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Needlework is America's most popular craft, with about 38 million stitchers according to the Hobby Industry of America. Subversive Cross Stitch puts a 21st-century spin to this age-old art. Step-by-step instructions for 35 hilarious projects are sure to appeal to the savvy stitch-n-bitch generation.
Julie Jackson is back and more subversive than ever! This new anniversary edition of her classicSubversive Cross Stitchcelebrates more than 10 years of delightfully snarky, in-your-face cross stitch with 50 full-color patterns including17 brand-new designs, such as "Don't Be Such A Baby" and "Cheer Up, Loser." Subversive Cross Stitch: 50 F*cking Clever Designs For Your Sassy Sideinvites stitchers of all levels to fully express their bad-ass crafty selves, whether they need to release their inner curmudgeon or let fly with a witty insult. With alphabet charts and easy-to-follow instructions for every design,Subversive Cross Stitch: 50 F*cking Clever Designs For Your Sassy Sideincludes everything you need to get your craft on from the original instigator of subversive stitching.
This exhibition brings together the work of twelve artists from the United States and Canada who undermine the decorative and comfortable domesticity usually associated with crafts. Though crafts have too often been considered the stepchildren of the more intellectual and elevated “Fine Arts”, these subversive crafts people acknowledge the realm of the familiar and homey everyday object as a powerful milieu to provide an intimate, experiential and incisive commentary on the emotive conditions of contemporary life. Artists: Laura Baird, Kate Boyan, Lou Cabeen, Nancy Edell, John Garret, Anne Kraus, Keith Lewis, Paul Mathieu, Matt Nolen, Richard Notkin, Leslie Sampson, Jane Sauer, Joyce Scott, Barbara Todd, and Lillian Tyrell.
From the OG of the Subversive Cross Stitch movement (and brand of the same name) comes Super Subversive Cross Stitch. Featuring 50 easy-to-make designs—both brand-new patterns and fan favorites—stitched together with trademark wit. Don't freak out. Don't make this about you. May your life be as amazing as you pretend it is on Facebook. What fresh hell is this? Not today, Satan. Super Subversive Cross Stitch is here to provide crafters with the snarky inspirations they love to stitch. The book features 50 patterns—23 brand-new designs and 27 fan favorites—along with easy-to-follow instructions for the beginner and fonts and designs for adventurous crafters looking to customize their creations. It recasts a traditional, dare we say "sentimental," craft into a modern, relevant art form. It's the latest offering in the Subversive Cross Stitch brand, beloved by legions of DIYers. Less messy than graffiti, Super Subversive Cross Stitch allows crafters to adorn walls with political pith and irreverent twists on classic quotes ("I think, therefore I drink," "Let the good times be gin"). “This book reminds me that I'm not alone in being crafty and sweary all at the same time. Pass the gin.” —Jenny Lawson, New York Times–bestselling author of Furiously Happy, Let’s Pretend This Never Happened, and Broken "Julie is the true OG of the subversive cross-stitch movement. Modern cross-stitch design would not be what it is today without her. She is a positive and supportive force in the cross-stitch community, providing mentorship to other designers and welcoming new stitchers into the hobby. I am so excited about her new book!" —Stephanie Rohr, author of Feminist Cross-Stitch
The history of men's needlework has long been considered a taboo subject. This is the first book ever published to document and critically interrogate a range of needlework made by men. It reveals that since medieval times men have threaded their own needles, stitched and knitted, woven lace, handmade clothes, as well as other kinds of textiles, and generally delighted in the pleasures and possibilities offered by all sorts of needlework. Only since the dawn of the modern age, in the eighteenth and the nineteenth centuries, did needlework become closely aligned with new ideologies of the feminine. Since then men's needlework has been read not just as feminising but as queer. In this groundbreaking study Joseph McBrinn argues that needlework by male artists as well as anonymous tailors, sailors, soldiers, convalescents, paupers, prisoners, hobbyists and a multitude of other men and boys deserves to be looked at again. Drawing on a wealth of examples of men's needlework, as well as visual representations of the male needleworker, in museum collections, from artist's papers and archives, in forgotten magazines and specialist publications, popular novels and children's literature, and even in the history of photography, film and television, he surveys and analyses many of the instances in which “needlemen” have contested, resisted and subverted the constrictive ideals of modern masculinity. This audacious, original, carefully researched and often amusing study, demonstrates the significance of needlework by men in understanding their feelings, agency, identity and history.
For the first time, Julie Jackson's sassy cross-stitch designs are available in coloring book form. Julie doesn't hold back and neither should you. An adult activity book that collects her signature patterns into the ultimate therapy--coloring pages--plus connect-the-dots, finish-the-doodle, and a host of other fun activities, this is the perfect opportunity to color your blues away and channel your inner badass with the Subversive Cross Stitch Coloring Book. Featuring 40 quirky, occasionally snarky, and always honest sentiments derived from Julie's signature Subversive Cross Stitch Designs, this coloring and activity book is perfect for those who are too hesitant or don't have the time to cross-stitch but want to enjoy some creative activities based on Julie's refreshingly subversive sensibility. Relax and let loose with the Subversive Cross Stitch Coloring and Activity Book!
Whether it's embellishing or customizing off-the-rack clothing or transforming clothes that have lost that loving feeling, "Sew Subversive" is all about making fashion personal. The book covers the basics of hand and machine sewing and offers 22 cool projects. 195 color photos. 186 color illustrations.
Each year writers and editors submit over three thousand grammar and style questions to the Q&A page at The Chicago Manual of Style Online. Some are arcane, some simply hilarious—and one editor, Carol Fisher Saller, reads every single one of them. All too often she notes a classic author-editor standoff, wherein both parties refuse to compromise on the "rights" and "wrongs" of prose styling: "This author is giving me a fit." "I wish that I could just DEMAND the use of the serial comma at all times." "My author wants his preface to come at the end of the book. This just seems ridiculous to me. I mean, it’s not a post-face." In The Subversive Copy Editor, Saller casts aside this adversarial view and suggests new strategies for keeping the peace. Emphasizing habits of carefulness, transparency, and flexibility, she shows copy editors how to build an environment of trust and cooperation. One chapter takes on the difficult author; another speaks to writers themselves. Throughout, the focus is on serving the reader, even if it means breaking "rules" along the way. Saller’s own foibles and misadventures provide ample material: "I mess up all the time," she confesses. "It’s how I know things." Writers, Saller acknowledges, are only half the challenge, as copy editors can also make trouble for themselves. (Does any other book have an index entry that says "terrorists. See copy editors"?) The book includes helpful sections on e-mail etiquette, work-flow management, prioritizing, and organizing computer files. One chapter even addresses the special concerns of freelance editors. Saller’s emphasis on negotiation and flexibility will surprise many copy editors who have absorbed, along with the dos and don’ts of their stylebooks, an attitude that their way is the right way. In encouraging copy editors to banish their ignorance and disorganization, insecurities and compulsions, the Chicago Q&A presents itself as a kind of alter ego to the comparatively staid Manual of Style. In The Subversive Copy Editor, Saller continues her mission with audacity and good humor.
A Choice Outstanding Academic Title 2016 Satire has been used in ceramic production for centuries. Historically, it occurred as a slogan or proverb written into the ceramic surface; as pictorial surface imagery; or as a satirical figurine. The use of satire in contemporary ceramics is a rapidly evolving trend, with many artists subverting or otherwise rethinking familiar historic forms to make a political point. Claudia Clare examines the relationship between ceramics, social politics, and political movements and the way both organisations and individual artists have used pots - predominantly domestic objects - to agitate among the masses or simply express their ideas. Ninety colour illustrations of various subversive, satirical and campaigning works illustrate her arguments and enliven debate. Claudia Clare explores work by artists from twenty-one different countries, from 500 BC to the present day. These range range from the French artist Honoré Daumier and the enslaved African-American potter David Drake to contemporary artists including Lubaina Himid, Virgil Ortiz and Shlomit Bauman, whose work and the means of its production has addressed or commented upon issues such as disputed homelands, identify, race, gender and colonialism.
Choosing Craft explores the history and practice of American craft through the words of influential artists whose lives, work, and ideas have shaped the field. Editors Vicki Halper and Diane Douglas construct an anecdotal narrative that examines the post-World War II development of modern craft, which came of age alongside modernist painting and sculpture and was greatly influenced by them as well as by traditional and industrial practices. The anthology is organized according to four activities that ground a professional life in craft--inspiration, training, economics, and philosophy. Halper and Douglas mined a wide variety of sources for their material, including artists' published writings, letters, journal entries, exhibition statements, lecture notes, and oral histories. The detailed record they amassed reveals craft's dynamic relationships with painting, sculpture, design, industry, folk and ethnic traditions, hobby craft, and political and social movements. Collectively, these reflections form a social history of craft. Choosing Craft ultimately offers artists' writings and recollections as vital and vivid data that deserve widespread study as a primary resource for those interested in the American art form.