By Elisabetta Drudi
Los collectible figurines de moda constituyen el modo esencial de visualizar rules y conceptos en el diseno de moda y de vestuario. Para representar de una forma precisa lo que tiene en mente, un disenador debe poseer un dominio absoluto de los angeles tecnica del dibujo de collectible figurines, en l. a. que el realismo y los angeles exactitud en las proporciones son valores fundamentales. Mediante l. a. estilizacion y los angeles exageracion, aspectos que centran l. a. atencion hacia ciertos elementos de los collectible figurines, estos adquieren garbo y personalidad. DIBUJO DE collectible figurines PARA EL DISENO DE MODA ofrece un metodo conciso y genuine para aquirir y perfeccionar esta tecnica basandose en l. a. figura femenina. Resulta adecuado tanto para aquellos que quieren dedicarse profesionalmente al diseno de moda como para los aficionados al dibujo del cuerpo humano.
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Additional info for Dibujo de Figurines para el Diseño de Moda
Photo by Barbara Borders, 1989. José Elias Pupiales, Paniquindra, eastern Imbabura province. Photo by Barbara Borders, 1989. The Quichua word for ‘‘slow’’ is the same as that for ‘‘good,’’ ali in Otavalo (Meisch 1987: 128), ayllilla in Saraguro, a combination of meanings that is particularly appropriate for weaving on the backstrap loom. Warping A warper may plan color combinations by laying balls of yarn side by side or refer to a ﬁnished textile as a guide. In Quero, Tungurahua province (Map 3), we encountered Eliva Villacruz Vinueza, who had a series of sticks wrapped with yarn in diﬀerent arrangements of stripes as a reference for customers to choose color combinations (Fig.
There are two end stakes (labeled A and D), set at approximately half the length of the warp apart (a warp-faced fabric will be slightly shorter than the unwoven warp). The dovetail stake (labeled B), used to form the dovetail join, is set between the end stakes, usually slightly in front of the plane of the end stakes. In addition, there are one or more cross stakes (labeled C) used to separate the yarns of the cross, so that they do not need to be separated manually when the loom is set up. The cross stakes are usually set to the right of the dovetail stake, although occasionally to the left.
1), so the weaver needs to be able to separate the even- and oddnumbered warp yarns. He or she ﬁrst raises the evens above the odds and passes the weft and then raises the odds above the evens to pass the weft again. The basic interchange of the odd-numbered and even-numbered warp yarns is called the warp cross, most clearly visible in a side view of the weaving (Figs. 4). The opening between the odd- and even-numbered warp yarns is called the shed. In indigenous Andean weaving, the warp is made the exact size wanted for the ﬁnished piece.