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

Composition

RHYTHM 

  Rhythm is called regular alternation of commensurate and sensually tangible forms and elements (sound, speech, visual). The rhythm of how life is manifested in all the phenomena of nature. The rhythm is felt in the change of seasons, the movement of time, the alternation of day and night, the movement of the waves, etc. an Expression of beauty, harmony is achieved through rhythm.
The basis of music is rhythm, which is manifested in all its forms, ranging from the rhythmic pulse.
By acting on our sense of rhythm is evident in the offset contrast of lines and shapes. Any color transfer, color gradual embodies movement, rhythm.
In architecture, fine and applied arts, the rhythm is one of the means of communication in a single unit all the elements of forms and their parts when creating any composition. One of the main manifestations of rhythm is the repetition of elements, forms, and intervals between them, United by a similar, identical signs.
It is through such repetition and develops the diversity of rhythmic relationships.
Still in the early stages of development of society the elements of rhythm was manifested in the ornamentation of different things Housewares: coarse pottery of primitive man decorated leaded twists, dents, finger, keeping the rhythmic structure of repetition.
Rhythm patterns can be achieved using the various elements of symmetry. Rhythm contributes to the achievement of harmonic clarity and completeness, expressiveness of the image, the clarity of his perception.
On a certain rhythm built in arts and crafts ornaments embroidery designs on fabrics. In the composition of clothing pattern rhythmic building may occur in the lines, the designs, the decorative elements and color combination.

A simple regular rhythm 

A simple uniform rhythm is regular, consistent alternation of the same (identical) in shape, size and color of elements composition and their intervals. Depending on the compositional formulation it can manifest itself in different ways:
1) repetition of forms or elements in which the interval is a boundary of division form;
2) repetition of shapes with keeping equal interval (greater or smaller) between them.

In Fig. 88 shows the embroidery pattern, built on a simple uniform rhythm. The composition of the ornament is a clear example of a simple rhythmic organization horizontally, vertically and diagonally, including striping and elements of composition, and their intervals.
Consider the examples of simple uniform rhythm in the composition of clothing, which is manifested in the repetition of shapes, alternating without interval.

In Fig. 89,and shows a skirt with evenly alternating with the same type of folds constituting the straight-leg silhouette. This is a simple steady rhythm, built vertically.
The same construction of the rhythmic organization, but horizontally, as shown in Fig. 89 b. Emphasizing advanced trumpet silhouette, the skirt evenly alternating ruffles of the same size; the interval is the boundary of the partitioning shape. The rhythmic repetition of the same forms Pro-is in silhouette and design.
A simple steady rhythm Express scallops, finishing the bottom of the model depicted in Fig. 90. Rhythm is manifested in the arrangement of the buttons and mounted hinges (Fig. 90, b) adjacent to one another, where the interval is a boundary of division forms. These examples manifest smoothness, continuity and rhythmic construction.
An example of a simple uniform rotation with an interval shown in Fig. 91. Ruffles on the skirt are located in the same simple uniform rhythm, but in a different building - not close to one another, and with gaps spaced evenly alternating with elements of the main form.
Another example of simple uniform rotation, which manifests itself in constructive lines shown in the model of the skirt (Fig. 92), which inserts wedges are repeated at intervals - the intervals.

The same simple rhythmic structure may occur in the finishes (Fig. 93): seven rows of stitching rhythmically repeated at regular intervals and end with embroidered arrows. Such repeated elements are concentrated in one place a particular emphasis on the relevant part of the model skirt.

Proportional and consistent rhythm 

This is a more complex pattern of repetition of form elements and spacing between them is proportional to their increase or reduction. In this case, the sequence formed progressive change or gradualism.

A vivid example of a proportional and consistent rate, based on the principle of growth from smallest to largest, are the ornaments of embroidery, located on the edges of popular products Podzorov, towels (Fig. 94). Rhythmic devices typical for the pictures of the coupon on the tissues.
Consider the examples of a proportional-increasing rhythm, manifested in the composition of clothing.
This manifestation is realized through the compositional development of the form, and also in the finishes.

Compare the two identical elements - ruffles, shown in Fig. 89, b and 95. In Fig. 95 the model shown is a skirt with a ruffle-flounced. When building the frills in this model clearly shows the proportional increase of the elements of the composition towards the bottom of the garment (smallest to largest). The second frill more than the first, the third more than second, respectively. A similar pattern is evident both in the lines of the silhouette and constructive lines.

An example of a proportional and consistent rhythm in the repetition and uniformity of the shape shown in Fig. 96. Forms involve replications of the same smooth lines, forming a progressive increase of rhythm downward from the lesser to the greater. The relationship of the parts of these ensembles is also based on repetition of the material.
The same pattern of proportional increase from smaller to larger is manifested in the model shown in Fig. 97. Fancy dress grosgrain ribbon trims, rhythmically repeated from the neck to the bottom of the dress. In this example, a clearly marked rhythmic sequence of partitioning a simple form of a trapezoid, extended from the line of openings. The design is too high, armholes organically fits into the silhouette and serves as the basis of the whole shape of the dress. Inflated the location of the waist line accentuated reps ribbon, also contributes to a smooth proportional increase in the shape of a trapezoid.The same rhythm appears in thesequentially increasing intervals, highlighted by reps ribbon. The whole composition is balanced asymmetrically spaced bows, trailing the composition of the model.
The same pattern of proportional growth can manifest itself in a different rhythmic organization. Spacing - gaps between elements - can a progressive increase (irregular rhythm). In Fig. 98 depicts a tank top, trimmed with valves - small top and large bottom.
The same pattern is visible in the model of the jacket (Fig. 99), where the repetition of the pockets from smallest to largest carried by the belt located at the waist line.
Proportional and consistent rhythm can occur by natural proportional reduction of the elements of the composition (from high to low).
In Fig. 100 proportional and consistent rhythm is manifested in the construction of ornaments, which is typical for coupon tissues. A similar pattern of the sequence appears to change saturation of embroidery that goes down to nothing.

The rhythmic repetition of forms (Fig. 101) is observed in the ensemble in which the connection of the Cape and skirt are based on the rhythmic repetition of forms, reduction of their size (from largest to smallest). Completing the ensemble is the addition of the hat, completing the entire rhythmic compositional organization.
Another example of rhythmic building forms shown in Fig. 102. This dress with large collar, consisting of two flounces at the hem trimmed with one flounce. The connection is reinforced by repetition of the same forms.
The same principle can be located buttons (Fig. 103).
Thus, when a proportional and consistent rhythmic construction of form elements can increase or decrease in various co-subordinates.

The "radial" rhythm 

Especially it is necessary to specify the so-called "radial" rhythm, which is rarely used in rhythmic organization.
By applying the "radial" rhythm tidy lines, originating in one place on one axis (Fig. 104).
One should distinguish two types of radial-ray of rhythm.
1. A simple uniform pattern of alternating homogeneous and equal in magnitude lines originating in the same place. A good example is the fan, which are all part of the uniform. In suit composition examples are such details as a frill, pleated or fan-shaped pleats on the skirt cut the sun. Here there is a manifestation of the "radial" rhythm based on the repetition of simple forms or elements.
2. Progressive radial-ray rhythm, a pattern which is evident in the radial location of the various draperies. A striking example of this rhythm serve women Russian and Ukrainian folk shirts, built on a large number of assemblies focusing on the neck and rhythmically divergent, irregular rays (Fig. 105). Assembly at the bottom of the sleeves complete rhythmic structure of the whole composition.
Complex radical radiotherapy rhythmic organization have been observed in various drapery clothing antique period.
Modern dresses based on soft or hard the tucks and draperies, you can see the same principle of progressive radial-radial rhythmic building (Fig. 106, a, b).

A rhythmic structure based on symmetry

Symmetry is not only a repetition, but for completeness (Fig. 107). Such a construction can be seen in the symmetric relative to the Central axial line of the figure the arrangement of decorative lines, details and finishes-pockets, flaps, tabs, tucks, pleats, ruffles, etc., and also in the arrangement of the buttons double-breasted closure.

Rhythmic building, combining different types of rhythm 

Under such constructions involve a compound in the same composition of different types of rhythm, mutually coordinated and subordinated one to another.
Referring again to the source of folk art - embroidery pattern, where the rhythmic structure is especially true. In Fig. 108 shows a rhythmic structure of ornament, in which the rhythm is developed inside the decorative bands of alternating of different intervals. Here, apart from the rhythm of the strips themselves there is alternation of elements within these bands.
Another example of the connection of simple uniform rhythm (the smooth zig-zag) with proportional-consistent is shown in Fig. 109, depicting the Turkish Palme d'or (the SIXTEENTH century). This motive of the ornament there is a progressive construction of uniform curved lines originating in the same place. The uniformity of lines and by a gradual build-up organizes all the form of the ornament. Continuity and uniform repeatability zigzag contour lines leads to the harmony of the entire rhythmic organization.
The same rhythmic structure based on the combination in the same composition of different types of rhythm, characteristic of the composition of clothing.
Connection simple uniform rate (the frequency of occurrence of folds-tucks and buttons on the bodice) and rhythm using the elements of symmetry (in the arrangement of the ruffles bodice and skirt) made in the composition of the model depicted in Fig. 110.

In Fig. 111 shows an example of combining simple uniform rhythm with a proportional and consistent. The entire composite development constructed on a proportional and consistent rhythm from largest to smallest. The bodice more than a skirt. General communication is carried out thanks to the homogeneity of the fabric - lace fabric and alternating festoons are located at the edges of all parts and organically linked to the lace pattern. Alternating festoons built on a simple uniform rhythm. The same easy, steady rhythm is manifested in the arrangement of the bows, trailing the entire composition of the model.
In Fig. 112 shows a sophisticated draped dress. Connection vertically falling drapery of the skirt, built in straight rhythm, with radial radiation Drapes bodice, the combination of static and lower dynamic upper is built on a nuanced (smooth) the repetition of the drapery.

Rhythmic alternation, based on the natural color repetition

Color unit can be an essential element of rhythmic organization. The frequency of occurrence of the color units is possible in a variety of color combinations, in a simple and proportional rhythm vertically, horizontally and diagonally. A characteristic example is the striped fabric.

The figure (Annex 4, figure left) shows dress in multicolored stripes. Alternating bands built on a simple uniform repetition. Transverse bands emphasizes and enhances the simple, uncluttered shape of the dress.
On the model on the right, building the color bars are different. This is a proportional and consistent increase from narrow strips to more extensive. The oblique arrangement of the strips underscores and reinforces the dynamics of the picture.

In the figure, is given in Appendix 5, shows elegant evening dresses, built on a rhythmic transition of color nuances.

Examples of rhythm disturbances in the composition of clothing 

The rhythmic solution of the composition is characterized by its regularity, regularity in the development of its elements. On-violation or failure to comply with this pattern - an arrhythmia disrupts holistic perception of the composition.
Arrhythmias can be caused by various reasons.
  Negligence, the inaccuracy of the model run.If, for example, one of the frills on the skirt accidentally made wider than all the others, it stands out sharply, breaking the uniformity of the striping across the skirt. The same applies to the folds, tucks on the dress or skirt. If the width of one of the folds or the interval between them is not met, the overall rhythm of the whole model is broken. Even the most insignificant shift in the location of the row of buttons breaks the rhythmic structure of the entire closure (Fig. 113).

  A rhythmic structure on the basis of incorrect composite development. In Fig. 114 shows a dress with the wrong placement of the buttons on the bodice and skirt. The bodice buttons much larger than the skirt; in addition, the distance between the buttons on the bodice and on the skirt horizontally uneven. In the result, the dress looks like two separate parts, and besides, poorly connected, as there is no rhythmic relationship of parts of the whole and the harmony in the model.
A more complex example of the violation of rhythmic organization is shown in Fig. 115. The basis of the composition of the dress are ruffles. On the neck they are located in a simple rhythm, the skirt - without any regularity in their construction. Here there is clearly a failed attempt to simultaneously apply two kinds of rhythm: simple uniform and proportional and consistent, as a proportional and consistent rhythm unsuccessfully resolved: the frills on the skirt arranged randomly, without taking into account the proportions of the intervals, there is obviously a FIB. Model eventually loses its artistic value.
Violation of the rhythmic organization can be traced also in the model of the dress shown in Fig. 116. Clearly arranged strip of embroidery at the yoke line accented by the repetition of horizontal directional folds. At the bottom of the skirt embroidery is repeated, but with an asymmetrical arrangement. This unreasonable connection of homogeneous elements built on the wrong principle. The full symmetry of the top and asymmetric hem composite plan imbalance, a discrepancy, violate the General harmony, creating the arrhythmia.
Thus, the rhythmic nature of the construction depends on the idea of composition and the elements included in the composition. Rhythm is manifested only in those compositions where there are elements requiring an organized build a rhythmic connection of the parts.



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