MALIN HANSSON BA Fine arts Textile design
“Expanding textural
expressions of
synthetic non-woven”
2 DEGREEWORK
Bachelor of Fine Arts in Textile Design The Swedish School of Textiles
University of Borås Sweden
TITLE
Expanding textural expressions of synthetic non-woven
AUTHOR
Malin Hansson REPORT NUMBER 2020.4.06
DATE
2020-08-27 SUPERVISOR
Marjan Kooroshnia
OPPONENT Clare Johnston CLASS OPPONENT Néria T. Östnäs EXAMINER
Delia Dumitrescu
SPECIAL THANKS TO Sara Björnström
Emilia Jensen
Lisa Good
1.1 Representative images of work
3
1.1 Representative images of work
4
WALL COVERING
5 1.1 Representative images of work
ROOM DIVIDER
6 1.1 Representative images of work
SOUND ABSORBER
1.2 Abstract
This degree work places itself in the field of textile design within printing and surface design. The primary motive is to explore methods of designing textural expressions of a non-woven polyester fabric which combine relief and printing techniques in order to design textiles with three-dimensional properties. The work explores possibilities on how to bring an aesthetic expression into a synthetic non-woven inlay fabric by using screen print, sublimation print and relief moulding towards an interior context. The purpose is to take advantage of the technical properties such as expansion, softness and stiffness of a non-woven polyester fabric into the design work. The design method consisted of a material-based pre-study to gain knowledge about non-woven materials and their reactions to heat, moulding possibilities and printing options. Further developments were done through workshops that explored frottage as design inspiration for final designs and gradations with halftones as a colouring method. The outcome of this degree work resulted in a collection of three textile pieces; a wall covering, a room divider and a sound absorber that are seen as prototypes for further development on how to give synthetic non-woven textiles an alternative aesthetic expression.
1.3 Keywords
Textile design, non-woven, moulding, relief, printing, halftone, pattern, material, interior
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Table of content
1.1 Representative images of work...
1.2 Abstract...
1.3 Keywords...
2.1 Introduction to the field...
2.2 Motive and Idea discussion...
2.3 Aim...
3.1 Design method...
3.2.1 Pre-study...
- Material exploration...
- Moulding and printing...
- Material and samples that were
not chosen to develop further...
3.2.2 Concept ...
3.2.3 Gradients and colours...
3.2.4 Frottage...
3.2.5 Development of final pieces...
- Wall covering...
- Room divider...
- Sound absorber ...
4.1 Result...
4.2 Presentation / Exhibition...
4.3 Conclusion...
4.4 Discussion...
5.1 References...
5.2 Table of figures...
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p.3-6 p.7p.7
p.9-10 p.11-12 p.13 p.14p.15 p.16p.17-24
p.25-26 p.27
p.27-24
p.35-37 p.38
p.38-46 p.47-55 p.56-59 p.60-63 p.64-65 p.66p.67 p.68p.69
Non-woven fabrics are categorised as one of the defined groups of textiles, among knitted, woven, twisted/knotted and compounds. The characteristics of a non-woven fabric is the web structured fibre composition that is bonded by needle-punching, felting, adhesives or stitching (Briggs-Goode
& Townsend 2011). The leading applications for non-woven today are in the technical field e g. hygiene, medical, geotextiles, filtration, automotive and similar (Russel 2007). It also has an important role in interior and serves as a textile for upholstery, bedding, wall and floor coverings due to good isolation and sound absorption (Kane 2010).
Anne Kyyrö Quinn is a textile designer that works with felted textiles towards interior. The textiles have been cut, sewn and finished by hand which results in tactile three-dimensional structures. In the work Loop (figure 3), ribbons of felt has been sewn into waves as a chequerboard with hollow loops and flat squares that allows the light to cast shadows and shine through the loops which enhances the three-dimensionality (Kyyrö Quinn N.D a).
2.1 Introduction to the field
Texture is an important factor in textile design because it has an impact on how textiles are being used but also experienced, which could be visually or by touch (Ingham 2016). Various types of surface textures, subtle or three-dimensional, may be created by different types of printing, dyeing and finishing techniques. These techniques are chosen for their requested function or aesthetic expression, such as embossing reliefs for aesthetic details, burn out for translucency, printing with coatings for protection of the surface, or flocking for decorative or tactile purposes (Das 2009).
In the project The future is local: Micromoulding machine & soft biocomposites, Bas Froon presents a suggestion for micromoulded textiles (figure 1) consisting of biocomposites. Froon explains how it is possible to change a textile quality from soft to strong with the micromoulding machine by patterning reliefs (figure 2), with focus on sustainable materials such as recycled jute and denim (Froon 2018 a).
Figure 1. Soft biocomposites, patterning
reliefs (Bas Froon 2018 b). Figure 2. Micromoulding machine patterning
(Bas Froon 2018 c). Figure 3. Loop. (Anne Kyyrö Quinn
N.D b). Wall covering made of felt.
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Baux is a company that design acoustic products towards interior. Baux Acoustic Wood Wool Panels (figure 4) consists of wood wool, cement and water which creates a rough texture with a sound absorbing quality.
They work with recyclable materials that are environmental-friendly. The modular, hexagonal forms are attached to the wall and can be placed in a variety of ways (Baux 2020).
Chung-Im Kim has explored sculptural possibilities in felting with decorative printed surface patterns and/or dyeing (Kim 2019a). In her work Free grid, (figure 5), the relief surface is created by hand stitches which gives the piece a three-dimensional expression. The patterns in Kim’s work is either working with or against the relief structure (Kim 2019a).
Figure 4. Baux acoustic wood wool panels (Eric Kemnitz N.D).
Figure 5. Skeleton. (Kim 2019 b). Industrial felt, digitally engineered image, screen printing, hand stitching.
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2.2 Motive and Idea discussion
In the product development platform In4nite II, Dana Dijkgraaf created the Graphic Interplay collection (figure 6-7), which consists of five three- dimensional non-woven panels. Dijkgraaf used different techniques in order to change the aesthetic expression of the fabric such as embroidery and/or printing. The textiles have a translucent quality, double sidedness and can be applied towards an interior context or as a artistic installation (Dijkgraaf 2018). Similar to the work of Dijkgraaf, this degree work will change the aesthetic expression of a non-woven fabric but the focus is on texture and three-dimensional reliefs that are created by the expanding property of a non-woven inlay fabric. Therefore, the textiles in this degree work will also have a functional quality as sound absorbers.
Figure 8. The Emboss machine.
(Tiffany Loy 2013a.)
Tiffany Loy’s Emboss machine, (figure 8) is an example on how to use heat setting techniques in order to manipulate a textile surface into three- dimensional textures. Loy is taking advantage of modular patterning possibilities by using stainless steel pegs which means that the same machine can produce a variety of textile samples with relief textures, without building a new one (Loy 2013b). This degree work emphasizes on creating three-dimensional relief textures by multiple moulding alternatives that prevents chosen areas of the textile to expand by heat pressing the fabric.
Eugène van Veldhoven has explored the flock printing tehnique in the work Velvet print (figure 9) and it shows how the applied micro fibres has the potential to create a tactile, relief patterning on an existing textile. However, this degree work explores the relief effects that the textile creates by itself when exposed to heat, in combination with moulding.
Figure 9. Velvet print. (Eugène van Veldhoven N.D). Flock printing.
Figure 6. Graphic Interplay. (Medo 2018a).
A collection of three-dimensional panels made by Dana Dijkgraaf.
Figure 7. Graphic Interplay. (Medo 2018b).
Close up on the works of Dana Dijkgraaf.
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Displaced illusion II (figure 10), made by the artist Jose Margulis is an example on how the colours and shadows works as an enhancement of the depth and three-dimensionality of the art piece depending on which angle and perspective the viewer observes it from. This opens up possibilities in terms of colours, especially gradations. By using the screen printing and sublimation technique in combination with halftone gradations it is possible to enhance or decrease a surface textural three-dimensional expression.
Dijkgraaf, Loy and van Veldhoven have in different ways and methods explored how to change the appearance of an existing textile by either adding something to its surface or manipulating it. Margulis builds up perspectives in his geometrical works. An alternative approach for this degree work is to design and develop aesthetic expressions of a non-woven polyester inlay fabric that possess an expanding property, when exposed to heat. By using other moulding possibilities, such as attaching the fabric between two layers of card board or using a heat press, multiple expressions can be found. Especially when the positive and negative spaces within the moulded areas can change the textile properties from soft to stiff and also give it a double sided effect. Printing techniques such as expandable paste, coatings, foil and flock and similar, are narrowed down to pigment paste and sublimation print, that will serve as an enhancement of the three-dimensional reliefs and as a decorative detail.
The purpose of this degree work is to suggest a way on how to take advantage of an expanding property of a textile that is normally used as a hidden inlay, and turn it into textiles with three-dimensional properties towards an interior context
as sound absorbers, wall coverings and room dividers. Figure 10. Displaced illusion II (Margulis 2019).
Acrylic sheets, aluminum composite and acrylic paint.
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2.3 Aim
The aim is to explore methods of designing textural expressions of synthetic non-woven fabric which combine relief and surface patterns in order to design textiles with 3D properties.
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Figure 11. Summarise of the working process re-illustrated by the author.
3.1 Design method
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The design method (figure 11) is following the “Cyclic strategy” (Jones 1992). The first stage is based on an idea, carried out by material research and practical work of a pre-study in stage two. The results from the pre-study became alternative pathways that could be further developed through brainstorming and formulated into a initial concept definition in stage three. Visual and literature research was then made in stage four, to establish the state of the art. In stage five, it was possible to decide the final design concept consisting of three textiles with three-dimensional properties towards interior. Prototypes, material samples, workshops, colour printing and exploring scale was some of the work that was carried out in development, stage six. It had a focus on theories and suggestions for design development that was later carried out. Evaluation and selection became important in stage seven because of the need of decision making and analysing samples in previous stages and for the final outcome in stage eight.
3.2.1 Pre-study
Figure 12. Overview of the wool exploration process, re-illustrated by the author.
Figure 13. Overview of the synthetic exploration process, re-illustrated by the author.
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The pre-study was based on the initial idea of developing non-woven materials with three-dimensional relief patterns with focus on fabric manipulation, surface texture and printing. The purpose of the pre-study was to gain knowledge of non-woven materials and explore their design potentials. The design process was inspired from “Boundary searching”, a method chosen in order to understand the limitations of materials to find possibilities (Jones 1992). Selections of non-woven materials were divided into two groups; natural fibres and synthetics. With a good felting property by e g. needle punching or wet felting, wool was chosen also for its formability. The synthetics consisted of a mix of felts, tablecloth and inlay fabrics with different dimensions in thickness and technical properties. The practical experimental work (figure 12-13), was divided into three parts; moulding non-woven into 3D forms, flat structured surfaces and integrating surface patterns into non-woven. A decision was made to continue working on a specific synthetic inlay fabric due to its variety of different expressions. It showed an unexpected expanding property which could be further developed as a relief effect and when heat pressed the textile changed its property from soft to strong. The results of the wool samples had a rough surface texture and had a good formability when wet felted, but it was discarded due to the promising further development of synthetic inlay fabric.
Following summarise (figures 14-16), gives an overview of the used materials in the pre-study. The synthetics were heat tested in order to understand limitations and possibilities. The wool was carded, wet felted and needle punched. The needle punching sample lacked the possibility to form due to dryness and thickness.
Material exploration
Figure 14. Synthetic non-woven materials:
1A: Grey, synthetic inlay fabric for upholstery 2A: White, synthetic felt
3A: White, table felt
4A: Off-white, synthetic discarded due to availability 5A: White, polyester inlay/lining fabric,
Higher fibre content
6A: White, polyester inlay/lining fabric, Lower fibre content
Figure 15. Wool
1B: Leicester wool, carded
2B: Leicester wool, needle punched 3B: Leicester wool, wet felted
4B: Leicester wool on one side, green leftover Swedish wool on the back side
Needle punched
Figure 16. Synthetics heat tested at; 60°C-190°C, 1 min.
1A: Grey, synthetic inlay/lining fabric for upholstery, (Started to crimp at 140°C-160°C)
2A: White, synthetic felt, (Managed 190°C) 3A: White, table felt, (Managed 190°C) 5A: White, polyester inlay/lining fabric.
Higher fibre content. (Expanded and managed 190°C) 6A: White, polyester inlay/lining fabric.
Lower fibre content. (Expanded and managed 190°C) 1A 2A 3A
4A 5A 6A
1B 2B 3B
4B
6A 5A 3A
2A 1A
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Moulding and printing
The first moulding tests focused on limitations and possibilities with three dimensional moulding of the synthetic fabrics. The textile was placed in-between two metal forms, pressed by two pieces of wood and tighten with straps (figure 17). Placed in oven for 10 min.
in 150°C. The outcome was a various results; lack of evenness and heat sensitivity in material 1A (figure 18), lack of stiffness but yet good relief effects in materials 2A and 3A (figure 18), good balance between stiffness and softness and promising strong relief effects in material 5A (figure 18), material 6A (figure 18) showed a fragile and subtle relief effect.
Figure 17. Moulding process of synthetic fabrics.
1A
2A
3A
5A
6A
UNDER ABOVE
Figure 18. Overview of the first moulding results.
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Figure 19. Material 5A polyester inlay fabric. 22cm*6cm.
Figure 21. Material 5A, attached to a met- al cylinder form and tighten with straps.
Figure 20. Close up on material 5A polyester inlay.
Figure 27. Close up on the inside of material 5A polyseter inlay fabric.
Figure 25. Material 5A polyester inlay fabric. 22cm*5cm. Transferprint.
Figure 26. Close up on material 5A polyester inlay fabric.
Figure 22. Material 5A polyester inlay fabric. 23cm*6cm.
Pigment paste.
Figure 23. Close up, material 5A polyester inlay fabric.
Figure 24. The inside of mate- rial 5A polyester inlay fabric.
Another test, were the polyester inlay fabric was attached to a metal cylinder form by straps and then placed in oven for 15 minutes in 150°C, was also made in order to explore formability through self supporting form (figures 19-21).
Following images represents the results of the moulded polyester inlay fabric around a metal cylinder form, screen printed with pigment paste (figure 22-24) and/or transfer printed at 180°C for 60 seconds (figure 25-27.)
The outcome of the test showed that the polyester inlay fabric possessed a self mending property when the edges were placed next to each other. The material melted in the heat and cooled down after which made the material fuse the edges itself.
Screen printing on one side of the material responded well to both expansion and formability (figures 22-24).
The transfer printed sample changed its quality from soft to stiff when heat pressed. It absorbsed colour well and could be moulded into a three-dimensional form.
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Figure 29. Material 3A, table felt. Close up.
Figure 28. Material 3A, synthetic table felt.
16,5cm *15cm. Attached to a metal cylinder form and tighten with straps. Placed in oven for 15 min, 150°C.
To gain a wider variety of samples and results, the experimentation of the materials continued with a focus on understanding how they responded to patterning and flat structured relief by heat settings. Material 3A synthetic table felt, were attached to a metal cylinder form similar to figure 21, lacked formability but possess potentials of flat structured relief (figures 28-29.). Material 5A and 6A polyester inlay fabric was placed in between two metal forms (figure 30) and pressed with straps. The results were successful, due to a stiffness and even double sided relief (figures 31-36). The same procedure was tested again with the same materials, 5A and 6A, but with a surface pattern with a motive of circles in order to see how the relief would affect and change the aesthetics. It was transfer printed in 180°C in 1 min before on the textiles. This to see if the fabric still had a potential of being moulded into flat structured relief after being heat pressed before (figure 37) and how the relief affected the pattern. The results showed that it worked well, even and stiff double sided, printed textiles was the outcome (figures 38-44). The pattern was changing depending on which angle to see it from (figure 38 and 41).
Figure 30. Metal moulds, 10cm*10cm.
Figure 31. Material 5A polyester inlay fabric with higher fibre content. 14cm*15cm. Result of moulding, front side. Placed between two metal forms, tighten with straps. Placed in oven for 15 min, 150°C.
Figure 32. Material 5A polyester inlay fabric with higher fibre content. Result of moulding, back side.
Figure 33. Close up of the relief on material 5A.
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Figure 34. Material 6A polyester inlay fabric with lower fibre content. 15cm*15cm. Placed between two metal forms, tighten with straps. Placed in oven for 15 min, 150°C. Result of moulding, front side.
Figure 35. Material 6A polyester inlay fabric with lower fibre content. Result of moulding, back side.
Figure 37. Close up on the transfer printed textile material 5A being placed in between two metal moulds and tighten with straps. Same procedure for material 6A.
Figure 36. Close up of the relief on material 6A.
Slightly more translucent and not as stiff as the results of material 5A in figures x-x.
Figure 38. Material 5A polyester inlay fabric with higher fibre content. 11cm*12cm. Result of moulding, front side.
Figure 39. Material 5A., Result of moulding, back side.
Figure 40. Close up in profile of the relief on material 5A.
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Figure 41. Material 6A polyester inlay fabric with lower fibre content. 11cm*12cm. Result of moulding, front side.
Figure 42. Material 6A, result of moulding, back
side. Here the pattern emerges towards the back. Figure 43. Close up in profile of the back side on material 6A.
Figure 44. Material 6A, Close up in profile.
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Figure 47. Close up on material 1A.
Figure 49. Material 2A. Synthetic felt.
Back side.
Figure 46. Material 1A. Synthetic upholstery fabric. Back side.
Figure 50. Close up on material 2A.
There was a desire to have an overview of transfer printed samples in order to see how different all of the materials responded to colour. All the materials were heat transfer printed for 1 minute in 180°C. Material 1A synthetic inlay for upholstery crimped and the light colour did not appear, only the dark colour (figures 45-47). Material 2A a synthetic felt had a good and clear result of the print, the pattern is translucent on the back side (figures 48-50).
Figure 45. Material 1A. Synthetic upholstery fabric. 11cm*17cm. Front side.
Figure 48. Material 2A. Synthetic felt.
16cm*21cm. Front side.
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Figure 52. Material 3A, back side. Figure 55. Material 5A, back side.
Figure 51. Material 3A synthetic
table felt. 14,5cm*22cm. Front side. Figure 54. Material 5A polyester inlay fab-
ric with higher fibre content. 16cm*22cm.
Front side.
Figure 53. Close up on material 3A. Figure 56. Close up on material 5A.
Material 3A synthetic table felt, had an even and clear print (figures 51-53). The pattern slightly emerged on the backside (figure 52). Material 5A polyester inlay fabric got a little but stuck to the transfer printing paper like tape, while removing a fold was created (figure 54-55), the print was although good and clear (figure 56). This material becomes stiff when heat pressed but still have a flexible formability similar to thick paper.
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Figure 59. Close up on material 6A.
Figure 58. Material 6A, back side.
Figure 57. Material 6A polyester inlay fabric. 16cm*22cm. Front side.
Material 6A polyester inlay fabric, also had the problem of getting stuck to the transfer paper after printed. But it could be ripped off easily and still have a good and clear print (figure 57, 59), the back side shows the emerging pattern (figure 58). This material, similar to material 5A, gets stiff when heat pressed but due to lower fibre content it becomes slightly more flexible. That is also the reason for the printed pattern to emerge on the backside, it becomes more translucent.
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Figure 60. Leicester wool, uncarded. Figure 61. Carding. Figure 62. The wool, ready to be wet
felted. Figure 63. Wet felting with tepid water.
Figure 64. While wet, moulding forms
were placed under the wool. Figure 65. Moulding forms left to air dry. Figure 66. Result of wool moulding with
baking forms. Figure 67. Result of wool moulding with capsules.
Material and samples that were not chosen to develop further
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As an alternative to the synthetic materials, there was a parallel work that explored non-woven possibilities with Leicester wool (figure 60). The wool was carded (figure 61), wet felted and samples were made by creating relief while the wool were air drying (figures 62-63). Objects such as capsules and metal forms were placed underneath the wool in order to achieve relief (figures 64-67). Another test by attaching the wet felted wool to a metal cylinder form and tighten with straps, placed in oven for 15 minutes in 150°C, were made to achieve thinner relief (figures 68-72). The wool responded well to the forms but had a coarse expression and an unevenness when it came to fibre composition/placement of the fibres in wet felting so a decision was therefore made to narrow the work down to focus on the expanding property of the polyester inlay fabric.
Figure 68. Material 3B Leicester wool, attached to a
metal cylinder form, tighten with straps. Figure 69. Material 3B Leicester wool, close up in profile.
Figure 70. Material 3B, overview from above. Figure 71. Material 3B, reliefs on front side. 16cm*20cm. Figure 72. Material 3B, reliefs on the back side.
Material and samples that were not chosen to develop further
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3.2.2 Concept
When analysing the technical and material based samples from the pre-study, it was clear that the discovery of the reactions from the heat settings of polyester inlay fabric had potential to further develop. There were possibilities to explore the expanding and stiff properties in combination with pattern design. The initial idea of relief surface patterns was further developed to find design directions. The brainstorming resulted into three parts that would help the progression of the design process. 1. Ideas of interior textiles such as sound absorbers, wall coverings and room dividers, 2. Colouring potentials focusing on gradients in order to enhance the three-dimensionality of a relief, 3. Texture and surface pattern. This was further interpreted into workshops in order to start up the design process.
3.2.3 Gradients & Colours
The non-woven polyester fabric was hand painted with pigment paste to see if it would have an impact of the expanding property of the textile (figure 73). The result revealed that the expanding property decreased when too much paste was applied on the textile, therefore a decision was made to work with silk screens, gradients and halftones to reduce the amount of pigment paste. By doing this the paste would be also evenly applied to the surface. Another decision was to work with sublimation print because the lack of paste that dries onto the fibres and would not affect the expanding property. In order to gain basic knowledge and understand how a gradient aesthetically can affect a form, e.g a prism (figure 74), and give it volume a workshop was carried out. Four different gradient techniques were explored (figures 75-77).
Figure 74. Prism.
Figure 77. Angle gradient.
Figure 75. Linear gradient.
Figure 76. Radial gradients and inverted.
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Figure 73. Colouring tests with pigment ink on material 5A non-woven polyester showed that the expanding property of the fabric was decreasing when applying too much paste.
Figure 78. Prisms with linear gradient.
A B C D
E F G H
A B C D
E F G H
Figure 79. Prisms with radial gradients.
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A B C D
E F G H
Figure 80. Prisms with angle gradients.
A gradient has the potential to enhance a three-dimensional form and give it volume but in the same time decrease it depending on its placement on the form.
Figure 78G shows a dark base that has a lighter colour when approaching the top of the prism which gives the impression of a solid form with a heavy base. In figure 79A have a hollow illusion of the form while figure 79B is very flat. In the angle gradations (figure 80) another type of illusion is created, the angles deform the prism into the illusion of something else. This knowledge gave inspiration to colouring development of the three final pieces in this degree work. The chosen polyester inlay fabric can not expand properly if printed with too much pigment ink, therefore, a gradient was suitable for this degree work.
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To enhance the texture and three-dimensional effect of the non-woven polyester fabric, pigment paste was chosen as well as sublimation print due to promising results in the pre-study (figures 22, 25). This decision was also based on having two different printing techniques in the same project, in order to present halftone gradients in two ways of printing. In the search for the right colours, different combinations were tested and taken from a colour-chart created by the author (figure 81-85). The concept of the colours had emphasize on an analogous colour scheme which would create harmony in an interior context. The four colours that were used in the final works (figure 82) were decided in conjunction with the design work during the design process.
1
A B C
Figure 81. The initial colour-chart that was used to find colour combinations.
The marked, chosen colours were later translated into pigment paste and sublimation print.
D E F G WHITE
BLACK
2 3 4 5 6 7 8 9 10 11 12 13 14
Figure 82. Chosen colours for final designs.
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4.
COLOUR SWATCHES GRADIENTS MERGED GRADIENTS COLOUR SWATCHES GRADIENTS MERGED GRADIENTS
Figure 83. Analogous colour tests, green-yellow. Colours taken from the previous colour-chart in figure x.
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Figure 84. Analogous colour tests, yellow-red. Colours taken from the colour-chart.
COLOUR SWATCHES GRADIENTS MERGED GRADIENTS COLOUR SWATCHES GRADIENTS MERGED GRADIENTS
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Figure 85. Analogous colour tests, blue-green. Colours taken from the colour-chart.
COLOUR SWATCHES GRADIENTS MERGED GRADIENTS COLOUR SWATCHES GRADIENTS MERGED GRADIENTS
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The chosen colours for the final design work were blended and tested on the non-woven polyester fabric (figure 86) after a recipe made by the author (figure 87). It was decided that the yellow, orange and dark green colours would be printed in pigment paste and teal turquoise would be printed with sublimation print.
This due to the plan of presenting two printing techniques in the degree work in combination with heat moulding.
Figure 86. Chosen colours blended with pigment paste.
Figure 87. Recipe of the chosen colours in
pigment paste.
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3.2.4 Frottage
A B C D E
Figure 88. Frottages made on different sides of a grater.
This workshop focused on the frottage technique and was carried out in order to find textures that could be interpreted into textile relief surface patterns but also work as form inspiration (figures 88-97). After analysing the results, the following frottages were chosen; figure 88E, figure 93 and figure 97 as inspiration due to their different expressions, e g. in fragility, roughness and variety of symmetry.
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Figure 89. Frottage made on a patterned ceramic surface.
Figure 91. Frottage made on a rattan furniture. Figure 92. Frottage made on a wood-weave furniture.
Figure 90. Frottage made on a plastic mat.
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Figure 96. Frottage made on a stereo.
Figure 93. Frottage made on a metall sink.
Figure 97. Frottage made on a file.
Figure 94. Frottage made on a metal trash-can.
Figure 95. Frottage made on a crispbread.
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3.2.5 Development of final pieces
Piece no.1. Wall covering
The frottage made on a metal sink (figure 98) was chosen as an initial inspiration for the design of the first piece. The emerging grid-system, was interpreted into a square by the non-woven polyester fabric. In the material-sketch (figure 99), all of the edges were heat pressed and the results were a soft quality in the middle-part and stiffness in the edges, which created both a tactile and visual texture (figure 100). It was decided to stick with the form because it had potential to be repeated next to each other, similar to the grid-system in the frottage sketch. The development continued on with exploring colourings and gradients.
Figure 98. Chosen frottage, made on a metal sink.
Figure 99. Material sketch. Material 5A polyester inlay fabric has been placed in oven for 15 minutes in 150°C . Then each edge of the textile has been heat pressed in 1 minute at 150°C.
Figure 100. The square viewed in profile.
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In order to find a gradient composition that had the most three-dimensional expression, different kind of tests were done (figure 101-108). Suggestion B (figure 103) showed a dynamic illusion of three-dimensionality in depth and directions. It was there fore chosen to be developed as one of the final designs.
The idea of placing squares symmetrically next to each other was meant to emphasize the emerging patterns that were visible in diagonal angles.
Figure 101. Gradient tests; linear, radial and angle were tested to find three-dimensional expressions.
Figure 102. Suggestion A
Figure 103. Suggestion B
Figure 104. Suggestion C
Figure 105. Suggestion D
Figure 106. Suggestion E
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Figure 107. The chosen angle gradient in two variations and colour alternatives in purple-blue-green.
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Figure 108. The chosen angle gradient in two variations and colour alternatives in green-yellow-orange-red. It was decided to use the dark green colour due to a good enhancement of the three-dimensional effect which was the purpose. When comparing the two pattern-suggestions of the same gradation, it became clear that the first example had most three-dimensionality than the other one with a static and two-dimensional expression.
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A halftone exploration was carried out to see the visibility of the dots as a gradient when screen printed on the textile surface. The chosen halftone settings were from 8-18 lines per inch in the first green printed tests (figures 109, 111-114) and 22-30 lines per inch (figure 110) in the orange tests (figures 115-118) . They were printed and not fixated because the purpose was only to see the outcome of the print. The second tests were printed with orange pigment ink and later heat fixated in oven at 150°C in 15 minutes to see the combinated result of print and expansion. The conclusions of this study was that the dots were visible on the textile but since the surface is so uneven and irregular because of the fibres the results are unique. Each print will have an individual appearance. The halftone with 22 lines per inch was enough for a smooth gradient rather than going for less amount of lines per inch since those dots pops out more individually. It was decided to use the squeegee two times when printing for enough colour spread. The overall results were promising and had a intriguing texture when looking at the samples close ups.
Figure 109. Gradations in halftones. Circle raster in 18-8 lines per inch, 45° angle.
LINES PER INCH
18 16 14 12 10 8
LINES PER INCH
30 28 26 24 22
Figure 110. Gradations in halftones. Circle raster in 30-22 lines per inch, 45° angle.
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Figure 111. Printed gradations in halftones. 18-8 lines per inch.
Figure 113. Printed gradations in halftones. 18-8 lines per inch.
Figure 112. Close up.
Figure 114. Close up.
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Figure 116. Close up.
Figure 118. Close up on heat fixated sample.
Figure 117. Heat fixated in oven at 150°C in 15 minutes.
Figure 115. Printed gradations in halftones. 30-22 lines per inch.
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Figure 120. The squares are attached on a cardboard with pegs around the edges to
prevent shrinkage. The pieces are then heat fixated in oven at 150°C in 15 minutes. Figure 121. The edges of the squares are heat pressed manually by hand at 180°C in 1 minute and then cut with scissor.
Figure 119. The chosen motif screen printed with a halftone, 22 lines per inch.
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The printing and heat pressing process (figures 119-121).
The construction idea for the wall covering piece (figure 122-123) was based on a repeated wooden cross system (figure 124) that served as a shelf system for each square. This was due to the surface pattern and squares that were continuous.
Figure 124. Technical specifications for the wood constructed shelf system.
100 mm
100 mm 15 mm
FRONT BACK
5 mm
15 mm
10 mm PROFILE
MATERIAL:
Oak Figure 122. Digital overview of the shelf system. Figure 123. Close up.
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3.2.5 Development of final pieces
Figure 126.
Chosen frottage.
Figure 125.
Digital Sketch.
Figure 127. Turning the sketch into a repeated pattern.
Figure 129. Removing the straight edges and rotating the motive creates a more dynamic three-dimensional pattern and adds movement into the motif.
Piece no.2. Room divider
An initial, digital sketch (figure 125) inspired from the frottage (figure 126) was made and then repeated into a pattern (figure 127-129). To see how a gradient could enhance and create three-dimensionality of the two-dimensional sketch a workshop was carried out (figures 130-138).
Figure 128. Applying gradations in order to enhance the three- dimensionality of the pattern.
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1
2
3
4
5
6
Figure 130. Linear gradation. Every second row, vertical no. 1
and horizontal no. 2 , have a contrasting gradation. Figure 131. Linear gradation. Every second row, vertical no. 3
and horizontal no. 4, have a contrasting gradation. Figure 132. Linear gradation. Every second row, vertical no. 5 and horizontal no. 6, have a contrasting gradation.
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7
8
9
10
Figure 133. Linear gradation. Every second row, vertical no. 7
and horizontal no.8, have a contrasting gradation. Figure 134. Linear gradation. Every second row, vertical no. 9 and horizontal no. 10, have a contrasting gradation.
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11
12
Figure 135. Radial gradation. Same gradation repeated up side down. Vertical no.11 and horizontal no. 12.
13
14
15
16
Figure 136. Radial gradation. Same gradation repeated up
side down. Vertical no.13 and horizontal no. 14. Figure 137. Radial gradation. Same gradation repeated up side down. Vertical no.15 and horizontal no. 16.
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17
18
Figure 138. Radial gradation. Same gradation repeated up side down. Vertical no.17 and horizontal no. 18.
After analysing the gradation tests, it was decided to develop a design from the linear gradient in figure 133. This due to a vibrant three-dimensionality rather than the radial gradients that had a static expression. Digital colour tests (figure 139) were made in order to see how it would affect the pattern. High value colours decreased the three-dimensionality, while low value and high saturated colours enhanced the three-dimensionality.
Figure 139. Overview on how colour affect the three-dimensionaltity of the chosen pattern.
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Material sketches (figure 140-144). Exploring the most suitable moulding technique with card board. The tests has been placed in oven for 15 minutes in 150°C.
Figure 140. Moulding 1. Card board cut-outs used as moulding forms. The textile is placed on top of the forms and then pressed.
Figure 141. Result from moulding 1. One sided, uneven.
Card board forms were placed too close to each other. Figure 143. Result from moulding 2.
Good relief patterning. Figure 144. Close up on moulding result no.2.
Figure 142. Moulding 2. Card board cut-outs placed on both sides, attached with small pins.
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Figure 145. Sublimation print. Colour-tests in gradations and halftones in order to find the right one. 180°C heat pressed in 1 min.
Halftones in 30 lines per inch Gradations
Halftones in 30 lines per inch Gradations
Figure 146. Sublimation print. Colour-tests in order to find the right one. 180°C heat pressed in 1 min. The chosen colour for the final design was found, hex-code #006e65.
<--- Halftones, 30 lines per inch
<--- Colour swatches
<--- Halftones, 30 lines per inch
<--- Colour swatches
Figure 147. Sublimation print. Halftone print, 22 lines per inch, 45° angle.
Figure 148. Sublimation print. Halftone print, 30 lines per inch, 45° angle. This was chosen as the final setting for the final printing due to the need of more halftone so that the
translucency is reduced.
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Sublimation printing process of finding the right colour (figure 145-148).
Figure 149. The sublimation print was printed and then all cut by hand that later would be attached to the cardboard cut-outs.
Figure 150. The cardboard forms were laser cut, then polished before use due to dirt/ashes from the burned edges.
Figure 151. The cardboard forms were attached to front and backside with the sublimation paper. They were aligned with pins.
Figure 153. The textile was placed horizontal on a metal grid on a cart. Fixated in oven for 15 min in 180° C.
Figure 152. Cardboards attached to the fabric.
After finding the right colour, it was time to print out the pattern on the sublimation printer (figure 149) and laser cut the cardboard forms (figure 150). The paper and cardboard forms were attached to each other on front and back side with three pins (figure 151-152) which held them together and created pressure in order to prevent the fabric to expand when heat fixated in oven (figure 153). After it cooled down it was possible to remove the pins, cardboard and paper (figure 154).
Figure 154. After heat fixating, the cardboards were removed.
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3,5 cm
2,5 cm 67 cm
Figure 155. Wood details specifications.
MATERIAL:
Oak
Figure 156. Digital sketch.
The assembly construction is similar to piece no.1 - the wall covering. Two oak-lists are placed in the top and the bottom as finishing details (figure 155-156). The edges of the textile has been cut and follows the wavy curves on the edges of right and left.
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3.2.5 Development of final pieces
Piece no.3. Sound absorber
Figure 158. Polyester non-woven fabric attached to a metal net, placed in oven for the texture to expand.
Figure 159. Result of texture. Figure 160. Texture and form.
Figure 161. Texture and form close-up.
Figure 157.
Chosen frottage, made on a grater.
For the third piece that would serve as a sound absorber, a frottage was chosen for its repeated structure and irregular strokes from pencil (figure 157). Material-sketches with relief patterning and three-dimensional form (figures 158-161) were made with the intention of mimicking the expression of the repeated shapes in the frottage. The form-sketch had the potential to be developed further but it was decided to go back to the frottage-sketch and rethink the concept of the third piece in order to make it fit in to the rest of the collection.
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Figure 163. The repeated pattern report, edited and coloured.
Figure 162. First sketch of a seamless report, for a repeated pattern inspired by the frottage.
Figure 164. Material sketch, plain weave, heat fixated in oven.
Figure 165. Material sketch, digital applica- tion of the pattern.
The previous wall covering and room divider in this project had an controlling and symmetrical expressions in their outcomes. In the third piece there was a need of having a asymmetrical expression that was meeting the symmetrical in order for all of the pieces to be coherent in the collection together. It was necessary to find the balance in the third piece.
The frottage (figure 157) was taken as an inspiration for an abstract, seamless surface pattern (figure 162) due to its unevenness in the pencil strokes. It was then edited and coloured with the chosen colours from the colour-scheme (figure 163). When analysing the frottage it was decided to use the repeated structure as a inspiration for the textile. The self-mending property that was discovered in the pre-study was taken into consideration in this stage. The grid-system was interpreted into a material-sketch, stripes were cut out and woven into a plain weave, after heat fixating the textiles, the edges self-mended its edges (figure 164). A digital sketch, were the surface pattern was applied on the woven textile structure, was made in order to get an idea of the outcome (figure 165).
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It was necessary to screen print with pigment paste because of the intention of making the textile expand and create structure within the plain weave and pattern.
The surface pattern was colour-separated into orange and yellow (figure 166). To enhance the texture of the surface and pattern, a halftone with 30 lines per inch were used in both of the printed colours (figure 167). The measurements of the final piece was limited to the size of the oven so it was decided to 72cm*113cm, each stripe was 4 cm wide. The stripes were woven in plain weave, into a rectangle and then screen printed (figures 168-174).
Figure 166. Screen printing pattern reports, colour-separation of yellow and orange.
Figure 168. The polyester non-woven fabric was cut into stripes and woven into plain weave before screen printing.
Figure 167. Close-up on the 30 lines per inch halftone that were used in both of the printed colours.
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Figure 169. Screen printing process, close-up.
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Figure 170. Finished print made on both sides of the textile. Figure 171. Close-up on the finished, printed
textile. Figure 172. The textile was placed horizontal on a metal grid on a cart.
Heat fixated in oven for 160°C in 15 minutes.
Figure 173. The result of heat fixating in oven showed good expansion Figure 174. Close-up on the result.
4.1 Result
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This project resulted in a collection of three textile pieces with individual three-dimensional properties such as a wall covering, room divider and a sound absorber with the intention to be placed in an interior context (figure 175).
Figure 175. The final collection.
Piece no. 1 Wall covering (figures 176-177)
Measurements: 120cm x 120cm, (each square; 30cm x 30cm) Moulding technique: Heat pressed edges
Printing technique: Screen printing Colour: Green
Other: Wood-cross details in oak
Figure 176. Close-up on piece no.1 wall covering.
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Figure 177. Wall covering.
Piece no. 2 Room divider (figures 178-179)
Measurements: 120cm x 67cm
Moulding technique: Heat setting in oven with cut-out cardboard forms
Printing technique: Sublimation print Colour: Green-Turqouise
Other: Two wood details in oak on the top and bottom
Figure 178. Close-up on piece no.2 room divider. Figure 179. Room divider.
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Piece no. 3 Sound absorber (figures 180-181)
Measurements: 72cm x 113cm
Moulding technique: Heat setting in oven, a weave with self-mending edges
Printing technique: Screen printing Colour: Yellow and orange
Other: 2 coloured screen print
Figure 180. Close-up on piece no.3 sound absorber.
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Figure 181. Sound absorber.
4.2 Presentation exhibition
All three pieces in the collection are intended to be placed in an interior context but in three different ways due to their different purposes. When the pieces are meant to be exposed in an exhibition, they will be placed in such way that they are accessible to examine and observe for a closer look (figure 182).
The first piece, the green wall covering will be attached to a wall or a background where the whole piece can be connected to. It is possible to view it from afar, then the dynamic pattern will be very visible. If the piece is placed in a more accessible way, in a room on the wall, where people could come closer to the piece, then it would be possible to discover the subtle textures and the reliefs. It is important that the light sources spread light on the front, as well from the sides, close to the piece, so that the relief edges cast a vague shadow and enhance the three-dimensionality of the design. The wood-cross details serves as a shelf system which is mounted to the wall, where each separate textile square can be placed on the wall in requested amount and over all size of the whole piece, depending on the size of the wall.
The second piece, room divider, is intended to be hung from the ceiling in wires so that it is possible to view the piece in eye-level, this due to its purpose of serving as a space divider. It can be placed close to a lounge area or wherever people wants to limit the insight of others to create a personal sphere of focus, and reduce the amount of impressions around in the space. The room divider has a double-sidedness with the same pattern and texture on front and backside which means that it has not any side that are dominant to be taken into consideration when it is being hung. The light sources will need to come from above to enhance the texture of the piece, also spreading the light on front and backside. It is placed close to the viewer/user so that it is possible to observe the three-dimensional, structured surface.
The third piece, with the intention of being a prototype as a sound absorber on walls and/or ceilings could also be modular in smaller sizes, will be placed either directly in the ceiling or from wires in requested heights. It has a potential to also be attached to a wall. It will be observed from below or front, and can be placed in a office landscape, public spaces etc. as decorative textiles and reduce noise and sounds. The piece will not need light from above if placed in a ceiling but it is important to have light sources from the sides and in front of the piece, depending on its placement in a spatial context. This with the intention to make the texture as visible as possible.
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Figure 182. The final collection exhibited.
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4.3 Conclusion
This design work has explored alternative aesthetic expressions to a non-woven polyester fabric by combining heat moulding, screen print and sublimation print techniques. This resulted in a variety of textural expressions that was merged and interpreted into textiles with three- dimensional properties.
The non-woven polyester fabric was important due to the discovery of its expanding property when exposed to heat. In addition to this, the contrast of softness and stiffness when manipulating the fabric with heat was emphasized. To use frottage as an inspiration for design in this project was successful. There were possibilities to take both aesthetic and constructional inspiration into the final designs.
In piece 1, the wall covering, a stability and stiffness was created in each square when heat pressing the edges of the textile. The middle-area stayed in its soft, original quality. The choice of using pigment ink and screen printing on the fabric worked well but had partially unpredictable outcomes.
When it came to printing the halftone with dots on a irregular fibre surface and how many times the squeegee was used to apply the pigment ink.
In piece 2, the room divider, a double sidedness was achieved by using the method of using card board when heat moulding the fabric. By doing this a chosen pattern could be laser cut and applied by hand onto the fabric in a specific way and attached with small pins. It was important to have the cut out card board forms not too close to each other in order to maximize the expanding property.
By taking the self-mending property into consideration, it was possible to create a stiff plain weave, in piece 3, that had a double sidedness. To print a seamless surface pattern on the coarse, plain weave was successful due to an adaptation of the pattern. Because of the size of each square in the plain weave it was possible for the pigment paste to be visible and give an overview of the repeated pattern.
Similar to Bas Froons project; The Future is local: micromoulding machine &
soft biocomposites (figures x-x), where he worked with non-wovens in natural fibres and moulded structured patterns, this degree work has suggested and created three-dimensional structured patterns on a synthetic non- woven textile. This was successfully combined with the screen printing and sublimation printing technique.
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4.4 Discussion
This degree work showed that it was possible to suggest alternative purposes for a textile that served as a functional lining into interior textiles with three-dimensional properties. This was made by using heat moulding techniques as a method of manipulating the quality/structure of the fabric.
A suggestion for further development of this work is to explore the balance between softness and stiffness through form. The work had a primary focus on three-dimensionality as textured surfaces in combination with printing.
In the pre-study there was a discovery of a self-standing property of the non-woven polyester fabric that was not developed further. There are possibilities to investigate scale, from small to large in order to see how the textile reacts. It would be of importance to understand where to manipulate the fabric to make it self standing or constructionally durable for it to last.
The moulding opportunities could be further developed and advanced if having access to a 3D-printer that could create moulding forms. Then it would be possible to print a form with depths and curves, with the potential to design three-dimensional self-standing forms. Which in turn could result in e.g. furnitures or sculptural pieces in a spatial context considering the stiffness of the material. To use a 3D printer could also open up possibilities for an advancement in surface pattern design that includes depths and curves, as mentioned above.
Since the process of attaching the cardboard forms are time-consuming there could be a solution to simplify and build a moulding form that includes all of the forms into one. By having the right pressure and distance between the chosen areas to mould and enough space for the textile to expand, there are potential to develop prototypes further.
The material itself could also be further investigated, to use non-woven fabrics that are thinner, thicker or other fibre contents, such as synthetic left-overs from production in the industry and/or recycled polyester. This degree work focused on a heat reacting property with focus on expansion, but an alternative to this could be to mould with natural fibres instead of synthetics e.g. wool. As seen in the pre-study, wool showed a promising
result of flat structured relief surface. A new method would be needed, in order to suit both the aim of the research and how the fibres/
material should be handled, e.g. wet moulding of wool that is fixated by air-drying. A possible printing technique could be to print with acid dyes.
Depending on the function of a textile it would be possible to choose; either natural or synthetic fibres.
The work has used mono-material, non-woven polyester, which makes the recycling process easier. The wood details in the designs are easily removed from the pieces.
The pre-study was of utter importance when it came to the development of the design work. Without the thorough exploration of finding limitations and possibilities of the non-woven material samples early on in the process the discoveries of an expanding property would not have been found.
It was a good process of getting-to-know the materials in the pre-study by doing heat and printing tests to understand how to find and take advantage of properties that could be interpreted into an alternative design aesthetic.
In this degree work, the printing techniques were narrowed down to sublimation print and screen printing, this could be widen again by using print plus techniques such as foil printing, puff paste, coatings etc. Alternative textures, together with our without moulding, would be the result.
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5.1 References
Baux. (2020). Baux Acoustic Wood Wool panels. https://www.baux.se/acoustic-wood-wool-panels/ [2020-05-23]
Briggs-Goode, A. & Townsend, K. (2011). Textiledesign: Principles, advances and applications. Cambridge: Woodhead Publishing.
Kim, C.-I. (2019a). Free grid. http://chungimkim.com/free-grid [2020-05-27]
Das, T. (2009). Surface design of fabrics for interior textiles. T. Rowe. ed. Interior Textiles, Design and Developments. Cambridge:Woodhead. pp.91-118.
https://doi.org/10.1533/9781845696870.1.91
Dijkgraaf, D. (2018) In4nite II: Graphic Interplay. https://www.danadijkgraaf.nl/projects/in4nite-ii-graphic-interplay/ [2020-05-31]
Froon, B. (2018a). The Future is local: micromoulding machine & soft biocomposites. https://basfroon.nl/furniture/salone2018/ [2020-05-16]
Ingham, J. (2016). Texture. The Bloomsbury Encyclopedia of Design vol.3. https://www-bloomsburydesignlibrary-com.lib.costello.pub.hb.se/encyclopedia- chapter?docid=b-9781472596154&tocid=b-9781472596154-BED-T020&st=texture DOI: 10.5040/9781472596154-BED-T020
Kane, F. (2010). Nonwoven textiles for residential and commercial interiors. R. A Chapman. ed. Applications of nonwovens in technical textiles. Boca Raton:CRC Press. pp. 136-159.
Kyyrö Quinn, A. (2018). Intro. http://www.annekyyroquinn.com/about/intro/ [2020-05-16]
Loy, Tiffany. (2013b). The Emboss Machine. https://tiffanyloy.com/The-Emboss-Machine [2020-05-16]
Russell, S. J. (2007). Handbook of nonwovens. Cambridge: Woodhead Publishing.
van Veldhoven, E. (N.Db) Velvet print. https://eugenevanveldhoven.nl/?nk_project=velvet-print [2020-05-23]
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5.2 Table of figures
Figure 9
van Veldhoven, E. (N.Da) Velvet print [photograph].
https://eugenevanveldhoven.nl/?nk_project=velvet-print [2020-05-23]
Figure 10
Margulis, J. (2019) Displaced Illusion II. [photograph].
https://www.jmargulis.com/slide [2020-05-31]
Figure 11-174
Photo: Malin Hansson Figure 175-182
Photo: Daniela Ferro Front page image
Photo: Malin Hansson
Representative images of work Photo: Daniela Ferro
Figure 1-2
Froon, B. (2018b). N.N. [photograph].
https://basfroon.nl/furniture/salone2018/ [2020-05-16]
Froon, B. (2018c). N.N. [photograph].
https://basfroon.nl/furniture/salone2018/ [2020-05-16]
Figure 3
Kyyrö Quinn, A. (N.Da). Loop [photograph].
http://www.annekyyroquinn.com/2015/03/loop/ [2020-05-16]
Figure 4
Kemnitz, E. (N.D). Baux Acoustic Wood Wool Panels [photograph].
https://www.baux.se/acoustic-case/factory-berlin/ [2020-05-23]
Figure 5
Kim, C.-I. (2019b). Skeleton [photograph].
http://chungimkim.com/free-grid [2020-05-26]
Figure 6-7
Medo, B. (2018a). Graphic Interplay [photograph].
https://www.danadijkgraaf.nl/projects/in4nite-ii-graphic-interplay/
[2020-05-31]
Medo, B. (2018b). Graphic Interplay [photograph].
https://www.danadijkgraaf.nl/projects/in4nite-ii-graphic-interplay/
[2020-05-31]
Figure 8
Loy, Tiffany. (2013a). The Emboss Machine [photograph].
https://tiffanyloy.com/The-Emboss-Machine [2020-05-16]
