#silk-screen

Limited prints (4 in total) from the upcoming Suspense Lathe (available through Iron Lung records May 29th) available. Ba - the ancient Egyptian concept of a soul. Halo around head glows in the dark. Hammered-relief lettering on the side that says "suspense". Proceeds go to Direct Relief. Two prints left! DIVSERIES webstore link.

Screen-printed fabric and digitally-printed fabric are both important for today's designers. Designer Patrick Moriarty of Southend-on-Sea uses both printing methods to produce the fabrics required to make the products in his unique Paisley Power range.

Can you tell the difference between screen-printed fabric and is digitally printed fabric. It’s very hard these days to tell the difference. The quality of digital printing has improved so much that people don’t mind buying digitally printed clothing and home-ware items.   Today and customer in Cumbria bought one of my screen-printed cushions (pillows in US). Many of the fashion accessories and…

The thousands of textiles currently housed at the Brooklyn Museum are prime examples of the vast global history of textile making and sewing traditions in New York City. In participation with New York Textile Month, we will be showcasing one textile per day for the month of September.  While difficult to narrow it down to only thirty textiles, we think these works are best at weaving narratives about topics such as innovations in the textile industry, craft and the beauty of the handmade, textiles from legendary designers like Frank Lloyd Wright and Anni Albers, as well as textiles with a sense of humor. Did you know that PeeWee’s Playhouse had a line of textiles made?

This robust, abstract silk-screened design was done by Jim Tillett for D. B. Fuller & Company. The Fuller & Company gift includes twenty-one textiles. This design was used by fashion designer Peggy Thayer and Cole of California for their sportswear collections. Fuller perhaps is known best for its adventurous project Modern Masters Prints. In 1953 Dan Fuller, the owner, approached painters Picasso, Dufy, Miro, Chagall, and Leger to select motives from their oeuvres that were then translated by in-house designers into repeat patterns that were roller-printed to ensure crisp and accurate renderings of the motives. The aim was to keep the price of the textile low, about $2.00 per yard, in order for it to appeal to garment manufacturers and home-sewers alike. The series was launched at the Brooklyn Museum in 1955 along with a documentary film that featured sixty dresses and accessories using the textiles designed by Claire McCardell. The exhibition then toured the country.