ANETTE MILLINGTON

Custom Jacquard & Waxed Cotton Cord

36 in x 24 in x 24 in

2018

Digitally Designed Fabric & Acrylic

24 in x 36 in

2014

Digital Print on Paper

12 in x 16 in

2015

Folded Books

5 x 7 in

2015

Digital Print on Paper

16 x 18 in

2015

Digital Print on Paper

16 x 18 in

2015

Jacquard, 2019

From the Coded Textile Project

View full Project: THE LINEAGE SERIES: UNIT SENTENCES & WEAVE

Digital Pattern on Organic Cotton

2014

Necklace

Laser Cut Acrylic and Waxed Cotton

2014

Digital Prints on Paper

16 x 18 in

2015

The Coded Textile Project uses computation as both a research and design method, exploring aesthetics and meaning in textile design.

The Lineage Series is an abstraction of a family tree and uses a coded process, similar to “dna” inheritance, to evolve.  The coding for this project is based on evolutionary networks of natural selection, genetics, and syntax tree diagrams. 

This project involves a coder to build the generative art works which are also interactive. The work "lives" online and can be experienced here:

Lineage 1

Lineage 2

In addition to the generative works, the final material manifestation of the piece will be an embroidered quilt, currently in process. For this one generated generation of the lineage series is captured and digitally printed. The final step is the introduction of hand quilting, along all the shape edges. Materials tests include silk thread on silk fabric.

Project Research Assistant and Coder:

Anna Garbier: annagarbier.github.io/portfolio

Project Creative Code Designer: Anna Garbier

Embroiderist: Andrea R. Lenci-Cerchiara

LINK TO INTERACTIVE WORK

Lineage 1

Lineage 2

The Lineage Series is an abstraction of a family tree and uses a coded process, similar to “dna” inheritance, to evolve.  The coding for this project is based on evolutionary networks of natural selection, genetics, and syntax tree diagrams.  In addition to the generative works, the final material manifestation of the piece is an embroidery. One generation of the lineage series is captured and digitally printed. The final step is the introduction of hand stitching, along all the shape edges. Final work: Digital Print on Silk & Silk Thread, 24 in x 36 in.

FROM THE CODED TEXTILE PROJECT 2019

The Coded Textile Project uses computation to explore materials and meaning in textile embellishment. In the context of the project, “coded” is a process of designing a system of signs, organized by rules, procedures and relationships, using either analog or digital tools. Here machine thinking generates new possibilities for print, embroidered/embellished and woven design.

The project also takes the approach that textile embellishment is itself a “code”- storing information, abstracting meaning, formulating new symbols or communication systems. The relationship of embellishment to location is central to this investigation of “embellishment semiotics”. Our digital sketches and textile outputs explore how technology impacts the interaction of surface design and environment.

Project Creative Code Designer: Anna Garbier

LINK TO INTERACTIVE WORK

Lineage 1

Lineage 2

The Lineage Series is an abstraction of a family tree and uses a coded process, similar to “dna” inheritance, to evolve.  The coding for this project is based on evolutionary networks of natural selection, genetics, and syntax tree diagrams. 

FROM THE CODED TEXTILE PROJECT 2019

The Coded Textile Project uses computation to explore materials and meaning in textile embellishment. In the context of the project, “coded” is a process of designing a system of signs, organized by rules, procedures and relationships, using either analog or digital tools. Here machine thinking generates new possibilities for print, embroidered/embellished and woven design.

The project also takes the approach that textile embellishment is itself a “code”- storing information, abstracting meaning, formulating new symbols or communication systems. The relationship of embellishment to location is central to this investigation of “embellishment semiotics”. Our digital sketches and textile outputs explore how technology impacts the interaction of surface design and environment.

Progress in Sampling with Responsive Silkscreen

Response Patterns is a project undertaken with the support of the Center for Craft's Materials-Based Research Grant, to invent environmentally responsive embellishment methods for textile. The team includes three faculty from the Parsons MFA Textiles program and leverages interdisciplinary experience—Yuchen Zhang’s knowledge in material science and interactive technology, Travis Fitch’s methodical study of architecture, geometry and digital fabrication, and Anette Millington’s expertise in textile art and embellishment.

To date we have created an iterative, experimental approach resulting in a collection of samples, prototypes and propositional works for the external and internal environment. Behaviors we are exploring are transformations in color and shape, produced in response to UV light and heat, mechanical heating, and body temperature. Utilizing the potential of our shared toolkit, our application methods include 3D printed deposition, silk screen, molding, hand embroidery, quilting, and circuitry on textile.

Proposal Diagrams by Travis Fitch

Link Here to Recorded NYTM Research Talk

Response Patterns is a project undertaken with the support of the Center for Craft's Materials-Based Research Grant, to invent environmentally responsive embellishment methods for textile. The team includes three faculty from the Parsons MFA Textiles program and leverages interdisciplinary experience—Yuchen Zhang’s knowledge in material science and interactive technology, Travis Fitch’s methodical study of architecture, geometry and digital fabrication, and Anette Millington’s expertise in textile art and embellishment.

The Materials-Based research grant at the Center for Crafts fosters new craft-based approaches to STEM research and advances innovative research in craft materials. In undertaking our project in June of 2020, we have explored how new materials and technologies add time-based, environmentally responsive behavior to textile surfaces. Central questions to our investigation are: How does the relationship of surface and place change when nature, through light, weather and time, becomes a direct collaborator? What is the communication potential of environmentally responsive materials? What do new materials and technologies add to an already rich lineage of connection between textile and local ecosystems?

Project Creative Code Designer: Anna Garbier

LINK TO INTERACTIVE WORK

Bloom Clusters

The bloom clusters are generative artworks in which units multiply by defining the number, types and nodes at which radial patterns overlay. The resulting work references organic growth, cell division, and aggregation.

FROM THE CODED TEXTILE PROJECT 2019

The Coded Textile Project uses computation to explore materials and meaning in textile embellishment. In the context of the project, “coded” is a process of designing a system of signs, organized by rules, procedures and relationships, using either analog or digital tools. Here machine thinking generates new possibilities for print, embroidered/embellished and woven design.

The project also takes the approach that textile embellishment is itself a “code”- storing information, abstracting meaning, formulating new symbols or communication systems. The relationship of embellishment to location is central to this investigation of “embellishment semiotics”. Our digital sketches and textile outputs explore how technology impacts the interaction of surface design and environment.

Project Creative Code Designer: Anna Garbier

LINK TO INTERACTIVE WORK

Bloom Fields

Bloom Games

The bloom clusters are generative artworks in which units interact to mirror natural or social systems- in which the behavior of one unit in relation to another causes a resulting new behavior.

The bloom fields use a flow sequence so that the blooms move as if effected by an exterior force, such as wind.

The bloom games are formations based on basic motivations to collect or disperse defined in the rules below:

Finding a neighbor/ Each orange bloom wants to be in contact with another orange bloom./ Each pink bloom wants to be in contact with another pink bloom.

Bloom clustering/ Blooms self-organize into smaller clusters of pink and orange blooms.

Attract and repel/ Pink blooms want to be as close as possible to orange blooms./ Orange blooms want to be as far away as possible from pink blooms.

FROM THE CODED TEXTILE PROJECT 2020

The Coded Textile Project uses computation to explore materials and meaning in textile embellishment. In the context of the project, “coded” is a process of designing a system of signs, organized by rules, procedures and relationships, using either analog or digital tools. Here machine thinking generates new possibilities for print, embroidered/embellished and woven design.

The project also takes the approach that textile embellishment is itself a “code”- storing information, abstracting meaning, formulating new symbols or communication systems. The relationship of embellishment to location is central to this investigation of “embellishment semiotics”. Our digital sketches and textile outputs explore how technology impacts the interaction of surface design and environment.

Project Creative Code Designer: Anna Garbier

LINK TO INTERACTIVE WORK

Trees, Flowers & Bees/ Symmetry Combinations

The Red Garden: Animated Wallpaper

Leading from the concept of aposematism (when the appearance of an animal that warns predators it is toxic, distasteful, or dangerous) this work considers what formal elements of a visual pattern activate a sense of danger in the body of the viewer- that “hair standing on end” sensation that includes a tingle in the spine and an urge to freeze.

Balancing fear and beauty, the pattern units are taken from details of butterfly patterning. Coding allows for a variety of symmetry operations that build combinations out of the simple pattern shapes. Using bilateral symmetry mimics life and the functions of stacking, scale change and location develops the larger analogy of the garden.

FROM THE CODED TEXTILE PROJECT 2019

The Coded Textile Project uses computation to explore materials and meaning in textile embellishment. In the context of the project, “coded” is a process of designing a system of signs, organized by rules, procedures and relationships, using either analog or digital tools. Here machine thinking generates new possibilities for print, embroidered/embellished and woven design.

The project also takes the approach that textile embellishment is itself a “code”- storing information, abstracting meaning, formulating new symbols or communication systems. The relationship of embellishment to location is central to this investigation of “embellishment semiotics”. Our digital sketches and textile outputs explore how technology impacts the interaction of surface design and environment.

14 in x 14 in

2015

Digitally Designed Fabric

36 in x 40 in

2017

Wall Collage

Digitally Designed Fabric

40 in x 40 in

2015

Wall Collage

Digitally Designed Fabric

40 in x 40 in

2015

Painted Pattern Blocks

7 in x 10 in

2015