The Turkish Online Journal of Design, Art and Communication , 2024
of the research, it was aimed to examine the motif features commonly used in the printed clothing... more 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.
nternational Social Sciences Studies Journal, 5(31): 1092-1099. , 2019
A society's distinctive values and characteristics in its history, cultural experiences and authe... more A society's distinctive values and characteristics in its history, cultural experiences and authentic art products which it produced in that period can be observed. Ottoman Empire period which has multinational structure left a significant mark in history in terms of life style and art-design field. Various sultans came to the throne during the Ottoman Period. Ottoman Sultans who undertook various tasks, took place in the history stage full of wars, conquests, successes during their reigns prevailed in the palace and contributed to the creation and development of the Turkish fabric art. In line with the laws introduced by Sultans, Turkish textile art during the Ottoman Period put important and unique products. Besides the production of woven fabrics of good quality, methods, patterns and designs were required to be authentic to be produced. Although jacquard weaving technology is intensely used in the textile sector, updating fabric designs through an innovative perspective has become an obligation. It should be handled that new design understanding where cultural experience is reflected instead of ordinary designs in the conditions of changing era. Innovative jacquard weaving fabric designs created by getting inspired by the life story of Suleiman, the Magnificent Ottoman Sultan will be touched upon in this study.
Jass Studies-The Journal of Academic Social Science Studies, 2021
The effect of creativity is an undeniable fact in the design process. The design product that wil... more 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.
During the Ottoman period, progress was made in many areas including commercial, social, cultural... more 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
Fatma Nur Başaran, Pınar Arslan - Folklor Akademi Dergisi, 2020
Abstract
It is a fact that the technological developments followed throughout the history have br... more Abstract It is a fact that the technological developments followed throughout the history have brought innovation to every field and also greatly affected the textile weaving industry. With the transition to mechanization and mass production, traditional production methods have been replaced by industrial production techniques. At the end of various loom trials, a jacquard weaving loom was developed by Joseph Marie Jacquard and started to be used in industry. These looms do not require as much manpower as traditional fabric production requires, but they also made it easier to weave fabrics with a complex pattern, detailed and pattern reporter in various sizes according to the machine capacity, thus allowing the designers to reflect their imagination to the product more widely. Parallel to this, new design methods and tools have been developed. In the design phase, loom features and methods followed have an important place. While jacquard weaving designs can be developed in line with new sources of inspiration, they can also be obtained by drawing the existing fabric pattern exactly as a result of the analysis of jacquard fabrics. Today, computer aided design (CAD) systems developed with different names, features and equipment are used in the pattern design of jacquard fabrics. NedGraphics, one of these systems, enables complex pattern designs to be made in a short time and also helps to visualize the jacquard fabric to be produced with rich yarn and weaving options with three-dimensional simulations. Texcelle, Loom Editor and Product modules of NedGraphics software are used in jacquard fabric design. The placement and sizes of the unit rapport or motif and rapport forms are of great importance during the design phase. In this study, which was prepared to contribute to the literature relating subject, small motif jacquard weaving pattern design methods and rapport types in NedGraphics modules are exemplified. ÖZET Tarih boyunca izlenen teknolojik gelişmelerin her alana yenilik getirdiği gibi tekstil dokuma sektörünü de büyük oranda etkilediği bir gerçektir. Makineleşme ve seri üretime geçilmesiyle birlikte geleneksel üretim yöntemleri yerini endüstriyel üretim tekniklerine bırakmıştır. Çeşitli tezgâh denemelerinin sonunda Joseph Marie Jacquard tarafından jakarlı dokuma tezgâhı geliştirilmiş ve endüstride kullanılmaya başlanmıştır. Bu tezgâhlar geleneksel kumaş üretiminin gerektirdiği kadar yoğun insan gücüne ihtiyaç duymadığı gibi, karmaşık desenli, detaylı ve makine kapasitesine göre çeşitli büyüklükte desen raportlu kumaşların dokunmasına da kolaylık getirmiş ve böylece tasarımcıların hayal gücünü daha geniş oranda ürüne yansıtmasına olanak vermiştir. Buna paralel olarak da yeni tasarım yöntem ve araçlarıgeliştirilmiştir. Tasarım aşamasında, tezgâh özellikleri ve izlenen yöntemler önemli yer tutmaktadır. Jakarlı dokuma tasarımları yeni esin kaynakları doğrultusunda geliştirilebilirken, jakarlı sistemlerle dokunmuş kumaşların analiz edilmesi sonucunda, mevcut kumaş deseninin birebir çizilmesi ile de elde edilebilmektedir. Günümüzde jakarlı kumaşların desen tasarımında farklı isim, özellik ve donanımlarla geliştirilen bilgisayar destekli tasarım (CAD) sistemleri kullanılmaktadır. Bu sistemlerden biri olan NedGraphics, kısa sürede karmaşık desen tasarımlarının yapılabilmesini sağlamakta, zengin iplik ve örgü seçenekleri ile üretilecek jakarlı dokuma kumaşın üç boyutlu simülasyonlarla görüntülenebilmesine de yardımcı olmaktadır. Jakarlı dokuma kumaş tasarımında NedGraphics yazılımının Texcelle, Loom Editor ve Product modülleri kullanılmaktadır. Tasarım aşamasında birim rapor veya motifin ölçüleri, yerleşimi ve raportlama şekilleri büyük önem taşımaktadır. Konuyla ilgili literatüre katkı sağlaması amacıyla hazırlanan bu çalışmada, Texcelle modülünde jakarlı dokuma kumaş desen tasarım yöntemleri ve raportlama çeşitleri örneklenmiştir.
International Social Sciences Studies Journal, 5(31): 1092-1099. , 2019
A society's distinctive values and characteristics in its history, cultural experiences and authe... more A society's distinctive values and characteristics in its history, cultural experiences and authentic art products which it produced in that period can be observed. Ottoman Empire period which has multinational structure left a significant mark in history in terms of life style and art-design field. Various sultans came to the throne during the Ottoman Period. Ottoman Sultans who undertook various tasks, took place in the history stage full of wars, conquests, successes during their reigns prevailed in the palace and contributed to the creation and development of the Turkish fabric art. In line with the laws introduced by Sultans, Turkish textile art during the Ottoman Period put important and unique products. Besides the production of woven fabrics of good quality, methods, patterns and designs were required to be authentic to be produced. Although jacquard weaving technology is intensely used in the textile sector, updating fabric designs through an innovative perspective has become an obligation. It should be handled that new design understanding where cultural experience is reflected instead of ordinary designs in the conditions of changing era. Innovative jacquard weaving fabric designs created by getting inspired by the life story of Suleiman, the Magnificent Ottoman Sultan will be touched upon in this study.
The art and design of textile has been nurtured by various aspects such as cultural, artistic ... more The art and design of textile has been nurtured by various aspects such as cultural, artistic or productive reason for many civilizations. When we look histories and cultures of Turkish and Portuguese, it is possible to see wide perspective that are owned by reason of multicultural formations. Motifs, patterns, colours expressing as symbolically emotions, thoughts state essential elements of occurring self- identity of a nation. It is extremely important to identify cultural interactions and reflections for the emergence of original and creative products and more sustainable material culture. In this study, we use mainly ethnographic research as the base for the design process. We express textile weaving art in Turkish and Portuguese Culture and compare motif, composition and colour properties of fabrics in both realities.
Geçmişten günümüze zengin motif, desen ve kompozisyon özelliğine sahip, her biri birbirinden far... more 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
Öz Tasarım en genel anlamıyla hem teorik disiplinleri, hem de uygulama alanlarını ilgilendiren ve... more Öz Tasarım en genel anlamıyla hem teorik disiplinleri, hem de uygulama alanlarını ilgilendiren ve bu alanların içinde gelişerek filizlenen bir süreçtir. Tasarımcının tasarım tercihlerini yaparken onları kullanacak kişinin zevkini, tüketici gereksinimlerini ve ürünün işlevlerini de düşünerek üretim, tüketim, kullanma alışkanlıkları, ekonomiklik, satılabilirlik, tutundurma gibi finansal boyutları da düşünmesi gerekmektedir. Bu çok yönlü zihinsel problem, sadece geçmişi inceleyerek çözülemez. Sosyo kültürel unsurların cevaplarının bulunmasında tekstil tasarımcısına etnografik metodlar faydalı olacaktır. Bu çalışma tekstil tasarımının bilimsel metodolojisi olan bir disiplin olarak ele alınması ve yaratıcılık, özgünlük gerektiren tekstil tasarım sürecinde etnografik araştırmaların tasarım araştırma tekniği olarak kullanılması düşüncesiyle ortaya konmuştur. Anahtar Kelimeler: Tasarım Araştırma Teknikleri, Etnografik Araştırmalar, Etnometodoloji, Nitel Yaklaşım, Tekstil Tasarımı. Abstract Design is a process regarding application fields and develops in these fields.Designer while making design preferences, has to keep the taste of the customer, the needs of consumers, the functions of the product, techical aspects and production other than aesthetics, the habits of buying, using consumption, the approaches of purchasing,the financial and economical sides of retail, sales, presentation, etc. in mind. This kind of multidimensional problem can not be solved only by studying the past and the meaning of the cultural heritage. One has to examine sociocultural parameters like person in the modern society, companies, production and consumption, society and culture, trends, fashion or fads, groups, needs, luxury, the meaning underlying the product inside the design problem. Thus, ethnography can be used to investigate critical and compucated design problems.If the aim is the usability of the designed object by getting inside of the design problem by the ethnographic study.This study is conducted in order for the textile design to be accepted as a discipline requiring a scientific methodology and for the ethnographic research methods to be employed in the process of textile design which needs mental activity, creativity and uniqueness.
Being a piece of cultural mosaic and a lifestyle in Anatolia, hand-made carpet has continued from... more Being a piece of cultural mosaic and a lifestyle in Anatolia, hand-made carpet has continued from in Anatolia and it continues. Nowadays people from different regions still continue to product handmade carpet. So this hand craft, maintained by the locals, contains different cultural features in itself. In this study we specified the Anatolian hand-made carpet in terms of the features of technique, color, composition and design, which are the indicators of our cultural heritage. By applying a geographical distributions according to determined specialties, it is aimed to reveal the common and different features of local hand-made carpet and the interactions among the regions. In this research we studied on 710 hand-made carpets from 32 different provinces and 6 different regions including Central Anatolia, Mediterranean, Aegean, Marmara and the Black Sea and Southeast Anatolia regions. After specifying the geographical distribution according to the number of carpets in city/province distribution, we analyzed the carpets in terms of product range, year of weaving, knottype, weft, warp, features of pile yarn, width-length, web length, pile height, dimensions and the quality of used decorations, colors, and the criteria of being under repaired or not. Keywords: Anatolia, Hand-Made Carpet, Geographical Distribution.
Computer Assisted Design (CAD) systems have been widely used almost in every sector, as in the te... more 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
Abstract
Etymologically, ethnography comes from the Greek words ethnos (nation, people) and graph... more Abstract Etymologically, ethnography comes from the Greek words ethnos (nation, people) and graphia (writing) and means therefore a written presentation of a people or a population and seeks to identify and interpret its universal traits. With its roots in cultural anthropology, ethnography focuses on small-scale societies and the original central concept remains within the meaning of culture. In anthropology, ethnography developed a way to explore the everyday realities of people living in small scale, non-western societies and to make understandings of those realities explicit and available to others. The approach relied on the ability of all humans to figure out what is going on through participation in social life. The techniques ethnographers use follow the routine of the everyday life. Thus the research techniques and strategies of ethnography developed and evolved over the years to provide ways for the ethnographer to “be present" for the mundane, the exceptional, and the extraordinary events in people's lives. With the advent of postmodernism, ethnographic perspective became a valuable tool in the design of new technologies. This has presented a new set of challenges for designers as they design and built applications that leverage powerful, digital technologies for use by people of all societies and cultures. The field of design has been an adjunct to art and craft and in a postmodern context. With the transformation of design into an industrial discipline came responsibilities that the field of design studies has only recently begun to address methodologies. Design is now becoming a generalizable discipline that may as readily be applied to processes, interfaces. To understand design as a discipline that can function within any of these frames means developing a general theory of design. From methodological perspective there is no solid theoretical framework which can assist the craftsman or the novice textile designer to consciously integrate their culture in designing products. For this reason this paper challenges designers to gain a deeper understanding of the importance of ethnographic research in textile design and explain qualitative techniques that can be used in ethnographic researches for textile design, searching for meaning in socially constructed reality or a traditional context. Keywords: Ethnographic research, textile design, design science research
The Turkish Online Journal of Design, Art and Communication , 2024
of the research, it was aimed to examine the motif features commonly used in the printed clothing... more 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.
nternational Social Sciences Studies Journal, 5(31): 1092-1099. , 2019
A society's distinctive values and characteristics in its history, cultural experiences and authe... more A society's distinctive values and characteristics in its history, cultural experiences and authentic art products which it produced in that period can be observed. Ottoman Empire period which has multinational structure left a significant mark in history in terms of life style and art-design field. Various sultans came to the throne during the Ottoman Period. Ottoman Sultans who undertook various tasks, took place in the history stage full of wars, conquests, successes during their reigns prevailed in the palace and contributed to the creation and development of the Turkish fabric art. In line with the laws introduced by Sultans, Turkish textile art during the Ottoman Period put important and unique products. Besides the production of woven fabrics of good quality, methods, patterns and designs were required to be authentic to be produced. Although jacquard weaving technology is intensely used in the textile sector, updating fabric designs through an innovative perspective has become an obligation. It should be handled that new design understanding where cultural experience is reflected instead of ordinary designs in the conditions of changing era. Innovative jacquard weaving fabric designs created by getting inspired by the life story of Suleiman, the Magnificent Ottoman Sultan will be touched upon in this study.
Jass Studies-The Journal of Academic Social Science Studies, 2021
The effect of creativity is an undeniable fact in the design process. The design product that wil... more 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.
During the Ottoman period, progress was made in many areas including commercial, social, cultural... more 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
Fatma Nur Başaran, Pınar Arslan - Folklor Akademi Dergisi, 2020
Abstract
It is a fact that the technological developments followed throughout the history have br... more Abstract It is a fact that the technological developments followed throughout the history have brought innovation to every field and also greatly affected the textile weaving industry. With the transition to mechanization and mass production, traditional production methods have been replaced by industrial production techniques. At the end of various loom trials, a jacquard weaving loom was developed by Joseph Marie Jacquard and started to be used in industry. These looms do not require as much manpower as traditional fabric production requires, but they also made it easier to weave fabrics with a complex pattern, detailed and pattern reporter in various sizes according to the machine capacity, thus allowing the designers to reflect their imagination to the product more widely. Parallel to this, new design methods and tools have been developed. In the design phase, loom features and methods followed have an important place. While jacquard weaving designs can be developed in line with new sources of inspiration, they can also be obtained by drawing the existing fabric pattern exactly as a result of the analysis of jacquard fabrics. Today, computer aided design (CAD) systems developed with different names, features and equipment are used in the pattern design of jacquard fabrics. NedGraphics, one of these systems, enables complex pattern designs to be made in a short time and also helps to visualize the jacquard fabric to be produced with rich yarn and weaving options with three-dimensional simulations. Texcelle, Loom Editor and Product modules of NedGraphics software are used in jacquard fabric design. The placement and sizes of the unit rapport or motif and rapport forms are of great importance during the design phase. In this study, which was prepared to contribute to the literature relating subject, small motif jacquard weaving pattern design methods and rapport types in NedGraphics modules are exemplified. ÖZET Tarih boyunca izlenen teknolojik gelişmelerin her alana yenilik getirdiği gibi tekstil dokuma sektörünü de büyük oranda etkilediği bir gerçektir. Makineleşme ve seri üretime geçilmesiyle birlikte geleneksel üretim yöntemleri yerini endüstriyel üretim tekniklerine bırakmıştır. Çeşitli tezgâh denemelerinin sonunda Joseph Marie Jacquard tarafından jakarlı dokuma tezgâhı geliştirilmiş ve endüstride kullanılmaya başlanmıştır. Bu tezgâhlar geleneksel kumaş üretiminin gerektirdiği kadar yoğun insan gücüne ihtiyaç duymadığı gibi, karmaşık desenli, detaylı ve makine kapasitesine göre çeşitli büyüklükte desen raportlu kumaşların dokunmasına da kolaylık getirmiş ve böylece tasarımcıların hayal gücünü daha geniş oranda ürüne yansıtmasına olanak vermiştir. Buna paralel olarak da yeni tasarım yöntem ve araçlarıgeliştirilmiştir. Tasarım aşamasında, tezgâh özellikleri ve izlenen yöntemler önemli yer tutmaktadır. Jakarlı dokuma tasarımları yeni esin kaynakları doğrultusunda geliştirilebilirken, jakarlı sistemlerle dokunmuş kumaşların analiz edilmesi sonucunda, mevcut kumaş deseninin birebir çizilmesi ile de elde edilebilmektedir. Günümüzde jakarlı kumaşların desen tasarımında farklı isim, özellik ve donanımlarla geliştirilen bilgisayar destekli tasarım (CAD) sistemleri kullanılmaktadır. Bu sistemlerden biri olan NedGraphics, kısa sürede karmaşık desen tasarımlarının yapılabilmesini sağlamakta, zengin iplik ve örgü seçenekleri ile üretilecek jakarlı dokuma kumaşın üç boyutlu simülasyonlarla görüntülenebilmesine de yardımcı olmaktadır. Jakarlı dokuma kumaş tasarımında NedGraphics yazılımının Texcelle, Loom Editor ve Product modülleri kullanılmaktadır. Tasarım aşamasında birim rapor veya motifin ölçüleri, yerleşimi ve raportlama şekilleri büyük önem taşımaktadır. Konuyla ilgili literatüre katkı sağlaması amacıyla hazırlanan bu çalışmada, Texcelle modülünde jakarlı dokuma kumaş desen tasarım yöntemleri ve raportlama çeşitleri örneklenmiştir.
International Social Sciences Studies Journal, 5(31): 1092-1099. , 2019
A society's distinctive values and characteristics in its history, cultural experiences and authe... more A society's distinctive values and characteristics in its history, cultural experiences and authentic art products which it produced in that period can be observed. Ottoman Empire period which has multinational structure left a significant mark in history in terms of life style and art-design field. Various sultans came to the throne during the Ottoman Period. Ottoman Sultans who undertook various tasks, took place in the history stage full of wars, conquests, successes during their reigns prevailed in the palace and contributed to the creation and development of the Turkish fabric art. In line with the laws introduced by Sultans, Turkish textile art during the Ottoman Period put important and unique products. Besides the production of woven fabrics of good quality, methods, patterns and designs were required to be authentic to be produced. Although jacquard weaving technology is intensely used in the textile sector, updating fabric designs through an innovative perspective has become an obligation. It should be handled that new design understanding where cultural experience is reflected instead of ordinary designs in the conditions of changing era. Innovative jacquard weaving fabric designs created by getting inspired by the life story of Suleiman, the Magnificent Ottoman Sultan will be touched upon in this study.
The art and design of textile has been nurtured by various aspects such as cultural, artistic ... more The art and design of textile has been nurtured by various aspects such as cultural, artistic or productive reason for many civilizations. When we look histories and cultures of Turkish and Portuguese, it is possible to see wide perspective that are owned by reason of multicultural formations. Motifs, patterns, colours expressing as symbolically emotions, thoughts state essential elements of occurring self- identity of a nation. It is extremely important to identify cultural interactions and reflections for the emergence of original and creative products and more sustainable material culture. In this study, we use mainly ethnographic research as the base for the design process. We express textile weaving art in Turkish and Portuguese Culture and compare motif, composition and colour properties of fabrics in both realities.
Geçmişten günümüze zengin motif, desen ve kompozisyon özelliğine sahip, her biri birbirinden far... more 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
Öz Tasarım en genel anlamıyla hem teorik disiplinleri, hem de uygulama alanlarını ilgilendiren ve... more Öz Tasarım en genel anlamıyla hem teorik disiplinleri, hem de uygulama alanlarını ilgilendiren ve bu alanların içinde gelişerek filizlenen bir süreçtir. Tasarımcının tasarım tercihlerini yaparken onları kullanacak kişinin zevkini, tüketici gereksinimlerini ve ürünün işlevlerini de düşünerek üretim, tüketim, kullanma alışkanlıkları, ekonomiklik, satılabilirlik, tutundurma gibi finansal boyutları da düşünmesi gerekmektedir. Bu çok yönlü zihinsel problem, sadece geçmişi inceleyerek çözülemez. Sosyo kültürel unsurların cevaplarının bulunmasında tekstil tasarımcısına etnografik metodlar faydalı olacaktır. Bu çalışma tekstil tasarımının bilimsel metodolojisi olan bir disiplin olarak ele alınması ve yaratıcılık, özgünlük gerektiren tekstil tasarım sürecinde etnografik araştırmaların tasarım araştırma tekniği olarak kullanılması düşüncesiyle ortaya konmuştur. Anahtar Kelimeler: Tasarım Araştırma Teknikleri, Etnografik Araştırmalar, Etnometodoloji, Nitel Yaklaşım, Tekstil Tasarımı. Abstract Design is a process regarding application fields and develops in these fields.Designer while making design preferences, has to keep the taste of the customer, the needs of consumers, the functions of the product, techical aspects and production other than aesthetics, the habits of buying, using consumption, the approaches of purchasing,the financial and economical sides of retail, sales, presentation, etc. in mind. This kind of multidimensional problem can not be solved only by studying the past and the meaning of the cultural heritage. One has to examine sociocultural parameters like person in the modern society, companies, production and consumption, society and culture, trends, fashion or fads, groups, needs, luxury, the meaning underlying the product inside the design problem. Thus, ethnography can be used to investigate critical and compucated design problems.If the aim is the usability of the designed object by getting inside of the design problem by the ethnographic study.This study is conducted in order for the textile design to be accepted as a discipline requiring a scientific methodology and for the ethnographic research methods to be employed in the process of textile design which needs mental activity, creativity and uniqueness.
Being a piece of cultural mosaic and a lifestyle in Anatolia, hand-made carpet has continued from... more Being a piece of cultural mosaic and a lifestyle in Anatolia, hand-made carpet has continued from in Anatolia and it continues. Nowadays people from different regions still continue to product handmade carpet. So this hand craft, maintained by the locals, contains different cultural features in itself. In this study we specified the Anatolian hand-made carpet in terms of the features of technique, color, composition and design, which are the indicators of our cultural heritage. By applying a geographical distributions according to determined specialties, it is aimed to reveal the common and different features of local hand-made carpet and the interactions among the regions. In this research we studied on 710 hand-made carpets from 32 different provinces and 6 different regions including Central Anatolia, Mediterranean, Aegean, Marmara and the Black Sea and Southeast Anatolia regions. After specifying the geographical distribution according to the number of carpets in city/province distribution, we analyzed the carpets in terms of product range, year of weaving, knottype, weft, warp, features of pile yarn, width-length, web length, pile height, dimensions and the quality of used decorations, colors, and the criteria of being under repaired or not. Keywords: Anatolia, Hand-Made Carpet, Geographical Distribution.
Computer Assisted Design (CAD) systems have been widely used almost in every sector, as in the te... more 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
Abstract
Etymologically, ethnography comes from the Greek words ethnos (nation, people) and graph... more Abstract Etymologically, ethnography comes from the Greek words ethnos (nation, people) and graphia (writing) and means therefore a written presentation of a people or a population and seeks to identify and interpret its universal traits. With its roots in cultural anthropology, ethnography focuses on small-scale societies and the original central concept remains within the meaning of culture. In anthropology, ethnography developed a way to explore the everyday realities of people living in small scale, non-western societies and to make understandings of those realities explicit and available to others. The approach relied on the ability of all humans to figure out what is going on through participation in social life. The techniques ethnographers use follow the routine of the everyday life. Thus the research techniques and strategies of ethnography developed and evolved over the years to provide ways for the ethnographer to “be present" for the mundane, the exceptional, and the extraordinary events in people's lives. With the advent of postmodernism, ethnographic perspective became a valuable tool in the design of new technologies. This has presented a new set of challenges for designers as they design and built applications that leverage powerful, digital technologies for use by people of all societies and cultures. The field of design has been an adjunct to art and craft and in a postmodern context. With the transformation of design into an industrial discipline came responsibilities that the field of design studies has only recently begun to address methodologies. Design is now becoming a generalizable discipline that may as readily be applied to processes, interfaces. To understand design as a discipline that can function within any of these frames means developing a general theory of design. From methodological perspective there is no solid theoretical framework which can assist the craftsman or the novice textile designer to consciously integrate their culture in designing products. For this reason this paper challenges designers to gain a deeper understanding of the importance of ethnographic research in textile design and explain qualitative techniques that can be used in ethnographic researches for textile design, searching for meaning in socially constructed reality or a traditional context. Keywords: Ethnographic research, textile design, design science research
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Papers by Pınar Arslan
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.
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
It is a fact that the technological developments followed throughout the history have brought innovation to every field and also greatly affected the textile weaving industry. With the transition to mechanization and mass production, traditional production methods have been replaced by industrial production techniques. At the end of various loom trials, a jacquard weaving loom was developed by Joseph Marie Jacquard and started to be used in industry. These looms do not require as much manpower as traditional fabric production requires, but they also made it easier to weave fabrics with a complex pattern, detailed and pattern reporter in various sizes according to the machine capacity, thus allowing the designers to reflect their imagination to the product more widely. Parallel to this, new design methods and tools have been developed.
In the design phase, loom features and methods followed have an important place. While jacquard weaving designs can be developed in line with new sources of inspiration, they can also be obtained by drawing the existing fabric pattern exactly as a result of the analysis of jacquard fabrics. Today, computer aided design (CAD) systems developed with different names, features and equipment are used in the pattern design of jacquard fabrics. NedGraphics, one of these systems, enables complex pattern designs to be made in a short time and also helps to visualize the jacquard fabric to be produced with rich yarn and weaving options with three-dimensional simulations. Texcelle, Loom Editor and Product modules of NedGraphics software are used in jacquard fabric design. The placement and sizes of the unit rapport or motif and rapport forms are of great importance during the design phase. In this study, which was prepared to contribute to the literature relating subject, small motif jacquard weaving pattern design methods and rapport types in NedGraphics modules are exemplified.
ÖZET
Tarih boyunca izlenen teknolojik gelişmelerin her alana yenilik getirdiği gibi tekstil dokuma sektörünü de büyük oranda etkilediği bir gerçektir. Makineleşme ve seri üretime geçilmesiyle birlikte geleneksel üretim yöntemleri yerini endüstriyel üretim tekniklerine bırakmıştır. Çeşitli tezgâh denemelerinin sonunda Joseph Marie Jacquard tarafından jakarlı dokuma tezgâhı geliştirilmiş ve endüstride kullanılmaya başlanmıştır. Bu tezgâhlar geleneksel kumaş üretiminin gerektirdiği kadar yoğun insan gücüne ihtiyaç duymadığı gibi, karmaşık desenli, detaylı ve makine kapasitesine göre çeşitli büyüklükte desen raportlu kumaşların dokunmasına da kolaylık getirmiş ve böylece tasarımcıların hayal gücünü daha geniş oranda ürüne yansıtmasına olanak vermiştir. Buna paralel olarak da yeni tasarım yöntem ve araçlarıgeliştirilmiştir.
Tasarım aşamasında, tezgâh özellikleri ve izlenen yöntemler önemli yer tutmaktadır. Jakarlı dokuma tasarımları yeni esin kaynakları doğrultusunda geliştirilebilirken, jakarlı sistemlerle dokunmuş kumaşların analiz edilmesi sonucunda, mevcut kumaş deseninin birebir çizilmesi ile de elde edilebilmektedir. Günümüzde jakarlı kumaşların desen tasarımında farklı isim, özellik ve donanımlarla geliştirilen bilgisayar destekli tasarım (CAD) sistemleri kullanılmaktadır. Bu sistemlerden biri olan NedGraphics, kısa sürede karmaşık desen tasarımlarının yapılabilmesini sağlamakta, zengin iplik ve örgü seçenekleri ile üretilecek jakarlı dokuma kumaşın üç boyutlu simülasyonlarla görüntülenebilmesine de yardımcı olmaktadır.
Jakarlı dokuma kumaş tasarımında NedGraphics yazılımının Texcelle, Loom Editor ve Product modülleri kullanılmaktadır. Tasarım aşamasında birim rapor veya motifin ölçüleri, yerleşimi ve raportlama şekilleri büyük önem taşımaktadır. Konuyla ilgili literatüre katkı sağlaması amacıyla hazırlanan bu çalışmada, Texcelle modülünde jakarlı dokuma kumaş desen tasarım yöntemleri ve raportlama çeşitleri örneklenmiştir.
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
Anatolia and it continues. Nowadays people from different regions still continue to product handmade
carpet. So this hand craft, maintained by the locals, contains different cultural features in itself.
In this study we specified the Anatolian hand-made carpet in terms of the features of technique, color,
composition and design, which are the indicators of our cultural heritage. By applying a geographical
distributions according to determined specialties, it is aimed to reveal the common and different
features of local hand-made carpet and the interactions among the regions.
In this research we studied on 710 hand-made carpets from 32 different provinces and 6 different
regions including Central Anatolia, Mediterranean, Aegean, Marmara and the Black Sea and Southeast
Anatolia regions. After specifying the geographical distribution according to the number of carpets in
city/province distribution, we analyzed the carpets in terms of product range, year of weaving, knottype,
weft, warp, features of pile yarn, width-length, web length, pile height, dimensions and the quality
of used decorations, colors, and the criteria of being under repaired or not.
Keywords: Anatolia, Hand-Made Carpet, Geographical Distribution.
Etymologically, ethnography comes from the Greek words ethnos (nation, people) and graphia (writing) and means therefore a written presentation of a people or a population and seeks to identify and interpret its universal traits. With its roots in cultural anthropology, ethnography focuses on small-scale societies and the original central concept remains within the meaning of culture. In anthropology, ethnography developed a way to explore the everyday realities of people living in small scale, non-western societies and to make understandings of those realities explicit and available to others. The approach relied on the ability of all humans to figure out what is going on through participation in social life. The techniques ethnographers use follow the routine of the everyday life. Thus the research techniques and strategies of ethnography developed and evolved over the years to provide ways for the ethnographer to “be present" for the mundane, the exceptional, and the extraordinary events in people's lives. With the advent of postmodernism, ethnographic perspective became a valuable tool in the design of new technologies. This has presented a new set of challenges for designers as they design and built applications that leverage powerful, digital technologies for use by people of all societies and cultures. The field of design has been an adjunct to art and craft and in a postmodern context. With the transformation of design into an industrial discipline came responsibilities that the field of design studies has only recently begun to address methodologies. Design is now becoming a generalizable discipline that may as readily be applied to processes, interfaces. To understand design as a discipline that can function within any of these frames means developing a general theory of design. From methodological perspective there is no solid theoretical framework which can assist the craftsman or the novice textile designer to consciously integrate their culture in designing products. For this reason this paper challenges designers to gain a deeper understanding of the importance of ethnographic research in textile design and explain qualitative techniques that can be used in ethnographic researches for textile design, searching for meaning in socially constructed reality or a traditional context.
Keywords: Ethnographic research, textile design, design science research
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.
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
It is a fact that the technological developments followed throughout the history have brought innovation to every field and also greatly affected the textile weaving industry. With the transition to mechanization and mass production, traditional production methods have been replaced by industrial production techniques. At the end of various loom trials, a jacquard weaving loom was developed by Joseph Marie Jacquard and started to be used in industry. These looms do not require as much manpower as traditional fabric production requires, but they also made it easier to weave fabrics with a complex pattern, detailed and pattern reporter in various sizes according to the machine capacity, thus allowing the designers to reflect their imagination to the product more widely. Parallel to this, new design methods and tools have been developed.
In the design phase, loom features and methods followed have an important place. While jacquard weaving designs can be developed in line with new sources of inspiration, they can also be obtained by drawing the existing fabric pattern exactly as a result of the analysis of jacquard fabrics. Today, computer aided design (CAD) systems developed with different names, features and equipment are used in the pattern design of jacquard fabrics. NedGraphics, one of these systems, enables complex pattern designs to be made in a short time and also helps to visualize the jacquard fabric to be produced with rich yarn and weaving options with three-dimensional simulations. Texcelle, Loom Editor and Product modules of NedGraphics software are used in jacquard fabric design. The placement and sizes of the unit rapport or motif and rapport forms are of great importance during the design phase. In this study, which was prepared to contribute to the literature relating subject, small motif jacquard weaving pattern design methods and rapport types in NedGraphics modules are exemplified.
ÖZET
Tarih boyunca izlenen teknolojik gelişmelerin her alana yenilik getirdiği gibi tekstil dokuma sektörünü de büyük oranda etkilediği bir gerçektir. Makineleşme ve seri üretime geçilmesiyle birlikte geleneksel üretim yöntemleri yerini endüstriyel üretim tekniklerine bırakmıştır. Çeşitli tezgâh denemelerinin sonunda Joseph Marie Jacquard tarafından jakarlı dokuma tezgâhı geliştirilmiş ve endüstride kullanılmaya başlanmıştır. Bu tezgâhlar geleneksel kumaş üretiminin gerektirdiği kadar yoğun insan gücüne ihtiyaç duymadığı gibi, karmaşık desenli, detaylı ve makine kapasitesine göre çeşitli büyüklükte desen raportlu kumaşların dokunmasına da kolaylık getirmiş ve böylece tasarımcıların hayal gücünü daha geniş oranda ürüne yansıtmasına olanak vermiştir. Buna paralel olarak da yeni tasarım yöntem ve araçlarıgeliştirilmiştir.
Tasarım aşamasında, tezgâh özellikleri ve izlenen yöntemler önemli yer tutmaktadır. Jakarlı dokuma tasarımları yeni esin kaynakları doğrultusunda geliştirilebilirken, jakarlı sistemlerle dokunmuş kumaşların analiz edilmesi sonucunda, mevcut kumaş deseninin birebir çizilmesi ile de elde edilebilmektedir. Günümüzde jakarlı kumaşların desen tasarımında farklı isim, özellik ve donanımlarla geliştirilen bilgisayar destekli tasarım (CAD) sistemleri kullanılmaktadır. Bu sistemlerden biri olan NedGraphics, kısa sürede karmaşık desen tasarımlarının yapılabilmesini sağlamakta, zengin iplik ve örgü seçenekleri ile üretilecek jakarlı dokuma kumaşın üç boyutlu simülasyonlarla görüntülenebilmesine de yardımcı olmaktadır.
Jakarlı dokuma kumaş tasarımında NedGraphics yazılımının Texcelle, Loom Editor ve Product modülleri kullanılmaktadır. Tasarım aşamasında birim rapor veya motifin ölçüleri, yerleşimi ve raportlama şekilleri büyük önem taşımaktadır. Konuyla ilgili literatüre katkı sağlaması amacıyla hazırlanan bu çalışmada, Texcelle modülünde jakarlı dokuma kumaş desen tasarım yöntemleri ve raportlama çeşitleri örneklenmiştir.
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
Anatolia and it continues. Nowadays people from different regions still continue to product handmade
carpet. So this hand craft, maintained by the locals, contains different cultural features in itself.
In this study we specified the Anatolian hand-made carpet in terms of the features of technique, color,
composition and design, which are the indicators of our cultural heritage. By applying a geographical
distributions according to determined specialties, it is aimed to reveal the common and different
features of local hand-made carpet and the interactions among the regions.
In this research we studied on 710 hand-made carpets from 32 different provinces and 6 different
regions including Central Anatolia, Mediterranean, Aegean, Marmara and the Black Sea and Southeast
Anatolia regions. After specifying the geographical distribution according to the number of carpets in
city/province distribution, we analyzed the carpets in terms of product range, year of weaving, knottype,
weft, warp, features of pile yarn, width-length, web length, pile height, dimensions and the quality
of used decorations, colors, and the criteria of being under repaired or not.
Keywords: Anatolia, Hand-Made Carpet, Geographical Distribution.
Etymologically, ethnography comes from the Greek words ethnos (nation, people) and graphia (writing) and means therefore a written presentation of a people or a population and seeks to identify and interpret its universal traits. With its roots in cultural anthropology, ethnography focuses on small-scale societies and the original central concept remains within the meaning of culture. In anthropology, ethnography developed a way to explore the everyday realities of people living in small scale, non-western societies and to make understandings of those realities explicit and available to others. The approach relied on the ability of all humans to figure out what is going on through participation in social life. The techniques ethnographers use follow the routine of the everyday life. Thus the research techniques and strategies of ethnography developed and evolved over the years to provide ways for the ethnographer to “be present" for the mundane, the exceptional, and the extraordinary events in people's lives. With the advent of postmodernism, ethnographic perspective became a valuable tool in the design of new technologies. This has presented a new set of challenges for designers as they design and built applications that leverage powerful, digital technologies for use by people of all societies and cultures. The field of design has been an adjunct to art and craft and in a postmodern context. With the transformation of design into an industrial discipline came responsibilities that the field of design studies has only recently begun to address methodologies. Design is now becoming a generalizable discipline that may as readily be applied to processes, interfaces. To understand design as a discipline that can function within any of these frames means developing a general theory of design. From methodological perspective there is no solid theoretical framework which can assist the craftsman or the novice textile designer to consciously integrate their culture in designing products. For this reason this paper challenges designers to gain a deeper understanding of the importance of ethnographic research in textile design and explain qualitative techniques that can be used in ethnographic researches for textile design, searching for meaning in socially constructed reality or a traditional context.
Keywords: Ethnographic research, textile design, design science research