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

 

Color and Pattern Project, Place Project

Sample Project, Color and Surface, Place Project

Apparel Textiles & Scarf Project based on Place

Material Exploration/ Material Creation Project

Above and below-

Striped Double Cloth Project

Above and below-

Installation Project

Above

Woven Collection Development

Above and below-

Historic Interpretation Project, Boro Textile-above

Historic Interpretation Project, Found Textile-below

Installation Project

Below

Creatures Project

Below-

Below-Free motion Embroidery and Applique works,  Place Project

Repeat or Trnasformed Module Project

Collection Development

Above and below-

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
#1
WEAVING 1
Professor Michael Radyk Office:121B email: radyk@kutztown.edu 

Introduction
 
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.

Aims

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.

Concepts

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.

Process

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.

RequiredTextbook

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.

Objectives

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:
A. PATTERN AND STRUCTURE SAMPLER
B. TAPESTRY, RUG WEAVING
C. EXPERIMENTAL MATERIALS
D. COLOR and WOVEN STRUCTURES
E. TRANSLATING,  ABSTRACTING REFERENCES INTO WOVEN CLOTH
F. COMPLETE A FINAL PROJECT
G. RESEARCH ON DESIGNER, ARTISTS, or HISTORICAL
H. COMPILE A SOURCE BOOK, SKETCHBOOK AND NOTEBOOK

Required Supplies and Materials

Large Sketchbook,
1 cone cotton carpet warp from the bookstore
tape measure
Shuttles
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
Scissors,
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
www.halcyonyarn.com
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

FIELD TRIP NYC

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.
Location
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.

JapanSociety
Location:
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.
SCHEDULESUBJECT TO CHANGE

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
Craftsmanship
Research Project on artists, designers
Participation
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.


#2
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):
Library
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

MICHAELRADYK
QUALIFICATIONSand TECHNICAL SKILLS

Able to teach undergraduate to graduate level
Design
Product Development
Research Practices
Thesis and Degree projects
Studio classes, special topics studios and seminars
Professional Practices
Textile Concepts
Color 
Design and sampling
Artist and Brand Devolopment
Merchandising 
Craft and Fiber/Textile History
Contemporary Practices in Textiles and Fashion
Hand Weaving 4-16 Harness
Dobby weaving, 16-24 Harness
Tapestry
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
Shibori
Dyeing and Finishing
Reactive Dyes
Acid Dyes
Fabric Identification
Machine and Hand Embroidery
Free Motion Embroidery
Knotting
Looping
Fabric Manipulation: including sewing techniques, pleating, shirring, tucking
Embellishment
Beading
Sewing Construction
Woven Rug, including pile weaves, repp weaves, corduroy,
Garment and Accessory Design,
Color
Material Research
3 Dimensional Textiles
Non Loom Structures
Applique