Home | Manipal University Jaipur - 67 years of legacy of ...



2491740575945REGULATIONS,SCHEME OF EXAMINATION ANDSYLLABUS(As prescribed by Manipal University Jaipur)BACHELOR OF DESIGN (Fashion Design)B. DES (Fashion Design)Four Year Degree Programme APPLICABLE FROM THE ACADEMIC YEAR 2014 - 2015RULES AND REGULATIONS1. TITLE OF THE PROGRAMME:1.1Undergraduate degree programme, Bachelor of Design (Fashion Design) abbreviated as B. Des. (Fashion Design)2. DURATION OF THE PROGRAMME:2.1 Normal Duration: B. Des: 4 Years (08 Semesters)2.2 Maximum Permissible duration of a programme is twice the normal duration of the programme. 2.3Each semester’s programme is up to 17 weeks of classes and related academic activities, immediately followed by about two weeks of end-semester examinations in the courses of the current semesters. 3 to 4 weeks after declaration of the results, make-up (supplementary) examinations will be conducted in the same courses, before the commencement of the next semester.3.0 ACADEMIC PROCESS3.1 Programme of Studies and Educational Process:Manipal University Jaipur seeks to provide education which is globally accepted. In all programmes of study, great emphasis is placed on the use of modern communication technology to facilitate imparting of quality education to students. In some courses of study computer aided instruction is adopted.The University is committed to develop an efficient and flexible system. The semester system of calendar with continuous and comprehensive evaluation is adopted.The programmes of study are made up of a number of credits. Each semester of study has minimum requirements of number of course credits that must be taken.Each course is defined in terms of contact hours, which may be represented by studios, lectures, tutorials and practical sessions. Invariably a student will be required to carry out assignments and self- study which may greatly exceed the actual number of contact hours defined for the course.3.2 Credit Based System:3.2.1 The educational process for B. Des (Fashion Design) at School of Planning & Design (SP&D), Manipal University Jaipur uses a Credit Based System wherein the course content is expressed in number of credits.3.2.2 The course content of individual courses (studio, theory as well as practical) are expressed in terms of a certain number of credits. The number of credits assigned to a course depends on the number of contact hours per week. Normally, in the case of theory courses, the number of credits is equal to the number of contact hours (studios, lectures &tutorials) per week, while in the case of practical, one credit is assigned for every two to three contact hours per week.3.2.3 The course content of each semester is expressed in terms of a specified number of credits. A student is deemed to have successfully completed a particular semester’s programme of study when he/she earns all the credits of that semester, i.e., he/she has no F grade in any course of that semester.3.2.4 Promotion of a student to higher semesters is based on his/her earning a prescribed minimum number of credits, as detailed in paragraph 3.5.3.2.5 When a student earns the specified number of credits in every one of the specified number of semesters making up the course, he/she is deemed to have completed the requirements for graduation. This also means, a student should have an E grade or better in every course of every semester, in order to be eligible to receive the degree.3.2.6 The eighth semester of B. Des. Programme is also devoted to internship.3.3 Outline of Evaluation3.3.1 The student performance in each theory course (subject) is evaluated out of a maximum of 100 marks — of which 50 marks are for in-semester assessment and 50 marks for the end-semester examination.3.3.2The in-semester assessment in theory courses is based on sessional tests, assignments, quizzes, case presentations, seminars etc. The students shall be informed, sufficiently in advance, of the procedure followed for in-semester assessment.3.3.3 The student performance in practical is also evaluated out of a maximum of 100 marks. There will be no end-semester examination in practical. The in-semester assessment is based on the work done by the student in the class, class tests, assignments, viva voce etc.3.3.5 Evaluation of Thesis Project / Professional Training in B. Des. Programme3.3.5.1 Thesis Project (Sixth Semester): The evaluation will be done by internal & external examiners out of 200 marks. 3.3.5.2 Professional Training (Eighth Semester): The evaluation for the Professional Training will be done at the end of the eighth semester. The evaluation of the Practical Training will be based on the reports submitted by the student as per the training manual. The End-semester viva-voce will be done by a jury consisting of two examiners – the Training Coordinator and the External Examiner. The evaluation will be out of 400 marks. The grade awarded to the student will be on the basis of the total marks obtained by him/her out of 700.3.3.6 The student performance in the sessional tests, assignments etc. shall be documented and displayed on notice boards within a week of the tests etc.3.3.7 The overall performance of a student in different courses (subjects) is expressed in terms of a Letter Grade (details in 3.7).3.4 Promotion to Higher Semesters — Academic Performance Requirements3.4.1 Promotion of a student from an even semester to the next higher (odd) semester is subject to the minimum academic performance requirements as in 3.5.2.3.4.2 A student earns the credits assigned to a course, when he/she obtains an E or higher grade in that course. To be eligible for admission to the third semester, a student of B. Des. should have earned a minimum of 30 credits at the end of second semester.To be eligible for admission to the fifth semester of the B. Des. , a student should have earned a minimum of 75 credits at the end of the fourth semester.To be eligible for admission to the seventh semester of the B. Des., a student should have earned a minimum of 125 credits at the end of the sixth semester.Credits requirement for the award of degree: B. Des: 2003.4.3A student, who is not eligible for promotion from an even semester to the next higher (odd) semester for reasons of not having earned the prescribed minimum number of credits, will be required to discontinue the academic programme temporarily. He/she can rejoin the academic programme after fulfilling the academic performance requirements as in 3.5.2.3.4.4 A student who discontinues the academic programme for any reason and rejoins the programme at a later date, shall be governed by the rules, regulations, courses of study and syllabi in force at the time of his/her rejoining the programme.3.5Attendance Requirements3.5.1 Under the relative grading system a student must maintain an attendance record of at least 75% individually in all courses. Attendance of studios, lectures, tests, practical and tutorials all count towards the calculation of this attendance percentage.3.5.2 Without the minimum attendance, students become ineligible to write the End semester examination in that course and for subsequent grading.3.5.3A summer semester of six to eight weeks duration during summer vacation may be conducted for the students with attendance shortage due to genuine problems (at the discretion of the Director). Maximum of three courses may be permitted to a student during the summer semester depending on the availability of resources. The number of contact hours per week per course will be eight to ten against three to four per course in the regular semester. Thus the required forty to fifty classes per course will be conducted in six to eight weeks. The evaluation process for summer semester will be same as that of the regular semester. There will be a regular internal evaluation and examination at the end of the summer semester. 3.5.4 The aggregate percentage of attendance of the student during the semester will be entered in his / her grade sheet of that semester.3.6 Evaluation Procedure3.6.1 Continuous AssessmentAll courses undertaken by students are evaluated during the semester using internal system of continuous assessment. The student is evaluated on class tutorial participation, assignment work, lab work, class tests, quizzes and end semester examinations which contribute to the final grade awarded for the course. Students will be notified at the commencement of each course about the evaluation methods being used for the course and weightages given to the different assignments and evaluated activities. 3.6.2 Relative GradingMarks obtained in the in-semester and end-semester examinations are added together and a 10-point grading system will be used to award the student with an overall letter grade for the course.3.6.3 Letter Grading SystemFinal evaluation of course is carried out on a TEN POINT grading system. Performance Grades and Grade Points are as shown below.A student who earns a minimum of 5 grade points (E grade) in a course (subject) is declared to have successfully completed the course and is deemed to be have earned the credits assigned to that course. A course successfully completed cannot be repeated.A student should have appeared for the end-semester examination of the prescribed course of study (mere appearance in the continuous assessment tests is not sufficient) to be eligible for the award of the grade in the course.Students who fail to appear for end-semester examination will be awarded an ‘F’ grade on the grade sheet. In exception to the above clause, those who fail to appear for end semester examinations due to genuine reasons are eligible for ‘I’ grade (incomplete). In all such cases, approval of the Director is necessary.If a student is not eligible to appear in the end-semester examination owing to his/her not fulfilling the minimum attendance requirements in any course, he/she has to fulfill the minimum attendance requirements by re-registering for those courses in which he/she had attendance shortage, at the next available opportunity.3.6.4Grade Point Average (GPA) & Cumulative Grade Point Average (CGPA)Each course grade is converted into a specific number of points associated with the grade as in 3.7.3. These points are weighted with the number of credits assigned to a course. The Grade Point Average (GPA) is the weighted average of Grade Points awarded to a student. The grade point average for each semester will be calculated only for those students who have passed all the courses of that semester. The weighted average of GPA’s of all semesters that the student has completed at any point of time is the cumulative grade point average (CGPA) at that point of time.CGPA up to any semester will be calculated only for those students who have passed all the courses up to that semester.3.6.6 Re-registrationStudents can re-register in one or more courses of the previous semester/s in which they have F grade/s for improving internal assessment by paying the prescribed fees if these courses are offered in the summer term. Students re-registered need to attend regular classes, sessional tests, submit assignments and maintain attendance requirements.3.7 End-Semester Examination and Make-up (Supplementary) Examination3.7.1 The examinations at the end of a particular semester will be conducted only in the courses of the current semester. That is, at the end of the odd semester, examinations in the courses of the odd semester only will be conducted. Similarly at the end of the even semester, examinations will be conducted only in the courses of the even semester. However, for the students of the final semester, the examination of odd semester courses and even semester courses will be conducted at the end of final semester.3.7.2Make-up examinations will be held at the end of the semester break to help the students who fail to secure ‘E’ or better grades in their regular attempt and also for those who missed regular examination due to valid reasons.3.7.3 The cut-off marks for grades in the make-up examination will be the same as those in the regular end-semester examination. However, the maximum grade that will be awarded in subsequent examination to those students who were once awarded ‘F’ grade in any course will be ‘C’. Students who are awarded ‘I’ grade, however, are eligible for whatever grade they achieve in subsequent examination.3.7.4 Minimum of 35% marks in the end semester examination is essential to pass in a course.3.8 Withholding of ResultsResults will be withheld when a student has not paid his/her dues or when there is a case of indiscipline pending against him/her.3.9 Requirements for GraduationA student is deemed to have completed the requirements for graduation if he / she have:Fulfilled all minimum requirements of study and earned the number of credits specified in the prescribed courses of study. Paid all dues to the Institute.Has no case of indiscipline pending against him/her. (THESE RULES AND REGULATIONS ARE SUBJECT TO CHANGE/ AMENDMENTS FROM TIME TO TIME, AS AND WHEN NEED ARISES.)PROGRAMME STRUCTURE OF B. Des (Fashion Design)FOUNDATION COURSE IN (FASHION DESIGN, APPLIED ARTS & JEWELRY DESIGN) FIRST SEMESTER Course CodeCOURSE NAMEL/SPCIn Sem.End Sem. TheoryEnd Sem. PracticalContact HoursFO-1101Communication Skills 12 2 5050 _ 3FO-1102Fundamentals of Design - l 2 4 4 5050 _ 6FO-1103History of Art & Culture - I 3 _ 3 5050 _ 3FO-1104Drawing & Color Study - I 2 44100 _ _ 6FO-1105Material Exploration with 3D Design - l 2 4 4100 _ _ 6FO-1106Photography 1 2 2 50 _ _ 3FO-1107Specialization - IFashion OverviewTypography - IJewelry Illustration 2 2 3 5050 _ 4FO-1108 *Workshops-I Design concepts - I Geometry. 2 2 3 50 _ _ 4TOTAL152025500200 _ 35 700FO-1108*Workshops are Saturday Activity. SECOND SEMESTER Course CodeCOURSE NAMEL/SPCIn Sem.End Sem. TheoryEnd Sem. PracticalContact HoursFO-1201Computer Applications 122 50- - 3FO-1202Fundamental of Design – II 2 44 100* 6FO-1203History of Art & Culture –II 1 22 5050 - 3FO-1204Drawing & Color Study-II 2 44100*- - 6FO-1205Material Exploration with 3D Design– II 2 44100*- - 6FO-1206Art Appreciation 3 24 5050 - 5FO-1207Specialization –IIFashion Illustration Typography -IIJewelry Illustration 2 23 5050 - 4FO-1208*Workshops-II: Skills & Technical Study Tailoring Techniques Photography/ Signs & Symbols/ Posters Metal Soldering - 42 50 - 4TOTAL13242555015037700*FO-1202- Fundamentals of Design II, FO-1204- Drawing & Color Study II & FO-1205- Material Exploration with 3D Design will be assessed in end semester exam by conducting Jury.FO-1208*Workshops-II Skills & Technical Study are Saturday Activity THIRD SEMESTER Course CodeCOURSE NAMEL/SPCIn Sem.End Sem. TheoryEnd Sem. PracticalContact HoursFD-1301Textile Study-I 22350504FD-1302Fundamental of Pattern Making & Draping 24450-506FD-1303Garment Construction Details-I5350-505FD-1304Basics of Women’s Wear- Design2235050-4Design studio -53100--5FD-1305Fashion Elements & Exploration 2235050-4FD-1306Sustainable Fashion 1235050-3FD-1307Fashion Illustration-II 223100--4TOTAL11242550030035800 FOURTH SEMESTERCourse CodeCOURSE NAMEL/SPCIn Sem.End Sem. TheoryEnd Sem. PracticalContact HoursFD-1401Textiles Study- II 22350504FD-1402Advance Pattern Making & Draping14350-505FD-1403Garment Construction Details-II (Indian wear) -4250-504FD-1404Indian Wear-Design314*100-4Design Studio53*100--5FD-1405Form Realization 122*1003FD-1406Traditional Textiles & Crafts 213*100--3FD-1407Fashion Illustration-III223100--4FD-1408Creative Textiles 223100--4TOTAL132326750 15036900*FD-1404- Indian Wear Design & Design Studio FD-1405- Form Realization & FD-1406- Traditional Textiles & Crafts will be assessed in end semester exam by conducting Jury. FIFTH SEMESTER Course CodeCOURSE NAMEL/SPCIn Sem.End Sem. TheoryEnd Sem. PracticalContact HoursFD-1501Fabric & Trim Study 22350504FD-1502Men’s Wear Pattern Making & Grading 244100--6FD-1503Men’s Garment Construction 2441006FD-1504Men’s Wear Project Indian/ Formal/ Casual 32450505FD-1505Merchandising & Production Methods22350504FD-1506Research Methods22350504FD-1507Men’s Wear Fashion Illustration 2441006TOTAL152025500 20035700 SIXTH SEMESTER Course CodeCOURSE NAMEL/SPCIn Sem.End Sem. TheoryEnd Sem. PracticalContact HoursFD-1601Fashion Trend & Forecasting 22350504FD-1602 Kids Wear- Design 22350504Design Studio -53100--5FD-1603Evening Wear- Design 22350504Design Studio -53100--5FD-1604Elective (Any One)Fashion Styling Fashion Critique Fashion Advertising 22350504FD-1605Research & product Development 12250503FD-1606Portfolio Development 1221003FD-1607Illustration (Kids, Women’s) 223100--4TOTAL122425650 25036900 SEVENTH SEMESTER Course CodeCOURSE NAMEL/SPCIn Sem.End Sem. Report & VivaLearning Experience during InternshipEnd Sem. PracticalContact HoursFD-1701Internship --25200100TOTAL00002500 300 EIGHTH SEMESTERCourse CodeCOURSE NAMEL/SPCIn Sem.End Sem. TheoryEnd Sem. PracticalContact HoursFD-1801Portfolio Development 4251006FD-1802Final Design ProjectDesign 681030014Design Studio 681020014TOTAL16182534600Detailed Syllabus1st Year B. Des (Foundation Course) [Fashion Design, Applied Arts & Jewellery Design]First SemesterFO-1101 Communication Skills [1, 2, 2]Course Objectives: To understand the importance of good communication for effective presentations. To understand the role of language especially English in effective communication. To understand the overall impact of communication through use of a vocabulary of words, sound and body language.Course Content: Communication: Concept, Nature, Scope, Principles and Techniques & Methods, Concept and Process of communication, Channel / Media of communication, Effective communication. Public Speaking , Presentation skills, Group discussions & listening skills, Vocabulary: synonyms & antonyms- one word substitution-confused pair of words, Writing, Grammar: sentence structure- transformation of sentences- active, passive, direct- indirect, Expansion of an idea (150-200 words), Essay: Structure of the opening-concluding paragraphs- body of the essay – types of essays, Business correspondence and report writing- formal drafting- letter writing, Comprehension skills, reading skills, Communication , Public speaking.References:Neil. E. Sealay, Chris Curry (2006), Contemporary English Grammar, Structures and Composition, Carribean Islands, Macmillan Carribean Publications.Turton Nigel D. and Heaton John Brian, (1996), Longman Dictionary of Commson Errors. 2nd edition, Noida, sIndia, Pearson Education Limited. McCarthy Michael, (2005), English Idioms in Use, London, Cambridge University Press (TXP).Jones Daniel, (2006), English Pronouncing Dictionary (CD-Rom), India, Cambridge University Press India Pvt. Ltd. Quirk, Charles Randolph and Greenbaum, Sidney, (1973), University Grammar of English, London, Longman Abridged edition edition. Francis Soundararaj, (2011), Basic Communication in English: Soft skills for Listening, Speaking, Reading & Writing, India, Macmillan India Ltd.Gopalaswamy Ramesh, (2013), The ACE of Soft Skills: Attitude, Communication & Etiquette for Success, First Edition, India, Pearson Education.Simon Morton, (2014), The Presentation Lab: Learn the Formula behind Powerful presentations, New Jersey, USA Wiley Publishers. Russ Unger, Brad Nunnally & Dan Willis. (2013), Designing the Conversation: Techniques for Successful Facilitation (Voices that Matter), Berkeley, CA New Riders Publication. FO-1102 Fundamentals of Design I [2, 4, 4]Course Objectives:To develop an understanding and appreciate the basic design concepts, Elements and principles of composition.Course Content: Elements of Design- Dot, Line, Shape, Form, Color, Texture, Light, Depth, Pattern etc.Principles of design –Contrast, Harmony, Rhythm, Balance, Unity, Proportion, Scale etc. Composition- 2D, positive and negative space, Gestalt Theory.Understanding of tangible and non-tangible aspects of design (Physical characteristics, such as materials, position and orientation, etc. emotive qualities and symbolisms). References: Broomer, Gerald F., (1974), Space: A Design Element, Philedelphia PA USA Davis Publications Inc.Porter Albert, W (1974). Elements of Design-Space and Form. Philedelphia, PA USA. Davis Publication INC US.Rowland Kurt. (1964). Looking & seeing Vol. 1-4. London UK. Ginn& company Ltd.Kurty D. Bruce. (1987). Visual imagination – An introduction of Art, New Jersey, Prentice Hall, Hayashi Studio.Guerin, Jules. (2010). Water Color Rendering, Michigan USA. University of Michigan Library PublicationGill Robert W, (1984). Manual of Rendering in pen and ink, Thames and Hudson, London.Wucius Wong, (1977). Principles of three dimensional Design, NY NY USA. Van Nostrand Reinhold Publication.Wucius Wong, (1977). Principles of two dimensional Design, NY.NY. USA. Van Nostrand Reinhold Publication. Sansmarg Maurice de. (1964) Basic Design: the Dynamics of Visual Form, UK, The Herbert press. Albert, Josef (1963) Interaction of Colors, U.S. Yale University Press, FO-1103 History of Art & Culture-I [3, 0, 3]Course Objectives: To introduce the students to ancient history with reference to art & culture. To develop an understanding of the social & cultural revolution that brought significant change in the overall perception of people across the world.Course Content:History of Western Art from Prehistoric times till date. World War I & II and its effects on Western Art & Culture.Industrial Revolution and its effects on Western Art & Culture.Art & Culture of the Indus Valley Civilization. Western Art, Social & Cultural Revolution in the Indian Context. References:Penelope, JE Davies, Walter B Denny, Frima FoxHofrichter, Joseph F Jacobs, Ann S Roberts, David L Simon (2006) Janson’s History of Art: Western Tradition, Pearson Education Publication.Maria Pointon (1997) History of Art ‘ A students handbook’ Routledge PublicationJohnson Julian, Who Needs Classical Music? Cultural Choice and Musical Value (2002) OUP USA.Caroline Van Eck & Edward Winters (2005) Dealing with the visual: Art History Aesthetics & Visual culture , Ashgate Publishing Ltd.Jan Kromm & Susan Benforado Bakewell (2009) A history of visual culture: Western civilization from 18th -21st cent, Oxfordshire, UK Berg Publishers.Kishlansky Mark, Patrick Geary, Patricia O-Brien & R. Binwon (1997) Societies & culture in world history, Oxfordshire UK, Berg Publishers. Danino Michel (2011) Indian Culture & India’s Future D. K Print World Ltd.Sinha Gayatri, (2009) Art and Visual Culture in India 1857-2007, Marg Publishers.Richard Howells, Joaguim Negreiros, (2011), Visual Culture, Polity Press.Adams Laurie Scheider (2010), History of Western Art, Mc Graw Hill Higher Education.FO-1104 Drawing & Color Study-I [2, 4, 4]Course Objectives: To observe, analyze, visualize, understand, communicate and interact with the environment through drawings and color study.Course Content:Sketching with various medium like Pencil, Pen, ink, water color, Poster color, Oil Pastel color, Dry Pastel, Charcoal Pencil, Color Pencils etc.Human Figure Drawing, Jewelry Drawing, Object Drawing and Nature drawings.Color Theory – Color System (RGB, CMYK, and PANTONE), Color Wheel (primary, secondary and tertiary colors), Color Dimensions, and Color Schemes.Two Dimensional Sketching & Drawing.References:Robert W. Gill, (1984) Rendering with pen & ink, Thames & Hudson.Peter Stayner& Terry Rosenberg, (2003) A Foundation Course in Drawing: A Complete Programme of Techniques and Skills, Arcturus Publishing Ltd.M.C. Escher, (1999) Escher, Taschem America Plc.Francis D. K. Ching, Design Drawing, John Wiley & P. Juroszek with Stevensons.inc.Patti Mollica (2013) Color theory: An essential guide to color, Walter Foster Publishing.Tom Fraser & Adam Banks (2004) Designers Color Manual: The complete guide to color theory & application, Chronicle Books. Steven Bleicher (2004) Contemporary Color: Theory & Use (design concepts) Delmar Cengage Learning.Terry Sullivan, (1999), Best of Sketching & Drawing, A Collection of Still Life, Portraits & Landscap , Rockport Publishers. Scott Marilyn (2009), Sketching & Drawing Bible (Artist’s Bible), Edison, NJ, USA, Chartwell Books. FO-1105 Material Exploration with 3D Design– l [2, 4, 4]Course Objectives: To develop the understanding of basic (soft) material’s behavior, characteristic, properties, dimensionality, natural, physical & visual potential (solid, sheet, linear & granular) To develop basic understanding of tools to manipulate materials.Course Content: Exploration of materials i.e. Paper, Clay, Fiber, Yarns, Fabric, Plastic, Thermocol, Soap, Leather etc.Introduction to visual elements in the third dimension with a basic understanding and application of elements and principles of design.References:Newman, Thelmar, (1972), Plastic as an art form, Clinton IA USA, Clinton Book Co. Dutcher John R & Marangoni Aljendro G, (2004), Soft materials: Structure & dynamics, Florida USA, CRC Press. Mornu Nathalie (2011) 500 felt objects: Creative exploration of a remarkable material 1st Edition, Lark Crafts/Books NY USA.Holly Harrison (2007) Mixed media collage- An Exploration of contemporary Artists, methods & materials, UK, Quarry Books.Deam Amy M (1998) Natural Creativity: Exploring & using nature’s raw material to craft simple functional attractive objects, 1st Edition, Lanham, USA, Mc Evans & Co INC. Shanklin Margaret Eberhardt (2011) Use native Craft materials, Biblio Bazaar, Nabu Press.Rowe Ann Pollard, Stevens Rebecca A. T, (1992) Ed Rossbach: 40 years of Exploration & Innovation in Fiber Art, Lark Books, US.O’Brien Suzanne, (2010) Felt, Fiber & Stone: Creative Jewellery Design & Techniques, Pennsylvania, Schiffer Publishers Ltd.Popvic Visnja & Ruck Owy , (2012), The Textile Artists Studio Handbook (traditional & contemporary techniques in fiber, UK, Quarry Books.FO-1106 PHOTOGRAPHY [1, 2, 2]Course Objectives:To develop an understanding of the Camera and explore indoor and outdoor lighting.Course Content:Basic Photography.Indoor & outdoor lighting. Understanding and handling of camera (Functions of a camera).Camera controls- Aperture, Shutter Speed, and Focus.References: Langford Michael, (1997), Basic Photography 6th revised edition edition , US/UK, Focal Press.Prakel David, (2006), Basics Photography: Composition, Worthing UK, AVA Publishing.David Prakel (2008), Basic Photography: working in Black & White: Worthing UK, AVA Publishing.Hansen Michael & Tater Mohit, (2013) Point & Shoot: Digital Photography: Basics for Beginners & Amateurs: Europe, Create Space Independent Publishing Platform.Ducker Robert & Key Teresa (2012) Bob’s Basic Photography: Texas, Bob . Bavister Steven, (2000), Digital Photography- A beginners guide UK, Collin & Brown. Bedford Edward J, (2003), Nature Photography for Beginners, Montana, Kessinger Publishing.FO-1107 Specialization-I [2, 2, 3]1107.01-Fashion Overview Course Objectives:To introduce the students to the fashion terminologies, fashion scenario and fashion industry. Course Contents:Study of Fashion Terminology. Fashion Cycles, Fashion Adoption, and Fashion Movements like (Belle époque, Flapper etc).Fashion Consumers. Fashion Global History.Designer’s USP, Brands for Men, Women and Kids.References:Rouse, Elizabeth, (1999), Understand Fashion, Oxford UK, Blackwell science.Frings, Gini Stephens, (2010), Fashion: From Concept to consumer, New Jersey, Prentice Hall.Mc Call, Londan, (2002), Mc. Calls Fashion in Color, London UK, The Hamlyn Publishing Group Ltd.Tate, Sharon Lee, (2007),Inside Fashion Design, Delhi India, Baba Barkha Nath Printers. Alex Newman & Zakee Shariff , (2009) Fashion A-Z: An Illustrated dictionary ,London UK, Laurence King Publishing. Editors of Phaidon, (2013), The Fashion Book- New & Expanded Edition New Edition edition, London UK, Phaidon Press.Sharpe Enterprises Inc, (2005), The Fashion Bible: The 10 things you need to know about the Fashion industry, Bloomington IN USA, AuthorHouse Publishing company.Dillon Susan (2011), The Fundamentals of Fashion Management, London UK AVA Publishing. Jeunissen Jose & Brand Jan, (2006), Global Fashion Local Tradition on the globalization of Fashion, 2nd Edition, Arnhem - Netherlands, Uitgeverij Terra Lanoo B.V Publishing.Eundeok Kim, Ann Marie Fiore & Hyejeong Kim (2011) FashionTrends: Analysis & Forecasting (understanding Fashion) Oxford, UK, Berg Publishers. 1107.02-Typography –ICourse Objectives: To understand various typographical styles for advanced communication.Course Content:Construction of Letter Forms:Basics of Calligraphy and typography Understanding the structure and proportion of type (Roman serif and san-serif).Typefaces and type variations Readability, Legibility.Writing tools. Exercise with words (communication value of typeface and words). Perspective and Geometry: One point, two point and three point etc. (Technical understanding). Perspective studies from our environment in indoor and outdoor (objects and spaces). Basic solid Geometry.References:McLean Ruari (1980), Typography, London UK, Thames & Hudson Publishing.Crisp Denise G & Temple William F, (2012), Typography (Graphic Design in Context) London UK, Thames & Hudson Publishing.Friedl Friedrich, Nicolaus OH & Stein Bernard (1998), Typography: An Encyclopedia survey of Type Design & Techniques throughout History, NY NY USA, Black Dog & Levnthal Publishers INC.by David Choi, Lynn & Lei Znang (2014), Typography, Chois Gallery Publishing.Lewis John, (2007), Design & Practice, Typography, Huddersfield UK, Jeremy Mills Publishing.Ruder Emil (2008), A Text book of Design Typography, Sulgen, Switzerland, Niggi Verlag Publishing. Strizver Ilene (2013), Type Rules: The Designers Guide to Professional Typography 4th Edition, NY USA, John Wiley & Sons Publishing.Felici Jim, (2002), The Contemporary Manual of Typography, Adobe Publishers.Saltz Ina, (2011), Typography Essentials: 100 design principles for working with Type (design essentials) , UK, Rockport Publishing.Winters Eleano , (2003), Mastering Copperplate Calligraphy (lettering, calligraphy, typography) , NY NY USA, Dover Publishing.Grebenstein Maryanne, (2012), Calligraphy Bible: A complete guide to more than 100 essential projects and techniques, NY NY USA, Watson Guptill Publishing.1107.03-Jewelry Illustration Course Objectives: To develop the sensitivity and knowledge towards Jewellery in terms of visualization scale and proportions through the method of free hand drawing and rendering.Course Contents: Specific Jewellery Sketching (2D) (In terms of proportions and wear ability). Comparative analysis between accessorizations and Jewellery Ornamentation.References:Oliver, Elizabeth. (2000). Jewelry Design,The Artisan's Reference (Jewelry Crafts). Cincinnati, OHIO, USA .North Light Craft Books. Galli Maurice, P. (1997). Creative variations in jewelry design. Atlglen PA USA. Schiffer Publication.Forcadell Maria Josep Berenguer & Asuncion Josep. (2012). Drawing for Jewelers: Master class in professional design. Atlglen PA USA, Schiffer Publication.Wayne, Chidy. (2010) Fashion Illustration: Accessories. Mul Edition. Antwerpen, Belgium. Booqs Publishing.Hart, Harold. (1982). Jewellery: A pictorial Archive of woodcuts and engravings (picture archives). NY NY USA. Dover Publications Mentock, Deryn. (2014). The Jewellery Maker’s Design book: An Alchemy of Objects. UK, USA. Quarry Books.Lebram, Richard. (2008). 2000 Classic designs for Jewellery. NY NY USA. Dover Publication INC. Second SemesterFO-1201 Computer Application [1, 2, 2]Course Objectives:To familiarize students with fundamental applications of the computer for design program.Course Content:Introduction to computer – (BASIC).Introduction to Microsoft office – PowerPoint, Word, Paint Brush, Excel).Introduction to Corel draw, Photoshop, PageMaker.References:Sinha, P.K. (2004). Fundamentals of Computers, Daryagunj, New Delhi. BPB Publication.Murray, Katherine, (2011). Microsoft Office 2010 Plain & Simple. Redmond WA, USA Microsoft Press.Aldrich, Winifred. (1994). CAD in Clothing and Textiles, Cantonsville, MD, USA. Wiley-Blackwell Publication.Schwartz, Steve. (2004). Corel DRAW 11 for Windows: Visual Quick start Guide, San Francisco Bay, USA. Peachpit Press Publication.Schwartz Steve. (2002). Corel DRAW 10 for Windows: Visual Quick start Guide, San Francisco Bay. Peachpit Press Publication.Dayton Linnea & Gillespie Cristen. (2006). The Photoshop Cs/Cs2 Wow, San Francisco Bay. Peachpit Press Publication.FO-1202 Fundamentals of Design II [2, 4, 4]Course Objectives: To develop skills of visualization, communication and over all understanding of attributes of 3d forms.Course Content:An understanding and articulation of aesthetic principles (Visual Order, Movement, Placement, Size, Alignment and Orientation).Understanding of Tangible and Non Tangible aspects of Design (Physical Characteristic, Emotive Quality, Symbolism and Visual Hierarchy, Contextual form, Abstract form, Pictorial and Typographical Elements). To develop the skill of Visualization and Communication of 3D forms.Applications of the skills and processes of different mediums, elements and principles of design. References:Broomer, Gerald F., (1974), Space: A Design Element, Philedelphia PA USA Davis Publications Inc.Porter Albert, W (1974). Elements of Design-Space and Form. Philedelphia, PA USA. Davis Publication INC US.Rowland Kurt. (1964). Looking & seeing Vol. 1-4. London UK. Ginn& company Ltd.Kurty D. Bruce. (1987). Visual imagination – An introduction of Art, New Jersey, Prentice Hall, Hayashi Studio.Guerin, Jules. (2010). Water Colour Rendering, Michigan USA. University of Michigan Library PublicationGill Robert W, (1984). Manual of Rendering in pen and ink, Thames and Hudson, London.Wucius Wong, (1977). Principles of three dimensional Design, NY NY USA. Van Nostrand Reinhold Publication.Wucius Wong, (1977). Principles of two dimensional Designs, NY.NY. USA. Van Nostrand Reinhold Publication. Sansmarg Maurice de. (1964) Basic Design: the Dynamics of Visual Form, UK, The Herbert press. Albert, Josef (1963) Interaction of Colors, U.S. Yale University Press. FO-1203 History of Art & Culture-II [1, 2, 2]Course Objectives:To introduce students to different history of art and culture and interpret the symbols used. Students would be encouraged to use the symbols in the area of their interest.Course Content:History of Oriental Art from Prehistoric times till date. Indian Painting/Artists.Buddhist Art, Islamic Art, Hindu Art & Theory of Rasa Shastra. Eastern Art, Social & Cultural Revolution in the Indian Context. Crafts of India.References:Urevbee, O. Andrew, (1997), Culture and Technology, Paris. UNESCO. Sivaramamurthy, (1997), Art of India, NY NY USA. Marry N Abram.Nath R, (1980), Art of Khajuraho, Delhi India. Abinav Publications.Sivaramamurthy, (1997), Art of India, NY NY USA. Marry N Abrams.Dehejia Harsha V (2010) Akriti to Sanskriti: The journey of Indian forms. Okhla Industrial Area, New Delhi. Niyogi Books.Bosch FDK (1994). The Golden Germs: An Introduction to Indian Symbolism, Reprint Edition New Delhi India. Munshiram Manoharlal Publishers Private ind Chandra Rai (1999). Indian Symbolism: Symbols as sources of our customs & beliefs. Reprint Edition New Delhi India. Munshiram Manoharlal Publishers Private ltd.Aditi Ranjan & MP Ranjan . (2009). Handmade in India- A geographical encyclopedia of Indian Handicrafts, 2 volumes, NY USA Abeville Press. Bhargava Gopal (2007 ). Encyclopedia of Art & Culture in India: 27. New Delhi, India. Isha Books.Mukherjee Radha Kamai . (1984). Culture & Art of SIndia. New Delhi India. Munshiram Manoharlal Publishers Private Ltd.Craven Roy C. Indian Art: A concise history. 2nd Revised Edition edition. London UK. Thames & Hudson Ltd.Zimmer Heinrich & Campbell Joseph (1999). Myths & Symbols in Indian Art & Civilization. New Delhi India, Motilal Banarsidas Publishers. FO-1204 Drawing & Color Study-II [2, 4, 4]Course Objectives: To observe, analyze, visualize, understand, communicate and interact with the environment through advanced level of drawings and color study.Course Content:Free hand Sketching.Contour drawing shading, Rendering, Manmade and Nature drawings, human anatomy.Perspective drawing and Geometry (Isometric drawing, 1 point, 2 point, 3 point, Tessellations, Grid drawings).Color theory.All material rendering (fabric, wood, ceramic, paper, plastics etc.) Composition, space & study of light and shade.References: Hayashi Studio, (1994), Water Colour Rendering, Graphic-Sha Publishing Co., Ltd. B. Edwards, (2004), Color by Betty Edwards: A Course in Mastering the Art of Mixing Colors, Penguin Group Inc, New York. ISBN: 1-58542-199-5. Feisner, E. (2006). Colour Studies, NY NY USA. Fairchild Publications.Gerritsen Frans . (1983). Theory & Practise of color: A color based theory based on the laws of perception. Subsequent Edition Van Nostrand Reinhold Publication. Fraser, Tom & Banks Adam. (2004). Designers color Manual: The complete guide to color theory & application, San Francisco,USA. Chronicle Books. Gonnella, Rose & Friedman Max. (2014) Design Fundamentals: Notes on color theory. 1st Edition. San Francisco, USA. Peach Pit Press. Recker, Keith & Eiseman Leatrice. (2011). Pantone: The twentieth century in color.Mollica, Patti. (2013). Color theory: An essential guide to color from basic principles to practical applications. 1st Edition. San Francisco USA. Walter Foster Publishing.Ungar Joseph. (1986). Rendering Mixed media. NY NY USA. Watson-Guptill Publication INC U.S.Kasprisin Ron (1999) .Design media:Technique for water color, pen & ink, pastel and colored marker. Hudson County New Jersey, USA. John Wiley & Sons.FO-1205 Material Exploration with 3D Design– II [2, 4, 4]Course Objective: To develop the understanding of basic (hard) material’s behavior, characteristic, properties, dimensionality, natural, physical & visual potential (solid, sheet, linear & granular). To develop basic understanding of tools to manipulate materials.Course Content: To explore materials like Boxboard, Wire, Mount board, Copper, Aluminum etc.To introduce basic thematic visual elements of 3d design.To understanding and explore materials in 3 dimension (Volume, proportions, surface, quality, Characteristic of curve, plane, forms and space).Explore Recycled & found material.References: Holly Harrison (2007) Mixed media collage- An Exploration of contemporary Artists, methods & materials, UK, Quarry Books.Rowe Ann Pollard, Stevens Rebecca A. T , (1992) Ed Rossbach: 40 years of Exploration & Innovation in Fiber Art , Lark Books, US.O’Brien Suzanne, (2010) Felt, Fiber & Stone: Creative Jewellery Design & Techniques, Pennsylvania , Schiffer Publishers Ltd.Popvic Visnja & Ruck Owyn , (2012), The Textile Artists Studio Handbook (traditional & contemporary techniques in fiber , UK, Quarry Books.Reeves, David. (2012). A Guide to furniture materials-Introduction to using wood, metal, stones, glass. Read Books Publication.Armstutz, G.C. & Gray PMJ. (2011). Gold & Other Precious Metals: From Ore to Market. Soft cover reprint of the original 1st edition.1993 edition. NYC USA. Springer Publication.MacDonald, Jamie. (2009). Jewellery from Recycled Material (Jewellery Handbooks). London UK. A &C Black Publishers Ltd.Peterson, Linda. (2014). Upcycled Jewelery, Bags, Belts & More. London UK. CICO Books.FO-1206 Art Appreciation [0, 4, 2]Course Objective: To understand art as a visual language or vocabulary, for the communication of ideas, motives,Feelings, action and techniques. Course Content:To study the piece of art from the point of view of formal elements (color, Line, form, principles, balance, proportions and perspective of art).To examine what is art and understanding what is meant by the notion of an artist.Pre Christianity era, Gothic era, Renaissance, Neo Classical, Romanticism, Realism, Impressionism, Cubism, Bauhaus. References: Florence, Ferdinanda (2013) Approaches to Art- A Journey in Art Appreciation. CA.USA. Cognella Publishing.Toku. Masami. (2012). Visual Culture & Literacy: Art Appreciation from Multi Cultural perspectives. IA. USA. Kendell Hunt Publishing Company.Byrne, Alan. (2012). Six lessons in Art Appreciation: Photo essay and volume 20 by Christopher. Create Space Independent Publishing Platform.Alhurwitz & Madeja Stanley S. (1997). Joyous View: Source book for Elementary Art Appreciation. NJ USA. Prentice Hall Publishing.Moore Bernice Starr. (2007). People & Art: A text book in Art Appreciation.Whitefish Montana, USA. Kessinger Publishing.Kissick John.D. (1996). Art- Context & Criticism (Art Appreciation). NY USA. Mc Graw Hill Higher Education Publishing.Elsen Albert. E. (1981). Purpose of Art: An Introduction to the History & Appreciation of Art Holborn London UK. Thomson Learning Publishing.FO-1207 Specialization-II [0, 4, 2]1207.01 Fashion IllustrationCourse Objectives:Introducing students to illustrate female figures with reference to eight-head figure and elongated eight-head figures. Course Contents:Basics of human anatomy, drawing of legs, feet, hands, arm etc. Eight-head human figure, elongated eight-head human figures – 9 head and 10 head.Drawing from magazines, drawing from photographs, drawing from life. Fashion poses, fashion figure in relation to fashion pose, drawing profile and ? figures. References:Abling, Bina, (2007), Fashion Sketchbook, Fairchild Publications, New York. Allen, Anne & Seaman Julian,(2003),Fashion Drawing: The Basic Principles, Batsford Fashion Books, Londan.Barnes, Colin, (1994), Fashion Illustration: The Techniques of Fashion Drawing,MacdonaldOrbis, UK.M.W. Bryant, (2011), Fashion Drawing –Illustration Techniques for Fashion Designers, Laurence King Publisher. 1207.02 Typography-IICourse Objectives: Developing and communicating with innovative typeface and words.Course Content: A] Construction of letter formsBasics of Calligraphy and typography Understanding the structure and proportion of type (Roman serif and san-serif).Typefaces and type variations Readability, Legibility Writing tools Exercise with words (communication value of typeface and words).B] Perspective and Geometry One point, two point and three point etc. (Technical understanding).Perspective studies from our environment in indoor and outdoor (objects and spaces).Basic solid Geometry.References:McLean Ruari (1980), Typography, London UK, Thames & Hudson Publishing.Crisp Denise G & Temple William F , (2012), Typography (Graphic Design in Context) London UK, Thames & Hudson Publishing.Friedl Friedrich , Nicolaus OH & Stein Bernard (1998), Typography: An Encyclopedia survey of Type Design & Techniques throughout History, NY NY USA, Black Dog & Levnthal Publishers INC.David Choi, Lynn & Lei Znang (2014), Typography, Chois Gallery Publishing.Lewis John, (2007), Design & Practice, Typography, Huddersfield UK, Jeremy Mills Publishing.Ruder Emil (2008), A Text book of Design Typography, Sulgen, Switzerland, Niggi Verlag Publishing. Strizver Ilene (2013), Type Rules: The Designers Guide to Professional Typography 4th Edition, NY USA, John Wiley & Sons Publishing.Felici Jim, (2002) ,The Contemporary Manual of Typography ,Adobe Publishers.Saltz Ina, (2011), Typography Essentials: 100 design principles for working with Type (design essentials), UK, Rockport Publishing.Winters Eleanor, (2003), Mastering Copperplate Calligraphy (lettering, calligraphy, typography) , NY NY USA, Dover Publishing.Grebenstein Maryanne, (2012), Calligraphy Bible: A complete guide to more than 100 essential projects and techniques, NY NY USA, Watson Guptill Publishing.1207.03 Jewellery Illustration-IICourse Objectives: To acquaint students with the knowledge of different views of products. To provide comprehensive knowledge about the isometric view of three dimensional objectsCourse Content:Orthographic drawing (basic three dimensional objects).Isometric drawing (basic three dimensional objects). References:Oliver, Elizabeth. (2000). Jewellery Design, The Artisan's Reference (Jewelry Crafts). Cincinnati, OHIO, USA .North Light Craft Books. Galli Maurice, P. (1997). Creative variations in jewelry design. Atlglen PA USA. Schiffer Publication.Forcadell Maria Josep Berenguer & Asuncion Josep. (2012). Drawing for Jewelers: Master class in professional design . Atlglen PA USA, Schiffer Publication.Wayne, Chidy. (2010) Fashion Illustration: Accessories. Mul Edition. Antwerpen, Belgium. Booqs Publishing.Hart, Harold. (1982). Jewellery: A pictorial Archive of woodcuts and engravings (picture archives). NY NY USA. Dover Publications. Mentock, Deryn. (2014). The Jewellery Maker’s Design book: An Alchemy of Objects . UK, USA. Quarry Books.Lebram, Richard. (2008). 2000 Classic designs for jewellery. NY NY USA. Dover Publication INC.Spanton Humphrey, John. (2012). Science & Art Drawing. Memphis Tennesse, USA. Rarebooks Club Publishers.F0-1208 Workshop-II: Skill & Technical Study [0, 4, 2] 1208.01 Tailoring TechniquesCourse Objectives:To develop understanding of operating single needle lock stitch machine.Course Content: Basic sewing, stitching, straight line, curve lines etc.References:Bolsner, Jane. (2010). Sewing machine basics: step by step course for first stitcher London UK. CICO books.Phillips, Charlene. (2011). The Sewing machine classroom: Learn the ins and outs of your machine. WI, USA. Krause publication.Kunkel, Karen .E. (1998). The Complete Sewing Machine Handbook. NY. USA. Sterling Publishers.Giordano, John. (1997). The Sewing Machine Guide. Newtown, CT. USA. Taunton Press.Editors of Readers Digest. (1997). Complete guide to Sewing (revised & updated). NY USA. Readers Digest Publication. 1208.02 Photography/Sign Symbols/PostersPhotography-ICourse Objectives:Understand the use of camera & the process involved in photography. To understand the Lighting methods and techniques.Course Content: Understanding and handling of camera (Functions of a camera).Camera controls: Aperture, Shutter speed, Focus. Indoor and Outdoor lighting. References:Langford Michael. (1989). Advanced Photography. 5th revised edition edition. Oxford UK. Focal Press Publishing.Dahlin Eric. (2013). Advanced Photography. 1st edition. Provo.Utah. USA. Eric Dahlin Publication.Ang Tom. (2003). Advanced Digital Photography. London UK. Mitchell Beazley Publication. Langford Michael & Bilissi Efthimia. (2007). Lanford’s Advanced Photography.7th Edition. Oxford UK. Focal Press.Allen Elizabeth. (2010). The Manual of Photography. 10th Edition. Oxford UK. Focal Press. Signs & Symbols-I Course Objectives:Semiotics and Visual language universal, Cultural, Contextual, Arbitrary Symbols, Semiology designing for contextual purpose.Course Content:Development of visual language for communication (simplification of forms).Identifying appropriate symbols and signs for reaching a target audience.References: Miranda Bruce-Mitford. (1996) Illustrated book of signs and symbols, London UK. D.K Publication (T).J. E. Cirlot (2003) A Dictionary of Symbols (Dover Occult). NY NY USA. Dover Publication.Hans Biedermann. (1993) Dictionary of Symbolism: Cultural Icons and the Meanings Behind Them Manhattan NY USA. Facts on File INC Publication.Shephard Rowena. (2002). 1000 Symbols: What Shapes Mean in Art &Myth. London UK. Thames & Hudson Ltd. Poster Design-ICourse Objectives:Types of posters, indoor, outdoor Designing of Instructional, Social, Persuasive (Advertising related.) Course Content:Establishing content (Imagery and typography for poster design). Identifying and aligning with target audience.References:Charlotte Rivers. (2007). Poster-Art: Innovation in Poster Design. Brighton UK. Rotovision Publication.John Foster. (2012).New Masters of Poster Design, Volume Two: Poster Design for This Century and Beyond: 2 . Pap/pstr edition. London UK. Rockport Publication.1208.03 Metal Soldering:Course Objectives: To provide an in-depth study of metal properties and their classification.Course Content: Basic metal Soldering.References: Thomas Richard & Sepeshy Zoltan . (2012). Metal Smithing for the Artist Craftsman .MT, USA. Literary Licensing Publishing.Kronquist , Emil F. (1972). Metal Work for Craftsmen NY NY USA. Dover Publication.Devenney ,Wing Mun . (2013). The Art of Soldering for Jewelery Makers: Techniques & Project. Hauppauge NY USA Barron Educational Series.Richbourg Kate Fervant. (2012). Simple Soldering: A Begginers Guide to Jewelery Making CO. USA. Interweave Press INC.Nippes Ernest F. (1983). Metals Handbook: Welding, Brazing, Soldering 6 . OH. USA. ASM Intel publishing.Third Semester FD-1301 Textiles study – I [2, 2, 3]Course Objectives:To enable the students to know about textile fibers and their properties.To understand yarns and their structure.Weaving process, types of weaves. Course Content: Textile fibers – its classification, constitute and properties. Yarns – different types of yarns, twists, spinning process, yarn count. Weaving – types of looms, weaving process, types of weaves: plain, twill, satin, basket, etc. Understanding the properties & uses of commercial fabrics. References: Pizzut, J, et al. (2009). J. Pizzuto's Fabric Science, New York, Fairchild Books.Thittichai, K. (2009). Experimental Textiles, London, Batsford Ltd. Hallett, C. and Johnston, A. (2010). Fabric for Fashion: The Swatch Book, London, Laurence King Publishing.Hallett, C. and Johnston, A. (2010). Fabric for Fashion: A Comprehensive Guide to Natural Fibers, London, Laurence King Publishing.Clarke, S. (2011). Textile Design, London, Laurence King Publishing.Corbman, B.P. (1983). Textile- Fiber to Fabric, New York, McGraw Hill International Edition.Gohl E.P.G. and Vilensky, L.D. (2005). Textile Science- An explanation of fibre properties, Delhi, CBS Publishers. Baugh, G. The Fashion Designer’s Textile Directory, London, Thames & Hudson.Humphries, M. (2008). Fabric Reference, New Jersey, Prentice Hall Publisher.Marypaul, Y. (1995). Textiles: A Handbook for designers, New York, W.W. Norton and Co.Chloe, C. (1991). New Textiles: Trends & Traditions, New York, Rizzoli Publishers.FD-1302 Fundamentals of Pattern Making & Draping-1 [2, 4, 4] Course Objectives:To enable students to take body measurement, drafting slopers, dart manipulation, the method of making pattern by draping and flat pattern making. Course Content: Introduction to pattern making tools and terminology, drafting basic bodice block, slopers, dart manipulation, cluster darts , flat pattern making: Basic Bodice, Basic Skirt, Basic Torso, Basic Sleeve.Basic understanding of draping – 3D designing Bodice Block, Princess line, Empire line, Basic Torso, Basic skirt, Skirt variations with gathered, flared, circular, handkerchief, peg, godets etc.Full placket, Neck placket and Neck finishes.Waist finishes- waistband, elasticated waistband, facing, yoke,Closures- Zip, Buttons, Hooks & drawstring. Pockets, Collars, Cuffs.Specification Sheets.References:Armstrong, H.J. (2009), Pattern Making for Fashion Design, New York, Prentice Hall. Aldrich, W. (2008), Metric Pattern Cutting for Women’s Wear, Oxford, Willey Blackwell Publication. Di Marco, S.M. (2010). Draping Basics, New York, Fairchild Books. Nakamichi, T. (2010). Pattern Magic, London, Lawrence King Publishing.Nakamichi, T. (2011). Pattern Magic- II, London, Lawrence King Publishing.Nakamichi, T. (2010). Pattern Magic- Stretch Fabrics, London, Lawrence King Publishing.FD-1303 Garment Construction Details – I [0, 5, 3]Course Objectives:To familiarize students with SNLS (single needle lock stitch) machine and its operation, to give the student an idea of relationship between pattern making and sewing.Course Content:Sewing machine parts and operation, stitch practice, types of stitches. Seams and Seam Finishes, Edge Finishes, Hem Finishes.Circular lines and Angular lines in corner finishes.Plackets, Pockets, Cuffs, Collar.Waist Finishes, Darts, Pleats, Tucks and Gathers. Fasteners. Assembling a skirt and bodice with sleeve attachment.References:Amaden-Crawford, C. (2010), A Guide to Fashion Sewing, New York, Fairchild Books.Shaeffer, C. (2008), Claire Shaeffer's Fabric Sewing Guide, Wisconsin, Krause Publications.Shaeffer, C. (2001), High Fashion Sewing Secrets from the World's Best Designers: A Step-By-Step Guide to Sewing Stylish Seams, Buttonholes, Pockets, Collars, Hems, And More, New York, Rodale Books Publisher.Armstrong, H.J. (2009), Pattern Making for Fashion Design, New York, Prentice Hall. Aldrich, W. (2008), Metric Pattern Cutting for Women’s Wear, Oxford, Willey Blackwell Publication.Di Marco, S.M. (2010). Draping Basics, New York, Fairchild Books. Nakamichi, T. (2010). Pattern Magic, London, Lawrence King Publishing.Nakamichi, T. (2011). Pattern Magic- II, London, Lawrence King Publishing.Nakamichi, T. (2010). Pattern Magic- Stretch Fabrics, London, Lawrence King Publishing.FD-1304 Basics of Women’s Wear Design [2, 2, 3]Design Studio [0, 5, 3]Course Objectives:To enable students to take inspiration do research on trend forecast of silhouettes fabrics, color and develop a concept for women’s wear with appropriate research. To use pattern making draping and sewing techniques to realize the design that has been conceptualized. Developing design options and final design development & presentation, specification Sheets for required designs. Course Content:Design: Develop a theme that is well researched for its content, trend and forecast study of fabric, color and silhouette with client understanding for basic women’s wear (Range of five ensembles). Conversion of a visual to a 3 Dimensional form.Design Studio: Pattern making, Draping technique used for the desired one ensemble from the range of five, appropriate sewing techniques used for realizing the ensemble.References:Ellinwood, J.G. (2010), Fashion by Design, New York, Fairchild Books.Aspelund. K. (2010), The Design Process, New York, Fairchild Books.Cassin, S.J. (1986). Illustrated Encyclopedia of Costume and Fashion, London, Cassell Publishers.Smith, P., et al. (2014). You can find inspiration in everything, if you can’t, look again, U.K., Violette Editions.Mc Kelvey, K. (2008). Fashion Source Book, Oxford, Wiley-Blackwell Publication.Gold, A.L.One World of Fashion,New York, Fairchild Books.FD-1305 Fashion Elements & Exploration [2, 2, 3]Course Objectives: To develop the students understanding of elements and principles of fashion and their use in a given silhouette of women’s wear and exploring innovative approach to enhance the look.Course Content:Elements of fashion design, their interpretation in women’s wear.Principles of fashion design and explorations of the same using different mediums and expressions. References:Ellinwood, J.G. (2010). Fashion by Design, New York, Fairchild Books.Aspelund, K. (2010). The Design Process, New York, Fairchild Books.Sumathi, G.J. (2002). Elements of Fashion and Apparel Design, New Delhi, New Age International Publications. Piras, C. and Roetzel, B. (2002). Ladies: A Guide to fashion and Style, Germany, DuMont.Mc Kelvey, K. and Munslow, J. (2012). Fashion Design: Process, Innovation and Practice, New York, Wiley.Ireland, P.J. (2003). Introduction to Fashion Design, Oxford, Batsford.Castelino, M. (1994). Fashion Kaleidoscope, New Delhi, Rupa and Co.FD-1306 Sustainable Fashion [1, 2, 3]Course Objectives: Enable the students to understand importance of sustainability in terms of Social, Economic, and Environment issues, developing sensitivity & sensibility and applying the same into their design approach.Course Content:Sustainable fashion: its meaning, understanding of its importance in fashion.Examples & case study of such users’ method and means to develop such approach.Exploring different innovative ways to achieve the same and inculcating such approaches into the practical lifestyle products.Report making. References:Black, S. (2013). Sustainable Fashion Handbook, London, Thames and Hudson.Brown, S. (2013). Re-Fashioned- Cutting Edge Clothing from Upcycled Materials, London, Lawrence King Publishing.Fletcher, K. (2012). Fashion and Sustainability- Design for Change, London, Lawrence King Publishing.Yamase, K. (2012). Cut up Couture- Edgy Upcycled Garments to Sew, U.S.A. Interweave.Fletcher, K. (2008). Sustainable Fashion and Textiles- A Design Journey, London, Lawrence King Publishing.Phillips, J. (2013). Sustainable Luxe- A Guide to Feel Good Fashion, London, Create Space Publishing.FD-1307 Fashion Illustration [2, 2, 3]Course Objectives:This subject is an extension of fashion illustration-I, where the students would be encouraged to sketch fashion figures, render the fabrics and work on fashion figures with reference to design aesthetics.Course Content:Drawing different poses and rendering the fabrics.Background for the figures.Drawing flat sketches. Sketching with various mediums with attention to drape and garment behavior.Developing range of women’s wear for a concept.References:Abling, B. (2007), Fashion Sketchbook, New York, Fairchild Books. Allen, A. and Seaman, J. (1993). Fashion Drawing: Basic Principles, Oxford, Batsford.Ireland, P.J. (1993). Fashion Design Illustration: Womens wear, Oxford, Batsford.Ireland, P.J. (1993). Figure Templates for Fashion Illustration, Oxford, Batsford.Mc Kelvey, K. and Munslow, J. (2007). Illustrating Fashion, New Delhi, John Wiley & Sons.Drudi, E. and Paci, T. (2010). Figure Drawing for Fashion Design, Amsterdam, Pepin Press.Borrelli, L. (2000). Fashion Illustration Now, London, Thames & Hudson.Fourth Semester FD-1401 Textiles Study-II [2, 2, 3]Course Objectives:This subject is an extension of textile study-I. Understanding of fabric finishes. Different dyeing and printing methods. Importance of fabric in fashion.Course Content:Different finishing and decorative applications done on fabrics.Different types of dyeing and printing.Characteristics and ultimate use and care factors of different fabrics in fashion.References:Pizzut, J. et al. (2009). J. Pizzuto's Fabric Science, New York, Fairchild Books.Thittichai, K. (2009). Experimental Textiles, Oxford, Batsford.Udale, J. (2008). Basics Fashion Design 02: Textiles and Fashion, New York, AVA Publishing.Bradrock, E. and Mahney, M. (1999). Techno Textiles: Revolutionary Fabrics for Fashion and Design, London, Thames & Hudson.Humphries, M. (2008). Fabric Reference, New Jersey, Prentice Hall.Marypaul, Y. (1995). Textiles: A handbook for Designers, New York, W.W. Norton & Company.Prakash, K. (2005). Impressions: A Classic Collection of Indian Textile Designs, New Delhi, Patrika Books.Fritz, A. and Cant, J. (1998). Consumer Textiles, Oxford, Oxford University Press.Gillow, J. and Sentence, B. (1999). World Textiles, New York, Bulfinch Press.Martin, C. (2005). Surface Texture Bible, Stewart, New York, Tabori and Chang.Hiney, M.J. (2000). Fabulous Fabrics: Elegant and Innovative Techniques to Embellish Textiles, New York, Sterling Publishing.Black, S. (2006). Fashioning Fabric: Contemporary Fabrics in Fashion, London, Black Dog Publishing.Murphy, R. et al. (1989). Tie Dyed Textiles of India- Tradition and Trade, New York, Rizzoli Publishers.FD-1402 Advance Pattern Making & Draping [1, 4, 3]Course Objectives:This subject is an extension of Fundamental of Pattern Making & Draping-I, adaptation of basic lower and torso block. Manipulations to achieve the desired design by using flat pattern and draping in Indian Wear (women’s). Course Content:Drafting patterns for individual measurements.Pattern making of Indian women’s wear- Salwar Kameez,Chudidar Kalidar Kurta, Patiyala, Zuarff, Kurti, Kanchali, (poshak), Dhoti pants,& etc. References:Zarapkar, K.R. (2005). Zarapkar System of Cutting, India, Navneet Publications. Armstrong, H.J. (2009). Pattern Making for Fashion Design, New York, Prentice Hall.Aldrich, W. (2008). Metric Pattern Cutting for Womenswear, Oxford, Wiley Blackwell Publication.Armstrong, H.J. (2009), Pattern Making for Fashion Design, New York, Prentice Hall. Aldrich, W. (2008), Metric Pattern Cutting for Women’s Wear, Oxford, Willey Blackwell Publication. Di Marco, S.M. (2010). Draping Basics, New York, Fairchild Books. Nakamichi, T. (2010). Pattern Magic, London, Lawrence King Publishing.Nakamichi, T. (2011). Pattern Magic- II, London, Lawrence King Publishing.Nakamichi, T. (2010). Pattern Magic- Stretch Fabrics, London, Lawrence King Publishing.FD-1403 Garment Construction Details-II [0, 4, 2]Course Objectives:This module is extension of Garment Construction Details-I. Inputs on the details of garment construction in Indian wear (women’s) will be given to students.Course Content: Work on details of Indian Wear detailings like Magzi, Kalis, Potli Buttons. Construction details of Indian wear, Salwar Kameez, Chudidar with Kalidar kurta, Patiyala, Zwarf, dhoti Pants.Poshak workshop, Traditional Finishes workshop etc. References: Amaden-Crawford, C. (2010), A Guide to Fashion Sewing, New York, Fairchild Books. Shaeffer, C. (2001), High Fashion Sewing Secrets from the World's Best Designers: A Step-By-Step Guide to Sewing Stylish Seams, Buttonholes, Pockets, Collars, Hems, And More, New York, Rodale Books.wgsn-VogueElleFD-1404 Indian Wear Design [3, 1, 4]Design Studio [0, 5, 3]Course Objectives:To apply understanding of fashion Design Process along with Fashion Forecasting and trend study. To provide advance knowledge in pattern cutting for Indian wear. To enable the students to address a market oriented design brief with Indian aesthetics and sustainability. Realization of one chosen ensemble from a range of five.Course Content:Design:Research on Indian market, trends, Forecasts, brands for specific Indian wear ensembles.Specific market research.Research on Indian costumes details, trims and finishes, client research.Fabric sourcing and surface development for Indian wear.Design Studio: Pattern making for Indian Wear. Appropriate Indian wear details, trims, fasteners and construction technique.Design Realization.References:Bhandari, V. (2005). Costume, Textile and Jewellery of India: Traditions in Rajasthan, California, Mercury Books.Singh, M., et al. (1995). Saris of India: Bihar and West Bengal, New Delhi, Wiley Eastern.Kumar, R. (1999). Costume and Textile of Royal India, U.K., Christie’s.Bhatnagar, P. (2005). Decorative Design History in Indian Textile and Costume, New Delhi, Abhishek Publications.Prakash, K. (2004). Indian Fashion Designs, New Delhi, English Edition Publishers.Amaden-Crawford, C. (2010). A Guide to Fashion Sewing, New York, Fairchild Books.Shaeffer, C. (2001). High Fashion Sewing Secrets from the World's Best Designers: A Step-By-Step Guide to Sewing Stylish Seams, Buttonholes, Pockets, Collars, Hems, And More, New York, Rodale Books.Zarapkar, K.R. (2005). Zarapkar System of Cutting, India, Navneet Publications.Armstrong, H.J. (2009). Pattern Making for Fashion Design, New York, Prentice Hall.Aldrich, W. (2008). Metric Pattern Cutting for Womenswear, Oxford, Wiley Blackwell Publication.FD-1405 Form Realization [1, 2, 2]Course Objectives:To understand the fashion design process while developing relevant designs aesthetics. Observe analyze and apply the basic elements, principle and skills of visualization, presentation and actualization to body types, form and movements in context to women’s wear. Course Content:Body types and form, Form aesthetics in fashion.Form exploration, experimentation and manipulation.Creative Draping technique on dress form.Creative pattern making.References:Armstrong, H. J. (2009), Pattern Making for Fashion Design, New York, Prentice Hall.Zarapkar, K.R. (2005), Zarapkar System of Cutting, India, Navneet Publications.Aldrich, W. (2008), Metric Pattern Cutting for Women’s Wear, Oxford, Willey Blackwell Publication. Drudi, E. (2003). Wrap and Drape Fabric: History, Design and Drawing, Amsterdam, Pepin Press.Nakamichi, T. (2010). Pattern Magic, London, Lawrence King Publishers.Nakamichi, T. (2011). Pattern Magic- II, London, Lawrence King Publishers.CollezioniVogueElleFD-1406 Traditional Textiles & Crafts [2, 1, 3]Course Objectives:To study and research traditional textiles, arts and crafts of India and be able to record and document the process of craft for colors, motifs, traditional techniques and tools. To gain Hands on experience of learning traditional Textile techniques from master crafts persons. To sensitize the students to value traditional textiles & crafts of India.Course Content:Brief explanation of the Traditional textiles and crafts of different states of India.History, origin, raw materials & processes. Dyeing and printing techniques with natural dyes-Ajrakh, Dhabu.Traditional Resist printing techniques- tie and dye Ikat, Patola, and Pochampalli.Traditional Painting techniques-Warli, Madubani and Kalamkari paintings.Weaving techniques-Banaras Brocades, Kanchipuram, Chanderi, Jamavar and Kullu Shawls, Pathni, Mekla Chaddar. Traditional embroideries of India- Phulkari, Chikankari, Kasuti, Gujarati, Kantha etc.References: Bhandari, V. (2005). Costume, Textile and Jewellery of India: Traditions of Rajasthan, California, Mercury Books.Singh, M., et al. (1995). Saris of India: Bihar and West Bengal, New Delhi, Wiley Eastern.Gillow, J. and Barnard, N. (1991). Traditional Indian Textiles, London, Thames and Hudson.Desai, C. (1988). Ikat Textiles of India, California, Chronicle Books.Bhatnagar, P. (2008). Decorative Design History in Indian Textiles and Costumes, New Delhi, Abhishek Publications.Askari, N. and Crill, R. (1997). Colors of the Indus: Costume and Textiles of Pakistan, London, Merrell Publishers Ltd.Ghosh, G.K. (2011). Indian Textiles: Past and Present, New Delhi, Abhishek Publications.Ellena, B. (2010). Indian Sutra: On the Magic Trail of Textiles, Gurgaon, Shubhi Publications.Bhatnagar, P. (2005). Decorative Design History in Indian Textiles and Costume, New Delhi, Abhishek Publications.Mathur, A. (2006). Woven Wonder: the Tradition of Indian Textiles, New Delhi, B.P.I. India.Naik, S.D. (2010). Traditional Embroideries of India, New Delhi, Ashish Publishing House.zdino/bookreviews/creative.wgsn-premiervision.fracademia.edu/840618.An_overview_of_Traditional_Textiles_of_Indiacreative/creative_textiles.htmacademia.edu/205115/ Traditional _Textile_of_India_Kashmir_Textilesacademia.edu/259095/Traditional_Indian_Costumes_and_Textilesnopr.niscair.res.in/bitstream/123456789/10310.pdfFD-1407 Fashion Illustration-III [2, 2, 3]Course Objectives:To further develop illustration, graphic and visualization skills. To render with different mediums and techniques. Illustrate the surface techniques and weaving patterns.Course Content:Individual style in illustration for different looks.Fabric rendering & drape of various fabrics on body - stiff, soft, bulky, smooth.Wet media rendering and expressions. Exploration and interpretation of various mediums. Informative presentation of an Illustration sheet. Workshop on Miniature Painting and Indian wear details.References:Drudi, E. (2003). Wrap and Drape Fashion: History, Design and Drawing, Amsterdam, Pepin Press.Abling, B. (2007). Fashion Sketchbook, New York, Fairchild Books. Allen, A. and Seaman, J. (1993). Fashion Drawing: Basic Principles, Oxford, Batsford.Ireland, P.J. (1993). Fashion Design Illustration: Womenswear, Oxford, Batsford.Ireland, P.J. (1993). Figure Templates for Fashion Illustration, Oxford, Batsford.Mc Kelvey, K. and Munslow, J. (2007). Illustrating Fashion, New Delhi, John Wiley & Sons.Drudi, E. and Paci, T. (2010). Figure Drawing for Fashion Design, Amsterdam, Pepin Press.Borrelli, L. (2000). Fashion Illustration Now, London, Thames & Hudson.FD-1408 Creative Textile [2, 2, 3]Course Objectives:Develop and enhance your approach towards holistic design process. Initiate further development in chosen area of surface ornamentation and needle work. Explore innovative techniques and finishes applied on fabrics for an end use. Understand and appreciate the use of combination of different techniques to construct aesthetically appealing compositionsCourse Content:The following is indicative of content of the module:Surface ornamentation.Styles and Methods of ornamentation. Technology, material and techniques of ornamentation (Resist style of Dyeing, embroidery).Idea generation, visual and material exploration.Experimentation through workshop methods. Design Development and application of color.Repeats, Patterns and compositions in design.Texturing of fabric with color application and stitching techniques.Visual and verbal presentation of design inspiration, process and outcome.References:(1986). Art to Wear, New York, Abeville Press.Shailaja D., et al. (2006). Surface designing of textiles fabrics, New Delhi, New Age International (P) Ltd. Publishers.(2000). Singer “Color and design on fabric”, Minnetonka, Creative Publication International, Inc.Thomas, M. (1998). Dictionary of embroidery stitches, U.K., Hodder and Stroughton.Sabel, S. (1996). New craft machine embroidery, London, Lorenz Books.Naik, S.D. (1996). Traditional embroideries of India, New Delhi, APH.Rosemary, C. (1999). Indian embroidery, New Delhi, Prakash Books.Shrikant, U. (2000). Ethnic embroidery of India, Mumbai, Honestry.Carter,C. (1996). Machine embroidery, New York, Clarksons.Rayment, J. (2004). Creative tucks and textures for quilts and embroidery, London, Batsford.Hall, D. (1991). Tie dyed textiles of India: tradition and trade, London, Victoria and Albert Museum. Shaw, C., et al. (1996). Quilting patchwork and applique project book, Crabtree. Tomnay, S. (2007). Quilting,patchwork & applique, London, Thames and Hudson. Ganderton, L. and Wood, D. (1991). Creative stitch craft, Australia, Murdoch Books.Fifth Semester FD-1501 Fabric & Trim Study [2, 2, 3]Course Objectives:To make the student understand the hand feel, structure, properties and usage of different fabrics in Fashion. Different types of trims available in the market survey and sourcing the right trim for right fabrics.Course Content:Understanding fabrics from their structure, Fluidity, Ornamentation, Expansion, Compression.Swatch collection with necessary information like name, weave, classification, properties etc.Selection of trims, fasteners as per weight and type of fabric.Samples done with basic natural and manmade fibers.Overall understanding of use of fabrics in Fashion-combinations, linings, stiffening fabrics etc.References:Humphries, M. (2008). Fabric Reference, New Jersey, Prentice Hall Publisher.Marypaul, Y. (1995). Textiles: A Handbook for designers, New York, W.W. Norton and Co.Mc Carty, C. and Mc Quaid, M. (2002). Structure and Surface, New York, The Museum of Modern Art.Pizzuto, J.J., et al. (2009). Fabric Science, New York, Fairchild Books.Martin, C. and Main, A. (2005). Surface Texture Book, London, Thames and Hudson.Hall, A.J. (1975). Standard Handbook of Textiles, U.K., Butterworth- Heinemann Ltd.Moss, S. (2001). Costume and Chemistry- A Comprehensive Guide to Material and Apparel, Oxford, Batsford.FD-1502 Men’s Wear Pattern Making & Grading [2, 4, 4]Course Objectives:The course is designed to inculcate the skills of making patterns for the men’s wear which is expected to grow in Indian market in terms of exports and domestic market. Students would be encouraged to make their unique sketches and make the patterns for the same.To familiarize the students with the concept of grading for fashion. Course Content:Making patterns of Basic shirt. Collars- (shirt collar, stand collar, roll collar, notch collar), cuffs, plackets.Basic trouser and Jeans block. Basic Jacket with Lining, basic waistcoat etc. Standardization of measurements: fundamentals of grading and grading terminology.References:Aldrich, W. (2010), Metric Pattern Cutting for Men’s Wear, Oxford, Willey Blackwell Publishers.Kershaw, G. (2013). Pattern Making for Mens Wear, London, Lawrence king Publishing.Kim, I. and Kim, M. (2014). Pattern Making for Mens Wear: Classic to Contemporary, New York, Fairchild Books.Coffin, D. (1998). Shirt Making: Developing Skills for Fine Sewing, Newton, Taunton Press.Coffin, D. (1998). Making Trousers for Men and Women: A Multimedia Sewing Workshop, Newton, Taunton Press.Doyle, M. and Rodgers, J. (2013). Essentials of Pattern Grading, Canada, Hanover Phist.Price, J. (1996). Grading Techniques for Fashion Design, New York, Fairchild Books.Moore, C. L. (2008). Concepts of Pattern Grading, New York, Fairchild Books.FD-1503 Men’s Garment Construction [2, 4, 4]Course Objectives:The course is designed to inculcate the skills of Men’s Wear garment construction techniques, with focus on fit and details. Course Content:Developments of Shirt Block and Trouser Block with zip fly.Attachment of Collars, cuffs and plackets.Jacket block with lining attachment.Specification Sheet and Costing.Fabric selection and stitching.References: Shaeffer, C. (2001). High Fashion Sewing Secrets from the World's Best Designers: A Step-By-Step Guide to Sewing Stylish Seams, Buttonholes, Pockets, Collars, Hems, And More, New York, Rodale Books.Kim, I. and Uh. M. (2008). Apparel Making in Fashion Design, Oxford, Berg Publications.Cabrera, R. (2009). Classic Tailoring Techniques: A Construction Guide for Men’s Wear, New York, Fairchild Books.Aldrich, W. (2010), Metric Pattern Cutting for Men’s Wear, Oxford, Willey Blackwell Publishers.Kershaw, G. (2013). Pattern Making for Mens Wear, London, Lawrence king Publishing.Kim, I. and Kim, M. (2014). Pattern Making for Mens Wear: Classic to Contemporary, New York, Fairchild Books.Coffin, D. (1998). Shirt Making: Developing Skills for Fine Sewing, Newton, Taunton Press.Coffin, D. (1998). Making Trousers for Men and Women: A Multimedia Sewing Workshop, Newton, Taunton Press.FD-1504 Men’s Wear Project (Formal/ Casual) [3, 2, 4]Course Objectives:Understand the functional areas of the garments from design, illustration and technical perspective. Initiate, explore and apply the design process to develop functional aspects of garments and actualize the designs through pattern making and construction skills in menswear garments with emphasis on exploring innovative functions and detailing. Understand the application and finishes of material, trims and accessories. Course Content:Introduction to importance of functional aspect in designs.Fashion Design Process and exploration of design details.Material, trims and accessory explorations.Developing a Menswear Range.Applying different types of trims, interfacing and buttons/fastenings for creating innovative look with experimental details.Specification sheets for required designs.References:Peacock, J. (1996). Men’s Fashion- The Complete Sourcebook, London, Thames and Hudson.Roetzel, B. (2008). Gentlemen- A Timeless Fashion, Germany, Langenscheidt Pub. Inc.Piras, C. and Roetzel, B. (2002). Three sixty five Style and Fashion Tips for Men, Germany, DuMont Publishers.Blackman, C. (2012). Hundred Years of Mens wear, London, Lawrence King Publishers.Shaeffer, C. (2001). High Fashion Sewing Secrets from the World's Best Designers: A Step-By-Step Guide to Sewing Stylish Seams, Buttonholes, Pockets, Collars, Hems, And More, New York, Rodale Books.Kim, I. and Uh. M. (2008). Apparel Making in Fashion Design, Oxford, Berg Publications.Cabrera, R. (2009). Classic Tailoring Techniques: A Construction Guide for Men’s Wear, New York, Fairchild Books.Aldrich, W. (2010), Metric Pattern Cutting for Men’s Wear, Oxford, Willey Blackwell Publishers.Collezioni Uomo.GQwgsn-FD-1505 Merchandising & Production Methods [2, 2, 3]Course Objectives:To develop knowledge of various production methods and evaluate various clothing manufacturing systems and equipment in the industry.Course Content:Introduction to garment manufacturing industry.Study of Production Process and Planning in cutting, sewing & finishing room.Management information systems & documentation procedures.Time & Motion study and its relevance: - an overview.Quality Department functions of a garment industry.Inspection systems from raw material to dispatch.References: Gioello, D., et al. (1979). Fashion Production Terms, New York, Fairchild Books.Waddell, G. (2004). How Fashion Works: Couture, Ready to wear and Mass Production, New York, John Wiley & Sons.Liu, C. (2010). Garment Merchandising, Hong Kong, Monsoon Hong Kong Ltd.Rosenau, J. A. and Wilson, D. L. (2014). Apparel Merchandising: The Line Starts Here, New York, Fairchild Books.Myers- Mc Devitt P.J. (2010) Apparel Production Management and the Technical Package, New York, Fairchild Books.Kunz, G.I. (2004). Apparel Manufacturing: Sewn Product Analysis, New Jersey, Prentice Hall.Kadolph, S. J. (2007). Quality Assurance for Textiles and Apparel, New York, Fairchild Books.FD-1506 Research Methods [2, 2, 3]Course Objectives:To make students understands the overall research process.The purpose of research is information generation.? The study should seek to contextualize its findings within the larger body of research. The results of the study should have implications for policy and project implementation.Course Content:Harvard referencing and Literature review.How to Research? Different approaches to research: Survey, Action Research, Experiments etc.Introduction to Research methodology. Collection of Data: Primary and Secondary.Analyzing and synthesizing the collected information.Visual referencing and documenting.Documentation and presentation skills in soft and hard copy.References:Blaxter,?L. et al. (2006). How to Research, U.K., McGraw-Hill International.Kothari, C.R. (1985). Research Methodology - Methods & Techniques, New Delhi, New Age International.Kothari, S.R. (2012). Research Methodology Methods and Techniques, New Delhi, New Age International.Kumar, R. (2010). Research Methodology: A Step by Step Guide for Beginners, New Delhi, Sage Publications.Locke, L.F. (2009). Reading and Understanding Research, New Delhi, Sage Publications.Creswell J. W. (2013). Research Design: Qualitative, Quantitative and Mixed Method Approaches, New Delhi, Sage Publications.Trochim, W. (2006). The Research Methods Knowledge Base, Ohio, The Atomic Dog Publishers.FD-1507 Men’s Wear Fashion Illustration [2, 2, 4]Course Objectives:The course is a study of illustration of different garments for men. To sketch fashion figures using Photoshop and Adobe Illustrator. The students would be able to translate their designs using the software. Communicate visually and verbally the design development process, illustration and technical process.Course Content:Illustration of men’s garments, different poses, importance of the background.Men’s features- Face, hair, hands and feet. Illustrating men’s figures in different mediums.Live model drawing.Vector illustration; tools in Photoshop and Illustrator; creating silhouettes; creating croquis; color and color adjustments; image editing; collage development; fabric rendering etc.Flat sketches and Garment Details.References:Wayne, C. (2009). Essential Fashion Illustration – Men, U.K., Rockport Publishers.Mitchell, J. (1990). Men’s Fashion Illustration from the Turn of the Century, New York, Dover Publications.Drudi, E. (2011), Figure Drawing for Men’s Fashion, Amsterdam, Pepin Press.Allen, A. and Seaman, J. (2003). Fashion Illustration: Basic Techniques, Oxford, Batsford.Ireland, P.J. (1996). Fashion Design Illustration: Men, Oxford, Batsford.Ireland, P.J. (1998). Fashion Design: Drawing and Presentation, Oxford, Batsford.Riegelman, N. (2006). Colors for Modern Fashion: Drawing with Colored Markers, New Jersey, Prentice Hall.Szkutnicka, B. (2010). Flats: Technical Drawing for Fashion, London, Lawrence King Publishing.Sixth Semester FD-1601 Fashion Trend & Forecasting [2, 2, 3]Course Objectives:The course would aim at providing information on fashion forecasting process which would include consumer research along with the forecasting of colours, textiles, silhouettes etc. Course Content:Process of fashion forecasting; sources of fashion forecasting. Consumer research. Information analysis and translation; direction of fashion change; demographics and fashion forecasting.Cultural indicators: color forecast, textile forecast, silhouette forecast including WSGN software. References:Brannon, E.L. (2010). Fashion Forecasting: Research, Analysis, and Presentation, New York, Fairchild Books.Kathryn, M. (2004). Fashion Forecasting, Oxford, Wiley-Blackwell Publications.Martin, R. (2010). Trend Forecaster’s Handbook, London, Lawrence King Publishing.Diane, T. and Cassidy, T. (2005). Color Forecasting, Oxford, Blackwell Publishing.Kim, E., et al. (2011). Fashion Trends: Analysis and Forecasting, New York, Bloomsbury Academic.Scully, K. (2012). Color Forecasting for Fashion, London, Lawrence King Publishing.Rousso,C.(2012). Fashion Forward: A Guide to Fashion Forecasting, New York, Fairchild Books.wgsn- FD-1602 Kids Wear Design [2, 2, 3]Design Studio [0, 5, 3]Course Objectives:To develop an understanding of the fashion design process along with relevant Kids wear segments. To provide advanced knowledge in pattern cutting for kids wear by developing construction and pattern making skills and taking into account properties of various fabric types. To understand the marketing plan and strategies of existing brands in the growing domestic and foreign markets.Course Content:Design:Development of a design brief for a market.Design development of Kids wear.Presentation in the research document of the Forecast, Brand and market study.Design Studio:Basic blocks for children- Infants, Toddlers, Children.Handling knits (T-shirt and cycling shorts).Basic T Shirt, Basic Trouser, Variations.References:Winifred, A. (1998). Metric Pattern Cutting for Children’s Wear, Oxford, Blackwell Science.Richardson, K. (2008). Designing and Pattern making for Stretch Fabrics, New York, Fairchild Books.Nakamichi, T. (2010). Pattern Making- Stretch Fabrics, London, Lawrence King Publishers.Tanous, H.N. (2011). Making Clothes for Your Little Girl, Auckland, Reed Books.Rose, C. (1989). Children’s Clothes Since 1750, New York, Drama Books.Marshall, N. (2008). Dictionary of Children’s Clothes, London, V & A Publishing.kidology.inchildrenFD-1603 Evening WearDesign [2, 2, 3]Design Studio [0, 5, 3]Course Objectives:To apply understanding of fashion design process along with Fashion forecasting and trend study. To provide advanced knowledge in pattern cutting for Evening Wear. To further extend pattern development techniques relating to the constraints and properties of various fabric types and train for independent research and study. To enable the students to address a market oriented design brief.Course Content:Design:Designing for a Market.Fashion Trend and Forecasting.Fashion Resources. Specific market research. Client research.Visual research.Design Studio:Contouring principles- Cup torso and Princess Torso.Support Structures and Under Structures.Corsetry and Boning.Advanced draping – cowls, rouching, fluting.Bias draping including slip dress.Explorations- Halter, one shoulder, etc. Pattern making for Evening Wear.Appropriate construction techniques.Costing for custom made garments.Design Realization.References: Wilcox, C., et al. (2002). Art and Craft of Gianni Versace, London, Victoria and Albert Museum.Rothstein, N. (1999). 400 Years of Fashion, London, Victoria and Albert Museum.Richards, M. (2000). Chanel, U.K., Hamlyn.Morris, B. (1996). Valentino, New York, The Vendome Press.Barille, E. (1996). Lanvin: Fashion Memoir, London, Thames and Hudson.Pochna, M. (2001). Dior, New York, The Vendome Press.Crill, R., et al. (2004). Dress in Detail from Around the World, London, Victoria and Albert Museum.Steele, V. (2003). Corset: A Cultural History, Yale, Yale University Press.Miller, L.E. (2007). Balenciaga, London, Victoria and Albert Museum.Dominy, K. (2010). Contemporary Lingerie Design, London, Lawrence King Publishing.Ludot, D. (2001). Little Black Dress: Vintage Treasure, Taiwan, Assouline.Aldrich, W. (2004). Metric Pattern Cutting for Womens wear, Oxford, Blackwell Publishing.Armstrong, H. J. (2009). Pattern making for Fashion Design, New York, Prentice Hall.Di Marco, S.M. (2010). Draping Basics, New York, Fairchild Books.Maynard, L. (2010). The Dressmaker’s Handbook of Couture Sewing Techniques: Essential Step by Step Techniques for Professional Results, U.S.A., Interweave Press.Collezioniwgsn-FD-1604 Elective [2, 2, 3] (Any One)FD-1604.01 Fashion StylingCourse Objectives:Acquire an understanding of the concepts that go into creating a comprehensive look for either 2D or 3D media. Understand techniques, processes and contexts in creating an image for clients according to the given brief. The module in Fashion Styling mainly deals with the basic concepts of wardrobe styling, fashion styling and image consulting.Course Content:Terminology and Job definitions.Fashion ponents of fashion.Figure types and visual corrections.Accessories, hair and makeup.Backdrops and props.Basics of branding. Analyzing client requirements.Creating looks for various occasions. Creating looks for 2D (print media).Creating looks for 3D (TV, music videos etc.) References:Widdows, l. and Mc Guiness, J. (1997). Image Makers- Styling, Hair and Make-up, Oxford, Batsford.Piras, C. and Roetzel, B. (2002). Ladies: A Guide to Fashion and Style, Germany, DuMont.Arnold, R. (2001). Fashion, desire and Anxiety- Image and Morality in the Twentieth Century, New Jersey, Rutgers University Press.Larg, A. (1998). Fashion Shots, U.K., Rotovision.Chace, R. (2003). Complete Book of Oscar Fashion, Auckland, Reed Publishers.Tolkein, T. (2000). Dressing up Vintage, New York, Rizzoli International Publishers.Duras, M. (1999). Yves Saint Laurent and Fashion Photography, U.K., Neues Publication.Piras, C. and Roetzel, B. (2002). Three Sixty five Style and Fashion Tips for Women, Germany, DuMont.CollezioniVogueElleFD-1604.02 Fashion CritiqueCourse Objectives:Understand contemporary fashion, lifestyle and cultural issues. Understand the influences and directions of trends in fashion journalism. Analyse and deliver a relevant critique. Interpret a critique in the most effective manner.Course Content:In-depth profiles of National and International designers :Professional landmarks.Professional growth vis a vis influences and aspirations.Design philosophy and identity.Contemporary cultural influences on fashion.Global fashion munication methods.Analyzing fashion articles.Creative expressions.Copyrighting. References:Osma, G.D. (1994). Fortuny- Life and Work of Mariano Fortuny, London, Aurum Press.Miller, L.E. (2007). Balenciaga, London, Victoria and Albert Museum.Breward, C. and Gilbert, D. (2006). Fashion’s World Cities, Oxford, Berg Publishers.Worseley, H. (2005). Decades of Fashion, London, Konemann U.K. Ltd.Chace, R. (2003). Complete Book of Oscar Fashion, Auckland, Reed Publishers.Rothstein, N. (2000). 400 Years of Fashion, London, Victoria and Albert Museum.Morris, B. (1996). Valentino, New York, The Vendome Press.Barille, E. (2000). Lanvin- Fashion Memoir,London, Thames and Hudson.Pochna, M. (1996). Dior, New York, The Vendome Press.Watson, L. (1999). Twentieth Century Fashion, London, Carlton Books.VogueElleCollezioniFD-1604.03 Fashion Advertising Course Objectives: To develop the understanding of Fashion advertisement, promoting and campaigning strategies, creating and refining the innovative way of advertisements, select advertising media, and implement and manage advertising campaigns. Courses Content: Distinguish effective advisement and understanding the tools of Promotions.Distinguish the target market from the message of the advertisement. Detect the mood and tone of the advertisement.Researching about promotional activities. Develop an understanding of how creative and edgy advertising works for fashion advertising Research objectives, methodology and process/relevance to fashion marketing/careers, Integrated Marketing Communications ,The purpose and types of advertising Appeals, Advertising tools ,Consumer Promotional tools, market segmentation by consumer groups, customer relationship management, internet marketing, Advertising planning and research. References: Wang, S. (2013). Fashion Exposed: Graphic, Promotion and Advertising, Spain, Promo Press.Diamond, J. and Diamond, E. (1996). Fashion Advertising and Promotion, New York, Fairchild Books.Keaney, M. (2010). The Fashion and Advertising, U.K., Rotovision.Winters, P.F. (1995). What Works in Fashion Advertisement, Retail Reporting Group Publishers.Robbins, A. (2012). Advertising in the Fashion Industry, UMI Dissertation Printing.(2012). Taschen 365Day by Day, Fashion ads of the Twentieth Century, Berlin, Taschen.Lea-Greenwood, G. (2013). Fashion Marketing Communications, New York, Wiley.Tungate, M. (2012). Fashion Brands: Branding Sytles from Armani to Zara, London, Kogan Page Publishers.Hameide, K.K. (2011). Fashion Branding Unraveled, New York, Fairchild Books.FD-1605 Research & Product Development [1, 2, 2]Course Objectives: To enable students exposure and experience to prevalent commercial, professional and industrial practice in the area of their focus in organized or developmental sectors. To enable students to make choices for further focus on their area of design development expertise in men’s, women’s or kid’s wear focusing on Indian Traditional Textiles and Crafts. To provide experience of project planning, execution, operation, management and presentation as a fashion designer. Course Content:Development of Project brief.Development of PDP.Experience and contribution as a design professional in an apparel organization / craft industry / research areas.Project development in chosen area of specialism will include: research and surveys, design development, client, material, trend research and exploration, fashion presentation, design sampling, and commercial applications.Further development of generic / cognitive skills.References:Bhandari, V. (2005). Costume, Textile and Jewellery of India: Traditions of Rajasthan, California, Mercury Books.Singh, M., et al. (1995). Saris of India: Bihar and West Bengal, New Delhi, Wiley Eastern.Gillow, J. and Barnard, N. (1991). Traditional Indian Textiles, London, Thames and Hudson.Desai, C. (1988). Ikat Textiles of India, California, Chronicle Books.Bhatnagar, P. (2008). Decorative Design History in Indian Textiles and Costumes, New Delhi, Abhishek Publications.Askari, N. and Crill, R. (1997). Colors of the Indus: Costume and Textiles of Pakistan, London, Merrell Publishers.Ghosh, G.K. (2011). Indian Textiles: Past and Present, New Delhi, Abhishek Publications.Ellena, B. (2010). Indian Sutra: On the Magic Trail of Textiles, Gurgaon, Shubhi Publications.Bhatnagar, P. (2005). Decorative Design History in Indian Textiles and Costume, New Delhi, Abhishek Publications.Mathur, A. (2006). Woven Wonder: the Tradition of Indian Textiles, New Delhi, B.P.I. India.Naik, S.D. (2010). Traditional Embroideries of India, New Delhi, Ashish Publishing House, New Delhi.FD-1606 Portfolio Development [1, 2, 2]Course Objectives:This course is devoted at developing a design portfolio for men’s wear/women’s wear/ Kids’s wear. The design portfolio is an expression of a fashion designer involving his creativity, design ability, illustration and presentation skills. Course Content:Research and theme based contextual project, design development, tech pack, flat sketch etc. complied into a professional portfolio. References:Drudi, E. (2011). Figure Drawing for Fashion Design, Amsterdam, Pepin Press.Bruke, S. (2006). Fashion Artist: Drawing Techniques to Portfolio Presentation, U.K., Burke Publishing.Riegelman, N. (2006). 9 Heads: A Guide to Drawing Fashion, London, Thames and Hudson.Riegelman, N. (2006). Colors for Modern Fashion: Drawing Fashion with Colored Markers, London, Thames and Hudson.Steven, S. (2010). Illustrating Fashion: Concept to Creation, New York, Fairchild Books.Tain, L. (1998). Portfolio Presentation for Fashion Designers, New York, Fairchild Books.Szkutnicka, B. (2010). Flats: Technical drawing for Fashion, London, Lawrence King Publishing.FD-1607 Illustration (Kids, Women’s) [2, 2, 3]Course Objectives:The course is a study of illustration of different garments for Kids and Women. To sketch fashion figures using Photoshop and Adobe Illustrator. The students would be able to translate their designs using the software.Course Content:Illustration of Kids and Women garments.Different poses, importance for the background. Illustrating figures in different mediums.Flat sketches.Tools in Photoshop, and Illustrator; creating silhouettes, creating croquis, color and color adjustments, image editing, collage development, fabric rendering etc. References:Abling, B. (2003). Model Drawing, New York, Fairchild Books.Drudi, E. (2011). Figure Drawing for Fashion Design, Amsterdam, Pepin Press.Riegelman, N. (2006). 9 Heads: A Guide to Drawing Fashion, London, Thames and Hudson.Riegelman, (2006). Colors for Modern Fashion: Drawing Fashion with Colored Markers, London, Thames and Hudson.Steven, S. (2010). Illustrating Fashion: Concept to Creation, New York, Fairchild Books.Endeavour, (2010). Modern Fashion Illustration, London, Endeavour.Tate, S. L. (1995). The Complete Book of Fashion Illustration, New York, Prentice Hall Publication.Beer, R. (1995). Designer Guide to Girls’ and Junior Apparel, New York, Fairchild Books.Armstrong, W., et al. (2005). From Pencil to Pen Tool: Understanding and Creating the Digital Fashion Image, New York, Fairchild Books.Drudi, E. (2003). Wrap and Drape Fashion: History, Design and Drawing, Amsterdam, Pepin Press.Seventh Semester FD-1701 Industry Internship [25]Course Objectives:To expose the students to prevalent commercial and industrial practice and reinforce theoretical knowledge with practical experience. To develop the ability to work as an effective and willing member of a team and sharpen problem solving skills. To provide an understanding of multi-tasking and meeting demands of industry.Course Content:First hand exposure to an apparel organization, designer or Export House and their working structures and systems. Specific project on the job to sharpen skills required for chosen area of specialism. Further development of generic/cognitive skills.Identification of industry for internship with student’s career path in mind.Internship log book: is a tool to help you record your daily activities along with a reflection on the same. Reflective writing enables the documentation experiences, thoughts questions, ideas and conclusions that signpost the learning journey.Internship report: will focus on study of the organizational structure & development objective of the internship. Personal design philosophy & career path linked to learning in the internship. Learning process and its analysis as internship progresses through detailed processes and projects undertaken. Report should be a reflection of the internship experience of the personal & professional development. Eighth Semester FD-1801 Portfolio Development [4, 2, 5]Course Objectives:To develop ability to source information research and learn independently into the topic within the context of study. Acquire, assimilate and apply external experiences, information, and knowledge to subject area. Compilation of your work in all the three years as per Industry requirement.Course Content:Development and presentation of the work done in previous years.Development of personal development plan.Recording, documenting learning process.Application of layout and individuality in presentation.Design process/ Techniques/ Material/ Markets/ Trends Research.Presentation of learning experience.Photographs of projects and all the work during the four years presented in a professional way using soft skills.References:Students will identify reading which is relevant to their design concept for example: current fashion and business magazines, trade journals, forecast magazines and fashion journals etc. Throughout the module students will be expected to refer to material both from the internet and any available library to gather information.Tain, L. (2010). Portfolio Presentation for Fashion Designers, New York, Fairchild Books.Atkinson, M. (2012). How to Create Your Final Collection, London, Lawrence King Publishing.Borrelli, L. (2008). Fashion illustration by Fashion Designers, London, Thames and Hudson.Szkutnicka, B. (2010). Flats: Technical drawing for Fashion, London, Lawrence King Publishing.Daniel, T. (2011). The Fashion Sketchpad: 420 Figure Templates for designing Looks and Building your Portfolio, California, Chronicle Books.Barrett, J. (2012). Designing your Fashion Portfolio: From Concept to Presentation, New York, Fairchild Books.Posner, H. (2011). Marketing fashion: Portfolio Series, London, Lawrence Kind Publishing.FD-1802 Final Design Project [6, 8, 10] Course Objectives:To draw upon and integrate learning of all the subjects across all the years of your course and to apply this integrative learning to identify, create and solve design problems/ opportunities in the apparel industry. To tie all of the various strands of learning together into a significant body of work and to generate a design concept from the initial idea through to final realization, product strategy and promotion. This project is the culmination of your personal ideas and investigations towards the realization of an original, creative and innovative body of work. You will be encouraged to work more independently, setting your own briefs, focusing on problem solving and working towards your objectives. This subject will help students for strengthening themselves professionally in preparation for a career according to their choice of design category and various market options.Course Content: Contextual research to identify potential areas of design research & developmentDuring this subject you are expected to gather information and visual materials in a field which has sufficient scope for design research and development.Formulation of design brief, design concept, research methods and project schedule (log book): By week 2 you will have to develop and negotiate a design brief by developing a concept based on a particular theme. At this stage you are expected to present your design concept based on a colloquium paper in front of a jury of faculty mentors. After the approval of your concept, you will be expected to meet your design mentor twice in a week at scheduled times. Formative Feedback will be provided at each meeting and you have to maintain a log book which shows your progress and gives evidence of following the design process. When you are in the process of design exploration, you are expected to research and conduct surveys in the areas of market structure, client group, fabrics and trims sources. Prototype and portfolio developmentTo develop prototypes, you have to explore new and appropriate methods of pattern making, draping and garment construction in relation to the relevant fabrics and the functional aspect of the garment.There will be a “Toile Presentation” where you will be expected to present your process and findings along with your prototypes to a Jury of design and technical mentors and your peers. Pricing & Costing of Final products:You will achieve optimum costs of production through an understanding of fabric development and finishing processes. You are also expected to do the pricing and costing of your final product.Final submission and presentation:The Final Submission which is in week 16 will be supported by an oral presentation and submission of a design portfolio in front of a Jury, where you will be expected to justify the validity/originality of your design process and findings. You will be encouraged to do a self-evaluation, assessing your effectiveness of achieving set aims.Reflective Journal:Additionally you will be required to submit a Reflective Journal which represents your involvement and overall journey of learning and what specifically you reflected on. This will give evidence of whether you have fulfilled the initial aims that you had set. References:Students will identify reading which is relevant to their design concept for example: current fashion and business magazines, trade journals, forecast magazines and fashion journals etc. Throughout the module students will be expected to refer to material both from the internet and any available library to gather information.Atkinson, M. (2012). How to Create Your Final Collection, London, Lawrence King Publishing.Faerm, S. (2012). Creating a Successful Fashion Collection: Everything you need to develop a Great Line and Portfolio, London, Barron’s Educational Series.Young, D.(2012). Swatch Reference Guide to Fashion Fabrics, New York, Fairchild Books.CollezioniVogueElleCollezioni UomoVerveGraziaHarper’s BazaarGQwgsn- ................
................

In order to avoid copyright disputes, this page is only a partial summary.

Google Online Preview   Download