In an era of increasingly available digital resources, many textile designers and makers find themselves at an interesting juncture between traditional craft processes and newer digital technologies. ...Highly specialized craft/design practitioners may now elect to make use of digital processes in their work, but often choose not to abandon craft skills fundamental to their practice, and aim to balance the complex connection between craft and digital processes. The essays collected here consider this transition from the viewpoint of aesthetic opportunity arising in the textile designer's hands-on experimentation with material and digital technologies available in the present.
Craft provides the foundations for thinking within the design and production of textiles, and as such may provide some clues in the transition to creative and thoughtful use of current and future digital technologies. Within the framework of current challenges relating to sustainable development, globalization, and economic constraints it is important to interrogate and question how we might go about using established and emerging technologies in textiles in a positive manner.
The Bauhaus school in Germany has long been understood through the writings of its founding director, Walter Gropius, and well-known artists who taught there such as Wassily Kandinsky and László ...Moholy-Nagy. Far less recognized are texts by women in the school's weaving workshop. InBauhaus Weaving Theory,T'ai Smith uncovers new significance in the work the Bauhaus weavers did as writers.
From colorful, expressionist tapestries to the invention of soundproofing and light-reflective fabric, the workshop's innovative creations influenced a modernist theory of weaving. In the first careful examination of the writings of Bauhaus weavers, including Anni Albers, Gunta Stözl, and Otti Berger, Smith details how these women challenged assumptions about the feminine nature of their craft. As they harnessed the vocabulary of other disciplines like painting, architecture, and photography, Smith argues, the weavers resisted modernist thinking about distinct media. In parsing texts about tapestries and functional textiles, the vital role these women played in debates about medium in the twentieth century and a nuanced history of the Bauhaus comes to light.
Bauhaus Weaving Theorydeftly reframes the Bauhaus weaving workshop as central to theoretical inquiry at the school. Putting questions of how value and legitimacy are established in the art world into dialogue with the limits of modernism, Smith confronts the belief that the crafts are manual and technical but never intellectual arts.
The application of the golden and Fibonacci geometry in art, architecture and design is one of the ways for creating of aesthetic and beautiful forms. Usually with the help of the elements of the ...golden and Fibonacci geometry geometrical patterns are designed. The development of floral patterns for textile design on the base of the creations from the golden and Fibonacci geometry is the aim of the presented paper. The golden and Fibonacci geometry symbolism of aesthetic and beauty is applied in design of floral textile patterns, as the most used golden and Fibonacci forms are the golden spiral, Fibonacci spiral, Flower of Life, the golden circles spiral, Fibonacci circles spiral. The patterns are developed in suitable colors decisions, chosen on the base on the analogues with flowers in the nature, the symbolism and influence of the lines, forms and colors, and results of the study of the consumers opinions with correspondence analysis.
Textiles are one of the major sources of microplastic pollution to aquatic environments and have also been reported in dry and wet atmospheric deposition. There is still a lack of information on the ...direct release of microfibers from garments to the air and on the influence of textile characteristics including structure, type of yarn, and twist. The present study examines microfiber emissions directly to the air and to water as a consequence of laundering. Polyester garments with different textile characteristics were examined including various material compositions, fabric structure, yarn twist, fiber type, and hairiness. Scaling up our data indicates release of microfibers per person per year to the air is of a similar order of magnitude to that released to wastewater by laundering. The lowest releases to both air and water were recorded for a garment with a very compact woven structure and highly twisted yarns made of continuous filaments, compared with those with a looser structure (knitted, short staple fibers, lower twist). Our results demonstrate for the first time that direct release of microfibers from garments to air as a consequence of wear is of equal importance to releases to water. Currently there is considerable interest in interventions focused on capture from wastewater. However, our results suggest more effective interventions are likely to result from changes in textile design that could reduce emissions to both air and water.
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Artificial intelligence (AI) offers the potential for the development of e-textiles that give wearers a smart and intuitive experience. An emerging challenge in intelligent materials design is hand ...gesture recognition textiles. Most current research focuses on number gesture recognition via smart gloves, so there is a gap in research that studies contact-less number gesture recognition textiles via computer vision. Meanwhile, there is lack of exploration on the integration of illuminating function and number gesture recognition textiles to improve interactivity by real-time visualizing detection results. In this research, a novel interactive illuminating textile with a touch-less number gesture recognition function has been designed and fabricated by using an open-source AI model. It is used in sync with a polymeric optical fiber textile with illuminative features. The textile is color-changing, controlled by the system's mid-air interactive number gesture recognition capability and has a woven stripe pattern and a double-layer weave structure with open pockets to facilitate integration of the system's components. Also described here is a novel design process that permits textile design and intelligent technology to integrate seamlessly and in synchronization, so that design in effect mediates continuously between the physical textile and the intangible technology. Moreover, this design method serves as a reference for the integration of open-source intelligent hardware and software into e-textiles for enhancement of the intuitive function and value via economy of labor.
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Megan Sweeney tells an intimate story about family, selfhood, and love and loss, showing how her lifetime practice of sewing and mending clothes becomes a way of living.
With the great development in computer programs, and the development of color theories using numerical calculation methods that give ease in determining the degree of color and reach it easily.There ...are some digital color theories that follow in many industrial fields such as (paint colors - colors of computers - televisions TV - mobile phone ...)Thus, in order to obtain woven fabrics of a certain color, it is necessary to consider and define the set of previous variables, and to find a correlation between these factors to obtain the desired color degree.In the case of upholsters fabrics with different motifs like (upholstery fabrics - curtain fabrics - floor mats - ground and fabrics), we find that to express the color space in the design, it requires defining all the above mentioned variables, and the most important of these variables is the type The textile composition used to obtain this color space, as it is understood that each color space in the textile design has its own textile structure.In order to obtain a successful textile design that is competitive in the internal and external markets, the textile designer needs to be familiar with the color theories trained in determining the colors to deal with the distribution within the design space, as well as a good knowledge of the different types of textile structures that can be used on the color area chromatically required in textile design.Using different color yarns for both warp and weft, to show how obtain the desired color effects according to the kind of textile structure, with installations of all other variables (warp yarn number - weft yarn number - warp density in the unit of measurement - the density of the weft in the unit of measurement - the material of the warp - the material of the weft ...) that affected on the final shape of the textile design.Color appearance in weaving design requires good knowledge of the textile designer with the changing factors in woven fabrics, and the extent of the impact of these factors on the quality of the product design, the quality of the appearance of woven fabric in accordance with studied scientific theories, the ability of the designer to link between the woven textile design, and how to choose colors according to a scientific theory The best performance of the textile product.
This article explores the role of organizational variables in managing and supporting collective creativity, based on case studies developed through collaborative research projects in two industries: ...fashion textile design and design consultancy. The findings indicate that five distinct variables may support teams and groups in developing their (collective) creativity: a structured process, work‐related team diversity, boundary openness, adequate resources, and support of relevant technology. The results provide new scientific understanding of collective creativity in organizations, and suggest future research directions, with recommendations for creative companies seeking to support collective creativity.
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Adhesives are effective bridging substances with huge application and market demand. Their application areas are gradually expanding from the traditional wood and construction ...industries to light chemical engineering as well as medicine and textile industries. This review discusses the composition, bonding mechanisms, synthesis methods and application characteristics of textile-related adhesives. Based on their origin, adhesives are divided into three categories: natural, synthetic and natural/synthetic composite. In a comprehensive study, we further explore the role of adhesives in the development of textiles. This review will facilitate the development of future textiles with functionality, intelligence and diversified applicability.
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GEOZS, IJS, IMTLJ, KILJ, KISLJ, NLZOH, NUK, OILJ, PNG, SAZU, SBCE, SBJE, UILJ, UL, UM, UPCLJ, UPUK, ZAGLJ, ZRSKP
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