服装设计专业毕业设计外文翻译

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服装设计创意外文翻译文献

服装设计创意外文翻译文献AbstractThe purpose of this research is to XXX in the process of clothing design。

It aims to analyze the XXX and the design process。

how to collect sources of n。

and XXX.Research methods: Currently。

many scholars have conducted empirical research on ready-to-wear clothing design。

field ns。

semi-structured interviews。

and constrained and semi-driven design tasks。

This empirical research method can be XXX insufficient。

XXX industry is needed。

such as the n industry。

not just empirical research on individual people or companies。

but as many cases as possible should be studied.Research results: XXX n for each source。

Recognize that these sources of n can help designers XXX。

XXX stage of the design process and in the early XXX.XXX: XXX.Keywords: XXX。

clothing。

creative thinking。

design arrangement。

design managementXXX design that includes visual and tactile senses。

中英文外文文献翻译中性化服装设计

本科毕业设计（论文）中英文对照翻译原文The study on the design of neuter clothingHouse WAbstractSocial and economic development, social thought, opening up and the progress of science and technology, men and women style presented the diversified pattern of neuter the fuzzy gender differences in style, from thebeginning of non-mainstream design till now has developed into one of the mainstream fashion design style. Fashion brands have launched in recent years, the neutral flavor of fashion, neuter clothing market share of more and more, neutral fashion, with its broad group of sex leads the urban street fashion. Neutralization of free and open way of life style, gave people a comfortable and enjoyable.Key words: Neuter; Clothing; Gender roles; Design1 IntroductionThe beginning of the 20th century the rise of the feminist movement, make the neutral clothing as a kind of style into the line of sight of people. In the 90 s, the neutral clothing has used by each big brand clothing as one of the fashionable elements, such as dust coat with a neutral style, suits, t- shirts and jeans have become people like everyday clothes. Neuter clothing style is a simple, pure; reject all multifarious mincing, personalized style. As a special kind of clothing style, neuter clothing fashion has been intensified in the social life, so it is necessary for us to study the clothing neutralization phenomenon, to study its causes and the development of sociology. This article mainly from the sociological association as well as the relationship between men and women clothing and gender status in the society, which is based on analyzing the change of the study the social basis of the neutral clothing appear; Again from the social system, economicdevelopment, cultural trend and fashion designers to the influence of the neutral clothing style, etc., it is concluded that the neuter clothing phenomenon is the development of social consciousness, the sexual role transformation, the new clothing design trends are affecting the results. Neuter clothing style has become the mainstream of one of the clothing style, can meet the demand of modern social personalized aesthetic. After more than a century of development, the neuter clothing style has represents a unique charm, is also one of the fashion trend in the future. This article through to the depth of the neutral clothing style formation and development, through to the neuter clothing design style and design characteristics of interpretation, through to the neuter clothing market development prospect of thinking, for the future research to neuter clothing style, to provide certain theoretical basis.2 Dress and gender consciousnessSex differentiation is one of nature's gifts. Not just the differentiation in humans; only humans, however, to make gender differentiation have cultural significance. Gender or sexual difference. For humans, the difference between men and women. Human gender is conceptually different from animal sex, because sex not only determined by the biological characteristics of human, human spirit and social nature of human gender has a psychological social attribute, therefore, the human gender including biological sex, psychological sex and gender. Humanbiological sex, men and women is the difference in the structure of the body, this is the most basic difference, is the basis of the psychological gender and gender on. Psychological sex refers to the men and women in such aspects as personality, temperament, emotional, and mental difference. Man’s social gender refers to people such as language, communication, symbols and education cultural factors constitute the judgment of the gender social standards. In human culture, clothing is the most directly reflect the culture of the gender consciousness form. Different dress of men and women is not only a feature of modern society, is also a historical phenomenon of very long. Costume history shows that as far back as 2800 BC Sue beauty, clothing on gender differences and gives a different form. In 2000 published by the American psychological association and the university of Oxford encyclopedia of psychology cited for gender roles defined by Carroll: gender roles is decided by the certain culture is suitable for male and female behavior system, also including those men and women is seen as a form of basic attitude and emotion. Gender roles (sex role), as by the society with a gender (male or female) consistent patterns of behavior. Men or women in such aspects as behavior, expression, tone of voice, clothing has its own characteristics, they play a different in the society. Role and the division of labor are often seen as god's truth. Women with men's or women's men's wear, is one of the female role in sex rebelled, Simon child is called "men against" "she doesn't wantto give up the right, but she also don't want to be deprived of the status of women, she chooses to participate in the world of men, even the most of it.” Women’s men's w ear, with this "compromise" between active personality and sex role, and amounted to "a state of psychological balance”. Women’s men's wear phenomenon is accepted by society. It embodies the value of men with the male sex of praise, in the interests of the patriarchal society. The progress of the society makes the history of sexual personality and gender values vary in modern society, gender personality value has been changed, more equal gender personality value. Social reality inevitably affects people's dress code and aesthetic standards, amphitricha dress to freedom, but both sexes mode still exists. Aesthetic standard mutates, the majesty of male charm is not absolute, but rather masculine in miscellaneous in some women's gentle but reflect in the women's gentle feeling. Contemporary clothing reflects the characteristics that: men from wide fat to fit, in the male style into the fiber characteristics of beauty; Fiber the dress also stressed that the dynamics/embodies the moderate male style. 3 The neuter clothing design styleIn the field of clothing, style refers to the uniqueness and difference of clothes or accessories. Neuter clothing style is characterized by: clothing modeling may be, form and refined; No obvious gender tendency, clothing decoration element and simplified properly; Clothing main tone to neutral color or no color; Fabrics are used more comfortable, good plasticitymaterial. Neutral style is not because of gender fuzzy and obliterates the personality characteristics, on the contrary, the appropriate to reflect neutral dress in rich individual character characteristic. This feature is composed of a state of uncertainty intertwined, and sometimes masculine, gently lyrical, and occasionally showed comprehensive lasting appeal. Therefore neutral style has become popular, clothing lies in the grasp of the gender neutral style, one is the trend of the outside of the gender neutral, namely the excavation of the common elements; It is sex in contrast, namely to find the opposite sex element. 3.1 Style restoring ancient ways Restoring ancient ways is to reminisce about the good things and miss, restoring ancient ways is not intact copy of the once popular element and clothing styles, but the designers through the change of The Times, to those who once popular element to a new style and show the world that once again the fashionable tide. Celine is neutral with representatives of the famous brand, Paris fashion week 2012 spring and summer, Celina shows the spirit of going to go through with restoring ancient ways. Deliberately do big coat sleeves, make women more free and easy handsome taste between walking. Dolce & Gabbana 2012 autumn/winter collection or elegant handsome or mature sexy Sicily noble men will bring us back in the 1910 s of 20th century. Everywhere the keys of the gold embroidery make integral style, delicate and costly, adding to the noble sentiment and drama. 3.2 Style of deconstructionIn today's modern high-speed development, the social environment and cultural background is becoming more and more inclusive and diverse, the traditional concept of men and women dress habits is undergoing great changes. Men's women wear, ladies' man, costume design concept and cut constantly innovation _.Deconstruction fashion style advocated jumping, fracture, split, combination of elements and collage, make the clothes appears cloud thickens, secrecy and rich connotation, very accord with neuter clothing aesthetic style.2012 Madison Martin Margie couture show of spring and summer, in a similar wardrobe of clothes as the prototype, her boyfriend will wear again after its deconstruction on women's bodies. Use has a strong sense of a chip cloak, deconstruction of stiff leather clamp, suit jacket with the sleeves cut off, and before the split leather skirt to deduce female neuter features of hale and hearty. 3.3 Luxurious style Future there will be two big trends: fashion is all the way toward simplicity. Another way is too costly. With the improvement of social economic level, more attention paid to the clothing brand value, high-grade fashion like Dior, Burberry has far exceeded the consumption level of the general public, but because they lead the fashion, and high-end, limited release materials, and got some pursuit of quality of life of consumers. Costly style from classical aristocratic luxury, luxury and popular culture and bold, passionate and enthusiastic, which creates a flashing and vulgar, bold and unrestrained, and elegant, gorgeous between infinite charm,luxurious, sex appeal and fashion. Brightly colored bright, bold lines, modeling is fashionable, rich move feeling, is the unique aesthetic art in strong pioneer characterization, is full of imagination and ornate than in reality. Milan fashion week of 2012 autumn winters, Gucci 2012 will take us back to the 19th century, realize the Diablo, ornate classical lady feel. 4Analysis of characteristics of neutralization costume design 4.1 CharacteristicsColor is the key to decide things style, each color from cold to warm, from soft to the strong can show different personality. Color than modeling, fabrics and other factors, said not to occupy a more dominant position, but he is the most direct to sensory stimuli. Clothing aesthetic value is by clothing color, shape and material of the three complement each other, perfectly together and show up. Such as: use more avant-garde style bold and bright, high contrast color. Classical dress style is to adopt the elegant, color coordinated color. Postmodern style emphasizes colorful, exotic style of national wind and by combining a variety of elements as the main characteristics.4.2The characteristicsClothing modeling can be divided into two parts, inside outside modeling and modeling, the equivalent of "style”. Refers to the structure of the clothing modeling design, it include the structure line, collar,sleeves, etc. The structure of the clothing line refers to reflect each splice site in the clothing, constitute a line of garments' integral form, including the provincial highway, pleat, line, decorative thread, etc. No matter and simplified structure line can be summarized as straight line, arc, and three kinds of curve. Light line spell able, curve, straight line and curve coordinate each other, constitutes a pleasant visual aesthetic feeling. Line structure can sometimes create illusion, the designer can use it as fault rule design, make the wearer's body appear better than true state. Abandon the adornment of heavy and complicated, return to simplicity, neutral clothing with modest attitude in the eyes of the world. Sex is no longer a designer to consider the primary factor, the design of the neutral clothing trying to weaken the differences of men and women in the physiological and physical structure, the profiles of the neutral clothing model presents the convergence between men and women style, contracted modeling nonsexual neutral clothing became one of the fashion design.4.3The fabric characteristicsClothing design is not just on the canvas or drawings show the effect of clothing, but through a variety of fabric, through the fabric structure, fabric texture, fabric color feeling, fabric thickness form to reflect design modeling design. Someone put clothing design as the material of the sculpture, the appearance of clothing is used to reflect the fabric, can produce heavy lines with thick cloth, frivolous fabrics can reveal the lineof light again, pretty hard or soft cloth of contour line and each are not identical. With the gradual improvement of the quality of people's life, modern clothing is more and more pay attention to the principle of comfortable, beautiful, practical, advocate natural, and pay attention to environmental protection. The development of science and technology also have greatly enriched the fabric market, designers can use a variety of texture of fabric, to enrich the design of the neutral clothing, in order to achieve the effect of pursuit. Using different appearance of the fabric to people's psychological feeling is not the same? 文献出处：House W. The study on the design of neuter clothing [J]. Stellenbosch Papers in Linguistics Plus，2016，4（7）: 65-75.译文中性化服装设计研究House W摘要社会经济的发展、社会思想的开放和科学技术的进步,男女着装风格呈现出了多元化的格局,中性化这种模糊男女性别差异的着装风格,从一开始的非主流设计到现在已经发展为主流的服装设计风格之一。

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(文档含英文原文和中文翻译)College men’s fashionA brief review of the literature on the social psychology of clothing reveals that young women are more frequently research participants than men . This may be because women far outnumber men in majoring in clothing design and apparel merchandising and thus are more easily accessible as research participants than men. Regardless of why clothing research includes more women as research participants, this focus on women has resulted in a dearth of research on young men. In support of this, Reilly and Rudd (2007) report that research has investigated men’s clothing preferences and habits to a lesser extent than women’s. men’s ideas about fashion and its importance in their lives have been overlooked. Despite the limited research on young men, consumer groups comprisedof college men are important to commercial marketers in terms of expenditure in men’s apparel and accessories. According to Statista, in 2012 the expenditure on men’s clothing goods in the United States was $22.2 billion. Men purchased footwear the most, followed by shirts and suits. Prior research has also shown that men’s interest in fashion is on the rise, leading to an increase in men’s apparel sales .Historically, women have been much more conscious about their appearance than men, but in recent times there appears to have been a change in this level of focus on appearance among men. Specifically, young men in Generation Y who have been socialized by mass media and marketing activities have become appearance conscious, which leads to apparel consumption (Kacen 2000; Patterson and Elliot 2002). Young men usually use dress to communicate their identities (Shete 2012), and their aspirations toward communicating this may influence their apparel consumption (Kang et al. 2011). Understanding the relationship between college-aged men’s identities and their clothing choices provides apparel marketers with useful information to develop effective strategies to produce and market clothes in accordance with the common values with which this group strives to identify.According to Hogg and Banister (2001), individuals can either have a positive reference point (i.e., desired end state) or a negative reference point (i.e., undesired end state) that they use to achieve their desiredidentities. So far, much research has been conducted on the positive aspects of consumers’ consumption choice. A lack of research into the negative aspects of consumption choice motivated us to question their impact on consumer behavior. Consumers’ avoidance behavior allows them to create further distance between themselves and their undesired identities (Hogg and Banister 2001), staying within the threshold of their desired identities. Thus, this research focuses on the clothing and style that college men avoid. An exploratory study was conducted on men attending a major midwestern university. On the basis of the results of the exploratory study, research interview questions for any further studies will be modified to address the research problem appropriately.The purpose of the exploratory study was to investigate what clothing college men prefer, what identities they achieve through their clothing, and what they want to avoid in their clothing choices. Our research questions were as follows: (1) Does college-aged men’s clothing reflect their identities and what do they want to express through their clothing choices? and (2) What undesired identities (related to aspects of an avoided self) do college-aged men avoid in their clothing choices? Literature reviewSocial identity theorySocial identity theory as conceptualized by Tajfel and Turner (1979) refers to perceived identity of the groups to which people belong(Tajfel 1982). Social identity theory posits that a person’s self-concept is based on his or her group membership. This theory consists of two dimensions: social identity and personal identity (Howard 2000;Tajfel 1982). Social identity reflects membership in various social groups (e.g., clubs, social class), and personal identity represents the unique attributes that differentiate one person from another (Howard 2000; Tajfel 1982). In complex social environments, young people can use their identification with in-groups (i.e., their own group) versus out-groups (i.e., other groups) (Ogilvie 1987) to align their appearance (i.e., the total and composite image created by clothing) with a desired social group and to differentiate themselves from the undesired, or avoidance, reference group (Banister and Hogg 2004). Thus, social identities provide status to young men and enhance their self-esteem.Research has used social identity theory to investigate the effects of men’s identities on the use of dress (i.e., all material objects added to body). For example, Kang et al. (2011) used social identity theory as a theoretical framework to investigate the relationship between young professional men’s perceptions of work identity and their use of dress. They found that the young men who felt incomplete in their work identity used dress as a symbol to construct their identities. Thus, in this study, we used social identity theory as a theoretical foundation to examine the relationship between college men’s identities and their clothing choices.Men’s identities with fashionAccording to Kratz and Reimer (1998), fashion is filled with meanings and symbols, through which people can visually communicate with one another in a rapid and direct manner. Fashion enables people to express their views about themselves and their identities through the use of clothing; it allows them to visually communicate who they are, who they want to be, what type of social group they want to belong to, and whom they do not want to be associated with the most (Shete 2012). Furthermore, Bennett (2005) states that fashion is one of the channels through which people can most readily give voice to their identities. Beyond words, people can convey themselves through dress and fashion, thus creating their social identity. Fashion’s essential role in providing people with means to build, shape, and communicate their identities is especially prominent in larger metropolitan cities where they “mingle with crowds of strangers and have only fleeting moments to impress them” (Bennett 2005, p 96).Men identify themselves through various ways. For example, some men may identify themselves through their body appearance, while others may show their identities by the way they dress; Hathcote and Kim (2008) note that men represent themselves through how they dress. Moreover, many men care about what they wear and how they wear it on a daily basis and also care about how others perceive them. As part of campussociety, college students also spend time on how they dress. Some male students prefer wearing sweatpants or baggy basketball shorts at school, while others prefer wearing polo shirts and casual pants. The way male college students choose their outfits for school represents their different personalities and identities. For example, some male students wear athletic clothing to show off their masculinity. This is consistent with Lunceford (2010, p. 66), who argues that “male students choose a specific article of clothing because of how it makes them feel or because it downplays what they consider to be unattractive aspects of their bodies while accentuating their best features.”Researchers have conducted studies related to the importance of clothing and fashion for identity creation and communication. For example, Piacentini and Mailer (2004) found that young people in the United Kingdom tended to use clothing to show similarity between themselves and the groups they wished to be identified with, and as a channel to establish potential friendships. Schofield and Schmidt (2005) examined the importance of clothes used in constructing and communicating gay men’s personal a nd group identities with a sample of Manchester-based respondents. They shaped individual gay identity through different levels (i.e., community level, neo-tribal level, and situational level) and found that gay identity emerged through clothing choices. In their study, gay identity is shared on a gay community level toexpress “gayness” to others; on a neo-tribal level to show “belonging” to a social gay cohort with shared experience and emotions; and on a situational level to make themselves blend in with wherever they are (Schofield and Schmidt 2005).As mentioned previously, young people in complex social environments can use their identification with in-groups versusout-groups (Ogilvie 1987) to align their appearance with a desired social group, and to differentiate themselves from the undesired, or avoidance, reference group (Banister and Hogg 2004). In their study of a sample of British consumers, Banister and Hogg (2004) found that many consumers wore safe clothing items (e.g., simple clothes, which would be interpreted positively) to avoid censure rather than risky items. If such fears of folly and negative attention are present in male consumers, certain commonalities among them can be identified. Eisler and Skidmore (1987) proposed that men’s gender-role expectations contributed to fears about lack of athleticism, emotional intimacy, intimacy with other men (or homophobia), and failure. If the feminine, unathletic, impotent man is representative of perceived undesirability among men, symbolic identifiers of those traits can be indicative of young men’s labeling of avoidance reference groups and the “avoided self.” Thus, men’s fashion conservatism (i.e., dressing in a masculine way according to social norms) could be partially attributed to the generalized fear of appearing“feminine” (Kimmel 1994).Aversion to alternative stylesThe aversion to alternative styles was accompanied by several rationales. One respondent said he avoided skinny jeans (often associated with “skater” and “emo” culture) simply “for comfort.” Another respondent avoided dark and alternative styles to “avoid negative stigmas” and possible associations with low intelli gence related to group think. However, the majority of the respondents who said they avoid alternative styles were unable to explain their aversion. Mentions of dislike of alternative clothing were often supplied first and with little hesitation, suggesting that this is a somewhat automatic and marked dislike for those respondents.One respondent said he avoids wearing black and looking gothic because his friends do not wear those styles, suggesting a fear of ostracism when wearing alternative clothing. In a similar vein, one respondent included that he “doesn’t want to lead people to believe he is dark.” A 23-year-old Caucasian respondent, when asked if he avoided any styles of clothing, said: “Gothic stuff for sure, dark clothing or Hot Topic stuff. I don’t want to be associated with them and I hate the people that wear that stuff, like spiked belts.” This type of sentiment occurred almost exclusively among Caucasian respondents from middle- andupper-middle-class backgrounds. The fear of social scrutiny andostracism, along with a general stigma regarding alternative andcounter-culture, appears to be the most common motivation for avoiding alternative styles.Aversion to gangster stylesGangster styles were mentioned often, and responses often indicated social and racial prejudices, in addition to the fear of social judgment. Many respondents associated “big” and “baggy” clothing with gangster style. Race emerged as a definite component of this aversion. All but one of the respondents who listed gangster style as an avoided style identified as Caucasian. One respondent directly indicted his aversion to wearing clothes “a black person would wear,” suggesting that affiliation with the African American culture would be undesirable. Other variants included an av ersion to “swag gear” and “thug style.” Another respondent even used a variant of a racial slur to express his avoidance ofgangster-inflected styles. The respondents supplied little additional justification for avoiding this style, and when asked to expound on their preference, three claimed that they were unable to provide further information.Aversion to gay stylesThree respondents expressed avoiding clothing that could be regarded as “gay.” The wearing of skinny jeans, jean shorts, V-neck shirts, or cardigans was perceived as indicative of homosexuality, according tothe interview data. The inclusion of these items of clothing specifically indicates an association of form-fitting clothing and low necklines with effeminacy and gay culture. Respondents expressed a desire to represent themselves accurately, and those who claimed to avoid gay-inflected clothing suggested that it was undesirable on the grounds that (1) they disliked gay culture, (2) they wanted to express their heterosexuality, and (3) they wanted to avoid speculation from others that they were homosexual. In this regard, homophobic sentiments, a desire for accurate self-representation, and a fear of social judgment all seemed to be components of these respondents’ desire to avoid clothing per ceived as being worn by gay men. Another respondent said that he refused to wear any clothing from the “women’s section,” and though this does not necessary relate to the avoidance of gay style, it does represent anoften-related fear of gender-role deviation. Thus, an avoided self and avoidance behavior were important factors in clothing choice, supporting earlier findings from Hogg and Banister’s (2001) study in which dislikes and distastes of college men were associated with negative symbolic consumption. This sentiment is demonstrated by another respondent’s notion that said, “you know that there are certain things that you don’t want to buy because you don’t want to project yourself in a negative way.” They proposed that a greater understanding of the impact of negative symbolic consumption on consumers product rejection couldhelp the development of companies marketing communication strategies.Cultural background and the avoided selfDemographics indicated different trends in responses among respondents. The four Chinese men who participated were largely unable to produce responses regarding avoided clothing and styles. One of these respondents said he only avoids clothing that is “too colorful or fashionable” because “it is not his style.” Another said he only avoids “hip-hop clothing” because it does not match his serious personality. The other two respondents said that there were no types of clothing or styles they avoided. These sentiments contrast greatly with the responses from American students, all but one of whom listed one or several types of avoided clothing and styles.Furthermore, the brief elaborations the Chinese students supplied regarding the reason they avoid clothing related to issues of personal identity, with no mention of social or cultural motivations for doing so. This indicates that the avoidance of styles due to fears of social castigation and negative group associations could hold as a phenomenon more prevalent in the United States than in China.The college-aged men in this study expressed a desire for clothing that is comfortable, gives them confidence, and meets the expectations of their surroundings. These men recognized that their clothing was onerepresentation of their identities. Thus, the results suggest that college men are driven largely by a desire for comfort and to meet normative expectations. These findings are supported by the supposition that “men dress for fit and comfort rather than for style”, made by Craik (1994) and confirmed by Bakewell et al. (2006). These attributes for college men’s clothing choice seem to be quite different from those for young women, who largely make their choices based on brand (fit, look, and style) (Taylor and Cosenza 2002). The driving force for college men’s clothing choice is seemingly functional rather than decorative (Kacen 2000), even if they have become more appearance-conscious. Overall, the positive connection between young men’s individual identities and their clothing choices parallels previous research on the relationship between young professional men’s perceptions of work identity and their dress choices (Kang et al. 2011), and on the link between young peopl e’s clothing choices and the identity of the groups to which they belong (Piacentini and Mailer 2004).A minority of respondents avoided certain types of clothing because they felt it was incongruent with their styles. Their aversion to clothing that appears to belong to alternative, gangster, or gay styles suggests that these men strived to avoid clothing that implied identities viewed as non-conformist, non-professional, and unusual. These men indicated that their clothing choices were perhaps motivated by a desire to fit in withothers. Their aversion to clothing styles that communicated incongruent identities implies that deviations from cultural, class, race, andgender-related norms were undesirable.翻译：大学男装时尚简要回顾服装社会心理学的文献显示,年轻女性比男性更多的成为研究参与者。

毕业设计外文文献翻译(原文+译文)

Environmental problems caused by Istanbul subway excavation and suggestionsfor remediation伊斯坦布尔地铁开挖引起的环境问题及补救建议Ibrahim Ocak Abstract：Many environmental problems caused by subway excavations have inevitably become an important point in city life. These problems can be categorized as transporting and stocking of excavated material, trafﬁc jams, noise, vibrations, piles of dust mud and lack of supplies. Although these problems cause many difﬁculties,the most pressing for a big city like Istanbul is excava tion,since other listed difﬁculties result from it. Moreover, these problems are environmentally and regionally restricted to the period over which construction projects are underway and disappear when construction is ﬁnished. Currently, in Istanbul, there are nine subway construction projects in operation, covering approximately 73 km in length; over 200 km to be constructed in the near future. The amount of material excavated from ongoing construction projects covers approximately 12 million m3. In this study, problems—primarily, the problem with excavation waste(EW)—caused by subway excavation are analyzed and suggestions for remediation are offered.摘要：许多地铁开挖引起的环境问题不可避免地成为城市生活的重要部分。

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。

中英文外文文献翻译中性化服装设计

服装专业外语第三章

Chapter 3Part aWhat does a Designer Do （服装设计师做什么）What exactly does a designer do?（服装设计师究竟做什么工作呢?）No two designers will answer this question in the same way because each designer does so many different things.（因为每个设计师做很多不同的事情,所以没有两个服装设计师会回答一样。

）As a rule, designers work for a wholesale apparel house or manufacturer, and their duties include a range of interrelated jobs. （一般来说,服装设计师为某个大的服装公司或者服装厂工作，因此他们的职责包括广泛的相关工作。

）wholesale [英] [’həʊl,se il] adj.&adv. 1.批发(的)2.大规模(的) n. 批发interrelated [英] [,i ntər i’le i tid] 相互影响、相互联系Researching Colors and Fabrics（研究色彩和织物）The first step in creating a new line is to research fashion and consumer trends. （新产品设计的第一步就是研究流行时尚及消费趋势。

）Generally, the designer will begin by investigating color trends. （一般来说，服装设计师从调查色彩流行趋势开始(着手)。

）Information on color trends for the coming season usually comes from fiber companies and professional color services like Pat Tunskey. （有关下一季的色彩流行趋势的信息，通常来自于纤维公司和像Pat Tunskey 这样的专业色彩服务公司。

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, 2009, 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. 2005). The mechanical properties of fabrics were first studied 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 unrealistic 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 clothing industries. 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 m ain parameter used to quantify fabric drape (Narahari Kenkare and Traci May-Plumlee. 2005). 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 si de. 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 width 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 fabr ic. 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 drapeprofiles.译文接缝对面料褶皱效果的影响库马尔；甘拉维尔；安娜斯克里斯兰摘要褶皱是服装面料的一个内在特性，这使得它能够优雅地挂在服装面料的表面，特别是当面料的有些区域需要用到褶皱的时候。

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。

服装设计类毕业设计毕业论文外文翻译-服装设计工程之边缘设计英文翻译外文

原文Couture Sewing TechniqueClaire B.ShaefferEdge Finishes Hems,Facings and BindingsU nless finished in some way, the edges of a garment ravel and look incomplete. These edges—the neckline; the vertical front edges of jackets, coats and many blouses; jackets and coats—can be finished in conspicuously or they can become distinctive, decorative elements of the design.Three finishes are used extensively in couture:hems, facings and bindings.The choice of edge finish depends on many things—the shape of the edge being finished; its position on the garment; the type, design and fabric of the garment; current fashion trends; and the preferences of the individual wearer and the designer. For example, if the bottom edge of a dress is straight, it might be completed with a hem, a facing or a binding. But if this edges is asymmetrical, curved, scalloped or otherwise unusually shaped, it will need to be finished with a facing. Even when the edge is visually the same on the neckline and hem, the two different edges are likely to require slightly different finishes to accommodate the curve at the neckline and the weight of the fabric at the hem. And although it’s obvious that a tailored garment would require very different finishingfrom an evening gown, even similar designs vorked in dissimilar fabrics would dictate finishes suitable for each fabric.Although hems, facings and bindings are all edge finishes, each has a slightly different function. Hems are generally used on the lower edges of a garment or garment section (for example, a sleeve) and many help the garment hang attractively by adding weight to the edge. Facings, on the other hand, are applied to the upper and vertical edges of a garments. Bindings can be used on upper, lower or vertical edges, but they’re used most often to replace facings rather than hems.Facings can be cut as separate sections and sewn to the garment to finish curved or shaped edges. Or, when used on edges that are straight or only slightly curved, they can be nothing more than a wide hem allowance, in which case they’re called extended facings. Both hems and facings are visible on only one side—usually the underside—of the garment. Bindings, by contrast, are separate strips of fabric that encase the garment edge and finish both sides of the garment attractively.Because in couture the cost of labor and materials takes a back seat to the desired results, edges are not always finished with the simplest method or the one most often used in ready-to-wear construction or home sewing.Whatever the finishing method, hems, facings and bindings can be sewn entirely by hand or machine work.. The hand work visible on the finished product, however, is only a fraction of the hand work used to finish the edges of the traditional couture garment.FACINGSFacings, like hems, are designed to finish the edge of the garment. Unlike hems, which hang free of the body and affect the garment’s hang more than its overall shape, faced edges frequently fit the body’s curves and subtly affect the garment’s silhouette. Used on garment openings, curved edges and shaped edges like jacket lapels, facings contribute significantly to an overall impression of a well-constructed garment.There are three types of facings: extended, shaped and bias. Two of these —shaped and bias facings—are cut separately from the garment and can be sewn from self-fabric or lightweight lining fabrics. The extended facing is cut as an extension of the garment section like a plain hem and is, of course, self-fabric.The extended facing is nothing more than a 1/2-in. to 2-in. hem and is sewn exactly like a plain hem (see pp. 63-64). When the garment edge is on the length-wise grain, the extended facing duplicates the shape andgrain of the edge it faces. But when the edge is slanted on a bias or has a slight curve, the facing can’t duplicate the grain and may have to be eased, stretched or clipped to fit the edge smoothly.The extended facing is used extensively in couture because the folded edge of this facing is flatter and more supple than the seamed edges of shaped and bias facings and consequently drapes better. Edges with extended facings are generally interfaced and stabilized so that they maintain their original shape for the life of the garment.As its name suggests, the shaped facing is cut to duplicate the shape of the edge it faces and ususlly duplicates the grain as well. This facing is often used on necklines and on edges intended to have a crisp, constructed look, and it’s always used on intricately shaped edges like a scalloped hem.The bias facing is a strip cut on the true bias. Because it doesn’t duplicatethe grain of the edge it faces, this facing must itself be shaped to fit the edge. Bias facings are made from lightweight fabrics and produce narrow, inconspicuous facings.In cousture, more than one type of facing is often used on a single garment or even on a single edge. The pink gazar dress shown above, for example, has extended facings on the front neckline and back opening with shaped facings on the front neckline and back opening with shaped facings on the back neckline. Similarly, the jacker on p.60 has a shaped facing on the upper half of the front edge and an extended facing on the lower half of this edge.Before applying any kind of facing, examine the garment’s fit to determine whether the edge needs to be help in or stabilized with a stay tape (see pp. 49-50) or interfaced (see p. 68). Once you’ve handled the edge as required, then you can proceed to apply the facing you’ve chosen.SHAPED FACINGSShaped facings can be applied by hand or by machine. Both types of applications are used in couture, while only machine applications are used in resdy-to-wear. The machine application is, of course, faster, but it’s sometimes more difficult to shape the facing so that it fits smoothly,and the seamline is sometimes visible at the garment edge. The instructions below are for applying the facing by hand. (For directions on applying shaped facings by machine, refer to your favorite sewing manual.)These directions focus on neckline facings because they’re most frequently used in couture workrooms. However, the directions can be applied to other edges such as waistbands, armholes, applied pockets, collars and cuffs, and they can be adapted for garment linings. The facing can be made any time after the neck edge is established, the seamline or foldline is thread-traced, and the edge is interfaced or stabilized appropriately for the design.Facings can be cut from the original garment pattern if the edge wasn’t changed during the fitting process, or the garment itself can serve as a pattern. When the garment is used as a pattern, the thread-traced neckline can be used to establish a corresponding stitching line on the facing. Afinished neckline can also be used as a guide when you’re applying the facing by hand.Neck facings can be cut in several shapes. Two of the most popular are the traditional circlular shape, which measures an even distance all around from the edge, and a rectangular shape, which extends into the armscye seams. When the larger shape is used, the facing edges can be anchored in the seamlines, holding them smooth and in place. The facing shadow may also be less obtrusive with the larger shape, depending on the design. The obvious disadvantage of this facing is the additional fabric introduced into the shoulder area, which may give the garment a bulky appearance.One solution for reducing some of this bulk is to relocate the seamlines 1/2 in. to 1 in. from their original positions. In couture, the seams on facings are not always aligned with the corresponding garment seamlines, as they are in ready-to-wear and home sewing.The directions that follow are for cutting and applying the less familiar rectangular facing. They can easily be adapted for a circular facing, Start by selecting some scraps from your garment fabric for the front and back facings unless the fabric is bulky or heavy, in which case use a lighter,firmly woven material for the facings. Rectangular pieces of cloth are preferable because they make it easier to identify the grainlines. If you’re cutting a rectangular facing for a garment with a high, round neckline with a closre in the back, begin with one large rectangle about 16 in. wide by 7 in. long for the front facing and two smaller ones about 8 in. wide by 6 in. long for the back facings.When applying the facing by hand, it’s easier to finish the garment edge before making the facing so that you can use the finished, do so before starting the facing and clip the free edge of the interfacing as needed, to make it lie flat. Trim the seam allowance around the garment neck to 3/4 in. andfold it to the wrong side. Baste a generous 1/5 in. from the edge. To minimize the seam allowance’s tendency to curl around the neck, snip shallow cuts into the raw edge every inch or so as needed to make the neckline seam allowance lie flat(as shown on p.74).With the wrong side up, place the neckline over a pressing cushion andpress just the neckline edge. With your fingers, gently try to flatten the raw edge. If necessary, trim the edge further to 3/8 in. for firmly woven fabrics and 1/2 in. for less stabble fabrics. If the seam allowance still doesn’t lie flat, clip the raw edge with short, closely spaced snips up to, but not through the basting stitches around the neck edge. Use a loose catchstitch to sew the edge of the seam allowance to the underlining or interfacing. If the garment has neither, sew carefully so the stitches do not show on the right side of the garment.Cut a rectangle for each section to be faced. Before proceeding, decide whether relacating the shoulder seams will redistribute the bulk. After relacating the seam, if you decide to do so, begin with wrong sides together, and match and pin the grainlines together at the center front of the garment and its facing. Then, holding the garment neckline curved, as it will be when worn, smooth the facing in place, pinning as you go. When you get to the shoulder seams, smooth the front facing over the seams so that the seam allowances are flat. Pin and then trim away the excess at the shoulder seams and at the neck edgd, leaving 1/2-in. seam allowances on the facing, as shown above.Pin the back facing(s) in place. At the shoulder seams,trim and then turn the raw edges under, then pin and slip-baste, as shown above. At thispoint, you can machine-stitch the shoulder seams. At the neckline, trim away the excess, leaving a 1/2-in. seam allowance.Turn under the raw edge so the facing is 1/16 in. to 1/4 in. below the edge of the neckline and does not expose the clips on the garment’s seam allowance. If necessary, clip the edge of the facing at intervals as needed to make it turn under smoothly and pin it in place. On edges with shallow curves, you can turn back the neck edge of the facing in place and press lightly. Using a fell stitch or slipstitch, sew the facing to the neck edge and join the shoulder seams if they weren’t machine-stitched. Remove the bastings and press lightly.BIAS FACINGSA bias facing is a narrow strip of fabric cut on the true bias that’s shaped, rather than cut, to duplicate the edge it faces. Well adapted to garments with soft edges, this facing is frequently used on blouses and dresses and on lightweight silk and cotton fabrics. In couture work-rooms, most bias facings are applied by hand. Generally, self-fabric is used if the garment is sewn from light-weight fabric, but if the fabric is heavy, lining material can be used instead.Bias facings are narrower and less conspicuous than shaped facings, and since they require less fabric, they’re both more comfortable to wear nextto the skin and more economical to sew. There are two disadvantages to these facings, however. When a bias facing is applied, the garment edge is rarely interfaced and may not be as smooth. And since the bias facing is usually slipstitched to the garment, it’s sometimes difficult to prevent the stitches from showing on the outside of the garment.Most bias facings are finished so they’re about 1/2 in. wide, but they can be as narrow as 1/4 in. on a jewel neckline and as wide as 2 in. at the waist of a skirt. Generally, the wider the bias facing, the more difficult it is to shape it to a curved edge.Before applying a bias facing, finish the garment edge. Fold the seam allowance to the wrong side and baste 1/8 in. to 1/4 in. from the edge. Clip as needed to make the edge lie flat. With the wrong side up, press the edge.Measure the garment edge to be faced and cut a bias strip several inches longer, or join several strips for the length you need. For a 11/2-in. wide facing, the strip should be 1 in. wide for straight edges and 11/2 in.wide for curved edges. Fold one of the long edges under 1/4 in. This is best accomplished by folding 6 in. at one time and pleating the folded edge with your hands into 1-in. pleats so the edge will stay folded without pressing, which might stretch it.Begin with the wrong side up and match the wrong side of the bias strip to the wrong side of the folded garment edge, aligning the bias edge with the basting, 1/8 in. to 1/4 in. below the garment edge. Pin the bias, easing or stretching the strip until it fits the edge smoothly, and baste.Place the edge over a pressing cushion with the right side up. Cover theedge with a press cloth and carefully press just the edge and the bias strip. The facing shoule lie smoothly against the wrong side of the garment. If it doesn’t, release the basting and try again.Using a slipstitch or fell stitch, sew the facing to the seam allowance. Trim the bias so it’s an even 3/4 in. wide. To finish the free edge, fole it under 1/4 in., pin and baste. Using a very fine needle, sew the edge to the garment with a loose slipstitch or fell stitch. If the garment is backed, catch the backing but not the garment. Remove the bastings and press lightly.When applying a bias facing to a neckline without an opening, begin at the left shoulder seam and work toward the front neckline(this is the most difficult part of the neckline to face and, in couture, is therefore tackled first). For a bias facing at the armscye, begin at the underarm. Finish by folding one end of the bias wrong sides together on the lengthwise grain. Lightly crease the fold with your thumbnail. Fold the other end under so the folded edges match. Then slipstitch the folds together.BINDINGSAn elegant finish suitable for nearly every edge,a binding can be unobtrusive or, in a contrasting fabiric or texture, add dash to yourgarment. Bindings are made by stitching a strip of fabric to the right side of an edge, wrapping it around the edge and securing it neatly on the underside. Often finished so they’re attractive on both the right and wrong side of the garment, bindings are frequently used on transparent fabrics, two-faced fabrics and on reversible and unlined garments.In order to shape and sew bindings to curved edges easily, most fabric bindings are cut on the true bias at a 45°angel to the lengthwise grain. But if the garment edges are straight or almost straight, bingdings can be cut on either the crossgrain or lengthwise grain to enhance the design. The directions below focus on bias-cut bindings, but they can easily be adapted for nonbias strips and ribbon, although these other bindings donot take the shape of the edge as easily.Selecting the fabric for bindings is particularly important. Lightweight materials like crepe, sation, chiffon and voile are suitable for bindings on almost any shell fabric. If you wan a heavier bound edge, you could use fabrics like wool, rib-weaves, cottons and sturdy linens. But be aware that the heavier the binding fabric, the more difficult it is to work with and control its bulk, particularly at the ends.Most bindings are finished about 1/4 in. wide, but on very lightweight fabrics they can be as narrow as narrow as 1/8 in., and on bulky or heavy fabrics they can be as wide ae 1-in. Bindings can be made with either a single-layered, open strip of fabric or with a double-layered, folded strip. Obviously, bindings sewn from a double layer are stiffer and thicker because they contain more fabric, an advantage when that binding fabric is lightweight or when you want a sharply defined edge. But if the binding fabric is heavy or bulky or if the garment edge is designed to hang softly, a single-layered binding is more suitable.Generally, bindings are not applied until the garment is almost finishe—that is, until appropriate interfacings and backings have already been set, the garment fitted and all corrections made. On lined couture garments,however, the binding is frequently applied first by hand or machine, and finished wirh the lining, which covers the raw edge of the bingding..CUTTING AND STITCHING THE BIAS STRIPIf you lived in Italy, you would visit your favorite merceria, or sewing-nitions store, when you wanted to trim a design with bias bindings (I’ve looked in stores in France and England but hanve never seen fabric sold in this way). There you would find a large assortment of fabrics already cut with one edge on the bias. After you chose your fabric, a salesperson would cut a parallelogram for you, which would be ready to be cut into bias strips.In America, however, the home sewer’s fitst task in making a bias binding is to estaqblish the true bias of the fabric. This is important because if the strips are not cut exactly at a 45°angle, the finished bindings will ripple, twist and pucker. The best way to establish the true bias is with an isosceles right triangle—a drafting tool that has two sides of equal length with a 90°angel between them.Align one of the triangle’s short sides with the length-wise grain.The other side will be on the crossgrain, and the hypotenuse will mark the true bias. Mark parallellines on the bias with chalk and cut as many strips asneeded for the length of your edges (see the discussions on the following pages on single and double bindings to calculate the width of strip needed for a given finished binding width). For a short bound edge in a prominent place on the garment—for example, on a lapel—use one continuous bias strip. For longer edges, join as many strips as needed for your length. In general, it’s better to join the strips on the lengthwise grain, but if the fabric has a prominent cross-rib or horizontal stripe, the seam will be less noticeable if the seam is parallel to the stripe or rib.To join bias strips, first trim all ends of the bias strips so they’re on the desired grain—ususlly the lengthwise grain. Begin with two strips, right side up. Fold one end under 1/4 in., pin it to the other strip so the grainlines match and slip-baste at the fold. Repeat until all the strips are joined. Then, fold the basted strips together with right sides together and sew the seam with a very short machine stitch (20 stitchws/in. or 1.25mm). Press the seams flat and then press them open. Trim away the ends of the seam allowance that extend beyond the width of the strip and trim the seams to 1/8 in.Although bindings can be applied to almost any edge, the directions given here are for applying single and double bindings to a neckline, where they’re most often sewn. To prepare the garment for either a single ordouble 1/4-in.—or the width of the finished binding—below the neckline. Do not trim away the seam allowance.SINGLE BINDINGThe couture method of applying a single binding has several advantages over the regular home-sewing method. It’s begun with the right sides up, allowing you to see the binding as you shape it to fit the edge, It can also be made entirely by hand rather than machine, which results in a softer finish. To determine the most suitable width for the finished binding, experiment with fabric scraps before cutting the strips until you arrive at a sample you like.Thread-trace the garment edge, as explained on p.76, and cut the bias strips so that the width of each strip is six times the desired finished width of the binding plus 1/2-in.(To make a finished 1/4-in.wide binding, for example, cut a bias strip 2 in. wide.) Press the strip, stretching it slightlylengthwise. Fold under one long edge of the bias 1/4 in., regardless of the desired finished width, and baste 1/8 in.from the fold.Working with the right sides up, align and pin the folded edge to the garment so it barely laps the binding seamline. To apply the bias smoothly to a neckline, hold the folded edge of the strip taut when pinning it in place. Baste through all layers close to the folded edge and slip-baste the strip to the garment. Then remove the first row of basting that holds the binding flat, unfold the strip so the right sides are together and machine-stitch over the basted line. Trim the seam allowance at the neckline, remove any bastings and press lightly.Fold the binding toward the neckline and finger-press the binding seam. Wrap the binding around the neckline’s raw edge and finger-press again. Pin-baste the binding in place on the wrong side of the neckline, setting the pins just below the binding. Measure the binding width. If it’s more than 1/4 in., the finished neckline will probably be too tight. If this is the case, unpin the binding and trim the seam as needed to keep the finished binding width at 1/4 in. Then fold the raw edge under so that the folded edge touches the seamline. If the folded edge overlaps the seamline, unfold the bias and trim it as needed to make a folded edge the width you need. Baste and then permanently fell or slipstitch the folded edge to thestitched line. Remove the bastings and press lightly.Sone binding fabrics are too bulky to produce a binding that looks the same on both sides. If the design has a lining that can be applied over the binding, bulk can be reduced by leaving the binging’s raw edge flat on the wrong side of the garment instead of turning it under.Sew the binding in place by hand with short running stitches. Then trim it 1/4 in. below the seamline and apply the lining to cover the raw edge.When binding outward curves, for example, on collars and pockets, trim away the garment seam allowance. Ease the folded edge to the binding seamline so the bias is smooth at the raw edge. Then proceed as above.When binding corners on collars and lapels, a triangle of excess fabric will form at the corner. Use a needle to shape the triangle into a miter and baste it in place. Then proceed as above.DOUBLE BINDINGAmerican couturier Charles Kleibacker had an unusual method for applying a double binding, which he used to finish and trim the edges of his lace designs and to sew wide bias bands in the place of skirt hems. He laid the bias strip flat on the table and applied the garment to the bias strip, instead of the reverse. Working this way makes it easier to control the bias binding and produces fantastic results.Because the finished binding for this application method will consist of atleast seven layers, the weight and bulk of the binding fabric are particularly important and must be taken into account when deciding the width of the finished bias. Medium-weight fabrics such as four-ply silk and silk linen are suitable for bindings as narrow as 1/8 in., lightweight crepes, chiffon and organza can be used. The instructions here are for a finished binding 1/4 in. wide on a neckline. They can be modified to make a very narrow 1/8-in. wide binding or one that’s much wider.Begin with a bias strip four times the finished width plus two 1/2-in. wide seam allowances.(For a finished binding 1/4 in. wide, for example, the strip will be 2 in. wide) With the wrong sides together, fold the strip in half lengthwise and baste about 1/8 in. from the fold. Lay the strip flat on the table with the fold toward you. Using chalk or pins, mark a line along the length of the strip that is an even distance from the folded edge and equal to twice the finished binding width. (For a 1/4-in. wide binding, make 1/2 in. from the fold.) Put a second row of basting through both layers along this line to mark the binding seamline.On the garment, thread-trace the neckline and seamline for the binding, as explained on p.76. Spread the garment flat on the table with the edge to be bound toward you and right side up. Then, using the thread-traced binding seamline as a guide, fold the neck edge of the garment under 1/4in.To accomplish this neatly and without stretching the neckline, clip it as needed and fold under one small section at a time. Match and pin the folede edge of the neckline to the binding seamline on the bias strip (the one father from the folded edge of the bias strip), as shown above. Baste the garment to the binding, using a small fell stitch or slipbasting. Reposition the layers with right sides together. Machine-stitch over the basted seamline. Remove the basting and press lightly.Trim away the original thread-traced seam allowance on the neckline to reduce bulk. Wrap the binding around this raw edge. The binding’s folded edge should just meet the stitches line on the wrong side of the neckline, and the finished binding should measure 1/4 in. wide. If it doesn’t, trim the neckline a little more. Grade the seam allowances as needed. Pin the binding in place, setting the pins at an angle with the heads toward the neckline and baste. Hold the edge in one hand with the wrong side toward you, and using a fell stitch, sew the folded edge to the stitched line.FINISHING THE BINDING’S ENDSBindings often begin and end at garment openings such as neckline plackets and zipper closures. For a smooth, inconspicuous finish, fold the ends of the binding to the wrong side before wrapping the bingding around the edge.Complete the opening and trim away any excess bulk before beginning the binding. Pin the bias to the garment, allowing a 1-in. extension of the bias strip on each side of the opening to the wrong side. Trim to about 1/2 in. and sew it with a catchstitch to the wrong sides of the bias strip and garment. Repeat for the other end. If the opening has a hook, eye or button loop, sew it in place now so the end will be hidden between the layers of the binding.On couture and good-quality ready-to-wear garments, bindings applied to edges without openings (for example, circular necklines, armholes, sleeve edges and skirt hems) usually have the ends seamed on grain. Before beginning such bindings, decide where to locate the seam so it will be as inconspicuous as possible on the finished design. On necklines, the seam is usually deemed least conspicuous at the left shoulder; on armholes and the edges of sleeves, under the arm; snd, on hems, at the left side seam.Prepare a bias strip that’s long enough to allow for a 4-in. tail on each end of the strip. Pin the bias strip to the garment. Fold back one tail on the lengthwise grain with wrong sides of the bias together and pin it in place. Repeat for the other end so the folded edges meet.Slip-baste the folds together. Unpin the bias about 1-in. on either side of the basted seamlineso you can stitch the basted seam easily, or use a short backstitch to sew the seam by hand. Press the seam open and trim the seam allowances to 1/4 in. Repin the bias to the edge and complete the binding, which encases the raw edges of the seam.译文时装缝纫技术之服装边缘处理工艺衣服的边缘如果不以某种方式处理，这件衣服就会显得混乱和不完整。

服装设计专业毕业设计外文翻译精品

服装设计中的计算机辅助方法三维计算机辅助设计（CAD ）技术正逐渐扩散到服装的设计和制造应用领域。

目前，服装行业普遍使用的二维CAD工具。

预计，三维设计工具，将成为未来服装行业中不断发展的技术。

服装产品的设计的基本问题是合体性的问题以及相关的二维图形生成的问题。

最终目标是设计和生产非常合体的个性化服装，而三维方法是通过努力可以实现这一目标的最合理的办法。

三维方法包括几个关键因素：其中包括参数化三维人体模型;三维服装模拟;三维图案设计，并3D/2D模型转换。

做这个课题的目的是提供一个平台，供研究人员回顾过去的技术发展，并为今后研究三维服装设计方法找出可能的方向。

这里选择了题目相关的五篇论文，为服装行业提供三维应用程序发展的背景和技术。

第一份文件是一个粗略的审查织物仿真技术，该技术奠定了基础的三维服装设计。

接下来的三篇论文详细介绍了虚拟的环境中的三维服装设计。

最后一篇介绍了将三维服装转换为二维样板的新技术。

第一篇论文是从Choi and Ko得到的，有关织物仿真研究问题。

作为一项服装设计和修改的基本技术，物理为基础的织物仿真技术被用来产生织物运动的逼真效果。

这篇论文介绍了织物仿真技术的三个方面：（1）服装结构; （2）基于物理的模拟，和（3）碰撞检测和响应。

所面临的技术挑战，即创造更多的实际成果;实现更快的运行时间，制造/模拟更为复杂的服装，是需要进一步研究的突出问题。

V olino等在第二篇论文中提出的，是一个框架，它符合服装行业虚拟服装设计和原型制作的需要。

他们的做法集中在交互设计，模拟和可视化功能。

作为先进的虚拟服装仿真技术在过去十年中的总结，本文中介绍的框架集成了国家最先进的具有创新设计工具的物理模拟算法，提供高效率和高质量的服装设计和原型制作程序。

第三篇论文介绍了一个综合的环境，这使得设计师能够通过分析服装虚拟原型和仿真结果验证他们的风格和设计方案，因此，物理原型的数量和作用会减少。

和上一篇论文中提到的一样，本文介绍的服装虚拟原型的制作方法也是以物理为基础的。

外文文献翻译服装设计

毕设附件外文文献原文及译文文献出处：Rothenberg A, Sobel R S. A Creative Process in the Art of Costu me Design[J]. Clothing & Textiles Research Journal, 2016, 9(1):27‐36.译文服装设计的艺术创作进程阿尔伯特·罗斯伯格;罗伯特·索贝尔关于制造力心理学的实证研究已经进行了 20 连年的时刻，目前已经确信了一个特定的制造性的操作进程，称为“人性化的制造进程”。

那个进程已被证明，对各类类型的艺术与科学领域的制造性活动都有一个重要的作用。

正如它的概念所言，这一人性化的制造进程需要通过踊跃地构思和艺术性的两种因素的结合，一起作用，只有如此，才能造就一个富含人性的艺术品。

增进服装的人性化设计思维，需要用到一种技术方式，这种方式涉及利用到将人性化因素的考虑及艺术性的构思结合在一路，依如实证研究，说明利用这种可行性技术，能够增进服装设计的人性化艺术创作进程。

了解服装的天然性因素，包括服装设计的艺术创作进程。

但是，科学方式的制造力是困难重重的。

只是艺术家和其他人都对服装设计的艺术创作进程的本质都专门感爱好，都想明白得和阐释这意思本质，有一种观点以为发明家在那个领域的尽力没什么成效的。

这些发明家们也担忧这种情形，但这确实是他们的工作。

另外，发明家们可能都会比较感爱好，确实是将他们的研究功效应用于实际的制造性的尝试。

将研究结果应用于实践，通常会受到很多人的疑心和轻视，因为他们以为，这看起来就像是玩弄制造的进程，他们以为这一进程应该受到强烈钦佩和尊重，而不能有任何随意性。

尽管存在这些困难，可是事实证明，这种富含技术性的制造进程，专门是应用于服装设计中，恰恰会致使有价值的和有趣的结果。

本文关注的是思维制造性进程操作的实证分析，探讨人性化地艺术性思维，这种思维应被用于服装设计领域中。

毕业设计外文翻译例文

大连科技学院毕业设计(论文)外文翻译学生姓名专业班级指导教师职称所在单位教研室主任完成日期 2016年4月15日Translation EquivalenceDespite the fact that the world is becoming a global village, translation remains a major way for languages and cultures to interact and influence each other. And name translation, especially government name translation, occupies a quite significant place in international exchange.Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. While interpreting—the facilitating of oral or sign-language communication between users of different languages—antedates writing, translation began only after the appearance of written literature. There exist partial translations of the Sumerian Epic of Gilgamesh (ca. 2000 BCE) into Southwest Asian languages of the second millennium BCE. Translators always risk inappropriate spill-over of source-language idiom and usage into the target-language translation. On the other hand, spill-overs have imported useful source-language calques and loanwords that have enriched the target languages. Indeed, translators have helped substantially to shape the languages into which they have translated. Due to the demands of business documentation consequent to the Industrial Revolution that began in the mid-18th century, some translation specialties have become formalized, with dedicated schools and professional associations. Because of the laboriousness of translation, since the 1940s engineers have sought to automate translation (machine translation) or to mechanically aid the human translator (computer-assisted translation). The rise of the Internet has fostered a world-wide market for translation services and has facilitated language localizationIt is generally accepted that translation, not as a separate entity, blooms into flower under such circumstances like culture, societal functions, politics and power relations. Nowadays, the field of translation studies is immersed with abundantly diversified translation standards, with no exception that some of them are presented by renowned figures and are rather authoritative. In the translation practice, however, how should we select the so-called translation standards to serve as our guidelines in the translation process and how should we adopt the translation standards to evaluate a translation product?In the macro - context of flourish of linguistic theories, theorists in the translation circle, keep to the golden law of the principle of equivalence. The theory of Translation Equivalence is the central issue in western translation theories. And the presentation of this theory gives great impetus to the development and improvement of translation theory. It‟s not diffi cult for us to discover that it is the theory of Translation Equivalence that serves as guidelines in government name translation in China. Name translation, as defined, is the replacement of thename in the source language by an equivalent name or other words in the target language. Translating Chinese government names into English, similarly, is replacing the Chinese government name with an equivalent in English.Metaphorically speaking, translation is often described as a moving trajectory going from A to B along a path or a container to carry something across from A to B. This view is commonly held by both translation practitioners and theorists in the West. In this view, they do not expect that this trajectory or something will change its identity as it moves or as it is carried. In China, to translate is also understood by many people normally as “to translate the whole text sentence by sentence and paragraph by paragraph, without any omission, addition, or other changes. In both views, the source text and the target text must be “the same”. This helps explain the etymological source for the term “translation equivalence”. It is in essence a word which describes the relationship between the ST and the TT.Equivalence means the state or fact or property of being equivalent. It is widely used in several scientific fields such as chemistry and mathematics. Therefore, it comes to have a strong scientific meaning that is rather absolute and concise. Influenced by this, translation equivalence also comes to have an absolute denotation though it was first applied in translation study as a general word. From a linguistic point of view, it can be divided into three sub-types, i.e., formal equivalence, semantic equivalence, and pragmatic equivalence. In actual translation, it frequently happens that they cannot be obtained at the same time, thus forming a kind of relative translation equivalence in terms of quality. In terms of quantity, sometimes the ST and TT are not equivalent too. Absolute translation equivalence both in quality and quantity, even though obtainable, is limited to a few cases.The following is a brief discussion of translation equivalence study conducted by three influential western scholars, Eugene Nida, Andrew Chesterman and Peter Newmark. It‟s expected that their studies can instruct GNT study in China and provide translators with insightful methods.Nida‟s definition of translation is: “Translation consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style.” It i s a replacement of textual material in one language〔SL〕by equivalent textual material in another language（TL）. The translator must strive for equivalence rather than identity. In a sense, this is just another way of emphasizing the reproducing of the message rather than the conservation of the form of the utterance. The message in the receptor language should match as closely as possible the different elements in the source language to reproduce as literally and meaningfully as possible the form and content of the original. Translation equivalence is an empirical phenomenon discovered bycomparing SL and TL texts and it‟s a useful operational concept like the term “unit of translati on”.Nida argues that there are two different types of equivalence, namely formal equivalence and dynamic equivalence. Formal correspondence focuses attention on the message itself, in both form and content, whereas dynamic equivalence is based upon “the principle of equivalent effect”.Formal correspondence consists of a TL item which represents the closest equivalent of a ST word or phrase. Nida and Taber make it clear that there are not always formal equivalents between language pairs. Therefore, formal equivalents should be used wherever possible if the translation aims at achieving formal rather than dynamic equivalence. The use of formal equivalents might at times have serious implications in the TT since the translation will not be easily understood by the target readership. According to Nida and Taber, formal correspondence distorts the grammatical and stylistic patterns of the receptor language, and hence distorts the message, so as to cause the receptor to misunderstand or to labor unduly hard.Dyn amic equivalence is based on what Nida calls “the principle of equivalent effect” where the relationship between receptor and message should be substantially the same as that which existed between the original receptors and the message. The message has to be modified to the receptor‟s linguistic needs and cultural expectation and aims at complete naturalness of expression. Naturalness is a key requirement for Nida. He defines the goal of dynamic equivalence as seeking the closest natural equivalent to the SL message. This receptor-oriented approach considers adaptations of grammar, of lexicon and of cultural references to be essential in order to achieve naturalness; the TL should not show interference from the SL, and the …foreignness …of the ST setting is minimized.Nida is in favor of the application of dynamic equivalence, as a more effective translation procedure. Thus, the product of the translation process, that is the text in the TL, must have the same impact on the different readers it was addressing. Only in Nida and Taber's edition is it clearly stated that dynamic equivalence in translation is far more than mere correct communication of information.As Andrew Chesterman points out in his recent book Memes of Translation, equivalence is one of the five element of translation theory, standing shoulder to shoulder with source-target, untranslatability, free-vs-literal, All-writing-is-translating in importance. Pragmatically speaking, observed Chesterman, “the only true examples of equivalence (i.e., absolute equivalence) are those in which an ST item X is invariably translated into a given TL as Y, and vice versa. Typical examples would be words denoting numbers (with the exceptionof contexts in which they have culture-bound connotations, such as “magic” or “unlucky”), certain technical terms (oxygen, molecule) and the like. From this point of view, the only true test of equivalence would be invariable back-translation. This, of course, is unlikely to occur except in the case of a small set of lexical items, or perhaps simple isolated syntactic structure”.Peter Newmark. Departing from Nida‟s receptor-oriented line, Newmark argues that the success of equivalent effect is “illusory “and that the conflict of loyalties and the gap between emphasis on source and target language will always remain as the overriding problem in translation theory and practice. He suggests narrowing the gap by replacing the old terms with those of semantic and communicative translation. The former attempts to render, as closely as the semantic and syntactic structures of the second language allow, the exact contextual meaning of the original, while the latter “attempts to produce on its readers an effect as close as possible to that obtained on the readers of the original.” Newmark‟s description of communicative translation resembles Nida‟s dynamic equivalence in the effect it is trying to create on the TT reader, while semantic translation has similarities to Nida‟s formal equivalence.Meanwhile, Newmark points out that only by combining both semantic and communicative translation can we achieve the goal of keeping the …spirit‟ of the original. Semantic translation requires the translator retain the aesthetic value of the original, trying his best to keep the linguistic feature and characteristic style of the author. According to semantic translation, the translator should always retain the semantic and syntactic structures of the original. Deletion and abridgement lead to distortion of the author‟s intention and his writing style.翻译对等尽管全世界正在渐渐成为一个地球村，但翻译仍然是语言和和文化之间的交流互动和相互影响的主要方式之一。

服装毕业设计外文翻译--时装设计

Fashion designingFashion designing can be loosely defined as 'the art of creating fashionable apparel'. With the passage of time, however, the concept of 'fashion designing' has extended to other things such as fashion accessories such as jewellery, bags, footwear, etc. Keeping in mind the evolution of fashion designing, it would not be wrong to define it as 'the creation of fashion'. Costume designing can defined as an art whereby one designs a costume, along with appropriate accessories, to reflect the character in a stage-show, play, or movie. A wrong or badly designed costume will fail to bring out the intensity of the characters. At times, improper costumes can impede or distort story narration and mar the whole show.Fashion designing has indeed come a long way from the mere designing of clothing. Fashion designing has evolved into a full-fledged industry today. It is well accepted as a career option all over the world. Apart from designing, there are a number of other career alternatives that have emerged in this industry with the passage of time. This article seeks to study the evolution of the industry of fashion designing the then and now. The origin of fashion designing dates as far back as 1826. Charles Frederick Worth is believed to be the first fashion designer of the world, from 1826 to 1895. Charles, who was earlier a draper, set up a fashion house in Paris. It was he who started the tradition of fashion houses and telling his customers what kind of clothing would suit them. During this period, a number of design houses began to hire the services of artists to develop patterns for garments. Patterns would be presented to the clients, who would then place an order if they liked them. It was during this timeframe that the tradition of presenting patterns to the customers and then stitching them began, instead of the earlier system wherein the finished garments would be presented to them.In the beginning of the 20th century, new developments in fashion would take place in Paris first, from where they would spread to the rest of the world. New designs of clothes would be born in Paris before they found their way to other parts of the world. In other words, Paris emerged as the 'fashion capital'. 'Fashion' during this period was mostly 'haute couture', exclusively designed for individuals. Towards the mid-20th century, fashion garments began to be mass-produced. The bulk of production increased, and people began to have more choices of garments. Towards the end of the 20th century, fashion awareness among people increased, and they began choosing clothes for themselves based on comfort and their own style, instead of relying on the trends prevailing in the market. Today, as stated above, fashion designing is well accepted as a career option. A number of institutes have come up the world over, offering courses in various arenas of fashion. The number of students who consider fashion as a serious career and who have gone in for courses in the same has gone on rising over the years.Specializations in fashion designing have come into being. There is a wide range of options for a designer to choose from, such as lingerie, swimwear, women's wear, bridal wear, children's wear, men's wear, footwear, handbags, etc. Fashion designers used to be self-employed earlier now find a number of career opportunities open for them. They can work with garment firms and export houses. They may also be engaged in the job of remodeling haute couture and adapting them to the tastes of the mass market. They might also hold jobs in departmental stores orspecialty stores.Developments in the field of fashion designing have given rise to other related career paths such as hairstylist, make-up artist, fashion journalists, fashion advisors, fashion photographers, etc. Another significant change that has come about in the fashion designing industry in recent times is the increased use of computers and technology. A number of software packages have come up to aid designers in the process of designing as well as other stages in the production of a garment, easily and speedily.Fashion designing as a trade has also grown. Fashion designers have gone on to get repute not only in their own countries, but internationally as well. The number of fashion shows and participation in the same has gone up considerably in recent times. Fashion designing is thus no longer only the designing and creation of a garment, but it is a world in itself involving fashion, design, creativity, technology as well as business.时装设计服装设计大致可以定义为“创造时尚服装的艺术”。

毕业设计外文翻译英文翻译英文原稿

Harmonic source identification and current separationin distribution systemsYong Zhao a，b，Jianhua Li a，Daozhi Xia a,*a Department of Electrical Engineering Xi’an Jiaotong University, 28 West Xianning Road, Xi’an, Shaanxi 710049, Chinab Fujian Electric Power Dispatch and Telecommunication Center, 264 Wusi Road, Fuzhou, Fujian, 350003, China AbstractTo effectively diminish harmonic distortions, the locations of harmonic sources have to be identified and their currents have to be separated from that absorbed by conventional linear loads connected to the same CCP. In this paper, based on the intrinsic difference between linear and nonlinear loads in their V –I characteristics and by utilizing a new simplified harmonic source model, a new principle for harmonic source identification and harmonic current separation is proposed. By using this method, not only the existence of harmonic source can be determined, but also the contributions of the harmonic source and the linear loads to harmonic voltage distortion can be distinguished. The detailed procedure based on least squares approximation is given. The effectiveness of the approach is illustrated by test results on a composite load.2004 Elsevier Ltd. All rights reserved.Keywords: Distribution system; Harmonic source identification; Harmonic current separation; Least squares approximation1. IntroductionHarmonic distortion has experienced a continuous increase in distribution systems owing to the growing use of nonlinear loads. Many studies have shown that harmonics may cause serious effects on power systems, communication systems, and various apparatus [1–3]. Harmonic voltages at each point on a distribution network are not only determined by the harmonic currents produced by harmonic sources (nonlinear loads), but also related to all linear loads (harmonic current sinks) as well as the structure and parameters of the network. To effectively evaluate and diminish the harmonic distortion in power systems, the locations of harmonic sources have to be identified and the responsibility of the distortion caused by related individual customers has to be separated.As to harmonic source identification, most commonly the negative harmonic power is considered as an essential evidence of existing harmonic source [4–7]. Several approaches aiming at evaluating the contribution of an individual customer can also be found in the literatures. Schemes based on power factor measurement to penalize the customer’s harmonic currents are discussed in Ref. [8]. However, it would be unfair to use economical penalization if we could not distinguish whether the measured harmonic current is from nonlinear load or from linear load.In fact, the intrinsic difference between linear and nonlinear loads lies in their V –I characteristics. Harmonic currents of a linear load are i n linear proportion to its supplyharmonic voltages of the same order 次, whereas the harmonic currents of a nonlinear load are complex nonlinear functions of its supply fundamental 基波and harmonic voltage components of all orders. To successfully identify and isolate harmonic source in an individual customer or several customers connected at same point in the network, the V –I characteristics should be involved and measurement of voltages and currents under several different supply conditions should be carried out.As the existing approaches based on measurements of voltage and current spectrum or harmonic power at a certain instant cannot reflect the V –I characteristics, they may not provide reliable information about the existence and contribution of harmonic sources, which has been substantiated by theoretical analysis or experimental researches [9,10].In this paper, to approximate the nonlinear characteristics and to facilitate the work in harmonic source identification and harmonic current separation, a new simplified harmonic source model is proposed. Then based on the difference between linear and nonlinear loads in their V –I characteristics, and by utilizing the harmonic source model, a new principle for harmonic source identification and harmonic current separation is presented. By using the method, not only the existence of harmonic source can be determined, but also the contributions of the harmonic sources and the linear loads can be separated. Detailed procedure of harmonic source identification and harmonic current separation based on least squares approximation is presented. Finally, test results on a composite load containing linear and nonlinear loads are given to illustrate the effectiveness of the approach.2. New principle for harmonic source identification and current separationConsider a composite load to be studied in a distribution system, which may represent an individual consumer or a group of customers supplied by a common feeder 支路in the system. To identify whether it contains any harmonic source and to separate the harmonic currents generated by the harmonic sources from that absorbed by conventional linear loads in the measured total harmonic currents of the composite load, the following assumptions are made.(a) The supply voltage and the load currents are both periodical waveforms withperiod T; so that they can be expressed by Fourier series as1()s i n (2)h h h v t ht T πθ∞==+ (1)1()sin(2)h h h i t ht πφ∞==+The fundamental frequency and harmonic components can further be presented bycorresponding phasorshr hi h h hr hi h hV jV V I jI I θφ+=∠+=∠ , 1,2,3,...,h n = (2)(b) During the period of identification, the composite load is stationary, i.e. both its composition and circuit parameters of all individual loads keep unchanged.Under the above assumptions, the relationship between the total harmonic currents of the harmonic sources(denoted by subscript N) in the composite load and the supply voltage, i.e. the V –I characteristics, can be described by the following nonlinear equation ()()()N i t f v t = (3)and can also be represented in terms of phasors as()()122122,,,...,,,,,,...,,Nhr r i nr ni Nh Nhi r inr ni I V V V V V I I V V V V V ⎡⎤=⎢⎥⎣⎦ 2,3,...,h n = (4)Note that in Eq. (4), the initial time (reference time) of the voltage waveform has been properly selected such that the phase angle u1 becomes 0 and 10i V =, 11r V V =in Eq. (2)for simplicity.The V –I characteristics of the linear part (denote by subscript L) of the composite load can be represented by its equivalent harmonic admittance Lh Lh Lh Y G jB =+, and the total harmonic currents absorbed by the linear part can be described as,Lhr LhLh hr Lh Lhi LhLh hi I G B V I I B G V -⎡⎤⎡⎤⎡⎤==⎢⎥⎢⎥⎢⎥⎣⎦⎣⎦⎣⎦2,3,...,h n = (5)From Eqs. (4) and (5), the whole harmonic currents absorbed by the composite load can be expressed as()()122122,,,...,,,,,,...,,hr Lhr Nhr r i nr ni h hi Lhi Nhi r inr ni I I I V V V V V I I I I V V V V V ⎡⎤⎡⎤⎡⎤==-⎢⎥⎢⎥⎢⎥⎣⎦⎣⎦⎣⎦ 2,3,...,h n = (6)As the V –I characteristics of harmonic source are nonlinear, Eq. (6) can neither be directly used for harmonic source identification nor for harmonic current separation. To facilitate the work in practice, simplified methods should be involved. The common practice in harmonic studies is to represent nonlinear loads by means of current harmonic sources or equivalent Norton models [11,12]. However, these models are not of enough precision and new simplified model is needed.From the engineering point of view, the variations of hr V and hi V ; ordinarily fall into^3% bound of the rated bus voltage, while the change of V1 is usually less than ^5%. Within such a range of supply voltages, the following simplified linear relation is used in this paper to approximate the harmonic source characteristics, Eq. (4)112222112322,ho h h r r h i i hnr nr hni ni Nh ho h h r r h i i hnr nr hni ni a a V a V a V a V a V I b b V b V b V b V b V ++++++⎡⎤=⎢⎥++++++⎣⎦2,3,...,h n = (7)这个地方不知道是不是原文写错？23h r r b V 其他的都是2The precision and superiority of this simplified model will be illustrated in Section 4 by test results on several kinds of typical harmonic sources.The total harmonic current (Eq. (6)) then becomes112222112222,2,3,...,Lh Lh hr ho h h r r h i i hnr nr hni ni h Lh Lh hi ho h h r r h i i hnr nr hni ni G B V a a V a V a V a V a V I B G V b b V b V b V b V b V h n-++++++⎡⎤⎡⎤⎡⎤=-⎢⎥⎢⎥⎢⎥++++++⎣⎦⎣⎦⎣⎦= (8)It can be seen from the above equations that the harmonic currents of the harmonic sources (nonlinear loads) and the linear loads differ from each other intrinsically in their V –I characteristics. The harmonic current component drawn by the linear loads is uniquely determined by the harmonic voltage component with same order in the supply voltage. On the other hand, the harmonic current component of the nonlinear loads contains not only a term caused by the same order harmonic voltage but also a constant term and the terms caused by fundamental and harmonic voltages of all other orders. This property will be used for identifying the existence of harmonic source sin composite load.As the test results shown in Section 4 demonstrate that the summation of the constant term and the component related to fundamental frequency voltage in the harmonic current of nonlinear loads is dominant whereas other components are negligible, further approximation for Eq. (7) can be made as follows.Let112'012()()nh h hkr kr hki ki k k h Nhnh h hkr kr hki kik k h a a V a V a V I b b V b V b V =≠=≠⎡⎤+++⎢⎥⎢⎥=⎢⎥⎢⎥+++⎢⎥⎢⎥⎣⎦∑∑ hhr hhi hr Nhhhr hhi hi a a V I b b V ⎡⎤⎡⎤''=⎢⎥⎢⎥⎣⎦⎣⎦hhrhhihr Lh Lh Nh hhrhhi hi a a V I I I b b V ''⎡⎤⎡⎤'''=-=⎢⎥⎢⎥''⎣⎦⎣⎦,2,3,...,hhr hhiLh Lh hhrhhi hhr hhi Lh Lh hhr hhi a a G B a a h n b b B G b b ''-⎡⎤⎡⎤⎡⎤=-=⎢⎥⎢⎥⎢⎥''⎣⎦⎣⎦⎣⎦The total harmonic current of the composite load becomes112012(),()2,3,...,nh h hkr kr hki ki k k hhhrhhi hr h Lh NhLhNh n hhrhhi hi h h hkr kr hki kik k h a a V a V a V a a V I I I I I b b V b b V b V b V h n=≠=≠⎡⎤+++⎢⎥⎢⎥''⎡⎤⎡⎤''=-=-=-⎢⎥⎢⎥⎢⎥''⎣⎦⎣⎦⎢⎥+++⎢⎥⎢⎥⎣⎦=∑∑ (9)By neglecting ''Nh I in the harmonic current of nonlinear load and adding it to the harmonic current of linear load, 'Nh I can then be deemed as harmonic current of thenonlinear load while ''Lh I can be taken as harmonic current of the linear load. ''Nh I =0 means the composite load contains no harmonic sources, while ''0NhI ≠signify that harmonic sources may exist in this composite load. As the neglected term ''Nh I is not dominant, it is obviousthat this simplification does not make significant error on the total harmonic current of nonlinear load. However, it makes the possibility or the harmonic source identification and current separation.3. Identification procedureIn order to identify the existence of harmonic sources in a composite load, the parameters in Eq. (9) should be determined primarily, i.e.[]0122hr h h h rh i hhr hhihnr hni C a a a a a a a a ''= []0122hi h h h rh i hhrhhihnr hni C b b b b b b b b ''=For this purpose, measurement of different supply voltages and corresponding harmoniccurrents of the composite load should be repeatedly performed several times in some short period while keeping the composite load stationary. The change of supply voltage can for example be obtained by switching in or out some shunt capacitors, disconnecting a parallel transformer or changing the tap position of transformers with OLTC. Then, the least squares approach can be used to estimate the parameters by the measured voltages and currents. The identification procedure will be explained as follows.(1) Perform the test for m （2m n ≥）times to get measured fundamental frequency andharmonic voltage and current phasors ()()k k h h V θ∠,()()k k hh I φ∠,()1,2,,,1,2,,k m h n == .(2) For 1,2,,k n = ，transfer the phasors corresponding to zero fundamental voltage phase angle ()1(0)k θ=and change them into orthogonal components, i.e.()()11kkr V V = ()10ki V =()()()()()()()()()()11cos sin kkkkk kkkhr h h hihhV V h V V h θθθθ=-=-()()()()()()()()()()11cos sin k kkkk kkkhrhhhihhI I h I I h φθφθ=-=-,2,3,...,h n =(3)Let()()()()()()()()1221Tk k k k k k k k r i hr hi nr ni VV V V V V V V ⎡⎤=⎣⎦ ,()1,2,,k m = ()()()12Tm X V V V ⎡⎤=⎣⎦ ()()()12T m hr hr hr hrW I I I ⎡⎤=⎣⎦()()()12Tm hi hi hihi W I I I ⎡⎤=⎣⎦ Minimize ()()()211hr mk hr k I C V=-∑ and ()()()211him k hi k IC V=-∑, and determine the parametershr C and hi C by least squares approach as [13]:()()11T T hr hr T T hi hiC X X X W C X X X W --== (10)(4) By using Eq. (9), calculate I0Lh; I0Nh with the obtained Chr and Chi; then the existence of harmonic source is identified and the harmonic current is separated.It can be seen that in the course of model construction, harmonic source identification and harmonic current separation, m times changing of supply system operating condition and measuring of harmonic voltage and currents are needed. More accurate the model, more manipulations are necessary.To compromise the needed times of the switching operations and the accuracy of the results, the proposed model for the nonlinear load (Eq. (7)) and the composite load (Eq. (9)) can be further simplified by only considering the dominant terms in Eq. (7), i.e.01111,Nhr h h hhr hhi hr Nh Nhi ho h hhrhhi hi I a a V a a V I I b b V b b V +⎡⎤⎡⎤⎡⎤⎡⎤==+⎢⎥⎢⎥⎢⎥⎢⎥+⎣⎦⎣⎦⎣⎦⎣⎦2,3,,h n = (11) 01111h h Nh ho h a a V I b b V +⎡⎤'=⎢⎥+⎣⎦01111,hr hhrhhi hr h h h LhNh hi hhr hhihi ho h I a a V a a V I I I I b b V b b V ''+⎡⎤⎡⎤⎡⎤⎡⎤''==-=-⎢⎥⎢⎥⎢⎥⎢⎥''+⎣⎦⎣⎦⎣⎦⎣⎦2,3,,h n = (12) In this case, part equations in the previous procedure should be changed as follows[]01hr h h hhrhhi C a a a a ''= []01hi h h hhrhhiC b b b b ''= ()()()1Tk k k hr hi V V V ⎡⎤=⎣⎦ Similarly, 'Nh I and 'Lh I can still be taken as the harmonic current caused by thenonlinear load and the linear load, respectively.4. Experimental validation4.1. Model accuracyTo demonstrate the validity of the proposed harmonic source models, simulations are performed on the following three kind of typical nonlinear loads: a three-phase six-pulse rectifier, a single-phase capacitor-filtered rectifier and an acarc furnace under stationary operating condition.Diagrams of the three-phase six-pulse rectifier and the single-phase capacitor-filtered rectifier are shown in Figs. 1 and 2 [14,15], respectively, the V –I characteristic of the arc furnace is simplified as shown in Fig. 3 [16].The harmonic currents used in the simulation test are precisely calculated from their mathematical model. As to the supply voltage, VekT1 is assumed to be uniformly distributed between 0.95 and 1.05, VekThr and VekThi ek 1; 2;…;m T are uniformly distributed between20.03 and 0.03 with base voltage 10 kV and base power 1 MVFig. 1. Diagram of three-phase six-pulse rectifier.Fig. 2. Diagram of single-phase capacitor-filtered rectifierFig. 3. Approximate V –I characteristics of arc furnace.Three different models including the harmonic current source (constant current) model, the Norton model and the proposed simplified model are simulated and estimated by the least squares approach for comparison.For the three-phase six-pulse rectifier with fundamental currentI=1.7621; the1 parameters in the simplified model for fifth and seventh harmonic currents are listed in Table 1.To compare the accuracy of the three different models, the mean and standard deviations of the errors on Ihr; Ihi and Ih between estimated value and the simulated actual value are calculated for each model. The error comparison of the three models on the three-phase six-pulse rectifier is shown in Table 2, where mhr; mhi and mha denote the mean, and shr; shi and sha represent the standard deviations. Note that I1 and _Ih in Table 2are the current values caused by rated pure sinusoidal supply voltage.Error comparisons on the single-phase capacitor-filtered rectifier and the arc furnace load are listed in Table 3 and 4, respectively.It can be seen from the above test results that the accuracy of the proposed model is different for different nonlinear loads, while for a certain load, the accuracy will decrease as the harmonic order increase. However, the proposed model is always more accurate than other two models.It can also be seen from Table 1 that the componenta50 t a51V1 and b50 t b51V1 are around 20:0074 t0:3939 0:3865 and 0:0263 t 0:0623 0:0886 while the componenta55V5r and b55V5i will not exceed 0:2676 ￡0:03 0:008 and 0:9675 ￡0:003 0:029; respectively. The result shows that the fifth harmonic current caused by the summation of constant term and the fundamental voltage is about 10 times of that caused by harmonic voltage with same order, so that the formal is dominant in the harmonic current for the three-phase six-pulse rectifier. The same situation exists for other harmonic orders and other nonlinear loads.4.2. Effectiveness of harmonic source identification and current separationTo show the effectiveness of the proposed harmonic source identification method, simulations are performed on a composite load containing linear load (30%) and nonlinear loads with three-phase six-pulse rectifier (30%),single-phase capacitor-filtered rectifier (20%) and ac arc furnace load (20%).For simplicity, only the errors of third order harmonic current of the linear and nonlinear loads are listed in Table 5, where IN3 denotes the third order harmonic current corresponding to rated pure sinusoidal supply voltage; mN3r ;mN3i;mN3a and mL3r ;mL3i;mL3a are error means of IN3r ; IN3i; IN3 and IL3r ; IL3i; IL3 between the simulated actual value and the estimated value;sN3r ;sN3i;sN3a and sL3r ;sL3i;sL3a are standard deviations.Table 2Table 3It can be seen from Table 5 that the current errors of linear load are less than that of nonlinear loads. This is because the errors of nonlinear load currents are due to both the model error and neglecting the components related to harmonic voltages of the same order, whereas only the later components introduce errors to the linear load currents. Moreover, it can be found that more precise the composite load model is, less error is introduced. However, even by using the very simple model (12), the existence of harmonic sources can be correctly identified and the harmonic current of linear and nonlinear loads can be effectively separated. Table 4Error comparison on the arc furnaceTable 55. ConclusionsIn this paper, from an engineering point of view, firstly anew linear model is presented for representing harmonic sources. On the basis of the intrinsic difference between linear and nonlinear loads in their V –I characteristics, and by using the proposed harmonic source model, a new concise principle for identifying harmonic sources and separating harmonic source currents from that of linear loads is proposed. The detailed modeling and identification procedure is also developed based on the least squares approximation approach. Test results on several kinds of typical harmonic sources reveal that the simplified model is of sufficient precision, and is superior to other existing models. The effectiveness of the harmonic source identification approach is illustrated using a composite nonlinear load.AcknowledgementsThe authors wish to acknowledge the financial support by the National Natural Science Foundation of China for this project, under the Research Program Grant No.59737140. References[1] IEEE Working Group on Power System Harmonics, The effects of power system harmonics on power system equipment and loads. IEEE Trans Power Apparatus Syst 1985;9:2555–63.[2] IEEE Working Group on Power System Harmonics, Power line harmonic effects on communication line interference. IEEE Trans Power Apparatus Syst 1985;104(9):2578–87.[3] IEEE Task Force on the Effects of Harmonics, Effects of harmonic on equipment. IEEE Trans Power Deliv 1993;8(2):681–8.[4] Heydt GT. Identification of harmonic sources by a State Estimation Technique. IEEE Trans Power Deliv 1989;4(1):569–75.[5] Ferach JE, Grady WM, Arapostathis A. An optimal procedure for placing sensors and estimating the locations of harmonic sources in power systems. IEEE Trans Power Deliv 1993;8(3):1303–10.[6] Ma H, Girgis AA. Identification and tracking of harmonic sources in a power system using Kalman filter. IEEE Trans Power Deliv 1996;11(3):1659–65.[7] Hong YY, Chen YC. Application of algorithms and artificial intelligence approach for locating multiple harmonics in distribution systems. IEE Proc.—Gener. Transm. Distrib 1999;146(3):325–9.[8] Mceachern A, Grady WM, Moncerief WA, Heydt GT, McgranaghanM. Revenue and harmonics: an evaluation of someproposed rate structures. IEEE Trans Power Deliv 1995;10(1):474–82.[9] Xu W. Power direction method cannot be used for harmonic sourcedetection. Power Engineering Society Summer Meeting, IEEE; 2000.p. 873–6.[10] Sasdelli R, Peretto L. A VI-based measurement system for sharing the customer and supply responsibility for harmonic distortion. IEEETrans Instrum Meas 1998;47(5):1335–40.[11] Arrillaga J, Bradley DA, Bodger PS. Power system harmonics. NewYork: Wiley; 1985.[12] Thunberg E, Soder L. A Norton approach to distribution networkmodeling for harmonic studies. IEEE Trans Power Deliv 1999;14(1):272–7.[13] Giordano AA, Hsu FM. Least squares estimation with applications todigital signal processing. New York: Wiley; 1985.[14] Xia D, Heydt GT. Harmonic power flow studies. Part I. Formulationand solution. IEEE Trans Power Apparatus Syst 1982;101(6):1257–65.[15] Mansoor A, Grady WM, Thallam RS, Doyle MT, Krein SD, SamotyjMJ. Effect of supply voltage harmonics on the input current of single phase diode bridge rectifier loads. IEEE Trans Power Deliv 1995;10(3):1416–22.[16] Varadan S, Makram EB, Girgis AA. A new time domain voltage source model for an arc furnace using EMTP. IEEE Trans Power Deliv 1996;11(3):1416–22.。

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服装设计中的计算机辅助方法三维计算机辅助设计（CAD ）技术正逐渐扩散到服装的设计和制造应用领域。

目前，服装行业普遍使用的二维CAD 工具。

预计，三维设计工具，将成为未来服装行业中不断发展的技术。

服装产品的设计的基本问题是合体性的问题以及相关的二维图形生成的问题。

最终目标是设计和生产非常合体的个性化服装，而三维方法是通过努力可以实现这一目标的最合理的办法。

三维方法包括几个关键因素：其中包括参数化三维人体模型;三维服装模拟;三维图案设计，并3D/2D 模型转换。

做这个课题的目的是提供一个平台，供研究人员回顾过去的技术发展，并为今后研究三维服装设计方法找出可能的方向。

这里选择了题目相关的五篇论文，为服装行业提供三维应用程序发展的背景和技术。

第一份文件是一个粗略的审查织物仿真技术，该技术奠定了基础的三维服装设计。

接下来的三篇论文详细介绍了虚拟的环境中的三维服装设计。

最后一篇介绍了将三维服装转换为二维样板的新技术。

第一篇论文是从Choi and Ko 得到的，有关织物仿真研究问题。

作为一项服装设计和修改的基本技术，物理为基础的织物仿真技术被用来产生织物运动的逼真效果。

这篇论文介绍了织物仿真技术的三个方面：（1）服装结构; （2）基于物理的模拟，和（3）碰撞检测和响应。

所面临的技术挑战，即创造更多的实际成果;实现更快的运行时间，制造/模拟更为复杂的服装，是需要进一步研究的突出问题。

Volino 等在第二篇论文中提出的，是一个框架，它符合服装行业虚拟服装设计和原型制作的需要。

他们的做法集中在交互设计，模拟和可视化功能。

和上一篇论文中提到的一样，本文介绍的服装虚拟原型的制作方法也是以物理为基础的。

他们能够建立模型确定各向异性织物的经纬向性能。

牛顿动力学的限制适用于网格，以确定最后形成的合体服装的形状。

本文中提到的通过应用研究和对几个男女性服装项目中CAD 建模和物理模拟的分析，用来证明他们的系统功能。

在第四篇论文中，作者提出了一种同步三维服装仿真结果更新算法，用于二维服装纸样设计的修改。

用这种做法，对二维模式的修改无须每次重复整个三维服装合体性仿真，样板修改过程的效率被大幅度提升了。

该算法的另一个优势是，二维服装纸样的网格拓扑结构被保存，从而通过保持矩阵方程一致性简化了数值格式。

为了把用户制作的三维服装转变成良好的二维板式，麦卡特尼等人在第五篇论文中介绍了一种方法。

他们的算法，通过采用一个正交应变模型来转换锁定在不可更新的能量函数中的应变值。

这些能源函数通过平坦约束三角网格被尽量减少。

因为他们的应变模型各向异性，其方法可以处理正交异性材料的平坦问题，这对服装生产中三维模式转变为二维模式是非常重要的。

他们的论文中也考虑了接缝插入问题。

在这里，我们要感谢对这些论文提供了宝贵的意见和见解的审评者。

这些论文表明，三维CAD 技术在服装设计中正在迅速成熟，将成为弥补学术研究和商业应用在设计和制造服装产品中差距的桥梁。

尽管仍有物理模拟、碰撞检测、3D/2D 转换、高效的设计界面领域的技术需要改善，但是我们希望这一复杂的服装设计任务可以通过CAD 系统在不久的将来完成。

CAD methods in garment designThree dimensional Computer-Aided-Design (CAD) technology is gradually diffusing into the garment design and manufacturing applications. At present, theapparel industry widely uses two-dimensional CAD tools. It is anticipated thatthree-dimensional design tools will be the next evolving technology for the apparelindustry. The basic problems in apparel products design are the fitting problem andthe related 2D-pattern generation problem. The ultimate goal is to design and produce well-fitted personalized garments for individuals, and the 3D approach is the mostrational approach to be adopted to realize this goal. The 3Dapproach consists ofseveral key elements, which include parameterized 3D-mannequin modeling; 3D-garment simulation;3D-pattern design, and 3D/2D-pattern conversion.The aim of this special issue is to provide a forum for researchers to review thepast developments, and to identify possible directions for future research on3D-approaches to garment design. The five papers selected for this special issueprovide background and techniques for 3D-applications in the apparel industry. Thefirst paper serves as a cursory review of cloth simulation technology which lays thefoundation of 3D-garment design. The following three papers show techniques for3D-garment design in a virtual environment. The last paper in this special issue givesa novel technique to convert 3D-garment pieces into corresponding two patterns.The first paper is a review paper from Choi and Ko on research problems in cloth simulation. As a fundamental technique for the design and modification of apparelitems, the physics-based cloth simulation technique is used to generate realistic clothmotion in real-time. Three technical aspects of cloth simulation are reviewed in thispaper: (1)garment construction; (2) physically based simulation, and(3) collisiondetection and response. The technical challenges, namely creating more realisticresults; achieving faster running time, and constructing/simulating more complexgarments, are highlighted as the problems requiring further research.Presented in the second paper by Volino et al. is a framework which fits theneeds of the apparel industry for virtual garment design and prototyping. Theirapproach concentrates on interactive design, simulation and visualization features. Asa result of the advances in virtual garment simulation technologies in the last decade, the framework presented in this paper integrates the state-of-the- art physicalsimulation algorithms with the innovative design tools to provide an efficient andquality garment design and prototyping procedure.The third paper describes an integrated environment, which allows designers tovalidate their style and design options through the analysis of garment virtualprototypes and simulation results, so that the number and role of physical prototypes are reduced. In line with the previous paper, the garment virtual prototyping methodpresented in this paper is also physics-based. They define the particle mesh associated with each fabric panel as a structured 2Dgrid whose coordinates aligned with thedirectional anisotropic warp and weft properties of the fabric. The constrainedNewtonian dynamics is applied to the mesh to determine the final shape of a fittedgarment. Applications and case studies, with analysis of CAD modeling and physical simulation results of several male and female garment items, are shown in the paperto demonstrate the functionality of their system.In the fourth paper, a synchronous 3D-garment simulation result updatingalgorithm is presented for 2D-garment pattern design modification. With thisapproach, the 3Dgarment fitting simulation is not required to repeat the entiresimulation for every 2D-pattern modification, the efficiency of the patternmodification processing is greatly enhanced. Another advantage of the proposedalgorithm is that the mesh topology of the 2D-garment pattern is preserved and thussimplifies the numerical scheme by maintaining the consistency of the matrixequation.In order to determine good fitting two-dimensional flattened patterns from userdefined three-dimensional surface regions, an approach is presented by McCartneyetal. in the fifth paper. In their algorithm, an orthotropic strain model is adopted toconvert the strain values locked in undevelopable regions to energy functions. These energy functions are minimized by flattening of constrained triangular mesh. Sincetheir strain model is orthotropic, their method can handle the flattening problem oforthotropic materials—this is very important for converting 3D-pieces into 2D-patterns for apparel manufacturing. The seam insertion problems are alsoconsidered in their paper.Here, we would like to thank the reviewers who provided valuable commentsand insights for all papers in this special issue. The papers in the special issue indicate that the 3D CAD approach in garment design is fast approach maturity that willbridge the gap between academic research and commercial applicationin the designand manufacturing of apparel products. There still remains improvement in the areasof physics-based simulation, collision detection, 3D/2D-conversion, and effectivedesign interface, but we would expect that the complex garment design tasks could be virtually completed by CAD systems in the very near future.专用服装三维CAD 模型摘要：虽然可用于服装计算机辅助设计（CAD ）系统的织物建模技术已取得相当进展，但是很少有人研究服装CAD 系统中指定服装的方法。

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