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William Morris (1834-1898), a founder of the British Arts and Crafts movement, sought to restore the prestige and methods of hand-made crafts, including textiles, in opposition to the 19th century tendency toward factory-produced textiles. With this goal in mind, he created his own workshop and designed dozens of patterns for hand-produced ...
Design for a hand woodblock printed textile, showing the complexity of the blocks used to make repeating patterns in the later 19th century. Tulip and Willow by William Morris, 1873. Woodblock printing on textiles is the process of printing patterns on fabrics, typically linen, cotton, or silk, by means of carved wooden blocks.
The long papers were passed over on wooden rods overhead, with the section of paper to be printed placed flat on a table in front of the craftsman. One block was used for each colour. The typical Morris design used as many as twenty different colours, but some were more complex. The Saint James design (1881) required sixty-eight different blocks.
Jia xie is a method for dyeing textiles (usually silk) using wood blocks invented in the 5th–6th centuries in China. An upper and a lower block are made, with carved out compartments opening to the back, fitted with plugs. The cloth, usually folded a number of times, is inserted and clamped between the two blocks.
Woodcut printing involved carving intricate designs into wooden blocks, which were then inked and pressed onto paper. This technique enabled the mass production of prints at a low cost, making them widely accessible. Battala, an important center for woodcuts, saw multiple artisans collaborating in the production process.
These beetles were commonly found in wood used to build furniture in the Edo period. Woodblock prints that were stored on bookshelves, or other furniture infested with these beetles, also became infested themselves. [5] Print shows holes caused by Deathwatch beetles. Kabuki Theatre Kawarazakiza LACMA M.2000.105.36a-c