In considering the creative and commercial potential of digital textile printing,
existing literature focuses on the opportunities for new aesthetic styles and
new business models. With regards to the latter, the overwhelming consensus
is that digital textile printing will enable mass customisation based on the
ability to print very short runs economically (Ross, 2001; Tippett, 2002; Tyler,
2004, 2005; Cahill, 2005; Fralix, 2006; Nicoll, 2006; Ujiie, 2006). Although a
great deal of research and development has concentrated on solutions that
enable the custom-fit of garments using body-scanning equipment
connected to pattern-making algorithms that compute thousands of variables
(Istook, 2000; Ashdown et al., 2004, 2009; Bae & May-Plumlee, 2005; Loker et
al., 2005; Wang et al., 2005; Faust & Carrier, 2009; Delamore & Bougourd, 2009;
Fang & Tien, 2009), very little attention has been paid to actually customising
the print with existing implementations only allowing customers to choose
from a selection of static designs.

This disparity reveals the gap in knowledge that present research seeks to
address and can be explained by the fact that pattern making is inherently
based on parametric design rules—therefore ideally suited to being translated
into code—whereas print-making has traditionally lacked this formal logic
and notation, making it difficult to abstract into the digital environment
(McCullough, 1996). Evidence can be seen in the work of those print-makers
exploring the creative potential of the technology within a craft context
(Treadaway, 2006a). While the digital aesthetic that has emerged—in response
to the removal of physical constraints on the use of colour and scale—
certainly encompasses a range of new design styles (Fogg, 2006; Ujiie, 2006;
Bowles & Isaac, 2009), it has not been accompanied by a significant change in
design methods. Despite expressing frustration with the limited capabilities of
existing computer interaction, most practitioners still employ a static
approach to print design using standard software programs and input devices
(Treadaway, 2009). Consequently, the aesthetics of digital print are limited by
the capabilities of the design tools, rather than the imagination of the designer
as some have suggested.

In contrast, a review of contemporary research and practice within the wider
context of digital craft identifies a number of product makers in materialbased
disciplines (eg: ceramics and silversmithing) who are actively exploring
the creative and collaborative potential of similar digital fabrication
technologies (eg: 3D printing and laser cutting) by shifting focus from product
design to interaction design—either by hacking existing technologies or
building their own (Fraser, 2010). Instead of designing static objects, these
practitioners are creating dynamic processes according to the principle of
abstracting craft (McCullough, 1996); in many cases inviting customers to
participate in co-design via virtual interfaces or physical installations.
By exploring mass customisation within the context of digital craft, this
practice-led research investigates how the design process for digitally printed
textiles can be improved through the creative use of interaction technologies
and, specifically, how these benefits can be extended to co-design interfaces
in order to enhance the retail experience. Using an Action Research
methodology, a series of case studies was undertaken to establish and
evaluate the concept of dynamic print design—a practice that involves the
development of generative algorithms and physical interfaces that embody
craft knowledge and enable craft skills. The primary contribution to the field of
study is articulated through documentation of these case studies combined
with insights derived from reflective practice, customer surveys and designer
interviews. The main findings are that dynamic print design expands the
creative possibilities for print-makers and, when used within a retail
environment to enable co-design, enhances the perceived value of textile
products by enriching the customer experience. With this in mind, the main
recommendation is that the field of printed textiles must expand to include
interaction design methods and programming techniques.