目录
目录 . ................................................................................................................. 0
第1章 原文稿件 . .................................................................................... 2—1 The analysis of arrangement sense about yarn-dyed geometric pattern design . .................................................................................................................. 2—1 Jianping Shi1·23 ................................................................................... 2—1 Introduction . ................................................................................. 2—1 The origin of geometric pattern . ................................................... 2—2 The application of arrangement sense about yarn-dyed geometric pattern ......................................................................................... 2—3 The combination of arrangement sense ...................................... 2—3 The tranquility and unrest in setting the arrangement . ................. 2—3 The monotony and richness of geometric pattern . ....................... 2—4 The balance and instability of geometric pattern ......................... 2—5 The illusion brought by geometric pattern . ................................... 2—6 Conclusion . .................................................................................. 2—6 Acknowledgments ....................................................................... 2—7 References: ................................................................................. 2—7
第2章 翻译的译文 ....................................................................................... 8
2.1 书本介绍前言 . ................................................................................... 8
2.2 几何图案的起源 ................................................................................ 8
2.3 应用层次感色织的几何图案 .............................................................. 9
2.4 几何图案的单调性和丰富性 .............................................................. 9
2.5 几何图案的平衡和不稳定 . ............................................................... 10
第3章
第4章 PDF 格式源文件图片格式预览 . ....................................................... 11 书籍信息 . ........................................................................................ 13
第1章 原文稿件
Advanced Materials Research Vol. 796 (2013) pp 502-506 Online available since 2013/Sep/18 at (2013) Trans Tech Publications, Switzerland
doi:10.4028/
The analysis of arrangement sense about yarn-dyed geometric
pattern design
23Jianping Shi1·
1College of Textile and Clothing Engineering, Soochow University, Suzhou, 215021, China 2Nantong Textile Institute Of Soochow University, Nantong,226008, China ^National
E-mail: shijp88@163xom Engineering Laboratory for Modern Silk, Soochow University,Suzhou, 215123, China
Keywords: yarn-dyed, geometric pattern, design, arrangement sense
Abstract: Arrangement sense is a sense based on human's visual and psychological balance, and organized designed works can bring it about. This kind of balance is one of the most basic manifestations of arrangement sense. And the arrangement sense about yarn-dyed geometric pattern design reflects people's tendency to show their technique and extensive application of skills. Properly organized geometric pattern applications enrich the contents of fabrics and diverse the shapes of products. People's imagination in design is largely expanded ,which is of great help for the work of pattern designers.
Introduction
Yarn-dyed fabric is very unique among all the fabric products. It not only has a great market at home, but also at abroad. The products can be sold far to exotic places and every year they can bring a large amount of foreign currency. Yarn-dyed products are mostly made of dyed yarn, fancy yarn and bleached yarn, and are woven through variant weaves. The main patterns of yarn-dyed fabrics consist of many geometric patterns such as square, circle, triangle, and some other ordered points, lines or areas. It's characterized by its
rigorous structure and simple clean design, perfect accord with the current modern civilized orientation and aesthetic interests. Yarn-dyed geometric pattern is usually preferred by people for its unique appearances, numerous variations and a strong 3D effect. The origin of geometric pattern
Geometric patterns derive from some simple images of life experiences,from which people absorb ideas and then make the manifestation. Its existence reflects a kind of psychological character that people tend to manipulate and perform skills[l].
Our country has a long history about geometric patterns. Dating back to the Neolithic Age, which extended of more than six thousand years in history, the ancient painted pottery dug from Zhang Jia Tai, Jing Tai county, Gansu province of China, displays large amount of geometric patterns of that time, such as parallel lines, triangles, squares, bows and circles. The foundation of some architectures found in Banpo Site, Xi'an, shows a shape of round and square. At Long Shan culturalrelics of our country, people discovered some checkered pattern, pattern, |H pattern, and manyother geometric patterns on dug pottery pieces. These are the earliest record that people used geometric patterns to decorate and beautify their life.The arrangement sense about yarn-dyed geometric pattern
The arrangement sense about yarn-dyed geometric pattern contributes to a kind of balance to people's physical and psychological state. As Owen Jones, a British modern theoretical pioneer in design said in his book Principle, "The essence of beauty is a peaceful feeling, and the heart can approach to it when his desire for vision, intelligence and emotion are satisfied." The kind of inner peace is one of the most basic manifestations of arrangement sense. Arrangement sense should not be limited and literally interpreted as people's feeling about arrangement senserather, it should be a psychological activity which establishes upon people's biological nature. It includes two parts: sensation and perception. Sensation is to bring the outside stimuli into human brain, whereas perception is to translate the relate information from those stimuli. People's perception of direction is also from the arrangement sense, and even more dramatically, all human activities can be seen as if under the guidance of the arrangement sense[2].
"Making the first, matching the second"is a basic principle when designing yarn-dyed patterns. That is, patterns are undergoing a process of design based on the principle of formal beauty from simple to complex. A particular era, a different occasion, object, texture or color all will constitute the majority of good designing ideas. Usually, people are accustomed to thinking of some certain geometric patterns at first, and make them as a basic pattern for the fabric after that. Then the pattern is repeatedly placed in a row or line. More often, those rows or lines are organized into orderly continuous patterns. However,
acting this ordination extreme will hinder people's ability to get to know the patterns well. Because excessive ordination can make an art piece pale and ordinary, lacking vitality. The works from designers should be able to present the best of themselves, their unique style and character, no matter how simple or complex the pattern is. Moreover, designers can also be inspired and come up with some new and fashionable geometric patterns, like some quiet and sweet patterns or some sight-stunning ones.
The application of arrangement sense about yarn-dyed geometric pattern
The combination of arrangement sense
We get to know from life that simpler objects make it easier to be combined. In biosphere, all varieties of simple and standardized shapes such as pomegranates, corns, sea urchins, sunflower seeds, cactus thorns and the shape of pinecone, all grow in accordance with the screw style. It shows the combination and administrative levels of an arrangement sense. For instance, tiny elements can be piled up to bigger units, and it's not difficult to integrate these units into a larger and cohesive whole. In our daily life, people often take advantage of these segments on purpose and put them into good use step by step. The Greek"Stone Wall" is one example. It's an ancient architecture made of many bizarre rocks of various sizes.besides gravel raked causeway is splicing together much smaller flagstones which with different sizes and shapes.
In yarn-dyed geometric patterns, the Greek "Stone Wall" montage technique is frequently applied. During the designing process, designers can either adapt the integrations of the width of lines, or to use a gradual change in lightness and purity, or to conform to a continuity of geometric patterns. Because a good arrangement sense can only be achieved through continuous patterns.
The tranquility and unrest in setting the arrangement
Arrangement sense will emerge when separated geometric patterns are repeatedly arranged or properly combined. If not, it becomes anarchy. During a yarn-dyed geometric pattern design process, things like triangle, circle, square and polygon are set in accordance with some reduplicative pattern
principle. Thus we can feel tranquility. On the contrary, if the patterns are placed in a mess, and out of order, it will give people an impression of uneasiness and irregularity, this derives from its irregular arrangement. The phenomenon about tranquility and unrest is actually an application of Getalf Psychology in yarn-dyed geometric pattern design. Getalf Psychology emphasizes the arrangement sense. To illustrate this, we may imagine that when enjoying yarn-dyed geometric patterns, we tend to get dazzled if faced with those extreme complex patterns without a good arrangement. And if the dots are placed in order,
or more precisely, they are lined up, then it will be much easier to be noticed by us than if they are arranged in curve or a rhombus shape. Furthermore, visual impact will be stronger if dots are regularly arranged in a radial shape rather than scattered irregular dots. Our visual concentration can also be attracted when some smaller dots are divided into fine equal intervals in a background which has many random distributions of other dots. From all the previous analyses, we come to a point that tranquility will emerge only when patterns are arranged in order, vise versa.
The monotony and richness of geometric pattern
When geometric patterns like square, rectangle and other regular ones are applied to yarn-dyed pattern design, it is easy to be pale and tedious, lack of artistic charm if not taking some measures to verify these patterns. From the standpoint of psychology, the information volume carried by patterns is accessed by the degree of surprise that people get. It shows that the more monotonous and boring the pattern is, the lesser arrangement sense it conveys. Visual fatigue is caused by monotonous and extreme uniformity of obeying rules in pattern design. The excitement people get in aesthetics comes from the appreciation of some tedious-like but complex patterns. Monotonous patterns are hard to seize the eye though, if the pattern is too complex, it will give much burden on people's perception, so that cease to enjoy the pattern. It is necessary to consider an appropriate form variation, and correlate the relationship between arrangement and variation by adjusting the richness of various diversity into organized group, so as to keep the order on the one hand, and avoid being tedious on the other hand. From designing experience, people are told that we do not like monotonous or clutter, rather, we are easier to be absorbed in the combination of the two —To put multiple variations into an ordered group, then the integrity and variety of form is thus created [3].
Fig. 1 Scottish Grid
A perfect set of yarn-dyed geometric patterns consist of a good arrangement sense. See Fig. 1 Like "Scottish Grid", it is basically formed of square lattices. However, with
different types and colors in manufacturing yarn-dyed fabrics, the Scottish Grid has many
different and abundant source of pattern variations. For example, if some monotonous stripes are arranged according to certain directions, it will create a folding effect.
Fig. 2 A visual illusion of yarn-dyed geometric pattern
The balance and instability of geometric pattern
Normally, the sense about yarn-dyed geometric patterns is displayed as a sense about balance. It's achieved by arrangement orders and directions of patterns. Specifically, like rhythm created by poets and musicians, sizes and density of a pattern and its proportion and arrangement order also counts. To explain the sense about balance better, we may start from symmetry. Symmetry is a special form of balance, and it's a method to reflect the patterns from one side of a center shaft to the other side. To achieve a balance in symmetrical pattern, we have to use a firm frame or an isolating method; otherwise it may get even closer to "instability". In yarn-dyed geometric patterndesign, there is a category called bi-color grid, which can be usually seen. This pattern gets itsinspiration from the international "chessboard" on which people play chess. When we see patterns like a red and white interlaced grid, if your eyes concentrate on one of the white grids and see it as a center of a red cross, immediately many of the same red crosses will appear. Similarly, if eyes are focused on a red grid, then many white crosses repeatedly emerge throughout the pattern. Interestingly, if people search for crosses along the diagonal axis, we will find a red or white "plum blossom" pattern with 5 grids [4].
Therefore we come to a point that when we see a "chessboard" on a yarn-dyed fabric with bicolorpattern, we can get a feeling of instability. And the instability of this kind is clearly altering asyour shifting eye observation. Moreover, when enjoying the sight of complicated grid patterns, people can sometimes sense chaos which is caused by the square itself, that is produces ripply effect. Visual exhaustion will emerge if looking at this kind of pattern for a long time, due to its instability. To get a balance for both sight and psychology, yarn-dyed pattern designers usually combine chessboard patterns with other natural
patterns to achieve visual balance.
The illusion brought by geometric pattern
Illusion is ajudgmental error not matching the reality, and it's influenced by the object's profile and color. For some certain physical and psychological reasons, people misinterpret when observing them. Take Argentina's soccer team's vertical zebra stripes on their uniforms as an example, its unique character makes it stand out from all the other soccer teams' uniforms. Different from players of other parts of the world, this kind of uniform magically make these soccer players look more handsome and muscular in sight. On the whole, horizontal stripes attract people's attention to a crosswise direction, which enables the person look fuller; while vertical stripes attract people's attention to the longitudinal direction, and in turn it makes the person's figure appears slimmer. Thus designers may skillfully take advantage of the illusion effect caused by staring at geometric patterns and reach a gorgeous visual impression. Consequently, short and chubby people should be advised to wear clothes with vertical stripes so that they may look slimmer, whereas tall and skinny people are supposed to wear clothes which with horizontal stripes in order to look full.
Stripe and grid patterns on yarn-dyed fabrics are formed of interwoven change, and people can get a semi-transparent visual effect out of it. Normally, it's not easy to tell which yarn of one color is on the top, and which one underneath. Therefore, the patterns may create a "dislocation effect" and produce a strong visual impact and derange people's feel of its visual sense. When looking at patterns like Fig.2, it's easy to be fascinated by the planned sizes a mysterious gradual change of the pattern. It brings about a feeling of rotation —rotation of wheels. It seems as if the "wheels" are moved by a magic force though which observers are dragged to unintentionally touch the pattern.
But how could it "move" since it's just a flat yarn-dyed pattern? This phenomenon can be explained as the glamour of the "illusion effect" of geometric patterns, and partly also attribute to the beauty brought by its brilliant arrangement variations.
Conclusion
As for designing yarn-dyed geometric patterns on fabrics, whatever method is applied, the decisive factor for the external appearance is arrangement sense. Specifically, it's presented as a manipulation of organization, normalization and its simplicity. Arrangement sense represents transformation and its afterward integration. It always relates to stability and the eternal, indicating the arranging ability of mankind. A good arrangement sense about yarn-dyed geometric fabric enriches its products and diversifies the form of fabrics. People can get larger room of inspiration and imagination so as to guide their designing
career and enable them to come out with newer, more fashionable and welcomed works. Therefore, the manifestation is a core spirit when designing geometric patterns. Acknowledgments
A project funded by the priority academic program development of Jiangsu Higher Education Institutions.
References:
[1] Wang Qian. A theoretical study about arrangement sense applied in Gombrich —compared with Arnheim and its development'-]. The Science Education Article Collects. 2008(8): 237-238.
[2] Wen Xuming&Zhu Xuyun. A superficial analysis on the performance and use of geometric patterns in clothing'J]. Beauty &Times. 2005(8): 56-57.
[3] Liu Huaxin. Arrangement sense in artistic form — "Arrangement sense" reading notes[EB/OL]. [2012-6-29]..
[4] Anonymous. Arrangement manifestations and application in Kimono patterns[J]. HUNANBAOZHUANG. 2006(2): 39-41.
第2章 翻译的译文
2.1 书本介绍前言
安排的感觉是一种基于人的视觉和心理的平衡，并组织完成的作品，可以实现它。这种平衡是一种最基本的表现层次感。并对纱线排列的几何图案的设计反映了人民的感染的倾向，展示他们的技术和技能的广泛应用。正确组织几何模式的应用丰富的织物和不同的产品形状的内容。人们的想象力的设计大大拓展，为设计师的工作模式有很大的帮助。
色织面料是非常独特的所有的织物产品中。它不仅在国内有很大的市场，而且在国外。产品远销异国情调的地方，每年他们都会带来大量的外汇。色织产品大多是由染色纱，花式纱、漂白纱，并通过不同的编织编织。色织织物的主要模式包括如方形，圆形，三角形等几何图案，和其他一些有序的点，线或地区。它具有严谨的结构和简单干净的设计，与现代文明的取向和审美的利益完全一致。色织几何图案通常是首选的人以其独特的表现，许多的变化和强大的3D 效果。
2.2 几何图案的起源
几何图案来自生活经验的一些简单的图像，从中人们吸收的想法使表现。它的存在反映了一种心理特征，人们倾向于操纵和执行能力。
我国约有几何图案的悠久历史。可追溯到新石器时代，延伸超过六千年的历史中，古代彩陶挖张家台，景泰县，中国甘肃省，显示大量的时间的几何图案，如平行线，三角形，正方形，弓和界。一些基础发现半坡遗址，西安，显示了一个圆形和方形。在龙山文化遗址的我国，人们发现了一些方格图案，图案，| H 模式，和许多其他的几何图案的陶器碎片上挖。这些都是人们用几何图案装饰和美化生活的最早记录。纱线排列感染的几何图案。
纱线排列感染的几何图案有助于一种平衡的人的身体和心理状态。欧文琼斯，英国现代设计理论的先驱，在他的书中原则说，“美的本质是一种和谐的感觉，与心可以接近它时，他的愿望，视力，智力和情感上得到满足。”内心的平静是一种最基本的表现层次感。安排常识不应受到限制，从字面上理解为人的感觉安排常识相反，它应该是一个建立在人的生物性心理活动。它包括两个部分：感觉和知觉。感觉是对外界刺激到人的大脑，而知觉是将相关信息从这些刺激。人的认知的方向也从安排上，甚至更为显着，人类的一切活动中可以看出，如果意识指导下的安排。
“第一，匹配的第二”是一个基本原则在设计色织模式。那是，模式正在经历一个基于形式美的原则，从简单到复杂的设计过程。一个特定的时代，不同的场合，对象，纹理或颜色都将构成良好的设计理念的多数。通常，人们都习惯于首先考虑一定的几何图案，并把它们作为一个基本的织物图案之后。然后，图案是反复放置在一行或列。通常，这些行或列被组织成有序的连续模式。然而，这次行动协调极端会阻碍人的认识能力的模式。由于过多的排序可以使一件艺术品的苍白和普通，缺乏活力。从设计师的作品应该能提出最好的自己，其独特的风格和个性，无论多么简单或复杂的图案。此外，设计师也可以启发，想出一些新的、时尚的几何图案，像一些宁静温馨的图案或一些惊人的景象。
2.3 应用层次感色织的几何图案
层次感的结合
我们知道生活中简单的对象更容易被合并。在生物圈，各种简单形状如石榴，鸡眼，海胆，葵花籽，仙人掌的刺和松果的形状，生长与螺杆式一致。它表明，一个意识层次排列组合。例如，小的元素可以把更大的单位，很难把这些单位成一个更大的、连贯的整体。在我们的日常生活中，人们往往利用这段的目的，并应用到一步好一步。希腊的“石墙”就是一个例子。这是一种古老的建筑用各种sizes.besides 许多奇岩砾石倾斜的铜锣是拼接在一起的更小的石板上，具有不同的尺寸和形状。
色织物的几何图案，希腊的“石墙”蒙太奇技术是常用的。在设计过程中，设计师可以适应的线条宽度的集成，或使用在明度和纯度的渐变，或符合一个连续的几何图案。因为一个好的安排常识只能通过连续模式的实现。
在设置安排的宁静和不安
安排会出现分离时的几何图案的重复设置或适当组合。如果不是，它变得混乱。在色织几何图案的设计过程，如三角形，圆形，方形和多边形是按照一定的重叠结构原理。因此，我们可以感受到宁静。相反，如果模式被放置在一个混乱，无序，这样会让人不安的和不规则的印象，这从排列不规则的。关于宁静和动荡的现象实际上是格式塔心理学在纱线染色的几何图案设计中的应用。格式塔心理学强调安排常识。为了说明这一点，我们可以想象，当享受色织的几何图案，我们往往会眼花缭乱，如果面对这些极端复杂的模式没有很好的安排。如果点被放置在秩序，或者更准确地说，他们排成一排，然后它会更容易注意到我们比他们排列在曲线或菱形。此外，视觉冲击力会更强，如果点经常被安排在一个放射状而不是分散的不规则的点。我们的视觉的浓度也可以吸引时，一些小的点分为细间距相等的在背景有其他许多随机分布的点。从以前的所有的分析中，我们来点宁静将出现只有当图案排列有序，反之亦然。
2.4 几何图案的单调性和丰富性
当几何图案的正方形，矩形和其他规则的适用于纱线染色图案的设计，很容易被苍白乏味，缺乏艺术魅力如果不采取一些措施来验证这些模式。从心理学的角度，通过模式的信息量是由出乎意料的程度，让人。结果表明，更多的单调和乏味的模式是，较小的安排，它所传达的意义。视觉疲劳是造成的单调和极端在图案设计中遵守规则的一致性。激动的人们得到的美学来自一些繁琐的一样，但复杂的图案的欣赏。单调的模式是很难把握的眼睛虽然，如果图案太复杂，它将给人们的认知负担，所以，停止享受模式。这是需要考虑的一个适当的形式的变化，和相关的安排和变化之间的关系，通过调整各种丰富多样的组织团体，以保持秩序，一方面，避免繁琐的另一方面。从设计的经验，人们都说我们不喜欢单调的或杂波，相反，我们更容易被吸收在两个放多变异成一个有序的组，然后的完整性和各种形式就是这样创造出来的[ 3 ]。
[5]
一套完美的纱线染色的几何图案组成的一个很好的安排的意义。图1“苏格兰网格”，它基本上是由正方晶格。然而，不同类型和颜色生产色织面料，苏格兰网格有许多不同的和丰富的图案变化源。例如，如果一些单调的条纹是按一定方向排列，它会创建一个可折叠的影响。
图2视觉错觉色织的几何图案
2.5 几何图案的平衡和不稳定
通常，对纱线的感染的几何图案显示为一个意义上的平衡。它是由排列顺序和方向的模式的实现。具体地说，像诗人和音乐家创造节奏，大小和图案的排列顺序及其所占的比例和密度也很重要。解释了较好的平衡，我们可以从对称性。对称平衡的一种特殊形式，它是一个方法来反映从中心轴的一侧到另一侧的模式。在对称的格局，实现平衡，我们必须用坚固的框架或隔离法；否则可能会更接近于“不稳定性”。色织物的几何图案的设计，有一类称为双色的网格，通常可以看到。这种模式从国际“棋盘”上下棋得到启示。当我们看到一个红色和白色的交错网格模式，如果你的眼睛集中在一个白色的网格和看到它作为一个红色的十字中心，立即许多相同的红十字会出现。同样，如果眼睛聚焦在一个红色的网格，然后许多白色十字架，反复出现在整个模式。有趣的是，如果人们搜索沿对角线轴交叉，我们会发现一个红色或白色的“梅花”5格[ 4 ]模式。
因此，我们来到了一个点，当我们看到一个“棋盘”上色织双色图案的织物，我们可以得到一个不稳的感觉。和这种不稳定性明显改变你拨眼观察。此外，在享受复杂的网格图案的景象，人们有时混乱感是由广场本身造成的，这是产生起涟漪的效果。视觉疲惫会看这种长期规律的出现，由于其不稳定性。要获得一个视觉和心理平衡，色织图案设计师通常将棋盘图案与其他自然的模式，达到视觉平衡。
第3章 PDF 格式源文件图片格式预览
第4章 书籍信息
目录
目录 . ................................................................................................................. 0
第1章 原文稿件 . .................................................................................... 2—1 The analysis of arrangement sense about yarn-dyed geometric pattern design . .................................................................................................................. 2—1 Jianping Shi1·23 ................................................................................... 2—1 Introduction . ................................................................................. 2—1 The origin of geometric pattern . ................................................... 2—2 The application of arrangement sense about yarn-dyed geometric pattern ......................................................................................... 2—3 The combination of arrangement sense ...................................... 2—3 The tranquility and unrest in setting the arrangement . ................. 2—3 The monotony and richness of geometric pattern . ....................... 2—4 The balance and instability of geometric pattern ......................... 2—5 The illusion brought by geometric pattern . ................................... 2—6 Conclusion . .................................................................................. 2—6 Acknowledgments ....................................................................... 2—7 References: ................................................................................. 2—7
第2章 翻译的译文 ....................................................................................... 8
2.1 书本介绍前言 . ................................................................................... 8
2.2 几何图案的起源 ................................................................................ 8
2.3 应用层次感色织的几何图案 .............................................................. 9
2.4 几何图案的单调性和丰富性 .............................................................. 9
2.5 几何图案的平衡和不稳定 . ............................................................... 10
第3章
第4章 PDF 格式源文件图片格式预览 . ....................................................... 11 书籍信息 . ........................................................................................ 13
第1章 原文稿件
Advanced Materials Research Vol. 796 (2013) pp 502-506 Online available since 2013/Sep/18 at (2013) Trans Tech Publications, Switzerland
doi:10.4028/
The analysis of arrangement sense about yarn-dyed geometric
pattern design
23Jianping Shi1·
1College of Textile and Clothing Engineering, Soochow University, Suzhou, 215021, China 2Nantong Textile Institute Of Soochow University, Nantong,226008, China ^National
E-mail: shijp88@163xom Engineering Laboratory for Modern Silk, Soochow University,Suzhou, 215123, China
Keywords: yarn-dyed, geometric pattern, design, arrangement sense
Abstract: Arrangement sense is a sense based on human's visual and psychological balance, and organized designed works can bring it about. This kind of balance is one of the most basic manifestations of arrangement sense. And the arrangement sense about yarn-dyed geometric pattern design reflects people's tendency to show their technique and extensive application of skills. Properly organized geometric pattern applications enrich the contents of fabrics and diverse the shapes of products. People's imagination in design is largely expanded ,which is of great help for the work of pattern designers.
Introduction
Yarn-dyed fabric is very unique among all the fabric products. It not only has a great market at home, but also at abroad. The products can be sold far to exotic places and every year they can bring a large amount of foreign currency. Yarn-dyed products are mostly made of dyed yarn, fancy yarn and bleached yarn, and are woven through variant weaves. The main patterns of yarn-dyed fabrics consist of many geometric patterns such as square, circle, triangle, and some other ordered points, lines or areas. It's characterized by its
rigorous structure and simple clean design, perfect accord with the current modern civilized orientation and aesthetic interests. Yarn-dyed geometric pattern is usually preferred by people for its unique appearances, numerous variations and a strong 3D effect. The origin of geometric pattern
Geometric patterns derive from some simple images of life experiences,from which people absorb ideas and then make the manifestation. Its existence reflects a kind of psychological character that people tend to manipulate and perform skills[l].
Our country has a long history about geometric patterns. Dating back to the Neolithic Age, which extended of more than six thousand years in history, the ancient painted pottery dug from Zhang Jia Tai, Jing Tai county, Gansu province of China, displays large amount of geometric patterns of that time, such as parallel lines, triangles, squares, bows and circles. The foundation of some architectures found in Banpo Site, Xi'an, shows a shape of round and square. At Long Shan culturalrelics of our country, people discovered some checkered pattern, pattern, |H pattern, and manyother geometric patterns on dug pottery pieces. These are the earliest record that people used geometric patterns to decorate and beautify their life.The arrangement sense about yarn-dyed geometric pattern
The arrangement sense about yarn-dyed geometric pattern contributes to a kind of balance to people's physical and psychological state. As Owen Jones, a British modern theoretical pioneer in design said in his book Principle, "The essence of beauty is a peaceful feeling, and the heart can approach to it when his desire for vision, intelligence and emotion are satisfied." The kind of inner peace is one of the most basic manifestations of arrangement sense. Arrangement sense should not be limited and literally interpreted as people's feeling about arrangement senserather, it should be a psychological activity which establishes upon people's biological nature. It includes two parts: sensation and perception. Sensation is to bring the outside stimuli into human brain, whereas perception is to translate the relate information from those stimuli. People's perception of direction is also from the arrangement sense, and even more dramatically, all human activities can be seen as if under the guidance of the arrangement sense[2].
"Making the first, matching the second"is a basic principle when designing yarn-dyed patterns. That is, patterns are undergoing a process of design based on the principle of formal beauty from simple to complex. A particular era, a different occasion, object, texture or color all will constitute the majority of good designing ideas. Usually, people are accustomed to thinking of some certain geometric patterns at first, and make them as a basic pattern for the fabric after that. Then the pattern is repeatedly placed in a row or line. More often, those rows or lines are organized into orderly continuous patterns. However,
acting this ordination extreme will hinder people's ability to get to know the patterns well. Because excessive ordination can make an art piece pale and ordinary, lacking vitality. The works from designers should be able to present the best of themselves, their unique style and character, no matter how simple or complex the pattern is. Moreover, designers can also be inspired and come up with some new and fashionable geometric patterns, like some quiet and sweet patterns or some sight-stunning ones.
The application of arrangement sense about yarn-dyed geometric pattern
The combination of arrangement sense
We get to know from life that simpler objects make it easier to be combined. In biosphere, all varieties of simple and standardized shapes such as pomegranates, corns, sea urchins, sunflower seeds, cactus thorns and the shape of pinecone, all grow in accordance with the screw style. It shows the combination and administrative levels of an arrangement sense. For instance, tiny elements can be piled up to bigger units, and it's not difficult to integrate these units into a larger and cohesive whole. In our daily life, people often take advantage of these segments on purpose and put them into good use step by step. The Greek"Stone Wall" is one example. It's an ancient architecture made of many bizarre rocks of various sizes.besides gravel raked causeway is splicing together much smaller flagstones which with different sizes and shapes.
In yarn-dyed geometric patterns, the Greek "Stone Wall" montage technique is frequently applied. During the designing process, designers can either adapt the integrations of the width of lines, or to use a gradual change in lightness and purity, or to conform to a continuity of geometric patterns. Because a good arrangement sense can only be achieved through continuous patterns.
The tranquility and unrest in setting the arrangement
Arrangement sense will emerge when separated geometric patterns are repeatedly arranged or properly combined. If not, it becomes anarchy. During a yarn-dyed geometric pattern design process, things like triangle, circle, square and polygon are set in accordance with some reduplicative pattern
principle. Thus we can feel tranquility. On the contrary, if the patterns are placed in a mess, and out of order, it will give people an impression of uneasiness and irregularity, this derives from its irregular arrangement. The phenomenon about tranquility and unrest is actually an application of Getalf Psychology in yarn-dyed geometric pattern design. Getalf Psychology emphasizes the arrangement sense. To illustrate this, we may imagine that when enjoying yarn-dyed geometric patterns, we tend to get dazzled if faced with those extreme complex patterns without a good arrangement. And if the dots are placed in order,
or more precisely, they are lined up, then it will be much easier to be noticed by us than if they are arranged in curve or a rhombus shape. Furthermore, visual impact will be stronger if dots are regularly arranged in a radial shape rather than scattered irregular dots. Our visual concentration can also be attracted when some smaller dots are divided into fine equal intervals in a background which has many random distributions of other dots. From all the previous analyses, we come to a point that tranquility will emerge only when patterns are arranged in order, vise versa.
The monotony and richness of geometric pattern
When geometric patterns like square, rectangle and other regular ones are applied to yarn-dyed pattern design, it is easy to be pale and tedious, lack of artistic charm if not taking some measures to verify these patterns. From the standpoint of psychology, the information volume carried by patterns is accessed by the degree of surprise that people get. It shows that the more monotonous and boring the pattern is, the lesser arrangement sense it conveys. Visual fatigue is caused by monotonous and extreme uniformity of obeying rules in pattern design. The excitement people get in aesthetics comes from the appreciation of some tedious-like but complex patterns. Monotonous patterns are hard to seize the eye though, if the pattern is too complex, it will give much burden on people's perception, so that cease to enjoy the pattern. It is necessary to consider an appropriate form variation, and correlate the relationship between arrangement and variation by adjusting the richness of various diversity into organized group, so as to keep the order on the one hand, and avoid being tedious on the other hand. From designing experience, people are told that we do not like monotonous or clutter, rather, we are easier to be absorbed in the combination of the two —To put multiple variations into an ordered group, then the integrity and variety of form is thus created [3].
Fig. 1 Scottish Grid
A perfect set of yarn-dyed geometric patterns consist of a good arrangement sense. See Fig. 1 Like "Scottish Grid", it is basically formed of square lattices. However, with
different types and colors in manufacturing yarn-dyed fabrics, the Scottish Grid has many
different and abundant source of pattern variations. For example, if some monotonous stripes are arranged according to certain directions, it will create a folding effect.
Fig. 2 A visual illusion of yarn-dyed geometric pattern
The balance and instability of geometric pattern
Normally, the sense about yarn-dyed geometric patterns is displayed as a sense about balance. It's achieved by arrangement orders and directions of patterns. Specifically, like rhythm created by poets and musicians, sizes and density of a pattern and its proportion and arrangement order also counts. To explain the sense about balance better, we may start from symmetry. Symmetry is a special form of balance, and it's a method to reflect the patterns from one side of a center shaft to the other side. To achieve a balance in symmetrical pattern, we have to use a firm frame or an isolating method; otherwise it may get even closer to "instability". In yarn-dyed geometric patterndesign, there is a category called bi-color grid, which can be usually seen. This pattern gets itsinspiration from the international "chessboard" on which people play chess. When we see patterns like a red and white interlaced grid, if your eyes concentrate on one of the white grids and see it as a center of a red cross, immediately many of the same red crosses will appear. Similarly, if eyes are focused on a red grid, then many white crosses repeatedly emerge throughout the pattern. Interestingly, if people search for crosses along the diagonal axis, we will find a red or white "plum blossom" pattern with 5 grids [4].
Therefore we come to a point that when we see a "chessboard" on a yarn-dyed fabric with bicolorpattern, we can get a feeling of instability. And the instability of this kind is clearly altering asyour shifting eye observation. Moreover, when enjoying the sight of complicated grid patterns, people can sometimes sense chaos which is caused by the square itself, that is produces ripply effect. Visual exhaustion will emerge if looking at this kind of pattern for a long time, due to its instability. To get a balance for both sight and psychology, yarn-dyed pattern designers usually combine chessboard patterns with other natural
patterns to achieve visual balance.
The illusion brought by geometric pattern
Illusion is ajudgmental error not matching the reality, and it's influenced by the object's profile and color. For some certain physical and psychological reasons, people misinterpret when observing them. Take Argentina's soccer team's vertical zebra stripes on their uniforms as an example, its unique character makes it stand out from all the other soccer teams' uniforms. Different from players of other parts of the world, this kind of uniform magically make these soccer players look more handsome and muscular in sight. On the whole, horizontal stripes attract people's attention to a crosswise direction, which enables the person look fuller; while vertical stripes attract people's attention to the longitudinal direction, and in turn it makes the person's figure appears slimmer. Thus designers may skillfully take advantage of the illusion effect caused by staring at geometric patterns and reach a gorgeous visual impression. Consequently, short and chubby people should be advised to wear clothes with vertical stripes so that they may look slimmer, whereas tall and skinny people are supposed to wear clothes which with horizontal stripes in order to look full.
Stripe and grid patterns on yarn-dyed fabrics are formed of interwoven change, and people can get a semi-transparent visual effect out of it. Normally, it's not easy to tell which yarn of one color is on the top, and which one underneath. Therefore, the patterns may create a "dislocation effect" and produce a strong visual impact and derange people's feel of its visual sense. When looking at patterns like Fig.2, it's easy to be fascinated by the planned sizes a mysterious gradual change of the pattern. It brings about a feeling of rotation —rotation of wheels. It seems as if the "wheels" are moved by a magic force though which observers are dragged to unintentionally touch the pattern.
But how could it "move" since it's just a flat yarn-dyed pattern? This phenomenon can be explained as the glamour of the "illusion effect" of geometric patterns, and partly also attribute to the beauty brought by its brilliant arrangement variations.
Conclusion
As for designing yarn-dyed geometric patterns on fabrics, whatever method is applied, the decisive factor for the external appearance is arrangement sense. Specifically, it's presented as a manipulation of organization, normalization and its simplicity. Arrangement sense represents transformation and its afterward integration. It always relates to stability and the eternal, indicating the arranging ability of mankind. A good arrangement sense about yarn-dyed geometric fabric enriches its products and diversifies the form of fabrics. People can get larger room of inspiration and imagination so as to guide their designing
career and enable them to come out with newer, more fashionable and welcomed works. Therefore, the manifestation is a core spirit when designing geometric patterns. Acknowledgments
A project funded by the priority academic program development of Jiangsu Higher Education Institutions.
References:
[1] Wang Qian. A theoretical study about arrangement sense applied in Gombrich —compared with Arnheim and its development'-]. The Science Education Article Collects. 2008(8): 237-238.
[2] Wen Xuming&Zhu Xuyun. A superficial analysis on the performance and use of geometric patterns in clothing'J]. Beauty &Times. 2005(8): 56-57.
[3] Liu Huaxin. Arrangement sense in artistic form — "Arrangement sense" reading notes[EB/OL]. [2012-6-29]..
[4] Anonymous. Arrangement manifestations and application in Kimono patterns[J]. HUNANBAOZHUANG. 2006(2): 39-41.
第2章 翻译的译文
2.1 书本介绍前言
安排的感觉是一种基于人的视觉和心理的平衡，并组织完成的作品，可以实现它。这种平衡是一种最基本的表现层次感。并对纱线排列的几何图案的设计反映了人民的感染的倾向，展示他们的技术和技能的广泛应用。正确组织几何模式的应用丰富的织物和不同的产品形状的内容。人们的想象力的设计大大拓展，为设计师的工作模式有很大的帮助。
色织面料是非常独特的所有的织物产品中。它不仅在国内有很大的市场，而且在国外。产品远销异国情调的地方，每年他们都会带来大量的外汇。色织产品大多是由染色纱，花式纱、漂白纱，并通过不同的编织编织。色织织物的主要模式包括如方形，圆形，三角形等几何图案，和其他一些有序的点，线或地区。它具有严谨的结构和简单干净的设计，与现代文明的取向和审美的利益完全一致。色织几何图案通常是首选的人以其独特的表现，许多的变化和强大的3D 效果。
2.2 几何图案的起源
几何图案来自生活经验的一些简单的图像，从中人们吸收的想法使表现。它的存在反映了一种心理特征，人们倾向于操纵和执行能力。
我国约有几何图案的悠久历史。可追溯到新石器时代，延伸超过六千年的历史中，古代彩陶挖张家台，景泰县，中国甘肃省，显示大量的时间的几何图案，如平行线，三角形，正方形，弓和界。一些基础发现半坡遗址，西安，显示了一个圆形和方形。在龙山文化遗址的我国，人们发现了一些方格图案，图案，| H 模式，和许多其他的几何图案的陶器碎片上挖。这些都是人们用几何图案装饰和美化生活的最早记录。纱线排列感染的几何图案。
纱线排列感染的几何图案有助于一种平衡的人的身体和心理状态。欧文琼斯，英国现代设计理论的先驱，在他的书中原则说，“美的本质是一种和谐的感觉，与心可以接近它时，他的愿望，视力，智力和情感上得到满足。”内心的平静是一种最基本的表现层次感。安排常识不应受到限制，从字面上理解为人的感觉安排常识相反，它应该是一个建立在人的生物性心理活动。它包括两个部分：感觉和知觉。感觉是对外界刺激到人的大脑，而知觉是将相关信息从这些刺激。人的认知的方向也从安排上，甚至更为显着，人类的一切活动中可以看出，如果意识指导下的安排。
“第一，匹配的第二”是一个基本原则在设计色织模式。那是，模式正在经历一个基于形式美的原则，从简单到复杂的设计过程。一个特定的时代，不同的场合，对象，纹理或颜色都将构成良好的设计理念的多数。通常，人们都习惯于首先考虑一定的几何图案，并把它们作为一个基本的织物图案之后。然后，图案是反复放置在一行或列。通常，这些行或列被组织成有序的连续模式。然而，这次行动协调极端会阻碍人的认识能力的模式。由于过多的排序可以使一件艺术品的苍白和普通，缺乏活力。从设计师的作品应该能提出最好的自己，其独特的风格和个性，无论多么简单或复杂的图案。此外，设计师也可以启发，想出一些新的、时尚的几何图案，像一些宁静温馨的图案或一些惊人的景象。
2.3 应用层次感色织的几何图案
层次感的结合
我们知道生活中简单的对象更容易被合并。在生物圈，各种简单形状如石榴，鸡眼，海胆，葵花籽，仙人掌的刺和松果的形状，生长与螺杆式一致。它表明，一个意识层次排列组合。例如，小的元素可以把更大的单位，很难把这些单位成一个更大的、连贯的整体。在我们的日常生活中，人们往往利用这段的目的，并应用到一步好一步。希腊的“石墙”就是一个例子。这是一种古老的建筑用各种sizes.besides 许多奇岩砾石倾斜的铜锣是拼接在一起的更小的石板上，具有不同的尺寸和形状。
色织物的几何图案，希腊的“石墙”蒙太奇技术是常用的。在设计过程中，设计师可以适应的线条宽度的集成，或使用在明度和纯度的渐变，或符合一个连续的几何图案。因为一个好的安排常识只能通过连续模式的实现。
在设置安排的宁静和不安
安排会出现分离时的几何图案的重复设置或适当组合。如果不是，它变得混乱。在色织几何图案的设计过程，如三角形，圆形，方形和多边形是按照一定的重叠结构原理。因此，我们可以感受到宁静。相反，如果模式被放置在一个混乱，无序，这样会让人不安的和不规则的印象，这从排列不规则的。关于宁静和动荡的现象实际上是格式塔心理学在纱线染色的几何图案设计中的应用。格式塔心理学强调安排常识。为了说明这一点，我们可以想象，当享受色织的几何图案，我们往往会眼花缭乱，如果面对这些极端复杂的模式没有很好的安排。如果点被放置在秩序，或者更准确地说，他们排成一排，然后它会更容易注意到我们比他们排列在曲线或菱形。此外，视觉冲击力会更强，如果点经常被安排在一个放射状而不是分散的不规则的点。我们的视觉的浓度也可以吸引时，一些小的点分为细间距相等的在背景有其他许多随机分布的点。从以前的所有的分析中，我们来点宁静将出现只有当图案排列有序，反之亦然。
2.4 几何图案的单调性和丰富性
当几何图案的正方形，矩形和其他规则的适用于纱线染色图案的设计，很容易被苍白乏味，缺乏艺术魅力如果不采取一些措施来验证这些模式。从心理学的角度，通过模式的信息量是由出乎意料的程度，让人。结果表明，更多的单调和乏味的模式是，较小的安排，它所传达的意义。视觉疲劳是造成的单调和极端在图案设计中遵守规则的一致性。激动的人们得到的美学来自一些繁琐的一样，但复杂的图案的欣赏。单调的模式是很难把握的眼睛虽然，如果图案太复杂，它将给人们的认知负担，所以，停止享受模式。这是需要考虑的一个适当的形式的变化，和相关的安排和变化之间的关系，通过调整各种丰富多样的组织团体，以保持秩序，一方面，避免繁琐的另一方面。从设计的经验，人们都说我们不喜欢单调的或杂波，相反，我们更容易被吸收在两个放多变异成一个有序的组，然后的完整性和各种形式就是这样创造出来的[ 3 ]。
[5]
一套完美的纱线染色的几何图案组成的一个很好的安排的意义。图1“苏格兰网格”，它基本上是由正方晶格。然而，不同类型和颜色生产色织面料，苏格兰网格有许多不同的和丰富的图案变化源。例如，如果一些单调的条纹是按一定方向排列，它会创建一个可折叠的影响。
图2视觉错觉色织的几何图案
2.5 几何图案的平衡和不稳定
通常，对纱线的感染的几何图案显示为一个意义上的平衡。它是由排列顺序和方向的模式的实现。具体地说，像诗人和音乐家创造节奏，大小和图案的排列顺序及其所占的比例和密度也很重要。解释了较好的平衡，我们可以从对称性。对称平衡的一种特殊形式，它是一个方法来反映从中心轴的一侧到另一侧的模式。在对称的格局，实现平衡，我们必须用坚固的框架或隔离法；否则可能会更接近于“不稳定性”。色织物的几何图案的设计，有一类称为双色的网格，通常可以看到。这种模式从国际“棋盘”上下棋得到启示。当我们看到一个红色和白色的交错网格模式，如果你的眼睛集中在一个白色的网格和看到它作为一个红色的十字中心，立即许多相同的红十字会出现。同样，如果眼睛聚焦在一个红色的网格，然后许多白色十字架，反复出现在整个模式。有趣的是，如果人们搜索沿对角线轴交叉，我们会发现一个红色或白色的“梅花”5格[ 4 ]模式。
因此，我们来到了一个点，当我们看到一个“棋盘”上色织双色图案的织物，我们可以得到一个不稳的感觉。和这种不稳定性明显改变你拨眼观察。此外，在享受复杂的网格图案的景象，人们有时混乱感是由广场本身造成的，这是产生起涟漪的效果。视觉疲惫会看这种长期规律的出现，由于其不稳定性。要获得一个视觉和心理平衡，色织图案设计师通常将棋盘图案与其他自然的模式，达到视觉平衡。
第3章 PDF 格式源文件图片格式预览
第4章 书籍信息