research, col our research, col our theory, opti cal effects, l i ght effects, col our

Aski ng the questi on: How can the waffl e weave be rei nterpreted through materi al , techni cal and col our research, the i nvesti gati on of thi s MA thesi s revol ves around the weavi ng techni que wi th the ai m of presenti ng a col l ecti on of vari ous woven texti l es, where the waffl e has been used i n di fferent ways. The weave, wi th i ts three- di mensi onal structure creates an i nteresti ng canvas to experi ment upon as i ts structure creates both texture as wel l as depth to the texti l e. Furthermore, the research i s conducted through a systemati c ex

expl orati on of the di fferent aspects menti oned above, where theory and practi se go hand i n hand. Moreover, the practi cal experi ments start as sketches on the computeri sed ARM l ooms and then are scal ed up and revi sed on the i ndustri al j acquard l ooms. The resul ts showcase a vari ety of waffl e weaves; from fl at to three- di mensi onal , wi th vari ous col our and surface effects as wel l as di fferent composi ti ons and overal l forms. So, through thi s research, the degree proj ect ai ms to expl ore and experi ment the potenti al and possi bi l i ti es of the waffl e w

weave

Texti l e desi gn, waffl e weave, j acquard weavi ng, ARM l oom weavi ng, materi al

research, col our research, col our theory, opti cal effects, l i ght effects, col our

percepti on

1.3 Desi gn Resul t s

1.3 Desi gn Resul t s

1.3 Desi gn Resul t s

1.3 Desi gn Resul t s

1.3 Desi gn Resul t s

The degree work ai ms to expl ore and experi ment wi th the waffl e weave through materi al , techni cal and col our research. Conti nui ng woven texti l e tradi ti ons by rei nterpreti ng and re- contextual i si ng what a woven texti l e can be, the research al so l ooks i nto the i nteracti on between col our and woven texti l es, as wel l as how col our can be used as a property l i ke materi al for new expressi onal qual i ti es.

2.1 I nt roduct i on t o t he Fi el d

Tradi ti ons are an i nheri ted, establ i shed, or customary patterns of thought, acti on, or behavi our (Merri am Webster). Wi thi n texti l es thi s means the conti nui ty of techni ques, materi al s and col ours passed on from generati on to generati on. Texti l es have been around for centuri es and methods of produci ng them have evol ved. Li kewi se, through thi s the expressi ons and contexts have as wel l .

N

Notabl y, texti l es gai ned more vari ety i n terms of expressi on starti ng i n the 19th Century when fi rst syntheti c dyes and fi bres were produced. New dyes opened up the vari ety and possi bi l i ti es wi th col ours. Si mi l arl y, devel opments i n man- made fi bres created new qual i ti es i n fi bres that di d not exi st before (Carmi chael , 2014).

P

Parti cul arl y i nfl uenced by these devel opments, the weavi ng department at the school of Bauhaus under the di recti on of Gunta Stöl zl advocated experi menti ng wi th materi al s and col ours wi th weavi ng techni ques(Barci o, 2019). Her work at the school i s known for rei nvi gorati ng and updati ng the i mage of weavi ng as a woman’s craft to a hi gher arti sti c l evel .

2.1 I nt roduct i on t o t he Fi el d

Rei nt erpret i ng Tradi t i onal Text i l e Techni ques

Duri ng her ti me there the weavi ng l ab was suppl i ed wi th a l arger vari ety of l ooms; both hand and mechani sed as wel l as a new dye studi o. Her own weavi ng work was concerned wi th desi gni ng modern woven surfaces. For exampl e, i n her 1924 tapestry pi ece ti tl ed ‘’Bl ack/Whi te’’ (fi g. 1) she combi nes a hal f- gobel i n techni que wi th fl at weave on a merceri sed cotton warp, whi ch she then wove wi th wool , rayon and metal threads. Thus creati ng a contrast i n the materi al qual i ti es whi ch affect the properti es of the texti l e.

R

Rayon i s a man- made natural cel l ul ose fi bre, whi ch can i mi tate the texture of wool but i n contrast to wool , does not i nsul ate heat. At the same ti me, metal threads i ncorporate shi ne to the texture and add fl exi bi l i ty as wel l as conducti vi ty to the properti es. The resul t i s both functi onal as wel l as techni cal l y new texti l e.

Si mi

Si mi l arl y worki ng i n the Bauhaus weavi ng department, Otti Berger al so experi mented wi th weavi ng techni ques wi th a focus on pl asti c texti l es whi ch were i ntended for mass producti on (Wei bel , 2005). As an exampl e for thi s, i n fi gure 2, Berger has used a basi c pl ai n weave wi th cel l ophane. The resul t i l l ustrates how materi al can change the overal l expressi on as wel l as properti es of a texti l e.

T

The Bauhaus department of weavi ng not onl y experi mented wi th new expressi ons of tradi ti onal woven texti l es, but al so was concerned wi th the context of the texti l e. Stöl zl (1926) states that ‘’we know that a fabri c i s al ways an obj ect of use and i s determi ned equal l y by i ts end use and the

2.1 I nt roduct i on t o t he Fi el d

Notabl y, texti l es gai ned more vari ety i n terms of expressi on starti ng i n the 19th Century when fi rst syntheti c dyes and fi bres were produced. New dyes opened up the vari ety and possi bi l i ti es wi th col ours. Si mi l arl y, devel opments i n man- made fi bres created new qual i ti es i n fi bres that di d not exi st before (Carmi chael , 2014).

P

Parti cul arl y i nfl uenced by these devel opments, the weavi ng department at the school of Bauhaus under the di recti on of Gunta Stöl zl advocated experi menti ng wi th materi al s and col ours wi th weavi ng techni ques(Barci o, 2019). Her work at the school i s known for rei nvi gorati ng and updati ng the i mage of weavi ng as a woman’s craft to a hi gher arti sti c l evel .

2.1 I nt roduct i on t o t he Fi el d

Re-Cont ext ual i si ng Text i l es

Working with an artistic approach is Lenore Tawney, who studied under Marli Ehrman at the New Bauhaus school in Chicago, her piece ‘‘In Fields of Light’’ (fig. 4) experiments with weaving techniques, resulting in a piece that is connected more to the 60’s minimalist art movement than crafts. The given example highlights the simple power of colour. The simplistic design is sup- ported by the bold colour resulting in a lively textile. Similarly, the degree project aims to use colour for impact and artistic expressional value.

2.1 I nt roduct i on t o t he Fi el d

2.1 I nt roduct i on t o t he Fi el d

Col our and Weave

The ai m of rei nterpreti ng the waffl e weave through col our i s to l ook for new and contemporary expressi ons for the tradi ti onal waffl e weave, whi ch when i t comes to col our has had a l i mi ted expl orati on.

In

In tradi ti onal weavi ng, col our and weavi ng i s a techni que that i s expl ai ned by Wi ndeknecht as: ‘’ […] a pattern effect produced by combi ni ng standard weave structure wi th a dark/l i ght col our sequence i n both warp and weft. The col our- and- weave effect i s a pattern on the surface that i s qui te di fferent i n appearance from ei ther the ori gi nal weave structure (as seen wi th sol i d col our warp and weft) or the dark/l i ght sequence. ’’ (Wi ndeknecht, Col our- and- Weave, 1994, p. 2)

Sutton conti nues to cl ari fy thi s effect by cl assi fyi ng:

1. Warp face, where the warp threads are usually crammed closely together, and the weft is hardly visible. (Any colour variation between threads must therefore occur in the warp only)

2. Weft face, where the warp is usually spaced out in order to allow the weft to pack together and thus conceal the warp, often completely. (Colours can therefore be introduced into the weft only.)

3. Balanced, in which warp and weft play equal parts, and where any colour

changes between individual threads in warp and weft can be seen to maximum

effect. (Sutton, Colour and Weave Design: A Practical Reference Book, 1984)

2.1 I nt roduct i on t o t he Fi el d

Col our Theory

What exactl y i s col our? Sci enti fi cal l y speaki ng, i t i s the vi sual perceptual property deri vi ng from the i nteracti on of l i ght wi th the receptors of human eye (Shore, 2017).

T

To understand col our and l i ght i t i s i mportant to fi rst understand how we see.

One of the fi rst sci enti sts to concern themsel ves wi th the physi cs of col our was Newton, whose research on whi te l i ght l ead hi m to di scover the vi si bl e spectrum of l i ght (Munsel l , n. d). Fei sner (2007, pg. 14) expl ai ns Newton’s experi ment as such:

Usi ng a ray of sunl i ght di rected through a pri sm, Newton observed that the ray of l i ght was bent, or refracted, and the resul t was an array of proj ected col ours, each wi th a di f- ferent range of wavel engths, i n the fol l owi ng order: red, orange, yel l ow, green, bl ue, bl ue- vi ol et, and vi ol et. Thi s consti tuent of l

l i ght, i s known as the vi si bl e spectrum.

From hi s research Newton concl uded that ‘’l i ght […] i s a heterogeneous mi xture of di fferentl y refrangi bl e rays’’ (Zol l i nger, 1999, pg. 19). Later research on the vi si bl e spectrum shows that the human eye can di sti ngui sh wavel engths between 380 and 700 nanometres, where at 380 vi ol et has the shortest wavel ength whi l e red has the l ongest at 700 (NASA, 2010). Other porti ons of the spectrum have wavel engths that are ei ther too l arge or too smal l for the bi ol ogi cal l i mi tati ons of percepti on. These i ncl ude radi o, gamma an

and ul travi ol et l i ght. From thi s Newton turned hi s array of proj ected col ours i nto the fi rst two- di mensi onal ci rcul ar col our wheel , wi thi n whi ch the col ours are posi ti oned accordi ng to the adj acent sequence of the seven wavel engths wi thi n the vi si bl e spectrum (Fei sner, 2007, pg. 14). Al so cal l ed the Di sappeari ng Col our Di sc, when spun the col ours mi x and appear as whi te.

Thi s i s cal l ed temporal opti cal mi xi ng whi ch i s a form of addi ti ve col our mi xi ng (Bri ggs, 2012). Addi ti ve col our mi xi ng i s a process of creati ng a new c

col our by addi ng one set of wavel engths on top of another set of wavel engths.

(Schwartz and Krantz, 2015). Mi xi ng l i ght wavel engths from red, green and bl ue parts of the vi si bl e spectrum resul t i n whi te l i ght. The core of thi s i s that the eye adds al l the wavel engths of l i ght and i t i s thi s mi xture that the eye then i nterprets as col our (MacEvoy, 2019). Wi th thi s i n mi nd, goi ng back to temporal opti cal mi xi ng, Bri ggs (2012) expl ai ns i t as:

When two or more l i ght sti mul i cannot be separatel y di sti ngui shed, the l i ght from those sti mul i i s seen as a si ngl e col our that fol l ow the same rul es of addi ti ve mi xi ng as establ i shed for physi cal l y mi xed l i ghts. Thi s type of col our mi xi ng has been known as opti cal mi xi ng, a term that refers to the i dea that the col oured l i ght mi xes ‘’i n the eye’’ of the observes.

2.1 I nt roduct i on t o t he Fi el d

In contrast, subtracti ve col our mi xi ng happens when l i ght absorbi ng substances are mi xed (MacEvoy, 2019) or i n other words, col ours are created by mi xi ng pi gments and/ or dyes (Fei sner, 2007, pg. 23). Whereas i n addi ti ve col our mi xi ng the mi xture resul ts i n whi te, whi l e i n subtracti ve mi xi ng the outcome i s bl ack. Thi s i s due to pi gments refl ecti ng a certai n proporti on of the avai l abl e l i ght and wi th the more col ours mi xed, the more wavel engths subtracted (St Kl ai r, 2016, pg. 23)

A

As Newton’s col our wheel opens the di scussi on to col our mi xtures, other theori sts i ntroduce other aspects to consi der about col our. As a contrast to Newton, Goethe argued that col our i s about experi ence rather than sci enti fi c obj ecti vi ty. He was one of the fi rst modern thi nkers to i nvesti gate the functi on of the eye and i ts i nterpretati on of col our, ather than the properti es of l i ght (Fei sner, 2007).

‘

‘‘For Goethe, the rich and varied world of colour was not a matter for measurement but was the manifestation of a kind of divine intelligence out of which nature itself, including the eye, was born. Access to this was through what he called ‘pure experience’, which one might describe as the intuitive content of observation before it is conditioned by preconceived ideas.’’

(Wilson, Leonardo, 1972, pg. 179-180). In Goethe’s colour wheel colours are evenly distributed based on complementary pairs and have been attributed with

with different emotions and qualities. For example, red is attributed with schön meaning beautiful and which Goethe connected to gravity, dignity and attractiveness (Przybyleck, 2016).

2.1 I nt roduct i on t o t he Fi el d

In contrast to Newton, Goethe’s approach to col our was more poeti c and arti sti c, whi ch coul d be seen i nfl uenti al i n the works of expressi oni sts and col our fi el d arti sts of the 1960’s such as Mark Rothko and Barnett Newmann.

Abstracti ng al l form and usi ng the expressi ve power of col our to connect wi th emoti ons (Wol f, 2009), col our fi el d arti sts coul d be seen as practi si ng Goethe’s theory. Usi ng the aestheti cs and i deas from these arti sts i n rel ati on to Goethe’s arti sti c approach to col our, wi thi n the degree work i s rel evant bec

because col our i s as Stanczak (n. d a) descri bes ‘’personal and pri vate i n experi ence’’. Due to the di fferent ways peopl e can percei ve col our, the experi ence can vary the resul ts of a work.

2.1 I nt roduct i on t o t he Fi el d

2.1 I nt roduct i on t o t he Fi el d

Movi ng on from Goethe, approachi ng col our si mi l arl y, wi th the i ntui ti on of a pai nter, Itten devel oped a col our theory based on the aestheti cs of col ours.

Notabl y, hi s rul es of contrast were the basi s for the practi cal expl orati on of the degree proj ect col our research as they offered an obj ecti ve approach to somethi ng that i s very subj ecti ve. The rul es of contrast are based on the i dea that there i s a di sti nct di fference di sti ngui shabl e from two comparabl e effects (Itten, 1961). When expl ai ni ng the rul es of contrast, Itten wri tes that when su

surveyi ng the characteri sti cs of col our effects, one can detect seven di fferent contrasts. These rul es are:

- Contrast of hue - Li ght- dark contrast - Col d- warm contrast - Compl ementary contrast - Si mul taneous contrast - Contrast of saturati on

- Contrast of extensi on (Itten, 1961, pg.

32)

Each contrast i s uni que i n character and arti sti c val ue, i n vi sual , expressi ve, and

symbol i c effect; and together they consti tute the fundamental resource of col our

desi gn. To demonstrate further: Contrast of hue, ‘‘i s i l l ustrated by the undi l uted

col ours i n thei r most i ntensi ty’’ (Itten, 1961) The most extreme case of contrast of

hue can be observed when yel l ow, red, bl ue are used together. Itten al so poi nts out

that the expressi ve val ues of col ours can be mani pul ated when vari ati on i n

2.1 I nt roduct i on t o t he Fi el d

2.1 I nt roduct i on t o t he Fi el d

- Where nei ghbouri ng col ours di ffer i n col ourful ness or chroma, the more col ourful of the two appears bri ghter, whi l e the l ess col ourful one l ooks dul l er sti l l .

- Where nei ghbouri ng col our di ffer i n tonal i ty or val ue, the l i ghter of the two appears even l i ghter, whi l e the darker appears darker sti l l . (Osborne, 2008, pg. 12)

- Where nei ghbouri ng col ours di ffer i n hue, they tend to l ook even more di fferent than they ‘actual l y’ are.

- Where nei ghbouri ng col ours are si mi l ar i n hue, they tend to dul l

Correspondi ngl y worki ng wi th thi s rul e i s Carl os Cruz- Di ez, who i n hi s seri es

Physi chromi e (1959) expl ores ci rcumstances and condi ti ons rel ati ng to col our

(Cruz- Di ez, n. d). Dependi ng on where the vi ewer i s standi ng and the qual i ty of

l i ght, col ours come al i ve and show a changeabl e qual i ty i n hi s pai nti ngs. Thi s i s

i nteresti ng because i t uses col our effects to tri ck the vi ewers eye and creates an i n-

teresti ng vi ewi ng experi ence.

2.1 I nt roduct i on t o t he Fi el d

2.1 I nt roduct i on t o t he Fi el d

On the subj ect of form and space, another theori st who questi ons why ‘’Col our i s rarel y used to shape space, enhance or di mi ni sh vol ume, or assi gn posi ti on to an obj ect i n the vi sual fi el d’’ i s Loi s Swi rnoff (2003, pg. 1), who suggests a new approach wi th a di mensi onal approach to col our. Proposi ng for col ours to be used for more than thei r associ ati ve attri butes as embel l i shments or symbol s, she gi ves exampl es of the work by Stanczak and Anuszki ewi cz, who works wi th perceptual i l l usi ons through addi ti ve col our mi xi ng. By combi ni ng saturated hues the mi

mi xture i s more vi brant and l umi nous than the i ndi vi dual components (Swi rnoff, 2003, pg. 124). Contrasts i n hue accentuate vi si bi l i ty, whereas contrast i n tonal val ue emphasize l egi bi l i ty (Osborne, 2008). The resul ti ng work use col our as a functi onal el ement to create vol ume as wel l as i l l usi ons of depth through the i nteracti on of col our. Moreover, the degree work ai ms to bui l d upon thi s research through the waffl e weave wi th i ts three- di mensi onal structure as a basi s. Through col our, the texti l e surface can be mani pul ated to enhance or di mi ni sh vol ume wi th t

the obj ecti ve to formul ate a new vi sual expressi on for the tradi ti onal waffl e weave.

In regards three- di mensi onal surface, the work of Hel l a Jongeri us expl ores col our

through di fferent qual i ti es of l i ght. Her exhi bi ti on Breathi ng Col our (2019) at the

Nati onal Museum i n Stockhol m i ncl uded both texti l es as wel l as obj ects, whi ch

dependi ng on the ti me of the day and the qual i ty of l i ght woul d showcase vari ous

col our effects. Equal l y i nteresti ng to observe was how di fferent col our effects

affect the percepti on of obj ects and thei r ‘real ’ col our. Jongeri us states her ai m as

to ‘’pi t the power of col our agai nst the power of form’’. Si mi l arl y, the degree

Aski ng the questi on: How can the waffl e weave be rei nterpreted through materi al , techni cal and col our research? The weave, wi th i ts three- di mensi onal structure creates an i nteresti ng canvas to experi ment upon as i ts structure creates both texture as wel l as depth to the texti l e. So, through thi s research, the degree work ai ms to expl ore and experi ment the potenti al and possi bi l i ti es of the waffl e weave.

2.2 St at e of t he Art

Contrast can create tensi on and di versi ty. Wi thi n texti l es, usi ng materi al s of contradi ctory qual i ti es can be used to create j uxtaposi ti on physi cal properti es as wel l as to form from a fl at surface.

E

Essenti al to weavi ng i s the i nterl acement of materi al s. To put i t si mpl y, materi al s, speci fi cal l y yarns can be di vi ded i n to natural and syntheti cal l y made. Combi ni ng these can resul t i n i nteresti ng effects. Worki ng l i ke thi s i n rel ati on to texture, the degree work of Johanna Samuel sson focuses on transformi ng fl at texti l e surfaces to texturized ones by usi ng heat reacti ng yarns (Samuel sson, 2020). Combi ni ng syntheti c el astane, l urex, pol yester wi th cotton, the el astane shri nks whi l e the other materi al s become more de

defi ned through the pattern.

Furthermore, opposi ng materi al properti es can be used to create three- di mensi onal form. Combi ni ng hi gh spun natural fi bres wi th steel and copper wi re, Ann Ri chards expl ores the functi onal i ty of contrasti ng materi al s and how they can be used to create woven texti l es that can sel f- organize. After bei ng taken off the l oom, the texti l es are treated wi th water and wi l l ‘’sel f- form’’ (Ri chards, 2012) i n to di fferent three- di mensi onal structures or textures dependi ng on the used weave.

T

Through materi al contradi cti ons, the degree proj ect expl ores di fferent textures as wel l as how the waffl e weave structure can be mani pul ated through tensi on. Thi s affects the structure of the waffl e as wel l as the overal l

2.2 St at e of t he Art

Mat eri al Cont radi ct i ons

Hand weavi ng and i ndustri al machi ne weavi ng di ffer from each other by speed, scal e and expressi on. Speaki ng about hand weavi ng, Al bers (1914) says that i t "can go both ways; to become art i t needs nothi ng but i ts own hi gh devel opment and adj ustment i n al l i ts properti es, —to become uti l i tari an i t needs today the hel p of machi nes i f i t i s to be more than a mere l uxury". Worki ng wi th i ndustri al machi ne l ooms and creati ng pi eces that coul d by Al bers’ standards be descri bed as art, Phi l i ppa Brock’s research of three- di mensi onal scul ptural j acquard woven texti l es pr

prove that even though machi ne produced, the outcome can sti l l be somethi ng of hi gher arti sti c val ue as wel l . Usi ng a vari ety of materi al s, such as cel l ophane, si l k, steel and l i nen on the weft, Brock’s proj ect pushes the boundari es of what i s possi bl e wi thi n the fi el d of di gi tal three- di mensi onal woven j acquard texti l es. Her

‘’woven pi eces sel f- assembl e through yarn and structure i nteracti ons when tensi on i s taken off the l oom, transformi ng two- di mensi onal fl at pattern i nto three- di mensi onal fabri c’’ (Treggi den 2018). Thi s i s i nteresti ng because i t opens up a n

new area of i ndustri al machi ne weavi ng three di mensi onal forms and structures.

Si mi l arl y, worki ng wi th mul ti l ayers and creati ng three- di mensi onal i ty from fl at wi th contrasti ng yarn properti es, Kathryn Wal ters showcases a col l ecti on of weaves that expl ore the potenti al i n form generati ng behavi our (Wal ters, 2018). In compari son to Brock, Wal ters’ texti l es have a more organi c expressi on that i s compl emented wi th the understated use of col our.

Thi s area of fl at- to- three- di mensi onal woven texti l es has mostl y been used for i ndustri al and functi onal purposes. In contrast, Brock and Wal ter’s works expl ore the potenti al wi thout l i mi tati ons of practi cal i ty thus resul ti ng i n vi sual l y stunni ng pi eces that al so extend the l i mi ts of what i s possi bl e on i ndustri al j acquard l ooms.

2.2 St at e of t he Art

Machi ne Handl i ng

Colour and weave go hand in hand, often used as an aesthetic element it can also be used to convey emotion as well as create visual illusions. ‘‘Colour is abstract, universal—yet personal and private in experience”(Stanczak, n.d).

Speaking

Speaking of her work, Hiroko Takeda stresses on the importance of soulfulness and likens her approach to weaving as painting or sculpture; ‘’ I dye and mix thread colours and textures to create a palette, combining and blending elements. I manipulate and orchestrate all factors and welcome accidental moments of material behaviour’’ (Treggiden, 2018) In her Nostalgia Series, colour is used to express an emotional state as suggested by the title. Likewise, emphasizing the importance of the expressional qualities of colour in combination with ikat weaving,

weaving, Ptolemy Mann’s work which she calls Chromatic Minimalism, abstracts all forms and focuses on the pure emotion of colour. Furthermore, using the same technique but in different colour schemes can change the expression of the textile as in the examples given. This change is explored within the degree work along

2.2 St at e of t he Art

Di versi t y of Col our

2.2 St at e of t he Art

Tradi ti onal l y used i n wi thi n texti l e i nteri or desi gn, the waffl e weave i s a techni que commonl y i ncorporated i n towel s, bathmats and bl ankets. Due to the structure of the weave; a di amond formati on wi th l ong fl oats that are pi nned down by a pl ai n weave (Shenton, 2014), i t i s a breathabl e texti l e wi th moi st absorpti on qual i ti es. As wel l as havi ng functi onal qual i ti es, the waffl e weave has hi ghl y expressi ve vi sual qual i ti es due to i ts three di mensi onal structure. Wi thi n art, Berti l Hernl ow Svensson has referenced the structure i n

i n hi s wal l scul ptures and Studi o Akane Mori yama i n thei r outdoor i nstal l ati ons. The resul ts vary and express the versati l i ty of the structure.

2.2 St at e of t he Art

Current St at e of t he Waf f l e

2.2 St at e of t he Art

The aim of this degree project is to create a series of examples consisting of the waffle weave interpreted through technical, material and colour research. What this research does is investigate new expressions for the waffle weave which is traditionally associated with home textiles.

2.3 Waffl e Cont rast s

Central to the proj ect i s col our and the rel ati on between the three- di mensi onal structure of the waffl e weave. As Itten (1961) says: ‘’When col our and form are supporti ng each other i n expressi on, thei r effect i s addi ti ve maki ng the work stronger’’. The uni que three- di mensi onal i ty of the waffl e weave creates a canvas upon whi ch experi ments on col our effects, form, opaci ty, depths, fl atness and movement can be appl i ed. Col our i s a consti tuent of form and i t can be consi dered a di mensi on. As part of the pr

process of vi sual organizati on, col our components, hue and bri ghtness appear to i nteract fundamental l y wi th surface, vol ume, and space to i nfl uence thei r appearance (Swi rnoff, 2003, pg. 1). Col our i n rel ati on to three- di mensi onal weave i s i nteresti ng because i t i s a new approach to texti l es that i n addi ti on to tacti l i ty rel ates to percepti on. Vi si on i s a creati ve acti vi ty of the human mi nd (Arnhei m, 1954), whi ch i s the organizati on, i denti fi cati on, and i nterpretati on of sensory i nformati on i n order to understand the p

presented i nformati on (Schacter, 2011). Wi thi n the degree proj ect thi s i s appl i ed by experi menti ng wi th di fferent surface effects as wel l as mani pul ati ng the structure of the waffl e weave.

To sum up, i t i s an i nvesti gati on of col our i n rel ati on to tacti l e three di mensi onal texti l e surface. Thi s has potenti al to be devel oped for both arti sti c practi ses as wel l as i ndustri al purposes.

Moreover, maj ori ty of the degree work i s woven on i ndustri al j acquard l ooms, where i n compari son to hand l ooms, the resul ts are faster, reproduci bl e as wel l as more preci se i n qual i ty. Al though wi th i ts certai n l i mi tati ons, i t i s sti l l a great tool for devel opi ng i ndustri al as wel l as arti sti c texti l es as i s evi dent i n the work of Brock, who bal ances the uni que wi th i ndustri al l y reproduci bl e. “The more i nsi ght we have from own experi ence and col l ecti ve wi sdom of others, the more effecti ve we are at anti ci pati ng resul ts i n the context of somethi ng new” (Kopacz, 2004).

Th

Thereupon, the degree bui l ds upon the exi sti ng texti l e knowl edge and devel ops an arti sti c approach to i ndustri al l y reproduci bl e woven texti l es.

To concl ude, i t i s an expl orati on of the tradi ti onal waffl e weave, i nvesti gati ng the expressi on as wel l as context through materi al , techni cal and col our research.

Focusi ng on j acquard weavi ng, the work i s about devel opi ng an arti sti c approach that i s reproduci bl e.

2.3 Waffl e Cont rast s

To fulfill the aim of making an investigation of the waffle weave, a systematic method of exploration through colour-, technical- and material research was developed.

3.1 Met hod of Expl orat i on

and Devel opment

The col our research started by usi ng Goethe’s associ ati on of emoti ons and qual i ti es to col our as a basi s. Thi s l ead to doi ng vi sual research and maki ng moodboards that refl ected on thi s theory. Fi rst sampl es were col oured accordi ng to moodboard, tryi ng to emul ate the qual i ti es and atmosphere.

The ai m of thi s method was to fi nd new expressi ons for the tradi ti onal waffl e weave through col our by usi ng i t as both an aestheti cal el ement as wel l as a functi onal desi gn component, that coul d mani pul ate percepti on of the weave.

Starti ng the expl orati on wi th free experi mentati on, the i nvesti gati on turned i n to a thorough research about col our theori es and how they coul d be used on waffl e woven texti l es

3.1.1 Col our Research as a Met hod

Goet he: Col our and Emot i on

Image references i n bi bl i ography

Col ours for the pi ctured pi eces were chosen accordi ng to moodboards and avai l abl e yarns. Usi ng al so the key words as a reference, the pi eces were woven wi th a sweet and si ni ster aestheti c i n mi nd.

Key Words: sweet , si ni st er, gl ut t ony, gl i t ch, exposure, saccari ne, shi ne, f rot h

3.1.1 Col our Research as a Met hod

Left: whi te cotton warp i ndustri al j acquard l oom pi ece wi th vi ol et cotton, vi ol et l urex, whi te pemotex and whi te pol yester fi l l i ng yarn weft. Di fferent size waffl es woven wi th 26 pi cks/cm. Ri ght: monofi l ament warp i ndustri al j acquard l oom sampl e wi th neon green l urex, whi te pemotex and whi te pol yester fi l l i ng yarn.

84x84 waffl es woven wi th 30 pi cks/cm.

Whi te cotton warp i ndustri al j acquard l oom sampl e wi th di fferent shades of pi nk and orange cotton,

whi te pemotex and whi te pol yester fi l l i ng yarn weft. Di fferent size waffl es woven wi th 26 pi cks/cm

Col our choi ces i n pi ctured sampl es experi ment wi th a contrasti ng, darker aestheti c to the previ ous sweet one. Darker, col der tones were combi ned wi th

contrasti ng l i ghter col ours such as orange and l i me green. Key Words: sol emn, dark, bri ght, gl oom, mystery, bl ood, acci dents, mi st, shadows

3.1.1 Col our Research as a Met hod

Left: monofi l ament warp i ndustri al j acquard l oom sampl e wi th bl ue cotton and orange pemotex weft.

84x84 waffl es woven wi th 30 pi cks/cm. Ri ght: monofi l ament warp i ndustri al j acquard l oom sampl e wi th dark- and l i ght bl ue cotton weft. 84x84 waffl es woven wi th 30 pi cks/cm.

Ri ght: monofi l ament warp i ndustri al j acquard l oom sampl e wi th vi ol et cotton, mel ange l urex and orange pemotex weft. 168x168 waffl es woven wi th 30 pi cks/cm. Left: monofi l ament warp i ndustri al j acquard l oom wi th neon green l urex weft. 420x420 waffl es woven wi th 30 pi cks/cm

Image references i n bi bl i ography

Sampl es pi ctured on thi s page use the photograph by Shi ga as a reference for the col our scheme as wel l as for proporti on on the desi gn. Image was chosen because of how col ours are proporti oned i n the composi ti on.

3.1.1 Col our Research as a Met hod

Monofi l ement warp i ndustri al acquard l oom sampl e woven wi th red, dark bl ue and mi nt cotton, mel ange l urex and brown pemotex weft. 168x168 waffl es woven wi th 30 pi cks/cm. Left si de i mage before heat treatment, ri ght si de i mage after heat treatment.

Ri ght: monofi l ament warp i ndustri al j acquard l oom sampl e wi th dark bl ue and grey cotton, mel ange l urex and brown pemotex weft. Di fferent size waffl es woven wi th 30 pi cks/cm. Left: monofi l ament warp i ndustri al j acquard l oom wi th dark- and l i ght bl ue cotton, brown pemotexweft. 168x168waffl es woven wi th 30 pi cks/cm

Left: monofi l ament warp i ndustri al j acquard l oom sampl e wi th orange cotton, red fl ax and orange pemotex

Monofi l ament warp i ndustri al j acquard l oom sampl es expl ori ng col our combi nati ons based on vi sual reseach on mood board. At thi s poi nt of the research the theori es suggested by Al bers and Itten started to gai n i mportance i n the proj ect and col ours wi th hi gher vi vi di ty and contrast were used.

3.1.1 Col our Research as a Met hod

Monofi l ament warp ARM l oom sampl es expl ori ng col our proporti ons.

Starti ng wi th free experi mentati ons wi th proporti on, proj ect then conti nued wi th transl ati ng Itten’s rul es of contrast on waffl e woven texti l es. The rul es of contrast accordi ng to Itten were:

- Contrast of hue - Li ght- dark contrast - Col d- warm contrast - Compl ementary contrast -

- Si mul taneous contrast - Contrast of saturati on

3.1.1 Col our Research as a Met hod

I t t en: Cont rast and Proport i on

3.1.1 Col our Research as a Met hod

Monofi l ament warp ARM l oom sampl e woven wi th si ngl e weft, one coton, one pemotex order.

Monofilament warp ARM loom sample with double weft,one cotton, one pemotex in each weft.

Monofi l ament warp ARM l oom sampl e wi th pemotex and cotton twi sted yarn.

Usi ng Itten’s rul es as a basi s, a systemati c research was made on each rul e to see how they coul d be i mpl emented i nto texti l e desi gn and how the waffl e coul d

Monofi l ament warp ARM l oom sampl es experi menti ng wi th three di fferent col ours that i l l ustrate contrast of hue.

Monofi l ament warp i ndustri al j acquard l oom sampl es experi menti ng wi th three (l eft) and four (l eft) di fferent col ours that i l l ustrate contrast of hue.

Monofi l ament warp ARM l oom sampl e experi menti ng wi th contrast of l i ght and dark.

Bl ack and whi te pol yester warp i ndustri al j acquard l oom sampl es experi menti ng wi th contrast of l i ght and dark through scal e.

3.1.1 Col our Research as a Met hod

Theory t o Pract i se: Weavi ng I t t en’ s Rul es of

Cont rast

3.1.1 Col our Research as a Met hod

Monofi l ament warp ARM l oom sampl es experi menti ng wi th col ours that i l l ustrate contrast of warm and col d.

Monofi l ament warp ARM l oom sampl es experi menti ng wi th col ours that i l l ustrate contrast of warm and col d.

Monofi l ament warp ARM l oom sampl e experi menti ng wi th compl ementary contrast.

Monofi l ament warp i ndustri al j acquard l oom sampl es experi menti ng wi th compl ementary contrast usi ng

a gradi ent pattern surface.

3.1.1 Col our Research as a Met hod

Monofi l ament warp ARM l oom sampl e experi menti ng wi th col ours that i l l ustrate si mul taneous contrast.

Monofi l ament warp i ndustri al j acquard l oom pi ece experi menti ng wi th si mul taneous contrast. Hi ghl y saturated col ours mi xed i n a gradi ent create a neutral grey.

Monofi l ament warp i ndustri al j acquard l oom pi ece experi menti ng wi th si mul taneous contrast usi ng a gradi ent pattern surface. Densel y mi xed of vi ol et and orange create a grey when pi ece i s l ooked from a di stance.

Monofi l ament warp i ndustri al j acquard l oom sampl e experi menti ng wi th contrast usi ng hi ghl y saturated

col ours i n a patterned surface desi gn. Densi ty and i ntensi ty of pattern i n combi nati on wi th hi ghl y

saturated col ours resul t i n a grey when sampl e i s l ooked from a di stance.

Monofi l ament warp ARM l oom sampl e experi menti ng wi th contrast of saturati on.

Monofi l ament warp i ndustri al j acquard l oom sampl e experi menti ng wi th contrast of saturati on usi ng a gradi ent surface pattern and pl eats.

Monofi l ament warp ARM l oom sampl es experi menti ng wi th contrast of extensi on basi ng the composi ti on, materi al pl acement and col ours on Itten’s rul e.

Monofi l ament warp i ndustri al j acquard l oom pi ece experi menti ng wi th contrast of extensi on by basi ng the proportions in the composition, weft pattern and weaves on the rule.

3.1.1 Col our Research as a Met hod

Basi ng the research on Swi rnoff’s (2003) questi on of why ‘‘col our i s rarel y used to shape space, enhance or di mi ni sh vol ume, or assi gn posi ti on to an obj ect i n the vi sual fi el d’’, vari ous surface patterns were expl ored i n combi nati on wi th the waffl e weave.

3.1.1 Col our Research as a Met hod

Swi rnof f : Di mensi onal Col ours

Gradi ent s

Gradi ent surface patterns were used duri ng exporati on of Itten’s rul es of

contrast, but were devel oped further as an attempt to expl ore how col ours

enhance or di mi ni sh vol ume as wel l as mani pul ate the structure of the waffl e.

Left: monofi l ament warp, ri ght: whi te cotton warp ARM l oom sampl es wi th two col our spl i t gradi ent.

Left: monofi l ament warp, ri ght: whi te cotton warp ARM l oom sampl es wi th gradi ent usi ng the waffl e structure.

Left: monofi l ament warp, ri ght: whi te cotton warp ARM l oom sampl es wi th stri pes usi ng the waffl e structure

3.1.1 Col our Research as a Met hod

Left: Monofi l ament warp i ndustri al j acquard l oom sampl e expl ori ng gradi ent surface pattern i n l urex. Ri ght: Monofi l ament warp i ndustri al j acquard l oom sampl e expl ori ng gradi ent surface pattern wi th three col ours i n cotton.

Expl orati ons of gradi ents i n vari ous col our combi nati ons.

3.1.1 Col our Research as a Met hod

Expl orati ons on gradi ents usi ng the structure of the waffl e weave.

Monofi l ament warp i ndustri al j acquard l oom pi eces expl ori ng gradi ents through structure of waffl e weave. Left: orange and bl ue cotton, orange pemotex weft. Ri ght: orange cotton and bl ue monofi l ament weft.

Monofi l ament warp i ndustri al j acquard l oom pi eces expl ori ng gradi ents through structure of waffl e weave. Left: orange cotton, pi nk l urex weft. Ri ght: orange and bl ue cotton weft.

3.1.1 Col our Research as a Met hod

In order to enhance the three- di mensi onal i ty of the gradi ent col our effect, they were tri ed on pl eated weave structures. Exampl es on thi s page show vari ous col our combi nati ons and the effect before and after treati ng the texti l es, whi ch requi red steami ng so that the pl eats coul d emerge. After the treatment, the col ours woul d i ntensi fy.

3.1.1 Col our Research as a Met hod

Monofi l ament warp i ndustri al j acquard l oom sampl e expl ori ng gradi ent effect on doubl e l ayer pl eated waffl e weave. Red cotton, monofi l ament and off- whi te pemotex used on the weft.

Monofi l ament warp i ndustri Monofi l ament warp i ndustri al j acquard l oom sampl e expl ori ng gradi ent effect wi th contrast of extensi on rul e on doubl e l ayer pl eated waffl e weave. Yel l ow cotton, vi ol et l urex, monofi l ament and grey pemotex weft. al j acquard l oom sampl es expl ori ng contrasts i n gradi ent surface pattern.

Monofi l ament warp i ndustri al j acquard l oom sampl e expl ori ng gradi ent effect on doubl e l ayer pl eated waffl e weave. Shades of orange, bl ue and yel l ow cotton, bl ue monofi l ament and grey pemotex used on the weft.

Monofi l ament warp i ndustri al j acquard l oom sampl e expl ori ng gradi ent effect on doubl e l ayer pl eated

waffl e weave. Shades of bl ue and vi ol et cotton, monofl ament and brown pemotex used on the weft.

3.1.1 Col our Research as a Met hod

Bl ack and whi te pol yester warp i ndustri al j acquard l oom sampl e expl ori ng warp di recti on gradi ent effect on doubl e l ayered wafl e weave wi th di fferent scal e waffl es on each si de. Pi nk and green cotton used on the weft.

Bl ack and whi te pol yester warp i ndustri al j acquard l oom sampl e expl ori ng warp di recti on gradi ent effect on doubl e l ayered wafl e weave wi th di fferent col our on each si de. Pi nk and green cotton used on the weft.

Bl ack and whi te pol yester warp i ndustri al j acquard l oom sampl e expl ori ng warp and weft di recti on gradi ent effect on doubl e l ayered wafl e weave wi th di fferent scal e waffl es on each si de. Turquoi se, l i l ac and l i ght green cotton used on the weft.

Bl ack and whi te pol yester warp i ndustri al j acquard l oom sampl e expl ori ng warp and weft di recti on

gradi ent effect on doubl e l ayered wafl e weave wi th di fferent scal e waffl es on each si de. Turquoi se, orange

and l i ght green cotton used on the weft.

3.1.1 Col our Research as a Met hod

St ri pes

3.1.1 Col our Research as a Met hod

Monofi l ament warp i ndustri al j acquard l oom sampl es expl ori ng waffl e pattern through graphi cal approach based on Cruz- Di ez col our pattern research.

Monofi l ament warp i ndustri al j acquard l oom sampl e expl ori ng waffl e pattern through graphi cal approach based on Cruz- Di ez col our pattern research. Bl ue, green, orange and pi nk cotton weft.

Monofi l ament warp i ndustri al j acquard l oom sampl e expl ori ng waffl e pattern through graphi cal approach based on

Cruz- Di ez col our pattern research. Bl ue, green, orange and pi nk l urex weft.

3.1.1 Col our Research as a Met hod

Monofi l ament warp i ndustri al j acquard l oom sampl es expl ori ng waffl e pattern through graphi cal approach based on Cruz- Di ez col our pattern research.

Monofi l ament warp i ndustri al j acquard l oom sampl e expl ori ng waffl e pattern through graphi cal approach based on Cruz-

Di ez col our pattern research. Bl ue, green, orange and pi nk cotton weft.

Techni cal research i ncl uded weavi ng on di fferent l ooms, worki ng wi th scal e and experi menti ng wi th structural properti es of the waffl e as methods of devel opi ng the weave. Both hand and i ndustri al j acquard weavi ng techni ques were used for experi mentati on and expl orati on of the waffl e.

3.1 Met hod of Expl orat i on

and Devel opment 3.1.2 Techni cal Research as a Met hod

The tradi ti onal way of weavi ng on hand l ooms was the l east expl ored method mai nl y due to the l i mi ted scal e of the l oom. Al so, i n compari son to other methods of weavi ng, hand weavi ng i s the sl owest techni que wi th resul ts produced on a sl ower rate. However i t i s the most personal due to the weaver havi ng a l i teral ‘hands- on’ approach wi th changes or even mi stakes happeni ng

The ARM l ooms were used as a qui ck sketchi ng tool parti cul arl y to expl ore col our and materi al effects. Monofi l ament and cotton warp ARM l ooms were used the most as they were the same materi al s as i n the j acquard l ooms.

3.1.2 Techni cal Research as a Met hod

Wool warp hand l oom wi th sampl e woven wi th wool weft. Left: monofi l ament warp ARM l oom sampl e. Ri ght: whi te cotton warp ARM l oom sampl e.

Hand Looms Comput eri sed ARM Looms

Three i ndustri al j acquard l ooms were used for the expl orati on:

- whi te cotton warp Grosse Jacquard l oom wi th the densi ty of 33 ends/cm and 40 cm repeat report,

- bl ack and whi te pol yester warp Doni er Staübl i j acquard wi th the densi ty of 26, 4 end/cm and 31, 8 cm repeat report,

- t

- transl ucent pol yethyl ene monofi l ament warp Doni er Staübl i j acquard wi th the densi ty of 26, 4 ends/cm and 31, 8 cm repeat report.

Each coul d be woven wi th maxi mum four wefts.

3.1.2 Techni cal Research as a Met hod

Pol yester warp i ndustri al j acquard l oom.

Cotton warp i ndustri al j acquard l oom.

Monofi l ament warp i ndustri al j acquard l oom.

I ndust ri al Jacquard Looms

The structure of the waffl e weave i s created: ‘[…] by arrangi ng warp and weft fl oats i n a di amond formati on. A course of pl ai n weave outl i ni ng the di amond formati on pi ns down the fl oats. Ri dges are formed al ong the l ongest verti cal and horizontal fl oats, whi ch gi ve four si des of a square. Once the fabri c i s removed from the l oom, the fl oats contract, forci ng the center i nward and formi ng a three- di mensi onal hol l ow that i s known as a cel l . ’’ (Shenton, 2014, pg. 238) The weave i s doubl e si ded by i ts nature, thus di spl ayi ng same col our and materi al ef

effects on both si des. These effects can be mul ti pl i ed and gi ven more vari ety through doubl e l ayer weavi ng techni ques. Thi s research resul ted i n the

3.1.2 Techni cal Research as a Met hod

Monofi l ament warp i ndustri al j acquard woven pi ece wi th l urex weft. Si ngl e l ayer 140x140 waffl e woven wi th 30 pi cks/cm densi ty.

Di mensi onal St ruct ures

Doubl e- l ayer techni cal expl orati on of the waffl e weave began wi th tryi ng di fferent scal e waffl es and surface patterns on each si de of the texti l e and conti nued wi th experi menti ng di fferent ki nds of pl eats.

Experi ments started wi th doubl e l ayer waffl e structures wi th the same scal e waffl es on both si des i n di fferent col ours. In addi ti on to thi s, a compari son between si ngl e and doubl e weft effects was done. Resul ts di spl ayed a di fference

i n the opaci ty and three- di mensi onal i ty of the waffl e structure. ^{Pol l ayer yester 84x42 warp waffl i ndustri es woven al j acquard wi th 30 l oom pi cks/cm woven densi pi ece ty. wi th bl ack and whi te cotton weft. Si ngl e weft, doubl e}

Pol yester warp i ndustri al j acquard l oom woven pi ece wi th bl ack and whi te cotton weft. Si ngl e weft, doubl e l ayer 84x42 waffl es woven wi th 30 pi cks/cm densi ty. Warp di recti on stri pes on both si des.

3.1.2 Techni cal Research as a Met hod

Left: pol yester warp i ndustri al j acquard sampl e wi th cotton weft. Si ngl e weft, doubl e l ayer 84x42 waffl es woven wi th 60 pi cks/cm densi ty. Ri ght: pol yester warp i ndustri al j acquard sampl e wi th cotton weft.

Doubl e weft, doubl e l ayer 84x42 waffl es woven wi th 60 pi cks/cm densi ty.

Doubl e Layer St ruct ures

Experi ments wi th doubl e l ayer structures conti nued wi th di fferent scal e waffl es i n di fferent col ours on each si de al ong wi th stri ped surface patterns. Al so a di fferent weave was tri ed on one si de to achi eve a bi gger contrast between

3.1.2 Techni cal Research as a Met hod

Pol yester warp i ndustri al j acquard l oom woven pi ece wi th bl ack and whi te cotton weft. Si ngl e weft, doubl e l ayer 84x42 waffl es woven wi th 30 pi cks/cm densi ty. Warp di recti on stri pes.

Pol yester warp i ndustri al j acquard l oom woven pi ece wi th bl ack and whi te cotton weft. Si ngl e weft, doubl e l ayer 84x42 waffl es woven wi th 30 pi cks/cm densi ty. Warp and weft di recti on stri pes on both si des.

Pol yester warp i ndustri al j acquard l oom woven pi ece wi th bl ack and whi te cotton weft. Si ngl e weft, doubl e

In order to enhance the three di mensi onal i ty of the waffl e, next i n the expl orati on was doubl e l ayer structures wi th pl eats. Pl eats were expl ored si ngl e si de, doubl e si de and i n vari ous wi dths as wel l as i n combi nati on wi th other supporti ng weaves.

Fi rst sampl es fai l ed due to mi scal cul ated proporti ons of the materi al s.

3.1.2 Techni cal Research as a Met hod

Si ngl e l ayer pl eat representati on

Pol yester warp i ndustri al j acquard sampl e wi th bl ack and whi te cotton, and grey pemotex wefts. Doubl e weft, doubl e l ayer 42x14 waffl es woven wi th 60 pi cks/cm densi ty. Di fferent scal e waffl es on both si des.

Sampl e fai l ed to make pl eat due to mi scal cul ated materi al proporti ons.

Pol yester warp i ndustri al j acquard sampl e wi th two pi nk and two yel l ow cotton wefts. Doubl e weft, doubl e l ayer 42x14 waffl es woven wi th 60 pi cks/cm densi ty. 42x42 waffl es on one si de, 14x14 waffl es on the other wi th warp di recti on stri pes. Sampl e fai l ed to make pl eat due to mi scal cul ated materi al proporti ons.

Doubl e l ayer pl eat representati on

Si ngl e and doubl e l ayer pl eat representati on wi th repeats

Pl eat ed St ruct ures

Research conti nued by changi ng materi al s and thei r proporti ons. Si ngl e si de pl eats were woven i n di fferent wi dths wi th pemotex on the fl at l ayer and monofi l ament on the pl eated l ayer. Experi ments woul d be al so tri ed on the monofi l ament warp, where resul ts vari ed wi th what materi al was used for the weft. The techni que di spl ayed an i nteresti ng contrast between the l ayer expressi ons dependi ng on what materi al s were used. Whi l e cotton woul d make the pl eat fl at, monofi l ament woul d ri se.

Left: bl ack and whi te pol yester warp i ndustri al j acquard l oom sampl es wi th monofi l ament and pemotex weft. Sı ngl e weft, doubl e l ayer 48x14 waffl es woven wi th 30 pi cks/cm i n pl eats of vari ous wi dths. Ri ght:

bl ack and whi te pol yester warp i ndustri al j acquard l oom sampl es wi th monofi l ament and pemotex weft.

Doubl e weft, doubl e l ayer 48x14 waffl es woven wi th 60 pi cks/cm i n pl eats of vari ous wi dths.

3.1.2 Techni cal Research as a Met hod

After thi s, pl eats on both l ayers were woven wi th materi al s proporti oned i n a si mi l ar way as si ngl e l ayer pl eats were; one l ayer of weave had woven enti rel y or mostl y wi th pemotex, whi l e the other wi th any materi al , al though monofi l ament di spl ayed the most i nteresti ng effect as i t was both transl ucent and strong enough materi al to hol d i ts shape.

Bl ack and whi te pol yester warp i ndustri al j acquard machi ne sampl e wi th bl ue monofi l ament and orange pemotex wetf. Doubl e weft, doubl e l ayer 84x168 waffl e and panama woven wi th 60 pi cks/cm.

Bl ack and whi te pol yester warp i ndustri al j acquard machi ne sampl e wi th bl ue monofi l ament and orange pemotex weft. Doubl e weft, doubl e l ayer 84x168 waffl e and panama woven wi th 60 pi cks/cm.

Sampl es wi th cut and sewn edges before and after steami ng.

3.1.2 Techni cal Research as a Met hod

Scal e of the waffl e was expl ored from smal l est (10 pi cks and ends) to the l argest possi bl e on the j acquard l oom wi th 840 pi cks and ends. Scal e of the waffl e coul d be mani pl uted by usi ng heat reacti ve yarns, whi l e pemotex woul d shri nk and make the waffl e smal l er, pol yester fi l l i ng yarn woul d expand and gi ve the i mpresi on of a l arger waffl e. It was al so observed that the l arger the structure the more the waffl e woul d col l apse, l osi ng i ts characteri sti c three- di mensi onal i ty. However, thi s i s al so connected to the materi al used; thi nner ma

materi al s such as monofi l ment and l urex fl oat fl atl y, whi l e pol yester fi l l i ng yarn

3.1.2 Techni cal Research as a Met hod

Left: monofi l ament warp i ndustri al j acquard l oom sampl e wi th pol yester fi l l i ng yarn wetf. 10x10 waffl es.

Ri ght: monofi l ament warp i ndustri al j acquard l oom sampl e wi th pemotex pol yester fi l l i ng yarn wetf. 14x14 waffl es.

Left: cotton warp ARM l oom sampl e wi th shades of orange cotton and orange pemotex wetf. 24x24 waffl es. Ri ght: monofi l ament warp ARM l oom sampl e wi th whi te cotton and off- whi te pemotex weft.

Scal e

3.1.2 Techni cal Research as a Met hod

Jacquard Desi gner program representati on of 840x840 waffl e.

Pol yester warp i ndustri al j acquard l oom sampl e wi th bl ack cotton weft. 840x840 waffl e woven by ri si ng and si nki ng warp techni que wi th 60 pi cks/cm densi ty.

Monofi l ament warp i ndustri al j acquard l oom sampl e wi th monofi l ament weft. 840x840 waffl e woven by ri si ng and si nki ng warp techni que wi th 60 pi cks/cm densi ty.

Left: monofi l ament warp i ndustri al j acquard l oom sampl e wi th bl ue cotton, mel ange l urex, dark brown and grey pemotex weft. Si ngl e weft, Si ngl e l ayer 14x14, 42x42, 84x84 waffl es woven wi th 30 pi cks/cm.

Ri ght: monofi l ament warp i ndustri al j acquard l oom sampl e wi th l urex, grey pemotex and whi te pol yester fi l l i ng yarn weft. Si ngl e weft, si ngl e l ayer 168x168 waffl es woven wi th 30 pi cks/cm

Vari ous scal es were tri ed on both the cotton and monofi l ament warp i ndustri al j acquard l ooms wi th di fferent materi al s on the weft. The l argest posi bl e waffl e was woven on the j acquard l oom wi th 840 ends and pi cks, the texti l e showcases how scal e i nfl uences the structure of the weave. Wi th l ong fl oats, the weave col l apses and has an uncharacteri sti cal l y fl at surface for the waffl e. Whi l e monofi l ament creates shi ne and i s l i ght, the cotton sampl e i s the opposi te wi th matte cotton and heavi ness from the materi al .

Cotton warp i ndustri al j acquard l oom sampl e wi th shades of pi nk and orange cotton, whi te pemotex and

whi te pol yester fi l l i ng yarn weft. Si ngl e weft, si ngl e l ayer 10x10, 132x132, 220x220 waffl es woven wi th 30

pi cks/cm.

The ai m of the shape expl orati on was to research the potenti al of usi ng the waffl e weave pri nci pl es on other geometri c shapes. Sampl es were woven on both cotton and monofi l ament warp j acquards. Cotton warp sampl es experi menti ng wi th di fferent scal e waffl es created hearts, due to the di fferent scal e tri angl e shapes set agai nst each other. Expl orati on wi th speci fi c shapes when stretched on the cotton warp l oom l ooked promi si ng, but when taken off, they l ost thei r shape and di d not have a di fference to the regul ar waffl e. The onl y sa

sampl e that di d not do thi s was the rhombus. Al though i t kept the shape, i t di d not have the three di mensi onal effect as the waffl e. Expl orati on conti nued

3.1.2 Techni cal Research as a Met hod

Shapes Woven wi t h Waf f l e Pri nci pl e

Whi te cotton warp i ndustri al j acquard l oom sampl e wi th shades of bl ue cotton, neon green l urex, whi te- pemotex and whi te pol yester fi l l i ng yarn weft. Si ngl e weft, Si ngl e l ayer 10x10, 132x132, 220x220 waffl es woven wi th 30 pi cks/cm. Combi nati on of di fferent scal e wafl es creates heart patterns.

Whi te cotton warp i ndustri al j acquard l oom sampl e wi th shades of orange and pi nk cotton, l urex and whi te pemotex weft. Si ngl e weft, si ngl e l ayer 165x165 hal f and hal f waffl es woven wi th 30 pi cks/cm.

Waffl e spl i t i n two, wi th hal f showi ng warp materi al and other hal f weft.

3.1.2 Techni cal Research as a Met hod

Bl ac and whi te Pol yester warp i ndustri al j acquard l oom sampl es wi th bl ack wool weft. Si ngl e weft, si ngl e l ayer 165x165 hexagon and rhombus shape waffl es woven wi th 30 pi cks/cm.

Hexagon (ri ght) and rhombus (l eft) sampl es off the l oom, wi thout tensi on.

Square (above) and hexagon (bel ow) sampl es off the l oom, wi thout tensi on.

Shapes woven wi th waffl e pri nci pl e- expl orati on di d not concl ude wi th resul ts

that coul d have been devel oped further. Ci rcl e, square and hexagon- shapes

resul ted i n si mi l ar effects as the regul ar waffl e shape, especi al l y when woven

wi th pemotex i n the weft, the shrunken structure was i ndi sti ngui shabl e from a

shrunken waffl e.

As Al bers sai d: ‘‘We must come down to earth from the cl ouds where we l i ve i n vagueness, and experi ence the most real thi ng there i s: materi al ’’ (1965, pg. 51).

As she stresses i n the menti oned quote, di rect experi ence wi th materi al i s i mportant for understandi ng the behavi our and as Al bers puts i t, to l earn of

‘’[. . . ]i ts obedi ence and resi stance, i ts potency and i ts weakness, i ts charm and dul l ness. ’’ Experi menti ng wi th di fferent materi al s and proporti ons on the waffl e weave l ed to vari ous resul ts regardi ng the expressi on as wel l as the structural pr

properti es. The research focused on how materi al coul d be used to i nfl uence

3.1 Met hod of Expl orat i on

and Devel opment ^{3.1.3 Mat eri al} Research as a Met hod

Usi ng the concept of contrasts as the basi s for the expl orati ons, wi thi n the Formi ng category of the materi al research thi s meant usi ng fi bers wi th contrasti ng properti es to i nfl uence the structure of the waffl e al ong wi th the overal l form of the texti l e.

3.1.3 Mat eri al Research as a Met hod

Monofi l ament warp ARM l oom sampl e wi th cotton and pemotex on the weft. 24x24 waffl es. Before and after heat treatment.

Left: monofi l ament warp i ndustri al j acquard l oom sampl e wi th cotton, monofi l ament and pemotex weft.

Sı ngl e weft 240 waffl es woven wi th 30 pi cks/cm. Ri ght: monofi l ament warp i ndustri al j acquard l oom sampl e wi th cotton, l urex, monofi l ament and pemotex weft. Si ngl e weft 168x168 waffl es and sati n woven wi th 30 pi cks/cm

Mat eri al Cont radi ct i ons I nf l uenci ng Form

I nf l uenci ng t he St r uct ur e of t he Waf f l e Weave

The most extreme way to i nfl uence the structure of the waffl e i s through usi ng

Pemotex whi ch when heat treated, pul l s the waffl e pattern together and creates

depth i n the structure whi ch cannot be created wi th any other materi al .

Monofi l ament warp i ndustri al j acquard l oom sampl es wi th l urex, pemotex and pol yester fi l l i ng yarn weft.

168x168 waffl es woven wi th 30 pi cks/cm

Left: monofi l ament warp i ndustri al j acquard l oom wi th cotton, l urex and pemotex weft. Di fferent size waffl es used al l over, woven wi th 30 pi cks/cm. Ri ght: monofi l ament warp i ndustri al j acquard l oom wi th cotton, paper yarn and pemotex weft. 168x168 waffl es woven wi th 30 pi cks/cm.

Monofi l ament warp ARM l oom wi th cotton and pemotex weft. Woven wi th 24x24 waffl es. Before heat- treatment.

Monofi l ament warp ARM l oom wi th cotton and pemotex weft. Woven wi th 24x24 waffl es. After heat- treatment.

3.1.3 Mat eri al Research as a Met hod

From mani pul ati ng the waffl e, the research conti nued wi th expl ori ng how the waffl e coul d i nfl uence the overal l form of a texti l e. For thi s, the tensi on between heat reacti ve and non- reacti ve materi al s conti nued to pl ay an i mportant rol e as they coul d create the most extreme transformati on on the texti l e. Research was conducted by experi menti ng wi th vari ous proporti ons and pl acements of contrasti ng materi al s. Expl orati on showed how pemotex i n a si ngl e stri p or wi th space i n between stri ps created the most contrast i n form, whi l e repeated and cl

cl osel y pl aced stri ps woul d shri nk the whol e texti l e and affect the texture more. In the conti nuati on of the research proporti ons were deci ded accordi ng to Itten’s col our theory.

3.1.3 Mat eri al Research as a Met hod

I nf l uenci ng t he Overal l Form

Monofi l ament warp ARM l oom sampl es showcasi ng effects of heat reacti ve threads. Left: pemotex weft, ri ght: pol yester fi l l i ng yarn weft.

Whi te cotton warp ARM l oom sampl es showcasi ng how di fferent proporti ons of heat reacti ve pemotex

affect the overal l form of a texti l e. Pemotex and paper yarn weft. 24x24 waffl es.

Left: whi te cotton warp on ARM l oom wi th paper yarn, pemotex and pol yester fi l l i ng yarn on weft.

Ri ght: monofi l ament warp ARM l oom wi th cotton and pemotex weft. 24x24 waffl es. Left: whi te cotton warp i ndustri al j acquard l oom wi th paper yarn and pemotex weft. 120x120 waffl es wi th 30 pi cks/cm densi ty. Ri ght: whi te cotton warp i ndustri al j acquard l oom wi th paper yarn and pemotex weft.

120x120 waffl es wi th 30 pi cks/cm densi ty.

Left: whi te cotton warp i ndustri al j acquard l oom wi th paper yarn, pemotex and pol yester fi l l i ng yarn weft.

84x84 waffl es wi th 30 pi cks/cm densi ty. Ri ght: whi te cotton warp i ndustri al j acquard l oom wi th pemotex and pol yester fi l l i ng yarn weft. 84x84 waffl es wi th 30 pi cks/cm densi ty

Left: monofi l ament warp ARM l oom sampl es wi th cotton, paper yarn and pemotex on the weft. 24x24 waffl es and pl ai n weave. Ri ght: monofi l ament warp ARM l oom wi th cotton and pemotex weft. Woven wi th 24x24 waffl es and pl ai n weave wi th fl oats. Experi ments i ml ementi ng col our theory i nto proporti on research.

3.1.3 Mat eri al Research as a Met hod

Left: whi te cotton warpARM l oom sampl e wi th cotton and pemotex weft. 24x24 waffl es. Ri ght: whi te

cotton warpARM l oom sampl e wi th cotton and pemotex weft. 24x24 waffl es. Left: monofi l ament warp i ndustri al j acquard l oom sampl e wi th cotton, l urex and pemotex weft. 105x105 waffl es woven wi th 30 pi cks/cm densi ty Ri ght: monofi l ament warp i ndustri al j acquard l oom sampl e wi th cotton, l urex and pemotex weft. 105x105 Waffl es woven wi th 30 pi cks/cm densi ty.

Left: monofi l ament warp i ndustri al j acquard l oom sampl e wi th cotton and pemotex weft. 120x120 waffl es woven wi th 30 pi cks/cm densi ty Ri ght: monofi l ament warp i ndustri al j acquard l oom sampl e wi th cotton and pemotex weft. 120x120 Waffl es woven wi th 30 pi cks/cm densi ty.

Left: monofi l ament warp i ndustri al j acquard l oom sampl e wi th cotton, l urex, monofi l ament and pemotex weft. 120x120 waffl es woven wi th 30 pi cks/cm densi ty Ri ght: monofi l ament warp i ndustri al j acquard l oom sampl e wi th cotton, monofi l ament and pemotex weft. 420x420 Waffl es and sati n weave woven wi th 30 pi cks/cm densi ty.

3.1.3 Mat eri al Research as a Met hod

3.1.3 Mat eri al Research as a Met hod

Di fferent materi al s resul t i n vari ous expressi ons; thi ck materi al s, such as wool or thi ck Pol yester fi l l i ng yarn, create a spaced out and bi g waffl e patterns, whi l e thi nner and fi ner materi al s, such as cotton or l urex, can resul t i n smal l er repeated patterns. Most i mportantl y, these qual i ti es affect the vol ume of the

Creat i ng Vol ume

Left: whi te cotton warp ARM l oom sampl e wi th cotton on the weft. 24x24 waffl es. Ri ght: whi te wool warp ARM l oom wi th wool weft. Woven wi th 24x24 waffl es.

Left: bl ue- grey wool warp hand l oom sampl e wi th wool on the weft. Ri ght: bl ue- grey wool warp hand

l oom sampl e wi th wool on the weft.