DOCSLIB.ORG

Uncommon Threads Fiber Arts Exhibition

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Uncommon Threads Fiber Arts Exhibition Laurel Arts 2021 Uncommon Threads Fiber Arts Exhibition Laurel Arts welcomes submissions to a Uncommon new exhibit entitled Uncommon Threads, to be held in April 2021. The show will be Threads open to the public from April 6 to May 4. We are looking for works that display the craftsmanship, creativity, and skills which Fiber Arts Exhibition convey the beauty of all areas of Fiber Arts. You may submit up to four 2-Dimensional and/or 3-Dimensional works in the areas of basketry, weaving, tapestry, coiling, knitting, crochet, embroidery, lacemaking, rug-braiding, rug-hooking, macramé, tex- tile arts, quilting, spinning, papermaking, or any creative combination of the above. This exhibit will ALSO be displayed The Philip Dressler Center for the Arts virtually on our website at www.laurelarts.org April 6 – May 4, 2021 (Details for the virtual show will be available *Opening Reception: Friday, April 9 on the drop-off days.) Please call or email if you have any questions. 6 p.m.—8 p.m. Phone: 814-443-2433 Email: [email protected] Gallery Hours Monday - Thursday 12:00 p.m.—6:00 p.m. PO Box PO 414Box Somerset, 15501 PA Laurel Arts * If an opening reception is not possible due to the ongoing restrictions, artists will be notified. 814.443.2433 www.laurelarts.org Submit to office staff Attach to each work Entry Procedures Open to all artists 18 years of age or older. Uncommon Threads 2021 Entry #1 of ___ Uncommon Threads 2021 Entry #1 of ___ Maximum of 4 entries per artist. Artist’s Name____________________________ Artist’s Name____________________________ Non-refundable fee of $20 made payable to Address________________________________ Address________________________________ Laurel Arts. Phone #________________________________ Phone #________________________________ Artwork must be original and ready to display Title of Work____________________________ Title of Work____________________________ on the Walker hanging system. Medium___________________Price_________ Medium___________________Price_________ Any hanging piece must be securely wired. 3-Dimensional artwork should stand securely. Uncommon Threads 2021 Entry #2 of ___ Uncommon Threads 2021 Entry #2 of ___ Artist’s Name____________________________ Artist’s Name____________________________ Submission Guidelines Address________________________________ Address________________________________ Phone #________________________________ Phone #________________________________ All artwork must be signed in upon drop-off and signed out upon pickup with office staff. Title of Work____________________________ Title of Work____________________________ Two printed submission cards listing the Medium___________________Price_________ Medium___________________Price_________ artist’s information must accompany each entry. One copy should be attached to the Uncommon Threads 2021 Entry #3 of ___ Uncommon Threads 2021 Entry #3 of ___ back of the artwork, and one copy is to be Artist’s Name____________________________ Artist’s Name____________________________ given to office staff. Address________________________________ Address________________________________ Artists must offer at least one piece of work for sale. If artwork is not for sale please Phone #________________________________ Phone #________________________________ indicate NFS on tag. Title of Work____________________________ Title of Work____________________________ Laurel Arts will retain a 30% commission on Medium___________________Price_________ Medium___________________Price_________ any artwork sold, please price accordingly. Entries may be dropped off at The Philip Uncommon Threads 2021 Entry #4 of ___ Uncommon Threads 2021 Entry #4 of ___ Dressler Center for the Arts, 214 S. Harrison Ave., Somerset, PA 15501: Artist’s Name____________________________ Artist’s Name____________________________ Tuesday, March 30 (Noon—6 p.m.) Address________________________________ Address________________________________ Wednesday, March 31 (Noon—6 p.m.) Phone #________________________________ Phone #________________________________ Saturday, April 3 (10 a.m.—1 p.m.) Title of Work____________________________ Title of Work____________________________ Because of limited space, we may not have room to display every large entry, such as Medium___________________Price_________ Medium___________________Price_________ multiple quilts. In this case, artists will be notified. .
Load more

Recommended publications
  • Oriental Rug Knotting & Construction
    Oriental Rug Knotting & Construction Knotted, Tufted and Flat-Woven Rugs; Knot Types and Density Anatomy of A Hand Knotted Rug A. WARP - The parallel threads running through the entire length of the rug onto which the knots are tied. B. WEFT - The threads running across the width of the rug inserted between all the rows of knots. These threads pass through alternate warp threads. Their job is to secure the knots in parallel lines and to strengthen the fabric. C. KNOT - The term used for a strand of wool yarn which is looped around two adjacent warp threads and then cut to form the pile (surface of carpet). D. OVERCASTING - A simple wrapping of dyed yarn along the entire length of both sides of a handmade rug. E. FRINGE - The visible continuation of the warp threads at both ends of the carpet. F. KILIM - The pileless web of warp and weft between the rug's pile and the knotted fringe. This is also the name for a rug without pile. Types of Oriental Rug Construction Who Uses Which Knot? Line of division (dotted line): distinguishing Turkish Knot (west of line) and Persian Knot areas (east). PERSIAN KNOT WITH ALL OF THE WARP THREADS ON ONE LEVEL TURKISH KNOT WITH ALL OF THE WARP THREADS ON ONE LEVEL PERSIAN KNOT WITH THE WARP THREADS ON TWO DIFFERENT LEVELS OPEN BACK & CLOSED BACK OPEN BACK CLOSED Different methods for finishing the undersides of rugs BACK The FULL LOOP part of the In the CLOSED BACK KNOT is on the UPPER KNOT the FULL LOOP is warp thread on the LOWER warp thread .
    [Show full text]
  • How to Make Métis Hooked Rugs
    How to Make Métis Hooked Rugs There are six steps in making a hooked rug. These are: 1) Preparing Materials 2) Building a Frame 3) Preparing a Work Surface 4) Cutting and Tracing the Pattern 5) Hooking the Rug 6) Putting on the Backing and Finishing Touches 1) Preparing Materials • Use two-by-two inch pieces of wood for the frame • Make the frame slightly bigger than the rug • Use nails to attach the frame • Use burlap or jute for the frame’s backing • Use corduroy or denim to reinforce the frame’s border • Use quilting or upholstery thread to stitch the border • Use sealed wax to bind the border to the burlap/jute backing • Use wool or string to lace the burlap border to the frame • Use various big-eyed needles and a thimble for the lacing process • Use paper to make the pattern • Use paper scissors to cut out the pattern • Use small or large straight pins to pin down the pattern • Use sharp scissors to cut all fabric • Use a rug-hooking tool to begin the rug-hooking process • Rug-hooking tools can be found at craft or carpet stores, or can be made from a cork and a nail • Use various colours of cotton t-shirts for materials • Cut the seams out of the t-shirts, and then cut the material into thumb width strips • The strips can be rolled into balls for easy storage 2) Building a Frame • Make an adjustable frame by drilling holes in the wood • Use a nut and a bolt to adjust the frame’s size • If the frame is to be used only once, nail it together 3) Preparing a Work Surface • Choose either burlap or jute (which is finer grained) • Then
    [Show full text]
  • We Are the Rug Hooking Capital of the World”: Understanding Chéticamp Rugs (1927-2017)
    “We are the Rug Hooking Capital of the World”: Understanding Chéticamp Rugs (1927-2017) by © Laura Marie Andrea Sanchini A thesis submitted to the School of Graduate Studies In partial fulfilment of the Requirements for the degree of Doctor of Philosophy Department of Folklore Memorial University December 3rd, 2018 St John’s Newfoundland Abstract This thesis is the story of how utilitarian material culture was transformed into a cottage industry, and eventually into high art. Chéticamp rug hooking is an artistic practice, one wrapped up in issues of taste, creativity, class and economics. Rug hooking in Chéticamp rose to prominence in the first half of the 20th century when Lillian Burke, a visiting American artist, set up a rug hooking cottage industry in the area. She altered the tradition to suit the tastes of wealthy patrons, who began buying the rugs to outfit their homes. This thesis examines design in rug hooking focusing on Chéticamp-style rugs. Captured within design aesthetics is what the rugs mean to both those who make and consume them. For tourists, the rugs are symbols of a perceived anti-modernism. Through the purchase of a hooked rug, they are able to bring home material reminders of their moment of experience with rural Nova Scotia. For rug hookers, rugs are a symbol of economic need, but also agency and the ability to overcome depressed rural economic conditions. Rug hooking was a way to have a reliable income in an area where much of the labour is dependent on unstable sources, such as natural resources (fishing, lumber, agriculture etc.).
    [Show full text]
  • Kilim Rugs: Tribal Tales in Wool: Tribal Tales in Wool Pdf, Epub, Ebook
    KILIM RUGS: TRIBAL TALES IN WOOL: TRIBAL TALES IN WOOL PDF, EPUB, EBOOK Susan Gomersall | 112 pages | 01 Jul 2000 | Schiffer Publishing Ltd | 9780764311581 | English | Atglen, United States Kilim Rugs: Tribal Tales in Wool: Tribal Tales in Wool PDF Book The resulting felt rug is also an eco friendly rug in every sense of the word. Good Wear consistent with age and use. February 6, by kilimrugs. The best rule of thumb is to stick to naturally occurring plant and animal fibres such as wool, cotton, hemp, bamboo, sea grass, jute, sisal, cashmere, mohair and silk obviously this list is not exhaustive. Blog at WordPress. Large Shyrdak Felt Rug. In Stock Unavailable. Our rug arrived yesterday and it is beautiful. This felt rug is made by sewing contrastings patterns of felt together and dyed with natural plant dyes these stunning rugs have been traditionally used to decorate yurts for thousands of years. Mark Blackburn has been a leading dealer in Oriental rugs for thirty years. The rugs were usually woven with un-dyed wool and the common colors were beige, ivory and brown. Buying a rug can be a traumatic experience. You May Also Like. Although the nomads of Kyrgyzstan are now largely settled; felt rugs continue to be made for the home, tourists and a small, yet dedicated, export market. About this product. As they were worn through daily use, they accumulated both value and significance. By Navajo. As in the originals, the knot density is still relatively low when compared to most other types of rugs. About the Seller.
    [Show full text]
  • Rug Making • Oriental Rugs • Felting • Quilting 35
    RUG MAKING • ORIENTAL RUGS • FELTING • QUILTING 35 FELT CRAFTS Combining Rug Hooking & Braiding: Ba- Fun Felt Crafts: Penny Rugs & Pretty From Ensign's Bars to Colonel's Stars: sics, Borders, & Beyond. Kris McDermet, Things from Recycled Wool. Tina Skinner. Making Quilts to Honor Those Who Serve. Christine Manges, and Dianne Tobias. The go- Christmas ornaments, decorative penny rugs, Renelda Peldunas-Harter. Six quilts honor the to book on rug hooking and braiding skills for pretty pouches, and fl oral brooches are among offi cer ranks between 2nd Lieutenant/Ensign all fi ber artists, especially those looking for a the simple, featured projects. Recycle some wool through Colonel/Captain. Original designs provid- comprehensive guide to combining the two arts clothing, buy a few pretty yarns and threads, ed to follow along or to inspire your own ideas. into fascinating and ornate projects. Includes sharp scissors, and a good needle and you’re Tips are given for fabric selection, constructing beginning-to-end projects: tote bag, chair pad, on your way. Clear, illustrated instructions and the quilt, appliquéing, squaring a quilt, border and a trivet. fun templates preparation, and binding while galleries show Size: 8 1/2" x 11" • 550+ illustrations • 272 pp. Size: 8 1/2" x 11" • 150+ color photos • 64 pp. versatility of quilts for non-military applications. ISBN: 978-0-7643-3789-5 • hard cover • $49.99 ISBN: 978-0-7643-3299-9 • soft cover • $12.99 Size: 8 1/2" x 11" • 118 color images • 96 pp. ISBN: 978-0-7643-4719-1 • soft cover • $19.99 Braiding with Barbara™: Wool Rug Braid- Felting.
    [Show full text]
  • Call for Arfists
    CITY ARTS ADVISORY City of Sequim Summary of Requirements COMMISSION Rotating Art Gallery 1. Deadline for submission is September 9, 2016. Application For display at the City of Sequim Civic Center 2. No more than three (3) entries per artist. Call For 3. This exhibit will be “fiber art”, any mixed media Deadline Date: September 9, 2016 utilizing fiber. Display Dates: 10/1/16 to 12/31/16 4. Pieces shall be no larger than 9 square feet and Artists Artist Name ________________________ not exceed 50 pounds per piece. “Fiber Art” Address ___________________________ 5. Artwork is to remain on display for the duration of project period. City/State/Zip______________________ 6. All work must be original and created solely by Contact Phone______________________ the artist. Email_____________________________ 7. A contract will be offered to artists whose artwork Entry #1 Title _______________________ is selected for exhibition. Artists must have a com- Medium ______________ Size ________ pleted contract to exhibit at the Civic Center. Price______________________________ Entry #2 Title _______________________ Medium ______________ Size ________ Price ______________________________ Entry #3 Title _______________________ Medium ______________ Size ________ Rotating Art Price ______________________________ Sequim Civic Center City Arts Advisory Commission 152 West Cedar Street Sequim, WA 98382 Phone: 360-681-3428 E-mail [email protected] 360-681-3428 Call for Artists — Rotating Art Exhibit, Sequim Civic Center About the Exhibit Program dia and is acceptable for viewing by citizens of all Selection Process and Review Criteria ages. Submissions are limited to three from each Applications are now being solicited by the City The CAAC will jury submissions. Selection of work will be artist.
    [Show full text]
  • ABSTRACT YI, DING. a Comparison of Mordant and Natural Dyes In
    ABSTRACT YI, DING. A Comparison of Mordant and Natural Dyes in Dyeing Cotton Fabrics. (Under the direction of Dr. Harold S. Freeman and Dr. Peter J. Hauser). Mordant dyes constitute a class of synthetic colorants that are applied to textile fibers mainly through the aid of transition metal ions such as Cr3+. The resultant dye-metal complexes are key to the fastness properties produced on wool. In the same way, most natural dyes require the use of a mordant to have coloring power on textiles such as cotton. Unlike mordant dyes on wool, the fastness properties of natural dyes on cotton are generally quite low. Consequently, they have largely been replaced by synthetic dyes that are more cost effective, brighter, and more durable under end-use applications. Interest in green technologies has led to renewed consideration of natural dyes for textile coloration because they are biodegradable and do not involve manufacturing processes requiring genotoxic aromatic amines. Interestingly, such a shift would bring dyeing technology full circle to a family of colorants lacking the vibrancy and technical properties of most synthetic dyes. However, similarities between the dyeing method for mordant and natural dyes brought to mind the potential for reducing the level of synthetic dyes used commercially by combining suitable dyes from these two classes for dyeing textiles. This thesis research was devoted to stage 1 of this idea, namely the evaluation of mordant dyes as colorants for cotton fabric. With this in mind, dyes such as Mordant Blue 13, Mordant Brown 40, Mordant Orange 6 and Mordant Yellow 8 were applied to cotton using various dyeing times, temperatures, dye bath concentrations and mordants.
    [Show full text]
  • The Great Cover-Up: Ting, Crocheting, and Most Notably Hooking
    The g reat Cover-up American Rugs on Beds, Tables, and Floors By Lee Kogan he impulse to cover interior surfaces has historically been both utilitarian and decorative. Rugs in partic- ular have been a ubiquitous presence in American interiors since the seventeenth century, whether displayed on the bed, the table, the floor, or, more T recently, the wall. Because of their prominent placement and the physical area they occupied, rugs became opportunities for strong visual statements. As many surviving rugs beauti- fully attest, the best examples transcend function through their graphic power—color and design—and are now considered masterworks. Early American rugs were yarn sewn, shirred, appliquéd, and embroidered; later techniques included knit- “The great Cover-up: ting, crocheting, and most notably hooking. Hand-sewn and american rugs on Beds, -hooked rugs were once appreciated only within the intimate Tables, and Floors” confines of the home. Today, their public enjoyment provides will be on view at the american Folk art a fascinating glimpse into the private spaces of American life. Museum June 5– “The Great Cover-up: American Rugs on Beds, Tables, and KNITTED RUG (detail) September 9, 2007. Attributed to Elvira Curtis Hulett Floors” is the American Folk Art Museum’s first comprehen- (c. 1805–1895) sive rug exhibition since 1974, when Joel and Kate Kopp orga- Probably Hancock, Museum exhibitions are Massachusetts supported in part by the nized the seminal “American Hooked and Sewn Rugs: Folk c. 1890–1895 gerard C. wertkin exhibition Art Underfoot,” which generated an enormous interest in the Wool 1 50" diam.
    [Show full text]
  • By Author 2019 to 2020
    THSG Library Updated for 09/2019 By Author 2019 to 2020 311 [s.l.][s.n.] Oregon Loom-Plans to build a 4 H, 45" counterbalanced loom [s.l.][s.n.] 364.3 PN-D Double Weave, Some Tips For [s.l.][s.n.] 369 WSN-T Ripsmatta Workshop with Joanne Tallarovic [s.l.][s.n.] 533 WSN Process of Hand Papermaking, The [s.l.][s.n.] 100 3M 2004 Respirator Selection Guide 3M 364 A152m Multiple Harness Patterns From the Early 1700's (The Snavely Patterns) Able, Isable I. 544 A177f Fashionable Batik Acheson, Olivia S. 095.4 A228w Weaving Traditions of Highland Bolivia Adelson, Lauri, and Takami 120 A242n Natural Dyes and Home Dyeing Adrosko, Rita J. 311 A242a American Loom: Plans for Making a 19th Century Loom Adrosko, Rita J. 361 A242w Weavers Draft Book and Clothiers Assistant, The Adrosko, Rita J. 455 A285f Fine Machine Sewing Ahles, Carol Laflin James Koehler Workshop: Hatching and Color Gradation Techniques for 367.2 Ref Tapestry Aiken, Roxanne James Koehler Workshop: Hatching and Color Gradation Techniques for 367.2 WSN-A Tapestry Aiken, Roxanne 400 A294f Fiberarts Book of Wearable Art, The Aimone, Katherine Duncan 304 A325o Ojo de Dios - Eye of God Albaum, Charlet 331 A329o On Weaving Albers, Anni 022 A333i Indigo Dyeing Albert, Susan Wittig 022 A333u An Unthymely Death and Other Garden Mysteries Albert, Susan Wittig 351 A361m Mastering Weave Structures Alderman, Sharon 374 A361h Handweaver's Workbook, A Alderman, Sharon Alderman, Sharon, and 376 A361h Handwoven, Tailormade Wertenberger 401 C319g Good Houskeeping Needlecraft Encyclopedia, The Alice Carroll 330 A417c Christine's Fun & Fast Swedish Weaving: Winter Patterns Allan, Christine 335 A419r Rug Making Allard, Mary 1 THSG Library Updated for 09/2019 By Author 2019 to 2020 333 A425w Weavers Way: Navajo Profiles, The Allen, Dodie 335 A426w Weaving Contemporary Rag Rugs Allen, Heather 415 A427t Treasure of Machine Knitting Stitches Allen, John 094.4 A475w Weavers of the Southern Highlands Alvic.
    [Show full text]
  • 4-H Fiber Arts Project Guide
    4-H Fiber Arts Project Guide In the Oregon 4-H Fiber Arts project, youth learn to manipulate fiber through one or more steps to a finished product. Fibers include those from plants and animals, as well as some that are human-made. Members can learn the various ways to handle each kind. Most techniques in this proj- ect have existed for many years, and their uses have adapted as times have changed. The 4-H Fiber Arts Project gives 4-H youth the opportunity to explore 13 techniques of working with fiber: • Weaving • Embroidery • Basketry • Needlepoint • Spinning • Appliqué • Felting • Patchwork • Macramé and knotting • Quilting • Braiding • Papermaking • Hooking Once members learn basic techniques, there are endless opportunities for them to Contents develop their creativity and design sense. Role of a 4-H Project Leader .................2 This project guide gives a short over- Elements and Principles of Design ........3 view of each technique. These are not Weaving ..................................................4 instructions for teaching the specific tech- niques, but rather a description and some Basketry...................................................7 suggestions on where and how to start. Each Spinning ..................................................9 overview describes methods, skill building, Felting ...................................................11 project ideas, and standards for evaluating Macramé and Knotting ........................13 the work. Some resource books and videos Braiding ................................................15
    [Show full text]
  • Preparing Wool for Rug Hooking
    Preparing Wool for Rug Hooking I hear this over and over from new rug hookers -- "I bought wool . .now what?" or "I went to the thrift store and bought some wool skirts - now what should I do to them?" With the information about Types of Wool to buy and the information on this page, you should have no trouble getting started on your wool hunting journey. I will tell you how to prepare the wools you find so they will work well in your hooking. Using Recycled Woolens Make the Goodwill or local thrift store one of your favorite places to visit! If you want to build your wool stash quickly and inexpensively, and continually add to it — this is the best place to go. Look for the wools that I mentioned in the previous section that are best for hooking. Go first for the larger sizes in skirts, dresses and pants—more wool for your money! Most thrift shops sell skirts and pants for less than $4.00 each — no matter the size. So you will get lots more wool in a size 18 skirt, than in a size 8! Choose the colors and textures that you like, that you need, and that you know will work for hooking. You will get much better at this as you go along. I can now just scan the racks and see what I need. Read the Labels Choose wools with the wool mark label, 100% wool (not washable wool.) Besides Pendleton, look for the high-end designers’ wools, like Harve Bernard, Leslie Faye, Ralph Lauren, and others.
    [Show full text]
  • Knitting, Crochet & Fiber Art Class Schedule January 2020
    KNITTING: CROCHET: BEGINNER / INTERMEDIATE KNITTERS: learn the basics BEGINNER CROCHET & BEYOND: Mary’s 4 week and move onto an appropriate project of your choosing. sessions offer you a chance to learn basic crochet rolling start. stitches, & gain a good solid understanding of them; Mon 5-6:30; Wed 6-7:30; Thurs 12:30-2; Thurs 6-7:30; move on to a project of choice; or restart a stalled project! Fri 10-11:30 & 12:30-2; Sat 10-11:30; $55 /4 wks; Tues Jan 7, 14, 21 & 28 6:30-8PM; $55 Sat 1-3PM $60/ 4 weeks Wed Jan 7, 15, 22 & 29 6:30-8PM $55 Knitting, Crochet KNITTING II: this class is for those ready for next level TUNISIAN CROCHET: Explore basic Tunisian stitches, Mondays 6:30-8:30 ($60/ 4 wks); rolling start. and we'll look at some of the wide variety of stitch & FIBER THERAPY/ BEYOND BEG KNIT & CROCHET: patterns, colorwork techniques, more you can create Charlotte’s next level class for knitters & crocheters Tues Jan 7, 14, 21 & 28 12:30-2PM; $55 Fiber Art Class Saturdays 10-12PM (4 wks/$60 rolling start) CROCHET QUILT SQUARES: Traditional quilt patterns KNITTING FOR KIDS: this class is specifically designed to can be a great source of inspiration for crochet design. Schedule teach our next generation this great craft. Explore these patterns with Mary. Wednesdays 4-5PM 4 wks/$45 Wed Jan 7, 15, 22 & 29 12:30-2PM $55 CHARITY KNITTING /CROCHET: Thurs Jan 9, 10- TUNISIAN CROCHET for KNITTERS: This is an on-going 12PM Start the new year by joining us for Charity workshop.
    [Show full text]