Online Class: Pattern Design for Printed Products
There is a new pattern design course in town!
The PatternBase, has teamed up with Skillshare.com to bring you an online class dedicated to pattern design. The course is called ‘Pattern Design For Printed Products: Creating Digital Repeat Patterns From Hand-Drawn Illustrations’ and the syllabus looks very promisingThe online class starts on Wednesday, May 1, and it will run until May 17. Students at all levels are encouraged to sign up.
You’ll need Adobe Photoshop (or free 30-day trial available from Adobe), drawing paper, drawing implements, ruler, exacto knife, clear tape, access to a printer + scanner and a surface to cut upon.
At the end of the course the top projects will be featured on the PatternBase website.
Check out the introduction video for the class HERE.
During the course you’ll learn:
- How to prepare a hand-drawn illustration or painting for digital repeat.
- How to import and clean up illustrations in Adobe Photoshop.
- How to turn a hand-drawn illustration or painting into a digitally repeating pattern using Adobe Photoshop.
- How to use layers in Adobe Photoshop to create multiple colorways for designs.
- How to apply completed repeat patterns to product templates for mockups.
- The difference between files types, resolutions, and color modes, and the importance of saving files under the correct settings for different uses.
- Where and how to upload completed pattern files to websites that specialize in digitally printed products.
Interview with Cassey Gan
2012 Press Show Graduation Series
Like many other pattern obsessed like myself, I spent an evening gazing at the gregarious amount of fashion and print on the internet. I came upon Cassey Gan, and knew I had to interview her for the the PatternBase. I fell in love with her 2012 Press Show for her graduation. The bold, clashing, childlike colors are used in exactly the way I appreciate. Cassey also has an experimental streak. While I focused heavily on color and pattern for this interview, her designs also breathe cultural inspiration. She holds a BA(Hons) in Fashion Design Technology: Womenswear from the London College of Fashion. Her graduate collection, featured in this interview, was 1 of 25 selected for the LCF for its external press show. She has also been featured in Vogue Italia’s global edition of “Discovering fashion’s future generation of talents.” She has now launched her own label, and resides in Malaysia.
I read that you first received a degree in Engineering. What inspired your change in path to become a fashion designer?
After I finished my Engineering degree, I knew that I could never be a great engineer as my heart has always been with the arts. I started to intern for a local fashion magazine company and fell in love with the fashion industry. I was constantly surrounded by beautiful clothes and that inspired me to want to create. It’s the best decision I’ve made and I’ve never looked back since!
Talk about the medium and materials you work with. What is your favorite material to work with?
I don’t have one particular favourite material because I love experimenting with different materials. I am intrigued by the idea of mixing hard and soft elements together. It’s a personal aim to always experiment with introducing unconventional types of material into my designs. For instance, I used bamboo in various forms and sizes in my graduation collection. Having said that, cotton seems to remain a staple fabric for me in my collections thus far.
2012 Press Show Graduation Series
2012 Press Show Graduation Series
How does textile design fit into your practice?
It has become increasingly important because I love creating my own textile, be it designing a new print or creating a new texture. Designing print to me is like realising my imaginations and dreams onto a piece of blank canvas.
SS’13 Series 1
2012 Press Show Graduation Series
Describe your experience as a student at the London College of Fashion. How did it shape your designs and your career?
Being in London College of Fashion has been one of the best experiences in my life. I love the vibe of the college. The tutors have been extremely helpful along the way and they were the ones who made me the designer I am today. I was constantly being pushed, inspired and even encouraged time and time again never to be afraid to experiment. In LCF, I learnt to balance design and practicality and to me, that balance is crucial as a ready-to-wear designer.
SS’13 Series 1
SS’13 Series 1
Where are you located now, and how does it shape your work?
I’m back home in Kuala Lumpur now. Having spent a few years in the UK soaking in the vibrant culture and coming back to Asia with fresh eyes, the vision of my work is influenced by my life experience in different cities.
There are usually a variety of things that inspire artists and designers, but are there any that stand out to you as a constant source of inspiration?
I find myself constantly drawn towards anything that has interesting shapes and colours. I also enjoy meeting people and listening to their stories as they usually inspire me a lot.
2012 Press Show Graduation Series
Who are some artists and designers who you look to today? Are there any who draw your attention regularly?
I love Stella McCartney, Alexander Wang, Dries Van Noten and Jil Sander.
What colors, textures and patterns are you currently fixated on? Why?
Home is where my heart is and I’m happy to be with my family again. Hence I seem to be fixated on very ‘happy’ and bright colours at the moment –salmon pink, turqouise, teal, lemon and mint. I also have been very attracted to very orderly and structured patterns with a mix of geometric shapes as seen in many old walkways in the streets of Kuala Lumpur.
SS’13 Series 1
SS’13 Series 1
What does your studio space look like? What is your process?
It’s a small square room with a big drafting table and a couple of sewing machines! I go to my studio every morning at about 8.30am and start experimenting with mainly pattern cutting as cutting is very important to the creation of my garments. I find myself constantly making toiles/samples because a lot of my designs evolve from making mistakes and then redesigning by drawing directly on toiles. My studio is where all the experiments happen and steps are taken to make my dreams come alive.
2012 Press Show Graduation Series
How do you sustain your practice as a designer?
I’m interested in making ready-to-wear collections commercially available at affordable prices to a niche market. Currently, I am stocked at a few shops and I am looking to be stocked in more places later this year.
SS’13 Series 1
I am in love with your prints, and your chosen colors in both your SS’13 Series 1 and 2012 Press Show. Explain the process when you developed these prints.
First of all, 2012 Press Show is my graduation collection and I wanted it to be a celebration of my time in London. As the collection is also about celebrating a child-like spirit, I knew that the colours had to be clashing, playful and happy! My collection carried the underlying message of the truth about child labour and how most stories have been hidden away from the public. Therefore, I was instantly inspired by the idea of camouflage which then became the main inspiration for the print.
As for SS13 Series 1, I was inspired by the notion of trees as bearers of secrets. I wanted to create a more whimsical quality to the collection by using a dreamy tree print.
2012 Press Show Graduation Series
What inspired the color choices in the 2012 Press Show? What materials did you use?
In my 2012 Press Show, I have used various weights of cotton fabric. Some of them were dyed to a specific colour. I have also introduced bamboo in different forms and sizes into the collection to add depth and texture.
2012 Press Show Graduation Series
What inspired your SS’13 collection?
In the old days, if someone had a secret they didn’t want to share, they would find a tree, carve a hole in it and whisper the secret into the hole. They would then leave the secret there forever. This collection is inspired by the notion of trees as bearers of secrets. Very often in life, we overlook our “everyday pillars” and easily take them for granted. It is actually in these people and objects that life is built upon – stories are revealed and secrets are concealed. Therefore it is good to treasure the understated yet worthy aspects of life.
SS’13 Series 1
SS’13 Series 1
What is your advice to aspiring artists and designers?
Do what you love doing and never give up. Inspiration is everywhere.
2012 Press Show Graduation Series
Visit Cassey’s website, or view her shop at Glasshouse Yard, where you will find her latest SS’13 designs.
Written by Audrey Victoria Keiffer
Interview with Maria Creyts
“Chiefs wampum,” 17″ high, variable width, archival inkjet photo of artist’s assemblage
Maria Creyts is a Kansas City based artist whose focus spans photography, textile design, and digital medias. Her panorama format photography, or photo friezes, capture an arrangement of textile and surface designs. Maria Creyts is a graduate of Yale University School of Art. Her use of bold color, implementation of West African traditional design, and arrangement of various surface designs for her photography, attracted PatternBase to her for an interview.
First, talk about the medium and materials you work with. What made you choose these materials and medium?
My material is fabric, it’s the common element in just about everything I do. When in Nigeria last year, I was introduced as a textile artist; there’s an unusual appreciation for textiles there and I found a certain delight with the moniker there. Usually I describe myself as an artist.
Ten years ago there was a little cataclysm in my attitude toward studio: with my first Mac laptop I set out for the Big Apple where I signed up for a cell phone and lived out the summer in a Chelsea sublet while completing computer graphics courses at the School of Visual Arts. I was also producing photo silkscreen editions at the time and loved how newfound digital skills could work in tandem with the colorful, painty mess of traditional studio process.
My chief project in studio now is very long, panorama-format photography: photo friezes. I create the subject matter for these works from textiles and see the fabrics I use as a palette of color and pattern. I’m interested in introducing the “artist’s hand” into photography projects and to that end have been working with surface design methods on textiles. Through my production, I unite the realms of traditional studio with a digital approach. For me, this is a key interest.
“naranja canela,” framed diptych – 17″ x 84″ (width variable) archival photo from artist’s assemblage
I love to hear individual stories of what made artists choose their direction. Give a brief background on what led you to be an artist.
In high school I was recognized as an artist, it was the first time I considered myself to be an artist. I skipped lunch in favor of taking classes such as an independent study in ceramics. In that particular course I read of Ken Ferguson whose nation-wide reputation attracted me to Kansas City at 17. After completing my BFA, I went to graduate school at Yale for painting where the program calls for painters to study printmaking as well. Involvement in printmaking led me to photo silkscreen and that led to photography. Through Yale’s MFA program, I was “raised” in a culture of painters. The corridors of the Art & Architecture Building echoed with mention of Josef Albers, the color theorist and one-time Bauhaus artist, with whom some of our professors had worked decades before. I approach my work with the sensibility of a painter, color is a defining characteristic.
“Yemaya,” 17” x 80,” pictures a hand-sewn ensemble from wax print (or “ankara”) fabric
“Tortoise With Crocodile Biting Python” indigo-dyed stenciled paste resist motif on cotton damask completed in Nigeria, 2012
Your art fuses different media and functions in between media boundaries. Is there a reason why you choose to do this?
I have worked between 2- and 3-D and in a variety of disciplines ever since becoming involved with art. The inclination to integrate diverse disciplines feels natural, though it is complicated at points. I’m willing to sink teeth into tedious work or shift my mindset from solving sewing construction matters to learning specialized Photoshop techniques in the newest version of the program, and so on. My various projects are interrelated, yet the total picture is broad and you need to step back to take it all in.
“naranja canela” for the Chicago Billboard Art Project
I presented a first fashion collection in Kansas City’s 2012 West 18th Street Fashion Show, a popular outdoor event in the gallery district that favors an artistic approach. My presentation was a kind of performance, goals included innovating with fabric design methods and fashion sensibilities from my time in Nigeria. I love how an individual animates the garment, it’s put in motion as a component of the persona. In 2012 I focused on custom clothing design toward refining sewing skills and in conjunction with the fashion show. I always envisioned using the clothing created for the fashion show as subject matter in photo projects – this was beginning of the concept for my current exhibit, “Bespoken,” at Fairleigh Dickinson University.
Some viewers feel my sewn subjects are authentic works and tend to see the photo projects as reproductions. In this show both are presented, though you never see the subject and photo side by side – which teases the audience some. The painter in me relishes composition and this is something I control through photography. Two ensembles suspended on hangers almost appear to be gallery goers, drawing a comparison between what people walk in wearing and what’s on display. The installation allows an opportunity to be enchanted by both the sewn subjects and photographs that feature them.
photos courtesy of Simon Cuo
What is something exciting you’re working on right now?
I’m preparing a workshop in adire eleko for Fairleigh Dickinson University students. We’ll use a traditional African paste resist to pattern lengths of fabric before dyeing with the idea of creating something to wear. This is a batik-like process, and I think of batik as wearable painting. It’s a sort of art that can be presented in an informal and immediate way – you just walk in wearing it. Nigerians sometimes hand pattern over existing commercially produced prints or woven plaids. The dual design is really entrancing. This suggests transforming fabric from old clothing into, say, a hat that incorporates one’s own painterly touch.
Describe your studio space, and how you work.
My studio, ESTUDIO mariaurora, is in Kansas City’s West Bottoms about a block from three of the city’s most popular galleries, the Dolphin, Bill Brady KC, and Plug Projects. It’s on the 5th floor with a spectacular view of Oz (downtown Kansas City, Missouri). I’m there every day and generally plan my days around my interns’ schedules. My studio is open from 5:30-8pm most First FridaysMy studio is open from 5-8pm most First Fridays.
“Chimera,” 12 x 11 inches, archival inkjet photo of assemblage sewn by artist
What do you do to sustain your art practice and living as an artist?
In addition to revenue from sales, commissions, and occasional grants, I teach art school online.
Lately, there has been focus on artists who live in the Midwest instead of the coasts. What led you to a Midwest city, and what do you treasure about doing so? What are the benefits and disadvantages?
For me it’s the light, I’m like the impressionist who prefers Provence. Artist Philomene Bennett once said to me that since Kansas City isn’t north, east, south, or west, possibilities are wide open. From the Nelson to the Kemper to the Nerman, our museums are open free of charge. The Nerman Museum of Contemporary Art, opened in 2007, is the beneficiary of “angels” Marti and Tony Oppenheimer who are personally involved with amassing a notable portion of the collection. Collector John Hoffman organizes a monthly outing in a gesture that builds public appreciation of Kansas City’s offerings in the arts. Meanwhile Professor Vladimir Krstic and his M.Arch students envision how the city’s urban plan can be bettered district by district, and architect Charmalee Gunaratne organizes design charettes to afford services to Kansas City entities in need. Any day of the week I might chance to meet my own professor, Wilbur Niewald, whose studio is down the way from mine. In his mid-eighties, he paints daily and in weather that’s fair to middling he’s out putting an urban landscape motif on canvas on site.
Your photo friezes are an interesting mix of medias, and have been presented on billboards in various cities in the country. Explain your concept behind them.
With the printed friezes, there’s the option for a motif that stretches down the entire length of a wall in the context of a public art project or other architectural interior. The digital billboards I’ve shown on have a 7:2 aspect ratio, in terms of image formats this is an unusually wide composition that easily accommodates a length of frieze imagery. I have the digital files, of course, so I just showed my intern how to prep them to the proper specs and sent the files through the internet. It’s been a marvelous opportunity to show the work in different parts of the country, plus on an immense scale.
I used to have a studio in New Orleans, it’s a remarkable area that seeps with history. For my billboard presentation there I put together a series of “lace drawings,” photogram images I printed using a historic darkroom process that affords monochrome images in tones from dull violet to warm chestnut brown. The effect of the delicate compositions stylized through process and shown at a scale of 10’ x 35’ was magnificent.
“Golden Locks against Tropic Nightshade pattern,” for the Chicago Billboard Art Project
What’s your advice to emerging artists and/or textile designers?
Guard and grow your individuality, invent your path. Art for free expression’s sake is a credo for those who aren’t especially interested in connecting with an audience.
What’s your preferred way of presenting your patterns?
My digital and freehand surface design work is intended for fabrics to be used in photo subject matter. The ideal with cycling photo friezes is a permanent installation that spans the length of a wall.
I love your use of bold colors. Are there particular patterns, textiles, or colors that you’re currently fixated on? Why?
I see paisley as being made up of so many pictorial vignettes. When working on a paisley drawn by snails’ trails in Africa, my teacher pointed out that the shapes resembled mangoes that grow on the great tree just out the studio door. Paisley designs are uncommon in Africa (though I did see a traditional design picturing snails creating the pattern). Another type of cloth you don’t see in West Africa is seersucker, an excellent hot weather fabric that comes in 100% cotton and doesn’t need ironing. Last year I block printed a design in hot wax on seven yards of grey, green, and ivory striped seersucker for a men’s suit and sewed a dress with a red sash from a fine red, white, and silver lurex pinstripe seersucker. I first became a fan of wax prints at a time when I lived in South London in what was largely an expatriate West African neighborhood, my favorites are pictorial ones; I once saw a young African woman in an outfit sewn from a wax print depicting rolling tires…
Surface Designs for the West 18th Street Fashion Show Apparel
What artists are you currently inspired by? Are there any artists who have drawn your attention consistently?
Rather than any one individual, I’m really inspired by a Nigerian sensibility which includes an assertive personality, a keen sense of management, the kind of versatility that only Africans seem possessed of, an openness that makes Americans seem hopelessly aloof, and the prizing of lavish fabrics like hand-drawn batik and hand-dyed indigo, Swiss cut lace, and hand-woven aso oke. Two women who exemplify this are artists Niké Davies Okundaye and Peju Layiwola.
Artist Nataliya Bregel’s 2011 painting show, Loops and Strips, captivated me with its formats for exceedingly wide filmstrip-like compositions. Her wooden hoops suspended from the ceiling encircle the viewer’s head like oversized halos while he or she revolves within to take in the stripe of narrative painting on the inside surface. I’m an admirer of architect Joel Marquardt’s visible contributions to the Kansas City terrain that happen to include the 60 foot Kansas City Board of Trade Building mural as well as numerous public art projects, less formal in nature, that experiment with engaging an audience. Katie Coble and Jennifer Hunt’s 2011 collection presented at the West 18th Street Fashion Show seized my attention with blank, structurally convertible clothing that might suddenly spill forth fluttering, hand painted design. Photojournalist Rachael Jane’s sensitivity toward parts of Kansas City many avoid has led me to experience the black community’s uncommon warmth and showy fashion sense.
Favorite paintings from art history are ones by Sir Stanley Spencer that obsess over details of clothing, his 17 x 90 inch Promenade of Women, for example, and the flickering pattern-filled interiors of Vuillard whose mother was a dressmaker. You see an echo of what I love in a Vuillard in the paintings of Barbara Grossman.
“lav-adorablé,” approximately 7″ x 10,” framed, assemblage from fabric and other materials
Do you have any exhibitions coming up?
My exhibit, Bespoken (January 8 – February 8, 2013) was titled in relation to my focus on custom clothing design through 2012. “Bespoke” means custom made and often infers something created through the maker working closely with the client. I love this term both because it indicates uniqueness and for the ideas of collaboration and work completed to fill a certain need. “Bespoke tailors” in London’s Savile Row sew to measure, and having clothes made to measure is common practice in West Africa. My fashion show clothing was made to measure (particularly necessary when working with a 6’5” model), and I have lately sewn dresses to measure for myself, and for clients as bespoke projects.
Maria’s studio is open to the public for First Fridays from 5-8pm (except in cases when she’s away). It will be open this coming Friday. On March 7th, she will also present Design West Africa at Kansas City Design Week 2013 Pecha Kucha Night. It’s free, the doors open at 7:30 PM, and presentations start at 8:20 PM. It’s located in the Nelson Atkins Museum of Art auditorium on 4525 Oak Street in Kansas City, Missouri.
Written by Audrey Victoria Keiffer
Introducing Maria Creyts
Maria Creyts is a Kansas City based artist whose projects defy media boundaries. Her focus is production of photo friezes, or panorama-format photography. Maria constructs her photography subjects from textiles, and she also prints the long photos. Her images have been presented on billboards in Chicago, New Orleans, and Atlanta as part of the Billboard Art Project. Last year, she completed an artist’s residency through the University of Lagos, Nigeria where she studied traditional techniques and design systems, adapting these for use in her projects. For summer 2012, she produced a West African-inspired collection of garments for Kansas City’s West 18th Street Fashion Show that made use of her surface designs. Maria Creyts is a graduate of Yale University School of Art.
‘Raggedy Rose’, photo frieze, 22″ high. (width variable, here: 19 feet, 8 inches)
‘Friendly Guarantee Bunting’, photo frieze, 13 inches high x 11′ 5″ wide (width dimension variable) Full image (top), detail at full height (bottom).
Chicago Billboard Art Project, 2011: Friendly Guarantee Bunting
From Creyts’ collection from the West 18th Street Fashion Show in Kansas City, Missouri.
‘Refigure Skirt’, photo courtesy of Simon Kuo.
Written by Audrey Keiffer
Summer Residency at The Contemporary Textile Studio Co-Op (Toronto, Ontario)
Deadline: April 26, 2013 (EMAIL)
Summer Residency
The Contemporary Textile Studio Co-Op
Toronto, Ontario
May 1 - August 31, 2013
Summer Residency (up to 2 student residents)
- Duration: May 1 - August 31, 2013
- Supervised access to our 1100Sq./ft. studio space
- Subsidized monthly studio fees
- Eligible to attend annual international artist summer workshop at reduced rate (50% off the regular fee)
- Consideration for summer residency is contingent on applicants’ intention to return to school full-time in the fall
- Applicants must indicate their intended summer project and have prior experience in a shared studio environment
- References should include a textile instructor and studio technologist
***residency is offered as a $500 scholarship (a reduced monthly rate of $175 - as opposed to $300 - for the 4 months, resulting in the $500 scholarship)
Submission Requirements
- Resume and a brief expression of interest outlining your interest in, and any applicable experience related to, the textile arts and to working within a co-operative arts studio.
- 3-5 digital images (JPEG) with image list indicating dimensions, date, title and materials, or reference to web site.
- 2 professional references, including addresses and phone numbers (References must be other than those of an existing Co-op member, and should relate to your experience in collaborative work environments.)
- Please submit all information and images via email to: info@textilestudio.ca
Residency Annnouncement
Website: www.textilestudio.ca
Contemporary Textile Studio Co-op
401 Richmond St. W, Studio 109
Toronto, Ontario
M5V 3A8
felt :: feutre 2013 *EXTENDED DEADLINE*
Deadline Extended: June 1, 2013 (ONLINE)felt :: feutre 2013
felt :: feutre - Canadian Felting Week
Salt Spring Island, BC
September 25th-29th 2013
felt :: feutre is curating a juried exhibition of the finest contemporary felt work being created by Canadian fibre artists.
This exhibit will showcase work that is new, fresh, challenging, visually exciting, and dynamic. Work that gives the artist and viewer an opportunity to stretch their perception, through the use of the medium or the concept/narrative presented.
This exhibit will open at felt :: feutre- Canadian Felting Week on Salt Spring Island, BC, and will have the opportunity to travel across North America and Europe to arrive back in Eastern Canada for felt ::feutre 2014.
ELIGIBILITY/REQUIREMENTS
:: Open to artists living and working in Canada, and Canadian citizens currently living abroad.
:: Entries must be original work completed after May 1, 2011.
:: Collaborative works will be considered as a single entry. Artists submitting both collaborative and individual works must apply separately.
:: Installation pieces must state all measurements in entry.
:: Work must be original in concept and design and not be the result of a class or workshop.
:: All work must be created primarily using traditional (wet) or needlefelting techniques.
:: All work MUST be available for touring for up to one year beginning September 24th, 2013.
:: Accepted work must be completely ready for installation including any essential display hardware, rods or stands, plus installation description.
:: Work other than that submitted and chosen by the jury may not be substituted.
:: Work will be insured while on exhibit.
:: A 40% commission on retail sales will be retained. Work sold during the exhibition will be replaced with work of a similar nature, to be accepted by the jury, before the exhibition opens in each new venue.
ENTRY FEE $35 non-refundable for up to three (3) entries must accompany the application.
AWARDS
Awards will be presented in each of the following categories:
Wearables, Two Dimensional Work, Three Dimensional Work, Interior Design, and will be selected by the jury.
There will also be a People’s Choice Award to be determined at the end of the opening exhibit.
Entries must be submitted using the free entry service, EntryThingy on the website: www.felt-feutre.org/exhibition/
For questions, contact: exhibition@felt-feutre.org
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More to read:
Selvedge Winter Fair
fiber577
2013 Taller Portobelo Norte Summer Art Colony
Shared Visions 2013-2014
felt :: feutre 2013/FELT fashion- Wearable Art Show
Intern for Fashion Consulting Company (Chicago, IL, USA)
Fashion Consulting Company in Chicago seeking a summer intern. Ideal availability would be 2-3 days a week from 9am-5pm (Tuesday and Thursday would be perfect!)
During this internship you will learn about the process of launching a line from sketch through production. We are a small company and we all wear a lot of hats, and our intern will be expected to do the same and pitch in wherever help is needed. Typical tasks may include, but not be limited to:
- Assisting with tech packs
- Learning about fabric sourcing
- Helping prepare items for production
- General office support
- Shipping, organization, errands
Qualifications for the ideal candidate:
- Extremely organized and detail orientated
- Have the ability to complete tasks in a timely manner
- Function as a team player
Internship is unpaid, but school credit will be granted. Please submit your resume and a brief cover letter telling us a little about yourself via email with ‘Summer Intern’ as the subject to be considered.
- Location: West Town
- Compensation: school credit
Learn more HERE
PT Teacher of Textile Design (Art & Design) – September 2013 start
Employer: ROCHESTER INDEPENDENT COLLEGE
Posted: 19 March 2013
Location: Rochester, Kent
Industry: Education - Schools - Secondary teaching - Art & design
Contract: Permanent
Hours: Part Time
Salary: Rochester Independent College has its own salary scales.
Rochester Independent College is a fresh alternative to conventional secondary and sixth form education with a happily distinctive ethos. Accepting day students from the age of 11 and boarders from 16 the focus is on examination success in a lively, supportive and informal atmosphere.
Students are taught in very small classes (average 8) and are treated as young adults. We encourage them to search for their own answers, to voice their opinions, to think critically, creatively and independently.
This role will involve the teaching of GCSE and A level Textile Design courses with some additional teaching of Textiles and general Art & Design to Lower School classes (years 7-10).
We do not have a set idea about the days of work required or number of hours available for these part time posts. We structure the teaching appointments we make around the interests, enthusiasms and expertise of candidates who apply.
The Rochester Independent College Art Department is supportive team of five full/part time dedicated members of staff working hard to create and develop a centre of excellence within a friendly and productive environment. Our aim is to encourage the freedom of exploration of ideas that are challenging for both students and teachers alike.
Further information can also be found on our website at www.rochester-college.org.
Applications for positions at RIC are by application form only. CVs are not acceptable. Please email to recruitment@rochester-college.org.
Closing date 22 April 2013
