• Above-"Textiles Now" Eckhaus Gallery, Kutztown University of PA, exhibition of student, faculty and alumni work


    Michael Radyk Textiles, 1999-present
    Philadelphia, PA
    Studio Artist and Designer of fine art, textile wall pieces, exhibiting in juried and
    invited shows.
    Designer of woven and embroidered scarf collection, sold in galleries, specialty
    and museum stores.

    Director of Education, 2016-2019
    Founding Editor in Chief, journal, American Craft Inquiry
    American Craft Council
    Minneapolis, MN


    Kutztown University of Pennsylvania 2011-16
    Chair of Crafts, 2012-2016
    Professor of Textiles
    Area Head, Textiles, 2011-2016
    Graduate Faculty

    Teaching all levels of Textiles/Fibers, Intro to Textiles & Material Studies, 5 levels of Textiles(reactive and acid dyeing, felting, knotting, shibori, fabric manipulation, hand and machine embroidery, nuno felting, machine roller felting, free motion embroidery, color, design)  and 5 levels of Weaving courses (4-16 harness structures, digital design, pattern weaving, rug weaving, material exploration, structure, color interaction, place), Professional Practices(career and portfolio development, graduate school, artist writings, resumes, promotional materials, web and self promotion, artist interviews, studio design and development), Individual and Independent Study Instruction. Undergraduate BFA & BS students, Masters of Art Education Graduate students.
    Responsible for assessment, departmental ordering, budgeting, administrative, technology and equipment grants, curriculum and advising duties. 

    Savannah College of Art and Design (SCAD) 2010-11
    Professor in Fibers/School of Design

    Courses taught include Undergraduate classes: Images on Fabric, Intro to Textiles,
    Fabric Manipulation, Portfolio Preparation. Advanced Fibers Studio 1 & 2, Three Dimensional
    Textiles and Degree Projects/Thesis. Graduate Courses include: Professional Practices,
    History as Source, Research Practices, Thesis Projects and Individual Instruction.

    University of Georgia, Lamar Dodd School of Art 2008-10
    Visiting Professor of Art, Fabric Design

    Courses taught include Undergraduate classes: Intro to Textiles, FabricManipulation,
    All Levels of Weaving, Advanced Fibers Studio, Textile Futures, and Degree Projects/Thesis.
    Graduate courses include: Professional Practices, Research Practices, Thesis Projects
    and Individual Instruction.

    Rhode Island School of Design (RISD) 2006-08
    Providence, RI

    Instructor for Summer & Winter Session in Textiles.


    Rhode Island School of Design (RISD) MFA, Honors 2008
    Concentration in Textiles, Color, Pattern, Manufacturing & Design, Textile Futures
    (New Media), Slow Gaze and digitally designed and woven textiles.
    Textile Seminar and material investigations with invited critics and designers
    Suzanne Tick and Sherry Donghia.

    Brown University 2008
    The Sheridan Center for Teaching and Learning
    Certificate in Collegiate Teaching, an intensive program in reflective teaching
    practices, involving lectures, workshops, microteaching and individual
    teaching consultation.

    Tyler School of Art, Temple University BFA 
    Magna cum laude
    Studies in Textiles, Fiber Arts and Art History.


    University Research Grant, 2016, Kutztown University
    University Professional Development Grant, 2014, Kutztown University
    College of Visual & Performing Arts Faculty Development Grant, 2015, Kutztown University
    College of Visual & Performing Arts Faculty Development Grant, 2014, Kutztown University
    Kutztown University Foundation Grant for ENGAGE: Color, Ritual, Material Group Exhibition,
    Miller Gallery, 2014
    Kutztown University Foundation Grant for ENGAGE: Color, Ritual & Material Studies Conference, 2014 
    College of Visual & Performing Arts Faculty Development Grant, 2013, Kutztown University
    College of Visual & Performing Arts Faculty Development Grant, 2012, Kutztown University
    Ruth and Harold Chenven Foundation Grant 2010
    Textile Society of America Presenter Grant 2010


    Cleveland Museum of Art, 2016
    University of Georgia, Special Collections Library


    Presidents Prize, Focus; Fiber 2014-15, Erie Art Museum, Bacon Gallery
    Textile Art Alliance of the Cleveland Museum of Art
    Juried by Paola Morsiani, Director Neuberger Museum, State University of New York, Purchase

    Ebb and Flow Yardage exhibition, Handweavers Guild of America Convergence, 2014, awarded 2nd place for Migration yardage

    Merit Award, 34 th Juried Exhibition 2009, Lyndon House Arts Center, Athens, GA
    Juried by Karen Shaw, Chief Curator of the Islip Art Museum and Carriage House Workshop

    Visionary Award of Excellence, Craft Forms 2008, 14th Annual International Juried Exhibition,
    Wayne Art Center, Philadelphia,PA. Juried by Michael W. Monroe, Executive Director & Chief
    Curator at the Bellevue Arts Museum and former curator at the Renwick Gallery of the Smithsonian
    Institution Washington, D.C.

    EXHIBITIONS (selected),  SOLO & GROUP

    The Invitational Biannual Exhibition, Seoul Arts Center,Hangaram Art Museum, Seoul, South Korea, 2019
    STRUCTURED, Joan Mondale & Studio Galleries, Textile CenterMinneapolis, MN, 2019
    Focus: Fiber 2019, Kent State University Museum, 2019
    Super Surfaces, In the Paper Gallery, Seoul, South Korea, 2018
    Blue/Green: color/code/context, browngrotta arts, Wilton, CT, 2018
    Still Crazy After All These Years...30 years in art, browngrotta arts, Wilton, CT
    Interwoven States, Sweetwater Center for the Arts, Sewickley, PA
    Focus: Fiber 2016, A National Juried Exhibition Sponsored by the
    Textile Art Alliance, Cleveland Museum of Art, Kent State University Museum
    Common Thread, Rodale Gallery, Baum School of Art, Allentown, PA, 2016
    Influence and Evolution: Fiber Sculpture then and now, SOFA Chicago,  browngrotta arts, 2015
    Influence and Evolution: Fiber Sculpture then and now, browngrotta arts, Wilton, CT, 2015
    The Constant Thread, The Hambidge Center, Weave Shed Gallery, Rabun Gap, GA, 2015
    Fibremen 4, Kherson Local Lure Museum, International Exhibition, Kherson, Ukraine, 2014
    FOCUS: Fiber 2014, Bacon Gallery, Erie Art Museum, Textile Art Alliance of the Cleveland Museum of Art
    International TECHstyle Art Biennial 2014, San Jose Museum of Quilts and Textiles, San Jose, CA
    Craft Forms International Exhibition, Davenport Gallery, Wayne Art Center, Wayne, PA. Juried, 2014-15
    Small Expressions 2014, Fuller Craft Museum, Brockton, MA.
    Ebb & Flow, Rhode Island Convention Center, 2014
    Handweavers Guild of America Convergence, Providence, RI.                                                          
    A Lively Experiment, Rhode Island Convention Center,  2014
    Handweavers Guild of America Convergence, Providence, RI.
    Northeastern Biennial 2013, Marywood University, Artworks Gallery, Scranton, PA.
    Victory For Tyler;Victory for All 2013, ICE Box Project Space,Crane Arts Center, Philadelphia, PA
    National Fiber Directions 2013, Wichita Center for the Arts,                       
    Craft Forms International Exhibition,Davenport Gallery, Wayne Art Center, Wayne, PA. Juried, 2012-13
    Solo Exhibition, McLanahan Gallery, Penn State University, 2012 Miscaigna Center for Performing Arts
    Inside/Outside the Box, Fiber Philadelphia, ICE Box Project Space, Crane Arts Building, Philadelphia, PA 2012
    Fiber Options: Material Explorations, Maryland Federation of Art, Circle Gallery, Annapolis, MD, 2012
    Textiles Now, Echkaus Gallery, Kutztown, PA 2012
    Fibremen 1 International Exhibition, Kherson Local Lore Museum, Kherson, Ukraine, 2011
    Artist in Residence Exhibition, Hoffman Gallery, Oregon College of Art and Craft, 2011
    NEW WEAVE: Five Contemporary Weavers, Common Wealth Gallery, 2011
    School of Human Ecology, Design Gallery, University of Wisconsin, Madison, Invited.
    Print Portfolio 20 th Anniversary Exhibition, Hoffman Gallery, 2011
    Oregon College of Art and Craft, Portland, OR, Invited.
    34 th Annual Philadelphia Museum of Art Craft Show. Juried.
    BINARY FICTION: Digital Weaving 2010, Eisentrager-Howard Gallery, 2010
    University of Nebraska, Lincoln, NE. Invited.
    New Fibers 2010, FAN Gallery, Eastern Michigan University, Ypsilanti, MI. Jurie, 2010
    ART Healing Lives, Textile Center-Joan Mondale Gallery, Minneapolis, MN. Juried, 2010
    Materials: Hard & Soft, Greater Denton Arts Council, Center for the Visual Arts, 2010
    Denton, TX. Juried.
    Spotlight 2009, Don Russell Clayton Gallery, American Craft Council Southwest, 2009
    Kennesaw State University, Kennesaw, GA. Juried.
    Extreme Threads: Works in Fiber, Stitch and Surface, Defoor Center, 2009
    Atlanta, GA. Juried.
    RISD Textiles: New Talent, New York Design Center, New York, NY, 2008
    RISD MFA Thesis Show, Rhode Island Convention Center Providence, RI, 2008
    Content in Context, Sol Koffler Gallery, Providence, RI 2007
    Focus on Fiber: The Work of Michael Radyk and Timea Tihanyi, Society for
    Contemporary Craft, Pittsburgh, PA. Invited artist, 2007
    Fiber National, Lancaster Museum of Art, PA. Juried, 2007
    LaCigale, Solo Exhibition, Philadelphia, PA, Invited. 2004
    Takashimaya New York, Inc., New York, NY,  2000-02


    Hambidge Artist Residency, Rabun Gap, GA, 2010
    Oregon College of Art and Craft Residency Program, Portland, OR, 2010
    Funded by the Collins Foundation

    Peters Valley, Summer, 2016, 2019
    Craft in America Summer Workshops, Kutztown University, 2015-16
    Kent State University, Blossom Art Summer Workshops, 2014
    Kutztown University Summer Institutes for Art Educators, Kutztown, PA, 2012-15

    My teaching philosophy is a natural extension of my own work as a weaver, designer and textile/fiber artist. My goal as an academic is to provide instruction in basic and advanced techniques while helping students to apply and extend those same techniques into unknown and contemporary expression. I am dedicated to providing students with a historically based framework that also fosters the creative freedom that can lead to multiple layers of expression and meaning.

    The strategies of research and studio work are central to my work. Looking at the coexisting worlds of art, design, craft and architecture, I am always delighted by the complexity of the textile discipline. I appreciate the opportunity to teach students of diverse backgrounds, including both graduate and undergraduate textile students as well as students from architecture, painting, printmaking, industrial design and craft mediums. I believe this variety is essential to experience fully the excitement in the art form and its uses in functional and nonfunctional objects.

    My teaching is reflective and responsive to the life of the entire class, as well as to the creative development of its individual students. I begin with the goal of fusing material, color and pattern investigations by teaching the skills that will grant the student the ability to question the medium and discover new ideas. As an academic and artist, I work to encourage interest and critical thought by exposing students to the domains of the history and current practice in the textile field as well as architecture, art and design fields using a variety of films, discussions and presentations. My own education has been extremely rewarding and I strive to provide students with the same experience.
  • Color and Pattern Project, Place Project
  • Sample Project, Color and Surface, Place Project
  •  Rug Weaving Project
  • Tapestry Self Portrait Project
    Above and below-
  • Apparel Textiles & Scarf Project based on Place
  • Beginning Samples based on Place.
  • Advanced Weaving Studio
  • Material Exploration/ Material Creation Project
    Above and below-
  • Striped Double Cloth Project
    Above and below-
  • Installation Project
  • Woven Collection Development
    Above and below-
  • Textiles and Material Studies
  • Historic Interpretation Project, Boro Textile-above
    Historic Interpretation Project, Found Textile-below
  • Installation Project
  • Creatures Project
  • Memory Project
    Above and below-
  • Place Project, Resist dyeing  and painting
    Above and below-
  • Below-Free motion Embroidery and Applique works,  Place Project
  • Repeat or Trnasformed Module Project
  • Collection Development
    Above and below-
  • Thesis/Degree Projects
  • Narrative project
    Above and below-
  • Senior project based on Place
    Above and below-
  • Senior Project based on Place Project
    Above and below-
  • Senior Project based on Memory Project
  • Below-
    Light & Surface Project
  • Booth-Philadelphia Museum of Art Craft Show
  • Above- Collaborative Project with Fibers student and Liz Collins, University of Georgia Lamar Dodd School of Art
  • Above- Collaborative Project with Fibers students, Graduate students and Graphic Design students and artist Piper Shepard, University of Georgia Lamar Dodd School of Art
  •  Sample Syllabi
    Professor Michael Radyk Office:121B email: radyk@kutztown.edu 

    Weaving is a primal form of architecture. Early textiles were designed to replicate nature; nests, webs and hides. Twining, netting and felting were used to make early textile forms. The interlacing of two elements is weaving. Weaving could produce baskets, blankets andshelter, leading eventually to the pattern, structure and the representation of nature.
    The woven textile is like cement. The presence of its movable form and uses are ubiquitous, present and existing through out our lives. Woven textiles function in the home, workspaces, on the body, beneath our feet, recreational spaces, hospitals, in museums and galleries. They encompass art, design and craft. Everyday.


    This course will research the woven structure, color, pattern, texture and provide an understanding of woven fabric design and construction. Students will learn to set up and use a four harness loom and explore woven design through the study of drafting and fabric analysis. In addition to acquiring a solid technical foundation, the emphasis will be on developing and researching a personal and individual approach to the work and textiles. Drawing, painting, surface pattern and manipulation will also be used to expand ideas and concepts. The development of skill and technique is researched through a series of samples exploring plain, twill, satin, pattern and tapestry weaves. Those weaves form the foundation of woven cloth. The techniques are simple but are perfected by repetition, practice and experimentation.


    The use of visual references materials and themes will help synthesize the weaving and design process. The student will begin with finding a place, which will be used to research and find visual reference material for your weavings. The references will be used as a context from which to derive color, texture, form and conceptual content to be explored in the work. Also, research on the history of your chosen place can expand the depth of your work.
    Assignments will be oriented towards a variety of forms and end uses. There will be weekly and bi-weekly assignments and sample weaving, each exploring a new structure and utilizing the color and design references.Through pattern development, repetition, color interaction and finishing the weaver will investigate the rhythms of woven structure that ae sometimes elusive to the beginner. The focus is on producing hand-woven cloth that has a quality of hand and design. The final project involves the design of a collection of textiles for a specific architectural space.


    Woven fabric is a planar structure consisting of two or more sets of yarns interlacing at right angles. These are called the warp yarns and the weft or filling yarns.The warp yarns are the yarns running length wise in the loom. Each single warp thread is called an end. The filling or weft yarns are the yarns running across the warp. Each single filling yarn or weft is called a pick. The selvage is edge of the fabric.

    Warp = Ends / Weft = Picks
    Tabby is another for plain weave.


    The Handweaver’s Pattern Directory by Anne Dixon
    A Handweaver’s Pattern Book by Maguerite PorterDavison-optional
    Required Magazine: Possible choices:American Craft Magazine, Ornament
    Handouts and Readings

    Course Description

    Weaving I is an introduction to techniques of weaving on the four-harness loom.The following issues are emphasized: design, color, materials, cultures, history, important textile/fiber artists, and the meaning of textiles in the contemporary art world.


    Students will:
    1. Understand the basics of the four-harness floor loom.
    2. Weave technical samples, which will serve as an introduction to materials and techniques.
    3. Become acquainted with both traditional and contemporary approaches to weaving.
    4. Gain information on the history of textiles.
    5. Become acquainted with the work of contemporary fiber artists and designers.
    6. Solve assigned creative problems with techniques learned.
    7. Understand the relationship between historic textiles as objects, design and contemporary fiber art objects.

    Course Components

    The following techniques/concepts will be researched:

    Required Supplies and Materials

    Large Sketchbook,
    1 cone cotton carpet warp from the bookstore
    tape measure
    tapestry comb
    Ability to make color copies
    Digital camera and ability to print images-if  you want to use your own images as references
    Acrylic paint, charcoal,
    paper for drawing and painting, at least 11 x 17 orlarger
    3 ring binder or binder to keep handouts
    Presentation boards(at least 19 x20), erasable colored pencils, calculator, measuring tape, t-pins, push pins,
    Sobo glue
    Various yarns-plan on spending about $100.00-150.00
    alternative materials for wefts and filling
    Large tapestry needle,
    ball of white cotton twine

    4 cones 5/2 Cotton, from bookstore or ordered from:4
    4 cones of your choice of fiber:
    10/2 mercerized cotton or
    8/2 Bamboo or
    8/2 or 10/2 Tencel or 20/2 silkor2/14 Alpaca & Silk Blend or
    8/2 Cottolin
    NylonThread From Atlanta Thread Company


    The Bard Graduate Center: DecorativeArts, Design History, Material Culture is a graduate research institute committed to studying the cultural history of the material world. At the BGC, our focus is on Cultura. This ancient Latin word referred to the class of activities in which human beings acted on, and so transformed, their natural surroundings. We have taken this as the outline of our institutional project :studying the substances intervened upon, the processes used to make these interventions, and the consequences of these interventions for the lives ofhuman actors.

    Hats: An Anthology by StephenJones—a collaboration between the Victoria and Albert Museum in London and Stephen Jones, the world’s foremost hat designer—features more than 250 historic and couture hats chosen with the expert eye of the master milliner. The curators have added an array of distinctive American hats and work by contemporary New York milliners.
    The Main Gallery and Focus Gallery are both located at 18 West 86th Street, between Central Park West and Columbus Avenue, in New York City.

    333 East 47th Street
    New York, NY 10017

    Fiber Futures: Japan's Textile Pioneers showcases the dynamic field of Japanese fiber art. Organized as a juried show jointly presented by Japan Society and International Textile Network Japan in collaboration with Tama University Art Museum,  the works on display range from ethereal silk and hemp to paper pulp and synthetic fiber using methods that are sometimes deeply traditional, but sometimes employ the latest weaving and dyeing technology along with an environmentally conscious "green" ethos. Moving far beyond traditional utility,  Japan's textile pioneers fuse past and present to create innovative, beautiful and sometimes challenging works of art.

    Museum at  FIT, Fashion Institute of Technology
    Admission to exhibitions is free.
    Address:Seventh Avenue at 27 Street
    New York City 10001-5992

    Daphne Guinness
    The exhibition Daphne Guinness features approximately 100 garments and accessories from Guinness' personal collection, including designs from the likes of Alexander McQueen, Azzedine Alaïa, Karl Lagerfeld for Chanel,  John Galliano for Christian Dior, Dolce &Gabbana, Rick Owens, Gareth Pugh, and Valentino. Guinness' own designs are also on display. The exhibition is co-curated by Daphne Guinness and Valerie Steele, Director and Chief Curator of The Museum at  FIT.

    Metropolitan Museum-1000 Fifth Avenue (at 82nd Street), New York, NY 10028
    Friday and Saturday: 9:30 a.m.–9:00 p.m.
    Arts of Korea/Patchwork Textiles throughDecember 11, 2011 On view are highlights from the Museum's Korean collection,including ceramics, metalwork, lacquer, and sculpture, dating from about thefourth century B.C. to 2008
    After the Gold Rush: Contemporary Photographs from the Collection Through January 2, 2012 The title of the exhibition comes from a song of 1970 by Neil Young; the verses contrast a romanticized past, a present of squandered plenty, and an uncertain future.
    The 9/11 Peace Story Quilt Through January 22, 2012 The 9/11 Peace Story Quilt was designed by Faith Ringgold and constructed in collaboration with New York City students ages eight through nineteen.
    Paper Trails: Selected Works from the Collection, 1934–2001ThroughNovember 27, 2011The modern and contemporary artists in this installation have translated their fascination with paper into works that defy conventional definitions of drawing. Featured are thirty-six works on paper by twenty-four artists, including Marcel Duchamp, Jean Dubuffet, Franz Kline,  Kara Walker, and Kiki Smith.
    Romare Bearden (1911–1988): A Centennial Celebration Through January 8, 2012
    Romare Bearden's vibrant mural-size tableau The Block (1971) is on view as part of a centennial celebration of the artist's birth.

    Assessment/GradingWeaving 1

    Quality of work: Creativity, craftsmanship, originality, presentation, level of commitment,material investigation, use of references and understanding of concepts and techniques.
    Participation: Ability to communicate and articulate your research, work and ideas. Respond to discussions of your work, class CRITIQUES & presentations and the work and research of others.

    Breakdown for grading:
    Woven Samples and Exploration of Techniques and Materials
    Research Project on artists, designers
    Notebook/Sourcebook Assignments, research, samples, sketches and drawings
    Final Project

    Schedule and Requirements are subject to change at the Professors discretion.

    Plan on spending at least 10-15 hours outside of class weaving and researching.

    Attendance Policy
    Attendance at critiques is required: Both student and work ready to critique.
    Missing a Critique will result in your grade being lowered by one grade for the project critiqued.

    Do not miss any classes:The information and exchange of your work and ideas will be missed. If you miss a class you are required to get the information covered from another student.

    4 absences:Drop a full letter grade.

    3 times being late or 3 times leaving early = 1absence

    Official documentation must accompany a request to excuse an absence. Documentation does not necessarily mean a student will be excused.

    Textiles & material Studies 1 & 2
    CFT 241, 341 Professor Michael Radyk

    Course Description:
    This course focuses on basic surface design techniques that enable students toapply images and texture to fabric and fiber. Traditional techniques and contemporary variations are explored as methods to develop meaningful surfaces that incorporate image, pattern and surface texture. Both technical understanding and creative use of media are stressed.
    Course Goals: The following course goals articulate the general objectives and purpose of this course:
    1. To safely use and handle materials and equipment in the studio.
    2. To develop proficiency in a variety of surface design techniques such as direct dye applications resists.
    3. To develop an understanding for the metaphorical and symbolic usage of pattern and image through research and practice.
    4. To build a knowledge base of historical and contemporary surface design techniques, works, and practitioners.

    Student Learning Outcomes:
    The following course outcomes indicate competencies and measurable skills that students develop as a result of completing thiscourse:
    1.Students will be able to use dyes, resists on a variety of natural fibers.
    2.Students will understand and use appropriate course-related vocabulary.
    3. Students will create a research and development notebook based on material learned in this class.
    4. Students will develop and execute a final project, which demonstrates technical skill and conceptual development.
    5. Learn the basics of advanced fiber techniques.
    6. Become familiar with experimental approaches.
    7. Use multiple processes.
    8. Develop independent and personal approaches to their work
    9. Use design skills related to repeat pattern, manipulation, hand painting and collage.
    Field Trip(s):
    Philadelphia Museum Of  Art
    Fiber Philadelphia, Crane Arts Building & Biennial Exhibitions,
    Fabric Workshop and Museum,
    Wexler Gallery,  Synderman Gallery,  Philadelphia Art Alliance, ICA
    NYC, Chelsea Galleries
    Metropolitan Museum,
    Museum of Arts and Design,
    FIT Museum
    Brooklyn Museum: Keith Haring, The Dinner Party, Rachel Kneebone

    Extra Help Session(s):
    Fridays, as needed or during office hours

    Text(s): Shiboriby Yoshiko Wada
    Shibori for Textile Artists by Janice Gunner
    Color: A Natural History of the Palette by VictoriaFinlay
    Required Material(s):
    · 3 Ring Binder/Notebook
    · Drawing Supplies, pencils, charcoal, markers
    · Sketch book
    · Glue Sticks
    · Presentation Boards
    · Double sided tape
    · Canvas boards 11 x 14 or Bristol Board 11 x 14
    · Painting Supplies: acrylic paint, gouche, or watercolors
    · Artist tape
    · Colored Papers
    · Scissors
    · Pink Foam Boards
    · Drop Cloths
    · Extra Towels
    · Containers for mixing paint and dye
    · Needles and thread
    · Various sizes of paint brushes
    · Mason Jars 6
    · Plastic wrap
    · String and Rubber bands
    · Fabric Paint 6-8 colors
    · Fiber Etch and Devore Fabrics from Dharma Trading
    · FABRICS:
    · 4-8 yards Cotton Sateen
    · 4 Cotton Broadcloth
    · Other cotton Fabrics of your choice 4-8 yards
    · Light weight Cotton or Linen Canvas 2-4 yards
    · Fabrics for Final 4-8 yards
    · 2-4 yards Silk gauze
    · 2-4 yards Crepe de Chine
    · 2-4 yards Silk Organza or gauze
    · 2-4 yards, raw silk or other novelty silks

    SCAD, FIBR 748 - Professional Practices in Fibers Professor Michael Radyk
    Section: 02 CRN: 32304
    This course is a forum to identify, discuss, and prepare for professional practices in the fibers field. Topics include artists’ statements, resumes, grants and business plans. Professionalism in presentation and documentation is emphasized. Prerequisite(s): FIBR 716.

    CourseGoals: The following course goals articulate the general objectives and purpose of this course:

    1. Students will complete a research notebook.
    2. Students will compile a professional résumé and/or CV.
    3. Students will write an effective artist’s statement.
    4. Students will design promotional material that complements the portfolio.
    5. Students will write a business plan or a grant proposal.
    6. Students will apply for at least two professional practice opportunities.
    7. Students will complete a cohesive portfolio that includes actual, printed and digital examples of current work (as applicable to work).

    Student Learning Outcomes: The following course outcomes indicate competencies and measurable skills that students develop as a result of completing this course:

    1.Students will complete a research notebook.
    2. Students will compile a professional résumé and/or CV.
    3. Students will write an effective artist’s statement.
    4. Students will design promotional material that complements the portfolio.
    5. Students will write a business plan or a grant proposal.
    6. Students will apply for at least two professional practice opportunities.
    7. Students will complete a cohesive portfolio that includes actual, printed,and digital examples of current work (as applicable to work).

    Schedule of Classes: Key events including assignments, projects due dates/exam dates:

    Class 1:
    Into to class

    Class 2:
    CV Review
    Power Point and video

    Class 3:
    Show Applications
    Project Ideas
    CV Reviews

    Class 4:
    Student Power Point Presentations
    Intro: Research project on contemporary designers and movements

    Class 5:
    Field Trip
    Artist statement Review

    Class 6:
    Student  Artist statement  Review
    Promotional materials overview
    Website review

    Class 7:
    Project  Descriptions
    Guest lecture

    Class 8:
    Website review
    Promotional materials review

    Class 9:
    Website progress
    Color and design digital portfolio ideas

    Class 10:
    Guest lecturer
    Apply to at least 3 shows

    Class 11:
    Presentations: Research project on contemporary designers and movements

    Class 12:
    Film or Guest Lecturer

    Class 13:
    Digital portfolio Due.

    Class 14:
    Guest speaker.

    Class 15:
    Field trip.

    Class 16:
    Residencies overview.
    Digital Portfolio due.

    Class 17:
    Field Trip: Atlanta High Museum, Design Center

    Class 18:
    Guest Lecturer

    Class 19:
    Student Presentations at selected venue.

    Class 20:
    Final artist package and project descriptions due.

    Grading Opportunities:
    Your overall course grade will be computed according to the following breakdown:

    Artist Statement
    Beginning and Exit
    Promotional material
    Total Weight

    Able to teach undergraduate to graduate level
    Product Development
    Research Practices
    Thesis and Degree projects
    Studio classes, special topics studios and seminars
    Professional Practices
    Textile Concepts
    Design and sampling
    Artist and Brand Devolopment
    Craft and Fiber/Textile History
    Contemporary Practices in Textiles and Fashion
    Hand Weaving 4-16 Harness
    Dobby weaving, 16-24 Harness
    Rug Weaving
    Pattern Weaving
    Wet Felting, both hand and machine
    Nuno Felting, both hand and machine
    Needle Felting, both hand and machine
    Jacquard Loom Weaving
    Digital Design
    Surface Design and Pattern
    Resist Dyeing
    Dyeing and Finishing
    Reactive Dyes
    Acid Dyes
    Fabric Identification
    Machine and Hand Embroidery
    Free Motion Embroidery
    Fabric Manipulation: including sewing techniques, pleating, shirring, tucking
    Sewing Construction
    Woven Rug, including pile weaves, repp weaves, corduroy,
    Garment and Accessory Design,
    Material Research
    3 Dimensional Textiles
    Non Loom Structures