Textiles for Revolutionary Russia: Training Textile Designers at the Moscow VKhUTEMAS

West 86th ◽  
2018 ◽  
Vol 25 (2) ◽  
pp. 139-159
Author(s):  
Christina Lodder
Keyword(s):  
Textile Designers

WHAT THE ELITES ACTUALLY WORE IN 500–300 B.C.E. CHINA: EVIDENCE FROM TEXTILES, BAMBOO, AND BRONZES

Early China ◽  
2020 ◽  
Vol 43 ◽  
pp. 161-205
Author(s):  
Kin Sum (Sammy) Li
Keyword(s):  
Historical Reconstruction ◽  
Historical Sources ◽  
Wealth Status ◽  
Production Techniques ◽  
History Of ◽  
Solid Foundation ◽  
Textile Designers

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.

The Research for Cost Control in Customized Production of Machinery Products

2013 ◽  
Vol 443 ◽  
pp. 730-734
Author(s):  
Shi Zhao Zhu ◽  
Qi Zou ◽  
Shuai Xian Ji
Keyword(s):  
Textile Industry ◽  
Production Management ◽  
User Requirements ◽  
Textile Processing ◽  
Short Cycle ◽  
Demand Structure ◽  
Mechanical Products ◽  
Customized Production ◽  
Textile Designers ◽  
And Control

Due to the increase of uncertainty and complexity of the market, the demand level of machinery enterprises upgrades. The demand structure is diversified, and the lifecycle of mechanical products is getting shorter. All these pose great challenges to the production management and control. In recent years, machinery textile industry is developing rapidly. Textile processing is moving in the direction of multi-varieties, small batch and short-cycle. Textile manufacturers need to sustain innovations. After completing the design, textile designers should make a proof in accordance with user requirements and then decide whether to put into production.

Inspired and Inspiring Textile Designers

2015 ◽  
Vol 33 (3) ◽  
pp. 213-228 ◽  
Author(s):  
Megan Strickfaden ◽  
Lesley Stafiniak ◽  
Tomislav Terzin
Keyword(s):  
Textile Designers

THE TRAINING OF TEXTILE DESIGNERS

1938 ◽  
Vol 29 (7) ◽  
pp. P171-P173
Author(s):  
Norman F. Webb
Keyword(s):  
Textile Designers

scholarly journals The importance of sensorial empathy and the language of touch when crafting textiles for people who are visually impaired

2020 ◽  
Vol 11 (1) ◽  
pp. 57-77
Author(s):  
Kevin Hunt ◽  
Anna Piper ◽  
Georgie Worker
Keyword(s):  
Visually Impaired ◽  
Pilot Project ◽  
Textile Design ◽  
Sensory Ethnography ◽  
The United Kingdom ◽  
Art Objects ◽  
Empathic Design ◽  
Second Year ◽  
Textile Designers ◽  
Further Development

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.

Comparative study of the illumination effect on the appearances of woven fabrics composed of single and multiple colors of yarns

2021 ◽  
pp. 004051752110395
Author(s):  
Youngjoo Chae
Keyword(s):  
Comparative Study ◽  
Broad Spectrum ◽  
Woven Fabrics ◽  
Color Appearance ◽  
Clothing Industry ◽  
Light Sources ◽  
Illumination Effect ◽  
Color Mixing ◽  
Textile Designers ◽  
Appearance Changes

Color has been strategically used to attract consumers in the textile and clothing industry, and yarn color mixing is one of the most typical methods of imparting color to textile products. However, the fact that color appears different depending on the illumination has concerned textile designers and sellers at the point of color communication and sale. This study quantitatively analyzed how the color appearance of woven fabrics composed of single and multiple colors of yarns changes under a broad spectrum of illumination conditions. The lightness, chroma, and hue appearance values of 36 chromatic fabrics, in which red, yellow, green, and blue yarns were woven together, under 16 different illumination conditions were calculated. For the illumination conditions, correlated color temperatures (CCTs) of 2700, 4000, 5000, and 6500 K and luminance of 100, 1000, 4000, and 8000 cd/m2 were employed. The color appearance values of fabrics under the 16 light sources were compared with each other and also with their true physical colors. It was observed that the ranges of the varying lightness, chroma, and hue appearances of fabrics ranged up to 8.49, 16.24, and 27.04, respectively, indicating the huge effect of illumination on color appearance changes. In particular, the lower CCT of light sources induced the larger lightness appearance changes of fabrics from their actual physical colors. It was also found that the magnitudes of the color appearance changes of fabrics induced by light sources differed significantly according to the number of yarn colors and the overall colorimetric properties of the fabrics.

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