DOCSLIB.ORG

Mary Walker Phillips: “Creative Knitting” and the Cranbrook Experience

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mary Walker Phillips: “Creative Knitting” and the Cranbrook Experience Mary Walker Phillips: “Creative Knitting” and the Cranbrook Experience Jennifer L. Lindsay Submitted in partial fulfillment of the requirements for the degree Master of Arts in the History of Decorative Arts Masters Program in the History of Decorative Arts The Smithsonian Associates and Corcoran College of Art + Design 2010 ©2010 Jennifer Laurel Lindsay All Rights Reserved TABLE OF CONTENTS LIST OF ILLUSTRATIONS.............................................................................................iii PREFACE........................................................................................................................... x ACKNOWLDGEMENTS ............................................................................................... xiv INTRODUCTION .............................................................................................................. 1 CHAPTER 1. CRANBROOK: “[A] RESEARCH INSTITUTION OF CREATIVE ART”............................................................................................................ 11 Part 1. Founding the Cranbrook Academy of Art............................................................. 11 Section 1. Origins of the Academy....................................................................... 11 Section 2. A Curriculum for Modern Artists in Modern Times ........................... 16 Section 3. Cranbrook’s Landscape and Architecture: “A Total Work of Art”.... 20 Part 2. History of Weaving and Textiles at Cranbrook..................................................... 23 Section 1. Studio Loja Saarinen: The Genesis of Weaving at Cranbrook........... 24 Section 2. Marianne Strengell: Weaving and Textiles for a New Generation..... 28 A. Developing a Modern Curriculum in Weaving and Textiles............... 28 B. The Department of Weaving and Textiles at Cranbrook, 1944-1961.. 32 CHAPTER 2. MARY WALKER PHILLIPS AND THE CRANBROOK EXPERIENCE .................................................................................................................. 41 Part 1. The Early Years..................................................................................................... 41 Section 1. Traditional Tastes and Contemporary Influences................................ 41 Section 2. “Cranbrook is the Place for Me”.......................................................... 47 Section 3. Cranbrook in the Forties ...................................................................... 49 Section 4. Cranbrook 1946-1947: Weaving and Textiles..................................... 51 Section 5. Designer of Hand Woven Textiles, 1947-1959 ................................... 58 Part 2. From Weaving into Knitting: Return to Cranbrook, 1960-1963........................... 72 i Section 1. Beyond Weaving: Cranbrook’s Shift from Industry into Art Fabric.. 72 Section 2. New Techniques in the Weaving Program: Spinning and Dyeing ...... 77 Section 3. B.F.A. Thesis, “Wool”......................................................................... 80 Section 4. M.F.A. Thesis: “Experimental Fabrics” .............................................. 97 Section 5. Other Subjects.................................................................................... 122 A. Ceramics............................................................................................. 123 B. Matrix Study....................................................................................... 130 C. Metalsmithing..................................................................................... 135 CHAPTER 3. MARY WALKER PHILLIPS: “A KNITTER OF ART” ...................... 139 Part 1. Knitting as an Industrial Designer....................................................................... 140 Part 2. Knitting as a Studio Artist ................................................................................... 146 Part 3. “Creative Knitting: A New Art Form”................................................................. 155 CHAPTER 4. THREE WORKS BY MARY WALKER PHILLIPS ............................. 166 Part 1. The Kings, 1966, Cranbrook Academy of Art Museum, CAM #1992.19 .......... 169 Part 2. Shells, 1967, The Art Institute of Chicago, #1984.87 ......................................... 176 Part 3. Fans And Beads, 1974, #T.17765, Smithsonian National Museum of American History............................................................................................................................. 179 CONCLUSION............................................................................................................... 184 NOTES............................................................................................................................ 193 BIBILIOGRAPHY ......................................................................................................... 280 APPENDICES ................................................................................................................ 293 ILLUSTRATIONS ......................................................................................................... 332 ii LIST OF ILLUSTRATIONS 1. Eliel Saarinen, Dome, Cranbrook School Cupola, ca. 1929-30. Cranbrook School for Boys. Photo by Jennifer Lindsay. 2. Mary Walker Phillips, Fans And Beads, 1974. Knitted. Linen, tie-dyed (ikat), with mahogany beads, 26 x 31 inches. Smithsonian National Museum of American History, Washington, DC, #T.17765. Photo by Jennifer Lindsay. 3. Mary Walker Phillips, detail of an unidentified knitted wall hanging dated “July 1965.” Source: Courtesy of American Craft Council Library, American Craft Council College of Fellows Artist File Collection. 4. Mary Walker Phillips, detail, Royal Interlace, 1978. Knitted. Wool, silk, gold and silver thread. 44” x 24”. Source: Courtesy of American Craft Council Library, American Craft Council College of Fellows Artist File Collection. 5. Mary Walker Phillips, prototype wall covering, ca. 1966. Knitted. Paper twine, 33 ¼ x 20 ½ x ¼”. Museum of Art and Design, New York, #1992.113. Source: Mary Walker Phillips, Creative Knitting: A New Art Form (New York: Van Nostrand Reinhold, 1971), 115. 6. Mary Walker Phillips, unidentified knitted wall hanging of wire and metal bells. Source: Photo by Glen Kaufman. 7. Mary Walker Phillips, detail of unidentified wall hanging, dated “February 1968,” shows a mica disk inserted into a double-knit pocket. Source: Courtesy of American Craft Council Library, American Craft Council College of Fellows Artist File Collection. 8. Marquis Arch, entrance to the Cranbrook School for Boys. Photo by Jennifer Lindsay. 9. A resident gargoyle, Page Hall, Cranbrook School for Boys. Photo by Jennifer Lindsay. 10. Right, Pergola, Marquis Hall Terrace, Cranbrook School for Boys. Eliel Saarinen’s signature fluted capitals show the strong influence of the Vienna Secession. Gargoyles ornament the wall of Page Hall, left. Photo by Jennifer Lindsay. 11. The Cranbrook School Cupola, Page Hall, Cranbrook School for Boys. Photo by Jennifer Lindsay. 12. Gateway of Friendship, Cranbrook School for Boys. Photo by Jennifer Lindsay. 13. Dining Hall, Cranbrook School for Boys. Photo by Jennifer Lindsay. 14. An example of Cranbrook’s rhythmically patterned brickwork. Photo by Jennifer Lindsay. 15. Entrance, Study and Library Hall, Cranbrook School for Boys. Photo by Jennifer Lindsay. 16. Nichols Gate, Cranbrook Academy of Art. Photo by Jennifer Lindsay. 17. Two ornamental gates give access to private courtyards on the Cranbrook campus. Photo by Jennifer Lindsay. 18. Carl Milles, Siren with Fishes, installed ca. 1935 near the Art Academy and Administration Building. Photo by Jennifer Lindsay. 19. Saarinen House, 1930, Cranbrook Academy of Art. Photo by Jennifer Lindsay. 20. Left, Studio Loja Saarinen, est. 1928, from across Academy Way. Source: Courtesy of Cranbrook Archives, Negative #3726. iii 21. Entrance to Studio Loja Saarinen, Cranbrook Academy of Art. Photo by Jennifer Lindsay. 22. The Arts and Crafts Building and Maija Grotell Court, Cranbrook Academy of Art. Photo by Jennifer Lindsay. 23. The Art Club and Men’s Dormitory, February 1934. Courtesy of Cranbrook Archives, Negative #2442. 24. The Women’s Dormitory and Art Academy Garage, November 4, 1940. Courtesy of Cranbrook Archives, Negative #5580-2. 25. Carl Milles, Orpheus, 1938, a fountain with bronze figures, Quadrangle, Cranbrook Art Museum and Library, Cranbrook Academy of Art. Photo by Jennifer Lindsay. 26. Triton Pool with bronze figures by Carl Milles, Cranbrook Academy of Art. Photo by Jennifer Lindsay. 27. Entrance to the Art Library, Cranbrook Academy of Art. Photo by Jennifer Lindsay. 28. Interior, Art Library, Cranbrook Academy of Art. Source: Henry S. Booth, The Saarinen Door: Eliel Saarinen Architect and Designer at Cranbrook (Bloomfield Hills, MI: Cranbrook Academy of Art, 1963), 42. 29. Kingswood School for Girls, 1929-31. Source: Henry S. Booth, The Saarinen Door: Eliel Saarinen Architect and Designer at Cranbrook (Bloomfield Hills, MI: Cranbrook Academy of Art, 1963), 26. 30. Dining Hall, Kingswood School for Girls, with Festival of the May Queen Tapestry by Studio Loja Saarinen, ca. 1932. Source: Henry S. Booth, The Saarinen Door: Eliel Saarinen Architect and Designer at Cranbrook (Bloomfield Hills, MI: Cranbrook Academy of Art, 1963), 28. 31. Logo, Studio Loja Saarinen, est. 1928. Source: Robert Judson Clark, et al., Design In America: The Cranbrook Vision 1925-1950 (New York: Harry N. Abrams, Inc. in association with The Detroit Institute of Arts and
Load more

Recommended publications
  • Photography and Photomontage in Landscape and Visual Impact Assessment
    Photography and Photomontage in Landscape and Visual Impact Assessment Landscape Institute Technical Guidance Note Public ConsuDRAFTltation Draft 2018-06-01 To the recipient of this draft guidance The Landscape Institute is keen to hear the views of LI members and non-members alike. We are happy to receive your comments in any form (eg annotated PDF, email with paragraph references ) via email to [email protected] which will be forwarded to the Chair of the working group. Alternatively, members may make comments on Talking Landscape: Topic “Photography and Photomontage Update”. You may provide any comments you consider would be useful, but may wish to use the following as a guide. 1) Do you expect to be able to use this guidance? If not, why not? 2) Please identify anything you consider to be unclear, or needing further explanation or justification. 3) Please identify anything you disagree with and state why. 4) Could the information be better-organised? If so, how? 5) Are there any important points that should be added? 6) Is there anything in the guidance which is not required? 7) Is there any unnecessary duplication? 8) Any other suggeDRAFTstions? Responses to be returned by 29 June 2018. Incidentally, the ##’s are to aid a final check of cross-references before publication. Contents 1 Introduction Appendices 2 Background Methodology App 01 Site equipment 3 Photography App 02 Camera settings - equipment and approaches needed to capture App 03 Dealing with panoramas suitable images App 04 Technical methodology template
    [Show full text]
  • Optimisation of the Warp Yarn Tension on a Warp Knitting Machine
    AUTEX Research Journal, Vol. 12, No2, June 2012 © AUTEX OPTIMISATION OF THE WARP YARN TENSION ON A WARP KNITTING MACHINE Vivienne Pohlen, Andreas Schnabel, Florian Neumann, Thomas Gries Institut für Textiltechnik der RWTH Aachen University, Germany Otto-Blumenthal-Str. 1, D-52074 Aachen, Phone: +49 (0)241 80 23462, Fax: +49 (0)241 80 22422, E-Mail: [email protected], [email protected] Abstract: Investigations (calculations) based on a warp yarn tension analysis on a warp knitting machine with multiaxial weft yarn insertion allow prospective reduced yarn tension differences in technical warp knits. From this a future opportunity is provided to substitute the subjective warp let-off adjustment by a model of tension control. The outcome of this is a higher reproducibility with associated increasing process reliability and rising product quality. Key words: Multiaxial fabric, non-crimp fabric (NCF), warp knitting machine, warp yarn tension, yarn tension control. Initial situation warp knitted glass or carbon fibre layers. These are made on warp knitting machines with multiaxial weft insertion. These Increasing political pressure is demanding that industry now enable the production of NCFs for different applications by always produces environmentally sound products. The adjusting several parameters. automobile sector is developing more powerful, lighter electric vehicles (e.g. Megacity Vehicle, MCV). The MCV of BMW in A detailed study regarding various adjustable parameters on cooperation with SGL Automotive Carbon Fibers is based upon such a machine has not occurred in previous works. A basis a composite construction of steel, aluminium, and CFRP for this is provided by warp tension studies on conventional (carbon fibre reinforced plastic) of 40% [1].
    [Show full text]
  • Why Watch a When You Can Live One?
    WHY WATCH A WESTERN WHEN YOU CAN LIVE ONE? COWBOY EXPERIENCE OCTOBER 26–29, 2017 THE RESORT AT PAWS UP JOIN US FOR COWBOY EXPERIENCE | OCTOBER 26–29, 2017 They say no hour of life is wasted that’s spent in the saddle. And we couldn’t agree more. That’s why we created Cowboy Experience. We’ve wrangled a handful of ProRodeo Hall of Famers and a National Cowgirl Hall of Fame legend to show you the ropes. They’ll lead workshops, trail rides and demonstrations and even share campfire stories each night. Of course, this isn’t our first rodeo. We know how to throw a party with chic rustic accommodations, gourmet food and fine whiskey. So kick off your boots and stay a while. In fact, we recommend you come for the whole weekend. MEET THE HALL OF FAME INDUCTEES SCHEDULE HIGHLIGHTS Thursday, October 26, 2017 • Opening night cocktail reception • Introductions by the Professional Rodeo Cowboys Association Dave Appleton Larry Mahan Ted Nuce Byron Walker Mary Walker • Cattleman’s Dinner followed by a get-together in Tank All-Around All-Around, Bull Riding Bull Riding Steer Wrestling Barrel Racing The first Australian-born Six-time all-around 1985 world champion 16-time competitor at 2012 world champion Friday–Saturday, October 27–28, 2017 cowboy to win a world champion bull rider the National Finals Rodeo Five-time qualifier in the PRCA world championship Two-time bull-riding 1988 two-time 1981 world champion National Finals Rodeo • Ranch Table breakfasts in Trough at your leisure 1988 winner, world champion Olympic gold medalist 2014 PRCA 2013 National
    [Show full text]
  • VOGUEKNITTINGLIVE.COM SC HEDULE Thursday, October 23 Registration: 3 P.M
    VOGU Eknitting CHICAGO THE ULTIMATE KNITTING EVENT OCTOBER 24 –26 ,2014 • PALMER HOUSE HILTON HOTEL PRINTABLE BROCHURE NEW& INSPIRATIONAL KNITWORTHY HAND KNITTING PRODUCTS CLASSES & LECTURES! VOGUEKNITTINGLIVE.COM SC HEDULE Thursday, October 23 Registration: 3 p.m. –7 p.m. OF EVENTS Classroom Hours: 6 p.m. –9 p.m. Friday, October 24 VOGUEknitting Registration: 8 a.m. –7:30 p.m. 3-hour Classroom Hours: 9 a.m.–12 p.m., 2 p.m.–5 p.m., 6 p.m. –9 p.m. 2-hour Classroom Hours: 9 a.m.–11 a.m., 2 p.m.–4 p.m. Marketplace: 5:00 p.m. –8:30 p.m. Please refer to VogueknittingLIVE.com for complete details. Saturday, October 25 HOTEL INFORMATION Registration: 8 a.m. –6:30 p.m. Vogue Knitting LIVE will be held in 3-hour Classroom Hours: 9 a.m.–12 p.m., 2 p.m.–5 p.m., 6 p.m. –9 p.m. downtown Chicago at the luxurious 2-hour Classroom Hours: Palmer House Hilton Hotel, located 9 a.m.–11 a.m., 2 p.m.–4 p.m. near Millennium Park in the heart of Marketplace: 10 a.m. –6:30 p.m. the theater, financial, and shopping districts of downtown Chicago. The Palmer House Hilton Hotel is within walking distance of the Windy City’s Sunday, October 26 most famous museums, shopping,a government, and corporate buildings. Registration: 8 a.m. –3 p.m. 3-hour Classroom Hours: The Palmer House Hilton Hotel 9 a.m.–12 p.m., 2 p.m.–5 p.m.
    [Show full text]
  • Formulating Equations for Warp Knitted Structures (Fabrics) Notations Design Area
    Published by : International Journal of Engineering Research & Technology (IJERT) http://www.ijert.org ISSN: 2278-0181 Vol. 5 Issue 03, March-2016 Formulating Equations for Warp Knitted Structures (Fabrics) Notations Design Area Dereje Berihun Sitotaw Textile Engineering Ethiopian institute of Textile and Fashion Technology, Bahir Dar University, Bahir Dar, Ethiopia Abstract— this formula is developed to solve the problems In warp knitting the fabric is produced by the developments of repeated mistakes during the notations of warp knitted of lap instead of loop in weft knitting for it is formed by structures. Notation of warp knitted fabrics is not easy lapping movement of warp yarn guide. The lappings are two like that of weft knitted fabrics. The degree of shifting, types depending of the movement of guide bar with yarn design areas, numbers of overlaps are the main things relative to needle surface and termed as overlap and considered during warp knitted fabrics designing. The underlap. Overlap is the lateral movement of the guide bars formula was developed by considering degree of wale on the beard or hook side of the needle. This movement is shift and number of overlaps in one line in the knitted normally restricted to one needle space. Underlap is the fabrics/structure. The formula will help warp knit lateral movement of the guide bars on the side of the needle designers particularly for those designing without remote from the hook or beard. This movement is limited software. The formulation was done by analyzing only by the mechanical considerations. It is the connection different types of warp knit structures.
    [Show full text]
  • KNITTING Definition Statement Relationship Between Large Subject
    D04B KNITTING Definition statement This subclass/group covers: weft knitting machines are covered by D04B 7/00 to D04B 13/00, details of, or auxiliary devices incorporated in such machines are covered by D04B 15/00 and articles made by such machines are covered by D04B 1/00 warp knitting machines are covered by D04B 23/00 to D04B 25/00, details of, or auxiliary devices incorporated in such machines are covered by D04B 27/00 and articles made by such machines are covered by D04B 21/00 details of, or auxiliary devices incorporated in knitting machines not limited to a specific kind of knitting machine are covered by D04B 35/00 miscellaneous knitting machines and articles made by such machines are covered by D04B 39/00 hand knitting equipment is covered by D04B 3/00, D04B 5/00 and D04B 33/00 auxiliary apparatuses or devices for use with knitting machines are covered by D04B 37/00 or for hand knitting equipment are covered by D04B 17/00, D04B 19/00 and D04B 31/00 Relationship between large subject matter areas The difference between the subclass D04B and B32B5 is as follows:layered products including knitted products as such should be classified in B32B5 only; layered products formed by a knitting process featuring specified patterns or information on the composition of the knit article should be classified in D04B. Note that such products may comprise additional coated faces. References relevant to classification in this subclass This subclass/group does not cover: Layered products (i.e. laminates) B32B 5/00 including knitted articles 1 Knitted products of unspecified A41A61F structure or composition, e.g.
    [Show full text]
  • Textile Design: a Suggested Program Guide
    DOCUMENT RESUME CI 003 141 ED 102 409 95 Program Guide.Fashion TITLE Textile Design: A Suggested Industry Series No. 3. Fashion Inst. of Tech.,New York, N.T. INSTITUTION Education SPONS AGENCY Bureau of Adult,Vocational, and Technictl (DREW /OE), Washington,D.C. PUB DATE 73 in Fashion Industry NOTE 121p.; For other documents Series, see CB 003139-142 and CB 003 621 Printing AVAILABLE FROM Superintendent of Documents,U.S. Government Office, Washington, D.C.20402 EDRS PRICE NP -$0.76 HC-$5.70 PLUS POSTAGE Behavioral Objectives; DESCRIPTORS Adult, Vocational Education; Career Ladders; *CurriculumGuides; *Design; Design Crafts; EducationalEquipment; Employment Opportunities; InstructionalMaterials; *Job Training; Needle Trades;*Occupational Rome Economics; OccupationalInformation; Program Development; ResourceGuides; Resource Units; Secondary Education;Skill Development;*Textiles Instruction IDENTIFIERS *Fashion Industry ABSTRACT The textile designguide is the third of aseries of resource guidesencompassing the various five interrelated program guide is disensions of the fashionindustry. The job-preparatory conceived to provide youthand adults withintensive preparation for and also with careeradvancement initial entry esploysent jobs within the textile opportunities withinspecific categories of provides an overviewof the textiledesign field, industry. The guide required of workers. It occupational opportunities,and cospetencies contains outlines of areasof instruction whichinclude objectives to suggestions for learning be achieved,teaching
    [Show full text]
  • Studio Classes & Events
    STUDIO CLASSES & EVENTS July-August 2016 KNITTING CLASSES MORE ADVANCED BEGINNER LEVEL BEGINNER LEVEL OOPs: Mistakes happen. Some can be passed of as “design elements.: Others can be fatal to your project. It is LEARN TO KNIT: If you have never knitted before then this good to learn the difference. Bring your list of mistakes class is for you. Learn the basics; how to cast on, knit and purl you commonly make and learn how to fix them. Time/Date: stitch and how to cast off. TIME/DATES: Thursdays, July 14 & Sunday, July 10, 1:30-3:30 pm. Fee: $25. Instructor: Jessi- 21, 6-8 pm OR Tuesdays, August 9 & 16, 6-8 pm. FEE: $30 + ca Kerrigan Supplies Instructor: Joan Daniels CRASH COURSE IN KNITTING: This fast-paced class is LITEN KOFTA (Small Cardigan): Make this classic, better suited to those who are re-acquainting themselves with buttoned baby cardigan with a garter ridge round yoke sec- the craft of knitting. In two hours you will review casting on, the tion. The cardigan is worked back and forth in rows from knit stitch and binding off. DATES/TIMES: Fridays, July 8 Or the bottom up . You will learn how to decrease and pick up July 22 OR August 5 OR August 19, 11 am-1 pm FEE: $25 + stitches. Sizes 3 to 12 months. Dates/Times: Thursdays, Supplies. Instructor: Studio Staff July 14 & 28; August 11 & 25, 6:30-8:30 pm. Fee: $40 + Supplies. Instructor: Lynn Haffner ADVANCED BEGINNER LEVEL INTERMEDIATE LEVEL PROJECT MONDAY: This is a great class for those who like to try out new projects but prefer to have an experienced knit- LEARN TO MAKE SOX: If you have never knitted socks ter to help them through the tough spots.
    [Show full text]
  • Winter Forecast
    FEBRUARY 4, 2014 Volume 8: Issue 5 In this issue... • Lazy E Winter Blast, pg 5 • Copper Spring Ranch, pg 9 • CTBRA, pg 13 • New Years Cash Blast, pg 17 fast horses, fast news • The American Qualifiers, pg 21 Published Weekly Online at www.BarrelRacingReport.com - Since 2007 2014 WPRA NFR ST an DI N G S Unofficial as of Feb. 3, 2014 - courtesy of www.wpra.com Winter Forecast 1 Mary Walker $18,133 Big building rodeos are going full guns; 2 Victoria Williams $8,918 3 Michele McLeod $8,100 4 Shelley Morgan $7,767 here’s what could happen. 5 Lisa Lockhart $7,381 By Julie Mankin 9; and 65 from the 6 Samantha Lyne $6,974 Want to know something scary (in a good way)? Mary Walker had 2013 standings). 7 Megan Williams $6,458 the best winter building run of anyone in the WPRA last year – and Mary Walker earned 8 Christy Loflin $6,408 she had only earned $5,301 at this exact same time last year. This $7,906 this year. 9 Kimberly Couch $6,383 time around, she’s already raked in $17,211 and is literally spanking • Fort Worth (Jan. 10 Kendra Dickson $6,282 the rodeo industry by almost five figures. Sherry, bar the door. 24 – Feb. 8) adds 11 Jane Melby $5,726 Seriously, with a look back it’s easy to see that having a good $30,000 and is 12 Pamela Capper $5,462 winter is crucial to a world-title dream. It’s not essential, as Michele limited to 210 girls 13 Trula Churchill $5,180 McLeod and Christy Loflin proved last year.
    [Show full text]
  • Origins of Fair Isle Knitting
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America Spring 2004 Traveling Stitches: Origins of Fair Isle Knitting Deborah Pulliam [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Pulliam, Deborah, "Traveling Stitches: Origins of Fair Isle Knitting" (2004). Textile Society of America Symposium Proceedings. 467. https://digitalcommons.unl.edu/tsaconf/467 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. Traveling Stitches: Origins of Fair Isle Knitting Deborah Pulliam Box 667, Castine ME 04421 207 326 9582 [email protected] The tradition of Fair Isle knitting seems to have been emerged too well developed to have actually started in the islands north of Scotland. This paper suggests a source in the Baltic region of Eastern Europe. Like much of the “history” of knitting, much published information on the history of Fair Isle-type knitting is folklore. The long-standing story is that a ship, El Gran Grifon, from the Spanish Armada, was wrecked on Fair Isle in 1588. The 17 households on the island took the sailors in. That much is true, and documented. The knitting story is that, in return, the Spaniards taught the islanders the brightly colored patterned knitting now known as Fair Isle. Not surprisingly, there appears to have been no multi-colored knitting tradition in Spain in the sixteenth century.
    [Show full text]
  • DIY-No3-Bookbinding-Spreads.Pdf
    AN INTRODUCTION TO: BOOKBINDING CONTENTS Introduction 4 The art of bindery 4 A Brief History 5 Bookbinding roots 5 Power of the written word 6 Binding 101 8 Anatomy of the book 8 Binding systems 10 Paper selection 12 Handling paper 13 Types of paper 14 Folding techniques 14 Cover ideas 16 Planning Ahead 18 Choosing a bookbinding style for you 18 The Public is an activist design studio specializing in Worksheet: project management 20 changing the world. Step-by-step guide 22 This zine, a part of our Creative Resistance How-to Saddlestitch 22 Series, is designed to make our skill sets accessible Hardcover accordion fold 24 to the communities with whom we work. We Hardcover fanbook with stud 27 encourage you to copy, share, and adapt it to fit your needs as you change the world for the better, and to Additional folding techniques 30 share your work with us along the way. Last words 31 Special thanks to Mandy K Yu from the York-Sheridan Design Program in Toronto, for developing this zine What’s Out There 32 on behalf of The Public. Materials, tools, equipment 32 Printing services 32 For more information, please visit thepublicstudio.ca. Workshops 33 This work is licensed under the Creative Commons Attribution- NonCommercial-ShareAlike 3.0 Unported License. To view a copy of this Selected Resources 34 license, visit http://creativecommons.org/licenses/by-nc-sa/3.0/. Online tutorials 34 Books & videos 34 About our internship program Introduction Bookbinding enhances the A brief history presentation of your creative project. You can use it to THE ART OF BINDERY BOOKBINDING ROOTS Today, bookbinding can assemble a professional portfolio, be used for: Bookbinding is a means for a collection of photographs or Long before ESS/ producing, sharing and circulating recipes, decorative guestbook, R the modern • portfolios • menus independent and community or volume of literature such as G-P Latin alphabet • photo albums • short stories • poetry books • much more work for artistic, personal or a personal journal or collection RINTIN was conceived, • journals commercial purposes.
    [Show full text]
  • Journals, Diaries, and Letters Written by Women on the Oregon/ California Trail Between 1836 and 1865
    /journals, diaries, and letters written by women on the oregon trail 1836-1865/ by BARBARA MACPHERSON BURGESS B. A., Colorado College, 1959 A MASTER'S THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF SCIENCE Department of Journalism and Mass Communication KANSAS STATE UNIVERSITY Manhattan, Kansas 1984 Approved by: A£..y />/L vz.~«X-^^ Major Professor Copyright 1984 by Barbara MacPherson Burgess A115D2 115454 <g, £--| CONTENTS INTRODUCTION AND METHODOLOGY 3 Chapter I. THE JOURNALS, DIARIES, AND LETTERS 15 Appearance Format Style Purpose II. THE WOMEN'S OBSERVATIONS 33 Children Other Emigrants Landmarks Fur Traders Indians Mormons III. THE WOMEN'S TRAIL EXPERIENCE 93 Preparations Food and Beverage Health Lifestyle Clothing Leisure Religion BIBLIOGRAPHY 170 ILLUSTRATIONS AND TABLES Figure 1. Our Camp, drawing by Mary Powers 25 2. Sketch of Indian by Lodisa Frizzell 81 3. Descending the Blue Mountains, the Whitman-Spalding Party by M. Loy Wagoner 133 Table 1. List of Writers of the Journals, Diaries, and Letters 16-18 INTRODUCTION AND METHODOLOGY "We are so near encountering the difficulties of an unheard of journey for females." --Narcissa Whitman "About noon we hailed the Columbia for the first time."-- Esther Hanna "Ho for California." — Helen Carpenter "As I sit here in the shade of our prairie schooner with this blank book ready to record the event of this our first day on the road, the thought comes to me; Why are we here? Why have we left home, friends, relatives, associates, and loved ones.?'--Sarah Herndon There never was any debate of whether men could make the 2,000 mile overland trip from the Missouri River to the West Coast.
    [Show full text]