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Home » Articles » Modeling and design artwork for women's and children's clothing

Composition

COMPOSITION AS A CREATIVE PROCESS 

The process of creating compositions is very diverse. Each artist develops differently depending on the individual peculiarities of the author. However, a common feature of this process, like any creative process, is that it takes place in two stages, in two stages:
1. The beginning of the design.
2. Implementation of the idea in the composition.
  3амысел is formed in the imagination of the artist, imbued with a certain idea, a rough idea of the content and form of the future work to the practical work.
The source in the origin of the idea is subject, or task, which includes three main questions: 1) who creates clothing, i.e. takes into account gender, age and characteristics of human body; 2) what is the clothes, i.e., what is its utilitarian purpose; 3) what material is made the model, i.e. what fabrics, finishes, fittings will be used for the manufacture of clothing. For example, "Home a set of cotton fabrics for overweight women aged 40 to 50 years old", "Casual winter season wardrobe of a teenage girl" and other topics.
In addition, at the beginning of the design affects the creative artist's personality, his ability and willingness to identify what he considers the most important and significant to Express in the costume of certain feelings, moods, and associations. For example, set to stay according to the artist should look bright, colorful, and office suit is strict and elegant; the toilet for the anniversary of the date the author wants to inform the solemnity and evening ensemble - mysterious mystery, etc.
In the first stage of the work, the artist refers to various creative sources that nourish and enrich his imagination and fantasy, such as the life of modern society; the historical past of our people; the diverse nature of the country; the works of the classics of literature, art, film, theatre; the wealth of national folk art, etc. From these sources, the artist draws its ideas and images, using individual motifs, contributing to the maturation and refinement of the plan.
  Motive in the decorative art called decorative element underlying the composition and used as the driving force of the creative imagination. The nature of motive, its origins often set the style for the artistic solution to the costume.
A kind of source of inspiration are literature, cinema, theater. Impressions of the read books, viewed plays and films are often so strong that they completely capture the imagination of the artist vivid images. So, a favorite literary characters - Natasha and Petya Rostov - prompted the artist to create models of evening dresses for young girls (Fig. 13). Motifs women dresses in the style of "Empire" and a hussar uniform of the NINETEENTH century formed the basis of the plan.High waist, accented by a decorative element of gold embroidery in one model, double-breasted, high fastening and a jewelry belt buckle in the other models made them elegant, modern and trendy (in accordance with the direction of fashion, 1967). The prototype ensembles of clothing created by another artist, were his favorite characters during the civil war. The details of the soldier's coat and shirt, decorative items and silhouette of the burqa Budenny made a set of motifs used by the artist when developing compositions in ensembles (Annex 1, figure above).

Costume is often a source of artist. Its shape, proportions and General character it usually shows the spirit of the relevant time, companies. Therefore, referring to historic costume as a source to support modern modeling, you need to approach it critically in order to be able to rethink the forms of historical costume and modern clothing.
For example, such types of clothes like capes-capes, tunics with a variety of cutouts, colored stockings-tights have as its origin a medieval costume, but few see the finished modern models of the original prototype. Artists take from this source only the idea of form rather than specific details, and certainly not the nature of the suit.So, taking from the Gothic style the idea of a free of clothing with cutouts on its surface, French artists created models sundresses, strictly modern in style, made from synthetic materials and complemented by jerseys, emphasizing the sportiness of the sets (Fig. 14).

Time and again designers turned to the charms - men's outerwear EIGHTEENTH and NINETEENTH centuries, and its peculiar form of "princesses", attached at the waist and loose at the hips, slit at back, double collar, drape or wide lapels - all is ranged within a specific directional fashion.
An important source of the artist-designer is working with materials. Fully reveal all the quality of the material, identify its technological and artistic characteristics is possible only in the process of modeling. The artist gives the fabric a particular shape, looking for the most expressive arrangement of the pattern, selects the texture and color other materials, which can be used in combination with the main fabric to give an unusual and expressive combinations. The result of this work there is the idea, the General character of the composition model. Follow this process on several examples.
Soft, raised production of woolen cloth casual dress (Fig. 15), formed by fashion designer on the mannequin. The free end of the fabric thrown over a mannequin, suddenly determined the whole structure of the composition. The artist found not only the location of the expressive relief of the band, but the nature of the shaping Darts, finish, finally, the compositional focus is located asymmetrically plastron scarf.

For modelling of elegant dresses, the artist chose two fabrics with opposite shaping properties: dense, protruding silk and soft, elastic, thin crepe. A property of the first tissue to keep a tight beam of draping used by the artist as the main motive of the plan is to create a evening dress tapered silhouette with a pronounced asymmetry (Fig. 16).
Softness and elasticity of the crepe, lively play of light and shadow in the folds of the artist has led to the decision of dressy dresses with soft, rounded shapes of the bodice, a fan-shaped shallow pleats decorating the neck and sleeves (Fig. 17).
The source of the idea or of individual motives can serve a variety of auxiliary productions - lifescomprising of decorative and applied arts (ceramic and wooden crafts, tableware, toys), from the flowers, leaves, fruits, etc. Perception and careful study of the included in the setting items may affect the nature of the design, i.e. the shape and proportions of the model, choice of colors, texture of material and type of finish.
Here are some examples of creative solutions to plan arising from different artists on the basis of perception of the same setting.

Soft, quiet color decorative ceramic vessel, painted a deep black color (Fig. 18), identified the idea of one artist: song simple, elegant dress the main focus of which will be the collar of the black straight lines with slips into the placket of the zipper (Fig. 18,a). Another artist took a dramatic silhouette of a vessel, narrow at the top and extended downwards, and the contrast of the shiny black glaze and the rough surface of the vessel.These motives were the basis of the composition of everyday dresses with a precise shape, slightly high waist and a smooth trim cuts of dress (Fig. 18, b).
Colorful wooden toy - the stylized image of a giraffe, became a source of many decorative motifs to develop composition of children's clothes (Fig. 19). The set for girls of preschool age (Fig. 19, a) - line silhouette coat, in his articulation, design elements and decorative design of the kit is clearly visible relationship with the original. In the home set for a boy (Fig. 19, b) the image of the toy appeared in the fabric pattern (dark spots on a light background), in the form of rounded pockets, slits in side seams of shirts.
Still life - Golden ripe pear with brown twig and yellow-green leaves (Fig. 20) - its shape and beautiful shades of colors conjures up the landscapes of early autumn; hence the idea of the suit of warm, soft or velvety materials for this time of year. The main motifs of the still life the artist has embodied in fashion for this time the ensemble of women's clothing: dress, coat-of-pile woolen fabric color bronze, hat and shoes brown 'color gloves juhla green shade (Fig. 20, a).
Children's costume (Fig. 20,b) made of fabric in brighter shades of the autumn palette. The shape and splitting of the coat, the motif applique the pocket, the shape of a cap, repeat the motif of the main component of still life.
The richest source of images, ideas and motifs of the composition of the garment is the national folk decorative-applied art. 
A common feature of all folk art is its deep realism. In the art of costume it manifests itself in the practical usefulness of the subjects, in their form, choice of ornaments and subjects of decoration, adorning these items.
Old folk clothing often sought by modern artists, a surprisingly unique form and colour, full of detail, a variety of solutions to fit the techniques of crafts and decoration. The use of folk costume in search of his own style has become a sort of tradition for the Soviet modeling. This tradition has put Nadezhda Petrovna Lamanova, a famous Russian artist costume. Her works are examples of exceptionally intelligent, creative approach to the great heritage of the nation.
Not deviating from fashion 20-ies, when women's dress was short, simple in design, rectangular in shape, with a low waistline, accentuated only by the zone of Lamanova created an interesting national style clothing. It's used in their models fit straight Russian shirt available and simple materials - rough linen cloth, coarse woolen fabric and embroidered towels. Trendy straight form of these models is organically associated with the lines cut and the rectangular parts of clothing, skillfully decorated with folk embroidery or colored, smooth strip (Fig. 21).

With all the variety of types of clothing in the costumes of each nation has developed a strong, classic shapes, precise cut, common ways of decorating and patterns of ornament, developed the traditional scheme of composition of clothing.
On the basis of typical forms and style various kinds of folk clothes artists create similar forms of modern models. For example, Russian shirt presents a variety of options in women's, men's and children's clothing. Different types of Russian sundresses and coats, Katara Transcarpathian, Ukrainian plot and roll, eskimo anoraks and many typical forms of the costume of other nationalities of our country reborn in creative interpretations of artists drawing simple and rational fashion, or Vice versa, originality and intricacy.By choosing modern materials, using their plastic properties, the artist creates a new modern model, preserving however, the significant features of the national source.
So, inspired by Russian costumes of the SEVENTEENTH century was established fancy dress (Fig. 22). "Pleated" surround at the top of the sleeve model not only gave her national color, but also helped the artist to reveal sharper fashionable in 1956 - 1957 the formfitting silhouette of the dress.
The use of new at the time and very different tissues (dense textured patterned silk and sheer smooth nylon) underlined the originality of plastic solutions.

Typical forms and elements cut Russian blouse and undergarments were the main means of constructing a model of demi-coat complete with a casual light suit in accordance with the fashion of the first half of the 60-ies (Fig. 23).
Thick, soft drape and subtle woolen tights with similar colors retained the essential features of a three-dimensional plastic form of the source.
Wide, loose sleeves and a straight loose fit elegant dresses reminiscent of folk tunic-like shirt. The elegance of this model gives an interesting combination of chiffon and velvet black color and decoration in the form of streams of gold embroidery and belt cord made of metal threads (Fig. 24).
Eskimo anorak - the North clothes, stitched together with covering the head with hood, is the prototype of the modern form of winter clothing (sports jackets with a hood), and a source of interesting decisions for the coat of fur (Fig. 25).

To design modern clothing designers often borrow techniques of needlework (type of finish), the national ornament and the location of the decor in traditional clothes.
Techniques of artistic decoration of folk costumes are inextricably linked with its fit and form. Moreover, the nature of the finishes depends on the method of its implementation and the structure of the tissue. So, in the Russian apparel patterns was performed by the method of hand weaving or embroidery, having them straight stripes corresponding to the cut straight and uniform. The ornament was placed on the apron, shirt, sundress or Susana at the bottom of the garment and on the outside of the sleeves. Sometimes only trimmed collar and bottom of sleeves.
The ornament folk clothes valuable exceptional perfection of forms, harmony of rhythm and proportion, joyful, rich colour or graphic conciseness.
Using the beauty of the Russian ornament, the artist creates a composition of dresses for the young girls (Fig. 26). Matching ornamented stripe soft, beautiful color with large planes the main fabric of the dress bright colors, the artist follows one of the traditional techniques of composition of the Russian folk clothing.

National pattern (Fig. 27) used to create the purely modern ensembles clothing designed by artists at the fashion House, Alma-ATA.

In developing the composition of two sundresses and dresses (Appendix 2, figure above), the designers followed the traditional scheme of decoration, typical of Russian folk sundresses and shirts, using as a finish of smooth red fabric. It is enclosed cutout-Kare and incision closure one model; another model strip of red cloth with white funicom accentuates the middle.
An important source of the creativity of the designer are color the folk tradition. Every people is peculiar attraction to certain colors and color combinations. Color and color combination in clothing can simultaneously Express the artist's intent to emphasize the purpose of the suit, and the main thing - to correspond to the type and character of the people for whom it is created.
So, in the patterns and colors of Russian folk costumes dominated by red and its combination with black and white or blue and white. The distinctive colour fabrics ryazanschine is a combination of bright red and green colors, which gives the garment elegance, festivity, and the whole appearance of the man - joie de vivre and sense of health. That is why the solutions of modern clothes for sports and recreation is so common, juicy, bright color palette.
The Baltic Nations tend to be restrained, calm color, the color of their traditional clothing rich pastel shades, perfectly combined with the nature of the Baltic States.
Uzbek clothing, on the contrary, extremely rich in saturated bright colors, contrasting purple and emerald, fuchsia and turquoise colors. This beauty is harmoniously combined with the appearance of the Uzbek people, with the beauty of the ancient mosaics of the national architecture.
The use of traditional materials applied in people's clothing gives the modern costume national identity. It is known that each nation had their own traditional materials, his artistic and technical ways of their execution. Some of the fabric was a little rough, with an uneven surface, for example flax and paper canvas, others, such as severe paintings were made of the finest flax silvery hues and resembled silk. Attractive and diverse two-tone multi - colored materials- plaid, striped, etc.This, according to popular expression, "petradi" and dyed fabric was different expressive texture, which was created due to the thickened strands, knots and loops.
Fabric design plaid and stripes is traditional to many nationalities, but in its colour, dimensions, color combinations, they differ one from another (Ukrainian woven plakhta and Ryazan skirts, Latvian wool with a subtle wide stripes and rainbow-striped Uzbek bekasab or colorful silk Khan-Atlas).
Such well-known materials, such as sheepskin and leather, different peoples had their own dressing and coloring. Thick woolen fabric with a long NAP in the Caucasus was only one color - white or black, Transcarpathian same peoples in materials of similar appearance was administered pattern.

Materials with a pronounced national character, similar to a traditional, nowadays produced not only from natural raw materials, as in the past, when I used only natural raw materials, which gave the farm, but in their combination with artificial and synthetic fibres. Example of the use of materials and fabrics that mimic those used in traditional clothes in the past, are the modern shearling (Fig. 28); the coat of long-pile fabric resembling the cloak (Fig. 29); a dress made of silk Khan-Atlas (Fig.30);, a pantsuit with a Cape-a Cape from the Baltic plaid fabric (Fig. 31).
In the practice of the Soviet model, a new direction in the use of the national heritage. It manifests itself in the development of fabrics, decorated with stylized drawings of people's motives. Old forms of spinning wheels and wood carving, painting patterns and lace, images of vintage jewelry and traditional folk toys - all in a new rhythmic composition and color scheme included in the structure of modern fabrics.
Clothes of modern style, made of such materials, very subtly conveys a sense of folk traditions, beautiful national colors. In Fig. 32 presented dresses made of cloths, ornamented with motifs of filigree silver jewelry and wood carving. Such fabrics do not require intricate shapes or complex form. A simple silhouette simply cut reveals the expression of these paintings.

When using motifs of folk art requires a deep penetration of the artist into the essence of a particular national tradition. This can only be used by those artistic techniques and principles of decorative folk art that is consonant with modern demands and fashion trends and coordinated with production capabilities.
The origin of the idea can serve as the phenomena and the images of the surrounding nature. The fauna and flora with their rich colors and color combinations, diverse forms and types is an endless source of creative searches of the artist.
These are the various sources that contribute to the emergence of a conception of the artist in the development of new models of clothes. But whatever the sources may use a fashion designer in search of an explanation, whatever ways neither had these motives, the constant demand for them - the novelty and expressiveness. Only in this case the creativity of designer would be complete and efficient.



Category: Modeling and design artwork for women's and children's clothing | Added by: 08.11.2017
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