Saturday, 11 February 2023

Robert Rauschenberg, Artist, American, b. 1925, d. 2008

Layers 

 


Scrape (Hoarfrost Editions)
1974 
76 x 36 inches 
Offset lithograph transferred to 
collage of paper bags and fabric 
Edition of 32

Robert Rauschenberg worked in a wide range of mediums including painting, sculpture, prints, photography, and performance, over the span of six decades. He emerged on the American art scene at the time that Abstract Expressionism was dominant, and through the course of his practice he challenged the gestural abstract painting and the model of the heroic, self-expressive artist championed by that movement.
In his landmark series of Combines (1954–64) he mixed the materials of artmaking with ordinary things, writing, “I consider the text of a newspaper, the detail of photograph, the stitch in a baseball, and the filament in a light bulb as fundamental to the painting as brush stroke or enamel drip of paint.”1 In  Bed (1955), for example, he covered a large wall-mounted board with a pillow and patchwork quilt which he then marked with graphite scrawls and exuberant lashings of paint, the latter perhaps an ironic nod to Abstract Expressionism.
Born in Port Arthur, Texas, Rauschenberg studied at a variety of art schools including the experimental Black Mountain College outside of Asheville, North Carolina, where the artist and former Bauhaus instructor Josef Albers was his teacher. There, his mentors and collaborators included the composer John Cage, the artist Cy Twombly, and the choreographer Merce Cunningham, with whom he would collaborate on more than twenty dance compositions. Rauschenberg’s engagement with performance was enduring and a defining influence in his work. As his career began to gather steam in New York in the mid-1950s, he also began a crucial dialogue with the artist Jasper Johns that shaped the work of both: together the two artists pushed each other away from defined models of practice towards new modes that integrated the signs, images, and materials of the everyday world.
Photography and printmaking were two of Rauschenberg’s abiding interests. In the 1958–60 seriesbased on the thirty-four Cantos of Dante’s Inferno(346.1963.1-34), he used a solvent to transfer photographs from contemporary magazines and newspapers onto drawing paper. The series is emblematic of a lifetime of experimentation with the ways the deluge of images in modern media culture could be transmitted and transformed.

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Oscar Murillo, Artist

Stitched Panels 




Source is purple.fr

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Ugo Rondinone, Artist

 

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Catharine Ellis, Weaver and Dyer


Catharine Ellis has been a weaver and dyer for over 40 years. One of the leading textile educators in the United States, Ellis is  founder of the Professional Crafts Fiber program at Haywood Community College in North Carolina. An internationally recognized textile artist for her invention of woven shibori, Catharine is the author of Woven Shibori and the much anticipated book The Art and Science of Natural Dyes: Principles, Experiments, and Results that will release in 2019. Ellis continues to share her extensive research and expertise in the craft of natural dyes with the worldwide dye community.




Link below to blog. 
Scroll to view making black with indigo and madder.
https://blog.ellistextiles.com/

 


Appalachian Traditions Discussion with Catharine Ellis

Catharine's presentation begins at 16:50. 







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Wednesday, 8 February 2023

Sojourner Truth, Abolitionist

 





Portrait of abolitionist Sojourner Truth, sitting with yarn and knitting needles


https://digitalcollections.nypl.org/items/77fc47c0-b1fd-0131-0d5f-58d385a7b928



https://www.metmuseum.org/art/collection/search/301989



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.

https://hudsonvalley.org/article/sojourner-truth-a-journey-from-enslavement-to-inspiring-speaker-and-human-rights-advocate/


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.

https://centerforknitandcrochet.org/reflecting-on-sojourner-truth-in-honor-of-black-history-month-2021/

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. 


https://brooklyntweed.com/blogs/blog/part-ii-crafting-freedom-by-ra-malika-imhotep




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Tuesday, 7 February 2023

Cyanotype and Photo-Reactive Dye on Fabric



Also called Heliographic Art by some, sun painting or printing utilizes either the radiant infrared or the ultra-violet rays of the sun to create images on fabric. It works because the paint or the dye you are using reacts to the sun in some way. There are three different products we carry that can utilize the rays of the sun to produce art on fabric or clothing.

Dharma Trading Company is an excellent, professional online store that offers a wealth of information. You can also purchase products from Dharma and, the best part about Dharma, you can call the number on their website and a person will answer and talk to you about products and processes. 

Go to this link to read more about the process and see products. 
https://www.dharmatrading.com/techniques/sun-painting.html

Videos

Justina Silva


Pumora


Other Sources




https://www.amazon.com/gp/product/B08K1YZBQC/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B08K1YZBQC&linkCode=as2&tag=pumora00-20&linkId=8fd3122f774a89a5347e19f448180fdf





Pre-treated fabric sheets for cyanotype.
Important - Make sure you are buying FABRIC sheets. 
Do not buy PAPER sheets.

https://www.jerrysartarama.com/jac-cyano-10pk-8-5x11-fabric?gclid=CjwKCAiAioifBhAXEiwApzCztkRqKx0lwVqtuAZTCZWiIKXbNktX3KJ_7Mq8lspnTcqaoV_X557TfRoCjWkQAvD_BwE

or

https://www.amazon.com/Jacquard-Cyanotype-Pretreat-Fabric-30-Pack/dp/B010MN3NDA/ref=sr_1_2?crid=ZBSA0PAME7VC&keywords=pre+treated+fabric+sheets+cyanotype&qid=1675784280&s=arts-crafts&sprefix=pre+treated+fabric+sheets+cyanotype%2Carts-crafts%2C96&sr=1-2





Sun Dye
https://www.kraftkolour.net.au/sun-dye-kit-moods-ocean-made-in-australia

Link below shows instructions. 
https://www.instructables.com/Sun-Printed-Fabric/

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Tuesday, 31 January 2023

 Recycle Textiles

Textile Recycling Jacksonville


https://textilerecyclingquotes.com/product-destruction-services-in-jacksonville/




Recycle Old Shoes

Terra Cycle


https://shop.terracycle.com/en-US/products/shoes-and-footwear-zero-waste-boxes?taxon_id=44



https://brightly.eco/blog/how-to-recycle-shoes



Additional Resources/Info:

https://www.nytimes.com/wirecutter/guides/how-to-get-rid-of-old-clothes/

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Elizabeth Silver, Designer


This video discusses the technical and more informal definitions of Surface Pattern Design and related terminology such as Surface Design, Textile Design, Product Design and Illustration.

 

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Tuesday, 17 January 2023

Sustainability Event

 Details Coming Soon

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Fiber Experiments Assignment Guidelines

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. 

Due Date:
  • 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.  



  • Couching
    • On felt measuring approx. 3" x 3". 
    • Supplies provided in the studio. Felt, yarn, needle, thread. 


  • Beading
    • On felt measuring approx. 3" x 3"
    • Supplies provided in the studio. Felt, thread, needle, beads. 




  • 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. 


  • Ink Making with Natural Dye
    • Use ink on mordant fabric I provide. Size approx. 3" x 3". 
    • Supplies available in the studio.


  • 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. 


The processes listed below do not have supplies available in the studio. Students will have to purchase their own supplies. 


For those interested in learning more about weaving, table top looms are a good investment. Start looking at looms at The Woolery, a professional online store for fibers. You can also find table top looms, for lower price, on Amazon or Etsy. 
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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. 


Digital Print on Fabric
Spoonflower will print your design on fabric. Important to schedule delivery of your fabric before the due date and time to hem edges. Otherwise work receives a late grade. 


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. 

https://textilesatflaglercollege.blogspot.com/search/label/Surface%20Pattern%20Design%20Student%20Work


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". 
  • 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.

A Few Ideas
  • 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. 

Tips For Designing A Pattern
  • 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. 

Steps to take:
1 - 3 guidelines for presentation to the class. Place all info on your blog for this class. 

Step 1
  • 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

Step 2
  • 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. 

Step 3
  • 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. 

Step 4 (after presentation complete)
  • 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. 

Step 5
  • 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. 

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