服装设计中的创意性灵感外文文献翻译

文献出处：Mete, Fatma. "The creative role of sources of inspiration in clothing design." International Journal of Clothing Science and Technology 18.4 (2006):

278-293.

原文

The creative role of sources of inspiration in clothing design

Fatma Mete

Abstract:

Purpose - To assess the creative role of sources of inspiration in visual clothing design. It aims to analyse simple, general accounts of observed design behaviour and early stages of the clothing design process, what is the nature of design inspiration, how sources of inspiration are gathered and how they affect the creativity and originality in clothing design.

Design/methodology/approach - A progressive series of empirical studies looking at ready-to-wear clothing design has been undertaken; in situ observation, semi-structured interviews and constrained and semi-constrained design tasks. This empirical approach used ethnographic observational methods, which is effective in situations where conventional knowledge acquisition methods are insufficient, when broad understanding of an industry is needed, as in the fashion industry, not just a case study of a single individual or company.

Findings - Identifies the major types of idea sources in clothing design and provides information about each source. Recognises that these sources of inspiration help designers to create design elements and principles of individual designs. In order to foster originality, sources of inspiration play a powerful role throughout the creative stage of design process, and also in the early stages of fashion research and strategic collection planning.

Originality/value - This paper highlights the role of sources of inspiration and its effect in creativity and originality in the clothing design process. Offers practical help to clothing designers and design-led clothing companies.

Keywords: Fashion design, Clothing, Creative thinking, Design calculations, Design

management

Introduction

Sources of inspiration and its personal interpretation, visually and technically, play an important role in the design process, in increasing creativity. Clothing design studies and the creative role of design inspiration, during the early informal and actual clothing design processes is open to scientific investigation like aesthetically driven designs in other domains.

Studying creative fashion design as process and product is seen more problematic than other design-led industries, as the interaction between the design elements and principles, material properties, adaptation and modification of design inspiration are complex. Clothing design, as a variety of aesthetic and functional design processes, shares many characteristics of engineering design process.

Research and observation are critically important in the fashion business. By researching and observing, designers gather background information for design, including studying current and future fashion trends and try to predict what the majority of their customers will want in the foreseeable future. In order to keep up with the changing world of fashion, fashion awareness should become second nature to every clothing designer.

Design and clothing as a visual and tactile sensory design

It is well known that design is two things: process and product, as verb and noun. As design problem solution process, it is researching, setting the source of inspiration, planning, organizing to meet a goal, carrying out according to a particular purpose and creating. As product it is the end result, an intended arrangement that is the outcome of that process or plan.

Clothing is an example of applied design, even the most exciting, original idea must show awareness of its practical purpose and environment. We realise that some art is pure, "art for art's sake" but most creations in the daily world are for a practical purpose and use. Design as process is planning to meet a goal, and thus applies to everything intentionally created for a purpose. The steps and order of the process are

essentially the same regardless of the end product. These steps are very similar to management as a planning process.

Design as man made product and service falls into two major categories: sensory and behavioural. Sensory design is perceived through the senses, and is classified as visual, auditory, olfactory, tactile and gustatory. Behavioural design is planned action. Many products, however, include aspects of both, because design may be perceived through the senses and then interpreted behaviourally. A fashion show, for example, include both sensory and behavioural designs.

Research methodology and findings

The importance of source of inspiration and their role in creative clothing design has been little understood and, therefore, rarely received attention in this industry. [6], [7], [8] Eckert and Stacey (1998, 2000, 2003) studied knitwear design case, which shares many characteristics of complex engineering projects and as an example of "practical design" in a fast moving and highly competitive manufacturing industry. Their work included a large ethnographic study of the knitwear industry, which produced a detailed design process model and an analysis of the causes of communication problems within design teams. [15] M?kirinne-Croft et al. (1996) tried to explain the fashion design process in terms of quantum mechanics and psychoanalysis and see design creativity as the ultimate mystery; their description of the design process is simplistic.

The author has undertaken a progressive series of empirical studies, based on observation and interviews, looking at ready-to-wear (RTW) clothing design; in situ observation, semi-structured interviews and constrained and semi-constrained design tasks. This empiric approach combines ethnographic observational methods with the knowledge analysis techniques of artificial intelligence. It is effective in situations where conventional knowledge acquisition methods are insufficient, when broad understanding of an industry is needed as in the fashion industry, not just a case study of a single individual or company.

In this research, the creative role of sources of inspiration in visual clothing design by novice and expert clothing designers was assessed through empirical

research. As subjects, 16 talented clothing designers, 11 university-level fashion design students in Fashion Design Department at Dokuz Eylul University and five professional designers participated in the experiment carried out in this research. The first group of subjects included advanced fashion design students, seven talented students selected from the third and fourth year of undergraduate studies, and also four students of postgraduate studies, who also works as a free lance or part time assistant designers in the clothing industry. The second group was composed of five professional designers with a minimum of 5 years of experience in clothing industry. Sources of inspiration in clothing design

Where does the fashion designer get ideas and inspiration for new styles? The answer is everywhere and everything. Anything visual and tactile, in fact sensual, can be a source of inspiration for a garment. Through television, the designer experiences all the wonders of the entertainment world. In films, the designer is exposed to the influences of all the arts, and lifestyles throughout the world. Because consumers are exposed to movies through international distribution, films prime their audiences to accept new fashions inspired by the costumes. Museum exhibits, art shows, world happenings, expositions, theatres, music, dance and world travel are all sources of design inspiration to fashion designers. The fashions of the past are also a rich source of design inspiration. While always alert to the new and exciting, fashion designers never lose sight of the past, they use old things in new ways.

As stated the inspiration for a garment within a collection or for an entire collection can come from an infinite variety of sources. Sources of inspiration are often linked to the social "spirit of the times" also called the "zeitgeist". Understanding the state of current fashion and searching for ideas and sources of inspiration involves looking at art objects and books, going on trips to places like Paris and Milan, visiting museums, watching people on streets and going on country walks. Designers are most creative when they are directly exposed to the sources of ideas.

On the other hand, it has been observed in the fashion industry that there are two fundamental approaches in the creative clothing design processes:

(1) material, thus fabric, inspired clothing design process; and

(2) conceptual clothing design process, such as several themes originated from the universe of arts, nature or products.

It is known that the high-fashion "name" designers typically develop a concept, also called theme, for their collection in order to be more creative and original.

The major types of idea sources in design-led industries are previous products, artifacts, natural objects and phenomena. In case of clothing design, garments, fabrics and trims as previous products, play an important role in sources of inspiration. Although, there is a broad recognition that much of the design proceeds by modification of previous ideas, in case of fabric inspired clothing design, designers search for new forms and styles with newly developed or invented materials. For example, the development of elasthen fabrics, such as Lycra, inspired designers to figure-hugging silhouettes.

Conclusions

Anything visual and tactile, in fact sensual, can be a source of inspiration in fashion design. Design ideas do not simply materialize out of thin air. First, the designer does careful research, but what makes a designer's collection special and original is his or her unique interpretation of design sources. Therefore, in order to be more creative and original the sources of inspiration play an important role in clothing design.

Research and awareness are the key to creativity. Designers must learn most of all to keep their eyes open, to develop their skills of observation, to absorb visual ideas, blend them and translate them into clothes that their customers will like. The design process shows that realistic observation of outside influences and needs, extensive research and awareness and logical thinking and order, remove a great deal of the supposed "mystery" of design or creativity. One who thoroughly understands design as product and process and has mastered the use of appropriate materials and adaptation techniques can be "creative" and can translate the source into reality as a successful fashion product.

Sources of inspiration are used at the early stages of design and throughout the

entire design process. From the findings of this research, the role of sources of inspiration in clothing design can be summarised as follows:

- increasing originality and creativity;

- making the design process easy;

- deriving harmonious colour schemes directly;

- maintaining harmony and uniformity of the collection;

- deriving technical acumen from products inspired, especially from previous garments;

- understanding the fashion appropriation of the season; and

- drawing the borders for the design framework.

译文

服装设计中的创意性灵感

法蒂玛梅特

摘要

研究目的：本文的研究目的就是评估服装设计过程中的创造性灵感源。它旨在分析服装设计行为和服装设计过程的早期阶段，设计灵感的本质是什么，如何收集灵感来源以及它们是如何影响服装设计的创造力和原创性的。

研究方法：目前，已经有很多的学者对成衣服装设计进行了而一系列的实证研究；实地观察、半结构化访谈和约束和半驱动型设计任务。这一实证研究方法，可以有效的使用在传统的知识获取方法不足的情况下，特别需要对一个行业进行一个广泛地了解，比如：时尚界，不只是要对单个人或公司进行实证研究，要尽可能选择更多的案例进行研究。

研究结果：识别服装设计过程中的灵感来源的主要类型，并提供每来源的相关信息。认识到这些灵感来源可以帮助设计师来创建有创意的设计元素。为了培养创意，灵感的来源在整个创意阶段的设计过程中，以及在服装设计研究计划的早期阶段发挥了重要的作用。

创新性：本文突出强调了创造力和创意灵感来源在服装设计过程中的作用。对服装设计师和服装公司都提供了很多实际的帮助。

关键词:服装设计；服装；创造性思维；设计安排；设计管理

引言

灵感的来源及其个体性、可见性和技术性，这些对提高设计过程中的创造力方面起着重要的作用。服装设计研究和设计灵感的创造性，早期非正式的和实际的服装设计流程是开放性的，就像其他领域中以美学为导向的设计。

学习创意型服装设计，其流程和产品比其他设计驱动的行业存在更多的问题，设计元素、原则、面料的特性等设计灵感之间的交互关系是很复杂的。服装设计，包含各种各样的视觉审美和功能设计流程、甚至共享工程设计过程中的许多设计元素。

对时尚服装业进行研究和观察是至关重要的。通过研究和观察，设计师可以收集背景资料，包括研究当前和未来的时尚服装设计潮流，并试图预测大多数客户所希望的设计风格。为了跟上不断变化的时尚服装设计，时尚意识应成为每一个服装设计师的第二天性。

服装设计是一个包含视觉和触觉的感官设计

众所周知，设计包括两件事情: 工艺创造过程和产品展示，这两者之间的关系就好比动词和名词的关系。作为一个设计问题解决方案的过程,它是灵感的来源，并通过计划、组织以实现一个最终目标。而产品是其计划的、最终设计的结果。

服装就是应用设计的一个例子，即使是最激动人心的、最初的构想也必须向人们展示其实用目的。虽然我们已经意识到一些艺术是纯粹的，即“艺术至上艺术”，但是，世界上大多数艺术作品设计的最初目的都在于其实用性。设计作为一个工艺过程，应当考虑和计划实现某一特定的目标，并适时进行创新。从本质上讲，设计过程的步骤与顺序同样应当考虑产品的实用性。这些步骤与管理规划的过程非常相似。

人为设计的产品和服务可以分为两大部类：感觉和行为。感官设计是通过感官而获得的，可以将其分为视觉、听觉、嗅觉、触觉和味觉的获得。行为设计是有计划的行动。然而，许多产品的创作过程都包括感官设计与行为设计两个方面，因为设计灵感需要通过感官获得并通过行为来解释。例如，一场时装表演既包括

感觉设计也包括行为设计。

研究方法和研究结果

人们对创意性灵感的来源及其在创意服装设计中的重要性一直知之甚少，因此，这个行业也很少得到人们的关注。埃克特和斯泰西研究了针织品设计的案例，这一类的服装设计参考借鉴了很多复杂的工程设计中的设计元素和设计思路。例如：快速变化和高度竞争的制造业中的“实用设计”。在他们的设计工作中，很多内容都涉及到针织行业的大量研究，而本研究开发制作一个详细的设计过程模型，以及分析了设计团队内部的沟通问题。马卡尼等人试图解释量子力学和心理分析在时尚服装设计过程中的应用，以探索创意性设计的终极奥秘。他们深入浅出的描述了设计过程。

本文进行了一系列的实证研究，主要是通过观察和访谈。实地调研、半结构化访谈和半驱动型设计的研究方法，因此来探索成衣服装设计。这种将理论和实际调研相结合的实证研究方法，可以有效的使用在传统的知识获取方法不足的情况下，不过在研究中，要特别需要广泛地了解一个行业，比如：时尚界，不只是要对单个人或公司进行实证研究，要尽可能选择更多的案例进行研究。特别是在传统的知识获取方法不足的情况下，它是可以得到有效的应用，不过需要指出的是，特别需要对一个行业进行一个广泛地了解，比如：时尚界，不只是要对单个人或公司进行实证研究，要尽可能选择更多的案例进行研究。

在本研究中，服装设计过程中的创造性设计灵感，主要来源于那些刚开始从事设计工作的新手设计师，他们还没有形成固定的思维，因此，有许多新的不受拘束的想法，这是服装设计灵感的一大来，此外一些服装设计专家，他们对实现需求和消费者的偏好有着敏锐的观察力，因此，可以有针对性的提出新的设计思路，这对创新性服装设计而言，也是很重要的。当然，是否真实如此，需要进行一系列的实证研究来证实。我们特意选择了16个优秀的服装设计师，11个时装设计专业在读学生，和五个专业的设计师，参与实证研究。将他们分为几个考察一组，第一组，主要是那些高级时装设计专业的在读学生，还有七个有才华的大三和大四学生，还有四名服装设计研究生，他们平时都是在一些服装设计公司实习。第二组则是由在服装行业的五个专业设计师组成，他们都至少有5年的服装设计经验。（完整译文请到百度文库）

外文文献翻译中性化服装设计

外文文献原文+译文 原文 The study on the design of neuter clothing H ous e W Abstract Social and economic development, social thought, opening up and the progress of science and technology, men and women style presented the diversified pattern of neuter the fuzzy gender differences in style, from the beginning of non-mainstream des ign till n ow has develop ed i nt o on e of the mains t ream fas hi on d es ign style. Fashion brands have launched in recent years, the neutral flavor of fashion, neuter clothing market share of more and more, neutral fashion, with its broad group of sex leads the urban street fashion. Neutralization of free and open way of life style, gave people a comfortable and enjoyable. K ey words: Neut e r; Cl ot hing; Gender roles; Design 1 Introduction The beginning of the 20th century the rise of the feminist movement, make the neutral clothing as a kind of style into the line of sight of people. In the 90 s, the neutral clothing has used by each big brand clothing as one of the fashionable e lement s, s uc h a s dust coa t w i th a ne ut ral style, s ui ts, t-shirt s and j e ans have bec om e people like everyday clothes. Neuter clothing style is a simple, pure; reject all multifarious mincing, personalized style. As a special kind of clothing style, neuter clothing fashion has been intensified in the social life, so it is necessary for us to study the clothing neutralization phenomenon, to study its causes and the development of sociology. This article mainly from the sociological association as well as the relationship between men and women clothing and gender status in the society, which is based on analyzing the change of the study the social basis of the neutral clothing appear; Again from the social system, economic development, cultural trend and fashion designers to the influence of the neutral clothing style, etc., it is concluded that the neuter clothing phenomenon is the development of social consciousness, the sexual role transformation, the new clothing design trends are affecting the results.

毕业论文外文翻译模版

吉林化工学院理学院 毕业论文外文翻译English Title（Times New Roman ，三号） 学生学号：08810219 学生姓名：袁庚文 专业班级：信息与计算科学0802 指导教师：赵瑛 职称副教授 起止日期：2012.2.27～2012.3.14 吉林化工学院 Jilin Institute of Chemical Technology

1 外文翻译的基本内容 应选择与本课题密切相关的外文文献（学术期刊网上的），译成中文，与原文装订在一起并独立成册。在毕业答辩前，同论文一起上交。译文字数不应少于3000个汉字。 2 书写规范 2.1 外文翻译的正文格式 正文版心设置为：上边距：3.5厘米，下边距：2.5厘米，左边距：3.5厘米，右边距：2厘米，页眉：2.5厘米，页脚：2厘米。 中文部分正文选用模板中的样式所定义的“正文”，每段落首行缩进2字；或者手动设置成每段落首行缩进2字，字体：宋体，字号：小四，行距：多倍行距1.3，间距：前段、后段均为0行。 这部分工作模板中已经自动设置为缺省值。 2.2标题格式 特别注意：各级标题的具体形式可参照外文原文确定。 1．第一级标题（如：第1章绪论）选用模板中的样式所定义的“标题1”，居左；或者手动设置成字体：黑体，居左，字号：三号，1.5倍行距，段后11磅，段前为11磅。 2．第二级标题（如：1.2 摘要与关键词）选用模板中的样式所定义的“标题2”，居左；或者手动设置成字体：黑体，居左，字号：四号，1.5倍行距，段后为0，段前0.5行。 3．第三级标题（如：1.2.1 摘要）选用模板中的样式所定义的“标题3”，居左；或者手动设置成字体：黑体，居左，字号：小四，1.5倍行距，段后为0，段前0.5行。 标题和后面文字之间空一格（半角）。 3 图表及公式等的格式说明 图表、公式、参考文献等的格式详见《吉林化工学院本科学生毕业设计说明书（论文）撰写规范及标准模版》中相关的说明。

服装设计与高科技外文翻译文献

文献信息： 文献标题：Evolution of Fashion Design in the Era of High-Tech Culture （高科技文化时代服装设计的演变） 国外作者：Galina Mihaleva，C.Koh 文献出处：《International Scholarly and Scientific Research and Innovation》,2016,10(7):2447-2451 字数统计：英文2079单词，11462字符；中文3549汉字 外文文献： Evolution of Fashion Design in the Era of High-Tech Culture Abstract Fashion, like many other design fields, undergoes numerous evolutions throughout the ages. This paper aims to recognize and evaluate the significance of advance technology in fashion design and examine how it changes the role of modern fashion designers by modifying the creation process. It also touches on how modern culture is involved in such developments and how it affects fashion design in terms of conceptualizing and fabrication. By comparing case studies, existing fashion design examples and crafting method experimentations; we then spot patterns in which to predict the direction of future developments in the field. A breakdown on the elements of technology in fashion design helps us understand the driving force behind such a trend. The results from explorations in the paper have shown that there is an observed pattern of a distinct increase in interest and progress in the field of fashion technology, which leads to the birth of hybrid crafting methods. In conclusion, it is shown that as fashion technology continues to evolve, their role in clothing crafting becomes more prominent and grows far beyond the humble sewing machine. Keywords: Fashion design, functional aesthetics, smart textiles, 3D printing. INTRODUCTION It is common knowledge that the environment we live in greatly influences the

【最新推荐】印花在服装设计中的应用外文文献

文献出处：A Dehghani. The application of digital printing in fashion design [J]. International Journal of Clothing Science and Technology, 2015, 16(2): 263-271. 原文 The application of digital printing in fashion design A Dehghani Abstract The appearance of digital printing for textiles printing provides a new train of thought, digital printing with the current textile fabric printing a variety of requirements of the market of printing technology, including high quality printing precision, high efficiency of printing on reaction time and the printing of the diverse demand, these advantages directly promoted the digital ink jet printing in the rapid development of textile fabric printing direction. In this paper, the design method of the digital printing design of different style and means of decoration and design method in the fabrics for summary, it is concluded that digital printing design cuttings in fabric printing, clothing apparel printing method and the application of the traditional fabric secondary design and decorative effect. Through the above research, digital printing and garment design and garment style between the relationships between the shapes, thereby further to bring into full play the advantages of

大学毕业论文---软件专业外文文献中英文翻译

软件专业毕业论文外文文献中英文翻译 Object landscapes and lifetimes Tech nically, OOP is just about abstract data typing, in herita nee, and polymorphism, but other issues can be at least as importa nt. The rema in der of this sect ion will cover these issues. One of the most importa nt factors is the way objects are created and destroyed. Where is the data for an object and how is the lifetime of the object con trolled? There are differe nt philosophies at work here. C++ takes the approach that con trol of efficie ncy is the most importa nt issue, so it gives the programmer a choice. For maximum run-time speed, the storage and lifetime can be determined while the program is being written, by placing the objects on the stack (these are sometimes called automatic or scoped variables) or in the static storage area. This places a priority on the speed of storage allocatio n and release, and con trol of these can be very valuable in some situati ons. However, you sacrifice flexibility because you must know the exact qua ntity, lifetime, and type of objects while you're writing the program. If you are trying to solve a more general problem such as computer-aided desig n, warehouse man ageme nt, or air-traffic con trol, this is too restrictive. The sec ond approach is to create objects dyn amically in a pool of memory called the heap. In this approach, you don't know un til run-time how many objects you n eed, what their lifetime is, or what their exact type is. Those are determined at the spur of the moment while the program is runnin g. If you n eed a new object, you simply make it on the heap at the point that you n eed it. Because the storage is man aged dyn amically, at run-time, the amount of time required to allocate storage on the heap is sig ni fica ntly Ion ger tha n the time to create storage on the stack. (Creat ing storage on the stack is ofte n a si ngle assembly in structio n to move the stack poin ter dow n, and ano ther to move it back up.) The dyn amic approach makes the gen erally logical assumpti on that objects tend to be complicated, so the extra overhead of finding storage and releas ing that storage will not have an importa nt impact on the creati on of an object .In additi on, the greater flexibility is esse ntial to solve the gen eral program ming problem. Java uses the sec ond approach, exclusive". Every time you want to create an object, you use the new keyword to build a dyn amic in sta nee of that object. There's ano ther issue, however, and that's the lifetime of an object. With Ian guages that allow objects to be created on the stack, the compiler determines how long the object lasts and can automatically destroy it. However, if you create it on the heap the compiler has no kno wledge of its lifetime. In a Ianguage like C++, you must determine programmatically when to destroy the

【参考文献翻译】服装设计中独特性的表达.doc

英文翻译： The unique expression in fashion design Abstract: With the social progress and people's aesthetic awareness, clothing design requirements are constantly changing, not only beautiful, comfortable, personalized for different purposes, and more and more people started to pay attention the unique design of the clothing. unique expression of the clothing design has something in common, in common, there are three factors most typical one of the means of the use of the plastic arts; is to follow the basic rules of the plastic arts; the pursuit of art content and beauty of form harmony and unity. The face of increasingly fierce competition in society, from clothing unique starting to play to their strengths, so that the costume design perfected. Key words: aesthetic sense; costume design; uniqueness; expression Introduction With the rich substance of social development, improved quality of life, the pursuit of unique clothing is also more than plus strong, the face of the popularity and unity to the mass production of clothing has become a problem to be solved in order to fashion designers. An important design point, then become a unique expression of the costume design costume design costume design unique refers to the characteristics of the presentation of the representative from the clothing on the whole, it is unique content and form unity. China fashion design unique expression as a complete system of disciplines to study the ancient times to now there, but the uniqueness of expression in fashion design is not perfect, therefore, the uniqueness of this study fashion design to express Modern fashion design is of great significance. 1. The unique overview of clothing In short, The unique nature of the clothing is the clothing unique. In a broad sense refers to the presentation of the representative characteristics from the whole of the clothing works, it is one of the unique form and the objectivity of the unity of the unity of content, costume designer on the subjective aspect of creative and clothing subject matter difficult to find words to express, but it is not difficult to make us feel unique style. The unique nature of the clothing, but also refers to the values, artistic characteristics and inherent character of a nation, an era, a genre or a person's clothing in the content and format of the show out. The unique nature of the appearance of the mind, the pursuit of the realm of fashion design in the final analysis is unique in design and positioning, the unique expression of the costume design also reflects the designer's unique creative thinking and the pursuit of art also reflects the distinctive character.

电子信息工程专业毕业论文外文翻译中英文对照翻译

本科毕业设计（论文）中英文对照翻译 院（系部）电气工程与自动化 专业名称电子信息工程 年级班级 04级7班 学生姓名 指导老师

Infrared Remote Control System Abstract Red outside data correspondence the technique be currently within the scope of world drive extensive usage of a kind of wireless conjunction technique,drive numerous hardware and software platform support. Red outside the transceiver product have cost low, small scaled turn, the baud rate be quick, point to point SSL, be free from electromagnetism thousand Raos etc.characteristics, can realization information at dissimilarity of the product fast, convenience, safely exchange and transmission, at short distance wireless deliver aspect to own very obvious of advantage.Along with red outside the data deliver a technique more and more mature, the cost descend, red outside the transceiver necessarily will get at the short distance communication realm more extensive of application. The purpose that design this system is transmit cu stomer’s operation information with infrared rays for transmit media, then demodulate original signal with receive circuit. It use coding chip to modulate signal and use decoding chip to demodulate signal. The coding chip is PT2262 and decoding chip is PT2272. Both chips are made in Taiwan. Main work principle is that we provide to input the information for the PT2262 with coding keyboard. The input information was coded by PT2262 and loading to high frequent load wave whose frequent is 38 kHz, then modulate infrared transmit dioxide and radiate space outside when it attian enough power. The receive circuit receive the signal and demodulate original information. The original signal was decoded by PT2272, so as to drive some circuit to accomplish

服装设计褶皱拼缝外文文献

Vol. 3 (3), April, 2009 ISSN 1994-9057 (Print) ISSN 2070-0083 (Online) Effect of Seams on Drape of Fabrics (Pp. 62-72) Sukumar Nachiappan- Lecturer, Textile Engineering Department, Faculty of Engineering, Bahir Dar University, Bahir Dar, Ethiopia. Email: sugumaraan@https://www.wendangku.net/doc/cb4101969.html, Gnanavel. P. - Lecturer, KSR College of Technology, Tiruchengode–637 215, TamilNadu, India Ananthakrishnan, T.- Professor and Head, Department of Textile Technology, Government Sri Krishna Rajendra silver jubilee Technical Institute, Bangalore – 560 001, India Abstract Drape of the fabric is its ability to hang freely in graceful folds when some area of it is supported over a surface and the rest is unsupported. Drape is a unique property that allows a fabric to be bent in more than in one direction, When two-dimensional fabric are converted to three-dimensional garment form. In the present study, the effects of sewing of different seam were selected on different fabric and their behaviors were studied. In this study drape of ten fabrics are analyzed with three types of seams and three stitch densities. Sample without seam is a control sample and drape of seamed samples are compared with control sample to analyse the drape behavior of seamed fabrics. This paper presents a fundamental drape analysis of seamed fabrics using drape meter. Drape behavior is determined in terms of drape coefficient. The effect of seams on the drape coefficient and Drape profile has been made. Drape coefficients significantly differs between the fabrics and also between the seam stitch density combinations. Investigating drape on seamed fabrics can improve fabric end use application.

服装设计参考文献

参考文献 [1]李平.面料再造的艺术表现力[J].服装设计师,2009，10 [2]艺术与设计[J].2011.05 [3]马慧颖,肖圣颖.浅谈环保主义影响下的服装设计[J].才智，2009，06 [4]李苏君,彭景荣.三宅一生与解构主义服装[J]. 美与时代2010, 01 [5]余建春.服装市场调查与预测[M]. 北京：中国纺织出版社,2002 [6]服装设计师.月刊.[J] .服装设计师杂志社，2008.01 [7]肖文陵，李迎军．服装设计[M].北京：清华大学出版社,2006 [8]许星．服饰配件艺术[M]. 北京：中国纺织出版社,2005 [9]罗森.魅力先生[J].青年与社会,2006，04 [10]李霞云.服装造型设计[M].上海：上海纺织工业专科学校，2008 [11]刘瑞璞．服装纸样设计原理与技术(男装编)[M].中国纺织出版社,2003 [12]尹定邦.设计学概论[M].衡阳:湖南科学科技出版社,2001.10 [13]原研哉. 设计中的设计[M]，济南：山东人民出版社，2006 [14]吴静芳. 服装配饰学[M].上海:东华大学出版社,2004.1 [15]刘元凤. 服装设计学[M]，北京：高等教育出版社，2005 [16]肖文陵.李迎军．北京：服装设计[M]. 北京：清华大学出版社.2006 [17]谢锋.时尚之旅（第二版）[M]. 北京：中国纺织出版社,2007 [18]李采姣.时尚服装设计[M]. 北京：中国纺织出版社,2007 [19](美)多丽丝·普瑟.穿出影响力[M]. 北京：中国纺织出版社,2006 [20]袁利.打破思维的界限[M]. 北京：中国纺织出版社,2005

电气专业毕业论文外文翻译分析解析

本科毕业设计 外文文献及译文 文献、资料题目：Designing Stable Control Loops 文献、资料来源：期刊 文献、资料发表（出版）日期：2010.3.25 院（部）：信息与电气工程学院 专班姓学业：电气工程与自动化级： 名： 号： 指导教师：翻译日期：2011.3.10

外文文献： Designing Stable Control Loops The objective of this topic is to provide the designer with a practical review of loop compensation techniques applied to switching power supply feedback control. A top-down system approach is taken starting with basic feedback control concepts and leading to step-by-step design procedures,initially applied to a simple buck regulator and then expanded to other topologies and control algorithms. Sample designs are demonstrated with Math cad simulations to illustrate gain and phase margins and their impact on performance analysis. I. I NTRODUCTION Insuring stability of a proposed power supply solution is often one of the more challenging aspects of the design process. Nothing is more disconcerting than to have your lovingly crafted breadboard break into wild oscillations just as its being demonstrated to the boss or customer, but insuring against this unfortunate event takes some analysis which many designers view as formidable. Paths taken by design engineers often emphasize either cut-and-try empirical testing in the laboratory or computer simulations looking for numerical solutions based on complex mathematical models.While both of these approach a basic understanding of feedback theory will usually allow the definition of an acceptable compensation network with a minimum of computational effort. II. S TABILITY D EFINED Fig. 1.Definition of stability Fig. 1 gives a quick illustration of at least one definition of stability. In its simplest terms, a system is stable if, when subjected to a perturbation from some source, its response to that

服装英语论文

服装英语论文 文章一 Change Of Chinese Clothing Tradition An outstanding characteristic of traditional Chinese clothing is not only an external expression of elegance, but also an internal symbolism. Each and every piece oftraditionalclothing communicates a vitality of its own. This combination of external form with internal symbolism is clearly exemplified in the pair of fighting pheasant feathers used in head wear originating in the battle wear of the Warring States period (475-221 B.C.). Two feathers of a ho bird (a type pheasant good at fighting) were inserted into the head wear of warriors of this period to symbolize a bold and warlike spirit. Archaeological findings of 18,000 year-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. Variety and consistency in clothing were roughly established by the era of the Yellow Emperor and the Emperors Yao and Shun (about 4,500 years ago). Remains of woven silk and hemp articles and ancient ceramic figures further demonstrate the sophistication and refinement of clothing in the Shang Dynasty (16th to 11th century B.C.). The three main types of traditional Chinese clothing are the pien-fu, the ch'ang-p'ao, and the shen-i. The pien-fu is an ancient two-piece ceremonial costume of a tunic-like top extending to the knees and a skirt or trousers extending to the ankles. The ch'ang-p'ao is a one-piece garment extending from the shoulders all the way to the heels. The shen-i is a cross between the pien-fu and the ch'ang-p'ao; it consists of a tunic and a skirt or trousers like the pien-fu, but the tunic and the skirt are sewed together and essentially one piece like the chang-pao. Consequently, the shen-i was the most widely worn of the three types. Typical of these three types of clothing were wide and voluminous sleeves and a very loose fit. Tunic and trousers or tunic and skirt, utilized a very minimum number of stitches for the amount of cloth used. So because of their relatively plain design and structure, embroidered edgings, decorated bands, draped cloth or silks, patterns on the shoulders, and sashes were often added as ornamentation. These varied designs came to be one of the unique features of traditional Chinese dress. Darker colors were favored over lighter ones in traditional Chinese clothing, so the main color of ceremonial clothing tended to be dark while bright, elaborate tapestry designs accented. Lighter colored clothing was worn more frequently by the common people for everyday and around the house use. The Chinese associate certain colors with specific seasons: green represents spring, red symbolizes summer, white represents autumn, and