The prints 

On the character of color distinguish fabric dyed, printed, multi-colored, melange, and the picture is printed and dyed with a strong weaving pattern. 
Nature drawings can be of two types. 
1. Concrete: plant (flowers, leaves), theme (baby, industrial, sports, story), geometric (stripes, cells, diagonal, polka dots). 
2. Abstract, or abstract (where there is not a specific topic of the image).
Each figure has its own rapport, i.e. the repetition of the same themes across the canvas. Rapport is sometimes pronounced, sometimes this repeatability is less perceptible. The scale of rapport is very different.
All the drawings are divided into: 
1) static - vertical and horizontal ornamentation; 
2) dynamic, where the predominant diagonal direction of the ornament; 
3) combinedcombining statics and dynamics. 
In addition, select fabrics with a coupon and drawings with a border. 
  Coupon the figure determines its location on the figure. Sometimes foreseen and denoted the neckline, armholes, etc. 
  Kinowy the figure has more opportunities for use. Here is the painting completed defined, unambiguous shapes that is repeated across the canvas, with gradual increase, where the image is concentrated and full in the vision. The border serves as a trim to accentuate one or more parts of the dress. For example, the edge located at the centre of the dress, forming a rich wide band. In the asymmetrically resolved the compositions of band edges have on one side of the product. Sometimes a border line of the yoke, hem, skirt, sleeves, etc.
In all periods of fashion in women's clothing used vegetable ornament. Of course, for each period were characterized by their compositional decisions in the development of drawings of flowers, leaves, branches, flowers. Location rapport, the scale of the drawing, the nature of his application to the fabric was endlessly modified. Sometimes the ornament depict more naturalistic, sharply allocating it to the background fabric. At another time the same flowers and leaves are beginning to portray more conventionally stylized, they seem to blend in with the background fabric.
The picture may have a different background fill: full fill, rare to scattered forms. The pictures can be blurred ornament, merging with the background resembling the color of the marble surface. 
The prints from the point of view of the decision of the composition are divided into easy and difficult. 
To easy include drawings of small and medium size, not having the top and bottom, as well as large sizes with no pronounced colors, with completely filled background. Here in the solution composition, and when cutting as the Central axial line of the product can be taken any line on the fabric, regardless of pattern (Fig. 123, a, b). 

To hard include one-sided figures that have a top and bottom. In this case, the fabric should throw on a mannequin, pinned her right and left so that the picture was sent in opposite directions (this does not apply to fabrics with a story and a thematic drawing: trees, houses, human figures, etc.) that helps to choose the best solution for the location of an image. 
Difficult to also include drawings of large dimensions, stands out against the background. Fabrics with this kind of pattern should be, regardless of the ornament, apply the products in a simple concise manner with a minimum number of seams and relief.

In Fig. 124,and shows the model of the dress made from fabric with a strong dynamic pattern. The scale of the repeat pattern is so large that it fits within the same model. The dynamic pattern is so pronounced and rich, the composition is reduced to the most simple and concise manner without unnecessary seams and reliefs, rasolzadeh the whole ornament of the drawing.
Difficult to be considered as drawings in the form of garlands, bands, etc. organized by various elements. Here we have to consider the size of the pattern, direction, location, axial lines as well as the overall color scheme. The figure should be located so that it is not visually distorted figure (it happens in cases when the drawing is big, bright ornament in the product is concentrated on the protruding points of the chest, in the hips). When cutting is necessary to monitor the convergence of image on two parts and tuck, with preservation of rapport at the joints of the yoke and bodice, the bodice and skirt and on the bottom of the product.The pattern should not end up somewhere in the middle.
In Fig. 124, b shows the jumper and skirt are of a fabric with a complex pattern in the form of garlands. The Central axial line of the image displaced, that visually distorts the figure. On paired parts (the sleeves) the pattern is different. At the intersection of jumpers and skirts the downed figure, garlands erratically overlap one another; hence the impression of negligence. At the bottom of the jumper pattern is cut in the middle of the rapport.
In Fig. 124, shows the bodice of the dress with a large pattern having a top and a bottom; color - sharp. Color patches are arranged so that they do not concentrate the product at the most protruding points of the chest. The Central axial line of the image coincides exactly with the axial line of the figure. On both sleeves the pattern is symmetrical.
Creating composition of a particular model, it is necessary to remember that printed fabrics, reliefs, wedges, undercuts, fine detail not visible and expressionless. The same can be said about the draperies. Drape performed on dyed fabric that accentuates every flapper or fold, almost always successful. Drape, made on the printed fabric will be barely noticeable. This applies particularly to tissues with completely filled by a small figure. In this case, it is only the overall silhouette (Fig. 125).

Before turning to the characteristics of individual drawings on the fabrics, to sum up the above: if the resolution of the composition of a fabric with a pattern, you need this song to be commensurate with the scale, size and nature of the figure so that the latter is not milled, not knocked down form and located so that the figure is not visually deformed.
  Pattern "polka dots". This picture is a classic and never goes out of fashion. Changing only the size of peas (small, medium, large), rhythmic construction of the figure. Can also be of different color combination of the polka dot background (e.g., light dots on dark background and dark dots on light background) depending on fashion. 
Pattern "polka dot" fabric on a diagonal. In the solution of a particular composition, this circumstance should be taken into consideration (in the case of oblique arrangement of the filaments is disturbed the rhythm of the figure).
Fabric with a pattern "polka dots" can be used as decoration. In this case, the fabric down, artificially creating frequent pattern, which you can decorate the neckline, front bodice, a line buckles, frill on skirt, etc. 
  stripes pattern, cells, diagonals. These fabrics are multicolored, printed and dyed, with a strong weaving pattern.
When the composite solution different types of clothes, in addition to the above properties of tissues, it is necessary first to consider her figure. Thoughtless, indifferent attitude to the picture often leads to the fact that the fabric is beautiful in the piece, losing your entire species in a poorly resolved product. Sometimes Vice versa, when ordinary-looking fabric is transformed into well-crafted compositions.
Stripes pattern, cells and diagonals can play a major role in the composite solution. Striped fabric and plaid has won universal recognition and never go out of fashion. Rigor, geometric pattern of these tissues to some extent limits their application: models with complex fabrics or with asymmetrical solutions is completely inappropriate 

For each stage fashion is characterized by the different directions of the stripes and a combination of both. Fashion can be a longitudinal direction in the drawing on the main parts and transverse to the parts (Fig. 126,a) or Vice versa (Fig. 126,6). There were periods when the bands were in an oblique direction, in a herringbone pattern (Fig. 126,). 
Not recommended simultaneous application of three different directions - longitudinal, transverse and oblique - in a single model. This split - bands tired eyes, model look overloaded (Fig. 127). 
In cellular the tissue is first of all necessary to determine the nature of the picture. If the picture cells are symmetrical (symmetrical in the picture you can find lines of symmetry in the joint, transverse and oblique directions; Fig. 128,a), of this fabric you can manufacture any style; it is only necessary when cutting to ensure that in paired parts of the figure cells match at the seams, Darts, etc. 
of the figure, asymmetrical, unilateral (Fig. 128, b) requires special attention, since in many models the application of fabric with that pattern are excluded: seams, Darts, etc. pattern will not match.
Printed plaid fabric, whose figure is only from the front side (cotton, worsted, flannel) should be used only when creating the most simple models, since these fabrics are very skewed pattern and mismatch it with the weft thread (Fig. 128, in). Darting at bodice and skirt in this case it is better to replace pintucks or assemblies (assemblies distortion of the pattern is less noticeable).

To ensure that the product does not look sloppy, it is necessary to identify the Central axial line of the pattern on the bodice and on the skirt. If applied to a symmetric plaid or striped fabric, this is not difficult, in the case of fabrics, where the pattern of unilateral, asymmetrical operation is often difficult. Here it is necessary to focus on the more prominent, eye-catching cage and stripes (better set by putting the fabric on the distance). In Fig. 129, and the location of the cells fails, the centerline of the pattern found wrong; in Fig.129, b shows the most appropriate option when the Central axial line of the image found correctly.
For the bodice, and the skirt fabric with a symmetrical pattern of cells can be placed so that the direction was oblique. But here it is necessary to correctly identify the Central axial line of the figure; otherwise the finished product will appear to be skewed. 

It should be remembered that the pattern of the bands or cells inevitably refracted in places of Darts and seams. This is especially noticeable in the region of upper tuck coming from the shoulder line. To match the herringbone pattern because the fabrics are bevels at different angles. Random refraction of the picture spoils the product (Fig. 130, a).
In the presence of the upper tuck should ensure that the figure kept on one side of the equity direction, and on the other, the openings,- polycose (Fig. 130,b). 
The top tuck can be placed from the line of openings, and the figure (of the bands or cells) should converge to a Christmas tree. 
The forward direction of the picture cells in a smooth combination with the oblique stresses of the features of composition models.

In Fig. 131 depicts the model of women's shoes, which thanks to the tucks made a beautiful crossing pattern from oblique directions on a straight.
Skirts casual bottoms also there is a combination of directions of pattern on sides-share direction, and front and rear - oblique or polyose, or Vice versa. This fact should be taken into account in the solution form. 
It's necessary to observe that the lines of stitches the pattern of the cells (or strips) coincided (Fig. 132, a), otherwise the product takes on a sloppy appearance (Fig. 132, b).
On the jackets of striped or plaid fabrics are not recommended, raised seams along the lines where the pattern breaks down in a most peculiar way (Fig. 133,a). Seams, these being the lines of style, are lost, made invisible, expressionless, and, in addition, the pattern of the cell change. 
If the jacket surrounding the form, for doing the back Central seam. The seam strips or cells converge in a herringbone pattern to the waist line, definitely fixing. Further, they retain the forward direction (Fig. 133, b). We can not allow from the waist line strips or cells dispersed in a herringbone pattern.
Finish products from fabrics print bands or cells must be simple and strict. These types of finishes, such as embroidery, beading and appliques, in this case, as a rule, unsuitable. 
Mainly for the finish it is recommended to use dyed cloth, leather, felt, braid, buttons, a zipper, and the same fabric in stripes or checks, with only a picture in the other direction (see Fig. 126, a, b, and 134).
If the figure is small or medium, the trim is dyed a binding or edging can decorate the product and beautifully emphasize its design or small details, especially with the same direction of the pattern on the main part of the products and details. 
The transition of the shared areas of the pattern on the bias sometimes is the main idea of the composition (see figure 131). To complement this model different details (pockets, flaps) impractical; the latter are bland, they only disrupt the entire integrity of the planned style.
When working with fabrics in plaid and stripes should follow the direction of the figure,without its bias. 
Drawing diagonals on fabrics formed by weaving interlacing. If the fabric is dyed and the diagonal not visible, they are in the solution composition may be in the calculation not to accept. Multicolored printed fabric with distinct diagonal lines should be used cautiously, since to match the pattern along the lines of the seams and tucks and identity drawing on pairs of parts very difficult, and often impossible. For greater clarity, let us illustrate this with some examples. So, in jacket coat Raglan pattern along the lines of the openings is refracted differently on the left and right sleeves (Fig. 135, a).Unacceptable looks bad and also this cloth, if it is knit bodice with cap sleeves. Along the lines of top stitches of the pattern joins ugly, with the left sleeve of the product is always different from the right (Fig. 135, b). Positioning here the pattern more successfully is impossible. It looks ugly and a jacket or a coat with raised lines - seams: the clarity of the embossed line is broken by the fragmentation pattern.
Unacceptable connection pattern through the yoke with cap sleeves (Fig. 135,) etc. 

In Fig. 136, a and b shows the collar - lapel and shawl. The direction of the figure on both parts of the collars are different. Hence the rhythm of the pattern, creating the impression of a manufacturing defect.
In Fig. 136, C and d shows how to arrange the fabric (in an oblique direction yarns interlacing) to achieve the identity of the figure on the departures of the collar. It should be noted that the treatment of the ends of the collar stretched. Extensibility they will not be quite the same, since on the one hand dominated by the cross direction yarns of the fabric, and with another - equity (elongation in the transverse direction more). Therefore, in order to avoid complex processing when using very loose tissue, it is recommended to do the collars of dyed fabrics.
Original finish may be the main fabric, with co-direction in the drawing (Fig. 137). Achieve this will reveal the tissue at the oblique arrangement of filaments. The asymmetric pattern of diagonals on the collar in this case is justified, as the drawing continues on the strap and drawstring that adds a unique look.