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Therefore, it would appear that it is crucial for textile designers Irregularity and subtle variety may then be less evident in the final textile outcomes if theĭigital tool dominates and controls the process of designing. It could arguably lead toĪ more superficial approach to the origination of the designs and artifacts, inhibiting conceptual content and promoting mechanicalĪnd uniform characteristics. Process can become easier and faster but may lack character or the unique touch of the designer.
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Of materials and production due to the “distance” that technology creates between the maker and the designed artifact.īy adopting a digital tool as a mediator between the material artifact in progress and the designer’s hand, the design Tools, however, these technologies may limit, restrict, or exclude a degree of creative spontaneity and intuition in terms
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Repeat and to sample jacquard woven textiles more easily than on an industrial jacquard loom. Warp ends to be lifted independently from each other, allowing the weaver to more freely create patterns with large or no These handlooms facilitate more sophisticatedĪnd complex results outside of the manufacturing context and at an affordable cost. Hand-operated machine, has enabled textile designers to gain access to digital weaving. For example, the advance of digital jacquard handlooms TC-1 2 and TC-2, cleverly integrating computer functionality into an essentially traditional Jacquard weaving, laser processing, and rapid prototyping have provided new opportunities for designers while enhancing the Current digital textile technologies including digital embroidery, digital printing, Technologies within the creative field of textiles requires contemporary textile designers and makers to adopt new visualĪnd material languages in order to communicate something of relevance. Making the digital tangible relies upon a connection with the material world. Knowledge in the creation of their work, given the scope and potential of rapidly expanding and increasingly prevalent digital technologies. It is also essential to address ideas around how textile designers and makers utilize and advance craft Within the framework of currentĬhallenges pertaining to sustainability, globalization, social concerns, and economic constraints, it is important to interrogateĪnd question how the integration of both established and emerging digital technologies in textile practices might contribute Understand the implications of this approach across various forms of cultural production relating to textiles. Skill and materials-based knowledge to relatively small-scale production” enables us to draw connections with digital processes and to Considering craft, as Glenn Adamson suggests, “in a simple but open-ended manner as the application of Textiles, and as such may offer some clues in the transition to creative and thoughtful use of current and future digital Craft still provides the foundation for thinking within the design and production of In their work, but often choose not to abandon craft skills fundamental to their practice, aiming to balance the complex connectionīetween craft and digital processes. Highly specialized craft and design practitioners may now elect to make use of digital processes The current generation, been supplemented by opportunities offered by digital technologies, presenting them with a rich variety Knowledge and experience of traditional craft processes have, within In an era of digital technology, many textile designersĪnd makers find themselves at an interesting juncture. Faith Kane, Nithikul Nimkulrat and Kerry Waltonĭesigners and makers have traditionally operated in a complex environment where craft and technology, structure, process,Īnd materials interact, interrelate, and interchange on many levels.