This work positions itself within the field of non-woven material design in a light and interior context. The aim of KNIT-NET is to design watermarks for papermaking through knitted textile structures. Watermarks are conventionally produced by creating a variation in the thickness of the paper fibres during the wet-paper phase of papermaking. This design is clearly visible when the paper is held up to a light source. Usually weaving techniques are used in order to filter out the water from the cellulosic pulp. Prior knowledge of plant fibre papermaking and traditional watermarking techniques was during the summer 2020. Subsequently, the ideas to explore the project further were raised during this degree project. The primary motive is to find other ways to produce water markings and texturizing to non-woven materials, by investigating knitted surfaces and yarns that will be functional in a wet process in papermaking. The material should provide organic structure and shaded pattern to the non-woven cellulosic textiles. Several cellulosic fibres were explored during this study; long staple cotton and sisal hemp fibres were the final materials of choice. The fibres were boiled and beaten into pulp, then applied on top of the knitted net designs in order to shape the paper sheets. The various knitted structures guided the choice of fibres, since the textiles affected the material properties and aesthetics of the final paper designs. The result is a collection of paper artefacts that visualise the value of non-woven paper material in an interior and light context. The muted colours becomes more visible and stronger when light is shining through. The knitted structures, in combination with the opaque and transparent cellulosic fibres, are perceived differently depending on the source of light, the direction of the light, as well as what time in the day. KNIT-NET is also a contribution to the method of utilising knitted textile structures to design watermarks for papermaking

by Deborah L. Christiansen / Typescript / Ph. D. Florida State University 1999 / Includes bibliographical references (leaves 101-113)

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.

This thesis aims at developing conceptual and methodological tools in order toadapt sound within the textile design area. Occupational groups working with soundare to a large extent problem driven. Accordingly, textile designers working withsound- affecting properties of textiles concentrate on their dampening qualities. Theambition with this research project is to make suggestions how textile designers canwork practically with textile sound design, in a more nuanced way.The overall aim of the thesis is to develop a vocabulary to make textile designersable to express the sound affecting qualities of textiles in a language full of nuances.As a starting-point the thesis briefl y describes commonly used methods andprocesses used to describe the expressiveness of a design, followed by a morethoroughly analyze of the textile design process illustrated by a practical example.These studies constitute a foundation to make it possible to see in what way thesemethods and processes will be affected when sound is added as new design tool.By studies of two sound design models, the fi rst attempts to develop a vocabularyconcerning how to describe sound affecting qualities of a textile are developed.Research focusing on language issues, especially on the development of conceptualtools done at the research institute CRESSON, provides descriptive soundconcepts, “sound effects”, embracing the interaction between human and his soundenvironment. These concepts are followed by a model of how to describe just asound or “sound object” in “itself” (not in relation to anything else), developed byPierre Schaeffer. These theoretical models have been complemented with empiricalstudies in form of a survey, named LISTEN. Interviews were performed from aphenomenological perspective. A number of informants were asked to tell aboutthe sound environment and single sounds occurring at their working places. Theinterviews were interpreted from a phenomenographic perspective. A number ofdesign projects are fi nally presented as practical examples of different ways to workwith textiles and sound.The theoretical models provided by Schaeffer have been used to make the fi rstsystematic attempts to describe sound environments; sounds and textiles soundaffecting properties.Since the model presented by Schaeffer is developed to be used within musicalcomposition the concepts have to be additionally modifi ed to be a useful tool withinthe textile design area. The thesis presents just the fi rst attempts to use this model.The next step to take in the research project is to adjust the theoretical systems ofCRESSON and Schaeffer to suit the special area of textile design. The interactiveideas of a sound-affecting textile will also be a subject of further development.

Textiles of today are materials with applications in almost all our activities. We wear clothes all the time and we are surrounded with textiles in almost all our environments. The integration of multifunctional values in such a common material has become a special area of interest in recent years. Smart Textile represents the next generation of textiles anticipated for use in several fashion, furnishing and technical textile applications. The term smart is used to refer to materials that sense and respond in a pre-defined manner to environmental stimuli. The degree of smartness varies and it is possible to enhance the intelligence further by combining these materials with a controlling unit, for example a microprocessor. As an interdisciplinary area Smart Textile includes design spaces from several areas; the textile design space, the information technology design space and the design space of material science. This thesis addresses how Smart Textiles affect the textile design space; how the introduction of smart materials and information technology affects the creation of future textile products. The aim is to explore the convergence between textiles, smart materials and information technology and to contribute to providing a basis for future research in this area. The research method is based on a series of interlinked experiments designed through the research questions and the research objects. The experiments are separated into two different sections: interactive textile structures and health monitoring. The result is a series of basic methods for how interactive textile structures are created and a general system for health monitoring. Furthermore the result consists of a new design space, advanced textile design. In advanced textile design the focus is set on the relation between the different natures of a textile object: its physical structure and its structure in the context of design and use.

This work explores the techniques of printing and preparation, in combination with technical mistakes. It aims to show how to use technical mistakes in different printing and preparation techniques as a design method to find accidental aesthetic expressions using the stripe as a tool to enhance and clarify the methods modification. The method confronts today’s textile industry by showing how these mistakes could develop into new expressions within textile design when fast -fashion is no longer an obligation. The stripe is a common shape, and is explored to clarify the method ans show how different techniques can change the stripes in various ways. This resulted in to three pieces each representing a technique; one transfer printed, one digital printed and one with the starting point in screen print. They present examples of how more time for developing mistakes in textile design can lead to development of the common shape of a stripe, broaden the technical limitations, and give a value to mistakes in the textile industry. By taking the method further more mistakes could be developed, and how to produce the developed designs in the industry could be investigated.

Wall-Couture is a project within the textile design field, which aims to explore methods for surface design in digitally printed wallpaper. Through a practice based working method, textile after-treatment techniques have been used to manipulate digitally printed wallpaper with hand-painted motives. Practices borrowed from haute couture have influenced the working method. The result is a range of design examples displaying various expressions of the techniques. The project shows that several surface materials could be applied in ways that enhance tactility and visual depth to digitally printed wallpaper, and also that methods from craftsmanship could be use to design contemporary wallpaper. The combination of techniques increases the designer’s opportunities to design wallpaper by using alternative approaches to material and surfaces. The work also strives to higher the value of handicraft, decoration and ornamentation in the design field. Another value is to strengthen the position of digital printing in the textile industry; the work encourages technical progress for creating digital print in combination with surface treatments.

Examensarbetet Binary surfaces - ljusemitterande textiler för inredningssammanhang är ett undersökande arbete om hur fiberoptik kan användas i vävda strukturer. I arbetet har de parametrar som påverkar mötet mellan fiberoptik och väv, samt de möjligheter de tillsammans skapar utforskats. Resultatet är två exempel på tyger vävda med fiberoptik i kombination med mer traditionella textila material. Exemplen är framtagna för inredningssammanhang och visas som en rumsavdelare och som yttertyg på sittmöbler. / The thesis Binary surfaces - light-emitting textiles for an interior design context is an investigative work on how optical fibres can be used in woven structures. The work explores the different parameters that affect the interaction between optical fibres and weaving, and the possibilities they create together. The result is two examples of fabrics woven with optical fibres in combination with more traditional textile materials. The examples are designed for an interior context and are shown as a room divider and as outer fabric on seating furnishing.

With the technological progress of materials science, the palette of colours with which to print on textiles has expanded beyond those with previously known properties and expressions to a new generation, with more advanced functionality and expressive properties. This new range of colours is characterised by their ability when printed on textiles to change colour in relation to external factors and internal programmes; for example, leuco dye-based thermochromic inks generally change colour in response to temperature fluctuations. This research explores the design properties and potentials of leuco dye-based thermochromic inks printed on textiles, with regard to creating a wider range of colour-changing effects for textile applications. The significance of this for textile design is related to the development of a methodology for designing dynamic surface patterns. The research was conducted by creating a series of design experiments using leuco dye-based thermochromic inks, which resulted in different recipes and methods, along with a pedagogical tool. The results highlighted the diverse colour-changing properties of leuco dye-based thermochromic inks, which have the potential to create more complex patterns on textiles. The outcome of this research proposes a foundation for textile designers with which to approach new ways of thinking and designing.

“Electrostatic textile surfaces” is a design example of surfaces which have the ability to interact to human action by movement. The design exploration was directed by the intention of achieving movement through static electricity. During this project textile techniques such as weaving and hand-tufting have been explored in combination with unconventional materials and functions and used as methods to design the surfaces. The findings from the design process regard the categorization of the yarns through the material exploration, the development of a design method through the experimentation of the technique and the surface appearance through the materialization of the method. The two final surfaces are exhibited horizontally and vertically in relation to the ground. The scale of the final structures is related to the body scale. One can electrify the surfaces by walking around or through them letting an open dialog to take place depended on personal interpretations. / Program: Master Programme in Fashion and Textile Design