Embroidery Pattern Research Articles

Embroidered Transmission Lines with Conductive Yarns: Challenges, Modeling, Fabrication, and Experimental Performance Assessment.

This paper presents an enhanced measurement technique for evaluating embroidered transmission lines (TLs), based on a TL characterization method. The evaluation metric is the "pure" losses of the embroidered TL excluding mismatch losses. Enhanced mechanical stability and removability of embroidered samples under a test is supported by a specially designed measurement setup. Losses are used to find the effective conductivity of each embroidery pattern. Various embroidered samples are fabricated, measured, and evaluated. The repeatability of measurements and fabrication are analyzed and assessed, resulting in average deviations of 0.5 dB and 0.7 dB, respectively. A comparative evaluation of two different yarns of low and high conductivity is presented. Single and double stitching patterns for each yarn are manufactured with stitch densities of 1-7 lines/mm. For interconnection with SMA connectors, a conductive fabric contact (CFC) was selected as the finish of the TL, as a more practical interface instead of direct yarn contact (YC). The analysis of the measurements proved useful findings, such as an increase in the stitch density or the amount of yarn used does not always improve the performance; the use of double stitching greatly improves low-performance stitch densities; the effective conductivity of embroidery patterns changes with frequency; the YC interface yields more losses for medium stitch densities, but for higher stich densities, it presents an improved performance compared with the CFC interconnection.

Research on Pattern Generation and Innovative Design of Chinese Mongolian Embroidery based on AIGC Technology

This study aims to investigate the potential of generative artificial intelligence (AI) technology in the generation and innovation of Mongolian embroidery patterns. It seeks to address the limitations of traditional embroidery pattern design, which is often time- consuming and inefficient, and to enhance the market competitiveness of Mongolian embroidery products. A substantial corpus of Mongolian embroidery patterns has been assembled, and image processing software has been employed to enhance the processing. A generative adversarial network (GAN) and a variational self-encoder model are constructed to learn and train Mongolian embroidery patterns, with the objective of generating new patterns that exhibit a combination of traditional style and modern design concepts. The experimental results demonstrate that the Mongolian embroidery patterns generated by AIGC technology retain the defining characteristics of traditional patterns in terms of form, while also exhibiting a greater degree of diversification in design style through the creative generation of the model.

A Brief Analysis of the Symbolic Significance and Cultural Continuity of Qiang Horn Flower Pattern

Based on Freud's theory, this paper discusses the symbolism of the Qiang horn flower pattern in Chinese Qiang embroidery and cultural continuity. The Qiang horn flower pattern is an iconic cultural symbol of the Chinese Qiang people's worship of nature, their hopes for life ideals and their desire for their life reproduction, which is in line with Freud's theory of life instinct. In Chinese Qiang embroidery, the crochet Qiang horn flower pattern is a symbol of the Qiang culture, an expression of deep knowledge of nature and humanism. During the evolution of the times, the Qiang people have skillfully applied the theory of defence mechanism proposed by Freud, and through personalized and modernized artistic innovation, made the embroidery pattern of the Chinese Qiang people realize the sublimation and regeneration on the basis of maintaining the traditional symbols. Faced with modern cultural influences, the Qiang horn flower pattern in Chinese embroidery shows a strong psychological defence mechanism and cultural regenerative ability, so that the Qiang cultural genes can be expanded and inherited with the changing times. The research of this paper not only reveals the profound symbolic meaning and psychodynamic display of Qiang horn flower pattern in Chinese embroidery, but also shows its indispensable core status and lasting influence in Chinese Qiang cultural vein, providing some theoretical insights and practical revelations for research on intangible cultural heritage protection and inheritance.

Scalable Fabrication of an MXene/Cotton/Spandex Yarn for Intelligent Wearable Applications

Wearable sensors based on MXene have attracted attention, but the large-scale production of MXene-based textile materials is still a huge challenge. Hereby, we report a facile way of incorporating MXene into the traditional yarn manufacturing process by dipping and drying MXene into cotton rovings followed by fabricating an MXene/cotton/spandex yarn (MCSY) using friction spinning. The MXene in the MCSY brings electrical conductivity to the MCSY with well-preserved mechanical properties. Due to its wide sensing range from 408 Pa to 10.2 kPa, the MCSY can be used to monitor human motions in real time, such as writing, walking, and wrist bending. In addition, the MCSY exhibits a stable compression sensing performance even under different strains. Furthermore, the MCSY can be sewn into clothing or onto a mask as an embroidery pattern to develop sensing device prototypes capable of detecting touching or breathing. The reported manufacturing technology of the MCSY will lead to an industrial-scale development of MXene-based e-textiles for wearable applications.

Research on the Artistic Characteristics of Embroidery Pattern Paper-Cut

As a typical representative of paper-cut art, embroidery pattern paper-cut has a long history, has unique practical and aesthetic value, and provides rich materials for embroidery skills. The artistic features of practicability, spirituality, aesthetics, subjectivity and inheritance of embroidery pattern paper-cut not only show the unique artistic charm of embroidery pattern paper-cut, but also help arouse the world's attention to traditional handicrafts, inheritance and Protect.

The Wonderful Art Hidden in the Boudoir—Analysis of the Paper-cut Art of Qiang Embroidery

As the representative of Qiang folk art, Qiang embroidery pattern paper-cut has a long history and is an important part of Qiang culture. The Qiang embroidery pattern paper-cut is mainly used in the fields of clothing and accessories. It has strong decorative effect and wear-resistant practicality. It has artistic features such as rich patterns and themes, diverse shapes and designs, and strange composition techniques, which demonstrate the artistic charm of paper-cutting and have important reference value for the study of Qiang folk paper-cutting art.

In vivo ligamentogenesis in embroidered poly(lactic-co-ε-caprolactone) / polylactic acid scaffolds functionalized by fluorination and hexamethylene diisocyanate cross-linked collagen foams

Although autografts represent the gold standard for anterior cruciate ligament (ACL) reconstruction, tissue-engineered ACLs provide a prospect to minimize donor site morbidity and limited graft availability. This study characterizes the ligamentogenesis in embroidered poly(L-lactide-co-ε-caprolactone) (P(LA-CL)) / polylactic acid (PLA) constructs using a dynamic nude mice xenograft model. (P(LA-CL))/PLA scaffolds remained either untreated (co) or were functionalized by gas fluorination (F), collagen foam cross-linked with hexamethylene diisocyanate (HMDI) (coll), or F combined with the foam (F + coll). Cell-free constructs or those seeded for 1 week with lapine ACL ligamentocytes were implanted into nude mice for 12 weeks. Following explantation, cell vitality and content, histo(patho)logy of scaffolds (including organs: liver, kidney, spleen), sulphated glycosaminoglycan (sGAG) contents and biomechanical properties were assessed.Scaffolds did not affect mice weight development and organs, indicating no organ toxicity. Moreover, scaffolds maintained their size and shape and reflected a high cell viability prior to and following implantation. Coll or F + coll scaffolds seeded with cells yielded superior macroscopic properties compared to the controls. Mild signs of inflammation (foreign-body giant cells and hyperemia) were limited to scaffolds without collagen. Microscopical score values and sGAG content did not differ significantly. Although remaining stable after explantation, elastic modulus, maximum force, tensile strength and strain at Fmax were significantly lower in explanted scaffolds compared to those before implantation, with no significant differences between scaffold subtypes, except for a higher maximum force in F + coll compared with F samples (in vivo). Scaffold functionalization with fluorinated collagen foam provides a promising approach for ACL tissue engineering.Graphical abstracta Lapine anterior cruciate ligament (LACL): red arrow, posterior cruciate ligament: yellow arrow. Medial anterior meniscotibial ligament: black arrow. b Explant culture to isolate LACL fibroblasts. c Scaffold variants: co: controls; F: functionalization by gas-phase fluorination; coll: collagen foam cross-linked with hexamethylene diisocyanate (HMDI). c1-2 Embroidery pattern of the scaffolds. d Scaffolds were seeded with LACL fibroblasts using a dynamical culturing approach as depicted. e Scaffolds were implanted subnuchally into nude mice, fixed at the nuchal ligament and sacrospinal muscle tendons. f Two weeks after implantation. g Summary of analyses performed. Scale bars 1 cm (b, d), 0.5 cm (c). (sketches drawn by G.S.-T. using Krita 4.1.7 [Krita foundation, The Netherlands]).

강릉자수를 활용한 문화상품 개발에 관한 연구

This study aims to develop cultural goods using the images of Gangneung embroidery relics to transmit and develop traditional craft culture and unique cultural goods of Gangneung. This study examines the formative characteristics of Gangneung embroidery and analyzes the relics of Gangneung embroidery. Based on the analysis result, the motif was digitally printed on 100% silk and polyester fabric to produce various cultural goods. Most of the outer fabric of Gangneung Subo was made of cotton, which was widely produced or imported in the 19th century, and silk was used as the lining. Gangneung embroidery is characterized by a technique in which the surface is laid flat and the rim is collected with gold thread. The embroidery pattern was created using trees and birds as motifs as original patterns by analyzing the materials of Gangneung embroidery with colored thread, in the Gangneung Embroidery Museum. The motif of trees and birds was simplified and symmetrically or repeatedly arranged. In abstract and geometric patterns, Gangneung Subo is unique cultural contents of Gangneung. Cultural goods were developed using the gorgeous red, green, and yellow colors used in Gangneung embroidery and black, white, grayish sky blue, and off-white, which contemporary society prefers. Scarves, masks, cleaning cloths, cushions, foldable bags, eco bags, pouches, and smart tokes have been developed and produced in various ways as cultural goods. In particular, by using digital textile printing with Gangneung embroidery motifs through illustration work, various products can be easily produced and popularized by lowering the unit price of cultural goods. Using Gangneung embroidery to develop various products suitable for a contemporary style and produce excellent cultural products with shapes, colors, materials, and designs, the traditional craft culture can be transmitted and developed. Furthermore, it will be possible to promote Gangneung

Study on the Factors Affecting the Embroidery Pattern Style of Miao in Leishan

In response to the factor that affects the evolution of Leishan Miao embroidery style, this paper, based on field inspections and consulting related county chronicles, characterizes its style from two aspects: pattern composition and content, and tries to characterize its style from the perspectives of craftsmanship and the social role of embroidery women. By reviewing the angles of change, and analyzing the reasons for the evolution of embroidery styles, this research has found that the style of Miao embroidery can be summarized as the proper use of continuous and separate patterns, as well as the fusion of reality and illusion in the subject matter. The study holds that the comprehensive application of stitching is the technical guarantee for the evolution of styles. At the same time, the transformation of embroidery women's social roles from “women weavers” to “women farmers” and then to “businesswomen” is the potential motivation for the evolution of embroidery styles.

Cooperative Creativity Support Tools for Computational Crafting

The role of computers and software as tool, manufacturer, collaborator, and artist in relation to human crafters has been heavily debated philosophically and practically. A creativity support tool for a specific creative domain is interdisciplinary, crossing fields of computational creativity, creativity support tools, procedural content generation, human-computer interaction, and potentially many others. This work aims to consolidate applicable research to domains with physical craft execution, as well as present an instance of a proactive and cooperative creativity support tool for the domain of machine embroidery pattern digitization, or simply digitizing. Proprietary software tools exist for digitizers, but auto-digitizing features — features that claim to automatically convert an image to a pattern — are widely disparaged in the industry, and novices and intermediate digitizers face a steep learning curve. The primary directive of this work is to ease that learning curve by helping suggest and caution the user about both the digital and physical best practices of the craft. In order to accomplish this task, the creativity support tool must successfully model machine embroidery such that it can be executed by embroidery machines, including basic operations, expert rules-of-thumb, and physical constraints, as well as interface with the user in a helpful and productive manner.

Image of Ukraine in the Works of Western Artists (Kyiv Murals)

The article addresses the classification of Kyiv murals of the early 21st century, made by foreign artists (USA, Canada, France, United Kingdom, Belgium, Australia, Spain, Portugal, Argentina, Brazil, Costa Rica, South Africa, etc.). The image of Ukraine in the work of these artists, who got to know Ukraine forcedly, episodically, and inevitably scarcely, isthe image of the Other on the territory of this Other. As a result, “others” (foreign artists) overcome their own otherness and enter into cultural dialogue with other culture and the city, the notable part of which their murals become. Along with animalistic motifs (mainly ornithological), this area is dominated by the archetypal images of Ukrainian history and culture, bizarrely supplemented by their own reminiscences and additions (mural Berehynia). However, signs of simulacrum is not the case. It is rather a carnival fantasy that traces the influence of Baroque culture, which has deep roots in Ukraine. There are precedents of collaboration with Ukrainian authors (mural Vidrodzhennia (Renaissance) by Julien Malland and Oleksii Kyslov). Occasionally, foreign artists use only certain attributes of local life (embroidery pattern), directly reflect on the impressions of the present, transplanting them into the European context (mural Night Kyiv). Also from time to time they turn to real characters of national history and culture (Serhii Nigoian, Lesia Ukrainka, in the latter case Guido van Helten boldly reformed the established image iconography of the “daughter of Prometheus”, giving his heroine the features of a modern feminist), as well as sports (gymnast Hanna Rizatdinova). It was concluded that there is a long-term cultural dialogue between the West and Ukraine, with the first party presenting maximum interest and tolerance.

Study on Anti Pilling Finishing of Embroidery Products

The problem of easy pilling of embroidery has become a pain point of consumption. The water-soluble polymer finishing agent is applied on the embroidery along the embroidery pattern line with a brush. The treated embroidery is ironed and solidified with an iron. Natural extract finishing agent was used for secondary reinforcement in the later use. The results show that the film with good mechanical properties and transparency can be formed on the surface of embroidery fiber when the finishing agent concentration is 0.6 wt%. The breaking strength of embroidered silk fiber is improved and the fuzzing degree is reduced. The fuzzing resistance of the finished embroidery decreased with the increase of washing times. The fuzzing resistance of the finished embroidery was restored to a certain extent after the secondary reinforcement with 0.2 wt% Gleditsia sinensis gum.

Interpretation of the Connotation of Weaving and Embroidery of Traditional Clothing of Blue Clothes Zhuang

Zhuang nationality clothing patterns are colorful and rich in connotation, including flowers, plants, trees, insects, fish, birds and animals. Among the numerous patterns and patterns, some widely used totems have different applications in different parts of traditional clothing. From the perspective of the traditional clothes of blue clothes Zhuang nationality, the Southern Zhuang nationality and the northern one live in different areas, so different national aesthetic constructs different embroidery art characteristics. The plain Zhuang embroidery is mostly humble embroidery, and the mountain Zhuang in the northern Guangxi mountain area is mostly skillful embroidery, which are well-made, showing the classic national characteristics. In this paper, through the analysis of the traditional clothing embroidery pattern of blue clothing Zhuang, the cultural connotation and value of related clothing decoration are studied.

HANDMADE EMBROIDERY PATTERN RECOGNITION: A NEW VALIDATED DATABASE

Patterns of handmade embroidery are an important part of the culture of a number of African people, particularly in Nigeria. The need to digitally document these patterns emerges in the context of its low patronage despite its quality and richness. The development of a database will assist in resuscitating the dying art of Handmade Embroidery Patterns (HEP). The patterns of handmade embroidery are also irregular and inconsistent due to the manual method, and creativity involved in its production. Developing an automatic recognition of HEP will therefore create a system where machine embroidery can be made, or automated to mimic the creativity and peculiar intricacies of traditional handmade embroidery patterns. This study developed handmade embroidery pattern database (HEPD) that can be used for many processes in the field of pattern recognition and computer vision applications. Samples of handmade embroidery patterns were collected from three different cities in South-Western, Nigeria. Pre-processing operations such as image enhancement, image noise reduction, and morphology were performed on the collected samples using image-processing toolbox in MATLAB. This work developed a validated new dataset of handmade embroidery patterns containing two categories of embroidery patterns with a total number of 315 images in the database. It evaluated the database for recognition process using cellular automata as feature extraction technique and support vector machine as its classifier. The performance metrics employed are sensitivity, specificity and accuracy. For the two classes of images considered, 72% sensitivity, specificity of 93% and accuracy of 80% were obtained for grayscale image. For the binary image, an accuracy of 72% with sensitivity of 82% and 65% specificity were obtained. The result obtained showed that the grayscale image exhibits an efficient accuracy than binary image.

Karakteristik Produk Bordir Berdasarkan Kepuasan Konsumen Segala Rintisan Pemberdayaan Sentra Industri Kecil di Jawa Timur (Studi Kasus di Sentra Industri Kecil Bordir Tanggulangin Sidoarjo)

Sidoarjo has been known as the center of SMEs. As for embroidery product, price variable is the most dominant variable. The research that will be conducted is based on the previous research that has been conducted by the researchers regarding the customer perception of the characteristics of embroidery product. This research is an exploratory research. The research method that will be used is qualitative descriptive which will be quantified by Quality Function Deployment method. The Subject of this research is the customers, embroidery experts, and TTG experts. The results of the survey consists of data regarding the customer expectation on embroidery products in 4 (four) embroidery outlets in Sidoarjo. The data collected is arranged into the customer quality demand which subsequently comprised into the construct of quality performance. Afterward, the data is processed using WELCOME program and applied into an electric embroidery machinem which could produce formatted embroidery pattern. Embroidery patterns that are desired by customers are flowery type such as jasmine, rose, cherry blossom, and KAMBOJA with size in a range of 1-3 cm, which is located in a variety of places, using KESET technique, and modified into 2 dimension with beads, and the color that is preferred is secondary color such as orange, violet, and green, and the type of fabrics that is favored is cotton. In term of the technological capability that is possessed by the crafter, all demand for the customer quality construct can be satisfied. This is possible because a meeting regarding the capability and competence of the crafter has been arranged before the survey was conducted. All crafter that is surveyed in embroidery pattern and process is still manual without the use of computerized machine with embroidery pattern software.

REVIVAL OF TODA EMBROIDERY-Needlecraft of Nilgiris

The Toda are an ancient pastoral people who live in the cool uplands of the Nilgiri Mountains of Tamil Nadu, India. Toda women do an aesthetically great and intricate form of embroidery and it holds a cultural uniqueness for the Toda community. This distinct style of embroidery is locally known as “Pugur” or “Pukhoor”. In the current study an effort has been made to preserve and revive this craft with the focus on documentation, creating general awareness and capacity building of the artisans. Interventions were planned for the revival and preservation of this traditional craft and community. A video on the tribal craft has been made to for introducing it to the masses for increasing awareness about the craft through social media and video screening sessions. A motif/design catalog was also prepared for use by artisans and designers. Also, it was found that design education for artisans at the local level is the most effective model because it focuses on all-round education for the artisan. Thus, a clothing line was designed for men, women, and kids and design layouts were provided to the artisans for understanding placement of embroidery pattern.

Evaluation of optical data gained by ARAMIS-measurement of abdominal wall movements for an anisotropic pattern design of stress-adapted hernia meshes produced by embroidery technology

For the sustainable repair of abdominal wall hernia the application of hernia meshes is required. One reason for the relapse of hernia after surgery is seen in an inadequate adaption of the mechanical properties of the mesh to the movements of the abdominal wall. Differences in the stiffness of the mesh and the abdominal tissue cause tension, friction and stress resulting in a deficient tissue response and subsequently in a recurrence of a hernia, preferentially in the marginal area of the mesh. Embroidery technology enables a targeted influence on the mechanical properties of the generated textile structure by a directed thread deposition. Textile parameters like stitch density, alignment and angle can be changed easily and locally in the embroidery pattern to generate a space-resolved mesh with mechanical properties adapted to the requirement of the surrounding tissue. To determine those requirements the movements of the abdominal wall and the resulting distortions need to be known. This study was conducted to gain optical data of the abdominal wall movements by non-invasive ARAMIS-measurement on 39 test persons to estimate direction and value of the major strains.

The role of monastic embroidery workshops in the formation of the early modern Polish embroidery

The article presents the state of research and the research problems concerning the early modern Polish embroidery and the role of the monastic workshops in its formation. Embroidery was one of the regular occupation in the female congregations. Nuns embroidered for their churches, as well as they took the orders from outside – from male congregations, the higher clergy and the secular customers. Their importance has increased in the 17th century, and in the 18th century nearly all convents dealt with this craft. The preserved embroideries reflect the general stylish trends prevailing in the handicrafts, but they are characterized by greater conservatism. Their level is very varied, from perfect works to very weak and inept ones. Nuns rarely prepared themselves patterns for embroideries, more often they used the services of craftsmen or they were repeating the proven solutions. They certainly used the embroidery pattern books. An important inspiration for them were also patterns of fabrics. While the floral motifs showed high proficiency, in less common figural presentations we often see much incompetence. Vestments decorated with the elaborate symbolic representations are distinguished among them. At this stage of research it seems that the monastic workshops have had a major impact on the prosperity of embroidery in the Republic of Poland and that along with the guilds they developed a certain style and taste. Preserved objects are waiting for being catalogued and for insightful research that let us connect more of them with definite workshops.

The Spider and the Bee Emblem in Edmund Spenser’s Sonnet

Specifi c features of the Renaissance poetics have been studied insufficiently yet, especially the influence on them of the emblematic culture. The emblematic type of thinking was typical for that period, which is evidenced by the fact that both books of emblems and images from them were widely spread. The article offers an analysis of the 71st sonnet from “Amoretti” cycle by Edmund Spenser, where description of an embroidery pattern is combined with its allegorical interpretation, which permits to consider the entire sonnet as a kind of emblem. In contrast to the already existing religious interpretation of The Spider and the Bee emblem, which represented them as an unrighteous man and a true Christian, Spenser gives his own interpretation and associates The Spider and the Bee with lovers. The poet catches his beloved in his love net; and thus he reverses the common Petrarchan topos of the golden hair of the lady who caught her beloved in her net. The free image interpretation is a part of the emblematic thinking, which can give not just one but several interpretations to any object. Therefore, Spenser creates a sonnet referring to both the scholarly (emblems) and the household (embroidery) knowledge of the reader, thus showing his love of compound poetical images.

A Study on Computer Embroidery Pattern Design Using Korean Dan-Chung Patterns

Background Dan-Chung(丹靑) is the traditional Korean patterns that are decorated with various colorful patterned paintings upon each sections of wooden architecture, and protected from corrosion and insects. Because Dan-Chung consists of various geometrical patterns with meaningful signs and symbols, as an accomplishment of Korean traditional images, it is necessary to develop the unique culture products with Dan-Chung motifs by Korean traditional culture. Therefore, this study aims to develop and design the computer embroidery patterns in sheer fabric by using Korean Dan-Chung, as a differentiated cultural fashion merchandise. Methods First of all, to develop and design the computer embroidery patterns of Korean Dan-Chung, on-site photo survey, related papers and books were studied. These geometrical pattern designs of Dan-Chung were processed by YoungWoo CNI ‘TexPro Design V11.0 & Photoshop CS’ CAD. The finished Dan-Chung patterns were completed in the computer embroidery designs by ‘PE-DESIGN NEXT’ of the textile embroidery CAD of Brother Co. These developed embroidery patterns of Dan-Chung were applied on sheer fabric and made into women's blouses in spring/summer for further commercialization. Result Through this study, the embroidery pattern was developed with a variety of geometrical designs from Dan-Chung: triangles, circles, squares, hexagons and so on. Finally, the embroidery patterns of Dan-Chung were developed into thirty designs in computer embroidery CAD, and produced ten women's blouses with sheer embroidery fabrics. Conclusion Based on the results of this study, the developed embroidery fabrics of Dan-Chung appeared to have a contemporary yet ethnic feeling so that they could make use of the versatile fashion merchandising items by further commercialization.