Art and Design: Textile Design - 4TE1 PearsonEdexcel

Research And Development

Gbogbo ọrọ náà

A rusted iron gate. Orange bleeding into grey, flaking into black, with pale streaks where rainwater has run down and stripped it. Left as a photograph it is a nice picture of a gate. Followed properly it becomes a page of drawings that record texture rather than likeness, a painted palette with the proportions of each colour worked out, a yarn wrap, four dye trials on four different fibres, a stitch sample that puts the flaking into thread, a repeat that tiles without a seam, and a length of cloth that hangs.

That journey, from a thing in the world to a material that behaves, is what research and development means in Textile Design. It is unusually physical. Almost nothing in it can be judged on paper or on a screen, because cloth has weight, drape and handle, and because dye does entirely different things to cotton and to polyester. This note follows one source the whole way, and shows what has to be sampled, labelled and kept at each stage.

Ebumnobi

  1. Undertake visual research, using primary and secondary sources, and record observations, experiences and ideas in appropriate ways, including first-hand experience of original work
  2. Develop and realise ideas and outcomes, exploring and reviewing possible solutions and modifying work appropriately
  3. Understand and use (appropriately and safely) a range of materials, equipment, processes and techniques in two- and/or three dimensions, using information and communication technology where appropriate
  4. Know and understand a range of work, from contemporary practice, past practice and different cultures, in order to demonstrate an understanding of continuity and change in art, craft and design

Akọmọ Ojú-ẹkọ

Textile design begins with a primary source, and the specification insists that primary sources include first-hand experience of original work. But the recording you make is not the same as a fine artist's. A painter draws to describe the thing. A textile designer draws to extract what can be translated into cloth, which is usually three things: colour, texture and structure.

Ọ dị na ngwa Green Bridge

Budata ngwa Green Bridge CBT na ekwentị maọbụ kọmputa gị iji nweta akwụkwọ ndụmọdụ zuru oke, ajụjụ mmụta, na ndị ọzọ.

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Ayẹwo Ẹkọ

Ekele diri gi maka imecha ihe karịrị na Research And Development. Ugbu a na ị na-enyochakwa isi echiche na echiche ndị dị mkpa, ọ bụ oge iji nwalee ihe ị ma. Ngwa a na-enye ụdị ajụjụ ọmụmụ dị iche iche emebere iji kwado nghọta gị wee nyere gị aka ịmata otú ị ghọtara ihe ndị a kụziri.

Ị ga-ahụ ngwakọta nke ụdị ajụjụ dị iche iche, gụnyere ajụjụ chọrọ ịhọrọ otu n’ime ọtụtụ azịza, ajụjụ chọrọ mkpirisi azịza, na ajụjụ ede ede. A na-arụpụta ajụjụ ọ bụla nke ọma iji nwalee akụkụ dị iche iche nke ihe ọmụma gị na nkà nke ịtụgharị uche.

Jiri akụkụ a nke nyocha ka ohere iji kụziere ihe ị matara banyere isiokwu ahụ ma chọpụta ebe ọ bụla ị nwere ike ịchọ ọmụmụ ihe ọzọ. Ekwela ka nsogbu ọ bụla ị na-eche ihu mee ka ị daa mba; kama, lee ha anya dị ka ohere maka ịzụlite onwe gị na imeziwanye.

  1. A reactive dye bath with soda ash will give the strongest, most wash-fast colour on: A) Polyester B) Cotton C) Acrylic D) Nylon Answer: B
  2. What is a yarn wrap used for? A) Measuring the tension of a woven sample B) Testing a palette and its proportions in thread rather than in paint C) Protecting a dyed sample from light D) Transferring a motif onto cloth Answer: B
  3. Why must a printed repeat be tested as a block of at least four tiles? A) Because one tile uses too little ink to judge the colour B) Because faults such as blank channels, unwanted diagonals and a visible grid only appear where tiles join C) Because the examiner requires four copies of every print D) Because screen printing cannot be done once Answer: B
  4. A design in adire is made by: A) Applying pattern with a brush over a dyed ground B) Preventing dye from reaching parts of the cloth by tying, stitching or starch paste C) Weaving coloured yarns into a structure D) Heat transferring a photographic image Answer: B
  5. Which property is lost when a textile sample is only ever photographed lying flat? A) Colour fastness B) Repeat accuracy C) Drape D) Fibre content Answer: C

Ọ dị na ngwa Green Bridge

Budata ngwa Green Bridge CBT na ekwentị maọbụ kọmputa gị iji nweta akwụkwọ ndụmọdụ zuru oke, ajụjụ mmụta, na ndị ọzọ.

Akwụkwọ ndụmọdụ zuru oke nwere eserese
Onye inyeaka mmụta AI
Mụọ n'ụzọ na-enweghị ịntaneti, oge ọbụla, ebe ọbụla
Ọ dị na Android, Windows, macOS, na Linux

Ọ dị na ngwa Green Bridge

Budata ngwa Green Bridge CBT na ekwentị maọbụ kọmputa gị iji nweta akwụkwọ ndụmọdụ zuru oke, ajụjụ mmụta, na ndị ọzọ.

Akwụkwọ ndụmọdụ zuru oke nwere eserese
Onye inyeaka mmụta AI
Mụọ n'ụzọ na-enweghị ịntaneti, oge ọbụla, ebe ọbụla
Ọ dị na Android, Windows, macOS, na Linux

Meecha Ajụjụ Ule Ọmarịcha

Ị chọrọ ime ajụjụ ule ọmarịcha gbasara Research And Development? Budata ngwa Green Bridge CBT iji nweta ajụjụ ule ọmarịcha na nyocha zuru ezu gbasara isiokwu a.

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