Traditional weaving is considered one of the industries that has a long history and has had a special place in Iranian culture from the distant past to the present. In addition to providing clothing and apparel, this art and industry has served as a platform for the creativity and artistic taste of weavers and artists in different eras. Handmade fabrics and traditional textiles in general are woven with the help of weaving machines of two-thread, four-thread, eight-thread to hand-made jacquard. The fabrics produced have various types such as zari, velvet, cashmere, ikat or daari, jajim, tobaf and other types of woolen, cotton and silk hand-woven fabrics that have been produced in different regions of Iran. Towel weaving or tobaf is one of the traditional textile fields that has a long history in South Khorasan. This art and industry has been common in most villages of South Khorasan and has played an important role in the self-sufficiency of its residents. Today, towel weaving is carried out as in the past using traditional two- or four-way machines and simple tools and daftin with regular hand and foot movements, which has led to the weaving and production of various colored fabrics and the creation of different patterns on the fabric. Accordingly, the question has been raised as to how towel weaving in the village of Khorashad was done and what features and patterns were used? The aim of the present research has been to examine the handwoven fabrics of the village of Khorashad in order to get acquainted with this art-industry and preserve it. The research conducted was of an analytical and descriptive type, and the field study has helped the authors in this research to analyze better and deeper. This analysis has included examining the patterns, finding their origins and naming them based on the indigenous culture of the region. Attention has also been paid to the type and method of weaving with regard to the structure of the towel weaving machine and the dependence of the patterns on the weaving method and the quality of the weaving machines, as well as recognizing the features and limitations of this art, and finally providing suggestions for weaving artists. The data collection in this study was carried out from two main sources. First, a study of library resources that dealt with identifying motifs, symbols, weaving methods and traditional arts of the region to extract key concepts related to the art of weaving; and second, a field study through photographing existing towel samples and visiting workshops, weavers and talking to artists in the village of Khorashad, which led to a better understanding of the personal experiences of the artists in the region and the current state of this art. The motifs of the fabrics of the village of Khorashad include two types of simple and patterned designs, which are named after the names of these motifs, such as Cheshm Chaghoki, Genti, Kulu, Kajrah and Kheshti. The weaver artist, by carefully looking at the surrounding nature and taking advantage of its shapes, created new designs for the weaves and named them in accordance with the weaver's mentality and local words and vocabulary. Studies have shown that there is not much variation in the designs and it seems that the artists have woven the designs in the same way that they have been passed down from generation to generation. One of the reasons for this is the structure of the loom, which does not allow for much variety and flexibility in the design. At the same time, creativity has been focused on using different yarns, combining and using various colored yarns in the towels.