Weltanschauung:

a particular philosophy or view of life of an individual or group

Week one was on color, referencing Josef Albers's Interaction of Color and his theory that "colors are governed by an internal and deceptive logic". 

I provided the class with some basics on the color spectrum, theory, and subtractive mixing. Some of it held, and some of it went out the window, appropriately enough.

We used kool-aid to dye wool roving and made some amazing colors. Like a nervous dummy, I forgot to take pictures, but am hoping to get some when the class is back in session.

I wanted to start with the word weltanschauung which, in terms of Josef Albers and color theory, means a common vision. In terms of the class, it's a unifying theme, propelling the trajectory towards the final technique instilling a totemic thesis.

This was my first time teaching and I'm not a super linear person. I don't know if starting with color, and a group philosophy was an appropriate jump-off, but it felt right, and we didn't dwell on it. I hoped to create an ambience, and something to reflect upon before class two. 

The entire class was spent using the different flavors to make straight colors, mixed colors, and over dyed lengths of roving. (I bet you're really wishing to see these colors....it will happen soon). 

There's a lot more to be explored in the arena of Kraft Services Kool Aid product as a dye method, but I was emphasizing the experimental aspect, the internal deceptive order of color, and for time's sake.

My instructions come from experimenting, and following other internet people's instructions, but if you have any questions feel free to  direct them my way: chyatt320@gmail.com

In the mean time, shauen and I will type out my instructions and reference links, below. 

Dyeing Wool Roving With Kool-Aid:

supplies: 1/3oz wool: 1 packet of sugar free kool aid, heat source, heat safe container, water, soap (synthrapol, or any other non-abrasive and unperfumed detergent)

directions: 1. empty packet of kool aid into heat safe container and add just enough water to dissolve the packet

2. add wool, add enough water to cover wool, and mix the two with a gloved hand so color spreads evenly (as possible)

3. heat container to boil (it doesn't hurt to leave it over, but keep an eye on it. it's non toxic, but you probably won't like the smell of burning wool). 

4. turn heat off, cover the heat safe container

5. let cool for 30 minutes *if the water isn't clearish, you may want to repeat the process from heating for the wool to soak it all in and allow to cool, again

6. rinse roving, starting with a warmer and similarly temperatured water, and working to cooler. add synthrapol and carefully wash it out, attempting to refrain from felting as much as possible (unless that's the desired effect)

7. hang to dry (or set on plastic bag)

To the right are samples of my initial experimenting and the colors I arrived at from the flavors I could obtain. 

Equal and Unequal (1939)

This is a piece by Josef Albers.

I find it interesting to look at, and

even more so because Anni Albers

found it so fascinating that she stared at it for hours.

We all need somewhere to stare for hours, peacefully, perhaps purposelessly. We all need someone whose art we respect enough to spend hours with it at a time.

I don't usually blog about the art of others. But when speaking of having respect for a person's art, I think it's important to set the bar high. Josef Albers' brilliance in technical rendering, color theory, teaching, and his artistic legacy make him a model with which to combat complacence. His relationship with a woman equally talented and driven serves as an enviable blueprint by which to map companionship. And these things are on my mind.

The Yellow Harlequin Frog: An Exploration Into Color

I wouldn't sincerely try to convince you that this is yellow. My range of blues is wider than my yellows, and yet not enough. The next color study I do will push the barriers of range, to make you believe some things are closer than they appear... others further. Something about shadow... more surprise, still convincing. Atmospheric perspective through value range, and temperature, then some shadow, more unity in blending, more use of the complements. Still, he's a sweet little frog, and the final addition to the sketchbook Everyone We Know project. The sketchbooks are going to Atlanta (Feb. 27), Philadelphia (March 4), Chicago (March 8), Brooklyn (March 13), St Louis, Boston, and Washington DC. For a list of venues and dates: go here

Blacksmith Fish: Pomacentridae

These colors are based on reality, loosely. These textures are what I wanted them to be- the next thing I wanted to learn.

If we didn't create it, we'll wish we did, and name it accordingly. If we can't control it, we'll make a novel out of it.

If we don't understand, then there's something we're missing. The chromosome that tells us where to look.

The evolution of the artichoke flower

This motif came from cutting an artichoke, and stamping with it, using black acrylic paint. The motif was developed through drawing.









I then used the motif as an element in the above patterns and colorways. These repeat patterns were designed using CAD for textile design (Texcelle). They are a mild southern gothic tale for cloth, and I had the opportunity to tell the story in its proper medium (as seen below).




The shirt is a readymade. I distressed the fabric with bleach, and mixed the pigment of the print to match the lighter parts of the shirt, while reverse appliqueing a crochet rose window on the front, and secure holes on the back. I wanted to bring to life the concept in the CAD designs, and give this shirt the used and ethereal appeal that can be seen in the south's familiarity with, but often blind eye towards religion: a fable beautiful in tradition and intention.

Apron/Aproff

This apron is made of cotton muslin, hand-dyed with natural and synthetic dyes. I created the motifs on the fabric using traditional tie-dye methods such as: clamp resist immersion dyeing, arashi shibori, and crumple resist immersion dyeing. All of the fabric, except for the ruffle ties, was dyed in the same synthetic rose colored dye, and then the two packets were over-dyed for different amounts of time in the same vat of royal blue, synthetic dye. The ruffles were arashi shiboried in a vat of natural osage orange dye, with a few seconds in the royal blue vat.