LINES

To become a good designer it is essential to be aware of the
relationship between the basic principles and elements of
design and their application to fashion. This understanding will
greatly assist the actual designing of all apparel (dress, outfit)
and accessories.
1). Line (The effect of line): - A line is a collection of points put
together. Since line is the major factor in developing a pleasing
appearance, line and the things you can do with it deserve first
place in the choice of your style. The total appearance you
present to the world contains a profusion of line-not only in
your clothes but in the contour of your face and figure. Notice
how lines define the basic body outlines, how they separate the
form into various areas. Necklines, sleevelines, waistlines,
hemlines etc. act as divides which form shapes and spaces. They
make the design interesting and pleasing to the eye. If the
direction and shaping and spacing of each line is not carefully
plotted, the result can be of a major confusion.
In order to use lines correctly, it is important to understand that
lines have both functional and emotional significance. Although
there are two types of Lines: -
(a) Straight Lines;
(b) Curved Lines,
They offer infinite variety. Straight lines may follow the vertical,
horizontal or diagonal direction; they can be continuous or
broken and combined into angles. Curved lines can be rounded
as full moon or flattened until they appear almost straight. No
matter what form a line takes, it has an inherent power to create
strong impression. Based on Psychological association, Visual
effect, Structural use and the decorative use the lines can be
classified under various categories ass specified underneath:
Types of Straight lines: -
1.Straight lines: These lines oppose the natural curves, counters
roundness and give slimness. The structural use of these
lines is for the seams, yokes, fabric patterns, garment edges,
stiff fabrics, darts, pleats, panels, etc, These lines give a
feeling of Powerfulness, stability, masculinity, dignity and
surety.

2. Vertical lines: These lines give slimness and height. Their
structural use is for the shirtfronts, back and side seams,
darts, pleats, tucks, fabric pattern and sleeveless garments.
These lines give a feeling of boldness, sophistication,strength,
alertness and elegance.

3. Horizontal Lines: These lines shorten, broaden and widen
the natural contours of the body and give a feeling of
relaxation, calmness, gentleness and serenity. The structural
use of these lines is for the shoulder pads, yokes, waistlines,
hemlines, and wide necklines. Wide sleeves, wide collars,
darts, panels, fabric pattern, wide brimmed hats, midriffs,belts etc

4. Diagonal lines: These lines give slimness if more vertical and
width if more horizontal. Psychologically these lines give a
feeling of being dramatic and restless, being of an indecisive
nature and may unite contrasting directions. The structural
use of diagonal lines is for the panels, seams, fabric patterns,
darts, ‘V’ necklines, collars and lapels, flared trousers, ‘A’ –
line skirts, bias cut stripes, raglan sleeves, etc.

. Zigzag lines: Zigzag lines are angular and counter roundness.
They enlarge the figure and are eye-catching. These lines are a
series of connected diagonals and give a feeling of being
erratic, intense, abrupt and non – serious. The structural use
of these lines is for the pleats, garment edges, fabric pattern
knotched collar, and lapels and herringbone.

Perpendicular lines: These lines attract attention because of
their disturbing nature. The structural use of these lines is
for the seams, yokes, darts, bands, and tabs. Etc.

. Cross-over lines: These lines create a focal point at the point
of intersection because of their contrasting nature. The
structural use of these lines is for the wrap-over skirts and
bodice, seams with stripes or checks, fabric pattern, shoulder
straps, etc

Converging lines: These lines emphasize direction and are
psychologically associated with weight and youthfulness. The
structural use of these lines is for Décolletage neckline, yokes,
pleats, darts, seams-panels, collars, handkerchief, hemlines,
fabric pattern, godets, etc.

. Full Curve: Full curves emphasize body curves, counters
thinness and sharp angles and are better suited on thin
figures. Psychologically these lines are associated with
activeness, roundness, forcefulness, feminity and exuberance.

. Soft Curve: Soft curves gently emphasize the body curves
and are flattering. Psychologically these lines are associated
with passive nature, gentleness, feminity, smoothness and
youthful nature. The structural use of these lines is for the
princess lines drapes, scoop necklines, soft fabrics, seams,
yokes and garment edges.

. Undulating lines: These lines give roundness and soften the
angles. Psychologically they are associated with feminity,
sensuousness, gentleness, fluidity and gracefulness. The
structural use of these lines is for the flowing fabric edges,
fabric patterns, frills and ruffles.

. Ogee: These lines soften the angles and are more flattering
and give a feeling of sensuousness, feminity, seductiveness
and gracefulness. Structurally they are associated with Panel
lines and fabric patterns.

Thin lines: These lines give a visual effect, lightweightness
and have a receding nature. Psychologically they create a
feeling of delicacy, calmness, fragility, subtleness and
weakness. The structural use of these lines is for the seams,
garment edges and darts.

. Opposing Curves: Visually, these lines give a harmonious
movement. Focal point and emphasize direction.
Psychologically they are associated with feminity. The
structural use of these lines is for the panel lines, drapes, and
fabric pattern, wrap over garments and garment edges.

. Thick lines: These lines are heavy, add weight, visually move
forward and attract attention. These are forceful, assertive,
masculine and confident. Structurally they are used for
borders, inserts, binds, bands and fabric patterns.

. Even lines: These lines are smooth and flattering and give a
feeling of firmness, certainty, steadiness and regularity.
Structurally they are used for seams, edges, pleats, fabric
patterns, etc.

. Long lines: These lines emphasize direction, length or width
and are continuous, graceful, free flowing and smooth.
Structurally they are used for garment edges, seams, garment
openings, hemlines and gathers.

. Short lines: These lines divide the space and adds interest.
They give a feeling of abruptness, efficiency and blindness.
Structurally they are used for tucks and darts etc.

Broken line: These lines are rhythmic and attract attention.
Psychologically they are associated with interruption,
uncertainty, casualness and structurally they are used for
unpressed pleats

Line refers to the edge of the outline of a garment and the style
lines divide the space within the garments. Lines can create
visual effects/ illusions, such as height, which can lengthen
or shorten the figure, and with which we can make a figure
seem thinner or heavier. Because the eye follows the lines, the
line can attract the eye to particular areas and draw it from the
less desired areas.

(a) There is no opposing force therefore the eye continues
upwards to the end of the line and an illusion of height is
created.
(b) The eye meets an opposing horizontal and starts to travel
side to side making the vertical line seem shorter.
(c) The eye is forced downwards by the diagonal lines and so
this line seem even shorter than the second.
(d) The diagonal lines carry the eye upwards so that vertical lines
seem even longer than it did in the first line.
Line can be straight, curved, long, short, thick, thin, broken or
textured. Lines that are similar to each other are harmonious
and those that are opposite are contrasting.
(1). Straight Lines,
(2). Curyed Lines;
(3). Longlines;
(4). Short Lines;
(5). Thick Lines;
(6). Thin Lines..