View allAll Photos Tagged patternmaking
Inside L219 in Lärarutbildningshuset, ie Teachers Education Building. Me and my coursemate E, were to find a jacket/shirt of some sort and make a pattern inspired by it, based on basic design patterns in our coursebook.
To the left, front cover of L'officiel magazine we found the page and jacket design to be inspired by (I'm afraid we never did note who the designer was, ahem), and to the right our 1:1 scale pattern on a dress form (older design, a bit perkier bust area, than the recent dress forms of the same size)
We are both taking the Mönsterkonstruktion och modellskapande, 7,5hp course, ie Patternmaking. A very fun course so far!
I write a LOT on each pattern piece. I should probably consider a labeling system, but for now, I'm happy to write....it ingrains the information into my brain.
this chambray was 50c at a garage sale and perfect for pants. this was my first pattern. I always do smallest size first and work upwards. I went for a slimmer pant and will just add a dotted line to make shorts!
Everyone decided to help make a sqaure of acrylic yarn to later sew into a blanket as a collaborative project!!
Won't you join us next Tuesday from 6-8pm??
To read more about my sewing project visit my blog: project-hallway.com/2011/02/11/2-11-11-lee-alexander-mcqu...
Strikkepinnerogandrepinner - Bea tagged me. This is what I'm doing RIGHT NOW.
I tag Merete, Karen, Sarah, Tora and Ladybean
The Edgar Miller Exhibit at the DePaul University Art Museum.
Edgar Miller (1899–1993) arrived in Chicago in 1917 and steadily built a successful career as a multi-hyphenate creative practitioner in the city over the next fifty years. Modernism also emerged during this period, but for all his avant-garde inclinations, Miller and the work he produced often developed in a counter direction. He developed a signature style, but never embraced geometric abstraction or machine age aesthetics, remaining committed to ornate patternmaking and naturalist, often imaginative figurative storytelling. Miller was not against modernism, but he did resist its privileging of the newness and the idea of solitary artistic "genius" by embracing the past and working collaboratively. Working with other practitioners, Miller left an indelible mark on Chicago. Over the past century, however, many of these multifaceted contributions to art and design in Chicago have become hidden in plain sight if not outright forgotten or lost. This exhibition offers a tapestry of what remains, of what is known: architectural and mural fragments, proofs; sketches and photographs of projects realized and unrealized; vestiges of moments past; and bits of ephemera. Together these pieces tell a story of an innovative, resourceful, and idiosyncratic polymath who offers an alternative vision of what modernism meant in Chicago.