Floats. In weaving, they serve as a base for fundamental bindings such as twill or satin; they can also be considered as an error. Although more experimental floating threads have been a subject of exploration for many creators, their use in interior-oriented textiles is still rare. Basing on the possibilities offered by the Jacquard weaving technology, this project aims to investigate the aesthetic properties of floats. It was done through a systematic development of near-field and far-field structures as well as colour and yarn research. The investigation resulted in a collection of five textile objects, displaying different visual expressions achieved by the use of floats. Furthermore, by placing the woven pieces in a spatial context, Floating in focus aims to challenge the prevailing perception of interior textiles. Shape exploration of the collection is an attempt to find new ways of integrating woven textiles in space, somewhere between architecture and archetypical interior textiles such as blankets, pillows or upholstery.

Visuomenėje vyraujantys grožio standartai virsta mėginimu tiražuoti moterų išorę. Mane supa grožis, mano šeimos moterys taip auklėtos, joms tai svarbu. Svarbu ir man, nes siekiu pripažinimo ir slepiuosi. Visada slėpdavausi, užsidengdama kitų žmonių istorijomis, išgyvendama panašius jausmus. Atėjo laikas save apnuoginti. Plaukai man - vienas pagrindinių moteriškumo simbolių ir akcentų. Netekusi jų, netenku dalies savęs. Veidas tampa neatpažįstamas. Tai istorija ne apie ligą, tačiau grožio siekimas kartais tampa liga. Į mano asmeninės istorijos veidus, galite įdėti savo veidą. Ir tai nebe mano, o neegzistuojančio asmens veidas. Reta moteris norėtų platinti savo „negrožį“. Ko realiame gyvenime neįgivendinčiau, savo kūrinyje fabrikinio audimo principu kurdama tiražą, aš skatinu nusiimti savo kaukes. Dvejų studijų metų tyrinėjimo laukas išsikristalizavo į teorinio darbo temą "Žmogaus plaukų panaudojimas šiuolaikiniame mene: nuo ritualo iki koncepcijos". Savo kūrinyje plaukų, kaip medžiagos nenaudojau ir paradoksalu, moters plaukai, virtę simboliu, kinta, kol galiausiai išnyksta. Šį kūrinį sudaro 25 A4 formato žakardinio audimo autoportretai. / Beauty standards, which dominate in the society, turns into effort to circulation of the women appearance. I’m surrounded by the beauty, my family woman was educating like that, and for them it is very important. It is also important for me, because I’m seeking for the appreciation and I’m hiding. I was always hiding using other people’s stories, surviving similar feelings. It is time to denude myself. Hairs for me – one of the basic symbol and accent of femininity. I lose them, I lose a part of myself. Face becomes unrecognizable. It is a story not about disease, but sometimes seeking of the beauty became a disease. Into my personal story of my faces, you can put your face. And it is no longer mine, but it is non-existing persons’ face. Rare women want to propagate her “non-beauty”. What I never unrealized in the real life, in this creation using factory weaving principles and creating circulations, I’m encouraging to take off your masks. The field of two years’ of my research grows into theoretical work – “Human hair using in contemporary art: from ritual to the conception”. I didn’t use hairs as a material in my creation and paradoxically, a women hair became to a symbol, changes, and finally disappears. This work consists of 25 units, A4 format Jacquard weaving self-portraits.

This work places itself in the field of textile design and jacquard woven textiles. By exploring the relationship between the traditional Swedish bindings simplified overshot and monk’s belt, and computer-generated design tools and digital aesthetics, the primary motive has been to design a woven collection that explores alternative and contemporary expressions of traditional textiles. By challenging traditional properties and their original context, the collection has explored their spatial recognition as experimental decorative textiles. By adapting an experimental design method that forces de-contextualization and manipulation, the outcome of the study is a collection of three woven textiles which all suggest how traditional techniques can be revisited and reworked into contemporary contexts.

This project places itself in the area of Textile Design, relief patterns and weaving. The project drives from an interest of not taking design so seriously, letting it be playful and maybe slightly meaningless, in terms of functionality. This design is not something that is needed, neither a problem-solving design. Rather, the intention is to investigate how the design would be saturated in a context where it would be something unpractical and extra. Extra as something that is not necessary. With the aim of the project is to explore texture and volume by designing tactile relief patterns through the combination of Jacquard weaving and hand painting. The process consists of experimenting in the Jacquard: weaving in undyed yarns to create form through bindings and material. The woven textiles are then painted with a mix of pigment and water to highlight or distort the form of the weave. The outcome of the study is a collection of several pieces, where volume, texture, and tactile patterns are explored. This work contributes to the field of textile design by displaying a possibility to use a hands-on step in the Jaquard process, as well as the appearance of the hand: aquarelle look and a clear hand brush that is not possible using dyed yarns.

No description available.

This degree work is situated in the field of textile design and positions itself specifically in tactility and jacquard weaving. The motive of this work is to connect textile design with the user in a site-specific context for an including designprocess. The aim of this study is to investigate tactility in a site-specific context with playful weaves inspired by nature. The design process had its starting point in tactile and visual patterns in nature and involved hand-drawn sketches translated into woven patterns to spark curiosity and invite to touch. Along the process the produced woven sketches were tested on an audience to understand touch in relation to user but also put into a site-specific context to understand what could be developed in the space. The result of the study is four different weaves with variety in colour and tactility positioned in different parts of the chosen context - a children’s library corner. The collection consists of one floor piece, one wall piece and two interactive, movable pieces. Designing four textiles for different touch in relation to user and a site-specific context contributes to the textile field by containing a longlasting, including designprocess.

The character of woven textiles is dependent on both the materials and the loom technology used. While digitally-controlled jacquard looms are a major development in weaving technology, they have mostly been used in developing representational and pictorial weaving. Such three-dimensional weaving as exists, utilises materials in predictably similar ways. Here, through systematic experimentation, three shrinking and two resisting yarns have been combined in multi-layer weaves in order to explore their potential for form-generating behaviour. Three-dimensional form occurs when the shrinking yarn/s place the resisting yarn/s under tension. To relieve this tension, the resisting yarn moves within the weave, creating waves or folds. The resulting form is highly sensitive to variation, demonstrating emergent behaviour, and identifying the woven textile as a complex system. Demonstrating the variety of form possible from a limited number of materials, the results represent a small body of work aiming to re-form weaving. The exploration of synergistic material combinations is therefore shown to be an exercise of value to fields from art textiles through to industry. It demonstrates that there is great development potential in woven textiles. Understanding the behaviour of materials is fundamental to furthering form-based weaving.

This thesis set out to address the ‘unsuccessful entrance’ experienced by the technique of tufting in the context of fashion design. The conventions of industrial tufting methods are challenged in the field of contemporary couture with a focus on three different aspects: backing, raw material and technique. This traditional carpet making technique, presented through the concept of couture, is aimed to be introduced as a potential novel technique among the other artisan ones inherent to the field. Robot tufting has until now been exclusively employed by the carpet manufacturing industry and only two robot manufacturing companies operate worldwide. It is a research subject with no previous academic or artistic publications. This thesis introduces for the very first time the concept and technique of robot tufting in the field of fashion design for the potential future garment creation. A more profound exploration of tufting in the context of fashion design requires a fusion of fashion and textile design into a one hybrid practice with a cross-disciplinary approach. Alongside challenging the conventions of tufting, the conventions of old disciplinary boundaries are aimed to be challenged.

Technological developments in digital Jacquard weaving, as well as material research, have a strong influence on today‘s possibilities of textile production. These advancements enable to shift the perspective of textile as a flat surface to textile as a three-dimensional form and push two-dimensional weaving into the third dimension. Utilizing recent technologies in the form of applying multi-layering weaving techniques and embedding heat-reactive shrinking material, the research of Woven Forms aims to explore the forming method of construction through weaving to create abstract forms transformed from flat and to investigate its textile-form properties of shape, texture, color, and scale. The developed method of Embedded Form Weaving is set within experimental design research and structures a systematical approach to generate three-dimensional forms activated from flat surfaces. The outcome in form of abstract, self-supporting textile-forms showcases the multitude of form expressions and variety of formal variables within two construction-form-thinking families. This research contributes to the field of 3D weaving, demonstrates the potential for further research and application possibilities in other disciplines and fields, and evaluates the potential of seeing the weaving loom as a forming tool. While the fundamental base is the interlacement of warp and weft, technology, material science, and textile engineering shift the perception of woven textiles: from a rectangular piece of cloth to the opportunity to construct textile-forms.

Asking the question: How can the waffle weave be reinterpreted through material, technical and colour research, the investigation of this MA thesis revolves around the weaving technique with the aim of presenting a collection of various woven textiles, where the waffle has been used in different ways. The weave, with its three- dimensional structure creates an interesting canvas to experiment upon as its structure creates both texture as well as depth to the textile. Furthermore, the research is conducted through a systematic exploration of the different aspects mentioned above, where theory and practise go hand in hand. Moreover, the practical experiments start as sketches on the computerised ARM looms and then are scaled up and revised on the industrial jacquard looms. The results showcase a variety of waffle weaves; from flat to three- dimensional, with various colour and surface effects as well as different compositions and overall forms. So, through this research, the degree project aims to explore and experiment the potential and possibilities of the waffle weave