A unit of KASE, under the Department of Labour and Skills, Government of Kerala
POST GRADUATE DIPLOMA PROGRAMME IN DESIGN
DIPLOMA PROJECT DOCUMENT
PROJECT TITLE: FABRIC PENDANT LAMPS STUDENT: KRISHNENDHU A K DISCIPLINE: INTEGRATED TEXTILE AND APPAREL DESIGN YEAR: 2015 - 2018
A unit of KASE, under the Department of Labour and Skills, Government of Kerala
POST GRADUATE DIPLOMA PROGRAMME IN DESIGN
22 WEEKS DURATION: ..........................................................
DIPLOMA PROJECT DOCUMENT A DOCUMENT BY :
KRISHNENDHU A K ................................................................................................................
COURSE :
INTEGRATED TEXTILE AND APPAREL DESIGN ................................................................................................................
PROJECT TITLE :
FABRIC PENDANT LAMPS ................................................................................................................ ................................................................................................................
CLIENT :
PINKAPPLE STUDIO PVT LIMITED, BANGALORE ................................................................................................................ ................................................................................................................
PROJECT GUIDE :
Mr. P T GIRISH ................................................................................................................ ................................................................................................................
A unit of KASE, under the Department of Labour and Skills, Government of Kerala
EVALUATION AND JURY PANEL NAME AND SIGNATURE (WITH DATE) OF JURY MEMBERS
JURY MEMBER I:
..................................................................
JURY CHAIRMAN
JURY MEMBER II:
..................................................................
JURY MEMBER III:
..................................................................
PROJECT GUIDE
EXTERNAL MEMBER
JURY MEMBER IV:
..................................................................
EXTERNAL MEMBER
JURY MEMBER V:
..................................................................
INTERNAL MEMBER
JURY MEMBER VI:
INTERNAL MEMBER
..................................................................
11 BRIEF CERTIFICATE PREFACE ACKNOWLEDGMENT CONTENTS
KRISHNENDHU A K | ITAD | 2018 | KSID 7
Copyright Š 2017-2018 Student document publication meant for private circulation only. All rights reserved Post Graduate Diploma Program in Design, Integrated Textile and Apparel Design 2015-2018 Kerala State Institute of Design, Kollam, Kerala, India No part of this document will be reproduced or transmitted in any form or by any means, electronically or mechanically, including photocopying, xerography and videography recording without written permission from the author, Krishnendhu A K, Pinkapple Studio Pvt. Ltd and Kerala State Institute of Design. Disclaimer: All the images of any person/celebrity, dead or alive used in this document is just for the reference purpose. All illustrations and photographs in this document are copyright Š 2017-2018 by respective people/organization. Edited and Designed by Krishnendhu A K Email : krishnendhuak9@gmail.com Processed at KSID, Kollam-691014 Kerala, India www.ksid.ac.in Digitally Printed at Kollam, Kerala, India February 2018
BRIEF
To develop a collection of pendant fabric lamps for the corporate space.
KRISHNENDHU A K | ITAD | 2018 | KSID 9
PREFACE
After successful completion of all the courses till fourth semester, the students of KSID, are eligible for the diploma project. The students can take up a sponsored project from the industry or can initiate a self-sponsored project under the guidance of a faculty member. Students have to submit a project proposal with details to the project guide. On receiving approval from the guide, the students can officially register the project. Students are expected to submit phase-wise completion reports with necessary details. The final project submissions will be evaluated by a jury comprising of faculty members and external experts. The Diploma Project offers an opportunity to the students
KRISHNENDHU A K | ITAD | 2018 | KSID 12
to undertake a real life design project independently and to operate as a professional designer in the industry. It is important for the students to develop skills of design thinking regarding the design requirement of the industry. The Diploma project also gives the students an opportunity to demonstrate their proficiency as a future designer in rendering professional services to the customers. It enable the students to further strengthen their expertise in the selected domain of specialization. Also gives them an opportunity to undertake research and create knowledge and design artifacts by establishing their independent perspectives on various issues related to their discipline.
ACKNOWLEDGMENT I take this opportunity to express my deep sense of gratitude to the Capricoast Home solutions and Pinkapple studio pvt limited for giving me the opportunity to join the Pinkapple family and for extending their support towards me all throughout my project. I thank all the people who guided me through the entire process and made my project a success by sharing their knowledge. I would like to thank Mrs. Archana Ganapathy Poonacha, Founder and Managing Director, Pinkapple studio for guiding and correcting me throughout the project. I am thankful to Mr. T Joel Sathiyanathan, Product coordinator, Pinkapple studio, who helped me with all the technical supports, Mr. Dileep Vadakumpaatt, Accountant, Pinkapple studio, for sharing all the required data, Ms. Shipra Mayur Barot, Junior Designer, Pinkapple studio and
Ms. Hinalshah, Assistant designer Pinkapple studio for helping me in so many aspects. This project would not have been possible without his valuable help. I also take this opportunity to extend my gratitude to our discipline coordinator Mr. P T Girish, who is also the Executive Director of Kerala State Institute of Design, Kollam for providing me with company guidence and facilitating me to go ahead throughout the diploma project. It was a great learning experience throughout to see one of the most well planned and advanced textile studio. Above all I thank Almighty, my parents and friends for extending supporting hands whenever I was in need. For supporting and encouraging me throughout my life. Without their help and support I would have never achieved what I have achieved till now. Thank you all.
KRISHNENDHU A K | ITAD | 2018 | KSID 13
CONTENTS
11 21 3 4 5
BRIEF.........9 CERTIFICATE.........11 PREFACE.........12 ACKNOWLEDGMENT.........13 CONTENTS.........14
INTRODUCTION.........17 KERALA STATE INSTITUTE OF DESIGN.........19 INTEGRATED TEXTILE AND APPAREL DESIGN.........21
CLIENT PROFILE.........23 CAPRICOAST HOME SOLUTIONS.........25 PINKAPPLE STUDIO.........27 WHY PINKAPPLE.........51
GROUNDWORK.........53 TIME LINE.........54 DESIGN PROCESS.........57 RESEARCH AND ANALYSIS.........59 MARKET STUDY.........73
PROJECT.........77 BRAINSTORMING.........79 BRIEF DEVELOPMENT.........96 REVISED BRIEF.........97
KRISHNENDHU A K | ITAD | 2018 | KSID 14
99.........COLLECTION 1 : THREAD ART 103.........SKETCHES 109.........REVISED TECHNIQUES 117.........DETAILED SKETCHES 121.........DIGITAL RENDERING 139.........EXPLORATION 141.........MATERIALS REQUIRED 143.........PROTOTYPING 149.........FINAL PRODUCT 151.........ELECTRICALS
6
165.........COLLECTION 2 : LOOPS AND SCRIBBLES 169.........CONCEPT IDEATION 169.........TECHNIQUE EXPLORATIONS 187.........DETAILED EXPLORATIONS 195.........PROTOTYPING 207.........FINAL PRODUCT
7
215.........COSTING
8 9
217.........EXPENSE SHEET
219.........CONCLUSION 220.........OUTCOME 221.........REFLECTIONS 222.........REFERENCE
KRISHNENDHU A K | ITAD | 2018 | KSID 15
21 INTRODUCTION KERALA STATE INSTITUTE OF DESIGN INTEGRATED TEXTILE AND APPAREL DESIGN
KRISHNENDHU A K | ITAD | 2018 | KSID 17
IMAGE 1 : KERALA STATE INSTITUTE OF DESIGN. KOLLAM. KERALA
KERALA STATE INSTITUTE OF DESIGN
Kerala State Institute of Design - KSID a design institute under Department of labor and Skills, Government of Kerala, is located at Chandanathope, about 8 Kilometers from Kollam, Kerala. It was established in 2008 with the support of NID Ahmedabad and is one of the first state-owned design institutes in India. The faculty development program and curriculum development for the design programs of KSID are provided by NID Ahmedabad. KSID conducts Post Graduate Diploma Programs in Design developed in association with National Institute of Design, Ahmedabad.
the purpose of creating a vibrant design community in Kerala through synergetic partnership between artisan community, professional designers and general public. The institute was later merged with Kerala Academy for Skills Excellence, KASE on 1 April 2014. KASE is the apex agency for all skill development activities in the state of Kerala. One of the most important objectives of KSID is to promote design education. To realize this objective, KSID is offering Post Graduate Diploma programs in Design which were developed in consideration of Design Programs at National Institutes of Design, NID.
The Kerala State Institute of Design was established for
KRISHNENDHU A K | ITAD | 2018 | KSID 19
IMAGE 2 : TEXTILE AND APPAREL DESIGN
INTEGRATED TEXTILE AND APPAREL DESIGN
The two and a half year Textile and Apparel Design course intents to train young professionals with the relevant technical and design inputs in the areas of surface ornamentations of fabric through various weaving structures and post loom processes like printing and dyeing. Emphasis is given to train them with real projects in association with the hand-loom, coir and garment sectors of the State. Due importance is given to the theory of fabric structures, study of looms, loom mechanism, dyeing and printing while imparting them with the practical knowledge in the apparel, weaving, dyeing labs of the textile department.. The students will initially have good grounding in the Fundamentals of Design, Color, Form, structure, etc. Thet learn how the Textiles and Apparels are developed and made through hands on learning as well as through
technical, theoretical, historical studies, field study, research and project based. These inputs will enable them also to understand the properties of materials, uses and its application. Inputs to understand different fibers, natural, man made, man made natural and mineral fibers, enable the student to select the appropriate material for the purpose required. The course covers a wide range of textile techniques. It covers the study of fiber, fabric development using one element, such as knitting, crochet, multiple elements using weaving structures and different techniques in weaving, non-woven structures such as braiding, sprang, felt, etc. And the related technologies used to achieve all the above which will enable the student to use these to design as well as make products.
KRISHNENDHU A K | ITAD | 2018 | KSID 21
3 CLIENT PROFILE CAPRICOAST HOME SOLUTIONS PINKAPPLE STUDIO WHY PINKAPPLE
KRISHNENDHU A K | ITAD | 2018 | KSID 23
CAPRICOAST HOME SOLUTIONS
Capricoast is India's only Online marketplace for new home solutions. Capricoast brings stylish and affordable worldclass modular furnishing. A trendy new kitchen or wardrobe, or both, Capricoast has a design and brand that will suit your home and budget. Their motto is to provide the best designing, customizing and delivery experience. From Capricoast one will get the power to choose from 1000s of world-class inspirational modular kitchen and wardrobe designs and the power to pick the best brand to fulfill the design at a lowest price. From kitchens re-customized for specific projects to kitchens for independent homes and villas, Equipped with the best designers and brands in the business, such as Style Spa, Space-wood and more, they intend to make disorganized installation, unnecessary costs
and sub-par quality a thing of the past, with transparent and honest pricing, constant communication and on-time delivery. Capricoast mainly deals with two sections. Business to business and Business to customers. In this the B2B section is handled by Pinkapple studio and B2C is handled by Capricoast itself. COMPANY DETAILS Website : http://www.capricoast.com Headquarters : Bengaluru, Karnataka Year founded : 2015 Company type : Privately Held Company size : 51-200 employees Specialties : Modular Kitchens, Wardrobes, Modular Furniture, Custom Design, Home Automation, and Home Interior Solutions.
KRISHNENDHU A K | ITAD | 2018 | KSID 25
IMAGE 3 : PINKAPPLE STUDIO PVT LTD, INDIRANAGAR, BANGALORE
PINKAPPLE STUDIO Pinkapple studio is an affordable luxury home decor studio with contemporary interior designs for house interiors, corporate spaces, apartments, Hospitality Spaces and Retail Spaces . The studio is a one stop solution for product interiors across Furniture, lighting, Wall art, Window Blinds, Custom Rugs and Textiles. Its an integrated Multi Disciplinary Design house with an in house facility for Design, Sampling and Production under controlled and budgeted costings and timely delivery. They also do custom projects working with architects and clients trying to design and execute lighting, loose furniture, wall art mediums, window blinds and custom textiles around the clients brief. The whole execution period is 4 to 8 weeks. The Studio Specializes working around residential product interiors, hospitality sector and Commercial spaces. The studio is established by a process of experimentation and refinement. They work with physical models and mock-ups to truly explore and understand space and to find unique, innovative solutions. The PINKAPPLE store works as a backbone to the design studio and adds value with direct customer interaction and insights. PINKAPPLE is a team of Multi functional designers across
product design, furniture design, lighting design, wall art spaces and textile design. PINKAPPLE has a retail wing which is into home decor products with an exclusive store on CMH road Indiranagar, Bangalore. DESIGN STUDIO The Pinkapple Design Studio is a one stop solution for creative space design and product consultancy. They operate internationally and work with some of the best known brands to create interesting, comprehensive environments with effective design process and execution. PINKAPPLE STORE They work with Architects, Interior designers, Builders and direct walk in customers to collaborate products for a beautiful living across categories like Lighting, Home Accessories and more. All those stories are captured under a strict color palette, product and material finish and competitive pricing. WEB STORE At Pinkapple web-store, anyone can shop through the entire range of products and have them shipped to their door step. KRISHNENDHU A K | ITAD | 2018 | KSID 27
IMAGE 4 : WEBSITE - www.pinkapple.co.in
IMAGE 5 : WEBSITE PAGE
JOURNEY PINKAPPLE – a space design, product innovation, and design service studio – is the brain child of Archana Ganapathy Poonacha and a fine example of her belief in following her heart. It was in 2008 when Archana, who was 6 months into expecting her first child, decided to take a few minutes to seriously think about something she had been seeing as a need in the market. With a successful career in fashion houses, such as United Colors of Benetton, Levis, and Wrangler, Archana had little to worry about a job when she returned from her maternity leave. But that thought was far from what Archana had in mind. She was building on the solution she had identified for the need in the market. With a humble seed capital of Rs.25000, which was given to her by her husband to start a business, Archana decided to register her company PINKAPPLE, get a rubber stamp and make 4 quilts for a client. That is how the journey of Archana, a design studio entrepreneur, started. Archana started by designing quilts. She put her knowledge of textiles to good use and roped in a tailor and printer who could bring her ideas to life. She then started retailing them out of a popular resort in Goa and boutique restaurant in Bengaluru. But things didn't work out too well. Those places were pricing the quilts at three times the KRISHNENDHU A K | ITAD | 2018 | KSID 30
amount they got them for her. Hence, most pieces came back unsold. Meanwhile, Archana had already roped in two freelance designers. She had also struck a deal with Puravankara Builders for doing up their model apartments. Her team of six had also moved into a 180sqft space in Bengaluru. Although Purvankara had their set requirements, Archana and her team went an extra mile and did more than what was expected. As a result, Pinkapple bagged a bigger deal and things were starting to look up. Although Pink Apple was in a stage where it could launch their own store, Archana had other plans. Instead of Bengaluru, she chose Coorg to open a 500sqft store. She wanted to avoid all the obvious competition that there was. Coorg proved to be the perfect choice as from the moment they set shop orders started pouring in. At first, they had big clients like the Golf Club and Taj Group who were looking for customized furnishings. Gradually, the clients also included tourists from all over the world who were visiting Coorg. After gaining this initial momentum, Pinkapple became a private limited company in December 2012. They moved to a 1400sqft space in a prime location in Bengaluru. The team had grown to 18 members and the company was
working with clients in the residential, hospitality and corporate space. Pinkapple was growing rapidly and generated a revenue of Rs 45 lakhs in 2009. Although the revenue was growing at a steady pace, people coming to the store had considerably reduced. That's when Archana decided to launch Pinkapple Online and the website went live in 2015. Although Pinkapple had many clients in its portfolio and 70 percent of the revenue came from there, working with some of them had not been easy. There were no advance payments, they didn't adhere to terms, installations happened all through the night and the funds were not released. They wanted to continue working with them, but there had to be some backup. Archana learns of a Prime Minister's funds for SMECC, a collateral free loan which can be availed based on turnover and three years return and got Rs 50 lakhs OD facility with bank guarantee. The ride has not been free of bumps on many fronts. While overcoming the various challenges that come with running a business, Archana has also consciously made an effort to do her bit to empower the artisan community. Pinkapple tied up with IISc to train the Ramanagaram Muslim community in new embroidery techniques. The company now works extensively with them and plans to set up more such centers. Archana was also keen on helping
women re-join the workforce after long career breaks owing to motherhood. Being a mother of two young kids, she understood the effort of managing both home and family together. Although these women are qualified and experienced, they are offered entry level jobs after long career breaks in most organizations. Pinkapple has always had its doors for such women to resume their careers from where they had left. Their back-end integration is very strong and delivery is prompt. While most players in the space focused on B2B, Pinkapple had a considerable number of both B2B and B2C clients. Archana's determination, expertise in design, and belief in doing good and honest work has always paved the way forward for PINKAPPLE. Website : https://www.pinkapple.co.in Headquarters : Bangalore, Karnataka Year founded : 2008 Company type : Privately Held Company size : 2-10 employees Specialties : Custom Design, Lighting, Textile, Furniture, Wall Art, Interior, Space, and Decor KRISHNENDHU A K | ITAD | 2018 | KSID 31
IMAGE 6 : INDIA TODAY, Simply Bangalore, Cover story, July 14 2014, Page no: 67 KRISHNENDHU A K | ITAD | 2018 | KSID 32
IMAGE 7 : https://yourstory. com/2016/09/archana-ganapathy-poonacha-pinkapple-studios/ Posted on 9th September 2016 IMAGE 8 : 94.3 radio one Bengaluru, Interview on 10 January 2017 KRISHNENDHU A K | ITAD | 2018 | KSID 35
TEAM
Archana Ganapathy Poonacha Founder | Managing Director Textile designer
T Joel Sathiyanathan Product Coordinator
Hinalshah Assistant designer- Production Interior designer KRISHNENDHU A K | ITAD | 2018 | KSID 36
Bipul Duwarah Assistant Manager - Store
Shipra Mayur Barot Junior Designer Product designer
Dileep Vadakkumpatt Accountant
CLIENTS
Pinkapple studio operate internationally and work with some of the best known brands. They also work with Architects, Interior designers, Builders and direct walk in customers to collaborate products. At Pinkapple web-store, anyone can shop through the entire range of products. They handle residential interior space projects, corporate interior space projects, and custom interior space projects. Clients to name a few: - Google - Mercedes Benz- MBRDI - Prestige builders - Global developers - Purvankara builders
-
Golf club, Galibedu, Coorg HCL technologies Windflower resorts Nationwide doctors Pebble bay Signeasy Biere club MDGC Adarsh builders Mastkalandar Golden gate
KRISHNENDHU A K | ITAD | 2018 | KSID 37
IMAGE 9 : PINKAPPLE STUDIO
IMAGE 10 : PINKAPPLE STUDIO
PRODUCTS
The PINKAPPLE store works as a one stop solution for Architects, Interior designers, Builder clients and direct walk in customers to collaborate products for a beautiful living across categories like Lighting – Table lamps, Floor lamps, wall mount lighting, Pendant lamps etc, Home accessories like beautiful custom photo frames, wall arts, serving platters, bottle openers etc, Textile design – Colorful mix match cushion covers, custom rugs, table linen, blinds etc and customized furniture across wood, SS finishes etc to go with the look. All this stories are captured under a strict color palette, product and material finish with competitive pricing.
Pinkapple studio mainly uses block printing techniques. All the products are categorized under different stories. There are 5 stories mainly. Black glam which includes mainly red and black colors. Earthen is a collection of antique finish looks with more brown, gold, maroon and wooden colors. Modern classic is with materials like yarns, metals which includes prints. Pop masters include modern styles with bright colors. Rustic hues includes rustic colors like beige, white, orange, brown, yellow etc.
KRISHNENDHU A K | ITAD | 2018 | KSID 39
IMAGE 11 : FURNITURE DESIGN IN PINKAPPLE STUDIO
FURNITURE DESIGN -
Reception furniture Conference room furniture Cafeteria furniture Lounge furniture Showroom furniture
Pinkapple has extensive choice, of various furniture ranges with finishes stretching from lacquer to solid wood offering inexhaustible design ideas. With a professional and fully equipped team, they have the capability to custom make commercial furniture that fulfills the clients needs and requirements. The studio also have an extensive network of furnishing suppliers that provide a wide selection of fabrics to suit any client's style and look. From ottomans and banquettes to lounges and tables, its easy to work with any existing fit out or new location. The products they offer are of the highest quality. They have been successful in delivering this line of designer furniture across commercial spaces, hospitality sectors and residential clients.
Furniture varieties: bar stools, chairs, sofas, puffs, tables. Usable area: residential space, commercial space, corporate space, retail space. Materials: artificial leather seating, polyurethane seating, DTM fabric seating, glass top, Caroline fabric seating, art leather, canvas fabric, Kora printed fabric, soft leather. Finishes: MS chrome, powder coated Matt MS base, fabric, wood, antique zinc, SS base, ply foam, duco finish, puffed foam finish Size and color: any Price range Bar stools: Rs.5000 to Rs.15000 Chairs: Rs.12000 to Rs.32000 Sofas: Rs.16000 to Rs.50000 Puffs: Rs.6000 to Rs.16000 Tables: Rs.7000 to Rs. 20000
KRISHNENDHU A K | ITAD | 2018 | KSID 41
IMAGE 12 : LIGHTING DESIGN IN PINKAPPLE STUDIO
LIGHTING DESIGN -
Pendant lighting Ceiling lighting Floor lamps Wall mount lighting Table lamps Recessed lighting Outdoor lighting
Commercial lighting is changing rapidly, with new and improved technologies, finishes, ideas with interesting designers and design houses globally working towards it. Custom lighting design begins at Pinkapple with assessing how clients use a space, their resulting lighting needs, accordingly working towards quantity and quality of light to meet those needs. They have decorative design ideas designed by true artisans and designers which are unique and beautiful. The Pinkapple design team works with the custom lighting for various spaces. They offer lighting for both residential and commercial applications. They work with any style, any material, working hands on from Mild steel, Stainless steel, Flattened recycled bottles, fabric, hand made paper etc. The Pinkapple store features a catalog of handcrafted lighting artisans who make lighting pieces. They have
the advantage of being able to modify any of the pieces. The lights can be customized, fixtures designed and are created with intention and care. They work on projects like custom lighting design services with interior designers, architects, builders, home and business owners seeking a high quality, one of a kind piece for their spaces. Usable Area: Residential, corporate space, restaurants, offices. Materials: metal, wood, cotton silk, raw silk, organic cotton Cora, jute, paper, banana fiber, cotton thread, jute, cane, thin wood strips, teak strips, wood touch, rings. Techniques: block printing Prints: kalamkari inspired prints, hand crafted woven prints, intricate prints, wood prints, custom prints, Pleats, border prints, geometric prints, nature inspired prints, origami, play of forms with custom shapes, abstract, wood grain finish, all over prints. Size and color: any Price range Pendant lamps: Rs.1000 to Rs.23000 Wall mount lamps: Rs.2000 to Rs.20000 Table lamps: Rs.2500 to Rs.8000 Floor lamps: Rs.5000 to Rs.13000 KRISHNENDHU A K | ITAD | 2018 | KSID 43
IMAGE 13 : RUG DESIGN IN PINKAPPLE STUDIO
CUSTOM RUG DESIGN
A rug can accent the wall or furniture colors of a room. They are pieces of artwork that are both functional and usable. Carefully selecting a rug can turn a barren center into a more colorful space with a balanced decor.
varied thickness and sizes for different spaces like reception, lounges, board rooms, showrooms etc.
The custom rug design and processing at the Pinkapple studio, offers a satisfying assortment of colors and modern style quality rugs. They have a vast range of designs to choose from. They can change the very appearance of a room and lessen the need to add more decorating elements. The studio offers customized hand tufted rugs in
Material: hand tufted rugs
Area: foyer, passage, living, bedroom, dining
Size and color: any customizable Price range: Rs. 425 to Rs. 485
KRISHNENDHU A K | ITAD | 2018 | KSID 45
IMAGE 14 : WALL ART DESIGN IN PINKAPPLE STUDIO
WALL ART DESIGN
Wall art is often the most important design element in a commercial space. They help to transform dull empty space into an interesting one. But they are really more than just decorative pieces in a space. These artistic accents bring a sense of calm and comfort. It definitely sets the tone for the business.
or hang the art to fit any custom need. Area: residential, hospitality, corporate spaces Material: metal, wood Size and color: any customizable
The Pinkapple team specializes in customizing wall-art to fit the lighting and ambiance of every space. The team of design professionals can also offer multiple ways to install
Price range: Rs. 10000 to Rs.45000
KRISHNENDHU A K | ITAD | 2018 | KSID 47
IMAGE 15 : TEXTILE DESIGN IN PINKAPPLE STUDIO
TEXTILE DESIGN
-
Cushion covers Bed linen Table linen Roman Blinds
Material: cotton fabric Techniques: block printing, embroidery Size and color: any customizable
Bed linen is the material laid above the bed to give warmth and comfort. A window blind is a types of window covering. The Pinkapple studio design the bed linens, cushion covers and blinds according to the color, mood and theme of the room.
Price range Cushion covers: Rs.150 to Rs.400 Blinds: Rs. 485 per square foot
Area: residential spaces, hospitality spaces
KRISHNENDHU A K | ITAD | 2018 | KSID 49
IMAGE 16 : PINKAPPLE STUDIO LOGO
WHY PINKAPPLE
As a textile designing student I always wanted to give a different meaning to fabrics. Other than garments I wanted to explore new opportunities of fabrics. As a student my projects were always related to interior designing. The search for my diploma project started with interior
designing studios. Pinkapple is the First studio I applied for my diploma project. They were doing one of the kind of work I always wanted to do in the future- converting spaces into visually appealing and exciting. I wanted to get
exposed to this environment. As I got a reply from Pinkapple, I was so excited. The excitement doubled when they told me that I am going to handle a lighting project. I was curious at that time to know more, the role of me as a textile designer in the project. I always find joy in doing new things I never done before. I was sure that this project give me a good opportunity to learn new things.
KRISHNENDHU A K | ITAD | 2018 | KSID 51
4 GROUNDWORK TIME LINE DESIGN PROCESS RESEARCH AND ANALYSIS MARKET STUDY
KRISHNENDHU A K | ITAD | 2018 | KSID 53
TIME LINE AUGUST
Research and analysis
IMAGE 17 : PROJECT TIME LINE
SEPTEMBER
Initial concepts
Collection 1: Conceptualization and exploration
OCTOBER
Collection 2 : conceptualization and exploration
NOVEMBER
Digital sketches
DECEMBER
Collection 1: production
JANUARY
Collection 2: production
FEBRUARY
Documentation KRISHNENDHU A K | ITAD | 2018 | KSID 55
IMAGE 18 : DESIGN PROCESS
DESIGN PROCESS
The various steps involved in the design process are: - Detailed research and analysis of the lamps. - Research on the pendant lamps - Study on the materials and techniques used in the fabric pendant lamp manufacture. - Market research - Studying competitors - Analysis of brief - Brainstorming - Developing new ideas
-
Conceptualization Initial sketching Digital sketching Exploration Finalization Feedbacks and correction Final products Photography Editing
KRISHNENDHU A K | ITAD | 2018 | KSID 57
IMAGE 19 : TYPES OF LAMPS
TYPES OF LAMPS
Lighting is an essential component to any home, and the right illumination is key to completing tasks. With so many lamp styles to choose from, there is not a shortage of options, Each type of lamps are used for different purposes. Even though all the lights are used for decorative as well as functional purposes. Depending upon the type of fixture they all come in different names. Different types of lamps available are: -
Pendant lamps Ceiling lamps Floor lamps Wall mount lamps Table lamps Outdoor lamps
KRISHNENDHU A K | ITAD | 2018 | KSID 59
IMAGE 20 : DIFFERENT PENDANT LAMPS
PENDANT LAMPS PENDANT LIGHTS A pendant light is a light which hangs from the ceiling usually by wire or metal rod. Pendant lights are used in two ways: hung in a multiple numbers or as a single lamp. There are different sizes, shapes and uses for the pendant lamps. TYPES OF PENDANTS There are several different types of pendant lights available. Mini Pendant Mini-Pendants are the smallest version of a pendant light fixture. Pendants are commonly used to illuminate isolated work spaces or anywhere additional lighting is needed. Mini-pendants are not considered the ambient lighting source like ceiling fixtures. They can redefine the entire mood of a space by creating a new focal point in any room. Typically highly stylistic and featuring elegant designs, mini-pendants simply command attention and therefore fill a space with enhanced liveliness and beauty. Multi Light Pendant
Multi Light Pendants are lighting with multiple hanging lights connected to one central fixture. It provides a look similar to individual pendants, more convenient for rooms with only one electrical opening. Multi light pendants are dramatic, eye-catching and versatile. Down Light Pendants Down Light Pendants are pendant lamps that direct light downward. This type of pendant light is best used where the light completely directs on one place. Up Light Pendant Up Light Pendants are pendants that direct light upward. This type of pendant is best for general lighting as the light shines upward gives a feeling of larger space. Drum Pendant Drum Pendants are pendant lights that have a cylindrical drum shade. They can work with every style in any room. Simple drum pendants with white or natural linen shades are the most basic versions. Drum pendants with dark shades, metal accents, patterned shades and double or triple concentric shades are very popular. Drum pendants are stylish and versatile. KRISHNENDHU A K | ITAD | 2018 | KSID 61
IMAGE 21 : A LAMP WITHOUT LAMPSHADE
WHY LAMPSHADES The definition of interior design has changed so much in the present world. Not so much in the dictionary as much in the perspective of a home owner. Today, people are open, willing, and looking forward for something unique and aesthetically pleasing while making sure it fits into our not-so-tight budget. Everyone likes to walk into a space that looks beautiful, has warmth, and at the same time is practical. People used to build new homes at an utmost care and they used to do everything to make their home look impressive. One of the top features that make your home remarkable is lighting. People used to research a lot about lights because they want the best to use in their homes. Lighting is indeed an important thing that enhances the overall look of a home or a building. A lot of people give more importance to interior and exterior lighting of their office, home or any other building because it can make their space look as if exceptional.
As far as the people are concerned, overall look of their home or office is very important. Lamp shades has a lot of role to play to enhance the appearance of home or office. In general, lamp shades are a cover for a lamp and it is widely used to make softer or direct its light. It has the ability to make your lighting more effective and eye catching. Without a lampshade, a bare bulb's light goes out equally in all directions. Looking at the bulb directly can be uncomfortable. Bare bulbs are sometimes used in lighting, but usually in places where the light is precious and where someone's not likely to accidentally stare right at it – such as in a closet or high in a stairwell. The direct glare from a bare bulb can actually damage the eye. Using lamp shades block the eye from directly seeing the bulb, and direct the light where you want it to go. Also it hides the hardware.
KRISHNENDHU A K | ITAD | 2018 | KSID 63
Lampshades by shape
Drum
Coolie
Empire
Oval
Lampshades by fitting
Spider with Harp
Slip with Uno
IMAGE 22 : LAMPSHADES BY SHAPE AND FITTING
Clip On
Threaded Uno
TYPES OF LAMPSHADES
Modern lampshades can be classified by -Shape -Material -Fitter -Function LAMPSHADES BY SHAPE Lampshades are classified into four basic shapes: drum, empire, bell or coolie. But beyond the basics, lampshade shapes also include square, cut-corner, hexagon, oval etc. Among this shapes the most used shapes are cylinders and cones.
LAMPSHADES BY MATERIAL Lampshades are made of fabric, paper, parchment, glass or plastic. Fabric shades are attached by metal frames to give the lampshades their shape, Paper shades can hold their shape without support. For this reason, paper shades can be more fragile than fabric shades. LAMPSHADE FITTER A fitter describes how the lampshade connects to the lamp base. The most common lampshade fitter is a Spider fitter. Spider fitters are set on top of a lamp. Other fitters include clip-on for either regular bulbs.
KRISHNENDHU A K | ITAD | 2018 | KSID 65
IMAGE 23 : LAMPSHADES BY FUNCTION
LAMPSHADES BY FUNCTION There are so many lighting types. A lighting can be classified according to its use. Lighting can be mainly classified into three categories: -Ambient lighting -Task lighting -Accent lighting
stimulate your brain. The contrasting light allows you to be more alert and concentrated. This will help you see more details as you work, creating higher quality results. This is why many businesses choose to use task lighting in their offices.
AMBIENT LIGHTING This is one of the most common types of lighting. Ambient light is also known as general lighting. While ambient light is not ideal for working closely with things or to highlight things around the space. When used correctly, ambient light creates a fantastic environment to relax from an overly stressful day or to have a warm conversation with a friend. Ambient lighting is often referred to as mood lighting,
ACCENT LIGHTING This is a very concentrated light with the intention of drawing the eye to its focal point. Accent lighting is a way of adding style and drama to the home. This will help to illuminate the pieces that we want on display, while shadowing dull areas. People use accenting for wall washing, artwork, bookcase displays, pieces of furniture, collections and the general architecture of their homes. Outdoor accent lighting is when you highlight parts of the architecture of your home or yard. This is very popular during the holidays.
TASK LIGHTING This is a smaller more concentrated light. The task light is suitable for doing some concentrated works. In fact, some people call it office lighting. Task lighting is meant to help to see when people are doing projects in which you need a finer light, such as, reading, cooking, writing, sewing and many other things. Task lighting helps naturally
Accent lighting is one of the types of lighting that creates a very sophisticated atmosphere. It evokes feelings of meaning and importance to the images it displays. This lighting is used a lot for museums, historical buildings and art shows.
KRISHNENDHU A K | ITAD | 2018 | KSID 67
IMAGE 24 : PENDANT LAMPS IN PINKAPPLE STUDIO
PENDANT LAMPS IN PINKAPPLE STUDIO
Pinkapple studio manufactures a variety of pendant lamps with different sizes, different shapes and using different materials. MATERIALS Pinkapple studio makes pendant lamps out of so many materials. They mainly use fabrics. Other materials are metal, wooden strips, cotton threads, paper, cane, banana fiber, teak strips and net fabrics.
TECHNIQUES With fabrics they mainly use block printing techniques. Block making and printing is done outside the studio. They tries fabric manipulation techniques like pleats and lace. They also plays with forms of custom shapes. BASE For base they mainly use steel frames of desired size and shapes.
KRISHNENDHU A K | ITAD | 2018 | KSID 69
IMAGE 25 : DIFFERENT FABRIC PENDANT LAMPS OF PINKAPPLE STUDIO
FABRIC PENDANT LAMPS
FABRIC The mainly using fabric is Kora fabric with different thickness. They have also tried some other materials like jute, cotton silk, raw silk, organic cotton and plain fabrics. PRINTS They use so many types of prints. Block printing is the technique they are using. Different frames are being made for each designs. Some types of prints they used are kalamkari inspired prints, hand crafted woven prints, intricate prints, wood prints, custom prints, border prints, geometric prints, nature prints, abstract and all over prints.
FRAMES Frames are made out of metal. Minimum number of rods are used for each light. Melic milky sheet is wrapped around the frames to give the fabrics a stiff and strong base. Fabrics are stitched and placed above the Melic sheet. The Melic sheet base gives a wrinkle free look and a good finishing to the fabrics. SHAPES Fabric cannot be wrapped around all the custom shapes. There are some basic shapes for fabric lighting. They are cylinders, cones, rectangles and squares.
KRISHNENDHU A K | ITAD | 2018 | KSID 71
IMAGE 26 : Olie, Michael Palaya, Indiranagar, Bengaluru, Karnataka
IMAGE 27 : The Purple Turtles, 1st Main Rd, Stage 2, Domlur, Bengaluru, Karnataka
MARKET STUDY Bangalore is famous for home decor stores. There are a number of studios which sells all kinds of lampshades. From metal to fabric, so many materials are used for the manufacture of lampshades. So many experiments are occurring in this field. Some of the main stores which retails lampshades are as follows : FABINDIA Fabindia is an Indian store retailing garments, furnishings, fabrics and ethnic products handmade by craftspeople across rural India. Fabindia, CMH road, Indiranagar is famous for its home furnishing products. Its a big store retailing garments, home furnishings, fabrics and ethnic products. In furnishings they have hand crafted bed linens, cushion covers, table lines and fabric lampshades. They have similar fabric block printed pendant lampshades. They use more simple and pale colored motifs on Kora fabric. OLIE Olie is another store in Indiranagar, which crafts cushion covers, table linen and lighting that reflect a simpler lifestyle and free spiritedness. They also retails block printed fabric lampshades and hand crafted paper lampshades. In
Olie store the motifs of prints are more related to the south Indian customs. Also the motifs are very colorful. They all convey some meanings. PURPLE TURTLE It is an eclectic destination for home decor, custom lighting, furniture, gifting accessories and furnishings at Bangalore, India. Their designer lighting solutions are pretty unique as they use everything from banana fiber to paper to fabric and metals such as brass and copper. SUNSHINE BOULEVARD This store have a variety range of innovative lamps and lights, mirrors, fusion furniture,mosaic planters, candles, and other accent pieces. Retailer of Home Decors Product and Wooden Furnitures, Koramangala, Bengaluru. PURPLE PONY The Purple Pony is one of those few stores that blend European style with Indian style to create collections in soft furnishings, lamps, hand-carved furniture, and accent pieces. They have a collection which is bound to make a bold statement to the homes. It is in Koramangala, Bengaluru.
KRISHNENDHU A K | ITAD | 2018 | KSID 73
IMAGE 28 : CHINESE LANTERNS
CHINESE LANTERN LAMPSHADES
A Chinese lantern or a sky lantern or a paper lantern is a lantern made of thin, brightly colored paper. Paper lanterns come in various shapes and sizes, as well as various methods of construction. In their simplest form, they are simply a paper bag with a candle placed inside. Complicated lanterns consist of a collapsible bamboo or metal frame of hoops covered with tough paper. Sometimes, other lanterns can be made out of colored silk usually red or vinyl. Silk lanterns are also collapsible with a metal expander and are decorated with Chinese characters or designs. The vinyl lanterns are more durable; they can resist rain, sunlight, and wind. Paper lanterns do not last
very long, they soon break, and silk lanterns last longer. The gold paper on them will soon fade away to a pale white, and the red silk will become a mix between pink and red. Pendant lamps are similar to the Chinese lanterns. So many festivals around the world uses lanterns like, Lantern festival at the Chiang Kai-shek Memorial Hall in Taiwan, Traditional Vesak lanterns during Vesak in Sri Lanka, Loi Krathong in Thailand, during Christmas in Albuquerque, New Mexico.
KRISHNENDHU A K | ITAD | 2018 | KSID 75
5 PROJECT BRAINSTORMING BRIEF DEVELOPMENT REVISED BRIEF
KRISHNENDHU A K | ITAD | 2018 | KSID 77
IMAGE 29 : BRAINSTORMING
BRAINSTORMING
After the research I started brainstorming for the new ideas. I listed out the needed properties first. Then started brainstorming for new concepts. I explored all the known areas. I got so many new ideas which are not yet used in the studio. PROPERTIES - Need to be a new idea which is not used in the studio - Unique idea - Using fabrics - Low cost BRAINSTORMING IDEAS - Weaving - Using natural fibers - Using handicrafts - Dyeing techniques like dip dyeing yarns, fabrics, batik
- Using Embroidery on fabric - Different Printing techniques like block printing, stencil printing, screen printing, and using other materials - Printing on sack - Combining dyeing and embroidery - Using strings - Pasting Wood scraps - Painting with fabric paints - Drawing, scribbling on fabric - Plain fabrics - Using Lace - Patchwork of fabrics - Applique - Stitching different types of fabrics with different colored threads - Origami - Using sack, buttons
KRISHNENDHU A K | ITAD | 2018 | KSID 79
IMAGE 30 : INITIAL CONCEPTS
INITIAL CONCEPTS
Initially I developed two theme boards each for three categories of spaces- formal space, semi formal space, casual space. For this I studied about the types of lampshades in the studio. I learned about the materials and techniques used for the lampshades in the studio. I developed mood boards with concepts which are not used in the studio.
KRISHNENDHU A K | ITAD | 2018 | KSID 81
FORMAL SPACE, CONCEPT 1 This theme is a reflection of the colour, materials, and traditions of nature. Simple weaving techniques can be used to combine different natural fibres.
HANDICRAFT CIRCLES, ELLIPSES
ECO FRIENDLY NATURAL FIBRES NATURAL COLOURS
SIMPLE WEAVES IMAGE 31 : THEME BOARD 1
YARNS COIR BAMBOO SCREWPINE WATER HYACINTH BANANA FIBRE WEAVING MINIMALISM UNFINISHED EDGES PRINTS WITH LEAVES
APPLIQUE FORMAL SPACE, CONCEPT 2 Contemporary basic shapes with intricate detailing by using applique and lace making techniques.
REVERSE APPLIQUE LACE MAKING THICK THREADS WHITE COTTON FABRIC TRADITIONAL MOTIFS
IMAGE 32 : THEME BOARD 2
SEMI FORMAL SPACE, CONCEPT 1 This is a theme which uses weaving technique to make fabric. By using threads of different thickness and different simple weaving patterns, fabrics are made. Truncated solid shaped lightings can be made.
WEAVING TIE DYED YARNS TRUNCATED SOLIDS DIFFERENT WEAVES
IMAGE 33 : THEME BOARD 3
SEMI FORMAL SPACE, CONCEPT 2 This theme takes inspirations from the islamic architecture. simple cylindrical shaped lighting with embroidered islamic architectural motifs.
CYLINDRICAL SHAPES ISLAMIC ARCHITECTURE IMAGE 34 : THEME BOARD 4
LINEN CLOTH
EMBROIDERY FRENCH KNOT CROSS STITCH
GEOMETRIC SHAPES CONCEPT 1 This theme takes inspiration from the african tribal art. Tribal art motifs are created using batik, wax resist dyeing method on geometric shaped lighting.
TRIBAL ART WAX RESIST DYE NAPHTHOL DYEING
IMAGE 35 : THEME BOARD 5
CONCEPT 2 This theme is based on the thread arts. Threads of different colours and thickness is used. Thread can be wrapped around nails attached to wooden frames. Illusion like motifs can be created.
IMAGE 36 : THEME BOARD 6
Casual space concept simple fabric lights string art on bottom truncated solid shapes fabric
string art
IMAGE 37 : DETAILED THEME BOARD 1
REVISED DETAILED THEME BOARDS
I made some alterations for the concepts after the feedback from the client and made four detailed theme boards. The selected concepts are: - Thread art concept for the casual space - Weaving concept for the semi formal space - Embroidery concept for the semi formal space - Printing techniques for the casual space
KRISHNENDHU A K | ITAD | 2018 | KSID 91
Semi formal space concept blend of wires and yarns in weaving Play of colours and lines Contemporary shapes Wires as warp or weft Recycled yarns Copper wires and Gi wires
IMAGE 38 : DETAILED THEME BOARD 2
woven lighting with a blend of recycled yarn and wire
formal space concept
IMAGE 39 : DETAILED THEME BOARD 3
embroidery
geometric motifs
pendant lamps
casual space concept cylindrical shaped lamps Printing techniques
IMAGE 40 : DETAILED THEME BOARD 4
BRIEF DEVELOPMENT PHASE 1 Developed 6 theme boards (2 each for formal space, semi formal space, casual space)
PHASE 2
Developed 4 detailed theme boards (Out of the 6 theme boards from phase 1)
PHASE 3 2 theme boards got selected (Out of the 4 theme boards from phase 2)
KRISHNENDHU A K | ITAD | 2018 | KSID 96
REVISED BRIEF
INITIAL BRIEF To develop a collection of pendant lamps for the corporate space. From all the revised detailed theme boards, two theme boards got selected for the final collection. Initially the brief was to develop a collection for the corporate space. But after creating theme boards the initial brief changed. All the concepts were created by analyzing all the lampshade concepts in the studio.
REVISED BRIEF To develop two collections of fabric pendant lamps: Collection 1: A collection of fabric pendant lamps using yarns for the casual space. Collection 2: A collection of fabric pendant lamps using different printing techniques for the casual space.
KRISHNENDHU A K | ITAD | 2018 | KSID 97
6 COLLECTION 1 : THREAD ART SKETCHES REVISED TECHNIQUES DETAILED SKETCHES DIGITAL RENDERING EXPLORATION MATERIALS REQUIRED PROTOTYPING FINAL PRODUCT ELECTRICALS
KRISHNENDHU A K | ITAD | 2018 | KSID 99
Casual space concept simple fabric lights string art on bottom truncated solid shapes fabric
string art
IMAGE 41 : COLLECTION 1
ABOUT COLLECTION
This collection consists of fabric pendant lamps with thread art concepts. This collection is for a casual space. Simple shapes can be used as the base forms. The thread can be wrapped on the bottom of the lamps. Nails connected on the base frame of the lamps can be used for wrapping the thread.
KRISHNENDHU A K | ITAD | 2018 | KSID 101
IMAGE 42 : INITIAL SKETCHES
INITIAL SKETCHES
I started the initial sketches with exploring more truncated forms. I also explored the nail art patterns. Firstly the concept was to add small nails to the bottom part of the light. I made so many sketches according to that concept.
KRISHNENDHU A K | ITAD | 2018 | KSID 103
IMAGE 43 : INITIAL SKETCHES
IMAGE 44 : INITIAL SKETCHES
IMAGE 45 : INITIAL SKETCHES
IMAGE 46 : INITIAL SKETCHES
IMAGE 47 : TECHNIQUE 1
REVISED TECHNIQUE
After some discussions and research on the fabric lampshades making, I realized that the concept of adding small nails on the bottom is not practical. Also the shapes which can be made with the fabric are limited. Due to this reasons, I started exploring other techniques for fixing thread to the frame. The sketches for the techniques are follows.
KRISHNENDHU A K | ITAD | 2018 | KSID 109
IMAGE 48 : TECHNIQUE 2
IMAGE 49 : TECHNIQUE 3
IMAGE 50 : TECHNIQUE 4
IMAGE 51 : TECHNIQUE 5
IMAGE 52 : TECHNIQUE 6
IMAGE 53 : TECHNIQUE 7
IMAGE 54 : DETAILED SKETCHES 1-14
DETAILED SKETCHES
From the revised techniques for fixing the thread on to the fabrics, two techniques got selected. According to the techniques I started detailed sketches for the collection. This sketch mainly includes shapes which can be made using fabric. Shapes include mainly cones and cylinders. Selected techniques are : - Wrapping thread above the fabric covering. - Attaching another frame for the thread art.
SKETCHES 1-14 Sketches 1-14 mainly consists of more simple concepts. Some concepts are with inner and outer frames. Red and blue color is to represent thread wrapping. Thread wrapping concept above the fabric covering is of two types: horizontal wrapping and vertical wrapping.
KRISHNENDHU A K | ITAD | 2018 | KSID 117
IMAGE 55 : DETAILED SKETCHES 1-14
DETAILED SKETCHES
SKETCHES 15-30 Sketches 15-30 consists of more complex concepts. Mostly all the concepts consists of more than one frame. Red color is to represent thread wrapping. One concept includes fabric manipulation technique. I explored more shapes like rectangles, triangles and pyramids other than cones and cylinders.
KRISHNENDHU A K | ITAD | 2018 | KSID 119
SELECTED CONCEPTS
Out of the 30 concepts, eight concepts got selected. As I tried making shapes with fabrics I realized pyramids, rectangles, circles and triangles are difficult to make. In the studio the lampshades are made by giving a base wrapping with the Medic sheet. So for these shapes base wrapping is not possible, as the Medic sheet is flexible and stiff. Sharpe edges is difficult to obtain using the base sheet. Fabric is wrapped above the sheet and is attached to the top and bottom portion of the frame.
KRISHNENDHU A K | ITAD | 2018 | KSID 120
DIGITAL RENDERING
ILLUSTRATOR RENDERING I rendered the selected concepts in illustrator. As illustrator is a 2D rendering software, the rendering in illustrator was not up to the mark. Also the lighting effects and threads effects did not come out really well. I tried for getting the shadow effects right, but nothing gave a finishing look to the lights. To get the 3D effect I have to try some 3D rendering software.
3DS MAX RENDERING As I was advised to do 3D rendering I started learning 3ds max. With the help of tutorials and you-tube videos I learned 3DS max rendering. It took some time to learn 3DS max. I rendered the concepts again using 3ds max. Firstly I tried with corporate space backgrounds for the lights. Then as per the feedback I changed the backgrounds to plain walls.
KRISHNENDHU A K | ITAD | 2018 | KSID 121
CONCEPT 1 SINGLE FRAME WITH WRAPPING OF THREADS ABOVE THE FABRIC
FABRIC : COTTON KORA THREAD COLOURS :
IMAGE 56 : DIGITAL RENDERING - CONCEPT 1
FRAME
12 “
8 “
FRAME WIDTH : 5 mm
10 “
TOP VIEW
FRONT VIEW IMAGE 57 : DIGITAL RENDERING, FRAME - CONCEPT 1
CONCEPT 2 DOUBLE FRAME WITH FABRIC WRAPPING AND THREAD WRAPPING FABRIC : COTTON KORA THREAD COLOUR :
IMAGE 58 : DIGITAL RENDERING - CONCEPT 2
FRAME
10 “ 10 “
12 “
“ 8 “8
FRAME WIDTH : 5 mm
TOP VIEW
FRONT VIEW IMAGE 59 : DIGITAL RENDERING, FRAME - CONCEPT 2
CONCEPT 3 DOUBLE FRAME WITH FABRIC WRAPPING AND THREAD WRAPPING FABRIC : COTTON KORA THREAD COLOUR :
IMAGE 60 : DIGITAL RENDERING - CONCEPT 3
FRAME
0“
12 “
8 “1
10 “
FRAME WIDTH : 5 mm
TOP VIEW
FRONT VIEW IMAGE 61 : DIGITAL RENDERING, FRAME - CONCEPT 3
CONCEPT 4 DOUBLE FRAME WITH FABRIC WRAPPING AND THREAD WRAPPING FABRIC : COTTON KORA THREAD COLOUR :
IMAGE 62 : DIGITAL RENDERING - CONCEPT 4
FRAME
12”
FRAME WIDTH : 5 mm
2"
10”
TOP VIEW
FRONT VIEW
IMAGE 63 : DIGITAL RENDERING, FRAME - CONCEPT 4
CONCEPT 5 SINGLE FRAME WITH WRAPPING OF THREADS ABOVE THE FABRIC FABRIC : COTTON KORA THREAD COLOUR :
IMAGE 64 : DIGITAL RENDERING - CONCEPT 5
FRAME
12”
FRAME WIDTH : 5 mm
10”
TOP VIEW
FRONT VIEW IMAGE 65 : DIGITAL RENDERING, FRAME - CONCEPT 5
CONCEPT 6 SINGLE FRAME WITH WRAPPING OF THREADS ABOVE THE FABRIC FABRIC : COTTON KORA THREAD COLOUR :
IMAGE 66 : DIGITAL RENDERING - CONCEPT 6
FRAME
8”
FRAME WIDTH : 5 mm
14”
TOP VIEW
FRONT VIEW IMAGE 67 : DIGITAL RENDERING, FRAME - CONCEPT 6
CONCEPT 7 DOUBLE FRAME WITH FABRIC WRAPPING AND THREAD WRAPPING FABRIC : COTTON KORA THREAD COLOUR :
IMAGE 68 : DIGITAL RENDERING - CONCEPT 7
FRAME
10” 14”
12”
8” 12”
6"
FRAME WIDTH : 5 mm
TOP VIEW
FRONT VIEW IMAGE 69 : DIGITAL RENDERING, FRAME - CONCEPT 7
CONCEPT 8 DOUBLE FRAME WITH FABRIC WRAPPING AND THREAD WRAPPING FABRIC : COTTON KORA THREAD COLOUR :
IMAGE 70 : DIGITAL RENDERING - CONCEPT 8
FRAME
14”
10”
FRAME WIDTH : 5 mm
2"
8”
TOP VIEW
FRONT VIEW IMAGE 71 : DIGITAL RENDERING, FRAME - CONCEPT 8
IMAGE 72 : EXPLORATION
IMAGE 73 : DETAILED IMAGE
EXPLORATION
After the detailed rendering of the concepts I started exploring one of the concepts. I used a fabric lamp from the studio and tried yarn wrapping. I used embroidery threads for this. Wrapped two colors of threads above the fabric lamp. After wrapping thread I understood how, and where should I wrap the thread. The inner and outer portions should be equally neat, as the light reflects the threads shadow and vthe inner part will also be visible. Also I understood different types of wrappings and explored all. At first it was difficult to wrap the thread. But after some trials I understood the technique.
KRISHNENDHU A K | ITAD | 2018 | KSID 139
IMAGE 75
IMAGE 76
IMAGE 79 IMAGE 74 ; MATERIALS REQUIRED
IMAGE 80 : JUTE YARNS
IMAGE 77
IMAGE 78
IMAGE 75 TO 79 : STEEL FRAMES FINISHED WITH POWDER COATING
MATERIALS REQUIRED
FRAME Metal frames of different sizes are used. The metal frames are finished by applying white powder coatings, which gives them a white Matt finish look.
any wrinkles.
MELIC SHEET Melic sheets are milky white in color. They are stiff sheets with flexibility. Separate frames are connected using this Melic sheet.
FEVICOL The top and bottom of the fabric is finished by applying FEVICOL and are wrapped around the frames.
FABRIC Kora fabric is used. Fabric ends are connected by stitching. Fabrics are wrapped above the Melic sheet, without
DYED JUTE YARNS Dyed Jute yarns are used in the fabric lampshades.
FLEX-QUICK Melic sheets are fixed on the metal frames by using flexquick.
KRISHNENDHU A K | ITAD | 2018 | KSID 141
IMAGE
: 81
IMAGE
IMAGE
: 82
: 83
IMAGE
IMAGE
: 84
IMAGE 81 : FRAME IMAGE 82 : FRAME WITH MELIC SHEET TEMPLATE IMAGE 83 : CORA FABRIC AFTER CUTTING IMAGE 84 : STITCHING THE CORA FABRIC END IMAGE 85 : JUTE YARNS IMAGE 86 : MELIC SHEET CONNECTED TO THE FRAME IMAGE 87, 88 : JUTE YARN WRAPPING ON FABRIC WRAPPED FRAME IMAGE KRISHNENDHU A K | ITAD | 2018 | KSID 142
: 86
IMAGE
: 87
IMAGE
: 88
: 85
PROTOTYPING 1 STAGE 1 The first stage in making the lampshades is connecting the separate frames. The Melic sheets can give the lampshades its basic shapes. Melic sheets are milky white in color. They come in different thickness. The thickness which gives a stiff base and the one which can be twisted into the required shape is used. This base gives the fabric strength and finishing. The first step in this is marking in the Melic sheet. The template of the required shape is marked on the Melic sheet. Then an extra 0.5 inch is added on the edge to paste the Melic sheet ends together. After cutting the Melic sheet the template is twisted to make the shape. Then the edge is connected using cello-tape. After this both the frames are inserted separately into the form. Flex-quick is applied into the gaps of the Melic sheet and frame. The frame and Melic sheet gets fixed after some time. The excess of the Melic sheet is trimmed off using a cutting knife.
STAGE 2 Fabric is wrapped above the Melic sheet. Kora fabric of medium thickness is used. At first the template of the required shape is drawn on the fabric. Then by keeping one inch fabric on all the sides, the template is cut out from the fabric. The two edges of the fabric is connected by stitching without leaving any space. The stitched edges is finished by trimming and by applying fevicol. After this the fabric cover is put above the Melic sheet lampshade. Both the top and bottom edges are finished by using fevicol and securing them into inside of the metal frame. The Melic sheet base give the fabric cover a wrinkle free finished look. STAGE 3 Stage 3 is the thread wrapping stage. Jute threads of required colors are wrapped above the fabric. Fevicol is used to paste the thread on the fabric. In this concept two colors of threads are used. Jute threads are wrapped horizontally and tightly. The end is pasted into the fabric by using fevicol.
KRISHNENDHU A K | ITAD | 2018 | KSID 143
PROTOTYPING 2 This concept consists of two frames. The inner frame is connected with the Melic sheet. Cora fabric is wrapped above the Melic sheet. The outer frame is connected by yarn. Red Jute yarn is used. Connecting the outer frame was a tedious task. First I tried connecting them with Melic sheet and then wrapped it with thread. But for wrapping the Melic sheet completely with yarns a lot of yarn was needed. Also it didn't gave the desired result. So that I removed the Melic sheet and tried connecting them with yarn. Connecting the frame with only yarns was not that easy. I made so many trials for this. IMAGE 89 : FRAMES IMAGE 90, 91 : INNER FRAME CONNECTED WITH MELIC SHEET IMAGE 92 TO 94 : JUTE YARN WRAPPING ON THE OUTER FRAME KRISHNENDHU A K | ITAD | 2018 | KSID 144
IMAGE
: 89
IMAGE
: 90
IMAGE
: 91
IMAGE
: 92
IMAGE
: 93
IMAGE
: 94
PROTOTYPING 3
IMAGE
IMAGE
: 95
: 98
IMAGE
IMAGE
: 96
: 99
IMAGE
IMAGE
: 97
: 100
This concept consists of only one frame. This is a different concept than others. In this concept the thread wrapping is done as the first step. The inner rods is wrapped with yarn. Orange colored Jute yarn is used. After the yarn wrapping on two opposite sides the frame is wrapped with Melic sheet. This Melic sheet wrapping give the fabric stiffness. The final stage is covering the Melic sheet wrapped frame with Cora fabric. This lamp will have different looks with light and without light. While looking into the lamp from ground the yarns will be visible. IMAGE IMAGE YARNS IMAGE SHEET IMAGE CORA
95 : 96, ON 98,
FRAME 97 : WRAPPING OF JUTE THE INNER FRAME 99 : WRAPPING OF MELIC
100 : COVERING THE FRAME WITH FABRIC KRISHNENDHU A K | ITAD | 2018 | KSID 145
PROTOTYPING 4 This is the most simple concept in this collection. As the first stage the frames are connected using the Melic sheet. Fabric covering is done above this frame. Green and Violet colored Jute yarns are used in this concept. The yarns are wrapped vertically above the fabric. Green yarn is wrapped about the fabric covering. The second color, ie the violet colored yarn is wrapped next. Both the inner portion and the outer portion of this concept look different.
IMAGE 101 : FRAMES IMAGE 102 : FRAMES CONNECTED USING MELIC SHEET IMAGE 103 : FABRIC COVERING OVER THE MELIC SHEET FRAME IMAGE 104 : JUTE YARNS IMAGE 105 : GREEN JUTE YARN WRAPPING IMAGE 106 : VIOLET JUTE YARN WRAPPING KRISHNENDHU A K | ITAD | 2018 | KSID 146
IMAGE
IMAGE
: 101
: 104
IMAGE
IMAGE
: 102
: 105
IMAGE
: 103
IMAGE
: 106
PROTOTYPING 5
IMAGE
: 107
IMAGE
: 108
IMAGE
: 109
For this concept the lower frame is slightly greater in diameter than the upper frame. After cutting the Melic sheet template, both the ends are connected sing cello tape. Then the both upper and lower frames are inserted into this template. The lower frame is tilted and is fixed using flex quick. The Truncated cone shaped base frame is then covered with Cora fabric. Violet colored Jute yarn is wrapped on the upper portion. The yarn wrapping is done horizontally without any gap.
IMAGE 107 : FRAMES IMAGE 108, 109: FRAMES CONNECTED USING MELIC SHEET IMAGE 110 : JUTE YARNS IMAGE 111, 112 : WRAPPING OF YARN OVER THE FABRIC COVERED FRAME.
IMAGE
: 110
IMAGE
: 111
IMAGE
: 112 KRISHNENDHU A K | ITAD | 2018 | KSID 147
PROTOTYPING 6
This concept consists of an inner and an outer frame. The inner frame is connected first with the Melic sheet. This frame is then wrapped with Jute yarn. The yellow Jute yarn is wrapped horizontally on the Melic sheet frame. The outer frame is then connected by Melic sheet. This frame is then covered with Cora fabric.
IMAGE
: 113
IMAGE
: 114
IMAGE
: 115
IMAGE
: 116
IMAGE
: 117
IMAGE
: 118
IMAGE 113 : FRAMES IMAGE 114, 115 : INNER FRAME CONNECTED WITH MELIC SHEET IMAGE 116, 117 : THREAD WRAPPING ABOVE THE MELIC SHEET IMAGE 118 : OUTER FRAME CONNECTED WITH MELIC SHEET AND COVERED WITH CORA FABRIC
KRISHNENDHU A K | ITAD | 2018 | KSID 148
FINAL PRODUCTS
After prototyping of each concepts, each lamps are electrical connected and are photographed. Lamps are photographed in two ways. Without light and with light. The backgrounds of the images are edited for their final looks. Images from shows the final products.
KRISHNENDHU A K | ITAD | 2018 | KSID 149
IMAGE 119 : ELECTRICALS
ELECTRICALS
There are mainly five electrical components in lamp according to the international standard- the bulb, the holder, the cord, the switch and the plug. Out of these five parts the cord, the switch, and the plug together form a cordset. This is done to make sure the safety of the electrical components . BULB The bulb is suggested to the customers and are not packaged along with the lamp. The performance of the lamp depends very much on the light source used. Different bulbs produce different lighting effects.
KRISHNENDHU A K | ITAD | 2018 | KSID 151
IMAGE 120 : FINAL PRODUCT - CONCEPT 1
IMAGE 121 : FINAL PRODUCT - CONCEPT 1 WITH LIGHT
IMAGE 122 : FINAL PRODUCT - CONCEPT 2
IMAGE 123 : FINAL PRODUCT - CONCEPT 2 WITH LIGHT
IMAGE 124 : FINAL PRODUCT - CONCEPT 3
IMAGE 125 : FINAL PRODUCT - CONCEPT 3 WITH LIGHT
IMAGE 126 : FINAL PRODUCT - CONCEPT 4
IMAGE 127 : FINAL PRODUCT - CONCEPT 4 WITH LIGHT
IMAGE 128 : FINAL PRODUCT - CONCEPT 5
IMAGE 129 : FINAL PRODUCT - CONCEPT 5 WITH LIGHT
IMAGE 130 : FINAL PRODUCT - CONCEPT 6
IMAGE 131 : FINAL PRODUCT - CONCEPT 6 WITH LIGHT
7 COLLECTION 2 LOOPS AND SCRIBBLES CONCEPT IDEATION TECHNIQUE EXPLORATIONS DETAILED EXPLORATIONS PROTOTYPING FINAL PRODUCT
KRISHNENDHU A K | ITAD | 2018 | KSID 165
casual space concept cylindrical shaped lamps Printing techniques
IMAGE 132 : THEME BOARD OF COLLECTION 2
ABOUT COLLECTION
The second collection is for a casual space. This consists of fabric lampshades with printing techniques. This collection includes so many printing techniques other than the normal techniques being used. The color palette consists of blue. Red and Grey. The shapes is of normal cylinders with same size for all the lamps,.
KRISHNENDHU A K | ITAD | 2018 | KSID 167
IMAGE 133 : BRAINSTORMING OF PRINTING TECHNIQUES
TECHNIQUE EXPLORATION
For this collection so many printing techniques were explored. Almost 100 samples were made during this technique exploration phase. So many scrap materials were used for printing.. I used fabric paints, pigment pastes and printing pastes for this exploration. All the explorations were carried out in Cora fabrics cut into a4 size.
KRISHNENDHU A K | ITAD | 2018 | KSID 169
IMAGE 134
IMAGE 135
IMAGE 136
IMAGE 137
IMAGE 134, 135 : LEAF PRINT, IMAGE 136, 137 : PRINTS DEVELOPED FROM BOTTLE TOPS
EXPLORED TECHNIQUES
- Printing with different leaves of different size and shape - Printing with bubble wrapper - Printing with bottle caps - Printing with threads, nails. Tooth picks, and so many other materials - Making Newspaper print - Marble effect using shaving cream - Sprinkling salt - Damping with cloth swatches - Brush strokes exploration - Finger painting - Watercolor effect
-
Paint drops Paint drops spreading using straw Wrapping plastic cover above painting Painting on plastic covers and printing Spray painting Printing with rings Printing with miscellaneous items Brush painting Printing with ink Dyeing explorations with paint Explorations with printing paste Fabric folding and dipping in pigment paint
KRISHNENDHU A K | ITAD | 2018 | KSID 171
IMAGE 138
IMAGE 140
IMAGE 139
IMAGE 141
IMAGE 138 TO 141 : DIFFERENT TYPES OF PRINTS DEVELOPED USING DIFFERENT ELEMENTS
IMAGE 142
IMAGE 144
IMAGE 143
IMAGE 145
IMAGE 142 TO 145 : DIFFERENT TYPES OF PRINTS DEVELOPED USING DIFFERENT ELEMENTS
IMAGE 146
IMAGE 147
IMAGE 148
IMAGE 149
IMAGE 146 TO 149 : DIFFERENT TYPES OF PRINTS DEVELOPED USING DIFFERENT ELEMENTS
IMAGE 150
IMAGE 151
IMAGE 152
IMAGE 153
IMAGE 150 TO 153 : DIFFERENT PRINTS DEVELOPED FROM FOLDING CLOTHES AND DIPPING IN PAINT
IMAGE 154
IMAGE 155
IMAGE 156
IMAGE 157
IMAGE 154, 155 : DIFFERENT TYPES OF PRINTS DEVELOPED BY DAMPING CLOTH, IMAGE 156 : BRUSH STROKES, IMAGE 157 : PAINT SCRAPPED USING ZIGZAG CARD
IMAGE 158
IMAGE 159
IMAGE 160
IMAGE 161
IMAGE 158 : PRINT DEVELOPED USING FINGERS, IMAGE 159, 160 : MARBLE EFFECT, IMAGE 161 : WATERCOLOR PAINT EFFECT
IMAGE 162
IMAGE 163
IMAGE 164
IMAGE 165
IMAGE 162 TO 165 : DIFFERENT BRUSH STROKES
IMAGE 166
IMAGE 167
IMAGE 168
IMAGE 169 IMAGE 166 TO 169 : DIFFERENT BRUSH STROKES
IMAGE 170
IMAGE 171
IMAGE 172
IMAGE 173
IMAGE 170 : PRINT DEVELOPED USING PLASTIC COVER, IMAGE 171 : NEEDLES AND TOOTHPICKS PRINT, IMAGE 172 : BUBBLE WRAPPER PRINT, IMAGE 173 : NEWSPAPER PRINTS
IMAGE 174
IMAGE 175
IMAGE 176
IMAGE 177 IMAGE 174 TO 177 : DIFFERENT TYPES OF PRINTS
IMAGE 178
IMAGE 179
IMAGE 180
IMAGE 181
IMAGE 178 : PRINT DEVELOPED USING ZIGZAG CARD, IMAGE 179 TO 181 : PAINT DROPS PRINT
IMAGE 182
IMAGE 183
IMAGE 184
IMAGE 185 IMAGE 182 TO 185 : STENCIL PRINTING
IMAGE 186
IMAGE 187
IMAGE 188
IMAGE 189
IMAGE 186, 187 : DIFFERENT TYPES PF PRINTS, IMAGE 188, 189 : BUBBLE PRINTING
IMAGE 190
IMAGE 191
IMAGE 192
IMAGE 193
IMAGE 190 : BRUSH STROKES, IMAGE 191 TO 193 : PAINT DROP SPREAD
IMAGE 194
IMAGE 195
IMAGE 196
IMAGE 197
IMAGE 194 TO 197 : EXPLORATIONS OF MARBLE EFFECT
DETAILED EXPLORATION
Out of the technique explorations some techniques are selected. For selecting the concepts I tried some more explorations with the selected color palette. Fabric paints, printing pastes and pigment colors are used. Techniques involves marble effects, printing with leaves, experiments with paint drops am cloth damping techniques
KRISHNENDHU A K | ITAD | 2018 | KSID 187
IMAGE 198
IMAGE 199
IMAGE 200
IMAGE 201
IMAGE 198 TO 201 : EXPLORATIONS OF MARBLE EFFECT
IMAGE 202
IMAGE 203
IMAGE 204
IMAGE 205 IMAGE 202 TO 205 : EXPLORATIONS OF MARBLE EFFECT
IMAGE 206
IMAGE 207
IMAGE 208
IMAGE 209
IMAGE 206 TO 209 : EXPLORATIONS OF MARBLE EFFECT
IMAGE 210
IMAGE 211
IMAGE 212
IMAGE 213 IMAGE 210 TO 213 : EXPLORATIONS OF PAINT DROPS
IMAGE 214
IMAGE 215
IMAGE 216
IMAGE 217
IMAGE 214,215 : EXPLORATIONS OF CLOTH DAMPING TECHNIQUE, IMAGE 216, 217 : EXPLORATIONS OF LEAF PRINT
IMAGE 218
IMAGE 219
IMAGE 220 IMAGE 218 TO 220 : EXPLORATIONS OF
LEAF PRINT
IMAGE 221 : MATERIALS USED CLOTH PIECES, PRINTING PASTE, PIGMENT COLORS, FIXER KRISHNENDHU A K | ITAD | 2018 | KSID 194
PROTOTYPING
1
CLOTH DAMPING TECHNIQUE Out of the detailed explorations some techniques got selected for the final prototyping. This technique is carried out by dipping a piece of folded cloth in paint and damping them into the fresh fabric. This technique creates different patterns on each damp. A base of Grey is given first. Then on top of the Grey base red and blue patterns is given. Materials used : Pigment paints, printing paste, fabric paints, small cloth pieces Size: Base frame is a cylinder with a diameter of 12 inch and a height of 10 inch.
KRISHNENDHU A K | ITAD | 2018 | KSID 195
PRINTING
IMAGE 222 : DAMPING WITH CLOTH TO MAKE THE FIRST LAYER OF PRINT IMAGE 223 : AFTER FIRST LAYER OF PRINT IMAGE 224 : SECOND LAYER PRINT WITH SECOND COLOR IMAGE 225 : THIRD LAYER OF PRINT WITH THIRD COLOR IMAGE 226, 227 : AFTER ALL LAYER OF PRINTING KRISHNENDHU A K | ITAD | 2018 | KSID 196
IMAGE 222
IMAGE 223
IMAGE 224
IMAGE 225
IMAGE 226
IMAGE 227
LAMP MAKING
IMAGE 228
IMAGE 231
IMAGE 229
IMAGE 232
IMAGE 230
IMAGE 233
IMAGE 228 : FRAMES CONNECTED WITH THE MELIC SHEET IMAGE 229, 230 : THE STEPS OF COVERING THE MELIC SHEET FRAME WITH THE CORA FABRIC IMAGE 231 : AFTER FINISHING THE BOTTOM EDGES OF THE FABRIC IMAGE 232 : FINISHING THE TOP EDGES OF THE FABRIC IMAGE 233 : AFTER FINISHING BOTH THE EDGES OF THE LAMP KRISHNENDHU A K | ITAD | 2018 | KSID 197
IMAGE 234 : MATERIALS USED - SHAVING CREAM, PIGMENT COLORS, FABRIC PAINTS KRISHNENDHU A K | ITAD | 2018 | KSID 198
PROTOTYPING
2
MARBLE EFFECT This is done by scribbling paint using some small sticks. A base is needed for this. I used shaving foam as a base. A 1 inch thick base layer is made first. Above that paint drops are added and they are scribbled using toothpicks. Cloth is placed above this layer. After gently pressing on all the sides the cloth is taken out. The excess shaving foam is scrapped out using a cardboard. This is done by giving not much pressure. The pressure difference will spoil the pattern, by smudging. The fabric is set aside for drying. Then the fabric is properly ironed on the backside. So many exploration is done using this technique. Each explorations created different patterns. Materials used : Shaving foam, Pigment paints, fabric paints Size: Base frame is a cylinder with a diameter of 12 inch and a height of 10 inch.
KRISHNENDHU A K | ITAD | 2018 | KSID 199
PRINTING
IMAGE 235 : SPREADING SHAVING FOAM IMAGE 236 : LAYER FORMED BY SHAVING FOAM IMAGE 237 : PAINT DROPS ON THE SHAVING FOAM LAYER IMAGE 238 : SCRIBBLING THE PAINT DROPS IN THE SHAVING FOAM TO CREATE PATTERNS IMAGE 239 : AFTER COVERING THE SHAVING FOAM LAYER WITH FABRIC, IT IS TAKEN OUT CAREFULLY IMAGE 240 : AFTER SCRAPPING OUT THE EXCESS SHAVING FOAM KRISHNENDHU A K | ITAD | 2018 | KSID 200
IMAGE 235
IMAGE 236
IMAGE 237
IMAGE 238
IMAGE 239
IMAGE 240
LAMP MAKING
IMAGE 241
IMAGE 244
IMAGE 242
IMAGE 245
IMAGE 243
IMAGE 246
IMAGE 241 : FRAMES CONNECTED WITH THE MELIC SHEET IMAGE 242 : STITCHING THE ENDS OF THE FABRIC IMAGE 243 : FINISHING THE TOP EDGE OF THE FABRIC IMAGE 244 TO 246 : AFTER FINISHING BOTH THE TOP AND BOTTOM EDGES OF THE FABRIC KRISHNENDHU A K | ITAD | 2018 | KSID 201
IMAGE 247 : MATERIALS USED - LEAVES OF DIFFERENT SIZE, FABRIC PAINT, PIGMENT COLORS KRISHNENDHU A K | ITAD | 2018 | KSID 202
PROTOTYPING
3
LEAF PRINTS This concept includes leaf prints which is printed using original leafs. For exploring this technique I tried with different leaves. Even for same leaf each print looks different. I tried different leaves, different sizes of leaves for exploration. Materials used : Pigment paints, printing paste, fabric paints, small cloth pieces Size: Base frame is a cylinder with a diameter of 12 inch and a height of 10 inch.
KRISHNENDHU A K | ITAD | 2018 | KSID 203
PRINTING
IMAGE 248 : LEAF PAINTED WITH GREY COLOR IMAGE 249 : PRINTING THE FIRST COLOR IMAGE 250 : PRINTING WITH THE RED COLOR PAINTED LEAF IMAGE 251 : PRINTING WITH THE BLUE COLOR PAINTED LEAF IMAGE 252, 253 : AFTER PRINTING WITH ALL THREE COLORS KRISHNENDHU A K | ITAD | 2018 | KSID 204
IMAGE 248
IMAGE 249
IMAGE 250
IMAGE 251
IMAGE 252
IMAGE 253
LAMP MAKING
IMAGE 254
IMAGE 257
IMAGE 255
IMAGE 258
IMAGE 256
IMAGE 259
IMAGE 254 : THE FRAMES CONNECTED WITH THE MELIC SHEET IMAGE 255 : COVERING THE MELIC SHEET FRAME WITH THE CORA FABRIC IMAGE 256, 257 : FINISHING THE TOP EDGES OF THE FABRIC IMAGE 258 : FINISHING THE BOTTOM EDGE OF THE FABRIC IMAGE 259 : AFTER FINISHING BOTH THE TOP AND BOTTOM EDGES OF THE FABRIC KRISHNENDHU A K | ITAD | 2018 | KSID 205
FINAL PRODUCTS
After the prototyping each light is connected with the electrical. Then they are photographed. They got their final editing with the backgrounds. Image to shows the final products.
KRISHNENDHU A K | ITAD | 2018 | KSID 207
IMAGE 260 : FINAL PRODUCT- CONCEPT 1
IMAGE 261 : FINAL PRODUCT WITH LIGHT - CONCEPT 1
IMAGE 262 : FINAL PRODUCT- CONCEPT 2
IMAGE 263 : FINAL PRODUCT WITH LIGHT - CONCEPT 2
IMAGE 264 : FINAL PRODUCT- CONCEPT 3
IMAGE 265 : FINAL PRODUCT WITH LIGHT - CONCEPT 3
8 COSTING EXPENSE SHEET
KRISHNENDHU A K | ITAD | 2018 | KSID 215
COSTING
The costing in a project depends on so many factors. In Pinkapple the maximum retail price is generally based on vendor cost or the market price. Vendor price may vary for different vendors even for the same product. A vendor is selected according to the price and the quality of work. Also the delivering time is important. Production cost is calculated according to this cost. Production cost is the main factor in the costing. Other factors like rent of the space, salary for the workers, taxes etc are the indirect expenses which effect the cost. A percentage is kept aside for the transportation and packaging cost. Also a percentage is used as an investment for the next project.
KRISHNENDHU A K | ITAD | 2018 | KSID 216
EXPENSE SHEET MATERIALS
EXPENSES
Metal frame with powder coating
Rs.500 per lamp
Melic sheet
Rs.90 per meter
Cora fabric
Rs.75 per meter
Jute thread
Rs.55 per 4 meter
Printing paste and pigment colors
Rs.1000
Fabric paints
Rs.200
Stationary
Rs.1000
Electrical
Rs.160 per lamp
Others
Rs.1500
TABLE 1 : EXPENSE SHEET This is the overall estimate of the expenses that was done during the project. The project expenses was carried out by Pinkapple Pvt. Ltd.
KRISHNENDHU A K | ITAD | 2018 | KSID 217
9 CONCLUSION OUTCOME REFLECTIONS BIBLIOGRAPHY
KRISHNENDHU A K | ITAD | 2018 | KSID 219
OUTCOME
Normally in Pinkapple studio the lighting lamps are done under the block printing technique. The blocks for block printing are designed in the studio and is made by some vendors. After the block making the blocks and fabrics has to be taken to other place for printing. The blocks once made can't be reused for lighting as the studio is mainly concentrating on customized projects. There are so many blocks in the studio. As I started doing this project I wanted to do some other concepts other than block printing. Both of my collections are less expensive than block printing techniques. Also the concepts are unique. I got an opportunity of introducing Jute in the studio.
KRISHNENDHU A K | ITAD | 2018 | KSID 220
REFLECTIONS This five month long diploma project gave me a unique opportunity to undertake a real life design project independently. It was a wonderful experience to work with a reputed home furnishing studio. This project helped me to learn so many things in handling a project. From the beginning of this project, everything included a different way of doing things. The development of fabric lampshades gave an opportunity to explore more on the fields of textile as well as lighting. Before this diploma project I was totally unaware of this fabric products. The exposure to the textile combined with fabric lighting developments paved the way for a new design process. As a textile designer intern at Pinkapple studio, and working under the guidance of Mrs. Archana Ganapathy Poonacha was really helpful for my diploma project. She helped me to follow a strict design process for my project. The research on lighting helped me to understand more about the studio. Also it helped me to explore more about the
fabric lighting. The visits to the nearby fabric lighting stores helped me to understand the different designs and models in same sector. The diploma project started with developing some concepts for the lampshades. For developing the concepts I learned about the fabric lampshades of the studio. That learning helped me to develop new concepts which are not yet used in the studio. Most of the concepts were based on the techniques I learned from KSID. Mrs. Archana corrected, supported and encouraged me in all the stages. The development of products helped me to learn about so many new things and new designs. The whole project exposed to a whole new world to me. The project taught me how to think and design practically. These five months gave me so much experience and all the lessons I learned will become the milestones of my life.
KRISHNENDHU A K | ITAD | 2018 | KSID 221
REFERENCE Lampshades Illuminated - Lamp and shade designer Sue Johnson Lampshades - Mayfield Lamps Home lighting design book- pocket book Making & decorating your own paper - Kathy Blake & Bill Milne https://www.lampsusa.com/blogs/how-to-and-tips/18189721-find-the-perfect-lamp-shade-shape https://www.marthastewart.com/266459/lampshades-for-every-shape https://en.wikipedia.org/wiki/Paper_lantern http://www.iloencyclopaedia.org/component/k2/item/262-types-of-lamps-and-lighting https://www.delmarfans.com/educate/basics/lighting-types/ http://www.ebay.com/gds/How-Do-I-Know-What-Fitter-My-Lampshade-Has-/10000000019320900/g.html http://www.hoylelamps.com/lamp-shade/types.html https://justlampshades.com/pages/learn-page https://nestopia.com/blog/lighting-home-interiors-types-of-lamp-shades/ https://encyclopedia2.thefreedictionary.com/Lampshades https://www.lampsplus.com/ideas-and-advice/all-about-lampshades/amp/ https://www.thespruce.com/what-lamp-shade-do-i-want-2175039 https://en.wikipedia.org/wiki/Lampshade https://en.wikipedia.org/wiki/Chandelier http://www.dsource.in/sites/default/files/case-study/decorative-lighting-design/introduction/file/decorative-lighting-design.pdf https://www.beaconlighting.com.au/media/Catalogues/WEB_MODERN_PENDANT.pdf
KRISHNENDHU A K | ITAD | 2018 | KSID 222