Digital Textiles
Gbogbo ọrọ náà
For two hundred years, the cost of a textile pattern was the cost of the tooling. Every colour needed its own screen or its own engraved roller, so a print only made economic sense in hundreds of metres, and a designer worked inside a fixed repeat because the roller had a circumference. Digital tools removed the tooling, and with it several rules that textile designers had treated as laws of nature.
This note is about what actually changes. Digital printing has no colour limit and, in principle, no repeat. Digital jacquard weaving lets you control every single warp end. Industrial knitting machines can produce a shaped garment with no cutting and no seams. But every one of those freedoms comes with a new constraint, in colour management, in file resolution and in the chemistry of the cloth you print on, and knowing those constraints is what separates a digital textile designer from someone with a scanner.
Ebumnobi
- Design textiles employing digital techniques for use in creative and commercial industries such as fabric, carpet and wallpaper design
- Use a range of digital textiles materials, tools and techniques such as traditional and non-traditional digital methods for recording and developing ideas in colour, construction, design, repeat pattern, surfaces and materials
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 Digital Textiles. 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.
- Sublimation transfer printing will produce strong colour on: A) Pure cotton B) Polyester C) Wool D) Linen Answer: B
- A file is scanned at 300 pixels per inch and then printed at twice its original width and height. Its effective resolution at the printed size is approximately: A) 600 pixels per inch B) 300 pixels per inch C) 150 pixels per inch D) Unchanged, because the file is digital Answer: C
- The term gamut refers to: A) The size of a repeat tile B) The range of colours a device can produce C) The number of warp ends per centimetre D) The fixing temperature of a dye Answer: B
- On a digital jacquard loom, an image is produced by: A) Printing dye onto the woven cloth B) Changing the weave structure so that different yarns show at different points C) Applying heat transfer paper to the surface D) Embroidering over a plain ground Answer: B
- Which is a genuine environmental advantage of digital printing over rotary screen printing? A) It requires no fixing, steaming or washing B) It works on every fibre with the same ink C) No screens need washing out and colourant is placed only where it is needed D) It uses no electricity Answer: C
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 Digital Textiles? Budata ngwa Green Bridge CBT iji nweta ajụjụ ule ọmarịcha na nyocha zuru ezu gbasara isiokwu a.
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