This degree work places itself in the field of textile design within printing and surface design. The primary motive is to explore methods of designing textural expressions of a non-woven polyester fabric which combine relief and printing techniques in order to design textiles with three-dimensional properties. The work explores possibilities on how to bring an aesthetic expression into a synthetic non-woven inlay fabric by using screen print, sublimation print and relief moulding towards an interior context. The purpose is to take advantage of the technical properties such as expansion, softness and stiffness of a non-woven polyester fabric into the design work. The design method consisted of a material-based pre-study to gain knowledge about non-woven materials and their reactions to heat, moulding possibilities and printing options. Further developments were done through workshops that explored frottage as design inspiration for final designs and gradations with halftones as a colouring method. The outcome of this degree work resulted in a collection of three textile pieces; a wall covering, a room divider and a sound absorber that are seen as prototypes for further development on how to give synthetic non-woven textiles an alternative aesthetic expression.

The following project explores how colored light can be used as a variable to manipulate the perception of a surface pattern. Placing the work within the textile design field, colors are a main factor for the development, it shows that colors’ visual state changes when colored light is inflicted. Taking advantage of the effect, an aim was set to explore the relationship between colored light and colored surface to expand methods of designing dynamic and storytelling surface patterns. This to add a different approach of how patterns can be created with a motion ability. The method used was through experimenting with different color combinations under colored light, observing movement of different color placements combined with motif arrangements and patterns, in order to find a working effect. The outcome are three different surface patterns with a dynamic property, each with its own storytelling aspect narrated by the colored light changing. This contributes to a playful way of creating depth to surface patterns, which can be developed further to different textile areas.

This work places itself within the field of textile design and atmospheric design. The primary motive is to integrate and broaden the two fields by developing design proposals in textile design. The aim is to explore how to change the atmosphere of a space through the use of fabric manipulations, surface patterns, colours, light and shadow. The design method consisted of material explorations, light and shadow experiments, design of surface patterns, heat transfer print and pleating techniques. Colours were tested in combination with lights. The result is a collection of three textile dividers of space that by the impact of light change the current atmosphere in public spaces, and by doing so, the perception and mood are changed. The value of this work is to show design potentials for new expressional possibilities, a new approach to merge the fields of textile design and atmospheric design.

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 work places itself in the field of knitted textile design and the context of body and interior. The primary motive is to investigate the tactile and visual properties of oysters and pearls, inspired by Botticelli’s painting Venus. The aim is to explore free-flowing and texture through knitted three-dimensional textile surfaces. Material and colour choices have been made based on the source of inspiration, the oyster, and investigated on industrial circle knit and flat knit machines. The circle knit’s expression has been explored from a hand knitting perspective, using the manual elements to push the machine’s technique to design new expressions. The result of the project is a collection that has four suggestions for a knitted, three-dimensional surface, each inspired and developed from one specific part of the oyster; the shell, the nacre, the flesh, and the pearl. This work investigates the potential of using circle knit machines, commonly used in fast fashion for bulk production, as a tool for handicraft and higher art forms. The final collection pushes the conversation regarding the future uses of the knitting machines and investigates how rigid objects can be expressed through the flexible structure.

This degree work in textile design explores how curtains can be designed to become interactive through textile prints and laser cutting. The work places itself within the field of surface pattern design. The aim was to explore interactive textile prints using perspective as a design variable when designing surface patterns for curtains. The aesthetics of traditional Swedish folk art motifs and colour were an inspiration in the design of the prints. The methods used were a combination of textile transfer printing and laser cutting. The result of this project is a collection of three printed textiles that feature laser cutting and etching in different ways. Through human interaction the textiles can be altered in different ways. It is possible to change the textile and adapt it to seasons, trends and personal preferences. The project aims to offer an alternative approach to sustainable textiles by providing people with possibility to change their interor textiles without needing to consume more products.

This work places itself in the field of textile design, weaving and exploring the design of changeable expressions in textiles. The intention of this work is to design three textiles that interact with the environment in outdoor spaces to achieve changeable expressions. Weaving is chosen as a technique because of the possibility to achieve different qualities in the same piece of fabric. The material, structure and density in the weave determine the interaction between the textile and the external factors, such as wind and light. The parameters make the various parts of the textile react in different ways, for example, the looser the threads are attached in the weave, the more they move in the wind. The interaction between the surroundings and the material causes the textile to change expression in terms of color, pattern, and transparency. The textiles provide an interactive element to an outside space, where it can be used as either a decorative piece of with a functional purpose as room dividers. The project opens up to utilize the textile responsiveness to external forces in design, to create dynamic textiles which change in appearence.

This degree work positions itself in the field of textile design, more specifically in non-woven, color blending, felting, and interaction. The work explores different techniques such as mechanical felting with needle punch, wet felting to manipulate forms, and carding, with a focus on color blending. The aimis to explore the design possibilities in non-woven wool in regards to color blending color gradients. The motivation for the project is to bring textile design into a wider context, and to investigate how the combination of blending colored fibers and felting techniques can create double-sided textiles. Through a hands-on method, explorations were carried out using two textile techniques; Color blending and needle punching. Loose wool fibers were dyed in the three primary colors, then carded into a range of saturated colors, which gave a rich color library to work further on with. Wet felting was used to bond, create non-woven material and make 3-dimensional forms. The result is three pieces in 100% non-woven wool with different color gradients which encourage interaction. The conclusion is that it is possible to work with an alternative color blending method (wool carding) in non-woven in order to create color gradations. The project shows that the field of textile design is expanded by pushing the boundaries of how a textile designer can work with these techniques.

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.

Stand Up Weave explores multiple-layer weaving from a sculptural and spatial perspective in combination with non-textile materials as a way of challanging what weaving can be and how it can be developed in the changing textile industry. The aim was to develop three-dimensional fabrics by hand weaving in multiple layers with integrated supporting structures to achieve sculptural textile objects directed towards experimental textile design. The work investigates and develops methods of how to design and produce complete textile objects directly in the loom without industrial machines or finishing processes such as sewing together parts. The result is a collection of three woven objects, each exhibiting different ways of constructing three-dimensional textiles with individual solutions for warp planning, weaving and supporting structures.