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In an era of increasingly available digital resources, many textile designers and makers find themselves at an interesting juncture between traditional craft processes and newer digital technologies. Highly specialized craft/design practitioners may now elect to make use of digital processes in their work, but often choose not to abandon craft skills fundamental to their practice, and aim to balance the complex connection between craft and digital processes. The essays collected here consider this transition from the viewpoint of aesthetic opportunity arising in the textile designer's hands-on…mehr
In an era of increasingly available digital resources, many textile designers and makers find themselves at an interesting juncture between traditional craft processes and newer digital technologies. Highly specialized craft/design practitioners may now elect to make use of digital processes in their work, but often choose not to abandon craft skills fundamental to their practice, and aim to balance the complex connection between craft and digital processes. The essays collected here consider this transition from the viewpoint of aesthetic opportunity arising in the textile designer's hands-on experimentation with material and digital technologies available in the present.
Craft provides the foundations for thinking within the design and production of textiles, and as such may provide some clues in the transition to creative and thoughtful use of current and future digital technologies. Within the framework of current challenges relating to sustainable development, globalization, and economic constraints it is important to interrogate and question how we might go about using established and emerging technologies in textiles in a positive manner.
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Autorenporträt
Nithikul Nimkulrat is the Professor and Head of Department of Textile Design at the Estonian Academy of Art, Estonia. Faith Kane is Associate Professor and Major Co-ordinator of Textiles in the School of Design, at the College of Creative Arts, Massey University, New Zealand. Kerry Walton is Programme Director for Textiles: Innovation and Design at the School of the Arts, Loughborough University, UK.
Inhaltsangabe
List of Illustrations List of Contributors Foreword J.R. Campbell Kent State University USA Introduction Faith Kane Loughborough University UK Nithikul Nimkulrat Estonian Academy of Art Estonia and Kerry Walton Loughborough University UK Part One: Digital Technologies Informing Craft Crafting Textiles in the Digital Age: Printed Textiles Cathy Treadaway Cardiff Metropolitan University UK Digital Embroidery Practice Tina Downes Nottingham Trent University UK Tessa Acti Independent Artist UK and Donna Rumble-Smith Independent Artist UK Textile Illusions - Patterns of Light and the Woven White Screen Anne Louise Bang Kolding School of Design Denmark Helle Trolle Kolding School of Design Denmark and Anne Mette Larsen Independent Researcher Denmark The Intelligence of the Hand Monika Auch Visual Artist The Netherlands Part Two: Craft Intervention in Digital Process The Digital Print Room - A Bespoke Approach to Print Technology Helen Ryall University of Huddersfield UK and Penny Macbeth Manchester School of Art UK Maintaining the Human Touch - Exploring 'Crafted Control' within an Advanced Textile Production Interface Martin Woolley Coventry University UK and Rob Huddleston Birmingham City University UK Garment ID: Textile Patterning Techniques for Hybrid Functional Clothing Kerri Akiwowo Loughborough University UK Processes within Digitally Printed Textile Design Susan Carden Northumbria University UK Part Three: Craft Thinking in a Digital Age Hand-Knitting in a Digital Era Josephine Steed Robert Gordon University UK Hidden Values and Human Inconsistencies in Hand-Stitching Processes Emma Shercliff Arts University Bournemouth UK Perspectives on Making and Viewing: Generating Meaning through Textiles Sonja Andrews University of Manchester UK Closely Held Secrets: Embodied Knowledge in Digitally Crafted Textiles Katherine Townsend Nottingham Trent University UK Index
List of Illustrations List of Contributors Foreword J.R. Campbell Kent State University USA Introduction Faith Kane Loughborough University UK Nithikul Nimkulrat Estonian Academy of Art Estonia and Kerry Walton Loughborough University UK Part One: Digital Technologies Informing Craft Crafting Textiles in the Digital Age: Printed Textiles Cathy Treadaway Cardiff Metropolitan University UK Digital Embroidery Practice Tina Downes Nottingham Trent University UK Tessa Acti Independent Artist UK and Donna Rumble-Smith Independent Artist UK Textile Illusions - Patterns of Light and the Woven White Screen Anne Louise Bang Kolding School of Design Denmark Helle Trolle Kolding School of Design Denmark and Anne Mette Larsen Independent Researcher Denmark The Intelligence of the Hand Monika Auch Visual Artist The Netherlands Part Two: Craft Intervention in Digital Process The Digital Print Room - A Bespoke Approach to Print Technology Helen Ryall University of Huddersfield UK and Penny Macbeth Manchester School of Art UK Maintaining the Human Touch - Exploring 'Crafted Control' within an Advanced Textile Production Interface Martin Woolley Coventry University UK and Rob Huddleston Birmingham City University UK Garment ID: Textile Patterning Techniques for Hybrid Functional Clothing Kerri Akiwowo Loughborough University UK Processes within Digitally Printed Textile Design Susan Carden Northumbria University UK Part Three: Craft Thinking in a Digital Age Hand-Knitting in a Digital Era Josephine Steed Robert Gordon University UK Hidden Values and Human Inconsistencies in Hand-Stitching Processes Emma Shercliff Arts University Bournemouth UK Perspectives on Making and Viewing: Generating Meaning through Textiles Sonja Andrews University of Manchester UK Closely Held Secrets: Embodied Knowledge in Digitally Crafted Textiles Katherine Townsend Nottingham Trent University UK Index
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