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Nicholas Nguyen
Nicholas Nguyen

Sketch Fashion 1.2.5 [PATCHED]


Design as creative process and combination of methods, techniques and approaches often refers to all range of fields and forms, such as product design, industrial design, fashion design etc. Jeung and Kim in their research on collaborative process among design fields argue that contemporary design methodology represents hybrid of methods presented in design categories. Authors further argue that such alliance harkens back to other research questions through the fields (Jeung & Kim, 2008). This, in turn, determines policy that contemporary innovations which were proposed in one of the design fields can be equally applied to another design field due to their similarity in processes.




Sketch Fashion 1.2.5



The changing dynamics of the fashion industry since then, such as the fading of mass production, increase in number of fashion seasons, and modified structural characteristics in the supply chain have reorganized fashion process as such and reinforced logical algorithmization of fashion design process in order to minimize loss and speed up production (Doyle, Moore, & Morgan, 2006). According to many sources, modern structure of fashion design process presented in following way (McKelvey & Munslow, 2012).


To sum up, paragraph was devoted to introduction of empathic design in the fashion industry, importance and necessity of its implementation and methodology to the topic which was introduced by researchers so far. For further interest, we have analyzed methodological part in more details. Among existing studies, we have emphasized model proposed by McDonagh, which in details describes process of empathic design implementation (McDonagh D. , Empathic design: emerging design research methodologies, 2006). Although, as can be evident from proposed model as well as from all analyzed literature, most of attention concentrated on pre-production phase (gathering information etc.), while design development phase, in particular, sketching phase stays not corroborated. It also evident from proposed model (sketching phase emphasized in bold). In our research we will further argue that sketching phase is one of the most important parts of the process and fractional algorithmization of the process will play important role in further development of empathic products and services.


For this reason, Technical Drawing is an indispensable part of these professionals' knowledge. To meet this need for specialization in this area, TECH has designed this program, which brings together the most relevant information on the technical elements of drawing in a single program: geometry, plans, polygons, curves, or even sketches A high-level program for professionals seeking a higher level of specialization in a short period of time.


In short, TECH aims to meet the high specialization objective demanded by fashion designers, who are looking for high quality programs to improve their skills and offer users garments that will become indispensable for their closet. And to achieve this goal, it offers students a cutting-edge program adapted to the latest developments in the sector, with an up-to-date syllabus developed by experienced professionals who are willing to put all their knowledge at the disposal of their students. It should be noted that since it is a 100% online program, students are not conditioned by fixed schedules or the need to move to another physical location, but can access the contents at any time of the day, balancing their professional and personal life with their academic life.


The guidelines presented here are mainly intended forflipcharts although they also apply to other materials. Remember to sketch the entire group offlipcharts, posters, leaflets and booklets, before drawing full sized versions. This shows planners that all main themes arecovered. In summary you should observethe following:


With interaction groups, useparticipatory approaches to sketch individual images, and draft accompanyingtexts. Check materials with technical specialists. Produce illustrations, lettering and complete texts.


Rural people often seeillustrations in ways that are very different from people who live intowns. They may even interpret adrawing to mean the exact opposite of what you intended it to mean. With the illustrator, show the pictures tothe intended interaction group and ask what they see. If they see something different from what you intend, asktheir advice on how to make the picture better if it is to reflect what youintend it to do. The illustratorshould re-sketch the subject on the spot and try it again. In just a short time you will have picturesthat rural people understand and enjoy. These new sketches can be finalised back at headquarters. But if there is any doubt about rural people's comprehension of these final materials(in terms of concepts, colours, rearrangement, etc.) the materials should befield-tested again before printing. Remember you are also testing for theacceptability of the idea and not just for the comprehension of the individualpictures.


Video has often been regarded as a powerful medium that isadaptable and effective in all situations. Unfortunately this is not the case. Video is the use of semi-professional or professional videotaping forspecific purposes made for narrow audiences, with specific characteristics andinterests. It can be produced and showneither in a raw form or in an edited fashion (meaning working on the videomaterial that has been shot, cut it and put it together into an effectiveformat). Sometimes video programmes canalso be used and broadcast on television, but even if video is such a powerfulmedia this does not mean that it should be used in every occasion. You should keep in mind that videoproduction could be a complex and expensive task. The main danger with video is that it can often be regarded asthe most important aspect of a communication strategy, running into the dangerhighlighted by Mc Luhan, when he stated that the medium is the message. Viewers, especially in rural areas, canbecome very excited with video, but will they beequally excited and alert to the content video is supposed to communicate?


On the other hand, video can be used in a less demanding,but equally constructive way, by shifting the production process from theexperts to the community. The purposeof video here is not to impress somebody but rather to encourage people'sparticipation, and to generate discussion on crucial issues or facilitate thelearning process (concerning new skills or required knowledge). In Latin America FAO3 has introduced an innovative methodology known as Audio-visual Pedagogythat is based on the principle that the best form of learning is that achievedby doing. Relevant problems areassessed in the field jointly by the extensionists and the farmers. Out of this interaction a pedagogicalpackage, which contains learning issues decided jointly by the extensionistwith the farmers, is developed with video at its centre. Problems are discussed and addressed withthe support of video. The old modelsender-medium-receiver has been changed into interlocutor-medium-interlocutor,(very similar to the model used by the Southern African Development Community-Centre of Communication for Development - SADC-CCD). Video is then planned, produced and played back by the community for thecommunity. When used in thisinteractive and participatory fashion, video can be a very valuable asset bothfor the community and for any development project or programme.


Even though the process ofTheatre for Development varies according to its purpose the following stagescan be adopted in most cases: research, reporting back, creating the story,sketching the story, rehearsing the play, performing the play and afterperformance.


Having created a story fromfindings gathered in the field, the next step is sketching the play. The goal here is not to create a playscript, but an outline of the play scene by scene. A scene being stages inthe story just created. If we can compare the story to a journey betweenDistrict A and District B, there are points that must be gone through to makeup this journey. From District A, wemight have to stop over at A1, to fill up petrol in the car we are travellingin.


Using this journey as anexample of the whole story, we can say that points (A) (A1) (A2) and B could beour scenes. In `building' the sketch we shall select deliberately events thathappened at these points and leave out those that happened on the bus inbetween them. Sketching the play isvery similar to this process. Wedeliberately select or create points that highlight important aspects of theissue the story is meant to tell.


Using actual stories ofhappenings gathered during the research, characters could be identified andre-lived before everybody in the team. Here the whole team agrees on whether those `acting' out thesehappenings as put together into scenes of the sketch are being truthful. They can also select those individuals whoseem best suited for what scenes. Thisis preparation of the play that is referred to as the rehearsal. The process of rehearsal uses other materialgathered during the research. These arethe songs, dances or rituals that people do in the village. During the research the team will haveobserved how people relate to each other, how they walk or talk. From such observations, individuals selectedto play particular roles might build their characters. 041b061a72


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