Motif Exploration (Hand

Recipies for COLOURS

Colour 1 • Material: Myrobalan • Local Name: Karakha pindhi • Colour Obtained: Light yellow Mayrabolan is actually a fruit which can be obtained from Terminalia chebula, this basically forms a pale yellow / greenish yellow colour. It also acts as a natural mordant and is used in textiles.

Colour 2 • Material: Turmeric • Locally Called: Haldi • Colour Obtained: Yellow Turmeric roots are powdered and boiled to make a consentrated solution that is used for painting

Colour 3 • Material: Pomegranate • Locally Called: Karakha Pooh • Colour Obtained: Yellow Pomegranate rinds are powdered and boiled into a mushy paste which is later squeezed out to extract the yello colour

Myrobalan, Turmeric and Pomegranate are used to create yellow, mustard, lemon yellow and other tints and shades of yellow. Colour 4 • Material: Iron Filings • Local Name: Kassim • Colour obtained: Black Black colour is obtained from jaggery, rusted iron filings and water. The materials are immersed in water for around 15 to 20 days. The reaction of molasses and iron fillings forms ferrous acetate. This solution when drawn on mayrabolam treated cloth turns into a permanent black because of the reaction between ferrous acetate and tannin.

Colour 5 • Material: Natural Indigo • Local Name: Neelam • Colour obtained: Blue Indigo blue is said to be one of the most ancient natural dyes which is obtained from Indigo leaves. For making the colour crushed atta seeds and water that has been boiled and cooled is added to the dye tank to wich indigo is added and kept for a day. To this lime is added and make the final colour.

Colour 6 • Material: Madder • Local Name: Kharam • Colour obtained: Red Water, alum and alizarin which is an organic compound derived from madder roots are mixed together to form red colour. It is diluted to form ligter shades of red. ✴Green is made by mixing blue and yellow ✴Brown is made by mixing red and black in ratio 3:1

initial Designs

Repeat Patterns

The Intital idea was to make normal reprat pattern oout of abstract and stylised floral motifs. Shown are some of the primary patterns produced for the collection keeping this idea in mind. These were just to explore elements and the placement of the motifs. No colours were introduced at this stage of work.

Different Layouts and Repaeat Sizes

Different Layouts and Repaeat Sizes

Different Layouts and Repaeat Sizes

Different Layouts and Repaeat Sizes

Different Layouts and Repaeat Sizes

Engineered Prints

The idea was later changed to engineered prints were we exprimented with the placement and the sizes of the prints to create a unique and interesting pattern that flows throughout the ensemble.

Fig 98: Initial Ideas for Engineer Print Fig 99: Initial Ideas for Engineer Print

We played with the sizes of the elemets, making sure the desin is is harmony and creates a flow through out. The elements were placed on certain parts of teh garment to create an appealing look when worn for any body type.

All the elements we have chosen are floral componenets. We have not particulary just restricted ourselves with Japanese florals here sisnce it was the intiial stages of design development, but it was made sure to use floral elements of all kinds and sizes.

Finalised Sizes and placements of the prints

The prints and rendering shown below are the finalisedcomposition, sizes of the elements and the placements we came down to. The motifs or elements are purposefully enlarged to create unique and unconventional prints. Something very unlike the traditional repeat or engineered print-sizes we usually see on garments. Elements like curves, lines, dots,ect are used to create a flow and harmony which finally works together with the floral elments to create a work of art. Here, the idea was not to just create a peice of garmnet but to create cmposition similar to a pianting or an artwork that can be worn and passed on. Thus the placement and the sizes of the elements are designed keeping this aspect in mind.