Huang, Ying Chai

Kalkreuter, Britta

Vettese Forster, Samantha

English

Heriot Watt Pure

Relating innovative 2D ideas into 3D garments, in terms of structure, using ‘Sculptural Form Giving’ as an intermediate step in creation

    Heriot-Watt University Research Gateway                                                          Heriot-Watt UniversityRelating innovative 2D ideas into 3D garments, in terms of structure, using ‘SculpturalForm Giving’ as an intermediate step in creationKalkreuter, Britta; Vettese Forster, Samantha; Huang, Ying ChaiPublication date:2011Link to publication in Heriot-Watt Research GatewayCitation for published version (APA):Kalkreuter, B., Vettese Forster, S., & Huang, Y. C. (2011). Relating innovative 2D ideas into 3D garments, interms of structure, using ‘Sculptural Form Giving’ as an intermediate step in creation. Paper presented at iJADEConference 2011 - The Centrality of Art, Design and the Performing Arts to Education, Chester, United Kingdom. Huang, Y. C., Kalkreuter, B. and Forster, S. “Praxes” Design Journal, 2011, p.104- p.121. Further information of this PhD research please visit http://yingchiahuang.pixnet.net/blog 1 Relating Innovative 2D Ideas into 3D Garments, in Terms Of Structure, Using ‘Sculptural Form Giving’ as an Intermediate Step in Creation  * Ying-Chia Huang    ** Dr Britta Kalkreuter    *** Dr Samantha Vettese Forster  * Heriot-Watt University, School of Textile and Design, UK PhD Student ** Heriot-Watt University, School of Textile and Design, UK Lecturer *** Heriot-Watt University, School of Textile and Design, UK Lecturer Abstract  This research focuses on finding a fashion design methodology to reliably translate innovative two-dimensional ideas on paper, via a structural design sculpture, into an intermediate model.    The author, both as a fashion designer and a researcher, has witnessed the issues which arise, regarding the loss of some of the initial ideas and distortion during the two-dimensional creative sketch to three-dimensional garment transfer process. Therefore, this research is concerned with fashion  designers  engaged  in  transferring  a  two-dimensional  sketch  through  the  method ‘sculptural form giving’.    This research method applies the ideal model of conceptual sculpture, in the fashion design process, akin to those used in the disciplines of architecture. These parallel design disciplines share  similar  processes  for  realizing  design  ideas.  Moreover,  this  research  investigates  and formalizes the processes that utilize the measurable space between the garment and the body, to help transfer garment variation and scale.    In  summation,  this  research  proposition  focuses  on  helping  fashion  designers  to  produce  a creative method that helps the designer transfer their imaginative concept through intermediate modeling.   Keywordsj  Dimensional Transformation, Sculptural Model, Spatial Parameter, Fashion Design Method.  Huang, Y. C., Kalkreuter, B. and Forster, S. “Praxes” Design Journal, 2011, p.104- p.121. Further information of this PhD research please visit http://yingchiahuang.pixnet.net/blog 2 1.   Introduction 1-1.  Background and Problem This  research  focuses  on  finding  a  fashion  design  method  to  reliably  realize  a two-dimensional sketch, on paper, via a structural design sculpture, into an intermediate model. Kawamura (2004:207-8) pointed out that the renowned fashion designer Rei Kawakubo’s  designs  has  suffered  from  problems  in  the  transfer  of  her  ideas  into finished garments. Her technicians, with experience of working with spatial forms, were known  to  produce  a  volume  of  samples  from  her  sketches,  but  ultimately  own experience of working corresponded with trial and error. The author also witnessed this transfer problem for herself, and by her colleagues and design teams, primarily because the two-dimensional sketch represented the ‘volume’ of the design concept ambiguously. This misunderstanding of the sketch affects technicians’ ability to realize the design at the earliest stage of its conception. Time was wasted in trial and error at the modeling stage. Therefore, a three-dimensional intermediate model would give an actual spatial form to solve this problem and represents the design concept visually.    This  literature  review  applies  the  intermediate  modeling  method  of  architecture disciplines to fashion design. This addresses the problem of translating the sketch to its best  advantage,  through  an  intermediate  model,  to  provide  a  simpler  pathway  for fashion designers and technologists. This study is, therefore, a pathway to realize the sketch, on a sculptural model clearly, by including space and size measurements. 1-2.  Aims and Objectives The aim of this work was finding a suitable intermediate model, which is ‘sculptural form giving’, a fashion design methodology to reliably translate a 2D sketch from paper to a practical design model. The objective in this study was to develop a transferring formula for the scale of sketch to the mannequin.    2.   Literature Review 2-1.  Principles of Two-Dimensional Design According to Wong (1977:5), two-dimensional design is a man made creation in which length and breadth are two key elements. These two factors establish a visible surface without depth and thickness. Drawing, painting, printing and dyeing, can be represented in two-dimensional design.    Huang, Y. C., Kalkreuter, B. and Forster, S. “Praxes” Design Journal, 2011, p.104- p.121. Further information of this PhD research please visit http://yingchiahuang.pixnet.net/blog 3 2-2.  Principles of Three-Dimensional Design Three-dimensions include length, breadth and depth. Wong (1977:5-14) and Thomas (1969:11-12) illustrated that three-dimensional design reveals depth in a third dimension. Three-dimensional  design  establishes  spatial  relationships.  The  major  differences between two-dimensional and three-dimensional design are depth, measurements and three basic views which are depth, length and width. These elements help to realize a two-dimensional idea in actual three-dimensions.        Figure 1. Three-dimensional design characters on a cube and a garment. 2-2.1  Model Realization in the Fashion Design Process Eckert  (1997:36),  McKelvey  and  Munslow  (2003:32-101)  and  Burns  and  Bryant (2007:176) illustrated that pattern-making and draping are two major existing methods in the sampling stage of the fashion design process. Jones (1992:72-3) pointed out that in a   fashion  design  sampling  process,  after  the  fashion  designer  draws  the  sketch, technicians realize the sketch shape and details to form garment samples. However, pattern-making methods of the ‘plus size’ by Deckert (2002:52-119), artistic dress by Silberberg  and  Shoben  (1992:2-3),  flared  pattern  shape  by  Shoben  and  Ward (1990:76-79)  were  limited  to  build  a  model  from  two-dimensions,  due  to  space measurement difficulty. Moreover, draping builds samples in three-dimension, but the difficulty is in measure the space on the mannequin against the sketch.        Figure 2 Modeling process in fashion design 2-2.2  Model Realization in the Architecture Design Process In architectural design, Taylor (1971:2) pointed out that a study model is used to review shapes, in the architectural design process. Winslow (2008:20-22) and Mills (2005:17) defined the intermediate model, which is the white card model and development model. 2D skirt sketch  Pattern-making and draping Form a sample  Huang, Y. C., Kalkreuter, B. and Forster, S. “Praxes” Design Journal, 2011, p.104- p.121. Further information of this PhD research please visit http://yingchiahuang.pixnet.net/blog 4 These types of    intermediate model have the same functions. The major function of the intermediate model is a temporary model before the presentation model. The functions of  the  intermediate  model  are  to  view  a  three-dimensional  diagram,  show  technical aspects, construction, conductive exploration, abstract representation of buildings and show the need for modification and refinement. The author summarizes the intermediate model  transferring  processes  in  the  books  of  Winslow  (2008:155-161)  and  Mills (2005:212-3) in the following figure.            Figure 3 Intermediate Modeling Process in Architecture Design 3.   Experimental Work and the Sculptural Form Giving Method From the crossovers in the parallel disciplines, the experimental work in this study was divided into three steps, which are preparation, calculation and model realization.                Calculation by Excel Layers assembling Taking model photos Calculation 2D skirt shape sketch Space measurement Size measurement Variation data for layers Pattern-making Pattern cutting Model realization  Preparation Assembling pieces Measuring the space and technical drawing Drawing and cutting shapes Re-drawing sketch on plan and elevation Two-dimensional sketch  Huang, Y. C., Kalkreuter, B. and Forster, S. “Praxes” Design Journal, 2011, p.104- p.121. Further information of this PhD research please visit http://yingchiahuang.pixnet.net/blog 5  Figure 4 Experimental Work Process3-1.  Preparation The author captured a heart shape from parts of her previous drawing (Figure 5) and illustrated the heart shape on a skirt sketch by front (Figure 6) and left side view   (Figure 7).                                      3-2.  Space Measurement Firstly, in figure 8, the front and left side view sketches were drawn on the scale grid sheet. Secondly, Figure 9 shows a re-drawing of the sketches of the front and left side views on the standard garment sheet.            Next,  the  gray  areas  were  used  to  represent  the  space  between  the  shape  and  the mannequin. Each grid scale represents 5cm length and 5cm width on the mannequin. The author measured the space from the standard garment sheets and the gained space measurement data.     Figure 6 Heart Shaped Sketch in Design Research    Figure 5 Front View of Heart Shaped Skirt Sketch Figure 5 Drawing of the Front and Left Side View Skirt Sketches on the Scale Grid Sheet Figure 6 Re-Drawing the Front and Left Side View Sketches on a Standard Garment Sheet Figure 7 Left Side View of Heart Shaped Skirt Sketch  Huang, Y. C., Kalkreuter, B. and Forster, S. “Praxes” Design Journal, 2011, p.104- p.121. Further information of this PhD research please visit http://yingchiahuang.pixnet.net/blog 6                  Figure 7 Space Measurement   3-3.  Size Measurement by Microsoft Office Excel 2007 Figure11 reveals the Excel program that was set to calculate space data and Figure 12 represents the horizontal layer map. The author entered the space measurement data in the blue area of the Excel program. The next step in size measurement was to get the size measurement data (Table 1).    Figure 8 Space Measurement Data is Entered in the Excel Program  Figure 9 Map of Horizontal Layers by Four Colors Front right  Front left Back right  Back left Body stand  Huang, Y. C., Kalkreuter, B. and Forster, S. “Praxes” Design Journal, 2011, p.104- p.121. Further information of this PhD research please visit http://yingchiahuang.pixnet.net/blog 7 Table 1 Size Measurement Data Lists          Drawing Vertical Layers Using the Columns Data Drawing Vertical Layers Using the Rows Data  Huang, Y. C., Kalkreuter, B. and Forster, S. “Praxes” Design Journal, 2011, p.104- p.121. Further information of this PhD research please visit http://yingchiahuang.pixnet.net/blog 8 3-4.  Model Realization: Pattern-Making The  first  step  involves  reading  the  data  lists  of  the  size  measurements  for pattern-making of the layers’. The tables are matched with the corresponding colors in the map, in Figure 12.    The red part of the Figure 13, for example, shows the data in table 1-B. The second step is to draw horizontal layers according to the data in the rows of  size  measurement  lists.  The  third  step  is  to  use  the  column  data  of  the  size measurement lists to draw vertical layers. Figures 14 represents simulated images, when viewing the front view with a 22.5 angle, after assembling the horizontal and vertical layers. The fourth step is the cutting of the pattern pieces. Figures 15-A, Figure16, Figure 17 and Figure 18 illustrate the four side layers and 16-B presents an assembled view.                       Figure 12-A Vertical Layers of Back Right     Figure 13 Vertical Layers of Back Left Figure 11 Front View with 22.5 Angle of Assembling Simulation of the Horizontal Layers Figure 10 A Pattern-Making Example of the Horizontal Layers in Hip Line by Size Measurement Data   Figure 16-B Front Simulation View of Assembling Half Vertical Layers  Huang, Y. C., Kalkreuter, B. and Forster, S. “Praxes” Design Journal, 2011, p.104- p.121. Further information of this PhD research please visit http://yingchiahuang.pixnet.net/blog 9    Figure 14 Vertical Layers of Front Left    Figure 15 Vertical Layers of Front Right3-5.  Model Realization: Assembling Pattern Pieces In the first assembling step, vertical layers were pinned against the mannequin. The author then gathered the hip line of horizontal layers around the front left, front right, back left and back right sides (Figure 19-A). And then according to the, Following figures 12 and 14, the other horizontal layers were placed above and below the hip line   (Figure 19-B and 19-C).   Figure 19-A                                Figure 19-B                                    Figure 19-C Figure 16 The Process of Vertical and Horizontal Layer Assembling 4.   Results and Discussion 4-1.  The Three-Dimensional Sculptural Form Giving Model   There are four views of the heart shape sculptural form giving model in Figure 20. Draping on this sculptural model (Figure 21) gave 16 pattern pieces (Figure 22). After pattern cutting and sewing, a heart shape skirt was formed. (Figure 23).  Huang, Y. C., Kalkreuter, B. and Forster, S. “Praxes” Design Journal, 2011, p.104- p.121. Further information of this PhD research please visit http://yingchiahuang.pixnet.net/blog 10   Figure 17 Heart Shape of Sculptural Model of Front, Left Side, back and Right Side Views   Figure 18 Four Views of Heart Shaped Skirt Draping  Figure 19 The Pattern Pieces of Heart Shaped Skirt  Figure 20 Four Views of Heart Shaped Skirt with Filler Huang, Y. C., Kalkreuter, B. and Forster, S. “Praxes” Design Journal, 2011, p.104- p.121. Further information of this PhD research please visit http://yingchiahuang.pixnet.net/blog 11 5.   Conclusion This  research  has  investigated a   fashion  design  method  to  produce  an  intermediate model  from  a  fashion  design  sketch.  This  research  project  has  developed  a  fashion design method, described as ‘sculptural form giving’, to reliably translate innovative two-dimensional ideas on paper, via a structural design sculpture, into an intermediate model. This study intends to help designers in transferring their flat creative concept to form a practical sculptural model. According to the performance of the sculptural model, the author held a workshop with second year fashion design and technology students in Heriot-Watt University in November 2010. The students evaluated the procedure, was to understand the reliability of the method. 6.   References 1.  Wong, W. (1977). Principles of Three-Dimensional Design. London: Van Nostrand Reinhold Company. 2.  Burns, L. D. and N. O. Bryant (2007). The Business of Fashion: Designing, Manufacturing, and Marketing. New York: Fairchild Publications Inc. 3.  Deckert, B. (2002). Sewing for Plus Sizes: Creating Clothes that Fit and Flatter. Newtown: The Taunton Press. 4.  Eckert, C. M. (1997). Intelligent Support for Knitwear Design. Department of Design and Innovation. Milton Keynes. The Open University. UK. PhD: 174. 5.  Kawamura, Y. (2004). The Japanese Revolution in Paris Fashion. Oxford: Berg. 6.  McKelvey, K. and J. Munslow (2003). The Fashion Design Process. Innovation & Practice. Oxford: Blackwell Publishing.   7.  Mills, C. B. (2005). Designing with Models: a Studio Guide to Making and Using Architectural Design Models. New Jersey: John Wiley and Sons, Inc. 8.  Shoben, M. M. and J. P. Ward (1990). Pattern Cutting Outerwear Fashions. Oxford: Heinemann Professional Publishing Ltd. 9.  Silberberg, L. and M. Shoben (1992). The Art of Dress Modelling: Shape Within Shape. Oxford: Butterworth Heinemann Ltd.Taylor, J. R. (1971). Model Building for Architects and Engineers. New York: McGraw-Hill. 10. Thomas, R. K. (1969). Three-Dimensional Design: a Cellular Approach. London: Reinhold book corporation. 11. Winslow, C. (2008). The Handbook of Model-Making for Set Designers. Wiltshire: Crowood Press UK. 

Designing with Models: a Studio Guide to Making and Using Architectural Design Models.

Intelligent Support for Knitwear Design. Department of Design and Innovation. Milton Keynes. The Open University.

Pattern Cutting Outerwear Fashions.

Principles of Three-Dimensional Design.

Sewing for Plus Sizes: Creating Clothes that Fit and Flatter.

The Art of Dress Modelling: Shape Within Shape.

The Fashion Design Process. Innovation & Practice.

The Handbook of Model-Making for Set Designers. Wiltshire:

The Japanese Revolution in Paris Fashion.

Three-Dimensional Design: a Cellular Approach. London: Reinhold book corporation.

The paper describes the development of a fashion design methodology that seeks to reliably translate two-dimensional ideas via a structural design sculpture into 3D designs. It is aimed at fashion designers and fashion technologists and scrutinises their indivdiual and collaborative working practices when realising a finished garment from an initial idea, and the use of drawing and 3D modelling within that co-creational process.The research utilised mixed methods to investigate three distinct parts of the project: developing a sculptural form giving method, testing it in a mixed workshop and analyzing the data. The method applies the idea of conceptual sculpture onto the fashion design process, akin to those used in architecture and toy design with which fashion shares some processes for realizing design ideas. This research investigates and formalizes the processes that utilize the measurable space between the garment and the body, to help transfer garment variation and scale.Using the new model was found to be more understandable and valuable for the co-creational design process than designing from the sketch alone either in fashion design process or fashion design education. This research has implications for the design realisation and the teaching of fashion design because it offers an innovative method by which educators, design translators and fashion designers can enable their students to transform two-dimensional ideas into three-dimensional garments. It also offers some important insights into the fashion design process. In summation, this research enables fashion designers and technologists to produce a creative method that helps to collaborate on imaginative concepts through intermediate modelling. <br/

    Heriot-Watt University Research Gateway                                                          Heriot-Watt UniversityRelating innovative 2D ideas into 3D garments, in terms of structure, using ‘SculpturalForm Giving’ as an intermediate step in creationVettese Forster, Samantha; Kalkreuter, Britta; Huang,  Ying ChaiPublished in:Praxes Design JournalPublication date:2011Link to publication in Heriot-Watt Research GatewayCitation for published version (APA):Vettese Forster, S., Kalkreuter, B., & Huang, . Y. C. (2011). Relating innovative 2D ideas into 3D garments, interms of structure, using ‘Sculptural Form Giving’ as an intermediate step in creation. Praxes Design Journal, 5,104 – 121. Huang, Y. C., Kalkreuter, B. and Forster, S. “Praxes” Design Journal, 2011, p.104- p.121. Further information of this PhD research please visit http://yingchiahuang.pixnet.net/blog 1 Relating Innovative 2D Ideas into 3D Garments, in Terms Of Structure, Using ‘Sculptural Form Giving’ as an Intermediate Step in Creation  * Ying-Chia Huang    ** Dr Britta Kalkreuter    *** Dr Samantha Vettese Forster  * Heriot-Watt University, School of Textile and Design, UK PhD Student ** Heriot-Watt University, School of Textile and Design, UK Lecturer *** Heriot-Watt University, School of Textile and Design, UK Lecturer Abstract  This research focuses on finding a fashion design methodology to reliably translate innovative two-dimensional ideas on paper, via a structural design sculpture, into an intermediate model.    The author, both as a fashion designer and a researcher, has witnessed the issues which arise, regarding the loss of some of the initial ideas and distortion during the two-dimensional creative sketch to three-dimensional garment transfer process. Therefore, this research is concerned with fashion  designers  engaged  in  transferring  a  two-dimensional  sketch  through  the  method ‘sculptural form giving’.    This research method applies the ideal model of conceptual sculpture, in the fashion design process, akin to those used in the disciplines of architecture. These parallel design disciplines share  similar  processes  for  realizing  design  ideas.  Moreover,  this  research  investigates  and formalizes the processes that utilize the measurable space between the garment and the body, to help transfer garment variation and scale.    In  summation,  this  research  proposition  focuses  on  helping  fashion  designers  to  produce  a creative method that helps the designer transfer their imaginative concept through intermediate modeling.   Keywordsj  Dimensional Transformation, Sculptural Model, Spatial Parameter, Fashion Design Method.  Huang, Y. C., Kalkreuter, B. and Forster, S. “Praxes” Design Journal, 2011, p.104- p.121. Further information of this PhD research please visit http://yingchiahuang.pixnet.net/blog 2 1.   Introduction 1-1.  Background and Problem This  research  focuses  on  finding  a  fashion  design  method  to  reliably  realize  a two-dimensional sketch, on paper, via a structural design sculpture, into an intermediate model. Kawamura (2004:207-8) pointed out that the renowned fashion designer Rei Kawakubo’s  designs  has  suffered  from  problems  in  the  transfer  of  her  ideas  into finished garments. Her technicians, with experience of working with spatial forms, were known  to  produce  a  volume  of  samples  from  her  sketches,  but  ultimately  own experience of working corresponded with trial and error. The author also witnessed this transfer problem for herself, and by her colleagues and design teams, primarily because the two-dimensional sketch represented the ‘volume’ of the design concept ambiguously. This misunderstanding of the sketch affects technicians’ ability to realize the design at the earliest stage of its conception. Time was wasted in trial and error at the modeling stage. Therefore, a three-dimensional intermediate model would give an actual spatial form to solve this problem and represents the design concept visually.    This  literature  review  applies  the  intermediate  modeling  method  of  architecture disciplines to fashion design. This addresses the problem of translating the sketch to its best  advantage,  through  an  intermediate  model,  to  provide  a  simpler  pathway  for fashion designers and technologists. This study is, therefore, a pathway to realize the sketch, on a sculptural model clearly, by including space and size measurements. 1-2.  Aims and Objectives The aim of this work was finding a suitable intermediate model, which is ‘sculptural form giving’, a fashion design methodology to reliably translate a 2D sketch from paper to a practical design model. The objective in this study was to develop a transferring formula for the scale of sketch to the mannequin.    2.   Literature Review 2-1.  Principles of Two-Dimensional Design According to Wong (1977:5), two-dimensional design is a man made creation in which length and breadth are two key elements. These two factors establish a visible surface without depth and thickness. Drawing, painting, printing and dyeing, can be represented in two-dimensional design.    Huang, Y. C., Kalkreuter, B. and Forster, S. “Praxes” Design Journal, 2011, p.104- p.121. Further information of this PhD research please visit http://yingchiahuang.pixnet.net/blog 3 2-2.  Principles of Three-Dimensional Design Three-dimensions include length, breadth and depth. Wong (1977:5-14) and Thomas (1969:11-12) illustrated that three-dimensional design reveals depth in a third dimension. Three-dimensional  design  establishes  spatial  relationships.  The  major  differences between two-dimensional and three-dimensional design are depth, measurements and three basic views which are depth, length and width. These elements help to realize a two-dimensional idea in actual three-dimensions.        Figure 1. Three-dimensional design characters on a cube and a garment. 2-2.1  Model Realization in the Fashion Design Process Eckert  (1997:36),  McKelvey  and  Munslow  (2003:32-101)  and  Burns  and  Bryant (2007:176) illustrated that pattern-making and draping are two major existing methods in the sampling stage of the fashion design process. Jones (1992:72-3) pointed out that in a   fashion  design  sampling  process,  after  the  fashion  designer  draws  the  sketch, technicians realize the sketch shape and details to form garment samples. However, pattern-making methods of the ‘plus size’ by Deckert (2002:52-119), artistic dress by Silberberg  and  Shoben  (1992:2-3),  flared  pattern  shape  by  Shoben  and  Ward (1990:76-79)  were  limited  to  build  a  model  from  two-dimensions,  due  to  space measurement difficulty. Moreover, draping builds samples in three-dimension, but the difficulty is in measure the space on the mannequin against the sketch.        Figure 2 Modeling process in fashion design 2-2.2  Model Realization in the Architecture Design Process In architectural design, Taylor (1971:2) pointed out that a study model is used to review shapes, in the architectural design process. Winslow (2008:20-22) and Mills (2005:17) defined the intermediate model, which is the white card model and development model. 2D skirt sketch  Pattern-making and draping Form a sample  Huang, Y. C., Kalkreuter, B. and Forster, S. “Praxes” Design Journal, 2011, p.104- p.121. Further information of this PhD research please visit http://yingchiahuang.pixnet.net/blog 4 These types of    intermediate model have the same functions. The major function of the intermediate model is a temporary model before the presentation model. The functions of  the  intermediate  model  are  to  view  a  three-dimensional  diagram,  show  technical aspects, construction, conductive exploration, abstract representation of buildings and show the need for modification and refinement. The author summarizes the intermediate model  transferring  processes  in  the  books  of  Winslow  (2008:155-161)  and  Mills (2005:212-3) in the following figure.            Figure 3 Intermediate Modeling Process in Architecture Design 3.   Experimental Work and the Sculptural Form Giving Method From the crossovers in the parallel disciplines, the experimental work in this study was divided into three steps, which are preparation, calculation and model realization.                Calculation by Excel Layers assembling Taking model photos Calculation 2D skirt shape sketch Space measurement Size measurement Variation data for layers Pattern-making Pattern cutting Model realization  Preparation Assembling pieces Measuring the space and technical drawing Drawing and cutting shapes Re-drawing sketch on plan and elevation Two-dimensional sketch  Huang, Y. C., Kalkreuter, B. and Forster, S. “Praxes” Design Journal, 2011, p.104- p.121. Further information of this PhD research please visit http://yingchiahuang.pixnet.net/blog 5  Figure 4 Experimental Work Process3-1.  Preparation The author captured a heart shape from parts of her previous drawing (Figure 5) and illustrated the heart shape on a skirt sketch by front (Figure 6) and left side view   (Figure 7).                                      3-2.  Space Measurement Firstly, in figure 8, the front and left side view sketches were drawn on the scale grid sheet. Secondly, Figure 9 shows a re-drawing of the sketches of the front and left side views on the standard garment sheet.            Next,  the  gray  areas  were  used  to  represent  the  space  between  the  shape  and  the mannequin. Each grid scale represents 5cm length and 5cm width on the mannequin. The author measured the space from the standard garment sheets and the gained space measurement data.     Figure 6 Heart Shaped Sketch in Design Research    Figure 5 Front View of Heart Shaped Skirt Sketch Figure 5 Drawing of the Front and Left Side View Skirt Sketches on the Scale Grid Sheet Figure 6 Re-Drawing the Front and Left Side View Sketches on a Standard Garment Sheet Figure 7 Left Side View of Heart Shaped Skirt Sketch  Huang, Y. C., Kalkreuter, B. and Forster, S. “Praxes” Design Journal, 2011, p.104- p.121. Further information of this PhD research please visit http://yingchiahuang.pixnet.net/blog 6                  Figure 7 Space Measurement   3-3.  Size Measurement by Microsoft Office Excel 2007 Figure11 reveals the Excel program that was set to calculate space data and Figure 12 represents the horizontal layer map. The author entered the space measurement data in the blue area of the Excel program. The next step in size measurement was to get the size measurement data (Table 1).    Figure 8 Space Measurement Data is Entered in the Excel Program  Figure 9 Map of Horizontal Layers by Four Colors Front right  Front left Back right  Back left Body stand  Huang, Y. C., Kalkreuter, B. and Forster, S. “Praxes” Design Journal, 2011, p.104- p.121. Further information of this PhD research please visit http://yingchiahuang.pixnet.net/blog 7 Table 1 Size Measurement Data Lists          Drawing Vertical Layers Using the Columns Data Drawing Vertical Layers Using the Rows Data  Huang, Y. C., Kalkreuter, B. and Forster, S. “Praxes” Design Journal, 2011, p.104- p.121. Further information of this PhD research please visit http://yingchiahuang.pixnet.net/blog 8 3-4.  Model Realization: Pattern-Making The  first  step  involves  reading  the  data  lists  of  the  size  measurements  for pattern-making of the layers’. The tables are matched with the corresponding colors in the map, in Figure 12.    The red part of the Figure 13, for example, shows the data in table 1-B. The second step is to draw horizontal layers according to the data in the rows of  size  measurement  lists.  The  third  step  is  to  use  the  column  data  of  the  size measurement lists to draw vertical layers. Figures 14 represents simulated images, when viewing the front view with a 22.5 angle, after assembling the horizontal and vertical layers. The fourth step is the cutting of the pattern pieces. Figures 15-A, Figure16, Figure 17 and Figure 18 illustrate the four side layers and 16-B presents an assembled view.                       Figure 12-A Vertical Layers of Back Right     Figure 13 Vertical Layers of Back Left Figure 11 Front View with 22.5 Angle of Assembling Simulation of the Horizontal Layers Figure 10 A Pattern-Making Example of the Horizontal Layers in Hip Line by Size Measurement Data   Figure 16-B Front Simulation View of Assembling Half Vertical Layers  Huang, Y. C., Kalkreuter, B. and Forster, S. “Praxes” Design Journal, 2011, p.104- p.121. Further information of this PhD research please visit http://yingchiahuang.pixnet.net/blog 9    Figure 14 Vertical Layers of Front Left    Figure 15 Vertical Layers of Front Right3-5.  Model Realization: Assembling Pattern Pieces In the first assembling step, vertical layers were pinned against the mannequin. The author then gathered the hip line of horizontal layers around the front left, front right, back left and back right sides (Figure 19-A). And then according to the, Following figures 12 and 14, the other horizontal layers were placed above and below the hip line   (Figure 19-B and 19-C).   Figure 19-A                                Figure 19-B                                    Figure 19-C Figure 16 The Process of Vertical and Horizontal Layer Assembling 4.   Results and Discussion 4-1.  The Three-Dimensional Sculptural Form Giving Model   There are four views of the heart shape sculptural form giving model in Figure 20. Draping on this sculptural model (Figure 21) gave 16 pattern pieces (Figure 22). After pattern cutting and sewing, a heart shape skirt was formed. (Figure 23).  Huang, Y. C., Kalkreuter, B. and Forster, S. “Praxes” Design Journal, 2011, p.104- p.121. Further information of this PhD research please visit http://yingchiahuang.pixnet.net/blog 10   Figure 17 Heart Shape of Sculptural Model of Front, Left Side, back and Right Side Views   Figure 18 Four Views of Heart Shaped Skirt Draping  Figure 19 The Pattern Pieces of Heart Shaped Skirt  Figure 20 Four Views of Heart Shaped Skirt with Filler Huang, Y. C., Kalkreuter, B. and Forster, S. “Praxes” Design Journal, 2011, p.104- p.121. Further information of this PhD research please visit http://yingchiahuang.pixnet.net/blog 11 5.   Conclusion This  research  has  investigated a   fashion  design  method  to  produce  an  intermediate model  from  a  fashion  design  sketch.  This  research  project  has  developed  a  fashion design method, described as ‘sculptural form giving’, to reliably translate innovative two-dimensional ideas on paper, via a structural design sculpture, into an intermediate model. This study intends to help designers in transferring their flat creative concept to form a practical sculptural model. According to the performance of the sculptural model, the author held a workshop with second year fashion design and technology students in Heriot-Watt University in November 2010. The students evaluated the procedure, was to understand the reliability of the method. 6.   References 1.  Wong, W. (1977). Principles of Three-Dimensional Design. London: Van Nostrand Reinhold Company. 2.  Burns, L. D. and N. O. Bryant (2007). The Business of Fashion: Designing, Manufacturing, and Marketing. New York: Fairchild Publications Inc. 3.  Deckert, B. (2002). Sewing for Plus Sizes: Creating Clothes that Fit and Flatter. Newtown: The Taunton Press. 4.  Eckert, C. M. (1997). Intelligent Support for Knitwear Design. Department of Design and Innovation. Milton Keynes. The Open University. UK. PhD: 174. 5.  Kawamura, Y. (2004). The Japanese Revolution in Paris Fashion. Oxford: Berg. 6.  McKelvey, K. and J. Munslow (2003). The Fashion Design Process. Innovation & Practice. Oxford: Blackwell Publishing.   7.  Mills, C. B. (2005). Designing with Models: a Studio Guide to Making and Using Architectural Design Models. New Jersey: John Wiley and Sons, Inc. 8.  Shoben, M. M. and J. P. Ward (1990). Pattern Cutting Outerwear Fashions. Oxford: Heinemann Professional Publishing Ltd. 9.  Silberberg, L. and M. Shoben (1992). The Art of Dress Modelling: Shape Within Shape. Oxford: Butterworth Heinemann Ltd.Taylor, J. R. (1971). Model Building for Architects and Engineers. New York: McGraw-Hill. 10. Thomas, R. K. (1969). Three-Dimensional Design: a Cellular Approach. London: Reinhold book corporation. 11. Winslow, C. (2008). The Handbook of Model-Making for Set Designers. Wiltshire: Crowood Press UK. 

Relating innovative 2D ideas into 3D garments, in terms of structure, using ‘Sculptural Form Giving’ as an intermediate step in creation

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