I like things full of colour Plovmand. Colour theory is also introduced and evaluated in relation to hand-rendering techniques and the development of computer-aided drawings and associated colour schemes. The particular role of mixed media and collage for fashion is considered, with a variety of supporting visuals that provide an introduction to the wide range of media choices that have become integrated into contemporary fashion artwork.
We also look at the application of colour to different fabrics, textures and prints. The chapter ends with an engaging interview with a fashion design illustrator who has collaborated with a number of international fashion houses to produce colour prints and textiles for their seasonal collections.
The introduction of marker pens in the s confirmed a particularly significant shift towards faster and more responsive media, which were specifically design-orientated rather than historically rooted in a tradition of artist materials.
Marker pens still exert a powerful influence over fashion sketching styles and drawing techniques. Today, however, the range of colour media that is available to fashion designers and design students must also be considered in the context of computer-aided design software.
When most of us look at images of clothes in a magazine or see a fashion window display we are immediately drawn to the colour of the clothing and accessories. Moreover, fashion collections are routinely designed and visually merchandised into seasonal colour themes. Colour is a fundamental, powerful force in the design process, from fabric selection through to the completion of a design. It is also a vital component in fashion that can have a transforming effect upon audience perceptions and reactions.
Some designers such as Matthew Williamson or Manish Arora are well-known for their engaging use of colour, while other designers use colour to make a statement or add specific pieces to their collections.
Fashion labels such as Basso Brooke, Cacharel and Eley Kishimoto are all known for their use of colour through printed textiles. The selection and application of colour is a decision driven by emotion but it can have a transforming effect on a design.
Consider, for example, a dress design conceived and drawn in beige and then the same design presented in red. We would respond to them differently, even though the dress would be in the same style. Such is the emotive power of colour. It is an artistic or design decision to select a colour and apply Catwalking.
The appearance of a colour is dependent on light: it will take Catwalking. The multitude of shades, tones and hues that are available today through synthetic or natural processes can be broadly identified within a colour wheel classification. The first 2 Examples of different categories: primary, secondary and is a monochromatic colour scheme, colour schemes.
The three primary colours are in which a single colour is used with red, yellow and blue. These may be its various tints and shades. The considered as the foundation colours second is an analogous colour since they are used to create all scheme.
This is when a colour such other colours and are equidistant on as red is used in combination with its the colour wheel. The combination of adjacent hues such as red-orange two primary colours creates three and red-violet. The third type of secondary colours: orange, green colour scheme is made up of a and violet, which are also equidistant variety of contrasting colours and on the colour wheel.
The six tertiary includes the complementary scheme. These equidistant colours wheel are used together. For make up red-orange, red-violet, example, red and green are yellow-green, yellow-orange, blue- opposites, and are considered green and blue-violet. Colours may complementary colours when used also be divided into cool and warm together as they make each other categories: cool colours are classified appear brighter and more intense.
When mixing colours, a derivation of the complementary tint of a colour is made by adding scheme and uses three colours white, while a darker shade is made comprising any hue and the two by adding black. This could be, for example, a combination of red, yellow-green and blue-green. They also employ fashion- sales. Fashion designers will often direction and market-trend research orientated illustrators who contribute visit their suppliers to discuss colours for fashion and interiors up to two to their publications with hand-drawn for the coming season and will work years in advance of the selling illustrations alongside CAD artwork closely with their textile partners to season.
Lab dips are reviewed in a light box under controlled lighting conditions and may be analysed with a spectrometer. The ability to draw fabric convincingly is a useful skill for any designer or fashion illustrator; it is often taught to fashion students as a means of broadening their drawing skills and their knowledge of fabrics.
The process is usually referred to as fabric rendering. Of course, there are many different types of fabrics to draw and while some might have surface texture and pattern, others do not. A designer sketch or linear fashion drawing should communicate a convincing understanding of the chosen fabric or fabrics.
For more artistic illustrations the rendering process can be somewhat looser and more interpretative. The best way to start is by copying a real fabric swatch.
Much like drawing from life, this entails keen observation and evaluation of the fabric before starting the drawing process. Selection of appropriate media is critical: prepare a variety of colour media, which can be used in combination. To start with it is best to draw to the same scale as the fabric. To simplify things it can help to categorise fabrics into a select number of groups such as woollen and textured fabrics, shiny fabrics, sheer fabrics, knits, patterns and prints.
It is worth attempting each group of fabrics, since they are all likely to be drawn at some time. Marker pens or gouache can be used to lay down the base colour as a wash effect, while colour pencil or a slightly dry brush can be added to create the desired texture or brushed appearance. Tweeds can be drawn with the addition of cross hatching and flecks; try pronounced twill weaves with a sharp pencil line.
Wool plaids are typically built up in layers, starting with a base colour created as a wash followed by weft and warp colour bands. Darker layers are usually added later with finer lines towards the end, especially for the lightest colour, drawn in pencil. Shiny fabrics 1 Rendering shiny fabrics for the first time can often be more challenging than opaque fabrics and, since they reflect light, typically need to be considered in relation to a light source.
Shiny fabrics such as taffetas, charmeuse and satins should be drawn with a combination of dark, medium and light tonal values. Sometimes it is effective to leave white space to indicate where the light has the most pronounced effect on the 2 surface of the fabric. This applies to pale or white fabrics, such as those used for evening or bridal wear; Colouring and rendering these fabrics have tonal variations. Marker pens, watercolour paints and Indian inks are all useful media for rendering shiny fabrics and can be used in combination with colour pencil for accents.
Rendering these fabrics presents unique challenges as there can be many values of a colour depending on whether the fabric is layered or worn over the skin. Their general appearance should be light of touch without hard edges, drawn using media such as marker pens, blendable pastel chalks or watercolour.
Colour pencils or chalks can be combined with other media to create the effect of transparency. Hems and seams 3 should be understated. Knitted fabrics Knitted fabrics can be drawn to convey surface structure and texture and are typically defined by the inclusion of a ribbed edge or cable effect. A base colour wash in gouache or marker pen is effective and works well with the addition of pencil lines to define the knitted surface of the fabric. This group also includes jersey knits, which 4 can take on a more fluid appearance; this can be rendered in a tonal wash.
Prints can add a dramatic visual look when applied to a fashion drawing and need to be studied carefully. The most important aspects to consider are the repetition and scale of the print.
Some prints are designed for borders, such as hems, while placement prints typically adorn the fronts of T-shirts. Most fashion prints are repeat prints so applying them to the scale of a human figure becomes a necessary consideration. Rendering a print on to a figurative drawing or illustration will require you to consider line quality in relation to an understanding of the garment.
It is important that the print is drawn to look like it is printed on the surface of a fabric that has folds, drapes and is sewn together with seams. With this in mind, shading techniques can also be applied.
Colouring and rendering 1—2 Illustrations by Wendy Plovmand. In fashion design Wendy Plovmand. While collage was traditionally carried out by hand, with techniques such as cutting and pasting, it has now become widely embraced by fashion illustrators through digital formats such as Photoshop, with some exciting and diverse results that continue to push the boundaries of fashion illustration and presentation formats. What makes collage and mixed media artworks for fashion so popular and visually engaging is their diversity, allowing you to work outside the usual conventions of art supplies and drawing media.
Hand-made collages also encompass tactile and textural qualities that make the final drawings almost three-dimensional in character. Some even incorporate stitch. Collage and mixed media artworks for fashion often transcend and mutate the notion of the fashion ideal to something that is more abstract than a single drawing or photograph could communicate on its own.
Developing collage or mixed media illustrations for fashion is a creative process that allows for a high level of artistic expression. As with most approaches to creating artworks it is best practised and refined over time, but is underpinned by an inventive curiosity, 1 a love of technique and good compositional skills.
One might even be tempted to draw parallels between the appropriation of found objects to create fashion artwork and the notion of fashion continually reinventing itself. In this sense collage and mixed media for fashion take on a more poignant context.
Today many designers and fashion illustrators combine both formats for a contemporary drawing style. Digital colouring, rendering and collage describe a variety of bitmap raster applications and vector graphics. These include scanning and retouching hand-drawn illustrations as well as creating digital freehand drawings using either a mouse or a graphics tablet and pen. These processes can be applied to a fashion illustration or used for creating colour-enhanced presentation flats.
Scanning a hand-drawn sketch or illustration is an effective means of creating a digital fashion image for editing and retouching.
RGB is spot colours cannot be simulated Witney Cramer. The main purpose of Today, all digital graphics software the RGB colour model is the offers a comprehensive range of representation and display of colours, textures, gradients and images in electronic systems such patterns that can be applied to a as scanners, digital cameras and drawing and edited through the use computers. RGB is generally faster of palettes and layers.
Palettes to work with than CMYK and display editing and monitoring well-suited to screen display. Layers allow users converted to CMYK for commercial to separate different elements of an printing purposes. CMYK is a image so that each layer can be subtractive colour model used in saved and edited independently.
In addition, specific fabrics, patterns Also worth a mention is Pantone, a and surface textures can be scanned US-based global colour authority that from original sources and added to serves the fashion industry and other palettes or taken from computer- sectors with a comprehensive colour generated fabrics.
I have been a visiting lecturer at Central Saint Martins Tell me about your collaborations College of Art and Design since with fashion houses , mainly in fashion illustration. My main experience of fashion design came through running my How would you describe own business and in , when I your drawing style?
They acquired a dozen in my work. I enjoy being making art spontaneous and fun. The process of these collaborations is much the same; Through my work I aim to express sometimes the starting point is an identifiable individual rhythm or specified, sometimes open-ended, handwriting, which is perhaps plain but with fashion I consider colours, 1 Yellow field print, an original or elegant in its interpretation of placement, the look of the repeat artwork for Cacharel, by chosen subjects or scenes.
I would try to find an enjoyable illustration in cut paper I tend to been created. This is an element that and useful method to work with select the colours of the paper as can be a concern in collaborations mixing paint, using DIY paint cards, my starting point and from there with clients, who often work towards cutting paper, stickers, wood, metal, imagine the development of the strict colour structures and have to photography, stitching, knitting and structure.
I also use paint, ink, consider the blend with other then create interesting, attractive, thread and, at times, digital products. I enjoy the element and perhaps unusual combinations. As manipulation to modify colours possibilities given by working with with drawing, repetition is key to according to the needs at hand.
To me, the mastering of charm, spontaneity, skill and is an intuitive process to me. Building on an understanding of the fashion figure and the role of technical drawings for fashion, this chapter explores how they may be grouped together as part of a coherent presentation.
The particular perspective of fashion illustration is considered in relation to other artwork formats, while a range of artwork boards, sometimes ambiguous in nature, are visually presented and explained. We look at the growing influence of digital presentation platforms, including websites and blogs. The chapter is richly supplemented by interviews with three inspirational illustrators who each apply their different styles and talents to contemporary fashion illustration.
Their distinctive media choices and eclectic styles are testimony to the diverse language used by fashion drawing today. On the whole it is concerned not so much with an accurate representation of the garment or outfit, but with communicating the allure or attitude of the design. In this regard fashion illustration may be considered as being distinct from fashion sketching. We may also refer to fashion illustrators as distinct from fashion designers, although both work in complementary ways and the production of fashion artwork is common to both practices.
Some of the most successful fashion illustrators have had little or no design training and therefore do not involve themselves in the complexities of pattern cutting or the manufacture of a garment.
This is not their function and it does not restrict an illustrator; they have no need to add every seam, dart and tuck to their final illustrations. Fashion illustration is about capturing the mood, the spirit and the essence of a design. Some of the most effective fashion illustrations can appear almost effortless, inviting the viewer to imagine what lies beneath the surface or to form personal interpretations.
Of course, illustrations are not effortless and developing an illustration is a process in itself, one that requires practice, visualisation and experimentation. Personal illustration styles evolve over time. The between these elements.
As there positive image refers directly to the is such variety in fashion illustration, subject, usually the human figure in applying fixed rules to composition is a fashion illustration, while negative not really appropriate. However, there space refers to the space around are some underlying principles that and between the subjects. The should be considered by fashion positive image and negative space students — these may also be are equally important in determining regarded as intuitive.
Once 1 Fashion illustrations by illustration has considered placement in digital form, illustrations may Anna Walker. Whichever route you attention and directing their eye take, whether it is hand-rendered or over the illustration. Today, inclusion within a portfolio. The term is also used in the fashion industry to refer to a variety of boards that communicate and sell ideas or designs for commercial objectives.
Presentation boards are primarily concerned with presenting ideas and designs to a defined audience with an appropriate level of clarity, visual flair and professionalism. They serve different complementary functions and, when considered within a project or specific presentation, they should be visually linked. This might include, for example, working across a template and colour code style and using the same board dimensions within a presentation.
Strong compositional skills, and the ability to clearly communicate information, are a distinct advantage when preparing a presentation board. Presentation boards should not blur into each other or repeat the same information as the viewer or audience will quickly lose interest or become confused. Presentation formats Mood board One of the most frequently used boards, and one that most fashion students are introduced to first, is a mood board.
As its name suggests, the purpose of this board is to set the mood or tone for the design boards or project work that follows. The process of preparing a mood board also enables a designer to collect visual information from a variety of sources and to organise their inspirations and ideas into a composed visual display.
These boards can vary considerably from intense photomontages or composite collages to rather spare visual compositions that convey an ethereal quality.
Some mood boards are tactile, others may be digitally formatted. Depending on the guidance provided by tutors or professors, either type may be acceptable but it is still important that the board is planned, arranged and edited into a coherent visual composition. A is already set and the student wants illustration boards 3—4 concept board might also include the focus of their work to be linked to by Lucy Chiu. Typically, accompanying inspiration or direction more advanced fashion design images.
Title boards can be used and a colour board, with the to good effect for introducing a additional focus of a context, and project within a portfolio. Presentation formats Flats board Although some designers include 1 flats with their illustrations, it is often appropriate to prepare a separate presentation board for flats and thematically link them to your other boards.
In some sections of the fashion industry this is common practice, such as for active sportswear and product categories of menswear. Presenting flats on a separate board can enable a designer to give more artistic expression to an illustration without competing with a flat as part of the same composition. Increasingly, presentation flats are being drawn and coloured with the aid of digital graphics software.
If you pursue this approach you should consider how it will work alongside your other boards. These board 4 by Lucy Chiu. They might include a style number, season, price and delivery date. Range plan boards may be less familiar to students, who will usually produce smaller line-up sheets Presentation formats drawn on the figure.
The designs are drawn on the figure and not as flats, with attention to styling, fit and proportion. It is important, therefore, that they are drawn to a consistent scale and that the poses are not overly dramatic as the purpose of the line-up sheet is to enable critical evaluation of the capsule collection.
They may be included in a final portfolio but should not detract from or duplicate final illustration work. Colour boards are used in industry to clarify exact colours and combinations within a product category or merchandise theme. Colour inspiration is important for students of fashion and fashion 3 knitwear, who often include them within their portfolios and provide additional fabric or yarn samples.
It is important, however, to consider colour consistency when producing a colour board as your artwork should be colour matched and the colours accurately represented in your design boards. This sequence of a portfolio presentation.
Development other boards and can add a wow are more appropriate. Fashion figures boards are useful; they can link a factor to a portfolio. Some designers can be cropped and framed on mood board to the artwork or final may include flats with their figurative illustration boards depending on design boards. Although there is no drawings, while others may adopt a the desired effect.
Composing your rule on how formally they should be more illustrative format. Determining illustration is important and, given presented, some students include the format for a fashion illustration is the variety of approaches to fashion them in their final portfolios. These digital formats have extended the reach of fashion drawing and presentation styles to a global audience, as well as assimilating them into a digital cultural mix that appears open and receptive to the variety of fashion drawing styles that exist today.
Blogs are also being taken up by fashion students who are actively using them to network and promote their work through online forums and digital gallery spaces.
These developments are consistent with the advances in digital graphics software, meaning that fashion drawings are increasingly being viewed through screen- based platforms as well as through a range of print media formats. The continuing influence of digital media for fashion drawings and presentations is likely to remain strong in the foreseeable future. Graphics software, scanners and digital cameras are becoming more sophisticated and a growing number of successful illustrators and designers are using digital media either exclusively or in combination with hand-rendering techniques.
If fashion is about creating an ideal and capturing the current mood and spirit of its age, then the digital presentation of fashion artworks will continue to exert a powerful influence over popular culture. When I see something that Stockholm. I continued with more It has become increasingly triggers the nerve to create; that theoretical education, studying art important over time. I still prefer could be anything really, an unusual history for a year at Stockholm a handmade look, but I have to colour combination, an interesting University.
In I was accepted admit to being quite reliant on the face, and so on. This led to a BA in the same What advice do you have for a but to name a few: Elizabeth Peyton, subject specialising in experimental student who wants to work as Luc Tuymans, Aubrey Beardsley, image-making.
The course also a fashion illustrator? Hokusai and Gustav Klimt. Always of Technology in New York. How would you describe your fashion illustration style? Experimental, eclectic and with a love for contrasts. Presentation formats 1—2 Illustrations by Cecilia Carlstedt. I usually work with fashion magazines, newspapers and textbooks. Basically I try to get as close as I can to each target audience; not only do I adapt my style to each one of them, but I also preserve the same essence according to my own style and technique.
Illustration has always been a hobby for me. I remember loving to draw when I was younger and ever since I have been furthering my interest in it. This was by learning several techniques such as painting, watercolouring, charcoal drawing and so on.
Jovie is drafting a front blouse sloper. Which are you going to divide to obtain the accurate measurement? The body measurement that is needed in drafting back and front blouse slope a. Bust circumference c. Back across width b. Chest width d. Front figure length The sloper or basic pattern is the foundation of all final patterns. Which one is characterized as a sloper?
The body measurement which is taken around the arm where the sleeve length falls a. Sleeve length c. Arm circumference b.
Elbow circumference d. Armhole circumference The measurement needed in drafting pajama trousers where the female customer is allowed to sit while the measurement is being taken a. Thigh circumference c. Full length b. Leg circumference d.
Crotch The tool used in making a construction line a. L-square c. Tape measure b. Ruler d. Meter stick The drafting tool used in the construction of a garment a.
Tracing wheel c. Scissors b. Seam ripper d. Curve rule A pattern needed in manipulating one piece blouse a. Bodice and shirt c. Bodice and sleeve b. Bodice and trousers d. Sleeve and skirt Lesson 1. Personalities differ depending on the kind of clothing people wear. Most introvert persons prefer clothes of simple yet classical cut with pastel or light colors. Extroverts, on the other hand are creative, artistic, expressive and energetic. Hence, they prefer clothing that is comfortable, attractive and fashionable.
They can wear all kinds of clothing of varied style, colors and design with confidence. Designs in our clothes add interest and beauty. Design in fabric refers to a pattern or figure that is printed on it. There are two basic ways which design is applied: a. Design by Printing is the use of dye or ink on the surface of the fabric. They are often attractive because variety of colors can be combined. They maybe in solid or in combination colors woven to form special designs.
When horizontal lines cross vertical lines to form rectangles or square, it is called plaid. Proportion is the relationship in size between various parts and the whole. Fashion designing is a creative expression. Exact mathematical proportions are not required as long as what you design is visually pleasing and in accordance with the size, shape and height of the bearer.
Example for adult figure above labeled for 7. Try to measure the proportion of your body. Balance is the arrangement of a design on a space resulting to sense of equilibrium. It is the equal distribution of weight from a central point or area. There are three kinds of visual balance. They are the formal or symmetrical balance, informal or asymmetrical balance and radial balance.
Formal or symmetrical balance is the equal visual weight of each side of an imaginary central vertical line.
It is achieved when each half of an object is exactly like the other. A jacket with two breast pockets and two hip pockets is formally balanced.
Formal or Symmetrical Balance b. Informal or asymmetrical balance is when the design is balanced, but each side is different in some way. It is achieved when the two halves of a whole are different, but seem to be equal in weight or emphasis.
For example, a jacket with a breast pocket on one side can be balanced by a pocket on the hip of the opposite side. Informal or Asymmetrical Balance c. Radial balance is achieved when all parts of the design are at equal distance from a central point.
A man wearing a sun design on the front of his shirt may have this kind of design. Radial Balance 3. Rhythm is the repetition of an accent to create an interesting design. Repeating an accent on different parts of the dress or one part of the dress will achieve a design that is harmonious and visually united. Harmony is the pleasing and congruent arrangement of parts. It is the blending of all components of design. When the structural lines, decorative lines, colors and accessories all relate to each other comfortably, harmony results.
Line creates a visual dimension of length and width. When lines meet, space is enclosed and a shape is defined. Lines direct the eyes to a certain path of vision, or it can draw the eyes away from an undesirable area of the body. It defines a shape or silhouette and conveys a mood of character. There are two kinds of lines in garments: a. The Directional line such as vertical, horizontal, diagonal, checkered, broken and curved.
These affect the height and size of an individual. Lines are serving as clothing designs like the art of printing flowers, dots and others on fabric. Structural lines are found on necklines, armholes, hemlines, darts, side seams, sleeves, collars, tucks and pleats of garments. Color is a radiant energy loosely termed light that produces sensation in our eyes.
It is the most powerful element. The Color Wheel A color circle, based on red, yellow and blue, is traditional in the field of art. Sir Isaac Newton developed the first circular diagram of colors in Since then, scientists and artists have studied and designed numerous variations of this concept. Differences of opinion about the validity of one format over another continue to provoke debate. In reality, any color circle or color wheel which presents a logically arranged sequence of pure hues has merit.
It is the particular shade of color that differentiates one from another. Primary colors are red, blue and yellow. They are the basic colors where different colors originated. Secondary Colors: Green, orange and violet These are the colors formed by mixing the primary colors Intermediate Colors stem from the combination of primary and secondary colors. Tertiary colors are a combination of full saturation of one primary color plus half saturation of another primary color and none of a third primary color.
They have specific names, one set of names for the RGB color wheel and a different set of names and colors for the RYB color wheel. Primary, secondary, and tertiary colors b. White added to a color will produce tints. For example, pink is a tint of red. Black added to a color will produce shades. Maroon is a shade of red. A Color Wheel showing the tint, tone and shade of colors Intensity or chroma is of a color corresponds to its purity and saturation in a color other than black, white and gray.
An example of a monochrome color scheme could include any color mixed with white, gray, or black. Adjacent colors also called analogous colors uses colors that neighbor each other on the color wheel.
A single split complementary uses a primary color plus colors on either side of its complement. An example is a color scheme that includes various values and intensities of greens, violet-reds and red-oranges. A double split complementary also called tetradic uses two pairs of complements, one apart on the color wheel. An example is red, green, orange, and blue. A triad uses colors at the points of an equilateral triangle three colors spaced equally on the color wheel.
These are sometimes called balanced colors. An example of a triadic scheme could be red, blue, and yellow; green, orange, and purple, etc. Psychological Effects of Colors on People Colors bring life to us. Our looks and feelings are sometimes mirrored by our selection of colors. When we choose colors, it reveals our personality. They make us feel and look happy or pretty and sometimes make us look sad or ugly. Which of the colors below signifies the real you?
Which one is your favorite? White connotes innocence and purity. Red makes us feel bold and daring. Red connotes passion and bravery. Yellow makes us feel joyful. It also connotes cowardice and treachery.
Blue represents truth, loyalty, calmness and wisdom. Deep blue could also make us feel depressed. Green suggests life and abundance as this is the color of plants, but green could also suggest jealousy.
Purple is the color of royalty, but it can also symbolize suffering. Orange is a warm color that suggests deliciousness and ripeness. Eateries, especially fast food joints use orange with a touch of green to stimulate appetite. Black suggests strength and dignity and is usually worn for formal evening affairs. Black also symbolizes mourning and death. Space is the area inside an enclosed shape. The use of space can lead to an interesting design.
But the overuse of a space could make the design confusing while an empty space could be unattractive and boring. Form or shape refers to the form of a person showing the curves of the body. This includes the shape of the face, neckline and the full body or figure. Form — is a volume space enclosed a surface. Shape — is simply a flat space enclosed by a line. Texture is the surface quality of an object, rough, smooth, silky, etc.
Write your answer in your quiz notebook. It refers to the lightness and darkness of a color. It is the other name for color.
They are the basic colors. The color which suggests strength and dignity and symbolizes mourning and death. A color which makes us feel bold and daring. It connotes passion and bravery. Directions: Draw your ideal sleeping garment in a short-sized bond paper applying the principles and elements of design. Explain briefly what elements and principles of design you applied in your work. Collect several scraps or pieces of patterned fabrics.
Paste them on your notebook. Label each of them and write the kind of designs such as: All-over print, Lined-up print, Stripes, Plaids, or Tweeds. Fibers are hair-like strands that are wound to make yarn or thread used to make fabric. Fabric is the cloth or material used in making our clothes, curtains, tablecloths, sheets and many other items.
Types of Fabrics Woven fabric does not stretch except on the bias. Woven fabric is made up of fibers which run straight at ninety degree angles to each other.
Knit fabric has loops of fiber that allow the fabric to stretch. The amount and the direction of stretches are all variables. A knit may stretch in one direction or it may stretch in both directions. This is an important consideration when choosing fabric for a specific pattern. For example, a bathing suit pattern will require equal two way stretch. If you choose a fabric that only stretches in one direction, the suit is not going to fit properly and you cannot even put it on.
Cotton The world's most Good for items that popular fabric. It is Special for need to be washed cool to wear and durable press often like sheets and easy to wash and pillows, school sew.
It is versatile, Maybe machine clothes, and work durable and laundered clothes. Inexpensive but Avoid risk of shrinks and wrinkles mildew easily. Kinds of Cotton Fabrics Used for crafts, home 1. Canvas decorating curtains Tightly woven heavy- cushions and outdoor duty cotton gear For elegant garments A finely woven 2. Broadcloth Perfect for shirts. Fantastic, closely woven cotton that has slight rib percent cotton. Cotton The most common cotton fabric that has pique fabric used in the tie raised nubby surface and waistcoat of white tie Lightweight 6.
Cotton Pajamas and boxers. Cotton voile Mostly used in soft Crisp lightweight furnishing such as cotton used for curtains, mosquito garments nets, and also in dressmaking. Denim Great for work clothes, One of the most jeans and jackets.
Seer sucker Used to make clothing category of cotton for spring and summer crinkles which have wear surface texture. Terrycloth Used for robes, Thick, absorbent towels, beachwear cotton and home decorating Either a percent Velveteen Used in dressmaking cotton or cotton blend, it has a duller and slightly stiffer look than velvet. Easily Avoid pressing wrinkled unless a in sharp Summer dress special finish is creases. It comes from the stem of a very pretty plant called flax. Animal Fibers A.
Silk- collected Strong and luxurious Dry cleaning is from the cocoon of For high-end clothing fabric with natural preferred. Can be attacked by insects. Kinds of Silk Fabric 1. China silk Used almost A very lightweight silk exclusively for lining 2.
Brocade Luxurious fabrics Textured silk with made into clothing or some stiffness wall hangings, 3. Chiffon Can be used in all Lightweight, very sorts of garments drapery silk. This is the fabric that goes with the flow. Charmeuse Works well as a s A slinky, satiny, redux dressing gown, supple silk dresses and blouses A light to medium 5. Crepe de For making a full weight silk and Chine range of garments comes in two-ply, three- ply, and four- ply the heaviest weights A stiffer and crisper 6.
Dupioni For making Capri silk that has telltale pants or a fancy room slubs and raised yarn divider on the fabric; easy- to-sew silk that adds a lot of fashion flair 7. Georgette used for blouses, Lightweight silk and dresses, evening barely visible gowns, and trimmings Rough-looking silk 8. Raw silk with a dull finish made from short silk woven into textiles.
Washed silk A great travel fabric The washing process makes this silk creamy and soft. Taffeta for special occasion A crisp silk that clothing wrinkles and swishes upon movement Wool - made from the sleets of sheep Outerwear Perfect for tailoring Medium-weight Dry cleaning is blankets and clothing preferred; will upholstery Springs back into shrink and felt shape in presence of Requires little moisture and pressing; with great heat and can be versatility in fabric attacked by and with insulating insects.
Boiled For blankets and fashion as felt, but jackets much richer and more supple. Perfect for soft Has a distinctive 2. Boucle shaping in coats and sweater-like nubby jackets surface created with little loops Medium to lightweight, 3. Crepe for scarves, wool, silk, cotton, or shawls, and bonnet synthetic.
It varies in trimmings quality and it is expensive. It is a Perfect for beautiful fabric that Making shirts drapes well and is extremely wearable. Gabardine Works well on A twill-weave fabric, tailored and hand washable and constructed garments do not wrinkle Thick and bulky wool 6.
Melton Used for coats with a soft napped surface but too thick to handle 7. Worsted Used for tailoring Lustrous wool in a jackets, skirts and variety of weights pants. Rayon Light and medium- Soft, cheap and Hand washing weight clothing comfortable fabric to dry cleaning. Polyester Wash and wear Strong and durable Can be clothing- often in synthetic fabric; dries washable or dry combination with quickly, with sharp clean.
Remove other fibers, pleat and crease oily stains especially cotton retention. Curtains, carpets, Needs little fiberfill, raincoats and ironing or hats. It is ideal for pressing. Use constructing strong steam iron at outerwear for damp warm setting. Nylon Women's stockings It was first developed Remove oily were the first as a substitute for stains before commercial use of imported silk.
With washing. Woven to maintain clothing, upholstery fabrics feel whiteness. Dry clean only. Rubber Foundation garments Stretch and recovery Frequent Swimwear rate is high washing in mild Damaged by oils and suds; avoid light constant With discoloration overstretch at high temperature e. Spandex Foundation Stretch and recovery May be garments; rate is high machine Swimwear Resists abrasion and laundered with Surgical hose body oils warm water Ski pants and other With discoloration Dry on lowest sportswear heat, shortest cycle.
Acrylic Tailored outerwear; Resists wrinkling Remove oily knitted wear, pile High bulking power stains before fabrics, blankets and Wool-like texture washing. It is made out of flax plants that give more stiffness a. Avadhesh Kumar Singh.
Subramanya Dg. Rahul Raj. Watan Chugh. Neetek Sahay. Natalia Borecka. Sauumye Chauhan. Ravi Singh. Shugary Pie. Bhaswati Panda. Aisha Akram. Amarech Yigezu. Siva Jagadish Kumar M. Visakha Daga. More From Nedra Dadou. Nedra Dadou.
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