Browsing by discipline "Slöjdvetenskap"

The main purpose of this literature overview is to examine the effects of educating handcrafts to ADHD pupils in terms of their self-esteem and self-image. In addition, in this research paper I will observe what type of learning environments and assignments would suit best for a student with ADHD. The objective of this research paper is to provide information for the handcrafts teachers about pupils having ADHD and instructions on how to process that disorder in handcrafts teaching. I collected my research data on 23 March 2017 by using four different search engines that are Helka, Laurea Finna, Google Scholar and Melinda. Keywords that were used were combinations of different words relating to the subject, such as "handcrafts and special education pupil", "handcrafts and self-esteem" and ADHD. By using the latter keywordI found several results in English. I included one piece of English literature to my research. According to the intake criteria after collecting background material I categorized the material based on both the titel and table of contents. The intake criteria consisted of Finnish and English literature published no later than in 2000. Based on these criteria I selected 15 pieces of pragmatic literature as my research material. The outcome of this literature overview is that the teacher, learning environment and given assignments have significant effect on the self-esteem and self-image of an ADHD pupil. The key findings of the reasons affecting the self-esteem and self-image were the way ADHD pupils were located in the classroom, teacher's understanding attitude and knowledge of the disorder and the way of giving over positive feedback for pupils suffering the disorder. Learning assignments, too, have a significant role in affecting the self-esteem of a pupil, thus the assignments should be challenging enough considering the level of knowledge of a pupil. In almost every classroom there is a pupil with ADHD. Therefore, it is crucial as a teacher to recognize the weaknesses and strenghts of a pupil with ADHD. This thesis summarizes the results of several different pieces of research.

The purposes. Aino (1894 – 1949) and Alvar Aalto (1898 – 1976) were architects and designers whose work is well known around the world. Aalto had a holistic way of thinking about architectural work, which meant creating detailed compilations, including designing textiles also. Artek used other textile producers too, but this paper focuses on the textiles Aino and Alvar Aalto designed themselves for their interior designs, furniture and world exhibitions. The purpose of this research is to figure out what textiles Aino Aalto designed at the time when Artek was founded in the 30´s and what textiles Alvar Aalto designed later, in the 50’s. Aino and especially Alvar Aalto’s architectural work and furniture design has been researched extensively, but less has been written of their textiles. Therefore, one purpose of this research is to lighten this less known area of the Aalto’s work. The methods. For the artefact study in this research I photographed every fabric sample (over 100pcs) in the Alvar Aalto Archives in Jyväskylä and sorted them by the models/prints, colours and designers. The following steps in the research were done based on the photographs. There were five different models designed by Aino Aalto among the samples, four of them were screen printed fabrics and one was a woven textile. There were five different prints designed by Alvar Aalto. For closer examination, four of Aino Aalto’s and four of Alvar Aalto’s textiles were chosen for this research. The research work analyses the textile design careers of the Aalto’s and how their fabric designs have been in use. The conclusions. Many different colour variations exist of these print designs and they have been printed on various fabrics, for example same print were printed on upholstery and curtain materials. Aino Aalto’s fabric designs have stayed as part of design history and have not been manufactured ever since. She ended up designing fabrics when she worked as Artistic Director in Artek. Alvar Aalto’s ”Siena”-fabric is still in production by Artek, perhaps because of its timeless design.

Yksilön kokemus itsestään käsityötä tekevänä tai tekemättömänä ihmisenä muodostuu läpi elämän. Ala-asteella saadut kokemukset luovat pohjan tälle ajatukselle itsestä. Aiemmissa tutkimuksissa opettajan ja koulun vaikutusta oppilaan kuvaan omista taidoistaan on tutkittu usean eri oppiaineen saralla ja on saatu selville, että koulun opetus ja opettajat vaikuttavat oppilaan kokemuksiin melko paljon. Käsityönopetuksen kannalta kuvaan tulee mukaan myös konkreettisten taitojen oppiminen ja tekniikoiden muistaminen ja ymmärtäminen. Tässä tutkimuksessa selvitän mitkä asiat vaikuttavat oppilaiden käsityön osaamisen kokemukseen käsityöntunneilla, sekä miten tätä osaamisen kokemusta voi muuttaa aikuisena. Tutkimukseni metodina käytin kuvailevaa kirjallisuuskatsausta. Tutkin aineistoani ja etsin siitä vastauksia tutkimuskysymyksiini. Etsin lisätietoa tutkimukseeni hakemalla informaatiota eri tietokannoista hakusanoja apuna käyttäen. Tutustuin aiheesta kertoviin pro gradu- tutkielmiin, sekä muihin teksteihin ja peilasin niitä toisiinsa etsien yhtymäkohtia ja samankaltaisuuksia. Oppilaiden kokemukseen käsityön opetuksesta vaikuttivat perusasiat, kuten välineistö, materiaali, sekä tilat. Peruspuitteiden ollessa kunnossa, tilaa jää muiden kokemusten muodostamiseen. Opettajan palautteenantotyyli, onnistumisen tai epäonnistumisen kokemukset, sekä mahdollisuus mielekkääseen suunnitteluun ja toteuttamiseen vaikuttivat oppilaiden osaamisen kokemuksen muodostumiseen. Näiden asioiden toteutuminen tai toteutumattomuus voi vaikuttaa oppilaan kokemukseen omasta osaamisestaan ja tämä kokemus voi leimata yksilöä aikuisuuteen asti. Aikuisella iällä kokemuksia pystyi kuitenkin korjaamaan. Kokemusten korjaamista tapahtui koulutusmaailman ulkopuolella esimerkiksi sosiaalisissa ympäristöissä, sekä arkielämän oppimisen muodoissa.

The purpose of this thesis was to describe use of the digital equipments in education. Making of the products, is understood as new curriculum (POPS 2014) is suggesting, coaching student to pervasive knowledge, multimaterial use, fenomena based and 21st century skills learning abilities. Theory of this work is based on invention pedagogy where students are making inventions from their own life. Inventionpedagogy is supporting pervasive knowledge skills as kritical thinking and selfregulated learning abilities. Student based learning is changing the way how teaching is implemented. There are no models you can use, product goals are driven in real life. That is problem based learning, fenomena based or challenge based learning. Use of technology and integrating it to learning is spreading slowly. Equipments are expensive and sofware unfamiliar. Teachers education is aming to advance technology based invention pedagogy and need of knowledge. In InnoKomps training teachers are designing project using these methods. Innokomp is nation wide research, whitch is pointed to teachers and teacher education. InnoKomp training is still going on. Material of this thesis was given 2018 and it contains starting point inquiry (N35) and ending poin inquiry (N14). Permission to use this material was given from participating universities. Teachers answers were analysed by Atlas.ti program and content analyse. Research method is qualitative. Teachers feelings and experiences toward digitality and future aims were collected from material. Results are reflected to changing of craft teaching and reform of curriculum. Research outcomes turn out that 21 teacher have previous experience on digital modeling. On the other hand 11 teacher have few or none. From these teachers, 8 got benefit of the training and they learned something new. Teachers feelings toward digitality were vast, dislike to enthustiasm. InnoKomp training was conceived good. Teachers own objectives to the training were to understand and learn new things. To complete professional skills to meet up OPS 2014 goals. To bring new equipments to craft teaching and new ways of teaching future skills.

Tutkimuksen tavoitteena oli tutustua kansanpuku feresiä koskevaan kirjalliseen aineistoon sekä sen omakohtaiseen valmistusprosessiin. Tutkija sai lahjana tarvikepaketin ja ohjeet kansanpuvun valmistusprosessiin. Teoreettisessa taustatutkimuksessa syvennytään pukeutumiseen sekä kansanpuvun ja feresin historiaan, joiden avulla valmistusprosessi lähti käyntiin. Prosessia varten tutkittiin useita erilaisia kansanpukumalleja, joita Suomessa on valmistettu, sillä aiempaa tutkimusta kansanpuku feresin valmistuksesta ei ole. Tutkija on erinomainen ompelutaidoiltaan, mutta ei ole aiemmin valmistanut kansanpukua. Tutkimustehtäväksi määräytyi selvittää, kuinka kansanpuku feresin valmistus onnistuu noviisilta, joka ei ennen ole kansanpukua valmistanut. Tutkimuksessa kuvataan tutkijan omakohtainen valmistusprosessi kansanpuvun valmistuksesta, jonka ympärille tutkimus kietoutui. Tämä kvalitatiivinen tutkimus toteutettiin autoetnografisena tutkimuksena. Aineisto koostui tutkijan omista muistiinpanoista, valmistusprosessin aikana kerätystä kuva- ja videomateriaalista sekä kahdesta haastattelusta. Lähdin analysoimaan aineistoa paneutumalla ensin huolellisesti teoreettiseen taustaan ja kansanpuvun historiaan, jonka avulla jäsentyi selkeä kuva valmistusprosessista. Valmistusprosessin jälkeen muistiinpanot ja kuvamateriaali yhdistettiin yhteiseksi dokumentiksi, jotta niistä oli selvitettävissä tutkimuksen merkityksen kannalta tärkein asiasisältö reflektoivaan tutkimusprosessiin. Tutkimuksen tulos koostui yksilöllisestä valmistusprosessin kuvauksesta, jossa tutkijan prosessi ja teoria etenevät lomittain. Valmistusprosessissa ilmeni haasteita, mutta haastattelun ja lisäavun turvin prosessi saatiin päätökseen ja kansanpuku saatettua valmiiksi. Tutkimustulos yksilöllisenä valmistusprosessina osoitti, että feresin valmistus vaati paljon käsityöllistä taitoa ja täysin noviisin ompelijan olisi vaikea pukua valmistaa, vaikka hänellä olisi kuvalliset ohjeet tarjolla. Puvun valmistus onnistui tutkijalta kuitenkin hyvin, aiemman laajan ompelutaustan vuoksi.

Tässä tutkielmassa tarkastelen vuosien 1919–1944 välisenä aikana Hämeenlinnassa sijoitettuna olleiden poliittisten naisvankien tekemää käsityötä vankien pakollisena työtoimintana, sekä etenkin omaehtoisesti työn ulkopuolella tehtynä käsityönä. Aiempien poliittisista naisvangeista tehtyjen tutkielmien perusteella voidaan sanoa, että he muodostivat yhteisön, johon kuuluneilla on ollut monipuolista toimintaa myös pakollisen työpalvelun ulkopuolella. Kuitenkin erityisesti työn ulkopuolella tehty käsityö on lähes kaikissa tämän tutkielman lähteissä sivuutettu täysin. Toisaalta nykypäiviin saakka on säilynyt Hämeenlinnan poliittisten naisvankien valmistamia käsitöitä, joista osa on hyvin todennäköisesti täytynyt valmistaa käsityössä esiintyvän poliittisen aiheen vuoksi vankilaolosuhteissa täysin omaehtoisista ja henkilökohtaisista syistä, salaa ainakin vankilan henkilökunnalta. Tutkimustehtäviä on kaksi. Ensinnäkin etsin vastausta kysymykseen: Millaisia käsitöitä poliittiset naisvangit ovat tehneet? Toisena tehtävänä on lähemmin merkitysanalyysimenetelmän avulla kuvata, analysoida ja tulkita yhtä poliittisen naisvangin valmistamaa käsityötä, joka esittää venäläistä laskuvarjohyppääjää (eli desanttia), jonka poliittinen naisvanki oli nuken esinetietojen mukaan salaa valmistanut lahjaksi toiselle vangittuna olleelle naiselle. Hämeenlinnaan sijoitettujen poliittisten naisvankien päivittäiseen elämään vankeudessa käsityö on liittynyt kiinteästi. Heti vankeuden alussa (usein yksinäisyyteen eristettynä) tehty pakollinen työpalvelu oli yleensä käsityötä ja samalla myös poliittisille vangeille keino parempaan asemaan siirtymiseksi progressiivisessa vankeusjärjestelmässä. Toisaalta pakkotyönä teetetty käsityö oli poliittisille naisvangeille merkittävä keino ilmaista vastarintaa vallitsevaa järjestelmää kohtaan. Käsityö oli keino kohentaa vangin omia elinolosuhteita, mutta se on voinut myös tarjota mielekästä tekemistä monella tavalla psyykkisesti ja fyysisesti vaativissa olosuhteissa. Poliittiset naisvangit ovat käsityön keinoin voineet ilmaista mm. omaa aatettaan ja yhteenkuuluvuutta muiden poliittisista syistä vangittujen naisten kanssa. Vankien kertomuksissa tuli esiin myös poliittisten vankien yhteisöllisiin tarkoituksiin käsityönä valmistamat tarvikkeet. Vaikeissa olosuhteissa, suljetussa yhteisössä vankilan muurien sisäpuolella, näyttäisi tehdyn monipuolista käsityötä vuosien 1919–1944 välisenä aikana. Tosin sodan myötä poliittisten naisvankien pakollinen työpalvelu yksipuolistui ja muuttui paljolti lähinnä sotilasvaatteiden korjaukseksi. Käsityötä kuitenkin tehtiin Hämeenlinnan vankilassa myös vaikeina sotavuosina omaehtoisesti erilaisista syistä, mistä desanttia esittävä nukke (80.2/ 80, liite 1) on hyvä esimerkki.

There has been very little research on bead embroidery on the context of contemporary art. The aim of the study was to describe the use of beads and bead embroidery in contemporary art by using one case as an example. The research assignment was to examine how the technique used by textile artist Aura Kajaniemi has emerged and evolved and how the materials and the used technique affect the artist's expression. The study describes a case that serves as an example of bead embroidery as a means of artistic expression. The research is a qualitative case study and the research data consist of an interview with textile artist Aura Kajaniemi. The data was transcribed and analyzed by a theory-driven content analysis method. Three main categories emerged from the data: 1) bead business, 2) working process, 3) being an artist. The categories were divided on to subcategories. The result of the research is a narratively whole case which describes the meaning of beads and bead embroidery and their effects on expression and the experience of being an artist. Examining the emerge and evolvement of the technique it turned out that beads and bead embroidery contained many meanings that still influenced artist's expression. The beads did not seem to restrict the creation and enabled the visual unity of different themes. Due to its features the material was also used in the sketching phase. The used materials and technique appeared to be mediums to express an idea rather than to be its source.

The aim of this study was to investigate teaching of silver clay technique in the context of adult craft courses. In addition, information about challenges in teaching silver clay was collected. Theoretic background of this study consisted of studies and theories about learning and teaching of skills. Material was gathered in May to June of 2017 by individually interviewing three teachers who teach silver clay technique. The collected material was analyzed theory oriented, by using content analysis method. When classifying skills teaching, Romiszowski´s (1999) three phase method was utilized. The results of this study show that the silver clay teachers were mostly the same strategies and following Romiszowski’s (1999) three step model in their teaching. All the teachers introduced essential information for students to run the task in the beginning of the course. The information was shared by e-mail, paper copies or by organising a physical brief before the course. Explaining history and behaviour of the material as well as introducing the tools were considered essential by the teachers. In the second phase, every teacher said they would demonstrate working of silver clay concretely with the help of showpieces. Improvement of the students’s skills was supported by individual guidance and continuous feedback. When teaching silver clay, the teachers had faced various challenges, the most prominent of which were issues relating to people skills and unpredictability of materials. There is no previous research on silver clay teaching. Therefore, results of this study can be considered useful and applicable to teaching of the silver clay technique, but to teaching and planning of other craft techniques as well.

The development of technology and science has changed the life of human. Dog clothing phenomenon has been born as a part of this development. Dogs can't share their thoughts about clothes so humans make conclusions based on behaviour of dogs. Users of dog clothing say that the garment must be of appropriate size. A suitable size means that the garment is not too small or too large. On the streets there is a smaller chance to see dogs in small clothes because the dog owner can't wear a small cloth over the dog. Instead there is a higher possibility to see dogs with too large clothes since it is more difficult to notice too large clothes. The purpose of this study was to make a guide how the dog owner can see too large clothing. To create a justifiable and reliable model I had to define three variables: dog, dog clothing and garment. All dogs have the same body model, so one dog's picture was used as an example in the analysis. The dog's garment and clothing were determined with a Nordic pattern system. A reasoned model to identify excessive clothing was created by analyzing the results ob-tained, exemplary clothing and important dimensions of dog clothing. A tutorial including series of images was created based on the study. Images makes it easy to visually understand how to choose the right sized garment for the dog. The study was fo-cused on practical problems so that the result material could be used for example to guide and make it easier for dog owners to purchase clothes for their dogs.

Goal. The story of Ninni's Italian pattern system, which I named Italian pattern system à la Ninni, is a story of a person's enthusiasm and inspiration that is today a concept in the Swedish-speaking institutes in southern Finland. The study material that is now being developed is primarily intended for students at the Adult Education Institutes. Pattern drawing is an essential part of the clothing process. The pattern determines the appearance of the garment and how it fits the wearer. Because few women have standard measures, according to measures are used in the industry and in commercial patterns, therefore there is a need to produce patterns according to their own measures. After drawing a basic pattern, there are endless possibilities to design personal garments. The drawing of the basic pattern is a systematic process and requires clear instructions. Methods. Ninni (Jane-Ann Eager) who used the Italian pattern system she learned in her youth in Italy, had the key role in the study. I interviewed Ninni several times during the study. The course participants who attended Ninni's courses were asked to answer a questionnaire and 28 people answered the questionnaire in which the users' needs and wishes regarding a study material was examined. The last part of the study consisted of two tests of the material in practice, first on one of my own pattern drawing courses where eight women under supervision used the material. At the last stage, the material was refined after a test person independently used the material to produce a basic pattern for herself. Results and conclusions. This action research has developed a study material for the Italian pattern system. An instruction booklet was produced based on the wishes and needs of the users and Ninni. In addition to the written numbered instructions, the booklet also contains figures to support the pattern drawing. The instructions is for drawing a basic pattern. The next step would be to describe how these basic patterns are used for planning patterns for different clothes.