ABSTRACT ANDERSON, KAREN MILLER. Leveraging Technology and Creativity among Self- Employed Textile Artists and Designers Through the Use of Geometric Software. (Under the direction of Dr. George L. Hodge and Dr. Cynthia L. Istook.) Self-employed textile artists and designers have many obstacles to overcome; among these obstacles are the use of technology in their work and locating affordable software applications that can be used in their studios. There are a number of specifi c software applications used in industry for textile design. While these systems are extremely powerful and function well for the purpose for which they were designed, they are often expensive, infl exible, and proprietary, which may limit collaboration efforts as well as production capabilities. This very fact may act as a deterrent to the use and adoption of the technology by self-employed artists and designers. There are many software applications that were developed to create patterns for disciplines other than textiles. These programs may have potential for use in textile design and may well be more affordable to the microentrepreneur. Because these applications are mathematical and scientifi c-based software applications, designers are likely to be unaware of their availability and application to textile design. The purpose of this study was twofold. One was to identify and survey the many geometric software applications that have been developed to create pattern and design that have potential for use in the textile industry. The exploration of these applications not only increases awareness of other disciplines, it extends the artist’s vision and creativity. All of the software applications are readily available as freeware, shareware or off-the-shelf. The majority of these applications are downloadable, providing for easy access. The second step was to develop a framework for the Geometric Software-Textile Design Process Model and to further develop a sequence of steps in the form of mapping or an algorithim that will provide the leverage needed for the use of technology among self-employed designers and artists. This study will identify not only each step in the process, but also the knowledge needed to complete each step. If the technological skills, knowledge and process are identifi ed, then they can be taught and utilized. The knowledge gained as part of the development of the model will assist with the selection of non-traditional geometry- based applications that can be used in the design and creation process. This study introduces technology-driven design through the use of geometry-based software and a textile design process that can be used by the self-employed artist or designer in his or her own workshop or studio to generate new ideas and aid in the creation of their work. i BIOGRAPHY Karen Miller Anderson received her B.F.A. from the College of the Dayton Art Institute. A former Art and Commercial Art teacher, Ms. Anderson left teaching after being introduced to the early Macintosh computer. She then pursued her M.S. at Middle Tennessee State University in Engineering Technology. Upon completing her masters, she joined an Autodesk reseller in Tennessee specializing in CAD solutions for industry, from guitars at the Gibson plant to working with boats at OMC Hydra. Ms. Anderson was invited to sit on the Autodesk National Multimedia Advisory Board and served in that position for three years. After relocating to New York, her corporate customers included Donna Karan, Kenneth Cole, the New York Mercantile Exchange, Steelcase and many others. Ms. Anderson then moved from the CAD to the non-linear video-editing market specializing in special effects hardware and software. Ms. Anderson has contributed articles to the publication Cadalyst, has been mentioned in 3D Artist, and featured in Computer Reseller News. She has beta tested, evaluated and reviewed numerous graphic applications. A recent article by Ms. Anderson, “Machine embroidery: tools, techniques and technologies” appeared in the August 2005 edition of the AATCC Review, International Magazine for Textile Design, Processing and Testing. Ms. Anderson enrolled in the Textile Technology Management Ph.D. program at North Carolina State University’s College of Textiles in 2001. She opened her company KMA Productions in 2002. While continuing her education, she has successfully produced textiles, exhibited her artwork and provided digital services to retail and corporate clients. In 2005 she produced a booklet as part of the Textile Technology Workshop which also provided the case studies for her research. Ms. Anderson contributed to the Self-Employment in the Arts conference at Wake Forest University (2006) as an artist, speaker and business owner. Ms. Anderson’s projected graduation date is August 2006. Although she is busy with ii the digital services she provides through KMA productions, she is currently working on a new series incorporating photographic collages, digital printing and embroidery. All of Ms. Anderson’s works incorporate digital technology integration throughout her processes. iii ACKNOWLEDGEMENTS No one accomplishes something of this magnitude without the support of others. Many people have supported and encouraged me in the attainment of this degree. I am grateful to them all. There are some people, however, to whom I wish to give a special acknowledgement. I would like to thank the fi ve professors on my committee: Dr. George Hodge, Dr. Cindy Istook, Dr. Pamela Banks-Lee, Dr. Moon Suh, and Dr. Thomas Honeycutt for their advice, insights, and inspiration throughout this project and my academic career while attending North Carolina State University. Dr George Hodge and Dr. Cindy Istook have shown extraordinary patience and provided guidance and unique perspectives throughout this project and are deserving of a special thanks for all their efforts. The Textile Technology Workshop was partially funded by the College of Textiles, the Department of Textile and Apparel, Technology & Management at North Carolina State University, and without their necessary contribution this research could not have been accomplished. Friends and colleagues provided an important network of support, and therefore a special thank you to Lisa Parrillo-Chapman for donating her time expertise and friendship. The workshop observers whom are both friends and colleagues: Carol Gonzalez, Janine LeBlanc, Kavita Mathur, Jiyhoun Bae and Narahari Kenkare were of invaluable assistance. The College of Textiles Information Technology Department provided support and assistance which enabled a successful workshop. Beyond the people in my academic world, my friends have listened patiently and supported the accomplishment of this task beyond all reasonable expectations. A very special thank you goes to Marilyn and Paul Dracos for their enduring friendship. Additionally, my friends: Marcie, Brenner, Jennifer Grisby and Mary Eismann have been my support network. Finally, I want to say thank you to my family, especially my husband Edward (Andy); iv my son, Nolan Smock; and my sister, Carole Runyon, for their patience, love, and support. All of you are my inspiration. To complete this task was a long-held dream, and I appreciate what each of you had to sacrifi ce for the achievement of my dream. This is dedicated in loving memory to my father Clarence H. Miller who always encouraged me in my pursuits. A fellow engineer, inventor, and dreamer, he believed that nothing was impossible to achieve. v TABLE OF CONTENTS LIST OF FIGURES ...........................................................................................................ix LIST OF TABLES ..............................................................................................................x CHAPTER I: INTRODUCTION .........................................................................................1 Rationale ......................................................................................................................2 Statement of problem ..................................................................................................2 Purpose ........................................................................................................................3 Research Questions .....................................................................................................4 Limitations os Study ....................................................................................................4 Defi nition of Terms ......................................................................................................5 CHAPTER II: REVIEW OF LITERATURE ......................................................................... Employment ..............................................................................................................10 Creativity ...................................................................................................................11 Design ........................................................................................................................13 Conceptual Models ....................................................................................................18 Information Technology ............................................................................................19 Design models ...........................................................................................................20 Technology and art ....................................................................................................21