现代服饰品牌服饰图形设计研究
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摘要
以服饰为载体的图形应用起源于原始社会,通过社会结构不断变化与发展,其因被赋予不同形式的选择过程,而进行着不断的产生与消亡。从现代图形设计师的角度看来,这些图形符号都已成为设计元素被创意地演绎于世界各地的伸展台上。随着时代的发展与大众审美意识的不断提高,做为继款式、色彩、材料之后的图形元素,不仅充当着表达服饰设计特性的视觉媒介,还将在现代服饰品牌的整个服饰设计流程中占据着越来越重要的地位。因此,现代服饰品牌中的图形设计研究不仅具有视觉美学价值,还具有一定的现实意义：即,1.以视觉传达的角度分析其设计流程的方法学意义；2.以现代服饰品牌建立、维护及发展的角度,分析其对于品牌特性与价值的具体作用。
本文从视觉传达设计角度出发,观察、思考并实践现代服饰品牌中的服饰图形设计。首先,通过理解归纳其基本概念与意义,探索其应用方法与一般规律；然后,在研究过程中着重分析、论述服饰图形具体设计流程及所产生的视觉影响；并以国内、外现代服饰品牌的图形设计特点与应用效果进行有针对性的案例分析与对比：以服饰图形设计的范畴、属性、美感原理与美感特点、创意与功能等方面为出发点,从品牌特性与意义的角度,就如何确立主题与素材,设定图形元素进行有效的设计创意,以此继承或革新原有的品牌价值等问题进行了研究。在设计实践方面,通过着重记录、分析“灵感线条”系列服饰图形设计过程与遇到的问题,以设计规划、设计准备、设计草图、设计效果为分析切入点,通过服饰图形设计流程,将设计主题中的图形元素、色彩元素、肌理处理手法等要素转化为以服饰为应用载体的视觉图形的过程,总结其待深化、解决的问题,并分析解决途径。最后,基于理论与实践,总结现代服饰品牌服饰图形设计的当前问题与设计原则。
综上所述,本文创新性在于：1.以视觉传达的设计角度,通过理论研究与大量实际案例,分析研究以服饰为应用载体的图形设计如何将二维的图形成功转化为三维的服饰装饰元素,并准确地传达品牌特定的设计诉求与设计效果；2.以作者参与的设计项目为实践依据,思考、系统地研究并总结出品牌价值指导下的服饰图形设计流程,从一定程度上提高了现代品牌服饰图形设计方法的可操作性；3.通过对笔者毕业设计实践的记录与分析,理论结合实际,就现代服饰品牌服饰图形设计的当前问题与前景提出了自己的观点,并基于全文的论述得出设计原则,作为对于从事现代服饰品牌服饰图形设计相关人员的参考。
The graphics applications with clothing as the carrier originated in primitive society, through the ever-changing social structures and development, and its due to be given different forms of the selection process, carried out the continuous generation and extinction. From the modern graphic designer's point of view, these graphic symbols have become the creative design elements have been interpreted on runways around the world. With the development of aesthetic awareness with the public continues to improve, graphic elements as the following styles, colors, materials, not only acts as a visual media of fashion design characteristic, but also in the modern clothing brand to occupy the entire fashion design process an increasingly important position. Thus, the research of graphic design for modern clothing brand not only has the visual aesthetic value, but also has some practical significance:1. To the point of view of visual communication design process methodology significance;
2. To modern clothing brand building, maintenance and development point of view to analyze their brand identity and value for the specific role.
From the visual communication angle, graphic design was observed, thought and practiced in contemporary fashion brands. First of all, by understanding the basic concepts and significance of induction, its application methods and the general law was explored; Then, in the course of the study, the author advances specific graphic design process for fashion and the resulting visual impact; and the application of targeted case analysis and comparison was researched through analyzing graphic design features and application effect between domestic and foreign contemporary fashion brands:the scope of graphic design costumes, properties, aesthetic principles and aesthetic characteristics, creativity and function, etc. as a starting point, from the perspective of brand identity and meaning, on how to establish theme and material, set the graphic elements of effective design creativity, as inherited or innovative brand value of the original research was conducted.
In the design practice, through emphasis on recording, analyzing, "inspired by the line" series of apparel graphic design process and the problems encountered in design and planning, design preparation, design sketches, design an entry point for the analysis results, through the clothing graphic design process, will be designed theme of the graphic elements, color elements, texture and other factors into a carrier for the application of visual graphics process to be concluded its analysis solution. Finally, based on the theory and practice, the author summed up the current issues and design principles of graphic design for modern fashion brand.
To sum up, this innovation is:1. To visual communication design point of view, through theoretical study and a large number of practical examples, analysis of the application in order to dress carrier graphic design how to two-dimensional graphics are transformed into successful three-dimensional clothing decoration elements, and accurately convey the brand-specific design demands and design effects; 2. to authors involved in practice based on the design of projects, thinking, systematic study and summed up the brand value of the clothing under the guidance of graphic design process, from a certain extent, improve the the modern methods of graphic design brand clothing operability; 3. I graduated from design practice through the recording and analysis, to integrate theory with practice, in modern clothing brand apparel graphic design of the current problems and prospects presented their point of view, and based on full text discussion of design principles derived as engaged in a modern clothing brand apparel graphic design-related personnel reference.
本文从视觉传达设计角度出发,观察、思考并实践现代服饰品牌中的服饰图形设计。首先,通过理解归纳其基本概念与意义,探索其应用方法与一般规律；然后,在研究过程中着重分析、论述服饰图形具体设计流程及所产生的视觉影响；并以国内、外现代服饰品牌的图形设计特点与应用效果进行有针对性的案例分析与对比：以服饰图形设计的范畴、属性、美感原理与美感特点、创意与功能等方面为出发点,从品牌特性与意义的角度,就如何确立主题与素材,设定图形元素进行有效的设计创意,以此继承或革新原有的品牌价值等问题进行了研究。在设计实践方面,通过着重记录、分析“灵感线条”系列服饰图形设计过程与遇到的问题,以设计规划、设计准备、设计草图、设计效果为分析切入点,通过服饰图形设计流程,将设计主题中的图形元素、色彩元素、肌理处理手法等要素转化为以服饰为应用载体的视觉图形的过程,总结其待深化、解决的问题,并分析解决途径。最后,基于理论与实践,总结现代服饰品牌服饰图形设计的当前问题与设计原则。
综上所述,本文创新性在于：1.以视觉传达的设计角度,通过理论研究与大量实际案例,分析研究以服饰为应用载体的图形设计如何将二维的图形成功转化为三维的服饰装饰元素,并准确地传达品牌特定的设计诉求与设计效果；2.以作者参与的设计项目为实践依据,思考、系统地研究并总结出品牌价值指导下的服饰图形设计流程,从一定程度上提高了现代品牌服饰图形设计方法的可操作性；3.通过对笔者毕业设计实践的记录与分析,理论结合实际,就现代服饰品牌服饰图形设计的当前问题与前景提出了自己的观点,并基于全文的论述得出设计原则,作为对于从事现代服饰品牌服饰图形设计相关人员的参考。
The graphics applications with clothing as the carrier originated in primitive society, through the ever-changing social structures and development, and its due to be given different forms of the selection process, carried out the continuous generation and extinction. From the modern graphic designer's point of view, these graphic symbols have become the creative design elements have been interpreted on runways around the world. With the development of aesthetic awareness with the public continues to improve, graphic elements as the following styles, colors, materials, not only acts as a visual media of fashion design characteristic, but also in the modern clothing brand to occupy the entire fashion design process an increasingly important position. Thus, the research of graphic design for modern clothing brand not only has the visual aesthetic value, but also has some practical significance:1. To the point of view of visual communication design process methodology significance;
2. To modern clothing brand building, maintenance and development point of view to analyze their brand identity and value for the specific role.
From the visual communication angle, graphic design was observed, thought and practiced in contemporary fashion brands. First of all, by understanding the basic concepts and significance of induction, its application methods and the general law was explored; Then, in the course of the study, the author advances specific graphic design process for fashion and the resulting visual impact; and the application of targeted case analysis and comparison was researched through analyzing graphic design features and application effect between domestic and foreign contemporary fashion brands:the scope of graphic design costumes, properties, aesthetic principles and aesthetic characteristics, creativity and function, etc. as a starting point, from the perspective of brand identity and meaning, on how to establish theme and material, set the graphic elements of effective design creativity, as inherited or innovative brand value of the original research was conducted.
In the design practice, through emphasis on recording, analyzing, "inspired by the line" series of apparel graphic design process and the problems encountered in design and planning, design preparation, design sketches, design an entry point for the analysis results, through the clothing graphic design process, will be designed theme of the graphic elements, color elements, texture and other factors into a carrier for the application of visual graphics process to be concluded its analysis solution. Finally, based on the theory and practice, the author summed up the current issues and design principles of graphic design for modern fashion brand.
To sum up, this innovation is:1. To visual communication design point of view, through theoretical study and a large number of practical examples, analysis of the application in order to dress carrier graphic design how to two-dimensional graphics are transformed into successful three-dimensional clothing decoration elements, and accurately convey the brand-specific design demands and design effects; 2. to authors involved in practice based on the design of projects, thinking, systematic study and summed up the brand value of the clothing under the guidance of graphic design process, from a certain extent, improve the the modern methods of graphic design brand clothing operability; 3. I graduated from design practice through the recording and analysis, to integrate theory with practice, in modern clothing brand apparel graphic design of the current problems and prospects presented their point of view, and based on full text discussion of design principles derived as engaged in a modern clothing brand apparel graphic design-related personnel reference.
引文
[1]刘元凤,李迎军.现代服装艺术设计.北京：清华大学出版社.2005.
[2]缪良云.中国衣经.上海：上海文化出版社.2000.
[3]同上.
[4]忻惠珍.服装图形装饰设计.杭州：中国美术学院出版社.2003
[5]毛德宝,陈珊妍.图形创意设计.南京：东南大学出版社.2008
[6]鲁道夫·阿恩海姆,滕守饶译.视觉思维.成都：四川人民出版社.1998
[8]佚名.十年华服游记.上海：外滩画报2007年1月23日
[9]廖军,吴晓兵.装饰图案基础.北京：高等教育出版社2007
[10]毛德宝,陈珊妍.图形创意设计.南京：东南大学出版社.2008
[11]罗兰.巴特,敖军.流行体系——符号学与服饰符码上海人民出版社.2000.
[12]辛海霞.后现代服饰设计中装饰元素的符号学研究.青岛大学硕士学位论文.2007
[13]佚名Paul Smith彩色条纹创始人.来源:Vogue时尚网.2009-9-26
[15]H.G.布洛克,滕守饶译.现代艺术哲学.成都：四川人民出版社.1998
[1]刘元凤,李迎军.现代服装艺术设计.北京：清华大学出版社.2005.
[2]缪良云.中国衣经.上海：上海文化出版社.2000.
[3]忻惠珍.服装图形装饰设计.杭州：中国美术学院出版社.2003
[4]毛德宝,陈珊妍.图形创意设计.南京：东南大学出版社.2008
[5]鲁道夫·阿恩海姆,滕守饶译.视觉思维.成都：四川人民出版社.1998
[6]佚名.十年华服游记.上海：外滩画报2007-1-23
[7]廖军,吴晓兵.装饰图案基础.北京：高等教育出版社2007
[8]罗兰.巴特,敖军.流行体系——符号学与服饰符码上海人民出版社.2000.
[9]辛海霞.后现代服饰设计中装饰元素的符号学研究.青岛大学硕士学位论文.2007
[10]H.G.布洛克,滕守饶译.现代艺术哲学.成都：四川人民出版社.1998
[11]李帆.视觉思维转换.重庆：重庆出版社,2009
[12]王传东.图形创意.济南：山东美术出版社,2007
[13]帕特里克·弗兰克著,陈玥蕾,俞钰译.上海：上海人民美术出版社,2008
[14]方新普,陆峰,孟梅林.视觉流程设计.合肥：合肥工业大学出版社,2004
[15]韦自力,罗鸿,左剑虹.创意图形.南宁：广西美术出版社,2006
[16]伍斌.设计思维与创意.北京：北京大学出版社,2007
[17]伊莱恩·斯通,张玲,张辉.服装产业运营.北京：中国纺织出版社,2004
[18]王效杰,金海.设计管理.北京：中国轻工业出版社,2008
[19]邬烈炎.设计基础：来自建筑的形式.南京：江苏美术出版社,2004
[20]郭凤.服饰品牌全能督导.北京：中国纺织出版社,2005
[21]王继平.服饰文化学.武昌：华中理工大学出版社,1998
[22]郑林.艺术圣经：巨匠眼中的缪斯.北京：经济日报出版社,2001
[23]加文·安布罗斯,保罗·哈里斯,陈洁.服装设计视觉词典.上海：上海人民美术出版社,2009
[2]缪良云.中国衣经.上海：上海文化出版社.2000.
[3]同上.
[4]忻惠珍.服装图形装饰设计.杭州：中国美术学院出版社.2003
[5]毛德宝,陈珊妍.图形创意设计.南京：东南大学出版社.2008
[6]鲁道夫·阿恩海姆,滕守饶译.视觉思维.成都：四川人民出版社.1998
[8]佚名.十年华服游记.上海：外滩画报2007年1月23日
[9]廖军,吴晓兵.装饰图案基础.北京：高等教育出版社2007
[10]毛德宝,陈珊妍.图形创意设计.南京：东南大学出版社.2008
[11]罗兰.巴特,敖军.流行体系——符号学与服饰符码上海人民出版社.2000.
[12]辛海霞.后现代服饰设计中装饰元素的符号学研究.青岛大学硕士学位论文.2007
[13]佚名Paul Smith彩色条纹创始人.来源:Vogue时尚网.2009-9-26
[15]H.G.布洛克,滕守饶译.现代艺术哲学.成都：四川人民出版社.1998
[1]刘元凤,李迎军.现代服装艺术设计.北京：清华大学出版社.2005.
[2]缪良云.中国衣经.上海：上海文化出版社.2000.
[3]忻惠珍.服装图形装饰设计.杭州：中国美术学院出版社.2003
[4]毛德宝,陈珊妍.图形创意设计.南京：东南大学出版社.2008
[5]鲁道夫·阿恩海姆,滕守饶译.视觉思维.成都：四川人民出版社.1998
[6]佚名.十年华服游记.上海：外滩画报2007-1-23
[7]廖军,吴晓兵.装饰图案基础.北京：高等教育出版社2007
[8]罗兰.巴特,敖军.流行体系——符号学与服饰符码上海人民出版社.2000.
[9]辛海霞.后现代服饰设计中装饰元素的符号学研究.青岛大学硕士学位论文.2007
[10]H.G.布洛克,滕守饶译.现代艺术哲学.成都：四川人民出版社.1998
[11]李帆.视觉思维转换.重庆：重庆出版社,2009
[12]王传东.图形创意.济南：山东美术出版社,2007
[13]帕特里克·弗兰克著,陈玥蕾,俞钰译.上海：上海人民美术出版社,2008
[14]方新普,陆峰,孟梅林.视觉流程设计.合肥：合肥工业大学出版社,2004
[15]韦自力,罗鸿,左剑虹.创意图形.南宁：广西美术出版社,2006
[16]伍斌.设计思维与创意.北京：北京大学出版社,2007
[17]伊莱恩·斯通,张玲,张辉.服装产业运营.北京：中国纺织出版社,2004
[18]王效杰,金海.设计管理.北京：中国轻工业出版社,2008
[19]邬烈炎.设计基础：来自建筑的形式.南京：江苏美术出版社,2004
[20]郭凤.服饰品牌全能督导.北京：中国纺织出版社,2005
[21]王继平.服饰文化学.武昌：华中理工大学出版社,1998
[22]郑林.艺术圣经：巨匠眼中的缪斯.北京：经济日报出版社,2001
[23]加文·安布罗斯,保罗·哈里斯,陈洁.服装设计视觉词典.上海：上海人民美术出版社,2009