The Cambridge History of Western Textiles
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Traditions, Tourists, Trends Tracy P
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 9-2014 Traditions, Tourists, Trends Tracy P. Hudson University College London, [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 Hudson, Tracy P., "Traditions, Tourists, Trends" (2014). Textile Society of America Symposium Proceedings. 912. http://digitalcommons.unl.edu/tsaconf/912 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. Traditions, Tourists, Trends Tracy P. Hudson That's rather abrupt, no subtitle. But obviously this is about textiles, and the interaction between these factors, which is too complex and multifaceted to encapsulate in an easy phrase. This paper begins with a series of questions and how they came up, and then looks at several different manifestations of this complex interaction in different parts of the world. It will end optimistically, with examples of success and an emphasis on the integrated quality of textile making, culture and identity. It's important to know what we're talking about when we say 'traditions' or 'traditional textiles.' The term can be problematic, but I'm using it to refer to a continuous set of practices embedded within a culture, or the textiles that grow from that ecosystem: the interaction of people, materials and environment. -
Andean Textile Traditions: Material Knowledge and Culture, Part 1 Elena Phipps University of California, Los Angeles, [email protected]
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln PreColumbian Textile Conference VII / Jornadas de Centre for Textile Research Textiles PreColombinos VII 11-13-2017 Andean Textile Traditions: Material Knowledge and Culture, Part 1 Elena Phipps University of California, Los Angeles, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/pct7 Part of the Art and Materials Conservation Commons, Chicana/o Studies Commons, Fiber, Textile, and Weaving Arts Commons, Indigenous Studies Commons, Latina/o Studies Commons, Museum Studies Commons, Other History of Art, Architecture, and Archaeology Commons, and the Other Languages, Societies, and Cultures Commons Phipps, Elena, "Andean Textile Traditions: Material Knowledge and Culture, Part 1" (2017). PreColumbian Textile Conference VII / Jornadas de Textiles PreColombinos VII. 10. http://digitalcommons.unl.edu/pct7/10 This Article is brought to you for free and open access by the Centre for Textile Research at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in PreColumbian Textile Conference VII / Jornadas de Textiles PreColombinos VII by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Andean Textile Traditions: Material Knowledge and Culture, Part 1 Elena Phipps In PreColumbian Textile Conference VII / Jornadas de Textiles PreColombinos VII, ed. Lena Bjerregaard and Ann Peters (Lincoln, NE: Zea Books, 2017), pp. 162–175 doi:10.13014/K2V40SCN Copyright © 2017 by the author. Compilation copyright © 2017 Centre for Textile Research, University of Copenhagen. 8 Andean Textile Traditions: Material Knowledge and Culture, Part 1 Elena Phipps Abstract The development of rich and complex Andean textile traditions spanned millennia, in concert with the development of cul- tures that utilized textiles as a primary form of expression and communication. -
Apparel, Made-Ups and Home Furnishing
Apparel, Made-ups and Home Furnishing NSQF Level 2 – Class X Student Workbook COORDINATOR: Dr. Pinki Khanna, Associate Professor Dept. of Home Science and Hospitality Management iii-i---lqlqlqlq----'k'k'k'k----dsUnzh;dsUnzh; O;kolkf;d f'k{kk laLFkku]';keyk fgYl , Hkksiky PSS Central Institute of Vocational Education, Shyamla Hills, Bhopal Student Workbook Apparel, Made-ups and Home Furnishing (Class X; NSQF Level 2) March, 2017 Publication No.: © PSS Central Institute of Vocational Education, 2017 ALL RIGHTS RESERVED ° No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronically, mechanical, photocopying, recording or otherwise without prior permission of the publisher. ° This document is supplied subject to the condition that it shall not, by way of trade, be lent, resold, hired out or otherwise disposed of without the publisher’s consent in any form of binding or cover other than that in which it is published. • The document is only for free circulation and distribution. Coordinator Dr. Pinki Khanna Associate Professor, Department of Home Science & Hospitality Management Production Assistant Mr. A. M. Vinod Kumar Layout, Cover Design and Laser Typesetting Mr. Vinod K. Soni, C.O. Gr.II Published by the Joint Director, PSS Central Institute of Vocational Education, Shyamla Hills, Bhopal-462 013, Madhya Pradesh, India Tel: +91-755-2660691, 2704100, Fax: +91-755-2660481, Web: http://www.psscive.nic.in Preface The National Curriculum Framework, 2005, recommends that children’s life at school must be linked to their life outside the school. This principle makes a departure from the legacy of bookish learning which continues to shape our system and causes a gap between the school, home, community and the workplace. -
Piel Artificial Metamorfosis Arquitectónica Del Cuerpo a Través De La Superficie
UNIVERSIDAD POLITÉCNICA DE MADRID ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID PIEL ARTIFICIAL METAMORFOSIS ARQUITECTÓNICA DEL CUERPO A TRAVÉS DE LA SUPERFICIE TESIS DOCTORAL BREZO ALCOCEBA LÓPEZ-ARAQUISTAIN Arquitecta 2015 DEPARTAMENTO DE IDEACIÓN GRÁFICA ARQUITECTÓNICA ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID PIEL ARTIFICIAL METAMORFOSIS ARQUITECTÓNICA DEL CUERPO A TRAVÉS DE LA SUPERFICIE Autora_ BREZO ALCOCEBA LÓPEZ-ARAQUISTAIN. Arquitecta Directora_ ATXU AMANN ALCOCER. Doctora Arquitecta 2015 TRIBUNAL Tribunal nombrado por el Mgfco. y Excmo. Sr. Rector de la Universidad Politécnica de Madrid, el día de de 20 . Presidente: Vocal: Vocal: Vocal: Secretario: Suplente: Suplente: Realizado el acto de defensa y lectura de la Tesis el día de 20 , en la Escuela Técnica Superior de Arquitectura de Madrid. Califi cación: EL PRESIDENTE LOS VOCALES EL SECRETARIO TRIBUNAL PIEL ARTIFICIAL METAMORFOSIS ARQUITECTÓNICA DEL CUERPO A TRAVÉS DE LA SUPERFICIE TRIBUNAL AGRADECIMIENTOS MI GRATITUD PARA Atxu por sus fundamentales aportaciones, académicas y personales por su predisposición sin límites por dedicarme su precioso tiempo Jorge Sainz por ofrecerme su sincero punto de vista Aliki Economides, Rickard Lindqvist, Jennifer Barrows y Ruth de la Puerta por compartir sus investigaciones conmigo David Delgado por invitarme a acceder a su amplia biblioteca Yolanda Orejas por sus consejos de experimentada modelista Claudia Mitrea por sus habilidades lingüísticas María Mallo por su lección exprés y ser compañera de estrés Mi familia y amigos por la importancia que tiene no sentirse sola en el trayecto Db por experimentar esta metamorfosis junto a mí AGRADECIMIENTOS PIEL ARTIFICIAL METAMORFOSIS ARQUITECTÓNICA DEL CUERPO A TRAVÉS DE LA SUPERFICIE AGRADECIMIENTOS RESUMEN RESUMEN El cuerpo, como conjunto organizado de partes que confi guran el organismo, es una entidad metamórfi ca. -
General Agreement on Tariffs and Trade
GENERAL AGREEMENT ON CONFIDENTIAL TEX.SB/1395* 2 -•-Antr-i-/% ...K -m. PS.» October 1987 TARIFFS AND TRADE Textiles Surveillance Body ARRANGEMENT REGARDING INTERNATIONAL TRADE IN TEXTILES Notification under Article 4 Bilateral Agreement between the United States and Pakistan Note by the Chairman Attached is a notification received from the United States of a new bilateral agreement concluded with Pakistan for the period 1 January 1987-31 December 1991. it English only/Anglais seulement/lnglés solamente The previous bilateral agreement and modifications are contained in COM.TEX/SB/776, 934, 1024, 1162, 1163 and 1171. 87-1472 Wo -M / j$*£ 9^3 ) UNITED STATES TRADE REPRESENTATIVE 1-3 AVENUE DE LA PAIX ^ 1202 GENEVA. SWITZERLAND For |'i ,r»..j J L ,0 ^h£Vi t. !7"~- "^r L J "" Telephone : 320970 OPER CH-T A " NTk- & :-.--• 0 1 i Deie :r •.: : -••' I 1 • R£3 2 5 _-tP. ^ieptfember 24, 1987 Tracé & '• •: Z. • 1 ! ! ! « T6:- Cr ,7 t.v ' ! « Spec f"--. :•'."." i t GNS C ! 1 • OPE^DE^'^E ! j ; Ecc. F.A.-s- L'-il The Honorable -\ .„" Ao'-C^" "C ; • . Ambassadd£.liarcelo-4a^fireî1 i Te: Î • : . Chair ma n^»»*tirte« Sui Vël'Ulance Body E<- :-.-. ;. GATT " " i Rue De Lausanne 154 Cfi > • - 1211 Geneva .... _ Dear Ambassador Raffaelli: Pursuant to the provisions of paragraph 4 of Article 4 of the Arrangement Regarding International Trade in Textiles I am instructed by my government to inform the Textiles Surveillance Body of a new five-year (1/1/87-12/31/91) bilateral textile agreement between the Government of the United States of America and the Government of Pakistan. -
Ruth Adler Schnee 2015 Kresge Eminent Artist the Kresge Eminent Artist Award
Ruth Adler Schnee 2015 Kresge Eminent Artist The Kresge Eminent Artist Award honors an exceptional artist in the visual, performing or literary arts for lifelong professional achievements and contributions to metropolitan Detroit’s cultural community. Ruth Adler Schnee is the 2015 Left: Keys, 1949. (© Victoria and Albert Museum, London); right: drawing, Glyphs, 1947. Kresge Eminent Artist. This (Courtesy Cranbrook Archives, The Edward and Ruth Adler Schnee Papers.) monograph commemorates her Shown on cover background: Fancy Free, 1949. (Photograph by R.H. Hensleigh and Tim Thayer, life and work. courtesy Cranbrook Art Museum); top left: Woodleaves, 1998; top right: Narrow Gauge, 1957; top center: Bells, 1995; bottom center: Funhouse, 2000; bottom: Plaid, 2001 reissue. Contents 5 57 Foreword Other Voices: By Rip Rapson Tributes and Reflections President and CEO Nancy E. Villa Bryk The Kresge Foundation Lois Pincus Cohn 6 David DiChiera Artist’s Statement Maxine Frankel Bill Harris Life Gerhardt Knoedel 10 Naomi Long Madgett Destiny Detroit Bill Rauhauser By Ruth Adler Schnee 61 13 Biography Transcendent Vision By Sue Levytsky Kresge Arts In Detroit 21 68 Return to Influence Our Congratulations By Gregory Wittkopp From Michelle Perron 22 Director, Kresge Arts in Detroit Generative Design 69 By Ronit Eisenbach A Note From Richard L. Rogers President Design College for Creative Studies 25 70 Inspiration: Modernism 2014-15 Kresge Arts in By Ruth Adler Schnee Detroit Advisory Council 33 Designs That Sing The Kresge Eminent Artist By R.F. Levine Award and Winners 37 72 The Fabric of Her Life: About The Kresge A Timeline Foundation 45 Shaping Contemporary Board of Trustees Living: Career Highlights Credits Community Acknowledgements 51 Between Two Worlds By Glen Mannisto 54 Once Upon a Time at Adler-Schnee, the Store By Gloria Casella Right: Drawing, Raindrops, 1947. -
Craft Horizons JANUARY/FEBRUARY 1969 $2.00 Potteraipiney Wheel S & CERAMIC EQUIPMENT I
craft horizons JANUARY/FEBRUARY 1969 $2.00 PotterAipiney Wheel s & CERAMIC EQUIPMENT i Operating from one of the most modern facilities of its kind, A. D. Alpine, Inc. has specialized for more than a quarter of a century in the design and manufac- ture of gas and electric kilns, pottery wheels, and a complete line of ceramic equipment. Alpine supplies professional potters, schools, and institutions, throughout the entire United States. We manufacture forty-eight different models of high fire gas and electric kilns. In pottery wheels we have designed an electronically controlled model with vari- able speed and constant torque, but we still manufacture the old "KICK WHEEL" too. ûzùzêog awziözbfe Also available free of charge is our book- let "Planning a Ceramic Studio or an In- stitutional Ceramic Arts Department." WRITE TODAY Dept. A 353 CORAL CIRCLE EL SEGUNDO, CALIF. 90245 AREA CODE (213) 322-2430 772-2SS7 772-2558 horizons crafJanuary/February 196t9 Vol. XXIX No. 1 4 The Craftsman's World 6 Letters 7 Our Contributors 8 Books 10 Three Austrians and the New Jersey Turnpike by Israel Horovitz 14 The Plastics of Architecture by William Gordy 18 The Plastics of Sculpture: Materials and Techniques by Nicholas Roukes 20 Freda Koblick by Nell Znamierowski 22 Reflections on the Machine by John Lahr 26 The New Generation of Ceramic Artists by Erik Gronborg 30 25th Ceramic National by Jean Delius 36 Exhibitions 53 Calendar 54 Where to Show The Cover: "Phenomena Phoenix Run," polyester resin window by Paul Jenkins, 84" x 36", in the "PLASTIC as Plastic" show at New York's Museum of Contemporary Crafts (November 22-Januaiy 12). -
Weaver's Fancy
May and June 2020 Newsletter Weaver’s Fancy *********************** We are here together, weaving this dream we call life. We are the weavers and the woven ones, the dreamers and the dream. Devaa Haley Mitchell ************************ Wow, what a crazy time this is that we are going through! We hope you all are healthy and well and using this time to fill up your creative soul….. I am so grateful for family and friends and the magic of modern technology It’s amazing what you find when you to keep all of us connected! Thank clean out boxes and files! Who knew you, Jennie for suggesting and then that Van Gogh painted weavers….I setting up our very first Zoom meeting didn’t! in April! It was wonderful seeing all of you! I have also learned the importance of stash building- thank heaven I was well prepared!!! ^^^^^^^^^^^^^^^^^^^^^^^^^^^^ Book Review- I recently viewed a recommended Going through my library, I website for the Pikes Peak Weavers rediscovered a gem of a book. The Guild. It’s a neat website and one of book is- The Textile Arts by Verla the best offerings is a free e-book. It’s Birrell. It originally was published in called “Sensational Towels, Napkins 1959 and it covers not only many and Placemats!” Their website is aspects of weaving, but also dyeing, www.pikespeakweavers.org To go directly to the e-book, google the title braiding, knotwork, lace, fabric and it should pop-up for you. There printing and needlework. It is a are many 8 shaft patterns and a few 4 worthy read! shaft, as well as lots of great ideas. -
Yearbook 2014 20 1 4
2014 YEARBOOK YEARBOOK YEARBOOK 2014 www.marimekko.com 1 Bold and true to life Marimekko is a Finnish design and different industries. The theme CONTENTS company. The core of its business was visible in collections as well as is the design and manufacture of various partnership schemes embracing 2 timeless and individual, practical and summer fashion, contemporary art, From the President beautiful consumer goods. The array of fibre research, and aviation. and CEO Marimekko design embraces clothing, Anna Teurnell, who started work bags and accessories as well as home as Creative Director in July, is taking 4 décor items ranging from textiles to Marimekko’s design in new directions. New stage in strategy tableware. The first sight of the new course will be When Marimekko was founded in in autumn 2015. 5 1951, the unparalleled patterns and The Marimekko store network Marimekko’s colours of its printed fabrics gave it a continued to grow in 2014. The most Creative Director strong and unique identity. A heritage new stores were opened in Asia. In acquired over decades, with its values June, a partnership contract was signed 6 and legends, is an inexhaustible to take Marimekko into the Middle East, Vision, goals treasure from which it is good to draw with the first stage being Dubai in the and strategy courage and the strength for renewal, UAE. even today. The unquestioned star of the 8 One of the themes of Marimekko eventful year was perhaps the most 2014 in figures design in 2014 was to explore what popular and best known of all of interesting things can emerge from Marimekko’s innumerable classics: 11 encounters between different cultures the 50-year-old Unikko pattern. -
TAPESTRY SAMPLER BAG Designed by Jane Patrick
TAPESTRY SAMPLER BAG DESIGNED BY JANE PATRICK Try out tapestry weaving and make a handy little bag at the same time. You’ll use many techniques in this project: shading studies, rya, soumak, weft-faced color-and-weave, interlocking weft, clasped weft, Damascus edge finish, pick-up patterning on an inkle band. We wove the bag in one piece, starting at the top edge of the back. Shading studies in plainweave and soumak form a gradient with interesting textures. Rya knots mark the fold and create the fringe at the bottom of the bag. On the front, bright colors form bold patterns in plainweave, interloking joins, clasped weft, and soumak. The Damascus edge, worked off loom, was used for the edge finish on both ends of the weaving. For the strap, we worked an inkle band with pick-up. BAG Finished size: 5-1/2" x 5-1/2", excluding fringe. Bottom Equipment needed: Arras Tapestry Loom, Schacht fringe is 1-1/2" long. weighted beater, 9" weaving stick, 2 stick shuttles, tapestry EPI: 6 needle, sewing needle, iron (for fusible interfacing), sewing PPI: to cover the warp. machine (optional). Number of warp ends: 36 Warp yarn for bag: #18 cotton seine twine, about 50 yards. Warping: Warp length as wound on the Arras is 45"; you can Weft yarn for bag and warp/weft yarn for inkle band: weave two bags on this warp. Use a tight tension to make Jamieson Shetland Spindrift (105 m/115 yd per ball), in weaving easier. Ginger #462 (rust), Natural White #104, Pebble #127 (light Weft: We used 3 ends for the plainweave areas and rya gray), Sholmit #103 (medium gray), Oxford #123 (dark knots. -
EXPLORE TAPESTRY WEAVE-ALONG by Jane Patrick the Last Time I Wove Tapestry Was Back in the 70S When I Frst Started Weaving
EXPLORE TAPESTRY WEAVE-ALONG by Jane Patrick The last time I wove tapestry was back in the 70s when I frst started weaving. Everyone was weaving wall hangings—much like many of the new weavers are weaving today (but they have better colors and materials). We wanted to develop the Arras loom to help meet the needs of new weavers who were transitioning from wall hangings to more serious tapestry weaving. Of course, as the Arras developed, I yearned to try tapestry again. Though I’ve been weaving for over 40 years, tapestry just wasn’t in my toolbox. This is a bit strange because I have always appreciated the pure colors of weft-faced fabrics. You don’t have warp and weft visually interacting, which affects the color, and, of course, the design. I have had quite a bit of experience with weft-faced weaving though—which I explored in my book The Weavers’ Idea Book. This is also probably why I fnd the warp-faced fabric in an inkle band equally appealing. You only see the warp colors and the weft is obscured except where it turns around at the selvedges. You can see weft-faced tapestry and warp-faced inkle weaving put together in my tapestry sampler bag at www.schachtspindle.com/tapestrysampler/. WELCOME Thanks for joining me on this tapestry exploration! I hope you’ll share your progress and ideas on Instagram, Facebook and Ravelry as we go along. Above all else, I hope you’ll have fun and try to play (though I know this is hard) as much as possible. -
Graph Paper Napkins
GRAPH PAPER NAPKINS his elegant napkin pattern is a perfect, easy project T for weaving with fine linen for the first time. and if you are a linen pro, it is a great pattern for whipping up a stunning housewarming, host/ess or wedding gift. !" © 2020 ELISABETH HILL plainweave.net [email protected] GRAPH PAPER NAPKINS STRUCTURE: Plain Weave WARP LENGTH: 508 ends 4½ yards long (allows for 6 EQUIPMENT: 4-shaft loom, min. 20" weaving napkins) - increase length of warp by 1 yard width; 15-dent reed; 2 shuttles, 3 bobbins. for an additional pair of napkins). WARP YARNS: WIDTH IN REED: 40/2 Linen (100% wet-spun line linen; 7,000 16¹⁴⁄₁₅". yds/lb from Jane Stafford Yarn); Cream, 1,404 yds; Flax, 864 yds; Spruce, 18 yds. SETT: 30 epi (2/dent in a 15-dent reed) WEFT YARNS: 30 ppi 40/2 Linen (100% wet-spun line linen; 7,000 yds/lb from Jane Stafford Yarn); Cream, 967 FINISHED DIMENSIONS: yds; Flax, 868 yds; Spruce, 12 yds. 6 napkins 16" x 16" after washing and hemming. © 2020 ELISABETH HILL plainweave.net [email protected] Steps 2 1. Wind a warp of 508 ends, 4½ yards long following the warp color order below. Use your preferred method to dress your loom and center for a 16" plus 14 dents (16.9") weaving width. Take care to wind Colorway 1 Colorway 2 38x 38x 312 8 8 Cream 312 8 8 Flax 4 2 2 Spruce 4 2 2 Spruce 192 58 2 58 Flax 192 58 2 58 Olive 508 508 your warp with even tension.