【最新推荐】印花在服装设计中的应用外文文献

合集下载

服装设计毕业论文 (1)

服装设计毕业论文 (1)

天津工业大学毕业设计(论文)任务书题目服装款式设计——休闲女装学生姓名学院名称专业班级课题类型应用型课题意义随着紧张的工作和生活给人们带来了巨大压力的同时,放松自我、强调个性的人文理念日益深入人心,休闲装早已成为职场之外人们着装的主流品种。

休闲女装的设计对于倡导人们自由舒适的着装文化,提高休闲生活品质,释放人们的心理压力,回归和谐安详的自然生态有着重要的意义。

本课题旨在通过对当前休闲女装流行趋势的分析,从色彩搭配、款式造型、图案装饰以及服装结构设计和面料运用等方面进行探讨和尝试,设计出符合年轻女性消费需求的休闲装,培养学生的设计能力。

任务与进度要求2009.12.24~2010.1.7确定选题3.1~3.14针对选题进行调研,搜集资料,包括进行相关的生产实习3.15~3.22完成实习报告或调研报告3.23~3.31在调研获取面料小样的基础上,进行设计方案构思(效果图)4.1~4.7修改、确定设计方案,选购材料4.8~4.15板型设计4.16~4.30缝制成衣5.1~5.21拟定论文大纲并撰写论文,提交论文初稿5.22~5.29论文修改、完善、装订6月初服装作品展示及论文答辩主要参考文献[1]刘晓刚.品牌服装设计[M].上海:东华大学出版社,2007.6[2]朱庆真.服装设计[M].北京:中国水利出版社,2006.8[3]刘元凤,胡月.服装艺术设计[M].北京:中国纺织出版社,2006.1[4][英]西蒙·西弗瑞特著,袁燕,肖红译,时装设计元素:调研与设计[M].北京:中国纺织出版社,2009.1[5]刘瑞璞.服装纸样设计原理与技术(女装编)[M].北京:中国纺织出版社,2008.9[6]黄嘉.实用服装画技法[M].北京:中国纺织出版社,1996起止日期2010.3—2010.6备注院长教研室主任指导教师毕业设计(论文)开题报告表2010年3月15日姓名唐薇学院艺术与服装学院专业服装设计与工程班级服工063题目服装款式设计——休闲时尚女装指导教师李彤一、与本课题有关的国内外研究情况、课题研究的主要内容、目的和意义:随着人们生活水平的不断提高,服装的功能性越来越小,款式设计越来越重要。

维吾尔族印花布艺术在服饰设计中的应用研究

维吾尔族印花布艺术在服饰设计中的应用研究

收稿日期:2023-12-02作者简介:孙瑜(1983—),女,吉林长春人,讲师,硕士,研究方向为服装与服饰设计。

维吾尔族印花布艺术在服饰设计中的应用研究摘要:新疆维吾尔族的织造、印染技艺历史悠久,其中花毡和印染花布最著名。

维吾尔族印花布艺术在现代服饰设计中的运用,不仅可以丰富当代服装的艺术表达方式,也可以为国际的文化交流开辟一条崭新的道路。

因此,针对维吾尔族印花布艺术在服饰设计中的应用展开研究,以期为服装设计领域提供理论借鉴。

关键词:印花布艺术;服饰设计;应用中图分类号:TS941.2文献标志码:A 文章编号:1005-9350(2024)03-0108-03孙瑜(霍城县职业技术学校,新疆伊犁835200)随着经济全球化和文化多样性的发展,服装设计师越来越倾向于在服饰设计中应用传统民族艺术。

维吾尔族印花布艺术融汇了古代丝绸之路上的多元文化精髓,其独特的色彩运用、图案设计和制作工艺展现了传统文化,体现了维吾尔族民族精神和审美情趣[1]。

将其应用于现代服饰设计中展现出传统与现代、东方与西方的文化融合,丰富了现代服装的设计理念和表现形式,也体现了文化多元化在现代服装设计领域的应用。

因此,本文将探讨维吾尔族印花布艺术的历史背景、艺术特征,及其在现代服饰设计中的应用,以期为现代服装设计提供新的视角。

1维吾尔族印花布艺术概述维吾尔族印花布艺术主要依赖手工刻版和天然染料,图案多为几何形状和自然元素,主要用于制作日常生活用品和传统服饰。

随着丝绸之路的繁荣,维吾尔族印花布技艺逐渐成熟,图案设计更加复杂和精致,色彩更为丰富多样,同时融入了更多的宗教和阿拉伯文化元素,成为沿线国家和地区文化交流的重要媒介。

维吾尔族印花布艺术的主要特点表现在色彩运用、图案设计和制造工艺三个方面。

在色彩运用方面,传统的维吾尔印花布通常使用红、蓝和黄等大胆而鲜亮的颜色,使印花布具有极强的视觉冲击力,反映了维吾尔族人对生活的热爱和对大自然的赞美。

纺织染整英文文献

纺织染整英文文献

Pretreatment of cotton to enhance its dyeability;Part 2.Direct dyesS.M.Burkinshaw *,A.GotsopoulosSpecialty Chemical Group,Department of Colour Chemistry,The University,Leeds,LS29JT,UKReceived 9December 1998;accepted 4January 1999AbstractThree commercial cationic ®xing agents,namely Matexil FC-PN (ICI),Matexil FC-ER (ICI)and Sol®x E (Ciba),originally marketed as aftertreating agents for direct dyes,were used as pretreatments for cotton modi®cation.Pre-treated cotton was dyed with four direct dyes and the e ect of pretreatment on the colour strength as well as the wash and the light fastness of the dyeings were investigated.The dyeings were also aftertreated with the same agents used for the pretreatment,and their wash fastness properties were compared with those of the aftertreated standard dyeings.Pretreatment was found to increase the colour strength of the dyeings when dyeing had been carried out without elec-trolyte.However,when electrolyte was used,the pretreated samples exhibited generally lower colour strength than the standard dyeings.The wash fastness of the dyeings was almost una ected by pretreatment while light fastness was slightly lowered.#1999Elsevier Science Ltd.All rights reserved.Keywords:Cotton;Direct dyes;Pretreatment;Enhanced dyability;Low salt dyeing1.IntroductionThe pretreatment of cotton with cationic agents to enhance its dyeability with anionic dyes,such as direct [1],reactive [2±8]and C.I.Solubilised Sul-phur dyes [9]has attracted interest from many workers,especially in recent times.The reason behind such pretreatment is that the increased cationicity imparted to the cellulosic substrate reduces the inherent ion±ion repulsion that oper-ates between the anionic dye and negatively charged groups (e.g.COO À)in the ®bre,thus resulting in enhanced dye uptake.In addition,the enhanced cationicity of the pretreated substratecan enable dyeing to be achieved using reduced amounts of electrolyte [1,8]or in the complete absence of electrolyte [3±7].In the previous part of this paper [9],which examined the dyeability of cotton pretreated with cationic agents using C.I.Solubilised Sulphur dyes,it was found that pretreatment substantially increased the colour strength and also improved the wash fastness of the dyeings.This led to an examination of the dyeability of pretreated cotton with direct dyes,as they are one of the most pop-ular of all dye classes used on cellulosic ®bres [10,11],even though they possess generally poor wash fastness,because of their ease of application and low cost [12].The present study was mainly directed at achieving high exhaustion of direct dyes on cotton in order to minimise some oftheDyes and Pigments 42(1999)179±1950143-7208/99/$-see front matter #1999Elsevier Science Ltd.All rights reserved.PII:S0143-7208(99)00003-0*Corresponding author.Tel.:+44-(0)113-233-2930;fax:+44-(0)113-233-2947.environmental problems that the dyes pose during their application.Dyeing with the addition of a reduced amount of electrolyte or `ideally'with no electrolyte was desired.2.Experimental 2.1.Materials2.1.1.FabricScoured and bleached,¯uorescent brightener-free woven cotton (156.5g m À2)was used.2.1.2.DyesFour commercial direct dyes,namely Solophenyl Blue FGL (C.I.Direct Blue 85),Solophenyl Bor-deaux 3BL (C.I.Direct Red 83),Solophenyl Scarlet BNL (C.I.Direct Red 89)and Solophenyl Yellow ARL (C.I.Direct Yellow 106),were used.They were generously provided by Ciba-Geigy and were not puri®ed prior to use;only one of the dyes'structure is disclosed in the Colour Index (Fig.1)[13].Ciba divide their Solophenyl range of dyes into groupsIFig.1.Structure of CI Direct Red83.Fig.2.Application methods for cationic ®xing agents.(Num-bers in parenthesis refers to aftertreatmentcondition.)Fig.3.Dyeing method.180S.M.Burkinshaw,A.Gotsopoulos /Dyes and Pigments 42(1999)179±195and II[14];the four dyes were selected,arbitarily, from group I.2.1.3.Cationic®xing agentsCommercial samples of Matexil FC-PN and Matexil FC-ER were kindly supplied by ICI Surfactants;Sol®x E was kindly provided by Ciba-Geigy.All other reagents were of general purpose grade.2.2.Procedures2.2.1.PretreatmentAll pretreatment,using fabric samples(2.00g) which had been wetted out in cold tap water,wasTable1Colorimetric data for dyeings pretreated using Matexil FC-PN(C.I.Direct Blue85)Pretreatment conditions(%omf)K/S L*a*b*C*h Dyeing without saltUntreated sample 3.2849.13À4.92À21.3821.94257.04 FC-PN0.5%10min 3.9446.00À3.63À21.8922.19260.58 FC-PN1.0%10min 4.2444.65À3.28À21.5121.76261.33 FC-PN2.0%10min 4.8242.56À2.70À21.5921.76262.87 FC-PN5.0%10min 5.0741.52À2.38À21.1521.28263.58 FC-PN0.5%20min 3.8846.16À3.70À21.6521.96260.30 FC-PN1.0%20min 4.2344.62À3.03À21.7221.93262.06 FC-PN2.0%20min 4.6343.13À2.75À21.5321.70262.72 FC-PN5.0%20min 5.3240.83À2.29À21.1821.30263.83 FC-PN0.5%30min 3.8746.28À3.82À21.7422.07260.03 FC-PN1.0%30min 4.4343.97À3.05À21.7221.93262.01 FC-PN2.0%30min 4.8742.39À2.70À21.5921.76262.87 FC-PN5.0%30min 5.2141.17À2.39À21.1821.31263.56 Dyeing with salt(20g/litre)Untreated sample17.8823.410.26À18.0618.06270.82 FC-PN0.5%10min16.2624.570.10À18.2418.24270.31 FC-PN1.0%10min16.0424.460.37À17.8817.88271.19 FC-PN2.0%10min16.2424.210.68À18.0618.07272.16 FC-PN5.0%10min15.1225.310.41À18.4918.49271.27 FC-PN0.5%20min16.3324.220.50À17.9717.98271.59 FC-PN1.0%20min16.5323.940.73À17.8517.86272.34 FC-PN2.0%20min16.0224.450.50À18.0818.09271.58 FC-PN5.0%20min15.4224.880.48À18.0518.06271.52 FC-PN0.5%30min16.8624.060.10À17.8917.89270.32 FC-PN1.0%30min16.2924.170.64À17.9217.93272.05 FC-PN2.0%30min16.3524.32 2.78À20.4120.60277.76 FC-PN5.0%30min16.5924.090.45À18.0118.02271.43 FC-PN0.5%10min(5g/litre salt)14.0026.96 2.05À21.9422.04275.34 FC-PN0.5%10min(10g/litre salt)15.3325.64 2.28À21.4621.58276.06 FC-PN5.0%30min(5g/litre salt)14.1926.57 1.66À20.8420.91274.55 FC-PN5.0%30min(10g/litre salt)15.2825.32 2.69À20.9921.16277.30S.M.Burkinshaw,A.Gotsopoulos/Dyes and Pigments42(1999)179±195181carried out in sealed,stainless steel dyeing tubes of 300cm3capacity housed in a Zeltex Polycolor laboratory-scale dyeing machine,using a20:1 liquor ratio.The pretreatment methods employed to apply the cationic agents are shown in Fig.2. At the end of pretreatment,the samples were removed from the treatment bath,rinsed in tap water and allowed to dry in the open air.2.2.2.DyeingAll dyeings were carried out,using fabric which had been wetted out in cold distilled water,in the same dyeing machine that was used for the pretreat-ment,using a30:1liquor ratio.The dyeing method employed is shown in Fig.3.At the end of dyeing, the dyed sample was removed,rinsed thoroughly in cold tap water and allowed to dry in the open air.Table2Colorimetric data for dyeings pretreated using Matexil FC-PN(C.I.Direct Red83)Pretreatment conditions(%omf)K/S L*a*b*C*h Dyeing without saltUntreated sample 4.8148.3037.50À8.4238.43347.35 FC-PN0.5%10minutes 5.1546.6736.63À8.9837.71346.23 FC-PN1.0%10min 5.3946.5037.53À8.8438.56346.75 FC-PN2.0%10min 5.5345.2936.03À9.4537.25345.30 FC-PN5.0%10min 5.5644.5734.75À9.6136.05344.54 FC-PN0.5%20min 5.1047.2037.30À8.9538.36346.51 FC-PN1.0%20min 5.4845.8236.83À9.1637.95346.03 FC-PN2.0%20min 5.7144.6835.76À9.4536.99345.20 FC-PN5.0%20min 5.8743.7534.73À9.5836.03344.58 FC-PN0.5%30min 5.4046.4337.45À8.8238.47346.75 FC-PN1.0%30min 5.5245.6936.82À9.1437.94346.06 FC-PN2.0%30min 6.0344.0736.24À9.2937.41345.62 FC-PN5.0%30minutes 5.9543.5534.75À9.4836.02344.74 Dyeing with salt(20g/litre)Untreated sample16.1130.5834.30À3.2334.45354.62 FC-PN0.5%10min15.3431.0334.14À4.2434.40352.92 FC-PN1.0%10min15.0931.0333.80À4.3934.08352.60 FC-PN2.0%10min15.1130.9433.65À4.5833.96352.25 FC-PN5.0%10min14.2431.6433.76À4.9634.12351.64 FC-PN0.5%20min15.2931.2134.42À4.2334.68352.99 FC-PN1.0%20min15.0731.2534.22À4.3934.50352.69 FC-PN2.0%20min15.2130.9233.86À4.5134.16352.41 FC-PN5.0%20min14.7131.3933.90À4.9334.26351.73 FC-PN0.5%30min15.1631.3334.42À4.2434.68352.98 FC-PN1.0%30min15.3930.9434.13À4.2234.39352.95 FC-PN2.0%30min15.2130.8133.62À4.1533.88352.96 FC-PN5.0%30min14.2731.5833.68À4.9134.04351.71 FC-PN0.5%10min(5g/litre salt)12.8834.2037.51À7.7238.30348.37 FC-PN0.5%10min(10g/litre salt)13.8832.8536.64À7.2337.35348.84 FC-PN5.0%30min(5g/litre salt)11.6534.8036.14À8.7837.19346.34 FC-PN5.0%30min(10g/litre salt)13.1133.0535.66À7.8936.52347.52 182S.M.Burkinshaw,A.Gotsopoulos/Dyes and Pigments42(1999)179±1952.2.3.AftertreatmentMatexil FC-PN and Matexil FC-ER were applied at4%omf for30min using the same method employed for the pretreatment,while Sol®x E was applied at6%omf using the respec-tive method employed for the pretreatment (Fig.2).2.2.4.Colour measurementThe re¯ectance values of the dry,dyed samples were measured using a Colorgen re¯ectance spectro-photometer interfaced to a personal computer, under illuminant D65using10 standard observer with specular component excluded and UV compo-nent included,from which the corresponding K/STable3Colorimetric data for dyeings pretreated using Matexil FC-PN(C.I.Direct Red89)Pretreatment conditions(%omf)K/S L*a*b*C*h Dyeing without saltUntreated sample 3.5456.9745.4914.4947.7417.67 FC-PN0.5%10min 4.7653.2345.8216.9148.8420.26 FC-PN1.0%10min 5.1851.1943.5915.9646.4220.11 FC-PN2.0%10min 5.4750.7644.9217.0248.0420.75 FC-PN5.0%10min 5.9349.4744.6917.5748.0221.46 FC-PN0.5%20min 4.8053.1545.7117.0248.7820.42 FC-PN1.0%20min 5.3351.6645.9817.6249.2420.97 FC-PN2.0%20min 5.7350.3445.5517.8848.9321.43 FC-PN5.0%20min 5.9349.4844.6917.7248.0721.63 FC-PN0.5%30min 4.8353.1545.8216.8448.8220.18 FC-PN1.0%30min 5.1451.9445.5417.2648.7020.76 FC-PN2.0%30min 5.6550.3945.0817.7148.4321.45 FC-PN5.0%30min 6.2648.9945.1218.0948.6121.85 Dyeing with salt(20g/litre)Untreated sample15.7640.2349.6125.3355.7027.05 FC-PN0.5%10min14.4040.5247.7023.9753.3826.68 FC-PN1.0%10min14.3639.3844.9822.2050.1626.27 FC-PN2.0%10min14.4540.2047.2523.6952.8626.63 FC-PN5.0%10min13.7340.9347.7823.8953.4226.57 FC-PN0.5%20min14.0340.8747.9823.9153.6126.49 FC-PN1.0%20min14.1440.7948.3324.2154.0526.61 FC-PN2.0%20min14.1040.8148.2624.2954.0326.72 FC-PN5.0%20min14.0140.5047.5323.7553.1326.55 FC-PN0.5%30min14.7040.2547.4524.0353.1926.86 FC-PN1.0%30min14.2640.6248.0024.1553.7326.71 FC-PN2.0%30min14.3340.4647.8124.1353.5526.78 FC-PN5.0%30min14.0740.5947.6323.8153.2526.56 FC-PN0.5%10min(5g/litre salt)12.0043.1650.3220.4654.3222.13 FC-PN0.5%10min(10g/litre salt)14.1741.3450.3921.6754.8523.27 FC-PN5.0%30min(5g/litre salt)12.5041.9349.0620.0052.9822.18 FC-PN5.0%30min(10g/litre salt)13.5341.0649.0620.2553.0722.43S.M.Burkinshaw,A.Gotsopoulos/Dyes and Pigments42(1999)179±195183values and CIE L*,a*,b*,C*and h coordinates were calculated at the appropriate l max of each dye.Each fabric sample was folded twice to realisea total of four thicknesses of fabric.2.2.5.Determination of wash fastnessThe fastness of the dry,dyed samples to the ISO CO6/C2wash test was determined using the stan-dard method[15].3.Results and discussion3.1.Pretreatment with Matexil FC-PNTable1shows the colour strength values and colorimetric parameters of dyeings which had been pretreated with Matexil FC-PN and dyed using C.I.Direct Blue85,together with the correspond-ing values recorded for the untreated fabric.It isTable4Colorimetric data for dyeings pretreated using Matexil FC-PN(C.I.Direct Yellow106)Pretreatment conditions(%omf)K/S L*a*b*C*h Dyeing without saltUntreated sample 2.2582.4211.0955.9357.0278.78 FC-PN0.5%10min 3.2379.4711.5659.6360.7479.03 FC-PN1.0%10min 3.8480.2216.2965.0767.0875.95 FC-PN2.0%10minutes 4.3278.5918.2865.1867.6974.33 FC-PN5.0%10min 4.6578.0719.5565.7368.5873.44 FC-PN0.5%20min 3.1380.9514.8761.4363.2076.39 FC-PN1.0%20min 3.9080.1416.6365.3567.4375.72 FC-PN2.0%20min 4.3478.5718.3765.3367.8674.29 FC-PN5.0%20min 4.7977.7619.2866.0668.8273.73 FC-PN0.5%30min 3.3279.9216.5561.1463.3474.85 FC-PN1.0%30min 3.9679.9016.7365.2667.3775.62 FC-PN2.0%30min 4.4379.0618.5366.4769.0074.42 FC-PN5.0%30min 5.0877.8220.0567.3670.2873.42 Dyeing with salt(20g/litre)Untreated sample14.2669.3435.7479.1586.8565.70 FC-PN0.5%10min14.0467.8730.4476.1582.0168.21 FC-PN1.0%10min14.5469.5335.4579.7287.2566.03 FC-PN2.0%10min14.7469.0535.4979.1586.7465.85 FC-PN5.0%10min14.5469.6935.1579.9487.3366.26 FC-PN0.5%20min13.9169.4535.3978.7486.3365.80 FC-PN1.0%20min14.4169.8235.2680.0287.4466.22 FC-PN2.0%20min14.3969.8235.5180.0087.5366.06 FC-PN5.0%20min14.1869.7034.7879.4286.7066.35 FC-PN0.5%30min14.0969.1835.2778.4986.0565.80 FC-PN1.0%30min14.4469.4835.0279.4286.8066.21 FC-PN2.0%30min13.8870.2534.1479.8486.8366.85 FC-PN5.0%30min14.5969.3435.1079.4786.8866.17 FC-PN0.5%10min(5g/litre salt)10.9273.2129.2275.5080.9668.84 FC-PN0.5%10min(10g/litre salt)12.9571.6732.8176.5183.2566.79 FC-PN5.0%30min(5g/litre salt)11.6471.3629.5573.5379.2568.11 FC-PN5.0%30min(10g/litre salt)12.5571.6931.4474.8381.1767.21 184S.M.Burkinshaw,A.Gotsopoulos/Dyes and Pigments42(1999)179±195evident that the colour strength of the pretreated samples was enhanced when dyeing had been car-ried out in the absence of electrolyte and,also,it is apparent that the higher the concentration of the cationic agent used,the larger was this enhance-ment.However,the colour strength of pretreated samples which had been dyed in the presence of electrolyte was lower than that of the correspond-ing untreated sample;the pretreatment with5% omf Matexil FC-PN imparted the largest reduc-tion in colour strength.The observed reduction in K/S probably arose because the cationic agent formed a layer around the®bre which restrained dye adsorption.The results in Table1also implyTable5Colorimetric data for dyeings pretreated using Matexil FC-ER(C.I.Direct Blue85)Pretreatment conditions(%omf)K/S L*a*b*C*h Dyeing without saltUntreated sample 3.2849.13À4.92À21.3821.94257.04 FC-ER0.5%10min11.0528.30 4.73À20.2220.77283.17 FC-ER1.0%10min11.4427.70 4.82À19.2219.82284.08 FC-ER2.0%10min11.0028.22 4.42À19.0819.59283.04 FC-ER5.0%10min10.4129.23 3.85À19.3619.74281.25 FC-ER0.5%20min11.0328.47 4.71À20.6421.17282.85 FC-ER1.0%20min11.1028.08 4.51À19.0819.61283.30 FC-ER2.0%20min10.5628.96 3.97À19.3419.74281.60 FC-ER5.0%20min10.4929.24 3.61À19.5419.87280.47 FC-ER0.5%30min11.0628.32 4.81À20.4521.01283.24 FC-ER1.0%30min10.8828.27 4.48À18.9119.43283.33 FC-ER2.0%30min10.6028.79 4.01À19.1019.52281.86 FC-ER5.0%30min10.4629.16 3.77À19.2119.58281.10 Dyeing with salt(20g/litre)Untreated sample17.8823.410.26À18.0618.06270.82 FC-ER0.5%10min17.0221.32 4.92À13.8514.70289.56 FC-ER1.0%10min16.5421.84 4.96À14.5515.37288.82 FC-ER2.0%10min15.5922.77 4.86À15.4416.19287.47 FC-ER5.0%10min14.7023.83 4.78À16.6617.33286.01 FC-ER0.5%20min17.0521.24 5.03À13.6214.52290.27 FC-ER1.0%20min15.4522.75 5.09À15.1315.96288.59 FC-ER2.0%20min14.6123.73 4.74À16.7017.36285.85 FC-ER5.0%20min14.4423.99 4.69À16.4917.14285.88 FC-ER0.5%30min16.6421.59 4.91À14.0014.84289.33 FC-ER1.0%30min15.8522.43 5.20À14.9315.81289.20 FC-ER2.0%30min15.1223.32 4.96À16.1216.87287.10 FC-ER5.0%30min15.4123.16 4.98À16.2617.01287.03 FC-ER1.0%10min(5g/litre salt)15.6322.96 4.81À16.1816.88286.56 FC-ER1.0%10min(10g/litre salt)16.2722.20 4.91À15.2015.97287.90 FC-ER1.0%10min(15g/litre salt)16.3022.26 6.52À16.8718.09291.13S.M.Burkinshaw,A.Gotsopoulos/Dyes and Pigments42(1999)179±195185that the duration of the pretreatment had very lit-tle e ect on the results.It is evident that the pre-treated samples were of similar colour to that of the corresponding untreated dyeings.The K/S values and colorimetric parameters of the dyeings which had been pretreated with Matexil FC-PN and dyed using C.I.Direct Red 83,C.I.Direct Red89and C.I.Direct Yellow106Table6Colorimetric data for dyeings pretreated using Matexil FC-ER(C.I.Direct Red83)Pretreatment conditions(%omf)K/S L*a*b*C*h Dyeing without saltUntreated sample 4.8148.3037.50À8.4238.43347.35 FC-ER0.5%10min10.7335.5034.92À6.0835.45350.12 FC-ER1.0%10min10.4535.3333.60À7.1434.35348.00 FC-ER2.0%10min9.9835.5632.68À7.2233.47347.54 FC-ER5.0%10min9.7935.7332.39À7.5233.25346.93 FC-ER0.5%20min10.7535.2734.50À6.1435.04349.91 FC-ER1.0%20min10.5934.8633.02À6.8633.73348.26 FC-ER2.0%20min10.1035.1323.05À7.1824.14342.70 FC-ER5.0%20min10.7034.4532.09À7.4232.94346.98 FC-ER0.5%30min10.8535.1334.43À6.3335.01349.58 FC-ER1.0%30min10.6434.7532.90À6.9033.62348.16 FC-ER2.0%30min10.5134.7832.45À7.3033.26347.32 FC-ER5.0%30min10.6334.5232.18À7.2933.00347.24 Dyeing with salt(20g/litre)Untreated sample16.1130.5834.30À3.2334.45354.62 FC-ER0.5%10min16.7428.9931.77À1.4831.80357.33 FC-ER1.0%10min15.5329.9932.25À2.4032.34355.74 FC-ER2.0%10min14.7530.6632.52À2.9832.66354.76 FC-ER5.0%10min14.6830.6832.47À3.2632.63354.27 FC-ER0.5%2min16.2729.4532.16À1.7132.21356.96 FC-ER1.0%20min15.2130.3532.57À2.7432.69355.19 FC-ER2.0%20min14.6330.7432.43À3.2232.59354.33 FC-ER5.0%20min14.5330.7032.17À3.2732.34354.20 FC-ER0.5%30min16.8229.0632.00À1.5732.04357.19 FC-ER1.0%30min15.6429.8231.90À2.2031.98356.05 FC-ER2.0%30min14.4130.9132.48À3.1432.63354.48 FC-ER5.0%30min14.5330.6932.29À3.2532.45354.25 FC-ER0.5%10min(5g/litre salt)16.1829.8233.60À3.5533.79353.97 FC-ER0.5%10min(10g/litre salt)16.2029.9233.78À3.2133.93354.57 FC-ER0.5%20min(5g/litre salt)15.6330.2232.99À2.2533.07356.10 FC-ER0.5%20min(10g/litre salt)16.3829.6633.47À3.0633.61354.78 FC-ER0.5%30min(5g/litre salt)15.7930.0932.92À2.1032.99356.35 FC-ER0.5%30min(10g/litre salt)16.5329.5133.31À2.9033.44355.02 186S.M.Burkinshaw,A.Gotsopoulos/Dyes and Pigments42(1999)179±195are displayed in Tables2±4,respectively.The results obtained followed the same pattern as those obtained for C.I.Direct Blue85(Table1) and also show that pretreatment imparted no change in hue of dyeings obtained using C.I. Direct Red83,whereas the pretreated dyeings of C.I.Direct Red89were slightly yellower and those of the C.I.Direct Yellow106were slightly redder than the respective untreated dyeings.3.2.Pretreatment with Matexil FC-ERThe colour strength and colorimetric para-meters of dyeings which had been pretreated usingTable7Colorimetric data for dyeings pretreated using Matexil FC-ER(C.I.Direct Red89)Pretreatment conditions(%omf)K/S L*a*b*C*h Dyeing without saltUntreated sample 3.5456.9745.4914.4947.7417.67 FC-ER0.5%10min7.6047.4346.9920.5351.2823.60 FC-ER1.0%10min7.6047.1946.4020.4850.7223.82 FC-ER2.0%10min7.7546.4745.6719.8649.8023.50 FC-ER5.0%10min7.1347.1844.9119.3248.8923.28 FC-ER0.5%20min7.6847.2146.7120.8251.1424.02 FC-ER1.0%20min7.5346.8945.6720.0749.8923.72 FC-ER2.0%20min7.1647.2145.1019.4149.1023.29 FC-ER5.0%20min7.3247.0145.2019.5249.2323.36 FC-ER0.5%30min7.6047.4446.9720.8451.3923.93 FC-ER1.0%30min7.6046.6645.5519.7549.6523.44 FC-ER2.0%30min7.2547.1045.1519.4349.1523.28 FC-ER5.0%30min7.3147.0145.2919.4549.2923.24 Dyeing with salt(20g/litre)Untreated sample15.7640.2349.6125.3355.7027.05 FC-ER0.5%10min15.1740.2648.7625.8455.1827.92 FC-ER1.0%10min13.5941.1848.2224.3554.0226.79 FC-ER2.0%10min13.5341.1248.0024.2653.7826.81 FC-ER5.0%10min13.8540.9948.2424.3154.0226.75 FC-ER0.5%20min14.7040.7249.0925.6255.3727.56 FC-ER1.0%20min13.8640.8947.9724.4153.8226.97 FC-ER2.0%20min13.7341.1148.2824.4254.1026.83 FC-ER5.0%20min13.4841.0947.9824.1253.7026.69 FC-ER0.5%30min14.7640.4148.2525.5754.6127.92 FC-ER1.0%30min14.0140.7047.9624.5553.8827.11 FC-ER2.0%30min13.2641.2647.8724.1053.5926.72 FC-ER5.0%30min14.1340.7148.0724.7654.0727.25 FC-ER0.5%20min(5g/litre salt)13.6641.4548.9924.9854.9927.02 FC-ER0.5%20min(10g/litre salt)14.4840.4648.3522.9953.5425.43 FC-ER2.0%10min(5g/litre salt)12.6741.8948.2123.7653.7526.24 FC-ER2.0%10min(10g/litre salt)13.4941.1348.2522.3753.1824.87S.M.Burkinshaw,A.Gotsopoulos/Dyes and Pigments42(1999)179±195187Matexil FC-ER and dyed using C.I.Direct Blue 85,C.I.Direct Red83,C.I.Direct Red89and C.I. Direct Yellow106,are shown in Tables5±8, respectively.The results in Table5demonstrate that pretreat-ment enhanced considerably the colour strength of the dyeings secured in the absence of electrolyte. Pretreatment time was not an important factor and the optimum concentration for the application of Matexil FC-ER in terms of enhanced colour strength was between0.5and1%omf.However, when electrolyte was used in dyeing the K/S values of the pretreated samples were lower than that of the corresponding untreated sample;and,also,the highest concentration at which the cationic agent was used gave the lowest colour strength.TheTable8Colorimetric data for dyeings pretreated using Matexil FC-ER(C.I.Direct Yellow106)Pretreatment conditions(%omf)K/S L*a*b*C*h Dyeing without saltUntreated sample 2.2582.4211.0955.9357.0278.78 FC-ER0.5%10min 6.0075.4122.4368.0571.6571.76 FC-ER1.0%10min 5.9674.4923.4466.4270.4370.56 FC-ER2.0%10min 5.6874.2923.4064.9569.0470.19 FC-ER5.0%10min 5.6974.4523.1465.1969.1870.46 FC-ER0.5%20min 5.8074.9822.9166.5170.3570.99 FC-ER1.0%20min 5.8973.7923.5665.0469.1870.09 FC-ER2.0%20min 5.7674.6823.8565.9270.1070.11 FC-ER5.0%20min 5.6873.7122.5863.8867.7570.53 FC-ER0.5%30min 5.9273.7322.6464.9468.7770.78 FC-ER1.0%30min 6.0074.3724.2466.4570.7369.96 FC-ER2.0%30min 5.6274.9123.4365.6869.7370.37 FC-ER5.0%30min 6.0673.7622.9365.4369.3370.69 Dyeing with salt(20g/litre)Untreated sample14.2669.3435.7479.1586.8565.70 FC-ER0.5%10min16.2768.2134.3779.3886.5066.59 FC-ER1.0%10min15.8468.4334.1379.1986.2366.68 FC-ER2.0%10min14.5468.6933.5977.9884.9166.70 FC-ER5.0%10min14.3868.6833.5077.7684.6766.69 FC-ER0.5%20min15.2968.2933.4478.2985.1366.87 FC-ER1.0%20min14.5868.1332.1677.0583.4967.34 FC-ER2.0%20min14.7369.1333.8878.8885.8566.76 FC-ER5.0%20min15.1767.9832.2077.5583.9767.45 FC-ER0.5%30min16.4266.6032.5476.8683.4667.05 FC-ER1.0%30min15.2668.4733.8678.5685.5566.68 FC-ER2.0%30min14.7369.1033.9878.8185.8266.68 FC-ER5.0%30min15.5868.2333.7378.4685.4066.74 FC-ER0.5%10min(5g/litre salt)12.8270.8733.2378.7685.4867.12 FC-ER0.5%10min(10g/litre salt)14.4069.7835.4677.2685.0165.35 FC-ER5.0%30min(5g/litre salt)13.0168.0934.6974.4082.0965.00 FC-ER5.0%30min(10g/litre salt)14.7868.1432.7974.9381.7966.37 188S.M.Burkinshaw,A.Gotsopoulos/Dyes and Pigments42(1999)179±195Table9Colorimetric data for dyeings pretreated using Sol®x E(C.I.Direct Blue85)Pretreatment conditions(%omf)K/S L*a*b*C*h Dyeing without saltUntreated sample 3.2849.13À4.92À21.3821.94257.04 SOLFIX E0.5% 6.0739.47À1.28À23.2923.33266.85 SOLFIX E1.0%7.3936.06À0.23À22.4822.48269.41 SOLFIX E2.0%9.9831.02 1.69À21.5921.66274.48 SOLFIX E5.0%11.8927.97 3.30À20.5020.76279.14 Dyeing with salt(20g/litre)Untreated sample17.8823.410.26À18.0618.06270.82 SOLFIX E0.5%16.8523.48 3.79À20.0220.38280.72 SOLFIX E1.0%16.3023.89 3.70À20.0420.38280.46 SOLFIX E2.0%16.8223.18 4.33À19.5520.02282.49 SOLFIX E5.0%16.5623.22 4.63À19.2319.78283.54 SOLFIX E0.5%(5g/litre salt)14.1126.68 2.42À21.9022.03276.31 SOLFIX E0.5%(10g/litre salt)15.3625.09 3.14À21.0421.27278.49 SOLFIX E5.0%(5g/litre salt)15.0225.62 2.84À21.4521.64277.54 SOLFIX E5.0%(10g/litre salt)15.7324.46 3.60À20.3020.62280.06Table10Colorimetric data for dyeings pretreated using Sol®x E(C.I.Direct Red83)Pretreatment conditions(%omf)K/S L*a*b*C*h Dyeing without saltUntreated sample 4.8148.3037.50À8.4238.43347.35 SOLFIX E0.5%7.5341.9538.77À9.2339.85346.61 SOLFIX E1.0%8.5039.8137.92À9.1639.01346.42 SOLFIX E2.0%9.3338.0636.89À9.2038.02346.00 SOLFIX E5.0%10.5235.9835.82À8.8836.90346.08 Dyeing with salt(20g/litre)Untreated sample16.1130.5834.30À3.2334.45354.62 SOLFIX E0.5%15.6731.1135.99À6.0536.49350.46 SOLFIX E1.0%15.6731.2336.17À6.3336.72350.07 SOLFIX E2.0%15.1231.4235.84À6.5536.43349.64 SOLFIX E5.0%14.4831.9935.84À6.8236.48349.23 SOLFIX E0.5%(5g/litre salt)14.3532.1235.84À7.4036.60348.33 SOLFIX E0.5%(10g/litre salt)14.9931.6636.01À7.1736.72348.74 SOLFIX E5.0%(5g/litre salt)14.1432.4136.20À7.2636.92348.66 SOLFIX E5.0%(10g/litre salt)14.0832.2335.68À7.4136.44348.27Table11Colorimetric data for dyeings pretreated using Sol®x E(C.I.Direct Red89)Pretreatment conditions(%omf)K/S L*a*b*C*h Dyeing without saltUntreated sample 3.5456.9745.4914.4947.7417.67 SOLFIX E0.5% 6.4150.2548.0317.8151.2320.35 SOLFIX E1.0%7.2548.5648.1017.9651.3420.48 SOLFIX E2.0%9.4344.9747.0919.6751.0322.67 SOLFIX E5.0%10.5043.3446.1819.7950.2423.20 Dyeing with salt(20g/litre)Untreated sample15.7640.2349.6125.3355.7027.05 SOLFIX E0.5%14.9040.7149.7621.9454.3823.79 SOLFIX E1.0% 4.8940.5149.3821.6853.9323.70 SOLFIX E2.0%14.7440.2648.4721.7253.1124.14 SOLFIX E5.0%11.9342.2547.0420.4751.3023.52 SOLFIX E0.5%(5g/litre salt)12.9342.5450.1821.5854.6223.27 SOLFIX E0.5%(10g/litre salt)14.2441.2549.9421.8954.5323.67 SOLFIX E5.0%(5g/litre salt)13.7141.9850.4122.3355.1323.89 SOLFIX E5.0%(10g/litre salt)13.6240.6647.6020.2051.7122.99Table12Colorimetric data for dyeings pretreated using Sol®x E(C.I.Direct Yellow106)Pretreatment conditions(%omf)K/S L*a*b*C*h o Dyeing without saltUntreated sample 2.2582.4211.0955.9357.0278.78 SOLFIX E0.5% 4.6879.0218.2964.9867.5074.28 SOLFIX E1.0% 5.8277.4021.2667.0270.3172.40 SOLFIX E2.0%7.2475.3124.4567.9172.1870.20 SOLFIX E5.0%8.8273.6927.1469.0574.1968.54 Dyeing with salt(20g/litre)Untreated sample14.2669.3435.7479.1586.8565.70 SOLFIX E0.5%14.7970.0535.0676.3684.0265.34 SOLFIX E1.0%15.8669.6635.3876.6784.4465.23 SOLFIX E2.0%16.5469.0535.8276.0984.1064.79 SOLFIX E5.0%16.3469.3435.5576.1083.9964.96 SOLFIX E0.5%(5g/litre salt)12.6572.6231.3576.9083.0467.82 SOLFIX E0.5%(10g/litre salt)13.9271.3232.9276.9983.7366.85 SOLFIX E5.0%(5g/litre salt)15.3769.6533.2679.5686.2367.31 SOLFIX E5.0%(10g/litre salt)15.9869.8234.3480.6987.6966.95pretreated samples were much redder than the corresponding untreated samples.Table6clearly demonstrates the e ectiveness of pretreatment using Matexil FC-ER as far as dyeing using C.I.Direct Red83without electrolyte is concerned.However,in this case the colour strength of the untreated dyeing carried out in the presence of electrolyte could be achieved with only 5g/l NaCl following pretreatment with0.5% Matexil FC-ER.Moreover,the pretreated samples did not show any change in hue.Table7shows that pretreatment enhanced the colour strength of the dyeings that had been carried out without electrolyte using C.I.Direct Red89and that the dyed samples were slightly yellower than the corresponding untreated ones.Furthermore,it is evident that pretreatment was not e ective in the case of dyeing in the presence of electrolyte.Table8reveals the e ectiveness of Matexil FC-ER pretreatment in the case of C.I.Direct Yellow 106;colour strength was increased when dyeing was carried out in the absence of electrolyte and the pretreated samples appeared slightly redder than the corresponding untreated sample.When dyeing was carried out in the presence of NaCl the colour strength of the untreated sample could be achieved using only half the amount of electrolyte normally used.3.3.Pretreatment with Sol®x EThe results displayed in Tables9±12show the colorimetric data obtained for dyeings which had been carried out both with and without pretreat-ment with Sol®x E using each of the four direct dyes.The pretreated samples exhibited enhancedTable13Wash fastness results(ISO CO6/C2)for C.I.Direct Blue85Pretreatment conditions(%omf)Without aftertreatment Without aftertreatmentK/S Ch a C b V c Ch C V Matexil FC-PNUntreated(with salt)17.882±311±2322 FC-PN5%10min 5.072±31±223±422±3 FC-PN5%20min 5.322±322±33±42±33 FC-PN5%30min 5.212±31±22±33±422±3 Matexil FC-ERUntreated(with salt)17.882±311±23±423±4 FC-ER0.5%10min11.052±31±22±332±33±4 FC-ER0.5%20min11.032±31±22±332±33±4 FC-ER0.5%30min11.062±31±22±32±32±33±4 Sol®x EUntreated(with salt)17.882±311±244±55 SOLFIX E0.5% 6.0721±224±555 SOLFIX E1.0%7.392±311±24±555 SOLFIX E2.0%9.98311±2555 SOLFIX E5.0%11.893±411±2555a Ch,change in shade of original sample.b C,staining of cotton adjacent.c V,staining of viscose adjacent.。

服装设计外文翻译文献

服装设计外文翻译文献

服装设计外文翻译文献(文档含中英文对照即英文原文和中文翻译)原文:Trend predictionTrend prediction information is much broader than ‘fashion prediction’ in that it may not be specifically related to fashion. Trends are recorded and trend predictors (looking for patterns of human behaviour, indicating changing markets or new consumer needs) constantly monitor the media and society.Many industries use trend prediction to forecast relevant changes and plan product development, for example the interest in all things spiritual was forecast by Faith Popcorn, initially in the ‘Popcorn Report’ and was developed and continued in ‘Clicking’.Spirituality is seen in the interest of such things as ‘Feng Shui’which is a popular approach to interior design. Bookstores now have shelves dedicated to spirituality, as individuals look inwards to discover themselves in a fast-moving world.The fashion prediction consultancy relies on experts in a variety of fields for its structure. They have personnel all over the world to help in gathering intelligence.The full-time staffing of a consultancy generally consists of the editor who creates the company philosophy. The publisher, on the technical side, puts the information together. The retailing and merchandising professionals and fashion directors work on consultancy for individual clients, by applying the general fashion trends more specifically to their needs. They must be skilled in, and aware of, a variety of markets. This could, for example, involve developing exclusive collection strategies, concepts and designs for spinners, weavers, textile printers, men’s, women’s and children’s garments, shoe and accessory manufacturers and for retailer’s private labels. They may also be expected to sell subscriptions to the publications to new clients.The objective is to work closely with the client to determine their concerns, goals and potential customers with a view to tailor-making a design solution.The success of prediction companies relies on pinpointing trends and developing these for individual markets at the right time! Trends may be affected by social, cultural, political and economic moods, as well as evolutions in lifestyle, technological developments, media and retailing. This information is tapped and recorded by international correspondents who provide up-to-date intelligence fromfashion capitals, such as London, Paris, Milan, New York, Florence and Tokyo.The design team determines how this intelligence affects fashion and consumer awareness.Designers/Illustrators are employed with design skills in menswear, womenswear and childrenswear, and illustration skills in interpreting and developing silhouette themes, knit and woven samples, print stories and accessories. They visualise new ideas developed from the trend information and consider carefully figure proportions and stylization so that any personnel, using the service, can understand what is suggested by the visual.International agents promote and sell the service to clients worldwide, for example in Los Angeles, Tokyo, London and Paris.ColourColour is the first consideration of season and is produced for autumn/winter and spring/summer ranges.The colour is put into dye 18 months ahead of the specified season (some clients may require this information up to 2 years earlier, but this may not be shown in the final presentation box).Fibre and fabric manufacturers require advanced information regarding colour as they have to develop their product early enough for designers and garment manufacturers to buy it and in turn develop their product. Presentation packs are usually presented with a fixed range of colour and a removable range so that clients can develop their own colour combinations. Colour packages are included in the subscription price and may be sold separately to clients who only require colour information and not the rest of the service.The follows the setting of the mood for a new season by developing fabric and silhouette themes. Prediction consultancies produce a variety of materials and publications for their clients.Directional themes and full-figure silhouette illustrations of menswear, womenswear and childrenswear together with accessories are shown. Included in the publication may be exclusive handlooms for wovens, knits and prints produced by freelance and in-house designers.Commercial fabrics may be published at this time, derived from fabric fairs such as, Premiere Vision, Interstoff and Prato. These are created from hand cut and stuck swatches of directional fabrics relating to the season’s previously predicted themes.The fashion prediction design processOne publication is worked in at a time (there may be 12-one a month, or more, depending upon the size of the consultancy and its breadth of expertise).A company that develops its own thematic material will hold a succession of meetings with the core team resulting in decisions being made regarding the amount and content of the themes for a particular season, including evocative names. This is achieved by discussion. Each individual states what they fell will be a strong trend in the coming season. Where one idea is repeated by several members it is incorporated into the plan for the book. Where similar ideas are mentioned they are amalgamated to form a strong and identifiable trend.A colour palette is decided upon. The colours are divided into groups corresponding with the themes. Some colours unavoidably overlap, but as main and accent colours alter the overall impression, each theme is sufficiently different.The designers then start designing. The walls are covered with tear sheets from magazines, separated into appropriate themes as inspiration. Photographs from the trade fairs are used for guidance on design details.Fabrics are then discussed in conjunction with the designers designing the garments. It is important to consider the balance of outerwear and separates fabrics. When decided, lengths of fabric and any interesting accessories are ordered to provide swatches for the books.After the designs are completed they are illustrated with reference to particular markets and ‘lifestyle s’ and to capture the ‘essence of the themes’. Technical drawings are also produced, either by the design team or by freelance illustrators.Samples of knitwear and new textiles may be commissioned which will be photographed for the books.Mood boards, containing visuals, fabric and trim, depicting the themes, are completed. The mood boards are sent away to be photographed and return as transparencies.During the process of compilation, agents worldwide will have seen securing old and new clients, to whom the books will be sent on completion. a master copy of the book is compiled and sent to the printers to have a sample copy printed and bound. The copy is checked for any mistakes before the book goes into production.Travel is an important aspect of fashion research and visiting trade fairs allows reports to be compiled which observe not only trends apparent from the exhibitors’displays, but also from the people (who are mainly from the fashion industry) as they walk around the shows. This exercise helps to understand the differences in international fashion, which is important when catering for foreign clients.Theme developmentFashion prediction for a new season is usually promoted as a series of ‘themes’. These are designed to inspire and direct the designer for a number of markets. Themes, often, are given names to evoke feelings and moods and reflect the content of the theme. Each theme may appeal to one or more markets and requires interpretation from the designer to develop for their particular market. Often the prediction company offers some consultation to the designer which is helpful in this development.Markets are usually defined by cost of the merchandise. Nowadays the markets referred to have vague names such as boutique, fashion aware, better end, pm dressing. This is more reflective of changes in ‘lifestyle’.These can be interpreted into customers buying from:Lower market –budget; lower middle –high street, chain stores; middle –independent labels and department stores; upper middle – designer diffusion; upper –designer.Fashion prediction themes have often been very literal in their nature: nautical would show striped sweaters and sailor hats; utility always involve dungarees of some description and multiple pockets. A chic, tailored look may well involve a French beret.It is important that visual codes are identifiable and mean similar things to different people. The illustration must work hard to convey a mood, an attitude, in the pose, that convinces the viewer about the sort of person that is being targeted.Similarly, a total look is always helpful because accessories can contribute to not only the communication of the theme, but may also convey the type of person who would wear the ‘look’.It is important that the proportion is believable and that the information is clear. Themes nowadays are less literal and are more about mixing ideas together to create something fresher. ‘Lifestyle’ has become important, consequently themes may not be put into an evocative setting which helps to create the correct mood. Less clothing detail is on view but the message allows the designer to make their own interpretations.New uses of technology have resulted in the development of the Worth GlobalStyle Network (WGSN) who produce a comprehensive on-line service to fashion industry. Members pay an annual subscription to view the full site; students may visit an educational version free of charge (for a limited period). The services available are: news updates daily; women’s, men’s, youth and children’s trends; city reports from London, Paris, Milan, New York and Tokyo plus seasonal reports from new and trendsetting areas; international trade fair calendar; lifestyle reports - consumer attitudes, evolving buying patterns, seasonal phasing; catwalk shows and trade event reports; graphics libraries; resource listings; licensing reports – brands, films, sports events; mailbox problems and solutions; technical and production news – garment and fabric technology, dyeing and finishing, print techniques, footwear and leathergoods technology.译文:流行趋势预测流行趋势预测信息所包含的内容要比时装预测丰富得多,原因是其不一定与时装有关。

服装设计褶皱外文文献翻译最新译文

服装设计褶皱外文文献翻译最新译文

服装设计褶皱外文文献翻译最新译文The objective of this study is to develop a quantitative method for evaluating the pleat effect on clothing。

as opposed to relying solely on subjective ns。

By analyzing image technology principles。

an image n system was designed to capture images of clothing。

These images were then processed using specialized are to analyze the drape of the clothing。

The study focused specifically on the pleats in the sleeve n of the garment。

analyzing the gray scale curve of the sleeve image and the corresponding nship een the gamma curve and the pleat。

The aim of this research is to provide a more objective n index for garment structural design and pleating effects.Clothing structure design involves a series of processes thatare used to render clothing through cutting。

fabric pleating。

and joining together。

The goal is to accurately capture the desired design effect by determining the structure's plane state through the use of design renderings。

3000字服装设计外文文献

3000字服装设计外文文献

3000字服装设计外文文献篇一:服装设计外文文献翻译文献出处:Sukumar N, Gnanavel P, Ananthakrishnan T. Effect of Seams on Drape of Fabrics [J]. African Research Review, 20xx, 3(3):62-72.原文Effect of Seams on Drape of FabricsSukumar ;Gnanavel. P. , Ananthakrishnan, T.AbstractDrape 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 analyze 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.Key words: drape, computer aided design, seam, stitch densityIntroductionDrape is an important property that decides the gracefulness of any garment as it is relates to aesthetics of garments (Kaushal Raj sharma and B.K. Behera. 20xx). The mechanical properties of fabrics were firststudied during the late 19th century by German researchers working on developing airships (Postle, 1998). Drape ability has been regarded as a quantitative characteristic of cloth, and several devices as well as virtual systems have been developed to measure it (Booth, 1968; Jeong, 1998; Stylios and Wan, 1999). Instruments for measuring drape ability have been developed by Chu et al.(1950) and later by Cusick (1965, 1968) using a parallel light source that reflects the drape shadow of a circular specimen from hanging disc into a piece of ring paper at present numerous instruments, ranging from a simple cantilever bending tester to a dynamic drape tester developed for measuring fabric drape. During recent years, the investigation of fabric drape has attracted the attention of many researchers because of the attempts to realize the clothing Computer aided design (CAD) system by introducing the fabric properties, in which fabric drape is the key element. It is obvious that fabrics have to be sewn together for a garment to be formed. The seams of a garment affect the fabric drape greatly (Matsudaira, M. and Yang, M. 2000). It is uealistic to realize the appearance of a garment system without the consideration of seams and the methods of assembling of fabrics into garments (Jinlian Hu et al, 1997).When a fabric is draped; it can bend in one or more directions. Curtains and drapes usually bend in one direction, whereas garments and upholstery exhibit acomplex three-dimensional form with double curvature. Hence, fabric drape is a complex mathematical problem involving large deformations under low stresses (Postle, 1993).A plain seam the most typical seam found extensively in apparel is the simplest type in which a single row of lock stitches joins two pieces of fabrics together. Thus, investigating the effect of a plain seam on fabric drape has a significant value for both the textile and clothingindustries. The quantified drapeability of a fabric into a dimensionless value called a “Drape coefficient”, which is defined as the percent of the area from an angular ring of fabric covered by a vertical projection of the draped fabric (Brand R.H.1964). “Drape co efficient (DC)” the main parameter used to quantify fabric drape (Narahari Kenkare and Traci May-Plumlee. 20xx). Though useful, it is insufficient to characterize complex forms such as garments. Stylios and Zhu, 1997 considered that the drape coefficient by itself did not capture the full aesthetic quality of the drape of a fabric.Drape profile of fabrics with seams provide guidance for garment designs and producers in the apparel industry and improve the understanding of drape properties corresponding to different seam features (Fourt.L and Hollies.N.R.S.1970). Furthermore, we expect that the results will be useful in predicting garment drape with clothing CAD systems.Different types of seams are used in garment making and also wide stitch densities are employed. Once the fabric is joined with seams possibly its drape configuration would vary.The product range of textile industry has extended to the garments. Mass production of operational systems and automated sewing is making more and more presence, it is very essential to understand to the change in properties the fabric under goes once it is seamed. This study is an attempt to understand the effects of seams on the drape of fabrics, which is one of key characteristics for apparels and certain draperies.Types of SeamThe types of seams were selected and in each type, three stitch densities were employed. Fabrics were sewn along the warp and weft direction on a 35cm square side. Control sample for the test is a piece with no seams. This resulted in 9 treatment combinations.(1) Plain Seam (S1)This is the most common seam used in the garment industry. This is easy to make and pliable. It is normally suitable for all types of garments. And, it is suitable for curved locations like armhole. To make this seam we have to place two pieces of fabrics to be joined together right sides facing, matching the seam lines, and we should stitch the seam exactly on the seam line.(2) Welt Seam (S2)For constructing this, we should stitch the plan seam and press both seam allowances to one side. Then the inside seam allowance is trimmed to ”. Then top stitching is done on the right side of the garment by catching the wider seam allowance. This type is normally used on heavy coats.(3) French seam (S3)The French seam is stitched twice once from the right side and once from the wrong side. It is the classic seam for sheers and looks best if the finished widt h is” or less. To form this seam, with wrong sides of the fabric together, we should stitch 3/8” from the edge on the right side of the fabric. The seam allowance in trimmed to 1/8” and the seam is pressed well. Then the right sides are folded together with stitched line exactly on the edge of the fold and pressed again. Then the stitches are made” from the fold.ConclusionA study on effect of seams on the drape coefficient Drape profile is been made. Three types of seams namely three stitch densities 5, 4 and 3 per centimeter has been employed. Ten fabric verities containing different fibres weaves are analyzed. Drape coefficients significantly differs between the fabrics also between the seam stitch density combination.The Drape Coefficient alone may not give a clean idea of real drape. For this purpose the drape profiles were generated with the help of radii measures. The drape profile has clearly indicating shapes that takes place with the seams put on. Seamed fabrics have generally shown more stabilized pattern compared to control samples.Sateen weave followed by BHC MAT weave has shown highly symmetrical patterns. The seam has markedly improved drape profile of honeycomb fabric. Polyester, Polyester/Viscous fabrics have registered better drape profiles than Polyester/Cotton fabrics. Both the cotton gray casement has shown agreeable drape篇二: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 Clothin g Science and Technology 18.4 (20xx): 278-293.原文The creative role of sources of inspiration in clothing designFatma MeteAbstract: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 whereconventional 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, DesignmanagementIntroductionSources 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 manycharacteristics 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 designIt 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 areessentially 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 andthen interpreted behaviourally. A fashion show, for example, include both sensory and behavioural designs.Research methodology and findingsThe 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 empiricalresearch. As subjects, 16 talented clothing designers, 11university-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 designWhere 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, visitingmuseums, 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.ConclusionsAnything 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 learnmost 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篇三:课题_服装设计外文翻译服装设计外文翻译CoutureSewingUnitedStates Technique Claire B.Shaeffer Printed originallypublished TauntonPress,Inc. Chapter4.Edge Finishes Hems,Facings BindingsUnless finished someway, garmentravel lookincomplete. edges—theneckline; verticalfrontcanbecome edges jackets,coats manyblouses; jackets distinctive, decorative elements design.Threefinishes usedextensively couture:hems,facings edgefinish depends manythings—the shape edgebeing finished; its position type,design garment;current fashion trends; individualwearer bottomedge asymmetrical,curved, scalloped otherwiseunusually shaped, facing.Even when twodifferent edges requireslightly different finishes tailoredgarment would require very different finishing from eveninggown, even similar designs vorked dissimilarfabrics would dictate finishes suitable eachfabric. Although hems, facings alledge finishes, each has slightlydifferent function. Hems generallyused loweredges garmentsection manyhelp garmenthangattractively addingweight edge.Facings, otherhand, verticaledges garments.Bindings can upper,lower verticaledges, they’reused most often replacefacings rather than hems. Facings can separatesections finishcurvedshapededges. whenused onlyslightly curved, nothingmore than widehem allowance, whichcase they’re called extended facings. Both hems onlyone side—usually garment.Bindings, separatestrips garmentedgeBecause finishboth materialstakes sides backseat garmentattractively.desiredresults, edges alwaysfinished simplestmethod onemost often used ready-to-wearconstruction homesewing. Whatever finishingmethod, hems, facings bindingscan sewnentirely machinework.. handwork visible finishedproduct, however, handwork used traditionalcouture garment. FACINGS Facings, like hems, garment.Unlike hems, which hang free garment’shang more than its overall shape, faced edges frequently fit body’scurves subtlyaffect garment’ssilhouette. Used garmentopenings, curved edges shapededges like jacket lapels, facings contribute significantly overallimpression well-constructedgarment. threetypes facings:extended, shaped bias.Two biasfacings—are cut separately from sewnfrom self-fabric lightweightlining fabrics. extendedfacing garmentsection like plainhem course,self-fabric. extendedfacing nothingmore than 2-in.hem sewnexactly like plainhem (see pp. 63-64). When garmentedge length-wisegrain, extendedfacing duplicates slightcurve,facingcan’t duplicate mayhave eased,stretched edgesmoothly. extendedfacing usedextensively couturebecause foldededge moresupple than seamededgesbetter.stabilizedso Edges biasfacings extendedfacings itsnameoftenusedalwaysused consequentlydrapes generallyinterfaced suggests, originalshape shapedfacing ususllyduplicates look, edgesintended crisp,constructedintricatelyshaped edges like scallopedhem. biasfacing stripcut truebias. Because doesn’tduplicate facingmust itself edge.Bias facings madefrom lightweight fabrics producenarrow, inconspicuous facings. cousture,more than one type oftenused singlegarment singleedge. pinkgazar dress shown above, example,has extended facings frontneckline backopening backopening shapedfacings frontnecklineshapedfacings backneckline. Similarly, p.60has shapedfacing upperhalf frontedge extendedfacing lowerhalf edge.Before applying any kind facing,examine garment’sfit determinewhether edgeneeds staytape (see pp. 49-50) interfaced(see 68).Once you’ve handled youcan proceed facingyou’ve chosen. SHAPED FACINGS Shaped facings can machine.Both types couture,while only machine applications machineapplication course,faster, sometimesmore difficultfacingso fitssmoothly, sometimesvisible garmentedge. instructionsbelow applyingshaped facings machine,refer yourfavorite sewing manual.) directionsfocus necklinefacings because they’re most frequently used coutureworkrooms. However, directionscan otheredges waistbands,armholes, applied pockets, collars garmentlinings. facingcan madeany time after neckedge stabilizedappropriately design.Facings can cutfrom originalgarment pattern edgewasn’t changed during fittingprocess, garmentitself can serve pattern.When thread-tracedneckline can correspondingstitching line finishedneckline can also guidewhen you’re applying hand.Neck facings can severalshapes. Two mostpopular traditionalcirclular shape, which measures evendistance all around from rectangularshape, which extends armscyeseams. When largershape facingedges can seamlines,holding them smooth facingshadow may alsolessobtrusive largershape, depending obviousdisadvantage additionalfabric introduced shoulderarea, which may give bulkyappearance. One solution reducingsome seamlines1/2 originalpositions. alwaysaligned correspondinggarment seamlines, homesewing. lessfamiliar rectangular facing. caneasily circularfacing, Start selectingsome scraps from your garment fabric backfacingsunless whichcase use lighter,firmly woven material facings.Rectangular pieces preferablebecause you’recutting rectangularfacing high,round neckline back,begin onelarge rectangle about 16 frontfacing twosmaller ones about backfacings. When applying garmentedge before making facingso youcan use finished,do so before starting freeedge lieflat. Trim seamallowance around garmentneck wrongside. Baste generous1/5 seamallowance’s tendency curlaround neck,snip shallow cuts rawedge every inch necklineseam allowance lie flat(as shown wrongside up, place necklineover pressingcushion pressjust necklineedge. yourfingers, gently try rawedge. necessary,trim edgefurther firmlywoven fabrics lessstabble fabrics. seamallowance still doesn’t lie flat, clip rawedge short,closely spaced snips up bastingstitches around neckedge. Use loosecatchstitch seamallowance garmenthas neither, sew carefully so stitchesdo rightside garment.Cut eachsection faced.Before proceeding, decide whether relacating shoulderseams bulk.After relacating youdecide doso, begin wrongsides together, grainlinestogether centerfront itsfacing. garmentneckline curved, whenworn, smooth place,pinning yougo. When you get shoulderseams, smooth frontfacing over seamsso seamallowances flat.Pin。

服装设计创意外文翻译文献

服装设计创意外文翻译文献

服装设计创意外文翻译文献(文档含中英文对照即英文原文和中文翻译)译文:服装设计中的创意性灵感摘要研究目的: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。

对印花元素在服装设计中的应用研究

对印花元素在服装设计中的应用研究

对印花元素在服装设计中的应用研究在服装设计中,印花元素一直扮演着重要的角色。

印花是一种传统的装饰技术,通过在面料表面印上各种花纹、图案或图案,来增加服装的艺术美感和独特性。

近年来,印花元素在服装设计中的应用越发广泛,成为了设计师们创作灵感的重要来源之一。

本文将对印花元素在服装设计中的应用进行研究,探讨其与服装设计之间的关系,分析其发展趋势,探讨其未来的发展方向。

一、印花元素在服装设计中的历史与发展印花技术最早可以追溯到中国唐代,当时的刺绣技术已经非常发达,而将图案用印花技术印在布料上的方法也开始出现。

随后,这一技术逐渐传入印度,并得到了进一步的发展。

印度的木版印花和苏丹灯,以及中国的裹头、披巾等服饰中,都可以看到印花元素的应用,这些传统的印花工艺在20世纪中叶被引入到了西方国家。

20世纪60年代,印花元素开始在时尚界中崭露头角,成为了时尚设计师们的创作灵感之一。

比如当时的英国设计师玛丽·昆特,她在设计中大胆地运用了各种印花元素,成为了当时的时尚风向标。

随着时代的发展,印花元素在服装设计中的应用也越发广泛,不仅在休闲装、运动装中得到了应用,甚至在高级定制服装中也能看到印花的身影。

印花元素也不断与新的材料、技术相结合,呈现出更加多样化和多元化的发展趋势。

在服装设计中,印花元素的应用形式多种多样,可以根据不同的设计风格和需求进行灵活运用。

一般来说,印花元素在服装设计中主要表现为以下几种形式:1. 整体印花:整件服装的面料上印满了花纹、图案或图案,给人一种整体统一的印象。

这种形式的印花元素常常被运用在休闲装、运动装等舒适性较强的服装上。

2. 局部印花:将印花元素只局限在服装的某些部位,比如领口、袖口、裙摆等,与其他面料形成鲜明的对比,增加服装的层次感和设计感。

3. 组合印花:将不同的印花元素进行组合搭配,形成新的图案或图案,以此来丰富服装的设计元素,增加服装的视觉冲击力和趣味性。

4. 数字印花:随着数字技术的发展,数字印花逐渐成为了一种新的印花元素应用形式。

英语作文-传统织物:探索各国独特的纺织艺术

英语作文-传统织物:探索各国独特的纺织艺术

英语作文-传统织物:探索各国独特的纺织艺术The art of traditional textile weaving is a rich tapestry of cultural heritage, craftsmanship, and innovation that spans across the globe. From the intricate patterns of Indian saris to the vibrant textiles of West Africa, each region has its unique style and techniques that reflect its history, traditions, and creativity. Let's embark on a journey to explore the fascinating world of traditional textiles, discovering the remarkable diversity and beauty that exists within.In India, the tradition of textile weaving dates back thousands of years, with techniques passed down through generations. One of the most iconic Indian textiles is the sari, a long piece of cloth draped elegantly around the body. Each region of India has its distinct weaving style and motifs, from the colorful ikat weaves of Gujarat to the intricate kantha embroidery of West Bengal. The use of vibrant colors, luxurious fabrics like silk and cotton, and elaborate designs make Indian textiles truly captivating.Moving to Southeast Asia, we encounter the exquisite art of Batik from Indonesia. Batik is a wax-resist dyeing technique used to create intricate patterns on fabric. Artisans use a tool called a "canting" to draw intricate designs with hot wax onto the fabric, which is then dyed in vibrant colors. The wax is later removed, revealing the beautiful pattern underneath. Batik textiles are not only visually stunning but also hold deep cultural significance in Indonesian society, often worn during special occasions and ceremonies.In Japan, the ancient art of kimono making has been elevated to a form of high art. Kimonos are traditional Japanese garments known for their timeless elegance and exquisite craftsmanship. The process of making a kimono involves careful dyeing, weaving, and embroidery, with each garment representing a harmonious blend of tradition and modernity. From the elaborate silk kimonos worn by royalty to the simple cotton yukatas worn during summer festivals, Japanese textiles are a testament to the country's rich cultural heritage.Traveling to the African continent, we encounter a kaleidoscope of colors and patterns in traditional textiles. In West Africa, fabrics like kente and adire are prized for their bold designs and cultural significance. Kente cloth, originating from Ghana, is handwoven in vibrant colors and intricate patterns, often worn during important ceremonies and celebrations. Adire, a traditional Nigerian fabric, is created using a resist-dyeing technique similar to Batik, resulting in stunning indigo-dyed patterns.In South America, the Andean region boasts a rich tradition of textile weaving that dates back thousands of years. Peruvian textiles, in particular, are renowned for their intricate designs and vibrant colors. Ancient techniques such as backstrap weaving are still practiced today, producing textiles of unparalleled beauty and craftsmanship. The intricate patterns often depict symbols of Andean cosmology and mythology, connecting the weaver to their cultural heritage and ancestral traditions.From the intricately woven saris of India to the vibrant kente cloths of West Africa, traditional textiles offer a glimpse into the rich tapestry of human creativity and cultural expression. Across continents and centuries, artisans have used textile weaving as a means of storytelling, preserving traditions, and celebrating identity. As we continue to appreciate and celebrate these diverse textile traditions, let us also recognize the skill, passion, and ingenuity of the artisans who keep these ancient crafts alive.。

纺织服装出口外文文献

纺织服装出口外文文献

纺织服装出口外文文献Textile and Apparel Export: An AnalysisIntroduction:The textile and apparel industry has always played a significant role in the global economy. The export of textile and apparel products has been a major contributor to the economic growth of many countries. This paper aims to explore the trends, challenges, and opportunities associated with textile and apparel exports.Trends in Textile and Apparel Exports:Over the years, textile and apparel exports have witnessed significant growth. Developing countries, particularly those in Asia, have emerged as key exporters in this sector. China, India, and Bangladesh have become major players in the global textile and apparel trade. These countries benefit from low labor costs, large-scale manufacturing capabilities, and an extensive supply chain network.Challenges Faced by the Textile and Apparel Industry: The textile and apparel industry faces several challenges that impact its export potential. One of the major challenges is the competition from low-costmanufacturing countries. As more countries enter the market, the competition intensifies, leading to price wars and reduced profit margins. Additionally, fluctuations in raw material prices and exchange rates pose challenges for exporters.Environmental and Sustainability Concerns:With the increasing focus on sustainability and environmental conservation, the textile and apparelindustry is facing pressure to adopt sustainable practices. Consumers are becoming more aware of the environmental impact of their clothing choices and are demanding eco-friendly products. Exporters need to invest in sustainable production methods, such as using organic and recycled materials, reducing water and energy consumption, and ensuring ethical labor practices.Opportunities and Strategies for Textile and Apparel Exports:Despite the challenges, there are several opportunities for textile and apparel exports. The growing demand for fashionable clothing, especially in emerging markets, presents significant opportunities for exporters. Additionally, the rise of e-commerce platforms has openednew avenues for selling textile and apparel products globally. Exporters can leverage these opportunities by adopting innovative marketing techniques and expanding their online presence.Furthermore, diversification of product offerings is crucial for sustained export growth. Exporters need to focus on producing high-quality, value-added products that cater to the specific needs and preferences of target markets. Collaborating with designers and investing in research and development can help exporters stay ahead of the competition.Conclusion:Textile and apparel exports continue to be a vital component of many countries' economies. While challenges such as competition, sustainability concerns, and fluctuating prices persist, opportunities for growth and expansion are also present. By adapting to changing market trends, investing in sustainable practices, and embracing innovative strategies, exporters can navigate through the complexities of the global textile and apparel trade and thrive in this highly competitive industry.。

服装设计中英文对照外文翻译文献

服装设计中英文对照外文翻译文献

服装设计中英文对照外文翻译文献文献信息:文文献献标标题题::Proactive Fashion Design for Sustainable Consumption(可持续消费的具有前瞻性的服装设计)国外作者:Kirsi Niinimäki文献出处:《Nordic Te____tile Journal》,20________,1:60-69. 字数统计:英文 3104 单词,17881 字符;中文 5737 汉字外文文献:Proactive Fashion Design for Sustainable ConsumptionAbstractThis article presents a study that investigates product satisfaction inthe conte____t of clothing.The paper furthermore presents suggestions on how this knowledge can be used to create proactive fashion design for sustainable consumption.One of the main challenges in today’s consumer society is how to design products that encourage consumers to engage in more environmentally responsible behaviour, sustainable consumption.This paper opens the discussion on how to change current unsustainable consumption behaviour related toclothing through a visionary, far- sighted design approach.Designers can create future-oriented sustainable designs that can transform consumption patterns towards more sustainable ones.Design for sustainability can thus be a redirective practice that aims for sustainable consumption, and the ways in which fashion design can be a proactive process with this aim will be described.Keywords: proactive design, sustainable design, sustainable consumption, emotional satisfaction, PSS.IntroductionProducts configure consumer needs and use patterns; hence, design can be said to be “practice-oriented”, creating certain everyday practices and consumption behaviour (Shove et al.20__,134–136).Current industrial design and mass- manufacturing systems stimulate consumerism and the production of disposable products (Walker 20__,51).Fast changing trends lead to consumers’ unsustainable consumption behaviour.To create a new, sustainable balance between design, manufacturing and consumption, alternative ways to create products are required to drive more sustainable consumption behaviour.Therefore, designers should evaluate how each design decision affects a consumer’s consumption patterns.Understood in this way, sustainable designcan be a redirective or a proactive practice that aims for sustainable practices in consumption (Fry 2021, 53).Higher production volumes and simultaneous growing consumption have caused an increase in material consumption (Throne-Holst et al.20__).Ever-changingfashion trends, affordable product prices and low-quality products cause consumers to engage in unsustainable consumption behaviour, such as impulse purchases, overconsumption, short use time and premature disposal of products.The increase in the purchase of short-lifespan products results in a notable increase in waste.Currently, appro____imately 70 percent of disposed clothing and te____tiles end up in landfills, and in many Western countries clothing and te____tile waste is estimated to be the fastest growing waste stream (Fletcher 2021, 98).Consumers discard gaments not only because they are worn out but also because they actively seek novelty.Nevertheless, product durability and longterm use are prerequisites for sustainable consumption: i.e.e____tending the life span of products is essential when the goal is sustainable consumption (Cooper 20__).Importantly, however, consumers associate durability with high quality and not with environmental impact.Emotions lie at the centre of human life, and they influence mostof our behaviours, motivations and thought processes (Desmet 2021, 379).Emotions alsoplay a strong role in consumption.The interplay between wants, needs, values, attitudes ande____periences is emotionally meaningful for a contemporary consumer.Clothing and fashion itemsbelong to the category of self-e____pressive products, and with such products, consumption-related emotions are important to the consumer.As Richins (2021) argued, these consumption emotions are important elements in contemporary society and especially after the purchase event.The purchase situation bees a strong positivee____perience for a consumer, but it is very shortterm in nature and has no connection to thee____perience of deeper satisfaction or person– product attachment (ibid).Through a new purchase event, the consumer can again e____perience e____citement, enjoyment, joy and pleasure, at least momentarily.From an environmental point of view, studying consumption patterns and themeanings of consumption is important when sustained positive emotions in person– product relationships are desired or solutions are sought to replace materialistic consumption with other positive emotional states.The design process should focus on sustainable consumer satisfaction with a product or with the person–product attachmentprocess.Moreover, a new kind of product service system (PSS) should be developed that aims to prolong the enjoyable use time of the product.A PSS strategy can also offer the consumer new emotional e____periences, which can postpone the disposal of the product; PSS thinking can thereby aim to avoid a new garment purchase, which is an opportunity to decrease materialistic consumption. Sustainable Satisfaction with ClothingIf current unsustainable consumption patterns are to be transformed into more sustainable ones, the ways in which design can offer sustainable satisfaction must be investigated.To gain a deeper understanding of the opportunities to deliver satisfaction by designand how the enjoyable use of garments can bee____tended, the satisfaction process must first bee____plained.According to Swan and bs (1976), the performanceof clothing can be separatedintoinstrumentalperformance(physicalproperties)ande____pressive performance.E____pressive performance is linked to a consumer’s psychological response to the garment, such as the e____perience of beauty.Instrumental requirements (e.g.qualitye____pectations) must be satisfied first.Nevertheless, only fulfilling instrumental requirements will not result in satisfaction.Therefore clothing must also meet consumers’ emotional needs if it is to deliver satisfaction (Swan and bs 1976).Hence good intrinsic quality is optimal for ensuring consumersatisfaction and to guarantee the longevity of clothing.High quality means durable materials and high manufacturing quality.The ageing process of a pleasant, aesthetic garment requires not only maintaining high intrinsic quality but also the design of a more classical style and use of durable materials.Somete____tile materials look old after a short usetime.The material might e____perience pilling or may look old after a few washes.Garments needing frequent washing may look old rather quickly; therefore, recognising materials that age in a more aesthetically pleasing manner is important.Studies have shown (Niinimäki 2021) that consumers e____periencee.g.wool and real leather to age in an aesthetically pleasant way.Consumers report that with high quality wool the ageing process does not show as obviously and in leather the ageing process is e____perienced as an attractive temporal dimension (ibid.).Consumersrespect aesthetic attributes in the long-term use of clothing, and aesthetic attributes correspond toe____pressive performance in clothingsatisfaction.Accordingly, e____pressive performance affects the psychological response to clothing.The aesthetic attributes that correlate to the longevity of clothing are good fit, personal cut, nice colours and fortable materials,as well as a classic look (see Table 1).Garment tactility is important to the wearer and a pleasant tactile e____perience during the use situation is one attribute for enjoyable long-term use of clothing.Table I: Attributes that enable longevity in clothingThe attributes that enable longevity in clothing are the following:Quality: Durable materials Durability in use Durability in laundering High manufacturing quality Functionality: Easy maintenance Suitability in the use situation (physiological and psychological suitability)Satisfying use e____perienceBeauty, style, colour, fit Aesthetic E____pressive beauty above average attributes: Tactile e____periencefortable materials Values: Product’s values have to meet consumer’s personal values Not only quali ty, functionality and aesthetics are important attributes; the values behind the product are also important to consumer satisfaction.Clothing choices must connect strongly with the wearer’s self-image, identity and values.Wang and Wallendorf (20__) have argued that consumers with high materialistic values seek novelty and evaluate their possessions more often than consumers with lower materialistic values.They also highlight that materialistic consumers have less appreciation for deeper person–product relationships that develop during longer use situations.Consumers’ materialistic values may also connect with social status-related elements in garments and possessions.Consumers with lower materialistic values may have greater appreciation for the personal meanings attributable to the product that emerge during long-term use (Wang &; Wallendorf20__).Consumers with high environmental and ethical interests place high importance on being able to findenvironmental value behind a product.These consumers respect credence quality attributes – local and ethical production, eco-materials and long garmentlife spans – and they want to see these attributes and environmental values in the products they purchase.The value aspect is most important and cons umers’ value e____pectationsshould be fulfilled to create deep product satisfaction (Niinimäki 2021). Fashion Designfor Sustainable SatisfactionHow can a designer offer sustainable satisfaction to the consumer and how can s/he propose a prolonged use time of the product to the consumer? Firstly identifying the attributes associated withsatisfaction and including them in the design is the most important strategy.Secondly identifying the determinants that lead to dissatisfaction helps the designer to avoid these elements in design and concentrate on design for sustainable satisfaction.The previous section described the satisfaction elements in clothing: -good intrinsic quality;-good functionality;-aesthetics;-values in the product, in manufacturing or the pany’s values.The easiest way to offer product satisfaction is to increase the product’s intrinsic quality and inform the consumer accordingly.However the clothing satisfaction process is ple____ and not easy for a designer to control.Table 2 presents the temporal dimensions in clothing satisfaction, bining those elements and attributes that enable satisfaction to emerge or even create person-product attachments in the field of clothing.These are the elements that a designer should try to embed in design if s/ he is aiming for proactive fashion, deep productsatisfaction and e____tended use time of the products.Table 2: Elements of proactive sustainable fashion designPAST PRESENT FUTUREMeaningful memoriesMeaningful associations, which create person-product attachments Good functionality Aesthetical dimensionsEnjoyable e____periences during use Continuing satisfaction with the product Product or servicefulfils consumer’s changing needsHigh intrinsic quality New elements in designProduct utility New e____periences with the productConnection to self, identityThe following section presents several design approaches to deeper person- product satisfaction in the field of clothing.With these design strategies the designer can aim to achieve proactive and sustainable design. Fashion Design with Meaningful Uniqueness Products carry symbolic meaning, which consumers use to construct their own personality andidentity.Consumers use products to e____press themselves and want association with the characteristics, uniqueness or values symbolised by a product (Norman 20__).If products are easilypersonalised, the opportunity e____ists to connect the product more deeply with consumers’ identity construction and to create deeper product satisfaction and an emotional attachment through theperson–product relationship (Chapman 2021).This opportunity enables the product to be more meaningful to the wearer, making possible an e____tension of the product’s lifetime.Design services are one opportunity to address consumer satisfaction by deeply connecting the design oute with a consumer’s personal needs.By using digital technologies that enable individual design or measurements, meaningful uniqueness can be designed.Furthermore, unique design and “made-to-measur e” services offer improved product satisfaction by meeting a consumer’s individual needs and preferences better than mass-manufactured garments.The pany NOMO Jeans offersputer-assisted made-to-measure jeans by using a 3D scanner (Nomo Jeans).Jeans are made individually according to each customer’s measurements.Thecustomer can also choose the cut, colour, effects and details of his/her jeans.An enterprise can also base its function only on consumer orders.The designer can create their own collections, produce a couple of sle collections and enable consumers to specify all orders and measurements on an individual basis.Garments can then be created based on each wearer’s measurements, thus enabling him/her to e____perience greater satisfaction.This design and manufacturing strategy may also help producers avoid the problem of overproduction.Small enterprises could offer their collections in small shops carrying a sle collection and obtain orders directly from consumers, allowing them to avoid e____tra production.Designer Anna Ruohonen creates long lasting and high quality fashion (Anna Ruohonen).She has created a timeless collection called Black Classic, where the designs are permanent but it is possible to order them in seasonalcolours.Garments are manufactured only according to customer’s order and according to each customer’sindividual measurements.This strategy helps to avoid overproduction.Moreover the good fit of the clothing helps ensure deeper garment satisfaction. Co-creation One possibility for creating deeperperson–product attachment is through a consumer’s own efforts during the design orrealisation process.A sense of personal achievement is strongly connected to a positive sense of self (Norman 20__) and allows the product to begin to be more important to the wearer.The consumer’s own achievement through a “made by me” approach todesign creates positive e____periences through the sense of effort and the opportunity to realise her/his own creative skills.If the user builds the product herself/himself, s/he acquires a deeper knowledge of the product and, therefore, has the ability to repair the product (Papanek 1995).Kit-based design andhalfway products give the consumer a more active rolein the realisation process.One option for includingthe consumer in the design or manufacturing process isto offer her/him an opportunity to make decisions during the process.Consumers have shown an interest in taking part in the design or manufacturing process by using the Inter (Niinimäki 2021).If the design is based on a modular structure and the consumer is allowed to make her/his own choices – even from a limited selection – in creating a unique style, this process gives consumers new power and a more active role.Opening fashion field is one way to offer the consumer more active stwear is a pany that offers ready-made garments, halfway clothing (kit-based) and patterns of their fashion designs (Lastwear clothing pany).They also invest in quality and offer a guarantee on their garments, which is a good way to ensure product satisfaction.Giving consumers more power is also possible by offering environmentally- related options.Consumers may be allowed to select a manufacturing location and different materials – and be provided with corresponding prices – enabling them to e____press their values through their choices.For e____le, many consumers, especially thosewho consider themselves ethical consumers, would like to buy locally manufactured garments even if they are more e____pensive (Niinimäki 2021). Fulfilling Consumers’ Changing Needs Through PSSThe symbolic meanings of products are connected to psychological satisfaction through an emotional response.When the product no longer offers a positive emotional response because, for e____le, it falls out of fashion or the wearer bees otherwise tired of it, the consumer e____periences psychological obsolescence and easily replaces the product with a newone.Accordingly emotional and psychological obsolescence results in premature disposal of a product that may still be functional.Consumers’ needs and aesthetic preferences that change over time raise the question of how to avoid the psychological obsolescence of garments.The challengein e____tending product lifetimes is to achieve continuing satisfaction with the product.The PSS approach allows the creation of new e____periences with a product or changes to a product to enable it tobetter suit a consumer’s changing needs.Positive ways that a product’s lifetime can be e____tended include upgradability services, modification services ande____change stocks.These strategies can postpone garment disposal by keeping the consumer satisfied longer.Modification or redesign possibilities for quality garments allow for an e____tension of a product’s life span.Many websites already advise consumers on how to modify their old garments themselves and encourage consumers to e____tend the use of their garments.Many small and locally functioning repair and redesign studios also already e____ist, where the consumer can repair a damaged garment but can also order a redesigned garment made from old ones.A design based on a modular clothing structure also offers the possibility to create services to upgrade garments.This strategy offers the opportunity to update the appearance in a sustainable way (Fletcher &; Grose 20________, 82).It is possible to play with the clothing elements to create unique binations of colours or shapes to develop a newlook.The consumer does not need to then buy a new garment; instead s/he can simply change some parts or elements in the garment to have the e____perience of newness.Garment e____change or renting services offer possibilities for consumers to make changes to their clothing in more sustainable ways.New and interesting e____les of clothing membership clubs e____ist.By paying a monthly membership fee, a consumer can select a certain number of garments to use, giving him or her the opportunity to change the appearance in a more sustainable way.This type of business strategy has emerged e.g.in the field of children’sclothing.Consumers can rent children’s outfits and when the child outgrows a size, the parent can obtain larger-size garments from the clothing club.ConclusionsThis study investigated product satisfaction in the conte____t of clothing and this knowledge was used to understand and define proactive fashion design for sustainable consumption.It opened views into the process of consumer satisfaction.A main issue thatarises when aiming to e____tend the life of garments is to increase their durability and intrinsic quality.Moreover, fulfilling consumers’ othere____pectationsregardingthe garment’s aesthetic and functional attributes is important to ensure product satisfaction.Finally the issue of value is most important with regard to deep product satisfaction: values associated with the product, the manufacturing process and behind the panies have to meet the consumers’ own value base so that the consumer feels pletely satisfied with the product.By identifying the reasons for the short and long-term use of clothing, it is possible to find new ways to create sustainable designs that can result in a redirective practice directed towards sustainable consumption.Proactive fashion design for sustainable consumption takes these reasons into account, thus enabling clothing longevity.Satisfying consumers’e____pectations regarding quality, functionality, aesthetics and value is a key to e____tending the usetime of a product.Moreover, the emotional side of consumption must be understood to provide more sustainable ways to ensure customer satisfaction.The PSS approach provides an opportunity to e____tend the enjoyable use of aproduct and thus avoid psychological obsolescence and a garment’s premature disposal.Stimulating asenseofmeaningfuluniquenessandachievement through design services or “self-made” approaches is a promising route to enhancing consumer satisfaction.If a consumer is satisfied, then strengthening the emotional bondbetweentheproductandconsumerispossible. Inturn,this meaningful attachment is the best way to postpone a product’s disposal.When the product or its use is somehow special to the consumer, s/he will take good care of it to e____tend its enjoyable use time.The most promising sustainable design strategy is the bination of product design with service elements: PSS strategies are therefore a future path to proactive and sustainable design. 中文译文:可持续消费的具有前瞻性的服装设计【摘要】:^p本文从服装的角度对产品满意度进行了研究。

方领印花连衣裙英语作文

方领印花连衣裙英语作文

方领印花连衣裙英语作文The allure of a floral print mandarin collar dress lies in its timeless elegance and versatility. This captivating garment seamlessly blends traditional Asian influences with modern fashion sensibilities, creating a sartorial masterpiece that transcends cultural boundaries. Whether adorning the graceful silhouette of a sophisticated socialite or the youthful frame of a trendsetting fashionista, the floral print mandarin collar dress possesses an undeniable charm that captivates the eye and ignites the imagination.At the heart of this captivating ensemble is the mandarin collar, a hallmark of traditional Chinese attire that has been reinterpreted for the contemporary fashion landscape. The clean, structured lines of the mandarin collar lend an air of refinement and discipline to the overall design, while the delicate floral print adds a touch of femininity and romance. The interplay of these contrasting elements creates a harmonious balance that is both visually stunning and sartorially sophisticated.One of the most alluring aspects of the floral print mandarin collardress is its versatility. This remarkable garment can seamlessly transition from a formal event to a casual outing, effortlessly adapting to the wearer's needs and the occasion at hand. Paired with sleek stilettos and a structured blazer, the dress exudes an air of sophisticated elegance, perfect for a night of fine dining or a high-powered business meeting. Conversely, when combined with comfortable flats and a denim jacket, the same dress takes on a more relaxed, everyday vibe, making it an ideal choice for a weekend brunch or a leisurely stroll through the park.The floral print itself is a captivating element that adds depth and richness to the overall design. From delicate, watercolor-inspired blooms to bold, vibrant patterns, the range of floral prints available allows the wearer to express their unique personal style. Whether opting for a subtle, understated print or a bold, statement-making design, the floral motif infuses the dress with a sense of natural beauty and organic grace.Beyond its aesthetic appeal, the floral print mandarin collar dress also holds significant cultural significance. The mandarin collar, with its origins in traditional Chinese attire, serves as a nod to the rich heritage and enduring influence of Asian fashion. The incorporation of floral prints, a timeless design element found in various Asian textile traditions, further reinforces this cultural connection, creating a garment that celebrates the cross-pollination of global style.The enduring popularity of the floral print mandarin collar dress can be attributed to its ability to transcend time and trends. While fashion cycles come and go, this captivating ensemble remains a steadfast staple in the wardrobes of the style-conscious. Its timeless elegance and versatility ensure that it will continue to captivate and inspire fashionistas for generations to come.In conclusion, the floral print mandarin collar dress is a sartorial masterpiece that seamlessly blends tradition and modernity, elegance and charm. Its ability to adapt to a wide range of occasions and personal styles makes it a wardrobe essential for the discerning fashion enthusiast. Whether adorning the frame of a sophisticated socialite or a trendsetting fashionista, this captivating garment possesses an undeniable allure that transcends cultural boundaries and stands the test of time.。

纺织英文文献.pdf

纺织英文文献.pdf

Structure–property relationships for azo disperse dyes on polyurethanefibreHong-Fei Qian a,*and Xin-Yuan Song ba College of Textiles and Apparel,Shaoxing University,Shaoxing312000,ChinaEmail:*************.cnb College of Chemistry and Chemical Engineering,Donghua University,Shanghai,200051, ChinaReceived:14November2008;Accepted:26March2009Using two series of monoazo disperse dyes,the relationships between the molecular structure of dye and its dyeing properties,such as adsorption behaviour,fastness properties and distribution on polyurethane–polyester blends,were thoroughly investigated.Correlation analysis of experiment data revealed that the partition coefficient between octanol and water(C Log P)is the main factor affecting dye sorption.A greater level of C Log P tends to have a greater isotherm coefficient and better rubbing and washing fastness on polyurethanefibre,as well as a greater distribution ratio between the components of the blend.The dye dipole moment is negatively correlated with various degrees of washing fastness. The dye with two terminal hydroxy groups exhibited notable sorption on the polyurethane component and has the largest partition ratio on polyurethane–polyester in the blend.Corresponding regression analysis equations were identified.IntroductionPolyurethane(PU)fibre is generically referred to as spandex.It is manufactured from glycol and di-isocyanate raw materials using a special spinning method.Thefibre-forming substance is a long-chain synthetic polymer comprising at least85%segmented PU,with both hard and soft segments.The former contain polar groups such as urethane(NHCOO)and ureylene(NHCONH),which can form intermolecular hydrogen bonds to produce a hard domain within which the segments arefixed to each other,yielding a compact structure,whereas the soft segments can move easily and conferflexibility.PUfibre is used by blending with otherfibres;covered yarn and core spun yarn are commonly used forms.Its content in fabric is usually relatively low,but its presence has a great impact on the colour fastness properties of thefibre blend.Although PU is not a new fibre and has a long practical history,there are still some problems to be solved in PU dyeing.One problem is poor fastness properties caused by the stain of the disperse dye on the PU components when the PU is part of a blend with polyester(PET).Our previous study showed that the disperse dyes preferentially dye the PU component of such a blend rather than the PET[1].In order improve the colour fastness of the dyes,colour technologists are interested in identifying dyes which have a good dyeing performance on the PUfibre or which show less staining on the PU components[2–4].Alternatively,reduction cleaning after dyeing or the addition of a special agent during dyeing are other methods commonly used to reduce staining of the PUfibre.Detailed investigations of structure–property relationships of azo disperse dyes for otherfibres,such as polyester,nylon and acetate,have been carried out[5–8], but similar research for PUfibre is rare.Published studies have mainly focused on the dyeing process for the PU fibre or its blends[9,10].This study established the quantitative relationship between the characteristic parameters of the monoazo disperse dyes and their sorption properties on the PUfibre by using a method similar to that reported by Telegin et al.[11].The results of the current study may be helpful in the search for special dyes for PUfibre and in the development of new dyes which show a good performance in the dyeing of elastic fabrics.ExperimentalMaterialsThe PUfibre(44.4dtex,PTMG type;Lycra)used in this study was supplied by Invista Fibres Co.Ltd(China).The woven polyester fabric(density220·210;weight 168g⁄m2)was obtained from Nanfang Company(China). Two series of monoazo disperse dyes were selected to examine the relationship between the dye structure and dyeing behaviour.Series1:CI Disperse Orange25,CI Disperse Red50,CI Disperse Orange76,CI Disperse Orange61and CI Disperse Red145;Series2:CI Disperse Brown1,Disperse Brown WXF,CI Disperse Orange30,CI Disperse Orange76and CI Disperse Yellow163(Table1). All dyes were obtained from Zhejiang Longsheng Group Co.Ltd(China)in the form of commercially available press cakes and were purified by repeated re-crystallisation in acetone.In order to accurately compare the dyes studied,all dyes were processed using the same ling was performed in a laboratory mill(SDF 400,Fukang Chemical Machinery Co.Ltd,China)for the desired time to reach a dispersing rate of4–5in the presence of a dispersant(Diwatex XP-9;Borregaard LignoTech,Norway)of a mass equal to that of the dye. The dispersions were spray-dried by means of a laboratory spray drier(KOPG-3000;Liaoyang Keao Instrument Co. Ltd,China)with inlet and outlet temperatures of120and 70°C,respectively.doi:10.1111/j.1478-4408.2009.00188.xFibre preparationTo remove impurities,the fibre was scoured at 85°C for 30min in a bath containing 2g ⁄l non-ionic surfactant,then thoroughly rinsed in distilled water and dried in open air.The liquor ratio was 30:1.The woven polyester fabric was scoured with a solution containing 5g ⁄l nonionic surfactant (Peregal O;Hangzhou Electrification Group Chemical Assistant Co.Ltd,China)and 2g ⁄l sodium carbonate at 80°C for 30min,thoroughly washed in water and air-dried at room temperature.Isotherm measurementFor each dye,dyeing of various concentrations were carried out in a dyeing machine (Rapid,China)at a constant temperature of 90°C for 90min to reach dyeing equilibrium,which was determined by measuring the dyeing rate isotherm.The pH of the bath was maintained at 5.0using acetate buffer solution.The liquor ratio was 50:1.After dyeing,dyed samples were rinsed thoroughly in distilled water,blotted with filter paper and dried in a desiccator at room temperature.Table 1Molecular structure of the disperse dyes used in the study DyeABNO 2NABNNCH 2CH 3CH 2CH 2CN1a CI Disperse Orange 25H H 1b CI Disperse Red 50Cl H 1c CI Disperse Orange 76Cl Cl 1d CI Disperse Orange 61Br Br 1eCIDisperseRed 73CNHO 2NNCH 2CH 2CNCH 2CH 3NN1fCI Disperse Red 145N O 2NCl ClN NCH 2CH 2CH 2CH 2ACB2a CI Disperse Brown 1OHOHCl 2b CI Disperse Brown 19COOCH 3COOCH 3H 2cDisperse Orange WXF OCOCH 3CN H 2d (1c)CI Disperse Orange 76H CN H 2eCI Disperse Yellow 163CN CNHTable 2Characteristic quantum parameters of the disperse dyes used in the studyDye Molecularvolume (A ˚3)Dipolemoment (D)C Log P 1a 1058.297.28 4.261b1077.647.22 4.971c (2d )1102.69 6.63 5.691d 1122.76 6.83 5.991e 1098.267.84 3.691f 1136.938.23 4.232a 1117.249.18 4.922b 1313.46 6.90 5.942c 1235.23 6.21 5.312e1159.474.554.69Qian and Song Azo disperse dyes on polyurethane fibreThe dyed PU fibre was repeatedly extracted using acetone at room temperature until the sample became colourless.The amount of dye sorbed by the PU fibre,denoted as [D]f ,was determined spectrophotometrically (UV-2450;Shimadzu,Japan)by measuring the absorbance of an acetone extract at the maximum wavelength.The residual dye amount in the bath,[D ]s ,was calculated asthe difference between the total amount of dye initially added and the amount in the fibre.Colour fastness testTo directly compare the colourfast properties of different dyes,fibre was dyed to 1⁄1standard depth.The test methods used were ISO 105-C06for wash fastness,ISO 105-X12for rubbing fastness and ISO 105-X11for sublimation fastness.Dye distribution on PU–PET blendTwo series of disperse dyes were used to dye a PU–PET blend.For convenient measurement of the dye amount on different components,the blend sample consisted of 90%polyester woven fabric and 10%PU fibre to simulate polyester elastic fabric.The mixed sample was immersed into a dyebath containing 2%owf dye and with 1g ⁄l ammonium sulphate used to adjust the pH 5–5.5.Dyeing was started at 30°C.The temperature was increased by 2°C ⁄min to 130°C,maintained for 40min and then cooled by 4°C ⁄min to 60°C.The dyed mixed sample was rinsed thoroughly in distilled water and separated into two parts which were then dried in a desiccator at room temperature.Table 3Data measured for all the disperse dyesDye Isotherm coefficient,K Maximum sorption (mol kg )1)Crock Wash Sublimation fastness (180°C)Partition ratio d ,k Dry Wet NaVbCc1a 1344.080.04923–42433–4 3.541b3519.550.1144–52433–4 3.571c (2d )4001.910.122–34–52–34–53–44 4.871d 4391.910.114–54–52–34–53–44–5 6.741e 768.460.0311–231–242–33–4 2.391f 1109.680.0251–231–23–42–33–4 2.382a 1378.810.294–54–51–2434–513.932b 2564.850.194–54–534–53–44–59.552c 1504.000.124–54–52–34–53–44–5 4.992e1021.530.0282–3434–53–44–53.74a Staining on nylonb Staining on viscose rayonc Colour changed Partition ratio on PU ⁄PET in the blendTable 4Correlation analysis between characteristic dye parameters and measured data aIsotherm coefficientMaximum sorptionCrockWash S e Blend partitionDryWetN bV cC dVolume 0.670fDipole )0.812g)0.700e)0.677fC Log P0.773g 0.877g 0.865g0.708f0.722f0.836ga Empty cells represent an absence of correlationb Staining on nylonc Staining on viscose rayond Colour changee Sublimation fastnessf Correlation is significant at the 0.05level (two-tailed)g Correlation is significant at the 0.01level(two-tailed)Qian and Song Azo disperse dyes on polyurethane fibreThe dyed PU–PET blend was divided into two parts. The PU part was repeatedly extracted using acetone at room temperature and the PET part was extracted by dimethylformamide(DMF)at higher temperature.The dye amount on the two components was determined by measuring the absorbance of the extract solutions.The partition ratio of dyes between the two components was calculated using Eqn1:k¼D1ÁV1Áe2ÁW2D2ÁV2Áe1ÁW1;ð1Þwhere D1and D2are the absorbance of the PU and polyester extract solutions,V1and V2are the volume of the corresponding extract solutions,e1and e2are the molar extinct coefficients of the dye in acetone and DMF, and W1and W2are the mass of the PU and polyester, respectively.Calculation of quantum parametersThe characteristic quantum parameters for the dyes were calculated using various soft chemical techniques.The techniques were as follows:Hyperchem version7.5 (Hypercube Inc.,Canada)for the molecular volume, MOPAC(the AM1method)for the dipole moment and the C Log P server in Cambridgesoft for C Log P,the partition coefficient between octanol and water. Results and DiscussionThe calculated characteristic quantum parameters for the dyes are listed in Table2.The dipole moment and C Log P varied greatly.The volume of the Series2dyes was greater than that of Series1.Qian and Song Azo disperse dyes on polyurethanefibreMeasured data and correlation analysisThe isotherms of all the disperse dyes were measured (Figure1).The isotherms of every dye are very similar to each other.Dye uptake by thefibre increased with the dye concentration and reached a constant value above a certain dye concentration,which corresponded to the maximum extent of dye uptake.At a low dye concentration,the isotherm approximated to the linear type.The isotherm coefficient,K,which was obtained by calculating the slope of the initial linear part of the curve, and other adsorption parameters are listed in Table3. Fastness properties and the partition ratio on the PU–PET blend are also listed in Table3.Correlation analysis between the characteristic parameters and the various data measured was carried out using SPSS version11.5 (SPSS Inc.,Chicago,IL,USA)and the results are listed in Table4.Relationship between dye structure and adsorption behaviourThe data in Table4reveal that the isotherm coefficient, K,is mainly affected by C Log P,as indicated by the positive correlation.Considering that the affinity of dye forfibre isfinely correlated to Ln K,the equations which reflect the relationship between the Ln K and C Log P were identified by using polynomial regression analysis,as shown in Figure2.A greater C Log P value means more hydrophobicity of the dye[12]exhibiting the greater Ln K,which implies that this dye has the higher affinity for the PUfibre.This may be attributed to the hydrophobic nature of the PUfibre,which prefer to sorb dyes with more hydrophobicity.Relationship between structure and fastness properties As expected,the fastness properties of the disperse dyes on the PUfibre are not good,especially in the case of staining on nylon.The results demonstrate that both the dry and wet rubbing fastness is positively correlated with C Log P. Washing fastness properties such as staining on nylon and viscose rayon and the change rate are negatively correlated with the dye dipole moment,but positively correlated with C Log P.The results for sublimation fastness are consistent with the well-known fact that a larger molecular size confers greater sublimation fastness owing to the stronger intermolecular force.Further regression analysis yielded corresponding quantitative equations,as shown in Figure3.The results in Figure3indicate that the dye with the greater C Log P has the higher crock fastness and change rate,whereas a greater dipole moment leads to poor washing fastness properties.Relationship between structure and distribution on aPU–PET blendThe data regarding the distribution of dyes on the PU–PET blend in Table4reveal that a considerable amount of dye was present on the PU component and heavy staining of the PUfibre occurred during dyeing of the PU–PET blend.This was the case in all of the dyes.The partition coefficient between PU and PET exceeded 2.For dye2a,the difference in dye uptake for the two components was so great that the dye amount sorbed on the PUfibre was over nearly13times that on the PET component.The measured data indicate that the distribution varied greatly with the type of dye.Although correlation analysis revealed that the characteristic parameters have no apparent correlation to the distribution ratio,the tendency of its value to increase with the increasing C Log P was still found from the data in Tables2and 3.With the exception of dye2a,the correlation between the distribution ratio and C Log P was relatively significant,such that the quantitative relationship was obtained by using regression analysis,as shown in Figure4.Figure4demonstrates that dye2a,which has two terminal hydroxy groups,has a notable sorption on the PU component.This may be because of the presence of the hydroxy group,which is capable of forming hydrogen bonds with polar groups such as ureylene HNCONH and urethane NHCOO in the polymer chain of the PUfibre. ConclusionsThe results of this study indicate that disperse dyes with a greater C Log P value have a higher partition coefficient of adsorption isotherms,as well as good rubbing and washing fastness.An increase in the dipole moment of a dye molecule has a negative impact on its washing fastness.Sublimation fastness is mainly affected by molecular size.The distribution ratio of dye on the PU⁄PET blends seems to increase with increasing C Log P value.The dyes with a greater C Log P value prefer to exhaust more on the PU component than the PET component.Dye2a has notable sorption on the PU component because of its two terminal hydroxy groups. AcknowledgementThis work was supported by the Natural Science Foundation of Zhenjiang Province under contract grant number Y404314.References1.H F Qian and X Y Song,Dyes Pigm.,74(2007)672.2.J H Choi and A D Towns,Color Technol.,117(2001)127.3.Y Kiyoshi,Japanese Patent6294078(1994).4.Y Kiyoshi,Japanese Patent6093575(1994).5.G Seu,Dyes Pigm.,37(1998)103.6.S Timofei,L Kurunczi,W Schmidt and Z Simon,DyesPigm.,29(1995)251.7.J H Choi,S H Hong,E J Lee and A D Towns,J.S.D.C.,116(2000)273.8.M R De Giorgi,R Carpignano,A Cerniani and F Cesare,Ann.Chim.,85(1995)543.9.P A Koch,Chem.Fibres Int.,45(1995)400.10.S D Bhattacharya and B H Patel,Man-made Text.India,6(2003)248.11.FY Telegin,E S Khaylenko and P F Telegin,Book of Papers21st IFATCC Congress,Barcelona,Spain(2008).12.A K Chose,V N Viswanadhan and J J Wendoloski,J.Phys.Chem.A,102(1998)3762.Qian and Song Azo disperse dyes on polyurethanefibre。

服饰设计外文翻译文献

服饰设计外文翻译文献

服饰设计外文翻译文献本文旨在介绍关于服饰设计的外文翻译文献,下面列举了几篇相关的文献供参考。

文献一标题: "The Influence of Culture on Fashion Design" "The Influence of Culture on Fashion Design"作者: John Smith John Smith摘要:本文探讨了文化对时装设计的影响。

研究表明,各个文化背景的差异对时装设计有着重要的影响。

通过分析不同文化背景下的时尚元素和审美观念,本研究提出了在跨文化时装设计中应考虑的因素。

本文探讨了文化对时装设计的影响。

研究表明,各个文化背景的差异对时装设计有着重要的影响。

通过分析不同文化背景下的时尚元素和审美观念,本研究提出了在跨文化时装设计中应考虑的因素。

文献二标题: "The Role of Sustainability in Fashion Design" "The Role of Sustainability in Fashion Design"作者: Emily Johnson Emily Johnson摘要:本文探讨了可持续性在时尚设计中的重要性。

时尚产业对环境和社会产生了重大影响,因此,越来越多的时尚品牌开始关注可持续性。

本文介绍了一些可持续时尚设计的实践案例,并讨论了如何将可持续性原则融入到时装设计的各个方面。

本文探讨了可持续性在时尚设计中的重要性。

时尚产业对环境和社会产生了重大影响,因此,越来越多的时尚品牌开始关注可持续性。

本文介绍了一些可持续时尚设计的实践案例,并讨论了如何将可持续性原则融入到时装设计的各个方面。

文献三标题: "The Role of Technology in Fashion Design" "The Role of Technology in Fashion Design"作者: Laura Martinez Laura Martinez摘要:本文研究了科技在时尚设计中的作用。

服装印花的英语词汇对照及印花工艺

服装印花的英语词汇对照及印花工艺

服装印花的英语词汇对照及印花工艺服装印花的英语词汇对照及印花工艺自动筛网印花(automatic screen printing)满地印花(blotch print)烂花印花(burn—out prints)涪烘(curing)直接印花(direct prints)拔染印花(discharge prints)干法印花(dry prints)双面印花(duplex prints)静电荷(electrostatic charge)静电植绒(electrostatic flocking)按特殊要求印花(engineered print)叠印(fall on)平板(flatbed)植绒印花(flock printing)植绒(flocking)半色调或中间色调(halftone)手工筛网印花(hand screen printing)热转移印花(heat--transfer printing)喷射印花(jet printing)机械植绒(mechanical flocking)罩印(over print)印花色浆(print paste)印花对花准确/对花不准(print register/off register) 对花(registration)防染印花(resist printing)滚筒印花(roller printing)圆形筛网印花或圆网印花(rotary screen printing) 筛网印花(screen printing)打样(strike off)热转移印花(thermal transfer printing)经纱印花(warp prints)湿罩干印花(wet—On—dry)。

印花工艺流程英语

印花工艺流程英语

印花工艺流程英语Printing is an art form that transforms designs into wearable fashion. The process begins with the creation of a design, which is then transferred onto a medium suitable for printing.The next step involves preparing the fabric, ensuring it is clean and free of any impurities that might interfere with the printing process. This is crucial for achieving a clear and vibrant print.Once the fabric is ready, the design is transferred using various techniques such as screen printing, where a mesh is used to apply ink directly onto the fabric in a precise pattern.After the ink is applied, it must be set into the fabric. This is typically done through a process called curing, which can involve heat or pressure to ensure the ink adheres properly and does not wash out.Quality control is an essential part of the printing process. Each piece is inspected to ensure the design is accurately printed and free from defects.Finally, the printed fabric is ready for the next stage of production, whether that be sewing into garments orfurther embellishment. The result is a beautiful piece oftextile art that can be enjoyed by many.Throughout the process, attention to detail and precision are paramount. The intricate steps of printing requireskilled artisans and modern technology to work in harmony, ensuring each print is a masterpiece of color and design.。

英语作文-传统印染:欣赏各国独特的印染艺术

英语作文-传统印染:欣赏各国独特的印染艺术

英语作文-传统印染:欣赏各国独特的印染艺术The art of traditional fabric dyeing is a window into the cultures of the world, offering a unique perspective on the values, history, and aesthetics of different societies. From the intricate batik of Indonesia to the vibrant kimonos of Japan, each technique represents a distinct blend of local customs, materials, and creativity.In Indonesia, batik is more than just a method of fabric decoration; it is a heritage that has been passed down through generations. The intricate designs and patterns are created using a wax-resist dyeing technique, where wax is applied to the fabric in specific areas to prevent the dye from penetrating, resulting in complex, multi-layered motifs. Each region has its own traditional patterns that often carry significant meanings, reflecting the local flora, fauna, and folklore.Moving to Japan, the art of Shibori stands out with its diverse range of techniques that involve binding, stitching, folding, twisting, or compressing the fabric before dyeing. This results in patterns that are as varied as they are unpredictable, with each method offering a different aesthetic. The indigo dye used in Shibori is not just chosen for its striking hue but also for its symbolic representation of the infinite sky and ocean, embodying a sense of serenity and depth.In India, the ancient practice of block printing showcases the meticulous craftsmanship of artisans who carve intricate designs into wooden blocks. These blocks are then used to hand-stamp patterns onto the fabric, often using natural dyes derived from plants, minerals, and even insects. The colors and motifs are deeply rooted in the local environment and spiritual beliefs, with each region boasting its own distinctive style.Africa, too, boasts a rich tradition of fabric dyeing, with techniques like Adire from Nigeria, which uses a variety of resist-dyeing methods, including hand-painted or stenciled patterns. The use of indigo is prevalent, symbolizing wealth and abundance.The motifs often convey messages and proverbs, serving as a means of communication and expression within the community.In the Americas, particularly in Peru and Mexico, traditional dyeing techniques are closely tied to the indigenous cultures. Using natural dyes extracted from plants, insects, and minerals, artisans create vibrant textiles that often feature geometric patterns and symbols that have been important to their cultures for centuries.These traditional dyeing techniques are not merely artistic endeavors; they are a testament to human ingenuity and a reflection of the intimate relationship between people and their environment. They tell stories of cultural identity, social structure, and the symbiotic bond with nature. As we appreciate the beauty and intricacy of these art forms, we also recognize the importance of preserving these traditions in an increasingly globalized world.Through the appreciation of traditional fabric dyeing arts, we gain insight into the rich tapestry of human culture. Each piece of dyed fabric is a narrative, a tactile representation of its origin, carrying with it the spirit and legacy of its people. As we continue to explore and celebrate these diverse art forms, we not only honor the past but also inspire future generations to keep these precious cultural treasures alive. 。

服装设计印花有效英文短句

服装设计印花有效英文短句

服装设计印花有效英文短句1、Adversity reveals genius; fortune conceals it. (Horace, ancient Roman poet)苦难显才华,好运隐天资。

(古罗马诗人贺拉斯)2、Almost any situation---good or bad ---is affected by the attitude we bring to. (Lucius Annaus Seneca, Ancient Roman philosopher) 差不多任何一种处境——无论是好是坏——都受到我们对待处境的态度的影响。

(古罗马哲学家西尼加 L A)3、Although the world is full of suffering, it is full also of the overcoming of it. (Hellen Keller, American writer)虽然世界多苦难,但是苦难总是能战胜的(美国作家海伦?凯勒)4、As fruit needs not only sunshine but cold nights and chilling showers to ripen it, so character needs not only joy but trial and difficulty to mellow it. (Hugh Black, American writer)水果不仅需要阳光,也需要凉夜。

寒冷的雨水能使其成熟。

人的性格陶冶不仅需要欢乐,也需要考验和困难。

(美国作家布莱克 H)5、Everything can be taken from a man but one thing; the freedom to choose his attitude in any given set of circumstances. (Leonhard Frand , German novelist)我可以拿走人的任何东西,但有一样东西不行,这就是在特定环境下选择自己的生活态度的自由。

国外可持续时尚文献

国外可持续时尚文献

以下是一些关于国外可持续时尚的文献推荐:1. Fletcher, K. (2014). Sustainable Fashion and Textiles: Design Journeys. Routledge.本书讨论了可持续时尚的概念、设计方法和实践案例,并介绍了可持续时尚的发展趋势和挑战。

2. Brown, L., & McDonagh, D. (Eds.). (2019). The Routledge Handbook of Sustainable Design (2nd edition). Routledge.该手册提供了关于可持续设计的广泛视角,其中包括了时尚和纺织品方面的内容。

3. Gwilt, A., & Rissanen, T. (2011). Shaping Sustainable Fashion: Changing the Way We Make and Use Clothes. Earthscan.本书探讨了可持续时尚的制造和使用环节,并提供了一些案例研究和实践建议。

4. Fletcher, K., & Grose, L. (2012). Fashion and Sustainability: Design for Change. Laurence King Publishing.该书介绍了可持续时尚的理论和实践,包括材料选择、工艺和设计方法的可持续性考量等。

5. Black, S. (2008). Eco-chic: The Fashion Paradox. Black Dog Publishing.本书探讨了时尚与可持续性之间的矛盾,并提供了一些关于时尚产业可持续发展的思考。

6. Joy, K., & Sherry, J. F. (2013). Fast Fashion, Sustainability, and the Ethical Appeal of Luxury Brands. Fashion Theory: The Journal of Dress, Body & Culture, 17(3), 343-368.这篇论文研究了快速时尚产业与可持续发展之间的关系,并探讨了奢侈品牌在可持续时尚中的地位和作用。

  1. 1、下载文档前请自行甄别文档内容的完整性,平台不提供额外的编辑、内容补充、找答案等附加服务。
  2. 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
  3. 3、如文档侵犯您的权益,请联系客服反馈,我们会尽快为您处理(人工客服工作时间:9:00-18:30)。

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 designA DehghaniAbstractThe 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 ofdigital printing in the fabric design.Keywords: graphic design; Digital printing; Color management; Clothing design IntroductionTextile digital printing technology is set computer technology, digital technology, the color management technology of comprehensive development of the product, it can directly transfer the graphic information directly to textiles. Not only get rid of the traditional printing industry complex process and only the limitations of mass production, and have on-demand printing, short cycle, low up print runs, supported by the advantages of the data changes at random. These features not only cater to the high-end customer demand for personalized, catered to the trend of economic and environmental protection, also become the development direction of textile printing in the future.Belongs to high precision printing digital printing, the study of digital printing color management make the imaging precision of digital printing on textiles continuously optimize, kept expanding market share of textile digital printing, in order to better application in textiles and clothing design of manufacturing; Digital printing process using computer digital processing, greatly shorten the production cycle time, promotes rapid circulation of textiles, shortening the period of the textile and garment industry circulation,can well improve the turnover rate of textile and garment enterprises, increase economic efficiency, improve the market reaction speed. The importance of digital printing designAt present, most of printed fabric for rotary screen printing or flat screen printing, rotary screen printing is refers to the use of metal cylinder made of nickel plate printing, restricted by cylinder cycle number printed fabrics smaller; Flat screen printing are made wire mesh and nylon material such as tension in the rectangular box for printing, flat screen printing can be made larger plate, but for intermittent class printing is suitable for home textile or decorative fabrics, not suitable for fabric printing. Although traditional printing can cover most of fabric printing requirements, but as the fashion cycle becomes shorter and shorter and personalization of demand, the traditional way of printing has been unable to meet this trend, the emergence of digital ink jet printing in a timely manner to make up for the defects in fabric printing carrying a large advantage. Digital printing with the advantages of personalized, small batch, meet the rapid customization requirements of garment printing especially high fashion, more suitable for apparel printing, so in couture and widely used in apparel production stage.In the digital printing software and hardware Settings under the same conditions, the final printing effect is mainly decided by the qualityof the digital printing design, digital printing, use the digital design because of its pattern design method with the traditional silk screen or rotary screen printing and the design methods of common printing design is different. Fabric printing effect affects the clothing the final appearance, in the process of drawing garment rendering should be according to the properties of the fabric design printing design and color is tie-in.Before restricted byprinting process, often appear in the printed fabric garment fabric effect of rendering drawing finally cannot be achieved on the printing machine or fashion designer cannot find in the existing market want fabric printing problems, make the clothing design innovation. Theoretically digital printing no color limit number of constraints, can realize most of the fabric printing requirements, which are free to play to the designer's imagination.外文文献翻译Digital printing design in the application of the clothingThe biggest advantage of apparel fabrics digital printing can be combined with clothing structure design, this kind of printing design mostly is suitable for the design pattern. Suitable for grain appearance bone style diversity, there are vertical and radial, such as type, rotary, multi-layer way and changeful modelling, from the outside, such as geometry, natural shape, the shape. On theapplication in the clothing fabrics printed according to the cutting position to redesign. Suitable patterns into filling patterns, patterns, three corner designs the edging, filling pattern is mainly depending on the cutting position of the printing digital printing design. Fabrics increase design includes the embroidery, all kinds of 洐sewing, hanging, paste, splicing, hot-pressing layer, etc., this design typically involves a variety of materials. Generally includes a bottom fabric, coupled with increasing design decorative material, have the effect that make the finishing point, make originally common materials is more practical and aesthetic value. Combined with the increase of digital printing design of the upper decorations can be very good and the underlying fabric printing design. Traditional printed fabric can simulate most of the effect, but in the light and shadow on the shape of a lack of depth, in particular part of the collage of sequins or embroidery, not only have increased interest in the clothing, and improves the aesthetic value of clothing. Application in other digital printing on textiles pattern design printed object is a variety of functional textiles, decorative effect is mainly to the required space, and the application in the clothing of printing the main body of the decoration, make its have the dual function of decoration and display. Digital printing design not only play the role of the adornment of human body, its deeper meaning is to show the。

相关文档
最新文档