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Lai Ho King. / Summary of Chinese. / Thesis (M.B.A.)--The Chinese University of Hongkong. / Bibliography: l. 97-99.

Digitalt textiltryck ger mig möjlighet att skapa textilier av hög kvalitet i små upplagor utan begränsningar vad gäller rapportstorlek och färgantal. Jag kan producera hållbara och praktiska textilier med en handgjord känsla. Dessa egenskaper ger tekniken intressanta möjligheter som en överbryggare mellan design och textil konst/konsthantverk. Det ger också stora möjligheter att anpassa formgivningen efter en specifik möbel eller miljö. Detta vill jag utnyttja i mitt arbete. Jag samarbetar med två konstnärer där de tillverkar möbler och jag textilier. Vår ambition är att göra gränsen diffus mellan det massproducerade och unika, mellan konst, hantverk och design. Vi arbetar på temat illusion/verklighet och utgår från en institutionsliknande miljö. Som kontrast till ursprungsmiljön använder vi oss av fantasi, drömmar och natur för att öppna rummet och sinnet. Genom att arbeta med min formgivning utifrån ett konstnärligt sammanhang hoppas jag kunna ge textilierna ett uttryck som uppmuntrar till tankar och associationer. Eftersom textilierna är digitaltryckta behöver jag inte göra avkall på kvalitet till förmån för en konstnärlig känsla. Motiven kan reproduceras på material som lämpar sig för att faktiskt användas i väntrummet eller sjukhussalen.Old institutional furniture comes to life in a new furniture piece. The project is a collaboration with the artists an furniture makers Maria Segersäll and Rasmus Sköld. Our ambition is to make the boundary diffuse between the mass produced and unique, between art, craft and design. We work on the theme of illusion/reality with starting point in an institution-like setting. In contrast to the original environment, we use imagination, dreams and nature to open up the space and the mind. With digital transfer print, I can produce sustainable and practical fabrics with a hand-made impression, textiles that can actually be used in the waiting room or hospital. / Program: Textildesignutbildningen

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The object of this study was to identify microscopic differences among six selected cultivars of harakeke traditionally used by Maori in weaving. The cultivars were Arawa, Makaweroa, Paretaniwha, Takaiapu, Takirikau, and Tapamangu. The effectiveness of different microscopy techniques for taking measurements of the dimensions of ultimate fibres using a factorial experimental design was investigated in part A. Constant variables were geographical location, location of specimens along the leaf, season (winter), individual plant, fan, north-facing fan, and age of plant (approximately seven years), and cultivars (Paretaniwha and Tapamangu). Experimental variables were the microscopy techniques used and measurement axis. Techniques selected use on further cultivars in part B were transverse sections of leaf specimens 4 m thick, embedded in Paraplast� and observed using LM, and non-fixed ultimate fibres observed using SEM. In part B the dimensions of ultimate fibres from the six selected cultivars of harakeke were measured, and analysed (ANOVA and Tukey's HSD), and the transverse section shapes of fibre aggregates were observed. Transverse widths of ultimate fibres ranged from 10.15 m (Takaipu) -12.80 m (Paretaniwha). Ultimate fibre lengths ranged from 3735 m (Takirikau) - 4751 m (Makaweroa). The cultivars prizes for muka, Arawa and Makaweroa, had the longest and finest ultimate fibre bundles more uniform in transverse-sectional shape than the other cultivars studied and perhaps this explains their selection for extraction of muka. Takirikau had a high yield of ultimate fibre bundles, and perhaps this makes extraction of muka worthwhile. Paretaniwha differed from the other five cultivars studied having an average number of ultimate fibre bundles per unit width that were narrow and non-uniform in shape, and composed of short, thick, ultimate fibre cells. The microscopic structure of muka from six selected cultivars of harakeke used traditionally for weaving varied and may explain differences perceived by weavers, and that different end uses are preferred for various cultivars.

Thesis (M. Soc. Sc.)--University of Hong Kong, 1987. / Photocopy of tyepscript.

This project explores the combination of a woven structure consisting of different fibers with dyeing to create a multidimensional woven textile capable of altering in expression. This project aims to show how a designer can work with fibre-specific dyeing and multiple fibers in a woven textile and the many possibilities this lends in a design process. With a sustainable approach to the matter used in the project, creating more with less, a suggestion is made of an alternative method of creating multidimensional fabrics. The chemical reaction between pigment and fiber is explored to show a greater appreciation for the textile material and to create fabrics capable of multiple expressions. One woven fabric, in individual pieces, is dyed in reactive-, acid- and disperse-dye. The cellulose-, wool- and synthetic yarns in the fabric absorb their intended pigment but also show how they react to another category of dye. A series of dyed samples, all originating from the same woven material with an abstract pattern, show the varied expression the treatment can achieve. The fabric and method presented in the project show an example of how one can compose a series of textiles with less matter but with more expression.

published_or_final_version / Corporate Environmental Governance / Master / Master of Social Sciences

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No description available.