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Dissertations / Theses on the topic 'Weaving Patterns'
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Eberhardt, Sarah. "Colores Culturales: Weaving Patterns of Education in Guatemala." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1242622333.
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Thesis (Master of Architecture)--University of Cincinnati, 2009.Advisor: Vicent Sansalone. Title from electronic thesis title page (viewed July 27, 2009). Includes abstract. Keywords: culture; tradition; color; weaving; pattern; texture; education; Guatemala; indigenous rights; critical regionalism; rural community. Includes bibliographical references.
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Raver, Debra Marie. "Song weaving| The multivocal performance patterns of Lithuanian Sutartine singers." Thesis, Indiana University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1558015.
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This thesis explores the distinct two-part polyphonic patterning in Lithuanian Sutartines to reveal how singers shape and/or experience their songs as musical weaves. The findings are based on original fieldwork as well as old ethnographic sources, which are (re)examined and interpreted through the lens of metaphor as a methodology.
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Ziaja, Ursula [Verfasser], Brigitte K. [Akademischer Betreuer] Halford, Weertje [Akademischer Betreuer] Willms, and Christian [Akademischer Betreuer] Mair. "Weaving patterns – the function of form in creative German-English poetry translation." Freiburg : Universität, 2020. http://d-nb.info/1211956555/34.
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Long, Mitchell, Thomas C. Jones, and Darrell Moore. "Temporal Factors Affecting Foraging Patterns of a Diurnal Orb-weaving Spider, Micrathena gracilis (Araneae: Araneidae)." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/asrf/2020/presentations/54.
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Many studies have investigated the ecological factors that affect behavior in Micrathena gracilis, a diurnal orb-weaving spider that forages exclusively on flying insects during the day. However, none yet have considered how the temporal distributions of prey and predator occurrences shape their daily behavioral rhythms, especially web construction which involves a heavy energetic investment well in advance of potential nutritional benefit. Recently, other spider species have been found to express significant circadian plasticity, suggesting that circadian clock-controlled rhythms may play a larger role in niche partitioning than once thought. Despite the appearance of significant insect abundance in the evenings, M. gracilis individuals stop foraging, take down their webs, and retreat before they can capitalize on this opportunity. Is the nutritional benefit of this forfeited prey significant compared to what they collect during the day, and if so, what potential cost might justify opting out of this potential gain? To investigate, sticky traps for prey collection and a camera array for recording predator activity were used at a local field site to survey what risks and rewards these spiders face throughout the 24-hour day. Spider activity in a lab environment and web captures in the field were also used to confirm behavioral patterns and nutrient uptake throughout the day. It was found that significant prey biomass is given up shortly after the time that spiders typically retreat, suggesting that the spiders truly forfeit this prey and do not simply retreat due to a gradual decrease in overall prey availability. Spiders reliably cease foraging in the early evening and show agitation throughout the night when not comfortably hidden, suggesting that significant extension of foraging behavior may be harshly punished. However, recorded predation events from the camera array were much rarer than anticipated, and no predation was confirmed in the evening. These results support the notion that these spiders’ circadian rhythms are shaped by factors other than prey availability, but more work is necessary to identify these factors
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Long, Mitchell Davis. "Temporal Factors Affecting Foraging Patterns of a Diurnal Orb-weaving Spider, Micrathena gracilis (Araneae: Araneidae)." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/535.
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Several studies have investigated the ecological factors that affect behavior in Micrathena gracilis, a diurnal orb-weaving spider that forages on flying insects during the day. However, none yet have considered how the temporal distributions of prey and predator occurrences shape their daily behavioral rhythms, especially web construction, which involves a heavy energetic investment well in advance of potential nutritional benefit. Recently, several orb-weaving spider species have been shown to exhibit a variety of abnormal rhythms, suggesting that circadian clock-controlled rhythms may play an unexpected role in behavioral evolution. Despite the appearance of significant insect abundance in the evenings, M. gracilis individuals stop foraging, take down their webs, and retreat before they can capitalize on this opportunity. Is the nutritional benefit of this forfeited prey significant compared to what they collect during the day, and if so, what potential cost might justify opting out of this potential gain? To investigate, sticky traps for prey collection and a camera array for recording predator activity were used at a local field site to survey what risks and rewards these spiders face throughout the 24-hour day. Spider activity and web captures in the field were also used to confirm behavioral patterns and capture success throughout the day. It was found that spiders begin foraging when prey becomes available but cease while prey is still abundant. These observations appear to support a theoretical model of behavioral decisions under predation risk. However, recorded predation events were rare, and predation was not confirmed outside of the foraging timeframe. These results support the notion that the circadian rhythm of Micrathena gracilis is shaped by factors other than prey availability, but the theoretical pressure from predation risk requires further investigation.
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Watts, James C. "Diel Patterns of Foraging Aggression and Antipredator Behavior in the Trashline Orb-weaving Spider, Cyclosa turbinata." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etd/2334.
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Few studies have rigorously assessed the adaptive value of diel rhythms in animals. We laid the groundwork for assessing the adaptive rhythm hypothesis by assaying diel rhythms of foraging and antipredator behavior in the orb-weaving spider Cyclosa turbinata. When confronted with a predator stimulus in experimental arenas, C. turbinata exhibited thanatosis behavior more frequently and for longer durations during the day. However, assays of antipredator response within webs revealed more complex diel patterns of avoidance behaviors and no pattern of avoidance behavior duration. Assays of prey capture behavior found that the likelihood of exhibiting prey capture behavior varied significantly across times of day and test subjects, but only test subject predicted attack latencies. Although C. turbinata foraging aggression changed over the diel cycle, we found no evidence of a trade-off between foraging behavior and predator vigilance. However, overall patterns of vigilance may be masked by diel changes in antipredator strategies.
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Watson, Sarah B. "Simple Complexities." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4085.
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Artist Statement
The organic patterns all around me are what intrigues and inspires my textile, glass, and painting compositions. I find beauty within the natural growth patterns of things both large and small. My work references the reverberated growth processes in living things from the macroscopic observation of a plant to the microscopic viewpoint of its cells.
Like the beauty found within these organic configurations, my process begins with creating serendipitous marks with a reference to natural patterns. Then, I intuitively respond to what I see in front of me. As I work, I use repetitious lines and shapes and a vibrant, non-naturalistic color palette. My choices of colors are personally motivated, and the combinations and manipulations are intuitive. Pattern and color are both visual languages that affect individuals differently. While my use of both is in response to my own experiences, my works allow the viewer to respond and connect in their own way.
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Hemström, Mirjam. "The Metamorphosis of Weaving." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-25173.
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There is a link between the tactile and optical modes of perception. Woven textiles’ materiality and ability to take three dimensional form, make them a good medium for creating shapes containing several pattern scales and textures. By conciously working with tactile-visual qualities and aesthetics one can achieve the most powerful effects, and in turn, the textile can take the role of a sensation director. By interpreting Kasuri with large scaled threads on a computerized hand loom and in space, an exploration of details and spatial installation can be conducted simultaneously. The five examples developed in this project demonstrate different approaches to dimensional hand weaving, intending to build a better understanding of micro and macro spatial features in woven textiles. Significantly, the project challenges the scale of hand weaving as well as the design process: stretching from thread to dimensional weave empowers the designer. By highlighting crafted details on a large scale, a sequence of events can be discerned that makes the spectator aware of quality and of the production process. Parallels between the body of work and our perception of lines and interspaces are drawn as an attempt to refine our relation to the objects around us.
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Maschke, Christina. "The patterned thread : new textiles inspired by ikat." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-11471.
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The work of this MA thesis develops a new approach to hand weaving in which the design process is led by the technique of resistant dyeing. The process is inspired by the visual properties of traditional ikats. It follows the technical ikat procedure of primary resistant dyeing and subsequently weaving. Whithin the research a new way of weaving is explored in which the dyed thread dictates the weaving process and therefore influences the weaving motif. In addition different design variables such as material, binding pattern and finishing are used to push forward the developed concept. The aim of this work is to explore new aesthetic expressions between regular and irregular motifs through the application of design thinking. The result presents an innovative approach in the ikat technique in order to create random distributed patterns and how they can be already influenced in the stage of yarn preparation.
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Smith, Meagan E. "Liquid Rhythms." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1619439658448214.
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Velloso, Mariana Pereira Coutinho de Sepúlveda. "A tapeçaria e o vestuário." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2018. http://hdl.handle.net/10400.5/17079.
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Dissertação de Mestrado em Design, com a especialização em Design de Moda apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.Sendo a Moda um sistema que acompanha e proporciona alterações na sociedade e perspectivando um futuro em que a arte e a tradição portuguesas se cruzem com o design de moda, decidiu-se executar um projeto teórico-prático de adaptação das técnicas de tapeçaria ao vestuário. O presente projecto pretende continuar um legado tão característico que diferencia as inúmeras regiões de Portugal, regiões essas, com especificidades técnicas têxteis diversas, demonstrando a versatilidade e adaptabilidade da tapeçaria, uma vez que a mesma pode assumir outras funções que não a decorativa. O cruzamento das duas áreas, o design de moda e a tapeçaria, pode ser experienciado através de um tear que se adapte ao corpo humano, tendo como base o busto feminino. Sobre ele poder-se-ão executar peças de vestuário com as características tradicionais da produção da tapeçaria nacional, contribuindo, de forma renovada, para um sistema de produção de vestuário mais sustentável (numa ótica slow-fashion). Além de revitalizar a Arte e a Técnica de Tapeçaria Portuguesa, este trabalho remete para a oferta de peças de vestuário personalizáveis que, apesar do método de execução contrastar com o ritmo de consumo e constante renovação de vestuário, não deixa de ser inovador, claro e intemporal.
ABSTRACT: Since Fashion is a system that follows and provides variation in society, and prospecting a future where portuguese art and tradition merge with fashion design, a theoretical and practical project that adapts tapestry techniques to clothing manufacturing was deliberated. This project intends to carry on a legacy so characteristic that it differentiates the countless regions of Portugal, each one of these with their own specific and diverse textile techniques, proving the versatility and adaptability inherent to tapestry, as it can assume a non-decorative function. This process begins by modifying the manufacturing instrument, the loom. The crossing between the two areas, fashion design and tapestry, is experienced through a loom that adapts to the human body, having the bust as a base. Over it, garments with traditional tapestry production features will be fabricated, contributing to a renewed and more sustainable system of clothing production (in a slow-fashion perspective). Besides revitalizing Portuguese Art and Technique, this project remits to the provision of customizable garments that, even if the method contrasts with the consumption rate and constant renovation of clothing, is nothing short of innovative.
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Rijkers, Jessica Carolina Cornelia. "Alinea : The beginning of a new train of thought, Implementing (coloured) bioplastic into handwoven textile design." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-26578.
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Within Alinea, the purpose is to explore the use of bioplastic as unconventional yarn in the traditional technique of handweaving. The focus toward bioplastic as a design material and the technique of handweaving as the fabrication technique to generate broader alternatives for using bioplastic materials in woven textile design. Described through experimental and practise-based research, handwoven bioplastic samples have been explored to investigate the methods of structures and bindings, gradient colouring and print design within bioplastic and weaving. With the attempt to make bioplastic more accessible for the textile industry. The experimental design research resulted in scaled prototypes that showcase a collection of seven pieces that present various design possibilities and potentials regarding bioplastic within the textile weaving technique, including distinct structural tactile qualities bioplastics can offer to the field of textile. It can be concluded that bioplastic can play a role in becomes a desirable material steering textile design towards a more sustainable future in the textile design field. Furthermore, give handwoven materials new aesthetics by producing unique structures and tactile features.
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Smith, Allison Hope. "162 Springcrest." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1524231199349606.
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McMahon, Sarah Caitlin. "Containers:An Exploration of Self Through Pixel and Thread." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1524491293446776.
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Jiang, Wan-Jhen, and 江婉甄. "Weaving Appliances -The Application of Weaving techniques and patterns on Appliances Products." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/3f2pdy.
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碩士國立交通大學
應用藝術研究所
104
When talking about design, aside from the balance between functionality and aesthetics, it also needs to serve as a tool to trigger thinking. This study begins by reflecting consumerism, through literature survey and material exploration it finally focuses on the growing problem of e-waste. It attempts to change the relationship between human and appliance by emphasizing design and aesthetics, and introduce warmth and human nature into the cold-heart electronic products. For the purpose of seeking the overlap regions between electrical equipment and crafts, I select two simple objects, lamp and loud-speaker, to create three items: “My Crystal Light”, “Loose Light”, and “Internal Sound”. Cooperating with electronic professional during the developing process, I try to understand the mode of operation in the internal circuit and function of each electronic components form the designer’s point of view for its unique creation. The records with texts and images, not only offer the followers relevant material, they enable readers to have a broader understanding and imagination into the internal of electrical equipment.
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Lin, Shu-Li, and 林淑莉. "Analysis and Transmission Practice of SaySiyat Traditional Patterns and Weaving." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/839w8y.
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碩士國立東華大學
藝術創意產業學系
105
In the past three to four decades, due to societal, environmental, and multiple changes, the number of SaySiyat women who stay at their tribes and keep weaving is dramatically decreased resulting in that the techniques and cultures of weaving are gradually disappearing. Nevertheless, most of SaySiyat women still desire to weave traditional costumes for their family members. Moreover, SaySiyat people think that it is important and necessary to keep the culture and techniques of weaving. Thus, recently more and more SaySiyat people actively engage and learn the culture. Based on the author’s more than 20 years of weaving experiences in this field, the thesis aims to teach SaySiyat women to learn the traditional way of weaving, and to show their own hand woven works of costumes for 2016 SaySiyat ceremony, called as “paSta'ay”. There are two main parts in this thesis. First, the author attempts to rebuild up the basic knowledge of the SaySiyat traditional weaving cultures existed for over one hundred years, through collecting pictures of the traditional costumes from domestic and foreign museums, private agencies, and owners. Second, through demonstrating done products, sharing experiences, and leading steps, the author develops workshops for SaySiyat people to learn the weaving techniques, understand the history and culture, be motivated to keep weaving, and eventually revive the cultural tradition.
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"Kaqchikel Maya Migration Patterns: New Economic "threads" Weaving Indigenous Identity." Tulane University, 2014.
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While past research has indicated that migration tends to lead to the death of ethnic marker use such as language, my research defies this traditional understanding of how migration impacts identity performance by showing that migration experiences often lead to support for the home language. The traditional understanding of migration's impacts on the use of ethnic markers also means an inadequate understanding of how migration impacts returned migrants’ relationship to indigenous social movements that also support the use of ethnic markers. This research is located in the Kaqchikel-speaking region of highland Guatemala, a place with high rates of returned migrants and an indigenous social movement known as the pan-Maya Movement struggling to reach grassroots populations to which most returned migrants belong. This work shows the complex relationships and connections between migration and indigenous social movements through migrations' impact on the use key markers in the Kaqchikel region, including language and clothing. My research first revealed high rates of internal migration and defines common migration paths for the Kaqchikel Maya, which are gendered. I show that certain experiences in migration do not lead to language death for Kaqchikel but instead create support for it through a polylinguistic stance. This work also found that men's traje use will soon enter a "sleeping" state in which it is not actively used but is documented and preserved. However, returned migrants are actively supporting women's traje use. I thus show that experiences in migration encourage returned migrants to continue the use of ethnic markers, a stance supported by the pan-Maya Movement. The Movement has had difficulty connecting to grassroots populations that include most of the migrants in this study. This research thus shows how migration aligns migrants' ideologies with the pan-Maya Movement. I conducted research in the three Kaqchikel-speaking townships of Tecpán Guatemala, San Juan Comalapa, and Santa Catarina Palopó. Each township has significantly different historical interactions with the state, connections to urban centers, rates of migration, and policies regarding language and clothing use that impact current migration paths and ethnic marker usage in each township in important ways.acase@tulane.edu
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JIAN, YUN-TING, and 簡筠庭. "Weaving the Places : A Visualization Language to Depict Cozy Place’s Design Patterns." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/b6bq9f.
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碩士亞洲大學
數位媒體設計學系
102
The leisure space in the city is an important site for modern people to leave busy life when they are in their free time. At places crowded with people, such space often brings many peripheral profits and advertising profits to policy makers. This thesis observed and recorded ten cases of “cozy places” in Taichung and Kaohsiung, and deconstructed the design factors in those places for analysis. In addition, by visualizing the logic relationship, we can obtain the relationship patterns of design factors in the “cozy places”. Last of all, by means of probing into the factor relationship, we proposed possible suggestions to assist design of cozy places. This research has integrated the designer and the information system developer as the cutting viewpoint to explore the digital construction method of “cozy place”, and it has been mainly divided into 5 Chapters. The 1st Chapter is the research motivation, purpose, range, research procedures, and the flow chart. The 2nd Chapter is Literature, including design pattern, script design analogy (simulation) method, and information visualization design of “cozy place”. Next, the 3rd Chapter records case of “cozy place’s” design pattern, and analyzes the construction factors. In the 4th Chapter, based on the construction logic of “cozy place”, we have developed the cozy place’s design pattern information system-- Design Pattern of Cozy Place （DPCP）, and have further utilized DPCP to test and interview three testees. Last of all, Chapter 5 merges the interview and test results, and generalizes the conclusions and suggestions. By this fundamental research, it is expected that the initial stage of digital information research of “cozy place” will be consolidated.
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Kuo, Yen-ting, and 郭彥婷. "Weaving Patterns of Life:The Story between A Craft Artist and A Graduate Student to Portray the Beauty of Life." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/6g8saz.
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碩士國立中央大學
學習與教學研究所
97
The researcher who limited the meaning of culture and beauty, now uses narrative inquiry as the research method to do a craft artist (Tsai Yupan) research. The research intends to know Tsai’s create process and if there is any factor to influence the visual creativity. Self directed learning is also the issue of raising the creating skills. Interview and observation are the ways to know Tsai’s background, create process, and to collect the relevant data. During the 14 interviews and the 3 observations, the researcher finds out certain connections between her and Tsai and therefore the different influences. Because of the differences, it helps the researcher to recall her life’s story and to do self examination. Making relationship and conversation with Tsai are the ways to weaving lives’ patterns. It is not only to learn how to appreciate the objects of art, but also to think deeper about the meaning of culture and beauty. During the four semesters research, it is really a procedure of discovering, practicing, and changing of life.
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Chang, Chewei, and 張哲瑋. "The influence of different weaving patterns and connection methods on the tensile behavior of hexagonal wire meshes (12 cm*15 cm)." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/76109622773402606255.
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碩士國立屏東科技大學
土木工程系所
102
Metal wire mesh is commonly practice for river bank protection, rock fall protection, and slope stabilization applications. Currently, the use of wire mesh for river bank protection and slope stabilization applications is more than 15 million square meters. Only the materials cost is more than 20 billion New Taiwan dollars. Currently, the replacement of wire mesh for these applications is too often. To develop a better mechanism to construct metal wire mesh is an important task. The early age hand-made fourth-twisted hexagonal wire meshes were observed to be more durable than those current machine made triple-twisted hexagonal wire meshes. Therefore, the objective of this study is to study a better structural pattern and connection mechanism to produce durable hexagonal wire mesh. Triple-twist and fourth-twist model hexagonal wire mesh panels were used to evaluate the tensile behavior of the test samples with or without one cut at the center of the test wire panels. The panels were oriented either parallel or perpendicular to the twist wire sections. Tensile tests were also conducted for panel to panel connection using binding-joint and twist-joint. ASTM A975 test procedure was used in the study. The mesh panels were constructed with metallic coated 4.0 mm steel wire with 12cmx15cm mesh opening. The results of the study indicated that the ultimate tensile strength for triple-twist or fourth-twist hexagonal wire mesh panel was similar for uncut conditions. However, the fourth-twist hexagonal wire panels showed better tensile resistance and less elongation after the wire cut at center of the panel for tensile tests conducting in both longitudinal and transverse directions. Tensile strength for the panels oriented in the direction parallel to the twist wire section was greater than those placed perpendicular to the twist wire section. Twist joint showed better tensile resistance than that for binding joint. Keywords: hexagonal wire mesh, gabion, river bank protection, slope stabilization, rock-fall protection.
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Guo, Yi-Jen, and 郭伊珍. "Application Jacquard Weaving Design Research Project—Using Environmental Friendly Textile Materials inspired by Taiwan Native Plants Pattern." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/74636126793880669075.
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碩士輔仁大學
織品服裝學系
90
As technology advances and economy develops, our natural environment was destroyed by human beings’ desires for material. Facing serious global environment pollutions, we have to rethink about the relationship between people and nature. Returning to the concept of the land ethic, resolving the mass production of consumer products, cleaning pollutions from textile production and thinking about green designs are the starting points for environmental friendly products, both on the outside and the inside. This is going to be home textiles from every day life. Since ordinary cloth products for export are western style, the chosen design will have localized images on the textile products. For the pattern design, using Taiwan native plants pattern to derive the jacquard weaving design. I have been to the mountains drawing and photographing to develop my work. Besides, I have also been researching to discover these plants and amazed by them. I will then transfer those pictures into six parts of Torenia concolor Linndley var. formosana Yamazzaki , Viola nagasawai Makino & Hayata, Isoetes taiwanensis Devol, Disporum shimadai Hayata, Rhododendron oldhamii Maxim and Drosera spathulata Lab. As for material, the warp yarn is from polyester to fit jacquard beam, and the weft yarn from several natural and new material consists lyocell, natural colored cotton, PET recycled yarn, 3M scotchlite reflective yearn, cotton, linen, Acrylic/Wool blended yarn. The jacquard weaving technique is applied in the six parts of my work. I also cross-applied four other techniques of damask, lampas, martelass, and double face. Combining the green design, natural science, arts, textile technology and environmental friendly thoughts, my creation will consist with six parts that bring out the beauty of Taiwanese native plants. They will not only be useful as textile products and have artistic values, but also consist the land ethic and the culture from the environment.