Sample of work

Texture describes and relates to the nature of a shapes surface. It is related to the
senses of sight, touch and sound. In garment design texture relates to the surface of
the fabrics and trimmings used. Texture is another design element that is initially
noticed by consumers (after colour). The appearance and feel of fabrics is determined
by the fibre content, yarn structure, fabric construction and fabric finishes. Texture has
three main properties: visual, tactile & auditory. Applied texture relates to texture added
to the fabric or garment as part of the design. Applied texture may be added through
self or surface.
Self: gathering, shirring, smocking, pintucking, pleating & quilting.
Surface: beading, embroidery, lace or appliqu.
Texture in Fashion
Texture in Nature
Texture in Art
Texture in Interior
Texture in Interior
Texture
Texture in Art/Culture
Elements & Principles
of
Design
Elizabeth McAlister
Line & Direction
Line is a series of connected points. It is the most fundamental of the design elements as it is
incorporated into every other design element. Lines have direction, width and length and work in the
following ways.
Directional: Line suggests movement by leading the eye in the direction it is travelling. Line
may be vertical, horizontal, oblique, straight, curved or any combinations of these.
Dividing: Line acts as an edge between spaces by dividing the area through which it
passes. It defines shape or silhouette and can divide or connect these shapes.
Psychological & Line produces physical, emotional and psychological effects through its quality
and character
physical effects whether it is thick, thin, long, short smooth or rough.
Shape also involves the concepts of space, form and silhouette.
Space: is the area both inside and outside the enclosed shape.
Form: is any three dimensional shape.
Silhouette: is a term used in garment design that refers to the outside shape of a
garment. Silhouette is fundamental to the style of a garment. The size, shape and
proportions of the silhouette are easily seen from a distance and are therefore noticed
before all other details, excluding colour.
Shape & Size
Texture describes and relates to the nature of a shapes surface. It is related to the
senses of sight, touch and sound. In garment design texture relates to the surface of
the fabrics and trimmings used. Texture is another design element that is initially
noticed by consumers (after colour). The appearance and feel of fabrics is determined
by the fibre content, yarn structure, fabric construction and fabric finishes. Texture has
three main properties: visual, tactile & auditory. Applied texture relates to texture added
to the fabric or garment as part of the design. Applied texture may be added through
self or surface.
Self: gathering, shirring, smocking, pintucking, pleating & quilting.
Surface: beading, embroidery, lace or appliqu.
Texture
Texture in Fashion




Colour
Colours are used to represent the colour spectrum, and they help us to
understand the relationship between colours & colour mixing. The colour
wheel is composed from pure colours that graduate from one end of the
spectrum to the other

Colour Wheel
Tones are the patterns created from the mix of light and dark values. The eye
responds immediately to the tones used in a colour arrangement as the tonal value
can emphasize, conceal, produce movement, and stir up emotional responses to
mood and personality.
A Value or Tonal Scale is a chart of 9 tiles that start with white at the top and finish
with black at the bottom. The scale can be divided into 3 sections as shown.
Value can be considered independently of colour and, therefore stands on its own
as a separate Element of Design. All colours must be considered in terms of value.


Tones
Contrasting Colours in
Fashion
Contrasting colours lie opposite each other on the colour wheel. As they are positioned at
opposite ends they are not related and therefore intensify each other. Primary colours Red,
Yellow & Blue contrast with their opposing Secondary colours Green, Purple & Orange and
Intermediate colours contrast with each other. Contrasting colour schemes are bold and
strong and often used in advertising and for team sporting apparel. However when applying
contrasts in clothing design you need to be cautious, as they are so bold. Contrasting
colours add excitement to the design but can also be very overpowering if both colours are
used in equal amounts. To avoid this, small amounts of the contrasting colour can be added
to lift a design.
Contrasting Colours
Harmonious colours also referred to as analogous colours that lie next to each other on the
colour wheel.
EG. Yellow, Yellow-Green & Green. Harmonious colours are directly related to each other
due to their similarity in hue.
They do not cause any friction but instead form a peaceful, pleasing combination. There are
two kinds of harmonious colour schemes and they are:
Simple Harmony: When two colours next to each other, on the colour wheel are used
together
Extended Harmony: When more than two colours which are close on the colour wheel are
used together.

Harmonious Colours
Harmonious Colours in
Fashion
Mono means one and Chromatic means colour, so a monochromatic
colour scheme is simply a colour scheme that uses only one hue.
Monochromes are formed with one colour, and white or black is added to form
tints and shades of the colour. The variations therefore that occur in this colour
scheme are found in the value and intensity of the colour.

Monochromatic Colours
Monochromatic Colours in
Fashion
Repetition occurs when the same line, shape, form, or
space is repeated or used more than once. It is a directional
principle because it encourages the eye to travel from one
element to its repeat, and on to the next repeat. Regular
repetition is when every part of the design that is repeated is
identical. Irregular repetition is when a part of the design is
repeated but not identically. This can be achieved by either
changing the pattern or the size of the object being repeated.

Repetition
Rhythm occurs when there is a sense of organised motion or a feeling of
movement. Rhythm is a directional principle because the predictability of the
rhythmic flow encourages the eye to follow its path. Any interruption destroys
the rhythm, so it is necessary to ensure that the functional, structural and
decorative components in a garment coordinate and reinforce the rhythmic
quality. Rhythm applies mainly to the elements of line, space and shape
reinforcing the physical and psychological effects and qualities of these
elements. If a rhythm is angular it seems lively and appears to enlarge the
area across which it moves. If the rhythmic quality is smooth and undulating
it calms and soothes.

Rhythm
Gradation occurs when a series of more than two units,
usually alike in all aspects except one, changes in gradually
increasing and decreasing steps. Gradation allows
contrasting elements eg. complimentary colours to become
linked, thereby uniting the design.
Gradation is a directional principle because it encourages the
ey to follow the path of the gradual change. Gradation is used
with line, shape, colour, and value, but rarely texture.
Gradation can be applied structurally and decoratively.

Gradation
Radiation: is an outward movement in all directions from a central point, such as
the petals of a flower or the pattern formed from spider centred in a web.
Depending on the combinations of lines used, the eye-leading quality of radiation
makes it a directional principle. Lines used at a similar angle or direction to each
other lead the eye in that direction, but radiating lines moving in opposite directions
pull the eye first one way then the other. Radiating lines fanning out in several
directions, emphasis the difference between the smallness at the centre and the
width at the outer edge. , while a full radiating circle focuses the eye at the centre
and spreads outwards.
Radiation
Harmony occurs when one or more qualities are alike. These similar features are
repeated throughout to create a feeling of agreement and consistency. It is therefore
a synthesising principle. In clothing design, a garment achieves harmony by
agreement amongst the three basic criteria of function, structure and decoration.

Harmony
Contrast is a highlighting principle because it stimulates interest and
excitement, calling attention to that part of the design where it
occurs, thereby making that area more obvious. Contrast occurs
where there is visual conflict or tension, brought about when the
basic qualities of elements are opposite and unrelated. The
differences make the opposing qualities appear heightened and
emphasised. The main purpose of using contrast is to create
opposition that will enhance the design.

Contrast
Dominance occurs when one feature of a design is the centre of
interest. It is a highlighting principle because it causes the eye to focus
on this centre of interest. Dominance solves the problem of monotony
however should only be applied to one feature within a design to avoid
confusion and competition. It is important that the psychological
implications of the dominant feature tie in with the structural, decorative
and functional aspects of the total garment. Elements with strong
assertive qualities work well. For example thick lines, glittery textures
and intensive colours work well to successfully dominate a design.

Dominance
Balance occurs when opposing forces in a design are evenly distributed so that
there is a visual equilibrium. A sense of steadiness and stability prevails when a
design is balanced. Balance is a synthesising principle that unites the elements of a
design, causing the viewer to examine relationships. Balance can be formal
(symmetrical) because the design is repeated on opposite sides of an axis. Balance
can also be informal (asymmetrical) when contrasting elements are located on
opposite sides. Elements with strong assertive qualities work well. For example
thick lines, glittery textures and intensive colours work well to successfully dominate
a design.
Balance
Garment Board 1
Garment Board 2