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

17

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

18

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

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.

19

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: TEMPERA TURE - 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.

t~q.:t.~[ U!t?~r"~r.r 5~~J~

.-;J .
Jo

dt4H fL,:o; ~t... I.. ; ~~i~~?r~U i ..,.\. tH ..!11 t~",'n.\ ~{fq.Cr nut) r' ;'{! ( ;~.!f.i1
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).

20

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 LESSONS

The following lessons from the 4-H Clothing Leader Guide 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.

21