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On researching and teaching textile design
Abstract
Artistic research in design is relatively new compared to experimental research in the natural sciences but it has matured a great deal over the last decade. Its extensive development has brought new challenges to professional practice, and also raised questions regarding how knowledge should be imparted in academia. By examining the field of textile design, which has traditionally been taught in close synergy with professional practice, we can discern the emergence of doctoral theses that have brought not only new perspectives to textile practice but also a new role to the design educator as a researcher within the academia. One of the challenges that design education program are facing, however, relates to creating a better connection between research and education in order to continually enrich curricula with new developments in the field, so that basic knowledge and novelty can interact. By looking closely at the development of the research environment at The Swedish School of Textiles and the interaction with undergraduate and postgraduate education, this chapter describes how research has informed the development of textile design education.
... While textile design as a field and practice is considerably focused on material aesthetics and functional end-use of the textile, it tends to look primarily at the visual and tactile sensory domains of materials (Albers, 1965;Gale & Kaur, 2004;Moxey, 1999;Steed & Stevenson, 2020). Textile design students generally develop material sensibility through basic foundational education (e.g., learning fiber and yarn qualities and properties), and through repeated visual-tactile engagement when working with materials through techniques such as knitting and weaving (Dumitrescu et al., 2018). Yet, materials are perceived by all of the senses, as the body's experience is mediated through different sensory modalities, not only vision or tactility. ...
... Generally, textile design education at the undergraduate level entails introducing fundamental notions of textile construction, scale, color, pattern, form, texture, and tactility through the persistent exercising of students' artistic capacities, craftsmanship, and design rationales (Dumitrescu et al., 2018). Yet, over the past decade there has been a shift in textile design teaching methods that moves from textile design teaching using a singular methodology, to textile thinking (Hallnäs, 2018, p. 18;Igoe, 2021, p. 31;Valentine et al., 2017), which presents as an inherently interdisciplinary methodology that spends more time in the conceptual and development phases than in traditional textile design education (Dumitrescu et al., 2018;Femenias et al., 2017;Valentine et al., 2017). ...
... Generally, textile design education at the undergraduate level entails introducing fundamental notions of textile construction, scale, color, pattern, form, texture, and tactility through the persistent exercising of students' artistic capacities, craftsmanship, and design rationales (Dumitrescu et al., 2018). Yet, over the past decade there has been a shift in textile design teaching methods that moves from textile design teaching using a singular methodology, to textile thinking (Hallnäs, 2018, p. 18;Igoe, 2021, p. 31;Valentine et al., 2017), which presents as an inherently interdisciplinary methodology that spends more time in the conceptual and development phases than in traditional textile design education (Dumitrescu et al., 2018;Femenias et al., 2017;Valentine et al., 2017). Textile thinking makes indivisible the "thinking, making, knowing with, in, and of itself, bound up within the agencies of the materials themselves" (Igoe, 2021, p. 42). ...
In textile design education, material expressions tend to be directed toward visual-tactile sensory domains. Yet, materials are perceived by all senses, as the body’s experience is mediated through multiple sensory modalities. This paper presents an experiential learning workshop designed to introduce textile design students to somaesthetics as a way to increase sensory competencies and enrich the exploration of sensory-material expressions in textile design. Teaching methods involved a sensitizing exercise, a reflective sense collage, a collaborative sense map task, and a final design task. An evaluative discussion
is based on workshop feedback by the students and reflections by the researchers. The main contributions of the paper are guidelines as an inspirational source for introducing sensory-material aesthetics in textile design education.
This thesis describes an exploration of the principles of applying leuco dye-based inks to textile design practice. The main motivation has been to explore the design properties and potentials of leuco dye-based thermochromic inks when printed on textiles in order to obtain an understanding and facilitate the design of dynamic surface patterns. The signi cance of this is related to the development of a methodology to assist designers in seeing possibilities, making informed decisions, and predicting colour transitions at di erent temperatures when designing a dynamic surface pattern. The research was conducted by undertaking a series of design experiments using leuco dye-based thermochromic inks, which resulted in various working methods and two pedagogical tools. This process o ered the insight and depth of understanding required to design dynamic surface patterns, in that it highlighted the di erent colour-changing properties of leuco dye-based thermochromic inks, which have the potential to create a more complex and dynamic range of patterns on textiles than those that exist today. There is much to explore beyond the current design possibilities o ered by thermochromic inks, and it is hoped that designers and researchers can apply the knowledge that has been obtained during the work of this thesis to their practical explorations so as to move towards new ways of thinking and designing, and further innovation in textile design.
If you want to understand, and be a part of, the creative revolution in materials design, then Designing with Smart Textiles is the complete toolkit you need to get started.
Beginning by introducing the terminology and key applications, the book goes on to examine the key design processes needed to develop interactive textile design concepts, with detailed projects and examples to help you apply these approaches in your own practice.
Case studies and interviews with innovative designers introduce you to different artistic and technological practices, and demonstrate how world-leading researchers are creating new technologies, yarns, fabrics, and applications. Practitioners share unique insights into their processes, and "Tech Tips" so you can build on their research in your own work.
A visual goldmine for designers of original print, weave and embellishment, Sourcing Ideas for Textile Design will help you generate new ideas, develop them methodically and finally create beautifully designed textiles. The carefully selected range of images illustrate how to use visual information in this process from a variety of sources, breaking down the process into key themes – colour, surface, structure, texture and pattern.
This second edition includes: case studies and interviews with insight into visual research and development from revered practising designers, including Dries Van Noten and Reiko Sudo;Spotlight sections offer historical or cultural perspectives on each point in the process; and,new coverage of material investigation, colour analysis, presentation and curation, as well as advice on IP and copyright.
You’ll also be guided through the three stages of textile design where you will:
• generate your idea;• work to develop it; and,• create your developed idea in the studio.
By engaging with this approach, and exploring new ways of seeing ordinary things through the key themes, you’ll learn to create incredible effects in your textile design.
This major textbook is designed for students studying textiles and fashion at higher and undergraduate level, as well as those needing a comprehensive and authoritative overview of textile materials and processes. The first part of the book reviews the main types of natural and synthetic fibres and their properties. Part two provides a systematic review of the key processes involved first in converting fibres into yarns and then transforming yarns into fabrics. Part three discusses the range of range of finishing techniques for fabrics. The final part of the book looks specifically at the transformation of fabric into apparel, from design and manufacture to marketing. With contributions from leading experts in their fields, this major book provides the definitive one-volume guide to textile manufacture. Provides comprehensive coverage of the types and properties of textile fibres to yarn and fabric manufacture, fabric finishing, apparel production and fashion. Focused on the needs of college and undergraduate students studying textiles or fashion courses. Each chapter ends with a summary to emphasise key points, a comprehensive self-review section, and project ideas are also provided.
In this article, we explore and start to define what smart textiles as raw materials for design can be, and look at how these materials can come into and add something to another design process. The foundation for this exploration is a number of textile examples from the “Smart Textiles sample collection” and our experiences when developing and designing with them. (The Smart Textiles sample collection is a range of textiles that is designed and produced by the Smart Textile Design Lab, to give students, designers and researchers direct access to different types of smart textiles). The possibilities and limitations of smart textiles as raw materials for design are explored by looking at the textile examples from two perspectives: firstly, by looking at the considerations that come with designing this type of textile design, and secondly by looking at what these transformative textiles can bring to another design process. Each example is analyzed and classified according to what transformable design variables for structure and surface change can be embedded in the textile design, and what design variables this subsequently creates for a design process that uses these materials i.e., describing what type of transformation different examples of smart textiles introduce to the design process/design space; whether the change is reversible or irreversible, and whether the change occurs through physical or through digital manipulation of the material. This article ends with a discussion of how smart textiles in the form of raw materials for design could influence how we design textiles and how we design with textiles.
âI shall reconsider human knowledge by starting from the fact that we can know more than we can tell,â writes Michael Polanyi, whose work paved the way for the likes of Thomas Kuhn and Karl Popper. The Tacit Dimension argues that tacit knowledgeâtradition, inherited practices, implied values, and prejudgmentsâis a crucial part of scientific knowledge. Back in print for a new generation of students and scholars, this volume challenges the assumption that skepticism, rather than established belief, lies at the heart of scientific discovery. âPolanyiâs work deserves serious attention. . . . [This is a] compact presentation of some of the essentials of his thought.ââReview of Metaphysics âPolanyiâs work is still relevant today and a closer examination of this theory that all knowledge has personal and tacit elements . . . can be used to support and refute a variety of widely held approaches to knowledge management.ââElectronic Journal of Knowledge "The reissuing of this remarkable book give us a new opportunity to see how far-reachingâand foundationalâMichael Polanyi's ideas are, on some of the age-old questions in philosophy."âAmartya Sen, from the new Foreword
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