2000 Level Fiber and Material Studies Course Descriptions

FIBER 2000
Introduction to Fiber/Material Studies
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.

FIBER 2001
Dimensional Forms I
Students are introduced to fiber substances, structures, and forms. A progression from single element to multiple element structures is evolved through basic hand-manipulated processes such as felting, rope-making, wrapping, netting, crochet, knotting, and plaiting. These structures are explored in both two and three dimensions. The class uses conventional, nonconventional, and mixed-media materials. Emphasis is placed on the development of skill, personal direction, and concept. Discussions of both historic and contemporary resources augment the course.

FIBER 2002
Woven Structure Basics
This course is an introduction to both improvised and floor loom weaving through the study of basic weaves, fiber types, and color relationships. Techniques presented include basic loom controlled drafts, double weaves, and a variety of hand-manipulated weaves including tapestry, brocade, and inlay work. While discussing both historic and contemporary textiles, emphasis is placed on the development of technical skills and personal expression.

FIBER 2003
Paint on Fabric I
Students are introduced to hand paint, wax, paste, and other resist techniques with dye on fabric. Innovative solutions are encouraged in the investigation of color, pattern, image, and composition. Fabric is explored in relation to function and intent.

FIBER 2004
Print for Fabric and Alternative Materials I
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.

FIBER 2005
Embellishment I
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.

FIBER 2006
Design on Paper for Fabric
This course focuses on pattern and repeat design, color application, and drawing skills, while incorporating fiber-related techniques on paper which will be developed into a professional portfolio. Newer technology such as Macintosh computer paint software, scanners, and photocopiers are employed to create and alter designs.

FIBER 2007
Papermaking I
This course is designed to give students a knowledgeable working overview of the use and history of hand papermaking. The course covers traditional European and Oriental papermaking, fiber preparation, chemistry of color, and applications of paper in both two- and three-dimensional formats. Through studio demonstrations and application, each student develops a sample book, in addition to pursuing individual projects.

FIBER 2008
Shibori/Tie Dye
This course investigates the Japanese “shibori” and and Indian “plangi” resist technique of binding, stitching, shaping, and dyeing cloth to produce intricate patterns. Small samples evolve into larger constructed works, making use of both indigo, cold, and hot water dyes. Folded, clamped, and dyed fabric, or “itabori,” is also introduced.

FIBER 2009
The Human Image
The human image is used as a point of departure for three-dimensional forms in fiber, fabric, and mixed media, along with experimental techniques. Personal statements make direct reference to the mask, the doll, or the garment, along with inquiries of ethnographic origins and contemporary sources often in the context of performance and ritual.

FIBER 2010
Constructed Materials
This course investigates structuring processes and surface manipulation using found and purchased materials. Techniques may include uses of piece work, applique, quilting, layering, and stitching, as well as other unconventional methods of joining. Emphasis is on the development of strong personal direction.

FIBER 2011
Fiber in Conjunction
This mixed-media course introduces the concept of traditional fibers, fabrics, and other pliable elements in conjunction with alternative materials and processes, providing a context for creating surface transformations. Students are encouraged to develop individual direction within a framework of technical demonstrations and conceptual problems through the exploration of form and content. Groups as well as individual critiques, and discussions of historical and contemporary issues are an important part of this course.

FIBER 2012
Woven Structures Workshop
Beginning, intermediate, and advanced levels are given technical guidance for exploration of the formal and expressive properties of woven structures. Introductions to the preparation of the loom and basic weaves are presented to beginners. Intermediate and advanced students are introduced to a conceptual focus and a technical vocabulary and encouraged to develop individual direction. Group as well as individual critiques are an important part of this course.

FIBER 2013
Painted and Printed Fabric Workshop
Beginning, intermediate, and advanced levels are given technical guidance in the use of dyes and pigments on fabrics. Both hand-painting and hand-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.

FIBER 2015
Shifu/Saki-Ori
“Shifu” and “Saki-Ori” woven cloths are traditional Japanese methods of using dyed mulberry papers and recycled cloth for making garments and other utilitarian objects. The skill of twisting, spinning and dyeing torn and un-torn paper and cloth is a major aspect of the weaving process for this production. Samples will evolve into larger constructed works using floor looms to weave the final project. The present-day extravagant use of natural materials will be an important part of this investigation and discussion.

FIBER 2016
Drawn to Print
Initially in this course, images will be 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 will then be a priority to explore ways of translating these images quickly onto cloth, using silkscreen and hand-painted techniques. Images will be 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 will explore the very physical and direct qualities of printing. Single image and repeat structures will be explored, alongside issues relating to scale. A strong emphasis will be 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 will also be introduced throughout the course.

FIBER 2020
Alternative Fibers Workshop
Beginning, intermediate, and advanced levels are given technical guidance for exploration of formal and expressive properties extending from pliable materials and methodologies. Traditional processes such as stitching, crochet, coiling, and loom weaving may be considered in conjunction with painting mediums, waxes, adhesives, and found objects. A range of historical precedents and contemporary issues involving alternative media and new formats are explored through slide lectures, class discussions, and field trips. Intermediate and advanced students are introduced to a conceptual focus and encouraged to develop individual directions. Group and individual critiques are an important part of
this course.