Printed and Painted Fabrics

Printed cloths are a development of those hand-painted fabrics of China and India, specially the latter. Even the English and French, unable to compete with the cheap labor of their East in reproducing these cloths developed something of replicating the Eastern layouts by way of hand cubes.

The making of patterns by this process cotton digital printing became an art in itself. In England these printed upholstery fabrics were called chintzes, while in France they were given the exact name of cretonne.

In England that the chintzes were often glistening, which technique was introduced in America, where the demand for fresh material had obtained a surprising jump, because of the earlier generations required light and color, and printed fabrics fit this need for wood eyeglasses as well as other accessories more than additional materials from an economic as perspective.

They surpassed by far exactly what had gone before.

By the designing and making of the cubes to selling the finished product, Oberkampf had been trained into his profession nearly from the cradle. He was an apprentice from the dye-works of his dad at age twenty five.

At eighteen he was able to show printers the usage of fast tints. His goods became so popular and also his establishment grew such an extraordinary manner that he was ennobled by the king. The oldest Jouy prints were red, and the patterns were clearly inspired from Chinese tapestry window toppers originals.

The name of Jean Baptiste Huet ought to be noted as one of the musicians of this time that executed many sketches to the Oberkampf prints. Oberkampf spared no effort and expense in receiving the best gift, also he employed as much as fifteen hundred workers, a great number for that time.

The print works expanded as he introduced roller printing onto the continent. In addition, he sent representatives to England and India to discover the southern secret of producing colorful colours. The popularity of Jouy failed to live outside the Empire, also Oberkampf perished in 1815. The splendid job of Jouy, nevertheless, has endured through the years.

Textile printing was well known in India at an early date and spread over the near and Asia. Specimens of Indian cotton cloths have been discovered in tombs and in early cosmetic pediment.

Their printing procedure was elaborate and creates the basis of the ancient textile printing. The pattern wasn’t stained on the fabric but interlocking into the cloth so that it could not be washed outside. The pattern was applied either by hand painting, block-printing, or stenciling.

The layouts of these Indian fabrics serve us now as exquisite models for work. One fascination of the Indian prints in Europe was the simple fact that they were made of cotton, a material known in Europe at this time.

Europe didn’t depend entirely on India such as layouts. We see Italian themes appearing, the flower bouquets of Louis XIV, the rustic and the mythological scenes of this Louis XV style. The vogue for printed fabrics in Europe became really amazing at the nineteenth century which the French authorities resisted the importation of them because the lace weavers were in fantastic danger.

The same law was passed in England, but this law didn’t seem to stop the appreciation of this Indian chintzes. Society was concerned for these prohibited fabrics and got them spite of most restrictions.

Stenciled substances come actually painted. Patterns are cut out of paper, that will be laid to the fabric or wood picture frames, and also the colors are applied with a brush. Batiks started in Java, also during recent years have enjoyed great reputation in America. The process is an intricate one in which the effect is obtained by dyeing.

The elements to be left plain are coated with wax, while crackled effects are obtained by breaking up the wax and trapping the material from the dye in such a state. The dye then disrupts the fissures, giving an irregular, but intriguing blueprint. A separate operation is crucial for each color desired and is dependent on the power of the artist and his knowledge of dyes.