Browsing by discipline "Käsityötiede"

The aim of the thesis was to compare the correspondence of the outcome a computer assisted program appearance compared to the original image. The aspect of the study was directed to embroidery with household machines. The study was made from the usability point of view with Brother's PE-design 6.0 embroidery design programs two automatic techniques; multicoloured fragment design and multicoloured stitch surface design. The study's subject is very current because of the fast development of machine embroidery. The theory is based on history of household sewing machines, embroidery sewing machines, stitch types in household sewing machines, embroidery design programs as well as PE-design 6.0 embroidery design program's six automatic techniques. Additionally designing of embroidery designs were included: original image, digitizing, punching, applicable sewing threads as well as the connection between embroidery designs and materials used on embroidery. Correspondences of sewn appearances were examined with sewing experimental methods. 18 research samples of five original image were sewn with both techniques. Experiments were divided into four testing stages in design program. Every testing stage was followed by experimental sewing with Brother Super Galaxie 3100D embroidery machine. Experiments were reported into process files and forms made for the techniques. Research samples were analysed on images syntactic bases with sensory perception assessment. Original images and correspondence of the embroidery appearances were analysed with a form made of it. The form was divided into colour and shape assessment in five stage-similarity-scale. Based on this correspondence analysis it can be said that with both automatic techniques the best correspondence of colour and shape was achieved by changing the standard settings and using the makers own thread chart and edited original image. According to the testing made it is impossible to inform where the image editing possibilities of the images are sufficient or does the optimum correspondence need a separate program. When aiming at correspondence between appearances of two images the computer is unable to trace by itself the appearance of the original image. Processing a computer program assisted embroidery image human perception and personal decision making are unavoidable.

The importance of design skills and problem solving is emphasized in the basics of the core curriculum. The challenging process of craft design includes multiple stages. To reach desired results, the education of the craft design process should reflect the children's own experiences and take the typical ways of processing matters at different age into account. The objective of this thesis was to find out how play and playfulness as pedagogical operations models conduce to completion of the design process. Design based research was used as the main research method. The creative process and the design phases using play based methods were the objects of this development work. A defragmented learning synthesis, where a story and a linked building game work as the starting point of the entire craft process, was formed as the progeny of the development research. The development research began with a theoretical problem analysis which helped outline the interface of the play activity and the creative craft process. The theoretical frame of reference playful craft is based on this interface. The testing of the learning ensemble and the practical development work was carried out as a two-week project including six teaching sessions of different durations. The learning ensemble was implemented as pupil group work. 12 pupils who were separated into four research groups took part in this research. The research material consists of observations, a research diary and documents and products produced by the pupils during the research. Based on the research outcome it can be assumed that the different forms of play can support the completion of different stages of design process. Pretend play fuels the development of ideas and works as a source of inspiration and creativity. Play contributes to team work skills and planning together as well as discussing the pupils' own ideas and work. Play and playful attitude can increase the joy of learning and motivate the activity in process.

Craft education serves as a potential platform for students' creativity. The focus of craftwork studies has lately been changing form technique learning and product making to more creative direction. This is also evident in the new, 2016 launched, curriculum of craft education. The curriculum emphasizes craftwork as a more experimental and exploratory subject where different techniques and materials are combined. The purpose of this Master's Thesis was to develop new and more creative ways to teach craftwork. The project consists of three parts. In the first phase, different ideas were mapped by brainstorming and utilizing existing theories. Subsequently, based on the ideas from the first phase a teaching module was built. The execution of the scheme was documented by filming a video. In the last phase the video material was analyzed and creative activities were highlighted. Eventually, by combining the existing theories and observations from the video an outline for online material for creative craftwork teaching was develop. This teaching material aims to approach craft education from a more creative and expressive point of view. This project indicated that several factors affect the creative craft process. Giving enough time and encouragement to all students' individual craftsmanship proved to be important for increasing creativity among students. Possibility to explore different materials and techniques had also a positive effect on creativity. Team work, encouraging and casual atmosphere contributed also to the creative process. Teacher's role as a supporter and inspirer was also important. The produced web material is based on the observations from this study and also supports the new craft curriculum. The material is online and thus easily available for everybody. In addition, a Facebook page was created to encourage people for more interactive conversation. www.luovalanka.wordpress.com

Making leather includes multiple phases and there are several options when executing each phase. The selected tanning method affects most to the properties of finished leather. In literature there are lots of descriptions about the methodology of how to tan furs and skins in a traditional way, but there are only a little information about the properties of these naturally tanned fur skins. The aim of this study is to analyse different kinds of traditional and environmentally friendly tanning methods to be able to make durable leather of a good quality. The research problems of this study are to find the most practical method for tanning wild furs and to analyse if it is possible to make high-quality leather by using natural ways of tanning leather. A review of the literature inspired the idea of comparing single-component tannages against a combination of two conventional tannages. The most practical methods were chosen from the traditional and the easiest ways of tanning furs. Chosen methods were tanning with tealeaves, willow (salix), sour porridge, urine, Novaltan Al and Pretanix C. The data was collected from three red foxes, which were tanned in 11 different ways: six single-component tannages and five combinations of two tannages. Fur skin properties were investigated for tear strength, elongation, water vapour permeability, shrinkage temperature, hair fastness and surface structure. The data collected was mostly numeric and it was analyzed by Spearman's rank-correlation. Scanning electron microscopic photos were taken from the leather surface and the results were compared against numeric data. This study shows that thinner leathers had better tear strength and relative elongation. Water vapour permeability results analyzed with SEM-pictures revealed that aluminium-based Novaltan Al made the leather surface smoother allowing water vapour to pass through it. Meanwhile, other tannages made the surface more spongy, possibly soaking moisture into leather. Plant based tannages had higher shrinkage temperature than any other tannages. The results showed that using two conventional tannages made the leather properties better compared to single-component tannages. The best and probably most practical tanning method according to this study was combination tanning by using tealeaves and Novaltan Al. It's important to think of the desired properties for the leather, and then choose the tanning method that makes wanted properties possible.

This study examines the technique of natural dyeing in the context of the craft teaching. This research explores the natural color chart of Finland’s nature in mordant dyeing of woolen yarns. The objective is to compile a selection of Finnish natural colors and colorants that are suitable and environmentally friendly in mordant dyeing procedure. In this research I explore also the phenomenon of multidisciplinary approach as a teaching method. The study combines a theory of natural dyes together with environmental education, craft design and modern ways of dyeing. The research is based on collection of natural dyed yarn samples and those related notes made by dyer. These woolen yarn samples were dyed in Southern Finland between decades 1970 and 1990 by one enthusiast. In classification of yarn samples I used qualitative methods to observe visual properties of these yarns. After evaluation the research material consisted of N=178 yarn and 20 different quality of woolen yarns. These 20 samples were tested under the microscope and by burning yarn samples to recognize fiber materials without lab circumstances. The color values were measured by spectrophotometer. These CIELAB codes helped me to find various hues for the color palette. With code numbers the use of colors is possible also in the digital environments like computer graphics. The digital use of colors in design is made possible by changing the color map values to RGB and CMYK color codes used by image editing software and printers. These codes enable the use of digital colors in teaching, design and printing. The study combines post-positivistic and qualitative research methods in the theoretical framework. All conclusions of the Finnish natural colors and colorants in this study are applicable only to the used research material and yarns that are researched. The analysis was conducted by one researcher only, which may have affected on the reliability and validity of the study. On a basic level the range of hues in Finnish color chart for woolen yarn contains yellow, red, green, brown and dark shades. Also, rare shades of blue are possible to find and dye with Finnish natural dyes, but those colors are not included in the color chart. I observed that natural dyes are suitable for environmental education when using natural or nontoxic mordant. Introduced color chart is intended to be used in craft teaching when design items and dye yarns for products made by hand. Environmental education and craft design are easy topics to combine with natural dyeing process in craft teaching. Practical activity, sustainable utilization of the surrounding environment, and the experience in engaging and influencing on environmental issues also support the student’s nature relations in the teaching of crafts.

The purpose of this Master’s Thesis was to study the various types of objectives and contents created in a makerspace set in Finnish comprehensive school, and to find practices for developing similar innovative learning environments. The starting point was a research problem according to which the infrastructure of several comprehensive schools is in many ways inadequate in relation to the latest national core curriculum (POPS 2014), and therefore it fails to serve the acquisition of 21st century skills. The larger theoretical framework of this thesis is a socio constructivist learning theory, within which I review research done on learning environments and learning by making, with emphasis on design-oriented maker-culture. Previous studies have shown that inadequate physical learning environments may have negative impacts on learning and well-being in schools. Furthermore, there is strong scientific proof that emphasizing student-centered education and self-direction furthers learning. The research subject was the makerspace of a design education-oriented comprehensive school, whose concept has been selected as an educational innovation for the international project HundrED. The research approach selected was a case study and its qualitative data collected discretionarily through expert interviews. Visual anthropology as a research method enabled the use of visuality as part of content analysis. The analysis revealed that the makerspace aims at creating wide-ranging contents and objectives across school subject borders. Design methods are applied to the makerspace as part of both official and informal teaching. Data-based content analysis yielded a narrative image of the various stages of the creating process, pedagogical thinking of interviewees, and the still developing nature of the makerspace. The results of the thesis can be used particularly in creating new learning environments, which are making their way into basic education. Additionally, the results can be applied to designing and planning new schools.

The purpose of this study is to describe and analyse elementary school students' material practices and materially mediated designing during a collaborative design process. Materiality in design was examined from three points of view: (1) materials as an aid for thinking, (2) materials as social mediators and (3) physical properties of materials. Previous studies concerning materiality have been focusing mostly in adults' design process. The data was collected as part of the research project Co4-Lab, in which elementary school students engage in a collaborative designing. Research data consisted of the video recordings of six design sessions where three groups of 5th grade students were building a material model of their innovation. Three levels of analysis were conducted, including an overview of the design session, identifying significant events and detailed analysis of dialogue and embodied actions. Deeper analysis become possible by combining all three levels. The results indicate that students used materials as mediators for ideation and collaboration. Materials became visible as an aid for thinking when students were testing ideas or structures. They also manipulated materials during a collaborative ideation. In social interaction materials were used to support verbalization and they affected division of work. There were also some problems related to materials. Constructing the simple models was slow, a lot of non-task related actions occurred and some students were left without anything to do. The role of the model as an aid for designing seemed to be vague. Modelling was used mostly to solve issues concerning the model itself not the object of design. Guidance and support is important to utilize full potential of materiality in elementary school students' design process.

The aim of this study was to find out about men’s motives in dressing themselves. The study aimed to answer two questions: : What kind of motives man has in dressing? What are the thing that effect into man’s clothing and style? The study uses the distinction theory of Pierre Bourdieu and applies it into describing men’s motives to dressing. There aren’t too many Pro gradu- studies about this specific theme, the previous similar study is done in 1993. The study material was obtained during one week by online survey (N=312). Most of the respondents were from southern Finland and aged between 28 and 38. The highest obtained schooling was upper secondary school among most of the respondents and most of the respondents worked as a specialist. Most of the respondents’ salary was between under 1500 euros and 2999 euros per month. Answers were handled and analysed with SPSS-program. Analysis methods were means, modes, correlations and principal factor analysis. The study’s reliability was determined with Cronbach’s α. The principal factor analysis produced four principal factors as motives for men’s dressing: aesthetic motive, conservative motive, socioeconomic motive and ecological motive. The respondents were interested in clothing and dressing, they knew their own style pretty well and preferred to shop cloths on their own. The four factors found went well together with Pierre Bourdieu’s distinction theory. Theory’s concepts could be applied in describing the motives for men to dress up themselves. It could be assumed that men who have been exposed to versatile culture were naturally interested in clothing and their appearance, as the men whose expose to versatile culture has been lesser were not that interested in clothing and their appearance. Also, the motives to dress seemed to be different depending on the social status the man has or wishes to have. In further studies it is important to put great emphasis on respondent’s childhoods social status– in what kind of social situation he has been growing up, what did he’s parents do etc. This survey didn’t gather any information about that, so more information is needed to make this study’s results more convincing.

The national core curriculum for basic education (FNBE 2014) brings changes in pedagogical outlines. Some of the key goals are to enhance pupil participation, diversify assessment and increase the use of technology. The teacher's task is to instruct and guide the pupils. The new curriculum also emphasizes transversal competences in the instruction of subjects. Furthermore there are many essential changes in crafts subject which causes stress among some craft teachers. The curriculum (FNBE 2014) defines crafts as a multimaterial subject in which the competence of managing holistic craft process (HCP) is a central principle. Crafts is defined by design, technology and craft expression. Furthermore, craft teaching requires co-teaching among craft teachers and co-operation with other subjects. This study aims to find out what kinds of reflection the new curriculum causes among craft teachers. The study was performed as a qualitative case study, in which the data was collected from the meetings of craft teachers in peer group mentoring sessions in January-March 2017. The group consisted of a mentor and eight participants who were female craft teachers in Uusimaa. The length of their teaching careers varied from two years to twenty-five years. Data was coded with ATLAS.TI-program. The analysis was data-based content analysis. According to this study, all the changes in the national core curriculum for basic education 2004 have not been fulfilled in craft teaching. Therefore the new curriculum (FNBE 2014) challenges teachers more than expected. Teachers' reflection includes a mixture of strong feelings and a large amount of questions and worries. Changes in the curriculum inspire teachers but not all teachers have the means to fulfill the requirements of the new curriculum. Learning problem-solving skills, co-operation with other teachers and student groups consisting of both girls and boys are considered the positive aspects of the new curriculum. Teachers also have more freedom to implement their teaching, and pupils can choose more optional lessons than before and be directed according to their interests. Teachers feel sorrow and anxiety because they are afraid that pupils' craft skills are weakening. The small number of craft lessons complicates the execution of the new curriculum. Some teachers experience the new technology in a very negative way as well as the experimental nature of the crafts. Instead, learning the traditional craft techniques and making "proper" artifacts is still considered important. Teachers feel positive about the increased co-operation between craft teachers but have trouble starting and finding time for it. Teachers' well-being is challenged with increased challenges. Craft teaching in accordance to the new curriculum requires resources to teaching groups sizes and to the planning co-teaching. Craft teachers need further education with design teaching, integration of technology, documentation and assessment. Teachers feel sorrow and anxiety when because they are afraid that of the weakening of pupils' craft skills are weakening. The small amount number of craft lessons is kept as a problem complicates the fulfillment execution of the new curriculum. A part Some of the teachers experience the new technology in a (very) negative way and as well as the experimental role nature of the crafts. Instead, learning the traditional craft techniques and making "proper" artifacts is experienced still considered important. Teachers experience feel positive about the increased co-operation between craft teachers good but it feels tough to start co-operation but have trouble starting and finding time for it. Teachers' well-being is challenged with increased challenges. Craft teaching in accordance to the new curriculum requires resources with to teaching groups (sizes) and to the planning of co-teaching planning. Craft teachers need further education with design teaching, integration of technology, documentation and assessment.

Tiivistelmä - Referat – Abstract Objectives. The aim of this study is to analyze and interpret team-teachers' perceptions of co-teaching within a craft education project, in co-operation with Helsinki University´s Co4Lab-research. Co-teaching is commonly understood as a teaching method, where two or more teachers equally share the responsibility of planning, implementation and evaluation of teaching. There are many methods of co-teaching and it is said that team-teaching is the most intensive and well-developed method. The study explains how team-teaching is co-planned and arranged and how it has developed during the project. The main part of the study is give a voice to teachers who are doing co-teaching together. As a result, the study also gives examples of co-teaching methods used in a craft education project. Methods. A total of 4 teachers from one metropolitan area elementary school took part in this study. Three of the participating teachers were class teaches and one was a craft teacher. The teachers were interviewed in the summer of 2017, using a semi-structured theme interview and the research material was analyzed using qualitative content analysis. There was also limited documentation from the Co4Lab-research, collected earlier by other researchers. Results and Conclusions. The study highlighted that team-teaching is a very functional method of teaching in a craft project. Team-teaching has slowly develop good choice by the years teachers has used it as a teaching method. Co-planning and teamwork has got easier year by year, and teamwork has helped the leading of this kind of an educational project. The key elements of successful team-teaching were well-arranged co-planning, conversations with colleagues and the feeling of shared responsibility of teaching and evaluation. Collegial support was an essential part of team-teaching. Whenever teachers felt that they did not know enough about the technical craft details of the project, they could rely on their team-member and learn from each other. Some teachers had other strengths; such as giving more support in education, structured teaching and schedules. It doesn´t take so much time to co-teach: small conversations with a team partner can lead to successful team-teaching.