The Textile Artist's Studio Handbook

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(Fogra 39) Job:02-28051 Title:RP-Textile Artist Handbook

#175 DTP:225 Page:22

001-027_28051.indd 22 3/6/12 7:50 PM

(RAY)

(Fogra 39) Job:02-28051 Title:RP-Textile Artist Handbook

#175 DTP:225 Page:23

001-027_28051.indd 23 3/6/12 7:50 PM

(Text)

PLANNING THE LAYOUTT HE T E x TILE ArTIs T 's sTUd IO H ANdbOOk

22

Organization, Safety,

and Conservation

Organization is key to productivity and safety. Here

are some things to keep in mind when setting up the

studio and organizing your materials and equipment.

Labeling: No matter how much money you spend on

supplies, if you don’t know where they are, you may

as well not have them! Different storage systems

work for different people. Make your labels large and

clear. Affix labels to all drawers, cabinets, bins, and

such. All chemicals, including dyes, inks, fixatives,

and mordants, must be clearly labeled and kept in a

dedicated area.

Storage: Cubbies, drawers, or small containers are

essential for differentiating between various tools and

materials (including needles, small weaving accesso-

ries, etc.). Be realistic about your needs and how they

may change as your hobby, art, or business grows.

Investing in larger storage furniture than you first need

will allow you to expand without repeatedly having to

graduate to larger models. You do not need to run out

and buy anything special, but your storage system

needs to work for you and the level of organization you

desire. Some people prefer more compartmentaliza-

tion than others. You can find small baskets or plastic

bins at dollar stores, or even small and large drawer

units at places like IKEA. For yarns and fabric, it is best

to use plastic to keep pests out. For small tools, draw-

er dividers or small boxes and baskets work well.

Sort by Fiber: Keep yarns separated by fiber content.

Wool reacts differently than cotton. You don’t want

to mix up these materials unless you don’t mind your

sweater turning into an art piece the first time you

wash it! Balls and skeins should be kept in sealable

plastic bins or drawers to keep out dust, moisture,

and moths. Thread cones can be stored on shelves

but are most accessible on a rotating yarn tree or on

a peg board on the wall, which also helps with pest

management because of the constant movement. If

unlabeled fibers get mixed, you can conduct a “burn

test” to help differentiate the fibers (page 40).

ABOVE Clearly labeled tools are

more likely to be used and put back

where they belong.

BELOW Taking the time to keep

your materials neat and organized

will save you time and energy. This

sewing table includes drawers, which

are very helpful.

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(Fogra 39) Job:02-28051 Title:RP-Textile Artist Handbook

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PLANNING THE LAYOUT

23

The TexT ile ArT isT 's sTudio hAndbook

Inventory: Whether you are creating textiles for your-

self or for others, as a hobby or as a business, you

should maintain an inventory of your materials indict-

ing where you bought them. This will help keep you

organized and be helpful when you are ordering mate-

rials. You’ll quickly discover favorite sources for mate-

rials, so an inventory system will help you remember

the places you do and don’t like to order from.

Safety: Always keep safety gear close at hand—this

way, you are more likely to use it. Goggles, gloves,

dust masks, and aprons are essential in a textile stu-

dio. If your budget allows, consider purchasing an eye

washer that can be attached to your faucet if you have

a wet area in your studio.

Protecting Your Work:

Basic Textile Conservation

Textile conservation is a broad field of study and re-

search, with focus on the preservation of textile and

fiber heritage, including conservation treatment pro-

cedures, preventive measures, and the study of the

history, materials, and techniques.

We associate textile conservation with museum

and gallery practices, but traditionally textiles have

been preserved in a domestic environment through

the simple acts of mending and washing. Most of the

textiles in our daily lives don’t fall under the heritage

category, but hopefully one day your artwork might!

Although textile conservation diagnostics and treat-

ments should be left to professional conservators and

setting up your studio with museum conditions would

not only be complicated but expensive, your artwork

and materials will definitely benefit from you knowing

the very basic textile conservation principles.

One of the most important principles of textile

conservation is preventive conservation, which con-

siders and monitors all the factors that can lead to the

degradation of textiles. Factors include environmental

conditions (light, temperature, relative humidity), con-

trol of insects and mold, and storage conditions.

Here’s a bit more on how you can use basic textile

conservation techniques in your own studio.

Environmental Conditions

Light, temperature, and relative humidity are all fac-

tors that effect the degradation of textiles.

Lighting

The right light is extremely important while

working on textiles; it allows better perception of col-

or and makes a more comfortable working environ-

ment for the artist. However, most of the time, the

optimum light conditions for the artist aren’t neces-

sarily the optimum conditions for the preservation of

textile artwork. Fibers and dyes are light sensitive and

continuous exposure, especially to ultra violet radia-

tion (UV), will initiate and/or enhance their degradation

process. Dyes, natural and synthetic, are especially

sensitive, and overexposure to light might lead to fad-

Goggles, gloves, dust masks, and

aprons must be readily available.

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(Fogra 39) Job:02-28051 Title:RP-Textile Artist Handbook

#175 DTP:225 Page:23

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