The 12th International Surface Design Conference Hosted and co-sponsored by the Kansas City Art Institute

Event Description
"Hands-On", the 12th International Surface Design Conference, June 5 - June 8, 2003, is an International textile symposium sponsored by the Surface Design Association and hosted by the Kansas City Art Institute.

Conference Theme
The theme "Hands-On" implies a dual focus. Speakers and Workshop leaders will address issues related to the entire textile spectrum ranging from low-tech to state of the Art. The aim of this conference is to offer insight and exposure to the work of those who are at the forefront of new developments in all areas of textile design. As a leader in the field SDA is committed to educate at all levels of expertise and interest. Our goal is always to present new explorations and developments in both textile technology as well as fresh discoveries with needle and thread, brush and dye, shuttle and yarn or any other textile related process or material.

Workshop and Conference dates
Pre conference workshops: Monday, June 2 - Wednesday, June 4, 2003 Conference Sessions: Thursday, June 5 - Sunday, June 8, 2003 Post conference workshops: Monday, June 9 - Friday, June 13, 2003

Keynote and Closing Remarks Speakers
Ellen Dissanayake The "Deep Structure" of Surface Design Linguists describe the "deep structure" of language, referring to the innate rules that speakers of all languages follow, even though they may not realize that they are doing so. Similarly, music theorists describe the underlying structure of music-the way certain tones or chords or rhythmic patterns imply and affect others. Although artists generally feel as if they are freely and individually creating as they work, I will suggest that there are underlying principles of our art making and aesthetic nature that influence the making of our own work and our responses to the work of others. These principles emerge from our common human nature as it has developed over hundreds of thousands of years in response to common existential problems. Using our hands, living in a natural world, caring about "outcomes" of important biological concerns, entering into and maintaining relationships with others, finding meaning in our lives, and having an effect on the world are relevant to all human lives. The arts are primary ways of articulating and addressing these vital needs.

Jason Pollen: Surface Design
The Last 25 Years And A Vision For The Future

David McFadden
Contemporary Textiles Today the worlds of craft, art, and design have more permeable boundaries than ever seen in the 20th century. Artists working in fiber have led the way to a new awareness of the artistic potential of a traditional medium.The fiber arts today are engaging, provocative, and memorable, essential characteristics of any true art form.

"HANDS ON " UPDATED SPEAKERS SCHEDULE

Sunday, June 1

6:00-10:00 PM Conference/Workshop Registration in the Residence Hall

Monday, June 2 8:00-9:00 AM Conference/Workshop Registration in the Residence Hall 9:00-4:00 PM Pre-conference Workshops 7:00-9:00 PM Workshop instructor presentations - Irving Amphitheater: 7:00 Ana Lisa Hedstrom 7:30 Michael James 8:00 Catharine Ellis 8:30 Dorothy Caldwell

Tuesday, June 3 8:00-9:00 AM Conference/Workshop Registration in the Residence Hall 9:00-4:00 PM Pre-conference Workshops 7:00-9:00 PM Workshop instructor presentations - Irving Amphitheater: 7:00 Tilleke Schwarz 7:30 Els van Baarle 8:00 Leslie Nobler Farber 8:30 Dorothy Caldwell

Wednesday, June 4 8:00-9:00 AM Conference/Workshop Registration in the Residence Hall 9:00-4:00 PM Pre-conference Workshops 9:00-4:00 PM One-day Demonstrations DEM02 Weny Huhn: Imagery Transfer - Irving Amphitheater DEM03 Jason Pollen & Joy Boutrup: Thiox - Epperson Auditorium 6:00-10:00 PM Conference/Workshop Registration in the Residence Hall

Thursday, June 5 8:00-9:00 AM Conference/Workshop Registration in the Residence Hall 9:00-4:00 PM Bus tour to Exhibitions 5:00-7:00 PM Welcome and Keynote Address - Nelson Museum, Atkins Auditorium 7:00-9:30 PM Dinner for conference registrants - campus lawn

Friday, June 6 8:00 9:00 AM Conference/Workshop Registration in the Residence Hall 9:00-10:15 AM Concurrent Sessions: Jill Heppenheimer: The Power of Being Different - Irving Amphitheater Jane Dunnewold: Artcloth 2003 - Epperson Auditorium 10:45-12:00 PM Concurrent Sessions: Susan Brandeis: Post-Digital Textiles - Irving Amphitheater Jerry Trapp: Myth, Truth or Opinion - Epperson Auditorium 12:00-6:00 PM Vendor Set-up - Foundation Building 2:00-3:15 PM Concurrent Sessions: Elizabeth Busch: From Studio Art to Public Art Comm. - Irving Amphitheater Karren Brito: Understanding Shibori - Nelson Museum, Atkins Auditorium 3:45-5:00 PM Concurrent Sessions: 3:45-5:00 PM Tilleke Schwarz: Beneath and Beyond the Surface - Irving Amphitheater Panel Presentation: Dichotomies in Silk - Nelson Museum, Atkins Auditorium 6:00-9:30 PM Trunkshow - Epperson Auditorium Vendor's expo - Foundation Building

Saturday, June 7 9:00-10:15 AM Concurrent Sessions: Teliha Draheim: Commercial Design Opportunities - Irving Amphitheater Craig Crawford: - Liz Claiborne CAD:Endless Possibilities - Epperson Aud. 10:45-12:00 PM Concurrent Sessions: Hitoshi Ujiie: Digital Inkjet Textile Printing - Irving Amphitheater Jane Dunnewold: Improvisational Silk Screen Printing - Epperson Auditorium 12:00-6:00 PM Vendor's Expo - Foundation Building 2:00-3:15 PM Concurrent Sessions: Carter Smith: Wearable Art: Where Do We Go from Here - Irving Amphith. Joy Boutrup: New Materials in Textiles - Nelson Museum, Atkins Auditorium 3:45-5:00 PM Concurrent Sessions: Panel Presentation: Wearable Art: Where Do We Go - Irving Amphitheater Michael James: A Passion for Pattern - Nelson Museum, Atkins Auditorium 7:00-8:00 PM Performance: Sha Sha Higby - Nelson Museum, Atkins Auditorium 8:00-11:00 PM Auction - Campus lawn (Live) and Epperson Auditorium (Silent)

Sunday, June 8 8:30-9:30 AM SDA membership meeting - Irving Amphitheater 9:30-10:30 AM Regional & State Reps meeting with SDA Board members -Irving Amphitheater 10:30-11:30 AM Regional meetings with members form the regions - Irving Classrooms 8:30-12:00 PM Vendor's Expo - Foundation Building 12:00-1:30 PM Closing Remarks - Nelson Museum, Atkins Auditorium 12:00- 5:00 PM Vendor Take down 2:00-6:00 PM Bus tour to Sprint Collection and JCCC? 6:00-10:00 PM Workshop Registration in the Residence Hall

Monday, June 9 8:00 9:00 AM Workshop Registration in the Residence Hall (only on Monday) 9:00-4:00 PM Post-conference Workshops 7:00-9:00 PM Workshop instructor presentations - Irving Amphitheater: 7:00 Carol Shinn 7:30 Karren Brito 8:00 Elin Noble 8:30 Susan Moyer

Tuesday, June 10 8:00 9:00 AM Workshop Registration in the Residence Hall (only on Monday) 9:00-4:00 PM Post-conference Workshops 7:00-9:00 PM Workshop instructor presentations - Irving Amphitheater: 7:00 Joan Morris 7:30 Akemi Nakano Cohn 8:00 Ilze Aviks 8:30 Wendy Huhn

Presentations: Debra Lunn & Michael Mrowka The Hand Of Nature Supported By The Hand Of Man The artist supports the hand of nature by being a student or follower of a particular process. To do so, one must experiment extensively with a process to understand and observe what causes what to happen according to the laws of nature.One must let the process do what it does naturally; let the technique teach its secrets; and then take advantage of the special marks or nuances that result. Debra and Michael will share the extensive range of results that they have achieved by approaching the hand creation of nearly 200,000 yards of fabric in this manner.They have followed the nuances, letting the hand of nature lead the way.

Teliha Draheim Overview Of Commercial Design Opportunities Join designer/agent Teliha Draheim for an overview of commercial design opportunities available in the field of Surface Design Pattern including: fabrics for apparel and home furnishings, carpet and rug design, tabletop and domestic products, giftware and paper products. You will learn what creative, technical and industry skills are required to enter this exciting field. Teliha will share examples of work from the Image West Design portfolio as well as products and collections produced for these markets.

Jane Dunnewold Improvisational Silk Screen Printing The silkscreen is a versatile tool when used for textile printing. Through slides, be introduced to more than a dozen low tech applications using various screen "treatments" including flour paste and wax screens, spray paint screens, stencils made from paper and interfacing, hand coloring directly on the screen using dyes and crayons, and the tour de force, a multi-color stencil printing process that allows the artist to work around the color wheel, producing brilliant, one of a kind results. Slides and actual hands-on samples of each process will be shown.

Jane Dunnewold Art Cloth 2003 A short introduction to the world of layered printing techniques is followed by slides of works from national and international artists whose focus is the creation of "art cloth" --fabric with depth and complexity, generated by combining dyeing, printing, foiling and devore. Samples of cloth are included for study by the participants.

Jerry Trapp An Investigative Review Of Current Dye Processes Are acid dyes superior to reactive dyes for coloring silk? Is there any benefit to steaming cold reactive dyes? Does salt have a useful role in low-water dye processes? These and other perennial dye questions will be addressed in this information-packed session! Review the history behind long-debated dyeing issues, explore recent targeted research and judge for yourself by viewing comparative fiber samples. The emphasis will be on practical information that all dyers can work into their color play!

Elizabeth Busch From Studio Art To Public Art Commissions Little did I know after graduating from RISD with a degree in painting that 20 years later I 'd be sewing plastic into Kinetic Sculpture for public spaces throughout the country! My philosophy has been to trust my gut; that inner voice that says "go for it!" when people around me are saying "what on earth are you doing that for? "The road is definitely the one less traveled...and the rewards have been more exciting than I could have ever imagined. Let me share my journey with you in this slide presentation of my life, my work and the public work of other artists working in the fiber medium.

Hitoshi Ujiie Digital Inkjet Textile Printing Design and technology are important elements in printed textiles. Currently, digital textile printing offers infinite possibilities to the textile design field. This presentation includes the technical process of digital fabric printing, including the interrelationship between textile design styles and production methods, as well as how the past and current design trends represent the future direction of digital fabric printing.

Michael James A Passion For Pattern Interpreting pattern many forms is one of the principle navigational strategies by which we humans make sense of our world. This meditation on the nature of pattern explores its whys and wherefores interpreted through the prism of human behavior generally and through my own artistic experience specifically. Patternmaking practices from a number of cultures will be examined, and the relationship of pattern to time and memory will also be suggested.This presentation is visual and inspirational rather than technical in nature.

Susan Brandeis Post-digital Textiles: Rediscovering The Hand The availability of computerized design and production technologies present opportunities-and risks. Does the computer change our working process? Our work? What are the gains? The losses? Is the computer "just another tool"? What do we want to do with it? As we use it, how does it use us? Is the object still "hand-made"? What is the place of hand techniques in the digital age? What connects objects to our spirits, our thoughts, our lives?

Jill Heppenheimer The Power Of Being Different: A Look At The Changing Art-to-wear Market Art-to-Wear is a late 20th Century art form that has been at the heart of the flowering of the American Craft movement from the late 1960's through today. The pioneering artists employed traditional and non traditional fiber techniques in unconventional ways,in ?uenced though they were by fashion and art of the previous decades.These artists and many others embraced change and discarded rules,using inspired,personal composition to shape a new way of dress. They were born to be different, as were their willing collectors. Together, they took the chance of being and dressing differently. Recognition of this form of craft as an art form has come only slowly, and continues to be an ongoing battle. What are the influences shaping Art-to-Wear in the marketplace, and what acceptance have they received? In addition to a slide presentation, highlights of selected interviews with important gallery owners, the fiber media and collectors will be reviewed.

Tilleke Schwarz Beneath And Beyond The Surface What motivates us to create in the textile medium? What guides our decision-making process? Is it the challenge to make a living using our sense of aesthetics or is there more to it? What happens when we are compelled to express beyond the surface and look to the meaning or message of the work. From subtle to confronting, from visual poetry to political statements or from serious to humorous. This presentation will focus on a search for meaning in the visual arts, highlighting the work of several European artists as well commenting on situations in our everyday environment.

Carter Smith Wearable Art: Where Can We Go From Here? We will explore the 37-year journey of one artist in order to reflect on where we are and where we are going. What is the future of the textile /wearable artist /designer? Carter believes that the answer lies in working together with a common goal. It is time for the dialogue that formulates that goal. The wearable art community can and will be a formidable alternative to fashion but only by working together.

Karren Brito Understanding Shibori What is shibori and what makes it so special? Where did it come from, and what is it now? How can you tell shibori from other textile processes? This will not be a slide lecture, it will be a textile lecture with many, many samples of shibori to see and touch. Some will be traditional shibori from around the world, many will be samples made for the book, Shibori:Creating Color and Texture on Silk, and some will be finished pieces. You should come away with an understanding of what shibori is, how it is made and why it is such an exciting field at this moment.

Craig Crawford (Topic not available at press time)

Joy Boutrup New Materials And Methods In Textiles Curious to know what's new in the industry? From new surface treatments in sportswear to the most recent developments in fibers? Want to know more about a whole new generation of looms? This will be a comprehensive overview, covering the latest developments in textile technology and engineering with a focus on the way fabric is made and finished in the industry.

Panel Discussions: Title: Dichotomies In Silk: Crisp And Soft, Shrinking And Stretching, Sheer And Opaque, Past And Future Moderator: Yoshiko Iawata Wada Panelists: Ana Lisa Hedstrom, Catharine Ellis (Muerdter), Joan Morris, Genevieve Dion, Yuh Okano

Despite the long history of silk, its potential has not been fully explored in the light of advancing technology for synthetic fibers during the last century. However, the silk fabrics and fashions created by American and Japanese artists in recent years demonstrate silk's amazing properties as an experimental creative apparatus when influenced by technology and combined with the characteristics of natural materials and ingenious handwork. In 1997, Yoshiko Wada started project Metamorphosis, a research and development project funded by the Gunma Prefecture wherein selective international artists and designers were given silk fabrics to experiment with and, in return, donated their works. The basis for designing with these fabrics was to explore the inherent quality of silk using two types of proteins (fibroin and sericin)combined with high twist yarns and cellulose fibers.The effects that the participating artists have been exploring, and the results of their individual experiments will be shared in this panel session.

Title: Wearable Art: Where Do We Go From Here Facilitators: Hilary Gifford, Sue Scott Panelists: Jill Heppenheimer, Marian Clayden, Ana Lisa Hedstrom, KatherineAimone, Susan Summa

This panel is intended to shed light on the question: What is the future of wearable art from the art,fashion,and craft perspectives.Wearable art as a concept is self-explanatory but does the name limit opportunities for these artists? What do wearable artists see as being their future? What directions are they pursuing or would they like to? Who is the client and are museums collecting wearable art? How can an organization such as the Surface Design Association assist in defining and supporting the future of wearable art?. Audience participation is encouraged.

Pre-conference Workshops: (Workshop fees: 1 Day: $75, 2 Days: $150, 3 days: $225, add $50 to any workshop if you are not registered for the conference, 1 Day demonstrations are $50)

4 June (full day demonstrations): These three demonstrations do not include a "hands-On " component

Debra Lunn & Michael Mrowka Water: The Universal Resist Debra and Michael will demonstrate that by applying the principles of fluid dynamics, water is "The Universal Resist". Water as a resist can be used in conjunction with most chemical and mechanical surface design techniques to control contrast and precise color placement. Understanding and mastering this concept will yield more control in one's ability to place highlights and shadows, obtain pure overlapping and "illuminated " colors. The team will share the exciting range of results that they have achieved in immersion dyeing and dye painting by using water as a resist. Demonstrations and/or examples will include immersion dyeing and direct application techniques utilizing pole wraps, board clamps and other mechanical resists.

Wendy Huhn Imagery Transfer: Icing The Cake This demonstration will cover all aspects of transfer methods and the various machines used to make them.Some of the techniques covered will include: acrylic, gel paperless, solvent, photocopy, thermofax, foiling, stencils, heliographic, carved rubber stamps and more.

Jason Pollen & Joy Boutrup Discharge Using Thioureadioxide This demonstration will cover various discharge techniques and processes using thioureadioxide. Processes will include direct application and immersion.MX dyes will provide the color on cotton, linen, and silk. The tools will include assorted brushes, the Airpen, and the thermofax machine.

4 June (1 day): Jill Heppenheimer How To Build A Collection For The Marketplace This workshop will address how to increase your likelihood for success in marketing your creative fiber art, ensuring that you approach your work with a point of difference what makes you you, and what can make your work more successful, from the vantage point of the buying audience. We will explore the difference between creating from a production standpoint vs. creating one-of-a-kinds and limited editions, the frequency of bringing new collections to the market, and just what constitutes a collection. We will touch upon creative development and design, marketplace principles, production planning, pricing, selecting the target audience and market, presentation and marketing materials. Just remember, "Staying Creative is the Only Weapon against Competition, Mediocrity and Craft Saturation ". All levels.

3-4 June (2-days): Ana Lisa Hedstrom Resist Scouring Silk Using silk stiff with natural sericin...organza, gazar, and Japanese crepes... we will selectively scour(de-gum)the silk in patterned areas. Students will use several recipes for scouring in combination with direct application, and with clamping, stitching, and arashi shibori. The selective use of acid and fiber reactive dyes can enhance the subtle textural differences between scoured and non-scoured fabric. Overspun crepes, compressed with shibori resists, create pleats and textures which are semi-permanent. Intermediate to advanced.

2-4 June (3-days): Michael James Visual Dynamics: Studies In Line, Space, Pattern And Texture Because designing two-dimensional imagery requires a keen understanding of the sensitive balancing act that is the orchestration of line, space, movement, and texture, students will work through a diverse series of exercises that will test their ability to see and to respond to visual relationships.The conceptual processes employed here will nat rally transfer to the individual 's own studio approaches. All work is done in black &white. All levels.

Elizabeth Busch Creating Work For Commission: Designing For Architectural Spaces Most of my income is from doing large scale work that is commissioned for public spaces. It is AMAZING how many opportunities are out there to do large scale commissions, both public and private, large and small scale. Even if you are just beginning to think about the possibility of doing this kind of work, in 3 days you will have attained the tools to enter a competition and/or submit a proposal for a private or public commission. Each person will learn how to read an architects 'scale, read blueprints and build a small model(maquette)of an assigned space. We will discuss working with architects and committees, developing and writing a proposal, doing cost and time estimates, etc. This is a nuts-and-bolts workshop, literally a semester 's work in 3 days! And amazingly, lots of fun! All levels.

Susan Brandeis Reverse Applique: Revealing The Secrets Beneath Reverse applique is a quiet, reflective, meditative act. Images of great power or subtlety lie just below the surface-literally and conceptually-waiting to be revealed. With only cloth, needles, and thread, explore the potential of this low-tech, portable technique to express ideas. Sample traditional and non-traditional methods of layering, cutting through, and hand-stitching with a variety of fabrics. Learn basic techniques, then experiment with the expressive possibilities by designing and creating a personally meaningful composition. All levels.

Kerr Grabowski Deconstructed Screen Printing Explore a different facet of screen printing on fabric; the unpredictable,the intuitive, the happy accidents.Using fiber reactive dyes, deconstructed printing, discharge, and polychromatic printing, experiment with the silkscreen as a painting and monoprinting tool to create fabrics of depth, texture and personal imagery. The resulting fabric may be used as an end in itself or a point of departure for further embellishment. No screen printing exp.necessary, some experience with fiber reactive dyes helpful but not necessary.

Catharine Ellis Muerdter Weaving Unusual Cloth For Shibori Woven shibori uses the loom to make the fabric as well as to make a resist. This class will focus on choosing warp and weft yarns, combined with structure and resist to develop a variety of unusual fabrics. The woven resist images can be dyed into the cloth, felted, burned out and shaped. We will weave fabrics with yarns that will discharge and others that won 't.Cotton/polyester combinations will burn out and leave woven transparencies. Heat transfer dyes will be used on polyesters. Felting resists will be used in combination with shibori woven in wool and fabrics will be shaped with polyesters and crepe-spun yarns. We will also weave with un-scoured silk yarns and selectively remove the sericin before dyeing. We will also weave with un-scoured silk yarns and selectively remove the sericin before dyeing. Level:intermediate to advanced. Must be able to set up loom independently and have some understanding of weave structure.

Dorothy Caldwell The Expressive Stitch Layered and stitched cloth from East India has a long history which parallels North American quiltmaking in providing a creative forum where women express aspects of their lives. Kantha-embroidered quilts utilize the running stitch to form narrative imagery ranging in subjects from simple objects and daily tasks to social issues such as AIDS and bride-burning. Using this tradition as a basis, many aspects of "the stitch" will be investigated leading participants towards the formation of a personal vocabulary of marks. All levels.

Els Van Baarle Wax: Various Approaches In this workshop students will experiment with different ways of applying wax to several different kinds of fabrics. They will work with the traditional Javanese tools such as the tjanting (both the Western version and the traditional Japanese version) and the tjap, but also with non-traditional tools, like forks and twigs. We will start with exploring line and texture with brushes, and the "layering" of wax and dyes. We will be working on manipulated fabrics with the tjap and use other materials you can dip into the wax and make stamps for printing. Emphasis will be on layering and combining the various processes. Level:beginner

Leslie Nobler Farber Experimental Digital Printing Digital technology and new techniques have revolutionized the "art " of computer imaging. This workshop will investigate alternative approaches to waterbased inkjet and/or laser printing. Students will prepare hand-treated surfaces for printing using paper with textured mediums(plus inlays and colorants), fabrics, plastics and metals. We will overlay images, use transfer printing effects and collage output. By combining advanced digital technology with the sensibilities of traditional textile art, assemblage and surface design/printmaking we will discover new "results ". Intermediate computer experience.

Tilleke Schwarz Inspiration For Visual Poetry The emphasis in this workshop is not on a particular technique or process, but rather on how to express ideas using the skills you already master. The focus here is on content and how to make choices about color and composition. Your own life and surroundings are the source of inspiration. As most techniques like embroidery and quilting are very time consuming we will use the sampler format of blending ideas, images and text using collage, pencil and paint to experiment with. Lectures and slides will guide participants in developing this effective approach to designing. All levels.

Post-conference Workshops: (Workshop fees: 2 Days:$150, 3 days:$225, 4 Days:$300, 5 Days: $375, add $50 to any workshop fee if you are not registered for the conference)

9-10 June (2-days): Teliha Draheim Knowing Your Market: The Business Of Selling Your Designs Designer/agent Teliha Draheim offers an informative class focused on commercial design opportunities available in the field of Surface Design Pattern. The class will include an informal portfolio review of your work, trend information, marketing and presentation skills, business skills(pricing, copyright, licensing and contracts)and tips on creating collections for specific markets. Her areas of expertise include: gift and paper products, tabletop and domestic products, apparel and home furnishings. Max # of students 15 due to time element for portfolio review.

9-11 June (3-days): Carol Shinn "Painting" With Free Style Machine Embroidery Students use the sewing machine to explore imagery and/or surface embellishment. Emphasis is on creating a surface saturated with layers of threads. Individual styles of "mark-making" are stressed using shading, hatching and color mixing. Ideas for designing and techniques for troubleshooting are shared, as well as option for finishing.After initial exercises,attention is given to developing individual ideas and projects. Students may work two or three dimensionally. All levels.

G. Denton & D. Brown Vibrant Layers, Natural Colors: The New Art Cloth An introduction to immersion dyeing for silk with natural dyes,and the surface design techniques that make natural fabric surfaces dance with complexity and depth. Natural dyes rise to a vibrant and exciting level with multiple layers of color,texture and design features. Complex Cloth, Art Cloth, Surface Design, Layered Color; striving for a minimum of 8 layers. The class focuses on an "up to speed: approach, introducing the special skills and considerations for the natural dye medium. Substrate choice, mordanting, dye layers sequenced with wet cloth; dye layers sequenced with dry cloth; discharge choices(wet and dry), textile paints and design considerations are all included. Intermediate level.

9-12 June (4-days): Lisa Grey Gelatin Plate Printmaking Learn a low tech, low cost, non-toxic printmaking method suitable for artwork on both paper and fabric with food grade gelatin as the printing plate, and your own hands as the press. Using water-based inks and mediums, traditional and experimental printmaking techniques will be explored as participants develop a rich portfolio of various techniques including monoprinting with stencils, brushwork, mark making methods, wax resist, magazine transfer, color washes and dye lift. This is an enticing, highly experimental process with endless possibilities. All levels.

9-13 June (5-days): Karren Brito Master Class For Acid Dyes On Silk We will learn how to use a range of acid dyes for both immersion dyeing and direct application on silk. You will learn the properties and palettes of each dye set so you can choose the right one for your task. We will use dye formulas for reproducing colors and use the Munsell color system as a tool for formulating new colors. Methods of discharging these dyes will also be covered. Level: must have prior dyeing experience.

H. Ujiie and H. Samuels Textile Design With Photoshop And Basic Dig. Fabric Printing This is an introductory workshop for creating and printing textile design on fabrics using Adobe Photoshop software. At the beginning, the course is focused on designing and developing patterns including fundamentals of digital file preparation, file formatting, basic repeats and coloring. Participants will learn preparation for fabric printing and digital printing process, including a complex subject of color management. Professional standards as well as job opportunities in the textile design industry are discussed. At the end of the course, participants will have a good understanding of the digital textile design process from original ideas to finished printed samples. Beginner to Intermediate

Barbara Setsu Pickett Deep In Velvet; Understanding And Weaving Velvet Immerse yourself in velvet. Learn how to weave it using low-tech adaptations to standard table and floorlooms. Even beginners will be able to weave three small samples from rug-weight macro velvet to finessed voided velvet. We shall delve into the velvet trunk and see and feel the cloths of the masterweavers from Italy, France, England, Japan and China. We shall examine closely, using 11-power lens, and learn to identify and classify the types of woven structures. We shall investigate the dyer 's arts in velvet and see the inventive manipulations of color and pattern. Each participant will receive a handbook, On Velvet, containing the weaving drafts for all the velvet samples, a comprehensive bibliography, an extensive glossary of velvet terms, an information sheet on the international method for fabric analysis and one on velvet conservation and care. Open to all levels. No weaving experience is required.

Elin Noble Those Versatile Reactive Dyes This hands-on workshop focuses on the nuts-and-bolts of working with reactive dyes on cotton and silk. Using mainly the MX type of reactive dye, we 'll also cover Remazol and Sabracon F dyes, and go over the basics and learn why different products are used and when to use them.Then, explore the gamut -immersion dyeing, low water immersion dyeing and direct application techniques like: painting with thickened & watery dye, monoprinting, screen printing with paper and contact stencils, clock printing and stamping with home-made and found objects. Selectively strip the dye out with thiox, producing layers of pattern and texture. We 'll also cover safety, color mixing & fabric selection and preparation. Emphasis is on fundamentals & experimentation; the techniques and concepts are introduced to build upon one another. Bring questions, ideas, inquiring minds and desires. All levels.

Susan Moyer Comprehensive Technique And Design Workshop For Silk Painters Innovative design includes creative use of line, form, space, texture and color (the elements of design). To prepare for and inspire the design process, various techniques will be demonstrated on silk. The ability to design is a skill we develop by exploring and reflecting on all the elements of design as they relate to each other. As designers, we redefine the use of these elements. Through that process we create our unique signature. This is a comprehensive workshop covering several silk painting process. Level -intermediate/advanced.

Joan Morris Shibori & A Comparative Look At Dyes & Preparations This class will focus on producing shibori samples that compare and contrast the qualities that acid and fiber reactive dyes have to offer to the process of shaped resist dyeing. Each of these dye categories produces different positive effects on the shibori process. It is through this process that we can increase our vocabulary as artists. We will look at the uses of these dyes in both immersion and thickened forms, concentrating on the dye's propensity for migration and definition, which will "enhance" or "detract" from the success of the sample. We will integrate some mechanical resist techniques with shaped resist techniques, producing small samples of layered imagery. Emphasis will be on sample making, with the layering of techniques to create possibilities for using shibori to create more complex compositions, resulting in an expressive means of textile making. Intermediate/advanced.

Akemi Nakano Cohn Nassen:Color Rice Paste Resist Printing On Silk "Nassen" means color rice paste resist printing based on a Japanese rice paste technique, and is a new &hybrid of traditional &contemporary applications. We start with a brief introduction of Japanese rice paste resist printing through slides and samples. Students will experience the entire process of color rice paste resist printing including making the rice paste, color paste, and applying color paste with various stamps onto silk. This stamping technique creates amazing effects because color rice paste both colors and resists at the same time! It is completed by steaming to set the color,and washing. Katagami(cut-out stencils) and tsutsu(like a pastry cone with brass tip) will be introduced. This class will explore other rice pate resist dyeing techniques including study of various applications, such as painting diluted paste or scraping painted paste to create texture and images with different degrees of resistance. All levels.

Ilze Aviks The Stitched Mark:Developing Your Own Visual Language Slowing down the pace encourages a sensitivity to materials and attention to process that inspires new ways of seeing. Using basic hand-stitching and the spontaneous methods of monoprinting and collage, you will create a series of studies investigating the potent interaction of the stitched mark and painted cloth. Experience the poetry of a calligraphic line or intuitive mark, the power of repetition, and the way meaning can come from making. Slide presentations will highlight artists who use these time-honored methods to express the personal and political. All levels.

Wendy Huhn Imagery Transfer Concentration This workshop will cover all aspects of transfer methods and the machines used to make them.Including... acrylics, gel, solvent, photocopy, thermofax, foiling, heliographic, carved rubber stamps and more!!! Our goals will be to allow an abundant amount of time to explore each technique to see what possibilities it holds for your own work. We 'll troubleshoot to find out what you might be doing wrong, or this could be a happy mistake! Push the techniques and ask yourself, "What if?" All levels welcomed.

Joy Boutrup Weave Structures And Special Treatments For Hand-wovens Standard finishing of hand-woven fabrics can enhance the beauty, workability and durability of these fabrics. The workshop will cover several methods that can be used to change the look and the hand of fabric following professional ways of finishing. The special treatments component of the workshop will cover the interaction of fibers, structure and chemicals in order to obtain three dimensional or transparent effects. Participants will weave samples using several different structures. The workshop will include lectures with a theoretical content, practical experiments and discussions. Level:intermediate to advanced.

Juried Exhibitions /Call for Entries: The Next Wave: A juried International Student Competition of works in Fiber. Jurors: Morgan Clifford & Michele Fricke. Send SASE to SDA, "Student Competition" 4415 Warwick Blvd. Kansas City, MO 64111 or download from our web site: www.surfacedesign.org. Awards, no entry fee for members. Entry Deadline is Feb 1, 2003.

Up Close and Far Away: A juried International Competition of painted, printed woven, embellished or otherwise constructed lengths of fabric measuring 18" wide x 52" long and up to 12" deep.. Jurors: Jan Myers-Newbury & Carolyn Kallenborn. Send SASE to SDA, "Member Competition " 4415 Warwick Blvd. Kansas City, MO 64111 or download from our web site:www.surfacedesign.org. Awards, no entry fee for members. All submitted entries will be hung. Entry Deadline is Feb 1,2003.

Digital Delight: A juried International Competition of work in Fiber. Jurors: Carolyn Kallenborn & Barbara Elam will select work from the SDA slide archive for reproduction into large scale banners, detail shots are of particular interest to this exhibition. Send any number of slides to: Michele Fricke "SDA Slide Archive" 4415 Warwick Blvd. Kansas City, MO 64111 For more information check out the web site:www.surfacedesign.org. Award winners will receive a copy of their banner. You must be a member to submit slides to the SDA slide archive. Entry Deadline is Feb 1, 2003.

Exhibitions: Numerous exhibitions related to the conference theme and textiles in general will coincide with the conference. Several are juried,others are invitational group or solo shows.The gallery tour on June 5th is included in your conference registration fee.

Fiber: Up Close and Far Away Jurors: Jan Myers-Newbury & Carolyn Kallenborn Digital Delight Jurors: Carolyn Kallenborn and Barbara Elam Jason Pollen Recent work Digitally printed floorcloths Curated by Jason Pollen Couplets Curated by Dr. Harvey Hix and Michele Fricke Flora and Fauna Works in shibori by Joan Morris and Michele Ratte The Next Wave Juried by Morgan Clifford and Michele Fricke Michael Mrowka & Debra Lunn Recent work with Dextrin Fabric Constructions Quilts curated by Jan Myers-Newbury KCAI students KCAI fiber students Layered images / layered forms Curated by Karen McCarthy & Sharon McCartney Dichotomies in Silk Curated by Yoshiko Wada & Ana Lisa Hedstrom Narrative Textiles Curated by Connie Lehman & Sherry Leedy Quilted garments Recent work by Tim Towner Quire Rachel Brumer Wenda Gu at The H & R Block Art Space Felt at Smith & Burstert C.W. Edmonds & E. Kochansky at The Source Fine Art

Special events: Sha Sha Higby Performance: Sha Sha Higby is known internationally for her evocative and haunting performances, using the exquisite and ephemeral body sculpture she creates and moves within. A metaphorically rich and intimate journey in elaborate multi-layered costume of textures made one by one out of wood, ceramic, silk, paper and gold leaf, enable movement and stillness to meet in a mystical dance suspended in another world.Higby has received numerous awards and grants,including the Fulbright and Indo-American fellowships to India, the U.S.Travel Fund for Artists, the National Endowment for the Arts in Solo Theater Japan-United States Friendship Commission. (1995)

Auction: A live and silent auction will follow the performance by Sha Sha Higby. The general public will be invited to attend the Auction. We hope that many members will want to contribute to this fund-raising effort. Wendy Huhn will be our "Live" Auctioneer; there will also be a silent auction. Think about items or services that you may wish to donate (entirely or for reduced wholesale). This is a great way to show off your stuff! Contact Jan Myers-Newbury for more information. samanjan@bellatlantic.net

Trunk Show: The Trunk Show is an opportunity for artists and designers to sell their hand made textile products or fabrics.To participate in the Trunk Show as a vendor check the appropriate box on the registration form and you will receive a Trunk Show vendor information packet. There will be a limited number of tables, please sign up early. The general public will be invited to attend the Trunk Show.

For Membership Information:

SDA, P.O.Box 360 Sebastopol, CA 95473-0360 USA, Tel # 707-829-3110 Fees: Regular Membership:$50 Student Membership $30 Canadian Membership:$60 International Membership $65

The SDA conference is a membership meeting and all participants must be members of SDA. SDA members receive the Surface Design Journal and the SDA Newsletter, a total of eight publications per year.