Contemporary knitting over the past decade has experienced a recent resurgence in cultural interest and technical exploration. This research project aims to identify, through personal practice, the implications of knitting as undefined, removed from the boundaries of product. It is the dissolving of the lines between design, art and craft and exploring the domestically machine knitted textile via the use of materials and the inherent qualities of the fabric which are the driving factors of this research. It is through this exploration that my personal and creative process is diversified. The traditional connotations of knitting are historical, social and cultural, in particular hand knitting. Childhood memories of mothers and grandmothers knitting out of necessity, for clothing, often evoke feelings of safety, warmth and comfort. This familiarity of the looped stitches and understanding of the knit as garment binds knitting to fashion. Industrial knitting process, as scale of stitch is reduced, begins to remove this familiarity and creates an anonymity of structure and process, for example jersey knits used for t-shirts. This instant recognition for knitting as clothing is part of the design process where-by knitted fabrics work in unison with product. It is this boundary that has defined my professional practice designing for knitwear. This research involves a more experimental and fluid approach to producing the textile, considering the qualities and potential of the structure as something to celebrate in its own form. Designers such as Issey Miyake, Hussein Chalayan and the artist Rosmarie Trockel have been influential in taking fashion concepts into the gallery, often knitted. This movement of making conceptual and political statements, especially in the case of the industrially knitted pieces by Trockel, was a step to question the traditional and feminist perceptions of knitting and using the process as a material to create art. While these exhibitions explored the knitted textile in the form of fashion garment, the importance of diversifying the knitted cloth and displaying conceptual pieces is a major influence on this research. Also the more recent exhibition 'Radical Lace and Subversive Knitting', (Museum of Arts & Design New York 2007), has allowed for a reinvigorated forum for constructed textiles to be viewed as object, new product or purely as spatial explorations of structure. The impact of these ideas has allowed for the consideration of the textile being stripped back further and to remove the instant connot ation of product application. Exploration of materials, knitted structures and the manipulation of fabric without the constraints of identified product is the impetus of this project. The evolution of the outcomes is instrumental to the reactions of fibres, stitch and interplays of positive and negative space, while suggestions of product are accidental and created by the knitted form as it is removed from the machine. A personal interest in exploiting the knitted structures potential to possess transparency and opacity, become sculptural and changeable by hand have influenced the choices of material and stitch combination. This experimentation has informed my personal practice and the involved process of making.

M. Tech. Textile Design and Technology / Outside the classroom, students constantly interact with technologies such as smartphones, iPods the Internet and social networking sites this study has identified that these technologies can support learning both in and outside of the classroom. Through the use of a case study, 95 visual media students at Tshwane University of Technology (TUT) were approached. Three paper-based questions were administered to establish the following: What type of access do students have to different types of technologies outside of class? What number of students engage with social media for personal use? What types of educational technologies are lecturers currently using inside and outside their classrooms? This study found that visual media students at TUT are active social media users. They are enthusiastic towards efforts of integrating smartphones and social media as teaching tools for learning. Visual media students are competent at using digital editing, imaging and electronic presentation software, but lack the skills and knowledge to use online collaboration and journaling tools. Lastly, at TUT course related communication is still mainly face-to-face due to that fact that infrastructure upgrades such as in-class Wi-Fi networks are needed. IV 21st century education recognises that learning takes place in various settings (physical and virtual) and not just in the classroom. In a rapidly globalised society, smartphones and social media as teaching tools for visual media students at TUT may possibly offer an affordable and accessible medium to equip students to be able to make local and global connections.

The aim of this project is to examine the African textiles in the Victoria and Albert Museum and how they reflect the historical and cultural relationship between Britain and Africa. As recently as 2009 the V&A’s collecting policy stated ‘Objects are collected from all major artistic traditions … The Museum does not collect historic material from Oceania and Africa south of the Sahara’ (V&A 2012 Appendix 1). Despite this a significant number of Sub-Saharan African textiles have come into the V&A during the museum’s history. The V&A also has a large number of textiles from North Africa, both aspects of the collection are examined. The division between North and Sub-Saharan Africa and between ‘art’ and ‘ethnographic’ museum collections is crucial to understanding the African textiles in the V&A. The V&A began collecting North African textiles in 1852 and went on to build a strong collection, particularly embroideries from the urban areas. The museum also acquired some Sub-Saharan African textiles during the late nineteenth and early twentieth century. During the 1920s the Textiles Department began to consider whether textiles from certain areas should be classed as ethnography. This was the most active period for collecting North African embroidery but the same process led to the exclusion and removal of Sub-Saharan African textiles. After World War II the Circulation Department actively collected West African textiles to tour to art colleges. The closure of the Department caused many of these textiles to be de-accessioned. The V&A has also collected textiles produced in Britain for sale in

Orientador: Geralda Mendes F. S. Dalglish (Lalada) / Banca: Milton Terumitsu Sogabe / Banca: Silvia Noriko Tagusagawa / Resumo: O objetivo deste trabalho é pesquisar os tradicionais padrões/padronagens usados na cultura japonesa e sua aplicação sobre a Cerâmica e o Kimono. Serão abordados aspectos referentes à história da padronagem no Japão, as técnicas usadas na criação destas padronagens - desde as decorações mais tradicionais até as mais contemporâneas, e o uso das quatro estações do ano como tema constante nestas criações artísticas. Os Padrões/Padronagens são parte importante do estilo de vida no Japão e, ainda hoje, é parte indispensável da sua cultura, podendo ser encontrados em diferentes suportes artísticos como na tecelagem, na cerâmica, na madeira, no metal, no papel, ou em tatuagens sobre a pele. Usaremos nessa dissertação dois tipos de definição de padronagem. A primeira é a padronagem visual, que se refere a repetição e/ou arranjos de imagens, criando ritmo e composição. A Segunda é a padronagem cultural, quando um elemento se repete inúmeras vezes ao longo do tempo, criando assim um padrão cultural. Dessa maneira, a palavra padronagem referida nesse trabalho abrange a definição tanto da padronagem visual quanto da cultural / Abstract: The objective of this work is to research the traditional patterns used in the Japanese culture and its application on ceramics and kimono. Items studied will be aspects referring to the history of pattern in Japan, the techniques used for the creation of these patterns - from the most traditional to the conteporary decorations, and the reference of the four seasons as a constant theme in these artistic creations. The patterns are an important part of the Japanese lifestyle and until these days it is an indispensable part of its culture, found in different media as in fabric, ceramics, wood, metal, paper or tattoed over skin. In this dissertation will be used two definitions of pattern. One is the visual pattern, referring to the repetition and/or image arrangements, creating rhythm and composition. The second is cultural pattern, when something repeats several times through a timeline, creating a cultural pattern. This way the word pattern used in this dissertation refers to both visual and cultural pattern / Mestre

The primary goal of this study is to investigate the combination of concrete merged with textiles. Furthermore, it investigates exchanging the characteristics of these contrasting materials. Consequently, the work shows the reciprocal influence of both textile and concrete to each other. The resulting final collection presents six pieces with the main intention to present different expressions of flexibility. These appear through the interaction of textile and concrete, with the textile providing the flexibility. Depending on the precise characteristics of the used textiles, the flexibility can be shown through the tension in a fabric, the ability to be squeezed or the movement. A subsequent range of experiments investigates techniques, methods and material qualities to prove, that the required effects of the end result can be fulfilled. The crucial factors are the textile materials, the connection between concrete and textile and the treatment of the resulting surface or object. Depending on which way the crucial components are fused, a variety of expressions in the results can be accomplished. These can be described as rather organic through to geometric, and also depends whether the piece is in motion. The outcomes provide an overview of design possibilities, of incorporating such contrasting materials to create different properties and unexpected characteristics in each piece. Based on the final results, it can be concluded that the major objective, to explore design possibilities through a reciprocal interaction of textile and concrete, gives a strong and impressive expression. The approach of this relatively broad research is nevertheless important for the textile field. Therefore, it suggests further exploration, using the results as a foundation and narrow it down by focusing on specific factors.

Introducing Plaster is a degree work in textile design exploring the fusion of natural dyes and plaster, and how this can be applied as a textile design material. The outcome is presented as an experimental investigation, placed in the context of surface and material design. This study derived from a growing interest in how new materials can be implemented into the field of textile design using established textile techniques and methods. Natural dye, texture and flexibility where explored through the method of hands-on-experimentation. The study moved foreword by asking the question: “What happens if?”, and the findings have been analyzed and selected for further development. The final collection consists of five pieces made entirely from plaster, showing another approach to how textile techniques and methods can be developed and adapted to fit materials from another field, for instance: Plaster.

Textile design has long been known for its craft related and traditional ways of working. Different designers and artist have found a way of approaching the field from an unconventional perspective. The aim of this project is to demonstrate an alternative way of approaching the field by applying traditional methods to unconventional materials. By doing so the hope is to bring joy and playfulness to the field. As a final result the three groups consisting of nine objects present ways that knit can be used to sculpt and to lend flexibility when combined with stiffer structures, therefore giving way for movement and transformability. Object Poetry engages the viewer to interact and experience fun.

Translating the conceptual term of sustainability into materials and exploring bio plastics in order to generate visually and tacitly intriguing objects are the aims for this project. Other designers and previous projects in the field of textile design showed how the material works in a small scale. This project used the material’s design properties to generate groups of object elements. The three main design properties of the material, transparency, biomorph expression and flexibility, and their opposites, opaqueness, geometric expression and stiffness, were combined in different sets which resulted in the used artistic methodology. Therefore, the material properties and earlier established techniques formed the base for finding the overall forms of the installations. The collection and a book about the surface design possibilities for plant based plastic show how the material can be manufactured. The installations focus on the interplay between colour, light and shadow, material texture and pattern in relation to the overall shape of the object. Moulding, laser cutting and the addition of other ingredients like recycled paper, fibres and mica powder influenced the material’s durability, flexibility, transparency and texture. Experiments revealed that the colours change over time and all of them are highly influenced in their intensity and shade by the light source behind the material. This project visualises how all these factors interact and which techniques and tools are required to process the new material. Moreover, it generates new options for a new formal language and terminology for sustainable interior textiles.

Made available in DSpace on 2016-04-01T17:55:17Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-10-28. Added 1 bitstream(s) on 2016-04-01T18:01:17Z : No. of bitstreams: 1 000859926.pdf: 17852293 bytes, checksum: ef157fbaa1d1b295a395b4b74ada281d (MD5) / O objetivo deste trabalho é pesquisar os tradicionais padrões/padronagens usados na cultura japonesa e sua aplicação sobre a Cerâmica e o Kimono. Serão abordados aspectos referentes à história da padronagem no Japão, as técnicas usadas na criação destas padronagens - desde as decorações mais tradicionais até as mais contemporâneas, e o uso das quatro estações do ano como tema constante nestas criações artísticas. Os Padrões/Padronagens são parte importante do estilo de vida no Japão e, ainda hoje, é parte indispensável da sua cultura, podendo ser encontrados em diferentes suportes artísticos como na tecelagem, na cerâmica, na madeira, no metal, no papel, ou em tatuagens sobre a pele. Usaremos nessa dissertação dois tipos de definição de padronagem. A primeira é a padronagem visual, que se refere a repetição e/ou arranjos de imagens, criando ritmo e composição. A Segunda é a padronagem cultural, quando um elemento se repete inúmeras vezes ao longo do tempo, criando assim um padrão cultural. Dessa maneira, a palavra padronagem referida nesse trabalho abrange a definição tanto da padronagem visual quanto da cultural / The objective of this work is to research the traditional patterns used in the Japanese culture and its application on ceramics and kimono. Items studied will be aspects referring to the history of pattern in Japan, the techniques used for the creation of these patterns - from the most traditional to the conteporary decorations, and the reference of the four seasons as a constant theme in these artistic creations. The patterns are an important part of the Japanese lifestyle and until these days it is an indispensable part of its culture, found in different media as in fabric, ceramics, wood, metal, paper or tattoed over skin. In this dissertation will be used two definitions of pattern. One is the visual pattern, referring to the repetition and/or image arrangements, creating rhythm and composition. The second is cultural pattern, when something repeats several times through a timeline, creating a cultural pattern. This way the word pattern used in this dissertation refers to both visual and cultural pattern

Submitted by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2016-10-03T23:22:52Z No. of bitstreams: 1 Felipe Guimaraes Fleury de Oliveira.pdf: 2921352 bytes, checksum: 36875117c556ca8466af572e6af6611f (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2016-10-04T13:18:18Z (GMT) No. of bitstreams: 1 Felipe Guimaraes Fleury de Oliveira.pdf: 2921352 bytes, checksum: 36875117c556ca8466af572e6af6611f (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2016-10-18T19:53:20Z (GMT) No. of bitstreams: 1 Felipe Guimaraes Fleury de Oliveira.pdf: 2921352 bytes, checksum: 36875117c556ca8466af572e6af6611f (MD5) / Made available in DSpace on 2016-10-18T19:58:19Z (GMT). No. of bitstreams: 1 Felipe Guimaraes Fleury de Oliveira.pdf: 2921352 bytes, checksum: 36875117c556ca8466af572e6af6611f (MD5) Previous issue date: 2014-08-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This master thesis introduces aspects of textile printing in its technological context, in order to elucidate their techniques and processes. Expands this study, in the relations between the textile industry which includes the printing with the environmental parameters. Shows the importance of design and the textile designer in the challenges that can promote benefits about sustainable development solutions to the society. Reports the questions found in the case study that bring perspective to make the reflection of the designer in this industrial area. / Esta dissertação trata de apresentar aspectos relativos à estamparia têxtil em seu contexto tecnológico, no sentido de elucidar suas técnicas e processos. Amplia este estudo, no aprofundamento das relações entre indústria têxtil na qual se insere a estamparia, acerca da sustentabilidade ambiental. Com o estudo de caso de uma indústria têxtil, evidencia a importância do design e do designer têxtil, nos desafios que podem promover a busca por soluções, no sentido de minimizar os impactos ambientais que beneficiem a sociedade de acordo com as leis e diretrizes da política municipal de desenvolvimento sustentável. Relata questionamentos encontrados no estudo de caso que trazem perspectivas para reflexão o fazer do designer nesta área industrial.