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

Garden Lupin (Lupinus polyphyllus), classified as an invasive species in Finland, poses a significant threat to biodiversity by negatively impacting native meadow plants and butterfly populations. This thesis explores the utilization of lupin flowers as a natural dye for dyeing merino wool yarn. Experimental research investigates the effects of dyeing conditions on hues and examines the wash and lightfastness properties of the dyed yarns. Blue and violet lupin flowers were utilized as dye sources in the study. The assumption is that dyeing with lupin flowers may not yield a permanent colour due to the degradation of anthocyanin pigments in sunlight. Yarn samples dyed with four different methods underwent standard wash fastness tests using both alkaline standard detergent and pH-neutral detergent. Lightfastness tests were conducted on both washed and unwashed samples, and results were analysed quantitatively and qualitatively. The results indicate that lupin flowers produce blue colour on wool when using fresh flowers at a low dyeing temperature. Turquoise hues are achieved with fresh lupin flowers at a high dyeing temperature. Dried flowers and using the dye bath again both result in a muddy brown shade. All dyed samples exhibited moderate lightfastness and good wash fastness. Furthermore, in samples washed with a pH-neutral detergent, the hue remained visually consistent, while in samples washed with an alkaline standard detergent, the hues changed. The study provides a perspective on craftivism, where utilizing Garden Lupin as a dye becomes part of invasive species control. Since the plant is an easily accessible source of dye, it would be interesting to expand the research and thoroughly examine the plant's potential uses as a natural dye.

The research task of this thesis is to determine whether the change in self-efficacy in learn-ing handcraft methods is different in relation to teaching methods or underlying factors and whether the underlying factors are linked to the change in self-efficacy. The study compares the differences between teaching through educational video, traditional demonstration teach-ing and background factors in task-related self-efficacy. In addition, the study examines the link between the underlying factors and the task-related change in self-efficacy. The theory of the research is based on the sources of crafts science, educational science, and media education, which examines self-efficacy, educational videos, demonstration teaching, and patterns of handcraft skill acquisition. This study was of the nature of an intervention study, where data was collected through a questionnaire in a quasi-experimental study design and was analysed using quantitative methods. The study data consisted of 210 responses. The study was carried out using vid-eo-based learning material to teach handcraft methods in test groups and traditional demon-strations in control groups. Subjects’ self-efficacy related to chosen handcraft methods was measured before and after the intervention. The study examined two handcraft methods, soldering and stitch application. The results showed that there were statistically significant differences between teaching methods in soldering. Self-efficacy of subjects who received demonstration teaching in-creased by 14.3 %, while the corresponding figure for subjects who received video instruc-tion was 1.4 %. There were no statistically significant differences between subjects who re-ceived video and demonstration instructions in stitch application. A hobby in electronic hand-crafts and competence in handcraft school subject had a negative correlation to the task-related change in self-efficacy. The results show that the educational video is well suited to learning handcraft methods under certain conditions, but at the same time provides a new learning environment and a way to learn.

Objectives. The purpose of the study was to find out the emotional fluctuations experienced in the master’s course in craft education. Based on previous research, it is known that emotions are strongly associated with each stage of the craft process. Better learning outcomes are achieved when both positive and negative emotions are experienced. The theoretical background of this study was constructed from studies examined of both academic emotions and emotions related to the craft process. The study examined how strongly different epistemic emotions, i.e. learning and study-related emotions, students experienced within the framework of the Advanced Course in the master’s degree in Craft Science in University of Helsinki, and how those emotions varied. The research was inspired by my own experience and interest. Methods. The material was collected from the University of Helsinki's Master's degree course in Materialization in Craft Science in the autumn semester 2020 (September 2 – December 1, 2020). Craft teacher students (N=35) completed the emotional scale survey at the end of each teaching session (9 times). The survey was based on the Epistemic Emotions Scales (Short Form) emotion meter created by Pekrun et al. Emotional variations and emotional relationships were examined by correlation coefficients, patterns formed from descriptive data, regression analysis, and t-test. IBM SPSS Statistics software was used for the analyzes. Patterns were created from the averages of each emotion separately, and emotional profiles of a few individual students were added to supplement the results. Results and conclusions. All epistemic feelings occurred throughout the course. The course participants generally experienced mostly enjoyment and curiosity and least frustration and boredom. However, the individual emotional profiles of the students varied a lot from each other, i.e. the emotional variations of the students were different and individual. Enjoyment explained the statistically significant effect of the emotional variation on progression in course assignments. Statistical significance was also evident in the occurrence of confusion; in the first lesson, more confusion was experienced than in the fifth or ninth (the last lesson), confusion related to the assignment decreased from assignment during task completion. Based on this, the assignment of the course can be considered confusing, but as the process progresses, the confusion decreases significantly. An emotion survey can be utilized, for example, in a course, in which case course participants must reflect on their feelings.

Tiivistelmä - Referat - Abstract Objectives. The research task of this study is to describe, analyse and interpret what kind of craft teaching assignments occur in the field and how they correspond to the goals set by the National core curriculum for basic education (OPH, 2014). The purpose of the research is to give the reader a picture of the structure of the assignments and how the stages of the holistic crafting process are realized in the assignments. in addition, the object of examination is the implementation of design teaching and how the assignments enabled the realization of multimateriality. The structure of the assignments is examined according to the learning categories of the didactic model of investigative production. I research the realization of the holistic craft process in accordance with the contents (S1-5) of the goal (T2) of the national core curriculum for basic education (OPH, 2014). I analyse the teaching of design according to the design stages of the schools' design path. Methods. The research material was the assignments given by craft teachers to 7th-9th graders found on the internet and in the literature. There were 55 assignments in the material, and they had been implemented after 2016. The material was found on the website of Tekstiliopettaja TOL ry, on the website Punomo - handiwork online, on the website of technical subject teachers - TAO ry, on the website of educational institutes Pedanet and in the book "Kirja käsityöstä". In addition to these, I used three survey answers. I processed the material using the Atlas.ti 22 program. For the content analysis, I built three theory-based classification frameworks that answered my research questions. Results and conclusions. Most of the assignments were fairly closed (58.2%) or completely closed (27.3%). One assignment can be interpreted as quite open, but it was implemented as a collaboration between two teachers. The rest of the assignments were placed between open and closed assignments. In less than half (38%/55) of the assignments, students were instructed to use different materials in their work. Assignments can be used to aim for practice in a specific area, and by limiting them, the teaching can be differentiated. In the assignments included in this study, the holistic craft process or designing stages from start to finish were not realized. The assignments mostly consisted of the planning part and the implementation phase. In several assignments (78%/55), students were instructed to plan their work and then moved on to the doing phase (70%/55). The design was mainly limited to aesthetic details and searching for a ready-made guide or modifying an old one. Experiments in the sense of testing ideas took place only in a few tasks (7%/55). Instead of the design process, the analysed assignments showed the importance of doing.

This thesis examines the influence of the welfare effect of crafts and craft-communities in the lives of people with depression. The well-being effects of crafts has been studied extensively and from several different perspectives in recent decades. Some of these studies have been handled at a general level the meanings of crafts for the mental health, but little is known about the benefits of crafts specially for depression or depression self-treatment. Therefore, the aim of this thesis is to find out if the crafts can be used as a self-treatment method in depression, based on the meanings told by the depressed. The research questions were that what role craft plays in the story of the interviewee´s depression and what well-being effects the interviewees feel they get from crafts and craft-communities. The thesis pursues a narrative approach. Research material collected by narrative interview from five craft-amateurs who has experienced depression. Material from the interviews were analysed with two approaches. As a result of the narrative analysis, the study created personal stories of the interviewees about the depression and the role of crafts in it. The analysis of narratives examined in more detailed way the similarities and differences between the interviewees´ narratives. These narratives were compared with recommendations on self-treatment for depression and the studies about the well-being effects of craft. In their stories, the interviewees described how crafts and craft-communities improve their well-being. This was very consistent with previous studies of the subject. Because of the de-pression, it was significant for the interviewees that the crafts increased their experiences of pleasure, usefulness and success. They also felt that the crafts gave them more strength and improved life management. For the interviewees´ crafts and craft-communities pro-duced similar welfare effects. Although they felt that from craft communities, they received also social relationships with peers. Interviewees didn´t use the term of self-treatment for de-pression when they described the well-being effects of crafts. Even though the interviewees express that the crafts help them manage and live with depression. Based on such results the crafts could be considered a suitable method as self-treatment for depression.

The aim of the study is to provide an overall picture of how students use interior textiles to decorate their homes and what these textiles look like. What kinds of decorators and users of interior textiles are students? Where are interior textiles acquired, received, or do students fabricate those themselves? What kinds of meanings do students attach to interior textiles? The study has both a qualitative and a quantitative perspective. The research material was collected as an open online survey from self-selected students. 388 students answered the survey. Most of them lived alone in a block of flats. Answers were analysed by the means of theory-driven content analysis and by decomposing the content with the help of Word, Excel and ATLAS.ti 9. The research showed that students own a comprehensive range of interior textiles, women slightly more than men. Students’ favourite textiles include snooze blankets, curtains and rugs. Most of the interior textiles are selected by students themselves or received as gifts. Textiles are acquired both new and used, by oneself and as a gift. When choosing an interior textile, the research found that usability and colour has the greatest impact on students’ decision. In addition, the study discovered that there are many different emotions and memories associated with interior textiles. They can remind you of your family roots, people close to you and a day that is important to you. The most loved and meaningful textiles were found to be handcrafted, thus also considered unique. In the field of craft science, this research provides an updated information package of interior textiles for 2020s students. The content can be utilized in the study modules for interior design students. The results can have a positive effect on the planning of student housing, student services and events, and it might also increase the debate on student well-being.

Aims. All choices, decisions, and actions in our daily lives, including educational practices, are decisions for the future and affect how sustainable future we will create. Understanding the consequences of our choices and recognising our limits is essential for our future. Eco social civilization has been suggested as a solution to maintain the boundaries and preventing human inequality. Craft and visual arts are based on experiences, emotions and actions which support student’s personal and cultural development and help to understand broad contexts. The aim of this Masters’ Thesis was to study how sustainable craft and visual arts education in primary school can contribute to transformation towards eco-social civilisation. Methods. The data for this study was collected by an online survey from primary school craft and visual arts teachers. The survey was collected between March and April 2022 from four different groups in social media and was answered by total of 31 teachers. The data was analysed by using quantitative methods and qualitive content analysis. Results and conclusions. The results indicated that this subject is important, and its dimensions were considered in teaching. The contents most often considered in teaching were saving energy, water and resource, using recycled materials, reducing consumption, teaching traditional techniques, well-being effects, compassion and empathy, and interaction and learning skills. Only some respondents made use of services provided by networks outside the school, mainly for information and brainstorming. The use of these services was perceived as burdensome. In addition to the lack of time, the amount of content to be taught was identified as a challenge. Teaching materials should be subject- and age-specific and collected in one place. Responses indicated that teachers should be given more information and resources on how to teach the subject. The school culture should be developed, and the content and objectives of local curricula should be refined to support sustainable development. Teacher training opportunities should also be improved.

The purpose of this user-centered design-based research was to redesign wedding dress, which was made of recycled bedlinen and use leftover linen fabric to redesign upcycled clothes by participatory designing methods. The study approaches the apparel design challenge with Lamb and Kallal (1992) design framework, which was developed to consider the consumer’s needs. The Functional, Expressive, and Aesthetics (FEA) framework was developed to provide an overall conceptual frame for designing any type of apparel. The study explores Niinimäki and Koskinen (2011) article how an emphatic design approach could improve a sustainable design process. Also, sustainable development, slow fashion, and significance of material choices were important aspects of this study. Previous studies have addressed the impact of apparel design with special needs, but not consider redesigning upcycled clothes with recycled material, which has restrictions of fabric quantity. The research questions were ”which are the users wishes, needs and expectations for wedding dress redesign” and “which are user-based design criteria of functional, expressive and aesthetic needs” and also “does the custom made upcycled clothes meet the design criteria by user-centered experience”. User was interviewed three times. Based on the user data collection qualitative content analysis gathered the essential issues. Themes were to identify user profile and user needs for the upcycled clothes. Participatory design process includes Mattelmäki (2006) design probes, user’s picture collages of her favorite clothes, sketches, and prototypes. Conclusion of the study was how much the user appreciates the co-making process and the opportunity to change people’s values and attitudes towards slow fashion. Also, user’s expectations were fulfilled by upcycled clothes. Custom made clothes suite her well and memories were included by satisfaction. User’s idea of layering clothes offered more variety of using the upcycled linen clothes all year round.

Objectives. The purpose of this study is to untangle how companies located in the textile sector see the utilization of natural dyes on an industrial scale in the future. The research examines what kind of factors could enable and, on the other hand, challenge the utilization of natural dyes. Research from the companies' point of view has not been done before, so the companies' views provide valuable information that could benefit both ongoing research and project work as well as companies interested in utilizing natural dyes. Methods. This research was qualitative, and the research material did consist of theme interviews of five companies working in the textile sector. The companies are Natural Indigo Finland, Lappajärven Värjäämö, Lapua Kankurit, Nanso and Arela. All interviewed companies had experience of using natural dyes in their production. The interviews were analyzed using content analysis. The analysis was used content analysis program the Atlas.ti. With this a concise description of the companies' future visions was formed. Results and conclusions. The research indicated that all companies were interested in the possibilities of using natural dyes. The requirements of industrial production were partly seen as a challenge when the target was to produce uniform quality and colour-retaining textiles. Great potential was seen in utilizing consumers interest as interest in more natural textiles and production methods has grown. Consumption behavior that supports natural values is required from consumers. The higher price of products dyed with natural dyes could therefore be balanced by more thoughtful consumption. The possibilities of natural dyes in the future were seen to be stronger the closer the company was to the beginning of the production chain. These companies were already more committed to utilizing natural dyes. It was easier for a dye producer to believe in the possibilities of the future than for a textile producer who uses pre-dyed material. Cooperation in the entire value chain is important to increase the utilization of natural dyes. The textile industry needs new operators as part of the development chain of natural colours. In this way, the utilization of natural colours can be created as Finland's selling point.

Aims. Technology education in the first grades of primary school should be taught to the world of children’s experience because experiential learning has been shown to promote learning and the uptake of broad-based future skills. Creativity is utilized a lot in teaching that supports the experiential world of young children. Only little research has been done on the utilization of creativity in first-grade technology education in primary school. The aim of this study is to raise awareness of creative technology, education in the first grades of primary school and open up creative activities in technology dimensions. The aim of the study was to get an overview of creative technology education process and the occurrence of technology dimensions during that process. Methods. The research material was collected in the spring of 2021 during a project aimed at all first-graders in Finland. The project called Tämä Toimii! is developed by the Technology industry (2020). One class of 19 students and a teacher participated in this study. The class was from a medium-sized school in a medium-sized city of Kymenlaakso. The research material was collected using the teacher's notes, the researcher's direct observation and video recordings. The material was analyzed using the electronic Atlas.ti qualitative material content analysis program. Results and conclusions. The research results were presented using a Process-Rug analysis. A technology education project aimed at the first grades of primary school promoted the technological knowledge and skills of young pupils. As a result students developed a wide range of future skills. The technology dimensions were strongly present throughout the entity. Based on the research results, creative technology education that supports the world of experience and includes technological dimensions promotes the development of wide-ranging skills of young students.