Printed Fabrics
Gbogbo ọrọ náà
Printing puts colour on the cloth in a chosen shape. That is its whole advantage over dyeing and its whole difficulty. Because you control the shape, you can put a drawn line, a photograph or a flat hard-edged block exactly where you want it. Because the colour arrives in a chosen shape, you also have to decide what happens when that shape has to fill twenty metres of cloth without anyone seeing the join.
This note covers the printing processes named in the specification, from monoprint and lino cut through to silkscreen and digital, and then the discipline that runs under all of them: the repeat. You will also meet the practical craft that decides whether a print succeeds, which is registration, squeegee control, the choice between pigment and dye, and knowing what each process does to the edge of a mark.
Ebumnobi
- Use printed textiles to create bespoke pieces and haute couture
- Use a range of printed textiles materials, tools and techniques such as monoprint, transfer-relief, relief print, wood-cut, lino-cut, silkscreen and digital printing on fabrics
Akọmọ Ojú-ẹkọ
Ọ dị na ngwa Green Bridge
Budata ngwa Green Bridge CBT na ekwentị maọbụ kọmputa gị iji nweta akwụkwọ ndụmọdụ zuru oke, ajụjụ mmụta, na ndị ọzọ.
Ayẹwo Ẹkọ
Ekele diri gi maka imecha ihe karịrị na Printed Fabrics. Ugbu a na ị na-enyochakwa isi echiche na echiche ndị dị mkpa, ọ bụ oge iji nwalee ihe ị ma. Ngwa a na-enye ụdị ajụjụ ọmụmụ dị iche iche emebere iji kwado nghọta gị wee nyere gị aka ịmata otú ị ghọtara ihe ndị a kụziri.
Ị ga-ahụ ngwakọta nke ụdị ajụjụ dị iche iche, gụnyere ajụjụ chọrọ ịhọrọ otu n’ime ọtụtụ azịza, ajụjụ chọrọ mkpirisi azịza, na ajụjụ ede ede. A na-arụpụta ajụjụ ọ bụla nke ọma iji nwalee akụkụ dị iche iche nke ihe ọmụma gị na nkà nke ịtụgharị uche.
Jiri akụkụ a nke nyocha ka ohere iji kụziere ihe ị matara banyere isiokwu ahụ ma chọpụta ebe ọ bụla ị nwere ike ịchọ ọmụmụ ihe ọzọ. Ekwela ka nsogbu ọ bụla ị na-eche ihu mee ka ị daa mba; kama, lee ha anya dị ka ohere maka ịzụlite onwe gị na imeziwanye.
- In screen printing, the flood pass is used to: A) Force colour through the mesh onto the cloth B) Fill the open mesh with colour without pushing it through C) Clean the screen between prints D) Fix the colour with heat Answer: B
- Why should the lighter colour normally be printed before the darker one? A) Light colours dry faster B) A darker colour will cover a small registration error, whereas a lighter one will not C) Light colours block the mesh less D) It reduces the number of screens needed Answer: B
- Which printing process produces a single unique impression that cannot be repeated? A) Lino cut B) Silkscreen with a photo stencil C) Monoprint D) Rotary screen printing Answer: C
- Transfer or sublimation printing will give a strong permanent image on: A) Cotton B) Linen C) Polyester D) Wool Answer: C
- Trapping in a multi-colour print means: A) Holding the cloth down with tape B) Slightly overlapping adjacent colours so a small registration error does not open a gap C) Catching excess ink in a tray under the screen D) Blocking part of the mesh with tape Answer: B
Ọ dị na ngwa Green Bridge
Budata ngwa Green Bridge CBT na ekwentị maọbụ kọmputa gị iji nweta akwụkwọ ndụmọdụ zuru oke, ajụjụ mmụta, na ndị ọzọ.
Ọ dị na ngwa Green Bridge
Budata ngwa Green Bridge CBT na ekwentị maọbụ kọmputa gị iji nweta akwụkwọ ndụmọdụ zuru oke, ajụjụ mmụta, na ndị ọzọ.
Àwọn Ìwé Tó Dáa Láti Kà
Meecha Ajụjụ Ule Ọmarịcha
Ị chọrọ ime ajụjụ ule ọmarịcha gbasara Printed Fabrics? Budata ngwa Green Bridge CBT iji nweta ajụjụ ule ọmarịcha na nyocha zuru ezu gbasara isiokwu a.
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