2.3 The art of sculptural elements in clothing
我送你离开千里之外2.3.1 The rhythmic beauty of lines失恋的感觉
The rhythmical n of lines in sculpture can precily convey the beauty of the work. As a result, the combined form of lines can indicate how patterns and images are put together, and the back and forth zigzag of lines can convey how much something weighs. Clothing translates the sculpture's rhythmic lines, which are analogous to the emancipation of the human body's curves. We can depict the curves of the garment as well as the body and movement shapes of the figure using the rhythm, regularity, and trajectory of the lines in order to create a three-dimensional feeling of the overall shape of the garment.
2.3.2 The rhythmic beauty of the layout陈开元
Different layout designs will elicit various psychological reactions. For instance, a square layout tends to convey a n of propriety and gravity, whereas a circular layout tends to convey vividness and perfection. Theme, layout, context, and other factors ud in sculptur
es' creations all help to portray the beauty of the sculpture. Layout and rhythm work well together.
2.3.3 Space-related visuals
专业相机The main way sculpture express the beauty of imagery is through space changes, mostly through blending many scenes and spatial motifs to form a cohesive whole. In order to appreciate and shape sculpture, light is crucial becau it can cau the sculpture to produce various undulating changes that highlight the relationship between light and dark, as well as the visual laws and illusions produced by various color changes that express the three-dimensional n of objects and the n of space. First and foremost, we must understand that space and any visual effects are profoundly dependent on light.
我会很勇敢2.3.4 Aesthetics of convex and concave texture
The texture is a crucial element in sculpting art. The abstract expression of texture can en
hance not just the sculpture's overall visual effect but also its overall atmosphere [2]. In sculpture, convex and concave texture refers to the creation of regular and atypical concave and convex effects by carving techniques like negative and positive engraving. For instance, a positive engraving produces a lifting effect, whereas a negative engraving produces a depressing effect. Its incorporation into clothing structures can produce a variety of visual effects and improve the three-dimensional and spatial perception of clothing.
The adults experience a variety of pressures that increasingly occupy them with work. They have little time to focus on their own emotions becau of peer pressure, work pressure, and life pressure. Even when they are sad or angry, it can be challenging to locate a location where they can feel supported and at ea. Their heart and body will suffer if they are in such a depresd state for an extended period, and they risk developing depression or other health ailments. Considering that clothing itlf is for human beings, in my opinion, its role is not only to cover people's bodies, nor is it only for decoration and beautification, but I think clothing can also have other meanings and valu
适合写作业时听的音乐es to improve people's lives. In this project, I hope to integrate the concept of comfort, safety and fun into the clothing, so that the clothing becomes a shelter for adults, where they can experience a n of fun and safety so that they can relea and alleviate their stress and worries from all aspects so that they can start to pay attention to their own emotions.
In Ishigami’s design, people can feel what it's like to walk on top of a cloud. I like to look at the clouds," says Ishigami. The irregular shapes of the clouds fascinate him, “ Clouds change their form at will, with certain rationality. It is the erratic curved forms that give the room its overall warmth, intrigue, and impressiveness. They don't feel rigid, prescribed, or stagnant like straight lines; rather, they em to be full of freedom, joy, and rich creativity. The erratic arcs move in high and low arcs like a toddler dancing.
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His u of arcs is significant in this piece. The arcs reduce the sharpness, and are more rounded and softer than the angular straight lines, giving people a more cosy and intimate n. Additionally, uneven arcs are more intriguing and provide room for creativity. As a result, the arc will play a significant role in my designs.
However, becau the human body is three-dimensional, if the arc's structure were just ud as a pattern on clothing, it would lo its vibrant quality and its ability to move freely without being constrained. Therefore, you may still prerve the alive and freedom of the arc structure in the clothes if we can say that the two-dimensional arc structure into three-dimensional space arc structure and reference in the clothing, so that the clothing has a certain sculptural effect.
Through the rearch of irregular curved surfaces, I collected a large number of sculptural images with irregular shapes. To study the possibility of irregular arcs on the human body, certain interesting arcs were extracted using Photoshop and collages were created (Figure 3.10).
The collage provided the initial growth direction, but the structure is currently two-dimensional and lacks a n of three-dimensional space. Therefore, combined with the rearch on the relationship between the spatial n of curved surfaces and the human body, Figures 3.5 3.6, 3.7, 3.8, 3.9 I got some conceptual sketches, Figure 3.11, where th
e curved surface with a three-dimensional n of space is integrated into the garment. However, the sketches obtained at this point are too abstract to be developed into garments, so it is necessary to gradually simplify the design of some structures, and Figure 3.12 shows some of the sketches after simplification.
