Fiber and Material Studies: Courses

Students are introduced to a full range of fiber/fabric equipment, materials, processes, forms, and philosophy, including surface design on fabric, weaving, and hand construction techniques. Both traditional and nontraditional approaches to process and materials are explored, while conceptual and historic issues are discussed using the resources of artists, galleries, and museums within Chicago.

Students are introduced to a full range of fiber/fabric equipment, materials, processes, forms, and philosophy, including surface design on fabric, weaving, and hand construction techniques. Both traditional and nontraditional approaches to process and materials are explored, while conceptual and historic issues are discussed using the resources of artists, galleries, and museums within Chicago.

Students are introduced to a full range of fiber/fabric equipment, materials, processes, forms, and philosophy, including surface design on fabric, weaving, and hand construction techniques. Both traditional and nontraditional approaches to process and materials are explored, while conceptual and historic issues are discussed using the resources of artists, galleries, and museums within Chicago.

Students are introduced to a full range of fiber/fabric equipment, materials, processes, forms, and philosophy, including surface design on fabric, weaving, and hand construction techniques. Both traditional and nontraditional approaches to process and materials are explored, while conceptual and historic issues are discussed using the resources of artists, galleries, and museums within Chicago.

This course is an introduction to floor loom hand-weaving through the study of basic weave structures, woven image techniques, and fiber types. Traditional and experimental use of material and technique are used to explore double weaves, painted warps and a variety of hand-manipulated techniques including tapestry, brocade, and inlay. The computer is used to develop innovative weave structures. While discussing both historic and contemporary textiles, emphasis is placed on the development of a strong technical language to further personal expression. In this intensive hands-on class students produce both experimental samples and finished pieces.

Students are introduced to printing techniques on fabric using dye and pigment in combination with direct, resist, and discharge printing. The stamp, block, stencil, silkscreen, and photo-silkscreen are explored to develop imagery and color and pattern relationships.

This course explores traditional and nontraditional means of altering and enriching the surface of pliable materials using techniques such as stitchery, embroidery, beading, and in combination with gesso, painting mediums, waxes, a variety of adhesives, and collage. Emphasis is on the surface treatment and its relationship to structure while using both conventional and non-conventional materials. Students are encouraged to pursue conceptual concerns; individual and group critiques are integral to the course.

Initially in this course, images are generated by examining a range of drawing techniques, and employing a wide visual vocabulary that incorporates traditional drawing materials, collage, photography, and images produced by computer. It is then a priority to explore ways of translating these images quickly onto cloth, using silkscreen and hand-painted techniques. Images are printed onto a range of surfaces, both hard and soft, with a diversity of processes, including pigments, fiber-reactive dyes, resist, discharge, and non-traditional printing inks. This studio-based class explores the very physical and direct qualities of printing. Single image and repeat structures are explored, alongside issues relating to scale. A strong emphasis is placed on conceptual development of a personal and innovative language, resulting in projects that may take the form of fabric yardage, installation, site-specific, body-related, or 3-D work. Readings, slide presentations, and field trips are introduced throughout the course.

Students sample from the languages of mathematics, architecture, design, and chaos theory to create rich tactile experiences. Exercises include alternative casting techniques, armature construction, and blurring the lines between a discrete object and an open system of sculptural experiences. Additive and subtractive strategies are employed for the purposes of material investigation. Emphasis is placed on the development of skill, personal direction, and concept. Discussion of both historic and contemporary resources augment the course.

Students explore the activity of weaving through traditional looms (table top, back-strap), and alternatively constructed looms (constructed from found objects and architectural influences). Students develop a conceptual focus and a technical vocabulary through processes, products, tools, and histories of weaving. The intersection between weaving and the collaborative processes are explored topically by way of thematic discussions on pattern development as a form of communication, looms built in situ, implication of globalization on craft production, gifting and participation. Collaborative research, critical discussions, and readings are central to the course.

The contemporary history and practice of fiber and cloth production is deeply invested in changing technology. This class surveys a range of digital technologies specifically applicable to fiber, cloth, and other pliable substrates. Computer assisted embroidery, Jacquard weaving, and alternative inkjet printing will be introduced as possible methods of output. Dimensional forms, repeat pattern formation, and image generation are demonstrated in a hands-on form employing a wide range of software. Material investigations address hand and digital processes in combination with research into material histories, contemporary practices, and outsourcing options. The knowledge and skills gained in this course are then applied to self-directed final projects.

What are the concerns that drive one's creative practice? How does one set the terms for its future development? This course offers strategies for the evaluation and communication of students' individual practice as artists, designers and/or scholars. Through essential readings, studio projects, and writing, students will generate narratives about how and why they make art. To do so, they will investigate methods (visual, critical, written, and creative) for the reconsideration of their work and of its aims and priorities. Individual mentoring with the faculty member is a central and dedicated component of the class as a means of fostering the self-identification of goals and priorities. Students will also examine historical and contemporary precedents that relate to their own work in order to consider the ways in which their individual explorations can be brought into dialogue with other perspectives. Students participate in broad ranging discussions about the present status and future prospects of art and design through workshops, dialogues, and collaborations both in the class and in SAIC-wide conversations with other Sophomore Studio Seminars. An important function of this course is to build upon these insights in forming a practical plan that helps students effectively map the curriculum and resources of SAIC into their own needs. For more information see http://blogs.saic.edu/sophseminar/

What are the concerns that drive one's creative practice? How does one set the terms for its future development? This course offers strategies for the evaluation and communication of students' individual practice as artists, designers and/or scholars. Through essential readings, studio projects, and writing, students will generate narratives about how and why they make art. To do so, they will investigate methods (visual, critical, written, and creative) for the reconsideration of their work and of its aims and priorities. Individual mentoring with the faculty member is a central and dedicated component of the class as a means of fostering the self-identification of goals and priorities. Students will also examine historical and contemporary precedents that relate to their own work in order to consider the ways in which their individual explorations can be brought into dialogue with other perspectives. Students participate in broad ranging discussions about the present status and future prospects of art and design through workshops, dialogues, and collaborations both in the class and in SAIC-wide conversations with other Sophomore Studio Seminars. An important function of this course is to build upon these insights in forming a practical plan that helps students effectively map the curriculum and resources of SAIC into their own needs. For more information see http://blogs.saic.edu/sophseminar/

This class focuses on the relevance of hand-weaving in a technological world. Using multi-harness looms, Point Carre software, and computer-assisted looms, a vocabulary of woven forms and images is developed. Students are encouraged to consider the incorporation of other forms of media such as video, projections, and sound recordings. Textural surfaces and sculptural forms are examined through the study of conceptual problems including structure, pattern, composition, and additional technical possibilities. Content is explored in the development of individual direction and in relationship to the discussion of historical and contemporary textiles and other works of art. This class explores the possibility that hand-weaving and digital technology together can become a new media practice.

This course allows students to pursue an advanced investigation of concept and technique in hand-printed fabric. The development of individual direction is strongly encouraged in relationship to historic precedent and contemporary concerns. Screen printing experience required.

The computer driven Jacquard goes beyond the limitations of a floor loom by interfacing with a computer to allow for direct control of individual threads. This course explores the historical and conceptual interstices of digital technology and hand weaving through the use of this loom. Utilizing Photoshop and Jacquard weaving software, students realize projects that begin with digital source material and result in hand woven constructions. The strongly debated connection between the Jacquard loom's use of punched cards and the history of computers is central to the course, as is the contemporary use of the loom as a new media tool. Studio work blends work at the computer, weaving on the loom, reading, research and critical discussion. A personal laptop computer is strongly recommended for this course.

Perfectly regular yet asymmetric, the twist (also known as the helix) is a fundamental structure to both life and fabric. This class investigates the properties of the elemental act of twisting raw materials into pliable linear elements. Students learn to spin and ply -- using drop spindles and wheels -- and to extend elements through rope making and splicing. Building on this foundation, students manipulate these fibrous elements into 2- and 3-dimensional forms through coiling, knotting, looping, and weaving. In addition to exploring expressive possibilities, and the limits of materials and structures, lectures and readings provide important contexts for inquiry. Topics include the development of spinning and textile production, the social and economic histories of labor, historic and contemporary art examples of spun and structured fiber, and current cultural interests in reclaiming the handmade. Research and technical experimentation are shaped by each student's own conceptual direction.

Color is everywhere. This fiber studio teaches students basic color theory and applied color mixing techniques using fiber reactive and natural dyes to make a variety of projects. Experiments begin with immersion dyeing to create solid color swatches. Surface design explorations include block printing and painterly techniques with dyes. Over-dyeing and discharge processes are introduced as methods of adding layers of color to cloth. Lectures on contemporary and historical use of color, applicable contemporary readings, and critiques emphasize the use of color. Students utilize hand-dyed materials to create fiber-based finished works.

This course is an investigation into the rich history of pre- and post-industrial textile technologies, ranging from felt to Kevlar, and how their functions have both served and transformed society. Students examine how technological and hand processes can change the function and feel of the textile as well as how they influence or effect the textile's meaning. An overview of pre- and post-industrial textile technologies provides context for projects.

This course is a continuation of the technical vocabulary learned in Collective Weaving I with an additional focus on the tapestry loom as a collaborative effort. Students will propose and develop conceptually generated, self-directed projects concerning cooperative approaches to weaving. Experimentation with pattern, structure, and loom type is encouraged. The course is designed to allow for in depth research and intensive labor. Participation in independent and group discussions is key.

This class explores issues of speed and materiality by translating drawing with a wide range of materials pencils, pens, markers, ink, thread, etc. into other forms. Through an exploration of time and translation, we will consider the effects of tempo, cadence, discipline, and accumulation on experimental 2D, 3D, & 4D projects and finished works. How does a quickly drawn line change shape and meaning (for both the maker and the viewer) when it is translated into a laboriously stitched line or sculpture, a slowly performed gesture? Moving from marking with pencils to stitching with thread, the class takes these questions of speed further using industrial and home sewing machines as well as the Long Arm Sewing Machine, introducing fast, vigorous ways of producing line and image. An exploration of performance and study of artist who have used these conceptual strategies to make work, appropriate readings, and student writings will structure the ongoing discussions in the studio. Collaborative and individual projects will be supplemented by slide lectures, individual and group critiques. Students are encouraged to take Introduction To Fiber/Material Studies or Stitch I prior to enrolling in this class.

This studio course will consider how to compose a picture plane with a variety of materials including paper collage, fabric piecing, applique, heat press, direct dye application and other handwork, to create line and form. Students will make use of drawing and form invention methods including stitching and dying, in conjunction with, or in place of, painted surfaces. Projects and critiques will address the critical use of compositional elements and materials within the picture plane.

Diverse aspects of material studies (personal, social, political, economic, visual and formal) will be considered in this course, working from forms and structures that are hand-constructed, as well as everyday found objects. The class will begin with a series of exercises exploring the visual possibilities of recording time and movement in repetitive everyday actions. Hand processes of netting, crochet and other intertwining techniques will be introduced through the language and systems of both textiles and the digital. Readings and visiting artists will present a range of ideas about art and the everyday, opening up dialogue about forms and formats of installation and documentation.

This class considers the social as a type of material that can be mobilized in numerous ways to create connections and community. Through collaborative and individual explorations, we will examine the endless possibilities of fibers to create social bonds. Students will explore techniques and materials including but not limited to fabric construction, stitch, knitting, banner making, performance, public art, and community-based projects. In so doing, this class will consider polyvalent notions of social fabrics in the fiber arts, craft, and contemporary art and culture.

The relationship of hand-weaving to textural surfaces and sculptural forms are examined through the study of conceptual problems including structure, pattern, composition, and additional technical possibilities. Content is explored in the development of individual direction and in relationship to the discussion of historical and contemporary textiles and other works of art. This course allows students to pursue an advanced investigation of concept and technique of hand-woven cloth. Students will be introduced to 8 (or more)harness looms, Weavemaker software, and computer-assisted dobby loom.

The primary purpose of this course is to provide a forum for in-depth critiques and exploration of students' individual directions within the context of contemporary art. Both technical and conceptual input will be given based on individual student work and research. Group discussions, readings, slide and video presentations, field trips to current exhibitions, and visiting lecturers may augment this class. Group critiques and individual tutorial consultations are an integral part of this course. Enrolled students will be given a project space. A maximum of twelve students will be admitted per semester. The facilities of the department will be available to these students to use including the print and sculptural practices studios. Prerequisite: Open to Juniors and Seniors with instructor's permission and signature.

This course is a continuation of FIBER 3017.

Linking the disciplines of Fiber and Material Studies and Architecture, this collaboratively taught course brings together an artist and an architect. The course is a test kitchen for material explorations that propel and inform the gestures of line, plane, form, structure and action via material studies and prototypes. Students are required to invent physical systems that service the production of work; research, design and art. Studio work blends the hand and machine.

In this course students work with a team of master glass artists/faculty at the Ignite Glass Studios and SAIC faculty Christine Tarkowski to conceive of and produce their art works/design projects in a state of the art glass facility. Students are introduced to the practice and principles of hot glass; hand blowing, mold blowing, hot casting, cold working but will primarily participate in collaborative production teams to produce their work. Production teams will be led by the Ignite faculty and rely heavily on their mastery of the material. Territories of production, conceptual and discipline inquiry will be considered relative to students' individual directions.

The computer driven Jacquard goes beyond the limitations of a floor loom by interfacing with a computer to allow for direct control of individual threads. This course explores the historical and conceptual interstices of digital technology and hand weaving through the use of this loom. Utilizing Photoshop and Jacquard weaving software, students realize projects that begin with digital source material and result in hand woven constructions. The strongly debated connection between the Jacquard loom's use of punched cards and the history of computers is central to the course, as is the contemporary use of the loom as a new media tool. Studio work blends work at the computer, weaving on the loom, reading, research and critical discussion. A personal laptop computer is strongly recommended for this course.

This course is a continuation of FIBER 3017.

Beginning, intermediate, and advanced levels are given technical guidance in the use of dyes and pigments on fabrics. Both hand-painting and -printing processes are explored. The technical vocabulary may include: silkscreen, photographic techniques, stencil and stamp printing, and direct painting. Intermediate and advanced students are introduced to a conceptual focus and a technical vocabulary and are encouraged to develop individual direction. Exploration of ideas will be augmented through research, discussions, group and individual critiques, slide presentations, and field trips.

Students are introduced to a full range of fiber/fabric equipment, materials, processes, forms, and philosophy, including surface design on fabric, weaving, and hand construction techniques. Both traditional and nontraditional approaches to process and materials are explored, while conceptual and historic issues are discussed using the resources of artists, galleries, and museums within Chicago.

Students are introduced to a full range of fiber/fabric equipment, materials, processes, forms, and philosophy, including surface design on fabric, weaving, and hand construction techniques. Both traditional and nontraditional approaches to process and materials are explored, while conceptual and historic issues are discussed using the resources of artists, galleries, and museums within Chicago.

Students are introduced to a full range of fiber/fabric equipment, materials, processes, forms, and philosophy, including surface design on fabric, weaving, and hand construction techniques. Both traditional and nontraditional approaches to process and materials are explored, while conceptual and historic issues are discussed using the resources of artists, galleries, and museums within Chicago.

Students are introduced to a full range of fiber/fabric equipment, materials, processes, forms, and philosophy, including surface design on fabric, weaving, and hand construction techniques. Both traditional and nontraditional approaches to process and materials are explored, while conceptual and historic issues are discussed using the resources of artists, galleries, and museums within Chicago.

Students are introduced to a full range of fiber/fabric equipment, materials, processes, forms, and philosophy, including surface design on fabric, weaving, and hand construction techniques. Both traditional and nontraditional approaches to process and materials are explored, while conceptual and historic issues are discussed using the resources of artists, galleries, and museums within Chicago.

Students are introduced to a full range of fiber/fabric equipment, materials, processes, forms, and philosophy, including surface design on fabric, weaving, and hand construction techniques. Both traditional and nontraditional approaches to process and materials are explored, while conceptual and historic issues are discussed using the resources of artists, galleries, and museums within Chicago.

Students are introduced to a full range of fiber/fabric equipment, materials, processes, forms, and philosophy, including surface design on fabric, weaving, and hand construction techniques. Both traditional and nontraditional approaches to process and materials are explored, while conceptual and historic issues are discussed using the resources of artists, galleries, and museums within Chicago.

This course is an introduction to floor loom hand-weaving through the study of basic weave structures, woven image techniques, and fiber types. Traditional and experimental use of material and technique are used to explore double weaves, painted warps and a variety of hand-manipulated techniques including tapestry, brocade, and inlay. The computer is used to develop innovative weave structures. While discussing both historic and contemporary textiles, emphasis is placed on the development of a strong technical language to further personal expression. In this intensive hands-on class students produce both experimental samples and finished pieces.

Students are introduced to printing techniques on fabric using dye and pigment in combination with direct, resist, and discharge printing. The stamp, block, stencil, silkscreen, and photo-silkscreen are explored to develop imagery and color and pattern relationships.

This course explores traditional and nontraditional means of altering and enriching the surface of pliable materials using techniques such as stitchery, embroidery, beading, and in combination with gesso, painting mediums, waxes, a variety of adhesives, and collage. Emphasis is on the surface treatment and its relationship to structure while using both conventional and non-conventional materials. Students are encouraged to pursue conceptual concerns; individual and group critiques are integral to the course.

Students explore the activity of weaving through traditional looms (table top, back-strap), and alternatively constructed looms (constructed from found objects and architectural influences). Students develop a conceptual focus and a technical vocabulary through processes, products, tools, and histories of weaving. The intersection between weaving and the collaborative processes are explored topically by way of thematic discussions on pattern development as a form of communication, looms built in situ, implication of globalization on craft production, gifting and participation. Collaborative research, critical discussions, and readings are central to the course.

This class will encourage individual artistic expression within the field of printed textiles whether you are designing work intended for industrial production or creating one-of-kind fine art pieces. Students will be asked to immerse themselves in the creative tensions and synergies that emerge when the worlds of art and design are brought into dialogue with one another. The relationship between the designer/artist and the factory will be examined within an extensive artistic, social and cultural context. There will be a focus on designing printed textiles for apparel, gaining a thorough understanding of the relationship between fabrics and the human form, and pursuing work for an interior end use, such as furnishing fabrics, or wall coverings. Students will initially work on paper, analyzing layouts, color, scale, and other design elements, within single and repeat patterns. Students will be introduced to a range of processes including the transfer of pattern to cloth by silkscreen, digital and heat transfer printing. Research will be an integral component it this class, including field trips to the Merchandise Mart and the Fashion Resource Center.

The contemporary history and practice of fiber and cloth production is deeply invested in changing technology. This class surveys a range of digital technologies specifically applicable to fiber, cloth, and other pliable substrates. Computer assisted embroidery, Jacquard weaving, and alternative inkjet printing will be introduced as possible methods of output. Dimensional forms, repeat pattern formation, and image generation are demonstrated in a hands-on form employing a wide range of software. Material investigations address hand and digital processes in combination with research into material histories, contemporary practices, and outsourcing options. The knowledge and skills gained in this course are then applied to self-directed final projects.

This class focuses on the relevance of hand-weaving in a technological world. Using multi-harness looms, Point Carre software, and computer-assisted looms, a vocabulary of woven forms and images is developed. Students are encouraged to consider the incorporation of other forms of media such as video, projections, and sound recordings. Textural surfaces and sculptural forms are examined through the study of conceptual problems including structure, pattern, composition, and additional technical possibilities. Content is explored in the development of individual direction and in relationship to the discussion of historical and contemporary textiles and other works of art. This class explores the possibility that hand-weaving and digital technology together can become a new media practice.

This course allows students to pursue an advanced investigation of concept and technique in hand-printed fabric. The development of individual direction is strongly encouraged in relationship to historic precedent and contemporary concerns. Screen printing experience required.

This course examines the transformation and definition of space through the use of materials - including hard and soft, flexible, found and alternative - and the meanings these materials invoke. The implications of inter-dependency, rearrangement, and responsiveness to time within an environment are considered. The concept of installation includes relationships of objects, environments, and site-specific works, and will examine a range of spaces: public/private, interior/exterior, and urban/rural. Concepts are developed through research, material investigations, and developments of both two- and three-dimensional explorations. Emphasis is placed on both collaborative and individual direction.

A membrane is a thin, typically planar structure or material that separates two environments, be those physical, molecular, or cultural. This class investigates this transitional space, and the potential for movement (transgression) through it. Membrane structures are developed as surfaces, forms, and spatial relationships. Experiments in material developments such as felting, fulling, papercasting, looping, staining, dipping, and wicking are explored in addition to processes of accumulation and erosion. Readings and presentations expanding notions of permeability allow for ongoing research and discussion.

The computer driven Jacquard goes beyond the limitations of a floor loom by interfacing with a computer to allow for direct control of individual threads. This course explores the historical and conceptual interstices of digital technology and hand weaving through the use of this loom. Utilizing Photoshop and Jacquard weaving software, students realize projects that begin with digital source material and result in hand woven constructions. The strongly debated connection between the Jacquard loom's use of punched cards and the history of computers is central to the course, as is the contemporary use of the loom as a new media tool. Studio work blends work at the computer, weaving on the loom, reading, research and critical discussion. A personal laptop computer is strongly recommended for this course.

This course is a continuation of the technical vocabulary learned in Collective Weaving I with an additional focus on the tapestry loom as a collaborative effort. Students will propose and develop conceptually generated, self-directed projects concerning cooperative approaches to weaving. Experimentation with pattern, structure, and loom type is encouraged. The course is designed to allow for in depth research and intensive labor. Participation in independent and group discussions is key.

This course will explore strategies for collecting things (not necessarily of any particular monetary value) to be used as conceptual impetus, subject matter, and/or physical material in the studio. The class will include discussions of the nature of classification and organization; the nature of attraction based on memory, physicality, and visual language; and the relationship of time and distance to collection. Field trips to a variety of alternative sites will be an integral part of this class, including factories, thrift shops, antique shops, rural settings, natural landscapes, flea markets, etc. The class will also visit artists' studios (e.g., The Roger Brown Study Collection) in which the act of collecting has been a significant aspect of their work. A detailed journal documenting the process of collecting will be developed in conjunction with studio work that synthesizes both the experience and the material.

Students will learn how to translate colors from the natural world into textiles, by using natural dyes foraged from plants, as well as dye concentrates and indigo, for immersion and direct dye applications. Complex surface design patterns will be created through the Japanese resist process of shibori. Chemistry, color theory, material manipulations, and research will provide a technical foundation for the creation of projects within the expanded field of textiles.

This studio course will consider how to compose a picture plane with a variety of materials including paper collage, fabric piecing, applique, heat press, direct dye application and other handwork, to create line and form. Students will make use of drawing and form invention methods including stitching and dying, in conjunction with, or in place of, painted surfaces. Projects and critiques will address the critical use of compositional elements and materials within the picture plane.

In this course students work with a team of master glass artists/faculty at the Ignite Glass Studios and SAIC faculty Christine Tarkowski to conceive of and produce their art works/design projects in a state of the art glass facility. Students are introduced to the practice and principles of hot glass; hand blowing, mold blowing, hot casting, cold working but will primarily participate in collaborative production teams to produce their work. Production teams will be led by the Ignite faculty and rely heavily on their mastery of the material. Territories of production, conceptual and discipline inquiry will be considered relative to students' individual directions.

The relationship of hand-weaving to textural surfaces and sculptural forms are examined through the study of conceptual problems including structure, pattern, composition, and additional technical possibilities. Content is explored in the development of individual direction and in relationship to the discussion of historical and contemporary textiles and other works of art. This course allows students to pursue an advanced investigation of concept and technique of hand-woven cloth. Students will be introduced to 8 (or more)harness looms, Weavemaker software, and computer-assisted dobby loom.

The primary purpose of this course is to provide a forum for in-depth critiques and exploration of students' individual directions within the context of contemporary art. Both technical and conceptual input will be given based on individual student work and research. Group discussions, readings, slide and video presentations, field trips to current exhibitions, and visiting lecturers may augment this class. Group critiques and individual tutorial consultations are an integral part of this course. Enrolled students will be given a project space. A maximum of twelve students will be admitted per semester. The facilities of the department will be available to these students to use including the print and sculptural practices studios. Prerequisite: Open to Juniors and Seniors with instructor's permission and signature.

This course will examine and explore theoretical notions of repetition in relation to ornament and image redundancy. Considerations of the `copy' in relation to authenticity, and the supplanting of the `original' by the `reproduction,' will be examined vis-a-vis Jean Baudrillard's 'Simulacra and Simulation.' Students will learn the mechanical aspects of creating repeat patterns in an analog and digital manner. Analog practices will utilize methods of textile design to set-up repeats, where the digital will employ software such as Photoshop and PointCarre to design, propose and produce. Screen printing and large format ink-jet printing on paper and fabric will serve as the primary forms of output. Students will be introduced to advanced methods of screen printing, multi-color and CMYK printing, and are strongly encouraged to consider the context of their production in relation to public and private forms of exhibition. Student research, readings and discussion on the historical and contemporary phenomena of repetition in both pattern and image is an important component to this class. Prior experience with screen printing and Photoshop is strongly encouraged.

This course is a continuation of FIBER 3017.

Linking the disciplines of Fiber and Material Studies and Architecture, this collaboratively taught course brings together an artist and an architect. The course is a test kitchen for material explorations that propel and inform the gestures of line, plane, form, structure and action via material studies and prototypes. Students are required to invent physical systems that service the production of work; research, design and art. Studio work blends the hand and machine.