Color and Design

The Ministry of Science and Higher Education of the Russian Federation 
Kazan National Research Technological University 
G. Lutfullina, E. Valeeva
COLOR AND DESIGN
Tutorial 
Kazan 
KNRTU Press 
2022 

UDC 675:535.6(075) 
Published by the decision of the Editorial Review Board  
of the Kazan National Research Technological University 
Reviewers: 
PhD in Technology, Associate Professor M. Gorbacheva 
PhD in Philology, Associate Professor E. Semushina 
G. Lutfullina
Color and Design : Tutorial / G. Lutfullina, E. Valeeva; The Ministry of Education
and Science of the Russian Federation, Kazan National Research Technological
University. – Kazan : KNRTU Press, 2022. – 80 p.
ISBN 978-5-7882-3273-7 
The tutorial focuses on the main principles of color theory in fashion design of leather and fur products.  
The tutorial is intended for practical classes and lectures for training Bachelor’s and 
Master’s students majoring in technologies and materials of the leather and fur industry, also 
can be used for Doctoral students conducting their research in the field of fur and leather 
processing. In addition, it can be used for English Language classes for training students to 
use English language terms effectively. 
Prepared by the Department of Plasma Technology and Nanotechnology of High 
Molecular Weight Materials. 
UDC 675:535.6(075) 
ISBN 978-5-7882-3273-7 
© G. Lutfullina, E. Valeeva, 2022 
© Kazan National Research Technological University, 2022 

C O N T E N T S
Introduction ............................................................. 4 
1. Design History 
....................................................... 6 
2. Fashion Design 
......................................................12 
3. Composition Design ...............................................23 
4. Color and Design for Leather and Fur Manufacture 
..........31 
5. Leather and Fur Dyeing ...........................................39 
6. Fashion and Color: Leather and Fur ............................72 
References ..............................................................77 

INTRODUCTION 
The purpose of design is to make both convenient and beautiful 
things. Designers try to develop a new thing not only to provide a choice 
for byers but also to influence their choice. Graphic design, styling and 
exterior decoration are widely used to create products that are successfully 
sold in the market. 
In modern society, design is the most developed area of human 
artistic activity. Practical application of design is very diverse. All things 
around us are products designed by people using industrial technology in 
accordance with the principles of beauty and functionality. 
Objects of labor and household items created by designers are 
closely connected with culture, history and traditions of their 
contemporary era. They are closely related to the corresponding way of 
life, certain local ethnic characteristics, and social life. 
Design is the subject environment with which people contact every 
day. Therefore, design constantly affects the people mind and their mood. 
It becomes the most important source of emotions. It can change the view 
of the world. Thus, design belongs both to the spheres of material and 
spiritual values. 
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The word “design” came from the English language. It is translated 
as “to design, to draw, to create”. Nowadays, this term refers to the artistic 
design of industrial products, comfortable beautiful things that correspond 
to the current fashion requirements, as well as the level of scientific 
knowledge and technical achievements. 
This is a rather young art form. Its formation is associated with 
the industrialization of society. The prerequisites for design originated in 
the era of the transition from manual labor to machine production. 
Design is the result of the expansion of the applied art field and its 
development on an industrial basis. It is the result of the penetration of 
aesthetics into technology, the intrusion of the artist into industrial production. 
The design process includes the formulation of a problem, 
the definition of the situation on which this problem is oriented, 
the identification of constraints, and the use of pictorial means to create 
visual forms that can be modeled. 

1. DESIGN HISTORY
Design is a term which includes mass and elite design, styling, pop 
design, single art design, urban public art, architectural design, industrial 
design, WEB design, graphic design, handicraft design, historical futuristic 
design, future predictive design, photo design, advertising design, 
information and software design, research design, text design, etc. 
Designers are to be experts in all areas of their profession. 
The roots of design go back to the beginning of the 19th century, in 
the era of machine production and labor division. Before the industrial 
revolution, the work of the craftsman was directly connected with 
the product manufacture. 
The history of the artistic design development dates back to 
the middle of the 19th century. 
Historical stages: 
1. Handicraft industry (from the beginning of human civilization to
the end of the 18th century). It is the forerunner of design. 
2. Machine production (from the end of the 18th century to
the beginning of the 20th century). 
3. Design (from the beginning of the 20th century to the present day).
Handicraft industry 
Handicraft industry is a small-scale production based on manual 
labor, primitive tools and technologies. Craftsmen were engaged in 
the production of household things. All human requirements for things 
were taken into account: utility, functionality, convenience, beauty, 
economic feasibility. Craftsmen were not considered as designers. They 
made the same things from the same materials. Things turned out to be 
individual, exclusive, and expensive. Things were produced in small 
quantities (as much as one person could make). There were six principles 
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of handicraft work: sociological, engineering, ergonomic, aesthetic, 
economic, ecological. 
Machine production 
The industrial revolution led to the era of machine production. 
Designers began to create prototypes of products that other people 
produced using machines. The practice of design was quite primitive. 
Engineers were responsible for the functionality and cost-effectiveness of 
manufactured products, while designers were responsible only for their 
aesthetic appearance. Designers had to create prototypes of mass machine 
production, having previously studied the technology of modern 
production and the material properties. The purpose of the products and 
the ease of handling them were as much important as their appearance. 
Soon, design companies were recruiting draftsmen, modellers, engineers, 
architects, and market experts. In 1785, industrial machine production 
began to develop in England. This was the era of industrial machines, 
specialization, narrow professional approaches, division of labor, and flowline production. 
The basic principles of design theory were formulated in 
the nineteenth and twentieth centuries by the architect Henry van de 
Velde. He emphasized the need to combine the technical and artistic forms 
of products, while subordinating the aesthetic qualities to the requirements 
of the expediency and functionality of the thing. In other words, he focused 
on “practical and reasonable beauty”. 
In 1913, the art theorist and architect Walter Gropius told that 
“a technically remarkable thing must be imbued with a spiritual idea and 
aesthetically designed.” Later, in 1919, he founded and headed the famous 
German art school “Bauhaus” (in translation “Building House”) in Weimar, 
which became the first design school that aimed at combining the efforts of 
technology and art in industrial production. The curriculum at the school 
involved the combination of art with construction technology. 
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In the period from 1923 to 1932, a professional design model was 
developed in Russia. At this time, it was one of the most important centers 
for the design formation. A system of professional training for certified 
designers was formed at the industrial faculties in Higher State Artistic and 
Technical Workshops (VKhUTEMAS). The main goal of the system was to 
organize the subject environment, taking into account the general 
processes in the spheres of work, life and culture.  
During this period, original creative design concepts were formed, 
which determined its further development. You can learn more about them 
from the works of A. Rodchenko, L. Lisitsky, V. Tatlin. 
The strongest side of Russian design was aesthetics, which can be 
explained by two fundamental points:  
•
peculiarities of the Russian design development;
•
peculiarities of the Russian state development in the 20th
century.
Artists came to oppose construction as the embodiment of the true 
essence of objects and composition as a form introduced from outside, 
artificially put on an already existing one. They desired to make 
a “constructive structure” as the basis for the formation of united 
artmovement. 
This design stage combined the advantages of the previous two 
stages. Designers worked in industry using various materials and 
technologies. They were engaged in mass production. Unfortunately, all 
advantages of industrial production often do not live up to expectations. 
Stage painters and props only decorated their things while designers had to 
think about the product from different points of view. They had to imagine 
in advance how their future creation would behave in its habitat, how it 
would affect the environment and how the environment would affect 
the thing. Designers had to give the thing maximum sympathy for 
the person, for the one for whom the thing would be intended, to whom it 
would serve. 
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