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The evolution of technology in the textile industry reached the design of embroidery patterns for machine embroidery. In order to create quality designs the shapes to be embroidered need to be segmented into regions that define different parts. One of the objectives of our research is to develop a method to automatically segment the shapes and by doing so making the process faster and easier. Shape analysis is necessary to find a suitable method for this purpose. It includes the study of different ways to represent shapes. In this thesis we focus on shape representation through its skeleton. We make use of a shape's skeleton and the shape's boundary through the so-called feature transform to decide how to segment a shape and where to place the segment boundaries. The direction of stitches is another important specification in an embroidery design. We develop a technique to select the stitch orientation by defining direction lines using the skeleton curves and information from the boundary. We compute the intersections of segment boundaries and direction lines with the shape boundary for the final definition of the direction line segments. We demonstrate that our shape segmentation technique and the automatic placement of direction lines produce sufficient constrains for automated embroidery designs. We show examples for lettering, basic shapes, as well as simple and complex logos.

Objects have the power to create a concrete connection to our past - a connection we can hold in our hands. Each object in a family collection is connected to an ancestor and their story. It is these stories that ground us in who we are and where we come from; these stories that create our heritage and identity. The McTavish Collection is made up 159 objects and is housed at the Manitoba Museum. The collection belonged to a prominent fur trade family and has been passed down through five generations of women of mixed Indigenous/European decent. Eighty objects were pulled from the vaults and reunited as a single collection for closer study. An object biography was created using a combination of research techniques and perspectives to piece together a deeper understanding of the life of women of the fur trade era. Through these objects, a story emerged and shone a light on the women who made, collected and used these objects. This is a study of that process and those stories. / May 2017

I use found botanical material such as leaves, seedpods, and branches to explore human connection to the physical world. By combining these organic objects with the rich traditions of needlecraft, I bind nature and the human touch. Both tender and ruthless, this intricate stitch work communicates the idea that our relationship with the natural world is both tenuously fragile and infinitely complex. The way I think about and make art mirrors the way I think about my life and how I walk through the world. What I do is about elevating details. It is about noticing cycles and connections. It is about regarding a familiar object in a new way. It’s about seeing things and considering their connection to you, their potential futures and possible pasts. There is a depth and an importance to what is present, and what is absent. Invisible narratives are woven into and around each piece, each interaction. As I gather materials with which to work, I consider what connections might exist between us, or how each object might be related to another. I am a cartographer, drawing and plotting an imaginary map, from one object to the next, intervening with each. These objects naturally fit into categories, which relate to my own experiences, but also to their origins and how they came into my hands. The vertices of experience and the actual life trajectory of an object are what interest me the most; the points at which the object and I intersect.

I am interested in the dual meaning of pattern. Pattern is a design format used for decoration. By introducing certain images into patterns, they have the ability to give meaning or messages. The repetition of a certain image emphasizes importance to a particular idea or issue. I embroider pattern designs onto pre-manufactured clothing pattern pieces as a response to things in society that I find absurd. This body of work focuses on female iconography. The delicate nature of these materials lends themselves to feminine associations. Embroidery, which is stereotypically associated with women's work, is used to play on these clichés.Patterns also are instructions. The original intent for these pattern pieces was to construct a wearable garment. I am using these specifically shaped pieces to create flat representational images on the wall to point to the "roles" that people undertake consciously or unconsciously in their lives.

Bordados e bordadeiras, um estudo etnográfico sobre a produção artesanal de bordados em Caicó/RN tem objetivo investigar como o bordado uma prática artesanal, doméstica, feminina permite acessar questões de ordem social, econômica, histórica e cultural de uma determinada região do nordeste brasileiro. As redes sociais, tecidas em torno da produção do bordado, são hábeis para recriar relações várias em função das necessidades, das influências, das confluências, das apropriações e das transformações em torno da prática artesanal. Por isso, esta tese se dedica a apresentar, descrever e analisar o bordado como um eixo das relações sociais, fornecendo, ainda, pistas para novas leituras sobre uma região estigmatizada pelas ideias que cercam a sua geografia e sua história. Para investigar esse processo, a etnografia foi utilizada como método (incluindo: entrevistas, foto-entrevistas, acompanhamento do processo de produção e de comercialização de bordados). E, a fim de percorrer as múltiplas relações que se tecem nesse contexto, foram priorizados: (a) apresentação da região e da cidade, (b) descrição dos bordados, (c) elaboração da rede composta pelas bordadeiras e (d) bordados em circulação. / Embroidery and embroider, an ethnographic study on the craft production of embroidery in Caicó/RN aims at investigating how the embroidery, a handcraft, domestic and female practice, allows the approaches of questions about certain part of the Brazilian northeast regarding its social order, its economy, its history and its cultural factors. The social networks, woven around the embroidery production, are capable to recreate several relationships regarding the needs, the influences, the confluences, the appropriations and the transformations around the handmade practice. Therefore, this thesis has the purpose of presenting, describing and analyzing the embroidery as a spindle of the social relationships, which also provides leads to new readings about a stigmatized region regarding the ideas related to its geography and history. To investigate this process, the ethnographic method was used (including: interviews, photographic-interviews, monitoring of the production process as well as the embroidery commercialization). In order to wander the multiple relationships that weave in this context, the following has been prioritized: (a) the presentation of the region and the city, (b) the description of the embroideries, (c) the elaboration of embroiders network and (d) the embroidery in circulation.

Thesis (M.A.)--University of Delaware, 2006. / Principal faculty advisor: Bernard L. Herman, Dept. of Art History. Includes bibliographical references.

This project within the textile design field explores the textile technique embroidery. By using design methods based on words and actions the technique was used in another angle approach that allowed the stitches to be used in a more functional context. This approach differs from how embroidery is traditionally looked upon, an added decorative surface to an already functional object. Embroidery has been explored in a way to see if the technique could be used as something more than just an added surface and if that added surface could be manipulated so that the stitch has both decorative and functional aspects. Stitches has been developed, discovered and realised that they can add density, stability, assembly and form to a material. This has resulted in an alternative way of using embroidery that puts the stitch in the position of being vital to both the expression and function of the object.

This practice-based art and design project explores the potential use of contemporary materials and techniques in relation to extending aesthetic and structural possibilities of embroidery, with a focus on developing textile formations through the medium of ‘free stitch’ machine embroidery. Embroidery is often perceived by the non-enthusiast as a ‘granny craft’: an ‘old’ technique. Contemporary representations of embroidery suggest that new and innovative interpretations exist. Through investigation and experimentation with products, textiles and techniques, the embroidered artefacts that I have crafted are intended to disrupt the conventional perceptions of embroidery by alluding to conceptual associations of tradition and nostalgia. The aim of this project is to promote embroidery as a diverse medium; its use as a means of narrative, a valued skill that spans both art and craft disciplines, and to lift the status of craft by encouraging discourse of craft practice within an academic environment.

Bordados e bordadeiras, um estudo etnográfico sobre a produção artesanal de bordados em Caicó/RN tem objetivo investigar como o bordado uma prática artesanal, doméstica, feminina permite acessar questões de ordem social, econômica, histórica e cultural de uma determinada região do nordeste brasileiro. As redes sociais, tecidas em torno da produção do bordado, são hábeis para recriar relações várias em função das necessidades, das influências, das confluências, das apropriações e das transformações em torno da prática artesanal. Por isso, esta tese se dedica a apresentar, descrever e analisar o bordado como um eixo das relações sociais, fornecendo, ainda, pistas para novas leituras sobre uma região estigmatizada pelas ideias que cercam a sua geografia e sua história. Para investigar esse processo, a etnografia foi utilizada como método (incluindo: entrevistas, foto-entrevistas, acompanhamento do processo de produção e de comercialização de bordados). E, a fim de percorrer as múltiplas relações que se tecem nesse contexto, foram priorizados: (a) apresentação da região e da cidade, (b) descrição dos bordados, (c) elaboração da rede composta pelas bordadeiras e (d) bordados em circulação. / Embroidery and embroider, an ethnographic study on the craft production of embroidery in Caicó/RN aims at investigating how the embroidery, a handcraft, domestic and female practice, allows the approaches of questions about certain part of the Brazilian northeast regarding its social order, its economy, its history and its cultural factors. The social networks, woven around the embroidery production, are capable to recreate several relationships regarding the needs, the influences, the confluences, the appropriations and the transformations around the handmade practice. Therefore, this thesis has the purpose of presenting, describing and analyzing the embroidery as a spindle of the social relationships, which also provides leads to new readings about a stigmatized region regarding the ideas related to its geography and history. To investigate this process, the ethnographic method was used (including: interviews, photographic-interviews, monitoring of the production process as well as the embroidery commercialization). In order to wander the multiple relationships that weave in this context, the following has been prioritized: (a) the presentation of the region and the city, (b) the description of the embroideries, (c) the elaboration of embroiders network and (d) the embroidery in circulation.