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Dress may show the characteristics of an era, a country, a community or a person. As in other folk arts, clothing is one of the most vibrant documents of cultures. Since folk clothing, which is a cultural product, is directly related to people, it is an indicator of the people's modes of living. The colours, patterns and motifs especially used in folk clothing provide important information on such matters. This article deals with the colours and patterns of the folk clothing in the regions within Romania. For this purpose, samples of folk clothing belonging to the regions considered as the most traditional are illustrated and the elements of folk clothing examined in terms of colour and pattern features. The article lists various colours and patterns and shows how their configurations serve as identifying markers for the various regional locations of their wearers. [ABSTRACT FROM AUTHOR]

Copyright of Cotton Textile Technology is the property of Cotton Textile Technology Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper, a textile defect detection method is introduced based on à trous wavelet transform. The processing procedure has two stages: training and testing. In each stage, the images are decomposed using à trous wavelet transform, and the approximate sub-bands are extracted at an appropriate level. This transform is a time-invariant transform. It is useful for several applications, such as textile defect detection. The purpose of the proposed method is to reinforce the energy of the defected area and reduce the energy of the background to allow the detection process, efficiently. The threshold values are energy estimations for rows and columns. The method is applied on different datasets; such as dataset 4 of DAGM dataset, the dataset from industrial automation research laboratory and our own practical dataset. [ABSTRACT FROM AUTHOR]

We introduce a novel approach to evaluate how the design properties of morphing metamaterial influence shape-changing experiences. We leverage parametric design to create cutting patterns that change the Density and Geometry material properties. Using laser-cutting, we apply the patterns to a non-stretchable woven textile, resulting in a stretchable metamaterial that we actuate using an electromagnetic coil. This systematic design approach leads to programmatic control over the material movement, making it suitable for controlled evaluation of perceived experience. In a 2×2 mixed-method study, we assess how the metamaterial’s Density and Geometry properties impact the observed experience. Our findings indicate that such changes significantly and independently affect participants’ perceived emotions, mood, associations, and preferences. Our research contributes to the body of work of systematic studies in the shape-changing community. By using our morphing metamaterial design and implementation technique, coupled with our controlled evaluation of specific design properties, we have revealed new insights about the influencing factors of shape-changing experiences. We have incorporated these insights into our morphing metamaterial design guidelines, which outline the impact of Density and Geometry properties on an observer’s perceived emotions. We hope our work will open up new possibilities for expressive, evocative metamaterial-focused shape-changing experiences. [ABSTRACT FROM AUTHOR]

Methods for evaluating the fluctuation of texture patterns that are essentially regular have been proposed in the past, but the best method has not been determined. Here, as an attempt at this, we propose a method that applies AI technology (learning EfficientNet, which is widely used as a classification problem solving method) to determine when the fluctuation exceeds the tolerable limit and what the acceptable range is. We also apply this to clarify the tolerable limit of fluctuation in the "Kurume Kasuri" pattern, which is unique to the Chikugo region of Japan, and devise a method to evaluate the fluctuation in real time when weaving the Kasuri and keep it within the acceptable range. This study proposes a method for maintaining a unique faded pattern of woven textiles by utilizing EfficientNet for classification, fine-tuned with Optuna, and LightGBM for predicting subtle misalignments. Our experiments show that EfficientNet achieves high performance in classifying the quality of unique faded patterns in woven textiles. Additionally, LightGBM demonstrates near-perfect accuracy in predicting subtle misalignments within the acceptable range for high-quality faded patterns by controlling the weaving thread tension. Consequently, this method effectively maintains the quality of Kurume Kasuri patterns within the desired criteria. [ABSTRACT FROM AUTHOR]

Copyright of Wool Textile Journal is the property of National Wool Textile Science & Technology Information Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the dynamic world of textile design, where digital tools have revolutionized the process of creating patterns, ARAHNE software programs, ArahPaint, ArahWeave, ArahDrape and ArahView 3D, are recognized as leading CAD/CAM software tailored for professionals. ArahPaint is a software designed for instant drawing in seamless repeats, enabling users to easily view and generate repetitions of their pattern. Specifically optimized for designing and weaving Dobby and Jacquard woven fabrics, ArahWeave software exemplifies how digital technology is reshaping the creative process in the textile industry. The advanced simulation tools of ArahWeave facilitate a highly realistic preview of how seamless pattern will appear when woven into fabric. Users can adjust structural parameters including thread patterns, yarn characteristics, colour schemes, fabric density, and weaves to achieve their desired aesthetic and structural appearance in woven fabric and present a 3D model simulation of their fabric in ArahView 3D. ArahDrape is a texture mapping software designed to help weavers, designers, and retailers enhance the presentation of their fabrics. Like mastering any other skill, using ARAHNE software programs requires dedicating time to learn and practice creating various textile patterns suitable for a range of textile applications. Additionally, users' artistic skills empower them to enhance both the quality and uniqueness of their textile designs. This paper explores the advanced shading techniques of Jacquard woven fabrics, simulated in ArahWeave software. The aim is specifically focusing on the process from inspiration to creating seamless patterns suitable for various Jacquard fabric types, providing solutions to users who wish to transcend the confines of traditional textile design. [ABSTRACT FROM AUTHOR]

Copyright of Arcos: Design, Cultura e Visualidade is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A novel methodology is introduced for designing auxetic (negative Poisson's ratio) structures based on topological principles and is demonstrated by investigating a new class of auxetics based on two‐dimensional (2D) textile weave patterns. Conventional methodology for designing auxetic materials typically involves determining a single deformable block (a unit cell) of material whose shape results in auxetic behavior. Consequently, patterning such a unit cell in a 2D (or 3D) domain results in a larger structure that exhibits overall auxetic behavior. Such an approach naturally relies on some prior intuition and experience regarding which unit cells may be auxetic. Second, tuning the properties of the resulting structures is typically limited to parametric variations of the geometry of a specific type of unit cell. Thus, most of the currently known auxetic structures belong to a selected few classes of unit cell geometries that are explicitly defined in accordance with a specified topological (i.e., grid structure). Herein, a new class of auxetic structures is demonstrated that, while periodic, can be generated implicitly, i.e., without reference to a specific unit cell design. The approach leverages weave‐based parameters (A–B–C), resulting in a rich design space for auxetics that is previously unexplored. [ABSTRACT FROM AUTHOR]

In this work, five different types of animated graphic design ideas (traditional, 2D, 3D, stop motion, motion) were examined on three different textile fabrics (cotton, silk, polyester) through digital printing. Psychological-emotional expressions (openness, conscientiousness, extroversions, agreeableness, and neuroticism) were investigated that influenced the perceptual criteria. Lastly, a quantitative investigation was carried out from a sample of 300 students whose ages varied from 20 to 24 years old for an analysis of aesthetic appeal through a 5-point Likert scale. The results revealed that motion animation design has the most effective aesthetic appeal while the stop motion design pattern has the least aesthetic appeal. Silk fabric samples have better graphic consequences whereas polyester fabric samples have the least. Moreover, individuals with neuroticism emotional personality have the least effective response while agreeableness have the utmost for the sense of aesthetics. 71% students were accustomed to aesthetic appeal as compared to structural fabrics. [ABSTRACT FROM AUTHOR]

Yuusoku silk textiles derived from the court life in Japan since the Heian period (794-1185A.D.), with distinctive ceremonial attributes and cultural significance, making them distinguishable from imported Chinese silk fabrics. Meanwhile, yuusoku textiles incorporate numerous weaving techniques and pattern designs inspired by ancient Chinese silks, which contributes significantly for studying ancient Sino-Japanese textile technology and cultural exchange. During the Ming and Qing Dynasties, China exported a large scale of silk fabrics to Japan, influencing the revival of yuusoku textiles in the Edo period, and eclectic designs emerged. Through comparative literature research and case studies of extant artifacts, the article analyzed the patterns and compositional forms adopted by Edo period yuusoku design from Ming and Qing silk textiles, with focus on textile varieties and their applications on costumes, and delved into the underlying textile technology, international silk trade, and socio-cultural factors. Three conclusions were drawn as follows. First, yuusoku designs in the Edo period underwent a process of assimilating and transforming Ming and Qing silk patterns. This process evolved from partial imitation to complete replacement of design elements. Some Ming and Qing silk patterns showed new cultural connotations in Japan, while some were simplified, and overall, the compositional features of Ming and Qing silk were retained. Second, during the Edo period, the yuusoku textiles that absorbed Ming and Qing silk techniques primarily included ukiori, karaori and lampas. The applications mainly encompassed Kuge costumes, Buke dresses, and Noh costumes. The utilization of one such textile labeled as the “Retired Emperor’s costume” highlights that by the late 18th century to the early 19th century, the eclectic yuusoku textile already gained recognition and usage among the ruling class in Japan. Third, compared to Qing Dynasty patterns, Ming Dynasty silk patterns showed more significance in terms of adoption and representation by yuusoku textiles during the Edo period. The primary reasons include a preference for the social values of the Ming Dynasty over the Qing Dynasty, the artistic attributes associated with Ming Dynasty silk in Japan as opposed to the material-oriented nature of Qing Dynasty silk fabrics, and the time-delayed characteristics inherent in the adoption of foreign patterns by yuusoku textiles. In the past, research on the interaction between yuusoku textiles and ancient Chinese silk mainly focused on the Song and Liao Dynasties, with insufficient attention given to the Ming and Qing periods. This study reveals that the influence of Ming and Qing silk on yuusoku textiles persisted until the late 19th century. However, by the interruption of input sources in modern periods and the impact of political and social movements including “departure from Asia” and “civilization and enlightenment”, the natural development of Japanese yuusoku patterns was subsequently disrupted. Further exploration of the preference and reconstruction of yuusoku design by adopting and reforming foreign patterns and weaving techniques, along with the eclectic designs influenced by ancient Chinese silk at different periods, constitutes an essential area for future research on the interaction between Japanese yuusoku patterns and ancient Chinese input sources. It also serves as a crucial route for studying the transmission and impact of ancient Chinese textile techniques on Japan. [ABSTRACT FROM AUTHOR]

Visual scene recognition is predominantly based on visual textures representing an object's material properties. However, the single material texture varies in scale and illumination angles due to mapping an object's shape. We present a comparative study of the colour histogram, Gabor, opponent Gabor, Local Binary Pattern (LBP), and wide-sense Markovian textural features concerning their sensitivity to simultaneous scale and illumination variations. Due to their application dominance, these textural features are selected from more than 50 published textural features. Markovian features are information preserving, and we demonstrate their superior performance for scale and illumination variable observation conditions over the standard alternative textural features. We bound the scale variation by double size, and illumination variation includes illumination spectra, acquisition devices, and 35 illumination directions spanned above a sample hemisphere. Recognition accuracy is tested on textile patterns from the University of East Anglia and wood veneers from UTIA BTF databases. [ABSTRACT FROM AUTHOR]

Copyright of Textile Industry / Tekstilna Industrija is the property of Union of Textile Engineers & Technicians of Serbia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Tikrit Journal of Engineering Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

3D printing technology has been developing rapidly in recent years. This technology is extensively used for producing prototypes of products and their designs with a wide range of materials in the manufacturing industry. The Fused Deposition Modelling (FDM) process uses the extrusion of molten thermoplastic materials through heated printing nozzle to create design objects layer by layer. The current research was to develop 3D printing technology on textile fabrics to create surface design based on FDM process using the Ultimake 3D printer. Printing parameters play an important role for printing on fabrics specially to achieve strong adhesion between the printed patterns and the surface of the fabrics. This research developed a method for assessing the attachment strength in the interface between the printed objects and the surface of fabrics. The effect of the initial setting distance between the printing nozzle and the printing platform on the performance of 3D printed fabrics was investigated. The research work demonstrated the ability to create different design patterns in 3D on the fabrics with excellent durability to washing, which shows potential for the commercial application in fashion industry. [ABSTRACT FROM AUTHOR]

Textile pattern design is a time‐consuming and tedious work. Mihui, our ongoing developing system, employs deep‐learning techniques to automatically generate huge volumes of patterns with the help of human guidance. However, trained as a black box, Mihui cannot provide customized service for each individual designer who shows unique aesthetics preferences. In this article, we introduce the recommendation module of Mihui. The module forwards all generated pattern images to a deep encoding network, where images are mapped into 128‐dimension vectors. For each user of Mihui, we create a profile by his/her purchased or downloaded history. A novel encoder network is proposed to learn a personal taste vector for each user, based on which, we recommend new patterns to him/her. Our records in Mihui show that the recommendation module effectively improve users' experience on Mihui. [ABSTRACT FROM AUTHOR]

The aim of the research is to improve the public's assessment and understanding of the cultural values and history of Bulgaria. The main issues related to the sustainable use of elements of the cultural heritage are defined, and the accessible literary sources related to the digitization of the folklore heritage are reviewed. Shape indices, color, and textural characteristics were obtained from digital color images of the elements of Bulgarian folk costumes. The most informative indices of these features were selected. A kernel variant of the principal component analysis (kPCA) method was used to reduce the data volume of the feature vector. A Naïve Bayes classifier, discriminant analysis, and the support vector method (SVM) were used for classification. The classification accuracy was assessed. In the analysis of the decorative elements of Bulgarian costumes, it was found that the accuracy of classification depended both on the method for reducing the volume of data and on the separability of the classes of data, depending on the classifier used. In the analysis of microscopic images of textile fabrics from Bulgarian costumes, it was found that the accuracy of classification for the studied objects depended both on the method for reducing the volume of data and on the used classifier. In the considered cases, a classification error below 10% was obtained using a non-linear kPCA kernel and SVM with a non-linear partition function. It was proven that the results of this development can be used in the creation of modern cross-stitch patterns, textile patterns, and clothing. The practical application of these research findings has the potential to benefit various stakeholders, including cultural heritage institutions, researchers, artisans, designers, and the general public, promoting a deeper appreciation and sustainable use of costume embroidery elements. Research can continue in the direction of the sustainable use and preservation of embroidery elements of Bulgarian costumes, enriching the understanding of cultural heritage and promoting appreciation for it in future generations. [ABSTRACT FROM AUTHOR]

For smart textiles and multifunctional wearable electronic devices, it is mandatory to fabricate high efficient and durable fine electroconductive patterns as circuits and elements. In this study, a fast method has been presented to direct writing of desired durable electroconductive patterns on textiles by using laser scribing of graphene oxide (GO) coatings. Laser CO2 is used to produce fast, direct, high resolution and three‐dimensional (3D) patterns of crosslinked reduced graphene oxide (LCrGO) on polyethylene terephthalate (PET) fabric. The choice of this method ensured a high electrical conductivity along with great durability that makes the final fabric as great structure for fine multifunctional wearable electronic devices. X‐ray diffraction, Raman spectroscopy, X‐ray photoelectron spectroscopy and field emission scanning electron microscope have been used to characterize the structure and morphology of LCrGO patterns on PET fabric. The sheet resistance of the LCrGO patterns on PET fabrics decreased associated with the increase of laser power as a main source of in situ photochemical/thermal reduction. The sheet resistance for the best LCrGO patterns was about 3.7 kΩ/sq that can be used in different smart and wearable electronic devices. After washings and exposure to mechanical deformation cycles, the patterns showed good conductivity retention of about 90%. [ABSTRACT FROM AUTHOR]

Copyright of Industria Textila is the property of Institutul National de Cercetare-Dezvoltare pentru Textile si Pielarie and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The 'winged chimera is an ancient art theme worldwide and it has a different name and image under different cultures. In ancient China the ' winged chimera was initially a common theme in stone sculptures and bronzes in tombs. It was first seen as a pattern appearing in textile decoration in the Eastern Han Dynasty. As for the 'winged chimera pattern of the MFB9736 collection the half-sleeved shirt of the Tang Dynasty collected by Ethnic Costume Museum Beijing Institute of Fashion Technology it was determined to be called ' Fei Lian according to the Chinese ancient literature about the image description of a variety of ' winged chimeras . In the historical development of Chinese arts and crafts the image of Chinese ' Fei Lian evolved from the Western Zhou Dynasty to the Tang Dynasty due to the continuous infiltration of foreign culture. In this process the 'Fei Lian pattern image of MFB9736 collection was formed but it is almost an isolated example in the whole Tang textile decoration pattern system. Most of the textiles in the Tang Dynasty adopted the patterns of ' winged horse ' winged deer etc. which were composed of a single animal and wings with exotic styles or the patterns of ' Griffin and ' Senmurv of ' winged chimeras from foreign cultures. In addition in the context of the multicultural integration of the Tang Dynasty neither did the ' Fei Lian pattern originated from the local nor did the foreign ' Griffin pattern and 'Senmurv pattern become the mainstream pattern in the decorative art theme of the Tang Dynasty. Instead the ' winged horse pattern and ' winged deer pattern etc. which were composed of a single animal and wings in an exotic style seemed to be more accepted by the Tang people. Based on this phenomenon it is of great academic value to study the patterns of ' winged chimeras in the textiles of the Tang Dynasty. After using the observation method of image data to sort out the evolution process of the winged chimera 'Fei Lian pattern image in Chinese history and then using the analysis method of ancient literature data and combining with the image data left over from history to analyze the function of 'Fei Lian in Chinese traditional culture and the reasons behind the acceptance and abandonment of the Chinese and foreign ' winged chimera patterns in the Tang Dynasty we drew the following conclusions. First the reason why the pattern of ' Fei Lian was not common or even disappeared in the textile decoration of the Tang Dynasty is related to the function of 'Fei Lian in the Taoist funeral culture. Due to the transformation of the Taoist concept of ascending immortals to the concept of health preservation in the Tang Dynasty the 'Fei Lian that could help people ' ascend immortals could not meet the spiritual needs of the Tang people thus losing the development space in the Tang Dynasty. Second the winged chimera ' Griffin pattern and 'Senmurv pattern had an important position in their cultures so for the purpose of protecting the supremacy of Chinese culture the Tang rulers would definitely not promote these two patterns. Coupled with the emergence of ' Repelling Hu people phenomenon during the middle and late Tang Dynasty these two patterns failed to become the mainstream of the Tang Dynasty decorative patterns. To meet the spiritual needs of Hu people in the Tang Dynasty and promote export trade the patterns like ' winged horse and ' winged deer with exotic style appeared on the market. Moreover the Han people in the Tang Dynasty tended to accept this kind of winged chimera aesthetically so this type appeared more in Tang textiles. The study of the ' winged chimera pattern in textile decoration of the Tang Dynasty and the collation of relevant ancient literature and image data can not only enrich the content of traditional Chinese textile decoration patterns but also reflect the tolerance and caution of the Tang people for their absorbing foreign culture and the compromise attitude and method adopted by Tang people in the face of the collision of Chinese and foreign cultures from the research results of the reasons behind the acceptance and abandonment of ' winged chimera pattern theme in the Tang Dynasty. [ABSTRACT FROM AUTHOR]

The purpose of this study is to raise awareness of the uniqueness and excellence of Korea's traditional culture among members of the MZ generation (Millennials and generation Z) and explore the possibility of utilizing archetypes of traditional culture in the contemporary context. To that end, this study develops and proposes unique contemporary textile pattern designs applying M. C. Escher's tessellation technique to the formative characteristics and symbolic meaning of Chaekgeori icons. To develop the designs, this study reviews the previous literature and theoretically considers the concept of Chaekgeori, its formative characteristics, and Escher's tessellation. After extracting iconsrelated to the themes, stylized iconographic motives were applied to geometric shapes to create repeating units. Then, Escher's tessellation was applied to these repeats to develop twelve contemporarily reimagined textile patterns. To verify the usability of the developed textile pattern designs in products targeting the MZ generation, in-depth interviews were conducted with the MZ generation living in Jeju. The developed textile patterns were mapped onto the selected items to prove the applicability of the developed textile patterns to the items preferred by the MZ generation. The contribution of this study lies in the fact that it develops unique and contemporary textile pattern designs based on the formative characteristics and symbolic meaning of Chaekgeori icons and maps the designs of fashion items preferred by the MZ generation, thereby raising awareness of the value and excellence of Chaekgeori as a part of Korea's traditional culture and shedding light on the possibility of using traditional cultural archetypes in contemporary contexts. [ABSTRACT FROM AUTHOR]

This paper focuses on the effect of yarn diameter, the density of yarn, woven type, Gram per Square Metre (GSM) and weight fraction fibre on tensile, flexural and impact properties of weaved sisal composite. Various types of woven fabrics were prepared from sisal fibres, and these fabrics are used to prepare the composites of variable weight fraction (Wff) as 20, 40, 50 and 60 percent by maintaining proper alignment of warp and weft direction. The tensile, flexural, and impact properties were found to increase with Wff content in all types of woven pattern composites. Plain 1 (P1) shows better mechanical properties as compared to Plain 2 (P2) and Plain 3 (P3)-based composites, and this shows GSM has a higher significance on mechanical properties. Further, the influence of woven pattern was analysed and found that the plain woven exhibits better tensile strength, but the herringbone exhibits better flexural and impact strength. Scanning Electron Microscope evidenced that good interfacial bonding between fibre and matrix interface. [ABSTRACT FROM AUTHOR]

Since ca the 1990s, there have been developments in the weaving process for making tin chok fabrics in the Long district, Phrae province, northern Thailand, with the aim of reducing the production time and increasing the production capacity with respect to poverty alleviation and cultural revitalization. In this article, the symmetry patterns in tin chok fabrics in a collection of 17 vintage (traditional) skirts held in the Komol Antique Textile Museum, in the Long district, are examined to determine how to distinguish tin chok fabrics woven by the integrated method from those woven by the traditional method. The research includes visual and symmetry analysis, literature review, fieldwork, and the creation of a pattern booklet. This research reveals that the hem, which is one of the four parts (supplementary part one, the main part, supplementary part two and the hem) of the detachable tin chok, is key to distinguishing the fabrics made by the two methods. The four parts of tin chok made by the integrated method will always have a common vertical axis of symmetry, whereas the vertical axes of symmetry of the hem of a fabric made by the traditional method may not be aligned with the motifs in the other three parts. The frieze groups of the individual parts of the 17 vintage (traditional) skirts are decoded and possible corresponding patterns for weaving by the integrated method are generated. [ABSTRACT FROM AUTHOR]

Copyright of Universidad & Empresa is the property of Colegio Mayor de Nuestra Senora del Rosario and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper aims to present the evolution of pattern construction in the textile industry starting from the manual construction of the basic pattern and ending with the current 3D method that is offered by most computer-aided design softwares. In this paper, the authors have chosen to present the way to simulate the fitting of a ladies' tunic and therefore to focus on the 3D Vidya design module, which is included in the computer-aided pattern making program Assyst. The computer-aided design program Assyst is in the top 3 of the kind programs used on the European market, the latest development being the 3D Vidya design module. Vidya's 3D module is now even more powerful, with incredibly realistic shadows and results thanks to the new V-RAY rendering system and PathTracer technology. With Vidya, one can instantly create avatars of the target group or a model in any size - all with lifelike sizes, shapes and realistic measurement increase or decrease across the full size range, which can be implemented in the shortest possible time. All digital accessories for simulation such as zippers, buttons, snaps have the characteristics of real accessories and behave as such, so in a simulation you can visualize exactly how a zipper behaves while in use. [ABSTRACT FROM AUTHOR]

Three-dimensional (3D) spirals are fascinating geometric shapes that are used in a variety of applications, such as textile fabric pattern and texture design, architecture, art, and engineering. In this paper, design of patterns using three-dimensional spirals are explored. The work began by discussing the mathematical properties of spirals and their applications. Then, several techniques for designing textile patterns are presented, including the use computer algorithms. Finally, examples of patterns that have been designed using spirals are presented. A comparative analysis was made with available literary sources. Guidelines for applying the obtained results in practice and guidelines for continuing this development are proposed. [ABSTRACT FROM AUTHOR]

Evidence is demonstrated for the effective use of domestic polymer modifiers to impart the effect of IR remission to colored camouflage patterns. [ABSTRACT FROM AUTHOR]

Several recent studies have investigated textile-electrodes, as they can be used in various types of wearable devices in many different fields. However, if an electrode is printed directly on top of a textile, the pattern cannot spread or permeate the textile to form an electrode. To solve this problem, this study printed electrodes on stretchable and printable polyurethane substrates. They were then integrated with a textile through a vacuum-thermal-pressure (VTP) process. This process forms an electrode pattern on the textile and complements the recovery of the polyurethane substrates. Various analyses were conducted to assess the properties of these fabricated textile-electrodes compared to those of conventional TPU-electrodes. We compared the mechanical durabilities and conductivities of textile-electrodes vs. conventional TPU-electrodes. The degree of waterproofing was also increased through the encapsulation process, and the characteristics of the encapsulation-material were analyzed through environmental reliability tests and washable-durability tests to examine their suitability for future applications in wearable products. [ABSTRACT FROM AUTHOR]

This article presents multidisciplinary research that involved design (i.e., textiles, tiles, pattern design), mathematics (i.e., symmetry and seven frieze groups) and a viewpoint on product design and development for business opportunities. This research comprised a design experiment and a survey. In the design experiment, two design approaches were created to translate the characteristics of traditional textile patterns into new pattern designs for floor tiles. These two design approaches were entitled: "partial replication", and "combination and simplification". The seven frieze groups were used as a transformation rule in both design approaches, resulting in two sets of frieze patterns. Although they were derived from the same origin, they looked different. A survey was conducted with 61 respondents to gain outsiders' perspectives on these new pattern designs. The findings include: (i) positive responses to applying traditional textile patterns to other products, (ii) plausible products for pattern designs, (iii) preferences for design approaches and frieze patterns and (iv) opportunities for design research and education with other disciplines. This paper concludes with theoretical and practical implications for further research. [ABSTRACT FROM AUTHOR]

Minority ethnic patterns in China, reflecting diverse cultures, serve as symbols of ethnic identity and cultural heritage. However, the current artistic domain of minority ethnic patterns faces dual challenges: limited artistic styles and insufficient innovation efficiency. In addressing these issues, this study proposes a novel approach for ethnic pattern innovation, named Fast Style Transfer for Ethnic Pattern Innovation (FST-EPI), aiming to enhance innovation efficiency and diversify artistic styles. FST-EPI comprises three key modules: background generation, background fusion, and fast transfer. Firstly, the background generation module utilizes the Visual Geometry Group network (VGGNet) to extract features from images, generating a background image with the desired style while preserving the necessary stylistic attributes. Subsequently, textile patterns are fused with the stylized background image, forming a content-background fusion image. Finally, the selected stylistic patterns, along with the content-background fusion image, are input into the fast transfer module to produce the ultimate innovative pattern. Experimental results demonstrate that the generated images not only fully retain the core features and cultural elements of minority ethnic patterns but also successfully integrate the unique styles from one or more reference images. This proposed method exhibits outstanding efficiency and feasibility in a broad range of experiments related to ethnic pattern style transfer, as evidenced by thorough comparisons with state-of-the-art methods. Ultimately, the processing speed of this method achieves a real-time output at the level of seconds, reducing processing time by nearly 50% compared to traditional approaches. [ABSTRACT FROM AUTHOR]

Copyright of DYNA - Ingeniería e Industria is the property of Publicaciones Dyna SL and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Sustainable, clean, random energy resources from the environment, like that from ubiquitous human biomechanical movements, are highly desirable for the information era. Such biomechanical energy can be captured via textile triboelectric nanogenerators (TENGs). However, realizing a textile TENG that has a self‐driven working mode, dynamic pattern designability, high electrical performance, mechanical robustness, and industrialized fabrication is challenging because of the difficulty in fancy‐yarn structure manipulation. Here, for the first time, a 3D braided stretchable hierarchical interlocking fancy‐yarn TENG (3D HIFY‐TENG) with deoxyribonucleic acid‐like double‐wing spiral structure is industrially exploited for multifunctional energy harvesting modes and self‐powered biomechanical sensing. The 3D HIFY‐TENG can generate self‐driven triboelectrical outputs without relying on other objects by body movements. It shows a mechanical robustness (6.9 cN dtex−1), excellent stretchability (>350%), weavability, washability and human‐body comfort. Moreover, geometric and mechanical behavior of the 3D HIFY‐TENG are systematically investigated theoretically and experimentally. Further, multifunctional 3D HIFY‐TENG fabrics are explored, which can not only harvest biomechanical energy and monitor body movement, but exhibit a unique adjustable pore effect, providing potential for dynamic electronic textile pattern design. In addition, a smart fitness system is developed for exercise management of real‐time exercise detection, frequency analysis, and self‐powered posture correction alarms. [ABSTRACT FROM AUTHOR]

Smart textiles, known also as e-textiles, are of great interest for the development of healthcare and wellness applications that require the embedding of electronic devices into the fabrics. Although many prototype proposals may be found in the literature, the generalization and commercialization of e-textiles is limited by the lack of cost-effective, standard fabrication processes that can be applied to a large variety of fabrics. In this contribution, we analyze the deposition of silver and carbon pastes by screen printing methods on a wide selection of daily-use textiles, to gain insight into the main features to be considered when developing cost-effective smart textiles. Results show the prospects offered by screen printing to create conductive patterns over textile and flexible materials with sheet resistances lower than 1 Ω/sq and a good repeatability in the dimensions of the patterns. [ABSTRACT FROM AUTHOR]

The arrangement of textile sewing patterns for cutting aims to minimize the amount of residual material, which in most cases is unusable and discarded. This paper proposes criteria for evaluating software products for arranging elements that are suitable for textile production. These criteria are related to the degree of use of the material, the overall efficiency of the algorithms, and the time for their execution. Data on dress, coat, and blouse were used. A software tool for complex, express, automated evaluation of algorithms for arranging elements has been developed, including software modules for research, analysis, and categorization of software products. A comparative analysis is made of software products for arranging cutting elements, depending on their use and availability. It has been found that the choice of appropriate software for arranging elements depends on the complexity of the items to be arranged and on what evaluation criterion is appropriate for the respective production of garment patterns. The obtained results can be used to develop systems to evaluate the performance of algorithms and software tools. Also, they can be used in the training of future specialists in the subject area. [ABSTRACT FROM AUTHOR]

Textile pattern recognition and recoloring separates a fabric image into different color regions and changes colors of the regions in the fabric image. A new method for textile pattern recognition and recoloring is proposed. The proposed method consists of two main steps. First, the binary images are recognized through a series of image enhancement techniques, such as the color‐encoding algorithm, the edge‐based filtering algorithm, and a multiphase image segmentation model. Second, the regions of interest are recolored with different recoloring methods based on intrinsic image decomposition and grayscale image recoloring. Experimental results and comparisons demonstrate that the main disadvantages and difficulties of using palette‐based methods in textile pattern recoloring have been overcome by the proposed method. The proposed method is effective in inhibiting tiny region effects and preserving the geometry structures of textile patterns. It can be applied to recognize and recolor different kinds of fabric images, including the Jacquard, the embroidered, and the printed fabric images. [ABSTRACT FROM AUTHOR]

This article will begin with a brief look at the origins of Mañjuśrī from south Nepal, his popularity in China and the many depictions of him in eastern India and Java. More importantly, it will re-interpret a selected group of the Boddhisattva Mañjuśri in the human form with one head and two arms. The statues produced in both bronze, silver and stone, all with similar attributes identifying him as Mañjuśrī. The theoretical framework follows the various representation of Mañjuśrī statues from eastern India to a Kumārabhūta form only in Central Java and a single form of Arapacana in East Java. Within this framework, it will evaluate the stylistic features, attributes and the sartorial style of statues from both regions of Java, with details not previously discussed by past scholars, particularly looking at the textile patterns found on several of the statues. When the Mañjuśrī statues appeared in Central Java, various forms of the youthful Kumārabhūta or royal prince emerged, where he appeared to be particularly popular. Despite past knowledge of these statues, this paper allows for a new research direction and highlights the change in Mañjuśrī styles from Central to East Java. Similarly, various forms of Mañjuśrī Arapacana from eastern India transpire in East Java with this one unique statue of Arapacana from Caṇḍi Jago.

This report explores advancements in multi-step printing/electroplating technique for creating conductive patterns on flexible substrates, which serve as potential structures in wearable electronic devices. The study introduces a novel procedure that employs a sequential process involving polyol screen printing and electroplating, enabling the development of conductive nickel-coated patterns with a conductivity value of about 1123 S/cm on textiles. A significant innovation in this study is the use of a graphene oxide/ethylene glycol (GO/EG) ink, which can be converted into reduced graphene oxide (rGO) through in-situ polyol treatment on the surface of PET fabrics. The effectiveness of this treatment is evidenced by various analytical and microscopic techniques, which confirm the successful printing of conductive rGO patterns onto PET fabric at 220 ˚C. The printed rGO patterns on the fabric surface are then subjected to electroplating as a target substrate and cathode for varying durations, ranging from 5 to 30 minutes. The study thoroughly examines the influence of electroplating time on the microstructures and electrical conductivity of the resulting patterns, with nickel deposition reaching up to 50.8 mg/cm². [Display omitted] • A novel screen printing/electroplating of conductive patterns on textile surfaces. • Introduces polyol-mediated graphene oxide ink for textile application. • Electroplating nickel patterns on textiles surfaces. • Achieved high conductivity value of 1123 S/cm in the developed patterns. • Electroplating time's impacts the microstructure and conductivity of diverse patterns. [ABSTRACT FROM AUTHOR]

As one of the representative silk-woven artworks of the 20th century in China, Chinese Xiangjin brocade, well-known as "the flower of Oriental art", draws on the essence of Sichuan brocade, Yun brocade, Song brocade, so as to form its own unique artistic style. It also takes the lead in the innovation of traditional brocade in key processes such as craftsmanship, design and jacquard, whose drawing technique is the exact core skill making it intangible cultural heritage. So far, there have been few studies on crafts and textile design in China before the 20th century or even after the reform and opening up, and rather fewer studies on the structure of Xiangjin brocade in the 20th century. This paper attempts to record and classify 1008 pieces of Xiangjin brocade in the Suzhou Silk Archive, China, as well as to find out their design features, oriental flavour, and unique weaving techniques. In addition, the cultural connotation of Xiangjin brocade as the painting medium was also put forward by analysing those brocades' historical texts, images, and style. [ABSTRACT FROM AUTHOR]

During the 1920s and 1930s, a new wave of mass consumer culture swept through the United States, fueling a fad for modern and exotic objects to display at home. Department stores stuffed their massive showrooms with new home decor styles, such as the exciting textile patterns industrial designer Ruth Reeves created following her ethnographic collecting trip to Guatemala in 1934. Although scholars have shown how powerful transnational corporations, such as the United Fruit Corporation, shaped exploitative large-scale neocolonial economies in Central America, I argue that individual consumption of indigenous culture transformed middle-class white women into stakeholders in new destructive patterns of U.S. imperial expansion in Latin America. This article historicizes the development of racial capitalism and shows how individual acts of cultural appropriation and consumption of indigenous material culture were transformed into collective practices of racial and gendered exploitation to restore U.S. cultural and economic vitality through empire during the Great Depression. [ABSTRACT FROM AUTHOR]

The purpose of this study is to develop 3D dynamic fashion garments with changeable styles, colors and textile patterns, especially using a 3D virtual simulation system, and to examine their potential possibilities in online fashion platforms. For designing and developing 3D dynamic fashion garments, CLO3D and Aftereffects were used with a design collaboration between a fashion designer and a motion graphic artist group. Ten samples of a ready-to-wear collection were developed to visualize aesthetic and technological explorations of 3D dynamic fashion garments, composed of short videos. This study also evaluated the potential of 3D dynamic fashion garments along with 3D virtual simulation systems through focus group interview with professional fashion designers and digital experts, which indicated social and industrial possibilities toward them. This survey showed a list of findings in terms of current status of 3D virtual simulation systems and their impact on companies, discourses on the uncanny valley surrounding avatars, changes in fashion design process derived from 3D virtual simulation systems, co-design and customization in online platforms, and future prospects of 3D virtual garments in the fashion and gaming industries. Finally, this study led to discussions on future possible digital fashion design with several implications, based on design criteria, including digital technology, dynamic range, wearability, expressivity, interactivity, sustainability, and context. [ABSTRACT FROM AUTHOR]