The Use of Fiber to Create Sculptural Forms
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Inkjet Printing-A Revolutionary Ecofriendly Technique for Textile Printing
Indian Journal of Fibre & Textile Research Vol. 26. March-June 2001. pp. 156-161 Inkjet printing-A revolutionary ecofriendly technique for textile printing Sanjay Gupta" National In stitute of Fash ion Technology. Hauz Khas, Ne w Dcl hi 110016, India Some of thc aspects of inkjct or di gital printing, such as com pari son bctwecn conventional and di gita l printing. di git al printing systcms, suitablc inks bascd on dyes and pi gments, colour man agc ment software, application and iuture scope of digit al printing, arc brieny discussed in view of the demand-activated manufac turing architect to satisfy th e chan gin g fa shi on trends and new market requ irements. Keywords: Inkjet printing, Rotary scrcen printing, Textile printing 1 Introduction has been pushing the print production towards th e In ITMA 1999, an array of diffe rent technologies developing countries. As a result, Far East has the fo r di gital printing on fabric was presented. Though major share of 50% with the USA hav ing only II % the idea had been around for nearly IS years, it was and the EU, 15 %. A major reason for thi s shift is th e not until now th at equipment adequate enough for long, polluting and capital intensive nature of production on tex til es was show n. However, th e conventional tex tile printin g. Di gital printing has the 'different competing technologies th at were di splayed potential to reverse this trend. showed a lack of clear-cut direction and served onl y Changing fas hion trend s an d new market to confuse buyers, most of wh om were un exposed and requirements are also pushing th e dri ve for digital un ed ucated about the capabilities of these printing. -
Woven Silks Glenna Teague North Carolina State University
International Textile and Apparel Association 2014: Strengthening the Fabric of our Profession, (ITAA) Annual Conference Proceedings Association, Legacy and Friendships! Jan 1st, 12:00 AM Woven Silks Glenna Teague North Carolina State University Follow this and additional works at: https://lib.dr.iastate.edu/itaa_proceedings Part of the Fashion Design Commons Teague, Glenna, "Woven Silks" (2014). International Textile and Apparel Association (ITAA) Annual Conference Proceedings. 115. https://lib.dr.iastate.edu/itaa_proceedings/2014/design/115 This Event is brought to you for free and open access by the Conferences and Symposia at Iowa State University Digital Repository. It has been accepted for inclusion in International Textile and Apparel Association (ITAA) Annual Conference Proceedings by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Charlotte, North Carolina 2014 Proceedings Woven Silks Glenna Teague, North Carolina State University, USA Woven, Silk, Design, Innovative The purpose of this design was to create a modern looking garment by using a fusion of both new and old age textile and apparel design skills. Hand weaving is a lost art form that needs to be revived by students and young textile professionals, thus being part of the inspiration for this garment. Inspiration was also drawn from a colorful piece of artwork at the North Carolina Museum of Art. Frank Philip Stella’s Raqqa II is a fusion of bright, vibrant colors that seamlessly intertwine, following the curves and edges of the canvas. I believe that the shapes formed by the bands of color, mirror the shape of the model’s body because of the form fitting dress. -
History of Weaving
A Woven World Teaching Youth Diversity through Weaving Joanne Roueche, CFCS USU Extension, Davis County History of Weaving •Archaeologists believe that basket weaving and weaving were the earliest crafts •Weaving in Mesopotamia in Turkey dates back as far as 7000 to 8000 BC •Sealed tombs in Egypt have evidence of fabrics dating back as far as 5000 BC •Evidence of a weavers workshop found in an Egyptian tomb 19th Century BC •Ancient fabrics from the Hebrew world date back as early as 3000 BC History of Weaving (continued) •China – the discovery of silk in the 27th Century BCE •Swiss Lake Dwellers – woven linen scraps 5000 BCE •Early Peruvian textiles and weaving tools dating back to 5800 BCE •The Zapotecs were weaving in Oaxaca as early as 500 BC Weavers From Around the World Master weaver Jose Cotacachi in his studio in Peguche, Ecuador. Jose’s studio is about two and a half miles from Otavalo. Weavers making and selling their fabrics at the Saturday market in Otavalo, Ecuador. This tiny cottage on the small island of Mederia, Portugal is filled with spinning and weaving. Weavers selling their fabrics at an open market in Egypt. The painting depicts making linen cloth, spinning and warping a loom. (Painting in the Royal Ontario Museum.) Malaysian weavers making traditional Songket – fabric woven with gold or silver weft threads. A local Tarahumara Indian weaving on a small backstrap loom at the train station in Los Mochis. Weavers In Our Neighborhood George Aposhian learned Armenian pile carpets from his father and grandparents who immigrated to Salt Lake City in the early 1900’s. -
Textile Printing
TECHNICAL BULLETIN 6399 Weston Parkway, Cary, North Carolina, 27513 • Telephone (919) 678-2220 ISP 1004 TEXTILE PRINTING This report is sponsored by the Importer Support Program and written to address the technical needs of product sourcers. © 2003 Cotton Incorporated. All rights reserved; America’s Cotton Producers and Importers. INTRODUCTION The desire of adding color and design to textile materials is almost as old as mankind. Early civilizations used color and design to distinguish themselves and to set themselves apart from others. Textile printing is the most important and versatile of the techniques used to add design, color, and specialty to textile fabrics. It can be thought of as the coloring technique that combines art, engineering, and dyeing technology to produce textile product images that had previously only existed in the imagination of the textile designer. Textile printing can realistically be considered localized dyeing. In ancient times, man sought these designs and images mainly for clothing or apparel, but in today’s marketplace, textile printing is important for upholstery, domestics (sheets, towels, draperies), floor coverings, and numerous other uses. The exact origin of textile printing is difficult to determine. However, a number of early civilizations developed various techniques for imparting color and design to textile garments. Batik is a modern art form for developing unique dyed patterns on textile fabrics very similar to textile printing. Batik is characterized by unique patterns and color combinations as well as the appearance of fracture lines due to the cracking of the wax during the dyeing process. Batik is derived from the Japanese term, “Ambatik,” which means “dabbing,” “writing,” or “drawing.” In Egypt, records from 23-79 AD describe a hot wax technique similar to batik. -
“Direct Pattern on Loom”-An Innovative Method of Garment Construction
Science ile & xt Ukey et al., J Textile Sci Eng 2013, 3:2 e E T n f g i DOI: 10.4172/2165-8064.1000131 o n l e a e n r r i n u Journal of Textile Science & Engineering g o J ISSN: 2165-8064 Research Article OpeOpen nAccess Access “Direct Pattern on Loom”-An Innovative Method of Garment Construction Pravin Ukey*, P V Kadole and Sarika Borikar Department of Textiles (Fashion Technology) DKTE’s Textile & Engineering Institute, Ichalkaranji, (M.S) India Abstract The impact of the fast fashion phenomenon is seen both in apparel and textile manufactures since the manufacturing time of apparels is considered as the most potential factor in reducing the overall time of the fashion cycle. In addition to the need for reduction in lead time, there is an increase in levels of quality expectations, resulting in higher cost of manufacture. Hence, in the present scenario, for high fashion garments, there is a need for technology which can minimize lead time and fabric losses, in addition to the production of garments as per the requirement of the customers in a short span of time. A DPOL (Direct Pattern on Loom) method for weaving fabric in the shape of garment panels (pieces) finished at the edges that could considerably reduce fabric loss and lead time is developed by using the electronic jacquard weaving machine. The main aim of the project is to study the feasibility of the production of Direct pattern on Loom especially on jacquard and to check the lead time required with conventional and this modern method. -
Nohra Haime Gallery on Thursday, September 13Th from 6 to 8 P.M
N OHRA HAIME GALLERY FOR IMMEDIATE RELEASE 7 3 0 F I F T H A V E N U E OLGA DE AMARAL PLACES September 13 – November 24, 2012 “Gold is the Abstraction of Color.” -Olga de Amaral PUEBLO O, 2012, gesso, gold leaf, linen, acrylic, 39.37 x 78.74 in. 100 x 200 cm. OLGA DE AMARAL: PLACES an exhibition of 23 three-dimensional surfaces, will open at the Nohra Haime Gallery on Thursday, September 13th from 6 to 8 p.m. First exhibited in New York at the André Emmerich Gallery in 1973, Amaral’s abstract “golden surfaces of light” are unlike anything else. Transcending any one specific media, her work plays a unique balancing act between fine art and fiber art. Filling a gap that is virtually untouched, she pulls inspiration from Pre-Colombian weaving and Colonial gilding, abstracting them to the extent of universality. Gold has become a formal part of her vocabulary and renders her work collectively recognizable. Methodically assembled with a myriad of rectangular pre-fabricated pieces of fiber made into strips and rolls, the artist recreates the inner world of the universe. She choreographs these compositions with a labyrinth of winding, swirling and twisting interwoven patterns. Wind, light, mountains, trees, and rivers take heroic grandeur in her exploration of the universe. Departing from the static world of the two dimensional surface, she conceives monochromatic environments of shimmering presence and seduct ive forms. She weaves, cuts, molds, marks and tints her materials, fusing and merging them to create a tension that redefines the natural order of things. -
Reflecting Noble Luxury and Refinement, New Lightweight Wool Materials Are of Key Interest to Designers, Retailers and Bespoke Tailors
Reflecting noble luxury and refinement, new lightweight wool materials are of key interest to designers, retailers and bespoke tailors. Beyond demanding perfected fits and wool’s signature aesthetic, discerning consumers expect emotional, sensorial tactility in garments. Responding to luxury market demands, leading Italian and English spinners and weavers are introducing exclusive fine-micron yarns and fabrics, derived from rare Australian merino. Stylesight explores Baruffa Group’s finest wool yarns for first-class sweater knits, cut-and-sew jersey, and wovens. Vogue Australia December 2012 / Elizabeth Debicki in wool, on location at Haddon Rig, a Merino wool farm in New South Wales. With seductive, magnetic charm, lighter weight but often still densely constructed wovens and knits are key on men and women's runways and at textile trade shows. Wool—traditionally a winter fiber—evolves with cutting-edge superfine qualities from 150s and 180s up to 250s. Offering noble refinement and unique trans-seasonal possibilities, wool moves beyond its pastime connotations. Gossamer knits / Posh mesh / Lightweight jerseys / Dense, hefty yet lightweight wools Finest wool Fabrics F/W 13 Dormeuil Limited Edition - finest wool yarns Zegna Baruffa Lane Record Bale - finest wool fabric Loro Piana Borgosesia Finest wool Fabrics Taylor & Lodge Meticulous fiber selection from choice breeds, along with revolutionary spinning and weaving technologies, is core to new noble wool productions. Wools characterized by strength, elasticity, fluidity, low pilling and -
Olga De AMARAL CV EDIT
Olga DE AMARAL b. 1932, Bogotá, Colombia Lives and works in Bogotá. EDUCATION 1954-55 Fabric Art, Cranbrook Academy of Art, Bloomfield Hills, MI, USA. 1951-52 Architectural Design, Colegio Mayor de Cundinamarca, Bogotá, Colombia. SELECTED SOLO EXHIBITIONS 2019 Olga de Amaral, Victoria Beckham/Richard Saltoun Gallery, London, UK. The Light of Spirit, Galerie La Patinoire Royale/Valerie Bach, Miami, FL, USA. 2013 Olga de Amaral: Selected Works, Louise Blouin Foundation, London, UK. 2008 Golden Fleece, Eretz Israel Museum, Tel Aviv, Israel. 2007 Strata, Centro Cultural Casa de Vacas, Madrid, Spain. 2005 Resonancias, Centro Cultural de Belèm, Lisbon, Portugal. 2004 Threaded Words, Colombian Embassy in the United States, Washington D.C., USA. 2002 Tiempos y tierra, Museo de la Nación, Lima, Peru. Museo de Arte Moderno, Barranquilla, Colombia. 2001 Mes de Colombia, Museo Nacional de Bellas Artes, Buenos Aires, Argentina. 1999 Hillside Terrace, Tokyo, Japan. Kreismuseum, Zons, Dormagen, Germany. Textilmuseum Max Berk, Heidelberg, Germany. Olga de Amaral: Woven Gold, The Albuquerque Museum, Albuquerque, NM, USA. 1998 Cranbrook Academy of Art, Bloomfield Hills, MI, USA. Indianapolis Museum of Art, Indianapolis, IN, USA. 1997 Museo de Arte Moderno La Tertulia, Cali, Colombia Art Museum of the Americas, Washington D.C., USA. Cleveland Institute of Art, Cleveland, OH, USA. Rétrospective, Musèe de la Tapisserie Contemporaine, Angers, France Olga de Amaral: Seven Stelae, Federal Reserve Board, Washington D.C., USA. University Art Museum Downtown, The University of New Mexico, Albuquerque, NM, USA. 1996 Museo de Arte de Pereira, Pereira, Colombia Nine Stelae and other Landscapes, Fresno Art Museum, Fresno, CA, USA. OUNM Center for the Arts, Albuquerque, NM, USA. -
"Pictures Made of Wool": the Gender of Labor at the Bauhaus Weaving Workshop (1919-23)
Tai Smith - "Pictures made of wool": The Gender of Labor at the Bauhaus Weaving Workshop (1919-23) Back to Issue 4 "Pictures made of wool": The Gender of Labor at the Bauhaus Weaving Workshop (1919-23) by T'ai Smith © 2002 In 1926, one year after the Bauhaus had moved to Dessau, the weaving workshop master Gunta Stölzl dismissed the earlier, Weimar period textiles, such as Hedwig Jungnik’s wall hanging from 1922 [Fig. 1], as mere “pictures made of wool.”1 In this description she differentiated the early weavings, from the later, “progressivist” textiles of the Dessau workshop, which functioned industrially and architecturally: to soundproof space or to reflect light. The weavings of the Weimar years, by contrast, were autonomous, ornamental pieces, exhibited in the fashion of paintings. Stölzl saw this earlier work as a failure because it had no progressive aim. The wall hangings of the Weimar workshop were experimental—concerned with the pictorial elements of form and color—yet at that they were still inadequate, without the larger, transcendental goals of painting, as in the Bauhaus painter Wassily Kandinsky’s Red Spot II from 1921. Stölzl assessed the earlier, “aesthetic” period of weaving as unsuccessful, because its specific strengths were neither developed nor theorized. Weaving in the early Bauhaus lacked its own discursive parameters, just as it lacked a disciplinary history. Evaluated against the “true” picture, painting, weaving appeared a weaker, ineffectual medium. Stölzl’s remark references a fundamental problem that goes unquestioned in the literature concerning the Weimar Bauhaus weaving workshop and the feminized status of the medium. -
Weaving As Binary Art and the Algebra of Patterns
TEXTILE Cloth and Culture ISSN: 1475-9756 (Print) 1751-8350 (Online) Journal homepage: http://www.tandfonline.com/loi/rftx20 Weaving as Binary Art and the Algebra of Patterns Ellen Harlizius-Klück To cite this article: Ellen Harlizius-Klück (2017) Weaving as Binary Art and the Algebra of Patterns, TEXTILE, 15:2, 176-197, DOI: 10.1080/14759756.2017.1298239 To link to this article: http://dx.doi.org/10.1080/14759756.2017.1298239 Published online: 12 May 2017. Submit your article to this journal Article views: 11 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rftx20 Download by: [Deutsches Museum] Date: 06 June 2017, At: 07:07 Weaving as Binary Art and the Algebra of Patterns Abstract o refer to the Jacquard loom as thread is to be picked up or not. Ta precursor of the computer is Weaving has therefore been a a common narrative in histories binary art from its very beginning, of computing beginning with Ada applying operations of pattern Lovelace comparing the punched algebra for millennia. Jacquard’s card operated loom with the cards were the end of this story calculating engine designed by rather than its beginning, reducing Charles Babbage: “We may say the weaver to an operator who most aptly that the Analytical had to step on a single treadle Engine weaves algebraical patterns repeatedly. This article argues just as the Jacquard-loom weaves that algebra is already involved flowers and leaves.” But this does in operating shafts or heddles not mean that Jacquard invented on ordinary looms, that this the algebra of patterns. -
Olga De Amaral
Olga de Amaral Née en 1932 à Bogotà, Colombie. Vit et travaille à Bogotà, Colombie. 1954-55 Fabric Art, Cranbrook Academy of Art, Bloomfield Hills, Michigan 1951-52 B.S. in Architectural Design, Colegio Mayor de Cundinamarca, Bogotá, Colombia SOLO EXHIBITION 2017 Latin American Masters, Santa Monica, Olga de Amaral 2016 Galerie Agnès Monplaisir, Paris, Cortex de notre Terre Bellas Artes Gallery, Santa Fe, Olga de Amaral : 30 Años con Bellas Artes 2015 Rook & Raven, London, Alchemist Bellas Artes Gallery, Santa Fe, Olga de Amaral : El Oro Es Color "Olga de Amaral: Color Sombra," Galeria La Cometa, Bogota, February 19 to April 2. 2014 "Olga de Amaral: El Dorado Thread," Galerie Agnès Monplaisir, Paris, France, September 12 to October 25. "Olga de Amaral," Sp-arte (Sao Paulo International Art Fair), Sao Paulo, Brasil, April 9 to 12. Art Rio '14. Galerie Agnès Monplaisir. Rio de Janeiro, Brasil. Miami Art+Design. Galerie Agnès Monplaisir. Miami. 2013 "Olga de Amaral: Selected Works," Louise Blouin Foundation (in collaboration with the Galerie Agnès Monplaisir), London, England, October 14 to October 30. "Olga de Amaral: Pozos Azules," Bellas Artes Gallery, Santa Fe, New Mexico, August 1 to September 28. 2012 “Olga de Amaral Places,” Nohra Haime Gallery, New York “Boundaries,” Latin American Masters Gallery, Los Angeles, California 2011 “VII Pueblos & VII Polícromos,” Bellas Artes Gallery, Santa Fe, New Mexico 2010 “Entre Pueblos” & oeuvres récentes installation by Juan Montoya, Galerie Jean- Jacques Dutko, Paris, France 2009 Plus Ultra al -
Deliberate Entanglements: the Impact of a Visionary Exhibition Emily Zaiden
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 9-2014 Deliberate Entanglements: The mpI act of a Visionary Exhibition Emily Zaiden [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons, and the Art Practice Commons Zaiden, Emily, "Deliberate Entanglements: The mpI act of a Visionary Exhibition" (2014). Textile Society of America Symposium Proceedings. 887. http://digitalcommons.unl.edu/tsaconf/887 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Deliberate Entanglements: The Impact of a Visionary Exhibition Emily Zaiden Figure 1. Deliberate Entanglements exhibition announcement designed by Timothy Andersen, UCLA Art Galleries, 1971. Courtesy Craft in America Center Archives. In the trajectory of fiber art history, the 1971 UCLA Art Galleries exhibition, Deliberate Entanglements, was exceptional in that it had an active and direct influence on the artistic movement. It has been cited in numerous sources, by participating artists, and by others who simply visited and attended as having had a lasting impact on their careers. In this day and age, it is rare for exhibitions at institutions to play such a powerful role and have a lasting impact. The exhibition was curated by UCLA art professor and fiber program head, Bernard Kester. From his post at UCLA, Kester fostered fiber as a medium for contemporary art.