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Descargar En PROYECTO DE GRADUACION Trabajo Final de Grado La estampa en movimiento Animación Moiré en la indumentaria Liza Lee Cuerpo B del PG 16 de septiembre de 2015 Diseño textil y de indumentaria Creación y Expresión Diseño y producción de objetos, espacios e imágenes Facultad de Diseño y Comunicación Universidad de Palermo 1 Índice Índice de figuras .............................................................................................................. 4 Introducción ..................................................................................................................... 5 Capítulo 1. Hablar, escuchar, oler, degustar y ¡mirar! ................................................ 15 1.1. Ingredientes de la comunicación .......................................................................... 17 1.1.1. El monólogo de todos ................................................................................ 21 1.2. El lenguaje indumentaria ....................................................................................... 24 1.2.1. El concepto de diseño ............................................................................... 29 1.3. 2D y 3D del diseño ................................................................................................ 31 Capítulo 2. ¿Diseñar? ¿Con qué? ................................................................................ 35 2.1. Clasificación de los elementos .............................................................................. 36 2.2. Forma .................................................................................................................... 39 2.3. Anomalía ............................................................................................................... 42 2.3.1 Entre módulos ............................................................................................. 43 2.3.2 Dentro de estructuras ................................................................................. 44 2.4. Textura .................................................................................................................. 45 2.4.1 Táctil ............................................................................................................ 46 2.4.2 Visual .......................................................................................................... 49 2.4.3 El rol de la estampa en el diseño ................................................................. 51 Capítulo 3. El ojo perceptor del movimiento ................................................................ 54 3.1. El movimiento en el cuerpo humano ...................................................................... 55 3.1.1. Eje axial .......................................................................................................... 56 3.1.2. Delantero y trasero ......................................................................................... 57 3.1.3. Top y bottom ................................................................................................... 57 3.1.4. Izquierda y derecha ........................................................................................ 58 3.1.5. Moviendo el esqueleto .................................................................................... 58 3.2. El ojo junto al movimiento de la percepción ........................................................... 60 3.2.1. Movimiento en el diseño ................................................................................. 61 3.2.2. Leyes de la organización de la Gestalt............................................................ 62 3.3. Ilusión óptica ......................................................................................................... 66 3.3.1. Arte Op ........................................................................................................... 67 3.3.2. La animación Moiré......................................................................................... 68 3.3.2. Textil Moiré ..................................................................................................... 70 Capítulo 4. Investigación de textiles y tecnologías ..................................................... 73 4.1. Posibles métodos de estampación ........................................................................ 74 4.1.1. Serigrafía ........................................................................................................ 75 4.1.2. Estampación digital ......................................................................................... 77 4.1.3. Transferencia térmica .................................................................................... 78 2 4.1.4. Devoré ............................................................................................................ 79 4.2. Posibles textiles .................................................................................................... 80 4.2.1. Natural (algodón, lino y seda) ......................................................................... 80 4.2.2. Manufacturadas (poliéster, acrílico, nailon, viscosa) ....................................... 82 4.3. Tecnologías contemporáneas que generan movimiento ....................................... 82 4.3.1. Arduinos ......................................................................................................... 84 4.3.2. Textil Lumalive ................................................................................................ 85 Capítulo 5. Producción personal .................................................................................. 87 5.1. Inspiración ............................................................................................................. 87 5.2. Selección del material y pruebas prácticas ............................................................ 88 5.3. Requisitos técnicos ................................................................................................ 91 Conclusión ..................................................................................................................... 93 Imágenes seleccionadas ............................................................................................... 96 Listado de referencias bibliográficas ......................................................................... 106 Bibliografía ................................................................................................................... 111 3 Índice de imágenes seleccionadas Figura 1: Anomalía .......................................................................................................... 96 Figura 2: Agrupaciones por proximidad............................................................................ 97 Figura 3: Agrupaciones por similitud ................................................................................ 97 Figura 4: Ejemplo de la ley de buena continuidad ............................................................ 98 Figura 5: Ejemplo de la ley de clausura ........................................................................... 98 Figura 6: Ejemplos del principio de ambigüedad ............................................................. .98 Figura 7: Ejemplo de la ley de pregnancia ....................................................................... 99 Figura 8: Ilusión óptica tipo uno ....................................................................................... 99 Figura 9: Ilusión óptica tipo dos ..................................................................................... 100 Figura 10: Efectos visuales de diseñadores ................................................................... 101 Figura 11: Arte óptico ..................................................................................................... 102 Figura 12: Rudi Gernreich .............................................................................................. 102 Figura 13: Animación Moiré ........................................................................................... 103 Figura 14: Genealogía de las fibras ............................................................................... 104 Figura 15: Conjunto 1 .................................................................................................... 105 4 Introducción Todos los diseños tienen una razón en la forma en que fueron diseñados, nada es al azar, sino que todo tuvo un propósito y un fin. En todo tipo de creación se puede observar una variedad amplia de métodos que se utilizan para generar o comunicar un concepto. Estas variables utilizadas son fundamentos del diseño que son esenciales para los diseñadores que continuamente utilizan, buscan y analizan para lograr un impacto claro al vidente. Este concepto lo explica claramente un autor con estas palabras: En pocas palabras, un buen diseño es la mejor expresión visual de la esencia de algo, ya sea esto un mensaje o un producto. Para hacerlo fiel y eficazmente, el diseñador debe buscar la mejor forma posible para que ese algo sea conformado, fabricado, distribuido, usado y relacionado con su ambiente. Su creación no debe ser solo estética sino también funcional, mientras refleja o guía el gusto de su época. (Wong, 1993, p.41). Este concepto, se ve claramente en cada puesta de escena, los desfiles de colección de los grandes diseñadores como: Christian Dior, Chanel, Yohi Yamamoto, entre otros célebres; que hacen un fuerte trabajo de buscar las maneras en que podrían comunicar
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