服装设计外文翻译文献
(文档含中英文对照即英文原文和中文翻译)
原文:
Trend prediction
Trend prediction information is much broader than ‘fashion prediction’ in that it may not be specifically related to fashion. Trends are recorded and trend predictors (looking for patterns of human behaviour, indicating changing markets or new consumer needs) constantly monitor the media and society.
Many industries use trend prediction to forecast relevant changes and plan product development, for example the interest in all things spiritual was forecast by Faith Popcorn, initially in the ‘Popcorn Report’ and was developed and continued in ‘Clicking’.
Spirituality is seen in the interest of such things as ‘Feng Shui’which is a popular approach to interior design. Bookstores now have shelves dedicated to spirituality, as individuals look inwards to discover themselves in a fast-moving world.
The fashion prediction consultancy relies on experts in a variety of fields for its structure. They have personnel all over the world to help in gathering intelligence.
The full-time staffing of a consultancy generally consists of the editor who creates the company philosophy. The publisher, on the technical side, puts the information together. The retailing and merchandising professionals and fashion directors work on consultancy for individual clients, by applying the general fashion trends more specifically to their needs. They must be skilled in, and aware of, a variety of markets. This could, for example, involve developing exclusive collection strategies, concepts and designs for spinners, weavers, textile printers, men’s, women’s and children’s garments, shoe and accessory manufacturers and for retailer’s private labels. They may also be expected to sell subscriptions to the publications to new clients.
The objective is to work closely with the client to determine their concerns, goals and potential customers with a view to tailor-making a design solution.
The success of prediction companies relies on pinpointing trends and developing these for individual markets at the right time! Trends may be affected by social, cultural, political and economic moods, as well as evolutions in lifestyle, technological developments, media and retailing. This information is tapped and recorded by international correspondents who provide up-to-date intelligence from
fashion capitals, such as London, Paris, Milan, New York, Florence and Tokyo.
The design team determines how this intelligence affects fashion and consumer awareness.
Designers/Illustrators are employed with design skills in menswear, womenswear and childrenswear, and illustration skills in interpreting and developing silhouette themes, knit and woven samples, print stories and accessories. They visualise new ideas developed from the trend information and consider carefully figure proportions and stylization so that any personnel, using the service, can understand what is suggested by the visual.
International agents promote and sell the service to clients worldwide, for example in Los Angeles, Tokyo, London and Paris.
Colour
Colour is the first consideration of season and is produced for autumn/winter and spring/summer ranges.
The colour is put into dye 18 months ahead of the specified season (some clients may require this information up to 2 years earlier, but this may not be shown in the final presentation box).
Fibre and fabric manufacturers require advanced information regarding colour as they have to develop their product early enough for designers and garment manufacturers to buy it and in turn develop their product. Presentation packs are usually presented with a fixed range of colour and a removable range so that clients can develop their own colour combinations. Colour packages are included in the subscription price and may be sold separately to clients who only require colour information and not the rest of the service.
The follows the setting of the mood for a new season by developing fabric and silhouette themes. Prediction consultancies produce a variety of materials and publications for their clients.
Directional themes and full-figure silhouette illustrations of menswear, womenswear and childrenswear together with accessories are shown. Included in the publication may be exclusive handlooms for wovens, knits and prints produced by freelance and in-house designers.
Commercial fabrics may be published at this time, derived from fabric fairs such as, Premiere Vision, Interstoff and Prato. These are created from hand cut and stuck swatches of directional fabrics relating to the season’s previously predicted themes.
The fashion prediction design process
One publication is worked in at a time (there may be 12-one a month, or more, depending upon the size of the consultancy and its breadth of expertise).
A company that develops its own thematic material will hold a succession of meetings with the core team resulting in decisions being made regarding the amount and content of the themes for a particular season, including evocative names. This is achieved by discussion. Each individual states what they fell will be a strong trend in the coming season. Where one idea is repeated by several members it is incorporated into the plan for the book. Where similar ideas are mentioned they are amalgamated to form a strong and identifiable trend.
A colour palette is decided upon. The colours are divided into groups corresponding with the themes. Some colours unavoidably overlap, but as main and accent colours alter the overall impression, each theme is sufficiently different.
The designers then start designing. The walls are covered with tear sheets from magazines, separated into appropriate themes as inspiration. Photographs from the trade fairs are used for guidance on design details.
Fabrics are then discussed in conjunction with the designers designing the garments. It is important to consider the balance of outerwear and separates fabrics. When decided, lengths of fabric and any interesting accessories are ordered to provide swatches for the books.
After the designs are completed they are illustrated with reference to particular markets and ‘lifestyle s’ and to capture the ‘essence of the themes’. Technical drawings are also produced, either by the design team or by freelance illustrators.
Samples of knitwear and new textiles may be commissioned which will be photographed for the books.
Mood boards, containing visuals, fabric and trim, depicting the themes, are completed. The mood boards are sent away to be photographed and return as transparencies.
During the process of compilation, agents worldwide will have seen securing old and new clients, to whom the books will be sent on completion. a master copy of the book is compiled and sent to the printers to have a sample copy printed and bound. The copy is checked for any mistakes before the book goes into production.
Travel is an important aspect of fashion research and visiting trade fairs allows reports to be compiled which observe not only trends apparent from the exhibitors’
displays, but also from the people (who are mainly from the fashion industry) as they walk around the shows. This exercise helps to understand the differences in international fashion, which is important when catering for foreign clients.
Theme development
Fashion prediction for a new season is usually promoted as a series of ‘themes’. These are designed to inspire and direct the designer for a number of markets. Themes, often, are given names to evoke feelings and moods and reflect the content of the theme. Each theme may appeal to one or more markets and requires interpretation from the designer to develop for their particular market. Often the prediction company offers some consultation to the designer which is helpful in this development.
Markets are usually defined by cost of the merchandise. Nowadays the markets referred to have vague names such as boutique, fashion aware, better end, pm dressing. This is more reflective of changes in ‘lifestyle’.
These can be interpreted into customers buying from:
Lower market –budget; lower middle –high street, chain stores; middle –independent labels and department stores; upper middle – designer diffusion; upper –designer.
Fashion prediction themes have often been very literal in their nature: nautical would show striped sweaters and sailor hats; utility always involve dungarees of some description and multiple pockets. A chic, tailored look may well involve a French beret.
It is important that visual codes are identifiable and mean similar things to different people. The illustration must work hard to convey a mood, an attitude, in the pose, that convinces the viewer about the sort of person that is being targeted.
Similarly, a total look is always helpful because accessories can contribute to not only the communication of the theme, but may also convey the type of person who would wear the ‘look’.
It is important that the proportion is believable and that the information is clear. Themes nowadays are less literal and are more about mixing ideas together to create something fresher. ‘Lifestyle’ has become important, consequently themes may not be put into an evocative setting which helps to create the correct mood. Less clothing detail is on view but the message allows the designer to make their own interpretations.
New uses of technology have resulted in the development of the Worth Global
Style Network (WGSN) who produce a comprehensive on-line service to fashion industry. Members pay an annual subscription to view the full site; students may visit an educational version free of charge (for a limited period). The services available are: news updates daily; women’s, men’s, youth and children’s trends; city reports from London, Paris, Milan, New York and Tokyo plus seasonal reports from new and trendsetting areas; international trade fair calendar; lifestyle reports - consumer attitudes, evolving buying patterns, seasonal phasing; catwalk shows and trade event reports; graphics libraries; resource listings; licensing reports – brands, films, sports events; mailbox problems and solutions; technical and production news – garment and fabric technology, dyeing and finishing, print techniques, footwear and leathergoods technology.
译文:
流行趋势预测
流行趋势预测信息所包含的内容要比时装预测丰富得多，原因是其不一定与时装有关。流行趋势是会被记录下来的。趋势预测者（寻找人类行为特点，指出变化中的市场或新兴的消费需求）会对媒体及社会不断地进行监测。
许多行业都使用趋势预测来预测相关变化并制定产品开发计划。例如，费丝?波普康(Faith Popcorn)预测了人们对所有精神事物的兴趣。最初是在《爆米花报告》（‘Popcorn report’ )中进行的预测，后来又进行了扩展并继续在《新爆米花报告》(‘Clicking’)中进行预测。
人们认为精神性是符合诸如‘风水’此类东西的利益的。‘风水’是室内设计普遍采用的方法。当今的书店都设立了论述精神性书籍的书架，主要是由于现代世界变化迅猛，人们都希望进行内省从而来发现自我。
从事流行款式预测的咨询公司只有依靠各领域的专家才能形成自己的体系。它们在世界各地均雇用人员来收集情报。
咨询公司的专职人员一般包括编辑（制定公司的宗旨），出版人（从技术的角度将信息汇总），零售与推销专业人员及时装经理（为个人客户提供咨询，将时装的总体趋势更具体地用来满足他们的需要）。这些人员必须具备必要的技能并了解各种市场。例如，这些技能可能包括开发独特的收集战略；纺纱机，织布机，纺织印花机，男人，妇女及儿童服装的概念与设计；鞋子与附件的生产商，以及零售
商的自有品牌。还有可能需要他们向新客户销售订阅杂志。
其目标是与客户一起紧密合作，确定他们都关心些什么，他们的目标是什么及确定潜在客户，以便制定个性化设计方案。
预测公司的成功取决于准确确定趋势并及时为个性化市场开发这些趋势。趋势受社会，文化，政治及经济气氛以及生活方式的变化，技术发展，媒体与零售的影响。本信息是由国际记者开发并记录的。他们从时装之都，如伦敦，巴黎，米兰，纽约，佛罗伦萨及东京，提供最新的情报。
设计小组确定该情报会如何影响时装及消费者们的意识。
雇用了具有男女与儿童服饰设计技能及说明并开发廓形主题，针织与机织样品，印花织物的详情与附件说明技能的设计人员/说明人员。他们将从趋势信息开发而来的新思维形象化并仔细考虑体形的比例及风格，以便使用服务的任何人员都能清楚视觉资料的含义。
国际代理向世界各地，如洛杉矶，东京，伦敦及巴黎，的客户推销并销售服务。
预测流行色
颜色是季节首要考虑的问题，是根据秋/冬及春/夏的类别而确定的。
在所说季节到来之前的18个月用染料染出颜色（有些客户最多可能要求提前两年提供该信息，但最终的外观盒可能没有给出该信息。）。
纤维及织物生产商要求提供颜色的超前信息，因为他们要提早开发出产品供设计人员及服装生产商进行购买并转而开发他们的产品。外观盒的颜色通常是固定并可除去的，这样客户可开发自己的颜色。订购价格中包括了彩色包装。只需要颜色信息而不需要其他服务的客户也可单独购买彩色包装。
他们通过开发织物及廓型主题来确定新季节的色调。预测咨询公司为客户提供各种材料及杂志。
它们给出指导性主题及包括附件在内的男女，儿童服饰的完整廓型图。杂志可能包括由从事自由职业的设计师及内部设计师设计的独特的手织机织物，针织物及印花织物。
此时可能会发表来自织物博览会，如Premiere Vision, Interstoff 与Prato，的商业织物，系与提前预测季节主题有关的指导性织物的手工裁剪及粘贴样布。
流行预测设计过程
每次安排一期杂志（每月可能会安排12期或更多。这取决于咨询公司的规模及专业能力）。
开发自有主题材料的公司会与核心团队召开一系列的会议来决定某一季节主题的数量及内容，包括令人怀旧的名称。他们是通过讨论的方式做出决定的。每位与会者均应各抒己见，说出他们认为的下一季节的主流趋势。如若数位与会者均由同一想法，则该想法会被包括在杂志的计划中。如想法相似，则将这些想法融合在一起，得出主
流及大家认同的趋势。
然后确定调色板。根据主题将颜色分成不同的小组。有些颜色会重复，这是不可避免的。但由于主要及重点颜色会改变总体印象，每个主题均是足够不同的。
然后设计者们开始进行设计。他们将从杂志上撕下的图片贴在墙上并将图片按相关主题分类以获得灵感。他们还用从行业博览会获得的照片来指导设计细节。
然后与设计服装的设计者讨论织物问题。重要的是要考虑外衣与单件衣着织物之间的平衡。决定后就订购织物及任何感兴趣的附件为杂志提供样布。
设计完成后将根据某个市场及‘生活方式’的要求进行说明，来抓住‘主题的精髓’。设计小组或从事自由职业的说明人员还会完成技术图纸。
可能会委托制作针织物及新纺织品的样品，并为其拍照供杂志出版。
然后做出用来说明主题，含有视觉资料，织物及饰物的色调板。将色调板送走拍照，并以幻灯片的形式送还。
在杂志的编辑过程中，位于世界各地的代理们会看到牢靠的新老客户们，以便于在杂志编辑完成后将杂志寄送给他们。编辑一本原始资料版，将其送到印刷公司印刷并装订一本样品杂志。杂志在批量生产前前要对其内容进行校对，找出错误之处。
旅行是时装研究的重点之一。参加行业博览会即可从参展者的展
外文文献原文+译文 原文 The study on the design of neuter clothing H ous e W Abstract Social and economic development, social thought, opening up and the progress of science and technology, men and women style presented the diversified pattern of neuter the fuzzy gender differences in style, from the beginning of non-mainstream des ign till n ow has develop ed i nt o on e of the mains t ream fas hi on d es ign style. Fashion brands have launched in recent years, the neutral flavor of fashion, neuter clothing market share of more and more, neutral fashion, with its broad group of sex leads the urban street fashion. Neutralization of free and open way of life style, gave people a comfortable and enjoyable. K ey words: Neut e r; Cl ot hing; Gender roles; Design 1 Introduction The beginning of the 20th century the rise of the feminist movement, make the neutral clothing as a kind of style into the line of sight of people. In the 90 s, the neutral clothing has used by each big brand clothing as one of the fashionable e lement s, s uc h a s dust coa t w i th a ne ut ral style, s ui ts, t-shirt s and j e ans have bec om e people like everyday clothes. Neuter clothing style is a simple, pure; reject all multifarious mincing, personalized style. As a special kind of clothing style, neuter clothing fashion has been intensified in the social life, so it is necessary for us to study the clothing neutralization phenomenon, to study its causes and the development of sociology. This article mainly from the sociological association as well as the relationship between men and women clothing and gender status in the society, which is based on analyzing the change of the study the social basis of the neutral clothing appear; Again from the social system, economic development, cultural trend and fashion designers to the influence of the neutral clothing style, etc., it is concluded that the neuter clothing phenomenon is the development of social consciousness, the sexual role transformation, the new clothing design trends are affecting the results.
吉林化工学院理学院 毕业论文外文翻译English Title（Times New Roman ，三号） 学生学号：08810219 学生姓名：袁庚文 专业班级：信息与计算科学0802 指导教师：赵瑛 职称副教授 起止日期：2012.2.27～2012.3.14 吉林化工学院 Jilin Institute of Chemical Technology
1 外文翻译的基本内容 应选择与本课题密切相关的外文文献（学术期刊网上的），译成中文，与原文装订在一起并独立成册。在毕业答辩前，同论文一起上交。译文字数不应少于3000个汉字。 2 书写规范 2.1 外文翻译的正文格式 正文版心设置为：上边距：3.5厘米，下边距：2.5厘米，左边距：3.5厘米，右边距：2厘米，页眉：2.5厘米，页脚：2厘米。 中文部分正文选用模板中的样式所定义的“正文”，每段落首行缩进2字；或者手动设置成每段落首行缩进2字，字体：宋体，字号：小四，行距：多倍行距1.3，间距：前段、后段均为0行。 这部分工作模板中已经自动设置为缺省值。 2.2标题格式 特别注意：各级标题的具体形式可参照外文原文确定。 1．第一级标题（如：第1章绪论）选用模板中的样式所定义的“标题1”，居左；或者手动设置成字体：黑体，居左，字号：三号，1.5倍行距，段后11磅，段前为11磅。 2．第二级标题（如：1.2 摘要与关键词）选用模板中的样式所定义的“标题2”，居左；或者手动设置成字体：黑体，居左，字号：四号，1.5倍行距，段后为0，段前0.5行。 3．第三级标题（如：1.2.1 摘要）选用模板中的样式所定义的“标题3”，居左；或者手动设置成字体：黑体，居左，字号：小四，1.5倍行距，段后为0，段前0.5行。 标题和后面文字之间空一格（半角）。 3 图表及公式等的格式说明 图表、公式、参考文献等的格式详见《吉林化工学院本科学生毕业设计说明书（论文）撰写规范及标准模版》中相关的说明。
文献信息： 文献标题：Evolution of Fashion Design in the Era of High-Tech Culture （高科技文化时代服装设计的演变） 国外作者：Galina Mihaleva，C.Koh 文献出处：《International Scholarly and Scientific Research and Innovation》,2016,10(7):2447-2451 字数统计：英文2079单词，11462字符；中文3549汉字 外文文献： Evolution of Fashion Design in the Era of High-Tech Culture Abstract Fashion, like many other design fields, undergoes numerous evolutions throughout the ages. This paper aims to recognize and evaluate the significance of advance technology in fashion design and examine how it changes the role of modern fashion designers by modifying the creation process. It also touches on how modern culture is involved in such developments and how it affects fashion design in terms of conceptualizing and fabrication. By comparing case studies, existing fashion design examples and crafting method experimentations; we then spot patterns in which to predict the direction of future developments in the field. A breakdown on the elements of technology in fashion design helps us understand the driving force behind such a trend. The results from explorations in the paper have shown that there is an observed pattern of a distinct increase in interest and progress in the field of fashion technology, which leads to the birth of hybrid crafting methods. In conclusion, it is shown that as fashion technology continues to evolve, their role in clothing crafting becomes more prominent and grows far beyond the humble sewing machine. Keywords: Fashion design, functional aesthetics, smart textiles, 3D printing. INTRODUCTION It is common knowledge that the environment we live in greatly influences the
文献出处：A Dehghani. The application of digital printing in fashion design [J]. International Journal of Clothing Science and Technology, 2015, 16(2): 263-271. 原文 The application of digital printing in fashion design A Dehghani Abstract The appearance of digital printing for textiles printing provides a new train of thought, digital printing with the current textile fabric printing a variety of requirements of the market of printing technology, including high quality printing precision, high efficiency of printing on reaction time and the printing of the diverse demand, these advantages directly promoted the digital ink jet printing in the rapid development of textile fabric printing direction. In this paper, the design method of the digital printing design of different style and means of decoration and design method in the fabrics for summary, it is concluded that digital printing design cuttings in fabric printing, clothing apparel printing method and the application of the traditional fabric secondary design and decorative effect. Through the above research, digital printing and garment design and garment style between the relationships between the shapes, thereby further to bring into full play the advantages of
软件专业毕业论文外文文献中英文翻译 Object landscapes and lifetimes Tech nically, OOP is just about abstract data typing, in herita nee, and polymorphism, but other issues can be at least as importa nt. The rema in der of this sect ion will cover these issues. One of the most importa nt factors is the way objects are created and destroyed. Where is the data for an object and how is the lifetime of the object con trolled? There are differe nt philosophies at work here. C++ takes the approach that con trol of efficie ncy is the most importa nt issue, so it gives the programmer a choice. For maximum run-time speed, the storage and lifetime can be determined while the program is being written, by placing the objects on the stack (these are sometimes called automatic or scoped variables) or in the static storage area. This places a priority on the speed of storage allocatio n and release, and con trol of these can be very valuable in some situati ons. However, you sacrifice flexibility because you must know the exact qua ntity, lifetime, and type of objects while you're writing the program. If you are trying to solve a more general problem such as computer-aided desig n, warehouse man ageme nt, or air-traffic con trol, this is too restrictive. The sec ond approach is to create objects dyn amically in a pool of memory called the heap. In this approach, you don't know un til run-time how many objects you n eed, what their lifetime is, or what their exact type is. Those are determined at the spur of the moment while the program is runnin g. If you n eed a new object, you simply make it on the heap at the point that you n eed it. Because the storage is man aged dyn amically, at run-time, the amount of time required to allocate storage on the heap is sig ni fica ntly Ion ger tha n the time to create storage on the stack. (Creat ing storage on the stack is ofte n a si ngle assembly in structio n to move the stack poin ter dow n, and ano ther to move it back up.) The dyn amic approach makes the gen erally logical assumpti on that objects tend to be complicated, so the extra overhead of finding storage and releas ing that storage will not have an importa nt impact on the creati on of an object .In additi on, the greater flexibility is esse ntial to solve the gen eral program ming problem. Java uses the sec ond approach, exclusive". Every time you want to create an object, you use the new keyword to build a dyn amic in sta nee of that object. There's ano ther issue, however, and that's the lifetime of an object. With Ian guages that allow objects to be created on the stack, the compiler determines how long the object lasts and can automatically destroy it. However, if you create it on the heap the compiler has no kno wledge of its lifetime. In a Ianguage like C++, you must determine programmatically when to destroy the
英文翻译： The unique expression in fashion design Abstract: With the social progress and people's aesthetic awareness, clothing design requirements are constantly changing, not only beautiful, comfortable, personalized for different purposes, and more and more people started to pay attention the unique design of the clothing. unique expression of the clothing design has something in common, in common, there are three factors most typical one of the means of the use of the plastic arts; is to follow the basic rules of the plastic arts; the pursuit of art content and beauty of form harmony and unity. The face of increasingly fierce competition in society, from clothing unique starting to play to their strengths, so that the costume design perfected. Key words: aesthetic sense; costume design; uniqueness; expression Introduction With the rich substance of social development, improved quality of life, the pursuit of unique clothing is also more than plus strong, the face of the popularity and unity to the mass production of clothing has become a problem to be solved in order to fashion designers. An important design point, then become a unique expression of the costume design costume design costume design unique refers to the characteristics of the presentation of the representative from the clothing on the whole, it is unique content and form unity. China fashion design unique expression as a complete system of disciplines to study the ancient times to now there, but the uniqueness of expression in fashion design is not perfect, therefore, the uniqueness of this study fashion design to express Modern fashion design is of great significance. 1. The unique overview of clothing In short, The unique nature of the clothing is the clothing unique. In a broad sense refers to the presentation of the representative characteristics from the whole of the clothing works, it is one of the unique form and the objectivity of the unity of the unity of content, costume designer on the subjective aspect of creative and clothing subject matter difficult to find words to express, but it is not difficult to make us feel unique style. The unique nature of the clothing, but also refers to the values, artistic characteristics and inherent character of a nation, an era, a genre or a person's clothing in the content and format of the show out. The unique nature of the appearance of the mind, the pursuit of the realm of fashion design in the final analysis is unique in design and positioning, the unique expression of the costume design also reflects the designer's unique creative thinking and the pursuit of art also reflects the distinctive character.
本科毕业设计（论文）中英文对照翻译 院（系部）电气工程与自动化 专业名称电子信息工程 年级班级 04级7班 学生姓名 指导老师
Infrared Remote Control System Abstract Red outside data correspondence the technique be currently within the scope of world drive extensive usage of a kind of wireless conjunction technique,drive numerous hardware and software platform support. Red outside the transceiver product have cost low, small scaled turn, the baud rate be quick, point to point SSL, be free from electromagnetism thousand Raos etc.characteristics, can realization information at dissimilarity of the product fast, convenience, safely exchange and transmission, at short distance wireless deliver aspect to own very obvious of advantage.Along with red outside the data deliver a technique more and more mature, the cost descend, red outside the transceiver necessarily will get at the short distance communication realm more extensive of application. The purpose that design this system is transmit cu stomer’s operation information with infrared rays for transmit media, then demodulate original signal with receive circuit. It use coding chip to modulate signal and use decoding chip to demodulate signal. The coding chip is PT2262 and decoding chip is PT2272. Both chips are made in Taiwan. Main work principle is that we provide to input the information for the PT2262 with coding keyboard. The input information was coded by PT2262 and loading to high frequent load wave whose frequent is 38 kHz, then modulate infrared transmit dioxide and radiate space outside when it attian enough power. The receive circuit receive the signal and demodulate original information. The original signal was decoded by PT2272, so as to drive some circuit to accomplish
Vol. 3 (3), April, 2009 ISSN 1994-9057 (Print) ISSN 2070-0083 (Online) Effect of Seams on Drape of Fabrics (Pp. 62-72) Sukumar Nachiappan- Lecturer, Textile Engineering Department, Faculty of Engineering, Bahir Dar University, Bahir Dar, Ethiopia. Email: sugumaraan@https://www.doczj.com/doc/8a2517483.html, Gnanavel. P. - Lecturer, KSR College of Technology, Tiruchengode–637 215, TamilNadu, India Ananthakrishnan, T.- Professor and Head, Department of Textile Technology, Government Sri Krishna Rajendra silver jubilee Technical Institute, Bangalore – 560 001, India Abstract Drape of the fabric is its ability to hang freely in graceful folds when some area of it is supported over a surface and the rest is unsupported. Drape is a unique property that allows a fabric to be bent in more than in one direction, When two-dimensional fabric are converted to three-dimensional garment form. In the present study, the effects of sewing of different seam were selected on different fabric and their behaviors were studied. In this study drape of ten fabrics are analyzed with three types of seams and three stitch densities. Sample without seam is a control sample and drape of seamed samples are compared with control sample to analyse the drape behavior of seamed fabrics. This paper presents a fundamental drape analysis of seamed fabrics using drape meter. Drape behavior is determined in terms of drape coefficient. The effect of seams on the drape coefficient and Drape profile has been made. Drape coefficients significantly differs between the fabrics and also between the seam stitch density combinations. Investigating drape on seamed fabrics can improve fabric end use application.
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本科毕业设计 外文文献及译文 文献、资料题目：Designing Stable Control Loops 文献、资料来源：期刊 文献、资料发表（出版）日期：2010.3.25 院（部）：信息与电气工程学院 专班姓学业：电气工程与自动化级： 名： 号： 指导教师：翻译日期：2011.3.10
外文文献： Designing Stable Control Loops The objective of this topic is to provide the designer with a practical review of loop compensation techniques applied to switching power supply feedback control. A top-down system approach is taken starting with basic feedback control concepts and leading to step-by-step design procedures,initially applied to a simple buck regulator and then expanded to other topologies and control algorithms. Sample designs are demonstrated with Math cad simulations to illustrate gain and phase margins and their impact on performance analysis. I. I NTRODUCTION Insuring stability of a proposed power supply solution is often one of the more challenging aspects of the design process. Nothing is more disconcerting than to have your lovingly crafted breadboard break into wild oscillations just as its being demonstrated to the boss or customer, but insuring against this unfortunate event takes some analysis which many designers view as formidable. Paths taken by design engineers often emphasize either cut-and-try empirical testing in the laboratory or computer simulations looking for numerical solutions based on complex mathematical models.While both of these approach a basic understanding of feedback theory will usually allow the definition of an acceptable compensation network with a minimum of computational effort. II. S TABILITY D EFINED Fig. 1.Definition of stability Fig. 1 gives a quick illustration of at least one definition of stability. In its simplest terms, a system is stable if, when subjected to a perturbation from some source, its response to that
服装英语论文 文章一 Change Of Chinese Clothing Tradition An outstanding characteristic of traditional Chinese clothing is not only an external expression of elegance, but also an internal symbolism. Each and every piece oftraditionalclothing communicates a vitality of its own. This combination of external form with internal symbolism is clearly exemplified in the pair of fighting pheasant feathers used in head wear originating in the battle wear of the Warring States period (475-221 B.C.). Two feathers of a ho bird (a type pheasant good at fighting) were inserted into the head wear of warriors of this period to symbolize a bold and warlike spirit. Archaeological findings of 18,000 year-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. Variety and consistency in clothing were roughly established by the era of the Yellow Emperor and the Emperors Yao and Shun (about 4,500 years ago). Remains of woven silk and hemp articles and ancient ceramic figures further demonstrate the sophistication and refinement of clothing in the Shang Dynasty (16th to 11th century B.C.). The three main types of traditional Chinese clothing are the pien-fu, the ch'ang-p'ao, and the shen-i. The pien-fu is an ancient two-piece ceremonial costume of a tunic-like top extending to the knees and a skirt or trousers extending to the ankles. The ch'ang-p'ao is a one-piece garment extending from the shoulders all the way to the heels. The shen-i is a cross between the pien-fu and the ch'ang-p'ao; it consists of a tunic and a skirt or trousers like the pien-fu, but the tunic and the skirt are sewed together and essentially one piece like the chang-pao. Consequently, the shen-i was the most widely worn of the three types. Typical of these three types of clothing were wide and voluminous sleeves and a very loose fit. Tunic and trousers or tunic and skirt, utilized a very minimum number of stitches for the amount of cloth used. So because of their relatively plain design and structure, embroidered edgings, decorated bands, draped cloth or silks, patterns on the shoulders, and sashes were often added as ornamentation. These varied designs came to be one of the unique features of traditional Chinese dress. Darker colors were favored over lighter ones in traditional Chinese clothing, so the main color of ceremonial clothing tended to be dark while bright, elaborate tapestry designs accented. Lighter colored clothing was worn more frequently by the common people for everyday and around the house use. The Chinese associate certain colors with specific seasons: green represents spring, red symbolizes summer, white represents autumn, and