Pattern making

The governing concept is that a textile pattern has decorative, communicative, and functional roles. Repeated shapes, colours, symbols, and arrangements can identify a region, community, festival, occupation, or tradition. Pattern can also guide how cloth is divided, bordered, joined, worn, or used, so it contributes to structure and purpose as well as beauty. Option A is correct because it includes cultural identity and planning of use. Option B denies the visible nature of pattern, while option C contradicts the meaning of textile art. Option D is also incorrect: a well-designed pattern usually organizes and enriches a textile rather than destroying it.

The governing concept is repetition used to organise and decorate a design. When a small shape is repeated at regular or planned intervals around an edge, it can form a pattern, frame, or border. Such a border marks the boundary of the design, gives the surface a finished appearance, and adds rhythm and decoration. Therefore option A is correct. A well-planned border may support the main subject, although its weight and spacing must be controlled. Option B is wrong because a border does not automatically remove the main subject. Option C is impossible as a visual function, and option D has no sound design meaning. The effect depends on scale, spacing, alignment, and contrast; repetition should be consistent enough to look organised without becoming distracting.

Repeated shapes establish a visual expectation. A sudden change contrasts with that repetition and can attract attention, creating emphasis or visual surprise. It may interrupt the pattern, but it does not necessarily end the whole design.

Rotating a shape changes its orientation, not its basic form. Varying the direction of repeated shapes can introduce movement and energy, making a pattern that feels static seem more dynamic. The effect depends on the arrangement and degree of rotation.

The governing concept is overlap as a depth cue in composition. When one object covers part of another, the covering object is read as nearer while the partly hidden object is read as farther away. Therefore option A is correct. Overlap does not place every object on one plane, prove that lighting is absent, or mean that the paper is transparent; those interpretations confuse spatial arrangement with unrelated properties.

The governing concept is visual texture: line quality and stroke pattern should respond to the material being shown. Identical marks make wood, metal, cloth and stone appear alike, so their surface qualities are not convincing. Option A is correct. Uniform strokes do not improve proportion, perspective or composition automatically; they mainly weaken material description.