1Part TwoPart TwoThe Designer’s ToolboxChapter 4Chapter 4The Design Process: Structural DesignLearning ObjectivesLearning ObjectivesSteps that move from a project brief to design development The design process as a series of interlocking stages from structural and functional design to decorative designBrannon Chapter 4 ©2011 Fairchild Books, A Division of Condé Nast 3Role of the design elements in the development of a garment’s silhouette and structure Role of the design principles in evaluating the garment’s silhouette and structure How Does the How Does the Designer Begin?Designer Begin?Step 1: Analyze the assignment Step 2: Look for inspiration pStep 3: Be sure project parameters are clear Step 4: Consider the design principle unity Step 5: Use the design elements to generate design ideas Brannon Chapter 4 ©2011 Fairchild Books, A Division of Condé Nast 4The Design ProcessThe Design ProcessTwo sets of tools:• Design elements manipulated by the designerline shapedesigner —line, shape and/or form, space, color, texture, and pattern —• Design principles that help designers evaluate their work — proportion, balance, rhythm, emphasis, and unityBrannon Chapter 4 ©2011 Fairchild Books, A Division of Condé Nast 5Stage 1: Structural Stage 1: Structural and Functional and Functional DesignDesignWork with the design elements shape, form, space, and line to create the silhouetteEstablish the fitConsider the way a wearer puts on and off a garmentBrannon Chapter 4 ©2011 Fairchild Books, A Division of Condé Nast 62Stage 2: AestheticsStage 2: AestheticsUse the design principles proportion, balance, rhythm, and emphasis as guides in assessing the structural and functional designMake any necessary revisionsBrannon Chapter 4 ©2011 Fairchild Books, A Division of Condé Nast 7Stage 3: Decorative Stage 3: Decorative DesignDesignUse the design to reinforce or enhance the structural design, including selection of the fabric and color and addition of trim, ornament, or embellishmentsBrannon Chapter 4 ©2011 Fairchild Books, A Division of Condé Nast 8Stage 4: AppealStage 4: AppealEvaluate the success of the design in terms of the design principles, its match with the tastes of the target market, and its fit within the limitations set out in the project briefBrannon Chapter 4 ©2011 Fairchild Books, A Division of Condé Nast 9The SilhouetteThe SilhouetteTo understand silhouette, consider shape, form, and space Ease, the designer’s term for the space between the body and the garment, has two forms•Wearing easeDi ’•Designer’s easeBrannon Chapter 4 ©2011 Fairchild Books, A Division of Condé Nast 10Seams, Darts, and Seams, Darts, and EdgesEdgesFabric is a flat, two-dimensional construction that must be shaped by seams and darts into a soft sculpture that relates to the human bodyBrannon Chapter 4 ©2011 Fairchild Books, A Division of Condé Nast 123Working with LineWorking with LineThe edge of an object makes a line Fttldi lFor structural design only line direction, line length, and line path need to be consideredBrannon Chapter 4 ©2011 Fairchild Books, A Division of Condé Nast 13Working with LineWorking with LineLine direction — vertical, horizontal, or diagonal —leads the eye and to conveys meaningconveys meaningPath — straight lines or curved lines — can be simple or complexBrannon Chapter 4 ©2011 Fairchild Books, A Division of Condé Nast 14Working with SpaceWorking with SpaceInside a shape is called positive space (filled space) because it is bounded by the linebounded by the line The area around the shape is called negative space (unfilled space) because it is unboundedBrannon Chapter 4 ©2011 Fairchild Books, A Division of Condé Nast 15Design PrinciplesDesign PrinciplesAesthetic judgment results from consideration of the design principlesNot rules or guidelinesComparisons leading designers to accept a design as is, make changes, or discardBrannon Chapter 4 ©2011 Fairchild Books, A Division of Condé Nast 16ProportionProportionCompares distances, sizes, and quantitiesThe Golden Mean is 1 toThe Golden Mean is 1 to 1.618 Designers approximate as 3:5 or 5:8Brannon Chapter 4 ©2011 Fairchild Books, A Division of Condé Nast 17ProportionProportionBetween the part and the wholeWithin one partWithin one partAmong partsThe whole to the environmentBrannon Chapter 4 ©2011 Fairchild Books, A Division of Condé Nast 184BalanceBalanceVisual balance = distribution of weight within a designThe human body exhibits both symmetrical (formal) balance and asymmetrical (informal) balanceBrannon Chapter 4 ©2011 Fairchild Books, A Division of Condé Nast 19BalanceBalanceThe perception of visual weight creates a feeling of equilibriumBalance seeks to satisfy the human eye’s quest for stabilityBrannon Chapter 4 ©2011 Fairchild Books, A Division of Condé Nast 20BalanceBalanceRadial balance spins out from a center pointAllover pattern obscures the usual comparisons associated with balance Brannon Chapter 4 ©2011 Fairchild Books, A Division of Condé Nast 21RhythmRhythmVisual rhythm implies movement.* Can be part of the structural design (e.g. g(gpleats, tucks, buttons for opening) or decorative (e.g. trim, beading)Pace implies the sense of speed caused by the number of objects and the space between themBrannon Chapter 4 ©2011 Fairchild Books, A Division of Condé Nast 22RhythmRhythmThe most common form of visual rhythm is repetitionRhythmic variations•Parallelism•Alternation•Sequence•Gradation•RadiationBrannon Chapter 4 ©2011 Fairchild Books, A Division of Condé Nast 23 Brannon Chapter 4 ©2011 Fairchild Books, A Division of Condé Nast 245EmphasisEmphasisThe designer decides where to place the center of interest (focal point)Techniques used to create a focal point include:•Contrast•Isolation•Concentric shapesBrannon Chapter 4 ©2011 Fairchild Books, A Division of Condé Nast 25EmphasisEmphasisConcentric ShapeIsolationContrastBrannon Chapter 4 ©2011 Fairchild Books, A Division of Condé Nast 26Round and RoundRound and RoundA center, whether the innermost circle of a target or the intersection of rays, automatically draws the eye to create a focal point — the essence of the principle of emphasisThe placement of the center in relationship to the body becomes one of the key decision pointsBrannon Chapter 4 ©2011 Fairchild Books, A Division of Condé Nast 27Chapter SummaryChapter SummarySuccessful design begins with understanding the assignment