WOVEN APPAREL (DESIGN PROJECT)
A Documentation by- Smriti Prasad
Textile Design
National Institute Design
Guides- Vijai Singh Katiyar
Aarti Srivastava
CONTENTS WOVEN APPAREL an Introduction.............................................................................................. 4 CLIENTELE........................................................................................................................................ 6
A Research
Theme board
Mood board
CONCEPTS and EXPLORATIONS........................................................................................................................ 12 FINAL CONCEPTS................................................................................................................................................... 20 CADS......................................................................................................................................................................... 22 SAMPLES................................................................................................................................................................... 26 REFLECTIONS.......................................................................................................................................................... 32
WOVEN APPAREL an Introduction
Woven Apparel is the first Design project
board for the Design developments based
that was introduced to us during our fourth
on the analysis of the research that is done.
semester, in the Textile Design Discipline. This
The mood board involves the texture, colour,
Design project aims at developing an attitude
composition, aesthetics and the need of the
to apply all the learning of ours that we have
client which is further simulated into the woven
gained during our foundation courses and later
samples.
the courses that we have experienced and
Woven Apparel aims at the development of the
gained knowledge about in the Textile Design
concepts after following the Design process and
Discipline itself.
finally developing the samples for the apparel.
This course is based on the basic learning of
The process also involved the learning of a new
ours in the courses of Fabric Structure 1 and
software Tex CAD, that helped me to simulate
2, which is supported with the whole process
the on paper concepts into woven surfaces.
of initial research for a clientèle group, the development of the theme board and mood 4
In this document one can revisit my Design process from a thought to the final samples. The whole design process involves the selection of a client, the research that will help me build up my mood board and concepts. The concepts and explorations on paper. The final selection of the art works, the simulation of these art works on Tex CAD. Finally the woven samples.
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CLIENTELE
For this Design Project we had to choose a client group which includes the research of minimum 10 people to know about their preferences and choices.
The following are the essentials of my client group profilesAge Group: 25-35 years Sex: Male Occupation: Engineers (of all sectors possible) Pay scale: 20,000 to 40,000 per month. Place: Ahmedabad Wear: strictly formals
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This was the initial criteria with which I had to
Those who were working on sites preferred to
go and meet such people. After talking to 10
wear
of them I jotted down their other essentials in
-dark coloured shirts
The other category of people who sit in offices
common regarding the type of work they do
-preferably cotton or cotton/ polyester mixed.
have the following requirements
and in coordination to this the type of shirts they
-easy to maintain
-wears alot of light colours like pinks, light
wear/ would like to wear. These engineers were
-washability up to 20- 30 washes.
purples, white, grey, greens, blue.
either doing office work or were working on
-colours – black, Prussian blue, rust orange.
-pastel shades prominent.
sites.
-light weight fabric
-mostly plain shirts
-colour should not fade away
-soft, airy, durable
-thin stripes and very small box checks.
-no busy stripes, thin ones
-expenditure on shirts 500-1000
-small box checks of around 2mm-4mm.
-they don’t mind natural dyed shirts.
-washability upto 20times
-readymade shirts preferred.
-preferred material cotton or linen.
-soft, breathable, and durable fabric
-no transparency
-frequency of shopping- once in 6months
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-light weight fabric -easy to maintain. -comfortable -expenditure on shirts- 500-1200 -would try natural dyed shirts -ready made shirts preferred. -frequency of shopping once in 6 months. -less of checks more of stripes or plains.
Facing page: These are the shirts that the people were wearing while I was interviewing them.
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These are the photographs finalised to build up the mood board. The plant is Giant Lily
After all the information I gathered I thought of choosing my inspiration as croton leaves or giant lily. And after going through the common attributes I finalised GIANT LILY as my source of inspiration and I built up my mood board and colour palette. 11
CONCEPTS and EXPLORATIONS
After the mood board was finalised I started conceptualizing the ideas on paper in the form of explorations. Taking the colours from the colour palette and looking at the mood board I kept on exploring different medias. The following pages show all the explorations that I did during the course to further simulate it onto Tex CAD. These explorations included the use of different kinds plain and textured sheets along with water colour, pencil colour, dry pastels and crayons. These mediums helped me to get the textures, patterns, colours etc. which I could take forward to develop the samples. 12
The media that I choose for explorations were water colour, crayons, pencil colours etc. My initial exploations were based on the solid colour explorations with minimal textures. Which i took forward and started adding more textures making solid colours as the base. My next set of explorations were done with textured paper and crayons. This had a lot of influence of the soft textures.
Here the explorations were majorly done with crayons and watercolours and I started introducing the stripes in the artworks. These stripes represent the veins that are present in the giant lily. Here one can see a mix of different colour stories. Here in few of the artworks I have taken gateway sheet as my paper medium that represents the translucency of the giant lily.
The next step was to try some dry brush and pin etching techniques that would give the feel of the fibres that are there on the giant lily. This was combined with the stripes.
These are the continuation of the stripe story with different colour palettes.
Here I started peeling of the paper in some of the artworks. This was another way of representing the fine soft fibres. Few artworks are again a take forward from the previous dry brush technique but on textured sheets.
Here I crumpled the paper and then tried to introduce soft crayon textures over it which represents the layering on the skin of giant lily.
These explorations and concepts form different sets of stories. Like the green story, the red story, the stripe story, some show the rhythm, flow, textured surfaces etc.
FINAL CONCEPTS
For the final concepts and ideas, out of all
Out of so many different artworks these were
the explorations few of the explorations were
selected. One can observe that the attributes
chosen to take forward and develop the Tex
that are represented here in the artworks are
CAD samples that is further woven. Out of
mainly fibrous, softness, and the layered effects.
these I had taken forward two of the samples
Based on these in this selection there are stripes
and worked out the Tex CAD samples for
and solids with textures.
it. During the course the introduction of the software was of great help. It was easy to simulate the on paper concepts into the tangible samples.
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CADS
After finalizing the concepts/ artworks, these
lot of things exactly according to the artworks
had to be first converted into computer aided
because of the spontaneity of the strokes,
designs (CADs). I tried to translate few of the
textures etc. But I tried my level best to achieve
concepts to the closest I could. During this
the closest. The translation of the artworks I
process I got to learn the software TexCad. This
think was important because it made me learn
was an add on in my knowledge.
that how within constraints I can achieve the
I faced a lot of difficulties while translating. In
closest possible results.
the beginning it was difficult to try and achieve the whole look. But gradually I practised and tried to achieve the results as close as possible. The whole experience was very enriching. Making artworks I think was much more spontaneous while the translating took a lot of patience and practice. I couldn’t get a 22
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SAMPLES
The following are the woven samples. I put up two warps and one of the samples from each is based on the CADs that was done earlier and the rest were variations to create a collection. The first warp has variations warp wise well the second one was weft wise.
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In the first warp I wove 6 samples. The first
The second warp is a plain warp on which
sample is the translation of the selected artwork
I have woven 9 samples. The first sample is
on the CAD. This artwork was selected because
a simulation of the artwork selected. I have
it has a soft textured feel of the giant lily. Also,
selected this artwork because its gives the
the colour rust which is very minimal but yet
fibrous feel of the giant lily that is represented
a part of the Giant lily acts as a very strong
using the slub yarn. Also, the solid colour is one
element. So, to bring out these attributes in
of the basic colours present in the giant lily. I
the collection I choose to weave this particular
wanted the overall collection of the two warps
simulation.
to have different samples showing different textures and feel.
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SPECIFICATION SHEET: Warp 1 Sample 1
COLOURS
MATERIAL
WARP
10, 3, 4, 8, yarn 1
2/40s
Cotton
WEFT
10
2/40s
Cotton
REED: 64/2 WARPING SECTIONS SELVEDGE: 16 BODY: 460 EXTRA: 312 SELVEDGE: 16 TOTAL: 772
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COUNT
EPI: 64
PPI: 60
WEAVE: -
Here I have tried to get the same
Warp
effect as the crayons give in the 10
3
4
8
yarn 1
artwork. This is a reference to the soft feel of the giant lily
Weft 10
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SPECIFICATION SHEET: Warp 1 Sample 2
COLOURS
MATERIAL
WARP
10, 3, 4, 8, yarn 1
2/40s
Cotton
WEFT
8
2/40s
Cotton
REED: 64/2 WARPING SECTIONS SELVEDGE: 16 BODY: 460 EXTRA: 312 SELVEDGE: 16 TOTAL: 772
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COUNT
EPI: 64
PPI: 60
WEAVE: Twill
Warp 10
3
4
8
yarn 1
Weft 8
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SPECIFICATION SHEET: Warp 1 Sample 3
COLOURS
MATERIAL
WARP
10, 3, 4, 8, yarn 1
2/40s
Cotton
WEFT
10
2/40s
Cotton
REED: 64/2 WARPING SECTIONS SELVEDGE: 16 BODY: 460 EXTRA: 312 SELVEDGE: 16 TOTAL: 772
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COUNT
EPI: 64
PPI: 60
WEAVE: -
Warp 10
3
4
8
yarn 1
Weft 10
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PEG-PLAN
SPECIFICATION SHEET: Warp 1 Sample 4
COLOURS
MATERIAL
WARP
10, 3, 4, 8, yarn 1
2/40s
Cotton
WEFT
yarn 1
2/40s
Cotton
REED: 64/2 WARPING SECTIONS SELVEDGE: 16 BODY: 460 EXTRA: 312 SELVEDGE: 16 TOTAL: 772
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COUNT
EPI: 64
PPI: 60
WEAVE: Plain weave
No. 1 2
1 3 5 7 9 11 13 15 17 19 2 4 6 8 10 12 14 16 18 20
Warp 10
3
4
8
yarn 1
Weft yarn 1
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SPECIFICATION SHEET: Warp 1 Sample 5
COLOURS
MATERIAL
WARP
10, 3, 4, 8, yarn 1
2/40s
Cotton
WEFT
10
2/40s
Cotton
REED: 64/2 WARPING SECTIONS SELVEDGE: 16 BODY: 460 EXTRA: 312 SELVEDGE: 16 TOTAL: 772
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COUNT
EPI: 64
PPI: 60
WEAVE: -
Warp 10
3
4
8
yarn 1
Weft 10
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SPECIFICATION SHEET: Warp 1 Sample 6
COLOURS
MATERIAL
WARP
10, 3, 4, 8, yarn 1
2/40s
Cotton
WEFT
10, 8
2/40s
Cotton
REED: 64/2 WARPING SECTIONS SELVEDGE: 16 BODY: 460 EXTRA: 312 SELVEDGE: 16 TOTAL: 772
40
COUNT
EPI: 64
PPI: 60
WEAVE: -
Warp 10
3
10
8
4
8
yarn 1
Weft 41
PEG-PLAN
SPECIFICATION SHEET: Warp 2 Sample 1
COLOURS Skin colour
WARP
WEFT
Skin colour, slub, brown
REED: 64/2 WARPING SECTIONS SELVEDGE: 16 BODY: 480 EXTRA: 0 SELVEDGE: 16 TOTAL: 512
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EPI: 64
COUNT
MATERIAL
2/40s
Cotton
2/40s
Cotton
PPI: 60
WEAVE: Plain
No. 1 2
1 2
3 4
5 7 6 8
Warp Skin color
Weft
Skin color Slub yarn Brown 43
PEG-PLAN
SPECIFICATION SHEET: Warp 2 Sample 2
COLOURS Skin colour
WARP
WEFT
Brown
REED: 64/2 WARPING SECTIONS SELVEDGE: 16 BODY: 480 EXTRA: 0 SELVEDGE: 16 TOTAL: 512
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EPI: 64
COUNT
MATERIAL
2/40s
Cotton
2/40s
Cotton
PPI: 60
WEAVE: -
No. 1 2 3 4 5 6 7 8
1 2 2 1 1 2 1 2
4 3 3 4 3 4 3 4
5 6 5 6 5 6 6 5
7 8 7 8 8 7 7 8
Warp Skin color
Weft Brown
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SPECIFICATION SHEET: Warp 2 Sample 3
COLOURS Skin colour
WARP
WEFT
Skin colour, brown, green
REED: 64/2 WARPING SECTIONS SELVEDGE: 16 BODY: 480 EXTRA: 0 SELVEDGE: 16 TOTAL: 512
46
EPI: 64
COUNT
MATERIAL
2/40s
Cotton
2/40s
Cotton
PPI: 60
WEAVE: Twill
Warp Skin color
Weft Brown
Skin color
green
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PEG-PLAN
SPECIFICATION SHEET: Warp 2 Sample 4
COLOURS Skin colour
WARP
WEFT
Skin colour, green
REED: 64/2 WARPING SECTIONS SELVEDGE: 16 BODY: 480 EXTRA: 0 SELVEDGE: 16 TOTAL: 512
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EPI: 64
COUNT
MATERIAL
2/40s
Cotton
2/40s
PPI: 60
Cotton
WEAVE: -
No. 1 2 3 4 5 6 7 8
1 2 3 4 1 2 3 4
2 3 4 5 2 3 4 8
5 6 7 8 5 6 7
6 7 8 6 7 8
Warp Skin color
Weft Skin color
Green
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PEG-PLAN
SPECIFICATION SHEET: Warp 2 Sample 5
COLOURS
MATERIAL
WARP
Skin colour
2/40s
Cotton
WEFT
Skin colour, green
2/40s
Cotton
REED: 64/2 WARPING SECTIONS SELVEDGE: 16 BODY: 480 EXTRA: 0 SELVEDGE: 16 TOTAL: 512
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COUNT
EPI: 64
PPI: 60
WEAVE: Plain
No. 1 2
1 2
3 4
5 7 6 8
Warp Skin color
Weft Brown
Green
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PEG-PLAN
SPECIFICATION SHEET: Warp 2 Sample 6
COLOURS
MATERIAL
WARP
Skin colour
2/40s
Cotton
WEFT
Green
2/40s
Cotton
REED: 64/2 WARPING SECTIONS SELVEDGE: 16 BODY: 480 EXTRA: 0 SELVEDGE: 16 TOTAL: 512
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COUNT
EPI: 64
PPI: 60
WEAVE: -
No. 1 2 3 4 5 6 7 8
1 2 3 4 1 2 1 2
5 6 5 6 3 4 3 4
7 8 7 8 8 7 6 5
Warp Skin color
Weft Green
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PEG-PLAN
SPECIFICATION SHEET: Warp 2 Sample 7
COLOURS Skin colour
WARP
WEFT
Skin colour
REED: 64/2 WARPING SECTIONS SELVEDGE: 16 BODY: 480 EXTRA: 0 SELVEDGE: 16 TOTAL: 512
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EPI: 64
COUNT
MATERIAL
2/40s
Cotton
2/40s
Cotton
PPI: 60
WEAVE: Plain
No. 1 2
1 2
3 4
5 7 6 8
Warp Skin color
Weft Skin color
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PEG-PLAN
SPECIFICATION SHEET: Warp 2 Sample 8
COLOURS
MATERIAL
WARP
Skin colour
2/40s
Cotton
WEFT
White
2/40s
Cotton
REED: 64/2 WARPING SECTIONS SELVEDGE: 16 BODY: 480 EXTRA: 0 SELVEDGE: 16 TOTAL: 512
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COUNT
EPI: 64
PPI: 60
WEAVE: -
No. 1 2 3 4 5 6 7 8
4 3 2 1 2 3 4 5
5 6 4 4 7 6
5 5
7 8
Warp Skin color
Weft White
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PEG-PLAN
SPECIFICATION SHEET: Warp 2 Sample 9
COLOURS WARP
WEFT
Skin colour
Grey
REED: 64/2 WARPING SECTIONS SELVEDGE: 16 BODY: 480 EXTRA: 0 SELVEDGE: 16 TOTAL: 512
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EPI: 64
COUNT
MATERIAL
2/40s
Cotton
2/80s
Cotton
PPI: 60
WEAVE: -
No. 1 2 3 4 5 6 7 8
1 2 3 2 2 3 2 1
8 4 6 4 4 6 4 8
5
7
5 5
7 7
5
7
Warp Skin color
Weft Grey
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REFLECTIONS
This design project was the first of its kind that was introduced to us. It helped me understand the ‘what is a design process’, while doing a project. From setting up a brief to getting the final samples made was helpful and it developed the way to articulate the project.
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