Form elements 

the study of the properties of the form deals with the subject "the composition of the suit" in that order. 

1. Properties of clothing-suit, as a three-dimensional form, its primary elements. 
2. The articulation of forms and means of articulation in the suit. 
3. Means of communication, enterprises in the unity of the primary elements of form in the clothes. 

Properties of clothing, as three-dimensional shapes formed from the components of its primary elements. These properties are deployed within their changes, are the primary working material of the artist-designer.
Consider each form of clothing, costume consists of the following elements. 

1. Geometric shape as a whole and its parts. 
2. The magnitude of the shape as a whole and its parts. 
3. Mass of the form and its parts. 
4. Texture of material forms. 
5. The color and pattern of material forms. 
6. Of light and shade. 

These properties of clothing, such as volume forms, are not permanent and can be changed within certain limits, to have a large number of States. The various States of these properties, when compared, yield the limitless possibilities of their combinations. 
Let us examine the properties of the primary elements.

  Geometric shape as a whole and its parts. This property forms is determined by the ratio of the values of dimensions shape in three-dimensional space, the nature of the surface shapes: straight, curved or broken and its contours as a whole and its parts. 
The first visual impression when we look at clothes (suit) stems from the degree of volume, the nature of its silhouette, its contours. 

  The degree of volume in a suit appears in a limited range and does not go beyond the limits of the possibilities of the human figure as a support for clothes. Here are two possible extremes: a geometric form expresses the linear nature when the dress form is strongly elongated in one dimension (Fig. 15, a), and geometric form expresses the volumetric nature when the attire is distributed in three dimensions (Fig. 15). Intermediate between linear and three-dimensional forms will be the form expressed primarily in two dimensions - planar form (see Fig. 15, b).Shape approaching the shape of a cube, sphere, Express the greatest volume, and shape, approaching the outstretched lines, straight or curve - show the lowest volume.
Form, approaching to the plane of the rectangle are intermediate in volume between linear and volumetric 
forms. 
The bulk form is a border within which appears the silhouette of the clothes. 

  Silhouette plane the visual perception of three-dimensional forms of clothing, clearly bounded by contours. But the silhouette gives a clear idea about the volumetric expression of clothes, because, in essence, is a projection of three-dimensional form.
In Fig. 1B shows the silhouettes of various garments expressed by contour or spot.

Important silhouette in connection with the development of fashion, because fashion at a certain time interval characterized by a certain form, and, consequently, the silhouettes of clothing. Hence the importance of the silhouette as a means of expressing fashion.

In General, the silhouette provides an opportunity to determine the characteristic changes of fashion in costume for the period. In Fig. 17 illustrates the change in fashion silhouettes over the past decade, from 1923 to 1965 in men's clothes. Being the natural boundaries of any form, the silhouette is a frame, within which is clothing, costume. The decoration of clothes in the borders of a certain silhouette requires their subordination. The General form, and hence the silhouette of the clothes was caused mostly by its practical and artistic purpose.
The overall shape and silhouette themselves can Express the content of clothing stemming from its purpose and practical use. In Fig. 18 examples of complex silhouettes. The decoration of clothing will further reveal its ideological and artistic essence, enhance the expressiveness of the overall shape and silhouette. 

In Fig. 19 examples of gain decorative silhouette of its solution in detail.
Silhouette can simultaneously serve as a background against which the artist-designer gives various decisions of decoration of clothes. In Fig. 20 shows the same silhouette of any garment in its decoration may have a few more or less good solutions. The surface forms according to the geometrical character can be: straight or curved surfaces, convex or concave. These surfaces can be smooth, but can be broken.Examples broken the mould surface can serve various kinds of draping, the pleats, the pleats, the ruffles, common in the clothing (Fig. 21).

The contours of the clothing, its parts, the parts can be seen as lines. Line attire, by its nature, distinguished as a constructive and decorative lines. 
  The constructive lines (Fig. 22) clothing is, first, the contour lines its shape as a whole and its parts, and secondly, that the visible lines, connection parts and shape parts, such as seams, Darts, pleats, stitch. 

  Decorative lines (Fig. 23) - various finishes clothes have a linear character: finishing seams (not binding), reliefs, lines, belts, valves, tabs, trim, cord, soutache, embroidery.
Very often a constructive line at the same time serve as decorative lines. For example, the contours of the collar on the left, the contours of the pockets, flaps, neck women's dresses are both structural and decorative lines. 
Lines in dress play a very important role, as they have one important feature: to our view on a design surface three-dimensional form, to create a movement dynamic.

In addition, using lines we have the opportunity and delay the movement of our sight, sliding on a surface, three-dimensional shape of the clothing. In Fig. 24 reveal these important properties of lines. Some figures illustrate the up and down motion, on the other is seen as one line delaying the movement of others. The line of the shoulders, chest, waist, hips, collar, sleeves, sides, hem clothes, her individual parts are of a different character and expressiveness. 
  The value of the form. This property of clothing, like body shape should be regarded as the ratio of the size of the dress form with the human figure or as a ratio of two or more forms when they are compared. 
When comparing the number of forms largest observed their equality or superiority in size of one form over the other. 
Compare you can only compare homogeneous in appearance, clothes and components.

In Fig. 25 clearly shows the difference in the value of the same clothes. This difference in magnitude is dependent on the actual dimensions of shapes in all three dimensions, i.e. degree of volume. 
Depending on the size of the form find the degree of spaciousness, lightness, heaviness of the form.
The value of the form as a whole is illusory increase or decrease when comparing big and small. Small parts are in great shape when mapping emphasize the magnitude of shape. Large details when compared with the form in General reduce the value of the form. The size of the shape in the cloth simulation can be used within the allowable limits of the human figure as a structural support. 
  Mass. Weight - visual weight is the number of uniforms as a whole or its separate parts: the heaviness of shoulders, size of chest, waist, hips, sleeves, etc.
This property forms in clothing can change in the following areas: 
1. With the magnitude of the changes and its mass, i.e. the larger form corresponds to a large mass. In Fig. 26 shows the dependence of the mass change of the value form.

2. Weight varies depending on the degree of three-dimensionality, the flatness or linearity of the expression forms. Maximum mass will have the form, approaching in its dimensions to the shape of a cube, square. Minimum mass have a form approaching a linear expression. In Fig. 27 shows the variation of the mass from the form. Thus, the mass depends on the geometric shape of the silhouette of the garment.

3. Weight in clothing varies depending on the degree of filling of the shape within its boundaries constructive, decorative lines, fittings or finishing (seams, stitching, belt, pockets, buttons, yoke, etc.). 
Minimum weight will be at most a sparse filling, the maximum weight - while most forms of clothing.
In Fig. 28 shows the dependence of the mass change of clothes from the degree of filling of its parts, trim.

4. The change of mass depends on the size of objects or parts are mapped with it. The increase in mass will decrease when matched with her detail and, on the contrary, the weight decreases with the increase of the matched parts. This mass change is illusory, and not actual and is often used when modeling clothes. For example, the increase in size of parts: collar, pockets visually reduces the mass of coats, dresses. In Fig. 29 examples of mass change of clothes while matching it with the details.
5. The mass changes of shape in the direction of increase or decrease also depends on the color, pattern of the material from which it is made. Running a little ahead, we say that a color has the illusion of varying severity, ease, and the pattern gives a different degree of filling of the surface of the material. In Fig. 30 shows the dependence of the mass change of the color and pattern of the material from which clothing is made. 

  Physico-mechanical properties of materials. Considering clothing as a three-dimensional shape, it is necessary to know the properties of the material from which it is made. The main materials from which are manufactured clothes are fabric and finishing materials: fur, applied materials, furniture etc. the Range of fabrics is extremely diverse. Continually updated range of fabrics, new materials: non-woven, film, duplicate, etc.
Properties of materials can be divided into two types: physical and mechanical (working) properties and visual properties that determine the appearance of the material.
Physico-mechanical properties of materials depend on the raw materials, method of their production, finishing. 
The main indicators of physical-mechanical properties of materials - weight, density, thickness, elasticity, osadochnoi, elongation and some other properties. 
  Weight of material is determined by weighing 1m2. 
  The thickness is determined by the value of the cross section of the fabric in mm. 
  Density is determined by the number of warp and weft in 1 cm2 of the material. 
  Elasticity - ability of tissue to restore the original appearance after the physical stimuli, such as wrinkling. 
  Osadochnoi - the ability of the fabric to reduce its size when exposed to wet-heat processing. 
  Extensibility - a property of a tissue to stretch on the bias yarn and stretch under the influence of the wet-heat treatment.
Depending on the raw material (wool, cotton, silk, flax, artificial fibers, and various mixtures) and the above physical and mechanical properties of fabrics choose different forms of clothing. So soft, stretchy fabrics drape well, hard and dense, on the contrary, form a protruding angular folds.
Only wool fabrics, and they appropriate you to a modern form of trousers, tight leg, repeating their curves.
Material properties, determined by appearance: texture, color, pattern its surface. 
  The texture of the material. Under texture refers to the nature of the surface structure of materials. For example, tissue can be smooth, matte, shiny, transparent, textured, bouclé, ribbed pile.
The texture of the material is dependent on the number and size of its elements in relation to the surface of the material. When the number of items (hair, nodules, scars, NEPs etc.) on the surface is small and they are easily distinguished visually, the texture of the material is determined by the nature of its constituent elements. Such textures include: brushed, boucle, ribbed, rough, etc. 
If the number of items is large, and the size of their small, and they are difficult to see, the surface of the material visually perceived as a smooth.
The texture with the topography of the surface elements, the value of which approaches zero, is perceived as brilliant. The texture of the material is of great importance to identify the level of volume of clothes, the masses, density. Strengthening the textured surface increases the volume, density, weight of the clothes. Transparent, shiny, smooth surface, conversely, give the garment lightness, visually reduce the volume. Dense, opaque shiny surfaces visually enlarge the volume of clothes. 
  The color and pattern of the material. All existing colors can be divided into the following color ranges. 
1.A number of grey achromatic colors from white to black. 
2. The number of chromatic colors - color spectrum: red, orange, yellow, green, blue, Indigo, violet and intermediate colors. The range of cool colors are green, blue, purple, with their intermediate colors. The range of warm colors include yellow, orange, red and intermediate color.
To a number of complementary colors are two colors: blue - orange, green, red, purple and yellow. Additional colors are located in the spectral range diametrically against each other and, when mixed, give a light gray color. 
3. The ranks of the chromatic colors to achromatic, for example, from red to white, from red to gray, red to black. 
The color properties in visual perception of the person should be considered in three aspects: the physical properties of color, emotional, psychological, and symbolic qualities of color. 
  Physical propertiescolors are determined by its hue, lightness, saturation. 
  Emotional and psychological the quality of the colors associated by Association with some phenomena of nature, cause the same feelings and emotions all people, regardless of their membership in a particular social, ethnic group or culture. The organs of our senses perceive color in this case, as the soothing, stimulating or depressing, happy or sad, cold or warm-or three-dimensional, dense or airy, protruding or retreating.Finally, the quality of colors have the value of symbols, in this case they are associated with differences in religious, ritual, social representations and cultures of various groups of human society.
For centuries colors are used to Express certain qualities and concepts. The crimson color of the ancient people represented strength and power. In our days in the far East in the same value is used yellow. In England, the USA, Australia, the blue color associated with wisdom, truth, and red symbolizes masculinity. The paint was attached spiritual and religious significance.
Each culture has its system of symbols. It is well known to scholars working in medieval art. The Church instructed artists to use certain colors. Christ in the desert in the time of temptation dressed in black, and after the resurrection, in white or red. The virgin dressed in blue. The blue color speaks of the divinity of the messenger of heaven. Black means darkness, white - wisdom, red - love, yellow - deception.
In our time, from the diversity of the symbolism of color remains very little. It has become a tradition, which exists today in our society. Some characters of color has acquired a new meaning. So, red became a symbol of revolutionary spirit. Black symbolizes mourning and formal, white - purity, pink and blue - the colours of the babies.
And now the wedding dress makes only white, buy little girls clothes are pink and boys - blue flowers. Dress for prom or new year's eve ball make a white or very light colors - blue, pink, yellow. Men's formal wear black.
Knowledge of the symbolism of color is very important when it comes to modern costume. But the artist associated with the theatre costumes, spectacular or historic, to know necessary.
The study of the symbolism of the colors of paints we have conducted within the framework of ethnographic science dealing and questions the history of the development of folk costume. 
  Pattern or ornamentation of the surface of the material varies depending on the way we produce fabric, or finishing. In one case, the figure-ornament make through weaving, in the other case applied by means of printing, packing. Ornamentation of fabrics are extremely diverse. Components of the pattern-the pattern of fabric, may be of the following nature: non-objective (abstract), geometric, stylized, vegetative, animal and object.
The color and ornamentation of materials are of great importance in modeling clothes. Their meaning is not exhausted by the different combinations of color and pattern, for example, fabrics with fur, skin etc. color Value, drawing is determined by their influence on the external form of the clothes, her expression, the decorative imagery. 

  Chiaroscuro. The shading determines the visual appearance of the form of clothing depending on lighting and the surface topography itself. 
In the first case, the change of light and shade depends on the position form (human clothes) relative to the light source and the strength of the light source.
In the second case, the change of light and shade depends on the degree of the surface relief of the shape of the clothes (smooth surface, textured detail, pleats, assemblies, draping, false joints etc.), the so-called inner light and shade. 
The value of light and shade in the modeling of the clothes is due to its influence on the degree of bulk form, as well as the degree underscores the visual appearances of different structural and decorative lines.
The increase of the surface relief shapes of the clothes increases the light and shade, and hence the volume of her form.