This book follows the creative process of designing and printing textile patterns, from the initial sourcing of ideas to the final high-quality creation. It provides ideas and practical information at a level easily accessible to textile students and designers, but also to novices who would like to learn more. Throughout, the text is enhanced by an exciting range of images, from historical surface-pattern designs and textiles to the work of contemporary designers. Topics include advice on generating ideas and expressing them visually; a cultural and historical background to surface-pattern design; experimental methods of working from paper onto fabric; and practical details on fabrics, equipment, and techniques for dying and printing. June Fish teaches at London's Central St. Martins College for Art and Design.

Textiles connect a variety of practices and traditions, ranging from the refined couture garments of Parisian fashion to the high-tech filaments strong enough to hoist a satellite into space. High-performance fabrics are being reconceived as immersive webs, structural networks and information exchanges, and their ability to interface with technology is changing how the human body is experienced and how the urban environment is built. Today, textiles reveal their capacity to transform our world more than any other material. "Textile Futures" highlights recent works from key practitioners and examines the changing role of textiles. Recent developments present new technical possibilities that are beginning to redefine textiles as a uniquely multidisciplinary field of innovation and research. This book is an important tool for any textile practitioner, fashion designer, architect, interior designer or student designer interested in following new developments in the field of textiles, seeking new sustainable sources, or just eager to discover new works that reveal the potency of textiles as an ultramaterial.

The Complete Guide to Designing and Printing Fabric is a comprehensive handbook covering everything there is to know about designing and printing fabric. The book walks readers through the entire fabric design process, from finding inspiration, through step-by-step tutorials on how to design a pattern (both digitally and by hand), looking at different printing methods (such as digital printing, screenprinting, monoprinting, stamping, stencilling, resis dying, painting and inkjet printing), to establishing and developing a fabric collection, and approaching a manufacturer. The Complete Guide to Designing and Printing Fabric is full of advice from established fabric designers with clear, easy to follow step-by-step tutorials. Textile design is a competitive industry and learning how to design fabric is something that both designers and crafters with an avid interest in fabrics are keen to learn more about. Companies such as Spoon Flower (spoon.flower.com) have emerged, offering customers an affordable way to design and print their own fabric: upload a design and they digitally print the fabric for you. This accessibility means fabric design is increasingly popular.

William Morris is well known for his unmistakable tapestries, furniture, fabrics, wallpaper and even stained glass. His work has now been used for over 150 years on many more decorative as well as functional products. The William Morris Everyday Pen Set from Galison include 3 capped pens decorated with iconic Morris patterns.

In an era of increasingly available digital resources, many textile designers and makers find themselves at an interesting juncture between traditional craft processes and newer digital technologies. Highly specialized craft/design practitioners may now elect to make use of digital processes in their work, but often choose not to abandon craft skills fundamental to their practice, and aim to balance the complex connection between craft and digital processes. The essays collected here consider this transition from the viewpoint of aesthetic opportunity arising in the textile designer's hands-on experimentation with material and digital technologies available in the present. Craft provides the foundations for thinking within the design and production of textiles, and as such may provide some clues in the transition to creative and thoughtful use of current and future digital technologies. Within the framework of current challenges relating to sustainable development, globalization, and economic constraints it is important to interrogate and question how we might go about using established and emerging technologies in textiles in a positive manner.

In a museum in the small town of Bayeux in Normandy, specially devised to hold this single object, is a strip of linen nearly one thousand years old. It is 230 feet long and about 20 inches high. On it, embroidered in brightly colored wool, are figures of men, animals, buildings, and ships. In a series of vivid scenes, with a running explanatory text in Latin, it relates the invasion of England by William of Normandy and his victory at the Battle of Hastings in 1066. Nothing remotely like the Bayeux Tapestry exists anywhere in the world, yet comparatively few people have been to Bayeux to see it and appreciate how totally absorbing it is. This book, first published in 1985, reproduces the Tapestry in full color and makes it accessible as never before. The story told in the Tapestry has all the ingredients of an epic poem, and a cast of characters that includes King Edward the Confessor; his liegeman, Duke Harold; and William, Duke of Normandy. When Edward dies, Harold succeeds him as king. William, who has a better dynastic claim, invades England, and at the Battle of Hastings Harold is defeated and killed. Here the Tapestry breaks off, but it probably originally concluded with William's coronation--the beginning of a sequence of monarchs that has continued virtually unbroken until today, and of the English nation as we know it. The Tapestry is reproduced in full color over 146 pages, with captions on a fold-out page for easy reference. A second reproduction of the Tapestry in black and white has a detailed accompanying commentary. Sir David Wilson, former Director of the British Museum, provides an up-to-date summary of the historical evidence, explaining each episode and coveringrelated topics such as the costumes, armor, ships, buildings, and customs. One of the primary sources for the history of the period, the Tapestry is a social document of incalculable value. It is the sole survivor of an art form that may once have been widespread, the wall-hanging commemorating the deeds of a great man.

Modern Macram Style is the ultimate guide into the world of macram for beginners. Macram expert Amaia Martin, from La Terra Macram , has created 20 unique projects to introduce you to this millenary art and make you fall in love with it! You will be working with sustainable materials such as recycled cotton, jute and raffia, to create a selection of plant hangers, wall hangings and lifestyle items, that will help you develop your macram skills, as well as adding warmth and a bohemian touch to your home interior. Throughout the book, you will find tips and design variations that will allow you to adapt the projects to your style by using different fibres, colours or techniques. Learn over 10 macram knots and patterns that will allow you to master this craft and start making your own designs in the future. The world of Modern Macram will be at your feet! You will be able to create anything from simple plant hangers to intricate lampshades, rugs or even a macram chair. You will also be introduced to another of Amaia's passions, plants. She has selected her top 10 indoor plants to complement each of the plant hangers in this book, and added care tips to keep them looking their best. Get ready for a crafty journey to a beautiful and sustainable home!

Textiles are the most ubiquitous, diverse, and consistently creative art form on the planet. This major new work comprises more than one thousand images that highlight the beauty, subtlety, simplicity, or complexity of textiles created around the world. Based on knowledge accrued over a lifetime of immersion in the textile arts, Mary Schoeser s definitive text offers sweeping insight into the role that textiles have played throughout human civilization. The juxtaposition of historical and contemporary examples highlights the skill and imagination of textile designers through the centuries as well as the remarkable range of achievements. Detailed images and informed captions illustrate the variety and allure of textiles, and the informative descriptions include histories of private collections, underscoring the importance of context for appreciating the exquisite detail of fabric and cloth. An extensive resource section provides valuable information about museum and textile associations across the globe."

This book brings together our present-day knowledge about textile terminology in the Akkadian language of the first-millennium BC. In fact, the progress in the study of the Assyrian dialect and its grammar and lexicon has shown the increasing importance of studying the language as well as cataloging and analysing the terminology of material culture in the documentation of the first world empire. The book analyses the terms for raw materials, textile procedures, and textile end products consumed in first-millennium BC Assyria. In addition, a new edition of a number of written records from Neo-Assyrian administrative archives completes the work. The book also contains a number of tables, a glossary with all the discussed terms, and a catalogue of illustrations. In light of the recent development of textile research in ancient languages, the book is aimed at providing scholars of Ancient Near Eastern studies and ancient textile studies with a comprehensive work on the Assyrian textiles.

The patchwork is an apt metaphor for the region not only because of its colourfulness and the making of something whole out of fragments but as an attempt to make coherence out of disorder. The seeking of coherence was the exact process of putting together this book and foregrounds the process of Caribbean societies forging identity and identities out of plural and at times conflicting and contested groups that came to call the region home. Within the metaphor of the patchwork however is the question, where are the vernacular needlework artists within the visual art tradition of the Caribbean? The introduction sets out to both clarify and rectify this situation, and several common themes flow through the following essays and interviews. Themes include that that the land and colonization remain baseline issues for several Caribbean artists who stage and restage the history of conquest and empire in varying ways. That artists in the region amalgamate as part of their practice and seem to prefer an open-endedness to art making as opposed to expressing fidelity to a particular medium. That artists and scholars alike are dismantling long-held perceptions of what Caribbean art is thought to be, and are challenging boundaries in Caribbean art. These are among the issues addressed in the book as it looks at ecological concerns and questions of sustainability, how the practices of the artists and their art defy the easy categorization of the region, and the placement of women in the visual art ecology of the Caribbean. The latter is one of the most contested areas of the book. Readers should come away with the sense that questions of race, colour, and class loom large within questions of gender in the Jamaican art scene and that the book, dedicated to Sane Mae Dunkley, aims to insert vernacular needleworkers into the visual art scene in both Jamaica and the larger Caribbean. Audience will include researchers and scholars of Caribbean and African diasporic art, college students, those interested in post-colonial studies, Caribbean artists, art professionals interested in a wider, globalized view of contemporary art; students curious to know about the many phases of art production throughout the Caribbean. General readers interested in the culture of the region.

For freshmen-level courses in Industrial Sewing, Introduction to Industry Methods, Sewn Product Techniques, Production Management, Workroom Techniques, and Beginning Apparel Construction. Sewing for the Apparel Industry, Second Edition, focuses on the fundamental principles of garment construction, the interrelationship of assembly methods, and the elements which the designer must consider at the outset of individual design creation. It details easy-to-master production operations, while emphasizing the equipment, practical skills, and sewing processes used in apparel manufacturing. Efficient and cost effective procedure descriptions complement material on the basic concept of design and desired quality, providing students with an understanding of various production methods and how they affect design decisions and relate to garment quality and labor and material costs.

For courses in Textile Science, Textile Fundamentals, Introduction to Textiles, Textiles for Interiors, or other courses that focus on basic textiles. A revered resource, Textiles, Elevnth Edition, by Sara Kadolph, provides students with a basic knowledge of textiles, how they are produced and how appropriate performance characteristics are incorporated into materials and products. Organized according to the textile production process, the text provides a solid understanding of textile components-including fibers, yarns, fabrics, and finishes. Using new full-color photos and illustrations, it examines the interrelationships among these components and their impact on product performance. This edition features coverage of new fibers, updated industry and company examples and summary tables that make this a timeless resource for any industry professional. Also discusses the new effects of sustainablity in the industry.

The best new research on medieval clothing and textiles, drawing from a variety of angles and approaches. The essays in this volume continue the Journal's tradition of groundbreaking interdisciplinary work. The volume opens with a survey of the discipline of medieval clothing and textiles, written by founding editor Gale R. Owen-Crocker. The range of the other essays extends chronologically from the early Middle Ages through the fifteenth century and covers a variety of disciplines. Topics include the conception of the author as a "wordweaver" in the literatures of Anglo-Saxon England; intertextual literary identities established through clothing in the Nibelungenlied and the Voelsunga Saga; the historical record of clothing and textiles at the court of King John of England; medallion silks, their use in Western Europe, and their representation in art; the vestments of Beguines and other penitential movements in the thirteenth and fourteenth centuries; and a depiction of heraldic textile weaving inlate-medieval art. Contributors: Tina Anderlini, Joanne W. Anderson, Maren Clegg Hyer, Alejandra Concha Sahli, Gale R. Owen-Crocker, Elizabeth M. Swedo, Hugh Thomas

Now available in a compact paperback edition, this book remains the most comprehensive survey of African textiles on the market today, illustrating in over 570 spectacular colour photographs the traditional, handcrafted, indigenous textiles of the whole continent. Covering, region by region, the handmade textiles of West, North, East, Central and Southern Africa, African Textiles outlines the vast array of techniques used as well as the different types of loom, materials and dyes that help to create these sumptuous textiles. With a useful glossary and map, a guide to collections open to the public, and suggestions for further reading, this book provides a wealth of information on the rich art of African textiles.

Extensively illustrated, this is the first accessible publication on the history of tapestry in over two decades. Woven with dazzling images from history, mythology and the natural world, and breath-taking in their craftsmanship, tapestries were among the most valuable and high-status works of art available in Europe from the medieval period to the end of the eighteenth century. Over 600 historic examples hang in National Trust properties in England and Wales - the largest collection in the UK. This beautifully illustrated study by tapestry expert Helen Wyld, in association with the National Trust, offers new insights into these works, from the complex themes embedded in their imagery, to long-forgotten practices of sacred significance and ritual use. The range of historical, mythological and pastoral themes that recur across the centuries is explored, while the importance of the 'revival' of tapestry from the late nineteenth century is considered in detail for the first time. Although focussed on the National Trust's collection, this book offers a fresh perspective on the history of tapestry across Europe. Both the tapestry specialist and the keen art-history enthusiast can find a wealth of information here about woven wall hangings and furnishings, including methods of production, purchase and distribution, evolving techniques and technologies, the changing trends of subject matter across time, and how tapestries have been collected, used and displayed in British country houses across the centuries.

This beautiful and inspirational book written by a doyenne of British textile design explores the art of painting and making patterns on cloth. Fabrics bring colour and vibrance to our lives, adding inventiveness and charm to both our clothes and our domestic interiors. In this book, lifelong textile designer Sarah Campbell takes you through her world of pattern and colour to uncover the joys of design from dots, stripes and checks to more surprising decorative solutions. Beautifully illustrated with Sarah's colourful and internationally acclaimed work, her fabric designs show the comforting rhythm and universal language of pattern. - Learn how to create your own unique designs using a range of tools and techniques including brushes and potato-cuts, stencils and simple 'kitchen cupboard' resists. - Explore the delights of painting on different fabrics such as cotton, linen, silk and calico/muslin. - Develop your understanding of scale, colour, tonality and the organisation of pattern ideas, alongside suggestions on how to use your finished fabrics.

Winner of the Best Books on Devon's History: Academic Award from the Devon History Society A richly illustrated exploration of the national and international importance of the early modern Exeter cloth trade. This book reproduces a newly discovered manuscript detailing the exports of Claude Passavant, a Swiss emigre merchant. Passavant's dispatch book comprises the most extensive surviving collection of Devon cloth with 2,475 surviving cloth samples. Thirteen chapters discuss the local and wider contexts of eighteenth-century cloth making. This study explores the quality, range, and vibrancy of cloth that lead to Exeter becoming an internationally renowned centre for the manufacture and trade of woollen cloth.

This book features the original sample collection and handwritten drafts of the talented, early 20th century weaver, Bertha Gray Hayes of Providence, Rhode Island. She designed and wove miniature overshot patterns for four-harness looms that are creative and unique. The book contains color reproductions of 72 original sample cards and 20 recently discovered patterns, many shown with a picture of the woven sample, and each with computer-generated drawdowns and drafting patterns. Her designs are unique in their asymmetry and personal in her use of name drafting to create the designs. Bertha Hayes attended the first nine National Conferences of American Handweavers (1938-1946). She learned to weave by herself through the Shuttle-Craft home course and was a charter member of the Shuttle-Craft Guild, and authored articles on weaving.

Over the last four decades, the fashion modeling industry has become a lightning rod for debates about Western beauty ideals, the sexual objectification of women, and consumer desire. Yet, fashion models still captivate, embodying all that is cool, glam, hip, and desirable. They are a fixture in tabloids, magazines, fashion blogs, and television. Why exactly are models so appealing? And how do these women succeed in so soundly holding our attention? In This Year's Model, Elizabeth Wissinger weaves together in-depth interviews and research at model castings, photo shoots, and runway shows to offer a glimpse into the life of the model throughout the 20th and 21st centuries. Once an ad hoc occupation, the "model life" now involves a great deal of physical and virtual management of the body, or what Wissinger terms "glamour labor." Wissinger argues that glamour labor-the specialized modeling work of self-styling, crafting a 'look,' and building an image-has been amplified by the rise of digital media, as new technologies make tinkering with the body's form and image easy. Models can now present self-fashioning, self-surveillance, and self-branding as essential behaviors for anyone who is truly in the know and 'in fashion.' Countless regular people make it their mission to achieve this ideal, not realizing that technology is key to creating the unattainable standard of beauty the model upholds-and as Wissinger argues, this has been the case for decades, before Photoshop even existed. Both a vividly illustrated historical survey and an incisive critique of fashion media, This Year's Model demonstrates the lasting cultural influence of this unique form of embodied labor.