Design Process

FDB233 : DESIGN PROCESS
REFERENCE BOOKS
Elements of Design: Rowena Reed Kostellow and the Structure of Visual

Relationships , Gail Greet Hannah, 2002
Basic Principles of Design, Manfred Maier, Vol. 1-4
http://www.gov.pe.ca/photos/original/4hsk_fashionRG.pdf
PRESENTED BY
SARANYA S, ASST.PROF.
DEPT.OF FASHION,DESIGN & ARTS
 MODULE 1 - Introduction to Design
 Introduction to design process, design brief, constrains and
criteria for designing
 MODULE 3 – Idea Generation
 Brain storming, Mind mapping, research, market study, forecast,
Inspiration and doodling.
 MODULE 2 – Design Approach
 Working Boards – Preliminary concept using story board, mood
board, material board, form board.
 MODULE 4 – Presentation
 Concept of presentation, surface development, exploratory
drawings, illustrations, specification sheet, cost sheet and
technical packages.
 MODULE 5 – Prototype Development
 Kids wear development following design process
PRESENTED BY SARANYA S,ASST.PROF
 MODULE 1 -Introduction to Design
 Creativity
 Introduction to design process
 Design brief
 Constrains and criteria for designing

 To understand the essence of multidisciplinary and
complexity of creative thought processes.
 Creativity is considered as a set of thought processes
which lead to new solutions, ideas, theories.
 One of key elements of creativity is element of novelty,
something new.
 It can be an “old idea” but if it is applied in a totally new
way, new package, that same but recycled idea, it
becomes a whole new entity.
 Creativity should not be initiated in itself, it is present or
not.

CREATE YOUR OWN DESIGNER
LABEL NAME & LOGO

Introduction:
 Designers, Engineers, Artists, Designer etc....initial
ideas rarely solve a problem.
 Instead, they try different ideas, learn from their
mistakes, and then try again.
 The steps these industries use to arrive at a solution is
called “The Design process”.
 The design process is a great way to tackle almost any
task.
 In fact, you use it each time you create something that
didn’t exist before (e.g. planning an outing, cooking a
meal, or choosing an outfit).
cyclonic
 recurrent, recurring, happening at regular intervals,
regular, repeated, repetitive; periodic, seasonal,
circular.

Brainstorm
 A method used to generate ideas for problem solving.

 Fashion design is an artistic process of developing a
creative idea to a clothing both aesthetically and
functionally.
 There are various ways to design garments.
 ‘Mind-mapping’ is one way to develop a central idea by
brainstorming at a beginning stage of fashion design.
 This research aims to explore ‘Mind-mapping’ through
theoretical studies and class practice .
 In conclusion, it tells that the mind-mapping method
in fashion design is a proper way for fashion designers
and students.
Doodles
 Refers to written comments made on the drawings or
designs in a folio.
 Generally the comments are reflections and
evaluations on designs completed.

Doodle Art-Fashion

 Line
 Shape
 Colour
 Form
 Texture

Proportion The relationship of all the spaces of the garment.
The relationship (either symmetrical or asymmetrical)

Balance
of one side of the garment to the other.
A sense of movement through the repetition of lines,

Rhythm
shapes, and colors.
The center of interest, or the focal point, of the

Emphasis
garment.
Harmony is achieved when the designer has applied all

Harmony
of the principles of design to a fashion design.

Here’s one analogy
An expression, an idea that goes from A to B.

Art Inspires. Design Motivates.
Art Is Interpreted. Design Is

Understood.
Art is expression, Design solves a

problem.
User Needs Social Issue’s
Manufacturer
Needs
Design Moral
Constraints Issue’s
Ergonomics
Anthropometric Economic
data… Environmental Factors
Issues PRESENTED BY SARANYA S,ASST.PROF
 Design on the other hand aims towards solving
problems.
 It involves expressions which is often bound
by constraints.

 Constraints could be ones like layout , typography ,
colour, target audience and dimensions.
 Constraints - Aspects of the design brief or situation
that cannot be changed, or have boundaries or
limitations.
Considerations – other aspects of design brief that
must be thought about or considered. Often these
considerations will set the direction for the research.

 Considerations
 Function, materials, shape and size.
 Safety, user, ergonomics( Human characteristics, such
as height, weight, and proportions), time.
 Cost, appearance, production, reliability.
 Environmental impact, storage and finishes.

 The design process is a way of dividing the creative work
into stages to reach a design goal (figure 1.1).
 These stages are cyclonic in nature (figure 1.2), any step can
be re-visited at anytime during the design process.
 The design process begins with a brief and ends in the
production of a visual communication.
 Analysis, reflection and evaluation underpin the design
process.
 These are not completed at a specific stage; rather they are
ongoing and require creative, critical and reflective
thinking.
 This is refereed to as “ Design thinking.”

Its not about coming up with the
“right idea”,
It about generating the broadest
range of possibility

1.Design Brief:
 Initially at the commencement of
the design process a brief is set.
 A written statement explaining
the primary and associated needs
that you have identified.

 Defines any parameters or constraints that may
influence your decisions.
 Sets the direction for further investigation.
 TWO PARTS TO THE DESIGN BRIEF

 Outline of the situation
 Specifications (constraints and considerations)

 Outline of the situation
Specifications (constraints and considerations)
 First part of design brief
 Outline of situation explains the problem to be solved.
 Mentions the client.
 Major purpose or intended function of the product.
 Who will use it?
 Where will it be used?
 How often will it be used.
 Under What conditions it will be used.

Second Part of Design
 BRIEF - SPECIFICATIONS
 Details of the situation, this is time consuming but a
clear understanding between client and designer is an
essential.

 Purpose Market:
 Who might use the product?
 Is there other competition with a similar product?
 Quantity:
 How many will be needed?
 Style:
 What will the product look like?
 Will the product appeal to the target market?

 Quality:
 What level of quality will be used to make my
 Product:
 Does the client have special requirements?
 Are their national standards to be met?
 Cost:
 What will each item cost to produce?
 What level of profit is needed?
 What is the final cost likely to be?
 Time scale:
 When does the client wish the project to be finished?
 When should the product be ready for the same?
 Key Features to be considered
 Function:
 Where will the product be used?
 What will my product be used for?
 Performance:
 How might the product be used?

2. Research :
 Research is the process of gathering information to
assist in developing ideas.
 It is more than cutting and pasting imagery into the
project dairy.
 Needs to analyse and interpret their images through
annotations to determine and justify what is going to
be useful as a means for inspiration and a starting
point for their design work.
 Research should broaden the knowledge of the
Designer’s and influence how the product or outcome
will be developed.
3. Generation of ideas:
 During this stage the Designer’s applies the
information and inspiration gathered during their
research.
 Designer’s can work in many ways to generate ideas
including brainstorms, thumb nail and concept
sketches.
 These are not polished or redefined drawings and the
annotations beside them assist in explaining the idea.

4. Developing ideas
 After working quickly and mostly on a small scale Sector .
 The Designer’s then spends more time developing
selected concepts.
 This stage of the design process involves :
 Design trials
 The application of the design elements and principles,
 Decision making
 selecting concepts that suit the target audience
and relates directly to the design brief.

5. Refinement of Ideas/ Resolution :
 This stage involves the student editing, adapting and tweaking
the final concept in response to feed back.
 The Designer’s now produce more sophisticated imagery and a

final mock-up of the design solution is created.
 The mock up allows that designers to test the final idea and to
see the final solution produced as close to the finished product
as possible.
 Through the critical Path process a fully refined design will be

produced that meets the requirements of the brief.

 In fashion mood board creation, keeping things simple is
key and will deliver your message clearly to you and your
audience.
 The size of your board is dependent on its use as they’re

often very large if used in a design studio but could be
smaller to reflect your set-up.
 The mood board should contain a number of key

elements which include the following:

 COLOUR PALETTE:
 Colour choices need to be clearly identified through the

use of swatches or images.
 These can be in the form of fabrics, paint shade
cards, Pantone shade cards or colours that you create
yourself.
 Whatever colour swatches you choose, they must
correlate with the colours of your imagery and create a
link.
 FABRIC AND TEXTURE:
 Fabrics that you’ve chosen during the research period

should be displayed on your board.
 Include, trimmings, prints and any other

embellishments also.
 Tangible samples are important in order to convey and

support any developing ideas.
 Fabric choices also can represent texture and add

depth to the research and consequent designs.
 THEME REFERENCE RESEARCH
 A mood board charts your research journey from
initial idea to further development, therefore, it’s
important that it focuses and edits back to the most
important images used for your inspiration.
 Most collections are based on a theme – it can be
visual, sensory or literary.
 Exploring the theme and defining it on the mood
board allows for better and more focused design
process.
 It informs the later, selection of materials and trims as
well as design details that may be applied to the
product.
 TARGET MARKET:
 Re-visit your initial research and brief, when you had

considered who you were designing for.
 This could be the client or your own muse.
 Include references, in the form of images, to their

perceived lifestyle.
 Knowing who would be the end client helps create the

mood board.
 Referring to the client’s taste and interests helps

create a more focused fashion mood board.
 KEYWORDS AND TEXT:
 Inspiration can come from many sources. Sometimes

they are visuals and at times they may either be solely
or be supported by words.
 Annotating your board with short paragraphs or

descriptive words to describe the theme or story of the
collection to the viewer.
 Words can sometimes be more powerful than images,

as they allow the mind to wonder and for creativity not
to be confined.
 STYLING IMAGERY:
 This is closely linked to the Market in reference to the

lifestyle of the muse or client.
 It adds depth to the character by including imagery of

props and styling as well as hair and make-up
suggestions which all contribute to creating an ideal
image for your collection.

 FINALISING YOUR MOODBOARD
 The key stages to consider, prior to finalising your board include
the following:
 Analyse your chosen images
 Undertake more research if required
 Determine the mood you want to convey
 Decide on a traditional or digital approach
 Select your paper/board
 Explore, develop and refine your images and layout
 Print or compile your board
 In this digital age, you now have two choices of how to present
your mood board.
 The traditional method displays your work onto boards.
 The images can be placed at angles or perpendicular to the edge
of the board, but use a set square to ensure accuracy for the
latter. Ensure that you have reference points marked onto the
board prior to attaching the images.
 For best results use spray glue and colour photocopy the board
for a more professional finish.
Design reaches out to
people;
Art draws them in.
Art challenges; Design assists.
 A collection of work in sketchbook form, a personal
and varied set of fashion work that explores and
investigates different and individual themes
 Its a supporting work, such as smaller A4 sketch books
and research files.
 Working independently to design and develop fashion
ideas.
 A sketchbook filled with design ideas for potential
fashion collections and a new confidence to develop
new designs.

FABRIC MANIPULATION

FABRIC MANIPULATION

DESIGN CONCEPT
• Crafting authenticity has craft, provenance and craft man ship
as a key factor together.
• Living in a country like India where craft is the beauty of the country.
• Concept of crafting authenticity through kantha embroidery.
• Crafting authenticity is a reflection of heritage.
• Since, the inspiration was “ Heritage of Rajasthan”,
• What’s better than to get inspired from one of the architecture marvela in
rajasthan.
• The chand Baoli (spectacular step well) Abhaneri, Rajasthan.

• The garment is inspired from the steps of the Baoli.
CATEGORY: Women’s Indo –
Western Outfit
Gender: WOMEN
COLOR PALETTE

STUDENT’S EXAMPLE -01 DESIGN AND DEVELOPMENT WORK FLOW:

STUDENT’S EXAMPLE -02 DESIGN AND DEVELOPMENT WORK FLOW:

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FDB233 : DESIGN PROCESS

Elements of Design: Rowena Reed Kostellow and the Structure of Visual

Basic Principles of Design, Manfred Maier, Vol. 1-4

PRESENTED BY SARANYA S,ASST.PROF

PRESENTED BY SARANYA S,ASST.PROF

PRESENTED BY SARANYA S,ASST.PROF

PRESENTED BY SARANYA S,ASST.PROF

PRESENTED BY SARANYA S,ASST.PROF

PRESENTED BY SARANYA S,ASST.PROF

PRESENTED BY SARANYA S,ASST.PROF

PRESENTED BY SARANYA S,ASST.PROF

The relationship (either symmetrical or asymmetrical)

A sense of movement through the repetition of lines,

The center of interest, or the focal point, of the

Harmony is achieved when the designer has applied all

PRESENTED BY SARANYA S,ASST.PROF

PRESENTED BY SARANYA S,ASST.PROF

Art Is Interpreted. Design Is

Art is expression, Design solves a

PRESENTED BY SARANYA S,ASST.PROF

PRESENTED BY SARANYA S,ASST.PROF

PRESENTED BY SARANYA S,ASST.PROF

 This is refereed to as “ Design thinking.”

PRESENTED BY SARANYA S,ASST.PROF

PRESENTED BY SARANYA S,ASST.PROF

 Sets the direction for further investigation.

 TWO PARTS TO THE DESIGN BRIEF

PRESENTED BY SARANYA S,ASST.PROF

PRESENTED BY SARANYA S,ASST.PROF

PRESENTED BY SARANYA S,ASST.PROF

PRESENTED BY SARANYA S,ASST.PROF

PRESENTED BY SARANYA S,ASST.PROF

PRESENTED BY SARANYA S,ASST.PROF

PRESENTED BY SARANYA S,ASST.PROF

 The Designer’s now produce more sophisticated imagery and a

 Through the critical Path process a fully refined design will be

PRESENTED BY SARANYA S,ASST.PROF

 The size of your board is dependent on its use as they’re

 The mood board should contain a number of key

PRESENTED BY SARANYA S,ASST.PROF

 Colour choices need to be clearly identified through the

 Fabrics that you’ve chosen during the research period

 Include, trimmings, prints and any other

 Tangible samples are important in order to convey and

 Fabric choices also can represent texture and add

 Re-visit your initial research and brief, when you had

 Include references, in the form of images, to their

 Knowing who would be the end client helps create the

 Referring to the client’s taste and interests helps

 Inspiration can come from many sources. Sometimes

 Annotating your board with short paragraphs or

 Words can sometimes be more powerful than images,

 This is closely linked to the Market in reference to the

 It adds depth to the character by including imagery of

PRESENTED BY SARANYA S,ASST.PROF

PRESENTED BY SARANYA S,ASST.PROF

PRESENTED BY SARANYA S,ASST.PROF

PRESENTED BY SARANYA S,ASST.PROF

• Concept of crafting authenticity through kantha embroidery.

• Crafting authenticity is a reflection of heritage.

• Since, the inspiration was “ Heritage of Rajasthan”,

• The chand Baoli (spectacular step well) Abhaneri, Rajasthan.