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Brief theoretical perspective of fashion design
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Character three, the rectilinear lines are in the top, the sleeves, and the shorts. If you add a more curvilinear line the sleeves wouldn't be as form fitting, the shorts and the top wouldn't be as form fitting either. The curvilinear lines that I see are in the top and shorts because there's a natural curve around the chest and the butt, and in the skirt with its flow as it moves tours the ground. If you added rectilinear lines, then the shirt and shorts wouldn’t shoe the natural curve of the body and it would look too much like a square. The skirt move at a different type of flow. There are three shapes that I see in that rectangle in the sleeves, and skirt, a square in the top and shorts, and a circle where the fingers go. The rectangle
On the other hand, his well-defined upper body with broad shoulders, muscular chest, and burly biceps are exemplified with smooth and elegant carved lines symbolizing his youthfulness. However, these smooth and elegant lines do not weaken at all his powerfulness which is best illustrated with his straight hanging down arms while his fists are wrapped around some kind of circular solid rod. The viewer captures his youthfulness but still gets the notion of his strength through the indicated tension in his smooth naturalistic carved muscles in his underarms. It is the contrast of these two different usages of lines that gives the sculpture the balance between the strength of confidence and relaxed peace.
New fashions were surfacing in both men’s and women’s fashions. Men were wearing Bermuda pants, baggy pants that were cut off at the knee, while women were wearing capris, tight pants that cut off just below the knee. Men were wearing tailored jackets and making a slight move towards the casual dress of today’s workplace. Women were wearing natural shoulders as opposed to the heavily padded ones of the war years. Flat, neck-hugging collars replaced the mannish collars of the late 1940’s. Waists were tightly fitted and skirts were long (Melinkoff 46). The jeans of the time were often lined with plaid flanel and dungarees were worn to the most casual occasions. The sandals of the fifties were not much different than the sandals of today.
Contrary to the IMED seven steps’ model, Making Decisions Involving Boundaries model has nine steps. The nine steps are helpful to counselors to decide when crossing boundaries are going to be helpful or harmful. The first step is to consider possible outcomes of crossing boundaries, will it be the best or worst possible outcome. The second step is to consider research and publications about the topic, if needed, the counselor should consult with colleagues. Third, regard the knowledge of colleagues, it will help to stay focus on boundary crossing regarding ethic codes, legislation, case law, and other resources. Fourth, identify a colleague for honest feedback on boundary crossing questions. Fifth, pay attention to uneasy feelings, doubts,
The artist’s use of line to create movement in the painting is very obvious. Lucretia’s body creates an implied diagonal line which shows action and movement. Additionally, the cloak is also very curvy, appearing “fanned out”, as if she is in the midst of backing away. As well, the curtains are implied curves, and the furniture is an implied diagonal. These lines leave the viewer wondering what will happen next. With these repeated curves and diagonals, the artist creates a sense of unity and rhythm, helping the viewer “read” the composition, or move their eyes through it. The dominant shape repeated in the composition is organic, which also adds unity to the piece. Evidently, there are no horizontal lines in the painting, but the subordinate columns bring variety to the painting in that they are both vertical and geometric, in addition to symbolizing power. Furthermore, the primary color red dominates, creating unity; it appears in Lucretia’s outfit, the furniture, and the curtains. Interestingly, red is the color of danger, since it is the color of blood, and therefore, death; it is also the first color noticed by the human eye. Her gown is also has some white, a neutral, which represents purity and surrender. The artist did not use a warm, nor a cool color scheme in the
The artists thought that the best way to show the human body was to have the eyes and shoulders facing forward, while the head and lower body are shown in profile.
Golden draperies contrast against dark fabrics and shadows, brownish reds, medium greens, and vivid red walls. Modeling is apparent in the figures, subtle tonal gradations and sharp shadows that provide form in the draperies, form to the legs, bellies, hips, arms, bosoms, wings. Tonal gradations provide a sense of smooth skin, soft fabric and body shapes. The figures are huge, life-sized and their presence fills the room. Some stand, some sit, one women kneels, her garments clinging tightly to every curve as she reaches forward, about to lift a fold of fabric that covers a tall object, while in the center of the painting, another woman holds an intoxicated male in her lap. The male leans far to the right, his diagonal pose emphasizing his role in the painting. His garment has fallen off, revealing most of his naked body. He is lean and fit, with golden highlights shining upon his bare belly, and leaning against his bare, golden leg is a large staff, creating another diagonal
First, the arrangement of the woman on the area of the image makes it one of the first components seen. The centralized location of the woman draws the reader’s attention almost
Graeme Base uses lines of different thicknesses to make the drawing look more realistic. He also uses different tones of colours. An example would be from ‘Six Slithering Snakes Sliding Silently Southward’, the main snake’s body and tail contains at least four different colours. He also repeats the way the books are place in the library.
1. Coiled her black robe around her orange shirt, tucked her hair into her scarf, covered her gold earrings and put gloves over her hands to cover her finger nail polish. To help the reader understand that women are trying to progress but because of laws they must hid these things in fear of their lives.
The horizontal and vertical lines of the straps hold her together as well as dissects her. The lines of the background depict the terrain as dry and harsh. Shapes are clearly distinguishable, hard-edged, and concrete. Only the
The curve of a line can convey energy; soft, shallow curves recall the curves of the human body and often have a pleasing, sensual quality, and a softening effect on the composition. Sharply curved or twisted lines can convey commotion, confusion, and even violence. In this sculpture, the lines of the contorting bodies help convey the intensity. Art sculpture is most fixed subjective connecting with the piece most often than not in profound personal matter, but personal reactions do not make anything better or anything worse. The joini...
The skirt almost stars out as a pensical skirt that efasisens on the hips and but to kepp the dress more feminine in toady modern style than flares out on my oven personl tradmart dison wich I call the Bubbles. The Bobbles are custemes tallersd to each person since the follow the lines of cuers on the woman, giving more enfized to the hips lags, but and so on. The dress skirt reaches the knees is a bit lovwer in the back. The back of the dress is ties up with bottoms which is the hots in wedding gowns at the moment and perceives as elegant and sexy all in one. The top is a smple square neckline with a dropped shira black Cowl/bais Roll wich is stled in the
An undergarment technically designed so that the body shape can be altered temporarily, in order to achieve the figure either looking more fashionable, or to maintain a proper figure. Shapewears function is not for enhancing a human body feature, but also to control and maintain a smooth display of a body. The report shows the market variations of Shapewears pertaining to three famous companies, namely La Perla, Journelle and Agent provocateur.
Lines are paths or marks left by moving points and they can be outlines or edges of shapes and forms. Lines have qualities which can help communicate ideas and feelings such as straight or curved, thick or thin, dark or light, and continuous or broken. Implied lines suggest motion or organize an artwork and they are not actually seen, but they are present in the way edges of shapes are lined up.
middle of paper ... ... It also analyzed the influences of modern dresses. As Palmer and Clark (2005) mentioned earlier, both decades are the classic era in fashion history.