portfolio by Christin Mannewitz

Portfolio CHRISTIN MANNEWITZ

Contents

projects 7 - 13 cycle – clean bags 15 - 19

repeat – Déjà-vu

21 - 25 language – turkish 27 - 31

between color tones – mustard yellow

33 - 37

light in the dark – depth

39 - 43

Alice in wonderland – kitchen scene

45- 49 type & textile

basic courses

51 - 53

stripes and checks

55 - 57

line and form

59 - 63 collage 65 - 69 figure drawing 71 - 77 photography

projects

cycle

Prof. Bettina Gรถttke- Krogmann and Joachim Unterfrauner

assistence:

summerterm 2014

cycle / clean bag This project has been a collaboration between the German Federal Cultural Foundation and the textile design department of Burg Giebichenstein University of Arts and Design. Starting point were intense discussions around the topic of plastic bags, the production, use and the disposal. I put my focus on the development of a newmaterial. I worked with natural and renewable resources. I really liked the idea of a bag that could get dumped after use without any concern. I wanted to show off an alternative

to plastic bags. While cooking, I noticed how much peel waste arises. I wondered if it was possible to get a material out of it. The first experiments I started with peels of asparagus and rhubarb. After cooking and pulpifying it I scooped it off with a simple mesh. After the first successful experiments, I expanded my starting materials for hay, nettle, dandelion and straw. The following experiments I did into our Universitys paper workshop where I could manufacture very delicate as well as very strong paper-like

In the final implementation of the bag I could do without a coating. The paper constitutes a sufficiently firm and closed surface while drying under pressure. The next step was thinking about the printing. I wanted to print the logo of German Federal Cultural Foundation, without highly polluting inks. I did several experiments with paper bleaching. I used citric acid as a bleaching or let the papers naturally

material. Some basicmaterials like seaweed, dandelion and nettle needed some hemp in addition to achieve a solid paper. I was thinking about making the paper - like material more resistant to water. It was important to me to use natural and compostable materials there, too. In the silk screen printing workshop I made severalcoating experiments. I used rapeseed and castor oil, bees wax, starch and bioplastics as coatings.

exposed to the sun fade.At the end I printed a sugar paste that caramelizes under a heat press. Only by the action of heat the lettering of the foundation gets visible yet the bag remains compostable. The last step in the project was assembling the bag. I chose a simple reduced form to give the material a high priority. I bonded the bag with an old glue from

carpentry handicraft. A special glue that consists of casein and lime.Those components are fully degradable and the adhesive is water resistant. So the bag stays completely compostable.

Déjàvu

Prof. Bettina Göttke- Krogmann and Joachim Unterfrauner

assistence:

winterterm 2013/14

repeat/ Déjà-vu

In textile design working with repetitions is common. In this project, the repetition itself was starting point for the creation of a textile collection. My own sub-theme was déjà vu, a psychological phenomenon where a person believes to have experienced a situation once already. This perception is in contradiction to our knowledge that every moment can only be experienced once. Therefore déjà vu questions

our perception. Based on this thought, I decided to work with gradients, grid pattern and stripes. The print design is a gradient, I printed with pigment colors. For the purposes of our semester theme the motif repeats on the fabric, dissolves, repeats and than dissolves again... Furthermore I added stripes to the design. The result is an atmospheric and muted collection made for the interior space. The motifs are hand printed satin cotton fabrics, that works as curtain fabrics, and on Japan paper that function as curtains, blinds or wallpapers.

Screen printing on Japan paper with Tubi Screen and pigment color

screen printing with pigment color on satin cotton

colored burnt-out fabrics

Screen printing on Japan paper

Siebdruck mit Pigmentfarbe und Tubiscreen Paste 21

turk

Prof. Bettina Gรถttke- Krogmann and Stephanie Siepmann

assistance:

winterterm 2013/14

language/ turk

In this project language itself was starting point for the design and development of a fabric collection for clothings. Emphasis was on knitted fabrics, crafted on hand knitting machines. I opted for the Turkish language, that offered me enough inspiration for the development of a collection. I focused on the sound.

A special thing about Turkish language is the vowel harmony, which distinguishes between light and dark vowels. A typical Turkish word exists, except for fewer exceptions, only of bright or dark vowels. The harmony gives the special rhythm and harmony of the spoken language.

Digital Printing on silk

felt, handstitched with Madeira thread 24

top left: Digital Printing on silk

I was interested in contrasts particularly and the distinction between bright and dark. I focused myself to basic colours. I selected primary colour pairs of opposites from Itten's colour circle. I added my selection of grey tone colours. The motif of opposites I

Knitted fabric on hand knitting machine 26

Multicolor knitted fabric on hand knitting machine

also wanted to bring to the materials. During the knitting process I mixed bulky, rough wool yarns with fine and silky yarns. Single-colored knittings face embroidered felts. Illustrative printing designs are found to shimmering and subtle jacquard fabrics.

Jacquard fabric warp: cotton, colored wefts: silk

in between

Prof. Bettina Gรถttke- Krogmannand and Joachim Unterfrauner

assistance:

summerterm 2012

In between tones/ yellow mustard

In between is a state of being. A state between two options, between two phases.... In between is not; resistant; permanent or reliable, it is more of a phase, or a moment, something that can pass quickly or last for a while. But in its not final. Life itself describes a state of beeing in between.

So I came to the idea to use photography for my design. Photography used as a medium, that captures and preserves moments. I didphotographes of people and my personal surroundings. It was important to me that the photographs were not specific but filled with a pure feeling of inconstancy.

silk screen printing, pigment color and tubiscreen paste

My final motif for printing was a blurred portrait image. While printing on a fabric, the iamge of the screen got even more blurred. At the end there was only a shadow idea of the portrait left. The result on the fabric is impressed by a fine grid. My intermediate

tone was mustard yellow, with a comparatively small range of colors. So I had to focus on a small nuanced area of a colour. By repeating the printing with different tones and a slight offset I received various nuances of the intermediate tone.

Screen printing on cotton fabric with different printing pastes

handmade paper, printed with pigment color, laminated with fabric

In addition to the fabric printing, I developed a series of handmade paper, I refined with different printing pastes. Paper appeared as a suitable carrier of the idea of â&#x20AC;&#x2039;â&#x20AC;&#x2039;transience and became part of my series of fabrics.

Screen printed on cotton, printed with Acrodur- and Tubi Screen paste

Prof. Bettina Gรถttke- Krogmann and Stephan Schmidt

assistance:

winterterm 2013/14

depth

light in the dark/ depth

knitted fabric, plain stitches, wool and wire

hand loom weft: silk warp: cotton

In this project I developed sveral fabric samples on different handlooms on the basis of a self-selected novel tissue. Thereby I experimented with different fabric constructions and various materials. The experimental approach to the material was very important in this project. My colour range was limited to black and white. I opted for the

novel depth by Henning Mankell. The gloomy atmosphere of the book, the description of water and ice as well as the characters of the novel gave me enough inspiration to develop several woven fabrics. I tried to represent tissue samples based on the storyline of the book, as well as characteristics of each individual protagonists.

mesh construction warp: silk weft: cotton

experimental construction on hand loom warp: wool and nylon thread weft: wire, nylon, wool

leno fabric with casette tape

drawings inspired by painter Hans Hartung

hand knitted fabric with copper wire, plain stitches 39

Alice in wonderland

Prof. Georg Barber/ atak â&#x20AC;&#x201C; exchange semester at ilustration class

assistance:

summerterm 2013

Alice in wonderland/ kitchen scene

During my semester at the illustration class I have taken part in the project Alice in Wonderland. Aim of the project was to create and draw a story that runs at six double pages. The story should illustrate the development of an existing character or scene of Alice in wonderland.I chose the kitchen scene of the book. In this scene a a chaotic dispute takes place in which a little piglet is beated by two women, a cook and a dutches. In my story, the cook and the Duchess lead a secret

love affair that needs to be kept as a ssecret.The result of that love affair is the litlle piglet. This leads to hysterical outbursts and dramatic reconciliation scenes between the two women. The cook wants to be the relations ship public, while the dutchess wants to continue in secret. A classic love drama. Actually, they never really agree with each other. Except in the affairs of the little piglets. They both agree that a child needs to be raised with hardness and rigour.

Drawing exercises for character identification and storyboard 42

type and textile

Prof. Gisela Polster / University of Applied Arts Schneeberg

assistance:

winterterm 2010/11

Type and Textile

The aim of the project was to create a design for place mats and a table runner for interieur decoration. I used typographic elements for the surface design of both products. I did several graphically designs by sewing letters, drawing them and experimenting with food as a design element. The final design for the table runner is a simple letter. The letter

stamp, printed twice, creates a diamond shape. For the design of the placemats I used an old date stamp. The result is six placemats that works individually, as well as a set. The digital printing has been realized on a semi Panama fabric. The table runner is made on a Jacquard loom, with black, silver and white cotton thread.

Digital Printing on half panama fabric

Jacquard fabric 51

Basics

stripe and check

Prof. Gisela Polster / University of Applied Arts Schneeberg

assistance:

winterterm 2013/14

Stripe and check

The aim of the project Stripe and check was the training of proportions and colour harmonies. Digital, as well as analogue I did a variety of plaid and striped designs. Two of those designs realised on a hand loom with a simple

plain weave construction. The woven material is linen I hand dyed before the weaving process.I did two handwoven scarves on the loom that I see as a kind of prototyp for a possible serial production.

Leinengewebe in Leinwandbindung 56

line and form

Prof. Gisela Polster / University of Applied Arts Schneeberg

assistance:

WS 2009/10

ink drawing of leafs

Line and form

My first study project contained designing a jewelry crafted in the technique of bobbin lace making. Starting point was an intense graphic study of nature. The final jewelry is an abstraction of an autumn leaf. I used black wire as material and worked with basic lace making techniques. The result is delicate graphic jewelery that works as brooches or earrings.

chain of several leafs, made in the technique of bobbin lace making, black and red whire

assistance: Dipl. Des. Thorsten Berndt

winterterm 2010/11

collage

figure drawing 69

assistance: Prof. Thomas Heger

winterterm 2012/13

winterterm 2011/12

photography

Ende. 81

image credits: Stanislav Nojkov ďż˝ page 23, 24, 25 other images as well as design in person type: Tex Gyre Schola Helvetica (TT)