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Stebbins.portfolio. 12.2010


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Stebbins.portfolio. 12.2010

  1. 1. Julie Stebbins<br />University of North Texas<br />School of Merchandising & Hospitality Management<br />
  2. 2.
  3. 3. Julie O. Stebbins<br />2500 N Interstate 35 Apt. 74 ¬ Denton, TX 76201 ¬ 817-903-3776<br /><br />Objective: To obtain a management position in retail<br />Summary of Qualifications<br /><ul><li> Over 4 years experience as a shift supervisor for multiple employees
  4. 4. Strong communication and time management skills
  5. 5. Effective with greeting customers
  6. 6. Able to delegate well under pressure</li></ul>Education<br />Bachelors of Science December 2011<br />University of North Texas Denton, TX<br />High School Diploma May 2004<br />Recommended Plan Arlington, TX<br />Arlington High School <br />Professional Skills<br />Management<br /><ul><li>Experienced in coordinating staff activities, working with customers, problem solving, taking charge of multiple assignments at once
  7. 7. Well organized, manages time well, always arrive early for work and assignments</li></ul>Computer Skills<br /><ul><li>Educated in all Microsoft Office programs including Excel, Word, PowerPoint, Outlook
  8. 8. Willing and able to learn different computer programs and can easily adapt to them</li></ul>Administration<br /><ul><li>Monitored and maintained multiple policies and procedures
  9. 9. Mediated problems between employees</li></ul>Employment History<br />Library Assistant 1 January 2008 – Present<br />University of North Texas Libraries Denton, TX<br />Student Assistant August 2004 – December 2007<br />University of North Texas Libraries Denton, TX<br />Quiznos Subs May 2002 – July 2004<br />Shift Supervisor Arlington, TX<br />
  10. 10. SMHM2360<br />Aesthetics &<br />Environment<br />Design Element 1<br />Color Analysis<br />Objectives<br /><ul><li> To discern color range, intensity, scheme and composition of a work of art.
  11. 11. To develop a color palette based on a specific inspirational piece.
  12. 12. To understand the various color relationships.
  13. 13. To understand the emotions tied to various colors.
  14. 14. To identify examples of color relationships in fashion that elicit the feelings and emotions discussed for each color.</li></ul>Learning Outcomes<br /><ul><li>The depicted color relationship: complementary colors of red-orange and blue green.
  15. 15. The inspiration picture by Jackson Pollock represents the relationship between multiple hues and tints of many different colors.
  16. 16. Realized the connection between art and fashion.
  17. 17. Coral jewelry helps represent the color inspiration for not only fashion but also accessories.
  18. 18. Helped to realize the important difference between shade and tint.</li></li></ul><li>Color Analysis: Complementary<br />Peacock<br />Green<br />Coral <br />Reef<br />Sand<br />Jet Blue<br />Shade<br />Tint<br />
  19. 19. SMHM2360<br />Aesthetics &<br />Environment<br />Design Element 2<br />Line & Space<br />Objectives<br /><ul><li> To comprehend how important a role line plays in the creative process.
  20. 20. To understand how space affects a work of art.
  21. 21. To appreciate how line expresses feelings and emotions
  22. 22. To recognize how line and space can communicate symbolic meanings.
  23. 23. To value how products convey the intended image.</li></ul>Learning Outcomes<br /><ul><li>The theme used depicts strong lines with different uses of grey and multiple examples of space.
  24. 24. The various line qualities include curved lines which help express femininity and vertical lines that are strong and add more length to the pieces.
  25. 25. The diagonal lines also add a sense of energy, movement, and strength.
  26. 26. The intended space includes unfilled, pictorial and illusionistic space.
  27. 27. The use of overlapping and tiering with different sizes contributes to the forming of illusionistic space.</li></li></ul><li>Architecture as Fashion<br />
  28. 28. SMHM2360<br />Aesthetics &<br />Environment<br />Design Element 2<br />Shape & Form<br />Objectives<br /><ul><li>To recognize howshape and form can communicate symbolic meaning
  29. 29. To value how products convey the intended shape and form
  30. 30. To create the intended shape and form to capture an attractive impression through aesthetic experience.</li></ul>Learning Outcomes<br /><ul><li>The use of architectural influence is found in both garments.
  31. 31. The use of geometric shapes like, triangles and rectangles, express the silhouette of each piece.
  32. 32. One silhouette has a bell shape for the skirt, while the opposite silhouette has a tubular shape to the jacket.
  33. 33. The form of each garment helps to visualize the use of pyramids and cylinders that influence the silhouette in many fashion garments.
  34. 34. The ordered patterns used in both garments also give each piece a sense of rhythm</li></li></ul><li>Skyline Inspiration<br />
  35. 35. SMHM2360<br />Aesthetics &<br />Environment<br />Design Element 4<br />Texture<br />Objectives<br /><ul><li> To identify the importance of using the various textures in promoting one overall image or mood.
  36. 36. To discover new and upcoming texture trends in the fashion industry
  37. 37. To comprehend how textures convey expressive and symbolic qualities.
  38. 38. To understand the difference between tactile and visual texture.</li></ul>Learning Outcomes<br /><ul><li> Boudoir Crossing is the trend used for women between ages 25-32, who are first entering or are already involved in their careers.
  39. 39. This trend will be successful for the target market because of the sheer fabric and dark colors that have been used on the runways for this coming fall season.
  40. 40. Many textures have been used including the roughness of the chiffon blouses, the shine of the leather in the boots, along with the shine of the cotton fabric used for the nude dress.
  41. 41. The leather boots show much tactile texture, with the added buckles and laces, while the shine of the finish on the leather, the use of lace and fur, the shiny surface of the nude dress along with some of the lace, and the trend board background add a visual texture to the pieces.
  42. 42. Boudoir crossing helps portray a woman who is powerful and ahead of her male counterparts, but she also has a feminine sexy side, which is expressed in the more lingerie looking attire.</li></li></ul><li>Breaking the Glass Ceiling<br />
  43. 43. SMHM2360<br />Aesthetics &<br />Environment<br />Design Principles<br />Balance, Rhythm & Emphasis<br />Objectives<br /><ul><li> To identify the important relationship between Balance,Rhythm and Emphasis.
  44. 44. To Understand the variety ofBalance, for example, symmetrical, asymmetrical, horizontal, vertical and radial balance.
  45. 45. To understand the types of Rhythm, for example, metric, flowing, swirling, and climatic rhythm.
  46. 46. To understand howEmphasis can be achieved by color, light, shape, and created by contrast, isolation and placement.</li></ul>Learning Outcomes<br /><ul><li>The examples of balance show howradial and asymmetrical balance are used in home furnishings and architectural design.
  47. 47. Both images represent how different types of balancecan be used to make design aesthetically pleasing to the viewer.
  48. 48. Flowing rhythm is shown in the impressions of the tire tracks, while metric rhythm is represented by the art piece.
  49. 49. Rhythm can not only be created through art and music but can occur naturally in everything that surrounds us.
  50. 50. Emphasis is created by the contrast of size, shape, color, and/or value of units in a form.
  51. 51. The eye is drawn to the chair because of the use of brighter colors, this is a representation of emphasis on placement along with the use of color.
  52. 52. The emphasis of light is used again in the second image and </li></ul> helps the eye to not only focus on the night time traffic but also <br /> the flowing rhythm of it.<br />
  53. 53. Aesthetically Pleasing Design Principles<br />Radial Balance<br />Asymmetrical Balance<br />1 1 1 1 1 1 1<br />Flowing Rhythm<br />Metric Rhythm<br />Emphasis using light<br />Emphasis on Placement<br />
  54. 54. SMHM2360<br />Aesthetics &<br />Environment<br />Design Principles<br />Proportion & Scale<br />Objectives<br /><ul><li>To recognize that proportion is the size relationship of parts within a whole
  55. 55. To recognize that scale is the size relationship to an outside unit of measurement
  56. 56. To comprehend how proportion and scale are displayed in apparel.
  57. 57. To create the intended proportion and scale to capture an attractive impression through aesthetic experience.</li></ul>Learning Outcomes<br /><ul><li>Proportion helps the designer to work with the human form and emphasis different parts of the body.
  58. 58. By playing with the scale of the pictures each part of the body is emphasized differently.
  59. 59. The use of cutting and sewing techniques, textures, and patterns reveal the effects of scale and proportion in each garment.
  60. 60. For an ideal body shape, more emphasis is placed on the waist, or the shoulders to help the waist look smaller.
  61. 61. Using garments correctly can help the user to create a more proportionate figure that can make their figure more aesthetically pleasing to the eye.</li></li></ul><li>Out of Proportion<br />