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Like much of the craftmanship of the Malay world, the motifs for the telepuk cloth are derived from nature. This is reflected in their names: from flowers (e.g. Bunga Tanjung, Bunga Raya, Bunga Cempaka), to fruits and herbs (e.g. Tampuk Manggis, Pucuk Rebung, Buah Dadu), to other natural elements (e.g. Awan Larat, Sarang Tebuan, Teluk Berantai). In addition, like the other crafts whose methods could accommodate such designs, Arabic calligraphy has also been a source for motifs.

As these motifs are meant to be foiled onto woven cloth, their shape and size must harmonize with the existing features of the fabric. The main stamping patterns – checkerboard or tiled; triangular; and long border – describes how the individual motifs are organized and grouped together within the boundaries of the stamping. These stamping patterns themselves will follow the positioning dictated by the cloth’s features. For example, checkerboard stamping is guided by the weave patterns of the main body of the cloth. This pattern would call for motifs of a regular and even shape such as a square, a circle or a six-to-eight-pointed motif. Triangular patterns demarcate the front and back sections, and motifs used here may be a little more loose, such as motifs representing leaves and ferns. These can be combined with the regular-sized motifs, within the borders of the triangle. Loose and flowing motifs meanwhile are preferred for the long borders.

Occasionally irregular motifs such as butterflies and moths in flight are used to great effect, to contrast with the rest of the pattern. Mandala arrangements also can be found in lieu of tiled patterns in the northern Malay kingdoms such as Pattani.