Browsing by study line "Lärare i slöjd, design och teknologi"

The aim of this study was to describe the phenomenon of unfinished crafts, the reasons why crafts are unfinished, when crafts can be considered unfinished by crafts hobbyists, what crafts hobbyists have done with their unfinished crafts and what crafts hobbyists think about the future of unfinished crafts. There is little previous research on unfinished crafts and no more extensive research on unfinished crafts made by craft hobbyists using a variety of craft techniques is available. The data for the survey was collected through an electronic questionnaire in Käsityön ystävien vinkkipankki group on Facebook, on my own Facebook page and on Instagram. 212 craft hobbyists participated in the survey and the data was analysed using both qualitative and quantitative methods. 195 responses were included in the qualitative analysis of the open-ended questions. ATLAS.ti was used in the theory-based content analysis. The reasons why crafts hobbyists did not complete their crafts were varied and intertwined and interlinked. There was rarely only one single reason for not doing crafts. The reasons for not completing a craft project were most often expressed in terms of image, motivation and skill. Other factors were time, life situation, material, need, health and problems. The survey does not provide an unambiguous definition of when a craft can be considered abandoned, but each craft hobbyists has the opportunity to define abandonment from his or her own point of view. However, the idea that the work might still be completed at some point was considered important. The results suggest that, as a rule, the craft hobbyists who participated in the study are interested in either completing their unfinished crafts in the future or in making use of the material by dismantling or reusing it.

Objectives: Teachers' well-being at work has been studied especially from the perspectives of work-related stress factors. However, experts from the field of well-being at work have pointed out that studies should focus more on studying factors that promote well-being than on factors that weaken well-being at work. The self-determination theo-ry (SDT) is part of motivational psychology. The theory considers that the fulfillment of basic psychological needs (BPN) is essential for human well-being. Based on the theory of self-determination this study develops Basic Psy-chological Needs of Teachers Scale (BPNTS) to measure the basic psychological needs of teachers. The scale is used to study the manifestation of basic needs factors related to the work of crafts teachers and teachers. The scale is also used to examine whether there are differences between craft teachers and other teachers in the realisation of basic needs factors, and whether background factors have an impact on the basic needs experiences of craft teach-ers. Methods: To measure the basic psychological needs of teachers a 7-step Likert -scaled survey was created. The survey was distributed through various online channels to craft teachers and teachers in the spring of 2021. 367 responses were received. 229 responses were from craft teachers and 138 from other teachers. The research data was analysed using statistical methods using IBM SPSS Statistics software. The manifestation of basic psychological needs of teachers was studied using exploratory factorial analysis (EFA). The differences between craft teachers and teachers in relation to the manifestation of basic psychological need factors were investigated through descriptive results, correlation examinations, a T-test of independent samples, as well as one-way analysis of variance (ANOVA). The association of background factors - teachers' age, place of work, gender and job title with teachers' basic needs experiences was investigated using one-way analysis of variance and correlation analysis. Results and conclusions: With the Basic Psychological Needs of Teachers Scale (BPNTS) was managed to measure the dimensions of the initial theory quite well. The scale turned out to be functional and reliable. As a result of the factorial analysis, 4 basic work-related needs dimensions were identified – Autonomy, Competence, Relatedness and Freedom. According to the theory, the results reinforced the assumption of the independent influence of basic psychological need factors. Both groups of teachers estimate that the studied dimensions were realized quite well on average in their work. Craft teachers felt that freedom to work was best realized and that relatedness was realized weakest. Statistically, a very significant difference between the teacher groups appeared in relation to the freedom and empowerment experienced at work. Crafts teachers estimate that these are fulfilled better in their work compared to other teachers. Of the background factors, the workplace was found to have some impact on the fulfillment of the basic needs of craft teachers. It has been noticed that to promote teachers' well-being at work, it would be important to be able to analyse well-being factors at work more effectively. The Basic Psychological Needs of Teachers Scale (BPNTS) provides a useful model for more accurately mapping and studying the basic needs dimensions that affect teachers' well-being at work.

Faculty: Faculty of Educational Sciences Degree programme: Master’s Programme in Education Study track: Craft Teacher Education Author: Susanna Kirvesniemi Title: Colour from a weed – Scentless mayweed as a dye source for cellulose and regener-ated cellulose fiber Level: Master’s Thesis Month and year: March 2023 Number of pages: 58 pp. + 9 appendices Keywords: Scentless mayweed, natural colorant, cellulose and regenerated cellulose fi-bers, protein fiber, alum, aluminium compounds Supervisor or supervisors: Riikka Räisänen Where deposited: Helsinki University Library – Helda / E-thesis (theses) Additional information: Abstract: This empirical experimental study investigated the functionality of the scentless mayweed (Tripleurospermum inodorum) as a source of dye for cellulose and regenerated cellulose fi-bers (flax, bamboo viscose) and wool was used as reference fiber, which as a protein fiber, is best for dyeing with natural dyes. Tannin and aluminum compounds were used as mor-dants. This study was part of a larger study by the BioColour project, which aimed to pro-duce information on mordants residues in dyeing baths. With this study, the research data was produced, and the colour fastness was analyzed from the dyed textile materials. The research data was carried out using two different methods, a separate mordanting and dye-ing method (linen, bamboo viscose and wool) and a combined mordanting and dyeing method (bamboo viscose and wool). The colour fastness was determined according to in-ternational ISO standards. The total colour change (∆ELab*) was largest after washing with an alkaline standard deter-gent on linen (∆ELab* 11.77) extracted with aluminum acetate and bamboo viscose mor-danted with alum (∆E Lab*11.36). The overall change in the colour of the bamboo viscose mordanted with alum was largest (∆ELab* 10.17) also with pH-neutral detergent. On pH-neutral detergent washed linens mordanted with tannin and aluminium acetate (∆ELab* 0,85) and aluminium acetate (∆ELab* 1,32) and bamboo viscose which was mordanted with aluminium acetate (∆ELab* 1,57) had a slight change in overall colour. For wool, samples washed with alkaline standard detergent all had a large overall colour change (∆ELab* 18.99–24.98). For wool washed with a pH-neutral standard detergent, the overall colour change was significantly less (∆ELab* 9.49–15.37). The overall colour change of bamboo viscose dyed with the combined mordanting and dyeing method and washed with an alka-line standard detergent was large (∆ELab* 10.77–17.94) and the overall colour change of those washed with pH-neutral standard detergent was minor (∆ELab* 1.38–7.9). Assessing the colour change on the gray-gray scale gave a rating of 1–4 for linen washed with standard detergent, 1–3 for bamboo viscose and 3–4 for wool. After washing the col-our of the wool was visually brighter than the colour of the unwashed dyed wool. Using the combined method mordanting and dyeing method, the assessment of the colour change of the dyed material on the gray-gray scale gave bamboo viscose a rating of 1 and wool a rat-ing of 3–4. When assessing colour staining on a gray-gray scale, the lowest grade (3–4) came from the bleached cotton of multi-fiber fabric and the highest grade from the wool of the multi-fiber fabric (4–5). Light fastness was best in linen mordanted with tannic and alu-minum lactate/acetate (4). Wool received a rating 2–3, it turned brown during the test, bam-boo viscose had the worst lightfastness, and it received a rating 1. The grades were 3–5 for dry rubbing and 2–5 for wet rubbing. As expected, the dye extracted from the scentless mayweed had a lower dyeing ability for the cellulose and regenerated cellulose fiber than wool. Thus, scentless mayweed can be seen to be more suitable for dyeing protein fibers than cellulose and regenerated cellulose fiber.

Obtaining blue colours from nature has been found to be difficult. The aim of this re-search was to find out the blue colour provided by the three natural dyes as well as the effect of the dyeing method on the blue colour, colour fastness, and the repeatability of the colour following a certain dyeing method. The research began with dyeing methods found on social media, which had been used to create a blue colour from certain natural dyes. As stated by several home dyers, the colour given by blue colours from nature and certain natural dyes could be observed to be formed as a result of chance. The colour fastness of many materials dyed blue is found to be weak, due to flavonoid com-binations contained in the dyes. In this experimental research which blue colour was sought from preselected natural dyes: frozen lupine, black beans and frozen alder buckthorn berries. In the research, two mixed yarn samples with a single natural dye, a total of six samples, were dyed for the actual experiments. For pre-tests, several mixed yarn samples were dyed to find the blue colour. All the mixed yarn samples were pre dissolved with alum and some of them used tartar as an auxiliary. In dyeing vinegar was used to change the pH of some dye broths to a more acidic one. The pH values of all dye broths were tested by meas-uring. The dyeing temperatures were standardized in pre-tests using a digital meter, in actual tests the correct temperature was adjusted to the Linitest device. Colours of the dyed samples was determined by the CIELab device and total colour difference of two samples dyed with the same natural dye was investigated. The dyed samples were subjected to standard tests of color fastness: abrasion resistance test, water wash re-sistance test and light resistance test. Colour fastness tests were only done on the first dyed samples of the actual test, pre-tests colour fastness was not testing. The results of the research were examined quantitatively and qualitatively. It was possible to repeat the blue colour using a certain dyeing method. The pH value and dyeing temperature of the dye broth contributed to the adhesion of the colour to the yarn. All the dyed samples had low to moderate colour resistance. The abrasion re-sistance in almost all samples was good. In the wash resistance test staining was mini-mal, but the washed samples changed colour or the colour was disappeared almost completely. Light fastness in all samples war weak.

The purpose of this study was to examine the ways genders are represented in Tekstiiliopettaja- and Tekninen Opettaja magazines. Gender in relation to handicrafts has been studied especially in the context of craft education in schools, and the influence of teacher’s values and attitudes on how they perceive their students has also been studied in various subjects, but there’s few studies focusing specifically on craft teachers. Teachers play a significant role on students’ life, and as a subject with a very gendered past craft can play an important part in either changing or strengthening traditional gender roles. This makes the association member magazines of craft and technology teachers an interesting subject for this study, as they can offer a glimpse into the teachers’ views. The questions this study focuses on are 1.) What kind of gender-related discourses can be found in the texts of the association member magazines? 2.) How different genders are represented in the images of the magazines? The study has a qualitative approach on the subject and the data used consist of the entire 2019 volumes of the Tekstiiliopettaja and Tekninen Opettaja magazines. Both magazines publish four issues in a year, so the entire data consisted of the written texts and images of 8 issues. The representations of gender were analyzed using the methods of discourse analysis and image analysis. The 2019 volumes were chosen for this study because it was the latest fully published volume available at the time this study was made and using the most re-cent data was the most relevant choice considering the matter of the study. The study showed that the texts in the magazines are generally quite gender neutral, but when gender does come up in them, the discourses usually follow fairly traditional views. In the images the old divide into manly technology and womanly textile work is still clearly visible. The sparsity of gendered expressions in the texts shows clear intention towards better gender sensitivity, but the representations seen in the images overshadow the neutral tone of the text and even change the overall impression of the contents from non-gendered to gendered. The results are partly due to the gendered history of crafts, but they also show that changing into gender-neutral language alone isn’t enough to change the prevailing gender norms, but requires also critical discussions and reflecting on the matter.

Wool is a biodegradable fibre that has been produced and used in Finland for centuries. The local cultural heritage includes knitted clothes resembling soft shell fabrics, such as the so called tikkuri, which is a traditional fisherman’s sweater from Hailuoto. Finnsheep is an old Finnish landrace, but its wool has been underused for a long time and not much is known about its qualities regarding especially clothing physiology. Breathability is one of the most important factors for any clothing and especially so in outdoor activities where sweat rate can chance rapidly. The aim of this study was to determine factors affecting water vapour permeability of Finnsheep wool knitted fabric to estimate Finnsheep wool’s potential as a soft shell type textile for outdoor clothing. A common cup test method was used to measure the water vapour permeability of samples that were knitted exclusively from white Finnsheep wool yarns. Two different yarns, two skeins each, from one spinning mill were used to knit samples in single knit. Average linear density (tex), twist counts, yarn structure and lipid content (%) were measured for all four skeins. Knit gauge, loop length and square meter weight of fabric were also measured. Results were analysed using non-parametric statistical methods as parametric methods could not be used due to small sample sizes. All measured yarn and fabric parameters affected samples’ breathability, but fabric parameters only correlated with the amount of the water vapour that had completely passed the fabric. Fabric parameters did not affect fabric’s ability to absorb water vapour. Linear density and lipid concentration correlated negatively with water vapour that had passed the fabric, whereas vapor absorption correlated with both twist counts and lipid concentration. Findings suggest that the best breathability results would be achieved using thin fabrics with a tight gauge. Thinner fabrics tend to have poorer heat insulation properties meaning that the structure of shell clothing knitwear should not be determined by just one feature. Surprisingly, the wool lipid concentration correlated positively with samples’ absorption abilities. In order to prevent water vapour from absorbing into woollen knitted fabrics, only yarns with low lipid concentration should be used. Sample sizes were small so these results should not be generalized. Instead, they inspire future research about Finnsheep wool and especially wool lipid’s role in physiological aspects of Finnsheep wool knitwear.

The aim of this study was to deepen the knowledge and skills related to the Okinawan dyeing technique bingata, continuing the subject of the bachelor’s thesis on the Japanese katazome dyeing methods. The theoretical part of the research includes information about the history and the geographical location of Okinawa, various aspects of the history of bingata and its technical work methods and working tools, answering comprehensively to the question what is bingata. The purpose of the research was to describe the cultural-related skill learning process through personal experiences and to tell how the knowledge acquired during the intensive period implemented in the research is reflected to the knowledge acquired in the theory part. There is a limited amount if any research about bingata in Finnish, so it is justified to produce profound information of bingata. This was a qualitative research that researched bingata as a dyeing method. The learning process of bingata dyeing at an intensive period in Okinawan dyeing studio was observed and analyzed with an autoethnographic approach. During this period the skill and knowledge of bingata dyeing as well as the working methods and tools were learnt. As a method of observation, the researcher’s notes, logbook, photographs and video recordings were used to save the characteristics and important considerations of the different work phases of bingata. The result of this study was an extensive description of bingata, which made it easier to understand the specificity of the bingata dyeing technique as well as its complexity. The aspects that influenced the birth and development of bingata and combined the importance of history with the development of technique and its current status was brought up in the research. The creation of bingata has more than ten steps which in the study were divided into three main categories based on the work methods and materials that were used in them. The work phases contain many details that only came visible during the intensive period through the observation, analysis and learning process. Examples for these are the details related to the color application of different patterns and areas, learning working grips and using different kind of aids to make the process smoother. By analyzing the dyeing skill learning process with an autoethnographic approach and by mirroring it to the information obtained from the theory part, nuance differences which helped to deepen the learning of bingata dyeing skill, were found and described.

Invention pedagogy and invention projects can be used to meet the transversal competence objectives of the Finnish curriculum related to invention and technology. The objective of this study is to examine technology competencies in the invention pedagogy among student teachers. This study focuses on describing how technology competencies are utilized in the learning process of student teachers in the Invention pedagogy course, as well as in the invention project of different age groups planned by student groups. This study aims to deepen the readers’ understanding of the utilization of technology competencies in the invention pedagogy. The data for this case study consisted of the learning outcomes of the three implementations of the Invention pedagogy course at the University of Helsinki. The learning diaries of 16 students, and the invention project plans of seven student groups were analysed by using a theory-oriented content analysis. Theoretical framework of the content analysis related to the five technology competencies by Korhonen and partners (2022): craft, design, engineering, pro-gramming, and reflection, documentation and sharing. Through these five technology competencies the data was analysed. The results of the study showed that technology competencies were related and overlapped. In their learning diaries, student teachers often described simple craft in connection with other competencies. The ideation phase was perceived as difficult, and therefore warm-up and guid-ed ideation methods were considered important. In the design, the students also used Tinkercad for 3D modelling. Related to the engineering competence, learning everyday technology before or during the invention projects were perceived as important. The programming competence was mostly related to the microcontrollers or their programming. The programming involved both technical and team-programming related challenges. Different problems were often solved by experimenting, making mistakes and thinking together. The students documented and reflected on the performance of the tasks and the planning of the invention project in different ways with pictures, words and with reference to the sources. Some of the students reached deep reflection by describing their feelings and learning. In the invention projects planned for pre-school and first grades in primary school, drama and storytelling in the warm-up, simple crafts and engineering skills were emphasized. The invention project plans aimed at older students emphasized microcontrollers and their programming, as well as peer feedback and electronic documentation. From the invention pedagogy course, the student teachers also gained important experiences of the invention process, its phases, non-linear and iterative nature, and feelings of irritation and frustration, which will make it easier to understand the pupils’ perspective in invention process in the future.

The task of this thesis was to study the transmediation processes of craft teacher students in the context of a learning assignment during the university course of Materialization in Craft Science. The study specified the starting points for transmediation and the factors that influenced it. In addition, the short videos produced during the learning assignment were analyzed, specifying the craft related meanings conveyed by them. The aim of the study was to describe the transmediation process as a part of craft, from the perspective of craft teacher students. More specifically to build an understanding of how both theoretical and concrete knowledge are transferred from one medium to another through craft and video making. Previous research has shown that transmediating deepens learning and increases understanding of the information being transferred. Video technology has autoethnographically been applied in craft research during the past, which has significantly deepened the understanding of the studied phenomenon. 29 craft teacher students from the University of Helsinki took part in the Materialization in Craft Science course during fall 2020. During the course, they completed a “Article into a Video” learning assignment, which eventually resulted in making a short film. The data of this study was the recording, where craft teacher students presented their short films during the course. The recording was transcribed and analyzed using qualitative content analysis. The short films were analyzed applying essence analysis. Craft teacher students approached and framed the learning assignment from the starting points of their own lives in relation to the knowledge presented in the research articles of the learning assignment. They transmediated information through craft and video making. The craft teacher students transmediating processes were influenced by both internal and external factors. Internal factors were such phenomena, which the craft teacher students were able to influence. Instead, external factors where such that could not be influenced during the learning assignment. Craft related meanings conveyed in various ways through the short films that craft teacher students had produced.

Objectives. The aim of the study was to examine early-career craft teachers’ conceptions about classroom discipline and how they prevent and solve classroom discipline issues. The study also examined craft teachers’ attributes related to self-efficacy, especially from classroom discipline’s point of view. Angle throughout the study was craft teachers’ novice state. Theoretical background is combined of two main areas. First, concept of classroom discipline, causes behind classroom discipline and classroom discipline issues as well as means to intervene challenging classroom situations are examined. Second main theory was Albert Bandura’s (1977) theory of self-efficacy and related factors, which in this study was connected to examine teachers’s experiences of solving classroom discipline issues. Methods. Data was collected during April and May of 2021 using online inquiry. The inquiry consisted of standardized open questions. The inquiry form was distributed deliberately in internet and social media to locations where the targeted novice craft teachers were reached. Twelve respondents, who had less than five years of teaching experience, took part in the study. Methodological approach to this study was qualitative phenomenography. Collected data was analyzed with phenomenographic analysis and content analysis. Results and conclusions. According to the respondents, classroom discipline is a state where teaching is not distracted. Classroom discipline was said to enable concentration and fluent work. Positive and safe atmosphere was also mentioned as an attribute of classroom discipline. In managing classroom discipline, craft teachers favor preventive methods over corrective methods. Encouraging students to follow rules was the most common preventive method to manage classroom discipline. The most common unverbal corrective method was waiting the class to be silent before beginning teaching, whereas the most common verbal corrective method was reminding existence of rules, using positive phrases in teaching and one-to-one conversations with students. The most used punishments for discipline disruption was taking the student to separate space from others and contacting parents. Craft teachers felt that their survival and self-efficacy experiences related to classroom discipline management were mostly influenced by modeling (for example practices of more experienced colleagues) and social support.