Designing with a Responsive Colour Palette: The Development of Colour and Pattern Changing Products

2008 ◽  
Vol 60 ◽  
pp. 26-31 ◽  
Author(s):  
Sara Robertson ◽  
Sarah Taylor ◽  
Robert Christie ◽  
John Fletcher ◽  
Luca Rossini
Keyword(s):  
Colour Change ◽  
Research Programme ◽  
System Dynamic ◽  
Creative Design ◽  
Textile Design ◽  
Colour Palette ◽  
Fabric System ◽  
The Aesthetic ◽  
Interior Textile ◽  
A Current

This paper presents an illustrated discussion of the potential for creative design applications of thermochromic textiles brought into contact with specifically designed heat-profiling circuitry. The results are derived from a current research programme at the design/technology interface on the application of colour change technology in interior textile design. Examples are given of textile samples combining printed thermochromics with circuitry to demonstrate the aesthetic qualities that can be achieved from integration of the technologies in a flexible fabric system. Dynamic colour change effects controlled by prototype circuitry and power electronics are demonstrated. The paper concludes with an analysis of the potential for product/artefact development in the area of “smart” design and how, as a consequence, a responsive interior might be envisaged.

Zygmunt Krasiński wobec sztuk pięknych / Zygmunt Krasiński and the Fine Arts

2013 ◽  
Vol 54 (2) ◽  
pp. 145-160 ◽  
Author(s):  
Olga Płaszczewska
Keyword(s):  
Fine Arts ◽  
Literary Tradition ◽  
Individual Sensitivity ◽  
What Works ◽  
The Arts ◽  
The Aesthetic ◽  
A Current ◽  
Aesthetic Preferences

Summary This is an attempt at examining Zygmunt Krasiński’s opinions and preferences with regard to the fine arts, a theme many critics believed to be missing from his writings. While putting things right, this article looks at the issues involved in his artistic choices, for example, what works or artists attracted his attention, in general, and to the point of him actually drawing on them in his own work or provoking him to some response (critical, approving, emotional, etc.). Furthermore, the article tries to explore the reasons and circumstances which may account for Krasiński’s interest in a given painting, print, or sculpture. It may have been the work’s theme as in the case of his ekphrasis of Ary Scheffer’s Dante and Virgil Encountering the Shades of Francesca and Paolo Di Rimini, where literary tradition provided the impulse, or the mode of its execution, or the personal ties with its author, or, finally, some other factors, like a current vogue or simply Krasiński’s individual sensitivity. The ultimate aim of all these inquiries is to outline Krasiński’s relationship with the arts (beaux arts) in the context of the aesthetic preferences of the epoch.

scholarly journals Influence of Natural and Artificial Weathering on the Colour Change of Different Wood and Wood-Based Materials

Forests ◽  
2018 ◽  
Vol 9 (8) ◽  
pp. 488 ◽  
Author(s):  
Davor Kržišnik ◽  
Boštjan Lesar ◽  
Nejc Thaler ◽  
Miha Humar
Keyword(s):  
Laboratory Test ◽  
Colour Change ◽  
Natural Weathering ◽  
Blue Staining ◽  
Artificial Weathering ◽  
Blue Stain Fungi ◽  
Colour Changes ◽  
Blue Stain ◽  
Positive Correlations ◽  
The Aesthetic

The importance of the aesthetic performance of wood is increasing and the colour is one of the most important parameters of aesthetics, hence the colour stability of twelve different wood-based materials was evaluated by several in-service and laboratory tests. The wood used for wooden façades and decking belongs to a group of severely exposed surfaces. Discolouration of wood in such applications is a long-known phenomenon, which is a result of different biotic and abiotic causes. The ongoing in-service trial started in October 2013, whilst a laboratory test mimicking seasonal exposure was performed in parallel. Samples were exposed to blue stain fungi (Aureobasidium pullulans and Dothichiza pithyophila) in a laboratory test according to the EN 152 procedure. Afterwards, the same samples were artificially weathered and re-exposed to the same blue stain fungi for the second time. The purpose of this experiment was to investigate the synergistic effect of weathering and staining. The broader aim of the study was to determine the correlation factors between artificial and natural weathering and to compare laboratory and field test data of fungal disfigurement of various bio-based materials. During the four years of exposure, the most prominent colour changes were determined on decking. Respective changes on the façade elements were significantly less prominent, being the lest evident on the south and east façade. The results showed that there are positive correlations between natural weathering and the combination of artificial weathering and blue staining. Hence, the artificial weathering of wood-based materials in the laboratory should consist of two steps, blue staining and artificial weathering, in order to simulate colour changes.

The Application Study of the Fabric Reconstruction in the Design of Home Textiles

2011 ◽  
Vol 331 ◽  
pp. 214-218 ◽  
Author(s):  
Miao Su
Keyword(s):  
Creative Design ◽  
Design Practice ◽  
Design Technique ◽  
Application Study ◽  
Textile Design ◽  
Related Design

Fabric reconstruction is to redesign the artistic effect of fabrics. The paper centers on the materials and design technique of fabric reconstruction in the home textile design, and explores the diversity and artistic effect of fabric reconstruction using the related design practice as evidence in order to provide the reference to the creative design and study of home textiles.

scholarly journals Durability of Lubricated Icephobic Coatings under Various Environmental Stresses

Polymers ◽  
2022 ◽  
Vol 14 (2) ◽  
pp. 303
Author(s):  
Valentina Donadei ◽  
Heli Koivuluoto ◽  
Essi Sarlin ◽  
Petri Vuoristo
Keyword(s):  
Surface Roughness ◽  
Uv Irradiation ◽  
Structural Changes ◽  
Colour Change ◽  
Cottonseed Oil ◽  
Environmental Stresses ◽  
Flame Spray ◽  
Corrosive Media ◽  
Spray Method ◽  
A Current

Icephobic coatings interest various industries facing icing problems. However, their durability represents a current limitation in real applications. Therefore, understanding the degradation of coatings under various environmental stresses is necessary for further coating development. Here, lubricated icephobic coatings were fabricated using a flame spray method with hybrid feedstock injection. Low-density polyethylene represented the main coating component. Two additives, namely fully hydrogenated cottonseed oil and paraffinic wax, were added to the coating structure to enhance coating icephobicity. Coating properties were characterised, including topography, surface roughness, thermal properties, wettability, and icephobicity. Moreover, their performance was investigated under various environmental stresses, such as repeated icing/deicing cycles, immersion in corrosive media, and exposure to ultraviolet (UV) irradiation. According to the results, all coatings exhibited medium-low ice adhesion, with slightly more stable icephobic behaviour for cottonseed oil-based coatings over the icing/deicing cycles. Surface roughness slightly increased, and wetting performances decreased after the cyclic tests, but chemical changes were not revealed. Moreover, coatings demonstrated good chemical resistance in selected corrosive media, with better performance for paraffin-based coatings. However, a slight decrease in hydrophobicity was detected due to surface structural changes. Finally, paraffin-based coatings showed better resistance under UV irradiation based on carbonyl index and colour change measurements.

scholarly journals I Spy with My Little Eye by E. Gibbs

2011 ◽  
Vol 1 (2) ◽  
Author(s):  
Kim Frail
Keyword(s):  
Polar Bear ◽  
Creative Design ◽  
Aesthetic Value ◽  
Design Elements ◽  
University Of Alberta ◽  
Young Readers ◽  
Colour Palette ◽  
The Face ◽  
Circular Cutout ◽  
The University

Gibbs, Edward. I Spy with My Little Eye. Somerville, Mass: Templar Books/Candlewick Press, 2011. Print. I Spy is a superbly illustrated book that helps young readers learn about animals and colours using the popular game. Each animal is introduced through a cutout that reveals a small section of the creature, along with a clue. For example:  “I spy with my little eye…something that is blue…I am the biggest animal in the whole world,” to which the answer is a whale.  Turning the page reveals a striking two-page image of the animal. Each animal is drawn from a monochromatic colour palette: the polar bear is mostly white with some grey and cool blue tones while the fox is fiery red and orange. Each of these watercolour images is accentuated with wild black slashes and curlicues to define the animal’s features. The last page features the silhouettes of the seven featured animals and a cutout right through the back of the book with the caption: “What can you spy with your little eye?” The large font and images coupled with the “I spy” formula is sure to entice children. Additionally, clever design elements and the overall aesthetic value of the book will encourage parents and teachers to add it to their collections. For example, the back and front cover open to form the face of a frog. When the book is closed, the cutout through the back rests against the page featuring the seven animal silhouettes. The black silhouette of the whale’s tale in front of a yellow moon is framed within the circular cutout thus creating the frog’s eye on the back cover. According to the Candlewick Press website, Edward Gibb has worked in the creative design business for over 25 years, and this is his first effort as a children’s author/illustrator. This book is recommended for children aged 2-5yrs, and I am eagerly awaiting Gibbs’ next publication. Highly recommended: 4 out of 4 starsReviewer: Kim FrailKim is a Public Services Librarian at the H.T. Coutts Education Library at the University of Alberta. Children’s literature is a big part of her world at work and at home. She also enjoys gardening, renovating and keeping up with her two-year old.

scholarly journals TEXTILES IN THE RESIDENTIAL INTERIOR

2021 ◽  
pp. 178-182
Author(s):  
Olha Tomina ◽  
Leonid Gook
Keyword(s):  
Architectural Design ◽  
New Technologies ◽  
Climatic Conditions ◽  
Compositional Techniques ◽  
Interior Space ◽  
Textile Production ◽  
Textile Materials ◽  
Textile Design ◽  
Space Design ◽  
Interior Textile

The relevance of the study is due to new experience in architectural design, new technologies and types of materials and the need to generalize and systematize them to expand the formative possibilities of textiles in the design of residential interiors. Research in the field of interior textile design was carried out by: T.I. Isayeva, Khabibullina, E.V. Zmanovska and others. The purpose of the study is to identify areas, functions and compositional techniques of textiles in residential interiors. The historical reference of development of textile production is resulted. The structural analysis of textiles in the interior by types of textile materials, production technology, types of weave, types of ornaments; identified qualities of textile materials, which determine their widespread use and the main areas of application of textiles in modern residential interiors. According to the results of the research, the main functions of textiles in the interior are revealed: creation of a comfortable microclimate in the room; psychological comfort; space adjustment; visual isolation; protection of surfaces from damage and pollution; hygiene products; decorative; compositional component of interior space design. The description of types of textile wall-paper, curtains is resulted. The compositional function of textiles in the interior is revealed: accent, dominant, background, rhythm. The conclusion is made that at a choice of textiles and reception of placement it is necessary to consider regional natural and climatic conditions; the style decision of an interior is accepted; function, size, orientation on the sides of the horizon of the room; combination of textiles with finishing of surfaces of enclosing designs and subject filling of the room; combination of fabrics in texture, color and pattern; price segment.

Interior textile design

2011 ◽  
pp. 263-287
Author(s):  
S. Jebbitt
Keyword(s):  
Textile Design ◽  
Interior Textile

Stepanova, Varvara Fedorovna (1894–1958)

2018 ◽  
Author(s):  
Patricia Railing
Keyword(s):  
The State ◽  
Soviet Regime ◽  
Textile Design ◽  
Soviet Citizen ◽  
Human Figure ◽  
The Aesthetic ◽  
Repeating Patterns ◽  
Art School ◽  
New Look

Varvara Stepanova was a Russian artist. Although she made her mark as an innovative painter in Moscow exhibitions (1920), Stepanova became particularly well known as a designer. Between 1921 and the late 1940s, she designed sets and costumes for theatre and film (1922–6), textiles and practical clothing for both women and men (thus creating a ‘new look’ for the new Soviet citizen, 1924), and taught textile design at the art school VKhUTEMAS in Moscow beginning in 1923. Under commissions from the State, Stepanova developed various designs to establish an aesthetic for the Soviet regime, including designs of books, magazines, journals, and the celebration albums of the 1930s and 1940s. This new look was largely determined by geometrical models, including circular patterns using a pair of compasses, linear designs using a ruler, contrasts of light and dark, repeating patterns inspired by film, and, more generally, the aesthetic potential of simple geometric lines and shapes. Stepanova assimilated the human figure, photomontage, and pure design into a visual whole made possible by her modernist method of creating with geometrical models. This was the Constructivist process, and its principles were described by Stepanova in her articles ‘On Non-Objectivity Creativity in Painting’ (1919), ‘On the Possibility of Cognizing Art’ (1920), ‘Construction’ (1920), ‘On Constructivism’ (1921), ‘On Facture’ (1922), ‘Photomontage’ (1928), ‘Draft Syllabus for a Course in Artistic Composition in the Textile’ (c.1925), ‘From Clothing to Pattern and Fabric’ (1929), and ‘How We Worked on The First Cavalry’ (1936).

Sign in / Sign up

Export Citation Format

Share Document