FIBER ARTS


288. Birren, Faber. The Textile Colorist. New York: Van Nostrand Reinhold,

1980. 64 pp. Index, color illus. ISBN 0-442-23854-1.

    As promised in the subtitle, the author presents “a harmonious series

of color effects for needlecraft, embroidery, cross-stitch, crewel, knitting,

crochet, macramé, weaving, fabric printing, batik, quilting, rug hooking,

and other textile arts.” Birren begins with a brief introduction to color

history and psychology and introduces the Ostwald and Munsell color

systems. The color theory discussion covers the color wheel, wami/cool

colors, value, analogous colors, complements, figure/ground relationships,

and afterimages. Color plates, generally of needlepoint work, illustrate the

useful information.


289. Denton, Susan and Barbara Macey. Quiltmaking. New York: Sterling,

1988. 176 pp. Index, bibl., glossary, B/W illus., color illus. ISBN 0-

8069-6870-2.

    First published in Australia, this book provides a thorough

introduction to quiltmaking, using both traditional designs and new

variations. The organization is logical, starting with materials and

equipment and progressing through chapters on color, construction and

finishing techniques, and design methods. Considerable attention is given

to Seminole, Log-Cabin, Crazy Patch, and Australian Wagga quilts. While

the 10-page chapter on color is not thorough, it covers the conventional

color harmonies and focuses most on color relativity, including special color

effects. It suggests some strategies for color use and eight exercises

provide opportunities for experimentation. Although far from

comprehensive, the practical information and relevant illustrations could

provide the quiltmaker with new insights into color use.


290. Hills, Ros. Colour and Texture in Needlelace. London: Dryad, 1987. 96

pp. Bibi., B/w illus., color illus. ISBN 0-8521-9644-X.

    This description of the lace-making process deals with gathering

equipment, learning stitches, dyeing, and designing. The traditional 12-

hue circle is the basis for the color section, which includes a discussion of

the symbolism of the 12 colors. Illustrations of examples to support the

interesting history of needle lace in the text would enhance this work, which

emphasizes and is mainly illustrated by the work of contemporary English

lace artists.


  1. 291.James, Michael. The Second Quiltmaker’s Handbook: Creative

Approaches to Contemporary Quilt Design. Englewood Cliffs, NJ : Prentice

Hall, 1981.184 pp. Index, bibl., B/W illus., color illus. ISBN 0-13-797795-6.

    While maintaining the importance of intuition and spontaneity in the

use of color, James also stresses that an understanding of the formal

principles of color theory can be invaluable to the quilt designer. In a

chapter on color design for the pieced quilt, he presents information on

color theory, and application exercises that acquaints the quilter with

concepts such as color temperature, value, gradation, transparency illusion,

and simultaneous contrast. In addition to providing a discussion of quilting

technique, this book addresses color from the perspective of good design.


292. Jestorp, Karen and Eva Kohlmark. The Textile Design Book.

Translated by Inger Harrison. Ashville: NC: Lark, 1986. 160 pp. Index,

color illus. ISBN 0-937-274-44-5.

    The authors share their experience and enthusiasm for teaching color

and textile design in Sweden in this charming book. In the introductory

chapter on sketching objects from nature, the reader is led to discover color

inspiration in the smallest fragments of nature, even from the colorful

morsels in open-face luncheon sandwiches. The authors’ general

instructions for creating patterns, borders, textures, stylized decorations,

and pattern variants for textiles encourage invention and experimentation.

Two color chapters cover achromatic fabric collages, gray scales, the

character of colors, color associations and fantasy names, use of the color

spectrum for color order, warm and cool, active and passive, and

simultaneous contrast and more. A special feature of this book is its

excellent explanation of the Swedish “Natural Color System” which is

based on six perceived color sensations of yellow, red, blue, green, white

and black. The folk art flavor and the many refreshing photographs of

nature, architecture, historic and ethnic objects will inspire the reader to try

the exercises that apply the color concepts.


293. Justema, William, and Doris Justema. Weaving and Needlecraft Color

Course. New York: Van Nostrand Reinhold, 1971. 160 pp. Index, bibl.,

glossary, B/W illus., color illus.

    The authors present weavers and needleworkers with an outline of

color theory that can be modified to fit each fiber medium. A brief history

of color theory is followed by a discussion of equipment and materials. In a

chapter on color and design, the authors present the “Justema palette” which

consists of 38 colors that include pure hues, eight pastels, eight

supplementary colors, ten neutrals, and black and white. Some of the color

plans and projects illustrated in the remaining chapters now appear dated,

but this work may serve as a good starting point for fiber artists interested in

applying color theory in their work.


294. Klein, Bamat. Eye for Colour. London: Collins, 1965. 136 pp. Color

illus.

    Known for his work as a designer and manufacturer of unusual

woven fabrics, the author explains his approach to color design and his love

of color. The discussions, based on his own experiences, are enriched by

his familiarity with historic traditions. Several autobiographical chapters are

followed by comments on historical influences from the Egyptians to

abstract expressionism. While the personal viewpoint of this book may

limit its appeal for some readers, others may enjoy seeing how historic and

other sources inspire one designer’s richly colored and textured fabrics.


295. Kurtz, Carol S. Designing for Weaving. New York: Hastings

House, 1981. 96 pp. Index, bibl. B/W illus., color illus. ISBN 0-8-03801579-4.

    Both beginning and experienced weavers will appreciate this course

of study that encompasses both technical and design aspects of weaving.

The book begins with basic drafting and then discusses the creation of

original drafts including multicolor and block designs. A thorough and

clearly written discussion of color theory and use is related to practical

applications in weaving. A chapter on basic design for weaving discusses

and illustrates design principles and elements. Study projects conclude each

chapter. Anyone who works with fibers can benefit from reading the

sections on design and color in this superb text.


196.Lambert, Patricia, Barbara Staepelaere, and Mary G. Fry.

Color and Fiber. West Chester, PA: Schiffer, 1986. 255 pp. Index,

bibl., glossary, B/W illus., color illus. ISBN 0-88740-065-5.

    The authors begin by providing a complete overview of color theory

and terminology followed by a discussion of the effect of light and colorants

on fibers and fabrics, with reference to the influence of different materials.

The final section deals with the application of the theoretical information in

color mixing, special color effects, spatial effects, and emotional responses

to color. A hue circle based on afterimages facilitates use of afterimage

complements. The book concludes with 143 projects that provide hands-on

experience with color and fiber. Fiber artists, especially Weavers and

quilters, will find this beautifully illustrated and comprehensive book an

invaluable resource.


297. McKelvey, Susan Richardson. Color for Quilters. Atlanta:

Yours Truly, 1984. 48 pp. Bibl., endnotes/footnotes, glossary, color

illus. ISBN 0-932946-16-X.

    This thorough and well-organized book is a beautifully illustrated

guide to color theory and practice for quilters. Beginning with a

conventional 12-hue color wheel and definitions of basic color terms,

McKelvey explains and illustrates color theories as they apply to quilts.

Other discussions cover harmony, Itten’s seven contrasts, transparency

illusion, and color symbolism. Each section is illustrated with color

photographs of actual quilts or quilt blocks and includes exercises to help

the reader gain hands-on experience with the concepts presented. Practical

advice on choosing colors and fabrics for quilts is given. Very clearly

written and visually interesting, this is the only book devoted entirely to

color for quilting.


298. McKelvey, Susan. Light & Shadows: Optical Illusions in

Quilts. Lafayette, CA: C & T, 1989. 79 pp. Bibl., endnotes/footnotes,

B/W illus., color illus. ISBN 0-914881-20-5.

    Information, illustrations, and projects focus on the use of color to

create three-dimensional and transparency illusions in quilts. This book

supplements McKelvey’s earlier Color for Quilters. The text is clear and

concise, but it is the 16 pages of color illustrations and the worksheets for

color experimentation that will inspire the quiltmaker who wants to use

color in new ways.


299. Penders, Mary Coyne. Color and Cloth: The Quiltmaker’s

Ultimate Workbook. San Francisco, CA: Quilt Digest, 1989. 143 pp.

bibl., glossary, B/W illus., color illus. ISBN: 0-913327-20-4.

    This highly instructive book deals with cloth as the color medium.

Alter introducing Itten’s color wheel, the author explains grouping colors

by hue, value, color temperature, symbolism, and mood. Next, cloth is

examined for visual texture, scale, and contrast, and design strategies are

recommended. In the third part color and cloth are combined into specific

fabric, natural, and standard art harmonies. Each topic is carefully

discussed, well illustrated, and accompanied by exercises for the reader to

fill in with pieces of cloth. The instructive text moves the reader through

increasingly complex color concepts and also gives directions for building a

cloth collection. The unusually fine quality of the many color illustrations

of patterned fabrics and quilt blocks can be attributed to the superb color

printing done in Kyoto, Japan. In addition to covering color theory and

necessary technical information, the author approaches the much larger

domain of using fabric as the color design medium with considerable

knowledge, zest, and sensitivity.


300. Proctor, Richard M. and Jennifer F. Lew. Surface Design for

Fabric. Seattle: University of Washington Press, 1984. 192 pp. Index,

bibl., glossary, B/W illus., color illus. ISBN 0-295-95874-X.

    This introduction to the art of printing designs on cloth offers

information on a wide variety of processes that can be used to alter or

embellish fabrics. Beginning with a chapter on design and color, the

authors briefly discuss color properties, schemes, and effects. They review

the properties of fibers, fabrics, and dyestuffs and provides information on

direct dyeing, resists, direct and stencil printing, and needlework

techniques. Directions are clear, complete, and simple. This is the most

complete current book on surface design for fabric.


  1. 301.Waterman, V. Ann. Surface Pattern Design: A Handbook of How to

Create Decorative and Repeat Patterns for Designers and Students. New

York: Hastings House, 1984. 105 pp. Index, bibl., glossary, B/W illus., color

illus. ISBN 0-8038-6779-4.

    This handbook on surface design for industrial production and

merchandising focuses on designing for architecture, textiles, furnishing

materials, linens, paper products, and china. The logical and

straightforward presentation begins with a discussion of the profession.

Then it deals with repeats and patterns, working drawings, rendering,

color, professional practice, exercises suitable for a commercial portfolio,

examples of patterns in crafts, inspiration sources, basic materials, and

typical repeat sizes. The well-illustrated and informative 10-page color

chapter covers hue, value, and chroma, and emphasizes the use of different

color ways. Attention is given to special demands of pattern design, the

appropriate number of colors, the influence of color relativity, maximizing

color impact, and using color to affect the flow of pattern. This book may

prove helpful to a broad range of readers.


302. Weigle, Palmy. Color Exercises for the Weaver. New York:

Watson-Guptill, 1976. 160 pp. Bibl., color illus. ISBN 0-8230-0727-8.

    Based on a weaving course taught by the author, this book provides

the basics of formal color theory as they apply to weaving. First, color

theory fundamentals are discussed with emphasis on Chevreul and

afterimages. Then a section on color perception in weaving explains why

woven color acts differently from painted color and tells how to predict

what will happen when two colors are woven together. A helpful reference

chart of color combinations and their effects on each other is included. The

remainder of the book consists of detailed instructions for color exercises

with discussions of the results, although there is no explanation of why

colors change. Detailed instructions for weaving color samplers of primary

secondary, and neutral colors and a color blanket that serves the same

purpose as a hue circle. Forty-three color plates illustrate the exercises and

woven objects that demonstrate the application of color principles.


303. Wipplinger, Michele, ed. Color Trends. Seattle, WA: Color

Trends, 1990. 130 pp. B/W illus., color illus.

    This imaginative publication consists of brief essays and handsome

illustrations, contributed by 13 craftspeople, grouped into six chapters titled

“Colors and Dyes,” “Colour of Fiber,” “Woven Colorés,” “Surface

Coleur,” “Quilted Kolor,” and “All the Trimmings.” Topics in the “Colors

and Dyes” chapter include the history of purple (by Marj Hudson), how

Mexican dyers create purple dyes from shellfish (by Michele Wipplinger),

iridescence, and a presentation of the summer 1990 color trends in fabrics.

Other chapters cover hand-spinning, ikat, marbling fabric (by Don Guyot),

art hazards, and hot-line information on materials. The practical

information, the many tipped-in fiber or fabric samples, the captivating

photographs of weavers and dyers from several ethnic groups, and the

stimulating ideas for the studio artist make this a visual feast for fiber artists

and designers.




CLICK FOR NEXT PAGE