a book for designers Marypaul Yates
Copyright © 2013, 1996. 1986 by Marypaul Yates All rights reserved - For information about permission to reproduce selections from this book, write to permissions, W.W. Norton & Company, Inc., 500 Fifth Avenue, New York, NY 10110. W.W. Norton & Company, Inc., 500 Fifth Avenue, New York, NY 10110 W. W. Norton & Company, Inc., 10 Coptic Street, London WC1A 1PU books.wwnorton.com Library of Congress Cataloging-in-Publication Data Yates, Marypaul. Textiles: a book for designers / Marypaul Yates -Rev. ed. p. cm. “A Norton professional book.” Includes bibliographical references and index. ISBN 0-393-73003-4 (pbk.) 1. Textile design. I. Title. TS 1475.Y37 1995 95-3307 677’.022 — dc20 CIP Rev.
For Benjamin — with love yesterday, and today, in all editions.
Acknowledgments
Within the textile industry there is much information regarding design practices that is disseminated only by word of mouth, never having been collected and published so far as my assiduous search has discovered. Many friends, colleagues, and experts have knidly encouraged my belief that this material should be gatheredcomprehensively and accurately into a book; and it is with great joy and vast appreciation that I now try yo thank them for so graciously and generously contributing their time and knowledge to its completion. Each can take credit for its success; none is responsible for its inadequacies; all have my profound gratitude. I should like to thank in particular all the artists and companies who permitted me to use their work as illustrations. Bruno Pellegatta and the people at cantoni and Jerry Newman and the people at Craftex Mills opened their doors to me, allowed me to photograph without restraint, and answered many questions. I am indeed grateful to those who, above and beyond wht I could have possibly wished, kindly dug through archives and records to provide textiles and photographs that I needed. Martha de Llosa at American Fabrics Magazine, Ed Berkiase and Lee Buchsbaum at American Silk Mills, Margot Dockrell ar Brunschwig & Fils, Karen Allen at Gura Public Relations) for Lee Jofa), Gwen Ames and Diana Vila at Jay Yang designs, Merle Lindby-Young at Knoll International, Pat Tunsky of Pat Tunsky, Inc., Linda Cuono ar Ratti, Mendy Derketsch at Weave Corporation - all went well out their way to help this project. Almuth Palinks and Pam Turczyn made substancial contributions. Professor Alan Donaldson of North Carolina State University, Nancy Durrance, Shelly Gurton, Wendy Klein, and Sandy Rush provided guidance, encouragement, and information.
Charles Blair of Blair Graphics and Michael Gorelick graciously contributed time, energy and acumen. Aimee Klitman at Andrews/Nelson/Whitehead and Arthur Steig at Ateig Products helped immensely in clarifying matters for the material chapter. I should also like to thank Dr. Alice Zriebec of the Metropolitan Museum of Art and Professor Glen Kaufman of the University of Georgia, who answered questions concerning historical accuracy. I should mention in particular Michael D. Pitts for many of the line drawingd throughout the text and for all photography that is not otherwise credited. Additionally, I thank Lynne Shapiro, Adelle Yates and David Yates for proofreading the manuscript. My editor, Susan Gies, could not have been more supportive and helpful at all stages. I am especially grateful for the enthusiastic encouragement I have received from Glen Kaufman, who critiqued and helped from my first thought of the book to its final draft. Finally, I have enjoyed continual encouragement and assistante from Sheila Hicks, Professor Neal Myers of the University of Hawaii, Peggy and Michael Pitss, Mr. and Mrs. Paul Yates, and, most of all, from Benjamin Weisgal-
Contents
introduction 15 the textile industry 17 The role of textile designers aa Timing in the textile industry aa The designer's projections of market trends aa
materials 31 Paints aa Papers aa Brushes aa Pens and inks aa Pencils, sharpeners and erasers aa Adhesives aa Other essentials aa The studio setup aa The computer aa
types of printed textile designs 51 Motifs and styles 38 Layouts 54
designing printed fabric 65 The rough layout aa The arrangement of motifs aa Establishing design size aa Drawing the motifs aa Refining the layout aa Technique and color aa The color and technique plan aa Transfering the layout aa
rendering techniques 83 Gouache aa Bottled watercolors aa Painting grounds and blotches aa Markers aa Pen, ink and pencil aa Resist techniques aa Surfaces aa Transfer techniques aa
textile-printing methods 99 Roller printing aa Screen printing aaa Dry printing aaa Wet printing aaa Discharge printing aaa Other printing methods aaa Heat-transfer printing aaa
designing woven fabric 125 Types of yarn-dyed patterns aaa Painting the yarn-dyed design aaa Drawing the layout aaa Painting the warp aaa Stippling the filling aaa Techniques for painting other effects aaa Designing for Jacquards aaa Computer-aided design aaa
color considerations 147 Thechniques of forming color combinations aaaa Changing color looks aaa Presentation of color combinations aaa
techniques for repeats 163 Metrification aaa Putting the finished croquis in half drop repeat aaa Splicing paper aaa
mill styling 171 presentation of designs 179 professional practices 183 green design 191 index 196 bibliography 199 marypaul yates 201
Introduction
15 This text was developed to inform artists with a strong background in basic design and color principles of a market for their creative work - the textile industry. University and college textile design courses usually emphasize methods of hand production and hand-decoration of fabric, yeat in the United States alone billions of yards of cloth are commercially produced eacch year. Inventive approaches to the design of the textiles are always in demand. With an overview of the textile industry and a thorough explanation of the designer's role, the text encourages adaptation of any design expertise into the processes, techniques and formats characteristic of this industry. This book is a compilation of information obtained from many designers. Because each designer may work for several years within only one segment of the market, this comprehensive view of studio practices troughout the industry should be meaningful even to practicing professionals. A textile designer's job is multifaceted, requiring thorough understnding of the customer for whom the product is intended, knowledge of related and competing products aand any sphere that influences the design world, and mastery of technical considerations of fabric production. Perhaps most importantly, a designer must be able at the appropriate time to present new ideas so that the intended market can understand and use them. The backbone of the designer's carrer is his work in the studio. The development and completion of artwork on paper is the base from which the aesthetic aspects of fabric are produced. Consequently, pratical studio methods not only make a designer more effective but also save time and money. Ideas for techniques, materials and references encourage new interpretations and experimentation.
This book details a highly enjoyable carrer among enthusiastic professionals throughout an exciting industry -
Types of printed textile designs
51 To appreciate the specific steps used in executing on paper the artowork called a textile design, one must be familiar with the several broad categories of design type into which trends of printed textiles will fall. It should be remembered that finished textiles are usually reproduced from drwaings or paintings on paper. As types of designs are described in this chapter, observation should be made of the effects which are achieved through the use of basic textile design materials. Varietty of design may be typified by the motifs, or subject matter; the style in wich the motifs are rendered; and the arrangement, or layout, of the motifs. these three elements, combined with the color look of the pattern, are the essentials that together form a textile design. Many popular design types are derived from historical textile styles. Familiarity with the origins and history of fabric decoration not only provides understanding of the framework within which contemporary designers work but also increases aaccess to valuable reference material. For the purposesof this discussion, however, definitions emphasize the characteristics that typify a type of design in curren industrial practice rather than the historical derivation of the style.
motifs and styles Florals have been the most common and best-selling printed fabrics in apparel or interior textiรงes for the past several hundred years. A design with flowers or other plants as motifs can be realistic or stylized. Plant drawing is difficult; therefore, many designers ten to rely on familiar, stylized floral forms. However, if used to explore, search and render forms in a new way, an artist's drawing ability when channeled to produce unusual textile designs will be rewarded. It is important to make careful studies to see and understand how the petals grow from the stem, how leaves are attached, what components make up the center of the flower. These drawings need not result in realistic flowers completely covering a fabric, but even stylized patterns must be based on an understanding forms in anature. The variation of pattern that can be derived from one flower makes it easy to understand why plant forms are such a popular design reference. The structural way that a flower grows, the
52 complex organic shapes of which it is made, and the surprising color combinations that naturally occur keep the motifs from ever being monotonous. Equally important is the fact that most people associate no negative connotations with flowers as they might with some sort of animal, for example. Whether or not a particular design style becomes unpopular, some interpratation fo plant forms, whether abstract, stylized or realistic, will always be prevalent. The existence of chintz, from the Hindu word chint, meaning clolored or variegated, was recorded as early as 400 B.C. Through centuries of dyed and printed fabric development in India, the term was used to describe many types of pattern. The floral motifs, in various arrangements, were rendered in a particular style popular in Europe, especially France and England, during specific historical periods. Today, a chintz is usually thought of as a home funirshing-scale floral pattern. The colors of the motifs are usually strong and vibant, often in striking contrast to a very light, very dark or very rich blotch color. Ivory, navy, black, burgundy and lacquer red are popular blotch colors in chintzes. Claire Louise Milne, printed on cotton The glazed or polished finish that is usually applied to these cotton fabrics after they are printed may also be applied to fabrics that are dyed a solid color. such a facbric, although not a printed design at all, is often referred to as a chintz. Winding, unending bouquets profusely covering the design surface, sometimes utilizing symetrical motifs, typify florals done by the master craftsman William Morris in the late 1800s. Patterns that resemble Morri's and his pupils' designs remain a style in their own right; many William Morris designs are reproduced and sold today exactly as they were during his lifetime. Morris was a prolific designer, craftsman, poet and social reformer, and his worl spanned sveral decades. His designs for fabrics varied in style, certainly, as his career progressed. The example shown in next page, however, shows the carefully drawn floral forms richly embellishing the textile surface, characteristics found in most of Morris`s work. His Textiles feature subtle, grayed colors. The penlike lines providing an etched quality are also typical. In a botanical, entire plant forms are realistically rendered as if the viewer were seeing each Brunschwig & Fils Tessa Glazed Chintz
53
William Morris. Cray, 1883-4
part of the form at eye level, as in botanical illustration. These motifs may be repeated i the pattern as completely separate elements, and even bozed off from one another. The plant species may even be labeled as a part of the design. The deeply colored florals on light grounds are called Jacobean designs, derived from popular embroidered furnishing fabrics of late Elizabethan and Jacobean eras. Characterized by heavy ornament of German and Flemish origin, these patterns are usually made up of branches and other arborescent forms accented by floral motifs. The small-scale floral patterns in next page are Provenรงal, or French Country, designs which originated during the eighteenth century in the district of southern France called Provence and today are popular in both apparel and home furnishing. Originally wood block patterns, the slightly off-register color placement in these designs is part of their charm. Rich colors such as Wedgwood blue, yellow ochre and poppy red ar used together in vibrating combinations. The small floral motifs typifying these designs are very regularly space and may be designed as borders and stripes which coordinate. In addition to flowers, other natural forms such as animals, shells, stones, waves and landscapes are traditionally popular motifs in textiles. Historical landscape or scenic patterns in-
Liberty of London: , botanical design
54 clude chinoiserie designa from the mid-1700s, many of which were printed at the famous print works at Jouy, France, and are therefore called toile de Jouy (which means cloth from Jouy). These designs were usually printed in one color on a natural ground, and used complete pastoral of figurative "pictures" as motifs in simple repeats. Toiles also encompass one-color florals, which feature vine-traversed layouts with large exposed areas of the natural ground cloth. Chinoiserie is used today to refer to any Western interpretation of oriental design. This Influence may be shown in the style of florarl rendering, but more often a chinoiserie contains figurative clues. Chinese architectural elements (such as a pagoda), the Chinese vases or stereotypical Chinese plant forms such as the bamboo accent floral or figurative motifs in these designs. Designs that use pictures of recognizable objects making up the pattern are called conversationals or, in Europe, figuratives. Motifs used
Aalamwaar Textiles, unbleached cotton fabric, hand-block print and Indigo dye, Provenรงal design
Marvec Textile, hand embroidered in wool on linen, Jacobean design
in conversationals range from crayons to dragons. They may be oriented toward any segment of the market; juvenile patterns, designed to be used fo children's products, are often conversationals. Juveniles are usually boldly drawn and brigghtly colored. Geometrics, derived from any geometric shape, are the most prevalent type fo design other then florals. A geometric may simply feature lines arranged on a single ground color. Or, ranging to much more elaborate designs, paisleys, though originally derived from curved leaf forms, are often stylized and isolated to yield the effect of a geometric pattern. Contemporary is a term used in interior textile area to classify designs with simple, extremely stylized motifs. Calligraphic brush-
55
Kokka Japan, printed on cotton,
Anna Griffin, printed on cotton, chinoiserie design
Wren design, nowadays toile de Jouy
56 strokes are typical contemporary motifs. Transitional designs are almost contemporary, but the stylized motifs are not as starkly simple and may have recognizable naturalistic motifs. Where a contemporary pattern would be suitable only on very simple furniture, a transitional upholstery pattern could be used to update a more traditional piece. Transitional is also used as catch-all term for interior textile floral patterns that do not represent any particular historical style, and can. in theory, be used in any setting or any style of furniture. Trompe l'oeil in French literally means " to fool the eye", and patterns so designated create such an effect. By carefully rendering objects in extremely fine detail and emphasizing the illusion of tactile and spacial qualities, trompe l'oeil designs are most often used in interiors to simulate marble surfaces or to depict absent architectural features, such as columns or arches. Throughout the history of printed textiles, patterns were developed to emulate more expensive woven techniques. In addition to simple stripes, plaids, twills and herringbones, more complex fabric structures such as tapestry, brocade, damask Youwa/Kei, printed on cotton, figurative design and even Persian rugs continue to influence printed pattern. Likewise, special dying methods are simulated in printed patterns. Hand-painted effects, fabrics with resist-dyed warps (such as Japanese kasuri and Indonesian ikat), Japanese shibori (tie dye) techniques and the Indonesian wax-resist dyed batik designs are all techniques simulated through printing. Textiles from different cultures influence ethnic designs. African inspiration, Early Americam influence, the Chinese and Japonese influences previously discussed and any other culture may contribute motifs, patterns and techniques popular in various styles of design. Likewise, patters fom art or architectural movements, such as art deco, art nouveau, op and post-modern, work their way into textiles. A documentary is a design derived from a specific style or even a certain fabric. A Michael Miller, printed ion cotton, juvenile design designer may take a group of fabrics from a museum and develop up to date patterns from
57
Michael Miller, printed on cotton, geometric design
the historic textiles. The new pattern may be a loose interpretation of the docuent; however, if the nem design is very close to the original, the original is given credit. Often a museum licenses the right to reproduce textiles from its collection as development of such designs for commercial uses. Coordinates are designs developed to be used together. A geometric may be coordinate to a floral or some of the motifs in a floral may be put into a different scale or layout to make a coordinate. A stripe may go with a plaid or check, or one pattern may bem renderedin two techniques to give a sligtly different look. A group of coordinates developed and presented as a "story" will sell more easily than a sole pattern, although good coordenate patterns will stand on their own as individually successful designs.
shiborigirl.wordpress.com, sculptural wrap made of shibori Basso & Brooke, fall 2010, trompe l'oeil design
58
Exemple of batik
Alexander Henry, printed on cotton, african inspired
Exemples on cordinate design - Saron Craig, printed on cotton
Dear Stella,, printed on cotton, vintage inspired
59
layouts Textile design type may be categorized by layout as well as by motif or style of pattern. The term layout refers to the arrangement of motifs in the framework of the design plane. Unlike a painting or drawing, which is designed in relation to its boundaries or edges, the elements in a textile design are designed in relation only to each other. There are no boundaries; when the pattern is printed, it will continue over yards and yards of cloth. For a textile design to be reproduced on fabric, it must eventually be developed into one standard unit containing a specific arrangement of desired motifs. This one unit, called a repeat, will be repeated across the width and length of the fabric in a continous manner. Designs are sometimes done in repeat from the start but are often designed in balance and put in repeat later. A baalanced design, called a croquis (the French word, means sketch), must give the feeling that would be evoked if a frame were placed at random over any section of the finished lenght of cloth. The same feeling should be evoked if the frame were placed on any section even though the sections were not identical. Although not in repeat, a croquis will have the feeling of being in repeat; the motifs and colors are arranged with no "lineups" (unintentional lines formed with motifs), "alleyways" (unintentional lines formed by negative spaces), or "holes" (uneven gaps between motifs). Any specific motif will recur on the fabric at measured intervals because each motif holds a specificlocation within the repeat unit, and the entire unit is printed over and over again above itself, below itself, and beside itself, thus covering the fabric. Within the repeat
60
Sanderson, printed on cotton, tossed layout
Solitaire, printed on cotton, all over layout
unit itself, however, the motifs may be of any density; and a variety of density is both more natural and more dynamic. Within the repeat unit, motids do not need to be evnely spaced. Whether close together of far apart, they must have a consistent relationship to eacho other. When the design unit is continued over the fabric, one motif or space viewed as distinct from all the others vill look like a mistake. It is the subtle differences in motifs and spacing that will make a design interesting. A pattern composed of motifs that do not recur at regular, measured intervals within one repeat unit of the design is referred to as a tossed pattern. These elements may be spaced or packed but are separated by ground area. Similarly, an allover layout has balanced motifs that recur irregularly within the repeat unit; the diference is that motifs are connected in some way forming a net network the covers the entire design plane. Typical of the William Morris and Jacobean periods, these designs feature elaborate, embellished floral-like motifs that seem to grow and wander across the fabric. A pattern in which all motifs repeat directly under and directly across from one another at measured intervals is called a set or tailored pattern. Small patterns of this type are also called foulards, which is the French word for the silk or rayon fabrics for neckties and scarves often printed with these patterns. Polka dots, for example, are a set pattern. Flowers or plants can be arranged in what is called a bouquet layout, with identical or varying bouquets usually repeating at regular intervals. A five-point bouquet is a layout arranged so that, when the fabric is cut to cover a sofa cushion, one bouquet is in the center and a quarter of a bouquet shows at each corner of the cushion. A once popular format rarely used today except in wallpaper and traditional damask patterns (although it was used often by William Morris' designs), is the ogee layout, which utilizes onion-shaped motifs. This type of pattern almost always features floral forms in urns or vases as well as birds as motifs; the
61
Solitaire, printed on cotton, tailored layout
Tina Givens, printed on cotton, bouquet layout
damask and wallpaper designs in this layout are almost always of a single color in a contrasting ground. A horizontal stripe layout is called a bayadere. This design need not be simply a geometric stripe composed of straight lines, but may feature any type of motif arranged in a horizontel format. While a bayadere is possible with any type of printing, vertical stripe layouts are not possible in flat-bed screen printing due to the difficulty of matching up the stripes from one screen to another during printing. Diagonal stripes, common in home furnishings, are almost always at a 45o angle, not only for ease in matching the design at the seams, but also for use either horizontally or vertically. The diagonal usually runs from lower left to upper right. A border pattern is focused along one selvedge with a ground extending to the other selvedge. A border fabric is used for garments (or draperies) with a border around the hem; therefore, enough space must be allowed in the design for the hem of the skirt or dress to be turned under without distorting the design. Some home furnishings fabrics are designed so that there is a border in essecence a double border. When one screen makes the entire, completely self contained pattern, it is referred to as engineered pattern. Designed almost like a drawing or painting, engineered patterns are striking in pillow cases, towels, area rugs and scarves.
Pat Bravo printed on cotton, ogeelayout
62
Asda, printed on silk, border layout
In any type of layout, wheter it is engineered, ogee, bouquet, etc., the direction of the motifs must be considered. In a one-way pattern all the motifs face upright in the same direction. In a two-way pattern half the motifs face upright and half are upside down so that the patterns gives the same feeling in either vertical direction. Fabric printed with one-way or two-way patterns, however, must always be utilized in consistent direction. That is, fabrics so printed must always be cut with respect to the "top" and "bottom" of the pattern so that a piece of fabric showing upside-down motifs is not placed next to a piece showing rightside-up motifs. Because direction of motifs is consideration in the utilization of these patterns, they are referred to as directional. By contrast, in a multidirectional pattern, where motifs face all directions, the pattern looks correct from any angle, pieces of fabric can be used together in any way, and therefore the pattern is essentially non-directional.
Vintage, printed on silk, border layout
Tina givens, printed on silk, engineered layout
63 One-way patterns (either vertical or horizontal) are easily utilized for upholstery fabric and are therefore common in designs for this area. Horizontal patterns, when used for upholstery fabric, are usually "reailroaded"; that is, the fabric is turned sideways so that the direction of the pattern runs vertically on the furniture. Vertical one-way or two-way patterns are likewise convenient formats for prapery fabrics, but most American drapery manufacturers are unwilling to spend the extra time and care required to line up horizontaly positioned patterns at the seams (called "side matching" the pattern"). Therefore, horizontal drapery patterns are uncommon in this country unless the shapes are unspecific enough that precise side matching is not required. European drapery manufacturers are more willing to handle this extra labor, and horizontal stripes are more common. For clothing, however, because the shapes and sizes of pieces of fabric makingup a garment vary more than the standard rectangles making up furniture and windows, more fabric and more careful planning are needed in order to use a directional pattern wisely. Apparel customers may therefore shy away from patterns that look correct from only one direction. In a figurative two-way or multidirectional pattern for any end use, the images must be logical, for example, if there are houses and trees together, the trees and the house are flipped together, not just the trees or just the houses -
196
Index
A Adhesives, 34 Airbrush, 35,88, 118,122 Apparel fabric, 20, 65, 66, 140 B Balanced cloths, 107 Balanced Stripe, 107 Bendé effect, 100 Brushes, 26-28, 126 Fudemaki, 27 Hair, 26 Sizes, 26 Storage, 28 Warp, 115-118 Burn-out printing, 103 C Cartoon pattern, 125 Carousel, 25 Chiné fabric, 51, 103 Color in textile design 133-139 Changing color looks, 136, 137 Color roughs, 70 Colorways, 134, 136 Intensities of, 134 Presentation of color combinations, 137,138 Techniques plan, 70, 71 Use of, 69, 70 Values in, 134 Color looks, 136 Color wheel, 135 Conversational, 45, 46 Contemporary, 46 Croquis, 54, 66, 138 D Design fees, 157 Dip pens, 29 Dyes and Dyeing, 36, 76, 93, 100 Batik, 51
Class of, 102, 105 Japonese Shibori technique, 51 Trap, 80 Wax-resist technique, 83, 85, 86 E Eagle pencil, 33 End-and-end, 110, 120 Etgnic design, 51 F Fabrics Apparel, 66, 140 Chiné, 85 Drapery, 140 Jacquard, 124 Weight og, 106 Fit, 95, 48 Flock printing, 103 French quill, 27
G Geometric design, 46,52 Gouahce, 27, 36, 73, 76-79, 93, 119 Ground, 81, 82 H Hair brush, 26 Half-drop repeats, 141, 143-145 I Ikat fabric, 51 Inks, 31, 82, 83 India, 85 J Jacobean, 41, 56 Juveniles, 46
197 K Kasuri fabric, 51 Knocked-off, 13 L Lab dips, 106 Layouts, 54-62 Line ups, 67 M Man-made fabrics, 3, 4 Market trends, 11,19 Mill stylist, 147-150 Morris, William, 40, 41, 56, 58, 136 Mylar paper, 25 N Non-directional patterns, 61 O Ogee layout, 58 Oil crayons, 90 Osmiroid pen, 29 P Paints, 21-23 Patch, 148 Pens, 28-31 Nibs, 29 Printed designs, 83 Tjanting, 86, 87 Pigment printing, 101 Portfolio, 1, 53 Provenรงal, 41 R Railroad pattern, 61 Registration, 95, 147 Repeat techniques, 139-146 Rich Art, 21
Rough layout, 64, 65 Rub-down, 72, 73 S Saral paper, 26, 73 Satin weave, 109, 120 Selling seasons, 10, 11 Set pattern, 56 T Tailored pattern, 56 Textile design studio, 36,37 Trap effects, 100 Trompe l'oeil, 49 Two-dimensional, 107 U Union-dyeing, 105 U.S. textile industry Importance of, 3 Categorization fo, 3, 4 Geographical location, 8 V Venuns pencil, 33 Vertical patterns, 61 W Warp, 106, 114-118, 148, 149 Watercolor, 75 Wet ptinting, 101, 102 Wood-block printing, 93 Written records,157 X X-Acto knife, 34, 79, 87, 120, 146 Y Yarn-dyeing, 105 Gingham checks, 11 Tartan, 110
198
Bibliography
199 Some of the books in this list are out of print and available only through libraries and book-search services. Albeck, Pat. Printed Textiles. Oxford Paperbacks Handbooks for Artists. Vol. 5. New York:Oxford University Press, 1969. Barker, A. F. An Introduction to the Study of Textile Design. New York: E. P. Dutton& Co., 1982. Dan River, Inc. Dictionary of Textile T ed. New York: Dan River, Inc., 1992 Emery, Irene. The Primary Structures of Fabrics. Washiington, DC: The Textile Museum,1980 Dan River, Inc. Dictionary ofs. 14th ed. New York: Dan River, Inc., 1992 Emery, Irene. The Primatructures of Fabrics. Washiington, DC: The Textile Museum,1980 The Textile Museum,1980 Johnston, Meda P., and Glen Kaufman. Design on Fabrics. New York: Van Nostrand Reinhold Co., 1981. Joseph, Marjorie L. Introductory Textile Science. 6th ed. Orlando, Fl: Harcourt Brace College Publishing, 1993 Joyce, Carol. Designing for Printed Textiles. Englewood Cloffs, NJ: Prentice Hall, Inc., 1982 -------.Textile Designs: The Complete Guide to Printed Textiles for Apparel & Home Furnishing. New York: Watson-Guptill Publications, Inc. 1993. Justema, William. Pattern. Englewood Cloffs, NJ: Prentice Hall, Inc., 1982 Johnston, Meda P., and Glen Kaufman. Design on Fabrics. New York: Van Nostrand Reinhold Co., 1981. Joseph, Marjorie L. Introductory Textile Science. 6th ed. Orlando, Fl: Harcourt Brace College Publishing, 1993 Joyce, Carol. Designing for Printed Textiles. Englewood Cloffs, NJ: Prentice Hall, Inc., 1982 -------.Textile Designs: The Complete Guide to Printed Textiles for Apparel & Home Furnishing. New York: Watson-Guptill Publications, Inc. 1993. Justema, William. Pattern. Englewood Cloffs, NJ: Prentice Hall, Inc., 1982 ohnston, Meda P., and Glen Kaufman. Design on Fabrics. New York: Van Nostrand Reinhold Co., 1981. Emery, Irene. The Primatructures of Fabrics. Washiington, DC: The Textile Museum,1980. Dan River, Inc. Dictionary of Textile Terms. 14th ed. New York: Dan River, Inc., 1992 -------.Textile Designs: The Complete Guide to Printed Textiles for Apparel & Home Furnishing. New York: Watson-Guptill Publications, Inc. 1993. Justema, William. Pattern. Englewood Cloffs, NJ: Prentice Hall, Inc., 1982. Emery, Irene. The Primatructures of Fabrics. Washiington, DC: The Textile Museum,1980. Dan River, Inc. Dictionary of Textile Terms. 14th ed. New York: Dan River, Inc., 1992. Watson, W. Advanced Textile Design and Colour. london: Longmans Greend and Co., Ltc., 1947. ------. Textile Design and Colour. london: Longmans Greend and Co., Ltc., 1947. Yokoo, Tadanori. The Made in Japan Textiles of Jurgen Lehl. Tokyo: PArco, 1983.
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Marypaul Yates
201 Marypaul Yates is a principal of Yates Weisgal Inc., a textile design and sales consulting firm in New York City. She has been responsible for the creative direction and product development of numerous textile companies in the fashion and interior furnishing fields. She studied at the University fo Georgia and received a BFA degree from Syracuse University and an AAS degree from the Fashion Institute of Technology in New York. She has taught at FIT and Parsons School of Design, she lectures widely, is active in professional organizations, and is currently writing a second book -