Crafting-design Tuft meets

By Teresa Montesino Hammarskjöld

Bachelor of Fine Arts in Design

Degree work number: 2020.4.07

Date: 10.09.2020 Degree work

Bachelor of Fine Arts in Textile Design

The Swedish School of

University of Borås

Sweden

Title Opponent Crafting-Design Claire Johnston Tuft meets embroidery Class opponent Author Malin Hansson Teresa Montesino Hammarskjöld Exterminator Date Delia Dumitrescu 10.09.2020 Special thanks to Supervisor Hanna Lindholm Tonje Kristensen Johnstone Roger Högberg Margareta Zetterblom Magnus Sirhed. Thank you for your support.

1 1.1 Representative image of work

2 3 4 1.2 Abstract

This project combines industrial tuft with handmade embroidery in order to explore various combinations of textured surfaces, materials and colors. The purpose is to investigate a meeting between craft and design by focusing on the encounter between the compact and the loose, the assembly of materials, as well as variations in levels and heights. The works are mainly based on recycled­ materials. Three textiles piec- es were designed: a First Piece focuses on the meeting between craft and design; the Second Piece relates to different textures and the Third Piece addresses growth­­. The combination of hand embroidery and tufting create diversity and nuances in expressions, forms and textures. The small-scale of hand-embroidery permits the use of materials difficult or impossible to handle in machines and thus break the monotony of tuft. Through the tufting technique, larger compact pieces are produced that have depth and are sound-absorbent. This project aims to create a bridge between craft and design in the field of textile design.

5 1.3 Keywords

Textile-design, Textile-craft, Embroidery, Tufting, Texture.

6 Table of contents 3.2.6 Material...... 24 1.1 Representative images of work...... 1 3.2.7 Embroidery and tuft...... 25 1.2 Abstract...... 5 3.2.8 Form development ...... 26 1.3 Keywords...... 6 3.2.9 Sketches...... 27 2. Preface...... 9 3.2.10 Sketches...... 28 2.1 Introduction to the field...... 10 3.2.11 Color development...... 29 2.2 Motive and idea discussion...... 12 3.3 Development of Piece One...... 32 2.3 Aim...... 14 3.3.1 Form development and work process...... 32 3.1 Design method...... 15 3.3.2 Materials...... 34 3.2 Pre-study...... 16 3.3.3 Colors...... 35 3.2.1 Familiarising with tufting machine...... 17 3.3.4 Process...... 36 3.2.2 Embroidered and tuft in the frame...... 18 3.3.5 Close up pictures...... 38 3.2.3 Tufted and embroidered in the tufting frame...... 19 3.4 Development of Piece Two...... 39 3.2.4 Embroidery samples...... 20 3.4.1 Form development...... 39 3.2.5 Tuft experiments...... 22 7 3.4.2 Color development...... 40 4 Result...... 53

3.4.3 Material...... 41 4.2 Presentation...... 57

3.4.4 Technique development...... 42 4.3 Conclusion...... 58

3.4.5 Process Pictures...... 43 4.4 Discussion...... 59

3.4.6 Close up pictures...... 45 5. Reference...... 60

3.5 Development Piece Three...... 46

3.5.1 Form development...... 46

3.5.2 More sketches...... 47

3.5.3 Embroidery samples...... 48

3.5.4 Color development...... 49

3.5.5 Technique development...... 49

3.5.6 Material...... 50

3.5.7 Process...... 50

3.5.8 Close up pictures...... 52

8 2. Preface

In the beginning of any project, planning, research, experiments, search for resources, bouncing ideas and emotions, all form part of a cre- ative process, and have to be considered to form a project plan. Such a plan should be put in practice during the project period. But, in this case, suddenly everything changed dramatically. Like a lightning from a clear sky, the work-conditions changed totally and the plan was no longer possible to realize. Everything had to be rethought, reformulated and the whole process had to start all over again. I found myself in a painful process which became even more overwhelming by the insecurity and fear of the pandemic that was invading the world during the late spring of 2020.

9 2.1 Introduction to the field

This work will explore the encounter between two techniques, hand-embroi- dery and tufting. Embroidery, like painting, is a play with colors, structures and materials in different combinations. Hand-embroidery has traditionally been a decorative craft used for interior-textiles, such as cushions and table- cloths. Meredith Woolnough (2017) uses embroidery as an artistic expression when combining hand- embroidery and machine-embroidery (Fig.1). Others artists are developing this approach to combine when using different mate- rials and techniques. For example, Simon Hasan (2009) works with traditional craft-techniques and modern technology. An icon of slow design and dura- ble textiles is Märta Måås-Fjetterström (1873- 1941). She found nature to be an inspiration for interior-design and used handicraft as a design-tool (Fig.3). By combining colors, she created unique designs, and the color-combinations used in can be applied to both embroidery and tuft.

Fig.2 : Untitled, Simon Hasan 2009

Fig.1: The new neighbours, Meredith Woolnogh 2017

10 The history of tufting-technique goes back to the 1600th century (Wiklund 1990). In the USA, the origins of tuft are connected to the chenille bedspread which in turn led to the industrialization of tuft in USA (Callahan 2016). Tufting uses a backing-fabric and applies to create a tufted textile, and as from the 1930s, machine-tufting has been used to make carpets. Contemporary designers and artists have incorporated tuft in their designs. Alexandra Kehayoglou works with extreme textures and colorful details. She uses the tufting-technique to create carpets that resemble nature’s own textures, such as grass, stones, moss and water which are all imitated with yarns (Fig.4). In her work, Kehayoglou depicts the native landscapes in South America, land- scapes that are in danger of disappearing due to climate change (Kehayoglou 2017). There are many practical uses for tuft in design; the challenge is how to combine its use with an artistic appeal.

Fig.4: Santa Cruz River, Alexandra Kehayoglou 2017 Fig.3: Hjortskogen, Märta Måås Fjeterström 1929

11 2.2 Motive and idea discussion

The spark that lead to the idea to combine industrial tuft and hand- made embroidery was the potential in the combination of the dif- ferent textured surfaces; differences in heights and color-variations could open up for new design-ideas. 2D- and 3D-structures create a possibility to bring in more details in textures, forms and levels. For a number of years, designers have been aware of the damage the textile industry causes both to humans and to the environment. In order to make more sustainable products, companies such as the Swedish carpet-company Kasthall have created collections with leftovers from other production (Eliasson 2017) (Fig.5). However, de- signers and producers need to do a lot more in the search for crea- Fig.5: Harvest, Kasthall Design studio Ellinor Eliasson 2017 tive and sustainable products with material at hand. In our contem- porary society, everything has to be produced fast, and efficiency is a key word in production. In the face of the current crisis, when many activities have been forced to slow down, there is an oppor- tunity to rethink methods and materials, as well as objectives. To work with available materials and to create design in an artistic way are part of the working-strategies of this project. How can you handle existing materials, and combine embroidery and tufting; two techniques commonly perceived as very different from each other. Tufting is a technique that can be worked starting from the centrer, from the bottom or from the sides, while weaving has one single working-direction. Tufting is applied on a fabric that is secured in a frame, and inside this frame the direction of the work is limited Fig.6: Gröna nyanser, Åsa Lom 2013 only by the imagination. Tufting creates three-dimensional struc-

12 tures, it can also have a practical use as a sound absorbent tex- tile. The potential with tufting is that it is a direct design tool, it means that the designer has control of the tufting and can easily stop, change direction, materials in order to adapt to the design concept. Åsa Lom (2013) has made a number of textiles for public spaces. She takes advantage of the different loop highs to cre- ate textured surfaces that absorb the sound of the environments where they are installed (Fig.6). On the international arena Vanes- sa Barragao (2019) combines tuft and textile craft like , and macramé to create tapestries of nature in the sea and along the shores. She makes portraits of both the healthy coral and of the damaged bleached (dead) coral reefs (Fig.7). She uses rest materials from the textile industry including yarns, fabric and recycled materials. Both the earlier mentioned Kehayo- glou and Barragao show the potential of textile design, using mo- tives that denounce the growing treat of climate change, at the same time as they use industrial waste materials. Textile industry create a strain on the environment but there are no real need to Fig.7: Coral Garden, Vanessa Barragao 2019 create new materials when the materials already existing can be used and bring the craft to a full circle. This project combines the art, craft and design using two textiles techniques, hand embroidery and tufting, two techniques that are not traditionally combined.

13 2.3 Aim

The aim of this project is to combine industrial tuft and handmade embroidery in order to explore different variants of meetings in textured surfaces, materials, and colors. The purpose is to open up for new design-ideas based on the combination of the two techniques, through focusing on the meeting between the compact and the loose, material-assembly, and variations of levels and heights.

14 3.1 Design method Samples: Select samples that have interesting texture in rela- tion to density, volume, height, in the mixture of color, such as This is a practice-based study that by means of practice and the contrast, harmony, and surface meetings. Samples to work further outcomes of that practice gain new knowledge (Candy 2006, Mura- with embroidery techniques and tuft technique and a combination tovski, 2016). In search for the desired result, different experiments of the two. were done. By exploring various ways to combine the two tech- niques, the experiments were evaluated according to the earlier Materials: Testing of both natural and synthetic materials, of formulated aim. This method involves trials and errors before Yarns adapted to tufting and yarns more suited for knitting and reaching the final result in the form of three textile-pieces for inte- weaving. What materials works with the techniques, what materi- rior design. als cannot be used in tuft but can be introduced with embroidery.

Research: The research process helps establish the aim, finding Color: The colors were extracted from a mood board, pictures, various state of the art designers, designs and relevant Strong contrast colors that reinforce the difference between em- literature. broidery and tuft. And soft colors that lift the texture of the tex- tiles. Pre-study: Conducting experiments first only with tuft, later combining tuft and embroidery and only with embroidery. Process: With different kinds of practical experiments with tuft, embroidery and a combination of the two. Limitations: The process has been time consuming. The tuft cannot use hard and unbending materials. Only four em- Production: Samples were chosen and further developed that broidery techniques were used to select from all the hundreds of had interesting textures and color combinations, were dynamic embroidery stitches. and had interesting surface meetings for interior design textiles.

Experiments: Exploring expressions with different forms of sketching also in the form of 2D sketches on paper to 3D sketches and samples.

15 3.2 Pre-study.

The aim of the pre-study was to explore different ways where embroidery can contribute to tufting and where tufting can contribute to embroidery, and also to see what materials are suitable for the two techniques. Ex- periments were conducted with embroidery, tuft and the two techniques combined in various ways (Fig.8).

Fig.8: In this sample various stitches were tested together. Four stitches were picked out to be used in the project as they were time efficient, having various textures and can be used with many yarns.

16 3.2.1. Familiarising with the tufting machine

The aim of this experiment was to explore the differences in heights and textures of tuft. These differences depend on the form of tuft used, there is looped tuft (Fig.10) and cut of tuft (Fig.11), but also the kind of tuft needles vary from 16mm to 45mm. This study gathered knowledge of the tuft that was essential for the design development.

Fig.9: There are various heights of Fig.10: Close up of Fig.11: Close up of the tufting needle. The pre-study tuft sample. Looped tuft sample. Cut of samples were all the different tuft. tuft. heights of the tuft both cut of and loops.

17 3.2.2 Embroidered and tufted in the frame

In pre-study 1, the samples were tufted and embroidered in the tuft- ing frame. This part showed the various surface textures that could be made with tuft and embroidery together (Fig.12-14). Tufting and em- broidery allow mixing of threads to make mottled effects (Fig.15). This can be enhanced by using different thickness of , by mixing very thick yarns and thin yarns. Doing the embroidery in the tufting frame was very time-consuming; the fabric was too tense for the needle to pass back and forth without force which caused blisters to the hands. To find another way of applying the embroidery outside the tuft frame Fig.13: Sample with tuft and em- Fig.14: Sample with tuft was necessary. broidery. Working round the tuft and embroidery. Filling with . Materials in out holes in the tuft samples 13-14 wool. with French knots.

Fig.15: Mixing colors and materials in both the tuft and Fig.12: First sample with tuft and embroidery. embroidery. Materials wool, cotton, flax, viscose, acrylic. Materials wool and polyamide. 18 3.2.3 Tufted and embroidered in the tufting frame

The purpose of these experiments (Fig. 16-19) was to explore the meeting between tufted and embroidered surfaces. The result of pre- vious samples had shown that wool, cotton and flax were the most appropriate mate- rial to use (Fig 12-15), while e.g. viscose and acrylic didn’t work. In this respect, embroi- dery has no limits as to materials and thus Fig.16: Tuft and embroidery sam- can be used to try out experimental expres- ple in the frame. Materials: wool, sions like adding a piece of a garden-hose to cotton, flax. the textile (Fig.17). The outcomes of these Fig.18: This sample showed freedom in the experiments show that through working expressions. Complicated forms can be made combining the two techniques. It is possible carefully with materials, colors, direction to make many details and textures. Materials: and texture, a high level of detail can be wool, viscose, cotton, flax. achieved in the combination of tuft and em- broidery.

Fig.17: Tuft sample with coaching stitch. Materials: cut of garden house, Fig.19: Close up of wool, cotton, viscose. Fig.18.

19 3.2.4 Embroidery samples

A second pre-study was done solely with embroidery (Fig.20- 28). Without having access to tufting machines, tufting was replaced with 3D embroidery, also known as punch-needle embroidery (Gervais 2012). To contrast the tuft-technique, four embroidery stitches were used: , chain stitch, and French knots. This diversity allows for variation in scales, textures and surface. Embroidery as compared to tuft is not dependent on the abilities of the backing-fabric. A tuft needle can only tuft on a sparse fab- ric, while it is possible to embroider on any quality of fabric, Fig.25: This work focuses on Fig.26: Figurative embroidery. from synthetic (Fig.20-24) to natural qualities (Fig.25,27 & 28). interior textiles and this sketch intends to experimenting with furniture textiles. The tech- niques are 3D embroidery 2D em- broidery and the model is made from clay.

Fig.20-24: Em- Fig.21 Fig.22 broidery on syn- thetic leather.

Fig.27: Sheep skin on embroi- Fig.28: Embroidered tuft and Fig.23 Fig.24 dered wool fabric. Materials: regular embroidery. Materials: wool, cotton, silk. flax, wool, cotton, silk 20 Fig.29: 3D and 2D embroi- dery sample. Materials: flax and cotton Fig.31: 3D embroidery.

Fig.33: Embroidery sketch

Fig.30: Embroidery sample with materials: mohair and cotton.

Fig.32: Embroidery sam- ple.

The greatest challenge in this second pre-study was to channel the many possibilities of embroidery into only three tracks. As can be seen in figures 29 to 33, they all contain combinations of 3D and 2D embroidery in different forms and materials in order to obtain as much varia- tion as possible as to density, height and textures. The most interesting elements regarding textures, 2D and 3D and density were chosen for further development.

21 3.2.5 Tuft experiments

To enhance the understanding of what materials are suitable for tuft, further experiments were needed. In the earlier tuft experiments, focus was on texture by using common tuft materials such as wool, flax and cotton. In the new experiments, focus was to change the expression by mixing different materials. The materials added were acrylic, reflective thread, viscose, silk and polyester. To further change the expres- sions, some lose- spun wool and flax were added. The outcome of these experiments shows that mixing of materials that are not traditional- ly used for tuft will add more texture making for a different and more interesting overall expression. The tuft experiments were also made to experiment with composition and color combinations. What colors will enhance the forms (Fig.34) or hide them. This created a base to work from in the production of the pieces.

Fig.35: Tuft sample with mixed materials: wool, acrylic, reflective thread, cotton, viscose. Fig.34: Tuft sample with mixed materi- als: wool, cotton, flax, viscose, reflective thread, acrylic.

22 As seen in Fig 36- 40, it is possible to tuft with different materials. However, some materials may cause problems with the tuft machine. For exam- ple, tufting with only viscose creates loose fibres that get stuck in the machine (Fig.37). Problems like these led to the decision to use more traditional tufting- materials in the steps to follow.

Fig.36: Small sample. Materials: wool, acrylic, velvet, cotton

Fig.37: Small sample with mixed materials: wool, cot- ton, flax, acrylic, polyester

Fig.40: Sample with all kinds of materials Fig.39: Mixed mate- and various tuft heights both loops and cut Fig.38: Tuft sample rials sample. Cotton, of tuft. Materials: wool, acrylic, flax, cotton, with only viscose, loops wool, flax polyamide, polyester, viscose. and cut of tuft.

23 3.2.6 Material

The pre-study showed that tufting can have many forms and surface textures, embroidery has the same possibili- ties, albeit on a smaller scale. Tufting and embroidery can be worked from the centrer, bottom or the sides. As com- pared to weaving and knitting that only have one work- ing-direction (Fig 41–44).

During the process, different materials were tried (see Fig.34-40). The result obtained was that the best materi- als to use in tufting are wool, flax and cotton. The tufting machine cannot used hard materials such as metal or other Fig.41-44: Tuft samples with the materials Fig.42: Tuft sample with to be used in the Three Pieces. Materials: wool, flax and cotton. unbending materials. Within the tuft-friendly materials it is various quality of wool, cotton, flax, viscose possible to mix freely. In embroidery there is more freedom, and silk as details, polyamide and acrylic as and it is, for example, possible to incorporate metal-threads a strengthener. in the embroidery.

Fig.43: Tuft sample with Fig.44: Tuft sample with wool, flax and cotton. wool, flax and cotton.

24 3.2.7 Embroidery after tuft

In the final pre-study, the samples were tufted and embroidered after gluing the back of the tuft and cutting down the textile from the tuft- frame. This was possible by leaving spaces unglued to be embroidered (Fig.45-49). One sample was embroidered before put in the tuft-frame and this sample was both easy to embroider and to tuft (Fig.50). To embroider first and tuft later was most time effective.

In these samples there are interesting meetings between 3D and 2D textures. The meeting is enhanced if the embroidery has a contrast- ing color (Fig.49), but also when the same color and yarn quality is used in both tuft and embroidery the texture difference is apparent (Fig.48). These samples show that the possibilities of combinations in texture and color can be further developed in the project. Fig.45: Tufted and embroidered sample. Fig.46: Tufted sample Materials: acrylic, velvet, wool, cotton. and embroidery mixed materials: wool, acryl- ic, reflective thread, cotton.

Fig.47: Tuft and embroidery sam- ple. Materials: acrylic, wool and cotton. Fig.48: Tufted sample and embroidery mixed materials: wool, cotton, flax, jute.

Fig.50: In this sample the embroidery was done before putting the fabric in the tuft Fig.49: Tufted sample with embroidery. frame. Materials: wool, silk, flax, cotton, acryl- Materials: wool, velvet cotton. ic, jute. 25 3.2.8 Form Development The first sketches were figurative (Fig.50), the later ones show a development towards more abstract forms (Fig.51-62). From the flowers, the organic impression carried throw, and roots and connections became mixed (Fig.51) and developed into faces and hands. At this point, the sketching was done without any frame to work after. As many forms and expressions as possible were developed to have much to choose from in the final selection.

Fig.51: The first sketches for the project Fig.52: The first of the abstract sketch were inspired by artist and designer process. Fig.53: Mixing in rec- Josef Frank (1885-1967) and his flower ognisable shapes in patterns. The sketches were made with the abstract. water based paint on paper in order to test how colors mix. The realistic sketches were not as interesting as similar designs already existing com- pared to the more abstract sketches.

26 Fig.54: Taking figurative Fig.55 The sketching- pro- Fig.56: In the study of Fig.57: In this sketch the free Fig.58: This sketch forms and making them cess were free with no hands the shape of “roots” are controlled with was more balanced more abstract led to a clear rules. When a form hands were combined a frame. This effort to create but the expression study of hands. were interesting it was with organic plant forms. balance were not successful were too stiff. investigated in many ways. and more sketches were made. Here repeated.

Fig.63: This sketch try to Fig.59: This sketch attempts Fig.60: Here the sketch- Fig.61 This sketch try to combine Fig.62: This sketch make the abstract more to capture the organic plant es returned to abstract the abstract forms and have a tried again to cap- simple. After analysing the life of the first sketch. It body parts. even balance between the lines ture a abstract plant abstract hands and faces was to even and was left. and the empty fields. from but it was not there were nothing new that interesting. was found so this line were put aside. 3.2.9

The different shapes and expressions found in the sketches (see Fig 51-63). As the project will focus much on the surface texture, 3D sketches 27 were also made. All the above sketches have something organic in the expression. 3.2.10

3D-sketches helped to start visualize the pieces better. However, the forms and colors were unfocused and some limitations were needed to make the project-expression more focused.

Fig.64: This sketch Fig.65: In this Fig.66: The 3D Fig.67: This sketch at- Fig.68: Based on Fig.69: This sketch were made to see if sketch was made sketches opened for tempt to lift the back- the earlier sketches, is more ordered. The the expression of fig- to see how the more form experi- ground and to make the this sketch combines black moves over urative forms changes surface change mentation by taking lines lower. heights and levels ran- height-differences when 3D texture is with levels of elements from the domly. and create movement added. It held much texture. 2D sketches and inside the from. promise so a series combing them. of 3D sketches were made.

Fig.70: What if the Fig.71: Further study Fig.72: This sketch togeth- Fig.73: When comparing the two higher levels had tex- how different heights er with Fig. 73, shows the its found that the expression ture? This sketch and show texture. same form but with oppo- change depending on what part the next study this. site height in texture were of the form is 2D or 3D. This will made for comparison. be further investigated. 28 Fig.74-76: Same Fig.75 Fig.76 Fig.77: Combining differ- form, different ent height in sketches, shapes. gives an indicator of what the finished product will look like.

3.2.11 Color Development

All the sketches were evaluated in relation to three original keywords: Meeting, Textures and Growth. Based on these key-words, a mood board was made in order to determine what colors to use and how to frame the visual expression of the work (Fig.78). The pictures showed four dominat- ing colors: green, red, golden brown and blue. One great advantage of both tuft and embroidery is that they allow for variations by mixing different Fig.78: Sketch made of fabric shades of yarns together. and sheepskin. This sketch is more accurate as it is completely made of textile- materials.

29 Mood board

Growing, Texture, Meeting

By using the key-words as reference, the pictures in the mood-board were selected. This made it possible to Fig.79: Mood board frame a visual expression of the project. The mood-board serve as a reference for sketches and as color- ref- erence. This contributed to focus the design-development. 30 From the mood-board (Fig.79), the main colors were selected. The colors for each piece were selected according to the representative key- word of the piece.

Piece One is composed of different colors expressing strong color contrasts in order to reinforce an expression of meeting.

Fig.80

Piece Two is composed of colors that allow the texture to be more visible.

Fig.81

Piece Three is composed of colors that create continuity with the other pieces in the collection.

Fig.82

31 3.3 Development of Piece One

Meeting is the keyword for this Piece

3.3.1 Form development and work process

To find a shape that could include a meeting between techniques, soft and hard materials, forms, colors, surfaces and expressions, sketches were developed, including 3D, watercolor, acrylic and 2D embroidery. The embroidery-sketches were important in order to experiment with possible expressions (Fig.83). The embroidery sample was analysed, focusing on what meetings could be found, such as in contrasting colors, dynamic surfaces and different levels. All these were then developed into new sketches.

Fig.83: Embroidery Fig.84: The color theme were sample, a minia- developed from a mood ture of the finished board. This sketch attempts Fig.85: Forms were tuft and embroi- to create a simple and play- repeated in this sketch. dery work. ful form. Watercolor sketch. To test the image mir- rored itself. Acrylic and watercolor.

32 The process of sketches progressed by adding more details to the expression, through repeating forms (Fig.85-86), making the forms rounder (Fig.85) and more uniform. Experimenting with different combinations of forms made expressions more and more playful. The meeting be- tween the two techniques needed a balance in colors and expressions. Equal amounts of tuft and embroidery in the piece means that the expression could not be too complicated (Fig.86 & 87). It was necessary to return to a simpler design. In fig 84 the “tufted” green part domi- nated the piece and thus made the embroidery “invisible”.

Fig.86: This sketch is to un- Fig.87: In this sketch, too many balanced. things are happening.

33 After evaluating the sketches and samples, one sketch was selected to become Piece One (Fig. 88). The sketch chosen needed to find a bal- ance between the tufted and embroidered parts. Also, it needed to convey a playful impression, to capture the creative joy that comes from discovering something new with familiar techniques. This led to the development of the final design. The piece was made as large as the tufting-frame permitted, so that the finished piece could meet and fill a space. After cutting down the tuft, the embroidery process started. In the tuft as well as in the embroidery, two to five-yarns were mixed in order to obtain the variations in color and in mix of materials.

Tufted parts

Embroidered parts

Fig.88: Final sketch in black and white.

3.3.2 Materials

The materials used in this piece are wool, flax, jute, silk, viscose, metal and cotton. Not all yarn was weaving- or tufting-yarns. Some yarn qualities are adapted for knitting and give a much fluffier appearance. This created for more contrast between the tufted and embroidered areas, and underlined the meetings between the techniques. The various yarn-thickness and changes created a mottled effect. Metal- thread was used in the embroidery in order to create contrast in the materials. The use of metal/copper threads in the embroidery shows that, as opposed to tuft, embroidery can use almost any material both soft and hard.

34 Fig.89: The final sketch for Piece One in color.

3.3.3 Colors

The underlying concept of this piece is meeting, and therefore the colors used are strong and contrast- ing. So as to draw in the gaze, the colors needed to be powerful and have many shades. It is possible to play with shades of color to make the textile more alive and make the colors themselves more vivid.

35 3.3.4 Process

The first piece was tufted, glued and cut down before the embroidery was applied. Embroidery leaves more space for movement since it is easy to change direction of the stitches. With this in mind, the tuft- ing was done in stages. During the first stage (Fig.90), the dark-blue field as produced. The height of the tuft varies; there are 16 different heights of tuft with loop and cut off. With this mixture, the intention was to create a surface similar to a cloud, with a sense of tactility and distance. The dark-blue interplays with the blue of the sky and the mixed-in of light- blue details creates a feeling of water and the sea. This light-blue color lightens up the dark-blue, and produces a Fig.90: Tufting started com- bining different quality of blue Fig.91: The embroidery started. lighter impression. After the blue parts were put in place, red and yarn. brown were added. The red color creates a strong contrast against the blue. All colors in the first piece are strong and playful. The brown was added to frame the tuft, to connect the other colors and to ground them with an earthly color. The embroidery was made to con- trast against the tuft. The more dynamic expression of the embroi- dery (Fig.92 & 93) was used to clearly separate the embroidery from the tuft expression. The green embroidery was done first (Fig.92 & 93) with a mixture of wool, cotton and silk. Green metal threads were added to give a contrast of material. The fact that it is hard to detect the metal threads is deliberate, a hidden meeting of materials. After the green, brown mixed with copper (Fig.93) was added to frame the piece along with red some light- blue embroidery. The meetings in this piece takes place at many levels: meetings of form, Fig92: Close up picture. Fig.93: Process picture. Green em- color meetings, the meetings of technique and material. As intended broidery completed. the result became playful. However, the many meetings competed too much with the expression and the next two pieces are going to 36 be more focused in the expression and overall design.

Fig.94: Finished Piece.

37 3.3.5 Close up pictures

Piece One has plenty of details that can easily be appreciated in the following pictures (Fig.95-102).

Fig.95: Picture of the piece from Fig.96: Close look on the green, Fig.97: Close up of light- blue embroi- Fig.98: Close up of brown, green the side showing the meeting red embroidery were it meets the dery and the meeting with tuft. and light-blue embroidery meet- between tuft and embroidery. blue tuft. ing tuft.

Fig.99: Picture from the side Fig.100: Picture focusing on the Fig.101: Picture focusing on the Fig.102: Close up picture on the focusing on the light-blue embroi- green embroidery. meeting between red tuft, blue meeting between green tuft, blue dery meeting the tuft. tuft and embroidery. tuft and red embroidery. 38 3.4 Development Piece Two

Texture is the keyword for this piece.

3.4.1 Form development

The main focus of this Piece was to be textures (see Fig.103). Therefore, the shape of the textile should be simpler in order to focus on the surface of the textile. The first sketches had too much expression (see Fig.104-106) and more sketches and embroidery-samples were made.

Fig.103: To find the Fig.104: This sketch tries to show Fig.105: To find a more relaxed Fig.106:The focus in this sketch is best texture, all of the the textures of tuft and embroi- form the circle was repeated texture meeting. The colors takes embroidery techniques dery. The expression were to randomly. Ink and watercolor. all the attention, they are too is in one sample. Mate- chaotic however and other expres- intense. Ink and watercolor. rials: wool, silk. sions were explored.

39 3.4.2 Color development

The colors had to be lighter given that the focus of the piece is on textures (Fig.107 & 108). The first step was to select one color, ei- ther blue, green, red or okra/yellow. Red and yellow were discharged and the choice was then between green and blue (Fig.109). The first piece had so many shades of both blue and green, but the strong shades dominated. To find a color that was light and at the same time “connected” with the first piece proved to be difficult. When searching for light blues and greens, light turquoise became interesting (Fig.110). Turquoise can be seen as both light blue and light green. The number of shades was narrowed down to four. As the embroidery will stand for the texture part of the work, the slightly darker shades will be used for the embroidered parts and the tuft will be the lighter shade in the background.

Fig.107: In this sample all the Fig.108: Embroidery sample with Fig.109: This sketch had a calm- Fig.110: After evaluating this design, colors of the first piece appear. crochet ,French knots, punch nee- ness which were lacking in the it were taken to the production of The result showed that the dle and lose straight stitch. This former sketches (Fig.101-104). Piece Two. colors draw the attention away sample proved that less colors from the textures. made the textures more visible.

40 3.4.3 Material

Fig.111-114: Sam- Fig.112: Different The second piece is made of various types of wool: sheep wool, lamb’s wool ples of material wool yarn thickness and alpaca wool. Other materials used are acrylic, polyamide and reflective and colors. to find more texture threads (Fig.111-114). Several aspects influenced the choice of yarns. Given This sample have in the materials. crochet and knots the limited time, the color of the yarn had to direct most choices. wool and cotton Finding yarns of the right color was the first task. After a number of dif- to mimic the em- ferent yarns that could be embroidered and tufted had been identified the broidery texture. search for yarns started. To make the embroidery easier, the quality was pri- marily a wool/acrylic mixture. The synthetic fibres make the wool stronger. It also makes the yarns more suitable for tufting. The reason for the reflec- tive threads was to give another dimension of texture to the piece.

Fig.113: Com- Fig.114: Mixing yarns bining different to find the right color shades of grey shade and yarn tex- and turquoise ture. to find the right combination.

41 3.4.4 Technique development

The focus on texture led to a rethink of the role of the embroidery. How to make the embroidery higher than tuft? The embroidery should be more dominating, while the tuft plays a background role. The chain-stitch could be “lifted up” by replacing it with crochet. The French knots are made extra thick in order to obtain a 3D effect. The straight stitch will be replaced with a loose weave and loose straight stitch in the form of high loops. In this piece, the embroidery was done previously to placing the fabric into the tuft- ing-frame (Fig.115).

Fig.115: Embroidery was applied before tufting.

42 3.4.5 Process pictures

The process of embroidery includes detailed work. In the figures below the process from embroidery to tuft is showed in some detail. It starts with embroidery (Fig.116-123) and the last two pictures (Fig.124-125) show the tuft-work. .

Fig.116: In Piece Two, the Fig.117: Replacing the chain Fig.118: Close up pic- Fig.119: Close up of the Fig.120: Picture of work embroidery were done stitch with crochet allows the tures of embroidery start of crochet em- from the side. before tufting. This figure embroidery to rise up from process. broidery. shows the whole piece be- the fabric. Close up of crochet fore tufting started. embroidery.

Fig.121: Close up pic- Fig.122: Close up Fig.122: Close up of Fig.124: Tuft started in Fig.125: Close up picture ture of embroidery. picture of embroidery embroidery. the frame. Showing the of tuft and embroidery in process. meetings of texture frame. between tuft and embroi- dery. 43 Piece Two. Texture

Fig.126: Completed piece, regular light. Fig.127: Completed piece, reflective threads visible.

44 3.4.6 Close up pictures

The figures in this page show different details of Piece Two (meetings between textures, heights, density and volume)

Fig.128: Close up picture Fig.129: Close up of Fig.130: Close up detail Fig.131: Close up of em- of the meeting of tufted texture meetings in tuft of embroidery. broidery and tuft. texture and embroidery and embroidery. texture.

Fig.132: Close up of em- Fig.133: Close up of the Fig.134: Picture with Fig.135: Picture with Fig.136: Close up of broidery detail. meeting between tuft flash to show reflective flash to show reflective embroidery and tuft and embroidery. thread detail. details. texture meeting.

Fig.137: Picture with Fig.138: Close up of Fig.139: Picture from Fig.140: Close up pic- Fig.141: Close up of flash to show the re- embroidery and tuft side with flash to show ture of embroidery. embroidery and tuft flective threads. meeting. reflective threads. textures. 45 3.5 Development of Piece Three

The keyword of Piece Three is Growing

3.5.1 Form

The inspiration for the Last Piece was the birth of my niece. This line of thought produced a number of sketches (Fig. 142-144). However, they lacked connection with the first two Pieces. The challenge was to work abstractly and to keep the expression of growing in the Piece (Fig.145- 146). None of these sketches (Fig.142-146) had any visual expression that connect with the first two pieces. The figures below show the search for such a connection.

Fig.142: Sketches for Fig.143: In this sketch Fig.144: This sketch tries Fig.145: This sketch tried Fig.146: In order to con- Piece Three. The first forms from the two to make the forms more to capture the keyword nect the last Piece with sketch attempting to first Pieces were organic so as to capture growth by making the the first two Pieces, the capture the growth of placed inside the the keyword growth. After form more like a tree. outline was changed. In a child. shape. analysing the sketches, the end the sketch had they had little to do with less in common with the the first two pieces so this first Pieces, and further form were put aside. sketching were neces- sary. 46 The figures in this page show the final sketch process for piece 3. Experimenting with different forms, colors and compositions

3.5.2

Fig.147: This sketch tried to Fig.148This sketch com- Fig.149: This sketch con- As the first set of sketches lacked a connection keep the hanging threads from bine forms from the tinue to experiment with with the previous two Pieces, new sketches were earlier sketches but change first two pieces with the forms from the first two the form of the piece. It does hanging threads. It held pieces to combine into made (Fig.148-152). Taking forms from the first not capture the growth in the promise and were further an interesting design. two Pieces and combining them with the concept from so it was put aside. developed. of growth a final sketch was made. The sketch chosen combined forms and colors from the first two Pieces and created a connec- tion between them that had been lacking. The last piece uses color contrasts and details from the first Piece and tranquillity from the second Piece. When combining this with the keyword growing, the collection was brought to a com- plete (Fig.152).

Fig.150: This sketch try to fur- Fig.151: This sketch had a Fig.152: This sketch had forms and ther develop the falling threads lot of interesting parts and shapes from the first two Pieces. and combine with forms from were developed with more It combines with the growth of the first two Pieces. details. the hanging threads. 47 3.5.3 Embroidery samples

In comparison to Pieces One and Two, the dominating embroidery-technique in Piece Three is couching where a thread or several threads are placed on top of the fabric and another thread is used to secure the first threads. This gives more freedom to the material. The threads/yarn does not need to be bent in any way. The materials can in themselves be too thick to be sewn throw a fabric. The stitches used in earlier em- broidery in the Pieces express movement and playfulness, but despite their flexibility they do not express growing. The couching embroidery displayed a possibility to do so. The technique needed to be tested if it would work also with a bunch of threads. The samples proved that the couching-embroidery can handle many threads placed together thus giving a plant-like expression of growing (Fig.154-158).

Fig.153: Embroi- Fig.154: This em- Fig.155: Embroidery dered version broidery sample sample with coaching of first sketch. was made to try technique using only Sometimes a out the coach- thin threads. sketch will be ing embroidery better in 3D but technique with a this had no con- bunch of threads nection with the instead of the Piece One and common one Two. thread.

Fig.156: Embroi- Fig.157: Embroi- Fig.158: Coaching em- dery sample with dery sample with broidery in process. This couching embroi- coaching em- embroidery technique dery. Thick and broidery. Thick needs a stretched fabric thin threads. threads. to work.

48 3.5.4 Color development

In this Piece, the colors will be more balanced, neither too light nor too strong. The same colors that were used for the first two Pieces were applied in order to create continuity (Fig.160 & 161).

3.5.5 Technique development

Of all the embroidery stitches that were used in this project, coaching-stitch proved the easiest to apply to the fabric in the tufting frame. Therefore, the embroidery was done in the frame before the tufting (Fig 159).

Fig.159: Embroidery in the frame. With Fig.160: The piece is in the tuft Fig.161: As the tufting continued, it the help of safety-pins, the form were frame and tufting has begun. After became clear that the piece lacked shaped in the tuft frame. When the the coaching-embroidery was done, the details of the first two pieces. form were in shape, the threads were tufting was added to the piece. secured with coaching-stitch. 49 3.5.6 Material

The material in the Third Piece are wool, flax, silk, viscose, metal, acrylic and cotton.

Fig.163: Embroidery de- Fig.162: Tufted completed, after tails added. the tuft were completed the piece were cut down and more details were added with embroi- dery.

3.5.7 Process Fig.164: Completed embroidery and tuft. After tufting was completed, the work was cut down from the frame. Detailed embroidery was added after the cut-down (Fig. 163 &164).

50 Piece Three Growing

Fig.166: Closer look at the completed piece.

Fig.165: Completed embroidery and tuft. 51 3.5.8 Close up pictures

The figures in this page focus on the details of Piece Three, a meeting between tuft and embroidery, growing expressions by dif- ferent embroidery stitches, textures, colors and meetings of materials.

Fig.167: Close up of embroidery Fig.168: Close up of embroidery. Fig.169: Close up of braided net. Fig.170: Close up of tuft and lose and tuft. embroidery

Fig.171: Close up of lose embroi- Fig.172: Close up of tuft. Fig.173: Tuft and embroidery Fig.174: Tuft and embroidery Fig.175: Tuft and embroidery dery detail. close up. meeting. details.

Fig.176: Meeting between tuft Fig.177: Close up of embroidery. Fig.178: Close up of tuft. Fig.179: Meeting between tuft Fig.180: Tuft and embroidery and embroidery. and embroidery. meeting,

52 4.1 Result

Three textile pieces are the result of this project where tuft and embroidery has been combined in various ways. The pieces are created to be tapestry or/and carpets depending on the user and the setting.

53 Piece One Meeting

Image coming

Fig.182: Finished piece 1

Fig.181: Finished piece 1

54 Piece Two Texture

Image coming

Fig.184: Finished piece 2

Fig.183: Finished piece 2

55 Piece Three Growing

Image coming

Fig.186: Finished piece 3 Fig.185: Finished piece 3

56 4.2 Presentation

57 4.3 Conclusion project has been carried in difficult times. Working under normal conditions had probably been easier, the loss of access to one of main resources, notably the tufting machine and regular supervi- The aim of this project was to combine industrial tuft and hand- sion, made for difficulties, at the same time as it provided an op- made embroidery, in order to explore different meetings in textured portunity to explore deeper into the potential of hand-embroidery, surfaces, materials and colors. The purpose was to open up for a potential that will be further explored in future projects. new design-ideas stemming from the combination of two different techniques. Focusing on the meeting between the compact and the loose, material assembly, and variations of levels and heights. To combine craft and design can give more depth to the textiles. The combination of embroidery by hand and tufting techniques create diversity in expressions, forms and textures. Leftover material is easier to use in embroidery due to the small scale of this technique, permitting the use of materials that are difficult or impossible to handle in machines. Tufting technique per- mits the production of large pieces that are functional not only as decorative textiles, the compact of the piece makes them sound-ab- sorbent. Hand embroidery with loose parts contribute to break the monotony of tuft. The combination of these techniques allows for new expressions where the big scale can be nuanced and varied in its expressions. A practical conclusion, for Piece One relates to the working process where embroidery has to come after the tuft. Texture stands out more when color variation is minimal as in Piece Two. Piece Three shows that it is necessary to break the dominance of tuft with variation, color and embroidery-stitches. It was a challenge during the whole the process to make the three pieces reflect the common elements. Finally, the importance of “learning by doing” (Schön 1991). This 58 4.4 Discussion the importance, and potential, of using leftover materials or recy- cled industrial material in textile design. This is a contribution to house-holding with resources. This project was realized under unusual conditions, given that the The main contribution of this project is that by combining two world was struck by a pandemic. This limited my access to the tufting techniques tuft and hand embroidery, two techniques that do not machine, required for tufting. A lack of access also to the laboratories normally appear together, the gap between textile design and craft was a further limiting factor. The sketching, most of the experiments may be bridged. and all of the embroidery have been made outside the dedicated The aesthetic potential of the project lays principally in bringing work-spaces. A perceived lack of context, forced me to think in new traditional embroidery techniques closer to textile design and thus ways in order to find other working strategies, materials and alterna- broaden the nuances of expression and scales, particularly small tive techniques. It allowed me to develop forms and expressions that scales and details. The combination of the two techniques contains I would not have experimented with otherwise. I learned many things very large possibilities of diversity, which may produce both beauti- about the origins of tuft that I would otherwise not have found out. ful and functional textiles with aesthetics and acoustic qualities. I would also not have researched in 3D embroidery. The punch-nee- dle embroidery is a hand-tuft technique that I found and tested, and The project can be developed in various directions. The explora- which made it possible for me to develop expressions in tuft without tion of surfaces and the many experiments has produced a great the tuft machine. number of samples. At any time in the working process the choice I have a background in textile handicraft and I have carried this knowl- of a different set of samples, from the once used, the direction edge with me into textile design. However, when studying textile of the work would have taken a different path. There are enough design, I at a loss. Where were the connections? Both textile craft samples to start several new projects. This means that this project and design are about textiles, but there was no communication, no has only started to discover what is possible combining tuft and road, between them. It seems like the map that connects craft and embroidery. The combination may be developed into 3D structures design was lost. This project has given me an opportunity to attempt and forms, or used together with furniture and architecture, e.g. to find that lost road and draw new maps. as sound absorbent or decorative pillows. Using these techniques designers can create textiles that tell stories, express emotions or transmit opinions. It feels like this project has only scratched the surface of what is possible, and that the exploration of what tuft and embroidery can do is a life project. The contribution of the project to sustainability is that it stresses 59 5: References news/kasthall-raises-bar-environmental-stewardship-new-concept

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