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Unit 9 Presentation Portfolio in Computer

The document provides guidance on creating a portfolio presentation for fashion design. It discusses including 6 spreads to visually explain a project, showing the process, key elements, and skills. A portfolio should demonstrate expertise in one area as well as broader skills. Layout and composition are also important to maximize the potential of a design concept and pull elements together visually. The document outlines how to describe a design direction through a customer profile, design concepts, influences, and other factors to promote a fashion focus verbally and visually.

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124 views7 pages

Unit 9 Presentation Portfolio in Computer

The document provides guidance on creating a portfolio presentation for fashion design. It discusses including 6 spreads to visually explain a project, showing the process, key elements, and skills. A portfolio should demonstrate expertise in one area as well as broader skills. Layout and composition are also important to maximize the potential of a design concept and pull elements together visually. The document outlines how to describe a design direction through a customer profile, design concepts, influences, and other factors to promote a fashion focus verbally and visually.

Uploaded by

D Babu Kosmic
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd
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Unit 9

Presentation portfolio in computer

The portfolio should show expertise in one area but also broader skills that would be the expectation of any employer; it is a journey of discovery,
contextualizing the work and communicating on an industrial level.

Your starting point is to try and explain visually your project in six portfolio spreads by showing the process, key elements,
illustration, photographic skills and editing skills; if you can’t do this in six spreads, then you need to think again.

To design a collection you have to draw, then undertake product development and evidence each part of the process as described in the body of
this book.

The ‘book’ portfolio is a project focused publication which is a useful presentation mechanism to show a project from concept
to final artefact; it also becomes a beautiful, desirable object when executed well. It consists of design sheets printed and bound with maybe a
woven hard cover.

A fashion design student may have a chronological process to display. A fashion marketing student may work from initial inspiration and draw
on influences throughout the process of display.
Layout of presentation
Layout is a synonymous with composition as design focus is with concept. The beauty of the together is
how they build a balance between visual impact and fashion message; design is a richly creative, diverse
project. Layout controls the project based on artistic license as well as personal taste and style.
Composition can maximize the potential in a design concept. It can pull multiple images together in large
space or create emphasis in a small space. There are many contributing factors to the success of your
fashion design assignments and presentation.

Fashion design presentation formats on a beginner’s level. It also brings design focus to basic structures
for the mixed images of fashion figure, flats, and accessories, presented as a number of optional templates
from which you invent your own layouts.

Design Direction
Here are some of the points to make in your fashion illustrations that will apply to all aspects of the
fashion industry. The points are visual and verbal. The visual is all about image; the verbal is about the
commerce fixed to your image. It's art and language that integrate your fashion design personality
(customer) with color, fabric, and style. This combination is called design direction. It takes the visual
and verbal to promote your fashion focus on the job or at an interview-words that complete your pictures.
Based on the following outlines, practice putting design direction into a dialogue about style. Study the
guest artists on the following spreads. How do you think they would describe the design direction for
their illustrations?

A. Customer Profile: Describing for whom you design


1. Who wears your clothes... ………..example….Executive
2. Why she likes your style…………...example….Independent/Sophisticated
3. Where she wears your clothes…….example. .. Boardroom
4. Where she buys your clothes..........example….High-End/Exclusive Shops/Brand label's own e-trade
site (commerce)

B. Design Concepls: Putting your theme, premise, and inspiration into words
 Explain the design direction, concept, and focus
 Describe the color palette or color "story"; its related theme integration color and fabric
 Tell the fabric "story" about the fiber (e.g. cotton) and weave (e.g., brocade)
 Describe shape and fit or silhouette "story"
 Choose the design category

C. Design Influence: Marketing your design; what drives the design concept, inspiration, and theme
 Trends-always new, based on
 Customer-who wears what type of clothes, attitudes, and looks
 Seasons-losing emphasis but still referenced (regional)
 Design markets-how fashion looks are priced
 Retail venues-where designs are sold

Composition tor layout means having a focus, displaying features and drawing strategies that enhance
your art and promote your design content. Pre-planning your layout draws all of the illustrative
components for a page together to create a stronger picture. Composition is one of the major factors in the
success or failure of a designer's sketch. Here are some of the reasons why layout will help or hurt the
visual dynamics.

LAYOUT FOCUS

 Communicating strengths/concept of your ideas


 Organizing priorities/features within your layout
 Dramatizing visual appeal/style for your sketches

LAYOUT STRATEGIES

Design story-communicating information


1. Lead silhouette-featured element or design focus
2. Dominant shape or fit story-visual emphasis
3. Major construction factor or feature-clarity in details
4. Mix of pieces within collection-play on colors, textures, and line quality

Color story-strategy for color balance on the page


1. Lead fabric-which fabric is emphasized
2. Dominant color-what is the strongest, largest volume of a color
3. Major print or motif-tonal variations and definition
4. Texture mix-line quality variations for design specifics

LAYOUT PITFALLS

 Confusing mix of elements or lost focus


 Too much overlapping, which obscures detail
 Overly tiny details, which are too hard to interpret
 Too much empty space dilutes visual impact
 Frayed, wrinkled fabrics that don't look new or fresh
 Too many resources present overwhelming
information
 Too many design inspirations that look overdone
 Overworked images that distract from clarity in design
message

Mixing figures and flats in a design group doubles your page's


fashion potential

 Separates Flats : flats separated from what is worn on


figure, can be defined new piece or display back view
of items on the body
 Outfit Figure : figures define the customer a
garment’s fit, its, look, how it’s worn and interplay of
colours and fabric

Combining related items into complex layouts means


achieving a balance of content. The units divide the page and the balance can be achieved through the use
of colour, line and shape. A composition can be broken into segments. Balanced segments give a layout
pattern a rhythm.
GROUPING OF FIGURE
Layout for the lone figure on a page sets the mass or solid form of the body against the empty volume of
space that surrounds the body. The mass of the body is seen as positive space, a solid form. The volume
of empty air surrounding the form is seen as negative space. In a layout, the form doesn't change, but the
volume surrounding it does. You can balance a layout by placing a figure in the middle of the page, which
is called centering. You can create an off-balance effect by shifting the figure to the left or right. This
slices the page unevenly, creating a visual impact. Visual impact is the goal for all layouts. Choosing the
right or wrong layout will add to or subtract from the visual impact of the design and illustration.

Layout for multiple figures on a page is guided by the same principles but with the added factor of
negative space between the various figures. The major decision here is about just how much space you
want to leave between each body. The examples on these pages use five figures in six different layouts.
Later, these options could be given more shape and color through fashion dressing.

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