Relevant bibliographies by topics / Creative embroidery

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Creative embroidery'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Creative embroidery"

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Callahan, Ashley. "Mariska Karasz’s Creative Embroidery." Journal of Modern Craft 8, no. 2 (May 4, 2015): 115–24. http://dx.doi.org/10.1080/17496772.2015.1054698.

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Rahmidani, Rose. "Potency of Creative Industry Embroidery and Weaving in West Sumatera in Developing the Common Economy." Jurnal Inovasi Pendidikan Ekonomi (JIPE) 10, no. 1 (May 5, 2020): 08. http://dx.doi.org/10.24036/011083620.

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The aims of this research are: 1) to describe the portrait of embroidery and weaving business in absorbing workforce in West Sumatera, 2) Exploring and formulating problems as well as mapping the needs assessment of embroidery/embroidery creative industry and Minangkabau weave. Population in this research is the entire business unit of embroidery and weaving industry in West Sumatera spread in Padang Pariaman, Agam, Tanah Datar, Sawahlunto, Padang, Payakumbuh, Bukittinggi and Pariaman, the sample is 93 business units spread in 8 regencies and cities above. This study uses a qualitative method.
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Zhou, Yuechao, Min Li, and Yu Chen. "Extraction and diversified application of embroidery insole fabric elements in Hongan, Eastern Hubei." E3S Web of Conferences 237 (2021): 04030. http://dx.doi.org/10.1051/e3sconf/202123704030.

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By the concept of redesign, the embroidery insole fabric elements of Hongan in Eastern Hubei Province is extracted and applied, and the application research of diversified creative products is carried out. On the premise of inheritance and innovation, the regional characteristics and cultural connotation of Hongan embroidered insole in Eastern Hubei Province are analysed. By understanding the connotation of the elements of Hongan embroidered insole fabric, the composition characteristics of common embroidered insole fabric is grasped, and the traditional fabric themes of Hongan embroidered ins
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Li, Min, and Xiaoyan Zhang. "Research on the Application of Traditional Embroidery Technology in Modern Jewelry Creation." Journal of Arts and Humanities 6, no. 10 (October 23, 2017): 07. http://dx.doi.org/10.18533/journal.v6i10.1274.

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Tradition and modernity are the eternal topics of art, especially in the age of information.Efficient mechanical production methods to improve the traditional jewelry production process, which achieved the demand for mass production of jewelry.However, with the development of society and the progress of science and technology, many traditional arts and crafts are lost.From the traditional culture, this paper analyzes the work of embroidery jewelry by studying the traditional Chinese embroidery culture and technique, summarizes the traditional embroidery technology and modern jewelry design tec
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Lee, Yi-Chin, and Daniel Cardoso Llach. "Hybrid Embroidery: Exploring Interactive Fabrication in Handcrafts." Leonardo 53, no. 4 (July 2020): 429–33. http://dx.doi.org/10.1162/leon_a_01931.

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This paper presents Hybrid Embroidery, a framework for interactive fabrication that leverages computational methods to broaden the possibilities of the craft of embroidery. Combining embroidery techniques, generative design methods, computer vision and a computerized embroidery machine, we show how this framework elicits a variety of innovative fabrication experiences that emphasize open-ended exploration, improvisation and play. The paper documents this framework, a series of sample results, challenges and next steps. It further outlines some of its implications for supporting creative explor
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Setiyawati, Widya, and Renny Oktafia. "Analisis Pengembangan Usaha Kecil, Dan Menengah Pada Kesejahteraan Masyarakat Kampung Bordir Kecamatan Beji (Ditinjau Dari Maqashid Syariah)." Jurnal Ilmiah Ekonomi Islam 7, no. 1 (January 30, 2021): 1. http://dx.doi.org/10.29040/jiei.v7i1.1740.

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Kampung Embroidery, Beji Subdistrict, Pasuruan Regency is one of the districts of East Java that thinks about the welfare of the community through creative efforts and Pasuruan is also known to be many creative women who are active in earning a living. In a situation of limited job opportunities, it turns out that in the area of ​​Embroidery Village, there are many Home Industry border craftsmen.. MSMEs have an important role in the economy and business development in Indonesia. This research method uses descriptive qualitative research methods and interactive data analysis. The results show t
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Sulaeman, Maman, and Hasan Fahmi Kusnandar. "Integrated Marketing Communication Model in Shaping Brand Equity and Business Performance in the Creative Industries of Embroidery Sector." Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences 3, no. 4 (December 1, 2020): 3798–805. http://dx.doi.org/10.33258/birci.v3i4.1444.

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At this time, competition in the business world is getting tighter, no exception with the embroidery industry. In order to survive in the middle of the competition, they must have the right marketing communication strategy. Marketing communication plays a very important role for marketers. Without communication, consumers and society as a whole will not know the existence of products in the market. This research aims to analyze the integrated marketing communication model in shaping brand equity and business performance in the embroidery industry in Tasikmalaya Regency. The research method use
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Marlina, Lina, Maman Sulaeman, and A. Mundzir. "CONTRIBUTION OF VALUE ADDED HUMAN CAPITAL TO EMPLOYEE PRODUCTIVITY IN CRAFT CREATIVE INDUSTRY OF TASIKMALAYA." ECONOMICS & ACCOUNTING JOURNAL 1, no. 2 (June 22, 2018): 116. http://dx.doi.org/10.32493/eaj.v1i2.y2018.p116-128.

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The creative industry is the focus of government to boost economic growth in recent decades. Creative industry is the utilization of talent, ideas, and creativity in generating creativity and creative power of individuals. Craft creative industry (kriya) sub-sector as a typical product of Tasikmalaya become focus of the researcher. The population of workers in the creative industries is dominated by high school graduates. It's interesting to measure the added value and productivity. This study aims to measure the contribution and influence of value added human capital (VAHU) on emplyee product
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Susiani, Riris, and Ernawati Ernawati. "STRATEGI PRODUK BORDIR DI KAPALO KOTO, KOTO TANGAH SIMALANGGANG, KOTA PAYAKUMBUH (Studi Kasus di Usaha Bordir Limpapeh”s Kebaya)." Gorga : Jurnal Seni Rupa 8, no. 1 (July 2, 2019): 111. http://dx.doi.org/10.24114/gr.v8i1.12877.

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AbstrakMasalah dalam penelitian ini yaitu pentingnya strategi produk dalam menjalankan sebuah usaha agar mampu bertahan dan bersaing dengan perusahaan lain yang sejenis dalam kondisi persaingan yang ketat dan perkembangan zaman yang sangat cepat. Strategi produk sangat diperlukan dalam mememenuhi tuntutan konsumen seperti meningkatkan kualitas, menciptakan merek, pelayanan serta jaminan terhadap produk yang ditawarkan agar usaha mampu berkembang. Limpapeh”s Kebaya adalah usaha yang sedang berkembang dan telah mampu memasarkan produk bordirnya hingga menembus pasar ekspor. Penelitian ini bertuj
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Wood, Susan. "Women’s work or creative work? Embroidery in New South Wales high schools." History of Education 38, no. 6 (November 2009): 779–89. http://dx.doi.org/10.1080/00467600903325267.

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Dissertations / Theses on the topic "Creative embroidery"

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Wood, Susan, and s2000093@student rmit edu au. "Creative embroidery in New South Wales, 1960 - 1975." RMIT University. Architecture and Design, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20070206.160246.

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In the years between 1960 and 1975 in NSW there emerged a loosely connected network of women interested in modern or creative embroidery. The Embroiderers' Guild of NSW served as a focus for many of these women, providing opportunities for them to exhibit their work, and to engage in embroidery education as teachers or as learners. Others worked independently, exhibited in commercial galleries and endeavoured to establish reputations as professional artists. Some of these women were trained artists and wanted embroidery to be seen as 'art'; others were enthusiastic amateurs, engaged in embroid
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Furniss, Beverly. "Stitched in time: a progressive interpretation of embroidery." AUT University, 2009. http://hdl.handle.net/10292/947.

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This practice-based art and design project explores the potential use of contemporary materials and techniques in relation to extending aesthetic and structural possibilities of embroidery, with a focus on developing textile formations through the medium of ‘free stitch’ machine embroidery. Embroidery is often perceived by the non-enthusiast as a ‘granny craft’: an ‘old’ technique. Contemporary representations of embroidery suggest that new and innovative interpretations exist. Through investigation and experimentation with products, textiles and techniques, the embroidered artefacts that I ha
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Silva, Bruno Gabriel Passos. "Entre tramas e rendas: a construção de uma agenda política para o artesanato e a economia criativa em Alagoas." Universidade Federal de Alagoas, 2015. http://www.repositorio.ufal.br/handle/riufal/1400.

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According to recent data from the Brazilian Handicraft Program, Alagoas is the state that emerges with the largest number of registered artisans nationwide. Of this volume, 70% is represented by embroidery fillet, typical craft mode "of the lakes region", which stands as productive core maceioense the neighborhood of Pontal da Barra. With the institutionalization of the creative economy in Brazil crafts stands as one of the core creative industries of this new political-economic arrangement, fitting as an object of state policy under the Ministry of Culture. The playing field of the creative e
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Liu, Fang-Chun, and 劉芳君. "Creative Study of Applying Embroidery Craft in Graphic Design." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/26628738746579205798.

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碩士<br>雲林科技大學<br>視覺傳達設計系碩士班<br>96<br>Embroidery is a world-famous traditional art craft from the Chinese world. With the sophisticated skills of sewing thread through cloth and weave-fill stitch, it is seen as a valuable medium of creation and expressive method. Seeing that most of the design products are digital print and that the individualized, disntinctly handmade texture and the amateur’s craft are popular in recent years, I intend to apply embroidery in digital design. Through the refined skills of cloth and weave-fill stitch, I hope to tranmit different visual feels through the distilled
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Pan, chia yun, and 潘佳筠. "Simulated Nature : The Creative Thought of The Computerized Embroidery." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/09412713090832914841.

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碩士<br>國立臺南藝術大學<br>應用藝術研究所<br>101<br>The vegetation to the world like the air to the human being. The exhibition《Simulated Nature》was embedded from the pastoral life as a starting point, by the techniques of the Fiber Art. The vegetables are belong to the nature world, but I brought it indoor, and displayed those works in the exhibition room, hoped to convey the different sides of vegetables that people were unable to know, and to promote another way of thinking, maybe appreciation, admiration etc. The exhibition has two works, called《Vegetable circumstance》and《Greener》. The 《Vegetable circumst
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Lin, Cheng-Chen, and 林宬楨. "Development and Transformation of Traditional Industries - God ax Creative Boutique Embroidery as an Example." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/4z6y8a.

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碩士<br>國立虎尾科技大學<br>休閒遊憩研究所(多媒體組)<br>102<br>Taiwan began introducing embroidery in 1959, and the craft was an accumulation of experience and lifestyle of early Taiwanese people. Embroidery is thus a highly prized intangible cultural heritage. Embroidery depicts not just the craftsmanship and skill of the embroiderer, it is also a media that preserves the cultural and historical traces of the common people. These cultural elements can also be applied in the research and development of Cultural and Creative Industries. Puzi Township of Chiayi County used to be an important center of embroidery in
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Tzu-Su, Pan, and 潘子甦. "Section of Embroidery－Art Creation of Computer Embroidery." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/7cbdka.

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碩士<br>國立臺南藝術大學<br>應用藝術研究所<br>105<br>“Culture Inheritance” is a vital issue for modern aborigines. What should we do to get closer to tradition? What’s the real tradition? The word “Tradition” seems to have a standard answer, a certain image and is even unchangeable. These questions springs up after the author found some clues in life. The clues lie in tribal costumes, rituals and people. The activities and clothing that we are accustomed to and recognized as tradition actually went through the process of innovation and changes as well. However, when people are living at the moment, its existen
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Cope, Richenda. "Accumulations of (Not) Doing." 2021. https://scholarworks.umass.edu/masters_theses_2/1041.

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As I encounter life during a global pandemic, caused by a virus that has us all homebound, I continue my own struggle with a different virus that keeps me not only homebound, but bed bound as well. In this thesis project, I make my way around and through the questions of chronic illness, self-worth, productivity and a changing relationship to time that arise in this dual viral experience - situating the personal within a larger social/political context.
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Chen, Yun Hsuan, and 陳紜萱. "The Creation of Ribbon Embroidery Handbag - Plum Blossom Family." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/838swk.

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碩士<br>東方設計學院<br>文化創意設計研究所<br>101<br>This creation mainly aimed to build up a family of handbags featured with the plum blossom as cultural atmosphere, where it focuses on the image design to facilitate a kind of presentation full of cultural characteristics and meanings behind. Therefore I used ribbon as a material and Chinese embroidery to integrate into the handbags for outlines of brilliant images. I anticipate these cultural characteristics which are spreadable domestically thereafter are able to be the materials for the creations in symbolizing the handbags with the brand, Republic of C
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Chen, Shih-Hsuan, and 陳思璇. "“Sensory, Emotional and Memory of Mine”, the Creation of Embroidery Illustration Project." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/wy9a89.

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碩士<br>崑山科技大學<br>視覺傳達設計研究所<br>107<br>This study discusses the traces left in memory when getting along with people in the growing process, starting by narrating the doubt for self-existence, gradually deconstructing the personal affective state, and attempting to make physical and mental amendments through creation by analyzing the affective punctum in personal memory. The literature review focuses on the affective context and influence between “memory,” “tactile,” and “embroidery.” First is to discuss the importance of memory and affection on the physical and mental growth and the underst
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Books on the topic "Creative embroidery"

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Lindner, Michael. Creative embroidery. Twickenham: Hamlyn, 1985.

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Townsend, Marilyn. Australian creative machine embroidery. Port Melbourne, Vic: Lothian Books, 1991.

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Creative canvas couching. Midland, MI: Ann Strite-Kurz, 2005.

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The stitches of creative embroidery. West Chester, Pa: Schiffer Pub., 1987.

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Creative backstitch. Lewes: Guild of Master Craftsman, 2002.

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Creative machine embroidery: A practical sourcebook. London: Batsford, 2000.

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The creative sewing machine. London: Batsford, 1986.

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Creative crewel embroidery: Traditions and innovations. Asheville, NC: Lark Books, 1998.

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Kimura, Shizuko. My creative embroidery sketch in stitch. Japan: Shizo Kimura, 1997.

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Linduska, Karen. Creative uses for decorative stitches. Paducah, Kentucky: American Quilter's Society, 2012.

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Book chapters on the topic "Creative embroidery"

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Robertson, Seonaid M. "Needlework And Embroidery." In Creative Crafts in Education, 207–20. Routledge, 2019. http://dx.doi.org/10.4324/9780429401145-14.

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Madan, Arwah. "Innovation and Craft Revival." In Advances in Media, Entertainment, and the Arts, 376–93. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0504-4.ch017.

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Protecting and preserving the knowledge and skills of traditional crafts is a growing challenge. Further, ensuring a sustainable livelihood to artisans working in these traditional crafts is a tall order. Section one of the chapter explores the traditional tribal art form widely practised among a semi-nomadic tribe in the north-west region of India. Section two of the chapter examines the role of a not-for-profit organization involved in the revival of the ancient Lambani craft. Sabala- an organization located in one of the districts in Southern India has been working on the revival and preservation of Lambani embroidery. At Sabala, crafts are designed to enhance the creative appeal of products for the local and global market, as well. The integration of both, the creative design and the execution of craft in the hands of the artisans can ensure ingenuity in the craft form and not reduce the craft worker to a mere labourer.
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Lima, M. S., R. G. Noronha, and L. R. da Silva. "Marking embroidery in colors: The creative fashion process in AMAC, in São João dos Patos – MA." In Reverse Design, 349–55. CRC Press, 2018. http://dx.doi.org/10.1201/9780429428210-43.

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Fernandes, C., and A. C. Broega. "Creating a business model from the traditional to global fashion: Guimarães embroidery." In Challenges for Technology Innovation: An Agenda for the Future, 405–9. CRC Press, 2017. http://dx.doi.org/10.1201/9781315198101-71.

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Yaniv, Bracha. "Chapter Two Fabrics and Techniques." In Ceremonial Synagogue Textiles, translated by Yohai Goell, 41–84. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781906764180.003.0002.

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This chapter is devoted to the linen and silk fabrics used in the production of medieval ceremonial textiles, and the techniques employed to create the embroidered and woven patterns that embellished them. As we have already seen, the elegance of ceremonial textiles in antiquity is revealed in the use in early sources of the term ...
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Phillips, Sarah. "The pig in medieval iconography." In Pigs and Humans. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199207046.003.0032.

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Representations of the pig can be found in a wide variety of visual material worldwide, and throughout time. The term ‘pig’ is used here as a general term to cover all domestic and wild forms of Sus scrofa (where relevant and possible precise distinction between these forms will be specified). The images that exist, vary in terms of the form or shape of the pig, the representation of its characteristic features according to sex (male–boar vs female–sow), form (domestic or wild), age (adult pig or piglet), or physical characteristics (i.e. snout, tusks, tail, trotters, hair and hide coloration, razorback, and bristles). A visual appreciation of different living forms can be found in works such as Burnie (2001) or Buczacki (2002). This chapter is concerned with the creation and use of visual images of the pig. It offers a selection of materials dating in range from the medieval to the early modern period and will cite selected examples to represent continuity or change in the use of images where appropriate. The materials providing representations of the pig include (but are not exclusive to) illuminated manuscripts, prints and posters, engravings and drawings on either parchment or paper, canvas paintings, stained and painted glass, wood carvings, embroidery and textiles, stonework, moulded or cast metal, ceramic wares, and figurines. Exclusive porcine works discussing this iconography include those by Foster (1977), Ryba (1983), Brochier (1988), Bonera (1991), and Lawson (1995). In addition to depictions of pigs, functional and decorative and artistic uses were also found for the inedible body parts of real pigs such as the tusks appearing in visual cultural materials reflecting the precious value of the animal by some people. The main approach of this paper is thematic in order to emphasize how visual representations of the pig have had associations with filth, shame, lust, fantasy, care and consumption, inspiration, and human identity. Many assumptions have been made about the relative importance of the sources of inspiration drawn upon for the creation of particular images or motifs in the surviving media, and the availability of these to their creators (for a discussion on the practice of artistic transmission during the Middle Ages, see Scheller 1995).
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Conference papers on the topic "Creative embroidery"

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Spieler, Bernadette, and Vesna Krnjic. "Creative, Engaging, and Playful Making-Activities with Smartphones and Embroidery Machines." In FabLearn Europe / MakeEd 2021: FabLearn Europe / MakeEd 2021 - An International Conference on Computing, Design and Making in Education. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3466725.3466745.

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Han, Huili, Deshu Yu, Xuefeng Liu, and Tian Wen. "The Feasibility of Applying Qiang Embroidery Pattern Art in Wenchuan to Cultural and Creative Products." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.077.

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Liu, Zhexin. "Research on the Innovative Practice of Intangible Cultural Heritage Chaozhou Embroidery in Cultural and Creative Products." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.042.

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"Research on the Inheritance and Development of Qiang Embroidery Art under the Background of Cultural and Creative Industries." In 2018 International Conference on Culture, Literature, Arts & Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icclah.18.024.

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Lu Xiao-Yun. "Notice of Retraction: A decorative study on art symbols in miao embroidery in hunan and guizhou province of China." In 2009 IEEE 10th International Conference on Computer-Aided Industrial Design & Conceptual Design. E-Business, Creative Design, Manufacturing. (CAID&CD 2009). IEEE, 2009. http://dx.doi.org/10.1109/caidcd.2009.5375037.

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Arora, Tina, Tilak Dias, and Manuchehr Soleimani. "The Investigation of Using 3D Embroidery Technology for Creating Textile Scaffolds for Tissue Engineering." In ASME 4th Integrated Nanosystems Conference. ASMEDC, 2005. http://dx.doi.org/10.1115/nano2005-87043.

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The main objective of this paper is to develop a computer simulative model for designing textile scaffolds. Embroidery structure can be defined as a framework of yarns that are connected by stiff knots whose deformation will depend on the distribution of knots and on the stiffness of the yarn. Embroidery allows to build a highly architectured 3D structure to design pore patterns and other elements. The basic concept and some preliminary simulation results will be presented.
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Torii, Nobuhiro, Kosuke Oka, and Tadashige Ikeda. "Creation of smart composites using an embroidery machine." In SPIE Smart Structures and Materials + Nondestructive Evaluation and Health Monitoring, edited by Nakhiah C. Goulbourne. SPIE, 2016. http://dx.doi.org/10.1117/12.2219552.

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Fernandes, C., and A. Broega. "Creating a business model from the traditional to global fashion: Guimarães embroidery." In The International Conference on Sustainable Smart Manufacturing (S2M). Taylor & Francis Group, 6000 Broken Sound Parkway NW, Suite 300, Boca Raton, FL 33487-2742: CRC Press, 2017. http://dx.doi.org/10.1201/9781315198101-81.

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Gilliland, S., N. Komor, T. Starner, and C. Zeagler. "The Textile Interface Swatchbook: Creating graphical user interface-like widgets with conductive embroidery." In 2010 International Symposium on Wearable Computers (ISWC 2010). IEEE, 2010. http://dx.doi.org/10.1109/iswc.2010.5665876.

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Eichinger, George F., Kara Baumann, Thomas Martin, and Mark Jones. "Using a PCB Layout Tool to Create Embroidered Circuits." In 2007 11th IEEE International Symposium on Wearable Computers. IEEE, 2007. http://dx.doi.org/10.1109/iswc.2007.4373789.

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