Plushies Plus by Jenny Pokryvailo

PLUSHIES PLUS

SUPER SOFT TRANSITIONAL OBJECTS 1

research / process / experience

Table of contents

Where it all began.........................................................2 Research.........................................................................4 Transitional objects.........................................................6 Children and fears......................................................10 Moodboards................................................................12 Sketches..................................................................14 Tools...............................................................................24 Materials.....................................................................26 Mock-Ups......................................................................30 Patterns.........................................................................38 Graphics.......................................................................40 Colors............................................................................44 Branding......................................................................50 Animation.....................................................................58 Thanks...........................................................................63

WHERE IT ALL BEGAN Hedgehog in the fog:

(ёжик в тумане)

I have a memory of a certain dish my granny used to make for me when I was a little girl. Those were meatballs wrapped in rice and served in sour cream. She called it: hedgehogs in a fog. Through that memory I discovered “Hedgehog in the Fog” - a 1975 Soviet animated film directed by Yuriy Norshteyn. This is a story about a little hedgehog who gets lost in thick fog, where horses, dogs and even falling leaves take on a terrifying new aspect... He finds himself in a strange world inhabited by many frightening creatures but also helpful and kind ones, a world of silence and rustles, of darkness, high grass and enchanting stars. The little hedgehog is frightened, but his curiosity keeps him exploring the unknown. From the moment I saw the animation I was drawn into this night world of mystery and began to take an interest in children’s world of fears.

The hedgehog above is a by-product of purchasing a pair of zigzag scissors.

A scene from Yuriy Norshteyn’s film “Hedgehog in the fog”: The hedgehog is scared by rustles.

RESEARCH Books / forums / articles / lectures / web / TV / magazines / Q&A

I started to read articles, books and web forums about children and their fears, written by sociologists, children psychologists and psychoanalysts. I have found a few interesting theories; In one of the articles, I have discovered the “transitional object” theory by Winnicot. I have also attended a few lectures and seminars in related themes, one of them was given by Yuriy Norshteyn himself. I had the chance to ask him about his work; He said “I never forget I was a child once”.

TRANSITIONAL OBJECTS Concept by D.W. Winnicott.

Donald Woods Winnicott (7 April 1896 – 28 January 1971) was an English pediatrician, psychiatrist, sociologist and psychoanalyst. Winnicott began his career as a pediatrician and used his experience with children to develop his innovative ideas. Winnicott has made great and lasting contributions to psychoanalytic theory, particularly in the famous theory of the “transitional object”.

The term “transitional object” was coined in 1951 by Winnicott as a designation for any material object (typically something soft - a piece of cloth or part of a plush toy) to which an infant attributes a special value and by means of which the child is able to make the necessary shift from the earliest oral relationship with the mother to genuine object relationships.

Transitional experience Winnicott introduced the concepts of transitional objects and transitional experience in reference to a particular developmental sequence. With ‘transition’ Winnicott means an intermediate developmental phase between the psychic and external reality. In this ‘transitional space’ we can find the ‘transitional object’. Winnicott first spoke of the transitional object on May 30, 1951, in a paper read before the British Psycho-Analytical Society and published in 1953 under the title “Transitional Objects and Transitional Phenomena. A Study of the First Not-Me Possession.” This article was recast twenty years later and incorporated into Winnicott’s Playing and Reality, a book concerned entirely with transitional phenomena. In his observation of infants, Winnicott noted that between the ages of four and twelve months children would often become attached to a particular object that they invested with a primordial significance. This object would be manipulated, sucked, or stroked, and often became an indispensable aid for falling asleep. Parents recognized its value, taking it along everywhere and allowing it to get dirty in the realization that washing would introduce a break in continuity in the infant’s experience and destroy the object’s meaning and special worth. Such objects in fact constituted a defense against depressive anxiety. The middle ground between objective reality (also called the “not-me”) and subjective omnipotence (the “me”) is what Winnicott called the transitional experience. This experience is a transitional zone between the self and the real world. Central in the transitional experience is the transitional object that inhabits this zone, which to the infant represents the mother or her breast when she is absent. This object can alternatively be referred to as the first “not-me” possession - a teddy bear, a blanket, etc. The child does not experience this object as created by themselves, nor as entirely detached, but instead the transitional object is a fantasy. It is a way for the child to maintain a connection to the mother while she progressively distances herself. According to Winnicott, this experience is marked by anxiety and it is important for the child to have an object as a defense to this anxiety. Transition refers to aiding the child while the mother separates. The transitional object as described by Winnicott is very ambiguous as transitional has a double meaning. The object is both a fantasy created by the child to feel connected to the mother, while at the same time it is a mixture between the mother in the subjective phase and the mother in the objective phase. The child clings to the transitional object as it transitions between the two phases, while they find a balance between their own subjectivity and accommodation to others. The transitional experience as described by Winnicott is the phase where the infant can develop the creative self while still feeling protected. Through fantasizing about the object of his wishes the child will find comfort. A transitional object can be used in this process. This object represents all components of ‘mothering’, and it means that the child himself is able to create what he needs as well. It enables the child to have a fantasized bond with the mother when she gradually separates for increasingly longer periods of time. The transitional object is important at the time of going to sleep and as a defence against anxiety. Several authors have criticized Winnicott’s view of the transitional object. Melitta Sperling feels that such objects are pathological manifestations of a specific disturbance of object relationships. Esther Bick (as cited by Michel Haag) evokes an adhesive clinging that results from a defective introjection of the mother’s containing function. And in Françoise Dolto’s view, children with “enough words of love and opportunities for play of a motor kind” available have no need of transitional objects, which should therefore be treated from the outset as fetishistic.

“An estimated 60% of young, middle-class children in Western cultures use soft objects, such as blankets, pillows, and stuffed toys, as soothers or comforters when they are going to sleep or are mildly distressed” (Lehmane, 1995). “Because they help a child make the transition from complete dependence to independence, experts sometimes refer to security objects as transitional objects” (Kutner,1997). A transitional object, as defined by Winnicott is an item that serves a soothing function for children, and stresses that these objects are normal and significant developmental phenomenon’s, and that such attachments do not imply maladjustment (Lehmane,1995). “It might be his blankie, a doll, or a stuffed animal, or an old cloth diaper. If it’s been around for a while it’s likely frayed and grayed and smells of home. It’s there whenever he wants or needs it” (Miles,1997). A security object can give a child both emotional and tangible comfort, especially during times of stress. When going to sleep, these security objects can have a calming effect on children. They can also be helpful in a separation from the parent. The object reminds them of the parents; therefore, it calms them by giving them a peace of mind. Although children benefit from transitional objects, they have been a concern for many parents for quite some time now. The parents view the object clutched in the child’s hands as nothing more than a dingy blanket or a tattered doll (Kutner,1991).

The Need for Transitional Objects “Transitional objects are among the most powerful symbols in children’s lives” (Kutner,1991). According to Miles, attachment to a transitional object tends to develop around six months of age. This is when the first evidence of independence develop, but the attachment peaks at about eighteen to thirty months of age. The security objects are generally most important when the child is about two and a half years old. This may be because between the ages of two and three children develop the necessary skills that allow them to emotionally relate to people other than the people most important to them (Weiser,1991). Transitional objects are irresistible to children because, for the most part, they are soft, warm, and “totally predictable” (Miles, 1997). Miles states that in addition to providing security, the transitional object allows the child to show his autonomy. The young child enjoys having authority over something. Kutner believes the ways in which children use these transitional objects tell us a great deal about their development. Parents observing the child caring for his/her most loved stuffed animal or doll, can see that the transitional object provides “friendship” as well (Miles, 1997). If a small child has trouble separating from his/her parents, it is a good idea for the parent to provide the child with an object he/she can take with them to the day care center or baby-sitter’s house (Kutner,1991). Children’s needs differ when it comes to transitional objects. Some children never even have a security object, some jump from one object to another in short periods of time, and others cling onto one object for years (Miles,1997). “As long as the relationship doesn’t inhibit the child’s development of social or language skills-as a pacifier might, for example there’s no reason to be concerned” says Miles (1997). Transitional objects help the child deal with their independence. They are considered to be an experimental steps toward growing up. “It’s a big anxious world out there, and anything that gives a child comfort and solace is good” (Wise,1997).

Fostering the Use of Transitional Objects According to Kutner, if a child is unable to use an object for self-comfort, they may require professional help. Instead of clinging to their security object, these children scream, become very withdrawn, or fall apart emotionally (Kutner,1991). Parents can encourage an attachment to an item that’s easy to tote around. They can do this by putting a particular toy or blanket in the baby’s crib at bedtime and taking it with them when not at home (Wise,1997). Some daycares do not allow children to bring along items from home. In such case, parents should explain the day care’s rules to the child, but allow the child to bring their transitional object with them in the car. For instance, parents can let the child say goodbye to their security blanket while telling them it will be there when they pick them up from day care (Wise,1997). “Learning to use transitional objects can be a very important step for a child along the path toward independence” (Kutner,1991).

Linus from the “Peanuts” comic strip is infamous for carrying around his security blanket while sucking his thumb.

‫אז מה עושים?‬ ‫פחדים שונים הינם רציניים ביותר עבור הילד‪ ,‬אפילו אם הם נראים להורה כמגוחכים או כחסרי יסוד‪ .‬מסיבה‬ ‫זו‪ ,‬יש להתייחס אליהם ברצינות על מנת שהילד לא ירגיש גם זלזול מצד ההורים או אשם‪ ,‬בנוסף לחרדה‪.‬‬ ‫במקרים רבים‪ ,‬הילד עצמו חש בושה וחוסר אונים בשל פחדיו‪ ,‬וחשוב להיות רגישים לנושא זה ולהסביר‬ ‫לו כי הפחדים הינם טבעיים לחלוטין‪ .‬בגילאים צעירים ניתן להתייחס לחלום כאל מציאות לכל דבר‪ .‬היות‬ ‫ומדובר במצוקה אמיתית חשוב לתת לה מקום‪ .‬אסור לזלזל בפחדיו של הילד‪ ,‬חשוב להרגיעו‪ ,‬לחבקו ולתת‬ ‫לו תחושה שיש מי ששומר ומגן עליו‪ .‬תגובותיהם של ההורים אינן משפיעות רק על ההתמודדות עם הפחד‬ ‫אלא גם על היווצרות הפחד עצמו‪ .‬בייחוד בגילאים הצעירים ילדים תלויים בהוריהם על מנת לפרש אירועים‬ ‫שונים ולהגדיר את רגשותיהם‪.‬‬ ‫הרגעה ושימוש בדמיון של הילד לצורך פתרון בעיות ותחושת שליטה‪:‬‬ ‫חשוב להעביר לילד בהדרגה את האחריות הסופית להתמודד עם הפחד‪ .‬אחד האלמנטים החשובים כאשר‬ ‫משתמשים באמצעי הרגעה הוא להשאיר אפשרות לשליטה על ידי הילד עצמו וזאת על מנת להגביר את‬ ‫תחושת השליטה שלו‪ .‬כמו כן ניתן להציע לילד חפץ של ההורה ולבקש מהילד שישמור על החפץ עד‬ ‫הבוקר ובבוקר יחזיר אותו להורה‪ .‬החפץ מהווה ייצוג מוחשי של ההורה בהעדרו ונותן לילד תחושה של רצף‬ ‫והמשכיות‪.‬‬ ‫טקס השכבה ופעולות סמליות‪:‬‬ ‫ילדים זקוקים לתחושת בטחון ולידיעה כי הם מוגנים‪ .‬אחת הדרכים להבטיח זאת היא על ידי שגרה ויציבות‪,‬‬ ‫המכניסות מימד של קביעות והמשכיות בחיי הילד כגון קיום טקס השכבה‪ ,‬טקס מעבר מעירות לשינה‬ ‫המסמל ‪ -‬הולכים לישון‪:‬‬ ‫חשוב להתמיד בטקס בכל ערב סביב אותה שעה‪ .‬הטקס יכול לכלול פעולות סמליות שעשויות לעזור לילד‬ ‫להתמודד עם הפחדים הכרוכים בהליכה לשינה וללמדו הרגעה עצמית‪ ,‬כגון אמירת לילה טוב לצעצוע‬ ‫נבחר‪ ,‬הדלקת אור לילה‪ ,‬העזרות בבובה מרגיעה‪ ,‬השארת אקדח צעצוע או פייה קטנה ליד המיטה‪ ,‬שיר‬ ‫ערס קצר‪ .‬הילד ילמד שטקס זה מסמל הליכה לישון ויהיה מוכן לכך מראש‪.‬‬ ‫כאשר מועבר לילד מסר כי אנו מתייחסים בצורה רצינית לפחדיו‪ ,‬לא לועגים לדבריו מקבלים אותו וסומכים‬ ‫עליו כי הוא ידע להירגע‪ ,‬יטה הילד להתמודד עם הפחדים ביתר קלות‪ .‬חשוב להזכיר שפחד הוא תופעה‬ ‫טבעית ובריאה‪ ,‬שעוזרת לילדים להסתגל לסביבה‪ ,‬להתגבר על קשיים ולהתמודד עם המציאות בצורה‬ ‫טובה יותר‪ .‬הורים אינם צריכים – וגם אינם יכולים‪ ,‬למנוע את הפחדים של ילדיהם‪ ,‬אבל הם יכולים לסייע‬ ‫להם להתגבר על הפחד‪.‬‬

‫מאת‪ :‬אלי שגיא‪ ,‬פסיכותרפיסט‪\,‬פזית בלציאנו‪ ,‬יועצת חינוכית‪\,‬דר דפנה דולברג‪ ,‬פסיכולוגית קלינית והתפתחותית המתמחה בילדים‪.‬‬

‫‪10‬‬

‫מהו פחד?‬

‫פחד הינו תגובה טבעית של הגוף למצב של איום פיזי או רגשי‪ .‬זוהי תגובה אינסטינקטיבית‪-‬סתגלנית‬ ‫שמאפשרת לנו להתכונן לקראת האיום‪ .‬בזכות הפחד אנו נזהרים ולומדים כיצד להתנהג‪ .‬הנטייה לפחד היא‬ ‫מולדת לעומת זאת סוגי הפחדים שנפתח תלויים בהתנסויות שלנו ובלמידה‪.‬‬ ‫הפחד מורכב מ‪ 4-‬חלקים עיקריים‪ :‬מחשבות‪ ,‬רגש‪ ,‬תגובה גופנית והתנהגות‪.‬‬ ‫• מחשבות‪...« :‬משהו מסוכן עלול לקרות לי‪»...‬‬ ‫• רגש‪ :‬תחושת מתח‪ ,‬חשש ואי‪-‬נוחות‪.‬‬ ‫• תגובה גופנית‪ :‬דופק מהיר‪ ,‬הזעה‪ ,‬מתח שרירים‪ ,‬כאבי בטן‪.‬‬ ‫• התנהגות‪ :‬אי‪-‬שקט‪ ,‬הימנעות או התקפה‪.‬‬

‫פחדים בקרב ילדים‬ ‫פחדים הגיוניים ולא הגיוניים הם חלק מתהליך התפתחותו של הילד ומלווים אותו ואת משפחתו במשך מספר‬ ‫שנים‪ .‬הופעת פחדים אצל ילדים מראה כי הילד מתפתח מבחינת יכולות החשיבה אך עדיין מוגבל על ידי‬ ‫חשיבה ילדותית וקושי לבחון את הסבירות של הסכנה (פחד מפני מפלצות‪ ,‬חושך וכדומה)‪ .‬ככל שמתבגרים‬ ‫הפחדים משתנים וכך גם הצורה שבה יש לנהוג עם הילדים‪ .‬חלומות מפחידים הם חלק מתהליך התפתחותי‬ ‫נורמאלי המאפיין את ילדי הגן ובית הספר‪ .‬לכל גיל קיימים פחדים המאפיינים אותו‪ ,‬המתאימים למצבו‬ ‫ההתפתחותי של הילד ולאתגרים מולם הוא נדרש להתייצב‪ .‬פחדים במהלך השינה המתבטאים בחלומות‬ ‫וסיוטים אינם תופעה נדירה אצל פעוטות בני שנתיים עד ארבע ומהווים חוויה מבהילה שעלולה להימשך‬ ‫כמספר דקות ומסתיימת לרוב בהתעוררות‪.‬‬ ‫מגיל שנתיים שלוש נכנס הילד לשלב התפתחותי בו הוא משחק משחקים דמיוניים ומשחקי סימולציה‪ .‬עולם‬ ‫הדמיון עשיר והחשיבה היא מאד מאגית‪ ,‬ההבחנה בין דמיון למציאות מטושטשת ועדיין אינה מגובשת ומובנת‬ ‫עבור הפעוט בשלב זה‪ .‬לילד חיים דמיוניים גם בשעות היום‪ ,‬אלא שבלילה הכול נראה מעט שונה‪ ,‬חשוך‬ ‫מסתורי ומאיים‪ .‬הלילה הוא בבחינת הליכה אל הלא נודע‪ ,‬אל עולם החלומות ופרידה מכל מה שמוכר‬ ‫ואהוב‪.‬‬

‫מפלצות ויצורים דמיוניים‬

‫היות ואצל ילדים צעירים‪ ,‬קיים עדיין בלבול בין דמיון למציאות‪ ,‬וכן בין העולם החיצוני לעולם הפנימי‪ ,h‬כאשר‬ ‫הפעוט חולם חלומות בעלי תכנים מאיימים‪ ,‬הוא משוכנע כי הדברים אכן מתרחשים במציאות וחווה מצוקה‬ ‫אמיתית‪ .‬במצבים של חושך‪ ,‬בדידות או מתח עולים מתוך התת‪-‬מודע תכנים מאיימים מסוגים שונים והם‬ ‫לובשים בעיני רוחו של הילד צורה של דמויות דמיוניות‪ ,‬שודדים‪ ,‬רעים‪ ,‬מפלצות‪ ,‬נמרים‪ ,‬דרקונים‪ ,‬מכשפות‬ ‫ודברים איומים אחרים שמסתתרים בארון או מתחת למיטה‪ .‬כיוון שאינו יודע לעשות את אותה הפרדה‬ ‫בין חלום למציאות‪ ,‬הוא יראה סימני פחד ויזדקק לתיווך של מבוגר על מנת להצליח להרגיש בטוח שוב‪.‬‬ ‫כשמתעוררים פחדים כאלה (לרוב בחלומות) אין טעם לנסות ולשכנע שהמפלצות לא קיימות במציאות‪.‬‬

‫‪11‬‬

MOODBOARDS A collection of images that inspired me through the project

SKETCHES Evolution of various concepts.

This is a collection of sketches showing the process of my ideas and concepts through the project. There were lovable concepts that didnâ&#x20AC;&#x2122;t suit the projectâ&#x20AC;&#x2122;s guiding lines, there were lovable nonfunctional concepts, and there were the chosen ones that remained and became Pip, Kip, Hongo and Blankie.

Digital sketches

TOOLS

From delicate needle to room sized machinery... In this project I have found myself working with various tools in different scales and sizes. My work was divided into home and industrial fabrication areas. At home I was working with small and delicate tools like tiny scissors, seam cutters, needles , pins etc, while in the industrial area I used a textile industry machinery, sometimes in a size of a room. I worked with laser cutting machines, Dye-sublimation printers and heat transfer rollers, industrial press irons, huge embroidery and laser combined machines and more. I was excited to see these giant machines perform the same delicate operations as I did at home. Did you know that 35 cm home sewing machine and 3 meters long industrial embroidery machine use the same bobbin?

MATERIALS Tested and approved...

I explored throughout the project a variety of materials. After exploring, working and experimenting with them, some were rejected and some (mainly the softest ones) were chosen for the final models. From left to right: Plastic pellets Glow-in-the-dark fabric Goose down Ferrofluid Tiny styrofoam Polyester fabric Thermochromatic color changing fabric Tyvek 速 Glow-in-the-dark thread Metal nano balls Polyester velvet Ball siliconized polyester Deka Textilfarbe aktuell textile colors Cotton Goat leather

What Makes Glow-in-the-Dark Things Glow? Bioluminescence - one of the weird but wonderful reactions that happen naturally in many plants and animals, occurs when the natural chemical energy produced within an organism is converted to light energy. The result is an amazing display of natural fluorescent light, or ‘cold light’. The color of bioluminescence is normally at the blue/green end of the visible light spectrum. The mesmerizing ”glow in the dark” effect in industrial products is caused by a simple chemical reaction referred to as photo luminescence. The most common way of making an object glow in the dark is by incorporating a phosphor, a chemical that gives off visible light. When a phosphor is exposed to light, the light energy excites the electrons. As electrons absorb and then lose this energy, they too release it as light. In order to give off light, a phosphor must regularly recharge by being exposed to an energy source, just like a rechargeable battery after it has been depleted. If the phosphor is not exposed to an energy source, the glow will gradually fade until the electrons return to their original energy level. There are numerous phosphors, but zinc sulfide and strontium aluminate (which glows much longer) are the two most common ones found in glow-in-the-dark items such as Hongo. These phosphors are mixed right in with the substance that is to glow, such as the waterproof breathable coating that is applied to a woven polyester fabric that will be sewn into a glow-in-the-dark Hongo plushie.

Photoluminescent pigment Photoluminescent pigment is a new-type of environmentally friendly alkaline earth aluminate pigment with the characters of non-toxic, innocuous, non-radioactive. By absorbing ultraviolet light and other visible light, it can release the energy in the form of visible light for over 10 hours in the dark and features duty-cycle operation. The luminosity and after-glow time are over 30 times compared with the traditional Zns products. Different glowing colors can be achieved such as red, blue, violet, blue-green and yellow-green. Once the product is exposed to light it will glow for hours. Because it offers this luminance for so long, the technology is an easy way to provide light in complete darkness without electricity or batteries. Glowing durations: Red, 2 hours. Violet, 4 hours. Blue, more than 8 hours. Blue-green, more than 12 hours. Yellow-green, more than 12 hours.

Glow-in-the-dark pigment toxicity statement - iso intracutaneous reactivity test results.

MOCK-UPS From roughly general shape to a neat highly detailed plushie Here you can find a few images of my mockups in different stages of the project. The 3D process dealt with achieving desired forms by sewing different patterns using various fabrics and fillings.

First tests of Hongo - checking the flipping possibility.

Tests of printing and sewing tyvek , eye and teeth from STL, small “take with you” pip, lurex screen print, laser cut labels, endings for hongo and parts for “rub my back” plushie.

Earlier versions of pip and kip (with plastic inserts as eye and teeth)

advanced mockups involving laser cuts, sublimation prints, embroidery, lurex screen print, and fabric dyeing.

latest mockups from printed fabric, embroidery and laser cuts.

Mockup for Hongo. Each â&#x20AC;&#x153;flowerâ&#x20AC;? was printed in different color saturation from 100% to 5% for gradient result. On other side: Aqua blue polyester 75 denier (bluish glow).

A selection of mockups for “Pips”. Each one was sewn in a different way until the desired “compact pip” was achieved.

PATTERNS Going three years back to the technical drawing notebook

Differently shaped patterns are sewed together to create a 3D form/plushie. The patterns are a divided spread view of the plushie that must fit together perfectly. Calculating the right pattern will result in a desired 3D shape. Patterns must be very accurate in order to create the perfect form and volume - deviation of a few millimeters in the contour is enough for the sewn plushie to take another form. Finding the right pattern was a long guessing game. Lots of logic, math equations and going back three years to the technical drawing notebook made Pip, Kip, Hongo and blankie possible. The last versions of patterns for the final models were cut by laser for maximum accuracy.

GRAPHICS

more patterns - beginning of gradients.

Various patterns for digital printing on tyvek

Color schemes tests.

Teeth patterns for Kip.

COLORS Exploring textile printing and dyeing technologies...

In this project I turned to fabric printing technologies. I wanted to transform my “gradient” color scheme design for the plushies into a real printed fabric that I could work with in later stages. I have tested and experimented several kinds of methods and technologies of printing on fabric. I started with digital printing on cotton (my first choice for the plushies) and discovered that this technology was hardening the fabric, therefore was not suiting my interest in that soft tactile feeling I was looking for. I turned to digital printing on synthetic fabrics - the Sublimation print. Due to this slight change in technology, results were satisfying - the print didn’t harden the fabric. I started making a wide range of tests of gradient prints on synthetics. Although the printing went well, my specific graphic design was problematic for the printers abilities; even though I was accurately sticking to Pantone test charts, dark color transfers were not smooth. The technology was good though for small parts like inside and outside labels and eyes. When I decided to return to the cozy feeling of cotton, my desired color design was achieved by dyeing the fabrics with Deka aktuell. Later on I have also experienced in high gloss lurex Screen print technology when I was looking for the non-slip effect in Kip’s and Pip’s bottom part.

Pantone test chart: for accurate dye-sublimation print results.

Dye-sublimation small print tests from â&#x20AC;&#x153;idea digitalâ&#x20AC;&#x153;.

Pips eyes for digital print, plus pattern for lurex screen print.

Dye-sublimation print arrangements for “digital grafiti“ and “idea digital“.

Dye Sublimation printing A dye sublimation printer creates colour on the printed page by vaporising inks, in the form of either a roll or a ribbon, similar to those used by thermal wax printers. These dye-ribbons usually contain consecutive panels of cyan, magenta, yellow and black dye. The dye-ribbon is heated and the vaporising dye is sublimated onto the paper. The colour and its intensity is determined by what amount of heat, generated by the thermal print head, to which the dye-ribbon is subjected. The inks solidify or â&#x20AC;&#x2DC;sublimateâ&#x20AC;&#x2122; turning from a solid to a gas without a liquid phase in between with the gaseous dyes absorbed by the printing paper. The dye sublimation process itself is based on heat diffusion.

Silk screen printing Screen printing, sometimes referred to as silkscreen printing, primarily uses a hand or electronically-prepared stencil which is contained inside a frame. The part of the image that is to be printed is made up of silk, nylon or a stainless-steel mesh. Ink can pass through this area but not through the other part of the stencil. The surface to be printed is placed under the frame on a flat base. The image is transferred from the stencil to the printing surface by forcing the ink through the screen area with a rubber squeegee.

Pictures taken during different printing processes.

BRANDING Plushies plus

I decided to build a brand for my plushies. I chose the name â&#x20AC;&#x153;Plushies plusâ&#x20AC;? to stand for the combination of a soft plush with a certain element that gives the toy the added value. My approach towards the branding esthetics was derived from a point of view of the customer; The product is made for small children, who can not purchase the product by themselves, therefore, my customer is the parent. I wanted the brand to speak to the parent who is looking for a solution to a common problem of childrenâ&#x20AC;&#x2122;s night fears. I wanted to give the brand a mature overall look. By designing a logo and a package I wanted to attain a brand image that delivers a message of a useful yet humoristic product rather than a toy; an aid for any occasion, a plush to be loved by adult and therefore by child. Here you can see the process of logo design, color template/scheme design, labels, packaging and other accessories.

Logo search

Labeling As part of Plushies Plus branding proccess, I have designed labels for different purposes.

Sketches of labels for the main plushies.

Permanent label renders, later cut with laser from fluorescent perspex.

Final main plushies labels. Front: logo and teaser, back: Name and description. Digital print on 58x90 mm thick cardboard, matt lamination. Die cut. Metallic coated eyelet.

Inside care instructions labels. Dye-sublimation print on 40x125 mm sateen strip.

External logo labels. Digital print on 15x60 and 28x100 mm cotton strips.

Brand pledge labels. Digital print on 58x90 mm 300 gr. transparent pergament paper. Die cut. Metallic coated eyelet.

Two versions of small labels for â&#x20AC;&#x153;take with youâ&#x20AC;&#x153; mobile Pips. First version was designed continuously to main labels concept. Second version was chosen. Digital print on 28x110 mm thick cardboard, matt lamination. Die cut. Metallic coated eyelet.

open here

PLUSHIES PLUS SUPER SOFT TRANSITIONAL OBJECTS

Pip and Kip are guard twins for sound sleep. They are watching over you while you are alone. Pip and Kip are always in touch. Pip has a great eye that observes all over the place and is aware of every movement in the room, while Kip has huge mouth full of teeth that scares monsters and other unpleasant creatures away. Kip's mouth is also the safest place around to hide your little secrets - no one will dare to come near! Just place Pip and Kip in a strategic spot in your room and sleep safely till morning light.

Mommy, there's a

monster!

suitabale for children between ages 0-99 care instructions included

PLUSHIES PLUS

SUPER SOFT TRANSITIONAL OBJECTS

Plushies plus ensures that the utmost care was put into the design and construction of this product. only the best materials were carefully selected and implemented to suit the needs of the young owner.

open here

PLUSHIES PLUS SUPER SOFT TRANSITIONAL OBJECTS

Pip and Kip are guard twins for sound sleep. They are watching over you while you are alone. Pip and Kip are always in touch. Pip has a great eye that observes all over the place and is aware of every movement in the room, while Kip has huge mouth full of teeth that scares monsters and other unpleasant creatures away. Kip's mouth is also the safest place around to hide your little secrets - no one will dare to come near! Just place Pip and Kip in an astrategic spot in your room and sleep safely till morning light.

Mommy, there's a

monster!

suitabale for children between ages 0-99 care instructions included

PLUSHIES PLUS

SUPER SOFT TRANSITIONAL OBJECTS

Package graphics for Kip, Pip, Blankie and Hongo, front and back.

open here

BLANKIE

PLUSHIES PLUS SUPER SOFT TRANSITIONAL OBJECTS

Blankie is a comfy small security blanket. The perfect shield. Just pull it on you when you feel threatened and wait untill danger is over. If you're not sure, take a peep through the magical peephole and check around. After danger is over feel free to cuddle calmly in its super soft fluffiness!

Mommy, where's my

blankie?

suitabale for children between ages 0-99 care instructions included

PLUSHIES PLUS

SUPER SOFT TRANSITIONAL OBJECTS

open here

H O N GO

PLUSHIES PLUS SUPER SOFT TRANSITIONAL OBJECTS

Hongo is a naturally glowing creature. She makes the mysterious dark night to seem a bit brighter. She is active by night and charging her powers by day. You can place her on the night stand or even take her to your bed. Just flip Hongo upside down to turn her on or off... and don't forget to charge!

Mommy, it's very

dark!

suitabale for children between ages 0-99 care instructions included

PLUSHIES PLUS

SUPER SOFT TRANSITIONAL OBJECTS

‫‪ANIMATION‬‬ ‫‪My first storyboard...‬‬

‫‪1‬‬

‫‪2‬‬

‫פריים ראשון – רקע אחיד עם שם הפרוייקט‪ .‬מוזיקה נעימה ברקע‬ ‫(מובייל)‪ ,‬הפריים נעלם בפייד‪.‬‬

‫נגלה מבט כללי על החדר‪ .‬לילה‪ ,‬החדר חשוך‪ ,‬ילד ישן במיטה‪,‬‬ ‫רואים גוש שמיכה עולה ויורד קלות (הילד נושם)‪.‬‬

‫‪4‬‬

‫‪3‬‬ ‫נשמעת דלת חורקת (דלת של ארון או דלת של חדר – אולי‬ ‫רואים‪ ,‬אולי לא) החריקה מעירה את הילד‪ ,‬הוא זז‪ .‬זום על הילד‪.‬‬ ‫הוא מתיישב‪ ,‬מפחד‪.‬‬

‫בלנקי נכנס לפעולה‪ :‬הילד לוקח את בלנקי שלידו ומכסה את‬ ‫הראש‪ .‬רואים את העין שלו מציצה וממצמצת דרך החור‪ .‬החריקה‬ ‫נעלמת‪ .‬זום אאוט‪.‬‬

‫‪5‬‬

‫‪6‬‬

‫צללים מתחילים להופיע בחדר‪ .‬נשמעים רחשים‪ .‬משהו כהה וקטן‬ ‫רץ על הרצפה במהירות ונכנס מתחת למיטה‪ .‬עיניים ממצמצות‬ ‫מתחת למיטה‪ .‬צל גדול של מפלצת זז על הקיר (כמו כשעובר‬ ‫רכב בחוץ)‪ ,‬צל של עץ הופך למפלצת‪ .‬השידה נראית כמו מפלצת‪.‬‬ ‫מנורה מתנדנדת‪ .‬הוילון זז מהרוח‪ .‬דמות כהה עוברת במהירות‬ ‫בחלון‪ .‬הכל קורה מהר מאד אחד אחרי השני או בסנכרון‪.‬‬

‫פיפ וקיפ נכנסים לפעולה‪ :‬המצלמה יורדת למטה בזום ועוצרת על‬ ‫פיפ וקיפ‪ .‬הם יושבים צמודים על גב המיטה‪ .‬פיפ מסתכל סביב על‬ ‫החדר ועינו נעצרת על צל המפלצת על הקיר‪.‬‬

‫‪58‬‬

‫‪8‬‬

‫‪7‬‬

‫פיפ ממשיך לבחון את החדר‪ .‬נועץ מבט לעבר העיניים מתחת‬ ‫למיטה והן נעצמות‪ .‬זום אאוט‪.‬‬

‫פיפ מסמן בדחיפה קטנה לקיפ‪ .‬קיפ מסתובב אל הצל‪ ,‬פותח‬ ‫את הפה ושואב אותו‪ .‬סוגר את הפה וחוזר למקומו‪.‬‬

‫‪9‬‬

‫‪10‬‬ ‫הונגו מתהפכת ומפיצה אור נעים וחלש‪ .‬השידה חוזרת לעצמה‪.‬‬ ‫זום אאוט‪ .‬כל החדר נינוח‪ .‬הוילון והמנורה הפסיקו לזוז‪ .‬הצל על‬ ‫הקיר שוב בצורת עץ‪ .‬מוסיקה נעימה‪ .‬הילד שוב ישן‪ .‬פייד לכתוביות‪.‬‬

‫הונגו נכנסת לפעולה‪ :‬זום על השידה שנראית כמו מפלצת‪ .‬צללית‬ ‫של הונגו עליה‪.‬‬

‫‪11‬‬ ‫‪ .10‬פריים אחרון‪ :‬פייד לכתוביות‪.‬‬

‫‪59‬‬

Background base for the animation movie.

Take care...

Many thanks to: Feodor Bezzubov Sirton-Art technology projects Rafi vered harikma Mali textile Idea digital A.n. collection Screen print Lasercut 4 Colortouch Tomer Solomon OTOTO and friends ...

Jenny Pokryvailo jenny@sirton-art.com www.sirton-art.com/jenny