Faces of Cubism Textiles & Dyes Silk Paper Making ... - Zart Art

Term 3 2006 2005
Registered by Australia Post Publication No. 327687/00003
The Big Draw
Textiles & Dyes
Faces of Cubism
Whimsical Dolls
Silk Paper Making

contents primary article cont
cover +
page 3
Primary Article:
Faces of Cubism
Brentwood Park
Primary School
page 4
Profile:
A New Chapter in the
History Of Heide Museum
of Modern Art
page 5
“With the Big Draw we seem to have
struck something in the national
consciousness - it’s as though
everybody had just been waiting
to be told that they are allowed
to draw. Perhaps it isn’t surprising
- we live under a bombardment of
manufactured images, and in the face
of that we need to be able to draw as
a way of discovering the reality of the
world about us, as well as the life in
ourselves”
- Quentin Blake, English illustrator
Zart's Student Gallery
What's on & featuring in
our Gallery for Term 3 2006
page 6
Secondary Article
Whimsical Dolls
Killester College
Everyone should be encouraged to
draw. Drawing Australia is founded on a
teaching and research program at Macquarie
University, Sydney and it explores ways in
which people of all ages, cultures and abilities
can participate in our visual culture. It
encourages everyone to draw and to organise
special drawing events. To this end, Drawing
Australia is organising another Big Draw
from 3rd September to 15th October, 2006.
By visiting their website www.aces.
mq.edu.au/drawingaustralia you are able to
register your Big Draw program.
The Big Draw originates from the U.K.
where a campaign for drawing was launched
in 2000 by The Guild of St George, a small
charity founded by John Ruskin, the great
Victorian artist, writer and visionary. Ruskin
saw drawing as the basis of visual thought.
His mission was not to teach people how to
draw, but how to see.
New Products
Textiles & Dyes
Activity:
Making Silk Paper!
The quick & easy way to
make silk paper and wow
look at the results!!
The Big Draw Australia:
3rd September - 15th October
page 9
page 10
page 12
The Big Draw is now in its sixth year in the
U.K. and it has galleries, museums, science
centres, heritage and environmental sites,
libraries, archives, communities and shopping
centres, colleges, schools and art clubs hosting
drawing sessions for all ages. They explore
technical, scientific, architectural, and
archaeological or fine art drawing.
Participants are invited to help expand
the definitions and uses of drawing
- experimenting with pencils, crayons,
charcoal, sand, clay, digital imagery,
choreographed movement, vapour trails and
fire sculptures. See www.drawingpower.org.
uk
In Term 3, Zart Art will offer three
workshops to inspire and support you to bring
The Big Draw to your school or classroom.
Please see the Zart Workshop details.
New Resources
Silk paper making, to
design and colour.
ZART EXTRA
A Visual Arts
publication
produced each
term for
Pre-school,
Primary &
Secondary
Teachers by
Zart Art and
Zart Education
Service.
ISSN 1448—8450
What’s Happening at
Zart Art term 3 2006:
Thanks for coming to the
Zart Annual Expo. We hope
you enjoyed your bargains
and had the chance to
participate in our free
workshops and product
demonstration throughout
the day. See you all again next
year.
Professional development
@ Zart :This term Zes is
focussing on the Big Draw.
For more information see
the above blurb or refer to
our PD insert to find out
how you can participate in
the program. Our Book week
workshops are still being
run this term. Book week
is celebrated from the 19th
- 25th August 2006 with the
winners of Book of the year
announced on August 18
2006. if you can't attend one
of our workshops, our full
colour Art and literature
Book "Book Now! is currently
available, overflowing
with great activities and
information on book week
and the shortlisted books.
it's beginning to look a lot
like Christmas... it's that time
of year again and we are
launching our Christmas
2006 Workshops- on the 27th
of September! Come along
and join in all the festive fun
as we celebrate that classic
tale "The Nutcracker". See our
website or our PD Insert for
dates & booking information.
Speaking of Christmas, our
2006 Christmas Catalogue
is coming out to you in mid
july. Inside you'll find a great
range of festive products,
super saving specials & plenty
of activities!
Zart Extra
This publication is sent out to all
schools in the first week of each
term. This newsletter allows art
teachers/co-ordinators to learn
about what is happening in
art education and what other
art teachers are doing. You will
find information on new art
techniques and processes, the
latest materials and resources
on the market. Please note,
all prices quoted are valid for
the duration of the current term
only and are subject to change
without notice. The insert of the
newsletter provides details of our
2 www.zartart.com.au
term's workshops, so teachers
can then contact us and book
into the workshop.
Zart Art School &
Wholesale Supplier
Zart Art offers an extensive range
of art materials, resources, craft
and technology supplies. You
will find competitive prices and
efficient and quick service.
5/41 Lexton Road, Box Hill North
Melbourne Victoria 3129
Ph: (03) 9890 1867
Fax: (03) 9898 6527
www.zartart.com.au
zartart@zartart.com.au
Hours:
Mon - Fri: 8.30 am - 5.00 pm
Sat: 8.30 am - 12.00 noon
Zart’s Student Gallery
The gallery features art works
made by students of Prep to
Year 12 from all around Victoria.
Schools can arrange for students
to visit the gallery, analyse the
works of their contemporaries
and then make a relevant piece
of their own art work in our
workshops with an art consultant.
The gallery is also open to the
public for viewing during opening
hours (please see Zart hours) free
of charge.
For Term Gallery listings refer to
our Zart Extra and our website.
Zart Education Service
Zart Education Service provides
hands on professional development
workshops for primary and
secondary teachers, as well as
LOTE teachers, Pre-schools, and
librarians. Visual Arts workshops
are regularly held at Zart and
in metropolitan and country
locations and upon request at your
school, district or KLA’s group.
Please refer to the ‘Workshop
Insert’, a supplement to every
Zart Extra or refer to our website
for dates and times.
Zartworks (Retail Shop)
Zartworks have all your art and
craft needs catering for both
beginner and professional artists.
You can select from a wide range
of visual arts, craft and graphic
supplies. Browse at your leisure
or seek assistance from our
experienced staff.
3/41 Lexton Road, Box Hill North
Melbourne, Victoria 3129
Ph: (03) 9890 5110
Fax: (03) 9898 6527
E: zartworks@zartart.com.au
Hours:
Mon - Fri: 9.00 am - 5.00 pm
Sat: 9.00 am - 12.00 noon

primary article
Faces of Cubism
The idea for the painting originated
from the celebration of our school’s 10th
Anniversary with students completing an
original piece of art work.
I selected a group of seven students
from year five and six, boys and girls to
create and paint the canvas.
Using Pablo Picasso, Cubism and faces
as a source of inspiration and starting
point, students where asked to draw
faces using only line on A4 paper with
grey lead pencil. The drawings were then
filled predominantly with triangles.
Students found it very challenging to
draw in shapes and redrew their picture
many times.
We decided that the painting would
have three large faces. As a group we
spread out all face drawings and through
the elimination process, chose two
female and one male face. A female face
on each side facing in and one male face
in the middle facing forward, creating
balance in the painting. The drawings
where then fine lined and photo copied
onto acetate. This enabled students to
then project a larger image onto the
canvas and outline using black markers.
A large timber frame was made, (2m
x 1.20m) and we stretched pre-primed
canvas securing it with a staple gun.
Students were shown that if we spray,
the underside of the canvas it was easier
to stretch and when it dried the canvas
would tighten.
Each student was given a photo
copy of one of the faces to colour
using pencils. I wanted them to use
monochromatic blending to fill the
shapes that represented the skin and flat
colour on all other features of the face
creating a contrast. All colour choices
where decided on as a group. They also
pre-determined the direction each shape
was to be shaded (from dark to light) to
ensuring that each one was different
from the ones around it.
Students were then shown how to
mix acrylic paint to make the colours
needed for each face. Students were also
shown how to blend the colours from
dark to light. They found it extremely
challenging to blend the colours evenly
within each shape. They soon discovered
that the colours would change when they
dried and they also realised that they
needed many coats in order to achieve
a solid intense colour. Having to paint
many coats also enabled them to see
an improvement in blending with each
layer and they became more adept and
confident.
The background was split into three
sections with two vertical yellow strips
separating each character. Each section
was then painted with a different colour.
Each character was outlined with black
permanent markers.
Students did most of the work during
lunch times and some class time when
class teachers allowed.
The painting was displayed at our
school art exhibition and students
presented it at assembly, giving a short
talk to the school community on how
they created it.
The painting is to be permanently
displayed on the main office-building
wall for all to enjoy.
It was a pleasure to spend my time
with them, with such wonderful results
both in the finished painting and the
improved confidence within each
student. One statement “I never thought
I could do something like that” and the
look on their faces when others talked
to them about the painting made it a
valuable process.
Nadean Griffin
Brentwood Park Primary School
Visual Arts Teacher
Zart Extra_Term 3 2006 3

profile
Heide - The Early Years
John and Sunday Reed, two of Australia’s
greatest art patrons, moved to the
Heidelberg area a few years after their
marriage in 1932. Having enjoyed excursions
from suburban Melbourne out to the
tranquil Yarra River valley, in 1934 the
Reeds purchased a neglected dairy farm
with a dilapidated nineteenth century
weatherboard house and adjoining land.
They lived at their fifteen-acre property,
affectionately christened ‘Heide’, until their
deaths in 1981. In the course of the first 33
years they resided at Heide I, they renovated
the original homestead in the style of a
French farmhouse. In 1967, they moved
to the award-winning modernist house,
Heide II, designed by David McGlashan of
McGlashan and Everist. They returned to
Heide I at the very end of their lives.
Both John and Sunday Reed came from
wealthy backgrounds. They were highly
educated and well travelled, yet in a sense
both rebelled against their privileged
A New Chapter In
The History Of Heide
Museum Of Modern Art
Key dates in the history of Heide Museum of Modern Art
1934: Heide property purchased by John and Sunday Reed. 1930s: The
Reeds champion modern art and culture in Australia. They purchase works
by young unknown artists. 1946-47: Sidney Nolan paints the Ned Kelly
series, in the dining room at Heide I. 1949: The Reeds adopt Sweeney,
son of Albert Tucker and Joy Hester. 1964: The Reeds commission Heide
II, designed by David McGlashan of McGlashan and Everist 1968: Heide
II completed and awarded a Royal Institute of Architecture (Vic Chapter)
medal 1980: The Victorian Government purchases Heide II, the adjoining
land and 113 works from the Reeds’ collection to create the Reeds’ vision
- a public art gallery. 1981: Heide Park and Art Gallery opens 1981:
John and Sunday Reed die in December, 10 days apart. 1993: Heide III
opens, a new purpose built gallery adjoining Heide II, designed by Andrew
Andersons of Peddle Thorp and Walker. 2000: Heide I - the original
weatherboard home opens as a public gallery after renovation by O’Connor
+ Houle Architecture. 2005-06: Heide’s Redevelopment Program
upbringings. They held radical political
views, championed contemporary art, and
actively supported experimental writing and
music. They also maintained a subsistence
lifestyle, running a small dairy farm and
growing their own vegetables.
From the mid 1930s, the Reeds opened up
their home to the art community. Heide
became a gathering place for many artists
and writers, and a centre for lively critical
discussion and debate. At this time, John
Reed, together with Max Harris, established
the avant-garde art journal Angry Penguins,
which became a vehicle for the artistic
output of the Heide circle. Artists who
visited and occasionally lived with the Reeds
included Sidney Nolan, Danila Vassilieff,
Albert Tucker, Joy Hester, Arthur Boyd, John
Perceval, Charles Blackman, and others
now widely acclaimed, who contributed
to Heide’s future reputation as a cradle of
Australian Modernism.
A new chapter in the history of
Heide Museum of Modern Art
During 2005 and early 2006, Heide Museum
of Modern Art has undergone a major
redevelopment program to expand existing
exhibition spaces, visitor facilities and art
storage. The ‘new Heide’ will include the
Albert & Barbara Tucker Gallery, Tucker
Study Centre, Sidney Myer Education
Centre, Kerry Gardner and Andrew Myer
Project Gallery, Sir Rupert Hamer Memorial
Garden, Cathie and Tony Hancy Sculpture
Plaza, Federation Way Car Park, and a new
collection and art store.
The Sidney Myer Education Centre will open
in July 2006. Designed by O’Connor + Houle
Architecture, this new facility will be a hub
for teachers, students and community
groups, accessing programs based on
Heide’s changing exhibitions, architecture,
landscape and collection. This year, Heide
Education will present an expanded program
that will for the first time include practical
activities for school groups and back-ofhouse
tours of the art collection and storage
areas. The Sidney Myer Education Centre will
also be a centre for professional learning,
with programs demonstrating good
teaching and learning models.
This exciting new resource for the region
has been realised with the generous
support of both private and public partners,
including the Australian Government,
through the Regional Partnerships Program,
the State Government through the
Community Support Fund, the Sidney Myer
Foundation, and the Helen MacPherson
Smith Trust.
For more information about Heide’s
Education Programs please contact Heide
Education
T 03 9850 1500
E education@heide.com.au
4 www.zartart.com.au

Please contact
Zart Education Service for further
information regarding the gallery
on (03) 9890 1867 or by email
on: jan@zartart.com.au
vermont secondary college
situated at zart
education service
is Zart’s Student Gallery.
In the Gallery you will find
some outstanding visual
art work art work created created by stu-
by
students from Levels 1—7.
Each Each term term the the exhibition exhibition
is changed so a new
display may be viewed over
the holidays, supplying
unlimited ideas for the
following terms.
Photos may be taken to
build up your own folio
of resources. The gallery
also gives the students
exhibiting work the opportunity
to bring their
families along to appreciate
their visual art.
Zart’s Student Gallery
We exhibiting are always work on the
lookout opportunity for art to work bring to
be their displayed families in along our gallery
from their both visual primary art.
to
appreciate
and We secondary are always levels. on the If
you lookout have any for pieces art work of
art work to be that displayed would be in
of our some gallery interest, from please both
primary email photos and secondary of works
levels. to Jan, If you one have term any in
pieces of art work advance. that
would Please be contact of some
Zart
interest,
Education
please
Service
email
photos of works to Jan,
for further information
one term in advance.
regarding the gallery
on (03) 9890 1867 or
by email on: jan@
zartart.com.au
Dry Felting Marine Creatures Aspendale primary school
Aspendale Primary School
1. We discussed the types of marine
life that is found along our shores.
Students were asked to use their recent
experiences from the 2006 grade
5/6 Camp at Queenscliff. Questions
that we discussed were; what unique
qualities do marine life have? Discuss
the types of patterns that are found
on their skins? What elements of
design are necessary for pattern work?
(line, shape, colour, and repetition.)
2. Students were required to design
their dry felt piece first. Students
should also think about the colours
they wish to use-using coloured
pencils. Once complete, students
then transferred their design on to a
piece of coloured Felt Square using a
grey lead.
3. I demonstrated how to use the dry
felting needle. The needle needs to be
held up right to decrease the risk of
term3
2006
Aspendale Primary School
breakage. Place a felt square on top
of a sponge foam square. Place the
coloured wool in desired spot and use
the needle to begin pushing the wool
into the felt squares. You can overlap
different colours to give interesting
coloured effects. Students continued
with this process until their design
was complete.
Once finished the work was mounted
for presentation.
Rangeview Primary School
Altona Primary School
Lions
Brentwood Park Primary School
Faces of Cubism
Carey Grammar Donvale
Sunburnt Country Lizards
Dingley Primary School
Vegetable Faces
Killester College
Whimsical Dolls
Mill Park Heights Primary School
Contemporary Indigenous Art
Penders Grove Primary School
Indigenous art
Rangeview Primary School
Birds in Trees
St Pauls Anglican College Warragul
Faces
Thomastown Secondary College
Pencil works
Westgarth Primary School
Vintage Pop Posters
St Catherines School Toorak
Flowers
Aspendale Primary School
Dry Felting
Melbourne Girls Grammar Jnr
Landscapes
Ivanhoe East Primary School
People in action
Waverley Christian College
People in action
Doncaster Gardens Primary School
Masks
Doncaster Gardens Primary School
Zart Extra_Term 3 2006 5

secondary article
Each doll has
been uniquely
embellished &
decorated
Whim
fabric
As teachers we are on an
eternal quest to discover
challenging and rewarding
tasks to set for the students
of the ‘middle earth’. These soft
sculptures are sure to inspire
Middle school students
and fulfil the learning
requirements for Technology
subjects.
The project was approached from a
combined Literacy, Textiles and Art
perspective. Just like on the cooking
shows, I had some dolls at various stages
of completion, with one that I began with
the students. This was to both inspire the
students and break the task down into
achievable goals.
Firstly, I needed to capture the
students’ imagination and start the
creative juices flowing. For this purpose I used
the completed dolls, picture books, posters and
even music. The students were asked to choose one of
the elements of Earth, Wind, Water and Fire and were
asked to complete a collage on their theme using images found on
the Internet, magazines or other literature.
The students were then asked to write a fact file on their
characters including their personality, environment and their
story. They were encouraged to do this creatively, keeping in mind
the selected element that they had chosen.
Next came the drawings. The students began sketching the way
they wanted the dolls to appear. They focused on faces, hair and
clothes, as these are the ‘stuff’ that give the dolls their personality.
They were persuaded to give the doll a fitting title at this stage, a
title that was suitable for a princess, fairy, mermaid, troll or siren.
6
www.zartart.com.au

sical
dolls
Hence before they even began their doll,
the students had an essence of its spirit.
This completed the design brief of the
project and students presented these in the
form of a storybook.
The second part of the quest was to
create the dolls and all their fine
features. Students already had experience
with sewing machines and garment
construction techniques. They dutifully
traced and cut patterns and stuffed the
sculptures firmly with filling. Joining
the body parts was done by hand.
The students practised drawing
the faces on paper and then on
fabric before beginning on their
doll. Outlines were made with
pacer pencils and then outlined in
brown fine liners. Pencil markings were
then erased and coloured pencils were used
to shade and colour the face. Next, black fine
liner was used to strengthen any detail like
eyelashes.
A few techniques of attaching hair and turbans,
and draping clothes were demonstrated before the
students were set free on fabric scraps. All the time
the students were reminded to stay true to the
theme and the personality of the dolls. Most of the
clothing is draped then cut and hand sewn or
held together with various decorative strings or
ribbons. The students were encouraged to be
creative and inventive when decorating
and embellishing their dolls.
Although this was an exciting quest, it
is not for the faint hearted, as it does get
pretty messy at times. However, judge for
yourselves the finished dolls and the proud looks on
the students’ faces say it all.
Students created
their own delicate
doll forms -
starting from
a pattern, they
cut & sewed it
together.
Anna Miha
Killester College
Springvale
Zart Extra_Term 3 2006 7

NEW!
See Art History Stand Still
WILLIAM BUELOW GOULD
DALE HICKEY
GODFREY MILLER
Maggie Nelson
DAVID STRACHAN
MAY VALE
BRETT WHITELEY
NONA BURDEN
WIILLIAM DOBELL
12 x Full Colour prints
History (Art & Australian)
Teacher Notes
Activities
Acid Free Case
ROSALIE GASCOIGNE
eX de MEDICI
MARGARET WEST
Australianstill life
Art Pack 1788—21st Century
The Australian Still Life Art Pack the fourth in this art appreciation series.
Still Life features 12 different Australian artists from early colonial, late
19th century to contemporary artists of the 21st century. Twelve A3 full
colour prints with teacher notes on the reverse which give details of the
work, the artist and the time, all contained in a sturdy case. Each card
includes suggested research and an activity for students to explore the
style of the particular artist.
set of 12 cards. . . . . $55.00 $60.50
A journey through Australian Art History
8 www.zartart.com.au
Also available in this Australian Art
Pack series 1788—21st Century
Australian Faces Art Pack
Australian Landscapes Art Pack
Australian Water Art Pack
Australian Viewpoints Art Pack

italic prices do not include gst, Bold prices include GST • prices are valid until september 15th 2006
Chunky Yarn
An exciting new hand spun, hand dyed wool
shorn from English Leicester sheep. This funky
yarn can be used for knitting, weaving, felting
and collage. Knit a scarf with one hank of yarn
on size 20 needles with only 8 stitches. Available
in Scarlet, The Blues, Daffodil, Rainbow, Cream
Chunky or Grey/black. Each batch dye bath may
vary a little.
50 m hank . . $18.15 $19.97
Fibre Fix Method: Complete drawing,
rubbing or stamping - make sure the media you
have used is dry (e.g. - if using water colour
pencils etc). Using a soft brush -paint Fibre Fix
over the drawing. Wait for the Fibre Fix to dry.
Once dry place a piece of fabric over the art
work and iron to fix the Fibre Fix. The fabric
can then be rinsed in warm soapy water to
remove any Fibre Fix residue. Leave to dry. The
fabric should then return to its original handle.
Pre dyed Chunky Yarn
with landscape dyes
Landscape Dyes
Dyes for Wool or Silk
Colours inspired by the clarity of
light and the unique natural beauty
of our Australian landscape. These
dyes have been developed to give a
professional colourfast result with a
simple dyeing method. Landscapes will dye
wool, mohair, alpaca, silk or nylon either
as fleece, spun yarn or fabric. They are a hot
water dye. 100gm of dye will dye 1kg of dry
fibre to full shade. Available in Wattle, Marine,
Grevillea, Currawong, Tanbark, Citrus, Desert
Pea, Galah or Cyclamin
100g . . . . . . . . $9.24 $10.16
New Products
Landscape dyed felt &
wool tops
Silk Tops
These unspun silk fibres, are hand dyed and
therefore there will be variation of colour within
each batch. 25g of silk tops will make approx. 4 x A4
sheets of silk paper. (See instructions overleaf.) Silk
tops can also be used in felt work -both wet and
dry felting, and knitting. Colours available: Jewel
(blue/green), Rust (brown/red), Indian Summer
(Pink/yellow), Walnut (Brown/green) or Rainbow
(multi coloured)
Each 25g . . . . . $9.75 $10.73
Fibre Fix
A medium used to make silk paper, Fibre fix
can also be used to make oil pastels, crayons
and pencils permanent on fabric. Note - Only
suitable for natural fibre fabrics, such as,
cotton, silk, calico, etc.(not polyester or poly
cotton)
250ml . . . . . . . $7.26 $7.99
Mask made from a sheet of
silk top paper! Instructions
Next page!
Zart Extra_Term 3 2006 9

Activity
Silk Paper
Making
Imagine using silk - a natural fibre,
lustrous, captivating, luxurious,
glamorous and rich - to make
something as ordinary as paper
into an extraordinary, individual
creation.
Silk “paper” is similar to both paper
and felt in its texture but, as silk is
not porous and it cannot be “felted”,
paper is the most apt description
for it. Silk fibre is actually not spun
by a worm but a caterpillar grub.
The continuous filament hardens as
it comes into contact with air and
this is what is used to make silk.
There are two main types of silk
fibres available today; the Mulberry
silk is pure white, highly lustrous
and more expensive. By contrast,
the Chinese Tussah Silk is a honey
coloured, less lustrous and coarser
fibre which is also less expensive.
It is from the latter, the Tussah silk
worms, that we obtain the fibres for
paper silk.
• Silk paper may be used for
a myriad of creative 3D and
2D objects, such as, boxes, bowls,
lampshades, masks, jewellery, book
covers, cards, collage.
• While still in the making process,
the surface texture and overall
design may be enhanced by adding
coloured threads, glitter, decorative
papers, skeleton leaves, and other
fibres.
• Once made, silk paper may be
embellished with embroidery, free
hand stitching, beading, other
fabrics and threads.
• Textile or paper printing inks may
be stamped or screen-printed on to
the Silk paper.
Silk paper is not new; it is simply
an ancient craft that is experiencing
a revival. There is evidence that
silk paper was used in the second
century BC in China for official
letters and documents. What is new
is the fixative we now use to “glue”
the fibres together. This has been
perfected during the last ten years
or so by various artists.
The story of silk begins in China
in 2600BC and has a long and
colourful history. It is believed
that, Se-Ling-She, the wife of the
fabled Yellow Emperor, dropped a
silk cocoon into her cup of tea and
watched in fascination as the fibres
unravelled. This gave her the idea
of unreeling the cocoons into long
threads of silk. Se-Ling-She is also
credited with the introduction of
silkworm rearing and the invention
of the loom.
Once silk was discovered in China
it was reserved exclusively for the
projects using
silk paper
royal family. It is believed that they
wore white silk robes at home and
yellow ones when out in public
to represent the colour of the
earth. The Chinese closely guarded
the secret of sericulture (i.e. silk
production) for many centuries.
Then from 200 BC onwards some
intriguing stories, worthy of
further investigation, tell of how
sericulture reached other parts
of the world. For example, there
were Chinese settlers who took the
secret with them to Korea; then
there were the two monks who
smuggled silkworms out of China in
bamboo baskets to the court of the
Byzantine Emperor Justinian in AD
550; and the Silk Road was used for
silk trading long before it was even
completed!
10 www.zartart.com.au

Such a quick & simple process!
The process of making
silk paper is simple and
requires no special tools or
equipment. Silk paper is
made by simply laying silk
fibres or Silk Tops between
two pieces of Nylon Tulle and
spraying the silk fibres with
soap and water and then
applying Fibre Fix or Textile
Medium to fix the fibres
together permanently. The
result of this fusion of silk
and medium is a sheet of
shimmering silk paper.
process...
1. Cover the work area
with plastic sheeting or
newspaper.
2. Pour or squeeze dishwashing
liquid into one
spray bottle and add water
to the dishwashing liquid.
e.g. 50 ml dishwashing
liquid to 200 ml water.
3. Pour 50 ml Textile
Medium or Fibre Fix into one
spray bottle and dilute this
by half with water. e.g. 50
ml Medium to 50 ml Water.
(Note: Both of these solutions
can be stored in the spray
bottles for up to 2 weeks).
4. Start to work in the tray
by laying flat one sheet of
Nylon Tulle on to the base of
the tray.
5. Begin to place Silk Tops
on to the Tulle (this process
is similar to preparing Wool
Tops for felting). Holding the
Silk Tops in one hand, gently
pull away tufts of fibre
using the other hand. (Note:
Holding the Silk Tops approx.
20cm away from the other
hand will allow the fibre to
pull free from the end of the
silk.)
6. Start to lay Silk Tops on
the Tulle. Depending on
the thickness you require,
lay one or two layers of Silk
Tops (perhaps placing one
layer horizontally and the
next one on top vertically to
maximize fibre fusion).
7. Proceed to cover the
Tulle, leaving at least a 3cm
border around the edges.
At this point you may add
decorative elements such as
glitter, yarn etc.
8. Place the second piece of
Tulle on to the Silk Tops and
spray the soapy mixture on
the Tulle (which sandwiches
the Silk Tops). Use your
hands or sponge, brush or
roller to work the soapy
mixture into the Silk Tops.
When you have wet the top
layer turn the Tulle over
and repeat on the opposite
side. Using a foam roller or
sponge, mop up any excess
soapy mixture. Pour off any
excess soapy mixture from
the tray.
9. Spray the medium (half
Fibre Fix and half water)
on to the Tulle which
sandwiches the Silk Tops.
Repeat the process as per
the soapy mixture; apply to
one side with a foam brush,
roller or hands (if using
hands please wear gloves).
Apply the Fibre Fix medium
quite liberally. This process
will ensure all of the silk
fibres are fused together.
10. Use a foam roller to
remove any excess medium.
The silk paper making
process is now complete. To
dry and finish the process,
keep the Tulle in place and
hang the wet silk on to a
clothes rack or line to drain
and dry. If drying inside,
place newspaper under
drying rack to collect any
excess medium. When the
silk paper is completely
dry, carefully peel away
the two layers of Tulle. Silk
paper may be ironed on the
silk setting if you require a
flatter sheet.
lay down tulle
cover with tulle
work in mixture
spray on medium
remove excess
place down silk
spray on soap
remove the excess
rub in medium
let dry
Zart Extra_Term 3 2006 11

New new resources
Resources
Book Spotlight:
NEW Art Pack release
Still life - page 8
Visual Literacy
Judith & Richard Wilde
The authors propose that the repertoire of
principles and techniques needed for effective
visual communication cannot simply be
taught, but must be developed, through
hands-on experience with broad-ranging
visual problems. This book documents this
learning process by presenting 19 challenging
visual assignments and more than 1000
pieces of solution art executed by students.
Specific design principles that are reinforced
include illusory space, negative-positive
relationships, and cropping techniques. The
innovative results shown throughout the
book give an idea of the solutions that can
be achieved with this teaching approach.
191 pp . . . . . . $45.41 $49.95
Handmade
Silk Paper
Kath Russon
This book shows how to create a
wonderful selection of beautiful,
original papers using silk
fibres. They can be dyed, inlaid
with flowers, leaves, threads
or ribbons, manipulated into
fascinating shapes, embellished
with stitches or beads, moulded
or made into stunning textured
collages. See how they can be
transformed into bowls, boxes,
masks and bookcovers.
96 pp . . . . . . .$27.23 $29.95
Colour: How to use colour in
art and design
Edith Anderson-Feisner
This book provides a thorough grounding
in colour theory as well as expert advice
about putting the principles into practice.
Beginning with an account of colour
fundamentals and a history of colour
theory, the author explores in depth the four
dimensions of colour and their application
to compositions in various media.
182pp . . . . . . .$45.41 $49.95
Zart Extra_Term 3 2006
Production for Graphic
Designers
Alan Pipes
This revised fourth edition embraces all the
new and emerging technologies in graphics
and print production, comprehensibly
explaining the prepress and printing
processes from traditional letterpress
to the latest on-press CtP (computer-toplate)
digital offset and on-demand colour
printing. It also covers new workflows and
spells out the many acronyms encountered
by today’s designers.
271 pp . . . . . .$45.41 $49.95
Focus on Art in Society and
Environment
5-8
8-10
10+
These books contain integrated, planned
and sequential units of work that relate
directly to the curriculum. Each book in the
series guides you through art experiences
that link the making and appreciating
aspects of visual arts with environments,
cultures and societies in the past and the
present.
each . . . . . . .$39.05 $42.96
Cato Design
Through his work in communication
problem solving, Australian Ken Cato has
set the standard internationally. This book
contains a selection of his inspirational
designs. In design circles around the world,
Ken Cato is admired for his signature style
of integrated visual communications.
Cato Design presents over 300 colour
illustrations, and outlines the unique design
philosophy that has been the key to Cato’s
considerable success. His work represents
the cutting edge of graphic design today.
160 pp . . . . . .$50.00 $55.00
Focus on Art in Society and
Environment:
5-8 Wall Charts
8-10 Wall Charts
10+ Wall Charts
You can supplement each book with its own
set of wall charts. These are stimulus posters
that can be used to develop art appreciation,
with teaching notes on the reverse. 8 x A3
for each book
each . . . . . . .$45.41 $49.95
The Digital Canvas
Jonathan Raimes
This book is a practical and inspirational
guide to creating innovative and imaginative
art on the computer. Aimed at beginners as
well as practising artists, this book
guarantees simple, easy-to- achieve results
as well as suggesting more ambitious,
experimental ideas. Packed with a wide
range of ideas and styles, from traditional,
painterly images to cutting edge computer
graphics. Explains how to make the most of
imaging technologies, such as scanners, and
unusual ways of using them to create
artistic effects.
192 pp . . . . . .$54.55 $60.01
See page 9 for our
range of Silk Top
fibres!
Christmas
2006
Our 2006 Christmas
Catalogue including
other celebrations
is full of festive
products great
activities!
Out mid JULY!
blue italic prices do not include gst, Bold black prices include GST • prices are valid until 15th september