布料(服飾)印刷
布料或服飾印刷工作大多需要平整的布片供定位等用途，以確保需要的圖案會出現在想要的位置上。布匹平整之後依衣版進入裁片動作 → 布片印刷 → 印刷後經幾道車縫程序 → 進入成衣狀態 → 修線、整燙 → 包裝成品。過程較繁雜，這也是為什麼成衣製作通常只接收團體訂單，不容易接受散客的原因。
布料(服飾)印刷的種類：
市面上常用的布料(服飾)印刷的種類大致分成以下幾種
- 網版印刷
- 平板印刷
- 水印
- 膠印
- 轉印
- 發泡印
- 熱昇華印
- 直噴
網版印刷：
又稱透孔法(Porous )或油印法(stencil)，是印紋透空如孔的印刷方式，將油墨加在一張有細孔的網幕，油墨穿過細孔印到置於其下的紙張上，不需印刷的部位則在網幕上以人工或機械製成負片蠟版加以保護。因為常有用絹布為版材，所以也稱絹印，此種印刷主要用作藝術品上之用。網版印刷是一種多用途的印刷，可在紙張以外的其他材料，例如衣服、瓷磚、茶具、電器、大型看板、電路板、計算機、電腦及高科技相關產品等，上從事少量、多樣的印刷，也成為現代高科技電子行業不可或缺的一門技術。
平板印刷：
平版印刷其版面的印紋與非印紋部分無明顯的高低差別，而是利用水與油墨互相排斥的原理。印紋部分具有吸收油墨排斥水分的特性，而非印紋部分卻有吸收水分排斥油墨的性質。所以只要在版面上交替塗抹水和油墨，即可印刷。
水印：
也稱半油印，是網版印刷的一種方式。 相較於網版印刷，水印較環保、透氣度佳、適合印在白色t-shirt上，色彩簡單自然，且能保持衣服的彈性及柔軟，是很常見的印刷方式。但缺點是無法印在暗色及不平整的布料上。水印油墨比較液體，所以水印會透過面料，在面料反面會引出來。相較於膠印水印手感較柔軟。
膠印：
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| 在採購膠印T-Shirt時需特別注意用料品質 |
轉印：
轉印是使用活性染料墨水或者酸性染料墨水，將圖案列印在熱轉印紙上，在高溫高壓下轉印花色的過程。從圖案設計完後需要經過布料前處理、固色、脫色、漂洗、烘乾、平整...等過程。熱轉印的優點是圖案表現的質感好，具有色感還原度高，耐腐蝕，圖像清晰，色彩鮮豔等優點，而熱轉印相較之下有手感較厚、長久清洗後脫落掉色等，此外在淺色衣服上的表現效果會比深色衣服的效果好。不過拜現在科技進步，轉印的缺點已經大幅改善。
而熱轉印又因轉印耗材不同分為：熱昇華轉印、淺色紡織品轉印紙轉印、深色紡織品轉印紙轉印、植絨轉印紙轉印、亮片轉印紙轉印、彩鑽轉印紙轉印以及各式雷射碳粉轉印紙轉印。
發泡印：
發泡印又稱「立體印花」，是一種具有特殊效果的印花技術。將含有發泡劑的樹脂塗料色漿印到布料上以後，經高溫汽蒸，所印的圖案會膨脹發起泡來，呈浮雕效果。發泡印的特色是立體感很好，可以凸顯圖案的膨脹。但缺點是不耐磨，若發泡高度高，牢度可能會稍微降低。
熱昇華轉印：
熱昇華轉印是利用熱昇華墨水加熱達到特定的溫度時，染料會由固態直接變成汽態的原理。此種汽態的染料能輕易的進入已被加熱放大的 polymer 的孔隙中，並待溫度下降後，染料再度還原成固態，同時 polymer 的表面孔隙關閉將染料夾持在 polymer 中形成影像，顏色均可完全的滲入轉印物的表面中，與傳統的貼紙完全不同，不管視覺與觸感皆一流 。其特色是無膠感厚度、色彩鮮艷精緻(適合淺色布料)，牢度佳、透氣度佳，適合表現豐富的彩色圖案。但因為對天然纖維很難著色，所以不適合印製在全棉質料的衣物上。
直噴印刷：
直噴屬於滲透印花，使用大型平台直噴機搭配紡織專用水性顏料直接噴染進棉布的纖維裡，再經過高溫熱燙來固色。直噴印刷的特色是無須開版，打樣快速，能呈現照片效果，色彩細膩明亮。但是成本較高，而且比較適合運用於淺色的棉布上。
Different Types of Fabric Prints
Preparation of cloth for printing:
The chemical preparations used for special styles will be mentioned in their proper places; but a general prepare, employed for most colours that are developed and fixed by steaming only, consists in passing the bleached calico through a weak solution of sulfated or turkey red oil containing from 21/2 per cent, to 5 per cent, of fatty acid. Some colours are printed on pure bleached cloth, but all patterns containing alizarine red, rose and salmon shades, are considerably brightened by the presence of oil, and indeed very few, if any, colours are detrimentally affected by it.
Apart from wet preparations the cloth has always to be brushed, to free it from loose nap, flocks and dust that it picks up whilst stored. Frequently, too, it has to be sheared by being passed over rapidly revolving knives arranged spirally round an axle, which rapidly and effectually cuts off all filaments and knots, leaving the cloth perfectly smooth and clean and in a condition fit to receive impressions of the most delicate engraving. Some figured fabrics, especially those woven in checks, stripes and crossovers, require very careful stretching and straightening on a special machine, known as a stenter, before they can be printed with certain formal styles of pattern which are intended in one way or another to correspond with the cloth pattern. Finally, all descriptions of cloth are wound round hollow wooden or iron centers into rolls of convenient size for mounting on the printing machines.
Screen printing:
Screen printing is a printing technique that uses a woven mesh to support an ink-blocking stencil to receive a desired image. The attached stencil forms open areas of mesh that transfer ink or other printable materials which can be pressed through the mesh as a sharp-edged image onto a substrate. A fill blade or squeegee is moved across the screen stencil, forcing or pumping ink into the mesh openings for transfer by capillary action during the squeegee stroke. Basically, it is the process of using a stencil to apply ink on to a substrate, whether it be t-shirts, posters, stickers, vinyl, wood, or other material.
Screen printing is also a stencil method of print making in which a design is imposed on a screen of polyester or other fine mesh, with blank areas coated with an impermeable substance. Ink is forced into the mesh openings by the fill blade or squeegee and on to the printing surface during the squeegee stroke. It is also known as silkscreen, serigraphy, and serigraph printing. One colour is printed at a time, so several screens can be used to produce a multicoloured image or design.
Engraved copperplate printing:
The printing of textiles from engraved copperplates was first practiced in the United Kingdom by Thomas Bell in 1770. The presses first used were of the ordinary letterpress type, the engraved plate being fixed in the place of the type. In later improvements the well-known cylinder press was employed; the plate was inked mechanically and cleaned off by passing under a sharp blade of steel; and the cloth, instead of being laid on the plate, was passed round the pressure cylinder. The plate was raised into frictional contact with the cylinder and in passing under it transferred its ink to the cloth. The great difficulty in plate printing was to make the various impressions join up exactly; and, as this could never be done with any certainty, the process was eventually confined to patterns complete in one repeat, and was made obsolete by roller printing.
Roller printing, cylinder printing, or machine printing:
This elegant and efficient process was patented and worked by Bell in 1785 only fifteen years after his application of the engraved plate to textiles. Bell's first patent was for a machine to print six colours at once, but, owing probably to its incomplete development, this was not immediately successful, although the principle of the method was shown to be practical by the printing of one colour with perfectly satisfactory results. The difficulty was to keep the six rollers, each carrying a portion of the pattern, in perfect register with each other. This defect was soon overcome by Adam Parkinson of Manchester, and in 1785, the year of its invention, Bells machine with Parkinson's improvement was successfully employed by Messrs Livesey, Hargreaves and Company of Bamber Bridge, Preston, for the printing of calico in from two to six colours at a single operation.
The advantages possessed by roller printing over other contemporary processes were three: firstly, its high productivity, 10,000 to 12,000 yards being commonly printed in one day of ten hours by a single-colour machine; secondly, by its capacity of being applied to the reproduction of every style of design, ranging from the fine delicate lines of copperplate engraving and the small repeats and limited colours of the perrotine to the broadest effects of block printing and to patterns varying in repeat from I to 80 in.; and thirdly, the wonderful exactitude with which each portion of an elaborate multicolour pattern can be fitted into its proper place without faulty joints at its points of repetition.
Stencil printing:
The art of stenciling is not new. It has been applied to the decoration of textile fabrics from time immemorial by the Japanese, and, of late years, has found increasing employment in Europe for certain classes of decorative work on woven goods for furnishing purposes.
The pattern is cut out of a sheet of stout paper or thin metal with a sharp-pointed knife, the uncut portions representing the part that is to be reserved or left uncoloured. The sheet is now laid on the material to be decorated and colour is brushed through its interstices.
It is obvious that with suitable planning an all over pattern may be just as easily produced by this process as by hand or machine printing, and that moreover, if several plates are used, as many colours as plates may be introduced into it. The peculiarity of stenciled patterns is that they have to be held together by ties, that is to say, certain parts of them have to be left uncut, so as to connect them with each other, and prevent them from falling apart in separate pieces. For instance, a complete circle cannot be cut without its center dropping out, and, consequently, its outline has to be interrupted at convenient points by ties or uncut portions. Similarly with other objects. The necessity for ties exercises great influence on the design, and in the hands of a designer of indifferent ability they may be very unsightly. On the other hand, a capable man utilizes them to supply the drawing, and when thus treated they form an integral part of the pattern and enhance its artistic value whilst complying with the conditions and the process.
For single-colour work a stenciling machine was patented in 1894 by S. H. Sharp. It consists of an endless stencil plate of thin sheet steel that passes continuously over a revolving cast iron cylinder. Between the two the cloth to be ornamented passes and the colour is forced on to it, through the holes in the stencil, by mechanical means.
Digital textile printing:
Digital textile printing, often referred to as direct to garment printing, DTG printing, and digital garment printing is a process of printing on textiles and garments using specialized or modified inkjet technology. Inkjet printing on fabric is also possible with an inkjet printer by using fabric sheets with a removable paper backing. Today major inkjet technology manufacturers can offer specialized products designed for direct printing on textiles, not only for sampling but also for bulk production. Since the early 1990s, inkjet technology and specially developed water-based ink (known as dye-sublimation or disperse direct ink) has offered the possibility of printing directly onto polyester fabric. This is mainly related to visual communication in retail and brand promotion (flags, banners and other point of sales applications). Printing onto nylon and silk can be done by using an acid ink. Reactive ink is used for cellulose based fibers, such as cotton and linen. Using inkjet technology in digital textile printing allows for single pieces, mid-run production and even long-run alternatives to screen printed fabric.
編排整理 Edited: ACOTEX Fabric Talks 布料指南
資料來源: 網路彙整
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