The design in stencilled work is not limited to one unit, and is not subject to hard and fast rules, the plates being of a size convenient to handle. Alternate units, or a series can be employed, the interest, apart from colour and subject consisting mainly of contrast in detail, and in the individualism expressed. _Mechanical Production, Printed and Woven_ In textiles, where such mechanical processes as printing and weaving are involved, the design is restricted to the unit, the repetition of which is infallible both as to form and colour. Apart from colour, the surface interest consists of suggested or actual contrasts of texture, the result of veining and striating leaves and flowers or of patterning forms or backgrounds with smaller details. _Needlework_ Needlework, being a personal performance, has no such mechanical restriction; the design can, and should be, complete within the area, and the expression perfectly free. Beside Design and Colour, the surface interest is that of contrast in the different textures resulting from the various stitches, and the employment of darning, knots, laid-work, etc. _Appliqué_ In Appliqué work, interest is imparted by the mass effects enriched by embroidery, the large shapes entailing detail of the inhabited variety to keep them from puckering. In all needlework the effect is due to some extent to light and shade, particularly in Appliqué, where a corded edge is employed. [Illustration: No. 257. Needlework, contrasting effect of various stitches. (Photo: V & A Museum).] [Illustration: No. 258. Needlework Appliqué. Interest due to contrast of material, effect of relief imparted by corded edges, and to embroidery on applied details. (Photo: V & A Museum).] [Illustration: No. 259. Lace. Surface interest due to contrast of various fillings. (Photo: V & A Museum).] _Lace_ In Lace, the interest consists solely of textural contrast, not only in the treatment of the various details, but in the patterning of intervals due to the necessary fillings. Design may be complete, or a repeated unit, according to the purpose and variety of lace. _Wood Inlay_ [Illustration: No. 260. Wood Inlay. Geometric arrangement.] Design for Inlays in Wood-work may be free in expression, or a unit, at discretion. The latter variety frequently takes the form of lines spaced with regard to good proportion, forming borders, chequers and geometric shapes of various kinds. Floral or other forms simple in character and profile may be used, the design being expressed in silhouette. [Illustration: No. 261. Wood Inlay.] [Illustration: No. 262. Wood Inlay. Simple silhouette depending on natural colour.] _Intarsia_ In the Intarsia detail of the Italian Renaissance, the inlaid forms were elaborated by surface markings and graduated effects were obtained by means of hot sand; but the natural contrast in the varied colour and fibres of the material employed probably form the more legitimate interest in all inlaid work.