Este estudo constitui uma dissertação de mestrado que tem como objetivo analisar a Azulejaria Portuguesa e algumas de suas conexões entre Moda, Design de Superfície e Estamparia Têxtil, no que diz respeito à utilização dos mais diversos tipos de matérias-primas para o desenvolvimento de novos produtos. Especificamente, aborda a Estamparia Têxtil enquanto importante setor da área de Design Têxtil diretamente relacionado ao Design de Superfície. Assim, por meio do Design de Superfície, esta pesquisa apresenta a Azulejaria Portuguesa como uma das principais fontes de inspiração e criatividade para o desenvolvimento de novos produtos de Moda, utilizando os processos de Estamparia Têxtil. O modelo de pesquisa é qualitativo, cujas principais técnicas de coleta de dados empregadas são revisão da bibliografia, pesquisa em bancos de monografias e de imagens, acervo virtual de museus, periódicos e registros em fotografias. A partir dos dados coletados, foi desenvolvida uma coleção de estampas com base na Azulejaria Portuguesa empregada na cidade de São Luís do Maranhão (séculos XVIII e XIX), a qual foi posteriormente aplicada em uma coleção cápsula de Moda feminina desenvolvida pelo autor, cuja inspiração das formas e silhuetas é proveniente de obras arquitetônicas dos artistas Oscar Niemeyer e Delfim Amorim. A coleção de estampas e a coleção das peças apresentadas têm como objetivo destacar as relações encontradas entre a Azulejaria Portuguesa, o Design de Superfície e a Estamparia Têxtil, de modo a reforçar, por meio de diferentes processos criativos, a ideia de resgate artístico e histórico-cultural da Azulejaria Portuguesa pela Estamparia Têxtil, no que se refere ao desenvolvimento de novos produtos de Moda / This study represents a master dissertation which aims to analyze the Portuguese Tiles and some of their connections among Fashion, Surface Design and Textile Printing in respect of the use of various types of raw materials for new products development. Specifically, it deals with Textile Printing as one of the essential sectors regarding Textile Design related to Surface Design. Thus, through Surface Design, this research shows the Portuguese Tile as one of the primary sources of inspiration and creativity concerning the development of new Fashion products through the Textile Printing sector. The research model is qualitative, and its essential techniques of data collection are bibliography review, research in monograph, images, virtual museum collections, journals, and photographies. With this data compilation, a collection of textile prints was developed based on the Portuguese Tile used in the city of São Luís do Maranhão in the Eighteenth and Nineteenth Centuries. A womens fashion capsule collection produced by the author applied these textile prints, which shape and contours come from the architectural works of the artists Oscar Niemeyer and Delfim Amorim. This collection and the garments propose to highlight the relations found among Portuguese Tile, the Surface Design, and the Textile Printing. By different creative process, it purposes to endorse the idea of the artistic and historical-cultural recover of the Portuguese Tile by Textile Printing, considering the development of new Fashion products

Submitted by Jadson Francisco de Jesus SILVA (jadson@uefs.br) on 2018-02-21T22:38:38Z No. of bitstreams: 1 NEIVASuriaSeixas_ DESENHOS_DE_COURO.pdf: 272955981 bytes, checksum: b4858840e27db87b17f281c3e9fda9f2 (MD5) / Made available in DSpace on 2018-02-21T22:38:38Z (GMT). No. of bitstreams: 1 NEIVASuriaSeixas_ DESENHOS_DE_COURO.pdf: 272955981 bytes, checksum: b4858840e27db87b17f281c3e9fda9f2 (MD5) Previous issue date: 2017-02-17 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / This dissertation presents the designs made from leather used by the brazilian northeast?s country cowboys: a type of surface design which can become a working gear but also a fashionable apparel. This tooled and carved leather has been made by generations in the sert?o and it is named here after ?desenho de couro?. The purpose of this work is to approach the manifestations of such ornamental leather technics considering their regional and historical presented aspects, or preexistences of its present form. The aesthetic and technical connections among the different expressions of the leather designs are understood through the survival dialetics of the images in the collective memory. This comes to be the art history methodology proposed by Warburg. Considering that is still possible to contact living masters of leather in activity, and to collect information regarding the technique transmission, this resource was used in order to understand the aesthetics and uses of that leather culture, which has its ancestral in the iberic-mudeyyan leatherwork. Both the documents of leather trade in the century XVIII, as well as of the history of the livestock in the Brazilian countryside corroborates with the hypotheses regarding the influence of the Iberian leather culture and its productive main points, today, in the Bahia countryside around Feira de Santana and Ipir?, as in Cariri from Pernambuco. The study of this leather design, more than a record of a Brazilian visual production, it is an living document of the national leather traditions and an outstanding element in the construction of the cowboy's identity as well as of an economic production and material culture of Brazil. / Esta disserta??o apresenta o desenho do encouramento dos vaqueiros sertanejos do nordeste: um desenho de superf?cie, de natureza indument?ria, ora laboral, ora social, que ? produzido h? gera??es nos sert?es, denominado aqui como desenho de couro. O objetivo deste trabalho ? abordar as manifesta??es desse desenho ornamental em superf?cie de couro por seus aspectos regionais, presentes, e hist?ricos, ou preexistentes. As conex?es est?ticas e t?cnicas, entre as diferentes express?es dos desenhos de couro, consideraram a dial?tica da sobreviv?ncia das imagens na mem?ria coletiva ? isto ?, a metodologia de hist?ria da arte proposta por Warburg. Foi lan?ado m?o do recurso, ainda poss?vel, de contatar mestres do couro em atividade e coletar informa??es a respeito da transmiss?o das t?cnicas, est?ticas e usos dessa cultura coureira, que tem seus ancestrais na corioplastia ?bero-mudej?r. O respaldo documental de tr?nsitos comerciais de couro no s?culo XVIII bem como da hist?ria da pecu?ria no sert?o brasileiro, corrobora com as hip?teses aventadas a respeito da influ?ncia da corioplastia ib?rica e da sua concentra??o produtiva, hoje, no sert?o baiano dos arredores de Feira de Santana e Ipir?, como no Cariri pernambucano. O estudo do desenho de couro, para al?m do registro de uma produ??o visual brasileira, ? um documento vivo da corioplastia nacional e um elemento marcante na constru??o n?o apenas da identidade do vaqueiro como da produ??o da economia e da cultura material do Brasil.

Esta dissertação tem como objeto de estudo os processos de transferência de imagens para substratos têxteis destinados à confecção de roupas de moda e vestuário sob enfoque ambiental. Hoje a moda é uma poderosa indutora de consumo, sendo a estampa um de seus mais importantes recursos. A etapa de beneficiamento têxtil – chamada de estamparia – consome grandes volumes de recursos naturais e de produtos químicos nocivos ao meio ambiente e à saúde do prestador de serviço. Nesse cenário, analisam-se os impactos ambientais através das principais entradas de matéria-prima – água, produto químico e energia – e saídas – resíduos e efluentes – provenientes dos processos de estamparia mais usados atualmente na indústria têxtil brasileira: serigrafia, impressão digital por sublimação e impressão digital a jato de tinta, nos formatos localizado e corrido. O estudo visa obter um indicativo ambiental dos processos de transferência de desenho para superfície têxtil de produtos de moda. Os resultados auxiliam designers e empresários na escolha de métodos de impressão sobre tecidos para produzirem artigos de moda alinhados aos conceitos do desenvolvimento sustentável. Para tanto, realizou-se pesquisa de natureza qualitativa aplicada, com métodos de caráter exploratório, pesquisa bibliográfica, documental e eletrônica, e por observação in loco, através de visitas técnicas às empresas. Como instrumento de sistematização dos dados coletados desenvolveu-se uma ferramenta baseada em aspectos selecionados da normativa de padronização ISO 14040 − International Organization for Standardization − e da ferramenta Sustainability Design Orienting Toolkit – SDO −, de Vezzoli (2010), que orienta o processo de design para soluções sustentáveis. Como resultado, expõem-se os métodos de impressão menos impactantes na saúde do trabalhador e no meio ambiente, evidenciando que certas etapas de processos de estamparia têxtil, pensadas sob o viés ecológico, fazem parte da realidade de empresas de médio e grande porte, embora se encontrem distantes da realidade das micro e pequenas empresas. A inserção de ações de sustentabilidade nas etapas dos processos de estamparia tem potencial a ser explorado, além de ser de grande valia na busca pelo consumo de roupas de moda de cunho ético. / This dissertation focus on the processes of image transference to textile substrates destined to fashion clothing production under environmental focus. Nowadays fashion is a powerful inducing consumption and patterns are one of its most important resources. The textile-processing step – called stamping – consume large amounts of natural resources and chemicals harmful to the environment and health of the service provider. In this scenario, the environmental impacts are analyzed through the main entrances of raw material – water, chemical and energy – and outputs – waste and effluents – from the most usual printing processes currently in the Brazilian textile industry: silkscreen, dye-sublimation printing and digital ink jet printing, located in and run formats. The study aims to obtain an environmental indicative of the design transfer processes for textile surface fashion products. The results help designers and entrepreneurs to choose tissue-printing methods to produce fashion items aligned with the concepts of sustainable development. Thus, there was qualitative applied research, with exploratory methods, bibliographical, documentary and electronic research and on-site observation, through technical visits to companies. As the collected data systematization instrument it was developed a tool based on selected aspects of the standardization of rules ISO 14040 – International Organization for Standardization – and the Design and Sustainability Orienting Toolkit – SDO – of Vezzoli (2010) that guides the design process for sustainable solutions. As results, printing methods with less impact on the workers health and the environment are shown, demonstrating that certain stages of textile printing process analyzed from an ecological bias are reality of medium and large companies, but far from the reality of micro and small businesses. The inclusion of sustainable initiatives in the stages of printing processes has potential to be explored, as well as being of great value for ethical fashion consumption.

Orientador: Marizilda dos Santos Menezes / Resumo: A complexidade é uma propriedade com reconhecimento emergente dentro das ciências, e sua presença está cada vez mais valorizada no desenvolvimento de projetos interdisciplinares. Tratando de lidar com princípios evolutivos e as regras de organização dos sistemas complexos, a complexidade traz conceitos que podem aportar inovações para a área do design e dos métodos de composição de formas e geometrias. Nesse cenário, o design de superfícies é uma especialidade que pode se beneficiar desses novos métodos, principalmente com o avanço das tecnologias digitais e o uso de algoritmos computacionais. Buscando entender a importância da complexidade para o design de superfícies complexas, este trabalho investiga a relação da programação de dados com as metodologias de design envolvidas. Por meio de um estudo de caso, foram pesquisados os projetos que envolvessem os princípios do desenvolvimento de padrões aplicados à área têxtil, estabelecendo a conexão de superfícies bidimensionais e tridimensionais com os sistemas complexos e a utilização de softwares de programação algorítmica, como o Processing e o Grasshopper. Foram realizadas também experimentações que reproduzissem alguns algoritmos de padronagem. Deste modo, o projeto abrange novos caminhos para a concepção do design de superfícies e busca estabelecer parâmetros para o uso de novos processos digitais. / Abstract: Complexity is a property with emerging recognition within the sciences, and its presence is increasingly valued in the development of interdisciplinary projects. Trying to deal with evolutionary principles and the rules of organization of complex systems, complexity theory carry concepts that can bring innovations to the area of design with methods of composition of shapes and geometries. In this scenario, surface design is a specialty that can benefit from these new processes, especially with the advancement of digital technologies and the use of computational algorithms. Seeking to understand the importance of complexity for the design of complex surfaces, this work investigates the relationship of data programming with the design methodologies involved. Through a case study, were analyzed projects involving the development of textile design with pattern principles, establishing the connection of two-dimensional and three-dimensional surfaces with complex systems and the use of algorithmic programming software, such as Processing and the Grasshopper. As a consequence of the research, were also performed experiments that reproduced some algorithms for pattern design. In this way, the project covers new ways of improving surface design and establishes parameters for the use of new digital processes. / Mestre

In this dissertation, a numerical method to design a curved surface for accurately flank milling with a general tool of revolution is presented. Instead of using the ruled surface as the design surface, the flank millable surface can better match the machined surface generated by flank milling techniques, and provide an effective tool to the designer to control the properties and the specifications of the design surface. A method using the least squares surface fitting to design the flank millable surface is first discussed. Grazing points on the envelope of the moving tool modeled by the grazing surface are used as the sample points and a NURBS surface is used to approximate the given grazing surface. The deviation between the grazing surface and the NURBS surface can be controlled by increasing the number of the control points. The computation process for this method is costly in time and effort. In engineering design, there is a need for fast and effortless methods to simplify the flank millable surface design procedure. A technique to approximate the grazing curve with NURBS at each tool position is developed. Based on the characteristics of the grazing surface and the geometries of the cutting tool, these NURBS representations at a few different tool positions, namely at the start, interior and end, are lofted to generate a NURBS surface. This NURBS surface represents the grazing surface and is treated as the design surface. Simulation results show that this design surface can accurately match the machined surface. The accuracy of the surface can be controlled by adding control points to the control net of the NURBS surface. A machining test on a 5-axis machine was done to verify the proposed flank millable surface design method. The machined surface was checked on a CMM and the obtained results were compared with the designed flank millable surface. The comparison results show that the machined surface closely matches the design surface. The proposed flank millable surface design method can be accurately used in the surface design.

In this dissertation, a numerical method to design a curved surface for accurately flank milling with a general tool of revolution is presented. Instead of using the ruled surface as the design surface, the flank millable surface can better match the machined surface generated by flank milling techniques, and provide an effective tool to the designer to control the properties and the specifications of the design surface. A method using the least squares surface fitting to design the flank millable surface is first discussed. Grazing points on the envelope of the moving tool modeled by the grazing surface are used as the sample points and a NURBS surface is used to approximate the given grazing surface. The deviation between the grazing surface and the NURBS surface can be controlled by increasing the number of the control points. The computation process for this method is costly in time and effort. In engineering design, there is a need for fast and effortless methods to simplify the flank millable surface design procedure. A technique to approximate the grazing curve with NURBS at each tool position is developed. Based on the characteristics of the grazing surface and the geometries of the cutting tool, these NURBS representations at a few different tool positions, namely at the start, interior and end, are lofted to generate a NURBS surface. This NURBS surface represents the grazing surface and is treated as the design surface. Simulation results show that this design surface can accurately match the machined surface. The accuracy of the surface can be controlled by adding control points to the control net of the NURBS surface. A machining test on a 5-axis machine was done to verify the proposed flank millable surface design method. The machined surface was checked on a CMM and the obtained results were compared with the designed flank millable surface. The comparison results show that the machined surface closely matches the design surface. The proposed flank millable surface design method can be accurately used in the surface design.

The aim of this study is to integrate the basic concepts of landscape urbanism and the principles of universal design approach in order to achieve an inclusive urban surface on the seafront of the Bosphorus. This study may be described as a reinterpretation of the European shore of the Bosphorus, reintroducing the sea to the daily life of stanbul&amp / #8217 / s inhabitants. Landscape urbanism refers to the architecture of an urban surface, a continuous landscape accommodating all kinds of structures and activities to enhance human experience. Universal design is an approach that celebrates human diversity and is often defined as the design of products and environments to be usable by all people, to the greatest extent possible, without the need for adaptation or specialized design. To achieve its goal, this study focuses on the concept of urban surface and the related design strategies described by Alex Wall, which might help to create inclusive environments. In this way, it attempts to put forward a framework for the implementation of universal design principles to urban scale. It not only evaluates the strategies of landscape urbanism from the perspective offered by the universal design approach, but also attempts to make a contribution to the common brainstorming about shaping the seafront of the Bosphorus.

Orientador: Marizilda dos Santos Menezes / Banca: Anna Paula Silva Gouveia / Banca: Aniceh Farah Neves / Resumo: O Design Gráfico é uma profissão estabelecida com o advento das vanguardas artísticas do século XX. Enquanto atividade profissional, ele lida com o planejamento e projetos que envolvem a solução visual de problemas de comunicação e informação. O Design de Superfície, por sua vez, é a prática profissional comprometida com a elaboração de projetos para revestimentos e aplicação em produtos, atentando para os materiais e processos de fabricação empregados. A relação entre as duas áreas do Design está ligada, a princípio, pela característica bidimensional. No Brasil, o estudo acadêmico sobre o Design de Superfície está em plena evolução e algumas universidades lidam com o assunto. Analisar conceitos e características acerca das metodologias que compreendem tanto o Design Gráfico como o Design de Superfície torna-se um assunto atual e abrangente. Portanto, faz-se necessário o desdobramento conceitual e metodológico a fim de estabelecer relações e contribuições envolvidas no campo do Design Gráfico e empregá-los no Design de Superfície. Dessa forma, o presente estudo tem por finalidade verificar conceitos e funções particulares do Design Gráfico e estabelecer contribuições para o Design de Superfície. Os resultados deste estudo podem ser utilizados como suporte de ensino e prática profissional. / Abstract: Graphic Design is a profession established with advent artistic vanguards of century XX. While professional activity, it works with planning and projects which involve the visual solution of communication and information problems. Then, The Surface Design is the professional practice pledged with elaboration of projects for coatings and application in products, attempting to production and materials in the processes. The realtions between both Design areas is connected, at first, by the two-dimensional characteristic. In Brazil, academic study about Surface Design is in evolution and some universities works with this subject. Analyze concepts and characteristics concerning methodologies that comprehend both Graphic Design becomes a current and including subject. Therefore, is necessary conceptual unfolding and methodological in order to establish relations and contributions involved in the field of Graphic Design and to employ them in Surface Design. Thus, the present study had for purpose to check concepts and particular functions of Graphic Design and to establish its relations and contributions for Surface Design. The results of this study can be used as teaching support and professional practice. / Mestre

Introducing Plaster is a degree work in textile design exploring the fusion of natural dyes and plaster, and how this can be applied as a textile design material. The outcome is presented as an experimental investigation, placed in the context of surface and material design. This study derived from a growing interest in how new materials can be implemented into the field of textile design using established textile techniques and methods. Natural dye, texture and flexibility where explored through the method of hands-on-experimentation. The study moved foreword by asking the question: “What happens if?”, and the findings have been analyzed and selected for further development. The final collection consists of five pieces made entirely from plaster, showing another approach to how textile techniques and methods can be developed and adapted to fit materials from another field, for instance: Plaster.

Translating the conceptual term of sustainability into materials and exploring bio plastics in order to generate visually and tacitly intriguing objects are the aims for this project. Other designers and previous projects in the field of textile design showed how the material works in a small scale. This project used the material’s design properties to generate groups of object elements. The three main design properties of the material, transparency, biomorph expression and flexibility, and their opposites, opaqueness, geometric expression and stiffness, were combined in different sets which resulted in the used artistic methodology. Therefore, the material properties and earlier established techniques formed the base for finding the overall forms of the installations. The collection and a book about the surface design possibilities for plant based plastic show how the material can be manufactured. The installations focus on the interplay between colour, light and shadow, material texture and pattern in relation to the overall shape of the object. Moulding, laser cutting and the addition of other ingredients like recycled paper, fibres and mica powder influenced the material’s durability, flexibility, transparency and texture. Experiments revealed that the colours change over time and all of them are highly influenced in their intensity and shade by the light source behind the material. This project visualises how all these factors interact and which techniques and tools are required to process the new material. Moreover, it generates new options for a new formal language and terminology for sustainable interior textiles.