Art and Design: Textile Design - 4TE1 PearsonEdexcel

Research And Development

Akopọ

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.

Awọn Afojusun

  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

Akọ̀wé Ẹ̀kọ́

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.

O wa lori ohun elo Green Bridge

Gba ohun elo Green Bridge CBT sori foonu tabi kọmputa rẹ lati ri awọn akọsilẹ ẹkọ ni kikun, awọn ibeere adaṣe, ati diẹ sii.

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Ìdánwò Ẹ̀kọ́

Oriire fun ipari ẹkọ lori Research And Development. Ni bayi ti o ti ṣawari naa awọn imọran bọtini ati awọn imọran, o to akoko lati fi imọ rẹ si idanwo. Ẹka yii nfunni ni ọpọlọpọ awọn adaṣe awọn ibeere ti a ṣe lati fun oye rẹ lokun ati ṣe iranlọwọ fun ọ lati ṣe iwọn oye ohun elo naa.

Iwọ yoo pade adalu awọn iru ibeere, pẹlu awọn ibeere olumulo pupọ, awọn ibeere idahun kukuru, ati awọn ibeere iwe kikọ. Gbogbo ibeere kọọkan ni a ṣe pẹlu iṣaro lati ṣe ayẹwo awọn ẹya oriṣiriṣi ti imọ rẹ ati awọn ogbon ironu pataki.

Lo ise abala yii gege bi anfaani lati mu oye re lori koko-ọrọ naa lagbara ati lati ṣe idanimọ eyikeyi agbegbe ti o le nilo afikun ikẹkọ. Maṣe jẹ ki awọn italaya eyikeyi ti o ba pade da ọ lójú; dipo, wo wọn gẹgẹ bi awọn anfaani fun idagbasoke ati ilọsiwaju.

  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

O wa lori ohun elo Green Bridge

Gba ohun elo Green Bridge CBT sori foonu tabi kọmputa rẹ lati ri awọn akọsilẹ ẹkọ ni kikun, awọn ibeere adaṣe, ati diẹ sii.

Awọn akọsilẹ ẹkọ ni kikun pẹlu awọn aworan apejuwe
Oluranlọwọ ẹkọ ti AI ṣe agbara rẹ
Kọ ẹkọ laisi intanẹẹti, nigbakugba, nibikibi
O wa lori Android, Windows, macOS, ati Linux

O wa lori ohun elo Green Bridge

Gba ohun elo Green Bridge CBT sori foonu tabi kọmputa rẹ lati ri awọn akọsilẹ ẹkọ ni kikun, awọn ibeere adaṣe, ati diẹ sii.

Awọn akọsilẹ ẹkọ ni kikun pẹlu awọn aworan apejuwe
Oluranlọwọ ẹkọ ti AI ṣe agbara rẹ
Kọ ẹkọ laisi intanẹẹti, nigbakugba, nibikibi
O wa lori Android, Windows, macOS, ati Linux

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Ṣe o fẹ ṣe adaṣe awọn ibeere idanwo adaṣe nipa Research And Development? Ṣe igbasilẹ ohun elo Green Bridge CBT lati wọle si awọn ibeere idanwo adaṣe ati awọn ayẹwo adaṣe kikun fun koko-ọrọ yii.

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