METHODOLOGY
SEMESTER II DESIGN CONCEPTS PORTFOLIO
Submitted To: -
Submitted By: -
Miss Archna Singh Design Faculty, Pearl Academy
Nidhi Jain Foundation Design Sec. F Pearl Academy
PREFACE Design Concepts is one subject that has always been very close to me. I feel passionate when I work for my projects of Design Concepts.
This project was a long research based project which got me into the real dimensions of DESIGNING. It was through this project that I got to learn and see all the processes that are involved in making and designing of an object in the industry. The whole process starting from the beginning was a new journey and brought me to explore more and more about what exists in the world and what could further be improved. For me, as Designer in future all the steps will be of great help.
Learning from all the subjects; visual studies, material exploration, technical inputs integrated together to make this project successful.
ACKNOWLEDGEMENT First and foremost, I would like to thank to my mentor of this project, Mrs. Archna Singh for the valuable guidance and advice. She inspired me greatly to work on this project. Her willingness to motivate me contributed tremendously to my project. Besides, I would like to thank the authority of Pearl Academy for providing us with a good environment and facilities to complete this project.. Finally, an honourable mention goes to my family and friends for their understanding and support which helped my completing my
project.
I would like to mention my Material Exploration mentor, Mr. Pankaj Narain for his guidance and support
throughout this project.
TABLE OF CONTENTS Serial No.
Content
1
Craft Research
2
Visual Boards
3
Client Profile
4
Client Board
5
Form Generation
6
Final Form
7
Body-Scape
8
Costing Sheet
9
Reflection
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References
PARCHIN KARI 6
CRAFT RESEARCH → “Parchin-Kari” # Selection of the craft that is rich in forms. # Tracing the history of the craft.
Parchin kari in South Asia, is a term for the inlay technique of using cut and fitted, highly-polished coloured stones to create images. It is considered a decorative art. The stonework, after the work is assembled loosely, is glued stone-by-stone to a substrate after having previously been "sliced and cut in different shape sections; and then assembled together so precisely that the contact between each section was practically invisible".
# Creating a visual library of the craft. # Selection of the motifs from the craft.
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Parchin Kari in India flourished in India by the Mughals. The Mughal empire finely decorated the architecture with Parchin Kari. But the best of Parchin Kari is the “TAJ MAHAL�. At the Taj Mahal, the technique is used most spectacularly to depict well observed blooms and flowering plants, using a variety of coloured stones including lapis lazuli, carnelian, turquoise, malachite, agate and garnet, achieving stunning depictions of the colourful flowers of India. Flowers have long been important in Islamic cultures, where they were generally seen as symbols of the divine realm. The Mughals had maintained a special interest in flowers since the days of Babur, who was an avid garden-builder. Shah Jehan's father Jehangir had been quite fascinated with nature, and his passion for flowers is well documented by his memoirs. The Taj Mahal reveals that the importance of floral motifs in an architectural context was established early in the emperor's reign.
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MOTIFS The motifs are used to create the impressive large scale calligraphic designs, the intricate geometric motifs that highlight the architecture, and the swirling floral arabesques that define and fill the spandrels of the main arches. Also adding to the beauty of the Taj Mahal is the extraordinary delicacy of the floral motifs that embellish the marble surface. These floral motifs are sculpted in marble in sober relief (munabbat kari) or inlaid with semiprecious stones (parchin kari) that produce incandescent reflections. Other diverse kinds of flowers open in graceful arabesques and cover in profusion the imperial cenotaphs and their enclosures showing the dazzling virtuosity of the Mughal lapidaries.
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VISUAL BOARDS Visual boards are depiction of anything using visuals and little text. It is an amazing way to depict things and is very useful.
# To depict the journey of craft using pictures.
Some examples of other visual boards:
# Depicting each step involved in the making of product using the motifs and forms of craft. # Images of the products made using the craft at the end.
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THE INCREDIBLE AGRA!
where the craft was born… 12
I am a craftsmen, I am an actor..
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The building blocks..
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When COLOURS came into play….
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CLIENT RESEARCH 22
CLIENT RESEARCH →
Steve Jobs
# Choosing a client for the final garment. # Research on the client. # Creating a “Client Board, which represents the client.
Client Profile Name: Steve Paul Jobs Date of Birth: 24th February, 1955 Place of Birth: San Francisco, USA Death: 5th October, 2011; due to cancer Nationality: American Education: Reed College Occupation: Co- Founder, Chairman & CEO of Apple Inc. Co- Founder and CEO of Pixar Founder and CEO of Next Inc. Influenced By: Edwin H. Land Religion: Zen Buddhism Spouse: Laurene Powell Loves to wear: Black Turtle Neck T-shirts. Relatives: Mona Simpson (biological sister) Particia Ann Jobs (adoptive sister)
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Client Board
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Form Generation
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FINAL FORM
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BODY-SCAPE
# Explorations of product
# Rendering the final product # Technical Drawing of the product # Material Exploration Board # Sample Exploration for different materials. # Prototype on model
Product: Headgear & armor
A head-gear and an armor is what I had planned to make for my client. Looking at the profile of my client (Steve Jobs), I see a lot of struggle and hard work involved in his life. He is a man, who in true sense fought like a warrior till the last breath of his life, and here what inspired me to make a head gear and armor for Steve Jobs. The craft that I chose, Parchin Kari has been traditionally done on marble, but now people are experimenting and trying to do the craft on steel as well as aluminum, and that is the reason I chose Aluminum sheets, wire and rings to make this product. I think the headgear and armor would also further add to the beauty of my brand Paco Rabanne, which is famous for making clothes and accessories that are not wearable.
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The journey through my eyes 39
BODY-SCAPE 40
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Size of the form: 4.2x3x3” Area of the form: 6.2 sq. inch
TECHNICAL DRAWINGS 44
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There is no one giant step that does it. It's a lot of little steps.
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A project is complete when it starts working.
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PROTOTYPE ON MODEL
50
Life is battle; There are ups and downs
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Costing Sheet PRODUCT Aluminum Perforated Sheet Aluminium Sheet Metal Rings Copper wire Iron wire Aluminum wire Brass sheet Transportation Charges TOTAL Profit percentage Selling Price
QUANTITY
COST PER UNIT
½ ft. 7 ft. 200 1 ft. 1 ft. 1 ft. 2 ft.
Rs 100/Rs 100/Rs 0.25/Rs 30/Rs 20/Rs 50/Rs 150/-
COST
0.5x100 100x5 0.25x200 30x1 20x1 50x1 150x2
ACTUAL COSTING
Rs 50/Rs 700/Rs 50/Rs 30/Rs 20/Rs 50/Rs 300/Rs. 600/Rs 1800/30% Rs 2340/54
Reflection From the body-scape project, we get to actually know how a particular garment is made and what all has to be done to make a real garment. This project not only teaches us about technical skills required, but also to source material and how a particular material behaves with all the other materials.
The whole design process behind the final body-scape is highly professional and the perfect way to go about it. This design process book has got almost all of the ways of documentation, i.e. visual boards, material exploration
board, coffee table book etc.
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References British Council Library Crafts Museum Library Pearl Academy Library Glimpses of Mughal Architecture: Author: A.Goswami – 1953 Stones in the sand- Architecture of Rajasthan: Gibbs Tillostan- Vol. 2 Traditional Islamic Crafts in Moroccan Architecture: Andre Paccard - 1980 www.mughalcrafts.com www.stevejobs.com www.marbleinlaytajmahal.com www.tumblr.com
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