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HSC TEXTILES > design > Flashcards

design Flashcards

1
Q

printing definition

A

process of applying coloured patterns to the surface of fabrics by use of a print paste

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2
Q

printing principles

A
  1. print paste is applied to printing tool and pressed against surface of fabric
  2. each colour is printed separately so printed design is often repeated. aligning the print is known as registration
  3. printed fabric is then heat set through steaming or ironing. ensures that print paste penetrates the fibres
  4. fabric is then washed to get rid of excess dye and chemicals
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3
Q

printing advantage over dying

A
  • greater variety of designs
  • more colours
  • more complicated designs
  • more variety of methods
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4
Q

methods of printing

A

block, roller, screen, heat transfer, discharge, resist and digital direct

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5
Q

block printing

A
  • hand process, so slow and expensive and irregularities can occur
  • block or stamp made from carving into wood, foam or metal
  • print paste applied
  • block pressed down
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6
Q

roller printing

A
  • allows for multicolour printing
  • continuous mechanical process
  • can produce large quantities of fabric
  • roller engraved or etched with designs
  • up to 16 colours
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7
Q

screen printing

A
  • developed from stencilling
  • carried out manually or mechanically
  • screen of fine silk made for each colour of the design
  • coated in a lacquer, to prevent printing paste getting through
  • photographic plate for each colour is produced
  • screen exposed to high intensity light
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8
Q

dyeing definition

A

process of applying a permanent colour to a fibre, yarn or fabric via immersion in a dye bath

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9
Q

principles of dyeing

A
  1. dissolve dyestuff in water = dye solution or dye liquor
  2. fibre yarn or fabric is then wetted out
  3. textile immersion in dye solution
  4. agitation used to assist dye uptake
  5. dye molecules migrate as dye liquor loses colour because the textile is becoming dyed
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10
Q

types of dye

A
  • disperse (polyester or nylon)
  • reactive (cellulosic)
  • natural
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11
Q

occupation health and safety for printing and dyeing

A

rubber gloves, protective clothing, avoid inhaling vapours and dust, dispose of dyes carefully

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12
Q

principles of dyeing (3)

A

migration - dye molecules are attracted and move towards textile piece
diffusion - dye molecules diffuse into the fixation process
anchoring - dye molecule is anchored between the polymers of the fibre

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13
Q

pre 1900

A

women weren’t allowed to swim a man wanted to swim he would wear a one-piece wool flannel suit that covered them from neck to knee

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14
Q

1900-09

A

men and women swam in separate areas of the beach. women would wear bloomers with a wool overdress, stockings and lace up shoes (weights to stop dress from floating up in water). swimsuit challenged society’s concept of morality

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15
Q

1910-19

A

sunbathe instead of swim = more fitted swimsuits but still made of wool

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16
Q

1920-29

A

laws introduced stating what could be worn to the beach - skin tight tubular swimsuits made from wool jersey became the style (bared arms and backs)

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17
Q

1930-39

A

lifesavers bared their chests for the first time, designers took inso from movie stars = necklines lower, hemlines higher and cutout sections were popular

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18
Q

1940-49

A

bikini was patented, corsets or bra cups were built into swimsuits to create shape, zippers still used in the back of swimsuits

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19
Q

1950-59

A

new swimming pool culture developed - it was acceptable to sit and sunbaked but not get wet

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20
Q

1960-69

A

lycra and nylon were introduced - gave swimwear stretch and no longer needed zippers (elastic used around edges to keep them in place)

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21
Q

1970-79

A

Australia became leader in bikini designs

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22
Q

1980 onwards

A

acceptable to wear anything to beach

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23
Q

who are the Hmong people?

A

live in china, laos, burma, vietnam and thailand. six major groups named after their traditional clothing and headress

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24
Q

textile production =

A

raw materials, fibres and yarns produced by a particular culture

25
Q

textile art forms =

A

artistic or creative expression of ideas and thoughts through a textile medium

26
Q

hmong textile production

A

hmong weaving, indigo dyeing, hmong indigo batik and hemp production - hemp, cotton, raime and silk

27
Q

hmong textile art forms

A

hmong clothing, hand embroidery and story cloth - predominant colours include natural colours

28
Q

hmong clothing

A

functional to protect people from the cold. distinctive clothing = female pleated skirt that goes down to below the knee. women wear skirt for special occasions and black trousers for everyday clothing

29
Q

hand embroidery

A

detailed hand embroidery used to embellish clothing of all family members

30
Q

story cloths

A

pictorial embroideries on cloths to help the people remember the stories of the people

31
Q

external factors influencing hmong textile design

A

economy, political life, social life and ecology

32
Q

cultural factors influencing hmong textile design

A

geographical location, resources available, technological advancements and religious practices

33
Q

economy

A

very independent and live in remote villages - not directly affected by the economy of the country. improvements to technology and transport means they are being more exposed to the outside world = education for their children, opportunities to sell their produce

34
Q

political life

A

each village has its own area, codes of conduct are passed from generation to generation, tribe elects political headman who represents tribe in government issues. never really felt in place but issue is improving with younger generation becoming more educated and aware of the nations laws

35
Q

social life

A

family is important, respect for age is of greatest importance. both women and men work in fields but women produce textile items

36
Q

ecology

A

live closely with the land - deforestation kept to a minimum (slash and burn method)

37
Q

geographical location

A

many tribes located on gradual mountain slope, forest around for protection

38
Q

resources available

A

land is poor for farming and terrain difficult. each tribe has own plot for textile plant production but improvement of roads mean hmong people can travel to get material for textile items

39
Q

technological advancement

A

in the tribal villages, most have a sewing machine. increased availability = western style dress being worn more

40
Q

religious practices

A

isolation means unaffected by world religions so their own myth and ritual beliefs relate to their relationship with natural environment. all hmong apparel items have a spiritual significance e.g. red top knot on hats worn by males defends the wearer against illness, injury or death

41
Q

textiles and medium for self expression and communication between people

A
  • headdress reflects the wearers age and social position
  • pompom colours identify the hill tribe of the maker
  • marriageable age people wear the most elaborate clothing
  • motifs on garments are based on plant and animal life of the tribe (appliqué, cross-stitch and satin stitch) e.g. a fish hook = young girls hope in finding a man
42
Q

effects of hmong culture on textile design in contemporary society

A

motifs and elements of traditional Hmong clothing design can be seen in contemporary design in a range of apparel and furnishing textile art items:

  • reverse applique on quilts
  • indigo batik clothing
  • pleated wraparound skirts
  • cross-stitch wall hangings
43
Q

contemporary designers who took inspiration from Hmong culture

A

Ika Butoni in her 2011 collection (butterfly Momma) took inspiration of Hmong culture.

44
Q

background of cd

A
  • born in South Africa

- irish father, south african mother, family of freedom spontaneity and high creativity

45
Q

designer profile

A
  • high profile
  • specialises in woman fashion and lingerie, typically in the couture sector
  • renowned for:
  • –intricate use of hand-beading
  • –emphasis of femininity
  • –designed for quality and longevity of wear
46
Q

sources of inspiration

A
  • details of vintage clothes, antique bric-a-brac
  • classic designers (e.g. christian dior)
  • cultures rich in colour, life, tradition perceived from travelling
  • vintage ceramics, jewellery and fabrics
  • film, music, photography and history
47
Q

internal factors influencing cd

A

expertise, facilities and financial

48
Q

expertise - cd

A
  • graduate of the fashion design course in wellington polytechnic
  • worked for the Australian Broadcasting Commissions costume department
  • awards e.g. 1996 australian designer pf the year
  • business management e.g. 1977 lotus vuitton business award
49
Q

facilities - cd

A
  • australian based - warehouse in surry hills, everyone from sydney
  • retail sales = shops across the world and online website
  • sources of material = italy, france, india and china
50
Q

financial - cd

A
  • minimum fabric wastage
  • outsourcing only when necessary - minimal and selective employees with unique skill set
  • private owner and manager of business
  • reduction in business after birth of daughter
51
Q

external factors - cd

A

political, economic, social, ecological and technological

52
Q

political - cd

A

australian government removal of tariffs reduced the level of protection to the textiles industry as it increased market competition

53
Q

economic - cd

A

australian dollar value:

  • costs of production and materials are affected due to outsourcing
  • imports and exports costing effected (cd’s brand is internationally sold - influences her garment pricing)
54
Q

social - cd

A
  • fashion weeks, parades, catwalks - advertise products
  • celebrity/ media e.g. JLO
  • social media e.g. fb
55
Q

ecological - cd

A
  • use of natural fibres e.g. cotton, wool
  • awareness of waste disposer, chemical use
  • limited wastage of fabrics - made to order garments
56
Q

technological

A

harmony software:

  • increased efficiency in production and management
  • better economies of scale
  • CD catalogue
57
Q

Dion Lee designer profile

A

Intrinsic talent for creating women’s garments that are natural while also being contemporary and progressive, earning international recognition

58
Q

Sources of inspiration

A
  • uses industrial technologies that harmonise highly skilled tailoring with accents of unexpected elements, such as unique draping techniques or an explosion of original digital print fabric design
    Inspirations:
  • digital printing, sculptural fabrics, laser cutting and traditional tailoring
  • modern and contemporary theme

HSC TEXTILES (4 decks)

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