Wednesday, March 26, 2008

Just for Fun - Patchworkz!

This game is loads of fun and, I must warn you, is absolutely addictive.

Your task is to complete a quilt block pattern using the provided "fabric" triangles, squares and other assorted pieces. All you have to do is to drag each patch and place it in the required spot of the picture. The trick is figuring out exactly where it is that they should be placed, something that is not quite as easy as it sounds.

You have the option of playing online, trying to complete the block before your opponent does - she or he will be trying to complete the same block but will be assigned different colored and patterned pieces:
http://www.wellgames.com/free_online/patchworkz/

You also have the option of downloading the game to your computer and just playing against yourself:
http://www.wellgames.com/free_online/patchworkz/patchworkz.exe

Either way, its a hoot - Enjoy!

Saturday, March 22, 2008

Art in Architecture and Art in Embassies Programs

ART IN ARCHITECTURE:
http://www.gsa.gov/Portal/gsa/ep/channelView.do?pageTypeId=8195&channelId=-12888

"The GSA [General Services Administration] Art in Architecture Program commissions the nation's leading artists to create large-scale works of art for new federal buildings. These artworks enhance the civic meaning of federal architecture and showcase the vibrancy of American visual arts. Together, the art and architecture of federal buildings create a lasting cultural legacy for the people of the United States.

GSA reserves one-half of one percent of the estimated construction cost of each new federal building to commission project artists. A panel comprised of art professionals, civic and community representatives, and the project's lead design architect meets to discuss opportunities for artists to participate in the building project. This panel reviews a diverse pool of artist candidates and nominates finalists for GSA to evaluate. Artists who receive federal commissions work with the project architects and others as members of a design team to ensure that the artworks are meaningfully integrated into the overall project.

GSA maintains a large registry of artists interested in being considered for federal commissions. This registry is the principal resource for the panels that assist GSA in selecting artists for each new project."

NOTE: Region 7 (Arkansas, Louisiana, New Mexico, Oklahoma, and Texas) and CO:12 are the only ones listed in the Art Work Media Statistics as having textile art.

ART IN EMBASSIES PROGRAM:
http://aiep.state.gov/index.cfm

Established by the United States Department of State in 1964, the ART In Embassies Program is a global museum that exhibits original works of art by U.S. citizens in the public rooms of approximately 180 American diplomatic residences worldwide. These exhibitions, with art loaned from galleries, museums, individual artists, and corporate and private collections, play an important role in our nation's public diplomacy. They provide international audiences with a sense of the quality, scope, and diversity of American art and culture through the accomplishments of some of our most important citizens, our artists.
  1. Image-based and abstract work in all media are selected.
  2. Length of a loan is approximately two and one-half to three years.
  3. ART in Embassies hires professional fine art handlers to assemble, pack, crate and safely ship works of art to and from each embassy. ART insures each work of art during its transit to and from the embassy and while it is on exhibit at the residence.
  4. Lenders are not compensated financially. Their participation is documented in ART exhibition publications and/or on the ART web site. A wall label accompanies each work of art and identifies both the artist and lender.
  5. Submissions are reviewed on an ongoing basis.
  6. Submissions are archived for future consideration.
  7. Up to 10 images may be submitted only as JPGs or website URL.
  8. Unsolicited mailed submissions are not accepted
  9. An immediate response should not be expected.

Tuesday, March 18, 2008

Textile Related Publications - 1846 - 1921

The links in the following list will keep you captivated for a while - from a 1904 short story about a boy who made a quilt, to the trials and tribulations of artists' wives, to late 1800 studies of prehistoric textile art in the United States, to mid-1800 books on embroidery, knitting, lace, and history of quilt-making - many of these publications have patterns, instructions, diagrams, illustrations and pictures - all are now in the public domain and are available as free e-books:
.
Quilts: Their Story and How to Make Them - Marie D. Webster, 1915 - includes a lot of quilt history and colored plates
http://www.gutenberg.org/files/24682/24682-h/24682-h.htm

The Dyeing of Woolen Fabrics -Franklin Breech, 1902 - includes many dyeing formulas for large dye lots
http://www.gutenberg.org/files/19985/19985-h/19985-h.htm

The Dyeing of Cotton Fabrics: A Practical Handbook for the Dyer and Student -Franklin Breech, 1901 - includes many dyeing formulas for large dye lots
http://www.gutenberg.org/files/21224/21224-h/21224-h.htm

Beeton's Book of Needlework, 1870 - remarkable
http://www.gutenberg.org/files/15147/15147-h/15147-h.htm

Exercises in Knitting by Cornelia Mee, 1846
http://www.gutenberg.org/files/21032/21032-h/21032-h.htm

The Ladies' Work-Book: Containing Instructions in Knitting, Crochet, Point-Lace, and Etc.
http://www.gutenberg.org/files/16605/16605-h/16605-h.htm

Spool Knitting -Mary A. McCormack, 1909
http://www.gutenberg.org/files/22029/22029-h/22029-h.htm

The Art of Modern Lace Making - Butterick Publishing Company, 1891 (price fifty cents or two shillings)
http://www.gutenberg.org/files/22325/22325-h/22325-h.htm

Make Your Own Hats - Gene Allen Martin, 1921
http://www.gutenberg.org/files/19740/19740-h/19740-h.htm

The Development of Embroidery in America - Candace Wheeler, 1921
http://www.gutenberg.org/files/24165/24165-h/24165-h.htm

Embroidery and Tapestry Weaving - Grace Christie
http://www.gutenberg.org/files/20386/20386-h/20386-h.htm

Encyclopedia of Needlework - Thérèse de Dillmont (1846 - 1890) - detailed instructions
http://www.gutenberg.org/files/20776/20776-h/20776-h.htm

English Embroidered Bookbindings - Cyril James Humphries Davenport - 1899 - has some stunning color plates
http://www.gutenberg.org/files/17585/17585-h/17585-h.htm

Dictionary of Textiles - Louis Harmuth - 1915 - this is the most detailed and extensive textile dictionary or reference source you'll ever find - well over 6,000 terms and definitions are included in its 190 crammed pages and it may take a long time to download.
http://ia340943.us.archive.org/1/items/dictionaryoftext00harmrich/dictionaryoftext00harmrich.pdf
.
Jacobean Embroidery: Its Forms and Fillings Including Late Tudor - Ada Wentworth Fitzwilliam and A. F. Morris Hands, 1912
http://www.gutenberg.org/files/18971/18971-h/18971-h.htm

Theory of Silk Weaving: A Treatise on the Construction and Application of Weaves, and the Decomposition and Calculation of Broad and Narrow, Plain, Novelty and Jacquard Silk Fabrics -Arnold Wolfensberger, 1921
http://www.gutenberg.org/files/14600/14600-h/14600-h.htm

A Study of the Textile Art In its relationship to the development of form and ornament: Sixth Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian Institution, 1884-'85 - Government Printing Office, Washington, 1888, (pages 189-252)
http://www.gutenberg.org/files/17730/17730-h/17730-h.htm

Prehistoric Textile Art of Eastern United StatesThirteenth Annual Report of the Beaurau of American Ethnology to the Secretary of the Smithsonian Institution1891-1892 - Government Printing Office, Washington, 1896, pages 3-46
http://www.gutenberg.org/files/19921/19921-h/19921-h.htm

Prehistoric Textile Fabrics Of The United States, Derived From Impressions On Pottery Third Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian Institution, 1881-1882 - Government Printing Office, Washington, 1884, pages 393-425
http://www.gutenberg.org/files/17370/17370-h/17370-h.htm

Textiles: For Commercial, Industrial, and Domestic Arts Schools; Also Adapted to those Engaged in Wholesale and Retail Dry Goods, Wool, Cotton, and Dressmaker's Trades - William H. Dooley, Principal Lowell Industrial School, Lowell, Mass - 1910 textbook
http://www.gutenberg.org/files/24077/24077-h/24077-h.htm

Textiles and Clothing - Kate Heintz Watson, 1906
http://www.gutenberg.org/files/21534/21534-h/21534-h.htm

Navajo Weavers - Dr. Washington Matthews, 1881
http://www.gutenberg.org/files/17742/17742-h/17742-h.htm

Aboriginal American Weaving - Mary Lois Kissell, 1910
http://www.gutenberg.org/files/24568/24568-h/24568-h.htm

Artists' Wives - Alphonse Daudet (1840 - 1897)
http://www.gutenberg.org/files/22522/22522-h/22522-h.htm

The Quilt that Jack Built, - Annie F Johnston, 1904 - Fiction
http://www.gutenberg.org/files/17214/17214-h/17214-h.htm

The Thousand Quilt - Annie Hamilton Donnell - Fiction
http://worldlibrary.net/eBooks/WorldeBookLibrary.com/rbmry.htm#1_0_3

Patchwork: A Story of The Plain People - Anna Balmer Myers, 1920 - Fiction
http://www.gutenberg.org/files/22827/22827-h/22827-h.htm

The Patchwork Girl of Oz - L. Frank Baum, 1914 - Fiction
http://www.gutenberg.org/dirs/etext97/07woz11.txt

Friday, March 14, 2008

Profile: Tapestry Artist Micala Sidore - by Katherine Duncan Aimone

The following in-depth essay highlights the work of tapestry artist Micala Sidore and explores her “…love of words, dedication to the medium of tapestry, and her fascination with the visual.” It is the first in a series of artist profiles written by Katherine Duncan Aimone that will be published approximately every six weeks from this point forward on the website of Aimone Art Services. - Gwen Magee

Micala Sidore’s series titled Black + White + Red All Over is an engaging exploration of her love of words, her dedication to the medium of tapestry, and her fascination with the visual. Her woven images are simple and clear in design, yet they are more often complex in content than initially meets the eye. When viewed as a group, these pieces are powerful, passionate, and unapologetically entertaining.

"I do want people to be surprised and even charmed
by the idea that art does not have to be serious and
important to work. Art can just move you, and that’s
enough…give you something to think about for longer
than getting it at first glance, even if that ‘longer’ is
just a minute."

Fifteen years ago, Sidore began to explore an idea that has now evolved into a series. She started by simply making the conscious choice to limit the palette of her work to black, white, and red. She found this discretionary restraint surprising freeing, and it eventually opened up a new world to her as an artist. She has since discovered she can navigate deftly within her chosen microcosm.

During 1992, she created two exploratory pieces. When she created a third piece in 1993 (which she later designated as the third in the series), she incorporated lettering, using magazine cutouts of the words black and white as her springboard. At this point, she knew one thing for certain – she found working with words in the context of weaving extremely compelling…

To read in full the remainder of this extensive and in-depth profile of Micala Sidore and to view many examples of her work, please go to:
http://www.aimoneartservices.com/artist_profile/022608_micala.html

Author Katherine Duncan Aimone is a writer and independent curator.
The Fiberarts Book of Wearable Art is one of her many publications.
To learn more about Katherine’s art writing and editorial services:

Tuesday, March 11, 2008

More on Health & Safety in the Arts

A comment about the recent Health & Safety post led me to search for more resources on this topic:


Certified Products List - This is a listing of art materials that have been certified by The Art and Creative Materials Institute, Inc. as "...[containing] no materials in sufficient quantities to be toxic or injurius to humans or to cause acute or chronic health problems."
http://www.acminet.org/CPList.pdf

The Healthy Artist Guide to a Less Toxic Studio - developed by Environmental Defence in partnership with CARFAC Ontario for the Toxic Nation project:
http://www.toxicnation.ca/files/toxicnation/guides/HealthyArtistGuidetoaLessToxicStudio.pdf

The Artist's Complete Health and Safety Guide - Monona Russell - Chapter 16 on Textile Arts can be accessed (scroll to beginning to see the Table of Contents):
Tiny URL: http://tinyurl.com/3x7733
http://books.google.com/books?id=E7-9unTgJrwC&pg=PA219&lpg=PA219&dq=textile+art+health+hazards&source=web&ots=W1gdeKV5zg&sig=wGZTPqbkHIizPa6xSfpvD0uu2Wo&hl=en#PPA223,M1

Artist Beware: The Hazards of Working with All Art and Craft Materials and the Precautions Every Artist/Craftsperson Should Take - Michael McCann - includes a separate chapter for textile arts (scroll down to page 493):
Tiny URL: http://tinyurl.com/2gvgca
http://books.google.com/books?id=1sD0WTbbdm4C&pg=PP1&dq=Michael+McCann&ei=85zWR9q3BZG-iQGiy-2FBA&sig=Vi-G0Whw0U2oVKn_WeTDHcyOi1Y#PPA429,M1

Artists with Multiple Chemical Sensitivities (MCS) - "Artists with MCS is - first of all - a medium for discussing plans and ideas; a way to share experiences with art materials, or to solve personal or artistic problems or needs. It is a space where artists of all kinds can connect, trusting they will be taken seriously, and where help of all sorts is honored. The network members help each other with trust and loving kindness to continue their work, or find their way back to working as an artist in spite of their limitations. They exchange knowledge about safe, odorless colors or tolerable recording units, or to learn about new techniques that take the illness's consequential damage into consideration."
http://www.ctaz.com/~bhima/artists.htm

Organizations for those with Multiple Chemical Sensitivities (MCS)
http://www.ctaz.com/~bhima/organiza.htm

Sunday, March 9, 2008

Health & Safety in the Arts: Textile & Other Arts

The City of Tucson's Environmental Management Division has provided a comprehensive chart which gives detailed information about 20 hazards to health and safety for textile artists. Information is provided for hazards specific to vegetable, animal and man-made fibers and extensive information is given about dyes and dyeing processes. Chart headings include: Ingestion Hazards; Inhalation Hazards; Skin Contact Hazards; Other Hazards; and Precautions.

Textile Art Hazards:
http://www.ci.tucson.az.us/arthazards/text1.html

Textile Art Mordant Hazards:
http://www.ci.tucson.az.us/arthazards/text2.html

Painting and Drawing Pigment Hazards:
http://www.ci.tucson.az.us/arthazards/paint1.html

Painting and Drawing Preservative Hazards:
http://www.ci.tucson.az.us/arthazards/paint2.html

Painting and Drawing Technique Hazards:
http://www.ci.tucson.az.us/arthazards/paint3.html

Printmaking Technique Hazards:
http://www.ci.tucson.az.us/arthazards/print.html

Information also is available specific to: Ceramics, Child Art, Child Art Materials to Avoid, Child Art Rules for Safety, Commericial Art, Glass Art, Jewelry, Metalworking, Metalworking Patina Hazards, Modern Technology in Art, Other Art (includes info about papermaking, marbelizing, leathercraft, and feathers - among others), Photography, Photography Chemicals, Sculpture, Woodworking, and Woodworking Toxic Woods.
http://www.ci.tucson.az.us/arthazards/medium.html

Wednesday, March 5, 2008

Splendiferous!

Splendiferous! No other word can adequately describe the incredible feathered, beaded and sequined costumes of New Orleans' Mardi Gras Indians. Each one of these masterpieces takes countless hours, a full year, and an extraordinary dedication of time and resources to complete.
.
Standing from 10 to 15 feet tall and almost as wide, hundreds of various-sized pieces of fabric are painstakingly handsewn and covered with thousands of feathers, beads and sequins. Costumes can cost from hundreds of dollars up to $10,000 each to create.
.
Reporter Parry Gettelman states, "Viewing a photograph of an Indian 'suit'...is like admiring the Venus de Milo on a postage stamp. You have to see the Indian plumage in life-size 3-D ". He's right.

Kumbuka African Drum & Dance Collective - scroll down for the pictures
http://kumbukaafricandance.com/_wsn/page7.html

Needle & Thread, Beads and Feathers - 2 1/2 minute News Video
http://www.nbc15online.com/mediacenter/local.aspx?videoid=244595@video.wpmi.com&navCatId=78

Mardi Gras Garb Isn't Easy to Craft
http://www.austin360.com/arts/content/recreation/stories/xl/2007/12/1227xlrec.html

Mardi Gras Tribes Ready to Suit Up
http://www.usatoday.com/news/nation/2008-01-10-mardigrastribes_N.htm

A Short History of the Mardi Gras Indians of New Orleans
by Willie W. Clark, Jr.

Saturday, March 1, 2008

Peruvian Weavers

Eddie Sulca and Maximo Laura are contemporary Peruvian weavers who live in traditional villages. Their art, however, transcends and defies any boundaries of time or place.

Eddie Sulca is a master weaver who creates extraordinary 3-dimensional work. He controls the entire process from gathering the leaves, berries, branches, roots and insects used to make his dyes, to the spinning and weaving of the yarns. "After the spinning and dyeing process, Eddie begins to weave, developing images that appear to him in his dreams at night. These dream images are woven into subtle creations that reflect the images of ancient Peruvian cultures such as the Inca and Wari."
http://www.dreamweaverperu.com/images.html

Maximo Laura: Contemporary Tapestries - "Maximo has taken the tapestry weave to a different level. He is constantly enhancing his unique technique of raising the weft to create incredible depth to his tapestries...[His] tapestries are full of vision, ritual, and Pre-Colombian myth. These pieces are an experience, a collision between the traditional and the contemporary. The iconographic language is authentically Peruvian. These technical pieces are woven with alpaca..."
http://www.artandes.com/tn5_page.html

A Walk with the Weavers – Slideshow – This slideshow about Zapotec weavers in Oaxaca was created "To address the problem of declining sales and tourism to individual weaver homes, Planeta.com is collaborating with artisans and the local community museum to connect travelers and weavers." - Note: the slides advance automatically
http://www.picnik.com/Presenter.swf?setid=72057594096661463&bgcolor=16777215&size=520

Tuesday, February 26, 2008

New Zealand Textiles

Patterns of Identity: Textiles in Aotearoa is a resource created by the School of Art and Design at Auckland University of Technology. It provides access to the extraordinary textiles of New Zealand as a showcase for artists and designers, and includes an extensive image collection. The work is stunning! Click on everything - the site is layered and almost every link takes you to many, many others.

A few of the in-depth profiles provided include (be sure to click on the Image Gallery links):

Betty Fraser - her work ranges from wool murals (one is 5.5m long x 2.2m high) to silk paintings
http://www.textiles.org.nz/betty/index.html

Susan Holmes - creates exquisite wearable art costumes
http://www.textiles.org.nz/susanholmes/index.html

Patricia Edwards - her focus is on bold graphic art cloth
http://www.textiles.org.nz/profiles/patriciae/index.html

Rose McLeod - she creates vibrantly colored art quilts with abstract designs
http://www.textiles.org.nz/profiles/rosemcleod/index.html

Henry Wilson - his batik wall hangings are unbelievably detailed
http://www.textiles.org.nz/profiles/henrywilson/index.html

On this site you will find links to: contemporary Maori and Pacific textiles (including a tivaevae quilt project); collaborative community textile projects; printed textiles from the Aukland Museum collection; and textile education projects, among others. Just explore...

Patterns of Identity: Textiles in Aotearoa

Friday, February 22, 2008

What does "mastery" mean to you?

What does "mastery" mean to you? This was a question asked of artists whose work is featured in Tradition/Innovation: American Masterpieces of Southern Craft and Traditional Art, a traveling exhibit sponsored under the auspices of the Southern Arts Federation, and supported by an award from the National Endowment for the Arts. Following are 12 of the responses:

Alice R. Ballard, Ceramic Artist
"For me this means knowing your medium so well that you have a working relationship with it. In a sense you become "at one" with your medium. In other words, you allow the medium to have a life of its own. As the artist, you direct and guide the work process but all the time you are listening and learning from the experience and process. This is especially true when working with clay I think."

Clay Burnett, Basketmaker
"Mastery is acquired wisdom. Mastery cannot be obtained without first having put years of diligence into your craft. Mastery is what sets you apart from your other contemporaries. Mastery is an inner driven force."

Douglas Harling, Goldsmith
"What is it that makes an artist exceptional and an object extraordinary? True mastery is the kind of skill that looks deceptively effortless. It is not just the knowledge of how to make an object; it's the ability to exploit the very essence of the material that gives it form. A master can imbue their work with a physical presence, that quality that enables a person, place, or thing to hold the space around it … to stand alone in a crowd. There is an understanding of the artist's own time and place. The work may fit within a long tradition but could exist at no other time. It understands the past, exists firmly in the present, and anticipates the future. Last but certainly not least is the artist's sense of self, their ability to impart their own uniqueness upon the pieces they create, whatever the format or material. This is a deeper quality than just visual style. It is the ability to project ones personality into the object, to bring it to life by giving of one's self."

Richard Jolley, Glass Artist
"It is a very small step from mediocre to great. Many times just one or two small things make the difference. Eighty hour weeks lead to mastery in the development of the touch of the hand. Concentration is extremely important."

Glen Kaufman, Fiber Artist
"Mastery is being able to apply oneself with confidence and convey the idea that the work is well made. It includes doing the best one can."

Virgil Ledford, Woodcarver
"You can't carve like somebody else...You have to have your own feeling of what the animal or bird looks like."

Gwendolyn A. Magee, Textile Artist
"To me, 'mastery' is a combination of technical skill, artistry, and vision that coalesce to produce work that evokes a sense of wonder, depth of thought, and/or a deep emotional response in the viewer."

Tom McCarthy, Jeweler
"I'm seduced by the materials first and then try to find the technique for them. Technique is a grammar. I'm interested in the essay."

Steve Miller, Book Artist
"A nearly unlimited willingness to stay with a problem until it is solved. In his world, problems continually arise, a part of the complex process. It is a question of grabbing hold and not letting go."

Craig Nutt, Furniture Maker/Sculptor
"To me 'mastery' means assimilating technique to a point that it is no longer an issue. Technique becomes invisible. Anyone who has taken dancing lessons remembers having to count each step; mastery is like not having to think about your feet."

Vernon Owens, Potter
"I really believe that you have to have the ability to make your hands do what your eye tells them to. The next thing is being able to be critical of your own work."

Mark Peiser, Composer of Glass
"Mastery is the ability to materialize dreams. To realize vision, concepts and ideas so that they are recognizable to others."

Richard Prisco, Furniture Maker/Designer
"Being the best you can be at what you do."

Harvey Sadow, Clay Artist
"What it means to me is being in possession of a body of knowledge and a set of skills that allows one to actualize what one visualizes without compromise. It indicates that one has developed a high degree of control and or knowledge, which allows one to manipulate his/her medium with extreme confidence. One thing I have always liked about flash firing (raku), is that I can orchestrate a set of probabilities, but the ultimate surrender of control allows the pot the opportunity to be better than the potter. That is as close as I can come to understanding the concept of grace. Grace might be just as important to me as mastery."

Billie Ruth Sudduth, Basketmaker
"Mastery means being grounded in the history of the craft, understanding the range of artistic expressions in my craft, and finding a 'style' that is uniquely my own."

Sunkoo Yuh, Ceramic Artist
"When young, one masters the technology, and as one grows older, one begins to see the conceptual aspect of work and as one grows older, one balances the two."

How will you respond when this question is asked of you?

Tour Schedule:
http://www.traditioninnovation.org/tourschedule.html

Monday, February 18, 2008

Incredible Publicity for a Textile Exhibit!!!

Click picture for a close up view


Is this fantastic or what? This is publicity broadcast on Times Square for Quilting African American Women’s History: Our Challenges, Creativity and Champions, a fiber art exhibit curated by Carolyn Mazloomi. It opens Saturday, March 8 - July 30, 2008 at the National Afro-American Museum and Cultural Center of the Ohio Historical Society in Wilburforce, OH. Carolyn states:
"In Quilting African American Women’s History: Our
Challenges, Creativity and Champions, the vitality of
quiltmaking and the resilient, creative spirit of Black
women come alive. The diversity of genre and
technique represented in the works reflect the
diversity of African American quiltmakers,
dispelling long-held misperceptions of African
American quilt aesthetics. Through these quilts,
our mothers, grandmothers, and great grandmothers
continue to speak of their lives and give guidance.
We are all blessed by their patience, perseverance,
and heroism. Through the eye of a needle
African American women have found their voices and
become authorities on their life experiences. The
voices of African American women are stitched into
their quilts. This exhibition is a validating expression
of cultural genius."

For more information about the exhibit, contact the museum: (937) 376-4944 or 1-800-752-2603 (toll free).


An exhibition catalogue is being published.

Saturday, February 16, 2008

Through the Surface - Collaborating Textile Artists from Britain and Japan

THROUGH THE SURFACE is a project in which young textile artists from Britain and Japan travelled to their partner country to work with established artists for an exchange of ideas and techniques over a period of 10 to 12 weeks. Seven partnerships were established.

After the exchange, the artists returned to their own countries and each created new work - both collaboratively and individually with contact being maintained via the internet.

From the website:
"THROUGH THE SURFACE is a multi-layered title and
in this way reflects the many levels of this project.
'Surface' can mean texture, the outer layer, a
membrane. Through the surface can mean 'something
emerging' or ‘beyond the immediately visible'. The
emerging relationships within THROUGH THE SURFACE
are created through collaborative involvement with the
surface texture and hidden structure of textiles."
Work that resulted from the collaborations was exhibited throughout Britain and Japan and the exhibition catalogue can still be ordered. Participants kept journals throughout the project. Access to their journals is available online as well as that of the Director which provides detailed information about the project.
http://www.throughthesurface.com/throughthesurface.html
Note: links to the journals are located at the bottom of the page

Tuesday, February 12, 2008

All About: Bobbins and Threads

These key elements needed for the creation of our art often perplex and frustrate us. Information from the following sites can help...
.

A Thread of Truth: A Factual Look at Sewing Thread – by YLI Corporation – This is a 17-page PDF document that covers every thing you ever wanted to know about threads and needles. Includes a glossary.
http://www.ylicorp.com/pdf/tot-brochure.pdf

All About Bobbins
http://www.superiorthreads.com/index.php?option=com_content&task=view&id=23&Itemid=100

Bobbin Winding and Stitching Points – Trish Stuart – This 6-minute YouTube video shows you “…what to look for to adjust thread tension in the bobbin and in the upper thread tension setting. See what types of stitches are best for bobbin work.”
http://www.youtube.com/watch?v=cH-AR9m7RwE

Choosing Machine Embroidery Threads - Sharee Dawn Roberts
http://www.taunton.com/threads/pages/t00125.asp

Dealing with Difficult Threads – Linda Schmidt
http://www.quiltuniversity.com/difficult_threads.htm

Dealing with Metallic Thread
http://www.abc-embroidery-designs.com/Embroidery_Tips/Metallics.html

Embroidering with Metallic Thread – Madeira https://cache.trustedpartner.com/docs/library/000261/documents/metallics.pdf

Frequently Asked Questions about Pre-Wound Bobbins
http://www.superiorthreads.com/index.php?option=com_content&task=view&id=243&Itemid=100

How and Why Tension [Bobbin] is Adjusted
http://www.superiorthreads.com/index.php?option=com_content&task=view&id=219&Itemid=100

How Much Thread Does My Bobbin Hold?
http://www.superiorthreads.com/index.php?option=com_content&task=view&id=367&Itemid=100

How to Adjust and Clean the Janome 6500 Bobbin – Deb Lacativa
http://morewgalo.blogspot.com/2006/04/janome-sloppy-bobbin-fix.html

Is There a Difference in Quality Among the Various [Thread] Brands on the Market?
http://sewing.about.com/library/weekly/aa102100a.htm

Metallic Thread & the Sewing Machine: Use for Embellishments and Quilting - Sharla R. Hicks
http://softexpressions.com/help/faq/faqmetallicthread.html

Pros and Cons of Various Bobbin Threads
http://www.superiorthreads.com/index.php?option=com_content&task=view&id=20&Itemid=100

Reasoning for Adjusting Bobbin Tension
http://www.superiorthreads.com/index.php?option=com_content&task=view&id=280&Itemid=100

Thread Tension Settings http://www.sewusa.com/Sewing_Machine_Repair/Thread_Tension_Settings.htm

Thread Troubleshooting – How to Correct Common Problems http://www.superiorthreads.com/index.php?option=com_content&task=view&id=335&Itemid=100

Top and Bottom Thread Compatibility
http://www.superiorthreads.com/index.php?option=com_content&task=view&id=22&Itemid=100

Top Load & Front Load Bobbins Explained – Trish Stuart – this 5-minute YouTube video shows how to adjust and set the bobbin tension rod and how to use the bypass slot for bobbin work on both front load and top loading bobbins
http://www.youtube.com/watch?v=1MaOWct81Fw

Troubleshooting Guide – Signature Thread – this guide not only provides troubleshooting information for common sewing problems with specialty threads, but also provides information about the best tension and needle sizes for various threads. http://www.amefird.com/signature_trouble_guide.htm

Types and Characteristics of Thread
http://www.superiorthreads.com/index.php?option=com_content&task=view&id=37&Itemid=100

Understanding the Thread Weight System
http://www.superiorthreads.com/index.php?option=com_content&task=view&id=200&Itemid=100

Understanding Thread Twist Dimensions [S and Z]
http://www.superiorthreads.com/index.php?option=com_content&task=view&id=44&Itemid=100

What is Trilobal Polyester?
http://www.superiorthreads.com/index.php?option=com_content&task=view&id=31&Itemid=100

Friday, February 8, 2008

Digital Threads - Textile Museum of Canada

This is “…an interactive Web environment that highlights new digital artworks by [5] Canadian artists…[who are] Internationally known for innovative work that challenges the boundaries of conventional textile arts…” It explores the connections between cloth, culture and art by linking to 50 exhibitions from the Textile Museum of Canada. Access to the site is available in either English or French.
http://www.digitalthreads.ca/

Saturday, February 2, 2008

Time Management for Creative People - Mark MacGuiness

This 32-page free e-book by Mark MacGuiness is subtitled: "Manage the mundane - create the extraordinary". He states that in this book are offered "...some principles and practical methods for maintaining your creative focus under pressure, and for managing the stream of information and demands so that it informs and stimulates your creativity instead of drowning it out....I won’t offer you a rigid system or any ‘best practice’ nonsense – just some principles and suggestions for you to try out and adapt as you see fit."

Seven chapters are devoted to specific elements of time management. Another chapter provides a list of additional resources. The book can be downloaded at:
http://wishful.fileburst.com/creativetime.pdf