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The coursework for my GCSE in art and design. The project was based on patterns and colours. This piece was made of a series of drawings that were photocopied and enlarged, then I used image maker to transfer them onto calico, then I stitched into them with beads and sequins and embroidery.
SURECHAIN's textile snow chains are lightweight products. All of their material or part of their material are textile. Our SURECHAIN brand strap snow chains and snow socks are high quality.
SURECHAIN FABRIC SNOW CHAINS BENEFITS
Light Weight
Because the main material of textile snow chains is fabric, its weight is very light. Fabric snow chain is very easy to carry, store, install, and remove.
Road Friendly
Because textile snow chains are made of fabric, they will not cause damage to both roads or tires. Fabric snow chains will not cause any noise during driving as well. The users won't have to suffer from a lot of noise.
Low Clearances
Fabric snow chains are ideal for low-clearance vehicles. The users in the vehicle will be more comfortable. Textile snow chains take up very little space in the trunk of the vehicle.
Rosemary Mortimer : 2012 : RISING UP - RUNNING OUT, An Exploration of Oil
My research project was a narrative of my experiences as I tread quietly (even sneakily), through a political and ecological minefield. It explored the forces and voices of oil, through a process of making art. My fossil fuelled journeys informed my material activations, of the forces of formation, extraction, consumption and depletion. Seeping (and rising) through the work are the voices of political, ecological and economic imperatives for reduction.
Work from Carleton Day Centre's Wednesday Art Group. A partnership project between Carlisle Day Services and Prism Arts. In this block of sessions we're exploring textiles and our theme is the Natural World. January-March 2017.
Work from Carleton Day Centre's Wednesday Art Group. A partnership project between Carlisle Day Services and Prism Arts. In this block of sessions we're exploring textiles and our theme is the Natural World. January-March 2017.
Maya backstrap loom textile designs on huipils (see below) which, although modern (1970s), evoke similar designs on women's garments carved on Late Classic stone monuments and plaster panels during the Late Classic 1200 years ago. The simplest triangle designs, like several shown in this batch, could easily be popular traditional designs copied and learned by rote by Maya weavers that originated at the height of Maya Late Classic culture 600-700 AD. Chip Morris even discovered a maya date coded in the design of a 100 year old huipil from Chamula, Chiapas.
General information: Maya huipils are traditional, hand-woven tunics that encode a complex, visual language reflecting the weaver’s identity, community, and cosmology. They function as wearable history, using specific colors, geometric patterns, and motifs to signify regional origin, marital status, social standing, and deep, ancestral connections to nature.
Key Information Coded in Maya Huipils
Regional and Community Identity: Distinctive color palettes, weaving patterns, and specific collar shapes (round or square) identify which community the wearer belongs to.
Cosmological and Spiritual Beliefs:
Diamonds/Squares: Often represent the universe, the four cardinal points, or the earth.
Zig-zags: Symbolize mountains, volcanoes, or the feathered serpent.
Colors: Red often represents the East, blood, and the sun; white represents the North and spirituality; black represents the West and death; blue symbolizes water and the sky.
Nature and Agricultural Motifs: Plants like corn, seeds, and animals such as the quetzal, jaguars, hummingbirds, and butterflies are frequently woven, representing the agricultural, natural world.
Mythology and History: Designs can depict ancestral stories and traditional myths, acting as a non-verbal communication of cultural heritage.
Personal Narrative: The complexity of the embroidery or weaving may indicate the skill of the artisan, with complex designs often known only to master weavers.
These garments, often made using a backstrap loom, are regarded as living, symbolic representations of the wearer’s soul and connection to the Earth.
ISLAMABAD: Students of the National Institute of Textile Designing, display their designs and fabrics at a get-together in Islamabad. Photo: Nai Baat
The Union Minister for Textiles, Smt. Smriti Irani and the Minister of State for Development of North Eastern Region (I/C), Prime Minister’s Office, Personnel, Public Grievances & Pensions, Atomic Energy and Space, Dr. Jitendra Singh visiting the Purbashree Stall, at Dilli Haat, INA, in New Delhi on November 28, 2016.