ability to convey a total

picture of the textile design.

Selection g; Diagnostic Attributes

 

 

The classification categories for this study were
based on the elements and principles of design, resulting
in a formal analysis. In addition some connotative analysis
was included, motif subject matter. Manufacture, use, and
history or origin of the textiles are to be documented, but
not classified. Inclusion of all textiles information in
a classification system would be overburdensome for the
classifier. Separate systems for nondesign information are
not within the scope of this study, but this does not imply
that such information is unimportant. According to Brew
(1946) and Shepard (1956), using several forms of analysis
helps give the most accurate description.

With some variation traditional design texts list the
elements of design as line, form, space, texture, and
color. Principles include rhythm, emphasis, balance, pro-
portion, and scale. In addition to these, a list of‘
possible criteria suggested in the literature search
follows. Terms used for similar characteristics are
grouped together:

Line

Form, space, shape
Texture

58
Color, value, counterchange
Balance, symmetry
Proportion, scale
Emphasis
Rhythm. sequence
Structure, layout, arrangement
Motif placement, position
Direction
Density
Style
Subject matter, activity, facial expression

Dominant motif, auxiliary motif, simple motif, complex
motif

Inspiration source

Symbolism, meaning

The diagnostic attributes were selected from this list.
Criteria were chosen for their degree of objectivity.
ability to be subdivided, and importance in conveying a
"total picture" of the design. Some items from the list
were selected for use on an information card to accompany
each classification outline. Attributes selected include
space, form, line, direction, density, position, balance,
symmetry, value, scale, proportion, motif, subject matter,

style, and structure.
Content 9; the Classification Outline

1. Line was chosen as an attribute for classification.
Line can be analyzed by its direction, its character, and
its feeling and function in a textile design. For example,
it could be the motif, it could be space filler, or it
could outline the motif. Line is subdivided in the
classification system into three areas, direction, charac-
ter, and function. Feeling was omitted due to subjectivity.

Line is also used as a subcategory under content of motif.

59

2. Form, shape, and space can be analyzed by symmetry
of the structure, its position in relation to other forms
in the design, relative size and complexity, and geometri-
cal "building blocks". In pottery classification shape is
analyzed by basic shape and its modification (Black and
Weer, 1936). Form is used in the proposed system to show
the condition of the textile as either fragment or full
piece. Forms and their interrelations are classified
by the categories of repeat, nonrepeat, and structure of
the total design. Shape is used as motif, which is
analyzed on the basis of complexity, symmetry, dominance,
size, proportion, position, frequency, style, and subject
matter. Space is analyzed by its function and relationship
to the motif (density). I

3. Texture was not chosen for the classification sys-
tem, but could be subdivided by its use and character.
Although fabrics inherently have some texture, analysis of
form for two-dimensional design does not necessitate its
description. Small motifs, such as polka dots, give a
visual texture, which is important. These small motifs
are described in other categories as space fillers or as a
small motif.

4. Color can be analyzed by hue, value, saturation,
and combinations. The infinite number of colors and
colorways is the reason for its elimination from this
study. Although color helps to identify motif subject

matter or dominance, it can create difficulties in

6O
determining symmetry. Balance of color and balance of
form do not always correspond. Further difficulties stem
from the fact that contemporary textiles are printed in
several colorways; each textile would result in a different
classification of form. Some historical textile colors
cannot readily be determined. If a closed collection were
being analyzed, color may not be a distinguishing criterion.
Textiles may all be the same color due to natural dyes
available in the area or level of technology. Color
systems in existence, such as Prang and Munsell, can be
used in addition to the classification system developed
in this study, if desirable.

Value is analyzed in the classification system.

Black, gray, and white are subdivided by function as line,
area, or both.

5. Proportion and scale are included in both the
classification system and the information card. 0n the
information card measurements are absolute, but in the
classification system, measurements are relational. Length
and width of textile, length and width of repeat, and length
and width of motif are all analyzed. Scale of the textile
and motif can be classified in relation to a human, archi-
tecture or interior, and in relation of motif to its
surrounding space. The latter was chosen for the develop—
ment of the classification with designations limited to
small, medium, and large. These divisions are arbitrary,

since there is no standard to measure scale along a

61
continuum. Scale is used to analyze the specific motif
and also the general textile. '

6. Balance and symmetry are often discussed as one
phenomenon, but actually have different implications.
Balance can be analyzed in relation to color, value, shape,
but implies weight. Symmetry is analyzed in relation to
shape only and demonstrates structure. It is inclusive,
objective, and easily broken into subclasses. Accordance
to and deviation from symmetrical structure provide for

further analysis:

The importance of symmetry in design analysis is
indicated, not alone by its prevalence, but also by
the difference in decorative styles that suggest
variable preference for certain classes of symmetry.

Even when examples of all classes can be found within

styles, relative frequencies often differ enough to

set the style apart (Shepard, 1956, p. 271).

In the classification system developed in this study,
symmetry is used to analyze structure of the general textile
and also the individual motifs. Use of symmetry to analyze
repeat was eliminated after the pre-test due to its
complexity.

7. Emphasis is usually created by contrast, unusual
shape, color, or placement. These aspects of emphasis are
used on the information card. Emphasis in its operational
aspect is categorized under motif as dominant motif or
auxiliary motif.

8. Rhythm is not used for classification in this

system, but is described on the information card. Sequence,

an aspect of rhythm, is used as a subcategory for structure,

62

showing type of repetition.

9. Structure (layout, arrangement) is of prime im-
portance in the development of this system. It determines
placement of all motifs. Shepard called it the clue to the
development of a design and she defined structure as "the
choice of space and its subdivisions" (Shepard, 1956, p.
266). Structure is analyzed in Hierarchy III of the
.classification system in general terms, such as rectangular,
rhomboid or interlocking.

Motif placement or position is useful in this classi-
fication, because it gives a mental picture of the location
and frequency of a motif to someone who has never seen
the textile. A grid of ten units per repeat is used to
plot centerpoints of motifs.

10. In order to analyze direction, a point of orienta-
tion must first be established. According to museum prac-
tices, selvages are placed vertically. If the design is
pictorial, a top can be determined, but this is subordinate
to the selvage direction. If the top of a design is at the
selvage, it has a purpose in design or technique and should
be recorded. Direction is classified under general charac-
ter of the textile and again under character of the motif.

11. Density is the amount of configuration in a
space. Density is described in terms of motif area and back-
ground area and their relationship. Actual instruments to
measure density have not been developed, so an estimation

is necessary. Justema's theory was that all people have

63
their own sense of spacing and that density can help in
textile identification (Justema, 1968, p. 34).

12. Style is a difficult point for classification due
to its great subjectivity. It is complicated by personal
and cultural values. Style, however, is a distinguishing
factor in design and is included in the classification
system. A geometric depiction of a human being differs
from a stylized depiction, which differs again from a
naturalistic depiction. Change in style is dependent on
change in proportion, change in scale, change in basic
shape, color, line character, type of repetition, density,
and structure. A style consists of similarities in char-
acter of the elements of design, their use and combination,
as well as expression. Due to style's subjectivity, the
most distinct categories were selected as classification
categories (geometric, stylized, and naturalistic). Motifs
or the entire textile may not fit one classification
category precisely, since motif combination might represent
style combination. Style changes are on a continuum; so
the most appropriate answer may be halfway between two of
the three choices.

13. Subject matter (activity, facial expression) as
style is culturally based. The question can be raised
whether "‘V’" is a bird or a chevron, however, there are
many motifs that are readily distinguishable. Identifica-
tion of the subject matter represents Panofsky's first

level of interpretation (pre-iconographical interpretation).

64
In pre-iconographical theory, a form can be a natural or
man-made object. Correctness is not guaranteed, but is
based on practical experience with the degree of correct-
ness increasing with study of the history of the particular
ornament or culture (Panofsky, 1955, p. 41). The classifier
may or may not be familiar with the culture of the textiles
he is classifying, but as more information is gained the
classification of the particular motif can be changed.
Facial expression and activity of the characters is sub-
jective and not included in the classification system.

For pictorial textiles the description is limited
to the determination of groups by spacing or interaction
of the figures.

14. Dominant and auxiliary motifs are a result of
the principle of emphasis discussed above. This is a sub-
jective decision, but Shepard suggested one rule for deter-
mining importance. Dominant figures are usually familiar
elements, regularly spaced, and symmetric. Auxiliary
motifs are adopted to the remaining space. Frequency and
size are also used in determination of dominance (Shepard,
1956, p. 266).

Another characteristic of motifs suggested by authors
were primary (simple) motifs and secondary (complex) motifs.
A complex motif has many parts, each of equal importance to
the motif. Shepard's analogy was to compare the parts to
letters in a word. All the parts are needed for accurate

comprehension. A simple motif has only one element

65
(Shepard, 1956, p. 267).

15. Inspiration source was not selected as a dis-
tinguishing feature due to lack of certainty in the de-
signer's intention.

l6. Symbolism was also rejected due to subjectivity

and cultural bias.
Justification 2f the System

Objections to classification systems developed in the
past can.be applied to this classification system for tex-
tile design. Justification for the decisions and use of
the classification form follows.

A classification system is not entirely objective. In
the proposed classification system decisions must be made
as to dominant and auxiliary motif, subject matter, and
style. In some cases the decisions are subjective, but in
many cases they are not. Although dominant and auxiliary
motif is an arbitrary decision inserted for identification
of a motif, aids for determining importance are familiarity,
spacing, symmetry, size, color, and frequency. The classi-
fication system is not for the purpose of classifying all
textiles concurrently; just the ones used by a research
study. What is important is that rules are laid down by
the investigator or group of investigators for their own
internal consistency and objectivity.

Subject matter identification reflects familiarity

with the culture. This is recognized and recommended. It

66
was inserted in the study based on Panofsky's theory. He
designated subject matter as pre-iconographical, which is
identifiable due to practical experience and the degree of
correctness increases with further study of the culture
(Panofsky, 1955, p. 41).

Style was included based on comments from Berliner
(1966) and Rands (1957), that motifs diffuse so readily
that style is a better indicator of cultural differences.
The style feature was subdivided into three distinct areas
for as much clarity as possible. Again a researcher will
have to establish base criteria for each style to be in-
ternally consistent within his own study. He may find it
possible to subdivide style more precisely, including dis-
tinctions for nonobjective, abstract, or realistic.

Motif dominance or ground dominance (density) is not
always readily distinguishable. Criteria must be set by
each researcher, but this feature remains important in the
study of design and should be documented. All the divi-
sional features in a system are on a continuum with arbi-
trary division points. This difficulty is inherent in any
classification system. There is a "control" in the proposed
classification, in that no matter if ground or motif is
dominant, the resulting structure will be the same. Struc-
ture is recorded in Hierarchy III of the proposed classifi-
cation system.

Objections to the system because it is not entirely

formal (Gardin, 1967, p. 27). It was stated in the purpose

67
of the study that the development involved form and
content of motifs. Subjectivity in this area has been
answered in objection 1, using Panofsky's theory (Panofsky,
1955). If a classifier wishes, he could omit the content
sections.

Objection to nonstandardized or nonuniversal language
(Gardin, 1967, p. 27). First, there is no standard to
follow. In order to develop one, terms were chosen that
were simple and as self-explanatory as possible. Second,
influence from one's own culture or national language is
unavoidable. Gardin's suggestion of a linguistically based
code is more confusing than learning new definitions, be-
cause there is no connotative meaning in the code. Gardin
rejected his idea for a universal language in his second
article (Gardin, 1967).

Objection that there are too many features in the
system (Whiteford, 1947, p. 229). How does one know what
is important until a collection has been classified? In
essence, features may be missing, another possible objec-
tion. The stated purpose and one of the criteria for the
system developed was flexibility and capability of being
limited or expanded. It is important to recognize that
the study was an attempt to describe each textile design
as systematically and as completely as possible. The es-
tablishment of three hierarchies allows for a researcher
to choose which area, motif or arrangement, is most

applicable to his study. It is suggested that the reader

68
adapt the classification to his study and not the study to
the classification.

Objection to the system, since it may be possible to
classify a textile design more than one way (Christie,
1969). Changing visual impressions is an inherent charac-
teristic of textile design, due to reversal of positive and
negative space. A researcher will have to establish his own
consistency and defense for his decisions. This system in-
cluded these areas of difficulty, so that they would re-
ceive attention. By naming motifs, density and structure
a system of checks is included. If naming of motifs is
not possible, the system adapted by a researcher should be
limited to structure, stating that the textile collection
has the characteristic of a reversal of positive and nega-
tive space. In all the following examples, no matter which
part is selected to represent the motif and which is
selected to represent the ground, the structure is still
the same (Figure 5).

Objection raised because no conclusions in the develop-
ment of textile design are given (Gardin, 1967, p. 28).
This objection shows that the purpose of the classification
is organization,not explanation. The system developed is
descriptive, not interpretative. Interpretation requires
placement of textiles with certain characteristics into
groups, types, modes, or classes for cognitive study.

The attributes selected for use in the paradigmatic

classification system were line, space, form, value, density,

Figure 5.

69

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Reversal of positive and negative space

A. Cross bands or white square on dark ground
B. Cross stripes or hexagon stars

C. Interlocked pattern

D. Counterchange

(Christie, 1969. pp. 68-69; 74-75)

70
direction, position, structure, balance, symmetry, scale,
proportion, dominance of motif, subject matter, and style.
Criteria that were rejected were texture, color, emphasis,
rhythm, inspiration sources, and symbolism. Inclusion of
some subjective decisions was justified because of the
criterion's role in clarification of a textile design.
Terminology was not universal, but terms were chosen that
were as simple and self-explanatory as possible. The num-
ber of features included in the system were many, but can
be limited by a researcher's problem and discretion. Mul-
tiple ways of analyzing the same design were encouraged
because inherent qualities of design may make classifica-
tion solely by motif or structure impossible. No conclu-
sions on textile design development were given, because

that was not the purpose of classification.

Structure 9f the Classification System

 

There are three levels of hierarchy within the proposed
system of classification in addition to an information card.
The hierarchies are arranged from general to specific.

Hierarchy I (H:l): General Character of the Textile
Design

Hierarchy II (H:2): Specific Character of the Motifs

Hierarchy III (H:3): Specific Character of the
Arrangement

Three possibilities were considered for the presenta-
tion of the system, outline, chart, and diagram.

The chart form would be preferred by the user when

71
classifying several textiles, since one textile could be
listed under the next. However, the person would have to
be familiar with the system, because category relationships
are not clear on the chart (Figure 6).

The diagram best shows the classification relation-
ships,but in order to classify a second design, the entire
system must again be written out. The entire system is not
applicable to each textile, so there is a lot of information
listed that is not relevant.

The outline form requires the least amount of space
and shows the relationships of the classification system
adequately. Only the categories relevant to the textile
design need to be listed. Notation should take the follow-
ing outline form:

I. Textile form

B. Full piece
1. Repeat
a. Band or border
(1) variable
(b) motif
From this notation one knows that the textile is a full
piece; that it is a repeating band or border. The repeat is
not a strict repeat, but has some variation in the motif.

In the outline form, if a subcategory is placed next
to the major category in the outline, then the choices in
the subcategory fit in any major category. In the example on
page 73, (l) Asymmetrical, (2) Reflection, (3) Rotational,
(4) Radial fit either (A) Simple or (B) Complex.

If the subcategory is placed under the major category,

 

72

 

I. Textile Form A. Fragment

 

Textile #1 (l-a) I (1-b) I(1-e)I (l-d) I (Z-b) I(2-d) I (2-e)

 

 

Illlll

 

 

Figure 6. Chart form (Baerlocher, 1973)

I. Textile Form

A. Fragment 1. Repeat

B. Full piece a. Band or border
b. Border and field
c. All-over pattern
d. Superimposed design

2. Nonrepeat

b. Border and field
d. All-over pattern
e. Free ornament

Figure 7. Outline form

I. Textile Form

 

 

 

[— l
A. Fragment B. Full piece
I I f I
1. Repeat .2. Nonrepeat 1. Repeat 2. Nonrepeat

Figure 8. Diagram form (Dunnell, 1971, p. 81)

73
then these features are the only choices applicable to the
major category. In the example below, (a) Longitudinal,
(b) Transverse, (c) Oblique relate to (2) Reflection, but
not to (1) Asymmetrical, (3) Rotational,and (4) Radial.
Likewise, (a) Bifold, (b) Trifold, (c) Quatrefold, (d) Five—
fold relate to (3) Rotational and not (1), (2), or (4).

III. Form
A. Simple l. Asymmetrical (1) Finite
B. Complex 2. Reflection (2) Infinite

a. Longitudinal
b. Transverse

c. Oblique
3. Rotational

a. Bifold

b. Trifold

c. Quatrefold
d. Fivefold
4. Radial
a. Two axes
b. Three axes
c. Four axes
d. Infinite number of axes
(circle)

The information card contains information as shown
in Figure 9.

The outline for the classification system was
originally continuous, moving from one section to another
and one hierarchy to the next. This became cumbersome to
use. Definitions and diagrams were in a separate section,
requiring frequent reference and much shuffling of papers.
Comprehension was lost because of the mechanics of using
the system in that form. The revision,consisting of divid-
ing the outline into each Roman numeral heading (1. Textile

form, II. Content) under the respective hierarchy,was made.

Now for each heading the following information is given:

74

Name of Design

Designer

Source (manufacturer)

Date

Country of origin

Present location

Function of piece

Design technique

Fiber of ground (optional)

Weave of ground (optional)

Measurements (cm) length of piece
selvage to selvage of piece

length and width of repeat
length and width of motif(s)

Description: Motif and arrangement (subject matter and
repeat)
Emphasis
Rhythm
Line direction

Figure 9. Information card

75

Instructions

Definitions and Diagrams

Example

Classification Outline
This form will be easier to use for the classifier who
wishes to use only particular elements for classification,
such as II. Content. All the information the classifier
needs is in one location.

Three levels of hierarchy were established for the
classification system, dividing information received into
general textile design, specific character of motif, and
specific character of the arrangement. Each hierarchy has
a specific set of attribute subdivisions. Each of these
subdivisions has the following sections: Instructions,
Definitions and Diagrams, Example, and Classification
Outline. An information card is to be completed for each
design before proceeding to the classification notation in

outline form.

CHAPTER IV
TESTING THE SYSTEM

The classification system developed in this study was
pretested by graduate students and faculty in the Department
of Human Environment and Design at Michigan State University.
Revisions in format and terminology were made before the
classification system was tested by a second panel of gradu-
ate students in the same department. The final form
(Chapter V) contains the revisions made after this test.
None of the participants in the pretest panel were in the
revised test panel.

The test participant's part in this study involved the
analysis of terms and procedures. It is not a system de-
veloped for the expert in design, but does presuppose
familiarity with design elements and principles. The scope
of the study was limited to the development of a success-
ful plan, no comparative study using the system was in-
volved; so criticism should be based on the theory, defini-

tions, and ease of use.
Test Panel Results 9p the Pretest

A pretest consisting of the following sections was given

to ten graduate students and faculty members in the

76

77

Department of Human Environment and Design:

Instructions

Definitions and Diagrams

Reference to Symmetry

Example

Textiles to be Classified

Brief Outline of the System

Classification Outline

Evaluation
The participants were asked prior to distribution of the
packet if they would be willing to work through the
classification system. The participants had various levels
of aesthetic or design experience, but all were familiar
with the elements and principles of design.

The Instructions section of the test packet contained
information on the classification system. It had an in-
troduction to the purpose of the study, listed the 12
criteria for development, outlined the paradigmatic classi-
fication system,and discussed the organization of the three
hierarchies and use of the outline form. The position of
the categories, whether underneath or beside the heading,
was explained. If a subcategory is placed next to the
major category in the outline, then the choices in the
subcategory fit in any major category. If the subcategory
is placed under the major category,then those features are

the only choices applicable to the major category.

The procedure section is included here.
i ‘l' ‘l- * if * 'I- 'l- *

Procedure
Please classify the two sketched textiles (Section C -

Green) designated on the Green section cover sheet using

78
the classification outline in Section E - Gold. The
orientation has been established for you by labeling of the
selvages on the designs. Selvages are placed vertically
when viewing a textile design. If a definite "top" can be
established in the pattern, it is placed upward only if the
selvages remain vertical. A design, such as a tapestry,
printed or woven sideways on the fabric is done so for a
purpose and this variation should be noted.

Looking at H-l, page 32, note that I. Textile Form is
the first attribute in the classification outline. The
first decision is determination of fragment or full piece.
Assume that both design sketches are full pieces. -The
second decision is whether the design is a repeat or non-
repeat. If the textile is a repeat.choose from a. Band or
Border, b. Border and Field, 0. All-over Pattern, or
d. Superimposed Design. If the design is a nonrepeat.
choose from b. Border and Field, d. Superimposed Design,
or e. Free Ornament.

Notation should take the following outline form:

I. Textile Form

A. Full Piece
1. Repeat
a. Band or Border
(1) Variable
(b) Motif

Answer sheets with attributes listed are provided. It
is only necessary to list applicable characteristics.
Definitions and diagrams are located in section B (Blue)

for reference. Definitions are listed in the order of

appearance in the classification outline.

79
Keep a record of the amount of time it takes to
classify each example. Circle items that are not clear on
the classification outline and in the definitions and dia-
grams section. All terms not marked will be assumed as
clear. If you get confused, say so, it is just as important
as understanding. When you have finished both examples,

answer the questions and return the entire pamphlet.
* l: I- i * ‘I' it * *

The definitions and diagrams section included defini-
tions and examples for the terminology in the classification
system. It was planned as a reference section with terms
appearing in the same order as they did in the outline.
Reference to Symmetry was a brief statement on some symmet-
rical principles and was to give insight into the symmetry
section in Hierarchy III. I

Following the example were the textiles to be classi-
fied. The group was divided in half. One-half classified
the two textiles on page A and the others classified the
two textiles on page B. See Figures 10 and 11.

The pretest outline is included here (pages 82-96) fol-
lowing Figures 10 and 11. The evaluation section includes
questions on amount of time required, the 12 criteria, and
amount of difficulty. Ten sheets of blank paper were pro-
vided for notation.

Six of the ten packets were returned within the three
day limit. The investigator misjudged the amount of time
necessary to work the classification system. Poor timing

on test distribution was the reason for the low return.

80

 

A

Selvage

 

Selvage

 

 

 

 

Textile Design I

Selvage

 

 

 

Selvage

Textile Design II

B - Revised test

Test textiles; A - Pretest,

Figure 10.

81

 

 

 

 

 

Selvage

Textile Design I

Selva;e

 

 

 

 

Selvage

Textile Design II

Figure 11. Test textiles; B - Pretest, A - Revised test

82

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wGHumshouH4 Adv ouwsvm .ustwcmuoom .m

sumuumm uo>o:HH4

.0

.m HMGOHmaosH0uose .HH

.4 HMGOHmsosH0:mso .H
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msossHusoo uoz .HH

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wsHHuso Amv ocHH mmmm Anv
uSosmHm mHaHuHaz AHHV smHm HMHSuosuum waHumoamusoz ANV
usostm one HHV so msHH omen oz Adv maHumoaom AHV
uo0uom
memo Amv
mHmum Aqv

commxmm AmV
0ououumom A>v mansozu .onsmHuu .0sosmHQ ANV

.e

91

onom .>H
sowmxmm .HHH
msasozu .onstuu .0sosdHn .HH
whencm .ustwcwuoom .H
usosoomHm Housuosuum Apv
unmsmomHm so0smm AmV
mucosoHo onHquz HHHV
uaosmHm mesHm AHV
HmsonsosH0cosa Anv
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momma uwuswo .HH
msossHusoo uoz .m

msossHusoo .4 stm HmHSuoSHum AHHHV
2:38 .H we: $3 $3
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usosoHo Tao Amv no oaHH omen oz AHV

HmsowmsosH0TDso Adv
, mcHummmousoz ANV
memo A>V
onom A>Hv
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mwcmnoumuaso0 A>HV MUHHm AuV

mumsvw msHsMDH AHHHV noun Anv

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waHumsumuH4 AHV mumsvm .umstamuoom AHV
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msoscHucou .H HmconamsH0:oso .4
momma nousw0 .HH

92

oHanum>
: MHuos 0mumH0mH
HwONunD0H

: MHuos 0muMH0mH
msoscHuso0

.0

.m HmaOHmsosH0:ose .HH
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momma umudoo Anv
msossHusoo uoz .HH
msossHuao0 .H
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mucosmHo onHuHsz HHHV
uaosuHo Tao AHV

smHa Hausuosuum Adv
oaHH omwm Any

awHa Hmusuosuum

no osHH camp 02 Amv

waHumwmousoz ANV

mcsueeeem AHV
um0uom .m

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0ououuwom A>v
mwamnouousso0 A>Hv
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mouHmommo AHHV

wesueeueuH< AHV

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msossHusoo .4

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msossHuaoo uoz .HH
msoscHuso0 .H
message Aev
mueeaeHe eHaHusez AHHV
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wsHummmousoz .m

ammo on

eHeom H00
nowwxmm AOV

mansosu .onGMHuu .0cosmHm Anv

Roses AMV
some ANV
xeon AHV

mumsvm .umstGMuowm Amy

HeeoemeeeHe.oas ANV

msHH kusuosuum on
maHH ommm A00
sMHm Hmusuosuum
so oGHH vamp oz va
stoncosH0:mso HHV
hHso wsHumomouv oomwu=m .p

memo .>

93

oHanuw>
: 0oumHomH
HmoHuao0H
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msossHusoo

memo

onum

sowwxom

0mumuumom A>v masses“ .onstuu .0sostn
omfi¢£ououd500 A>Hv onum on
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meusmoaao AHHV xeon Hev

wsHumsuouH4 AHV mumsvm .HMstGMuoom

HasOHmsosH0:oso Adv
wsHumonousoz ANV

Hey
Aesv
AHHHV
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HHHV

AHV

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Donna Housou .HH
msossHusou uoz .m
msoscHuaoo .4
ocHHuso .H
mueeeeHe eHsHuHsz A90
usosoHo one Amv

cme Housuosuum AHHHV
maHH wmmm HHHV

smHa Honduossum

Ho oGHH omen oz HHV
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mcHuwmaom AHV
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memo Aev
MHmom A>HV
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mansosu .oHNGMHuu .0sostn AHHV
sheavm .umstawuomm AHV

udoEDOMHQ so0amm Adv
muswsmHo onHuHsz ANV
usosoHo wHwaHm AHV
0Hon .0

94

sowmxmm .HHH
mangoes .eHmneHuu .eeoaeHn .HH
mumscm .ustwcwuoom .H
usosmUMHm Hausuosuum AHHV
uaosoome so0smm AHV
musesmHo onHuHsz_Anv
usosoHo onsHm Amy
Heeoseeease.oss ANV
HwGOHmaosH0:ose .HH
stOHmaosH0umso .H
momma nouaoo A90
msoscwucoo uoz .HH

msosaHusoo .H smHm Housuosuum A00
osHHuno Adv osHH ommm Anv

mucosoHo onHuHsz AHHV stm Hmusuospum
udmsmHm mac nHV no maHH mama oz Adv

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mowo .>
onom .>H
commxmm .HHH
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unwavm .umHsmGMuomm .H
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mueeaeHe eHeHeH:z Ausv
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uHsb maosaHusoo .N
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.HH

96

nonuo

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AH>V
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scum mumummmm mum umsu mmx4 ANV
uHas Hmusosm055w

mau so owaHasH umnu mox4 AHV

segue AH>0
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97

It was the end of spring term and participants were busy

TNith their own exams and grading. The six packets returned.

Idowever, did give a clear indication of the problems that

rueeded to be solved.

Suggestions for revisions included the following:

1.
2.

9.
10.

Decrease the amount of information in the packet.
Clarify sections in the packet and Specify what
section actually is the classification outline.
Order sections in the packet--Instructions, Tex-
tiles to be classified, Classification outline,
Example, Definitions, and Evaluation. 7

Make instructions clearer and more specific. In-
structions needed at section headings on classifi-
cation outline.

Define gll terms. Some definitions were not clear.
Need more visual examples. Space diagrams for
clarity.

Have definitions numbered or lettered the same as
in the outline and refer reader to definitions
using a page number. There was lack of internal
consistency.

The hierarchies are repetitious causing confusion.
The number of pages in the classification outline
and the necessary division onto the pages caused
confusion.

Some areas are subjective.

Omit "Brief Outline", p. 29, because it was not

98
helpful.

11. Symmetry section was the most confusing.

The procedure was confusing to all participants. Not
2111.sections in the classification outline used the same
Ilrocedural format. For example, in Hierarchy I: I. Tex-
txile Form, one subcategory (1) repeat or (2) nonrepeat
vvldich bests describes the textile is to be selected. In
Iiierarchy I (V) Line and Area, (A) Black, (B) Gray, and
((3) White are not subcategories to describe the textile,
‘tnat are characteristics each is assumed to have. Black,
INidite, and Gray are then classified as (1) Area, (2) Line,
c>r‘(3) Area and Line. The appearance of these two sections
143 the same in the outline, but the procedure is different,
causing confusion.

Two participants stated that the system would be
'Wnarkable with revisions and two suggested that the terms
Were too difficult for someone without a strong design
background.

The evaluation section of the packet asked for the
aLmount of time spent on each design and the evaluation of
Tihe 12 criteria used in developing the system. Three
(aliestions were asked at the completion of the evaluation
INDrm. These were about difficulty, mental image of the
'tesxtile, and learning experience.

The results on the amount of time were as follows:

Textile I Textile II

A. 45 minutes 45 minutes

0m 00w

The

99

90 minutes 0
120 minutes 0
90 minutes 60 minutes
(not complete)
60 minutes 0
65 minutes 45 minutes
(not complete) (not complete)

results on the 12 criteria were as follows:

Terminology should be simple and clearly defined.

No 3
Sometimes 1
Until H-3 1
No answer 1

The system is descriptive.not interpretative.

No 3
Yes 2
No answer 1

The placement of a textile into a characteristic
class is objective.

Yes

Not always

No answer

Not understand question

l-‘l-‘NN

Classes are mutually exclusive-

Yes 1
No 1
Sometimes 1
No answer 2

Can't judge 1

There is internal consistency.

No 2
Can't judge 1
No answer 2
Not understand question 1

Classes are relevant to the proposed problem--
aesthetic analysis of textiles-

Yes 3
No 1
No answer 2

lo.

11.

12.

100

Repetition of classification at a different level
of hierarchy is necessary for clarity.

No 3
No answer 3

The system is easy to use.

No 3
No answer 3

That subclasses show no generic relation to the
previous class, or that dimensions of classifica-
tion are not weighted in importance.

Yes 2
No answer 2
Not understand question 2

That details are numerous enough to isolate
variations in textile design, but limited so
that groups can be formed for comparison.

Yes 2
No 1
Can't judge 1
No answer 2

Comprehensive and open to expansion.

Yes 2
Can't judge 2
No answer 2

Applicable to more than one study.

Yes 2
Partially l
Unsure 1
No answer 2

Did you experience great difficulty?

Yes 6

Do you think you received an accurate picture in
your mind of the textile from the system?

Yes 1
Partially 1
No 4

101

Was it a learning experience for you?

Yes 2
No 2
Unsure 1
No answer 1

It was concluded that more emphasis on meeting the
criteria was required.

Consistency of individual classification answers for
the first textile on each page was tabulated. The second
textile on each page was not tabulated because only three
out of six were attempted, one for A and two for B (both
incomplete). In the tabulation, only the first two hier-
archies were recorded. Hierarchy III was not completed nor
understood by most participants.

The entire outline is not listed, but only the answers
given followed by the number of responses. Headings that
are underlined did not involve a decision on the part of

the classifier. Asterisks (*) indicate the investigator's

opinion.

Textile A (Figure 10, top)
Hierarchy I

I; Textile form
B. Full piece (3)*
1. Repeat (3)*
c. All-over pattern (3)
(1) Variable (l)*
(2) Nonvariable (2)
d. Superimposed design*

II. Content
A; Dominant motif
g. Ve etable form (2)*
(a Stylized (3)*
B; Auxiliary motif

102

g. Ve etable motif (3)
(2 Stylized (3)
. Linear
(1) Geometric sty1e*
c. Geometric*
Space
1. Enclosing Space*
3. Space reduced to a line (1)
5. Space has small motif filler (l)
g. Vegetable form (1)

0‘

I0

111. Direction

A. Vertical (l) . .
C. Diagonal (1) same claSSIerr

E. Nondirectional (2)*

IV. Density
B. Equal emphasis (3)
C. Ground dominant*

<

Line and Area

A; Black

1. Line*

3. Line and area (1)
White

2. Area (l)*

 

0

VI. Balance
B. Symmetrical (3)
3. Radial (1)
A. Asymmetrica1*

VII. Scale
B. Medium (3)*

VIII. Proportion

 

 

A- 5 (177
B. 6 (1)*
C. 1 (1)
c. 5*

Hierarchy II for Textile A is not recorded here because
two of the three classifiers did not distinguish between
dominant and auxiliary motif and work H-2 for each motif.
The third classifier did, but there is no basis for compari-
son with the other two answer sheets. It is clear from

this that instructions are not well written.

103
Textile I} (Figure 11, top)
Hierarchy I

I; Textile form
B. Full piece (3)*
1. Repeat (l)*
b. Enclosed panel (1)*
(1) Variable (l)*
2. Nonrepeat (2)
b. Enclosed panel (2)
(2) Nonvariable (1)

II. Content

A; Dominant motif
c. Geometric (3)*

S; Auxiliary motif
b. Linear (1)
c. Geometric (l)
g. Vegetable form (l)*

(2) Stylized (2)

9; Space

1. Enclosing space (3)*

III. Direction
A. Vertical (1)*
B. Horizontal (1)
D. Equal emphasis (1)

 

IV. Density
A. Motif dominant (2)
C. Ground dominant (l)*

 

 

 

V; Line and Area
A; Black
3. Line and area (l)*
Q; White

2. Area (1)*
a. Value-dark dominant (l)
c. Value-light dominant*

VI. Balance
A. Asymmetrical (l)
B. Symmetrical (2)*
2. Transverse axis (1)
a. One axis (1)
3. Radial (1)
1. Longitudinal axis*
a. One axis (l)*

VII. Scale
B. Medium (3)*

104

 

 

VIII. Proportion
A. 6 (2)
A- 7 (1)
A. 5*
B- 5 (2)
B. 8*
C- 5(3)
C. 6*

Hierarchy II

II. Designation pf motif
A; Dominant motif
1; Number 1

 

 

G

 

 

 

 

 

 

II. Form
A. Simple (2)
B. Complex (l)*
4. Radial (3)*
a. 2 axes (l)
c. 4 axes (2)*
(1) Finite (2)*
111. Position
B. Isolated motif (3)*
IV. Content
A. Geometric (3)*
2. Solid (2)*
c. Geometric (2)*
V; Line character
A. Vertical (l)
D. Equal emphasis (1)*
1. Shaded (l)
b. Space filler (2)
VI. Proportion
A- 5T2)*
A. 9(1)
B. *
C- 5(2)*
VII. Scale

 

B. Medium (2)*
C. Small (1)

Since all classi-
fiers chose dif-

ferent auxiliary

motifs, the clas-
sification of H-2
would not corre-

spond.

*Line is not used
in this motif

The results of the classification of textile A and B

show differences in interpretation.

This is especially true

105
in the choice of a dominant and auxiliary motif. Different
answers are also apparent in symmetry and proportion sec-
tion. The amount of agreement did not satisfy the investi-

gator, so revisions were made.
Revisions for Test

The revisions made for test 11 were as follows:
1. There was a change in the order of sections to:
A. Description and General Instructions
B. Textiles to be classified
C. Classification outline
D. Examples
E. Definitions and diagrams
F. Evaluation
2. General instructions were rewritten and introduc-
tory information was divided into sections:
I. Introduction
II. Type of Classification System
III. Organization
IV. Procedure

3. Definitions were clarified and new drawings were
added. All terms in the outline were included in the defini-
tions and diagrams section.

4. Internal consistency was checked so that all number
and letter headings in the definitions section corresponded
with those on the classification outline.

5. Symmetry was omitted due to its complexity.

6. "Brief Outline" was omitted.

7. Two examples were included instead of one. The

examples were chosen to relate more closely to the textiles

the participants were asked to classify.

106

8. The classification outline was revised by checking
numbering and lettering. Sections were combined as follows:
density withline and area, balance with direction, and
scale with proportion. Order of these sections was also
changed, so that characteristics that were related were
grouped together.

9. The proportion section of the classification out-
line was revised by rewriting and regrouping ratios.

10. Instructions were added to the left hand side of
each classification outline page. The specific directions
for each section were listed there. The instructions also
included the page numbers for the necessary definitions.

In H-3 page numbers to find exact classification categories
for a particular form of repeat or nonrepeat were listed
first. "Stop you have completed the classification" was
written after appropriate sections.

11. The evaluation pages were revised by writing out
the criteria. This would eliminate reference to the instruc-
tions.

After these revisions were made, the test was returned
to two pretest participants for their comments. Additional
revisions were made as follows:

1. Instructions were further clarified.

2. The order of sections was changed back to its

first form:

A. Introduction
B. Definitions and Diagrams
C. Textiles to be Classified

107
D. Examples
E. Classification Outline
F. Evaluation

3. Answer sheets with large category headings listed
were provided instead of blank paper. This would ease
tabulation and help the tester follow the classification
outline. White answer sheets were for textile #1 and gold
answer sheets were for textile #2.

4. Colored title pages were used to designate sections
of the test packet. A table of contents was added.

General Instructions (White)
Definitions and Diagrams (Blue)
Textiles to be Classified (Green)
Examples (Pink)

Classification Outline (Gold)
Evaluation (Yellow)

5. A check was made that all classification outline
terms were in the definitions section.

6. It was suggested that in the final draft, instruc-
tions have category number or letter and name both listed in
explanation instead of just one or the other. For example,
"(B) Full piece" rather than just (B) or just Full piece.

Pages 108 to 124 show the revised test classification

outline. The same textiles were used for classification by

the second panel.
Test Panel Results pp Revised Classification System

The revised classification outline and information
Packet was given to 11 members of Human Environment and
Design 800D, graduate seminar on World Dress. Before dis-

tribution of the test, the study was explained and the group

108

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118

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122

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mN:NN owmm so muoHuHaHHom

125
and investigator reviewed the first example. Again par-
ticipant's own class work interfered with the completion
of the test and seven of the eleven packets were returned
after the 18 day deadline. The instructions limited the
participant's time to four hours.

The comments on the evaluation sheet were not as help-
ful for revising the classification outline as those on the
pretest evaluation. No suggestions were given, but the
system was criticized for too much information, unclear
definitions. poor organization, and too much paper to
shuffle,or mechanics. One person did not understand the
answer sheet. Two people questioned the value or purpose
of the study. One person worked through the mechanics of
the test with no errors.

The results on the amount of time for each textile on

A pages and B pages were as follows:

Textiles A
Textile l Textile 2
A. No answer A. No answer
B. 40 minutes B. 35 minutes
C. 100 minutes C. O
D. 40 minutes D. 15 minutes
E. 75 minutes E. 30 minutes
Textiles B
Textile 1 Textile 2
A. 90 minutes A. 60 minutes
B. 60 minutes B. 60 minutes

The answers resulting from the evaluation of the 12

criteria are as follows:

126

1. The system should be easy to use.

A Textiles B Textiles
Yes 1 Yes ' 1
No 4 No 1

2. Terminology should be simple and clearly defined-

A Textiles B Textiles
Yes 1 Yes 1
Sometimes 3 No 1

No answer 1

3. The placement of a textile into a characteristic

Class is to be objective.

A Textiles B Textiles
Yes 4 Yes 1
Sometimes 1 No 1

4. Attributes subdivisions are to be mutually
exclusive.
A Textiles B Textiles

Yes 3 Not understand question 2
Sometimes 1

No answer 1
5. There is to be internal consistency; that is,

E3imilar textiles will result in similar classifications.

A Textiles B Textiles
Yes 3 Yes 2
Not sure 1

No answer 1
6. Only repetition necessary for clarity should be
iheluded at a different level of hierarchy.
A Textiles B Textiles

Yes 4 Yes 1
No answer 1 Not understand question 1.

127

7. The system is to be descriptive, not interpretative.

A Textiles B Textiles
Yes 3 Yes 1
No 2 Its both 1

8. Attributes show no generic relation to the previ-
cnnss attributes. No attributes are weighted in importance.
A Textiles B Textiles

Yes 5 Not understand 2
9. The classification system is to be comprehensive

Eirld.open to expansion.

A Textiles B Textiles
Yes 4 Yes 2
Not sure 1

10. The details are to be numerous enough to isolate
wraixiations, but limited so that groups can be formed for
c omparison.

A Textiles B Textiles

Yes 3 Yes 2
Not understand 2

11. Classes are to be relevant to the proposed problem,

VVTIiJDh is the aesthetic analysis of textiles.

A Textiles B Textiles
Yes 3 Yes 1
No 1 Not understand 1

No answer 1
12. The classification system is to be applicable
‘tC3 Inore than one study.
A Textiles B Textiles
Yes 3 Yes 2

No answer 1
Not understand 1

128a

Did you experience great difficulty?

A Textiles B Textiles
Yes 3 Yes 2
No 2

Do you think you received an accurate picture in your

nnijnd of the textile from the system?

A Textiles B Textiles
Yes 2 Some 2
No 3

Was this a learning experience for you?

A Textiles B Textiles
Yes 3 Some 1
No 2 Yes 1

Tabulations for textiles on page A are shown here.

UDeextiles on B were classified by only two of the seven.

Isaickets returned. In most cases their answers did not agree

19c>inting to lack of internal consistency and misinterpreta-

1:j_on of the definitions.
Textile A (Figure 11, top)
}{j_erarchy I

I; Textile form
B. Full piece (5;
1. Repeat (3
b. Border and field (3)
2. Nonrepeat (2)
b. Border and field (2)
(1) Variable (3) ,
(2) Nonvariable (2)

11. Content
A; Dominant motif
3. Geometric (5)
a. Geometric style (5)
B; Auxiliary motif
7. Vegetable form (5)
b. Stylized (4)
c. Naturalistic (l)

128b

g;_ Space -
Enclosing space (5)

l.
5. Space has motif filler (1)

111. Line Character and Use
C. Fine(17
D. Heavy (4
2. Outline (2)
3. Space filler (3)

IV. Balance and Direction
A. Vertical (l)
B. Horizontal (l)
D. Equal-emphasis (2)
E. Nondirection (l)
1. Formal (5)
a. Longitudinal axis (1)
b. Transverse axis (1)
c. Rotational (2)
(1) One axis (2)
(2) two axes (3)

IF

Density and Value
A. Motif dominant (2;
B. Equal-emphasis (1
C. Ground dominant (2)
1. Value - dark dominant (2)
2. Value - middle dominant (2)
3. Value - light dominant (1)
sp, Black
315 Area (1)
(3) Area and line (3)
pp White
(1) Area (4)

VI. Scale and Proportion
A. Small (1)
B. Medium (2)
C. Large (1)

Hierarchy II

 

 

Dominant motif #1 Auxiliary motif #1
11. Content II. Content
A. Geometric style (4) B. Stylized (3)
2. Solid (4) C. Naturalistic (1)
c. Geometric (4) 1. Open (1)

2. Solid (3)
g. Vegetable (4)

129

 

 

 

 

 

 

 

III. Form III. Form
A. Simple (4) A. Simple (4)
4. Radial (4) 2. Reflection (4)
c. 4 axes (3) a. Longitudinal (2)
(1) Finite (4) b. Transverse (2)
(e) Nonvariable (4) (1) Finite (4)
(d) Undeter-
mined(l)
(e) Nonvari-
able (3)
IV. Position and Direction IV. Position and Direction
A. Vertical (1) A. Vertical (2)
D. Equal emphasis (2) E. Nondirectional (2)
E. Nondirectional (1) 2. Isolated motif (4)
a. Isolated motif (4)
V; Scale and Proportion 1; Scale and Proportion
B. Medium (37* B. Medium (3)
C. Large (1) C. Large (1)

Hi e rarchy III

1. Structure
A. Repeat (3)
2. Border and repeating field (3)
g; Field
(1) Rectangular (l)
(c) Brick (1)
b. Border
(1) Repeating (l)
(2) Nonrepeating (1)
(a) No base line or structural plan (1)
(b) Base line (1)
(i) One element (1)
(ii) Multiple elements (1)
(a170utline
i. Continuous (1)
(b) Center space
B. Nonrepeat (1)
2. Border and nonrepeating field (1)
a. Border

(II—RE eating (1)

(a no base line or structural plan (1)

Textile A (Figure 11, bottom)
Hier‘archy I

I; Textile form

130

B. Full piece (4)
1. Repeat (4)
a. Band or border (1)
c. All-over pattern (3)
(1) Variable (4)
(a) Line (2)
(b) Motif (l)
(c) Size (1)

 

 

 

 

 

 

 

II; Content
A; Dominant motif
2. Linear (47
a. Geometric style (3)
b. Stylized (1)
E; Auxiliary motif
2. Linear (l)
4. Nonobjective (1)
a. Geometric (1)
9; Space
3. Space reduced to a line (1)
4. Positive and negative space equal (3)
a. Motif and ground are distinguish-
able (3)
III. Line Character and Use
D. Heavy (4)
1. Dominant design (4)
IV. Balance and Direction
A. Vertical (l)
C. Diagonal (3)
1. Formal (2)
a. Longitudinal axis (1)
2. Informal (2)
(1) One axis (1)
(5) More than 4 axes (l)
1; Density and Value '
A. Motif dominant (1)
B. Equal emphasis (3)
1. Value — dark dominant (2)
2. Value - middle dominant (2)
(a) Black
(2) Line (2)
(3) Area and line (1)
D White
L_l (1) Area (2)
(3) Area and line (1)
VI. Scale and Proportion

 

 

B. Medium (17
G. Large (1) (one said in between)

131
Hi e rarchy II

Dominant motif #1 No auxiliary motif
consistency
II. Content
A. Geometrical style (2)
2. Solid (2)

b. Linear (l)
c. Geometric (l)
d. Nonobjective (1)

III. Form
A. Simple (3)
l. Asymmetrical (3)
(2) Infinite (3)
(d) Undetermined (l)
(e) Nonvariable (2)

IV. Position and Direction
B. Horizontal (l)
C. Diagonal (1)
1. Continuous motif (2)

I?

Scale and Proportion
A. Small (1)
B. Medium (2)

Hie rarchy III

I; Structure
A. Repeat (3)
1. Band or border (1)
0. Structural plan (1)
(1) One element (1)
3. All-over pattern (2)
b. Diamond, triangular, rhombus (1)
(a) Alternating (l)

 

These results show that there is greater consistency
Eunclrlg answers in Hierarchy 1, than in II or 111, but much
(”f 1:he discrepancy is due to misunderstanding the mechanics.
TheITe was more agreement on the first textile than on the
Se<3<>rmL Textile two caused difficulty because there is no
auxiliary motif. Classifiers did not realize that if the

CEL13€egory does not apply it can be omitted, rather than

132

gues Sing at answers .

Key po Test Textiles

Textile (Figure 11, top)
Hierarchy I

I. Textile form
B. Full piece
1. Repeat
b. Border and field
(1) Variable
(b) Motif
(d) Direction

II. Content
A. Dominant motif
3. Geometric

a. Geometric style
B. Auxiliary motif ‘
7. Vegetable form

b. Stylized
C. Space

1. Enclosing space

III. Line Character and Use
D. Heavy
3. Space filler

IV. Balance and Direction
A. Vertical
1. Formal
a. Longitudinal axis
(1) One axis

V. Density and Value
C. Ground dominant
3. Value - light dominant

a. Black
- (3) Line and area
0. White
(1) Area
VI. Scale and Proportion
B. Medium
1. 1:1 d
2. 4:1 g
3. 2:1 e

133
Hierarchy II

I. Designation of motif I. Designation of motif
A. Dominant motif B. Auxiliary motif
1. Number 1 1. Number 1
11. Content II. Content
A. Geometric style B. Stylized
2. Solid, silhouette _ 2. Solid, silhouette
c. Geometric g. Vegetable form
Solid Side view
Star Vine
Imaginary
Single
III. Form 111. Form
B. Complex A. Simple
4. Radial 2. Reflection
c. 4 axes b. Transverse axis
(1) Finite (1) Finite
(a) Nonvariable (b) Elabora-
tion
IV. Position and IV. Position and
Direction Direction
D. Equal emphasis B. Horizontal
2. Isolated motif 1. Continuous motif
0. All-over pattern b. Band
3 7 2,4,6,8,10
b a
e d
h a
J
V. Scale and Proportion V. Scale and Proportion
B. Medium B. Medium
1. 1:1 d 1. 1:1 d
2. 1:1 d 2. 3:1 g
3. 1:1 d 3. 1:1 d

Hierarchy III

I. Structure

A. Repeat
2. Border and Repeating Field
a. Field
(1) Rectangular
(b) Drop
b. Border

(l) Repeating
(b) Base line
(ii) Multiple elements

134

(a) Outline
(1) Continuous
(b) Center space
(I) One-dimensional
(A) Continuous

Textile (Figure 11, bottom)
Hierarchy I

I. Textile Form
B. Full piece
1. Repeat
a. Band or border
(1) Variable
(c) Size

II. Content
A. Dominant motif
2. Linear
a. Geometric style
B. Auxiliary motif
2. Linear
a. Geometric style
C. Space
4. Positive and negative space are equal
b. Not distinguishable

III. Line Character and Use
D. Heavy
1. Dominant design

IV. Balance and Direction
D. Equal emphasis
2. Informal
(4) 4 axes

V. Density and Value
D. "Reversal Effect"
2. Value - middle dominant

a. Black
(3) Area and line
c. White

(3) Area and line

VI. Scale and Proportion

C. Large
1. 1:1 d
2. 7:4 e

3. 1:1 d

135
Hierarchy II

I. Designation of motif - I.
A. Dominant motif (fi’fi’
1. Number 1
11. Content 11.
A. Geometric style
2. Solid, silhouette
b. Linear
Broken
Straight
Heavy
III. Form III.
A. Simple
l. Asymmetrical
(2) Infinite
(e) Nonvariable
IV. Position and Direction IV.
A. Vertical
1. Continuous motif
b. Band
1-10
V. Scale and Proportion V.
A. Small
1. 10:1 1
2. 4:1 h
3. 14:1 1

Hierarchy III

1. Structure
A. Repeat
1. Band or border
0. Structural plan

Designation of motif
B. Auxiliary motif {fl
1. Number 1

Content
A. Geometric style
2. Solid, silhouette
b. Linear
Broken
Straight
Heavy

Form
A. Simple
l. Asymmetrical
(2) Infinite
(e) Nonvariable

Position and Direction
A. Vertical
1. Continuous motif
b. Band
l-lO

Scale and Proportion
C. Large
1.
2.

3.

Esz-
sudsd
QCTQ-

(2) Multiple elements
(b) Center space
(ii) Two-dimensional
(a) Continuous

Textile

I.

II.

III.

IV.

VI.

136

(Figure 10, top)

Textile Form
B. Full piece
1. Repeat
d. Su erimposed design
(1 Variable
(b) Motif

Content
A. Dominant motif
7. Vegetable form
b. Stylized
B. Auxiliary motif
3. Geometric
a. Geometric style
C. Space
1. Enclosing space

Line Character and Use
C. Fine, delicate
1. Dominant design
2. Outline

Balance and Direction
D. Equal emphasis
2. Informal
(2) 2 axes

Density and Value
C. Ground dominant
3. Value - light dominant

a. Black
(2) Line
0. White
(1) Area
Scale and Proportion
B. Medium
1. 1:1 d
2. 2:1 e
3. 1:1 d

137
Hierarchy II

I. Designation of motif I. Designation of motif
A. Dominant motif B. Auxiliary motif
1. Number 1 1. Number 1 ...
II. Content
II. Content .
B. Stylized A. Geometric style

1. Outline, open

1. Outline. open c. Geometric

g. Vegetable form

Open

To -

Flgwer Circle

Imaginary

Group

III. Form III. Form
B. Complex A. Simple
l. Asymmetrical 4. Radial
(2) Infinite d. Infinite no. of

(b) Elaboration axes

(2) Infinite
(b) Elabora-

tion
IV. Position and Direction IV. Position and Direction
C. Diagonal D. Equal emphasis
2. Isolated motif 1. Continuous motif
c. All-over c. All-over
l 8 8
b b c
d d g
f f
h h
V. Scale and Proportion V. Scale and Proportion
A. Small C. Large
1. 2:1 e 1. 1:1 d
2. 2:1 e 2. 1:1 d
3. 1:1 d 3. 1:1 d

Hierarchy III

I. Structure
A. Repeat
4. Superimposed design
a. Ground
(1) Re eating
(b Two—dimensional
(ii) Circular

138

b. Surface
(2) Two-dimensional
(b) Diamond
(a) Alternating

Textile (Figure 10, bottom)
Hierarchy I

I. Textile Form
B. Full piece
1. Repeat
a. Band or border
(2) Nonvariable

II. Content
A. Dominant motif
2. Linear
a. Geometrical style
B. Auxiliary motif
4. Nonobjective
a. Geometrical style
C. Space
2. Organized space

2111. Line Character and Use
D. Heavy
1. Dominant design

IV. Balance and Direction
A. Vertical
1. Formal
b. Transverse axis
(2) Two axes

V. Density and Value
A. Motif dominant
B. Value - middle dominant

a. Black
(1) Area
b. Gray
(1) Area
c. White
(1) Area
VI. Scale and Proportion
C. Large
1. 1:1 d
2. 2:1 e
3. 1:1 d

139

Hie rarchy II

I. Designation of motif I. Designation of motif
A. Dominant motif B. Auxiliary motif
1. Number 1 1. Number 1
211. Content II. Content
A. Geometrical style A. Geometrical style
2. Solid 2. Solid
b. Linear 4. Nonobjective solid
Continuous
Curved
Heavy
1111. Form II. Form
A. Simple A. Simple
2. Reflection 2. Reflection
b. Transverse axis b. Transverse axes
(2) Infinite ‘ (2) Infinite
(e) Nonvariable (e) Non-
variable

IV. Position and Direction IV. Position and Direction

A. Vertical A. Vertical
1. Continuous 1. Continuous
b. Band b. Band
l-lO 1-10
V. Scale and Proportion V. Scale and Proportion
C. Large C. Large
1. 3:2 e 1. 2:1 e
2. 1:1 d 2. 1:1 d
3. 1:1 d 3. 2:1 e

Hi e :rarchy III

1. Structure
A. Repeat
1. Band or border
b. Base line
(1) One element
(a) Continuous

140

Further Revisions after Revised Test

Revisions were made in the classification outline,
definitions, and examples. An entirely new format was
adopted, so that the amount of information presented at one
time would be reduced. Under each Roman numeral (1) Textile
Form are listed: (1) Special Instructions, (2) Definitions
and Diagrams, (3) Example, and (4) Classification outline
pertaining only to that Roman numeral. General instructions
for the entire system precede the new format.

In Hierarchy I, some terms were revised. Balance in
(IV) Balance and Direction was changed to Symmetry. In
(V) Density and Value, (1) "Motif covers more area" replaced
"motif dominant". "Equal emphasis" was replaced by (2) "Mo-
tif and ground cover equal areas" and“Ground dominant" was
replaced by (3) "Ground covers more area". The word domin-
ant was giving the wrong impression to classifiers.

Some definitions were further clarified and several
changes were made on the outline. Color was added as a
choice for (i) variable in (I) Textile form. On the
(II) Content outline, space filler was changed to a sub-
category for all the forms of space, (1) enclosing space,
(2) organized space, (3) space reduced to a line, and
(4) positive and negative space are equal. In (III) Line
Character and Use, medium was added as a choice of line
character and in (IV) Summetry and Direction, nondirectional
‘was omitted. Longitudinal axis and transverse axis were

added as subcategories to asymmmetrical. In (VI) Scale and

141
Proportion, ratios were converted to fractions and
boundaries were set using signs for greater than (<) and
greater than or equal to (S)-

In Hierarchy II, the designation of the motif was
changed from a choice of dominant or auxiliary to numbering
motifs starting in the upper left hand corner. Frequency of
motif appearance was added and dominance and auxiliary were
changed to subcategories. Under (11) Content, style was
moved to (I) Designation of the motif. Descriptions of the
style (1) outline, (2) solid, and (3) internal detail were
moved to subcategories under the content headings. Elimina-
tion of style from (II) Content allowed for all the specific
information under each content heading (a. calligraphy) to
be classified using numbers and letters, rather than just
being noted. In (III) Form, (i) infinite and (ii) finite
were omitted and replaced by (i) continuous and (ii) iso-
lated motif. In (IV) Direction and Position, nondirectional
was omitted, and type of repeat does not have to be speci—
fied in order to place it on the position grid. The band
grid was eliminated since all textiles can be placed on
the 10 x 10 grid.

In Hierarchy III, new diagrams were added as well as
seven examples. Each type of repeat or nonrepeat is‘now
on a separate page in the classification outline. Linear
was added as a type of two-dimensional structure.

The classification system was pretested by graduate

students and faculty, revised and tested by a graduate

142
seminar in the Department of Human Environment and Design
at Michigan State University.

The revisions included rearrangement of the test,
redefining of terms, grouping of categories and elimination
of some subcategories,and additional instructions for
clarity. Internal consistency on the outline and in
definitions was also improved. Another example and more
specific answer sheets were given.

Statements of evaluation on the pretest were more
beneficial to its revision than the revised test partici-
pants. Further revisions for clarity and ease of use were
necessary. This resulted in an entirely new format. The
new format subdivides the continuous outline previously
used into separate pages and instructions for each Roman
numeral heading. Each section contains its own instruc-
tions, definitions, examples, and classification outline.
Some terminology was changed for clarity with more examples

or diagrams added. The final form is shown in Chapter V.

143

CHAPTER V

CLASSIFICATION SYSTEM

Classification Outline — Table of Contents

Hierarchy

I.
II.
III.
IV.
V.
VI.

Hierarchy

I.
II.
III.
IV.
V.

Hierarchy

I.

I: General Character of the Textile

Design

Textile Form

Content

Line Character and Use
Symmetry and Direction
Density and Value
Scale and Proportion

II: Specific Character of the Motif

Designation of the Motif
Content

Form

Direction and Position
Scale and Proportion

III: Specific Character of Arrangement

Structure
A. Repeat
1. Band or border
2. Border and field
3. All—over pattern
Q. Superimposed design
B. Nonrepeat
2. Border and field
a. Superimposed design
5. Free ornament

145

145
148
151
155

159
162

165

165
166
169
176
178

182

144

Classification Outline

General Instructions

 

Orientation: Selvages are placed vertically when
viewing the textile design. If a definite "top"
can be established in the pattern, it is placed
upward only if the selvages remain vertical.

Outline Arrangement: If a subcategory is placed next
to the major category in the outline, then the
choices in the subcategory fit in any major cate—
gory. In the example, (1) Repeat and (2) Non-
repeat can be placed in either (A) Fragment and
(B) Full piece.

I. Textile Form
A. Fragment 1. Repeat
B. Full piece a. Band or border
b. Border and field
0. All-over pattern
d. Superimposed design
2. Nonrepeat
b. Border and field
d. Superimposed design
e. Free ornament
If a subcategory is placed under the major cate-
gory, then those features are the only choices
applicable to the major category. In the example,
(a) Band or border, (b) Border and field, (0) All-
over pattern, and (d) Superimposed design are
applicable to (1) Repeat. Features (b) Border
and field, (d) Superimposed design, and (e) Free

ornament are applicable to (2) Nonrepeat.

Notation: Notation should take the following outline

145
form:
I. Textile Form
A. Full piece
1. Repeat
(a) Band or border
(1) Variable
(b) Motif
This notation indicates that the textile design'
is a full piece, thatit is a repeating band or
border. The design is not a strict repeat, but
varies in motif.

It is only necessary to list applicable charac-

teristics.

Hierarchy I (fill): General Characteristics of the Textile
Design
I. Textile Form
** Special Instructions **

Determine if the textile is a (A) Fragment or (B) Full
Piece. Determine if the design is a (1) Repeat or (2) Non—
repeat. If the textile is a (1) Repeat, choose from (a) Band
or border, (b) Border and field, (c) All—over pattern, or
(d) Superimposed design. If the textile is a (2) Non-repeat,
choose from (b) Border and field, (d) Superimposed design,
or (e) Free ornament.

A nonrepeating textile can vary due to changes in line
character, subject of motif, size of motif, or direction of
motif. A repeating design can appear as a general repeat and
still have variation in line, motif, size and direction. If

there is no change at all (polka dots) select nonvariable.

146

Remember this is a general character of the design, an

overall impression.

** Definitions and Diagrams **
Textile Form

Fragment - A portion of a textile, resulting in only
part of the design or repeat being observable.

Full piece - A textile in which structure and design
are complete.

Note: Repeats can be considered infinite, in which
case a full piece would be impossible to ob-
tain, therefore, for practical purposes, a
full piece is a complete design structure.

 

Repeat - Ordered recurrence of a motif or motifs without

variation or with change in orientation and shift
in position.

Nonrepeat - Any design in which ordered recurrence of a
motif is not observable.

 

Band or border - One or a multiple of motifs moving in
.one direction along the fabric (example below).

Border and field - A central area with a repeating or
nonrepeating motif, enclosed by a border. If
the central area is repeating, classify design
as (1) Repeat. If the central area is non-
repeating, classify the design as (2) Nonrepeat
(example below).

All-over pattern — One or a multiple of motifs moving
in two directions over the fabric (example below).

Superimposed design - The placement of one distinct
repeating or nonrepeating unit over another re-
peating or nonrepeating unit. Classify using the
top design (example below).

Free ornament — A distinct nonrepeating unit, which
fills the design space (example below).

147

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Variations

 

(1) Variable - Some variation in design due to change of
direction, motif subject, line character, or
size (example above).

(2) Nonvariable - A very strict repeat, no change within the
design (example above).

, ** Example **
9%.. < I. Textile Form

B. Full piece

1. Repeat
<::) c. All-over pattern
> (1) Variable
‘ j (b) Motif

 

 

 

 

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smflmmm maapxme

Ame

AHV

6:9 mo nmpompmco Hmnmcoo

psmsmsno mmpm .m
cmflmmo Ummomsflummsm .u
camflw can pmomom .n
PommmHCOZ

cmflmmn Ummomeflhmmsm .o
anmppmm pm>ouaa< .o
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pammmm

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II.

149
Content
** Special Instructions **

Choose a dominant motif based on size and frequency.

Dominant figures are usually familiar elements, regularly

spaced, and symmetric. Repeat this section analyzing the

auxiliary motif. Auxiliary motifs are adapted to the re-

maining spaces. These choices are arbitrary, but each
classifier's individual decisions should be consistent

through the outline and throughout the entire textile

collection.

II.

:———..—¢‘T‘

Classify form of the space and space filler.

** Definitions and Diagrams **
Content
Dominant motif — The most important or most obvious
design unit based on size, frequency, position,
and symmetry.

Auxiliary motif - A design unit of secondary importance.

 

Calligraphy - Any recognizable ancient or modern alpha-
bet.

Linear - A design formed by the element line, for
example, stripe.

Geometrical - Shapes with mechanical contours, subject
to the rules of mathematics.

Nonobjective — A nongeometrical shape with no implica-
tion of a natural form.

Animal form - Any real or imaginary representation of
an animal (nonhuman) or animal part.

Human form - Any representation of a human being or part
of a human, such as the eye, hand or foot.

Vegetable form - Any real or imaginary plant form.

10.
11.

150

Artificial form - Any man-made structure or artifact
(buildings).

Natural, nonliving - Rocks, minerals, fire, sun, moon,
stars.

Pictorial - An iconographic or story telling scene.

Scenic - A landscape, seascape, or cityscape that is
not telling a story.

 

Geometric style - An artistic style in which all forms
are reduced to geometric shapes.

Stylized - Simplification of form and details of
naturalistic things.

Naturalistic - Direct imitation of natural shapes,

close to photographic, but limited by media and
technique.

 

Space - The area surrounding design motifs

 

Enclosing space - Space entirely surrounding the motif

loco...

 

 

 

Organized spaces - Motif is larger than the space so
that space cannot surround the motif, resulting
in the Space being reduced to small areas.

mmm

 

Space reduced to a line - Space would have to be obvi-
ous somewhere else on the design to show that the
motif has enclosed the space until the space is
just a line.

 

Positive and negative space are equal - Motif and back-
ground space cover equal amounts of area using

similar shapes. .

a. Distinguishable b. Not distinguishable

     

 

r—'

 

151

 

(1) Space filler - Space surrounding a larger motif is
interrupted by smaller motifs

 

 

** Example **

 

II. Content
6) $ (. A. Dominant motif
3. Geometric
a. Geometric style
B. Auxiliary motif
7. Vegetable form
b. Stylized
C. Space
1. Enclosing Space
6) % (G (1) Space filler
1 (b) Linear

III. Line Character and Use

 

 

 

** Special Instructions **
Determine the character of the line used and then

determine how line is used.

** Definitions and Diagrams **

W

B. TeXtured f /\

C. Fine, delicate

A. Shaded

 

152

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Enom Hmefls< Amv pom mum 6:50pm can mflpoz .n
m>fipomwnosoz AUV manmsmflsmsflpmfiv ohm ccsonm Una wwpoz .m
oanpmSOmo on Hmzvo oowmm m>apd®m§ can m>flpamom .:
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oasmom .HH

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msfl>flasoc .HmnSpwz .

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m>Hpoompocoz

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emnaaspm .n humane
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HNMd-UNOBGOQ

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camp Mflpos psmcfiSoQ .<
pcopcOo .HH

smflmmm maflpxme one mo pmpomsmso Hmnmcmu "H Agonmm6Hm

153

 

Medium weight

Heavy —

 

 

Paired

Line not used - A design in which only solid spaces
are present.

 

Dominant design - A design in which line is the dominant
motif and center of interest.

vavvvvvvvv\
WAMX'flXXO/(O ‘

I

Space filler

@ V

    

Outline

 

 

 

 

 

 

 

 

 

 

** Example**

III. Line Character and Use

D. Medium weight
1. Outline
(::) {gig} 2. Space filler

 

 

154

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.HHH

155
IV. Symmetry and Direction
** Special Instructions **

It is important that this is general character of the
entire textile and not any one motif that is being de—
scribed. First, determine the direction. Next determine
type of symmetry. The categories have subcategories for
the number of axes, since more than one can cross a design.

There are two types of axes, longitudinal and transverse.

** Definitions and Diagrams **

IV. Symmetry and Direction

 

 

 

 

 

 

 

/ i- '
I

 

 

 

7

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

/

A. Vertical B. Horizontal C. Diagonal D. Equal
emphasis

 

 

 

 

 

l. Symmetrical — A structure in which one side of axis is
a mirror image of the other side or in the case
of rotation, one side of the axis (axes) is
rotated about the central point.

2. Asymmetrical - The dominant character of the motif is
not symmetrical. The motif is balanced on an
axis, but it does not have reflection or rota-
tional properties.

 

a. Longitudinal axis - An axis parallel to the direction
(Lengthwise axis) of length in a band motif, or hori-
zontal in an all-over pattern.

b. Transverse axis - An axis perpendicular to the direction

of length in a band motif, or vertical in an all-
over pattern.

156

c. Rotational - A repetition of a motif about a point.

Longitudinal Axes (Symmetrical)

 

 

 

 

 

 

 

 

 

 

One axis Two axes Four axes

Transverse Axes (Symmetrical)

o M

One axis Two axes Four axes

 

 

 

 

 

 

 

 

 

 

 

Rotational (Symmetrical)

 

 

One axis Four axes

157
Longitudinal Axes (Asymmetrical)

 

 

 

 

 

 

 

\J

 

(QL/"‘\ *"""Q::E:}

 

 

 

 

 

 

 

. \J @

 

 

 

 

One axis Two axes Four axes

Transverse Axes (Asymmetrical)

 

 

 

 

 

 

 

 

“ V W

 

 

 

 

One axis Two axes Four axes

 

3. Radial - A combination of reflection and rotation. in
that there is more than one axis of reflection.

A x o
\/

Two axes Four axes Infinite number
of axes

 

 

** Example**
:.’ IV. Symmetry and Direction
D. Equal emphasis

l. Symmetrical

c. Rotational
® % (2) Two axes

 

 

 

 

 

158

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Hapcomflpom .m

.H HMOflppm> .<
soapomnfla was znpmsszm

HmnmCmo ”H agonmswam

.>H

159
V. Density and Value
** Special Instructions **

Density refers to the amount of motif in relation to
the amount of space. If the motif covers more area, then
motif is dominant and category (A) is appropriate. If
motif and background cover equal area, choose (B). If the
background covers more area, choose (C). "Reversal effect"
is an optical illusion, resulting in indecision as to which
is ground and which is motif.

Determine the predominant value, dark, middle, or light.

To determine the use of the values, begin with (a) Black
and list whether it is linear, covers area (space or motif),
or is both. Repeat again using (b) Gray and repeat using

(c) White.

** Definitions and Diagrams **
V. Density and Value

A. Motif covers more area - The area covered by the motif
is greater than the area covered by background
space (example below).

B. Motif and ground cover equal area - The area covered by
the motif is equal to the amount of area covered
by the background space (example below).

C. Ground covers more area - The area covered by the motif
is less than the area covered by the background
space (example below).

D. "Reversal effect" - Motif and background space cover
equal area using the same shape and cannot be
distinguished (example below).

160

 

 

“O...

A. Motif covers more area B. Equal area

0.0...
0.0...
"’ ‘. " A‘. “. " I... A‘ll In;

B. Ground covers more area D. "Reversal effect"

1. Value - dark dominant -

---{"l ‘ I U
-" .. _. ' ' . - :33:
' ' II I
.-’_. 3, 3:, . 2,: -
' I I-lllf' I O
I
I.'l I
C: I... .-

2'
3

     

 

 

 

 

 

 

 

 

 

 

2. Value - middle dominant ;

253-55».- Ii? :54 .

-:‘
{'5
x

 

 

3. Value - light dominant l J

 

 

a, b, c, - Black, gray and white refer to actual values used
in the textile design. In the following diagram

Black is used as:

(1) Area (2) Line (3) Line and area

   

** Example **

 

V. Density and Value
C. Ground covers more area
3. Value - light

%
some

a. Black
<::) (3) Line & area
0. White
« (1) Area

 

 

@996
as:

 

161

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VI.

162
Scale and Proportion
** Special Instructions **

Determine scale as small, medium, or large. Using

measured dimensions, classify proportion for each rela-

tionship, l, 2, and 3.
** Definitions and Diagrams **
VI. Scale and Proportion
A. Small — The motif is small in relation to the size of
the textile, the repeat, or the background space.
B. Medium - The motif is average in relation to the size of
the textile, the repeat, or the background space.
G. Large - The motif is large in relation to the size of

the textile,

the repeat, or the background space.

 

no...

 

q

 

 

 

 

 

Medium

 

Length of repeat to width of repeat - Measured relation-
ship of the length of the repeat to the width.
The first number represents the length of the
repeat, the second number represents the width:
thus 2:l means that the textile is twice as long
as it is wide.

Length of the repeat to length of textile - Measured
relationship of the length of the repeat to the
length of the textile. The first number represents
the textile: thus 2:l means that there are two
repeats to one length of fabric.

Width of repeat to width of textile - Measured relation-

ship of the width of the repeat to the width of

the textile. The first number represents the re-
peat, the second number represents the textile;
thus 2:l means that there are two repeats on one
width of fabric.

163

 

a. - j. Infinity toA 4 means that the ratio falls between
the boundaries of infinity and; 4. The boundaries
are stated for all ratio classifications a through
j. Ratios, such as 5:4 or 2:3 fit within boun-
daries. For example, :4 fits in classification
category e. (5/4 or 14). because it (6.) is
greater than or equal to 1, but less than 2.

2:3 (2/3) fits in classification category 0,
because 2/3 is greater than or equal to %, but
less than 3/4. Any ratio greater than 20:1 falls
into category j, for example 50:1 or 100:1.

I
o

E

 

** Example **

VI. Scale and Proportion
B. Medium
1. e. (131)
2. e. (3:2)
3. e. (3:2)

@@
s
@@

Q
@

 

 

164

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.H>

165
Hierarchy I; (H-2): Specific Character of Motif

I. Designation of the Motif
** Special Instructions **

This hierarchy should be repeated for each different
motif in the textile design. Number each motif beginning
in the upper left hand corner of the design and moving
across the fabric.

1 2 3 4 5
6 7 8 9 10
If the motif is repeated, use the same number each time it
appears. Assume "A" is one motif and "B" is another in the
following example.
A B A 1 2 1
B A B Number as q 2 l 2

 

\

A B A 1 2 1

After giving each motif its number, record the number
of times (frequency) it appears on the textile sample.
Designate each motif as dominant or auxiliary, using the
same criteria as in Hierarchy I.

Determine the style of the motif, which may differ
from the style of the general textile in Hierarchy I.

In the case of a pictorial design, consider each

setting or scene as one motif.

** Definitions and Diagrams **

I. Designation of the motif - motif number

 

166

1. - 10. Frequency - number of times the motif appears
on the textile.

 

a. Dominant motif - The most important or most obvious de-
sign unit based on size, frequency, position, and
symmetry.

b. Auxiliary motif - A design unit of secondary importance,
a space filler.

 

(l) Geometric style - An artistic style in which all forms
are reduced to geometric style.

(2) Stylized - Simplification of form and details of
naturalistic things.

(3) Naturalistic - Direct imitation of natural shapes,

close to photographic, but limited by media and
technique.

 

** Example **

(::) (::) I. Designation of the Motif
A. Motif number 1

5. (Frequency)

a. Dominant motif
% @ $ (1) Geometric
style
B. Motif number 2
4. (Frequency)

a. Dominant motif
(2) Stylized

II. Content

 

 

 

 

** Special Instructions **
Determine subject matter of the motif. Each heading

has subcategories that specify subject matter and style.

167

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II.

168

** Definitions and Diagrams **
001””: 9TH}

Calligraphy - Any recognizable ancient or modern
alphbet.

a. Print - abcdefghijklmnopgrstuvwxyz

b. Script - W’umnwthfl’ ‘

Linear - A design formed by the element line.

1. Continuous

 

2 . Broken — — _ "'—

3 . Interlacing W

a. Curved /"\\\‘_—’,/

b. Straight

0. Combination _.«”\_,r--—1\_/r——————

(1) - (6) See page 151.

 

 

Geometric - Shapes with mechanical contours, subject
to the rules of mathematics.

1. Open 0
2. Solid .

3. Concentric ©

Nonobjective - A nongeometrical shape with no implica-
tions of a natural form.

 

Animal form - Any real or imaginary representation of
an animal or animal part.

3. Internal detail

a. Total - entire animal is depicted

b. Partial — Only part of the animal is used as
motif, for example, hoof, paw, eye.

Human form - Any representation of a human being or part
of a human, such as eye, mouth, hand, head.

169

C)

Vegetable form — Any real or imaginary plant form.

a. Top view $
b. Side View #3

H. Artificial form - Any man—made structure or artifact.

I. Natural, nonliving - Any natural, but nonliving thing.
Items commonly thought of as nonliving - shell.

J. Pictorial - A story telling scene.
1. Group - Two or more people in a setting.
2. Independent - One person in a setting.
K. Scenic - A landscape, seascape, or cityscape that is

not telling a story.

** Example **

II. Content (Motif no. 1)
C. Geometric

3. Concentric

k. Circle
<::) €§§§3 II. Content (Motif no. 2)
G. Vegetable form

fie}

 

 

1. Outline
a. To view
@ $ © (2 Flower
(a) Real
. (i) Singha

 

III. Form
** Special Instructions **
Determine whether the motif is simple or complex. De-
termine the symmetry. Determine if the motif is continuous
or isolated. Some variation is allowed for each motif.

This variation can be due to trying to fit a motif into a

170

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172

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173
space (A); elaboration (B), which is a change in line,
direction, complexity, color, or size; change due to tech-
nique or craftsmanship (C): or the cause of the variation
may not be obvious, although some variation exists. If the

final case is true, classify it as (D).

** Definitions and Diagrams **

A. Simple - The fundamental unit is easily recognizable or
the motif is made up of one dominant shape.

B. Complex - Several intricate parts make recognition of
the fundamental unit difficult. All the parts are
necessary in the unity of motif--like the letters
in a word, the individual parts are necessary to
the whole.

 

Simple

 

l. Asymmetrical

 

2. Reflection

. a. Longitudinal

 

b. Transverse

.A III" ‘Ilf‘. I!

174

c. Oblique

3. Rotation

a. Bifold ‘ 'fi

b. Trifold

c. Quatrefold Log

(1. Fivefold c f

4. Radial

 

a. Two axes l__.l

 

b. Three axes

c. Four axes

175

d. Infinite number of axes

 

(1)

(2)

Continuous motif - A motif extending either directly
or indirectly in both directions across the field.

3 examples 00W ..
01030103030...

Isolated motif - A definite and separate unit, simple or
complex, around which boundaries can be drawn.

0 " C C
. o
C .'
- . . C C C
' O '
. C C
' o
.00... . . .

 

(a)

(b)

(0)

Space modifications - The design is altered to fit into
a predetermined space.

J

r:
n:

Elaboration - Change in the design due to an increase
or decrease in complexity, size, color, direc-
tion, or line character.

OOQOGO

Technique - A change in design due to ability or media
of the craftsman.

Freehand sketching
of flowers results
in variation

 

 

 

 

 

 

176

(d) Undetermined - Variation in the design is evident, but
the cause or purpose is undetermined.

(e) Nonvariable - There is no variation in the motif from
one to the next.

 

** Example **

III. Form (Motif no. 1)
A. Simple

(::) 4. Radial
d. Infinite
(2) Isolated
(e) Non-
variable
III. Form (Motif no. 2)
A. Simple
4. Radial
c. 4 axes
(2) Isolated

(e) Non-
variable

IV. Direction and Position
** Special Instructions **

Determine the direction of the motif. To determine
the coordinates for position, plot the location of the motif
on the grid of 10 by 10 units. Place the grid over the
design and list the numerals and letters of the square where
the center point of the motif lies. The 10 unit measurement
is not conStant, but varies with the width and length of
the designs. All designs are 10 units wide and 10 units
long. If the textile is longer than it is wide, the grid

will be rectangular in shape.

I'-

177

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mmxm 930m .0
mmxm mouse .2
moss 039 .m
assume .3
naoeo>flm .o
waceonpmso .o

eaomane .n
eaoeam .m
Hmzoapmpom .m

message .0

mmnm>msmue .p
HMQaUSprsoA .m
waves cmpmaomH NV CoapomHMmm .N
wflpos msoscapsoo MHV Hmownpmsshm< .H

waves mo empownmno oflMfloomm .HH hsonmnmam

Noamsoo
magsam

.m
.<
snom

.HHH

*‘I'

178

Definitions and Diagrams **

V. Direction and Position

A. Vertical

 

 

W
(“L/fi/flaf
a’Iz’I/fl¢’ (S <:; (gaiE;
I’L/flb/LI’
B. Horizontal C. Diagonal D. Equal

emphasis

1. - 10. Vertical coordinates (y) on the position grid.

a. - j. Horizontal coordinates (x) on the position grid.

Q
%
Q

%
o
gag

5‘.

 

,0,

7‘.D
1‘ -'r
I}.

Q
%

** Example **

IV. Direction and Position
(Motif no. 1)
D. Equal emphasis

2. b, h
5. e
8. b, h

IV. Direction and Position
(Motif no. 2)
D. Equal emphasis

2. e
5. b, h
8. e

V. Scale and Proportion

** Special Instructions **

Determine scale, then classify proportion for each of

the relationships, 1, 2, and 3.

179

Asoapfimom Hapcoawnomv

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

con .4.” a: 0% orH cm 0.0 .0 on om
.0H
.m
.m
.s
.m
.m
.s
.m
. mfimwnmsm Assam .m
m Hmcowmflm .o
. .H Hapcoufinom .m
«dowpflmo woflpnm>v HMOHPH¢> .d

soapflmom was sowpomnaa

waves mo nopomnmco oakaommm ”HH hgopmumflm

.>H

180

** Definitions and Diagrams **

Small - The motif is small in relation to the size of
the textile, the repeat, or the background space.

Medium — The motif is average in relation to the size of
the textile, the repeat, or the background Space.

Large - The motif is large in relation to the size of
the textile, the repeat, or the background space.

 

Length of motif to width of motif - Measured relationship
of the length of the motif to the width. The first
number represents the length, the second number
represents the width; thus 1:2 means that the
textile is twice as long as it is wide.

Length of motif to length of repeat - Measured relation-
ship of the length of the motif to the length of
the repeat. The first number represents the
motif, the second represents the repeat: thus 1:2
means that there are two motifs to one repeat.

Width of the motif to the width of repeat - Measured
relationship of the width of the motif to the
width of the repeat. The first number represents
the motif, the second represents the repeat: thus
1:2 means that there are two motifs to one repeat.

 

 

** Example **

V. Scale and Proportion
<::) (Motif no. 1)
B. Medium
1. e 1:1

$®$ 3:213

V. Scale and Proportion
(Motif no. 2)

B. Medium
1. e 1:1

2. 0 1:2
3. C 1:2

 

181

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Hum v m

Him V
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in v
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vmvgm

MIN

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camcH .m spun; op epmcmq .H Hamsm .4

soapnomonm 6cm mamom

mayo: Mo nopomnmno cawaommm ”HH hsohmuowm

182

Hierarchy III (H—Z): Specific Character of Arrangement

I. Structure
** Specific Instructions **

If the design is a repeat, determine the type (1) Band
or border, (2) Border and field, (3) All-over pattern, or
(4) Superimposed design. This should correspond to the
answer in Hierarchy I. Turn to the page in the outline
for that particular form of repeat, since the rest of the
Hierarchy III is not relevant to the design.

If the design is a nonrepeat, determine the form
(2) Border and field, (4) Superimposed design, or (5) Free
ornament. Turn to the page in the outline for that par-
ticular form of the repeat. When that page is completed,
you have completed the classification outline.

Forms of repeats and nonrepeats appear on the following

pages:
I. Structure Page
A. Repeat
1. Band or border 186
2. Border and repeating field 186
3. All-over pattern 187

4. Superimposed design (repeating surface) 187
B. Nonrepeat

2. Border and nonrepeating field 187

4. Superimposed design 188
(nonrepeating surface)

5. Free ornament 188

** Definitions and Diagrams **
For definitions and sketched examples of A. Repeat,
B. Nonrepeat, (1) Band or border, (2) Border and field,

(3) All-over pattern, (4) Superimposed design, or (4) Free

183
ornament (see pages 149-150)

No base line or structural plan 000 0

Base line

 

.' I /
.0 O o
s..'

plan W7777/

One element

 

 

 

 

 

W 1

One dimensional design Two dimensional design'

 

Multiple elements

snatnaeuae
*F—W asnaeueeuae

One dimensional design Two dimensional design

 

 

 

 

 

 

 

 

 

Outline

 

Continuous , *4--

 

Not continuous

Center space

OOOOOOOOOOOOOOOO

184

LOOOOO

Continuous t; OXOXOX 20

Isolated motif - identical (:> <:) (:) <:>
Isolated motif - variable O‘chlo

 

Structures for All-over patterns, Fields, Superimposed
Designs

Rectangular, square

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Block Drop Brick

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

”AVAVAYQ

Linear Diamond Triangle

 

 

 

 

185

 

 

 

 

 

 

 

 

,/j/

 

 

 

 

 

 

e

Rhombus

 

 

 

Translation

 

 

 

 

 

 

 

 

 

 

 

 

Turning square

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

PTQIV
lvemla

alpxl
8836
80055
nDflnDnO
Baas
5H5”
HEHB.
BHBnn
HBflB

 

 

 

Opposites

Alternation

 

Counterchange

 

 

 

 

 

 

 

 

 

186

 

 

 

 

 

 

 

 

 

 

 

Illltztl
A

0\+.

OIt’OV

 

 

 

 

 

 

 

 

 

 

Scattered

** Example **

I. Structure
A. Repeat
b. Base line
(2) Multiple elements
(a) Outline
(1) Continuous
(b) Center space
(i) One-dimen-
sional

(a) Con-
tinuous
I. Structure
A. Repeat .
2. Border and field
a. Field
(1) Rectangular
(a) Block
(i) Trans-
lation
b. Border

(1) Re eating
(a No base line
or structural
plan
1) One
element

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

187

I. Structure

A. Repeat
3. All-over pattern
a. Rectangular
(1) Block

(a) Alternation

I. Structure
A. Repeat
4. Superimposed design
a. Ground
(1) Repeating
(b) Two-dimensional
(i) Rectangular
(a) Block
I. Trans-
lation
b. Surface design
(2) Two-dimensional
(a) Rectangle
(ii) Drop
(a) Trans-
lation

I. Structure
B. Nonrepeat
2. Border and nonrepeating
field
a. Border
(1) Repeating
(b) Base line
(ii) Multiple
elements
(a) Outline
I. Con-
tinu-
ous

b. Surface

(2) Two-dimensional
(a) Single element

 

 

 

 

 

 

188

1. Structure
B. Nonrepeat
4. Superimposed design
a. Ground
(1) Re eating
(b Two—dimensional
(i) Rectangular

(a) Block
* I. Trans-
lation

b. Surface
(2) Two-dimensional

(a) Single element

 

I. Structured

 

 

 

B. Nonrepeat
5. Free ornament
a. Single element

 

 

189

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190

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191

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192

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193

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194

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195

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196

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197

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198

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199

anSOHHo A

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201

Hierarchy);

I.

II.

III.

IV.

VI.

Textile Form (classification outline page 148)
B. Full piece
1. Repeat
c. All-over pattern
(1) Variable
(d) Direction
Content (classification outline page 152)
A. Dominant motif
4. Nonobjective
a. Geometrical style
B. Auxiliary motif (no auxiliary motif)
C. Space
1. Enclosing space
(2) No Space filler

Line Character and Use (classification outline
page 154)
G. Line not used

Symmetry and Direction (classification outline
page 158)
D. Equal emphasis
1. Symmetrical
a. Rotational
(2) 2 axes

Density and Value (classification outline page 161)
A. Motif covers more area
1. Value - dark

a. Black
(1) Area
c. White
(1) Area
Scale and Proportion (classification outline
page 164)
A. Medium
1. Length of repeat to width of repeat
e0 13].
2. Length of repeat to length of textile
0. 1:2
3. Width of repeat to width of textile
C. 1:2

Hierarchy I

I.

—

Designation of the Motif (classification outline
page 167)
A. Motif number 1

16. Frequency

202

a. Dominant motif
(1) Geometrical style

 

 

II. Content (classification outline page 170)

D. Nonobjective
2. Solid

III. Form (classification outline page 177)
B. Complex

3. Rotational

 

2: 03

c. Quatrefold
(2) Isolated motif
(e) Nonvariable

IV. Direction and iosition (cldssification outline
.111nm\
Jr's; " '

 

D. Equal emphasis
3. c, h
8's C , YA
1.. :..; 1 ' ' ~ gion outline
w. U'I"'.1.LU“1
1. Length to width
9. 1:1
a. *-\~' + +- .sr”'” of repeat
.’1 ‘ - _ , .ioth of repeat
a 1 ‘
Hierarchy ILL
’ fl . m: ;g, ‘sifiCKt'Jn outline page 121-)
A -

:{" m11fi'fiw,.r\

QMNERVI
SUMMARY AND CONCLUSIONS
Conclusions

The system developed in this study requires further
revisions to increase ease of use and understanding of
terminology. It requires further testing to assure in-
ternal consistency, mutually exclusive categories and
application to several studies. The system can be limited
to one Hierarchy or one Roman numeral heading or expanded
to include details, such as symmetry or color.

Its limitations should be recognized for its success-
ful application. First, it is limited to two-dimensional
patterned textiles; second, it is limited to description of
the elements and principles of design; third, researchers
with a qualified design knowledge will have the greatest
success; and fourth, an accurate mental picture results from
the classification of the design but only to the classifier.
The number/letter designations will not help relate the
textile or its aesthetic expression to one whom has not
seen the design.

In reviewing the evaluations of the test panel on the
12 developmental criteria, the following conclusions on
their success were drawn.

204

205
The criteria that were successfully accomplished are
the following:
1. Only repetition necessary for clarity should be
added at a different level of hierarchy. This is accom-
plished because repetition is limited to use of the same

design element to describe a different aspect of the textile

 

design.

2. The system is descriptive, not interpretative.
This criterion was accomplished because all decisions on
the feature come from observation of elements inherent in
the textile design; no conclusions are drawn on the develop-
ment or relationship of textile designs.

3. Attributes Show no generic relation to the previous
attributes. No attributes are weighted in importance.

The Hierarchies or any of the headings designated by
Roman numerals can be reordered with no change in the result
of the classification.

4. The classification system is to be comprehensive
and open to expansion. Expansion could include addition of
color, symmetry, texture, or more details in any of the
subcategories. The classification system can be limited
since any Roman numeral heading or Hierarchy could be used
by itself, depending on the research project.

5. The details are to be numerous enough to isolate
variations but limited so that groups can be formed for
comparisons. Variations are seen by the several choices

available under any category and more than one textile can

206
be described by the same features; for example, several
designs fit the classification of repeat, all-over pattern,
or variable due to direction.

6. Classes are to be relevant to the proposed problem,
which is aesthetic analysis. This criterion is met because
all the features are elements and principles of design.

Further analysis is necessary to determine the success
of the following developmental criteria:

1. Attributes are mutually exclusive. Misunderstand—
ing of this criterion limits conclusion based on the test,
but personal use of the system indicates some terms are
still not mutually exclusive. As more textiles are classi-
fied more inadequate terms may be found. For example, the

line on the test textile could fit in reflection on a

transverse

\

Transverse axis

 

\\~ Transverse axis

 

Longitudinal
axes

207
axis or 1800 rotation on a longitudinal axis, but the best
answer is reflection and rotation, two symmetrical opera-
tions. No category like this exists in the present system
and should be added. Continued revision of the classifica-
tion terminology is necessary.

2. There is internal consistency. This needs further
testing to draw an accurate conclusion, but the "A" textiles
in the test showed an increase in agreement on answers in
the revised test than on the pretest.

3. The classification system is to be applicable to
more than one study. This has not been tested by this
study, but the number of attributes indicates multiple uses.

’ The following criteria were not successfully met:

1. The system should be easy to use. This criteria
was not met, according to the evaluation of the test par-
ticipants. The revisions for the final form altered the
format substantially in an effort to increase convenience
for the classifier. It will have to be further tested.

2. Terminology should be simple or clearly defined.
Words that implied their meanings were chosen as categories,
but still confused clasSifiers. The classification outline
was originally developed for researchers with an average
knowledge of the elements and principles of design, but it
appears that laymen cannot conveniently work the classifi—
cation system. A working rather than a familiar knowledge
of the design elements and principles is necessary.

3. The placement of a textile into a characteristic

208

class is to be objective. The participants stated that
objectivity was high, but difficulty still stems from de-
termination of the dominant or auxiliary motif. This de—
cision was changed in the final form to increase internal
consistency among classifiers and objectivity in decision
making. Dominance is now a subcategory to placement rather
than a designation of motif. Further tests are needed to

draw conclusions on the new format.
Recommendations

During the literature survey and development of the
classification system, ideas for further research in the
following areas emerged and are presented for consideration.

Revisions are necessary in presentation and definition
of terminology. Further testing for internal consistency
and mutually exclusive categories is recommended. Color
and symmetry should be added for a more accurate picture of
the textile design.

It is suggested that the system be used in the follow—
ing ways:

1. The system should be adapted for computer analysis.
The present classification is Still awkward for comparison
studies due to its large number of variables and lack of
unique codification.

2. Application of standard terminology for naming
motifs and repeats, elements, and principles would increase

applicability to cross-cultural studies and would

209
result in better communication between research groups.

3. Development of a system for other textile forms,
unpatterned, for example, is recommended. Extension of
the present system to include unpatterned textiles is not
recommended, because the number of irrelevant features would
make the system burdensome.

4. Textile historians, museum curators, and cata-
logers could analyze designs of collections and would have
better records of specific designs textiles.

5. The system Should be used as a guide in develop-
ment,not as a standard. The system should be adapted to
the particular study, not the study adapted to the existing

classification.

Suggested SPUdieS applying the classification developed ~*

are:

l. The system could be used as a tool in further
studies in comparison of textile design for different cul—
tures and different historic periods. This would increase
understanding of design development, influence, and in-
spiration sources. Influence can be positive, negative,
indirect, or designs can develop independently.

2. The system could be used as a tool in the study of
relationships between design and political, cultural, social,
economic, religious, and technical conditions. The study
could start from the design analysis instead of from an-
alysis of the environmental conditions.

3. Determination of aesthetic values and preferences

210

for elements and principles, such as scale, symmetry, and
line direction could be done for specific cultures or
historic periods.

4. The system could be used as a tool to determine
the stage of development of specific textile designs:
(1) art by accident, (2) functional considered over taste,
(3) beauty enhanced, but not interfering with service-
ability, (4) art over function.

5. Continued studies could be made in the area of
Adam (1969) and Friedrich (1970) in which design structure

is analyzed and compared to social structure.
Directions for Further Use

This classification system is limited to organization
of information. It does not draw conclusions on the de-
velopment of textile designs, nor place designs in classes.
Studies requiring analytic (paradigmatic) or taxonomic
classification, as defined by Rouse (1960) and Dunnell
(1971), resulting in decisions on mode or type, which are
necessary for conclusions on development or influence of
design cultures, are beyond the scope of this study. These
decisions also include determination of monothetic or
polythetic classes. Monothetic classes have one common
characteristic that all members share and polythetic
classes are based on an aggregate of properties; not all
characteristics are shared by every member (Sokal, 1966,

p. 107). Classes depend on the purpose of the

211
investigation, for example, a study of style to determine
the interaction of two cultures.

If analytic classification is chosen, successive
classification features must be determined. This type of
study results in procedural or conceptual modes (Rouse,
1960, p. 315). The classification system developed in this
study lends itself best to conceptual modes—-concepts con-
formed to by the artisan, such as material, shape or
decoration, as opposed to procedural modes.

If types are chosen, resulting from taxonomic classi-
fication, decisions as to importance of attributes must be
made. The classification system in this study cannot
directly lead to this form of analysis. After classifica-
tion according to the proposed system, the attributes would
be recognized and would still have to be ordered and
weighted in relation to the problem stated. This system's
relevance is limited to determining what are the available
and relevant features for taxonomic classification. The
information gained from this study would lead to descriptive
types,as opposed to historical types (Rouse, 1960, p. 321).

Dunnell suggested two nonclassification methods for
forming units called "groups", statistical clustering and
numerical taxonomy. These methods and the classification
system developed in this study can be used together to
gain information related to a particular problem in textile
design analysis. Grouping is a descriptive device and units

are created from observing the objects available for study.

212
"Groups are restricted in application to_the data from
which they are derived" (Dunnell, 1971, p. 103). Groups
made by analysis of frequency of occurrence of a character-
istic are formed using statistical clustering. The device
is oriented to only one problem. Types of groups can vary,
phenetic, cladistic, or chronistic (Dunnell, 1971).

In numerical taxonomy a value is assigned to the degree
of similarity, resulting in statements, such as A is more
similar to B, than B is to C. This similarity must be
based on one corresponding character. This device can be
oriented to solution of only one problem at a time (Dunnell,
1971).

Dunnell also suggested the use of identification de-
vices. More explanation of an identification device is
given here than the above methods, because it does not re-
quire knowledge of a cultural mode or type, nor computer
or statistical information, as do statistical clustering
and numerical taxonomy.

Identification devices are a tie between grouping and
classification. They are not the formation of units but
the matching of groups with classes. Definition of
identification devices is given by Dunnell as:

arw' formal. structure designated to assign events

or objects to previously defined classes (Dunnell,

1971, p. 103).

Use of an identification device involves a key. The
key is developed by summarizing classes, which have actual

members and excluding classes irrelevant to the assignment

213
of objects. In essence, it simplifies classification of
specific data. Identification devices are based on binary
oppositions as illustrated in Figure 12.and Figure 13.

Paired oppositions are mutually exclusive-~member or
nonmember. The first decision in the example is whether or
not the object is A or not A (g). If it is A, then the
decision goes to a or not a (g). The number 1 features
has been omitted, because all members belong to 1. If the
first decision were A, then it must be B or not B (B). In
this case B is the same as C in Figure 12. Under section B
it is seen that there is no small letter; this is because
all objects possess c. Under B it is seen that numbers and
letters are necessarily in numerical or alphabetical order.
Using this identification device, the same categories result
as using the paradigmatic classification in Figure 12, but
without the extra 16 classes being listed: thus the
identification device can be used for convenience (Dunnell,
1971).

Identification devices are limited to the data and the
classification systems they link. More specifically they
are limited to the classes that have members. Its utility

increases vfijfl1 the complexity of a given classifica-

tion and the number of possible class assignments.

It is particularly useful for paradigms which gen-

erate a much larger number of classes than actually

have denotata (members) (Dunnell, 1971, p. 104).

Identification devices look like classifications, but

are not and Should not be mistaken for one. Use of an

identification device and the system of classification

214

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Figure 13.

216
in this study would greatly increase efficiency in an

applied problem.

5.11%

This study attempted to develop a system of textile
design classification based on the characteristics and
arrangement of textile design motifs. The system was
proposed as a tool for a researcher studying textile de-
sign for description, comparison, or development. It is
an organizational instrument, not an evaluative one; so
no conclusions can be drawn about the material classified
until classes are defined in relation to a Specific problem.
It is also not a cataloging device.

It was intended that the classification be objective
and cross-cultural. Mutually exclusive attributes were to
be relevant and clearly defined. Enough attributes were
chosen to isolate variables, but not so many that com-
parative classes would only have one member.

Although the system depends on the researcher's view-
point in choosing categories (for example, dominant motif)
guides are stated to help with consistency. The system is
to be internally consistent for each researcher or research
group and not necessarily between research groups.

A paradigmatic system of classification was chosen so
that features would not be weighted in importance, and so
that the classification would be descriptive, not interpre-

tative. If a taxonomic classification system had been

217
chosen, a priori decisions would be necessary, weighting
attributes in importance and the result would be in-
terpretative.

It was further planned that the classification system
be flexible, capable of expansion or reduction, so that it
is applicable to more than one aesthetic study. The
classification system is directed toward the problem of
analysis of form and content of motif and structure of
repeats. It was concluded that such a system was possible
due to comparable systems in pottery classification and
analysis of pattern design using the theory of symmetry.

The review of literature concentrated on four areas
of study: (1) classification theory, (2) desirable char-
acteristics of a classification system, (3) classification
systems in textiles, ornament, and archeology, and (4) de—
‘scriptive and comparative studies.

From the classification theory it was determined that
classification is a tool, not an end. Decisions in the
development of classification are arbitrary and the system
should be oriented to a specific problem. There are two
forms of classification, analytic (paradigmatic) and
taxonomic. Choice of the system should reflect the purpose
of the study. Grouping and identification devices are
methods of placing artifacts in predetermined classes for
drawing conclusions. The purpose of classification is
Simply to organize quantities of material. According to

Brew.this current study was justified because new and more

218
classifications Should be made, since no single analysis
will show all evidence.

Desirable characteristics of a system can be summarized
as simple, objective, and flexible with limitations outlined.
Terms should be mutually exclusive, elementary, universal,
and relevant to the stated problem. Features should be
numerous enough to isolate details, but not overburden-
some, and developed from inherent qualities of textile
design.

No comparable system was found in textiles, ornament,
or archeology. Textile design analyses in existence in-
cluded: (1) general descriptions, (2) descriptions with
subject matter cataloging, (3) ornament texts classifying
by motif and form of repeat, (4) classification for instruc-
tional purposes, (5) sociological classification, and
(6) motif classification in relation to specific cultures.

In archeology classification was based on form, func-
tion, material, manufacture, symmetry, configuration and
arrangement of design motifs, and function of design motif
and styles. Gardin proposed a system of coding.

General statements on possible classification methods
included coverage, symmetry, structure, style, origin, as
well as the elements and principles of design.

Comparisons were drawn in design studies on the basis
of the following criteria: general structure, symmetry,
style, proportion and scale, subject matter which included

figures, activities, position of figures, facial expression,

219
motif names, importance, frequency, placement, direction,
line character and function, space, color, meaning, and
expression of feeling.

From these suggestions of possible classification
features, the system was developed, following a paradig—
matic structure, and was presented in outline form.

Three hierarchies of descriptions were planned.
Hierarchy I: General Character of the Textile Design,
includes features of form, repeat, nonrepeat, content,
style, line direction and character, density, values,
symmetry, scale and proportion. Hierarchy II: Specific
Character of Motif, includes designation of motif by loca-
tion, dominant or auxiliary motif, frequency, style, form,
symmetry, position, content, line character, proportion
and scale. Hierarchy III: Specific Character of
Arrangement, included structure, repeat and nonrepeat.

An information card contains data on name of design,
designer, date, country, manufacturer, fabric, fiber,
technique, present location, function, measurements, and
description.

Textiles from historic source books, Marimekko designs,
and the investigator's original designs were used for de-
velopment, explanation and testing of the system. The
system was presented to a panel of ten people for a pre-
test. The participants were chosen from the Human Environ-
ment and Design faculty and graduate students who had a

working design knowledge. After revisions the test was

220
given to eleven members of a graduate seminar. Each was
asked to classify two textiles and evaluate the classifica—
tion system based on the twelve developmental criteria. The
great deal of information necessary to work the system and
the mechanics of using several sections at once were the
greatest disadvantages, making the classification difficult
to use. Revisions were made to concentrate information in
one area. Six of the twelve criteria were satisfied, three
required further testing and three were not met.

Comparison of textiles that have been classified would
involve grouping devices, statistical clustering and numeri-
cal taxonomy. Textiles can be classified with the aid of a
key or identification device. Use of these aids to draw
conclusions on textile history and development is recom-
mended. Use of taxonomic classification in addition to the
paradigmatic classification system developed in this study
is also recommended in problems requiring creation of types.

Classification systems have limitations, when these
are recognized and attributes ordered to the researcher's
problem, the classification form of organization can be a

time saving tool in a research program.

SELECTED BIBLIOGRAPHY
Books

Adams, Marie Jeanne. System and Meaningig East Sumba
Textile Design. New Haven: Yale University, 1969.

 

Arnheim, R. Art and Visual Percgption. Berkeley: Univer-
sity of California Press, 1954.

Beer, Alice Baldwin. Trace Goods: A Study 2: Indian
Chintz. Washington, D.C.: Smithsonian Institute
Press, 1970.

Birkhoff, G. D. Aesthetic Measure. Cambridge: Cambridge
University Press, 1933.

Birrell, Verla. The Textile Arts. New York: Harper and
Row, 1959.

Christie, Archibald. Pattern Design. New York: Dover
Publications, 1969.

Day, Lewis F. Pattern Desigg. London: B. T. Batsford,
1903.

Dunnell, Robert C. Systematics in Prehistory. New York:
The Free Press, 1971.

 

Estrin, Michael. 2000 Designs, Forms and Ornaments. New
York: William Penn Publishing Company, 1947.

Fletcher, S. Bernice. Pattern Design for Printed Dress
Fabrics. London: Sir I Pitman and Sons, Ltd., 1937.

Goodyear, William H. The Grammar q; the Lotus. London:
Sampson Low, Marston and Company, 1891.

Hornung, Clarence Pearson. Handbook of Design and Deviges.
New York: Dover Publications, 1946.

 

Humbert, Claude. Ornamental Design. London: Thames and
Hudson, 1970.

221

222

Justema, William. The Pleasures of Pattern. New York:
Reinhold Book Corporation, 1968.

Kybalova, Ludmila. Coptic Textiles. London: Paul Hamlyn,
1967.

Langeweis, Laurens and Wagner, Frits A. Decorative Art 13
Indonesian Textiles. Amsterdam: Uitgeverij C.P.J.
Van Der Peet, 1964.

 

Meyer, Franz Sales. Handbook of Ornament. New York:
Dover Publications, 1957.

Panofsky, Erwin. Meaning 1g the Visual Arts. New York:
Doubleday and Company, Inc., 1955.

Reath, Nancy Andrews. Persian Textiles and their Technique.
London: Oxford University Press, 1937.

Sirelius, U. T. The Ryijy Rugs 9; Finland. Helsinki:
Otava Publishing Company, 1926.

Speiser, A. Theorie der Gruppen von Endlicher Ordnugg.
Berlin: 1927.

von Falke, Otto. Decorative Silks. London: A. Zwemmer,

1936.

Weibel, Adele Coulin. 2000 Years 9; Textiles. New York:
Pantheon Books, 1952.

Williams, Geoffrey. African Designs from Traditional
Sources. New York: Dover Publications, Inc., 1971.

Periodicals

Adams, Marie Jeanne. "Structural Aspects of Village Art."
American Anthropologist, 75 (February, 1973), 265-79.

Berliner, Rudolf. "More About the Development of Islamic
Style in Tapestries." Textile Museum Journal, II
(December, 1966), 3-14.

Black, Glenn A. and Weer, Paul. "A Proposed Terminology
for Shape Classification of Artifacts." American
Ant_gui_y, I (1936), 280- 94.

Brainerd, G. W. "Symmetry in Primitive Conventional Design."
American Antiquity, 8(1942), 164- 66.

223

Brett, K. B. "Bouquets and Flower Arrangements in Textiles."
Antique 67 (April, 1955), 309—11.

Brett, K. B. "Varients of the Flowering Tree in Indian
Chintz." Antigue 75 (March, 1959), 278-81.

Brew, J. 0. "Use and Abuse of Taxonomy." Archeology _§
Alkali Ridge, S.E. Utah. Papers of the Peabody

Musggm, Vol. 21. Cambridge: Harvard University, 1946,
1‘" " o ‘

Buerger, M. J. "Wallpaper and Atoms." Technology Review,
39 (1937): 338-42: 370'

Floud, P. "Dating Morris Patterns." Architectural Review,
126 (July, 1959). 14-20.

 

Friedrich, M. H. "Design Structure and Social Interaction:
Archeological Implications of an Ethnogra hic Analy-
sis." American Antiquity, 35 (July, 1970 . 332-43.

Gardin, Jean Claude. "Four Codes for the Description of
Artifacts: An Essay in Archeological Technique and
Theory." American Anthropologist, 60 (1958), 335-37.

Gardin, Jean Claude. "Methods for Descriptive Analysis of
Archeological Material." American Antiquity, 32
(January. 1967). 313-30-

Gifford, J. C. "Type-variety Method of Ceramic Classifica—
tion as an Indicator of Cultural Phenomena." American

Antiquity, 25 (January, 1960), 341-7.

Goldman, B. "Development of the Lion-Griffin." American
Journal 2f Archeology, 64 (October, 1960), 319-28.

 

Goldman, B. "Oriental Solar Motif and Its Western Exten-

 

 

sion." Journal 9: Near East Studies, 20 (October,
1960). 239-37-

Johnson, Alice Stofer. "Similarities in Hohokam and Chal-
chéhuites Artifacts." American Antiquity, 24 (1958),
12 ‘30.

 

Krieger, A. D. "The T4 ological Concept." American
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McKern, W. C. "The Midwestern Taxonomic Method as an Aid to
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224

Rands, R. L. "Comparative Notes on the Hand—Eye and Related
Mgfiifs." American Antiquipy, 22 (January, 1957),
2 -57-

Rouse, Irving. "Prehistory in Haiti: A Study in Method."
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Rouse, Irving. "Classification of Artifacts in Archeology."
American Antiquity, 25 (January, 1960), 313-23.

Sears, W. H. "Ceramic Systems and Eastern Archeology."
American Antiquity, 25 (January, 1960), 324-9.

Shepard, Anna O. "The Symmetry of Abstract Design with
Special Reference to Ceramic Decoration." Contribu-
tions :9 American Anthropology and Histopy, 57
(1948), 211-92.

Shepard, Anna O. "Ceramics for the Archeologist." Publica-
tion 609. Washington, D.C.: Carnegie Institution of
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Sokal, Robert. "Numerical Taxonomy." Scientific American,
215:6 (December, 1966), 106-16.

Ure, A. D. "Boetian Vases with Woman's Head and Palmette
Designs." American Journal p§_Archeology. 57 (October,
1953 : 2&5-90

Whiteford, Andrew Hunter. "Description for Artifact
Analysis." American Antiquity, 12 (1947), 226-39.

Unpublished Materials

Harrell, Janet E. "Classification and Documentation of the
Eicher Collection of Selected Nigerian Textile Fabrics."
Unpublished Plan B. Problem, Michigan State University,
19 7.

Nielsen, Ruth. "The History and Development of Wax-Printed
Textiles Intended for West Africa and Zaire." Unpub-
lished M.A. thesis, Michigan State University, 1974.

225

Interviews

 

Baerlocher, Martin. Ph.D. candidate at the University of
Basle, Basle, Switzerland. July 25, 1973.

Sonday, Milton. Assistant Curator of Textiles, Cooper
Hewitt Museum, New York City. March 25, 1974.

“711i WM @1171) {1211;111:1111 I'M!“

 

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