Saturday, 11 February 2023
Catharine Ellis, Weaver and Dyer
Wednesday, 8 February 2023
Sojourner Truth, Abolitionist
Portrait of abolitionist Sojourner Truth, sitting with yarn and knitting needles
- TYPE OF RESOURCE
- GENRE
- DATE CREATED
- DIVISION
- PHOTOGRAPHER
For scholars of Truth’s portraits, though, the symbolism is great. Truth’s handiwork conveyed an aspect of her social justice message, that knitting represented industry and advancement. She demonstrated the skill to people she met, many of them seeking refuge in the Freedmen’s Village in Washington, D.C., in the mid-1860s, and encouraged them to take up knitting. Her audience might produce items they sold or kept for themselves. Regardless, she believed that anyone would be “much happier” if usefully employed.
It is difficult to tell whether the shawls and caps Sojourner Truth wears in these portraits are knitted or crocheted, but in all four photos, she is knitting. The Library Company notes that “[Sojourner Truth’s] knitting probably alludes to her promotion of the handcraft as an industry for advancement of former slaves.” Curious about the significance of the knitting shown in the portraits, I further researched Sojourner Truth and her knitting. It was difficult to find anything specific, but most helpful, informative, and current was a blog post on the Brooklyn Tweed website written by Ra Malika Imhotep, entitled “Part II: Crafting for Freedom,” published on July 28, 2020. In her rich analysis of the intertwined histories of Black people and handwork, Imhotep, a Black feminist scholar, confirmed that Sojourner Truth was active in a community that supported racial and gender equity in Northampton, Massachusetts called the Northampton Association of Education and Industry where abolitionists operated a silk mill, teaching escaped and former slaves skills that would help them learn to support themselves. In addition to Imhotep’s article, I have shared other primary and secondary sources I encourage you to explore below.
Although the dominant representation of the relationship between enslaved Africans and cotton is the agricultural labor of the field, there was a subset of cotton work that took place in the cloth house. The Homespun Movement is largely attributed to Anglo-American women who performed their patriotism during the American Revolution (1775 -1783) by refusing imported British materials and clothing by returning to traditional methods of weaving and spinning their own textiles. What gets cut from this story and is subsequently hard to research, is the way the labor of the enslaved enabled this valorization of domestic goods. What I do know is that some enslaved Black people, often described as elderly, disabled and otherwise unfit for agricultural work, were conscripted to the industrial labors of spinning cotton, weaving cloth and making clothes.
Tuesday, 7 February 2023
Cyanotype and Photo-Reactive Dye on Fabric
Tuesday, 31 January 2023
Recycle Textiles
Textile Recycling Jacksonville
https://textilerecyclingquotes.com/product-destruction-services-in-jacksonville/
Recycle Old Shoes
Terra Cycle
Additional Resources/Info:
https://www.nytimes.com/wirecutter/guides/how-to-get-rid-of-old-clothes/
Elizabeth Silver, Designer
Tuesday, 17 January 2023
Fiber Experiments Assignment Guidelines
- Complete five (5) fiber experiments.
- Several processes will be demonstrated in class over two days.
- Experiments will be small scale so students can experience different processes and to ensure there are enough supplies for everyone.
- Take pics of your final solutions. Post on your blog and label with the process you used. Make sure pics are good quality and take detail pics when needed.
- Students may purchase their own supplies for any of the experiments.
- If a student chooses to utilize a process for their final, personal project, the supplies will need to be purchased by the student with a few exceptions for materials that are in surplus in the studio. See me for details.
- Announced in class and posted on the course calendar (File Section in Canvas).
- Two of the experiments have to be turned in with a photo - Tufting and Flat Loom Weaving. Take a picture of your work and place on your blog.
- Turn in all other work to me.
- I am looking for work that demonstrates time and effort. Hand stitching such as embroidery, applique, couching should demonstrate more than a few stitches.
- -5 points if you are not present when work is due. -5 points for each class thereafter.
At least five processes below will be demonstrated during class time. Students can choose to explore a process not on the demonstration list and/or not demonstrated in class. This choice can count toward the five required experiments. Students can have more than five.
- Wool Drawing (wool or llama on paper)
- On heavy mixed media paper measuring approx. 3" x 3".
- Supplies provided in the studio. Paper, llama fibers, needles, foam block.
- Go to link below to see examples and follow link to artist demonstrating.
- Student Work
- Recommended paper. Strathmore Mixed Media. Vellum Surface. 400 Series. 184 lbs. 140 lb can work too.
- Couching
- On felt measuring approx. 3" x 3".
- Supplies provided in the studio. Felt, yarn, needle, thread.
- Applique
- On felt measuring approx. 3" x 3".
- Supplies provided in the studio. Felt, needle, thread, scrap fabric.
- Artists
- Student Work
- Beading
- On felt measuring approx. 3" x 3"
- Supplies provided in the studio. Felt, thread, needle, beads.
- Embroidery
- On monk fabric measuring approx. 3" x 3".
- Supplies provided in the studio. Embroidery floss, monk fabric, needles, embroidery hoops.
- How To Videos:
- Artists
- Felting
- On felt measuring approx. 3" x 3" or a small 3D form
- Supplies provided in the studio. Felt, wool blend, needles, foam block.
- How To Video
- Artists
- Knitting Round Loom
- Sample should be the approx. 3" x 3"
- Supplies provided in the studio. Looms, yarn, hooks, knitting needles.
- How To Videos.
- Knitting Flat Loom, Warp and Weft
- Sample should be the approx. 3" wide, 1" height
- Handheld looms and yarn available in the studio. Most have weaving samples on the loom.
- Take a pic of what is on the loom and then take a pic of what you added. Post these two images on your blog, label accordingly.
- Knitting Needles
- Sample should be the approx. 3" wide and 1" height
- Supplies provided in the studio. Yarn, needles.
- Crochet
- Sample should be the approx. 3" wide and 1" height
- Supplies provided in the studio. Yarn, crochet hooks.
- Drawing on Fabric
- On cotton fabric measuring approx. 3" x 3".
- Supplies provided in the studio. Cotton fabric and ball point pen.
- Artists
- Ink Making with Natural Dye
- Use ink on mordant fabric I provide. Size approx. 3" x 3".
- Supplies available in the studio.
- Tufting
- This process is done with a tufting tool. A large punch needle tool that is plugged in.
- To experiment, all students will use the same one piece, large piece of tufting fabric.
- Take a pic of what you did to post on your blog as individual samples will not be possible.
- Artists:
- How To Videos
- Student Work
- Machine Sewing (two machines located in Innovation Center)
- Sample will need to be a bit larger so as utilize the machine. Scrap fabric available in the studio. See me.
- Marbling on fabric (silk is a wonderful choice for this process).
- Cyantopyes on Fabric
- Ice Dyeing
- Latch Hook. You can purchase supplies at local hobby store. Take this process beyond decorative by experimenting with different lengths and thickness of yarn. I have a basic selection of yarn available in my office if you wish to use.
- Punch Needle. You can purchase supplies at local hobby store. Take this process beyond decorative. an example of student work in link below. Designs reflect patterns in different cultures.
Sunday, 15 January 2023
Surface Design Pattern Assignment Guidelines
Assignment
Design and produce a surface pattern. May incorporate digital methods for sketching and/or send away for a digital print on fabric. Includes a presentation of research and sketches to the class. Check course calendar for date of presentation. No make-up presentations.
See evaluation criteria document in file section in Canvas.
All students must put their presentation on their blog. No powerpoints or file. Those who do not post and present from their blog do not receive credit. Some of you have not submitted your blog link to me - I need blog link to access your presentation during class.
Objective
Explore processes and techniques used to create an innovative surface design pattern. Research and reference historical and contemporary surface design patterns.
Inspiration
Search right column index for "Surface Design Pattern Inspiration". Or go to link below. If you are on your phone and do not see right column, scroll to bottom and click on "web version".
https://textilesatflaglercollege.blogspot.com/search/label/Surface%20Pattern%20Design%20Inspiration
For some students, incorporating the cyanotype process might inspire ideas. Students will have to purchase their cyanotype materials if they choose to incorporate this process. Go to link below to learn more.
https://textilesatflaglercollege.blogspot.com/search/label/Cyanotype
Student Work
Search right column index for "Surface Design Pattern Student Work" or go to link below. If you are on your phone and do not see right column, scroll to bottom and click on "web version". Or go to link below.
Due Date
- Announced in class and on the course calendar (File Section in Canvas).
- This assignment includes a presentation of ideas and progress check in dates. See evaluation criteria document in file section in Canvas.
- Points deducted from final assignment grade for missed presentation and/or missed progress check-in.
- Progress must be tangible. You cannot "tell me" what you are thinking about.
Materials
- Graph paper (I can provide if you don't have), pencil/pens/markers.
- A smooth surface fabric.
- 22" x 32".
- Final solution will be 20" x 30" as you will hem the edges for a clean finish.
- Avoid a textured surface on the fabric as the raised texture will prohibit a smooth application of paint.
- Acrylic paint (or fabric paint).
- You may incorporate stitching beads or other elements to the surface. These materials are your choice and should be used to enhance the design.
- Fabric glue is an option for those materials that are suitable for glue. Make sure surface fabric can support weight of what you put on surface and no glue showing.
- If you are choosing the digital option, you do not need fabric as you will have to email your design to company that will print on the fabric for you. You have the option to stitch/paint on the printed fabric - combining "by hand" and "digital print". Go to the end of this post to see the link for Spoonflower, a company that prints on fabric.
Guidelines
- Pattern is defined as elements (shape, color, line, texture) that repeats in a predictable manner. Use at least four elements in your design.
- The final solution to measure 20" x 30".
- This is the size after edges have been hemmed. This means the edges of the fabric must be finished, clean edges. You can hem by hand stitching, sewing machine or fuse tape. I have a "how to video for fuse tape" here on the class blog. The other two options will be demonstrated in class.
- https://textilesatflaglercollege.blogspot.com/2024/01/how-to-use-fuse-tape.html
- Strive for patterns that are innovative and demonstrate time and effort.
- While clean lines/marks are necessary to visually communicate the pattern, realize some of the materials you select may not produce perfect results and this is okay as long as work appears visually coherent.
- Stitch pieces of the fabric on the surface.
- Stitch or glue objects to the surface. No restrictions on objects but if using glue make sure objects will appear professional - no glue showing.
- You can make your own objects from clay, hot glue and/or sew miniature soft sculptures to then be sewn on surface fabric.
- Stamping. The stamp cannot be a pre-fabricated design. You must make your own stamp. Link below to shows examples.
- Consider how the colors you choose will work with the surface color. Consider color schemes such as monochromatic color, complementary color, triadic.
- Consider how texture can be part of the pattern.
- Consider the size of the shapes/marks you are making. How can various sizes create a pattern?
- Consider multiple patterns on one surface. For example, a border pattern with a different pattern in the interior space.
- Pattern can be created with various approaches.
- You may strive for a pattern with clean, crisp lines - visually communicating a graphic quality of vivid marks and details.
- Or you may explore a pattern made with loose, gestural marks as long as work is visually coherent.
- Research
- Collect three (3) pieces of research for inspiration.
- Research includes images that contain patterns. A pattern is alternating, predictable elements.
- You can also reference any information that appears on this class blog.
- **Important - Must include a source link for all research. Always give credit to the source when posting on your blog.
- Make sure to search student work (link above) so you can see how others used research to develop their idea.
- I collected several online databases for research. I suggest you begin your research with an online database. Link here to see the many posts with links to textile databases and blogs.
- https://textilesatflaglercollege.blogspot.com/search/label/Research
- Sketch out two different ideas on graph paper with pencil. These sketches can be rough.
- Must include color in designs.
- Do not spend a large amount of time filling in the color - need to use this time for painting on the fabric.
- Digital designs (sketches) are an option. You can choose to design on graph paper or digitally, using a grid.
- Remember, your pattern must have at least four different elements that alternate in a predictable manner. Elements for this assignment are shapes, line, color, simulated and/or actual texture.
- Be prepared to clearly identify the four alternating elements.
- Post research and sketches on your blog and present to the class on assigned day. This date announced in class and posted on the course calendar (File Section in Canvas). No make-up days for presenting. Points deducted from project grade for missing presentation.
- Optional. Sketch out your design on paper that measures 22" x 32", allowing 2 inches on each side for a hem. Final solution will measure 20" x 30". I suggest using paper from the large rolls of craft paper in the studio.
- Begin work on final design.
- Reminder, you will fold over an inch on each side to hem.
- This applies to by hand and digital.
- Super Important. If you plan to send away your design for a digital print on fabric, you need to factor in the time to receive the printed fabric and hem. Refer to course calendar (File Section in Canvas) for due date so you can plan accordingly.
- Digital prints on fabric need to be hemmed. Factor in this time.
Saturday, 26 November 2022
Kiriko, Portland, Oregon, USA
Kiriko is a lifestyle brand forged from the spirit of Mottainai (勿体無い); a Japanese value that embraces one to waste nothing and recycle everything.
Their website contains a wealth of information along with a shop to purchase clothing.
和柄 : Japanese Patterns
Traditional Japanese designs, or "Wagara", are traditional Japanese patterns. They are history designs, each with a specific meaning, originally created for decorating traditional garments. The patterns that date back to the 8th century Heian period of Japan, are largely inspired by nature and were crafted using techniques from painting and Chinese calligraphy. They were worn with purpose for different seasons and occasions. However, in the last century this language of pattern was being lost as younger generations shed traditional dress for more westernized clothing. This spurred the use of "Wagara" in homewares and fashion accessories in an effort to prolong the dialect of these traditional Japanese patterns, making them just as relevant and usable today.
Go to link below to see visuals and learn about the symbols in Japanese patterns.
https://kirikomade.com/blogs/our-fabrics/japanese-patterns-2
Friday, 25 November 2022
Power Point Presentation For Assigned Book
Thursday, 24 November 2022
Catherine Ellies, Information and Resources for Natural Dye
Catharine Ellis has been a weaver and a dyer for over 40 years. After three decades of teaching the Fiber Program at Haywood Community College in NC she is now dedicated to studio work, focusing on natural dye processes. She also does specialized, selected teaching, in the U.S. and internationally. Recent projects include teaching natural dyeing in Guatemalan through Mayan Hands.
Catharine is the originator of the woven shibori process and author of the instructional book, Woven Shibori (Interweave Press, 2005). Her textile work is shown extensively in exhibitions and shows. She is currently working collaboratively with the Oriole Mill in NC to produce specialty Jacquard fabrics.
Catharine is actively involved in the Surface Design Association, the World Shibori Network, and is a founding member of the Southeastern Fiber Educators Association. She has served on the boards of Penland School of Crafts and the Center for Craft, Creativity, and Design and established the Western North Carolina Textile Study Group in 2012.
Website: https://www.ellistextiles.com/about/
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