Answer the following questions:

1.What are three types pf clothing? What do you know about them?.

2. How must we judge any garment?

3. What are the elements of any design?

4. How does the principle of proportion influence a design?

5. What other principles help to achieve harmony among theelements of a design?

6. That way may the appearance of the figure be influenced by?

7. What are the main principles of structural, vertical, obliquelines?

8. How should the decoration harmonize with the material? Why?

9. .Why is the length of the dress considered to have definiteeffect on the figure?

10. Why does colour have a great effect in dress' designing?

Вариант IV

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Cutting

1. One should keep in mind that before cutting all wool fabrics should be shrunk. We know that shrinkage may be done by hand by means of a shrinkage machine. The shrinkage machine is capable to shrink wool fabrics to such a degree that they would not shrink on subsequent treatment. The shrinkage machine is a special conveyor consisting of heating and steaming chambers; the conveyor itself being inclined horizontally, this slope gives the maximum shrinkage in length during the treatment by steam and vibration.

2. All garments begin in a design room. Here designers sketch out their ideas for a new model using high-fashion magazines, various showings to help them to keep in current mode. Then cutting itself La being done. Cutting requires considerable skill because the fit Of the garment depends to a great extent upon the accuracy of the cutter

3.Jutting has become more complicated by the introduction of new different characteristics. Cutting methods vary considerably. The cutting operations can be done by single operators or by a team of operators. There are three main operations: sprеаding, marking and cutting.

4-. The term "spreading" refers to the laying out and piling of piece goods on the cutting tables. The spreading operation varies with the method used: cutting on the open and in the fold, spreading by hand or machine; laying fabrics face to face or face to beck and spreading the fabrics all in the загсе direction. Good spreading results in a lay in which each ply lies perfectly flat end without tension. Today electric and hand operated cloth spreading machines are known to be widely used for ell natural and synthetic materials.

5. Marking is the transfer of patterns to a piece of fabric or paper. Various methods are used in the marking operations. Most patterns are cut in pairs (right and left) from the two plies placedface to face. Then a fine marking by chalk should be done. A number of machines have been introduced for marking the position ofdarts, pockets, etc. An electrically - operated cloth drill makesholes through all the thickness of the lay.

6. Garments for mass production are cut out by a machine that takena roll of cloth and spreads it on a cutting table in as many, layers as are required. There are different cutting machines used inapparel manufacturing, for example, the rotary knife, the straightknife, the band knife and circular knife machines. Straight knifecutting machines are the most frequently used, they are availablewith two speeds, regular end half speed.

7. A high speed circular knife is used for cutting the cloth, theknife being traversed alternately from right to left and then fromleft to right at the next cut. Production is increased proportionally if more then one layer of fabric is fed. Delivery of the cutpieces is controlled by a flap which is adjustable to govern thetiming and speed of removal.

8. An electronic spreader and electronic cutter are known to be inuse in the sewing industry. These unite make cutting and spreadingcompletely automatic. The electronic cloth cutter is controlled bythree cells, for left, right and horizontal control. It travelsabove the cutting table and automatically cuts out a pattern andshuts itself off. The machine has variable speeds and can handleall straight-knife operations.

Answer the following questions:

1. How may shrinkage be done?

2. How does garment cutting begin?

3. Why does cutting require considerable skills?

4. What are three main cutting operations?

5. What methods are used during the spreading operation?

6. W hat is marking?

7. What way is marking done?

8. How are garments for mass production cut out?

9. What cutting machines are used in apparel manufacturing?

10. How does electronic cutter work?

Вариант V

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Shawls*

1. The kerchief was a traditional article in the Russian woman's costume. Peasant wеаvеrs decorated the kerchiefs with handwork embroidery, multicoloured stripes or a printed pattern. In the 19 th century Russian manufacturers of kerchiefs and shawl3 introduced worsted weaving yarn. The fashion for the Cashmere shawls as an article of co3tume was established in Europe in the late 18 th century and Cashmere - type shawls began to be manufactured in Russia from the early years of the 19 th century. ?. Decoration of shawls consisted of floral motifs (called buta)- first a plant spray with roots; later this motif was conventionalized in the so-called "cone", which itself became increasingly rigid and formalized in the 19 th century until it wan eventually transformed into a purely formal scroll-line element in an overall pattern which had lost any suggestion of its floral origin. Naturalistic flowers began to make their appearance in the late 18 th century and were also destined to enjoy a long success, up to the present day. Russian shawl-manufacturers produced shawls with the usuа1 patterns of large Indian - style flowers or more natural blooms in fairy tight compositions. The colour scheme of a single shawl could consist of as many as sixty colour graduations.

3.The method of weaving was akin to tapestry weaving: the pattern was formed from the weft alone and the threads forming the design were not carried across the whole lengh of the loom but were woven into the wool threads only sо far as each colour was required by the pattern. The work was highly skilled and a single shawl took as much as a year and a half to complete on one loom. As skein of the finest yarn weighing 13 grams contained a thread 4,500 metres long.

4. During the 19 th century the practice grew up of dividing the patterned portions of a single shawl (centre-piece, end-borders and edges) among a number of looms and then joining them by needlework. After it is woven woollen cloth must be "finished" - fulled, in order to felt and thicken it, then washed, beaten, brushed to raise the fibre ends, cut into pieces of the needed size, and finally cropped to an even surface. Gradually printed woollen shawls replaced the more costly woven ones. The eleborate woven patterns were modified and became somewhat simpler when reproduced in printing, but they preserved the same clear-cut out lines and every minute detail.

5. Among the best products in Russia were those of the Moscow factories owned by Smirnov and Givartovsky as well as of the firm of labzin in Pavlovsky Posad near Moscow. In Pavlovaky Posad Caehmeretype shawls began to be made from 1812 and established it аs the chief centre of Russian shawl-making up to the present day. The production of its designers was marked off by a harmonious composition end rich colour scheme. The buta motif appeared in various combinations of interlacing, alternating and radiating scroll-like elements which formed e repeating tapestry-like pattern filling the greeter part of the main field. An indecorated, empty area in the very middle of the shawl, cross- or star-shaped, weя the centre of the composition. The Pavlovsky-Fosad shawls were always in constant demand.

6. At the 1937 Paris 7/orld Pair more than 600 items from Pavlovaky Posad-shawls, coverlets, table cloths, curtains and panels - were displayed. The collection was awarded the Grand Prix of the exhibition. The visitors of the 1939 .World Pair in New Year were greatly attracted by Favlovsky Posad shawls with bright luminous roses and emerald-green foliage, showing rhythmic polychrome effects and delicately outlined patterns.

7. Remaining true to the conventions of their art, the masters of Pavlovsky Posad try to keep abreast with the times. All of them, younger and older, are always In search of new ways and means of artistic expression, new ideas and schemes of composition.