Fibre
INTENT
The garment has been created as a functional art form. Within a standard design (e.g., scarf) there can be a diverse range of texture, colour, materials, and methods used in its creation. Design, material content and function should be presented as a harmonious unit. Work should exhibit an understanding and respect for the properties of the materials and should demonstrate the skillful manipulation of basic materials in producing the object. Functional work should be reasoned and carefully thought through in form and function to reflect the intended use.
DESIGN
If the intent is to create a wearable garment (as opposed to a gallery type wall piece), it must be designed to fit a body with appropriate sizing. Careful designing must clearly reflect the intended use of the piece.
PRODUCTION QUALITY AND TECHNIQUE
The object must reflect excellent craftsmanship, and good working knowledge of the tools and materials used (i.e., dye materials) in either “one-of-a-kind” or a production piece, exhibiting care, and attention to detail. Both production and “one-of-a-kind” work should show a unique/personal identity of design. Functional work should be designed with end use in mind. Fabrication should exhibit high levels of skill in the following:
Base materials should be high quality and appropriate for end use
Clothing and accessories should be constructed with care (see other Guidelines)
Appropriate proportions within the forms
Appropriate choice of material is essential to the wear and care of the finished object
Cutting and sewing of clothing, accessories and home furnishing should be done with care. Types of seams should reflect the kind of stress and wear required for the intended use.
Seams, joints, zippers, and eyes should be secured
Toys for young children must be free from finish details or accessories that are potentially harmful
Any loose threads, thread ends, and clipping must be removed
SOURCE OF INSPIRATION
The object must be designed and fabricated by the applying maker. Since, in reproduction, there is no design input, the onus of judgment is upon technical skill alone. Copying currently produced work is not acceptable. The historical elements of a traditional adaptation should be clear; an original approach and personal interpretation should be the major consideration.
MATERIAL USED
Materials should be appropriate to the intent of the pieces, both in purpose and visual appearance. Fibre must be of appropriately good quality for longevity and wear of the final product. Work must demonstrate a level of technical competence and understanding of the materials used.
FABRICATED CONTENT
Commercially fabricated elements (findings, buttons, zippers, packaging, etc.) must be of fine quality, and if appropriate, fulfill the requirements of other media. Clothing and home furnishings should be labelled, the content and care as required by law.
SPECIFIC EXCLUSIONS
Use of hand hemmed scarves is permitted. Pre-made clothing is not permitted unless fabricated by the applying maker. Commercial pillow forms are acceptable for inside of cushions, new fibrefill for plush items.
LABELLING
Labeling for clothing must have contact information, generic name, and percentage of fibre content. Sections must be declared separately (i.e. Bodice – rayon, Skirt – wool). BAS recommends labeling for care of weaving, etc., especially those made with natural fibres. In addition, see General.
Fibre – Additional Considerations
Dyed & Print Textiles
PRODUCTION QUALITY AND TECHNIQUE
Dyeing Techniques
Base fabrics should be high quality and appropriate for end use.
Solid areas should be an even colour (when intended to be so).
A tied, sewn, or applied resist should reserve the intended area in white or desired colour and show a firm, consistent drawing style.
Salt should be used in “French dyes” only when appropriate to design.
Printing Techniques
Each colour area should be consistent, not interrupted with splotches, pinholes, or clogged areas on screen.
Finishing
Dyes and pigments must be heat set, steamed and washed as appropriate and/or needed.
Resists (gutta, wax, etc.) should be completely removed.
Clothing and accessories must be constructed with care (see other Guidelines).
Quilting
DESIGN
Design for quilting is almost limitless. A quilted work of art is generally defined as two layers of cloth held together by stitching. A middle batting layer made of polyester, cotton, wool or silk is also incorporated. Although the craft has a strong basis in traditional design, original concepts should reflect the maker’s own interpretation of the medium. Proportions should suit the intended use of the finished piece. Colour in quilt making is a major consideration and should reflect the personal choices and inherent knowledge of the maker. Again, this choice should be made with the proposed use and location of the finished quilt in mind.
In the case of Quilt Art, sometimes known as art quilting, mixed media art quilts or fibre art quilts, this approach uses both modern and traditional quilting techniques to create art objects. Practitioners of quilt art create it based on their experiences, imagery, and ideas, rather than traditional patterns. Quilt art is typically hung or mounted. Although quilt art originated in traditional quilting techniques, quilt art now incorporates many different processes to create their artwork, including but not limited to, painting, dyeing, stamping, piecing, collage, printing (often incorporating a photograph printed onto fabric), applique, and other complex cloth processes.
PRODUCTION QUALITY AND TECHNIQUE
Quilted work must reflect excellence in technique and uniqueness of colour and design. Work should reflect the maker’s personal ingenuity and respect for the craft. Use of texture through material choices and techniques can and should be an integral part of the design and colour planning. Texture can be achieved through materials chosen or manipulation of stitches and fibres used. Surface texture on wall hangings should reflect ingenuity and thoughtful interpretation of design elements. Proper finishing techniques vary, but edges must be particularly clean and thoroughly bound since this can be the weakest element in the wearing properties. Wall hangings should be well bound, lined, or firmly finished at the edges in a manner appropriate to the designer’s intention. Finish and details should show the utmost competence in the medium. Solid hanging devices should assure the piece hangs evenly. REVERSE SIDE: stitches should adequately cover backing material.
MATERIAL USED
Recycled materials are acceptable, indeed desirable, since their use is a basic concept of the quilting tradition, but materials must be of the highest quality available.
Materials should/could be over-dyed, or colour removed from found materials to achieve enhancing effects for designed results.
Appropriate choice of material is essential to the wear and care of the finished object.
Binding materials should be appropriate in colour and width.
COMMERCIALLY FABRICATED CONTENT
Hanging devices should be strong enough to support the weight of a piece. They must be unobtrusive and should only be evident if they have been planned as an enhancing element of the overall design.
Framing is not desirable, but if used, the quilt should not be behind glass.
LABELLING
The maker’s name or initials and the date completed could/should be part of the design. In addition, see General.
Rug Hooking
DESIGN
Design for rug hooking is almost limitless, its restriction being that a rug for the floor have even surface; that a wall hanging hang freely from a secure rod or hanging device. Although the craft has a strong basis in traditional design, original concepts should reflect the maker’s own interpretation of the medium. Proportions should suit the intended use and location of the finished piece (i.e. long, narrow runner for a hallway, a square or round rug for a specific space, a semi-circular threshold rug, etc.). Colour in rug making is a major quality and should reflect the personal choices and inherent knowledge of the maker. Again, this choice should be made with the proposed use and location of the rug in mind.
PRODUCTION QUALITY AND TECHNIQUE
The hooked piece must reflect excellence in technique and uniqueness of colour and design. Work should reflect the maker’s personal ingenuity and respect for the craft. Use of texture through material choices and techniques can and should be an integral part of the design and colour planning. Texture can be achieved through materials chosen or manipulation of stitches and fibres used, in height and width of strands. Surface texture on wall hangings should reflect ingenuity and thoughtful interpretation of design elements. Proper finishing techniques vary, but edges must be particularly firm and thoroughly bound since this can be the weakest element in the wearing properties of either a rug or hanging. Some sculpturing of raised hooking is acceptable on a floor covering if it is low and the function of the piece is not compromised. Wall hangings should be well bound, lined, or firmly finished at the edges in a manner appropriate to the designer’s intention. Finish and details should show the utmost competence in the medium. Solid hanging devices should assure the piece hangs evenly. Rug corners should be mitered and lie flat on the floor. All surfaces of rugs should be even, and the ends of strands should be clipped to surface height. REVERSE SIDE: stitches should adequately cover backing material.
MATERIAL USED
Recycled materials are acceptable, indeed desirable, since their use is a basic concept of the rug hooking tradition, but materials must be of the highest quality available.
Materials should be over-dyed, or colour removed from found materials to achieve enhancing effects for designed results.
Appropriate choice of material is essential to the wear and care of the finished object.
Binding materials should be appropriate in colour and width
COMMERCIALLY FABRICATED CONTENT
Hanging devices should be strong enough to support the weight of a hooked piece. They must be unobtrusive and should only be evident if they have been planned as an enhancing element of the overall design.
Framing is not desirable, but if used, the hooking should not be behind glass.
Rugs should be bound with proper woven rug binding.
LABELLING
The maker’s name or initials and the date completed should be an integral part of the design and hooked in if possible, particularly into a rug. In addition, see General.
Weaving
PRODUCTION QUALITY AND TECHNIQUE
Construction
Density of warp and weft should be appropriately balanced. The final cloth should exhibit the drape or stiffness needed for end use.
Selvages should be firm and straight.
Weave structures and yarns should be chosen to enhance the appearance of ‘hand’ or the finished cloth.
Overshot weaves and tartans should be beaten in a way to produce/reproduce the 90- and 45-degree angles of the traditional cloth.
In weft face tapestries and rugs, the cotton or linen warp should be covered. The end fabrics should be firm, but not beaten so vigorously as to be spongy. If the warp is intended to show, this fibre should blend appropriately with the weft.
Weaver-dyed yarns should be stable in the light and washing conditions expected in the use of the final piece
No knots should show on the surface of the cloth.
Clothing should be comfortable to wear – should be at ‘ease’ to finished piece. Neither a rippling, indicating too much weft, or a tight appearance indicating not sufficient weft should be apparent.
Finishing
Cutting and sewing of clothing, accessories and home furnishing should be done with care.
Fringes should be secure and finished in a way that complements the piece.
Cloth for clothing, bedding and table linens should be appropriately finished (perhaps shrunk and washed) so warp and weft ‘become cloth’.
Wall hanging and/or sculpture should be neatly finished with hardware and hanging devices in place.
Innovative or experimental work may not follow traditional criteria, but work should be stable and well-finished.
Basketry
PRODUCTION QUALITY AND TECHNIQUE
Work must reflect excellent craftsmanship and should show a unique/personal identity of design. Functional work must function well and will be used in jurying. Fabrication should exhibit high levels of skill in the following basketry techniques:
Plaiting, coiling, twining, wicker, knotting, looping, wrapping, stitching or random weave.
Rows of weaving should be placed in keeping with the design and intended use of the basket.
Joins in materials should be clean and even.
Handles should be securely joined to the basket.
Rims should be evenly woven in keeping with the design and intended use of the basket.
The lids should fit well.
Each piece should be well finished on all sides.
Paper
PRODUCTION QUALITY AND TECHNIQUE
Work must reflect excellent craftsmanship and should show a unique/personal identity of design. Fabrication should exhibit high levels of skill in the following techniques:
Cutting, plaiting, coiling, twining, knotting, looping, wrapping, weaving, stitching of the paper as required.
Joins in materials should be clean and even.
Each piece should be well finished on all sides.