服装系统设计方法论研究吕学海 pdf下载

服装是社会文化的缩影，在中国传统社会受到冠服制度规约，往往有昭名分、辨等威、分贵贱、别亲疏的“身份化”作用，而且随艺术与艺相互渗透，“衣”要可穿可舞，体现了实用能和礼仪、审美的需求。入现社会，服装作为人类文化的特殊符号，其“能指”和“所指”发生改变，人们不再寻求服装背后宗教或伦理的形而上意蕴，深度模消解，走向价值多元。如今，服装设计仍然是一个社会关注度比较的话题，作为众文化、消费文化中一种鲜活的存在，既是民生用之所必需，也是常生活美学*显见的载体，人们可借由服装表达自我、推广营销，服装甚至被作为一种没有深度模的个性张扬和没有统一标准的审美尝试；学术界服装解析形成了一系列关于社会伦理、身份认同、媒介话语等深度研究。可以说，服装中承载的意义、风格、社会文化，既是历史的断面、时的缩影、心灵的镜像，也凝结着*本真的艺技和审美认知。

目录



1章绪论 ·······001



1.1 研究背景及意义 ··································004



1.1.1 从“量体裁衣”到系统设计 ····················005



1.1.2 服装系统设计研究的理论价值 ·················007



1.1.3 构建系统设计方的实践意义 ·················010



1.2 研究内容及理论基础 ····························012



1.2.1 一般系统论思想 ···································013



1.2.2 设计过程理论 ····016



1.2.3 传统造物观念 ····019



1.3 研究思路与基本观点 ····························023



1.3.1 设计体上是一个逻辑的过程 ·················023



1.3.2 整体观念是设计过程的心 ····················026



1.3.3 科学化是设计方发展的趋势 ·················027



1.4 国内外研究现状分析 ····························030



1.4.1 国外研究现状 ····030



1.4.2 国内研究现状 ····034



1.4.3 存在问题分析 ····036



1.5 研究方及论文组织 ····························036



1.5.1 研究方 ··········036



1.5.2 继承与创新 ·······038



1.5.3 内容组织 ··········039









2 章服装设计的一般过程及知识框架······················· 043 



2.1 设计过程的概念辨析 ···························· 044 

2.1.1 设计与过程 ·······045 

2.1.2 过程与阶段 ·······046 

2.1.3 阶段与程序 ·······048 

2.2 服装系统设计的构成要素 ······················ 049 

2.2.1 设计对象与产定义 ·····························050 

2.2.2 设计问题与设计内容 ·····························052 

2.2.3 设计原则与设计任务 ·····························054 

2.2.4 设计知识与设计流程 ·····························058 

2.2.5 设计创意与技术实现 ·····························061 

2.2.6 设计价与方案优化 ·····························064 

2.3 服装系统设计的相关研究 ······················ 067 

2.3.1 服装能与属性 ···································068 

2.3.2 服装形态与元素 ···································071 

2.3.3 服装结构与艺 ···································074 

2.3.4 服装彩与材料 ···································077 

2.3.5 设计艺术与科学技术 ·····························083 

2.3.6 设计观与方论 ···································085 

2.4 服装系统设计的运行模 ······················ 089 

2.4.1 串行模 ··········091 

2.4.2 并行模 ··········093 

2.4.3 循环模 ··········094 

2.4.4 系统模 ··········095 

2.5 服装系统设计的一般过程 ······················ 096 

2.5.1 任务分析与目标确认 ·····························097 



2.5.2 设计调研与资料收集 ·····························099 



2.5.3 需求分析与产定位 ·····························101 



2.5.4 设计创意与视觉表达 ·····························104 



2.5.5 设计价与方案优化 ·····························106 



2.5.6 结构设计与纸样 ·····························107 



2.5.7 艺设计与样衣试制 ·····························109 



2.5.8 综合价与生产准备 ····························· 110 



2.5.9 批量生产与市场馈 ····························· 111 

小结························· 111 



3 章服装创意的理论基础与生成制························ 115 



3.1 创意理论的产生与发展 ························· 117 



3.1.1 创意概念的内涵 ··································· 117 



3.1.2 创意方的研究 ··································· 119 



3.1.3 服装创意的本质 ···································121 



3.2 服装创意的相关理论 ···························· 122 



3.2.1 “魔岛”与“万花筒”理论 ····················123



3.2.2 “拼图”与“组合”理论 ·······················125



3.2.3 “迁移”与“变通”理论 ······················126 



3.2.4 等价转换理论 ····127 



3.3 服装创意的基本方 ··························· 130 



3.3.1 集思广益的智力激励 ··························130



3.3.2 科学理性的特征列举 ·························132 



3.3.3 变陌生为熟悉的综摄 ··························134 



3.3.4 由设问引发创意的对单 ····················137



3.3.5 基于系统观的形态分析 ·······················138 



3.3.6 师自然的生物模拟 ··························140 



3.3.7 感性学之语义微分 ·························141 



3.4 服装创意的思维特征 ···························· 144 



3.4.1 感性与理性的结合 ································145 



3.4.2 发散与收敛的循环 ································147 



3.4.3 直觉与灵感的捕捉 ································150 



3.4.4 联想与想象的延伸 ································152 



3.4.5 综合与系统的梳理 ································156 



3.5 服装创意的生成制 ···························· 157 



3.5.1 服装创意的素材 ···································158 



3.5.2 服装创意的条件 ···································160 



3.5.3 服装创意的原理 ···································162 



3.5.4 服装创意的引导 ···································169 



3.6 服装创意的一般过程 ···························· 173 



3.6.1 提出问题阶段 ····174 



3.6.2 创意酝酿阶段 ····175 



3.6.3 创意孵化阶段 ····176 



3.6.4 创意完成阶段 ····177 



3.6.5 创意完善阶段 ····179 



3.6.6 创意表达阶段 ····180 

小结·························181 



4 章服装设计的物化观念与技术思想························· 185 



4.1 设计物化观决定技术方论 ···················187 



4.1.1 物化概念及其技术思想 ··························187 



4.1.2 能与形态的辩证统一 ··························190 










4.1.3 艺术与技术的协同发展 ··························193 



4.2 服装技术研究的科学观 ························· 197 



4.2.1 服装形态的构成原理 ·····························197 



4.2.2 服装结构的表现形 ·····························204 



4.2.3 服装技术的系统建构 ····························206 



4.3 服装技术研究的艺术观 ························· 209 



4.3.1 服装形态的审美特征 ·····························210 



4.3.2 服装形态的符号意义 ·····························212 



4.3.3 服装物化中的技术美 ·····························216 



4.4 服装技术研究的方论 ························· 218 



4.4.1 面向实践的技术原则 ·····························219 



4.4.2 辩证统一的造物观念 ·····························221 



4.4.3 艺术赋形的技术观点 ·····························224 



4.4.4 科学系统的作程序 ·····························226 



4.5 服装物化的一般过程 ···························· 227 



4.5.1 形态分析 ··········229 



4.5.2 能分析 ··········229 



4.5.3 材料分析 ··········230 



4.5.4 结构分析 ··········231 



4.5.5 纸样设计 ··········231 



4.5.6 艺设计 ··········232 



4.5.7 样衣试制 ··········233 



4.5.8 综合价 ··········233 



4.5.9 系列纸样 ··········234 



4.5.10 生产应用 ·········234 

小结·························235 






5 章服装形态的构成原理及相关实验··············· 239 



5.1 实验概述 ········· 240 



5.1.1 实验目的及意义 ···································241 



5.1.2 实验内容与方 ···································242 



5.1.3 实验手段及步骤 ···································242 



5.2 人体图像采集与测量 ···························· 244 



5.2.1 人体图像采集 ····244 



5.2.2 人体图形归纳 ····245 



5.2.3 人体图形测量 ····247 



5.2.4 测量数据分析 ····247 



5.3 领型结构原理与计 ···························· 248 



5.3.1 领圈的构成原理与计 ··························248 



5.3.2 领子的构成原理与变化规律 ····················251



5.3.3 关于领子松量的计 ·····························255 



5.3.4 领型结构原理在制图中的应用 ·················260 



5.4 袖型结构原理与计 ···························· 263 



5.4.1 袖型结构原理解析 ································263 



5.4.2 袖山结构原理与计 ·····························264 



5.4.3 袖窿结构原理与计 ·····························265 



5.4.4 肩线的倾斜量与计 ·····························267 



5.5 衣身结构原理与计 ···························· 269 



5.5.1 人体截面形态分析 ································270 



5.5.2 人体数学模型的构建与测量 ····················272



5.5.3 服装应用制图的生成与计 ····················275

小结·························280 



6 章服装系统设计方的构建及应用················· 283 



6.1 服装系统设计过程整合 ························· 284 



6.1.1 系统设计过程模型的构架 ·······················285 



6.1.2 系统设计过程的运行模 ·······················286 



6.1.3 系统设计过程模型的整合 ·······················287 



6.1.4 系统设计过程模型的应用 ·······················289 



6.2 服装系统设计案例分析 ························· 290 



6.2.1 设计准备阶段 ····290 



6.2.2 设计创意阶段 ····301 



6.2.3 设计物化阶段 ····314 



6.2.4 设计完成阶段 ····320 

小结·························321 



7 章结论······· 323 



7.1 系统化是设计发展的客观要求 ················ 325 



7.2 程序化是设计过程的有效制 ················ 326 



7.3 艺术化是服装技术的境界 ················ 327 



7.4 科学化是设计方的必然趋势 ················ 327 



参考文献················ 329 

附录A ··················· 336 

附录B ··················· 346 

附录C ··················· 353 

附录D ··················· 358 

附录E ··················· 359 

附录F ··················· 361 

后记······················ 367

作为山东艺美术学院服装设计专业的届毕业生，吕学海在入学之前曾在企业做过多年的服装生产与技术管理作，有着丰富的实践经验。1987 年毕业留校任教以来，长期致力于设计艺术与艺技术方面的教学研究，编纂了多部教材，获得了多项省级优秀教学成果及科研成果奖。他乐于求知，勤于探索，治学耕耘，勤学不辍，在近天命之年考取了苏州学博士研究生，面壁四载，完成了博士论文并取得学位。本书也是在其博士论文基础上经过补充和完善形成的又一成果。天道酬勤，吕学海的该项研究经过层层筛选于2009 年获得国家社科艺术学项目立项。应该说，这一研究改变了将“设计”与“程”分离的研究方，为服装设计理论建设和方改良做了有益的尝试；提出了以“艺术赋形”为主导的技术思想，就实现设计艺术与科学技术的有结合提出了一种比较新的研究思路；同时，基于图形学原理的服装技术试验，从一个新的角度对服装结构原理与计方行了求证，强化了技术原理与设计造型之间的内在联系；对设计过程要素的整合，建立了服装系统设计过程模型，为设计者了一种普遍联系的思维引导。