ABSTRACT
This study is on the combination of digital technology with manual method of printing to achieve
precision for home textiles. The study was conceived within the periphery of adopting the use of
computer software such as CorelDraw Design Package and Photoshop Element in developing design
concepts, repeat patterns and conversion of designs into lines for precise development of the designs and
finally converted to some aspect of home textiles. The research problem was to address the common
printing problems and challenges like over-exposure (loss of detail), misfitting of the designs, difficulty
of registering screens, uneven ink deposits, and colour smear, among others. The research was aimed at
achieving precision in the designing and registration of patterns for home textiles by manipulating the
stencil method of printing through the combination of digital technology for easy drafting of designs and
tracing of patterns after the manually generated sketches might have been scanned into the computer. This
research used the experimental and studio practise research methodology and the findings were derived
through the objectives and research questions of the study. The major findings of the study revealed that
the use of computer software in developing design concepts and repeat patterns for home textiles gave
precision and accuracy in the drafting and repeat of patterns, eased the stress of tracing with the light box,
and also saved time and energy. The study concluded that with the help of computer software as one of
the tools for drafting patterns of printing, the project may not only take a very short time to complete but
the idea of even precision and perfection in the repeat patterns will always be assured. The study therefore
recommended that Computer Aided Design should be properly harness as an aid in the studio practise, as
it will reduce hardship experienced by studio textile designers of the textile studio of industrial design,
Ahmadu Bello University, Zaria.
TABLE OF CONTENTS
Title page……………………………………………………………………………………………………………………….. i
Declaration…………………………………………………………………………………………………………………….. ii
Certification………………………………………………………………………………………………………………….. iii
Dedication…………………………………………………………………………………………………………………….. iv
Acknowledgements…………………………………………………………………………………………………………. v
Abstract………………………………………………………………………………………………………………………… vi
Table of contents…………………………………………………………………………………………………………… vii
List of Plates…………………………………………………………………………………….. xi
CHAPTER ONE: INTRODUCTION…………………………………………………………. 1
1.1 Background of the Study ……………………………………………………………………… 1
1.2 Statement of the Problem…………………………………………………………………………………. 4
1.3 Aim of the Study………………………………………………………………………….. 4
1.4 Objectives of the Study ………………………………………………….………………. 4
1.5 Research Questions…………………………………………………………………….… 5
1.6 Justification……………………………………………………………………………….. 5
1.7 Significance………………………………………………………………………………. 6
1.7.1 Educational Significance……………………………………………………………………… 6
1.7.2 Aesthetic Significance …………………………………………………………………… 6
1.7.3 Technical Significance…………………………………………………………………………… 7
1.8 Delimitation………………………………………………………………………………. 8
CHAPTER TWO: REVIEW OF RELATED LITERATURE ….……….……………..…… 9
2.1 Introduction………………………………………………………………..…………….. 9
2.2 Historical Evidence of Textile Printing …………………………………………………. 9
2.3 Historical Background of Stencil and its Techniques…………………………………… 13
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2.4 Stencil Method of Printing……………………………………………………………….. 16
2.5 Relevance of Computer Aided Design in Textile Design……………………………….. 17
2.5.1 Advantages of Computer Aided Design in Textile Design…………………………….. 19
2.5.2 Disadvantages of Computer Aided Design in Textile Design………………………….. 20
2.6 Types of Printing…………………………………………………………………….….. 20
2.6.1 Stencil Printing………………………………………………………………………….. 20
2.6.2 Screen Printing (Flat Screen)………………….………………………………………… 25
2.6.3 Rotary Screen Printing………………………………………………………………….. 28
2.6.4 Roller Screen Printing…………………………………………………………………… 30
2.6.5 Heat Transfer Printing…………………………………………………………………… 30
2.6.6 Digital Textile Printing…………………………………………………………………. 31
2.6.7 Discharge and Resist Printing…………………………………………………………… 32
2.6.8 Pigment Printing………………………………………………………………………… 33
CHAPTER THREE: MATERIALS AND METHODS …………………………………….. 35
3.1 Introduction…………………………………………………………………….…….…. 35
3.2 Samples and Sampling Technique ……………………………………………………… 35
3.2.1 Sample frame …………………………………………………………………………… 35
3.2.2 Sample size …………………………………………………………………….………. 36
3.3 The Method used in The Study………………………………………………………….. 36
3.4 Research Design………………………………………………………………….……… 36
3.5 Materials ……………………………………………………………………………….. 37
3.6 Methods………………………………………………………………………………….. 38
3.6.1 Manual Production of Sketches and Swatches………………………………………….. 38
3.6.2 Production of Computer Aided Sketches and Swatches………………………………… 46
3.6.3 Combined Procedure to Achieve Precision of Home Textiles Design ………………….50
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3.6.4 Development of Stencils from Computer Generated Designs …………………………. 53
3.6.5 Mixture of Textile Inks…………………………………………………………………. 57
3.6.6 Preparation of Fabrics for Printing …………………………………………………..… 58
3.7 End Use………………………………………………………………………………….. 59
3.7.1 Quilting Techniques…………………………………………………………………….. 59
3.7.2 Transferring the Quilt Design…………………………………………………………… 60
3.7.3 Machine Quilting……………………………………………………………………….. 61
3.8 Analysis …………………………………………………………………………………. 62
CHAPTER FOUR: RESULTS AND DISCUSSIONS…………………………….…………. 63
4.1 Introduction……………………………………………………………………………… 63
4.2 Results ………………………………………………………………………………..… 63
4.2.1 Printing Production of the Wall Hanging and Table Cover Design…………………………… 53
4.2.2 Printing of the Curtain Design (Door, Window and Demarcation)…………………….. 65
4.2.3 Printing of the Bedding Accessories (Bed Spread, Throw Pillows, and Pillow Cases)… 70
4.3 Home Textiles End Use Products………………………………………………………. 75
4.3.1 Patterning and Production of Quilted Wall Hanging and Table Cover..………….……. 75
4.3.2 Patterning and Production of Curtains …………………………………………………. 76
4.3.3 Patterning and Production of Quilted Bedding Accessories …………………………… 77
4.3.4 Heating of the Printed Fabric………………………………………………………….. 79
4.4 Findings and Observations ………………………………………………………….. 81
CHAPTER FIVE: SUMMARY, CONCLUSION AND RECOMMENDATIONS…..…… 84
5.0 Introduction …………………………………………………………………………..…. 84
5.1 Summary……………………………………………………………………………..…. 84
5.2 Conclusion……………………………………………………………………………… 85
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5.3 Contribution to Knowledge …………………………………………………………….. 85
5.4 Recommendations………………………………………………………………………. 86
REFERENCES………………………………………………………………………………… 87
CHAPTER ONE
INTRODUCTION
1.1 Background of the Study
Textile printing is another part of wet technology, a wet printing process that employs the use of
thickened dye or pigment print paste. It is carried out after pre-treatment of fabric or after dyeing
of the fabric. Thomas (2007), described textile printing as, localized dyeing that is, dyes or
pigments are applied locally or discontinuously to produce the various attractive designs on
fabric. According to Helmut (2001), “the main objective of printing is the production of
attractive designs with well-defined boundaries made by the artistic arrangement of a motif or
motifs in one or more colours.” Helmut (2001), further stated that, textile printing involves the
production of a predetermined coloured pattern on a fabric, usually with a definite repeat.
In a technical approach, printing can be considered as localized dyeing. Thomas (2007), stated
that, in textile printing, each different colour or print paste is opaque and placed on the fabric
individually. This requires each colour to fit exactly in the print pattern which is known as design
registration. Thomas (2007), further explained that, if the print is out of registration it is a serious
fabric defect causing the final product to be considered off quality or second quality. It is also
important that the printed colour be uniform in depth and consistent in hue. This property is
known as colour clarity. The junction or boundary between colours is normally sharp and
distinct. This is known as pattern definition. Pattern flushing or wicking occurs when the colours
of the pattern run or wick into each other. This is considered poor definition and is a source of
off quality printing.
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In typical modern printing processes, the print paste is applied only from the top side of the
fabric. The fabric must be thoroughly and uniformly cleaned in fabric preparation in order to
ensure maximum penetration of the print paste into the textile fibres of the fabric. According to
Helmut (2001), maximum penetration of the print paste is required in order to obtain the best
colour fastness properties for the printed pattern. If the colour is off shade in a conventional
dyeing process, it is often possible to over‐dye the fabric to a darker colour, thus preserving the
value of the fabric”. “Unlike dyeing, printing has no remedy for reprocessing an off quality
printed fabric. In order to maximize profit, a printing operation must minimize defects which
result in second quality goods.
Screen printing is a process that originated and developed out of stencil printing technique. Ellis
(2005), referred to screen printing as, “Serigraphy print making process that creates sharp-edge
image using a stencil process, where the designs are placed upon a piece of fine mesh screen-like
material and tacked to a wooden frame with various films forming material used as surface
barriers”. Ellis (2005), further stated that, “screen printing is equally thought to have developed
from the japanesse “hair stencil” technique. When the technique was first developed, it was
carried out entirely by hand.”
Grice (2014), stated that, application of colouring pattern and design to decorate the finished
fabric is referred as printing. At the time of printing the colour is applied to the fabric so that the
colour or design is not affected at the time of washing. Textile printing is a process of applying
colour to fabric in definite pattern and design. He further stated that, “textile printing is sometime
confused with dyeing. In dyeing whole fabric is uniformly coloured with one color only, whereas
in case of textile printing more than one colour is applied on the fabric to some part in defined
pattern.” Grice (2014), further stated that “in textile printing, wooden blocks, stencils, engraved
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plates or rollers are used to apply colour on the fabric. Thick dyes are used at the time of printing
to prevent the spreading of colour beyond the limit of design. On the bases of technology the
global market for textile printing can be bifurcated into direct printing, discharge printing (white
and colour discharge) and resist painting (white and colour resist). Other methods of printing
include block printing, roller printing, duplex printing, screen printing, stencil printing, transfer
printing, blotch printing, jet spray printing, electrostatic printing and digital printing”.
Stencil method of printing are of two types, the first is the use of sticker paper and an open
screen (a screen which has no image exposed – but well cleaned). It is the best method for a
beginner. The Paper Stencil Method is good for geometric shapes and basic patterns. It is not
intended for lettering, intricate, complicated, and floral designs intended for the purpose of this
study. This study was conceived within the periphery of adopting the use of computer software
in developing design concepts as well as utilizing the art of stenciling method of printing for
producing home furnishing fabrics.
This research therefore explored the combination of digital technology with manual methods of
printing to achieve precision in the designing and registration of patterns. According to Gwari
(2008), “with the help of computer as one of the tools to draft at least a pattern for weaving,
printing, dyeing, embroidery or knitting, such a project may not only take a very short time to
complete but the idea of even precision and perfection (in the repeat patterns) will always be
assured. It is intended therefore, that if computer is properly harnessed as an aid in the design
production lines, it will reduce hardship experienced by studio textile production”.
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1.2 Statement of the Problem
The use of computer software for drafting, tracing and conversion of patterns into lines in textile
design enhances precision. This research therefore addressed and tackled the common printing
problems and challenges like over-exposure (loss of detail), misfitting of the designs, difficulty
of registering screens, uneven ink deposits, colour smear, among others, by manipulating the
stencil method of printing through the combination of digital technology for easy drafting of
designs and tracing of patterns, conversion of designs into lines and development of designs after
the manually generated sketches might have been scanned into the computer.
1.3 Aim of the Study
The aim of this study is to achieve precision in the designing and registration of patterns for
home textiles using a combination of digital technology and manual method of printing.
1.4 Objectives of the Study
The objectives of this study are as follows: To
i. explore the use of computer software like CorelDraw Design Package and Photoshop
Element in developing the design concepts, repeat of patterns and conversion of designs
into lines.
ii. develop stencils from the computer generated and developed designs with the use of
special stenciling tools such as, dual cutter, cutting knife, and circular cuter.
iii. Combine computer software and manual method of printing to achieve precision in
making designs for home textiles
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iv. ascertain the quality of the colour impression and the registration of designed motifs.
v. display and exhibit the end use for assessments of the design registration.
1.5 Research Questions of the Study
This study seeks to answer the following questions:
i. what are the existing computer software that can be used to achieve accurate precision in
development of motifs, design concepts and the repeat patterns?
ii. how can manual method of stenciling be improved to produce accurate designs for home
textiles?
iii. what are the possibilities of combining existing computer software’s and manual methods
to achieve accurate precision in designs for home textiles
iv. what will be the quality of colour impression and registration of designed motifs on the
fabric?
v. what are the designed fabrics used for in homes ?
1.6 Justification of the Study
Achieving precision in the design and registration of patterns for home textiles has posed a lot of
challenges in recent times. In this study, the use of computer software like CorelDraw design
package and Photoshop Element were employed for drafting, tracing and conversion of patterns
into lines in textile design to bring out the creativity and precision of the sketches gotten.
Suitable designs were generated through diverse sketches before the selection of the best
sketches. Natural designs were the choice of the motifs used for this study, flower and plant
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motifs were picked out of numerous natural motifs available and the choice of selection was
strictly based on the discretion of the researcher. These motifs are seen and concluded to be very
attractive and suitable for home furnishings due to its numerous ways of creativity.
1.7 Significance of the Study
1.7.1 Educational Significance of the Study
Educationally, this study is important as it contributes to knowledge from a diverse point of
view. It is an eye opener to people who are prepared and ready to work and earn a living through
practical process. This study will equally serve as a reservoir of knowledge and also complement
the existing literature in the area of textile stenciling printing. This study will provide a source of
information for educational purpose especially today when there is limited literature that deals
with comprehensive historical study on the combination of digital technology with manual
methods of printing to achieve precision for home textiles. It will also serve as a resource
material for future inquiry into the technique by interested researchers.
1.7.2 Aesthetics Significance
The aesthetic of this study is concerned with beauty and art, and in this study products (fabrics)
are made in an artistic way and beautiful to look. Aesthetic in the creative process stimulates:
a. Aesthetic Judgment or Evaluation: This is very vital because it enables the designer to
assess whether the work is satisfactory or not, so as to make necessary corrections.
b. Basis of Art Criticism: The evaluation and appreciation of fabric art by the consumers
enables the product to sell itself. Beauty is in the eyes of self, as it is being said. We look
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at rich colours before deciding on what to buy for fashion and for embellishing our
homes and environment.
c. Economic value: Aesthetic and function determines economic value of the people who
make use of them. Therefore the fabrics have to possess some good finishing for them to
be acceptable and marketable.
Dutsenwai (1985) reported Dernot and Nevros (1972) as saying that colour is the first
determining factor in the choice of fabrics and garments then followed by their style and make.
The technical significance will cut across all levels. It will also encourage more schools and
institutions to adopt this technique in their curriculum.
1.7.3 Technical Significance
In order to document and record the activities in the stencil method of printing for home
furnishing fabrics utilizing computer software to develop designs and repeat patterns, a study of
this nature is important. This study is very important, especially as it contributes to reduction in
the cost of production, materials and time consumption. The key advantage of a stencil as related
to this study is that it can be reused to repeatedly and rapidly produce the same letters or design
in mass and also for as long as possible. Also, the possibility of mass production in a short period
of time is rated high.
This study will also employ the use of sticker for the coating of the cardboard surfaces, front and
back, as this will ensure precision in the development of the stencil and also prevent the ink from
smearing on the fabric and also penetrating into the cardboard and make it wet or stained.
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The technical significance will cut across all levels. It will also encourage more schools and
institutions to adopt this technique in their curriculum.
1.8 Delimitation of the Study
This study is delimited to the utilization of digital and stenciling method of printing for the
production of home furnishing fabrics as end products will also be produced from the printed
fabrics to portray the functionality and aesthetics of the designs. The studio practice was carried
out in the Textile Printing Studio of Department of Industrial Design, Ahmadu Bello University,
Zaria. The following computer software were employed in this study, they are; CorelDraw
Design package and Photoshop Element
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