Came across a collection of prints of mine from the Dalston Print Club, posting this week!
Showing posts with label textiles. Show all posts
Showing posts with label textiles. Show all posts
1.4.11
25.3.11
17.3.11
From the 33rd Floor: TImes Square
Photoetching on Paper:
It was an early morning about 6:30am in Manhattan's Time Square on a bright summer's day. From such great heights, there was absolute silence, not a single cab driver's honk could be heard. Worker ants rushed for the day ahead. The rising sun cast shadows down the avenue as the streets waited their turn.
Day break:
High time:
Closing:
13.3.11
F. Scott's Flappers
Officially a victim of the status-quo. The Foyles edition is just - well umh - the covers are killer!
Embossed textures and foil treatments in art nuevo patterns these covers will be finding the Penguin collection at charity shops soon.
With F. Scott being the favorite, a replacement set has been on the wish list since November 2011. Resisting temptation with pictures for now.
2.3.11
1.3.11
28.2.11
LFW: Red Blooded Americana
All the LFW print collaterals deconstructed into this construction of trends
19.11.09
18.11.09
Cords, All Whales Welcome.
For corduroy enthusiasts, join the semi annual (always on 1/11 and 1/11) Corduroy Appreciation Club.
24.9.09
Bloody Eureka!
Drip, 2008
States of Limbo, 2007
Svayambh, 2007
Basically, Anish Kapoor is at the forefront of my inspiration. Period.
Finding significant colour inspiration from his works, enjoying the monotone pop contrast. A mathematical function preserving given order with a hint of disarray.
Anish Kapoor (born Bombay, 1954) has been a native Londoner since the early 70s. He studied at Hornsey College of Art and Chelsea School of Art Design. http://www.anishkapoor.com/
24.7.09
23.7.09
Fall Winter 2010 Textile & Fabric Trends
Notes from the New York Fall Winter 2010 Textile and Fabric Trend show Premiere Vision
rough thick twill
voluminous lightness - mohair felts
sulled refinement - fine, transparent jersey wovens with metallic threads
sooty - attached micro circle sequins, large dark grids, subtle pinstripes
shabby interiors - large paisleys, monotone and tri color brocades
mossy thickness - looped fur
clean up art - geometrics with floral overprints, psychedelics, large herringbones/houndstooths printed on lace
augmented - crinkle chiffon and taffeta with knitted yarn hems
magnified tweeds - gold washed, black shine overlay, degrade twills
winter flowers - teal/burnt organge/grey, navy/dk - lt poppy/lime/turquoise, plum/burgundy/rust
exaggerated - lame' yarn, twills, multi constructions, pink fur, teared feather levels
casualised elegance - micro jaquard weaves in grey/brown/burgundy
underlining - plaid in warp with filling yarns in red/white/blue plaids no bigger than 2" repeats
languid softness - micro suede in dulled metallic colors, silk taffeta and thin plaids with individual felted yarns
excessive - attached treatments with pillow top effects that are disconnected, large seam pressed wrinkles
sparkling austerity - sequins, black velvet, filling yarn shiny pinstripes
metal dust - dull blue/champagne/silver/burgundy
functional allure - technology advances fabrics, four way stretch
cross gender geo - plaid with paisley stripes, medallions, regimental polo stripes in jersey
For photos and additional information from Premiere Vision Fall Winter 2010 New York click here
rough thick twill
voluminous lightness - mohair felts
sulled refinement - fine, transparent jersey wovens with metallic threads
sooty - attached micro circle sequins, large dark grids, subtle pinstripes
shabby interiors - large paisleys, monotone and tri color brocades
mossy thickness - looped fur
clean up art - geometrics with floral overprints, psychedelics, large herringbones/houndstooths printed on lace
augmented - crinkle chiffon and taffeta with knitted yarn hems
magnified tweeds - gold washed, black shine overlay, degrade twills
winter flowers - teal/burnt organge/grey, navy/dk - lt poppy/lime/turquoise, plum/burgundy/rust
exaggerated - lame' yarn, twills, multi constructions, pink fur, teared feather levels
casualised elegance - micro jaquard weaves in grey/brown/burgundy
underlining - plaid in warp with filling yarns in red/white/blue plaids no bigger than 2" repeats
languid softness - micro suede in dulled metallic colors, silk taffeta and thin plaids with individual felted yarns
excessive - attached treatments with pillow top effects that are disconnected, large seam pressed wrinkles
sparkling austerity - sequins, black velvet, filling yarn shiny pinstripes
metal dust - dull blue/champagne/silver/burgundy
functional allure - technology advances fabrics, four way stretch
cross gender geo - plaid with paisley stripes, medallions, regimental polo stripes in jersey
For photos and additional information from Premiere Vision Fall Winter 2010 New York click here
25.6.09
Think: Material Exposition
THINK:Material exhibit, Material World Pavilion at IIDEX/NeoCon Canada.
IIDEX/NeoCon Canada show, an innovative materials from around the globe, presents the interactive exhibit "THINK:Material." The exhibit is curated by leading international materials consultant, Jim Salazar, and showcases product innovation and cutting-edge materials including glass, metals, natural fibres, ceramic, coatings, textiles and polymers from over 100 companies.
Click here for more information.
IIDEX/NeoCon Canada show, an innovative materials from around the globe, presents the interactive exhibit "THINK:Material." The exhibit is curated by leading international materials consultant, Jim Salazar, and showcases product innovation and cutting-edge materials including glass, metals, natural fibres, ceramic, coatings, textiles and polymers from over 100 companies.
Click here for more information.
31.5.09
Not Your Grandfather's Stitches
Infused by modern ideas, Harris Tweed takes a new turn to their old fashioned ways to lure younger generations. Fast Company reports: "Spend a stormy December evening in the Outer Hebrides and you'll understand why the locals invented Harris tweed. For centuries, the inhabitants of these remote Scottish isles have handwoven the dense woolen fabric to keep out the biting North Atlantic wind and rain. Outsiders -- stuffy toffs, dusty college profs, Sherlock Holmes creator Arthur Conan Doyle -- adopted it. By the mid-1960s, the foot-powered Hebridean looms were producing as much as 7.6 million meters of cloth every year. Then came the slump. As customers switched to lighter, more modern fabrics, mills were shuttered. By 2008, annual output had sunk to just 500,000 meters. But on Lewis, an island of moss-coated moors and salmon streams, a startup is weaving a profitable future for the sagging sector, with a client list that ranges from design giants Ralph Lauren, Vivienne Westwood, and Alexander McQueen to cool up-and-comers like Glasgow's Deryck Walker."
With a successful turnaround in November 2007, Harris Tweed Hebrides bought and reopened a village mill in Shawbost, and launched a bold, design-driven campaign to restore the Harris Tweed's popularity. Watch the runway as local artisan craft gains much deserved recognition. Harris Tweed is regulated by the Harris Tweed Authority.
Harris Tweed
Suggested reading, FiberArt Harris Tweed: The Fabric of Island Life
6.2.09
Men Under Construction
Its aim is to broaden the field of study, by providing the viewpoints of personalities from the artistic and cultural world. Writers, philosophers, journalists, visual artists, photographers, film makers and even a lawyer – altogether, some 22 international signatures, both men and women - shed light on many different facets of the multiple man of the 21st century The book is elaborated in four themes:
• Woman is the future of man (Aragon)
• No future?
• Men and fashion
• Heroes
and includes a central part bringing together a new, reformulated synthesis of the two prior phases of the study
Edited in a large format, using exceptional quality paper, « men under construction » puts the emphasis on images. Each theme is illustrated by a portfolio of photographs in black and white created by major international artists.
Book in both french and English – printed in 6 colours - layout 240 x 320 mm – 164 pagesAvailability: January 10th, 2009. Co-edited by the publishing house « Editions du Regard
27.12.08
What exactly is a Textile Designer?
Textile designers transform two-dimensional graphic patterns into knitted, woven and printed fabrics or textile products. They decide the type of weave, yarn and the thread count of a woven fabric as well as finish, color and/or printed design.
Traditional textile designers created patterns with watercolors and other hand rendered techniques; thereafter, their artwork was translated onto point paper (graph paper) which weavers used to set up construction looms. Today there are both vector and bit based computer aided programs for rendering graphics that are specific to the type of end good being produced.
Textile designers have an astute understanding of production aspects such as fiber, yarn and dye differentiating them from graphic designers as they provide technical weaving instructions for loom execution. Most textile designers are highly specialized within their chosen field of interiors (upholstery, soft furnishing and carpets) or fashion fabrics for apparel which are very specific for the end good use (shirting, suiting, socks, ties, scarves etc). Their ability to render graphic artwork permits cross designing printed paper goods, packaging and ceramics.
Traditional textile designers created patterns with watercolors and other hand rendered techniques; thereafter, their artwork was translated onto point paper (graph paper) which weavers used to set up construction looms. Today there are both vector and bit based computer aided programs for rendering graphics that are specific to the type of end good being produced.
Textile designers have an astute understanding of production aspects such as fiber, yarn and dye differentiating them from graphic designers as they provide technical weaving instructions for loom execution. Most textile designers are highly specialized within their chosen field of interiors (upholstery, soft furnishing and carpets) or fashion fabrics for apparel which are very specific for the end good use (shirting, suiting, socks, ties, scarves etc). Their ability to render graphic artwork permits cross designing printed paper goods, packaging and ceramics.
Many textile designers are self-employed, while others work as part of a design team. Typical employers or clients are manufacturing and processing companies (cloth or soft furnishings), fashion brands/clothing retailers, design studios, cosultancies or interior design/decorating services.
Useful Links for Textile Designers:
American Textile Manufacturers Institute
13.11.08
"The Essential Art of African Texitles: Designs Without End"
From Kuba raffia cloth appliqués, Adire cloth, embroideries of the Congo, small geometric "Kasai velvets" to seventeen foot long raffia dance skirts, African textile artistry has been a technology tradition indicative to Africa’s culture for over a century. Textile traditions are a significant part of Africa’s cultural landscape and history linking Africa to continental trading networks. Contemporary African artists’ works including textiles, painting, photography, sculpture and other medias are showcased at the New York’s Metropolitan Museum of Art exhibition “The Essential Art of African Textiles: Designs Without End” through March 22, 2009.
The publication “Essential Art of African Textiles: Design Without End,” produced by The Metropolitan Museum of Art and Yale University Press, accompanies this exhibition. BUY IT!
The publication “Essential Art of African Textiles: Design Without End,” produced by The Metropolitan Museum of Art and Yale University Press, accompanies this exhibition. BUY IT!
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