Design & Colour Concept & Its Composition Part-A

8/11/2019 Design & Colour Concept & Its Composition Part-A

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BSC Degree in Textile Design

1stYear

Design & Color Concept & its

Composition Part-A


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INDEX

Unit I .................................................... 3

Lesson 1: Elements of Design-

Introduction ............................................ 4

Lesson 2: Elements of Design .................. 7

Lesson 3: Texture .................................. 30

Lesson 4: Value and Color ..................... 38

Lesson 5: Value ..................................... 51

Unit II ................................................ 57

Lesson 6: The Principles of Design ........ 58

Unit III ............................................... 76

Lesson 7: Practical Exercises on Color ... 77

Lesson 8: Practical Exercise- Elements ofDesign ................................................... 81


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Unit I

Lesson 1: Elements of Design

IntroductionLesson 2: Elements of Design

Lesson 3: Texture

Lesson 4: Value and Color

Lesson 5: Value


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Lesson 1:Elements of

Design-Introduction

Objective:

Designing is the process of combining known

components in different ways to create newproducts or effects. The elements andprinciples of design are the components thedesigners employ in all forms of art anddesign, including fashion, architecture,graphic design, painting and sculpture, evenmusic and poetry. An understanding of how

the elements and principles work, and how tomanipulate them, enables the designer tocreate different visual effects, and to analyzeand appreciate all art forms.

Structure:

1.1 Elements and Principles

1.1 Elements and Principles

Every visual design can be broken down into fivebasic components, known as the elements of

design. These are1.

Line

2.

Shape

3.Value

4.Color

5.

Texture


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Design elements can be compared to the letters ofthe alphabet. Twenty-six letters form the basis ofour written language, and can be rearranged andused in different combinations to create hundreds ofwords with many different meaning; so too can theelements of design be arranged and organized inmany ways to create an infinite variety of designs.

The Principles of design are the ways in whichdesign elements may be used. These principles are :

1. Repetition

2. Gradation

3. Rhythm

4. Radiation

5. Harmony

6. Contrast

7. Dominance

8. Proportion

9. Balance

10. Unity

Different design theorists may group the elementsand principles differently and may also use slightlydifferent terminology. Visual design affects usemotionally and psychologically because our sensesand instincts react to every design we see.

The elements and principles may be used on agarment in one of the two ways; Structural userefers to those methods which are used in the actualconstruction of garment, such as seams, darts,panels, openings, pleats, tucks hemlines and on.Structural details are more noticeable on garments

with plain fabrics and minimal trims. The other useof elements and principles is through decorative


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application. A detail is decorative if it can beremoved without interfering with the underlyinggarment structure. These treatments include piping,beading, embroidery, textile design, braids, lace,trims, buttons and other trims which tend to beused as a decorative finish only.

In a successful design, the structure and decorationof a garment are in harmony with each other andwith the functions of the garment.


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b)

Dividing; Line can divide large areas andmake shapes or connect shapes and garmentparts.

c) Psychological effect: We respond to thequality and character of a line by associatingdifferent types of line with certain emotionaland psychological states.

Repeated sharp zigzags are disturbing, like lightningand their movement is too violent for heavy use inclothing. A design may use soft curves to softentheir impact to create a forceful design.

A thick line seems to convey strength and alertness,while a thin line implies weakness or delicacy; an

uneven line conveys uncertainty, while a straightline implies firmness and surveys.

The type of line used should suit all the otheraspects of the garment. For instance, a wide neckband and sleeve edge may be suitable for a strongsimple fabric like linen, but may look too severe orheavy on delicate chiffon. For chiffon, a narrow band

on sleeves and neckline would be more suitable.Similarly a bold zigzag print may be too aggressive


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on a casual summer dress, but would like moreappropriate on a dramatic evening gown.

d)

Optical illusion: Lines may cause visualdistortions, which affect the way a garmentappears when being worn. Depending on theskill of the designer, these effects mayconceal figure problems or exaggerate them.


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For example, vertical lines create the illusion ofheight, elegance and slimness because they lead theeye up and down; while horizontal lines emphasizeshortness and with because of their side to sidemovement.

A vertical line also appears longer than the sameline used horizontally; so vertical stripes are usuallymore flattering than horizontal stripes.

Curved lines can also create illusions. Because amuch curved line, makes the figure look rounderand fuller than a slightly curved line. Slightly flattercurves are more flattering.

Two lines making an angle create strong directionaleffects. A narrow angle draws the eye down intothenarrow point, where as a wider angle draws the

eye out and emphasizes width.


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LineComposition


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and three- dimensional areas, as the body turns,moulds and moves.

Garments have a three dimensional form that theyare viewed from the pronto, back and sides spaceand shape feature in the structural and decorativefeatures of the garment-the pockets buttons, collarsand spend lines.

There are 3 basic types of shapes

a)

Natural:These shapes re found in nature andliving things. They are usually curved andorganic and may be a random appearance

b) Geometric: These shapes include circlesquares, rectangles ovals. They are regular and

can be easily measured. And able to beconstructed mathematically.


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c)Non-objective or abstract:These are eithergeometric or natural and are generally human-made or accidental.

Like lines, shapes too cause different sensoryresponses.

The regular, strong angles and straight lines ofcubes, rectangles and Squares appear stable,confident and powerful.

The sharp angles and diagonal lines of lozengesad pyramids seen unstable

But more existing.

Unequal geometric shapes are more interesting.

Curved shapes suggest felinity and confidence,and are subtly intriguing

With their gentle changes indirection.


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Natural Silhouette

Abstract Silhouette


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Geometrical Silhouette


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The side seams, shoulder line, waist line and hemlineall work together to create a strong shape or thesilhouette.

A basic silhouette can be changed by moving thewaistline; raising or lowering the sleeve, Jackets,trouser and skirt lengths; or by widening ornarrowing shoulder, sleeve, trouser legs or skir

Techniques such as padding on shoulders and hips,dropping, gathers and contour lines also createexaggerated visions of the basic silhouette.

Fashion trends can be clearly observed by changes

in silhouette over the centuries. Within these sevencategories, there are endless variations in length,waistline position, fullness and proportion.

Mens fashions silhouettes also change from bodyhugging to baggy with changes in detail includingwidth of the neckties, cuffs, lapels, trouser legs.

There are seven silhouettes:

Tube (rectangle),Box (square),A-line (trapeze),Wedge, Hour glass, Bell, Back fullness


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Back Fullness Sha e

Hour Glass ShapeBox Shape

Tube Shape


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A-Line ShapeWedge Shape


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Bell Shape Dress


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Lesson 3: Texture

Objective:

To acquire a knowledge about different surfacetextures

Structure:

3.1 Texture

3.2 Visual effects of texture

Introduction

Texture describes the nature of a surface. In fashion

designing, texture refers to the nature of thesurface of fabrics and trimmings used in a garment.It is important because consumers and firstattracted by the colour of a garment, thenautomatically reach out to determine whether theylike the feel of the fabric.

1.1 Texture

Texture is considered a design element because allfabrics have a surface texture which plays a majorrole in every garment design.


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a) Visual

Light falling into a surface can be seen as shadows,highlights, sheen etc. Light and shade play acrossknitted rough woven surfaces such as hessian cloth.Where as smooth surface such as satin have noshadows and reflect light. A cloth appearstransparent when light passes through its surface. Itappears opaque when no light passes through it.

Visual texture may also be applied to fabrics

through surface treatments such as printing,embroidery, smocking, quilting and appliqu.


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c) Audible

The friction created by fabric surfaces rubbing overeach other can be heard. The crisp rustle of silk isknown as scoop.

Textures suggest the age, personality, degree ofsophistication, wealth, occupation and life style ofthe wearer. E.g. Rough texture of cotton knits lookcasual.

Textures fall into a basic categories:

a) Rough / Matt

These textures are sporty, casual and comforting.Soft fluffy textures such as fleecy knits and lambswool seem to offer cosiness and comfort, while thecoarser textures of tweeds, hand knits andcorduroys suggest warmth and protection in casual,out door environments.


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b) Rough / Glossy

Rich, luxurious and glamorous fabrics such asshimmering lames, brocades, sequins and dupingsilks seem to reflect the right lights.

c) Smooth / Matt

Business like, official and mature, these textures areoften found in suiting fabrics, these are wisp andtightly woven. Fabrics with twill weave and

gabardine are of smooth matt textures.


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d) Smooth / Glossy

These textures are associated with young, fancy,slinky, evening wear e.g. Taffeta, silk and satin.

The mood vested by fabric texture must suit allother details of the garment, including the color,prospection, shape, decoration and the function ofthe garment.

1.2 Visual Effects of Texture

Textures create visual illusions that affect theappearance of the figure. Coarse and bulky textureshave an enlarging effect. Bold checks, wide Waleson corduroy, thick pile on fur and fluffy surfacesconceal body Contours and make the figure looklarger. Large bold texture can also overpower smallgarments or small figures so a texture must be incorrect

Proportion to the garment or trim for which it is tobe used.

Light weight fabrics with good drops such as satin,crepe jerseys are very revealing because they cling


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to the body. Light stiff fabrics such as taffeta,organza take on their form because they stand awayfrom the body, and are good for creating dramaticsilhouettes.

Smooth, plain surfaces tend to require moreconstruction and trimming detail to add interest tothe design. Dull textures are slimming because theyabsorb light. Smooth, shiny surfaces like satin seamto advances and endorse the figure.

They also make the color seem brighter than domatt surfaces e.g. Red satin is brighter and morenoticeable than red flannel.


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InText Questions:

1.

What are the three characteristics of textures?Explain with suitable examples?


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Lesson 4:Value and Color

Objective:

To Study about Color Theories and Moods

Structure:

4.1 Color Schemes

4.2 Visual Effects of Color

Color is one of the more important elements offashion design because it is the first thing we noticeabout a garment. A person with a normal vision candistinguish over 10,000 colors.

To experience color three factors must exist

a) Light- this is the source of color.

b) Surface, which reflects color.

c) Eye which perceives color.


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When white light is passed through the prism itbreaks up into seven colors of V(Violet), I(Indigo),B(Blue), G(green), Y(yellow), O(orange), R(red),VIBGYOR. These are called the colors of thespectrum.

Objects appear colored because their surfacesabsorb certain part of the spectrum and reflectother parts back to our eyes. For example we seered because the red is reflected into our eyes andthe rest of the spectrum is absorbed. A blue objectreflects blue and absorbs all other colors. A whitesurface reflects all the colors and a black surfaceabsorbs all the colors, reflecting no color back intoour eyes.

All colors have three characteristics:

a) Hue:This is the name of the colour such as red,yellow, blue, green. The term hue should not beinterchanged with the term color. Hue refers to onlyone dimension of color.

b) Value: is also called the tone. This is thelightness or darkness of the colour. It is the qualitywhich makes light blue different from dark blue.

If white is added to the Hue it because lighter. Morethe white is added, lighter the colour becomes. Thisis called the tint or pastel.


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If Black is added to the Hue it becomes darker. Morethe black added, darker the colour becomes. This iscalled the shade. For example.

White black

Pink Maroon

Tint Hue Shade

c) Chroma: is the purity of colour. It is the clarityintensity, brightness or dullness of a hue. It is thequality which makes yellow different ochre or

lemon. The colours of the spectrum are pure inchroma.

Selection of colour for a garment is governed bypersonal preference, season and commercial colourtrend. Many people have there complexion, hair andeye colours analyzed by professionals whorecommend the most flattering colour to wear.

Most colour systems divide human complexionpallets into warm toned skin colour which have ayellow under tone and cool toned skin colours whichhave blue undertone. The colours of the skin helpthe professionals to select the most suited colour ofthe garment.

Seasonal colours are selected by analyzing thetraditional favourites. Neutral colours such as black,


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Tertiary coloursare formed by mixing one primaryand one neighbouring secondary colour in equal

quantities i.e. red-orange, orange-yellow, yellow-green, green-blue, blue-violet and violet-red.

4.1 Colour Schemes

Colour schemes are the relationships between thedifferent colours in a design. It is the combination ofcolours that can be used to suit the eye and the

mood of an individual.

1. Achromatic colour scheme is the one, whichuses only black, white and grey as acombination. The effect may be soft or bold, butit is always smart.


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2.

Monochromatic Colour Scheme: is the onewhich uses the tints and shades created fromany one hue e.g. pink, red, maroon used

together.

3. Complementary Colour Scheme: uses thecolours opposite to each other on the colourwheel e.g. red and green. Blue and orange. Tintsor shades of the compliments can also be used.


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4.

Split complementary colour scheme:Consists of a hue and two hues on either side ofits complement e.g. red, blue green and yellow

green.

5.

Primary colour scheme: uses thecombination of the three primarycolours andtheir shades or tints. E.g. pink, sky blue andlemon or maroon, mustard and navy blue.

6. Secondary colour scheme: uses the

combination of the three secondary colours andtheir shades and tints e.g. peach, lavender andlight green.

7. Tertiary colour scheme: uses the combinationof any three tertiary colours on the colour wheele.g. red-orange, blue-violet, yellow-green.

NOTE:Primary, secondary and tertiary are alsocalled triad colour scheme as they form anequilateral triangle on the colour wheel.


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8.

Clash Complementary or Contrasting:Consists of a hue and any one hue to theright or left of its complement. E.g. blue, red-orange, Blue, orange yellow.


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9.

Analogous Colour Scheme: Uses any two orthree neighbouring hues on the colour wheel orany of their shades and tints. E.g. yellow, yellowgreen and green.

10.

Neutral Colour Scheme: Uses a hue which hasbeen diminished or neutralized by the additionsof black. This colour scheme usually consists ofbrowns.


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4.2 Visual Effects of Colour

Colours deceive the eye, they change continually

according to different light, surface, background andposition. Colour reacts with each other and to eachother. These reactions can create sometimes subtleand sometimes very strong visual illusions. Properusing and combining of colours can hide figureflaws:

1. Light Colours

a) Light colours make the areas seen larger.

b) Direct the views eye to the light area whencontrasted with a large area of dark colour.

c) When worn at the neck, they emphasize and call

attention to the face.


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2. Bright Colours

a) Bright colours stand out or pop out. Whencombined with dark or neutral colours, the brightcolour will attract the viewers eye and emphasizethe part of the body it converse.

b) Bright colours reflect on the face

c) Large areas of bright colours can cause eye

fatigue.


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3. Dark Colours

a) Dark colours recede, and make the part of the

body they cover seem smaller.

b) Figures with heavy hips are recommended towear dark coloured lowers; and those with a heavytop should wear dark uppers.


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Lesson 5:ValueObjective:

To study strength of color to create subtleillusions and various components of color.

Structure:5.1 The Value Key5.2 Visual Effects of Value

Value is to contrast of light and dark. The designerbalances the use and strength of colour to createsubtle illusions and is often called up onto matchand blend colours so that various components of anorbit are compatible.

Value is Measured in Two Ways: The value scalemeasures degree of lightness or darkness, and thevalue key measure the degree of harmony orcontrast created by combinations of light and dark.

Value Scale is a graded scale of nine tones rangingfrom white at the top and grey at the bottom. Thescale is divided as follows:

a) 1-3 (white to light grey)- High value

b) 4-6 (mid greys) - intermediate value

c) 7-9 (dark grey to black)- low value.


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Values are aid to be contrasting when for apart onthe scale e.g. 2 and 9; and harmonious when closetogether on the scale e.g.4 and 6.

White to Light Greys

Mid GreysIntermediate Value

5.1 The Value Key

Tonal combinations are know as value keys, and mybe major or minor

Depending on whether they contrast or harmonies

Minor keys are harmonious and use combinations,which are close together on the value scale, forexample 7, 8 and9. They are quiet and restrained.Major keys have strong contrasts and are bold andstriking, for example 1, 5 and 8 on the value scale.


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High Minor Key Intermediate Low Minor Key

Value keys work best when one tone dominates thedesign, and the others work to support and addinterest. When several or all tones are equallydominant, strong competition between them resultsin visual confusion and disunity.

5.2 Visual Effects of Value

Lightness or darkness in value creates visualillusions which affect the appearance of garments.Light tones make forms advance and appear larger,

while darker values appear to recede and reduce insize.

Knowledge of this effect can be used to visually altergarment and body proportions. A dark skirt teamedwith a light bodice creates quite a different effect toa light skirt with dark bodice, and can be used tohelp correct bottom-heavy or top-heavy figures.


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InText Question:

1.

What are the three characteristics of colour? Howdo we see colour?

2. What is value and what are its visual effects?

3.

What is a value key? Explain with diagrams.

4.

Explain with the help of colour wheel, the

primary secondary and tertiary colours.5.

Explain in detail the twelve colour schemes.


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Unit II

Lesson 6: The Principles of design


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Lesson 6:The Principles ofDesign

Objective:

To study the principles of design are the

techniques designs. Use to organize theelements of design.

Structure:

6.1 Repetition6.2 Gradation

6.3 Rhythm6.4 Radiation6.5 Harmony6.6 Contrast6.7 Dominance or Emphasis6.8 Proportion6.9 Balance

6.10 Unity

Principles of Design Work in 3 Ways:

1. Directional: Principles with movement, whichlead the eye over the design, are said to bedirectional. These include repetition, gradation,radiation and rhythm.

2. Highlighting:Principles draw attention to a partof a design and create a focal point e.g. radiationdominance/emphasis or contrast.

3. Synthesizing: The effect here is unity, withdesign details pulled together by repetition,gradation, harmony balance, proportion and unity.These principles draw the viewers attention to the


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common aspects of design; there by inter gratingand uniting them all.

6.1 Repetition

Introduction

Repetition occurs when a line, shape, space, value,color, texture is used more than once in a garment.Repetition is directional because the eye travelsover the repeated features, from one to the nextand so on. This movement emphasizes and linkscommon features in a design, thereby uniting thedesign.

Objective

To understand how a motif can be repeated again

and again in different styles to form a design.The symmetry of the human body ensures thatrepetition occurs to a certain degree in everygarment design. Left and right sides of the collar,lapel, sleeve and sometimes pockets are usuallyrepeated.

Structural use of repetition in a garment includespleats, gathers, darts, pockets, skirt lines, Yokes


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and panel lines. Trims can be easily repeated likebuttons, beading and braids.

Repetition is used in all printed, woven and printedfabrics. In printed fabrics, motifs are repeated indifferent ways producing different end results.

Repetition is of two types: Regular andirregular

1. Regular repetition: is the same in all aspects ofthe repeat and can be tedious if over used becauseof the lack of variety. There are six basic regularrepeats. These are a) straight repeat, b) verticalmirror repeat c) Horizontal mirror repeat d) verticalhalf drop/brick repeat e) Horizontal half drop repeat

f) rotational mirror repeat.A motif can be arranged and arranged using any ofthe above repeats.

2. Irregular repeat occurs when there are slightvariations in spacing between the repeated features.This introduces a degree of uncertainty into a

design, reduces the respective impact and is moreinteresting. Example Irregular repeat.

Gradation can be introduced in the garment in theform of pleats, darts, tucks, tiers, prints, 2.Gradation is variation of repetition. It is directionaland synthesizing. The eye follows the


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Rhythm is of the following types:

a) Regular rhythm follows an identical repetitivepattern.

b) Gradated rhythm follows a regular but

increasing or decreasing pattern. Similar to thewidening ripples caused by a stone thrown intowater. This effect is also known as concentricand can be seen into increasing layers of a tieredsprit.

c) Random rhythm occurs at irregular intervalsthroughout a design.

When line, shape space or color is usedrhythmically, its psychological, physical and visualnature becomes part of the rhythm. Flowinghemlines, gathers, frills, drapes, and curved seamsare used to create soft flowing rhythm. Pleats,stitching, trucks, and sharp folds create abrupt,

staccato rhythms. Trims such as Vic-rac, scallopededges and prints also create rhythmic effects.


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6.4 Radiation

Radiation is the outward movement in all directions

from a central point. This powerful movementspreading from the centre focuses interest on thecentre as well as the outer edges.The placement of any radiating element should becarefully handled or else it can be produce negativeeffect. For example, if a peplum at the widest pointof the hips, they may appear much larger. At the

same time the narrowness of the waist is highlighted because the tapering lines draw the eye tothat focal point.

Lines used at a similar angle or direction to eachother, led the eye in that direction.Lines can radiate in one direction, opposite

direction, several directions and all directions.Radiation is limited in use to live, shape and space.It is evident in draps, folds, darts, gathers, sunraypleats, flares, peplums and capes. Applied trims ofall sorts may be arranged in radiating lives. Bowsradiate from a centre point. Radiation works bestwhen used with restating and against a simple

background or else the garment will look very busyand restless.


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6.5 Harmony

Harmony occurs when one or more qualities of a

design are alike. These similar features are reheatedthroughout a design to create a feeling ofagreement and consistency. It is therefore asynthesizing principle.Shapes and spaces created by pockets, collars andcuffs will harmonies if they are soft and curved, orstraight and angular, in accordance with the major

form of the garment. When two colours are relatedto each other because they have one colour incommon for example red and orange both have redin common, harmony is said to exist. Red and greencan be used successfully if linked with the colours,which combine both, such as red brown or greenbrown. This linking process is known as transaction

and can be used with opposing lines, shapes,textures, tones or colors. For a garment to be inharmony, the occasion, climate, size, gender, age,personal coloring, lifestyle and personality, all needto be considered.


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6.6 Contrast:

Contrasts opposition, conflict, tension, pure contrast

exists when two or more features are totallyunrelated, having absently nothing in common.Tedium can occur in harmonious designs becauseeverything is same; in other words there is nofocus. A small amount of well-placed contrast canovercome tedium without distracting too much fromthere of the design.

Contrasting is a bright lighting principle because theextreme differences magnify and draw attention. Itcan be bold, exciting, or aggressive and disturbing.For this reason placement of contrasting features isimportant.


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6.7 Dominance or Emphasis:

Every design should have a focal point, a centre of

interest with a design mess age supported by theother features in the design.

A well-designed garment has one strong feature,which sets the them, or the mood, and the otherdetails follows to reinforce that mood. For example adress with a bold animal print needs very littledesigning detail because the print is dominant andany further additions would clutter the garment anddetract from the effect.

When there is no dominant feature, the eye becausebored and restless, and wanders over the garmentlooking for something to hold attention.

Elements and principles which have strongadvancing qualities dominate most successfullybecause they re more noticeable. Sharp, thick linesare more dominant than delicate their lines; shinytextures are more dominant than matt and warmand bright colours are more dominant than cool dullcolours.


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6.8 Proportion:

Proportion is the way all parts in a design related to

each other individually and to the design as a whole.Proportion is determined by Distances, sizes,amounts, degrees or parts.

The golden mean is accepted through out thewestern would as being the ratio of perfectproportion. It is useful because it provides a onmathematical means of dividing a design into

balanced segments.The golden mean works on the principle thatproportion is most pleasing when all areas of adesign are not exactly the same, but when there isa eye-satisfying relationship between the unequalparts.


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The golden mean is based on the proportions of 3;5;8;or 5;8;13. That is, the smaller part has thesame relationship to the larger part as the largerpart has to the whole. This ratio relates well to thefemale form. The ideal figure is approximately 8heads tall. With the natural division of the waistlinefalling at the 3/8 level from the top of the head, andthe remaining 5/8 section extending from the waistto the soles of the feet. When the natural waistlineis raised or lowered, of outer division are introducedthe Golden Men is helpful guide to creatingsatisfying proportions.

A figure problem is one which deviates from theideal proportions our society sets as its standardGarment proportions can be altered to visually

correct figure problems, especially when reinforcedwith the visual illusions created by line, tone and theother design elements and principles.

Different effects and styles can be created from onedesign idea by changing the proportionsThe figure looks tailor, slimmer and move youthful

with high waist and longer skirt.

Ever proportions emphasized square and make thefigure lock shorter.

The elongated torso creates the illusion of height,but draws attention to the things.

Therefore, a person who has a short body and longlegs can adjust those imperfect proportions bywearing belts and waistlines on the lower hip level,the by creating the illusion of more evenly, moreperfectly, proportioned badly and legs. Of course,

this can also exaggerate imperfect proportions. Theabove example of long legs and short body worldappear worse it belts and waistlines are raised so


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that the wearer appeared to have no body at all, butlegs which extend to the bristling. Colour proportioncan be varied according to the amount of huechromed land value used together. Different effectsare created according to the amount of green usedwith red, bright used with dull, or light used withdark. Colour changes within a garment also affectproportions because visual divisions are createdbetween the colours, Bulky textures must beconsidered in relation to the size of the space theyoccupy. They can appear heavy and clumsy whenused in very small amounts.

Scale is an aspect of proportion which deals onlywith the size of parts of a garment to the garmentas a whole and to the wears. The scale of garment

details is more effective when consistent forexample, mens shirt during the 1970s had largecuffs and collars and were worn with wide belts,wide ties, and flared pant. Conversely, small detailssuch as dainty pin tucks are usually termed withnarrow cuffs and collars and small buttons.

Scale also applies to fashion accessories. A hugehandbag on a petite woman looks oversized while ahandbag on a large woman looks ridiculously daintyand makes the wearer seem larger by comparison.However, a large handbag worn by large womenmay, through repetition, also emphasize her size.

The relative sizes of pockets, collars, sleeves, cuffs,peplums, belts, buttons, fabric prints or textures,and trims of all descriptions play an important rolein determining the success or failure of a garment. Agarment, which looks awkward or clumsy, maysimply need a slight adjustment in the scale of itscomponent parts to achieve perfection.


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6.9 Balance

IntroductionBalance occurs when the visual weight of differentparts of a design are equally distributed so as tocreate equilibrium. A sense of steadiness andstability prevails when a design is perfectlybalanced.The concept of visual balance is similar to that ofphysical balance where stability is achieved whenthe parts of a design are evenly distributed around abalance line or point. It really works just like a pairof scale.Balance is of two types 1) Formal and 2) Informal.Formal balance is symmetrical and occurs when oneside is repeated exactly on the other side of an axisor is reversed to become a mirror image. It ispredictable, stable and serene. Formal balancedraws attention to the features it repeats, and mayemphasize body irregularities because it encouragescomparison of one side to the other.

Informal balance is asymmetrical and occurs whenthe objects on both sides of the axis are equal in

visual weight but not identical. These differencesmay be simple variations or strongly contrasting,


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In Conclusion

The elements of Design are the tools a designer

works with. The elements are arranged according tothe Principles of Design to create a garment, whichis suitable for its intended use.

Although each elements and principle has beendealt with separately, they all work together tocreate the final effect. The success of a garment

relies on the combination of all of the parts of thedesign land they are all of equal importance.


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InText Questions:

1) Explain in detail the types of balance.

Learning Activity:

1) Draw 2 prints for a kitchen curtain

a) Having formal balanceb) Having informal balance.

2) Design 2 garments for a school going girl havingformal and informal balance.


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Unit III

Lesson 7 Practical Exercises on Color

Lesson 8 Practical Exercises - Elements ofDesigns


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Lesson 7:Practical Exerciseson Color

Structure:

7.1 Practical Exercises on Colour

Exercise - 1

1.

Each student is required to make a colour wheeland paint it with the colours (primary,

secondary, and tertiary) using poster paints; sizeof the cartridge sheet-A3 and diameter of thecircle 15 cm.

2.

The colour wheel should be painted by mixingand using red yellow and blue only. For example

mixing blue and yellow will make green; Postergreen will not be used. Similarly no other postercolour has to be used except Red, Blue, andYellow.

3. The secondary colours are supposed to be

approved by the teacher, so that the student isable to get correct tertiary, colours.


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Exercise - 2

1. Each student is required to create shades and

tints of any four colours on the colour wheel onsheet size-A3.

2. Mixing white to a hue forms tints and mixingblack to the hue forms shades. The student hasto be very careful while using black. Very tiny

quantities of black have to be used while makingshades. Five tints and five shades have to becreated as follows;

The change in colour has to be very gradual.

Exercise - 31. Each student is required to paint twelve colour

schemes. (Refer to the topic colour.)

2.

Any abstract, floral, geometric design has to bemade in a square of 10cm x 10 cm and approvedby the teacher.

3. This approved design has to be painted with allthe twelve colour schemes. There can be 2schemes on one sheet of A-3 size; so totalnumber of sheets will be 6 with two colourschemes one each sheet.

4.

Analyse how a single design differs with differentcolours and colour schemes.

Practical Exercise Repetition

Exercise 1

1.

Developing geometrical motifs/designs andtreating them with different mediums.


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Photostats of A + B will be pasted. In all repeatorder the first square will always be A (fig. 25).

7.

The teacher will select any one of the mostinteresting repeat order and the student willmake and end product using this repeated order.All the sixteen squares have to be shown on theend product. The dimension i.e. 12 x 12 can bereduced or enlarged.

Different mediums can be used to bring out thedesign on fabric e.g. fabric painting, spraypainting.Appliqu work, embroidery stencil and cut paperstickers etc.

Practical Exercise-Line

Exercise 1

1.The aim of the exercise list to denote differentmeanings through lines of varying thickness e.g.curved, straight, angular, spiral (Refer to topic on

Lines).

2. Each student has to make 25 in still concepts.Each concept has to make in a dimension of 3 x 3on a cartridge sheet in pencil, as shown.

3. The meanings should not be direct. For example,if Bellsor musicis written for concept No 2, itsincorrect. The teacher will select ten best conceptsout of twenty-five initial concepts. These 10concepts have to be painted using white posterpaints on black sheets of 8 x 8. Later these 8x8can be mounted on A3 size cartridge sheets. Moreexamples are shown for a better understanding.


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Lesson 8:Practical Exercise-Elements of Design

Structure:

8.1 Practical Exercises - Elements of Design

8.1Practical Exercises Elements of

Design

1.

There are five basic body types. a) Normal, b)tall land fate) tall and slim d) short and fate)short and slim.

2.

Prepare a T-figure for different body types asshow and treat it accordingly. For example.Stripes have to be thin with narrow spacing and

dark colours for a tall fat person. Floral printshave to be large and light/bright colours for ashort thin person. All the five body types have tobe treated separately under each heading.

3.

There will be six A3 size sheets in all. T-figures offive body types have to be made on each sheet.

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Sheet 1 will have figures treated withappropriate lines and colours.

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Sheet 2 will have figures treated withappropriate shades and colours.

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Sheet 3 will have figures treated withappropriate dots and colours.

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Sheet 4 will have figures treated withappropriate floral paints and colours.


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Sheet 5 will have figures treated withappropriate design details like collars andnecklines and silhouettes.

Practical Exercise

Textures

Exercise-1

1.

The students are required to pick up 50 surfaceimpressions from the surroundings on A4 sizebond sets. a) Twenty five impressions will bepicked up in black and white using HB pencils orblack crayons. b) Twenty-five impressions haveto be picked up using coloured pencils, crayonsor oil pastels.

2.

All the above fifty sheets have to be neatlybound.

Exercise-2

1.

Each student is required to create fifty surface

textures.

2.

On n sheet of 8x8 create textures usingdifferent mediums of colour like poster colour,crayons, oil pastels, colour pencils, oil paints.

3.

The above mediums of colour can be used alongwith different materials like-

- Thread - Tea leave - Comb Impression

- Leaf sugar - pin impression fevicol - rice

- Plaster of Paris - ribbons

- Foil - moli

- Sugi - bangles (broken)- Sand - tar coal


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-Wax

4.

Students are required to create interesting

surface effects by combining various mediums ofcolour with different materials.

5. Each of the fifty final sheets has to be mountedon a 10x10 hand made sheet and spiral bound.

CollageCollage a method of making pictures by arrangingand gluing things like newspaper cuttings, cloth, andphotographs onto a flat backing. A picture made likethis is called a collage. A collage can be also bedefined as a number of things under same category

brought to gather to create a special effect.Collages can be flat or three-dimensional. Flatcollages are the ones, which are created by pastingpictures. There is no textural effect given to suchcollages.

Three-dimensional collages are the ones where the

pictures are enhanced by using threads, beads,sequence, buttons, or any other kind of texturaleffects. The textures give a three-dimensional effectto the collage. A three-dimensional collage may ormay not have pictures.

Exercise1.

The students are required to prepare twocollages. They could be flat or 3-dimensional.

2.

Collage-1 is required to be prepared by usingfabrics like fabrics or compatible fabrics withsimilar colours are to be arranged in any

fashion. For example different tints of Red can


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be arranged in a floral shape by usinggeorgette, chiffons, net, lace etc.

3.

Collage-2 is prepared using waste material ofany kind, e.g. Broken bangles, broken crockeryetc. The waste material has to be arranged inany manner pleasing to the eye.

4. The size of the collages has to be-A3 size sheetof any kind mounted on a card board.

Design & Colour Concept & Its Composition Part-A

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Transcript of Design & Colour Concept & Its Composition Part-A