Pattern Research Project: An Investigation of The Pattern And Printing Process - ZigZag

2017 Pattern Research Project Matthew Toscano - ZigZag (pattern) The Pattern Research Project involves research and analysis of contemporary patterns found in the textiles and wallcoverings of the built interior environment. Patterns use motif, repetition, color, geometry, craft, technology, and space to communicate place, time, and concept. Through this research and analysis, built environments - their designers, occupants, construction, and context - can be better understood. Matthew Toscano, VCU BFA 2020, selected the “Chevron Black” pattern by Tina Raparanta for Spoonflower for the 2017 Pattern Research Project. The text below is excerpted from the student’s work: “My sample of ‘Chevron Black’ is printed on cotton and is one of the many mass manufactured and continually produced textiles of the custom digital printing company, Spoonflower. The cloth itself is simple, tightly woven and slightly rough to the touch. Inks are eco-friendly, 100% biodegradable, and non-toxic, contributing to a sustainable and attractive business model.”https://scholarscompass.vcu.edu/prp/1004/thumbnail.jp

Pattern Research Project: An Investigation of The Pattern And Printing Process - Shippo Tsunagi

2017 Pattern Research Project Emilie Krysa - Shippo Tsunagi Pattern The Pattern Research Project involves research and analysis of contemporary patterns found in the textiles and wallcoverings of the built interior environment. Patterns use motif, repetition, color, geometry, craft, technology, and space to communicate place, time, and concept. Through this research and analysis, built environments - their designers, occupants, construction, and context - can be better understood. Emilie Krysa, VCU Interior Design BFA 2020, selected the Shippo Tsunagi pattern for the 2017 Pattern Research Project. The text below is excerpted from the student’s work: “[The] Shippo pattern originates from Japan and dates to the Heian period (794-1185 AD)... The pattern is called ‘shippo’ in Japanese, which means ‘cloisonne,’ which is an ancient form of enameling… The pattern was traditionally embroidered on by hand or it was hand dyed/painted in a very long and tedious process by professionals. ‘Shashiko,’ which is a basic running stitch, is one style of embroidery that Shippo is often depicted. Today Shippo can be applied to nearly every surface imaginable through digital printing.”https://scholarscompass.vcu.edu/prp/1006/thumbnail.jp

Pattern Research Project: An Investigation of The Pattern And Printing Process - Asanoha

2017 Pattern Research Project Alyssa Chin - Asanoha The Pattern Research Project involves research and analysis of contemporary patterns found in the textiles and wallcoverings of the built interior environment. Patterns use motif, repetition, color, geometry, craft, technology, and space to communicate place, time, and concept. Through this research and analysis, built environments - their designers, occupants, construction, and context - can be better understood. Alyssa Chin, VCU Interior Design BFA 2020, selected the Asanoha pattern for the 2017 Pattern Research Project. The text below is excerpted from the student’s work: “Asanoha is a traditional pattern of Japan and its roots span back centuries, making it difficult to pinpoint a specific date or period. Its origins are most likely rooted in rural villages where farmers and peasants in the countryside of Japan would practice sashiko, a simplified sewing method that resembles embroidery, that allowed them to piece together various fabrics to create new clothing, and in turn, creating pattern motifs. “https://scholarscompass.vcu.edu/prp/1002/thumbnail.jp

Enriching Inclusive Learning: African Americans in Historic Costume

Educating students to embrace diversity and value all people is a core value of educators in family and consumer sciences (FCS). For instructors in FCS, integrating the contributions of African Americans--particularly in textiles and clothing--can be an inclusive learning opportunity. The authors compiled resources on African Americans and historic clothing by examining research published in books and articles indexed in JSTOR and America: History and Life . From these resources, themes emerged including slavery (particularly in 19th century), cultural traditions, entrepreneurs and designers, beauty and self-image, and headwear and hair. Using these themes, instructors might integrate the many contributions of African Americans into their instruction. Topics may include runaway slaves and their clothing, the origins of the headwrap, and history of the Harlem Renaissance. Integrating African American and other cultural groups in course content has a place in all FCS content areas and opens the door for reflecting and understanding the legacies of all people and cultures of the US

Computer Mediated Communication in Textiles

This study explored some aspects of computer mediated communication (CMC) in a web-based textile science class offered at the university level. Results suggest the CMC elements of popular press, online readings with a posted discussion board aided student acquisition, articulation, and application of course material. Students were pleased with the readability of the popular press readings

Student Perceptions of a Hybrid Course

This study explores students\u27 (n=156) perceptions towards a hybrid introductory textile science course offered at the university level. Results suggest students are satisfied with they hybrid learning model, preferring the hybrid learning model to both the online-only and offline-only course presentation format

The Reviving Project

When Yushan Cassie Sun arrived in America in 2012, she already had big hopes for the future. A craft and material study major with a concentration in jewelry and metalsmithing, Cassie will graduate this May with some wonderful research experiences under her belt. e summer before she came to VCU, Cassie spent time learning the techniques of three crafts- men in China. As she lived and learned with them, she realized that although her learning was valuable, there were hundreds of other endangered craft techniques in China that she was not learning—and that’s what got her interested in what would later become the Reviving Project