commenced: October 2015
Research topic: The development of methodologies for digital colour printing in textile design, through an understanding of interwar historical colour palettes.
The development of digital printing is a major change within the textile design process as the designer is no longer restricted to number of colours, repeat patterns, and may include photographic images and intricate detail. With digital print it is now possible to print anything between a metre, or hundreds of metres, at the click of a button.
- RQ1: What measures must a designer take to feel confident with their colour use in digital printing on cloth?
- RQ2: How can scientific colour theory and production methods for digital printing be understood and utilised by the design community?
- RQ3 How can historical colour use inform colour aesthetics in digital print on cloth?
RQ4 How did colour use develop in the British domestic interior of the interwar period?
- To create a tool kit, accessible to artists, textile practitioners and similar, without access to commercial resources and chemical colour knowledge/ science, which provides guidance to assuring a colour match when printing from digital printers on to fabric.
- To investigate creating an historical digital colour palette that re-creates colours from the interwar period, in digital print on fabric.
- Review the existing literature on colour expectation in textile design for digital print, as well as the colour palette in the British interwar domestic interior.
- Identify historical colours from archival and primary sources.
Create a historical archive of colour use in the British domestic interior (1918-1939).
- Bring together a network of experts to facilitate colour conversation case studies.
- Establish a coherent body of colour work using digital textile printing.
Anticipated outcomes and impact
- Openly accessible, online, tool kit comprising guidance and documentation of methodologies for assuring colour in digital textile printing to be used as a pedagogic tool developing into a user generated, source of knowledge for designers (and similar) – empowering them in the manufacturing process.
- An exhibition of colour work comprising of printed textiles and associated material.
- Series of Case Studies – ‘Colour Conversations’.
- Historical colour archive including visual colour palettes.
- Shared knowledge with recognised industry bodies such as Society of Dyers and Colourists (Bradford), Textile Institute, etc.
However, there is a marked difference between screen-colour and print-colour. A textile designer using Computer Aided Design (CAD) to create a design will be required to experiment with a number of variables in order to feel more confident about the outcome when using digital fabric printing. There are already various software, materials and printers involved in digital textile printing which impact on colour results. Additionally, fabric choice and secondary processes (washing and steaming) contribute to colour variation.
Becky’s research project will consider how designers can ensure colour assurance when digitally printing on a range of fabrics through an exploration of existing colour tools and methods. The aim is to produce an accessible colour toolkit for designers, artists, makers, and SMEs, that may not have access to highly technical equipment and software, providing specific knowledge as to how designers can achieve and maintain colour assurance and accuracy.
In order to test this Becky will develop a particular colour palette, based on colours used in the domestic interior of British homes in the interwar period, the time of Britain’s house building boom when homeownership and interior decoration were made available to the masses. New modernist concepts of sleek and neutral interiors emerged alongside a brightly coloured ‘Moderne’ or Art Deco palette, creating a distinctively British ‘look’. This contrasted with a darker Victorian and Edwardian palette that also continued. Colour creation entered a chemical sphere with the introduction of bright colours that came with them. Through deconstructing and observing colour use in interior textiles from this key era in the development of the British domestic interior, Becky will inform the construction of colour use in a digital age.
The research project will be addressed through two fields of inquiry and encompass several research questions.
Becky undertook an undergraduate degree in Fine Art at Bath School of Art & Design, where she specialised in soft sculptural installation, followed by a Masters in Textile Design (print) graduating in 2009 from the Sir John Cass School of Art & Design.
She also works as an upholsterer and has exhibited her designs at a range of shows and fairs including the Bristol Biennial and previously been a visiting lecturer at the Sir John Cass School of Art & Design. She is part of the 3D3 Centre for Doctoral Training, funded by the Arts and Humanities Council.
Selected images of Becky's work
Poster Presentation: Variables that affect colour in digital textile printing:
Author/Co Author:Becky Gooby
conference:PICS 2016 - Progress in Colour Studies
Place: University College London
Date: 14-16 September 2016
Poster Presented by:Becky Gooby
The development of digital printing is a major change within the textile design process as a designer is no longer restricted to number of colours, repeat patterns, and may include photographic images and intricate detail. With digital print it is now possible to print anything between a metre, or hundreds of metres, at the click of a button.
However, there is a marked difference between screen-colour and print colour. A textiles designer using Computer Aided Design (CAD) to create a design will be required to experiment with a number of variables in order to feel more confident about the outcome when using digital fabric printing.
There are already various software, materials and printers involved in digital printing which impact on colour results. Additionally, fabric choice and secondary processes (washing and steaming) contribute to colour variation. The poster charts these variables and outlines the affects they have on printed colour. Variables include, but are not limited to: fabric, ink, software, printer, profiles applied, and secondary processes (washing, steaming)
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PhD StudentsEllen Hughes
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