基于羊毛纤维毡缩技术在服饰面料再造中的应用研究
|
摘要
羊毛纤维毡缩工艺分为无水针毡法和湿毡法两种。文章采取文献调查、采样绘图、实践操作等研究方法整理、归纳、分析、描述羊毛纤维两种毡缩原理和工艺技法的特点,通过服饰作品的实验制作,检验羊毛纤维毡缩技术在服饰面料再造方面的可行性。文章认为:无水针毡法适用于局部图案的精细制作,有利于把控图案细节的造型、修改和补充,同时可以达到面料拼缝边缘的纹样自然拼合;湿毡法适用于大面积的整体制作,优点是速度快,图案完整,色彩融合均匀,制成的毡片可以直接剪裁;在实践应用中两种工艺技术相辅相成、相互结合与补充,使面料再造的图案纹样更精致、细腻,色彩搭配更灵活,不仅丰富了面料的肌理变化,还增强面料立体感和空间感,并且其无缝拼接、一体成型的特性对新型服装拼缝技术起到参考作用。
Felting Technology of wool fiber that is divided anhydrous needle felting and wet felting. In this paper, the characteristics of felting principle and technology are summarized, analyzed and described by means of literature investigation, sampling and drawing, and practical operation.The feasibility of wool felting technology in clothing fabrics reconstruction was tested by experiments.The article holds that The anhydrous needle felt method is suitable for fine fabrication of local patterns, which is conducive to shaping, modifying and supplementing the details of control patterns, and at the same time, it can achieve the natural combination of patterns on the edge of fabric seam,And The wet felt method is suitable for the whole production of large area. It has the advantages of fast speed, complete pattern, uniform color fusion,and can be directly tailored.In practice, the combination and supplement of the two processes make the pattern more delicate and delicate, and the color collocation more flexible.It not only enriches the texture change of the fabric, but also enhances the three-dimensional and spatial sense of the fabric, and its seamless splicing and integral forming characteristics play a reference role in the new garment sewing technology.
Felting Technology of wool fiber that is divided anhydrous needle felting and wet felting. In this paper, the characteristics of felting principle and technology are summarized, analyzed and described by means of literature investigation, sampling and drawing, and practical operation.The feasibility of wool felting technology in clothing fabrics reconstruction was tested by experiments.The article holds that The anhydrous needle felt method is suitable for fine fabrication of local patterns, which is conducive to shaping, modifying and supplementing the details of control patterns, and at the same time, it can achieve the natural combination of patterns on the edge of fabric seam,And The wet felt method is suitable for the whole production of large area. It has the advantages of fast speed, complete pattern, uniform color fusion,and can be directly tailored.In practice, the combination and supplement of the two processes make the pattern more delicate and delicate, and the color collocation more flexible.It not only enriches the texture change of the fabric, but also enhances the three-dimensional and spatial sense of the fabric, and its seamless splicing and integral forming characteristics play a reference role in the new garment sewing technology.
引文
[1](日)绪方伶香.最详尽的羊毛毡教科书[M].石家庄:河北科学技术出版社,2013:10-14.Ogata Reika. The Most Detailed Wool Felt Textbook[M].Shijiazhuang:Hebei Science&Technology Pubsh-ing House,2013:10-14.
[2]张璇.浅论毛毡作品的实用性与艺术性[D].天津美术学院, 2014.ZHANG Xuan.Elementary discussion on practicalityand artistry of woollen fibers felt[D].Tianjin Academyof Fine Arts,2014.
[3]金霜.羊毛毡手工“DIY”工艺品市场开发及营销研究[J].艺术品评,2015(7):318.JIN Shuang.Research on market development andmarketing of ‘DIY'handicraft of wool felt[J].Appreciation,2015(7):318.
[4]张锐,马晓陈.手工魅力———羊毛毡产品的设计与制作[J].美与时代(上),2015(6):76-79.ZHANG Rui,Ma Xiao-chen. Handcraft charm--Design and production of wool felt products[J]. Beauty&Times(early edition), 2015(6):76-79.
[5]葛亚晶.羊毛毡湿毡技法及其应用[J].上海工艺美术,2016(4):83-85.GE Ya-jing.Technogy and applications of wet Wollfelt[J].shanghai arts&crafts,2016(4):83-85.
[6]贾琼,孟萌.谈羊毛毡艺术作品的魅力[J].设计,2015(22):124-125.JIA Qiong,Meng Meng. Dicussion on the charm ofwool felt art works[J].Design,2015(22):124-125.
[7]吴微微.论织物肌理的设计[J].丝绸,1995(10):39-64.WU Wei-wei. The Design of Fabric Texture[J].Journalof Silk,1995(10):39-64.
[8]徐百佳.纤维艺术设计与制作[M].北京:中国纺织出版社,2002:17-18.XU Bai jia.Fiber art design and production[M].Beijing:China Textile&Apparel Press,2002:17-18.
[9]李伟伟.毛毡在服饰品设计中的应用[J].数位时尚(新视觉艺术),2011(2):162-163.LI Wei-wei.The application of felt in fashion design[J].New Vision Art,2011(2):162-163.
[2]张璇.浅论毛毡作品的实用性与艺术性[D].天津美术学院, 2014.ZHANG Xuan.Elementary discussion on practicalityand artistry of woollen fibers felt[D].Tianjin Academyof Fine Arts,2014.
[3]金霜.羊毛毡手工“DIY”工艺品市场开发及营销研究[J].艺术品评,2015(7):318.JIN Shuang.Research on market development andmarketing of ‘DIY'handicraft of wool felt[J].Appreciation,2015(7):318.
[4]张锐,马晓陈.手工魅力———羊毛毡产品的设计与制作[J].美与时代(上),2015(6):76-79.ZHANG Rui,Ma Xiao-chen. Handcraft charm--Design and production of wool felt products[J]. Beauty&Times(early edition), 2015(6):76-79.
[5]葛亚晶.羊毛毡湿毡技法及其应用[J].上海工艺美术,2016(4):83-85.GE Ya-jing.Technogy and applications of wet Wollfelt[J].shanghai arts&crafts,2016(4):83-85.
[6]贾琼,孟萌.谈羊毛毡艺术作品的魅力[J].设计,2015(22):124-125.JIA Qiong,Meng Meng. Dicussion on the charm ofwool felt art works[J].Design,2015(22):124-125.
[7]吴微微.论织物肌理的设计[J].丝绸,1995(10):39-64.WU Wei-wei. The Design of Fabric Texture[J].Journalof Silk,1995(10):39-64.
[8]徐百佳.纤维艺术设计与制作[M].北京:中国纺织出版社,2002:17-18.XU Bai jia.Fiber art design and production[M].Beijing:China Textile&Apparel Press,2002:17-18.
[9]李伟伟.毛毡在服饰品设计中的应用[J].数位时尚(新视觉艺术),2011(2):162-163.LI Wei-wei.The application of felt in fashion design[J].New Vision Art,2011(2):162-163.