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PRINT DESIGN WORKSHOP
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Through this six weeks course, my basic learning was the visual extraction and derivation from a certain inspiration and represent it via colors, textures, forms and graphics. Taking a simple flower and turning it into a print repeat was the main brief, if said in a complete layman’s terms. But what goes within the process was the main challenge. There were many trial and errors and failed finals, but practice makes a man perfect. The selection of the basic repeat pattern, negative and the positive imaging of the same, motifs for buta, buti and the borders and the art inspired imageries of the basic repeats comprised these six weeks.
Contents Nature drawing 5 Basic sketches & derivations 8 Final pattern 12 Buta,buti and borders 14 Art derivations 18 Kalamkari 21
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Nature Drawing The detailed study of the flower morphology helped us to understand the different features and the attributes of it and the different color variations on the same flower,The shape of the petals, the color gradation from white to dark pink on the flower and the leaf arrangement of the plant on the stem was also needed to be studied.
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This view is a side perspective (from the front) and the sketch has been done using color pencils (staedtlers).
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This view is a top perspective and the sketch has been done using pencils.
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The journey begins:
Of Trials and Errors Trying the straight repeat, after taking photocopies of the repeat derived from the basic sketches.
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The positive and the negative imaging of the repeat, helping us to gauge the prominent spaces and the gaps.
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Permutation and Combination of the different repeats after studying the gaps, trying to achieve seamlessness in the repeat.
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Colored repeat, using poster colors, to see the color distribution and its overall effect as a pattern
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Final Repeat Pattern Medium: Poster Colors on Cartridge Paper Size: 5.75” x 9.5”
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The elements and the motifs extraction from the pattern and the basic nature drawings.
Borders
Medium: Poster colors on Cartridge Paper Application: Apparels, Home Furnishings;
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Buta
(A large motif set on repeat)
Technique: Vertical Half-Step Repeat Motif Size: 3.25� Medium: Poster Colors on Cartridge Paper Application: Home Furninshings, Upholstery
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Buti
(A small motif set on repeat)
Technique: Vertical Half-Step Repeat Motif Size: 1� Medium: Poster Colors on Cartridge Paper Application: Apparels, Home Furninshings;
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Art Derivations
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Painting: The Resting, Amrita Sher-Gill Medium: Acrylic on Cartridge
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Painting: The Skiff, Pierre Auguste Renoir Medium: Acrylic on Cartitridge
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Painting: The Old Bungalow, Jyoti Bhatt Medium: Microtip Pen, Staedtlers on Cartridge
Kalamkari From the very beginning
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The different stages of the kalamkari process
24 FABRIC: The muslin piece was primarily treated with ‘harda’ which provided the material to the ability to absorb the natural dyes. DYES: The natural dyes are made of different organic materials like iron oxides, tamarind, turmeric, etc. KALAM: There is a special type of brush (kalam) that is made of bamboo, around 6 inches in height and has a slanted edge on one end. The kalam is dipped into the dyes and the lines are drawn like that. POST-TREATMENTS: After the completion of the painting, the fabric piece is then washed in the running water so the dyes wash off as much as possible, retaining the original color. After getting dried up in the sun, it is then treated in hot water and then we get the final shades.
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After the final wash and drying, the kalamkari piece.