《服裝系統設計方法論研究》是2016年清華大學出版社出版的圖書，作者呂學海。
基本介紹
- 書名：服裝系統設計方法論研究
- 作者：呂學海
- 出版社：清華大學出版社
- 出版時間：2016年
- ISBN：9787302458371
圖書目錄,圖書簡介,
圖書目錄
第1章緒論·······001
1.1研究背景及意義··································004
1.1.1從“量體裁衣”到系統設計····················005
1.1.2服裝系統設計研究的理論價值·················007
1.1.3構建系統設計方法的實踐意義·················010
1.2研究內容及理論基礎····························012
1.2.1一般系統論思想···································013
1.2.2設計過程理論····016
1.2.3傳統造物觀念····019
1.3研究思路與基本觀點····························023
1.3.1設計總體上是一個邏輯的過程·················023
1.3.2整體觀念是設計過程的核心····················026
1.3.3科學化是設計方法發展的趨勢·················027
1.4國內外研究現狀分析····························030
1.4.1國外研究現狀····030
1.4.2國內研究現狀····034
1.4.3存在問題分析····036
1.5研究方法及論文組織····························036
1.5.1研究方法··········036
1.5.2繼承與創新·······038
1.5.3內容組織··········039
第2章服裝設計的一般過程及知識框架·······················043
2.1設計過程的概念辨析····························044
2.1.1設計與過程·······045
2.1.2過程與階段·······046
2.1.3階段與程式·······048
2.2服裝系統設計的構成要素······················049
2.2.1設計對象與產品定義·····························050
2.2.2設計問題與設計內容·····························052
2.2.3設計原則與設計任務·····························054
2.2.4設計知識與設計流程·····························058
2.2.5設計創意與技術實現·····························061
2.2.6設計評價與方案最佳化·····························064
2.3服裝系統設計的相關研究······················067
2.3.1服裝功能與屬性···································068
2.3.2服裝形態與元素···································071
2.3.3服裝結構與工藝···································074
2.3.4服裝色彩與材料···································077
2.3.5設計藝術與科學技術·····························083
2.3.6設計觀與方法論···································085
2.4服裝系統設計的運行模式······················089
2.4.1串列模式··········091
2.4.2並行模式··········093
2.4.3循環模式··········094
2.4.4系統模式··········095
2.5服裝系統設計的一般過程······················096
2.5.1任務分析與目標確認·····························097
2.5.2設計調研與資料收集·····························099
2.5.3需求分析與產品定位·····························101
2.5.4設計創意與視覺表達·····························104
2.5.5設計評價與方案最佳化·····························106
2.5.6結構設計與紙樣製作·····························107
2.5.7工藝設計與樣衣試製·····························109
2.5.8綜合評價與生產準備·····························110
2.5.9批量生產與市場反饋·····························111
小結·························111
第3章服裝創意的理論基礎與生成機制························115
3.1創意理論的產生與發展·························117
3.1.1創意概念的內涵···································117
3.1.2創意方法的研究···································119
3.1.3服裝創意的本質···································121
3.2服裝創意的相關理論····························122
3.2.1“魔島”與“萬花筒”理論····················123
3.2.2“拼圖”與“組合”理論·······················125
3.2.3“遷移”與“變通”理論······················126
3.2.4等價轉換理論····127
3.3服裝創意的基本方法···························130
3.3.1集思廣益的智力激勵法··························130
3.3.2科學理性的特徵列舉法·························132
3.3.3變陌生為熟悉的綜攝法··························134
3.3.4由設問引發創意的核對單法····················137
3.3.5基於系統觀的形態分析法·······················138
3.3.6師法自然的生物模擬法··························140
3.3.7感性工學之語義微分法·························141
3.4服裝創意的思維特徵····························144
3.4.1感性與理性的結合································145
3.4.2發散與收斂的循環································147
3.4.3直覺與靈感的捕捉································150
3.4.4聯想與想像的延伸································152
3.4.5綜合與系統的梳理································156
3.5服裝創意的生成機制····························157
3.5.1服裝創意的素材···································158
3.5.2服裝創意的條件···································160
3.5.3服裝創意的原理···································162
3.5.4服裝創意的引導···································169
3.6服裝創意的一般過程····························173
3.6.1提出問題階段····174
3.6.2創意醞釀階段····175
3.6.3創意孵化階段····176
3.6.4創意完成階段····177
3.6.5創意完善階段····179
3.6.6創意表達階段····180
小結·························181
第4章服裝設計的物化觀念與技術思想·························185
4.1設計物化觀決定技術方法論···················187
4.1.1物化概念及其技術思想··························187
4.1.2功能與形態的辯證統一··························190
IX
4.1.3藝術與技術的協同發展··························193
4.2服裝技術研究的科學觀·························197
4.2.1服裝形態的構成原理·····························197
4.2.2服裝結構的表現形式·····························204
4.2.3服裝技術的系統建構····························206
4.3服裝技術研究的藝術觀·························209
4.3.1服裝形態的審美特徵·····························210
4.3.2服裝形態的符號意義·····························212
4.3.3服裝物化中的技術美·····························216
4.4服裝技術研究的方法論·························218
4.4.1面向實踐的技術原則·····························219
4.4.2辯證統一的造物觀念·····························221
4.4.3藝術賦形的技術觀點·····························224
4.4.4科學系統的操作程式·····························226
4.5服裝物化的一般過程····························227
4.5.1形態分析··········229
4.5.2功能分析··········229
4.5.3材料分析··········230
4.5.4結構分析··········231
4.5.5紙樣設計··········231
4.5.6工藝設計··········232
4.5.7樣衣試製··········233
4.5.8綜合評價··········233
4.5.9系列紙樣··········234
4.5.10生產套用·········234
小結·························235
X
第5章服裝形態的構成原理及相關實驗···············239
5.1實驗概述·········240
5.1.1實驗目的及意義···································241
5.1.2實驗內容與方法···································242
5.1.3實驗手段及步驟···································242
5.2人體圖像採集與測量····························244
5.2.1人體圖像採集····244
5.2.2人體圖形歸納····245
5.2.3人體圖形測量····247
5.2.4測量數據分析····247
5.3領型結構原理與計算····························248
5.3.1領圈的構成原理與計算··························248
5.3.2領子的構成原理與變化規律····················251
5.3.3關於領子松量的計算·····························255
5.3.4領型結構原理在製圖中的套用·················260
5.4袖型結構原理與計算····························263
5.4.1袖型結構原理解析································263
5.4.2袖山結構原理與計算·····························264
5.4.3袖窿結構原理與計算·····························265
5.4.4肩線的傾斜量與計算·····························267
5.5衣身結構原理與計算····························269
5.5.1人體截面形態分析································270
5.5.2人體數學模型的構建與測量····················272
5.5.3服裝套用製圖的生成與計算····················275
小結·························280
第6章服裝系統設計方法的構建及套用·················283
6.1服裝系統設計過程整合·························284
6.1.1系統設計過程模型的構架·······················285
6.1.2系統設計過程的運行模式·······················286
6.1.3系統設計過程模型的整合·······················287
6.1.4系統設計過程模型的套用·······················289
6.2服裝系統設計案例分析·························290
6.2.1設計準備階段····290
6.2.2設計創意階段····301
6.2.3設計物化階段····314
6.2.4設計完成階段····320
小結·························321
第7章結論·······323
7.1系統化是設計發展的客觀要求················325
7.2程式化是設計過程的有效機制················326
7.3藝術化是服裝技術的最高境界················327
7.4科學化是設計方法的必然趨勢················327
參考文獻················329
附錄A···················336
附錄B···················346
附錄C···················353
附錄D···················358
附錄E···················359
附錄F···················361
後記······················367
圖書簡介
服裝是社會文化的縮影，在中國傳統社會受到冠服制度規約，往往具有昭名分、辨等威、分貴賤、別親疏的“身份化”作用，而且隨藝術與工藝相互滲透， “衣”要可穿可舞，體現了實用功能和禮儀、審美的需求。進入現代社會，服裝作為人類文化的特殊符號，其“能指”和“所指”發生改變，人們不再尋求服裝背後宗教或倫理的形而上意蘊，深度模式消解，走向價值多元。如今，服裝設計仍然是一個社會關注度比較高的話題，作為大眾文化、消費文化中一種鮮活的存在，既是民生日用之所必需，也是日常生活美學最顯見的載體，人們可藉由服裝表達自我、推廣行銷，服裝甚至被作為一種沒有深度模式的個性張揚和沒有統一標準的審美嘗試；學術界通過服裝解析形成了一系列關於社會倫理、身份認同、媒介話語等深度研究。
