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squares painted on wrapping plastic-like material with acrylic paint, sheet laid on a dotty piece of fabric, both fused embroidering the polka dots. Easy Billy and interesting result.
This is just me practising.
Donna Hanson was introduced to weaving on a rigid heddle and on a floor loom by her mother, a professional weaver, in the early 1970’s. A former special education teacher, Donna began teaching at the Weavers Guild of Minnesota in 2009 and now teaches an average of 7 classes each trimester, including beginning and advanced techniques on floor looms and rug looms as well as lecture classes in design, color, blocks, and computer design. She has a particular interest in experimenting with color in her weaving, no matter the structure, and thoroughly enjoys the creative design process. Her work has been displayed at the Weavers Guild of Minnesota, Midwest Weavers Conference, and the Minnesota State Fair, earning many ribbons, including the Sweepstakes in weaving.
Tullie Textiles group meets on the second Sunday of the month at Tullie House Museum and Art Gallery between 2-4 pm. Each month we see a different object from the collections and I demonstrate a different textile skill or technique. The group is free to attend. January: Shisha Embroidery
I combined my art and textiles skills to create this sentimental item. By using old family photos as fabric and stitching childhood photos of me and my brother I was able to produce this piece in response to my topic title 'embroidery and recorded events'.
This is a page from my illustration unit book where I looked partially at illustrating stories through textiles. The textiles pieces I made on the right used a sewing machine and I chose colours and textures of fabric based on how I think they would suit the books. The blue one is based on Moby Dick, using ocean colours and the brown/red one uses Victorian styled patterns and colours on the fabric.
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.
My final piece for textiles where i made 4 tiles (which are each 15 by 15 cm)of the given theme "unique" and the tiles had to connect, so i thought why not make 3 tiles with different animals and use another with a mythical combination of the 3 to connect them. I used materials that include Batik, Tye Die, Goota, Image Transfer, heat manipulation, Bonda web, Ink and fabric paint (an i'm sure there is one or two iv'e probably missed) and coupled with images of it's development
This man has been working in Bangladesh's textile industry. The yarn used to make traditional lungi ,towel textiles,is dyed and then hang up to dry in its various colours outdoors.This method of textile production has been used for many generation. Kumarkhali in Kushtia is known as the weaving town of Bangladesh. Textile industry is the main economic driving force of Kumarkhali. It is the ancient tradition of rural Bengal.
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a art piece Imade in art out of textiles with me looking at in b&w and noise and definition added while object is in focus and colour
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.
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.
Textile doll is handmade in Moldova
I SHIP WORLDWIDE
In a single instance, without repetition. All my dolls are One of a Kind and will never be reproduced
www.etsy.com/listing/480554157/this-soft-textile-doll-is-...
Confederation of Textile Societies meeting, held at Halifax, West Yorkshire, 26 May 1962. Sadly no record available of names against photos. DW Holdsworth 2008.