Printed and Painted Fabrics


Printed cloths are a development of the hand-painted cloths of China and India, specially the latter. Even the English and French, unable to take on the inexpensive labor of their East in replicating these cloths developed a system of replicating the Eastern designs by means of hand blocks.

The making of patterns through this technique became an art alone. In England these printed upholstery substances were first called chintzes, while in France they were given the exact name of cretonne.

In England that the chintzes were usually glazed, which custom print on fabric process was introduced in America, at which the requirement for fresh material had taken a surprising jump, due to the earlier generations required color and light, and published fabrics fit this demand for wood frames and other accessories more compared to additional materials via an economical as view.

The best understood of all fabrics of this nature were the toiles de Jouy, stated in France during the latter half of the eighteenth and the beginning of the first centuries. They exceeded far precisely what had gone .

From the designing and making of those blocks to selling the finished product, Oberkampf had been trained to his livelihood nearly from the cradle. He had been an apprentice in the dye-works of his dad at the age of twenty five.

At eighteen he was able to teach printers the usage of fast tints. The earliest Jouy prints were red, and the patterns were distinctly motivated from Chinese tapestry window toppers originals.

After, peasant scenes were introduced, then allegorical and mythological scenes and subjects from history, such as the flames of the French Revolution and the American Revolutionary War – themes that were informative as well as interesting as themes.

The name of Jean Baptiste Huet should be mentioned among the artists of this period that executed many sketches for its Oberkampf prints. Oberkampf spared no effort and expense in obtaining the best gift, also he employed as much as fifteen hundred workers, a terrific number for that moment.

The print works enlarged as he introduced roller printing on the continent. He also sent agents to England and India to detect the southern secret of producing colorful colors. The popularity of Jouy failed to live beyond the Empire, and Oberkampf perished in 1815. The fabulous work of Jouy, nevertheless, has suffered through the years.

Textile printing has been known in India in an early date and disperse over the near and Far East. Specimens of Indian cotton fabrics are discovered in tombs as well as from ancient ornamental pediment.

Their printing technique was complicated and creates the basis of our ancient textile printing. The design was not stained onto the cloth but dyed in to the cloth in order that it could not be washed out. The pattern has been employed by hand painting, block-printing, or stenciling.

The layouts of these Indian fabrics serve us today as exquisite models for work. One fascination of these Indian prints in Europe was the simple fact that they were made of cotton, a material not known in Europe as of the time.

Europe didn’t depend entirely on India because of designs. We see Italian motifs emerging, the flower bouquets of Louis XIV, the pastoral and the mythical scenes of this Louis XV style. The vogue for printed fabrics in Europe became really great from the seventeenth century that the French government forbade the importation of them as the silk weavers were in wonderful danger.

The same law was passed in England, yet this law did not seem to block the appreciation of this Indian chintzes. Society was concerned for these forbidden fabrics and obtained them in spite of restrictions.

Stenciled substances are actually painted. Patterns are cut out of paper, which is laid on the fabric or wood picture frames, and the colors are applied using a brush. Batiks originated in Java, also during the past few years have enjoyed great reputation in America. This process is a complicated one by that the result is obtained by dyeing.

The portions to be left plain are coated with wax, even whereas crackled effects are obtained by breaking up the wax and trapping the cloth from the dye within such a condition. The dye then disrupts the fissures, giving an irregular, but interesting design. A separate operation is vital for each color needed and is dependent on the skill of the artist and his own knowledge of dyes.