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entirely unexpected examples—yet consider adhering to a solitary topic or family. “I truly like taking ditzy florals and huge [ones] and throwing them together,” says Medine. Zimmermann is in total agreement: “I like blending comparable based craftsmanships—for instance, I’ll blend a couple of various paisley tones and examples, and set up them all as a look… . It generally works!” The planner has seen this stunt work in a scope of classes, from gingham to florals. “Then again, I suppose you could say that is my recipe for a print conflict,” she finishes up. Taylor focuses on that accomplishing the visual equilibrium you need from print-conflicting truly depends on the shading range. “A secure method to print blend is to coordinate with a lighter print with a more obscure [one],” she says. “For pre-spring 2018, we coordinated with a lighter blue watercolor botanical with a dark miniature flower print with traces of blue, white, and red; basically, the two prints should be either inverses of one another or get on similar tones.” Medine remains by this too. “[Mixing patterns] isn’t such a great amount about the prints for what it’s worth about the shades of the prints,” she clarifies. “I’m of the conviction that no two prints
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