RECUR

Occur again, periodically,

or repeatedly.

A repeated decorative design.

01

02

RECUR

BY

ZACK SIMONS

NAME

EMAIL

PHONE

Zack Simons

simons.zack@gmail .com

801 .913 .9056

SCHOOL

COURSE

INSTRUCTOR

Academy of Art University

GR 601: Type Systems

David Hake

TYPEFACES

PRINTER

BINDERY

PAPER

H&FJs Gotham + Tungsten

Blurb Proline

Blurb Proline

Blurb Premium Matte

D E C O R A T I V E

PA

ST

FU

TU

RE

D E C O R AT I V E PAT T E R N05FLORAL

07ETHNIC

09GEOMETRIC

11 ART MOVEMENT

13 CONVERSATIONAL

2

C O N TE N T S

-

F U N C T I O N A L

E A R LY T E X T I L E S01PLAIN WEAVE

02BASKET WEAVE

03TRIPLE WEAVE

04WEFT + WARP

1

F U T U R E PAT T E R N15BIOMIMETICS

16REPURPOSE + RECYCLE

17ELECTRO TEXTILES

19PHOTOVOLTAICS

20INFORMATION BASED

3

A pattern is an image, event, sound or idea reflected

over and over throughout time and space. Sometimes literal

and sometimes abstract, patterns represent the cyclical

nature of the world around us. Not unlike Deja Vu, pieces,

fragments of the past are stored in the subconscious

and played back at a later date. Rarely is any idea created

and formed completely from scratch, such is the nature

of post- modernity. Everything is a recreation of something

old reborn and remixed.

FORWARD

A pattern is an image, event, sound or idea reflected

over and over throughout time and space. Sometimes literal

and sometimes abstract, patterns represent the cyclical

nature of the world around us. Not unlike Deja Vu, pieces,

fragments of the past are stored in the subconscious

and played back at a later date. Rarely is any idea created

and formed completely from scratch, such is the nature

of post-modernity. Everything is a recreation of something

old, reborn and remixed.

FORWARD

AR

T I

S P

AT

TE

RN

IN

FO

RM

ED

BY

S

EN

SIB

ILIT

Y.

HE

RB

ER

T R

EA

DA

RT

IS T

HE

IMP

OS

ING

OF

A P

AT

TE

RN

ON

EX

PE

RIE

NC

E,

AN

D O

UR

AE

ST

HE

TIC

EN

JO

YM

EN

T IS

RE

CO

GN

ITIO

N O

F T

HE

PA

TT

ER

NA

LFR

ED

NO

RT

H W

HIT

EH

EA

D

AS

LO

NG

AS

HA

BIT

AN

D R

OU

TIN

E

DIC

TAT

E T

HE

PA

TT

ER

N O

F L

IVIN

G,

NE

W D

IME

NS

ION

S O

F T

HE

SO

UL

WIL

L N

OT

EM

ER

GE

.

HEN

RY

VA

N D

YK

E

I RE

GA

RD

IT IN

FAC

T A

S T

HE

GR

EA

T A

DV

AN

TAG

E

OF

TH

E M

AT

HE

MA

TIC

AL

TE

CH

NIQ

UE

TH

AT

IT

AL

LO

WS

US

TO

DE

SC

RIB

E, B

Y M

EA

NS

OF

AL

GE

BR

AIC

EQ

UA

TIO

NS

, TH

E G

EN

ER

AL

CH

AR

AC

TE

R O

F A

PA

TT

ER

N

EV

EN

WH

ER

E W

E A

RE

IGN

OR

AN

T O

F T

HE

NU

ME

RIC

AL

VA

LU

ES

WH

ICH

WIL

L D

ET

ER

MIN

E IT

S P

AR

TIC

UL

AR

MA

NIF

ES

TAT

ION

.

FR

IED

RIC

H A

UG

US

T V

ON

HA

YE

KT

I TH

OU

GH

T I W

AS

GO

ING

NO

WH

ER

E.

NO

W I C

AN

SE

E T

HE

RE

WA

S A

PA

TT

ER

N.

KA

TE

DIC

AM

ILL

O

IT I

S I

MP

OS

SIB

LE

, IN

PR

INC

IPL

E,

TO

EX

PL

AIN

AN

Y P

AT

TE

RN

B

Y I

NV

OK

ING

A S

ING

LE

QU

AN

TIT

Y.

GR

EG

OR

Y B

AT

ES

ON

T

MATHEMATICS ARE THE RESULT OF MYSTERIOUS

POWERS WHICH NO ONE UNDERSTANDS, AND WHICH

THE UNCONSCIOUS RECOGNITION OF BEAUTY MUST

PLAY AN IMPORTANT PART. OUT OF AN INFINITY OF

DESIGNS A MATHEMATICIAN CHOOSES ONE PATTERN

FOR BEAUTYS SAKE AND PULLS IT DOWN TO EARTH.

MARSTON MORSET

ONE GETS TO THE HEART OF THE MATTER BY A SERIES OF

EXPERIENCES IN THE SAME

PATTERN BUT IN DIFFERENT COLORS.

ROBERT GRAVEST

WHAT MATTERS IS TO

LIVE IN THE PRESENT,

LIVE NOW, FOR EVERY

MOMENT IS NOW. IT IS

YOUR THOUGHTS AND

ACTS OF THE MOMENT

THAT CREATE YOUR

FUTURE. THE OUTLINE

OF YOUR FUTURE PATH

ALREADY EXISTS,

FOR YOU CREATED ITS

PATTERN

BY YOUR PAST. SAI BABA

AR

T IS

PA

TT

ER

N IN

FO

RM

ED

BY

S

EN

SIB

ILIT

Y. H

ER

BE

RT

RE

AD

AR

T I

S T

HE

IM

PO

SIN

G O

F A

PA

TT

ER

N O

N E

XP

ER

IEN

CE

,

AN

D O

UR

AE

ST

HE

TIC

EN

JO

YM

EN

T I

S R

EC

OG

NIT

ION

OF

TH

E

PA

TT

ER

NA

LFR

ED

NO

RT

H W

HIT

EH

EA

D

AS

LO

NG

AS

HA

BIT

AN

D R

OU

TIN

E

DIC

TAT

E T

HE

PAT

TE

RN

OF

LIV

ING

, N

EW

DIM

EN

SIO

NS

OF

TH

E S

OU

L W

ILL

NO

T E

ME

RG

E.

HEN

RY

VAN

DY

KE

I R

EG

AR

D I

T I

N F

AC

T A

S T

HE

GR

EA

T A

DV

AN

TAG

E

OF

TH

E M

AT

HE

MA

TIC

AL

TE

CH

NIQ

UE

TH

AT

IT

AL

LO

WS

US

TO

DE

SC

RIB

E, B

Y M

EA

NS

OF

AL

GE

BR

AIC

EQ

UA

TIO

NS

, TH

E G

EN

ER

AL

CH

AR

AC

TE

R O

F A

PA

TT

ER

N

EV

EN

WH

ER

E W

E A

RE

IG

NO

RA

NT

OF

TH

E N

UM

ER

ICA

L V

AL

UE

S

WH

ICH

WIL

L D

ET

ER

MIN

E I

TS

PA

RT

ICU

LA

R M

AN

IFE

STA

TIO

N.

FR

IED

RIC

H A

UG

US

T V

ON

HA

YE

KT

I T

HO

UG

HT

I W

AS

GO

ING

NO

WH

ER

E.

NO

W I

CA

N S

EE

TH

ER

E W

AS

A P

AT

TE

RN

.

KA

TE

DIC

AM

ILL

O

IT IS

IMP

OS

SIB

LE

, IN P

RIN

CIP

LE

, TO

EX

PL

AIN

AN

Y PA

TT

ER

N

BY

INV

OK

ING

A S

ING

LE

QU

AN

TIT

Y. G

RE

GO

RY

BA

TE

SO

NT

MATHEMATICS ARE THE RESULT OF MYSTERIOUS

POWERS WHICH NO ONE UNDERSTANDS, AND WHICH

THE UNCONSCIOUS RECOGNITION OF BEAUTY MUST

PLAY AN IMPORTANT PART. OUT OF AN INFINITY OF

DESIGNS A MATHEMATICIAN CHOOSES ONE PATTERN

FOR BEAUTYS SAKE AND PULLS IT DOWN TO EARTH.

MARSTON MORSETONE GETS TO THE HEART OF THE MATTER BY A SERIES OF

EXPERIENCES IN THE SAME

PATTERN

BUT IN DIFFERENT COLORS.

ROBERT GRAVEST

WHAT MATTERS IS TO

LIVE IN THE PRESENT,

LIVE NOW, FOR EVERY

MOMENT IS NOW. IT IS

YOUR THOUGHTS AND

ACTS OF THE MOMENT

THAT CREATE YOUR FUTURE. THE OUTLINE

OF YOUR FUTURE PATH

ALREADY EXISTS, FOR YOU CREATED ITS

PATTERN BY YOUR PAST. SAI BABA

THE EARLIEST PATTERNS

FOUND IN TExTILES ARE NOT AT

ALL THE TYPE OF PATTERNS

WE THINk OF TODAY. THEY ARE

THE SIMPLE BUILDING

BLOCkS OF TExTILE WEAVING

AND ONLY NOTICED IF ONE

LOOkS CLOSE ENOUGH. THESE

EARLY TExTILES ARE PURELY

FUNCTIONAL AND DID NOT

TAkE ON A DECORATIVE FUNC-

TION UNTIL SOMETIME LATER

AROUND 2000 BCE.

1 E A R LY T E X T I L E S01PLAIN WEAVE02BASKET WEAVE03TRIPLE WEAVE

04WEFT + WARP

PLAIN WEAVE

JARMO

IRAQ

7000 BCE

PLAIN WEAVETHE EARlIEST TExTIlES IN

existence were found in Jarmo,

Iraq, in 1945. Jarmo is widely

known as the oldest agricultural

city in the world, dating back

to roughly 7000 BCE.

While no actual textiles survived

to tell its tale 9000 years later,

what does remain is a variety of clay

impressions of those fabrics. This

is true of virtually all ancient textiles

they simply do not last very long.

The plain weave essentially consists

of two threads, cords or other fibers

woven back and forth between one

and other. The plain weave is so

basic that it can be applied to wide

array of applications.

01

THE DOUBlE WEAVE IS ANOTHER ANCIENT

weave pattern dated to 7000 BCE and found in Jarmo,

Iraq. The basket weave is essentially the same thing

as the plain weave, doubled up for reinforcement.

The double weave can be used for both apparel and

structural fabric applications, though throughout his-

tory it has been used primarily for baskets as the name

not so subtly implies. The civilization at Jarmo used

it for just this purpose: carrying goods, whether it be

food or back to their dwellings.

BASk

ET W

EAVE

02CATAL HAYUK

IRAQ

7000 BCE

NEHAL HEMAR

ISRAEL

6500 BCE

03

ONE TECHNIqUE,

known as weft

wrapping, is a

common way to

interlace fibers.

Weft wrapping

involves wrapping

the weft once

around each

successive warp

thread instead of

merely going over

or under it.

TRIP

LE W

EAVE

Another tech-

nique involves

weft twining with

paired weft, in

which the two

weft threads run

along together

in a way that one

goes over and

other under in a

single warp cycle.

In some cases

the triple wave

has been used

for fabrics to

be worn though

it is perhaps

best suited to

structural, weight

bearing or other

similar industrial

applications.

HE

HA

L H

AM

AR

TU

RK

EY

60

00

BC

04W

EFT/

WAR

P

WEFTW

AR

P

WEFT: (NOUN)

Crosswise threads on a loom, which other threads (WARP)

are passed over and under to create a woven fabric or cloth.

2 D E C O R AT I V E PAT T E R N05FLORAL07ETHNIC09GEOMETRIC

11 ART MOVEMENT

13 CONVERSATIONAL

IN ROUGHLY 2000

BCE, THE MINOAN EMPIRE

BEGAN ExPERIMENTING

WITH PAINT ON FABRIC AND

LEATHER. MOST OF THIS

EARLY PATTERN WAS USED

IN SOME CEREMONIAL

FASHION BUT SOON AFTER,

TExTILES BECAME DEC-

ORATIVE. NEARLY ALL PATTERN

FROM MINOAN TIMES

UNTIL TODAY IS CONSIDERED

DECORATIVE REGARDLESS

OF ITS ORIGIN.

FLORAL

The floral category includes all

the gatherings of the garden including

grasses but agricultural produce

like fruit and vegetables are considered

conversationals, as are nuts and

pinecones. Trees are conversationals

but their leaves are classified as

florals and so is wheat. Nearly all the

flowers in the floral family are to

some degree abstracted from nature.

ETHNIC

Ethnic patterns can be one of two

things. The first option is that it can be

a pattern designed by someone of

a specific geographic region or culture

that has a very specific look or feel,

particular to that region. Second, it can

be a pattern designed by someone

to look as if it came from some specific

geographic region or culture. Some

refer to the ethnic patterns as exotics.

05+06 07+08

TYPE

S OF

DEC

ORAT

IVE

PATT

ERN:

GEOMETRIC

A geometric is an abstract or non

representational motif, a shape that is

not a picture of something out in

the real world. A fleur de lis for example

is a geometric, it is actually as stylized

iris, but it is too removed from the

flower form to be called a floral. Cube

patterns too are geometrics until an

artist makes them into conversational

images of a childs building blocks.

CONVERSATIONAL

A conversational print is one that

depicts some real creature or object.

It doesnt have to be a picture of

the world. It may show a whole scene

a landscape or cityscapebut just

as often the designer removes a motif

from its usual place and arranges

it in any of the formal layouts of fabric

design, in a neat grid or stripe or

scatters it randomly.

ART MOVEMENT

Any pattern that resembles the

styles or workings of an art movement

is categorized as an Art Movement

pattern. There are many such patterns

of this kind, some are true to the

period and others are simply revivals

of past motifs. A pattern designed

in medieval times is a medieval

pattern, however a medieval designed

in today is a mediaeval look.

09+10 11+12 13+14

DAM

ASk

05 FLORA

L

AN

OR

NA

ME

NTA

l R

EV

ER

SIB

lE

wea

ve, u

sual

ly in

on

e co

lor

and

ori

gin

ally

pro

du

ced

in s

ilk a

nd

wo

ol,

dam

ask

pri

nts

rea

ched

Eu

rop

e

fro

m D

amas

cus,

at

the

tim

e a

cen

ter

of

text

ile t

rad

e. W

hen

Mar

co P

olo

retu

rned

to

Ven

ice

wit

h b

un

dle

s

of

text

iles,

ro

bes

of

crim

son

co

lore

d

Dam

ask

was

par

t o

f th

e sh

ipm

ent.

.

Typ

ical

ly t

hes

e p

atte

rns

are

in

Ren

aiss

ance

sty

le a

nd

incl

ud

e la

rge

scal

e fo

rmal

pat

tern

s.

ALLO

VER

06 FLORA

L

AN

Al

lOV

ER

lA

YO

UT

IN

ClU

DE

S

mo

re fi

gu

re t

han

gro

un

d: m

ean

ing

the

mo

tifs

of

the

pat

tern

co

ver

mo

re

than

50

per

cen

t o

f th

e fi

eld

. Su

ch

layo

uts

are

po

pu

lar

wit

h t

exti

le a

nd

fash

ion

des

ign

ers

bec

ause

th

ey t

end

to d

isg

uis

e a

pat

tern

s r

epea

ts.

No

n d

irec

tio

nal

des

ign

s th

at h

ave

no

to

p, b

ott

om

, lef

t o

r ri

gh

t ar

e

also

co

mm

erci

al f

avo

rite

s fo

r th

at

very

sam

e re

aso

n.

PAIS

LEY

07 ETHNIC

TH

E G

EN

ER

Al

PA

ISl

EY

FO

RM

likel

y ev

olv

ed o

ut

of

a st

yliz

ed p

lan

t

or

flo

wer

fo

rm. T

he

earl

iest

exa

mp

les

of

Pai

sley

hai

ls b

ack

to

17th

an

d

18th

cen

tury

In

dia

. Th

e p

atte

rn w

as

oft

en u

sed

in s

haw

ls a

nd

th

ese

shaw

ls a

rriv

ed in

Eu

rop

e d

uri

ng

th

e

earl

y 18

00

s. P

aisl

ey s

haw

ls s

oo

n

bec

ame

a fa

shio

n a

cces

sory

of

the

extr

emel

y w

ealt

hy

and

wes

tern

des

ign

ers

beg

an p

rod

uci

ng

pai

sley

as w

ell a

s In

dia

n d

esig

ner

s.

RUSS

IAN

FLOR

AL08 ETHNI

C

TH

E A

RIS

TO

CR

AC

Y O

F T

zA

RIS

T

Ru

ssia

typ

ical

ly b

ore

th

e fa

shio

ns

and

pat

tern

s ty

pic

al o

f W

este

rn

Eu

rop

e. B

ut

it w

as a

gen

re o

f p

rin

ts

for

the

com

mo

n f

olk

th

at c

ame

to b

e

reg

ard

ed a

nd

bel

ove

d b

y W

este

rn

Eu

rop

ean

s as

an

eth

nic

Ru

ssia

n lo

ok.

Th

e re

d c

hal

lis, o

ften

on

larg

e fi

eld

s

of

bla

ck b

ut

also

co

mm

on

ly s

een

on

wh

ite

is a

pat

tern

co

mm

on

ly f

ou

nd

ado

rnin

g R

uss

ian

Bab

ush

kas.

DIAP

ER09 GEOM

ET

RIC

IN T

Ex

TIl

E l

AN

GU

AG

E,

TH

E

term

dia

per

ref

ers

no

t to

th

e m

od

ern

bab

y n

apki

n b

ut

to a

des

ign

gen

re

of

smal

l-sc

ale

geo

met

ric

fig

ure

s in

a

set-

layo

ut

of

inte

rlo

ckin

g o

r cl

ose

ly

alig

ned

fo

rms.

In

th

e 15

th C

entu

ry,

a d

iap

er w

as a

n e

xpen

sive

lin

en,

wo

ven

so

th

at t

he

lie o

f th

e th

read

crea

ted

a la

ttic

e p

atte

rn. E

arly

dia

-

per

s co

nta

ined

a d

iam

on

d p

atte

rn

as a

mat

ter

of

fact

, th

ou

gh

no

t al

l

do

to

day

.

TART

AN10 GEOM

ET

RIC

TAR

TAN

PA

TT

ER

NS

AR

E S

CO

TT

ISH

in o

rig

in. E

ach

Sco

ttis

h c

lan

had

its

ow

n t

arta

n p

arti

cula

r to

th

at g

rou

p.

Eac

h c

lan

was

a e

xtre

mel

y ti

gh

t kn

it

gro

up

an

d fi

erce

ly p

rou

d o

f it

s p

ar-

ticu

lar

wo

ven

wo

ol p

laid

, wh

ich

oft

en

incl

ud

ed a

hu

nti

ng

tar

tan

as

wel

l

as a

dre

ss t

arta

n. C

on

tem

po

rary

use

of

the

tart

an m

oti

f la

cks

his

tori

c

mea

nin

g a

nd

is p

ure

ly d

eco

rati

ve.

POP A

RT11 ART M

OV

EM

EN

T

TH

E P

OP

AR

T M

OV

EM

EN

T T

OO

K

shap

e d

uri

ng

th

e ea

rly

to m

id 2

0th

Cen

tury

in A

mer

ica.

Har

nes

sin

g

the

visu

al v

ern

acu

lar

of

adve

rtis

ing

,

tele

visi

on

an

d o

ther

po

pu

lar

cult

ure

,

the

po

p a

rt m

ove

men

t w

as q

uit

e

po

pu

lar

bec

ause

of

its

rela

tive

acce

ssib

ility

. It

s ty

pic

al b

old

co

lor

pal

ette

s, c

eleb

rity

imag

e co

nte

nt

and

eq

ual

ly c

eleb

rity

art

ists

mad

e

this

mo

vem

ent

a cr

ow

d f

avo

rite

.

DE S

TIJL

12 ART MO

VE

ME

NT

DE

ST

IJl

WA

S A

DU

TC

H A

VA

NT

Gar

de

mo

vem

ent

that

occ

ure

d

du

rin

g t

he

earl

y 20

th C

entu

ry a

s p

art

of

the

gre

ater

Eu

rop

ean

Ava

nt

Gar

de

and

ear

ly m

od

ern

mo

vem

ents

. Wh

ile

text

iles

and

tex

tile

pat

tern

ing

was

har

dly

on

e o

f th

e m

ove

men

ts

mai

n f

ocu

ses,

th

eir

reco

gn

izab

le

gri

d p

atte

rn a

nd

pri

mar

y co

lor

sch

eme

has

bee

n u

sed

on

te

xtile

s

sin

ce it

was

cre

ated

ove

r o

ne

hu

nd

red

yea

rs a

go

.

GAM

ES13 CONVE

RS

AT

ION

AL

EA

RlY

IN

TH

E T

WE

NT

IET

H

cen

tury

, bri

gh

tly

colo

red

to

ys a

nd

gam

es w

ere

a n

ove

lty

mo

tif

oft

en

use

d f

or

child

ren

s w

ear.

Tod

ay,

mo

ther

s ar

e lik

ely

to id

enti

fy t

hes

e

old

fas

hio

ned

pri

nts

mo

re t

han

th

eir

child

ren

, th

ou

gh

to

day

th

ese

pat

tern

s

are

still

in u

se. H

ow

ever

, to

day

s g

ame

and

to

y p

rin

ts a

re o

ften

mo

re a

bst

ract

and

flat

in c

olo

r th

an t

hey

wer

e a

cen

tury

ag

o.

LETTERSNUMBERSPUNCTUATION






























TYPO

GRAP

HY14 CONVE

RS

AT

ION

AL

lE

TT

ER

S A

ND

NU

MB

ER

S H

AV

E

bee

n a

po

pu

lar

sou

rce

of

pat

tern

insp

irat

ion

fo

r ce

ntu

ries

. Th

e

mo

st p

op

ula

r in

volv

es s

ymb

ols

an

d

char

acte

rs o

f la

ng

uag

es f

rom

far

away

lan

ds,

like

Ch

ina

or

Afr

ica,

fo

r

exam

ple

. Ch

ildre

ns

pat

tern

s h

ave

also

exh

ibit

ed n

um

ber

s an

d le

tter

s

for

year

s. T

ypo

gra

ph

ical

pat

tern

s

hav

e b

eco

me

incr

easi

nly

po

pu

lar

at

the

beg

inn

ing

of

the

21s

t C

.

WHILE DECORATIVE PATTERN

WILL LIkELY ALWAYS ExIST

IN A FORM SIMILAR TO WHAT

WE HAVE TODAY, THERE

WILL BE ADVANCEMENTS IN

PATTERN DESIGN. SOME

WILL COME FROM ADVANCES

IN PATTERN ITSELF AND

OTHERS FROM TECHNOLOGY

DISPLAYING THE PATTERNS.

OTHERS YET WILL BE PURELY

FUNCTIONAL AND SERVE

NO DECORATIVE FUNCTION

WHATSOEVER.

3 F U T U R E PAT T E R N15BIOMIMETICS16REPURPOSE + RECYCLE17ELECTRO TEXTILES

19PHOTOVOLTAICS

20INFORMATION BASED

FASTSKIN PATTERN

DEVELOPED BY SPEEDO

APPLIED TO SWIMSUITS

TURBULENT WATER FLOW

HIGH DRAG = SLOW

STREAMLINED WATER FLOW

REDUCED DRAG = FAST

THIS PATTERN PROPELLED MICHAEL

PHELPS TO EIGHT GOLD MEDALS AT

THE 2008 OLYMPICS IN BEIJING

WATER HITS FASTSKIN

PATTERN ON SWIMSUIT

TRANSFORMS HYDROFLOW

DIR

EC

TIO

N O

F S

WIM

ME

R T

RA

VE

LD

IRE

CT

ION

OF

WA

TE

R F

LO

W

15

BIOMIMETICS IS THE DEFINED AS THE ExTRACTION OF GOOD DESIGN FROM NATURE. OFTEN,

the patterns and materials found

in nature are much more efficient than

their manmade counterparts. Millions

of years of evolution has created many

materials that are incredibly tech-

nologically advanced and scientists are

just now beginning to explore this

idea further.

Speedo is one company who has successfully implemented biomimetrics into their product line, created

primarily for Olympic swimmers,

the companys Fastskin suit mimics the

skin of a shark. After intensive testing

scientists realized that sharks very small

scale pattern in their skin that makes

water travel across their body with less

hydro turbulence.

The original version of the Fastskin suit only had one pattern on it but after more testing and looking

closer at the skin of the shark, scientists

realized that sharks have multiple

scales of the pattern on different areas

of their body. High turbulence areas

have a rougher texture to push water

away from the area while the more

streamlined areas of the body have

a more subtle texture.

BIOMIMETICS

GlOBAl INDUSTRIAl PRODUCTION HAS SlOWlY BEEN REASSESSING THE WAY

it uses materials, the waste created in creation of those materials and how that waste

is disposed. Faced with such complex issues a new, more collaborative approach to

design has emerged which involves a chemical engineer and the designers sitting side

by side. Two of the most successful pioneers of this approach are the American archi-

tect William McDonough and his collaborator the German chemical engineer and former

Greenpeace activist Michael Braungart. In the mid 1990s they developed a method of

working that went beyond traditional design brief to what they perceived to the real

problem. Rather than concentrating exclusively on a fabrics appearance, their model

for developing ecologically intelligent fabrics involved a reassessment of all the mate-

rials and process in the system of production and the supply chain.

Mo

re f

req

uen

tly

no

w m

ore

th

an e

ver,

mat

eria

ls a

re

able

to

be

crea

ted

fro

m p

revi

ou

sly

use

d m

ater

ials

,

idea

lly i

n t

hei

r ra

w f

orm

, o

r if

no

t th

en i

nd

ust

rial

ly

tran

sfo

rmed

into

a m

ore

usa

ble

fo

rm. F

or

exam

ple

,

pla

stic

bo

ttle

s ca

nn

ot

be

use

d d

irec

tly

as c

loth

ing

on

a la

rge

scal

e. H

ow

ever

, th

e m

ater

ial c

an b

e u

sed

by

mel

tin

g i

t d

ow

n a

nd

sp

inn

ing

it

into

a fl

eece

, as

ha

s b

ee

n d

on

e b

y c

om

pa

nie

s su

ch a

s P

ata

go

nia

for

year

s. I

n a

mo

re c

lose

d l

oo

p s

yste

m,

wh

enev

er

po

ssib

le, t

he

mat

eria

l can

sim

ply

be

rep

urp

ose

d a

s

is t

he

case

wit

h i

nd

ust

rial

car

go

tar

ps,

as

sho

wn

in

the

dia

gra

m o

n t

he

nex

t p

age.

Material awareness is being enhanced by

digital culture. The internet is creating

a demand for textile products that are

made from materials that tell a story.

Early pioneers such as the Swiss company

Freitag, have been making messenger

bags from recycled truck tarpaulins. Other

companies have joined in, such as Modulab

and Escama, who recycle promotional

banners to make bags, clothing and foot-

wear and other goods. Other companies

such as Vaho Works and Demano have also

been successfully producing this type of

good for many years now. Its a win-win

situation as the company lowers costs by

using recycled goods.

The diagram on the next page shows how companies like Freitag take an industrial

tarpauline and cut it into various swatches for use in a variety of consumer goods.

Because the goods tell a story, both of the consumer and the product, often times the

end good can fetch a much higher price than could be attained otherwise.

REPURPOSE+RECYCLE

STANDARD CARGO

STANDARD CARGO STANDARD CARGO


STANDARD CARGO



STANDARD CARGO



STANDARD CARGO



STANDARD CARGO



REPURPOSED TARPAULINE

PIONEERED BY FREITAG

APPLIED TO MESSENGER BAGS16

REUSABLE TARPAULINE SWATCHES

CAN BE REPURPOSED FOR USE AS

A MESSENGER BAG, A PURSE

CLOTHING, SHOES OR VIRTUALLY

ANYTHING ELSE IMAGINABLE.

TARPAULINE CARGO COVER

A VINYL MATERIAL USED IN EUROPE

TO COVER SOFT-SIDED CARGO

TRUCKS. THOUSANDS ARE REPLACED

AND THROWN AWAY EACH YEAR.

ELECTRO TEXTILES

DISPLAYS VARIABLE PATTERNS

MANY APPLICATION POSSIBILITIES

ELEC

TRO

TEXT

ILES

17

ElECTRO TExTIlES ARE CERTAINlY

on the extreme end of futuristic pattern design

and textile technology. An electro textile is

essentially a textile in which electro fibers are

woven to create a textile of its own.

Currently technology only allows electro fibers

to be woven in with non-woven fibers, as

electronic fibers themselves would be too bulky.

However, in the future it is likely that a textile

could be made entirely of electro fibers, possibly

fiber optics or LED.

While an electro fiber is somewhat a pattern

in itself, it is more interesting in that it could be

programmed to display multiple patterns on

the same textile. That would mean one single shirt

could display a plaid one day and a striped

pattern the next, or even some sort of conversa-

tional message.

ELECTRO FIBER (LED)

CAN FLASH COLORED LIGHT

OR DISPLAY PATTERNS OR

IN THE FUTURE POSSIBLY EVEN

A TEXT BASED MESSAGE

NON ELECTRO FIBERS

THE FOUNDATION OF CURRENT

ELECTRO FIBER TEXTILES. UNTIL

ELECTRO FIBERS ARE SMALL

ENOUGH, NON ELECTRO FIBERS

WILL BE THE BACKBONE OF

ELECTRO TEXTILES.

PHOTOVOLTAIC TEXTILE

GATHERS SOLAR ENERGY

WEARABLE POWER SOURCE

PHOTOVOLTAICS

18

IN A

CU

lTU

RE

FlO

OD

ED

WIT

H P

OR

TAB

lE

PE

RS

ON

Al

El

EC

TR

ON

ICS

, W

E A

RE

NO

W I

N N

EE

D

mo

re t

han

eve

r o

f re

new

able

po

wer

so

urc

es.

So

lar

has

bee

n g

ain

ing

ste

am a

s a

viab

le a

lter

nat

ive

for

foss

il fu

els

bu

t o

nly

late

ly h

ave

the

ph

oto

-

volt

aic

cells

bee

n a

ble

to

be

pro

du

ced

at

a sc

ale

that

wo

uld

len

d it

self

to

th

e te

xtile

ind

ust

ry. R

enew

-

able

po

wer

so

urc

es d

o n

ot

on

ly b

enefi

t so

ciet

y o

n

the

po

lluti

on

en

d o

f th

ing

s b

ut

also

in c

onv

enie

nce

. A b

ackp

acke

r o

r so

lider

wh

o fi

nd

s

him

self

far

aw

ay f

rom

an

y p

ow

er s

up

plie

s co

uld

still

po

wer

ele

ctro

nic

eq

uip

men

t w

ith

ph

oto

volt

aic

text

ile p

atte

rns.

Wh

ile c

urr

ent

tech

no

log

y ca

n o

nly

pro

vid

e fo

r sm

all g

lass

pan

els

app

lied

to

a t

exti

le, i

t w

on

t b

e lo

ng

bef

ore

nan

o t

ech

no

log

y al

low

s fo

r p

ho

tovo

ltai

c

fib

ers

them

selv

es. T

hes

e fi

ber

s o

f co

urs

e h

ave

top

ic

of

mu

ch t

heo

rizi

ng

as

to h

ow

th

ey c

ou

ld b

e ap

plie

d

to la

rger

str

uct

ure

s. A

irp

lan

e fu

sela

ges

co

uld

be

crea

ted

en

tire

ly o

ut

of

ph

oto

volt

aic

cells

, th

e en

tire

ou

tsid

e o

f a

ho

me

cou

ld b

e p

ho

tovo

ltai

c.

It w

ill li

kely

on

ly b

e a

mat

ter

of

tim

e b

efo

re m

ore

ph

oto

volt

aic

fib

ers

are

crea

ted

an

d b

eco

me

tru

ly

feas

ible

fo

r u

se in

ou

r ev

eryd

ay li

ves.

It

is

nan

ote

chn

olo

gy

that

will

dri

ve t

his

ad

apta

tio

n.

As

of

no

w, t

he

mili

tary

is h

eavi

ly f

un

din

g t

he

effo

rts

to p

rod

uce

ph

oto

volt

aics

.

SOLAR RAYS

PHOTOVOLTAIC TEXTILE

A TEXTILE WOVEN OUT OF

PHOTOVOLTAIC SOLAR CELLS.

ESSENTIALLY A WEARABLE

SOLAR PANEL.

WEARABLE POWER SOURCE

A GARMENT THAT CAN POWER

PORTABLE ELECTRONICS SUCH AS

AN IPOD, PHONE, OR CAMERA.

SUNSHOWER PATTERN

BY ANNIKA SYRJAMAKI

JAPANESE EARTHQUAKE DATA INFO

RMAT

ION

BASE

D19

OVER THE YEARS, TExTIlES THEMSElVES

have been consistently evolving and become more

technologically advanced. However, according

to some pattern designers, the patterns themselves

have received only a limited amount of attention

in regard to real conceptual advancements. Recently,

with the availability of more and more open source

information, data visualization has taken off and

become more and more necessary to help the gen-

eral public make sense of all this content.

One designer has taken a step forward in pattern

design by creating content based data patterns.

In doing so, she is essentially creating infographics

and stripping away the labels or identifiable ele-

ments in order to keep the pattern slightly abstract

and the viewer more engaged. Annika Syrjamaki

is the first designer of this variety and she feels this

is the future of hi-end patterning. She feels that

pattern ought to have a more communicative func-

tion rather than purely decoration. Her point of

view is that pattern ought to do two things: help us

make better sense of the world around us and

simultaneously add beauty to the world.

BE

HIN

D T

HE

TR

EE

S

BY

AN

E H

EN

RIK

SE

N

BA

SE

D O

N T

RE

E D

NA

20

BIOMIMETICS

COMPOSITE

ElECTROPlATING

FIlAMENT

lAMINATE

NONWOVEN

Design extracted from Nature.

Combination of two or more identif iable materials

usually with improved performance characteristics

Technique for f ixing a very f ine deposit of metal

to a material , The material to be coated is made elec-

trically condutive and put into an acid bath,

allowing a build up of metal .

Continuous length of f ibre. Silk is a continuous f i la-

ment, giving the fabric tis beautiful drape and lustre.

The f ibres run parallel to each other, with no tangles or

breaks in length. Most synthetics are made into con-

tinuous f i laments to obtain smooth yarns.

Two or more materials united with a bonding material ,

usually with heat pressure.

Fabric with no formal structure, such as weave, knit or

braiding. Instead the yarn is laid in a loose web before

being bonded by heat, adhesives jets of water or by

needlepunching. With synthetics , heat and pressure

are used to fuse the f ibres.

GLOSSARY

PlY

PHOTOVOlTAIC

POlYMER

SHOT FABRIC

SPUN BONDING

WARP

WEFT

Fabrics or felt consisting of or more layers . Each layer

is referred to as a ply.

Photovoltaic cells convert sunlight into electricity.

PV cells have conventionally been made from semi con-

ductive materials such as sil icon.

Material formed by the chemical combination of

monomers with either the same or dif ferent chemical

compositions. Plastics rubbers and textile f ibres are

examples of high molecular weight polymers.

Iridescent ef fect from using yarns of two dif ferent

colors in a woven fabric , one in the warp and the other

in the weft.

Continuous or staple monofilaments are spun to form

a sheet before being subjected to heat pressurized

rollers which weld the f i laments together.

Vertical threads f ixed on the loom before weaving

begins. A warp yarn needs to be strong and not stretch.

Horizontal threads in a woven fabric . Weft yarn can be

softer and weaker than the warp.

Braddock, Sarah. Technotextiles 2 , New York, 2006.

Braddock, Sarah. SportsTech: Revolutionary Fabrics , Fashion & Design. London, 2002.

Colchester, Chloe. Textiles Today, New York, 2007.

Elf fers , Joost. Textile Designs , New York, 2002.

Mcquaid, Matilda. Extreme Textiles : Designing for High Performance, New York, 2005.

Watkins, Susan M. Clothing: The Portable Environment , Iowa, 1995.

SOURCES

RECUR

Documents

Transcript of RECUR