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"In an era of increasingly available digital resources, many textile designers and makers find themselves at an interesting juncture between traditional craft process 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"--
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.
This book provides readers with a timely snapshot of ergonomics research and methods applied to the design, development and prototyping – as well as the evaluation, training and manufacturing – of products, systems and services. Combining theoretical contributions, case studies, and reports on technical interventions, it covers a wide range of topics in ergonomic design including: ecological design; educational and game design; cultural and ethical aspects in design; user research and human–computer interaction in design; as well as design for accessibility and extreme environments, and many others. The book places special emphasis on new technologies such as virtual reality, state-of-the-art methodologies in information design, and human–computer interfaces. Based on the AHFE 2017 International Conference on Ergonomics in Design, held on July 17–21, 2017, in Los Angeles, California, USA, the book offers a timely guide for both researchers and design practitioners, including industrial designers, human–computer interaction and user experience researchers, production engineers and applied psychologists.
New research into the techniques of tablet weaving, sprang, braiding, knotting and lace is presented in this lavishly illustrated volume written by leading specialists from Austria, Canada, Denmark, France, Germany, Sweden, Switzerland, the UK, and USA. Drawing inspiration from the pioneering work of Peter Collingwood, this publication explores aspects of these craft skills in the prehistoric, Roman, and medieval world through scientific, object-based analysis and 'research through making'. Chapters include the growth of patterned tablet weaving for trimming garments in prehistoric Central Europe; recently identified styles of headdress worn in the Roman Rhineland and pre-Islamic Egypt; Viking-age Dublin as a production center for tablet-woven bands; a new interpretation of the weaving technique used to make luxurious gold bands in the twelfth to late thirteenth centuries; and the development out of plaiting of bobbin lace borders in gold and silver threads from the fifteenth to early seventeenth centuries. Practical experiments test methods of hand spinning and the production of figure-hugging hose in ancient Greece and Renaissance Italy. A typology of braid and knotting structures in late medieval Europe is also set out for the first time. Diagrams, illustrations, and photographs enrich each chapter with a wealth of visual source material. The work is the outcome of recent discoveries of archaeological textile finds from excavations as well as fresh examination of material recovered in the past, or preserved in treasuries. Early textiles form an increasingly popular subject of interest and this publication, which is a landmark in the study of various specialized textile techniques, aims to provide the reader with a better understanding of these virtuoso craft skills in antiquity.
The first American academic journal to examine design history, theory, and criticism, Design Issues provokes inquiry into the cultural and intellectual issues surrounding design. Regular features include theoretical and critical articles by professional and scholarly contributors, extensive book reviews, illustrations, and a section for reader response. Special issues concentrate on particular themes, such as artificial intelligence, product seminars, design in Asia, and design education.
E-textiles are also known as electronic or electro-textiles. They are pieces of clothing that have electronic or digital devices. Learn more in E-Textiles, one of the titles in the MakerSpace series.
This dissertation analyzes the form, character, and variety of materials with which specific forms of value are produced and maintained in craft. Two craft sites provide the foundation for the work I present: a bookbinding workshop in Cambridge, UK and a knitting guild in San Francisco, CA. Participant observation and interviews allow for a detailed examination of craft practice. In binding, the durability of the book and respect for the book's history are two central concerns, continually balanced through human-material interaction. In knitting, care invested in the artifact and anticipation of future use organizes production. Tied to familial pastimes and ancient histories, restored books and knit shawls become agents of recovery -- of fading techniques, of cultural traditions, and of intimate interactions. Traces of creation, time, and use are valued for their emotional resonance in addition to the pragmatic goals in which they are embedded. Reflecting on the practices of bookbinders and knitters, I introduce the analytic category of "material traces" to the study of design and technology. Material traces concretize a unique location in time and space to reveal the dynamic and evocative nature of form. In my conceptualization, they embody and reflect skill, use, and time; they evoke memories and confer value. In the workshop, binders trace backward: they maintain certain material traces of time and use (creases on a book spine, scent of aged leather) and selectively mask material traces of restoration skill (replaced leather or stained paper) to expose marks of provenance deemed appropriate. In the guild, knitters trace forward: they foretell suitable fits and pleasing patterns through removed or intricate stitches, material traces of time and skill that are often missing or obscured for future recipients of the knit artifact. The relative invisibility of knitting labor enables a sense of `cleverness' or `secret society' that digital technologies (blogs, pod casts, social networking sites) sometimes threaten to unravel by exposing additional traces of craft production. Using this analytic category, I develop a heuristic for examining technology that focuses on material traces of skill, use, and time. The heuristic is put into practice in the analysis of Spyn, mobile phone software that I designed to associate digital records (audio/visual media, text, and geographic data) with physical locations on knit fabric. The heuristic renders visible the stories of technique and spatiotemporal rhythm that imbue the knitted artifact with additional (digital) marks of production. In addition to tracing forward, knitters use Spyn to trace backward. Taking lessons from this analysis, I then present a framework for design pedagogy -- using the lenses of attributes, entanglements, and rhythms to gain critical purchase on the artifacts being produced. Mobilizing this framework within a classroom, students envisioned evocative relationships to the non-human (rodents), enriched connections to a familial hand, engaged physics learning, and opportunities for reminiscence around breakage. These design examples reveal how the analytic category of material traces comes alive in practice and pedagogy. Based on these insights, I demonstrate a research agenda for design that emphasizes temporality and materiality.
This book introduces the exciting intersection of technology and fashion known as wearable computing. Learn about the future of electronics in clothing and testiles, and be a part of creating that future! Crafting Wearables begins with the history of the field, then covers current practices and future trends. You will gain deeper insight into the strategy behind the design of wearable devices while learning about the tools and materials needed to start your own wearables toolbox. In a time when consumer electronics are becoming smaller and seamlessly integrated into our lives, it is important to understand how technology can improve and augment your lifestyle. Wearables are in a sense the most organic and natural interface we can design, yet there is still doubt about how quickly wearable technologies will become the cultural norm. Furthermore, skills that have become less valuable over the years, such as sewing, are making a return with the wearables movement. Gives a better understanding of wearable technology and how it has evolved Teaches basic skills and techniques to familiarize you with the tools and materials Showcases breakthrough designs and discoveries that impact our everyday interactions What You'll Learn Learn the history of how technology in fashion has evolved over time Discover interesting materials and fabrics for use in wearable technology Glimpse new tools for designing wearable technology and fashion Rediscover sewing and related skills that every wearables enthusiast should learn Learn how new techniques in textile manufacturing could disrupt the fashion industry Understand and respond to the cultural and societal developments around wearables Who This Book Is For divCrafting Wearables is written for the curious designer, engineer, or creative who is looking for insight into the world of fashion technology. It is for someone who wants to start exploring wearables with basic projects and dig deeper into the methods and tools of an expert. strongCrafting Wearables is intended to impart comprehensive general knowledge of the state of wearables in different industries while providing a well-curated list of example projects and resources by which to begin your personal journey into e-textiles. It is a wonderful read for those who are looking to expand their understanding of fashion and technology from both a hands-on and research based perspective.
Whether it’s Cecil Beaton’s flamboyant, classically tailored suits, Frida Kahlo’s love of bright color, or Cindy Sherman’s penchant for minimalism, an artist’s attire often reflects the creative and spiritual essence of his or her work. In Legendary Artists and the Clothes They Wore, fashion authority Terry Newman presents more than forty fully illustrated profiles of masters whose enduring art bears an idiosyncratic stamp—and whose unique way of dress does the same through a signature look, hairstyle, or accessory—and explores the relationship between the two in detail. In that context, this colorful volume also examines the nonlinear sensibility that has always been the name of the game in what is considered modern style. It examines the dialogue between art and fashion as well as noteworthy artist and designer relationships, such as Yves Saint Laurent’s Mondrian Collection, primary-colored shift dresses inspired by the painter’s work, and Louis Vuitton’s numerous groundbreaking collaborations with major artists, a concept initiated by designer Marc Jacobs that not only has launched some of the fashion industry’s most successful bags, made the art of contemporary masters available to the world at large, and been copied widely ever since. Numerous compelling features—anecdotes about the artists and their work; portraits of the artists in their studios; archival photographs; select pairings of fine art and runway imagery; quotations by artists, art critics, and designers—make this a rich, engaging study for fashion and art lovers alike.