DESIGN WITH PRINTS – LABORATORY MANUAL PRACTICAL IV

1. DESIGN AND CONSTRUCT A GARMENT WITH TIE AND DYE PRINT

Aim:
1. To prepare and develop the tie and dye print as per your own choice of method.
2. To design and construct a garment for either women / children’s wear.
Materials and Equipment Required
The materials and equipment required for tie-and-dye work as listed below are very simple and
inexpensive:
3. Fabric or Garment
4. Basins - 3
5. Bowls - 2 - 3
6. Stove - 1
7. Large wooden spoon or long wooden stick – 1
8. Teaspoon - 1-2
9. A small pair of scissors
10.White threads Reel - 1
11.Common Salt
12. Colour Dyes
13. Degchi (Aluminium) - 1
14. Knitting needle/pointed pencil/ hair pin - 1 each
Tie-Dye
Tie-dye is a process of resist dyeing textiles or clothing which is made from knit or woven fabric,
usually cotton; typically using bright colors. It is a modern version of traditional dyeing
methods
used in many cultures throughout the world. "Tie-dye" can also describe the resulting pattern or
an item which features this pattern.
Tie
The whole point of tie dyeing is to prevent the dye from reaching the fabric evenly. Any place
that the dye can't reach will stay white, or a lighter color, of course. The gradations of color from
intense to light can be beautiful. You can accomplish this by folding the fabric, tieing it with
string, using rubber bands, etc. Another reason to tie is that it makes each garment of piece of
cloth a small, neat bundle--much easier to handle if you have a lot to do. If you don't tie, but just
apply the dye directly, you need more space and can do fewer garments or pieces of fabric at a
1 Prepared by Gopalakrishnan D &
Prof.P.Vinayagamurthi
DESIGN WITH PRINTS – LABORATORY MANUAL PRACTICAL IV

time.
Procedure and Process of Tie-Dyeing
Fold a piece of clothing in vertical pleats, and you'll end up with horizontal stripes.
Horizontal pleats result in vertical stripes (more slimming, you know). Diagonal pleats make a
nice effect. Stitch a loose basting stitch in any shape you like, and then pull the threads tight for
another form of tie-dyeing that can have really cool results. For concentric circles, grab
the cloth where you want the center to be, and pull, until you've more or less made a long tube of
the garment, and then apply rubber bands at intervals along the fabric. The "scrunch" pattern,
made
by crumpling the fabric very evenly, so that ultimately it makes a nice flat disk when
held with
rubber bands.
The main steps involved in tie-and-dye are as follows:
1. Wash the fabric, dry it and then iron it.
2. Prepare the cloth for tie-dyeing by knotting, binding, folding, sewing, etc. or a
combination of these, always keeping one side (say right side) on the outside of the
bundle.
3. Prepare dye and test for colour.
4. Wet sample, if necessary and place it in the dye bath for the required length of time.
5. Remove the fabric from the dye bath and squeeze out surplus dye.
6. Rinse the dyed fabric in water and keep on rinsing till the water is clear.
7. Squeeze out surplus water and hang up to dry.
8. When a second or third colour is to be dyed, tie up the sample again or add more
binding where the previous colour is to be preserved. Repeat the dyeing process for
each subsequent colour. After the final dyeing and rinsing, the fabric should be dried
quickly.
9. Untie the sample. Rinse again, if necessary and partially dry.
10. Iron the fabric while still damp.
11. Collect and tie together any lengths of threads which can be used again. Keep coarse
and fine binding threads separately.
Result
A Garment with tie and dye print was developed for………………season.
2 ********D &
Prepared by Gopalakrishnan
Prof.P.Vinayagamurthi
DESIGN WITH PRINTS – LABORATORY MANUAL PRACTICAL IV

2. DESIGN AND CONSTRUCT A GARMENT WITH BATIK PRINT

Aim:
1. To prepare and develop the batik print with good surface textured design.
2. To design and construct a garment using either draping or drafting method.
Tools and Raw Materials required
3. Wooden printing blocks: To get the required design on fabric.
4. Dyeing Vats: To colour the fabric.
5. Batik Wax: Used to keep the actual colour of the fabric.
6. Customized Tool: Small pen like tool is used to apply the colour.
7. Cotton Fabric: A basic material for batik print.
8. Water: To wash the fabric.
9. Wajan: A container, which holds the molten wax.
10. Table: To fix the fabric.
Batik
Batik is a process of decorating cloth by covering a part of it with a coat of wax and then dyeing
the cloth. The waxed areas keep their original color and when the wax is removed the contrast
between the dyed and undyed areas gives the pattern. One of the significant features of this art is
that it is very simple and can be done by anyone. Colorful batik prints grace the home
furnishings with elegance and style. Beautiful bags, household linens, murals and wall paintings
with striking batik works enjoy a great demand in the domestic and international market. The
batik wall hangings accentuate the walls with their bright colors and motifs. Batik has also made
its mark as impressive textile products. Batik printed kurtis, saris and wrappers are the preferred
choices of the fashion crazy populace.
Batik Technique
The art of batik is a three-stage process of waxing, dyeing and de-waxing (removing the wax).
There are also several sub-processes like preparing the cloth, tracing the designs, stretching the
cloth on the frame, waxing the area of the cloth that does not need dyeing, preparing the dye,
dipping the cloth in dye, boiling the cloth to remove wax and washing the cloth in soap. The
characteristic effects of the batik are the fine cracks that appears in the wax, which allow small
amounts of the dye to seep in. Batik wax exercises an important function in the process of batik
printing. Proper usage of wax results into an impeccable batik work. 30 per cent beeswax and 70

3 Prepared by Gopalakrishnan D &

Prof.P.Vinayagamurthi
DESIGN WITH PRINTS – LABORATORY MANUAL PRACTICAL IV

per cent paraffin wax are generally applied. During application wax should not be overheated or
it will catch fire. The common batik fabrics that make for excellent batik prints are cambric,
poplin, voiles, and pure silk are used. Natural colors derived from barks of trees, leaves, flowers
and minerals were used.
This method uses repeated layers of wax and dye applied to the fabric, yielding an overlapping
color design. If you plan to do multiple layers you will want to dye your colors from lightest to
darkest.
Step 1: Pre-wash your fabric to remove any impurities that might interfere with dyeing.
Step 2: Pre-dye a few of your fabrics in some different base colors.
Step 3: Start melting your premixed Batik Wax in the little melting pot, or for bigger projects, in
a double boiler, electric wax pot, or old electric frying pan set at about 220-230°F.
Step 4: Stretch the fabric on a Frame or Hoop, that will keep the fabric flat and horizontal or you
can work on some newsprint paper or a piece of cardboard if you don't have a frame. This is
often easier with larger pieces of fabric.
Step 5: Start applying your wax with tools of your choice. Use Tjanting tools to create detail and
fine line designs. The single spout Tjanting to create this fun leaf pattern.
A double spouted Tjanting can give you fun effects or parallel lines. We used it to make a
wavy random design across this fabric. Brushes are very easy to use for larger designs and are a
great way to get kids in on the fun. Make bold designs like circles, stripes and funky
polka dots.
When applying wax, no matter what method you are using, regulate the temperature so
that it penetrates the fabric; not so cool that it just turns yellowish and sits on top, and not so hot
that all your lines spread out too much. The wax should have a clear appearance, indicating it has
penetrated to the other side. Flip fabric over and apply wax anywhere it has not. Thin
layers of very hot wax will often allow some dye to stain the fabric under the wax, whereas a
thicker buildup will keep the wax off.
Step 6: Tub Dye the fabric, first using the lightest or brightest color that will be on the
piece and
will mix well with successive colors, for example yellow; then the next dye bath could be
turquoise, which would actually mix with the yellow to dye the fabric green in all the un-waxed
areas. Remember, after Soda Ash has been added to the dye bath, don't leave your waxed fabric
in for more than 30 minutes more, as soda ash eats away the wax eventually, exposing areas to
unwanted dye.
4 Prepared by Gopalakrishnan D &
Prof.P.Vinayagamurthi
DESIGN WITH PRINTS – LABORATORY MANUAL PRACTICAL IV

Step 7: Rinse and gently hand wash the fabric in Synthrapol and allow drying. Use lukewarm
water so as not to melt your wax!
Step 8: Repeat steps 2-6 above for each color you plan for your batik, waxing areas after each
dye bath that you want to remain that most recent color, and re-waxing any areas that look
eroded from the Soda Ash. Tub dye your darkest areas last.
Step 9: Remove the Wax using one of these methods:
Boil the wax out. Choose a pot to become your official wax pot that will comfortably hold your
fabric and fill with water and a dash of Synthrapol, or other liquid detergent, to get the wax and
any excess dye away from the fabric. Bring this to a simmer and add fabric. Stir the fabric
around in the boiling water keeping it submerged. After a few minutes the wax will melt out of
the fabric and float to the top. When the wax seems completely removed from the fabric, remove
from heat and allow the water to cool. Be sure that the fabric sits on the bottom of the pan,
avoiding the floating waxy residue. You can weigh it down with rocks or something heavy.
Allow to cool, then peel the hardened wax off the surface and remove the fabric.
Iron the wax out. Sandwich your fabric between layers of absorbent paper and iron, to melt the
wax out. This process often leaves a wax residue that looks like a grease spot and won't come
out, so it is not our favorite.
Step 10: Wash your fabric one last time in the washing machine with Synthrapol to remove any
leftover dye you couldn't get out by hand. Dry your fabric.

Result:
Preparation and development of the batik print with good surface textured design are made on
given material and also design and construction of a garment using either draping or drafting
method.
*******

5 Prepared by Gopalakrishnan D &

Prof.P.Vinayagamurthi
DESIGN WITH PRINTS – LABORATORY MANUAL PRACTICAL IV

3. DESIGN AND CONSTRUCT A GARMENT WITH STENCIL PRINT

Aim:
1. To prepare and develop the stencil by hand or readymade.
2. To design and construct a garment for all season wear.
Materials and Tools Required
The materials and tools needed for making stencils and using them for printing on fabrics are
either available commercially or can be easily made or improvised.
The stencil
The material for making a stencil should be thin and easy to cut. The following materials may be
used for this purpose:
 Cartridge sheet
 Ivory sheet
 Bond paper
 Discarded photographic film negatives
 Discarded X-Ray film
 Plastic sheets
Devices for cutting stencils
 Paper cutter
 Stencil cutting knife
 Scissors
 Razor blades
 Metal ruler (for cutting straight lines)
Colours for printing with stencils
There is wide variety of colours ranging from modern synthetic colours to most primitive
traditional variety of colours. Some of these will now be briefly described.
Poster colours:
These are water soluble colours which are available in a wide range of shades in liquid form.
They are best used undiluted. If they are used on wood, the application of several coats of
polyurethane clear varnish, after the paint is quite dry, will render it waterproof and hard wearing
as well as increasing the brilliance of the colours.

6 Prepared by Gopalakrishnan D &

Prof.P.Vinayagamurthi
DESIGN WITH PRINTS – LABORATORY MANUAL PRACTICAL IV

Acrylic colours: These are also water soluble and quick drying colours which are available in a
wide range of shades in liquid form They also are best used undiluted and maybe used to
decorate wood using the same procedure as for poster colours.
Fabric colours: They are usually water soluble and are fixed by ironing the printed fabric from
the backside with a hot iron. Fabric colours can also be sprayed and can be used on fabrics for
stenciling and they produce a very subtle shade.
Glass colours: These colours are available in a wide variety, ranging from water soluble to gels,
which produce a frosted or etched glass effect.
Acramin pigment colours: Acramin pigment colours are not soluble in water and are used
along with SLN binder and other ingredients to form a printing paste. They are extensively used
for creating coloured designs using blocks and screen.
Tools for applying paint
Cotton pads
These are made by
enclosing a small cotton
ball in a white, coarse
cotton rag and then tying
it
with a knot. This cotton pad helps in applying paint through the openings in the stencil while
printing. It is advisable to have a different pad for each colour to be painted.
 Stencil brushes
 A stiff bristle brush (with trimmed bristles)
 Other materials
o A sheet of glass to act as a surface for keeping the stencil paper while it is being
cut.
o Pencils
o Thumb pins
o Adhesive tapes
o Clean rags
o Old newspapers
o Drawing papers
o Carbon paper
 Graphite paper
7 o Tracing paper Prepared by Gopalakrishnan D &
Prof.P.Vinayagamurthi
o A cleaning solvent like water, spirit etc.
DESIGN WITH PRINTS – LABORATORY MANUAL PRACTICAL IV

The Stencil Making and Printing Processes

The stencil making and printing processes proceed as follows:
1. Selection of an appropriate design.
2. Transfer of the design on to the stencil material.
3. Cutting of the stencil.
4. Painting through the stencil on to the fabric.
5. Cleaning up of the stencil and brushes.
Selection of a design
An appropriate design suitable for the purpose of decoration in a particular context is first
selected. The design can be taken from nature or from the surroundings or it may be based
on some geometric pattern, Flowers, leaves, plants, birds or animals, cartoons, magazine
illustrations, a piece of art or craft, or one’s own drawings, or alphabetical letters etc., all these
are appropriate. A bold type of design is good for an efficient stencil printing output. Some bold
types of symmetrical designs. Good, clear alphabetical letters can also be produced easily and
quickly using a standard alphabet stencil sheet.
A photocopier may be used to enlarge or reduce the size of the design according to the
area of the surface.
Transfer of the design
The next step is to transfer this design onto a stencil card using a tracing paper or a
carbon paper. A stencil card can be a suitable paper or plastic material. The stencil material may
be fastened on to a glass sheet or a hard cardboard. The design outline is then transferred onto
the stencil material using a carbon paper.
Cutting out the design on the stencil
After transferring the design on to stencil card, the next step is to cut out the stencil
carefully leaving the ‘Ties’, and a thick border around the outline. Keep the stencil sheet on a
hard surface, like glass or a hard board, for easy cutting. Cut the entire design through the stencil
board, using a stencil-cutting knife or razor blade or a paper cutter. Try to make clean
sharp cuts.
Printing with the stencil
The final and the most interesting part is to use the stencil to print a fabric. This is done
by first securing the fabric on a rigid support (like a table) in a tight stretched state and then
applying the colour with the help of cotton padding or stencil brush or a painting brush or
even a
8 Prepared by Gopalakrishnan D &
Prof.P.Vinayagamurthi
DESIGN WITH PRINTS – LABORATORY MANUAL PRACTICAL IV

tooth brush. Using any of these devices, the colour is applied evenly through the openings in the
stencil onto wood, plastic, glass etc.
Cleaning the stencil
Finally the stencil should be cleaned immediately before the paint left on it dries up and
becomes difficult to remove. For cleaning, place the stencil on a newspaper and wipe it with a
rag moistened with water. Care should be taken that small bridges on the stencil are not
broken while cleaning. Brushes should be cleaned thoroughly in solvent and then washed with
warm soapy water.
Result:
The stencil is prepared by hand or readymade and the design is carried out on the fabric
surface. A garment was designed and constructed by draping or drafting method.

***********

9 Prepared by Gopalakrishnan D &

Prof.P.Vinayagamurthi
DESIGN WITH PRINTS – LABORATORY MANUAL PRACTICAL IV

4. DESIGN AND CONSTRUCT A GARMENT WITH BLOCK PRINT

Aim
To prepare and make a block printing on given fabric by using wooden/vegetable/leaves.
Tools used
The main tools of the printer are wooden blocks which are available in different shapes and size
as per the design and requirement. The block makers mainly make two types of block
1. Wooden Block
2. Metal Block
Wooden Block
These blocks are usually made on teak or seesham wood. Artisans make sure that the wood is
seasoned and then carve the motifs on it. The design are first printed on paper and stuck on the
block of wood. Artisan, then start carving the wood with steel chisels, of different widths and
cutting surface. The motifs are carved on the base while the top has a handle. These handles are
either carved out from the same wood or by a low cost wood attached to the surface with the help
of nails. Each block has two or more cylindrical holes drilled into the block for free air passage
and also to allow release of excess color. Blocks made are of rectangular, square, oval, semi-
circular, circular etc. shape. Once the block is made it is soaked in oil for 10-15 days to soften
the grains. The life of these block are approximately 600-800 meter of printing. The outline
blocks are called as rekh and the filler blocks are called as datta.
Metal Block
For making intricate patterns and getting high level of clarity in prints metal blocks are used.
These blocks are made by engraving thin sheets of evenly cut metal strips into the wooden
blocks. The metal strips are beaten to make them thin and then strips are cut of even length. The
design is drawn on the wooden block and the metal strips are pressed onto the design by gentle
hammering. Filling of the designs is done from center to outside. Once made the blocks are
checked to see the strips are of the same height from the wooden base. Metal blocks are costly,
time consuming but long lasting.
Printing Table
These are specially made tables measuring approximately 3 feet high, 3 feet wide and 9 feet
long. The surfaces of the tables are covered with several layers of cloth, jute and canvas which
help in better printing. These tables allow 3-4 printers standing and working simultaneously.

10 Prepared by Gopalakrishnan D &

Prof.P.Vinayagamurthi
DESIGN WITH PRINTS – LABORATORY MANUAL PRACTICAL IV

Traditionally these tables were of low height approximately 1 feet high, 2 feet wide and 5 feet
long. The printer used to sit on ground and print.
Color Plates
Colors used for printing are kept in a wooded tray called as saaj. Once the color is poured into
the tray wire mesh is placed inside. This mesh is covered with a piece of felt. Felt soaks the color
and finally a fine cotton/malmal cloth is placed on the felt. This preparation helps in proper
application of color on the block.
Tray Trolley
These are wooden trolleys' accommodated with two shelves and wheels in the base for the easy
movement. On the upper shelve the color tray is kept while in the lower rack required blocks.
The height of the trolley is 3 feet suitable for working on the printing table. These are locally
called as patiya.
Scale:
For marking the areas to be printed scales are used.
Chalk:
For marking chalks are used. These chalks have sharp edges which gives fine line.
Brushes:
Metal or nylon brushes are used to clean the wooden and metal blocks after use. This helps in
maintaining the life of the block.
Tambadi (Copper vessels):
Traditionally copper vessels are used for dyeing and washing of cloths.
Mogari (wooden roller):
This a cylindrical wooden roller on which the cloth is kept and beaten.
Kotan (Wooden mallet):
This is used to beat the cloth over mogari, in order to remove the starch.
Block Printing
The printing of fabric by hand, using carved wooden or linoleum blocks, as distinguished from
printing by screens or roller is called block printing.

11 Prepared by Gopalakrishnan D &

Prof.P.Vinayagamurthi
DESIGN WITH PRINTS – LABORATORY MANUAL PRACTICAL IV

Block printing process:

Step 1: First, the fabric to be printed is washed free of starch (size material) and soft bleached. If
dyeing is required (as in the case of saris where borders or the body is dyed) it is done before
printing. The fabric is again washed to remove excess dye and dried thoroughly.
Step 2: The fabric is stretched over the printing table and fastened with small pins. This is an
important stage as there should be a uniform tension in the fabric with no ripples.
Step 3: The dyes or the pigments to be used are kept ready for application
Step4: Under the pigment tray is another tray containing a thick viscous liquid made from
pigment binder and glue. This gives the color tray a soft base which helps to spread color evenly
on the wooden block. Small squeeze is used to spread the color paste over the tray.
Step 5: The printing starts from left to right. The color is evened out in the tray with a wedge of
wood and the block dipped into the outline color (usually black or a dark color) .
Step 6: When the block is applied to the fabric, it is slammed hard with the fist on the back of
the handle so that a good impression may register. If it is a multiple color design, the second
printer dips his block in color again and prints on top of the outline made by the first block. The
third color if required follows likewise, precisely aligning the block each time. Skill is necessary
for good printing since the colors need to dovetail into the design to make it a composite whole
Step 7: The fabric is sun-dried, which is part of the colour-fixing process. It is rolled in wads of
newspapers to prevent the dye from adhering to other layers and steamed in boilers constructed
for the purpose. Silks are also steamed this way after printing. After steaming, the material is
washed thoroughly in large quantities of water and dried in the sun, after which it is finished by
ironing out single layers, which fix the color permanently.
Making of dye paste and color tray
Step 1: For making the color tray very first dye paste is prepared by mixing thickener, binder
and dye. The dye paste should not be very thick (disadvantage: dye will not give even printing)
or watery (disadvantage: dye paste will spread over the fabric).
Step 2: Now the tray (palia) is taken which is made of wood, generally the size of tray is 7
inches in breadth and 10inches in length and 2 inches deep but sometimes sizes can be varies
according to size of block. Now, the dye paste is transferred to the tray (palia) from the bucket.
Step 3: After that put a net like square frame made of bamboo sticks called “tharthari” (bamboo
sticks are tied with nylon thread in form of net)

12 Prepared by Gopalakrishnan D &

Prof.P.Vinayagamurthi
DESIGN WITH PRINTS – LABORATORY MANUAL PRACTICAL IV

Step 4: Level of the color will be equal to the level of tharthari on color tray.
Step 5: On the top of the jute fabric, mulmul fabric is kept and above mulmul, georgette fabric is
kept, if we want design with les intricacy. If the block is more intricate, then above the jute
fabric, georgette fabric is kept and above georgette, mulmul is kept.
Set the table for block printing
The table is generally 4 ft wide and 15 ft long on which jute fabric called “Tat” is placed.
Over the tat, blanket is placed.
And on top of it, 2-3 layers of cotton fabric is placed.
Above it, the fabric to be printed is kept.
Then printing is carried out manually.
Different motifs in block printing
The style and motifs of block prints are inspired from the local sources and can be largely
grouped as floral, figurative and geometric categories. The designs have large bootas, small
bootis, trellis or jal, (kind of designs) small border and large borders and sometimes geometrical
designs also.
Techniques of block printing
Block printing can be divided into three ways
Direct Block Printing:
The cotton or silk cloth is first bleached in this technique. Then the fabric is dyed, unless a light
background is desired. Thereafter, the fabric is printed using carved blocks; first the outline
blocks are used, then the ones to fill color. The popular prints of Bagh (from Madhya Pradesh)
and Bagru (from Rajasthan) are made using this technique. Either Cotton or silk fabric is used
here. The cloth is first bleached and then dyed with the desired color. After that block printing is
done on borders with carved wooden blocks then in the borders.
Resist Printing:
In the resist technique, areas that are to be protected from the dye are covered with a mixture of
clay and resin. Then, the dyed fabric is washed. Producing a rippled effect, the dye spreads into
the protected areas through cracks. Block prints are then used to create further designs. Ajrakh
Printing of Kutch (India) and Sindh (Pakistan) and Kalamkari from South India use this
technique.

13 Prepared by Gopalakrishnan D &

Prof.P.Vinayagamurthi
DESIGN WITH PRINTS – LABORATORY MANUAL PRACTICAL IV

Discharge Printing:
The fabric is dyed in this technique. Then, a chemical is used to remove the dye from the
portions that are to have designs in different colour. These portions are then treated, so they may
be re-colored.
Generally each design has 2-4 colors. Each color has a separate block. Sometimes as many as 5-8
blocks are used depending on the design. However the cost of block making and production goes
up accordingly.
Result:
Preparation and making of block printing on given fabric by using wooden/vegetable/leaves was
done as per given procedure.

***********

14 Prepared by Gopalakrishnan D &

Prof.P.Vinayagamurthi
DESIGN WITH PRINTS – LABORATORY MANUAL PRACTICAL IV

5. DESIGN AND CONSTRUCT A GARMENT WITH SCREEN PRINT

Aim
To make the ink is pushed through a mesh or stencil to print a particular design on the desired
material.
Materials required
1. Screen and frame
2. Photo emulsion and sensitiser
3. A pitch black room
4. A garment or material to print onto
5. Squeegee
6. Silk Screen Fabric Ink
7. Small piece of cardboard or wood to fit inside the garment (if you’re printing onto a T-
shirt, for example)
Screen printing
In this process, the ink is pushed through a mesh or stencil to print a particular design on the
desired material. Either by cutouts or by an impermeable material, the liquid only transfers to the
areas the screen permits. Only one colour can be applied at a time so a screen must be made for
each (more on this when we talk about the process).
Materials and Graphics
Like any other printing method, the first thing that must be done is to create the artwork. Because
screen printing is a technique that requires colours to be placed on one layer each, designers need
to work with programs that allow them to separate them. Illustrator and Corel Draw are probably
the most popular tools for this task, but depending on how it is used Photoshop can also be valid.
Vectors
Save in vectors instead of pixels. These are generally preferred since they are easy to manipulate
and unlike pixels, can be stretched many times over its original size without losing quality.
Vectors are mathematical calculations which create lines and figures in our monitors. It’s a bit
abstract but, basically, you can expand or minimise an image as much as you want without losing
the quality, which is the exact opposite of pixels.
Pixels
Pixels are tiny squares of colours that when put together create an image. All photos on the

15 Prepared by Gopalakrishnan D &

Prof.P.Vinayagamurthi
DESIGN WITH PRINTS – LABORATORY MANUAL PRACTICAL IV

internet are made out of pixels. If you expand them well enough you’ll eventually see the tiny
squares. The reason why low-resolution images look pixelated is that when we lower the quality,
the squares get bigger so the computer has to process less information.
Final Format
Formats compatible with this technique include PSD, JPEG, TIFF, PNG, GIF and BMP. Keep in
mind that if files are not saved at 300 D.P.I. quality then there’s no guarantee that the final
product will look as good as it can.
Fabrics for Screen Printing
When it comes to screen printing, natural fabrics seem to do better than synthetic ones. Simply
because they absorb liquids better, leaving a vibrant print behind. The second group is usually
made out of plastic and oil, which have a tendency to repel water. Since they are very small
particles, you’d still be able to print somewhat onto them, but the result won’t be as spectacular
as it could be.
If you don’t know what kind of fabric to pick, stick to cotton. It is the absolute king.
Understandably, you won’t always be able to use 100% cotton since they tend to be more
expensive. Then your second best choice would be a blend of cotton with something like
polyester. 80% – 20%, 70% – 30%, 50% – 50% — the more cotton it has, the better the end
result will be.
But keep in mind that even if you use 100% cotton, the end result may vary depending on the
consistency of the fabric. Thicker materials are heavier and tend to absorb more ink, resulting in
rich colours that will outlast those of thinner materials. Finer and shinier fabrics absorb less ink
which results in a ‘washed out’ print.
Inks for Screen Printing
Even though they share some basic components, inks for screen printing are different from those
of other processes. The most notable thing about them is that they are thicker and more viscous
than other inks.
The price of Colour
Because the technique doesn’t allow for more than one colour to be applied at the same time, a
different screen must be created for each tone. For this reason, the less colourful a design is, then
the cheaper it will be to produce. As a result, this method tends to work better when placing

16 Prepared by Gopalakrishnan D &

Prof.P.Vinayagamurthi
DESIGN WITH PRINTS – LABORATORY MANUAL PRACTICAL IV

larger orders. Another factor one must take into account when working with screen printing is
the colour of the garment that will be printed on.
Print onto black or dark T-shirts
It is the same process, with the only difference being that an extra layer of white ink has to be
placed as a base before the final design can be printed. If this step is overlooked then the dark
fabric will ‘consume’ the design making it look pale. Keep in mind that some amateur or
inexperienced printers don’t know this so always make sure you clarify the point with your
account manager before going into production.
Specialty Inks
Sometimes standard inks aren’t enough and specialty inks are required to take a look to the next
level. These are some of the different kinds of specialty inks out there:
 High-density inks that give depth and texture, literally — the finish is slightly raised by
about one-eighth of an inch above the fabric
 Glow in the dark inks achieve exactly what it promises – a glow in the dark finish
 Puff inks are another way to achieve a raised design which is ideal for children clothes
 Suede inks can be used to achieve a suede-feel effect on a garment
 Vintage effect inks designed to achieve a weathered look
 Metallic inks give shine and a touch of sparkle
Foil
Not to be confused with metallic inks, foil works as a sort of “sticker” if you will, that gets
pasted permanently onto the fabric. When working with intricate designs, it is usually combined
with inks as foil alone can’t achieve great detail. Although it does come in most standard colours,
not just gold and silver. So if for any reason you want a metallic purple print on your sweatshirts,
it can be done.
Preparing to Print
Nowadays screen printing is more versatile than ever. It is available in both manual and
automated versions. It is practised professionally and as a hobby by designers, artists,
manufacturers and anything in between. Regardless if it is performed by a machine or a person,
the process is pretty much the same. These are the necessary elements to screen sprint:
 Screen (usually a mess stretched over a frame)
 Photo emulsion kit

17 Prepared by Gopalakrishnan D &

Prof.P.Vinayagamurthi
DESIGN WITH PRINTS – LABORATORY MANUAL PRACTICAL IV

 Brushes
 Transparent material to print the design
 A lamp (or another strong source of light)
 Pressurized water (shower head or hose will do)
 Inks
 Squeegee
STEP 1: Cover the screen with emulsion
Usually, the photosensitive emulsion comes with instructions on how to mix the liquid. Once this
is done, the screen must be coated with it. This is a simple process but it must be done carefully
because if the liquid is not evenly distributed then the end design won’t be as impactful as it
could be.
STEP 2: Let the screen dry
For the photosensitive emulsion to work properly, it must be left to dry in a cold, dark room. As
the name entails, the material is photosensitive so if it gets exposed to light at the wrong time, the
whole process could go to waste.
STEP 3: Create the stencil
Once the screen is dry, using some sort of soft adhesive (that does not rip off the emulsion) the
design is placed on top of the screen under a strong source of light. What will happen is that the
parts of the screen that have not been covered with the design will harden while the rest will
remain soft.
After it has been left to dry a while under the light (around an hour) the design can now be
removed with a small brush and some water. What remains will be a negative component of the
artwork.
Part 4: Printing
The process of screen printing is simple. It’s one of the reasons why it has existed for so long but
that doesn’t mean that it doesn’t have a learning curve. This is also why good screen printing
machines are expensive.
Applying the Design:
Once the screen has been made, it is time to do the actual printing. Now depending on whether
the job is done by hand or with a machine, the T-shirt will be either placed on a flat surface like a
table or on the machine itself. Then the screen is placed carefully on top of the garment. After

18 Prepared by Gopalakrishnan D &

Prof.P.Vinayagamurthi
DESIGN WITH PRINTS – LABORATORY MANUAL PRACTICAL IV

that, the ink will be placed on top of the screen and with the help of a squeegee, be evenly
distributed across the surface. If it’s done by hand, the printer must be careful with the pressure
and the amount of ink they apply. If the screens are to be used again, then the printer must
thoroughly clean them. The emulsion can even be removed with a special product to create a
new design.
Printing
 Place design on top of the desired position
 Add a thick layer of ink on top of the artwork
 Spread across evenly using the squeegee
 Remove screen
 Wait for the ink to dry on the garment
 Set the ink on the fabric by using some sort of dryer
Manual Screen Printing
As the name implies, this process is done by hand. It can be performed by just one person or for
better results, by two people. One person uses the squeegee, while the other one holds the screen,
for example. The quality of the garments is not affected if it’s done by hand or by machine, in
fact, some people may argue that the manual labour has a better finish since it is done with more
care.
Automatic Screen Printing:
As we already mentioned, the automatic process is the same as the manual one with the human
factor being the only difference. While some are not fans of the automated presses, they do have
their advantages. They have significantly cut down production time thanks to:
 Larger screens, which allow more design space
 Drying systems
 Rotary screens for continued production
Screen printing
One screen (mesh stencil) is used for each color to be printed - screens must be lined up (or
registered) and printed on test sheets to ensure that all of the colors line up correctly. Inks are
then pushed through the screens one color at a time onto the apparel. Finally, each piece is run
through a large dryer to cure the inks.

19 Prepared by Gopalakrishnan D &

Prof.P.Vinayagamurthi
DESIGN WITH PRINTS – LABORATORY MANUAL PRACTICAL IV

Step 1
Firstly you will send us your design or commission our artists to create a bespoke design for you.
You will be emailed a visual proof of your design to sign off with the art department. This way
we know you are happy with everything before we proceed to the printing stage. Once the design
is given the go ahead, it is printed at actual size in black onto clear acetate film called kodatrace.
Step 2
Our silk screens are coated with a special emulsion which will stop any ink from seeping through
the screen when printing, where it is not wanted. A separate screen is needed for each colour in
the design.
Step 3
The kodatrace with the final design on is placed onto a large exposure unit (like a big light box).
The coated screen is placed on top of the design and exposed to the light for a specific amount of
time.
Step 4
The screen is rinsed with water. The emulsion will be carefully washed away leaving clear mesh
to show the imprint of the design. The screen will be dried, then touched up with the emulsion if
needs be and re-exposed to toughen the additional emulsion.
Step 5
Although we used to screen print by hand, times have changed and due to the volume, time
constraints and advancing technology, we now print using a carousel. It’s an ingenious piece of
machinery that can print up to eight separate colours or detailed full colour designs. The screen is
set up in the carousel and the water based ink (whatever colour you request) is placed at one end
of the screen.
Step 6
When the carousel is in motion, the item you are having printed (be it a tea towel, apron, bag or t-
shirt) is laid down flat onto a printing board. The eight arms of the carousel with the printing
boards on them rotate.
Step 7
When the first board with the product on reaches the screen, the screen is lowered and a large
squeegee pulls the ink along the length of the screen. The ink is pushed through the clear areas of
the screen, leaving the design imprinted on the product.

20 Prepared by Gopalakrishnan D &

Prof.P.Vinayagamurthi
DESIGN WITH PRINTS – LABORATORY MANUAL PRACTICAL IV

Step 8
The printed item is run through a large dryer at a specific temperature. This bakes the print onto
the item which results in a colour fast product.
Step 9
Your order is checked for print quality and prepared for dispatch.
Step 10
Finally the screen is washed thoroughly. It is striped and recoated with emulsion, in preparation
to be re-made with a totally new design.
Result
Design and construction of a garment using screen printing was done and develop of the garment
by using drafting or draping.

**********

21 Prepared by Gopalakrishnan D &

Prof.P.Vinayagamurthi
DESIGN WITH PRINTS – LABORATORY MANUAL PRACTICAL IV

6. DESIGN AND CONSTRUCT A GARMENT WITH FABRIC PAINTING

Aim
To design, construct and decorate the garment with fabric painting
Materials required
1. Paintbrushes – Both flat and round tip, in various sizes
2. Foam Brushes / Sponges
3. Toothbrushes
4. Water Container
5. Plastic covering to protect the work surface
6. Apron to protect your clothing
7. Paint Palette
8. Paper Towels
9. Paint application techniques are of importance as it finally makes your artwork.
Different techniques with fabric paint
Freehand painting

Free hand fabric painting is a great way to make borders – some simple vines drawn freehand
added with flowers interspersed in between make a good border design. A simple know-how of
shading techniques can give your design some depth. Dark shades first. Back ground images
first. Light shades where light falls. Follow some of these basic rules in shading with fabric

22 Prepared by Gopalakrishnan D &

Prof.P.Vinayagamurthi
DESIGN WITH PRINTS – LABORATORY MANUAL PRACTICAL IV

painting. Layer the design with more and more lighter shading giving the picture some detailing
and dimension
Dot painting
The back end of the pencil, when dipped in paint, Google for dot mandala and get such brilliant
designs get inspired. Ear buds get a lot of use in painting other than dot painting. Take paint from
the bottles without messing up brushes, mix colour in the painting, clean under finger nails after
painting etc

Outliner painting
This is a method in which is simply do the outline to work the whole design. This can be done
with a thin liner brush (00 brush) or an outline. Outliners are available in black as well as other
shades. A simple way to do Madhubani painting on fabric involves filling colour inside the
outliner done in textured 3D outliner.

23 Prepared by Gopalakrishnan D &

Prof.P.Vinayagamurthi
DESIGN WITH PRINTS – LABORATORY MANUAL PRACTICAL IV

Spray painting
Fill a small sprayer bottle with colour and splash away or use a straw to blow designs on the
fabric. Fun way to randomly paint the design. Either buy spray fabric paint or add a special
additive to paint which will make your paint to sprayable consistency if you want a professional
effect
Block Painting
Block painting is done with stamps. Apply paint on stamps and this stamp is imprinted on the
fabric.

Vegetable block painting is the easiest way to do this at home. Simply cut vegetables, patterned
vegetables like ladies finger, or carvable vegetables like potato and use as stamps. There are
people who make unbelievable paintings this way. The wooden stamps with intricate designs are
great for decorating garments. Checkout this post on block printing for more details.
Wet painting

24 Prepared by Gopalakrishnan D &

Prof.P.Vinayagamurthi
DESIGN WITH PRINTS – LABORATORY MANUAL PRACTICAL IV

This is a method in which fabric paint is used like water colour. A water colour blends shades
across the surface. This effect is achieved by using liberal amount of water on the paint
and/ or soaking the fabric itself.
Stencil painting
Stencils make fabric painting easy. Simply place ready-made stencils on the fabric and use a
brush or sponge to fill in colors. Repeat making similar designs with the same stencil all over.

Finger painting
Fingers can create beautiful art work literally. Just try it, and you will find it very liberating.
There is something very childlike in using your fingers to paint away directly on to fabric. To
scrub the paint from under the finger nails a very frustrating process.

25 Prepared by Gopalakrishnan D &

Prof.P.Vinayagamurthi
DESIGN WITH PRINTS – LABORATORY MANUAL PRACTICAL IV

Tie-dye with fabric paint

There is nothing tie or dye about this technique. It is another form of wet on wet technique but
gives a nice tie and dye look

Use a very thin cotton fabric for this method to work. Soak the fabric liberally. Squeeze to
remove water. It should still be wet, but not dripping wet. Fold it two times by the center. Start
applying the paint as in the picture below. Use your fingers to press the paint over to the bottom
layers. Open the fabric immediately. Spread to dry. Do not wash for about one week as in any
fabric painting process.
One stroke painting
This is a very beautiful technique – even a beginner can easily master this method of fabric
painting and create beautiful designs, especially floral ones. Simply load a flat brush with paint
and use it in one stroke to paint petals and other designs. A single colour or more shades of
colours can be loaded on the brush to create a shaded effect.
Result
Design, construct and decorate the garment with fabric painting was done and construct the
garment with given measurement.
**********

26 Prepared by Gopalakrishnan D &

Prof.P.Vinayagamurthi