A field guide to fabric design pdf

 
    Contents
  1. A Field Guide to Fabric Design by Kim Kight (ebook)
  2. A Field Guide to Fabric Design
  3. Textile design
  4. Cisco ACI Multi-Site Architecture White Paper

Editorial Reviews. Review. Have you ever wanted to design your own fabrics? In A Field Guide to Fabric Design (Stash Books, ) Kimberly Kight makes the. A Field Guide to Fabric Design: Design, Print & Sell Your Own Fabric; Traditional & Digital Techniques; For Quilting, Home Dec & Apparel [Kim Kight] on. A Field Guide to Fabric Design by Kimberly Kight (click here for a link to her Blog ' True Up') is well worth reading for anyone interested in finding out more about.

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A Field Guide To Fabric Design Pdf

A Field Guide to Fabric Design - Kim Kight you'll learn something that will help you carve your own unique niche in the ever-evolving field of fabric design. A Field Guide to Fabric Design book. Read 22 reviews from the world's largest community for readers. This title is a comprehensive and refreshingly strai. a field guide to pdf a field guide to fabric design design print am Montana Field Guide contains a wealth of information about Montana's diverse species.

The present research seeks to design a fashion system utilizing a set of fabric patterns through the interactive genetic algorithm to produce artistic creativity and a set of clothes designs. First, clothes components, including top, crown, skirt, blouse, sleeve and shoes, and fabric patterns proportionate to each clothes component are designed and coded separately. This system combines clothes components and fabric pattern set, using the interactive genetic algorithm and laws based on fashion design. The results of evolutions indicate system efficiency in fashion set design using a fabric pattern set at the least cost and shortest time according to user tastes. The dressing type of people in a society is directly related with their social culture. Research indicates that the dressing type of individuals is highly effective to create self-confidence and personality credibility Callis Individuals in a society use clothing as a tool of confirming or displaying their social situation Zarenejad et al. At the present, with respect to the importance of clothing in communities and increased competition in market, application of perfect methods in fashion design, clothing production and sales is very vital. Since fashion design is affected by fabric design industry, fabric pattern sets can be used to design homogenous, and also various, clothes to attract customers of different groups. These fabric patterns produced by different combinations of forms, colors, pictures and other visual elements can satisfy different needs of different groups of customers including the fulfilling of personal taste, the creating of psychological influence on individual personality, the covering of physical defects, the strengthening of representation of specific body characteristics, the creating of aesthetic representations in clothes etc. Without the use of different cuttings and or expensive and time-consuming decorations. To emphasize a beautiful part of the body, for example, large pattern fabrics or bright colors can be used. While relatively dark colors or those in harmony with the environment should be used to cover physical defects. In general, the use of different visual elements for producing patterns of a fabric set allows you to create different visual effects to communicate customer-friendly concepts; there is no need for extreme cuttings and decorations.

Because a completely separate and independent APIC domain and fabric is deployed at the destination site, a translation function must be applied before the traffic is forwarded inside the receiving site, to help ensure that locally significant values identifying that same source EPG, bridge domain, and VRF instance are used.

This ensures that the whole configuration can be locally instantiated in each site and the security policy properly enforced, even when each EPG is only locally defined and not stretched across sites. Figure 5. Figure 6. The end result is that the configured policy can then correctly be applied on the leaf node before sending the traffic to the destination endpoint. This is normally the case until the leaf node in the source site learns via the data-plane the location information of the remote endpoint.

From that moment on, the policy can be applied directly on the ingress leaf. This name-space translation function should be performed at line rate to avoid negatively affecting the performance of intersite communication.

Note that first-generation spine switches can coexist with the new spine-switch models, as long as the latter are the only ones connected to the external IP network and used for intersite communication, as shown in Figure 7. Figure 7. Coexistence of first -generation spine switches with EX-platform and newer spine switches The specific coexistence scenario displayed in Figure 7 also shows that not every deployed spine needs to be connected to the external Layer 3 domain.

You determine the number of spines and links used to connect to the external IP network based on the specific hardware available and your desired level of resiliency and throughput.

The introduction of the Cisco ACI Multi-Site architecture also allows you to scale up the total number of leaf and spine nodes deployed across the interconnected fabrics, as well as the total number of endpoints.

This capability is one of the main points of differentiation between Cisco ACI Multi-Site and Multi-Pod designs, because the latter option is still bound by the scalability restrictions of a single fabric design.

The translation table entries on the spine nodes are always populated when an EPG is stretched across sites; this is required to allow intra-EPG communication that is permitted by default.

If instead there is a requirement to establish intersite communication between endpoints that are part of EPGs locally defined in separate sites, the definition of a contract between the EPGs is required to trigger the proper population of those translation tables this is the example shown in Figure 6 , above.

A Field Guide to Fabric Design by Kim Kight (ebook)

Cisco ACI Release 4. As shown in Figure 8 , EPGs that are part of the preferred group can communicate with each other without requiring the creation of a contract. EPGs that are excluded from the preferred group still require the definition of a contract to communicate between them and with any of the EPGs included in the preferred group. Figure 8. As such, it is important to consider the overall scalability figures for the number of EPGs supported in a preferred group.

As previously mentioned, this information is available on the Validates Scalability Guide available on the Cisco. It essentially represents the single source of truth for these policies.

The health-score information is retrieved from each APIC cluster domain and presented in a unified way, as shown in Figure 9. Figure 9.

Each template can be associated with and pushed to a specific set of fabrics, as shown in Figure However, the association of policies to a given template is always done at the template level not at the schema level. Figure Schema, templates, and sites This feature is one of the most important that the Cisco ACI Multi-Site Orchestrator offers, together with the capability to define and provision scoped policies for change management.

A Field Guide to Fabric Design

When you define intersite policies, Cisco ACI Multi-Site Orchestrator also properly programs the required name-space translation rules on the Multi-Site-capable spine switches across sites. This task still remains the responsibility of the APIC cluster at each site.

When doing so, it is important to consider the overall scalability numbers for objects, schemas, and templates for the chosen Cisco ACI software release to ensure that the creation of those site-local policies does not affect the definition of inter-site policies that can only be configured via the Multi-Site Orchestrator.

The Cisco ACI Multi-Site Orchestrator design is based on a microservices architecture in which three virtual machines are clustered together in an active-active fashion.

Textile design

Internally, each virtual machine has a Docker daemon installed with Multi-Site application services. Those services are managed and orchestrated by a Docker swarm that load-balances all job transactions across all Cisco ACI Multi-Site Orchestrator containers in concurrent active-active fashion for high availability.

Each MSO cluster node is assigned a unique IP address; there is no requirement for those IP addresses to be part of the same IP subnet, as communication between the nodes can be routed. These numbers are based on internal stress testing while adding very large configurations and deleting them at high frequency.

In the configuration with three virtual machines supported for the creation of the Multi-Site Orchestrator cluster, it is possible to lose one virtual machine and have the cluster still fully functional. The cluster would instead become inactive if losing two virtual machines, which leads to the recommendation of deploying each virtual machine on a separate ESXi host.

Note that the Cisco ACI Multi-Site Orchestrator cluster design has passed all leading industry benchmark vulnerability tests, such as Nessus, WhiteHat, Corona, and Norad, resulting in no security vulnerabilities discovered in the first test run.

In addition, the Multi-Site Orchestrator cluster design implements IP-table firewall rules in each virtual machine and opens required ports only for cluster communication. Finally, all traffic between virtual machines in a cluster is automatically encrypted using IP Security IPsec. Hence, Multi-Site Orchestrator cluster nodes can be deployed securely over a maximum ms RTT latency from each other.

In these scenarios, a Cisco ACI Multi-Site design is deployed in a building or a local campus with an ultra-high port count for bare-metal server, virtual machine, or container connectivity. A lot more. This book will show you how.

This book is divided into three main sections: The World of Fabric Design will get you thinking about designing for fun or for profit. Sprinkled throughout are valuable Designer Roundtables, in which experienced textile designers share their views of the industry and their creative processes.

In conjunction with this book, I am launching a fabric printing forum on True Up for those of you who wish to ask further questions or share inspiration and resources. Just visit www.

See you there! The world of fabric design is especially exciting now because along with all the beautiful classic designs being created is a wonderful variety of modern fabrics—from whimsical to edgy. I have a hard time because, in fact, there is plenty of crossover between traditional fabric and what I and others call modern fabric. To me, modern fabric is one or more of the following:.

Digital textile printing is the latest and newest, and with its quick turnaround and lack of minimum downloads, designers can create trendsetting, ultraniche prints. Digital printing reduces waste and pollutants significantly. Some traditional fabric manufacturers, too, are leading the way in reducing the social and environmental impact of the textile industry by using organically grown and processed cotton and by printing with low-impact inks and dyes. If there is a rejection of traditional fabric design anywhere, it is here.

Muddy palettes, marbled color, and strict blue for boy, pink for girl associations are out the window in favor of the bright, bold, sharp, inventive, and eclectic.

Cisco ACI Multi-Site Architecture White Paper

Modern Japanese kawaii cute and vintage kimono silks, Scandinavian folk, African wax prints, Welsh weaving, and Otomi embroidery are just some of the design traditions that have been embraced and interpreted internationally in recent years.

I love a print with a little oddness, edginess, and wit—it reminds us not to take ourselves and our creative work so seriously all the time. The increased interest in apparel sewing has intensified the need for sophisticated, fashion-forward prints.

There will always be Liberty of London and their emulators , but there is a lot of room for other styles. Prints were beautiful, whimsical, functional, and accessible. Hands-on printing and dyeing and painting techniques are embraced for their beauty, their challenge, and everything that working on a small scale means for the artist and the world. Multipurpose print: Fabric design is extraordinary because the artist trusts and encourages others to adapt the two-dimensional work on fabric into a new, three-dimensional form.

This chapter will help you understand these parameters so that you can make the best choices in your own work. And color is such a complex topic that it gets its own chapter later in this section. Digital textile printing see Digital Printing, page is taking fabric design into the territory of fine art.

As you read this, fashion and textile design pioneers, newly freed by digital technology from the restrictions imposed by mass production—namely, limitations on the number of colors and the requisite use of pattern—are completely changing the notion of what a fabric print is. Still, digital technology has its own limitations, and the traditional mass production methods will continue to dominate for the foreseeable future.

After all, pattern existed before mass production methods, and it will continue to be beautiful even as digital textile printing makes it unnecessary. Studying pattern design parameters is important because it helps to know the rules in order to break them in an interesting way.

The pattern pieces were assembled into a new dress for the exhibition Trash Fashion: The directionality of a print refers to the number of ways you can rotate the fabric and keep the print looking the same. As you will see, directionality is both an aesthetic and a functional choice. Most directional prints are oriented with-the-roll with the lengthwise direction of the fabric.

If you drew an imaginary line through a motif, such as a tree, from its top to its bottom, that line would be parallel to the selvage. Directional prints can be one-way or two-way. One-way prints can only be turned one way; otherwise the print looks upside down or sideways. Even if most motifs are two-way or nondirectional, if just one motif in a design is oriented one way, the entire design is considered one-way.

However, one-way fabric presents challenges for sewists. This is because cutting layouts for many types of projects are designed so that pieces are oriented lengthwise and crosswise, right side up and wrong side down, to minimize yardage requirements. But with one-way fabrics, all pieces must be oriented the same way, and therefore the project may require more yardage.

One-way and sometimes two-way fabrics may require extra attention for patchwork projects.

Pieces can all be cut with the lengthwise grain if the project has a definite top and bottom, but quilters may be able to cut out a portion of their pieces the wrong way, effectively upgrading the fabric to a two- or four-way print. For apparel manufacturers and home sewists alike, nondirectional prints are favored because sewing pattern pieces may be cut out in any direction, translating to a smaller investment and less waste.

Nondirectional prints include two subtypes: Tossed prints can be rotated in any direction, including on the bias, and look the same. Pieces may be cut in any direction, so there is less waste. Visually, they serve as an oasis; the eye can ramble around them in a leisurely way. Tartan plaids are one example of this category.

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