Discussion On Stereoscopic Thinking In Clothing Structure Design

Discussion on stereoscopic thinking in clothing structure design

First, the cultivation of three-dimensional space consciousness.

The specific implementation of clothing style design has the characteristics of plane modeling and dynamic change modeling.

The three-dimensional consciousness and style of clothing are pformed from plane to three-dimensional modeling practice, which is the basic principle of clothing structure design teaching.

Application

Active modeling reveals the shape of clothing detail, the relationship between different parts, and the combination of the whole and local parts.

Clothing modeling combines human form to suit people's activities.

For the high fashion, evening dress and art performance fashion, which are called soft sculpture, they are beautiful in shape and difficult to cut. However, it is often difficult to achieve the desired result only by using the flat surface modeling method.

When designing and making such a garment, the effect of three-dimensional cutting and structural design is better.

Clothing is known as "mobile sculpture" and sculpture is likened to solidified music.

Structural designers should use stereoscopic thinking as creations of sculptor artists, that is, directly sculpt and tailor plate making on body or human body, and create a rich and colorful fashion model with the combination of vertical cutting and playing skills.

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The stereoscopic thinking is used to examine the effect picture and analyze the appearance of the styling, deeply understand the stereoscopic configuration relationship of the style, carefully study the artistic style of the costume given by the styling, and deeply understand the relationship between the clothing structure and the human body surface.

It is generally divided into two parts: artistic modeling and technical modeling.

The former uses clothing three-dimensional space concept and formal beauty rules and modeling methods to add, cut, repeat, omit, exaggerate, and pform the style design, making its perspective structure through three-dimensional imagination, and ultimately accords with the requirements of style design in modeling.

The latter is through structural expansion and special technology process, according to the needs of fashion design, similar to one side operation, one side modification, so that the concave convex, wrinkle, curve, wave potential and complex lines in the plane effect are more difficult to handle in the structural design.

This is often the case in fashion design, but the costumes are quite different from the idea.

The main reason for this is that the designer lacks the three-dimensional consciousness and the training experience from the plane to the three-dimensional. In the structural design, he does not lead his mind to the aesthetic characteristics of the space displayed by the costume, which binds the design imagination.

People and clothing are multi-dimensional space entities. Good spatial awareness training is essential.

It should be said that the beauty of space and the beauty of movement are the basis of structural design.

The plane and three-dimensional modeling of clothing belong to "spatial modeling", but their constituent elements and combination principles are different. People's observation of their composition methods and feelings are different.

The cutting of plane shape mainly depends on the outline of the garment.

A definite outline shows a positive plane posture, while a three-dimensional form has no fixed outline.

For example, a circle on a plane, its three-dimensional shape is a sphere, but a cylinder, or a semicircle, or a gyro shape. Obviously, the creation of three-dimensional shape depends not only on the outline, but also on the quantity of the entity.

For plane shape, no matter from which angle to observe, we can only see the plane, in addition to the changes in perspective, there is no fundamental change. The stereoscopic form is not the same. According to the change of the observer's position, it can present completely different shapes. For the structural designer, this three-dimensional feeling needs to be cultivated regularly.

Two. Training and development of stereoscopic configuration

In the teaching of clothing structure design, we should not only make students have the relationship between the number and shape of the garment structure, but also the ability to decompose the structural drawings, and integrate the basic elements of the three-dimensional configuration. We should use the fabric to compounded the fabric directly on the human body or the human body. Then we will practice the way of handling the wrinkles, drapes, bumps, curves, waves and complex lines through the form of dart, plucking and segmentation.

It can also be used as a supporting frame for some stereo scaffolds or some metal, wood or other materials. The shape of the support can be inclined to be abstract, or it can be biased to concrete. Some materials, such as plastic or paper, which can be used as clothing materials, such as plastics or paper, can be made in various forms such as padding, wrapping, tie up and connection.

The combination of drape, elegance, gravity, twisting, and relief affects students' creative thinking.

The spatial relationship between scaffolds and materials is an effect that can not be achieved in the plane decomposition of garments.

This practical teaching with three dimensional factors can help students establish a more complete concept of clothing space combination in the mind, and enhance students' perception and intuitive understanding of the sense of clothing volume, so that the structural process can be expressed in the fashion design.

Three. New exploration of three-dimensional structure modeling

1, using clothing materials for local style modeling.

That is, the contrast of the style design, "material guided, art based innovation" structural design method.

First, select suitable materials for different materials and be inspired by different materials for structural modeling.

The method of plane pattern deployment is used to form the state of the curved surface for comparison, and the selected fabric samples are made locally in three dimensions. For example, the design of the overlapping collar can be stereoscopic with different fabrics, and the best plan is determined after comparison.

Each garment's local details can be applied to solid samples.

This kind of training is guided by the material characteristics as a structural design. It is practical and maneuverable to use the scientific and artistic perspective to analyze and feel the characteristics of materials and carry out the style decomposition and modeling training.

Afrank Ferre, a fashion designer in Italy, once said, "according to my experience, designing clothing works, on the one hand, should study the dynamics of human body, on the other hand, it is necessary to pay attention to the art of fabrics and the stereoscopic state that can be formed, because fabrics can exert great weight on people's feelings. Therefore, during my design and creation, I pay special attention to whether fabrics are new or outdated, and their basic state, and then draw their own ideas into design drawings, which will quickly produce work, and always think that the human body is moving, and the clothing designed to give people a sense of feeling, which should be emphasized by designers."

Ferre's design experience tells us that the structural design with material as the guide and art as the innovation is a modern mode of thinking.

In particular, it should be sensitive to new textile fabrics, and should be selected and applied accurately. At the same time, it should be consistent with the styling style while maintaining the fabric style, so as to make the garment modeling perfect.

2. Use abstract structure to create images and concrete structures.

Garment structure modeling training is a process of artistic recreation based on scientific and rational analysis of style design.

This practice method can be divided into two aspects: abstract modeling and figurative modeling.

Abstract form decomposition exercises generally have two main points: first, use simple abstract geometric forms and various irregular abstract forms to coordinate and match the different colors, textures and forms of clothing materials, and to feel and observe the changes of aesthetic form in visual form, pay attention to the combination of body and image, and pursue the unified contrast effect of universality and individuality.

Two, we should focus on deepening design thinking, enriching the means of expression, making various artistic shapes such as wrapping, folding, draping, wave and folding to the stereoscopic parts of the style, so that the styles show new impressions and personalities. This exercise can embody different local aesthetic characteristics.

The concrete form decomposition practice should simulate the actual effect of design, take the combination relationship of detail combination and the whole and part as the starting point, try to simulate the actual effect of clothing, use various kinds of clothing materials, pay attention to the coordination of color, texture, form and proportion, and then understand the relationship between clothing structure and human body surface, and use three-dimensional thinking method to focus on the shape of the provincial road, the layout of the provincial seam and the arrangement of comfortable quantity, and emphasize the space consciousness and three-dimensional dress effect.

At the same time, a series of combinations can be designed according to the same material.