View allAll Photos Tagged Textile
From Adrian Wilson’s collection of textile trademark stamp materials, photographed at his talk for the Type Directors Club, “TEXTile: Typography of the 19th Century Textile Trade”, Jan 28, 2010
Wholesale
Product name: Linen
Export Market: Worldwide
WhatsApp/Viber: +20 120-438-1590
.
CANAVA for Textile Products:
We manufacture and supply finished home textile products and fabrics worldwide to the very best retailers and brands.
Canava is continually developing new collections and fabrics with the highest quality textiles in the industry. Operating twenty-four hours a day, six days a week. Our team is here to solve your most challenging textile needs.
At Canava Textile we believe strongly in encouraging innovation at all levels of the organization.
.
We Manufacture:
Upholstery fabrics
Digital printing
Ready made and made to measure curtains
Cushions and accessories
Bed linen
.
Custom textile manufacturing:
We have a state of the art design and manufacturing facility and can design, print and manufacture production quality samples within 24 hours and, additionally, offer short lead-time production and super-fast turnaround.
1st layer, fabric dye with different colours
2nd layer, using canting to draw flowers on the after the fabric dye is dry
what u gt is a beautiful flowers floating around
Visits to a textile museum and the workshop of the Quito School woodworkers in San Antonio de Ibarra, Ecuador.
Piece of fabric which were used to experiment with before creating the final structural textile piece.
Gemma Ormrod - Textiles
Degree Shows 2010
Wednesday 23rd - Tuesday 29th June 2010
Norwich University College of the Arts
Norwich, Norfolk, England, UK
Tullie Textiles group meets on the second Sunday of the month at Tullie House Museum and Art Gallery between 2-4 pm. Each month we see a different object from the collections and I demonstrate a different textile skill or technique. The group is free to attend. October 2017: Making Bows
Maya backstrap loom textile designs on huipils (see below) which, although modern (1970s), evoke similar designs on women's garments carved on Late Classic stone monuments and plaster panels during the Late Classic 1200 years ago. The simplest triangle designs, like several shown in this batch, could easily be popular traditional designs copied and learned by rote by Maya weavers that originated at the height of Maya Late Classic culture 600-700 AD. Chip Morris even discovered a maya date coded in the design of a 100 year old huipil from Chamula, Chiapas.
General information: Maya huipils are traditional, hand-woven tunics that encode a complex, visual language reflecting the weaver’s identity, community, and cosmology. They function as wearable history, using specific colors, geometric patterns, and motifs to signify regional origin, marital status, social standing, and deep, ancestral connections to nature.
Key Information Coded in Maya Huipils
Regional and Community Identity: Distinctive color palettes, weaving patterns, and specific collar shapes (round or square) identify which community the wearer belongs to.
Cosmological and Spiritual Beliefs:
Diamonds/Squares: Often represent the universe, the four cardinal points, or the earth.
Zig-zags: Symbolize mountains, volcanoes, or the feathered serpent.
Colors: Red often represents the East, blood, and the sun; white represents the North and spirituality; black represents the West and death; blue symbolizes water and the sky.
Nature and Agricultural Motifs: Plants like corn, seeds, and animals such as the quetzal, jaguars, hummingbirds, and butterflies are frequently woven, representing the agricultural, natural world.
Mythology and History: Designs can depict ancestral stories and traditional myths, acting as a non-verbal communication of cultural heritage.
Personal Narrative: The complexity of the embroidery or weaving may indicate the skill of the artisan, with complex designs often known only to master weavers.
These garments, often made using a backstrap loom, are regarded as living, symbolic representations of the wearer’s soul and connection to the Earth.
Tullie Textiles group meets on the second Sunday of the month at Tullie House Museum and Art Gallery between 2-4 pm. Each month we see a different object from the collections and I demonstrate a different textile skill or technique. The group is free to attend. April 2017: Silk Paper Making
Maya backstrap loom textile designs on huipils (see below) which, although modern (1970s), evoke similar designs on women's garments carved on Late Classic stone monuments and plaster panels during the Late Classic 1200 years ago. The simplest triangle designs, like several shown in this batch, could easily be popular traditional designs copied and learned by rote by Maya weavers that originated at the height of Maya Late Classic culture 600-700 AD. Chip Morris even discovered a maya date coded in the design of a 100 year old huipil from Chamula, Chiapas.
General information: Maya huipils are traditional, hand-woven tunics that encode a complex, visual language reflecting the weaver’s identity, community, and cosmology. They function as wearable history, using specific colors, geometric patterns, and motifs to signify regional origin, marital status, social standing, and deep, ancestral connections to nature.
Key Information Coded in Maya Huipils
Regional and Community Identity: Distinctive color palettes, weaving patterns, and specific collar shapes (round or square) identify which community the wearer belongs to.
Cosmological and Spiritual Beliefs:
Diamonds/Squares: Often represent the universe, the four cardinal points, or the earth.
Zig-zags: Symbolize mountains, volcanoes, or the feathered serpent.
Colors: Red often represents the East, blood, and the sun; white represents the North and spirituality; black represents the West and death; blue symbolizes water and the sky.
Nature and Agricultural Motifs: Plants like corn, seeds, and animals such as the quetzal, jaguars, hummingbirds, and butterflies are frequently woven, representing the agricultural, natural world.
Mythology and History: Designs can depict ancestral stories and traditional myths, acting as a non-verbal communication of cultural heritage.
Personal Narrative: The complexity of the embroidery or weaving may indicate the skill of the artisan, with complex designs often known only to master weavers.
These garments, often made using a backstrap loom, are regarded as living, symbolic representations of the wearer’s soul and connection to the Earth.
Quilt 2897, c 1780-90. This was donated by Miss Susan Smee. Quilted textiles from the 18th century - Indian textile trade. It has colourful cottons, silks and calicos. By 1750, India was the top trader of cheap but high quality dyed textiles.
Textiles: using patterns found from leotards to create interesting imagery to overlay on top of my silk screen prints.
This was my year 12 project. This was more of a textiles based project. However i have to design a totally different saree which would attract the customer. This tested my advertisement skills.
The fabric titled Textile Center Beach will soon be available on www.spoonflower.com.
This is a March 2012 contest entry for the Textile Center Urban Sightings design contest. Six photographs of city life provided inspiration, and parts of all six are included.
Sunday textile market 13 February 2011
13.00-17.30 p.m.. @ sbun-nga textile museum
JJ Hobby Market Chiangmai Thailand
1000 of the old textile from South-east Asia
Created on Polyvore - www.polyvore.com/sunday_textile_market/set?id=28067039
Vertical Navigation text & page no. gets out of the way of the content.
Has a different background image for each section. Cool.
Play Taiwanese Textile *3 here!
Processing version
www.choyenting.com/processing/taiwanesetextile/
Flash version