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Blog/digitaly printed textiles
'Digital textile printing is described as any ink jet based method of printing colorants onto fabric. Most notably, digital textile printing is referred to when identifying either printing smaller designs onto garments (t-shirts, dresses, promotional wear; abbreviated as DTG, which stands for Direct to Garment) and printing larger designs onto large format rolls of textile. The latter is a growing trend in visual communication, where advertisement and corporate branding is printed onto polyester media. Examples are: flags, banners, signs, retail graphics.
Types of printing can be divided into: Direct Print, Discharge Print, Resist Print, Pigment Print, Specialty Print
Digital textile printing started in the late 1980s as a possible replacement for analog screen printing. With the development of a dye-sublimation printer in the early 1990s, it became possible to print with low energy sublimation inks and high energy disperse direct inks directly onto textile media, as opposed to print dye-sublimation inks on a transfer paper and, in a separate process using a heat press, transfer it to the fabric.
Slide show, Inspiration for digital printing applications.
Learning cutting out hair from a background, it is helpful for digital printing and textile patterns as we often want to use our hand painted images och drawings /non computer work, often wit fine lines and details in them,
This work is not so much different from cutting out hair in the photo.
To start, find the color channel which shows the maximum amount of contrast in the hair.
Duplicate that channel and bring up the levels panel (CMD/CNTL + L). We can bring the black point up to create very intense contrast in the image. The darks should be extremely dark but be sure not to overdo it! A good way to check is if the edges of the hair look too coarse, you can decrease the darkness a little bit.
All of this is done in the channels tab, but it needs to be turned into an actual usable selection. Hold CMD/CNTL and click on your channel copy. This selection will remain, and you are able to go back into the layers and edit from there. Click on the layer mask icon, and everything that was dark will turn invisible. All you have to do is invert the selection (CMD/CNTL + I). If parts of the image are transparent that shouldn’t be, you can paint over the layer mask where it needs to be filled in.
To take care of fringing (light or white part around the edges of the hair), clipping masks will come in handy!
-Create a new layer
-Right click, and select “create clipping mask”
-Use the brush tool or clone stamp tool to fill in the white areas
Now, whatever work is done on that layer will only apply to the underlying layer. In other words, your new layer is clipped to what’s under it.
Change the clipped layer from normal to darken- this will only effect the whitest part of the hair. Use the clone stamp tool to paint over the light parts of the hair.
You can use masks to hide portions of a layer and reveal portions of the layers below. You can create two types of masks:
Layer masks are resolution-dependent bitmap images that are edited with the painting or selection tools.
Vector masks are resolution independent and are created with a pen or shape tool.
Layer and vector masks are nondestructive, which means you can go back and re‑edit the masks later without losing the pixels they hide.
In the Layers panel, both the layer and vector masks appear as an additional thumbnail to the right of the layer thumbnail. For the layer mask, this thumbnail represents the grayscale channel that is created when you add the layer mask. The vector mask thumbnail represents a path that clips out the contents of the layer.
This season the collection celebrates the innovation of the textile process through an exploration of the broad spectrum of textile techniques. The prints are inspired by historical and current textile design including block printing, weave, embroidery and needlepoint, as well as the latest digital printing techniques.
Digital textile printing is described as any ink jet based method of printing colorants onto fabric. Most notably, digital textile printing is referred to when identifying either printing smaller designs onto garments (t-shirts, dresses, promotional wear; abbreviated as DTG, which stands for Direct to Garment) and printing larger designs onto large format rolls of textile. The latter is a growing trend in visual communication, where advertisement and corporate branding is printed onto polyester media. Examples are: flags, banners, signs, retail graphics.
Types of printing can be divided into:
Direct Print Discharge Print Resist Print Pigment Print Specialty Print Digital textile printing started in the late 1980s as a possible replacement for analog screen printing. With the development of a dye-sublimation printer in the early 1990s, it became possible to print with low energy sublimation inks and high energy disperse direct inks directly onto textile media, as opposed to print dye-sublimation inks on a transfer paper and, in a separate process using a heat press, transfer it to the fabric.
Grunder, hur fungerar menyerna i Photoshop / Svenska
Textiles are one of the fastest growing sectors of digital printing. The applications are numerous, with the most common including apparel, soft furnishing, soft signage and flags.
Also numerous is the choice of inks for inkjet printers. It’s not always clear what the difference is between some similarly-named fluids. Some have been adapted from earlier analogue printing processes, while others have only ever been available for inkjets.
The ‘hand feel’ of a textile is important, especially for clothing or garments (which we’re calling apparel here). This means the way the material flexes and drapes.
Dye inks enter the fibres of the textile and typically don’t alter the feel, though there may be an initial ink-acceptance coating that has to be washed out after printing. Inks that have a carrier that stays on the textile often make it stiffer and alter its feel.
Here we provide a brief introduction to the main types of inkjet textile inks, their characteristics and any pre- and post-processing needed to fix them. Some inks can also be used with leather, which isn’t a textile but is commonly used in apparel and furnishings.
We’ve not gone into detail with pre-treatments; this may be performed by the textile supplier, which will sell pre-treated materials for particular processes. Larger scale industrial printers may have the facilities to treat their own textiles.
Our thanks in particular to Steve Woodall, national sales manager for textiles and apparel at Hybrid Services, the UK distributor for Mimaki. He provided a lot of the practical information about these inks.
Note that dry toner printers can produce heat transfers suitable for textiles, but we’ll look at them another time.
Dye sublimation/disperse dye Textiles: polyester and polyester-cotton mix Pre-treatment: yes Process: inkjet onto paper or direct to textile rolls Post-process: dry heat/pressure transfer or dry heat activation and washing (direct printing) Application: apparel, soft furnishings, soft signage, flags, hard surfaces Dye sublimation is a water-based ink that works with a wide variety of inkjet printers. Most are adapted from standard eco-sol models, though a few have been purpose-built.
This ink is very widely used for textiles because it is easy to work with and only requires heat and a little pressure as a post-process.
It produces bright colours, but the limitation is that it only works with polyesters. Polyester-natural fibre mixes can be used, but the less polyester the fewer the binding points for the dye, so the image is duller and wash resistance suffers.
The ink can be used either to print onto a transfer paper or directly to the textile. Some manufacturers call it ‘disperse dye,’ usually when referring to direct printing. In some cases, the same ink is used for paper as direct to the textile (which needs a pre-treatment to reduce spread and wicking into the fibres before it is heat-fixed).
When you print a digital design on a fabric, the printed colors do not always match the colors of your digital image one-on-one. Several factors will affect the color of your printed design:
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OTHER PRINTING COMPANIES / tryckföretag
It’s already possible to use tiny granules of glass in a powder bed with conventional 3-D printing techniques like jetting and sintering, but the products turn out opaque. Now researchers at MIT have demonstrated the first-ever machine that can print molten glass through a nozzle and make transparent glass objects layer by layer according to digital instructions.
The most challenging aspect of printing glass is that it must happen at extremely high temperatures. To flow well enough to be extruded through a nozzle, the material must be kept at a temperature greater than 1000 °C.
----------------------------------PRINT UNLIMITED, based in Holland
how to prepare your files for print unlimited
---------------------------------ELOBINA, based in Sweden, textiles
----------------------------Silk Bureau, UK
The Silk Bureau
----------------------------TOBEX, textiles , based in Sweden, textiles
--------------------------BOKWA ; POLAND, printing on textiles and other materials experience in theatre, fashion etc, pesonal service
--------------------------UVA PRINTING , based in Poland, PRINTING ON DIFRENT MATERIALS ALSO FOR OUTDOOR USE
---------------------------PRINTGLAS, tryck på glas, Stockholm, tid för studiebesök kan bokas
--------------------GLASGOW SCHOOL OF ART, CENTER FOR ADVANCED TEXTILES
------------------Your Wallpaper, Stockholm, Sweden, prints wallpaper.
Hej! Postar här blandat info och övningar som jag samlade här för Baskursen i Photoshop för textiltryck.
Om du inte alls kan Photoshop rekommenderar jag starkt att kolla genom postade här funktioner och menyer i photoshop, det kommer att bli intensiva 2 dagar och det har visat sig att förberedelse kan hjälpa väsentligt i hur mycket man får ut från kursen. Bilder är frpn Photoshop CS3 men det ser likadant ut mer eller mindre i alla CS versioner. Många funktioner och menyval är likadana i olika versioner. Du kan hämta Photoshop gratis och prova en begränsad tid -ADOBE
N2 Öppna ett photo eller egen mönster i photoshop och se om du kan
följa uppgiften som finns HÄR. Det spelar inte någon roll hur bra det går
men du kommer att öka kunskapen om Photoshops miljö.
Här hittar ni en övning som är tänkt för att lättare hitta i photoshop, samt bekanta sig med Photoshop-effekter. Kan vara m. användbar senare för att jobba med original för digitaltryck.
Gör så här;
-ta fram en bild eller original
-experimentera med funktioner i Photoshop.
Det flesta av funktioner hittar du i Photoshop under "FILTER / Artistic".
Se nedan på exempel.
Den första bilden nedan är min originalbild som jag utgick ifrån. Du kan använda den för övningen eller hitta en egen bild. Andra bilder som följer visar exempel på ändringar i bilden med användning av FILTER i photoshop. Gå genom samma funktioner på din egen bild.
Den andra i raden av bilder nedan är förändrad med funktionen "STAINED GLASS" (lite otydligt på bilden)