Rhode Island School of Design - Portfolio Yearbook (Providence, RI)

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UCH muslin has gone under the pin since we cut our first screen. We've become quite friendly with dyepots and poster paints, squeegees and soapsuds, while creating a multitude of designs. Our major has gone from the technical to the creative, from weaving terminology and application of principles on the looms to a design vocabulary and its materializa- tion on paper. We’ve had our ups, downs, and half-drops, but our versatility is such that a reversible fabric has nothing on us. We've always come through formally and informally. Attention Dorothy Liebes and Dan Cooper —competition coming your way! textile design Siti Sayg fe

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textile manufacturing E have mules in our department, but they don’t bray, we have lap machines one can't possibly hold, and we have three cards that no one could play bridge with. Our looms would frighten the average lay- man because they sound like the staccato bark of a riveter or machine gun, but their sounds are music to a weaver's ears. As finished designers and engineers, trained in every aspect of textile manufacture, with many liberal arts courses also to our credit, we are well trained to handle all textile fibers. 24 textile chemistry e | ate | dyei ng Out of the lab and into the world with four years of formulae and chemical principles tucked into our heads. Between alpha imino, alkyl mercapto acetic acid hydrochloride and the odors of H,S, we learned about the advances in science and quality control in production which have necessitated the training of men in chemistry and its applications to textiles.

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apparel arts Z0e “A v OTENTIAL couturiers every one. Stitch one, rip one, and so it goes through the days of these miracle workers that de- light us with their buttons and bows, shimmering fabrics and im- pressive fashion shows. Sophomore costume designers pattern drafting, grading, and—listening for that bell.