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Use and Applications of Draping in Turkey's
USE AND APPLICATIONS OF DRAPING IN TURKEY’S CONTEMPORARY FASHION DUYGU KOCABA Ş MAY 2010 USE AND APPLICATIONS OF DRAPING IN TURKEY’S CONTEMPORARY FASHION A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF IZMIR UNIVERSITY OF ECONOMICS BY DUYGU KOCABA Ş IN PARTIAL FULFILLMENTOF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF DESIGN IN THE GRADUATE SCHOOL OF SOCIAL SCIENCES MAY 2010 Approval of the Graduate School of Social Sciences ...................................................... Prof. Dr. Cengiz Erol Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Master of Design. ...................................................... Prof. Dr. Tevfik Balcıoglu Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adaquate, in scope and quality, as a thesis for the degree of Master of Design. ...................................................... Asst. Prof. Dr. Şölen Kipöz Supervisor Examining Committee Members Asst. Prof. Dr. Duygu Ebru Öngen Corsini ..................................................... Asst. Prof. Dr. Nevbahar Göksel ...................................................... Asst. Prof. Dr. Şölen Kipöz ...................................................... ii ABSTRACT USE AND APPLICATIONS OF DRAPING IN TURKEY’S CONTEMPORARY FASHION Kocaba ş, Duygu MDes, Department of Design Studies Supervisor: Asst. Prof. Dr. Şölen K İPÖZ May 2010, 157 pages This study includes the investigations of the methodology and applications of draping technique which helps to add creativity and originality with the effects of experimental process during the application. Drapes which have been used in different forms and purposes from past to present are described as an interaction between art and fashion. Drapes which had decorated the sculptures of many sculptors in ancient times and the paintings of many artists in Renaissance period, has been used as draping technique for fashion design with the contributions of Madeleine Vionnet in 20 th century. -
Technology in the Fashion Industry: Designing with Digital Media
Lindenwood University Digital Commons@Lindenwood University Theses Theses & Dissertations Fall 8-2014 Technology in the Fashion Industry: Designing with Digital Media Adima Cope Follow this and additional works at: https://digitalcommons.lindenwood.edu/theses Part of the Fashion Design Commons TECHNOLOGY IN THE FASHION INDUSTRY: DESIGNING WITH DIGITAL MEDIA A Thesis Submitted to the Faculty of the Art and Design Department in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts at Lindenwood University By Adima Cope Saint Charles, Missouri August 2014 Cope 2 Abstract Title of Thesis: Technology in the Fashion Industry: Designing with Digital Media Adima Cope, Master of Fine Art, 2014 Thesis Directed by: Chajuana V. Trawick, Ph.D., Assistant Professor of Art and Design, Fashion Program Manager The fashion industry has advanced new technologies in the twenty-first century that has made producing apparel more cost effective with faster time-to-market capabilities and greatly reduced steps in the manufacturing process. The reasons for these improvements can be linked to new apparel computer-aided-design (CAD) technologies that have come about in the market as computers have advanced and grown in processing power and reduction in size since the 1980s. Computers are revolutionizing many industries and the way business is conducted in today’s modern workplace. The fashion industry has yet to convert all processes to digital means but advancements have been growing in popularity over the years and are certain to increase as the technologies available become better and more reliable. This raises the need for research to take place to survey the market and determine what types of software are available and the capabilities of the technologies. -
Iroquois Beadwork Teachers Guide
This is an older Teacher Guide made into a PDF for our new Societies and Territories site at http://societies.learnquebec.ca Note also, the new location for the Iroquois Beadwork Kids’ Zone ! at http://blogdev.learnquebec.ca/societies/iroquois-beadwork-kids-zone/ Home Many First Nations in Québec and Canada have lonG practiced beadwork. This art has become a very real tradition for two Iroquois nations in particular, the Mohawks, who live near Montreal, and the Tuscaroras, who live on the American side of NiaGara Falls. This website and the McCord Museum exhibition that inspired it - Across Borders: Beadwork in Iroquois Life - are based mainly on the beadwork of these two nations. The photoGraphs and the imaGes of beaded objects, which are a combination of old and new, show that the art of beadwork not only has a lonG history but is still very much alive today. In order to reflect this reality, a number of objects were made especially for the Across Borders: Beadwork in Iroquois Life exhibition which was held last year at the McCord Museum and is now travelling to various locations in North America. The exhibition is orGanized and circulated by the McCord Museum, Quebec, and the Castellani Art Museum of Niagara University, NY, in collaboration with the Kanien'kehaka Raotitiohkwa Cultural Center, Kahnawake, the Tuscarora Nation community beadworkers within New York State, and the Royal Ontario Museum, Toronto. This project is beinG developed by teachers and consultants in partnership with the McCord Museum and the Kanien'kehaka Raotitiohkwa Cultural Center. Iroquois Beadwork: General Overview What initiated the project? The project was initiated when Ann Cohen, pedaGoGical consultant at Sir Wilfrid Laurier School Board, toured the Across Borders Iroquois Beadwork exhibition at the McCord Museum in 1999. -
Shoeing the Roping Horse I
The Roping Horse ShoeingBy Michael Chance, CJF ?.*: &\ - Chronic shoe pulling is most often I&*: 7caused by bad management, such as - turning them out in hazardous envi- ronments, such as deep mud, fenc- ing on the ground and so on. This is not your fault, unless you don't point it out and show customers their roles and responsibilities. The management of the equine athlete is a team effort. Lameness is a common cause of gait and dub his hind foot if he were faults. Veterinarians play a key role weak in his stop. These are all and can make life less stressful, factors You must learn through provided you're fortunate enough to communication with riderltrainer have a good relationship with the and or using your observation skills. good doctors in your area. ~t~~amazing YOUshould have a good understanding how a chronic shoe puller is of the horse's job description. miraculously cured by a simple hock lubrication. Calf horses, like here are as many ways to shoe The average age the rope reiners are notoriously hard on their roping horses as there are You see at the top end of the game is hocks. It comes with the job, n horses. Each one is unique, 15-18years old. Many of these horses T reach the peak of their career with with its Own strengths and weak- existing maladies and management Over the years of practice and study, nesses. A sound horse with good soundness is the key factor of I've developed a picture in my mind conformation, in a desirable envi- these horses. -
Ancient Civilizations Huge Infl Uence
India the rich ethnic mix, and changing allegiances have also had a • Ancient Civilizations huge infl uence. Furthermore, while peoples from Central Asia • The Early Historical Period brought a range of textile designs and modes of dress with them, the strongest tradition (as in practically every traditional soci- • The Gupta Period ety), for women as well as men, is the draping and wrapping of • The Arrival of Islam cloth, for uncut, unstitched fabric is considered pure, sacred, and powerful. • The Mughal Empire • Colonial Period ANCIENT CIVILIZATIONS • Regional Dress Harappan statues, which have been dated to approximately 3000 b.c.e. , depict the garments worn by the most ancient Indi- • The Modern Period ans. A priestlike bearded man is shown wearing a togalike robe that leaves the right shoulder and arm bare; on his forearm is an armlet, and on his head is a coronet with a central circular decora- ndia extends from the high Himalayas in the northeast to tion. Th e robe appears to be printed or, more likely, embroidered I the Karakoram and Hindu Kush ranges in the northwest. Th e or appliquéd in a trefoil pattern. Th e trefoil motifs have holes at major rivers—the Indus, Ganges, and Yamuna—spring from the the centers of the three circles, suggesting that stone or colored high, snowy mountains, which were, for the area’s ancient inhab- faience may have been embedded there. Harappan female fi gures itants, the home of the gods and of purity, and where the great are scantily clad. A naked female with heavy bangles on one arm, sages meditated. -
Bead Weaving on a Loom
Bead Weaving on a Loom Objective: students will be able to describe the process of weaving and demonstrate how Native Americans and others wove beads on a loom to create long, narrow bands such as hair ties and bracelets. They will produce a patterned beaded band influenced by their visual study of Native American geometric patterns in their Web and print resources. They can discuss how the use of color, shape, and value in Native American beading has changed through the years because of the influence of other cultures. Grade Levels: Grades 5-7th Time Required: Several class periods (or use of free time) Materials: Purchased bead looms or To make a loom (see instructions below): Cardboard cut to loom pattern, craft knife, wood glue, pins 2 wide round-headed ½"screws Beading supplies; Scissors Seed or pony beads (larger beads for younger students) Linen or nylon thread Needle Bead patterns (Graph paper or online interactive bead pattern makers) Motivation: Beads have been used by many cultures, including Native American, for thousands of years. A defining moment in Native American cultures came upon their exposure to European glass beads in the seventeenth century they were ready to use, rich in color, hard and durable, and could be traded for with pelts. Native Americans became very interested in obtaining glass beads. They used the beads to decorate clothing, vessels, tools, and weapons. Seed beads adorned bags, moccasins, hair ties, and other garments. When tourist trade increased after 1900, Native Americans created beaded items especially for this market. Patterns reflected the styles of the time as well as traditional designs. -
Bead Weaving - Ahmedabad, Gujarat Technique of Beadwork by Prof
D’source 1 Digital Learning Environment for Design - www.dsource.in Design Resource Bead weaving - Ahmedabad, Gujarat Technique of Beadwork by Prof. Bibhudutta Baral and Rakshitha NID, Bengaluru Source: http://www.dsource.in/resource/bead-weaving-ah- medabad-gujarat 1. Introduction 2. Tools and Raw Materials 3. Making Process 4. Products 5. Video 6. Contact Details D’source 2 Digital Learning Environment for Design - www.dsource.in Design Resource Introduction Bead weaving - Ahmedabad, Bead weaving is a technique of beadwork for which seed beads are the chief material that is used. The technique Gujarat of bead weaving is to weave seed beads together onto a plane fabric or to make a three-dimensional object like Technique of Beadwork ball, box, clasp etc. They are also used for making flower, stringing and to fill-up the space between other beads by in jewelry and also to make a whole new jewelry from beads. They are generally used in embroidery and also ex- Prof. Bibhudutta Baral and Rakshitha pended for loom and off loom bead weaving techniques like brick stitch and peyote stitch. These beads are very NID, Bengaluru small yet uniformly shaped that are available in innumerable shapes, colors, sizes and textures. Most commonly seed beads are prepared using glass. The history of beads dates back to Late Old Stone Age (the Upper Paleolithic). But during those days beads were large in size probably made of ivory or shells. The seed beads which are presently used for beads weaving is also Source: an ancient art that can be traced back in the Egyptian items dating back to 4000 years. -
Rope Circles and Giant Trees: Making History Come Alive Robert Millward
Social Studies and the Young Learner 19 (3), pp. 15–19 ©2007 National Council for the Social Studies Rope Circles and Giant Trees: Making History Come Alive Robert Millward Every year, I dine in an imaginary hollow cottonwood tree with primary lead plates at various locations on the and intermediate students. This is how I begin a series of lessons on the French and Allegheny and Ohio River thus claim- Indian War era. Students in fourth grade through middle school can get a real feel ing the territory for France. Griffing’s for what the colonial frontier was like when I incorporate physical activity, paintings, painting helps to make the expedition artifacts, diaries and discussions into the lessons. come alive. It was this expedition that provoked great concerns among the Big Trees and 15 feet in circumference and white colonists of Virginia and Pennsylvania, I begin the first lesson by dividing the pines were often 10 feet in circumfer- since they too claimed ownership of class into four small groups. One group ence. the Ohio Valley. It was these compet- is given a 45-foot length rope and told At this point I show the students ing claims that led to The French and to make a rope circle on the floor and “We Dined in a Hollow Cottonwood Indian War. then to sit inside the circle. A second Tree,” a painting by Robert Griffing, group constructs a circle with an 18-foot which depicts people meeting inside the Items of Trade length of rope. The third group forms a hollow trunk of a giant cottonwood!1 I then introduce the students to the lives circle with a 15-foot section of rope. -
Chapter 6 Chapter
Chapter 6 Chapter Basic Ropes & Knots 6 – Ropes & Knots 305 Seattle Fire Department ROPE Introduction In the Fire Service, the knowledge of how to tie and use knots is essential. While there are many knots available, the following knots described in this section should be adequate to meet the needs of Seattle firefighters in most situations Keep in mind that it is more important to be able to tie these standard knots automatically, while under the stress of an emergency, than to know a greater number of knots and yet have failed to acquire skill in their use. The ropes used on operation companies range in size from 1/4” woven cotton tie ropes to ½”” kernmantle nylon life safety rescue ropes. They can vary in length from just a few feet to 300 foot lengths. Ropes and knots are used daily in securing equipment, fire suppression, rescue work, and emergency medical applications. Whether working with rope or knots in an emergency or training, SAFETY should be on the mind of all involved. Rope Usage The Seattle Fire Department separates the use of ropes into two categories: Utility and Life Safety. Utility A utility rope is a rope that is used for any function other than that of life safety. Tie ropes, practice ropes, RIG ropes, roof ropes and other ropes that are marked as such all fall under the umbrella of utility rope. Life Safety Life Safety rope is defined as any rope used to support the weight of members or other persons during rescue, fire fighting, other emergency operations, or during training evolutions. -
Ojibway Beadwork Traditions in the Ayer Collections / Marcia G. Anderson and Kathy L. Hussey-Arntson
MHS a)LLECTKJNS OJIBWAY BEADWORK TRADITIONS in the Ayer Collections Marcia G. Anderson and Kathy L. Hussey-Arntson ON THE WESTERN SHORE of Mille Lacs Lake, north strengths seem to lie in the type of crafts made for com of Onamia, is one of the most significant groups of collec mercial sale.^ tions in the museum holdings of the Minnesota Histori Readwork is one of the common characteristics of the cal Society. On exhibit at the Mille Lacs Indian Museum Ojibway artifacts. It is a craft executed by Ojibway and Trading Post are many of the Ojibway and other women to decorate items for personal use or for sale. Indian artifacts that make up a large part of the Jeannette This collection contains examples of a broad variety of O. and Harry D. Ayer collections. The Minnesota Ojib techniques and decorated surfaces and permits new in way material is particularly impressive. While it is sights into the design and production of beaded items broad in scope, it does show some inequalities in the during the first half of the 20th century. number of items represented in any one subject area. The value of a collection of this kind cannot be estab There are few examples of games, fishing gear, women's lished or put into perspective without proper proveni clothing, and pre-1880s material, while woven yarn ence. To understand better the scope and composition of bags, birch-bark containers, dolls, and smoking equip the Ojibway collection, it is necessary to review briefly ment are extensively represented. The collection's the history of the Ayers during their residence at Mille Lacs. -
Earthing Is a Way of (Re)Connecting with the Environment. Earthing Is a Way of Remembering Our Distant and Far Past
Earthing is a way of (re)connecting with the environment. Earthing is a way of remembering our distant and far past. Earthing is a way to recharge our bodies each and every single day. There are many benefits to earthing: ● Decreased inflammation ● Reduced chronic pain ● Lowered stress ● Improved sleep ● Increased energy and stamina Perhaps more important than all of that is the ability to provide yourself and your family with compostable shoes made from sustainable resources, because let’s face it – plastic may have found its way into our everyday lives via electronics, chewing gum, polyester and flip-flops, but we can change the future with every step we take. It is up to our conscience, our consciousness and our handcrafting skills to unbrand our personal lives, embrace self-reliance and take traditional knowledge to a whole new level. Step with care! Earthing sandal pattern created by Cheryl Magyar of ForestCreekMeadows The essence of the earthing sandal is highly dependent on the quality of the rope – the foundation of the sole. Depending on your location on Earth and resources available locally you should seek out all natural rope, such as braided hemp rope no smaller than 4 mm in thickness. For a pair of earthing sandals in European size 38 (US 7.5) you will need about 15 meters (49 feet) of 4 mm braided hemp rope. It is always better to overestimate the length of rope needed, than to under buy. Connecting extra pieces may take away from your design and it is not as easy to attach another piece of rope, as it would be to add a new yarn in a knitted garment. -
Pony Reins Craft (Ms
Pony Reins Craft (Ms. Heather, Cherry Blossom kindergarten) Giddyup, pony! Whoa! Trot! In the kindergarten, we have a few sets of “pony reins” in our classroom. When the weather is fine, we bring them outside with us and the children love to take turns being the “pony”. Your child (or children) can take turns being the “pony”, and a sibling or caregiver can be the “rider”. This project will make use of a long rope of fingerknitting. Materials: ● Piece of felt cut into a 4”x 12” rectangle ● 85” long fingerknitted rope (made with thicker yarn, if possible) ● thread and needle or sewing machine ● Bells The first step, of course, is to have your child to fingerknit a long length of “rope” that is at least 85” long. On the short sides of the felt piece, turn over the edges to make a 1 ½” channel on each end. Pin in place and stitch 1” from the fold (if your rope is thinner, make the channels narrower). Your child can hand sew these stitches, using a running stitch and keeping the stitches small. 2. Attach a large safety pin or paperclip to one end of the rope and use it to guide the rope through one channel. Continue pulling the rope through the other channel, so that you have a loop on top. This is the loop that will go over your child’s head, with the felt panel in front. 3. Adjust the free hanging ropes on each side so they are equal, making sure the top loop measures 26”.