Advance Print Design by Smriti Prasad

ADVANCE PRINT DESIGN

ADVANCE PRINT DESIGN Document by: Smriti Prasad 7th semester, UG Guides:

Romanie Gitto Vivek Narang

ACKNOWLEDGEMENT

I would like to thank my guide Romanie for beign a support in terms of resources and guidance throughout the project Also, my thanks to the visiting faculties Gitto and Vivek Narang for their inputs throughout the project. Thanks to all my batchmates and PG seniors for their help and suggetions which helped me execute my work well. Last but not the least thanks to Prabhat bhai, Paresh bhai and Amrit kaka for helping us in printing.. Thank you all!!

CONTENTS

Introduction Project 1

Chintz Pakka Print Company Project brief Reasearch and reading list Inspiration Final surface Coordinates

Project 2

Print for Garment Kaftan Concepts Final reference Compositions Class presentation

Project 3 Conclusion

INTRODUCTION

Advance print design is a classroom project based on surface design developments and treatments. It was the first design project in the 7th semester. It was a 6 weeks project, divided in 3 parts. The first part was based on a live project given to us by Pukka Prints Company. The second part was based on creating a Textile Art piece that may or may not be functional. And the third part is based on creating prints for a garment. In this design project we were supposed to apply all our learning and understanding of prints and the process that is followed to develop the prints that we acquired from our past courses. During the project to follow a process was very important. Also, management of time and quick processing to come up with results was one of the key factors. More than a classroom project the project was about resources and its utilisation. Working on the development of surfaces cleverly and executing it well was another thing that was to be kept in mind. In this document, one can find the whole compilation of the thought process and the design process followed by me. The amount of explorations helped me to understand the design process.

PROJECT 1

PUKKA PRINT COMPANY

CHINTZ Chintz was originally a woodblock printed, painted or stained calico produced in India from 1600 to 1800 and popular for bed covers, quilts and draperies. Around 1600, Portuguese and Dutch traders were bringing examples of Indian chintz into Europe. By 1680 more than a million pieces of chintz were being imported into England per year, and a similar quantity was going to France and Holland. With imported chintz becoming so popular with Europeans during the late 17th century, French and English mills grew concerned, as they could not make chintz. In 1686 the French declared a ban on all chintz imports. In 1720 England's Parliament enacted a law that forbade "the Use and Warings in Apparel of imported chintz, and also its use or Wear in or about any Bed, Chair, Cushion or other Household furniture". Even though chintz was outlawed, there were loopholes in the legislation. The Court of Versailles was outside the law and fashionable young courtiers continued wearing chintz. In 1734, French naval officer, M. de Beaulieu, who was stationed in Pondicherry, India, sent home letters along with actual samples of chintz fabric during each stage of the process to a chemist friend detailing the dyeing process of cotton chintz. His letters and samples can be seen today in the Musee' Nationale d'Histore Naturelle in Paris. In 1759 the ban against chintz was lifted. By this time French and English mills were able to produce chintz. A well-known make was toile de Jouy, which was manufactured in Jouy, France, between 1700 and 1843. Modern chintz usually consists of bright overall floral patterns printed on a light background but there are some popular patterns on black backgrounds as well.

Pukka print is an English company specializing in exclusive, hand block- printed fabrics produced in Jaipur, India. The inspiration for the prints is drawn from 17th and 18th century Indian floral patternsIndian Chintz, and also includes co-ordinating stripes and geometrics. Originality suffused with tradition is pursued at Pukka Print- actually extending the highest standards of craftsmanship available today in Rajasthan. Our designs are created in India, carved and printed in Jaipur. The cotton cloth is sourced in India and dyed for us with characteristic slight variation between dye lots. Playing with scale and color, familiar Indian motifs are absorbed to produce electic, unique collections twice a year. Pukka Print produces collections of co-ordinating fabrics for the UK interiors market that are block printed by hand in India. The fabric is sold by the meter direct to the trade through a distributor based by Chelsea Harbor, London- hub of the UK where it is stored ready to be cut to fulfill the clientsâ&#x20AC;&#x2122; order within 48 hours.

The collections are inspired by natural, Indian motifs and patterns using a very English Colour palette- for example acqua, teal, sage, lilac, pink, brick, pigeon, stone and charcoal. Exotic Indian botanicals, flowers, foliage, vines and to a lesser degree plumage, animals and insects, are used widely. Paisley is another popular motif. The prints are suffused with an innate understanding of English decoration and style interwoven with a passion for genuine prints originating from India. The look is subtle; understated- the colors are worn and faded. It has a timeless quality, revels in authenticity and there is richness to the surface design that a sophisticate appreciates. The collections complement each other by sharing colors and include useful co-ordinates such as stripes, spots and florals. The fabric can be used for upholstery, loose covers, curtains, borders, blinds, headboards, sofas, chairs, cushions and bolsters.

Research and reading list

Colours

Monthly Magazines

Farrow and Ball, The National Trust, Sanderson. Pukka print is an English company specializing in exclusive, hand block- printed fabrics produced in Jaipur, India. The inspiration for the prints is drawn from 17th and 18th century Indian floral patternsIndian Chintz, and also includes co-ordinating stripes and geometrics. Originality suffused with tradition is pursued at Pukka Print- actually extending the highest standards of craftsmanship available today in Rajasthan. Our designs are created in India, carved and printed in Jaipur. The cotton cloth is sourced in India and dyed for us with characteristic slight variation between dye lots. Playing with scale and color, familiar Indian motifs are absorbed to produce electic, unique collections twice a year.

Project Brief

William morris/ Islamic tiles/V & A- (Victoria and Albert Museum)Indian Florals/ Lightbox.

We were supposed to design 1 collection each. Out of which the client will choose 5 collections, each collection must have a print from each of the following styles and patterns: sprig, trellis, stripe, geometric, large floral. Four different colour ways with maximum of three colours per print. Each collection of five prints must have a name and each print name must relate to the collection name.

UK editions of World of Interiors, House and Garden, Homes and Gardens, Country Living, Country Life. Les Indiennes, Vanessa Arbuthnot, Jane Churchill, Peter Dunham, Sister Parish, John Robshaw, Richard Smith- No. 9, Thompson by Jim Thompson, Quadrille, Alan Campbell, China Seas, Robert Kime, Nina Campbell, Kate Forman, Cath Kidston, Elanbach, William Yeoward, Bennison, Nicholas Herbert, Chelsea Textiles, Osborne and Little, Claremont, Penny Morrison, OKA.

Other inspirations

In our first phase we were given the brief of the assignment of a live project that Pukka Print Company was working on. (brief) According to the brief given I went through the information sources mentioned. Later in the discussions and presentations with the Guides I choose an inspiration from the V & A â&#x20AC;&#x201C; florals book and worked on the development of the surface. The methodology included the creation of a surface in repeat taking the forms from the reference chintz and then giving it a new look. The whole idea was to keep the feel of the reference that I took, intact to the new surface and yet making it look different. To fulfill this I tried to treat the surfaces differently. The whole surface was in 4 colors. I tried out different treatments to be given to the surface. For the co-ordinates I thought of taking the motifs from the surface and creating a broken stripe from it. And for the second surface I thought of arranging the small and large motifs together so that there is a relative difference in the surface created. The color distribution is almost the same for the coordinates as well.

INSPIRATION To move further in the project I took this example of Chintz as my reference. This is taken from the V&A- floral. The reason I choose this image was because this has a soft feel to the overall look and the motifs are really interesting as compared to other chintz that i went through. The play of colours and the whole vintage look makes it look soft and appealing. My concept was to take the reference and set the repeat in such a way that when the flowers are removed the jal works as another surface altogether.

REFERENCE DRAWING This is the traced surface from the reference which I took forward and converted into a repeat.

This was a carry forward from the reference tracing. Here, I have put the surface in repeat. This was my first attempt of setting it into the repeat. This was carried forward for refinement.

FINAL SURFACE This is the single unit in repeat that I deviced out from the inspiration surface. Here I have taken some of the basic elements from the main surface and have tried a new layout altogether. And the following page gives an outlook of the main surface in repeat

SURFACE TREATMENTS After setting the surface into repeat the next thing comes is the treatment of the surface. The very first thing that I had in mind was that to get the soft feel of the reference into my surface. For this I tried to imitate the same color treatment done in the reference so that I can get an idea how I have to do the coloring.

These are some of the initial attempts in terms of treatment. These explorations helped me to get on the next level of exploration.

FINAL SURFACE TREATMENTS This was the surface treatment which I decided to take forward and apply onto the whole surface. Here in this I have taken four different colours for the surface treatment. The outline is done in pink and then the solid red is filled in the flowers and buds. While two greens are used to do the twigs etc.

This was another alternative treatmet which I applied to the surface. here the outline is red and the filling is also the same at palces. Then the surface was developed to give an idea of the look.

COORDINATES

These are the motifs taht I took out from my surface to build up the coordinates for my surface. I took very simple floral motifs to do my coordinates

Some more motifs that I tried to incorporate in coordinates. With these motifs I tried different combinations and layouts to crate the coordinates. Further the motifs were arranged into the layouts and done in black and white to see which works and which doesnâ&#x20AC;&#x2122;t.

Some of the initial coordinate concepts.

These are the motifs that I have treated in terms of colours for making the coordinates.

After the black and white motifs were set into repeat, I started giving colour treatments. Here the coordiantes deveoped are based on the stripes and scattered lines.

Width :6 inches Height :7 inches

The first coordinate with its single unit.

width: 20 inches Height : 17 inches

The second coordiante with its single unit

Dimensions Final surface: 13 by 18” Coordinate1: 6 by 7” Coordinate2: 20 by 17”

The final surface with its alternative grouped with two main coordinates

PROJECT 2

PRINT for GARMENT Print for a garment was something new for us. In this Vivek Narang our faculty gave us a basic garment called Kaftan for which we had to design the prints. Initially we brainstormed a lot of concepts for the prints and finally I choose to work on the basic lines and dots. I refined my compositions and finalized a composition to work on. My colour pallete was lime green, baby pink and light blue. For the fabric I choose thin malmal. For my second garment I chose orange, blue and violet as my color palette and a thick malmal as my fabric option. Personally I feel that I could have done much better in this phase of the project.

The following image is the basic silhoutte of kaftan and the image below it is the different patterns for the kaftan.

KAFTAN A kaftan or caftan is a man's cotton or silk cloak buttoned down the front, with full sleeves, reaching to the ankles and worn with a sash. The kaftans worn by the Ottoman sultans constitute one of the most splendid collections of Topkapı Palace in Istanbul. Some of them were so precious that they were given as rewards to important dignitaries and victorious generals during elaborate religious festivals (see the "khalat" article). Kaftans were often embroidered on the front and on the sleeves, but like everything else under the Ottomans, there was a strict hierarchical order in the colours, patterns, ribbons and buttons, which were chosen according to the rank of the person to whom they were presented. While in the 14th century large patterns and subdued colours were used, these became both smaller and brighter in the next century. By the second half of the 17th century, the most precious fabrics were those with 'yollu': vertical stripes with various embroideries and small patterns, the so-called "Selimiye" fabrics. Most fabrics were manufactured in Istanbul and Bursa, but some came from as far as Venice, Genoa, Persia, India and even China. Each had very specific characteristics and was named accordingly: there was velvet, aba, bürümcük, canfes, gatma, gezi, diba , hatayi, kutnu, kemha, seraser, serenk, zerbaft, tafta, and many others; the most often used colours were 'China blue', 'Turkish red', violet, "pimis ayva" or cooked quince, and saffron yellow. The Topkapı Museum, Istanbul, possesses a large collection of Turkish kaftans and textiles.

CONCEPTS These were the initial concepts which I thought would go for the print for kaftan.

CONCEPTS

FINAL REFERENCE This was the one selected out of all the concepts. This I took further and developed more compositions for the final print.

COMPOSITIONS IN BLACK AND WHITE

COMPOSITIONS: FRONT & BACK

These are the later compositions that I did after I finalised on working with lines and dots. here I have taken the colour palette as candy colours and some other compositions are in grey and red.

These are the two thicknesses of lines and five sizes of dots which are to be exposed in the screen. I did this according to the screen given to us. My screen size is 20 by 20 inches and this artwork fits into 17 by 17 inches.

CLASS PRESENTATION

CONCLUSION

After the project was over I was quite happy with the fact that i was given the opportunity to wrk on three different projects in these 6 weeks. Though I wont say this was the best thing I did but the whole experience of handelling three different projects was really nice. I could learn alot from the projects given. The need of management of resources was one thing which I think was the most important throughout the project. The whole journey had alot of ups and downs but still it was a great experience altogether.