2024年5月4日发(作者：荣耀畅玩7c致命缺点)

2.3 The art of sculptural elements in clothing

2.3.1 The rhythmic beauty of lines

The rhythmical sense of lines in sculpture can precisely convey the beauty of the

work. As a result, the combined form of lines can indicate how patterns and images

are put together, and the back and forth zigzag of lines can convey how much

something weighs. Clothing translates the sculpture's rhythmic lines, which are

analogous to the emancipation of the human body's curves. We can depict the curves

of the garment as well as the body and movement shapes of the figure using the

rhythm, regularity, and trajectory of the lines in order to create a three-dimensional

feeling of the overall shape of the garment.

2.3.2 The rhythmic beauty of the layout

Different layout designs will elicit various psychological reactions. For instance,

a square layout tends to convey a sense of propriety and gravity, whereas a circular

layout tends to convey vividness and perfection. Theme, layout, context, and other

factors used in sculptures' creations all help to portray the beauty of the sculpture.

Layout and rhythm work well together.

2.3.3 Space-related visuals

The main way sculpture expresses the beauty of imagery is through space

changes, mostly through blending many scenes and spatial motifs to form a cohesive

whole. In order to appreciate and shape sculpture, light is crucial because it can cause

the sculpture to produce various undulating changes that highlight the relationship

between light and dark, as well as the visual laws and illusions produced by various

color changes that express the three-dimensional sense of objects and the sense of

space. First and foremost, we must understand that space and any visual effects are

profoundly dependent on light.

2.3.4 Aesthetics of convex and concave texture

The texture is a crucial element in sculpting art. The abstract expression of

texture can enhance not just the sculpture's overall visual effect but also its overall

atmosphere [2]. In sculpture, convex and concave texture refers to the creation of

regular and atypical concave and convex effects by carving techniques like negative

and positive engraving. For instance, a positive engraving produces a lifting effect,

whereas a negative engraving produces a depressing effect. Its incorporation into

clothing structures can produce a variety of visual effects and improve the

three-dimensional and spatial perception of clothing.

The adults experience a variety of pressures that increasingly occupy them with

work. They have little time to focus on their own emotions because of peer pressure,

work pressure, and life pressure. Even when they are sad or angry, it can be

challenging to locate a location where they can feel supported and at ease. Their heart

and body will suffer if they are in such a depressed state for an extended period, and

they risk developing depression or other health ailments. Considering that clothing

itself is for human beings, in my opinion, its role is not only to cover people's bodies,

nor is it only for decoration and beautification, but I think clothing can also have other

meanings and values to improve people's lives. In this project, I hope to integrate the

concept of comfort, safety and fun into the clothing, so that the clothing becomes a

shelter for adults, where they can experience a sense of fun and safety so that they can

release and alleviate their stress and worries from all aspects so that they can start to

pay attention to their own emotions.

In Ishigami’s design, people can feel what it's like to walk on top of a cloud. I

like to look at the clouds," says Ishigami. The irregular shapes of the clouds fascinate

him, “ Clouds change their form at will, with certain rationality. It is these erratic

curved forms that give the room its overall warmth, intrigue, and impressiveness.

They don't feel rigid, prescribed, or stagnant like straight lines; rather, they seem to be

full of freedom, joy, and rich creativity. The erratic arcs move in high and low arcs

like a toddler dancing.

His use of arcs is significant in this piece. The arcs reduce the sharpness, and are

more rounded and softer than the angular straight lines, giving people a more cosy

and intimate sense. Additionally, uneven arcs are more intriguing and provide room

for creativity. As a result, the arc will play a significant role in my designs.

However, because the human body is three-dimensional, if the arc's structure

were just used as a pattern on clothing, it would lose its vibrant quality and its ability

to move freely without being constrained. Therefore, you may still preserve the alive

and freedom of the arc structure in the clothes if we can say that the two-dimensional

arc structure into three-dimensional space arc structure and reference in the clothing,

so that the clothing has a certain sculptural effect.

Through the research of irregular curved surfaces, I collected a large number of

sculptural images with irregular shapes. To study the possibility of irregular arcs on

the human body, certain interesting arcs were extracted using Photoshop and collages

were created (Figure 3.10).

The collage provided the initial growth direction, but the structure is currently

two-dimensional and lacks a sense of three-dimensional space. Therefore, combined

with the research on the relationship between the spatial sense of curved surfaces and

the human body, Figures 3.5 3.6, 3.7, 3.8, 3.9 I got some conceptual sketches, Figure

3.11, where the curved surface with a three-dimensional sense of space is integrated

into the garment. However, the sketches obtained at this point are too abstract to be

developed into garments, so it is necessary to gradually simplify the design of some

structures, and Figure 3.12 shows some of the sketches after simplification.

The fundamental research strategy in this thesis is to create three-dimensional

clothing by "sculpturally" modelling it on a human platform, fixing it with tape, and

then designing curved channels and partition lines directly on top of the shape.

I started with CLO 3D software in order to achieve a three-dimensional spatial sense

of curved surfaces. I used the "pressure" function to add pressure to the plate to give

the garment a three-dimensional effect of bulging. Although this achieved a

three-dimensional sense of space, the overall feeling of the clothing is too bloated,

losing the irregular curved lively and unrestrained feeling (Figure 3.13).