Body based patterns.
The human body as a tool for designing surface patterns
Moa Ingvarsdotter Hansson
Bachelor of Fine Arts in Textile Design
Degree work number: 2020.4.05
Date: 28-08-2020
DEGREE WORK
Bachelor of Fine Arts, Textile Design The Swedish School of Textiles Borås, Sweden
TITLE
Body based patterns.
The human body as a tool for designing surface patterns
AUTHOR
Moa Ingvarsdotter Hansson
DEGREE WORK NUMBER
2020.4.05
DATE 28-08-2020
SUPERVISORS
Marjan Kooroshnia
OPPONENT
Clare Johnston
CLASS OPPONENT
Kajsa Asp
EXAMINER
Delia Dumitrescu
Table of content
1.1 Representative images of work...4
1.2 Abstract...8
1.3 Keywords...8
2.1 Introduction to the field...9
2.2 Motive and idea discussion...10
2.3 Aim...12
3.1 Design method ...13
3.2 Developmentof piece 01...14
3.2.1 Workshop body and shadow...14
3.2.2 Workshop body and shadow 2...15
3.2.3 Pattern workshop...17
3.2.4 Motif workshop...19
3.3 Development of piece 02...23
3.3.1 Investigation space...23
3.3.2 Investigation personal zone...25
3.3.3 Merge space and zone...27
3.3.4 Motif investigation...29
3.3.5 Outline Investigation...30
3.3.6 Pattern Investigation...32
3.4 Development of piece 03...36
3.4.1 Tape sketching...36
3.4.2 Pattern workshop 1...37
3.4.3 Spatial gradiation workshop...38
3.4.4 Pattern workshop 2...39
3.5 Development of collection...43
3.5.1 Color...43
3.5.2 Test print color/material...46
4.1 Result...49
4.2 Presentation...53
4.3 Conclusion...54
4.4 Discussion...55
5.1 References...56
5.2 Images...56
1.1 Representative images of work
Fig.3 Piece 01, detail picture
Fig.5 Piece 02, detail picture
Fig.7 Piece 03, detail picture
1.2 Abstract
1.3 Keywords
This degree work places itself in the field of textile design, surface patterns and conceptual design. The aim of the work is to use the human body as a tool for designing conceptual surface patterns onto textiles. The methods of designing were done through practical workshops. Examples of workshops is shadow workshop, motif workshop and pattern workshop. For each workshop appropriate rules was decided based on analizis of preveous workshops.
The outcome could be presented as two types of results; firstly, a design method for generating surface patterns, and secondly, heat transfer printed textiles that prove the validity of the method. The work
proposes an alternative approach for inspiration to designing surface patterns.
Textile design, design method, conceptual design, surface patterns, body
2.1 Introduction to the field
In the field of textile design, surface patterns has a fundamental and
established function. Surface patterns is often used as a decorative addition to a fabric, usually seen in interior- and fashion design.
Yves Klein made the performance art project ”Untitled Anthropometry” (1960) using naked female bodies as ”human paint brushes”. The female models was painted blue and laid down on white canvases and made imprints of their bodies while moving to Klein’s ‘Monotone Symphony’ (Fig.8). In a similar way Butler/Lindgård made the project ”Traces” (2017) where a conceptual method have been used to develop print on fabric. The textile is the result of a
choreographed dance and movement experiment, where their bodies and movements made the pattern on the fabric (Fig.9). In both ”Traces” and
”Untitled Anthropometry” the human body is used as a way of applying the print medium on a surface to create a surface print.
Another way of working with the human body as a tool to create design is to use the body as inspiration. The project ”The Flesch Chair” (2014) by
Nanna Kiil, the source of inspiration was the skin of an overweight human body (Fig.10). Kiil wanted to work with that aesthetic and charge it with positive energy, instead of the usually perception that fat is something ugly and bad. Satomi Minoshima worked similar to Kiil in her degree work ”Skin Tote” (2019). Minoshima used photos of humans with different skin tones in different poses, and translated the pictures in to bags (Fig.11). She claims that the human skin function as a container, just like a bag that contains the essen- ce of what is considered necessary (Ibid.).
In the project ”Body of movement” (2017) Linnea Bågander explores the body in relation to movement and questions the boarders of the body. She approaches the subject from the angle of dance, choreography and fashion design. The result of Båganders project is a suggestion that the dress create a new body of movement (Fig.12).
Fig.9 Butler/Lindegård, Traces, 2017 Fig.8 Yves Klein, Untitled
Anthropometry, 1960
Fig.10 Nanna Kiil, Flesch Chair, 2014
Fig.11 Satomi Minoshimas, Skin Tote, 2019
Fig.12 Linnea Bågander, Body of movement, 2017
2.2 Motive and Idea discussion
This design work derives from an interest in exploring ways a body can be used as a tool to create conceptual surface patterns.
Droog is a conceptual Dutch design company that find inspiration in reused industrial materials and fabricated objects. One of Droogs most famous objects is the ”Rag Chair” (1991). It is a chair that is constructed from 15 bags of rags, the design is made so that the owner of the chair have the opportunity to recycle its own old discarded clothes to be included in the design (Fig.13).
Jacob Dahlgren works in a conceptual way as a designer and artist, and uses prefabricated objects to create his designs. Dahlgren is often striving for interaction with the viever in his works. In Dahlgrens exhibition ”I, The world, Things, Life” (2019) he displayed a big wall covered in over a thousand black and white dartboards (Fig.14). Darts was placed in a box right next to the wall and the viewers was invited to throw the darts on the dartboards, and in that way become a part of the design.
The design studio We makes carpets make site specific design installations of everyday objects. The objects, colors and sizes of the installations are always related to the country or region where the installation is made. The studio works simultaneously on the installations and never discuss the end goal or result while working. Instead they respond to each others patterns. ”Crepe paper carpet” (2018) is an installation made for the Moody Center for the Arts in Houston, Texas, USA (Fig.15). The use of crepe paper is inspired by the many shops that sells piñatas in Houston. ”Velcro Carpet” (2017) is a part of the exhibition Hands on at the National Gallery of Victoria in Melbourne, Australia. The exhibition consist of different installations that is meant to interact with (Fig.16). The top part of the ”Velcro carpet” is made by the design studio, while the lower part only consist of a template witch the viewer it self could continue to build the pattern.
Fig.13 Droog, Rag chair, 1991
Fig.15 We make carpets, Crepe paper
carpet, 2018 Fig.16 We make carpets, Velcro carpet, 2017
Fig.14 Jakob Dahlgren, I, The world, Things,Life, dartboard, 2019
Fig.17 Saldo, Blind, 2005
The design studio Saldo have a specific approach of how to design surface patterns. They have a foundation in philosophy and science research and their surface patterns designs are perceived as conceptual.
Saldo’s intention is that the pattern should carry a story that is not visible at first glance, but when you know the story it will add a dimension to the pattern (Häggblom 2007). In the pattern ’Blind’ (2005), braille is printed with puff paste on a shiny, yellow fabric (fig.17). The text is about how different authors interprets the colour yellow. Only viewers that read braille know exactly what is written. In their work every piece of the design has a meaning and several dimensions. However, Saldo collected the ideas to the surface patterns in philosophy and science, this project intends to use the human body as inspiration and starting point.
In both Droog and Dahlgrens projects, human body are involved but mostly in terms of interaction with the pieces through using human body.
Dahlgrens installation with the dart board could be recognizable as a kind of pattern design in the way it is arranged on the wall. This degree work, use human body movement as a tool in design process to design surface patterns.
The installations made by We make carpets has strong connection to surface patterns, especially because they work with repeats and in some installations they work with textile materials.Their designs are dealing with repetitive elements, often in a symmetric, mirrored manner, using the means of geometry to build the carpets. This is similar to this project, which intends to make repeated surface patterns printed on fabrics.
The majority of the research carried out with a conceptual approach is often used in the field of art installations rather than in the field of textile design. In this work the conceptual methods are developed and
inspired by the human body and placed in the context of pattern design for textiles.
The main motivation of this project has its foundation in a curiosity of what the body can offer as design a tool and starting point for
designing surface patterns. As mentioned above, there are several examples of using the human body as inspiration in different ways.
However, due to a personal interest, there was a wonder how it could be possible to push this one (or two) steps forward, and brining the body as means and method in surface pattern design.
2.3. Aim
The aim for this degree work is to use the human body as a tool for designing conceptual surface patterns onto textiles.
3.1 Design method
This project is based on an exploration of how to use the human body as a design tool and how to combine them in surface pattern design. The sketching with the body are done through practice; hands-on in the actual scale, to fully understand how the result will turn out (Koskinen, 2011). The method and structure for this study is based on Jones (1992) 3 stages:
divergence, transformation and convergence. Breaking the ‘problem’ to pieces, putting the pieces together in a new way, and find out how this new arrangement influence a design proposal.
During this project there has been many cycles of these stages, moving back and forth between computer programs, workshops and evaluation.
Then back to the computer to change something, and start the cycle all over again, until methods and techniques have been tested thoroughly.
Research: based on the aim, visual and written references was found.
Limitations: Decisions of the limitations was necessary to decide in an early stage, as a help to narrow down the project. The first limitation is that body in this project is the body of the author. The second limitation is that only heat transfer print is used as printing techiqe.
Pathways: Three pathways was decided from a early stadge of the project and was decided based on its variation handeling different approaches of the body. The pathways is the shadow of the body, the space around the body and the trace go the body.
Experiment: The outcome of the work is three design examples.
Various experimental workshops was implemented in paralell to each other to keep pushing the work forward. Workshops that was
conducted concerned explorations of shadow, motif and patterns. For each workshop appropriate rules was decided based on analysis from preveous workshops.
Analysis and Decisions: analyses were done after each workshop, to evaluate and define how the next workshop would be formulated.
Test print: Test prints was made to decide colors and materials.
Produce final pieces: The final pieces were produced in a heat transfer printer.
Note: Tansfer print was chosen as printing techniqe because it have a low environmental impact due to no water usage, lower production cost, and elimination of some chemical waste (Kadolph 2014). The issuses with prin- ting with screen print for instance is that the usage of whater is so high.
3.2 Development of piece 01
3.2.1 Workshop body and shadow 1
No clear guidelines were decided for the first workshop ”body and shadow”. The body was allowed to move without
restrictions in front of the camera. The camera and the light source were fixated in one place during the whole
photoshooting session.
After the photoshoot the photos were assembled in
chronological order to easier analyze the shoot (Fig.18). The analyzis did bring four different categories of shapes in the pictures (Fig.19.).
Closed gap forms (red): the forms wich is closed in the sha dows.
Forms between body and shadow (green): the form that
appears in some pictures when the body and the shadow does not overlap.
The form of the shadow (white): in some pictures separated from the body, and in some pictures partly hitten behind the body.
The form of the body (black): in some pictures separated from the shadow, and in some pictures partly infront of the shadow The shapes that occurred was recognizable as human shapes, it was very clear in some pictures that the head, arms and legs were discernible. The conclusion of this workshop was that a second similar workshop needed to be implemented to refine the forms.
Fig.18 Body and shadow worsksop, essambled pictures.
Fig.19 Body and shadow worsksop, analyze.
01 have a focus on the body and shadow. The reason for this is that the shadow is an imprint of the body that is constantly chancing depending on where the light hits the body as well as body movement.
A second workshop was formulated. ”Body and shadow workshop 2”. Some rules were defined, the body was suposed to stay in one pose for several photos, when the light was moving. In this way new or non-recognizable forms (shadow forms) were generated.
Fig.20 Body and shadow worsksop 2, essambled photos.
3.2.2 Woskshop body and shadow 2
Fig.21 Body and shadow worsksop 2, analyze.
After the photoshoot the photos were assembled in the same way as the first workshop. In this analyzis the focus was on the body, the shadow, the floor and the wall of the room. With these guidelines, other
shapes did appear. The shapes were more forms and less ”human”. A conclusion was that the body and shadow in it self had a very strong expression, and were not in need of the surrounding shapes (wall and floor).
Fig.26 Body and shadow shapes whithout wall and floor. Fig.27-30 Pattern repeats linear in vertical direction, movement of the shadow. With wall and floor shapes.
Fig.22-25 Pattern repeats linear in horisontal direction, movement of the shadow.
The analysis was analog and turned in to a digital format, the shapes of the floor and wall were cut out. In this way the body and the shadow were clearly appearing as shapes of their own.
Various pattern sketches were made, to find a motif for the surface pattern. The first sketches had a focus on the linear movement in the body and shadows, the idea here was to show the movement of the shadows (Fig.22-25).
Active space of the motif was investigated through individual subdivisions which interacts with other units (Fig.31-32).
The photostrip-composition was a natural way of assemble the sketches to get a quick and easy overview of the sketches and also provided a dynamic pattern composition.
3.2.3 Pattern workshop
Fig.31 Active space investigation of individual subdivisions. Fig.32 Active space investigation of individual subdivisions. Repeat.
It was decided that one more workshop was needed to define the motif and unit of the pattern. The workshop was called ”Motif Workshop” and it was formulated in a way that there was no chance to determine the end result. 24 different shapes was randomly picked from (fig.26), the only rule was that these 24 shapes was not supposed to look similar. Each shape was printed out in three different sizes, to be able to find a good dynamic. In total 72 shapes.
All the 72 shapes were cut out and mixed in to a pile. A white A3 paper was chosen to be the background and act like a frame for the shapes. Different composition were created, mixed shapes was randomly picked and placed on the A3 paper. The paper was then shaken for a few seconds in order to move the shapes without restrictions and a photo was taken. Then the paper was shaken again, and a photo was taken... and so on. Until there was no shapes left on the paper. The only controlled rule was that the shapes were not supposed to overlap.
Three compositions were selected based on a good distribution of positive and negative spaces and visual expressions (fig.33-35). Then the three samples were cut into 16 pieces to easier define separate units (fig.36-39).
Fig.33-35 Three Selected pictures.
Fig.36-39 Selected pictures cut in to 16 pieces, and motifs of special interest chosen.
3.2.4 Motif Workshop
Fig.40-45 Three units was chosen out of (fig.36-39), the choice of the motifs was based on composition and space around the shapes.
Each motif was duplicated and colored one with white background and one with black background in order to highlight different areas whit in the motifs.
Fig.47-58 The units placed in the grid system, in two different scales.
Fig.46 In order to relate the movement in the photos in (fig.20), a grid was made and the motifs was placed in the grid.
Fig.59-60 Final pattern, chosen because of the strong movement in the repeat. The
measurement of the repeat is 75x102 cm. Shown on the right hand side the repeated pattern on the intended measurement of the fabric 150x300 cm.
3.3 Development of piece 02
3.3.1 Investigation of space
The first investigation was based on what kind of spaces that surrounds the body and what movement patterns that are made in these spaces by the author body as well as other people. Two spaces were chosen, an apartment and a work space. Templates were made to symbolize the different rooms in these spaces and each movement was marked out with a black ink pen. These specific spaces were chosen because it is spaces that this body often is in.
Piece 02 is focusing on the space around the body. The subject is very broad, a clear framework needed to be defined at the start of the development.
The space around the body could be something set as a room, but it could also be someting flexible as people moving around you. So it was decided that this piece should be based on physical investigation of the space around the authors body.
Fig.61 Template, space apartment. Fig.62 Template, space workspace .
Fig.63-68 Result of body in space, apartment. Fig.69-74 Result of body in space, work place.
The second investigation was based on the personal zones Ekenvall, M (1996). The personal zone is divided in to four different stages, The public zone, The Social Zone, The personal Zone and The intimate zone.
To be able to measure these zones a diagram was made.
The diagram is designed so that the most significant interaction is noted hour by hour (Fig.76).
Fig.75 The public zone: over 3 m, The Social Zone: 1-3 m, The personal Zone: 45-
120 cm, The intimate zone: 45 cm. Fig.76 Zone diagram.
3.3.2 Investigation the personal zone
Fig.77-82 Result of the zone investigation.
To be able to merge these two investigations, the different zones was each given a specific outline thickness, texture and colour; a gradation scale from thick to thin, dark to light color. The lines were then drawn on to the body in space results, it were drawn in the way that the lines followed the outlines of the movement and then the movement were cut out. The order of the lines was decided from the order of the results in the zone investigation.
Fig.83 The decided lines of the different zones.
Fig.84 Sketch body in space with lines. Fig.85 Sketch body in space with lines, in the order of the zone investigation. All lines have the same kind of pencil.
Fig.86 Sketch body in space with lines, in the order of the zone investigation. Vith different mediums in the lines.
3.3.3 Merge space and zone
Fig.87 Hand made sketches with the decided lines on four decided spaces. Fig.88 Hand made sketches with the movement cut out.
Fig.89-92 The four different spaces separated from each other.
Separate motifs were chosen from the spaces, and were repeated ”mirrored”
in a quick pattern workshop. The outcome of this quick workshop was that the mirrored repeat was an effective way to visualize that something in the pattern was centered. But the pattern however was perceived as very flat and there was no movement in it.
3.3.4 Motif investigation
Fig.99-104 Six selected motifs, repeated ”mirrored”.
Fig.93-98 Six selected motifs, chosen based on compisition.
Fig.105 Outlines
Fig.107 Spatial rotation gradation workshop
3.3.5 Outline investigation
To be able to find a motif with more movement the result of the investigation space (Fig.31) was used. Outlines were drawn outside the movement (Fig.45) and was then duplicated sideways 24 times as a metaphor for the 24 hour of a day (Fig.46).
An outline sketch was chosen based on the strong movement in it. The chosen sketch was then used in a spatial rotation gradation workshop (Fig.47) to be able to create even more movement.
Fig.106 Outline sketches.
Fig.108 Nr 1 and 6 was then chosen and put together to be able to create a motif with a lot of movement.
Fig.109 The new motif was put in to a spatial progression gradation, to be able to easier decide what scale that should be used.
Fig.110 All the motifs with different sizes from (Fig.49) was then connected in a row and repeated mirrored in a grid system. The grid system create a movement but the repeat did not work well.
3.3.6 Pattern Investigation
Fig.111-112 The connected motifs placed in a triangle and mirrored to be able to get a repeat that has more movement in it. On the lower picture, mirrored but in half set.
Fig.113-114 The triangles repeated with a dark background to easier see the movement.
Fig.115-119 When zoomed in on (Fig.52) some shapes did appear, with a lot of movement.
Fig.120 This cutout was decided to be the final pattern.
The cut out in it self is not repeated as in the whole repeat (Fig.52.). But the decision was made based on the strong movement in the cutout. Collection whise this pattern brings the placed print aspect.
3.4 Development of piece 03
03 is the piece that focusing on the traces of the body.
Fig.121 Skin tape Fig.122 Quick patterns
3.4.1 Tape sketching
Transparent tape was placed on the skin of the body and then ripped off. To get a trace of the skin (Fig.55). Five pieces of tape was chosen and mirrored to make a quick pattern workshop (Fig.56).
3.4.2 Pattern workshop 1
Fig.123-127 Repeated Tape
The five pieses of tape from (Fig.56) repated. Same scale was used on the patters to easier evaluate and make the conclusion (Fig.57). The conclusion of this quick workshops was that the human body needed to be more visible in the pattern to make a great collection with piece 01 and 02.
3.4.4 Spatial gradation workshop
Fig.128-129 Spatial gradiation workshop
The trace of the skin on the pieces of tape had a stong visual effect but it was nececary to formulate a workshop that added the dimension of form. A spatial gradiation workshop was made to find shapes inbetween the texture of the body and the actual shape of the body (Fig.58 and 59).
On the left hand side is a square with texture from the tape (Fig.56) On the right hand side is a picture of a posing body. In between, shapes gradually transforming from texture to body.
3.4.5 Pattern workshop 2
Fig.130-141 Pattern sketches vith one or two forms found in preveous workshop. Conclusion is that by using so few forms maked the repeat very
Fig.142-150 Pattern sketches was made out of the findings in the gradiation workshop. The rule for this patterns was that the body needed to be more visible to make a great collection with piece 01 and 02. Same scale was used on the patters to easier evaluate and make the conclusion.
Fig.151-153 Three patterns from the previous sketches was chosen based on the composition and the visibility of the human body.
Fig.154 Final repeat Fig.155 Rastarisation
This pattern was chosen to be the final repeat (Fig.63). Based on the composition in relation to the previous two final patterns. This pattern brings visibility of the body as well as subtle body movement.
Rastarisation was added to the final repeat to bring more structure to the pattern (Fig.64).
3.5 Development of collection
3.5.1 Color
Fig.156 Essambled pee
Fig.158 Color palette Fig.157 Pee colorwheel
A color workshop including all the three final patterns was needed, to be able to make a cohesive composition for the collection. Pee was essambled from the body to connect the color choises to the body (Fig.65). A pee colorwheel (Fig.66) and color paletts (Fig.67) was made based on the findings of the collection of pee samples. A conclusion was that another color weel example needed to be done. To make a definitiv conclusion about the color.
Fig.159 Second colorweel Fig.160 Color pallets
A second colorweel was made. The first two colors was picked based on the skin of the body (beige/orange). The second color was chosen to be a contrasting color (blue) (Fig.68). Color pallets were made based on the chosen colors (Fig.69). The beige/orange colors is constant due to the body and the blue shades are chancing on the pallets.
Fig.161-176 The final patterns in the four different color ways.
3.5.2 Test print color/material
Glazier Satin
Christoffe
Suedette Crepé Back
Fig.177 Testprint color palette
The color palette (Fig.69) was testprinted on four textiles with different qualities (Fig.71). The four textiles were chosen based on their differences in quality. Crepe back is shiny, glazier satin is matte, christoffe is thin, transparent and shiny, Suedette is thick and ”fury”.
Fig.178-181The four different colored patterns printed on the four different qualities. A conclusion was made, number one was the most sucsessfull colorpallet, based on the ”earthy”
Fig.182 A conclusion was made that piece 01 and 02 was best printed on crepé back since the movement in the patterns was amplified by the shiny surface of the material. Piece 03 was decided to be printed on glazier satin because the details in the pattern was most visible on a matte surface.
4.1 Result
The project consists of three examples that are all designed with the human body as a tool. The examples are printed with heat transfer print and are 145x200 cm. All pieces are printed on polyester, piece 01 and 02 is printed on crepé back and piece 03 is printed on glazier satin. The fundamental idea is that the examples should all be strong and sufficient enough to clearly communicate the overall concept.
Fig.185 Final piece 02 Fig.186 Final piece 02 closeup
Fig.189 Final collection
4.2 Presentation
The presentation of this project is of great importance, due to both the textiles and the method needs to be shown. The method will easiest be shown as a movie, preferable right infront of the textiles on an ipad or similar. The strong aesthetic expression of the textiles will play the role as eye catchers to invite viewers to come closer and get to know the method through the movie.
The textiles will be placed like a ”room” that surrounds the video (Fig.81). In this way the viewers focus will be only on the textiles and the video instead of the the surrounding.
Fig.190 Sketch for presentation at exhibition
4.3 Conclusion
This degree work has explored the possibilities of how the human body could work as a design tool for designing conceptual surface patterns. There are two types of outcomes from this project. Firstly, a method that uses the human body for designing surface patterns, and secondly, transfer printed textiles that proves the validity of the method This means that the value of the result lies in the method.
The biggest finding against the aim is that a really clear framework is needed for this to work. The subejct of methods is very broad and it was necessary to limit the work from its beginning. The three pathways (shadow of the body, space around the body and trace go the body) were therefore decided early in the project.
The contribution to the field is to introduce an alternative approach of how to find and use inspiration for a design project. The human body is proven to contain a lot of inspiration to use in a design process. This project means that a designer always carry the inspiration, in the shape of their own body.
Further investigations of this project would be to place the method in a
specific context. For example, to use the human body as inspiration to design clothes that should be wear by a human body or sorrund the human body. To even more connect the method with the body through placing the textiles in relation to the human body.
Further development could be to explore more printing possibilities, to print with the body instead of a transfer printer would connect the project even closer to the aim.
4.4 Discussion
It was successful to use the human body as a method for this work. We make carpets ’velcro carpet’ can bee seen as a source of information for further development regarding the element of interaction with the viewer.
This work could be adjusted to be more interactive, both in the method and in the final result. For example could other bodies than the authors bod y be used as a tool, as a woorkshop with people interacting with eachother and in that way gather information for the project. In this way bodies could bring other information to the project, such as colors and different
movements than the authors body. In addition, that would be intresting to use the pieces in contemporary art context where the audiences should intract and add something to the pieces through their body movement e.g.
adding stitches on the surfaces the pieces.
Butler/Lindgård work with the human body as an actual tool to place the print medium on to the textile surface. This could be taken in to
consideration in to this method. The difference would be that their techniqe would need adjustment to becone repeated pattern in this project insteed of a placed print as in theirs.
This project can be used as an inspiration for other design fields such as architecture where the results of this degree works can be traslated to e.g.
metal sheets and used as a room divider or decoration in the rooms.
Conceptual design is a broad expression and it is found in all kinds of design areas. The most importaint for this work was to early in the process decide clear frames. This frames have a clear function in all con- ceptual design project, because whitout them the project could easily become to broad and hard to handle.
The intersection of naturalistic motifs and digital repetition gave a very ritch expression to the end result. The patterns are not only graphical patterns nor organic patterns. They have a great balanced expression somewhere inbetween the naturalistic and the digital.
Personal zones were a part of the investigation in development of piece 03, where a diagram was made and significant interractions with other bodies was analyzed. But the zones could also be applied to the overall collection, it could be seen as different stadges of intimacy shown in the patterns. Where piece 03 is the most intimate patterns, where the body is clearly shown and piece 02 is the least intimate. It could also be seen as piece 03 places it self in the intimate zone, piece 01 in the personal zone and piece 02 in the public zone. For further development a fourth piece could be done to place it self in the social zone.
The role of the body in art is a central part of how to communicate deeper messages toward society. Many artists and designers use their own body in their creative process to accentuate messages such as sexuality, gender, ethnicity and race. This work did not have any focus on deeper messages, however the use of a human body in it self will always have a value and a message.
5.1 References
5.2 Images
Butler/Lindgård (2017). Traces - Titts n ass project. https://butlerlindgard.
com/traces%20linnen%20throw.html [16.01.20].
Ekenvall, Monica (1996). Retoriken i praktiken. 1. uppl. Göteborg: Utbild- ningsstaden
Häggblom, Anna (2007). Om konsten att trycka tyg. Stockholm: Alfabeta Bokförlag AB
Jones, J. C. (1992) Design methods. New York: Van Nostrand Reinhold Kadolph, Sara J. (2014). Textiles. 11. ed. ; international edition Harlow:
Pearson Education Limited
Kiil Nanna (2014). The flesh chair. https://nannakiil.com/flesh [16.01.20].
Koskinen, Ilpo Kalevi (2011). Design research through practice: from the lab, field, and showroom. Waltham, MA: Morgan Kaufmann
Minoshima Satomi (2019). Skin tote. https://www.satomiminoshima.com/
clay-amplifier-1 [16.01.20].
Saldo (2005). Blind. https://www.scandinaviandesign.com/news/swedis- hangles/400/saldo1.jpg [27.03.20].
Front page: Photo by Daniela Ferro
Figure 1-7, 183-189: Photo by Daniella Ferro
Figure 18-182, 190: Photographed or drawn by the author.
Figure 8-17: Removed for copyright reasons.
Yves Klein (1960). Untitled Anthropometry. http://www.yvesklein.com/en/
photographies/view/3500/yves-klein-realizing-an-anthropometry-with-mich- ele-in-his-studio-ant-78/ [25.02.20].
Droog (1991). Rag chair. https://www.droog.com/webshop/product/rag- chair [17.05.20].
Jacob Dahlgren (2019). I, The world, Things, Life. http://www.jacobdahl- gren.com/?p=8958 [17.05.20].
We make carpets (2018). Crepe Paper Carpet. http://www.wemakecarpets.
nl/Crepe-Paper-Carpet [17.05.20].
We make Carpets (2017).Velcro Carpet. http://www.wemakecarpets.nl/Vel- cro-Carpet [17.05.20].
