Submitted by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2016-10-03T23:22:52Z No. of bitstreams: 1 Felipe Guimaraes Fleury de Oliveira.pdf: 2921352 bytes, checksum: 36875117c556ca8466af572e6af6611f (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2016-10-04T13:18:18Z (GMT) No. of bitstreams: 1 Felipe Guimaraes Fleury de Oliveira.pdf: 2921352 bytes, checksum: 36875117c556ca8466af572e6af6611f (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2016-10-18T19:53:20Z (GMT) No. of bitstreams: 1 Felipe Guimaraes Fleury de Oliveira.pdf: 2921352 bytes, checksum: 36875117c556ca8466af572e6af6611f (MD5) / Made available in DSpace on 2016-10-18T19:58:19Z (GMT). No. of bitstreams: 1 Felipe Guimaraes Fleury de Oliveira.pdf: 2921352 bytes, checksum: 36875117c556ca8466af572e6af6611f (MD5) Previous issue date: 2014-08-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This master thesis introduces aspects of textile printing in its technological context, in order to elucidate their techniques and processes. Expands this study, in the relations between the textile industry which includes the printing with the environmental parameters. Shows the importance of design and the textile designer in the challenges that can promote benefits about sustainable development solutions to the society. Reports the questions found in the case study that bring perspective to make the reflection of the designer in this industrial area. / Esta dissertação trata de apresentar aspectos relativos à estamparia têxtil em seu contexto tecnológico, no sentido de elucidar suas técnicas e processos. Amplia este estudo, no aprofundamento das relações entre indústria têxtil na qual se insere a estamparia, acerca da sustentabilidade ambiental. Com o estudo de caso de uma indústria têxtil, evidencia a importância do design e do designer têxtil, nos desafios que podem promover a busca por soluções, no sentido de minimizar os impactos ambientais que beneficiem a sociedade de acordo com as leis e diretrizes da política municipal de desenvolvimento sustentável. Relata questionamentos encontrados no estudo de caso que trazem perspectivas para reflexão o fazer do designer nesta área industrial.

Camolution is a project that explores the camouflage pattern in a textile designcontext. The motive is to reinterpret an obsolete concealment function andinstead, to hide and reveal visual textile aspects within the pattern. Theprimary aim of this work is to develop a contemporary camouflage patterncollection of printed and knitted textiles, and to explore the concealmentfunction through visual deceptions. The patterns were developed witha method that uses a selection of rules in colour contrasts,style influences and textile proprieties to design a series of patternexperiments. The final pattern designs were screen printed, digitalprinted and knitted, and applied as garment prototypes. This part wasdone in collaboration with the fashion brand Björn Borg. The result setsout a collection of textiles and clothes connected by three differentconcepts of misled vision. It was found that the camouflage function in thiswork was an efficient tool to advertise the brand symbols within the textiles.This work proposes an alternative design method of using the camouflageconcept in textile design, contributing with new expressions, techniquesand qualities.

This study investigates the effect of single jersey, based on its original formas a cylinder. It is also an investigation of color and transforming surfaceof garment.The outfits are based on the cylinder in construction. With some cuts andseams, developed into garments. The surface of the fabric has qualities recognizable to rib, but the constructionis different. By using cotton and polyester yarns, the stripesshrinks in different directions and when the body integrates with thefabric, shape, gravity and movement will make the material transform byopen and closing the lines. Different color effects are presented in the collection. The result is suggestingdifferent color effects, depending on size of the stripes, the saturationof the colors and the placement on the body.

This licentiate thesis focuses on surface patterns, spatiality, and pattern relations in textile design, and aims to explore surface patterns as spatial definers and what they mean in the context of surface patterns. A secondary focus relates to applying conceptual spatial determinations as alternative design variables in design processes, and exploring how these could be used to define and analyse pattern relations. Through a series of exploratory design experiments that used printed and projected surface patterns in a three-dimensional setting, which were documented using photographs and film, the notion of pattern relations, wherein scale was used as a design variable, was explored. The outcome of the experiments showed the expressional possibilities that surface patterns may provide in a defined space, and how these are connected to pattern relations. In order to encourage an accompanying discussion regarding alternative methods of analysing surface patterns, the construction of a theoretical model was initiated. Workshops with design students were used as another practical method in this work. The results showed that there is great potential in using conceptual spatial determinations to define pattern relations by viewing surface patterns as spatial definers, rather than taking a traditional perspective on their functions. Another outcome is the theoretical model, which proposes a specific approach to pattern relations. This research demonstrates how conceptual spatial determinations can benefit the textile design process, as well as design teaching, which could in turn provide the field with new expressions that may lead to a change in or fruitful addition to the practice.

There is an abundance of information available (from industry journals, company websites, and specialist trade fairs) relating to commercial digital textile printing. However, there is a scarcity of information regarding how digital textile printing is being used and taught, in undergraduate textile design degree programmes and how staff and students deal with colour accuracy issues. This research aims to explore and compare approaches to achieving colour accuracy in digital textile printing in industry and HE environments. The research findings are intended to provide useful information for educators involved with delivering digital textile printing in Higher Education (HE) to benefit the industry. Secondary research contextualises the study, with the history of printed textiles examined in order to place digital textile printing in context. The evolution of digital textile printing, colour communication and colour management in the digital textile printing process are also studied, as is the current status of digital textile printing in industry. A review of literature relating to learning and teaching styles presents aspects of pedagogy relating to the research aims and objectives. The primary research undertaken for the study was through interviews, visits and questionnaires. Questionnaires completed by educators at HE institutions that offer digital textile printing as part of their undergraduate textile design programmes were followed by visits to comparison institutions. The second stage of data collection consisted of individual and group interviews with educators and students from a BSc textile design programme. The individual and group interviews with educators and students led to the formulation of a questionnaire that was sent to industry professionals (including graduates of the BSc programme). For the final stage of the data collection, interviews were conducted with graduates from the BSc programme who were working with digital print. From the primary data collection the key aspects that require teaching for a good understanding of the design process for digital print were identified and rated with regard to importance. This led to a teaching model for an undergraduate textile design programme and the development of initial lectures for such a programme. In addition the data analysis indicated that further work could be done to develop learning resources to improve students’ knowledge in this area and support their transition from the HE environment to industry.

In the field of knitting, the binding weave knitting is mainly used for technical textiles, where the textiles have a high performance require- ment. Weave knit is constructed by placing an inlay thread between the knitting rows in a similar manner as a weft thread in a woven tex- tile. This work sets out to design three-dimensional weave-knitted tex- tiles in combination with intarsia and partial knit with the intention to develop surface pattern on three-dimensional shapes. The material used are effect yarn, monofilament and chenille yarn, which improve the properties of the textile. The three techniques enhance each other by their characteristics and give the possibility of formability. The re- sult shows an installation of textiles with three-dimensional character- istics, meant for spatial contexts which have the ability to function with light. The value of this work lies in the combination of the techniques and the application area in which the work is set.

The people of ancient Peru produced textiles four thousand years before the Spanish Conquest in 1532 A.D.. They used almost every known technique and created some of the world's most outstanding handwoven textiles. One of the most visually exciting groups are the finely woven interlocking tapestry tunics that served as the official garments of the Wari (Huari) culture (c.700-1000 A.D.). The Wari maintained a highly organized social and economic state and its rigidity is manifested in the formal iconography and artistic conventions of their textiles. With sophisticated design principles and the masterful use of colour, however, the Wari counteracted the problems of monotony and repetition inherent in the strictly prescribed design of the garments. Few of the existing Wari tunics have accompanying scientific provenience or grave associations and therefore little is known of their cultural role. An art historical approach, however, utilizing stylistic analysis breaks the barrier created by the sparse scientific documentation and facilitates the deciphering of design conventions. Very little has been written specifically on Wari textiles. To date, the most important work is a brief article by Alan Sawyer. (Sawyer, 1963:27-38) In it he examines some of the complex design conventions and suggests a methodology for establishing a relative chronology. His methodology will be used in this study. This thesis begins with an examination of the Wari culture based on well documented ceramic evidence and continues with a discussion of provenience (when known), distribution, technology and iconography of the textiles. The focus of this study is the use of design conventions. Examination of three major design conventions - lateral distortion, symmetry and colour usage - is followed by a comparative analysis and a discussion of relevant ceramic evidence. Sawyer has divided Wari official garments into the following three types: 1. Type 1 - Paired elements 2. Type 2 - Composite motifs 3. Type 3 - Staff bearing anthropomorphic figures. This thesis is primarily concerned with the first type. The sample for this study consists of 47 representative examples ranging from fragments to complete tunics of Type 1. Through the examination of lateral distortion and the comparative analysis of relevant ceramic evidence and known textile provenience, a relative chronology can be proposed. It will be shown that it is possible to evaluate the design conventions of symmetry and colour usage to determine the rules governing their application. This in turn permits the identification of regional and temporal traits. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Waste is a big problem in the textile industry; one area of waste is cut off selvedges from the weaving industry. This degree work in textile design questions the need and motivation to produce fully new textiles, choosing instead to use waste material in order to create sustainable design. The work aims to apply waste selvedges in a textile design context by using it in handweaving, as both warp and weft. This project also explores food waste as dyestuff, dyeing selvedge waste with it, achieving a large variety of colours. Using selvedge waste in both warp and weft, along with dyeing using food waste, brought many possibilities in both technique and aestethics, as well as expanding the sustainable perspective in textile design by challenging the use of waste from textile and food production. The result is three handwoven examples with varying expressions, created to bring inspiration for others to use waste selvedges as a material.

This paper describes a practice- based research project in which physical and emotional comfort and discomfort is experienced by the human body. A variety of different Comfort Zones are presented. All of them deal with the relationship between filling material and cover, in which knitted structures and materials play a central role in order to create comfort. The elasticity of the knit is challenged when creating volume and emphasizes the idea that comfort is elastic in material/physical way, as well as well in emotions. The use of filling materials gives a new dimension, sensitivity and offers new opportunities. This form exploration discusses the potential of knit to serve as a cover and decorative element, but most importantly the possibility of a textile to create its own filling. By rolling up a knitted tube, volume is built up layer by layer; a torus appears and captures a void in the center of the form, required by the tube, the fundament. Hints of discomfort are given and emphasized by either surface/structure, volume or garments on the body.

How can a textile designer work in an exploratory way to find methods and taking advantage as much of a fabrics surfaces as possible?   This work explores a combination of techniques as laser cutting and transfer printing, how they can be developed and combined to influence each other. The aim of this project is to explore the combined techniques of laser cutting and transfer printing, with a focus on designing adjustable printed textiles.   Through a method in practical working, exploration was carried out in techniques like laser cutting and transfer print, as well as the combined visual expression of several patterns with cut-outs and modularity.   The result of this project is three pieces each representing adjustment in different combinations; One adjustable repeat, modularity, and modularity with cutouts. All three except one consist of two repeated patterns on each side of the fabric. They present examples of how a textile can be changed, the relation between construction and surface print. They all show that a printed textile could be more than just a static surface.   By taking the method of printing two patterns and use laser cutting gives a value for both sides of the fabric and shows how to produce printed textiles with modularity. Additional material or more prints and colors could be investigated further.