Abstract
Historically textile-printing technology has changed
the style and workflow of the textile design field.
In addition to
the conventional printing workflow, digital fabric printing technology has now
created two new textile design workflows: 1) Digital strike-offs and 2) Full
digital production. These
two structural production shifts have influenced the definition and methodology
of printed textile design in both the commercial industry and the textile
education field. Textile designers of the future will be trained in short
run-production samples, individual entrepreneurship, as well as have a broader
understanding of the definition of textile design. Ultimately, the study of
textile print technology will have an impact on a designerÕs creativity and
business sensibility, and this is the core for a successful textile design
education.
Introduction
The success of
an innovative textile designer is twofold: first, an exploration of original
ideas, and secondly an understanding of print design marketability and
technology. Until now, textile designers have provided original designs to
manufacturers, jobbers, and textile converters. These companies usually have
their own design studios, which modify designs to their own production methods.
Due to the new digital print production technology, textile designers of the
future will have a more direct involvement from start to finish in the design
workflow process. A shift
from the conventional workflow paradigm has created two new workflow
developments: digital strike-off and full digital production. Textile education
in the future will integrate these workflows into their curriculums in order to
facilitate a more innovative and independent textile designer.
Conventional Textile Printing Workflow
In the existing conventional textile design process,
designers create patterns on paper, which are inevitably translated into a
limited number of spot colors and repeat sizes for printing. The number of
transferring devices such as, rollers and screens specifically dictate the
amount of colors and repeat sizes.
Once the jobbers, converters, and manufacturers have acquired these
patterns, they are sent to the engravers for translation into the printing
process. Engravers, who are affiliated with the print mills, use CAD systems to
digitally scan these paper designs into spot color separations. In general,
these color separations are translated into separate films, in which opaque
black motifs represent each spot color for printing. The number of spot color
films directly corresponds to the number of screens. After the engraving
process is completed and approved; the printing is executed at the print mills.
Sampling and proofing the engraved patterns before actual bulk production is
critical: this process is called a strike-off. The strike-offs are often sent
back and forth between the engravers and design studios for approval. For the
final production, print stylists go to the printing mills to approve the final
strike-off before the bulk production is executed. Millwork is a lengthy and
laborious process for the stylist, who works (along with the mill) on 24-hour
shifts. This process requires an excellent knowledge of conventional printing
methods, including a proficient understanding of matching the color, repeat,
and style to the original pattern. This workflow is still the mainstream of the
textile industry today. A thorough
knowledge of conventional textile printing technology is instrumental in the
qualitative outcome of manufactured cloth. Informed professional design
decisions are based on work experience, and more importantly, from a
well-rounded textile education.
For this reason, a proper textile education should include a strong
foundation in color, repeat making, and design aesthetics, as well as an
understanding of the printing process. Hands-on skills for mixing and matching
paints to fabric swatches, accuracy of repeat making, and a fluency in drawing
are all essential components for success in the professional workplace.
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Figure 1.
Conventional Textile Printing Workflow
Digital Strike-off Workflow
For the past
several years, a new digital strike-off workflow has been integrated into the
conventional printing and marketing process. Instead of using conventional
printing techniques to create strike-offs, (where engraving processes are
needed); manufacturers have begun to utilize large format digital inkjet
printers to create digitally printed strike-offs. In this workflow process, manufacturers can use digital
strike-offs for market testing only, without having to go through the
conventional engraving screen process. Thus, only the marketable designs
proceed to be engraved and produced by conventional methods. In contrast, every
conventional strike-off is engraved into screens for printing, even though
approximately 40% to 60% of them make it into final production sales.
Obviously, the advantage for utilizing digital strike-offs is that the new
process eliminates extra engraving costs, which can sometimes save the
companies millions of dollars. At the same time, quick design alterations can
be made in a short response time to market needs. For the most part, this is
the most dominant use of digital textile printing today, and has continued to
gain popularity. In addition
to strike-offs, sample making has become another popular outcome of digital
inkjet printing technology. This is demonstrated in the domestic Bedding and
Fashion industry, where they both assemble printed samples for presentation in
tradeshows. A buyerÕs decision can more easily be persuaded if dress samples
and bedding ensembles are available for viewing. As soon as business is
established, and orders approved, the digital design samples are sent to the
engravers and mills for conventional production printing. It is foreseeable,
that in the near future, once digital production has a lower cost factor and
higher printing speed, this printing and marketing process will have larger
ramifications in full-scale bulk production. In the textile education field today, implementation
of digital printing technology will allow for a more comprehensive
understanding of the textile design workflow process. The concept of a digitally printed, one of a
kind sample opens a brand new arena of design aesthetics and job
classification. Designers today have the opportunity to demonstrate viable
personal work, which is digitally printed on fabric to prospective clients. A
new breed of independent entrepreneurs, with access to digital printers will be
able to produce their own limited yardage. Unlike technicians at mills where
conventional printing takes place, designers will be able to function as their
own quality control technicians. Designers will be responsible for operating and
maintaining their own printers in their own conveniently located design
studios. Unlike conventional printing, digital printers do not occupy a lot of
space, are environmentally friendly. They can also be extremely convenient to
the designer if they are located inside of major cities, instead of at specific
printing mill sites. Textile
Design Education should emphasize an understanding of CAD software, and
technical know-how on the mechanics of digital printers. For the digitally
literate textile designer, knowledge of digital color theory and the creation
of custom color profiles, leads to superior color management. TodayÕs textile job market demands
a thorough knowledge of operating CAD, and most design studios implement
digital design software and CAD labs into their facilities. An effective
digital textile education should include an understanding of manipulating and
editing designs on CAD, scanning in images, and utilizing digital cameras. Textile
designers today should know how to manipulate repeats and create color ways in
reduced 8-bit spot color. Digital literacy is mandatory for successful
competition in the current textile market, whether for individual
entrepreneurial success, or for industry standards. Therefore, textile
education needs to be on the cutting edge of new developments in digital
printing technology, and impart textile students with current technology
information.
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Figure 2. Digital Strike-Off Workflow
Full Digital
Production Workflow
In the current textile printing market, many textile
printers are forced to be more competitive due to the world wide economical
slow down. Competitive survival depends on finding a niche in order to
differentiate themselves from their peers. As previously mentioned, one
business solution is the advent of the digital printer. Digital production
fabric printers have been under development for a while, and they will be
introduced into the mainstream soon. Full digital printing workflow, with production
quality digital textile printers, allows for more original designs in a short
run production capacity. This type of printing process has more flexibility in
terms of style and mechanics. In other words, any photographic image, or tonal
design can be articulated without mechanical limitation on the number of color
screens or the repeat size. This differs dramatically from conventional
printing methods, and offers a competitive edge for the textile printer.
Individual designers can create their own short run printed textile
collections, unlike traditional printing, which requires long run printing and
high engraving costs.
Most significantly, because of the digital printing process, the definition
of textile design will be broadened into a larger category of surface design.
Digital technology will allow surface designers to virtually print any image,
or colorant, on any type of substrate surface. For this reason, textile/surface
design will most likely integrate more experimentation between the tactile
surface and printed image. A more innovative exploration between surface and
print elements will introduce a ÒnewÓ look in textile design. Not only will the
surface change, but also the design motifs will no longer have to be in
specific repeat sizes, allowing for experimentation in scale of figure to
ground. One of kind digitally printed fabric has the potential to be exhibited
as installation pieces, advertisements, stage sets, and art objects. It is an exciting time for
textile educators today. Textile designers have the potential to be both
technicians and cutting edge designers in todayÕs job market. The sequencing of
current curriculums should include problem solving in specific computer
software, as well as formal study in the principles of art and design. CAD
systems such as Adobe Photoshop should be reinforced because of the 24-bit
color possibilities and flexibility in visual effects. Textile designers will
learn to broaden their preconceptions of textile design to create design work
with a more cross-disciplinary outcome. Collaboration between architects,
fashion designers, and graphic designers will be encouraged due to the digital
inkjet printing capacities. To illustrate; a textile designer could easily
collaborate with an architect, by creating an installation of printed fabric
into an entranceway of as specific building. In the future, the creative
possibilities will be endless.
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Figure 3. Full
Digital Production Workflow
Conclusion
The year 2000 was a pivotal year for the introduction
of production digital printers. Because of the new digital inkjet printing
technology, todayÕs job market will possibly change from a few major textile
mills, to many smaller diverse independent textile-printing shops. Digitally
trained textile designers, will have more flexibility to work in smaller
printing shops, large mills, or as independent agents. Above all, the aims of an
effective textile education should reflect currently established concepts of
textile design, as well as developing new technologies. These include:
A)
Understanding
traditional textile design principles such as hands-on painting, repeat making,
color, and stylization
B)
Preparing all students
for CAD related procedures in the textile industry
C)
Informing future
designers on the full digital and conventional printing technology
D)
Researching current
trends in the Textile Market
In order for innovative designers to reach their full
creative potential, activities in science and technology should be integrated
with culture and aesthetics. Textile design does not come from the void, and
designers need to go beyond what is currently happening and create new trends.
Designers should constantly be researching in magazines, newspapers, museums,
websites, etc., to come up with new ideas and concepts. Above all, the scope and
sequence of an effective textile education should encourage problem solving in
digital inkjet fabric printing and cutting edge design concepts.
Sample Works
Sample 1.
Sample of Digital Strike off
Printed
by McDermid Colorspan Fabrijet
Stacy
Testa ©2001
Sample 2. Sample of Digital Strike off Collection
Printed by Encad 1500 TX
Printed by Encad TX 1500
Laura Robinson ©2000
Sample 3. Sample of Digital Printing Collection
Printed by Mutoh falcon,
PrinterLaura Slote ©2002
Sample 4.
Sample of Design for Full Digital Production
Tonal Application
Carol
Kanopinsky ©2002
Sample 5. Sample of Design for Full Digital Production
Non-repeat Image for Exhibition at The Textile Museum
Printed
by Mimaki Tx 1600
Hitoshi Ujiie ©2002
References
1.
Joyce Storey, Manual of
Dyes and Fabrics, The Thames and Hudson, London, UK, 1978.
2.
L.W.C. Miles, Textile
Printing, Dyers Company Publications Trust, West Yorkshire, UK, 1981.
3.
Textile Chemist and
Colorist & American Dyestuff Reporter, pg. 26-27. October (2000).
4.
Textile World, pg. 49, April (2001).