Principles of Design

The Principles are concepts used to organize or arrange the structural elements of design. Again, the way in which these principles are applied affects the expressive content, or the message of the work. The principles are:

Balance

Proportion

Rhythm

Emphasis

Unity

Balance

Balance is the concept of visual equilibrium, and relates to our physical sense of balance. It is a reconciliation of opposing forces in a composition that results in visual stability. Most successful compositions achieve balance in one of two ways: symmetrically or asymmetrically. Balance in a three dimensional object is easy to understand; if balance isn't achieved, the object tips over. To understand balance in a two dimensional composition, we must use our imaginations to carry this three dimensional analogy forward to the flat surface.


Symmetrical balance can be described as having equal "weight" on equal sides of a centrally placed fulcrum. It may also be referred to as formal balance. When the elements are arranged equally on either side of a central axis, the result is Bilateral symmetry. This axis may be horizontal or vertical. It is also possible to build formal balance by arranging elements equally around a central point , resulting in radial symmetry.



There is a variant of symmetrical balance called approximate symmetry in which equivalent but not identical forms are arranged around the fulcrum line.



Asymmetrical balance, also called informal balance, is more complex and difficult to envisage. It involves placement of objects in a way that will allow objects of varying visual weight to balance one another around a fulcrum point. This can be best imagined by envisioning a literal balance scale that can represent the visual "weights" that can be imagined in a two dimensional composition. For example, it is possible to balance a heavy weight with a cluster of lighter weights on equal sides of a fulcrum; in a picture, this might be a cluster of small objects balanced by a large object. It is also possible to imagine objects of equal weight but different mass (such as a large mass of feathers versus a small mass of stones) on equal sides of a fulcrum. Unequal weights can even be balanced by shifting the fulcrum point on our imaginary scale.
Whether the solution is simple or complex, some form of balance can be identified in most successful compositions. 

Proportion

Proportion refers to the relative size and scale of the various elements in a design. The issue is the relationship between objects, or parts, of a whole. This means that it is necessary to discuss proportion in terms of the context or standard used to determine proportions.

Emphasis, Dominance and Focal Point.

Emphasis is created by visually reinforcing something we want the viewer to pay attention to. Focal points are areas of interest the viewer's eyes skip to. The strongest focal point with the greatest visual weight is the dominant element of the work. Elements of secondary importance could be termed sub-dominant, and elements with the least visual weight subordinate. Isolation, leading lines and convergence, contrast, anomaly, size, placement, framing, focus and depth of field, and absence of focal points are some of the strategies used to help create these degrees of importance.

Repetition, Rhythm and Pattern.

Repeating art elements in regular or cyclical fashion to create interest, movement, and/or harmony and unity. Rhythms can be random, regular, alternating, flowing, and progressive. Classes of pattern include mosaics, lattices, spirals, meanders, waves, symmetry and fractals, among others.

Unity/Harmony

According to Alex White, author of The Elements of Graphic Design, to achieve visual unity is a main goal of graphic design. When all elements are in agreement, a design is considered unified. No individual part is viewed as more important than the whole design. A good balance between unity and variety must be established to avoid a chaotic or a lifeless design

ELEMENTS OF DESIGN

Design elements are the basic units of a painting, drawing, design or other visual piece and include:

Color

• Color can play a large role in the elements of design with the color wheel being used as a tool, and color theory providing a body of practical guidance to color mixing and the visual impacts of specific color combination.

Color star containing primary, secondary, and tertiary colors.

Shape
A shape is defined as a two or more dimensional area that stands out from the space next to or around it due to a defined or implied boundary, or because of differences of value, color, or texture. All objects are composed of shapes and all other 'Elements of Design' are shapes in some way.

Texture

The tree's visual texture is represented here in this image.

Meaning the way a surface feels or is perceived to feel. Texture can be added to attract or repel interest to an element, depending on the pleasantness of the texture.

Space

In design, space is concerned with the area deep within the moment of designated design, the design will take place on. For a two-dimensional design space concerns creating the illusion of a third dimension on a flat surface:

• Overlap is the effect where objects appear to be on top of each other. This illusion makes the top element look closer to the observer. There is no way to determine the depth of the space, only the order of closeness.
• Shading adds gradation marks to make an object of a two-dimensional surface seem three-dimensional.
• Highlight, Transitional Light, Core of the Shadow, Reflected Light, and Cast Shadow give an object a three-dimensional look.
• Linear Perspective is the concept relating to how an object seems smaller the farther away it gets.
• Atmospheric Perspective is based on how air acts as a filter to change the appearance of distance objects.

Form

Form may be described as any three-dimensional object. Form can be measured, from top to bottom (height), side to side (width), and from back to front (depth). Form is also defined by light and dark. It can be defined by the presence of shadows on surfaces or faces of an object. There are two types of form, geometric (man-made) and natural (organic form). Form may be created by the combining of two or more shapes. It may be enhanced by tone, texture and color. It can be illustrated or constructed.

TYPES OF FLOOR COVERINGS

Floor Covering, material made from textiles, felts, resins, rubber, or other natural or man-made substances applied or fastened to, or laid upon, the level base surface of a room to provide comfort, durability, safety, and decoration. Such materials include both handmade and machine-made rugs and carpets and smooth-surfaced floor coverings. Although the words carpet and rug are frequently used interchangeably in referring to textile floor coverings, in modern usage carpets are fastened to the floor and usually cover an entire floor area, and rugs are not fastened and rarely cover the entire floor. Carpets and rugs may be classified as handmade or machine-made. Smooth-surfaced coverings generally adhere to a subfloor and are manufactured as sheet goods or tiles.

HARD FLOOR FINISHES:

·        Resilient

·        Non-resilient

·        Semi hard flooring

RESILIENT FINISH:

Resilient floors have various degrees of “give” to their surfaces. When dented, a resilient floor will eventually rebound wholly or partially to its origin form. They are called resilient because they are elastic and buoyant underfoot. They are also non porous.

NON-RESILIENT FINISH:

Flooring materials that do not “give” to any degree underfoot. Their hardness ensures their durability. Dents are not a problem with these types of floors. However, the hardness of these types of floors is also a major drawback. They are extremely tiring to those who must stand on them for any length of time.

 

Method of finishing Drapery

Method of finishing Drapery:

The very top of a drapery is called the heading. It is formed by pleating, pinching, gathering, grommeting or tying. A stiffner or buckram is inserted or wrapped into the heading when it needs to be stiff. The type of drapery needed for the window covering will dictate what type of heading and buckram if any should be used. Pleated type headings work best for drawing or traversing drapery across an opening and can be used on conventional type traverse rods, pole and ring, or motorized rods. The other types listed are better suited for stationary or non-functioning type drapery.

At Window Wears, we can custom make any combination of drapes and drapery. Below are the most common types that we fabricate.

Functional Drapes:

  

In terms of function, drapes and window treatments are typically used to control light, block out the cold and/or heat, provide privacy, and help mute sounds and prevent echoing). 

The most common types of function drapes are:

·        Pinch pleat drapery (also known as draw drapery) – these types of drapes open as a pair or draw to one side or the other.

·        Roman shades – these types of drapes open up and down.

Non-Functional Drapes:

In terms of form, drapes and window treatments can be used to add personality to a room, to frame a window, to focus our eye on the window, to make rooms seem taller or shorter, to provide accents, to add warmth and color, to dress a room up or down, and to compensate for windows that aren’t the same height. The most common types of form drapes are:

•Valances

•Panels

•Roman shades

•Cornices

•Swags/cascades

FABRICS USED FOR SUMMER

FABRICS USED FOR SUMMER 

Cotton

Cotton is an excellent material for a tropical climate because it permits movement of air from the skin through the fabric, allowing heat to dissipate and reducing humidity. It also absorbs moisture well, keeping the skin dry and increasing evaporation. This tendency to soak up water could potentially also be a problem: it can become damp and stay damp for some time. Anyone who has worn denim cotton jeans in wet weather will know that they absorb a lot of water and take a long time to dry out. These, however, are made of relatively coarse, thick material; cotton clothing for hot, humid parts of the world should be made of thinner, lighter fabric.

Another useful property of cotton is that it can be machine washed and dried. As sweat accumulates in a hot climate, the ability to wash clothing quickly and easily is a definite advantage. Cotton is also easily ironed and reasonably durable.

Linen

Like cotton, linen is cool and absorbent, and very comfortable to wear. It loses water quickly when it gets wet or damp, which is a useful feature in humid conditions. The material is relatively stain-resistant and can be machine-washed; however, it tends to become wrinkled and creased easily, especially when tumble-dried, and ironing it can be hard work. It is also susceptible to mildew, which can be a problem in areas with high humidity.

Rayon

This fabric is made from natural cellulose, which is subjected to various chemical treatments to create a fibrous material suitable for clothing. Like cotton and linen, it is cool and comfortable to wear: it does not trap body heat, and absorbs water easily, making it well suited to tropical conditions. Normal rayon, however, has limited durability, and should be dry-cleaned rather than washed. Another form of this fabric, called high-wet modulus (HWM) rayon, is much stronger and can be machine-washed.

Other Things to Consider

Generally, light colored fabrics are better for a tropical climate, because they reflect light and heat. White, beige, and pastels are common choices, and they can be embroidered with thread to create colorful designs. Tropics-themed textiles do not have to be dull white or shockingly patterned; options are varied when it comes to decoration.

Clothing for tropical climates should also be loose and comfortable. Many cultures have traditions of flowing garments which allow air circulation close to the body. In addition to being cooling, this also helps to keep the body dry, preventing irritation, rashes and skin infections. People who are overweight may also want to consider the use of a cream or powder on areas of the skin which are subject to chafing, to prevent painful sores at the end of a day of activity in hot, humid conditions.

ROLE OF FASHION DESIGNERS

Role Of Fashion Designers In The Fashion Design Industry

Fashion industry is one of the largest, continuously changing and evolving industries, which influences what people wear, all over the world. Fashion designing is the process of creating new trends in apparel and accessories and setting fashion trends according to places, seasons or any such specific theme. Fashion designers are people responsible for the changes in the fashion design industry and evolution of new meanings for fashion.

Every new season, collections are launched worldwide and new styles are set for people to follow. Every company that manufactures apparel and accessories has fashion designers working on them, which makes it a very rewarding career option. If fashion designers have a successful launch pad to showcase their design ideas and collection, they become famous and decide the trends to follow.

Fashion designers work in close collaboration with major fashion brands and celebrities to make a statement in the world of fashion. They are an indispensible part of the fashion design industry. Most fashion designers are formally educated in fashion designing, and have years of experience that enables them to make an impact in the world of fashion.

Since fashion designing needs artistic bent of mind, there are many fashion designers who can strike a chord without having a formal training, but have an excellent fashion sense and imagination. To be a successful fashion designer, right combination of colors, fabrics and design patterns are important, if the style has to last long.

Fashion designers need to work through the year to launch their collection at every season namely spring, summer and winter. Seasonal changes call for change in fabrics, colors, and designing of clothes, creating a demand for change in fashion. Every detail from the clothes to bags and footwear change from season to season, making the fashion design industry, one of the most active industries, in all seasons.

The role of fashion designers in the fashion industry is very important, since it is their creation that makes the industry. Every piece of clothing we wear in our daily lives has a designer’s work involved. The success of a fashion brand in the industry depends completely upon the originality, unique imagination and skill of a fashion designer.

OTHER TYPES OF SURFACE EMBELLISHMENTS

• Thread 

  knitting

  Decorative netting

  lace

  Weaving

  Loom Woven Narrow Wares (e.g. Inkle)

  Tablet (Card)

  Decorative weaving of cloth

  Braiding

  Kumihimo

  Fingerloop/Fingerweaving

  Sprang

  Thread-Woven Buttons

  Wooden Core

  Metal

  • Wire Weaving

  • Etching

  • Enamelling

  • Pierce work

  • Casting

  • Sheet metal work (chasing, repousse, etc)

• Earthenware 

  Painted Glazed Carved

  Etched  

  Moulded 

  Leather 

  Carving/Tooling

  Painting

  Braiding

  Decorative 

  Applique

  Wood 

  Carving

  Burning

  Painting

TYPES OF SURFACE EMBELLISHMENT

• Fabric 

  Stitched Fabric

  Applique

  Applied, reverse, single thickness, etc

  Foreign items: i.e. shells, mirrors, quills, etc

  Quilting

  Trapunto -- corded or stuffed

  Smocking

  Embroidery

  Counted Thread

  German Brick Stitch

  Cross Stitch

  Long Arm Cross Stitch

  Voided Work

  Assisi

  Reversi

  Counted-thread Blackwork

  Pattern Darning

  Metal Thread

  Surface Couching (metal thread)

  Or Nue

  Bullion Work

  Underside Couching

  Canvas Work ("needlepoint")

  Tent Stitch

  Cross Stitch on Canvas

  Brick Stitch

  Upright (gobelin) stitch

  Satin Stitch

  Surface Embroidery

  Laid Work

  Beadwork

  Split Stitch

  Crewel

  WhiteWork

  Drawn Thread

  Pulled Thread

  Cutwork

  Buratto work

  Reticella

  Painting

Surface Embellishments

Surface Embellishment: is an important component of freeform, it’s a great way of bringing your personality, our style & our skills to our work & putting our own stamp on our project. There are 1000’s of ways to embellish.

1. Surface Slip stitch: start where required, with right side facing & yarn at back, insert hook into sp between 2 sts & draw up a loop, * insert hook in next sp between 2 sts just made as required (above, or to the left or right) & draw up a loop through base-fabric & loop on hook, repeat from * to end, finish off & weave in tail ends on wrong side

2. Surface Slip Stitch can also be worked as follows: start where required, with right side facing & yarn at front, insert hook under a loop of stitch & draw up a loop, 1 ch to secure, * insert hook under next stitch loop (above, or to the left or right) & draw up a loop through stitch loop & loop on hook, repeat from * to end, finish off & weave in tail ends on wrong side. Use this method to bring in yarn for dc (US sc) & ruffles

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Crochet Dots: cut a long length of yarn approx 1metre (40”) or more – start where required, with right side facing & yarn at front, insert hook under a loop of stitch & draw up a loop, *1 ch to secure, * YO, insert hook under same loop & draw up a loop** (repeat from * to ** as many times as desired depending on size dot required), YO & draw through all loops on hook, 1 ch to close, then draw through remaining unused yarn, take this long end to wrong side & bring it back up where the next dot is required **, repeat from * to ** until yarn runs out

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Outlining & defining motifs: 

Stem stitch: is a versatile embroidery st that I use a lot… work in contrasting thread or even 2 threads at a time… it’s simple & quick

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Couching Stitch is another favourite: one yarn lies free on the surface & another yarn is used to tack it down. Use contrasting yarns, ribbons or cords.

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Crab stitch: (reverse dc (US sc)) – Although Crab stitch is most often used as edging, creating a rope-like finished edge to your project, it’s also a versitile stitch that can be used in freefom to tidy an unsightly seam or join or as an embellishment to liven up a dull, uniteresting patch. Crab stitch can be a little tricky at first but is soon mastered with a bit of patience & practice.

Embroidery

Embroidery

 Embroidery is the handicraft of decorating fabric or other materials with needle and thread or yarn. Embroidery may also incorporate other materials such as metal strips, pearls, beads, quills, and sequins.
Embroidery is most often used on caps, hats, coats, blankets, dress shirts, denim, stockings, and golf shirts.
Embroidery is available with a wide variety of thread or yarn color.

An interesting characteristic of embroidery is that the basic techniques or stitches on surviving examples of the earliest embroidery—chain stitch, buttonhole or blanket stitch, running stitch, satin stitch, cross stitch—remain the fundamental techniques of hand embroidery today.

Classification

Japanese free embroidery in silk and metal threads, contemporary.

Embroidered Easter eggs. Works by Inna Forostyuk, the folk master from the Luhansk region (Ukraine)

Embroidery can be classified according to whether the design is stitched on top of or through the foundation fabric, and by the relationship of stitch placement to the fabric.
In free embroidery, designs are applied without regard to the weave of the underlying fabric. Examples include crewel and traditional Chinese and Japanese embroidery.

Cross-stitch counted-thread embroidery. Tea-cloth, Hungary, mid-20th century

Counted-thread embroidery patterns are created by making stitches over a predetermined number of threads in the foundation fabric.
Counted-thread embroidery is more easily worked on an even-weave foundation fabric such as embroidery canvas, aida cloth, or specially woven cotton and linen fabrics although non-evenweave linen is used as well.
Examples include needlepoint and some forms of blackwork embroidery.

Hardanger, a whitework technique. Contemporary.

In canvas work threads are stitched through a fabric mesh to create a dense pattern that completely covers the foundation fabric.
Traditional canvas work such as bargello is a counted-thread technique.
Since the 19th century, printed and hand painted canvases, on which the printed or painted image serves as a guide to the placement of the various thread or yarn colors, have eliminated the need for counting threads.
These are particularly suited to pictorial rather than geometric designs such as those deriving from the Berlin wool work craze of the early 19th century.
In drawn thread work and cutwork, the foundation fabric is deformed or cut away to create holes that are then embellished with embroidery, often with thread in the same color as the foundation fabric. These techniques are the forerunners of needlelace. 

When created with white thread on white linen or cotton, this work is collectively referred to as whitework.

The Color

The Color Wheel

A color circle, based on red, yellow and blue, is traditional in the field of art. Sir Isaac Newton developed the first circular diagram of colors in 1666. Since then, scientists and artists have studied and designed numerous variations of this concept. Differences of opinion about the validity of one format over another continue to provoke debate. In reality, any color circle or color wheel which presents a logically arranged sequence of pure hues has merit.

Primary Colors: Red, yellow and blue
In traditional color theory (used in paint and pigments), primary colors are the 3 pigment colors that can not be mixed or formed by any combination of other colors. All other colors are derived from these 3 hues. 

Secondary Colors: Green, orange and purple
These are the colors formed by mixing the primary colors.

Tertiary Colors: Yellow-orange, red-orange, red-purple, blue-purple, blue-green & yellow-green
These are the colors formed by mixing a primary and a secondary color. That's why the hue is a two word name, such as blue-green, red-violet, and yellow-orange.

Color Harmony

Harmony can be defined as a pleasing arrangement of parts, whether it be music, poetry, color, or even an ice cream sundae.

In visual experiences, harmony is something that is pleasing to the eye. It engages the viewer and it creates an inner sense of order, a balance in the visual experience. When something is not harmonious, it's either boring or chaotic. At one extreme is a visual experience that is so bland that the viewer is not engaged.Color harmony delivers visual interest and a sense of order.

Harmony is a dynamic equilibrium.

DRAPERIES

DRAPERIES

Introduction:

Drapery is a general word referring to cloths or textiles (Old French draperie, from Latin word drappus). It may refer to cloth used for decorative purposes. such as around windows or to the trade of retailing cloth, originally mostly for clothing, formerly conducted by drapers.

There are many different styles and shapes of drapery

Meaning of drapery:

Drapes are similar to draperys sold in panels of fabric with many different lengths, colors, and patterns but are normally made of heavier fabric, lined, pleated and hung on a traverse rod with a string so we can easily open and close them. Drapes are more grand and found in formal-type rooms, such as a dining room, parlor, or master bedroom.

Method of finishing Drapery:

The very top of a drapery is called the heading. It is formed by pleating, pinching, gathering, grommeting or tying. A stiffner or buckram is inserted or wrapped into the heading when it needs to be stiff. The type of drapery needed for the window covering will dictate what type of heading and buckram if any should be used. Pleated type headings work best for drawing or traversing drapery across an opening and can be used on conventional type traverse rods, pole and ring, or motorized rods. The other types listed are better suited for stationary or non-functioning type drapery.

At Window Wears, we can custom make any combination of drapes and drapery. Below are the most common types that we fabricate.

Functional Drapes:

 

In terms of function, drapes and window treatments are typically used to control light, block out the cold and/or heat, provide privacy, and help mute sounds and prevent echoing). 

The most common types of function drapes are:

·        Pinch pleat drapery (also known as draw drapery) – these types of drapes open as a pair or draw to one side or the other.

·        Roman shades – these types of drapes open up and down.

Non-Functional Drapes:

In terms of form, drapes and window treatments can be used to add personality to a room, to frame a window, to focus our eye on the window, to make rooms seem taller or shorter, to provide accents, to add warmth and color, to dress a room up or down, and to compensate for windows that aren’t the same height. The most common types of form drapes are:

•Valances

•Panels

•Roman shades

•Cornices

•Swags/cascades

 

DRAPERIES