Project Abstract

<p> </p><p>This study is on the combination of digital technology with manual method of printing to achieve<br>precision for home textiles. The study was conceived within the periphery of adopting the use of<br>computer software such as CorelDraw Design Package and Photoshop Element in developing design<br>concepts, repeat patterns and conversion of designs into lines for precise development of the designs and<br>finally converted to some aspect of home textiles. The research problem was to address the common<br>printing problems and challenges like over-exposure (loss of detail), misfitting of the designs, difficulty<br>of registering screens, uneven ink deposits, and colour smear, among others. The research was aimed at<br>achieving precision in the designing and registration of patterns for home textiles by manipulating the<br>stencil method of printing through the combination of digital technology for easy drafting of designs and<br>tracing of patterns after the manually generated sketches might have been scanned into the computer. This<br>research used the experimental and studio practise research methodology and the findings were derived<br>through the objectives and research questions of the study. The major findings of the study revealed that<br>the use of computer software in developing design concepts and repeat patterns for home textiles gave<br>precision and accuracy in the drafting and repeat of patterns, eased the stress of tracing with the light box,<br>and also saved time and energy. The study concluded that with the help of computer software as one of<br>the tools for drafting patterns of printing, the project may not only take a very short time to complete but<br>the idea of even precision and perfection in the repeat patterns will always be assured. The study therefore<br>recommended that Computer Aided Design should be properly harness as an aid in the studio practise, as<br>it will reduce hardship experienced by studio textile designers of the textile studio of industrial design,<br>Ahmadu Bello University, Zaria.</p><p>&nbsp;</p> <br><p></p>

Project Overview

<p> INTRODUCTION<br>1.1 Background of the Study<br>Textile printing is another part of wet technology, a wet printing process that employs the use of<br>thickened dye or pigment print paste. It is carried out after pre-treatment of fabric or after dyeing<br>of the fabric. Thomas (2007), described textile printing as, localized dyeing that is, dyes or<br>pigments are applied locally or discontinuously to produce the various attractive designs on<br>fabric. According to Helmut (2001), “the main objective of printing is the production of<br>attractive designs with well-defined boundaries made by the artistic arrangement of a motif or<br>motifs in one or more colours.” Helmut (2001), further stated that, textile printing involves the<br>production of a predetermined coloured pattern on a fabric, usually with a definite repeat.<br>In a technical approach, printing can be considered as localized dyeing. Thomas (2007), stated<br>that, in textile printing, each different colour or print paste is opaque and placed on the fabric<br>individually. This requires each colour to fit exactly in the print pattern which is known as design<br>registration. Thomas (2007), further explained that, if the print is out of registration it is a serious<br>fabric defect causing the final product to be considered off quality or second quality. It is also<br>important that the printed colour be uniform in depth and consistent in hue. This property is<br>known as colour clarity. The junction or boundary between colours is normally sharp and<br>distinct. This is known as pattern definition. Pattern flushing or wicking occurs when the colours<br>of the pattern run or wick into each other. This is considered poor definition and is a source of<br>off quality printing.<br>2<br>In typical modern printing processes, the print paste is applied only from the top side of the<br>fabric. The fabric must be thoroughly and uniformly cleaned in fabric preparation in order to<br>ensure maximum penetration of the print paste into the textile fibres of the fabric. According to<br>Helmut (2001), maximum penetration of the print paste is required in order to obtain the best<br>colour fastness properties for the printed pattern. If the colour is off shade in a conventional<br>dyeing process, it is often possible to over‐dye the fabric to a darker colour, thus preserving the<br>value of the fabric”. “Unlike dyeing, printing has no remedy for reprocessing an off quality<br>printed fabric. In order to maximize profit, a printing operation must minimize defects which<br>result in second quality goods.<br>Screen printing is a process that originated and developed out of stencil printing technique. Ellis<br>(2005), referred to screen printing as, “Serigraphy print making process that creates sharp-edge<br>image using a stencil process, where the designs are placed upon a piece of fine mesh screen-like<br>material and tacked to a wooden frame with various films forming material used as surface<br>barriers”. Ellis (2005), further stated that, “screen printing is equally thought to have developed<br>from the japanesse “hair stencil” technique. When the technique was first developed, it was<br>carried out entirely by hand.”<br>Grice (2014), stated that, application of colouring pattern and design to decorate the finished<br>fabric is referred as printing. At the time of printing the colour is applied to the fabric so that the<br>colour or design is not affected at the time of washing. Textile printing is a process of applying<br>colour to fabric in definite pattern and design. He further stated that, “textile printing is sometime<br>confused with dyeing. In dyeing whole fabric is uniformly coloured with one color only, whereas<br>in case of textile printing more than one colour is applied on the fabric to some part in defined<br>pattern.” Grice (2014), further stated that “in textile printing, wooden blocks, stencils, engraved<br>3<br>plates or rollers are used to apply colour on the fabric. Thick dyes are used at the time of printing<br>to prevent the spreading of colour beyond the limit of design. On the bases of technology the<br>global market for textile printing can be bifurcated into direct printing, discharge printing (white<br>and colour discharge) and resist painting (white and colour resist). Other methods of printing<br>include block printing, roller printing, duplex printing, screen printing, stencil printing, transfer<br>printing, blotch printing, jet spray printing, electrostatic printing and digital printing”.<br>Stencil method of printing are of two types, the first is the use of sticker paper and an open<br>screen (a screen which has no image exposed – but well cleaned). It is the best method for a<br>beginner. The Paper Stencil Method is good for geometric shapes and basic patterns. It is not<br>intended for lettering, intricate, complicated, and floral designs intended for the purpose of this<br>study. This study was conceived within the periphery of adopting the use of computer software<br>in developing design concepts as well as utilizing the art of stenciling method of printing for<br>producing home furnishing fabrics.<br>This research therefore explored the combination of digital technology with manual methods of<br>printing to achieve precision in the designing and registration of patterns. According to Gwari<br>(2008), “with the help of computer as one of the tools to draft at least a pattern for weaving,<br>printing, dyeing, embroidery or knitting, such a project may not only take a very short time to<br>complete but the idea of even precision and perfection (in the repeat patterns) will always be<br>assured. It is intended therefore, that if computer is properly harnessed as an aid in the design<br>production lines, it will reduce hardship experienced by studio textile production”.<br>4<br>1.2 Statement of the Problem<br>The use of computer software for drafting, tracing and conversion of patterns into lines in textile<br>design enhances precision. This research therefore addressed and tackled the common printing<br>problems and challenges like over-exposure (loss of detail), misfitting of the designs, difficulty<br>of registering screens, uneven ink deposits, colour smear, among others, by manipulating the<br>stencil method of printing through the combination of digital technology for easy drafting of<br>designs and tracing of patterns, conversion of designs into lines and development of designs after<br>the manually generated sketches might have been scanned into the computer.<br>1.3 Aim of the Study<br>The aim of this study is to achieve precision in the designing and registration of patterns for<br>home textiles using a combination of digital technology and manual method of printing.<br>1.4 Objectives of the Study<br>The objectives of this study are as follows: To<br>i. explore the use of computer software like CorelDraw Design Package and Photoshop<br>Element in developing the design concepts, repeat of patterns and conversion of designs<br>into lines.<br>ii. develop stencils from the computer generated and developed designs with the use of<br>special stenciling tools such as, dual cutter, cutting knife, and circular cuter.<br>iii. Combine computer software and manual method of printing to achieve precision in<br>making designs for home textiles<br>5<br>iv. ascertain the quality of the colour impression and the registration of designed motifs.<br>v. display and exhibit the end use for assessments of the design registration.<br>1.5 Research Questions of the Study<br>This study seeks to answer the following questions:<br>i. what are the existing computer software that can be used to achieve accurate precision in<br>development of motifs, design concepts and the repeat patterns?<br>ii. how can manual method of stenciling be improved to produce accurate designs for home<br>textiles?<br>iii. what are the possibilities of combining existing computer software’s and manual methods<br>to achieve accurate precision in designs for home textiles<br>iv. what will be the quality of colour impression and registration of designed motifs on the<br>fabric?<br>v. what are the designed fabrics used for in homes ?<br>1.6 Justification of the Study<br>Achieving precision in the design and registration of patterns for home textiles has posed a lot of<br>challenges in recent times. In this study, the use of computer software like CorelDraw design<br>package and Photoshop Element were employed for drafting, tracing and conversion of patterns<br>into lines in textile design to bring out the creativity and precision of the sketches gotten.<br>Suitable designs were generated through diverse sketches before the selection of the best<br>sketches. Natural designs were the choice of the motifs used for this study, flower and plant<br>6<br>motifs were picked out of numerous natural motifs available and the choice of selection was<br>strictly based on the discretion of the researcher. These motifs are seen and concluded to be very<br>attractive and suitable for home furnishings due to its numerous ways of creativity.<br>1.7 Significance of the Study<br>1.7.1 Educational Significance of the Study<br>Educationally, this study is important as it contributes to knowledge from a diverse point of<br>view. It is an eye opener to people who are prepared and ready to work and earn a living through<br>practical process. This study will equally serve as a reservoir of knowledge and also complement<br>the existing literature in the area of textile stenciling printing. This study will provide a source of<br>information for educational purpose especially today when there is limited literature that deals<br>with comprehensive historical study on the combination of digital technology with manual<br>methods of printing to achieve precision for home textiles. It will also serve as a resource<br>material for future inquiry into the technique by interested researchers.<br>1.7.2 Aesthetics Significance<br>The aesthetic of this study is concerned with beauty and art, and in this study products (fabrics)<br>are made in an artistic way and beautiful to look. Aesthetic in the creative process stimulates:<br>a. Aesthetic Judgment or Evaluation: This is very vital because it enables the designer to<br>assess whether the work is satisfactory or not, so as to make necessary corrections.<br>b. Basis of Art Criticism: The evaluation and appreciation of fabric art by the consumers<br>enables the product to sell itself. Beauty is in the eyes of self, as it is being said. We look<br>7<br>at rich colours before deciding on what to buy for fashion and for embellishing our<br>homes and environment.<br>c. Economic value: Aesthetic and function determines economic value of the people who<br>make use of them. Therefore the fabrics have to possess some good finishing for them to<br>be acceptable and marketable.<br>Dutsenwai (1985) reported Dernot and Nevros (1972) as saying that colour is the first<br>determining factor in the choice of fabrics and garments then followed by their style and make.<br>The technical significance will cut across all levels. It will also encourage more schools and<br>institutions to adopt this technique in their curriculum.<br>1.7.3 Technical Significance<br>In order to document and record the activities in the stencil method of printing for home<br>furnishing fabrics utilizing computer software to develop designs and repeat patterns, a study of<br>this nature is important. This study is very important, especially as it contributes to reduction in<br>the cost of production, materials and time consumption. The key advantage of a stencil as related<br>to this study is that it can be reused to repeatedly and rapidly produce the same letters or design<br>in mass and also for as long as possible. Also, the possibility of mass production in a short period<br>of time is rated high.<br>This study will also employ the use of sticker for the coating of the cardboard surfaces, front and<br>back, as this will ensure precision in the development of the stencil and also prevent the ink from<br>smearing on the fabric and also penetrating into the cardboard and make it wet or stained.<br>8<br>The technical significance will cut across all levels. It will also encourage more schools and<br>institutions to adopt this technique in their curriculum.<br>1.8 Delimitation of the Study<br>This study is delimited to the utilization of digital and stenciling method of printing for the<br>production of home furnishing fabrics as end products will also be produced from the printed<br>fabrics to portray the functionality and aesthetics of the designs. The studio practice was carried<br>out in the Textile Printing Studio of Department of Industrial Design, Ahmadu Bello University,<br>Zaria. The following computer software were employed in this study, they are; CorelDraw<br>Design package and Photoshop Element <br></p>