The aim of this project is to optimise the sawing patterns used for sawing Scots pine at Säters Ångsåg AB. The thesis has a theoretical approach and does not claim to be fully applicable in a practical point of view. The input used in this project is last year?s sales volumes and prices of sawn products. The input of the timber is collected from the database ?VIOL?.

Modern sawmills are using the raw-material and the production-capacity more efficiently today, due to rising raw-material prices and higher production costs. Log sweepness has a negative effect on the sawn yield, for sawmills with straight-sawing. It is desirable that these logs could be sorted based on more criteria, if it increases value-yield and consequently the utilization of raw-material. Bow-heights over 1 cm have a negative effect on sawn yield, since the surface of the mantle cuts down in the sawn pattern. Some of these small bow-heights reduce the logs yield of value which affects the production planning negatively. Nearly half of all the Swedish logs have a bow-height over 1 cm.

Sandvik Group is a global engineering corporation within materials technology and produces, among other things, band sawsteel. In order to develop custom relations, custom benefits and the supply chain Sandvik wants to become more acquainted with its customers. Improved feedback means that Sandvik will be able to develop its products in a customized direction. This thesis is a tool for educating and developing sales staff. As a support a calculation tool that can be used as a sales aid has been developed.

The lily pad creatures arose out of my childhood memories of nature. This project has been an ongoing investigation of a workprocess as well as an exploration of my own sense of artistic idiom. I wanted to develop my knowledge in pattern design and focus on the artistic expression. I want the pattern to invite participation in storytelling in the same way that nature has inspired me..

The purpose of this study is to explain how the value of sawn wood changes when sawn wood are cut in 30 respective 60 cm lengths. The raw material into the saw mill will mainly be bucked in 30cm and 60 cm modules. There will also be two alternatives where the timber will be bucked special lengths, 370, 490 and 550 cm but also in 490 and 550 cm.The method used for the study is to simulate both cutting and sawing the woods. For cutting the simulator Timan is used and for sawing the simulator Timberopt is used. When data is generatedfrom the simulators, calculations of some key figures is done and also how much the revenue need to be increased for the sawn wood in order to cover for the increased costs of changing sawn woodfrom 30 cm to 60 cm modulesThe conclusion is that the single biggest reason, impacting the value of the sawn wood is the cutting at the saw mill.When going from 30 to 60 cm modules, the impact will be that the customers to the saw mill must pay more to increase the revenue by at least 10% for the sawn wood in order to justifice the changein production.It is also possible to increase the value of the products further by bucking the timber in three lengths, 370, 490 and 550 cm, in order to get 12 % increase of the share of longer sawn wood (>= 480 cm)..

The aim of this thesis was to analyse BARO WOOD AB:s timber measuring and quality sorting and to evaluate the analyse program Stockholmen. The purpose was to get a better understanding for the quality sorting made at BARO WOOD AB today, analyse differences in center board quality from logs with a good quality and logs with a bad quality, suggest new sorting criterias developed from analyses made with Stockholmen and to evaluate the program Stockholmen. All analyses are based on data gathered in a test sawing made at BARO WOOD AB in June and July 2002. The test sawing was made on four different diameter classes and every diameter class consisted out of A or M-grade logs, with a better quality, and B-grade logs with a lesser quality. The logs where sorted out with BARO WOOD AB:s existing quality criterias.

Six different Digital Proofing Systems from three different techniques have been evaluated as totechnique, printing quality, economy and usability. Digital proof from two paper qualities, coatedand uncoated, has been compared with references printed in offset, to see how good they match eachother. Only two Proofing Systems manage to print on reference paper. The other Proofing Systemsuse special paper for digital proof.Measurements and visuell judgement show that the Digital Proofing Systems visualise referencepictures with quite good quality. Proof optimised for coated paper visualise the colours with goodresult.

Hommage till slit och släp is a tribute and a resarchabout patterns relation to clothes. The primary goalof the project was to examine how a pattern couldchange the apperance of a garment and how thegarment?s construction and material would impactthe pattern. The formative survey was about thesparsely populated areas in the north of Sweden andhow theese areas have been treated by the swedishgovernment. The issue worked as an inspiration andmethod which I used in the patternresearch.

This is a project about creating new patterns from childhood memories of patterns. I havebeen reaserching the possibility to add further value to a pattern in terms of memories, stories,associations and feelings.The goal has been to create new patterns from other peoples memories of patterns. It hasalso been my purpose to develop my skills and feel more comfortable in the creating of patterns.The questions at issu has been:How can I tell a story with a pattern?How can I communicate a feeling or a mood with a pattern?How does our memory image and an interpretation effect the process and the end result?I interviewed nine people. The questions during the interview was:Your name and age?Where was the pattern you?r going to talk about placed?How did it look like?What kind of feelings or emotions do you connect with this pattern?Someting else you whant to tell about the pattern?I created five patterns and during the process with the interviews I realised the importance ofshowing the stories in the end result.

The character of a pattern carries through to the context in which it is placed. Each pattern tells a story. By interpreting our surroundingenvironments we become inspired, and the patterns in turn can become part of our own narratives. This project was fuelled by my fascination and desire to explore patterns. My method of exploration was based on prior knowledge of patterns and interior design.The question became how can I apply my knowledge of interior design to pattern design and how could I best translate the brief intoa language of colour and shapes? The aim was to develop my knowledge of pattern design as well as to use this opportunity to combine my design methods with those of a professional designer.

My project aims to understand more about the methods used in making woven textiles on an industrial level, and how these tech¬niques can be adapted to create object-specific pieces. On visiting the furniture fair in Stockholm, I was surprised to see that most of the textiles used for furniture were so similar, despite the variation in the furniture itself. My project is about creating textile patterns that are specific for each piece.The idea behind the process could be used for any product, but the pattern I created is specifically for the armchair Accent by Yngve Ekström. I wanted to create the feeling of a pattern moving over the surface of the object and adjusting to it. I worked primarily with differences in density.

Sweden has a great tradition of pattern in both wallpapers and fabric, where colours and shape matters a lot for the customer. I have through my examination project tried to expand the views and find new alternatives and shapes for the obvious pattern traditions. I have therefore worked with what could be on the verge of attractive or repelling. To create a curiosity of what is considered to be commercial. From the prospective of the body organs I have created physical patterns for fabric and wallpapers.

Ett mönster är uppbyggt av ett motiv som upprepas. Denna upprepning kan fortsätta i all oändlighet. Hållbar antyder långsiktighet. Mönstrets övergripande egenskap är oändlighet. Hur kan denna egenskap hos mönstret nyttjas inom mönsterdesign för att främja hållbar utveckling? Det här kandidatarbetet undersöker mönsterdesignens möjlighet att verka för hållbar utveckling genom att se till begreppet mönster ur ett bredare perspektiv, samt i relation till design för hållbar utveckling.

Under mina tre år på Konstfack har jag arbetat fram en värld av ickefigurativa mönster. I mitt examensarbete låter jag mönstren röra sig bortom skolans väggar och ut i det offentliga rummet. Genom att titta på hur reklamen idag tar plats i staden, på gator, väggar, tidningar och i kollektivtrafiken har jag hittat en för mig ny exponeringsyta.Mitt arbete består av två delar:I min processbeskrivning utforskar jag ickefigurativa mönsterbilders värde och roll i både konstnärliga och vetenskapliga sammanhang. Jag har också studerat hur reklamen tar plats i vårt offentliga rum. I mitt praktiska konstnärliga arbete har jag använt dessa teoretiska kunskaper tillsammans med en grupp tillvägagångssätt som jag gett samlingsnamnet PATTERN ATTACK.I mitt konstnärliga arbete presenterar jag hur olika PATTERN ATTACKs kan gå tillväga. .

The aim of this examination project was to work with the processof making a pattern collection for fabrics. The collectionshould consist of at least three patterns with report measurementssuitable for screen print. I wanted the pattern collectionto be a simple, mystic and colourful collection with a folklorespirit like the popular rural life I experienced during my childhood.The purpose of the project was that I during the working processwould deepen my estethic background to enforce my personalgraphic expression ability and evolve as a pattern designer.I wanted to try to mix my personal view of domestic graphicexpression with another language that I gained in recent years.This I wanted to do in order to find the tools that could helpme clarify and develop my pattern signature.A few of the questions that I had about this project were if thelong scetching phase that I planned would help or damage theproject.I also thought it would be interesting to experiment with coloursin this project. I wanted to see how far I dared to go inmatter of colours as well as how the patterns would be visuallyexperienced if I for example reduced one colour or replaced itwith the opposite colour.I thought it was inspiring to work with traditional techniqueswith the colours. It was only positive that part of the patternstory telling was developed in an unpredicted direction duringthe scetching phase.