Repeated Stories is an exploratory project in textile design where the aim is to explore the design of storytelling patterns addressed to children. More precisely, the work examines how patterns can be designed as a tool to encourage curiosity and creativity among children. The work is practice-based, building on concrete experiments with a workshop character, where combinations of textile material, colour, printing techniques and scale are explored. The primary motive for this work is to take advantage of textile design expertise in a social context, to find new areas for competence in making repeats and patterns, and how a social value can be added to patterns. The result is an installation of three hanging textiles, meant for a public space, such as waiting room in a hospital. The work proposes an alternative approach to surface patterns by adding storytelling and give the patterns both a communicative and decorative function.

’Point of view’ is an investigation of changeable surface patterns in the textile design field. The investigation is performed in order to get a deeper understanding of the relationship between changeable surface patterns and three-dimensional contexts to explore alternative methods.  The aim is to design surface patterns in a three dimensional context developed through printing and layering techniques, and to explore how the patterns change depending on the observer’s perspective. Practice based design experiments were carried out to explore materials and printing techniques such as transfer, digital and burn out. The patterns were in turn placed on a cubic frame with inner and outer layers, and studied for their effects on one another.  The project resulted in a series of surface patterns that were applied in a spatial context. The findings propose an alternative method for designing changeable surface patterns in a three-dimensional setting, using layers, transparency and distance as factors.

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.

Within Alinea, the purpose is to explore the use of bioplastic as unconventional yarn in the traditional technique of handweaving. The focus toward bioplastic as a design material and the technique of handweaving as the fabrication technique to generate broader alternatives for using bioplastic materials in woven textile design. Described through experimental and practise-based research, handwoven bioplastic samples have been explored to investigate the methods of structures and bindings, gradient colouring and print design within bioplastic and weaving. With the attempt to make bioplastic more accessible for the textile industry. The experimental design research resulted in scaled prototypes that showcase a collection of seven pieces that present various design possibilities and potentials regarding bioplastic within the textile weaving technique, including distinct structural tactile qualities bioplastics can offer to the field of textile. It can be concluded that bioplastic can play a role in becomes a desirable material steering textile design towards a more sustainable future in the textile design field. Furthermore, give handwoven materials new aesthetics by producing unique structures and tactile features.

This is (Not) a Textile is a surface pattern design project made with tools from motion design. The aim is to bring textile design into a new digital context, and explore how crossing these two fields can help to develop a new method of designing dynamically changing print. The process begins with hand sketching using automatic drawing methods inspired by surrealism. Then, the pattern elements are animated and constructed in the Adobe After Effects program using multiple layers of compositions. The result is a collection of animated patterns that each express a unique quality of digital changeability: building pattern layers, shifting light and color, and moving tessellation. In the future, designs like these may be applied to the real world with the help of augmented reality technology. In addition to influencing how design in the textile field can be reformulated with digital processes, this project pushes the boundaries of what textiles are and how they can be communicated and transformed through digital technology.

This degree work in textile design positions itself in the textile- and surface pattern design field by investigating the interpretation of the translation from traditional to contemporary. The motive is to apply a sustainable aspect to surface pattern design by “recycling” traditional and cultural patterns into renewed contemporary expressions. The aim is to design a collection of contemporary surface patterns by exploring and interpreting traditionally common patterns, such as curbits and folklore painting. Modern printing techniques, new technology and materials have been used in the investigation. Three suggestions for a contemporary surface pattern collection have been developed. A repeated pattern that has been laser engraved and colored on acrylic plexiglass, a mirrored pattern that has been digital printed, coated, and cut to reveal the tabletop, and a large-scale placed pattern that has been transfer printed in three layers to enable for a color-mixing-effect. This project contributes to reinforce the knowledge of traditional craftsmanship and establish a new legacy that can serve as both a link to pattern history and as an archive of today. The project desires to influence how a sustainable approach to “recycling” traditional or cultural images and motifs can be used to design new surface patterns.

A study on application of combinatorial methods (CM) and high-throughput methods (HTM) to biomaterials design, characterization, and screening are reported in this thesis - focusing on screening the effects of biomaterial surface features on adherent bone cell cultures. Polymeric biomaterials were prepared on two-dimensional combinatorial libraries that systematically varied the size and shape of chemically-distinct microstructural patterns - generated from blends of biodegradable polyurethanes and polyesters. Characterization and screening were performed with high-throughput optical and fluorescence microscopy. A unique advance of this work is the application of data mining techniques to identify the controlling structural features that affect cell behavior from among the myriad variety of metrics from the microscope images. The results from this study demonstrated the potentials of CM/HTS to be applied to exploratory studies involving complex systems in life sciences. This study accomplishes the goal to demonstrate the efficient screening and exploration of vast and complex dataset, extracting important and meaningful information to narrow down the future path of study in this field. Further study aimed to tuning cellular responses via signals from surface cues will be necessary to examine the causal relationships beyond the observed correlations shown in this exploratory study. It is recommended for further studies to narrow down the range for surface patterning around each of the three 'activation' ranges found in this study: apoptotic, viable, and one unknown state to be studied further. Different cellular-function staining methods will be necessary to be used in cellular imaging techniques in order to explore this unknown state further.

The interest for natural dye has increased together with the concern in sustainability and environmental awareness within the textile industry. Natural dye is one of the oldest techniques when it comes to textile production, but when synthetic dyestuffs were discovered, the usage of the technique decreased. Today, the technique is slowly coming back together with the awareness in sustainability. However, regarding surface patterns, the expression is quite limited, and patterns are created by dyeing techniques, muted colors and nature as an obvious inspiration. This degree work explores natural dye print by designing a screen printed surface pattern collection, and the project advocates for and is an addition to the field of natural dye print. The methods used were drawing, digital sketching and screen printing. The methods of designing were done through practical workshops, both for sketching patterns and to explore techniques within natural dye print. The female body is a design theme in the work and the intention is simply to portray the body as it is. The motive has not been chosen to provoke, to address a political issue or to evoke discussion. The result is three surface patterns printed with different printing techniques on different fibers. A significant part of the result is the reference library containing all the printed samples and can be used for further research within the field. Choice of fabric and scale of design was done with fashion fabric in mind, however, to focus on the design and technique the designs are not presented on any kind of product. Tests were done to try out the light fastness of the different colorants on different fibers. This project has expanded the field of natural dye print by adding a screen printed surface pattern collection with thematic patterns and an expression that does not reveal the use of natural dye. The project also resulted in a steppingstone for further work within the field.

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Starting from a simple concept, transferring the shape of an interference pattern directly to the surface of a material, the method of Direct Laser Interference Patterning (DLIP) has been continuously developed in the last 20 years. From lamppumped to high power diode-pumped lasers, DLIP permits today for the achievement of impressive processing speeds even close to 1 m²/min. The objective: to improve the erformance of surfaces by the use of periodically ordered microand nanostructures. This study describes 20 years of evolution of the DLIP method in Germany. From the structuring of thin metallic films to bulk materials using nano- and picosecond laser systems, going through different optical setups and industrial systems which have been recently developed. Several technological applications are discussed and summarized in this article including: surface micro-metallurgy, tribology, electrical connectors, biological interfaces, thin film organic solar cells and electrodes as well as decorative elements and safety features. In all cases, DLIP has not only shown to provide outstanding surface properties but also outstanding economic advantages compared to traditional methods.