Sculpture and Fibers

Vocabulary
Additive- Refers to the process of joining a series of parts together to create a sculpture.
Structure- The way in which parts are arranged or put together.
Form- A three-dimensional shape.
Visual literacy- Includes thinking and communication. Visual thinking is the ability to transform
thoughts and information into images; visual communication takes place when people are able to
construct meaning from the visual image.
Performance art- A type of art in which events are planned and enacted before an audience for
aesthetic reasons.
Texture- They way something feels, or looks as if it would feel, if touched.
Space- The empty or open area between, around, above, below or within objects.
Assemblage- A three-dimensional composition in which a collection of objects is unified in a
sculptural work.
Sculpture- A work of art with three-dimensions, height, width and depth.
Stitchery- Term for artwork created with needles, thread or yarn, and cloth.
Quilting- The process of stitching together two layers of cloth with padding between the layers.
Weaving- The process of interlocking threads or fiber-like materials to create fabric.
Weft- In weaving, thread or other fiber-like materials that are woven across the warp from side
to side.
Warp- Series of tight threads stretching lengthwise on a loom, through which the weft is woven.
Subtractive method- Technique of making sculpture in which a form is created by cutting,
carving away, or otherwise removing materials.
Materials
Sculpture:
Wood, Aluminum foil, Wire, Plaster, Clay, Paper mache, Soap
Pliers, Scissors
Pdf of terms for students to know:
http://www.columbus.k12.nc.us/echsart/SCULPTURE%20TERMS.pdf
Fibers:
Paper, Muslin, Cotton, Yarn
Pdf of terms for students to know:
http://www1.dcsdk12.org/secondary/trhs/staff/wilson/artdept/dcsdart/pdfs/middleschoolcurriculu
mpdfs/hvocabtextiles.pdf
History of Sculpture
http://www.scholastic.com/browse/article.jsp?id=3753866
Tutorials
Sculpture: Introduction to Wire
https://youtu.be/mQefExKSXdQ
Clay Sculpting Tools

https://youtu.be/IyBRSsVQOTY
Basic Sculpting Tools
https://youtu.be/16LhD25RUQI
Popular Videos- Sculpture & Crafts
https://www.youtube.com/playlist?list=PLaOZQCQIBfZT-NQ4kO66mBAjyXJ4iMlR6
Prima Fiber Arts Loom Kits: Techniques Part 1
https://youtu.be/4VKskQxmaKs
Prima Fiber Arts Loom Kits: Techniques Part 1
https://youtu.be/K0iSKnd2-TY
Popular Videos: Fiber Art & Material
https://www.youtube.com/playlist?list=PLeWnP_9_03WhGJztJkzeEh39xIy_sNV-O

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Basket Weaving Terms and Techniques

Tools
You will need a pan or pail for water, pinch clothespins, a yardstick, pencil, clippers or heavy scissors, an
awl or small flat screwdriver, and a surform shaver.

Soaking
Commercial reed needs to be soaked in warm water for about ten minutes. Ash, cherry and walnut need less
soaking time.

Laying Out the Base

Bases are laid out in a basic over 1/under 1 weave, each row being opposite its neighbor. Start with 3 x 3
spokes, centered, and grow to the required number of spokes for each basket's directions.

Measure the base for width and length, making sure spacing is even. Halve the measurements and measure
from the center for more accuracy. Unless specified, bases are generally laid out rough side up with the
center of the spokes marked on the rough side.

Twining
Twining is a weave normally using round reed. Use a long piece of the size specified (or use 2 pieces) and
find the center. Give it a twist between your fingers (or crimp it with a needlenose pliers) and fold it in half.
Hook it over a spoke and bring both ends out to the front.

Have the long ends going towards the right if you are right-handed, reverse for left. Take the top (or front)
piece and put it behind the next spoke and back out to the front. Repeat until the correct number of rows is
completed. Cut off ends on the inside.

Triple Twining
Triple twining is twining with three pieces of round reed instead of two pieces. Use three pieces of reed
starting: one behind one spoke, one behind the next (second) spoke to the right, and one behind the next
(third) spoke to the right, with ends coming out to the front.

Take the piece farthest to the left and put it behind (and out to the front again) the fourth spoke. Take the
piece now farthest to the left and put it behind the fifth spoke. Continue taking the weaver farthest to the left
and weaving it behind the "next available spoke" - the one with nothing behind it yet. This twining is
actually "over two, behind one."

Upsett
To "upsett" means to gently bend up the spokes at the base perimeters. This just makes the upward weaving
easier.

To Weave a Row
Unless specified, normal weaving is weaving one row at a time, over one/under one. Weave with the good
side of the reed (smooth, less splintery side) towards the outside of the basket. Place the end of the reed on
the outside of a spoke.

Weave all the way around - over one/under one - using lots of clothespins to hold it in place. The more
clothespins you use, the better shaped basket you will get.
To finish a row, overlap your piece of reed by four spokes and cut it off. If woven correctly, both ends will
be hidden. The end of the weaver will slip into weaving at the beginning of that same row.

If weaving with flat/oval reed, it is best to shave off the "oval" on the bottom piece, so that the area of
overlap is not so bulky.
Consecutive rows are opposite the row before it (if over/under, then under/over). Be sure to rotate your
basket so that all your stop/starts will not be on the same side. Try to start far enough to the left on each
side, so that you don't have to "overlap by four" around a corner. Also be sure to pack down the rows as you
weave so that there are no spaces showing between the rows of weaving.

Fold and Tuck

Unless specified, you will fold and tuck the outside spokes. Fold from the outside, the end of a spoke and
tuck it into a row (or rows) of weaving on the inside of the basket. It is best to fold it over, cut off any
excess, and then tuck it in to get a clean finish. The inside spokes can be cut off with the top of the last row
of weaving.

Wrap the Rim

To wrap the rim means to take two pieces of reed and wrap one around the inside and one around the
outside of the rim, with a two to three inch overlap. Have the inside rim overlap on the opposite side that the
outside ends do - and try to avoid overlapping rims at the handle. The rim covers the top row of weaving.

If flat/oval is being used, then both ends should be shaved down where they overlap (one on the top side/the
other on the bottom side) so that they will lay down smoothly.
Rim filler is usually seagrass or round reed and lays between the two rim pieces to make a nice, clean finish
to the rim.

Lashing the Rim

Using 1/4" flat or cane, lash the rim to the basket (this is a lot like sewing). Bury the ends by going under
the inside rim and down the inside of your basket, under the weavers. Lash a "stitch" over the rim, coming
out in between the rim and your second row of weaving. Remember - your rim is covering the top row of
weaving. Make a stitch" between every set of spokes. You will want to make an "X" at the handle.

Wrapping the Handle

If you are using reed for the handle, you will want to wrap the handle with reed for a finished look. Start
with a new piece of 1/4" flat, burying the end on the inside of the basket. Tightly wrap the handle with the
1/4" flat, each row snug to the row before it.

An "X" lashing can also be used: go across the handle one way, leaving space between each wrap around.
Then turn around and come back across the handle, making an "X" each time.

Accent pieces of dyed 1/4" flat can be used to match the basket. Lay the end of the dyed piece under a few
rows to secure it, then go over and under it to create a pattern as you wrap the handle.

Return to: Basket Tips

Just Patterns
The Idea Magazine for Basketmakers
(616) 846-7926 * sheri@justpatterns.com

How to Mix Plaster for Sculpture

Mixing plaster with a "rule of thumb" method doesn't require precise measurements. Sculptors
typically use this method to mix small to moderate amounts of plaster (less than five gallons/22
liters) for molding and casting. The same instructions apply to all standard gypsum plaster
products, such as Plaster of Paris, Hydrocal, Densit, etc.

Steps

1. Estimate the amount of mixed plaster and silica your project

requires. Remember it is 1/3 plaster, 1/3 silica flour and 1/3 water.
Experience is the best guide here, so as a beginner you will just have to
make your best guess, then mix extra to be sure you have enough. Use common sense.

2. Premix plaster and silica flour.

3. Pour clean, lukewarm water into an empty, flexible mixing

container. A a standard two-gallon (7.5 liter) plastic bucket is a
good container. The amount of water should be approximately one
third the total amount of mixed plaster/silica you estimated in Step
1.

4. Add dry plaster and silica to the water. Gradually pick up

handfuls and sift the powder through your fingers. This will break up
any clumps, letting the powder fall into the water. Work quickly, but
avoid dumping the plaster into the water. Don't stir or mix the
combined water and plaster/silica.

5. Continue sifting plaster/silica into the water. Watch for it to start

sinking slowly. Eventually some of the powder will stay on top of the
water. As you add more plaster, distribute it to areas that still have water
on top.

6. Stop adding plaster/silica when there is no more standing water in

the bucket.The surface of the combined water and plaster/silica should
be mostly grayish in color, with some areas of white dry powder. Don't mix
it yet!

7. Let the bucket sit for a few minutes. Let it stand during the time that
you make any final preparations for your project. If you are molding or
casting with the plaster, this is a good time to double-check that you have
applied the proper release agent to your pattern or mold.

8. NEVER mix the plaster with your hands. Plaster reaches a high
temperature as it reacts chemically with the water and can cause serious
burns!. Use a wooden spoon or similar instrument as one would use an
egg beater: Reach down to the bottom of the container and use a
side-to-side movement like an exaggerated "hello" wave.

9. Try to eliminate any lumps and break them up. When

thoroughly mixed, the plaster is ready to use in your project.

Mixing Plaster video

https://www.youtube.com/watch?v=gq5qqmMeQtg&feature=youtu.be

Tips
-Plaster tends to leach moisture from skin. You may want to use hand lotion after mixing.
Almond oil is excellent, as are your normal moisturizers.
-The water temperature makes a difference. Hot water will speed up the setting of the plaster;
cold water will slow it down. Depending on your project, you may want to use either hotter water
for faster turnaround when pouring molds or cooler water for a slower process.
-The easiest way to clean up unused plaster is to let it harden in the mixing container. It can
then be popped out into a trash can easily by turning it upside down and hitting the bottom and
sides of the container with your hand (hence the importance of using a flexible bucket).
-You can use any movement you like for mixing the water and plaster, but avoid whipping air
bubbles into the mix. Bubbles can be detrimental to the surface of your mold or casting.
Warnings
Always wear a dust mask as the inhaled plaster dust particles will mix with fluid in your lungs
and harden there. This is very dangerous and easily avoided.
Avoid getting plaster on clothing or other items of value. It can be very difficult to remove from
fabric and other porous surfaces. However, if there is an accident and it spills on fabric, it's
worth trying to remove it. Don't automatically deem any soiled item ruined.
NEVER use hands to mix plaster or apply plaster to set directly on any body parts or skinserious burns have occurred resulting in amputation of fingers and limbs.
Never pour plaster down a sink or other drain. It can solidify and ruin the plumbing. Dispose of
unused plaster in the trash. Rinse wet plaster off hands in a bucket of water before washing
them in the sink.

Things You'll Need

Plaster (dry powder)

Source of clean water
Plastic bucket or other flexible mixing container
Project needing mixed plaster

Screen Printing 101 for the Art Room

Chelsie Meyer
https://www.theartofed.com/2012/06/19/screen-printing-101-for-the-art-room/
The Idea
Who came up with the idea of Screen Printing t-shirts to raise money for a cause?
My students!
I challenged my 8th Grade students with a class project called Y
ou-in-Society. For the
You-in-Society project, students had to create an art project that positively impacted their
community by using art. My first class to decide to print t-shirts came from an emotional desire
to help out a classmate, who at the time was very sick and waiting for a kidney transplant.
Students designed the t-shirt with their classmate in mind. We sold over 100 t-shirts! The profits
from the project went to her and her family. Since this first event, we have screen printed for
Relay for Life and other charities.
Print your Own T-Shirts with this Easy
Tutorial!
Organizing your Pre-Orders
This step is very important! Pre-Orders allow
you to collect the money and know how many
of each size you will need when it comes time
to print. This step ensures that you raise
money.
Print a sample shirt or put your graphic on a t-shirt logo, to help give your customers an idea of
what the finished product will look like before they buy. I create a pre-order form with the
students name, homeroom or advisory teacher (as this is the way most things at the middle
school are sorted back to students), t-shirt size, and the quantity.
After you collect the money and pre-order form, then you can go and purchase what t-shirt sizes
you need. This is the beauty of a pre-ordering! You will have money in hand to purchase the
amount of t-shirts you will need! You know exactly how many you need and in what sizes! I
always grab a few extra, just in case!
Printing

After researching various methods I found, Drawing Fluid and Screen Filler. It is a simple
process to create some great screen prints and is very student friendly. Students in upper
elementary could even handle this project, and of course, high schoolers would do great as well.
Check out the great YouTube video that helps to visualize the process:
https://www.youtube.com/watch?v=TVJzHzhyo-U&feature=youtu.be
Here are the steps to Screen Printing using Drawing Fluid and Screen Filler:
1)

Students work together to draw a design and make 2 or 3 photocopies.

2)

Then students placed the photocopied image under the screen and paint the Drawing

Fluid onto the screen, using the image underneath as a guide.

3)

Once the image is painted on using the Drawing Fluid, let it dry overnight and the next

day squeegee on the Screen Filler. Anywhere you painted the Drawing Fluid will resist the
Screen Filler. The Screen Filler creates a coating on the screen to block the ink from going
through.
4)

Then after the Screen Filler dries, you can simply wash off the Drawing Fluid with water

and the screen appears. So wherever you painted Drawing Fluid is where your printed image
will be in the end.
5)

Now you are ready to print! Grab any color of fabric screen printing ink o
r mix colors to

create your own unique color.

6)

Cut cardboard to put on the inside of the shirt, just in case the screen printing ink bleeds

through.
7)

Put the ink on the screen and squeegee several times to make sure you printed a great

image!
8)

Pull the screen slow away from the shirt- this is my favorite

part! Voila! Presto!

9)

Place a piece of paper over your image to heat set the

screen printing ink with an iron.

10) Organize your finished t-shirts by sizes and homerooms and
start handing out your wonderful student-designed, studentprinted t-shirts!

Stamping
Glossary of Stamp Terms & Techniques
Courtesy of RubberStampede.com
Masking
A technique of covering a stamped image to protect it from subsequent applications of color. A method used
to create foregrounds and backgrounds.
How to instructions:
1. Stamp foreground image onto surface first.
2. Re Stamp image on Post It Note
3. Cut image out
4. Align cut out image (mask) over foreground image.
5. Stamp second image overlapping mask.
6. Remove mask.
7. Second image "appears" to be in background.
Mirror Image Stamp
A flat rubber stamped used as a tool to create a reverse or "mirror" image of a rubber stamp.
How to instructions:
1. Ink a rubber stamp
2. Stamp onto "Mirror Image" Stamp
3. Stamp onto paper
4. Image will be reversed.
5. This imprint will be light because it is a second generation print. Image can be touched up with markers if
desired.
Pigment Ink
A thick, slow drying ink. Colors are rich and vibrant even on colored papers and cards. Will not dry on glossy
coated papers unless embossed.
Stamp Cleaner
Used to clean ink from stamps. Use applicator top to apply cleaner to stamp, then pat stamp dry on paper
towels.
Stamping Mat
A durable foam mat used as a work surface for stamping. The mat "gives" slightly allowing the best ink
impressions. Particularly useful for oversized stamps.
Stamping Paint
A highly pigmented, acrylic paint specially formulated to be permanent on a variety of surfaces. This paint
has a slower drying time than acrylic paint to allow the user to apply different colors to a stamp for
multi-color impressions. Fabric must be heat set on reverse side to make permanent.
Wedge Sponge
Used to apply paint to stamps. Load paint or ink onto flat edge of sponge. Pat paint or ink onto surface of
stamp. Also used as a tool to sponge color onto a variety of surfaces such as paper, fabric and wood.
Glossary of Stamp Terms & Techniques (part 1) (Feb. 03)
Dye Based Ink
A quick drying water based ink. Colors are most vibrant on white, glossy coated papers and cardstock. Not
recommended for use with embossing powder. Ink fades with time and when exposed to light.

Embossing (or Thermal Embossing)

A technique using stamps with embossing or pigment ink, embossing powder and a heat source to create
raised images. Stamp image with ink, then sprinkle embossing powder over image. Tap excess powder and
reserve for future use. Heat image until powder melts.
Embossing Ink
A slow drying ink used for "embossing".
Inking a Stamp
There are several ways to ink a stamp:
1) Using Felt Ink Pads - Tap stamp firmly onto ink pad until stamp is evenly inked. Raised felt ink pads can
also be picked up and patted onto stamp to apply color.
2) Using Foam Ink Pads - Tap stamp gently onto ink pad until stamp is evenly inked. Raised foam ink pads
can also be picked up and patted onto stamp to apply color.
3) Using Brush markers - Use only water based brush tip markers as solvent or alcohol type inks will stain
and dry rubber out. Brush markers are used by applying the brush tip marker directly onto the stamp.
Multicolor impressions are achieved by using additional colors on various areas of the stamp. Remoisten
inks prior to stamping by breathing on inked stamp.
4) Using Wedge Sponges - Use the flat edge of this sponge to apply inks or paints to the stamp in a patting
motion.

Weaving Terms
Beaming to roll the warp threads onto the back , yarn storage beam of the loom the warp beam.
Cross the figure eight made at one end of the group of warp threads used to keep those threads in order
during the threading and sleying process of dressing the loom
Draft - a "map" of your weave structure. A full draft is made up of four parts the threading plan, the tie-up
box, the treadling plan and a draw-down of the weave structure. This is an international language
understood by weavers around the world.
Dressing the loom another way of saying warping or loading the loom.
E.P.I. - short-form for "ends per inch". The number of warp ends in each inch of fabric as you count them
side to side.
Fell - the leading edge of the fabric just woven. The fell lies nearest your next weft shot to be woven.
Filler is the weft fibre used to weave across the warp threads. (Older term was woof) This can be yarn
made from animal, vegetable or mineral, or simply a grouping of loose fibres stranded into a roving which
can be packed between the warp threads.
Fibre Content is important to know so that you'll know how your fabric will behave and how to care for it.
Finishing 1) This refers to techniques used to turn the woven web into a cohesive fabric usually
involving washing or dry cleaning, brushing etc.
Finishing - 2) Various means of adding details to your completed projects such as fringes, hemming
techniques, knotting etc.
Heddles devices within the shafts or harnesses of the loom with an "eye" through which warp ends are
threaded. They can be made of string, wire, flat steel or polyester.
Lease Sticks flat sticks which are usually the width of your loom. In some techniques of warping, they can
be used for keeping a warp cross secure while proceeding with dressing the loom.
Loom Waste - refers to the portion of the warp length between the back of the heddles to in front of the
beater which cannot be woven at the end of a length of weaving, in addition to that portion of the warp
required in knots etc for tying onto the front and back beams of the loom. This amount varies with loom
brands and sizes.
P.P.I. - picks per inch. This is the number of weft shots in an inch of weaving length just as epi is the
number of warp ends per inch of weaving width.
Pick refers to a single pass ( or shot) of weft thread.
Ply when yarn is spun, it is twisted into a single strand. This will be referred to as "singles" or "single ply"
yarn even though it was never actually plied. Two strands together are called a 2-ply yarn, 3 singles a 3-ply
yarn etc. Plied yarns are generally more "balanced" and easier to handle than singles for warping.

Problems a word used for an opportunity to invent creative solutions and thus learn more. They happen
to everybody who is actively involved in the process of doing something. Just remember if you can come
up with any kind of workable solution it's "legal .
Selvedge (selvage, selvege) - the sides of the fabric. Sealed edges that don't ravel, just like on
commercial fabrics.
Sett, set refers to the number of ends per inch. Set is the verb, sett is the noun. The was set at 20 epi.
The warp sett was 20 epi.
Shot one pick, or pass of the weft thread.
Shuttle a device to assist storing and delivering yarn as weft. They can be a flat stick, ski shape, or boat
shuttle.
Sley to put warp through the reed, often uses a "sley hook" to assist the process.
Take-up - the flexing or curving of warp threads and weft threads as they interlace to form the woven web of
fabric, causing a "shortening" effect.
Threading Hook - a long, skinny hook to assist threading warp ends through heddles.
Warp the lengthwise threads of the fabric those which are loaded onto the loom, under tension, in
preparation for weaving. Each thread is called a warp end.
Web woven fabric. This word is used more when the fabric is still on the loom.
Weft the crosswise, or horizontal thread running from selvage to selvage, perpendicular to the warp
threads.
Yarn thread. Perhaps one refers to thinner strands as thread, thicker strands as yarn.

Wire
Rose Gold-Filled
Rose gold-filled wire is created in nearly the same way as gold-filled wire, except that copper is
added to the gold to create a pink-tinged alloy that is fused onto the base. Some people who are
especially sensitive to copper may have allergic reactions to rose gold-filled wire due to the copper
present in the alloy.

Twisted Artistic Wire

Twisted Artistic Wire is made by twisting three strands of round Artistic Wire together, creating a
unique texture and feel to the wire.

German Style Wire

German-style wire has a copper core and features an anti-tarnish coating. The wire is half-hard,
giving it the perfect temper and finish for most jewelry wire wrapping uses.

Memory Wire
Memory wire is a hard, permanently coiled steel wire that retains its coiled shape. Because of its
hardness, it can only be cut with the Memory Wire Cutter. It comes in various diameters appropriate
for necklaces, bracelets and rings. Our memory wire is approximately .8mm in diameter, so can be
used with most of our selection of beads.

Beading Wire
Soft Flex and Beadalon are flexible beading wires made of multiple strands of stainless steel
covered with clear or colored nylon, which makes them strong and durable. The material of choice
for most bead-stringing needs, beading wire has an attractive drape, doesn't kink, and is available in
many diameters from .010" (very fine) to .024" (heavy). Beading wire is firm enough that it can be
used without a needle. You must use crimp beads to securely fasten it to a clasp. See our crimping
and beading wire reference chart to find out which sizes to use together.
Half Hard Wire
Half-hard wire has been hardened but is still very malleable. This term is usually used with sterling
silver or gold filled wire. Because it has been hardened, half-hard wire will maintain a loop, bend or
shape under some stress. Half-hard wire is commonly used when making wire-wrapped jewelry or
simple loops.

Dead Soft Wire

Dead soft, which refers to the hardness of wire, is usually used to describe sterling silver or gold filled
wire. Dead-soft wire has not been hardened at all, making it the most malleable. It is most often used
when a design calls for making several bends and loops. Wire becomes harder as it is manipulated,

so using dead-soft wire will enable you to manipulate it longer before it becomes too brittle to work with.
Base Metal Wire
Base metal refers to any metals other than precious metals. They are usually alloys of non-precious
metals. Base metal wire is usually made of tin, copper, bronze or nickel. It can be coated or plated
with precious metals such as silver or gold. It can also be coated with a permanent color coating.
Base metal wire is available in gauges 16 through 30. Some people may have allergic reactions to
base metals. For full-color charts of colors and gauges available in three brands of colored wire at
FusionBeads.com, please download our free PDF documents on Artistic Wire, Parawire and Soft

Flex Craft Wire.

Gold-Filled Wire
Gold-filled wire is made by fusing a layer of 14kt gold to a base metalusually brass that results in
a permanent bond. The gold layer on gold-filled products is thicker and will wear better than
gold-plated products. Although gold-filled wire is considered hypoallergenic, some people who are
especially sensitive to metals may still have allergic reactions to it.
Fine Silver Wire
Fine silver wire is 99.9% silver. Because it has a higher silver content than sterling, it is much softer.
Jewelry designers find fine silver wire ideal for making ball headpins and fusing rings. Because it
does not contain the copper that sterling silver does, fine silver will not oxidize and turn black when
heated.
Silver-Filled Wire
Silver-filled wire is made by fusing a layer of .925 sterling silver to a brass core, resulting in a
permanent bond. The sterling silver layer is 1/10 or 10% by weight of the total material. More
durable than silver plating, which contains only a fraction of the silver content by comparison,
silver-filled products are a beautiful, low-cost alternative to sterling silver. Silver-filled products will
tarnish over time but can be polished.
Sterling Silver Wire
Silver is a natural precious metal. When silver is combined with copper in a 92.5% / 7.5% ratio, it is
considered sterling. Adding copper to silver makes the silver harder and easier to work with. Sterling
silver wire will tarnish over time but can be polished easily.

Gauge
Gauge is the most common measurement of wire thickness used in the U.S. The smaller the gauge, the thicker the
wire. For example, 16 gauge wire is thicker than 22 gauge.
Approximate gauge to metric conversion:
12ga = 2.0mm

14ga = 1.6mm

16ga = 1.3mm

18ga = 1mm

20ga = 0.8mm

22ga = 0.6mm

24ga = 0.5mm

26ga = 0.4mm

28ga = 0.3mm

30ga = 0.25mm

8 Fabric Dyeing Techniques

By Clara
http://www.onlinefabricstore.net/blog/8-fabric-dyeing-techniques/
There are so many fabric dyeing techniques that produce gorgeous and diverse results. Today,
I'll show you 8 different fabric dyeing methods with video tutorials.
All of these techniques are demonstrated using R
it Dye, which
is an all-purpose dye, but you can also use other types of dye
like fiber reactive dyes to get the same results. Just check your
dye's instructions to figure out how much to use, how long to
keep it in the dye bath, water temperature, how to fix it, etc.
For the basic method of dying fabric a solid color with Rit Dye,
watch this Immersion Dye Technique tutorial.

https://www.youtube.com/watch?v=a7M61pYYlOk&feature=youtu.be&list=PLJaX2D8UTb3U9ln
zkSXT9QKt4J3LJmRJB
1.Shibori Tie- Dye with Rubber Bands Fabric Dyeing Technique
This tutorial shows you how to dye fabric using the Shibori tie dye technique. There are many
ways to tie the fabric, which can lead to unpredictable and beautiful results. This video shows 3
ways to tie the fabric with rubber bands to get different patterns.
https://www.youtube.com/watch?v=qSse255eVU0&feature=youtu.be
2. Shibori Tie-Dye with Stitch Resist Fabric Dyeing Technique
Use thread to stitch any design or pattern you can think of onto the fabric, from simple lines to
complex patterns. If you want to create the ogee pattern shown, download the PDF Template.
PDF Template

http://www.onlinefabricstore.net/blog/download/23560/

https://www.youtube.com/watch?v=FrmiGOba9eY&feature=youtu.be
3. Shibori Pole Dyeing Technique

This tutorial shows you how to dye fabric using the Shibori pole dyeing method, which creates a
striped pattern. You can experiment by wrapping the pole in different ways using different colors
of dye.
https://www.youtube.com/watch?v=f4CsBV_tnf0&feature=youtu.be
4. Shibori Folding Technique
This DIY tutorial demonstrates how to dye fabric using the Shibori folding technique. You can
customize the dyeing pattern by folding in different ways, using clasps, and using multiple dye
colors.
https://www.youtube.com/watch?v=eTaAl4us8aY&feature=youtu.be
5. Ombre DIp Dye Technique
This tutorial shows you how to dye fabric using the Ombre dip dye technique. Creating a color
gradient using this method is easy, and you can use it on many different items like clothes and
pillow covers.
https://www.youtube.com/watch?v=9PpIkXBpgMo&feature=youtu.be
6. No-Wax Batik Technique
This tutorial shows you how to dye fabric with the batik technique using glues instead of wax.
You can experiment with different colors of dye and create any design you can think of.
https://www.youtube.com/watch?v=C4MBRZIQxXI&feature=youtu.be
7. Low Water Immersion Fabric Dyeing Technique
This tutorial shows you how to dye fabric using the low water immersion technique. To get a
subtle effect, use a larger container and more water. You can vary the results by using multiple
colored dyes.
https://www.youtube.com/watch?v=m_m4Wjx2lMo&feature=youtu.be
8. Painting Fabric with Dye- Watercolor Technique

This tutorial shows you how to dye fabric by painting the dye by hand onto the fabric. You can
create beautiful watercolor effects and combine this method with other fabric dyeing methods for
a truly unique look.
https://www.youtube.com/watch?v=6hvZLYNaK7U&feature=youtu.be
Tutorial on one way of how to use all the dyed fabrics
DIY Herringbone Quilt Tutorial
https://www.youtube.com/watch?v=GJ6ypckaUFs&feature=youtu.be

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Comparing Casting Processes

Casting is a process in which liquefied material, such as molten metal, is poured into
the cavity of a specially designed mold and allowed to harden. After solidification, the
workpiece is removed from the die to undergo various finishing treatments or for use as
a final product. Casting is typically used to create intricate solid shapes, and cast
products are found in a wide range of applications, including automotive components,
aerospace parts, electronics, mechanical devices, and construction supplies.
Although casting is one of the oldest known manufacturing techniques, modern
advances in casting technology have led to a broad array of specialized casting methods.
Hot forming processes, such as die casting, investment casting, plaster casting, and sand
casting, each provide their own unique fabrication benefits. Comparing both the
advantages and disadvantages of the common types of casting processes can help in selecting the method
best-suited for a given production run.
Sand Casting
Sand casting typically relies on silica-based materials, such as synthetic or naturally-bonded sand. Casting
sand generally consists of finely ground, spherical grains that can be tightly packed together into a smooth
molding surface. The casting is designed to reduce the potential for tearing, cracking, or other flaws by
allowing a moderate degree of flexibility and shrinkage during the cooling phase of the process. The sand can
also be strengthened with the addition of clay, which helps the particles bond more closely. Many automotive
products, such as engine blocks and housings, are manufactured through sand casting. Its main advantages as
a casting process include:
Relatively inexpensive production costs, especially in low-volume runs.
The ability to fabricate large components.
A capacity for casting both ferrous and non-ferrous materials.
A low cost for post-casting tooling.
Despite its benefits, sand casting yields a lower degree of accuracy than do alternate methods and it can be
difficult to sand cast components with predetermined size and weight specifications. Furthermore, this
process has a tendency to yield products with a comparatively rough surface finish.
Investment Casting
Investment casting uses a disposable wax pattern for each cast part. The wax is either injected directly into
the mold or pre-coated with a liquid refractory material before injection. Molten forming material is then
poured into the mold and allowed to harden and set into the shape of the wax pattern. The component is then
ejected, while the wax pattern is melted out of the casting and made available for reuse. Investment casting is
often used to manufacture parts for the aerospace and automotive industries, as well the military. Some of the
central advantages of using an investment casting process include:
A high degree of accuracy and precise dimensional results.
The ability to create thin-walled parts with complex geometries.
The capacity for casting both ferrous and non-ferrous materials.
Relatively high-quality surface finish and detail in final components.
Although it is highly precise, investment casting is usually more expensive than other comparable casting
techniques, and is typically only cost-efficient when sand or plaster castings cannot be used. However, the
expense can sometimes be compensated for with reduced machining and tooling costs due to investment
castings quality surface results.

Plaster Casting
Plaster casting is similar to the sand casting process, using a mixture of gypsum, strengthening compound,
and water in place of the sand. The plaster pattern is typically coated with an anti-adhesive compound to
prevent it from becoming stuck against the mold, and the plaster is capable of filling in any gaps around the
mold. Once the plaster material has been used to cast a part, it usually cracks or forms defects, requiring it to
be replaced with fresh material. The advantages offered by plaster casting include:
A very smooth surface finish.
The ability to cast complex shapes with thin walls.
The capacity for forming large parts with less expense than other processes, such as investment casting.
A higher degree of dimensional accuracy than that of sand casting.
This process tends to be more expensive than most sand casting operations, and may require frequent
replacements of plaster molding material. It is usually more effective and cost-efficient when the quality of
the surface finish is an important requirement.
Die Casting
Die casting is a method of molding materials under high pressure and usually involves non-ferrous metals
and alloys, such as zinc, tin, copper, and aluminum. The mold is coated with lubricant to help regulate the
dies temperature and to assist with component ejection. Molten metal is then injected into the die under high
pressure, which remains continuous until the workpiece solidifies. This pressurized insertion is rapid,
preventing any segment of the material from hardening before being cast. After the process is completed, the
component is taken out of the die and any scrap material is removed. A few of the major advantages provided
by die casting include:
Close size and shape tolerances.
High component dimensional consistency and uniform design.
A reduced need for post-casting machining.
Despite its advantages, die casting has relatively high tool costs, making it more cost-efficient in high-volume
product runs. It can also be difficult to ensure the mechanical properties of a die cast component, meaning
these products usually do not function as structural parts.

Other Custom Manufacturing & Fabricating Guides

How 3D Printing and Additive Manufacturing started from Rapid Prototyping Beginnings
Ceramic Composite Manufacturing
Converting Your Old Mill or Lathe to CNC

Beginner Hand Embroidery: Basic

Stitches

6 / 14 / 15

Were going to focus on beginner hand embroidery,

because I am also still a beginner in this craft. I have
always found hand embroidery to be a fascinating
craft. My mother did hand embroidery when I was a
child, but I never really paid much attention to it at
the time. I seemed more intrigued with sewing
when I was younger, but recently, I decided to step
into embroidery. I have played around with some
machine embroidery, but I am not drawn to it, like I
am to hand embroidery. Machine embroidery is beautiful, and you can put together some truly
amazing designs with it, and if youre a digitizer, it becomes more interesting and creative.
I wanted to try hand embroidery, where I was actually the one doing the stitches, and not the
machine, so I started reading some beginner hand embroidery books and learned some of the
stitches. I found it to be very rewarding, relaxing, creative, and fun! And, there are countless
ways to use hand embroidery add designs to your clothes, towels, quilts, shoes, tablecloths,
placemats, napkins, create wall hangings, doilies, and so much more!

Additional Hand Embroidery Resources

If youre also interested in beginner hand embroidery, like me, then stick around and Ill share
some of the basic stitches and information needed. I will go over several basic stitches, but if
you need further step-by-step instruction, I have several embroidery stitch videos on our
YouTube Channel, or on our Daily Motion Channel, if you prefer.

First of all, the term hand embroidery is also referred to as surface embroidery. To hand
embroider, you will need fabric, a pattern, an embroidery needle, embroidery floss, and an
embroidery hoop.
Patterns can be found on the internet for free (embroiderypatterncentral.com is a good place
to start), or for a fee. Be sure to look for hand embroidery patterns. Depending on your fabric
type, you can trace these patterns onto your fabric, iron transfer, or you can draw it freehand. I
also have a video that addresses pattern transfers.

Lets do some practice stitches!

Preparing for these basic stitches:
Hoop your fabric securely into the hoop.

Using embroidery floss, which is usually 6 strand, separate 2 strands, and thread on your
needle. Next, make an away knot this is not a stitch, but a knot should be used to begin your

stitching. Tie a knot at the end of your thread. About an inch or two from your starting point,
push needle down into fabric, to the backside. Now youre ready for some beginner hand
embroidery stitches (youll cut the away knot off when you are done with your design).
Straight stitch: Come up through fabric, go back down about 1/8 to 1/4 (thats your first
stitch!). Right below your first stitch, come back up, then repeat as above. Continue, and
practice keeping stitches even, and straight. It does take practice!
Back Stitch: Okay, I have to admit that when I first did this stitch, I was doing it wrong! Start
out with a straight stitch. Instead of coming up right below the first stitch, drop down to
whatever your stitch length is (1/8 etc.) and come back up. Now take the needle to the bottom
of you last stitch, and go down in the same hole. There should not be any spaces between the
backstitches. Then repeat, coming up 1/8 below last stitch, and going back down at same hole
as last stitch.
Stem Stitch: Begin the stem stitch by coming up through the fabric, then back down like you
would for a straight stitch, except dont pull the thread all the way through, leave thread loop,
holding it to the left. Now take your needle and come back up through the fabric, in between
where your thread come up, and where it was drawn down. Pull thread all the way through.
That is your first stem stitch repeat and continue!
Chain Stitch: Come up through fabric, go back down near same hole, creating a thread loop of
about 1/8 to come back up through at your stitch length. Pull thread all the way through. To
start next stitch, go down into fabric again where your came up, go through thread loop, and
pull all the way through.
Lazy Daisy Stitch: Bring thread up through fabric, then back through fabric near same hole,
leaving a thread loop. Come back up at the length you want your petal or leaf (stitch) to be in
the middle of the thread loop. Tack the stitch on the other side of the thread. That is your first
lazy daisy stitch! Now move on to the next petal, leaf, etc. placing them where you want them.
You can find all of theses stitches, and a few more on our YouTube Channel.

You are on your way to learning the beautiful art of embroidery needlework. Grab your
embroidery hoop, and draw some doodle designs to practice your stitches. I am not an artist
but I can doodle! Everyone has to start somewhere, and we hope you will continue your
beginner hand embroidery journey with us!

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Beadwork
Types of Beads
Seed Beads
A very small bead about the size of bird seed. These are primarily used for covering the surface of an object
(a bag, moccasins, etc). They range in size from 10/0 to about 22/0. The larger the number, the smaller
the size. A 10/0 is often used by beginners. Most people work in 11/0 or 12/0. Beads smaller than 13/0 are
rarely made today (some 14/0 are still in production). The very small sizes will make you go blind (just
kidding but they are hard to find and work with). We typically only stock sizes 10/0 - 13/0. Seed beads were
introduced after 1840. Note that seed beads are sometimes called "rocailles."

Pony Beads
Basically a large seed bead. These beads were introduced to the Native American trade
before seed beads (possibly as early as 1675). Some sources say these beads got their
name because they were transported by traders on ponies (but other sources dispute this).
Pony beads are typically found in sizes 5/0 and 8/0. Note that some craft stores call these
"E" beads. The 8/0 is the most commonly used size. These beads are used for the same
purposes as seed beads but the work is obviously not as fine.
Crow Beads
Basically a really big seed bead. These have the same shape but usually range from about
6mm - 9mm with 9mm the most common. Oddly, these beads are sometimes sized with
numbers like 31/0, 32/0 etc. This method is just too confusing (because the general rule is the
larger the number, the smaller the bead, and this breaks the rule). To make matters worse,
some crafts stores call these "pony beads." Arrrrgggg! These beads are usually strung and
used for necklaces, chokers, breastplates, etc.
Charlottes
A "charlotte" is a size 13/0 cut seed bead. A cut seed bead is a bead in which flat surfaces
have been cut into bead. This makes the bead reflect light and sparkle a bit. Very popular for
fan handles, small bags, or anywhere an elegant touch is needed. A very popular bead. Oh,
we have no idea why these are called "charlottes." Note that all charlottes are cut beads,
but not all cut beads are charlottes. They must be a size 13/0 cut.
Fire Polished Beads
In the Native American trade, the term "fire polished" always refers to a round,
facetted bead which is typically 6mm or 8mm in diameter (although smaller and larger
sizes exist). Fire polished actually refers to a method used in finishing beads and
has nothing to do with the size or shape. But in the Native American trade it always
refers to a round bead. These beads are most commonly used in making women's
Plains-style breastplates but also occur in chokers, straight dance bandoleers, and
many other projects. Note that while the bead may be large, the holes are quite small.
You'll need to use some type of bead string, imitation sinew, or something similar to string these beads.
Forget using leather thong of any type.
Tile Beads
Typically a 4-6mm tube shaped bead. These were most commonly used to decorate
Plateau women's dresses but are also used to make drops on bags and other
projects.

Lantern Beads
An interesting octagon-shaped tube bead being made in the Czech Republic. As far as
we know, this is a relatively new bead and has no historical use in Native American
crafts. However, they are quite flashy and pretty cool so we're carrying them to be used
wherever a fire polished bead would be used. These beads have small holes like the
fire polished beads.
White Hearts
White Hearts is a term used to describe a bead which has a white lining. The bead
is actually a transparent glass but the white lining causes it to have somewhat
translucent qualities. White hearts come in many different sizes including seed
beads, pony beads, and crow beads. White hearts have always been a prized bead.
Today, one of the "holy grails" in the old-time seed bead market is trying to make
(or find) the perfect shade of red white heart seed bead. This color was commonly
used by the Plains Indians and has proven to be very difficult to reproduce. In fact,
one of the main indicators used to authenticate antique beadwork is the color of
white heart used (as well as other colors and many other factors). Note that white hearts are sometimes
called cornaline d' Aleppo beads. White hearts are being made in France in most sizes and in crow bead
sizes in the Czech Republic. India is also making them, but a different manufacturing technique is being
used which makes them a little clunky looking (at least in our opinion).
French Brass Beads
This term is used to describe solid brass beads which were commonly used in the Native
American trade. It is frequently seen in breastplates, chokers, and similar items. The
normal size is about 8mm but smaller sizes also exist. Note that the term "French" is
somewhat generic. Some beads are made in France, but most are made in Asia or India
today. This bead has a large hole and can easily be strung using leather thong.
Old-Time or Hollow Brass Beads
Old-time brass beads are generally tubular or barrel shaped and are typically hollow. You
might ask how a bead can be solid or hollow. Aren't all beads hollow? They all have holes,
don't they? Well, it's kind of hard to describe. Basically, the French Brass Beads are quite
heavy while the Old-Time Brass Beads are quite light. Note that while we (and many other
vendors) sell beads which are called "old-time brass beads," none of these are an exact
reproduction of the old beads. Some are pretty close, though. These beads are typically
about 7-8mm and are used for the same purposes as the solid French Brass Beads.
Beading Terms
AB [aurora borealis] - an iridescent coating on beads to enhance colors, light and texture creating a
rainbow effect.
Bead - a component made of a variety of materials with a hole drilled through it.
Bent Nose Pliers - Jewelers tool pliers with a hooked nose. Similar to the chain nose pliers.
Beading Board - A pre-shaped plastic rectangular board with grooved channels that assist laying out
jewelry patterns providing small compartments to hold the additional jewelry making supplies.
Beading Mat - A soft piece of cloth used to cushion work area creating a resting place for beads and
findings, preventing these components from rolling away around while project is in process.
Beading Wire is the strand, the thread, the wire, that the beads will be strung onto for necklaces and for
bracelets.
Cabochon - a stone without a hole that is used to place in settings. Sometimes cabochons have a flat
surface on one side sometimes not.

Chain Nose Pliers - jewelry tool used to compress crimp beads and to work a variety of techniques
involved in creating beaded jewelry.
Clasp - A finding, a component, a device for fastening together two or more things.
Crimp Bead - A pliable bead intended to be compressed to hold stringing material to clasp. It is made from
either precious metal or metal composite.
Crimp Pliers - Specialized pliers intended to crimp, bend and fold crimp beads.
Cutters - pliers tool used to cut wire.
Dangle - A beginning component for earrings, charms or pendants.
Diameter - measurement of a bead or stone.
Earring Wire - The finding used to convert dangles or drops into a pierced or post earring.
Fire Polish - process of polishing glass beads with fire.
Findings - a variety of components that either finishes and enhances jewelry.
Flat Nose Pliers - Jewelry pliers that strongly resembles the chain nose pliers. The difference is that the
exterior of the nose is also flat and have a wider nose.
Flush Cutters - Wire cutters that provide a flush flat cut.
Gauge - measurement of sculpting wire.
Hollow Nose Pliers - An unusual set of pliers that are used to create hoops in sculpting wire easily.
Jewelers Tools - Specific tools used by jewelry making or beading artist to aide in the construction of
handmade jewelry.
Lapidary - The art of cutting, polishing and engraving precious stones.
Lapidary School - The teaching of precious stones.
Millimeters - Measurement standard of beads
Nippers - Sharp cutting pliers intended to cut wire.
Pliers - Variety hand jewelers tools used to create and finish all handmade beaded jewelry.
Reamers - Jewelers tool used as files. Can be helpful to help clean out bead holes that may have been
clogged during processing of coating or drilling.
Round Nose Pliers - Jewelers tool with rounded noses and used for creating loops.
Scrimpers - A brand jewelers tool used for a specific technique of attaching a clasp to a necklace or
bracelet.
Sculpting Wire - Soft, flexible wire to bend but stiff enough to hold it's shape.
Side Cutters - Wire cutting pliers with a slight angle in the head of the tool.
Split Ring Pliers - Pliers with a hooked nose intended to open a spring ring.
Spring Ring - A double coiled ring in a variety of sizes used to connect components together. Larger spring
rings are commonly know as 'key rings'.
Toggle - A type of clasp styled with a hoop and bar. Variety of styles, colors and made of a variety of
composites such as metal, glass and clay.
Wire Cutters - Jewelers tool used for cutting soft flexible beading wire or stiffer sculpting wire.

Making Batik Fabric with Crayons

By Susan Myers April 1, 2011
http://suzyssitcom.com/2011/04/feature-friday-making-batik-fabric-with-crayons.html
This is a great way to make your own brightly colored batik fabric using crayons! A vintage
craft come to life!
Im always looking through my v
intage craft magazines
for fresh ideas, and every now and then I pick one and
run with it. As a quilter, Ive always had a preference for
batik fabrics. I love the vibrant colors! Well, if you have
been following my blog for any time, you probably
already know that I love me some color. And the idea of
using a resist to block color in areas is something that I
love doing with my U
krainian eggs. So, a mix of color
and resist dyeing with crayons just seemed right up my
alley. Now before I go any further, Im betting there was probably an easier way to do this. But I
will tell you how I did it, using my instructions that came from a 1956 Workbasket magazine and
a few edits thrown in from me when I ran across some minor roadblocks.
For this project I used:
Several boxes of crayons from the dollar store
100% Cotton fabric (light color)
Fabric Spray Paint Color: Ashpalt
Black Fabric Pen
Cheap paintbrushes
Muffin Tin
Deep Dish Griddle
Newspaper
Iron
First, I cut the light fabric into two 12 squares. I wanted a colorful town
street scene, so I drew in pencil the basic design that I wanted.
Okay, now we get into where I had to do some edits on my
instructions. The original instructions called for melting the crayons
in little cups that you make out of aluminum
foil and floating them in a pan of boiling water.
I instead used a deep dish griddle, added water to it and floated the
muffin tin in it. Keeping the water at a simmer, it allowed the
crayons to stay melted in a makeshift double boiler.

They took about 5 minutes to melt. Dont worry- it doesnt

stink up the kitchen. Actually, this part was rather easy to do.
*Edit: One of my readers suggested using candle
melting plates which might work even better to keep the
wax melted while painting.
Lay your fabric on aluminum foil to prevent the wax from going
through to your counter. Start a small pan of boiling water to
use to clean your brushes as you go. I used very inexpensive
brushes for this project as I was planning to throw them away
afterward.
Dip your brush in the melted wax and then start painting away!
(Suggested clean up for this part of the project- I threw away the
brushes, and the hardened wax was easy to pop out of the muffin
tin for future use. Any residue in the pan can be re-melted in the
oven for a minute or two and then wiped away). Do not pour hot
wax down your drain!
Once the entire piece of fabric is covered with colored wax, it is
ready for the next step- adding dye. Take each piece of wax
covered fabric and wad them up in a ball, creating many tiny
cracks in the wax.
The instructions called for cold water dye with good reason. If you
added this to hot water- all your wax would melt! Unfortunately, the
only dye that I could find that did not call for hot water was spray
dye that I found at my local craft store. No problem. I simply laid
the pieces of fabric out on trash bags and then sprayed the crap
out of them with the spray dye. I then patted them down with paper
towels to get off the extra dye and let them dry overnight.
They looked terrible at this point and I was a bit worried. But I had faith.
The next step is to lay them between two pieces of
newspaper and using an iron set at the highest setting, begin
to iron out the wax. You will have to change the newspaper
quite often, and Im not gonna lie, this took a while. I went
through an entire Sunday paper on this project.
But look at the result! Wow!

My final step on the batik design was to add a few details with a black fabric pen.

I made mine into pretty city

pillows to put on my guest bed, but you can do anything with
this batik fabric that you might do with regular fabric. Quilts,
tablecloths, dresses, table runners, whatever. In fact, it would probably make awesome
Christmas pillows using a Christmas design.
If you enjoyed this tutorial, you might enjoy my Flip Flop Pillow tutorial. How to create a
whimsical pillow that will give a room a summery look.
Or check out my Ukrainian egg tutorial another method of batik that creates a very detailed
look, using beeswax as the resist and dye, you can create amazing egg art.
For more than 150 detailed craft tutorials for all ages, be sure to visit my tutorial page.
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- See more at:

http://suzyssitcom.com/2011/04/feature-friday-making-batik-fabric-with-crayons.html#sthash.F0j
0KXbJ.dpuf

Assemblage
assemblage, in art, work produced by the incorporation of everyday objects into the

composition. Although each non-art object, such as a piece of rope or newspaper, acquires
aesthetic or symbolic meanings within the context of the whole work, it may retain something of
its original identity. The term assemblage, as coined by the artist Jean Dubuffet in the 1950s,
may refer to both planar and three-dimensional constructions.

Although artworks composed from a variety of materials are common to many cultures,
assemblage refers to a particular form that developed out of intellectual and artistic movements
at the beginning of the 20th century. The practice began about 191112 with the Cubist collages
of Pablo Picasso and Georges Braque and sculptural assemblages by Futurists such as

Umberto Boccioni and Filippo Tommaso Marinetti. One of the earliest examples is Picassos
Still Life with Chair Caning (191112), in which a piece of oilcloth with an imitation chair caning
design was pasted onto the painting, and a rope was used to frame the picture. Subsequent art
movements such as Dada and Surrealism explored the possibilities of assemblage. M
arcel

Duchamp, for instance, created ready-mades and found objects from industrial and natural
objects; he elevated them into the realm of art simply by adding an inscription or by including
them in an exhibition. Artists of the mid-20th century working in assemblage included L
ouise
Nevelson and Robert Rauschenburg.

"assemblage". Encyclopdia Britannica. Encyclopdia Britannica Online.

Encyclopdia Britannica Inc., 2016. Web. 24 Apr. 2016
<http://www.britannica.com/art/assemblage>.