The formal compositions of comic costume fabric design systems

Abstract

               The development of the world's arts, including design, has witnessed a prolific evolution that is difficult to enumerate. These arts have intertwined, resulting in a flood of formations that confront fabric and fashion designers with a profound challenge: how to harness these different formal formations to serve their ideas. Formal formations have become a fundamental pillar in the design of many fixed and movable accomplishments. Their use in the design of comic fashion fabrics has demonstrated their creative potential through the decorative character of these formations, based on expressive comic designs that aim to achieve the design goal through their final visualization techniques. This is the foundation upon which the research is based, and its problem is defined by the following question: What are the systems of formal formation in the design of comic fashion fabrics? The importance of the research was embodied in the possibility of including the formal composition and its impact in the design systems of fashion fabrics according to studied contexts and mechanisms that would gain the comic design excitement and attraction using innovative mental perceptions. The research goal included revealing the features and manifestations of the formal composition of the systems of designing comic fashion fabrics, as the limits of the research were represented by the systems of formal composition in the designs of comic fashion fabrics by the designer (Darjan Gautier) in Paris 2024. The second chapter included the theoretical framework, which consisted of two topics, the first of which dealt with the composition in fabric designs, while the second dealt with the formal composition in the designs of comic fashion fabrics, extracting the most important indicators that resulted from the theoretical framework, arriving at the third chapter with its methodology and procedures. As for the fourth chapter, one of the most important results was that unity was achieved through the models of the research sample, as unity appeared in the elements in the third model at a high rate, while the unity of style appeared at a high rate in the first model, and the unity of the idea appeared in most of the sample models as it is the action that is done. Based on the design, one of the most important conclusions is that the systems of relationships between formal units are represented by relationships (adjacency, similarity, and overlap) to achieve attraction between compositional units by perceiving adjacent shapes as a single form. Similarity is achieved by requiring similar elements and units to share one or more characteristics to display the design and achieve coherence and unity in the formal compositional system. This works to reveal spatial depth on the overall surface of the fabric