The textile, which is usually referred to weaving, today is mostly associated with clothing and fashion. However, textile design; in addition to weaving also knitting as a production method and printing design which is decoration and patterning of the textile surface obtained by these production methods. In design education, the most effective way of working while improving the skills of the students with innovative perspective towards industry is to steer students towards research and experimental actions. Aim is not to specify a model or target as an art product or design object in the experimental approach. Purpose of this study; is to show the differences that can be obtained as a result of experimentation in surface designs which seem to be a sketch process mostly related to printing design. Although experimentalism is in the foreground, in surface designs; design elements should be investigated to be in harmony and balanced in accordance with the principles. In addition to textiles, surface designs can be applied to different fields such as ceramics, packaging design and accessories. However, although it can be used in many fields, each field has dynamics that vary according to the construction material. The surface designs that are created without considering the factors such as knitting and yarn thicknesses of structure in woven or knitted fabric are valuable in terms of originality during creation of designers. In this context, the biggest supporter of textile designers in search of the new is thought to be experimental surface designs. In this study, surface designs of Creative Composition course, one of the basic courses of Textile Department of Marmara University Faculty of Fine Arts, were examined.

Textile Surface Design, Creative Composition, Creativity, Experimentalism.