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. Data collection using survey methods, with qualitative descriptive analysis techniques. The results of this research are; 1) Embroidery and weaving business in West Sumatera are able to absorb 2.297 workforce, 2) Problems faced by embroidery and weaving business in West Sumatra can be formulated as follows: 1) Bookkeeping/finance aspect and management, 2) Production aspect, and 3) Marketing aspect
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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 insole is analysed and arranged; Extract the typical pattern fabric elements that can resonate with modern life, and extract, organize and redesign them; then through integration and reconstruction, carry out diversified application design of creative products. The fabric elements of Hongan embroidered insole are redesigned and applied in fashion, home textile products, clothing, interior decoration, etc. By redesigning, this paper analyses and arranges extracts and redesigns, integrates and reconstructs the elements of embroidered insole fabric in Hongan, Eastern Hubei Province, and studies the application of diversified creative product redesign. This modern process method and diversified application mode is not only the dynamic inheritance of traditional regional culture, but also the innovation and development of folk culture in Eastern Hubei Province. The inheritance and development of art traditional culture has important practical significance.
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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 techniques combined approach to guide the creative practice.On the basis of studying the theoretical method of combining traditional embroidery technology with modern jewelry, this paper focuses on the application of traditional embroidery techniques in jewelry creation, inspire the potential of traditional craft, to provide reference for modern jewelry design rich Chinese characteristics and attract the attention of Chinese jewelry industry and inherit the traditional arts.
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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 exploration through real-time and direct manipulation of materials and close human-machine interaction.
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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 that through economic growth a country is able to change its economic conditions for the better in accordance with maqashid sharia and can improve the welfare of the community.
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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 used is descriptive causality, by creating a description or description systematically, factually and accurately about the fact or nature of the object and interpreting the relationship between the phenomena investigated. The population of this research is the owner of the embroidery industry in Tasikmalaya of 949 people, sampling in this study is using accidental sampling method obtained 150 people. The results showed that partially and simultaneously direct marketing, personal selling, sales promotion, public relations and advertising on purchasing decisions and impact on business performance. Market attractiveness in addition to influencing purchasing decisions is also very potential to increase market share and growth of a company's business performance.
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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 productivity (EP). VAHU is one component of the value added inlellectual coefficient (VAIC) Method developed by Pulic. The study focuses on VAHU because the research sphere is related to the workforce. The results of the study are expected to help creative industry entrepreneurs and decision makers to make policies related to a competent labor supplyprogram. This research uses quantitative descriptive analysis with primary and secondary data. Documentation is taken from company reports recorded in the industry and trade offices in Tasikmalaya for the last six years. Random sampling includes the creative industries of embroidery craft, footwear, furniture, batik, and mendong (wicker). The results showed that the footwear craft industry reached the highest VAHU and the lowest mendong industry. The highest EP is seen in the embroidery industry and the lowest furniture industry. While compliance between variables in this study showed that VAHU no significant effect on EP.
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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 bertujuan untuk mendeskripsikan strategi produk bordir di Limpapeh”s Kebaya, Kapalo Koto, Koto Tangah Simalanggang, Kota Payakumbuh. Metode penelitian menggunakan metode deskriftif kualitatif, jenis data berupa data primer dan sekunder. Teknik pengumpulan data melalui observasi, wawancara dan dokumentasi. Teknik analisis data dilakukan dengan teknik analisa model interaktif yang berkaitan dengan pokok permasalahan yaitu dengan model reduksi data, penyajian data dan pengambilan kesimpulan. Hasil penelitian yaitu strategi produk yang dilakukan di Limpapeh”s Kebaya adalah dimulai dari menciptakan produk bordir yang berkualitas, desain motif bordir yang up to date dan kreatif, menyediakan ukuran yang special, memberi merek pada produk bordir, memberi kemasan yang menarik (paperbag) dan serbaguna, pelayanan yang cepat, tepat dan ramah serta pemberian jaminan terhadap produk border.Kata Kunci: strategi produk, pelayanan, bordir. AbstractThe problem in this study is the importance of product strategy in running a business in order to be able to survive and compete with other similar companies in conditions of intense competition and very rapid development of the times. Product strategy is very necessary in fulfilling consumer demands such as improving quality, creating brands, services and guarantees for products offered so that businesses are able to grow. Limpapeh's Kebaya is a growing business and has been able to market its embroidery products to penetrate the export market. This study aims to describe the strategy of embroidery products in Limpapeh's Kebaya, Kapalo Koto, Koto Tangah Simalanggang, Payakumbuh City. The research method uses qualitative descriptive method, the type of data in the form of primary and secondary data. The technique of collecting data through observation, interviews and documentation. Data analysis techniques are carried out with interactive model analysis techniques that are related to the subject matter, namely with a model of data reduction, data presentation and conclusion. The results of the research, namely the product strategy carried out at Limpapeh's Kebaya, are started from creating quality embroidery products, up-to-date and creative embroidery motifs, providing special sizes, giving brands to embroidery products, giving attractive packaging (paperbag) and versatile, fast, precise and friendly service and guarantee of embroidery products. Keywords: product, service, embroidery strategy.
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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 embroidery as a form of 'serious leisure'. They played a significant role in the development of creative embroidery and textile art in NSW and yet, for the most part, their story is absent from the narratives of Australian art and craft history. These women were involved in a network of interactions which displayed many of the characteristics of more organised art worlds, as posite d by sociologist Howard Becker. They produced work according to shared conventions, they established co-operative links with each other and with other organisations, they organised educational opportunities to encourage others to take up creative embroidery and they mounted exhibitions to facilitate engagement with a public audience. Although their absence from the literature suggests that they operated in isolation, my research indicates that there were many points of contact between the embroidery world, the broader craft world and the fine art community in NSW. This thesis examines the context in which creative embroiderers worked, discusses the careers of key individuals working at this time, explores the interactions between them, and evaluates the influence that they had on later practice in embroidery and textiles in NSW.
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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 have crafted are intended to disrupt the conventional perceptions of embroidery by alluding to conceptual associations of tradition and nostalgia. The aim of this project is to promote embroidery as a diverse medium; its use as a means of narrative, a valued skill that spans both art and craft disciplines, and to lift the status of craft by encouraging discourse of craft practice within an academic environment.
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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 economy features intrainstitucionais direct interfaces with the National Programme of Intangible Heritage and the Living Culture Program. This relationship is forming a conceptual tripod that includes the symbolic dimension, the civic dimension and the economic dimension, forging a cultural policy of full accessibility. Nevertheless, such a full conception of culture has also associated inter interfaces, especially the programs linked to the Ministry of Development, Industry and Foreign Trade, specifically the Geographical Indications and the Local Productive Arrangements. Thus, dominated by the need to identify the institutional network of agents dealing in commercial and symbolic promotion of handicrafts, in line with the principles of creative economy. From the institutional analysis of various directly and indirectly linked to state agents, it seeks to identify the potential embroidery fillet as a vector of the creative economy and regional development. To this end, in addition to the bibliographical and documentary references related to the theme, is undertaken interviews with different actors involved in the production chain of the fillet, as local craftsmen, representative of the State Secretariat for Economic Development and Tourism of Alagoas and the Brazilian Support Service Micro and Small Enterprises in Alagoas. With that, allow yourself an understanding of the inter-institutional fabric that makes up the political agenda for the craft and the creative economy in Alagoas.
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
De acordo com dados recentes do Programa do Artesanato Brasileiro, Alagoas é o estado que desponta com o maior número de artesãos cadastrados em nível nacional. Desse volume, 70% é representado pelo bordado Filé, modalidade de artesanato típica da “região das lagoas”, onde se destaca como núcleo produtivo o bairro maceioense do Pontal da Barra. Com a institucionalização da economia criativa no Brasil o artesanato figura como um dos setores criativos nucleares desse novo arranjo político-econômico, enquadrando-se como objeto de uma política de Estado vinculada ao Ministério da Cultura. O campo de atuação da economia criativa apresenta interfaces intrainstitucionais diretas com o Programa Nacional do Patrimônio Imaterial e com o Programa Cultura Viva. Essa relação constitui a formação de um tripé conceitual que contempla a dimensão simbólica, a dimensão cidadã e a dimensão econômica, forjando uma política cultural de plena acessibilidade. Não obstante, essa concepção plena de cultura possui, também, interfaces interinstitucionais associadas, sobretudo, à programas vinculados ao Ministério da Indústria, Desenvolvimento e Comércio Exterior, especificamente as Indicações Geográficas e os Arranjos Produtivos Locais. Dessa forma, impera a necessidade de identificar a rede interinstitucional de agentes que se ocupam na promoção comercial e simbólica do artesanato, alinhado com os princípios da economia criativa. A partir da análise de institucional de diferentes agentes direta e indiretamente vinculados ao Estado, procura-se identificar o potencial do bordado Filé como vetor da economia criativa e do desenvolvimento regional. Para tanto, além das referências bibliográficas e documentais ligadas ao tema, empreende-se entrevistas com diferentes agentes envolvidos na cadeia produtiva do Filé, como artesãos locais, representante da Secretaria de Estado de Desenvolvimento Econômico e Turismo de Alagoas e do Serviço Brasileiro de Apoio às Micro e Pequenas Empresas em Alagoas. Com isso, permite-se uma compreensão de parte da tessitura interinstitucional que compõe a agenda política para o artesanato e a economia criativa em Alagoas
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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
雲林科技大學
視覺傳達設計系碩士班
96
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 design language. Thus, with the profound understanding of modern embroidery patterns and stitches, I intend to compare modern embroidery patterns and propose some suggestions. By experimenting on different thematic creations and studies, the realistic and experimental process can provide the development and research of the cultural industry of embroidery with new ideas. The more natural medium that takes cloth as paper and line as ink can be applied in design and development. With this experimental study, the traditional culture of embroidery is expected to be merged with design. Moreover, it introduces traditional handicraft into the domain of design and provides pioneering experiences to cultural and creative products.
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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
國立臺南藝術大學
應用藝術研究所
101
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 circumstance》used ancient silk pattern— 「Roundel」, to describe the honorable value of the vegetables inside our heart deeply. The《Greener》used the transformation of fiber images, tried to bring the vegetation in the nature world inside the exhibition room, let the inside space full of natural life-force. Computer embroidery was used to show the paint's strokes and lines. Computer embroidery could bring warm and improved collection of meaning. I think that the art shall return to the life. I excepted that I can do my works which start from the life in the future.
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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
國立虎尾科技大學
休閒遊憩研究所(多媒體組)
102
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 early Taiwan. Embroideries such as the Tapestry of Eight Deities, stage curtains, and door curtains and pillows used during marriage ceremonies were all hand-made. Zhou Guo-qin (周國欽) recognized the high demand and knew he founded a business in this field. Zhou was an accomplished illustrator, while his wife Gong Yan-chun (龔燕春) was a professional embroiderer. Zhou thus established Guoqin’s Workshop (國欽工藝社) in 1966. In 1979, the second generation business owner Zhou Zhi-yun (周至雲) renamed the business as ’TOP YAJIH CO (鑫得行) and expanded the workshop into a factory that focused on wholesale markets. Later on, however, Chinese factories offering prices at only half of that in Taiwan invaded the market. Fine embroidery was no match for the low costs of Mainland Chinese products. As traditional industries started to decline, there was an urgent need to create new sales channels. In response to these social changes, the three Zhou brothers, all born during the 1980s, decided to transform the family business through generating brand value and competitiveness. They understood the importance of brand management and knew that Taiwan''s market would be completely dominated by cheap Chinese goods if no changes were made to their situation. Hence, they decided to participate in the Digital Inclusion for Small and Medium Enterprises Project and took their first step towards business transformation and established Shen Fu Creative Embroidery (神斧創意精品刺繡). Data showed that Taiwan underwent rapid commercial developments after a series of revolutionary economic changes after 1987. The embroidery industry expanded with the rise of the garment industry, achieving a height during the 1990s. However, as living qualities improved, many companies began to lose workers. Increase in wages led to higher production costs. Yet Taiwanese business owners had already invested large quantities of capital in production equipment which led to an over-abundance of production capacities. Numerous businesses moved to Southeast Asian countries such as Indonesia or Thailand where labor was cheaper, placing the future of Taiwanese embroidery in jeopardy. In response to these social changes, Taiwanese embroidery searched for better management models to identify improvements for their products and sales channels in order to fight against the market for cheap Chinese goods and compensate for the lack of skilled and technical personnel. Little research has been done investigating the business development and transformation of the embroidery industry. Hence, this paper focused on a traditional embroiderer that successfully underwent business transformation. In-depth interviews as well as relevant literature were reviewed in order to understand the development of this industry. Three structural aspects were identified: problems faced by the embroidery industry, investigating the development of the embroidery industry, and transformation of the embroidery industry. This paper aimed to identify advantages and weaknesses and to preserve these critical information in order to provide other industries with an important source of reference.
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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
國立臺南藝術大學
應用藝術研究所
105
“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 existence seems merely reasonable. The author traces back to real stories in history, using modern symbols and the so-called traditional materials of Puyuma tribe such as clothing, embroidery skills, rituals and activities as well as the spirit to blend the past and the modern, to mix the tangible and the intangible by alternating the materials, to change the sizes and forms, aiming to bring an ambiguous feeling through the vision of work, triggering viewers’ introspection towards the definition of tradition
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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
東方設計學院
文化創意設計研究所
101
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 China (Taiwan), sufficiently and communicating national culture inherent inside.
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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
崑山科技大學
視覺傳達設計研究所
107
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 understanding of self-consciousness. Second is to discuss the mutual relationship between tactility, memory, and affection to understand the influence of tactility on memory and the production of tactile memory and analyze the influence and effect of tactility on affection. Last is to discuss the connection between embroidery and affection, organize the development of embroidery and the affective appeal to patterns, analyze embroidery as the affective carrier and the method to heal the mind, and explore the abstract and rich affection latent behind embroidery. In the discourse of punctum and pain in self-memory, the abstract affection is compared with lines, which are integrated into the creation of embroidery. The comparison of the style and form of embroidery threads is applied to record the state of personal affective flow and transform it into the creative style elements. The creation features the affective core, “Kisuna（絆）,” analyzing every punctum in personal memory from the perspectives of “family love,” “friendship,” “love,” and “self,” reinterpreting and presenting every piece of memory in the depths of mind, and interpreting the elements and presentation constructed in the works. By constantly digging the personal affection and pain and reading a large number of theories to learn about the personal state, in the process of writing and embroidery creation, we will rest our mind and release every affection of self-repression.
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Books on the topic "Creative embroidery"

1

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"

1

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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