Camolution is a project that explores the camouflage pattern in a textile designcontext. The motive is to reinterpret an obsolete concealment function andinstead, to hide and reveal visual textile aspects within the pattern. Theprimary aim of this work is to develop a contemporary camouflage patterncollection of printed and knitted textiles, and to explore the concealmentfunction through visual deceptions. The patterns were developed witha method that uses a selection of rules in colour contrasts,style influences and textile proprieties to design a series of patternexperiments. The final pattern designs were screen printed, digitalprinted and knitted, and applied as garment prototypes. This part wasdone in collaboration with the fashion brand Björn Borg. The result setsout a collection of textiles and clothes connected by three differentconcepts of misled vision. It was found that the camouflage function in thiswork was an efficient tool to advertise the brand symbols within the textiles.This work proposes an alternative design method of using the camouflageconcept in textile design, contributing with new expressions, techniquesand qualities.

This study investigates the effect of single jersey, based on its original formas a cylinder. It is also an investigation of color and transforming surfaceof garment.The outfits are based on the cylinder in construction. With some cuts andseams, developed into garments. The surface of the fabric has qualities recognizable to rib, but the constructionis different. By using cotton and polyester yarns, the stripesshrinks in different directions and when the body integrates with thefabric, shape, gravity and movement will make the material transform byopen and closing the lines. Different color effects are presented in the collection. The result is suggestingdifferent color effects, depending on size of the stripes, the saturationof the colors and the placement on the body.

This licentiate thesis focuses on surface patterns, spatiality, and pattern relations in textile design, and aims to explore surface patterns as spatial definers and what they mean in the context of surface patterns. A secondary focus relates to applying conceptual spatial determinations as alternative design variables in design processes, and exploring how these could be used to define and analyse pattern relations. Through a series of exploratory design experiments that used printed and projected surface patterns in a three-dimensional setting, which were documented using photographs and film, the notion of pattern relations, wherein scale was used as a design variable, was explored. The outcome of the experiments showed the expressional possibilities that surface patterns may provide in a defined space, and how these are connected to pattern relations. In order to encourage an accompanying discussion regarding alternative methods of analysing surface patterns, the construction of a theoretical model was initiated. Workshops with design students were used as another practical method in this work. The results showed that there is great potential in using conceptual spatial determinations to define pattern relations by viewing surface patterns as spatial definers, rather than taking a traditional perspective on their functions. Another outcome is the theoretical model, which proposes a specific approach to pattern relations. This research demonstrates how conceptual spatial determinations can benefit the textile design process, as well as design teaching, which could in turn provide the field with new expressions that may lead to a change in or fruitful addition to the practice.

There is an abundance of information available (from industry journals, company websites, and specialist trade fairs) relating to commercial digital textile printing. However, there is a scarcity of information regarding how digital textile printing is being used and taught, in undergraduate textile design degree programmes and how staff and students deal with colour accuracy issues. This research aims to explore and compare approaches to achieving colour accuracy in digital textile printing in industry and HE environments. The research findings are intended to provide useful information for educators involved with delivering digital textile printing in Higher Education (HE) to benefit the industry. Secondary research contextualises the study, with the history of printed textiles examined in order to place digital textile printing in context. The evolution of digital textile printing, colour communication and colour management in the digital textile printing process are also studied, as is the current status of digital textile printing in industry. A review of literature relating to learning and teaching styles presents aspects of pedagogy relating to the research aims and objectives. The primary research undertaken for the study was through interviews, visits and questionnaires. Questionnaires completed by educators at HE institutions that offer digital textile printing as part of their undergraduate textile design programmes were followed by visits to comparison institutions. The second stage of data collection consisted of individual and group interviews with educators and students from a BSc textile design programme. The individual and group interviews with educators and students led to the formulation of a questionnaire that was sent to industry professionals (including graduates of the BSc programme). For the final stage of the data collection, interviews were conducted with graduates from the BSc programme who were working with digital print. From the primary data collection the key aspects that require teaching for a good understanding of the design process for digital print were identified and rated with regard to importance. This led to a teaching model for an undergraduate textile design programme and the development of initial lectures for such a programme. In addition the data analysis indicated that further work could be done to develop learning resources to improve students’ knowledge in this area and support their transition from the HE environment to industry.

The motivation for this MA work is based on the challenge to the preconception of hand-tufting through material, colour and light. When imagining a rug, a very specific image appears in our mind. Some details of that image could vary from person to person, but what is almost certain, dense and heavy, probably made out of wool, woven textile will pop up in front of our eyes. This work suggests a possibility of creating new expressions in design by the material driven approach. The investigation was led by practice based research including set up of experiments, experimental work and evaluation complementing the whole process. The exploration proved that qualities of monofilament yarn have a great ability to enhance colours as well as add certain kind of lightness to the hand-tufted piece. Furthermore, due to the transparency of monofilament yarn an interplay between the loops and the backing was possible, opening up for changes in colour perception. The outcome of the research is collection of woven and hand-tufted textiles contributing to the field of textiles by bringing new qualities to the hand-tufting technique.

’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.

This Master’s degree project explores the design possibilities of thread tension, to create a transformation in an interactive, 3D embroidered, wooden surface. The aim is to create a playful visual expression on a surface triggered by interaction. The surface is manipulated by embroidery and the embroidery is manipulated by the tension in the thread. Together all parts create a simple mechanism that allows the viewer to sink into a playful loop of a rising and collapsing structure. Dancing embroidery.  The work explores the potential of the thread as a key factor together with interaction to make a transformation of a surface possible. The thread is used both in the function of the surface and at the same time it creates a strong visual expression as it stands out to show its strength and power.

LUX studies the combination of electronics and knitted textiles from a textile design perspective. The thought of experiencing textiles without touching them sparked the idea of designing textiles where touch is essential for the visual appearance. The aim is to design knitted textiles that light up when touched, in order to create an interactive experience for the viewer. Optical fibres were chosen because of their ability to transmit light and copper yarn works as an electrical conductor that triggers the reaction of light. The shapes of the knitted textiles have been created by utilising the characteristics of the optical fibre. LUX introduces a working method in which the optical fibre is given an important role not only as a light source but also as a tool for shaping the textiles. The result of the work is three textiles that display how electronics, consisting of sensors and light, can be merged with textiles and contribute to interactive behaviour.

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.

The people of ancient Peru produced textiles four thousand years before the Spanish Conquest in 1532 A.D.. They used almost every known technique and created some of the world's most outstanding handwoven textiles. One of the most visually exciting groups are the finely woven interlocking tapestry tunics that served as the official garments of the Wari (Huari) culture (c.700-1000 A.D.). The Wari maintained a highly organized social and economic state and its rigidity is manifested in the formal iconography and artistic conventions of their textiles. With sophisticated design principles and the masterful use of colour, however, the Wari counteracted the problems of monotony and repetition inherent in the strictly prescribed design of the garments. Few of the existing Wari tunics have accompanying scientific provenience or grave associations and therefore little is known of their cultural role. An art historical approach, however, utilizing stylistic analysis breaks the barrier created by the sparse scientific documentation and facilitates the deciphering of design conventions. Very little has been written specifically on Wari textiles. To date, the most important work is a brief article by Alan Sawyer. (Sawyer, 1963:27-38) In it he examines some of the complex design conventions and suggests a methodology for establishing a relative chronology. His methodology will be used in this study. This thesis begins with an examination of the Wari culture based on well documented ceramic evidence and continues with a discussion of provenience (when known), distribution, technology and iconography of the textiles. The focus of this study is the use of design conventions. Examination of three major design conventions - lateral distortion, symmetry and colour usage - is followed by a comparative analysis and a discussion of relevant ceramic evidence. Sawyer has divided Wari official garments into the following three types: 1. Type 1 - Paired elements 2. Type 2 - Composite motifs 3. Type 3 - Staff bearing anthropomorphic figures. This thesis is primarily concerned with the first type. The sample for this study consists of 47 representative examples ranging from fragments to complete tunics of Type 1. Through the examination of lateral distortion and the comparative analysis of relevant ceramic evidence and known textile provenience, a relative chronology can be proposed. It will be shown that it is possible to evaluate the design conventions of symmetry and colour usage to determine the rules governing their application. This in turn permits the identification of regional and temporal traits. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate