




































CHAPTER  10: 
SURFACE DESIGN TEXTURE: AN 

INDISPENSABLE ELEMENT OF DESIGN FOR 

AFRICAN PRINTED FABRICS 

 
Contributed by 

Chika C. Chudi-Duru 

   

INTRODUCTION 

African wax printed fabrics that comprise of Dutch wax printed 

fabrics, English wax printed fabrics, Ghana wax prints, Togo 

prints, Cote d’Ivoire prints, Nigeria prints, imitation fancy wax 

prints from China and so many others known as Ankara are 

decorated with different bold bright colourful designs accentuated 

by intricate designs found at the background. These wax prints 

have been adopted as one of African traditional garbs and sold both 

in the markets and shops across the whole of Africa. Now and then 

newer designs keep evolving and many people keep purchasing 

them because of some properties which they possess.  

In a typical Nigerian setting, they are usually used as 

uniforms for different groups such as women groups, wedding 

ceremonies, burial ceremonies, birthday celebrations, the naming 

of a newborn baby ceremony, chieftaincy, coronation and title-

taking ceremonies. They could also be employed as everyday wear 

or office wear. One thing that attracts some people to these printed 

fabrics is the design. Without the designs on these fabrics, there 

might not be a story to tell because these designs speak volumes 

and convey some messages to the onlooker without a written word. 

Taking a look at these printed wax fabrics, one notices the elements 

and principles of design being utilized to produce some 

groundbreaking designs. Apart from these elements and principles 



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of design, one striking element that gives fascination and 

prominence to any design is texture. Texture is one of the elements 

that can be manipulated to make art and design more innovative 

and interesting and “heighten an emotional impact” on the 

observers (Preble et al., 2002). Texture is an important element of 

art and design. It is associated with a sense of feel, which draws all 

the viewers' physical and mental attention to the artwork. It plays 

with the eyes and brain evoking thought-provoking views and 

ideas.  The researcher divulges that one of the major characteristics 

of African wax printed textiles is employing the use of a texture or 

textures as a design on the background.  This study is of the view 

that the bolder designs are usually the main focus in African wax 

printed designs but the texture found mostly on the design 

background is not often recognized because of their intricate 

nature. The researcher reveals that without the background 

textures, the whole design layout is scanty and under-designed, 

thereby lacking solidity and originality. Therefore, this paper is of 

the view that the functions of textural background designs in 

African wax-printed fabrics cannot be ignored and have not been 

given the adequate attention they deserve as those designs are not 

complete without textures. Thus this paper discusses texture as a 

vital element employed in the designs of African wax-printed 

textiles and showcases some of the textures utilized as surface 

decoration on them. It also experimented with textures in the studio 

and further suggests that scholars of art and design should always 

experiment with some textural effects to boost their creative pieces.  

 

African wax-printed textiles 

Wax Prints are colourful cotton fabrics produced using a 

mechanised wax-resist printing technique inspired by the 

Indonesian hand-crafted batik method. In the late 19th century, the 

British trader Ebenezer Brown Fleming introduced the prints to 

West Africa where the consumers embraced the exotic, colourful 

patterns together with the random imperfections that imbued the 



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fabric with an attractive, unique signature (Elise 2020). African 

Wax Print which is famous as Ankara these days is believed that 

originated in Indonesia as batik. A small amount of hot liquid wax 

is taken in an etching tool and different designs are made on the 

cloth. After the evolution of the batik, European countries brought 

huge changes in the manufacturing process introduced roller-

printed fabrics and ended the custom of handmade African Wax 

prints. It’s a pure form of cotton and extremely soft in texture. 

Because of the high quality of the fabric, African Wax Print is more 

expensive than other kinds of African prints (Elise 2020).  

Wax prints are produced using 100% cotton grey fabric 

which is scoured, washed, bleached and mercerised to remove 

impurities and prepare the cloth for wax printing. The design is 

etched onto two copper rollers which are mounted onto the wax 

printing machine. The molten wax resin will be picked up in the 

etched roller and impressed onto both sides of the cloth. The cloth 

is dyed using Indigo or other coloured dyes. The dye penetrates the 

cloth in the areas that are not protected by the wax resin. The dyed 

cloth is then washed to remove most of the wax from the cloth but 

small random spots of wax remain. As the first colour is applied to 

the cloth, the random spots of wax will resist the colour and leave 

small pearls of white when all the wax is washed from the cloth. 

An optional second colour may be added to the pattern when all the 

wax has been removed. There are various random wax resist 

effects that can occur during the wax process according to the 

nature of the pattern, the dyes and washing processes. Indigo 

crackle effects occur when the cloth is washed vigorously and the 

wax resin breaks allowing the indigo dye to penetrate the cloth 

through the cracks in the wax. There are various random wax resist 

effects that can occur during the wax process according to the 

nature of the pattern, the dyes and washing processes. 



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The marble effect occurs when the pattern allows larger bubbles 

of wax resin to remain on the wax and resist parts of the first colour 

application. 

 

Plate 1: African wax-print 

named shoe, showcasing 

marble effect as texture. 

Source: C-Duru (2023) 

 

Plate 2: African wax-print 

showcasing small bubbles 

effect named Michelle 

Obama’s bag. Source: 

Chudi-Duru (2023) 

 



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Plate 3: African wax print showcasing small pearls effect. Source: Chudi-

Duru (2023) 

 

Small bubbles or pearls of white usually occur when the pattern is 

more detailed, and small spots of wax remain on the cloth 

following the initial washing process. The random wax resist 

textural effects are what makes wax prints unique. The impression 

that the introduction of Dutch wax prints into the West African 

market took place from nowhere is not quite true because  in West 

Africa, there had always been a  vibrant textile market since fabrics 

have been significant in African social life, for a very long time. 

Early in the 16th century, the English, Dutch and French were 

selling batiks and other types of textiles manufactured in Asia, such 

as the guinea cloth and cotton produced by the Indian to West 

African markets. As a result of this, consumers were already 

acquainted with internationally produced fabrics. Once the Dutch 

batik-inspired wax prints were introduced in West African markets, 

it gave rise to the height of foreign-manufactured fabrics in the 19th 



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century. However, Eccentric Yoruba (2011), concludes  by 

mentioning that no matter how Dutch wax prints found themselves 

in  West Africa, it can be concluded that they were initially meant 

for the Indonesian market but found a more eager market in the 

Gold Coast ( Ghana) where they became symbols of high-quality 

fashion. From the Gold Coast, these fabrics proliferated to other 

West and Central African markets including Nigeria. Doku (2014) 

also supported the view and said that the unique fashion home of 

sub-Saharan Africa began in Ghana. 

Doku (2014) further narrated that, West Africans accepted 

these Dutch wax prints in the 19th century, using and integrating 

them as part of their culture and self-expression. The English 

produced and sold wax-printed textiles, but the Dutch brands were 

much more accepted because most of the West African countries 

were under English and French colonial rule; their preference was 

for the Dutch brands to date.He further mentioned that up until the 

1960s, most wax prints sold in West Africa were produced in 

Europe using motifs designed precisely for African markets and 

later after most West African countries gained their independence 

things were transformed.  

Asho (2013), is of the same view as Doku (2014), and 

mentions that although the fabrics were manufactured outside 

Africa, as African countries gained independence in the 50s and 

60’s they built indigenous textile mills and started creating designs 

that represented traditional cultural motifs, patterns and colours of 

various ethnic groups in Africa. Currently, Ghana is home to 

several fine and high-quality wax print manufacturers including 

Woodin, a subsidiary of Holland’s Vlisco and ATL which is a 

subsidiary of Manchester-based ABC Textiles. Doku (2014) 

further mentioned that, in the early year 2000, Ghana’s fashion 

industry began to take shape. The large-scale production of African 

prints and the marketing of new products through fashion shows 

contributed to the increased sophistication of the industry and 

public awareness.  Eccentric Yoruba (2011) noticed that, although 



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these textiles are now manufactured in Africa, the companies that 

manufacture them are largely not owned by Africans. Yet West 

Africa became the exclusive market for Dutch prints which have 

dominated the West African market since the end of the 19th 

century.  Today, wax prints carrying European brand names are the 

most expensive in the West African fabric market.  

Also, Felsenthal (2012), reported that, in Indonesia, the 

inhabitants have used the technique of wax-resist dying to produce 

batik fabrics for a long time. These elaborately patterned handmade 

textiles have some similarities to the prints that have been 

displayed on the fashion runways. They are made of bold, repeated 

and intricate motifs set against the backgrounds of varying hues. 

She further narrated her view on how the prints originated in West 

Africa. There was a conscription by the Dutch in the mid-19th 

century, which enlisted a lot of West African men both slaves and 

soldiers to augment their army in Indonesia. These men took a 

liking to the local handicrafts on reaching there and came back with 

batik in their home countries, from then a taste emerged in West 

Africa for these batik textiles. Similarly Eccentric Yoruba (2011), 

supported this view by accepting the theorised role played by West 

African contracted soldiers for the Dutch in Indonesia, also known 

as the Black Dutchmen by bringing the wax prints to West Africa. 

They served between 1810 and 1862 and had taken Indonesian 

batik with them on their return to their homes as gifts for their 

families. Thereafter, local interest in the fabrics grew, and the 

Dutch wax prints were the closest imitation available.  

During that time, Felsenthal (2012) reported that Europeans 

were trying to work out how to manufacture their versions of batik, 

to flood the market in Indonesia with cheaper, machine-made 

versions of the clothes because the handmade versions were hard 

to produce and costly, a Belgian printer came up with a method for 

applying resin to both sides of a cotton cloth at the end of the 19th 

century, and the machine-made wax-print fabric was produced. 



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  She further reported that a problem was faced by them, in 

that the machine-made version of these clothes was not as perfect 

as the original ones. They had some crackling effects which did not 

appeal to Indonesian batik conformists. In order not to incur a loss 

and also find a new market for those imperfect textiles, the Dutch 

turned to West Africa. As the case was, they appreciated the 

imperfections and saw them as possessing unique qualities in that, 

no two bolts of cloth were identical. They have a liking for fabrics 

that are not the same, meaning that a particular design will not be 

common. The West Afican keenness for these imperfect was so 

pronounced that Dutch wax manufacturers still produce those 

imperfections in the printing process today, long after they have 

resolved the technical fault. 

Felsenthal (2012) found out that as Europeans began to sell 

this cloth, in West Africa to the majority which is women, both rich 

and poor, who saw its useage as being prestigious; their tastes 

changed the manner in which those designs were produced as new 

patterns were designed to reflect significant events and local 

proverbs. The crackle textural effect is a result of the wax applied 

on the fabric and this adds to the surface decoration and also as an 

attraction to the buyer.  

 

Design  

A design is a plan or specification for the construction of an object 

or system or for the implementation of an activity or process or the 

result of that plan or specification in the form of a prototype, 

product, or process. The design usually has to satisfy certain goals 

and constraints; may take into account aesthetic, functional, 

economic, or socio-political considerations; and is expected to 

interact with a certain environment (Cambridge Dictionary of 

American English). Design is an art form, a method of human 

expression that follows a system of highly developed procedures in 

order to imbue objects, performances, and experiences with 

significance. Typical examples of designs include textile designs, 



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ceramics designs, communication  designs architectural and 

engineering drawings, circuit diagrams, sewing patterns and less 

tangible artefacts such as business process models. 

  

Elements of design 

Design elements are the basic units of any visual design which form 

its structure and convey visual messages. The elements of design 

are line, shape, form, space, texture, tone (or value) and colour. The 

elements are the materials from which all designs are built. The 

elements of art (or design) refer to colour, form, line, shape, space, 

texture and value. These are the basic building blocks of art and 

design (e.g., paintings, drawings, sculptures, textile design and 

visual communication). The elements are the tools or raw 

materials, much like paints are the basics to a painter. Design 

elements have an impact on how a piece of work is perceived, 

executed, and used—and are present in design regardless of skill, 

taste, or style. The element of design which this study is predicated 

on is texture. 

 

Texture  
It is one of the seven formal artistic elements, along with line, 

colour, shape, form, value and space. It can affect mood, evoke 

psychological associations, bring attention to a medium, or divert 

our focus toward materials used in a work. Used adeptly, texture 

can even challenge our perception of what is real. Texture 

techniques give more depth to an artwork making it look more 

natural. The more detail an artist puts into the texture of the work, 

the better the illusion of reality. Therefore, artists employ this 

method to give their artwork a realistic look, creating a particular 

atmosphere in the painting (Ayers 2018). He further notes that in 

the visual arts, texture is the perceived surface quality of a work of 

art. It is an element of two-dimensional and three-dimensional 



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designs and is distinguished by its perceived visual and physical 

properties. The use of texture, along with other elements of design, 

can convey a variety of messages and emotions. Because garments 

have combined design elements of texture, colour, and line, each 

must be selected with one’s figure and how they affect each of the 

other elements. The effects of texture in fashion influence how 

colours appear and how design lines function. 

Texture describes the body and surface of the fabric. Textures 

may be rough or smooth, coarse or fine, crisp or clingy, soft or stiff, 

thin or bulky, opaque or sheer, shiny or dull, heavy or light, or any 

combination of these characteristics. Because textures have many 

characteristics, they can enhance or detract from a garment's 

design. They also affect the illusions of the size and shape of the 

figure. Here are some general guidelines for selecting appropriate 

textures for garments in fashion design according to Lujan (ND): 

 

 Soft or clingy textures reveal the figure and emphasize 

figure irregularities. 

 Stiff or crisp textures stand away from the body and hide 

figure irregularities. Very stiff fabrics appear to add weight 

and dwarf small figures. Moderately stiff fabrics are good 

on most figures. 

 Bulky textures seem to add volume to the figure. Small 

figures are overpowered by these textures, but they are 

good for tall, slender figures. They can be used to balance 

an irregular figure. Example: Bulky sweater for a figure 

with a small bust and full hips. 

 Dull finishes absorb light and generally make the figure 

look smaller. They are suitable for all figures. 



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 Shiny fabrics make the figure appear larger and reveal 

figure irregularities. Shiny fabrics are best for average to 

slim figures that have regular proportions. 

 Coarse or rough fabrics are good choices for average to slim 

figures. They add volume to large figures and overpower 

small figures. 

 Smooth (not shiny) fabrics hide figure irregularities and are 

attractive on most figure types. 

 

          Texture is becoming more important than ever in textile 

design. From intricate embroidery and 3D applique to woven 

patterns, textured fabrics can add depth and dimension to any 

garment. This trend is particularly popular in the home decor and 

upholstery industry, with textured fabrics adding a touch of luxury 

to any space. 

 

Cloth Texture: Different Styles and Types 

Although there are different types and styles of fabric textures 

produced and used in the world, they can be categorized into 3 main 

sections: Natural texture, Supplementary texture and treated 

texture. Original/ natural texture is the result of the structural 

process during the manufacturing time. Natural textures are 

produced with the interaction of different yarns. It’s the raw and 

the first texture that comes out of the weaving/knitting process. The 

difference in natural textures is produced by what type of textile 

fibre is used for the process, the weight of the yarn, stitch size, and 

many other factors. However, most of the difference is resolved in 

the fibre section. The textile fibre chat and major types of fibres are 

discussed in the section below. 



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Figure 1: Classification of textile fibres based on sources. Source: 

textilelearner.net   

 

Vegetable sources:  
Major fibres from vegetable sources are discussed below: 

 Cotton: Cotton is the most widely used natural fibre and 

consists of pure cellulose. It is produced in China, Brazil, 

India, Pakistan, USA and Uzbekistan. 

 Flax: Flax is a lignocellulosic bast fibre, mostly present in 

European Union. This fibre is mostly used to make linen. 

 Hemp: Hemp is also a lignocellulosic bast fibre with a low 

quantity of lignin. The world’s leading producer of hemp 

fibre is China. 

 Jute: Jute is the strongest vegetable fibre from India and 

Bangladesh. It is also a lignocellulosic fiber. 

 Ramie: Ramie is also a lignocellulosic bast fiber mostly 

available in China and Brazil. It is also known as China 

grass, with a silky lustre and better elasticity. 

 Sisal: Sisal is a hard and coarser leaf fibre, mostly available 

in Brazil, Tanzania and Kenya. 



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 Abaca: Abaca is a leaf fibre, also known as Manila hemp, 

extracted from the leaf sheath around the trunk of Musa 

textiles (plantain and banana). The world’s major fibre 

producer is the Philippines. Lignin content in fibre is about 

15%. 

 Coir: Coir is a hard, short and coarse fibre extracted from 

the shells of coconut. It is mostly present in India, Sri 

Lanka, the Philippines, Vietnam, Indonesia and Brazil. This 

fiber contains the highest amount of lignin making it 

stronger but less flexible. 

 

Animal sources:  
Major fibres from animal sources are discussed below: 

 Alpaca: Alpaca is a hair fibre-like wool that comes from 

the Lama Pocos. This fibre comes in approximately 22 

natural colours, produced mostly in Peru, North America, 

Australia and New Zealand. It is stronger than wool fibre. 

 Angora: Angora is a rabbit fibre, very soft, fine and silky. 

90% of the fibre is produced in China. Angora fabric is very 

suitable for thermal clothing. 

 Camel hair: Camel hair is available from the two-humped 

Bactrian camel mostly present with nomadic households in 

Mongolia and Inner Mongolia, China. It is the softest and 

most premium hair fibre. 

 Cashmere fibre: Cashmere fibre is available with Kashmir 

goats, in China, Australia, India, Pakistan, New Zealand, 

Turkey and the USA. It is a luxurious and expensive fibre. 

 Mohair fibre: Mohair fibre is produced from Angora goat, 

available in South Africa. It is a smooth and lustrous fibre. 

 Silk: Silk is a natural filament fibre, with high lustre, 

mostly produced in China, Brazil, India, Thailand and 

Vietnam. 



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 Wool: Wool is the most important protein fibre. It is the 

first domesticated fibre, mostly produced in Australia, New 

Zealand, China, Iran, Argentina and the UK. 

 

Ground and petrochemical sources:   
In addition to the collection of the fibres from the sources above 

the ground, there are fibres from below the ground like metals. 

Since World War II, there has been a thrust to produce synthetic 

materials, mostly derived from petrochemicals. The manufactured 

fibre is termed as ‘synthetic fibres’ as the raw materials were 

available by synthesis followed by polymerization and fibre 

formation. Synthetic fibres became the consequence of spectacular 

growth in petrochemicals development and utilization. The growth 

in the development of synthetic fibres and the synthetic fibre 

industry along with the polymer industry became phenomenal with 

the growth of the petrochemical industry. 

 

Classification of Textile fibres based on Polymer:   
Polymer is a material constructed of smaller molecules of the same 

substance that form larger molecules. Polymers are any of 

numerous natural and synthetic compounds of usually high 

molecular weight and consisting of up to millions of repeated 

linked units, each a relatively light and simple molecule. The 

term is derived from the Greek words: ‘polumeres’, where polus 

means many, and meros meaning parts. A key feature that 

distinguishes polymers from other molecules is the repetition of 

many identical, similar or complementary molecular subunits in 

these chains. 

Polymers, macromolecules, high polymers and giant 

molecules are the same and consist of high-molecular-weight 

materials composed of these repeating subunits. These materials 

may be organic, inorganic or organometallic, and synthetic or 

natural in origin. Polymers are essential materials for almost every 

industry such as adhesives, building materials, paper, cloths, fibres, 



Chika Chudi-Duru 

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coatings, plastics, ceramics, concretes, liquid crystals, photo resists 

and coatings. 

These polymers can be natural or synthetic and organic or 

inorganic. Organic polymers are distinguished from inorganic 

polymers because of the presence of carbon atoms in the main 

chain. The Presence of total carbon atoms is termed carbon chain 

polymers. If the main chain consists of other atoms with carbon, 

then it is termed a heterochain polymer. Natural inorganic 

polymers include sand, asbestos, agates, feldspars, mica, quartz 

and talc. 

Natural organic polymers include polysaccharides or poly-

carbohydrates such as starch and cellulose, nucleic acids, lignin, 

rubber and proteins. Synthetic inorganic polymers include boron 

nitride, concrete, many high-temperature superconductors and 

several glasses. Synthetic organic polymers include fibres, plastics 

and coatings, such as polyethyene, polypropylene, polyamides, 

polyesters, vinyl polymers, polyurethanes and synthetic rubbers. 

Fibres are polymeric materials that are strong in one direction, and 

they are much longer (>100 times) than their width. This is termed 

as the l/d ratio. Elastomers or rubbers are polymeric materials that 

can be distorted through the application of force, and when the 

force is removed, the material returns to its original shape. Plastics 

are materials that have properties between fibres and elastomers—

they are hard and flexible. 
 

Supplementary Texture 

As the name suggests, it is the texture of when external materials 

are attached to the finished fabric texture. These textures are purely 

additional and up to individual interests. They don’t belong to the 

“mandatory texturing” segment where the steps are to be followed 

to get a final product. There are countless methods for attaching 

different materials to different fabrics. The methods and materials 

for supplementary texture: Embroidery, Patchwork, Beading, e, 

Monogramming, printing,  Felting, Fabric flowers, Insertion, 



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Ruffles, Using roulette loops, Dyeing, Stamping, Mirror work, 

Scallops, Shrinking fabric, Sequins work, Decorative edge finishes 

and others. 
 

Treated Texture 

Whereas natural textures are the raw materials, treated textures are 

the refinement of these raw materials through extensive processing. 

It’s the different finishing touches applied to the natural textures 

that treated texture refers to. It doesn’t only diminish the rawness 

of the texture but adds and increases its functionality. Different 

types of finishes are applied to fabric textures, such as Acid wash 

Air jet spinning, Anti-static finish, Brushed finish, Beetling, 

Bleaching, Colorfastness, Combing, Deodorize, De-lustering, 

Enzyme wash, Hydrophilic finish, Mercerization, Moiré, 

Parchmentizing, Pigment finish Resin, Sandblasting, Schreiner 

finish and others. Some supplementary textures on African wax-

printed fabrics are showcased below: 

 

 
  

 

 

 

 

 

Plate 4: African wax- print 

with thin lines as textures. 

Source: Chika Chudi-Duru 

(2023) 

 

Plate 5: African wax- print 

named ABC with curved lines 

as textures. Source: Chika 

Chudi-duru (2023) 

 

https://www.merriam-webster.com/dictionary/deluster


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Plate 6: African wax- print 

named  SANTANA with thin 

lines as textures. Source: 

Chika Chudi-Duru (2023) 

 

Plate 7: African wax- print 

named BIG FISH with thin 

curved lines as textures. 

Source: www.google.com 

 

Plate 8: African wax- print  

with lines as textures. 

Source: Chika Chudi-duru 

(2023) 
 

Plate 8: African wax- printed 

fabric named STAR with 

connected lines as textures. 

Source: Chika Chudi-Duru 

(2023). 

 

 



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Theoretical   framework 

The theory adopted for this study is formalist theory of significant 

form. In Britain this theory was developed by the Bloomsbury 

painter and critic Roger Fry (1866-1934) and the Bloomsbury 

writer Clive Bell (1881-1964). In his 1914 book Art, Bell 

formulated the notion of significant form – that form itself can 

convey feeling. Fry is of the view that a work of art is, first and 

foremost, a collection of lines, shapes and colors, and it is therefore 

on the formal elements of the work (and not on the content that the 

work represents) that the scholar should base his judgment. He 

asserted that purely formal qualities for instance the relationships 

and combinations of lines and colours—are the most important 

elements in works of art. Formalism describes the critical position 

that the most important aspect of a work of art is its form – the way 

it is made and its purely visual aspects – rather than its narrative 

content or its relationship to the visible world. In a work of art 

which African printed wax fabrics are part of,   a formalist critic 

would focus exclusively on the qualities of colour,  form, line, 

composition and other elements and principles of art including 

textures. These are what makes these printed fabrics what they are. 

In art, form can refer to the overall form taken by the work, its 

physical nature; or within a work of art it can also refer to the 

element of shape among the various elements that make up a work. 

The Formalism definition is exemplified by the minimalistic 

geometric paintings of Piet Mondrian. The shapes depicted within 

his paintings lack any meaning, yet the geometric form of their 

lines and color form a visual aesthetic never before seen in art. In 

African wax printed fabrics, the geometric lines, colour, batik 

effects utilised to achieve textural effects form visual aesthetics and 

also a unique given identity. 

  

Studio exploration of texture on cotton fabric 

During the studio exploration, African indigenous motifs and some 

abstract motifs were utilized to produce some African printed 



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fabric designs as computer aided designs in the studio and some 

textural effects were added to showcase the usefulness of texture 

on a printed fabric. 

 

Studio exploration 1 

 
 

 

 

 

 

 

 

 

 

 

 

Figure 2: African indigenous motifs utilized in the studio. Source: 

Chika Chudi-Duru (2017) 

  

 
Plate 9: stage 1 of printing in the studio. Source: Chika Chudi-

Duru (2017) 

  

Abstract motif 

sketch. 

Popo, mboisi and 

kpakpando motif 

sketch 



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Plate 12: last stage of printing in the studio using Akwete woven 

design motifs. Source: Chika Chudi-Duru (2017). The printing 

techniques that were utilised in this study are the photographic 

transfer and the stencilling. This is a four coloured printed fabric. 

Plate 10 : stage 2 of printing in 

the studio. Source: Chika 

Chudi-Duru (2017) 

Plate 11: stage 3 of adding 

texture to the fabric in the 

studio. Source: Chika Chudi-

Duru (2017) 

  

 



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The sketching of the design was done on a sketch pad during the 

preliminary studies. After which the motifs sketched were scanned 

into the computer. They were worked on by shaping and arranging 

them appropriately, using the Corel draw application. This resulted 

in a pattern of design. After this, the design was printed out on a 

paper and transferred to the screen using the photographic transfer. 

The part of the designs that required stencils were printed out on 

film papers and cut. A total number of two stencils were cut before 

embarking on the printing process in the studio while the rest of the 

designs were achieved through screen printing. The stencils were 

separated into different parts according to the colours and designs. 

The studio exploration processes are described below. 

 

1. The cotton fabric was desized to make it more absorbent to 

printing inks.The fabric was ironed after pretreatment and 

drying.It was laid and held tightly on the printing table with 

masking tape, to avoid shifting and lifting while 

printing.The portions on which the designs were printed, 

were demarcated with a tiny sewing thread. This was done 

according to the measurement of the unit of design printed 

in stage one. 

 

2. A texture was created by making use of two-ply yarns 

which were squeezed to form a rough ball. These squeezed 

yarns were dipped in the inks and applied lightly on the 

surface of the fabric to create a texture before printing in 

stage two. 

 

3. The printing was carried out starting with the screen 

printing, after which the cut stencils were utilised starting 

from the light colours and ending with the dark ones. The 

paints that were used to achieve this studio practical are the 

textile inks and acrylic paints. Below in this figure is the 

computer-aided design format. 



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Figure 3: Kpakpando, mboisi and popo motifs 

computer aided designs. Source:Chudi-Duru (2017) 

 

Studio exploration 2 

 

 

 

 

 

 

 

 

 

Plate 13: Achicha motif. Source:  Chika Chudi-duru (2017) 

 



Chika Chudi-Duru 

184 

 

    
First stage Second stage Third stage  Final stage 

 

Plate 14: Achicha (biscuit) design motif (printing stages).   

Source: Chudi-Duru (2017) 

 

The techniques that were utilised in this studio practical were the 

photographic transfer, batik dyeing and stencilling techniques. It is 

a five-coloured printed fabric. These processes below were strictly 

followed during the studio practical. 

The white fabric was de-sized to have more affinity for dyes 

and printing ink. After the pre-treatment, it was dried and covered 

all over with wax. It was squeezed for the fabric to have some 

crackles and form some designs which could serve as texture. After 

the dyeing process, the fabric was washed and ironed as it has been 

shown on the first stage plate above. During the printing, the fabric 

was held taut on the printing table with the aid of a masking tape. 

This is shown in the second stage. The portions on which the 

designs will be printed were demarcated with a tiny sewing thread. 

This was done according to the measurement of the unit of design 

to be printed to aid proper registration. This is shown in the first 

stage A total number of three stencils were cut before embarking 

on the printing process in the studio while the main motif was 

transferred to the screen. 



Surface Design Texture: An Indespensable Element of Design for… 

185 

 

After the preliminary study on the design was conducted, 

the result was scanned into the computer and arranged 

appropriately. Corel draw application was employed while 

designing. The design that is for stencilling was printed out on film 

papers and the stencils were cut while the other design was printed 

on a plain white sheet of paper in black and white and transferred 

to the screen using the photographic transfer technique. The 

stencils were separated into their different parts according to their 

colours. 

The printing started with the screen printing method and finished 

up with the stencilling method. The paints used to carry out this 

studio practical are sticker inks and acrylic. This is seen in the third 

and fourth stage. Below in this figure is the computer-aided design 

format. 

 

 
Figure 4: Achicha (biscuit) design motif (computer aided design lay-out).  

Source: Chudi-Duru (2017) 

 

  



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Results and discussions from the studio exploration 

 

 
 

Plate15 : Akwete woven fabric (Kpakpando, mboisi and popo design 

motif printed fabric). Source: Chudi-Duru (2017) 

 

 
 
Plate 16 : Akwete woven fabric with textured background. Biscuit 

(achicha) design motif printed fabric). Source: Chudi-Duru (2017) 

 

 



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Summary 

In this chapter, texture as one element of design that plays a key 

role during the process of textile designing is extensively 

discussed. The different types of textures used by textile artists,  

categorized into three main sections as natural texture, 

supplementary texture and treated texture were also given much 

attention. The chapter revealed the usefulness of  texture as a 

surface decoration and also examined some African wax-printed 

fabrics to find out the key roles played by the application of some 

textural effects and why they are always used to make some design 

statements on those African prints. It summarily concludes that 

texture is one of the element of art and design that is inevitable in 

design practice. 

 

Questions 

1. What is texture in art and design? 

2. What are the different types of textures in textile design? 

3. What are African wax-printed fabrics? 

4. Mention the different types of finishes applied to fabric 

textures. 

 

REFERENCES  

Ayers, D. (2018). What is Fabric Texture and Why Should I 

Care? Retrieved 16-05-22 from. 

https://pumpfuryvente.info/ fabric-texture-details/ 

Cambridge Dictionary of American English, at Dictionary.com. 

Mhaske, S. (March 2023). Texture is King: The Importance of 

Texture in Textile Design. Retrieved 20-06-23 from 

https://www.linkedin.com/pulse/texture-king-importance-

textile-design-shrihari-mhaske. 

Lujan, N. (ND) Fashion Feasibility. Retrieved 23 -07-22 from 

https://pubs.nmsu.edu/_c/C312/index.html 

Design (an internet blog). Art vs design- a timeless debate.  

Retrieved 12-06-23 from      



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https://www.toptal.com/designers/creative-direction/art-vs-

design. 

Hilton Textiles (ND). Brief history of African wax Prints. All 

About African Wax Print Fabrics - A striking mainstay of 

African Fashion. Retrieved 16-03 -22 from 

https://www.hiltontextiles.com/pages/brief-history-of-

african-wax-prints. 

Elise (2020). What are Wax Prints? Retrieved 10-07-23 from 

https://affaso.com/what-are-wax-prints/ 

 


