Digital Textile Design, Publishing (2012) PDF
Digital Textile Design, Publishing (2012) PDF
Digital Textile Design, Publishing (2012) PDF
TEXTILE
DESIGN
SECOND EDITION
Copyright © 2012 Central Saint
Martins College of Art & Design,
The University of the Arts, London.
First published in Great Britain in 2009.
Second edition published in 2012 by
Laurence King Publishing in association
with Central Saint Martins College of
Art & Design
Printed in China
LAURENCE KING PUBLISHING
DIGITAL
TEXTILE
DESIGN
SECOND EDITION
CHAPTER 1
TEXTILE DESIGN AND PRINT
IN THE DIGITAL AGE 9
CHAPTER 2
DIGITAL DESIGN TUTORIALS 23
CHAPTER 3
PATTERNS AND REPEATS 87
CHAPTER 4
INTRODUCTION TO ILLUSTRATION 121
CHAPTER 5
DIGITAL CRAFT 141
CHAPTER 6
TECHNOLOGY FOR DIGITAL
TEXTILE PRINTING 167
GLOSSARY 187
RESOURCES 189
INDEX 190
CREDITS 192
6 TEXTILE DESIGN AND PRINT IN THE DIGITAL AGE
INTRODUCTION
Digital technology is changing the face of textile design, from
methods of creating and presenting designs to the ways in which
they are realized. Working in a digital environment, designers
are afforded more time to experiment, explore, and create,
while manufacturing technologies offer innovative new printing
solutions. This practical and inspirational book examines a
new era of textile design and features clear tutorials and case
studies revealing how digital techniques are being employed in
the fashion, interior design, and home furnishings industries.
INTRODUCTION 7
8
1
TEXTILE DESIGN
AND PRINT IN THE
DIGITAL AGE
NEW DIRECTIONS
IN TEXTILE DESIGN
As the most significant advance in fabric-printing technology
since the invention of the silk screen, digital textile printing
is bringing about a revolution in textile design. Designers are
seeking inspiration from previously unexplored sources, and
a new visual language for surface design is starting to evolve.
LARGE-SCALE PRINTS
With traditional printing techniques, repeats were constrained
to the size of the pattern block, the size of the screen, or the
circumference of the roller, thus limiting the scale of the pattern.
By eliminating the screen, digital print has transformed textile
design, and the designer’s decision to use a repeated pattern is
an aesthetic choice rather than a technical necessity.
DESIGN ADVANTAGES 19
LARGE- AND SMALL-SCALE CUSTOMIZATION
Digital printing is ideally suited to the creation of limited- CUSTOMIZED JEANS
edition designs that are customized to suit the tastes of an
individual client. The addition of body scanning, as well as the
introduction of software that automatically generates pattern For its centenary celebration in 2006/7,
pieces based on the scanned data, streamlines the process of researchers at the London College of Fashion
placing a printed design exactly within a garment. collaborated to explore how state-of-the-art
technology could be used to create a one-of-a-
A body scanner digitally captures measurements to create a kind garment. The idea was to design one-off
virtual three-dimensional model of an individual’s body. This fitted and digitally printed jeans, and the project
means that not only is a tape measure no longer necessary when integrated 3-D body scanning, automatic pattern
fitting a client, but also that many more measurements are taken generation, digital printing, and digital embroidery.
than would be practical when performing a fitting by hand. The project explored how the technology could be
Department stores such as Selfridges and Harrods in London used to streamline the process of engineering the
and Bloomingdale’s in Los Angeles now provide this service. print onto the garment, as well as testing the
accuracy of matching an image across the seams.
While digital printing can be used to make one-off fitted designs,
the technology can also be used for mass customization.
Companies such as Nike use the Internet as a vehicle for
mass customization, providing customers with the ability to
individualize and “build” a product by allowing them to choose
certain options. If the choices are limited to certain colors and
design elements, however, then the result will not be unique.
Other companies such as Cloth construct one-of-a-kind pieces
of upholstered furniture by digitally printing an image sent to
them by the client.
The speed with which fabric may be produced, together The print for this dress from his S/S 07 "1011"
with the accessibility of design technology, is closing the gap collection is not quite what it first appears. The
between the textile design industry and its clients—the fashion design evolved from a photograph that one of
and interior designers. In the West, the making of most printed Chalayan’s assistants took of the mannequin and
and decorative textiles was historically the domain of specialist muslin for the dress while documenting the design
master craftsmen, their expertise acquired through many years process. Chalayan and his team saw the potential
of practice and apprenticeship. The textile and tailoring trades, to create a print from the slightly surreal imagery.
although entirely dependent upon each other, were seen as
separate professions. In catering for their wealthier clients, The figure in the photograph was isolated from
some designers would have commissioned special fabrics to its background, subtly recolored in Photoshop,
suit their whims, but, for the most part, printed fabrics were then put into repeat, before being digitally printed.
bought from merchants stocking standard types of cloth. Digital Viewed from a distance, the print resembles a
print technology is changing this. traditional floral design, but when viewed closer
up it reveals itself to be an entirely different motif.
This is an excellent example of the immediacy
that digital printing affords.
LOOKING TO THE FUTURE
A degree of separation between textile design and fashion is
still the norm today. The current system of textile production
supports the mass consumption of cheap goods and so reinforces
the distance between the fashion and textile designer. Also, as
fashion designers generally have higher profiles than textile
designers, textile designers are sadly rarely credited alongside
the name of the fashion designer who has used their design.
21
2
DIGITAL DESIGN
TUTORIALS
INTRODUCTION
Jemima Gregson’s design “New
Adobe Photoshop and Illustrator together offer a perfect York, New York” was created in
platform for textile design. While the bitmap-based Photoshop Photoshop and digitally printed
onto cotton canvas.
gives you the freedom to edit and manipulate drawings and
photographs, the vector-based Illustrator enables the creation
of accurate graphic drawings and effects, such as streamlined
shapes and sharp geometrics. Photoshop is programmed in
such a way that an image is made up of a mosaic of individual
colored pixels; the software itself does not automatically
recognize shapes unless they have been separated out by the
user. Motifs that are significantly enlarged, for example, will
eventually lose their integrity and become “pixelated” so that
fine lines appear jagged. The total number of pixels over an
area is called the resolution, and this determines the quality
of the image.
Originally designed for the graphics industry, these tools are now
leading textile designers along different avenues of creativity
and extending the range of design possibilities available to
them. Previously, designers were required to hand render
their ideas and designs, which was often a time-consuming
process, but working within a digital environment has speeded
up this task. This allows more time for experimentation and
exploration, thus freeing up the designer’s imagination. Because
these programs are now recognized as standard tools for textile
designers, it is essential to acquire the skills to use them with
confidence. With perseverance, designers will learn to use
them intuitively, making them just as important as paint and
brushes have always been. This chapter offers inspiration by
demonstrating the wealth of possibilities that these programs
give to the textile designer. With a series of step-by-step
tutorials focusing on particular techniques that are relevant to
textile design, amply illustrated with work by both students
and established designers, this chapter is aimed at students
who have already acquired a basic knowledge of Photoshop
and Illustrator. It begins by looking at the skills and tools that
underlie all good digital textile design, including research and
drawing, the use of the scanner, the digital stylus pen, and the
incorporation of photography.
25
GETTING STARTED
When working digitally, the designer is faced with a vast array
of options and it is all too easy to get carried away choosing Kitty Joseph’s collection “Color
Immersion” was inspired by the
between the technical effects and filters that are available at
play of light on the Thames River
the click of a button. Consequently, it is vitally important to in London.
develop and explore ideas thoroughly before starting to work
on the computer.
The starting point for a design can come from one of many
sources. It might be a highly personal thought or experience
that you want to express visually, or it might come from a
commercial brief. Wherever it comes from, thorough research
of the subject is essential, and the process can take you on
an exciting and stimulating journey; one that may lead you to
explore historical periods, other cultures from around the world,
or contemporary design trends. You may even find inspiration in
other creative disciplines such as fine art, literature, science, and
music. Once a theme is established, the next stage is to gather
material to help get the design underway. This can be anything
from photographs, sketches, and drawings to found objects. It is
important not to underestimate the amount of material needed;
design work has now become a very sophisticated mix of graphic
imagery, drawing, photography, pattern, texture, and motif. The
more research, the greater the wealth of material you will have
to work with, allowing your ideas and concept to develop
fully. Explore ideas around the theme and collect anything that
relates to it, gathering the material in a sketchbook to track the
development of ideas and primary research. This sketchbook
can then be referenced throughout the design process, and it
can also act as a basis for discussion with your peers.
Catherine Frere-Smith is
inspired by traditional English
garden florals and nature.
INTRODUCTION 27
SCANNING
Once you have gathered together all your material, you then
need to assemble it into a form that you can work with digitally.
Many of your items will be in two-dimensional form—such as
drawings and photographs; others may be three-dimensional—
such as buttons, textured fabrics, and trimmings. All of these
elements can be scanned.
The scanner is an exciting tool for textile designers and has opened
up a wide range of options for assembling imagery, allowing
nondigital elements into the digital workspace. Designers, who
are often magpies by nature, are able to experiment with real
objects and imagery that they have collected, collaging them
into designs that have a tactile quality and can also be highly
personal, humorous, charming, and quirky.
If your artwork is too large for the scanner, you may need to
take it to a specialist bureau. A more complicated, but less
expensive, alternative is to scan the work in sections and piece
them together in Photoshop.
INTRODUCTION 31
Deborah Vesey combines hand
painting with a conceptual
approach to maintain a
spontaneous look for her
digital collection.
INTRODUCTION 33
THE DIGITAL STYLUS PEN
The introduction of the digital stylus pen has given artists the
freedom to draw, paint, and sketch with a computer, in much
the same way as if using traditional materials. You can draw
directly onto a graphics tablet with the pen, or trace over an
image, or even draw on the screen. Once mastered, the pen
becomes an intuitive drawing tool, allowing the same freedom
of movement and sensitivity as a traditional pen or brush. For
the textile designer, the pen allows a sensitive and sensual
approach to design and is a worthwhile investment. A pressure-
sensitive stylus pen can also give depth to your lines, for a
more natural way of drawing and rendering. In Photoshop you
can even “harness” the numerous paintbrushes to it, allowing
you to create effects ranging from subtle watercolors to bold
line drawings. In Illustrator, the pen allows a high degree of
dexterity and control when drawing.
INTRODUCTION 35
PHOTOGRAPHY
Textile designers often make good photographers, having an eye
for detail, texture, and color. It is no surprise, therefore, that with
the ability to print high-quality photographic detail digitally,
many students are now integrating photography into design.
The compact size of digital cameras means that many artists and
designers use their cameras like sketchbooks or diaries, and are
able to build up archives of imagery that they can access when
needed. This approach is preferable to downloading images
from the Internet because it avoids running into any copyright
issues and, of course, the work is unique and personal.
Once you have imported your images into Photoshop you will find
a huge number of options to help you adapt your photographs.
INTRODUCTION 37
Emma Stone uses a complex
combination of photography,
scanning, drawing, and collage
techniques to create elaborate
and personal textiles.
INTRODUCTION 39
TUTORIAL 1
USING FILTERS IN
PHOTOSHOP
There are numerous filters in Photoshop and the choice can
seem overwhelming. Filters come in and out of fashion and
can make your work look obviously “Photoshopped” and
too familiar. But, if they are carefully integrated into your
design work, they can add some amazing and subtle effects.
Overuse of filters can confuse a design, so be clear from the
start about what you want to achieve. You can apply a filter
to the whole image or to a selected area. On these pages are
just a few examples of favorite filters. Use RGB images, as
some filters do not work with CMYK.
Cancel
Cutout
Number of Levels 8
Edge Simplicity 7
Edge Fidelity 3
COLLAGE
Here the Cutout filter is used to add a collage effect to the original photographs.
When you choose a filter, a dialog box will open, giving you several options.
Experiment by moving the sliders to get your desired effect. In the bottom left
corner of the image window, you can zoom in and out of the design.
OK
Cancel
Colored Pencil
Pencil Width 5
Stroke Pressure 15
Paper Brightness 4
COLORED PENCIL
The Colored Pencil filter in Artistic filters was applied to give a bold, vibrant
drawn effect. Altering Pencil Width, Stroke Pressure, and Paper Brightness gives
a batik effect.
Smart Blur
OK
Cancel
100%
Radius 100.0
Threshold 100.0
Quality: High
Mode: Normal
SOFT
With the Blur filter, you can soften the edges of a design.
Cancel
Grain
Intensity 24
Contrast 27
VINTAGE
To create a vintage effect, try adding a Grain texture (Filter > Texture > Grain).
Select Grain Type: Horizontal.
Color Halftone
Channel 2: 162
Channel 3: 90
Channel 4: 45
POP ART
The Color Halftone filter is found in Pixelate filters and simulates the effect of
using a halftone screen on each channel of the image. For each channel, the
filter divides the image into rectangles and replaces each rectangle with a dot.
Pointillize
OK
Cancel
100%
Cell Size 20
PIXELATE
To pixelate the image and break it up further, go to the Pixelate filter and select
Pointillize.
Default
Stained Glass
Cell Size 13
Border Thickness 4
Light Intensity 3
EMBROIDERED EFFECTS
The Stained Glass filter is in Texture filters and will transform an image into cells
to give a stitched effect.
Wave
Wavelength: 1 40
Square
Min. Max.
Horiz. Vert.
Scale: 66 % 100 %
Randomize
Undefined Areas:
Wrap Around
Repeat Edge Pixels
ABSTRACT DISTORTION
The Wave filter is found in Distort filters. This, along with other Distort filters,
will give you numerous options with which to abstract and distort a photograph
or image into an instant textile design that has fluidity and movement.
Posterize
Levels: 4 OK
Cancel
Preview
SILK-SCREEN EFFECT
Using the Posterize command (Image > Adjustments > Posterize) will give a
photograph an instant silk-screen effect.
CREATING COMPLEX
COLOR BLENDS
Emamoke Ukeleghe’s collection “My Family Album” captures
the essence of her ethnic background. Her inspiration comes
from the journey her family made from Nigeria to England
in the mid-1980s. Based on this childhood experience, she
has created a collection of digital prints for scarfs and panels
that showcases a new contemporary ethnicity.
STROKE
Weight: 2 pt
Polygon tool
STEP 3 STEP 4
Copy and paste the polygon, and Window > Align.
change the scale of the copied polygon The Align panel will appear.
to 25 percent.
Object > Transform > Scale.
Select both polygons.
TRANSFORM ALIGN PATHFINDE
Align Objects:
Distribute Objects:
STEP 6 STEP 7
Apply a new Fill and Stroke color Select the Blend tool in the toolbar. Double-click
to the central polygon. it to reveal the Blend Options dialog box. Choose
Specified Steps and enter “10.”
Blend tool
Blend Options
Orientation: Cancel
Preview
STEP 8
Place the Blend tool in the middle of the polygon;
drag it to the outer edge and your blend will
appear. It’s worth experimenting with the options
the Blend tool offers to get different effects.
STEP 10
Holding down the Shift and Option/Alt keys, drag
the tile across until it snaps into place and leaves
a copy. The cursor will turn white when it has
snapped to point.
STEP 11
Repeat this action to tile
four polygons.
STEP 12 STEP 13
View > Outline. Window > Attributes.
With the Pen tool, draw a central diamond, A dialog box will appear. With your diamond
clicking on the anchor points as a guide. selected, select the Show Center icon. This will
show the center of the diamond.
STEP 14 URL:
View > Outline.
Make a copy of your diamond, change
its scale, and place it in the center of the
first diamond.
STEP 18 STEP 19
A dialog box will appear. Select the Another dialog box will appear.
Paste As Pixels option, and click OK. Click Place.
Crop tool
Pattern Name
OK
Name: New Ethnic 1
Cancel
STEP 2
View > Preview.
Fill your shapes with black.
Select one petal.
Edit > Copy.
STEP 3 STEP 4
Open up a new document, and again Now build the flower up.
reveal the grid. Window > Info.
Edit > Paste. With the petal selected, select the Rotate tool
from the Tool panel, and place it at the bottom
of the petal.
Hold down the Option/Alt key and rotate the petal
(this will make a copy of your petal as you rotate it).
Rotate tool
STEP 6
Once you have placed the second petal correctly,
you can build up the other petals to complete the
flower. Press Command + D; this keyboard shortcut
will repeat the last command.
Once you have a complete flower, group the
petals together.
Object > Group.
STEP 7
Now apply a color fill. Copy and paste several times
to build the flower up, changing the scale and color
of each copy.
STEP 8
Window > Align.
Select Vertical Align Center and Horizontal Align
Center.
Align Objects :
STEP 9
With the Rotate tool, rotate the flowers.
Alter the transparency of the petals to give an
impression of depth.
Finally, group the completed flower.
Object > Group.
STEP 12
Create more flowers using the same techniques,
selecting different colors and sizes of petals.
CROSS-STITCH EFFECTS
Line tool
STEP 2
Go to the option bar at the top of the screen. Click
on the Link icon between the Width and the Height.
Enter 0.08 in (0.2 cm).
Dashed Line
STEP 4
Axis
Select the cross. Double-click on the Reflect tool in OK
Horizontal
the Tool panel to open the Reflect dialog box. Vertical
Cancel
Reflect tool
Move
STEP 5
Position
Press the Return key to open the Move dialog box. Horizontal: 0 in
OK
CROSS-STITCH EFFECTS 53
Move
STEP 6
Position
Select the vertical line of crosses. OK
Horizontal: 0.11 in
Press the Return key to bring up Vertical: 0 in
Cancel
Place...
Scripts ▶
STEP 8
Now carefully color individual
stitches and build up the motif
(select groups of stitches by holding
down the Shift key). Once colored,
select all the stitches and raise the
Opacity back to normal.
Same ▶ Appearance
Object ▶ Appearance Attribute
Blending Mode
Save Selection... Fill & Stroke
Edit Selection... Fill Color
Opacity
Stroke Color
Stroke Weight
Graphic Style
Symbol Instance
Link Block Series
CROSS-STITCH EFFECTS 55
TUTORIAL 5
ENGINEERED PRINTS
STEP 3 STEP 4
Image > Canvas Size. Now increase the canvas size to fit the complete
In the Canvas Size dialog box, alter the Width and garment shape.
Height measurements sufficiently to allow you to Image > Canvas Size.
paste in the bottom section of the garment. Change the Width to 200 percent.
Once this is done, flatten the image. Click OK.
Layer > Flatten Image.
Relative Relative
Anchor: Anchor:
STEP 5
Select the garment piece with the Marquee tool.
Copy and Paste.
Edit > Transform > Flip Horizontally.
Piece the two shapes together so that they match up.
Flatten the image.
ENGINEERED PRINTS 57
STEP 6
Select the Pen tool, and the Pen tool option bar Pen tool
will appear. Select the Fill option with black as the
foreground color in the toolbar.
Fill option
STEP 7
Carefully trace around the garment using the Pen
tool, to create a series of anchor points around
the garment shape. Use the Convert Point tool (in
the Pen tool menu) to create the curves around
the neck and armholes. It may take some time and
practice until you are happy with the results.
Shape 1
Background
STEP 9
Continue to draw around the garment shape with PATHS
the Pen tool until it is complete. When you use the
Pen tool, you create a new path. Go to the Paths Shape 1 Vector Mask
panel to see your new path. Click on the menu
button at top right to reveal the drop-down menu.
Save your new path so you can edit or select it at
any time.
STEP 11
Arrange a selection of costume jewelry onto a
mannequin covered in black material. Using a
digital SLR camera and studio lighting, photograph
the mannequin at the highest possible resolution.
This will allow the image to be reproduced at the
maximum size with no compromise in quality.
STEP 12
You could also photograph some extra jewelry
against a black background to add to the
mannequin jewelry.
ENGINEERED PRINTS 59
STEP 13
Open up the front garment shape. Your path is
drawn but you need to make it into a selection
so you can start to paste your jewelry into the
pattern piece.
STEP 14 PATHS
On the Paths panel, highlight your path and click
the Path Selection icon at the bottom of the panel. Shape 1 Vector Mask
This will create a selection for you to paste your
jewelry into.
STEP 16 STEP 17
Now open up the front garment image. Merge the shape layer and the jewelry layer using
Select the garment shape. the Merge Visible command in the Layers panel
Edit > Paste Special > Paste Into. drop-down menu.
With the new pasted-in layer selected, select the
Move tool and position your jewelry to fit into
the garment shape.
LAYERS ADJUSTM MASKS
Scale it to fit.
Edit > Transform > Scale. Normal Opacity: 100%
Layer 1
Shape 1
Background
STEP 18
With the Clone tool, carefully clone the necklace to
make it continue around the neckline.
STEP 21
Once you have completed the front, use the
same techniques to complete the back and cuffs.
When they are all finished, flatten the layers.
Now open a document with a Width of 55 in (140 cm)—
the width of fabric on the digital printer—and a
Height of 59 in (150 cm). Set the Resolution to
200 dpi.
Open each garment piece.
Select > All.
Edit > Copy.
Go to your new fabric length document and paste
the garment piece on.
Edit > Paste.
Paste all the garment shapes and arrange them
across the final document.
STEP 22
Once the shapes are placed, flatten the layers. Now
you are ready to prepare the document for printing.
ENGINEERED PRINTS 61
TUTORIAL 6
SEQUIN EFFECTS
STEP 4
Make a drawing of a heart and banner and scan it
into Photoshop. Create a new layer.
Select the new sequin brush.
In the Brush Options panel, change the Opacity to
93 percent and the Size to 70 pixels.
STEP 5
Select black as the brush color and “stamp” around
the outline of the heart in black sequins, by clicking
once to apply each.
Background
SEQUIN EFFECTS 63
STEP 7 STEP 8
In the Layer Style menu, select Drop Shadow. Create a new layer.
A dialog box will appear. Select the sequin brush and choose a
Change the Opacity and the Distance values to dark red color.
create a soft shadow. Stamp inside the heart as shown.
Layer Style
Drop Shadow
Styles OK
Structure
Texture Quality
Stroke
STEP 9
Create a new layer.
Fill the rest of the heart with the sequin
brush colored bright red.
You should now have four layers.
Turn the Background layer off and merge
the visible layers.
STEP 10 STEP 11
Next, create the stitches that appear to fasten each The Line tool option bar will appear at the top of
sequin to give the hand-sewn effect. This is a fairly your screen. For Weight, enter 3 px. Select a color
time-consuming process, but is still a lot quicker for the stitch. Now draw in every stitch, working on
than actually sewing them! each separate layer. Make them slightly irregular to
Select the Line tool from the Tool panel. achieve a truly hand-sewn effect.
Make sure the Fill option is selected in the Line tool Your sequins are now complete. Fill in the background
option bar. layer with white and flatten the image.
Layer> Flatten Image.
Fill option
STEP 13
Use the same technique as before to stamp
around the lettering with the sequin brush,
varying the scale of the brush.
STEP 14
Once the lettering is complete, flatten the
layers and cut it out with the Marquee tool.
Edit > Copy.
Open the heart motif.
Edit > Paste.
Position and adjust the lettering with the
Transform tools to fit inside the banner.
STEP 15
Finally, add an extra glow to the finished
heart motif.
Filter > Render > Lens Flare.
STEP 16
Print the design onto opaque transfer
T-shirt paper through a desktop inkjet
printer. Carefully cut the motif out and
press it onto your fabric with an iron or
heat press.
SEQUIN EFFECTS 65
TUTORIAL 7
PHOTOMONTAGE
Choose a soft airbrush (using the Brush tool option Color Indicates:
OK
Masked Areas
bar) and paint over the image you want to mask. Selected Areas Cancel
To change the color of the mask and transparency,
Color
double-click the Quick Mask icon to open Quick
Mask Options. Opacity: 50 %
STEP 3
Switch the foreground color to white to use the
Mask Eraser tool. Select a small, soft brush and start
to clean up the edges of the mask.
Foreground
color
STEP 4
Click on the Quick Mask icon to exit Quick Mask. The
area outside of the mask will now be selected.
STEP 5
Now select the pansy.
Select > Inverse.
STEP 6
Open a new document.
Edit > Copy.
Edit > Paste.
PHOTOMONTAGE 67
STEP 7
Continue to build a posy from the photographs
you have, using the same Quick Mask process to
select a flower from your photograph. Copy and
paste the flowers and arrange them into a posy
with the Move tool.
STEP 8
Turn the background layer off and merge
the visible layers.
STEP 9
To achieve a collage effect, apply the Cutout filter.
Filter > Artist > Cutout.
Experiment with the levels until you are happy
with the result.
STEP 10
Open a new document sized 0.4 x 0.4 in (1 x 1 cm)
and create a spot.
STEP 11
Define > Pattern.
Name the spot pattern and press OK.
STEP 12
Select the background layer.
Edit > Fill > Pattern.
Find your spot.
STEP 13
Finally, scan in another image and copy and paste
it into the center of the design.
PHOTOMONTAGE 69
TUTORIAL 8 The Brush panel is one of the most versatile tools for textile
design in Photoshop. It allows you to create your own custom
BUILDING A BRUSH brush from almost any mark or motif, and then paint freely
with it. Designs can be created instantly using your custom
PALETTE brush, or the brush may just be a useful tool to add your own
elements to a design.
STEP 2
In Photoshop, use the Magic Wand tool to select a
motif. (In this case, the butterfly.)
STEP 3
Edit > Define Brush Preset.
Name the brush and press OK.
Your new brush will be saved in the Brush panel.
Create a whole series of brushes in the same way.
Brush Name
OK
Name: Butterfly
Cancel
313
229
135
63
131
223
161
109
70
STEP 5
Open a new document and a new layer. With the
tree-trunk brush (or one of your own brushes),
choose a color and size and paint a tree trunk by
clicking once.
Size Jitter
BRUSH BRUSH
Brush Presets Size Jitter 33% Brush Presets Scatter Both Axes 480%
Smoothing Smoothing
Control: Off
Protect Texture Protect Texture
Minimum Roundness
STEP 8 BRUSH
Texture
Saturation Jitter 0%
Finally, determine the Opacity by clicking on Color Daul Brush
Color Dynamics
Dynamics and moving the Opacity slider. Your leaf Brightness Jitter 0%
Transfer
brush is ready; start scattering the leaves.
Noise Purity 0%
Wet Edges
Foreground color
Airbrush
Smoothing
Protect Texture
Background color
STEP 9
Continue to scatter the leaves until the tree
is complete.
Fill the background layer with a color.
STEP 10
Create a new layer and select the flower stem
brush. Select the Shape Dynamics option and
slightly change the Angle Jitter. Paint the flower
stems, changing the scale as you go if you wish.
STEP 12
Build up the flowers to surround the tree.
STEP 13
Create a new layer and scatter some hearts around
the tree.
Orange Flowers
Pink Flowers
Tree
Background
Background
STEP 15
Create another new layer and place it under the
design layer. Add other motifs to fill in the spaces.
Do not let any of the motifs go over the edges of
the design.
STEP 16
Now go to the background layer and change the
color if you wish.
Finally, flatten the image.
Layer > Flatten Image.
STEP 18 Offset
Filter > Other > Offset.
Horizontal: +10 pixels right OK
Move the Vertical slider to cut the image in half.
(Ensure Wrap Around is selected.) Cancel
Vertical: +808 pixels down
Preview
Undefined Areas
Set to Transparent
Repeat Edge Pixels
Wrap Around
STEP 19
Go to the Tool panel and make sure the Background color
background color is the same as your
design background color.
Canvas Size
STEP 21 STEP 22
View > Snap To > All. Edit > Paste.
Snap your design into position. Flatten the layers.
Pattern Name
OK
Name: Korean Garden.tif
Cancel
TEXTURED EFFECTS
Image Size
Scale Styles
Constrain Proportions
Resample Image:
Bicubic (best for smooth gradients)
STEP 4
Your image will be cut into four and flipped round
so the outside of the image is in repeat. You will
see a seam appear.
Seam
STEP 5
To mend the seam between the repeat sections,
you can use Content-Aware Fill. This will copy and
color-match data from another part of the image to
fill in a selected area.
Select the Lasso tool from the toolbar and select
Lasso tool
an area of the seam.
Edit > Fill > Content Aware. Click OK.
Repeat this process until the seam has been
completely mended.
TEXTURED EFFECTS 77
STEP 6
Content-Aware Fill is a quick and easy method to
mend seams between sections of a repeat. You
can also use the Clone tool to mend any individual
areas. The Clone tool will copy one area to another
using the Brush tool.
Select the Clone tool and choose a brush, size, and Clone tool
opacity—the airbrush will give a softer and more
forgiving effect. Choose an area you want to clone
and press the Alt/Option key to set the copy target
point. Move the Clone tool onto the seam and start
mending the seam.
STEP 7
One you are happy with your mended seam you
can put the unit into repeat. At this point you can
change the unit size.
Image > Image Size.
Change the unit of measurement to percent and
adjust as required.
Pattern Name
STEP 8
Edit > Define Pattern. OK
Name your design unit and press OK. Name: Grass repeat unit.tif
Cancel
STEP 9 Fill
Open a new document.
Contents
Edit > Fill. OK
Select Pattern and find your design unit under Use: Pattern
Custom Pattern. Cancel
Check your repeat for any obvious seams or lines Custom Pattern:
of patches. If you see any you can go back to the
original unit and amend, then remake your pattern Blending
until you are satisfied.
Mode: Normal
Opacity: 100 %
Preserve Transparency
The photograph on the right was the starting point for this
example. The largest possible area, containing only the shells,
was cropped and put into a half-drop repeat (see page 96). A half-
drop is the best method for disguising the joins of textural repeat.
In this process the seams are blended using the Clone tool.
CREATING A COLOR
PALETTE
Group ⌘G
Ungroup ⇧⌘G
Lock ▶
Unlock All ⌥⌘2
Hide ▶
Show All ⌥⌘3
Expand...
Expand Appearance
Flatten Transparency...
Rasterize...
Greate Gradient Mesh...
Greate Object Mosaic...
Greate Trim Marks
Slice ▶
Path ▶
Blend ▶
STEP 2
A dialog box will appear. Choose how many
tiles you want vertically and horizontally. In
this example 25 have been selected.
The tiles will be grouped; you will need to
ungroup them.
Object > Ungroup.
STEP 3
Select a series of tiles from the mosaic that
represent a color grouping you like.
Edit > Copy.
Edit > Paste.
Select individual tiles and, with the Eyedropper tool,
move across the mosaic and select and drop colors
to create a palette. Alternatively, you could use a
combination already together in the mosaic.
Sort by Name
Sort by Kind
Show Find Field
Swatch Options...
Spot Colors...
STEP 7
Open up a new document.
View > Show Grid.
View > Snap to Grid.
View > Smart Guides.
With the grid as a guide, begin to draw a cube.
Your points will snap to the grid.
STEP 9
Select the cube, with the Selection tool placed
directly on the far left anchor point. Hold down the
Shift key and the Option/Alt key and drag and copy
the first cube until it snaps into place on the right-
hand anchor point of the cube and leaves a copy.
When the double arrow goes white it has
snapped to point.
STEP 10
Press Command + D to repeat the last command
and duplicate your cube.
Build up a row.
STEP 11
Once you have a row, ungroup the cubes so you can
color individual sides with your color palette.
Object > Ungroup.
When your row is colored, regroup the cubes.
Select > All.
Object > Group.
STEP 12
Select the row and, holding down the Shift and
Option/Alt keys as before, duplicate the entire row
this time. Continue until you have built up a unit
of cubes.
TRANSPARENT OVERLAYS
STEP 1
Open the design in Photoshop and duplicate the
layer twice.
Layer > Duplicate Layer.
Select the second layer.
Edit > Transform > Scale.
Enlarge the layer. Alter the Opacity in the Layers
panel to reveal the underneath layer. With the Move
tool, slightly shift the layer across to reveal the
layer beneath.
Normal
STEP 2 Dissolve
Difference
Exclusion
Subtract
Divide
√ Hue
Saturation
Color
Luminosity
Wave
Type:
Number of Generators: 269 OK
Sine
Cancel
Triangle
Min. Max. Square
Wavelength: 624 943
Min. Max.
Amplitude: 5 268
Horiz. Vert.
Scale: 1 5 % Randomize
Undefined Areas:
Wrap Around
Repeat Edge Pixels
COLOR BLENDS
Here, a different color palette has been used to
create the cube design.
87
PATTERNS AND REPEATS
IN DIGITAL TEXTILE
DESIGN
Artists and designers have always been inspired by both the repeat unit is large enough to contain enough elements with
natural and man-made textures and patterns that surround which to work. This may be accomplished by joining several
them, and repeating patterns have formed the basis of most images together to form the unit that will then be repeated.
surface design in the decorative arts. It seems that we are All of us have seen this type of repeat in the textures often
instinctively drawn to designs that mimic the rhythms found used in kitchen Formica or linoleum, based on photographs of
in nature. marble, for example. In the case of a floral, a balanced rhythm
can be created by rotating and mirroring motifs until the overall
If a design is hand painted or drawn then the pattern may be effect is fluid and the eye is not distracted by a rigid structure.
made to change continuously, in the same way that ripples in A balanced distribution of negative space is also crucial.
water vary, and yet also seem to follow a predictable structure.
In traditional mechanized printing, however, this kind of By using digital techniques and “stepping out”—or tiling—
randomization is not possible and the exact repetition of motifs your design in repeat on-screen, prior to printing, you have
is an intrinsic part of the process. The introduction of digital the option of rectifying any visual mistakes such as tracking.
printing means that such rigid repetition is no longer necessary. If tracking does occur, then you should rework and retile the
But there are still sound aesthetic and practical reasons for repeat until you achieve a balanced effect.
putting a design into repeat.
There are two types of repeat structure used to lay out a design so CREATING REPEATS IN PHOTOSHOP
that, once printed, it will form a continuous length: the block or AND ILLUSTRATOR
tile, and the half-drop repeat. It may not seem obvious at first, but all Putting your design into repeat is the final stage of preparing
surface designs that have been printed by traditional mechanical your work for production. It is vital that you understand repeat
methods fit into one of these two structures. Examples of tiled structures and how they can change the look of a design, and the
repeats include checkerboards, plaids, and stripes, while half- different approaches that can be explored. Prior to the introduction
drops include polka dots, diamonds, and ogees, as well as the of software such as Photoshop, repeats were created by tracing
familiar pattern in which bricks are often laid. or photocopying the original artwork, cutting up the page, and
collaging or retracing motifs to work across the seam. Once
An obvious and intentional geometric structure is part of the the repeat unit was deemed successful, the design would be
very nature of a plaid or diamond design. In the case of more recreated by painting or photocopying. The methods explained
organic patterns, such as floral or textural designs, where the in this chapter for creating a repeat digitally follow the same
designer does not intend to lay out the motifs geometrically, a principles, although they are obviously far less time-consuming.
successful repeat is one that is not obvious, but instead creates
an illusion of randomly scattered motifs or unbroken texture Even though Photoshop and Illustrator were not created for
(see page 79). Such textural designs tend to be more meditative textile designers, there are many methods for creating repeats
and restful to the eye, in contrast to patterns in which the repeat using these programs. Photoshop offers a painterly approach
structure is intended to dominate the design, making a bold to design work; for example, the Clone Stamp tool may be
statement. Both styles can be equally pleasing. used to maintain the hand-drawn or photographic qualities of
an original design. The tools can help when mending any of
A skilled repeat artist is able to put an organic design based the seams that are inevitably created during the repeat process,
on pebbles or woodgrain together in such a way that a viewer which must be done with skill.
who is not searching for the repeat unit will not be aware of it.
In an example of a repeat that has not been well constructed, a Illustrator, on the other hand, is a vector-based program and
particularly bright pebble might perhaps stand out from the rest the software maintains a mathematical “memory” of elements
as it was repeated, drawing the viewer’s eye to this one element so that they never become distorted during manipulation. It is
and destroying the illusion of a natural surface. easier to set up groups of motifs in Illustrator than in Photoshop
so that they may all be moved or manipulated together. Accurate
This problem, known as “tracking” within the surface design and complex graphic patterns and constructions can be built in
industry, where an unintentional stripe or diagonal has been this program, providing an infinite range of possibilities.
created, can be resolved by scattering copies or variations of
noticeable elements in a design in such a way that they appear This chapter presents tutorials designed to explain the basic
to be randomly placed and equally balanced with other similar principles of setting up block and half-drop repeats in both
motifs or colored areas. An important factor in carrying out Photoshop and Illustrator; examples include stripes and plaids.
this randomization is to make sure that the initial size of the Once you have mastered the mechanical processes in both
PHOTOSHOP REPEAT:
BASIC BLOCK REPEAT
Scale Styles
Fade... ⇧⌘F
Cut ⌘X
Copy ⌘C
Copy Merged ⇧⌘C
Paste ⌘V
Paste Special ▶
Clear
Check Spelling...
Find and Replace Text...
Fill... ⇧F5
Stroke...
Pattern Name
Content-Aware Scale ⌥⇧⌘C
Puppet Warp OK
Name: Flower
Free Transform ⌘T Cancel
Transform ▶
Auto-Align Layers...
Auto-Blend Layers...
Purge ▶
Opacity:
Purge ▶
Preserv
Adobe PDF Presets...
PHOTOSHOP REPEAT:
BLOCK REPEAT WITH
OFFSET FILTER
You can create an easy block repeat by defining your design
unit as a pattern. However, if your design is not a simple,
flat motif and has texture, you will see a seam appear.
By offsetting the design you can carefully mend the seam
and avoid any ugly lines passing through the repeat. The
mending of a seam can take time and patience, but it is an
important part of the process of achieving a beautiful and
natural pattern.
STEP 2
Your artwork should now be cut into four and flipped
so the outsides of the design will match edge to
edge. However, seams now run through the design.
Mode: Normal
73
STEP 3
You need to carefully mend the seams, using any
tools you think are appropriate for the job. Here, the
Clone tool is used to retain the painted textures.
Select a soft brush option to avoid creating hard
edges. Paint and draw back into the seams using
the Eyedropper tool for color-matching. You can also
copy and paste parts of the design to rebuild an
area around the seams. Clone tool
The Spot Healing Brush tool will copy the texture
from a selected area and match it to the color and
tone of the area you are mending.
With Content-Aware Fill, you can copy and color-
match data from one area of the image to fill in
another selected area. The selected area changes
to match the area around it and fills in the selection
with actual image detail.
STEP 4
Once you are happy with your mending you
can offset again (steps 1 to 3) to check the
repeat unit.
Finally, flatten the artwork.
Layer > Flatten Image.
STEP 5
Before you define the pattern you can change
the unit size.
Image > Image Size.
Pattern Name
STEP 6
Edit > Define Pattern.
OK
Name: ophilia 1.tif Name your pattern and click OK.
Cancel
PHOTOSHOP REPEAT:
SIMPLE HALF-DROP
MOTIF
This tutorial shows a simple method for creating a
half-drop if you have a motif you wish to put into repeat.
As the motif is self-contained, there are no seams to mend
and no need to use the more complex method for making
a half-drop repeat shown on page 96. You can use this
method to create simple patterns that you can store in your
Pattern Library.
Document Size:
STEP 3 STEP 4
Filter > Other > Offset. Image > Canvas Size.
In the Offset dialog box, ensure that Wrap Select the middle box on the left-hand side of the
Around is selected. Divide the Vertical pixel Anchor grid.
image size by two and enter the new value. For Width, enter 200 percent.
Click OK.
STEP 5
You have already copied the original motif.
Edit > Paste.
Position the new motif next to the first.
Flatten the image.
Layer > Flatten Image.
STEP 6
Change the size of the motif if you wish.
Image > Image Size.
Fill
STEP 7 STEP 8
Edit > Define Pattern. Open a new document. Contents
OK
Name your pattern and click OK. Edit > Fill. Use: Pattern
Cancel
Cick on Custom Pattern and
Custom Pattern:
Pattern Name
find your new pattern.
Blending
OK
Name: Half Drop Flower.tif Mode: Normal
Cancel
Opacity: 100 %
Preserve Transparency
PHOTOSHOP REPEAT:
HALF-DROP REPEAT
STEP 2
Select > All.
Edit > Free Transform.
Notice the crosshairs that appear to mark the
central point of your design.
STEP 3
View > Rulers.
Drag a guide down so it clicks into place over
the crosshairs.
Press Escape.
STEP 4
Select your design.
Edit > Copy.
Deselect the design.
Canvas Size
HALF-DROP REPEAT 97
STEP 8
Now you need to carefully mend the seams, using
any tools you think are appropriate for the job.
Here, the Clone tool is used to retain the painted
textures. Select a soft brush option to avoid
creating hard edges. Paint and draw back into
the seams using the Eyedropper tool for color-
matching. You can also copy and paste parts of the
design to rebuild an area around the seams.
The Healing Brush tool will copy the texture from a
selected area and match it to the color and tone of
the area you are mending.
With Content-Aware Fill, you can copy and color-
match data from one area of the image to fill in
another selected area. The selected area changes
to match the area around it and fills in the selection
with actual image detail.
STEP 9
Select > All.
Edit > Copy.
It can help to copy and paste other design elements
during the process. For example, the red flower on the
right-hand side was only half an element in the design
work and would otherwise have been quite hard to
complete using standard Photoshop tools.
STEP 10
Image > Canvas size.
Set the Width to 200 percent so that the canvas
doubles in width.
Canvas Size
STEP 13 STEP 14
Now mend the seams as before. Image > Image Size.
Note the pixel size.
Image Size
Document Size:
Scale Styles
Constrain Proportions
Resample Image: Bicubic
Canvas Size
Cancel
Filter > Other > Offset. Image > Canvas Size. Height: 11.8 inches
Offset
Cancel
Vertical: +1770 pixels down
Preview
STEP 17
Undefined Areas
Your design is now in a half-drop unit.
Set to Background
Repeat Edge Pixels At this point you may alter the image size.
Wrap Around This is the unit that you can give to a digital
print bureau to print out in repeat.
Pattern Name
Cancel
Select > All.
Edit > Define Pattern.
Name the pattern and press OK.
Open up a new document to see the repeat effect.
Edit > Fill.
Select Pattern and find your new pattern.
HALF-DROP REPEAT 99
TUTORIAL 15
PHOTOSHOP PATTERN:
GINGHAM
Preferences
General Guides OK
STEP 2
Interface
Adjust your grid settings.
Color: Cyan Cancel
File Handling Photoshop > Preferences >
Performance Style: Lines Prev Guides, Grid & Slices.
Cursors
Transparency & Gamut Smart Guides Next A dialog box will appear. Set a Gridline every
Units & Rulers
Color: Magenta
0.2 in (0.5 cm), and set Subdivisions to 1.
Guides, Grid & Slices
Plug-Ins
Type
Grid
Color: Custom Gridline Every: 0.2 inches STEP 3
Style: Lines Subdivisions: 1 View > Show > Grid.
View > Snap To > Grid.
Slices
Line Color: Light Blue Show Slice Numbers
STEP 4 STEP 5
Select the Pen tool from the toolbar. Click on the Paths palette to see the paths
Use the Pen tool to draw alternating squares, using you have created.
the grid as a guide to create a checkerboard effect. Click on the Selection icon at the
The anchor point should click automatically to the bottom of the palette to make your path
corner point of each grid square. a live selection.
PATHS
Work Path
Pen tool
STEP 6
Edit > Fill. Selection icon
Choose black as the foreground color.
GINGHAM 101
STEP 7 STEP 8
Drag horizontal and vertical guide lines Use the Pen tool draw a central five-by-five square.
0.2 in (0.5 cm) from the edge of the design. Make it into a selection in the Paths palette.
Edit > Fill > Foreground Color.
STEP 9 STEP 10
Use the Pen tool again to draw and fill in the corner Now, with your guide lines as your guides and,
three-by-three squares and, as before, select them. using the Crop tool in the Tool palette, crop your
Fill the squares with white. design. You have now created the unit for your
gingham pattern.
Blending
Select the gingham and fill with white.
Now select it again, and fill with your desired color.
Mode: Normal
However, in the Fill dialog box change the Opacity
Opacity: 80 % to 80%.
Preserve Transparency
STEP 12
Use the Pen tool to draw the central square. Select
it and fill it with the same color but with Opacity set
to 100%.
Fill
Contents
OK
Use: Pattern
Cancel
Custom Pattern:
Blending
Mode: Normal
Opacity: 100 %
Preserve Transparency
STEP 13
Now your gingham is ready. You can change its size
using the Image Size dialog box to vary the scale.
Image > Image Size.
STEP 14
OK
Name: Red Gingham Select > All.
Cancel Edit > Define Pattern.
Name your pattern and click OK.
Create a new document.
Edit > Fill.
Select Pattern and find your gingham.
GINGHAM 103
TUTORIAL 16
PHOTOSHOP PATTERN:
CREATING STRIPES
STEP 2
Fill the selected area with color using the Paint
Bucket tool. Continue to build up stripes across the
area using this method.
STEP 3
Complete your stripes.
Select > All.
STEP 4
Edit > Define Pattern.
Name your stripe and click OK.
Pattern Name
OK
Name: Stripe 1
Cancel
Fill
STEP 5
Contents
Open a new document. OK
Use: Pattern
Edit > Fill. Cancel
Select Pattern and find your stripe. Custom Pattern:
Fill the new document with your new stripe.
Blending
Mode: Normal
Opacity: 100 %
Preserve Transparency
ILLUSTRATOR REPEAT:
BASIC PATTERN
SWATCH
STEP 1 STEP 2
Create your motif. If it has several elements, group To create a simple block tile, place the motif in the
them together. center of a square, and select both the square and
Object > Group. the motif.
Edit > Define Pattern.
Name your motif.
Define Pattern...
Edit Colors ▶
Edit Original
STEP 9
Create a shape and fill it with your new swatch tile.
Experiment with the Transform tools to change the
pattern rotation and scale.
Object > Transform > Rotate.
Object > Transform Scale.
Make sure you have the Patterns option selected
and Objects and Scale Strokes & Effects deselected.
Scale
Uniform
OK
Scale: 50 %
Cancel
Non-Uniform
Copy
Horizontal: 50 %
Preview
Vertical: 50 %
Options
Scale Strokes & Effects
Objects Patterns
Proof Setup ▶
Proof Colors
Zoom In ⌘+
Zoom Out ⌘-
Fit Artboard in Window ⌘0
Fit All in Window ⌥⌘0
Actual Size ⌘1
Hide Edges ⌘H
Hide Artboards ⇧⌘H
Show Print Tiling
Show Slices
Lock Slices
Rulers ▶
Hide Bounding Box ⇧⌘B
Show Transparency Grid ⇧⌘D
Hide Text Threads ⇧⌘Y
Guides ▶
Smart Guides ⌥⌘U
Perspective Grid ▶
Show Grid ⌘쥶
Snap to Grid ⇧⌘쥶
Snap to Point ⌥⌘쥶
New View...
Edit Views...
STEP 4
Repeat this action with the keyboard shortcut
Command + D to build up a row of four diamonds.
URL:
STEP 4 STEP 5
Open Photoshop and then open your Illustrator Click OK and your pattern tile will open.
pattern file. An Import PDF dialog box will appear. At this point you can change the image size.
Alter the resolution to 300 pixels/inch. Image > Image size.
Import PDF
Height: 29.7 cm
Constrain Proportions
Suppress Warnings
1 of 1 page(s) selected
Rectangle
STEP 1
Use the Rectangle tool to create a
Options
OK 0.4 x 0.4 in (1 x 1 cm) square.
Width: 0.4 in
Cancel
Height: 0.4 in
Rectangle tool
Preferences
Smart Guides
STEP 2
Display Options OK Illustrator > Preferences > Smart Guides.
Cancel Set the Construction Guides to 45° Angles.
Color: Green
Check the View menu to make sure Smart Guides
Alignment Guides Anchor/Path Labels Previous
and Snap to Point are on.
Object Highlighting Measurement Labels Next
Transform Tools
45 135
Snapping Tolerance: 1 pt
STEP 3
Set Stroke and Fill to “None.”
STEP 5
Use the Selection tool to grab the diagonal line.
Drag it toward the right-hand corner of the square,
holding down the Shift and Option/Alt keys to
constrain and copy it.
Do not release the mouse button or the keys until
the cursor goes white; this means the line has
snapped into place.
Repeat for the left-hand corner line.
STEP 6
Select all three lines to change the
stroke color.
New Swatch
STEP 8 SWATCHES BRUSHE SYMBOL
Swatch Name: Blue Diagonal OK
Select > All.
Edit > Define Pattern. Color Type: Process Color Cancel
Name your pattern and click OK. Global
The new pattern tile will appear in the Color Mode:
Swatches palette.
C 0 %
M 0 %
Y 0 %
K 0 %
Scale
Uniform
OK
Scale: 50 %
Cancel
Non-Uniform
Copy
Horizontal: 50 %
Preview
Vertical: 50 %
Options
Scale Strokes & Effects
Objects Patterns
Reflect
STEP 10
To build up a basic diagonal plaid: Axis
Object > Transform > Reflect. OK
Horizontal
Select Vertical Axis and the Patterns option, Vertical Cancel
and then click Copy.
Angle: 90 º Copy
With this new box selected, open the
Transparency palette.
Options Preview
Window > Transparency.
Objects Patterns
Lower the Opacity to create a weave effect.
STEP 11
Create some different color variations and save your
swatches to the Swatch Library.
PLAID 3
Move
STEP 2
Select the new rectangle. Press Return and Position
OK
Horizontal: 0.8 in
the Move dialog box will appear. Cancel
Vertical: 0 in
Enter a Horizontal Position of 0.8 in (2 cm).
Copy
Select the Objects option and press Copy. Distance: 0 in
Preview
Press Command + D repeatedly to complete Angle: 0 º
the row.
Options
Objects Patterns
STEP 3
Fill alternate rows with a different color.
Rectangle
STEP 4
Complete the horizontal rows using the same Options
OK
Width: 8.3 in
method. Create a rectangle with a Width of
Cancel
8.3 in (21 cm) and a Height of 0.4 in (1 cm). Height: 0.4 in
Enter a Vertical Position of 0.8 in (2 cm)
in the Move dialog box.
STEP 5
Select alternate rows and change the
Opacity in the Transparency palette to
achieve a woven effect.
STEP 6
Create a new layer. On this, create a new grid
with a fill color 0.2 in (0.5 cm) in width.
STEP 7
Turn off the top layer to reveal your new check.
Select all and open the Pathfinder palette.
Window > Pathfinder.
Select the Exclude icon, which excludes the
overlaps and cuts them away.
2 Layers
PLAID PATTERNS 115
TUTORIAL 20
ILLUSTRATOR PATTERN:
HALF-DROP
Zoom In ⌘+
Zoom Out ⌘-
Fit Artboard in Window ⌘0
Fit All in Window ⌥⌘0
Actual Size ⌘1
Hide Edges ⌘H
Hide Artboards ⇧⌘H
Show Print Tiling
Show Slices
Lock Slices
Rulers ▶
Hide Bounding Box ⇧⌘B
Show Transparency Grid ⇧⌘D
Hide Text Threads ⇧⌘Y
Guides ▶
√ Smart Guides ⌘U
Perspective Grid ▶
Show Grid ⌘
쥶
Snap to Grid ⇧⌘
쥶
√ Snap to Point ⌥⌘
쥶
New View...
Edit Views...
STEP 3
To create a half-drop repeat, duplicate the design
and align it next to the original so that the box
edges are touching and the vertical alignment is
on the center guide.
You can duplicate using the Copy and Paste
commands found in the Edit menu, and use
the Align palette found in the Windows menu.
Alternatively, select and hold the object with the
mouse, then press Option/Alt+Shift and drag the
object away to automatically duplicate it.
If you drag from the corner edge of the box, the
Smart Guides will snap to the edge of the original.
STEP 4
Duplicate and align the design again, with
the bottom of the new box aligned with the
center guide.
HALF-DROP 117
STEP 5
Drag some vertical guide lines to snap to the left
and right sides of the design. Use the Ungroup
command in the Object menu as many times as
possible to ungroup all the objects.
Object > Ungroup.
Delete all the color boxes and make another box
to fit the guide edges.
Edit > Copy.
STEP 6
Select the new box.
Object > Arrange > Send to Back.
Object > Lock > Selection.
Make sure the box is still selected.
Edit > Paste in Front.
of the boxed area. Select and delete the Unlock All ⌥⌘2
Hide ▶
excess design. Show All ⌥⌘3
Expand...
Expand Appearance
Flatten Transparency...
Rasterize...
Create Gradient Mesh...
Create Object Mosaic...
Creare Trim Marks
Slice ▶
Path ▶ Join ⌘J
Blend ▶ Average... ⌥⌘J
Envelope Distort ▶
Outline Stroke
Perspective ▶
Offset Path...
Live Paint ▶
Live Trace ▶ Simplify...
Text Wrap ▶ Add Anchor Points
Remove Anchor Points
Clipping Mask ▶
Compound Path ▶
Divide Objects Below
Artboards ▶ Split Into Grid...
Graph ▶
Clean Up...
STEP 9
Test your design by creating a larger box and filling
it with your new swatch.
HALF-DROP 119
120 CHAPTER 4: INTRODUCTION TO ILLUSTRATION
4
INTRODUCTION
TO ILLUSTRATION
XXXXXXX 121
INTRODUCTION
TO ILLUSTRATION
Textile designers need to present their collections, once designs are for heavy wools and knits, for example, then you
designed, in a context that enables others to understand them. might consider a collage medium to give a sense of weight.
This usually means depicting the designs on a garment or an Alternatively, if your designs are intended for lightweight silks
interior. This takes the designs to another level by putting or chiffons then you could consider working with transparent
them into a realistic environment and giving the collection paint effects to suggest movement and fluidity.
a sense of place. Lately the industry has seen the arrival of
a wealth of exciting new fashion illustration techniques, due Finally, if you are designing textiles intended for fashion, you will
partly to advances in digital technology. This has opened up need to develop a style of figure drawing. Most textile designers
not just a whole new medium, but also a fresh way to approach who are not fashion designers tend to panic at the thought of
the subject. figure drawing. But, equipped with their sensual and sensitive
drawing skills, they can soon find a confident approach to
Illustration is no longer a literal interpretation of textile designs. fashion drawing. A good way to overcome any barriers is
Instead, illustrators are playing with a world of fantasy and through life drawing; developing sketches and line drawings of
illusion, creating a mood and ambience in which viewers can the figure in various media that can then be drawn upon at a
lose themselves. The sensual and decorative approach that later date. Photography is also a useful medium with which to
a textile designer has to offer is an excellent starting point. experiment. Photographs can be traced by hand or digitally and
By combining drawing, painting, collage, and photography, are a helpful way to start an illustration. Tracing should not be
designers can produce exciting and energetic work that can considered as cheating, especially for textile designers who are
explore a narrative, giving their design work another dimension. not used to working with the figure. Once you have traced an
outline you can apply your own illustrative style as you develop
More often than not the computer is used only as a medium the artwork.
to assemble drawings and design work before collaging them
together. The most successful illustrators include some form of At what stage you apply digital techniques to your illustration
personal “handwriting” in their work. The best starting point is up to you. It may be that you use the computer simply to
is often a sketch, painting, or drawing in which the designer manipulate and assemble your drawings using Photoshop, or
experiments with mood and artistic style. Books and magazines you may wish to give your work the kind of very computerized
can be a great source of inspiration and it is also important style that Illustrator can offer.
for the designer to keep up with trends—not only in fashion
but also in graphic styles. Most of your inspiration will tend to This chapter includes basic tutorials showing techniques
come from your original textile collection though, and from this in both Photoshop and Illustrator that you can adapt and
you will probably have established a theme and have already develop in your own work to create an individual and personal
developed an idea of how you want to portray your designs. illustrative style.
Previous page:
This illustration was created by Chae
Young Kim for her “Camouflage Kitchen”
dress, the concept being to create
a “future vintage” by giving objects
from the 1960s and 1970s a modern
expression. After photographing
her garment on a mannequin, she
superimposed it onto a background
created in Photoshop. The images
were enhanced with lighting effects
and filters.
DISPLACEMENT MAPS
You will need two images: the image you wish to warp (the
design) and the image you want to warp onto (in this case,
a skirt).
STEP 2
Convert the duplicate image to grayscale.
Image > Mode > Grayscale.
Save the grayscale image in Photoshop (PSD) or
TIFF format so Photoshop can identify it and use it
as a displacement map.
Return to your original color image.
STEP 3
Use the Pen tool to draw around the skirt and
create a path.
Pen tool
Once you have created the path, you can edit it
with other Pen tools, found in the Tool panel. The
Pen tool in Photoshop replicates the Pen tool in
Illustrator. It can take a bit of getting used to, but
it is worth getting to know as it can be an accurate
selection tool.
Pen Tool P
There are also two useful Path tools located in Your path will appear in the Paths panel. Save MINI BRID LAYERS CHANNELS PATHS
the Selection tool menu: the Path Selection tool the path using the Paths panel drop-down Save Path...
Work Path Duplicate Path...
enables you to move the whole path; the Direct menu, then click on the Path Selection icon at
Delete Path
Selection tool will let you move a single anchor point. the bottom of the panel. This will make the path
a live selection. Make Work Path...
Make Selection...
Path Selection Tool A Fill Path...
Stroke Path...
Direct Selection Tool A
Clipping Path...
Pattern Name
OK
Name: Rose repeat.tif
Cancel
STEP 5
Open a new document and fill with your pattern.
Edit > Fill.
Select Pattern and find your design.
Select > All.
Edit > Copy.
Background
File Edit Image Layer Select Filter Analysis 3D View Window Help
STEP 6 Undo Copy Pixels ⌘Z
Now go back to your original image and Step Forward ⇧⌘Z
Layer Step Backward ⌥⌘Z
select your path.
Edit > Paste Special > Paste Into. Fade... ⇧⌘F ge Maya.tif @ 17.3% (RGB/8) º
Maya.tif d Open image 2.tif Open image Maya.tif @ 17.3% (RGB/8) º
Cut ⌘X
Copy ⌘C
Copy Merged ⇧⌘C
Paste ⌘V
Paste Special Paste In Place ⇧⌘V
Clear Paste Into ⌥⇧⌘V
Paste Outside
Check Spelling...
Find and Replace Text...
Fill... ⇧F5
Stroke...
Purge ▶
STEP 8 Displace
Now it is time to use the displacement map. Horizontal Scale 10 OK
Filter > Distort > Displace.
The Displace dialog box will appear; accept the Vertical Scale 10
Default
default options and click OK. Displacement Map:
Photoshop will ask which image you wish to use as Stretch To Fit
the Displacement Map. Tile
Select your grayscale image.
Undefined Areas:
Wrap Around
Repeat Edge Pixels
You will see the artwork bend slightly, but it will To reveal the folds of the skirt underneath the
still look flat. pattern, go to Multiply in the Layers palette.
Layer 1
Background
Brightness/Contrast
STEP 1
Scan your line drawing and open it up in Photoshop. Brightness: +14 OK
Cancel
STEP 2
Image > Adjustments > Brightness/Contrast.
Move the sliders to achieve a good definition.
STEP 3
Clean up your image, using the Eraser tool to
rub out any stray lines.
Join up any gaps between the outlines in order
to make complete shapes to paste your design
work into.
Background
Layer 2
Figure 1
Background
STEP 11
Again, it is important to manage your layers. Turn
off the background layer and the line drawing layer.
With one of the design layers highlighted, click on
the menu button in the top right-hand corner of the
Layers palette and select Merge Visible from the
drop-down menu to flatten the layers.
Dress
Layer 2
Layer 3
Layer 4
Layer 1
Background
STEP 12
You should now have three layers. With the figure
drawing layer selected, paint in the figure by
making selections with the Magic Wand tool
and filling them with color.
Layer 2
Layer 1
Background
Layer 4
Layer 1
Layer 5
Background
STEP 16
Open up some drawings that you can paste into the
background. Here, the bird was selected with the
Magic Wand tool and copied and pasted onto the
illustration, then colored in.
STEP 17
To create the button tree, scan in a tree-trunk
silhouette, select it with the Magic Wand tool and
paste it into the background.
PATHS
Work Path
STEP 20
Copy > Paste.
Use the Move tool to arrange the buttons.
Duplicate the button layer to build up the
button tree.
Merge the button-tree layers to create one layer,
as before.
CREATING GRAPHIC
SILHOUETTES
This tutorial demonstrates how to place a print design into
context for display purposes. The example shows a simple
stripe being placed into a basic fashion figure illustration.
Locate Object
Merge Selected
Flatten Artwork
1 Layer Collect in New Layer
Template
Hide All Layers
Outline All Layers
Lock All Layers
Panel Options...
STEP 2
Using the Pen tool, draw around the outline of
the figure. You will need some knowledge of the
Pen tool to create and control curves. You will also Pen tool
need to know how to cut paths using the Scissors
tool and use the Direct Selection tool to join the
paths together (this is to separate the drawing into Scissors tool
different sections, ensuring that each section is
closed so it can be filled with a color).
LAYERS
Layer 2 O
Layer 3 O
Layer 1 O
3 Layers
SWATCHES
STEP 4 STEP 6
Now working on the figure layer, you can select Open Photoshop and create a new Letter-size (A4)
parts of the garment and figure and fill with color. document. From your Illustrator document, copy
and paste each layer of your illustration into your
Photoshop document, as well as your simple stripe
pattern. Name your layers (you should have four).
STEP 5
Next, open a new Illustrator document and create
a simple stripe for your pattern (see Tutorial 16,
LAYERS CHANNELS PATHS
page 104).
Normal Opacity: 100%
Stripe
Figure
Background Color
Background
STEP 7
The stripe pattern may appear too large, in
which case you can reduce it to the appropriate
scale by selecting the stripe layer and choosing
Edit > Transform.
STEP 8
To select the area you wish to apply the pattern
to, select outside the pattern area with the Magic
Wand tool.
Select > Inverse.
To create a pattern swatch, choose
Edit > Define Pattern.
Name your pattern and click OK.
Pattern Name
OK
Name: Stripe
Cancel
Pattern Fill
Stripe
Figure
Background Color
STEP 9
Create a new layer and draw a square marquee over
the part of the garment you wish to fill with your
stripe.
Edit > Fill > Pattern.
Find your stripe pattern. Reduce the Opacity of the
layer to reveal the garment.
STEP 10
Now you need to make your stripe follow the
contours of each section of the garment.
To do this, use the Free Transform tools. Choose
Edit > Transform > Rotate to rotate your stripe to
follow the direction of the garment section.
Choosing Edit > Transform > Warp will put a grid
around the pattern. You can warp the grid so it
bends with the contours of the garment.
STEP 11
Go to the illustration layer and with the
Magic Wand select the part of the jacket you are
working on. Now go to the pattern fill layer.
Edit > Copy.
Edit > Paste.
Turn off the pattern fill layer. Your pattern fill will
be now in the jacket section. Repeat steps 8, 9, and
10 on each section of the garment.
141
DIGITAL CRAFT
The introduction of new technology in the 21st century is
impacting on many different areas of our lives and is developing
at such a rapid pace that it is sometimes difficult to keep up. For
the “digital generation,” technology has become second nature.
For the designer rooted in traditional processes, technology
is no longer possible to ignore. Some designers see it as a
challenge to introduce new digital methods into their work,
while others are fiercely protective of their tradition and craft.
Once the fabric has been put through the devoré process, the
base color of the fabric is revealed. This area can be cross-dyed
to reintroduce color into the cloth. Cross-dyeing works well
with the devoré process as it stands out on the fiber that has
not been burned away. If you used a screen to apply the devoré
paste, you can use the same screen to apply the cross-dye.
RICHARD WESTON
The writer and architect Richard Weston, Weston’s designs are digitally printed onto
Professor of Architecture at Cardiff University, the best silks by the finest digital silk printers
Wales, came to digital textile design through his in Como, Italy, maintaining the beauty of the
passion for collecting beautiful precious stones, original minerals; as a final touch, the edges of
minerals, and fossils. Scanning in his mineral the silk are then “machine hand-rolled.” After
collection at high resolution, Weston was able to securing an order from Liberty, Weston launched
capture remarkable patterns and colors. “The way his first designer collection in June 2010. His
the color works in these minerals is partly pigment vibrant “Mineral Scarves” are now a best seller
and partly optical effect, so the absorption and in the scarf department of the prestigious London
reflection patterns are very different. You can get department store Liberty, displayed alongside
two scans from the same stone and you wouldn’t designs by Alexander McQueen, Christopher
believe they were from the same mineral.” Kane, and Jonathan Saunders.
Enlarging the scanned images and “cleaning them
up” in Photoshop enhanced and magnified the Weston’s scarves demonstrate the rich
original natural forms. possibilities that digital print offers and show how
an amateur’s passion and love of natural forms
A friend told Weston it would be possible to can be translated into a beautiful product.
digitally print his images onto fabrics. With
this knowledge, Weston began his unexpected
journey into the world of fashion through digital
textile printing, turning his hobby into a range of
luxurious scarves.
REBECCA EARLEY
Rebecca Earley is a lecturer in Textiles Environment In 1998, Earley’s interest in the environment
Design at Chelsea College of Art and Design, prompted her to analyze her own studio design
London. She is an award-winning fashion textile and production practices. She subsequently
designer who produces textiles for her own label, developed an exhaust printing technique that
B.Earley, which she set up in 1995 with backing produced hand-printed textiles with no water
from the Crafts Council and the Prince’s Trust. pollution and minimal chemical usage. She has
A practice-based design researcher, her work continued to investigate new techniques and
encompasses a wide range of design-related theoretical approaches to textile design, working
activities including producing digitally printed on a variety of projects, including Natural Indigo
textiles for her own label, undertaking public at the Eden Project; Well Fashioned, an exhibition
art projects and commissions, and acting as an of eco-fashion at the Crafts Council Gallery; Ever
educator, facilitator, and curator. & Again: Rethinking Recycled Textiles, a three-
year project funded by the Arts and Humanities
Earley graduated from Central Saint Martins in Research Council; and Top 100, a long-term
1994 and her graduate collection was widely polyester-shirt recycling project.
recognized as groundbreaking. The heat-photogram
print technique that she pioneered has since In 2002 Earley joined the Textiles Environment
become an industry-standard process. Design (TED) project—a research project where
staff and students work collaboratively and on
Earley’s collections demonstrate how the designer individual projects. This unique research cluster
can work fluently with digital technology and seeks to explore the role that the designer can
handcrafted techniques. She retains the original play in producing more environmentally friendly
handcrafted look of the heat-photogram process, textiles. TED places the designer, rather than
in which she paints disperse dyes directly onto the manufacturer or consumer, center stage,
transfer paper, places a real object directly onto since “80–90 percent of total lifecycle costs of
the paper, and applies heat to transfer the image any product (environmental and economic)
onto polyester. Now working digitally, she scans are determined by the product design before
in the original photogram artwork and then production ever begins” (“More for Less,” Design
rearranges it using imaging software. This gives Council Report, 1998).
her the scope to change the scale and composition
of her artwork, and more freedom to experiment. TED has developed a series of environmentally
Her designs are printed out on a desktop printer friendly principles and strategies, including
using sublimation printing. minimizing waste; using less harmful substances,
energy, and water; utilizing new low-impact
In the collection featured here, shirts have been technologies; designing systems and services to
created and delicately embellished with stitched support textile products; and creating long- or
and pleated details inspired by research into short-life textiles. Social and cultural awareness
traditional English gardening attire and images and concern for the environment have grown
of old garden artifacts. Earley uses the digital exponentially, and Earley and TED have played
process as another tool to integrate into her a key role both nationally and internationally in
creative process. creating and promoting eco textile design.
Earley’s “Digital
Photogram Collage”
was created using
heat-photogram prints
on fabric, which was
then digitally scanned
and manipulated and
digitally printed.
TRADITIONAL
PRINT TECHNOLOGY
In order to understand the advantages of digital textile printing,
it is important to comprehend the preceding technologies.
Most traditional methods of printing textiles (as well as other
media) are based on processes that use a template as a method
for transferring a design onto the substrate. The techniques
described here explain the basic categories of traditional textile
printing techniques.
WOODBLOCK PRINTING
Block printing is an ancient method for printing images onto
fabric. It is generally associated with woodblock printing, but
blocks have also been made from terracotta or metal. An image
is carved into the wood to create a relief of the design and then
Woodblock prints on silk crêpe and
pressed into colorant. The ink that remains on the surface of linen (c. 1930–50) by Joyce Clissold,
the block is then transferred to fabric by pressure. The blocks along with some of the original
can range from a simple small motif using only one color to woodblocks used to make them.
complex and large-scale blocks that require stamina and skill
on behalf of the printer. The blocks are registered by pin marks
that the printer lines up with each repeat of the block. This was
the main process for printing textiles in 19th-century England.
STENCILING
All screen printing works on the principle of a stencil and
the use of positive and negative imagery. Stenciling involves
isolating each color found in an image as a positive or negative
Examples of positive
shape, defined by color boundaries. Holes defined by the area
and negative paper
for each shape are cut into a thin substrate such as a metal stencils and their
sheet or waxed paper, through which the colorant is applied; corresponding
the other colors are masked out. In Japan stencils are still used printed results.
to create the intricate designs that are printed onto kimonos.
Although digital printing is the fastest-growing method of textile printing, at the time of writing less than 1 percent of
the world’s textiles are digitally printed, with silk-screen printing still accounting for 80 percent of the global output of
printed textiles. This is because rotary screen-printing technology is more financially viable for the mass-market sector of
the industry.
Speed and print a strike off (sample) for advantages over other dyes: they are
The industry standard for digital customer approval before proceeding more lightfast and retain color better
printers at the time of writing is an to production. With digital printing the after washing, can be cheaper, can be
average of over 220 yards (200 meters) process requires only color matching printed on a broader range of fabrics,
per hour, giving traditional methods and printing off for customer approval, and require less intervention in the
the advantage, achieving around 6560 reducing the lead time significantly. fixation process.
linear yards (6000 linear meters) of
fabric per hour. However, while the print Expense Versatility
time is fast with traditional methods, Printing numerous colors has cost A clear advantage of traditional
the lead time needed for a print to implications with rotary screen printing methods over digital printing is the
get into production is much slower. (as a separate screen must be prepared ability to complete more than one
For example, it can take up to three for each color), whereas with digital process, such as discharge printing,
weeks to get traditional textile prints printing it makes no difference resist techniques, devoré, flocking,
into mass production, while digital whether you have three or unlimited relief techniques, and printing with
production is almost instantaneous. colors in your design. The cost of metallic and pearlescent pigments.
This is because traditional printing dyes and inks can vary significantly Research is being completed into
plants require someone to color- with traditional methods, and a these areas, but currently none are
separate the design, manage the repeat lot of research is being carried out yet commercially available for use in
pattern, engrave screens, color-match, in this area. Pigments have many digital printing.
deflector
gutter
substrate
Basic mechanics of the print
head used in piezoelectric DOD
inkjet technology.
WOOL O O O
LINEN O O
COTTON O O
NYLON O O
POLYESTER O O
RAYON O O
INCREASED SCALE
One of the first reactions from designers upon the introduction
of digital print for textiles was excitement at the fact that repeat
(of the design unit or croquis) was no longer necessary, as
it was suddenly possible to print mural-sized images. Digital
printing technology means that the only limit to the size of a
design is the software’s capacity to handle large files.
ENGINEERING DESIGNS
In general, the mass market utilizes print to “fill in” garment
outlines rather than to interact with the garment and body. Print
is placed on top of garment shapes rather than being developed
in unison. This often creates a clumsy and inappropriate use
of print. Inkjet printing engenders a stronger relationship
between the product and image. By printing the image to the
exact specifications of a garment or product, print designers
can more fully engage with the relationship between form
and image.
The most prohibitive factor in the currently used only for sampling and to printing is not yet capable of some of
adoption of digital inkjet technology create prototypes that will eventually the decorative effects that are possible
is that it is still much more expensive be produced using traditional methods. with silk screening, such as devoré
than screen-printing and heat-transfer At the time of writing, 1 percent of the and flocking. It is also not yet capable
methods. While the costs are coming world’s textiles are printed digitally. of printing metallic inks onto fabric.
down, it will take a substantial period Research is currently underway into
of development and integration to In design terms, the advantages of the development of these techniques.
begin to compete with rotary printing. digital fabric printing far outweigh
Commercially, many digital printers are those of traditional methods, but digital
Using a spectrophotometer
to read in a color target in
order to generate a specific
profile containing individual
printer settings.
A Continuous Flow Inkjet Technology (CIJ) One of Electrostatic Printing Also known as laser
Alginate A substance extracted from seaweed that the two types of inkjet printing technology; in this printing. A process where liquid toner is adhered
is used as a thickening agent. process a high-pressure pump directs liquid ink to a light-sensitive print drum; static electricity
from a reservoir through a microscopic nozzle, is then used to transfer the toner onto the
Avatar A virtual depiction of a human figure, thus creating a continuous stream of ink. printing medium, to which it is fused via heat
usually animated. (See also DOD.) and pressure. This is the technology used in
most photocopiers.
B Coordinated Prints A group of print designs based
Batik A resist-based dyeing technique where wax on the same concept and color palette, for use in Emulsion A mixture of two unblendable
is applied to a fabric in order to delineate the conjunction with each other. substances; light-sensitive emulsions are often
design by creating a mask before dyeing. used in the preparation of hand silk screens.
(See also Shibori.) Croquis The original artwork of a design unit
intended for a printed textile, before it is put Engraver In the textile industry this refers to a
Bespoke A one-of-a-kind customized product; into repeat. company that prepares silk screens for printing.
made to order.
D Engraving In the textile industry this term refers
Body Scanner A device that is used to capture Découpage A technique of decorating the surface to the process of preparing a silk screen.
measurements digitally in order to create a of objects such as furniture or boxes by gluing
highly accurate three-dimensional model of an paper cut-outs and illustrations from magazines; Engineered Print (also known as a placement
individual’s body. this is then sealed with varnish for durability. print) A print where the design is laid out to fit
the pattern pieces and structure of a garment.
C Delta e The unit used to quantify the difference
CIE (Commission Internationale de l’Eclairage) between two colors within the CIE color space. F
This international commission on illumination Fixation The process of permanently bonding a
was established to create objective standards for Devoré (also known as burn-out) A method of dye or pigment to a substrate.
defining and communicating color. printing onto fabric with more than one fiber
type. The areas of the design are printed with a Fixation Agent (also known as a mordant) The
CMYK Subtractive color model consisting of chemical that burns out one of the fabric’s fiber chemicals used to aid the process of permanently
cyan, magenta, yellow, and key (black). In digital types to leave a translucent area. bonding a pigment or dye to a substrate.
printing, these four basic ink colors are combined
in a matrice of dots to create all the other colors Digital Textile Printing A general term that Flat Bed Silk Screen A silk screen that is stretched
that will be printed. includes all forms of digital printing, such as laser over a rectangular frame.
and inkjet technology.
Color Calibration The management and Flock Printing A method where areas of the fabric
adjustment of color data within a closed Discharge Printing A method of printing using are first printed with glue, and then have flock
workflow environment for both input and chlorine or other chemicals to remove areas of fibers or paper applied to them. Once dried, the
output devices. previously applied color and replace them with excess flock is removed to leave a raised velvet-
another color. like surface.
Color Gamut A complete subset of colors that
can be accurately represented for a given device, DOD (Drop on Demand) One of the two types G
such as a monitor or printer. Different devices of inkjet printing technology and the most Gravure Printing A printing process where the
have different gamuts. commonly used in digital textile printing; the image to be printed is engraved into a metal plate.
primary DOD method used to print on textiles
Color Management A software system that is known as piezoelectric. (See also Continuous H
controls the conversion of color data for both Flow Ink Technology.) Halftone In the context of digital printing, the
input and output devices. The goal of a printed- shade of a color as it gradates from dark to light
textile color management system is to aid the Dot Matrix In the case of inkjet printing, this is in an image such as a watercolor.
color matching process as data is converted a two-dimensional pattern of CMYK dots that
from emitted RGB into printable CMYK values. combine to generate the printed image. Heat Photogram A method of printing where
dyes are painted onto transfer paper, an object is
Color Profile Data characterizing the color output dpi (dots per inch) Used to determine the then impressed directly onto the paper to create
of an individual device. resolution of a digital image, this is the number of a design, and heat is used to transfer the image
dots per inch within a given image’s dot matrix. onto fabric.
Color Separation (also known as color reduction)
A process where the millions of colors found in a Dye-sublimation Printing There are two forms I
photographic or scanned image are systematically of this kind of printing: indirect and direct. In ICC (International Color Consortium) An
reduced down to a finite number of flat colors the indirect method, an image is first printed organization that creates objective standards for
in order to prepare the design for printing or onto paper using disperse dyes. By means of a defining and communicating color.
engraving, or to aid in the creation of colorways. heat press, the dye particles are then changed
into gas, and so transferred onto polyester-based ICC Profile A set of data defined by the ICC that
Color Space A three-dimensional graphic model fabric. In the direct method, the image is printed characterizes a color input or output device, or a
illustrating a set of colors in which the perceptual onto the fabric substrate, then fixed using heat. color space.
difference between colors is represented by points
within the color space. E Inkjet Printing A specific form of digital printing
Eco Design A method of designing a product that that works by propelling variably sized droplets of
Colorways Versions of the same design that are takes into account its impact on the environment liquid, or molten ink, onto the substrate. The two
composed of different color palettes. at all stages of its life cycle. main types of inkjet printing technology are DOD
GLOSSARY 187
(drop on demand) and continuous flow. (See also Pixel The smallest and most basic unit of visual S
Continuous Flow Inkjet Technology and DOD.) information for a digitized image. Scan The process of capturing the two- or three-
dimensional data of an image or object such as
J Polymer A large synthetic molecule composed a fabric, photograph, or drawing into a digital
Jpeg (Joint Photographic Expert Group) A popular of repeating structural units, usually of high image. (See also Body Scanner).
file format for compressing and saving digitized molecular weight. An example of a polymer-
photographs and images. based fabric is polyester. Shibori Collective term for the different resist-
based techniques of tie-dye, stitch-dye, fold-dye,
L Primary Colors Basic colors from which all other and pole-wrap-dye. (See also batik.)
Laminating A process of using heat or pressure to colors can be made. In the context of this book,
bond two or more materials, such as plastic and the primary colors are those associated with the Silk Screen A method of printing where a fabric
fabric, often used to make waterproof fabric. CMYK and RGB systems. with fine, porous mesh (often silk) is stretched
(See also CMYK and RGB.) over a frame. The design is then delineated by
Large-Format Printer Term used to describe all masking out the areas of the design that will
printers that are wider than desktop printers, and Print Head The part of a printer that contains not be printed, leaving areas open for each
that are usually designed to accommodate rolls of the print nozzles that are responsible for firing the color, through which the ink is pushed using
material and print longer lengths. ink droplets at the substrate during printing. a squeegee.
Lay Plan A grouping of pattern pieces as they are Prototype The original or model on which a Spectrophotometer A device for measuring light
laid out on a piece of cloth before cutting. product design is based or formed. intensity as it relates to the color of the light.
Light Box A specialist piece of equipment used R Spot Color In printing, a term for any ink other
in the color-matching process to view colors Raster A raster graphics image or bitmap is a data than one of the four CMYK colors (cyan, magenta,
under a set of standardized light sources, such structure representing a generally rectangular yellow, and black).
as simulated daylight or UV light. grid of pixels, or points of color, as opposed to a
vector-based image that is based on geometry. Steamer In the context of this book, a device that
M generates steam at high temperatures and is used
Mass Customization A term used to describe Rasterize To convert an image into a matrix of to fix dyes after printing.
the semi-customization of products where the pixels. (See also RIP.)
customer is able to personalize an item by Stencil A technique for printing where holes
choosing from a preset number of features. RGB An additive color model comprised of three defining the shape to be printed are cut into a thin
basic colors—red, green, and blue—emitted as material, such as a metal sheet or waxed paper,
Micro-encapsulation A process in which tiny light and combined to create a broad array of through which the colorant is then pushed.
particles or droplets are surrounded by a coating. colors. Digital cameras, computer monitors, and
televisions all use the RGB system, as opposed Substrate In the context of this book, any material
Moiré Pattern A pattern where the design or to the CMYK system used in digital printing, in which forms the printing surface.
texture of a fabric creates a wave-like effect. which the pigments are not emitted as light, but
as ink to be absorbed by the substrate. Sublimation The transference of a substance from
Monochrome An image whose range of colors is (See also CMYK.) a solid to a gaseous state without passing through
made of shades of a single hue, usually black. a liquid stage.
Ready-to-wear (also known as prêt a porter)
Muslin In the context of this book the term refers The garments in a fashion designer’s collection Strike-off An industry term used to describe a test
to a trial version or prototype of a garment. that are produced in large enough quantities so sample meant to indicate what a design will look
that they may be marketed widely, as opposed like once put into production.
P to limited editions, couture, and show pieces.
Photochemical Process A process that involves T
the chemical action of light. Within the context Repeat A method of laying out/repeating an Thermochromic A substance that changes color
of this book it refers to a technique where a light- image unit to create a continuous pattern. in relation to temperature.
sensitive substance is used to transfer an image
or photograph onto a substrate. Reprographic The reproduction of text and images Tiff (Tagged Image File Format) A popular format
through mechanical or electrical means, such as for saving digitized photographs and images.
Photomontage A technique of producing a photography and offset printing.
composite image by combining a series of U
photographs. Resolution Term used to measure the level of Upcycling The practice of taking something that is
detail in a digital image. Resolution is determined disposable and transforming it into something of
Piezoelectricity (or electric polarity, produced by the dpi (dots per inch) within a given digital greater use and value.
by the piezoelectric effect) An electric potential image’s dot matrix. (See also dpi.)
generated by some materials, such as crystals V
and certain ceramics, in response to applied RIP (Raster Image Processor) Software used Vector Graphic A digitized drawing that is based
mechanical stress. As opposed to thermal DOD, in printing that converts an RGB image into on lines and geometry rather than the individual
this is the primary technology used to create the the pixel-based CMYK data needed to drive pixels in raster-based programs, thus allowing it
ink drops in piezoelectric DOD inkjet printing. the printer. to be manipulated and scaled without affecting its
image resolution.
Pigment A substance that imparts color to other Rotary Screen Printing A form of mechanized silk-
materials. Unlike dyes, pigments are not designed screen printing where the screen is a cylinder. W
to permeate the fabric of the substrate, and bond Woodblock A carved block used to transfer a
only to its surface. design onto fabric.
188 GLOSSARY
DIGITAL PRINT AND
DESIGN RESOURCES
RESOURCES 189
INDEX
190 INDEX
Indigo textile fair, Paris 26 Natural Indigo (Eden Project) 165 heat-transfer see sublimation
inkjet printing 12, 13, 18, 160, 172–5, 172–5, 176, “New York, New York” (Gregson) 24 inkjet 12, 13, 18, 160, 168, 172–6, 178–9, 186
178–9, 186; see also digital printing Nike 20 large-format digital textile 12, 172–3
direct inkjet printing process 174–5, 174, 175 photoprinting 168
inkjet transfers 160–61, 160, 161, 173, 173 O’Connor, Marie 24 relief 168
inks, nanoparticles in 186 ogees 88 rotary screen 170, 170, 171
“Ink Storm” (Van Gennip) 10 “One Tribe, One Style” (Prajapati) 162 silk-screen 145, 145, 169, 169, 170, 170, 171
intaglio see gravure printing “Ophilia” (Purver) 92, 96 stencilling 168–9, 169
interactive textiles 186 organic fabrics 158 sublimation 13, 18, 159, 162–3, 162, 163, 164,
“Interference” (Cooper) 24 Organic Light-Emitting Polymers (OLEPs) 186 173, 173
Isaac, Ceri 15, 20 Orth, Maggie 186 woodblock 168, 168
Isis printer 12, 171, 178 Osiris 12, 178 “Private View” (Houldsworth) 17
“Outer Face, The” (Muller) 33 Pucci, Emilio 19
J. A. Gilmartin 185 over-printing 142 “Purpose, Wisdom and Enlightenment” (Ukeleghe)
jeans, customized 20 “Owl” T-shirt (Boase) 173 145
“Jemima’s World” (Gregson) 56 Purver, Victoria 31
Jones, Katie Irving 155 Paolozzi, Eduardo 25, 33 “Ophilia” 92, 96
“You Can’t Hurry Love” 62 Papandreou, Georgina 149
Joseph, Kitty 29 patterns see repeat patterns quilting 160
“Colour Immersion” 26 Patterson, Andrea 80, 155, 159
photography 10, 36–9, 66–9, 76–9, 80–5, 122 “Rainbow Dress” (Williamson) 149
Kane, Christopher 150 first use in textile design 13 Rampton, Emma, “Second Chance” 154
“Galaxy” 12 tracing a photograph (Illustrator) 136–7 Raster Image Processor (RIP) 174, 182
“Kaleidoscope” (Herceg) 37 photomontage 13, 66–9 Ratti print house, Como, Italy 184, 184
“Kaleidoscope” (Kim) 123 photoprinting 168 “Recollection” (Stone) 38
Katrantzou, Mary 16 Photoshop 13, 18, 21, 24, 28, 30, 34, 56, 62, 120, 180 Reggiani 12, 178
“This Is Not a Room” 11 basic block repeat 90–1 Reindell, Jula 17
Kim, Chae Young block repeat with offset filter 92–3 “Repeaticities” (Holmes) 125
“Camouflage Kitchen” dress 120–1 Brush palette 70–5 repeat patterns 18, 77–9, 88–119
“Kaleidoscope” 123 color blends 85 basic block repeat (Photoshop) 90–1
kimonos 169 displacement maps 126–9 basic pattern swatch (Illustrator) 106–7
Kitazaki, Hana, “The Magic Flute” 30 engineered prints 56–61 block repeat with offset filter (Photoshop) 92–3
Konica 12 filters and effects 40–3, 84–5 creating a good repeat 79
gingham 100–3 diamond pattern (Illustrator) 108–11
“Laces” (Ukeleghe) 145 graphic silhouettes (Illustrator and Photoshop) gingham (Photoshop) 100–3
Lamusias, Sara 161 136–9 half-drop repeat (Illustrator) 116–19
Lane, Abigail 14 half-drop repeat 96–9 half-drop repeat (Photoshop) 79, 88–9, 96–9
large-scale images 12, 18 illustration 122–39 plaid patterns (Illustrator) 112–15
lay plans 18, 19, 19, 20 Illustrator pattern files into 111 repeat programs for printers 28
Lectra 89 photographs, working with 36 simple half-drop motif (Photoshop) 94–5
LED technology 186, 186 photomontage 66–9 stripes (Photoshop) 104–5
Lehtinen, Taina 162 repeats 76–9, 88–9 tile repeats 88–9
Liberty, London 150–1 sequin effects 62–5 research and inspiration 26
life drawing 122 simple half-drop motif 94–5 resist dyeing 152–3, 152, 153; see also batik
“Lillian” (Wilcox) 24, 32 stripes 104–5 resolution 24, 28; see also dots per inch
live time-repeat 181 textured effects 76–9 RGB 182–3, 182
Locastro, Dan (First2Print, New York) 185, 185 texture map and line drawing 130–5 Robustelli 12, 172, 178
London College of Fashion 20, 158 transparent overlays 84 rotary screen printing 170, 170, 171;
Lumalive (Philips) 186 pigments 176–7 see also printing techniques
pin marks 168 Round, Kathryn, 36
MacCurrach, Rosie 31 Pixelate filter (Photoshop) 42 Rucci, Ralph 13
“Magic Flute, The” (Kitazaki) 30 pixels 24, 172
“Making Flowers” (Bowles) 48 placement prints 10, 18, 19, 28; see also engineered Sagmeister, Stefan, “Darwin Chair” 16
Mantero print house, Como, Italy 184 prints Saunders, Jonathan 11, 19, 150
“Material Attachment” (Bowles) 158 plaids 88, 89, 112–15 scanning 28, 142, 150; see also body scanner
McQueen, Alexander 11, 19, 19, 150 “Plastic Maze” (House) 149 seam mending 92–3, 96, 98
metallic foils 148, 148, 149 Pointcarré 89 “Second Chance” (Rampton) 154
metallic inks 186 polka dots 88 “Second Life” (Barker) 160
Mimaki 12, 18, 56, 148, 172, 172, 175, 178, 182 pollution see environmental issues Seiren, Japan 184
“Mineral Scarves” (Weston) 150–1, 151 polyester 13, 162–3, 164 Selfridges, London 20
Minolta 12 polygons 45–7 sequin effects 62–5
Miyake, Issey 10 Potter, Alice, “When I Sleep I Dream of Play” 160 shibori 152–3, 152, 153; see also batik
moiré effects 24 Prada 12 Showroom Dummies 14
Moys, Beatrice, “Building Blocks” 26 Prajapati, Chetna 162 silhouettes, creating graphic (Photoshop) 136–9
Muller, Henry, “The Outer Face” 33 “One Tribe, One Style” 162 silk-screen effect 43
Mullins, Amelia 148 Prince’s Trust 164 silk-screen printing 169, 169, 171; see also rotary
Murdoch, Vicki 89 printing techniques see also digital printing screen printing
Murray, Helen Amy 156–7 desktop digital textiles 159 and digital print 145, 145
“Art Deco Chair, Two-headed Bird with Sunrays” electrostatic 172, 172 mechanized flatbed 170, 170
156 engraved roller 169 simple half-drop motif (Photoshop) 94–5
“Birds and Flowers” 157 four-color process 168, 170, 170 “Simplexity” (Fernandes) 146–7
muslin 21 gravure 168–9, 169 sketchbooks 26, 27
INDEX 191
Dominique Devaux; 144 t: Zoe Barker; 145: Emamoke
CREDITS Ukeleghe; 146–7: Louisa-Claire Fernandes; 148 t:
Amelia Mullins; 148 b: Charlotte Arnold; 149 tl: Emily
House; 149 tr: Matthew Williamson © firstVIEW; 149 b:
Georgina Papandreou; 150–1: Richard Weston; 152:
Smith, Paul 14, 21, 170 Photo Credits
Photo of Stacey Wickens by Melanie Bowles; 153 tr:
spectrophotometer 183, 183 The authors and publisher would like to thank the
Melanie Bowles; 153 l, br: Joanna Fowles; 154: Emma
Stack, Debbie 158 following for providing images for use in this book.
Rampton; 155 tl, tr: Dominique Devaux; 155 cl: Katie
Stained Glass filter (Photoshop) 43 In all cases, every effort has been made to credit the
Irving Jones; 155 bl: Andrea Patterson; 155 br: Photini
stencilling 168–9, 169 copyright holders, but should there be any omissions
Anastasi; 156–7: Helen Amy Murray; 158 l: Melanie
stepping out see tile repeats or errors the publisher would be pleased to insert
Bowles; 158 tl, bl: Nicky Gearing and Debbie Stack;
Stone, Emma, “Recollection” 38 the appropriate acknowledgment in any subsequent
159 l: Andrea Patterson; 159 r, b: Catherine Frere-Smith;
stripes 88, 89, 104–5 edition of this book.
160 t: Zoe Barker; 160 c, b: Alice Potter; 161 tl, bl:
Stumph, Martin 15
Shelly Goldsmith: 161 tr: Sara Lamusias; 162 t: Taina
sublimation printing 13, 18, 159, 162–3, 162, 163, (t=top, b=bottom, c=center, l=left, r=right)
Lehtinen; 162 c, b: Chetna Prajapati; 163 t: Victoria
164, 171, 171, 173, 173 Photography of student work throughout: Melanie
Collins; 163 b: Temitope Tijani; 165: Rebecca Earley;
Bowles, Rebecca Earley and Kenny Taylor; 4–5:
166–7: Melanie Bowles; 168: Joyce Clissold courtesy
T-shirt transfer see inkjet transfers Temitope Tijani; 6: Beatrice Moys; 8–9: Courtesy
the Museum and Contemporary Collection, Central
tabi 161 of Basso & Brooke; 10 t: Dorte Agergaard/Photo
Saint Martins; 169 t: “Toile de Jouy” print courtesy
Textile Environment Design (TED) project (Chelsea by Mathilde Schmidt, Denmark; 10 c: Designer/
V&A Museum; 169 bl, br: Melanie Bowles; 170 t:
College of Art and Design, London) 158, 164, 165; Creator: Mark Van Gennip/MRRK/www.mrrk.nl /
Flatbed screen printer courtesy Magnoprint; 170 ct:
see also environmental issues Photography: Cath Hermans/www.cathhermans.nl /
Rotary screen printer courtesy Stork Prints BV; 170 b:
texture-map and line drawing (Photoshop) 130–5 Model – Annabel; 10 b: TRUST FUN! Money Bag,
Paul Smith courtesy of the designer; 171: “Hobie” shirt
textured effects 76–9 2010/TRUST FUN! is Jonathan Zawada, Annie Zawada,
courtesy Benny’s Aloha Shirts, CA; 172 l: Illustration by
“This Is Not a Room” (Katrantzou) 30 and Shane Sakkeus; 11 t, b: Corbis/©WWD/Conde
Advanced Illustration Ltd; 172 tr: Courtesy Robustelli;
Thorpe, Claire 52 Nast; 11 r, l: Catwalking; 12 t: Corbis/©WWD/Conde
172 br: Courtesy RA Smart; 173 t: Jemima Gregson;
“Ballet Mécanique” 25 Nast; 12 c, b: Catwalking; 13: Corbis/©WWD/Conde
173 c: Petra Boase; 173 b: Photini Anastasi; 174–5 t, c:
Tien, Jennis Li Cheng, “es_cape” 124 Nast; 14 tl: Paul Smith © firstVIEW; 14 tr: Nicolette
Melanie Bowles; 175 b: Daisy Butler; 178: ISIS printer
Tijani, Temitope 4–5, 39, 163 Brunklaus; 14 b: Showroom Dummies courtesy of the
courtesy OSIRIS Digital Prints BV; 179: Hitoshi Ujiie;
tile repeats 88–9, 106–11 designer; 15 l: Ceri Isaac; 15 r: Ceri Isaac and Hitoshi
180–1, 183 c, 183 br: Images courtesy AVA; 183 t:
toile de Jouy 169, 169 Ujiie; 16 tl, tr: Catwalking; 16 bl: Art Direction:
Ceri Isaac; 183 bl: Courtesy Nick Cicconi at John
“Top 100” (Earley) 164, 165 Stefan Sagmeister. Design: Stefan Sagmeister, Joris
Kaldor UK Ltd; 184: Images courtesy of Ratti SpA;
tracking 88 Laarman, Paul Fung, Mark Pernice, Joe Shouldice,
185: First2Print, New York; 186 t: Courtesy Universal
transfers, inkjet 160–61, 160, 161 Ben Bryant. Photography: Johannes vam Assem for
Display Corporation; 186 c: Hussein Chalayan ©
transparent overlays (Photoshop) 84 Droog; 16 br: Designer and Maker Lucinda Abell,
catwalking.com; 186 b: Courtesy Philips.
trompe l’oeil 10, 13, 17, 17, 19, 56 Photography by Vivien Fettke, Make up by Immani,
Truckenbrod, Joan 18 Model Rachael Sylvester (Fusion Models); 17 tl: Jula
Publisher’s Acknowledgments
Trust Fun, “Glory Scarf Money Bag” 10 Reindell; 17 tr: Dorte Agergaard/Photo by Mathilde
The publisher would like to thank the following:
Turner, Claire 76 Schmidt, Denmark; 17 b: Imogen Houldsworth; 18 t:
Anita Racine, Department of Textiles and Apparel,
Joan Truckenbrod; 18 b: Dill Wallpaper by Michael
Cornell University; Edward J. Herczyk, School of
Ujiie, Hitoshi 15 Angove; 19 l: Hussein Chalayan © firstVIEW; 19 r:
Engineering and Textiles, Philadelphia University;
“Branch” 179 Corbis/©WWD/Conde Nast; 20 tl: Wexla; 20 bl: Cloth;
Philippa Brock, School of Fashion and Textiles, CSM,
Ukeleghe, Emamoke 20 tr: Ceri Isaac; 20 br: Avatar software by Opitex;
University of the Arts, London; and Marcy L. Koontz,
“Belonging(s)”145 21: Hussein Chalayan courtesy of the designer; 22–3:
Department of Clothing, Textiles, and Interior
“Laces” 145 Nicola Scofield; 24 t: Jemima Gregson; 24 c: Shift
Design, University of Alabama.
“My Family Album” 44, 44 Dress, Marie O’Connor. Moire digital print on cotton.
“Purpose, Wisdom and Enlightenment” 145 In collaboration with Daniel Mair; 24 b: Rowenna
Authors’ Acknowledgments
Universal Display Corporation 186 Wilcox; 25: Claire Thorpe; 26 t: Kitty Joseph; 26 b:
We would like to thank all the designers, students,
Beatrice Moys; 27 t: Anjali D’Souza; 27 b: Catherine
organizations, and individuals whose contributions and
Van Gennip, Mark, “Ink Storm” 10 Frere-Smith; 28: Melanie Bowles; 29: Kitty Joseph;
support have made this book possible. Their shared
Versace, Gianni 19 30: Hana Kitazaki. Photographer Hanako Whiteway;
enthusiasm for the subject matter has been a revelation.
Vesey, Deborah 32 31 tl, tr: Rosie MacCurrach; 31 b: Victoria Purver;
Special thanks are due to Hitoshi Ujiie, Amanda
vintage effect 42 32 tl, tr: Deborah Vesey; 32 b: Rowenna Wilcox; 33 t:
Briggs, Ashleigh Lyon, Betty Borthwick, AVA, and
vintage fabrics, digital print onto 158, 158 Brian Barrett; 33 b: Henry Muller; 34–35 c, 35 b:
our editors at Laurence King Publishing. Thanks
vintage garments 154 Melanie Bowles; 35 t: Melanie Bowles; 36 t: Melanie
also to Eleanor Ridsdale for her wonderful book
virtual catwalk 20 Bowles and Kathryn Round; 36 b: Alexa Ball; 37:
design. Invaluable support was given by the research
Vuletich, Clara 142 Nada Herceg; 38: Emma Stone; 39 tl: Temitope Tijani;
departments, staff, and students at Chelsea College
39 bl: Jemima Gregson; 39 r: Deja Abati; 40: Melanie
of Art and Design as well as the London College
“Wallpaper Dress” (Bowles and Dennis) 143 Bowles; 44: Emamoke Ukeleghe; 48: Melanie Bowles;
of Fashion. The project was aided by funding from
washing fabric 177 52: Claire Thorpe; 56: Jemima Gregson; 62; Katie
the University of the Arts, London, and CLIP/CETL
Wave filter (Photoshop) 43 Irving Jones; 66, 69: Daisy Butler; 70: Hong Yeon Yun;
(Creative Learning in Practice Centre for Excellence
waves (Photoshop) 85 76: Claire Turner; 80: Andrea Patterson; 81 t: Westside
in Teaching and Learning). We are also most
Webber, Tristan 19 Story © Getty Images; 86–7: Rachel de Joode for Soon
grateful to Kenny Taylor, Kathryn Round, Jemima
Well Fashioned (Crafts Council exhibition) 165 Salon; 89: Vicki Murdoch; 90, 94, 100, 104, 106 t, 112 t:
Gregson, Claire Thorpe, Andrea Patterson, Emamoke
Weston, Richard, “Mineral Scarves” 150–1, 151 Design by Melanie Bowles; 92, 96: Design based on
Ukeleghe, Katie Irving Jones, Hong Yeon Yun, Chae
West Side Story 80, 84 Victoria Purver’s Ophilia; 108 br: Daisy Butler; 116 t:
Young Kim, Daisy Butler, Katie Hoppe, Jane Walker,
Wexla 20 Design by Kenny Taylor; 120–1, 123: Chae Young
and Alex Madjitey, who generously assisted in the
“When I Sleep I Dream of Play” (Potter) 160 Kim; 124 t: Amy Isla Breckton; 124 b: Jennis Li
development of the design tutorials.
Wilcox, Rowenna, “Lillian” 24, 32 Cheng Tien; 125 tl, tr: Holly Holmes; 125 b: Pauline
Williamson, Matthew, “Rainbow Dress” 149 Fernandez; 126 l: Melanie Bowles; 126 r: Photo:
Last but not least, heartfelt thanks belong to Philip
woodblock printing 168, 168 Melanie Bowles/Model: Maya Dolman-Bowles; 130 t:
Dolman; Ben, Eve, and Maya Dolman-Bowles;
Katie Hoppe; 136 l: Melanie Bowles; 136 r: Photo:
Barbara Isaac; and all our friends and family who
“You Can’t Hurry Love” (Jones) 62 Melanie Bowles/Model: Ashleigh Lyon; 140–1:
have lent their encouragement along the way.
Yun, Hong Yeon 70 Melanie Bowles; 142 t, c: Clara Vuletich;142 b, 143 tl:
Claire Canning; 143 tc: Melanie Bowles and Sarah
Dennis; 143 tr: Shelly Goldsmith; 143 b; 144 bl, br: