服装设计褶皱外文文献翻译最新译文
毕业论文(设计)外文文献翻译及原文
金融体制、融资约束与投资——来自OECD的实证分析R．SemenovDepartment of Economics，University of Nijmegen，Nijmegen（荷兰内梅亨大学，经济学院）这篇论文考查了OECD的11个国家中现金流量对企业投资的影响.我们发现不同国家之间投资对企业内部可获取资金的敏感性具有显著差异,并且银企之间具有明显的紧密关系的国家的敏感性比银企之间具有公平关系的国家的低.同时，我们发现融资约束与整体金融发展指标不存在关系.我们的结论与资本市场信息和激励问题对企业投资具有重要作用这种观点一致，并且紧密的银企关系会减少这些问题从而增加企业获取外部融资的渠道。
一、引言各个国家的企业在显著不同的金融体制下运行。
金融发展水平的差别(例如，相对GDP的信用额度和相对GDP的相应股票市场的资本化程度），在所有者和管理者关系、企业和债权人的模式中，企业控制的市场活动水平可以很好地被记录.在完美资本市场,对于具有正的净现值投资机会的企业将一直获得资金。
然而，经济理论表明市场摩擦，诸如信息不对称和激励问题会使获得外部资本更加昂贵，并且具有盈利投资机会的企业不一定能够获取所需资本.这表明融资要素，例如内部产生资金数量、新债务和权益的可得性，共同决定了企业的投资决策.现今已经有大量考查外部资金可得性对投资决策的影响的实证资料（可参考，例如Fazzari（1998）、 Hoshi(1991)、 Chapman（1996）、Samuel(1998））.大多数研究结果表明金融变量例如现金流量有助于解释企业的投资水平。
这项研究结果解释表明企业投资受限于外部资金的可得性。
很多模型强调运行正常的金融中介和金融市场有助于改善信息不对称和交易成本，减缓不对称问题,从而促使储蓄资金投着长期和高回报的项目,并且提高资源的有效配置（参看Levine（1997)的评论文章）。
因而我们预期用于更加发达的金融体制的国家的企业将更容易获得外部融资.几位学者已经指出建立企业和金融中介机构可进一步缓解金融市场摩擦。
服装设计与高科技外文翻译文献
文献信息：文献标题：Evolution of Fashion Design in the Era of High-Tech Culture （高科技文化时代服装设计的演变）国外作者：Galina Mihaleva，C.Koh文献出处：《International Scholarly and Scientific Research and Innovation》,2016,10(7):2447-2451字数统计：英文2079单词，11462字符；中文3549汉字外文文献：Evolution of Fashion Design in the Era of High-Tech CultureAbstract Fashion, like many other design fields, undergoes numerous evolutions throughout the ages. This paper aims to recognize and evaluate the significance of advance technology in fashion design and examine how it changes the role of modern fashion designers by modifying the creation process. It also touches on how modern culture is involved in such developments and how it affects fashion design in terms of conceptualizing and fabrication. By comparing case studies, existing fashion design examples and crafting method experimentations; we then spot patterns in which to predict the direction of future developments in the field. A breakdown on the elements of technology in fashion design helps us understand the driving force behind such a trend. The results from explorations in the paper have shown that there is an observed pattern of a distinct increase in interest and progress in the field of fashion technology, which leads to the birth of hybrid crafting methods. In conclusion, it is shown that as fashion technology continues to evolve, their role in clothing crafting becomes more prominent and grows far beyond the humble sewing machine.Keywords: Fashion design, functional aesthetics, smart textiles, 3D printing. INTRODUCTIONIt is common knowledge that the environment we live in greatly influences the style of clothing that people wear. And, it is not just referring to the physical-geographical or climatic environment but rather the less tangible aspects of the socio-cultural environment which is related to the time period we live in as well as the prevalent culture at the time. As much as clothing is a practical necessity, it is also an expression of identity and a reflection of culture.In the current high-tech culture we live in, there is a trend of using computers, automation, and other technology driven methods to compliment many fields, fashion design is no exception. Designers now immerse themselves in the age of smart textiles and incorporate modern technology with fashion design and production. The used of sensors, conductive fibers and other smart fabric technologies like 3d printing, brings a whole new dimension to fashion design in terms of functionality, expression and interaction. The design focus is also shifted to more active issues of personal identity, social behavior, and intuitive interactions.Fueled by society’s eagerness for efficiency, the fashion industry is on the verge of a revolution. The boom of technological advancements prominently redefines the role of fashion designers, their approaches to design and functionality of fashion. This ultimately transforms the conventional design process.TRENDS AND METHODOLOGIESTraditionally, clothing is a means of fulfilling basic needs such as protection from the elements, comfort, camouflage, and even socially accepted modesty as well as a medium for symbolic, artistic or religious expression.Early concepts and constructs of “smart clothing”was very far from the current ideals of “smart clothing”, attempts to make wearable technology in the 1970s were more inclined towards simply using clothing as a support for electronic attachments and had very little to do with fashion. However, this changed when a different approach was used; resulting in the smart fashion we have now. Aesthetics and function are sometimes thought as independent of each other or even antagonistic, there may be misconception that aesthetics is less important than practicality. What isoften neglected is that these two concepts are interrelated and have a symbiotic relationship. Fashion is linked with design, and design aims to fulfil needs of the consumer whether it is aesthetic or functional. Thus when a designer engages in effective fashion design and undergoes the process of satisfying certain variables, it is fundamentally the same process that sates functionality. Consequently, by working with fashion as the starting point and integrating technology simultaneously while pursuing it as a distinct hybrid topic of wearable technology; it helps in creating a more effective outcome. Thus, with the advent of smart garments and wearable technology, clothing is rapidly transformed into an interactive interface between wearer, garment, and environment. The development of clothing as technological interface is highly influenced by the development of technology as fashion designers are drawn by the expanded possibilities of high-tech wearables.The human body is itself a biological receptor interface, it has been mentioned that clothing and fashion has an intimate relationship with the human body in both physical and social aspects. With smart garments, fashion becomes an additional interface and results in a cyclic interaction between body, clothing and environment. Take for instance the research project Smart Second Skin (2004) by Jenny Tillotson and Adeline Andre which comprises of a scent delivery system that is programmed to respond to the wearer’s emotions and dispenses olfactory stimulus for aromatherapy to alter the wearer’s mood. This is an example of a complex feedback design. Firstly, the wearer’s mood changes, possibly reacting to a conscious or subconscious stimuli in the environment, this emotional response becomes an input that triggers the sensors and produces an output, in this case, it is the dispensed aromatherapy which in turn brings the wearer’s emotions back to a desired state as a feedback. The body, environment and clothing interacts accordingly, this interaction is modulated by what is being programmed into the technology involved.While textile can turn into a technological interface, some designers are soon inspired to look at material fabrication technology itself. The exploration of such possibilities spurred the need for interdisciplinary approaches. Designers become more than artists, they turn into engineers, programmers, chemists, and evenbiologists. Micro’be’ Fermented Fashion is a project where organic fabric is “grown” with the bacteria through the process of bacterial wine fermentation. The cultivated fabric formed from cellulose micro fibrils is biodegradable and can be used to make seamless garments. Its advantages of being environmentally friendly and a lower cost fabric production in the wake of rising petroleum costs for synthetic fabrics only came to be when the artist vision extended across into the biological fields. This can only serve to prove the benefits of hybridizing interdisciplinary methodologies. In addition, there is another implication of cultural influence, high-tech culture is characterized by the drive for efficiency, the need to improve current conditions, and the use of highly scientifically advanced methods (e.g automations, Bio-culture etc.) to achieve these improvements. In recent years, society starts to realize the impact of finite resources, thus leading to a trend of conservation awareness that inspires projects like Micro’be’ Fermented Fashion. The attention to environmental concerns lets life sciences become a popular theme in technology related fashion, where ideas for cultivating textile in labs came up.The definition of textiles is constantly being challenged; designers now not only look at textile with technology but also the technology of textile production. A notable fabrication tool is 3d printing, which has made a significant impact on the fashion industry. It is garnering a lot of interest, or at the very least, the prospects of it is favorable, evident by the fairly well received 3d printing competition held at the Singapore Nanyang Technological University. 3d printing was initially seen as a very useful tool for product design and medical support purposes until fashion designers like Iris Van Herpen discovered its potential in architectural fashion. Van Herpen won critical acclaim for her intricate 3d printed dresses, her success sparked the growing trend of 3d printed fashion, and be it dresses, jewelry, or shoes, 3d printing is becoming a popular tool for fashion designers, and it is now easily accessible with the availability of affordable desktop 3d printers. Even within the fields of 3d fashion, there are a variety of crafting methodologies; form, material, texture and colour can all be conveniently manipulated.While designers embraced the technology of material fabrication, traditionalfashion design processes and sensibilities are gradually being amalgamated with high-tech methods to produce brand new crafting methodology, hence the design process is inevitably altered to accommodate for it. This brings one to the topic of Computer Aided Design (CAD). For 3d printing, CAD is needed to create a 3d model for printing. Patterns were used to produce clothes industrially since the invention of the sewing machine in 1830, with the use of CAD, designers create their designs on the computer instead of drawing it on paper. CAD and 3d printing either bypasses or changes many of the conventional process of tailoring. Furthermore, computers can be utilized in many ways to create textile designs, for instance, coding can produce interesting computer generated patterns. Certain innovative techniques involve taking advantage of transitional design effects arising from translation of the physical to digital with technology such as scanning. Japanese textile company Nuno is renowned for combining tradition and technology to produce beautiful woven fabrics. Woven structure pattern 1984 is a fabric designed by Nuno founder Jun’ichi Arai by repeatedly photocopying an African kente cloth until it becomes pixelated; it is then scanned and woven on a computer driven Jacquard loom.A more straightforward use of computers is to produce the design directly with illustration software or drawn by hand and scanned in before printing digitally on cloth. Alternatively, vector designs can be sent to laser cutters to cut out shapes in various materials. This method was used to create the cut felt in the “Text-ile Landscape memories”dresses. Laser cutting is a fast and convenient method to produce planar designs. It is able to perform sophisticated cuts on several types of materials whether it’s metal, plastic, wood, felt or paper. The setting just needs to be adjusted according to suit the material. Such automations save time for designers so that more time could be allocated to the creative aspects of the designing. These are all instances of how the technology alters the crafting methods in fashion, as previously mentioned, the type of technology influences the type of fashion. In “Text-ile Landscape”the planar felt material is laser cut and then manipulated to adapt a three-dimensional form. The precise nature of laser cutters and 3d printers inspire a more architectural take on fashion. It can be said that technology inspires amore geometric, clean-cut, “futuristic”style.The accessibility and advancement of technology changes the playing field of the fashion industry. Traditional tailoring requires a significant amount of time when measuring clients for a perfect custom fit, but a 3d scanner is able to quickly obtain accurate three dimension measurements within seconds. A recent service known as bodi.me utilizes body scanners to allow customers to match their sizes to outfits purchased online based on sizing information from registered fashion companies. Imagine if the 3d scanners are combined with 3d printing of garment, perfectly fitting customized clothing could be efficiently and rapidly produced; this would drastically reshape the manufacturing process in fashion design.THE OBSERVED PATTERNThroughout all the examples, it should be noted that there is a pattern. Firstly, there are constant improvements in technology and designers tend to make full use of these tools for their designs, subsequently affecting their design concepts. Secondly, hybridization is rampant in wearable technology. Fashion is a complex and established long standing industry, hybridization is almost unavoidable in order to integrate advanced technology into a field with such a long history. This gives rise to new or combinational crafting or design techniques.There is a correlation between wearable technology designs and the concepts they tend to express. The input and output principles is by virtue of the systemic nature of technology. It is therefore naturally geared toward issues pertaining to interactions, social or otherwise. And since fashion is basically an adornment of the human body, expression of identity and perceived culture becomes a common and favored theme.The rise in wearable technology can be said to be a reflection of our current culture. Availability of specialized kits like Lilypad kits is indicative of the market for wearable technology. It is likewise proof of the codependence and co-influencing between technological advancement and design aspirations of fashion designers. Technology fuels inspiration, and aspirations spurs development.CONCLUSIONConclusively, the various examples of projects examined in the paper show that as technologies continue to evolve, their potential uses in smart clothing grows exponentially, and it simultaneously affects and is affected by the fashion culture. Furthermore, it demonstrates the role and importance of wearable technology in our current high-tech environment and expands functional and expressive possibilities for the modern fashion designer.中文译文：高科技文化时代服装设计的演变摘要服装，像许多其他设计领域一样，古往今来经历了无数次的演变。
服装设计中的褶皱艺术
118・・・・・・・・・・・・・・・・・・・・・・・・・・Art & Design总第１６５期20071艺术设计月刊 January现代服装流行日趋注重细节元素的表现，褶与皱就是设计细节运用的重要元素。
在大量服装设计师和著名品牌推出的流行服装中，褶与皱成为突出视觉效果和时尚品位的设计。
在现代服装设计中，常常使用褶皱元素的部位有：袖山、袖口、肩部、领口、胸部、门襟、腰节、侧缝、下摆、脚口等位置，根据这些不同部位和不同面料、款式进行针对性的褶皱设计，演绎着服装设计千变万化的视觉艺术效果和实用价值。
因此，现代服装设计中褶与皱的运用，可以使设计师的灵感构思更巧妙和多样化；可以丰富服装的层次感和艺术效果；可以增加服装的空间感和体积感。
一、服装设计中的褶与皱｜｜｜褶皱是服装设计中的细节元素，是一种塑造服装造型和面料质感的手段，在具体的运用中，褶与皱还具有一定的表现差异性。
“褶”的含义是衣裙按照一定规律折叠所产生的纹痕；“皱”的含义是因服装面料表面紧缩和揉捏而形成的自然或随意纹路。
服饰上“褶皱”的意义是：褶皱是服装造型中常用的面料塑形手法，是改变面料原有形态属性面貌特征的重要手法之一，一般将面料进行有序或随意自然的揉捏、叠加或堆砌，使得平面的面料具有一定立体效果或各种质感的服装面料形态属性。
二、“褶”“皱”的结构与审美形态比较｜｜｜１． “褶”的结构与审美形态｜｜褶是对服装面料进行一定的规则处理后面料的视觉和质感形态。
一般是把面料按照一定的尺寸和数量进行折叠，方向可以一致，也可以不一致，尺寸和数量根据设计要求进行变化。
通过对褶的方向、尺寸、数量的调整，其设计效果也是千变万化的。
方向和尺寸数量一致的褶，用这种方法设计出来的视觉效果比较规则和工整，给人的感觉是正式的，如细密整齐的褶给人的感觉是精致和简约，适合白领女性的商务休闲装设计；而当褶的尺寸和数量发生变化，给人的视觉感受也会发生改变，宽褶的有序、整齐排列一般会使人的视觉朝横向发展，瘦长体型比较适合，但量的对比同样也会产生视觉错觉，如衣裙上只有一条宽的竖褶，使视觉感觉被拉长而呈现一种修长的美感。
服装设计英语文章
服装设计英语文章Clothing design is the art of creating and coming up with new styles and designs for clothing. It involves the process of conceptualizing, sketching, and constructing garments that are not only fashionable but also functional and practical for everyday use.A clothing designer's job is to stay up-to-date with the latest fashion trends, analyze consumer preferences, and create designs that will appeal to the target market. They need to have a keen eye for detail, a strong sense of style, and be able to envision how garments will look and fit on different body types.In the initial stages of the design process, clothing designers often gather inspiration from various sources such as art, nature, culture, or even historical periods. They then take these inspirations and translate them into sketches and drawings. These sketches are the blueprints for the clothing pieces they plan to create.Once the sketches are finalized, clothing designers begin the process of selecting fabrics and materials to bring their designs to life. They consider factors such as the desired texture, drape, and color of the garments. Depending on the complexity of the design, they may also need to consider techniques such as embroidery, beading, or print.After choosing the materials, clothing designers create patterns for the garments. Patterns are like templates that outline the shape and structure of each piece. These patterns are then used to cut the fabrics and sew them together to make the final garment. Attention to detail and precision are crucial during this stage to ensure awell-fitted and well-constructed piece.Once the garments are assembled, clothing designers assess the fit and make any necessary adjustments or alterations. They may also add finishing touches such as buttons, zippers, or embellishments to complete the look.Once the final garments are ready, clothing designers often showcase their work through fashion shows, photoshoots, or marketing campaigns. They collaborate with other professionals such as models, stylists, photographers, and makeup artists to present their designs to the public.In conclusion, clothing design is a multidimensional process that involves creativity, skill, and a deep understanding of fashion trends. Clothing designers play a significant role in shaping the fashion industry and creating garments that reflect individual style and personality.。
服装结构英文文献
服装结构英文文献以下是一些关于服装结构的英文文献：1. "Patternmaking for Fashion Design" by Dorothy Marcic. This book provides a comprehensive guide to creating patterns for clothing, including the basic principles of patternmaking and techniques for creating patterns for different types of garments.2. "Theory of Fashion Design" by James Laver. This book provides an overview of the theory and principles behind fashion design, including an explanation of different styles and their impact on fashion design.3. "Fashion Illustration and Pattern Design" by Tony Carne. This book explores the use of illustration in fashion design, including techniques for creating patterns and designs for clothing and accessories.4. "Pattern Design: A Handbook of Theory and Practice" by Carolyn A. Riotte. This book provides a comprehensive guide to pattern design, including an overview of the principles and practices of pattern design and examples of different types of patterns and their applications in fashion design.5. "The Pattern Cutting Book" by Vickie Howell. This book provides an introduction to pattern cutting, including techniques for creating patterns for different types of garments and an overview of the basic principles of pattern cutting.这些文献可以帮助您了解服装结构的基本原理和实践，以及在时尚设计中的应用。
服装设计——英文服装词汇对照
Contour belt
合腰形腰带（适合腰围的自然曲线）|
Corduroy
灯心绒
Cover stitch **
包缝线迹（见图）
Cover stitch 2 needle looper **
双线包缝（见图）
Crutch
胯部，裤裆（同crotch）
Crutch piece
裤子叉裆片料，并裆料
Cuff
袖口
Cuff link
袖扣，袖口链扣
Cuff slit
袖叉
Curly overlock
包缝，锁边，拷边
Curve
曲线，弧线，弯曲；弯，使弯曲
Curves
曲线轮廓
Cut off
裁剪
Cutting/yokeline
裁剪/育克线
D
Darts
省，缝褶省
Defect
疵点
Demin
牛仔布，劳动布
Detachable
Button
纽扣
Button up
扣住
Buttondown collar
领尖钉扣领子，带扣领
Buttonhole
纽扣眼
C
Cap
帽子
Cardigan
开襟毛衫
Center back CB
后中
Center front CF
前中
Chain
链，链条
Chainstitch
链式线迹
Chest
胸
Chinese collar
门襟止口
Front length
前身长
Front piece
前片
Fur
毛
Fused hems
粘牵带的底边
工业设计专业外文文献加翻译_图文(精)
李雁飞工设 10011011033010参考文献Future of Automotive Design &Materials 汽车设计与材料的未来Trends and Developments in Design and Materials 设计与材料的趋势与发展(译by李雁飞Renault Zoe Z.E. 雷诺 Zoe Z.E.Jan Willem van der Wiel Senior Consultant ATC 高级顾问 ATCKo-finanziert durch die EuropäischeUnion (EFREDie europäischeKommission investiert in Ihre ZukunftTABLE OF CONTENTS 目录TABLE OF CONTENTS 目录 2 1INTRODUCTION 介绍 3 2CURRENT SITUATION 现状 4 2.1Design 设计 4 2.1.1International 国际 4 2.1.2Design in The Netherlands 荷兰的设计 5 2.2Materials 材料 6 2.2.1International 国际 6 2.2.2Materials in The Netherlands 荷兰的材料 92.3Design &Materials 设计与材料 93FUTURE PERSPECTIVE 未来展望 10 3.1Design by Tiers 10 3.2Design trends 设计方向 10 3.2.1Inspired by nature 自然灵感 11 3.2.2Floating elements 113.2.3Sculpted surfaces 镂空表面 11 3.2.4Individuality 个性 12 3.2.5Femininity 女性化12 3.3.6Electric drive 电子驾驶 12 3.3.7Light design 灯光设计 123.3Materials 材料 13 3.3.1Intelligent materials 智能材料 13 3.3.2New conductive materials 新导体 14 3.3.3Materials for energy storage 能量存储物质 15 3.4Design&Materials 设计与材料 15 3.4.1Sustainability 耐受程度 15 3.4.2Downsizing 193.4.3Cost down 193.4.4Rapid manufacturing 高速制造 194RELEVANCE FOR THE DUTCH INDUSTRY 与荷兰工业的相关性 19 References:参考 211INTRODUCTION 介绍Design and Materials are two different worlds and still strongly related. Each very different in their being and both equally important in shaping the physical world around us. Design creates products and products are made of materials. Design gives functions to products and materials are chosen and formed to best incorporate those functions. Design can also relate to graphics and the virtual world observed on displays or advanced visualization techniques. This trend study however focuses on Design of the physical world, shaped in 3D. And since this trend study originates from the Automotive Technology Centre the subject of this focus is on automotive products 设计和材料是两个不同的世界,仍然密切相关。
室内装饰装修设计外文文献翻译中英文
外文文献翻译(含：英文原文及中文译文)文献出处：Y Miyazaki. A Brief Description of Interior Decoration [J]. Building & Environment, 2005, 40(10):41-45.英文原文A Brief Description of Interior DecorationY Miyazaki一、An interior design element1 Spatial elementsThe rationalization of space and giving people a sense of beauty is the basic task of design. We must dare to explore the new image of the times and technologies that are endowed with space. We should not stick to the spatial image formed in the past.2 color requirementsIn addition to affecting the visual environment, indoor colors also directly affect people's emotions and psychology. Scientific use of color is good for work and helps health. The proper color processing can meet the functional requirements and achieve the beauty effect. In addition to observing the general laws of color, interior colors also vary with the aesthetics of the times.3 light requirementsHumans love the beauty of nature and often direct sunlight into theinterior to eliminate the sense of darkness and closure in the interior, especially the top light and the soft diffuse light, making the interior space more intimate and natural. The transformation of light and shadow makes the interior richer and more colorful, giving people a variety of feelings.4 decorative elementsThe indispensable building components such as columns, walls, and the like in the entire indoor space are combined with the function and need to be decorated to jointly create a perfect indoor environment. By making full use of the texture characteristics of different decorative materials, you can achieve a variety of interior art effects with different styles, while also reflecting the historical and cultural characteristics of the region.5 furnishingsIndoor furniture, carpets, curtains, etc., are all necessities of life. Their shapes are often furnished and most of them play a decorative role. Practicality and decoration should be coordinated with each other, and the functions and forms of seeking are unified and changed so that the interior space is comfortable and full of personality.6 green elementsGreening in interior design is an important means to improve the indoor environment. Indoor flowering trees are planted, and the use ofgreenery and small items to play a role in diffusing indoor and outdoor environments, expanding the sense of interior space, and beautifying spaces all play an active role.二、The basic principles of interior design1 interior decoration design to meet the functional requirementsThe interior design is based on the purpose of creating a good indoor space environment, so as to rationalize, comfort, and scientize the indoor environment. It is necessary to take into account the laws of people's activities to handle spatial relationships, spatial dimensions, and spatial proportions; to rationally configure furnishings and furniture, and to properly resolve indoor environments. V entilation, lighting and lighting, pay attention to the overall effect of indoor tone.2 interior design to meet the spiritual requirementsThe spirit of interior design is to influence people's emotions and even influence people's will and actions. Therefore, we must study the characteristics and laws of people's understanding; study the emotions and will of people; and study the interaction between people and the environment. Designers must use various theories and methods to impact people's emotions and sublimate them to achieve the desired design effect. If the indoor environment can highlight a certain concept and artistic conception, then it will have a strong artistic appeal and better play its role in spiritual function.3 Interior design to meet modern technical requirementsThe innovation of architectural space is closely related to the innovation of structural modeling. The two should be harmonized and unified, fully considering the image of the structural Sino-U.S. and integrating art and technology. This requires that interior designers must possess the necessary knowledge of the type of structure and be familiar with and master the performance and characteristics of the structural system. Modern interior design is in the category of modern science and technology. To make interior design better meet the requirements of spiritual function, we must maximize the use of the latest achievements in modern science and technology.4 Interior design must meet the regional characteristics and national style requirementsDue to differences in the regions where people live, geographical and climatic conditions, the living habits of different ethnic groups are not the same as cultural traditions, and there are indeed great differences in architectural styles. China is a multi-ethnic country. The differences in the regional characteristics, national character, customs, and cultural literacy of various ethnic groups make indoor decoration design different. Different styles and features are required in the design. We must embody national and regional characteristics to evoke people’s national self-respect and self-confidence.三、Points of interior designThe interior space is defined by the enclosure of the floor, wall, and top surface, thus determining the size and shape of the interior space. The purpose of interior decoration is to create a suitable and beautiful indoor environment. The floor and walls of the interior space are the backdrop for people and furnishings and furnishings, while the differences on the top surface make the interior space more varied.1 Base decoration ----- Floor decorationThe basic surface ----- is very important in people's sights. The ground floor is in contact with people, and the line of sight is near, and it is in a dynamic change. It is one of the important factors of interior decoration. Meet the following principles:2 The base should be coordinated with the overall environment to complement each other and set off the atmosphereFrom the point of view of the overall environmental effect of space, the base should be coordinated with the ceiling and wall decoration. At the same time, it should play a role in setting off the interior furniture and furnishings.3 Pay attention to the division, color and texture of the ground patternGround pattern design can be roughly divided into three situations: The first is to emphasize the independent integrity of the pattern itself,such as meeting rooms, using cohesive patterns to show the importance of the meeting. The color should be coordinated with the meeting space to achieve a quiet, focused effect; the second is to emphasize the pattern of continuity and rhythm, with a certain degree of guidance and regularity, and more for the hall, aisle and common space; third It emphasizes the abstractness of the pattern, freedom, and freedom, and is often used in irregular or layout-free spaces.4 Meeting the needs of the ground structure, construction and physical properties of the buildingWhen decorating the base, attention should be paid to the structure of the ground floor. In the premise of ensuring safety, it is convenient for construction and construction. It cannot be a one-sided pursuit of pattern effects, and physical properties such as moisture-proof, waterproof, thermal insulation, and thermal insulation should be considered. need. The bases are available in a wide variety of types, such as: wooden floors, block floors, terrazzo floors, plastic floors, concrete floors, etc., with a wide variety of patterns and rich colors. The design must be consistent with the entire space environment. Complementary to achieve good results.四、wall decorationIn the scope of indoor vision, the vertical line of sight between the wall and the person is in the most obvious position. At the same time, thewall is the part that people often contact. Therefore, the decoration of the wall is very important for the interior design. The following design principles must be met: 1 IntegrityWhen decorating a wall, it is necessary to fully consider the unity with other parts of the room, and to make the wall and the entire space a unified whole.2 PhysicalThe wall surface has a larger area in the interior space, and the status is more important and the requirements are higher. The requirements for sound insulation, warmth protection, fire prevention, etc. in the interior space vary depending on the nature of the space used, such as the guest room, high requirements. Some, while the average unit canteen, requiresa lower number.3 ArtistryIn the interior space, the decorative effect of the wall plays an important role in rendering and beautifying the indoor environment. The shape of the wall, the partition pattern, the texture and the interior atmosphere are closely related to each other. In order to create the artistic effect of the interior space, the wall The artistry of the surface itself cannot be ignored.The selection of wall decoration styles is determined according to the above principles. The forms are roughly the following: plasteringdecoration, veneering decoration, brushing decoration, coil decoration. Focusing on the coil decoration here, with the development of industry, there are more and more coils that can be used to decorate walls, such as: plastic wallpaper, wall cloth, fiberglass cloth, artificial leather, and leather. These materials are characterized by the use of It is widely used, flexible and free, with a wide variety of colors, good texture, convenient construction, moderate prices, and rich decorative effects. It is a material that is widely used in interior design.五、Ceiling decorationThe ceiling is an important part of the interior decoration, and it is also the most varied and attractive interface in the interior space decoration. It has a strong sense of perspective. Through different treatments, the styling of lamps and lanterns can enhance the space appeal and make the top surface rich in shape. Colorful, novel and beautiful.1 Design principlesPay attention to the overall environmental effects.The ceiling, wall surface and base surface together make up the interior space and jointly create the effects of the indoor environment. The design should pay attention to the harmonization of the three, and each has its own characteristics on a unified basis.The top decoration should meet the applicable aesthetic requirements.In general, the effect of indoor space should be lighter and lighter. Therefore, it is important to pay attention to the simple decoration of the top decoration, highlight the key points, and at the same time, have a sense of lightness and art.The top decoration should ensure the rationality and safety of the top structure. Cannot simply pursue styling and ignore safety2 top design(1) Flat roofThe roof is simple in construction, simple in appearance, and convenient in decoration. It is suitable for classrooms, offices, exhibition halls, etc. Its artistic appeal comes from the top shape, texture, patterns, and the organic configuration of the lamps.(2) Convex ceilingThis kind of roof is beautiful and colorful, with a strong sense of three-dimensionality. It is suitable for ballrooms, restaurants, foyers, etc. It is necessary to pay attention to the relationship between the primary and secondary relationships and the height difference of various concavo-convex layers. It is not appropriate to change too much and emphasize the rhythm of rhythm and the artistry of the overall space. .(3) Suspended ceilingV arious flaps, flat plates or other types of ceilings are hung under the roof load-bearing structures. These ceilings are often used to meetacoustic or lighting requirements or to pursue certain decorative effects. They are often used in stadiums, cinemas, and so on. In recent years, this type of roof has also been commonly used in restaurants, cafes, shops, and other buildings to create special aesthetics and interests.(4) Well format ceilingIt is in the form of a combined structural beam, in which the main and secondary beams are staggered and the relationship between the wells and beams, together with a ceiling of lamps and gypsum floral designs, is simple and generous, with a strong sense of rhythm.(5) Glass ceilingThe halls and middle halls of modern large-scale public buildings are commonly used in this form, mainly addressing the needs of large-scale lighting and indoor greening, making the indoor environment richer in natural appeal, and adding vitality to large spaces. It is generally in the form of a dome, a cone, and a zigzag. In short, interior decoration design is a comprehensive discipline, involving many disciplines such as sociology, psychology, and environmental science, and there are many things that we need to explore and study. This article mainly elaborated the basic principles and design methods of interior decoration design. No matter what style belongs to the interior design door, this article gives everyone a more in-depth understanding and comprehension of interior design. If there are inadequacies, let the criticism correct me.中文译文室内装饰简述Y Miyazaki一室内装饰设计要素1 空间要素空间的合理化并给人们以美的感受是设计基本的任务。
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文献出处：N Umetani. Garment structural designing and pleat effects [J]. ACM Trans. Graph., 2015, 30(4): 90.原文Garment structural designing and pleat effectsAbstractThe research on the clothing wearing effect evaluation based on the subjective evaluation method, explore a kind of objective and quantitative evaluation method to describe the clothing on the pleat. Through analyzing the principle of image technology, design the clothing in image acquisition system, using image processing software for image processing, and the drape of clothing. This study garment sleeve parts of the pleat as an example to carry out the work, the drape on the sleeve image into grayscale curve, analyses the corresponding relation between gamma curve and pleat.Keywords: structural design, pleating effect, evaluation indexIntroductionClothing structure design is based on clothing, rendering it by cutting division, in the form of fabric, fabric pleating, joining together a series of process performance. It basically is to accurately grasp the effect of design, namely according to the structure characteristics of the clothing design renderings, determine the plane state of structure are measured.2d pattern and solid state of the corresponding relationship between the body and clothing itself the cooperate relationship between the various components and consistent state, and then combined with the characteristics of the clothing material and the characteristics of the craft, has designed a set of reasonable structure, have different specifications of the series, to lay a good foundation for the process design and clothing production. Therefore, clothing structure design is a bridge of art and technology, and process design and processing production preparation and protection.Clothing structure design method has a lot of kinds, during which there is a difference between large and small. The same kind of style, the same kind of fabrics, clothing structure design method of using different made clothes on the model and thegarment effect might be different, so need in different structure design method of a costume effect evaluation, on the basis of various clothing structural design method in the comparison.Clothing structure design basis of the human bodyClothing structure design is based on the human body, clothing for its formation, from the design, playing board, to sew, the overall ironing, are based on the human body. Clothes need to be able to adapt to the human body structure, and can make up for the inadequacy of the human body, and beautify the human body shape. This request of dressers not only possess fine sewing process, more important is fully understand and master the human body structure, the clothing modelling, as well as the relationship between human body and clothing such as knowledge, a comprehensive understanding of the structure of the human body, dynamic and static characteristics of the human body, and make use of the excellent cutting and sewing skills, modification and exaggeration, to rectify defects, beautify the effect of clothing style.The relationship between clothing and human body, clothing should first cover have to meet the practical function. Early gown jacket is flat coated body, simple cylinder structure, it is a kind of embodiment of style, but it can't reflect the body curves. Later, the introduction of western clothing, made an enormous change in the costume history, from plane to three-dimensional clothing from now on, people began to study clothing structure on the basis of the human body structure. Through the use of provincial roads, make clothing more perfectly reflects the human figure, it is the aesthetic function of clothing, is also the modern clothing trends of the research.Clothing is the length, size, its merits and broken the whole, different forms such as square, wide, and on the sewing process complexity, Jane, fine, coarse, but plus ca change, is inseparable from the basic condition of human body shape and physical activity. In clothing modelling design, before and after the paper, the layout of the collar and sleeves exquisite modelling is unified, coordinated and harmonious, and as the criterion in each part of the human body prototype form, make the crop science, fine sewing, aesthetically pleasing, and wearing form-fitting. “Wearing form-fitting",refers to the specific amount of costume design, cutting, sewing skills should conform to the human body shape, show fashion figure, the best effect. The human body to constitute the clothing modelling beauty plays an important leverage.The generation of clothing pleatRushing form design is the basis of visual expansion. Human visual sense to pleat cognitive derived from the cognitive skirt decorated side line. Side line is skirt act the role of sensory induction and abstraction of the form, rules of ruching produce order form, irregular ruching produce disordered form. Orderly form of circulation and repeated give a person with the feeling of calm and the expansion of the collect inside, this is a rational, calm the visual feelings. The various forms of garment hem shape irregular line, a messy disorderly recruit ACTS the role of design form, such as length, weight of rolling line in the form of. Skirt ruffles form in the plane design of clothing deviation from the conventional disorderly change, form an exciting visual points.Clothing pleat is for aesthetic needs, artificial set some pleat on the items. Such as pleat and pleat the garment processing process on the surface of the arts and crafts. Have certain adornment sex, this kind of pleat is what we expected. Fabric on this kind of pleat is often referred to as "crepe", clothing on this man-made craft pleat is a kind of aesthetic embodiment.2 it is goods material influenced by all kinds of bad factors in the processing of pleat, this kind of pleat often influence the processing quality of the products and the beautiful, is don't want to produce in the process of production. Especially in the process of garment processing, an operator easily sew stitches of not neat, easy to produce bad pleat. Three is a costume on the human body, as a result of human movement tensile and bending deformation of the flexible fabric, produce pleat. Clothing production of pleat in the very great degree is closely related to the human body. The body's static and dynamic ever-present affects the dress effect, the surface of the clothing pleat changes constantly.Passive, negative plait, bring certain negative influence to clothing. The second pleat bring certain obstacles to the products, we carry on the detection, prevention, and research has not. Currently there is very little research on the third cause of pleat,the focus of this article is to evaluate objectively the garment in appearance, is also the formation of a costume surface pleat for objective evaluation and analysis.Clothing as a kind of modern goods, have the function of the royal covering clothing, the cold, and can meet the needs of the people's life and work, to adapt to all kinds of manners, seasonal demand. The appearance of the clothing quality and wearing effect directly determine its sales in the market and location. With the improvement of people's living standard, people are not content with the simple body clothing apparel, but the pursuit of more high quality, comfortable, good image of the garment appearance. As clothing itself, its overall image not only with the design level, the use of the surface of the fabric quality, wearing comfort, quality, and clothing is closely related to the appearance of the effect after wearing. Factors directly affect the outcome of a costume is a costume caused by surface drape. Great impact on the pleat of the garment appearance beauty.Clothing drape evaluation indexGrey valueThe index can reflect distribution of wrinkle is the surface of a garment. Clothing formation pleat, the rendered image gray scale is not stable. Pleat area grey value small dents; drape projection area of grey value. Because the grey value itself is the color of the material, the influence of light source intensity and image processing, can't give direct information, but can be used for the first item (3) of the following indicatorsPleat numberThe index can reflect the detection area, the number of the drape of clothing surface, can use the image curve of wave number (or trough), a wave (or trough) corresponds to a pleat. On the premise that the size of the image acquisition area, the greater the value of N, the more pleat number.The depth of the pleatThe index can reflect the drape of clothing surface the most protruding part and the height of the concave part difference, can use the adjacent peaks and troughs of the region's biggest gray scale and minimum difference of gray, is used to evaluateclothing pleat which is formed by the surface depth.Pleat widthThe index can reflect the size of the drape of clothing surface. The location of the distance between the adjacent two troughs valley (D) reflects the distance between adjacent pleats down concave part; the location of the distance between adjacent wave peaks (D) reflects the width between the adjacent pleats protruding parts.Pleat evennessPleat uneven can from the size of the pleat and pleat the depth of the two aspects of evaluation.ConclusionFrom the subjective analysis of clothing appearance in drape effect, can see the different structure design methods, different fabrics and different pattern effects are wrinkle on the appearance of a garment. Pleat subjective evaluation from the garment body and the sleeves as you can see, garment body loose shirt ago plait is relatively small, the formation of culture fit shirts (ordinary fabrics) pleat of the base sample shirt, because the culture type prototype in the chest and back width is base sample is small, tight clothing than base samples, forms pleats more easily. Loose shirt sleeves plait is relatively small, the sample sleeve pleat more, because of the loose shirt sleeves is fat, it's not easy to pleat formation, or pleat number is less, the base sample sleeve is tight, the involved in easy to form a pleat. And adopts the cultural prototype is with ordinary fabric shirt and shirt pleat compared with soft fabrics, the formation of the pleat are also different.译文服装结构设计与褶皱效果摘要本研究在以往对服装的穿着效果的评价所采用的主观评价方法基础上，探索一种客观的、量化的评价方法来描述服装上的褶皱。