Textile design
Textile design is an innovative and technological technique by which threads or yarn fibers are woven or interlaced together to form a flexible, functional, and decorative fabric. Textile design is further divided into three main branches, printed textile design, woven textile design, and mixed media textile design, each of which uses different variables and uses different methods to produce surface ornamental fabric for the market. As a practice, textile design has become an integral part of the industry, along with other disciplines such as fashion, interior design, and fine arts.
Patterns
and designs for printed, woven, and knitted fabrics made with natural and
man-made fibers are created by a textile designer. They choose which textile fiber
to use and which textile to weave. They can be fabric structure and appearance
design. Many textile designers work with manufacturers to make specific fabric
textures.
Textile
designers are artists who generate ideas for textile surfaces. This is an interesting
work. Textile designers need to be creative, collaborative, and regularly aware
of changing trends in color and style. They also need to be able to work within
deadlines.
History of Textile design
Textiles
date back thousands of years, with cotton and silk from India and China dating
back to 5000 BC. When trade networks were promoted between European, Middle Eastern,
and Asian countries, textiles became expensive commodities. We don't know who
designed these early textiles. But we do know that someone decided on the
weave, colors, and patterns.
In the fourteenth century, technological advances in dyeing processes opened up
new markets for European textiles. Methods invented in one part of the world
became popular among others. Damask, for example, is a type of weaving that
produces monochromatic, meaning that one-color designs are visible in China and
reflections, produced in China. In the fourteenth century, however, the
production of high-quality damask became a specialty in Italy.
During
a part of the Baroque period (1620-1660), France and England increased their
imports of woven, printed, and painted to India. The common name for cotton
products from India, Calico was originated in Calcutta where the industry was
based. Patterns include small flowers and geometric designs. During this same
period, the silk industry became a major economic power in France, where
skilled artisans made patterned silk garments.
In the middle of the eighteenth century, the silk industry shifted from France to
England as a result of political changes. One of the few designers we know
during this period was an English woman, Anna Maria Garthwaite (1690-1763), who
designed beautiful, intricate floral designs from her home and studio near
London.
Objectives of Textile design
i.
To develop skills in apparel designing and garment construction
ii.
To impart knowledge in the manufacturing of yarns and fabrics
iii.
To gain knowledge in the field of textile processing and quality control
iv.
To apply business techniques to fashion and visual merchandising
v.
To promote career and entrepreneurship in the area of apparels and textiles
vi.
To understand the textile industry as the primary material source for the
apparel, interior furnishings, and industrial products industries
vii.
To know the various segments of the textile industry
viii.
To be able to follow the channels of distribution of textile products
ix.
To create new ideas for garments and accessories
x.
To creates new patterns or designs on fabric works with a designer or textile plant
Different types of textile design
There
are different types of textile design
such as the following-
Printed textile design
Printed
textile designs are produced by the application of various printing processes
on fabrics and other media, such as printing, relief printing, rotogravure,
screen printing, transfer printing, and digital printing. These processes use a
variety of inks and colors to print aesthetic, often repetitive patterns,
motifs, and styles on fabric or fabric. Printed textile designers are primarily
and impartially involved in the home's interior design, fashion and apparel industry, and the paper industry.
There
are many established and enduring printed styles and designs that can be
divided into four main categories: floral, geometric, world culture, and
conversation. Flower designs include flowers, plants, or any botanical theme.
Geometric designs have both inorganic and abstract thesis features such as
tessellations. The designs of the cultures of the surrounding world can be
identified according to specific geographical, and ethnic. Finally, conversation
designs are designs that fit more easily than other categories: these can be
described as representations of images that refer to popular icons of a particular period or season that is unique and somehow challenges our
perceptions. Each section contains sunscreens, more specific individual styles,
and designs.
Woven textile design
The
woven textile design derives from weaving, which often produces fabric by
interlacing vertical yarn and horizontal yarn at right angles. It is made by a
variety of looms and is now mainly produced using a mechanized or computerized
jacquard loom.
In
the context of weaving, designs are made using various yarns using various
textures, shapes, and colors to create stylized patterned or monochromatic
fabrics. Not limited to yarns, linen, and synthetic fibers but a wide range of
yarn types is available with the design. To produce a woven fabric, the
designer first illustrates the sequence of threading and visualizes what is
usually drawn on graph paper as point paper.
The designer chooses a knitting structure that manages the aesthetic design that
will be produced. The most common process is plain weave, in which the yarns
produce a stiff and flexible multi-use fabric with alternating, tight textures.
Twill weaves, to the common, alternatively use warp or diagonal lines created
by floating left or right. This process creates a soft fabric that suits
designers in the fashion and apparel design industries. Common and recognizable
twill styles include patterns such as hound tooth or herringbone.
Knitted textile design
There
are two main forms of knitting: warp and weft knitting. The weft-knitted fabric
consists of an unbroken loop structure interlocking stitching or extending
horizontally of the course and the yarn can be woven with one continuous
length. It creates fabrics that are suitable for fashion clothing. The
structure, however, means that the task cannot be easily deleted. Weft-knitted
fabric is the most common form and can be produced using hand-knitted needles, or
domestic or manufactured industrial knitting machines.
Warp
knitting yarn is made from loops of zigzagging and creates a very stable
fabric, connecting in a vertical direction that cannot be blocked. Warp-knitted
fabric is produced the machine uses a warp yarn for each wale; wale did the
vertical lines of the loops in knitting are where each stitch hangs.
Warp-knitted fabric corsetry, underwear, underwear, sportswear, mesh and tulle,
curtains, and trims.
Nonwoven textile design
Nonwovens constitute a significant and rapidly growing sector of the textile industry. The Nonwovens sector was primarily designed to provide economical alternatives to traditional textiles for functional product components such as interlinings and carpet backing. However, since the 1970s, textile researchers, textile artists, fashion and textile designers, and manufacturers have considered the possibility of using non-woven fabrics and technology in designs. As a result, fabrics have been applied to marketing and marketable products such as flower wrappers and as one-off designer products such as scarves. Compared to the traditional sectors of the textile industry such as woven textiles, however, in terms of design, these two seem to be very little middle ground in terms of production. This situation presents a potential missed opportunity in the Nonwovens sector of textile manufacturing. The aim of the research presented in this thesis was to identify and explore the underdeveloped opportunities of designing non-woven materials from an aesthetic point of view using a specific range of production processes and materials. The work considers both artistic and craft perspectives in the context of designer-builder practice and in the design and manufacture of such nonwovens. The suitability of the designs for production within different manufacturing contexts was assessed through a series of interviews with nonwoven manufacturers and their suitability for the high-end markets was evaluated through a series of focus groups and interviews with textile and product designers. The qualitative nature of the analysis made provides a new perspective on the design value of nonwovens. The results of the research confirmed the aesthetic appeal of certain fabrics within the collections produced and their suitability for high-end markets. The findings identified key factors regarding how value is attributed to nonwovens within this market and suggested that further research into developing high-value nonwovens is required.
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