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The slight sculptural relief, elaborate geometric designs, and technical cohesiveness of the textiles indicate that they were made by highly skilled elders. According to art historian Vanessa Drake Moraga, "That Kuba embroiderers represented textile structures in their compositions underscores both the value of weaving to the culture and the ...
Mola art developed when Guna women had access to store bought yard goods. Mola designs are often inspired by modern graphics such as political posters, labels, pictures from books and TV cartoons, as well as traditional themes from Guna legends and culture. Geometric molas are the most traditional, having developed from ancient body painting ...
The base cloth includes water proof material for umbrellas, velvet for tents, cotton, and threads. [6]Mythical and natural figures are used for the work, including peacocks, ducks, parrots, trees, elephants, creepers, flowers such as jasmine and lotus, the Sun, half-moon, and Rahu (a mythical demon who once swallowed up the sun).
Due to Africa's wildlife and environment, the most common early designs included suns, leopards, lions, the style "ndjiti" (a white and red geometric design), the style "xithango" (plaid, with the word meaning "shield"), and the style "ximangelani" (wild birds spotted black and white).
Dobby, or dobbie, is a woven fabric produced on the dobby loom, characterised by small geometric patterns and extra texture in the cloth. [1] The warp and weft threads may be the same colour or different. Satin threads are particularly effective in this kind of weave as their texture will highlight the pattern. [2] [failed verification]
Textile design, also known as textile geometry, is the creative and technical process by which thread or yarn fibers are interlaced to form a piece of cloth or fabric, which is subsequently printed upon or otherwise adorned. [1]
They could range in color from a tie-dyed mess or solid white cloth, to striped red, white and black cloth found in most parts of the island, the geometric patterns in unique shades of green and brown produced by a handful of Sakalava villages, or the brilliantly multi-colored, complex weaves favored by the pre-colonial Merina aristocracy. [2]
The decorative technique used on or while constructing the fabric generally designates its end use. For kimono, designs dyed into the fibres and yarns used for weaving before the fabric's construction, including ikat dyeing, are considered informal, with designs dyed into the fabric after weaving and embroidered designs used for more formal kimono.