Ossay Design in Illustration Fashion Designing

Fashion Designer

allowing the mode designer and resellers a broader geographic telescopic and concerted opportunities in diverse fields.

From: Textile Design , 2011

Visual Design Techniques for Fashion

J. Gaimster , in Textiles and Fashion, 2015

26.four.2 Fashion Forecasting

Fashion designers and retailers get information well-nigh the latest fashion trends from fashion forecasters, such as Peclers, Nelly Rodi, and Promostyl, or from spider web-based services such as WGSN ( www.wgsn.com). These companies use lots of people to notice and analyse trend information from all over the earth. Companies use trend forecasters because it can be quicker and cheaper than trying to observe and analyse the information. Forecast companies may have websites or produce trend books that their customers will purchase and use for inspiration and information. They will give data about colours, fabrics, styling, and also lifestyle trends (how people are living and what things are important to them).

Read full chapter

URL:

https://world wide web.sciencedirect.com/science/article/pii/B978184569931400026X

Computer-Aided Design (CAD) and Computer-Aided Manufacturing (CAM) of Apparel and other Textile Products

S. Burke , R. Sinclair , in Textiles and Fashion, 2015

27.3 Using CAD to Design Way Products

Fashion designers require a portfolio of figurer drawing and design skills to sketch designs ranging from the simplest tank top through to the about highly styled creations. This includes:

•

Drawing habiliment every bit flats/working drawings/technical drawings

•

Specification sheets (specs) including toll sheets

•

Style sheets

•

Illustrated designs drawn on a fashion figure body/croquis

Some of the key documents are discussed in the following sections.

27.3.1 Flats/Working Drawings

Flats, also referred to as Technicals, are explicit line drawings of garments, drawn to scale, using unproblematic, articulate lines, with no exaggeration of item as you would notice in a more stylised fashion illustration.

It is of import in flats that all structure lines such equally seams, darts, and styling details, such as pockets, buttons, and trims, are represented. Wearing apparel companies use flats as their primary visual source to communicate and liaise with buyers, clients, design makers, and sample machinists – flats are the international fashion language. Increasingly flats are also added to trend reports, this allows the viewer to come across key silhouettes and key design details. Flats form an essential office of the blueprint procedure; digital drawings are the most efficient method to communicate designs from the fashion design studio to production, and to the buyers, merchandisers, and marketing teams.

27.iii.2 Specification Sheets (Specs)

In the fashion manufacture a specification sheet or a spec sheet, as it is known, is a document that contains an accurately drawn flat (line drawing of the design), and all relevant specifications (instructions and measurements). This information is needed to produce garments to the required standard and design. The spec sheet forms the ground of a binding contract between the pattern house or client, and the manufactory that produces the garment. With a large percentage of vesture manufacturing being outsourced offshore, it is of import that this document exist clear, precise, and self-explanatory. A spec sheet would be prepared by the fashion designer, fashion design assistant, and/or pattern maker and is of particular importance in the fashion industry in the design and production process. It is essential that it is checked for accurateness. Spec sheets can be created using the Excel spreadsheets software; there are other options available, both online and open source, the flat/line drawing is created using a vector programme such as Adobe Illustrator©, Corel draw, open source option Inkscape, or specific apparel software.

Spec sheets would typically incorporate the following details:

•

A technical drawing – front and back view and specific details to testify the verbal design and details such every bit the position of pockets, buttons, and labels.

•

Specific construction details such as the types of seams required, hem, and topstitching details.

•

Measurements of the garment/product, plus details of graded sizes required.

•

Fabric details, a swatch of the fabric, and details of the trims and thread used.

The spec canvass would be adapted and updated depending on what stage the style/pattern was in the blueprint and production procedure, for case:

•

In the sample room where the pattern and sample garment/prototype is initially fabricated.

•

The production department where the garment will be costed.

•

The factory floor where the garment orders are cut and constructed.

•

Information technology might also exist adapted and used as a reference during the despatching and delivery of the garments.

Documents such as specs would be prepared past the fashion designer, fashion design banana, design maker/team, and are of particular importance in the fashion industry in the design and product process. Spec sheets are inherently now linked to the PDM and PLM information management and database software, and every bit such become integrated into the workflow program of a product. They present the key information about the garments/products to ensure that they are made to the required specifications and include some or all of the following information: the people responsible for the design, the technical drawing, fabrics and trim details, whatsoever specific measurements, etc. Effigy 27.1 shows a spec canvas. Figures 27.ii and 27.3 show a spec sheet with measurement details whilst Figure 27.iv shows an extract of the style details required.

Effigy 27.1. Spec canvas – presenting all the relevant information required to produce the garment to meet the required standard and blueprint. Designer Tina Fong.

© Fashion Designer – Sandra Burke

Figure 27.2. Specification canvass – with measurement details. The numbers refer to items in the spec canvas document.

© Mode Calculating – Sandra Burke

Effigy 27.3. Spec sail document – showing an excerpt of the style details and measurements required (encounter the previous specification sail).

© Manner Computing – Sandra Shush

FIGURE 27.4. Cost canvass – presenting all the relevant data for costing purposes.

© Fashion Designer – Sandra Burke

The costing sheets (typically in Excel or other spreadsheet software) list all the required data to calculate the total costs to manufacture the garments or products, and to establish the required selling prices (wholesale and/or retail) and include: the cloth/trims ratings and costs, processes, time costs, and all relevant information as shown in Figure 27.4.

27.3.3 Style Sheets

The document shown in Figure 27.5 would be prepared by the fashion designer and/or design team and would be used as part of the sales procedure to present the collection and the colours, fabrics, and sizes available to the buyer.

FIGURE 27.5. Stretch performance series sail – presentation of flats for retail buyers listing the available colours, sizes, cost, etc., inside the drove.

© Mode Computing – Sandra Burke

Read total chapter

URL:

https://www.sciencedirect.com/science/article/pii/B9781845699314000271

Subjective assessment of wear fit

W. Yu , in Wear Appearance and Fit, 2004

three.iii.2 Dress form

Manner designers and pattern makers must have their customers' specified dress forms which stand for the average size and shape of the target market. They may develop the silhouette on the dress form past straight textile draping, or fit the prototype on the apparel form for evaluation. As dress grade is very important to ensure the fit of the wear, its quality is always of concern both to industrialists and academics. However, commercial wearing apparel standards are still unsatisfactory due to their limitations in terms of size and shape accurateness. Companies tend to make their own dress forms which correspond the body figures of their target customers.

Cascini et al. ²³ has patented a range of mannequins, FORMAX®, based on all body conformations extracted from anthropometrical statistics obtained from a low-price trunk shape silhouetter 'ScanFit arrangement'. CAD Modeling is a company providing a complete set up of such mannequins representing realistic models for the target population to which the garments are dedicated. ²⁴

Based on inquiry on 3-D human morphology and garment technology, Alvanon ²⁵ sells tailor-fabricated dress forms and a platform for objective and subjective assessment of a garment'due south fit, and then every bit to reduce sample making costs, raise efficiency in production and increase accuracy of fit.

The Digital Human Laboratory ²⁶ in Japan, in collaboration with the Bunka Fashion Higher, has since 1996 developed a serial of new dress forms (Fig. iii.2a) which looks more than real than the conventional wearing apparel form (Fig. 3.2b). The conventional dress grade is handmade from dirt, hence its shape is bogus. The new dress form represents the average dimensions of the target population measured by an optical 3-D body scanner, and the 3-D data were modelled using nearly 500 data points which are defined and based on anatomical landmarks (Fig. 3.3). The average grade was calculated using an FFD technique, and was manufactured past rapid prototyping. A apparel class is made by modifying the average class by reducing the unnecessary curves, but is even so very close to the bodily human torso shape. Bunka Way College started selling the new dressmaking dummies from September 2000. A Japanese visitor Taninaka ²⁷ also provides information on the web, but now refuses to sell the dummy overseas (Fig. 3.four).

Effigy three.2. Difference between the (a) new and (b) conventional clothes form.

Source: Makiko Kouchi, Masaaki Mochimaru and Yumiko Ito, 2001: Development of a new dressmaking dummy based on a 3-D human model. Proceedings of Numerisation iii-D Scanning 2001.

Figure iii.3. Digital human trunk model based on anatomical landmarks.

Source: Makiko Kouchi, Masaaki Mochimaru and Yumiko Ito, 2001: Evolution of a new dressmaking dummy based on a 3-D human model. Proceedings of Numerisation iii-D Scanning 2001.

Effigy 3.four. Taninaka's Dress stand.

Source: http://www2.nsknet.or.jp/~taninaka/main-page.html

Read full chapter

URL:

https://www.sciencedirect.com/scientific discipline/commodity/pii/B9781855737457500035

Modeling and simulation techniques for garments

Due south.-K. Wong , in Computer Technology for Textiles and Apparel, 2011

8.eight Conclusions and sources of further information and advice

Nosotros take reviewed several different aspects of garment simulation. In general in that location are three categories of techniques: geometrically based, physically based and hybrid. To model garments interacting with objects, collision detection and collision response should be handled. In some complicated simulation environments, there are many collision events occurring at the aforementioned time. Robust methods for handling them are essential for animating the garments. Moreover, parallel computation can exist carried out for improving the simulation functioning on multicore platforms with graphics processing units (GPUs).

Nosotros list further information based on the work of Jiang et al. (2008) on fabric simulation for applications and software.

8.8.1 Garment CAD/CAM

Fashion designers can design garments with unlike patterns and fabrics easily on an interactive garment pattern organization before the real garments are produced. Garments can be dressed on an animated character so as to visualize the garments. Non simply are the real materials saved, but the production time is reduced significantly. On the other paw, customers tin effort garments on a virtual try-on organization before they purchase them. Customers tin can easily select their favorite garments and combination.

8.8.2 Game engines

Virtual actors play an important office in games. Tools are adult so that unlike styles of garments tin can be designed intuitively. The realistic animation of garments greatly improves the gaming feel for the players. The methods should be fast so as to maintain the real-fourth dimension performance in a game.

8.viii.iii E-commerce

The purchasing patterns of people are irresolute due to the popularity of web-based browsers. People are likely to order garments via the Internet equally it provides keen convenience. Visitors can cull their garments or even patterns to brand their own garments (made to measure) on Internet browsers. Later they select the garments, real-time simulation is performed for evaluating them. At the same time, the visitors can change parameters to arrange their body measurements.

8.eight.4 Reckoner animations and style shows

Visual realism is important and a remainder between accurateness and performance should exist considered. Specially, garments should be controllable so that sure kinds of shapes or animations tin exist produced.

8.eight.5 The production of cloth simulation

MIRACloth Software (Volino and Magnenat-Thalmann, 2000b) is a garment simulation software package developed at MlRALab, University of Geneva. In that location are 2 major components: 2nd design and 3D simulation system. Panels tin be edited in the 2nd pattern software and then assembled in the simulation system.

My Virtual Model Inc. has 2 core technologies – My Virtual Model™ Dressing Room and My Fit – that enable consumers to 'endeavor on' clothes on the Internet. Users tin manage their virtual wardrobe and post the data on their personal homepage. It is available at http://world wide web.mvm.com/cs/(accessed 31 March 2010).

NVIDIA PhysX can compute the motion of a variety of interacting objects, such as rigid bodies, deformable objects, cloth, and breakable objects. It adopts the most advanced physics simulation techniques and delivers realistic physics simulation. PhysX SDK is complimentary to download. Information technology is available at http://developer.nvidia.com/object/physx_downloads.html (accessed 31 March 2010).

Havok Cloth is a user-friendly development tool with which game artists tin breathing character garments and wear environments. It is operation-optimized then that high performance tin can be accomplished on the latest hardware. It maximizes the productivity of artists, animators and programmers. Information technology is available at http://www.havok.com/alphabetize.php?page=havok-cloth (accessed 31 March 2010).

Read total chapter

URL:

https://www.sciencedirect.com/science/article/pii/B9781845697297500088

Fashion design: the dynamics of textiles in advancing cultural memes

Southward.C. Jenkyn-Jones , in Cloth Design, 2011

eleven.ii.six Growing independence

Fabrics allow manner designers to resonate and mirror the prevalent visual and cultural themes past articulating the body covering with synergy of material and cut. Released from the tyranny of 'luxury' as a fashion argument, and unable to discover the bright colours, prints and textiles they wanted from the conventional suppliers, this generation silk-screen printed, appliquéed and knitted their ain. Designers Ossie Clark and his wife, Celia Birtwell, Bill Gibb, Zandra Rhodes, and Thea Porter were every bit much admired for their charming textiles as the cut of the garments. Way aligned itself powerfully with art and popular music rather than Hollywood and was marketed in boutiques, coordinating to galleries and clubs rather than section stores. Anti-materialistic and counter-cultural memes expressed by a return to tie-dye, batik and non traditional and ethnic looks held sway for a decade. European mills and printers such as Marimekko, Pucci, Bianchini and Boussac who were receptive to the changing look and patronage of the way designers flourished. In Paris, the rising designers, Pierre Cardin, Paco Rabanne and Yves Saint Laurent were likewise investigating new materials and artistic allegiances, technological methods of making and marketing through diffusion ranges, boutiques and licences. The designer no longer created mere dresses but offered a lifestyle vision, often extending products into cosmetics and home effects.

Throughout the 1970s and 80s a salubrious eye market of minor independent, moderate cost street-style labels, expressive of an era of youthful refusal of high street homogeneity, were established, just were unable to sustain economic viability without a more rapid turnover of styles and stock. Mode cycles speeded up, intermission seasonal barriers and changing gear with inter and pre-seasonal, political party and cruise ranges until they went into freewheeling through the 1990s with lean production and quick response manufacturing. Through subsequent recessions and cash crises, the innovative independent design-led business organisation has non often fared well; well-nigh have had to seek business support and funding by financial 'angels' to bankroll them. Such covenants are not necessarily appreciative of the golden goose; Barbara Hulanicki, who had built Biba upwards from a successful postal service guild concern offering sumptuously coloured fabrics and jerseys, into a central London department store was an early on casualty of the archetypal misunderstanding between designer and direction. She described her fraught human relationship with financial backers to a way school audience in January 2010, at Central Saint Martins, as 'sufficiently depressing' for her to determine to shut the business altogether; as, for example, the accountants could non encounter the advantage of offering styles in a broad range of colours, when blackness was the bestseller. Fashion designers have frequently been accused of financial irresponsibility; conversely, a number have struck a counter-capitalist pose, yet remained in play for decades.

In recent years the price of manufacturing close to home and competition from chainstores has squeezed out the smaller enterprises and few small boutiques remain (Mintel 2009). Ironically, fifty-fifty the large stores now admit the need for variety and creativity to pique interest. Equally a measure of the value at present accorded the designer, we can meet fresh collaborations extend back into loftier street retail bondage. Designers Stella McCartney for Adidas, Jean-Paul Gaultier for Target, Comme des Garçons for H&Chiliad are among those who accept created limited edition ranges and added value to loftier street stores, in some cases selling out within hours of commitment. As a event, the textile producer and retailer now has a greater agreement and respect for the synergistic premium effect of the innovation and creativity of the fashion designer on the market response. This was, and largely remains a strategic success for the conversion of textile into turn a profit; but only too often the value is recognised in hindsight. The high street has now imitated the design gurus for decades; as fashion accelerated, those who were not adept at spotting the trends lost their grip. Retailers, at the sharp end, take been faster than textile mills to recognise the value of design in driving sales and some have taken designers in house, cutting out the wholesalers.

Read full chapter

URL:

https://www.sciencedirect.com/science/article/pii/B9781845696467500111

Types of smart clothes and wearable engineering

R.D. Hurford , in Smart Clothes and Wearable Technology, 2009

France Telecom – CreateWear

France Telecom worked with French fashion designer Elisabeth de Senneville on a range of 'wearable communication' garments. The garments had flexible colour screens congenital-in, using a small-scale matrix of Liquid Crystal Displays (LCD), providing visual advice when using a mobile phone. The mobile phone connects the garment to a central communications server where images, animations and letters can exist uploaded. The wearer tin then choose what should exist displayed. Information technology was rumoured that the epitome would be developed into a production, but this has non occurred. Recently, Philips have developed a flexible brandish technology called Lumalive.

Read full chapter

URL:

https://www.sciencedirect.com/science/article/pii/B9781845693572500022

The utilize of fuzzy logic techniques to improve determination making in apparel supply chains

L. Wang , ... L. Koehl , in Information Systems for the Fashion and Apparel Industry, 2016

2.3.4.i Computation of the relevancy degree REL(de_v, S)

In a design process, way designers create a new manner product using two approaches. In the first approach, designers consider the new style as a complete or partial revival of an existing reference style. In the second approach, a new style is generated from inspiration of several existing reference styles. In this context, we use the relevancy degrees to the reference styles to limited a new garment design. The reference styles controlling new garment designs are denoted every bit S  =   {southward _i, south _ii,…, s _ξ }. In the design of men'southward overcoats used in the proposed recommender system, nosotros have ξ  =   5 with due south _one  =   "Chester," due south _ii  =   "Ulster," southward ₃  =   "Balmacaan," southward _iv  =   "Trench," and s ₅   = "Duffle."

The relevancy of de _v (v  ∈   {1,…, λ}) to the reference styles can be represented by:

$\text{REL}\left({\text{de}}_v,S\right)=\left(\text{eq}\left(\mathrm{Fifty}\left({\text{de}}_{\mathrm{five}},s_1\right)\right)\mathrm{\dots }\text{eq}\left(\mathrm{50}\left({\text{de}}_v,s_{\mathrm{\xi }}\right)\right)\right)$

where Fifty(de _v , southward _k ) (k  ∈   {1,…, ξ}) is a linguistic relevancy degree of the garment design de _v related to the previous reference styles and evaluated by the way experts ex _i 's using the following five linguistic scores: Fifty ₁  =   "not belong to," Fifty ₂  =   "a little belong to," L ₃  =   "belong to," 50 ₄  =   "quite belong to," Fifty _v  =   "totally belong to." The corresponding equivalence values are represented by eq(.), with eq(L ₁)   =   0, eq(L _ii)   =   0.25, eq(50 ₃)   =   0.v, eq(L ₄)   =   0.75, and eq(L ₅)   =   one.

Read total chapter

URL:

https://world wide web.sciencedirect.com/science/article/pii/B9780081005712000026

The interaction of 2 and iii dimensional design in textiles and style

K. Townsend , R. Goulding , in Textile Design, 2011

13.2.3 The mass clothed torso

Essentially, the human relationship a commercial manner designer has with the trunk is one based on computerised pattern design systems (PDS) using garment blocks cut to a company'south standardised measurements, which are updated periodically through consumer data and national sizing surveys such as SizeUK (2003). Mass produced garments are generally fabricated in sizes eight, ten, 12, 14 and 16. These sizes are based on boilerplate dimensions of bosom, waist and hip and are designed to conform every bit many body shapes as possible. Companies such every bit Marks and Spencer, Top Shop and Next supplement their standard ranges with Tall and Petite, reflecting the requirements of their wide customer profile. Creating a wide range of garments in different sizes requires careful selection of corresponding surface embellishments that tin can be re-scaled to piece of work aesthetically beyond varying sized pattern pieces.

Read full chapter

URL:

https://world wide web.sciencedirect.com/science/article/pii/B9781845696467500135

Materiality, Design, and Creativity

Michael Ashby , Kara Johnson , in Materials and Blueprint (Third Edition), 2014

Sources of Inspiration

Newspaper reporters, it is said, never relax. One-half their mind is always warning to the possibility that a news story might be about to interruption just circular the corner. Relax and they'll miss it – worse, another reporter may become it kickoff. Conversations with designers reveal a similar syndrome: they are always alert to the possibilities offered by a shape, a texture, a material, a surface, an image that might be adapted in an innovative design. It is a feature non confined to product designers: fashion designers and architects also use what they have observed and their power to manipulate information technology as a creative tool.

Industrial designers and engineers, like mode designers and architects, describe their work as "creative," implying that their all-time ideas are self-generated, the upshot of a sort of inspiration. Simply fifty-fifty inspiration has its sources and methods. ⁶ Discussions with designers advise several and emphasize the central function of materials and processes in each. Here are some.

Design Magazines, Annual Reviews, Museum Exhibitions, and Tradeshows

Design magazines ^seven and annual reviews ⁸ illustrate innovative products, attaching a brief description list designer and – sometimes – materials. Design yearbooks ^nine exercise much the same, but devote more infinite to the design history and antecedents, to motivation, and to descriptions of features, frequently augmented by interviews with the designers themselves. Browsing through these can provide inspiration, but the largely unstructured nature of the information that they contain makes their efficient utilise difficult. Near designers also seek ideas from a wider range of sources encompassing fashion, architecture, and design publications such as Vogue, Domus, and Wallpaper. Design exhibitions ¹⁰ expose the viewer to rich sources of ideas drawn from various product sectors, oftentimes suggesting the use of materials in a production to attain a particular experience, texture, color, or clan. Museums of pattern and applied fine art (3.eleven) tape blueprint history and innovation, combining permanent displays with temporary exhibitions and educational programs. Finally, there are tradeshows such as the annual Hanover Trade Fair, the Polymer Tradeshow – thou – in Dusseldorf and Milan'due south Furniture Show; each acts equally a showcase for contemporary materials and blueprint.

3.xi. Museums of Design and Country Practical Art
Design museums are a rich source of inspiration for designers.

State	Blueprint museums
Australia	The Powerhouse Museum, Sydney
Britain	The Design Museum, London
	The Victoria and Albert Museum, London
	The Science Museum, London
Czechoslovakia	Musée National des Techniques, Prague
Kingdom of denmark	The Danish Museum of Decorative Art, Copenhagen Danish Design Centre, Copenhagen
France	Musée Nationale des Techniques, Paris
	Musée des Arts Décoratifs, Paris
	Musée National d'Fine art Mod, Paris.
	The Musée d'Orsay, Paris
	Fondation National d'Art Contemporain, Paris
Frg	Das Deutsche Museum, München
	Vitra Design Museum, Weil am Rhein
Holland	The Stedljk Museeum, Amsterdam
	The Booymans van Beumijen Museeum, Rotterdam
Italian republic	Sandretto's Plastics Museum, Pont Canavese
Sweden	The Class Design Center, Malmo
Switzerland	Pattern Collection, Museum für Gestaltung, Zurich
USA	The Smithsonian Museum, Washington DC
	Museum of Modernistic Art (moma), New York
	The National University of Design, New York
	Cooper-Hewitt, New York

Textile Sample Collections

Many individual designers and design houses gather collections of materials not just metals, plastics, and ceramics but likewise weaves, finishes, coatings, and shapes – materials that have, in various ways, been processed (3.12). The physical nature of the samples is the key point: new ideas – inspiration – can come more than readily from handling (not just visualizing) a material. Familiar materials carry associations that derive from their traditional uses: polished wood – the sense of warmth, civilisation, discrete luxury; brushed aluminum – the sense of clean mechanical precision, then along. But the use of familiar materials in an unfamiliar fashion is also a creative step. New materials, particularly, human action every bit a trigger to inventive thinking, offering the potential for novel design. This is where maintaining a material collection becomes challenging. Most material development is driven by technical demand, not past motives of industrial design, with the result that information does not readily reach the designer. Material information ¹¹ services exist that carry large sample collections and offer web-based access to images and suppliers, but not much more than (3.12). There is a need for an accessible sample drove with links from the image and supplier to a larger file of aesthetic and technical data. Nosotros return to this point later in the book (see Figure iii.13).

3.12. Fabric collections
Libraries of material samples come and go. Those listed here were current at the time of writing.

Textile collection	Headquarters	Online
Cloth Connectedness	New York	www.materialconnexion.com
Materials library	London, U.k.	www.materialslibrary.org.uk
Central Saint Martins College	London, UK	www.arts.ac.uk
mätério	Paris, French republic	www.materio.fr
Rematerialize	Kingston, United kingdom of great britain and northern ireland	www.kingston.air conditioning.uk
Materia	The netherlands	www.materia.nl
Modulor	Deutschland	www.modulor.de
Matdat	USA	www.matdat.com
Matbase	Netherlands	www.matbase.com
Transmaterial	USA	www.transmaterial.cyberspace

iii.13. Mood Boards
A mood board for a pen that is waterproof – designed to exist be used on the beach, with strong connections to the lifestyle of surfing.

Nature as Inspiration

To "inspire" is to stimulate creative thinking. Inspiration tin can come from many sources. That for product blueprint comes near obviously from other products and from materials and processes, particularly new ones. After that, nature is perchance the richest source. The mechanisms of plants or animals – the things they tin can do and the way they do them-continue to mystify, enlighten, and inspire technical blueprint: Velcro, non-slip shoes, suction cups, and fifty-fifty sonar accept their origins in the ascertainment of nature (3.fourteen). Nature as a stimulus for industrial design is as powerful: organic shapes, natural finishes, the employ of forms that suggest – sometimes vaguely, sometimes specifically – plants and animals: all are ways of creating associations, and the perceived and emotional character of the product. Designs that are direct inspired by nature take a very unique bespeak-of-view (3.15) and frequently surprising behaviors (like the non-and so-sticky but super-adhesives that mimic gecko feet).

three.14. Elements of Nature
Throughout history nature has provided a rich source of inspiration for designers.

3.15. Os Chair
Joris Laarman created this nature-inspired chair using software that mimics the way in which bone reconfigures itself nether load; Ross Lovegrove "Go Chair", inspired by the curves of a deport skull.

Read total chapter

URL:

https://www.sciencedirect.com/science/article/pii/B9780080982052000032

Actual and future trends in chemical finishing

W.D. Schindler , P.J. Hauser , in Chemical Finishing of Textiles, 2004

19.3 New kinds of effects

Demanding and sophisticated customers besides as way designers are looking for new furnishings. Some of them have been discussed in the chapter on novel finishes, for case anti-olfactory property and protective finishes, wellness finishes that release fragrances or cosmetics and medical finishes that deliver drugs. Additionally, cellulase finishing, especially on microviscose or lyocell fibres, enables novel furnishings such every bit peach skin and chamois surfaces. The metallisation of textiles with a thin motion-picture show of, for example, Au, Ag, Cu and Zn, by high vacuum vaporisation provides new optical and electrical furnishings, such every bit radiation protection, conductivity with antistatic properties and electrical heating. These can be used for defunction and tapestries as well equally for filters and heatable seats.

Another interesting new finish issue is self cleaning of a solid surface past special microstructures, similar to the lotus flower (see Section 19.10.1 for more nearly the lotus outcome). This self cleaning is therefore called the lotus consequence. It is based on the interaction of three components in dissimilar aggregate states, the solid, for example the finished nano-structured textile, a liquid such every bit h2o or soils and a gaseous component, usually air. If the last ane is missing, as in permanent wetted systems, the lotus consequence is impossible. This self cleaning finish has been accomplished for exterior wall colours and for tiles. The awarding to textiles, for example sunblinds and other outdoor textiles, is a challenging subject of enquiry and evolution.

Read full chapter

URL:

https://www.sciencedirect.com/science/article/pii/B9781855739055500239

Share this post