How to laser cut patterns in textile

Ever been to the Textile Museum in Tilburg? If you are ever so little interested in knitting, weaving, embroidery or anything that relates to textile it is definitely worth a visit. They feature a textile lab with the most advanced machines for textile fabrication. And you can actually have your designs produced there. We at Wunderkammer designed curtains that we laser cut at the lab. For a good laser cut you need to find the right speed and intensity of the laser to fit your fabric and pattern. Below some pictures of our lessons learned. The result is now hanging in our studio. Curious? Feel welcome to visit!

The final result:

The first try out: To the left the laser intensity was too strong, the fabric melted and the pattern got glued together. To the right the laser speed was too slow and the fabric might burn.

To the left: the pattern still melts and sticks together. Maybe the pattern is too fine? To the right: when the laser beam is too intens the fabric burns and leaves black marks on the fabric.

To the right: we still haven't found the right speed and intensity for our pattern. To the right: let's try to change the pattern and make it less fine.

Finally we found the right speed and intensity of the laser beam and the right grade of detail in the pattern to get the result we wanted.

Our 'butterflies' against the sunlight.

Eveline Keyser tatters @ Wunderkammer

Scale is a fascinating thing. In 'Transposed Tatting' Eveline Keyser works with the beautiful technique of tatting in two different scales. The traditional scale uses a sewing thread and produces a delicate lace. In her interpretation of the technique Eveline Keyser uses thick cable that leads to a completely  new object. By stacking this object she created a beautiful poof. On display and for sale at Wunderkammer until the end of december 2012.

Tatting lace poof:

Classic application of tatting lace:

Iittala @ Salon #1

On Friday december 1st we open the first Salon 'The making of..' at Wunderkammer. We are very happy that Iittala supports us with a wonderful range of glass objects. We selected work of Oiva Toikka, Aino Alto, Tapio Wirkkala, Göran Hongell and Matti Klenell. Together the objects show a wonderful range of glas design from the past century, yet all feel fresh and contemporary.

Aino Aalto, 1932

Göran Hongell, 1948

Oiva Toikka, 1964

Tapio Wirkkala, 1968

Matti Klenell, 2012

We thank Iittala for their enthusiastic response to our request.

Marianne Kemp @ Salon #1

Next week we present our first Salon 'The making of ...' and we are proud to present Marianne Kemp. Marianne makes woven structures in different fibres, manually as well as mechanically. At the Salon #1 she will show special pieces and new work, al structures and objects in vegetal fibres and horse hair. On friday december 1st from 16.00 to 19.00 she will be present to explain her work.

Tapio Wirkkala

One of our heroes is Tapio Wirkkala (1915-1985). He was a very versatile designer and sculpurer, found inspiration in urban environments as well as the highlands in Lapland, worked in wood, glass, porcelain, metal and plastic. We love his philosophic view on materisla: all materials have their own unwritten laws. You should never be violent with a material you're working on, and the designer should aim at being in harmony with his material.'

Lenneke Wispelwey

We saw her work at the Design Week and instantly liked her poetic geometry. Lenneke Wispelwey (1979) is a Dutch ceramist who so far  works mainly in porcelain. She has a low tech way of designing, she often uses different shades of one colour and plays with the contrast between biscuit and glazed porcelain. 

An impression of our visit to the Dutch Design Week Eindhoven

Dutch Design Week is a joy to experience! A good mixture of young graduating design students and award winning designers. A few moved us more than others and were very open about there designs and will perhaps be joining us in future projects.

A SMALL SELECTION OF THE GRADUATION SHOW 2012, 
design academy eindhoven

TABLEWARE AS SENSORIAL STIMULI, 

jeon, jin hyun

CERAMIC PAINT / COLLECTION CORNWALL, 
kirstie van oort

CERAMIC PAINT / COLLECTION CORNWALL, 
kirstie van oort

NORTHERN LIGHT, 
niclas jørgensen

A NEW APPLICATION FOR URABAN GREEN, 
bennie meek

A NEW APPLICATION FOR URABAN GREEN, 
bennie meek

THE FLAX PROJECT, 

christien meindertsma

PIG 05049, 

christien meindertsma

MARMOLEUM MEETS CHRISTIEN MEINDERTSMA, 

christien meindertsma

RADIO ROYAL MACHINEKAMER, 
genieten op 1300 vierkante meter onopgepoetst industrieel design 

WORK WITH ME PEOPLE | BART HESS, 
work in progress 

WORK WITH ME PEOPLE | BART HESS, 
work in progress

Great Everyday Design

The Norwegian designer Sven Ivar Dysthe has designed just about everything from furniture to ski bindings. I grew up surrounded by his furniture sleek well detailed design in steel, black leather and palisander wood. The bachelor furniture from my dad which now also feature in the 50- and 60 design struck American televisions series Mad Men. This is the Dokka 1001 series a great favourite of mine.