Definitions

Objectives
4-H members will:

• Learn definitions of terms used in designing.

DESIGN TERMS Before we go into the individual fundamentals of construction for

all design, it would help to think of designing as baking a cake.
The principles are the directions for the recipe and the elements
are the ingredients. The directions (principles) are flexible and
should be interpreted within the current fashion or problem the
designer is trying to solve. For example, the directions (principles)
would apply differently for a design of a costume than for a design
of a current fashion garment. The ingredients (elements) are the
raw materials that must be combined. These elements can change
the taste of the garment, just as the ingredients can change the taste
of a cake. A dress is more eye-catching in a bright color than a dull
neutral, even though the design is the same.

DESIGN PORTFOLIO A portfolio is a representative collection of a designer's best work.

The material should represent the kind of work the designer wants
to do, such as children's clothing, but it should include enough
variety so the designer will not be eliminated due to a narrow field.
A portfolio generally contains from 12 to 15 pieces of work. Make
sure the illustrations are clean and neatly mounted or matted. It
could include school projects as well as personal projects. These
sketches may be done in pencil, charcoal, pastels, water colors, pen,
and ink, crayons, or almost any medium available:

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 Principles

Objectives
4-H members will:

• Understand the principles of design, which are proportion and scale, balance, unity or harmony,
rhythm, and emphasis.
• Practice using design principles to achieve variety in design.

The criteria for good design are found in the principles and
elements of design. The principles are the guides for evaluating the
use of the elements of design. The five principles are proportion
and scale, balance, rhythm, emphasis, and unity or harmony.

PROPORTION Proportion is the relationship of various parts in the whole design.

AND SCALE The parts may be objects, shapes, or spaces. The way a jacket
length is related to a skirt length, or pants length is sometimes
determined by the current fashion, can often be formulated by a
rule called the "golden mean", or the Greek rectangle with a
proportion of about 2 to 3. This was determined centuries ago and
applies to the human figure as well as other designs. The
proportion for a skirt and top is a ratio of 3 to 5, which is about
the same as the 2 to 3 ratio of the Greek rectangle. However, still
using the "golden mean", a top and pants has a ratio of 5 to 8.

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Fashion may use exaggerated proportions for variety. In the 1960's

the miniskili exaggerated the long legs for a more youthful fashion.
The longer skirt gives the illusion of height and slenderness.

Scale refers to the overall size of an object or its parts compared

with other objects, shapes, or spaces. It is a relative quality that

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 is often affected by other principles a.nd elements. Objects that are
identical in size may appear different sizes because of differences
in color, texture, pattern, or size of surroundings.

In the illustration above, the center circles are identical in size in

each design, but they appear to be different.

The scale of the details of the garment or accessory must be

consistent. For example, a large collar with a tiny belt would be out
of proportion. Dainty buttons and a small collar are more
proportional. This also applies to accessories and textiles.

When features are in the same scale, there is a consistent

relationship of the size of each element to the other elements and
to the whole. For example, small motifs accent large size by
contrast (see a below), while large motifs overwhelm a tiny figure
because of contrast (c). Large motifs may increase large size by
repetition (d), while small motifs accent smallness through
repetition (b).

BALANCE
Balance is the sense of equilibrium and repose. It equalizes the
visual weight or space of different parts of a design. There are two
kin d s of balance, formal (symmetrical) and informal
(asymmetrical). Symmetrical vertical balance divides the design
down the center and the left side mirrors the right side. This is a
more conservative style. Asymmetrical vertical balance is achieved
when one side is different from the other side. This is especially
popular in evening garments as it is dramatic and eye-catching.

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 The examples below are of vertical balance.

SYMMETRIC ASYMMETRlC

Designing a vertically asymmetrical garment can be difficult and

yet goes a long way towards slimming. It can also visually correct
figure flaws such as one shoulder being higher than the other one.

Balance also may be horizontal or radial. Horizontal balance is also

used to visually correct figure problems. Most people's bodies
appear symmetrical. The heavy hipped person may be balanced
visually by wearing colors or styles to draw attention to the top
half with asymmetrical horizontal balance. The full busted person
uses the reverse balance. Balance should compliment the design of
the garment or accessories as well as the person wearing it. Radial
balance combines horizontal and vertical balance.

For full For small

bust and bust and
small hips full hips

UNITY OR
Harmony is created when all the elements in the design come
HARMONY
together in a pleasing, harmonious visual effect. Each part of the
design is important in itself but all must work together with other
parts to achieve harmony. Style lines should be consistent on every
area of a garment or accessory. There need to be enough
differences to keep from being monotonous, but there also need to
be enough likenesses to keep a feeling of unity. All areas should
reflect the same features.

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 In garments, avoid small differences -such as the sleeve and jacket
length. Stripes and plaids should match. Seam lines and trim detail
should align. Harmony and unity should also exist in fabrics,
colors, and textures. A textile design needs similarity of shape,
color, texture, and other features to achieve unity.

Sleeves
Sleeves
too long even with

for jacket jacket

Rhythm is the repeated use of lines, shapes, colors, trims, or details

RHYTHM

to create a pattern the eye can follow throughout the design. This
creates continuity or a feeling of organized movement. Rhythm can
be equal, unequal, or progressive. Equal rhythm occurs with line,
color, or detail spaced evenly. Unequal rhythm is random and can
add interest to the garment. Progressive rhythm refers to the
decreasing or increasing of a portion of a design through repetition.
Often rhythm can be seen very clearly in textiles. Rhythm may be
flowing or staccato, clearly stated or subtly suggested, repeated or
only vaguely similar. Rhythm is created through repetition,
gradation or progression, radiation, transition, and continuous
related movement such as alternation and parallelism.

Equal Unequal Progressive

Repetition is the use of the same thing more than once or the same
thing in a different location. It is the simplest and most
fundamental of all principles and is the building block for many
others. The eye moves from one use of a figure or line to its
repeat.

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-------
 -----------------------------------------------------

Parallelism uses lines on the same plane, equidistant at all points,

and never meeting. It also is directional, or linear, for it leads the
eye from one parallel line to the next.

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Sequence is the following of differing things, one after another, in
a particular order. It forms a regular succession.

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Alternation is a repeated sequence of two, and only two, things that

change back and forth in the same order.

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Gradation is a sequence of adjacent units, usually alike in all

respects except one, which changes in consistent and distinct steps
from one unit to the next. Gradation provides rhythm through the
changes.

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Concentricity is the progressive increase in size of layers of the

same shape, all having the same center.

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 Transition is the smooth, flowing passage from one condition to
another. It is continuous and there is no break point, stop, or
distinct place to pinpoint change.

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EMPHASIS Emphasis or focal point creates the center of interest by focusing
the viewer's attention on a specific area of the design. It adds to
the interest of the design and may be created by color, line, texture,
details, or accessories. It may be used to camouflage a figure flaw
by drawing attention away from the flaw.

Carefully plan garment designs for patterned fabrics because the

pattern could emphasize the wrong area of the body. Many
designers emphasize the face. This is a safe strategy since it lessens
the chance of accenting a figure flaw. Emphasis may be created by
sudden contrast, leading lines to a point, unusual detail, or grouping ~''\
features or objects. Emphasis is usually not placed in the exact
center of a design, although it may be near the center.

Radiation gives the appearance of moving steadily outward in all

directions from a visible or suggested central point, like the
emission of rays from a central source.

Contrast is the opposition of things for the purpose of showing

unlikeness. It provides a feeling of distinct difference.

~ J~~600

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 Accessories are a very important factor in emphasis. They may
draw attention to the face as do earrings and necklaces. The design
of a fabric may create the focal point. A striking scarf design can
dominate a gam1ent. A good design will have only ONE focal point.
EMPHASIS

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BUST
0rh?
WAIST HIPS

ACTIVITIES
• Cut shapes out of construction paper. Use these shapes to
demonstrate each principle.

• Use paper to make clothes for paper dolls or magazine models

to demonstrate the principles.

• Take a field trip to a clothing store and try to find every

principle.

• Use the sketch book and cre'ate a design to illustrate principles

such as repetition, sequence, or alternation.

• Use accessories to demonstrate how the focal point can move.

• Use purses with different sizes and types of handles to illustrate

proportion and balance.

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 Elements
Objectives
4-H members will:

• understand the elements of design, which are form, line, color, and texture .
• practice using design elements to achieve variety in designs.

The elements of design include shape and form, line, space, color,
and value and texture.

SHAPE AND FORM Shape and form are extremely important in apparel and accessory
design. The silhouette, or shape, is the most dominant visual
element of a garment. The silhouette is the outline of the entire
costume and is often spoken of as its "form." The shape of the
silhouette usually complements the shape of the body, but
exaggeration is often used to create a special effect or balance and
emphasize a part of the body that is the current focus of fashion.

The natural body silhouette is best worn by an active physically fit

figure. Most people have some part of their body that is best
concealed or "de-emphasized" and the silhouette can be a prime
factor in achieving this.

A few of the basic silhouettes are:

Figure A - Natural body or sheath follows the natural outline

Figure B - Slim line or rectangle is the classic look
Figure C - Soft dressing or pear shape, adds fullness, offsets tops
Figure D - Wedge accents shoulders, offsets hips
Figure E - Hourglass accents slim waist, full hips and top
Figure F - Extreme fullness or tent hides all figure flaws

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,-

LINE The simplest design element is the line. Line in a garment includes
the outline of the garment and the style lines that divide the space
within the outline. These lines can be vertical, horizontal, diagonal,
and curved. The line can create visual illusions, such as height
which can lengthen or shorten the figure, and width which can
make the figure appear heavier or thim1er. The eye follows the line,
therefore, the line can draw the eye away from a less desirable area
to another area.

A straight vertical line adds height and divides the body, making
it look thinner. A horizontal line generally adds width. A diagonal
line tends to slenderize the whole figure even more than an abrupt
vertical line. It also creates an asymmetrical design. A soft curved
line is feminine and passive. However, when the curve becomes
more exaggerated it can confuse the eye.

Vertical Horizontal Diagonal

Thick lines are bold, and thin ones are more delicate. Lines also
can be seen in the print of the fabric or in trim. Buttons up the
front of the dress add a vertical line. The braid on a jacket will
form a "y" line which uses the diagonal and vertical lines. Lines
should lead the eye through the garment, not end suddenly.
Knowledge of lines is very important in camouflaging figure flaws.
The line in textiles can lead the eye even more than the garment
line. Bold stripes or geometric shapes are seen before the garment
is noticed.

THICK THIN

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 COLORIV ALUE One of the first things a customer -notices is the color of the
garment or of the textile used to make the garment. Two factors
that should be considered when choosing a color are the current
color predictions and if the color is appropriate and flattering for
the person.

Color has a tremendous psychological impact. Everyone feels good

in their favorite color. We speak of feeling blue, green with envy,
or red with anger. Personalities are expressed with colors. An
outgoing person may wear bright colors, while the quiet, shy
person may tend to wear neutral colors.

Warm
Colors Cool
Colors

A color wheel is helpful in understanding this element of design.

A few of the physical properties of color are:

HUE - the name of a color at its normal value and intensity on the
color wheel. These may be primary hues of red, yellow, and blue,
or secondary hues of orange, green, and violet. Complementary
colors are colors opposite each other on the color wheel; for
example, red and green. Analogous colors are next to each other
on the color wheel, such as green and blue green.

VALUE - the lightness and darkness of a color. A tint is a color

lighter than normal and a shade is a color darker than normal.
Monochromatic means several values in the same hue; for
example, light blue, blue, dark blue.

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I
 INTENSITY- the brightness or dullness of a color. The brightness
is usually achieved by adding white to the original hue. The
dullness is usually achieved by adding black to the original hue.

A few of the psychological properties of color are:

TEMPERATURE - colors are perceived to be warm or cool. Red,

yellow, and orange are warm and blue, green, and violet are cool.

MOTION OR WEIGHT - warm colors advance, add weight, and

excitement. Cool colors recede, are restful, and express reserve.

Garments of one color add to the illusion of height. Dark colors

recede and "hide" while bright colors "pop" out and emphasize. A
light color will be flattering to the face.

Studying clothing on various figure types is helpful when deciding

how different colors and patterns flatter or detract from a figure.
Experiment with a textile design in different colors. Notice how the
design looks different due to the color change. Accessories are the
same. They can blend in with the total look or stand out depending
on color combinations. This will aid you in acquiring an eye for
color.

TEXTURE
Texture is best described first with your eyes closed. It is the hand
or feel of the fabric. Think how a piece of velvet feels compared
to a piece of burlap sack. However, the texture can also be seen­
as in the ribs on the corduroy and the pile of fur as well as how the
fabric drapes.

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Burlap Corduroy
Four components determine the texture of a fabric. Fibers are the
strands of raw material that are spun into yarns. Yarn is the twisted
or combined fibers. The fiber and method of combining them
determine the texture and appearance of the yarns. Construction of
the fabrics using the yarn is done by weaving, knitting, or felting.
This alters the hand of the yarn. A finish can be added with
chemicals used to treat the fabric to stabilize or change the texture
of the base goods (fabric).

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••

A tactile sense of fabric is developed by experience. It is soon

learned that a shiny, smooth fabric reflects light, looks cool, is
dressy, and appears larger. A matte fabric is dull, absorbs light,
looks warm, is more casual, and appears smaller. A bulky fabric
adds weight and warmth. Texture can be very seasonal. Thin
fabrics are cool and worn in the summer, while bulky sweater
material is warm and worn in the winter. Feel, look, and
experiment to develop skills in using texture as a designing tool.

All of these principles and elements are present in every design.

Each separate rule can add or subtract from a good design. It may
seem confusing now, but take the time to look at one garment and
try to find all nine rules (principles and elements) in that garment.
Then study how they affect the garment as a whole. Soon, use of
the rules will become automatic and natural.

SUPPLEMENTAL The following lessons from the 4-H Clothing Leader Guide
LESSONS supplement this lesson:

Making Color Work for You

Designs That Work for You
Design a Master Plan

ACTIVITIES • To study silhouette, use a marker to darken the garment around

the model's body in publications.

• Use a color wheel to study color and value. Use paints or

crayons to mix colors.

• Look at fabric with a magnifier to study texture. Discuss how

the yarns affect the feel and appearance of the cloth.

• Select a garment from your closet. Try to find all nine rules
(principles and elements) in that garment.

• Sit in front of a mirror, drape different colored fabrics across the

shoulders and then describe how you "feel" in that color.

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