TEXTILE PRINTING USING DIGITAL PRINTERS

1

• 
  

DIGITAL TEXTILE PRINTING
Think differently Think new opportunities
By ann noonan
2
KEY DIGITAL PRINTING OPPORTUNITIES
Concepts-gtdesign
Sample proofing
Production
3
DESIGN STUDIOS

• DIGITALLY PRINTED CLOTH
• Makes it easier for stylists and designers to
  develop ideas together.
• DIGITALLY PRINTED CLOTH
• is a significant way for stylists to show and get
  commitment from their Merchandising Clients.
• DIGITALLY PRINTED MADE UP PRODUCTS
• helps to gain market feedback.
• RESULTING IN
• MORE PAID SERVICES

4
SAMPLE PROOFING - PROFILE CALIBRATIONS

• Existing mills use digitally printed
• samples to save costs.
• Traditional sample minimum 40,00
• Digital sample minimum 2,00
• Two areas to calibrate.
• digitally printed sample and production
• results should be within a similar tolerance
  
• compared to tradional sampling

5
DIGITAL PRODUCTION

• ORDERS QUEUED FOR EFFICIENCY
• CONTINUOUS PRODUCTION.
• FLAG INDUSTRY LEADS THE WAY.
• SERVICE BUREAUS PER COUNTRY DOING SHORT RUN
  TEXTILE PRODUCTION AND PRODUCTS COVERING FASHION,
  ACCESSORIES,
• T-SHIRTS, PROMOTION PRODUCTS, CUSHIONS,
  BLINDS.....

6
FOCUS HARDWARE
7
INDEX HARDWARE

• MACHINERY clockwise from top left
• as displayed on former slide
• Robustelli
• Mutoh Viper
• Roland SJ 740 with integrated textile winders
• Reggiani DREAM MACHINE
• Integrated Mimaki Printer
• Note- Other new printers entering the market
  from Konica Minolta, Aiona at higher price
  higher speed than Mutoh, Roland and Mimaki.

8
DYES - PIGMENTS

• Depends if open or closed printer
  configuration as to whether you can choose your
  suppliers of dyes pigments.
• Acid Dyes silk, wool, polyamide
• Reactive Dyes silk, wool, cotton, linen,
  viscose
• Disperse Dyes polyester, polyamide
• Sublimation Dyes transfer paper for printing on
  to polyester cloths usually
• Pigments untreated and treated cloths
• Pretreatments and finishing per type of dye and
  fibre.

9
RIP SOFTWARE

• Import Transformation of design
• Standards EPS, PS, PDF, TIFF, JPG...
• Colour Environments
• C,Y,M,K R,G,B L,A,B
• Transformation of ICC tags
• Accurate profiles
• Repeat, reflect functionality
• Re-order functionality
• White black points
• ICC Profile to put back into Graphic
• Station is a nice solution to preview
• how it will print.
• Many digitally printed designs never separated.

10
PROFILES

• COLOUR IS THE MASTER NOT THE RECIPE TO
  REPRODUCE COLOURS
• ACCURATELY OVER DIFFERENT
• SUBSTRATES,
• WITH DIFFERENT PRINTERS,
• WITH DIFFERENT DYES.
• ACCURATE PROFILES GIVE EFFICIENT WORKFLOW.
• ACCURATE PROFILES NEED TO BE MADE WITH PROFILERS
  BASED ON PROVEN COLOUR MODELS.

11
COLOUR THEORY

• Colour Space is not easy to model. There are
  inherent errors.
• We do not always agree that the colours we are
  looking at, are the same!
• Mathematical models were developed to calculate
  closer results to how humans view colours.

12
SPLITTING OF WHITE LIGHT
13
COLOUROUR WORLD IS BOMBARDED WITH LIGHT

• What we see! What we do not see!

14
MUNSELL

• THE HUMAN CHOICE
• published 1905
• Human emperical
• choice.
• Difficult to mathematically
• reproduce the
• colours.

15
CIE 1931
X,Y,Z, are the tri-stimulus points of a colour,
which represents the way our eyes see colour
using the three types of cones in our eyes

• CIELAB 1931
• DIAGRAM

16
OUR EYES SEE MORE THAN WE CAN PRINT
17
ADDITIVE MIXING
18
SUBTRACTIVE MIXING
19
CIE LAB 1976
20
COLOUR ATTRIBUTES

• Colour defined into three elements
• Hue
• Chroma
• Lightness

21
Lightness
22
CHROMA

• The term
• SATURATION
• is often used
• instead of chroma

Brightness
23
HUE
24
TOLERANCE METHOD TO MORE CLOSELY
MATCH OUR EYES

• Colour reproducibility is more accurately
  measured by using the Delta E CMC specification

CMC tolerance System developed by the Colour
Measurement Committee of the society of Dyers
and Colorists in Great Britain. Published in
1988.
25
DIAGRAM SHOWING TOLERANCE SYSTEM

• The yellow is
• more spread out.
• . Note the difference
• in step size

26
Different lighting Conditions
27
PRINTER INK SET-UP VARIABLES
28
TO MAKE A PROFILE
29
Colour book and Printed design
30
OPTIMISATION OF THE DESIGN TO CUSTOMER PROCESS

• ARTISTIC CONCEPT
• STYLING
• TRENDS OF THE SEASON
• PRICE POINTS
• EVERYTHING IS FUNNELED THROUGH A TIGHT NETWORK OF
  EXPECTATIONS.
• Digital Printing streamlines this confirmation
• order process.

31
Cost Justfications

• One design -gt many ideas
• Ideas developed at an hourly rate. Time is
  costed.
• Colorways directly chosen by customer in studio
  or for an additional fee by someone from the
  studio.
• Cost to print per metre sample /- 2,00
  set-up cost.
• Price to customer per metre 12 gt 50 set-up
  fee which is between 50,00 -gt 80,00 .
• Converters show many variations or modifications
  to their clients.
• The designers gain less money for their designs
  but they generate other income streams.

32
Summary Where the DESIGNER Fits into this
digital printing scenario.

• The European industry concentrates on MARKETING
  DESIGN while MASS PRODUCTION occurs in Asia,
  Turkey, Eastern Europe, Latin America, some
  parts of the African Continent.
• Digitally printed samples gain commitments to
  orders for ideas and collections, prior to
  investing in manufacturing.
• Currently there are opportunities for designers
  to create new incomes. DIGITAL PRINTING is a key
  to help create multiple paid for services.
• You may need to NEGOTIATE STRONGLY to get a
  reasonable hourly fee for your work.

33
ACKNOWLEDGEMENTS

• Societe de lEclairage CIE committee
• Society of Dyers Colorists Great Britain
• International Colour Consortium
• Epp.Teicher.gr
• Coldwater Creek Retailer Outlet
• Longina Phillips Studio
• Mimikry- Dittus Ehrath Digital Printing
• Gretag Macbeth Munsell
• X-RITE Inc.