Electronic textiles (e­‐textiles) are created by the amalgamation of electronics and textiles, where electronics are integrated into or onto fabric substrates. Woven textiles are specifically considered in this thesis to integrate electronics into textiles' orthogonal architecture. This thesis investigates 'How can the weaving process be manipulated to make woven e-­textiles with integrated electronics?' The methodological approach taken is practice based research carried out via a technical materials approach and creative craft methods. An investigation of woven e-­textiles through design led practice and woven expertise is presented. Previously, woven e-­textiles have been investigated either via technical material approaches, (where the main emphasis remains on function) or via creative craft methods, (which emphasise experimental forms, manipulate integration methods and apply craft based knowledge). Both of these approaches have presented only limited investigation of unobtrusive integrated electronics in woven e-­textiles, and woven structures have not been fully utilised to support the integration. The research applies reflective practice through a design process model; this is based on the researcher's previous weaving expertise and designing methods. The work investigates how woven construction may be manipulated to develop novel integrated woven e-­textiles. It was found that five woven approaches were particularly of value for electronics integration. These were the use of double cloth, the integration of multiple functions into the textiles as part of the weaving, the use of complex weaving techniques to attach and integrate components, the use of inlay weft weaving and the manipulation of floats (free floating threads). The thesis makes original contributions to knowledge, including identification of key stages in the woven e-­textile design process, identification and application of advanced weaving techniques to facilitate integrated woven e-­textiles, and compilation of a systematic record of woven e-­‐textile techniques as a technical woven repository. Underpinning design principles that influence the developed e-­textile outcomes are identified. A range of woven e-­textile samples are designed and made. Three specific examples including an actuator ('RGB colour mixer'), a circuit ('corrugated pleat LED v2') and a soft module ('battery holder module v4'), are described in detail to illustrate their development using the e-­textile design process model. The knowledge gained has potential to be applied to industrial woven processes for e-­textiles.

Bakalauro darbas ,,Mados pinklės“ – tai daugiafunkcinių krepšių grupė, kurią sudaro du krepšiai: kelioninė rankinė bei kuprinė, kurie užtrauktukų pagalba transformuojasi į atskiras krepšių-rankinių grupes. Iš viso komplektą sudaro 5 rankinės, krepšys išsiskaido į tris arba dvi rankines, o kuprinė į dvi. Toks išskirtinis komplektas gali būti demonstruojamas įvairiuose mados renginiuose, eksponuojamas galerijose ar pavyzdžiui individualios aksesuarų parduotuvės vitrinoje. Taip pat tokie gaminiai gali būti pateikiami verslo asociacijų pristatymuose. Juos pakoregavus ir supaprastinus konstrukciją, būtų galima pritaikyti tiražinei gamybai. / Bachelor‘s work „Fashion trap“- group of multifunctional haversacks, which are made of two haversacks: travel handbag and bag, which can be transformed into separate groups of haversacks-handbags with the help of zips. The set is made of 5 handbags, the haversack can be divided into three or two handbags and the bag can be divided into two.Such exclusive set can be shown in various fashion events, exhibited in galleries or, for example, in shop windows of individual shop of accessories. Also such kind of products can be presented in presentations of bussiness associations. Adjusting and simplifying construction, it would be possible to apply them to circulating production.

Three-dimensionally woven composites are a relatively new class of material that offer improved out-of-plane performance by including through-the-thickness mechanical reinforcement compared to traditional laminated composite structures. The mechanical properties are highly dependent upon the weave architecture as this dictates the nature of the through the thickness reinforcement and its effect in improving out-of-plane shear strength. A comparison of two testing methods, Short Beam Strength, and Five Point Bending was conducted over a range of span to thickness ratios with the latter found to be more consistent at producing shear failure over a greater range of span to thickness ratios, although evidence of matrix crushing was present in both, and flexural failure in the Short Beam Strength test. Two weave architectures, the orthogonal and angle weave were subjected to the Five Point Bending test and the failure and damage progression behaviour of both weave architectures were characterised using Digital Image Correlation analysis to measure the edge strain through the thickness of the specimens. This testing showed the angle weave architecture had in general a higher failure strength, and more gradual failure due to longer debonding cracks. The orthogonal weave architecture showed a characteristic post-failure response indicative of crack bridging with discrete load recovery and load drop phases. A numerical model developed from previous work builds on the mosaic modelling method and was modified to include cohesive elements in order to simulate interface debonding via the maximum stress criterion. The simulations are consistently 15 20% greater in failure loads, and 8 - 12% greater in failure shear stresses than those found from the averaged experimental results over the range of tested span to thickness ratios. Post failure response was not modelled. The work presented in this thesis is another step towards gaining a thorough understanding of the mechanical properties of 3D woven composite structures, focussing in particular on out of plane shear strength. The modified mosaic modelling method used showed it is effective at modelling the out of plane testing of orthogonal 3D woven composite structures, and offer the potential to predict the failure of larger composite structures of the same construction and 3D woven architecture although developments are still needed in modelling the post failure response.

Almedahls have for some time started to receive more customer complaints about uneven roller blind fabrics or so-called waves over fabric. The waves are a major problem for Almedahls customers since they make it hard to cut the fabric into roller blinds. The company believes that the waves appear due to different process parameters within their finishing line but the company do not yet know how or where. The thesis project strives to find an explanation to what waves over fabric are, why they appear and how they can be reduced. The documentation that Almedahls have made of the problem so far, including photographs and customer complaints reports, was examined. Orders produced from four selected grey-weaves during the last three years was examined and compared to received customer complaints and standard operations lists. No clear relationship was found and weaves with longer process lines did not seem to cause more waves to appear. However, addition of an extra colouring to the standard operations appeared to be more frequently occurring when a standard operations list had been changed.Waves over fabric were at an early stage related to the mechanical properties of the weaves as the weaves are exposed to stresses and strains during the entire production line. In Almedahls’ finishing line the web and the beam tensions and the levelling mechanisms in the stenter frames appeared to be the parameters which especially apply stresses and strains. Tensile tests were performed to examine the mechanical properties of a few of Almedahls grey-weaves and half processed weave. The test results showed that a strain between 11-27 % can be applied before the test samples start to deform while calculations of the amount of strain applied by the stenter frames showed to be much less, between 2.5-3.5 %. The difference in size between the test samples and the weaves must be considered when comparing these results. The small, repeated strains applied by the finishing line may eventually lead to permanent deformation of the weaves and appear as waves. The combination of the web and the beam tensions can also result in a stretch in the bias-direction of the weave which cause deformation in the middle of the weave where waves most often appear.The thermal properties of the same weaves were also tested through DSC, Differential Scanning Calorimetry, tests. The test results showed that the polyester material in the weaves does not melt or deform at the temperatures Almedahls use in their processes. The shrinkage of the grey-weaves during the de-sizing processes was also considered through width measurements. The conclusion was that the structure of the grey-weave influences how much the weave will shrink and the dimension change of the weave may influence the appearance of waves and needs more investigation. / Program: Magisterutbildning i textilteknologi

Almedahls have for some time started to receive more customer complaints about uneven roller blind fabrics or so-called waves over fabric. The waves are a major problem for Almedahls customers since they make it hard to cut the fabric into roller blinds. The company believes that the waves appear due to different process parameters within their finishing line but the company do not yet know how or where. The thesis project strives to find an explanation to what waves over fabric are, why they appear and how they can be reduced. The documentation that Almedahls have made of the problem so far, including photographs and customer complaints reports, was examined. Orders produced from four selected grey-weaves during the last three years was examined and compared to received customer complaints and standard operations lists. No clear relationship was found and weaves with longer process lines did not seem to cause more waves to appear. However, addition of an extra colouring to the standard operations appeared to be more frequently occurring when a standard operations list had been changed.Waves over fabric were at an early stage related to the mechanical properties of the weaves as the weaves are exposed to stresses and strains during the entire production line. In Almedahls’ finishing line the web and the beam tensions and the levelling mechanisms in the stenter frames appeared to be the parameters which especially apply stresses and strains. Tensile tests were performed to examine the mechanical properties of a few of Almedahls grey-weaves and half processed weave. The test results showed that a strain between 11-27 % can be applied before the test samples start to deform while calculations of the amount of strain applied by the stenter frames showed to be much less, between 2.5-3.5 %. The difference in size between the test samples and the weaves must be considered when comparing these results. The small, repeated strains applied by the finishing line may eventually lead to permanent deformation of the weaves and appear as waves. The combination of the web and the beam tensions can also result in a stretch in the bias-direction of the weave which cause deformation in the middle of the weave where waves most often appear.The thermal properties of the same weaves were also tested through DSC, Differential Scanning Calorimetry, tests. The test results showed that the polyester material in the weaves does not melt or deform at the temperatures Almedahls use in their processes. The shrinkage of the grey-weaves during the de-sizing processes was also considered through width measurements. The conclusion was that the structure of the grey-weave influences how much the weave will shrink and the dimension change of the weave may influence the appearance of waves and needs more investigation. / Program: Magisterutbildning i textilteknologi

MOJO

Esse estudo objetiva mostrar a inserção sistemática do cesto do tipo Kaipó na sociedade Krahó. Paralelamente sugere um meio de abordagem dos artefatos através do desenho de observação e da reconstrução técnica. Sugere, ainda, o uso do desenho de observação como meio de comunicação dos processos tecnológicos dos artefatos. A análise dos aspectos visuais e estruturais da coleção de cestos Kaipó do acervo do Museu Paulista forneceu dados etnográficos. São 51 exemplares coletados por Harald Schultz e Vilma Chiara nas aldeias Krahó entre as décadas de 40 a 60. Na atualidade dos Krahó não confeccionam o cesto Kaipó. Assim, alguns dados etnográficos foram relacionados a diversos aspectos sociais e culturais dessa etnia, através da pesquisa de campo e da bibliografia pertinente. Outros dados etnográficos remetem a questões, especialmente os trançados específicos desse tipo de cesto - os enfeites - e a seleção de trançados que adotavam frente a um leque de possibilidades suas conhecidas. O cesto Kaipó expressava com seu trançado em diagonal de buriti um mesmo princípio dual ordenador do mundo Krahó. 106 .O cesto Kaipó explicitava aliança social entre parentes afins adquiridos via a relação marido-esposa. O cesto kaipó guardava os bens particulares de uma esposa - iguarias, miudezas e coco-debabaçu - os quais eram consumidos por outras pessoas, mas tendo a sua proprietária como mediadora. De modo claro, as miudezas e o coco-de-babaçu são matéria-prima para a elaboração do corpo humano; através do corte dos cabelos, da depilação, dos adornos e do ato de colorir a pele a mulher constrói aspectos da pessoa Krahó, sejam outras mulheres, crianças e principalmente homens. Essa característica do cesto permanece em uso: recipientes - latas circulares de folhas de flamdres - de tamanhos aproximadamente iguais aos Kaipó são usados com a mesma finalidade e com o mesmo gestual dos antigos Kaipó. / Não informado pelo(a) autor(a).

This text is dealing with the intersection of three main elements: abstraction, geometrical form and distortion. Together these three paths forms garments around and in relation to the body. Throughout the project body is reduced into rectangular planes and cylinders. To reduce body into geometrical shapes can be explained as a method or a system through which body is approach as a neutral form. Because body is the source for abstraction, this approach can be applied to any part of the body and repeated in various compositions as it will always relate to a body form in some ways. The project also focuses on how to build holistic compositions through hues. Geometrically reduced body shapes are arranged through three dimensional compositions in which relationships between dominant, subdominant and subordinate forms are specifically in focus. Garments are embodied through weaving, Dominant and subdominant forms are investigated through distortion as a result of leaving warp and weft threads unattached in certain areas in the woven material. The technique expresses both organic and geometric in the material itself. In combination with colour blocks and panels and cylinders as forms, the technique was able to be translated into wearable forms. The project was developed as a dialogue between intuitive search and an intelligent reflective approach to outcomes. Because the projects put strong focus on subconscious notion of form emotions and senses plays an important role as guidance throughout the project. Findings are presented in collection of ten outfits where aesthetic qualities of form are put as a primary factor. / Program: Konstnärlig masterutbildning i mode- och textildesign

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.