The Fabricnation Story

Total Page:16

File Type:pdf, Size:1020Kb

The Fabricnation Story The Fabricnation story Fabricnation was established in Cape Town in 2007, but it has its roots in a bond forged two decades earlier when its principals, Jane Solomon and Jann Cheifitz began printing together in a garage, whilst at Art School, inspired by their shared love of the African textile tradition. ¬"Jane-and-Jann" wasn't a company or even a label, but it was a friendship, partnership and collaboration whose printed-and-painted T-shirts, clothing and home furnishings became widely known in the alternative creative community at the height of the anti-apartheid era. Their designs expressed an emerging aesthetic at the time that reached for a post-apartheid sensibility that celebrated its grounding in contemporary urban Africa while comfortably in conversation with its global peers. The partnership became dormant by the early 90s as Jane and Jann found themselves in different corners of the world, exploring new challenges. They¬had worked together in London and then returned to Cape Town where they continued to design and produce numerous ranges of clothing and home furnishings as “Icon prints.” Jane took this business forward and extended it to create interior design concepts, while Jann moved to New York in the mid-90s.¬ Jane also works extensively as a product developer and skills trainer with urban and rural crafters. Her work in transferring skills to empower marginalized sectors of society were also the driving force behind the acclaimed "Body Maps" series where HIV-positive women used visual media to tell their truths. In New York, Jann created a new label, Lucky Fish, designing, producing and marketing an extensive range of printed T-shirts and home furnishings which¬are sold in stores all across America, as well as in Europe and Japan. But 13 years later, their shared aesthetic instinct drew them together again to launch Fabricnation, a new design house that will produce and market textile and wallpaper collections. Fabricnation aims to bring variety, diversity and fresh visual perspectives to the textile marketplace through collections designed by Jane Solomon and by Jann Cheifitz, as well as by selected established and untrained artists¬with whom they plan to collaborate. Having built 20 years of experience in textile design in different parts of the world on their original art- school impulse, Jann and Jane still remain primarily inspired by the African textile tradition, rendered in a modern urban context with its blending of diverse sources and influences to create the fabric of a nation. THE COLLECTION The Fabricnation collection includes 14 prints designed variously by Jann Cheifitz and Jane Solomon: All fabrics made and hand printed in South Africa. All designs work on a 64cm vertical repeat. AFRICAN ROYALE A playful African treatment on traditional damask, the royal lion takes center stage surrounded by ostrich fronds, rampant lions and birds. Fluorescent Pink on grey upholstery fabric. 1.45m wide White print on natural linen fabric. 1.5m wide Silver print on grey fabric. 1.45m wide CROWD An abstract pattern that on closer inspection reveals a section of a large crowd photographed at what might be an outdoor political or union rally, a church service or a civic meeting. Flipped horizontally and vertically, it creates an almost Rorschach image. Brown print on cream hopsack fabric. 1.5m wide Black print on white or cream hopsack fabric. 1.5m wide VELD An African savannah rendered in repeat in the style of a 1970s landscape photograph, offering a window onto the great outdoors that is at once expansive and calming. Olive print on cream hopsack fabric. 1.5m wide Brown on cream hopsack fabric. 1.5m wide Blue grey print on cream hopsack fabric 1.5m wide NUMBER 1 A mix of images inspired by the packaging of basic South African household products. Printed on hopsack and natural linen - reminiscent of sacking used to package products in the past. Navy on natural linen fabric. 1.5m wide Candle blue on white hopsack fabric. 1.5m wide CHAMPION Images from the packaging of basic South African household products have been combined to create a playful stripe – a take on soccer team shirts and traditional french striped tablecloths. Red print on cream hopsack fabric 1.5m wide Navy print on cream hopsack fabric 1.5m wide Green print on natural linen fabric 1.5m wide FOUR ACES A mix of images, mealies, cards, stars and fish, inspired by the packaging of basic South African household products combine to create a strip repeat evocative of West African textiles. Gold print on brown upholstery fabric 1.45 m wide Orange print on cream hopsack fabric 1.5m wide BOKKIE A reinterpretation of the springbok, inspired by art deco textiles and the South African railways Gold print on Brown upholstery fabric 1.45m wide Silver or Bronze print on cream hopsack 1.5m wide MONEY ANIMALS This textile frees a banknote from its function as a medium of exchange by transforming it into something decorative- as seen when foreign banknotes are taped to the walls of bars and restaurants all over the world. In the new South Arica wild animal iconography replaced controversial colonial figures on the Rand notes Purple print on cream hopsack 1.5m wide Green print on cream hopsack 1.5m wide Blue grey print on cream hopsack 1.5m wide SEASCAPE A west coast wave is rendered in repeat. Evocative of seaside holidays spent by the sea. Indigo blue print on cream hopsack 1.5m wide Turquoise print on white hopsack 1.5m wide OLD POSTCARDS A collage of a collection of old postcards from a faded South African past. Black print on White hopsack: 1.5m wide Brown print on cream hopsack: 1.5m wide Digital (full colour on white hopsack) 1.5m wide POSITIVE POWER A floral pattern inspired by late 60s early 70s “folk/hippy” textiles - The flowers that make up this pattern have been created by mutating, collaging elements from a variety of medical diagrams of the HI virus. The viruses (flowers) become weird and wonderful symbols. This fabric honors the courage, dedication and power of all people living with HIV who have grown to live and love – free positive lives. Red print on white hopsack 1.5m wide White print on red upholstery fabric 1.45m wide Black print on cream hopsack 1.5m wide White/ Silver print on dark grey upholstery fabric 1.45m wide LILIACEAE A variation on a traditional botanical/floral print This print investigates the strange succulents that are part of the family, Liliaceae. Printed “with roots” the textile celebrates indigenous South African flora and the healing properties, muti, associated with these plants. Lichen green print on dark grey upholstery fabric 1.45m wide Chartreuse green print on white hopsack 1.5m wide Black print on cream hopsack 1.5m wide ALOES AND LACE Aloes and lace is a playful evocation of frontier traditions of self sufficiency and simplicity. An oil lamp replaces electricity; water is pumped by harnessing the power of the wind and a lacy curtain frames our view of a harsh landscape. The economic, social and environmental crises of our times have put us back on the frontier of the unknown. Grey print on white hopsack 1.5m wide Chartreuse green print on linen 1.5m wide Indigo print on white hopsack 1.5m wide TOILE DU JOZI The Toile du Jozi design tells the story of an African city rendered in the faded style of a Toile du Jouy fabric but instead of depicting typically French rural scenes it shows Johannesburg (Jozi) street scenes. Urban meets rural, formal meets informal, tradition meets modernity. Magenta print on cream hopsack 1.5m wide Black print on cream hopsack 1.5m wide Blue/grey print on cream hopsack 1.5m wide OTHER PRODUCTS AVAILABLE: If you are interested in our other products please e-mail us for a price list and further product specifications • Cushions (45cm x 45cm) • Landscape cushions (43cm x 66cm) • Cushions (60cm x 60cm) • Big Cushions (73cm x 73cm) • Tablecloths Small (1.4m x 1.4m), Medium (1.4 x 2.3m ), Large (1.4m x 3.05m) • Tote bags (A4 book bag) • Saddle bags (one strap shoulder bag) • Mini Bolts 2.5m x 1.5m lengths overlocked top and bottom. • Teatowels WHOLESALE PACKAGE: • Wholesale prices available for resale/trade purposes only. • Minimum wholesale/trade orders start at 20m or orders (for resale only) of over R2500 • Within the bulk order of 20m there is a mininmun order of 2.5 meters per design and colour way. • A 5% cutting fee will be added on all lengths under 2.5m • Further discounts available on orders of 201m or more of one design and one print colour. • For orders over 25 meters fabrics can be customized. (Fabric colours subject to availability.) • Postage & handling fees are not included in price. • 50% deposit required on all orders placed. Balance to be paid on delivery. • An 8% banking fee is payable on international deposits. • Delivery 2 -3 weeks after ordering (deposit made) or as negotiated. • Any cancellation or changes to an order must be made (in writing) within 7 days of placing the order. • Fabric colors are subject to availability. Substitutions will be made with approval from client only. • “Perfectly imperfect” – all fabrics are hand printed. Variations in color and print may occur WASHING INSTRUCTIONS: • Wash fabrics at 40 degrees Celsius. • Iron with a cool iron. • Iron paste prints on the reverse side of the fabric. • Do not dry clean or tumble dry fabrics. OTHER SERVICES: • Designs can be reproduced as wallpaper on order. Minimum order 10m.
Recommended publications
  • Cloth, Commerce and History in Western Africa 1700-1850
    The Texture of Change: Cloth, Commerce and History in Western Africa 1700-1850 The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Benjamin, Jody A. 2016. The Texture of Change: Cloth, Commerce and History in Western Africa 1700-1850. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493374 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Texture of Change: Cloth Commerce and History in West Africa, 1700-1850 A dissertation presented by Jody A. Benjamin to The Department of African and African American Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of African and African American Studies Harvard University Cambridge, Massachusetts May 2016 © 2016 Jody A. Benjamin All rights reserved. Dissertation Adviser: Professor Emmanuel Akyeampong Jody A. Benjamin The Texture of Change: Cloth Commerce and History in West Africa, 1700-1850 Abstract This study re-examines historical change in western Africa during the eighteenth and nineteenth centuries through the lens of cotton textiles; that is by focusing on the production, exchange and consumption of cotton cloth, including the evolution of clothing practices, through which the region interacted with other parts of the world. It advances a recent scholarly emphasis to re-assert the centrality of African societies to the history of the early modern trade diasporas that shaped developments around the Atlantic Ocean.
    [Show full text]
  • Locally Produced Textiles on the Indian Ocean Periphery 1500-1850: East Africa, the Middle East, and Southeast Asia William Gervase Clarence-Smith
    Locally produced textiles on the Indian Ocean periphery 1500-1850: East Africa, the Middle East, and Southeast Asia William Gervase Clarence-Smith Ravi Palat and Immanuel Wallerstein claim that India 'deindustrialised' its Indian Ocean periphery, by exploiting its advanced proto-industrial techniques, especially for the production of cloth. (Pearson 1998: 109-12, 121, 126) After 1500, the picture was complicated by the violent irruption of Europeans, and yet they failed to dislodge South Asian cloth from its hegemonic position. All scholars agree on the continued market penetration of Indian cottons and silks in early modern times, although statistics hardly exist, and publications are patchy over the thousands of kilometres that separated Luzon from Arakan, and Mozambique from the Red Sea and the Persian Gulf. There is a real problem in determining what the performance of peripheral textiles might have been without imports from India. (Pearson 1998: 121-2) Anthony Reid postulates a 'zero-sum game,' whereby local output fell when Indian cottons surged in, but increased when imports from India were curtailed for some exogenous reason. (Reid 1988: 96) The evidence put forward in this paper does not bear out this mechanistic model. In reality, imports from India were as much a stimulus as a threat to local industries. Complicating matters was a marked blurring of the traditional distinction between 'manufactured imports' and 'local raw materials', given that imported textiles could serve as intermediate goods. Local artisans decorated coloured cloth from abroad, printed and dyed imports of plain white cloth, and wove yarn that had been spun far away. Indeed, they even unpicked finished cloth to obtain the dyed yarn that they desired.
    [Show full text]
  • The Journal of the Walters Art Museum
    THE JOURNAL OF THE WALTERS ART MUSEUM VOL. 73, 2018 THE JOURNAL OF THE WALTERS ART MUSEUM VOL. 73, 2018 EDITORIAL BOARD FORM OF MANUSCRIPT Eleanor Hughes, Executive Editor All manuscripts must be typed and double-spaced (including quotations and Charles Dibble, Associate Editor endnotes). Contributors are encouraged to send manuscripts electronically; Amanda Kodeck please check with the editor/manager of curatorial publications as to compat- Amy Landau ibility of systems and fonts if you are using non-Western characters. Include on Julie Lauffenburger a separate sheet your name, home and business addresses, telephone, and email. All manuscripts should include a brief abstract (not to exceed 100 words). Manuscripts should also include a list of captions for all illustrations and a separate list of photo credits. VOLUME EDITOR Amy Landau FORM OF CITATION Monographs: Initial(s) and last name of author, followed by comma; italicized or DESIGNER underscored title of monograph; title of series (if needed, not italicized); volume Jennifer Corr Paulson numbers in arabic numerals (omitting “vol.”); place and date of publication enclosed in parentheses, followed by comma; page numbers (inclusive, not f. or ff.), without p. or pp. © 2018 Trustees of the Walters Art Gallery, 600 North Charles Street, Baltimore, L. H. Corcoran, Portrait Mummies from Roman Egypt (I–IV Centuries), Maryland 21201 Studies in Ancient Oriental Civilization 56 (Chicago, 1995), 97–99. Periodicals: Initial(s) and last name of author, followed by comma; title in All Rights Reserved. No part of this book may be reproduced without the written double quotation marks, followed by comma, full title of periodical italicized permission of the Walters Art Museum, Baltimore, Maryland.
    [Show full text]
  • African Textile Design and Fabric Arts As a Source for Contemporary Fashion Trends Dereje Debeli , Liu Jie Yuan , Zhou
    2nd International Conference on Science and Social Research (ICSSR 2013) African textile design and fabric arts as a source for contemporary fashion trends Dereje Debeli 1, a, Liu Jie Yuan 1, b, Zhou Jiu1, c* 1Key Laboratory of Advanced Textile Materials and Manufacturing Technology, Ministry of Education, Zhejiang Sci-Tech University, Hangzhou, Zhejiang, 310018, China. [email protected], [email protected], [email protected] Key words: African textiles, design, fabric, arts Abstract. Textile design and arts in Africa traced back to thousand of centuries when some ethnic groups were started producing clothes for multi-purpose uses. Their design creations and arts were known to be having geometric patterns graced with wonderful choice of colors which were primarily bright in that sense. This paper introduces African textile designs and dressing styles. The concept of designing African textiles and its method to integrate on contemporary fashion trends are intended to be discussed. Color choices, selection of patterns and combination of aesthetics values are also included after taking some examples that illustrated African textiles. The kind of motif selection, balancing shapes and color sonority imbedded on these fabrics have a lot of thing to do with their wearing culture and dressing styles. The import of motifs on fabric has its own techniques. Textile design and fabrics produced based on these techniques are finally planned to convey known values from generation to generation. Introduction African textile designs and arts are representative symbols of African society. Some people and societies in Africa have developed symbols from proverbs, sayings, and king’s quotation in a form of arts.
    [Show full text]
  • West African Textiles
    WEST AFRICAN TEXTILES BARROW HALL GALLERY March 4—April 3 9 a.m.—5 p.m. WEST AFRICAN TEXTILES Exhibit curated by José Blanco and Jennifer Regan with assistance from Dr. Patricia Hunt-Hurst, Raúl Vázquez -López, and students from TXMI 4580: World Textiles (Jessica Baker, Allie Bashuk, Lauren Fylstra, Sara Idacavage, Rachel Jack, Ashley Scruggs, Kim Stober, Danielle Walsh). Unknown maker Light teal and brown two piece female outfit, Burkina Faso Cotton, synthetic embroidery On loan from Dr. Karim Traore This female outfit represents the colorful and flamboyant prints of modern African fashion which contrast the hand woven designs of traditional African dress. It is interesting to note that the modern print of the ensemble is not a traditional African design and resembles the art deco style of the early twentieth century. The pattern is created by a wax-printing process that has been copied by the Europeans. Interestingly, English wax-printed fabrics have become prestigious items in Nigeria costing more than the local outputs of the region. The fabric is inscribed with the words “Guaranteed English Wax” therefore verifying the quality of the print. The second interesting feature of this ensemble is the colorfully embroidered collar around the neckline of the caftan that appears to be industrially made. The decorative elements of the ensemble indicate that it is probably intended for special occasions. Unknown maker Teal Kampala fabric with white and orange print, Nigeria Cotton brocade On loan from Dr. Akinloye Ojo This piece is similar to Kampala textiles created in Uganda. The material is likely a damask weave created with a synthetic fiber.
    [Show full text]
  • African Textiles Kente, Adinkra & Korhogo
    AFRICAN TEXTILES KENTE, ADINKRA & KORHOGO “Our lives are woven together like the threads on a loom. One thread is very weak. Threads woven together are strong.” Grades 3-5 PowerPoint Lesson Plan OBJECTIVES HISTORY: Places an artwork in its art historical context. Students will examine the use of textiles to express ideas, beliefs or stories created by West African peoples. CRITICISM: Informed talk about art. Students will be able to identify the use of line that creates patterns in Adinkra cloth and discuss the symbolism of the designs used. AESTHETICS: Questions the nature, value and beauty of art. Students will discuss the value of textiles as art even though they are created to be worn. PRODUCTION: Creating art. Students will create an Africa-inspired textile using line to create pattern. VOCABULARY Note to volunteers The vocabulary words will be in bold italics throughout the lesson. They will be defined within the text of the lesson and do not need to be presented separately. The definitions included under this section of the lesson are very detailed and intended for adults. Line: the path of a moving dot. Pattern: the repeated placement of a basic unit, called a motif (this could be created with a shape, line, texture, or color). In general, pattern has two main functions in art and design; it provides visual enrichment and interest, and it helps unify a composition or an area of a composition. 1 PowerPoint Presentation Symbol: a design or object, which represents an idea, concept, or product. Textile: woven fabric or cloth. INTRODUCTION Can anyone tell me what a proverb is? There are some that you may have heard before like, “You can’t judge a book by its cover” or “The early bird catches the worm”.
    [Show full text]
  • Fashion and Textiles Ebook
    Africa Imports Textiles and Fashion All You Need to Know I TABLE OF CONTENTS AFRICAN TEXTILES AND FABRICS 2 WHAT IS MUDCLOTH? 3 WHAT DOES THIS MUDCLOTH DESIGN MEAN? 6 NIGERIAN ASOKE FABRIC AND ITS UNIQUE HISTORY 8 THE DASHIKI: A SYMBOL OF AFRICA 10 WHAT IS GEORGE FABRIC? 12 WAX PRINT FABRICS 14 KENTE CLOTH 16 THE AFRICAN KAFTAN 18 Kaftans in Weddings 19 Kaftans in Funerals 19 AN OVERVIEW ON VARIOUS AFRICAN FABRICS 20 Four Types of Textiles 20 Interesting Cloth Facts 21 AFRICAN JEWELRY 22 AFRICAN FASHION JEWELRY AND ITS MEANING 23 MASSAI BEADWORK 25 What the Colors Mean 26 TUAREG SILVER AND BLACK HISTORY 27 WHAT IS MUDCLOTH? Mudcloth is a traditional African fabric that was first made in Mali, West Africa. It’s typically characterized by white geometric designs on a black, brown, mustard, red or green background (although other colors are sometimes found). Although Mudcloth is relatively new to the US, having only been commonly seen here since the 1990’s, Mudcloth in Africa dates as far back as the 12th century AD. Mudcloth actually does contain mud due to the process used to make it, which involves among other things using fermented mud as well as a liquid that is concocted from the leaves of native trees. Mud cloth is often soaked in this liquid several times before the cloth is actually fin- ished. The term Mudcloth is actually a direct translation of an African word – bogolanfini. Traditional Mudcloth is made in the old-fashioned man- ner of weaving cotton into strips on looms and then binding these strips together.
    [Show full text]
  • African Textiles Kente, Adinkra & Korhogo
    AFRICAN TEXTILES KENTE, ADINKRA & KORHOGO “Our lives are woven together like the threads on a loom. One thread is very weak. Threads woven together are strong”. Grades K-2 PowerPoint Lesson Plan OBJECTIVES HISTORY: Places an artwork in its art historical context. Students will examine the use of textiles to express ideas, beliefs or stories created by West African peoples. CRITICISM: Informed talk about art. Students will be able to identify the use of line, which creates patterns in Adinkra cloth and discuss the symbolism of the designs used. AESTHETICS: Questions the nature, value and beauty of art. Students will discuss the value of textiles as art even though they are created to be worn. PRODUCTION: Creating art. Students will create an Africa-inspired textile using line and shape to create pattern. VOCABULARY Note to volunteers The vocabulary words will be in bold italics throughout the lesson. They will be defined within the text of the lesson and do not need to be presented separately. The definitions included under this section of the lesson are very detailed and intended for adults. Textile: woven fabric or cloth. Pattern: the repeated placement of a basic unit, called a motif (this could be created with a shape, line, texture, or color). In general, pattern has two main functions in art and 1 PowerPoint Presentation design; it provides visual enrichment and interest, and it helps unify a composition or an area of a composition. Symbol: a design or object which represents an idea, concept, or product. INTRODUCTION Can anyone tell me what a proverb is? There are some that you may have heard before like “You can’t judge a book by its cover” or “The early bird catches the worm.” Can you think of any others? How about – “Better late than never.” “Better safe than sorry.” “Finders keepers, losers weepers.” But what do proverbs really mean? Let’s think about “You can’t judge a book by its cover”.
    [Show full text]
  • The Kanga, a Cloth That Reveals- Co-Production of Culture in Africa and the Indian Ocean Region
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 9-2012 The Kanga, A Cloth That Reveals- Co-production of Culture in Africa and the Indian Ocean Region Phyllis Ressler Webster University, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Ressler, Phyllis, "The Kanga, A Cloth That Reveals- Co-production of Culture in Africa and the Indian Ocean Region" (2012). Textile Society of America Symposium Proceedings. 736. https://digitalcommons.unl.edu/tsaconf/736 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. The Kanga, A Cloth That Reveals1 Co-production of Culture in Africa and the Indian Ocean Region Phyllis Ressler [email protected] Photo: Kim Retka The kanga, a colorful machine printed cloth, is frequently identified with the Swahili culture along the east African coast starting in the early 1880’s. This rather mysterious cloth continues to be used and valued by millions of people in many countries today. The kanga is approximately 45 x 65 inches in size, is usually sold in pairs, and can be identified by its distinctive border and central design or motif. Typically a line of text is printed along the border. Kangas are found all over the world. Japan, Lamu, the Rift Valley, Nairobi, Dar es Salam, the Comoros islands, Mozambique, eastern DRC, Oman and Dubai are but a few of the locations where kangas have been worn and used for generations.
    [Show full text]
  • Luxury Textile Imports in Eastern Africa, C. 1800–1885
    Textile History ISSN: 0040-4969 (Print) 1743-2952 (Online) Journal homepage: https://www.tandfonline.com/loi/ytex20 ‘Cloths with Names’: Luxury Textile Imports in Eastern Africa, c. 1800–1885 Sarah Fee To cite this article: Sarah Fee (2017) ‘Cloths with Names’: Luxury Textile Imports in Eastern Africa, c. 1800–1885, Textile History, 48:1, 49-84, DOI: 10.1080/00404969.2017.1294819 To link to this article: https://doi.org/10.1080/00404969.2017.1294819 Published online: 10 May 2017. Submit your article to this journal Article views: 341 View related articles View Crossmark data Citing articles: 2 View citing articles Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=ytex20 Textile History, 48 (1), 49–84, May 2017 ‘Cloths with Names’: Luxury Textile Imports in Eastern Africa, c. 1800–1885 Sarah Fee In the nineteenth century, a vast area of eastern Africa stretching the length of the coast and into the reaches of the Congo River was connected by long-distance trade mostly channelled through the Omani commercial empire based in Zanzibar. As studies have recently shown, a critical factor driving trade in this zone was local demand for foreign cloth; from the 1830s the majority of it was industrially made coarse cotton sheeting from Europe and America, which largely displaced the handwoven Indian originals. Employing archival, object, image and field research, this article demonstrates that until 1885 luxury textiles were as important to economic and social life in central eastern Africa, textiles known to the Swahili as ‘cloths with names’.
    [Show full text]
  • Fall 2012 Textile Society of America Newsletter 24:3 — Fall 2012 Textile Society of America
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Fall 2012 Textile Society of America Newsletter 24:3 — Fall 2012 Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsanews Part of the Art and Design Commons Textile Society of America, "Textile Society of America Newsletter 24:3 — Fall 2012" (2012). Textile Society of America Newsletters. 63. https://digitalcommons.unl.edu/tsanews/63 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 Newsletters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Textile VOLUME 24 n NUMBER 3 n FALL, 2012 Society of America CONTENTS HE TEXTILE SOCIETY OF a convenient downtown Program America’s 13th Biennial location, close to the National 1 Symposium 2012 Concurrent Symposium sessions Symposium is only a few Mall, Union Station, and Penn T will explore how textiles com- 2 From the President weeks away, and it promises to Quarter, as well as a bustling municate and construct status, be our most exciting yet. More dining, shopping, and enter- 3 Symposium 2012, continued ethnicity, gender, power, taste, than 375 textile scholars, artists, tainment area. Information to 6 TSA News and wealth, and have functioned collectors, and other experts are help you plan your travel to at the nexus of artistic, economic, 9 TSA Member News set to gather in the nation’s cap- Washington, DC, is online at: and political achievement in ital—our highest attendance ever http://www.textilesociety.org/ 11 Textile Community News human culture.
    [Show full text]
  • Patterns Around the World: Japanese, Maori, Islamic, Aztec/ Mayan, African
    California State University, San Bernardino CSUSB ScholarWorks Curricula Curriculum Archive 4-2017 Patterns Around the World: Japanese, Maori, Islamic, Aztec/ Mayan, African Catherine French Follow this and additional works at: https://scholarworks.lib.csusb.edu/cap-curr Part of the Art Education Commons Recommended Citation French, Catherine, "Patterns Around the World: Japanese, Maori, Islamic, Aztec/Mayan, African" (2017). Curricula. 25. https://scholarworks.lib.csusb.edu/cap-curr/25 This Prison Arts Collective Curricula is brought to you for free and open access by the Curriculum Archive at CSUSB ScholarWorks. It has been accepted for inclusion in Curricula by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. Class Title: Patterns Around the World (10 Sessions) ~ Japanese ~ Maori ~ Islamic ~ Aztec/Mayan ~ African ~ Date: 04/16/2017 Site: CIM 9am-12pm Teaching Artist: Catherine French This is a: Revision to Current Class Overview of class This course is for all levels of artists; from beginning to advance. It focuses on five different cultures from around the world, giving each culture approximately two class periods to learn and experiment with. However, based on participant feedback, the cultures listed do not have to be the cultures taught if there is a high demand to create and learn about art from a different culture. In this course, there will be a diverse amount of materials that participants will get to use, including paint, watercolor, collage, and printmaking. Essential Question/ Theme How do patterns and symbols enhance a cultures art? What makes them art? Student learning outcomes • Technical: Participants will gain hands on experience in a variety of media throughout the mini projects as well as the final projects.
    [Show full text]