Play // Interact //Explore //

(1)

Dynamic Folding Knits:

Play //

Interact //

Explore //

An exploration into self-forming and self-folding knitted textiles.

Victoria Salmon 2020

Master in Fine Arts in Fashion and Textile Design

Specialisation in Textile Design

(2)

Degree Project

Master of Fine Arts in Fashion and Textiles With a Specialisation in Textile Design.

Title:

Dynamic Folding Knits Play // Interact // Explore Author:

Victoria Salmon Supervisor:

Ulrik Martin Larsen Examiner:

Delia Dumitrescu Opponent:

Sarah Taylor Report No:

2020.6.01 Date:

June 2020

The Swedish School of Textiles Borås

Sweden.

(3)

“Play”

/pleɪ/

verb

1 occupy or amuse oneself pleasantly with some recreation, game, etc 2 act light-heartedly

“Fold”

/fəʊld/

Verb

1 tr a bend or close (a flexible thing) over upon itself b bend a part of (a flexible thing) in the manner specified 2 intr (intransitive) become or be able to be folded

3 tr make compact by folding Noun

1 the act or an instance of folding

2 a line made by or for folding

(4)

Abstract:

Physical interaction with textiles is generally found through the purpose of the textiles; for clothing, or interior use. We engage not just for the textiles, but primarily for it’s function. Within Dynamic Folding Knits, the purpose of the material is purely interaction focused. To encourage and to entice the visitor to play, and thus creating a new focus to the materi- al. One that focuses on the materiality before the function.

Described through practical based research, knitted materials have been explored to investigate and encourage the physical interaction between the viewer and textiles. Folding methods have been developed that increase the tactility of the material, and integrate intricate form. Both these qualities have been shown to increase curiosity to interact and explore the textiles due to the materials tactility.

Working within three main categories of folding methods; The Strict Fold, The Soft Fold and An Amalgamation of Folds, the results provide a vast range of folding textiles, through strict geometry set into the struc- ture of the material, to the softer accumulation of fabric that builds and forms. All of these are then offered to visitors to interact with through touch and play, to experience the movement, the textures the folds and the forms.

Key Words:

// Dynamic Aesthetic // Visual Haptics // Structural Form // Play

// Fold // Knit

// Interaction

Acknowledgements:

First and foremost, to thank the technicians, Kristian, Lars and Stefan within the knit lab. Without their knowledge, time and their trust this project would have taken a very different path.

To thank my supervisor Ulrik Martin Larsen for his advice and guidance throughout.

A mention to Cansocks for their sponsorship, providing me with yarn.

To all my classmates who have offered endless support and inspiration with matters large and small, especially through this bizarre time of study.

Thanks to my family for their confidence, reassurance, and moral sup- port, even from afar.

To Gilly for his never ending patience and unlimited amount of encour- agement.

And a thanks to the cats I once disliked. Their persistent affection

helped get through the tough known and unknown moments of the

year.

(5)

Table of Content:

Line up ________________________________________7 - 17 1. Foreword _18 1.1 Introduction to Tactility, Aesthetics and Interaction _ 18 1.2 Introduction to Play 19 1.3 Introduction to Folding 20 1.4 Introduction to Knit ___________________________________ 21 2. State of the Art

2.1 To Crease (To Fold) _______________________________________ 23 2.2 To Form _ 24 2.3 To Self-Support. To Self-Fold _25 2.4 To Interact. To Play 26 3. Motivation 27 4. Aim 28 5. Design Program 29 5.1 Folded Knit 30 5.2 Knitagami 31 5.3 Overview _________________________________________________32 6. Methods

6.1 The Reflective Practitioner __________________________________________________________________________________________________32

6.2 Play _____________________________________________________________________________________________________________________ 33

6.3 Domestic Knitting Machines ________________________________________________________________________________________________ 34

6.4 Industrial Knitting Machines ________________________________________________________________________________________________ 35

6.5 Working with Colour ______________________________________________________________________________________________________ 36

7. Development _____________________________________________________________________________________________________________________ 37

7.1 Strict // Precise // Rigid Folds______________________________________________________________________________________________ 38

7.1.1 Into The Pink ____________________________________________________________________________________________________ 39

7.1.2 Cocoon _________________________________________________________________________________________________________47

7.1.3 The Flippables ___________________________________________________________________________________________________ 53

7.1.4 No.6 Not So Straight Forward ___________________________________________________________________________________ 75

No.7 Circular _____________________________________________________________________________________________________75

(6)

7.2 An Amalgamation of // A Combination of // A Blend of Folds _______________ 87 7.2.1 Ongoing _88 7.2.2 The Combination Flip 95 7.2.3 Hand Ripples __102 7.3 Soft // Weighted Folds _ 109 7.3.1 The Weight Of It All 110 7.3.2 A Multitude Of Knit _117 7.3.3 Mountains ________________________________________________________125

8. Overview of Results ______________________________________________________________________________________________________________ 135

9. Discussion and Conclusions _______________________________________________________________________________________________________137

10. List of References_______________________________________________________________________________________________________________ 140

11. Image References ______________________________________________________________________________________________________________ 142

(7)

Into The Pink

(8)

Cocoon

(9)

The Flippables

(10)

No. 6. Not So Straight Forward

(11)

No. 7 Circular

(12)

The Combination Flip

(13)

Ongoing

(14)

Hand Ripples

(15)

The Weight Of It All

(16)

A Multitude of Knit

(17)

Mountains

(18)

1.1 Introduction to Tactility, Aesthetics and Interaction.

A tactile quality of a textiles often enhances the aesthetics of the material. To entice the viewer to want to touch and explore the material on a physical basis.

Increasing the haptics and tactility of a textile creates an interesting surface, which, as suggested by Dumitrescu (2013 pg. 51), “is based on ... two dimensions, structure and texture, continuously interplaying in the design process one defining the form of the other.” Using these two elements simultaneously to push the tactility of a material, one could increase the desire to interact with the textile.

Used within reference to the visual aesthetics, the visual haptics within a material is the focus on the aesthetical quality of the material in relation to the sense of touch. Allowing for the mind to explore the tactility of a material when the ability to physically experience it is unavailable. “[A] textile is imagined, based on its perceived tactile characteristics.” (Baurely et al, 2015) By focusing on this, the viewer can begin to imagine the surface touch of the fabrics, and begin to explore the haptics of the textile without the material being present.

Focusing on the visual haptics of the fabric would lead to a natural increase in intrigue once the fabrics are available in person. Now, the visitor is in touching distance of this tactile quality, the urge to touch and explore can be satisfied and enjoyed. Allowing interaction within a textile piece would allow for physical exploration and lead to a further understanding of the qualities of the material.

“[H]andeling a textile is crucial for its appreciation and understanding” (Bau- rely et al.). It is only through this physical touch we can understand a physical material.

1. Foreword

I am a fidgeter. I have too much energy. I have an unconscious need to constantly move; to release this energy, to release stress. This allows me to focus. Thanks to this need to fidget, I find the surface texture of any given material fascinating.

Most of the time, without realising, my hands and fingers are exploring new surfaces and new textures. Finding new intriguing compositions to play with, to move, to adjust.

I know I am not alone, and know that the mind of most human beings crave the need to know how things feel. It is a way of exploring new materials, exploring how things work. It is the child in us that has yet to grow up. It is the fascination to constantly develop our knowledge on the world surrounding us.

Working and developing textiles, this urge to feel and to explore through touch work hand in hand. To develop textiles in which the focus is not necessarily on the typical function of the material, such as clothing or interior textiles, but how the human interacts with it.

(19)

1.2 Introduction to Play

Play can be described in many different formats, from getting lost in ones imagination, to hobbies, or the play of tricks on one another (Sutton-Smith. 2001 pg.4) however, the reasoning behind the conduct of play is a constant. It is a stress- free activity. This research within textiles will have a focus on the physical play, that of exploring through senses, predominantly touch, to discover.

Our sensory encounters provide valuable information for our understanding of our surroundings from a very young age. How does something work? What are the materials like? Is it hot, cool, hard or soft? Do I like how this feels or am I uncertain about this object? We are constantly making judgements with the use of our senses. Using these senses to explore and to play with new materials could not only teach us about the qualities of a material, but allow us to play in a way that is stress releasing. To simply explore something new to allow the mind to wander.

The focus within the work of Berglind was to also bring a “joy and playfulness to the field” (2018) with a general aim to create fun within the textiles. Stating

“[o]ne of the qualities of textile design is that one should be able to touch and interact with the work” (pg.84) she focused on a sense of happiness that her pieces brought to the visitor. This sense of play within the textiles is an element that is focused upon also through Dynamic Folding Knits.

Within this research, the focus will not be more to the creation of textiles that allows for play and exploration through physical interaction. A piece of interactive design. The play is integrated into the piece by allowing the visitor to get lost with the physical sensations of the textiles in a similar manner to getting lost within their imagination. There is no expected outcome or problem to solve with the textile other than that of exploration.

Fig 1. Berglind, J Hairy Filter 2018.

(20)

1.3 Introduction to Folding

Folding. A simple process to create three-dimensional form within a material. Be this to twist, curve, or crease, folding a flat material into form cannot be achieved without this relatively simple psychical process. (Jackson. 2011 pg.9)

The folding of textiles is a surface manipulation process, to alter the form of the material, and to incorporate surface pattern and detail to an otherwise flat piece.

If structured, folds can become crisp and linear. Geometry influenced patterns turn generally soft fabrics into pleated strict formed patterns. Introducing folds through more organic methods, such as gathering and draping, the fold becomes the undulation of material. Softer on the eye; a more natural creation of volume, similarly to the folds of a fabric as it drapes once hung, compared to strict mathematically calculated folds.

Origami, the practice of folding paper, was seen as a past-time and a leisurely activity that then through time, grew to be admired as a form of art (Rich- man-Abdou 2017). These methods of folding have been taken from a simple fold of paper from the 1st century in China, to intricate and delicate displays to now the manipulation of fabric for fashion and interiors, to science purposes for uses in today’s space technology (Zirbel 2014).

Folds within the material of cloth has also been practiced through time. Pleat- ing and gathering fabrics to form shape was used as early as Ancient Greece in which lengths of cloth were gathered, twisted and set within a starch solution (Encyclopaedia Britannica 2020). Today, similar processes still exist, yet the production of synthetic fabrics allow for more complex shapes and more permanent form to be achieved. Whilst heat setting and steaming fabric into shape still being the favoured and most traditional process, a development within fabric construction itself now allows the integration of folds and form into the fabric structure to create internal pleats.

Fig 2. Konjevod, G., No 28. 50-50. (2016)

(21)

1.4 Introduction to Knit

Believed to have been developed from the 3rd century in the Middle East (Black, 2012), the process of knit is the creation of intertwining loops that interlock into each other. Traditionally formed from needles, development has lead through to the creation of basic machines for home use, to that now of industrial machines for mass production of textiles and garments.

Flat knitting compromises of a flat piece of knit as a result, rather than a tube;

the resulting fabric from circular knit. Within flat knitting, both warp knitting and weft knitting techniques are used, however the development of weft knitting processes will be focused on within this research as it has a “greater versatility in loop structure combinations and patternings” (Wonseok, 2005). Whilst warp knitting uses many lengths of yarn that run vertically into the construction, weft knitting can be the use of a single length of yarn to construct the fabric as the carriage moves horizontally across the needle bed. The ability to create formed and structural fabric from a single yarn has been a personal draw to the development of knit materials; the exploration of how just one yarn can create so much diversity within a fabric.

Fig 3. Dubied Machine Poster (1950s)

(22)

Flat knitted fabric offers an almost unlimited breadth of possibilities of stitch manipulation to create texture and shape of fabric through fully-fashioned¹ pieces alongside an incorporation of a limitless range of yarn type (Onegina, 2017).

By simply altering the placement of the stitches, or the sequence in which the needles are used, the final surface of the knit fabric will alter. This ability to form structural pieces within the binding gives the knit its character and form within the primary material, rather than through a material manipulation process at a later stage of fabric construction. It is within the one process that material and form is made.

Knit, with it’s malleable and flexible qualities, is generally more associated with clothing and interiors rather than form and structure. Yarn and technology developments within the field are beginning to suggest this textile could be used within form and structural projects. Spacer fabrics being one of the most structural knit materials, has it’s role within compression or sound insulation materials (Glazzard pg.159). Knittel, C et al (2015) begun to look into self-folding knit structures for use within smart textile applications, and Knit-Crete use a knitted structure as a mould to create a concrete sculpture. (Popsecu, M 2018).

The use of spacer fabrics within Wolff Metternich’s (2019) masters thesis creates form and function that support the body and create a sense of comfort. The thick spacer fabric is supportive and structural, creating form within a knitted material.

An intrigue into structural knit fabrics, and pushing away from the stereotypical knit textiles (with an intention in clothing or interiors) will focus this research topic. Exploring the possibilities of merging art with textiles through the use of form and structure.

1 By means of fully-fashioned, the knit piece is constructed in the exact shape desired, rather than as a material in which the shape needed is cut and extracted from the material.

Fig 4 & 5. Wollf Metternich, The Burst, 2019)

(23)

Fig 6. Foldability Display for Desso (2019)

2. State of the Art 2.1 To crease (To fold).

Crease /kriːs/

Noun:

1a a line in paper etc caused by folding b a fold or wrinkle

Verb:

1 tr (transitive) make creases in material

Foldablity designer McCallum (2019) works with traditional origami folds and meticulous precision within the geometric forms and shapes to control folding techniques into large scale folded paper forms for functional home pieces, and decorative interior panels or set design. Her art showcases traditional linear pleats of origami yet allow this traditional technique to now serve a purpose rather than be observed as a piece of art upon a plinth.

Transitioning through into fabric form, Studio Samira Boon is a textile architec- ture studio in which “[a]daptive and dynamic textiles [are developed to] improve the use and experience of spaces, acoustics, climate regulation and energy efficiency.” (2020). These folds are structured as internal folds within the materials. Constructed on the loom this ensures the fabric holds shape memory as the folds are integrated into the skeleton of the material.

The development of folding within the textiles now allows practicality within the materials. Not only do the materials posses aesthetical qualities but also functional qualities; sound absorption, climate control and decorative collapsible

room dividers. Allowing the folds to form the fabric, a purpose can be brought Fig 7. Studio Samira Boon, Hortus Bionica: Proxi Flower (2019)

(24)

within the three-dimensionality of the material.

2.2 To form.

Form /fɔːm/

noun

1 The visible shape or configuration of something.

Form is a consequence of a fold. It runs parallel. Once a material has a fold implemented, form has been made. The amount of form created can vary dramatically from a delicate relief through the slight raise of material, to the vast expansion of structure.

Weber’s (2018) felted panels have little created form. Only that of the fabric layered on top of each other to give a delicate relief. Compared to the work of Shilian (2019), in which folds create a harsh form and depth within the piece.

Both geometric in pattern, yet with vastly different expressions through form from folds.

Not all forming has to be so rigid in pattern and conform to such strict geometry similar to origami. A beauty in organic folding can easily be found with a crum- ple of paper; “controlled anarchy and an antidote to the geometry” (Jackson 2011).

McPhereson (2019) stitch manipulation on semi-industrial knit machines create organic undulations of material by allowing the knit to relax into shape. A beauty within the randomness of this structure allows for a much more natural approach to the fold that contrasts the geometric, mathematically calculated folds of origami. This organic form adds a delicacy to the knit fabrics.

Form within textiles is potentially one of the most important qualities. It gives the material it’s purpose. Form for sound insulation, form for clothing, form for art. Creating interesting structural qualities that can be explored through sight, touch and functionality.

Fig 8. Weber, Eingefaltete Streifen, (2018)8 Fig 9. Shilian, Unholy 216, (2019)

Fig 10 & 11. McPhereson Untitled (2019)

(25)

2.3 To Self-Support. To Self-Fold

Self-Support. /ˌsɛlfsəˈpɔːt/

Adjective

1 staying up or standing without external aid

Related to Form, all folds are self-supporting once the fold has been imple- mented. If we look back at the work of McCallum (fig 6.), the folds within the paper form a structure. The support within the folds and the strength within the materials allows for the form to support itself. If the folds and materials were not self-supporting, the form would collapse back to the original flat state.

To ask the fabric to self-support, a decision on materials qualities, or construction methods needs to be addressed. The fabric would need sufficient stability to allow for the form to support the weight of the fabric.

Miyake has developed fabrics in which self-supporting qualities are integrated into the construction process. With the application of steam or heat, folds placed into the fabric during the fabric construction stage shall emerge, and the fabric shall self-fold into a self-supportive material. This new technology allows for the fabric to imitate origami, yet without the painstaking process of folding and pleating by hand (Miyamae 2014).

Structural forming potential has been discussed primarily within woven materials (Studio Samira Boon and Miyake respectively), however self-supporting knit materials appear to have had lesser developments. Most certainly due to the natural stretch and flexibility knit has to offer. Development into self-supporting knit fabrics through material and technique choice is the fundamental progression of this research. To create knit textiles that can retain and remember form.

Fig 12. Miyake 3D Steam Stretch (2015)

(26)

26

2.4 To Interact. to Play

Interact /ɪntərˈakt/

verb

intr. act reciprocally; act on each other

Interactive adjective

1 reciprocally active; acting upon or influencing each other 2 responding to the user’s input

The human naturally explores through the senses to learn more about their physical environment, and objects within. Touch and sight being the main senses that explore interesting materiality and objects. As Jeon states “[t]ouching is an important way of exploring … since it can help us understand an object’s aesthetics” (2015).

Textiles are found within “every part of our psychical environment” (McQuaid 2012) and influence our everyday lives. Despite textiles being ever present, our engagement and interaction with textiles is often through functioning textiles;

items of clothing, bed linen and curtains to control natural lighting. Textiles within art are generally only viewed rather than experienced.

Ernesto Neto is an exception to the norm and uses space and textiles to intrigue and encourage the viewer to interact and experience his art. Gaia Mother Tree, an installation within Zurich train station is a ”walk-in structure that functions as a meeting place and a venue for interaction and meditation” (World Art Founda- tions. 2018), a place for contemplation and calm amongst the hustle of every-day life.

Incorporating organic shapes and materials, Neto “engage[s] all five senses, pro- ducing a new type of sensory perception that renegotiates boundaries between artwork and viewer ” (Tanya Bonakda Gallery. 2020) within his installations.

(27)

These textiles within this research will be developed through self-folding and self-supporting techniques within knit fabrics. It feels important that the folding structure is integrated into the fabric, as once “embedded in the material, the form reveals itself” (Blaisse, 2013. pg 146). Once the foundations of the fabric has structure and shape, the form naturally then is able to come to light without much further manipulation processes. Having previously delved into the depths of folding knit materials and integrating the folds into the structure of the fabric, these materials offer interesting and intriguing physical properties that naturally encourage the viewer to explore.

As Mazouer states, “[k]nitted pieces have the potential to retain their three-dimensional shapes without the presence of a [form] to support them.” (2015). Knit lends itself naturally to the creation of shape whilst in the basic fabric construction due to being so flexible to manipulate through stitch construction.

3. Motivation

Touching textiles is as an every-day happening and often evokes emotional asso- ciations (Jeon. 2015). The textiles of a teddy-bear we have had from childhood brings back fond memories and a sense of security. The linen on our beds relax us and bring us comfort. An upholstered chair adds individuality and personality to a home. Textiles have a “fundamental part in human daily life [and have done]

for thousands of years” (Mazouer, 2015 pg.1), and will continue to do so. Our interaction with textiles is not only a continuous and ongoing experience, but one that results in a strong relationship between the physical exploration of a material and the emotive connotations.

The motivation of this research is to develop textiles in which the focus is not just the visual aesthetics of the materials, but the visual haptics and visitor engagement. To develop a textile that is somewhat satisfying to touch and intriguing to experience. It encourages the viewer to revisit the textiles and to explore further.

“Experience is critical, for it determines how fondly people remember their interactions.” (Norman, 2013, pg.10)

Typically textiles are considered for interiors and clothing rather than as an interactive material for the focus to be on the experience rather than the function.

Emphasising on interaction, similarly to that of Neto and Berglind, the viewer can experience the work for what it is, rather than searching to find the purpose behind the textiles. To see textiles for what they are within colour, texture and form.

(28)

4. Aim

This work aims to develop three-dimensional self-supporting knitted fabrics through folding techniques.

With a focus on visual hapticality and tactility to encourage interaction.

(29)

5. Design Programme

This section discusses previous findings in past projects that have lead to the direction of this research.

A fascination with tactility, an appreciation for attention to detail, a tendency to provoke reactions and a background knowledge in knit lead to the interest and intrigue that fuels this research. Placing these four elements into practice, and to then observe the viewers reaction, gives a personal gratification and motivation to continue.

Having previously mentioned an inability to be still unless in a very relaxed state, the notion to develop textiles that are for physical exploration has been a constant strive, to not only satisfy my personal need to fidget, but also the satisfac- tion of others to help calm and relax.

The fascination of haptic qualities within the surface of a textile and the want to explore these through touch lead naturally through the following design projects.

(30)

5.1 Folded Knit

Folded Knit (2019) was the beginning of the exploration into developing the integration of the folds into knit fabrics. Using paper as a starting point, the research centred on basic fold patterns, and then developed knit bindings that allowed for these paper folds to be mimicked within the textiles. Explorations were started through the domestic machines but then lead onto the industrial machines to gain a wide knowledge of the bindings and folding techniques.

Fold categories naturally developed over the course of the research focusing on a particular fold method (the herringbone fold), and the inclusion of dimensionality within the folds (folding to create a two-dimensional material, and folding to create a three-dimensional material.)

Materiality development alongside development on knitting machines became a focus to increase the success rate of the materials, and the intricacy of the folds.

A wide variety of yarn recipes were used to distinguish which yarns were best suited for each particular folding technique. These changed and varied through the different machines used.

The purpose of this project was to begin to understand how form and folding techniques could be implemented into textiles. Having researched Knittel et al, alongside domestic knitters, the understanding that self-folding forms within knit was very much possible. It was now the understanding of how this could be explored and developed through material, scale and a structural basis that drove the project.

Fig 17 - 18.The development of folding techniques are tested on the industrial Stoll machines.

Fig 15 - 16. Hand knitted folding samples using the semi-industrial Dubied machine.

Fig 19 - 20. More developed pieces presented as ‘final’ tests for the project.

(31)

5.2 Knitagami.

Beginning to blend the knowledge of folding knit fabrics with the intricate detailing within origami, Knitagami (2019) became the resulting research project.

Through this development process, an appreciation for folds and forms of a more organic nature were implemented into the textiles to explore form expression.

Aesthetical qualities within the knitted textiles became a focus. How could the incorporation of colour or texture add to the visual haptics of the piece? Un- derstanding the folding potentials also questioned the interactive nature of the knitted textiles.

Dividing this project into three categories, Controlled fold, Organic Folds and Weighted Folds, helped the viewer to understanding the qualities of the fabrics they were exploring. The categories defined the expectation of the folding process and the exploration.

Investigating into the Controlled Folding category, the viewer was able to understand there was a preconceived method to the folding of the material. The organic fold allowed for a looser exploration. Although folding skeletons implemented within the fabrics, the results were less defined and much more open to interpretation. The Weighted Fold category allowed a perception that the folds were related to a build up of material. The fabric became not only physically more dense, but visually heavy.

Fig 23. Screen shots of a video made to show the folding and moving potential to the folding structure within the Controlled Folding category.

Fig 21. Ripple test on the 10 gauge Stoll Machine within the weighted fold

Fig 22. Hand knitted ripples on the domestic Silvereed knitting machine within the weighted category.

(32)

5.3 Overview:

Through applied research; “a type of research that enables practitioners to investigate and evaluate their own work” (Muratovski (2016), Pg.38), decisions are constantly made on materiality and techniques used that would enhance the interaction of the textiles. The previous projects have helped the development of evaluation, and have enabled educated changes to be made to the textiles to help enhance and encourage interaction.

6. Methods

6.1 The Reflective Practitioner.

Some of the decisions made within the development began to seem instinctive and intuitive, however were it not for reflection throughout the process, this would not be so. Practising the method from Schön (1983), decisions were able to be made through the process of a continuous learning. Observing, reflecting, analysing and then deciding were key methods to the developments within this research.

“The practitioner allows himself to experience surprise, puzzlement, or confusion in a situation which he finds uncertain or unique. He reflects on the phenomena before him, and on the prior understandings which have been implicit in his behaviour. He carries out an experiment which serves to generate both a new understanding of the phenomena and

the change in the situation“(Donald A. Schön, 1984, pg.68).

By continually practicing Schön’s methods, decisions for further sampling techniques and larger scaled pieces became more intuitive. Through reflection upon the basic samples, trust in ones own method of working is built. It soon became clear the continuous reflection and observation of samples naturally developed the knowledge. Decision making to forward the project then became a natural progression of the whole process.

The use of Schön’s method within the research allows for a continuous reflection and development of the techniques and textiles. Through this method there were no failures of samples, just a learning process. This is similarly described by Norman who suggests the word ‘failure’ should be replaced with learning experience. That the human reflects on each ‘failure’ and alters their process to that of a successful one, and in the process creates a learning experience (pg 64.

2013).

To gain a full understanding of yarns and techniques, one can only make a decision on the success of a sample once one has experimented and reflected. With so many variables in place, observation and reflection is paramount to successful techniques.

(33)

6.2 Play

The use of play within the development of the materials allowed for an exploration into the movement, the form and the ability for shape change. Primarily working with paper forms, the mathematics were finalised before being translated into textile form. This method of play allowed for the mind to wander and question ‘what would happen if this....’, ‘how could this be folded’. Allowing the mind not to question much for end result, or the process of getting there, but the exploration of the process. It was this Play that was fundamental to the development of understanding of the paper folds and the development of them further.

To look at child’s play as an example, children play though their early life to experience and begin to understand the world around them. The older the child then becomes, play is less critical to their understanding as knowledge has been gained and the child can begin to make educated guesses.

Witnessing a child play with a piece at the Stockholm Furniture Fair, it became apparent that to a child the value or expense of fragility of a piece is not cared for. What is most enticing are the colours, the shape, the movement of something. They do not possess much in terms of guilt or respect as their experience at breaking or damaging items do not hold such severe consequences of that as an adult.

Now, as adults, we can formulate preconceived ideas of how an object will function based on pre-formed knowledge of prior experiences. This at first was a result of play as a child, but now becomes the result of experience. Experience of something has replaced play.

From this use of play as a method, the creation of art that allows for such limitless physical exploration, the textiles have focused on what entices the visitor.

Whether this is the structural element, the colour usage or the visual haptics becoming enticing to explore.

Fig 24 & 25. Observing child’s play with the first flippable knit piece at Stockholm Furniture Fair 2020.

(34)

6.3 Domestic Knitting Machines

Although potentially perceived as basic due to their craft connotations, hand knitting machines have the potential to be much more creative than the comput- erised industrial machines. One has the allowance for each stitch and row to be manipulated by hand throughout the whole knitting process.

The variety of materials that are able to be used are also much more extensive than that of industrial machines as individual stitch manipulation and physical control of the carriage over each needle allows for more challenging yarns to be placed into the knit. This breadth of possibilities allows for the development of ideas in a basic concept to be explored and played with before the potential of transitioning onto industrial and potential more complex scale.

Working with the domestic machines for many years has allowed a full understanding of their workings, and the potential they hold for the development of materials. These machines will be fundamental to the continuation of the research on a more refined level.

The use of the domestic machines would allow much more exaggerated textural qualities to the knits. As the maker has total control of the textiles whilst they are knitting, an emphasis on the build up of material and dimensionality can become the focus. Also no longer constricted by the automatic take-down², techniques can be achieved in which the knit is placed back onto the needle bed and re-worked. This build of form is not possible on the industrial machine.

2 Take down being the pull of the fabric down and away from the needle bed to ensure the fabric does not become caught in the machine carriage or needle bed. Within domestic knitting, the take-down is through the use of weights placed onto the knit material so can be achieved manually and in much more precise areas.

Fig 26. The domestic knitting machine construction Hand Made Mountains No.2

(35)

6.4 Industrial Knitting Machines

Use of the industrial machines through out the research project allows for much more intricate folding patterns to be implemented within the structure of the material. By hand this process would have become a huge number of man hours, yet once programmed was completed in a number of minutes. The focus can now change from the general technique development, to focus on form and structure. Allowing a progression and inclusion of surface tactility into the textiles. A fusion of form, texture and the ability to scale within one machine.

The addition of colour into the materials also become much quicker to imple- ment. Complex patterning of colour alongside the use of structural techniques through several yarn feeders at one time resulted in a development of pattern work not possible on the domestic machines. he focus was now not only the form, but the colouring placement also.

The transition onto the industrial flat bed machines was developed through the second and third research projects as described within the design program. The ability to transfer the research onto the industrial machines gave quality fabrics that are refined, precise and at a higher industrial standard.

These machines did, however, prove to be limited within certain techniques (as will be explained through the development section) where decisions to alter designs, or to take them back to the domestic machines were made where necessary.

The use of circular machines within this research was not included. Current circular knitting machine technologies allow for some three-dimensional techniques, but no methods similar to those previously and currently used.

Each machine serves its purpose best with each technique for time efficiency, quality and general expression. It is now down to the design and the formulation of shape and form to ensure the most is gained from each machine and technique.

Fig 27. The Stoll 330TC 12 gauge in progress with Untitled 2

(36)

6.5 Working with Colour

Colour, and the interaction of colour can help the process of enticing and encouraging viewers to engage with the textiles. Most obviously seen within child’s play, colour is used to create contrast within the objects and to differen- tiate shapes, textures and play things. This contrast, and saturation is then most enticing to children.

The use of primary colours is the most basic observation of colour theory and the use of Itten’s rule of contrast of hue (1961). To elevate this further, colour harmony (Anderson Feisner. 2006) is integrated to create a sophisticated colour palette from which pattern can be played with both through geometric pattern, and form pattern through the folds.

This colour harmony is through the use of tonality within the contrast of hue and will often be used just with contrasts rather than a typical triad of colours.

To take an example of this; Wassily Kandinsky’s Bunt im Dreick (1927) portrays the contrast of hue through desaturated tones. The contrast between the hue, yet with the harmonious balance between nuance creates a playful sophisti- cation. The piece became the inspiration behind the colour work within the development of the textiles.

Fig 28. Bunt im Dreick. Kandinsky, (1927), Fig 29. Colour samples taken from Kansinsky.

Fig 30 - 41 . Using samples of yarn to create colour samples

Fig 42 - 44 Knitting the yarn samples into knit samples to explore with colour, and ratio of colour

(37)

“Embedded in the material, the form reveals itself”

(Blaisse, 2013. pg 146)

7. Development

Although to be seen as a group of interactive knitting objects or pieces, the method of thinking behind the development of work seemed to lend itself well by introducing three categories; Strict Folds, Soft Folds and An Amalgamation of Folds. There is an allowance to warp and bend the definitions in each category.

Some strict folds may become much more organic and soft, some soft folds may possess more strict folding movements. It was an idea to use similar strategies from previous research courses to organise the development of the work.

Thornquist³(2019) suggested material, and the focus on material selection at the beginning of the design process is fundamental to the development of work rather than leaving the material development to be integrated into the overall development. The materiality used within Dynamic Folded Knit has been focused on through two previous design projects, therefore almost became the starting point for the development within the categories. Without this previous research, the resulting forms and knits could have taken on a much less compel- ling expression.

3 Thornquist, C. 2019, Week 42, Material Explorations, Higher Seminars, Hög-

skolan i Borås. 15th October. Fig 45. Folds implemented into the fabric reveals form.

(38)

7.1. Strict // Precise // Rigid Folds

The description of the strict fold would be one in which the fold is integrated into the structure of the fabric, and one in which the fabric folds into predetermined forms. The folds are much more structured. Similar to those of folded paper in origami, the material will generally only fold in one direction.

The majority of these folds were constructed on the industrial machines.

The fold skeleton will help guide the visitor through their interaction and will act as a sort of instruction manual. The visible rigid geometry to the folds shows the visitor where each fold should take place, and in which direction. This limits the interaction slightly to that of the fold structure, however, due to the exact fold placements, and the unlikely materials, this entices the visitor to interact with the structural knit fabrics. The visitor then has a choice. To follow the fold skeleton and explore the folds in their natural fold directions, or to explore the fabric just as that. A fabric in a much more organic nature, and to force the structural materials out of the premeditated structures.

Through play, the visitor can interact with and alter the predetermined fold into much more organic shapes, however the folds will encourage the predetermined shape to return with a little encouragement through the physical interaction.

Fig 46. Folding paper into strict rigid folds became the base and starting point of this category.

(39)

7.1.1. Into The Pink

Origins:

Derived from the water-bomb tessellation fold traditionally from origami, this material development first arose through the second design project in 2019.

Investigating how the fabric would fold once a tessellated fold skeleton was implemented, the placement within textiles creates an interesting detailed fold.

Small in scale, the monotone piece originally developed drew attention through the detail to texture and self-supporting qualities. Folding to form a duo-sided material, the folding detail of the material attracted much attention to explore the folds physically and visually.

Tessellation in form and structure being the main draw to use the water-bomb tessellation. Creating a repetitive form of structure to create a strict three-dimensional self-supportive form.

Fig 47 & 48. Final water-bomb tessellated knit piece from Folded Knit design project

(40)

Fig 49 - 60. Interaction with a sample of the Pink fold. As the viewer stretched and compressed the module, the form was explored. Through the strict folding of the sample, organic forms were introduced blending the boundaries of the folding categories.

(41)

Fig 63. Contrasts between fragility and structure through outer edges and the dimensional inner area.

Still monotone, the focus is on the form and the slight shadow play that forms through the three-dimensionality. Developments with colour still continuing, this bright chartreuse colour caught the eye through the acidity. Striking yet to be developed further.

Fig 61. Increase in scale lead to interesting singular forms, however they lacked the structure and support from smaller tessellated forms due to material weight.

Fig 62. Using the same principles as fig . to alter the scale, however in this sample Jacquard adds colour detail. Subtlety within scale may prove more successful, however it may then become more enticing as a textile to have a uniform surface form of details ans structure compared to one which fluctuates in size.

Materiality and Form Developments:

Once the basic form was set, scale and colour placement could be developed.

Jacquard knit techniques were advanced that allowed the continuation of folds within the material. The use of Jacquard emphasising depth of field within the piece once folded and formed according to the folding skeleton.

Tessellations and singular forms were experimented with to find the most allur- ing textile form. Scale within singular pieces sometimes jeopardised the final form with the weight of the module resulting in warped and collapsed shape and fabric (fig 61.).

Tessellation placement also being of interest to give contrast of material through delicate outer edges compared to that of the strict inner structures. The seem- ingly fragility playing off against sharp structures within (fig 63.). However it was thought this distracted the viewer away from the intended structure.

Scale and placement trialled and tested to reveal limitations. Variation of scale within a singular piece could lead to more intriguing interactive textiles, however similarly to fig 61., the results proved the weight of a large scales folding module could cause the material to warp and collapse. Nonconforming to the strict, controlled folding category.

(42)

Fig 64. The Pink is constructed. With a shrinkage of approx 50%, the full colour combination and pattern detailing is not revealed until steam has been applied and the comfil thermoplastic yarn has been activated.

Visual Haptics and Engagement:

Investigating the complexity of the tessellation, and how this can be incorporat- ed into textile automatically brought this textile into the haptic world by naturally being intriguing to touch. As the knit fabric is not behaving in a stereotypical way for knit; it is not conforming to the body as a garment, nor is it covering a soft furnishing, instead it is standing rigid into an accumulation of points and valleys.

It has shape and form. It is a material that is going against the traditional values.

Although the forming structure has been kept similar throughout the development, the overall shape, length and colours used intrigue visitors. Shown at Stock- holm Furniture Fair, it drew the most attention. Despite the bold pink, the colours become somewhat subtle in contrast. Accentuating areas of both high and low relief, they help portray the folding pattern within the material. The eye can follow the geometry easily through colour blocking and patterning.

The range of movement within the length also proves fascinating. The application of the shrinking comfil yarn adding a sturdy quality to the textiles. The folding of the textile will not be compromised despite regularly changing the overall form and shape. The gentle flex within the knit combined with the structural folds give the self-forming qualities within the fabric.

Presenting both sides of the material also provides a full experience of the folding. Each side possessing different folding qualities create different expressions within the same singular piece of knit.

(43)

Fig 65 - 96. Images from a stop motion video made to explore the material through the length. The fabric is stretched and warped.

Result:

Exploring the textile within a length, positioning on the ground, a plinth and then hung were trailed to best encapsulate the textiles character. These posi- tions gave insight into how the material reacted with the surrounding, and how formed when different outside support was used.

Working on the ground (fig 65 - 96.), two people were able to stretch and relax the piece. Moving it along a horizontal form kept the three-dimensionality. The relief from the flat surface up into the open, defying gravity, absorbed the viewer into the tessellated pattern.

The undisturbed organic movement that occurred through the natural strength of the material aided the structural element, the piece now displaying not only strict and controlled folding elements, but an organic nature through displaced tension within the length.

(44)

Half supporting the length upon a plinth (fig 97.), the piece began to take on and own the surrounding space. Now half suspended, the length’s character and bold personality becomes apparent. The viewer now intrigued by the undulating shape such a conformed tessellation can give. This piece now not only occupies the plinth it rests on, but the open space around, it becomes all-consuming.

Fig. 97, Into The Pink draped over a plinth.

(45)

Fig. 98. Close up detail of Into The Pink.

(46)

Lastly, hung (fig 99.) the length, suspended in air allows for a full 360* exploration and interaction. With no need for support from below, the visitor can twist, fold and bend the length to their liking. Full exploration of the double sided material encourages open deformation of the strict folding, before the piece naturally relaxes back into position. The movement is intriguing. Even left hanging the piece can gently sways through the stretch and relax of the folds.

When static, the form allows for a visual exploration of the fold and tactility.

Shadow play within the piece allows for depth to appear enhancing the dimensionality of the knit.

Simply the addition of a second colour, and the contrast of yarns that have been used, allow for a much more detailed view of the knitted piece. When observed closer, the contrast of materials entice the viewer forward to explore the differ- ence in yarns. A wool placed through the flat squares add texture, whilst the orange in the peaks and troughs bring

(47)

7.1.2 Cocoon.

Origins:

A continuation of Pink, this piece was a nod towards the original tessellation piece from Folded Knit. Working with length of material was generally simple due to the ability to repeat sections of the programming for infinite times allows for an infinite length to be constructed. However, restrictions to the width of the machine’s needle bed enforces a restriction to the final width of the fabric. This was an area that was looked into to overcome. To abolish restrictions potentially imposed by the machines.

Materiality and Form Developments:

Creating lengths that, once sewn together, continues the folding pattern was relatively easy to program. Loosing the seams within the folds was also the objective. Hand sewing these pieces together along the fold lines ensured for an invisible seam.

A single length of a piece has width boundaries (fig 100.). They are visible within eyesight, and although lead the viewers gaze into the centre of the textile, the negative space around the piece contributes to the overall expression.

The negative space becoming an important factor. Even by just altering these boundaries, as seen in fig 101., the eye is drawn to the overall shape and then the detailing within. The shape much more enticing than the texture.

The intention was to create a piece in which the viewer could loose themselves within the texture form of the textiles. A piece in which the visitor was surround- ed by a continuous texture, extending into their peripherals. This was to be achieved without the twisting or deformation of the textile as a whole. To have one textural surface as the focal point. The visitor experiences that texture just as it is. No warping, no twisting, no distractions. They can engage with the surface texture, feel the resistance of the folds.

Fig 100. The folded tem- plate of Into The Pink

Fig 101. Into The Pink in a twisted position

(48)

Using the same module as previously, the piece could bend, warp and deform itself through the interaction of the viewer. The viewer would be in control of the shape if desired. The scale of the piece would also allow the viewer to enjoy the space as a whole

Modules of tessellation and form, the natural sound absorbency would create a peaceful environment, encapsulating only what immediately surrounds the viewer. A sense of calm within this space adds to the engagement and interaction.

How would the viewer now perceive this space compared to the previous sam- ple of Longitude? How would the energy surrounding the textile change?

Working with a similar colour scheme to Longitude, this piece would be light visually to allow for shadow play within the tessellation to take place. The focus just on the texture and the forms of the folds rather than the colour work within.

.

Fig 105. Potential colour choices for Latitude. Ranging from deep weighted colours that would absorb light to more refreshing tones. Visualising these on a large scale, and with experience from knitting Longitude, it soon became apparent an uplifting colour choice was needed to work with the vast horizontal scale intended.

Fig 103 & 104. Small scale sample of the tessellating folding pattern with shape exploration.

(49)

A decision was made to use a more neutral peach to recognise similarities with the previous Into The Pink in which much more saturated tones were used. The peach tone also creating a sense of calm. It is a light, weightless colour compared to that of the dense sample, or the patterned colour choices of Longitude.

The piece, once hand sewn together, became a full 3m x 3m piece of material.

With a 50% shrinkage rate, the final dimensions become large, yet not over- bearing. Shrinking and implementing the folds of the fabric by hand became a lengthy process completed over a couple of days.

The weight of the final fabric would have a dramatic effect on the folding ability of the material. Gravity enforced, the folds may not be as clean and clear as the sample. The textural quality will still be present alongside the fold skeleton, however it has to be realised the expression may be somewhat different to the sample.

Fig 106. The steaming process begins. The piece shrinks from 3mx3m by 50%

Fig 107. The contrast between the soft fabric and the rigid steamed tessellations.

(50)

Visual Haptics and Interaction:

Already strong in haptics and tactility, the piece would be positioned in a format to allow the viewer to experience the piece as a whole with no distractions. It would be curved to maximise a sense of submersion within the fabric and the folds.

The ability to alter the curvature of Cocoon will enhance the ability to alter the engagement of the visitor. Fully moveable, the piece would be able to totally submerge the viewer within the textiles. It becomes a cocoon. It is also fully ex- tendible to a flat surface, now more representing a wall of texture. The flexibility of the textiles becomes fully immersible as the viewer arranges the curtain how they wish. How they feel comfortable.

As a double sided piece, Cocoon can be viewed from all perspectives allowing a deep exploration into the structure of the material. The warping of the folds through the curve of the display exposes the skeleton of the folding structure deep into the crevasses.

The ability to alter the positioning of the material whilst being explored allows the viewer to alter their experience. They are not conformed to the set final position of the piece.

Fig 108 & 109. The folds and immersion of the fabric is explored by Kara.

(51)

Result.

With a final dimension of 1.45cm in length and 1.75cm in width, Cocoon com- bines a delicate colour choice with a strong tessellations of folding patterns. It can encompass the viewer into a wall of texture. Shadow play within the surface texture defines the folds within the full piece.

Displayed hung, the wall of knit can be altered in curvature to the visitors desire.

It becomes a curtain. The visitor can decide just how enclosed they wish to be within.

When positioned on the flat, the material’s ability to move and to fold can be discovered with more free directions. It is not limited to a simple curve on the latitude, but can form new folds and undulate (fig 112). This exploration of the fabric is much more enticing to touch, however this does not fully consume the visitor. The visitor can see beyond the material boundaries and the surrounding areas. The room, other people, scenes from daily life now come into the play and could potentially affect the engagement. Therefore, it is this reason the piece has been set to be displayed in the vertical.

(52)

Fig 111 & 112. Close up images of the surface structure

(53)

7.1.3 The Flippables

Origins.

The idea of creating a piece that was easily flipped came from the development of The Coffee Filter (fig 113 - 118) in which folds within the fabric created an exact copy of the fold when reversed. The piece had strength within this structure which allowed for the form to self-support. The tension in the negative areas of the fold were sufficient enough to outweigh the weight of the fabric.

It was interesting to watch the piece as pressure was applied to the central point forcing the piece out of the determined shape, flattening it back to a two-dimensional material, then reaching a point where the tension in the folds overtook the pressure point from above, flipping the piece into the reverses position.

Attempted with a couple of alternative folding skeletons, it appeared the most successful and most playful position was the original folding format.

The interaction from this piece was intriguing, and allowed an exploration into smaller module pieces that could be played with similarly to toys. The focus was now on the movement of the piece, and the enjoyment from the interaction, rather than viewing the piece as a textile, or a knitted object.

Fig 113 - 124 . Movement from the two original flippable toys. How interaction through simply the application of pressure can alter the form.

(54)

Taken from the development of the herringbone structure through Folded Knit, this amalgamation of pieces within the strict fold category allow for visitor engagement with very much a focus on play and enjoyment. Individual folded pieces were to be constructed with a variety of fold lines that allow the viewer to experience each piece as a separate textile form

Reflecting on The Red Piece within Folded Knit, it was interesting to see how the piece reacted when sections were brought into a spherical position. How could the hand manipulate the folds into new three-dimensional pieces?

Fig 125. Paper folding of the herringbone pleat.

Fig 126 & 127. The Red Piece from Folded Knit shows the potential and influence human interaction can have on the form and shape of knit fabrics with a developed knit skeleton. This form was used as the base.

(55)

Fig 128 - 130. Developing paper folds for flippable pieces before transferring the folds into M1+ Stoll programming.

Shown are the basic fold skeletons used.

Development:

To begin, a simple folding module was repeated through a long length of paper which was brought into a circle. Compressing the folds within that length, the piece took a new form. These folds were then experimented with to include more complex folding strategies.

The scale of the pieces also determined how easily the pieces folded. The larger the height, the bigger the circumference needed to be to allow for the piece to be turned inside out.

Here the basic principles of Pi were used to formulate the diameter and circumference where needed and unknown.

First tested on the 12 gauge Stoll machine, the ratio of the structural thermoplastic yarn was increased to help add stability and structure to the length.

Added structure ensured the folding patterns were strong and did not fall out of place whilst the toy was being played with. Physically, the piece was able to flip and stay within the determined shape without loosing structure.

The overall effect was very intriguing. Once put together, the piece would easily flip and turn itself inside out with a little hand persuasion. It flipped repeated- ly with little effort. This new movement within the piece that was very easily achieved created much interest from visitors and viewers bringing an obvious joy when they interacted with the toy.

Following on from this, the following pieces began to play with scale and the folding potential. Increasing the fold lines to more complex structures, and increasing the scale to test if there became a point in which the piece could no longer flip.

Fig 131 - 132. Extending the height of the module would prove difficult for the module to flip correctly.

Direction of repeat

(56)

Fig 133 - 140. Showing the progression of folding and flipping the knitted piece. The structure of the folds and multiple shapes the piece and be places into can easily be seen.

(57)

57

Visual Hapticality and Visitor Engagement:

It was natural to see a strong interaction with the pieces, and this acted with a dominoes affect. Once one viewer had witnesses the folding and playing potential within the basic flippables, it was obvious there was somewhat of a need to experience these first hand.

The further development of these flippables into further pieces has resulted in more of a visually aesthectial structure rather than a working flippable . Yes all pieces ‘flip’, however the ease of the first flip sample has not been recreated. There has been a focus on the visual draw of the pieces and the ability to play with the constriction and expansion of the folds.

Fig 143 - 148. Allowing natural human interaction with the piece and allowing an organic exploration into the folding and flipping potential of

Fig 149 - 157. Continued natural exploration of the second flippable piece with a visitor who had yet to interact and engage with the piece. The process of movement was not advised and left solely to the visitor.

Fig 141 & 142. Mid-turn the piece takes on a different character to the piece in motion.

(58)

The progression of the simple folds within the repeated forms then naturally lead to the development of more complex shapes and forms, and the inclusion of colour and colour placement within the pieces.

Originally programming the forms to be duo-sided in colour (see fig 141), the development in use of the ADF Stoll knitting machine allowed opened up more intricate colouring options. This meant a method of plating and altering the sequence of yarn feeders, pattern could be included into the knitted forms (fig 161).

After the simple shapes shown above were programmed and tested, with alteration to lengths within each folding section, the fold patterns become more complex, such as the folding skeleton below.

Fig 158. A developed paper fold that is to be translated into a knitted form. Creating more complex folding patterns will allow for more intriguing and interesting knit patterns that challenge the traditional perceptions of knit of clothing and interior textiles.

Fig 159 - 160. Fold skeletons used within the programming of the textiles.

(59)

Fig 161. Test samples of the folding potential using the ADF Stoll machine.

The Original Sample Constructed on the 330TC Stoll machine using 2x28/2 yarns and 2xthermoplastic yarns. The shrinkage rate was high resulting in an almost terry towelling surface texture. The folds are bulky but still work and fold as the fold skeleton requires them to.

Refinement would be good to achieve, however this is a good base to knit materials in which self-supporting qualities are needed.

Sample 1: ADF Stoll Machine

Transferring the programming over to the ADF machine, plating was played with to allow for colour placement in sections of the fold rather than using a two-sided textile.

Holes were created due to incorrect stitch sizing.

Lycra was tried instead of thermoplastic to understand the folding potential of a softer, yet elastic yarn.

The piece was too soft to hold structure and shape.

Sample 2: ADF Stoll machine.

Replacing the Lycra for the thermoplastic yarn as has been previously used meant for a strong and sharp result. The folds within the material needed little persuasion once steamed.

The form was easy to han- dle and felt strong.

This showed potential for the developed recipe of yarns.

In total 4 x 30/1 of cotton and 1 x comfil.

Testing a new thermoplastic yarn that had a lower shrinkage rate than the comfil thermoplastic, this yarn needed a higher melting point for a longer time than the comfil thermoplastic. The results proved less structural than the comfil, however the re- quired temperatures were most likely not met.

As less shrinkage means sharper folds, this could be a development for the future.

Lycra was once again tried and tested with the increase in cotton. The fold lines are strong and crisp, although the self-supporting element was not as evident as the thermoplastic useage.

A colour test was also carried out to test highly contrasting yarns. Result- ing in a subtle melange of colours rather than the strict colour blocking that can be achieved with the 330TC Stoll machine.