08627964 t

APPLICATION OF CREATIVE DIGITAL TEXTILE PRINTING

TO FOOTWEAR DESIGN

TAM WING YEE, DENISE

BA (Hons) Scheme in Fashion and Textile Studies

(Fashion Design Specialism)

INSTITUTE OF TEXTILES & CLOTHING

THE HONG KONG POLYTECHNIC UNTERSITY

2011

APPLICATION OF CREATIVE DIGITAL TEXTILE PRINTING

TO FOOTWEAR DESIGN

A Thesis Submitted

In Partial Fulfillment of the Requirements

For the Degree of

Bachelor of Arts (Honours)

Scheme in

Fashion & Textile Studies

(Fashion Design Specialism)

Under the Supervision of

Gail Taylor

by

TAM WING YEE, DENISE

INSTITUTE OF TEXTILES & CLOTHING

THE HONG KONG POLYTECHNIC UNTERSITY

2011

ACKNOWLEDGEMENTS

I would like to express my sincere gratitude to Gail Taylor,

for her constant guidance, invaluable advice and sustained

interest in my preparation for the project work.

AUTHORISATION

I hereby declare that this is my own work and that, to the

best of my knowledge and belief, it reproduces no material

previously published or written, nor material that has been

accepted for the award of any other degree or diploma, expect

where due acknowledgement had been made in the text.

_______________________________________ (Signed)

_______________________________________ (Name of student)

Table of contents

Page

Acknowledgements

Abstract

List of Tables

List of Figures

Chapter 1 Introduction 2

1. 1 Background of Study 3

1.2 Aim and Objectives 5

1.3 Scope of Study 6

1.4 Methodology

1.4.1 Literature review 8

1.4.2 Laboratory 9

1.4.3 Design innovation 9

1.4.4 Evaluation of creative results 9

1.5 Values and Significance 9

Chapter 2 Literature Review

2.1 Introduction 11

2.2 What is Digital Printing? 12

2.2.1 Overview 14

2.3 Conventional Textile Printing 17

2.3.1 Roller printing 18

2.3.2 Hand and mechanized screen printing 19

2.3.3 Rotary screen printing 20

2.4 Digital Ink Jet Printing Technology 21

2.4.1 Direct ink jet printing 21

2.4.1.1 Drop On Demand Print Heads (DOD) 23

2.4.1.2 Continuous Ink Jet Print Heat (CIJ) 24

2.4.1.3 Direct inkjet textile printing process 25

2.4.2 Indirect digital inkjet printing

2.4.2.1 Heat-transfer printing 27

2.4.2.2 Sublimation inkjet printing 28

2.4.2.3 Sublimation inkjet printing process 29

2.5 Production Stage of the Digital textile print 30

2.5.1 Fabric preparation 30

2.5.2 Types of inkjet colorant 32

2.5.3 Delivery of ink into the printer 33

2.5.4 The fixation 34

2.5.5 Washing 35

2.6 Working with color 36

2.7 Digital Textile Design and Printing Software 38

2.7.1 Design software 39

2.7.2 Raster Image Processor (RIP) 40

2.7.3 3D CAD garment construction 41

2.8 The Impact on Digital Printing 43

2.8.1 Impact of digital printing on design process 43

2.8.1.1 Freedom and flexibility 44

2.8.1.2 Thinking about creativity 45

2.8.1.3 Sourcing and lead time 46

2.8.1.4 Cost 47

2.8.1.5 Revitalizing the textile industry 49

2.8.2 Impact on Work flow

2.8.2.1 Rapid turnaround 50

2.8.3 Impact on environment

2.8.3.1 Reduced environmental impact 52

2.8.3.2 Eco-printing process 54

2.8.4 Disadvantages of digital print 55

2.9 New approach to digital printing in the fashion industry

- Just in time printing production system

2.9.1 Why JIT? 56

2.9.2 Introduction 57

2.9.3 The just-in-time concept 58

2.9.4 Capturing order information 60

2.9.5 Design and image management 61

2.9.6 Fabric preparation, printing and finishing 62

2.9.7 Order delivery 63

2.9.8 Conclusion 63

2.10 Designers using digital print technology 64

2.10.1 Graphic and illustrative styles 64

2.10.2 Trompe Loeil styles

69

2.11 The future trend and prospects of digital textile printing

2.11.1 New markets 74

2.11.2 New technology input of textile design 75

2.12 Identify the construction and making process of footwear

2.12.1 Introduction 77

2.12.2 Footwear anatomy 78

2.12.3 The process of making footwear 81

Chapter 3 Methodology

3.1 Introduction 89

3.2 Software used for Graphic Print designing 90

3.3 Methods of Digital printing 91

3.3.1 Sublimation printing

- Experimental equipment and tools

94

3.3.2 Limitation of materials 96

3.3.3 Direct digital printing

- Direct digital printing

97

3.3.4 Limitation of materials

98

3.4 Shoe making process

- Experimental equipment and tools

3.4.1 Machinery 99

3.4.2 Tools used in pattern making 105

3.4.3 Tools used in sewing, lasting, bottoming 106

Chapter 4 Design Concept Development

4.1 Introduction 112

4.2 Design Inspiration 113

4.3 Research 114

4.4 Study of the elements of the images

4.4.1 Inspiration 1 115




4.5 Summary 119

Chapter 5 Design Process


5.2 Development of ideas 121

5.3 Graphics design development

5.3.1 Design 1 124

5.3.2 Design 2 125

5.3.3 Design 3 126

5.3.4 Design 4 127

5.3.5 Design 5

5.4 Hand drawing sketches of footwear collection 129

5.5 Aim of the experiments 130

5.6 Design Material and Color 131

5.7 Digital printing experiment

5.7.1 Experiment 1 132

5.7.2 Results and comparison of experiment 1 136



5.7.5 Results and comparison of experiments 2&3 141


5.7.7 Results and comparison for experiment 4 144

5.8 Shoe making process

5.8.1 Style 1 145

5.8.2 Style 2 150

5.8.3 Style 3 157

5.8.4 Style 4 165

5.9 Conclusion of the design 167

Chapter 6 Digital Print Footwear Collection Creation


6.2 Collection 1 171




Chapter 7 Conclusion and Recommendations


7.2 Conclusion 178

7.3 Limitations and problems caused 180

7.4 Recommendation 186

References 188

LIST OF TABLES

Page

Table 1.1 Printer distribution 15

Table 2.1 The screen printing process 20

Table 2.2 Main classes of ink jet technologies 22

Table 2.3 Showing types of colorant and their 35

corresponding fixation processes used for

different fibers

Table 2.4 Commercial impacts of textile digital 43

printing

Table 2.5 Production Model of JIT system 58

LIST OF FIGURES

Page

Fig 2.1 Process of roller printing 18

Fig 2.2 Print roller 18

Fig 2.3 Hand Screen- printing 19

Fig 2.4 Mechanized Flatbed screen printing 19

Fig 2.5 Rotary Screen printing machine 20

Fig 2.6 Rotary Screen printing process 20

Fig 2.7 Drop on demand concept 23

Fig 2.8 Continuous ink jet concept 24

Figs 2.9-2.17 Direct inkjet printing process 25-26

Fig 2.18 Heat Transfer Printing 27

Figs 2.19-22 Process of Sublimation inkjet printing 29

Fig 2.23 Mixing of inks next to the digital printing 33

machines

Fig 2.24 RGB additive color model of emitted light 36

used to generate the colors displayed by

monitor

Fig 2.25 CMYK subtractive color model of absorbed

light 36

Fig 2.26 Design software with the designed pattern 39

Fig 2.27 OptiTex 3D Runway Designer fashion software 41

Fig 2.28 TEX-CHECK Virtual Simulation of Yarn Dyed 42

Woven Fabrics

Fig 2.29 Space for storing the screens 48

Fig 2.30 Limited edition Paul Smith football 66

Fig 2.31 Luninada Abell graduation collection 66

Fig 2.32 Dress and inspiration by Basso & Brooke 67

SS2011

Fig 2.33 Hussein Chalayan A/W0708 ready-to-wear 68

Collection

Fig 2.34 Alexander McQueen, Resort 2011 69

Fig 2.35 Alexander McQueen, S/S 2011 Ready-to-Wear 69

Fig 2.36 Blond curtain,The Netherlands 70

Fig 2.37 Shady Tree Outside Lamp Shade 70

Fig 2.38 The products of customization system by Wexla 71

Fig 2.39: Mary Katrantzou S/S2011 72

Fig 2.40 Cross over with Topshop 72

Fig 2.41 Dress and making process of 'Trash Fashion' 73

Project

Fig 2.42 Inside of Cardboard Shop and a digital print 74

cardboard skirt

Fig 2.43 Interactive Garment - Smart Materials 76

Fig 2.44 Get Creative with Thermochromic Ink 76

Fig 2.45 LED Early Product 77

Fig 2.46 Demonstration of a flexible organic 77

light-emitting diode-OLED device

Fig 2.47 Parts of shoes 79

Fig 2.48 Designing 82

Fig 2.49 Pattern making 83

Fig 2.50 Cutting 84

Fig 2.51 Fitting 85

Fig 2.52 Lasting 86

Fig 2.53 Finishing 87

Fig 3.1 The distorted effect created using Adobe 90

Photoshop software

Fig 3.2 Traditional Heart-transfer Printing 93

Fig 3.3 Sublimation Transfer Printing 93

Fig 3.4 Large scale inkjet printer 94

Fig 3.5 Disperse Dye Ink 94

Fig 3.6 Capping station 95

Fig 3.7 Damper 95

Fig 3.8 Sublimation Heat Transfer Paper 95

Fig 3.9 The Transfer Paper installed in the printer 95

Fig 3.10 Flatbed heat presser 96

Fig 3.11 Direct digital printer 97

Fig 3.12 Interior mechanism of direct digital printer 97

Fig 3.13 Small scale heat presser 97

Fig 3.14 Post-Bed Single Needle Compound Feed Sewing 99

Machine

Fig 3.15 Roller presser foot of Post-Bed Sewing 99

Machine

Fig 3.16 Heel Nailing Machinery 100

Fig 3.17 The nailing box of Heel Nailing Machinery 100

Fig 3.18 Hydraulic Pressure Cutting Machine 101

Fig 3.19 Cutting Die of Outsole 101

Fig 3.20 Single-Cylinder Gantry Block Type Hydraulic 102

Machine

Fig 3.22 Dust Collecting Last Grinding Wheel Machine 103

Fig 3.21 Industrial oven 103

Fig 3.23 Skiving Machine 104

Fig 3.24 Scraping leather with the skiving machine 104

Fig 3.25 Soft measurement tape 105

Fig 3.26 Scissors 105

Fig 3.27 Ruler 105

Fig 3.28 Cutter 105

Fig 3.29 Marking tape 105

Fig 3.30 Pincers 106

Fig 3.31 Hole puncher, Hammer 106

Fig 3.32 Hole mode 106

Fig 3.33 Gun Tacker 106

Fig 3.34 Nail 106

Fig 3.35 Nylon Tread 106

Fig 3.36 Marking pen 106

Fig 3.37 Last 106

Fig 3.38 Plastic board 107

Fig 3.39 Marble 107

Fig 3.40 Leather glue 107

Fig 3.41 Stamping Glue/ Yellow Glue 108

Fig 3.42 Hot melt glue adhesive for shoe outsoles 108

Fig 3.43 Low temperature melted adhesive film 109

Fig 3.44 Cut outs used for shoe toe puff and counter 109

Fig 3.45 Moulding with the last 109

Fig 3.46 Latex Sheet 110

Fig 4.1 Inspiration board 113

Fig 4.2 Research board 1 114

Fig 4.3 Research board 2 114

Fig 4.4 Phenomena - Room divider at Mills House 115

Fig 4.5 The Wavy Shelf by Sang Hoon Kim 116

Fig 4.6 Neoclassical tumor 117

Fig 4.7 Generic Female Low Poly Base Mesh 117

Fig 4.8 Laser cut on wood piece 118

Fig 4.9 Tumor cell 118

Figs 5.1-5.6 Development process using drawing 121-122

software based on the geometrically

vertical and horizontal divisions

Figs 5.7-5.10 Development process using drawing 123

software based on horizontal line

Fig 5.11 Design 1 124





Fig 5.16 Hand drawing Style 1 129




Fig 5.20 Color board of Metamorphosis of Neoplasm 131

Figs 5.20-5.37 Showing the sublimation transfer 132-135

printing process for poly fabric

Experiment 1

Fig 3.38 Printed on the tansfer paper 136

Fig 3.39 Printed on the selected fabric, Sample 1 136

Fig 3.40 Sample 2 from experiment 1 136

Fig 3.41 Sample 3 form experiment 1 136

Figs 4.42-4.50 Showing the direct digital 137-138

Printing process in pigskin experiment 2

Figs 5.515.57 Showing the direct digital 139-140

Printing process in lamb leather experiment 3

Fig 5.60 Lamb Leather jammed in experiment 3 141

Fig 5.61 Cow suede leather sample printed with pigment141

Fig 5.58 Outcome of Experiment 2 using Pig Skin 141

Fig 5.59 Outcome of Experiment 3 using Lamb Skin 141

Figs 5.62 5.67 Showing the direct digital printing 142-143

process in the cotton woven fabric

experiment 4

Fig 5.68 Experiment 4 outcome of printing with 144

pigment

Fig 5.69 The original design 5 144

Fig 5.70 Experiment 1 outcome printed with 144

Disperse dyes

Fig 5.71 The original design 5 144

Figs 5.72-5.98 Showing the making process 145-149

of Style 1


of Style 2


of Style 3

Figs 5.168-5.183 Showing the process making 165-167

of Style 4

Fig 6.1 Side view of collection 1 171

Fig 6.2 Side view of collection 1 171

Fig 6.3 Testing sample 1 in experiment 1 171

Fig 6.4 Testing sample 2 in experiment 1 171

Fig 6.5 Side view, back view and front view 173

of collection 2

Fig 6.6 Side view, front view and back view 174

of collection 3

Fig 6.7 Side view, front view and back view 175

of collection 4

Fig 7.1 Testing with polyester 181

Fig 7.2 Example of direct printing on suede leather 182

Fig 7.3 Problem caused in style 4 183

Fig 7.4 Leather broken in the lasting process 184

Fig 7.5 Flat-bed direct digital printer 187

1

CHAPTER 1

Introduction

2

CHAPTER 1

Introduction

1.1 Background of study

At the beginning of the twenty-first century, the textile

industry has undergone a significant transformation - the

digital revolution.

The applications of digital textile and apparel design have

had a significant impact on the fashion of the industry in

the present age. When compared to traditional printing

methods, digital printing gives the designer direct control

over the appearance of the design on a fabric and helps to

reduce the restrictions associated with conventional methods.

Digital methods have the advantages of speed, communication

of ideas, design, and the ability to print very large images

as well as intricate details and reduction of the impact on

environment, the reduced cost of sampling and the option of

3

low quantity production.

The introduction of digital technologies to fashion allows

designers to explore and visualize new creative possibilities.

According to Isaac and Bowles (2009), designers are seeking

inspiration from previously unexplored sources and a new

visual language for surface design is starting to evolve.

Increasingly, the integration of print has become as vital

to the designers vision as the form of the garment itself

due to the immediacy and spontaneity of digital tools.

However, when compared to the outstanding designs for fashion

clothing end uses, the field of footwear design seems to have

been overlooked. Consequently, in this research shoe

prototypes made with a combination of digital and other print

techniques were developed to combine innovative print and

footwear designs, thereby creating beautiful and innovative

surfaces on the shoes. The artwork on the shoe surfaces was

created to fit the shape of the shoe. This thesis discusses

the methodology and the design and development stages.

4

1.2 Aim and Objectives

The aim of this study was to develop and design a range of

digital print shoes, which met both fashion and marketings

needs. The objectives were as follows:

1. To review the history of digital textile printing;

2. To study the different types of digital textile printing

techniques and conventional textile printing methods and

the related equipment;

3. To discover how digital printing has been applied in

different fields and evaluate its popularity;

4. To determine how new methods of digital printing have been

applied in the fashion market;

5. To acquire a general understanding of shoes and the history

of shoe design to create a digital textile print shoe

collection, with specific reference to the construction

and process of making shoes;

6. To experiment and test selected techniques and existent

printing methods using digital printing;

5

7. To conduct a series of experiments using selected prints

to determine the application method suitable for creating

a collection;

8. To develop and design a range of digital print footwear

using various methods identified; and

9. To appraise the selected digital designs from both

aesthetic and functional perspectives.

6

1.3 Scope of Study

The project focused on the background of digital printing,

types of technology used, techniques and the impact of digital

printing on fashion, and identified how the construction of

shoes might influence the applications of digital printing.

A collection of shoes was developed after a series of

experiments had been carried out using the sublimation and

direct inkjet printing technology for the surface upper of

the shoes.

7

1.4 Methodology

1.4.1 Literature review

A literature review was conducted in order to achieve a basic

understanding of the relevant topics. Reference books,

journals, and up-to-date information from the internet were

accessed in order to establish the theoretical framework and

provide secondary data for analysis.

1.4.2 Laboratory

Experiments were conducted in order to identify the

practicability of the selection materials for digital

printing and the development of designing digital prints

created using Adobe and Illustrator, then the selected designs

were printed and evaluated. Subsequently the optimal

combinations of designs and materials were used in the

footwear collection.

8

1.4.3 Design innovation

The experiments helped to find the suitable methods and

materials for making the footwear collection. Tumor was the

inspiration for the whole collection.

1.4.4 Evaluation of the results

After the experiments, the collection was created and the

designs were evaluated. The limitations were recorded and

recommendations were provided for further study.

1.5 Value and Significance

A number of famous designers have worked with digital print

fabrics and presented them in their fashion collections;

however footwear design seems to have been neglected. When

compared with the traditional printing methods, digital

printing excludes the color separation process and also

reduces the resources required in production and marketing,

in addition to reducing the impact on the environment. The

exploration of new methods of creating a digital print

9

footwear collection was therefore considered necessary in

order to create a chic and commercial footwear collection.

10

Chapter 2

Literature Review

11

Chapter 2

Literature Review

2.1 Introduction

The digital printing of textiles is a new direction in textile

design. In this chapter a review of the history and the

development of fabric-printing is provided, and the

advantages of silk and digital printing methods are compared.

Since the aim was to design a footwear collection, the process

whereby shoes are manufactured is also included, in addition

to a brief overview of footwear. The content and the findings

discussed in this chapter were the basis for the preparation

of the design collection.

12

2.2 What is Digital Printing?

Digital printing is the general term used to describe all

methods of printing where a digitized image is transferred

onto a substrate. These methods are divided into

electrostatic and inkjet printing. In the case of

electrostatic, known as laser printing, this technology

employs the use of paper and is commonly used in color copying

for offices (Bowles and Isaac, 2009, p.172). The other method,

known as inkjet printing, can be divided into two modes:

continuous flow and drop on demand (DOD). These modes are

discussed in greater detail in Section 2.4.

13

By 1981, Keeling was able to identify the key characteristics

of digital printing technologies (Keeling, 1981) as follows.

Variable data: The data is not constrained by size and does

not need to repeat, as the data is drawn from a computer

file.

Non-contact with substrate: The ink is dropped on the

substrate and it is possible to print on flat or curved,

smooth or rough, delicate or hard substrates.

Versatile: In general, inks can be developed that are

compatible with any chosen surface.

Multicolor: Based on the cyan, magenta, yellow, black

color range, multiple colors can be created.

High speed: The printing rates depend on resolution, the

type of print required, the head technologies, etc.

No moving parts: Printer motions are restricted to

oscillators with heads and a system to control the heads

in relation to the substrate.

14

2.2.1 Overview

The digital printing of textiles developed from reprographic

technologies originally developed for paper and signage

printing and large format textile printers are essentially

wider versions of smaller desktop printers that have been

adapted to handle wide rolls of substrate instead of small

sheets of paper. The reason why the technology was slower

to emerge in the textile industry was because of the ability

to feed fabrics at a constant tension (Crowley, 2009) and other

challenges were the need to develop suitable inks and

large-format printers specifically designed to accommodate

woven as well as stretchable cloth.

Until the 70s, the first application of digital printing

technologies was on carpets and this technology was patented

by Milliken (Ptz, 2002). Since then, both hardware and

software have been enhanced continuously. In the 80s and

the 90s, digital printing was used for strike-offs (sampling),

the printing of flags and banners and some other niche products,

like silk ties. After the emergence of large-format, digital

15

textile printers manufactured by Mimaki in 1998, some of the

mills started to produce short run inkjet printing textiles

with the small scale printers. Since the year of 2000 and

after its introduction at ITMA, the International Exhibition

of Textile Machinery, a new standard for the industry was

formed and then many industrial-scale printers were released

such as Mimaki (TX3), Dupont / Vutech /Ichinose (Artistri

3210/2020), Robustelli (Monna Lisa), Konica / Minolta

(Nassenger V), Reggiani / Ciba/ Scitex Vision (DReAM),

d.gen,Honghua, etc. (Ujiie, 2006, p.19).

Printer Types Installed Units

Short Run / Sampling Printers

Mimaki TX1 and TX2 700+ units

Production Printers

Dupont: Artistri 2020

Robustelli: Monna Lisa

Konica / Minolta: Nassenger V

Reggiani / Ciba / Scitex Vision:

DReAM

100+ units

48+ units

40+ units

30+ units

Table 1.1: Printer distribution (The Center for Excellence

of Digital Inkjet Printing of Textiles, May 2006)

Table 1.1 indicates the numbers of printers distributed by

manufacturers, and the current popularity of this technology.

16

Today, there is now potential for major changes in the textile

and fashion industries in terms of increased speed and

long-run capability. There are many more applications that

are now extensive, many improvements in inks and significant

developments affecting software systems. The introduction

of the ISIS printer by OSIRIS in 2008 may even have meant that

the speed and ability for the wide range of material of inkjet

printing machines began to rival that of traditional rotary

screen printing (Bowles and Isaac, 2009, p.186).

17

2.3 Conventional Textile Printing

It is completely different from digital printing in that it

doesnt need to keep contact with the substrate. Generally,

all of the conventional industrial methods require printing

through a contact medium, such as screens and rollers. Each

transferring media is designed and allocated for a specific

color (Doshi, 2006).

18

2.3.1 Roller printing

Roller printing is the one of the oldest automated printing

methods and it is still used today. In 1783, Thomas Bell from

Scotland patented the first roller printing machine (Miles,

2003, p.5). The first of the print processes is to engrave

the print design onto rollers, and every color of the pattern

print requires a separate roller. Color is then applied to

the roller and the color stays inside the pattern engraving,

the surplus is removed by means of scrapers and the colorant

is applied on to the fabric, at speeds of up to 150 meters

per minute (Rehbein, 2009,p.2).

Fig 2.1: Process of roller printing Fig 2.2: Print roller

(Louis XV Suite Addition, 2009)(Fig 2.1)

Source:

http://export.writer.zoho.com/public/bhhosts/House-Tour-March-

20091/fullpage)

(CUYSON, UNKOWN)(Fig 2.2)

Source:http://www.guyson.co.uk/news/archive86_ultrasonic_clean

ing_for_print_rollers.html

19

2.3.2 Hand and mechanized flatbed screen printing

With screen printing, a screen is made using a metal frame

with thin textile or metal woven mesh stretched across it.

For the print preparation stage the screens are covered with

a light-sensitive emulsion. The print design is transferred

onto the screen by a photomechanical method, separating the

parts of the screen where no color should be let through from

the ones where color will be applied on the fabric (Nicoll,

2006, p.18). Two methods of flat screen printing are used

today:

1) Mechanized Flatbed screen printing, the fabric is

transported on conveyor belts from one design length (repeat)

to the next deign length.

2) Hand Screen printing, the screen stays in fixed position.

As the production method is non-continuous, the production

speed is only 3 to 6 meters per minute (Rehbein, 2009, p.2).

Fig 2.3: Hand Screen- printing

(Bowles and Isaac, 2009, p.170)

Fig 2.4: Mechanized Flatbed

screen printing (Bowles and

Isaac, 2009, p.171)

20

2.3.3 Rotary Screen printing

Rotary screen printing is an advanced development of the

flatbed screen print method and the process is continuous.

The flat screens are put onto nickel cylinders and the parts

of the cylinder that print are the parts that have been

perforated by photomechanical method. The printing speed is

increased to between 10 to 100 meters per minute (Rehbein,

2009, p.3).

Fig 2.5: Rotary Screen printing

machine


Fig 2.6: Rotary Screen

printing process

(mitter-mmb)(http://www.mitt

er-mmb.com/carpet/rotary-scr

een-printing.html)

The screen printing process

Table 2.1: The screen printing process

Mixing the photo

emulsion Coating screen

Drying the coated screen

Preparing a positive Washing out

21

2.4 Digital inkjet printing technology

For the digital inkjet printing of textiles, there are two

methods: direct inkjet printing and indirect digital inkjet

printing, which are discussed in the following.

2.4.1 Direct inkjet printing

Direct inkjet printing refers to the method of printing

directly on to the fabric with no transfer. Direct to garment

printing, also known as DTG printing is a process of printing

on textiles using specialized or modified inkjet technology

and the two main requirements are the transport mechanism and

inkjet textile inks. The mechanism of the inkjet textile

printer contains the print head, ink, a feed system, a

drop-formation mechanism, nozzles and usually ink-supply in

tanks or cartridges (Bowles and Isaac, 2009, p.172). DTG of

other textile substrates began in the 1990s when print head

mechanisms were selected that were suitable for producing

smaller sizes and supporting higher resolutions. The textile

inkjet printers usually use piezoelectric print heads and most

22

office printers make use of thermal print heads (Le, 1998).

At present, there are two different types of inkjet printing:

continuous flow and drop on demand (DOD).

Table2.2: Main classes of ink jet technologies (Tyler, 2002,

p.30).

23

2.4.1.1 Drop On Demand Print Heads (DOD)

DOD technology provides a mechanism for the delivery of a drop

of ink when there is demand. The demand is determined by the

printing software according to each pixel, and the instruction

is either to fire a drop or not to fire. The drop of ink then

falls to the substrate under the influence of gravity and

appears as a dot on the surface (Tyler, 2002).

Fig 2.7: Drop on demand concept (A drop is produced when the signal

to fire the nozzle is given)

24

2.4.1.2 Continuous Ink Jet Print Heat (CIJ)

The continuous inkjet is squirted through nozzles at a

constant speed by applying a constant pressure. The jet of

ink is naturally unstable and breaks up into droplets shortly

after leaving the nozzle. The drops are left to go to the medium

or deflected to a gutter for recirculation depending on the

image being printed. The deflection is usually achieved by

electrically charging the drops and applying an electric field

to control the trajectory. The name ` continuous' originates

from the fact that drops are ejected at all times (Ujiie, 2006,

p.29).

Fig 2.8: Continuous ink jet concept (Drop are produced continuously

and either fall on the substrate or are recycled)

25

2.4.1.3 Direct inkjet textile printing process

The following sequence from start to finish shows the process

of inkjet printing with the Mimaki TX2 printer.

Step1

The roll of fabric is loaded

onto the back of the printer,

then fed through to the front

by the pressure of the

rollers.

Step2

The fabric is attached to a

motorized roller system that

automatically rolls the

fabric forward under the

moving print heads once the

printer is in action.

Step3

To adjust the height of the

print head according to the

thickness of the fabric.

Step4

The series of printer tests

are approved with the

checking of the nozzle and the

media compensation.

26

Step5

The design is opened into the

Raster Image Processor (RIP)

or print driver software

which determines the number

of repeats and the length that

would be printed.

Step6

The design file is then sent

to the printer via RIP to begin

printing. After printing,

the fabric still needs the

steaming and washing process.

Some need to be left to dry

before steaming.

Step7

Preparing the muslin,

steaming paper or a fine

plastic mesh as a barrier to

stop the ink from bleeding

onto itself during steaming.

Step8

The fabric is loaded into a

steamer to fix the color. If

the designs are printed using

disperse dyes, it would be

better to heat them in a baking

oven.

Step9

The fabric is washed to remove

the coating and surplus

colorant and ironed. The

digital print produced is

finished.

Figs 2.9-2.17: Direct inkjet printing process (Bowles and Isaac,

2009, pp.174-175)

27

2.4.2 Digital textile print technology

- Indirect Inkjet printing methods

2.4.2.1 Heat-transfer printing

Heat transfer is as durable as screen-printing, but offers

more details. Heat transfer uses heat to create a bond between

the resin and fabric, locking the ink between the two layers,

but has a slightly plastic feel after the printing has been

finished.

Fig 2.18: Heat Transfer Printing

Zammi Shirts and Prints

Source:

http://zammishirts.com/index.php?option=com_content&view=artic

le&id=50:heat-transfer-printing&catid=34:demo-category&Itemid=

13

28

2.4.2.2 Sublimation inkjet printing

Sublimation inkjet printing is an alternative to heat transfer

technology. It creates much better results than normal heat

transfer paper. Once the process of sublimation takes place

the image is permanently fixed. Sublimation will leave the

surface of the product smooth to the touch, and transfers yield

beautiful photorealistic results, with vivid, clear color.

It is the major technology used in digital textile printing,

although the process is mainly limited to synthetic fabric

(Bowles and Isaac, 2009, p.162).

Sublimation uses disperse dyes, heat-activated inks that

change into a gas when heated and have the ability to bond

with polyester or acrylic surfaces.

Maintaining a standard temperature is important in the

production. According to Keith Faulkner, President, Splash

of Color This is critical because variations in temperature

result in variations in color (Kim, 2009). It is important

to monitor a consistent temperature throughout the process

for uniformity in color. The following sequence demonstrates

the process of inkjet textile printing.

29

2.4.2.3 Sublimation inkjet printing process

The lay plan containing the

printed pattern pieces used to

create the garment from CAD and

printed out with the normal large

scale inkjet printer

After cutting out the cloth panels

are placed on the transfer paper

accurately.

It is passed through a huge roller

/ flat press heated to around 200

deg C. The term sublimation refers

to the way the solid particles of

ink or dye, held in a liquid

solvent, and then turned directly

to gas in the presence of heat and

pressure.

Once all the printed panels have

been peeled away from the transfer

paper, the gas permeates the

fibres of the fabric and

solidifies on to them as it cools

on exiting the press, lastingly

dyeing the fabric parts to some

depth but not all the way through.

They are ready to be sewn together

into the garment afterwards. The

print is bright, smooth and soft.

Figs 2.19-22: Process of Sublimation inkjet printing

Source:

http://www.roadcyclinguk.com/gear-news/bioracer-clothing-subli

mation-printing/6076.html

30

2.5 Production stage of the digital textile print

In order to obtain optimal printing results and durability

of material from repeated washing and exposure to sunlight,

a chemical reaction will occur between the fabric and the dye

or pigment and the fixation process is a chemical bridge

between the dyestuff and the fibre, which process can be

achieved by either steaming or heating the cloths after

printing (Bowles and Isaac, 2009, p.176).

2.5.1 Fabric preparation

For optimal print results, fabric preparation is essential

for digital printing. Unlike traditional printing, the

fixing chemical is mixed into the dye and pigment. In the

pre-treatment process of digital printing, the first step is

to scour or bleach the greige fabric depending on the fibre

type, the purpose being to remove the oils and impurities in

the fibre and ensure a clean white surface for the application

of color (Ujiie, 2006, p.23). In addition, fabric pretreatment

is applied as a special coating onto the fabric before printing

31

and to ensure that when the droplets of ink hit the surface

of the cloth they do not spread, so that the details are

maintained and are not blurred. This coating is basically

comprised of an alginate thickener for reactive dyes and

carbohydrate-based or synthetic thickener for acid or

disperse dyes. The fixing chemical for reactive dyes is

alkaline soda ash; a weak acid is used for acid dye and there

is no need for a fixative in the case of disperse dyes. Unless

the coating has been applied evenly, it will make the color

and detail inconsistent or it will not match with others in

the same batch of goods (Bowles and Isaac, 2009, p.176).

32

2.5.2 Types of inkjet colorant

The type of ink being used in textile printing depends on the

kind of fibre that is going to be dyed or printed. Different

kinds of inks and fibres contain different chemical structures

that influence how the ink connects to the fibres of the fabric.

Reactive dyes are used for cellulose fibres, disperse dyes

for polyester fibres, and acid dyes for protein fibres, like

wool and silk and nylon. Pigments are the only dyestuff that

can be used for all kinds of fibres and are water insoluble.

Thus, the viscosity of pigments that have been designed for

use in an inkjet textile printer has been modified so that

the print heads do not become blocked.


33

2.5.3 Delivery of ink into the printer

In order to produce high quality fabric, the most important

factor is the printing ink. The large-format textile printer

needs a larger quantity of ink, but the cartridges are similar

to those used in a photographic printer. Bulk-feed systems

have also been developed where a separate device is connected

to the printer and feeds ink into it from a bottle and it is

possible to use special cartridges designed to be refilled

with ink from a syringe (Bowles and Isaac, 2009, p.177).

Fig 2.23: Mixing of inks next to the digital printing machines

Source:

http://www.badische-zeitung.de/loerrach/neue-kleider-fuer-die-

alte-dame-kbc--13089668.html

34

2.5.4 The fixation

The dyes are rolled up and sandwiched between a layer of special

paper, plastic mesh or hessian cloth with the printed fabric,

so that the ink will not transfer from one side of the cloth

to the other and this also allows the transfer of steam to

the interior of the roll. The different types of steamers are

explained as follows.

Small studios use a simple device consisting of an upright

metal cylinder with a removable lid, in which water is heated

to boiling point by an electrical element.

For the industrial-scale operation, steamers are used for

mass- production. These devices are more sophisticated than

the small steamers, and it is easier to control temperature

and pressure.

For other types of colorant, such as pigments, the printed

fabrics with pigments are fixed by baking them in a special

oven or heat press.

Disperse dyes require the inkjet transfer process to be fixed

by heating. The image is printed onto special paper and then

35

fixed and transferred at the same time through heated rollers

or under a heat press.

Table 2.3: Showing types of colorant and their corresponding

fixation processes used for different fibres (Bowles and Isaac,

2009, p.177)

2.5.5 Washing

After the fixation process, the fabrics printed with acid dye

and reactive dye need to go through a washing process, which

have to be washed to remove excess dye and fabrics should be

washed until the water runs as clear of dye as is possible.

It is also important to be washed under exactly the same

conditions to maintain consistency by machine of each batch

of a longer run (Bowles and Isaac, 2009, P.177).

36

2.6 Working with Color

Perception of color is subjective, so it is hard to standardize.

The CAD screen, printer, scanner and digital camera all use

the additive RGB model as a basic for displaying color, but

the printers for paper and textiles use the CMYK subtractive

model, so it is difficult to translate color from one

technology to another. Subtractive colors are made from a

combination of cyan, magenta and yellow. In theory, the

colors absorb light and are the colors we see in printed ink

and dyes and mixing all three results in black.

Additive color is characterized by the fact that the colors

viewed on the screen are the result of emitted light and are

made by mixing the primary colors red, green and blue and mixing

them together to create white (Bowles and Isaac, 2009, p.182).

Fig 2.24: (left) RGB additive color model of emitted light used

to generate the colors displayed by monitor. Fig 2.25: (Right) CMYK

subtractive color model of absorbed light (Bowles and Isaac, 2009,

p.182).

37

To translate the RGB data into the CMYK data, RIP can solve

the problem caused by the discrepancy between displayed and

printed colors. After it is received the data the RIP can be

linked to the printer and drive it - more details are provided

in section 2.7.2 on digital textile design and printing

software. If color management has been incorporated then it

is through the print driver that a technician will set the

profiles described earlier in order to accommodate each type

of fabric. The color management system is to streamline and

facilitate the process of handling color as it is translated

from one device to another through to the final production


38

2.7 Digital textile design and printing software

Designers are able to produce their designs with computer

aided design (CAD), using CAD as a tool for achieving more

sophisticated visual effects, based on the scanned or

digitally photographed subjects, facilitating effects, etc.

In additional, there are also many types of software

supporting production and modeling.

39

2.7.1 Design software

Software supporting the design process, in areas including

advertising, publishing and photography, as well as textiles

is common today. The popular drawing software packages, such

as Adobe Illustrator and CorelDraw, all make use of vector

graphics and the Adobe Photoshop use of the raster image file

formats in widespread use are BMP, TIFF, GIF and JPG (Tyler,

2005, p.23), which were designed primarily for the

reprographic industries. These CAD programs contain tools for

the design creation process, and help in creating the surface

design, including the creation of color ways and automatic

live time-repeat function. Additionally, Adobe Photoshop

and Illustrator provide excellent tools for designers who

intend to print shorter runs digitally and keep the

photographic quality of an image (Bowles and Isaac, 2009,

p.180).

Fig 2.26: Design software with the designed pattern


40

2.7.2 Raster Image Processor (RIP)

The major DTG printers are driven from a computer by the use

of software known as a RIP. The RIP is software which

transfers the RGB data from the matrix of pixels (bitmap) in

a displayed image into to the printer, and drives large-format

printers (see Section 2.6), like the Mimaki and to print with

larger volumes of ink and parameters such as the number of

the repeats to print out and the total length of the fabric

are entered at this stage (Bowles and Isaac, 2009, p.182).

The printer-driver software is also used to set variables such

as print speed, number of passes for the print head and how

much ink will be laid down, which can also generate white ink

on dark shirts and driving multiple printers from one computer

(Tyler, 2005, pp.22-23).

41

2.7.3 3D CAD Garment Construction

Virtual prototyping helps to decrease the time necessary for

the sampling process and increases the choices available to

customers. The programs for 3D CAD garment construction

include Software Tex-Check form Koppermann, 3D

Runway Designer, and C-DESIGN Fashion from OptiTex. It can

allow the designed pattern to be seen as a 3D garment

construction, like the model wears the real sample garment.

All these advantages allow more new looks to be created and

it is possible to make decisions up to last minute and to change

designs or colors of the print pattern much more flexibly.

Fig 2.27: OptiTex 3D Runway Designer fashion software

Source:

http://www.optitex.com/en/products/3DRunway_Tools/3d_Runway_De

signer

42

Fig 2.28: TEX-CHECK Virtual Simulation of Yarn Dyed Woven Fabrics

Source:

http://www.koppermann.com/e/texdesign/kc_e_design_check.html

43

2.8 The Impact on Digital Printing

Digital methods contribute in different areas, such as design,

work flow, and environment.

Table 2.4: Commercial impacts of textile digital printing

(Tyler, 2005, p.6)

2.8.1 Impact of Digital Printing on design process

Freedom and flexibility

Thinking about creativity

Sourcing and lead times

Cost

Digital Printing of Textile

Flexibility

-Reduced setup -Cost -Small batches -Design freedom

Process enhancement

-Low waste -Customised products -Design innovation -No stock

Innovation

-Novel inks -Product srurity -Nanotechnology

44

2.8.1.1 Freedom and flexibility

Its the same to demystify the myths surrounding digital

technology. It doesnt limit creativity, it doesnt make the

process less human in fact its exactly the opposite.

Finally there is the freedom (Ujiie, 2006, p.23).

Since the direct inkjet printing is integrated into the

apparel industry allows designers to explore and visualize

new creative possibilities and gives the designer direct

control over the appearance of designs on fabric.

Historically, there is a long and rich tradition of

collaboration between apparel designers and textile artists.

Because the medium in which an apparel designer works is fabric,

there are numerous ways to approach the task of transforming

textile materials into garments and the associated, creative

processes (Campbell and Parsons, 2005).

It makes a considerable contribution to design, providing

freedom and enhancing creativity. The design may be achieved

with optimal flexibility and without limitation on repetition,

size, colors and engineered designs.

45

2.8.1.2 Thinking about creativity

Unlimited color and detail

Increased scale

Engineered designs

From a design perspective, digital printing does not require

screen separation prior to printing, it permits the printing

of an unlimited number of colors, and detailed designs can

be printed using any scale, repeat or non-repeating elements.

It is based on a pre-set process color of CMYK, and the

combinations of the CMYK process colorants assigned to each

pixel color of the digital design data and created in CAD

software. Today, digital printing can be used for creating

millions of colors in 24-bit RGB color space and has the ability

to translate millions of colors from a 24-bit RGB color space

onto the final CMYK output space of the textile substrate

(Ujiie, 2006, p.21). The printing resolution is as fine as

720 dpi and it is equivalent to 35 microns (Ujiie, 2006, p.22).

It is also possible to print mural-sized images or randomized,

continuously changing structures with the software program

and while printing the image to the exact specification of

a garment or product, it can help to more fully engage between

form and image (Bowles and Isaac, 2009, pp.178-179). Unlike

conventional printing, digital printing makes it possible to

change the design every 10 meters with the computer-aided

design and inkjet technology (Tyler, 2005,p.25).

46

2.8.1.3 Sourcing and lead time

Compared with the traditional printing methods, digital

printing excludes the color separation process and provides

a shorter lead time. Preparing well made color separation

films, it takes a minimum of 10 days to get from artwork to

color-separated film ready for screen engraving. (Nicoll,

cited in Ujiie, 2006, p.19).

To shorten lead time, the process can start with the idea for

the designs, and the designer can develop them on the computer,

trying new variations, then they will be printed instantly

and exactly as the original. In this way designers can quickly

try out different fabric designs, judge their suitability and

respond faster to market demand.

Virtual prototyping has helped to decrease the need for the

sampling process, as discussed in Section 2.7.3.

Fashion designers and textile designers can also work with

customers in a much more efficient way, since CAD can be used

in custom making design, the high-end market or mass

customization, delivering unique products in a short time.

47

Designers and customers have total control over the final

product (Rehbin, 2009, pp.6-7). Digital printing makes the

process faster, more competitive, and more creative.

2.8.1.4 Cost

All of the industrial preparation processes can be eliminated

when using digital printing, which saves the time and cost

incurred in screen making, even if the design is not used for

mass production (Ujiie, 2006, p.340). Simultaneously, this

reduces the set up costs compared to traditional methods.

Square meter prices are not dependent on the run length of

the fabric calculated at approximately $5 per square meter,

although conventional screen printing must run for a length

of 800 square meters to cover this price square meter (Raymond,

2006, p.70). In addition, the success rate for samples being

turned into mass production runs is about 15-20%, and since

the manufacturers must have a full order book for their

production schedule, they must present hundreds of samples

twice yearly. (Ujiie, 2006, p.19). Sample preparation is a

48

long, complex and expensive process.

After the sampling process or production, the mills have to

reserve a place to store the screens for the re-ordering and

the extra cost of rental is incurred in this way. Costs are

not dependent on the number of colors and so it is possible

to achieve low batches with higher variety at a lower price.

Fig 2.29: Space for storing the screens

Source:

http://www.roadcyclinguk.com/gear-news/bioracer-clothing-subli

mation-printing/6076-3.html

49

2.8.1.5 Revitalizing the textile industry

Since the digital print is revitalizing the textile industry,

many established digital print houses in Italy, such as

Mantero and Ratti, in Japan, such as Seiren, and in China,

like Huang Wha are making a considerable investment in the

new technology. At the same time, many small digital print

bureaux are emerging. Bureau printing services provide an

invaluable resource for students, independent designers and

larger commercial companies alike. This helps to ease the

transition from education to operating as an independent

business in terms of gaining experience in budgeting, and they

also support the growing demand from the designers and

customize goods.

50

2.8.2 The impact on workflow

2.8.2.1 Rapid turnaround

For the traditional textile printing typically the workflow

consists of design creation and acquisition, color

separations, screen making (engraving), strike-offs, and

production. From design approval to production takes as long

as 6-18 weeks (Spruijt, 1991).

With digital inkjet printing, the innovative progression,

from designing, to strike-off, and hence to production has

become faster, and without the need for screens and engraving

processes, which reduces the set up costs. Inkjet printing

offers shorter lead times, enables faster response to market

demand, and involves a process of trial, re-evaluation and

adaptation to complete a successful idea.

A Minaki TX2 printer, for example, can produce between 3 and

28 linear metres (31/2 and 301/2 yards) per hour, depending

on image quality and uses 16 Epson-type print-heads that may

accommodate eight colors. These printers are for short run

production and strike-offs. Since 2003, the printers capable

51

of mass-production have been commercialized and can print

around 250 linear meters per hour. The manufacturers have

introduced production digital inject printers such as Dupont

(Artistry), Reggiani (DReAM), Robustelli (Mona-Lisa), and

Minaki (TH2). Osiris have produced the first full production

machine able to printing 1800 meters an hour, around 30 metres

a minute with their ISIS printer, creating a new industry

standard.

The inkjet print technical is direct, set-up time is minimal,

turnaround time for short runs is fast and print runs can be

set up on demand to match orders from retailers as they desire


52

2.8.3 Impact on the environment

2.8.3.1 Reduced Environmental Impact

The United Nations 1987 Brundtland Report, Our Common Future,

defined sustainable development as development that meets

the needs of the present without compromising the ability of

future generations to meet their own needs. Sustainable

growth has become the paradigm of the 21st century, also the

responsibility of our society (Labella, 2010).

When compared with conventional printing, digital printing

causes less environmental impact and can help to achieve a

sustainable future, there being less wastage of dye, as the

ink is printed on demand, and fabric can be printed as all-over

fabric or with specific pattern placement, thus reducing

fabric wastage, at the same time eliminating the need for the

screens for color separation work (Tyler, 2005, p.5). Digital

printing needs less water and energy, due to the fact that

there is no left over ink and also no washing of screens (Tyler,

2005, p.58). Inkjet printing reportedly uses 30 percent less

53

water and 45 percent less electricity than conventional

printing methods (Bowles and Isaac, 2009, p.178). Digital

printing is also less harmful to the environment because there

are no screens to image, wash, and store, (Williams,2009).

54

2.8.3.2 Eco-printing process

Other than the green advantages of the digital printing

method which make it possible to reduce the impact on the

environment, the sustainable programs are also relevant.

Identifying customers need is a first priority for

implementing an effective and sustainable digital textile

printing business. In the design stage, less complexity

equals less waste, so simplifying a structural design pattern

can help. With digital in design, changes may be made flexibly,

which can help to eliminate time and waste in the sampling

and production processes. In the printing process, a

computerized cutting system can assist in material

utilization and reduce waste. Designers can size their

designs to make more efficient use of the different roll sizes

(Labella, 2010).

55

2.8.4 Disadvantages of digital textile printing

The cost of digital inkjet printing is still much more

expensive than the conventional printing methods and the

production speed, if compared to conventional printing

methods, is slow and is highly dependent on the resolution

of the graphic. Common speeds are between 30-50 square meters

per hour (Tyler, 2005, p.73), and even though digital printing

has many benefits, it is used for sampling and to create

prototypes that will eventually be produced using traditional

methods. Digital printing also offers an immense scope for

graphic design, but the limitation is the texture on the

surface. Inkjet printing is not yet capable of some of the

decorative effects that are possible with silk screening, such

as devor and flocking, thus research is ongoing to develop

some of these techniques (Bowles and Isaac, 2009, p.179).

56

2.9 New approach to digital printing in the fashion

industry

Just-in-time printing production system

2.9.1 Why JIT?

Just in time is a pull system of production, in which the

actual orders provide a signal for when a product is

manufactured. Demand-pull enables a firm to produce only what

is required, in the correct quantity and at the correct time

(Ambedkar, 2010). JIT is a process aimed at increasing

value-added and eliminating waste by providing the

environment to perfect and simplify the processes.

57

2.9.2 Introduction

Digital printing, because of its just-in-time nature, means

only printing what is needed, rather than printing long runs

and placing extra in inventory. Digital printing is also less

harmful to the environment because there are no screens to

image, wash, and store, (Williams, 2009).

In the competitive printed textile market there is

considerable investment in time and inventory by the use of

the conventional screen print process. Digital textile

printing is seen as a viable option for producing smaller

quantities and shorter manufacturing cycles and to advance

a key process that supports the purpose of Just-In- Time

production within the sewn products industry.

58

2.9.3 The just-in-time concept

Table2.5: Production Model of JIT system (Sanchez and

Perez, 2001)

Just-in-time (JIT) is a scenario that supports short-cycle

manufacturing and supply chain management. It can also deliver

in a timely fashion and respond directly to the market demands.

The aim of the system is to provide the right product to the

consumer in time and to reduce the surplus of finished products.

It requires those in the supply chain to be aware of current

inventory and customer demands, therefore to convey their

inventory needs to the manufacturer so that the specified

product can be supplied rapidly. Digital printing can turn

the raw fabric to finished fabric or garment in one step, so

that it could be utilized in JIT. Generally, the retailer

59

is driven by manufacturers. The manufacturer designs products

according to the trend analysis as well as offers to sell to

the retailer. The retailers select available styles and fill

their stores, try to choose the right products, in the right

prints, in appropriate quantities. With JIT, the retailer cam

reduce the risk of stock holding, as the flexible producer

can deliver the right product to customer just in time and

turn the manufacturing driven economy to a demand driven

economy.

The digital printing process makes it possible to print very

short lengths and to deliver in a timely fashion. It reduces

waste by minimizing design setup and eliminating costly and

time consuming changeover for new designs, colors, and design

elements.

60

2.9.4 Capturing order information

In the JIT pull system, the submission of an order to

manufacturing is demand driven. The demand for product will

ultimately be created by product sales and these may be

obtained in a variety of ways including through the

traditional bricks and mortar retailing, or via catalog and

online-store. Information can be exchanged with suppliers and

customers through Electronic Data Interchange (EDI) to help

ensure that every detail is correct. Order information will

chart both quantity and product specifications, including

product style, size, print design and colorway. In the

fashion market, retailers will continuously fill their stores

with new products and fresh seasonal looks. Digital printing

is well suited to meet the order demands as it offers tremendous

manufacturing flexibility, which can work in quick turn of

new products and replenish the orders. In this environment,

JIT can reduce the risk at retail and eliminate or reduce fabric

inventory at the cut and sew level.

61

2.9.5 Design and image management

In digital textile design, an image is typically created or

edited using textile-specific software, or the graphic design

software, Adobe Illustrator. Designers may use options

including photo-realism, tonal and textural effects,

engineered printing, elimination of repeats and unlimited

image scale. This achievement can be applied at the product

development stage for design inspiration and designers can

access designs and repurpose them for new lines and seasons.

Some businesses may also select to utilize such design

libraries as an asset that can be offered to the customer as

a customization resource.

62

2.9.6 Fabric preparation, printing and finishing

After the design is created or selected, the digital printer

must have access to special pretreated fabrics for specific

products and types before production, so it is important for

the working relationship with the fabric mills to ensure

access to raw material.

Alternatively, to achieve the batch order efficiently, it is

dependent upon the specifics of printing and finishing setup,

so the orders may be batched by customer and also by ink type

and fabric and then sent to corresponding printers.

The necessities for color fixation and wash off will be driven

by the ink chemistry and the setup will depend on printing

capacity and the number and type of printing machines. The

printers may select to establish finishing in-house or

outsourcing according their situation, the size of batch order,

etc. However, if outsourcing of finishing operations is

important, JIT is about the speed of delivery and the cost

benefit and provides the best value to all parties including

manufacturer, retailer and final consumer.

63

2.9.7 Order delivery

The finished goods will be digitally printed yardage or

digitally printed sewn product depending on the customers

requirements. Printed yard goods will be delivered in roll

form to the customer or an apparel company that will cut and

assemble the fabric into garments and accessories. After

having gone through the assembly process, the product is ready

for packaging and shipment to the retail or final consumer.

2.9.8 Conclusion

Manufacturing excellence is driven by changes in

engineering, business, and people (Hall, 1987, p.14). Hall

echoes Wantucks (1989) belief that a new approach to

manufacturing begins with the elimination of waste, the

reduction in lead times and the cost, and an investment in

people, quality, and continuous improvement. Digital

printing implemented with a Just-in-time system supports

short-cycle manufacturing and supply chain management to the

benefit of all parties including manufacturer, retailer and

customer.

64

2.10 Designers using digital print technology

When digital printing first appeared it represented a

revolution in the textile design field and supplied a new

visual language for surface design. Designers have used it

in areas such as costume, interior and production design. The

user-friendly technology and service bureaux also make it

possible for designers who do not have specialist knowledge

of textile printing to design and produce their own fabrics

and decorative surfaces. Digital printing has therefore

become a fashion trend, not just a technology. The following

review highlights different areas of digital design with

reference to two styles: Graphic and Illustrative styles and

Trompe loeil.

65

2.10.1 Graphic and illustrative styles

Graphic and illustrative styles are based on a natural

foundation for conceptualizing the designs. Designers

seamlessly integrate their other design skills as graphic and

illustrative artists into the creation of each piece of work.

66

Paul Smith, Limited edition football

Fig 2.30: Limited edition Paul Smith football

(Unknown, 2007)Source:

http://www.a-d-o.fr/index.php/2007/08/16/246-ballon-de-footbal

l-paul-smith

Paul Smiths limited edition soccer ball was designed for the

World Cup, 2006. The soccer ball was made of black leather

and decorated with a multi-stripe print.

Lucinda Abell

Fig 2.31: Lucinda Abell graduation collection

(Bowles, 2009)Source: http://makeitdigital.blogspot.com

Lucinda Abell created beautifully drafted fairytale images

and intricate floral designs with digital print for her

graduation fashion collection, showing her talent for graphic

design and illustration.

67

Basso and Brooke

Fig 2.32: Dress and inspiration by Basso & Brooke SS2011

(Bowles, 2010)(http://makeitdigital.blogspot.com)

An upcoming London design brand, Bruno Bass from Brazil and

Christopher Brooke from the UK, became famous for producing

all their prints with the help of ink jet printing. For their

SS2011 collection, they combined the old traditions and new

technology. Both artists broke the rules, setting a challenge

for the next generation. A clash of aesthetics creates new

styles and a new era of experimentation.

68

Hussein Chalayan

Fig 2.33: Hussein Chalayan A/W0708 ready-to-wear collection

Source:

http://blogs.smh.com.au/lifestyle/fashion/archives/2007/03

In his A/W0708 ready-to-wear collection, Hussein Chalayan

experimented with scanning and digitally manipulating fabrics.

The textures and patterns were digitized and the image shows

the lay plan containing the printed pattern pieces used to

create the garments seen in the fashion show.

69

Alexander McQueen

Fig 2.34: Alexander McQueen, Resort 2011 (Unknown, 2011)

Source:

http://www.style.com/fashionshows/complete/2011RST-AMCQUEEN?viewall=t

rue

Fig 2.35: Alexander McQueen, S/S 2011 Ready-to-Wear

Source: http://www.style.com/fashionshows/review/S2011RTW-AMCQUEEN

For S/S2010, Alexander McQueen used digital printing in his

collection. In 2011, the collection of Resort 2011 and

S/S2011 Ready-to-Wear, Sarah Burton chose to keep this

technology in the collection. She combined the digital prints

with old techniques, like embroidery and appeared to share

McQueens instinct for extreme glamour.

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2.10.2 Trompe loeil

Trompe loeil, a French expression that translates as trick

of the eye, is used to describe extremely realistic imagery

created to give the illusion that the depicted objects really

exist, instead of being what they really are -

two-dimensional images. This is a style that lends itself

especially well to digital design (Bowles and Isaac, 2009,

p.17).

Nicolette Brunklaus- Interior design

Fig 2.36: Blond curtain,The Netherlands(left)(Diva,2002)

Source:

http://bahrainidiva.blogspot.com/2010/03/nicolette-brunklaus-i

nteriors.html)

Fig 2.37: Shady Tree Outside Lamp Shade (Right)

Source:

http://rococo.cooperhewitt.org/design/2000s/?pg=1&c=2000s

Nicolette Brunklaus is a Dutch interior designer who makes

very clever use of digital print in her range of home

furnishings. This hugely enlarged photograph of curtain and

digital shady tree print lamp shade are amongst her designs.

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Wexla Footwear Design System

Fig 2.38: The products of customization system by Wexla

Source:

http://derstandard.at/3344997/Schuhe-nach-dem-Baukastenprinzip

Wexla, an Austrian company, have a modular shoe system which

allows their customers choose from a variety of shoe bases

and uppers or they may even upload their own image to be

printed.

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Mary Katrantzou

Fig 2.39: Mary Katrantzou S/S2011

(Bowles, 2010)Source: http://makeitdigital.blogspot.com/

Fig 2.40: Cross over with Topshop (Unknown,2010)

Source:http://mamasarollingstone.com/mary-katrantzou-for-t

opshop/

Mary Katrantzou has digital printing to good effect in terms

of techniques as well as themes.

In her S/S2011 trompe l'oeil print collection she created a

third dimension, drawing the observer into an interior view

with her garment shapes which included lampshade skirts and

fringing. Katrantzou also collaborated with Topshop and her

collection featured distinctive bold and graphic prints. The

prints were inspired by her graduate collection held at

Central St Martins and her subsequent collections; in

particular, the Fall 2008 show featured trompe loeil digital

prints of oversized necklaces.

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The Trash Fashion exhibition

Designing out of waste

Fig 2.41: Dress and making process of 'Trash Fashion' project

(Bowles,2010)Source: http://makeitdigital.blogspot.com/

This dress was shown in the new Antenna Gallery at The Science

Museum for The Trash Fashion Exhibition, 'Designing out of

waste' with other TED members.

The designers, Pia Interlandi, Kate Goldworthy and Suzanne

Lee photographed and reprinted the real dress onto a silk crepe

de chine and made it into a modern interpretation using bespoke

digital textile printing. The exhibition examined garments

that reduced waste and impact on the environment. Their

garments looked at the emotional attachment to a historical

piece and sustainability through the memory of garment.

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A cardboard skirt for a cardboard shop

Fig 2.42: Inside of Cardboard Shop and a digital print

cardboard skirt

(Bowles, 2010) Source: http://makeitdigital.blogspot.com/

The new Circus shop in Brixton Village was designed by Studio

DB and completely made from recycled cardboard, glue and

string.

Binki Taylor, the shop proprietor made a market apron skirt

with a digital print of the cardboard on to wear in the shop.

The cardboard skirt was made from printed organic cotton and

a bespoke printing service was used to create a unique garment

for Circus.

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2.11 The future trend and prospects of digital textile

printing

2.11.1 New market

Digital printing is more closely related to everyone; as

compared with other innovations for the future, it is possible

to use digital textile printers at home, just like a sewing

machine or a personal computer and in conjunction with graphic

software, the textile design process may be used by everyone.

A design house can access designs via the internet and a

customer can order 1 to 100,000 meters of printed fabric, but

it is important to ensure that the designs cannot be downloaded

directly.

With the rapid advances in digital printing technology,

software graphics programs are getting progressively cheaper.

Designers can work from anywhere, supporting the ongoing trend

of everything from the mass market to limited editions.

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2.11.2 New technology input of textile design

Thermochromism is the ability of substance to change color

due to a change in temperature and currently used in the ink

of silk screen printing, so the color of a print can change

according to the person wearing it due to body temperature

and external environment, which will be a further application

for digital printing.

Fig 2.43: Interactive Garment -

Smart Materials Source:

http://joprints.blogspot.com/20

09/06/interaction-garment.html

Fig 2.44: Get Creative with

Thermochromic Ink Source:

http://www.cedarboxcreative.c

om/get-creative-with-thermoch

romic-ink

Another output of recent research is Organ Light-Emitting

Polymers (OLEPs), which currently permit the inkjet printing

of images onto flexible screens, using display technologies,

just like motion printing onto the fabric, which can be

changed or movable (Bowles and Isaac, 2009, p.186).

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Fig 2.45: LED Early Product

Source:http://features.teamxbox.com/xbox/1427/The-TeamXboxcom-

Guide-to-HDTV/p5/

Fig 2.46: Demonstration of a flexible organic light-emitting

diode-OLED device

Source:http://pinktentacle.com/2007/05/flexible-full-color-org

anic-el-display/

In the textile industry, conventional printing methods still

dominate in the mass production industry at this stage, but

with the digital printing quickly catching up in the next

decade, faster printers with a wide range of printing

possibilities may change this. The range of inks and types

will be more diverse and permit the creation of more textures

and effects through digital mark-making qualities, for

example relief, burn out, density and depth of mark. It may

supplement traditional printing methods in the textile market,

but it is likely that digital printing will contribute more

than the former.

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2.12 The construction and manufacturing processes of

footwear

Shoes are the most important fashion accessories that

complete your outfit (Pratt & Woolley, 1999).

2.12.1 Introduction

Before designing with digital printing on shoes, a thorough

explanation of basic footwear is necessary to provide the

background to shoe design.

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2.12.2 Footwear anatomy

A basic shoe is categorized into two major subgroups the

uppers and the lowers. The lower includes the heel and sole.

The upper is comprised of the components covering and

supporting the top of the foot.

Fig 2.47: Parts of shoes (Dop & Bonekamp, 2007, p.38)

1. Stitched shaft

2. The inner sole

3. The cut-out lining for the shaft and the sole

4. The inner sole

5. The cut-out lining for the shaft and the sole

6. The counter-fort

7. The toe

8. The heel covering

9. The heel

10. The running heel

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LOWERS

Heel Measured in 1/8-inch increments. For example, a one-inch heel

height is classified as an 8/8 heel. Heels may be produced from

various materials, e.g., stacked leather, plastic, and cork.

Heels may be lined with rope, suede, leather, fabric, and other

glued materials.

Heel lift The replaceable plastic piece that protects the bottom of the

heel.

Base sole The base that attaches the upper to the lower. It could be made

in rubber, man-made materials, and leather, depending on the

shoes purpose: comfort, flexibility, reduced weight, shock

absorption, traction, water and oil resistance, and

durability.

Insole Lined on the base sole for comfort and is the part on which

the foot rests, often padded.

Outsole Outside sole of the shoe.

Welt Narrow strip of material stitched or cemented just above the

sole.

Shank Between the heel and the ball of the foot.

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UPPERS

Huge selections of materials are used in the manufacture of

shoe uppers. Leather is the most common at higher price points.

Leather is also considered the ideal material for shoes and

shoe linings. It has the ability to conform to the shape of

the foot, and it breathes (allows for air and moisture

transfer). Breathable materials provide comfort to the wearer

by keeping air circulating to ensure perspiration

evaporation.

Synthetic materials, such as polyurethane, are considered

leather substitutes for footwear at lower price points.

Fabrics may be used in dressier shoes but do not have the

durability associated with leather.

(Stall-Meadow, 2004).

Uppers include the following parts:

Sock

lining

Covers the rough edges on the inside of the shoe upper. In

better-quality shoes the sock lining is leather. Nylon tricot

may be used in less expensive shoes.

Counter Decorative trim that hides the center back seam.

Quarter Back portion of the shoe upper.

Saddle Separate piece of upper material that crosses the foot over the

instep.

Vamp Forward section of the shoe upper, covering the top of the foot.

Tongue Extension of the vamp or separate piece that protects the top

of the foot.

Top Cap An extra covering over the toe section of the vamp.

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2.12.3 The process of making footwear

Making a shoe consists of the following stages:

Fig 2.48: Designing (Dop & Bonekamp, p.38)

Designing Footwear designers create each seasons

collection by using the following sources: market research,

historic collections, current fashion trends, and market

trips. The designers imagination is restricted by textile

requirements, construction problems, and production

economics. After consulting with fashion merchandisers and

trend forecasters, the designer sketches many shoe styles.

Designers work with production engineers to determine which

styles will be made into samples (Stall-Meadow, 2004).

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Fig 2.49: Pattern making (Dop & Bonekamp, p.39)

Pattern making - the shoe design is applied to components that

can be cut and assembled. Patterns must be made for uppers,

linings, insoles, soles, heels and all other shoe parts. The

pattern maker must make parts that will smoothly cover a shoe

last. A sample pattern may be graded into smaller and larger

size using pc software (Stall-Meadow, 2004).

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Fig 2.50: Cutting (Dop & Bonekamp, p.39)

Cutting The uppers are cut from man-made or natural materials.

While man-made materials could be cut several layers thick,

with natural materials, such as leather, the layers must be

single so the cutters can see imperfections. Steel dies,

similar to edged cookie cutters, are used to cut the pattern

shapes in the material (Stall-Meadow, 2004).

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Fig 2.51: Fitting (Dop & Bonekamp, p.40)

Fitting the parts of the upper are joined by stitching, gluing,

or heat welding this stage. Production details that are

necessary for comfort and durability are taken into account.

Seams are finished, and eyelets for laces are added at this

stage (Stall-Meadow, 2004).

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Fig 2.52: Lasting (Dop & Bonekamp, P.41)

Lasting the assembled upper components are tightly shaped

over the last and fastened to the insole. Synthetic materials

may be heat set into the desired shape; leather is stretched

to conform to the shape of the last (Stall-Meadow, 2004).

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Bottoming the sole is attached to the upper. In more expensive

shoes, the upper is stitched to the sole. Cement is used in

less expensive shoes, or the whole shoe molded with the upper

and sole as one (Stall-Meadow, 2004).

Fig 2.53: Finishing (Dop & Bonekamp, p.41)

Finishing - Footwear with leather soles and heels usually

receives several finishing operations the heels are attached

with nails or glue , the shoe is buffed and polished, a lining

is added; decorations are attached; and laces are inserted

(Stall-Meadow, 2004).

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Chapter 3

Methodology

89

Chapter 3

Methodology

3.1 Introduction

This chapter outlines the methodology used in this project.

Based on the literature survey of digital printing, several

experiments were conducted in order to discover the most

suitable digital printing methods and materials for making

shoes. The secondary data was collected from the literature

review as discussed in the previous chapter, and the

experiments in digital print design were carried out to create

a surface pattern on the shoes.

The application of digital printing to shoes may be better

understood in the light of information about the process of

shoe making.

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3.2 Software used in Graphic Print Design

Fig 3.1: The distorted effect created using Adobe Photoshop

software

Adobe Photoshop and Illustrator software are used to create

the graphic design and more details are provided in Section

5.2 on the design process.

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3.3 Methods of Digital Printing

The experiments were carried out to develop a new digital print

footwear collection. The developed graphic designs were

inspired by Metamorphosis of Neoplasm. The graphic designs

of the footwear surface were developed using Adobe Photoshop

and Illustrator. The measurement of the graphics printing for

the digital printing experiment was 100-150dpi.

In the digital printing experiments, two digital printing

methods were used: sublimation transfer digital printing and

direct digital printing. The preferred printed samples were

selected after the experiments had been completed and were

used in the subsequent shoe making process.

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The company which supported the digital printing

experiment was:

Fine Technology Development Ltd

B, 10/F, Wing Kwai Factory Building, 2-8 Wang Wo Tsai St, Tsuen

Wan, HK

Tel: 852 2408 2766

Contact person: Charles Lee, Technical Engineer

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