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Strip-woven textile design: African fabric. Textile patterns, designs, weaving methods, and cultural significance vary across the world. African countries use textiles as a form of cultural expression and way of life. They use textiles to liven up the interior of a space or accentuate and decorate the body of an individual.
Kuba textiles are a type of raffia cloth unique to the Democratic Republic of the Congo, formerly Zaire, and noted for their elaboration and complexity of design and surface decoration. Most textiles are a variation on rectangular or square pieces of woven palm leaf fiber enhanced by geometric designs executed in linear embroidery and other ...
Finally, the yellow n'gallama dye is removed from the unmarked parts of the cloth by applying soap or bleach, rendering the finished cloth white with dark marks where it was painted. [4] After long use, the very dark brown color turns a variety of rich tones of brown, while the unpainted underside of the fabric retains a pale russet color. [3]
The camwood is grated into a powder, then boiled before adding the fiber to be dyed. However, other dyes like the Kola nut do not need heat. Resist techniques such as tie-dye, stitched and folded resist, wax batik, and starch resist are typical dyeing methods used to introduce patterns and color on the cloth.
Whereas European cloth-making generally created ornamentation through "suprastructural" means—by adding embroidery, ribbons, brocade, dyeing, and other elements onto the finished woven textile—pre-Columbian Andean weavers created elaborate cloth by focusing on "structural" designs involving manipulation of the warp and weft of the fabric ...
The designs and motifs in kente cloth are traditionally abstract, but some weavers also include words, numbers and symbols in their work. [3] Example messages include adweneasa , which translates as 'I've exhausted my skills', is a highly decorated type of kente with weft -based patterns woven into every available block of plain weave.
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Some colours are printed on pure bleached cloth, but all patterns containing alizarin red, rose and salmon shades are considerably brightened by the presence of oil, and indeed very few, if any, colours are detrimentally affected by it. [6] The cloth is always brushed to free it from loose nap, flocks and dust that it picks up whilst stored.