书法元素在服装设计中的应用

书法是中华民族独特的文化艺术形式,具有强烈的视觉冲击力和重要的艺术价值。传承书法艺术是每个中华儿女义不容辞的责任。通过对书法元素的研究,探讨出书法与服装设计的联系,将书法元素与服装设计融合起来。运用刺绣、补花、贴花、编结盘绕等手法将书法元素直接表现在服装设计中。并且,对楷书、行书、草书的特点进行归纳,将各自的特点间接应用到服装设计中。     

中国风在现代西方服装设计中的应用与启示

中国风(Chinoiserie)是从属于罗可可的一种艺术风格,主要是指欧洲十八世纪兴起的以崇尚中国文明,传播中国哲学,模仿中国艺术风格为特征的文化现象。在服装领域,中国风主要表现于纺织品纹样、服装款式和色彩。它既反映了欧洲人对中国艺术的理解和对中国风土人情的想象,又掺杂了西方传统的审美情趣。现代服装设计中对中国风的运用非常广泛,其中不乏非常优秀的设计作品。中国本土设计师怎样通过总结西方设计师如何将中国元素娴熟地运用于设计的思维方式去更好地运用自己的本土文化,是一个十分值得思考的问题。     

服装设计专业的现代学徒制建设

我国自贸区的设立和"一带一路"建设,促使纺织服装产业发展进入深度转型和创新升级阶段。不断增大的服装企业对优秀的服装设计师需求量,与院校服装设计专业培养学生实际动手能力差、环境适应力差和不能迅速适应企业岗位存在着矛盾。服装设计专业现代学徒制的制度建设、课程建设、岗位建设、师资建设,为服装设计专业提供优化教育培养模式。     

服装材料在服装设计中的应用

服装材料作为服装三要素中的最基本要素,决定着服装的另外两个要素,本文从材料的美感、肌理等方面阐述服装材料在服装设计中的应用。     

感性工学在服装设计中的应用

将感性工学引入服装设计中设计师更容易把握消费者的心理.文章总结了服装设计的发展现状和感性工学的概念;从服装设计方法及服装产品风格定位两方面阐述了感性工学理念在服装设计领域的研究现状,最后概括了服装设计中应用和实施感性工学的一般步骤.     

黑白色在现代女性服装设计中的价值体现

色彩作为服装设计的三要素之一,对服装风格的表达有着重要的作用,世间万物都可作为色彩的灵感来源为设计师们提取运用,而黑白两色在色谱家族中的经典地位是其它色系无法撼动的,本文从黑白色系所表达出的语境艺术特色入手,阐述黑白色彩在审美、情感以及在现代女性时装上的价值体现。重点分析了黑白色在设计中所存在的局限性,以及在女装中不同场合的应用手法,使其能够充分了解到黑白色强大的影响力。     

中国服装设计教育之痛

我国服装产业的品牌的影响力还不够,远不及法国、意大利等国家。从中国制造到中国创造的过程中,其核心问题是中国急需崛起一大批世界级的服装营销大师和服装设计大师。而中国服装设计优秀人才能否成批出现,关键在于中国服装设计教育能否满足产业的发展。中国服装设计人才培育过程中,教学理念与市场发展需求的不适应、教学模式转变与产业进步的节奏不匹配,是服装设计教育制造的产品难以满足产业发展需求的根本原因。     

民间剪纸艺术与现代服装设计的跨界对话

剪纸与服装设计在表面上毫不相干,但在内部表现形式上却紧密相连,它对服装的肌理、纹案、色彩、材质以及造型等各个方面都有着深刻的影响,文章从剪纸艺术的线条、剪纸的构图、色彩以及剪纸的材料角度分析了剪纸艺术在现代服装设计中的运用。     

The genesis of design: learning about design,learning through design to learning design in play

International Journal of Technology and Design Education - Learning about design and learning through design have emerged in the literature and important works show heuristics and matrices for...     

绿色设计在工业产品设计中的应用

随着人类生存环境的不断恶化,资源可持续发展的重要性逐渐被人们所认识,引发了绿色设计和人性化设计等设计思潮。从3个方面对绿色设计在工业设计中的应用进行了认识分析,指出绿色设计融入工业设计是工业设计发展的必然趋势,它会使工业设计更加符合人类消费心理的需求,符合社会发展的需求,使工业设计理论更为科学实用。     

Myth in design

Conclusion Like our society, design is riddled with myths. Not all are harmful. Indeed, there is often a symbiotic relationship. Myths are also useful as a learning device in which the unintelligible —randomness, is reduced to the intelligible — a pattern. However, if we are striving, as designers, to gain understanding, to have gnosis, then an awareness of the role of myth in design is essential.Myth in design is important because, in casting ideas into tangible forms, it affects the way we think and behave; it not only reflects our past and present, it can also determine our future.     

Motivation for creativity in architectural design and engineering design students: implications for design education

The investigation reported here dealt with the study of motivation for creativity. The goals were to assess motivation for creativity in architectural design and engineering design students based on the Cognitive Orientation theory which defines motivation as a function of a set of belief types, themes, and groupings identified as relevant for the development of creativity. Differences between the two groups of students were expected in some of the scores of the belief types, themes, and groupings. Participants were 112 students (52 from architecture, and 60 from engineering) who were administered the questionnaire of the Cognitive Orientation of Creativity. Significant differences in numerous motivational contents were observed between the groups of students. Major characteristics of the architectural design students were an emphasis on the inner world, inner-directedness, and a development of the self, and of the engineering design students being receptive to the environment, and demanding from oneself despite potential difficulties. The findings provide insights for intervention programs targeted at improving architectural and engineering design education.     

Making explicit in design education: generic elements in the design process

In general, designing is conceived as a complex, personal, creative and open-ended skill. Performing a well-developed skill is mainly an implicit activity. In teaching, however, it is essential to make explicit. Learning a complex skill like designing is a matter of doing and becoming aware how to do it. For teachers and students therefore, it will be helpful to make the design process explicit. In this paper, a conceptual framework is developed to be more explicit about the design process. Based on research of the design process, on differences between novices and expert designers, and on personal experience in design education practice, five generic elements in the design process are distinguished: (1) experimenting or exploring and deciding, (2) guiding theme or qualities, (3) domains, (4) frame of reference or library, (5) laboratory or (visual) language. These elements are generic in the sense that they are main aspects and always present in the complex, personal, creative and open-ended design process.     

Studying the effectiveness of conceptual design in secondary design and technology in England

The purpose of the study reported here was to investigate the effectiveness of a conceptual design unit as part of the Design and Technology curriculum for 14 years old pupils in England. One research question drove this study: What sort of designing do pupils do when they design without having to make what they have designed? Data consisted of the design ideas of a whole class developed during 6 lessons towards the end of an 18 lesson teaching sequence. Findings, which are in line with those of the pilot study, indicate that the pupils’ designing was highly iterative, creative, involved making a wide range of design decisions and revealed understanding of technological concepts.     

A conceptualisation of design context to explain design trade-offs in the automotive industry

The paper explores decision-making rationale when making trade-offs in design. A case study of a mass-market car manufacturer was conducted using interviews, qualitative questionnaires and observation. It revealed that decision-making practices in trade-off situations depend on the way that decision makers perceive the relative importance of design targets and trade-off criteria. These practices are unformalised and embedded in the larger processes of car development and often contradict the technical guidelines for making trade-offs that exist in the company. The paper presents a conceptual framework to explain the rationale of trade-offs in different design contexts. How to apply this framework to understand design trade-offs is described with an illustration of its use in two real life examples.     

包装设计不是一般的平面设计

“包装设计不是一般的平面设计。”这原本是无须争论的问题。然而,目前国内高等美术与设计院系的部分教授和一些从事包装设计的专业人员,在理论上却大声疾呼包装是平面设计,强调包装属于平面设计范畴,用平面设计的理念进行包装设计教学与进行包装设计评价,以至有的省级包装技术     

Market design in Chinese market places

The market design (MD) approach to institutional analysis provides the analytical tools to evaluate endogenous institution building in local market places irrespective of the institutional setting of the national economy. Implicit in this analysis of endogenous institution building at the market place level is the recognition of institutional diversity, which none of the conventional forms of institutional analysis can provide. We extend the MD approach from its original game theory perspective to examine three market places in China: township and village enterprises, equity joint ventures, and public utilities. We conclude that the MD approach (1) provides the analytical tools and criteria to evaluate whether or not market places are robust and sustainable, (2) links market behavior at the market place level, which is characterized by size, coordination, and trust problems, with general level considerations based on transaction costs, and (3) suggests that functioning market places are achievable, even if the formal institutions of the general economy are weak or partially missing. Our research has policy implications and opens new avenues for research into the emergence of markets.