EARTH FROM ABOVE ADVANCE PRINT DESIGN
EARTH FROM ABOVE ADVANCE PRINT DESIGN
Faculty Guide: Shruti Phagre & Romanie Jaitley Imon Khandakar PG Textile Design 2012-2013
ACKNOWLEDGEMENT
Any work can be satisfactorily completed only with the aid of some people. Through this document, I shall like to extend my gratitude to those people. To start with, I would like to thank our external guide Mrs. Shruti Phagre for patiently guiding us through the first phase of the project. Concept building was an important learning. How to get inspired from the nature, and its translation towards creating artworks was interesting. I would like to thank Ms.Romanie Jaitley for guiding us to the next phase of the project. Understanding foreground and background and how to derive coordinates from a main print was important. I thank Alok Bhai and Chetan Bhai for constantly helping us during cleaning of final prints on software; Paresh Bhai, Amit Bhai and Prabhat Bhai for guiding us through the screen making and printing of fabric samples. Lastly I thank my classmates for being there through thick and thin during the course.
INTRODUCTION
The design process ii encompassed surface development – print. The module was 8 weeks long into two phases: Part 1: concept development, inspiration, exercise on lines and textures, selecting a colour palette based on forecast, understanding repeats, explorations of artworks for print, final artwork selection, colourways and coordinates. Part 2: after the final artworks were selected, the same was cleaned on software to reduce the number of colours for the screens. We underwent the process of screen making and printed our fabric samples. The same print was simulated on to any product. Textile printing is the process of applying colour to fabric in definite patterns or designs. In properly printed fabrics the colour is bonded with the fibre, so as to resist washing and friction. Textile printing is related to dyeing but, whereas in dyeing proper the whole fabric is uniformly covered with one colour, in printing one or more colours are applied to it in certain parts only, and in sharply defined patterns. In printing, wooden blocks, stencils and engraved plates, rollers, or silk screens can be used to place colours on the fabric. Colorants used in printing contain dyes thickened to prevent the colour from spreading beyond the limits of the pattern or design.
Traditional textile printing techniques may be broadly categorised as: • Direct printing, in which colorants containing dyes, thickeners, and the mordant or substances necessary for fixing the colour on cloth are printed in desired pattern. • The printing of a mordant in desired pattern prior to dyeing cloth; colour adheres only where mordant was printed. • Resist dyeing in which a wax or other substance is printed onto fabric, is subsequently dyed. The waxed areas do not accept dyes, leaving uncoloured patterns against a coloured ground. • Discharge printing, in which a bleaching agent is printed onto previously dyed fabrics to remove some or entire colour. Types of printing: 1. Hand block printing 2. Engraved copper plate printing 3. Roller printing/cylinder printing or m/c printing 4. Stencil printing 5. Screen printing 6. Digital textile printing
Screen-Printing
Screen printing is a 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. One colour is printed at a time, so several screens can be used to produce a multi-coloured image or design. It is by far the most used technology today. Two types exist: rotary screen printing and flat (bed) screen printing.
CONTENTS:
1/ INTRODUCTION 2/ EXERCISE on LINES & TEXTURE 3/ REPEATS & TEXTURIZING 4/ CONCEPT DEVELOPMENT 5/ INSPIRATION, COLOUR PALETTE 6/ DESIGN PROCESS
• EXPLORATION FOR ARTWORK • LAYOUT EXPLORATIONS • TECHNIQUE on MATERIALS • FINAL ARTWORK • SCREEN SEPARATION • COLOURWAYS • COORDINATES ON PAPER • COORDINATE ON FABRIC
7/ PRINTED SAMPLES 8/ PRODUCT STIMULATION/MAPPING
EXERCISE ON LINES & TEXTURES The first and interesting exercise was to free our hands and experiment with lines only in black and white. We could use any tool to create uniform or non uniform lines. This gave a whole new vocabulary of compositions and textures that was very helpful during developing coordinates to our final print.
The idea here is to create a balance in composition created by the basic shapes from with line quality and arrangement to get a contemporary layout in a assymetric arrangement.
Experimentation with different material like match sticks, tickness of the line and positive & negative space incomposition to create sense of harmony in designs.
Also understanding artwork by manupulation of similar line quality in playing in different direction.
EXERCISE ON LINES & TEXTURES
“A drawing is simply a line going for a walk”
- Paul Klee
EXERCISE ON LINES & TEXTURES
Nature doesn’t move in a straight line, and as part of nature, neither do we.
A drop of ink may make a million think.
- Lord Byron
EXERCISE ON LINES & TEXTURES
EXERCISE ON LINES & TEXTURES
When we are asleep in this world, we are awake in another. - Salvador Dali
EXERCISE ON LINES & TEXTURES
REPEATS & TEXTURIZING This exercise included the concept of repeats through one or more motifs. The placement of the motifs in a given area gave us different composition ideas. Also the balance of the foreground and the background was worth learning. Motifs can be broadly classified as : Buta (bigger in size) and Butis (smaller in size). Following are some types of repeat:
CONCEPT DEVELOPMENT The concept generated from the idea of micro to macro view of us and earth. Living in the planet and seeing it is different where we overlook lot of issues which is not proportionate to our views. So here i take a leap from ground perspective to aerial view to see the bigger picture from air, about life on earth. These Aerial photography have provided invaluable information, and the vantage point of space has provided new perspectives on Earth.
Earth’s aesthetic beauty in the patterns, shapes, colors, and textures of the land, oceans, ice, and atmosphere. The beauty of Earth is clear, and the artistry ranges from the surreal to the sublime. Truly, by escaping Earth’s gravity we discovered its attraction. Awe-inspiring portraits of our planet, and a new perspective on the need for sustainable living. From here, My experience of Ahmedabad as a city & Sabarmati became my inspiration.
KEYWORDS 1. CITY MAP 2. ECO SYSTEM 3. LANDSCAPE - pattern, shapes, colours & texture
4. RIVER 5. SURREAL to SUBLIME 6. MICRO - MACRO
Cloth map of Ahmedabad city.
INSPIRATION BOARD
A bird’s-eye view of urban planning: getting an overview with
aerial view While most cities benefit from a mix of planned and unplanned development, there are a few cities that were completely planned from the top-down. These visionary projects are built on an undeveloped site, usually based on an individual’s desire to create the perfect urban environment. In most cases, however, the population swells beyond the original planned capacity and, despite the planner’s best intentions, the city begins to expand and develop more naturally.
COLOURS DIRECTION Accelerate/ Decelerate This shallow artificial ponds are designed to extract salts from seawater, through a process called solar evaporation. Through the effects of the sun and wind, the sea water evaporates in the successive ponds until it becomes fully concentrated. This causes the salt to crystallize on the floor of the pond. What gives the ponds their variety of colors — from vivid blues and bright reds to pastel pinks, blues, and greens — is the differences in algal concentrations. The color also indicates the salinity level of the ponds. Due to variable algal concentrations, vivid colors, from pale green to bright red, are created in the evaporation ponds. The color indicates the salinity of the ponds. Micro-organisms change their hues as the salinity of the pond increases. In low to mid-salinity ponds, green algae are predominant.
Australian Salt II, Kevin Krautgartner
INITIAL IDEATIONS
DESIGN PROCESS This was an extension of concept development and understanding properties of a surface and its progression in an aesthetic manner. Natural surfaces and their surface properties were studied with respect to patterned surfaces. A surface was also analysed in terms of balance, rhythm and contrast and the following artworks were generated, though prominent in case of print does not remain restricted to ‘print’ alone. ‘Print’ as known in the conventional sense of the term would restrict itself to a two dimensional surface with limitations in the number of colours and techniques. However, today the scenario is quite different as print is no longer restricted to being a two dimensional surface but extends itself to various textures, styles, colours and light interactivity. Digital prints allow complicated and multi-coloured photographs to be printed with ease. But to make printing an economical and production friendly process, restriction on colours is important too.
The best part of the course was that it was not restricted to print alone but about the understanding of brands, development of concepts and idea generation. This course further gave me the opportunity to implement my ideas into another medium of textile art with machine embroidery as a tool. Other than it includes different non textile material and printing on them. This curious process has many overlap over time to time. The idea which started as macro-micro view has flowed like a river and created different ideas like cities in its bank. The course of the project it has reflected the nature of a river in different terrain, went through lot of discussion, thinking, alteration & most over creative outcome as how to create a contemporary print design project beyond commercial direction and let by trend for future.
EXPLORATION FOR ARTWORK (MONOCROME)
EXPLORATION FOR ARTWORK
LAYOUT EXPLORATION
TECHNIQUE on MATERIALS Now the finalized layout is further explored by different rendering style through painting, stroke variation, watercolour & Poster, 3D pop ups, lino cut, paper exploration & even in etching in glass. The idea of seeing the city here is not limited to the aerial map of the layout; it stretched its boundary to exploring the people, places, heritage & culture of Ahmedabad to give a pure & unique artistic purpose of the print development as an identity. So I started exploring the finding deeper connection for the final look & aesthetic of the print. In this process you will find drawings of objects, transportation, places, colours, monuments, industries & more over nature as a part of the city to experience its best. So i started amalgamating all possible elements with the selected layout to make it interesting & fill details to make it more contemporary in nature & style of the final outcome in fabric, along with other material as paper, glass, curved surface, even as a product surface.
TECHNIQUE on MATERIALS
ELEMENTS EXPLORATION for LAYOUT
COMPOSITION WITH BACKGROUND EXPLORATION
FINAL ARTWORK
SCREEN SEPARATION
COLOURWAYS
PAINTED COORDINATES
EMBROIDED COORDINATE
These are few exploration to support the collection with embrioded material as surface to create the aesthetic.
Laser cut, Patchwork, Quiting hand & decorative embroidery created keeping the design language of the collection .
PRODUCT STIMULATION
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