Prints by Smriti Prasad

PRINT DESIGN Smriti Prasad Textile Design, 6th Sem National Institute of Design

â&#x20AC;&#x153;Experiments Enriched me with the Experiences of a lifetime journey.........â&#x20AC;?

INTRODUCTION For me prints was always very straight, monotonous and boring because of the “phool patti” designs which are the basic vocabulary of prints in Textiles. Whenever I used to go to the market to buy fabrics I could see a dominance of “phool patti” designs. My perception changed when I came to and saw my seniors in Textiles working on different kinds subjects other than flowers to develop print surfaces. It included conventional and unconventional both but the treatment made it really different and attractive. This course of Print Design introduced me to the basic vocabulary of prints and then helped me to apply my creativity in development of print surfaces. This document is a journey of my experiences which I experienced in this course. I have tried to put all my explorations and understanding in this document through words and visuals. At times I failed, that was also a part of this journey. But at the same time my success is also depicted through my work. My journey had different phases and I have presented it in broadly three chapters. One can see the examples of all my work which I did throughout this course. After my basic explorations I have put in my final surfaces.

Smriti Prasad Textile Design

CONTENTS VOCABULARY of PRINTS Hibiscus Repeats Artists

DESIGN FOR BRAND Marimekko Sri Lankan Masks Explorations Final Surface Coordinates Products

AMDAVAD ni SUGANDH Ittar aur Ittardan Final Surface Products

VOCABULARY of PRINTS “A strong foundation leads to a stable building.” Every course at NID has offered me with some basic knowledge on which I can build up my explorations and lead to the final outcome. Print Design too started with such “Basics”, which forms the vocabulary of developing and making a print surface. In this course I was introduced to developing surfaces called “Jaal”, taking the elements from the Nature around us, “Phool Patti”. At first it was quite boring for me because I have been sketching flowers and leaves since I joined Textile Design. I learnt to set in the three basic repeats for this surface, Straight, Half step Horizontal and Half step vertical. As I moved on with further developments taking Phool Patti, it was altogether a different experience which broke the monotony of developing traditional surfaces. These developments comprised of collages, use of water colour and crayons for surface treatments. Later, the vocabulary increased by adding coordinates to the list. This included Boota, Buti and Borders of different sizes. For the first assignment, I choose Hibiscus as my subject flower. The reason was because I like the flower and it is big in size which I thought would help me in capturing the details more clearly.

Smriti Prasad Textile Design

HIBISCUS Hibiscus rosa-sinensis, known colloquially as the Chinese hibiscus, China rose and shoe flower, is an evergreen flowering shrub native to East Asia. It is widely grown as an ornamental plant throughout the tropics and subtopics.

The flowers are large, generally red in the original varieties, and firm, but generally lack any scent. Numerous varieties, cultivars, and hybrids are available, with flower colours ranging from white through yellow and orange to scarlet and shades of pink, with both single and double sets of petals. Despite their size and red hues attractive to nectar-feeding birds, they are not visited regularly by hummingbirds when grown in the Neotropics. Hibiscus rosa-sinensis was named by Carolus Linnaeus. Hibiscus rosa-sinensis is the national flower of Malaysia, called Bunga Raya in Malay. The word bunga in Malay means “flower”, whilst raya in Malay means “big” or “grand”. The red of the petals symbolizes the courage, life, and rapid growth of the Malaysian, and the five petals represent the five Rukun Negara of Malaysia. The flower can be found imprinted on the notes and coins of the Malaysian ringgit.

Smriti Prasad Textile Design

The flowers themselves are edible and are used in salads in the Pacific Islands. The flowers are used to shine shoes in parts of India. It is also used for the worship of Devi and especially the red variety takes an important part in tantra. In Indonesia, these flowers are called “kembang sepatu”, which literally means “shoe flower”. Hibiscus rosa-sinensis is considered to have a number of medical uses in Chinese herbology. This was a basic research for me regarding my subject so that I get to know if I can add more dimension to my plant study through this piece of information. I think that before treating the subject there should be a basic knowledge about the subject.

Smriti Prasad Textile Design

Sketching This is a very basic assignment whenever Design is concerned. The first week I devoted in studying and sketching the plants from different views. I used pencil and cartridge sheets for this and tried to study the compositions and the details of its different parts.

Smriti Prasad Textile Design

Study in Colour The second phase of the plant study included, use of water colour and pencil colour. I took each part of my subject Hibiscus and studied the parts in detail using these mediums. I really enjoyed doing it. I also tried to capture the petals in details. While I was painting I realised that there is a translucent character in the petals which are important to capture and I tried to do so.

Smriti Prasad Textile Design

Straight Repeat My next step was to select an area out of the composition and put it into repeats. After I drew out the unit and put it into repeat there were some corrections to be made to make the composition balanced. After the repeat was set I had to take that unit and make the positive of it. By using poster colour I coloured out a single unit. 14

Single unit for straight repeat in positive.

Smriti Prasad Textile Design

After setting the straight repeat I had to make it into a contrasting colour to see the flaws in the repeat. So, I took green and red for this. 15

Top left: negative straight repeat Bottom left: positive straight repeat Top centre: coloured straight repeat

Smriti Prasad Textile Design

Vertical Half Step Repeat For vertical half step as well I had to take up a unit and put it into repeat and after corrections had to make that unit positive.

Single unit for vertical half step repeat in positive.

Smriti Prasad Textile Design

After setting the vertical half step repeat I had to make it into a contrasting colour to see the flaws in the repeat. So, I took green and red for this. 17

Top left: negative vertical half step repeat Bottom left: positive vertical half step repeat Top centre: coloured vertical half step repeat

Smriti Prasad Textile Design

Horizontal Half Step Repeat For horizontal half step as well I had to take up a unit and put it into repeat and after corrections had to make that unit positive.

Single unit for horizontal half step repeat in positive.

Smriti Prasad Textile Design

After setting the horizontal half step repeat I had to make it into a contrasting colour to see the flaws in the repeat. So, I took green and red for this. 19

Top left: negative horizontal half step repeat Bottom left: positive horizontal half step repeat Top centre: coloured horizontal half step repeat

Smriti Prasad Textile Design

Collages The next step was to give different kinds of surface treatments to the single units of any one of the repeats. I started with collage technique. The first collage I did lost the essence of the flower. But in the later collages I tried to manage the attributes of the flower and did not dilate the form of the flower. 20

Smriti Prasad Textile Design

Surface Treatments After the collages the next development was to treat the surfaces using water colour, poster colour and wax �� crayons�� . I did the combination of these mediums and tried to experiment with textures in the background and the foreground. I liked the concept of treating the surfaces and not just leaving it flat. 21

Smriti Prasad Textile Design

Along with water colour and wax crayons I used pencil colours and poster colours to get a different kind of texture. Though pencil colour was giving it a more realistic kind of feel but I liked the blend of all these four media.

Smriti Prasad Textile Design

After exploring on paper I also tried to do some explorations using Photoshop. So, I did a few trials using different textured backgrounds and implementing it onto the surface.

Smriti Prasad Textile Design

Repeats After working on the collages and artworks I had to take any one from each group and put it in repeat. For this I used the Texcad software. The colours had to be reduced into six and then the repeats had to be created.

Smriti Prasad Textile Design

ARTISTS After exploring a lot of surfaces with papers, water colours etc. the next set of treatments was to take up the paintings of any three artists which you follow and try to study their painting style and apply it onto the flower surface. I choose Andre Derain, M. F. Hussain and T. Vaikuntam. All three are from different eras and their styles are really distinctive. One thing which is kind of common between all three is that they use colours which are basic. All these paintings which I selected were fresh and evoking in terms of inspiration. This assignment was really fun and I personally liked T. Vaikuntamâ&#x20AC;&#x2122;s style. I enjoyed doing this particular assignment. I tried to capture the feel and the style of the paintings in my artworks. At first it was difficult for me to capture the styles but later it was manageable.

Smriti Prasad Textile Design

ANDRE DERAIN

André Derain (10 June 1880 – 8 September 1954) was a French artist, painter, sculptor and co-founder of Fauvism with Henri Matisse. Derain’s manages to balance the expressive and descriptive qualities of colour in ‘The Pool of London’. He uses the conflict between warm and cool colours to express the noise and activity of this busy dockyard. An illusion of depth in the painting is created by using stronger and warmer tones in the foreground, which gradually become weaker and cooler towards the background. This organized arrangement of tones in a landscape is called Aerial Perspective. The drawing of the image is typically simplified into shapes and forms whose details can be conveyed by unmodified brush strokes of roughly the same size. This gives the painting an overall unity that you would not expect in a composition of such conflicting colours. Derain’s manages to balance the expressive and descriptive qualities of colour in ‘The Pool of London’. He uses the conflict between warm and cool colours to express the noise and activity of this busy dockyard. An illusion of depth in the painting is created by using Stronger and warmer tones in the foreground, which gradually become weaker and cooler towards the background. This organized arrangement of tones in a landscape is called Aerial Perspective. The drawing of the image is typically simplified into shapes and forms whose details can be conveyed by unmodified brush strokes of roughly the same size. This gives the painting an overall unity that you would not expect in a composition of such conflicting colours.

Smriti Prasad Textile Design

Interpretation In this painting I first looked for the colours used. Then I tried to understand the style of the painting. At first it looked very grainy to me but later I realised that it is a bit dabbed effect with mixture of colours as done in oil paintings. The colours are really fresh. This particular painting artwork took time as I was struggling with the technique. 27

The Pool of London

Smriti Prasad Textile Design

M.F. HUSSAIN Maqbool Fida Husain, (born September 17, 1915, Pandharpur, India) popularly known as MF, is an artist of Indian origin. According to Forbes magazine, he has been called the "Picasso of India". In 1996 Controversy arose over paintings originally painted in the 1970s which were interpreted as anti-Hindu. After legal cases and death threats in his home country, he was on a self imposed exile from 2006. In January, 2010, he was offered the citizenship of Qatar, which he accepted. 28

Husain first became well-known as an artist in the late 1940s. In 1947, he joined the Progressive Artistsâ&#x20AC;&#x2122; Group, founded by Francis Newton Souza. In 1952, his first solo exhibition was held at ZĂźrich and over the next few years, his work was widely seen in Europe and the U.S. In 1955, he was awarded the prestigious Padma Shree prize by the Government of India. He has also worked (produced & directed) on few movies, including Gaja Gamini (with his muse Madhuri Dixit who was the subject of a series of his paintings which he signed Fida). The film was intended as a tribute to Ms. Dixit herself. In this film she can be seen portraying various forms and manifestations of womanhood including the muse of Kalidasa, the Mona Lisa, a rebel, and musical euphoria. He went on to make Meenaxi: A Tale of Three Cities (with Tabu). His autobiography is being made into a movie tentatively titled The Making of the Painter, starring Shreyas Talpade as the young Husain.

Smriti Prasad Textile Design

Interpretation For me this painting was again challenging because I had to keep in mind the distribution and percentage of colours. There are very few colours used in this painting and I had to be thoughtful in applying these colours. Also the flat application of paints was another point to be taken care of. 29

Smriti Prasad Textile Design

T. VAIKUNTAM Thota Vaikuntam was born in Boorugupally, Karimnagar, Andhra Pradesh in 1942. He studied at the College of Fine Arts and Architecture at Hyderabad and Painting and Print making, Faculty of Fine Arts, Maharaja Sayajirao University of Baroda (On a Lalit Kala Academy Fellowship from Andhra Pradesh). He was under the tutelage of K. G. Subramanian at Baroda. Vaikuntam paints colorful and elaborately dressed Telangana region men and seductive women. His muse is the sensuous and voluptuous women of Telengana with their omnipresent vermilion bindis, draped in colourful sarees that highlight their dusky skin. 30

“I like using rich primary colours, which give a sense of character and depth to my paintings. Like reds and saffron and even orange, because these are essentially Indian colours. I don’t like using colours that are mix of two, because they are not natural, they don’t exist in surroundings around us, in our everyday life.” - T. Vaikuntam He is known for his paintings in tempera and water-colour on paper, which are deeply rooted in the rural Andhra soil of South India. The figures, mostly of women, evoke the sense of earthy voluptuousness found in the mural and folk painting traditions of South India. On a flat two-dimensional surface, Vaikuntam's large figures occupy nearly all of the pictorial space and express a sense of monumentality. The painter achieves this with the use of controlled and fluid lines, juxtaposed with brilliant primary colours like red, green, yellow, dark brown and white. However, the artist's use of simple details like caste marks, gold jewellery, flowers and an occasional parrot give his paintings a distinctively Indian flavour.

Smriti Prasad Textile Design

Interpretation This was my favourite painting. I came to know about this painter in this course. And I liked his style of painting. Very traditional and attractive. For this painting also I first took out the colours. This painting deals with a lot of details. So I carefully studied the details and tried to apply it in the artwork. I liked the use of stripes in the painting.. 31

Women in Gossip

Smriti Prasad Textile Design

DESIGN FOR BRAND After finishing the basics of prints and building up a vocabulary we moved on to take up a brand of our choice and develop print surfaces for that brand in the upcoming season. The brand could be both Home or International. I looked for a lot of them but was not able to get what I wanted. I wanted to do a very simple concept and take an inspiration which goes with the brand. So, somebody suggested me to go through the work of Marimekko. I looked up to the site and I really liked their work. It was simple, larger than life, multi utilitarian and fresh. Strong and distinctive product design is the cornerstone of Marimekkoâ&#x20AC;&#x2122;s operations and corporate culture. The starting point for design is that each individual Marimekko product must earn its own design value and express Marimekkoâ&#x20AC;&#x2122;s lifestyle concept.

MARIMEKKO Marimekko was established in 1949 by Armi Ratia and her husband Viljo. Its a Finnish textile and clothing design company renowned for its original prints and colours. The company designs and manufactures high-quality clothing, interior decoration textiles, bags and other accessories. Armi started this company with some of the well known Graphic designers and illustrators. All the prints developed at Marimekko are done by the Graphic designers and illustrators. In 1951 the first shop was established at Helsinki. In 1954 the company gets its logo Armi Ratia

â&#x20AC;&#x153;

.â&#x20AC;?

The prints of the company are always larger than life and multi utilitarian. The basic emphasis is on forms and colours. In 1978 Maija Isola and Kristina Isola joins the company and their prints are still in fashion. In 1985 the company is sold to Amer group after Armiâ&#x20AC;&#x2122;s death. Many new designers join the company and in 2008 Mika Ihamoutila becomes the CEO of the company.

Smriti Prasad Textile Design

These are some of the examples of the prints which Marimekko has been doing since a long time. I liked some of these prints because of the simplistic approach. Some of the famous designers and designs are: Aino-Maija Metsola, Napakettu; Anna Danielsson, Focus; Fujiwo Ishimoto, Lepo; Kristina Isola, Gingko. 34

Smriti Prasad Textile Design

SRI LANKAN MASKS

Sri Lanka has a rich culture of theatre called kolam and exorcism called tovil, which make use of actors, exorcists, masks, music, and dance. The Sanni Yakuma is the best known exorcism ritual, in which numerous sanni (disease) demons are portrayed by exorcists wearing elaborate masks. Occasionally the full complement of 18 possible disease demons is represented in the Daha Ata Sanniya (18 diseases) ritual, but usually a smaller number are used according to which demons are thought to be causing a person's affliction. The exorcism ends with the appearance of an exorcist wearing the mask of the chief demon called Maha Kola (the terrific or all encompassing one), which usually incorporates miniature representations of the other 18 demons.

Smriti Prasad Textile Design

Mood board I thought of choosing Sri Lankan Masks as my reference for my surfaces. I wanted to offer Marimekko something Asian. I went through a lot of things which could be a language for the company but somehow I really liked these vibrant masks. I came up with a colour palette of six colours. 37

Smriti Prasad Textile Design

Explorations These were my initial explorations which I derived from the mask. Some of them were direct interpretations while some were made simpler.

Smriti Prasad Textile Design

Here, in these explorations I have captured the details of the mask and tried to scale up the motifs on these masks. Here I have mainly used crayons and poster colours as my media for exploration. These explorations were mostly direct interpretations.

Smriti Prasad Textile Design

These were some more explorations which I was really looking forward to. Because it followed the language of my brand. But I thought of exploring more and take some more elements which directly connects to Asia.

Smriti Prasad Textile Design

Then, I re looked at the mask which I had chosen. The most dominating part in the mask was the peacock feather. This was giving me a whole feeling of Asian touch to my idea. Then I started working on the feathers. My initial explorations were very flat with no or less treatment to it and I was badly stuck at this time. But I thought of applying some kind of treatments by applying the motifs from the mask itself. It kind of started working.

Smriti Prasad Textile Design

After I had explored with the motif treatment to the feathers, my next challenge was to make the background interesting so I thought of creating illusion through layers. I wanted to show the feathers going in and coming out of the background. For this I took two colours constant for the background and make a maze structure. But In the first exploration the areas got very rigid and pointed. 42

So I made another maze with curved lines.

Smriti Prasad Textile Design

Final Surface After I got my basic grid of maze in hand I started working on the detailing part of it. I took the treatments done in previous explorations and tried to combine the background with it. I had a lot of difficulties in doing so. I did a lot of trials while I was making the basic grid and while I was combining the treatments to the background. Finally I came up with this surface for my final print. I liked the fact that I had explored so that I could put together things and come up with the final surface.

Smriti Prasad Textile Design

Coordinates Coordinates consists of Borders, Boota and Buti.

Borders: Borders were divided into three categories, broad border of 4 -5 inches; nar足row borders of about 1-1.5 inches and; thin borders of 0.5 to 2 cm which can be used along with the above mentioned borders. For making the borders I first made the skeleton of the borders and then took the motifs from the artwork and then made my borders.

Smriti Prasad Textile Design

Boota: It is a motif with several elements taken from the surface. It can be arranged in a circle, oval, triangle etc. I have taken the feather or its part for creating a boota. These can be used in combina足tion with the buti or borders to create surfaces.

Buti: It is a smallest possible motif again taken from the surface. It is compact and balanced. 45

Smriti Prasad Textile Design

Here on this page I have put the surfaces of small borders and then the big borders. On the next page I have put the buti and boota. All these are inspired by the Sri Lankan mask surface.

Smriti Prasad Textile Design

Alternate colour palette After developing the final surface I had to give alternate colour palettes for the collection. I have not taken any reference as such to suggest the colour palette. I had already made my main surface in primary and bright colours so I wanted to give a combination of subdued colours.

Also, the main surface is very Asian in colours so I also wanted to suggest a mixture of Asian and non Asian colours.

Smriti Prasad Textile Design

Products After the development of my surface I thought of applying It onto some products so that I can see how does it work when printed on fabric. Here I have taken a bag and a garment for this experiment.

Smriti Prasad Textile Design

AMDAVAD ni SUGANDH Ahmedabad or Amdavad is the largest city in Gujarat, India. It is the seventh largest city and seventh largest metropolitan area of India. Ahmedabad is located on the banks of the River Sabarmati. Ahmedabad was founded on February 26, 1411 by Sultan Ahmed Shah to serve as the capital of the Gujarat Sultanate, and was named after him. Archaeological evidence suggests that the area around Ahmedabad has been inhabited since the 11th century, when it was known as Ashapalli or Ashaval. At that time, Karandev I, the Solanki ruler of Anhilwara (modern Patan), waged a successful war against the Bhil king of Ashaval, and established a city called Karnavati located at the present time area of Maninagar close to the river Sabarmati. Solanki rule lasted until the 13th century, when Gujarat came under the control of the Vaghela dynasty of Dholka and Karnavati was conquered by the Sultanate of Delhi. In 1411, the rule of the Muzaffarid dynasty was established in Gujarat. In 1487, Mahmud Begada, the grandson of Ahmed Shah, fortified the city with an outer wall 10 km (6 miles) in circumference and consisting of twelve gates, 189 bastions and over 6,000 battlements. Ahmedabad was ruled by the Muzaffarid dynasty until 1573 when Gujarat was conquered by the Mughal emperor Akbar.

During the Mughal reign, Ahmedabad became one of the Empire's thriving centres of trade, mainly in textiles, which were exported to as far as Europe. The Mughal ruler Shahjahan spent the prime of his life in the city, sponsoring the construction of the Moti Shahi Mahal in Shahibaug. During a drought, the Deccan Famine of 1630–32 affected the city, as did famines in 1650 and 1686. Ahmedabad remained the provincial headquarter of the Mughals until 1758, when Mughals surrendered the city to the Marathas. During Maratha governance, the city lost some of its past glory, and was at the center of contention between two Maratha clans—The Peshwa of Poona and the Gaekwad of Baroda. The British East India Company took over the city in 1818 as a part of the conquest of India. A military cantonment was established in 1824 and a municipal government in 1858. In 1864, a railway link between Ahmedabad and Mumbai (then Bombay) was established by the Bombay, Baroda, and Central India Railway (BB&CI), making Ahmedabad an important junction in the traffic and trade between northern and southern India. Large numbers of people migrated from rural areas to work in textile mills, establishing a robust industry. The city established itself as the home of a booming textile industry, which earned it the nickname the “Manchester of the East.” The city was at the forefront of the Indian independence movement in the first half of the 20th century.

ITTAR Aur ITTARDAN The word ‘attar’, ‘ittar’ or ‘othr’ is basically an Arabic word which means ‘scent’; this in turn is believed to have been derived from the Persian word Atr, meaning ‘fragrance’. Early indications of this activity are available from the perfume jars and terracotta containers of the Indus. Following the seasons of the flowers, traditional ittar-makers, with their degs, travelled all over India to make their fresh ittars on-the-spot. Even now, a few traditional ittar-makers still travel with their degs to be close to the harvest. 54

A large number of references to cosmetics and perfumes in Sanskrit literature were found like in the Brhatsamhita is a 6th century Sanskrit encyclopedia by Varahamihira (505 AD – 587 AD). Cosmetics and perfumes making were mainly practised for the purpose of worship, sale and sensual enjoyment. In ancient India, ittar was prepared by placing precious flowers and sacred plants into a water or vegetable oil. Slowly the plants and flowers would infuse the water/oil with their delicate fragrance. In Ain-e-Akbari, Abul Fazal, has mentioned that Akbar used ittar daily and burnt incense sticks in gold and silver censers. A princess’s bath was incomplete without incense and ittar. A very popular ittar with the Mughal princess was ood, prepared in Assam.

Smriti Prasad Textile Design

Kanpur in Uttar Pradesh, is known as the â&#x20AC;&#x2DC;Attar Cityâ&#x20AC;&#x2122; or the perfume city of India. Ittar also known as attara is a natural perfume oil derived from botanical sources by natural distillation. The oils obtained from the herbs flowers and wood are generally distilled into a wood base such as sandalwood and then aged. The aging period can last from one to ten years depending on the botanicals used and the results desired. These all-natural perfumes are highly concentrated and therefore are usually offered for sale in small quantities and have traditionally been offered in decorated crystal cut type bottles or small jeweled decanters. Ittars have been used in the entire Eastern world for thousands of years. Some of the first lovers of Ittars were the Mughal nobles of India. Jasmine ittar was the favorite perfume of the Nizams of the Hyderabad state. Traditionally in the Eastern world it was a customary practice of nobility to offer ittar to their guests at the time of their departure. The ittars are traditionally given in ornate tiny crystal cut bottles called as ittardans. Ittar has long been considered one of the most treasured of material possessions and Prophet Muhammad has been compared to Ittar as one of the most beloved of gifts given to mankind. Ittars are also used among Hindu, Buddhist and Sheikh meditation practices.

Smriti Prasad Textile Design

Mood board I chose Ittar bottles as my reference for developing this surface. I clicked pictures of these bottles from the shops at Teen Darwaza and arranged them together. For the colours I wanted to keep a very western palette. So, I chose Black, Red and Grey as my basic colours. For colours my inspiration was the painting on Kalemegdan by Alyse. 56

Smriti Prasad Textile Design

Final Surfaces I observed the different kinds of bottles in my mood board. Then I started arranging them to get a composition and put them into straight repeat with corrections. Once my skeleton was made I started giving it treatments. My idea was to take the transparency of Ittardans and work with layers to achieve the depth. For ornamentation I thought of taking the architectural motifs and other such motifs which are present in Muslim architecture. Since Marimekko has a style of making big prints I took bottles and scaled it up.

Smriti Prasad Textile Design

I liked this assignment very much and this particular concept was apt for Marimekko so I thought of making another surface with no treatments as such. I kept the colour palette same and keeping the transparency in mind I treated the surface with flat colours. With minimum work in the background.

Smriti Prasad Textile Design

For both the two surfaces I have given colour ways. My Idea was to give it an old look so at places I have given old photographic effect. And most of these are in monochromes or colours which are from same family. I really enjoyed making these surfaces.

Smriti Prasad Textile Design

Coordinates For this surface as well I thought of developing coordinates. This page consists of a surface made out of borders. And the next page has the buti and boota in repeat.

Smriti Prasad Textile Design

Products I thought of putting my surfaces on some products to get an idea of how will it look.

Smriti Prasad Textile Design

CONCLUSION When I started this course the very first assignment was quite boring for me. But later when we moved further and started doing the surface treatments I started liking and taking interest in the process. This course made me realise the importance of each and every process that one follows while working. I made a lot of mistakes and tried to learn from them. Every time a treatment was not working I did not give up but tried doing more and more treatments to make that surface work. The course gave me the freedom to explore more and more. While I was preparing the document I realised that I could have done justice to some of my explorations and it could have made my work easier. I liked the fact that I was following a process in the making of something fruitful. The last assignment â&#x20AC;&#x153;Amdavad ni sugandhâ&#x20AC;?, was a real fun assignment. I think this course would have been incomplete if this assignment would not have been there. I enjoyed the whole experience of this course. Personally I think I could have delivered more in terms of explorations. Each and every exploration taught me something new.

Smriti Prasad Textile Design

THANK YOU I would like to thank my faculty Romani for taking this course and guiding me throughout the course. At times I was stuck badly with my explorations but her feedback and criticism helped me to move on. I would also like to thank Rupesh Vyas for helping us in documentation of the course. Thank you Mahendra Bhai, Alok Bhai and Chetan Bhai for helping in the technical part of documentation. Thanks to all my batch mates and my PG seniors for being critical about my work and helping me grow through their feedbacks. Also, thanks to my batch mates for making me a part of their work. With all of your support this course and the document was possible. Thank you all!!

Smriti Prasad Textile Design

PRINT DESIGN Course Guide- Romani Jaitly

Submitted bySmriti Prasad Textile Design, 6th Sem National Institute of Design