Textile Design

Computer Assisted Design (CAD) systems have been widely used almost in every sector, as in the textile sector. By means of computer design programs, more than one fabric design could be made in a very short time with jacquard weaving designs. However, as a result of mass production, it is likely to encounter with similar designs so often. In this study, an analysis of the new jacquard fabric design was planned in accordance with the principles of textile design training and a total of 4 different fabric designs and applications were made. 1. INTRODUCTION The Turks brought their traditions, customs and works of art with them when coming to Anatolia. Since they used to ranch at that period, the art of weaving was very important to them. However, the art of weaving, whose influence increasingly faded away in Anatolia in the 11 th century, was revitalized in the Seljukian Period and the Period of Principalities (İnalcık, 2008: 13). Human being has been carrying on weaving that emerged to meet the needs of him from the past up to current time and developing in line with these needs and adapted the principle of variety and difference in woven fabric designs with an idea to keep up with the changes and developments appearing day by day. In this way, the features of weaving looms used to produce fabric designs have increased using high technology. Spiral, brace, floor, hole, high and whip looms that were all used in carpet and plain weaving commonly have been replaced by dobby and jacquard weaving looms currently with the effect of industrialization in weaving. The first significant development of jacquard weaving loom was automatic punching mechanism with the help of a holed design paper rolled around a cylinder prepared depending on the design of the weaving and allowing to choose warp to be lifted by M. Bouchon in 1725. M. Falcon designed a square prism strengthening the cards instead of the holed paper and formed an endless card chain sticking the design paper on a panel in 1728. In 1745, Jacques de Vaucanson was able to choose the needles carrying the reed wires and in the lights of all these developments Jacquard simplified the holed card system in the loom and developing a system allowing the automatic lift of the warps and automated the loom (Bradbury, 1912 ; Dölen, 1992). As it is possible to give movement to the warp yarns separately through the jacquard system, the report sizes of the jacquard design are larger than report sizes implemented in the dobbies (Türkyılmaz, 2008: 271). Thanks to this characteristic, colour and weaving plans could be applied in the woven fabric designs limitlessly and limitlessness provide a great advantage. Computer programs work in connection with the machinery in making the designs of jacquard fabrics in textile sector today. The design of the desired fabric is able to be designed with the help of the program and produced in jacquard weaving machine in a very short time. The CAD (Computer Aided Design) systems that are preferred for designing, producing and weaving processes have been used and they are compatible with electronic dobby and jacquard mechanisms. Besides the prediction of fabric mechanism, CAD systems are also used to calculate the structure of the woven fabric. With its features of easy-to-use, the speed of processing, flexibility in working, technical support and updatable software, (dobby and jacquard weaving fabric) provides a rapid and easy process in creating different design ideas (Kolcavova Sirkova & Mertova, 2010). The jacquard weaving machines equipped with high technology in textile sector have a significant place today. These machines have an opportunity for rich designing in both single faced and double faced

Geçmişten günümüze zengin motif, desen ve kompozisyon özelliğine sahip, her biri birbirinden farklı olan Türk halıları, Anadolu’da birçok merkezde dokunmaya devam etmektedir. Yöre kadınının el maharetiyle dokunan bu halılar Türk halı sanatına dair en güzel örnekleri oluşturmaktadır. Birçok yörede halı dokumacılığı hem bir sanatsal uğraş, hem de geçim kaynağı olarak sürdürülmektedir. Bu yörelerden birisi Antalya Bölgesi’nde yer alan halı dokumacılığı ile ünlü Döşemealtı ilçesidir. Döşemealtı halılarında birden çok motife rastlamak mümkündür. Genellikle soyut anlatımın yer aldığı halılarda kullanılan motifler el, şıngır, deve, akrep, heybe suyu vb.dir. Ancak kimi zaman soyut anlatımın yanı sıra hayvan figürleri de halılarda görülmektedir. Döşemealtı halılarında yer alan ruhu, ölümsüzlüğü, sevinci ve mutluluğu temsil eden kuş motifleri ise çeşitli kuş türleri veya kuşların uzuvları (kuş ayağı, kuş çırnağı, kuş gagası, kuş gözü v.b) şeklinde kullanılmaktadır.


Araştırma kapsamında Döşemealtı yöresinde yapılan alan çalışması sonucunda, hayvan figürünü somut olarak yansıtan kuş motifli halı tekniğiyle dokunmuş ürünler tespit edilmiştir. Kuş motifi Türk kültüründe çok farklı anlamları ve inanışları simgelemektedir. Bu çalışmanın amacı kuş motifinin özellikleri ve kuş motifinin kullanıldığı, 4 farklı motif özelliğine sahip Döşemealtı halısının incelenmesidir. Yapılan çalışma sonucunda; özgürlük, uğur haberci olan kuşlara anlam yüklenerek, halı minder ve yastıklarda motif olarak kullanılmıştır. Kuş türlerinden Döşemealtı bölgesinde yoğun olarak görülen ve yetiştirilen keklik, güvercin türünün halılarda kullanıldığı da tespit edilmiştir.

Throughout settlements in Anatolia Turkish carpets are still being woven, each standing out in its own way. Those carpets, with an enriched tradition of motif, pattern and composition past to present; and woven by the capable hands of countryside ladies, represent the peak beauty in Turkish carpet art. In many areas carpet weaving lives on both as an artistic preoccupation and a means of living. One such area is the Döşemealtı district of carpet weaving fame, located in the Antalya region. It is possible to come across more than one motif in Döşemealtı carpets. While the expression is mostly abstract with motifs such as hand, millstone, camel, scorpion, saddlebag water etc., animal figures also sometimes join in on the picture. The bird motifs representing immortality, spirit, happiness and joy can be both different bird species or bird parts (beak, foot, eye etc.).
Field survey conducted in the Döşemealtı region has been identified products woven with bird motif carpet weaving style, depicting bird motifs in a perceptible manner. Bird motif symbolises many meanings and beliefs in Turkish culture. The aim of this study is to examine the features of bird motif and Döşemealtı carpet that is 4 different motif features with the bird motif is used. As a result of the study birds are freedom, luck, messenger by given meaning has been used carpet, cushion and pillows as motif. It has also been found that species of pigeon and partridge from the bird species, which are seen and grown intensively in the Döşemealtı region were used on carpets

During the Ottoman period, progress was made in many areas including commercial, social, cultural, art and
design. In this period, parallel to the development of Turkish art, the development of fabric art was also
positively affected. It has been taken care to manufacture fabric weaving, which is under state control, and has
been paid attention to the preservation of originality in pattern designs. The palace fabrics, which experienced its
most productive period in the 16th century, reached the highest level in terms of raw materials, patterns and
design features. In the 17th century, the variety of motifs in fabric designs continued to increase. The
magnificent fabrics reflecting the unique features of Turkish culture and art have gained an international
reputation by crossed the borders of the empire and have took their place in various museums and art galleries.
Today, many works on Ottoman textile art continue to be exhibited in museums abroad. One of these museums
is the Calouste Gulbenkian Museum located in Lisbon, the capital of Portugal. The fabric samples that have
reached to the present day reflect the rich cultural accumulation. The aim of this study is to examine and
document the design features of the fabrics exhibited in the Calouste Gulbenkian Museum, such as motif,
composition and color, and transfer them to future generations. Screening method was used in this study. While
the universe of the research is composed of textile products in the Calouste Gulbenkian Museum, the sample of
the research is 14 fabric samples belonging to the 16th and 17th century Ottoman period, which are exhibited in
the exhibition section of the museum. Fieldwork was carried out in the Calouste Gulbenkian Museum. The
motif, composition and color features of the fabrics examined within the scope of the research were explained in
detail and drawn in digital environment.
Keywords: Gulbenkian Museum, textile, fabric art, pattern, design

The effect of creativity is an undeniable fact in the design process. The design product that will emerge with the integration of thoughts with creativity becomes equipped with qualifications like being original,
different, innovative, suitable for the age, etc. However, excellently managing the creative thinking process is incredibly essential in generating appropriate and valid solutions to the design problem. In the first stage of the designed idea, the concepts or ideas in the mind are abstract. Ideas take shape and take a solid form after going through certain stages. The first of the studies related to this is the creative thinking process is the one which is developed by Wallas consisting of preparation-incubation-illumination- verification stages. This method, which expresses what kind of way individuals follow while transferring their feelings and thought internalized in their minds, at the time same time this allows to identify the design problem, which is the first stage of the design and to determine whether the solutions developed for the problem are suitable.
In the study, the 4-stage model developed by Wallas has been used to establish effective and suitable design solutions for complex design problems in textile designs and to pursue the idea creation and implementation stages in the textile pattern design process. Within the scope of the study, this research aims to create a collection of textile patterns based on Wallas' creative thinking method and to more clearly express what are the mental processes during textile pattern designs and to analyze the stages of the process. The experimental research method was used as a method in the research. While the population is composed of Ankara Haci Bayram Veli University Textile Design Department's freshmen, the sample of the research is the textile pattern designs designed by 7 freshmen from Ankara Hacı Bayram Veli University, Department of Textile Design, based on the “Ankaraland” theme, where they describe the Ankara situated in their dreams. In the study, the stages of Wallas' creative thinking method (preparation, incubation, illumination, and validation/verification) were followed. Within the study's framework, students with differing readiness levels used Wallas' creative thinking
model to formulate design ideas for the Ankaraland theme, generate design stories and sketches based on the theme, and have developed seven unique and creative pattern designs.

of the research, it was aimed to examine the motif features commonly used in the printed clothing products of luxury fashion brands. Scanning method was used in the study. In this study, 574 printed clothing products of fashion brands such as Gucci, Christian Dior, Chanel, Louis Vuitton, Giorgio Armani, Dolce Gabbana, Hugo Boss were examined and the pattern design features (motif, color, etc.) of these products were evaluated. When the pattern design features of the available products are examined, it has been determined that while the logos, symbols and monograms of luxury fashion brands attract attention, various motifs, including herbal, geometric, pictorial and figurative, symbolic, object and written are used.

Poly(vinyl alcohol)/sodium alginate nanofibrous mats were produced by electrospinning method at optimum process parameters. Evaluation of alginate-based electrospun nanofibrous mats as a wound dressing material and their comparison to commercially available wound dressings produced with conventional methods were carried out in vivo. Tissue specimens were examined histopathologically on 4th, 6th, 15th, 21st postoperative days. In contrast to other dressings it was observed that nanofibrous mat could survive on the wound crust in early stages of healing. In terms of epithelization, epidermis characteristics, vascularization and formation of hair follicles, nanofibrous mat showed the best healing performance. This could be explained with presence of nanofibrous mat acting as an artificial skin on the wound region until new tissue regenerated.

In this study, potential of the alginate based electrospun nanofibrous mats as wound dressings was investigated macroscopically in vivo experiments. 2/1 (v/v) %9 PVA / %1 NaAlg nanofibrous mats were produced by electrospinning method. In order to improve water resistance of the electrospun mats, the cross-linking was performed. SEM analyses, thickness and air permeability tests were applied for the nanofibrous mats produced as wound dressing and Suprasorb-A commercial alginate wound dressing. In vivo experiments, the healing performances of the wounds dressed by using cotton gauze, Bactigras, Suprasorb-A and the electrospun PVA/NaAlg nanofibrous mat were macroscopically evaluated and compared. The wound healing potential of the electrospun mat was better than that of cotton gauze including a drug and looked like antibacterial Bactigras. The results indicated that the electrospun PVA/NaAlg nanofibrous mat as wound dressing provided a good means for wound healing. ÖZET Bu çalışmada, elektro çekim yöntemi ile elde edilen alginat nanolifli yüzeylerin yara örtüsü olarak kullanım potansiyeli, gerçekleştirilen in vivo çalışmalarla makroskobik olarak değerlendirilmiştir. 2/1 hacimsel karışım oranında %9 PVA / %1 NaAlg çözeltisinden elektro çekim yöntemi ile nanolifli yüzeyler üretilmiştir. Bu yüzeylerin suya dayanımını geliştirmek için, çapraz bağlama işlemi uygulanmıştır. Yara örtüsü olarak üretilen nanolifli yüzeylere ve ticari alginatlı yara örtüsü olan Suprasorb-A'ya SEM analizleri, kalınlık ve hava geçirgenliği testleri uygulanmıştır. In vivo çalışmalarda, gazlı bez, Bactigras, Suprasorb-A ve elektro çekim ile üretilen PVA/NaAlg nanolifli yüzey ile kapatılmış yaraların yara iyileştirme performansları makroskobik olarak değerlendirilmiş ve kıyaslanmıştır. Elektro çekim yöntemi ile üretilmiş yüzeyin yara iyileştirme potansiyeli; ilaç emdirilmiş gazlı bezden daha iyi, antibakteriyel bir örtü olan Bactigras ile benzer olmuştur. Sonuçlar, PVA/NaAlg nanolifli yüzeylerin yara örtüsü olarak kullanılabilir olduğu öngörüsünü doğrulamıştır.

Özet: Kahverengi deniz yosunlarından elde edilen ve doğal bir biyopolimer olan alginatın elektro çekimindeki zorluklar henüz aşılamamıştır. Bu çalışmada, sodyum alginatın iki farklı konsantrasyondaki (%1 ve %2) sulu çözeltileri, biyouyumlu sentetik bir polimer olan poli (vinil alkol)'ün sulu çözeltisi ile karıştırılmıştır. Farklı hacim oranlarındaki poli (vinil alkol)/sodyum alginat karışım çözeltilerinden elektro çekim yöntemi ile nanolifli yüzeyler elde edilmiştir. Karışım çözeltilerine ait viskozite, yoğunluk, pH, elektrik iletkenliği ve yüzey gerilimi özellikleri tespit edildikten sonra elektro çekim yöntemi ile elde edilen yüzeyler, Taramalı Elektron Mikroskobu (SEM) ile analiz edilmiş, ortalama lif çapları hesaplanmıştır. Böylece, çözelti parametreleri ile nanolif çaplarının ve yüzey özelliklerinin ilişkilendirilmesi hedeflenmiştir. Gerçekleştirilen deneysel çalışma ile, sodyum alginatın %1'lik konsantrasyonunda daha başarılı elektro çekim sonuçları alındığı görülmüştür. Ayrıca, yüksek viskozite ve pH, düşük elektrik iletkenliği ve yüzey gerilimi değerleri ile dikkat çeken 2/1 karışım oranındaki %9 poli (vinil alkol) / %1 sodyum alginat çözeltisinin elektro çekiminden optimum sonuçların alındığı boncuksuz, üniform ve ultra ince nanolifler elde edilmiştir.

Abstract: Electrospinning of a natural biyopolymer alginate which is produced from brown seaweeds is still a challenge. In this study, aqueous solutions of sodium alginate (with concentrations of 1% and 2%) were blended with aqueous solution of, a biocompatible, synthetic polymer, poly (vinyl alcohol) (with concentration of 9%). Nanofibrous mats from poly (vinyl alcohol)/sodium alginate solution blends were produced in different volume ratios. After the determination of solution properties such as viscosity, density, electrical conductivity, pH and surface tension, electrospun alginate nanofibers were analyzed by using Scanning Electron Microscope (SEM) and average fiber diameters were measured. So, relationship between solution properties and fiber diameters, surface properties were investigated. During experimental studies it was observed that solution blends which consisted of 1% sodium alginate solution could be electrospun more successfully. Also, beadless, uniform, smooth, ultrafine fibers from the 2/1 solution blends of 9% poly (vinyl alcohol) / 1% sodium alginate, which had high viscosity and pH, low electrical conductivity and surface tension values were produced.

Çeşitli türlerdeki kahverengi deniz yosunlarından elde edilen alginatların en önemli özellikleri; jelleşme yetenekleri ve yüksek absorbsiyon kapasiteleridir. Alginatlar, endüstriyel uygulamalarda çok amaçlı olarak kullanılabilen malzemelerdir. En yaygın kullanım alanları tekstil baskıcılığı ve gıda endüstrisidir. Alginatın lif formuna getirilmesi yaş çekim prosesi ile gerçekleştirilir. Koagülasyon banyosunun içeriği elde edilecek alginat lifinin tipini belirlemektedir. Alginat liflerinin ıslak mukavemetlerinin oldukça düşük olması bir dezavantaj oluştururken, bilinen en higroskopik lif olması önemli avantajlar sağlamaktadır. Alginat lifleri, yüksek nem emme özelliği, iyon değişimi yeteneği, lif formundaki materyalin mükemmel biyouyumluluğu, kolay elde edilebilen doğal bir malzeme oluşu ve yara iyileşmesini kolaylaştıran spesifik özellikleri sayesinde son 20 yıldır yara bakım endüstrisinde önemli bir yer tutan ve olumlu etkileri bilinen bir malzemedir. Alginat lifleri, özellikle yüksek absorbent yara örtülerinin üretiminde faydalı bir hammaddedir. Alginatlar ve alginat lifleri hakkında literatür araştırması niteliğindeki bu çalışmada; alginatların üretimi, fizikokimyasal yapısı, özellikleri ve kullanım alanlarının yanı sıra alginattan lif eldesi, alginat liflerinin özellikleri ve kullanım alanları yer almaktadır.

Tekstilde koleksiyon hazırlama, tasarımcının bilgisini, yeteneklerini, zihinsel ve sosyal becerilerini bir arada kullanmasını gerektiren yaratıcı bir süreçtir. Bu süreç, doğası gereği problem çözme, eleştirel düşünme, süreç yönetme gibi zihinsel becerilerin yanı sıra işbirlikli çalışma, tartışma, iletişim gibi sosyal becerileri de odak noktasına almaktadır. Bu nedenle projeye, problem çözmeye, sorgulamaya ve işbirlikli çalışmaya dayalı stratejiler barındıran aktif öğrenme yaklaşımının çalışmaya konu olan dersin hedeflediği öğrenme çıktılarına ulaşılmasında etkili bir uygulama olacağı düşünülmektedir. AHBVÜ Tekstil Tasarımı Bölümü lisans programında yer alan Kumaş ve Renk Trendleri: Koleksiyon dersi kapsamında aktif öğrenme tekniklerinin araç olarak kullanımına dair işleyiş önerisi sunmayı amaçlayan bu çalışmada söz konusu tekniklerin entegre edildiği bir ders işleyiş formu hazırlanarak uygulanmış, bu uygulamanın öğrencilerin tutumları üzerindeki etkileri araştırılmıştır. Sonuçlar aktif öğrenme yaklaşımının özellikle öğrencilerin konuya ilgi düzeyi, özgüveni, derse katılımı, aktif öğrenme çalışmalarına motivasyonu gibi tutumları üzerinde olumlu etkileri olduğunu göstermiştir.