FIBER SURFACE DESIGN I & II ART 436 & ART 536
Spring 2014
Meeting times: Monday & Wednesday 12:00 – 2:40 pm
Room 415
Instructor: Carrie Burckle
Office: TBA
Office phone: TBA
e-mail: carrieladd@earthlink.net
Office Hours: Mon & Wed 2:45-3:45 pm, in the classroom or by appointment
Final: Wed. May 14, 10:30-12:30
COURSE OBJECTIVES:
This class explores a variety materials and techniques for coloring and transforming the surface of cloth including
synthetic and natural dyes, chemical and mechanical resists, screen prints, surface embellishment, and manipulation
of a pliable plane. Through substantial independent research, students will cultivate an individual vocabulary of
color, texture, mark and form arrived at by rigorous experimentation, investigation of contemporary and historical
works, and by keeping a record of what they notice in the world immediately around them and at large.
Curriculum will include attendance at and written responses to pertinent exhibitions and visiting artist lectures,
as well as readings and discussion of the meaning, content, and context of cloth. Emphasis is placed on
deepening understanding and use of color theory, as well as becoming familiar with a wide range of fabrics and
fibers.
GENERAL EXPECTATIONS:
 Maintain a clean studio – CLEANING UP ATER YOURSELF- dyes can be very messy
 Turning in work on time, finished, resolved, gallery ready
 Asking questions for clarity and understanding, part of your involvement in class
 Participation in class discussions and critiques
 Finding and Purchasing materials in advance of projects
 Right now there is no formal material fee but you will be expected to purchase materials and tools
necessary to complete work, there is no formal textbook so be prepared to spend a minimum of $100.00
 Integrity and commitment to all projects. You should have a firm commitment to your work, believe in
what you are creating. (I loathe sloppy, last minute, uninspired work. Don’t you?)
 Pre-critiques will be held prior to due dates on major projects
This allows for feedback and time for improvement of work
 Punctuality, we begin at 12:00
 Flexibility in all projects in regards to materials and pacing
 You must bring all necessary materials to class to complete projects. Every class meeting is a working
day/studio time.
 There is consistent work on projects and therefore a minimum of 3 hours per week spent outside of class
time working on assignments (usually more)
 Read all assignments thoroughly and other auxiliary reading materials
 Use of the school’s BLACKBOARD WEB Portal to stay current with assignments, view slides, etc
 Adhere to Safety and Health rules
 No eating around dyes and chemicals, liquids should be covered with a lid  No personal electronic devises played during class time, this is a class and requires your engagement. If
you want to make friends, have a fun experience and learn all there is then you cannot also tune out others
by wearing your earplugs listening to your devices or texting. Save that for outside of class!
 Notify me if you have any special needs or disabilities that will affect your work
 Taking good care of the tools you use
ASSIGNMENTS:
Detailed project outlines and handouts will be given for each project. Below are a summary and a progression
of processes that will be covered over the course of the semester. Each different dye type and technique will
require substantial research and exploratory sampling that will lead to four comprehensive projects.
Your work should show the development of ideas and technical skills over the course of the
semester. You should be flexible in regards to pacing and material availability.
(Please note that the following schedule may change to better address the specific needs of the class.)
Project #1
Direct Application & Discharging of Dye using Fiber Reactive and (Acid Dyes)
Stenciling & Stamping on Fabric
Color matching
Painting and Drawing on Fabric
Liquid, Paste, Wax and Tape Resists
Multiplying a unit to create a larger whole
Project #2
Immersion Dyeing with Fiber Reactive Dyes and (Acid Dyes)
Shibori Resist Processes
Discharging Dye
Jet Bubble Printing
Hand Stitching, Embroidery & Machine Sewing,
Fabric appliqué (iron-on, hand & machine sewn)
Transformation/Repurposing of an existing fabric or object
Project #3
Screen printing, use of repeated elements to create movement and depth
Stencils, drawing fluid
Printing with pigments and extender base
sewing techniques:
Using a pre-existing pattern (transforming a flat fabric into 3-dimensional form)
Project #4
Immersion Dyeing with Natural Dyes on silk, wool and cotton fiber fabrics
(Indigo Dyeing-vat dyeing)
Hapazome, Steamer Bundles & Jar Dyeing with plants
Project #5
Report on a Textile from a World Culture
This report will be both written (3 pages + 6 color images) and oral (10 mins.) I will give you a list of topics with
samples of these historical and amazing textiles to make your selection from. Your grade will be based on the
quality of your research, number of up-to-date sources, organization of your presentation to the class and samples
provided to illustrate your topic. You must have at least 4 biography entries, with only one from the web.
#6
Research and Development Binder
Due last regular class meeting
Over the course of the semester you will need to collect inspirational images, materials, articles and information on
dye techniques, artists and designers. Sketches and written observations of what is particularly compelling to you,
as well as of ideas for projects, will also be a required part of this research. This information must be assembled
into a cohesive, visually engaging display of interests and will serve to inspire and inform texture, color, pattern,
process explorations, and content for the work that is done in this class. Fabric samples that show the development
of your technique and ideas must also be included.
Evaluation and Grading:
1. Quality of work produced: 90%
- Was a concerted effort made to understand assignments? Was there focused experimentation and exploration of
techniques before settling on an idea for a project? Did final results go beyond the obvious or expected?
- Did the work reflect thought and care in craftsmanship?
- Was the work finished and presented in its best form for the critique?
- Did the work show the development of ideas and technical skills over the course of the semester?
2. Participation: 10%
- Was studio time spent productively? Were questions asked if there was difficulty with an assignment or
technique?
- What was the level of engagement and participation during critiques and discussions?
- Were safe studio habits practiced?
- Was there consistent effort and cooperation in keeping the dye lab clean and orderly?
- Attendance: see criteria above for a summary of how absences can adversely affect your grade.
Grading Policy:
YOUR GRADE WILL BE BASED ON CONCEPT, CRAFTSMANSHIP, PRESENTATION and
FULLFILMENT OF ASSIGNMENT CRITERIA. The majority of your grade will be based on how
successfully your ideas solve the problem presented in each assignment. Your Attendance and Class Involvement
is very important to your grade.
You may think that just because you have put a lot of effort into a project that you are entitled to an A, but that is
not the case in this class. I assume you are all A students and that you will create A work. But you must earn an A
to receive an A.
GRADES ON PROJECTS: Each assignment will be graded and returned during the semester. There will be
critiques and group discussions of each project. All projects have equal weight.
I make use of the plus/minus system. Projects and quizzes will be assigned a letter grade based on a point
system of 100 points.
Incomplete or partially completed projects will be graded down substantially.

Projects have specific objectives, requirements and criteria that are outlined for each assignment. Projects
are evaluated through consideration of both aesthetic and technical achievement. Expert
craftsmanship alone will not earn you an A on a project, just as unique and powerful content unsupported
by strong skills will not either. In other words, you must earn your A.
Evaluation rubrics are provided for each assignment. Each project requires a self-evaluation and reflection in
order for you to constructively and thoughtfully examine your work, there are normally areas of
improvement and transformation.
A=95-100 A-=90-94 B+=85-89 B=80-84 B-=75-79 C+=70-74 C=65-69 C-=60-64 D=50-59 F=0-49
The evaluation of the basic letter grades is based on the following scale:
F =
Unacceptable or non-existent work.
D = Minimally acceptable work. Just barely makin' it.
C =
Adequate work. This level is usually met by most students and is considered average.Content is usually
not exceptionally original and there are technical/craftsmanship issues.
B = Very good work. Shows clearly better than average. Strong content, creativity and a solid level of
competence in the work.
A =
Superior work! Achievement so outstanding that it is achieved by relatively few students. Strong pairing
of original content and craftsmanship. Work that achieves the goals
of the project and moves beyond in size, complexity and/or content.
RE-WORKING ASSIGNMENTS: This option is ONLY available if you have completed and turned in the
original assignment on time, and participated in the original critique. Re-worked projects must be turned in one
week after due date.
LATE WORK: Late work is accepted up to one week past the original deadline, but your grade will be lowered 1
whole grade, later than 1 week, work will get an F.
Not finishing a project on time is not an acceptable excuse to miss a critique.
This is NOT exclusively a "how-to" class... It will require much thinking, imagining, risk-taking and playfulness.
Don't get discouraged or let fear take over. Just keep focused on the process and the ideas and have some fun.
Supplies: Refer to separate supply list.
Suppliers Short List
- Dharma Trading Co. (fabrics, dyes, chemicals, equipment, etc.) www.dharmatrading.com
- Joann Fabric & Craft Store –
(Make sure to register on the Joann Fabrics website so you get the generous coupons!)
- Thai Silk (silk fabric, scarves, & clothes) www.thaisilks.com
- Aurora Silk (natural dyes & sustainable materials) www.aurasilk.com
Websites with useful Information:
www.prochemicalanddye.com
www.dharmatrading.com
www.pburch.net
www.aurorasilks.com
www.maiwa.com
http://www.textilemuseum.org/exhibitions/collections.htm
http://www.metmuseum.org
http://www.textilesociety.org
http://www.turkeyredjournal.com
http://shiboriorg.wordpress.com/
http://www.jennydean.co.uk/wordpress
http://www.edelkoort.com/editions/bloom-library/
http://www.trendtablet.com/
Books:
The Surface Designer's Handbook: Dyeing, Printing, Painting, and Creating Resists on Fabric by Holly
Brackmann
Wild Color by Jenny Dean
Shibori: The Inventive Art of Japanese Shaped Resist Dyeing by Yoshiko Wada
Eco Colour: Botanical Dyes for Beautiful Textiles by India Flint
Indigo, Madder and Marigold: A Portfolio of Colors from Natural Dyes by Trudy Van Stralen
Textile Designers at the Cutting Edge by Bradley Quinn
Contemporary Textiles: The Fabric of Fine Art by Nadine Monem
The Subversive Stitch: Embroidery and the Making of the Feminine by Roszika Parker
The Embroidery Stitch Bible by Betty Barnden
By Hand: The Use of Craft in Contemporary Art by Shu Hung and Joseph Magliaro
Magazines:
American Craft
Bloom
Selvedge
Many and any others that inspire color, form, texture and materials!!!