O estudo descrito nessa dissertação abrange conhecimentos referentes às áreas de Biônica, Biomorfismo, Artes Visuais e Design de Superfície propondo um procedimento de projetação voltado para a elaboração de estampas têxteis com referência em elementos naturais. Considerando a natureza como fonte de referências visuais para a projetação no Design de Superfície, percebeu-se que associar pressupostos estéticos presentes na área com etapas de métodos de Design de Produto baseados em estudos de Biônica, poderia contribuir com a produção criativa dos desenhos de estampas. Desse modo, disponibiliza-se à audiência acadêmica e profissional um procedimento de projetação organizado a partir de um estudo exploratório-experimental com abordagem qualitativa, estruturado por revisão bibliográfica, entrevistas e experimentações. A primeira organização do procedimento foi realizada através da adaptação de etapas de três métodos de Design de Produto com base em estudos de Biônica. O procedimento resultante foi avaliado e aperfeiçoado a partir de quatro experimentações realizadas com estudantes e profissionais da área. O resultado é um procedimento com oito passos voltado ao desenvolvimento de estampas com referências biomórficas. A pesquisa aponta que o contato direto do designer de superfície com o elemento natural, aliado ao resgate de técnicas de desenho manual e à reflexão contínua dos procedimentos adotados durante a projetação, contribui com o planejamento e processo de desenvolvimento de estampas pelos projetistas. Ou seja, projetar a partir de etapas organizadas e adaptáveis conforme as necessidades de cada briefing facilita o processo de projetação de estampas com referências naturais e converge para novos resultados na perspectiva de contribuir com as produções disponíveis no mercado atualmente. A conclusão do trabalho oferece algumas possibilidades de prosseguimento da pesquisa, como a organização de cursos envolvendo conhecimentos das áreas de Design de Superfície e Biônica e a verificação e aplicação do procedimento aqui proposto no âmbito industrial. / The study described in this dissertation covers knowledge regarding areas of Bionics, Biomorphism, Visual Arts and Surface Design to propose a procedure for developing textile designs which incorporate natural elements. Considering nature as a source of visual references for projecting in the surface design, it was realized that associating esthetic assumptions present in the area with steps of methods of product design based in studies in Bionics could contribute with the creative production of drawings in prints. In this way, it is made available to the academic and professional audience a projecting procedure organized based on an exploratory-experimental study with qualitative approach, structured in literature review, interviews and experimentations. The first procedure organization was performed through adaptation of steps of three methods of product design based on Bionics studies. The resulting procedure was evaluated and improved from four experiments performed with students and professionals in the field. The result is a procedure with eight steps focused on the development of patterns with biomorphic references. The research suggests that direct contact from the designer with the natural elements, coupled with the rescue of hand drawing techniques and continuous reflection of the procedures adopted during the development contributes to the creative process by facilitating the search for visual references. In other words, projecting from arranged and adaptable steps according to the projective needs eases the procedure of prints projecting with natural references and converges to creative and differentiated results which can contribute to the products available nowadays in the market. The conclusion of the study offers some possibilities for further research, as the organization of courses involving knowledge of the areas of Surface Design and Bionics and the verification and application of the procedure proposed here in the industrial field.

A presente pesquisa destinada à Defesa de Dissertação, executada sob fomento da CAPES, tem como linha de pesquisa o Projeto de Têxtil e Moda. A proposta versa sobre a criação de um projeto educativo para a disciplina de Artes no Ensino Médio, que utilize as técnicas artesanais de estamparia têxtil no ensino de artes. O objetivo geral desta pesquisa é o de apresentar de que maneira a estamparia poderia ser utilizada no ensino da arte nas escolas. A utilização do design têxtil como elemento artístico em sala de aula se justifica pela inserção de diferentes suportes do cotidiano na arte contemporânea, que é um ponto importante a ser abordado no Ensino Básico de educação. Para a confecção do projeto educativo, foram levantadas as principais técnicas artesanais, as quais direcionaram as atividades e propostas do projeto. Para avaliação do projeto educativo, foi realizado um estudo de caso, com uma turma de primeiro ano do Ensino Médio, na escola Etec Presidente Vargas, na cidade de Mogi das Cruzes/SP. A ação educativa se baseou na Abordagem Triangular para ensino de artes visuais, da arte-educadora Ana Mae Barbosa, atuando em três eixos: Contextualização, Fazer Artístico e Leitura de Imagem. A análise das atividades dos educandos, foi realizada por meio da observação participante e entrevistas com a professora de Arte e com os alunos da turma, que forneceram a base para avaliação do projeto e dos materiais didáticos produzidos. O ensino de Estamparia, dentro da disciplina de Artes, expandiu a compreensão dos alunos sobre as possibilidades artísticas e permitiu que eles integrassem a cultura popular jovem a suas criações. Deste modo, os alunos puderam expressar seus interesses e realidades cotidianas em camisetas estampadas de experiências, aprendizagens e arte / The stamp in art education: a case study in high school. 2016. 194 f. Dissertation (MA in Textile and Fashion) - School of Arts, Sciences and Humanities, University of São Paulo, São Paulo, 2016. Original version. The present research destined to dissertation defense, executed under CAPES development, and it has as the line of research the Textile and Fashion Design. The proposal concerns the creation of a supplementary educational project to Arts discipline in High School, using the traditional techniques of textile printing in the Art class. The general objective of this research is to show that the imprinting way could be used in art education in schools. The use of textile design as artistic element in the classroom is justified by the inclusion of different daily media in contemporary art, which is an important point to be addressed in the basic education. Major craft techniques were raised to make the educational project, which directed the activities and the project proposals. The evaluation and correction of the educational project was conducted by a case study with a group from the first year of High School, in Presidente Vargas Etec School, in the city of Mogi das Cruzes / SP. The educational act was based on the Triangular approach to teaching visual arts, art educator Ana Mae Barbosa, acting in three center lines: Context, Making Art and Image Reading. The analysis of the students activities, was carried out through participant observation and interviews with the Art teacher and the students in the class, which provided the basis for evaluation of the project and teaching materials produced. The Teaching Stampings within the discipline of Arts expanded the students\' understanding of the artistic possibilities and allowed them to integrate the young popular culture to the creations. Thus, students were able to express their interests and daily realities on stamped t-shits of experiences, learning and art

A contemporaneidade vem sendo marcada por mudanças em vários aspectos, em especial para o design. As últimas décadas inauguraram tecnologias digitais em que os recursos para captura, tratamento e reprodução de imagens alteram modos de desenvolvimento, produção e percepção estética. Este estudo refere-se ao design de superfície, especialidade do design, especificamente à estamparia têxtil digital. Tem como propósito investigar os recursos digitais voltados à estamparia têxtil como produtores de elementos visuais causadores de sentido e significado tendo em vista a relação: produção criativa, produto (aspectos subjetivos da estampa) e diferenciação. A pesquisa parte da abordagem qualitativa de caráter exploratório, por meio de referências bibliográficas, observação em estamparia digital selecionada na cidade de São Paulo e entrevistas a designers de superfície atuantes. Este estudo também propõe uma reflexão sobre alguns aspectos diferenciais e de subjetividade que as estampas permitem em produtos de moda em vestuário e decoração. Ao identificar e discutir possibilidades, potencialidades e limitações da estamparia digital nas áreas mencionadas, sugere-se contribuições para o design de superfície na criação de estamparia com fotografia a partir da demanda por diferenciação, em engineered print, tendo a peça impressa como suporte de arte e comunicação. / The contemporaneity has been marked by changes in various aspects, in particular for design. The latest decades inaugurated digital technologies in which the capabilities for capturing, processing and reproducing images changes modes of development, production and aesthetics perception. This study refers to the surface design, specialty of design, specifically the digital textile printing. It aims to investigate the digital resources intended for the textile printing as producers of visual elements that causes sense and meaning to the partnership: creative production, product (subjective aspects of print) and differentiation. This is a qualitative research of exploratory character approach, by means of bibliographical references, observation of selected digital prints in the city of São Paulo and interviews of the active surface designers. This study also proposes a reflection on some differential and subjective aspects that prints allows in fashion and decoration products. Identifying and discussing possibilities, potentials and limitations of digital printing in the areas mentioned, it suggests contributions to surface design in the creation of engineered prints from the differentiation demand, making the piece printed as art and communication support.

Esta pesquisa objetivou identificar padrões formais, plásticos, sintáticos, semânticos e simbólicos eventualmente mais característicos de estamparias têxteis voltadas ao vestuário de usuárias das classes sociais média e alta. O estudo, de natureza mista, quantitativa e qualitativa, apresentou caráter essencialmente fenomenológico, buscando percepções de usuárias e especialistas (designers), ao comparar padronagens de estamparias gráficas utilizadas por mulheres das classes sociais média e alta. Do ponto metodológico, a pesquisa foi dividida em três estágios principais. Em um primeiro estágio foram selecionadas quatrocentas amostras de imagens de estampas voltadas para usuárias das classes média e alta, sendo duzentas amostras de cada classe. Estes dois grupos de duzentas amostras foram, então, reduzidos, aleatoriamente, a dois grupos de vinte amostras. Cada amostra, a partir deste ponto, foi minuciosamente isolada e abstraída do desenho da roupa, da pessoa que a estivesse trajando e de seu entorno, evitando-se variáveis contaminantes. No segundo estágio, as vinte amostras, já isoladas e abstraídas, foram individualmente apresentadas a especialistas (designers), com objetivo de estimulá-los a verbalizar categorias conceituais que pudessem ser utilizadas como norteadoras de um diferencial semântico a ser elaborado no terceiro estágio. Por fim, no terceiro estágio, sete amostras de cada um dos dois grupos foram reunidas, aleatoriamente, e apresentadas a dois grupos de respondentes (especialistas e usuárias) de maneira a atribuírem valores numéricos de 1 a 5 quanto a dez parâmetros (bipolarizados) induzidos a partir das análises obtidas dos dados oferecidos por especialistas no segundo estágio. Participaram do terceiro e último estágio 55 respondentes, sendo seis designers e 49 usuárias. Os resultados deste estudo foram, então, estratificados em vários quadros, entre os quais: amostras apenas da classe média, com respostas de especialistas e de usuárias; amostras apenas da classe alta, com respostas de especialistas e de usuárias; amostras da classe média e da classe alta, com respostas apenas de especialistas; amostras da classe média e da classe alta, com respostas apenas de usuárias; e amostras da classe média e da classe alta, com respostas da média de especialistas e usuárias. O cruzamento geral destas várias estratificações revelou singular e pouco antecipada convergência das respostas de especialistas e de usuárias sobre padrões de estampas têxteis atribuídos às classes média e alta. Notou-se, por exemplo, coincidências acentuadas nas respostas nas categorias simbólico/literal, cromático/acromático, sofisticado/rústico, linear/aleatório, clássico/moderno e geométrico/orgânico, entre amostras de padronagens têxteis voltadas às usuárias das classes média e alta. Divergências discretas foram, entretanto, observadas nas categorias equilibrado/desequilibrado, simetria/assimetria, comum/incomum e figurativo/abstrato. Este estudo conclui que variações qualitativas no vestuário das classes média e alta estariam, portanto, localizadas menos no âmbito das características formais, semânticas, simbólicas e estéticas das padronagens têxteis, residindo, muito possivelmente, sobretudo, na qualidade da impressão, acabamento, coloração, fiação, tecelagem, costura e em minúcias de seus desenhos apenas perceptíveis pela proximidade física e tátil dos referidos tecidos e peças de vestuário / This research aimed to identify formal, syntactic, esthetic, semantic, and symbolic patterns possibly more closely associated with textile designs geared to the clothing of female middle and upper class users. The study, of a mixed nature, combined both the quantitative and qualitative approaches. It was of an essentially phenomenological character, searching for the perceptions of both users and design specialists, as they compared graphic design patterns utilized in the clothing of middle and upper class women. From a methodological standpoint, the study was divided into three main stages. In the first stage, 400 samples of photographs of textile design geared to female middle and upper class users, 200 corresponding to each group, were randomly selected from a variety of sources. Out of these two groups, another selection was then randomly conducted as well, narrowing both groups down to 20 samples each. Each textile sample, at this point, was thoroughly isolated and taken from the actual design of the clothing, from the person who might be wearing it and from its surroundings, therefore avoiding contaminant variables. In the second stage, those 20 samples, already isolated and taken out of their surroundings, were individually shown to textile and fashion design specialists, aiming to stimulate them to verbalize conceptual categories that could be utilized to guide the elaboration of a semantic differential in the third stage. Finally, in the third stage, seven samples from each of these two groups were randomly ordered and displayed to two groups of participants (design specialists and users). They were asked to grade them with numeric values from 1 through 5 regarding ten parameters (bipolarized) which were previously developed based on data provided by design specialists during the second stage. In this final stage, 55 respondents took part, six of which were design specialists and 49 of which were users. The results of this research were then stratified and displayed into various tables and charts, amongst which were: exclusively middle-class samples, featuring answers of both design specialists and users; exclusively upper-class samples, featuring answers of both design specialists and users; samples of both middle and upper class, featuring answers exclusively of design specialists; samples of both middle and upper class, featuring answers exclusively of users; and, finally, samples of both middle and upper class, featuring combined answers of design specialists and users. Cross-referencing of the various data stratifications revealed a unique and little-anticipated convergence of answers from both design specialists and users regarding textile graphic patterns linked to either middle or upper class clothing. Significant, coinciding patterns of responses were noted in conceptual categories such as symbolic/literal, chromatic/achromatic, sophisticated/rustic, linear/random, classic/contemporary and geometric/organic, among samples of graphic textile patterns associated with middle- and upper-class female users. Discrete divergences were identified, however, in categories such as balanced/unbalanced, symmetrical/asymmetrical, plain/rare and figurative/abstract. This study, then, reached the conclusion that qualitative variations in graphic design patterns in clothing of middle- and upper-class female users might, therefore, occur less in the realm of the studied formal, semantic, symbolic and aesthetic graphic textile patterns, as they seem to most likely reside, above all, in the printing quality, finishing, coloring, threading, weaving, sewing and in minute drawing details of the actual graphic textile patterns which can only be ascertained and appreciated by means of physical and tactile proximity to these graphic patterns and the actual clothing itself

The price of the tools for making prototypes and small series of products, as well as the cost of additional changes in the tool are quite high and increase the price of the final product. A flexible tool provides an advantageous solution to create a wide variety of molds. In this thesis the area of flexible tooling is introduced. An experimental mechanism has been manufactured and tested. With the help of a methodical approach several solutions for a flexible tool design have been proposed. Based on the evaluation of all given criteria, the most suited version has been designed and manufactured. The tool has been tested and evaluated for the thermoforming process. Improvements and potential applications have been suggested. The results show that the flexible tool has some limitations but has a broad potential use in several applications.

This thesis deals with the possibility of applying the method of Design of Experiments (DoE) on specific data. In the first chapter of theoretical part, this method is described in detail. The basic principles and guidelines for the design of the experiment are written there. In the next two chapters, factorial design of the experiment and response surface design are described. The latter one includes a central composite design and Box-Behnken design. The following chapter contains practical part, which focuses on modelling firing range of ball from a catapult using the above three types of experimental design. In this work, the models are analysed together with their different characteristics. Their comparison is made by using prediction and confidence intervals and by response optimizing. The last part of the thesis comprises overall evaluation.

Made available in DSpace on 2016-04-26T18:18:16Z (GMT). No. of bitstreams: 1 Renata Oliveira Teixeira de Freitas.pdf: 69986778 bytes, checksum: cec52945f813f30e5816864367554c5c (MD5) Previous issue date: 2009-10-26 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This dissertation aims the investigation of the tactile communicational identity of surface design. As a communication tool that approaches the object and its users, the surface design is inserted in a market context in which the buying values extend beyond the mechanical performance, embracing the intangible contents spheres. Surfaces are considered to be active interfaces, capable of establishing a communication through sensitive codes. Therefore, the importance of the transmitted information content, as well as the transmission itself, are relevant matters in the intangible sphere of the living context and should be considered in a surface design project. The study targets the understanding of the surface design project development, from the perspective of the creative process critique, articulated by Salles (2008), seeking, through the reactivation of the creative network, to outline the specifics that make the surface design an autonomous area of research and development in design. Based on a vast number of projects with different projective intentions from the fields of design, architecture and fashion, the dissertation discusses the interrelations established between the universes of praxis and ideas, pointing out some projective tendencies that explore the tactile communication. Approaching from the general issues of a design project, which involve the culture and the market environment, to the specifics issues of the surface design practice. The chosen authors to base the discussions concerning the communication systems and the emotional experience market are: Fontenelle (2002), Lazzarato(2001), Negri (2001) and Görz(2005). On what is referred to the perception and cognition matters were consulted the works of Nicolelis (2008) and Flusser(2008) / A presente dissertação tem por objetivo a investigação da identidade comunicacional tátil do design de superfície. Como ferramenta de aproximação comunicativa entre usuário e objeto, o design de superfície insere-se em um contexto mercadológico, cujos valores de compra se estendem para além do desempenho mecânico, englobando as esferas de conteúdos imateriais. Consideram-se as superfícies como interfaces ativas, capazes de estabelecer uma comunicação através de códigos sensoriais. Portanto, a importância do conteúdo informacional transmitido, assim como a própria transmissão, são questões que possuem relevância na esfera imaterial do contexto vivido e devem ser consideradas em um projeto de superfície. O estudo visa a entender como se desenvolve um projeto de design de superfície sob o ponto de vista da crítica do processo de criação, proposto por Salles (2008), buscando, pela reativação da rede criativa, evidenciar as especificidades que tornam o design de superfície uma área autônoma de pesquisa e desenvolvimento em design. A partir de uma coletânea de projetos com propósitos distintos das áreas de design, de arquitetura e de moda, busca-se, nas inter-relações estabelecidas entre os universos da praxis e das idéias, discutir tendências projetivas que exploram a comunicação tátil. Analisando desde as questões mais gerais de um projeto de design, que envolvem o ambiente cultural e mercadológico, até as questões específicas da prática do design de superfícies. Os autores adotados para embasar as discussões referentes aos sistemas de comunicação e o mercado da experiência emocional são: Fontenelle (2002), Lazzarato(2001), Negri (2001) e Görz(2005). No que se refere a percepção e a cognição dos sentidos foram consultados os estudos de Nicolelis (2008) e Flusser(2008)

Este trabalho tem por objetivo o design e a fabricação de superfícies tácteis a partir de padrões modulares encaixáveis. Estas superfícies foram construídas em diferentes materiais naturais (minerais e madeiras) e em distintos processos de fabricação inovadores (usinagem por jato de água, usinagem por controle numérico computadorizado ou CNC e corte a laser). A intenção foi desenvolver uma metodologia de design & tecnologia para aplicá-la em painéis de revestimento que possam ser produzidos em baixa escala de forma semi-industrial. A grande variedade de materiais naturais encontrados no estado do Rio Grande do Sul; a carência de design associado a estes materiais quando do produto final e o volume de rejeitos oriundos deste beneficiamento, foram os principais motivadores para a utilização destas matérias primas. O estudo de diferentes técnicas de design de superfície auxilia na transformação destes materiais, para que os mesmos passem a ter o formato de módulo. Dentro deste contexto, foram estudadas as técnicas desenvolvidas pelo artista Maurits Cornelis Escher. Ele dedicou boa parte de sua vida profissional à composição de desenhos que, justamente, partem da utilização da simetria, modularidade, continuidade e encaixe. Neste sentido, após a compreensão das técnicas utilizadas por Escher, alguns de seus desenhos foram aplicados nos materiais selecionados através dos processos de fabricação adequados, possibilitando a construção das diferentes superfícies tácteis. Os resultados obtidos identificam que a utilização de processos de fabricação inovadores para interferência nos materiais naturais são ferramentas importantes para a promoção de uma nova geração de produtos locais. Conclui-se que estas interferências viabilizam a fabricação de produtos com maior valor estético, social e econômico. / This work aims at the design and the manufacturing of tactile surfaces from modular plug patterns. These surfaces were built in different natural materials (mineral and wood) and in distinct innovative manufacturing processes (waterjet machining, computerized numerical control machining or CNC and laser cutting). The objective was to develop a design & technology methodology for applying it in coating panels that can be produced on a semiindustrial small scale. The huge variety of natural materials found in Rio Grande do Sul State, the lack of design associated to these materials as to the final product and the volume of waste from this processing were the main motivators for the use of these raw materials. The study of these different techniques of surface design helps the transformation of these materials in order that they start to have the modular format. Within this context, the techniques developed by the artist Maurits Cornelis Escher were studied. He devoted much of his professional life to the composition of drawings beginning exactly with the use of symmetry, modularity continuity and joint. In this sense, after understanding the techniques used by Escher, some of his drawings were applied in the materials selected through suitable manufacturing processes, enabling the construction of different tactile surfaces. The results obtained identify that the utilization of innovative manufacturing processes to interfere in the natural materials are important tools for the promotion of a new generation of local products. It is conclude that these interferences enable the manufacture of products with greater aesthetic, social and economic value.

This research developed new creative opportunities for textile design by investigating CO2 laser processing technology to achieve surface design and three-dimensional effects. A practice based and interdisciplinary textile design methodology was employed, integrating scientific and technical approaches with a reflective craft practice. It was found that the synthesis of design and science was imperative to achieving the research goal of evolving techniques that have opened new design opportunities for textile design whilst being viable and communicable for industrial and commercial application. Four distinct Laser Textile Design techniques were developed in this research including: a laser enhanced dyeing technique for wool and wool blends; Peri-Dyeing, a laser dye fixation technique; a laser moulding technique; and a laser fading linen technique.

<p>This thesis comprises tribological studies of extremely well-defined surfaces of different designs. Both low-friction and high-friction surfaces were manufactured and experimentally evaluated.</p><p>In the low-friction studies, lithography and anisotropic etching of silicon was first used as a texturing technique. The textured surfaces were subsequently PVD coated with TiN or DLC to achieve tribologically relevant interfaces. The results showed that under starved lubricated conditions, fine surface textures lowered the coefficient of friction and the wear rate. It was shown that also the orientation of the texture is of major importance for the lubricating function.</p><p>Further, a novel embossing technique was developed, permitting texturing of steel and other materials. A micro mechanically designed diamond tool was used to emboss steel surfaces. The roller/piston contact from a hydraulic motor was simulated and introduction of an embossed texture on the piston decreased the level and the fluctuation of the friction. The effect of the texture was here similar to the effect of an additional polish step. However, in general it is not an easy task to substantially improve a boundary lubricated contact by introducing a texture. </p><p>Studies of high friction surfaces were performed on micro mechanically designed diamond surfaces equipped with sharp pyramids or ridges. Just as theory predicts, the coefficient of friction was dependent on the shape of the ploughing bodies, but not on the counter material or the load. The tested surfaces resulted in static coefficients of friction between 1.1 and 1.6, depending on surface design and orientation. These are extremely high values, and therefore very interesting for practical applications requiring a high static friction.</p><p>Conclusively, the present thesis shows that it is possible to design and produce surfaces both for improved lubrication in sliding contact and for substantially improved high friction performance in static contacts.</p>