Under tio veckor har jag arbetat med skapandet av kollektionen Blandband. Utgångspunkten var ränder och lura ögat. Jag ville undersöka vad som utgör en rand och hur en tredimensionell rand ser ut. Redan i början av arbetet satte jag en färgskala bestående av dels kulörta, starka färger och dels två nyanser av grått samt svart och vitt. Jag angrep arbetet med hjälp av en designmetod bestående av fem faser: Målsättning och research, Idéutveckling, Konceptutveckling, Realisering, Presentation och kommunikation. Färgpaletten, målsättning och moodboard som togs fram under första fasen fungerade tillsammans genom hela processen som en bas som jag kunnat stödja mig mot. Efter att idéer och koncept utvecklats började en kollektion ta form. I kollektionen Blandband ingår tre mönster; Samantha, Tommy och Lena, i vardera två färgställningar, dur och moll. Kollektionen är digitaltryckt på tre olika bomullskvaliteter. I den här rapporten redovisar jag mitt examensarbete Blandband i ord och bild.Throughout ten weeks I have been creating the Blandband collection. The starting point was stripes and trompe l’oeil. I wanted to explore what constitutes a stripe. In the beginning of the project I decided on a color palette containing partly of vibrant colors, and partly two shades of gray, black and white. I have used a basic design method with five phases: Research and Positioning, Concept generation, Concept development, Concept realisation, Presentation and Communication. The collection Blandband consists of three patterns: Lena, Samantha and Tommy, each pattern in two different colorways. This is the report of my bachelor thesis Blandband. / Program: Textildesignutbildningen

Tryckta Texturer – Färgade Floder, är ett lekfullt undersökande i hur man kan skapa mönster med illusioner av struktur på textil. Inspiration till projektet hämtas i vattnets böljande former, dess färgskiftningar och blanka yta. Utifrån temat vatten och vattenföroreningar tillverkas inspirationscollage som blir referens till val av färger och mönster. Stort vikt och tid läggs i det här arbetet på skissande och att hitta passande skisstekniker. Jag arbetar med metoder som ger strukturerade ytor och gör utifrån dem mönster. Genom digitaltryck överförs mönstren foto- identiskt till textil vilket bidrar till att jag kan skapa mönster med djup och liv. I val av material eftersträvar jag att efterlikna vattnets egenskaper och framhäva mönstrens kvaliteter. Arbetet presenteras som en kollektion textilier i metervara.In my bachelor thesis; Printed Textures – Coloured Rivers, I explore how to make textile prints with illusions of texture. I search for inspiration in water; it’s undulating shape, shiny surface and the changing of colour. Pattern ideas and colouration are taken from the pure and clear water as well as the poisonous and polluted. I put time and effort in finding suitable sketching techniques for creating structured surfaces. Out of the sketches I make patterns. By using digital printing I make it possible to transfer them onto fabric without loosing any details or colours. The technique makes it possible to create illusions of depth and make vivid patterns. In terms of choosing fabric I aim to simulate the properties of water and to bring out the qualities of each pattern. The work is presented as a collection of fabric by the metre. / Program: Textildesignutbildningen

The purpose of this study is to investigate the effects of a marbled coating applied on a triaxial woven structure. Although both of these techniques are traditionally used for many years, they are nowadays utilized in innovative ways, the marbling being applied on a large variety of surfaces such as wooden floors or ceramics and the triaxial weave being used as a hi-tech material for sports or in the automotive industry and having applications in diverse fields, from art to architecture. Their fusion, however, is a topic that has yet to be thoroughly explored, which makes for the motive of this thesis work, as an opening has been observed for the exploration of the expressive power of their combination. The experimental approach that has been taken towards this exploration will determine how the marbling effect may contribute to the visual expression of the structure. Multiple cycles of experiments have been conducted in an attempt to understand the behaviour of the chosen materials and their combination, the effect that various colour combinations have and the best possible pairings between the elements. The organic marbling combined with the geometric triaxial weave proved to generate the most powerful visual expression and the clearest result out of all the experiments. Thus five experimental textiles were developed in order to illustrate different aspects of this complex relationship, where the marbling would affect the visual expression of the structure by either enhancing or concealing the structural aspect and the contrast between the graphic element and the organic one would be a constant presence throughout the work. This work pushes the boundaries of conventional textile design and through the application of a textile thinking to unconventional materials a different type of expression is born. By mixing a limited amount of variables in multiple ways, a large range of visual effects may be achieved.

This degree work relates to the textile design field where the aim is to design jacquard woven patterns for smocking techniques, in order to create three-dimensional pattern surfaces for a spatial textile design context. Smocking is a traditional embroidery technique where the stitches manipulate the fabric and create decorative areas. Jacquard woven patterns work as templates for the smocking stitches so the pattern shapes the fabric. Bindings and yarn colour combinations were explored in an industrial jacquard machine and tried out with different smocking variations made by hand. Experiments with scale and materials have been done. The result consists of three woven textile objects smocked with two variants of lozenge smocking. The work demonstrates examples of smocked three-dimensional surfaces in various scales and shapes, which can be further developed into interior products, for instance room dividers or sound absorbers. The primary motive was to update the traditional smocking technique with patterns and colours, with the intension to develop a contemporary expression. The smocking technique acts as a method to manipulate patterns and can work as a sketching tool in pattern design. The purpose is to inspire alternative ways of sketching with patterns.

Inse mitt värde och behåll mig en stund till är ett utforskande projekt i hållbar textildesign. Huvudfokuset i projektet är att utforska vilka möjliga designlösningar som kan ge produkter egenskapen av föränderlighet och på så vis möjliggöra en förlängning av deras livscykler. Detta undersöks utifrån ett eget formulerat förhållningssätt till hållbar design, genom praktiska experimentella undersökningar av olika material och föränderliga mönsterbilder. Detta kombinerat med att ge konsumenten en aktiv roll i förändring av en produkts utseende och funktion. Projektet resulterar i tre produktprototyper som på olika sätt gestaltar föränderlighet och det formulerade förhållningssättet. 1. Mossa, en tröja gjord av rundstickat, jacquard trikåtyg med materialkombinationen Sally Fox bomull och oblekt bomull. Textilen är ett följsamt mjukt tyg med en mönsterbild som ändrar nyans för varje gång konsumenten tvättar den. 2. Kotte, ett påslakan och örngott gjord av en fem-skaftad satängväv i jacquard- teknik. En textil där mönsterbild och färg inverteras på den aviga sidan. Sängklädernas estetiska uttryck kan förnyas av konsumenten själv genom växtfärgning. 3. Bark, en ullfilt gjord av flatstickad dubbelrelief stickning med olika maskstorlekar i jacquardteknik. Filten kan transformeras av konsumenten själv, genom tvättning, och då få en ny funktion som matta. Den går då från en mjuk, tvådimensionell och följsam textil till en kompakt, tredimensionell tålig textil. / Recognise my value and keep me a while longer is an exploratory project in sustainable textile design. The focus is to explore possible design solutions that can give products a property transformation over time and prolong the products life cycle. This through practical investigations with different materials based on a chosen approach to sustainable design and changeable pattern images. Also with aim to give the consumer an active role in the changing of a products appearance and function. The end result is three product prototypes that all in different ways exemplify the chosen approach to sustainable design. 1. Moss is a jumper made of circular knitted jacquard fabric with the material combination Sally Fox cotton and unbleached cotton. The fabric is conformable and soft with a pattern that changes hue strength for each time the consumer washes it. The changing pattern makes the jumper interesting because it´s expression changes slowly while it´s being used. 2. Cone is a duvet and pillow cover that is made of a five shed satin jacquard weave. The textile pattern and colour is inverted on the back and front side of the textile. The aesthetic expression of the bed clothing can be renewed by the consumer through vegetable dyes. 3. Bark is a flat knitted, dubble relief, jacquard wool blanket. The blanket can be transformed by the consumer, through washing, and then get a new function as a rug. The textile goes from a soft, two-dimensional, flexible and somewhat fragile textile into a compact, three-dimensional durable textile.

Through manipulation of the materials and creation of sculptural forms, the knowledge in textile design was used to develop alternative methods for working with materials of animal origin. The project touches the issue of consumption by accentuating the fascinating features of animal materials and proposes a way of taking care of materials looked upon as disposals. It questions how we value what resources we have in our surroundings and how we use them. Or more important – how we are not using them.

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The purpose of this creative project was to create a functional and aesthetically pleasing line of garments. The goals of this project were to: 1) produce three textile designs (motifs), 2) screen print the textile designs on fabric, and 3) design and construct a functional/aesthetically pleasing garment line using the three original textile motifs. There were several processes involved in creating the end result. The processes involved in this project were designing a motif for fabric, screen printing the designs on to the fabric, and designing and constructing the clothing line.The work of three artists from the Surrealism movement in art history were used as a source of inspiration for designing the motifs printed on the fabric. The three artists were Joan Miro, Salvador Dali and Max Ernst.The images of the motifs were first sketched and redrawn on the MicroDesign I Cad system. The motifs were printed on 100% cotton using the stencil process in screen printing. Five alternating colors were used to print the three different images. After the fabric was printed, three garment designs were created to be constructed using the new fabric. The patterns for the garments were created using the draping method for pattern making.The results of the project were favorable. The fun spirited motifs represented the feel of the Surrealist movement. The completed garments looked like the original illustrations. Although much was achieved through this project, it far exceeded the time expectations for completion. / Department of Family and Consumer Sciences

This thesis seeks to explain the development and implementation of a new model, methods and process of practice required for the rejuvenation of hand crafted woolfelted textile making customs and practices of the Anatolian region of Turkey, which mediates tradition in a contemporary context. In progressing the aims of the research project underpinning the thesis it was necessary to undertake both field work, learning the felt makers' practices, and to undertake empirical design-based product trials which provided insights into the culture and creative potential of the felt making activity thus facilitating the development of the new model of practice. Therefore the thesis examines not only the nature and context, both historical and contemporary, of felt makers and felt making practice in Anatolia but also presents ethnographic and theoretical discourse intended to argue and justify the approaches adopted in the development of the new model of practice and a verification process of its effectiveness. The thesis interrelates strands of changing contexts; research record and theory discourse and argues that the new model of practice enables sustainability and displays ethical responsibility appropriate to, and commensurate with, the felt making culture of Anatolia and its traditions. The thesis argues by demonstration that the perception of an object is determined by location and level of consciousness, which can be reflected upon and, through redesign involving aggregation of qualities and values, purposefully represent an object and recreate its lost aura's root from tradition, transposed into a new diversity of perceptual responses. The thesis concludes that mediatory actions implicit in the new model of practice need not adversely impact upon the traditional culture of the makers in terms of lifestyle choices, since reciprocal exchange is a local transaction, which proffers evolving tradition as cultural values to a diversity of external locations and levels of consciousness. This open-ended mediatory action of anonymous hybridisations will continue by the intervention of other designers through evolutionary integration to elevate the status of the culture object and its related craft activity.