Підр. Дизайн

МІНІСТЕРСТВО ОСВІТИ І НАУКИ УКРАЇНИ
КИЇВСЬКИЙ НАЦІОНАЛЬНИЙ УНІВЕРСИТЕТ

ТЕХНОЛОГІЙ ТА ДИЗАЙНУ
Т.В. Барамикова, Л.П. Ільєнко, К.Б. Кугай, А.В. Спіжова,

Н.В. Зимнікова, А.М. Ткаленко
“ESP: Design”
КИЇВ КНУТД 2010

Т.В. Барамикова, Л.П. Ільєнко, К.Б. Кугай, А.В. Спіжова, Н.В.
Зимнікова, А.М. Ткаленко. «ESP: Design»: Підручник для студентів IІІ-IV курсів
всіх спеціальностей факультету Дизайн. – К.: КНУТД, 2010 – 275 с. –
Англійською мовою
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ЗМІСТ
Передмова ………………………………………………………………...... 5
UNIT 1. HISTORY OF ARTS part I 7
Text A. History of arts ……………………………………………………... 7
Text B. Renaissance ………………………………………………………… 11
Text C. Leonardo da Vinci ………………………………………………..... 15
UNIT 2. HISTORY OF ARTS part II 17
Text A. Baroque and Rococo ……………………………………………….. 17
Text B. The history of arts. Brief overview ………………………………… 22
Text C. The painter …………………………………………………………. 24
UNIT 3. FASHION HISTORY part I 27
Text A. First steps in fashion ……………………………………………….. 27
Text B. World War I and after the War ……………………………………. 31
Text C. Factors influencing fashion in the 16th century …………………….. 34
UNIT 4. FASION HISTORY part II 35
Text A. Fashion evolution ………………………………………………….. 35
Text B. Charles Frederick Worth industrializes fashion ……………………. 39
Text C. First fashion publications ………………………………………….. 43
UNIT 5. DESIGN ELEMENTS 44
Text A. Design elements ……………………………………………………. 44
Text B. Design principles …………………………………………………… 48
Text C. The importance of colour …………………………………………... 51
UNIT 6. COSTUME DESIGN 53
Text A. The work of a designer …………………………………………….. 53
Text B. The World Famous Designers .......................................................... 57
Text C. The appearance of a costume designer profession …………………. 60
UNIT 7. THEATRICAL COSTUME 62
Text A. Theatrical costume …………………………………………………. 62
Text B. Dance costume …………………………………………………….. 66
Text C. Musical-dance costumes …………………………………………… 69
UNIT 8. SCENIC DESIGN 70
Text A. Scenic design ………………………………………………………. 70
Text B. Scenic makeup …………………………………………………….. 74
Text C. Makeup Artists …………………………………………………….. 77
UNIT 9. INTERIOR DESIGN 79
Text A. The home of ideas ………………………………………………….. 79
Text B. Colour in your home ……………………………………………….. 83
Text C. Accessories …………………………………………………………. 86
UNIT 10. TEXTILES IN THE INTERIOR 89
Text A. Creative interiors …………………………………………………… 89
Text B. Textile items ……………………………………………………….. 94
Text C. Fabric Care………………………………………………………….. 97
UNIT 11. FLORAL DESIGN ……………………………………………... 99
Text A. Floral art ……………………………………………………………. 99
Text B. Flower symbolism ………………………………………………….. 104
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Text C. Ikebana ……………………………………………………………... 107
UNIT 12. MODERN HAIRDRESSING PROCEDURES 109
Text A. Modern hairdressing procedures …………………………………… 109
Text B. The art of hairdressing ……………………………………………... 113
Text C. History of cosmetics ……………………………………………….. 116
UNIT 13. GRAPHIC DESIGN 117
Text A. The art of graphic design …………………………………………... 117
Text B. Raymond Loewy. The father of industrial design …………………. 121
Text C. Website layout ……………………………………………………… 124
UNIT 14. WEB DESIGN 125
Text A. Principles and elements of web design …………………………….. 125
Text B. The importance of colour ………………………………………….. 130
Text C. Theory of colours ………………………………………………….. 133
UNIT 15. PHOTO & VIDEO DESIGN 135
Text A. Photo design ……………………………………………………….. 135
Text B. Video design ……………………………………………………….. 140
Text C. Photography types ………………………………………………….. 144
UNIT 16. CORPORATE IDENTITY 146
Text A. Corporate identity ………………………………………………….. 146
Text B. Paul Rand: A brief biography ……………………………………… 149
Text C. Business cards ……………………………………………………… 153
APPENDIX 1. TEXTS FOR LISTENING………………………………….. 155
APPENDIX 2. TEXTS FOR ADDITIONAL READING ...……………….. 166
ENGLISH-UKRAINIAN DICTIONARY .................................................... 200
УКРАЇНСЬКО-АНГЛІЙСЬКИЙ СЛОВНИК ……………………………. 221
GLOSSARY................................................................................................... 237
Список використаної літератури ............................................................... 274
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ПЕРЕДМОВА
Підручник «ESP: Design» розрахований на 210 годин аудиторної та
самостійної роботи студентів – майбутніх спеціалістів в галузі дизайну, на
другому етапі навчання.
Тексти, вправи, додатки та аудіо записи підібрані у відповідності до вимог
Болонського процесу. Мовний матеріал відображає новітні тенденції в галузі
дизайну.
Даний підручник спрямований на всебічний розвиток майбутніх фахівців,
на підвищення їх англомовної професійної компетенції, і якісних характеристик
майбутнього спеціаліста.
Композиція підручника це дидактично та методично опрацьований і
систематизований навчальний матеріал, що складається з 16 уроків, кожен з яких
містить 3 логічно-пов’язаних тексти та завдання, спрямовані на розвиток у
студентів усіх необхідних мовних навичок: читання, письма, слухання, говоріння.
Підручник орієнтує студента на активну пізнавальну діяльність, самостійну
творчу працю, формування практичних навичок професійного англомовного
спілкування. Підручник характеризується об’єктивністю, науковістю, чіткою
логічною послідовністю та сучасністю матеріалу.
Автори відібрали найважливіші основні теми, які формують мовну
компетенцію, світогляд майбутнього спеціаліста та сприяють його всебічному
розвитку.
Для досягнення цієї мети тексти містять інформацію з історії мистецтва та
дизайну, біографічні дані про відомих дизайнерів, а також базову інформацію по
всім галузям дизайну: дизайн інтер’єру, графічний та веб дизайн, фото та відео
дизайн, сценічний дизайн, дизайн текстилю, дизайн одягу, тощо. Студенти також
можуть дізнатися про основні принципи та елементи дизайну.
Перший текст уроку (А) спрямований на розвиток навичок вивчаючого
читання, збагачення мовного запасу студентів, а також аналізу тексту.
Дотекстові вправи спрямовані на подолання мовних труднощів та розуміння
термінів.
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Післятекстові вправи спрямовані на свідоме практичне засвоєння мовних
елементів та стилістичних особливостей тексту.
Другий текст уроку (В) призначений для аудиторного та самостійного
опрацювання, вправи та завдання мають комунікативну спрямованість: розкриття
основного змісту тексту, визначення головної ідеї, новизни та значущості
інформації у стислому вигляді, побудові плану та відпрацюванням навичок
перекладу.
Текст (С) призначений для аудіювання.
Розроблені до нього завдання спрямовані на розвиток навичок розуміння
тексту на слух, виділення основної інформації.
Питання та завдання дозволяють забезпечити більш ефективне
опрацювання студентом навчального матеріалу у процесі самостійної роботи та
сприяють формуванню практичних прийомів та навичок логічного мислення.
Додатки є важливим засобом збагачення змісту підручника. Вони
доповнюють основний матеріал та мають безпосереднє відношення до
навчального плану: тексти для аудіювання, тексти для самостійного опрацювання.
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UNIT 1
HISTORY OF ARTS
Part I
TEXT A
I Listen and remember the following words:
1. to survey дослідити
2. masterpiece шедевр
3. to survive зберегтися, вижити
4. to depict зображувати
5. medieval середньовічний
6. heritage спадщина
7. to retain зберігати
8. workmanship майстерність
9. advent поява
ІІ Read and remember the following phrases:

1. distinguishing features – відмінні риси
2. biblical truths – біблійські істини
3. a vast scope – широкий простір
4. illuminated manuscript – заставочний рукопис
5. stained glass – кольорове скло
6. secular elite – світські еліти
7. in terms of – з точки зору
III Read and translate the following text:
History of Arts
The history of arts is an attempt to survey art through human history, classifying
cultures and periods by their distinguishing features.
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The history of art is often told as an chronology of masterpieces created in each
civilization in the world.
The oldest surviving art forms include small sculptures and paintings on rocks
and in caves. Ancient art began when ancient civilizations developed a form of written
language. The great traditions in art have a foundation in the art of one of the six great
ancient civilizations: ancient Egypt, Mesopotamia, Greece, Rome, India, or China. Each
of these centers of early civilization developed a unique and characteristic style in their
art.
Ancient Roman art depicted gods as idealized humans. In Byzantine and Gothic
art of the Middle Ages, the dominance of the church insisted on the expression of
biblical truths. Byzantine monumental Church mosaics are one of the great
achievements of medieval art.
The medieval art of the Western world covers a vast scope of time and place, over
1000 years of art history. Medieval art was produced in many media, and the works that
remain in large numbers include sculpture, illuminated manuscripts, stained glass,
metalwork and mosaics.
Medieval art in Europe grew out of the artistic heritage of the Roman Empire and
the iconographic traditions of the early Christian church.
At the start of the medieval period most significant works of art were very rare
and costly objects associated with secular elites, monasteries or major churches.
The use of valuable materials is a constant in medieval art; until the of the period.
Gold was used for objects for churches and palaces, personal jewellery and the fittings
of clothes.
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The period of the Middle Ages neither begins nor ends neatly at any particular
date, nor at the same time in all regions, and the same is true for the major phases of art
within the period.
Byzantine art is the art of the Greek-speaking Byzantine Empire. Byzantine art
was extremely conservative, for religious and cultural reasons, but retained a continuous
tradition of Greek realism.
The Byzantine Empire produced much of the finest art of the Middle Ages in
terms of quality of material and workmanship. Byzantine silk, textiles, often woven or
embroidered with designs of both animal and human figures were produced in
workshops in Constantinople. Some other decorative arts were less developed.
The Medieval era ended with Renaissance followed by the Baroque and Rococo.
The 18th and 19th centuries included Neoclassicism, Romantic art, Academic art, and
Realism in art. Art historians disagree when Modern art began. It was either in the mid-
eighteenth century with the artist Francisco Goya, the mid-nineteenth century with the
industrial revolution or the late nineteenth century with the advent of Impressionism.
The art movements of the late nineteenth through the early twenty first centuries are too
numerous to detail. They can be broadly divided into two categories: Modernism and
Contemporary art or Postmodern art.
ІV Answer the questions:

1. What is the history of art?
2. What are the oldest surviving forms of art?
3. When and where did the biblical truths dominate in art?
4. In what media was medieval art produced in?
5. Was the use of valuable materials constant in medieval art?
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6. What are characteristic features of Byzantine art?
7. What was Constantinople famous for?
8. What was medieval era followed by?
9. What forms of art are typical for the 18th – 19th centuries?
V Complete the sentences with the words from the text:

1. The history of art is often told as ... ... created in each civilization in the world.
2. The oldest surviving art forms include ... ... ... .
3. Ancient Roman art depicted ... ... ... .
4. The use of valuable materials is ... ... ... .
5. Byzantine art is the art of the … … … .
VI Find the English equivalents to the words:

малюнки на скалах, заставний рукопис, середньовічне мистецтво, оздоблення
одягу, зберігати традиції, майстерність, поява (виникнення), кольорове скло,
металообробка.
VII Make up the sentences with the words and phrases:

monumental Church mosaics, a unique and characteristic style, rare and costly objects, a
particular date, conservative, silk, textiles, decorative art, impressionism, Modern and
Contemporary art.
VIII Give definitions to the words:

sculpture, painting, mosaics, jewellery, advent.
IX Translate the sentences into English.

1. Кожна з древніх цивілізацій розвинула свій унікальний та характерний стиль
мистецтва.
2. Візантійська монументальна мозаїка є однією з величезних досягнень
середньовічного мистецтва.
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3. Середньовічне мистецтво Західного світу охоплює широкий простір часу,
понад 1000 років історії мистецтва.
4. У Європі середньовічне мистецтво виросло із спадщини Римської імперії.
5. Період Середньовіччя не має точної дати свого початку.
6. Візантійське мистецтво було дуже консервативним з релігійних та культурних
причин.
7. Ера Середньовіччя закінчилась із виникненням Ренесансу, а потім Барокко та
Рококо.
8. Академічне мистецтво виникло у 18-19 століттях.
9. Мистецтвознавці не однакової думки щодо періоду виникнення Модерну.
10. Художні течії (напрямки) кінця 19, 20 та початку 21 століття дуже численні.
X Speak on the topic using the following words and word-combinations:

history of art, to survey, cultures, masterpieces, civilization, Egypt, Greece, Rome,
India, China, characteristic style of art, biblical truths, mosaics, Medieval art, sculpture,
manuscripts, stained glass, valuable materials, Byzantine art, be characterized, silk,
textiles, art historians, Impressionism, Modernism, Postmodern art.
TEXT B
I Read and remember:
1. to span охоплювати
2. to be viewed розглядатися
3. profoundly серйозно
4. to contend стверджувати
5. prominence вигідне становище
6. prevailing домінуючий
7. to unravel розгадати
8. pinnacles вершини
9. to diversify варіювати, урізноманітнювати
10. spirit дух
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11. require потреба
ІІ Read the text and define the main idea of it:
Renaissance
The Renaissance was a cultural movement that spanned roughly
the 14th to the 17th century, beginning in Florence in the Late
Middle Ages and later spreading to the rest of Europe. This
intellectual transformation has resulted in the Renaissance being
viewed as a bridge between the Middle Ages and the Modern
era. Although the Renaissance saw revolutions it is perhaps best
known for its artistic developments and contributions of such Great Men as Leonardo da
Vinci and Michelangelo.
The Renaissance, being a cultural movement, profoundly affected European
intellectual life in the early modern period, literature, philosophy, art, politics, science,
religion.
It remains much debated why the Renaissance began in Italy, and why it began
and when it did. Accordingly, several theories have been put forward to explain its
origins.
Some historians have postulated that Florence was the birthplace of the
Renaissance as a result of luck, i.e. because “Great Men” were born there by chance.
Da Vinci, Botticelli and Michelangelo were born in Tuscany.
Other historians have contended that these “Great Men” were only able to rise to
prominence because of the prevailing cultural conditions at the time.
One of the distinguishing features of Renaissance art was its development of
highly realistic linear perspective. It was part of wider trend towards realism in the
arts. To that end, painters also developed other techniques, studying light, shadow, and
famously in the case of Leonardo da Vinci, human anatomy.
These changes in the artistic method showed a desire to depict the beauty of
nature and to unravel the axioms of aesthetics with the works of Leonardo,
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Michelangelo and Raphael representing artistic pinnacles. Other notable artists include
Sando Botticelli, Donatello and Titian, among others.
In the 15th century, the Renaissance spread great with speed from
its birthplace in Florence, first to the rest of Italy, and soon to the rest of
Europe. The invention of the printing press allowed the rapid
transmission of these new ideas. As it spread, its ideas diversified and
changed, being adapted to local cultures.
In England the Elizabethan era marked the beginning of the English Renaissance
with the work of writers William Shakespeare, Christopher Marlowe, Edmund Spenser,
Sir Thomas More, Francis Bacon, as well as great artists.
French writers such as Francois Rebelais, Pierre de Ronsard, Michel de
Montaigne, painters such as Jean Clouet and musicians such as Jean Mouton also
borrowed from the spirit of the Italian Renaissance.
It was also during the northern Renaissance that Flemish brothers Hubert and Jan
Van Eyck perfected the oil painting technique, which enabled artists to produce strong
colours on a hard surface that could survive for centuries.
As a cultural movement that profoundly affected European intellectual life in the
early modern period, beginning in Italy and spreading to the rest of Europe by the 16th
century influence of the Renaissance affected literature, philosophy, art, politics,
religion and other aspects of intellectual require.
III Make up a plan of the text.

IV Translate the paragraph in italics in a written form.
V Questions for discussion:
1. What is the Renaissance?
2. What did the Renaissance affect?
3. What did some historians postulate?
4. What were the other opinions as to the origin of the Renaissance?
5. What is one of the distinguishing features of the art cultural movement?
6. Who are the most famous representatives of the artistic pinnacles?
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7. How did the Renaissance spread to Europe?
8. What do you know about the English Renaissance?
VI Render the text in brief in a written form.

VII Practise reading the dialogue with your partner.
J. Heavens, what sparkling eyes that lady on the portrait has! And what a graceful pose!
H. Isn't it lovely! Her face is gentle, she looks as if she was alive.
J. And the texture of her dress! It looks so soft and silky as if you could feel it with your
hand.
H. You like realist portraits, don't you?
J. I like pictures that are true to life, where every leaf and flower is depicted exactly.
H. Like in still life? Look, at this one. Flowers in a vase, watermelons, grapes and
cherries. Doesn't it look nice?
J. Wow, it makes me feel really hungry. Do we call this art realism?
H. Well, realism artists' ideal was a truthful depiction of what laid before their eyes and
precise drawing of a landscape or a portrait.
O. There is nothing like landscapes to me. I like nature depicted as mysterious and
majestic.
H. You seem to like romanticism, don't you?
O. How can you tell a realistic landscape from a romantic one?
H. Romantic artists used exaggerations: the hills and trees are higher, the sea is bluer
than in real life. Artists stressed the wild character of the place and the drama of
contrasts.
J. Look over there. That calm sea shore will make you feel happy. The rocks and blue
water are flooded with sunlight. And the delicate white figure of a lady in the wide-brim
hat conveys the spirit of leisure, harmony and optimism.
O. And I see the brushwork here is unlike those we have seen. The trace of the brush is
left and the character of the work is rapid and sketch-like.
H. Naturally, another style – another expression. This is piece of impressionism.
Impressionists tried to capture one instant in time.
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J. The moment, stop! You are a wonder!
H. Right you are. Emphasis was placed on capturing the first impression of the subject,
it was painted on the spot, in a state of great emotional excitement at the sight of a
wonderful world.
O. What do you know about contemporary art?
H. There are a great number of styles both of realistic and formalistic trends, and a
great deal of masterpieces.
J. We'll see some of them in the Museum of Modern Art, I believe. Let’s go there next
week.
VIII Give the main idea of the dialogue in your own words.
IX Make up your own dialogues using the key words and expressions from the
unit.
TEXT C
I Mind the following words and word-combinations:
1. inventor винахідник
2. archetype прообраз
3. infinite безмежний
4. curiosity цікавість
5. to equal дорівнювати
6. diversely різноманітно
7. renowned визнаний
8. primarily в першу чергу
9. vastly широко
10. to conceptualise замислювати
11. solar сонячний
12. tensile strength сила натягування
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II Listen to the text. Decide if the statements are true or false:
1. Leonardo da Vinci was an Italian scientist, engineer, anatomist, painter, sculptor,
botanist, musician and writer.
2. He is perhaps the most diversely talented person to have ever lived.
3. Leonardo is renowned primarily as a musician.
4. As an engineer, Leonardo conceptualised a plane.
5. As a scientist, he greatly advanced the state of knowledge in the fields of anatomy
and hydrodynamics.
III Listen to the text again and be ready to answer the questions:
1. What is the most famous portrait by Leonardo da Vinci?
2. How is Leonardo da Vinci often described?
REVIEW ASSIGNMENTS
I Revise the vocabulary minimum of Unit 1 to be checked up.

II Match the words:
1 valuable a) сучасний
2 contemporary b) поява
3 ancient c) середньовічний
4 to depict d) майстерність
5 medieval e) середньовічний
6 manuscript f) цiнний
7 features g) зображувати
8 workmanship h) столiття
9 advent i) древній
10 century j) рукопис
III Match the words in the left column with their definitions:
1 sculpture a) outstanding work, achievement or performance
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2 mosaic b) art or process of applying paints to a surface such as canvas, to
make a picture or other artistic composition
3 jewellery c) art of making three-dimensional or relief forms by chiselling,
carving, modelling
4 painting d) design or decoration made up of small pieces of coloured glass,
stone, etc.
5 masterpiece e) objects that are worn for personal adornment such as bracelets,
rings, necklaces, etc.
UNIT 2
HISTORY OF ARTS
Part II
TEXT A
1. to impose накладати
2. to execute виконувати
3. to view дивитися, поглядати
4. to embody втілювати
5. to intersect перетинати
6. to supersede замінювати, заміщати
7. to merge змінюватися, зливатися
8. silverwork вироби із срібла
9. refinement витонченість, удосконалення
10. pre-eminence перевага
II Read and remember the following phrases:

1. defining statement – вирішальний фактор
2. extra-sculptural elements – додаткові скульптурні елементи
3. concealed lighting – приховане освітлення
4. excessive ornamentation – надмірний орнамент
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5. complexity of lines – складність ліній
6. engraved publications – фоліанти
Baroque and Rococo

Baroque is an artistic style of unity imposed
upon rich heavy detail.
A defining statement of what Baroque
signifies in painting is provided by the series of
paintings executed by Peter Paul Rubens for Marie
de Medici at the Luxembourg Palace in Paris.
In Baroque sculpture was a dynamic
movement and energy of human forms. These
sculptures often had multiple ideal viewing angels.
The characteristic Baroque sculpture added extra-
sculptural elements, for example concealed
lighting, or water fountains.
Baroque architecture was taken up with
enthusiasm in central Germany (Ludwigsburg Palace and Zwinger Dresden), Austria
and Russia (Peterhof). In England the culmination of Baroque architecture was
embodied in works by Sir Christopher Wren, Sir John Vanburgh and Nicholas
Hawksmoor. Many examples of Baroque architecture and town planning are found in
other European towns, and in Latin America. Town planning of this period featured
radiating avenues intersecting in squares, which took ones from Baroque garden plans.
In modern usage, the term “Baroque” may still be used, usually describing works
of art, craft, or design that are thought to have excessive ornamentation or complexity of
line.
Baroque was superseded in many centres by the Rococo style, beginning in
France in the late 1720s, especially for interiors, paintings and the decorative arts.
18
The 1730 represented the
height of Rococo development in
France. The style had spread beyond
architecture and furniture to painting
and sculpture.
The Rococo style spread with
French artists and engraved
publications. It was readily received in the Catholic parts
of Germany, Bohemia, and Austria, where it was merged
with the lively German Baroque traditions. In Great
Britain Rococo was always thought of as the “French
taste”. It was never widely adopted as an architectural
style, although its influence was strongly felt in such areas
as silverwork, porcelain, and silk. Thomas Chippendale
transformed British furniture design through his
adaptation and refinement of the style.
It is not surprising, that French Rococo art was
at home indoors. Metalwork, porcelain figures, frills
and especially furniture rose to new pre-eminence as
the French upper class thought to outfit their homes
in the new fashionable style.
Rococo style took pleasure in asymmetry, a
taste that was new to European style.
During the Rococo period, furniture was lightened, physically and visually. The
idea of furniture had evolved to a symbol of status and took on a role in comfort and
versatility. Furniture could be easily moved around for gatherings.
In general, Rococo is an entirely interior style because the wealthy and
aristocratic moved back to Paris from Versailles.
19
Though Rococo originated in the purely
decorative arts, the style showed clearly in
painting. The painters used delicate colours and
curving forms, decorating their canvases with
cherubs and myths of love. Portraiture was also
popular among Rococo painters.
Sculpture was another area where the
Rococo was widely adopted. Etienne-Maurice Falconet is widely considered as one of
the best representatives of French Rococo. This style was best expressed through
delicate porcelain sculpture. Falconet himself was a director of a famous porcelain
factory.

1. What kind of style is Baroque?
2. Whose works signify the Baroque style in painting?
3. Where was Baroque architecture taken up with enthusiasm?
4. Where can examples of Baroque architecture be found?
5. What does the term “Baroque” mean in modern usage?
6. What style was Baroque superseded by?
7. Who promoted the Rococo style spreading?
8. Where was this style popular?
9. How was Rococo embodied in furniture?
10. Why is Rococo considered to be an entirely interior style?

1. In Baroque sculpture was ... .
2. In modern usage, the term “Baroque” ... .
3. The Rococo style spread ... .
4. It was never widely adopted as ... .
5. It is not surprising ... .
20
6. Though Rococo originated in ... .

художній стиль, картини, скульптури, фонтани, планування міст, витвори
мистецтва, ремесло, надмірний орнамент, інтер’єр, вплив, пристосування,
удосконалення.
VII Make up the sentences with the words and phrases:

a defining statement, to be provided by, dynamic movement, concealed lighting,
culmination of Baroque architecture, to be embodied, town planning, in modern usage,
to be superseded, spread, German Baroque traditions.

works of art, craft, silverwork, indoors, furniture.

1. Як художній стиль Бароко характеризується розкішними, важкими деталями.
2. У Німеччині стиль Бароко був сприйнятий з ентузіазмом.
3. Англійський архітектор Сер Крістофер Урен був прихильником цього стилю.
4. Стиль Рококо виник у Франції наприкінці 1720-х років.
5. Стиль Рококо широко застосовувався в інтер’єрі, живописі та скульптурі.
6. Древні фоліанти та французькі художники сприяли розповсюдженню стилю
Рококо.
7. Французька знать оздоблювала своє житло у новому модному стилі.
8. Меблі у стилі Рококо були комфортні, різноманітні та легко переміщалися при
потребі зібрання.

Baroque and Rococo styles, to be characterised by, rich heavy details, to be used in,
painting, sculpture, architecture, in modern usage, works of art, craft, excessive
21
ornamentation, complexity of lines, spread, France, Germany, Austria, French Rococo,
interior, furniture.
TEXT B
1. visual arts візуальне мистецтво
2. surviving відродження
3. to be devoid of бути позбавленим
4. aesthetic experience естетичний досвід
5. trepidation страх
6. to wane занепадати
7. to assume приймати, набувати
8. coherent пов’язаний
9. rejection відмова
10. quest пошук
The History of Arts. Brief Overview

In the visual arts the European movement called "neoclassicism" began after
1765, as a reaction against both the surviving Baroque and Rococo styles.
Contrasting with the Baroque and the Rococo, Neoclassical paintings are devoid
of pastel colours and haziness; instead, they have sharp colours.
Romanticism as an artistic, literary, and intellectual movement originated in 18th
century Western Europe, around 1790, during the Industrial Revolution. It was partly a
revolt against aristocratic, social, and political norms of this period and a reaction
against the scientific rationalization of nature in art and literature. It stressed strong
emotion as a source of aesthetic experience, placing new emphasis on such emotions as
trepidation, horror.
As the Romantic movement waned, the focus shifted away from idealism to a
22
more realistic rendering of nature, social relationships, and the characteristics of the
individual, society, and the nation at large. This new realism assumed various forms in
the different countries where it took root.
Realism had a profound influence on the literature and figurative arts of Europe.
The most systematic and coherent form evolved in France during the revolutions of
1830 and 1848. It reached its peak during the Second Empire (1852-70) and began to
wane in the 1870s.
The beginnings of modern painting started in 19th-century France. The paintings
of Gustave Courbet, Edouard Manet, and the Impressionists represent a deepening
rejection of the prevailing academic tradition and a quest for a more naturalistic
representation of the visual world. From about the 1890s on, different movements and
styles arose, such as Neo-Impressionism, Symbolism, Cubism, Futurism,
Expressionism, Constructivism, Surrealism, Social Realism, Pop art, Minimal art, and
Neo-Expressionism, etc. Despite the enormous variety seen in these movements, most
of them are characteristically modern in expressing a spiritual response to the changed
conditions of life in the 20th century.
An important trend throughout the 20th century has been the abstract art – i.e., art
in which little or no attempt is made to reproduce the appearances or forms of objects.
The development of photography and of allied photomechanical techniques of
reproduction has had an important influence on the development of modern art, because
these mechanical techniques freed manually executed drawing and painting of their
crucial role as the only means of accurately depicting the visible world.

V Render the text in brief in a written form.
VI Work in pairs. Discuss the questions:
1. When and where did Neoclassicism begin?
2. What are Neoclassical paintings devoid of ... ?
3. What is Romanticism?
23
4. What is Realism featured by?
5. Where did modern painting start in?
6. What do the paintings of Gustave Courbet, Edouard Manet and the Impressionists
represent?
7. What styles arose then?
8. What do they express?
9. What influenced the development of modern art?
VII Practice reading the dialogue with your partner:

- What do you think I ought to see first in Lviv?
- The sculptures of Greco-Roman art. They are exhibited in the Lviv Picture Gallery.
- I’d like to see these sculptures. In fact, the Greek torso is provided with the Roman
head. Several emperors were known to have done that, installing their portrait heads on
the bodies of the Greek or Roman gods.
- But, do you know that pieces of ancient Greek or Roman sculptures were discovered
on the facade of the palace that used to belong to Count Lianskoronsky? These
sculptures combine the Greek-made torsos and Roman-made heads, and dated from the
second century BC-second century AD. They were incorporated into the facade of this
palace and now they are exhibited in the Lviv Picture Gallery.
VIII Make up your own dialogues using the key words and expressions from the
unit.
TEXT C
1. exceptional винятковий
2. thoroughly ґрунтовно, досконало
3. spoilt зіпсований, розпещений
4. features риси (обличчя)
5. pigeon голуб
24
6. to complete завершувати
7. amazingly дивовижно
8. lifelike як живий
9. to disappoint розчаровувати
10. triangle трикутник
11. square квадрат
12. amateur аматор

1. Picasso showed his truly exceptional talent in a very young age.
2. His father was an amateur artist.
3. Pablo often watched his father paint but he was never allowed to help.
4. Few people realized that he was a genius.
5. He was always breaking the rules of artistic tradition and shocked the public.
6. He created over 6000 paintings, drawings and sculptures.
1. When did Pablo Picasso learn to draw?
2. How many drawings, paintings and sculptures did he create?
REVIEW ASSIGNMENTS

II Match the words and word-combinations:
1 refinement a) перевага
2 pre-eminence b) вирішальний фактор
3 visual arts c) естетичний досвід
4 features d) візуальне мистецтво
5 defining statement e) риси (обличчя)
6 amateur f) винятковий
25
7 surviving g) витонченість, удосконалення
8 aesthetic experience h) аматор
9 exceptional I) відродження
10 visual arts j) візуальне мистецтво
III Match the definitions:

1 Neoclassicism a) a style of architecture and decorative art that
flourished throughout Europe from the late 16th
to the early 18th century characterized by
extensive ornamentation works of art
2 Baroque b) late 18th and early 19th century style in
architecture, decorative art and fine art based on
the imitation of surviving classical models
and types
3 Modernism c)a style of painting that was popular in the late
18th and early 19th centuries, in which feelings,
imaginations, and wild natural beauty were
considered more important than anything else
4 Romanticism d) artistic and literary movement originating in
Germany at the beginning of the 20th century
which sought to express emotions rather than to
represent external reality. It is characterized by
the use of symbolism, exaggeration and distortion
5 Expressionism e) a style of art that was popular especially from
the 1940s to the 1960s, which uses simple shapes
and modern artificial materials
26
UNIT 3
FASHION HISTORY
part I
TEXT A
1. to reveal показувати
2. crusade хрестовий похід
3. emergence поява
4. cutting розкрій
5. sewing пошиття
6. ever-changing що постійно змінюється
7. availability наявність
8. to emphasize надавати особливого значення
9. trendsetter законодавець моди
10. pursuit намагання

1. professional tailor – професійний кравець
2. matter of necessity – необхідність
3. to drive to extremes – вдаватися до крайнощів
4. fairly dramatically – досить кардинально
5. exquisite design – вишуканий дизайн
First Steps in Fashion

The history of fashion reveals not only the importance of changes in appearance
but also its historical interpretation.
The turning point in medieval fashion came in the eleventh century. Emerging
monarchies in France, England and Spain created courts with real wealth to spend on
27
fashionable clothes. These monarchies sent knights and soldiers on religious crusades to
the Middle East and the returning crusaders brought with them ideas and clothes from
the developed societies of the Byzantine Empire. These influences brought a revolution
in fashion.
The real innovation in medieval fashion was that men’s and women’s clothing
began to develop in completely different directions. One of the primary causes of this
fashion revolution was the emergence of the professional tailor. Tailors across Europe
developed new methods of cutting and sewing.
The Middle Ages was perhaps the last period in European history when clothing
was a simple matter of necessity rather than extravagant, ever-changing fashion.
The fifteenth century saw transformations in the nature of costume and culture
that are key to our understanding of Western fashion. Until the fifteenth century the
clothing customs of most cultures had been determined by tradition, the availability of
certain kinds of fabric and the skill of the tailor. During the fifteenth century, however,
the nature of European costume began to emphasize fashion.
The sixteenth century was one of the most splendid periods in all of costume
history. Some of the larger cultural trends of the time included the rise and spread of
books, the expansion of trade and exploration. The increase in power and wealth of
national monarchies in France, England and Spain caused the emergence of trendsetters.
Perhaps the greatest fashion trendsetter of the century was Elizabeth I of England
who ruled from 1558 to 1603. This powerful female ruler drove fashion to extremes in
her pursuit of richness and ornament.
28
The clothing worn by Europeans during the seventeenth century was influenced
by fashion trends as never before. During the course of the century garments went from
restrictive to comfortable and back to restrictive again, and excessive ornament was
both stripped away and added back to clothing for both men and women. While the
wealthy continued to determine the styles the rise of the middle classes also began to
have a significant influence on fashion.
By the 1620s styles began to change fairly dramatically. While the garments worn
remained the same the overall trend through the mid-century was toward softness and
comfort. People continued to value rich materials and exquisite design, and didn’t add
ornament for ornament’s sake.
These changes in fashion reflected the rising influence of France with its free
sense of style.
IV Answer the questions:

1. Why do we need to study fashion history?
2. What is medieval fashion characterized by?
3. What transformations did the fifteenth century see?
4. Who is the most famous trendsetter of the sixteenth century?
5. What are the main features of that period?
6. How did the fashion change in the seventeenth century?

1. … was the period when clothes were a matter of necessity.
29
2. Some cultural trends of the sixteenth century included … .
3. Elizabeth I was one of the greatest trendsetters of the sixteenth century, she …
fashion … .
4. In … the middle class began to have a great impact on fashion.
5. In the seventeenth century garments’ overall trend was toward … .

зовнішність, визначати, тканина, поширення, напрямок (у моді), впливати,
предмети одягу, зручний, надмірний.
VII Make up sentences with the terms:

professional tailor, trendsetter, exquisite design, medieval fashion, revolution in fashion,
innovation.

trendsetter, ever-changing, to emphasize, exquisite, availability, tailor, cutting.
IX Translate the sentences into English:

1. Революція моди стала однією з головних підстав появи професійного кравця.
2. Поступово люди почали надавати особливого значення моді.
3. Нові тенденції в моді дуже впливали на одяг європейців у 17 столітті.
4. Європейські кравці постійно винаходили нові методи пошиття одягу.
5. Шістнадцяте століття відзначилося поширенням книжок, торгівлі, а також
збільшенням могутності монархії.
6. У сімнадцятому столітті стиль одягу став зручнішим.
7. Візантійська імперія мала великий вплив на моду Європи.
8. Шістнадцяте століття було одним з найблискучіших періодів в історії моди.
30
influence, importance, medieval fashion, monarchy, the Byzantine Empire, fashion
revolution, tailor, to develop, transformations, Western fashion, trendsetter,
comfortable, to determine.
TEXT B
1. to divert відвертати (увагу, тощо)
2. mourning траур
3. shawl шаль
4. trimming оздоблення
5. lapel лацкан (піджака, тощо)
6. calf-length (довжиною) до литки
7. buckle пряжка
8. appeal привабливість
9. petticoat нижня спідниця
10. reminiscent що нагадує
II Read the text and define the main idea of it:
World War I and after the War

The war diverted most women's thoughts from fashion, dressing
them into working clothes, uniforms. Fashion magazines carried designs
for appropriate widow's clothes: always high at the neck, black and loose,
with full skirts and veiled hats. The longer the war went on, the more
clothing rules were relaxed. Only a few women wore black for a whole
year or limited their jewelry to black jet.
Dress code at the theater became much more independent. Elegant evening
dresses were still allowed but were no longer “recommended”.
31
While men were at the front, women did many of their jobs. They went into farming
and building, worked in factories, became drivers and conductresses on buses and
trains, and even ran many businesses. They also went into military service, some being
sent to the front, and not only as nurses. Women gradually became accustomed to
wearing uniform.
The military style was soon reflected in fashion. Before the war coats had
normally been shorter than skirts. Now they resembled uniforms and covered
everything. Shawl collars with fur trimming were replaced by strict lapels. Clothes
simply became more functional. The narrow straight skirt was replaced by a calf-length
pleated skirt. Hats became smaller and were worn with no decoration. Jewelry was more
or less taboo.
In Britain a “dress for all occasions” was launched. This could be worn indoors
and outdoors, from morning till evening. Loosely cut and made of cheap, washable
material, it was fastened with buckles and had no hooks and eyes. Clothes did become
simpler because working women found that uniforms and working clothes were
practical and had a certain appeal: they made women look competent and serious.
Fashionable clothes were still created and sold, but it did not seem right to
appear in them on the street. A skirt and pullover were more appropriate. There was a
certain nostalgia for wide skirts, which reminded wearers of the “good old days”.
In 1915 there was a short period of frivolity, when the so-called war crinoline
was introduced. This was a mid-calf skirt made of abundant material and worn over
several petticoats, reminiscent of the 19th-century crinoline.
Many couture houses including Poiret and Vionnet were closed during the war.
Chanel, on the other hand, introduced her jersey suits which suited the times perfectly.
Many women did not want to give up the freedoms which the war had forced on
them. Morals had changed, and so had clothes: both had become looser. The shorter
dress that now revealed the ankles was more popular than pants which reminded
wearers of hard work. Women wanted to enjoy themselves. They wanted to dance and
they could move best in the simplest dress, cut straight from top to bottom like a tube.
32
This design also had the advantage of being something that every woman could copy
and run up on her sewing machine at home.
The fashion industry needed new ideas and new customers.

IV Translate the paragraphs in italics in a written form.
VI Work in pairs. Discuss the questions.
1. How did the war influence fashion?
2. What was the dress code at the theatre?
3. What were women doing during that time?
4. Military style was reflected in fashion, wasn’t it?
5. How did “dress for all occasions” look like?
6. What was the so-called war crinoline like?
7. Many new fashion houses appeared during the war, didn’t they?
8. What was more popular: dress or pants?
9. What was necessary for fashion industry?

1)
A. You work for AdCam, a famous advertising agency based in the U.K. Could you
give me ideas for the following advertising campaigns?
B. Firstly, I’d like to speak about a chain of fashion boutiques. The boutiques are
located in the central part of the city, they specialize in designer clothes.
A. Will they offer a wide range of Ukrainian brands?
B. Sure, our goal is to improve sales and attract new customers. But the main point I’ll
be talking about is a new chain of clothes shops for people with low income. The shops
are located in residential areas.
A. And what do you know about a new packaging material?
B. The material is eco-friendly. It is a bit more expensive than polyethylene.
33
A. What is it made of?
B. It is made of a mixture of cotton, acrylic and polyester.
A. Fine, thank you very much for your attention and your time.
B. Please, don’t worry! Everything will be all right.
IX Make up your own dialogues using the key-words and expressions from the
unit.
TEXT C
I Mind the following words:
1. city-state місто-держава
2. craftsman майстер
3. to enrich збагачувати
4. luxurious розкішний
5. merchant купець

1. Linen production in England was very important and allowed for creation of rich
fabrics.
2. Powerful European kingdoms had a great impact on fashion.
3. Tailors of that time were not so skilled as they are now.
4. The monarchs were the only persons who could afford rich fabrics.
5. One of the ways displaying the power of kings and queens was clothing.
1. What role did the textile industry play in the sphere of fashion?
2. How did monarchs treat fashion?
34
REVIEW ASSIGNMENTS

II Match the words:
1 розкішний a) tailor
2 пряжка b) shawl
3 кравець c) trendsetter
4 хрестовий похід d) sewing
5 шаль e) increase
6 законодавець моди f) significant
7 пошиття g) trade
8 збільшувати h) luxurious
9 значний i) buckle
10 торгівля j) crusade
1 clothes a) a sewing line joining two pieces of a material
2 substitute b) a material made of wool, cotton, etc. used for
making garments
3 creative c) things to wear on the body
4 seam d) producing original ideas
5 cloth e) use something instead of another thing
UNIT 4
FASION HISTORY
part II
TEXT A
1. dressmaker швачка
2. to reflect відображати
35
3. to simplify спрощувати
4. introduction впровадження
5. silhouette силует
6. impact вплив
7. pattern викрійка, лекало
8. to allow for брати до уваги
9. mass-produced серійного (масового) виробництва
10. ready-to-wear готовий (одяг)

1. to such an extent that – до такої міри, що
2. power loom (weaving machine) – ткацький верстат
3. for the centuries to come – на віки
4. to experience liberty – відчувати свободу
5. at the dawn – на початку
Fashion Evolution
Men and women wore very different clothes at the beginning of the eighteenth
century than they did at the end. The skill of dressmakers had developed to such an
extent that it caused more attention was paid to details and ornaments. Despite the
growing skills of tailors dress became simpler. Great changes reflected the political and
cultural life during the century including the American and French Revolutions.
Throughout Europe and the newly created United States of America people’s attitude
about dress changed. No longer the monarchs were the only trendsetters of fashion.
Later toward the end of the century clothing styles began to simplify.
36
During the nineteenth century dress changed a lot. The change was influenced by
the introduction of machines to the construction of clothing. Sewing machines, power
looms or weaving machines and other inventions increased the productivity of clothing
manufacture. While the styles for men at the end of the century laid the foundation that
would influence men’s clothing for the centuries to come, the styles for women did not.
Women’s fashion began to be influenced by fashion designers, the first being Charles
Frederick Worth. And in the coming century women would experience much more
liberty and a variety of new styles would emerge to reflect this.
The period of World War I was one of great transitions in the world of fashion.
Not only styles for women were changed in their basic silhouette but the very system
through which new styles were introduced and popularized also changed. Paris was the
center of the world fashion but more and more people got their fashion ideas from
magazines. Social changes especially the increasing liberation of women and the
coming of war also had a great impact on fashion.
At the dawn of the twentieth century Paris was the center of the fashion world.
Clothing designers from Paris introduced clothing at seasonal shows and sold clothes to
the wealthiest people in Europe and the United States. Increasingly, however, these
fashions began to reach more and more people. Publishers began to sell pattern books of
fashionable clothes that allowed people to make the clothes at home if they were good
sewers. Soon department stores which were becoming popular throughout the West also
began to sew and sell dresses modelled on the latest Paris fashions.
37
The introduction of the sewing machine combined with the factory system
allowed for the mass production of clothing. Men’s clothing was the first to be mass-
produced in a variety of different sizes. This form of clothing was called ready-to-wear.
By the first years of the twentieth century ready-to-wear clothing was available to
women too.

1. What changes did dress undergo in the eighteenth century?
2. What did these changes reflect?
3. What inventions in fashion were presented in the nineteenth century?
4. Who was the first fashion designer?
5. How can you characterize the twentieth century in point of fashion?
6. What role in fashion did Paris play at the dawn of the twentieth century?
7. How did publishers influence the spreading of new fashion trends?
8. When did ready-to-wear clothing become available?

1. At the beginning of the eighteenth century monarchs were not the only … .
2. Despite the growing skills of dressmakers clothing began … .
3. Such inventions as … , … allowed for the mass production of clothing in the
nineteenth century.
4. In the twentieth century publishers began to sell … allowing people to make the
clothes at home.
5. In … century ready-to-wear clothing become available to women.

зміна, уміння, вплив, давати можливість, доступний, виробництво, відображати,
з’являтися, винахід, різноманітність.
38
ready-to-wear clothing, pattern, dressmaker, weaving machine, clothing manufacture,
pattern book, fashion show.

pattern, ready-to-wear, silhouette, dressmaker, to simplify, sewer, invention.

1. Незважаючи на майстерність кравців, наприкінці вісімнадцятого століття
дизайн одягу спрощувався.
2. У двадцятому столітті Париж став центром світової моди. Тут проводились
сезонні покази мод.
3. З появою швейної машини почалося виробництво готового одягу.
4. На початку двадцятого століття люди могли шити одяг дома за допомогою
збірника викрійок.
5. Такі винаходи дев’ятнадцятого століття як ткацький станок та швейна машина
спростили виробництво одягу.
6. Соціальні зміни та наближення війни мали великий вплив на моду.
7. Нові винаходи допомагали прикрашати жіночій одяг.

dressmaker, to simplify, fashion designer, invention, to emerge, pattern book, ready-to-
wear clothing, mass production, social changes, introduction, seasonal shows, to reflect.
TEXT B
1. gambling азартна гра
2. ambassador посол
3. empress імператриця
4. luxurious розкішний
39
5. to trim прикрашати
6. fringe бахрома
7. braid тасьма
8. tassel китиця
9. pleat складка
10. bulk велика кількість
Charles Frederick Worth Industrializes Fashion

Though born and raised in England, Charles Frederick Worth
became the first world famous French fashion designer. He was also
the first to create and employ the principles of design and fashion
that would be called “haute couture” or “high fashion”. Worth not
only designed clothes for much of European nobility and many
American millionaires, he also introduced many modern changes in the ways clothing
was designed, made and sold.
Worth was born in 1825 in Lincolnshire, in the east of England. His father was a
lawyer who had lost most of his money gambling, so young Charles was forced to go
out to work when he was only eleven. He worked for many years at a department store,
then at the company that sold fabrics. Through his sales experience he learned about
what women wanted and needed in clothing and fashion. He wished to become a dress
designer, so at the age of twenty he began to work at the fabric enterprise in Paris,
where he could study design. There the introduced his first new idea of offering dress
design to customers at the fabric company. For the first time ladies could get the whole
dress, design and fabric at the same location.
Before Worth began his design career, dresses had been made by dressmakers
and designs had been created by the customer and the dressmaker, who got ideas from
looking at pictures of popular dresses. Worth was one of the first designers to come up
with his own ideas, based on his knowledge of women's needs. Soon he started his own
40
company. The wife of the Austrian ambassador bought a dress from Worth that
attracted the notice of the Empress of France. Worth became the court designer and was
soon making dresses for the royalty of Russia, Italy, Spain and Austria. Famous and
wealthy Americans such as the Vanderbilts and the Astors also came to the House of
Worth for special gowns, making Worth the first celebrity fashion designer.
Worth used beautiful and luxurious fabrics for his dresses
and he trimmed them with rich decoration such as fringe, lace,
braid and tassels made of pearls. His many important
contributions to design included an ankle-length walking skirt,
shockingly short for its time, and the princess gown, a waistless
dress that hung straight in the front while draping in full pleats
in the back.
However more significant Worth's contributions were to fashion as an industry. He was
the first designer who used living women as models, and the first who held fashion
shows for revealing his new designs to customers. He also began to make high fashion
more widely available by selling his designs not only to individual customers but also to
other dressmakers, clothing manufacturers and to the newly invented department stores.
Another introduction Worth made was the practice of mass-producing parts of a piece
of clothing, then putting them together in different ways. For example, a certain type of
sleeve could be produced in a bulk quantity and then used on several different types of
dresses to produce a different look each time.
Worth's ideas came at the time when clothing factories and department stores
were new developments, and they created a new concept in fashion called “ready-to-
wear” clothing. For the first time people could simply go to a store and buy fashionable
clothes. Charles Worth died in 1895, but his sons continued to operate his successful
fashion house for many years.

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1. Was Charles Frederick Worth the first to employ the principles of design?
2. Who were the clients of Worth?
3. What was Worth’s childhood like?
4. What idea did he introduce in Paris?
5. How were dresses made before Worth’s career?
6. How did he become the court designer?
7. What fabrics did Frederick Worth use for his dresses?
8. What were his contributions to design?
9. How did Worth make high fashion more available?
VII Practise reading dialogues with your partner.

1)
A. I’d like to have a look at some fashionable coat.
B. We’ve got a big range of coats, fur-coats, and rain-coats.
A. Are they in light colours?
B. Most of the articles are in natural colours. The price has been recently reduced
because we have a seasonal sale now. You see, it’s a wool it’s made of.
A. I like it. May I try it on?
B. Of course, you may. What’s your size?
A. It’s 46. Is my size available at your shop?
B. Yes, it’s available. Please, try it on.
A. And how much does it cost?
B. It costs 1000 gr.
A. What would you advice me to do?
B. Of course, to buy!
2)
A. Well, anyone can be well dressed.
B. Do you mean dressing well is easy?
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A. I mean it is quite possible. You should simply spend time and money wisely.
A. Dressing well is certainly an art.
B. Sure, it is. The art of dressing well requires experience and style.
A. And one of the main guidelines is to feel comfortable, isn’t it?
B. Certainly, it is. Comfort is the first priority factor in dressing.
A. So, dressing well is not such an easy thing as it may seem and it may be the subject
of research.
B. How could you manage it, I wonder?
A. We met most of the best dressed people and they told us how they managed to do it.
B. Oh, it is very interesting.
TEXT C
1. fashion trend модна тенденція
2. nobleman дворянин
3. doll лялька
4. fashion plate сторінка мод
5. Parisian printer – паризький друкар
6. engraving гравюра

1. Fashion trends were set up by the middle class.
2. Tailors went round the country with life-sized dolls to spread new trends.
3. The first fashion magazines appeared in London.
4. Fashion plates are illustrations of the latest clothing.
5. Nowadays fashion magazines are not so popular as they were in the seventeenth
century.
1. How did fashion trends spread around the country in the seventeenth century?
43
2. What are fashion plates?
REVIEW ASSINGNMENTS

II Match the words:
1 trim a) складка
2 ready-to-wear b) модний
3 pattern c) мереживо
4 to simplify d) бахрома
5 sewing machine e) спрощувати
6 fashionable f) лекало, викрійка
7 fringe g) готовий
8 pleat h) покупець
9 customer i) швейна машина
10 lace j) прикрашати
ІІІ Match the words in the left column with their definitions:
1 outfit a) a fine or special sort of clothes
2 attire b) an outer garment worn by a woman
3 garment c) a clothing needed for a particular purpose
4 apparel d) a formal dress, clothing
5 dress e) an article of clothing
UNIT 5
DESIGN ELEMENTS
TEXT A
1. to constitute складати
2. digital цифровий
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3. width ширина
4. thickness товщина
5. wavy хвилястий
6. wheel колесо
7. surface поверхня
8. to describe описувати
9. to measure вимірювати
10. value тон, насиченість
ІІ Read and remember the following phrases:

1. visual design – візуальний дизайн
2. piece of art – витвір мистецтва
3. type of space – види простору
4. to draw attention – звертати увагу
5. continuous movement – безперервний рух
6. complementary colours – кольори, що поєднуються
ІІІ Read and translate the following text:
Design Elements
Design elements and principles describe fundamental ideas about the practice of
good visual design. The elements form the vocabulary of the design, while the
principles constitute the broader structural aspects of its composition.
The elements of design play an important role in the creation and success of a
piece of art, whether it’s for outdoor, indoor, digital or print medium. These elements
are: space, line, colour, shape, texture, form, value.
Space may have two dimensions or in other words flat (length and width), such as
a floor. There are two types of space: positive and negative space. Positive space refers
to the space of a shape representing the subject matter. Negative space refers to the open
space around the subject matter.
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Shape is an area enclosed by lines. Shapes are two-dimensional or in other words
flat.
Shapes in house decor and interior design can be used to add interest, style, theme
to a design like a door. Shape in interior design depends on the function of the object
like a kitchen cabinet door. Natural shapes forming patterns on wood or stone may help
increase visual appeal in interior design. In a landscape, natural shapes, such as trees
contrast with geometric such as houses.
Line is a mark on a surface that describes a shape or outline. It can create texture
and can be thick and thin. Line is the basic element of art that refers to the continuous
movement of a point along a surface, such as a pencil or brush. Every line has length,
thickness, and direction. There are curve, horizontal, vertical, diagonal, zig-zag, wavy,
parallel, dash, and dotted lines.
Colour is the most expressive element of art and is seen by the way light reflects
off a surface. Colour can be mixed from red, yellow, and blue, can be combined to make
new colours, can be mixed for intensity and value, can express moods and feelings, can
be warm or cool, can give the illusion of distance.
Colour, and particularly contrasting colour is also used to draw attention to a
particular part of the image.
There are primary colours, secondary colours, and tertiary colours.
Primary colours consist of red, blue, and yellow. Secondary – of orange, purple,
and green. Secondary colour is made by mixing two primary colours on either sides of
the colour wheel. Tertiary colours consist of red-orange, red-purple, blue-purple, blue-
green, yellow-orange, and yellow-green. Tertiary colours are made by mixing a primary
and secondary colour. Complimentary colours are colours that are opposite to each
other on the colour wheel. They are used to create contrast.
Warm colours are a group of colours that remind us of warm places and things.
Such are red, yellow, and orange. For example fire, sun and fireworks. Cool colours are
group of colours that remind us of cool places and things such as purple, green and blue:
ice, cool sky blue, and the sea.
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Texture can be real or simulated, can form a surface, can be natural or man-made,
can be affected by lighting conditions.
Form is any three dimensional object. Form can be measured, from top to bottom
(height) side to side (width), and from back to front (depth). There are two types of
forms, geometric and natural. Form may be created by combining of two or more
shapes.
Value is an element of art that refers to the relationship between light and dark on
a surface or object. It gives objects depth and perception. Value is also referred to as
tone.
These elements are used to create the principles of design.

1. What elements of design do you know?
2. Why is colour the most expressive element of graphic design?
3. What is the role of shape?
4. What can line create?
5. What do we use to draw attention to a particular part of the image?
6. What are primary colours?
7. What colours are called secondary colours?
8. How do you create contrast?
9. What gives the objects depth and perception?

1. Natural ... forming patterns on wood or stone may help increase visual appeal in
interior design.
2. There are curve, horizontal, vertical, ... , ... , ... , ... , ... , and dotted lines.
3. There are primary colours, ... colours, and ... colours.
4. Form is any three ... object.
5. ... is also referred to as tone.
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VI Find English equivalents to the words:
описувати, довжина, форма, поверхня, створювати, змішувати, відображати,
теплий, прохолодний, відстань.
VII Make up the sentences with the terms:

element of design, space, shape, line, colour, value, texture.

line, texture, form, shape, colour, contrast.

1. Елементи та принципи дизайну використовуються для створення витворів
мистецтва.
2. Кожний малюнок містить в собі майже усі елементи дизайну.
3. Існують криві, горизонтальні, вертикальні, діагональні, хвилясті, паралельні та
інші лінії.
4. Колір може бути застосований до будь-якого іншого елементу.
5. Теплі кольори нагадують нам про літо, відпочинок та сонце.
6. Єдність – це візуальне поєднання різних елементів малюнка.
7. Горизонтальні лінії дають відчуття спокою та стабільності.
8. Лінії ділять простір, направляють око та створюють форми.

elements of design, creating a work of art, line, shape, texture, colour, space, form.
TEXT B
1. placement розташування
2. trait риса
3. brain мозок
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4. to involve залучати
5. plant рослина
6. to achieve досягати
7. similar подібний
8. furniture меблі
9. wallpaper шпалери
10. to incorporate включати в себе
Design Principles
The principles of design are the recipe for a good work of art. Principles combine
the elements to create an aesthetic placement of things that will produce a good design.
Awareness of the elements and principles in design is the first step in creating
successful visual compositions.
These principles are used in all visual design fields, including graphic design,
industrial design, architecture and fine art.
Balance is a feeling of visual equality in shape, form, value, and colour. Objects,
values, colours, textures, shapes, forms, can be used in creating a balance in a
composition. Balance is the weighted relationship between the visual elements.
Harmony – brings together a composition with similar units, it is the unity of all
visual elements. Harmony in design is similarity of the components.
Harmony is achieved through the sensitive balance of variety and unity. Harmony
is when some or many of the components such as furniture, drapes in a room share a
common trait or two. A common trait could be: colour, shape, texture, material, theme,
size, or functionality. For example a drapery could share the same colour that is on a
pillow or wallpaper. The human brain usually likes design harmony.
Proportion is the ratio of one part of the composition to another. Proportion
involves the relationship of size between the objects.
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Proportion also depends on functionality of object. For the best proportion
between a room and furniture, the sizes of furniture depends on the size of the room.
In interior design, proportions like the floor to ceiling may be used to obtain good
visual appeal, functionality in home design.
Repetition is the use of an element or elements more than one time in a single
composition. Any element that occurs is generally echoed, often with some variation to
keep interest.
For example, placing four plant pots in a row and evenly spaced apart on a floor
produces an organized look.
Unity is the organization of elements and principles into a whole. It is achieved
by the use of balance, repetition and harmony. Two objects like living room and dining
room can be unified by giving similar features like a hardwood floor design.
Unity helps the objects like furniture look like these belongs together.
The principles of design are as varied as attitudes regarding modern design. They
differ both between the schools of thought that influence design, and between individual
designers. Successful design incorporates the use of the principles and elements to serve
the designer’s purpose and visual goals. There are no rules for their use.

1. What are the principles of design?
2. What is the first step in creating successful visual compositions?
3. Where do we use these principles?
4. How can be balance determined?
5. How can one achieve harmony?
6. Why is proportion important?
7. What is repetition?
8. How is unity achieved?
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− What are you busy with?
− I’m reading the text about elements and principles of design.
− Are this knowledge important for solving design problems?
− Yes, of course. This knowledge and the ability to apply it are assentional for
foundamental designing.
− Does the organization of these elements and principles help to ensure the quality
of design that satisfies the needs and desires of a client?
− Yes. All of these, including colour and light help the designer to create our
visually pleasing environment. The creator of a well-planed and well-executed
design is able to analyze the use of space, line, shape and mass, texture, light,
colour, and pattern.
unit.
TEXT C
1. to mention згадувати
2. to recall пригадувати
3. chance шанс, можливість
4. to catch упіймати
5. a sign знак
6. warning застереження, попередження
7. mourning жалоба
8. a shade відтінок
9. to cheer радувати
10. to pull from видаляти
51
1. Even when you recall clothes you wore years ago, colour often comes to mind.
2. Colour does not have cultural value.
3. Stop lights, fire engines, and fire call boxes are often bright yellow.
4. Black is the colour of innocence.
5. Bright colours are thought to make people feel happy or talkative.
1. What is the first mentioned thing while describing another person?
2. Why is colour so important?
REVIEW ASSIGNMENTS

1 a chance a) відтінок
2 magnificent b) безсумнівна віра
3 unquestioning faith c) лінійна перспектива
4 satisfying effect d) шанс, можливість
5 a shade e) якість поверхні
6 juxtaposition f) створення витвору мистецтва
7 tranquillity g) спокій
8 surface quality h) задовільний ефект
9 linear perspective i) блискучий
10 creating a work of art j) розташування

1 industrial design a) someone who designs clothing
2 sewing machine b) conforming to fashion; in vogue
52
3 fashionable c) leading establishments or designers for the
creation of exclusive fashions
4 fashion designer d) art or practice of designing any object for
manufacture
5 haute couture e) machine for sewing, often having additional
attachments for special stitching
UNIT 6
COSTUME DESIGN
TEXT A
1. accessories аксесуари
2. to revamp перероблювати
3. personality індивідуальна особливість
4. set група акторів
5. to ensure гарантувати
6. to integrate складати єдине ціле
7. conformity відповідність, схожість
8. to distinguish розрізняти між
9. character дійова особа (п’єси)
10. jewellery коштовності, ювелірні вироби
11. props реквізит

1. to make statement – справити враження
2. creative collaboration – творча співпраця
3. lighting designer – художник освітлення
4. in one's own right – по праву
5. rough sketch – ескіз
6. set designer – художник-декоратор
53
7. potential costume challenges – можливі проблеми з костюмом
The Work of a Designer

Costume designers create the look of each character by designing clothes and
accessories the actors will wear in performance. Depending on their style and
complexity, costumes may be made, bought, revamped out of existing stock or rented.
Their designs need to reflect faithfully the personalities of the characters in the script.
The shapes, colours and textures that a costume designer chooses make an immediate
and powerful visual statement to the audience. Creative collaboration among the
costume designer, the director, the set and lighting designers ensures that the costumes
are smoothly integrated into the production as a whole.
Stage costumes can provide audiences with information about a character's
occupation, social status, gender, age, sense of style and tendencies towards conformity
or individualism. As well costumes can:
- reinforce the mood and style of the production
- distinguish between major and minor characters
- suggest relationships between characters
- change an actor's appearance
- suggest changes in character development and age
- be objects of beauty in their own right.
Costume designs also need to include any accessories such as canes, hats, gloves,
shoes, jewellery or masks. These costume props add a great deal of visual interest to the
overall costume design. They are often the items that truly distinguish one character
from another.
Costume designers begin their work by reading the script to be produced. If the
production is set in a specific historical era the fashions of this period will need to be
researched. To stimulate the flow of ideas at the first meeting with the director and the
design team (set, costume, lighting and sound designers) the costume designer may
54
present a few rough costume sketches. This is also an appropriate time to check with the
director on the exact number of characters requiring costumes. It is the costume
designer's responsibility to draw up the costume plot. The costume plot is a list or chart
that shows which characters appear in each scene, what they are wearing and their
overall movement throughout the play. This helps to track the specific costume needs of
every character. It can also identify any potential costume challenges, such as very
quick changes between scenes. When the director and production team have approved
the costume designer's preliminary sketches she or he can draw up the final costume
designs. The final designs are done in full colour. They show the style, silhouette,
textures, accessories and unique features of each costume. Once the show opens the
designer's work is essentially complete. Now it's normally for the job of a wardrobe
assistant to be sure that every aspect of the production runs just as the designer
intended.

1. What is the essence of costume designer’s work?
2. What is the main task of a stage costume?
3. What can we get to know from the costume?
4. How do costume props help the overall design?
5. How does costume designer’s work start?
6. What is a costume plot?
7. How do final designs look?

1. … such as hats, masks, gloves, etc. are very important for costume design.
2. Before starting his work a designer should know the number of … .
3. … shows the overall movement throughout the play.
4. When the show opens the work of … starts.
55
вистава, попередній, проблема, брати напрокат, забезпечувати, зовнішній вигляд,
загальний, сценарій, придатний, інвентар.

costume designer, costume props, rough sketch, costume plot, lighting designer, visual
statement, accessories.

jewellery, sketch, accessories, to revamp, visual, to distinguish, fashion.

1. Художник по костюмам працює разом з художником-декоратором,
художником освітлення, групою акторів та режисером.
2. Аксесуари допомагають створити завершений образ акторів.
3. Художник по костюмам повинен передбачити всі можливі проблеми з
костюмом.
4. З костюму ми можемо дізнатися про вік, соціальний статус, професію та смак
героя.
5. Робота художника по костюмам починається з вивчення сценарію.
6. Після того як режисер схвалить попередні ескізи костюмів, художник по
костюмам може створювати остаточний дизайн.
7. Остаточний дизайн відображає стиль, силует, аксесуари та особливості кожного
костюму.

costume designer, rough sketch, accessories, creative collaboration, to provide, final
design, costume challenges, performance, character, to integrate, to reflect, costume
props, costume plot.
56
TEXT B
1. brand-new абсолютно новий
2. niche ніша
3. chainmail кольчуга
4. rivet зáклепка
5. pliers щипці
6. audacity сміливість
7. to expel виключати (з якої-небудь організації)
8. “Chambre Syndicale” – франц. профспілка підприємців
9. freelance позаштатний
10. coup вдалий хід
11. to succumb піддаватися
12. mauve рожево-бузковий
II Read the text and define the main ideaof it:
The World Famous Designers

Paco Rabanne. “Don’t seduce, shock!” was the motto of fashion designer Paco
Rabanne. He radically broke with the past which Dior had so successfully revived. For
Rabanne the future meant brand-new materials.
He found his niche when he began designing plastic jewelry. His next step led to
independence: in February 1966 Rabanne showed 12 “unwearable dresses” made of
plastic disks and in September he presented his first garments made of aluminum with
leather and ostrich feather trimming.
In the 1960s his futuristic metal dresses became to show business celebrities what
white satin dresses had been to the Hollywood sirens of the 1930s.
Every modern girl wore Paco Rabanne’s chainmail, which was stitched not with
thread and needle but with hooks, rivets and pliers.
Paco Rabanne has never gave up his experiments with unusual materials.
57
Pierre Cardin. Following Dior’s triumphant success with the “New Look” which
overnight reestablished Paris as the fashion capital of the world, the city was gripped
by gold fever. In 1951 Pierre Cardin showed his first collection. Since he had little
starting capital, the collection was restricted to 50 coats and suits. His designs were an
overwhelming success precisely because Cardin had avoided any imitation of the two
most influential fashion geniuses of the period, Dior and Balenciaga.
Cardin, a marketing genius, is known as the fashion designer with the greatest
number of licenses worldwide. Yet he is also one of the most innovative couturiers.
In1958 he designed the first unisex collection, which united men and women in a joint
lifestyle statement.
He had the audacity to be the first couturier to produce a ready-made collection.
As a result he was expelled by the strict “Chambre Syndicale”. But even the latter soon
had to accept that nothing would stop the American ready-to-wear concept from
invading the motherland of fashion. It was swiftly named prêt-à-porter, thus allowing
couturiers to choose whether they wished to use this avenue to make money – and
allowing Cardin to return.
Karl Lagerfeld. The conclusions which Karl Lagerfeld drew in the 1960s from
the signs of the times were quite different from those drawn by Courrèges, Cardin and
others. While Lagerfeld's contemporaries saw the future in the space-age look, he put
his money on the replacement of couture by ready-to-wear. And, instead of devoting
himself to his own couture house, he worked as a freelance designer.
He first found fame at “Chloé” where he started to work in 1963, remaining there
for 20 years.
In 1965 he began to design fur collections for the Fendi sisters in Rome and today
he іs responsible for all their collections. However his greatest coup has been the
revitalization оf the legendary Chanel style.
Emanuel Ungaro. Emanuel Ungaro began his career as an independent couturier.
His early collections featured severe combinations of blazer and shorts.
He soon developed his own style which was based on a bold mix of colours and
patterns. Flowers on checks or stripes with large polka dots in bright colours are typical
58
of Ungaro, who never succumbed to the pessimistic tendencies which took hold of some
other designers.
Ungaro does not sketch his designs but works directly with the fabric on the body
of a model – for up to 12 hours a day, always with the inspiration of classical music.
The Italian Ferragamo group took over the running of his business in 1996, while
keeping Ungaro as the undisputed creative head of the organization. In 1999 he showed
a modernized version of hippie fashion: long, frilly, floral skirts with cropped tops in
matte mauve and beaded, chiffon pants worn with feather-light jackets or fur-trimmed
stoles.

1. What materials does Paco Rabanne use in his work?
2. What is the most famous Rabanne’s garment?
3. When did Pierre Cardin show his first collection?
4. What did his collection consist of?
5. Who designed the first unisex collection?
6. What does prêt-à-porter mean?
7. Did Karl Lagerfeld work as an independent designer?
8. Who was a revitalizer of Chanel style?
9. What are the features of Emanuel Ungaro style?
10. How does Ungaro create his designs?
59
VII Study Figure1:
Figure1. Executive separates.
VIII Answer the questions:

1. What do you think of clothes like these?
2. Would you like to have them in your wardrobe?
3. If so, where would you wear them?
4. In what colour combinations would you like to have the separates? Explain why?
5. Do you like to wear separates? Why?
unit.
TEXT C
1. piecemeal частково
2. director режисер
3. actor-manager актор-антрепренер
4. to unionize об’єднатися у профспілку
5. touring гастролі
6. cohesive цільний

1. The profession of a costume designer emerged in the Middle Ages.
2. Before the twentieth century actors travelled with their own costumes.
60
3. The first union members were costume designers.
4. In 1836 costume designers were recognized as a separate specialty.
5. Film designers appeared just for making films more cohesive.
1. How did the speciality of a costume designer appear?
2. What were the reasons for film designers to emerge?
REVIEW ASSIGNMENTS

II Match the words:
1 to achieve a) включати в себе
2 digital b) відтінок
3 value c) форма
4 space d) цифровий
5 shape e) простір
6 placement f) вимірювати
7 to incorporate g) досягати
8 shade h) тон, насиченість
9 texture i) форма
10 to measure j) розташування
1 complementary colours a) planning and realization of the layout, furnishing
and decoration of an architectural interior
2 visual design b) a medium that spreads printed matter
3 primary colours c) colours that are directly opposite each other on
the colour wheel
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4 print medium d) colours from which it is possible to mix all the other
colours of the spectrum
5 interior design e) design forms that create works which are primarily
visual in nature
UNIT 7
THEATRICAL COSTUME
TEXT A
I Listen and learn the following words:
1. foundations основи
2. revelry веселощі
3. conventions стилі
4. high-soled shoes взуття на високій підошві
5. ecclesiastical церковний
6. scenery декорації
7. contemporary сучасний, повсякденний
8. breastplate нагрудний знак
9. drapery драпіроване вбрання
10. character персонаж
II Read and learn the following phrases:

1. character recognition – впізнавання персонажу
2. mystery plays – вистава з містичним змістом
3. historical accuracy – історична точність
4. to reflect on the stage – відображати на сцені
5. authentic costume – аутентичний костюм
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Theatrical Costume
Western theater tradition has its foundations in the Greek celebrations honouring
Dionysus, the god of wine and revelry. The traditional costume for Greek tragedy
consisted of a long tunic, a stylized mask for character recognition, and a pair of high-
soled shoes. All of these garments were exclusively for theatrical use. One cannot act
the hero in everyday wear. Short tunics, much like those worn by ordinary citizens,
were thought appropriate to comedy.
The costume conventions established by the Greeks essentially remained the
same until the fall of the Roman Empire, when Western theatre disappeared for eight
hundred years.
From the fifth century mystery plays, which depicted the lives of the saints, were
increasingly performed both inside the church and on church grounds. Then they moved
to the market squares. Costumes worn in the early religious dramas were ecclesiastical
garments.
It was during the Renaissance that scenery and costume came to be even more
important than the text. Costumes depicted gods, animals, and mythological creatures,
as well as emotions.
Costumes for Shakespeare's plays were a mixture of various periods. Most parts
were performed in contemporary dress either owned by the actor or provided by the
theater. A helmet or breastplate indicated a soldier. Fairies and nymphs might wear
classical draperies.
The same principles were applied to costume in the seventeenth and eighteen
centuries. Most actors and especially actresses dressed
as fashionably as possible. A turban indicated an
Eastern character. A helmet signified a soldier.
Performers provided their own wardrobe with the
exception of special items provided by the theater.
The period between the 1770s and the 1870s
saw a drive toward historical accuracy in costume
design. Travelling became relatively easier, written reports and exhibitions increased
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people's knowledge of other cultures. They wanted what they saw and read about to be
reflected on the stage.
Theaters used every available resource to create authentic costumes for actors.
This new realistic style greatly influenced Paris and Moscow theaters.
Nowadays, theatrical costumes are designed to support the script. If realism or
historicism is central to the text, the costumes will accurately reflect the clothing
appropriate to the period or to the environment. Costumes for the theater have special
requirements in fit, colour and effect. Garments must allow the performer's body to
move easily and be well made. For example, costumes of professional actors and
dancers often receive hard wear. Constant use or vigorous movement for dancers, circus
clowns, and acrobats can put a strain on garments, thus requiring sturdy fabrics and
specific construction. When many viewers see costumes from afar, colours or other
aspects of design may be exaggerated for effect. Some colours, therefore, may be more
bold or brilliant than choices for everyday dress. Such choices depend on the
interpretation of the costume designer in planning the outfit for each performer's
individual role and for the interaction among the performers.

1. What was the traditional costume for Greek tragedy?
2. When did the costume and scenery come to be even more important than the text?
3. What did costumes depict during the Renaissance?
4. Could you describe the costumes for Shakespeare’s plays?
5. When did realistic style become popular?
6. What did actors and actresses wear in the 17th and 18th centuries?
7. Are modern theatrical costumes designed to support the script?
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8. What are special requirements for theatrical costumes?
9. How should colours be used in costumes for actors and dancers?
V Complete the sentences with the words from the text.

1. Dionysus is the god of … .
2. The costume conventions established by Greeks remained the same until … .
3. Plays, which depicted the lives of the saints, were performed inside … … .
4. A helmet or breastplate indicated … .
5. They wanted what they saw and read about to be reflected on … .
VI Find the English equivalent to the words:

святкування, п’єса, модний, історична творчість, стилізована маска, відображати
на сцені, підходящий, відповідний.
VII Make up sentences with the words:

tragedy, mask, garments, costume, to perform, theater, stage, to create
VIII Give the definitions to the words and phrases:

comedy, tragedy, theatrical costume, culture, actor

1. Традиційний костюм для грецької трагедії складався з туніки та стилізованої
маски.
2. В середні віки в п’єсах зображувалось життя святих.
3. В період Ренесансу костюми були важливішi ніж текст.
4. В ХІХ столітті історична точність була важливою для театрального костюму.
5. В наш час костюми точно відображають історичний період та середовище.
6. Іноді колір театрального костюму повинен бути більш яскравим, ніж колір
повсякденного одягу.
7. Шекспірівські п’єси грали в повсякденному одязі.
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8. В 18 столітті актори використовували одяг зі свого гардеробу, окрім деяких
речей, якими забезпечував театр.
9. Театральний костюм повинен дозволяти актору вільно рухатись.
X Speak on the topic using the following words and word combinations:
greek tragedy, theatrical costume, everyday dress, costumes provided by the theater, to
reflect on the stage, special requirements, specific construction, viewers, to plan the
outfit, bold colours.
TEXT B
1. elaborate вишуканий
2. laced corset зашнурований корсет
3. beads намистинки
4. chemise жіноча сорочка
5. slashed sleeve рукав з прорізом
6. petticoat нижня спідниця
7. farthingales круги, які тримають спідницю
8. relevant відповідний
9. rehearsal leotard тренувальне трико
10. tutu пачка балерини
Dance Costume
The relationship between dance and dance costumes is complex and does not
simply reflect dance practice in a specific period, but also social behaviour and cultural
values. Dance costumes can be divided into the following categories: historical, folk or
traditional, ballroom, modern and musical dance costumes. Influence has spread from
fashion to dance and back again.
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From the fifteenth to the eighteenth century, festivities at European courts
required highly elaborate dance costumes.
The style of court dance costumes tended to be similar to everyday dress of the
period, for example, laced corsets, puffed and slashed sleeves, farthingales with skirts
and applied decoration. In the early twenty-first century, the reproduction of historical
dance costumes was evident in the activities of historical dance organizations, such as
the Institute for Historical Dance Practice in Belgium.
From the fifteenth century onward, folk dance developed in Europe. The field of
European folk-dance costumes is very complex, as each of the country's regions has its
own dances, dress, and customs. Eastern European folk dances, such as czardas,
mazurka, and polka, soon spread to England and France. Folk-dance costumes reflected
the East European look in the use of bright colours on dark backgrounds. Costumes
were often highly decorated with beads, metal, and silk threads. The basic women's
dress was a short, light-coloured chemise and a petticoat, over which several layers of
fabric were worn.
From the early nineteenth century, ballroom dances were taken up by a broad
public, and special evening dresses were designed to fit these occasions. The waltz, fox-
trot, polka, mazurka, and Viennese waltz required an elegant style. By the twentieth
century, dance costumes for the tango, swing, charleston, rumba, bolero, cha-cha-cha,
mambo, and samba were more revealing.
At the beginning of the twentieth century, Isadora Duncan's natural movements
on stage characterized a new era for dance. Free-flowing costumes and loose hair
permitted a great freedom of dance movement. After World War I, avant-garde
choreographers reformed and liberalized traditional dance and its costumes. Moving
away from traditional ballet techniques, modern dance gave rise to a new era of
costuming. Costumes and makeup took on a unisex look as choreographers felt it less
relevant to differentiate female and male dancers. In 1934, neoclassical dance
choreographer George Balanchine was the first to dress ballet dancers in rehearsal
clothes for public performances. The costumes were almost always black and white.
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Martha Graham replaced the traditional ballet tunics of male dancers and the folk
dress and tutus of female dancers with straight, often dark and long shirts or rehearsal
leotards.

1. What are the main categories of dance costumes?
2. Why is the field of folk-dance costume very complex?
3. How were European folk-dance costumes decorated?
4. What kind of ballroom dances required an elegant style of dress?
5. How did choreographers change traditional dance and costumes after World War I?
6. What did George Balanchine do in 1934?
7. What is the role of costume in dance?

A. What are the main steps of theatrical costume creation?
B. First of all, read the play for which you are designing costumes. Make special notes
of the time period of the play as well as any occupation of characters that may
require a specific type of costume.
A. Then goes the process of sketching the costumes, doesn’t it?
B. You are right. You will need to create one sketch per costume. There may be
multiple sketches for a single character if a costume change is required.
A. Once the sketches are complete, you will need to find fabric samples for each
costume piece, don’t you?
B. Certainly. For example, for a sketch of a man's work costume, you will need a
swatch for the shirt, tie, and trousers. Attach these swatches to the actual sketch you
created. Then lay the sketches side by side and view the overall colouring effect.
A. By the way, what is the role of colour in theatrical costumes?
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B. It is generally advisable to keep a single character within the same colour scheme
throughout the play. It makes the character more easily recognizable to the
audience.
A. Don't you think all the costumes will look identical?
B. No. Clothes are as diverse in the theatrical world as they are in real life.
unit.
TEXT C
1. to conquer завоювати
2. to emerge виникати
3. vendor торговець
4. dance tights лосини
5. wristlet браслет
6. headband пов’язка на голову
7. vice versa навпаки

1. In the 18th century stage costumes were based on everyday-dress design.
2. Costumes for musical “My Fair Lady” didn’t surprise the audience.
3. Aerobic and dance outfits became popular on stage, but not in everyday life.
4. A musical-comedy genre emerged in London from the 1880s.
5. Dance tights, leggings, headbands spread from stage to fashion and vice versa.
1. Where did ballad operas and comic operas emerge in the 18th century?
2. What kind of outfits became popular in 1975?
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REVIEW ASSIGNMENTS

II Match the words (word combinations):
1 set designer a) реквізит
2 lighting designer b) зовнішній вигляд
3 props c) творча співпраця
4 creative collaboration d) готовий одяг
5 character e) проблемa, складність
6 appearance f) художник освітлення
7 ready-to-wear g) художник-декоратор
8 create h) дійова особа (п’єси)
9 challenge i) відображати
10 reflect j) ствоpювати
1 director a) style in clothes, cosmetics, behaviour, etc., especially
the latest or most admired style
2 costume b) rough or unfinished drawing or painting
3 fashion c) person responsible for the artistic and technical
aspects of making a film or television programme
4 performance d) set of clothes appropriate for a particular occasion
5 sketch e) presentation, especially a theatrical one, before an
audience
UNIT 8
SCENIC DESIGN
TEXT A
I Listen and learn the following words:
1. set декорація
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2. rendering виконання, інтерпретація
3. propmaster реквізитор
4. drafting креслення
5. in regard по відношенню до
6. foreman майстер цеху
7. plaster штукатур
8. welder зварювальник

1. set designer – дизайнер декорацій, декоратор
2. set construction – конструювання декорацій
3. scale models – масштабні моделі
4. scale construction drawings – масштабні ескізи
5. stage picture – постановча картина
6. visually appealing – візуально привабливий
7. production manager – режиссер- постановник
8. scene shop – сценічна майстерня
Scenic Design
Scenic design (also known as stage design, set design or
production design) is the creation of theatrical scenery. Scenic
designers have traditionally come from a variety of artistic
backgrounds, but nowadays, generally speaking, they are
professionals, often with degrees in theatre arts.
The ‘stage picture’ is the ‘look’ or physical appearance of the stage for a play,
whether in rehearsal or performance. It reflects the way that the stage is composed
artistically in regard to actors, shapes and colours. The stage picture should express
good principles of design and use of space. It should be visually appealing for the
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audience or should express the show's concept. The stage picture is also crucial for the
creation of atmosphere for the audience.
The scenic designer is responsible for collaborating with the theatre director and
other members of the production design team to create an environment for the
production and then communicating the details of this environment to the technical
director (production manager), charge scenic artist and propmaster. Scenic designers are
responsible for creating scale models of the scenery, renderings, paint elevations and
scale construction drawings as part of their communication with other production staff.
In Europe and Australia scenic designers take a more holistic approach to
theatrical design and will often be responsible not only for scenic design but costume,
lighting and sound, and are referred to as theatre designers or scenographers, or
production designers.
Like their American colleagues, European theatre designers and scenographers
are generally trained with Bachelor of Arts degrees in theatre design, scenography or
performance design.
Set construction is a process by which a set designer works in collaboration with
the director of the production to create the set for a theatrical, film or television
production. The set designer produces a scale model, scale drawings, paint elevations
and research about props, textures, and so on. Models and paint elevations are generally
hand-produced, though in recent years, many designers and most commercial theatres
have begun producing scale drawings on computer drafting programs.
The technical director or production manager is the person responsible for

evaluating the finished designs and considering budget and time limitations. He or she
looks through the scenery, reworks it for building, budgets time, crew and materials.
Technical directors often have assistant technical directors who help them in their work.
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Day-to-day matters such as absences, breaks, tool repair are the concern of scene
shop workers. The staff of a scene shop is usually referred to as scenic carpenters.
Scenic painting is a separate aspect of scenic construction, although the scenic painter
usually answers to the technical director.
There is also usually another person often referred to as Jack of all trades. He or
she doesn't specialize in a particular aspect of construction, but is skilled to some degree
in most.

1. What is scenic design?
2. What is a ‘stage picture’?
3. What should a ‘stage picture’ express?
4. What is a scenic designer responsible for?
5. What are technical director’s duties?
6. How do designers use a computer?
7. What is a technical director responsible for?

1. Scenic designers are specialists often with degrees in….
2. The stage picture should express good principles of…..
3. The scenic designer is responsible for …. with the theatre director and other
members of the production design team.
4. In Europe scenic designers are often responsible not only for scenic design but ….
5. The technical director is responsible for ….

декорації, декоратор, макети, візуально привабливий, постановча картина, ескіз,
фон, режиссер-постановник.
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stage design, professionals, principles of design, technical director, drawings,
hand-produced, show’s concept.

stage picture, scenic designer, scale models, props.

1. Дизайнери декорацій часто мають театральну освіту.
2. Постановча картина повинна бути візуально привабливою.
3. Інколи декоратори відповідальні не лише за дизайн сцени, а й за костюми,
освітлення та звук.
4. Постановча картина виражає ідею шоу та створює необхідну атмосферу.
5. Дизайнери європейських театрів звичайно мають ступінь бакалавра мистецтв.
6. Декоратор повинен співпрацювати з режисером, щоб створити декорації для
театральних вистав або фільмів.
7. Режиссер-постановник проектує декорації, підбирає матеріали та команду.
scenic designer, props, scale models, stage, principles of design, visually appealing,
technical director, scene shop, responsible for.
TEXT B
1. to rely on покладатися, довіряти
2. heighten підсилювати
3. to delineate окреслювати
4. to convey передавати, виражати
5. excessive надмірний
6. exaggerated перебільшений
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7. runway подіум
Scenic Makeup
Some ancient theatrical traditions have relied on masks for the creation of visual
characters; others have relied on makeup for the same purpose.
Ancient Greek theatre was masked, but later European theatre usually used stage
makeup to create characters, heighten facial features, and compensate the effects of
stage lighting absence. Until the twentieth century, performers were expected to do their
own makeup, as they were expected to supply their own stage costumes. The
professional theatrical makeup artist is a modern phenomenon, as is the theatrical
costume designer.
Theatrical makeup is inseparable from the act of performance itself. The aim of
theatrical makeup is to delineate and enhance the role of a character and to give
performers an additional tool for conveying the characters being performed. Stage
makeup is often used to create visual stereotypes that will be readily understood by the
audience. Stage makeup is usually much more colourful and graphic than ordinary
cosmetic makeup. When viewed closely, it can seem excessive and exaggerated, but it
works when the performer is on stage being seen at a distance by the audience.
Theatrical makeup itself is also heavier, denser, and more strongly coloured than
ordinary cosmetics.
For many performers, the act of putting on makeup is an important part of the
ritual of preparing for a performance; it allows the performer to move psychologically
into the role of the character as the makeup is being applied.
Makeup artists are employed today in a variety of roles, and they often specialize
in, for example, theatrical makeup, cinema makeup, fashion photography and runway
makeup, or special effects. They typically require years of training and practice to
perfect their skills. Social effects makeup is particularly prominent in the world of film,
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but has also played an important role in the success of many popular Broadway
productions.
By the early twenty-first century makeup in different theatrical and fashion
genres began to cross previously rigid barriers. The world of film, especially in special
effects, has had a profound impact on the development of new techniques of stage
makeup, and today theatrical makeup shows up regularly on fashion catwalks as well.
Recent fashion shows by Dior and Givenchy, for example, have been notable for their
strong sense of theatre. Fashion makeup artists have begun to borrow liberally
techniques from traditional stage makeup to create striking new designs. Meanwhile,
theatrical makeup is enriched by new developments in film, fashion, photography and
other media.

1. Was an Ancient Geek theatre masked?
2. Why did European theatre usually use stage make up?
3. What is the aim of theatrical makeup?
4. What is the difference between stage makeup and ordinary cosmetic makeup?
5. Why is makeup very important for many performers?
6. How do modern designers use stage makeup?

- Good evening. Ann!
- Good evening. Mary! This is a small world! How are you?
- Fine, thanks. How are you?
- Life is going its usual way. Thanks.
- Pleased to hear it. Where do you have a seat?
- In the stalls, row C. And where is your seat?
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- In the box, close to the stage.
- So you don't have to use opera glasses.
- That's right. What do you think of the play?
- The action develops slowly. Some scenes are dull. The cast is not very good. Do you
share my opinion?
- Frankly speaking I do. That happens to be a rather poor performance. Have you been
to this theatre before?
- Haven't had a chance, you know. I am here for the first time. I like the hall. It is
beautifully decorated. The chairs are comfortable and the chandelier is wonderful. To
put it in a nutshell everything here is magnificent but the performance.
- I advise you to see "Othello" by Shakespeare at this theatre. You will be impressed.
- I have been dreaming of seeing any play by Shakespeare. I'll do my best to see
"Othello".
- I want to inform you that the best actors are engaged in the performance. The leading
man is the famous actor. His name is well-known both in this country and abroad.
- I hope I'll enjoy the performance. The lights are going down.
- We must hurry to the hall. In a minute the curtain will be up.
- See you later.
unit.
TEXT С
1. fashion show показ мод
2. photographic shoots фотозйомки
3. rely on покладатися на
4. retractable lipstick помада, що викручується
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1. The first retractable lipstick was designed in 1950.
2. In the 19th century, theatrical performers did their own makeup.
3. During the 20th century the role of the makeup artists remained an anonymous one.
4. Makeup artists don’t have specialized skills to create style and image.
5. The professional makeup artist is a modern phenomenon.
1. What fields do makeup artists work in?
2. Did the concept of ‘makeup artist’ exist until the 20th century?
REVIEW ASSIGNMENTS

II Match the words:
1 scenery a) вишуканий
2 draperies b) виконувати
3 character c) декорації
4 accuracy d) драпіроване вбрання
5 breastplate e) персонаж
6 exaggerate f) точність
7 perform g) одяг
8 garments h)перебільшувати
9 elaborate i) репетиція
10 rehearsal j) нагрудний знак
1 comedy a) costume which helps actors to portray characters of the
theatrical performance
2 script b) person who acts in a play, film, broadcast, etc
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3 theatrical costume c) a written copy for the use of performers in films and plays
4 culture d) humour or comic style
5 actor e) customs, achievements of a particular civilization or group
UNIT 9
INTERIOR DESIGN
TEXT A
1. thoughtful продуманий, обміркований
2. refinement удосконалення
3. please робити приємність, радувати
4. rhythm ритм
5. scale масштаб, розмір

1. eclectic approach – еклектичний підхід
2. preliminary sketch – попередній ескіз
3. frank simplicity – щира, відверта простота
4. introductory step – попередній крок
The Home of Ideas

Interior design is a practice concerned with anything that is founded inside of a
space – walls, windows, doors, textures, light, furnishings and furniture. All of these
elements are used by interior designers to develop the most functional space for a
building's users.
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People need space and
equipment to make home life
convenient and equally important.
They need opportunity to express
their own preferences and ideals of
beauty.
The main principle of design
of a modern house is the absence
of any concrete style, a mixture of
styles, an eclectic approach.
An interior designer is a
person who designs interiors
around contemporary family needs. “The Home of Ideas” meets our needs directly and
takes advantage of technological progress. There is common practice of beginning home
interior design or furniture selection by choosing a “style” on the basis of appearance
alone.
Thoughtful planning leads to success. The needs of persons are carefully
considered as the first step in planning of attractive environment for living. They need
space for a great number of activities and a place to eat and sleep. Designers prepare
many preliminary sketches or diagrams to illustrate the vision of interior space. Last
come the refinement of the best sketches. Many designers use computer-aided design
(CAD) tools to create and better visualize the final product. The occupants’ activities and
needs are analyzed, and then the space is zoned and furnished so that the several
activities have logical, well-equipped centers. These centers are sensibly located.
In every room, the interior architecture is a determining factor. The furniture group
becomes a visual and a focal point for the whole room. The living room is probably the
most important “public” and the best decorated place in our home.
Whether the room is large or small, furniture should reflect the same feeling. The
furniture in the living room is related to its background and to the space it occupies. This
is a result of planning interior space for furniture, then selecting appropriate pieces and
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placing them well. A great variety of accessories can be chosen to create decorative
elements, to suit your taste and to please the people who to come to your place.
The bedroom is the most important private place in the home. That is why you
should design and decorate your bedroom with only your taste to guide you. Each object
expresses a purpose and material. There is a basic unifying idea of frank simplicity
expressed in the uncomplicated shapes and many plain surfaces.
The elements of design (space, line, shape, texture, light, colour and pattern)
and the principles of design (scale and proportion, balance, rhythm, emphasis and
harmony) form the foundation for all design. The organization of these elements and
principles including colour and light helps to ensure a quality design. These elements
help the designer to create an interior that is physically and psychologically
comfortable and attractive.

1. What elements are used by interior designers to develop the most functional space?
2. What do people need in apartments?
3. What is the main principle of design of a modern house?
4. Why is the Home of Ideas called modern?
5. What were the first steps in planning the Home of Ideas?
6. What does the organization of furniture groups demonstrate?
7. Does the furniture group become a visual, focal point for the whole room and why?
8. Does the organization of design elements and design principles help to ensure a
quality design?

1. The elements of design are used by interior designers to develop the ... for a
building's users.
2. People need space and equipment … convenient and important.
3. The occupants’ activities and needs are analyzed, and then the … so that the several
activities have logical, well-equipped centers.
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4. The … becomes a visual, focal point for the whole room.
5. A great variety of accessories can be chosen to create … of the living room.
6. Each object expresses … .

удосконалення, радувати, зручний, важливий, стиль, перевага, ескіз, розміщати,
гармонія, прикрашати, сучасні потреби.
VII Make up the sentences with the terms:

interior designer, attention, common practice, furniture groups, occupants’ activities,
well-equipped centers, shape, eclectic approach, focal point, decorated place,
introductory step.

concern, interior architecture, functional space, refinement, rhythm, preferences,
preliminary sketches, furnishing, reflect, elements, principles.
IX Translate into English:

1. Людям потрібен простір та обладнання, щоб зробити домашнє життя зручним.
2. Головний принцип дизайну сучасного житла – вiдсутнiсть прив’язки до
конкретного стилю – еклектика.
3. На першому кроці планування привабливого помешкання дизайнерами
дбайливо враховуються потреби людей.
4. Багато дизайнерів використовують комп’ютер у своїй роботі.
5. Меблі – це домінуючий фактор у кожній кімнаті.
6. Організація елементів та принципів дизайну допомагає забезпечити якість
дизайну.
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interior design, concern, functional space, furniture, activities, convenient, concrete
style, eclectic approach, family needs, technological progress, thoughtful planning,
attractive environment, basic principles, well-equipped centers, furniture group,
monotony, design elements and principles.
TEXT B
1. subtle незначний
2. elicit викликати
3. cheerfulness бадьорість
4. tint барви, відтінок
5. wind down розслабитися, заспокоїтися
6. restful заспокійливий
7. pattern зразки
8. scheme гама
9. lighting fixtures арматура освітлення
Colour in Your Home

Without light, there is no colour, so it’s not surprising that even subtle changes in
lighting influence the way colours appear.
The colours you select for your home must look right to your eye. The time of the
day and quality of light will change the way colour feels. The interaction between light
and colour creates great opportunities for designers.
Researchers have learned that certain colours tend to elicit certain emotions. The
psychology of colour and how colour affects human behaviour is a serious course of
study at universities.
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Red, for instance, associated with heat and fire, energizes and stimulates, it might
be a good choice for an exercise room, but not for the bedroom of a hyperactive child.
This colour is known to stimulate the appetite so it’s an excellent colour for dining
rooms.
Yellow is associated with sunshine and cheerfulness, it feels bright rather than
stimulating and has been noted to increase creativity in people. Yellow is a versatile
decorating colour because in its pale tints it becomes almost neutral in effect. Red,
orange, and yellow and their variations on the colour wheel are considered warm hues.
Green is calming and relaxing like the greenery of a garden. Colouring a room in tints
and shades of green can help you wind down, and, when warmed with a little red or
orange, give you a fresh outlook. Blue also has a restful effect, like water, can suggest
coolness, calm and can help a south-facing room feel cooler, or a bedroom more
conducive to sleeping. Green, blue and violet are considered cool hues.
Colour is a wonderful tool in an interior design. It can camouflage bad
architectural details; it can emphasize the beauty of good architectural detail. Colour can
make a room appear smaller or larger. You can use a colour intelligently, to make a
room both comfortable and beautiful.
Colour, texture, and pattern contribute to the home liability because they were
purposefully planned. Cheerful, light-reflecting colours are predominant. White on the
ceiling increases the sense of spaciousness and reflects light down. Paintings, sculpture,
books and magazines, accessories, lighting fixtures bring additional contrast. This room
is comfortable and attractive.
The great challenge to any designer is to achieve beautiful and livable schemes
that meet the client’s needs.

1. Does the interaction between light and colour create great opportunities for designers?
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2. Do certain colours tend to elicit certain emotions?
3. What is the connection between colour, emotion and your physical well-being?
4. What hues are considered warm and cool?
5. Why colour is a wonderful tool in interior design?
6. What is your favourite colour?
7. What are the advantages of colour used intelligently?
8. What colours are predominant?
9. What colour increases the sense of spaciousness?
10.What elements are used by interior designers to bring additional contrast in the room?
VII Practice reading the dialogues with your partner:

1)
-Hey, honey, look – there’s a big furniture sale on at Eaton’s. I want to change an
interior design style.
- New interior design? Furniture sale? What do we need with more furniture?
-Not more, new. We agreed to replace some of this old stuff if I got my bonus.
-Do you want to replace these beautiful antiques?
-They’re not antiques – they’re junk. Look, this sofa sags in the middle, there are cat
scratches on the drapes, and this armchair – well, even reupholstering won’t help it.
- Okay, okay. You’ve convinced me. This place could do with some fixing up. Let’s see
than ad. Hmmm, 50% off, eh? We can even pay in monthly payments.
-But you always hate charging things. And we have some money saved up for rainy day,
you know. I can at least start shopping around.
- We can both do the shopping – it won’t be easy finding a replacement for my favourite
old easy chair.
bonus – премія
junk (cheap second-hand goods) – старі речі
sag – прогинатися
reupholstering – перебивання
fixing up – полагодити
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for a rainy day (idiomatic) – на випадок крайньої потреби
easy chair ( armchair) – крісло (з підлокітником)
2)
Reed: Now, the downstairs rooms. Am I to design a living-room and a separate dining-
room, or a room that can be used for general purposes?
Wells: That’s question for Anne, I think.
Anne: Jack and I would like a fairly large living-room, I think. We don’t need a separate
dining-room.
Jack: We thought we’d like to have a fairly large kitchen with a dining recess. Lots of
people eat in the kitchen.
Ann: Modern kitchens are quite pleasant rooms, aren’t they?
Wells: An excellent idea.
Reed: May I make a suggestion? Why not a dining recess in the living-room?
You can have a good kitchen – plenty of space for working in, and space for a table you
could have breakfast at if you wanted. You’d have quite a large living-room. Now, look
at this sketch. Here’s your living-room. One end of it can be used quite easily for meals.
Between the two parts of the room you can have a built-in piece of furniture. It wouldn’t
be high – not up to the ceiling. On one side there’d be cupboards, drawers and shelves.
And on the other side would be a bookcase. You could have a built-in writing-desk, too,
if you liked.
Anne: Oh, that’s a marvelous idea. Don’t you think so, Jack?
recess – ніша, заглиблення
drawer – шухляда
unit.
TEXT С
1. enhance збільшувати, посилити
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2. complement доповнювати, укомплектовувати
3. derive походити
4. handicraft ручна робота

1. Accessories and art placed on or around furniture can destroy and complement the
furniture selection.
2. Furniture and accessories don’t work together in defining the style.
3. Interiors are enriched by the addition of both functional and decorative accessories.
4. Accessories should include items of personal value of the client or company.
5. Decorative accessories provide no other value than the pleasure derived from looking
at them.
1. How do furniture and accessories work together?
2. Can accessories be a powerful tool in establishing the design theme and why?
REVIEW ASSIGNMENTS

1. to convey a) зроблено
2. hand-produced b) передавати, виражати
3. fashion show c) фон
4. ground plan d) технічний директор (менеджер)
5. technical director e) показ мод
6. set f) новий проект
7. props g) форма
8. scenic elevation h) художнє оформлення сцени
9. shape i) реквізити
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10. redraft j) декорація

1 costume design a) creation of theatrical as well as film or
television scenery
2 performance b) costume which helps actors to portray

characters’ age, gender role, profession, social
class, personality and even information about the
historical period, geographic location and time of
day as well as the season or weather of the
theatrical performance
3 scenic design c) ‘look’ or physical appearance of the stage for a
play whether in rehearsal or performance. It
reflects the way that the stage is composed
artistically in regard to props, actors, shapes and
colours
4 stage picture d) design of the appearance of characters in a
theatre or cinema performance. This usually
involves designing or choosing clothing,
footwear, hats and head dresses for the actors to
wear, but it may also include designing masks,
makeup or other unusual forms
5 theatrical costume e) 1) act of performing or the state of being
performed; 2) act or style of performing a work or
role before an audience; 3) presentation,
especially a theatrical one, before an audience
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UNIT 10
TEXTILES IN THE INTERIOR
TEXT A
1. cushion подушка
2. furnishing обстановка
3. settee диван
4. bolster валик (диванний)
5. gingham тканина (картата чи у смужку)
6. lampshade абажур
7. embossing гофрирування
8. parchment пергаментний папір
9. frilly з оборками

1. a great pile – велика кількість
2. settee bed – канапе
3. sheer curtains – легкі штори
4. roller blinds – ролети
5. sill-length curtains – штори до підвіконня
6. night-time setting – сумерки
7. bold colour – яскравий колір
Creative Interiors
Every apartment can be harmonized by using various furnishings to create the
desired look.
Cushions were perhaps the earliest form of “furniture” used by man and initially
would probably have been made from straw or dried leaves covered with a skin or fur.
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Since then, cushions in all shapes and sizes have
adorned chairs, settees beds and they are still used on
the floor to sit on.
Cushions serve both a practical and a
decorative purpose in a room as they can soften the
angular lines of modern furniture, add colour and
excitement to a neutral scheme or give an impression
of ease and luxury. Even if a bed or sofa does not
actually need cushions, a great pile of them is
somewhat comforting and satisfying.
There are enormous varieties of cushion shapes:
squar
e, rectangular, round, heart-shaped,
kite-shaped and bolster-shaped – and
they can be made from almost every
fabric imaginable. Floor cushions
really need heavy-duty fabrics but the
other shapes can be made with cotton,
lace, satin, velvet, tapestry, gingham,
patchwork; it all depends where the
cushions are to be used and whether
they are going to be purely decorative or receive a lot wear.
Basic curtains can be trimmed in various ways
to produce different styles – smart and sophisticated,
frilly and feminine, grand and theatrical. Provided it
drapes or folds well, almost any material can be used
for curtains. A fabric must complement the colour
scheme of the room, but such things as the fabric
weight and whether it is resistant to fading should also
be considered. To prevent fabric fading the curtains
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can be lined, or sheer curtains or roller blinds can be used to act as a sunscreen and bear
the brunt of strong sunlight. Fabric weight is important too – a thick fabric used for sill-
length curtains could look bulky and stiff, whereas used for floor-length curtains it
would hang better and add importance to the window.
Lampshades are essential functional items and they are very important in a
furnishing scheme as they are also decorative and the light they dispense could make a
vital difference to a night-time setting. The style of a lamp should therefore blend with
the other furnishings, so the choice of lamp base and the colour and texture of the
lampshades are all important.
Parchment and silk have been used for many years for lampshades and they still
look right in traditional settings.
A tablecloth is a piece of cloth used to cover a table. This piece of home
furnishings is creatively designed and adorned with laces, embroidery, embossing etc.
Tablecloths are produced in various ways, designs, and patterns. The demand for
tablecloths is on the rise, as it is widely used for both functional and decorative purpose.
Tablecloths are also used for protecting the table from scratches and stains. Damask and
lace constructions are the most used for tablecloths.
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Stylishly created tablecloths can go well with any kind of interiors and are
available in modern and traditional designs. Bold colours, patterns are used for formal
and casual setups.
A variety of man-made and natural materials are used for manufacturing high
quality and durable tablecloths. Some of the widely used fabrics are: cotton, silk, linen,
rayon, polyester.
Floor coverings have been made from various textile fibres for thousands of
years. Throughout civilization, carpets and rugs have formed a part of different cultures,
countries and civilizations. Priceless carpets and rugs made over hundreds of years ago
in the East are exhibited in museums today.
Rugs and carpets serve as a colourful foundation for all the decorative plan and
colour scheme for various rooms, schools, office buildings, hospitals, hotels etc.
The terms 'rug' and 'carpet' are often used synonymously, but the form or the size
in which these coverings are manufactured differs. Rugs may vary in shape and size.
Rugs and carpets are manufactured according to certain size standards.

1. What makes any apartment harmonized?
2. What purposes do cushions serve in a room?
3. What are the reasons for choosing fabrics for cushions?
4. What should be done to prevent curtain fabric fading?
5. Why are lampshades very important in a furnishing scheme?
6. What materials are used for lampshades?
7. What is the primary function of a tablecloth?
8. What can you say about the floor coverings?
9. What serves as a foundation for the decorative plan and colour scheme for various
rooms?
10. Is there any difference between the terms ‘rug’ and ‘carpet’?
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1. There are enormous varieties of cushion shapes … .
2. Basic curtains can be trimmed in various ways to produce different styles … .
3. Lampshades are essential functional items and … .
4. A tablecloth is … .
5. Floor coverings have been made from … .
VI Find the English equivalent to the words:

подушки, покриття для підлоги, ліжко, диван, штори на підкладці, абажур, з
оборками, легкі штори, ролети, канапе.
VII Make up sentences with the words:

apartment, various furnishings, cushions, decorative purpose, modern furniture, basic
curtains, the style of a lamp, tablecloth, floor covering, rugs and carpets.

cushion, floor cushion, lampshade, furnishing, tablecloth, floor covering, rug, carpet.

1. Щоб надати кімнаті бажаного вигляду можна використати різні предмети
меблів.
2. Подушки в інтер’єрі можна застосувати за практичним або декоративним
призначенням.
3. За формою подушки можуть бути квадратними, круглими, у формі серця, тощо.
4. Майже кожну тканину можна використовувати для штор, якщо вона добре
драпірується, або спадає фалдами.
5. Скатертини оздоблюються мереживом, вишивкою, гофрируванням.
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apartment, to be harmonized, furnishings, cushions, modern furniture, a bed or sofa,
floor coverings, basic curtains, a fabric, lampshades, a table cloth, damask, lace,
colours, natural materials, durable, rugs and carpets.
TEXT B
1. bed sheet простирадло
2. pillow case наволочка
3. sheet простирадло
4. crib дитяче ліжко
5. twin двосторонній
6. dull/double / подвійний
7. king or queen (size) дуже великого розміру
8. flocking набитий очісом
9. resilient пружний
10. spongy губчатий, м’який
11. quilt картата ковдра, плед
12. duvet пуховий (матрац або ковдра)
Textile Items
Bed sheets and pillows cases are important home furnishings items used for
domestic and industrial usage. A sheet is a large rectangular piece of cotton or linen or a
blend of other yarns and used for covering bed. Pillow cases are also made in different
sizes for covering pillows and cushions.
Sheets are widely used as a home furnishing and generally manufactured in two
types: flat sheets and fitted sheets. A "fitted" sheet is made and sewn to match the shape
of the mattress. Both sheets are made to fit five typical size mattresses: crib, twin,
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dull/double, queen and king. The style and patterns may vary. These sheet may be
woven or knitted from a variety of materials.
A mix of man made and natural materials are used either wholly or blended with
other materials for creating durable and long lasting sheets. Some of the popularly used
materials are: cotton, linen, silk, acetate, nylon.
A blanket is a rectangular piece of home furnishing that can be divided into
quilts, duvets and comforters. Traditionally blankets were made of wool, but nowadays
artificial or man-made fibers are used for manufacturing different types of blankets.
Blankets are made from various materials and in different constructions and
compositions for providing degrees of warmth, durability and softness. Blankets are
usually woven, sometimes knitted or stitch knitted. They can also be needles or made my
flocking fibers onto a polyurethane foam base.
A variety of man made and natural fibers are used for manufacturing blankets.
These fibers are either used wholly or blended for making high quality blankets. Some
of the extensively used materials are: cotton, wool, nylon, acrylic, polyester.
Three types of blankets are made that generally differ in certain characteristics
including appearance, texture, warmth, durability, and care. They can generally be
categorized into: conventional blankets, polyurethane blankets, thermal blankets.
A conventional blanket is a type of blanket that is usually woven with soft-twist
yarns in the filling and higher twist yarns in the warp. The fabric is heavily napped for
producing a thick, close and fuzzy surface.
Conventional blankets may be made from: wool, acrylic, polyester, nylon,
(blended).
Most conventional blankets are made of pure or blended wool, and are the
heaviest. These blankets are however, not the warmest. Acrylic blankets are light in
weight and also quite warmer than the woolen ones. Acrylic and polyester blankets are
fairly durable. This type of blanket is generally the most durable and long lasting.
Polyurethane blankets are composed of polyurethane foam base covered with
fiber flocking, usually nylon and held in position with the help of an acrylic adhesive.
The blanket is quite soft, resilient and spongy.
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V Render the text in brief in a written form
1. What are important home furnishings items used for domestic and industrial usage?
2. What is a sheet?
3. What is a fitted sheet?
4. What are typical mattresses sizes?
5. What materials are used for sheets manufacture?
6. What are the materials extensively used for making blankets?
7. What is a conventional blanket?
8. What are the warmest blankets?
9. What are the most durable and long lasting blankets?
10. What can you say about floor coverings?

A. Delighted to meet you. What do you do?
B. I specialize in interior design.
A. Or really? That must be very difficult. All those unhappy customers and so on …
B. You see, I like meeting new people, communicating to them, solving their problems.
I work for a firm of designers.
A. Where are you based?
B. Our head office is in London. We’ve got 5 branch offices in the U.K.
A. How long have you been working for your company?
B. Well, let me see … I’ve worked for them for three years. Before that I used to work
for another company. I really enjoy what I am doing now.
IX Make up your own dialogues using the key-words and expressions from the
unit.
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TEXT C
I Mind the following words and word-combinations
1. care догляд
2. legible чіткий
3. to be fixed бути прикріпленим
4. to glue приклеювати
5. consumer споживач
6. implied rule «неписане» правило
7. concern піклування
8. care tips інформація по догляду
9. washing прання
10. dry cleaning суха чистка, хімчистка
ІІ Listen to the text. Decide if the statements are true or false:

1. The care of fabrics used for home furnishing has always been a concern for
manufacturers.
2. Manufacturers do not assist the process by providing adequate labelling with proper
care instructions.
3. Consumers are instructed to use appropriate cleaning method – washing or dry
cleaning.
4. The labels may be sewed, glued to the fabric.
5. The care instructions may be woven, printed or inscribed in an appropriate manner.
1. What does the permanent care labeling require?
2. What is the purpose of a label?
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REVIEW ASSIGNMENTS

II Match the words:
1 ковдра a) pillow
2 меблі b) roller blinds
3 килим c) settee
4 простирадло d) man-made
5 подушка e) settee bed
6 ролети f) blanket
7 диван g) furniture
8 штори h) sheet
9 канапе i) carpet
10 штучний j) curtains
1 label a) to combine different things in a way that produces an
effective result
2 care b) a piece of material that is attached to something that
gives information about it
3 blend c) the way someone or something looks to other people
4 appearance d) a warm thick cover for a bed, made by sewing two
layers of cloth together
5 quilt e) to be concerned about what happens to someone,
because you like or love them
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UNIT 11
FLORAL DESIGN
TEXT A
I Read and remember the words and their translation:
1. foliage листяний орнамент
2. herbs трави, рослини
3. abundant рясний, багатий, щедрий, повний, надмірний
4. сenterpiece тут центральна зала
5. mound насип, горб
6. motto девіз, гасло
7. bespoken замовлений
8. wreath вінок, гірлянда
9. corsage букетик на корсажі жіночої сукні
10. horticulture садівництво
11. carnation гвоздика
12. orchid орхідея

1. floral arrangement – квіткове аранжування, оформлення квітів
2. creative flair – талант, схильність, здатність, нюх, чуття
3. floral tribute – дар, підношення, винагорода
4. boutonniere / buttonhole – квітка в петлиці; бутоньєрка
5. well-rounded foundation – всебічно освічений
6. interior landscaping – ландшафтна архітектура
7. occasion – можливість, випадок, шанс
8. ornamental grasses – декоративні рослини
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Floral Art
Floral design is the art of using plant materials and flowers to create a pleasing
and balanced composition. Evidence of refined floristry is found as far back as the
culture of Ancient Egypt. Floristry, flower arranging, floral
arrangement, floral design or floral arts are all the names
denoting the art of creating flower arrangements in vases,
bowls and baskets, or making bouquets and compositions
from cut flowers, foliage, herbs, ornamental grasses and
other botanical materials. Floristry refers to the cultivation
of flowers as well as their arrangement and selling.
However, the floral industry is the basic drive behind
floristry.
Basic varieties of flowers sold in florist shops include abundant varieties of roses,
tulips, irises, orchids and lilies. Fashion sometimes plays a role in floristry; what is
considered the flower that everyone needs to have today can change very quickly.
Floral business is seasonal and is heavily influenced by the following holidays
and events: Christmas, Valentine's Day, Victory Day, Mothers' Day, Easter, weddings
and funerals. These occasions make
up the largest part of the business,
with the sale of house plants and
home decor being a smaller, but
more constant, part. Flowers for
personal enjoyment as well as those
selected to celebrate birthdays,
anniversaries, thank-you's are also a
significant portion of a florist's
business. The floral business has
been impacted significantly by the corporate and social event world as flowers play a
large part in the decor of special events and meetings. Centerpieces, entryways,
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reception tables, bridal bouquets and stage sets are only a few examples of how flowers
are used in business and social event arenas.
There are many styles of floristry. Many nations
have their own style of floral arranging. Ikebana is an
oriental style of floral design that features simplicity and
purity of lines and colours. In contrast, European style
emphasizes colour and variety in mass gatherings of
multiple flowers. These designs are often done as low
mounds, or taller vase arrangements that are all-sided
(360°). Many florists that follow this design style usually
do not use carnations. High Style is a form of design
originating from the United States. These designs often
include a 'less is more' motto. Flowers that are popular among High Style florists
include many rare tropical flowers and also more popular flowers such as carnations.
The craft of floristry involves various skills. These include selecting flowers that
will look good together (based on principles of design or general instinct), knowing how
to cut, treat, and arrange flowers and other stock plants so they will remain fresh as long
as possible, and selling them, which involves knowledge of customer requirements and
expectations. Floristry requires a certain creative flair and imagination combined with
the knowledge of how to apply scientific and business practices. Knowing how to create
original and bespoken floral arrangements, floral tributes, wreaths, bouquets, corsages,
boutonnieres/'buttonholes', artificial arrangements and other more complicated
arrangements is also important. Wreaths for example can be made of many different
types of flowers and plants, and often include ribbon and artificial product.

1. What are the names used to denote the floral art?
2. What is floral design?
3. What flowers are mainly sold in florist shops?
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4. What is floral business influenced by? How does the corporate and social event
world impact the floral business?
5. Does floral business depend on fashion? In what way?
6. What styles of floristry do you know? What is the difference between oriental and
western styles of floral design?
7. What skills are needed for the craft of floristry?
8. What influences the choice of flowers that will look good together?
9. What kinds of floral arrangements exist?
10. What floral arrangement includes ribbon?

1. Flowers play a large part in the ….. of special interior premises.
2. ….. is characterized by rare tropical flowers and carnations.
3. ….. often includes ribbon and artificial product.
4. Floristry requires a certain ….. and imagination.
5. ….. flowers are also a significant portion of a florist's business.
6. Designs of ….. style often include a 'less is more' motto.
7. Flower compositions are made of cut flowers, ….., herbs or ….. grasses.
8. Floristry refers to the cultivation, ….. and selling flowers.
9. Flowers can be arranged in ….., bowls and ……
10. ... is characterized by the variety of colours and flowers.

штучні квіти, садівництво, забезпечувати якісне навчання, відповідати вимогам,
очікування споживачів, розрізняти рослини, розширювати навички, листяний
орнамент, створення букетів, декоративні рослини, квіти на знак подяки, букет
нареченої.
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balanced composition, creating flower arrangements, cultivation, colour, shape, design
and display, qualitative education, floral tributes, corsages, wreaths, treat, principles of
design, European style, anniversaries, stage sets.
VIII Give definitions to the words and word-combinations:

horticulture, interior landscaping, wreath, bouquet, corsage, principles of design, High
Style, European style, oriental style, floral design.

1. Квітковий дизайн – це мистецтво створювати красиві та збалансовані
композиції з квітів.
2. Квіткові композиції можуть складатися з живих квітів, трав, листяних
орнаментів або штучних матеріалів.
3. Найпоширенішими квітами, які продаються у квіткових крамницях, є троянди,
тюльпани, гвоздики, ромашки, іриси, гербери, нарциси та ін..
4. Мода впливає на квітковий бізнес так само, як і на інші сфери нашого життя.
5. Квітковий дизайн в східному стилі вирізняється простотою і чистотою ліній і
кольору.
6. Мистецтво квіткового дизайну потребує різних навичок, всебічних глибоких
знань та творчого відчуття.
7. Знання, необхідні для кар’єри у квітковому бізнесі, включають вміння
створювати оригінальні квіткові композиції, що базуються на знаннях
основних принципів дизайну: балансу, гармонії, кольорів, ліній, форм та
культурних відмінностей і потреб.
8. Одним із видів оформлення квітів є вінок, до складу якого окрім різних квітів і
рослин можуть входити стрічки та інші штучні елементи.
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floral design, balanced composition, flower arranging, making bouquets and
compositions, cut flowers, foliage, herbs, ornamental grasses, abundant varieties,
holidays and events, styles of floristry, floristry craft skills, principles of design, original
and bespoken floral arrangements, qualitative education and training, opportunity to
study.
TEXT B
I Read and learn:
1. poppy мак
2. indecent безтактовний, вульгарний, непривабливий
3. divergent той, що відхиляється у різні боки, що розходиться
4. ivy плющ
5. fidelity вірність
6. pansy братки
7. haughtiness високомірря, надмінність, гордовитість
8. chastity цнотливість, невинність
9. virtue доброчесність, гідність
10. devotion відданість, сильна прихильність
Flower Symbolism
Flowers have various different meanings in different cultures. The holidays and
events for which flowers are used vary. Poppies are used to remember fallen soldiers
only in Great Britain and the Commonwealth countries. The cultural meaning of
colours also strongly affects the choice and use of flowers. People often prefer flowers
that are associated with their ethnic group or country, and various colours may have
special meanings of luck or death or love or other basic human traits. A flower such as
a red rose might to some mean love, but to others it might be considered indecent or
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simply puzzling. The vastly divergent views on the white colour can lead to major flower
issues. White is viewed as standing for death in many Asian cultures but is considered a
symbol of purity and innocence in many European and American cultures. Such
differences can lead to difficult issues when a bouquet of white lilies, for example, is
delivered.
Purple lilac symbolizes "first emotions of love" in the language of flowers.
The language of flowers, sometimes called floriography, was a Victorian-era
means of communication in which various flowers and floral arrangements were used to
send coded messages, allowing individuals to express feelings which otherwise could
not be spoken. This language was most commonly communicated through Tussie-
Mussies, an art which has a following today. King Charles II brought the art to Sweden
from Persia in the 17th century, but it originated in two places: first the antiquated floral
symbology which had filtered down from antiquity and secondly from the Turkish
Salem, or language of objects, developed to communicate any message without the need
to write. The Japanese flower language is called Hanakotoba.
The nuances of the language are now mostly forgotten, but red roses still imply
passionate, romantic love; pink roses stand for a lesser affection; white roses suggest
virtue and chastity; and yellow roses still stand for friendship or devotion.
Also commonly known meanings are sunflowers, which can indicate either
haughtiness or respect – they were the favourite flowers of St. Julie Billiart for this
reason. Gerbera (Daisy) means innocence or purity. The iris, being named for the
messenger of the gods in Greek mythology, still represents a message being sent. A
pansy signifies thought, a daffodil regard, and a string of ivy fidelity.

1. Why do flowers have various different meanings in different cultures?
2. What flowers are used to remember fallen soldiers in Ukraine?
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3. What usually determines the choice of flowers?
4. What special meanings of colours can you remember?
5. Do meanings of colours coincide when being used in different areas of design?
Explain your answer.
6. What flowers are presented for various occasions? Give examples.
7. How can flowers be used in interior design?
8. What can flowers communicate?
9. What specific meaning of flowers do you know?
10. What differences in colour choice exist in different cultures?
VII Practise reading the dialogue with your partner:

- What are you thinking about, Jill? I tried to address you several times, but in
vain…
- Oh, sorry, I’ve been thinking about the gift for my friend’s birthday and I can’t
imagine what to present…
- Then it’s better to present flowers, they have always been the most romantic gift
of nature and mankind. Besides, you can express your attitude to your friend by
means of flowers.
- Is it really possible?
- Surely, it is. Most people do not consider flower meaning before gifting flowers.
But it is impossible for any person to be completely unaware of flower meanings.
- Exactly! Red rose is known to stand for romantic love, isn’t it? But other flowers
perhaps also have their meanings…
- They do. Aster, for example, symbolizes patience, elegance and daintiness.
Carnation means pride and beauty. A red carnation symbolizes love, pride and
admiration; a pink carnation symbolizes the love of a woman or a mother; a
purple carnation symbolizes capriciousness; a yellow carnation symbolizes
disdain, rejection or disappointment; while a white carnation symbolizes
innocence and pure love. A striped carnation conveys refusal.
- How interesting! For me, carnations have always been associated with funerals…
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- Now you see you were mistaken.
- If flowers have so different meanings, there must be some division into flowers
for men and for women.
- Though not often associated with men's gifts, flowers are growing in popularity
as birthday, anniversary or congratulatory gifts for men. But to be sure which
types are appropriate or male savvy, it’s better to check out their meanings.
- I would choose gladiolus as a male flower. It is so manful!
- You have perfect flower flair. Gladiolus symbolizes strength of character,
faithfulness and honour. The Gladiolus flower signifies remembrance. It is
sometimes called the sword lily and would be a great option as a gift for a man.
unit.
TEXT C
1. bloom цвітіння, квітка
2. twig гілочка, лозина, гілка, вітка
3. scalene нерівносторонній
4. to delineate схематично змальовувати (те, що має бути створене),
робити нарис; накидати, обкреслювати
5. spirit дух, духовний початок, душа
6. overtone натяк, нотка, підтекст
7. priest священник, жрець, служитель культу
8. nobility дворянство, родова знать
9. prescribed встановлений, прийнятий, укорінений
10. upright вертикальний, прямий, прямовисний
11. stem ствол, стебло
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II Listen to the text and decide if the statements are true or false:
1. Ikebana is the Chinese art of flower arrangement.
2. The structure of Ikebana is based on a scalene triangle delineated by three main
points.
3. Ikebana is the art form dependent on its religious origins.
4. Twigs usually symbolize heaven, earth, and sun in some schools.
5. In Ikebana arrangements all three elements must be different.
1. What flower arrangement is typical for western cultures?
2. What is the main rule of creating Ikebana?
REVIEW ASSIGNMENTS

II Match the words and word combinations:
1 dry cleaning a) ролети
2 consumer b) абажур
3 sheet c) диванна подушка
4 quilt d) хімчистка
5 duvet e) споживач
6 roller blinds f) простирадло
7 lampshade g) диванний валик
8 bolster h) плед
9 cushion i) ковдра
10 blanket j) пуховий матрац, ковдра
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1 settee a) a case or bag stuffed with some soft and elastic material,
and used to sit or recline upon; a soft pillow or pad
2 quilt b) baby bed with high sides made of slats
3 cushion c) floor covering consisting of a piece of thick heavy fabric
(usually with nap or pile)
4 crib d) a small sofa made to accommodate several persons at once
5 carpet e) bedding made of two layers of cloth filled with stuffing and
stitched together
UNIT 12
MODERN HAIRDRESSING PROCEDURES
TEXT A
1. to suggest радити, пропонувати
2. circularity округлість
3. sleek гладенький, сяючий
4. bang чуб
5. temple висок
6. jaw нижня щелепа
7. chin підборіддя
8. rinse нестійка фарба
9. streaks окремі пасма
10. tint фарба, тон

1. easy-to-manage style – зручний для укладки
2. to round off – розширяти
3. hair style – зачіска
4. hair colouring – фарбування волосся
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5. hair shaft – корінь волосся
6. to achieve a natural effect – досягати природного ефекту (вигляду)
7. comb out – причісуватися
8. to add bulk – додати об’єму
9. rattail comb – гребінець з тонкою ручкою
Modern Hairdressing Procedures

The most important qualities for hair are that it should be healthy, shining, and in
a flattering, easy-to-manage style. Many fashion magazines suggest hair styles
according to the shape of the face in order to make the face resemble as closely as
possible the perfect oval. The circularity of a round face may be minimized by a sleek,
controlled style with side bangs. A square face needs a style that cuts across the square
corners at the temples and is full around the jaw. The best style for a long face also
rounds off the corners at the temples and is short. For a triangular face, a narrow chin
should be filled out with chin-length hair, while a wide chin may be minimized with
wide bangs. In finding the right hairstyle, however, a woman should also consider the
proportions of her whole figure, the texture of her hair, her skill in handling it, and the
character of her life.
Once a hair style is chosen, it must be
maintained by regular washing, setting, and,
usually, cutting. Some women care for their
hair principally at home, going to the
hairdresser only infrequently for a cut or a
shampoo and before a special occasion. Many
women go to the hairdresser once a week,
while still others may see him every day for a
combing.
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Clean, healthy hair is the basis of any hair style. In addition to brushing, dry hair
requires shampooing once a week, oily hair perhaps every day. Shampoos are soapy or
synthetic detergents in liquid, gel, lotion, or cream form and may have special uses.
Because hair colouring is constantly being improved and tested scientifically,
more women than ever before can colour their hair safely and achieve a natural effect.
There are three types of hair colouring available. Temporary rinses, highlights
and blend in discoloured streaks. Semipermanent rinses, which also coat the hair shaft
but last through four to eight shampoos, make hair slightly darker and can effectively
cover gray hair. Permanent tints penetrate the hair shaft and permanently change the
pigment inside.
Some women, especially those with straight or fine hair, may want a permanent
wave, which gives the hair adaptability to a set. The hair is wrapped around plastic rods
and treated with a permanent wave solution.
As a result, the structure of the hair is actually changed so that after the set that
must follow each shampoo, the hair falls easily back into line. Permanent waves may be
in several strengths: super waves for hard-to-curl hair, regular waves for more casual
styles or relatively curly hair, and body waves to give hair a soft, curving line. There are
also permanent waves for gray hair and children's hair.
The final step in creating a hair style is to comb out the hair. Once the set hair is
dry, the rollers or pins are removed, and the hair is brushed to distribute the curl evenly
and to achieve a smooth line. If hair lacks desired height or fullness, it may be "teased"
(back combed) to add bulk under the top hair, which is then smoothed down to follow
the contour of the head. Then the hair is lifted slightly by the handle of a rattail comb,
and hair spray is lightly applied to help hold the hair style in place.

1. What are the most important qualities for hair?
2. What hairstyles do fashion magazines suggest?
3. What is the best style for a long face?
4. How must your hairstyle be maintained?
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5. How often do women go to the hairdresser?
6. What is a result of a permanent waving?
7. Why do women use combing out?

1. A …… needs a style that cuts across the square corners at the temples and is full
around the jaw.
2. Clean healthy … is the basis of any hair style.
3. More women can colour their hair safely and achieve a …..
4. … are synthetic or soapy detergents in liquid, gel and lotion form.
5. The hair is wrapped around plastic … and treated with a permanent wave … .
6. Semipermanent rinses make hair slightly darker and can effectively cover … .
7. The final step in creating a hair style is to … the hair.

рідина, тимчасовий, постійний, розчісувати, перукар, фарбування, підборіддя,
кучерявий, об'єм, лак для волосся.

hair colouring, natural effect, permanent waving, length, cutting, gray hair, bang.
VIII Give definitions to the words and phrases:

easy-to-manage style, hairdresser, hair colouring, permanent waving, to create, hair
spray, shampoo.

1. Коли ви обрали свій стиль зачіски, його необхідно підтримувати регулярним
миттям, укладками та стрижкою.
2. Сухе волосся миють раз на тиждень, жирне волосся – кожного дня.
3. Існує три види фарбування волосся.
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4. Деякі жінки, у яких пряме волосся, хочуть зробити постійну завивку.
5. Кожен мріє про здорове, сяюче, зручне для укладки волосся.
6. Широке підборіддя може бути візуально зменшене за допомогою широкого
чуба.

hair style, cutting hair, hairdresser, washing, colouring, permanent waving, combing
out, to create.
TEXT B
1. hairdressing перукарська справа
2. to arrange the hair вкладати волосся
3. to fasten закріпляти
4. the lowly бідні люди
5. renunciation відмова, відречення
6. maiden незаміжня жінка
7. matron одружена жінка
8. wig перука
The Art of Hairdressing

Hairdressing is the art of arranging the hair or otherwise modifying its natural
state. Hairdressing has been an important part of the dress of both men and women
since antiquity and, like dress, serves a number of functions.
Almost all societies have found it necessary to cut or arrange the hair. They
arranged their hair to fulfill man's basic desire for personal adornment. One extremely
important function of hair styling, especially in traditional preindustrial societies, is to
indicate status. Primitive men, for example, fastened bones, feathers, and other objects
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in their hair to impress the lowly and frighten the enemy with their rank and prowess.
Noble rank among the ancient Gauls was indicated by long hair, which Caesar made
them cut off as a sign of submission when he conquered them. The religious significance
of hair is seen in the shaved heads of Christian and Buddhist monks, indicating
renunciation of the world, and in the single long lock on the shaved heads of Muslim
men, by which, they believed, Allah would pull them up to heaven.
Hair arrangement could also proclaim age and marital status. Boys in ancient
Greece cut their hair, and Hindu boys shaved their heads when they reached
adolescence. In medieval Europe maidens wore uncovered flowing hair, while matrons
bound theirs under veils. As a sign of mourning the ancient Egyptians, whose heads
were usually shaven, grew long hair, and long haired Hindu widows cut off their hair.
From the late Middle Ages, hair styles in the West have been greatly influenced
by changing fashion. In the 17th century, for example, courtiers followed the lead of the
balding Louis XIV, who wore a wig. In the 20th century women of all classes eagerly
followed the example of film stars.
Until the 20th century, fashionable hair styles generally were limited to the upper
classes, and the dictates of fashion were relatively rigid. Today, with the general
increase in wealth, the improvement in mass communication, and the trend toward
informality and individualism, women and men in all classes can choose the style and
colour of their own hair or of a wig that best suit their needs and tastes.

114
1. When did people start to arrange the hair?
2. How did primitive men indicate status?
3. Why did Caesar make Gauls to cut off their long hair?
4. How could hair arrangement proclaim marital status?
5. What can you tell about the 20th century hair styles?
6. How do different religions influence the hair style?

A: I’m going to spend tomorrow morning at the hairdresser’s.
B: Is it necessary to go there tomorrow?
A: I need a new perm, so I shall be there for several hours. I always go to the same
place, so they know just how I like them to do my hair.
B: I suppose everybody has to go to the hairdressers at some time or other. I ought to go
this week too, but I’ve no spare time. I really must make an appointment for the next
week.
A: Do you need a new perm or colouring?
B: Oh, no, my hair needs cutting and I’ll have it shampooed at the same time.
A: How easy it is for men! They can have their hair cut at any time without having to
make appointment beforehand and they don’t have to spend a whole afternoon sitting at
the hairdresser’s having a perm.
B: No, but they have to shave every day. Even if they have a beard, it has to be
trimmed.
unit.
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TEXT C
1. mercury ртуть
2. lead свинець
3. advent прихід, прибуття, поява
4. adhesive клей
5. blemish дефект, недолiк
6. deformity деформацiя
7. blindness слiпота
8. expenditures витрати
II Listen to the text. Decide if the statements are true or false.

1. The first archaeological evidence of cosmetics usage was found in Ancient Greece.
2. In the western world, the advent of cosmetics was in the middle ages.
3. Queen Victoria declared makeup acceptable only for use by upper classes.
4. Cosmetics led to negative effects: deformities, blindness and even death.
5. The worldwide annual expenditures for cosmetics are estimated at 18 billion dollars.
1. What did Queen Victoria declare?
2. Why were cosmetics dangerous in some historical periods?
REVIEW ASSIGNMENTS

II Match the words (word combinations):
1 foliage a) гвоздика
2 abundant b) вірність
3 carnation c) листяний орнамент
4 creative flair d) декоративні рослини
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5 ornamental grasses e) рясний, щедрий
6 orchid f ) вірність
7 cultivation g) талант, схильність
8 fidelity h) вирощування
9 twig i) орхідея
10 artificial j) гілочка, лозина
1 ikebana a) put into a proper, systematic or decorative order
2 floral design b) bunch of flowers, especially professionally arranged
3 interior landscaping e) Japanese decorative art of flower arrangement
4 arrange c) art of creating flower arrangements in vases, bowls and
baskets or making bouquets and compositions from different
botanical materials
5 bouquet d) decorative and functional modification and planting of
grounds, especially at or around a building site
UNIT 13
GRAPHIC DESIGN
TEXT A
1. to embrace включати
2. imagery збірн. óбрази
3. imaging створення зображення; запис зображення на електронні носії
4. essence суть
5. to constitute складати; встановлювати
6. re-evaluation повторне оцінювання
7. grid масштабна сітка
8. to incorporate in додавати
9. benefit користь
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1. page layout – оформлення сторінки
2. client’s edit – редагування замовника
3. to be with in the scope of smth – бути в рамках чогось
4. blurring distinction – незначна різниця
5. advertising art – мистецтво реклами
The Art of Graphic Design

Graphic design is a form of communication using text and/or images to present
information. The art of graphic design embraces a range of mental skills and crafts
including typography, image development and page layout. Graphic design is applied in
communication design and fine art. Like many forms of communication graphic design
often refers to both the process (designing) by which the communication is created and
the products (designs) such as creative solutions, imagery and multimedia compositions.
The designs are applied to static media as well as electronic media not always in the
completed form. In commercial art client’s edits, technical preparation and mass
production are usually required but as a rule not considered to be within the scope of
graphic design.
Although the term 'graphic designer' was first coined in the 20th century, the
story of graphic design spans the history of marks of humankind from the magic caves
of Lascaux to the dazzling neons of Giza. In both this lengthy history and in the
relatively recent explosion of imaging in the 20th and 21st centuries there is sometimes
a blurring distinction and over-lapping of advertising art, graphic design and fine art.
After all they share the same elements, theories, principles, practices and languages and
sometimes the same client. In advertising art the ultimate objective is the sale of goods
and services. In graphic design ‘the essence is to give order to information, form to
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ideas, expression and feeling to artifacts that document human experience. Fine art
refers to arts that are concerned with beauty...’
Design elements are the basic tools in every design discipline. The elements
including shape, form, texture, line, value and colour compose the basic vocabulary of
visual design. Design principles such as balance, rhythm, emphasis and unity constitute
the broader structural aspects of the composition.
According to the classic theory of design or graphic design the visual excitement
of a design work is a result of how the composition of the design elements creates
mood, style, message and a look.
There are research and planning that are needed for most design work:
• the design process which encompasses the step-by-step and often complex path
that a designer takes toward a design solution through research, exploration, re-
evaluation and revision of a design problem. This process starts with the client
and ends with the finished design product.
• use of a grid to help improve or speed up the layout of images and text. Like the
steel internal frame of building the grid helps the designer to place information on
paper or screen in a way that improves the design visually and its usability.
• impact and use of technology for design solutions. Graphic designers are usually
first to adopt and incorporate new technology in solutions or concepts when
possible. This experimentation is not always to the benefit of the design or the
user.

1. How does graphic design present information?
2. What crafts does graphic design embrace?
3. What does graphic design refer to?
4. What do you know about the history of graphic design?
5. What is the essence of graphic design?
6. There are some elements of design. What are they?
7. Do you know the principles of design? Name them.
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8. What are the steps of a graphic designer’s work?

1. Their designs have much in common, there is … between them.
2. … is the sale of goods and services.
3. A graphic designer should keep up to the times and use … .
4. … as form, texture, line, value, shape and colour compose the basic vocabulary of ….

застосовувати, потребувати, охоплювати, поступовий, блискучий, експонат,
виразність, складати, вивчення, покращувати.

image development, mass production, page layout, advertising art, visual design, design
solutions, fine art.

multimedia, imaging, advertising, layout, visual, typography, grid.

1. Графічний дизайнер повинен володіти багатьма навичками, серед яких –
оформлення сторінки.
2. Термін “графічний дизайнер” з’явився у 20 столітті.
3. Такі елементи як колір, форма, зовнішній вигляд, величина, лінія (контур),
текстура мають велике значення для графічного дизайну.
4. Ми часто плутаємо поняття реклами, графічного дизайну та образотворчого
мистецтва тому, що іноді між ними майже нема різниці.
5. Процес дизайну починається з замовника, а закінчується завершеною
продукцією.
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6. Більша частина роботи дизайнера потребує дослідницької роботи та
планування.
7. Кожен професіонал знає такі принципи дизайну як ритм, баланс, виразність та
єдність.

graphic design, to embrace, principles, elements, design theory, imagery, page layout,
essence, advertising art, to incorporate, grid, visual design.
TEXT B
1. spontaneous спонтанний
2. to claim заявляти
3. innate природній
4. most advanced yet acceptable найсучасніший, проте
прийнятний
5. associate партнер
6. in terms of з точки зору
7. to take into account брати до уваги
8. to be in tune with відповідати чомусь
Raymond Loewy. The Father of Industrial Design

‘It all must start with an inspired, spontaneous idea’.
‘The main goal is not to complicate the already difficult life of the
consumer’.
‘Between two products equal in price, function and quality, the one with
the most attractive exterior will win’.
‘I can claim to have made the daily life of the 20th century more beautiful’.
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Raymond Loewy (1893-1986), a brilliant designer and, without doubt, the most
versatile representative of this discipline, became a design legend in his own lifetime.
He was the most influential protagonist of industrial design that North America has ever
known and has had a significant impact on the tastes and lifestyles of several
generations. Loewy’s design philosophy still has an influence on the industrial design
world today.
After a brief but promising career as a fashion illustrator Raymond Loewy
dedicated his talent to the field of industrial design. Loewy's creative genius was innate
and his effect on the industry was immediate. He literally revolutionized the industry
working as a consultant for more than 200 companies and creating product designs for
everything from cigarette packs and refrigerators to cars and spacecrafts. Loewy lived
by his own famous MAYA principle – Most Advanced Yet Acceptable.
A popular lecturer as well, Loewy spoke at institutions such as the Massachusetts
Institute of Technology, Columbia University and others. He founded three design
companies: Raymond Loewy and Associates, New York; Raymond Loewy
International, London; and Company of Industrial Design, Paris.
Loewy was the first person to understand design as a marketing factor: ‘if you
have two products which do not differ in terms of price, function and quality, it is the
product’s attractive external appearance which wins the race’. Raymond Loewy used
these pragmatic words to outline his perception of design and this was certainly the
secret of his success.
Many of the products that Loewy designed are still familiar to us today. These
include the ‘Studebaker’, a symbol of American cars and the ‘Frigidaire’, the legendary
refrigerator. Loewy created the trademarks of the 20th century’s technical progress. For
example, the Shell logo, the Coca Cola bottle, the Exxon and BP symbols all carry his
signature. Raymond Loewy also designed the packet of the famous American cigarette
brand, ‘Lucky Strike’ and this is the one that is still used today.
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For Loewy it was not design alone that was definitive. He believed that the job of
a designer was more complex than that. He investigated the market as well as inquiring
into the wishes and needs of the customer. In addition to design he gave equal rights to
the requirements for user friendliness, ease of use, production costs and retail price.
Loewy’s principle of creating beauty through function and simplicity is still in
tune with the requirements of industrial production today. His work still influences
designer and consumer decisions.

1. What is Loewy’s impact on industrial design?
2. How do you understand his principle – ‘Most Advanced Yet Acceptable’?
3. How did Raymond Loewy realize design?
4. What are the most famous products Raymond Loewy designed?
5. What is a secret of his success? Give your reasons.

Jack: Hi, Max! How are you?
Max: So-so.
Jack: What’s wrong?
Max: I haven’t passed my exam in graphic design.
Jack: I see. What were your questions?
Max: The first question was about principles of design.
Jack: Oh, I know that! There are balance, rhythm, emphasis and unity. Am I right?
Max: I’m not sure because I haven’t answered this question.
Jack: And what about the second one?
Max: It was about Raymond Loewy.
Jack: What is he? I’ve never heard about him.
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Max: Shame on you! He is a design legend and is still very famous. Loewy is
considered to be the father of industrial design. He created the Shell logo, the Coca Cola
bottle, the Exxon and BP symbols. His designs were not just beautiful but functional
and simple.
Jack: Really? You know if I were a teacher I would give you a good mark.
Max: Thanks, Jack. But unfortunately you are not my teacher.
unit.
TEXT C
1. distinguishing feature характерна риса
2. specifics особливості
3. to perceive помічати; відчувати
4. to distinguish розрізняти
5. meanwhile , між іншим
6. to rescale , змінювати масштаб

1. Navigation system is the only feature that unites different layouts.
2. One part of human brains is humanitarian, the other one – technical.
3. It doesn’t matter where to place objects on a website.
4. Most buttons on a website are located at the upper left part.
5. The website window can be rescaled.
1. How does website layout differ from other layouts?
2. What is the visual concept?
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REVIEW ASSIGNMENTS

II Match the words:
1 rinse a) перука
2 tint b) стригти
3 hairstyle c) фарбування
4 to comb out d) об’єм
5 hairdressing e) нестійка фарба
6 wig f) перукарська справа
7 colouring g) фарба, тон
8 bulk h) зачіска
9 waving i) причісуватися
10 to cut j) завивка
1 permanent wave a) person whose occupation is to cut or style hair in
order to change or maintain a person’s image
2 easy-to-manage b) process or art of dyeing or tinting one’s hair
3 hair colouring c) not difficult, not requiring great effort
4 adornment d) hairstyle produced by treatment with heat, chemicals
which give long-lasting waves
5 hairdresser e) the action of decorating yourself with something
colourful and interesting
UNIT 14
WEB DESIGN
TEXT A
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1. authoring авторська розробка
2. to retain зберігати
3. attractiveness привабливість
4. observational спостережливий
5. quantitative кількісний
6. rendering передача даних
7. augmented збільшений, перевантажений
8. continuity безперервність
9. inward всередину
10. promotion просування

1. web applications – застосування веб, мережеві підведення
2. search engine optimization – оптимізація пошуку
3. navigation tools – навігаційні інструменти
4. directional aspect – аспект спрямування
5. typography – типографіка, графічне оформлення друкованого тексту
Principles and Elements of Web Design

Web design is a kind of graphic design intended for development and styling of
objects of the Internet's information environment to provide them with high-end
consumer features and aesthetic qualities.
The main task of web design is perhaps the creation of a website or a web page.
The process of designing web pages, web sites, web applications or multimedia
for the Web is very complicated one and may utilize multiple disciplines, such as
animation, authoring, communication design, corporate identity, graphic design, human-
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computer interaction, information architecture, interaction design, marketing,
photography, search engine optimization and typography.
Websites vary greatly in content, style, focus and a number of other aspects. A
successful website, evidently, is the one that is capable of attracting quality visitors and
retain them. The core of this attractiveness is its content. However, only content is not
enough – just as a good product needs good packaging a successful site needs elegant
presentation and promotion.
When creating a website or web page, the 5 golden principles of design: balance,
rhythm, proportion, dominance, and unity should always be kept in mind.
The primary tool for web design is the creative mind. Critical, observational,
quantitative and analytic thinking is required for designing page layout and rendering.
The eye and the hand are often augmented with the use of external traditional or digital
image editing tools. The selection of the appropriate one to the communication problem
at hand is also a key skill in web design work, and a defining factor of the rendering
style.
A web designer's work could be viewed by thousands of people every day. Web
designers create the pages, layout, and graphics for web pages, and play a key role in
the development of a website. Web designers have the task of creating the look and feel
of a website by choosing the style, and by designing attractive graphics, images, and
other visual elements, and adapting them for the website’s pages. The graphics and lay-
out of the site contribute to that first impression and overall image. Web designers also
design and develop the navigation tools of a site. Web designers may make decisions
regarding what content is included on a web page, where things are placed, and how the
aesthetic and continuity is maintained from one screen to the next. Site quality content
must be balanced with good graphics at all times. Any graphic image which has a
directional aspect should be placed to point towards the most important section of the
page. If you have a picture of a bird on the top left corner of your page, make sure it is
facing inward and that its beak is leading the eye to the centre of the page, not away
from it. The same applies to all graphics. Faces should 'look' to the centre of the page.
Cars should be 'parked' facing towards the centre of the page. Roads, neck ties etc.
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should all be placed to lead the eye across from left to right, or down from top to
bottom.
Any web design must be stylish, using original illustrations, not downloaded
ones. The overall effect should be that of exclusivity.

1. What is web design?
2. What disciplines are incorporated in web design?
3. How can a successful website be characterised?
4. What 5 golden principles of design should always be kept in mind, when creating a
website or a web page?
5. What professional and personal qualities are needed for a web designer?
6. What does the work of a web designer include?
7. What contributes greatly to the first impression and overall image of a website?
8. How should content and graphics be related?
9. What rule should be followed, when arranging the graphics on the page?
10. What skills are necessary for web designers and developers?

1. Web design is intended for development and … of objects of the Internet's
information environment to provide them with high-end consumer features and …
qualities.
2. The process of designing web pages, web sites, … or multimedia for the Web is
very complicated.
3. A successful website, evidently, is the one that is capable of attracting quality
visitors and … them.
4. The core of a website’s … is its content.
5. A successful site needs elegant presentation and ….
6. The 5 golden principles of design: balance, …, proportion, dominance, and …
should always be kept in mind.
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7. Critical, observational, … and analytic thinking is required for designing page
layout and rendering.
8. Any graphic image which has a … should be placed to point towards the most
important section of the page.

естетичні якості, натхнення, красива упакова, витончене представлення, ескіз,
ключова навичка в роботі вебдизайнера, спостережливий, графічне оформлення
друкованого тексту, розташування.

quality, elegant presentation, proportion, dominance, unity, balance, rhythm, visual
elements, lay-out, exclusivity.

web design, graphic design, web page, web site, web applications, animation, authoring,
communication design, content, corporate identity.

1. Процес створення вебсторінок або вебсайтів дуже складний.
2. Вебсайти дуже відрізняються за змістом, стилем та багатьма іншими
аспектами.
3. Ядром привабливості сайту є його зміст.
4. Будь-яке графічне зображення, яке має напрямок, треба розмістити так, щоб
воно було спрямоване до найголовнішої секції сторінки.
5. Будь-який вебдизайн має бути стильним, з використанням оригінальних
ілюстрацій.
6. 5 золотих принципів будь-якого дизайну включають рівновагу, ритм,
пропорцію, переважання і єдність.
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web design, graphic design, aesthetic qualities, multiple disciplines, n-number of
aspects, content, promotion, the 5 golden principles of design, the primary tool for web
design, a web designer's work, graphics, skills, training, sketch, style, balance.
TEXT B
I Read and learn:
1. soap мило
2. sophistication витонченість
3. vibrancy вібрація
4. flamboyancy яскравість
5. sacred священний
6. to dazzle засліпити
7. highlighting висунення на перший план
8. nauseous нудотний
The Importance of Colour

Colour is an important part of any design and web design is not an exception.
Colours have different effects on our emotions. Red and orange excite the senses and
increase heartbeat, blues and greens are more restful. Yellow reminds us of sunshine
and is a happy colour. These are the meanings of colours accepted in our country. But
websites are internationally viewed and it's easy to get messed up by the meaning of
colour, when dealing with international visitors.
Blue represents peace, tranquility, calm, stability, harmony, unity, trust,
confidence. In China, blue is associated with immortality. In Colombia, blue is
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associated with soap. In India blue is the colour of Krishna, in the Middle East blue is a
protective colour.
Black represents power, sophistication, formality, elegance, anonymity,
unhappiness, wealth, mystery, fear, evil also. In the USA black is for mourning.
Green represents nature, health, good luck, renewal, youth, vigor, spring,
generosity, fertility, jealousy. In India green is the colour of Islam. In Ireland green has
religious significance (Catholic). In some tropical countries green is associated with
danger.
Orange represents energy, balance, warmth, enthusiasm, vibrancy, flamboyancy.
In Ireland orange has religious significance (Protestant).
Purple represents royalty, spirituality, nobility, ceremony, mystery,
transformation, wisdom, enlightenment.
Red represents love, danger, desire, speed, strength, violence, anger, and blood.
In China red symbolizes celebration and luck, used in many cultural ceremonies that
range from funerals to weddings. In India red is the colour of purity. It is often used in
wedding outfits.
White represents purity, simplicity, cleanliness, peace, humility, innocence, youth,
birth, good, and marriage. In Japan, white carnations signify death. In eastern cultures
white symbolizes coldness and sterility. In the USA it signifies virginity.
Yellow represents joy, happiness, optimism, idealism, imagination, hope,
sunshine, and cowardliness. In Asia yellow is sacred and imperial.
In web design, when setting text and background colours, readability must be
preserved at all costs. Dark backgrounds make you feel as if you're in a small space and
also have a depressing effect on your mood. Certain coloured backgrounds make it very
difficult to read the text; purples, orange tonings and reds dazzle the eyes.
Contrast should always be preserved. If the text is light coloured then the
background has to be dark and vice a versa. White and black always make a good
combination, and red and blue are useful for highlighting. Using the combination of
black as a background with warm colour text should always be avoided, as it might be
great clarity wise but has a tendency to make visitors nauseous.
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1. Why is colour an important part of any design?
2. What meanings of colours are accepted in our country?
3. What different meanings of blue exist?
4. Can colours have religious significance? Illustrate.
5. What colour is associated with nobility and royalty?
6. What colour symbolizes purity in India?
7. How does the meaning of white vary from culture to culture?
8. What must be preserved when dealing with colours in web design?
9. What combination of colours should be avoided in web design?
10. What colour do you prefer to work with? Why?

- I’ve just started the course in web design but I still have lots of questions to clarify.
Would you be so kind to help me, Jack? You are known to be an expert in this field.
- Willingly. What shall we start with?
- As for me, reading from a screen is painful and people visiting my webpage can get
bored and tired of it…
- First of all, you should remember the rule: use 50% less words than you would use
on print. If a page is too long, break it into several pages and link to them. And, of
course, avoid long blocks of text. Use tools that facilitate scanability, like bullets,
subtitles, highlighted keywords, hyperlinks, etc.
- And how should I represent the content of the page? I realize that the top of the page
is intended for the most important content but what about the fonts?
- It’s better to use high contrast for the body of your page: i.e. black text on white
background, or white text on black background, try different variations but
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remember that they must contrast for easy viewing. And don't use too many
different fonts in one page, try to stick with 2-3 at the most. Also, avoid using small
serif fonts (like Times New Roman): they are difficult to read from a computer
screen. Verdana and Arial are the most widely used fonts on the web.
- It’s rather surprising! I’ve always used Times New Roman for my pages… And
what formats are more preferable for graphics? It’s impossible to design a webpage
without graphics, you know…
- You are absolutely right. Graphics must be optimized. Use only .gif and .jpg
formats. Make your image files as small as possible while maintaining acceptable
quality. Avoid graphics that look like ads. People ignore them.
- I see. Thanks for your tips. They are very helpful. But there are still lots of questions
about navigation, linking, branding…
- That is another story. Practise writing, content presentation and graphics at first and
then we’ll get back to our discussion. Good luck in your beginnings. Remember: a
good beginning is half the battle.
unit.
TEXT C
1. to target мати на меті, націлитись
2. saturation насиченість
3. infinite нескінчений
4. to split розділяти
5. cyan блакитний
6. to invoke викликати
7. unsettled невизначений
8. to lean схилятися
133
1. The colour wheel theory is used for analyzing saturation or brightness levels.
2. There are almost infinite amounts of colours and a more limited amount of shades
that can be analyzed.
3. Sir Isaac Newton’s colour wheel was joined at the ends to display the natural hue
progression.
4. The psychological effects of colours have never been studied.
5. Johann Wolfgang Goethe modified the wheel to the form we see today.
1. How are colours divided with psychological effects taken into account?
2. What is the most favourite colour scheme for web design?
REVIEW ASSIGNMENTS

II Match the words:
1imagery a) партнер
2 grid b) образи
3 page layout c) масштабна сітка
4 associate d) оформлення сторінки
5 essence e) вплив
6 blurring distinction f) мистецтво реклами
7 quality g) незначна різниця
8 advertising art h) єдність
9 unity i) якість
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10 impact j) сутність
1value a) harmonious arrangement or relation of parts or elements
within a whole
2 rhythm b) the physical composition of something (especially with

respect to the size and shape of the small constituents of a
substance)
3 texture c) relative darkness or lightness of a colour
4 balance d) special and significant stress by means of position or

repetition
5 emphasis e) the harmonious flow of objects, motions, impulses, sounds,

accents, and the like, producing an agreeable effect
UNIT 15
PHOTO & VIDEO DESIGN
TEXT A
1. to capture фіксувати, захоплювати
2. emitted випромінюваний, випущений
3. device пристрій, прилад
4. to store зберігати, запам'ятовувати
5. advertising рекламування
6. devoted присвячений
7. to emphasize робити наголос, підкреслювати
8. still life натюрморт
9. to depict зображувати, відображати
10. distinction відмінність
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1. silver halide based – на основі галогеніду срібла
2. timed exposure – експозиція з заданим часом
3. self-fulfilment – самовдосконалення, самовдоволення
4. light-sensitive – світлочутливий
5. fine art photography – художня, мистецька фотографія
6. commonplace – загальновідомий, банальний
7. landscape photography – пейзажна фотографія
8. artistic endeavour – художня творчість
9. editorial – редакційний, поліграфічний
10. inanimate – неживий, млявий
Photo Design
Photography gained the interest
of many scientists and artists from its
inception. Photography is used to
preserve memories of favourite times,
to capture special moments, to tell
stories, to send messages, and as a
source of entertainment. It is thinking
made visual.
The word "photography" comes
from Greek words phos ("light") and
graphis ("drawing"), together meaning
"drawing with light."
Photography is the process of
recording pictures by means of
capturing light on a light-sensitive
medium, such as a film or electronic
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sensor. Light patterns reflected or emitted from objects expose a sensitive silver halide
based chemical or electronic medium during a timed exposure, usually through a
photographic lens in a the image-forming device known as a camera that also stores the
resulting information chemically or electronically using digital electronic or magnetic
memory. Photography has many uses for both business and pleasure. Photography can
also be viewed as a commercial and artistic endeavour.
The aphorism "one picture is worth a thousand words" formed an interesting basis
for photo design. Magazines and newspapers, companies putting up Web sites,
advertising agencies and other groups pay for photography. Commercial advertising
relies heavily on photography and has contributed greatly to its development. Many
people take photographs for self-fulfilment or for commercial purposes. Hence, the
commercial photographic world can divided
into various specific branches of
photography.
Advertising photography is made to
illustrate and usually sell a service or
product. These images are generally done
with an advertising agency, design firm or
with an in-house corporate design team.
Fashion photography is a genre of photography devoted to displaying clothing
and other fashion items. Fashion photography is most often conducted for
advertisements or fashion magazines such as Vogue, Vanity Fair, or Allure. Over time,
fashion photography has developed its own aesthetic in which the clothes and fashions
are enhanced by exotic locations and story lines. Fashion and glamour photography
usually incorporates models. Fashion photography emphasizes the clothes or product,
glamour emphasizes the model. Glamour photography is popular in advertising and in
men's magazines. Models in glamour photography may be nude, but this is not always
the case.
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Crime scene photography consists of
photographing scenes of crime such as robberies and
murders. A black and white camera or an infrared camera
may be used to capture specific details.
Still life photography usually depicts inanimate
subject matter, typically commonplace objects which may
be either natural or man-made.
Food photography can be used for editorial,
packaging or advertising use. Food photography is
similar to still life photography, but requires some special
skills.
Editorial photography illustrates a story or idea within the context of a magazine.
Photojournalism can be considered a subset of editorial photography as the
photographs made in this context are accepted as a documentation of a news story.
Portrait and wedding photography are usually bespoken with the customer and
sold directly to the end user of the images.
Fine art photography is made to fulfil a vision whereas landscape photography
represents different locations made to be sold to tourists as postcards. Wildlife
photography in its turn demonstrates life of the animals.
Photographers can also specialize in other subjects unique to photography,
including street photography, documentary photography, fashion photography, wedding
photography and commercial photography.

1. What is the origin of the word "photography"?
2. What is photography?
3. What storage media can be used?
4. What was the basis for photo design?
5. Why do people take photographs?
6. What specific branches of photography are mentioned in the text? Add to the list.
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7. How can you describe fashion photography?
8. What is still life?
9. What is preferably used to capture details?
10. How can photographers be often categorized?

1. Photography is not only the process of taking shots. It is … .
2. People take photographs not only for commercial purposes but for … as well.
3. … photography is made to illustrate and sell a service or product.
4. … photography displays clothing and other fashion items.
5. … photography accentuates on the model.
6. … photography captures the bridal couples during wedding ceremonies.
7. A story or main idea for the magazine is illustrated in … photography.
8. … is similar to still life photography.
9. … is often used to capture specific details.
10. … photography demonstrates life of the animals.

документальні зйомки, художня фотографія, натюрморт, мистецька фотографія,
портрет, пристрій для зйомки в інфрачервоних променях, місце натурних зйомок,
портретний живопис, модельна фотографія.

light patterns, representation, light-sensitive medium, commercial photography, fashion
photography, still life, landscape photography, portraiture.

photo design, fashion photography, glamour photography, still life photography,
editorial photography, photojournalism, portrait, fine art photography, wildlife
photography.
139
1. Фотографія зберігає найкращі спогади, розповідає історії з нашого життя,
передає наші думки.
2. Фотографія створюються завдяки відображенню світла, що проходить через
лінзу фотокамери, на світлочутливому носії.
3. Рекламний бізнес неможливий без творчих зусиль фото-відео дизайнерів.
4. Натюрморт відображує зображення неживих загальновідомих природних
речей.
5. Фотожурналістика дуже близька до поліграфічної зйомки, але її результати
стосуються здебільшого матеріалів новин.
6. Модельна фотографія фокусується на зображенні манекенниць і моделей для
журналів переважно з чоловічою аудиторією.
7. Фотограф – це той, хто робить знімки за допомогою фотокамери, дизайнер –
створює неперевершені картини, кожна з яких варта тисячі слів.
drawing with light, the process of recording pictures, a film or electronic sensor, a
sensitive silver halide based medium, both business and pleasure, artistic endeavour,
“one picture is worth a thousand words”, various specific branches of photography,
commercial photography, a photographer, to specialize in.
TEXT B
1. elaborate ретельно продуманий, розвинутий
2. sophisticated витончений, складний
3. elevation підвищення
4. movie sequence послідовність кінофрагментів/кадрів
5. resolution чіткість зображення, роздільна здатність
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6. scale масштаб
7. rotation обернення
8. opacity каламутність відбитку
9. transparency діапозитив
10. to interpolate робити вставки
Video Design
Video design may be referred to as motion graphic design or interactive design.
Motion design is the art of graphic design within the context of motion graphics such as
film, video or computer animation. Examples include the typography and graphics seen
as the titles for a film, broadcast design like show opens for television or the spinning,
three-dimensional logo at the end of a TV commercial. If you watch much TV or see
many films, you will notice that the graphics, the typography, and the visual effects
within these mediums have become much more elaborate and sophisticated. The
dramatic elevation of this art form is largely due to technology improvements.
Computer programs for the film and video industry have become vastly more powerful,
and more available. Probably the leading program used by motion graphic designers is
Adobe After Effects, which allows to create and modify graphics over time. Adobe
After Effects is sometimes referred to as "Photoshop for film." A newcomer to the
market for motion graphic design programs is Apple Computer's Motion. Motion is an
inexpensive and user-friendly program that promises to hugely enlarge the ranks of
motion graphic designers. A typical motion designer is a person trained in traditional
graphic design who has learned to integrate the elements of time, sound and space into
his/her existing skillset of design knowledge. Motion designers can also come from
filmmaking or animation backgrounds.
A lot of people when using a graphic motion design application, find it is an
object-oriented application. These media files can be still images in pixel or vector
format, movie sequences and audio files. Inside the application a 'new composition' with
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its own and independent timeline, resolution, frames-per-second and pixel size can be
created.
When creating a composition, one or more of media files can be inserted. The
files appear on the composition window, as well as in the timeline.
Layers have properties which can be manipulated such as position (x, y and
sometimes z), scale, rotation, opacity, etc. Layers merge with each other by using
transparency information provided by the alpha channel and blending modes, which
change the way a layer affects the layers below. Almost all the modifiable properties
can be keyframed, which means that its value can be stored at certain positions through
time. And this is one of the basic principles in computer animation, the use of the
computer to interpolate values between keyframes through time.
Since motion design is created using images and video sequences, a great
complementary tool is a 3d software package. Cinema 4D is widely used for its intuitive
interface, layered export to Adobe After Effects, and the additional MoGraph module,
but there are also several others. Such packages can generate images or video sequences
with an alpha channel, which stores all the transparency information.

1. What is video design?
2. Where and how can video design be implied?
3. What influenced the development of this area of design?
4. What computer programs are used in motion design field?
5. What skills are needed to become a video designer?
6. What kinds of media files do you know?
7. What can be created inside those files?
8. What properties do the layers have?
9. How do the layers merge with each other?
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10. What is one of the basic principles in computer animation?

- Nice head shot, John!
- It’s a picture of my wife. We went for a walk up the woods
today and I saw a ray sunshine coming through the trees so I
asked my lovely wife to stand in the light while I tried to get a
shot. It was taken at 3.30 this afternoon. But I’m afraid it’s not
really a head shot, but a portrait.
- Why? A head shot is a photographic technique where the focus of the photograph is
a person's face. It is essentially the same as portrait. However, headshot is an image that
portrays people as they are and is more of a 'mug shot', however simple or stylized it
might be.
- Not exactly. The emphasis here must be done on the word “portrays”. A portrait will
often 'portray' the person with elements of his life, such as his work, interest, etc.
Whereas, a head shot is a front-on (photograph, facing straight at the camera, with the
face being the centre of the picture and containing minimal or no surroundings. The
facial expression is usually neutral. These head shots are usually used as a form of
identification. They are used as passport photos, mug shots and on other forms of photo
identification and often require the temporary removal of facial accessories such as
glasses.
- I think it’s really hard to distinguish whether it is a head shot or a portrait. But
anyway it’s great! I like it, light looks good, is it all natural light, or did you use any fill
flash on it?
- All natural light, mate, I didn’t take my flashgun with me. As I’ve already said the
light coming through the trees was lovely…
- This photo shows how good natural light can be, I definitely under-use it.
- Nice lively expression. You've captured her eyes beautifully. It’s well lit/exposed
with just the right amount of detail in the hair and skin. It’s great DOF* – there is no
distraction at all from the background.
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- Thank you. I’m pleased you like it.
* (DOF) depth of field
unit.
TEXT C
1. to diminish зменшувати, скорочувати
2. positive transparency позитивний діапозитив
3. post-processing подальша обробка
4. superiority перевага
5. highlighting висвітлення, привернення уваги
6. shadow тінь
7. exposure latitude допустимий інтервал витримок при
зйомці; інтервал експозиції
8. archival storage архівне зберігання
1. Film, optics and photographic paper give the opportunity to capture shadow and
highlight details.
2. Colour photography displays the classic monochrome look.
3. Digital imaging is a highly manipulative medium.
4. Black-and-white photography became available in the mid 1800s.
5. 68 percent of professional photographers prefer analogue photography because of
the wide exposure latitude of film.
1. Why do more than two-thirds of professional photographers prefer the results of
analogue photography?
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2. How does colour photography form images?
REVIEW ASSIGNMENTS

II Match the words:
1 saturation a) авторська розробка
2 cyan b) передача даних
3 flamboyancy c) блакитний
4 to dazzle d) насиченість
5 typography e) безперервність
6 continuity f) привабливість
7 authoring g) перевантажений
8 rendering h) графічне оформлення друкованого
тексту
9 attractiveness i) яскравість
10 augmented j) засліпити
1 flamboyancy a) act of raising in rank or position
2 animation b) a visual representation (of an object or scene or
person or abstraction) produced on a surface
3 content c) a film or video wholly or partially created by
photographing drawings, sculptures, or other inanimate
things in sequence to create the illusion of motion
4 image d) extravagant elaborateness
5 promotion e) everything that is included in a collection and that is
held or included in something
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UNIT 16
CORPORATE IDENTITY
TEXT A
1. identity індивідуальність, особливість
2. evolve розвивати
3. perceive розуміти, сприймати
4. regardless незважаючи на, не беручи до уваги
5. advertisement реклама, оголошення
6. duly належним чином
7. merchandise товари, торгівля

1. corporate identity – корпоративний, фірмовий стиль
2. colour scheme – гамма кольору
3. legal entity – юридична особа / компанія
4. press release – повідомлення для преси, прес комюніке
5. set of guidelines – комплекс корпоративних елементів
6. crucial component – вирішальний (ключовий) компонент
Corporate Identity
Corporate identity is a symbol. It can be as simple as a colour scheme or a word, written
in a certain way or even a picture. The concept of corporate identity and its management
evolve over the last 50 years, and programs are now used in most large organizations, in
the private as well as the public sector.
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Corporate identity manifests itself in many ways. It’s a corporate title, logo
(logotype or logogram), and supporting devices. They are commonly assembled within
a set of guidelines.
Every organization, regardless of its size, has a corporate identity, and it can be
either formal or informal. It allows customers, suppliers and staff to recognize,
understand and clearly describe the organization.
The function of corporate identity consists in reflecting of the organization, its
goals in a consistent and positive manner.
Corporate communication, corporate image, and corporate reputation are the
fundamental variables in the process of managing corporate identity. It is the unique,
individual personality of the company that differentiates it from other companies.
Usually, a company focuses on providing uniform communications which present
the corporation in a positive light. These communications also encourage consumers to
think of the company when they need a specific product or service. Communications
include things like advertisements, press releases, news features, and phone services.
Finally, corporate behavior and ethics are a crucial component of corporate identity.
Since some consumers actually base their buying habits on how companies act, many
companies focus on presenting a very specific image.
Today there are many corporations, agencies, legal entities, products, brands,
services and other using an ideogram (sign, icon) or an emblem (symbol) or a
combination of sign and emblem as a logo. As a result, only a few of the thousands of
ideograms are recognized without name. It is sensible to use an ideogram as a logo,
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even with the name, if people do not duly identify it. The company, such as
McDonald’s, has its own identity that runs through all of its products and merchandise.
The trademark ‘M’ logo and the yellow and red colour appears consistently throughout
the McDonald’s packaging and advertisements.

1. What is corporate identity?
2. What does corporate identity manifest itself in?
3. What are the fundamental variables in the process for managing corporate identity?
4. Does a company focus on providing uniform communications?
5. What do consumers actually base their buying habits on?
6. Why are only a few of the thousands of ideograms recognized without name?

1. The fundamental variables in the process for managing corporate identity are, … ,
and corporate reputation .
2. Corporate behavior and ethics are a crucial component of … .
3. … include things like advertisements, press releases, news features, and phone
service.
4. Corporate identity allows customers, suppliers and staff to … and clearly describe the
organization.
5. Usually, a company focuses on providing … which present the corporation in a
positive light.
6. Corporate identity manifests itself in a corporate title, … , and supporting devices.

знак, гамма кольору, розвиватися, корпоративний стиль, не зважаючи на розмір,
забезпечити, відображати організацію, послідовний, корпоративний зв’язок,
керування корпоративним стилем, реклама, ключовий компонент.
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management evolve, specific image, key publics, managing corporate identity,
advertisement, logotype, ideograms, trademark.

fundamental variables, unique and individual personality, recognize, communication,
clearly describe, merchandise.

1 Корпоративний стиль може бути як простим так і гамою кольору або назвою чи
зображенням.
2. Кожна організація, незалежно від її розміру, має фірмовий корпоративний
стиль, який може бути офіційним і неофіційним.
3. Корпоративний стиль, корпоративний зв’язок, корпоративний імідж та
репутація є індивідуальною особливістю компанії, що відрізняє її від інших.
4. Зазвичай фірма зосереджується на здійсненні єдиної комунікаційної політики,
яка представляе її в позитивному світі.
5. Сьогодні існує багато корпорацій, послуг, продуктів та інших економічних
одиниць, які використовують ідеограму, емблему або їх комбінацію, як фірмовий
знак.

colour scheme, news features, company focuses, encourage consumers, press releases,
logo, organization goals , emphasize the name, corporate identity manifests, ideograms,
recognize, logotype, trademark, advertisement.
TEXT B
1. intertwine переплітати(ся)
2. bear нести, мати (знаки)
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3. colophons емблема видавництва, типографії на підручнику
4. to be aware of бути обізнаним, усвідомлювати
5. legibility чіткість, розбірливість (почерку, шрифту)
6. hygiene гігієна
7. subdued tone приглушений відтінок
8. saturation насичення
The History of Logo Design

The history of logo design and logos dates back to Greece in ancient times. A
"logo" is a graphical element (ideogram, symbol, emblem, icon, sign) that, together with
its logotype form a trademark or commercial brand. Logo design history had the modest
beginnings as a code consisting of a single letter, and later a design or mark consisting
of two or more letters intertwined. The code may be all - the letters of a name, the initial
letters, or the surname of a person for use on stationery or business cards.
Many early Greek and Roman coins bear the monograms of the logos of rulers
or towns. The most famous of these early logos is the holy monogram, which is formed
by the conjunction of the first two Greek letters of XR, S, Т, О, and S; (Christ), usually
with the A (alpha) and О (omega) of the Apocalypse on each side of the coin. The
Middle Ages were extremely productive in inventing code for churchmen, artists and
commercial people.
In the thirteenth century, logo design evolved from simple code to trademarks for
traders and merchants. These early examples of logo design include masons' marks,
goldsmith's marks and paper maker's watermarks. Other related logo devices are the
colophons used for identification by publishers and printers.
The appearance of the information age changed the face of logos and logo
design. Today, the general public has become increasingly aware of visual symbols,
especially those used as trademarks. It is important that the company logo looks
professional. Company logos are the face of the business, not only to the public, but to
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its employees and the company itself. Logos have become the front line of the
company, the соrporate identity.
The mark of a good logo is legibility and good brand recognition. The diversity
of products and services need the new, unique logos.
The logo is the heart of graphic design. Ideograms (icons, signs, emblems) may
be more effective than a written name (logotype), especially for logos being translated
into many alphabets; for instance, a name in the Arabic language would be of little help
in most European markets. An ideogram would keep the general proprietary nature of
the product in both markets. The Coca-Cola logo can be identified in any language
because of the standard colour and the well known “ribbon wave” design. Colour is
considered to be important to brand recognition, but it should not be an integral
component to the logo design, which could conflict with its functionality. Some colours
are associated with certain emotions that the designer wants to convey. For instance
loud primary colours, such as red, are meant to attract the attention of drivers on
highways and appropriate for companies that require such attention. In the United States
red, white, and blue are often used in logos for companies that want to project patriotic
feelings. Green is often associated with the health and hygiene sector, and light blue or
silver is often used to reflect diet foods. For other brands, more subdued tones and
lower saturation can communicate reliability, quality, relaxation, or other traits.

1. What does the word “logo” mean?
2. What beginnings had logo design history?
3. What monogram is the most famous of early logos?
4. Did logo design evolve from simple code to trademarks?
5. What early examples of logo design do you know?
6. What are other related logo devices?
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7. How did the appearance of the information age change the face of logos and logo
design?
8. The mark of a good logo is legibility and good brand recognition, isn’t it?
9. Is colour considered important to brand recognition?
10. Are some colours associated with certain emotions and why?

- Good afternoon, Yuri. Glad to see you. I haven’t seen you for ages!
- Good afternoon, Victor. I’m glad to see you too. What are you doing?
- I’m a young entrepreneur.
- My congratulations! Do you spend much time on your business?
- Like other new entrepreneurs we are expanding our business operation in a new
market. We have no time to lose. I like my business but every organization regardless of
size has a brand or corporate identity. It can be either formal or informal.
- By the way, I can help you in building the brand of your company. Do you want?
- Most willingly! This is an excellent idea! It will be great to have corporate identity.
- Yes, I understand the strategic efficiency of branding and its importance to compete
effectively on the market.
- Consumers have to be able to identify a particular product’s source, functional
attributes and perceived quality comparing to rival goods.
- Yes, the consumers also appreciate the quality aspects of goods.
most willingly – охоче
rival – суперник, конкурент
rational – доцільний
IX Make up your own dialogues using the key words and expressions from the unit.
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TEXT C
1. prospective майбутній
2. announce оголошувати
3. simplistic дуже спрощений

1. The cards, which carry information and contact details of any business or individual,
are called business cards.
2. Visiting cards were not very popular in China in the fifteenth century.
3. Visiting cards or calling cards were the fashion among the working classes.
4. Traders used business cards only to provide route-ways for customers.
5. A simplistic business card is a mark of professionalism.
1. What information do the business cards carry?
2. What is the evolution of the business cards?
REVIEW ASSIGNMENTS

1. fine art photography a) діапозитив
2. transparency b) ретельно продуманий, розвинутий
3. to interpolate c) подальша обробка
4. landscape photography d) робити вставки
5. elaborate e) тінь
6. post-processing f) пейзажна фотографія
7. shadow g) натюрморт
8. devoted h) самовдосконалення
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9. self-fulfilment i) присвячений
10. still life j) художня, мистецька фотографія

1 audio file a) process, activity and art of creating still or moving
pictures by recording radiation on a radiation-sensitive
medium such as a photographic film or an electronic
sensor
2 documentary photography b) popular genre of photography devoted to displaying
clothing and other fashion items. It is most often
conducted for advertisements or fashion magazines
3 photography c) popular form of photography used to chronicle
significant and historical events. Usually refers to a type
of professional photojournalism, but it may also be an
amateur or student pursuit
4 fashion photography d) photograph, picture, sketch, etc. in black, white and
shades of grey rather than in colour
5 black-and-white e) computer file that contains digitized audio
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APPENDIX 1
TEXTS FOR LISTENING
UNIT 1
Leonardo da Vinci
Leonardo da Vinci was an Italian scientist, mathematician, engineer, inventor,
anatomist, painter, sculptor, architect, botanist, musician and writer. Leonardo has often
been described as the archetype of the Renaissance man, whose infinite curiosity was
equalled only by his powers of invention. He is considered to be one of the greatest
painters of all time and perhaps the most diversely talented person to have ever lived.
Leonardo is renowned primarily as a painter. Two of his works, the Mona Lisa
and The Last Supper, are the most famous, most reproduced portrait and religious
painting of all time, respectively, their fame approached only by Michelangelo's
Creation of Adam. Leonardo's drawing of the Vitruvian Man is also regarded as a
cultural icon.
As an engineer, Leonardo conceived ideas vastly ahead of his own time. He
conceptualised a helicopter, a tank, concentrated solar power, a calculator. Relatively
few of his designs were constructed or were even possible during his lifetime, but some
of his smaller inventions, such as an automated bobbin winder and a machine for testing
the tensile strength of wire, entered the world of manufacturing. As a scientist, he
greatly advanced the state of knowledge in the fields of anatomy, civil engineering,
optics, and hydrodynamics.
UNIT 2
The Painter
On 25 October 1881 a little boy was born in Malaga, Spain. This baby grew up to
be one of the 20th century’s greatest painters – Pablo Picasso.
Picasso showed his truly exceptional talent from a very young age. His first word
was lapiz – Spanish for pencil, and he learned to draw before he could talk. He was the
only son in the family and very good-looking, so he was thoroughly spoilt. His father
was an amateur artist. Pablo often watched his father paint and sometimes was allowed
155
to help. One evening his father was painting their pigeons when he had to leave the
room. He returned to find that Pablo had completed the picture and it was so amazingly
lifelike that he gave his son his own palette and brushes and never painted again. Pablo
was just 13. Many people realized that he was a genius but he disappointed those who
wanted him to become a traditional painter. He was always breaking the rules of artistic
tradition and shocked the public with his strange and powerful pictures. His paintings of
people were often made up of triangles and squares with their features in the wrong
place. His work changed our ideas about art, and to millions of people modern art
means the work of Picasso. He created over 6000 paintings, drawings and sculptures.
UNIT 3
Factors Influencing Fashion in the 16th Century
Perhaps the single biggest factor influencing fashion in the sixteenth century
was the wealth of European kingdoms and powerful city-states in Italy. Trade and
exploration had led to a boom in the economies of Europe. And the textile or fabric
industries were at the centre of that boom. Wool production in England and silk
production in Italy were especially important. These industries allowed for the creation
of rich fabrics. At the same time tailors guilds or associations of craftsmen proved very
skilled at turning these fabrics into luxurious clothes. The monarchs and the members of
their court were enriched by these trends and could afford the most expensive clothes.
But the guild members, traders and merchants who made up a growing middle class
could also afford these clothes. The powerful kings and queens who led European
nations believed that one of the ways that they could display their power was through
their clothing. Powerful leaders had always set an example by their clothes.
UNIT 4
First Fashion Publications
Finding out what the latest fashions were before the seventeenth century was
fairly difficult. Members of royalty – kings, queens, princes and princesses – set fashion
trends and one actually had to see noblemen or women to get an idea of new trends.
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Some royals sent their tailors around the country with life-size dolls dressed in the latest
styles to spread news of fashion changes. Then, in 1672, the first fashion magazine
began publication in France. Called “Mercure Galant” the magazine began to regularly
offer comment on the latest clothing styles and was read throughout Europe. The French
also led the way in the creation and circulation of fashion plates, beautiful illustrations
of the latest garments that guided the work of tailors. (The term ‘fashion plate’ would
later be used to describe someone who was always dressed in style.) By the end of the
century many Parisian printers began selling fashion plates or engravings of fashionable
clothes. The trend has not yet stopped. Such fashion magazines as “Elle” and “Vogue”
are bought internationally by the millions in the twenty-first century
UNIT 5
The Importance of Colour
When you describe to another person how someone you noticed was dressed,
what is the first thing you mention? For most people it is colour. Even when you recall
clothes you wore years ago, colour often comes to mind. You probably have found
memories of a favourite coat or outfit you once wore. The chances are that you
remember most about it is its colour. More than any other feature of clothes, colour is
what you notice. It catches your eye, and you remember it. Colour also has cultural
value. Think of all the ways that we communicate in our society through colour. Red is
often a sign of warning or of an emergency. Stop lights, fire engines, and fire call boxes
are often bright red. The colours pink, blue, and yellow are sometimes associated with
babies. White is the colour of innocence (in Western cultures). Black is the colour of
mourning. Different colours symbolise flags of all countries in the world. Colour has
also personal value. It affects how you feel. Pastel or soft colours are thought to relax
people. Bright colours are thought to make people feel happy or talkative. A colour may
have an even more personal meaning for you. You may find that you feel especially
good wearing a certain shade of blue. You may always reach for your bright green coat
on gloomy, rainy days because it cheers you to wear a favourite colour. When you are
particularly happy, you may pull a neutral or dark colour from your closet.
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UNIT 6
The Appearance of a Costume Designer Profession
Costume design as a profession is a twentieth-century phenomenon. Until the
end of the nineteenth century, costumes for popular entertainments were assembled
piecemeal, either by the director or the actor-manager. Actors working with more than
one company might travel with their own costumes.
The actor’s strike of 1919 put an end to the practice of performers providing
their own wardrobes. Thereafter, producers were required to supply costumes for
everyone by contract. Then the stage designers unionized. As part of the collective
agreement producers of Broadway and touring productions had to hire a union designer.
The first union members were set designers who might also design costumes. By 1936
the union recognized costume designers as a separate specialty.
Film designers also emerged in the 1920s. At first, actresses in contemporary
films wore their own clothes. Designers emerged partly because studio heads wanted
their films to have a cohesive look but primarily because the shift from black and white
to colour film, and from silent to talkie, required costumes especially designed for the
medium. The early film distorted colours. Blue on film appeared white. Red
photographed as black. The early microphones were so sensitive to sounds that only soft
fabrics could be used.
UNIT 7
Musical-dance Costumes
In the eighteenth century two forms of song-and-dance performance emerged in
Britain, France, and Germany: ballad operas and comic operas. At this time stage
costumes were often based on everyday-dress design.
In the late 1880s comic operas conquered Broadway in New York and plays were
designed for popular audiences. From the 1880s until the 1920s the musical-comedy
genre in London emerged and designers created fashionable costumes for singers and
dancers.
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In the fifties, musicals such as “My Fair Lady” (1956) surprised the audiences
with numerous costume changes. Costume designer Cecil Beaton had created costumes
enhancing the transformation of Eliza, the main character, from a common flower
vendor into a society lady. In 1975 aerobic and dance outfits became popular on stage
and in everyday life. Bright neon shades in pink, green, and yellow dominated the range
of colours. Dance tights, leggings, headbands, and wristlets spread from stage to fashion
and vice versa. At the beginning of the twenty-first century, musical “Bombay Dreams”
(2002) opened in London and its Indian costumes demonstrated the ethnic influence on
stage design.
UNIT 8
Makeup Artists
An increasing number of fashion shows, photographic shoots, film and theatre
productions rely on the specialized skills of the makeup artist to communicate style and
image. When Maurice Levy designed the first retractable lipstick in 1915, no one could
have guessed how popular cosmetics would become or how significant the role of the
makeup artist would be in such emerging new fields as fashion photography and cinema
production. Indeed, the concept of ‘makeup artist’ hardly existed at that time. Until the
twentieth century, theatrical performers were expected to do their own makeup, as they
were expected to supply their own stage costumes. The professional makeup artist, like
the theatrical or cinematic costume designer, is a modern phenomenon. For much of the
twentieth century, the role of the makeup artist remained a largely anonymous one, as
audiences focused on the face of the model or actor rather than the makeup techniques.
But makeup artists in fact have a great deal to do with how an actor or model looks in
any given performance or production. The makeup artist is not bound today by
traditional materials, styles, and conventions, but is able to use a wide range of
techniques to create innovative effects.
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UNIT 9
Accessories
Furniture is used to meet a range of human needs in a variety of spaces.
Accessories placed on or around furniture can enhance and complement the furniture
selection. Different styles of furniture can be used together providing the similarity of
line, shape, proportion, and so on. Furniture and accessories work together in defining
the style and feeling of a space. Accessories can enhance a space, add the finishing
touches to a room, reflecting the personal taste and individuality of the user more than
any other element. They can also be a powerful tool in establishing the design theme or
expressing a cultural background. Interiors are enriched by the addition of both
functional and decorative accessories.
Accessories work directly with the room’s furniture and should complement the
selections. They should include items of personal value of the client or company. Some
functional accessories, such as towel racks, door handles may be attached to the
architectural background. Other practical accessories such as a mirror, a lamp, a clock
may be moved from one place to another within the space.
Decorative accessories provide no other value than the pleasure derived from
looking at them. Accessories are available in traditional or contemporary styles and may
be handcrafted or machine-made, old or new. In residential design paintings, drawings,
original prints, photographs, sculpture, and other types of art are usually selected
personally by the client.
UNIT 10
Fabric Care
Fabric Care for Manufacturers
There are certain permanent care labeling rules that all the manufacturers must
follow. The rules are as follows:
The permanent care labeling rule requires the textile manufacturers to labels with
appropriate care instructions, which are permanently legible.
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The labels must be affixed in a manner that ensures permanent attachment for the
length of the product's useful life.
The labels may be sewed, glued, to the fabric. The care instructions may be
woven, printed or inscribed in an appropriate manner. The label must be so placed, that
it is readily available to the consumer at the time of purchase. The purpose of the above
is to protect the consumers and help them make value judgments when buying. There is
an implied rule that reasonable testing of the product is made before care instructions
are established.
Fabric Care for Consumers
The care of fabrics used for home furnishings has always been a concern for
consumers. Manufacturers generally assist the process by providing adequate labeling
with proper care instructions.
The fabric care depends on the kind of fabric being used for a particular home
furnishing product. Some of the general care tips are: brush and air the fabric frequently.
Store in a clean place when not in use.
Mend the torn fabric immediately. Use appropriate cleaning method- washing or
dry cleaning. Send the fabric for frequent laundering when the fabric is washable. Use
proper method of laundering, depending on the type of fabric. Iron or press the fabric
properly.
UNIT 11
Ikebana
Ikebana ("arranged flower") is the Japanese art of flower arrangement, also
known as kadō (the "way of flowers").
In contrast to the massing of blooms typical of flower arrangement in western
countries, Japanese flower arrangement is based on the line of twigs and/or leaves, filled
in with a small number of blooms. The container is also a key element of the
composition. The structure of a Japanese flower arrangement is based on a scalene
triangle delineated by three main points, usually twigs, considered in some schools to
symbolize heaven, earth, and man and in others sun, moon and earth.
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The most beautiful flower arrangements have one, two, or at the most three,
elements. In arrangements of three elements, all three might be the same, or two of the
three might be the same, but all three should never be different. Ikebana is said to be as
easily codified as the practice of modern medicine.
Nowadays Ikebana became a major part of traditional festivals, and Ikebana
exhibitions are held periodically. According to the prescribed rules materials have to be
combined in specific ways: a tall upright central stem has to be accompanied by two
shorter stems.
UNIT 12
History of Cosmetics
The first archaeological evidence of cosmetics usage was found in Ancient Egypt
around 4000 BC. The Ancient Greeks and Romans also used cosmetics. The Romans
and Ancient Egyptians used cosmetics containing poisonous mercury and often lead.
The ancient kingdom of Israel was influenced by cosmetics.
In the western world, the advent of cosmetics was in the middle ages, although
typically restricted to use within the upper classes.
In the 19th century, Queen Victoria publicly declared makeup improper, vulgar,
and acceptable only for use by actors. By the middle of the 20th century, cosmetics
were in widespread use in nearly all societies around the world.
Cosmetics have been in use for thousands of years. They also attached silk or
leather with adhesive to cover a blemish. The absence of regulation of the manufacture
and use of cosmetics has led to negative side effects, deformities, blindness, and even
death through the ages. Examples of this were the prevalent use of ceruse (white lead),
to cover the face during the Renaissance, and blindness caused by the mascara Lash
Lure during the early 1900s.
The worldwide annual expenditures for cosmetics is estimated at 18 billion
dollars. Of the major firms, the oldest and the largest is L'Oreal.
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UNIT 13
Website Layout
Website layout is different from other kind of layouts. One of the most evident
distinguishing features is navigation system. It has its own specifics and has to provide
easy and natural feeling of buttons which does not make user spend few minutes before
finding a button for certain action.
Human brains consist of two parts. One is more precise and technical kind and
the other one is more humanitarian. Due to this fact different objects, perceived with our
eyes, have different effects depending on the place they are observed. Advertising
industry uses this effect to distinguish text and pictures and make both of them best
memorized. It is proved that the picture on the right side and the text on the left side of
the layout is better for perception. This is the visual concept.
But why most buttons on the website are located meanwhile at the upper left part?
The idea is most people write from the left to the right side, from the top to the bottom
which means from the upper left corner. This psychological habit dictates the placement
of different elements in navigation. And the second explanation is the window can be
rescaled. To make thing more stable and common for the user most pages are not
changed and are aligned the same way.
UNIT 14
Theory of Colours
The colour wheel theory is used for analyzing hues in design, a very important
factor to consider is that it generally only targets hues and does not incorporate
saturation or brightness levels. While this seems quite severe you must remember there
are almost infinite amounts of shades and a more limited amount of colours that can be
analyzed. Its origins lie with Sir Isaac Newton and his experiment to split light into
various colours. His original colour wheel features red, orange, yellow, green, cyan and
blue and was joined at the ends by Newton to display the natural hue progression. Over
a century later Johann Wolfgang Goethe studied the psychological effects of colours
and modified the colour wheel to split the colours into two sides, the plus and minus
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colours. Plus colours were ones that had a positive effect on psychology and generally
included the warm colours such as red and orange. The minus colours generally invoked
unsettled feelings in participants and tended to lean to the blue and green.
The next major revolution was by a Swiss art theorist named Johann Itten. He
modified the wheel to the form we see today based on the primary triad and the twelve
basic hues. Triadic colour scheme is the most favourite for web design. It uses a
combination of 3 colours that are equally spaced around the wheel. Its major advantage
is that it strikes a great balance between harmony and contrast.
UNIT 15
Photography Types
Black-and-white photography displays the classic monochrome look. All
photography was originally monochrome. Even after colour film was readily available
in the mid 1800s, black-and-white photography continued to dominate for decades, due
to its lower cost and its "classic" photographic look. It is important to note that some
monochromatic pictures are not always pure blacks and whites but contain other hues
depending on the process.
Colour photography may form images as a positive transparency, intended for use
in a slide projector or as colour negatives, intended for use in creating positive colour
enlargements on specially coated paper. The latter is now the most common form of
film (non-digital) colour photography owing to the introduction of automated photo-
printing equipment.
Digital photography gives an opportunity to transmit images through telephone
lines with greater speed. The primary difference between digital and chemical
photography is that analogue photography resists manipulation because it involves film,
optics and photographic paper, while digital imaging is a highly manipulative medium.
This difference allows for a degree of image post-processing that is comparatively
difficult in film-based photography and permits different communicative potentials and
applications. Nevertheless, according to survey results, more than two-thirds of
professional photographers prefer the results of film to those of digital for certain
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applications like creating a traditional photographic look, capturing shadow and
highlighting details or archival storage.
UNIT 16
Business Cards
The cards, which carry information and contact details of any business, company
or individual, are called business cards. This is one of the most simple and direct form
of advertising yourself and your business. The business cards serve as an easy way to
formally introduce you. Also, it is easy for the prospective customers to remember your
name and contact you when the need arises.
The business cards of today are an evolution from the visiting cards. Visiting
cards were very popular in China in the fifteenth century. Later, they were found in
Europe in the seventeenth century. Only the royalty and aristocrats, to announce their
visit, used these cards.
Business cards first came into existence in the 17th century in Europe. Traders
used business cards to promote their businesses and to provide maps or route-ways for
customers to find their shops.
Nowadays, cards have evolved from black and white and color, to images
imprinting and absorbing. A recent invention is the CD business card. They can hold a
lot of audio and video data of the business. However, they are not used commonly.
A clear and brief business card is a mark of professionalism. It is vital for all
businesses today.
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APPENDIX 2
TEXTS FOR ADDITIONAL READING
THE ORIGINS OF COSTUME

1. Read the text. What is the main idea of the text?
2. Find unknown terms and words in the text and give their translations?
One should admit that clothing has to do with covering one's body, and costume
with the choice of a particular form of garment for a particular use. Clothing depends
primarily on such physical conditions as climate and health on textile manufacture. It
reflects social factors such as religious beliefs, magic, aesthetics, personal status. Must
we also envisage a process of emergence, which might place clothing before costume or
costume before clothing?
This last point has given rise to diametrically opposed opinions. The Greeks and
the Chinese believed that Man first covered his body for some physical reasons,
particularly to protect himself from the elements, while the Bible, ethnologists and
psychologists have invoked psychological reasons: modesty in the case of the ancients,
and the ideas of taboo.
Clearly we have insufficient information to assess the relative soundness of these
theories.
We may at least surmise that when the first men covered their bodies to protect
themselves against the climate, they also associated their primitive garments with the
idea of some magical identification. After all, some primitive peoples who normally live
naked feel the need to clothe themselves on special occasions.
Costume, at any rate, must have fulfilled a function beyond that of simple utility,
in particular through some magical significance, investing primitive man with the
attributes, such as strength of other creatures, or protecting his genitals from evil
influences. Ornaments identified the wearer with animals, gods, heroes or other men.
Costume also helps inspire fear or impose authority: for a chieftain, costume embodies
attributes expressing his power, while a warrior's costume must enhance his physical
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superiority and suggest that he is superhuman. In later times, professional or
administrative costume has been devised to distinguish the wearer and to express
personal or delegated authority. This purpose is seen as clearly in the barrister's robes as
in the policeman's uniform.
Costume denotes power, and as power is more often than not equated with
wealth, costume came to be an expression of social caste and material prosperity. On
this level, costume becomes subject to politics.
Military uniform also denotes rank, and is intended to intimidate, to protect the
body and to express membership of a group: at the bottom of the scale, there are such
compulsory costumes as convicts' uniforms.
Contrary to widespread belief, it is probable that only latterly did primitive man's
costume express a desire to please. Clothing only gradually became a means of
seduction by enhancing natural or adding artificial attractions.
Finally, costume can possess a religious significance that combines various
elements: an actual or symbolic identification with a god, and the desire to express this
in earthly life, the desire to increase the wearer's authority. Sometimes religious
associations may even lead to the wearing of garments for reasons of respect.
When and how did these various functions of costume make their appearance? It
is very probable that they followed and were determined by the development of
civilizations, allowing that the two evolved at different rates.
When we consider the causes of emergence of these functions of costume, we see
that they appear as the result of essential elements of these civilizations, which
gradually took shape out of an interplay of opposing forces, progress on the one hand,
and on the other, reaction or simply stability. Can we not cite the religious and static
character of Indian civilization as the chief reasons, along with climate, for the adoption
of draped costume, which still shows no signs of losing popularity? And in the ferment
of ideas and beliefs, the constant exchanges that mark the development of the general
economy of Western Europe, can we not see the principal causes behind the rapid, di-
versified development of its costume?
3. Make up a plan of the text in the form of questions.
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4. Ask your groupmates to find answers in the text.
5. Discuss the content of the text in the form of a dialogue.
PREHISTORIC COSTUME
1. Read and translate the text.
2. Find unknown terms and words in the text and give their translations.
The present state of knowledge about prehistoric times enables us, with all the
necessary reservations, to assess the little data we possess about costume in the
quaternary period of about six hundred thousand years, covering the history of tool-
making man.
It is as well to remember from the outset that the development of prehistoric
civilizations is influenced by the geography of the continents, which, though broadly as
it is today, had numerous differences in detail, such as the land link between Britain and
the continent of Europe.
The information we possess about prehistoric costume for the whole of the
quaternary age is divided between the earlier, longer period (until about 10,000 BC)
known as the Palaeolithic period, and the shorter, more recent Neolithic period, which
lasted for a few thousand years and was followed by the Bronze and Iron Ages.
In spite of glacier movements, the general climate in the greater part of the
ancient world was fairly constantly tropical or sub-tropical, comparable to the climate of
present-day Africa or central Asia, and favouring a fauna of hippopotami and elephants.
Only after the last Ice Age (100,000 to 10,000 BC) did the temperature of the northern
hemisphere fall, causing changes in fauna and flora.
The various ways of life of these first men changed according to these climatic
conditions, which also influenced costume. Men in tropical regions lived in forests or on
plains, in camps or shelters, and left traces of their clothing industries in the valleys and
steppes. Men in the areas affected by the last glaciations took refuge in grottoes and
caverns, where the vestiges of their primitive clothing are to be found.
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Palaeolithic man lived by hunting and food collection; for him, the search for
food entailed defending himself against animals, at first in tropical regions, and then in
glacial conditions. Only towards 10,000 BC, when Europe was once more freed from ice
and became covered with forests, was Neolithic man to find his food by agriculture and
stock-breeding. This revolutionary change appeared first in the centre of the New World
and in the Middle East, from where it spread through Asia.
Prehistoric civilizations therefore show a succession of changes of level,
influenced by the prevailing climatic conditions, by increasing technical skills, and
perhaps by changes in the physical type of primitive man.
These are the dominant factors which, in conditions that are often difficult to
establish and are complicated by overlapping and mixture, influenced the evolution of
prehistoric costume.
5. What is the main idea of the text?
TEXTILES
We have very little evidence that definitely relates to Iranian textiles, so that it is
difficult to determine their use, particularly in Sassanian Persia.
Between the first quarter of the third century AD and the middle of the seventh,
when it collapsed under the thrust of Arab invasions, the Sassanian dynasty preserved in
its civilization ancient art forms and symbols inherited from the old peoples of the
Middle East.
Sassanian towns such as Samarkand and Bokhara - great silk markets whose
caravans came bearing the precious textile from the Far East or carrying supplies of
finished cloth to the West - and probably other cities as well, possessed looms on which
silk was woven in accordance with processes borrowed from China.
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It seems that Persia must have known this industry at least two centuries before
Byzantium.
Sassanian textiles, fragments of which have shown the technical virtuosity of the
weaving as well as the decorative richness, were adornments worn by the upper classes.
We find in them the taste for scenes of action to be noted in sculpture and metalwork:
horsemen at the gallop turn in their saddles to fire arrows, a characteristic theme among
the Parthian, Medean and Turkish peoples. This hieratic decorative style invariably used
facing or addorsed animal or human figures, sometimes enclosed in circles or rowels,
and with a variety of other motifs.
We know that textiles of this kind, the rare surviving specimens of which are
generally preserved in European church treasuries, were used as shrouds and religious
vestments. But above all they provided cloaks and mantles. The cloth used for
ceremonial robes generally incorporated woven portraits of kings or signs symbolizing
royal dignity.
The stylization of Sassanid textiles had a great influence on Byzantine weaving,
and this influence is also apparent in a Chinese cloth taken to one of the temples of
Nara, in Japan, by a Korean embassy in 622. In Byzantium, where the influence of
Chinese art made itself felt in luxury textiles, decoration followed the Sassanian
arrangement of isolated or linked wheel motifs, and also horizontal bands or
geometrical patterns. Cloth decorated in this way was called either rotata (in wheels) or
scutalata (in squares).
After the Arab conquest, which threw the industry of the defeated Sassanians into
temporary confusion, the Persian manufactures resumed their activity, to meet the
customary sartorial needs of the country and satisfy a new Moslem clientele which, on
this point at least, soon forgot the rulings of primitive Islamism.
By modifying the forms of its traditional decoration, Sassanian production thus
remained at the centre of the silk trade network, which soon covered the Middle East
with the extension of Arab power. The proverbial luxury of Asia became that of most
Moslem princes and caliphs, Abbassids, Fatimites, etc., who wore silk in their palaces
and tents. As the textile industry developed among the Islamic peoples, it abandoned its
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former Sassanid motifs, but the silks taken in quantity by the Crusaders in the course of
their conquest of the Holy Land have their distant origin in the textiles of Sassanian
Persia, as did the textiles of the Byzantine Empire.
THE SOURCES OF INSPIRATION

2. Find unknown terms and words in the text and give their translations.
Anything visual can be a source of inspiration for a design, from a John Galliano
garment to a plate of baked beans. Designers are mainly interested in the visual
appearance and connotations of the objects, and seldom in the conceptual integrity of
the design. Different sources of inspiration can be combined in one garment: a designer
garment, a Roman ornament, a piece of tree bark.
Designers look for repeat patterns, ornaments, and motifs. Other textiles are often
used as sources of inspiration for patterns. They provide rich sources of ornamental
patterns, for example in embroideries, rugs, or tie patterns. Knitwear is often
coordinated with other textile ranges. Knitwear designs are often based on textile prints
in the same collection. All other design objects with patterns, such as tiles and mosaics,
serve as sources of inspiration. Designers frequently use historic designs, such as
William Morris wallpaper, and fine art can also provide a rich source. Everyday objects
like sweet wrappers or buildings are also useful.
Many themes take their inspiration from nature. Animals, plants and other natural
objects, as well as natural phenomena such as thunderstorms or sunsets inspire
designers. Designers collect portable physical objects like leaves or shells, use
photographs or work from memory. Designers never stop looking for sources of
inspiration. When they see something suitable they turn it into a design.
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Knitwear involves the creation of the fabric, as in textile design, and the creation
of the shape, as in fashion design. These two elements need to be coordinated. The
knitwear design and sampling process is highly complex, as there is a subtle interaction
between the technical features of knitted fabric and its visual appearance.
Work on a new season begins with general research into the context of the
coming fashion. Designers form an initial opinion of trends and strong design features
by looking at forecasting materials from trend prediction bureaus, visiting shows and
looking through magazines. Designers work out themes for their new collections and
select a yarn colour palette. From the beginning many designers think in terms of
concrete garments. The result of the research process is a skeletal concept of their new
collection, the design framework.
At the beginning of a season designers gain an overview of the coming styles and
trends. The designers gain a feeling for the looks of the season and know what will look
“right”. Designers develop preferences for features that they carry through the rest of
the season. Knitwear designers traditionally begin by visiting yarn shows and looking
through yarn catalogues. They look at the feel and appearance of the yarn. Head
designers often return from a yarn show with a fairly clear idea of their collection.
Important fundamental design decisions are made at this very early stage, for example
what types of yarns to pursue. Cones of yarn and yarn sale swatches get transformed
instantly into garments in the inner eye of many designers. The garments in catwalk
shows and fashion photographs provide a broader context for knitwear and show trends
independently of the material the garment is made of. By being inundated with designs
at a show designers can spot recurring features and form an opinion of the strong
characteristics of that season. Individual garments, studied or purchased on shopping
trips, illustrate important features and designers learn how they can be manufactured.
General design research continues with the development of individual themes, a
topic tying together a range of garments. The themes are derived from the forecasting
materials. The themes are expressed by sketches of garments, a colour palette and some
topical images. When looking at them many designers think in terms of concrete
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garments. Not all themes are suitable to knitwear or to companies’ own styles and
needs.
Based on forecasting materials from forecasting bureaus, write-ups about them in
press and their own overall understanding of the context of a new season, designers
develop about four or five themes for their own collections. The space of possible
designs is severely limited by the selection of themes.
The company themes are expressed in theme boards with sketches and magazine
clippings. Topical photographs can set a context, such a photograph of a Scottish
heather landscape for a tweed collection.
THE GREAT MASTERS OF FASHION

1. Read and translate the text. What is the main idea of the text?
While under the Second Empire Worth was the uncontested master of fashion, so
much so that he has remained the symbol of the period's elegance, leaving his mark on
the sumptuous toilettes that were worn almost until his death in 1897, a whole
constellation of couturiers shared a well-earned renown after the last years of the
nineteenth century.
Their names have come down to us for various reasons, but we shall limit
ourselves to mentioning the few who transformed costume between 1890 and 1914.
Redfern, an English tailor with shops in London and Paris, deserves the credit for
the introduction of the women’s tailored suit after 1885. In the early years of the
twentieth century, of the “walking suit” whose skirt, reaching just to the ground, was
convenient for outdoor pursuits; and lastly, the 'tailored coat', inspired by the austere cut
of men's coats. He also successfully designed theatrical costumes for celebrated
actresses.
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Another magician made his appearance: Jacques Doucet, a neighbour of Worth,
in the same house in the rue de la Paix where in 1824 his grandfather had opened a
milliner's shop. Doucet was to reveal himself the most feminine of couturiers, with a
preference for delicate, airy toilettes, in which lace and pale silk crêpes transposed the
palettes of his favourite eighteenth-century painters. He dressed Society women and the
demi-monde as well as prominent actresses.
In 1907 Doucet's fashion house acquired a young dress designer, Mme Madeleine
Vionnet, who was already experimenting with the bias cut which was to have a
triumphal success after the First World War. From her very first collection with Doucet
she appeared as a revolutionary, presenting mannequins barefoot and 'in their skin',
which meant without corsets.
From 1918 to 1939 she was one of the great names of Parisian couture, not only
for her accomplished techniques and her faultless handling of fabrics, but also because
of her inborn sense of how to enhance her client's femininity and the harmony and
balance of her creations.
In the first years of the century fur finally acquired the importance it has since
kept, after serving merely as a trimming. The disappearance of bustles and balloon
sleeves made it possible to use fur for jackets and coats innovations introduced by
Révillon, which he constantly varied and perfected.
In 1909, in one of the returns to favour which had occurred in each century since
the Middle Ages, supported this time by music and dance, the East again invaded the
Western World, with Diaghilev's Ballets Russes. In Paris one couturier was already
bringing colour to the aid of personality in clothing - Paul Poiret. Paul Poiret who had
begun as a young designer with Worth, had opened a small fashion house in 1904 and
embarked on striking experiments. He had revolutionized the range of colours used in
women's clothing, replacing pale, evanescent tones with deep violet, vibrant red, warm
orange and bright greens and blues which made everything sing. Poiret also created the
turban hobble gowns or skirts with small hoops, sultana skirts, sumptuous tunics, heavy
capes covered with fringes and tassels, cockades of multicoloured feathers and
shimmering coils of pearls under white fox stoles. His ideas are immortalized in Iribe's
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album Les Robes de Paul Poiret, which appeared in 1908, and in the appealing Les
Choses de Paul Poiret, produced in 1911 by Georges Lepape who for twenty-five years
was to create the covers of Vogue. He boldly asked the painter Dufy for textile designs,
and also invented the first couturier's perfume: Rosine.
Beside these names, symbols of a whole period, others brought less publicized,
but no less important innovations: the most representative, Mme Paquin who, like
Worth, loved sumptuous gowns, was the first to think of sending several mannequins to
the races, all presenting the same gown. She was the first French designer to open
branches outside France, first in London, then in Buenos Aires and Madrid.
From our distance in time, we can trace two trends in the years before 1914. On
the one hand, there was the new orientalism which showed itself in vibrant tones and
bold contrasts. It sheathed women's bodies in narrow, soft tubes and crowned lacquered
hair with turbans and aigrettes. Full-pleated capes wrapped women in the evening. The
sinuous silhouette of these elongated creatures seemed to move in a perpetual tango,
like the symbol of a moving line.
Other designers used consummate skill to renew the Art Nouveau of the 1900
period. Textiles were soft and clinging, adorned with brilliant embroideries and
transparent lace. This style remained the favourite of women frightened by boldness,
who were happier to accept new fashions when they did not break with the past.
These two tendencies existed side by side, and despite their opposition, for those
who knew them they still remain the symbol of the elegance of a lost world.
3. Answer the following questions:
1. Was Charles Frederick Worth the first to employ the principles of design?
2. What are the features of Redfern’s style?
3. Who was the most feminine of couturiers in 1824?
4. Was Mm. Madeleine Vionnet one of the great names of Parisian couture from 1918
to 1939? Why?
5. How did Paul Poiret become the court designer?
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TEXTILES AND MATERIALS IN THE FASHION INDUSTRY
In the nearest future, when the production of natural fabrics will not suffice to
clothe a rapidly growing population, synthetic and artificial materials will become a
necessity. Though greater discoveries were made in the field of textiles twenty or thirty
years ago, researchers today are learning better ways to use new materials, including
mixing synthetics among themselves or with wool or cotton. The most popular
synthetics remain Tergal and its derivatives, nylon and rilsan, which brought new life to
the manufacturing of undergarments and stockings and were a particularly welcome
development when tights came into vogue.
As for designers, they continue to prefer traditional textiles. It is also interesting
to note the designers' use of textiles intended for uses other than fashion: Castelbajac
used Pyrenean wool blankets and mattress ticking, while several others used terrycloth
in their designs.
The hosiery trade during this period was booming. Hosiery, long seen as
unfashionable articles of clothing to be hidden under other garments, was now being
produced in mesh fabrics with printed or woven patterns for men and women. Man-
ufactured much more quickly and thus more cheaply, than woven fabrics, the new mesh
fabrics also had the advantage of being more wrinkle-resistant. The base of "fake fur"
was made of mesh material. Designers had long tried to imitate real fur with synthetic
materials. With the surge of ecologists' campaigns to protect endangered species, the
trend toward fake furs rose. But many designers, Emmanuelle Khahn and Paco Rabanne
among them, also fabricated whimsical variations on the real thing – fake animal skins
that were cheaper than the original.
Paco Rabanne was the greatest innovator of the day with regards to the use of
materials. He made a name for himself in 1966, when he created armoured dresses made
of chains or hammered-metal plates, decorated with crystal beads, cellophane patches,
pebbles, buttons, ostrich feathers, and pieces of plastic and celluloid. Among his
inventions were knit fur, moulded raincoats, and dresses whose torsos were covered
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with an African-inspired mask. His dresses made of "normal" fabrics were often
adorned with metallic embroidery or large collars that became part of the bodice. Paco
Rabanne continues to use the most unusual and varied materials in his embroidered
work.
Others followed in Rabanne's path. Issey Miyake created moulded-plastic
bodices, as well as varnished-wicker collar pieces and headgear. Pierre Cardin made
dresses out of "Car-dine," a wrinkle proof crinkled fabric. Thierry Mugler designed
golden metal armour plates to be worn with crêpe skirts.
This era also witnessed a heightened appreciation for both real and imitation
leather, which had the advantage of existing in larger pieces than natural leather. Dull or
shiny, leather was very much in fashion, used in pants, jackets, and motorcycle suits,
but also in women's coats. The specialists in leather clothes have been Claude Montana,
Azzedine Alaïa, and, more recently, Hubert de Givenchy.
Finally, one must mention the new unwoven fabrics that were produced through a
process analogous to that of paper manufacturing and were meant for only one wearing.
They were used to make surgical uniforms, jackets for airplane passengers, and
uniforms for mechanics. When crimped, these fabrics could be used for beach dresses,
bathing suits, and underwear. Because the fibres of the material were held together by
resin, new self-adhesive facings were obtained that were applied with a hot iron, thus
replacing the more expensive traditional methods of lining.
4. Answer the following questions :
1. Will synthetic and artificial materials become a necessity in the near future?
2. What kinds of the most popular synthetics and its derivatives did bring the new life to
the manufacturing?
3. Do designers continue to prefer traditional textiles?
4. Why was the hosiery trade booming during this period?
5. Had designers long tried to imitate real fur with synthetic materials?
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6. What can you say about Paco Rabanne and his collection?
7. Paco Rabanne continues to use the most unusual and varied materials in his
embroidered work, doesn’t he?
5. Translate the last paragraph of the text in a written form.
INTERIOR DESIGN. STYLE SELECTION

After studying design styles, you should consider how historical styles could be
adapted and applied in current interiors. When selecting a style for a client, it is
important to understand the overall feeling that the client desires. Generally, five basic
style categories are used to help guide the client. They are formal traditional, formal
modern, informal provincial, informal modern, and eclectic.
The term ‘formal’ traditional refers to interior furnishings, finishes, and
backgrounds from historical styles that are of the more refined or court types. Many of
the traditional designs come from the 18th and early 19th centuries, an age of great
prosperity during which the arts flourished in the Western world. French and English
furniture styles of this period exemplify this warmth, grace, and elegance. Some of
these styles have been adapted and scaled to meet present-day requirements without
loosing their character.
A formal modem environment can be created by employing modern furnishings,
finishes, and backgrounds that are elegant and sophisticated. Art Nouveau, Art Deco,
Classic Modern, and Post-Modern furniture are particularly well suited for a formal
setting. Italian, Secession, Wiener Werkstatte, De Stijl, Bauhaus, and International Style
furniture may be very formal and sophisticated, depending on supportive elements.
Modern Oriental is often used in a formal manner.
Historically, provincial furniture was produced in rural areas. Provincial furniture
used native woods and techniques that imitated finer, more expensive finishes. The
provincial interior is generally handcrafted, simple, and casual, appearing unpretentious.
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The look is cloistered, comfortable, and rustic; it may incorporate furniture from a
number of countries as long as designs are rooted in the past and have an aura of charm
and informality. Styles most commonly employed that provide this feeling are Colonial
American, Medieval English (as well as simplified Georgian), French provincial, and
Spanish. Also appropriate are Dutch, Swedish, and German furnishings.
Numerous types and styles of modern furniture are available on the market,
drawing principally from European, Oriental, and American designers. When an
informal modern setting is preferred, generally casual fabrics with a matte finish, simple
materials, and unpretentious accessories are used. Informal modern can also use fun,
"funky" designs. Plastics and disposable furniture work in this style. Informal modern
furniture styles particularly suitable for this direction include Scandinavian and modern
furniture inspired by Japanese prototypes and the Craft Revival. Other modern styles
including Secession, De Stijl, Bauhaus and International Style, Post-Modern, and Italian
can generally be designed in either an informal or formal manner, depending on the
supportive treatment.
The eclectic look, which is a mixing rather than a matching one, is common;
however, eclectic does not mean hodgepodge. Furnishings should be related in scale
and chosen with a final goal in mind. There should be a common theme – some element
that ties the pieces together. For example, to achieve the provincial look, informality
may be the key, and all country furniture, regardless of the source, is generally
compatible. For a formal traditional look, dignity may be the key, and refined pieces of
almost any style can be combined with pleasant results. The eclectic look often allows
for more daring and imaginative interiors.
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LIGHT IN COLOUR
The great 19th-century writer and critic John Ruskin said, “Colour is the most
sacred element in all visual things”. Designers agree that colour is the most vital and
expressive of the elements of design. Therefore, it is essential that designers have a
thorough knowledge of the properties and character of various colours, colour theory,
colour schemes, colour associations, and other considerations of colour for use in
planning both residential and commercial interiors.
Colour can have psychological effects; it can enliven a room or create a subdued
mood. Colour's elemental partner – light – can do the same thing. Light affects the
colours we see. In bright afternoon sun, colours are crisp and clear. But in evening
sunsets, red and orange tones cast a warm glow. In candlelight or moonlight, colours are
muted and dulled. It is essential when studying about colour first to understand that the
source of colour is light.
Light is a form of energy that is a part of the electromagnetic spectrum. Daylight,
or the light that humans are able to see in the visible spectrum, is a mixture of
wavelengths in a narrow band of this field. Infrared waves, X-rays, and even radio
waves are also forms of energy in this spectrum, but are not visible to the human eye.
Colour is light broken down into electromagnetic vibrations of varying wavelengths.
The longest wavelengths form the reds, followed by oranges, yellows, greens, blues,
and violets. This effect can be seen on a rainbow or when light is shown through a
prism, which separates or splits the spectrum. Artificial lighting that is designed to
mimic the sun's light is called white light. Other types of artificial lighting create
different combinations of wavelengths that change the colour or look of an object.
It is important to realize that without light, colour would not exist.
The colour that we actually see in an object is the colour of light that is not
absorbed by the object, but reflected into the eye from the object's surface. A particular
surface absorbs or reflects a colour of the spectrum depending on its composition. This
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is referred to as subtractive colour, because the objects subtract all the wavelengths
except those that are seen. A black tiled wall subtracts all the wavelengths.
The colours in objects are referred to as pigment colours. Pigments are various
substances that can be ground into fine powder and used for colouring dyes and paints.
Pigments are combined to produce certain colours, such as when red and yellow are
mixed to obtain orange. Pigments may be naturally occurring, artificially created or a
combination of both.
1 What is colour?
2 Does light affect the colours?
3 What can you tell about light?
4 What is the connection between colour, emotion and your physical well-being?
5 What is your favourite colour?
COLOUR IN YOUR HOME

Do you know what colour makes you feel happier? If you can select a dress that
complements your natural colouring, then you will have no difficulty in selecting the
key colour for the interior of your home.
Choose a colour that you want to live with and it will be the key colour
throughout your home. This is what interior designers call colour continuity. In a single
room or all over the house, this repeating of a colour brings unity.
Colour continuity is important. When one room opens into another, the colours
may change places in the second room but a colour continuity must be preserved. For
instance, the blue of the wall in one room may drop to the floor or rise to the ceiling in
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the other room. But, there is a reason to break the sequence; the major colour scheme
should be carried through to the adjacent room.
Colour is a wonderful tool in interior design. It can camouflage bad architectural
detail; it can emphasize the beauty of good architectural detail. Colour can make a room
appear smaller. It can make a room appear larger.
We have said that you cannot use a colour once, then drop it and you cannot use a
colour high on the wall without bringing it down into the room. Remember this when
you are contemplating a contrasting valance at your window. The valance will turn out
to be an eye-catching, objectionable room feature if you do not make it a part of the
room by covering some pieces of furniture, not necessarily in the same fabric, but in the
same colour.
And this brings us to say that colour used intelligently can do more to make a
room both comfortable and beautiful than any other factor, almost as much as all other
factors used in its design.
Colour, texture, and pattern contribute to the home´s liveability because they also
were purposefully planned. Cheerful, light-reflecting colours predominate. White on the
ceiling increases the sense of spaciousness and reflects light down onto the subtly
textured tawny carpet. Walls of very pale yellow become harmonious backgrounds for
the natural birch of the chests, television, desk and for the greyed orange covers on the
studio couches. Against this warm colour scheme based on yellow and orange, the black
frames of the two chairs and the clear blues and greens of the curtains, the pillows, and
the chairs’ upholstery are refreshingly cool, subordinate accents. Walls and ceiling are
smooth plaster. The birch in the furniture is also smooth to touch, but the grain brings a
visual texture. Textures that you can feel as well as see are introduced in all of the
textiles. Small-scale, unobtrusive patterns in draperies, pillows, and upholstery add
interest and variety. Paintings, sculptures, books and magazines, accessories, lighting
fixtures and the occupants’ clothes bring additional contrast.
This room is comfortable and attractive. Why? Because it was developed to fill
basic human needs. No matter what the art form may be – a modest home or a
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magnificent mansion, a kitchen chair or a community mural – human needs and
interests deserve first consideration.
3. Answer the questions:
1 What is colour continuity ?
2 Why is colour continuity important?.
3 How can a colour continuity be preserved?
4 What are the effects of colour in interior design?
5 Can you use a colour high on the wall without bringing it down into the room ?
6 What are the advantages of colour used intelligently ?
ACCESSORIES
Furniture and accessories work together in defining the style and feeling of a
space. Because accessories can do so much to enhance a space, the process of selecting
and arranging accessories for both residential and commercial settings deserves
thoughtful consideration. Accessories add the finishing touches to a room, reflecting the
personal taste and individuality of the user more than any other element.
Accessories may have sentimental value to the client and may incorporate
personal collections. Accessories can also be a powerful tool in establishing the design
theme or expressing a cultural background. Interiors are enriched by the addition of
both functional and decorative accessories.
Functional accessories serve a utilitarian purpose but may become an interesting
display item as well. Some items, such as towel racks, draper rods, door handles, or
accent plumbing fixtures, may be attached to the architectural background. Other
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practical accessories such as a mirror, lamp, clock, or tray may be moved from one
place to another within the space.
The purpose of use of the room should be the prime consideration when selecting
functional accessories. For example, if lighting is required beside a lounge chair in a
living room, choose an appropriate lamp that will meet the needs of the user.
Lamps, known in the industry as portable luminaries, are attractive accessories
serving the purpose of providing light when and where needed. Common types of lamps
include table lamps, floor lamps, sconces and pendants (chandeliers). Lamps are
available in a wide range of styles – traditional or modern, decorative or structural. A
lighting fixture that is carefully chosen for a specific room, style, mood, location, or
purpose can be an important contributing element.
Cicero said, “A room without books is a body without a soul”. Books add
friendliness to a home. Usually no room has a mood that precludes their use, or a colour
scheme so complete it could not benefit from their warm tones and textures.
Bookshelves can go in almost any room, require little space, and create a warm, friendly
atmosphere. Children need bookshelves in their rooms at a height they can easily reach.
Other bedrooms can accommodate shelves where space permits usually close to the bed
for night time reading. Kitchens need handy shelves for reference books and cookbooks.
Conference rooms benefit from shelves used to display company memorabilia, awards,
and reference books.
Additionally, books can add a decorative quality to a room with their textures,
colours, and shapes. They also mix well with other accessories; for example, a few
books flanked with interesting bookends, next to a plant and a small sculpture, or placed
on a coffee table with other items add interest to a room.
Since the 4th century mirrors have been used as functional and decorative objects
in homes and public places. Mirrors are available in almost any size and in frames to fit
any decor. Mirrors are a helpful tool for the interior designer; they can add beauty,
multiply space, conceal unattractive structural features, distribute and double light,
brighten dark areas, and bring life into an otherwise drab room. Mirrors have steadily
increased in popularity and now play an indispensable role in all styles of interiors.
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Clocks have long been important accessories in the home and office. Naturally a
clock must be placed where it can be seen easily. Outdoors, clocks frequently serve as
landmarks in metropolitan settings. In smaller communities the chime of a clock tower
helps to define the “sense of place”.
In addition to its decorative value, a screen may serve many functional purposes.
Screens can set off an entrance where the front door opens directly into the living area,
act as a divider between living and dining areas, close off a kitchen, or set off a private
area by making a room within a room. They also can redirect traffic when strategically
placed, extend the apparent size of a room by replacing a door, control the flow of air
and lie direction of light, camouflage an old-fashioned radiator or conditioning unit, or
conceal storage. A decorative screen can give an architectural quality to a room,
enhance the room's decor, provide a backdrop for a furniture grouping, substitute for
side drapery, or serve as the room's focal point.
A contemporary room can be made strikingly modern and a traditional room can
take on an authentic feeling through the discriminating use of small accessories such as
doorknockers, doorknobs, switch plates, curtain rods, and tiebacks. Drawer pulls,
escutcheons (the plate behind the pull), and hinges can give a piece of furniture the
feeling of a particular period.
SELECTING ACCESSORIES
When determining what accessories are suitable for a particular space, consider a
wide range of possibilities. Reviewing an outline of numerous items often sparks an
idea of the accessory or accessories that tie an entire grouping together.
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The accessories may be utilitarian or displayed for aesthetic pleasure. The items
may be incorporated into the scheme to enhance the background or they may function
primarily as a point of interest. The principles and elements of design must always be
used. For example, the item must be suitable in texture, colour, and form to the style,
background, and other accessories and furnishings in the room. The item should be in
scale with the other furnishings and the space allocated. The accessory should help to
bring balance and harmony to the room.
Accessories can either be authentic to a certain historic style or mixed to support
a variety of styles. The latter approach is often considered more creative. Accessories
can also support the architectural background. For example, an informal arrangement of
flowers in a basket enhances a rustic wood wall, and an elegant porcelain vase enhances
a formal French panelled wall.
Designers often play an important role in selecting accessories for commercial
and institutional spaces. The previous guidelines should be followed, but the art and
accessories should be placed so as not to interfere with the function of the facility.
Usually, commercial spaces do not incorporate personal items except in private offices,
however, accessories in public areas do reflect the corporation's image and character.
Adding art and accessories to a commercial setting can give an inviting and warm
character. Often the designer is limited in purchasing fine-quality items for the
commercial setting because of budget restrictions and the possibility of theft. Obtaining
accessories that project an aesthetic appeal and that will last through the years are
additional challenges. Such items as plants and artwork – usually large in scale – are
often chosen for schools, offices, hospitals, libraries, hotels, retail stores
restaurants, and other public settings. Also, accessories that relate to the function of the
facility itself can add character to the space. For example, prints in a restaurant might
pertain to the history or theme of the establishment. All accessories selected for the
commercial setting should enhance the environment and humanize the space.
Textiles enhance both residential and commercial interiors. They are probably
more versatile than any other element used for interior design. Textiles are pliable: they
can be sewn, draped, bent, folded, wrapped, pleated, gathered, and stretched. Textiles
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are used in every room for upholstery, window treatments, slipcovers, pillows and
cushions, bedspreads, blankets and throws, towels, table linens, wall coverings, ceiling
coverings, lamp shades, and trim.
There are several basic considerations in the selection of interior materials:
function, aesthetics, and economics. One of the primary purposes of textiles, however,
is to humanize living spaces. Textiles provide a transition between architecture and
furniture, and bring comfort, warmth, and softness to homes and public places.
HARMONY
All elements and principles work together to promote harmony. Harmony is the
unique blend of unity and variety. A unifying theme or common denominator should
run through all component parts and blend them together. Exteriors and interiors are
attractive when there is a pleasant relationship that provides unity, yet the aspect of
variety is essential to provide interest. Variety can create the focal point or add the spark
that enlivens the room. The following are some of the most common and important
considerations when seeking a harmonious living environment: in every room, the
interior architecture is a determining factor. Just as the exterior and interior architecture
should be consistent, the furnishings of a room must also be in harmony with the
background. A surprising juxtaposition of seemingly unrelated objects may occasionally
add relief, but this practice requires sophisticated judgment.
Furniture in the room should appear to belong there. Whether the room is large or
small, furniture should be scaled accordingly. For example, if the architectural
background is strong the furniture should reflect the same feeling.
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Colours, appropriate to the style and scale of furnishings should be considered.
However, today's interiors often show great flexibility in colour usage. A sensitive ap-
proach to colour harmony in relationship to furnishings, background and style is
important in achieving an appealing result.
Textures of surfaces (i.e. smooth, rough, shiny, or dull) help determine the
success of a room's harmony. Textures should be compatible with the design and style
of all furnishings. For instance, a heavy fabric is generally not suitable for a formal
white chair, nor is delicate silk damask usually at home on a rough hewn ranch oak
chair.
A window treatment can contribute to the room's total harmony: planning a hard
or soft line treatment suitable for the theme and style is essential. For example, ruffled
cottage curtains are out of place in an Oriental-style house, and elegant damask swags
are inappropriate for a country cottage.
Carefully selected floor coverings help unify the scheme. Hard floor surfaces like
wood, tile, and stone are extremely versatile and enhance most living areas. Area rugs
such as a Persian oriental are appropriate in any decor and wall-to-wall carpeting can tie
an entire room together. Consistency or harmony is best achieved by learning out a
basic theme or style. The basic style need not be followed slavishly but a general feeling
of unity should be maintained throughout. This allows the designer to combine good
design from many periods with one theme dominating.
Within this overall theme, an occasional surprise to give variety and interest can
provide charm and individuality.
Accessories can enhance a room or completely destroy the desired effect. The
final touches added to a room reveal individual personality more readily than any other
items of furnishing and cannot be overlooked in creating rooms of beauty and interest.
Items that are essentially attractive and well designed, however, can lose their charm
when not well used. For example, a gracefully scrolled wrought-iron wall sconce can
add a lot to a room of Spanish or Mediterranean styling but would look heavy and out of
place in a pastel room with delicate furnishings.
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3. Make up a plan of the text in the form of questions and ask your groupmates to
find answers in the text.
4. Speak about accessories.
5. Study some of the most common and important considerations when seeking a
harmonious living environment.
6. Translate the abstract of the text about furniture, colours and textures.
ADVERTISEMENTS
Nobody knows who made the first advertisement. Perhaps it was a potter,
thousands of years ago, who identified his pots with a distinguishing trademark.
Today advertising is a phenomenon of tremendous magnitude. Creating effective
advertising is a long process in which many experts participate. The first step is getting
needed facts through research. Marketing research seeks specific facts about potential
consumers and about appropriateness of the possible advertising mediums (newspapers,
magazines, radio, television, etc.). Some of the questions to be answered are: Who uses
this product and why? How does the product come to the attention of the consumer and
how does it get into his hands? What factors, positive and negative, determine a
person’s choice? Although no one will ever have all the answers in final form,
marketing research helps advertisers to gear their advertisements to the potential
consumer.
Psychological research is concerned with the general and specific human
reactions to varied kinds of display and copy. It has given advertising experts such
findings as these: size increases attention approximately by the square root of the space
used (for example, if the attention value of a full page is 100 percent, that of a half page
is about 71 percent and of a quarter page about 50 percent). Position is important: the
first and last pages of periodicals get most attention, right-hand pages are preferable to
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left-hand; if less than one page is used, the outer column captures more attention than
the inner (interior) and the top more than the bottom. Contrast, unexpectedness are
almost always worth while for a time, at least, but they may not be held up under
repetition. Colour catches the eye, and this is a very fundamental point. It should centre
the readers thoughts and feelings on the product, service, or idea for which the
advertisement was created. It fails if it merely attracts attention to itself.
The second step is planning the advertisement, whether a single one or an entire
advertising campaign. A theme or an idea, in both text and illustration, is developed
from the research results and out of the advertising experts' imagination and ingenuity.
Anything that is external or inapplicable, or that divert interest from the basic idea
weakens an advertisement just as it would weaken a painting, statue, or building. It is
somewhat easier, though, to weed out the unnecessary in advertising than in most other
art expressions because the aim is single and simple to sell. To succeed it must capture
attention, arouse and hold interest, make a lasting impression and lead to the action
seemed desirable by the man.
The final step is checking the effectiveness of the advertising, which amounts to a
type of marketing and psychological research.
1. What can you say about the history of advertising?
2. What does advertising represent today?
4. Discuss the first step in creating effective advertising for getting needed facts
through research.
5. Consider the second step in planning the advertisement.
6. Discuss the final step.
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GRAPHIC DESIGNER
Look around your desk. What do you see? Perhaps a notebook, a magazine, a
web site, computer screen and a pen or two. If you examine each item you will have a
chance to find several things created by a graphic designer. The notebook, pens display
company logos. The magazine has several illustrations in a single ad. The web site has a
cool new design and some animated features. The fact is, nearly everything has a
"graphic identity" now. This helps people recognize different brands and companies.
Graphic designers begin a design project by talking to the client or supervisor.
Next, they use a variety of print, electronic, film media to create art and prepare
sketches or images according to the client's needs. If their work is a part of a larger
project they will consider the project's goals. Graphic designers then draw a sample of
the proposed layout or create the layout on a computer screen. They present their
sketches and layout to the art director or client for approval. Together, they suggest
improvements and make changes as necessary.
Designers must be able to work under extreme time pressures and very defined
financial and design limits to produce quality material. Salesman skills are very
important if you want to see your design. When projects are underway, a graphic
designer expected to work long hours brainstorming. Graphic designers must have
talent and an understanding of the business world, including issues of finance and
production, and should be familiar with computer technology. Basic professional
coursework should include design, drawing, computer artwork, and specific knowledge
relating to any area of specialization.
Graphics, which were the original focus of image consultants, are concerned with
the overall visual presentation of the organization. The graphics system should dictate
the design style of the company's literature, signs and stationery. It involves
coordinating the style of the typeface, photography, illustrations, layout, and colouring
in all the company's graphics. The logo is the heart of the corporate design system.
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Unlike nomenclature, logos can be changed subtly over time to reflect the
evolving corporate identity.
Graphic design creates a pleasing layout from text and graphics. That design
might be a brochure, a logo, a Web page, or an advertisement. The list doesn't end there
either. Here are some definitions:
Graphic design is the process and art of combining text and graphics and
communicating an effective message in the design of logos, graphics, brochures,
newsletters, posters, signs, and any other type of visual communication. Today's graphic
designers often use desktop publishing software and techniques to achieve their goals.
Graphics design is the creation of visual media, usually for marketing. Business
cards, logos, publications, brochures, postcards or mailings, invoices, and books are all
products of graphics design.
Some designers don't work with text at all, such as an illustrator or a digital artist.
And some designers do it all: print, Web, layout, and illustration.
1. What do graphic designers begin a design project with?
2. What kind of process is graphic design?
3. What are the products of graphic design?
4. Translate the abstract of the text from the words: “Graphic designers must
have talent …” .
COMMERCIAL PHOTOGRAPHY
A modern designer came into being as an intermediary between industry and a
consumer. His role is to adapt the products of industry to the mass market, to make
them more useful and durable, perhaps, but at the same time to make them more
appealing and commercially successful. Commercial success is the touchstone of
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achievement in design, although designers in different cultures have often taken
different views as to how the achievement is measured or the success validated.
Commercial photographic images are a major ingredient of our visual life,
assimilated from magazines, hoardings and such contexts as brochures, catalogues,
calendars, packaging and point-of-sale promotional material. Commercial photography
thrives as a means of creating highly polished images of a stylized, glamourized and
idealized view of the world in order to sell a product or a service.
The major category of commercial photography is advertising in its countless
guises, including product photography and photo-illustration, fashion, beauty and
certain categories of photography which are neither reportage nor aspire to be fine art,
yet which can be fascinating social documents of considerable aesthetic quality.
In the sixties the profession of commercial photography and, in particular, fashion
photography became greatly glamourized: the successful young photographer became a
popular folk hero, as if the camera was a passport to the illusory world. Among the most
interesting magazines to be launched in the sixties, the photography of which captured
the youthful excitement of that period, were “The British Nova” which commissioned
some of the best fashion photography of its day, and “The German Twen brilliantly Art”
directed by Willy Fleckhaus.
Today the reverse seems true, a character of many magazines is dictated by the
market needs of advertisers and many photographers become the greater restrictions of
these imposes. The seventies and eighties have, nonetheless, brought forth a new roll-
call of a talent. Outstanding contemporary figures include Helmut Newton and Guy
Bourdin, who have dominated the field of fashion photography; Hans Feurer, Arthur
Elgort, Denis Piel and others talented fashion photographers; advertising and glamour
photographers such as Francis Giacobetti, James Baes and others.
Commercial photographers play a great role in our consumer society, creating the
images of a life-style to which we are constantly encouraged to aspire. They create
glamourized images of women and give a heightened visual appeal to the products
which are economic mainstay of our society.
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During the twentieth century, both fine art photography and documentary
photography became accepted by the art world and the gallery system. At first, fine art
photographers tried to imitate painting styles. This movement is called pictorialism,
often uses soft focus for a dreamy and romantic look. In reaction to that, Weston, Ansel
Adams, and others formed “The Group” to advocate “straight photography”; the
photograph as a (sharply focused) thing in itself and not an imitation of something else.
1. Did the modem designer come into being as an intermediary between industry and a
consumer?
2. What are the major categories of commercial photography?
3. What role did commercial photographers play in consumer society from the 60s -70s?
4. What did fine art photographers try to do at first?
5. What is pictorialism?
COLOUR PHOTOGRAPHY
Colour photography was explored for the first time in the middle1800s. Early
experiments in colour could not fix the photograph and prevent the colour from fading.
The first permanent colour photo was taken in 1861 by the physicist James Clerk
Maxwell.
One of the early methods of taking colour photos was to use three cameras. Each
camera would had a colour filter in front of the lens. This technique provides the
photographer with the three basic channels required to recreate a colour image in a
darkroom or a processing plant.
The first colour plate, Autochrome, invented by the French Lumiere brothers,
reached the market in 1907. Most modern colour films, except Kodachrome, are based
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on the Agfacolour Neue technology. Instant colour film was introduced by Polaroid in
1963.
Colour photography may form images as a positive transparency, intended for as
a slide projector or as colour negatives, intended for use in creating positive colour
enlargements on specially coated paper. The latter is now the most common for film
(non-digital) colour photography owing to the introduction of automated photo printing
equipment.
Each colour can be defined by three essential qualities. The first is hue, which is
the name of the colour, like blue or yellow. It gives the specific wavelength that is
dominant in the colour source. The second quality is saturation, or chroma, which
indicates the apparent vividness or purity of a hue. The spectrum shows perfectly
saturated hues. The narrower the band of wavelengths is, the purer the colour is. Strong,
vivid hues are referred to as saturated colours. Almost all colours we see are desaturated
by a wider band of other wavelengths. When different wavelengths are present, the hue
is said to be weaker or desaturated.
The third quality of colour is luminance or brightness. Luminance deals with the
appearance of lightness or darkness in a colour. These terms are relative to the viewing
conditions. They try to define colour as it is seen in individual situations. These terms
can be applied to colour description in any situation. Take as an example the specific
hue, red, which has the longest wavelength of visible light. Mix it with a great deal of
white light and it produces pink, which is desaturated red. Now paint this colour on a
building that is half in sunlight and half in shadow. Each side of the building would
have the same hue and saturation, but each side would have a different luminance. If a
beam of sunlight strikes an object and makes a "hot spot" then that area is said to be
desaturated since the colour has been diluted with a large amount of white light. White
is a hue with no saturation, but has a high luminance. Black contains no saturation and a
very small amount of luminance.
Learning these three basic concepts will help the photographer to translate better
what has been seen by the eye into what has been recorded by the photographic
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materials. It also provides a common vocabulary of terms that we can employ in
accurately discussing our work with others.
3. Answer the questions:
1. When was the first permanent colour photo taken?
2. What was one of the early methods of taking colour photos?
3. Who invented the first colour plate?
4. What kind of images is used in a slide projector?
5. What are the three basic concepts of colour?
5. Speak about colour photography .
HAIR STYLE
For hair style you should consider five points: your type, the shape of your face,
the kind of hair you have, how handy you are with it, and your life style. A good
hairdresser is your best friend, and you must give him or her as much information as
possible about you and your hair. Discuss your facial shape and your life style. He or
she is trained to help you achieve flattering lines. If your face is long and thin or
rectangular, you will want to add fullness to the sides of your face. If it is round or
square, you should minimize the sides. If you run into a stylist who wants to give you
the “latest” without regard to how it looks on you, find another one. Don’t hesitate to
insist that you are the classic rather than the dramatic type if you are being urged to
have a frizzy and you feel it isn’t for you.
An excellent cut is a must. One of the first problems after relocating is finding a
good haircut. The best tip, tried and true, is to keep an eye out for someone whose hair
looks the way you would like yours to look and ask who her hairdresser is. Most people,
even strangers, are flattered to be asked and are happy to share this information. But
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remember that some hairdressers are best at cutting certain types of hair – naturally
curly, limp and straight, thin or thick. For this reason it is best to find a woman whose
hair is of similar texture to yours. Spend money on your haircut. A good cut makes all
the difference in your daily appearance.
Long hair is fine for young women, but after thirty-five it is aging. Then it is best
to keep shoulder length the limit, or wear a style swept off the face. After all, gravity
tends to pull the face down, so we need to keep our hair on the “up” side. The older the
woman, the shorter the hair is. Many men love long hair, and some women in their
middle years keep long hair to please a husband or friend. Perhaps the reason is the
youthful or sexual connotation of lengthy locks, but in both cases too long hair defeats
the purpose. Shorter hair on an older woman is both more youthful and sexier. Hair is a
marvellous tool with which a woman can express her sexuality and how she feels about
herself. Women who neglect their hair or wear an unflattering style are telling the world
they are afraid to be beautiful.
Your hair style can date you, so do keep abreast of fashion. If you are wearing
the same hair style you wore ten years ago, you undoubtedly look less youthful than you
could. By the same token, wearing an “in,” super-short, severe cut when you are a
romantic needing femininity and curls is sacrificing your beauty to fashion. Be
fashionable, be chic, but always be yourself. Adapt the current trend so that it works for
you. The right hair colour and style work wonders for your total appearance.
psychologically comfortable, as well as uniquely attractive.
4. Speak about hair style.
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COSMETICS
Cosmetics have been used since Egyptian times. They were also commonplace in
Ancient Greece and the Roman Empire. The idea of using cosmetics to enhance the
appearance has not changed since these times. Using cosmetics is still designed to
capture the appearance of youth in perfect health. Colourful cosmetics hide the
appearance of pale cheeks, pale lips and fingernails and dull hair.
Many of the cosmetics used contained dangerous ingredients. There was often
more importance put on the application of cosmetics rather than washing and cleaning
the skin. From the 1400s whitening the face was one of the most common cosmetic
practices. This was still popular in the 1800s. A mixture composed of carbonate,
hydroxide and lead oxide was commonly used. This could lead to muscle paralysis or
death when used repeatedly. It was replaced by zinc oxide in the 1800s.
Another way to have whiter skin was to bleed yourself. This was done by using
the widespread medical practice of using leeches or occasionally a more extreme
method called cupping.
In the 1920s having tanned skin became popular when Coco Chanel was seen
with a tan on the Duke of Westminster's yacht. The idea of having brown skin became
more attractive and products were produced that could create this colour artificially.
Staining of the fingernails has been used in cosmetics for a long time. The first
examples date from 3000BC in China. They used gum Arabic, egg whites, gelatine and
beeswax to create the varnish. The royal family in China used gold and silver nail
colours. In the first century AD black and red were also used. The lower ranks were
only allowed to wear pale colours. In Egypt the colour of nail varnish used also
represented social class. Henna was used to dye the nails. Modern nail varnish comes in
a variety of colours and is actually a variation of car paint.
Hair dye and dressing hair are not new. The Romans, Ancient Egyptians and
Greeks were all involved in elaborate forms of hairdressing and dyeing. Most of the
early hair dyes, such as henna, indigo, sage and camomile, could only darken the hair.
198
Roman women would show off their dark shiny tresses that had been dyed with a
mixture of boiled walnuts and leeks. They also used blond dyes made from goat's fat
and ashes. In the Renaissance, blond was also popular as it was considered angelic.
It was in 1907 that the first synthetic dye was created by French chemist Eugene
Schueller. It was originally called Aureole, but later it was renamed L'Oreal.
4. Speak about cosmetics.
199
English-Ukrainian dictionary
A
accessories [ək'sesərɪz] – n. (мн.) 1) допоміжні або запасні частини; аксесуари;
2) кравецьке приладдя
Adobe After Effects – n. (мн.) програмне забезпечення компанії Adobe Systems для
редагування відео і динамічних зображень, розробки композицій (композитінг),
анімації та створення різних ефектів
adorn [ə'dɔ:n] – v. прикрашати
advertise ['ædvətaɪz] – v. рекламувати; повідомляти, оповіщати
advertising ['ædvətaɪzɪŋ] – n. 1) реклама; рекламування; 2) публікація оголошень
(реклами)
aesthetics [i:s'θetɪks] – n. естетика
amateur ['æmətə] – n. любитель, аматор
adj. любительський
archetype ['ɑ:kɪtaɪp] – n. 1) оригінал, зразок, модель; 2) прототип
architect ['ɑ:kɪtekt] – n. архітектор
architecture ['ɑ:kɪtekʧə] – n. 1) архітектура; 2) архітектурний стиль;
3) структура (конфігурація)
artificial fibre (synthetic fibre) – n. штучне (синтетичне) волокно
artist ['ɑ:tɪst] – n. 1) художник, митець; 2) артист, актор
attachment [ə'tæʧmənt] – n. 1) пристосування; 2) насадка
authoring ['ɔ:θərɪŋ] – n. авторинг (процес авторського створення мультимедіа-
продуктів, документів у системі керування документами, сторінок у Web або
підготовка HTML-текстів)
avant-garde [‚ævɑ:ŋ'gɑ:d] – n. 1) авангард (загальна назва напрямів у літературі та
мистецтві XX ст., представники якого, пориваючи зі сталими принципами і
традиціями, в тому числі з реалізмом, зосереджувалися на пошуку нових засобів
виразу, нових форм твору); 2) авангардисти (у мистецтві, літературі)
200
adj. авангардистський
B
background ['bækgraund] – n. задній план, фон, тло
balance ['bælən(t)s] – n. (один з принципів дизайну/мистецтва) 1) рівновага;
2) баланс; 3) співвідношення
bang [bæŋ] – n. чубок
v. підстригати волосся чубком
bead [bi:d] – n. 1) намистина; 2) (мн.) намисто (у разку), бісер
v. 1) нанизувати намисто; 2) вишивати бісером
black-and-white [‚blækən(d)'waɪt] – n. чорно-біле зображення (у кіно, на
телебаченні, на фотографії, у мистецтві, в рекламі і т.д.)
bolster ['bəulstə] – n. 1) подушечка (для сидіння, щоб спиратися); 2) підкладка
boutonniere [bu‚tənɪ'ɛə] / (buttonhole) ['bʌtnhəul] – n. бутоньєрка, букетик на
петлиці
braid [breɪd] – n. 1) шнурок; тасьма; 2) коса (волосся)
v. 1) обшивати тасьмою (шнурком); 2) заплітати (косу)
brightness ['braɪtnəs] – n. 1) яскравість; 2) прозорість
buckle ['bʌkl] – n. пряжка
v. застібати пряжку
C
centrepiece ['sentəpi:s] – n. 1) предмет, який розташовують у центрі;
2) орнамент посередині стелі
chainmail (mail) [ʧeɪnmeɪl] – n. кольчуга
character ['kærəktə] – n. 1) роль, фігура, постать, особа; 2) буква, цифра, ієрогліф
chemise [ʃə'mi:z] – n. 1) жіноча сорочка; 2) сукня крою "сорочка "
closet ['klɔzɪt] – n. 1) стінна шафа; 2) комірчина
cloth [klɔθ] – n. 1) тканина, полотно, сукно; 2) скатертина
clothe [kləuð] – v. одягати, убирати, вкривати
clothes [kləuðz] – n. 1) (мн.) одяг, убрання; 2) білизна
201
clothing ['kləuðɪŋ] – n. одяг; одежаcoat [kəut] – n. 1) верхній одяг; пальто; 2) хутро;
шерсть, вовна (тварини)
coated paper – n. крейдований папір
colophon ['kɔləfən] – n. емблема видавництва, друкарні на книзі
colour ['kʌlə] – n. (один з елементів дизайну/мистецтва) 1) колір; 2) фарба;
3) колорит
v. 1) фарбувати; забарвлювати; 2) прикрашати
colour negative – n. кольоровий негатив
colour scheme – n. 1) сполучення кольорів; 2) кольорова гама
comb out – v. причісуватися
comforter ['kʌmfətə] – n. 1) (брит.) шерстяний (вовняний) шарф, кашне;
2) (амер.) стьобана ватна ковдра
commercial photography – n. рекламна фотографія
complementary colours – n. (мн.) додаткові кольори
computer-aided design (CAD) – n. автоматизоване проектування
contemporary art – n. сучасне мистецтво
contrast ['kɔntrɑ:st] – n. контраст, контрастність зображення (один з принципів
дизайну/мистецтва)
contribution [‚kɔntrɪ'bju:ʃ(ə)n] – n. стаття для публікації
corporate identity – n. корпоративний, фірмовий стиль (набір візуальних,
словесних і т.д. констант, що забезпечує стилістичне єднання товарів, послуг і
всієї інформації, що надходить з фірми; іноді застосовується по відношенню до
проектів)
corporate image – n. корпоративний імідж, репутація (думка широкої
громадськості про компанію; іноді corporate image називають реально існуючий
образ компанії, а corporate identity – образ, який проголошується компанією та до
якого вона прагне)
corsage [kɔ:'sɑ:ʒ] – n. 1) ліф сукні, корсаж; 2) (амер.) букетик на корсажі
corset ['kɔ:sɪt] – n. корсет, грація
202
cosmetic – n. косметичний засіб
adj. косметичний
costume ['kɔstju:m] – n. 1) тенденція у моді, що є характерною для тієї чи іншої
епохи (модні зачіски, коштовності, одяг); 2) комплект з декількох елементів одягу
(наприклад, костюм для їзди верхи, купальний костюм);
3) костюм, одяг
v. одягати, костюмувати
costume design – n. моделювання костюмів
costume designer – n. художник по костюмам, костюмер
costume plot – n. виписка по костюмам
couture [ku:'tjuə] – n. пошиття одягу високого класу
couturier [ku:'tjuəriei] – n. кутюр’є (висококваліфікований і авторитетний
спеціаліст, що розробляє авторські моделі одягу, визначає стиль у моді)
craft [kra:ft] – n. 1) вправність, умілість, майстерність; 2) ремесло, професія;
3) цех, гільдія
v. виготовляти (вручну)
craftsman ['kra:ftsmən] – n. 1) майстер, ремісник; 2) художник
creative [kri'eitiv] – adj. творчий
n. творчий працівник
crinoline ['krin(ə)lin] – n. бортівка (щільна тканини для прокладки у швейних
виробах); кринолін (старовинна широка спідниця з вшитими обручами з китового
вуса)
cultural movement – n. напрямок у культурі
culture ['kʌltə] – n. 1) сукупність досягнень людей; 2) загальні пізнання у науці та
мистецтві; 3) культура
curly ['kɜːlɪ] – n. кучерявий; завитий (про волосся)
cushion ['kuʃ(ə)n] – n. диванна подушка
cutting ['kʌtɪŋ] – n. 1) (мн.) обрізки; 2) закрій; 3) вирізка (з газети тощо)
203
D
damask ['dæməsk] – n. дамаст, дамастна тканина, дамастне полотно (для
скатертин)
decor (décor) ['deɪkɔː] – n. 1) оздоблення інтер’єру; 2) театральні декорації,
декорації та костюми, художнє оформлення (вистави)
decoration [ˌdek(ə)'reɪʃ(ə)n] – n. 1) оздоблення; 2) прикраса
decorative art – n. декоративне мистецтво
delineate [dɪ'lɪnɪeɪt] – v. 1) окреслювати, обрисовувати; 2) змальовувати,
описувати; зображати
depict [di'pikt] – v. 1) малювати, зображати; 2) описувати, змальовувати
design [dɪ'zaɪn] – n. 1) проект, план, конструкція; 2) малюнок, візерунок, узор;
креслення, дизайн
v. 1) складати план, проектувати; 2) задумувати, мати намір
diagram ['daɪəgræm] – n. діаграма; схема, креслення; графік
digital ['dɪʤɪt(ə)l] – n. 1) цифровий; 2) числовий
digital photography – n. цифрова фотографія
dimension [daɪ'men(t)ʃ(ə)n] – n. 1) (мн.) розміри, величина; 2) вимір
diminish [dɪ'mɪnɪʃ] – v. зменшувати(ся); убувати
display [dɪs'pleɪ] – n. 1) демонстрація; виставка; 2) вітрина
v. 1) виставляти, показувати, демонструвати; 2) виділяти жирним (іншим)
шрифтом
drafting ['drɑːftɪŋ] – n. креслення
drape [dreɪp] – v. драпірувати
n. 1) драпіровка; 2) (амер./канад.) портьєра, завіса
draw [drɔː] – v. 1) креслити, малювати; 2) проводити (лінію, риску)
drawing ['drɔːɪŋ] – n. 1) рисунок, малюнок; 2) рисування, малювання; креслення
dress [dres] – n. 1) одяг; 2) сукня (жіноча)
v. 1) одягати(ся), вбирати(ся); 2) причісувати, зачісувати; робити зачіску;
3) прикрашати, прибирати
dressmaker ['dresˌmeɪkə] – n. швачка, кравчиня
204
dry cleaning – n. хімічна чистка (процес)
duvet ['djuːveɪ] – n. пухова ковдра
E
edit ['edɪt] – v. 1) редагувати, готувати до друку; 2) публікувати, видавати
editorial [ˌedɪ'tɔːrɪəl] – adj. редакторський; редакційний
n. передова стаття, передовиця; редакційна стаття
elaborate [ɪ'læb(ə)rɪt] – adj. 1) детально (старанно) розроблений; 2) дуже складний
v. 1) детально розробляти (план, теорію і т.д.); 2) виробляти; розвивати
(пропозицію)
emboss [ɪm'bɔs] / [em'bɔs] – v. 1) різьбити; карбувати, висікати; 2) ліпити рельєфні
фігури, прикрашати рельєфом
embroidery [ɪm'brɔɪd(ə)rɪ] / [em'brɔɪd(ə)rɪ] – n. 1) вишивання; 2) вишивка; вишита
річ; прикраса
emphasis ['emfəsɪs] – n. (один з принципів дизайну/мистецтва) наголос
підкреслювання; виділення в тексті (курсивом тощо); виразність
emphasize ['emfəsaɪz] – v. 1) робити наголос, підкреслювати; 2) надавати
особливого значення
engraving [ɪn'greɪvɪŋ] – n. 1) гравірування; 2) гравюра
enrich [ɪn'rɪʧ] – v. 1) збагачувати, поповнювати (колекцію тощо);
2) прикрашати
ever-changing – adj. що постійно змінюється
exaggerate [ɪg'zæʤəreɪt] – v. 1) перебільшувати; 2) надмірно підкреслювати
exposure latitude – n. інтервал експозиції
exquisite [ɪk'skwɪzɪt] / [ek'skwɪzɪt] – adj. 1) чудовий, відмінний, винятковий;
2) вишуканий, витончений, тонкий
F
fabric ['fæbrɪk] – n. тканина
fading ['feɪdɪŋ] – n. знебарвлення
farthingale ['fɑːðɪŋgeɪl] – n. сукня з фіжмами; (овальний) кринолін, що
розширюється по боках (мода 16-17ст.)
205
fashion ['fæʃ(ə)n] – n. мода; фасон; стиль v. надавати вигляду (форми);
утворювати, робити
fashion plate – n. 1) кольорова ілюстрація зразків модного одягу, модна сторінка;
2) модник
fashionable ['fæʃ(ə)nəbl] – adj. модний, фешенебельний; світський
feature ['fiːʧə] – n. 1) особливість, характерна риса; ознака, властивість;
2) стаття в журналі (газеті), що викликає великий інтерес
v. 1) бути характерною рисою (чогось); 2) зображати; змальовувати
fitting ['fɪtɪŋ] – n. пристосування; припасування; примірка
adj. підхожий, придатний; належний
flock [flɔk] – n. (мн.) шерстяні (вовняні, бавовняні) пачоси
v. набивати матраци, подушки
focal point – n. фокус, фокальна точка
frill [frɪl] – n. 1) вузька оборка; жабо; брижі; рюш; 2) (мн.) непотрібні прикраси
v. прикрашати оборками; робити складки
fringe [frɪnʤ] – n. 1) бахрома, торочки; 2) чубок, чубчик
v. прикрашати бахромою
functional ['fʌŋkʃ(ə)n(ə)l] – adj. функціональний
fur [fɜː] – n. 1) хутро; шерсть; шкура; 2) (мн.) хутряні вироби
v. підбивати (оторочувати) хутром
furnish ['fɜːnɪʃ] – v. 1) меблювати, обставляти; 2) постачати, забезпечувати;
доставляти
furnishings ['fɜ:nɪʃɪŋz] – n. 1) (мн.) обстановка, меблі; 2) прикраси
furniture ['fɜːnɪʧə] – n. 1) меблі, обстановка; 2) фурнітура
G
garment ['gɑːmənt] – n. 1) предмет одягу, одежина; 2) (мн.) одяг, вбрання
gingham ['gɪŋəm] – n. бавовняна (льняна) тканина з фарбованої пряжі
gown [gaun] – n. 1) сукня, плаття; 2) просторий домашній одяг
H
hairdresser ['hɛəˌdresə] – n. Перукар
206
hairdressing ['hɛəˌdresɪŋ] – n. 1) стрижка; перукарська справа;
2) причісування
harmony ['hɑːmənɪ] – n. (один з принципів дизайну/мистецтва) гармонія,
співзвучність
haute couture – n. висока мода; моделювання та пошив одягу високого класу
headband ['hedbænd] – n. пов'язка на голові
helmet ['helmət] – n. шолом; каска
highlight ['haɪlaɪt] – n. світловий ефект (у живопису, фотографії)
v. знебарвлювати прядки волос, мелірувати
horticulture ['hɔːtɪkʌlʧə] – n. садівництво
I
illusion [ɪ'l(j)uːʒ(ə)n] – n. 1) ілюзія; обман почуттів; міраж; 2) прозорий серпанок,
тюль
illustrate ['ɪləstreɪt] – v.1) ілюструвати (малюнками тощо); 2) пояснювати
(прикладом)
illustration [ˌɪləs'treɪʃ(ə)n] – n. 1) малюнок, ілюстрація; 2) приклад, пояснення
image ['ɪmɪʤ] – n. 1) зображення; 2) статуя; 3) образ; подоба; 4) імідж; репутація
v. зображати, змальовувати; 2) уявляти (собі); 3) відбивати, віддзеркалювати;
4) символізувати
imagery ['ɪmɪʤ(ə)rɪ] – n. 1) (збірн.) óбрази; 2) скульптура; різьблення;
3) образність
imagination [ɪˌmæʤɪ'neɪʃ(ə)n] – n. 1) уява, фантазія; 2) вигадка, уявлення;
3) уявний образ
imaging [ɪmɪʤɪŋ] – n. 1) створення (генерація, формування) зображень;
2) обробка зображень; візуалізація; запис зображень на носії
incorporate [in'kɔ:p(ə)rət] – v. об'єднувати(ся), приєднувати(ся), сполучати(ся);
включати (до складу)
adj. об'єднаний, з'єднаний; сполучений
207
innovative ['ɪnəuveɪtɪv] / ['ɪnəveɪtɪv] – n. новаторський, передовий,
раціоналізаторський
intensity [ɪn'ten(t)sətɪ] – n. 1) інтенсивність; 2) яскравість (про барви і т. ін.)
interior [ɪn'tɪərɪə] – n. 1) внутрішня сторона (частина); середина; 2) інтер'єр
adj. внутрішній
invent [ɪn'vent] – v. 1) винаходити, створювати; 2) вигадувати
invention [ɪn'venʃ(ə)n] – n. 1) винахід; 2) вигадка, вимисел; 3) винахідливість
J
Jack of all trades – на всі руки майстер
jacket ['ʤækɪt] – n. жакет; куртка
jersey ['ʤɜːzɪ] – n. 1) в'язаний (плетений) одяг; 2) трикотажна тканина джерсі
jewellery ['ʤuːəlrɪ] – n. 1) коштовності; ювелірні вироби; 2) торгівля ювелірними
виробами; 3) ювелірне мистецтво
K
keyframe [kiː freɪm] – n. ключовий кадр (кадр файла цифрового відеофільму, що
вміщує повне зображення, стиснення якого здійснюється виключно шляхом
видалення надлишкової інформації всередині кадра
king-size (queen-size) ['kiƞsaiz], ['kwi:nˏsaiz] – adj. дуже великий
knitted ['nɪtɪd] – adj. в'язаний, плетений; трикотажний
L
label ['leɪb(ə)l] – n. ярлик; етикетка; бирка
lace [leɪs] – n. 1) мереживо; 2) шнурок, тасьма
v. 1) шнурувати; 2) стягуватися корсетом; 3) прикрашати, облямовувати
(мереживом)
lampshade ['læmpʃeɪd] – n. абажур
lapel [lə'pel] – n. вилога, лацкан
launch [lɔːnʧ] – v. 1) випускати на ринок (товар); 2) видавати (поліграфічну
продукцію)
n. випуск нових товарів на ринок
laundering ['lɔːndərɪƞ] – n. прати і прасувати (білизну)
208
layout ['leɪaut] – n. 1) розміщення; планування; 2) план, розбивка (саду і т.п.);
3) показ, виставка; 4) макет (книги, газети і т.п.)
leather ['leðə] – n. 1) шкіра (вичинена); 2) ремінь; 3) шкіряний виріб
leotard ['liːətɑːd] – n. трико (костюм акробата або танцора)
light-sensitive – adj. світлочутливий
linear perspective – n. лінійна перспектива
linen ['lɪnɪn] – n. 1) (лляне) полотно; парусина; 2) білизна
adj. 1) лляний, льняний; 2) полотняний
lock [lɔk] – n. 1) локон, кучер; 2) (мн.) волосся
logo (logogram, logotype) ['lɔgəu], ['lɔgəugræm], ['lɔgəutaɪp] – n. логотип; фірмова
символіка
luxurious [lʌg'ʒu(ə)rɪəs ] / [lʌg 'zjuərɪəs] – adj. 1) розкішний; 2) ласий до розкошів;
марнотратний
M
man-made [ˌmæn'meɪd] – adj. 1) штучний, створений руками людини;
2) синтетичний
manufacture [ˌmænjə'fækʧə] / [ˌmænju'fækʧə] – n. 1) виробництво; 2) обробка;
3) (мн.) вироби, фабрикати, промислові товари
v. 1) виробляти; переробляти; 2) робити за шаблоном; штампувати
marketing ['mɑːkɪtɪŋ] – n. 1) торгівля; 2) маркетинг; 3) предмет(и) торгівлі
mass-produced [ˌmæsprə'djuːs] – adj. серійного (масового) виробництва
masterpiece ['mɑːstəpiːs] – n. шедевр
mend [mend] – v. виправляти; латати; лагодити; ремонтувати
merchandise ['mɜːʧ(ə)ndaɪz] – n. 1) товари; 2) торгівля
v. 1) торгувати; 2) просувати на ринку (товари); 3) рекламувати
merchant ['mɜːʧ(ə)nt] – n. купець; торговець
adj. торговельний, торговий
model ['mɔd(ə)l] – n. 1) зразок, модель; 2) макет; шаблон; 3) натурник, натурниця;
4) манекен
adj. зразковий, взірцевий
209
v. 1) ліпити; 2) моделювати, створювати; 3) формувати (за зразком чогось – after)
monochrome ['mɔnəkrəum] – n. 1) чорно-біле телебачення, чорно-біле кіно;
2) однофарбове зображення
adj. 1) монохромний, однофарбовий, однокольоровий, однотонний; 2) чорно-білий
(про телебачення, кіно)
mosaic [məu'zeɪɪk] – n. мозаїка
adj. мозаїчний
v. викладати мозаїкою; виконувати мозаїчну роботу
motto ['mɔtəu] – n. 1) девіз, гасло; 2) епіграф
multimedia [ˌmʌltɪ'miːdɪə] – n. мультимедіа (технології, що дозволяють з
допомогою комп’ютера інтегрувати, обробляти та синхронно відтворювати різні
типи сигналів, різні засоби та способи обміну інформацією. Забезпечують
можливість зберігання величезних масивів даних, довільного інтерактивного
доступу до їх елементів та відтворення на екрані ПК відеосюжетів зі звуковим
супроводом)
adj. мультимедійний; що використовує різні засоби інформації
musician [mjuː'zɪʃ(ə)n] – n. 1) музикант; 2) композитор
N
nap [næp] – n. ворс; начіс (на тканині)
natural ['næʧ(ə)r(ə)l] – adj. природний, натуральний; справжній
navigation [ˌnævɪ'geɪʃ(ə)n] – n. (супутникова) навігація, пересування, переміщення
needle ['niːdl] – n. 1) голка; 2) спиця, гачок (для в'язання); 3) шпиль
nylon ['naɪlɔn] – n. 1) нейлон; 2) (мн.) нейлонові панчохи; 3) тканина або одяг,
зроблений з нейлону
adj. нейлоновий
O
oil painting – n. 1) картина, написана олійними фарбами; 2) живопис олійними
фарбами
210
opacity [ə'pæsətɪ] – n. 1) непрозорість, матовість; 2) невиразність, неясність
optical filter – n. (фотографія) оптичний фільтр, світлофільтр
optics ['ɔptɪks] – n. 1) (мн.) оптика; 2) оптичний пристрій
ornament ['ɔːnəmənt] – n. прикраса, оздоба, орнамент
v. прикрашати, оздоблювати
ornamentation [ˌɔːnəmen'teɪʃ(ə)n] – n. 1) прикрашання, оздоблення (дія);
2) прикраси
outline ['autlaɪn] – n. 1) нарис, ескіз; 2) схема, план; конспект; 3) обрис, контур;
абрис; 4) (мн.) основи; основні принципи
v. 1) намалювати; 2) накреслити в загальних рисах; зробити начерк
overtone ['əuvətəun] – n. обертон
P
page layout – n. 1) процес верстки полоси; 2) оригінал-макет сторінки;
макет сторінки
painter ['peɪntə] – n. 1) живописець, художник; 2) маляр
painting ['peɪntɪŋ] – n. 1) живопис; 2) розпис, картина; 3) забарвлення;
4) малярська справа
Palette ['pælət] – n. 1) палітра, поверхня для змішування фарб; 2) палітра,
кольорова гама
pants (pantaloons) [pænts], [ˌpænt(ə)'lu:nz] – n. 1) (мн.) (амер./канад.) штани;
2) кальсони
parchment ['pɑːʧmənt] – n. 1) пергамент; пергаментний папір; 2) рукопис на
пергаменті
patchwork ['pæʧwɜːk] – n. 1) клаптикова ковдра; 2) зшитий з клаптиків
(строкатий) виріб
pattern ['pæt(ə)n] – n. 1) зразок, взірець; 2) шаблон; модель; 3) малюнок, візерунок
(на тканині тощо); 4) викрійка
v. 1) робити за зразком; імітувати, копіювати; 2) прикрашати візерунком
performance [pə'fɔːmən(t)s] – n. 1) виконання, здійснення; 2) вистава; спектакль
211
performer [pə'fɔːmə] – n. 1) виконавець; 2) актор
permanent wave – n. завивка “перманент”
petticoat ['petɪkəut] – n. 1) нижня спідниця; дитяча спідничка; 2) жіноча білизна
photographer [fə'tɔgrəfə] – n. фотограф
photographic lens (objective lens, photographic objective) – n. фотооб'єктив
photographic paper – n. фотографічний папір, фотопапір
photography [fə'tɔgrəfɪ] – n. фотографія, фотографування
pigment ['pɪgmənt] – n. пігмент, барвник
v. фарбувати, забарвлювати
pillow ['pɪləu] – n. подушка
pillowcase ['pɪləukeɪs] – n. наволочка
pin [pɪn] – n. 1) шпилька; прищіпка; кнопка; 2) брошка, значок
pixel ['pɪks(ə)l] – n. елемент зображення; піксель, цятка
pleat [pliːt] – n. складка (на одягу)
v. робити складки, плісирувати
polyurethane foam – n. поліуретановий пінопласт
popularize ['pɔpjəl(ə)raɪz ] – v. 1) популяризувати, розповсюджувати;
2) робити популярним, відомим; 3) викладати в загальнодоступній формі
porcelain ['pɔːs(ə)lɪn] – n. 1) порцеляна, фарфор; 2) порцеляновий (фарфоровий)
виріб
adj. 1) порцеляновий, фарфоровий; 2) витончений, тендітний
portrait ['pɔːtrɪt ] / ['pɔːtreɪt] – n. 1) портрет; 2) зображення, опис
portraiture ['pɔːtrɪʧə] – n. 1) портретний живопис; 2) портрет; 3) зображення, опис;
4) (збірн.) портрети
positive ['pɔzətɪv] – n. позитив
power loom ['paʊəlu:m] – n. механічний ткацький верстат
press [pres] – v. 1) прасувати, випрасовувати; 2) пресувати
press release ['presrɪˌliːs] – n. прес-реліз, повідомлення для преси, прес-комюніке
212
prêt-à-porter [ˌpret ä pôr'tā] – n. готовий одяг
primary colours – n. основні кольори
print [prɪnt] – n. 1) відбиток; слід; 2) шрифт, друк; 3) друкування;
4) друковане видання; газета; 5) ситець, вибивна тканина; 6) відбиток (з негатива)
v. 1) друкувати; 2) писати друкованими літерами; 3) (фотографія) друкувати;
4) вибивати (ситець)
producer [prə'djuːsə] – n. 1) режисер-постановник; продюсер; 2) хазяїн (директор)
театру, власник кіностудії
productivity [ˌprɔdʌk'tivɪti] – n. продуктивність; вихід продукції, вироблення
prop [prɔp] – n. (мн.) реквізит, бутафорія
proportion [prə'pɔːʃ(ə)n] – n. (один з принципів дизайну/мистецтва)
1) пропорція; кількісне (спів)відношення; 2) правильне співвідношення;
домірність, пропорційність; 3) (мн.) розмір(и)
v. 1) розмірювати; 2) розподіляти
prowess ['prauɪs] / ['praues] – n. майстерність, мистецтво
publisher ['pʌbliʃə] – n. 1) видавець; 2) (амер.) власник газети
puffed [pʌft] – adj. з буфами (рукава)
pullover ['puləʊvə] – n. пуловер, светр
purchase ['pɜːʧəs] – n. 1) купівля, купування; закупівля; придбання;
2) куплена річ
v. купувати; закуповувати; придбати
Q
quality ['kwɔlətɪ] – n. 1) якість; сорт, ґатунок; 2) властивість; особливість;
характерна риса; 3) висока якість; позитивна риса
quilt [kwɪlt] – n. стьобана ковдра
v. 1) стьобати; підбивати ватою; 2) зашивати в підкладку одягу
R
rayon ['reiɒn] – n. штучний шовк, віскоза
213
ready-to-wear [ˌredɪtə'wɛə] – adj. (про одяг) готовий; одяг масового виробництва
refinement [ri'fainmənt] – n. 1) очищення, рафінування; підвищення якості;
2) удосконалення; 3) витонченість, вишуканість
reflect [ri'flekt] – v. 1) відбивати; 2) віддзеркалювати(ся); давати відображення;
3) відображати, зображувати (в літературі)
rehearsal [ri'hɜːs(ə)l] – n. репетиція
rendering ['rend(ə)rɪŋ] – n. 1) зображення (когось/чогось) у творі мистецтва;
2) переклад, передавання, переказ; 3) виконання (ролі, музикального твору),
відтворення; 4) тлумачення (образа твору)
repetition [ˌrepi'tɪʃ(ə)n] – n. (один з принципів дизайну/мистецтва)
1) повторення; 2) копія; 3) повторення (заучування) напам'ять;
4) багаторазовість
requirement [rɪ'kwaɪəmənt] – n. 1) вимога; необхідна умова; 2) потреба
rescale [ri'skeil] – v. змінювати масштаб
research [ri'sə:tʃ] – n. наукове дослідження; вивчення; дослідницька робота
v. досліджувати, займатися дослідженнями
resolution [ˌrezə'luːʃ(ə)n] – n. розрізнення, роздільність (число елементів
зображення, чітко відображуване (або сприймане) пристроєм графічного вводу-
виводу (екран, принтер, сканер). Залежно від чіткості отриманого зображення
розрізнення може бути низьким, середнім або високим
revamp [riː'væmp] – v. лагодити, ремонтувати
rhythm ['rɪð(ə)m] – n. (один з принципів дизайну/мистецтва) 1) ритм;
2) розмір (вірша); 3) ритмічність; періодичність; циклічність
ribbon ['rɪb(ə)n] – n. 1) стрічка; вузенька смужка; 2) (мн.) клапті, шматки
rinse [rins] – n. відтінюючий шампунь, фарба для волосся
v. фарбувати волосся відтінюючим шампунем
rivet ['rivit] – n. заклепка
v. клепати, заклепувати
214
rollers ['rəʊləz] – n. (мн.) бігуді, папільйотк
roller blind – n. штора на роликах
rug [rʌg] – n. 1) килим; 2) плед
runway (catwalk) ['rʌnˌweɪ], ['kætwɔːk]– n. 1) вузька платформа, поміст, що з’єднує
сцену з залом; 2) подіум
S
satin ['sætɪn] – n. 1) атлас (тканина); 2) жіноча атласна сукня
adj. атласний
saturation [ˌsætʃə'reɪʃ(ə)n] – n. насичення; насиченість (кольору)
adj. поглинальний
scale model – n. масштабна модель
scalene triangle – n. нерівносторонній трикутник
scene [siːn] – n. 1) місце дії (у п’єсі, романі); 2) сцена, дія ( у фільмі, п’єсі);
3) видовище; пейзаж; 3) декорація; 4) театральні підмостки, сцена
scenographer [si:´nɔgrəfə] – n. сценограф, театральний художник
script [sript] – n. сценарій, текст лекції (бесіди) для передачі по радіо
v. писати сценарій
sculptor [´skʌlptə] – n. скульптор
sculpture [´skʌlptʃə] – n. скульптура, статуя; скульптурний витвір
v. 1) різьбити, висікати, ліпити; 2) прикрашати скульптурами
secondary colours – n. додаткові кольори
set [set] – n. 1) набір, комплект; серія; 2) група, компанія; коло (осіб);
3) декорація; 4) крій
v. 1) приводити в певний стан, надавати певного стану; 2) сидіти (про одяг);
3) покласти на музику
settee [se´tiː] – n. невеликий диван, канапа
setting [´setɪŋ] – n. 1) оточення; 2) художнє оформлення; декорація, костюми
setup ['setʌp] – n. 1) складання; монтаж, монтування; 2) налагодження
sew [səʊ] – v. шити, пришивати, зшивати, зашивати
215
sewing ['səʊɪŋ] – n. 1) (дія) шиття, вишивання, гаптування; 2) (предмет) шитво; 3)
вишивка; гаптування
sewing machine – n. швейна машина
shade [ʃeɪd] – n. тінь, напівтемрява; відтінок, нюанс
v. затіняти, закривати (від світла)
shadow ['ʃædəʊ] – n. 1) тінь; напівтемрява, морок; 2) примара; 3) неясний обрис
v. затіняти, затуляти, закривати (від сонця)
shape [ʃeɪp] – n. (один з елементів дизайну/мистецтва) 1) форма; обрис; образ;
2) зразок, модель, шаблон
v. 1) створювати, робити (щось); 2) надавати вигляду (форми), виливати,
формувати; 3) набирати вигляду (форми); 4) пристосовувати до чогось
shave [ʃeɪv] – v. 1) голитися; 2) стругати; зрізати; 3) стригти
n. гоління
shawl [ʃɔːl] – n. хустка, шаль
v. надівати хустину; закутувати в шаль
shawl collar – n. комір-шалька
shoe [ʃuː] – n. черевик, напівчеревик; туфля
shorts [ʃɔːts] – n. (мн.) шорти
silhouette [ˌsɪlu'et] – n. 1) силует (однокольорове площинне зображення обличчя
або предмета на фоні іншого кольору); 2) контур, зовнішній обрис, силует
v. 1) зображувати у вигляді силуету; 2) вимальовуватися (на тлі)
silk [sɪlk] – n. 1) шовк; шовкова тканина; 2) шовкові нитки
adj. шовковий
silverwork ['sɪlvəwɜːk] – n. вироби зі срібла
sketch [sketʃ] – n. 1) ескіз; 2) нарис, начерк
v. 1) малювати ескізи; робити начерки; 2) схематично зображувати
skill [skɪl] – n. майстерність, уміння; вправність; спритність
skirt [skəːt] – n. 1) спідниця; 2) пола, поділ
216
slashed [slæʃt] – n. розрізаний, прорізаний
sleek [sliːk] – adj. гладенький, лискучий; прилизаний
sleeve [sliːv] – n. рукав
slide projector – n. діапроектор
space [speɪs] – n. (один з елементів дизайну/мистецтва) 1) площа, місце;
2) проміжок, віддаль, відстань; 3) простір
v. залишати проміжки, розставляти з проміжками
stained glass – n. вітражне скло; кольорове скло
stiff [stɪf] – adj. тугий, негнучкий, нееластичний; жорсткий
stole [stəʊl] – n. палантин; хутряна накидка
style [staɪl] – n. 1) стиль; склад; манера (співати тощо); 2) школа, напрям (у
мистецтві); 3) елегантність, смак; шик, блиск; 4) мода, крій, фасон
v. 1) шити по моді; вводити в моду; 2) модернізувати, удосконалювати
stylish ['staɪlɪʃ] – adj. 1) модний, елегантний; шикарний; 2) стильний
suit [suːt] – n. 1) набір, комплект; 2) костюм
v. 1) відповідати вимогам; бути зручним; влаштовувати; 2) бути корисним
(придатним); 3) годитися; відповідати, підходити; бути до лиця;
4) пристосовувати
T
tablecloth ['teɪb(ə)lˌklɒθ] – n. скатертина, скатерка
tailor ['teɪlə] – n. кравець
v. 1) кравцювати; 2) шити на когось; 3) спеціально пристосовувати
tapestry ['tæpɪstri] – n. 1) тканина ручної роботи; гобелен; 2) тканина, що імітує
гобелен
tassel ['tæs(ə)l] – n. китичка (як прикраса)
v. прикрашати китичками
taste [teɪst] – n. 1) смак, відчуття смаку; 2) нахил, смак, манера, стиль
tease [tiːz] – v. (амер./ канад.) начісувати (волосся); робити начіс
tertiary colours – n. допоміжні кольори
textile ['tekstaɪl] – n. (мн.) текстиль, текстильний виріб; тканина
217
adj. текстильний; ткацький
texture ['tekstʃə] – n. (один з елементів дизайну/мистецтва) 1) будова тканини,
ступінь цупкості тканини; 2) особливості художньої техніки; фактура, тканина
(твору)
thread [θred] – n. нитка
v. 1) втягати нитку (в голку); 2) нанизувати (намисто тощо)
tights [taɪts] – n. (мн.) трико, колготки
timeline ['taɪmˌlaɪn] – n. часові рамки; графік; строки; розклад
tint [tɪnt] – n. 1) барва, фарба; відтінок, тон; 2) блідий (світлий, ненасичений) тон
v. злегка забарвлювати; підфарбовувати
tone [təʊn] – n. 1) тон; 2) вираз; характер, стиль; 3) світловий тон, напівтон
v. 1) надавати бажаного тону (звукові або фарбі); змінювати (тон, колір);
2) гармоніювати
torn [tɔːn] – adj. обірваний
trademark ['treɪdmɑːk] – n. фабрична марка, торгова марка
transparency [træns'pær(ə)nsi] – n. 1) прозорість (здатність пропускати світло);
2) (фото) діапозитив, зображення на прозорій підкладці
treat [triːt] – v. 1) обробляти, піддавати дії; 2) трактувати; 3) мати справу,
проводити переговори
trend [trend] – n. 1) напрям; 2) загальна спрямованість; тенденція
v. мати тенденцію
trendsetter ['trendˌsetə] – n. 1) законодавець моди; 2) еталон моди (нова течія)
trim [trɪm] – v. 1) упорядковувати, доводити до ладу; 2) оздоблювати (плаття);
прикрашати (страву гарніром тощо); 3) підстригати; обрізати краї; обтісувати
n. 1) наряд; прикраса; оздоблення; 2) підрізування, підстригання
trimming [trɪmɪŋ] – n. 1) оздоблення (на сукні); 2) (мн.) обрізки
turban ['tɜːbən] – n. 1) тюрбан, чалма; 2) жіночий (дитячий) капелюх
218
tussie-mussie (nosegay, posy, flower bouquet ) – n. букетик квітів
tutu ['tuːtuː] – n. пачка (балерини)
twig [twɪg] – n. гілочка, галузка; лозинка
two-dimensional [ˌtuːdɪ'men(t)ʃ(ə)n(ə)l] – adj. двовимірний; плоский; поверхневий
U
uniform ['juːnɪfɔ:m] – n. уніформа; формений одяг
adj. 1) одноманітний; однорідний; 2) постійний, сталий
unisex ['juːnɪseks] – adj. придатний для осіб обох статей (про одяг, парфуми тощо)
unity ['juːnɪti] – n. (один з елементів дизайну/мистецтва) 1) єдність;
2) єднання; 3) гармонія
user-friendly – adj. зручний для користувача (про систему)
V
value ['væljuː] – n. (один з елементів дизайну/мистецтва) 1) цінність; важливість;
2) висока оцінка (когось); 3) поєднання кольору та тіні на картині; 4) яскравість,
насиченість (про колір)
v. 1) оцінювати; 2) цінити, цінувати
variety [və'raɪəti] – n. (один з принципів дизайну/мистецтва)
1) різноманітність; відмінність; розбіжність; 2) сорт, ґатунок, вид
velvet ['velvɪt] – n. оксамит, бархат
adj. оксамитовий, бархатний
versatility [ˌvɜːsə'tɪlətɪ] – n. 1) різносторонність, різнобічність; 2) мінливість
visual ['vɪʒuəl] / ['vɪzjuəl] – adj. 1) зоровий; 2) видимий; 3) наочний;
4) оптичний
n. рекламний ролик; (мн.) кінофільм, відеозапис
visual arts – n. (мн.) образотворче мистецтво (включаючи кіно та телебачення)
visual communication – n. відеозв’язок; телевізійний зв’язок
219
W
waist [weɪst] – n. 1) талія; стан; 2) (амер.) корсаж, ліф
wallpaper ['wɔːlˌpeɪpə] – n. 1) шпалери; 2) "шпалери" фонове зображення
wardrobe ['wɔːdrəʊb] – n. 1) гардероб, шафа; 2) гардеробна; 3) гардероб, одяг
warp [wɔːp] – n. основа (тканини)
washable ['wɒʃəb(ə)l] – adj. що можна прати; що не линяє
washing ['wɔʃɪŋ] – n. 1) миття; прання; 2) білизна для прання
adj. миючий; пральний
wear [wɜə] – v. 1) бути вдягненим у щось; носити (одяг тощо); 2) носитися (про
одяг); 3) зношувати; стирати, протирати
n. 1) носіння (одягу); 2) одяг, одежа; 3) зношування
weave [wiːv] – v. ткати; плести; вплітати
n. узор, візерунок (тканини)
adj. ткацький
web application – n. інтернет-приложение
well-equipped – adj. добре обладнаний
widespread ['waɪdspred] – adj. дуже поширений
wig [wɪg] – n. перука
wool [wul] – n. 1) шерсть, вовна; руно; 2) вовняна пряжа (тканина); 3) вовняні
вироби; 4) волокно
workmanship ['wəːkmənʃɪp] – n. вправність, майстерність; кваліфікація
workshop ['wəːkʃɔp] – n. майстерня; цех
woven ['wəʊv(ə)n] – n. 1) плетений; витканий; 2) тканий
wreath [riːθ] – n. вінок, гірлянда
wristlet ['rɪstlɪt] – n. 1) браслет; 2) ремінець для годинника
writer ['raɪtə] – n. письменник; автор
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Українсько-Англійський словник
А
абажур – lampshade
авангард – avant-garde
автоматизоване проектування – computer-aided design (CAD)
авторинг – authoring
аксесуари – (plural) accessories; (театр.) properties
аматор – amateur; (непрофесіонал) dilettante
архітектор – architect
архітектура – architecture
атлас (тканина) – satin
Б
бавовняна (льняна) тканина з фарбованої пряжі – gingham
бархат – velvet
бархатний – velvet
бахрома – fringe
бігуді – (plural) rollers
білизна для прання – washing
бісер – (plural) beads
блідий (світлий, ненасичений) тон – tint
браслет – wristlet
букетик квітів – tussie-mussie, nosegay, posy, flower bouquet
бутоньєрка – boutonniere, buttonhole, posy
В
виготовляти (вручну) – (American) to craft
видавати (поліграфічну продукцію) – to launch
видавець – publisher
виклад змісту – rendering
викладати мозаїкою – to mosaic
виконавець (муз./театр.) – performer
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викрійка – pattern
вилога – lapel (на піджаку тощо); cuff (на рукаві)
вимога – requirement
винахід – invention
винаходити – to invent, to contrive, to devise
виписка по костюмам – costume plot
випрасовувати – to press
випуск нових товарів на ринок – launch
випускати на ринок (товар) – to launch
виразність – emphasis, expressiveness, significance
вироби зі срібла – silverwork
виробляти – to manufacture, to produce
виробництво – manufacture, production
висікати – to carve, to hew, to sculpture
висока мода – haute couture
вистава – performance, play
виставляти – to display, to exhibit, to show
витканий – woven
вишивати бісером – to bead
вишивка – embroidery, fancywork, needlework
вишуканий – exquisite, refined
вишуканість – refinement
відбиток – print, imprint, impress
відеозв’язок – visual communication
відображати – to reflect
відповідати вимогам – to suit, to meet (to satisfy) the requirements
відтінок – tint, tincture, hue, tinge
відтінюючий шампунь – rinse
візерунок (тканини) – weave
вінок – wreath
222
вітражне скло – stained glass
вовняні вироби – wool
ворс – nap (сукна); pile (плюшу, килима)
втягати нитку (в голку) – thread
Г
гардероб – wardrobe
гармоніювати – (про колір, фарби) to tone (with), to go (with)
гармонія – harmony, balance
гілочка – twig, branch; limb
гобелен – tapestry, gobelin
голитися – to shave
гоління – shaving, shave
голка – needle
готовий одяг – (plural) prêt-à-porter, ready-made clothes, ready-to-wear garment
готувати до друку – to edit, to redact
гравюра – engraving, plate, print
Д
дамастна тканина – damask
двовимірний – two-dimensional
девіз – motto, slogan
декоративне мистецтво – decorative art, ornamental art
декорація – (театральна) set, setting
демонстрація – display, demonstration, showing, exhibition
детально розробляти – to elaborate (a plan, a theory, etc.)
диванна подушка – cushion, pad, pillow
діапозитив – (фото) transparency, slide, diapositive
діапроектор – slide projector
добре обладнаний – well-equipped
доводити до ладу – to trim
223
додаткові кольори – (plural) secondary colours, complementary colours
допоміжні кольори – tertiary colours
доскональний – elaborate
досліджувати – to research, to investigate, to examine
дослідницька робота – research
драпірувати – to drape
друкувати – to print; (на машинці) to type
дуже великий – king-size (queen-size)
дуже поширений – widespread
Е
елемент зображення – pixel
емблема видавництва – colophon
ескіз – sketch, rough drawing, rough draught, draft outline
естетика – aesthetics
еталон моди (нова течія) – trendsetter
єдність – unity
Ж
жабо – frill, jabot, gathers
живопис – painting
живопис олійними фарбами – oil painting
живописець – painter
жіноча атласна сукня – satin
жіноча білизна – lingerie
жіноча сорочка – chemise
жорсткий – stiff, rigid
З
з буфами (рукава) – puffed
забарвлювати – to pigment
завивка “перманент” – permanent wave
заклепка – rivet
224
заклепувати – to rivet, to clinch
законодавець моди – trendsetter
закутувати в шаль – to shawl
залишати проміжки – to space
заплітати (косу) – to plait, to braid
застібати пряжку – buckle, clasp
затіняти – to shade, to shadow
збагачувати – to enrich
зменшувати(ся) – to diminish, to lessen, to reduce, to decrease
змінювати масштаб – to rescale
знебарвлення – fading, decolouration, bleaching
зображати – to depict, to represent, to depict, to picture
зображення – picture, portrayal, image
зображувати у вигляді силуету – to silhouette
зоровий – visual
зразок – model; pattern; sample, specimen
зробити начерк – to outline
зручний для користувача – (про систему) user-friendly
І
ілюзія – illusion, delusion; phantom
ілюструвати (малюнками тощо) – to illustrate
інтенсивність – intensity, density
інтервал експозиції – exposure latitude
інтер'єр – interior
інтернет-приложение – web application
К
канапа – settee, sofa
картини – (coll.) (plural) pictures, paintings
кашне – comforter, scarf, muffler
килим – (невеликий) rug, carpet
225
китичка (як прикраса) – tassel
клаптикова ковдра – patchwork
ключовий кадр – keyframe
колготки – (plural) tights, (Am./Can.) pantyhose
колір – colour, hue
кольоровий негатив – colour negative
кольчуга – chainmail, mail, chain armour
комір-шалька – shawl collar
комплект – set, collection
контраст – contrast
контур – outline, contour
корпоративний імідж – corporate image
корсет – corset; (plural British) stays, corselet
косметика – (plural) cosmetics
косметичний засіб – cosmetic
костюм – costume, suit
костюм – suit
коштовності – jewellery
кравець – tailor
кравцювати – to tailor
крейдований папір – coated paper
креслення – drafting, drawing, sketching, designing
креслити – to draw, to sketch, to trace
кринолін – crinoline, hoop skirt
культура – culture
купівля – purchase
купувати – to purchase, to buy
куртка – jacket
кутюр’є – couturier, fashion designer
кучерявий – curly, frizzy (дрібні кучері)
226
Л
лагодити – to mend, to patch, to repair, to revamp
лінійна перспектива – linear perspective
ліф сукні – corsage, body, bodice
логотип – logo, logotype
локон – lock, curl, ringlet
любительський – amateur; amateurish
льняний – linen
М
майстерність – prowess, skill, mastery, workmanship, craftsmanship
майстерня – workshop
макет сторінки – page layout, page makeup
малюнок – drawing, illustration, picture
масштабна модель – scale model
мати тенденцію – to trend
меблі – furniture
меблювати – to furnish
мелірувати (волосся) – to highlight, to streak
мереживо – lace
механічний ткацький верстат – power loom
місце дії – scene
мода – fashion, vogue
моделювання костюмів – costume design
моделювати – to model; to fashion, to shape; to simulate (за допомогою комп'ютера)
модна сторінка – fashion plate
модний – fashionable, stylish
мозаїка – mosaic, inlay, tessellation
мозаїчний – tessellated, mosaic
музикант – musician
227
мультимедіа – multimedia
Н
на всі руки майстер – Jack of all trades
навігація (супутникова) – navigation
наволочка – pillowcase, pillow slip
надавати вигляду (форми) – to fashion, to shape
надавати особливого значення – to emphasize, to stress
надавати певного стану – to set
налагодження – setup
напрям – trend, tendency, drift
напрямок у культурі – cultural movement
насиченість (кольору) – saturation
натуральний – natural
начісувати (волосся) – (Am./Can.) to tease
нейлон – nylon
нейлоновий – nylon
непрозорість – opacity; non-transparency
нерівносторонній трикутник – scalene triangle
неясний обрис – shadow
нижня спідниця – petticoat, underskirt
нитка – thread
новаторский – innovative, innovatory; pioneering
носити (одяг тощо) – to wear
О
обертон – overtone
об'єднаний – united, incorporate
об'єднувати(ся) – to incorporate, to integrate
обірваний – torn
óбрази – (coll.) imagery
образотворче мистецтво – (plural) visual arts
228
обрізки (матеріала) – (plural) cuttings, scraps, off-cuts, trimmings
обробляти – treat
обстановка (меблі) – (plural) furnishings
обшивати тасьмою (шнурком) – to braid
одноманітний – uniform
однотонний – monochromatic, one-colour
однофарбове зображення – monochrome
одяг – clothes, garments, clothing
одягати (одяг) – to clothe, to dress
оздоблення (дія) – ornamentation, finishing, dressing, trimming; adorning, decoration
оздоблення інтер’єру – decor (décor)
оздоблювати – to ornament, to adorn, to decorate; to embellish, to beautify
окреслювати – to delineate
оптика – (plural) optics
оптичний фільтр (фотографія) – optical filter
основа (тканини)– warp
основні кольори – primary colours
основні принципи – (plural) outline, principles, foundations, fundamentals
оцінювати – to value, to appraise, to evaluate, to estimate, to rate
очищення – refinement
П
палантин – stole
палітра – palette
пальто – coat, topcoat, overcoat
пачка (балерини) – tutu
пергамент – parchment, vellum
перебільшувати – to exaggerate, to overstate, to overdraw
передова стаття – editorial
перука – wig
229
перукар (жіночий) – hairdresser
перукар (чоловічий) – barber
перукарська справа – hairdressing
писати сценарій – to script
письменник – writer
пігмент – pigment, colouring agent
підбивати (оторочувати) хутром – to fur
підстригати волосся чубком – to bang
підфарбовувати – to tint, to retouch
планування (розміщення) – layout
плісирувати – to pleat
повторення – repetition
пов'язка на голові – headband
подіум – runway, catwalk
подушечка (для сидіння, щоб спиратися) – bolster
подушка – pillow
позитив – positive
поліуретановий пінопласт – polyurethane foam
полотно (лляне) – linen
портрет (зображення) – portrait, effigy
портретний живопис – portraiture, portrait painting
порцеляновий – porcelain, china
постільна білизна – bedclothes
пошиття одягу високого класу – couture
пральний – washing
прання – washing
прати і прасувати (білизну) – to launder
предмет одягу – garment, piece of clothing, article of clothing
прес-реліз – press release
придатний – fit, fitting, suitable
230
придатний для осіб обох статей – unisex
прикраса – decoration, adornment, ornament, embellishment
прикрашати – to adorn, to embellish, to beautify, to furnish, to adorn, to decorate, to
dress
прикрашати бахромою – to fringe
прикрашати візерунком – to pattern, to trace
прикрашати китичками – to tassel
прилизаний (про волосся) – sleek
примірка – fitting, trying on
пристосування – attachment
причісуватися – to comb out
продуктивність – productivity
продюсер – producer
проект – design, project, plan, scheme
проектувати – to design, to project, to plan
прозорість – transparence, transparency
пропорція – proportion, ratio
прорізаний – slashed
простір – space
прототип – archetype, prototype
пряжка – buckle, clasp
публікувати – to publish
пуловер – pullover
пухова ковдра – duvet
Р
редакторський – editorial
реквізит – (plural) prop
реклама – (діяльність) advertising, publicity, promotion; (рекламне оголошення)
advertisement (abbr. ad)
рекламна фотографія – commercial photography
231
рекламувати – to advertise, to publicize, to give publicity
ремесло – craft, handicraft, trade
ремінець для годинника – wristlet
ремісник – craftsman, artisan, artificer
репетиція – rehearsal
ритмічність – rhythm
рівновага – balance
різноманітність – variety, diversity
різносторонність – versatility
різьбити – to emboss, to cut, to carve, to sculpture
робити відомим – to popularize
робити складки – to crease, to crimp
роздільність – resolution
розкішний – luxurious, magnificent, splendid, sumptuous
розміри – (plural) dimensions
розмірювати – to proportion
роль – character, part
рукав – sleeve
С
садівництво – horticulture
світловий ефект (у живопису, фотографії) – highlight
світлочутливий – light-sensitive, photosensitive
серійного (масового) виробництва – mass-produced
силует – silhouette
синтетичне волокно – synthetic fibre, synthesized fiber
скатертина – tablecloth
скатертина – tablecloth
складка (на одягу) – pleat, fold, plait, tuck, lappet, crease, pucker
скульптор – sculptor
232
скульптура – (вид мистецтва) sculpture; (скульптурний витвір) (plural) sculptures
смак (нахил ) – taste
спідниця – skirt
спідня білизна – underclothes
сполучення кольорів – colour scheme
стаття для публікації – contribution
створення зображень – imaging
стиль – style, fashion
стильний – stylish
стінна шафа – closet, wall cupboard
стрічка – ribbon, band, sliver
стьобана ковдра – quilt
стьобати – to quilt
сукня – gown, dress, frock
сукня з фіжмами – farthingale
сучасне мистецтво – contemporary art
схема – diagram, scheme, layout
схематично зображувати – to sketch, to outline
сценарій – script, scenario
сценограф – scenographer, scene-painter
Т
талія – waist
тасьма – braid, tape, ribbon, lace
творчий – creative, constructive
театральні підмостки – scene, stage
текстиль – (plural) textile
текстильний – textile
тінь – shade
тканина – cloth, fabric, material; textile
233
ткати – to weave
товари – (plural) merchandise, wares, commodity, goods
тон – tone
торгівля – marketing, trade, commerce
торгова марка – trademark
торговець – merchant, dealer, trader, tradesman
торговий – commercial, trade, merchant
торгувати – to merchandise
трико – leotard, body stocking, tights
трикотажна тканина джерсі – jersey
трикотажний – knitted
Ф
фактура – texture
фарба – paint; (для волосся) tint, dye
фарбувати – to paint, to colour
фарбувати волосся відтінюючим шампунем – to rinse
фарфор – porcelain, china
фасон – style, fashion
фірмовий стиль – corporate identity
фокус – focal point
фон – background
форма – shape, form
формений одяг – uniform
фотограф – photographer
фотографія (знімок) – photograph, (colloq.) photo
фотографія (мистецтво) – photography
фотооб'єктив – photographic lens, objective lens, photographic objective
фотопапір – photographic paper
функціональний – functional, purposeful
фурнітура – (plural) accessories, fittings
234
Х
характерна риса – feature, characteristic
хімічна чистка – dry cleaning
художнє оформлення – setting
художник – artist, painter
художник по костюмам – costume designer
хустка – shawl, kerchief
хутро – fur
Ц
центральний елемент – centerpiece, base component, key component, primary
component
цифрова фотографія – digital photography
цифровий – digital
цінність – value
Ч
чалма – turban
часові рамки – timeline, timeframe, timescale
черевик – shoe, (високий) boot
чистота кольорової палітри – saturation
чоловіча сорочка – shirt
чорно-біле зображення – black-and-white
чорно-білий (про телебачення, кіно) – monochrome
чубок – forelock, bang
Ш
швачка – dressmaker, seamstress
швейна машина – sewing machine
шедевр – masterpiece
шерстяні пачоси – (plural) flock
шерсть – wool
шити – to sew
235
шити по моді – to style
шиття (дія) – sewing
шкіра (вичинена) – leather
шнурувати – to lace up
шовк – silk
шовковий – silk, silken
шолом – helmet, headpiece
шорти – (plural) shorts
шпалери – wallpaper
шпилька – pin
штани – (plural Am./Can.) pants (pantaloons), trousers
штора на роликах – roller blind
штучне волокно – artificial fibre
штучний – man-made, artificial, manufactured
штучний шовк – rayon
що можна прати – washable
що постійно змінюється – ever-changing
Я
якість – quality
ярлик – label, tag, tab
яскравість – brightness
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GLOSSARY
A
academic art – n. style of painting and sculpture produced under the influence of
European academies or universities
accessory – n. 1) additional or extra thing; 2) small attachment, fitting or subsidiary
item of dress (e.g. shoes, gloves)
acetate – n. 1) salt or ester of acetic acid, especially the cellulose ester; 2) fabric made
of this
achieve – v. 1) bring to a successful conclusion; accomplish; attain; 2) gain as by hard
work or effort
acrylic – n. acrylic fibre or fabric. – adj. of synthetic material made from acrylic acid
actor – n. person who acts in a play, film, broadcast, etc.
ad – n. short for advertisement
Adobe After Effects – n. (plural) digital motion graphics and compositing software
published by Adobe Systems
adopt – v. 1) choose and follow (a plan, technique, etc.); 2) take over (an idea, etc.) as if
it were one’s own
adorn – v. add beauty to, decorate
advanced – adj. 1) being ahead in development, knowledge, progress, etc.; 2) ahead of
the times
advent – n. arrival or coming, especially one which is awaited
advertise – v. 1) promote (goods or services) publicly to increase sales; 2) make
generally known
advertisement – n. 1) public announcement, especially of goods or services for sale or
wanted vacancies, etc.; 2) advertising
advertising – n. 1) promotion of goods or services for sale through impersonal media,
such as radio or television; 2) business that specializes in creating such publicity
advertising photography – n. art of taking and processing photographs for the purpose
of illustrating and usually selling a service or product
237
aesthetics – n. 1) branch of philosophy that deals with the nature and expression of
beauty, as in the fine arts; 2) study of the rules and principles of art
air – v. 1) expose or be exposed to the air so as to cool or freshen; ventilate;
2) expose or be exposed to warm or heated air so as to dry
amateur – n. 1) person who engages in an art, science, study, etc. as a pastime rather
than a profession; 2) one lacking the skill of a professional as in an art. – adj. 1) of or
performed by an amateur; 2) made up of amateurs; 3) not professional; unskillful
animation – n. technique of producing a moving picture from a sequence of drawings
or puppet poses, etc.
appeal – n. 1) power to attract, please, stimulate or interest. – v. attract, please,
stimulate or interest
appearance – n. 1) act or an instance of appearing, as to the eye, before the public, etc.;
2) outward or visible aspect of a person or thing
applied art – n. refers to the application of design and aesthetics to objects of function
and everyday use
appropriate – adj. right or suitable; fitting
archetype – n. 1) perfect or typical specimen; 2) original model or pattern; prototype;
3) constantly recurring symbol or motif in literature, painting, etc.
architect – n. one who designs and supervises the construction of buildings or other
large structures
architecture – n. 1) art and science of designing and erecting buildings; 2) buildings
and other large structures; 3) style and method of design and construction; 4) overall
design or structure of a computer system, including the hardware and the software
required to run it, especially the internal structure of the microprocessor
archival storage – n. method of retaining information outside of the internal memory of
a computer
arrange – v. put into a proper, systematic or decorative order
art movement – n. tendency or style in art with a specific common philosophy or goal
followed by a group of artists during a restricted period of time
238
artificial fiber (synthetic fibre) – n. filament made from materials such as glass, rayon
or nylon
artist – n. 1) person who practises or is skilled in an art, especially painting, drawing or
sculpture; 2) person who displays in his work qualities required in art, such as
sensibility and imagination; 3) person whose profession requires artistic expertise,
especially a designer
attachment – n. 1) something such as a tie, band or fastener that attaches one thing to
another; 2) supplementary part; an accessory
audience – n. spectators or listeners assembled at a performance or attracted by a radio
or television program
audio file – n. computer file that contains digitized audio
authentic – adj. of undisputed origin or authorship; genuine
authoring – n. speciality application-dependent software allowing to develop
interactive multimedia applications
availability – n. quality or state of being available
avant-garde – n. group active in the invention and application of new techniques in a
given field, especially in the arts. – adj. of, relating to or being part of an innovative
group, especially one in the arts
B
background – n. 1) ground or scenery located behind something; 2) general scene or
surface against which designs, patterns or figures are represented or viewed; 3) part of a
pictorial representation that appears to be in the distance and that provides relief for the
principal objects in the foreground
ballad opera – n. opera consisting of popular tunes to which appropriate words have
been set interspersed with spoken dialogue
bang – n. fringe or section of hair cut straight across the forehead. – v. cut (the hair) in
such a style
Baroque – n. style of architecture and decorative art that flourished throughout Europe
from the late 16th to the early 18th century characterized by extensive ornamentation
239
bead – n. small, often round piece of material such as glass, plastic or wood that is
pierced for stringing or threading; 2) (plural) necklace made of such pieces
bed sheet (sheet) – n. large rectangular piece of cotton, linen, etc., generally one of a
pair used as inner bedclothes
bedroom – n. room used primarily for sleeping
bespeak – v. engage, request or ask for in advance
black-and-white – n. photograph, picture, sketch, etc. in black, white and shades of
grey rather than in colour
blazer – n. fairly lightweight jacket often striped or in the colours of a sports club,
school, etc.
blended – adj. combined or mixed together
bloom – n. 1) flower of a plant; 2) condition of being in flower
bold – adj. clear and distinct to the eye; conspicuous
bolster – n. 1) long narrow pillow or cushion; 2) any pad or padded support
bouquet – n. bunch of flowers, especially professionally arranged
boutonniere (buttonhole) – n. flower or floral decoration worn by men
braid – n. 1) length of hair, fabric, etc. that has been braided; plait; 2) narrow
ornamental tape of woven silk, wool, etc. – v. 1) interweave several strands of (hair,
thread, etc.); plait; 2) dress or bind (the hair) with a ribbon, etc.; 3) decorate with an
ornamental trim or border
brand-new – adj. absolutely new
breastplate – n. piece of armour covering the chest
brightness – n. degree or intensity of lightness in a colour
brush – n. 1) device consisting of bristles fastened into a handle used in scrubbing,
polishing or painting; 2) act or an instance of brushing. – v. clean, polish, scrub, paint,
etc. with a brush
buckle – n. 1) clasp for fastening two ends, as of straps or belt, in which a device
attached to one of the ends is fitted or coupled to the other; 2) ornament that resembles
this clasp such as a metal square on a shoe or hat. – v. fasten or be fastened with a
buckle
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bulky – adj. awkwardly large
business card – n. card bearing business information about a company or individual
C
cane – n. slender rod, usually wooden and often ornamental used for support when
walking; walking stick
carpet – n. heavy fabric for covering floors
celebrity – n. 1) famous person; 2) renown; fame
centerpiece – n. object used as the centre of something, especially for decoration
chainmail (mail) – n. type of armour or jewelry that consists of small metal rings
linked together in a pattern to form a mesh
character – n. 1) person represented in a play, film, story, role; 2) outstanding person;
3) letter, numeral, etc. which is a unit of information and can be represented uniquely by
a binary pattern
chemise – n. 1) woman’s unwaisted loose-fitting dress hanging straight from the
shoulders; 2) loose shirtlike undergarment
closet – n. cabinet or enclosed recess for linens, household supplies or clothing
cloth – n. 1) fabric formed by weaving, felting or knitting wool, cotton, etc.; 2) piece of
such fabric used for a particular purpose as for a dishcloth
clothe – v. 1) dress or attire (a person); 2) provide with clothing or covering
clothes – n. (plural) articles of dress
clothing – n. 1) garments collectively; 2) something that covers or clothes
coat – n. 1) outdoor garment with sleeves covering the body from the shoulder to waist,
knee or foot; 2) any similar garment, especially one forming the top to a suit; 3) hair,
wool or fur of an animal
coated paper – n. paper which has been coated by a compound to impart certain
qualities to the paper including weight and surface gloss, smoothness or ink absorbency
collaboration – n. 1) act of working jointly; 2) something created by working jointly
colophon – n. 1) publisher’s emblem on a book; 2) inscription at the end of a book
showing the title, printer, date, etc.
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colour – n. 1) sensation produced on the eye by rays of light when resolved as by a
prism into different wavelengths; 2) one or any mixture of the components into which
light can be separated as in a spectrum or rainbow sometimes including black and
white; 3) colouring substance, especially paint; 4) use of all colours in photography,
etc.; 5) one of the elements of design (art) with three properties: hue, intensity, value. –
v. 1) apply colour to something, especially by painting, dyeing, etc.; 2) give a
convincing or plausible appearance to something; 3) take on colour; blush
colour negative – n. film, plate or other photographic material containing an image in
which the light areas of the object rendered appear dark and the dark areas appear light
colour scheme – n. planned combination or juxtaposition of colours as in interior
decorating
colour wheel – n. radial diagram of colours in which primary and secondary, and
sometimes intermediate colours are displayed as an aid to colour identification,
choosing and mixing
comb out – v. arrange the hair loosely by combing
comedy – n. 1) dramatic or other work of light and amusing character; 2) genre of
drama represented by works of this type; 3) humour or comic style
comfortable – adj. 1) giving comfort or physical relief; 2) at ease
comforter – n. 1) (US) quilted bed covering; 2) (Brit) woollen scarf
comic opera – n. play largely set to music employing comic effects or situations
commercial photography – n. art of taking and processing photographs the primary
focus of which is to sell products or services
communication - n. 1) act or instance of communicating; the imparting or exchange of
information, ideas or feelings; 2) something communicated such as a message, letter or
telephone call; 3) (often plural) study of ways in which human beings communicate,
including speech, gesture, telecommunication systems, publishing and broadcasting
media, etc.
communication design – n. design which is concerned with how media intermission
such as printed, crafted, electronic media or presentations communicate with people
242
complement – n. one of two parts that make up a whole or complete each other. – v.
add to, make complete or form a complement to
complementary colours – n. (plural) colours that are directly opposite each other on
the colour wheel such as red and green, blue and orange, and violet and yellow
computer-aided design (CAD) – n. use of computer techniques in designing products,
especially involving the use of computer graphics
conformity – n. 1) similarity in form or character; agreement; 2) action or behaviour in
correspondence with socially accepted standards, conventions, rules or laws
Constructivism – n. movement in abstract art evolved in Russia after World War I. It
explored the use of movement and machine-age materials in sculpture and had
considerable influence on modern art and architecture
Contemporary art – n. art produced at this present point in time or art produced since
World War II
content – n. 1) (often plural) everything that is inside a container; 2) (usually plural)
chapters or divisions of a book; 3) meaning or significance of a poem, painting or other
work of art as distinguished from its style or form
contrast – n. 1) juxtaposition of dissimilar elements as colour, tone or emotion in a
work of art (principle of design (art)); 2) difference or degree of difference between
things having similar or comparable natures. – v. 1) set together so as to reveal a
contrast; 2) have or show a contrast
contribution – n. 1) act of contributing; 2) something contributed such as money or
ideas; 3) article, story, etc. contributed to a newspaper or other publication
convenient – adj. 1) suitable for one’s purpose or needs; opportune; 2) easy to use;
3) close by or easily accessible; handy
corporate communication – n. communication issued by a corporate organization,
body, institute to all its public(s)
corporate identity – n. way an organization is presented to or perceived by its members
and the public
corporate image – n. representation which the company creates about itself with the
help of advertising. It refers to how a corporation is perceived
243
corsage – n. 1) waist or bodice of a dress; 2) arrangement of flowers worn as a fashion
accessory
corset – n. 1) close-fitting undergarment, often reinforced by stays worn to support and
shape the waistline, hips and breasts; 2) medieval outer garment, especially a laced
jacket or bodice
cosmetic – n. any preparation applied to the body, especially the face, with the intention
of beautifying it. – adj. 1) serving or designed to beautify the body, especially the face;
3) decorative rather than functional
costume – n. 1) style of dress including garments, accessories and hairstyle, especially
as characteristic of a particular country, period or people; 2) outfit or disguise worn in a
play by an actor or at a fancy dress ball; 3) set of clothes appropriate for a particular
occasion or season. – v. 1) put a costume on; dress;
2) furnish the costumes for (a show, film, etc.)
costume design – n. design of the appearance of characters in a theater or cinema
performance. This usually involves designing or choosing clothing, footwear, hats and
head dresses for the actors to wear, but it may also include designing masks, makeup or
other unusual forms
costume designer – n. person whose responsibility is to design costumes for a film or
stage production
costume plot – n. list or chart that shows which characters appear in each scene, what
they are wearing and their overall movement throughout the play
couture – n. high-fashion designing and dressmaking
couturier – n. fashion designer
craft - n. 1) special skill or technique especially in handiwork; 2) occupation or trade
requiring special skill, especially manual dexterity; 3) members of such a trade regarded
collectively. – v. make in a skilful way, especially by hand
craftsman – n. member of a skilled trade; someone who practises a craft, artisan
create – v. 1) bring into existence; cause; 2) originate (actor creates a part); 3) be
engaged in creative work
244
creative – adj. 1) having the ability to create; 2) characterized by originality of thought;
having or showing imagination; 3) designed to or tending to stimulate the imagination.
– n. creative person, especially one who devises advertising campaigns
crinoline – n. 1) stiff fabric originally of horsehair and linen used in lining garments; 2)
petticoat stiffened with this worn to distend skirts, especially in the mid 19th century
Cubism – n. one of the most influential art movements of the 20th century. In cubist
artworks objects are broken up, analyzed and re-assembled in an abstracted form.
Instead of depicting objects from one viewpoint, the artist depicts the subject from a
multitude of viewpoints to represent it in a greater context
cultural movement – n. change in the way a number of different disciplines approach
their work. This embodies all art forms, the sciences and philosophies
culture – n. 1) intellectual and artistic achievement or expression; 2) refined
appreciation of arts, etc.; 3) customs, achievements, etc. of a particular civilization or
group (Chinese culture); 4) particular civilization at a particular period
curly – n. having or arranged in curls
cushion – n. pad or pillow with soft filling used for resting, reclining or kneeling
customer – n. 1) one that buys goods or services; 2) individual with whom one must
deal
cutting – n. 1) piece cut off from the main part of something; 2) process of shaping and
forming (a dress); 3) article, photograph, etc. cut from a newspaper or other publication
D
damask – n. reversible figured woven fabric, especially white table linen. – adj. made
of damask
dancer – n. performer who dances professionally
decor (décor) – n. 1) style or scheme of interior decoration, furnishings, etc. as in a
room or house; 2) stage decoration; scenery
decoration – n. 1) act, process, technique or art of decorating; 2) something used to
decorate
245
decorative art – n. ornamental and functional work in ceramic, wood, glass, metal or
textile. The field includes ceramics, furniture, furnishings, interior design and
architecture
delineate – v. 1) trace the shape or outline of; sketch; 2) represent pictorially as by
making a chart or diagram; depict
department store – n. large shop divided into departments selling different goods
depict – v. 1) represent by or as by drawing, sculpture, painting, etc.; delineate; portray;
2) represent in words; describe
design – n. 1) plan, sketch or preliminary drawing; 2) arrangement or pattern of
elements or features of an artistic or decorative work; 3) finished artistic or decorative
creation; 4) art of designing; 5) plan, scheme or project. – v. 1) work out the structure or
form of something as by making a sketch, outline, pattern or plan; 2) plan and make
something artistically or skillfully; 3) form or conceive in the mind; invent
detergent – n. cleansing substance that acts similarly to soap but is made from chemical
compounds rather than fats and lye
determining factor – n. argument that is conclusive
diagram – n. plan, sketch, drawing or outline designed to demonstrate or explain how
something works or to clarify the relationship between the parts of a whole
digital – n. 1) of digits; 2) representing data as a series of numerical values
digital photography – n. form of photography that utilizes digital technology to make
digital images of subjects
dimension – n. (often plural) measurement of the size of something in a particular
direction such as the length, width, height or diameter
diminish – v. make or become smaller, fewer or less
director – n. person responsible for the artistic and technical aspects of making a film
or television programme
display – n. 1) act of exhibiting or displaying; show; 2) something exhibited or
displayed; 3) arrangement of certain typefaces to give prominence to headings, captions,
advertisements, etc. – v. 1) show or make visible; 2) give prominence to (headings,
captions, etc.) by the use of certain typefaces
246
distinguish – v. 1) (often followed by ‘from’, ‘between’) differentiate; see or draw
distinctions; 2) be a distinctive feature of; characterize; 3) classify; categorize;
4) make (oneself) noteworthy
documentary photography – n. popular form of photography used to chronicle
significant and historical events. Usually refers to a type of professional
photojournalism, but it may also be an amateur or student pursuit
drafting – n. systematic representation and dimensional specification of mechanical and
architectural structures
drape – v. 1) hang or cover loosely, adorn with cloth, etc.; 2) arrange (hangings, etc.)
especially in folds. – n. 1) (often plural) cloth or hanging that covers something in folds;
drapery; 2) way in which fabric hangs; 3) (US and Canadian) curtains, especially ones
of heavy fabric
draw – n. act of drawing. – v. depict or sketch (a form, figure, picture, etc.) in lines as
with a pencil or pen, especially without the use of colour; delineate
drawing – n. 1) picture or plan made by means of lines on a surface, especially one
made with a pencil or pen without the use of colour; 2) sketch, plan or outline; 3) art of
making drawings; draftsmanship
dress – n. 1) one-piece garment for a woman consisting of a skirt and bodice;
2) complete style of clothing; costume; 3) (modifier) suitable or required for a formal
occasion (a dress shirt). – v. 1) put clothes on; attire; 2) decorate or adorn; 3) arrange a
display in (e.g. dress a store window); 4) comb out or arrange (the hair) into position
dress code – n. set of rules or guidelines regarding the manner of dress acceptable in an
office, restaurant, etc.
dressmaker – n. person whose occupation is making women’s clothes
dry cleaning – n. act of cleaning (clothes, etc.) with solvents without water
duvet – n. thick soft quilt used instead of sheets and blankets
E
easy-to-manage – adj. not difficult, not requiring great effort; one which can be
mastered
247
eclectic – adj. 1) (in art, philosophy, etc.) selecting what seems best from various styles,
doctrines, ideas, methods, etc.; 2) composed of elements drawn from a variety of
sources, styles, etc.
edit – n. 1) assemble, prepare or modify (written material for publication); 2) be editor
(of a newspaper, etc.); 3) prepare (data) for processing by a computer; 4) alter (a text
entered in a word processor, etc.)
editorial – adj. 1) of or relating to editing or editors; 2) of, relating to or expressed in an
editorial; 3) of or relating to the content of a publication rather than its commercial
aspects
editorial photography – n. type of photography which illustrates a story or idea within
the context of a magazine
elaborate – adj. 1) intricate and rich in detail; 2) planned or executed with painstaking
attention to numerous parts or details
electronic media – n. (plural) media that utilize electronics or electromechanical
energy for the end user (audience) to access the content (e.g. video recordings, audio
recordings, multimedia presentations, slide presentations, etc.)
element – n. 1) component part; contributing factor; 2) small amount; hint; 3) basic
component used by the artist when producing works of art
elements of design (art) – basic components used by the artist when producing works
of art. Those elements are colour, value, line, shape, form, texture and space
emboss – v. carve or decorate with a design in relief
embroidery – n. decorative needlework done usually on loosely woven cloth or canvas,
often being a picture or pattern
emphasis – n. 1) special importance or significance; 2) object, idea, etc. that is given
special importance or significance; 3) vigour or intensity of expression; 4) one of the
principles of design (art) which means occurrence of differing elements, such as colour,
value, size, etc.
emphasize – v. put emphasis or prominence to, stress
248
engraved publication – n. 1) sheet of paper folded in half to make two leaves for a
book or manuscript; 2) book or manuscript of the largest common size made up of such
sheets
engraving – n. 1) art or technique of one that engraves; 2) design or text engraved on a
surface; 3) engraved surface for printing; 4) print made from an engraved plate or block
enrich – v. 1) make more beautiful; adorn; decorate; 2) improve in quality, colour,
flavour, etc.
environment – n. 1) external conditions or surroundings, especially those in which
people live or work; 2) operating system, program or integrated suite of programs that
provides all the facilities necessary for a particular application
evening dress – n. attire for wearing at a formal occasion during the evening, especially
(for men) a dinner jacket and black tie or (for women) a floor-length gown
ever-changing – adj. marked by continuous change or effective action
exaggerate – v. make greater, more noticeable, etc. than usual
exceptional – n. forming an exception; not ordinary
exposure latitude – n. extent to which a light-sensitive material can be over or
underexposed and still achieve an acceptable result
Expressionism – n. artistic and literary movement originating in Germany at the
beginning of the 20th century which sought to express emotions rather than to represent
external reality. It is characterized by the use of symbolism, exaggeration and distortion
exquisite – adj. 1) characterized by intricate and beautiful design or execution; 2) of
such beauty or delicacy as to arouse intense delight; 3) excellent; flawless
F
fabric – n. 1) any cloth made from yarn or fibres by weaving, knitting, felting, etc.; 2)
texture of a cloth
fading – n. process of losing brightness, colour or clarity
farthingale – n. support such as a hoop worn beneath a skirt to extend it horizontally
from the waist used by European women in the 16th and 17th centuries
fashion – n. 1) style in clothes, cosmetics, behaviour, etc., especially the latest or most
admired style; 2) (as modifier) e.g. ‘a fashion magazine’; 3) (modifier) (especially of
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accessories) designed to be in the current fashion, but not necessarily to last; 3) manner
of performance; mode; way; 4) way of life that revolves around the activities, dress,
interests, etc. that are most fashionable; 5) shape, appearance or form; 6) sort; kind;
type. – v. 1) give a particular form to; 2) make suitable or fitting
fashion designer – n. someone who designs clothing
fashion house – n. establishment in which fashionable clothes are designed made and
sold
fashion photography – n. popular genre of photography devoted to displaying clothing
and other fashion items. It is most often conducted for advertisements or fashion
magazines
fashion plate – n. 1) illustration of the latest fashion in dress; 2) fashionably dressed
person
fashion show – n. event put on by a fashion designer to showcase his or her upcoming
line of clothing
fashionable – adj. 1) conforming to fashion; in vogue; 2) of or favoured by high
society
feather – n. 1) light horny waterproof structure forming the external covering of birds;
2) (plural) dress; attire
feature – n. 1) prominent or distinctive part or aspect as of a landscape, building, book,
etc.; 2) item or article appearing regularly in a newspaper, magazine, etc.;
3) item advertised or offered as particularly attractive or as an inducement. – v.
1) inducement; 2) depict or outline the features of
figurative art – n. describes artwork, particularly paintings and sculptures which are
clearly derived from real object sources and are therefore representational
filling – n. substance or thing used to fill a space or container
fine art – n. refers to arts that are concerned with a limited number of visual and
performing art forms including painting, sculpture, dance, theatre, architecture and
printmaking
fine art photography – n. refers to photographs that are created in accordance with the
creative vision of the photographer as artist
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fitted sheet – n. sheet (usually with elastic edges) tailored to fit a particular mattress
fitting – n. 1) accessory or part; 2) (plural) furnishings or accessories in a building; 3)
act of trying on clothes so that they can be adjusted to fit. – adj. appropriate or proper;
suitable
flock – n. 1) tuft as of wool, hair, cotton, etc.; 2) waste from fabrics such as cotton,
wool or other cloth used for stuffing mattresses, upholstered chairs, etc.; 3) very small
tufts of wool applied to fabrics, wallpaper, etc. to give a raised pattern. – v. fill, cover or
ornament with flock
floral design (floristry, flower arranging, floral arrangement, floral art) – n. art of
creating flower arrangements in vases, bowls and baskets or making bouquets and
compositions from cut flowers, foliage, herbs, ornamental grasses and other botanical
materials
floriography (language of flowers) – n. Victorian-era means of communication in
which various flowers and floral arrangements were used to send coded messages,
allowing individuals to express feelings which otherwise could not be spoken
flower-only outlet – n. store that sells flowers
focal point – n. 1) point on the axis of a lens or mirror to which parallel rays of light
converge or from which they appear to diverge after refraction or reflection;
2) portion of an artwork’s composition on which interest or attention centers
folk dance – n. 1) traditional dance originating among the common people of a nation
or region; 2) music accompanying such a dance
food photography – n. still life specialization of commercial photography aimed at
producing attractive photographs of food for use in advertisement, packaging, menu or
cookbook
form – n. 1) shape and structure of an object; 2) design, structure or pattern of a work
of art; 3) essence of something; 4) total structure; synthesis of all the visible aspects of
that structure and of the manner in which they are united to create its distinctive
character (element of design (art)). – v. 1) give shape or form to, or take shape or form,
especially a specified or particular shape; 2) come or bring into existence; 3) make,
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produce or construct, or be made, produced or constructed; 4) be an element of, serve as
or constitute
frill – n. 1) decorative edging to a piece of cloth made of a strip of cloth gathered along
one side and sewn on; 2) (often in plural) something unnecessary added as decoration. –
v. adorn or fit with a frill or frills; 2) form into a frill or frills
frilly – adj. having decorative ruffles or frills
fringe – n. 1) edging consisting of hanging threads, tassels, etc.; 2) ornamental border
or margin. – v. 1) adorn or fit with a fringe or fringes; 2) be a fringe for
functional – adj. 1) of, involving or containing a function or functions; 2) practical
rather than decorative; utilitarian; 3) capable of functioning; working
fundamental variable – n. essential peculiarity
fur – n. 1) thick coat of soft hair covering the skin of a mammal such as a fox or beaver;
2) hair-covered, dressed pelt of such a mammal used in the making of garments and as
trimming or decoration; 3) garment made of or lined with the dressed pelt of a mammal;
4) coating similar to the pelt of a mammal
furnish – v. 1) provide (a house, room, etc.) with furniture, carpets, etc.; 2) equip with
what is necessary; fit out; 3) give; supply
furnishings – n. (plural) furniture and accessories including carpets and curtains with
which a room, house, etc. is furnished
furniture – n. movable, generally functional articles that equip a room, house, etc.
Futurism – n. artistic movement that arose in Italy in 1909 to replace traditional
aesthetic values with the characteristics of the machine age
G
garment – n. 1) (often plural) article of clothing; 2) outer covering
gingham – n. cotton fabric, usually woven of two coloured yarns in a checked or striped
design
glamour photography – n. genre of photography whereby the subjects, usually female,
are portrayed in a romantic way. It is generally a composed image of a subject in a still
position. The subjects of glamour photography are often professional models and the
photographs are normally intended for commercial use
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gown – n. 1) long loose flowing garment such as a robe or nightgown; 2) long, usually
formal dress for a woman
graphic design – n. visual communication by a skillful combination of text and pictures
in advertisements, magazines, books, etc.
grid – n. framework or pattern of criss-crossed or parallel lines
H
hair colouring – n. process or art of dyeing or tinting one’s hair
hair spray – n. sticky, quick-drying liquid sprayed on the hair to keep it in place
hairdresser – n. person whose occupation is to cut or style hair in order to change or
maintain a person’s image
hairdressing – n. 1) occupation of a hairdresser; 2) act of dressing or arranging the hair;
3) cosmetic or medicinal preparation for dressing the hair
Hanakotoba – n. Japanese language of flowers
hang – v. 1) (of cloth, clothing, etc.) drape, fall or flow, especially in a specified
manner; 2) furnish, decorate or appoint by suspending objects around or about;
3) display as in a gallery or office
hard wear – n. elastic, durable and tough clothes
harmony – n. 1) agreement in action, opinion, feeling, etc.; accord; 2) principle of
design (art) which refers to the way of combining elements of art to accent their
similarities and bind the picture parts into a whole
hat – n. any of various head coverings, especially one with a brim and a shaped crown
haute couture – n. 1) high fashion; 2) leading establishments or designers for the
creation of exclusive fashions
headband – n. ribbon or band worn around the head
heavy-duty – adj. made to withstand hard wear, bad weather, etc.
helmet – n. piece of protective or defensive armour for the head worn by soldiers,
policemen, firemen, divers, etc.
highlight – n. 1) (often plural) bleached blond streak in the hair; 2) area of the lightest
tone in a painting, drawing, photograph, etc.
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hook – n. piece of material, usually metal, curved or bent and used to suspend, catch,
hold or pull something
horticulture – n. art or science of cultivating gardens
human-computer interaction – n. study of interaction between people (users) and
computers. It is often regarded as the intersection of computer science, behavioural
sciences, design and several other fields of study
hypertext markup language (HTML) – n. text description language that is used for
electronic publishing, especially on the World Wide Web
I
ideogram – n. sign or symbol that directly represents a concept, idea or thing rather
than a word or set of words for it
ikebana – n. Japanese decorative art of flower arrangement
illusion – n. 1) deceptive or misleading image or idea; 2) fine transparent cloth used for
dresses or trimmings
illustrate – v. 1) clarify or explain by use of examples, analogy, etc.; 2) be an example
or demonstration of; 3) explain or decorate (a book, text, etc.) with pictures
illustration – n. 1) pictorial matter used to explain or decorate a text; 2) example or
demonstration; 3) act of illustrating or state of being illustrated
image – n. 1) representation of an object; 2) mental representation or picture; idea
produced by the imagination. – v. 1) picture in the mind; imagine; 2) make or reflect an
image of; 3) portray or describe; 4) project or display on a screen or visual display unit
imagery – n. 1) set of mental pictures or images; 2) ability to form mental images of
things or events
imagination – n. 1) ability or action of producing ideas, especially mental images of
what is not present or has not been experienced; 2) mental creative ability
imaging – n. visual representation of an object using different computerized techniques
incorporate – v. 1) unite (one thing) with something else already in existence;
2) give substance or material form to; embody
industrial design – n. art or practice of designing any object for manufacture
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information architecture – n. art and science of expressing a model or concept of
information used in activities that require explicit details of complex systems. Among
these activities are library systems, web development, user interactions, database
development, programming, technical writing, enterprise architecture and critical
system of software design
infrared camera (thermographic camera) – n. device that forms an image using
infrared radiation, similar to a common camera that forms an image using visible light
in-house – adj./adv. within an organization or group
innovative – n. using or showing new methods, ideas, etc.
intensity – n. 1) state or quality of being intense; 2) strength of a colour, especially the
degree to which it lacks its complementary colour
interaction design – n. discipline of defining the behaviour of products and systems
that a user can interact with. The practice typically centers around complex technology
systems such as software, mobile devices and other electronic devices. Interaction
design defines the behaviour (interaction) of an artefact or system in response to its
users
interior – n. 1) inside of a building or room with respect to design and decoration;
2) picture of the inside of a room or building as in a painting or stage design; 3) film or
scene shot inside a building, studio, etc.
interior architecture – n. combines practices of interior design and architecture. The
field is similar to architecture as it deals with architectural elements. It is similar to
interior design as it focuses on interior spaces
interior design – n. planning and realization of the layout, furnishing and decoration of
an architectural interior
interior landscaping – n. decorative and functional modification and planting of
grounds, especially at or around a building site
invent – v. create or devise (new ideas, machines, etc.)
invention – n. 1) act or process of inventing; 2) something that is invented;
3) creative power or ability; inventive skill
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iron – v. smooth (clothes or fabric) by removing (creases or wrinkles) using a heated
iron; press
J
Jack of all trades – person who is competent with many skills but is not outstanding in
any one
jacket – n. 1) short coat, especially one that is hip-length and has a front opening and
sleeves
jersey – n. 1) knitted garment covering the upper part of the body; 2) machine-knitted
slightly elastic cloth of wool, silk, nylon, etc. used for clothing
jewellery – n. objects that are worn for personal adornment such as bracelets, rings,
necklaces, etc. considered collectively
K
keyframe – n. (in animation and filmmaking) drawing which defines the starting and
ending points of any smooth transition
king-size (queen-size) – adj. very large
knitted – adj. made by intertwining threads in a series of connected loops rather than by
weaving
L
label – n. 1) piece of paper, card or other material attached to an object to identify it or
give instructions or details concerning its ownership, use, nature, destination, etc.; tag;
2) distinctive name or trademark identifying a product or manufacturer, especially a
recording company
lace – n. 1) fine open fabric or trimming made by weaving thread in patterns; 2) cord,
etc. passed through holes or hooks for fastening shoes, etc.
lampshade – n. any of various protective or ornamental coverings used to screen a light
bulb
landscape photography – n. popular style of photography intended to show different
spaces within the world, vast and unending, or microscopic. Photographs typically
capture the presence of nature and are often free of man-made obstructions
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lapel – n. part of a garment such as a coat or jacket that is an extension of the collar and
folds back against the breast
launch – v. formally introduce (a new product) with publicity. – n. act of launching
laundering – n. act of washing clothes and linen (usually with soap and water)
layout – n. 1) arrangement or plan of something such as a building; 2) arrangement of
written material, photographs or other artwork on an advertisement or page in a book,
newspaper, etc.; 3) act of laying out
leather – n. material consisting of the skin of an animal made smooth and flexible by
tanning, removing the hair, etc.; 2) (plural) leather clothes; 3) leather part(s) of a thing
leotard – n. tight-fitting garment covering the body from the shoulders down to the
thighs and worn by acrobats, ballet dancers, etc.
light-hearted – adj. 1) cheerful or carefree in mood or disposition; 2) casual
lighting designer – n. one who works with the director, set designer, costume designer,
and sometimes the sound designer and choreographer, to create an overall ‘look’ for the
show in response to the text while keeping in mind issues of visibility, safety and cost
light-sensitive – adj. (of a surface) having a photoelectric property such as the ability to
generate a current, change its electrical resistance, etc. when exposed to light
line – n. 1) element of design (art) which refers to the continuous mark made on some
surface by a moving point; 2) mark used to define a shape or represent a contour; 3) any
of the marks that make up the formal design of a picture. – v. mark with a line or lines;
2) draw or represent with a line or lines; 3) be or put as a border to (e.g. tulips lined the
lawns)
linear perspective – n. form of perspective in drawing and painting in which parallel
lines are represented as converging so as to give the illusion of depth and distance
linen – n. 1) hard-wearing fabric woven from flax; 2) clothes, sheets, tablecloths, etc.
made from linen cloth or from a substitute such as cotton. – adj. made of linen
living room – n. room in a private residence intended for general social and leisure
activities
lock – n. strand, curl or cluster of hair
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logo (logogram, logotype) – n. name, symbol or trademark designed by a graphic
designer and commonly used by commercial enterprises, organizations and even
individuals to aid and promote instant public recognition. Logos are either purely
graphic or are composed of the name of the organization
luxurious – adj. 1) characterized by luxury; 2) enjoying or devoted to luxury
M
makeup artist – n. artist who creates makeup and prosthetics for theatrical, television,
film and other similar productions including all aspects of the modeling industry
man-made – adj. made or produced by man; artificial
manufacture – n. 1) production of goods, especially by industrial processes;
2) manufactured product; 3) creation or production of anything. – v. 1) make or process
(a raw material) into a finished product, especially by means of a large-scale industrial
operation; 2) make or process (a product), especially with the use of industrial machines
marketing – n. 1) act or process of buying and selling in a market; 2) commercial
functions involved in transferring goods from producer to consumer
mask – n. 1) any covering for the whole or a part of the face worn for amusement,
protection, disguise, etc.; 2) image of a face worn by an actor, especially in ancient
Greek and Roman drama, in order to symbolize the character being portrayed
mass-produced – adj. produced in quantity often by assembly-line techniques
masterpiece – n. 1) outstanding work, achievement or performance; 2) most
outstanding piece of work of a creative artist, craftsman, etc.
material – n. cloth or fabric
mend – v. 1) repair (something broken or unserviceable); 2) improve or undergo
improvement; reform
merchandise – n. goods for sale. – v. 1) buy and sell goods; trade commercially;
2) advertise or promote (goods, ideas, etc.)
merchant – n. 1) one whose occupation is the wholesale purchase and retail sale of
goods for profit; 2) one who runs a retail business; a shopkeeper
model – n. 1) representation, usually on a smaller scale, of a device, structure, etc.;
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2) standard to be imitated; 3) representative form, style or pattern; 4) person who poses
for a sculptor, painter or photographer; 5) person who wears clothes to display them to
prospective buyers; mannequin; 6) preparatory sculpture in clay, wax, etc. from which
the finished work is copied; 7) design or style, especially one of a series of designs of a
particular product. – v. 1) make a model of (something or someone); 2) form in clay,
wax, etc.; mould; 3) display (clothing and accessories) as a mannequin; 4) plan or create
according to a model or models
monochrome – n. 1) black-and-white photograph or transparency; 2) (photography)
black and white; 3) picture, especially a painting done in different shades of a single
colour
mosaic – n. 1) design or decoration made up of small pieces of coloured glass, stone,
etc.; 2) process of making a mosaic
motion design – n. subset of graphic design. It uses graphic design principles in a film
or video context through the use of animation or filmic techniques
motto – n. 1) brief statement used to express a principle, goal or ideal; 2) sentence,
phrase or word of appropriate character inscribed on or attached to an object
multimedia – n. (plural) 1) combined use of media such as movies, music, lighting,
CD-ROMs and the Internet, as for education or entertainment; 2) combined use of
media such as television, radio, print and the Internet as for advertising or publicity. –
adj. 1) of or relating to the use of a combination of media; 2) of or relating to any of
various systems which can manipulate data in a variety of forms such as sound, graphics
or text
musical comedy – n. 1) play or film, usually having a light romantic story that consists
of dialogue interspersed with singing and dancing; 2) such plays and films collectively
musician – n. one who composes, conducts or performs music, especially instrumental
music
N
nap – n. raised pile on textiles, especially velvet
natural – adj. 1) present in or produced by nature; 2) not artificially dyed or coloured
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navigation – n. process of reading and controlling the movement of a craft or vehicle
from one place to another
needle – n. 1) pointed slender piece of metal, usually steel, with a hole or eye in it
through which thread is passed for sewing; 2) somewhat larger rod with a point at one
or each end used in knitting; 3) similar instrument with a hook at one end for crocheting
New Look – n. fashion in women’s clothes introduced in 1947 by Dior characterized by
long full skirts
nylon – n. 1) tough light elastic synthetic fibre; 2) nylon fabric
O
oil painting – n. 1) picture painted with oil paints; 2) art or process of painting with oil
paints
opacity – n. 1) state or quality of being opaque; 2) degree to which something is
opaque; 3) opaque object or substance
optical filter – n. (photography) device which selectively transmits light having certain
properties while blocking the remainder
optics – n. (plural) any of the lenses, prisms or mirrors of an optical instrument
ornament – n. 1) anything that enhances the appearance of a person or thing;
2) decorations collectively; 3) small decorative object. – v. 1) furnish with ornaments;
2) serve as an ornament to
ornamental grass – n. grass grown as ornamental plant
ornamentation – n. 1) act or process of decorating, adorning or embellishing;
2) state of being decorated, adorned or embellished; 3) something that decorates or
adorns; an embellishment
outline – n. 1) preliminary or schematic plan, draft, account, etc.; 2) drawing or manner
of drawing consisting only of external lines. – v. 1) draw or display the outline of; 2) to
give the main features or general idea of
overtone – n. additional meaning or nuance
P
page layout – n. part of graphic design that deals with the arrangement and style
treatment of elements (content) on a page
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paint elevation – n. scale painting of each element that requires painting supplied to the
scenic painter
painter – n. one who paints, either as an artist or worker
painting – n. 1) art or process of applying paints to a surface such as canvas, to make a
picture or other artistic composition; 2) composition or picture made in this way;
3) act of applying paint to a surface with a brush
palette – n. 1) flat piece of wood, plastic, etc. used by artists as a surface on which to
mix their paints; 2) range of colours characteristic of a particular artist, painting or
school of painting; 3) available range of colours or patterns that can be displayed by a
computer on a visual display unit
pants – n. (plural) US and Canadian name for ‘trousers’. Garment shaped to cover the
body from the waist to the ankles or knees with separate tube-shaped sections for both
legs
parchment – n. 1) skin, especially of sheep or goat, prepared for writing or painting on;
2) manuscript written on this; 3) high-grade paper resembling parchment
patchwork – n. needlework done by sewing pieces of different materials together
pattern – n. 1) arrangement of repeated or corresponding parts, decorative motifs, etc;
2) decorative design; 3) style; 4) plan or diagram used as a guide in making something;
5) representative sample. – v. 1) model; 2) arrange as or decorate with a pattern
performance – n. 1) act of performing or the state of being performed; 2) act or style of
performing a work or role before an audience; 3) presentation, especially a theatrical
one, before an audience
performer – n. artist who participates in performing arts in front of an audience (actor,
comedian, dancer, magician, musician, singer)
permanent wave – n. 1) hairstyle produced by treatment with heat, chemicals, etc.
which gives long-lasting waves, curls or other shaping; 2) act of giving or receiving
such a hairstyle
petticoat – n. woman’s light undergarment in the form of an underskirt or including a
bodice supported by shoulder straps
photographer – n. person who takes photographs, either as a hobby or a profession
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photographic lens (objective lens, photographic objective) – n. optical lens or
assembly of lenses used in conjunction with a camera body and mechanism to make
images of objects either on photographic film or on other media capable of storing an
image chemically or electronically
photographic paper – n. paper coated with light-sensitive chemicals used for making
photographic prints
photography – n. process, activity and art of creating still or moving pictures by
recording radiation on a radiation-sensitive medium such as a photographic film or an
electronic sensor
pigment – n. colouring matter used as paint or dye
pillow – n. 1) cloth case stuffed with feathers, foam rubber, etc. used to support the
head, especially during sleep; 2) decorative cushion
pillow case – n. removable washable cover of cotton, linen, nylon, etc. for a pillow
pin – n. ornament fastened to clothing by means of a clasp
pixel – n. basic unit of the composition of an image on a television screen, computer
monitor or similar display
pleat – n. fold in cloth made by doubling the material upon itself and then pressing or
stitching it into place. – v. arrange (material, part of a garment, etc.) in pleats
polyester – n. synthetic fibre or resin
polyurethane foam – n. foam made by adding water to polyurethane plastics
popularize – v. 1) make popular; make attractive to the general public; 2) make or
cause to become easily understandable or acceptable
porcelain – n. 1) hard white translucent ceramic made by firing a pure clay and then
glazing it with variously coloured fusible materials; china; 2) object made of this
substance or such objects collectively
portrait – n. painting, photograph, sculpture or other artistic representation of a person
in which the face and its expression is predominant
portraiture – n. 1) practice or art of making portraits; 2) portraits collectively
positive – n. photographic image in which the lights and darks appear as they do in
nature
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power loom – n. textile machine for weaving yarn into a textile operated mechanically
preference – n. 1) selecting of someone or something over another or others; 2) state of
being preferred
press – v. apply heat or pressure to (clothing) so as to smooth out creases; iron
press release – n. announcement of an event, performance or other newsworthy item
that is issued to the press
prêt-à-porter – n. ready-to-wear clothing
primary colours – n. yellow, red (magenta) and blue (cyan) colours from which it is
possible to mix all the other colours of the spectrum - also known as the subtractive or
colorant primaries. Thus pigments that reflect light of one of these wavelengths and
absorb other wavelengths may be mixed to produce all colours
print – n. 1) design or picture printed from an engraved plate, wood block or other
medium; 2) positive photographic image in colour or black and white produced, usually
on paper, from a negative image on film; 3) fabric with a printed design;
4) printed publication such as a newspaper or book. – v. 1) press (a mark or design) onto
or into a surface; 2) offer in printed form; publish; 3) produce a photographic print from
(a negative)
producer – n. 1) person responsible for the artistic direction of a play including
interpretation of the script, preparation of the actors and overall design; 2) person who
takes overall administrative responsibility for a film or television programme
productivity – n. quality of being productive or having the power to produce
prop – n. (abbreviated from ‘theatrical property’) any object held or used on stage by an
actor which contributes to the plot or story line of a theatrical production
propmaster – n. (abbreviated from ‘property master’) artistic and organizational
employee in a film, television or theatrical production who is responsible for
purchasing, acquiring or manufacturing any props needed for a production
proportion – n. 1) principle of design which refers to the comparative, proper or
harmonious relationship of one part to another or to the whole with respect to size,
quantity or degree; ratio; 2) balance or symmetry; 3) (plural) dimensions or size
prowess – n. outstanding or superior skill or ability
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publisher – n. company or person engaged in publishing periodicals, books, music, etc.
puffed – adj. gathered for protruding fullness
pullover – n. garment such as a sweater that is put on by being drawn over the head
purchase – n. something that is purchased, especially an article bought with money. – v.
obtain (goods, etc.) by payment
Q
quality – n. 1) distinguishing characteristic, property or attribute; 2) degree or
standard of excellence, especially a high standard. – adj. having a high degree of
excellence
quilt – n. 1) thick warm cover for a bed consisting of a soft filling sewn between two
layers of material, usually with crisscross seams; 2) anything quilted or resembling a
quilt
R
rayon – n. textile fabric made from cellulose
ready-to-wear – adj. (of clothes) not tailored for the wearer; of a standard size. – n.
article or suit of such clothes
realism – n. 1) inclination toward literal truth and pragmatism; 2) representation in art
or literature of objects, actions or social conditions as they actually are without
idealization or presentation in abstract form
refinement – n. small alteration that you make to something in order to improve it
reflect – v. 1) throw back (light, heat, sound, etc.) from a surface; 2) show or express
rehearsal – n. session of practising a play, concert, speech, etc. in preparation for public
performance
rendering – n. 1) act or an instance of performing a play, piece of music, etc.;
2) perspective drawing showing an architect’s idea of a finished building, interior, etc.
repetition – n. 1) act or process or an instance of repeating or being repeated;
2) principle of design (art) which is closely related to harmony and refers to the way of
combining elements of art so that the same elements are used over and over again
requirement – n. 1) something that is required; necessity; 2) something obligatory;
prerequisite
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rescale – v. establish on a new scale
research – n. systematic investigation to establish facts or principles, or to collect
information on a subject
resolution – n. ability of a television or film image to reproduce fine detail
revamp – v. patch up or restore; renovate
rhythm – n. 1) (in painting, sculpture, architecture, etc.) harmonious sequence or
pattern of masses alternating with voids, of light alternating with shade, of alternating
colours, etc.; 2) principle of design (art) that refers to a regular repetition of elements of
art to produce the look and feel of movement
ribbon – n. narrow strip or band of fabric used especially for trimming or decoration
rinse – n. temporary hair tint
rivet – n. short metal pin for fastening two or more pieces together having a head at one
end, the other end being hammered flat after being passed through holes in the pieces
Rococo – n. style of architecture and decoration that originated in France in the early
18th century characterized by elaborate but graceful, light ornamentation, often
containing asymmetrical motifs
roller – n. small cylinder on which hair is rolled for setting
roller blind – n. window shade that rolls up out of the way
rug – n. floor covering smaller than a carpet and made of thick wool or of other material
such as an animal skin
runway (catwalk) – n. narrow ramp extending from the stage into the audience in a
theatre, nightclub, etc., especially as used by models in a fashion show
S
satin – n. 1) smooth fabric as of silk or rayon woven with a glossy face and a dull back;
2) garment made of this fabric. – adj. made of or covered with satin
saturation – n. colour’s purity of hue; its intensity
scale model – n. representation or copy of an object that is larger or smaller than the
actual size of the object
scalene triangle – n. triangle with no two sides of equal length
scene – n. 1) theatre stage; 2) scenery and properties for a dramatic presentation;
265
3) place in which the action of a play, movie, novel or other narrative occurs; a setting;
4) subdivision of an act in a dramatic presentation in which the setting is fixed and the
time continuous; 5) prospect of a place, landscape, etc.
scenographer – n. person who develops the appearance of a stage design, a TV or
movie set, a gaming environment, a trade fair exhibition design or a museum experience
exhibition design
script – n. written copy for the use of performers in films and plays. – v. write a script
for
sculptor – n. person who practises sculpture
sculpture – n. 1) art of making three-dimensional or relief forms by chiselling, carving,
modelling, casting, etc.; 2) work of sculpture. – v. 1) represent in or adorn with
sculpture; 2) practise sculpture
set – n. 1) scenery and other props used in and identifying the location of a stage or
television production, film, etc.; 2) fit or hang of a garment, especially when worn;
3) group of persons sharing a common interest. – v. 1) arrange in a particular fashion,
especially an attractive one; 2) (of clothes) hang or fit (well or badly) when worn;
3) arrange (a stage, television studio, etc.) with scenery and props
settee – n. 1) long wooden bench with a back; 2) small or medium-sized sofa
setting – n. 1) surroundings in which something is set; scene; 2) scenery, properties or
background used to create the location for a stage play, film, etc.
setup – n. 1) way in which anything is organized or arranged; 2) position of the camera,
microphones and performers at the beginning of a scene
sew – v. 1) join or decorate (pieces of fabric, etc.) by means of a thread repeatedly
passed through with a needle or similar implement; 2) (often followed by ‘on’ or ‘up’)
attach, fasten or close by sewing; 3) make (a garment, etc.) by sewing
sewer – n. person who sews
sewing – n. material or work to be sewn
sewing machine – n. machine for sewing, often having additional attachments for
special stitching
266
shade – n. 1) relative darkness produced by the blocking out of light; 2) darker area
indicated in a painting, drawing, etc. by shading; 3) colour that varies slightly from a
standard colour due to a difference in hue, saturation or luminosity
shadow – n. 1) area that is not or is only partially illuminated because an opaque object
is between the area and the source of light; 2) image cast by an object blocking rays of
illumination. – v. 1) cast a shadow over; 2) make dark or gloomy; 3) shade from light
shape – n. 1) outward form of an object defined by outline; 2) figure or outline of the
body of a person; 3) something used to provide or define form, pattern, mould;
4) element of design (art) which refers to enclosed space defined and determined by
other art elements such as line, colour, value and texture. – v. 1) give a particular form
to, create; 2) cause to conform to a particular form or pattern; adapt to fit
shave – v. remove bristles or hair with a razor
shawl – n. piece of fabric, knitted or crocheted material worn over the shoulders or head
shawl collar – n. collar rolled back in a continuous and tapering line along the surplice
neckline of a garment
shoe – n. durable covering for the human foot made of leather or similar material with a
rigid sole and heel, usually extending no higher than the ankle
shorts – n. (plural) trousers reaching the top of the thigh or partway to the knee worn
by both sexes for sport, relaxing in summer, etc.
silhouette – n. 1) picture showing the outline only, usually in black on white or cut
from paper; 2) dark shadow or outline against a lighter background; 3) (in fashion)
shape of the human body. – v. represent or show in silhouette
silk – n. 1) very fine, soft fibre made by silkworms; 2) thread, cloth, etc. made from this
fibre
silverwork – n. decorative work done in silver
sketch – n. 1) rough or unfinished drawing or painting; 2) rough draft or general
outline. – v. 1) make or give a sketch of; 2) draw sketches; 3) outline briefly
skill – n. ability to do something well; technique, expertise
skirt – n. 1) woman’s garment hanging from the waist; 2) part of a coat, etc. hanging
below the waist
267
slashed – n. having long and narrow ornamental cuts showing an underlying fabric
sleek – adj. smooth and shiny; polished
sleeve – n. part of a garment covering the arm
slide projector – n. opto-mechanical device to view photographic slides
social event – n. event characteristic of persons forming groups
space – n. 1) unlimited three-dimensional expanse in which all material objects are
located; 2) blank portion or area; 3) unoccupied area or room; 4) element of design (art)
that refers to the distance or area between, around, above, below or within things. – v.
place or arrange at intervals or with spaces between; 2) separate (letters, words or lines)
by the insertion of spaces
stained glass – n. glass that has been coloured in any of various ways as by fusing with
a film of metallic oxide or burning pigment into the surface used especially for church
windows
stiff – adj. rigid, inflexible
stole – n. woman’s long scarf of cloth or fur worn by women
style – n. 1) form of appearance, design or production; 2) way in which something is
done; 2) distinctive, formal or characteristic manner of expression in words, music,
painting, etc.; 3) elegance or refinement of manners, dress, etc.; 4) prevailing fashion in
dress, look, etc.; 5) fashionable mode of existence (e.g. to live in style);
6) particular mode of orthography, design, etc. followed in a book, journal or in a
printing or publishing house. – v. 1) design, shape or tailor (e.g. to style hair);
2) adapt or make suitable; 3) make consistent or correct according to a printing or
publishing style
stylish – adj. having style; smart; fashionable
suit – n. 1) set of matching outer garments, especially one consisting of a coat with
trousers or a skirt; 2) outfit for a special activity. – v. 1) make or be fit or appropriate
for; 2) please; satisfy; 3) provide with clothing; dress; 4) meet the requirements of; fit
T
tablecloth – n. cloth spread over a table, especially for meals
268
tailor – n. one who makes, repairs and alters clothing professionally, especially suits
and men’s clothing. – v. cut or style (material, clothes, etc.) to satisfy certain
requirements
tapestry – n. heavy ornamental fabric, often in the form of a picture, used for wall
hangings, furnishings, etc. and made by weaving coloured threads into a fixed warp
tassel – n. tuft of loose threads secured by a knot or ornamental knob used to decorate
soft furnishings, clothes, etc. – v. adorn with a tassel or tassels
taste – n. 1) personal preference or liking; 2) ability to make discerning judgments
about aesthetic, artistic and intellectual matters; 3) judgment of aesthetic or social
matters according to a generally accepted standard
tease – v. (US and Canadian) comb the under layers of the hair towards the roots to give
more bulk to a hairstyle
tertiary colour – n. colour formed by mixing two secondary colours
textile – n. 1) any fabric or cloth, especially woven; 2) raw material suitable to be made
into cloth; fibre or yarn. – adj. of or relating to fabrics or the making of fabrics
texture – n. 1) structure of interwoven fibers or other elements; 2) distinctive physical
composition or structure of something, especially with respect to the size, shape and
arrangement of its parts; 3) element of design (art) which is the surface quality or ‘feel’
of an object, its smoothness, roughness, softness, etc.
thread – n. 1) fine strand, filament or fibre of some material; 2) fine cord of twisted
filaments, especially of cotton, used in sewing, weaving, etc.
tights – n. (plural) 1) snug stretchable garment covering the body from the waist or
neck down designed for general wear by women and girls; 2) similar garment designed
for athletic use worn especially by acrobats and dancers
timeline – n. 1) graphic representation showing the passage of time as a line; 2) time
frame during which something is scheduled to happen
tint – n. 1) shade of a colour, especially a pale one; 2) colour that is softened or
desaturated by the addition of white; 3) tinge; 4) semipermanent dye for the hair
tone – n. 1) quality of a given colour as modified by mixture with white or black; shade;
tint; 2) overall effect of the colour values and gradations of light and dark in a picture;
269
3) (photography) colour or shade of colour including black or grey, of a particular area
on a negative or positive that can be distinguished from surrounding lighter or darker
areas. – v. 1) give a tone to or correct the tone of; 2) (photography) soften or change the
colour of the tones of a photographic image by chemical means
top – n. garment, especially for a woman, that extends from the shoulders to the waist
or hips
torn – adj. split or cut
trademark – n. distinctive sign or indicator used by an individual, company or other
entity to identify its products or services and to distinguish them from those of other
producers
tragedy – n. 1) drama or literary work in which the main character is brought to ruin or
suffers extreme sorrow, especially as a consequence of a tragic flaw, moral weakness or
inability to cope with unfavorable circumstances; 2) genre made up of such works; 3)
art or theory of writing or producing these works
transparency – n. still, positive image created on a transparent base using
photochemical means
treat – v. 1) subject to a process or to the application of a substance; 2) deal with or
regard in a certain manner
trend – n. 1) general tendency or direction 2) fashion; mode
trendsetter – n. person or thing that creates or may create a new fashion
trim – v. 1) make neat or of the required size or form, especially by cutting away
irregular or unwanted parts; 2) (followed by ‘off’ or ‘away’) cut off (unwanted parts); 3)
ornament, decorate. – n. 1) ornament or decorative material; 2) trimming of a person’s
hair
trimming – n. 1) ornamentation or decoration, especially for clothing; 2) (plural) parts
that are cut off
tunic – n. any of various hip-length or knee-length garments such as the loose
sleeveless attire worn in ancient Greece or Rome, the jacket of some soldiers or a
woman’s hip-length garment worn with a skirt or trousers
270
turban – n. 1) traditionally Muslim headdress consisting of a long scarf of linen, cotton
or silk that is wound around a small cap or directly around the head;
2) woman’s close-fitting hat that consists of material wound around a small inner cap
tussie-mussie (nosegay, posy, flower bouquet) – n. small bunch of flowers typically
given as a gift
tutu – n. very short skirt worn by ballerinas made of projecting layers of stiffened sheer
material
twig – n. any small branch or shoot of a tree or other woody plant
two-dimensional – adj. 1) having only two dimensions, especially length and width; 2)
(of painting or drawing) lacking the characteristics of form or depth
typography – n. art, craft and techniques of type design, modifying type glyphs and
arranging type. Type glyphs (characters) are created and modified using a variety of
illustration techniques. The arrangement of type is the selection of typefaces, point size,
line length, leading (line spacing) and letter spacing
U
uniform – n. 1) prescribed identifying set of clothes for the members of an organization
such as soldiers or schoolchildren; 2) single set of such clothes;
3) characteristic feature or fashion of some class or group. – adj. 1) unvaried in texture,
colour or design; 2) always the same as in character or degree; unvarying;
3) conforming to one principle, standard or rule; consistent
unisex – adj. of or relating to clothing, hairstyle, etc. that can be worn by either sex
unity – n. 1) state or quality of being one; singleness; 2) act, state or quality of forming
a whole from separate parts; 3) uniformity or constancy; 4) ordering of all elements in a
work of art or literature so that each contributes to a unified aesthetic effect (principle of
design (art))
user-friendly – adj. 1) easy to use or understand; 2) (of a computer system) easily
operated and understood by means of a straightforward guide in jargon-free language
V
value – n. 1) worth, desirability, utility or the qualities on which these depend; 2) one of
the elements of design (art) which refers to luminance or luminosity – the lightness or
271
darkness of a colour. – v. assess or estimate the worth, merit or desirability of
something; appraise
variety – n. 1) quality or condition of being various or varied; diversity; 2) principle of
design (art) that refers to a way of combining elements of art in involved ways to
achieve intricate and complex relationships
vector format – n. used to represent the vector graphics on the screen in CAD and
computer graphics
velvet – n. soft fabric with a thick short pile on one side. – adj. of, like or soft as velvet
versatility – n. state or quality of being versatile, ability to be adapted to many different
uses, skills, etc.
visual – adj. 1) of or relating to the sense of sight; 2) seen or able to be seen by the eye;
visible; 3) optical; 4) having the nature of or producing an image in the mind. – n. 1)
sketch to show the proposed layout of an advertisement as in a newspaper;
2) (often plural) photograph, film or other display material
visual arts – n. (plural) arts of painting, sculpting, photography, etc. as opposed to
music, drama and literature
visual communication – n. відозв’язок; телевізійний зв’язок
W
waist – n. 1) constricted part of the trunk between the ribs and hips; 2) part of a garment
covering the waist
wallpaper – n. 1) paper usually printed or printed with designs for pasting onto walls as
a decorative covering; 2) picture or design displayed on the background of a computer
screen. – v. cover (a surface) with wallpaper
wardrobe – n. 1) tall closet or cupboard with a rail or hooks on which to hang clothes;
2) total collection of articles of clothing belonging to one person;
3) collection of costumes belonging to a theatre or theatrical company
warp – n. yarns arranged lengthways on a loom forming the threads through which the
weft yarns are woven
washable – adj. (especially of fabrics or clothes) capable of being washed without
deteriorating
272
washing – n. 1) articles washed or intended to be washed at one time; 2) liquid in which
an article has been washed
wear – v. 1) have (a garment, etc.) on one’s person as clothing, ornament, etc.;
2) exhibit or present. – n. 1) act of wearing or state of being worn; 2) anything designed
to be worn (e.g. sportswear; footwear)
weave – v. form (a fabric) by interlacing (yarn, etc.), especially on a loom
web application – n. application that is accessed over a network such as the Internet or
an intranet
well-equipped – adj. having sufficient equipment, supplies or abilities
widespread – adj. 1) extending over a wide area; 2) accepted by or occurring among
many people
wig – n. artificial head of hair
wool – n. 1) outer coat of sheep, yaks, etc. which consists of short curly hairs; 2) yarn
spun from the coat of sheep, etc. used in weaving, knitting, etc.; 3) cloth or a garment
made from this yarn
work of art – n. 1) piece of fine art such as a painting or sculpture; 2) something
likened to a piece of fine art, especially in beauty or craft
workmanship – n. degree of skill in doing a task or of finish in the product made
workshop – n. room, area or small establishment where manual or light industrial work
is done
woven – n. material or a fabric made by weaving. – adj. made by weaving
wreath – n. flower arrangement consisting of a circular band of foliage or flowers for
ornamental purposes
wristlet – n. band or bracelet worn around the wrist
writer – n. one who writes, especially as an occupation
273
Список використаної літератури
1. A history of interior design by John Pile – London: Laurence King Publishing,
2005. – 464 P.
2. A world history of art by Hugh Honour, John Fleming – London: Laurence King,
2005. – 936 P.
3. All new kitchen idea book by Joanne Kellar Bouknight – Newtown, CT: Taunton
Press, 2009. – 218 P.
4. Art history: the key concepts by Jonathan P. Harris – NY: Routledge, 2006. – 346
P.
5. Artistic photo quilts: create stunning quilts with your camera, computer & cloth by
Charlotte Ziebarth – Lafayette, CA: C&T Pub., 2009. – 95 P.
6. Basic Hairdressing by Catherine Avadis – Cheltenham, Glos.: Nelson Thornes,
2003. – 184 P.
7. Costume design by Deborah Nadoolman – Landis , 2003. – 176 P.
8. Costume design: techniques of modern masters by Lynn Pecktal – Back Stage
Books,1999. – 256 P.
9. Creative careers in fashion: 30 ways to make a living in the world of couture by
Debbie Hartsog – New York: Allworth Press, 2007. – 272 P.
10. Design Basics by David A. Lauer, Stephen Pentak – Australia; United States:
Thomson/Wadsworth, 2008. – 308 P.
11. Designing corporate identity: graphic design as a business strategy by Pat Matson
Knapp – Boston: Rackport Publishers, 2001. – 160 P.
12. Floral designing by Ronald King, various – Delhi: Global Media, 2007.
13. Ganzheitliche Corporate Identity: Form, Verhalten und Kommunikation erfolgreich
gestalten von Gerhard Regenthal – Wiesbaden: Gabler, 2003. – 270 S.
14. Graphic design that works: secrets for successful logo, magazine, brochure,
promotion, and identity design by Cheryl Dangel Cullen; et al – Gloucester, Mass.:
Rockport, 2004. – 352 P.
15. Graphic design: the new basics by Ellen Lupton, Jennifer C. Phillips – New York:
Princeton Architectural Press, 2008. – 247 P.
274
16. History of art: the Western tradition by H W Janson; Anthony F Janson Upper
Saddle River – N.J.: Prentice-Hall, 2003. – 1031 P.
17. Introductory horticulture by H. Edward Reiley, Carroll L. Shry – Albany, NY:
Delmar Thomson Learning, 2002. – 564 P.
18. Motion graphic design: applied history and aesthetics by Jon S. Krasner –
Amsterdam; Boston: Focal Press, 2008. – 432 P.
19. Romantic stages: set and costume design in Victorian England by Alicia Finkel –
Jefferson, NC: McFarland, 1996. – 207 P.
20. Scenic design and lighting techniques: a basic guide for theatre by Chuck B.
Gloman, Rob Napoli – Amsterdam: Elsevier, 2007. – 398 P.
21. Stage design by Tony Davis – RotoVision, 2001. – 176 P.
22. The art of floral design by Norah T. Hunter – Albany, N.Y.: Delmar, 2000. – 592 P.
23. The complete make-up artist: working in film, fashion, television and theatre by
Penny Delamar – Ill.: Northwestern University Press, 2003. – 275 P.
24. The education of a graphic designer by Steven Heller – New York: Allworth Press,
2005. – 355 P.
25. Web design for dummies by Lisa Lopuck – Series: For dummies. – Hoboken, N.J.:
Wiley, 2006. – 316 P.
275

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МІНІСТЕРСТВО ОСВІТИ І НАУКИ УКРАЇНИ

КИЇВСЬКИЙ НАЦІОНАЛЬНИЙ УНІВЕРСИТЕТ

Т.В. Барамикова, Л.П. Ільєнко, К.Б. Кугай, А.В. Спіжова,

КИЇВ КНУТД 2010

ІІ Read and remember the following phrases:

III Read and translate the following text:

ІV Answer the questions:

V Complete the sentences with the words from the text:

VI Find the English equivalents to the words:

VII Make up the sentences with the words and phrases:

VIII Give definitions to the words:

IX Translate the sentences into English.

X Speak on the topic using the following words and word-combinations:

ІІ Read the text and define the main idea of it:

III Make up a plan of the text.

VI Render the text in brief in a written form.

I Revise the vocabulary minimum of Unit 1 to be checked up.

II Read and remember the following phrases:

III Read and translate the following text:

Baroque and Rococo

ІV Answer the questions:

V Complete the sentences with the words from the text:

VI Find the English equivalents to the words:

VII Make up the sentences with the words and phrases:

VIII Give definitions to the words:

IX Translate the sentences into English.

X Speak on the topic using the following words and word-combinations:

ІІ Read the text and define the main idea of it:

The History of Arts. Brief Overview

III Make up a plan of the text.

VII Practice reading the dialogue with your partner:

II Listen to the text. Decide if the statements are true or false:

I Revise the vocabulary minimum of Unit 1 to be checked up.

III Match the definitions:

II Read and remember the following phrases:

III Read and translate the following text:

First Steps in Fashion

IV Answer the questions:

V Complete the sentences with the words from the text:

VI Find the English equivalents to the words:

VII Make up sentences with the terms:

VIII Give definitions to the words:

IX Translate the sentences into English:

II Read the text and define the main idea of it:

World War I and after the War

III Make up a plan of the text.

VII Practise reading the dialogue with your partner.

II Listen to the text. Decide if the statements are true or false:

I Revise the vocabulary minimum of Unit 2 to be checked up.

II Read and remember the following phrases:

III Read and translate the following text:

IV Answer the questions:

V Complete the sentences with the words from the text:

VI Find the English equivalents to the words:

VIII Give definitions to the words:

IX Translate the sentences into English:

X Speak on the topic using the following words and word-combinations:

II Read the text and define the main idea of it:

Charles Frederick Worth Industrializes Fashion

III Make up a plan of the text.

VII Practise reading dialogues with your partner.

II Listen to the text. Decide if the statements are true or false:

I Revise the vocabulary minimum of Unit 3 to be checked up.

ІІ Read and remember the following phrases: