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This 4 page Class Notes was uploaded by Miss Carlie Wiza on Saturday October 3, 2015. The Class Notes belongs to AMM210 at California State Polytechnic University taught by HyunjooIm in Fall. Since its upload, it has received 25 views. For similar materials see /class/218106/amm210-california-state-polytechnic-university in Apparel Merchandising & Management at California State Polytechnic University.
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Date Created: 10/03/15
Lecture 7 Complexity Order Novelty unit identifiable part of the form color a stripe in a print a shape created by garment layout parts that achieve some measure of distinctiveness or separation from surround unit modi ers number direction size visual weight spatial position 2 Gestalt principles explain how people perceive forms 1he whole is different from the sum of parts a Similarity of units grouping of units due to sameness b Proximity of units grouping of units due to sameness and closeness in space 0 Closure of units perception of implied shapes that are not enclosed forms d Continuation of units the following of a direct path or line without an interruption or break e Interaction of above 3 Gestalt principles affect aesthetic experience of people by l decreasing level of complexity 2 decreasing perceived number of units and 3 increasing cohesion 4 Complexity the degree of stimulation of units the degree of dissimilarity of units the level of organization in the arrangement of units a Preferred level of complexity why we do not like too complex or too simple stimuli Berlyne s inverted U shaped relationship between complexity and pleasure b Determinants of complexity number of units number of identi able parts of the form degree of interest amount of stimulation provided to the nervous system cohesion among the units sameness of units similarity order part relationship consists of units that separate out from each other due to different units andor arrangements whole relationshipmarked by aninitial blending of the units due to same units andor arrangement 5 Pleasure complexity positioning Types of goods basic products with little demand for changes in their simple styling classic stable styles with integrity of design and versitilitycoordinationg easily with other products fashion products with more complex styling that experience change post modern goods more complex exaggerated styles containing planned organization among the parts though organization may be less apparent and their positioning in the pleasurecomplexity curve 6 Novelty perceived newness of the units and their organization a Preferred level of novelty simple novel or complex familiar b Different perception of novelty in different cultures 7 Complexity and Novelty l combination of levels of complexity and novelty and 2 its relationship with pleasure level You should be able to demonstrate your understanding of these relationships Lecture 8 amp 9 Principles of design amp Personality 1 Design principles affect l cohesion of the form and level of complexity which in turn affects the level of pleasure Think about the inverted U relationship between complexity and pleasure and how design principles can in uence perceivers aesthetic experience 2 10 Design principles Repetition the simplest principle directional effect major contributor to synthesizing principles line and space texture shape and form Parallelism lines are spaced equidistant at all points line space shape has repetition pleats shirring tucks trims Sequence following of different things one after another in speci c order more decorative than structural use may or may not use repetition directional line and space Harmonyan agreement in feeling a consistency in mood a pleasing combination of differing things used in compatible ways design elements relate to and complement each other repeating patterns creates overall image more consistent Transition smooth even continuous change of the quality of an element no breakpoint directional structural seams darts edges aes and draping are the contributors Concentricitysequence of consecutively larger shapes same center more decorative purpose Balance feeling of even distribution of visual weight within a form formal vs informal direction horizontal veritcal radial allover stability and security Formal weighted equally on each side least complex Informal by placing units of different weight can add complexity and interest Radial the arrangement of units around or originationg from a central point greater complexity All over balance no beginning or end no particular focal point Proportioncomparative relationship of distances sizes amounts degrees or parts can be in uenced by scale of units in proportion vs out of proportion golden section Rhythm the feeling of organized movement created by the movement of our eye across repeating units in a form factors affecting rhythm pace pattern alternating pattern progressive pattern Pace impression of speed or action implied in the repetition of units created by the number of units used and the distance between them Emphasisa focal point an area that attracts viewers attention a result of strong use of rhythm proportion or balance achieved by contrast isolation placement LOOK IN LECTURE FOR U pattern and pace of rhythm D 3 different waysto use emphasis D golden section proportion D 3 types of balance and how they differ in terms of complexityinterest level 3 Personality the total characteristics that distinguist an individual a Apparel choice or purchase behavior could demonstrate personality of the wearer decorative clothing very sociable comfort clothing selfcon dent economic buying responsible b Yin amp Yang traits ancient chinese cosmology the balance of opposite forces in the universe Yin EXPRESSIVE feminine delicate passive gentle soft weak friendly cold moon PHYSICAL young slender smallboned curved CLOTHINGampPERSONALITY ruf esamplaces intricate details curved line continuous rhythm pastel grayish color Yang EXPRESSIVE masculinity dominant active tough hard strong formal hot sun PHYSICAL mature tall largeboned angular CLOTHINGampPERSONALITY simple lines simple details straight lines bold color c 6 personality examples Ingenue delicate youthful conforming shy insecure Appearance pretty young girl with softly curling hair gently rounded gure pinkampwhite skin Typical dress rounded silhouette soft fabrics and pastels gathered fullness rococo curves Gamine carefree unique vulnerable spontaneous enthusiastic Appearance young girl with casual manner natural hairstyles and naturaltanned skin Typical dress informal casual comfortable clothes pleated skirts short jackets plaids and smallscale athletic look Romantic Graceful Endearing Indirect Charming Sensitive Appearance beautiful gurerich coloring of hair and eyesfair skin and sophisticated femininity Typical dress glamorous feminine fashions tted bodicevelvet Classic classic simple mature practical organized Appearnace classic regular features dignity combined with feminine charm poised gracious manner clear skin Typical dress tailored lines simple restrained no extremes of fashion Athletic casual open trustworth responsible direct Appearance strong athletic build casual and simple hairstyle tannednatural skin Typical dress simple styles emphasis on belts pockets or buttons comfortable clothes earthly tones Dramatic energetic creative decisive independent sophisticated Appearance tall high fashion gures angular striking features darkolive skin Typical dress extreme high fashion restrained curved lines bold contrasts of color extreme hats Lecture 10 Body types 1 Ideal body a Greek ideal body 7 128 heads tall fullest part of the hipline at wrist level b Historical change of the ideal beauty the ideal beauty is closely related to the popular ideology cultural norm socioeconomic situation The ideal beauty is thus not absolute and objective but culturally and socially construed 2 Body type analysis by proportion a Front width viewthe width of hips waist and shoulders A full hips pear shape X widersame shoulders and hips narrow waist H same shoulders hips and waist V wider shoulders narrow hips b Side width view r i b d c Front length view W Y d Head width view FB vs SS 3 Body type analysis by body build a Ectomorphic nervous tissues slender angular slight muscles long limbs linear b Mesomorphic muscular tissues large bones de ned muscles low fat levels c Endomorphic digestive tissues larger number of fat cells round soft Lecture 11 Balancing Techniques amp Body Image 1 Balancing Techniques create illusions using apparel to make the wearer look closer to the ideal beauty of the society a Basics emphasize the ideal part of the body deemphasize less ideal areas b Areas out of proportion reduce the size of them when large increase the size of them when small c Outer shape silhouette of apparel to compromise the body type d Inner shape details such as seams hems patterns yokes etc e Surface design visual weightemphasis texture ex Bulky texture for smaller areas 2 Body types and balancing techniques read the lecture notes and the textbook to learn about useful techniques for each body types Keep in mind that all techniques follow the basic rules for balancing techniques a See the study guide for balancing technique 3 Body image internal subjective attributes of appearance feelings evaluations affect a Perceptual body image size perception b Attitudinal affective body image selfrating evaluations centrality 4 Body image theories Social comparison theory selfideal discrepancy theory interpersonal approaches 5 Appearance management behavior routine amp extreme behavior Lecture 12 Abstractng across products amp forecasting l Abstracting across products a Identifying underlying similarities of products As a result we can describe similarities or differences of a majority of the forms b Within a collection you can identify aesthetics of the collection through this process c When abstracting across products is repeated over time you can see the change of similarities which is a trend analysis 2 French designers Fine tailoring exquisite high quality materials a Chanel innovator Flat silhouette deemphasize X shape details belt chain gold create focus ofthe design i Karl Lagerfeld Creative director of Chanel His own collection has a postmodern style b Christian Dior New look X type Fine tailoringRomantic and dressy i John Galliano Creative director of CD Excellent draping skillsPostmodern dramatic extreme femininity c Yves Saint Laurent Thin and soft texture Geometric simpler shapes Monotones d Ungaro Baroque Soft and draperyRoundness and volumeSoft texture Multi color organic prints e Christian Lacroix Neobaroque style Exaggerated shapes Elaborate shapes and details Historical inspirations f PacoRabanne Experimental Contemporary materialsMetals 3 Italian designers Use of thick materials Fine leather and suede a Valentino Italian leather and suede Mixed texture Valentino Garavam39 7F amous for his elegant dresses Popular choices for celebrity Famous Real dresses b Fendi Fur plush texture Innovative techniques with furWarm colors Loosely contours body Also designed by Karl Lagerfeld c Giorgio Armani Indeterminate lines Unconstructed tailoringWhole relationshipSimple shapeSoft drapable texture d Missoni Complex knit surface patterns Soft texture Simple layouts e Gianni Versace Intense colors Emphasis on the surfaceCurvilinear linesSexuality and exaggerated detailsBold design informal balance 4 American designers Casual sporty functional Massproduction a Calvin Klein simple layouts low intensity colors monochromatic F irmer hand fabric than Armani b Donna Karan Simple layout more diagonal curved lines than CK Soft drapable texture c Ralph Lauren Soft fabric Conservative and timelessClear inspirations of collections d Anna Sui Eclectic styling VintageComplex surface designIndeterminate surface 5 Japanese designers Experimental Wearable art approaches In uence of Japanese traditional clothes nontraditional construction of garments a Issey Miyake Novel materials Pleated surfaceTexture by surface design b Kenzo Larger prints ColorfulInspired by Japanese traditional prints c Yohji Yamamoto Big panels and spaces Abundant fabric wraps the body Drapery 6 Fashion forecasting a systematic analysis of 1 direction of change 2 rate of change and 3 breadth of offering a Forecasting or trend can be observed when you abstract products of a season over time b Check the slide for the table and numbers You should be able to read the table and interpret the data
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