植物質感在紙與織品上的再現

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(1)國立交通大學應用藝術研究所碩. 士. 論. 文. 植物質感在紙與織品上的再現 Representation of Plant Texture in Paper and Textile. 研究生：王鈺喬指導老師：鄧怡莘教授. 中華民國九十七年六月.

(2) ABSTRACT. Experiencing and representing unrecognized material is the ability which designers should be provided within a design process. Discussing interesting points and any relationships between the material, technique and product can develop designers’ personal taste and style when they design. For me, material exploration is the most important process in design process. This study shows the exploring process of material making to know more about the relationship between material and design. Looking at different combinations of paper, textile and plant texture through handmade prototypes will be the focus in this project. With detailed recording, there will be some critics of every work and design. Moreover, the influence of my thinking and a logical rule of this project will be defined after this exploring process. A set of material collection with 36 materials has been created in this project. They present the combination of plant texture transformation, paper and textile techniques. Thereafter, this study demonstrates a product design process in order to achieve the application of this material collection. Nevertheless, this project develops a connection with raw material exploration and design process. It also provides a new and complete process for designers.. Keywords : Plant, paper, textile, texture, material, transformation. i.

(3) 摘. 要. 在設計的過程中，體驗材料的使用並發掘其未知的樣式與感受，是現在設計師應具有的能力；而材料的實驗、手作的感受、質感的轉換、斟酌工藝與產品間的關係，在作品中交織出特殊的拼湊，在平凡事物中析出新鮮的發現，都可以增進設計師的品味能力與體現個人風格。為了瞭解材料變化的可能性，與其設計之間的關聯，本創作藉由對材質的設計來探索材料使用時衍生出的面貌。. 以呈現植物質感為主，利用織品概念與其編、織、縫、綁等多重組合，來表現紙的不同風味，並陳述這三者間的對話。感性的手工創作中述說對紙與織品的情感摸索，理性的分析歸納來組織一系列質感創作作品。創作過程中對每個作品詳細記錄並加以評論，藉此更瞭解自己的思考過程與轉變。. 在系列質感設計中，每個作品包含了植物生長型態與現象的想像與轉化，運用紙的不同特性、織品的排列構成如重複、交疊、大量等概念，發展各種作品的可能性。後續將系列質感創作延伸至產品設計，表現於玻璃杯套中，呈現如何將質感轉化為產品設計的方法，提供質感與產品之間的關行性。此創作包含完整的過程與想法記錄，以及對過程的討論與建議，並提供設計師一創作思考的方式。. 關鍵字：植物、紙、織品、質感、材料、轉化. ii.

(4) 誌. 謝. 來到 iaa 似乎轉眼間便過去，不知不覺也進入了尾聲。自己來來去去，也看著大家來來去去，兩三年的時光很短暫，但因為遇見大家而變得不一樣，雖然短暫，卻很實在。. 謝謝鄧老師，能當您的學生真的很幸運，您是老師幫助我研究學習，也是長輩討論人生的經驗，更是好朋友地一起分享生活，我會努力找尋生命中的定位與目標，也會記得還有夢想！謝謝莊老師的和藹可親與林老師的耳提面命，讓我在學習設計的道路上有了更多的勇氣與期待；謝謝張老師、陳老師與賴老師，有你們在的 iaa 永遠都是那麼的溫柔慈祥；謝謝口試委員林老師，給予我的創作寬闊的指導，以及無限的鼓勵與信心。. 謝謝陪伴我的 iaa94，雖然相聚時間不多，即使我在英國的日子，總是會收到大家的關心與一人一句話的明信片，讓我好感動；謝謝 iaa95，回新竹遇見你們是我今年最開心的事；謝謝靈光 Lab 的采芳、丁丁、佳志，跟你們合作總是笑聲不斷，在困難的時候也可以分擔工作；謝謝我的室友小猴、公主，有你們的生活很活潑可愛；也謝謝彥翔、士堯、Q 毛、秀涵、亭佑、小黑，和你們聊天可以變得有活力；也謝謝阿福，還有其他臨時被我叫住、給我建議與意見的人，有你們我的創作才可以順利完成！. 爸爸媽媽妹妹弟弟阿嬤，謝謝你們默默的支持我，讓我一路走來健健康康沒煩惱；謝謝添昇，在我脆弱、想逃避的時候，相信我，給我編織夢想的力量，努力成長。. 謝謝孟萱、韻筑、莞慈，和我分享心事一起學著長大；謝謝伊婷、游聲堯，你們的殺出重圍讓我看見路上的希望；謝謝這一路上的朋友，有你們，人生的風景變得更不一樣！. 王鈺喬. 謹誌. 中華民國九十七年六月. iii.

(5) Contents. Abstract. -------------------------------------------------------------------------------------------------------- i. 摘要. ----------------------------------------------------------------------------------------------------------- ii. 誌謝. ---------------------------------------------------------------------------------------------------------- iii. Contents. -------------------------------------------------------------------------------------------------------iv. List of Tables ------------------------------------------------------------------------------------------------vii List of Figures -------------------------------------------------------------------------------------------------ix. Chapter 1 Introduction ------------------------------------------------------ 1 1.1 Background -------------------------------------------------------------------------- 1 1.2 Motivation and objectives -------------------------------------------------------- 4 1.3 Scope and outline of thesis -------------------------------------------------------- 5. Chapter 2 Paper, Textile and Plant Texture. ----------------------------- 7. 2.1 Paper --------------------------------------------------------------------------------- 7 2.1.1 Background -------------------------------------------------------------------------------------- 7 2.1.2 Characters in Usage ---------------------------------------------------------------------------- 8. 2.2 Textile -------------------------------------------------------------------------------- 9 2.2.1 Background ------------------------------------------------------------------------------------- 9 2.2.2 Characters in Texture ------------------------------------------------------------------------ 10. 2.3 Plant and Texture. --------------------------------------------------------------- 12. 2.3.1 Plant Growth and Arrangement ----------------------------------------------------------- 12 2.3.2 Plant in Design ------------------------------------------------------------------------------ 13. iv.

(6) Chapter 3 Exploration ---------------------------------------------------- 14 3.1 Exploration Structure. ---------------------------------------------------------- 15. 3.2 Character Analysis and pre-experiment ----------------------------------- 15 3.2.1 Character Analysis -------------------------------------------------------------------------- 15 3.2.2 Pre-experiment. ------------------------------------------------------------------------------ 16. 3.3 Exploration Directions. -------------------------------------------------------- 17. 3.3.1 New Definition of Textile Techniques --------------------------------------------------- 17 3.3.2 Unit Shape ----------------------------------------------------------------------------------- 20 3.3.3 Restriction ----------------------------------------------------------------------------------- 20 3.3.4 Further Experiment. 3.4 Formation. ----------------------------------------------------------------------- 20. ----------------------------------------------------------------------- 21. 3.4.1 Production Recording --------------------------------------------------------------------- 21 3.4.2 Material Collection ------------------------------------------------------------------------ 22. 3.5 Material Collection in Product Design 3.5.1 Product Texture Design. ------------------------------------ 23. ------------------------------------------------------------------- 23. 3.5.2 Capability of Application ----------------------------------------------------------------- 24. Chapter 4 Material Collection. ----------------------------------------- 27. Chapter 5 Application of Material Collection. Chapter 6 Discussion 6.1 Discussion. ---------------------- 76. -------------------------------------------------- 87. ---------------------------------------------------------------------- 87. 6.1.1 New viewpoint in Material Collection making process 6.1.2 Material Collection application. ----------------------------- 87. --------------------------------------------------------- 88. 6.1.3 Exploration Process ---------------------------------------------------------------------- 89. v.

(7) 6.2 Distribution ------------------------------------------------------------------- 91 6.3 Suggestion --------------------------------------------------------------------- 92. Chapter 7 Exhibition --------------------------------------------------- 93. Chapter 8 References. -------------------------------------------------- 97. vi.

(8) List of Tables. Table 3.1 Exploration Structure Table ------------------------------------------------Table 4.1 Weave -------------------------------------------------------------------------Table 4.2 Twinkling Bubbles, Weave-Dot -------------------------------------------Table 4.3 Vineyard, Weave-Line ------------------------------------------------------Table 4.4 Nest, Weave-Surface --------------------------------------------------------Table 4.5 Insert --------------------------------------------------------------------------Table 4.6 Honeycomb, Insert-Dot -----------------------------------------------------Table 4.7 Squeezed Blossom, Insert-Line --------------------------------------------Table 4.8 Grove, Insert-surface --------------------------------------------------------Table 4.9 Sew ----------------------------------------------------------------------------Table 4.10 Tattoo, Sew-Dot -------------------------------------------------------------. 14. Table 4.11 Parasite, Sew-Line ---------------------------------------------------------Table 4.12 Specimen, Sew-Surface ---------------------------------------------------Table 4.13 Pile ---------------------------------------------------------------------------Table 4.14 Cocoon, Pile-Dot -----------------------------------------------------------Table 4.15 Mixing Cloud, Pile-Line --------------------------------------------------Table 4.16 Foggy Shadow, Pile-Surface ----------------------------------------------Table 4.17 Squash -----------------------------------------------------------------------Table 4.18 Floating Duckweed, Squash-Dot -----------------------------------------Table 4.19 Growing Grass, Squash-Line ---------------------------------------------Table 4.20 Bloom, Squash-Surface ---------------------------------------------------Table 4.21 String -------------------------------------------------------------------------Table 4.22 Dawn Dew, String-Dot ----------------------------------------------------Table 4.23 Exploding Bud, String-Line ----------------------------------------------Table 4.24 Flower Necklace, String-Surface ----------------------------------------Table 4.25 Bind --------------------------------------------------------------------------Table 4.26 Cells, Bind-Dot -------------------------------------------------------------Table 4.27 Vein, Bind-Line -------------------------------------------------------------Table 4.28 Creeping Vine, Bind-Surface ---------------------------------------------Table 4.29 Twist -------------------------------------------------------------------------Table 4.30 Water Plant, Twist-Dot ----------------------------------------------------Table 4.31 Twisting Leave, Twist-Line -----------------------------------------------Table 4.32 Tobacco, Twist-Surface ----------------------------------------------------Table 4.33 Penetrate ---------------------------------------------------------------------Table 4.34 Rainy Day, Penetrate-Dot --------------------------------------------------. 38. vii. 28 29 30 31 32 33 34 35 36 37. 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61.

(9) Table 4.35 Scar, Penetrate-Line -------------------------------------------------------Table 4.36 Stalks, Penetrate-Surface --------------------------------------------------Table 4.37 Button ------------------------------------------------------------------------Table 4.38 Seeds, Button-Dot ----------------------------------------------------------Table 4.39 Straws, Button-Line --------------------------------------------------------Table 4.40 Petals, Button-Surface -----------------------------------------------------Table 4.41 Roll ---------------------------------------------------------------------------Table 4.42 Fallen Petals, Roll-Dot ----------------------------------------------------Table 4.43 Fern, Roll-Line -------------------------------------------------------------Table 4.44 Rose Buds, Roll-Surface --------------------------------------------------Table 4.45 Fold --------------------------------------------------------------------------Table 4.46 Folded Leaves, Fold-Dot --------------------------------------------------Table 4.47 Mushroom Layers, Fold-Line --------------------------------------------Table 4.48 Fruit Slices, Fold-Surface --------------------------------------------------. 62. Table 5.1 Product Design 1 ------------------------------------------------------------Table 5.2 Product Design 2 ------------------------------------------------------------Table 5.3 Product Design 3 ------------------------------------------------------------Table 5.4 Product Design 4 ------------------------------------------------------------Table 5.5 Product Design 5 ------------------------------------------------------------Table 5.6 Product Design 6 ------------------------------------------------------------Table 5.7 Product Design A ------------------------------------------------------------Table 5.8 Product Design B ------------------------------------------------------------Table 5.9 Product Design C ------------------------------------------------------------Table 5.10 Product Design D -----------------------------------------------------------. 77. viii. 63 64 65 66 67 68 69 70 71 72 73 74 75. 78 79 80 81 82 83 84 85 86.

(10) List of Figures. Fig 1.1 Hella Jongerius -----------------------------------------------------------------Fig 1.2 Embroidery Chair --------------------------------------------------------------Fig 1.3 Sewing pattern on concrete ---------------------------------------------------Fig 1.4 Moldy body ---------------------------------------------------------------------Fig 1.5 Sun Tattoo -----------------------------------------------------------------------Fig 1.6 Stamp Cups ---------------------------------------------------------------------Fig 1.7 Lace Table, Marcel Wanders -------------------------------------------------Fig 1.8 Vase, D-Bros --------------------------------------------------------------------Fig 1.9 Zilla bag, Sylvia Pichler -------------------------------------------------------Fig 2.1 Paper statuary -------------------------------------------------------------------Fig 2.2 Paper cut --------------------------------------------------------------------------. 2. Fig 2.3 Origami --------------------------------------------------------------------------Fig 2.4 Paper modeling -----------------------------------------------------------------Fig 2.5 Weaving -------------------------------------------------------------------------Fig 2.6 Knitting --------------------------------------------------------------------------Fig 2.7 Crocheting -----------------------------------------------------------------------Fig 2.8 Sewing ---------------------------------------------------------------------------Fig 2.9 Quilting --------------------------------------------------------------------------Fig 2.10 Patricia Campbell -------------------------------------------------------------Fig 2.11 Textile collection by Hanna Werning --------------------------------------Fig 2.12 Cherry Blossom ---------------------------------------------------------------Fig 2.13 Leaf vein -----------------------------------------------------------------------Fig 2.14 Paper Statue -------------------------------------------------------------------Fig 2.15 Kraft Container ----------------------------------------------------------------Fig 2.16 Hyperbolic coral --------------------------------------------------------------Fig 2.17 Ceramics -----------------------------------------------------------------------Fig 2.18 Plastic --------------------------------------------------------------------------Fig 3.1 Plant image characters ---------------------------------------------------------Fig 3.2 Pre-experiment samples -------------------------------------------------------Fig 3.3 Technique description 1 -------------------------------------------------------Fig 3.4 Technique description 2 -------------------------------------------------------Fig 3.5 Unit shape -----------------------------------------------------------------------Fig 3.6 Matrix ----------------------------------------------------------------------------Fig 3.7 Production Recording Table --------------------------------------------------Fig 3.8 Material Collection --------------------------------------------------------------. 8. ix. 2 2 3 3 3 3 4 4 8 8. 8 10 10 10 10 10 11 12 12 12 13 13 13 13 13 16 17 18 19 20 21 22 23.

(11) Fig 3.9 Paper and rubber woven -------------------------------------------------------Fig 3.10 Texture with shadow ---------------------------------------------------------Fig 3.11 Structure and its pattern ------------------------------------------------------Fig 3.12 Feminine texture --------------------------------------------------------------Fig 3.13 Button-surface texture --------------------------------------------------------Fig 6.1 Glass sleeve for milk -----------------------------------------------------------Fig 6.2 Glass sleeve for cocktail -------------------------------------------------------Fig 6.3 Rubber glass sleeve ------------------------------------------------------------Fig 6.4 Pile-Surface, Button-Surface, Sew-Surface ---------------------------------------Fig 6.5 Roll-Surface, Fold-Dot, Button-Line ----------------------------------------Fig 7.1 Installation-----------------------------------------------------------------------Fig 7.2 Samples with wooden frames-------------------------------------------------Fig 7.3 Shadow projected on the wall-------------------------------------------------Fig 7.4 Product’s setting up--------------------------------------------------------------. 24. Fig 7.5 Light arrangement---------------------------------------------------------------. 96. x. 24 25 25 26 88 88 89 91 91 93 94 94 95.

(12) 1. Introduction. The first chapter starts from the background of material exploration in design. Then, some of my work done before and designers’ work will be introduced here to describe my interest of material exploration. Besides, the motivation, objectives and outline of this project will be defined in the following page.. 1.1 Background Material in product design Creativity can first be seen during the stage of material exploration in design process. May it be an artist, a product designer, a jewelry designer, a fashion designer; it is a fact that material control is necessary for designers. Using materials is always the most important way in my design process during industrial design education. Ideas can be pouring out of brain through the act of using both hands to make objects. After several experimental projects, an interest of mine has been found in material with its challenge and surprise during the exploring process, and the sense of achievement within the discovering. Idea and way of thinking is also assured through this type of process.. Combination of Two Materials Inspired by a Dutch designer, Hella Jongerius’s work (Fig 1.1), the Embroidery Chair (Fig 1.2) made in an Oriental Design Project. is about elements’ application of Oriental culture, for finding out an alternative way of design that represents our culture. Traditional Chinese artistry, embroidery, is used as my design element. The embroidery is not only a kind of artistry, but also an old craftsmanship. This craftsmanship is created on modern materials such as acrylic and several sewn old-fashion patterns on it. Furthermore, using concrete as the other base material to sew patterns on it (Fig 1.3) is a new idea to see what will happen with this combination. Obviously, there is a big difference between these two projects, such as the different process of making the product, texture, images, etc, because of the different characteristics of materials.. 1.

(13) Fig 1.1 Hella Jongerius. Fig 1.2 Embroidery Chair. Fig 1.3 Sewing pattern on concrete. Exploration of Material Applications Self-destructive Object is a special project run by Noam Toran (Noam Toran, born 1975, a designer combined artist commissions with set designs for theatre and film) during my education in Royal College of Art. Two works had been done concerning this project, one is “Moldy Body”(Fig 1.4) made by decade fruits with growing mold and the other is “Sun Tattoo”(Fig 1.5) made by tanning skin under sunshine . Both of them are exploration of material applications.. 2.

(14) Fig 1.4 Moldy body. Fig 1.5 Sun Tattoo. Material Exploring Projects from Contemporary Designers In the field of product design, materials are used in not only necessary but also innovative situation. There are some projects from contemporary designers who provide creative ways of using materials. For example, Stampcups(Fig 1.6) talk about transferring dirty coffee stain into a material to make meaningful pattern. Lace Table(Fig 1.7) made by Marcel Wanders talks about transferring images of soft lace into strong and hard ones by gluing techniques. Cheap and ugly plastic bags could be a beautiful Vase(Fig 1.8) through a special idea and simple technique. Sponge for buildings or air conditioners could be all that is needed like the Zilla Bag(Fig 1.9).. Fig 1.6 Stamp Cups. Fig 1.7 Lace Table, Marcel Wanders. 3.

(15) Fig 1.8 Vase, D-Bros. Fig 1.9 Zilla bag, Sylvia Pichler. Experiencing and representing unrecognized material is a new idea With reference to the book “Design of design” (Kenya Hara, 2005) “To see the normal things as unrecognized ones which can provide us different feel is a method of creating.” The ability which designers should be provided with is exploring the variety of material characteristics in design process. Discussing interesting points and any relationships between the material, technique and product can develop designers’ personal taste and style. Moreover, designers can break their way of thinking and learn new experiences from normal, overlooked or tiny things during this exploring process.. 1.2 Motivation and objectives Experiencing and representing unrecognized material is one of my interests. Looking at different combinations of paper, textile and plant texture through handmade prototypes will be the focus for this project. Furthermore, the influence of my thinking and a logical rule of this project will be defined after this exploring process. In this project, paper will be the main material combined with textile concepts such as texture, structure, repeated pieces or technique to represent new texture of plant images. The objectives are as follow, (1) Realize and analyze the exploration process (2) Experience the depth of these two materials, paper and textile (3) Generalize a material base from a collection of work samples (4) Transfer texture or images of material samples into product design 4.

(16) 1.3 Scope and outline of thesis This project contains the discussion of material, technique, transformation in paper, textile and plant texture. Some subjects such as color and pattern will not be discussed in this material experiencing project. There are several chapters that will be provided for achieving this project process, including introduction, acknowledgement, methodology, result and discussion. Chapter 1 Introduction This chapter is going to introduce the background of my interest in material, and the description of project motivation, objectives, and scope. Chapter 2 Paper, Textile and Plant Texture This chapter begins from the observation of paper, textile and plant. Material characters will be determined and explained here. These characters may be the information needed when the material design is conducted later. Chapter 3 Exploration This chapter contains the exploration structure, information analysis, plant image transformation, productions and material application etc; in order to determine the representation of plant, paper and textile to create a new material. Chapter 4 Material Collection This section will demonstrate the result of the exploration. A number of material samples will be designed in this project and the detail description of every sample will be written down in this chapter.. Chapter 5 Application of Material Collection For achieving the process of applying material collection to product design, here is a design process to demonstrate it. Chapter 6 Discussion After the exploration with research, analysis, producing and design process, this chapter is going to discuss the whole process and provide suggestion afterwards.. 5.

(17) Chapter7 Exhibition The exhibition of this project is recorded in this chapter. It contains the installation design, working process, the way of exhibiting material collection, product design and the light arrangement. . Chapter 8 References The list of references, including books, essays, and periodicals.. 6.

(18) 2. Paper, Textile and Plant Texture. This chapter begins from the observation of paper, textile and plant. Material characters will be determined and explained here. These characters may be the information needed when the material design is conducted later.. 2.1 Paper This section includes the information of paper and the characters of its usage. Apart from the background overview, the characters of the material’s usage are the main part for determining the kinds of function which paper can provide. However, this information may become the basic knowledge for using paper in the design. 2.1.1 Background Papermaking is considered to be one of the Four Great Inventions of Ancient China, since the Han Dynasty Chinese court official Cai Lun is widely regarded as to having invented the modern method of papermaking from wood pulp in AD105. Paper without writing has been used mostly for purposes of wrapping or padding protection of delicate objects. In general, paper is used for the recording of knowledge such as book, magazine and newspaper, the representation for value such as paper money and ticket, cleaning such as toilet paper and handkerchiefs, craft such as paper cut, paper umbrella and lantern. Its widely application has held an important position in history. Apart from its practical function, paper art and paper craft have a long development in art history. In contemporary art, paper is not only a useful material but also a medium for artwork through every paper art technique such as paper statuary (Fig 2.1), paper cut (Fig 2.2), origami (Fig 2.3) or paper modeling (Fig 2.4). Paper art and craft are usually created for the representation of the artist/designer’s self-awareness and personality. Artworks are created abstractly, others concretely; some are created for practical use, while others are decorative; some are created skillfully, others handmade freely. However, paper is a pure material which can be easily carry the artist/designer’s concept to people through its unique and diverse characters.. 7.

(19) Fig 2.1 Paper statuary. Fig 2.2 Paper cut. Fig 2.3 Origami. Fig 2.4 Paper modeling. 2.1.2 Characters in Usage Fibers are the main material in paper. Papermaking involves making a dilute suspension of fibers in water and allowing this suspension to drain through a screen such that a mat of randomly interwoven fibers is laid down. Water is removed from this mat of fibers by pressing and drying to make paper. Paper is a popular material for design as a result of its highly transformable character. It is cheap, can be found everywhere, easily constructed such as cut, folded, torn, twisted, and also shaped anywhere with any simple tools and skills. People use it daily, from masters to kindergarten students. However, although paper works very well in our daily life, there are still lots of capabilities that can be innovated for various purposes. Paper is not only a material but also a useful product. For example, paper provides a function for painting or writing when it is a product. If it is treated as a material. 8.

(20) or medium like contemporary paper art, it can be an artwork and has its own personality. Paper also displays elegant technique and design through its character without any symbol or pattern. However, using the material itself to describe what it can be is a pure and easily achieved process. Texture’s feature which paper can present is various. For example, handmade paper has soft, tender and hairy texture; tracing paper’s texture is neat, translucent and cold. Handmade paper made of bamboo fiber usually has thick and warm texture like snow. Its soft texture also makes people feel tranquil and peaceful when touching it. Furthermore, paper manufactured for printing or publishing has big differences with handmade paper, especially its thin, smooth texture and practical functions. Paper is used for different purposes according to its different features of texture. Conflicted characters exist in paper. It is fragile but can be cut easily. It is usually kept away from water, but this easily-dissolved material is good to make a tissue. However, good characters sometimes are not good depends on different situations. If these characters can be used in right way, there will be vast potential in the application of paper.. 2.2 Textile This section contains observations about textile and texture characteristics. Apart from the background, it is biased toward texture constructions as they are easier to be achieved than other abstract concepts. Nevertheless, the information given here may be used in designing such as texture structure or layout whenever they occur. 2.2.1 Background Textiles have heavy usages in our daily life; the most common usages are for clothing and containers such as bags and baskets. In the household, they are used in carpeting, furnishings, window shades, towels, covering for tables, beds, and other flat surfaces; they are also used in art. Other uses include flags, backpacks, tents, nets, balloon, etc. From functional products to delicate artwork, textile has been an important material and medium for carrying our culture information, elements and life style since early civilization. Despite how common it is in our life, textile work is an important craft in art as well. Artists or fashion designers create their crazy ideas and try to provoke deep 9.

(21) thought inside their mind through using textile combining different techniques such as weaving, knitting, sewing or quilting. Furthermore, some textile artworks are represented in modeling, and others are done in making texture. It goes without saying; textile is a useful material or media for to easily express your concepts into visual objects.. 2.2.2 Characters in Texture In terms of observations of textile texture, its construction characters can be separated into several parts including structure, arrangement, materials and expression forms. Textile structure is the essential part providing connective function in texture construction. It is composed of techniques like weaving (Fig 2.5), knitting (Fig 2.6), crocheting (Fig 2.7), sewing (Fig 2.8) or quilting (Fig 2.9) which is given different texture features. Nevertheless, textile structure can not only be the connection with strings but it is also a kind of texture.. Fig 2.5 Weaving. Fig 2.6Knitting. Fig 2.8 Sewing. Fig 2.9 Quilting. 10. Fig 2.7 Crocheting.

(22) Arrangement or layout in textile design may cause new textures. Most textile artworks are connected with many tiny duplicate pieces. These small pieces always demonstrate a creative arrangement in textile artworks. Like the textile artist Patricia Campbell, she is interested in the beauty of repetition and always connects simple shape elements to create her artwork with her imagination (Fig 2.10). However, arranging elements which causes various effects in textile design is the representation of personal awareness.. Fig 2.10 Patricia Campbell. Different materials may provide different features in textile texture. For example, natural fibers like bamboo or vine give us friendly texture; and artificial fibers such as wire or plastic, they give us a modern style. Therefore, materials sometimes play the role of recognizing texture identity. Subject for textile making is always the first attraction to people. Most subjects used for designing textile are about nature such as flowers, plants, forests or sea. They are usually created in the aim of depicting true shapes, such as flower and plant forms; or represented in abstract description. An example is the Swedish textile and graphic designer Hanna Werning, her work is always inspired from plants with colorful pattern printing (Fig 2.11). Of course, this natural subject is also made in other textile techniques which cause strong texture identities in textile artworks. 11.

(23) Fig 2.11 Textile collection by Hanna Werning. 2.3 Plant and Texture Plant like grass or flower blossom, is a kind of textile covering the earth all around the world. Every plant has an individual figure with different shapes of leaf, petal and root; even growth structure which provides various texture when gathering together. 2.3.1 Plant Growth and Arrangement Plant growth and arrangement can cause texture, like cherry blossoms covering a tree may be a pink carpet-liked textile composed with many tiny petals (Figure 2.12). Different from the composition of many tiny elements, plant details provide another texture such as veins spreading in leaves (Figure 2.13). Nevertheless, the detailed observation of a plant should not be overlooked as there is much information that can be found when designing texture.. Fig.2-12 Cherry Blossom. Fig.2-13 Leaf vein. 12.

(24) 2.3.2 Plant in Design Inspired from nature, artists/designers start to create something similar to plants by different artificial materials combined with their own awareness. For example, Jan Stark created a set of paper sculpture describing flowers and grass (Fig 2.14); Domingos Tótora designed a collection of Kraft container describing plain texture (Fig 2.15); Christine and Margaret Wertheim’s ‘Hyperbolic coral’(Fig 2.16), a collective celebration of colorful creatures is taking form in an amazing crochet project that aims to raise awareness about the threats to delicate ocean ecosystems. In addition, ceramics (Fig 2.17) or plastic (Fig 2.18) has been used for describing plant texture as well. Plant representation has much potential in all kinds of material.. Fig 2.14 Paper Statue. Fig 2.15 Kraft Container. Fig 2.17 Ceramics. Fig 2.18 Plastic. Fig 2.16 Hyperbolic coral. The foregoing should help us when working upon plant texture design subject. While this project is a collection of material samples of plant texture made of paper combine textile techniques. What all this material design has is not only a demonstration of skill, but also the imagination of plant figure and growth. Furthermore, they talk about the story of materials including the relationship between imagination and production.. 13.

(25) 3. Exploration. This chapter contains the exploration structure, information analysis, plant image transformation, productions and material application etc. in order to achieve the representation of plant, paper and textile to create new material. For this purpose, there is an experimental process to explore the variety of materials and develop a material collection for usage in any other design. In this project, there will be a demonstration of applying product design process on the material collection. In order to achieve the whole process in this project, the exploration structure as follow will explain it step by step. (Table 3.1). (Table 3.1) Exploration Structure Table Steps. Formation. 1. the Information of Paper ,Textile and Plant. 2. Organize the Information. Character Analysis. 3. Decide Experiment Concept and Brief. Experiment Concept. 4. Pre-experiment. Pre-experiment Samples. 5. Analyze Pre-experiment. 6. Create New Exploration Directions. Exploration Directions (matrix). 7. Produce and Record Process. Samples. 8. Analyze all samples. Material Collection. 9. Apply Material Collection to Product Design. Product Design. 10. Discussion : Critic the Whole Experiment Process. Exhibition. 14.

(26) 3.1 Exploration Structure First of all, in order to figure out clearer exploration concept, the first and second steps are by starting the research and analysis of paper and textile overview including culture background, materials, techniques, texture images and artworks. Step 3, this organized information becomes a new subject - Plant Texture, the representation of paper and textile craft. Step 4, according to the concept, the pre-experiment takes place by creating some texture samples through the usage of paper and textile materials to sketch images from plant imagination. This step is repeated around 3 times to get enough samples. Step 5, these samples are separated into several parts according to their texture images. Then step 6, these separated parts is given new definition from the relationship of plant figures and textile techniques. The new definition is organized into a matrix as further exploration directions. Step 7 continues to make texture samples to finish the emptiness of the matrix. After that, step 8 becomes a material collection after all the texture making and analysis. Step 9, this material collection is applied to a product design, glass sleeve, which is a proper product nicely representing its texture. Step 10, finally comes the discussion of the whole exploration process.. 3.2 Character Analysis and Pre-experiment This section contains character analysis of paper, textile and plant, and the pre-experiment of creating materials by using these characters. 3.2.1 Character Analysis According to the foregoing observation, some characters of the relationship between paper, textile and plant have been discovered for texture representation. On the one hand, for representing plant texture with paper in textile way, textile construction is the most important consideration in developing ideas. Its structure and arrangement may decide the identity of every texture design. For example, weave is not only a skill that provides the structure when making fabrics but causes a strong impression in texture; while the beauty of repetition talks about arrangements in textile design. On the other hand, plant image transformation will be the representation subject. For example, a leaf shadow under the sun is about a natural phenomenon, veins climbing up the tree are a kind of growing structure, or 15.

(27) the petal shape is a plant’s appearance. However, the subject influences the usage of material and technique, even the structure and arrangement when designing. Depending on the analysis, this project experiment starts from three classified plant image characters, growth structure, nature phenomenon, and plant appearance. Growth structure means the patterns of plant growth, such as branch systems, leaf arrangement or inflorescence. Nature phenomenon is the effect of plant combining other things such as sunshine, water, or some destruction such as scar or scratch. Plant appearance is about the shape or form of plants such as petal shape and leaf margin. Three examples are shown in Fig 3.1. Plant texture representation will be designed by using these images with paper and textile techniques.. Growth structure. Nature phenomenon. Plant appearance. Fig 3.1 Plant image characters. 3.2.2 Pre-experiment In the very beginning, through the inspiration of plant images, most of the samples are made displaying plant features roughly and freely. The purpose of pre-experiment is widely exploring idea concepts of texture imagination. On the other hand, being familiar with materials and techniques in this step aims to express the imagination from the brain more easily. The pre-experiment samples are shown in Fig 3.2.. 16.

(28) Fig 3.2 Pre-experiment samples. 3.3 Exploration Directions Exploration directions have been created for the purposes of understanding more about textile construction and exploring more idea concepts. Apart from that, they will help to develop a collection of materials. 3.3.1 New Definition of Textile Techniques Samples are classified according to textile techniques. There are 12 different techniques namely: weave, insert, sew, pile, squash, string, bind, twist, penetrate, button, roll and fold. These techniques are given new definition by transforming original ones into an imagination of plant texture such as leaf shadow under sunshine, group flower petals or branch structure. The relationship of textile techniques and plant texture becomes a new direction of further experiment. The description of technique definition and photo overview is as follow: (Figure 3.3~3.4). 17.

(29) Weave Weave means forming something by passing lengths or strands of material over and under one another. Its construction brings the image of plant growth rhythm with regular pattern. Insert Insert is to put something inside something else, or to add something. Structural arrangement is going to be function or pattern in design. Sew Sew is a technique of joining two pieces of cloth together by putting thread through them with a needle. Its texture is something like parasite stuck on a surface. Furthermore, it feels like leaf scars or imprints. Pile Forming a pile with many elements makes something rich and thick. It represents gradation like leaf shadows under sunshine or piles of book pages. Squash Squash means pushing a thing into a small space. There is some phenomenon in plant growth like this technique, such as a flower bud starting to development and grass growing up from ground. String String is a way of putting something through a number of objects. This method is related to plant structure such as leaves aligning along a stalk.. Fig 3.3 Technique description 1. 18.

(30) Bind Bind is to tie something tightly or to fasten. It shows the feature such as veins creeping onto trees and binding it tight to breathe. Twist Twist is a technique of turning something, especially repeatedly, or to turn or wrap one thing around another. It is also related to the image of tree growing up towards the sky. Penetrate Penetrate means something moves into or through others. It is like an action of destroying objects, making corrosion, or causing scratches. Button Button talks about fastening something, usually a piece of clothing, using buttons. This technique contains the relationship between pieces such as flower petals joining together. Roll Roll is turning over onto itself to form a cylinder or a sphere. The layers of the round side become the kinds of texture such as a rolling tobacco leaf. Furthermore, it may be the new idea of creating layer forms. Fold Fold is a skill of bending something, especially paper or cloth, so that one part of it lies on the other part. It is a skill used for forming everything with many layers and related to transformation of rose or mushroom structure.. Fig 3.4 Technique description 2. 19.

(31) 3.3.2 Unit Shape The structure of ready samples is composed of tiny units which are dot, line and surface in shape. (Fig 3.5) Unit shape will be the identity of every sample texture. Therefore, it will be used for new texture making as well.. dot. line. surface. Fig 3.5 Unit shape. 3.3.3 Restriction In order to display texture in the sense of touch rather than the sense of vision, colors will not be used in this exploration. Different tones of white paper will be the material for the design. Every design concept will be done by a main technique combined with other minor ones. 3.3.4 Further Exploration For this exploration, the way of exploring imagination is reorganizing these techniques and unit shape to create a matrix (Fig 3.6). Ideas can be explored gradually by filling in the empty space of this matrix. Therefore, when it is completed, there will be a new collection of 36 material samples. (refer to chapter 4). 20.

(32) Fig 3.6 matrix. 3.4 Formation 3.4.1 Formation Recording In order to achieve the details of thinking up a concept, making process, every new idea during producing, and the variation of imagination in mind; the exploration process will be written down in text and photography. Every sample will be recorded separately and has one individual page with one final photo, original concept, materials, creation process, and texture critics. Fig. 3.7 shows one recording example only, while others will be shown in the next chapter.. 21.

(33) Fig 3.7 Production Recording Table. 3.4.2 Material Collection After finishing all the final samples, they will be collected as a material collection of plant texture made through the “paper combining textile techniques”. The collection can be further used by any design. Here is the overview of Material Collection (Fig 3.8).. 22.

(34) Fig 3.8 Material Collection. 3.5 Material Collection in Product Design 3.5.1 Product Texture Design Material Collection has comprehensive application, especially the representation in product texture. From texture to structure, from big to tiny element or from solid unit to flat pattern, it provides much potential in any design situation. 23.

(35) Moreover, every texture sample combines not only paper but different materials to become other effects with its own personality.. 3.5.2 Capability of Application (1) Combination of Texture and Material Different material has different characters which causes unusual dialogue between texture, material and technique combined with imagination, such as a rubber bend or electric wire in weave. (Fig 3.9). Fig 3.9 Paper and rubber woven. (2) Shadow Representation of Texture Light and shadow has more gradation in some texture, especially with pile and fold technique. These materials can be applied to any product with light effects such as lampshade, umbrella, or glass. (Fig 3.10). Fig 3.10 Texture with shadow. 24.

(36) (3) Structure of Texture Material texture sometimes involves its functional structure depending on specific techniques. Furthermore, the construction can be treated as a pattern in designing the surface of objects. (Fig 3.11). Fig 3.11 Structure and its pattern. (4) Identity of Texture The texture of every material sample has individual feature and characteristic demonstrating both external and internal identity. For example, weave-line texture’s (Fig 3.12) external identity is soft, flexible and light. On the other hand, its internal identity is feminine and tender because of its feminine technique and thin paper material. However, identity of texture can be used for some conceptual idea as if displaying product personality.. Fig 3.12 Feminine texture. 25.

(37) (5) Practical Function of Texture Element Some elements in texture have practical function such as button-surface texture. Every unit can be enlarged to be a single object with beautiful form and other details. Furthermore, it can also be shrunk and gathered together to show the majority of its beauty. (Fig 3.13). Fig 3.13 Button-surface texture. The foregoing experiment structure should help plant texture designs when created upon this subject. From material observation to completed material collection; and also to its application, this process gives us a new system to explore more ideas. In this project, there is a material collection with 36 samples and a set of product design that will be made afterward. The results with detail description and recording are shown in the next chapter.. 26.

(38) 4. Material Collection There are 36 material samples completed in this project and every one has its own concept and characters. Material Collection is shown in chapter 3, figure 3.8, while the detail description of every sample has been written down in the following page. (Table 4.1~Table 4.48). 27.

(39) Table 4.1 Weave. Weave Weave means forming something by passing lengths or strands of material over and under one another. Its construction brings the image of plant growth rhythm with regular. pattern.. Like. the. pattern. of. overlapping palm’s leaves, or vine creeping on a frame. These plants have regular structure with crossing leaves or stems providing undulate texture and shadow between them. Furthermore, their shadow projected on the ground presents ordered pattern with gradational colors of gray.. 28.

(40) Table 4.2 Twinkling Bubbles, Weave-Dot. Twinkling Bubbles Weave – Dot Paper card, cotton thread 25x25cm. Original Concept Inspired from lotus root slices floating on the water, there is a beautiful imagery created from these round frames.. Description This sample is created by paper card and lace. These two materials combine together displaying contract texture like soft. 1. crocheted lace pieces. and hard tactile feelings, simple and complex structure, and energetic layout with jumping bubbles. Furthermore, the image of this texture is tender and feminine like a shy lady hiding behind a wall. 2. make paper board with many holes. The material is made of shade and hollow parts. It may be a proper. 3. stick lace pieces to. material for making curtain, shield or door screen design,. the board. particularly its lace shadow provides a pretty pattern under sunshine.. 29.

(41) Table 4.3 Vineyard, Weave-Line. Vineyard Weave – Line Paper 25x25cm. Original Concept The idea comes from the vitality of growing vein and grapes entwining around the supporting parts.. Description The material is made of twisted paper in changeable knit. After knitting, twisted paper can be adjusted so some parts become a fluffy texture. Loose and compact structure causes the. 1. twist long, thin and soft pieces of paper out of threads. natural vitality layout. Its texture is soft, flexible and fragile with a warm and tender image.. This kind of paper is usually used for making lantern which is thin, soft, wrinkled and easy to be glued together. The knitted material. 2. knit a textile with. with thin paper has misty texture under light and can be applied to. these threads. lamp shade design.. 30.

(42) Table 4.4 Nest, Weave-Surface. Nest Weave – Surface Paper, cotton thread 25x25cm. Original Concept The imagination is from a hedge with biting branches.. Description. It is made of decorated paper in loose weaves.. Weaving layout represents the neat hedge and the decorated threads on paper causes biting feeling texture and inflexible structure. Apart. 1. sew threads on pieces of paper. from the construction, the image of biting thread texture looks like that something wants to break out from the rules.. Adding something onto the other segmented sketches to change the 2. weave pieces of. original texture may increase rich tactile feelings. This is different. paper to become a. from the original one, decorated material provides not only another. surface. identity but also strength, like paper slices with threads are stronger than what it was. Nevertheless, this concept can be used for a more diverse design such as something that needs both decoration and structure.. 31.

(43) Table 4.5 Insert. Insert Insert is to put something inside something else, or to add something. Structural arrangement is going to be function or pattern in this material design. Refer to plant texture, dandelion has the similar growth structure with seeds. Its seeds’ array looks. like. somewhere.. something This. is. inserted. arrangement. in. causes. beautiful and clear architectural pattern with. many. small. elements.. However,. duplicated elements and their connective methods play an important role of this construction.. 32.

(44) Table 4.6 Honeycomb, Insert-Dot. Honeycomb Insert – Dot Paper, cotton thread, paper balls 25x25cm. Original Concept. Pods inserted with seeds are connected. together.. Description This material has strong a structure, hardly bent and complex textile arrangement like a honeycomb. Its texture has many tactile feelings such as different thickness, materials, shape,. 1. fold a piece of paper and fix it with glue as a thick strip. and hardness because of different materials and item shapes it gives. 2. bind these strips gap. us. Furthermore, the image of the texture is complicated and. by gap with thread to. inflexible like its stubborn personality.. make a honeycomb structure. The material structure has neat, clear and tight architectural pattern with changeable arrangement. For further use, this texture construction can be the concept for making iron gate or birdcage in proper materials like iron, steel or bamboo.. 3. put paper balls inside every holes. 33.

(45) Table 4.7 Squeezed Blossom, Insert-Line. Squeezed Blossom Insert – Line Paper, wire 25x25cm. Original Concept Curled grapevine inserts with each other.. Description. This material is produced with curled wire items. covered with thin paper sheets. Representing contrasting images such as soft and hard, warm and cold images. These items made by cold wire are shaped round and arranged like blossom pattern.. 1. wire covered with paper rolls like a spring and coils as a ring.. Furthermore, tension provides the connection of every two items. Curled wire causes this material structure elastic and unstable like a jumping object. In addition, the textile layout arranged with repeating wire rings looks like squeezed blossom with embroidery needle details. Wire rings merged with each other between every. 2. connect rings by the. item becomes a three-dimensional effect of needle work.. bounce of wire.. Unlike the usual connection of gluing technique, the tension between these wire rings is a structural beauty. This connection can be both a technique or pattern for designing tiny jewelry piece or huge iron fence to display the structural strength.. 34.

(46) Table 4.8 Grove, Insert-Surface. Grove Insert – Surface Paper card 25x25cm. Original Concept Leaves gathering like groves.. Description. Irregularly. connected. leaf. pieces. become. three-dimensional textile. Textile sometimes is made by many small components joined together, some artworks are flat and some are not. The material feature comes from this idea to describe grove. 1. Make leaf pieces with connective tracks 2. Connect these pieces. image by many leaves connecting with themselves without any. one by one with the. joint. In addition, leaf shape and connective track affect the. tension of paper card. structure, arrangement and appearance of whole material piece even though with freely composition.. This grove liked material may be used for installation design representing nature scenery with a good deal of tiny pieces like leaves or flower petals. For displaying spreading landscape, small items can be mass produced and joined together to make large a artwork decoration.. 35.

(47) Table 4.9 Sew. Sew Sew is a technique of joining two pieces of cloth together by putting thread through them with a needle or sewing machine. Its texture is something like scars stuck on a fabric with thin and elegant threads sewn tightly. However, related to nature phenomenon, it looks like scars or imprints spreading on leaf surface. Both of them are destructive enough to make a leaf dry or die. The ruined surface feels rough and pierce.. 36.

(48) Table 4.10 Tattoo, Sew-Dot. Tattoo Sew – Dot Paper card 25x25cm. Original Concept The texture imagination of spores sticking tightly behind the leaf. Description. Material pattern is depicted by sewing machine. without any threads. The paper card surface has been undulated to become texture through this way. Because of the broken outlines, this imperfect pattern provides viewers more imagination of the whole layout. Moreover, using sewing machine without threads is a new way of doing colorless but textured sketch.. This material has a wide application in graphic design. Unlike the usual flat graphic design, this technique gives designers a new way of drawing pattern on paper by using sewing machine instead of pens. Such as handmade postcard, business card or poster, the skill. 1. Sew pattern along sketch lines on paper card without thread. gives viewers not only visual graphics but also tactual feelings with strong impressions. Adding the feeling of touch on graphic may provoke deep memory form people’s experience as well.. 37.

(49) Table 4.11 Parasite, Sew-Line. Parasite Sew – Line Tracing paper, cotton thread 25x25cm. Original Concept. the impression of wounded leaf, as if. something grows and sucks up moisture from it. Description. Representing the impression of weak texture, this. material is made by tracing paper with sewn pattern. Pattern made with biting texture by sewing freely on kneaded tracing paper looks. 1. sew something like callus irregularly on a pile of kneaded tracing. like scars stuck on leaves. Because of the tracing paper, the texture feels cold, dry and fragile.. Changing useless or secondhand material to become useful again is a kind of eco-awareness. Like this material, ruin paper sheet can be redesigned by texturing something on it to change its texture and surface appearance. Thus, this paper sheet will be another material with new identity and feature for further usage.. 38. paper..

(50) Table 4.12 Specimen, Sew-Surface. Specimen Sew – Surface Paper, cotton thread 25x25cm. Original Concept The imagination of preserved beautiful leaves. Description Lumpy paper statuary has a new feature when it is connected with textile technique. Paper provides element shapes and textile does connection with every items. Thus, the texture not only looks like a piece of paper but also fabrics. Like this material,. 1. make withered leaves by paper statuary skill. withered leaf shape and texture are depicted by paper statuary. Then, in order to preserve the beauty of dry leaves, they are designed by sewing them piece by piece together to become a textile. Sewing pattern is also like leaf margins, thus, it has various 2. connect leaves along. thickness feature.. the edge by sewing machine. The combination of paper and sewing technique develops another new material with new texture. This texture only has a little bit heave and can be treated as a new surface which can carry information, drawing or print.. 39.

(51) Table 4.13 Pile. Pile Forming a pile with many elements makes something rich and thick. These elements are usually repeated to set up a pile straightly or gradationally. This skill causes rich texture on the side with many layers. The scenery of leaf shadows under sunshine has the gradation presenting this pile texture. Leaves gathering thickly or thinly can express the texture with natural layout. Nevertheless, this skill can make specialized features like layers and shadows, depends on design arrangement.. 40.

(52) Table 4.14 Cocoon, Pile-Dot. Cocoon Pile – Dot Tissue 25x25cm. Original Concept. The structure of cob and preserved corn is like. dots stacking together.. Description These elliptic items are made by shaping wet tissue in different sizes for depicting corn figures. After wet tissue dried, corn items have dry and ragged skin which is like preserved food.. 1. put tissues into water to make them softer and easily shaped. The arrangement of the texture looks heavy despite the light tissue. Its texture also has dry, tight and rough in touch. In addition, the finished material has cocoon image in its shape and color.. Tissue used for this material has been treated as a new stuff.. 2. shape these humid. Different from daily supply, it has another usage for shaping models. tissues, let them dried. with water instead of any glue. This idea coming form old. and stick them together. papermaking technique might be applied to other designs.. 41.

(53) Table 4.15 Mixing Cloud, Pile-Line. Mixing Cloud Pile – Line Tracing paper, cotton thread 25x25cm. Original Concept Fallen stamens are collected into a pack.. Description The idea comes from protecting fallen stamens. For this purpose, hard tracing paper is used for the package design and soft threads are used for depicting steams. In this finished material, the texture made of threads kept inside tracing paper with sewing. 1. put lots of thread inside a tracing paper envelope. pattern has an image of mixing something. The layout comes from the textile grid pattern to display a new fabric figure. Fixing moving things inside a pack looks like something with high energy flowing in a narrow space. 2. close the envelope by. This material made of paper and fabric with textile technique is also. sewing textile pattern. a new combination which can be other stuff for design. In addition,. on it. with its translucent and mixing texture, this material also provides viewers a visual imagination of blurry clouds under sunshine. Thus, it may be properly used for lampshade, table or decoration design.. 42.

(54) Table 4.16 Foggy Shadow, Pile-Surface. Foggy Shadow Pile – Surface Tracing paper, cotton thread 25x25cm. Original Concept The appearance of leaves covering with each other under sunshine. Description In order to depict leaves under sunshine, the textile covering with many translucent leaves is created by origami and tracing paper. However, origami provides geometric pattern and its. 1. Fold up pieces of tracing paper and make leaf shaped items.. shadow can be displayed well under light to become foggy shadow. 2. Assemble each leaf. texture. Geometric leaves show the characteristics of origami art. component by sewing. and differences between nature and craftsmanship. Furthermore, the. technique to make a. beauty of this texture depends on the paper and the amount of items which is the more the better.. Obviously, this material relies on light to display its texture. It has wonderful shadow with different tones of gray under light. If this material is made by a good deal of small items, it will become a great textile installation and decoration. Besides, it may be used for certain, window or even furniture design.. 43. paper textile..

(55) Table 4.17 Squash. Squash Squash means pushing a thing out or into a small space. There is some phenomenon in plant growth like this technique, such as a flower bud starting to develop and grass growing up from the ground. This natural composition provides two kinds of texture, one is fresh, soft like grass, and the other is old and hard like the ground. This technique makes. the. texture. rich. and. energetic strength of growing plants.. 44. presents.

(56) Table 4.18 Floating Duckweed, Squash-Dot. Floating Duckweed Squash – Dot Paper 25x25cm. Original Concept duckweed with squashed leaves. Description Inspired from duckweed floating on the water, these small items made of thin paper display light leaves and their crowded texture when gathered. Every leaf shape depicted from duckweed is round and has a squashed bulge in the middle. The arrangement of this texture comes from natural duckweed overlap freely one by one. It also represents the beauty of mass repetition. 1. use a piece of round paper to make a corn, squash the peak of the corn, and stick these small items together. 45.

(57) Table 4.19 Growing Grass, Squash-Line. Growing Grass Squash – Line Paper card, cotton thread 25x25cm. Original Concept grass breaks soil and grow up. Description For expressing grass growing up from the ground, this material has been made by threads and paper card with the layout of some hairy and flat parts. The hairy parts exhibit growing grass and the paper card covered with rough texture expresses. 1. use short thread and several pieces of coarse paper card and stick. ground. Furthermore, the arrangement is designed by textile making rules to display the repeating texture. This material shows the variety of texture and sometimes gives people the imagination of rich nutrition.. 46. them together.

(58) Table 4.20 Bloom, Squash-Surface. Bloom Squash – Surface Paper 25x25cm. Original Concept The imagination of flower blossom squashing together. Description Inspired from flower pedals squashing to blossom, a pile of shaped paper sheets explodes from the edge to become blossom texture through sewing skill. Simplified flower petal. 1. make piles of paper sheets. shapes aligned tidily exhibit exploding blossom items. Then, these items are connected to create a repeating textile arrangement. Because of the tension of sewing technique, these paper blossoms have various forms with the image of plant growing energy. 2. sew them together one by one. This material has exploding texture from itself. The extra parts provide other features than the original flat material. These parts can be formed in any shapes to display various textures identities. Particularly with other material like soft felt, it can be designed for pillow or carpet by using this material texture.. 47.

(59) Table 4.21 String. String String is a way of putting something through a number of objects. This method is related to a plant structure such as leaves aligning along a stalk. Same groups of plant with a string figure like Canterbury bell have crowded texture when grown together. The texture with many small repeated flowers has beautiful and regular growth pattern. Its touch is thick and rich and have the impression of vitality.. 48.

(60) Table 4.22 Dawn Dew, String-Dot. Dawn Dew String – Dot Cotton thread, glue 25x25cm. Original Concept Transformation of drops hanging up on the stalk at dawn. Description Drops hanging up one by one on the stalk look like a crystal string. In order to describe this imagination, transparent glue is used for making drops and stuck on thread. These drops are made by glue gun which can shape hot and thick glue liquid. This material texture looks light, cool and fragile and needs more protection. Furthermore, these strings can be organized in different layout to display texture figures. Like this material, its layout is. 1. Use glue gun to stick drop shaped glue beads along cotton threads. made to be a natural arrangement of stalks with beads of dew.. and put them into water to cool down. There will be many transparent drops stuck on threads.. 49.

(61) Table 4.23 Exploding Bud, String-Line. Exploding Buds String – Line Rope 25x25cm. Original Concept The shape of exploding buds on branches. Description This material is made by ropes. A rope is made of many thin strings which can be dragged out from the body of the rope. After dragging out the threads, the rope shape has been changed like exploding buds on the branch. Only rope can be made. 1. drag thread from a thick string to make single items, and align. into this with extra parts spreading from it. Thus, its texture touches soft, hairy, flexible and a little pierce. In addition, it gives viewers complicated and dizzy feelings when string items are aligned to be a textile piece.. 50. them into a surface.

(62) Table 4.24 Flower Necklace, String-Surface. Flower Necklace String – Surface Tracing paper, cotton paper 25x25cm. Original Concept Collections of flower petals. Description. In order to depict the texture of flower petals,. stringing provides a way to connect them with each other. After stringing paper petals tightly, here comes a texture with many layers. The texture of these squeezed paper petals shows the beauty. 1. Cut many round pieces from paper. of irregular composition. Several tones of white make it alive as well. Furthermore, this material tells us the beautiful strength of aggregation. 2. Connect them by a. Mass repetition develops pretty composition in this material concept. Then, this concept can be applied to any design like jewelry design with metal, plastic, felt or paper. The shape of every item and the string structure can be designed for different final appearance.. 51. string going through.

(63) Table 4.25 Bind. Bind Bind is to tie something tightly or to fasten. It is also a technique for creating texture with structure and its pattern. Then, the texture made through binding has some features like regular repetition, roughness and. thickness,. depending. on. different. materials. It shows the natural phenomenon such as veins creeping onto trees and binding it tightly to breathe. With different plants, it has different texture, tight and hard, curled and straight.. 52.

(64) Table 4.26 Cells, Bind-Dot. Cells Bind – Dot Paper card, cotton sticks 25x25cm. Original Concept Have a bird’s eye view of bundles of mushroom. Description. Group arrangement is a characteristic of textile.. Below this rule, this material is made by tiny cotton sticks bound together to express a bird’s eye view of mushroom bundles. As we can see, the arrangement including small and big sizes also. 1. Make a paper ring to bind a bundle of cotton sticks.. describes the various aggregation of textile. In addition, its texture. 2. Stick these items to. looks tight and touches heavy, soft and thick.. make a flat surface.. 53.

(65) Table 4.27 Vein, Bind-Line. Vein Bind – Line Paper sticks 25x25cm. Original Concept the structure of lotus vein. Description In this material, paper sticks are bound to be a vein structural item. Then, many items are joined to display the repeating textile arrangement. Apart from the material arrangement, bound lines develop vein pattern and shadow spreading out from every. 1. Group and bind several paper sticks from one site, and open. middle part. These bound lines show an architectural pattern. these lines like an. whenever connecting together. This texture looks light, thin and. umbrella from the other. weak like real leaf vein. However, this texture has an oriental layout. site. and style because of these item shapes. It is probably related to the structure and shape of oil paper umbrella. Thus, it provides viewers the oriental impression.. 54.

(66) Table 4.28 Creeping Vine, Bind-Surface. Creeping Vine Bind – Surface Paper, ribbon 25x25cm. Original Concept Soft vine clasps a thick stem tightly to show the strength and vitality of soft plants. Description To represent this concept, paper with rough texture and silk ribbon are used for making this material. Shaped paper like stems are bound together by ribbons. Both conflicting characters,. 1. bind these stem-liked paper with shining ribbon by binding. roughness and delicacy, has been used in this texture design to represent these two plant species. However, there must be different tactile and visual feelings with lumpy paper and shiny ribbon. The strength of binding technique causes a loose or tight structure. Nevertheless, refection of ribbon is also the imagination of healthy vine. Contrary to that, rough paper represents weak stems.. 55. technique.

(67) Table 4.29 Twist. Twist Twist is a technique of turning something, especially repeatedly, or to turn or wrap one thing around another. It is also related to the image of an old tree growing up towards the sky. Twisted stem has texture with curled, broken and hesitant lines which present the image of growth strength. These twisted imprints. also. provide. rhythmical feelings.. 56. unstable. and.

(68) Table 4.30 Water Plant, Twist-Dot. Water Plant Twist – Dot Paper 25x25cm. Original Concept water plant waving in water. Description The feature of this material is depicted with the idea of water plant. Repeating dot items are stuck one by one and then twisted to make water plant items. For expressing plant waving in water, these items are arranged in a free way to become the natural. 1.. Make tiny. be a line. growth layout. Furthermore, its texture is flexible, soft and loose without any regular rules.. 2. Twist these line pieces to shape. 57. paper. items and stick them to.

(69) Table 4.31 Twisting Leave, Twist-Line. Twisting Leaves Twist – Line Paper sticks 25x25cm. Original Concept vein structure of twisting leaf. Description This material shows the idea of twisting leaf structure with paper sticks. Several sticks are stuck one by one to make twisting shape items. Then items are joined to create a textile texture. However, the rhythm of repetition with various size items. 1. Cut a paper card into many tiny, thin pieces. provides this material a special arrangement. These structural items provide shadow layers with beautiful tones of color. Because of twisting, this texture looks more unstable and dizzy visually. Furthermore, it has a pierce touch, uncomfortable and hard. Apart 2. Glue each small. from the material construction, this texture is also like a kind of. piece one by one and by. oriental pattern with a Chinese folding fan’s structure. Thus, this. different directions to. material also provides oriental imagination such as neat or simple. make an item 3. Stick these items one. spirit.. by one regularly. 58.

(70) Table 4.32 Tobacco, Twist-Surface. Tobacco Twist – Surface Paper 25x25cm. Original Concept Twisting tobacco leaves. Description Like tobacco, these paper sheets have been twisted to make this shape. Paper sheets are dipped into water to get wet to be easily twisted. These twisted paper leaves are arranged in a gradational order, from straight to curvy, to exhibit the irregular. 1. Cut a piece of paper into long slices 2. Put these slices in the. rhythm of nature. The material texture looks unstable with these. water to let them softer. rumpled and rhythmical leaves. Then, the touché is thin, light and. 3. Twist two slices. breakable.. together when they are humid to make an item 4. Stick these items together on a board. 59.

(71) Table 4.33 Penetrate. Penetrate Penetrate means something moves into or through others. It is like an action of destroying objects, making corrosion, or causing. scratches.. Like. the. growth. phenomenon of plant roots spreading inside soil. Roots growing freely to destroy the surface like a sewing machine penetrating fabric. This action expresses the strength of destruction which can transform flat texture into different appearance.. 60.