DESIGN STUDY

Design Studies is an academic discipline that pursues a critical understanding of

design and its effects through analytic and practical modes of inquiry. Its origins
can be traced to design history where the field first got its start before slowly
expanding to include larger themes and more varied subject matters.
(En.wikipedia.org, 2018).

(Pal, 2018)

Unit I
Fundamentals of Design -
Characteristics of a Good Design
Elements of Design:
The elements and principles of design are the building blocks. The elements of
design are the things that make up a design. The Principles of design are what we
do to those elements. How we apply the principles of design determines how
successful the design is (j6 design, 2018).
i. Line - Line is an element of art defined by a point moving in space. It is
probably the most fundamental of the elements of design as it is usually the
starting place for much of artistic creation. Lines can be vertical, horizontal,
 diagonal or curved. They can be any width or texture. And can be continuous,
implied, or broken.
ii. Colour - Color is the result of light reflecting back from an object to our eyes.
The color that our eyes perceive is determined by the pigment of the object
itself. In visual design, the color wheel and color theory provide a body of
practical guidance to mixing color and studying the visual impacts of specific
color combinations.
iii. Texture - Meaning the way a surface feels or is perceived to feel. Texture can
be added to attract or repel interest to an element, depending on the
pleasantness of the texture.
Types of texture :

 Tactile texture is the actual three-dimension feel of a surface that can be

touched. Painters can use impasto to build peaks and create texture.
 Visual texture is the illusion of the surfaces peaks and valleys, like the tree
pictured. Any texture shown in a photo is a visual texture, meaning the paper is
smooth no matter how rough the image perceives it to be.

Most textures have a natural touch but still seem to repeat a motif in some way.
Regularly repeating a motif will result in a texture appearing as a pattern.

iv. Form - Form may be described as any three-dimensional object. Form can be
measured, from top to bottom (height), side to side (width), and from back to
front (depth). Form is also defined by light and dark. It can be defined by the
presence of shadows on surfaces or faces of an object. There are two types of
form, geometric (man-made) and natural (organic form). Form may be created
by the combining of two or more shapes. It may be enhanced by tone, texture
and color. It can be illustrated or constructed.
v. Size - Size is simply the relationship of the area occupied by one shape to that
of another (En.wikipedia.org, 2018).
(Archibald and Archibald, 2018)

Principles of Design :
i. Balance - It is the distribution of the visual weight of objects, colors, texture,
and space. If the design was a scale, these elements should be balanced to
make a design feel stable. In symmetrical balance, the elements used on one
side of the design are similar to those on the other side; in asymmetrical
balance, the sides are different but still look balanced. In radial balance, the
elements are arranged around a central point and may be similar.
ii. Harmony - Harmony can be described as sameness, the belonging of one
thing with another. The repetition of design elements like colour, texture,
shape, and form is one of the easiest ways to achieve harmony to create a
composition.
iii. Emphasis - Emphasis is the part of the design that catches the viewer’s
attention. Usually the artist will make one area stand out by contrasting it with
other areas. The area could be different in size, color, texture, shape, etc.
iv. Proportion - It is the feeling of unity created when all parts (sizes, amounts, or
number) relate well with each other. When drawing the human figure,
proportion can refer to the size of the head compared to the rest of the body.
v. Rhythm - Rhythm is created when one or more elements of design are used
repeatedly to create a feeling of organized movement. Rhythm creates a
mood like music or dancing. To keep rhythm exciting and active, variety is
essential.
vi. Movement - Movement is the path the viewer’s eye takes through the work of
art, often to focal areas. Such movement can be directed along lines, edges,
shape, and color within the work of art. (Getty.edu, 2018)

(Sites.google.com, 2018)

Unit II
Colour Theory -
Basics of color theory can be put into three category: The color wheel, color
harmony and he context of how the colors are used.

Attributes of color theory - Every colour can be distributed in three main attributes:
hue, saturation and brightness.
i. Hue is a variation of one color. Example Red is a hue. There are 12 hues in
the color wheel.
ii. Value Is the brightness and darkness of a color.
iii. Saturation refers to the relative purity of hue present in a color.

Tints & Shades

Tint - Is a color with light or white added to it.
Shade - A color with less light or black added to it.

Colour Wheel - It is a mean of identification that allows us to visualize the

relationship between different colors.

(Proven Winners, 2018)

Color Harmony - In color harmony is the pleasing arrangement of hues, values

and intensity which combines in correct proportions and balance.
Color Schemes - is the choice of colors used in design for a range of media.
Example, “Achromatic” use of white background with black text.
i. Achromatic is a one that lacks hues, such as white, grey and color. They
have lightness but no hue or saturation.
ii. Monochromatic are all the colors (tints, tones and shades) of a single hue.
iii. Polychromatic is used to describe light that exhibit more than one color,
which also means that it contains radiation of more than one wavelength.
iv. Warm Colours is any color that is vivid or bold in nature. They tend to be
overwhelming. Example of warm colors include red, yellow and orange.
v. Cool colors is used to describe any color that is calm or soothing in nature.
They are not overpowering, like blue, green and violet.
vi. Analogous colours are group of three colors that are next to each other on
the color wheel, sharing a common color, with one being the dominant color,
which tends to be a primary or secondary color, and a teritary. Red, Orange, and
Red-Orange are examples.
vii. Complementary colour are pairs of colors which, when combined, cancel
each other out. When placed next to each other they create the strongest contrast
for those particular two colors.
viii. Split Complementary colour scheme is a variation of the complementary
color scheme. In addition to the base color, it uses the two colors adjacent to its
complement. It has a strong visual contrast but less tension.
ix. Incongruous means unusual or different from what is around. These lack
harmony.
x. Triads and tetrads: triads are any three color which are equidistant on the
color wheel and tetrad is any four color which are equidistant on the color wheel.

Color blending is when one base color is mixed with another hue which results in
blend

Additive model: additive color is a method to create color by mixing a number of

different light colors, with shades of red, green, and blue being the most common
primary colors. The combination of two of the standard additive primary color in
equal proportion produces additive secondary color: cyan, magenta or yellow.
Adding all three colors in equal proportion yields white.

Subtractive model: explains the mixing of a limited set of dyes, ink, paint pigments
to create wider range of colors. It’s the result of partially or completely substracting
some wavelengths of light.

Color contrast is the difference in luminance or color that makes an object

distinguishable. The change in appearance of a color surrounded by another
color.

Colour psychology is the study of hues as a determinant of human behavior. Color

influences perceptions that are not obvious, such as the tastes of food. Color
psychology is widely used in marketing and branding.

(Your Student Life, 2018)

Unit III
Typography -
It is the art and technique of arranging type to make written language legible,
readable, and appealing when displayed.

i. Typeface anatomy: describes the graphic elements that make up printed

letters in a typeface
ii. Measurements: Type has its own measurements, which are the pica and
the point. The height of a type is measured in points, and width of a letter or line of
a type is measured in pica. Point size is the height of the body of a letter in
typeface.

(UX Collective, 2018)

Typeface classifications - can be classified into one of four basic groups: Serif,
San Serif, Script and decorative style.

Type families is a range of typeface designs that are variations of one basic style
of alphabet.

Spacing and alignment - Alignment is the setting of text flow placement relative to
a page, column table. Spacing refers to an optically consistent degree of increase
of space between letters to affect visual density in a line.

Selecting appropriate fonts – The selection of an appropriate font and its size
should completely be dependent on the composition and the use of the
Typography. Also the placement of the typography in the composition would
suggest the colour and size font and many more of the font that is to be used.

Tips and techniques – Here are a few tips and tricks that will help to get the best
look and feel of typography in any composition or any work form.
i. Always consider to measure – measure the characteristics that need to be
processed so that no line becomes longer than usual for the reader.
ii. Master leading – make sure that the leading between two lines depends
perfectly well on the font, typeface, weight etc of the characteristics that
you use.
iii. Use hanging quotes – This will help get all the text aligned in all columns and
rows properly.
iv. Give Emphasis – There will always be a word or phrase from a sentence that
you want to highlight which you can depict in a different font or make it bold,
italics or even underline in the same font. Another good way of doing this is
highlighting that word in a completely different colour all together.
v. Use scales to show hierarchy – Like above we highlighted words to show
emphasis here we use scale to show priority. Basically, the tittle will be in a
bigger font followed by a sub tittle followed by a paragraph tittle and then
your actual content font size which one needs to plan before starting the
actual write up.
vi. Easy on the Contrast – The contrast colours that you use would widely affect
the way your text is read. Black over white background is very ideal, as this
contrast is very easy on the eyes making everything readable. However if
you try pink text over blue background there are high chances that the
readers would feel dizzy.
vii. Use white spaces to your advantage – The white spaces may seem like empty
spaces but they are actually working as a design element and are making
no harm to the composition. Especially if the design is heavily content
oriented, the readers may find it difficult to go through the text without being
distracted by the rest of the design of the composition.
viii. Support your text with images – Never leave your text alone. Some graphical
support to it will go a long way. Especially if you want the readers to truly
understand what you are truly talking about in your text. Images help as a
visual aid to understand the text in a much better way. It also helps to bring
some emotional value to the content (Ovsyannykov, 2018).

Graphics - The products of the graphic art, especially commercial design or

illustration.

Importance of graphics - A good graphic should effectively communicate the

message of the sender to the target audience using tools of visual
communication.

Types of graphics -
i. Vector graphics are computer graphic images that are defined in terms of
2d points, which are connected by lines and curves to form shapes. Vector file
formats: ai , eps and pdf are used for graphics that frequently require resizing.
 (Definitions and Hope, 2018)
ii. Raster graphics the image is a dot matrix data structure that represents a
generally rectangulary grid of pixels viewable via a display mediums. Raster
graphic file formats: include jpeg, tiff, gif, png and ppm.

(Vector-conversions.com, 2018)

Unit IV
Grids and layouts -
A grid is a technique that comes from print design but easily be applied to web
design as well. In its strictest form a grid is literally a grid of X by Y pixels. The
elements on the page are then placed on the cell border lines and overall aligned
on horizontal and vertical lines.

Role of grids : The grid creates a systematic and consistent rule for placing
objects. It creates a visual rhythm. It makes it easier and more pleasant for the
eye to scan the objects on the page. Page designs that do not use a grid often
tend to look 'messy' or 'unprofessional' (Welie, 2018).

Structure :

Grid system and templates : A grid is a set of guidelines, able to be seen in the
design process and invisible to the end-user/audience, for aligning and repeating
elements on a page. A page layout may or may not stay within those guidelines,
depending on how much repetition or variety the design style in the series calls for.
Grids are meant to be flexible. Using a grid to lay out elements on the page may
require just as much or more graphic design skill than that which was required to
design the grid.

In contrast, a template is more rigid. A template involves repeated elements

mostly visible to the end-user/audience. Using a template to lay out elements
usually involves less graphic design skill than that which was required to design
the template. Templates are used for minimal modification of background
elements and frequent modification (or swapping) of foreground content .
Layouts –
Page layout is the part of graphic design that deals in the arrangement of visual
elements on a page. It generally involves organizational principles
of composition to achieve specific communication objectives.

Layout guidelines : Typical page layout decisions include :

 Size of page margins

 Size and position of images and figures
 Deciding on the number and size of columns and gutters (gaps between
columns)
 Placement of intentional whitespace
 Use of special effects like overlaying text on an image, runaround and
intrusions, or bleeding an image over the page margin
 Use of color printing or spot color for emphasis

Specific elements to be laid out might include:

 Chapter or section titles, or headlines and subheads

 Image captions
 Pull quotes and nut graphs which might be added out of course or to make
a short story fit the layout
 Box outs and sidebars, which present information as asides from the main
text flow
 Page headers and page footers, the contents of which are usually uniform
across content pages and thus automatically duplicated by layout software.
The page number is usually included in the header or footer, and software
automatically increments it for each page.
 Table of contents
 Notes like footnotes and end notes; bibliography, for example in academic
journals or textbooks (En.wikipedia.org, 2018).

Important parts of a page layout:

i. Colour - Color is an important element in Web page development. A poor
choice of color may ruin the whole Web page's design. The text color must
contrast well with the background color. Never put light-colored text on a light
background or put dark-colored text on a dark background. Otherwise, the
user would not be able to read the text.
ii. Text - There are several attributes that we can be added to text: bold, italic,
underline, and blink. Among the four, bold is the most commonly used in that it
puts emphasis on the text and therefore, makes the text stand out.
Sometimes, blink is also used to make the text stand out. This is not
recommended by most Web developers unless the blinking text is less than
two words (Flanders and Willis, 1996). This is because a blinking text will
become very difficult to read as it gets longer. However, blinking is often used
to indicate an error or warning.
iii. Style - A typical first generation page displays a sequence of text and images
from top-to-bottom, left-to-right separated with returns and other data-stream
separators like bullets and horizontal rules. Most first generation pages had
lines of text going from one side of a page to the other side of a page that ran
on for pages. They were separated by meaningless blank lines. A
second-generation page is similar to a first generation page but have
additional icons, images, buttons and banners. They use a top-down,
bullet-list, and menu-driven model to present a hierarchy of information. A
third generation page is a combination of typographic and visual layout
 principles with a creative design. Third generation pages use a visual theme
to entice and guide. They tend to make a site feel familiar and easy to
navigate with quality content and high production values.
iv. Page Size - The most efficient designs for general Internet audiences tend to
use careful layouts of text and links with relatively small graphics. These
pages load quickly. Most experts suggest that the graphics used for a page
should not exceed 30K for easy loading (MicroVision Development, Inc,
1997).
v. Graphics - The Graphic Interchange Format (GIF) was adopted in the early
1990s by the original designers of the World Wide Web for its efficiency and
widespread familiarity. Today the majority of graphics on the Web are in GIF
format. GIF supports 256 or fewer colors, transparent color, interlaced GIF
graphics, animation, and lossless compression. Lossless compression
happens when the pixels are compressed and decompressed without any lost
of pixels, so the image remains the same. Another graphics file format
commonly used on the Web is the Joint Photographic Experts Group (JPEG)
compression scheme to minimize graphics file size. The developer can
choose the degree of compression he wishes to apply to an image in JPEG
format, but in doing so the user also is choosing the image quality. JPEG
supports full-color (24 bit), interlacing, and compression.In general, GIF files
are good for diagrammatic images; images that are used as icons and
animations. GIF is also suitable if transparency and animation are necessary
for the image. JPEG files give good results for large, complex images like
most photographs and medical images. Table 2 shows the comparison
between GIF and JPEG format.
vi. Consistency - Establish a layout grid and a style for handling text and graphics,
then stick with it to build a consistent rhythm and unity across all the pages of
a site. Repetition gives a site a consistent graphic identity that reinforces a
distinct sense of place, and that makes a site more memorable. A consistent
approach to layout and navigation allows readers to quickly adapt to the
design, and to confidently predict the location of information and navigation
 controls across the pages of the site. Figure 1 shows how consistency can be
established by using the same color for a section of the site.

Factors influencing a layout :

Collage : A technique of composing a work of art by pasting various materials,

pictures or objects that are not associated with one another are stuck into a larger
surface.

Textile Motif : It is a smaller element in a much larger work. In knitting motifs are
made one at a time and joined together to create larger works such as shawls.
Motifs may be varied or rotated for contrast and variety, or to create new shapes,
as with quilt blocks in quilting.

True repeat :

Pattern : A pattern is a regularity in the world, man made design or abstract ideas.
As such, the elements of a patter repeat in a predictable manner. Nature pattern
include symmetry, spirals, waves, stripes, etc.

Unit V

Creative Thinking Process -

Design Process : The Design Process is an approach for breaking down a large
project into manageable chunks. Architects, engineers, scientists, and other
thinkers use the design process to solve a variety of problems. Use this process to
define the steps needed to tackle each project, and remember to hold to all of your
ideas and sketches throughout the process.

Approach :

Stages of Design Process :

1. Define the Problem

You can’t find a solution until you have a clear idea of what the problem is.

2. Collect Information

Collect sketches, take photographs and gather data to start giving you inspiration.

3. Brainstorm and Analyze Ideas

Begin to sketch, make, and study so you can start to understand how all the data
and information you’ve collected may impact your design.

4. Develop Solutions

Take your preliminary ideas and form multiple small-scale design solutions.

5. Gather Feedback
Present your ideas to as many people as possible: friends, teachers,
professionals, and any others you trust to give insightful comments.

6. Improve

Reflect on all of your feedback and decide if or to what extent it should be

incorporated. It is often helpful to take solutions back through the Design Process
to refine and clarify them (DiscoverDesign, 2018).

Conceptual Boards -

A form of stimulus material, comprising visual and/or verbal representation of an

idea for a product or service, often outlining its attributes and benefits and used to
present this idea to participants in research. These are usually mounted on large
boards so a group of people can easily see them. Such concept boards may be
quite polished and resemble advertisements, or they may be very rough and
'unfinished' (Skill Zone Ltd, 2018).
Inspirational Board - Also called a mood board, inspiration wall, or vision board, an
inspiration board is basically a giant, constantly evolving poster where you can
collect all your best ideas and images, quotes, words, and other things that
influence and inspire you.
It can be a full wall, a large poster, a notebook page, or whatever works best for
you and your available space, but inspiration boards are often best when they’re
big enough to contain a rich selection of materials and let you arrange and
rearrange them freely. There are no rules with inspiration boards, other than that
everything on there has to inspire you in some way.You can include anything from
magazine and newspaper clippings to photos, found objects, receipts, handwritten
quotes, font samples, buttons and badges from conventions, and more. If it
inspires you, it can go on your board!Some people like to make a large collage
that they keep permanently as a source of inspiration—usually loaded with
beautiful pictures and inspiring quotes—while others treat their inspiration board
as a moving target, constantly rearranging, adding, and subtracting things as they
find new ideas and move their writing in a different direction.
Again, anything goes here—as long as your board works for you and helps you
get motivated and inspired to write, you’re doing it the right way! (TCK Publishing,
2018).

Mood Board - A mood board is a type of collage consisting of images, text, and
samples of objects in a composition. It can be based upon a set topic or can be
any material chosen at random. A mood board can be used to give a general idea
of a topic, or to show how different something is from the modern day. They may
be physical or digital, and can be effective presentation tools. Graphic designers,
interior designers, industrial designers, photographers and other creative artists
use mood boards to visually illustrate the style they wish to pursue. However,
these boards can also be used by design professionals to visually explain a
certain style of writing, or an imaginary setting for a storyline. In short, mood
boards are not limited to visual subjects, but serve as a visual tool to quickly
inform others of the overall "feel" (or "flow") of an idea. In creative processes,
mood boards can balance coordination and creative freedom. Traditionally, mood
boards are made from foam board which can be cut up with a scalpel and can
also have spray mounted cut-outs put onto it. Creating mood boards in a digital
form may be easier and quicker, especially when it comes to collaboration or
modification of projects, but physical objects often tend to have a higher impact on
people because of the more complete palette of sensations physical mood boards
offer, in contrast with the digital mood boards. Mood boards can also be painted.

Design Development - The design process follows several work stages, each
increasing in detail, before final construction documentation is issued.

During the early stages of design (schematic design work stage), engineers
provide initial advice upon spatial requirements and outline system performance
specifications. Information provided during schematic design typically takes the
form of outline sketches and is presented in a report type format for review /
approval, prior to commencing with the next stage of design.
Each work stage has set deliverables and scope. The project manager must
ensure that both the scope and the deliverables are managed effectively in order
to avoid confusion and disappointment.

Bibliography
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 FASHION DESIGN METHODS

1. INTRODUCTION OF SEWING
MACHINE

A sewing machine is a machine used to stitch fabric and other textile

materials together with thread. Sewing machines were invented during the first
Industrial revolution to decrease the amount of manual sewing work performed in
clothing companies.

Home sewing machines are designed for one person to sew

individual items while using a single stitch type. In a modern sewing machine the
fabric easily glides in and out of the machine without the inconvenience of
needles and thimbles and other such tools used in hand sewing, automating the
process of stitching and saving time. Industrial sewing machines, by contrast to
domestic machines, are larger, faster, and more varied in their size, cost,
appearance, and task.

1.1 Types of sewing

Machines

Each machine makes a basic running stitch the same way, with two
sources of threads. The top needles rake the thread down into the fabrics. It is
caught and looped via the bobbin apparatus and then pulled back up. The “feed
dog” (a rough edged surface underneath the fabric) moves it along and the next
stitch begins. Everything else is different.

1.1.1 Mechanical sewing

machine
A mechanical sewing machine controlled by rotary wheel. Any adjustment
like the tension or the length or width of the stitch is made by moving
a dial. This machine is very basic and tends to the less expensive
than the other sewing machines.

1.1.2 Electronic sewing

machine

An Electronic machine differs in that there are some functions that can
be accomplished by pushing a button. A machine can have a number of
motors for various duties and they are run via electricity.

1.1.3 Computerized sewing

machine

As swing machine became more complex more of these motors are

added. A computer than coordinate all these functions. Think about a
repetitive sequence of stitches being programmed, so you no longer have
to replicate these movements.

Parts of sewing
machine

1Spool pin:

It is fitted on top of
the arm to hold the
reel.

2. Thread guide: It holds the thread in position from

the spool to the needle.

3. Tension disc: The two concave discs put together with the convex sides
facing each other. The thread passes between the two. The tension of the
thread is adjusted by a spring and nut which increases or decreases pressure

4. Take up lever: It is a lever fitted to the body of the arm. Its up and
down motion feeds the thread to the need and tightens the loop formed by
the shuttle.

5. Needle bar: This is a steel rod to hold the needle at one end with the
help of a clamp. Its main function is to give motion to the needle.

6. Bobbin case: This moves into position to catch the top thread and
form the stitch as the needle is lowered into the bobbin chamber.

7. Presser foot: It is fixed to the presser bar to hold the cloth

firmly in position when lowered.

8. Presser foot lifter: A lever attached to the presser bar for raising
and lowering the presser foot.

9. Stitch regulator: This controls the

length of the stitch.

10. Bobbin winder: A simple mechanism used for winding thread

on the bobbin.

11. Fly Wheel: When this is made to revolve, it works the

mechanism of the motion

12. Clutch or Thumb Screw: This is in the center of the fly wheel and it engages
and disengages the stitching mechanism.

13. Slide Plate: A rectangular plate, which facilitates the removal of the bobbin case
without lifting the machine.

14. Needle Plate or Throat Plate: A semi-circular disc with a hole to allow the needle
to pass through it.

15. Feed dog: This consists of a set of teeth fitted below the needle plate. It helps
to move the cloth forward while sewing.

16. Face plate: A cover which on removal gives access to the oiling points on the
needle bar, presser bar and take-up lever.

17. Spool pin for bobbin winding: Spool of thread is placed on this at the time of
bobbin winding.
1.2 CUTTING
TOOLS
Cutting tools are very important to move the sewing project to completion. Sewing
cutting tools should be of the best quality that one can afford. The best quality cutting
tools are made of high grade stainless steel.

1.2.1 Types of cutting

tools.

● Bent Handled
Dressmaker’s Shears
● Pinking
Shears
●
Sci
sso
rs
● Thread
Clippers
● Seam
Ripper
●
Rotary
Cutter

1.2.3 Bent Handled Dressmaker’s

Shears

Bent handed dressmaker shears are good for cutting the actual pattern/fabric together. The
shape of the blade, especially the lower blade allows the fabric to lay flat on the cutting
surface. The size should be at least seven or eight inches.

1.2.4 Pinking Shears

Pinking shears cut a zigzag pattern on the fabric. These shears are used to finish seams and to
finish raw edges, and to create decorative edges
 1.2.5 Scissors

Sewing scissors should consist of those for cutting fabric and those for cutting paper such as
pattern paper and cutting the actual pattern that is going to be used away from the pattern sheet.
Scissors for cutting fabric should never be used for cutting paper, because this can dull these scissors.
Sewing scissors are also referred to as trimming scissors, because they are used to trim and clip
seams and facings and also to trim away excess fabric. These scissors generally have about a six
inch blade.

1.2.6 Thread Clippers

Thread clippers are a handy little spring loaded cutting tool that allows for the snipping of
threads. These clippers are specifically used to snip threads and are not designed to do anything but
snip threads, they are not designed to cut fabric and feel very awkward if one tries to use them for
cutting fabric.
1.2.7 Seam
Ripper

Seam rippers are specifically designed for ripping out stitches from seams, either as a result
of an error or during alterations. They should be used carefully to prevent damage to the
fabric.

1.3 MEASURING
TOOLS
Sewing measuring tools are essential for pattern alterations and body measurements to ensure a
good garment fit, measurements should be taken often and accurately.

1.3.1 Tape
Measure

A good, flexible tape measure of at least 60 inches is needed to take body measurements
throughout the garment construction process. Although the tape measure should be flexible, it should
be stretchy. It will be used not only to measure garments, but to measure creations for home décor
projects as well. This tool is also used for pattern adjustments.

1.3.2 Sewing Guage

This small ruler has a sliding guide and is about six inches long. This guage is used for
measurements at hem lines, button holes and areas where other small measurements
require checking, such as pleats and tucks.
1.3.3
Rulers
A ruler measuring 12 inches or even 18 inches, either clear or solid is a useful tool to have for
measuring and drawing straight seam lines and cutting lines. Clear plastic rulers are generally
used for quilting and pattern creation and alterations. A clear ruler is also a good tool for
marking buttonholes.
1.3.4 Yardstick

A yardstick made of hardwood or metal is used for marking hemlines and checking grain
lines.

1.3.5 MARKING TOOLS

Sewing marking tools are essential tools in the garment construction process. These marking
tools are needed and should be used because they make the process of constructing the
garment easier and more accurate.

There are different types of marking tools that can be used with different types of fabrics.
These marking tools are used to mark, tucks, darts, pleats and the location for pockets.

1.3.6 Chalk
Pencils

Chalk pencils also called dressmaker pencils allow for the placement of fine lines on fabric,
and many of them have an eraser or brush so that the marks can be removed from the fabrics.

1.3.7 Liquid Marking Pen

Liquid marking pens come in two types. There is one that washes out and one that fades
after 48 hours. Those that wash out should not be used on fabric that show water marks. Also,
pressing may set the marker, so the mark should be removed before pressing the fabric.

1.3.8 Tailor’s Chalk

Taylors chalk comes in two forms, as either a chalk wedge or as a pencil. These chalks also
come in a range of colors. There is also a wax chalk that comes in either black or white and is used to
mark wool fabrics.

1.3.9 Tracing Wheel

There are two types of tracing wheels, those with a serrated edge and those with a
smooth edge. The serrated edge wheel produces dots on the fabric and is suitable for most types of
fabrics. The smooth edge wheel is best for delicate fabrics and unlike the serrated edge will not
pierce more delicate fabrics. The smooth edge wheel creates a solid line.

1.3.10 French curve and Hip curve

French curve is used to make a curve on the pattern, like armhole, neck etc. Hip curve is used to
make a hip line for the bottom like skirt, pant etc

1.4 GENERAL TOOLS

There are some tools that you can’t even being without. The correct sewing tools make any
sewing project easier. Knowing which tools to select and where to use it will simply and improve the
outcome of each swing step.

● Disappearing
Ink pen
● Iron and Ironing
board
●
Ne
edl
e
● Tape
measure
●

P
i
n
s

● Seam
Ripper
● Thread
clippers

1.5 PRESSING
 TOOLS

Pressing is an essential part of dressmaking, it’s the difference between the ‘home made’
look and a professional finish.

Our tailor’s ham and sleeve roll are made from 100% wool Melton and 100% cotton, and
are packed with finely graded sand that gently holds the heat, providing a firm contoured
surface for pressing and shaping, which dries after use without clumping.
1.5.1 Ironing board and cover: The main requirement for ironing boards is that they are
sturdy and have a perfectly flat surface to help when fusing interfacing.

1.5.2 Press cloths: You will need a variety of press cloths for pressing different types
of fabric, including silk organza, cotton muslin or duck, velvet or corduroy, and cotton drill for
serious tailoring are all useful. In general, match the weight of the press cloth to the weight of the
fabric being pressed

1.5.3 Ham: Padded hams are great for pressing curved surfaces

1.5.4 Sleeve board: Sleeve boards can come in a variety of sizes, and since they
are stable on a flat surface, they can be more useful for pressing open seams than a roly-poly
sleeve roll

1.5.5 Clapper: Clappers are made of hard wood, and are used to either press or beat a
steamed seam allowance dry and flat.
1.5.6 Point presser: Point pressers are made of hard wood, and are used to press
flat seam allowances.

1.5.7Seam stick: Seam sticks are another tool for pressing open
seams

1.6 SEAM AND SEAM FINISHES –

S

TYPES
A seam is a method of joining two or more pieces of materials together by a row of stitching. The
purpose of most of these seams is purely functional and can be called as constructional seams. Seams
should be as flat as possible and unseen except those that are used for decorative purposes for garment
design and line.

1.6.1 Types of
seams

Plain seam: It is used on all types of fabrics except on very transparent kinds of fabrics.
This is used for side seams, under arm seams ad armhole seams. Place the two pieces of fabrics to
be joined together right sides facing.

Lapped Seam: his seam is commonly used for joining a gathered or unaltered section to a
straight edge as in a yoke. Take the part of the which is to be laid on top and turn its seam
allowance to the wrong side. Place this piece on the top of the second piece, right sides facing and
matching the fold to the seam line. Tack in position and machine close to the folded edge

French Seam: This is a ridge seam and is used on transparent and light weight fabrics,
especially
on baby clothes and delicate blouses. It is a neat and durable finish as the raw edges are
completely enclosed

Flat and fell seam: This is a flat durable seam used on men’s sports shirts, work clothes
and children’s clothes and pyjama. Places the pieces to be joined wrong sides facing and stitch
on the seam line. Press both seam allowances together in the same direction and trim the under
seam to 1/8 inch and the upper one to 3/8 inch. Turn under the raw edge of the wide seam
allowance so as to make a smooth fold 1⁄4 inch wide. Machine stitch close to the folded edge
on the right of the garment. The right side of the seam will show two rows of stitching and
wrong side will show only one row of stitch.

Bound seam: This seam is formed by folding a separate binding strip over one or more
plies of material and seaming the strip with one or more rows of stitches. They are frequently
used as an edge finish at necklines, hems and sleeve plackets.
 1.7 HEMS-TYPES

The hemline is the line formed by the lower edge of a garment, such as a skirt, dress or coat,
measured from the floor

1.7.1 TYPES OF
HEMLINES:

● Floor-length
hemlines
● Ankle
hemlines
● Mid calf
hemlines
● Below-knee
hemlines
● Above-knee
hemlines
● Mid-thigh
hemlines
● Hip-high
hemlines
● Handkerchief
hemlines
● Diagonal or asymmetric
hemlines
● High-low hemlines, usually short in front and dipping
behind
● Otherhemlines, such as modern-cut
hemlines

FASHION DESIGN
METHODS UNIT-II

2 .1
FULLNES
S
 A vertically hanging piece of fabric such as a skirt or a drape will often be
described in terms of its "fullness." Fullness represents the thickness/ depth of the
pleats in relation to the original width of the fabric: fabric sewn at "zero fullness"
would actually be flat and have no pleats.

2.2
DAR
TS

Darts are folds (tucks coming to a point) and sewn into fabric to take in ease and
provide shape to a garment, especially for a woman's bust. They are used frequently in
all sorts of clothing to tailor the garment to the wearer's shape or to make an innovative
shape in the garment.

2.2.1 TYPES OF
DARTS

Plain Dart: The plain dart is the most common type of dart that you will see in
sewing and is usually found around the bust, waist and hips. This type of dart can be
manipulated and altered to make different design elements that still function just like a
dart such as princess seams and pleats.
Bust Dart: Bust darts usually start the side seam of a garment and end near the
apex of the bust in order to make the bodice of a garment more formfitting.

Dart Tucks: Dart tucks are a variation of darts that are constructed much like a
standard version but the points are left open. The open ends give a pleated
appearance, which adds a softer look to billowy pants and blouses.
Elbow Dart: Elbow darts are seen more in couture, tailored jackets and allow you to
have a more fitted sleeve with room to move. When you hang your arms loosely at your
sides, you usually keep a slight bend at the elbow, and the elbow dart accommodates
that natural bend.
Double pointed Dart: Double pointed darts are just like having two darts joined
together at their widest ends, with one point toward the bust and one toward the waist.
Double pointed darts are used to give shaping to the middle of a garment like in a dress
or fitted jacket.
2.3 Tucks:

In sewing, a tuck is a fold or pleat in fabric that is sewn in place Tucks are also used to
shorten a finished garment, especially a child's garment, so that it may be lengthened
("let down") as the child grows by removing the stitching holding the tuck in place.
2.3.1 TYPES OF TUCKS
Pin Tucks – the small ones (right on the fold of the
fabric). Spaced Tucks – have spaces between the
stitching.
2.4 PLEATS

A pleat (older plait) is a type of fold formed by doubling fabric back upon
itself and securing it in place. It is commonly used in clothing.
Pleats are categorized as pressed, that is, ironed or otherwise heat-set into a sharp
crease, or unpressed, falling in soft rounded folds.

2.4.1 TYPES OF
PLEATS
Knife – are flat and are turned to one side, usually right to left on the outside of
garment.
They are used in kilts, skirts, and on shoulders of
bodices.
Box – are two straight pleats with folds turned away from each other. They are used
in skirts, dresses, shirts, and jackets.
Inverted – are two straight pleats with folds turned toward each other. They
meet in the center and are used primarily in skirts. 2.4.2 GODETS:

A goddess is an extra piece of fabric in the shape of a circular sector which is

set into a garment, usually a dress or skirt.
2.5 Flares and
gathers
The flared and gathered skirts move on a body in a random, free form in direct
opposition to a pleated skirt, which has an organized, exact style. The movement of the
flared skirts. Draw each fold different size from the next one.

The fabric on the flared skirts lies flat against the hipline, while the fabric on the
gathered skirts puff up away from the hipline at the waistband. Gathers can also be used
for neck line, sleeve, shoulder etc for design purpose.

2.6
SHIRRING
S

In sewing, shirring is two or more rows of gathers that are used to decorate
parts of garments, usually the sleeves, bodice or yoke.

2.7 FRILLS and

FLOUNCES
In sewing and dressmaking, a frill, is a strip of fabric, lace or ribbon tightly gathered or
pleated on one edge and applied to a garment, bedding. The term flounce is a particular
type of fabric manipulation that creates a similar look but with less bulk.
2.8
FACIN
G
In sewing and tailoring, facing is fabric applied to a garment edge, on the inside.
Shaped facings are cut to match the outside shape of the piece to provide a neat finish,
and are often cut from the same pattern pieces. Shaped facings are typically made of the
same fabric as the garment, but may also be made of lighter-weight fabric or in a
contrasting color as a design element; mainly it can be used for armhole and neckline.
2.8.1BIAS FACING

Bias tape or bias binding is a narrow strip of fabric, cut on the bias (UK cross-grain).
The strip's fibers’, being at 45 degrees to the length of the strip, makes it stretchers as
well as more fluid and more drape able compared to a strip that is cut on the grain. Many
strips can be pieced together into a long "tape." The tape's width varies from about 1/2"
to about 3" depending on applications. Bias tape is used in making piping, binding seams,
finishing raw edges, etc. It is often used on the edges of quilts, placemats, and bibs,
around armhole and neckline edges instead of a facing, and as a simple strap or tie for
casual bags or clothing.

Commercially available bias tape is available as a simple bias tape, single-fold bias tape,
and double-fold bias tape.

Single-fold bias tape is bias tape with each raw edge folded in toward the center,
wrong sides together, and pressed.

Double-fold bias tape is single-fold bias tape which has been folded in half and
pressed, with the single folds to the inside. (Another way to think of it is to fold a
Single-fold bias tape in half along its center-line.)

2.8.2 SHAPED FACING and

DECORATIVE FACING
 In sewing and tailoring, facing is fabric applied to a garment edge, on the inside.
Shaped facings are cut to match the outside shape of the piece to provide a neat finish,
and are often cut from the same pattern pieces. Shaped facings are typically made of the
same fabric as the garment, but may also be made of lighter-weight fabric or in a
contrasting color as a design element. Extended facings are extensions of the garment
fabric, folded back and usually stabilized. Bias facings are strips of lightweight fabric cut
on the true bias and shaped rather than cut to match the edge to which they are applied.

2.9
BINDIN
G

In sewing, binding is used as both refer to finishing a seam or hem of a garment,

usually by rolling or pressing then stitching on an edging or trim

2.9.1 Bias binding is a narrow strip of fabric, cut on the bias .The strip's fibers, makes it
stretcher as well as more fluid and more drape able compared to a strip that is cut on the
grain. Many strips can be pieced together into a long "tape. Bias tape is used in making
piping, binding seams, finishing raw edges, etc. It is often used on the edges of quilts,
placemats, and bibs, around armhole and neckline edges instead of a facing, and as a
simple strap or tie for casual bags or clothing.
FASHION DESIGN METHODS UNIT-III 3.1 Placket

A placket is an opening in the upper part of trousers , skirts, shirt at the neck or
sleeve of a garment. Plackets are almost always used to allow clothing to be put on or
removed easily, but are sometimes used purely as a design element. Modern plackets
often contain fabric facings or attached bands to surround and reinforce fasteners such as
buttons, snaps, or zippers.

3.2 TYPES OF
PLACKET

3.2.1 Conspicuous
plackets

Front placket/ kurta

placket

This style of placket is often used for front opening on the garment, where the
placket is made after making slash. Mark a line for placket of desired length along the
centre front.

3.2.2 Inconspicuous
plackets

Boun
d
plack
et

Fac
ed
plac
ket

3.3 METHOD OF CONSTRUCTING THE SLEEVE

PLACKET

STEP-1 STEP-2 STEP-3

STEP-4 STEP-5 STEP-6

S
T
E
P
-
7

3.4 METHOD OF CONSTRUCTING THE KURTA

PLACKET

STEP-1 STEP-2 STEP-3

STEP-4 STEP-5 STEP-6

STEP-7 STEP-8 STEP-9
STEP-10 STEP-11

3.5
Fastene
rs

A fastener is the essential part of a fastening system used to hold together at least
two pieces of material. It is typically a single item (button) that often works in concert
with another device (buttonhole).

3.5.1 TYPES OF
FASTENERS

CONSPIC
UOUS

Button and Button with holes In modern clothing and fashion design, a button is
a small fastener, now most commonly made of plastic, but also frequently of
metal, wood or seashell, which secures two pieces of fabric together.
Button holes are holes in fabric which allow buttons to pass through, securing one
piece of the fabric to another. The raw edges of a buttonhole are usually finished
with stitching. This may be done either by hand or by a sewing machine. Some
forms of button, such as a frog, use a loop of cloth or rope instead of a buttonhole

Button loops can be used for decorative purpose. Most of the kurtha, children
garments can be placed for button loops.
 A shank is a device for providing a small amount of space in between a garment and a
button. Shanks are necessary to provide space for fabric to sit in between the button and
the garment when the garment is buttoned. Shanks also allow a garment to hang and
drape nicely.

Eyelets
and
cords

A small hole or perforation, usually rimmed with metal, cord, fabric, or leather,
used for fastening with a cord or hook.
A metal ring designed to reinforce such a hole; a
grommet. A small hole edged with embroidered stitches
as part of a design.

3.5.2
INCONSPICUOU
S

HOOK
AND
EYE

A hook-and-eye closure is a very simple and secure method of fastening garments

together. It consists of a metal hook, commonly made of flattened wire bent to the
required shape, and an eye (OR "eyelet") of the same material into which the hook fits.

PRESS
BUTTON

A snap fastener (also called press stud, popper, snap) is a pair of interlocking discs,
made out of a metal or plastic, commonly used in place of buttons to fasten clothing and
for similar purposes. A circular lip under one disc fits into a groove on the top of the
other, holding them fast until a certain amount of force is applied. Different types of
snaps can be attached to fabric
 Z
IP
P
E
R

A zipper is very simple and secure of

fastenings garments.

Install the zipper. Insert invisible zipper using our invisible zipper
tutorial.

Sew slowly over the zipper to avoid the needle breaking or

bending

2. Sew the facing along the waistline. To do this, first open the zipper. Place the right
side of the facing down against the right side of the fabric. Stitch, making sure to sew
to the end, over the top of the zipper.

Stitch close to
the zipper

3. Sew along the zipper. Use a zipper foot to sew down the side of the
zipper.
4. Do the other side in the same way. Repeat steps 2 and 3 for the other side of the
facing.

Make sure you don’t cut the

stitches!

5. Clip the seam allowance. Grade seam down at the

corner.

3.
SLEE
VE

Sleeve is the part of a garment that covers the arm, or through which the arm
passes or slips. The pattern of the sleeve is one of the characteristics of fashion in dress,
varying in every country and period. Various survivals of the early forms of sleeve are
still found in the different types of academic or other robes. Where the long hanging
sleeve is worn it has, as still in China and Japan.

There are many other proverbial and metaphorical expressions associated with the
 sleeve, such as to
wear one's heart upon one's sleeve, and to laugh in
one's sleeve.

Sleeve length varies from barely over the shoulder (cap sleeve) to floor-length.
Most contemporary shirt sleeves end somewhere between the mid-upper arm and the
wrist.

3.1 TYPES OF
SLEEVES

3.1.1 PLAIN
SLEEVE

Sleeves set in quite easily in fabrics that have a reasonable amount of give or stretch,
like all varieties of knits, many woolens and fleece. But, for those with little stretch or
give, like broadcloth, most shirting fabrics and hard cottons, the task is much more
difficult.

3.1.2 PUFF
SLEEVE

Puff sleeves are shirt sleeves that are created by adding gathering to the sleeve pattern
along the shoulder seam (cap) and/or the band (hem) in order to create volume and
fullness, or a puffy sleeve effect. Puff sleeves are commonly found on toddler dresses and
gowns, adult formal wear and button-up dress shirts.
b 3.1.3 BISHOP SLEEVE

A long sleeve, fuller at the bottom than the top. The fullness in this sleeve is entirely
at the cuff; there is virtually nothing added to the sleeve cap. This is not a "puffy" sleeve.

3.1.4 BELL
SLEEVE

A long sleeve fitted from the shoulder to elbow and gently flared from elbow onward.
A bell sleeve can actually take many forms, from the slight flare at the wrist to a much
more extreme bell shape on a fitted bicep (think of a '60's bell-bottom pant leg, but worn
on your arm!).
The sleeves can be wide and flowy, or have an asymmetrical hem. Costumes often
use a bell sleeve, in fantasy characters (a fairy princess or Snow White's Evil Queen)
or in historical (mostly Medieval) costumes.

3.1.5 CIRCULAR
SLEEVE

The sleeves seem a little uneven, albeit in a symmetrical way. Circular sleeve
is also called as flounces sleeve.
 Sleeve flounces became popular in the mid 18th century and remained popular as
long as elbow length sleeves were worn.

3.2
ARMHOL
E

(Clothing & Fashion) the opening in an article of clothing through which the arm
passes and to which a sleeve is often fitted

3.2.1 SQUARED
ARMHOLE

The square sleeve cap is one of those Forties styles that makes appearances every
now and then. It introduces design into the cap of the sleeve
3.2.2 CAP
SLEEVE

A very short sleeve covering only the shoulder, not extending

below armpit level.

A cap sleeve is more of a decorative detail than

a true sleeve.

3.2.3 MAGYAR
SLEEVE

The Magyar sleeve has the least amount of volume of fabric under the arm for
this version of sleeve. As the depth under the arm increases the sleeve become Dolman,
Batwing or kits sleeve.

3.2.4 RAGLAN
SLEEVE
Raglan sleeve can be extends to the neckline. A style in which sleeves are
joined to the bodice diagonally from arms into the neckline is raglan style. In this style,
the sleeves cover the shoulder part and bodice is without shoulder part.

3.2.5 KIMONO
SLEEVE

A sleeve cut in one with the bodice in a wide sloping shape, similar to that on
traditional Chinese robes (not Japanese kimono whose sleeves are sewn separately).

Kimono is not suitable for heavy fabrics, because the thickness of the folds formed
under the arms can cause discomfort in the movements.

3.2.6 DOLMAN
SLEEVE

Like the kimono sleeve, the dolman sleeve is drafted with the bodice and is very wide
at the top. The difference, though, is that the dolman sleeve slowly tapers as it moves
toward the wrist.

3.3
YO
KE

A yoke is a shaped pattern piece which forms part of a garment, usually fitting around
the neck and shoulders, or around the hips to provide support for looser parts of the
garment, such as a gathered skirt or the body of a shirt. Yoke construction was first seen
in the 19th century. Bodice yokes were first seen in the 1880s, whilst the yoke skirt, a
skirt suspended from a fitted hip yoke, was first seen in 1898.

3.3.1 PLAIN
YOKE

It can make a basic pattern a lot more interesting as having a seam that goes
horizontally across the bodice gives you a chance to have contrast colours or different
fabrics. You could insert narrow piping or flat binding or trim into the seam or a bit of
frill! Or if you are using a transparent fabric or one that has lots of holes like this
embroidered cotton, then you can have the yoke as a single layer and then line the
mai
n
bodi
ce.
 3.1.2 YOKE WITH
FULLNESS
It can be make a creative pattern from the basic pattern. Like plain yoke, the pattern can
be divided into two parts, one it should be a yoke part. The yoke part can be used to hold
the gathers in place.
FASHION DESIGN
METHODS UNIT-V

5.1
COLLARS

In clothing, a collar is the part of a shirt, dress, coat or blouse that fastens around
or frames the neck. Among clothing construction professionals, a collar is
differentiated from other necklines such as reveres and lapels, by being made from a
separate piece of fabric, rather than a folded or cut part of the same piece of fabric used
for the main body of the garment.

A collar may be permanently attached to the main body

of the garment.

5.1.1 TYPES OF
COLLAR

Peter pan
collar

A flat, round-cornered collar, named after the collar of the costume worn in 1905 by
actress Maude Adams in her role as Peter Pan, and particularly associated with little
girls' dresses
Scalloped
collar

Ascalloped collars totally based on the design purpose,the scallop can be placed
on the edges of the collar

Scallop can also be used for hemlines.

Purita
n
collar

Tall conical hat with a large round brim often decorated with a
buckle and belt.

Rippled
collar

A ripple effect is a situation in which ripples expand across the water when an
object is dropped into it, an effect from an initial state can be followed outwards
incrementally.

Ripple can be used for design

purpose.
Sailor
collar

A collar with a deep V-neck in front, no stand, and a square back, based on traditional
sailor's uniforms.

Square
collar

A collar with a square in front and back it may be on square or any design based
on the designs.

Full shirt collar and open

collar

There are various different styles of collar, which is the primary indicator of the
formality of a shirt. The shirt collar all attached collars, not styles specific to detachable
collars.

Collars can be
categorized as:
Standing or stand-up, fitting up around the neck and not lying on
the shoulders.

Flat or falling, lying flat on the

shoulders.

Chinese
collar

A Chinese collar is a short unfolded stand-up collar style on a shirt or jacket.

Mandarin collars start at the neckline and typically rise vertically two to five
centimeters.

The length along a Chinese collar is straight, with either straight or rounded edges at
top of the centre front. The edges of the collar either barely meet at the centre front or
overlap slightly. Overlapping Chinese collars are often a continuation of a shirt's placket
and have a button on the collar to secure the two sides of the shirt together.
Turtl
e
neck

A polo neck, roll-neck or turtleneck is a garment—usually a sweater—with a

close-fitting, round, and high collar that folds over and covers the neck. It can also refer
to type of neckline, the style of collar itself, or be used as an adjective ("polo necked"). A
simpler variant of the standard polo neck is the mock polo neck (or mock turtleneck),
that resembles the polo neck with the soft fold at its top and the way it stands up around
the neck, but
both ends of the tube forming the collar are sewn to the
neckline.

Shawl
collar

A round collar for a V-neckline that is extended to form lapels, often used on
cardigan sweaters, dinner jackets and women's blouses.

5.2
POCKE
T

A pocket is a bag- or envelope-like receptacle either fastened to or inserted in an

article of clothing to hold small items. Pockets may also be attached to luggage,
backpacks, and similar items. In older usage, a pocket was a separate small bag or
pouch.

5.1 TYPES OF
POCKET
Patch
pocket

Perhaps the easiest pocket to create, the patch pocket is sewn on the outside of the
garment rather than sewn between the shell and the lining. The shape and size of the
patch pocket can vary greatly; round and beveled pockets are common cuts but not as
popular as square-shaped pockets.

Also, patch pockets can come with flaps (loose and tabbed) or
without flaps.

Bound pocket Or Welt

pocket
 Welt pockets have a narrow rectangular bound opening on the surface and the pocket
bag hidden on the inside. Welt pockets can be single-welt pockets, with one strip of fabric
binding the opening, or double-welt pockets, which have two strips binding the opening
and look like a large bound buttonhole (page link).This is an advanced type of pocket
construction as with bound buttonholes.

Pocket in the
seam

An in-seam pocket is used in garment making to create a tailored, discrete pocket on

pants, slacks, skirts, jackets and coats. A kind of internal pocket, it is placed inside the
side seam of the garment and is entirely enclosed by the outer layers, leaving no visible
flaps, buttons, zippers or snaps. In-seam pockets are primarily, though not exclusively,
used on more fashionable garments so it does not detract from an overall formal look.

Front hip
pocket

Front hip pockets are one of the most common types of pockets found in jeans,
trousers, shorts and some skirts. They are very practical and look very nice on any
garment.

The front hip pocket usually starts at the waist and ends at the side
seam.