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1
Levchenko, D. G., and A. G. Levchenko. "TEXTILE DESIGN IN THE STYLE OF OP-ART." Физика волокнистых материалов: структура, свойства, наукоемкие технологии и материалы (SMARTEX), no. 1 (2020): 321–23. http://dx.doi.org/10.47367/2413-6514_2020_1_321.
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Guo, Chuan. "Research on Rapid Detection Electrochemical Sensor-Assisted Textile Art Design." Journal of Sensors 2021 (September 23, 2021): 1–10. http://dx.doi.org/10.1155/2021/6573771.
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Electrochemical sensor is a detection means that integrates electrochemical analysis technology with sensor technology. In this paper, we analyze the superiority of electrochemical sensors and the achievements made by electrochemical sensors in other related fields and argue the great impact of electrochemical sensors on modern industrial production and people’s life; we present the unique application of electrochemical sensors in textile art and its supporting design with the development of electrochemical sensor-assisted textile art and its supporting design and analyze the current situation of textile art and development requiring technological innovation, rapid detection of electrochemical sensor-assisted design, and the corresponding improvement of the quality and quality of the design. Also, we focus on the combination of design and art, using the characteristics of electrochemical sensors, the artistic expression, and functional enhancement, focusing on the space supporting the artistic effect. In this paper, two fibers, PU and PU/PAN-SPA, were designed with the aid of electrochemical sensors for rapid detection and tested for their water absorption, moisture permeability, air permeability, and mechanical properties, all of which performed well and can be used as good materials for textile art design. The use of electrochemical sensors to assist in the design of suitable textile fiber materials according to artistic expression techniques can better stimulate the artist’s creative inspiration and release more contemporary artistic energy.
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Liu, Xian Jun. "Relevance and Application between Fractal Graphics and Fabric Defects Texture Design." Advanced Materials Research 821-822 (September 2013): 373–77. http://dx.doi.org/10.4028/www.scientific.net/amr.821-822.373.
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The art of fractal graphics features by modern scientific spirits and modern scientific knowledge, which is full of the magnetic creativity of intricacy, variable and exaggeration and can create the combination of the scientific world and the art world. Meanwhile, it can also make the rational designed medium has a magical infectivity on the textile fabric. In this paper, the study of relevance between the art design methods of fabric fractal graphics and defects texture makes the application room of the modern textile fabrics into the indoor soft environment and garment design field larger, whose results promote the development of the combination of the modern art and science. It is helpful to improve the new ways of the textile fabrics design and the aesthetic value.
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Jiamrungsan, Supamas. "The Ancient Technique of Weaving with the Contemporary Art." International Journal of Creative and Arts Studies 4, no. 1 (June 1, 2017): 13. http://dx.doi.org/10.24821/ijcas.v4i1.1951.
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This study is a qualitative research method. The purposes are firstly to trial production of Pha Yok Dok which is one of the local handicrafts, found in the north-eastern part of Thailand. It is the guidelines for handling core issues of the creation and must start from studying motif of design, focus on techniques the golden fabric is located at weaving with gold threads, called Yok Thong. Secondly, to improve the pattern of contemporary fabric are the synthesis of Yok Dok texti le design in making fabric. It is a complex process which requires highly skilled weavers. In researcher’s point of view, for weaving of each fabric-depending on the design and used for similar was weaving 1500 shaft/Ta-kor. Thirdly to invent textile art inspiration from Yok Dok textile design to create new works of art. The results showed that the fabric weave of the operation weave structure on motifs of Yok Dok textile design. This is an outstanding special technique. The contemporary new fabric pattern can be operated by opening and closing of the warp yarn on a draw frame. The new pattern design and process of Yok Dok textile design by fabric weave selection. It is a supplementary weft technique that is the process a nd design which is the first method of fabric craft practice use for the manual textile art inspiration from Yok Dok textile design to those who is the weaver. Textile weaving process by adding a special fabric pattern these characteristics come from the roots and identity of steps and methods of natural fabric cultivation. It is completed by delicate skill of weaving alternatives for creating a product and to serve as a guideline for further research. This handicraft highlights the significance continuation and bridge the relationship between classic fabric contemporary. Art to humanity from the ancient world until the present day. In summary the researchers plan to design and c ontemporary Yok Dok, a synthesis between classical the golden fabric of the Royal cord of Rattanakosin period and the contemporary Thai litterateur work which telling design.
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Danylenko, Lesya. "Op-Art in the British Graphic Design of the 1960s–1970s. Fashion And Graphic Design." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 38–48. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235125.
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The article reveals the characteristic manifestations of the op-art style in British fashion on the examples of textile companies and individual designers, as well asin graphic design based on the analysis of printed products of British publications in the 1970s. It is claimed that the visual experiments of the op-art in the field of British fashion were most fully revealed in the activities of the textile companies "Heals", "Hull Traders" and "Edinburgh Weavers" and in the work of designer Mary Quant. And in graphic design — in the book covers of the popular science series "Pelican Books".
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Feng, Bin, Hai Lian Deng, and Li Ping Yang. "Analysis of Computer-Aided Design Software Used in Home Textiles of Digital Design." Applied Mechanics and Materials 751 (April 2015): 293–97. http://dx.doi.org/10.4028/www.scientific.net/amm.751.293.
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This paper will discuss computer-aided design software use in textile design, from the development of computer-aided design applications and home textiles design, software is the core of computer-aided design in textile design, graphic combined with three-dimensional software, building the systematic of home textiles design and computer-aided design to enhance the artistic beauty of textile design. Secondly, introduce the two-dimensional and three-dimensional software application in fabric pattern and textile design. We can see the convenience of computer-aided design, which combines technology and art in one. And from the comparison of plane and solid software, both proposed to build a systematic mutual, for textile design, which is based on the performance requirements and the effect of artistic design, and the theoretical analysis of consumer purchase intention and behavior; and discussing from the beauty of color、 formal and spatial three aspects of computer-aided design to enhance the artistic beauty of textile design.
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Zarembo, Liene. "ART DECO STYLE’S FEATURES IN THE TEXTILE WORKS OF DESIGNERS SONIA DELAUNAY AND PAUL POIRET." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 25, 2018): 530. http://dx.doi.org/10.17770/sie2018vol1.3388.
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Art Deco is an artistic term that stands for an elegant eclectic design style dating back to the 1920s. Style has affected virtually all industries, including architecture, fine arts, applied arts, interior design, industrial design, fashion and jewellery, as well as painting, graphics and cinema. Art Deco architecture and arts expanded on other movements - Constructivism, Cubism, Modernism, Bauhaus, and Futurism. Principles of Constructivism and Cubism are also used in contemporary textile patchwork and quilt. The aim of the paper: exploration of the features of Art Deco style in the textile works of 20th century designers - Sonia Delaunay and Paul Poiret. The methods of the research: exploration of theoretical literature and Internet resources, the experience of reflection.The research emphasizes Sonja Delaunay’s particular importance of textile works in the development of contemporary quilt in the 21st century.
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Rusu, Alexandra-Andreea. "Revitalizing Ancient Technologies and Advancing an Ethical Design in Textile Art Education." Procedia - Social and Behavioral Sciences 51 (2012): 1061–65. http://dx.doi.org/10.1016/j.sbspro.2012.08.288.
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Wang, Chong Lan, Wei Ping Hu, and Xiao Ping Yang. "Analysis of the Textile Materials and Art Forms of Minorities in Yunnan." Advanced Materials Research 739 (August 2013): 777–80. http://dx.doi.org/10.4028/www.scientific.net/amr.739.777.
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The minorities in Yunnan are quite skilled at weaving and embroidering techniques, and they boast the unique materials and special textile art form. With the plant material resources in Yunnan, they are able to create numerous kinds of patterns and drawings on the textile fabric, surrounded by the local rural flavor and intense ethnic characteristics. However, with the social and economic development, together with the opening to the outside world, this ethnic textile activity which reserves much of the primitive style and national characteristics has shrunk and stalled at this moment, turning into the modern manufacturing of commercialization. It is a necessity for the textile art design to embody distinctive nationality and local characteristics before opening to the world. At present, it is of great value to study the textile materials and art forms of the minorities in depth and figure out the whole process from the acquisition and preliminary processing of textile raw material to spinning, weaving, printing and dyeing.
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NG, Frankie M. C., and Jiu ZHOU. "Digital Jacquard Textile Design In A Colorless Mode." Research Journal of Textile and Apparel 10, no. 2 (May 1, 2006): 36–42. http://dx.doi.org/10.1108/rjta-10-02-2006-b005.
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Jacquard fabric is regarded as a “high-grade” textile, having intricate, interesting color and texture, and digital image design is the latest technique of computer art in the design field. Merging the design features of jacquard fabrics and digital image, this study was carried out to investigate digital jacquard fabric design in a colorless mode, which is one of the main modes of digital image design; another is that of a colorful mode. In this paper, the design principles and design methods for unconventional digital jacquard fabric design in a colorless mode were analyzed critically based on the application of digital technologies, and in particular, the digital color theory so that with tailor-made structural design, any colorless digital images with certain grays can be designed to form jacquard fabrics directly. The results of this study bring about an innovative design concept in jacquard fabrics and have a significant influence on the future development of jacquard textiles.
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Ding, Ding, Fan Zhang, Si Lan, Yu Yao Liu, Si Xuan Li, Xiao Han Xie, and Yi Ching Chen. "Review of Materials for Origami in Fashion Design." Advanced Materials Research 821-822 (September 2013): 790–93. http://dx.doi.org/10.4028/www.scientific.net/amr.821-822.790.
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With the development of textile engineering, different choices of materials and fabrics for origami art have now become possible, however the variety situates origami designers in an issue of materials selection. This paper reviews current materials for origami and described the characteristics of optimal fabrics.
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Zhang, Jun Hua. "The Historical Origin between Shandong Folk Art and Modern Fashion Design." Advanced Materials Research 1048 (October 2014): 250–53. http://dx.doi.org/10.4028/www.scientific.net/amr.1048.250.
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Shandong folk art, full of artistic connotation, has a long history, which is an important source of fashion design. This article makes an analysis of the specific application and embodiment about the Shandong folk art elements in modern fashion design fabrics, styles, colors from the Shandong traditional paper-cut art, ceramics, painting, textile technology and fashion design style, and so on. At last, it puts forward the viewpoint of drawing lessons from the traditional folk art the creation of humanity, design pattern and heritage enrichment in the modern fashion design.
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Sitotaw, Dereje Berihun, Dustin Ahrendt, Yordan Kyosev, and Abera Kechi Kabish. "Additive Manufacturing and Textiles—State-of-the-Art." Applied Sciences 10, no. 15 (July 22, 2020): 5033. http://dx.doi.org/10.3390/app10155033.
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The application of additive manufacturing, well known as 3D printing, in textile industry is not more totally new. It allows is giving significant increase of the product variety, production stages reduction, widens the application areas of textiles, customization of design and properties of products according to the type of applications requirement. This paper presents a review of the current state-of-the-art, related to complete process of additive manufacturing. Beginning with the design tools, the classical machinery building computer-aided design (CAD) software, the novel non-uniform rational B-spline (NURBS) based software and parametric created models are reported. Short overview of the materials demonstrates that in this area few thermoplastic materials become standards and currently a lot of research for the application of new materials is going. Three types of 3D printing, depending on the relation to textiles, are identified and reported from the literature—3D printing on textiles, 3D printing of flexible structures and 3D printing with flexible materials. Several applications with all these methods are reported and finally the main advantages and disadvantages of the 3D printing in relation to textile industry are given.
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Li, Ming Juan. "On the Discussion of Abstract Form and Art Empathy of the Ramie Materials in Modern Fiber Art." Applied Mechanics and Materials 644-650 (September 2014): 4844–47. http://dx.doi.org/10.4028/www.scientific.net/amm.644-650.4844.
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form and Art Empathy of the Ramie Materials in Modern Fiber ArtLi Mingjuan,FangZhi Road, Wuhan City, Hubei Province, China, Art and Design College of Wuhan Textile University78207664@QQ.comKeywords: Modern fiber art, Ramie fiber, Abstract form, Empathy manifestationAbstract. Fiber art is both a traditional art and modern art, while the material is the first language for fiber art,since the material is the basis of fiber art, which is also the carrier of fiber art and the external materialized result of fiber language.With the development of modern fiber materials are becoming increasingly rich, the new materials bring the fiber art new opportunities for its development. This paper is based on the importance of the materials on fiber art, taking it as the cutting point, using the double-sided description of ramie fiber material, discussing the performance of empathy and abstract form of ramie fiber material, so as to provide references for the creation of textile fiber art .
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Kasapseçkin, Mustafa Adil, and Damla Altuncu. "Innovative Materials in Interior Design: Organic Light Emitting Textiles (Oleds)." Advanced Materials Research 689 (May 2013): 254–59. http://dx.doi.org/10.4028/www.scientific.net/amr.689.254.
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Most of us recognize the textile materials fromthe clothing or home textiles that we have used in daily life. As the usageareas of the textile materials are not limited to these, these materials areused in almost everywhere from the diapers to the nylon fiber, from the healthproducts in the hospitals to the architectural covers. Especially most textilematerials used in interior design are directly related to the areas such asdesign, art, technology and architecture. The textile sector which has directrelations with many developing areas develops in parallel to the today’sadvanced technology. Together with this development, due to the competitiveattitudes of the firms and the developed technology, the importance given tothe usage of the innovative materials in the today’s interior spaces hasincreased. One of the innovative materials developed is organic light emittingtextiles (OLED). Due to the light emitting textiles that will ensure us to lookat the textile materials from a new angle in interior design, it is expectedthat the interior design understanding will change. In this article, theorganic light emitting textiles are examined and it is aimed to discuss theirusage areas, advantages and disadvantages in interior design.
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Zhang, Xin Ke. "Innovative Application of Chinese Traditional Modeling Elements to Design of Modern Home Textile Products." Advanced Materials Research 308-310 (August 2011): 419–23. http://dx.doi.org/10.4028/www.scientific.net/amr.308-310.419.
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Based on the styling elements of Chinese imperial costume，the characteristics and cultural connotation of blue and white porcelain in the dynasty of Yuan, Ming and Qing and auspicious patterns among the people as well as the traditional paper-cutting art. The paper analyzes the traditional colors and graphic elements by the decomposed and reconstructed of modern graphic designing method, expounds and demonstrates the innovative application of traditional colors and graphic elements in modern home textile design, and then further realizes the Chinese artistic style of home textile design.
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Gupta, Mohini, and Swati Gangwar. "ADAPTATION OF DESIGNS FOR TEXTILE PRODUCTS INSPIRED FROM MADHUBANI PAINTING." International Journal of Research -GRANTHAALAYAH 4, no. 5 (May 31, 2016): 115–25. http://dx.doi.org/10.29121/granthaalayah.v4.i5.2016.2687.
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Madhubani art of the Bihar state has been undergoing transition where its application in original composition has been declined owing to social and economic changes now-a-days. There is need to explore possibilities for the conservation of this art form viz other artistic media for future generations. The reason for using traditional motifs in textiles is to keep our designs or motifs alive. The Indian folk arts with painting play important role in creating new designs. Escalating demands of consumers requires modification in the fashion industry with respect to design, colour, style and technique. So in an effort to add another dimension in the application of Madhubani designs on textiles, the present study was planned. The effort was targeted towards finding the possibility of applying Madhubani designs on textile articles utilizing the hand painting. Madhubani motifs/designs were adapted for center design and border design. Total thirty six motifs / designs were developed keeping in mind their suitability for articles like cushion cover, folder and table cloth. Developed design sheets were subjected to visual evaluation for selection of one best design in each category by the panel of thirty respondents to find out the suitability of the developed designs for hand painting. Finally three articles were prepared by using selected designs and these prepared articles were highly appreciated by the respondents.
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Garbacz, Kamil, Lars Stagun, Sigrid Rotzler, Markus Semenec, and Malte von Krshiwoblozki. "Modular E-Textile Toolkit for Prototyping and Manufacturing." Proceedings 68, no. 1 (January 6, 2021): 5. http://dx.doi.org/10.3390/proceedings2021068005.
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We present a novel E-textiles toolkit that can be used in the rapid prototyping of electronic textiles during the research and evaluation phase. The modular, Arduino-compatible toolkit incorporates various sensors and control and communication modules. The needs of fashion professionals have been considered during the conception of the toolkit, which was developed in close cooperation with partners from textile research institutes, the textile industry, art schools and design. After the initial manual prototyping, the toolkit modules can be directly transferred to reliable industrial integration using advanced machinery. To achieve this, we developed the E-textile Bonder, a machine capable of mechanically and electrically connecting modules to textiles with integrated conductors. This paper gives an overview of the toolkit as well as the design considerations discussed and implemented during the cooperation with textile industry stakeholders. Furthermore, the integration process with the E-Textile Bonder is described, and its advantages over other technologies are discussed.
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Pidun, Kevin, and Michael Schulze. "Designed Textile Reinforced Concrete Elements for Architectural Facade Applications." Applied Mechanics and Materials 719-720 (January 2015): 171–76. http://dx.doi.org/10.4028/www.scientific.net/amm.719-720.171.
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By now the application of Textile Reinforced Concrete (TRC) for facade constructions can be considered as state of the art. Especially ventilated curtain walls made of TRC and sandwich elements made in combination of TRC-layers and foam cores recently are realized in pilot projects, which are predominantly located in Aachen, Germany. Textile reinforced concrete elements for architectural facade applications give new chances for architects and engineers design.
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Ahrendt, Dustin, and Arturo Romero Karam. "Development of a computer-aided engineering–supported process for the manufacturing of customized orthopaedic devices by three-dimensional printing onto textile surfaces." Journal of Engineered Fibers and Fabrics 15 (January 2020): 155892502091762. http://dx.doi.org/10.1177/1558925020917627.
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Today, additive manufacturing, also called three-dimensional printing, is used for producing prototypes as well as other products for various industrial sectors. Although this technology is already well established in the automotive, aviation and space travel, building, dental and medical sectors, its integration in the textile and ready-made industry is still in progress. At present, there is a lack of specific application scenarios for the combination of three-dimensional printing and textile materials, apart from fashion and shoe design. Hence, this article presents a digital computer-aided engineering–supported process to manufacture customized orthopaedic devices by three-dimensional printing directly onto a textile fabric. State-of-the-art fabrication methods for orthoses are typically labour intensive. The combination of three-dimensional scanning, computer-aided design modelling and three-dimensional printing onto textile materials open up new possibilities for producing custom-made products. After three-dimensional scanning of a patient’s individual body shape, the surface is prepared for constructing the textile pattern cuts by reverse engineering. The transformation of the designed three-dimensional patterns into two-dimensional is software supported. Additional positioning lines in accordance with specific body measurements are transferred onto the two-dimensional pattern cuts, which are then used as the basis for the design of the three-dimensional printed functional elements. Subsequently, the design is saved in STL (Standard Triangulation/Tessellation Language) file format, prepared by slicing and directly printed onto textile pattern cuts by means of fused deposition modelling. The last manufacturing step involves the assembly of the textile fabric. The proposed process is demonstrated by an example application scenario, thus proving its potential for industrial use in the textile and ready-made industry.
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Lakshmi, Challa, and Manisha Gahlot. "The Quintessential Naqqashi Nirmal Painting Art of Telangana: Source of Inspiration for Innovative Textile Design Ideas." International Journal of Current Microbiology and Applied Sciences 9, no. 8 (August 10, 2020): 803–14. http://dx.doi.org/10.20546/ijcmas.2020.908.086.
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Abodunrin, Johnson Adelani. "Training in Nigerian art schools: a critique of gender distribution." Harmonia: Journal of Arts Research and Education 17, no. 2 (December 24, 2017): 105. http://dx.doi.org/10.15294/harmonia.v17i2.9826.
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<p>Training is indispensable in all facets of life in order to further knowledge and skills irrespective of gender difference, yet this disparity has become a phenomenon in artistic practice in Nigeria. The study aimed at examining art training in relation to gender distribution into various areas of specialization in art schools in Nigeria. There has been a gender imbalance in various areas of specialization which has left certain areas for male and female. Data for this study were collected in art School in Southwestern Nigeria between 2011/2012 to 2014/2015 academic sessions using archival materials to know the gender affinities. The university selected as sample size within the geographical scope of the study is Ladoke Akintola University of Technology, Ogbomoso. The selection was based on the orientation of their training and admission criteria which differs tremendously. Descriptive analysis was adopted to know the gender affiliation in the practice. Finding reveals that the total enrollments of students are more of females (55.8%) than male (45.2%) are admitted to study art. The result has also shown that more female (93.3%) specializes in textile while more male (84%) students are in sculpture. This perhaps could be attributed to the nature and the demands of each area of specialization. Textile design attracts more female artist because of; the socio-cultural affiliation of the discipline, interest in fashion; the readily available market for textile wares across all social class and the less demand on draughtsmanship skills as compared to other forms of arts.</p>
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Jaramillo, George, and Lynne Mennie. "Aural Textiles: From listening to pattern making." Journal of Illustration 6, no. 1 (August 1, 2019): 161–82. http://dx.doi.org/10.1386/jill_00009_1.
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Textile patterns, whether printed, knitted, woven or embroidered, tend to be inspired by and created in response to the visual environment. The soundscape is a significant component of the embodied multisensory landscape ‐ from the buzz of fluorescent tube lights in an office to the intermittent roar of water flowing in a river; no space is ever silent (Schafer 1994). Attunement to environmental soundscape provides inspiration in music, art and, in this case, the creation of textile patterns, challenging the visual bias of pattern creation. In this ongoing study, the audio sources from bird song to horses galloping are visualized into spectrograms forming contemporary landscape-inspired textile patterns. Spectrograms are a type of visualization of an audio spectrum where the intensity and multiple frequencies are displayed across time, rather than simply the pitch and amplitude of the sound source. These spectrograms are then transformed into textile patterns through the interaction between a maker's existing skill set and digital software. By sharing this process with a group of textile practitioners, this sound-to-visual approach forms the foundation of a co-created textile pattern design. In this way, the process of soundscape-inspired design challenges the visual bias of existing textile patterns, contributing to the sensory ethnography of the contemporary landscape. Here we explore key insights that emerged from the project ‐ experimenting, collaborating and disrupting ‐ through the imagery of process and pattern making, as well as, through the narratives and reflections of the practitioners, presenting a collective visual encounter. In the end, the project opens dialogues to collaboratively understand and relate to the local soundscape as a source of inspiration for pattern making, and begins to formalize a design narrative based on the non-visual environment.
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JASMINKA, KONČIĆ, and ŠČAPEC JOSIPA. "3D print additive technology as a form of textile material substitute in clothing design – interdisciplinary approach in designing corsets and fashion accessories." Industria Textila 69, no. 03 (July 1, 2018): 190–96. http://dx.doi.org/10.35530/it.069.03.1430.
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This research paper enquires into the application of 3D print additive technology in fashion design. The research aims to find the design options for garments by substituting the textile material with new technological solutions. The focus of the paper is the interdisciplinary research of innovative corset and fashion accessories designs made using 3D print additive technologies. The main focus of the work is the interdisciplinary process of creating clothes ranging from preliminary sketches to prototypes within three different areas: contemporary art, fashion design and additive technology.
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Kondrashova, Anastasia S. "Aesthetics of Expediency, Identity and Chaos in Design." ICONI, no. 2 (2021): 48–58. http://dx.doi.org/10.33779/2658-4824.2021.2.048-058.
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The article touches on various areas through which the concept of design, its theoretical and practical components can be examined, what is the designer’s thinking from the point of view of philosophy and aesthetics by the example of the real creative life of famous artistic and aesthetic fi gures. Identity, chaos, expediency — those are the defi ning terms, whose subtleties are based on the scholarly works of Vladimir F. Sidorenko (Professor of the Moscow Textile Academy, member of the Artists’ Union, member of the Designers’ Union, Doctor of Art History, Laureate of the State Prize in Literature and Art). The article discloses the features of the aesthetics of expediency, the application of the abbreviation of this term. The time period from the 1920 to the 1880 of the last century suffi ces for explaining the foundations of the aesthetics of expediency, since it is during this time period that we can observe a surge of the most striking movements in art which infl uenced the design style. The world of design and the people of the design culture in it, imitation of nature and retreating from it — all of this is, undoubtedly, relevant for our time. In the decade of the 2020s, when many trends in art are arriving at a dead end, and sometimes even to their logical conclusion, it is important to go one century back, to the sources, to learn from the experience of our predecessors in the artistic fi eld. It is useful for contemporary artists to study what the contemporaries of the past years arrived at earlier in order to achieve their artistic success and remain in the history of design for all times.
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Reimann, Daniela. "Shaping Interactive Media with the Sewing Machine." International Journal of Art, Culture and Design Technologies 1, no. 1 (January 2011): 12–21. http://dx.doi.org/10.4018/ijacdt.2011010102.
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In the context of converging media technologies, the concept of mobile media embedded in wearable material was introduced. Wearable Computing, Fashionable Technology, and Smart Textile are being developed at the intersection of media, art, design, computer science, and engineering. However, in Germany, little research has been undertaken into Smart Textile in education1. Those activities are not realized at school in the context of artistic processes in general MINT2 education in classroom settings. In order to research the interplay of electronic textiles and wearable technology, hard and software tools, such as Arduino LilyPad, a programmable board designed for stitching into clothing and flexible applications are scrutinized. In the project, contemporary media art projects in the field of Fashionable Technology are explored to inspire interdisciplinary technology education. The project described in this paper engages girls in technology and engineering by integrating artistic processes as well as a more playcentric approach to technology and engineering education.
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Kumar, Mukund. "THE ANCIENT ROLE OF COLORS IN TEXTILE ADORNMENT." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3575.
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Color is the base of textile design (ornamentation). The selection of color materials (kalamedhas) and their application techniques, depending on the text, is based on the artist's personal vision and experience. Colors have a profound effect on a person's feelings. By studying these aspects, pigment is successfully used according to the variety of fabrics.The art of textile dyeing is very ancient. Many such evidences are found in India in which humans had knowledge about textile weaving and textile dyeing.
रंग वस्त्र आकल्पन (अलंकरण) का मूलाधार है। वस्त्र्ा के अनुरूप रंग द्रव्य¨ं ;कलमेद्ध का चयन और उनके प्रय¨ग की तकनीक, कलाकार अथवा रंगरेज के निजी दृष्टिक¨ण एवं उनके अनुभव पर आधारित ह¨ती है। रंग¨ं का, व्यक्ति की मन¨भावनाअ¨ं पर गहरा प्रभाव पड़ता है। इन्हीं पहलुअ¨ं का अध्ययन करके वस्त्र्ा¨ं के विविध प्रकार के अनुसार रंगद्रव्य का सफलतापूर्वक प्रय¨ग किया जाता है।वस्त्र्ा रंगाई की कला अतिप्राचीन है। भारतवर्ष में कई ऐसे प्रमाण मिलते हैं जिनमें वस्त्र्ा बुनाई एवं वस्त्र्ा-रंगाई के विषय में ईसा पूर्व एवं उत्तरार्ध में मनुष्य¨ं क¨ ज्ञान था।
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Hunt, Kevin, Anna Piper, and Georgie Worker. "The importance of sensorial empathy and the language of touch when crafting textiles for people who are visually impaired." Craft Research 11, no. 1 (March 1, 2020): 57–77. http://dx.doi.org/10.1386/crre_00015_1.
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Abstract This article reflects upon a pilot project crafting textile samples/prototypes for people who are visually impaired. It explores the role that sensorial empathy and further understanding of the language of touch play in the textile crafting process for makers working with people who are visually impaired, and that aesthetic and experiential textiles (while important to all) are especially important to people who are visually impaired. The project undertakes craft research in an area that is generally overlooked by textile designers. The makers/participants were sighted second-year undergraduate textile design students at Nottingham Trent University and the end users, who acted as informants, were service users at My Sight Nottinghamshire (a charity in the United Kingdom addressing visual impairment). The project is situated within human-centred design, with a focus on physically intuitive designs crafted for people with visual impairments. The application and usage of the samples/prototypes are aimed at inclusivity, with engagement centred primarily around haptic touch, and so looking at the textiles may not reveal their potential application, which becomes more apparent through physical engagement. The project was inspired by work within sensory studies, including the concept of sensorial empathy, and research relating to the language of touch through tactile encounters with art objects from a visually impaired perspective. The methods used in the project drew upon empathic design processes, which were informed by sensory ethnography ‐ particularly 'emplacement' and the holistic consideration of mind, body and place ‐ and selected aspects of social haptics, particularly 'environmental description'. Recommendations include further development of the language of touch to support textile craft when working with people who are visually impaired and further consideration of 'grounding' as a concept regularly described by the informants.
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Malucelli, Giulio. "Biomacromolecules and Bio-Sourced Products for the Design of Flame Retarded Fabrics: Current State of the Art and Future Perspectives." Molecules 24, no. 20 (October 20, 2019): 3774. http://dx.doi.org/10.3390/molecules24203774.
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The search for possible alternatives to traditional flame retardants (FRs) is pushing the academic and industrial communities towards the design of new products that exhibit low environmental impact and toxicity, notwithstanding high performances, when put in contact with a flame or exposed to an irradiative heat flux. In this context, in the last five to ten years, the suitability and effectiveness of some biomacromolecules and bio-sourced products with a specific chemical structure and composition as effective flame retardants for natural or synthetic textiles has been thoroughly explored at the lab-scale level. In particular, different proteins (such as whey proteins, caseins, and hydrophobins), nucleic acids and extracts from natural sources, even wastes and crops, have been selected and exploited for designing flame retardant finishing treatments for several fibers and fabrics. It was found that these biomacromolecules and bio-sourced products, which usually bear key elements (i.e., nitrogen, phosphorus, and sulphur) can be easily applied to textiles using standard impregnation/exhaustion methods or even the layer-by-layer technique; moreover, these “green” products are mostly responsible for the formation of a stable protective char (i.e., a carbonaceous residue), as a result of the exposure of the textile substrate to a heat flux or a flame. This review is aimed at summarizing the development and the recent progress concerning the utilization of biomacromolecules/bio-sourced products as effective flame retardants for different textile materials. Furthermore, the existing drawbacks and limitations of the proposed finishing approaches as well as some possible further advances will be considered.
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Gaitán, Mar, Cristina Portalés, Javier Sevilla, and Ester Alba. "Applying Axial Symmetries to Historical Silk Fabrics: SILKNOW’s Virtual Loom." Symmetry 12, no. 5 (May 5, 2020): 742. http://dx.doi.org/10.3390/sym12050742.
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Symmetry is part of textile art in patterns and motifs that decorate fabrics, which are made by the interlacement of warp and wefts. Moreover, the 3D representation of fabrics have already been studied by some authors; however, they have not specifically dealt with preserving historical weaving techniques. In this paper, we present the SILKNOW’s Virtual Loom, a tool intended to document, preserve and reproduce silk historical weaving techniques from the 15th to the 19th centuries. We focus on the symmetry function and its contribution to art history, textile conservation, and modern design. We analyzed 2028 records from Garin 1820 datasets—a historical industry that still weaves with these techniques—and we reconstructed some historical designs that presented different types of defects. For those images (including fabrics and drawings) that had a symmetrical axis, we applied the symmetry functionality allowing to reconstruct missing parts. Thanks to these results, we were able to verify the usefulness of the Virtual Loom for conservation, analysis and new interpretative advantages, thanks to symmetry analysis applied to historical fabrics.
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Melnyk, Liudmyla, Olena Kyzymchuk, and Liudmyla Zubkova. "Ukrainian Folk Ornaments in Modern Knitting." TEKSTILEC 64, no. 2 (March 27, 2021): 84–95. http://dx.doi.org/10.14502/tekstilec2021.64.84-95.
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National arts and crafts are not only the skills of an individual nation but an ethnic phenomenon that has unique features and serves as a source of information on national history and culture. Decorative and applied art in Ukraine combines the traditions and techniques of manufacturing and decoration, which have been developed and passed down from generation to generation. It has a clear national identity and numerous regional differ¬ences in ornamental motifs, compositions and favourite colours. Therefore, the Ukrainian folk art has a significant potential and is a source of ideas in creating modern clothing as well as interior items. Embroidery as a way of creating ornamental motifs on a textile material using various techniques is a common process for decorating clothes and interiors for the Ukrainians. Today, ornamental compositions of embroidered folk textiles could be transmitted into modern clothes using various technologies. However, the use of a knitting machine allows creating a pattern during the item production. The ornament transformation into a pattern for knitting can be carried out with graphic software by creating a grid with a cell size similar to the loop size of a knitted structure for corresponding interlooping. A number of clothing and interior items with ethnic motifs was created using the capabilities of flat knitting machines within the masters programme “Knitting Technology and Design” at the Textile Technology and Design Department of the Kyiv National University of Technologies and Design.
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Furferi, Rocco, Franco Mantellassi, and Yary Volpe. "Design and Manufacturing of an Innovative Triple-Layer Thermo-Insulated Fabric." Applied Sciences 10, no. 2 (January 18, 2020): 680. http://dx.doi.org/10.3390/app10020680.
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Materials used for creating fabrics featuring insulation and thermoregulation are typically made of multi-layer materials consisting of two outer layers and inner padding, traditionally made from goose or duck feathers or even with synthetic materials. In this context, the development of a fabric in which the insulation is carried out directly thanks to the structure of its weave, i.e., where the thermoregulation function is entrusted to one of the yarns (suitably volumized to reduce its density and trap the air) may be an important improvement compared to the state of the art. Accordingly, the present work describes the development of a new kind of triple-layer thermo-insulated innovative fabric (named T4Innovation), in which the thermal insulation is not obtained by means of a padding but rather through the use of appropriate volumized yarns, able to ensure thermal insulation in a reduced thickness. This fabric is manufactured in a single weaving phase, greatly facilitating the subsequent operations of the garment maker. The designed and manufactured fabric was extensively tested to assess its performance. The test demonstrated the effectiveness of such a new class of textile product in terms of thermal performance, which is comparable to the ones of a padded material. Since T4Innovation demonstrates aesthetic properties very close to that of traditional unpadded fabrics, its future commercialization could open new horizons in terms of design, fashion, and style, which are cornerstones of the fashion textile industry.
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Turlyun, L. N., and N. V. Frantseva. "TEXTILE ORNAMENT. EVOLUTION FROM BLOCK PRINTING TO COMPUTER TECHNOLOGIES." Arts education and science 1, no. 1 (2021): 157–63. http://dx.doi.org/10.36871/hon.202101018.
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The article is devoted to technologies of pattern printing on fabric. It provides a historical overview of the development of printing techniques, examines the main stages of this process in terms of technology innovation and evolution of technical means. It also systematizes the information available in the literature about traditional methods and new technologies for pattern printing on textile, technical means for implementing these technologies. Such concepts as block printing, manner, machine printing, flat and roll printing, direct printing, transfer printing, digital printing, photo printing are revealed. The authors also touch upon the history of the art of handicraft printing in Russia, emphasizing that the first Russian masters to apply images on fabric were icon painters, who decorated church interiors with ornamental patterns and created drawings for handwritten books. It is noted that mechanization became an important stage in the development of Russian textile industry, which significantly increased the speed of fabric production and its artistic design. The article reviews the main types of modern fabric printing techniques, as well as graphic editors for creating patterns and drawings. Advantages and disadvantages of modern digital technologies on textile are discovered.
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Pidun, Kevin, and Thomas Gries. "Shaped Textile Reinforcement Elements for Concrete Components." Advanced Materials Research 747 (August 2013): 415–19. http://dx.doi.org/10.4028/www.scientific.net/amr.747.415.
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By now the application of Textile Reinforced Concrete (TRC) for facade constructions can be considered as state of the art. Especially ventilated curtain walls made of TRC and sandwich elements made in combination of TRC-layers and foam cores recently are realized in pilot projects which are predominantly located in Aachen, Germany. The Life funded Insu-Shell façade of the Institute fuer Textiltechnik (ITA) of RWTH Aachen University gives an example of such a pilot project. Furthermore, a pedestrian bridge has been built in Albstadt, Germany. The enormous potential of TRC-applications is shown in these practical projects. All projects have been completed successfully and present good results in terms of the surface quality, the design freedom, the wall thinness and the ecological performance. A networked process chain was aimed at and approached and finally implemented. Apart from this, all these projects incorporating impregnated textile reinforcements reveal unanswered questions regarding production of shaped reinforcement elements, their ability to bear loads and their durability. Particularly the transformation of a 2D-warp-knit fabric to a reinforcement element (textile reinforcement cage) is a challenge, which needs to be addressed further. Since the beginning of 2012 a new transfer project called Shaped textile reinforcement elements for concrete components (T08) within the framework of the Collaborative Research Center 532 `Textile Reinforced Concrete - Development of a new technology` is funded. That challenge is to be solved in the T08 project in cooperation with Institutes from the RWTH Aachen University and industry partners led by the Institute of Structural Concrete of RWTH Aachen University.
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Mannini, Lucia. "Fides Testi’s Use of the Airbrush in Italian Art Textiles in the 1930s." Arts 7, no. 4 (November 30, 2018): 96. http://dx.doi.org/10.3390/arts7040096.
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The Modernist aesthetic, which spread all over Europe and in the United States in the 1920s and 1930s, found the airbrush decorating technique to be the ideal instrument for expressing the requirements for an extreme synthesis of form. This was considered an essential element of the style, thanks to the areas of uniform color that shaded lighter tones inside basic, often geometric, shapes. The airbrush was used in that period mainly for graphics and for decorating ceramics, but it was also employed in other fields such as textile design. In Italy, the airbrush technique became popular in various artistic sectors including textiles, both for mass production and in the creation of single artistic pieces and in this latter field, Fides Testi was a leading figure.
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Healy, Marley. "An Interview with Petra Slinkard Nancy B. Putnam Curator of Fashion and Textiles at the Peabody Essex Museum in Salem, Massachusetts." Fashion Studies 2, no. 2 (2019): 1–16. http://dx.doi.org/10.38055/fs020203.
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This article contains an interview with Petra Slinkard, the Nancy B. Putnam Curator of Fashion and Textiles at the Peabody Essex Museum in Salem, Massachusetts. Ms. Slinkard is the first to hold this position at the museum and has held it since February 2018. Prior to this, Ms. Slinkard was the Curator of Costume at the Chicago History Museum. She has a Bachelor of Science in Fashion Merchandising, a Bachelor of Arts in Art History, and a Master of Science in Fashion/Textile History. Over the course of almost ten years, leadership at the museum endeavored to create a plan that would mobilize its fashion and textile collection and reinvigorate its active collecting of fashion objects. This year, the museum opened a new wing that has allocated a specific venue for showcasing exhibitions dedicated to the exploration of its fashion collection. What follows are excerpts from a conversation between the author and the curator. Topics include the Fashion and Textile Collection at the Peabody Essex Museum, the new Fashion and Design Gallery, and the accessibility of the institution’s collection.
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Maaruf, Siti Zuraida, Ezzah Md Zain, and Nabilah Abdullah. "SUSTAINING LOCAL HERITAGE: FIBRE ART AS A NEW PARADIGM TO UPLIFT MALAYSIAN CRAFT PRODUCTION." Malaysian Journal of Sustainable Environment 7, no. 2 (August 4, 2020): 119. http://dx.doi.org/10.24191/myse.v7i2.10268.
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By putting forward contemporary fibre art as a new paradigm in Malaysian craft production, this study aims to uncover how it is applied involving selection of material, utilization of technique right up to the appraisal of resultant product. The underlying rationale is to ensure incessant appreciation of Malaysian crafts by the society, especially the younger generation. This research utilized the Design Development Research (DDR) that consisted of three (3) phases. Selection of research participants used purposive sampling based on the respondents' expertise in the area. In Phase 1, Needs Analysis was carried out using semi-structured interviews with three (3) textile experts. In Phase 2: Design and Development, the researcher used ADDIE model to develop crafts using fibre art material for Malaysia craft production. In the third and final phase, Implementation and Evaluation, sixty young people from Shah Alam community took part in an assessment of their acceptance of craft using fibre art. However, discussion on this study focuses on the first phase which is the needs analysis. The findings suggest that contemporary fibre art as a new paradigm to Malaysian craft production is relevant and has the potential to be implemented in Malaysia.
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Kim, Min-Hye, and Hye-Won Park. "A Study on the Travel Fashion Bag Design Using the Op-Art Textile Patterns -Applying the Artwork of Victor Vasarely-." Journal of the Korean Society of Clothing and Textiles 35, no. 3 (March 31, 2011): 371–84. http://dx.doi.org/10.5850/jksct.2011.35.3.371.
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Lisans Mezunu Ayşe DEĞER, Yüksek, and Doç Dr Semra GÜR ÜSTÜNER. "ANADOLU KÜLTÜRÜ ve SEMBOLLERİNİN GÜNÜMÜZ TEKSTİL SANATINA/TASARIMINA YANSIMALARI / Reflections Of Anatolian Culture And Symbols On Today’s Textile Art/Design." International Journal of Interdisciplinary and Intercultural Art 12, no. 12 (2021): 17–38. http://dx.doi.org/10.29228/ijiia.149.
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Onal, Levent, and Sabit Adanur. "Modeling of Elastic, Thermal, and Strength/Failure Analysis of Two-Dimensional Woven Composites—A Review." Applied Mechanics Reviews 60, no. 1 (January 1, 2007): 37–49. http://dx.doi.org/10.1115/1.2375143.
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The usage of textile structures as a reinforcement for polymer composites became essential in many industrial applications in, for example, the marine and aerospace industries because of their favorable stiffness and strength to weight ratio. Determination of elastic properties and failure behavior of textile reinforced composites is vital for industrial design and engineering applications. This paper aims to present a review of numerical and analytical models for elastic, thermal, and strength/failure analysis of 2D reinforced woven composites. Major modeling techniques and approaches are presented. A state of the art review of woven fabric composites is presented starting from earlier one-dimensional models to recent three-dimensional models. The intention is not to give a detailed analysis of the mathematical approaches to the models discussed, but rather to inform researchers about the main ideas of previous works. This review article cites 122 references.
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Opwis, Klaus, Jochen Stefan Gutmann, Ana Rosa Lagunas Alonso, Maria Jesus Rodriguez Henche, Mikel Ezquer Mayo, Fanny Breuil, Enrico Leonardi, and Luca Sorbello. "Preparation of a Textile-Based Dye-Sensitized Solar Cell." International Journal of Photoenergy 2016 (2016): 1–11. http://dx.doi.org/10.1155/2016/3796074.
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Solar energy conversion is an object of continuous research, focusing on improving the energy efficiency as well as the structure of photovoltaic cells. With efficiencies continuously increasing, state-of-the-art PV cells offer a good solution to harvest solar energy. However, they are still lacking the flexibility and conformability to be integrated into common objects or clothing. Moreover, many sun-exposed surface areas are textile-based such as garments, tents, truck coverings, boat sails, and home or outdoor textiles. Here, we present a new textile-based dye-sensitized solar cell (DSC) which takes advantage from the properties inherent to fabrics: flexibility, low weight, and mechanical robustness. Due to the necessary thermostability during manufacturing, our DSC design is based on heat-resistant glass-fiber fabrics. After applying all needed layers, the overall structure was covered by a transparent and simultaneously conductive protective film. The light and still flexible large-area devices (up to 6 cm2per individual unit) are working with efficiencies up to 1.8% at 1/5 of the sun. Stability tests assure no loss of photovoltaic activity over a period of at least seven weeks. Therefore, our technology has paved the way for a new generation of flexible photovoltaic devices, which can be used for the generation of power in the mentioned applications as well as in modern textile architecture.
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Li, Kin Sum (Sammy). "WHAT THE ELITES ACTUALLY WORE IN 500–300 B.C.E. CHINA: EVIDENCE FROM TEXTILES, BAMBOO, AND BRONZES." Early China 43 (September 2020): 161–205. http://dx.doi.org/10.1017/eac.2020.6.
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AbstractThis article uses evidence from textiles, bamboo, and bronzes to explore what the elites wore, who made up the design communities behind the elites, and how luxurious these items were considered to be in 500–300 b.c.e. China. It first examines the reliability of the art historical sources available for the reconstruction of this history and cautions the readers against certain past interpretations of the textiles and accessories of the period. It then delineates a brief history of how certain textile patterns and weaving techniques developed and how their producers selected and obtained sources of inspiration and interacted and exchanged ideas with producers of other types of artifacts. It argues that textile designers seemed to favor certain types of sources and had formed their own distinct, though not impervious, community. After carefully examining the weaving techniques of several pieces of fabric, it proposes a means of building a more reliable and solid foundation for art historical reconstruction. Textiles and accessories were symbols of the wealth, status, and power of individuals who wore them. This article will explain how a combination of the production techniques of textiles and accessories, together with a sharing of designs and techniques within the community of producers, contributed to the formation of those symbols.
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BRAIDE, O. O. "STYLISTIC FEATURES OF CONTEMPORARY ADIRE IN NIGERIAN TEXTILE PRACTICE." Journal of Humanities, Social Science and Creative Arts 11, no. 1 (November 22, 2017): 106–18. http://dx.doi.org/10.51406/jhssca.v11i1.1698.
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With the whole lot of innovation the adire textile is going through, the indigenous craft still maintained and retained its cultural values among its various users most especially the Yoruba people. The paper therefore examines the styles and forms of contemporary adire in Nigeria, its distribution and entrepreneurship. Of further interest is the wide gamut of other product which Kampala technique images have been adapted. From clothing to postcard and house hold decoration items. Examination of contemporary adire and its mellowed design, ease of production and recent acceptance as wearable fashion material and other uses, indicate the diverse direction that traditional art forms may take as it enters the international market, The paper deduced that the different innovations that have taken place in the traditional textile craft is as a result of the formal education been acquired by the very few 7.4% of new generation producers of adire and this innovations has in one way or the other improve the patronage of adire and the calibre of its users. It has also transformed adire into ceremonial attire, other than the usual knockabout. It highlights the differences in the patterning methods of the cloth and also the preference choice of users. The study discovered that adire can play a dual role of a commodity and a gift because of its new variety of uses among the customers, from dress to house hold materials and souvenir.
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Du, Yu Hong, Xiu Ming Jiang, Gong Yuan Yang, and Zhen Hong Zhao. "Design of Flow Stability System Based on Information Fusion." Key Engineering Materials 426-427 (January 2010): 170–75. http://dx.doi.org/10.4028/www.scientific.net/kem.426-427.170.
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Stability of cotton flow velocity determines the accuracy of foreign fiber detection system. There are many factors affecting fiber flow flux. In the process of operational control, recent research has been directed towards synthetically and effectively adjusting the relative parameters, and thus achieving a stable and economic foreign fiber detection system in textile sector. In the foreign fiber detection system, the parameters of flow velocity are affected by the temperature, pressure, density, which are also interrelated and redundant information. Based on Clustering Fusion, the design of the flow velocity used in the detection device is provided in this paper. Using captured parameter characteristic information, clustering fusion control, conducts the second fusion for ART-2 and BP neural network, and sends to fusion center, then fusion center process the data using neural network method. Linking with synthesis repository and global data base, different control strategies can be utilized to adjust velocity of flow parameter. The cluster control strategy that keeps output velocity of flow stable are proposed to improve the fiber measure precision in foreign fiber detection system. This system can be used in indigenous foreign fiber detection system, and significantly improve the performance of the entire system.
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Schillfahrt, Christian, and Ralf Schledjewski. "Analytical Modelling of Textile Parameters and Draping Behaviour of 2D Biaxial Braided Sleevings." Polymers and Polymer Composites 25, no. 5 (June 2017): 315–26. http://dx.doi.org/10.1177/096739111702500501.
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Biaxial braided sleevings are commonly used for producing hollow complex-shaped composite parts through bladder inflation moulding. To enable feasibility analyses, part design and the prediction of mechanical properties of the resulting fibre-reinforced component, various geometrical and weight-related parameters of the braided fabric in its draped state must be known, such as fibre orientation, fibre volume fraction and areal weight. In the present work, a comprehensive analytical model describing fabric formation, preform architecture and weight as well as the change of relevant textile parameters of a biaxial braided sleeving during draping is established. The principal modelling approach is based on sporadic investigations found in literature and was substantially expanded to compile an extensive collection of relationships for the utilisation in a sleeving-on preforming process. Furthermore, a critical overview about the state of the art in the area of geometrical modelling of tubular 2D braided structures and a comparison of the identified procedures in regard to the desired application is given.
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Liu, Xiao Dong, Xin Qun Feng, and Dong Yang. "Hanging Textiles’ Influence on the Beauty of Indoor Space Decoration." Advanced Materials Research 332-334 (September 2011): 539–44. http://dx.doi.org/10.4028/www.scientific.net/amr.332-334.539.
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When room space extends from a simple three-dimensional physical space to a four-dimensional spiritual space, when people begin to rise aesthetic appeal to a higher level and emphasize harmony with the environment, the textile works of art at this time were all considered to play one of the most important evolutional roles. Hanging textiles which featured multi-functional made themselves irreplaceable contents in indoor space. From the application and development view of hanging textiles, the article emphasizes on the decorative function and application strategies to look forward to continuously improvement of hanging textiles’ application and design levels in indoor space.
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Lima, Ravi Moreno Araújo Pinheiro, Mário César Albuquerque de Oliveira, and Helinando Pequeno de Oliveira. "The State of the Art of Energy Harvesting and Storage in Silk Fibroin-Based Wearable and Implantable Devices." Electrochem 1, no. 4 (October 2, 2020): 344–57. http://dx.doi.org/10.3390/electrochem1040022.
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The energy autonomy of self-powered wearable electronics depends on the adequate development of new technologies for energy harvesting and energy storage devices based on textile fibers to facilitate the integration with truly flexible and wearable devices. Silk fiber-based systems are attractive for the design of biomedical devices, lithium-ion batteries and flexible supercapacitors, due to their nitrogen-rich structure (for preparation of hierarchical carbon-based structures), and available surface for chemical modification reinforcing electroactive properties for use in batteries and supercapacitors. Herein, this paper reviews recent advances on silk fiber-based systems for harvesting and the storage of energy and the corresponding strategies to reinforce the physical and chemical properties of the resulting composites applied as electrodes and battery separators.
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Puchalski, Michal, Ewa Skrzetuska, and Izabella Krucińska. "The Possibilities of Graphenes Application in Textronic Devices." Advances in Science and Technology 95 (October 2014): 27–31. http://dx.doi.org/10.4028/www.scientific.net/ast.95.27.
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Graphene, because of its exceptional properties such as very good electrical conductance, flexibility and high optical transparency in visible light spectrum, has proved to be an excellent nanomaterial for modern electronic applications. The natural point of view is to use this new nanomaterial for the development of unique textronic devices such as sensory systems for monitoring human body’s vital functions and atmospheric composition. The present review shows the state of art of materials science and possibilities of the smart textiles design with graphene. The most promising applications of graphene for the design of textronic devices are the development of conductive polymer composites (CPC) and the development of inks and pastes for printing conductive tracks on textile materials. The preliminary results of implementation of 2D carbon structure into textronic devices are presented.
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Jung, Jin-Soun. "Development of Scarf Textile Design and the Scarf-Making by Using Art Works of SHIN SA-IM-DANG -Focusing on Grass and Insect painting-." Journal of the Korea Contents Association 14, no. 8 (August 28, 2014): 84–94. http://dx.doi.org/10.5392/jkca.2014.14.08.084.
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Sahagún, Veronica. "Artesanía de vida: Comunicación intersubjetiva que fomenta la interculturalidad en la educación artística comunitaria." eari. educación artística. revista de investigación, no. 9 (December 13, 2018): 205. http://dx.doi.org/10.7203/eari.9.11137.
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Resumen: Un proyecto de arte textil centrado en la relación entre la identidad cultural y el textil tradicional mexicano da lugar al diseño teórico la estrategia pedagógica de artesanía de vida. Primero se presentan la teoría y el proceso creativo del que informan a la obra textil. Después, se describe a profundidad el marco conceptual que caracteriza a la mencionada estrategia pedagógica. Concebida para la educación artística comunitaria mexicana, y con fundamento en el concepto de intersubjetividad, la artesanía de vida busca propiciar experiencias educativas que fomenten la interculturalidad. Este objetivo se cumplirá a través del análisis individual por parte de cada integrante de la comunidad en relación a las narrativas personales, culturales y sociales desprendidas de los objetos culturales que forman parte de su vida cotidiana. La práctica de la artesanía de vida, además consistirá en la creación de obras autobiográficas que combinen manualidades o prácticas artesanales con medios artísticos contemporáneos, para luego compartirlas al grupo de aprendizaje. A través de esta dinámica se fomentarán las conexiones empáticas y actitudes de respeto hacia las diferencias culturales existentes entre los y las integrantes de la comunidad.
Palabras clave: arte, artesanía, manualidad, comunidad, intersubjetividad, interculturalidad
Abstract: A textile art project focused on the relationship between cultural identity and Mexican traditional textiles becomes the basis for the theoretical design of the pedagogical strategy of life crafting. First, the theory and the creative process that inform the textile work are presented. Next, the conceptual framework that characterizes this strategy is provided. Conceived for Mexican community art education, and based on the concept of intersubjectivity, life crafting is meant to promote educational experiences that foster interculturality. This objective will be achieved by each member of the learning community analyzing the personal, the cultural and the social narratives related to cultural objects that form part of their daily lives. A life crafting practice also consists of the creation of autobiographical works that combine practices of the handmade or crafts with contemporary art media. Personal processes as well as artworks are to be shared with the learning community. This dynamic will foster empathic connections and attitudes of respect towards the cultural differences between the members of the community.
Keywords: art, craft, handmade, community, intersubjectivity, interculturality
http://dx.doi.org/10.7203/eari.9.11137