Creation

Rangoli designs can be simple geometric shapes, deity impressions, or flower and petal shapes (appropriate for the given celebrations), but they can also be very elaborate designs crafted by numerous people..  The patterns include the face of Hindu deities, geometric shapes peacock motifs and round floral designs. Many of these motifs are traditional and are handed down by the previous generations. During Diwali, in the art of floor painting, the central rangoli design is the symbolic one denoting the deity or the theme. Motifs generally created are lotus, fish, birds, snakes etc. which reflects the unity of man and beast. Most of the rangoli designs are circular exuding a sense of endlessness of time. Celestial symbols such as the sun, moon and other zodiac signs are also common themes for rangoli. Layered with symbolism is the lotus denoting Goddess Lakshmi, the unfolding of life, the heart or the wheel.

During Diwali, two interfaced triangles are created that indicates the deity of learning, Sarswati. Encircling this is a 24-petal lotus flower border, the outer circle being decorated with Lakshmi's footprints repeated in four corners. Sometimes the lotus petals are made in a triangular shape for variety. In north Bihar, Lakshmi's feet are drawn at the door, the toes pointing inwards to indicate her entrance. Again in Andhra Pradesh there is an eight-petal lotus (ashtadal kamal) and many geometric patterns forming the lotus. In Tamil Nadu the hridaya kamalam is an eightpointed star meaning lotus of the heart. In Maharasthra too the lotus is a basic motif and designs like shankh kamal - shell lotus and thabak which means salver is in the shape of an eight-petal lotus with straight lines elaborated with curving lines to give it the appearance of a salver. In Gujarat alone there are said to be 1001 variations of the lotus that are drawn during Diwali, the festival when Goddess Lakshmi is worshiped. Other motifs are swastikas and conch shells. All over the southern part of India the Diwali festival is marked by gaiety and prosperity. The rangolis drawn are peripheral. Most Rangolis are basically geometric patterns formed with dots and lines to make squares, circles, swastikas, lotus, trident, fish, conch shell footprints, creepers, trees bear testimony both to individual genius and communityThis makes rangoli a representation of India’s rich heritage and the fact that it is a land of festivals and colour.

There are two primary ways to make a rangoli, dry and wet, referring to the materials used to create the outline and (if desired) fill that with colour. Using a white material like chalk, sand, paint or flour, the artist marks a centre-point on the ground and cardinal points around it, usually in a square, hexagon or circle depending on region and personal preference. The base material is usually dry or wet powdered rice or dry flour, to which sindoor (vermilion), haldi (turmeric), and other natural colours can be added. Chemical colors are a modern variation. Other materials include colored sand, pastel crayons, poster colours, red brick powder and even flowers and petals, as in the case of flower rangolis.

On special occasions, especially in Tamilnadu, the white kolam designs were made with wet rice flour paste and are accompanied by thick strips of earth coloured borders made with red sand mixed with water. The white represents Shiva and the red represents Shakthi.

They can even be free hand drawings that most people do these days. Ramifying that initially-simple pattern creates what is often an intricate and beautiful design. Motifs from nature (leaves, petals, feathers) and geometric patterns are common. Less common but by no means rare are representational forms (like a peacock, icon or landscape). "Readymade Rangoli" patterns, often as stencils or stickers, are becoming common, making it easier to create detailed or precise designs.

Once the outline is complete, the artist may choose to illuminate it with colour, again using either wet or dry ingredients like paints, coloured rice-water, gypsum powder, coloured sand or dry pigments.   The artist might also choose unprocessed materials like seeds, grains, spices, leaves or flower petals to achieve lifelike hues. Modern materials like crayons, dyes or dyed fabrics, acrylic paints and artificial colouring agents are also becoming common, allowing for brilliant and vibrant colour choices. A newer but less artificial method involves using cement coloured with marble powder. This rather precise method requires training, but beautiful portraits can be drawn in this medium.

Shape, design and material can be influenced by regional traditions. A square grid is common in North India as is a hexagonal grid in South India; Onam Rangolis are typically circular. In North India, the colour is most often based on gypsum (chirodi), in the South India on rice flour and Onam Rangolis are typically flower based. The rapid and widespread migration and mixing of people within India can be seen by the way these styles are now freely adopted and mixed across the country. It is also becoming common to see experimentation like sawdust-based floating Rangolis, freeform designs and exotic materials.

Patterns used as threshold designs are also used as tattoo designs and the angular versions are more commonly used for that purpose. The threshold versions are more rounded and are closer to the original cord decorations.