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Mind Map Template 06

national wool museum
26 Moorabool Street, Geelong, 3220 Tel: 03 5272 4701
Email: [email protected]
Web: www.nwm.vic.gov.au
Open: Mon-Fri 9.30am-5.00pm, Sat & Sun 10.00am - 5.00pm
Closed: Christmas Day, Boxing Day and Good Friday.
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Teacher Overview
Exhibition Overview:
A wearable STEAM unit – participating in the scarf festival provides a perfect creative outcome
for your learning. Artists are encouraged to create a scarf, something that can be draped and
worn around the head and/or shoulders, that captures the year’s theme. Participation in Scarf
Festival has five key components.
1. Explore and Express Ideas: Project brief – design a solution. Use the theme “galaxies” to
create a focused unit of study.
2. Arts Practices: Artist Statement – explain the story behind the scarf. What inspired the
colours, materials, textures, etc for your content study? Is your scarf a representation of
cultural stories, of fabric technology for another world environment, the mathematical
patterns behind understanding our coral reefs, upcycled from a family heirloom?
3. Arts Practices: Scarf Creation – make the scarf and send it in to the National Wool Museum;
you may use any materials and any technique.
4. Present and Perform: Exhibition – all scarves created are exhibited. Students individually or
as a class can visit their scarf on display amongst hundreds of other entries from around
Australia and the world.
5. Respond and Interpret: Visit the Scarf Festival and have a look at how artists from all over
the world have responded to the theme with a variety of colours, textures, materials, and
techniques. Vote for your favourite in the People’s Choice Award.
Key ideas in the exhibition:
Art vocabulary
Interpreting theme and the role of artist’s statement
Introduction to textile/fibre art
Curriculum Connections: The Arts – visual arts, Design and Technologies, English – language,
Earth and space sciences [connections will vary depending on the theme]
How to Enter: Entry is open to everyone and all scarves created are exhibited. Create a scarf
as a class or have each student create their own scarf. There are no restrictions on materials
or techniques used to create the scarf. Visit www.nwm.vic.gov.au for entry terms and conditions
and the online entry form. Entry for school students is free.
Key dates:
Entries open – 6 February 2017
Entries close – 30 April 2017
Exhibition opens – 2 June 2017
Exhibition closes – 27 August 2017 (and announcement of 2018 theme)
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Key Words
(Definitions from the Oxford English Dictionary, unless otherwise specified)
The expression or application of human creative skill and imagination,
producing works to be appreciated primarily for their beauty or emotional
A person that practices any creative art as a profession or hobby
Creating a textured fabric with yarn using a hooked needle
A collection of objects arranged for public viewing
Public display of works of art or items of interest
Textile made by wetting or heating, rolling and pressing wool, causing
individual fibres to mat together to create a smooth surface
A thread or filament from which a vegetable tissue, mineral substance, or
textile is formed
Room or building for the display of works of art
Convey the creator’s understanding of a particular idea through another
medium or in a different way
A fabric or garment made by interlocking loops of wool or other yarn with
knitting needles or on a machine
The matter from which a thing is or can be made
A repeated, decorative design
Length or square of fabric worn around the neck and/or head
A way of doing things that avoids depletion of natural resources / helps to
maintain a certain resource level
Type of cloth or woven fabric
the feel, appearance, or consistency of a surface or a substance
Subject or topic of the exhibition
Fabric or a fabric item made by interlacing long threads passing in one
direction with others at a right angle to them
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Curriculum Connections
All levels
Intercultural Capability
Scarves provided the opportunity to talk about cultural practices relating to clothing, cultural celebrations
and traditional craft practices in the community.
Design Technologies
Investigate fibre production used in modern or traditional societies
Level 7 – Level 8
Level 5 – Level 6
Level 3 – Level 4
Foundation- Level 2
Explore how fibres are produced, how this can become more sustainable, and make judgments on the
ethical and sustainable production and marketing of fibre – Sustainability category
Visual Arts
Explore ideas, experiences, observations and imagination to create visual artworks
Experiment with different materials, techniques and processes to make artworks
Create and display artworks to express ideas to an audience
Respond to visual artworks and consider where and why people make visual artworks and by describing
Visual Arts
Explore ideas and artworks from different cultures and times as inspiration to create visual artworks
Explore conventions and use material, techniques, technologies and processes specific to particular art
forms, and to make artworks
Explore different ways of displaying artworks to enhance their meaning for an audience
Identify and discuss how ideas are expressed in artworks from a range of places, times and cultures
Visual Arts
Explore visual arts practices as inspiration to create artworks that express different ideas and beliefs
Select and apply visual conventions, materials, techniques, technologies and processes specific to different
art forms when making artworks
Create and display art work considering how ideas can be expressed to an audience
Identify and describe how ideas are expressed in artworks
Visual Arts
Explore how artists use materials, techniques, technologies and processes to realise their intentions in art
Experiment with materials techniques, technologies and processes in a range of art forms to express ideas
Develop skills in planning and designing art works and documenting artistic practice
Create and display artworks, describing how idea are expressed to an audience
Level 9 – Level 10
Visual Arts
Explore how artists manipulate materials, techniques, technologies and processes to develop and express
their intentions in art works
Experiment with materials, techniques, technologies and processes in a range of art forms to express ideas
Conceptualise, plan and design art works that express ideas, concepts and artistic intentions
Create, present, analyse and evaluate displays of artwork, considering how ideas can be conveyed to an
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Preparing: Pre-Visit Activities
Review arts vocabulary with your class before visiting the exhibition. Assign or have students
select an arts term (see list below for suggestions). Each student must research the definition
of their term then write a simple definition in their own words.
1. Distribute A4 paper and colouring materials to students.
2. Fold A4 sheet in half length-wise.
3. Lift the flap and write the definition on the inside.
4. Use pictures and creative lettering to write the word in a way that illustrates its meaning on
the outside face.
5. Post these words on a classroom bulletin board.
Some suggested words: abstraction, balance, colour, composition, contrast, crochet, distortion,
emphasis, felt, fibre, form, harmony, juxtaposition, knit, line, movement, pattern, point,
proportion, recycle, relationships, repetition, reuse, sequence, shape, space, surface,
symmetry/asymmetry, textile, texture, tone, tone, unity, warm/cold colours, wearable, weave
Past themes have included “Home”, “The Journey”, “Coastlines”, and “Myths and Legends”.
The theme invites scarf makers to tell a story with their wearable art. Ask students to think
about how they would interpret a theme? And, what would a judge look for in a scarf?
There are 11 different categories to enter, along with the Scarf of the Year:
 Thematic scarf
 Crocheted scarf
 Use of colours
 Felted scarf
 Use of sustainable practices
 100% wool scarf
 Menswear
 Primary school student
 Knitted scarf
 Secondary school student
 Woven scarf
When judging a scarf, judges must be careful not to judge the scarf based on personal
taste – it is not a simple question of do I like or not like this scarf? This is also not a
technical assessment of an artist’s execution of a particular technique. Judges are
looking at the connection between the artists’ statement, their creation and the theme;
at how the different elements in the scarf work together; at the types of techniques
artists have used and so forth. In small groups, and using appropriate arts language, have
students create a simple judging checklist that could be used to assess the scarves in a
particular category. Distribute relevant flash cards (pp. 6-9) to each group and have
students a look at the scarves using this checklist. Then as class select a Scarf of the
Year from amongst these 16 scarves.
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Craft Victoria and National Wool Museum
Scarf of the Year and Best Crochet 2009
City of Greater Geelong Best Thematic Scarf
256 Colours (Saffron Lily Gordon)
(John Colman and June Edwards)
100% wool crochet, technically skilfull and
beautifully executed, can be worn in many
ways for many purposes, contemporary with
historical references with the use of the flower
Deconstructed and redeployed silk blouse,
vegetable dyed with eucalyptus leaves, hand
and machine sewn together with appliqué
buttons, collaboration, interesting detail and
shape created by the use of the sleeves.
Scarf of the Year and Best Woven 2010
Best Thematic Scarf 2010
(Kate Williams)
(Jane Robson)
This is the 3rd series of four scarves made
using the same pattern but different fibres,
two were woven in linen and cotton in natural
and white colour scheme while two were
woven interchanging weft and warp colours. I t
was an exercise in reflecting on the changes in
appearance such variations can cause in the
same pattern.
My scarf design represents a snapshot of my life
journey. The beginning shows that I left England
as a child with my parents, migrating to Australia.
The remainder summarises my adult life and the
growth of my own family as a wife, mother and
grandmother. The holes represent gaps in my
memories. This scarf will need to grow longer as
my family grows, representing all their milestones
in their lives.
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Scarf of the Year and Best Use of Different
Techniques in a Scarf 2011
(Barbara Rogers)
Barbara Rogers has worked with shibori
manipulated cloth for over 20 years. With the
ever present element of chance and its many
variations, the possibilities of shibori are
endless, exciting and challenging.
Scarf of the Year and Best 100% Wool Scarf
(Sharon Percival)
My life meanders a most delightful way. Nothing
extraordinary, just warm, comfortable, happy and
then there will be an event that adds immense
beauty, meaning and colour to the path I'm already
travelling. These events add spectacular flashes of
colour - emerald here, gold there, to mark the
special times. Finding my life partner, creating a
family, living in an exotic culture, a new puppy,
coming home. I have many spectacular flashes in
my life happing while I walk different paths.
Best Thematic Scarf 2011
(David Collyer)
A cross section of this scarf of Vietnamese silk
represents my life. Circles on the side are ring-arosies of primary school. Netting is the structured
study of high school. Black is the Vietnam War.
This is followed by 30 years of chaos in career
change; agent orange; cancer; drug addiction;
pension claims. Finally at the centre, the white
diamond is the peaceful geometry of retirement and
a TPI pension.
Best Thematic Scarf 2012
Desert after rain (L Opala)
Witnessing the first droplets of rain settling
down the dust, filling up the dry pores of the
thirsty land is a spiritual experience. My heart
was singing together with the desert flowers.
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Scarf of the Year and Best Woven 2013
Best Thematic Scarf 2013
Diamonds (Laurie Paine)
Home in the rainforest (Cecile Falvey)
'Diamonds' is a hand woven evocation of the
patterned and coloured quilts we use to keep
us warm and decorate our beds. A symbol of
the very heart of our home.
I live on Mt Tambourine above the Gold Coast
in Queensland. My weaving creations in the
studio are highly influenced by where I live. In
this piece, I have tried to show the rain forest
and the track on which we walk. Red soil,
baby ground flowers and pebbles below the
green colour of the trees above.
Scarf of the Year and Best Crochet 2014
Best Thematic Scarf 2014
Hopscotch (Margaret Drayton)
The scarf's design is similar to the chart necessary
for the game 'hop-scotch' (a game requiring
balance). The chart/scarf is composed of a series
of linear and lateral squares. Each square in the
scarf is ascribed a positive (nice, good, white, light,
etc) or negative (naughty, bad, black, dark) value or
attribute. Balance is achieved by the placement of
individual squares and the use of colour.
Who is watching? (Janette Wotherspoon)
Someone is watching, wickedness loiters watching
every move. The scarf represents the sensations of
the surrounding chill of a winter's night walk
wrapped within the divinely soft delicate fabric.
Winter trees glistening in the night sky, silent and
still. Black against the moonlight, the silence of
stillness and the sense that someone is watching
from within. Unblinking eyes watch every step
hovering from behind the crystallised trees. Who is
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Scarf of the Year and Best Crochet 2015
Best Thematic Scarf 2015
You and Me and the Dancing Sea (Maureen
The Ties that Bind Us (Samantha Anderson)
The inspiration for this scarf was a childhood
memory of being driven to the beach with my
younger sister. We would be so excited that we'd
fight to be the first to see the sea. When we got
there we were overwhelmed by its vastness and
beauty. Even though I now live on the coast, I
still feel the same excitement when I crest a hill
and see the sea.
A boat makes a dangerous journey. Dreams of
freedom keeps it afloat. Coastlines offer
safety and refuge. It is a human right to seek
asylum by boat in Australia. Humanity and
moral obligation are the ties that bind us, not
red tape.
Scarf of the Year and Best Woven 2016
Best Thematic Scarf 2016
Arachne’s Cobweb (Jean Inglis)
Under Her Skin (Samantha Anderson)
The Greek mortal Arachne considered herself
a better weaver than goddess Athena and
challenged her. Athena was infuriated by
Arachne's pride and destroyed her weaving, so
Arachne hanged herself. Athena took pity on
her and transferred her into a spider, and ever
since she continues to weave her web.
Fashion myth No: 301 Label: Under her Skin
Women of a certain age risk
invisibility Care Instructions: Use silicone and
other enhancements to prolong visibility.
Inject and mould. Apply with care.
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The Planning Process:
Look up this year’s festival theme, it changes annually. In small groups, discuss what
these words mean to you. How could you break it down?
Independently, have each student complete the mind-map template (p. 11) before visiting
the exhibition to gain an understanding of working with a theme.
Completing the mind-map:
In the centre of the page write your understanding of the key words and question.
When you think of the key words, how do you feel? Record any feelings in the
identified box.
When you think of the key words what colours, textures, patterns, shapes come to
mind? Record them in the appropriate box.
Do any movements remind you of the thematic words? For example, climbing stairs,
The Response Process:
Review your mind-map. Some boxes might have lots and lots of different words,
others very few. With a highlighter, identify one or two key words in each box.
Use only these key words to design a scarf reflecting these ideas on the template
provided (p. 12).
Create a title for your scarf that reflects the idea you have selected.
Write a brief statement describing your scarf. Your statement should mention what
interpretation of the theme you chose, why it is important to you, and some of the
key words that you selected to design your scarf. See the flash cards for examples.
Your statement must be a maximum of 70 words.
Optional extension: Before writing their own statement, in small groups have students
work through the artist statements on the flash cards provided pp. 6-9. Have them group
information from each statement into 3 categories: link to theme; choice of materials; and,
arts vocabulary.
For example:
I was struggling to find inspiration until it literally struck me on the head! A fresh roll
of pink chux. It fell from the cupboard and there it was - it was obvious. Home to
me means family, a haven and endless chores. I added the flowers as no home is
complete without a garden...and a nice cup of tea!
Breaking it down:
Link to theme: Material found at home; location; flower image; chores, family
Choice of materials: chux clothes
Arts vocabulary / key words: inspiration/home/means/literal
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Engaging: Museum Visit
Scarf Festival©
Students will be guided through the exhibition of scarves and view some of the key
pieces entered in the Scarf Festival. They will look at different techniques,
materials, and designs that artists used to interpret the theme. Students will also
hear a few of the artists’ statements and try to match the statement to the various
features visible in the scarf.
Students will then be divided into small jury panels to judge the scarves. Each group
will be given a selection of scarves to view, a category name, and a set of simple
judging criteria. Each jury can select up to 2 scarves they feel are the best example
of that category. Using appropriate arts language they must present their winning
scarf to the class.
Before leaving each student has the opportunity to vote for the People’s Choice
Create an artistic response to the theme using provided materials.
Optional Additional Activity
Minimum of 45 minutes for a workshop.
 Introduction to Felting
 Introduction to French Knitting
 Introduction to Knitting
 Introduction to Spinning
 Introduction to Weaving
(additional charge may apply)
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Reviewing: Post-Visit Activities
Journal Entry
Recall your visit to Scarf Festival. Which scarves do students remember particularly?
Why do those scarves stand out (colour, artist statement, pattern, materials, etc)? Each
student will write or draw a personal response to / reflection on their visit.
Classroom Gallery
Vary the sophistication of this activity based on the age and abilities of your students
1. In small groups, have students brainstorm ideas for an exhibition theme. Then share
these ideas with the class, providing one or two suggestions for how the theme could
be interpreted. As a class, vote on your exhibition theme.
2. Are there any restrictions on the pieces for your exhibition? For example, Scarf
Festival requires each object to be a scarf that can be draped around head and/or
shoulders, although there were no restrictions on materials or techniques.
3. Individually, students will create a mind-map (similar to template, p. 13) to plan out
their artistic response to the selected theme (keeping in mind any exhibition conditions
around size, style, etc).
4. Get creating! Each student should produce both a piece of art and an artist’s
statement explaining the relationship between their piece and the exhibition theme.
5. Build your exhibition. In Creating a Classroom Museum, the Smithsonian Centre for
Education and Museum Studies suggests the following team approach:
Assign each group a different task to complete in getting the exhibition ready for
visitors. Explain that in museums, exhibitions are usually the result of teamwork:
 Floor Plan Group Designs the overall plan for the exhibition. Point out that traffic
flow is one of the most crucial elements to keep in mind. Have students give the
recommendations they generated in step 2 to the members of this group.
Encourage the group to consider the recommendations in their floor plan.
 Graphics Group Makes all the large signs for the exhibition; writes final copy for
introductory label (telling visitors what to expect) and final label (summarizing the
entire exhibition) as well as any additional labels for areas within the exhibit.
 Construction Group Arranges tables and shelves and puts all objects into place.
To provide ideas for how to arrange labels and objects, place any photos you
were able to get from the museum exhibition in an area where everyone can refer
to them. (Depending on time and materials, you might also want to suggest that
the students build simple display cases.)
 Publicity Group Writes, edits, and distributes announcements and brochures about
exhibition. If the exhibition is accessible to the public, have the students write
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nouncements and send them to local media.
 Exhibition Guide Group Writes, edits, and illustrates a brochure describing the
exhibition's objects and theme. Provides any additional information that isn't
included in panels. (Provide students with examples of such brochures, which
many museums produce.) Have students put completed brochures in a prominent
location near the beginning of the exhibition.
6. Create a class catalogue, identifying each piece and outlining the “big picture” for the
exhibition. Invite parents, teachers, other classes to tour your museum; you could
even offer guided tours.
** for further ideas see Smithsonian Centre for Education and Museum Studies,
Explore More
How do we use scarves?
The Woodland Trust in the UK came up with a clever and fun way to engage crafters with
the Ancient Tree Hunt – the “standard British hug” scarf for measuring tree
circumference. www.ancient-tree-hunt.org.uk/NR/rdonlyres/C1891E67-2A82-422BA76C-C58EE60AFDE8/0/3972leafscarf.pdf
Lara Primary School used the scarf as a way to connect students around the globe with
the “Children of the World Longest Hand Knitted Scarf project.” Scarves were received
from Latvia, Romania, Argentina, the Shetland Isles, Japan, Lithuania and Australia
The piece is now in the collection of the National Wool Museum. You can view it here
(object 5401): https://victoriancollections.net.au/items/54065ec09821f50e3cc9e837
Choose another country and investigate their textile traditions. Consider, how they are
similar to and different from the techniques and materials you saw in the exhibition. For
example: Peru - www.cuscotextiles.com/ or Indonesia - www.threadsoflife.com/;
Make Your Own Scarf
Consider making your own scarf for the Scarf Festival. The theme and further
information about entering a scarf are available on www.nwm.vic.gov.au. Entries open in
February each year and close at the end of April.
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American Textile History Museum: www.athm.org/
Australian Museum of Clothing and Textiles:
https://sites.google.com/site/amcatmuseum/History-of-Textiles/fibres (simple glossary
of fibres)
Australian Textiles Arts and Surface Design Association: www.atasda.org.au/
Build your own cardboard loom. www.craftstylish.com/item/2546/how-to-weave-on-acardboard-loom/page/all
Learn How to Knit: http://www.wikihow.com/Knit (great illustrated, step-by-step guide to
get started)
National Wool Museum: www.nwm.vic.gov.au
Oxford English Dictionary (online): http://oxforddictionaries.com/
Smithsonian Centre for Education and Museum Studies:
Textile Museum of Canada: www.textilemuseum.ca/
The Textile Museum: www.textilemuseum.org/
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(adapted from B. Greenwood (1994), A Pioneer Story, p. 98)
Materials: cotton balls
Left hand – pinch one section of a cotton ball loosely between your thumb and index
Right hand – with your thumb and index finger pinch a tiny piece of the cotton ball and
slowly pull out a few fibres, twisting as you pull.
 Pencil
 Cardboard
 Scissors
2 x rubber
Metal hook
Cut a 6-8cm diameter circle out of the cardboard.
Mark the center of your circle and poke a small hole with the scissors.
Push the pencil, eraser end first, through this hole (should fit snugly), about 23cm.
Secure by twisting one rubber band around the pencil above the cardboard, and
the other around the pencil below the cardboard. Bands will act as stoppers.
Screw the metal hood into the eraser.
You are ready to spin!
For spinning directions:
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French Knitting
 Cardboard tube
 4-6 popsicle sticks
 Masking tape or glue
 Ball of yarn
1. Evenly space the sticks around one end of the tube and tape or glue in place.
Allow about 2cm of the stick to protrude above the end of the tube.
2. Thread the end of the wool in down through the hole.
3. Wind the wool from left to right once around each stick. Pull on the end until the
yarn is fairly taught.
4. Wind the yarn around each stick in turn (just around the outside, not completely
around the stick this time). Lift the bottom loop over the top loop and over the
5. Continue winding around the outside and looping the bottom over the top. As the
tube grows it will appear out the bottom of the tube. To change colour or attach
a new ball of wool, just make a knot, but make sure the joined ends pass down
through the centre of the tube so they are hidden.
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 Bubble wrap
 Plastic freezer bag
 Warm, soapy water
 Net
 2 rubber bands
 Wool top
1. Place the bubble wrap on a flat surface with the smooth surface facing up. Pull
the wool tops into short sections and place on the bubble wrap. Lay them all in
one direction, (vertically) overlapping each piece slightly, then repeat horizontally.
Depending on how thick you would like your end product to be, you may need to
do another layer. Remember that you must make your piece approximately 1/3
bigger than you intend it to be to allow for shrinkage.
2. Place the net on top of the wool top. Slightly wet your wool top, and rub your
hand over the top in the plastic freezer bag in a circular motion. Continue to do
this, adding more water as needed until the wool tops become smooth.
3. Gently remove the net. Roll the bubble wrap up and secure it with two rubber
bands at either end. Roll with your hands 50 times then unravel the bubble wrap
and rewrap it from the other end. Repeat this 4 times so that you have rolled it
200 times in total. At this stage the wool tops will be in a pre-felt stage.
4. Continue to roll. This time 200 rolls before rewrapping it. Repeat this 4 times. So
that our overall total will be 1000 rolls. Unwrap the bubble wrap. Carefully fold up
the felted piece and squeeze out the water. Throw the piece heavily down onto
the surface, roughly twenty times. After this continue with a kneading process
using both hands. This where the shrinking will occur. Rinse with cold water to
remove the excess soap. Lay flat to dry.
– how
T noticed
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Notes Page: