By Kooler Design Studio; Leisure Arts; Inc.
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Additional resources for Overlay Crochet Jewelry (Leisure Arts #4014)
Alterations to mark direction and line quality are dependent on premeditated judgements and planning that deny the maker the immediacy of expression realised through mark-making on paper. 1980. ) 34 DR A W I NG A N D TH E CHI M ER A O F EM BR O I D ER Y needle that is ultimately controlled by a motor mounted within a machine frame. Given the apparently divergent ways in which drawing and machine embroidery are produced, the relationship between the two processes appears incongruent. However, the extent to which artists and designers have exploited this relationship, and the continued primacy of one with the other, suggests an afﬁnity that reaches beyond the immediate process into more intangible realms.
I’m building myself up psychologically when I’m going through these processes – I’m thinking about how I’m going to make them work together. ’5 One could see drawing and embroidery in the Piercean (see Glossary) sense, as indexes connecting and activating the eye and the hand as well as the self and the world. The drawing and the stitch mark, like the footprint, are indexes of this action. We ‘draw’ the pencil across the paper and we pull the thread through the fabric to make a mark or disrupt the surface.
It says ‘their relationship to each other is symbiotic’, and talks of each discipline informed by the substance of material, of gravity, of the social, the cultural... There are moments when architecture transforms textile techniques into tensile skins, and textile acquires sculptural, structured form. ‘Skin and Bones’7 provided evidence of the potent dialogue of experimental deconstruction and building (often informed by new technologies) between fashion and architecture. This interrelationship is what I wish to explore, where machine stitch is characterised by its energy of line, the surrounding physical space, the context and associations around each piece and the connection with architecture.