DOCSLIB.ORG

TD: Textile Design

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
TD: Textile Design TD: Textile Design TD 101 — Experimental Screen Printing TD 113 — Textile Surface Design: Styles & 3 credits; 2 lecture and 2 lab hours Sources Students experiment designing with screens 2 credits; 1 lecture and 2 lab hours and printing on fabric while working in an An introduction to the design styles, actual workshop surrounding. Includes design vocabulary, and research methods screen making, color mixing, and printing necessary for creating original textile techniques. surface designs. Through image-based TD 103 — Embroidery lectures, discussions, museum visits, 2 credits; 1 lecture and 2 lab hours design projects, and presentation critiques, This course is an introduction to the art students explore themes in fashion and the of hand embroidery and related forms of applied arts that will serve as a foundation stitching. Students explore traditional and in their future design work. contemporary techniques to develop their TD 114 — Computer Aided Print Design own creative practice through class and 3 credits; 6 lab hours individual projects. This course introduces Computer-aided design software skills and embroidery as both a commercial techniqus are applied to create original application and a creative medium. textile designs. Based on current market TD 111 — Computer-Aided Design trend research, students create digital Principles for Textile Design designs using a variety of layouts, repeats 1.5 credits; 3 lab hours and seasonal palettes. They produce An introduction to the fundamentals of visualizations of their designs and printed computer-aided textile design. Students presentations for their portfolio. use current, off-the-shelf graphics software TD 115 — Introduction to Textile Surface to produce original designs, croquis and Design repeat layouts, coordinates, and color 2 credits; 4 lab hours combinations while exploring color palettes, Textile design painting techniques and scale, and proportion. Web resources, terminology are explored through research scanning, file management, and printing and assembly of reference material. options are explained, and presentation Students strengthen design skills and create skills are emphasized. painted designs in repeat for the fashion TD 112 — Textile Color Fundamentals fabrics market. 2 credits; 1 lecture and 2 lab hours TD 126 — Textile Design Studio Practices Introduction to traditional color theories 3 credits; 6 lab hours and systems through comparisons and Students develop original design concepts analysis. Color experimentation for use for apparel fabrics painting with gouache in textile fashion and home furnishing and dye. Trend information and references fabrics is developed in opaque watercolour from a variety of sources is researched and (gouache). analyzed for design inspiration. Technical and design related aspects of printing, layout, repeat and color according to industry standards is examined and applied. TD 131 — Woven Design I 1.5 credits; 3 lab hours Introduction to creating woven fabrics on a table hand loom. Students learn basic weaving techniques, drafting of weaves, and the interrelation of yarns, color, and weave structure in a fabric design. TD: Textile Design 1 TD 132 — Woven Design II TD 157 — Wallcovering Design 1.5 credits; 3 lab hours 1.5 credits; 3 lab hours Continued creative and experimental This course focuses on the creative application of techniques learned in TD 131. development of original wallcoverings. Using the four-harness table loom, students Through the study of historical documents are introduced to complex threadings and and references, students explore design warp color arrangements to create weave and production methods needed to create patterns and textures. multi-layered compositions. They learn Prerequisite(s): TD 131 or approval of about the wallcovering market through the chairperson. introduction of home furnishing trends, TD 138 — Introduction to Woven Design design styles, and current production 2.5 credits; 1 lecture and 3 lab hours standards. This introductory course provides students TD 161 — Fundamentals of Screen an opportunity to create fabrics for apparel, Printing home fashion, accessories and fine art. 2 credits; 4 lab hours Hand looms are used to introduce weave Screen printing is the most widely used structure, color and texture. Students technique for printing in the textile industry. translate ideas into original designs in the This course introduces the process of medium of weaving. screen printing as both a commerical TD 141 — Nature Studies application and a creative medium. Students 1.5 credits; 3 lab hours use imagery, drawing style, color an Study of design in nature as a source of placement to produce original textile inspiration for textile design. Students designs. Manual and digital techniques are analyze growth and structure of plants and applied to create artwork and print designs other forms of nature using live flowers in repeat. and marine life as models for drawing and TD 183 — Screen Printing: T-Shirts and painting in representational techniques. (G6: Related Products Arts). 2 credits; 4 lab hours TD 142 — Advanced Nature Studies Using modern screen print technology, 1.5 credits; 3 lab hours students create original engineered designs Painting from flowers and other nature for T-shirts and related products. Color- forms with continued emphasis on mixing principles and screen printing observation, selection of color, structure, techniques are taught. and design patterns. Students use forms in TD 202 — Advanced Professional nature as a basis for stylized compositions Practices in line and color. (G6: Arts)Prerequisite(s): 3 credits; 6 lab hours TD 141. Students develop original designs and TD 155 — Decorative Fabrics coordinates using design trends as 2 credits; 4 lab hours inspiration. A stronger awareness of For one- year Textile/Surface Design the textile/surface design industry is students. The application of print design established via lectures, demonstrations techniques to designing for home and market visits,. Preparation of student furnishings fabrics and wall coverings, portfolios and professional presentation is using various media. Using professional emphasized. methods and technical requirements, Prerequisite(s): TD 126. designs are created for residential, commercial, and industrial spaces. 2 TD: Textile Design TD 203 — Textile Arts in India TD 206 — Advanced Home Textiles 2 credits; 4 lab hours 2 credits; 0 lecture and 4 lab hours A short term study abroad course in In this advanced course design for bedding Rajasthan, India exploring textile artisan will be discussed with an emphasis on culture. Students work alongside local producing industry standard CAD files artisans, maintain a sketchbook, and create from hand painted artwork using Adobe a design collection based on research Photoshop and Illustrator. Through from tours, academic lectures, workshop research and personal design inspiration, presentations, and museum visits. students will create bedding collections. TD 204 — Designing with Emerging The technical aspects of working with Materials (Interdisciplinary) large-scale layouts in CAD, repeat sizes, 3 credits; 2 lecture and 2 lab hours engineered prints, and technical sketches This is an interdisciplinary course cross- and tech packs will be explored to help listed with SC 204. An introduction to students integrate CAD industry standard basic skills and knowledge in science and practices using hand painted designs into textile design, enabling design innovation. their workflow. An exploration of textile concepts and Prerequisite(s): TD 155 or TD 251. integration of the handmade with emerging TD 207 — Adobe Illustrator for Textile/ materials and technologies. Design-led Surface Design experimental research with biomaterials, 2 credits; 4 lab hours biopigments, nanomaterials, and other This course introduces students to advanced materials used to envision and illustrator tools and techniques, with a prototype sustainable solutions to real specific focus on repeat design creation. world challenges. Students create an apparel print design Prerequisite(s): mathematic proficiency (see collection and presentation boards. beginning of Science section). Prerequisite(s): TD 114. TD 205 — Textile Design in the Andes TD 211 — Design Research in Paris 2 credits; 1 lecture and 2 lab hours 3 credits; 3 lecture hours This short-term study abroad course to Students learn how to do extensive design Santiago, Chile and its environs is for research while abroad in Paris. Through students interested in exploring textile on-site visits to design studios, galleries, design through hands-on learning and libraries, museums, stores, and trend cultural immersion. Hosted by The Design forecasting companies, students research School at Duoc UC, students will be given an area of design interest for hard and/ the opportunity to work with artisans, visit or soft product. Students keep a journal/ museums, retail stores and participate in sketchbook, give weekly oral presentations, workshops, with an emphasis on combining and write a paper about the project traditional and contemporary textiles. outcomes of their research. Approximately Students will produce a collection of three weeks in the summer. portfolio-ready art while abroad. Prerequisite(s): HA 112. TD 212 — CAD and Design Fundamentals for Printed Textiles 1.5 credits; 3 lab hours This course introduces students to design and CAD fundamentals for printed textitle design. Design and production processes are explained. Students research
Load more

Recommended publications
  • Download Course Outlines
    Page | 1 Page | 2 Academic Programs Offered 1. BS Graphic Design 2. BS Textile Design 3. BS Fine Arts 4. BS Interior Design 5. MA Fine Arts 6. Diploma in Fashion Design 7. Diploma in Painting BS Graphic Design Eligibility: At least 45% marks in intermediate (FA/FSC) or equivalent, the candidate has to pass with 45% passing marks. Duration: 04 Year Program (08 Semesters) Degree Requirements: 139 Credit Hours Semester-1 Course Code Course Title Credit Hours URCE- 5101 Grammar 3(3+0) URCP- 5106 Pakistan Studies 2(2+0) GRAD-5101 Calligraphy-I 3(0+3) GRAD-5102 Basic Design-I 3(0+3) GRAD-5103 Drawing-I 3(0+3) URCI-5109 Introduction to Information & Communication 3(2+1) Technologies Semester-2 URCE- 5102 Language Comprehension & Presentation Skills 3(3+0) URCI- 5105 Islamic Studies 2(2+0) GRAD-5105 Calligraphy-II 3(0+3) GRAD-5106 Basic Design-II 3(0+3) URCM-5107 Mathematics (Geometry and Drafting) 3(3+0) GRAD-5107 Drawing-II 3(0+3) Semester-3 URCE- 5103 Academic Writing 3(3+0) GRAD-5108 History of Art 3(3+0) GRAD-5109 Drawing-III 3(0+3) GRAD-5110 Graphic Design-I 3(0+3) GRAD-5111 Photography-I 3(0+3) GRAD-5112 Communication Design 3(0+3) URCC-5110 Citizenship Education and Community Engagement 3(1+2) Semester-4 URCE- 5104 Introduction to English Literature 3(3+0) Page | 3 GRAD-5113 Fundamental of Typography 2(0+2) GRAD-5114 History of Graphic Design-I 3(3+0) GRAD-5115 Graphic Design-II 3(0+3) GRAD-5116 Photography-II 3(0+3) GRAD-5117 Techniques of Printing 2(1+1) Semester-5 GRAD-6118 History of Graphic Design-II 3(3+0) GRAD-6119 Graphic Design-III
    [Show full text]
  • Textile Printing
    TECHNICAL BULLETIN 6399 Weston Parkway, Cary, North Carolina, 27513 • Telephone (919) 678-2220 ISP 1004 TEXTILE PRINTING This report is sponsored by the Importer Support Program and written to address the technical needs of product sourcers. © 2003 Cotton Incorporated. All rights reserved; America’s Cotton Producers and Importers. INTRODUCTION The desire of adding color and design to textile materials is almost as old as mankind. Early civilizations used color and design to distinguish themselves and to set themselves apart from others. Textile printing is the most important and versatile of the techniques used to add design, color, and specialty to textile fabrics. It can be thought of as the coloring technique that combines art, engineering, and dyeing technology to produce textile product images that had previously only existed in the imagination of the textile designer. Textile printing can realistically be considered localized dyeing. In ancient times, man sought these designs and images mainly for clothing or apparel, but in today’s marketplace, textile printing is important for upholstery, domestics (sheets, towels, draperies), floor coverings, and numerous other uses. The exact origin of textile printing is difficult to determine. However, a number of early civilizations developed various techniques for imparting color and design to textile garments. Batik is a modern art form for developing unique dyed patterns on textile fabrics very similar to textile printing. Batik is characterized by unique patterns and color combinations as well as the appearance of fracture lines due to the cracking of the wax during the dyeing process. Batik is derived from the Japanese term, “Ambatik,” which means “dabbing,” “writing,” or “drawing.” In Egypt, records from 23-79 AD describe a hot wax technique similar to batik.
    [Show full text]
  • Rice Design Alliance Award Submission to the American Institute of Architects for Collaborative Achievement in Research, Dissemination, and Education
    Rice Design Alliance Award Submission to the American Institute of Architects for Collaborative Achievement in Research, Dissemination, and Education 14 October 2011 On October 14, 2011, the Rice Design Alliance submitted an award submission to the American Institute of Architects for “Collaborative Achievement in Research, Dissemination, and Education.” Along with our organization’s “Biography,” a “Statement of Contributions,” and 15-pages of “Exhibits,” the RDA submission was nominated by Raymond Brochstein, FAIA with five support letters from John Kaliski, AIA, Nonya Grenader, FAIA, David Lake, FAIA, Jay Baker, FAIA, and Edward M. Baum, FAIA. Captured on the following page are a few quotes from these AIA colleagues and RDA supporters. SUBMISSION COMMITTEE Barbara Amelio, Kimberly Hickson, Lonnie Hoogeboom, Craig Minor, Suzy Minor, Danny Samuels, Carrie Glassman Shoemake STAFF Kathryn Fosdick, Raj Mankad, Katie Plocheck, Linda Sylvan “The Rice Design Alliance has been at the forefront of thinking about the future of the built environment and how cities and buildings must be sustainable. RDA has a regional reach beyond Houston, including Austin, Corpus Christi, Galveston and my town, San Antonio. RDA’s audience is not limited to design professionals. It is inclusive, open, and inviting. I have friends who are developers, lawyers, teachers, and artists who routinely attend their events because of the inspirational, informative content. RDA’s commitment to excellence and their success in expanding the audience elucidates how good design benefits all of us and the natural realm. “The Rice Design Alliance was conceived by David Crane who was Dean of the Rice University School of Architecture in 1972.
    [Show full text]
  • Emilio Pucci: Revolutionizing Textile Design
    Emilio Pucci: Revolutionizing Textile Design Samara Cifelli Keywords: Emilio Pucci / Diane von Furstenberg / Suki Cheema / Nieves Lavi Abstract Emilio Pucci’s influence on American fashion design is undeniable, but his contribution ranges far beyond the runway. During the 1960s and '70s, Pucci explored and pushed the boundaries of textile design through both art and science. His contributions to color chemistry, graphic design and textile engineering laid the groundwork for American designers from Diane von Furstenberg to home goods innovators like Suki Cheema and Nieves Lavi to explore and create fabrics that owe their inspiration to the Italian “Prince of Prints.” Pucci and Pattern “The body of the woman moved the dress, the dress didn’t create the body of the woman” (Taschen 22). Emilio Pucci’s innovative and bold use of patterns pushed textile design, color chemistry and pattern/textile engineering in demanding steps forward in the 1960s and 1970s. The results of Pucci overseeing every detail of production are still influential in 21st century fashion. Famous for his innovative, colorful, and complex patterns, Pucci revolutionized textile design and how it is used to enhance, emphasize, and flatter the female body. Emilio Pucci’s clothing freed women’s bodies by using fabrics much lighter than those being used at the time but he also utilized his patterns to flatter the body. “There were few gathers, tucks, or pleats to hide anything, but the patterns themselves camouflaged, and the cut was ample” (Kennedy 7). Because Pucci had such a great grasp on the engineering aspect of textile design, he was able to utilize such information as textile placement for patterning.
    [Show full text]
  • Textile Design Entrepreneurship Portfolio Containing a Written Small Business Plan
    Sewing Construction & Textiles III EXAM INFORMATION DESCRIPTION Exam Number This course will provide students with apparel or interior 354 design opportunities using soft goods/textiles and Items construction/production skills which will focus on entrepreneurial opportunities and careers in design fields. 37 Experiences may include pattern design, apparel design and Points construction, fitting and alteration, and interior design projects. (Students can repeat the course for credit as they 48 work towards certification.) Student leadership and Prerequisites competitive events (FCCLA) may be an integral part of the course. SEWING CONSTRUCTION AND TEXTILES I & II; OR SPORT AND OUTDOOR DESIGN I & II EXAM BLUEPRINT Recommended Course Length STANDARD PERCENTAGE OF EXAM ONE SEMESTER 1- Careers 13% National Career Cluster 2- Technology 15% 3- Fabrics 44% ARTS, A/V TECHNOLOGY & 4- Entrepreneurial Options 29% COMMUNICATIONS HUMAN SERVICES Performance Standards INCLUDED (OPTIONAL) Certificate Available YES www.youscience.com Sewing Construction & Textiles III 354.2021 STANDARD 1 Students will analyze careers and explore the design industry. Objective 1 Research employment and entrepreneurial opportunities and preparation for interior and/or fashion design careers. 1. Interior Design Careers: a. Interior designer: make interior spaces functional, safe, and beautiful by determining space requirements and selecting decorative items, such as colors, lighting, and materials. b. Developer: plan, create, and present products for a specific market using knowledge of principles and elements of design, aesthetics, and technical skills. Work closely with design and technical teams. c. Graphic Designer: create visual concepts, by hand or using computer software, to communicate ideas that inspire, inform, or captivate consumers. They develop the overall layout and production design for advertisements, brochures, magazines, and corporate reports.
    [Show full text]
  • Parametric Design Thinking About Digital and Material Surface Patterns
    INTERNATIONAL CONFERENCE ON ENGINEERING AND PRODUCT DESIGN EDUCATION 6 & 7 SEPTEMBER 2018, DYSON SCHOOL OF DESIGN ENGINEERING, IMPERIAL COLLEGE, LONDON, UNITED KINGDOM PARAMETRIC DESIGN THINKING ABOUT DIGITAL AND MATERIAL SURFACE PATTERNS Wenche LYCHE, Arild BERG and Kristin ANDREASSEN OsloMet – Oslo Metropolitan University ABSTRACT There is a growing need in contemporary society to understand new and emerging relationships between technology and creativity. In practice-oriented areas of education such as design, many instructors have come to understand the importance of different learning styles and how students benefit when presentation of new material is varied to reach all students. The concept of parametric design thinking enabled by advanced computational processes has recently been identified as a relevant approach to design education. The present research further explores parametric design thinking through two case studies of design workshops in an educational context and how this approach can promote diversity. The first case (Robotised Clay Workshop) documents material exploration and creative and aesthetic possibilities in digitalised clay processes. The second case (Surface Patterns in Textiles: From Tradition to Digitalisation and Back) explores digitalised processes in hybrid textile design. The two case studies contribute to the exploration of parametric design thinking as an educational approach and discuss digitalisation and the relations of body, hand and mind in terms of the Vygotskyan ‘zone of proximal development’. This content was synthesised for a workshop on surface patterns for third-year bachelor design students. The paper identifies some potentials and pitfalls of this pedagogical approach and concludes that students’ awareness of conformity and diversity in the design process can be used as a starting point to explore digital surface patterns, offering students a new way of learning about function, aesthetics and product semantics through parametric design thinking.
    [Show full text]
  • Textile Design: a Suggested Program Guide
    DOCUMENT RESUME CI 003 141 ED 102 409 95 Program Guide.Fashion TITLE Textile Design: A Suggested Industry Series No. 3. Fashion Inst. of Tech.,New York, N.T. INSTITUTION Education SPONS AGENCY Bureau of Adult,Vocational, and Technictl (DREW /OE), Washington,D.C. PUB DATE 73 in Fashion Industry NOTE 121p.; For other documents Series, see CB 003139-142 and CB 003 621 Printing AVAILABLE FROM Superintendent of Documents,U.S. Government Office, Washington, D.C.20402 EDRS PRICE NP -$0.76 HC-$5.70 PLUS POSTAGE Behavioral Objectives; DESCRIPTORS Adult, Vocational Education; Career Ladders; *CurriculumGuides; *Design; Design Crafts; EducationalEquipment; Employment Opportunities; InstructionalMaterials; *Job Training; Needle Trades;*Occupational Rome Economics; OccupationalInformation; Program Development; ResourceGuides; Resource Units; Secondary Education;Skill Development;*Textiles Instruction IDENTIFIERS *Fashion Industry ABSTRACT The textile designguide is the third of aseries of resource guidesencompassing the various five interrelated program guide is disensions of the fashionindustry. The job-preparatory conceived to provide youthand adults withintensive preparation for and also with careeradvancement initial entry esploysent jobs within the textile opportunities withinspecific categories of provides an overviewof the textiledesign field, industry. The guide required of workers. It occupational opportunities,and cospetencies contains outlines of areasof instruction whichinclude objectives to suggestions for learning be achieved,teaching
    [Show full text]
  • Engineered Digital Textile Print Design for Customized Curves
    Volume 10, Issue 3, 2018 Engineered Digital Textile Print Design for Customized Curves Kisalaya Choudhary Professor, Textile Design, National Institute of Fashion Technology, India ABSTRACT There are various instances when women feel the need to wear clothes for a slimmer appearance than their actual body shape. Looks and body appearance provide self-assurance to people, especially to those who are in a business related to physical appearances. Physical fitness and appearance have taken a parallel path in today’s world. Many designers have experimented with garments providing body shape deceiving and illusionistic effect through meticulous use of solid colors, slimming patterns, and illusion print designs. This research paper explores how smart edits in print design provide aesthetics blended with engineered slim looks, enhancing and customizing curves, per consumer preference, to create body size adjustments visually. The creative edits can be efficiently used for creating one piece/single garments customizing the curves and visual body shapes in synchronization with digital print design to enhance the body in a considerate manner. Keywords: Digital print and pattern, slimmer look, printed garments, customized curves Digital engineered printed textiles and customization opportunities Examples from optical slimming design garment (Figure 1 A, 1B and 1C) are used for Digital technology opens up a door of highlighting the body curves and creating a possibilities and opportunities for designers, slimming illusion. These garments are manufacturers, and business owners in created by effective use of dark and light various fields related to printed garments and color placements making the waist area textiles. Breaking the limitations of repeat appearance slimmer.
    [Show full text]
  • Marypaul Yates
    MaryPaul Yates 23 Griswold Road, PO Box 647, Monterey, MA 01245 cell: 917.453.9466 email: [email protected] website: www.yatesdesign.net twitter: @yatesdesign1 Business savvy, creative, articulate design professional with over 20 years experience providing creative direction and strategic expertise to design-focused, product-based clients. Pioneer of innovative, untapped materials; trailblazer of new product areas and initial market entries. Active educator through college teaching, mentoring, authoring CEU programs and reference volumes. Recognized for contributions to design education while consistently delivering innovative, market-driven design solutions that increase revenues and build brand value. Expertise Creative Direction, Design, Color, Product Styling and Development • Create exciting, saleable products that establish competitive advantage and cement brand identity. • Achieve fertile collaborations between production and creative counterparts in line with manufacturers’ capabilities, limitations, and goals. • Shepherd new resource partnerships and manage enduring supplier relationships, both foreign and domestic. • Organize and motivate development teams to meet project requirements and deadlines. • Establish and manage development budgets. • Accomplish timely implementations through design, development, testing, receiving, and sampling Management, Marketing, and Sales • Manage select target accounts, call on key accounts for market research, new product launches, sales team training, and private-label/custom product development.
    [Show full text]
  • Wayfinding Program for the City of Naples
    Request for Proposals WAYFINDING PROGRAM FOR THE CITY OF NAPLES BID Number: 15-041 BID Opening Date: May 22, 2015 COPY YOU ARE HERE Cover Key Firm Contents Letter Personnel Experience 1 2 Project Code Schedule 3 Approach4 Compliance5 Past Price Forms Performance6 7 8 YOU ARE HERE COVER LETTER The success of the plan hinges on how well the plan’s AECOM is pleased to submit strategies create ease of access and make visitors comfortable. Strategies related to wayfi nding and our qualifi cations for the interpretation provide an important unifying element that Wayfi nding Program for the educates and directs travelers. City of Naples. A critical component that makes our process successful is public outreach. AECOM team for this project is an expert at AECOM is a national leader in wayfi nding and has signifi cant public involvement, and all members of the AECOM has experience in assisting clients in creating implementable and extensive experience in working alongside community groups. creative solutions to wayfi nding problems. The AECOM AECOM fi rmly believes that public involvement and Wayfi nding Studio has designed and implemented many sign coordination with the community, property owners, and programs consistent with the FHWA/MUTCD and local DOT advocacy groups are essential to building consensus for a policies and procedures. Our team has extensive Florida DOT successful wayfi nding design that creates community project experience and we understand the specifi c ownership. We ascribe to an approach that is highly interactive requirements for fabrication and placement of roadway signs. not only among the members of the design team, but also the We are thoroughly familiar with the FDOT District 1 approval client group, area stakeholders, and citizens of the process, which will help to facilitate the completion of your community.
    [Show full text]
  • Fashion and Textile Design Using Emotion and Personality
    CORE Metadata, citation and similar papers at core.ac.uk Provided by ZENODO Fashion and Textile Design Using Emotion and Personality Wendy Moody, Fashion Retail and Design, Department of Textiles and Paper, UMIST – UK Peter Kinderman, Department of Clinical Psychology, University of Liverpool – UK Abstract Good design should engage personality and emotion. Using appropriate psychological approaches to the measurement of both personality and emotion offers a humanitarian approach to design. From a design perspective this project explores the preliminary development of the traditional design process or formula, using psychological methods to inform the process. ‘By describing the individual’s standing on each of the five factors [of personality], we can provide a comprehensive sketch that summarises his or her emotional, interpersonal, experimental, attitudinal, and motivational style’, (Costa & McCrae, 1985). Emotion, once experienced, will create or enhance either a positive or negative mood affect (Watson & Tellegen, 1985). Mood affect has been strongly associated with personality. If the designer is more aware of their own personality and emotional self, by fusing emotion, mood, personality and an understanding of the self-concept in the design process it could help the designer offer an alternative and informed method of tailoring a product to an individual. Drawing upon data collected from a short project carried out by Level One students in fashion and textile design, and examples of the first author’s visualization work, we explore how fashion/textile design concepts reflect personality, how they capture emotion and mood, and how this information can be used to inform the design process or even be used to develop design and retail services.
    [Show full text]
  • The Design of an Augmented Typographic Experience for E-Marketing of Women Textile Fabrics
    479 Shaimaa Sadek &Nashwa Nagy The Design of an Augmented Typographic Experience for E-Marketing of Women Textile Fabrics Shimaa Salah Sadek Sedek Lecturer, Department of Advertising, Faculty of Applied Arts, Benha University, Egypt, [email protected] Nashwa Moustafa Nagy Lecturer, Department of Spinning, Weaving, and Knitting, Faculty of Applied Arts, Benha University, Egypt, [email protected] Abstract: Keywords: E-Marketing has a significant effect on the marketing efficiency of products and Augmented Reality, services. The success of effective e-marketing of textile fabric is based on the Typography, E-Marketing, effectiveness of the ideal recruitment of suitable advertising function of the textile Textile Fabrics, Women product to highlight its aesthetics, features, surface effects, and varied colors. Due Fabrics, Digital to the intensified competition among different advertising agencies, it is necessary Marketing to provide marketing and advertising solutions that can confront challenges and affect users' attitudes effectively towards products and services. Therefore, in this research, we resort to using augmented reality advertisement as an e-marketing effective function for women textile fabrics. The research problem is concluded in studying the contribution of Typographic Textile Fabrics Design on users’ acquisition of marketing positive attitudes towards augmented implementation. The research objective is to prepare and use an electronic application to market textile fabrics designed by using Typography. To answer questions of the research and achieve its objectives, follow the experimental methodological Research on designing an augmented reality program to market Typographic Textile Fabrics by preparing and designing an augmented electronic application to study its impacts on the category of users attitude, which requires preparing attitude measurement that include (number of phrases to measure the attitude of this category members towards Augmented Application used for e-marketing of Textile Fabrics.
    [Show full text]