Skip to main content

Art, Science, and Technology: 2018 NYC Art Residency

Coded Pages
My artist's residency in New York City is going well.  I love integrating art and science in my designs and look forward to creating more.  
After learning how to code my designs on the computer, I decided to make textile books that use new technologies and traditional methods.

Creating handmade books offers a final product that takes students through the multiple layers and steps of design.
I love the mathematical precision that coded designs offer.  I plan to combine the coded designs and embroidery with original hand painted textiles.

Comments

Popular posts from this blog

Tools of the Trade: Bone Folders

by Suzanne Coley
Bone folders are my extra fingers when binding books and making boxes. #1 Teflon bone folder - used for smoothing, pressing, folding, shaping.
#2, #3, #4 - antique genuine bone folders given to me by a retired master bookbinder, made in Germany - used for delicate work and conservation.
#5 - wooden Potter's rib - used for difficult spots in large boxes.  Great for smoothing and shaping.
#6, #7 modern genuine bone folders - used for scoring and turning corners when binding books.
#8 Teflon bone folder - nothing sticks to them and they don't leave marks.
My fingers may grip, pinch, and pick up things, but my bone folders are stronger, smaller, larger, rounder, skinner, flatter, sturdier, and can be sanded into other types of shapes.  
My bone folders score, press, shape, burnish, fold, smooth, and work the corners and grooves of my books and boxes better than my pinky and index fingers.

52 Weeks of Printmaking on Textiles: Week 25

Behind the Seams This week I want to give you a peek behind the seams. Show you what the fabric looks like on the backside.  It is important to have even seams, no more than a 1/4 inch.  This allows for a smooth book page when I am binding. Before printing on the textiles, I always do a lot of sewing.   The more time I take at this stage, the better control I have of the printmaking process later on.

52 Weeks of Printmaking on Textile: Week 22

Nigerian Textiles It has been a busy two weeks and I've fallen behind in blogging.  I've been meeting my mentor at the Smithsonian more often and we have been joined by senior art history fellows.
Having my handmade textile books reviewed by art historians has been one of the most rewarding experiences I've had as an artist.
They are able to make historical, cultural, and social connections, offering new insights to "reading" my works.
They ask me questions about my process and we engage in discussions about printmaking, textiles, provenance, and conservation.