Development of Sichuan Brocade with Imitating Embroidery Effect Based on Free-Floats Interlacing Weave

Owing to the diversity of consumer’s demand, the traditional Sichuan brocade products have to be innovated in order to survive in a competitive environment. Since the construction of traditional Sichuan brocade was composed of basic-weave, the surface of the fabric shows a regular interweaving planar texture and is difficult to represent a three-dimensional effect. Inspired by embroidery handcraft, this paper attempts to achieve the embroidery-like effect on the fabric through the jacquard process. Based on the multi-backed structure of traditional Sichuan brocade, we adopted the zoned-combination design mode and added extra free-floats interlacing weave in the area where we want to show the embroidered effect and arranged the interlacing points by referring to the feature of the pattern. As a result, designed Sichuan brocades by this method are capable of displaying embroidered effect with high realism and three-dimensionality. This approach improves the artistic effect of the traditional Sichuan brocade and provides a technical reference for further texture design of jacquard fabrics.

Nwomu： Hand-Made Embroidery Technique in Asanteland

The study sought to investigate the historical background of the traditional hand-made embroidery technique, the production process, and its changing trends amongst the Asantes of Ghana. Interview and observation were used in collecting the needed data at selected craft centres in the Kwabre East District, Ejisu-Juaben municipality, Kumasi sub-metro and metropolitan in the Ashanti region of Ghana. The study employed both descriptive and experimental research methods based on the qualitative research approach. It was revealed that Kente and Adinkra enjoy wide reputation and therefore are considered as prestigious clothes. However, Nwomu cloth does not have this fame, only indigenes understand its usage and the philosophy behind its production. In view of this, it is recommended that the elders who are endowed with this unique craft must open their doors to the youth to learn the craft.

Study on the Technique of Double-faced Embroidery on Chinese Palace Fans

Double - faced iso - object embroidery is carried out byusing the uneven intercalated stitch crafts of the parallel- lines stitch as a main body, being accompanied by oth-er stitch crafts and miscellaneous stitches, done on thesame textile material. This paper deals with the flower -bird double - faced embroidery fan of the Qing Dynasty,from pattern design, stitching formation and techniqueof color arrangement, describes the possible way of mak-ing double - faced embroidery with iso - object effectboth in the front and in the back.

Research on the Teaching and Learning of Traditional Gold and Silver Color Embroidery Technique for Out-of-school Education ——Taking the Design of Practical Activities of "Inheritance and Innovation of Gold and Silver Color Embroidery" as an Example

Gold and silver color embroidery is a process in which gold and silver platinum paper are wound on a silk thread to form gold and silver threads, which are then discarded into various patterns or contour lines, and then colored lines are used to fasten the pattern lines on the base material. Gold and silver color embroidery has a long history as a representative embroidery skill in traditional embroidery techniques. It has complex techniques and deep deposits. Due to the particularity of its materials and techniques, it is faced with many problems in its inheritance in the off-campus education. This paper discusses the problems of the traditional gold and silver color embroidery techniques for off-campus education, the innovation in the process of teaching, the design of practical activities, and their significance, so that traditional skills can promote the national spirit in the new concept and teaching of out-ofschool education, inheriting the human civilization, serving the social harmonious and cultural development, thus achieving the goal of education.

A LARGE EXQUISITE PRODUCT——OF SUZHOU EMBROIDERY "RETURN JOURNEY"

Alarge exquisite product of Suzhou embroidery—"Return Journey" is a precious gift to the Government of the Hongkong Special Administrative Region from the Jiangsu Provincial People’s Government marking Hongkong’s return.

美育视阈下的蜀绣AIGC创新设计与数字化推广研究

目的世代相传的蜀绣凝聚了悠久的历史价值、丰富的文化价值与极高的艺术价值。基于“美育”的视角结合AIGC技术进行创新设计有助于蜀绣的传承与发展。以人工智能的设计融合蜀绣的文化特色来开发文创产品及周边,使美育融入现代年轻人的时尚生活,成为触手可及的生活美学。这既为传统文化的创新发展注入新的生机,也在传承创新中保护了非遗蜀绣的原真性。方法通过文献研究法与图像分析研究梳理蜀绣的历史与现状,并对蜀绣的传承进行实地调研,掌握目前蜀绣的纹样技艺、创新传播等情况并进行系统梳理。使用AIGC进行创新设计,并将创新设计应用于文创产品研发,最后进行数字化推广。结果通过AIGC为蜀绣带来了形式与内容上的创新,再灵活运用以线带面、绣画结合的方式,使人工智能美学助力非遗传承。结论AIGC融合蜀绣的创新设计提升了文创产品的科技精神与内涵,赋予了蜀绣传承与发展重要的时代革新意义,数字化推广也使蜀绣的传播方式与受众群体得到了有效的拓展。

手工艺如何重返日常生活——以苏绣产业化为例

当下手工艺有艺术化发展的趋向,偏离了大众日常生活。与此同时,手工艺生产与消费之间存在供需不匹配的矛盾,产品的风格过时和价格高昂与消费者的预期错位。苏绣作为我国四大名绣之首,其产业化的发展经验与困境可以作为典型案例进行分析。通过前人的实践经验发现,运用省工和半机械化以提高生产效率,生产契合市场需要的“物美价适”的现代日用品,能够使大多数手艺人仍然可以以技养身,从而将技艺传承下去。因此,恰当引导手工艺的产业化之路,不失为推动技艺传承的良策。

Automated Embroidery Retrofit for Sewing Machines

Machine embroidery is a multi-step process with many variables that govern the quality of the final product.In Sri Lanka a few large-scale factories use machine embroidery process.They import heavy and very expensive machines from the other countries in the world.The main disadvantage of these machines is,they are not suitable for production of small order quantities due to high cost.Also,these machines and the required software for the designing and operating process are comparatively expensive.Small scale apparel factories and domestic industrialists cannot afford the high cost of hardware and software.Besides,it requires persons with high skills for design,operation and maintenance.There are a few domestic type automated embroidery machines,but those are exorbitant.The present study aims to design and fabricate retrofit for ordinary sewing machine that is capable of performing given embroidery pattern.The retrofit comprises of an frame which can be moved in X and Y directions by three controlling motors.The design of the embroidery is converted to a G-code using GBRL software and then the microcontroller governs the movement of the frame to produce the embroidery.The retrofit designed and developed performed embroidery function and the quality of the output was checked and it was found to be satisfactory as far as first conceptual model is concerned.Further development work is required to improve user requirements and technical requirements including the increase of speed of operation which may be done with synchronization of the three motors.

服务设计视角下夏布绣文创产品设计的多维创新

目的 非遗文化是中国传统文化的重要组成部分,夏布绣非遗作为一种民间技艺是国家级非物质文化遗产,探索在服务设计视角下夏布绣文创产品设计的创新设计思路,以实现夏布绣非遗在当代的价值转化。方法 通过剖析夏布绣非遗文创产品的市场现状,总结夏布绣非遗文创产业的现实问题。运用服务设计理念,以用户为中心、以用户需求为导向,并基于Kano模型对用户需求属性进行分类,使用层次分析法拆解量化夏布绣文创产品的用户体验需求。结论 根据用户体验需求权重,结合服务设计思维提出提升产品视觉形象和功能创新、突出文化特色、注重文化消费体验、遵循市场逻辑,以建立产品服务系统的夏布绣非遗文创产品多维创新路径。

文化传承视域下传统刺绣工艺与现代服装设计的结合

传统刺绣工艺作为一种重要的文化遗产,具有丰富的历史和文化内涵。将传统刺绣工艺融入现代服装设计,能够突出现代服饰的装饰感,改善服装构图,使传统刺绣工艺焕发出新的生机和活力,从而促进传统刺绣工艺的传承和发展。通过分析传统刺绣工艺与现代服装设计的关联性,分析了传统刺绣工艺在现代服装设计中的表达方式,探究了文化传承视域下传统刺绣工艺与现代服装设计结合的策略,以期促进对传统刺绣工艺的保护和传承,以及现代服装样式、造型、风格等的创新。

秦绣元素在服装设计中的运用方法

针对中国传统刺绣艺术秦绣在当代服装设计中面临的元素分类缺失和设计流程不明的问题,提出秦绣元素在服装设计中的方法。首先解析秦绣元素的外在表征及其隐藏意象,提炼并总结秦绣图案的构成要素;然后提取秦绣要素外在表征,建立针法、图案与色彩元素基因库,依据服装风格选择合适的元素基因并融入符合现代审美的设计语言;最后将针法工艺、图案造型与色彩搭配3个秦绣外在表征进行分类与整理,以保留传统秦绣样本隐藏意象为前提融入再设计,得出系统的秦绣元素在服装设计中的运用方法;总结了秦绣元素在面料、造型与科技方面融入现代服装设计的运用策略,为秦绣在服装设计中的转型发展提出指导建议。

职教型非遗产业学院人才培育研究——以四川蜀绣学院为例

非物质文化遗产得以传承与创新,离不开专门人才和产业发展。四川安靖镇蜀绣基地拥有得天独厚的历史资源,在地方政府及头部企业的综合支持下,开创了国内第一所职教型非遗蜀绣产业学院。学院办学机制、教育理念、培育模式、产教融合、发展策略与职业教育融通。通过创新文化创意公共服务平台协同蜀绣衍生设计,形成地方化“产教研”职教模式,服务地方教育与产业发展。积极探索蜀绣教育的课程体系和建设机制,研究蜀绣的产教研与跨界融合模式,对非遗人才培育及产业的发展具有启示作用。

数字化背景下羌绣文创产品设计及美育价值建构

目的中华优秀传统文化需要将艺术价值与时代价值统一起来。针对羌绣文创产品,当前人们大多关注其艺术价值、数字化设计与市场开发方面,忽视了羌绣文创产品的审美教育价值(以下简称美育价值),因此要将产品设计和美育价值建构融合在一起研究。首先,为羌绣文创产品提炼美育价值内容;其次,以数字技术助推羌绣文创产品美育元素的跨界设计;然后,挖掘并满足羌绣文创产品潜在消费群体的美育元素;最后,要对羌绣中的文化内容进行转译以适合文创产品的数据化应用。此外,为广泛推进其美育价值,需要建设羌绣美育文创产品数据库。方法通过文献研究法与图像分析整理出羌绣美育价值符号,使用田野调查法及人物访谈方式了解羌绣文创产品类型及羌绣美育价值的数字化设计情况,以及数据库的建立情况。结论在数字化背景下,羌绣文创产品设计需要在空间设计、交互体验和文化转译上将羌绣文创产品的美育价值融入其中,从而为促进中华民族共同体意识的建设贡献力量。

苗绣生肖纹样在女装设计中的应用

苗绣是苗族文化的重要组成部分,其生肖纹样蕴含着丰富的民族文化和象征意义。随着文化多样性的发展,苗绣元素也开始应用于现代女装设计中,不仅促进了传统手工艺的传承,也满足了现代消费者对服装个性化与文化性的追求。探讨苗绣生肖纹样在女装设计中的应用,可以推动苗绣的现代性发展。

DB51/T 2589.2-2019《四川彝绣第2部分绣法技艺》标准解读

本文对DB51/T 2589.2—2019《四川彝绣第2部分绣法技艺》的制定背景、主要内容进行了解读,重点阐述了标准的适用范围、材料、工艺过程的关键点,以期帮助四川彝绣规范生产,提高四川彝绣的绣品质量,助力四川彝绣产业发扬光大。

清代苏绣服饰的艺术特色研究

清代苏绣服饰以精细雅致的艺术特色闻名,与清代历史文化密切相关。然而,学术界对其外在特色与内在成因的探讨尚不充分。研究以苏州大学博物馆实物样本和故宫博物馆数字化文物资源为基础,运用实地考察、定量分析、文献研究和数字化技术提取法,探讨了其艺术特色及成因。研究发现,精工苏绣针法支撑了纹样表现,清代染色技艺增添了色彩魅力。此外,纹样构图不仅反映了清代社会政治和思想变革,还体现了儒家文化的吉祥寓意。这些发现深化了对清代苏绣服饰艺术的理解,为博物馆清代苏绣服饰的研究提供了理论基础。

洮绣纹样文化意象基因提取及其应用

为保护和传承洮绣文化,促进洮绣民间艺术与现代设计的有机融合,提出洮绣纹样文化意象基因提取与应用方法,从意象风格角度探索洮绣纹样的创新设计路径。首先,建立洮绣纹样样本库,并收集洮绣纹样的造型意象词汇与色彩意象词汇,通过语义差分法进行意象值评价,从而归纳各意象维度的典型样本;其次,分析典型样本,结合形态分析法、解构重组、图谱分析法提取造型因子和色彩因子,构建契合用户感知意象的文化基因库;再次,通过用户满意度建立目标产品与文化意象基因的关联机制,并利用形状文法进行造型推演;最后,输出融合洮绣文化内涵的产品创新设计方案。基于上述流程,以丝巾为案例开展设计实践,所得方案能够展现出洮绣纹样的特征,该流程适用于洮绣纹样的创新设计,具有可行性和有效性,可为其他刺绣纹样创新设计提供参考。

基于人工智能的传统手工艺彝族刺绣艺术设计融合创新研究

当代的传统手工艺创作不仅要保留传统技艺和造型的精髓,亟需探索新技术带来的创新可能性。作为珍贵的民族文化遗产,彝族刺绣展现了深厚的文化、高超的技艺,更富独特的纹样和内涵,但在传承与创新方面面临挑战。人工智能技术的出现与迅速发展,为传统工艺注入了新的材料与创作方式,为丰富和更新彝族刺绣的制作流程提供了新的契机。本文结合实际案例,融合人工智能技术与彝族刺绣的再生成设计,深入分析了人工智能对刺绣创作方式和图案生成的影响,探索其与传统刺绣技艺之间的平衡与契合点的同时思考如何将技术介入并促进彝绣艺术观念的延展,为数字时代彝族刺绣的再生成设计与创作提供新的思路和实践参考。

基于智能绣花机的数码仿真绉绣研发和工艺参数研究

为了传承苗绣文化、辅助现代苗绣产品设计研发,文章基于JANOME智能绣花机和Aritistic Digitizer绘图软件开发了数码仿真绉绣,解决了利用机器实现绉绣肌理效果的难题,并采用机针粗细、面底线搭配方式、线迹长度密度比、线迹外轮廓线宽度等工艺参数量化的方式,探究了工艺参数与数码仿真绉绣厚度的影响,对数码仿真绉绣厚度与工艺参数间的多元回归方程提出了假设猜想。此机绣方式和回归方程可提高苗绣绉绣技法的机绣效果和产品生产效率,赋予苗绣设计师更大的设计自由度。