the design process: decorative features 1301/adm1301 wk5... · decorative features learning...
TRANSCRIPT
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Chapter 5
The Design Process: Decorative Features
Learning Objectives
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Color, texture, line, shape, and pattern in decorative design
Color wheel as a design tool
Fabric hand and drape
Pattern development from motif to arrangement to using plaids and prints
Critiquing a design’s overall appeal structurally, functionally, and decoratively
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Introduction When does a designer add color and fabric to silhouette and structure?
Some designers begin with fabric
Other designers begin designing first and then attach a sample or swatch
The silhouette represents the structural plan for the garment
Also includes functional design and fit and performance factors that add comfort
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Introduction
Details are sewn into the garment- topstitching, piping, tucks, ruffles, quilting
Trims are applied to the garment- braids, ribbons, beading, embellishments
Findings are necessary to complete the garment –buttons, zippers, thread
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The Decorative Effects of Color
Colors have multiple meanings and long histories
White light contains all the colors, each with its own wavelength in the electromagnetic spectrum
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The Color Wheel
Each hue represents a family of wavelengths
•Primary colors
•Secondary colors
•Tertiary colors
Each color has three distinctive characteristics:
•Hue
•Value
•Saturation
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Value, from Light to Dark
Each color on the color wheel appears at its normal value
White + color = tints
Black + color = shades
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Intensity, from Bright to Dull
The color wheel represents pure colors
Mixing in white or black reduces color intensity
A range of subtle neutrals result from mixing two complementary colors
The only true neutrals are white, black, and grey
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Color Temperature, from Warm to Cool
Colors from yellow to red-violet are called warm colors, and violet to yellow-green are called cool colors
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Color Schemes
• Monochromatic
• Analogous (a)
• Color complement (b)
• Double complement
• Adjacent complement
• Single split complement (c)
• Double split complement
• Triad (d)
• Tetrad
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Designing with Color
Color attracts attention
Adding color to a design is one of the key decorative decisions — influenced by the color forecast
Decision options multiply when using more complex color schemes
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The Decorative Effects of Texture
Texture plays a key part in turning attraction and evaluation into a purchase
Complex tradeoff between appearance, performance, functional characteristics, and price
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Fiber Content Fiber comes from natural or from manmade and synthetic sources
In blends, the disadvantages of one fiber are often offset by the characteristics of the other fiber
Microfibers are very fine
Staple fibers come from natural sources or chopping synthetics to short lengths
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Yarn Structure
Textile designers work with the variables of fiber, yarn twist, and yarn ply
Yarns can be twisted in either of two directions —S or Z
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Fabric Structure • Wovens- Warp( length)+Weft (cross)
• Knits
• Nonwovens
• Lace
• Non-fabrics
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Finishes Affect either the surface of the fabric or penetrate into the fibers
Some finishes change the appearance and the texture while others add a textural pattern to the fabric
Beyond decorative effects, finishes add performance characteristics
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Applied Surface Design
Novelty fabrics represent a tiny portion of a season’s offerings
May be stenciled, embroidered, beaded, fringed, appliquéd, stitched, or pierced with cutouts
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Designing with Texture
Textural characteristics
•Visible appearance characteristics
•Performance characteristics
Texture depends on the interaction with light
•Translucent fabrics
•Transparent fabrics
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The Decorative Effects of Pattern
A fabric designer can choose to incorporate pattern in four ways:
• Woven or knitted into the fabric structure
• Printed on fabric
• As the fabric itself (e.g., lace)
• Applied as surface decoration
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Pattern as Fabric Structure
• Plaids
• Stripes
• Warp or weft floats
• Pile fabrics engineered with loops of various heights
• Double weave fabrics
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Designing Prints
Motif: a decorative shape, figure, symbol, or design
Environment motifs can be realistic, naturalistic, or stylized
Abstract motifs stand alone without any recognizable connection to the natural or manmade world
Geometric motifs are derived from mathematical formulas
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Designing Prints
A motif repeated in a regular arrangement creates an allover pattern
Patterned fabrics
•Lace
•Embroidered fabric
•Quilting
•Embossed fabric
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Designing with Patterned Fabric
Analyze the pattern according to:
• Character of the motif
• Intricacy of the motif
• Size of the motif
• The spatial relationship between the motif and the background
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The Decorative Effects of Line
Three additional line variations lend themselves to decorative design:
• Thickness
• Continuity
• Consistency
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Evaluating Design Appeal
Step back and critique the design with a fresh viewpoint
The design principles — proportion, balance, rhythm, emphasis, and unity —provide the criteria for evaluation
Final decision to submit, revise, or discard the design
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Proportion Compares parts of the design to the whole in terms of distances, sizes, and quantities
Equal divisions are least interesting
Unequal but related divisions are most pleasing to the eye
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Scale
Size relationships between the design components, the entire garment, and the garment and the wearer
Decorative features “in scale” with the structural design and the human form promote the perception of unity
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Balance Symmetrical balance = Items identical in appearance and equal in weight appear on either side of a centerline
Asymmetrical balance = Items different in appearance and weight are arranged on either side of a centerline for a feeling of equal weight distribution
Radial balance = All items move outward from a center point
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Rhythm • Repetition
• Parallelism
• Alternation
• Sequence
• Gradation
• Radiation
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Emphasis The aspect of the design that attracts attention first becomes the center of interest or focal point
Too many attention-grabbing features can confuse the viewer unless one is dominant
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Unity Unity versus complexity and the consumer’s taste level
Ranges from similar components, to a medley of related influences, to a mixture that ignores harmony in favor of novelty
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Decision Time Not every design succeeds—look at each design with the eyes of a shopper
A designer must be canny and professional enough to send only the best into production
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Chapter Summary With structural and functional design developed and critiqued, the next stage is to develop the decorative features
When choosing fabric, consider texture, color, and pattern
Decorative details and trim add interest, define the areas of emphasis, and enhance the mood of the design
The design principles are useful criteria in critiquing the overall appeal of the design
Not every design succeeds but each does build the skills and experience of the designer
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