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His first design was jasmine trail or jasmine trellis (1868–70), based on a similar wallpaper design he had made in 1862. [4] In the 1870s, he expanded his activity in woven furnishing textiles. In 1877, he brought a skilled French silk weaver, Jacques Bazin, from Lyon to London, rented a studio at Great Esmond Yard, and established Bazin and ...
Collection of the Cooper Hewitt, Smithsonian Design Museum. A textile sample is a piece of cloth or fabric designed to represent a larger whole. A small sample, usually taken from existing fabric, is called a swatch, whilst a larger sample, made as a trial to test print production methods, is called a strike off.
There is a large range of yarn types available to the designer, including but not limited to cotton, twill, linen, and synthetic fibers. To produce the woven fabric, the designer first delineates and visualizes the sequence of threading, which is traditionally drawn out on graph paper known as point paper. [15] [16]
Digital textile printing is described as any ink jet based method of printing colorants onto fabric. Most notably, digital textile printing is referred to when identifying either printing smaller designs onto garments (T-shirts, dresses, promotional wear; abbreviated as DTG, which stands for Direct to garment printing) and printing larger designs onto large format rolls of textile.
Tammis Keefe, a cloth designer whose patterns appeared at Lord and Taylor in September 1952, used a harlequin print diamond pattern on a large cloth she crafted for a table setting show. [5] In a July 1954 article in the Washington Post, columnist Olga Curtis mentioned harlequin print fabrics and cellophane as very novel ideas in accessories. [6]
Paule Marrot was born Paule Félicie Hélène Marrot in Bordeaux on 17 April 1902, [1] to a bohemian family with a musician father. [2] Marrot attended L’école des Arts Décoratifs in Paris at age 14 and in 1917 apprenticed in engraving and textile printing with Pierre Léon Dusouchet.
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