JULIE MARTIN
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Contents 3. Wordboard 4. My Chosen Brand 6. Moodboards 18. Dye Room Experimentation 26. Making My Header 29. Print Designs 42. How I Made My Pattern 43. Putting the Pattern onto a Garment 44. Converting the Pattern into a TIFF 45. Lectra 46. Digitising 47. Completing a Pattern 49. Variant 50. Diamino 51. Pivoting Darts 52. Making a Skirt 54. Making My Own Pattern 56. 3D Fit 58. Jersey Workshop 60. Making the T-Shirt and Final Garment 62. Kaledo 64. Hybrid Essay 66. Bibliography
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GOOD MEMORIES
FUN
ABSOLUT COOL
PARTY
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Absolut vodka is a brand of vodka produced in southern Switzerland and is the third largest brand of alcoholic spirits in the world after Bacardi and Smirnoff. It was established in 1879 by Lars Olsson Smith Idecided to make my my brand to base my designs on Absolut vodka as I really like their packaging - it’s bold, graphical and thus eye catching and I though that trying to capture the essense of the brand would be really fun and interesting. Also, as you can see on the left page there are lots and lots of different flavours (these being a few examples) so I thought that I could come up with a lot of different patterns from this. On the next few pages you will see my moodboards for the bottles, Selfridges, Peppar, Chrome, Strobe, Bling and Disco. I’ve paid more attention to the Bling, Strobe and Disco bottles and moodboards as I felt that these reflected the brand the most: how it’s carefree, dynamic and exciting. (These images are also similar to ones you would find in clubs, or at festivals etc, where Absolut would be drunk)
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CHROME
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YEL LOW 10
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RED
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D EXPERIM
DYE ROOM MENTATION 19
SESSION 1 On the next two pages are examples from my first session in the dye room. I wanted my experiments to relate to Absolut as much as possible. I wanted my dye room work to be dynamic, colourful and playful. I decided to use the colours red and yellow mainly, as it relates back to my research but also becuase they are both eye catching colours which I thought would stress the brand. I experimented with lolipop sticks the most as I found that they gave really interesting and graphical results (three furthest images). I liked the texture they gave. In one of my experiments I kept on printing with the stick until I almost ran out of pain and you can see the texture change as it decrases which I like as it adds some depth to the piece. I’ve also done some paint splatters, again because they are quite free and dramatic, like the brand itself. The two with red backgrounds are done on tissue paper, adding another textural element to my experiments.
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I also did some experiments in the colour blue as that’s what the brand uses for its logo. I think that blue still produced as bold effect, which is what I’m going for. For the experiment on the left page I used red tissue paper (the one on the previous page) to blot the page and then used a sponge to do the red bit.
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In this weeks session we experimented with flocking, foiling and puff and pearl binding. My favourite was the flocking and foiling - especially the foiling as it came up really well against the colour dye experiments we did in our first sessions. I also think it relates well to the bling, strobe and disco moodboards as silver and shine was a key element. I really want to intergrate these experiments into my print design work. I really liked the texture created by the flocking, however if you didn’t do it right then it wouldn’t look as good. Also, as I was using lollipop sticks I think it ruined the overall appearnace because it was quite messy.
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JULIE MARTIN
JULIE JULIEMARTIN MARTIN
JULIE JULIEMARTIN MARTIN
JULIE MARTIN
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In our last dye room session we made our headers for our prints. For my header I decided to use puff binding (with a bit of pearl on one side) and then screen print. I chose this as it gave a nice textural feel and I felt that when the colour changed due to the heat on it it suited the brand well. I experimented with material, colour and then printing onto foil, which I did really like as I felt that it really reflected my brand, however the paint started to blead into the fabric, ruining it.
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We were tokd to make our images black and white, not grey when we printed our headers. To do this I changed the vibrance to black and white and then changed the threashold.
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DESIGNS
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HOW I MADE MY PATTERN
To make my pattern I used my dyeing powder sample. Then on another document I selected the lolipop sticks and deleted them, leaving the white background, which I then copied onto the dyed background. To change the colours I went layers > new adjustment layer > hue and saturation and then played with the dial to change the colour. I chose this as my final design because I felt that it reflected my work and the brand well. From my moodboards I clearly got a metalic feel and the foiling technique really influenced me in the dye room. Also, I feel that it gives the print a ‘cool’ vibe, which the brand stresses.
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PUTTING THE PATTERN ONTO A GARMENT
Ben showed us a different way to this, but this is how I’ve put my pattern into a garment. I used my flats from my creative realisation unit and saved it as a photoshop. Then I copied one of my patterns onto photoshop and placed it on top of the top. Then I used the magnetic selection tool to go around the tops outline, while hiding the patterned layer. Select > inverse > delete button
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CONVERTING IT A TIFF Go to image > canvas size > change the pixels from 300 to 150 > file > save as > TIFF The file needs to be saved as a TIFF as that is what the printer needs to print them onto fabric.
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LECTRA
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DIGITISING
To put our patterns onto Modaris we had to prepare our pattern first. To do this we had to number the pattern pieces. For example: 1 - Type (Intermediate point) 2 - Type 2 (Corner point) C - Curve point 6 - Notch point A - Grain line point Thn we had to use the digitiser to go around the pattern pieces, clicking the same numbers that we labeled previously
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Points to remember Always have an uneven number of curve points as it gives better curves Always digitise in a clock wise direction Every piece should have a minimum of two type 2 points
COMPLETEING A PATTERN Always check access paths before doing anything with your work. Modaris is a pattern making tool, which allows proffessionals to make and adjust patterns digitally in a small amount of time. We used Modaris to create our jersey pattern pieces, and then we printed them off on the vigi printer that used a laser to cut out our patterns as well. To do this we adapted a t-shirt block from the lectra system and added seam lines, created a neck rib and cuff and doubling the pattern pieces. We also named pattern pieces so we would know which piece was what when we printed it.
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VARIANT
A variant contains the details of the pattern. It comes up in a sheet form. You have to define whether a piece is single or a pair and to also identify pattern pieces which are to be cut in different fabric types. A model can have more than one variant. To make a varient go to F8 - VARIANT A spread sheet will appear, drag it to the bottom and then F8 - CREATE ARTICLE PIECE, left click on each pattern piece that you want If the pattern pieces need rearranging click ‘.’ fullstop
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DIAMINO
Diamino works alongside Modaris and creates a lay plan. To use it you have to have a variant and a pattern on Modaris. If there was an error with my lay plan then the software wouldn’t plot. It also allowed me to move the pattern pieces around the lay plan to create one that was most efficient. There was even a button that would do it automatically (AUTOMATIC MARKER) Remember to always check ACCESS PATHS MODIFICATIONS when you first start FILE > NEW > MARKER GENERALITIES> NAME (no spaces)> CODE > WIDTH > SELVAGE VALUE (usually 10mm) > TYPE (eg 1 = main fabric, 2 = lining, 3 = interfacing) GLOBAL FACING (Plotting onto paper = 50, but it is usualy 20)
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PIVOTING DARTS Here are screen shots of the pivoting darts exercise. To do them we had to click F1 - add a point from underarm to anywhere F5- PIVOT DART - click on shoulder darts then new dart - PIVOT FROM BUST DART SIDE Slection and click on the two points F5 dart cap fills in the dart 2cm from the bust point click one side and then the other need to draw back in - SEMICIRCULAR - F1 - make sure to click left, right, left To add the dart back in F5 - DART CAP - make sure to click fron the outside into the dart To delete extra points - F3 - MERGE - delete F1 - SEMICIRCULAR - to draw in points F4 - LINE SEAM - right click and press shift for your lines you want to ad seam allowance to > press the down key > enter in one > press down to get out > exchange > click on pattern To mirror the pieces F5 - SYM2POINTS - mirror
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MAKING A SKIRT
We also made a skirt pattern. We had to adapt it from the block and use the same processes as before, such as pivoting the darts, adding and merging, mirroring points. We also learnt new things, such as marrying patterns so they look the same. To do this we had to F8 - MARRY - click front then back, F8 - MOVE MARRIAGES - Click on hip notch and match both, F3 - RESHAPE - click on front corner hem and match to back skirt then F8 - DIVORCE. To make the front and back facings: F1 - PARALLEL - drag mouse inside pattern, down button, 6cm attatch ends of lines - F3 - ADJUST 2 LINES - click on line to be stretched Cutting the interfacing F4 - CUT - left, right, left - make sure you do this!
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OWN DESIGN
In this exercise I had to use the skills I have learnt in my previous lectra lessons and make a pattern of my own.
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3D FIT
3D FIt allowed me to see what my print would look like as a garment before it would actually be made. Doing this allowed me to pinpoint what wouls and wouldn’t work. It also would enable me to trouble shoot any problems with my pattern. To get to this point bottom picture on the left) you need to arrange your clothes to look like this as this is what it will look like when the shirt is actually made To stitch seams together you have to = stitch > add stitch Make sure you stitch the seams in the same direction or they will be twisted LEFT click RIGHT click LEFT click RIGHT click LEFT CLICK AWAY When you click on a line it should flash - if not or the wrong bit is flashing press space When stitching front and back armhole to the sleevehead - left click arm hole to start, finish the armhole with left, go to your next piece of material, left click then right click to finish. 56
Slip on points (bottom right image) F1 - SLIDER click on the line of the pattern piece and click again to add slider file/ save this comes up as the yellow marks on the shirt To put it onto the mannequin you have to - F1 - CHECK 3D FITTING - click in variant box/ Tab/ Select Variant/ Enter Make sure the mannequin is Flo To see the garment on the mannequin: ASSEMBLY/ SIMULATION ASSEMBLE + After assembly click on FALL/ RELAXATION (see bottom images) Mesh has to be 1 If the fabric doesn’t sit in place go to ASSEMBLY/ SIMULATE/ PULL FABRIC
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JERSEY WORKSHO
In this session we made little toiles of aspects of our jersey. Here are images of me making my cuff. To do it I had to sew along the side of the cuff, then fold it back on itself. Once I had done this I had to pin the stitch line and then pin directly opposite, then make the two pins meet and pin the other side. I then did the same for my sleeve. The pins act as notches so I could attatch my cuff to my sleeve. For jersey you have to use overlockers rather than normal macines as the stitch allows stretch.
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OP For the neck rib I had to do practically the same thing as what I did for my cuffs. I had to place the seam of the rib around 2cm back from the left shoulder seam onto the garmnet back.
We also practised hems. Here are examples of a five stitch seam and a two stitched. You have to sew them with the folded piece of fabric underneath, unlike hems for shirts.
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MAKING THE JER
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RSEY
Order of assembly Overlock both shoulder seams, fabric right sides together - RST Overlock both sleeves into the armholes - on the flat, RST Overlock the side seam and underarm seam in one continuous sequence - RST Overlock the neck and wrist ribbings RST, followinf the direction of the rib to form ‘loops’ Fold the ribs in half, with the seams facing inwards; pin the folded neck rib all the way around to hold in place Wrist rib - find halfway of the sleeve and rib circumfrence and mark both with a pin Match the seams of the rib and sleeve together and pin RST Match the notched sleeve and the rib halfway points and pin RST Overlock the ribs onto the sleeves, stretching the ribs to fit Neck rib - place the seam of the rib approx 2cm back from the left shoulder seam onto the garment back and pin Evenly stretch the neck rib to fit the neckline, in in place, then overlock, removing pins Very gently steam and very lightly press the neck rib flat with your hands and not the iron. Do not over press. Press up a very straight and even hem at the bottom (as added to your pattern) and twin needle or coverstitch the hem in place Give the garment a very light final press, but do not press wrist and neck ribs directly with the iron.
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Kaledo
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HYBRID ESSAY Hybrid Design is a combination of two different aspects of design to improve its purpose or to push its boundaries and challenge how we see fashion for example. A fashion designer can work with two or more particular elements to create one garment. With designers collaborating with other designers, architects, scientists and more one has to question how far will hybrid design go? In terms of designers who work 3D printers, how sustainable is the process? This is particularly important in todays world where sustainability is growing increasingly important. Also, there are many advantages and disadvantages with 3D printer technology, for example, it allows for a perfect fit, which many people find to be difficult in normal clothes, however, they can be used to produce dangerous items and the products produced are only as big as the 3D printer itself, which can be very limiting. Firstly, designer Iris Van Herpen is notorious for hybrid design, in 2013 she collaborated with Nick Knight and Daphne Guinness to create a Crystallization dress during a live broadcast for a week. She has also collaborated with architect Julia Körner in her collection Hybrid Holism where she used a 3D printer for her designs created by a technology called stereolithography. This process is when an item is built piece by piece from bottom to top in a vessel of liquid polymer that hardens when hit with a laser beam. The Voltage dress, which was part of this collection was the first fashion piece ever printed with flexible material in 2013. Her designs and garments for this collection are extremely intricate and would have been hard to do by hand, and if she did it wrong then she would have had to start again from scratch. However, using a 3D printer prevents this from happening, which is incredibly useful. Julia Körner argues that there are many advantages of using 3D printers for fashion such as allowing you “ to design towards a perfect fit” through “body scanning and 3D-modelling techniques”. If a garment is too big then a simple change in its code can rectify this. Also, other designers can use the technology to produce various prototypes and different variations of their designs, allowing them to see what does and doesn’t work. Also, this only takes a small amount of time, whereas if a garment is 64the wrong size, it takes a while to rectify it.
As well as this, Neri Oxman created wearable 3D printed wearable skins “designed to facilitate synthetic biological processes that might one day allow humans to survive on other planets”. Oxman and his team members of the Mediated Matter group at MIT Media Lab – an interdisciplinary research department at the Massachusetts Institute of Technology.collaborated with Stratasys to create these structures. They used various technology, such as an “Objet500 Connex3 Color” which is a “Multi-material 3D Production System to 3D print the “skins” in a range of plastics with different densities – each one suited to a different planet in the Earth’s solar system.” The project called Wanderers, consists of four skins, which are imagined to be embedded with living matter , which would be used to create micro habitats or systems, allowing humans to explore other plants, which would otherwise be lethal, in our solar system.The wearable skins have tracts that could house biological material, which in turn would be adapted to make chemical changes in the surrounding planets atmosphere. “The future of wearables lies in designing augmented extensions to our own bodies, that will blur the boundary between the environment and ourselves,” said Oxman in a statement. They will do this through their positioning at the lower abdomen where it will consume and digest biomass, absorb nutrients, generate energy from the side pockets and expell waste. The first piece Mushtari, is designed for Jupiter and is shaped by a continuous strand to look like animal intestines. 3D printing is very sustainable: it’s made by building layer upon layer, whereas other objects, such as garments in this example are cut into and therefore waste is created, whereas you don’t have this problem with 3D printing. It can also be done in any location, so you wouldn’t have to transport it, which means that you wouldn’t have that extra energy of packaging or transportation in terms of air miles or petrol. If 3D printing really did hit it off then possibly everyone in the future could have one and they could buy their products through an “app store” of sorts. This means that consumers would get the best product possible and manufacturers wouldn’t have to find ways to produce objects cheaply. Finally, the thermoplastic polylactic acid (PLA) is derived from plants, so we could sustainably grow the materials needed to use in 3D printing.
However, there are also disadvantages to 3D printing. For example, there are only a few materials that can be used to print in. With everything being so easy to copy, there could be issues with copyright, which in turn would be hard to determine. This can also lead to another problem, where people could copy dangerous items such as guns or knives, which can actually be used to harm people. If this fell into the wrong hands the effects could be disastrous In conclusion, 3D printing can be very beneficial, particularly in haute-couture designers collections as their designs can easily go from toiles and prototypes to the final design by a few tweeks. The garments can also be made to fit perfectly. This saves a lot of valuable time for the designer. Along with them being able to produce one off, unique pieces that would have been too complicated to have even have been thought of by hand. However, the materials needed for making the product are extremely limited and the product itself is very expensive for what it
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Bibliography 3D Printing Industry,. ‘3D Printed Mechatronic Spider Dress? - 3D Printing Industry’. N.p., 2014. Web. 18 Feb. 2015. 3D Printing Industry,. ‘Delcam’s 3D Printed Shoes - 3D Printing Industry’. N.p., 2015. Web. 18 Feb. 2015. 3D Printing Industry,. ‘Fashion - 3D Printing Industry’. N.p., 2015. Web. 18 Feb. 2015. Amit, Gadi, and Gadi Amit. ‘Beyond Design Thinking: Why Hybrid Design Is The Next New Thing’. Fast Company. N.p., 2010. Web. 18 Feb. 2015. Dezeen,. ‘”Technology Adds An Incredible Advantage To Fashion Design”’. N.p., 2014. Web. 18 Feb. 2015. GreenBiz,. ‘How 3D Printing Can Revolutionize Sustainable Design’. N.p., 2014. Web. 18 Feb. 2015. Howarth, Dan. ‘Neri Oxman Creates 3D-Printed Structures For Interplanetary Voyages’. Dezeen. N.p., 2014. Web. 18 Feb. 2015. Materialise.com,. ‘Iris Van Herpen Debuts Wearable 3D Printed Pieces At Paris Fashion Week | Materialise’. N.p., 2015. Web. 18 Feb. 2015.
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