Tanisha Banik textile portfolio by Tanisha Banik

portfolio

T A N I S H A

B A N I K

PROFILE: Print and pattern designer

Textile Illustrator Colour, Style and Design Specialist

Personality Traits Good at understanding versatile themes and concepts. I like to explore and create visually appealing designs which is aesthetically pleasing and also comfortable to wear , which have art concepts to its core.

Work Skills Print Developement, dyeing and Printing, Fabric manipulation, embroidery, Susutainable product design, revival project, versatile conceptualization.

OBJECTIVE To initiate sustainable designing practices in Textiles which would help us a humankind and revamp towards cost effective design practices. I further intent to work on beautiful traditional art and crafts of the world starting from the glorious rooted culture in India. PROJECTS Summer Internship at Aadyam, an Aditya Birla CSR initiative. Duration - 2 months Craft cluster Project - Silk weaving in Chintamani. Duration - 10 days

CAD Skills Nedgraphics, Adobe Illustrator, photoshop & ndesign, Weave editor, Autodesk Fusion 360.

Bolpur Batik Craft Cluster Graduation Project , Ministry of Textiles

tanisha.banik@nift.ac.in

Ph. no. - 9591823248

Duration - 4 months

Contents Graduation Project

BOLPUR BATK CRAFT

Internship

AADYAM

The Taj Mahal

RIWAYAT

Indian spices

blends & Spices

Lost yet found

wanderlust

CAD

102

PRINTS & WEAVE

BOLPUR BATIK CRAFT Graduation Project

Significance of the Project: From the very inception, Bolpur cluster of West Bengal was lovingly modelled on the principles of humanism, internationalism and a sustainable environment. The curriculum has a unique blend of art, human values and rich cultural heritage. It is a thriving centre of artisans and artistic handcrafted products over the years. Intrinsic to the Indian way of life craft work has been a major means of livelihood throughout millennia of Indian history. Further artisan’s skills are traditional, which means their skills have been historically associated with the rich and glorious past of Indian art and culture. Personally, I strongly believe an artisan’s knowledge is developed over a long period of observation and practise – observation of a proficient or master craftsperson and practice in refining the variety of skills required to make a craft product well. These qualities and detailed knowledge of craftsmanship produce an object that has functional, aesthetic and of a great cultural value. However, to sustain the continuity of their work and means of livelihood, an artisan requires access to appropriate material and information about the kind of products that potential customers need or want to buy. They need to get a platform, exposure and knowledge about how to best reach their buyers and ascertain the value of their work as well. Hence I propose to do my Graduation Project on Bolpur cluster of West Bengal as I feel I belong to those grassroots artisans and would love to understand their craft in a much broader sphere. I would like to apply my theoretical and practical understanding of textile and designing which I have gained in the last three and a half years to develop two collections.

olpur cluster falls under West Bangal state in Birbhum district. Every article of the colourful threads are handcrafted by kantha stitch, batik and other inventive works. Consequently, Bolpur handicrafts and paraÂ phernalia became favoured in West Bengal and vicinal states. The anterior part of this document bears imprints of the lives of the artisans, the era of craft from genesis and the way this enthralled craft thrives for existence. Emphasizing more with the plight of the artisans, it such an iroÂny that this beauty was created admits vileness and poverty. Every little intricate detail of the design reÂflected the less recognized passion, hard work, and effort of the artisan. I summarize it hoping that the treasures they created, remain immortal.

HISTORY OF BATIK IN INDIA There are multiple theories regarding the history of Batik craft in India. One theory states that there is no evidence of Batik in India but frescoes Ajanta Cave depict head wraps and garments which could be batik. While another theory states that Indians learnt the method of resist printing on cotton fabric much before the worlds tried it.Indian Batik is said to be around 2000 yrs. old. Religious tapestries of ancient India hold proof that batik printing existed in India for a long time, since the country had an abundant resource of cotton and dye yielding plants that this technique flourished for long in the country. But since batik was labour intensive, the art began to decline with the rise and the growth of modern technology. The third theory states that traditionally batik was practised by the artisans of Khatri Community of Gujrat and over the period of time, Batik got relegated to the background in India.

BATIK ART IN BENGAL: As we came to know Batik art in India is produced in various centres like the Mundra and Mandri of Gujrat, Shantineketan of West Bengal, Injabakkam of Tamil Nadu and Indore of Madhya Pradesh from ages ago. But the practise of this art declined over time, possibly due to the tedious methods in the waxing and dyeing. Subsequently it was revived less than a 100 yrs. ago; when Rabindranath Tagore travelled to Java (Indonesia) and was fascinated with this exquisite dyeing technique in a 2.5 metres of cloth that formed the Kain Pajang or skirts worn by dancing girl at the royal court. He brought several pieces of the fabric in the hope of reviving this traditional technique in India. This technique evolved in the hands of the artisans and craftsmen of Kalabhavan, Vishwa-Bharati University.

BATIK IN BOLPUR: Bolpur is the major industrial cluster centre of Birbhum, where the handicrafts and cottage industries have been extremely popular since the days of the British raj. It is popularly known as ‘Shanktineketan’. Local women and children have always been engaged in handicrafts. The great artist Shri Nandalal Basu was the pioneer introducing the batik effect on fabric and its uniqueness to Leather crafts. In the year 1923, Shri Susen Mukhopadhyaya called upon the craftsmen of this region to work under the umbrella of a society which we know as the Amar Kutir Society for Rural Development”. This society is today one of the oldest and largest in India which caters to a whole gamut of Traditional Handicrafts including leather goods and accessories, Kantha stitch embroidery, Hand Batik, bell metal, silk reeling and Spinning, terracotta, jute, Bamboo and shola work amongst others. The main areas of handicraft in the Birbhum district are, Bolpur, Nalhati, Illambazar and Rajnagar.

BATIK PROCESS

TRADITIONAL: The most common and traditional colour included in the Batik material are indigo, dark brown and white which also according to the people means the three major Hindu Gods Brahma, Vishnu and Shiva. Another fact which states why indigo and brown are mostly used in the dyeing process is that they are the most available natural dyes. The design on the Batik also indicates the status of an individual like pattern with wider stripes or wavy lines of greater width usually signifies nobility of a person who is in a high social status. Consequently, during Javanese ceremonies, one could determine the royal lineage of a person by the cloth he or she was wearing.

PARAPHERNALIA OF THE CRAFT: The wax, a fabric and necessary dyes are the basic materials needed for the craft. The tools used in Batik are wooden printing blocks, dyeing vats, large bowls, brushes and a frame for mounting the fabric.

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Batik wax exercises an important function in the process of the batik printing. Process usage of the wax results into an impeccable batik work. 30% beeswax and 70% paraffin wax are generally applied. During application the wax should not be overheated or it will catch fire and ruin the entire thing.

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Cotton and pure silk are the best fabrics for batik as these are strong to bear the heat and the wax. The other common batik fabrics that make for excellent batik are cambric, poplin and voiles.

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Natural colours derived from Bark of trees, leaves flowers and minerals were used. The weave of the cloth should not be too close, and the fabric should be translucent when held in front of a light.

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The indigo blue was one of the earliest dyes to be used. It was obtained from Indigo, while orange and red were from henna. Yellow was from turmeric and lilac and mauve from logwood. Black was created by burning iron in molasses and cochineal from insect.

MARKET ASPECT OF BATIK IN BOLPUR

PRODUCTS : Sarees, stoles, tops, kurtis, lungi, dupattas, bags, paintings, and bedsheets with batik prints. PRICE : Depends on type of merchandise, the fabric or raw materials used, and also the intricacy of the designs made on the product. PROMOTION OF THE CRAFT- FAIRS: •

EPCH fair, Saras mela etc. all year round specially during winter seasons.

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Retail Outlets: Amar kutir, Swabhumi, Mnjusha, Basundhara, Alcha.

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NGO’s: Sasha, Amar kutir, Kolkata Socio cultural Society, Aid to Artisans

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Word of mouth.

DEMAND : During the famous Bengali festival of Durga Puja is the highest selling period. SUPPLY : Raw materials includes fabric, dyes, and colours are mainly procured drom the bolpur district and other local market.

CONSUMER BUYING PATTERN, EXPECTATIONS AND SATISFACTION Kurtis and tops are of high demand as these products also take lesser production time and the market caters to young girls who admires and follow trends. Consumers expect that the colours should neither bleed nor fade away. As the area is mostly dependent of tourists as target market demand for better and different designs, made on brighter colours are preferred.

DESIGNS COLLECTION BEYOND RED

BEYOND red 12

COLOURS

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Red is an exhibitionist, Red is a harlot, Red may be dominant, Red is the Idol. Red is compassionate, Red is a mother, Redâ&#x20AC;&#x2122;s weapon is pen and paper, Red, the warrior. Going beyond all the labelsRed is what you will invent, The Red that conceives, The Red that terminates.

This collection is to inspire women, to accept and celebrate themselves for who they are. This cloth line is exclusively designed to motivate women to look beyond just their labels and cliches that is embodied in themselves. Only then can they identify with their true RED, the fire that lies within.

The Scarlets Clients Profile The clientele consists of women in the age group of 20 to 28 yrs. The market is domestic. This collection caters to middle class to upper middle class section of the society, consisting mainly of women at work. This signature wear collection represents professional women and unfolds the versatile layers of this multidimensional protagonists. With its unique style of combining comfort with sophistication for the women of today, this design is for young urban women who are unstoppable and confident in accepting and being who they are.

PRIMARY DESIGN PROCESS : FORM GENERATIONS These motifs are derived from the Kalighat Painting style of Bengal merged with abstract expressionilism art forms.

EXPLORATORY DESIGN CONCEPTS:

SAREE FINAL DESIGN CONCEPTS:

Sketched design

Motif

Coloured Version 19

DESIGN COORDINATES

KURTIS FINAL DESIGN CONCEPTS:

Motif

Sketched design

Coloured Version 21

DESIGN COORDINATES

LOOK BOARD

Scanned by CamScanner

PHOTO SHOOT

A warrior woman is someone who defends her feminity. She fights to win over lifeâ&#x20AC;&#x2122;s battle in each and every step she takes. From giving birth, to fighting against social norms that chain her wings, to leading the world and even winning over her own demons. She is the physical form of natureâ&#x20AC;&#x2122;s strength as well as vulnerability. She is not only a dreamer but also an achiever. This theme is to reinvent and appreciate the warrior woman inside the heart of every woman on this planet.

This form depicts the intense nature of a woman. She is complex and so are her thoughts, feelings and emotions.

Product - Cotton khesh saree Unconventional Batik handicraft designs are showcased. 80% bee wax with 20% paraffin wax is used to outline the design so that wax cracks are less and the design is well crafted. whereas 70% paraffin wax and 30% beewax is used as a filling to give the batik and wax crack effect. Napthol Dye is used with dip dyeing technique. Remaining surface using satin ribbons is handstitched to sareeâ&#x20AC;&#x2122;s look yet asthetic alive.

manipulation for the pallu enhance the keeping the

This look portays the innocence in a woman who is also equally mature in her work sphere. Price - Rs 2499

Product - Raw silk saree. Price - Rs 5499

Unconventional Batik handicraft designs are showcased. 80% bee wax with 20% paraffin wax is used to outline the design so that wax cracks are less and the design is well crafted. whereas 70% paraffin wax and 30% beewax is used as a filling to give the batik and wax crack effect. Napthol Dye is used with dip dyeing technique. Remaining surface using satin ribbons is handstitched to sareeâ&#x20AC;&#x2122;s look yet asthetic alive.

manipulation for the pallu enhance the keeping the

This look is for every alpha women, the leaders who stride in pride and confidence.

Product - Pure Cotton saree. Unconventional Batik handicraft designs are showcased. 80% bee wax with 20% paraffin wax is used to outline the design so that wax cracks are less and the design is well crafted. whereas 70% paraffin wax and 30% beewax is used as a filling to give the batik and wax crack effect. Napthol Dye is used with dip dyeing technique. Remaining surface using satin ribbons is handstitched to sareeâ&#x20AC;&#x2122;s look yet asthetic alive.

manipulation for the pallu enhance the keeping the

This look portays the dreamer in war who fights every day to put her dreams in action. No chains of this physical world can strangle her believe and her passion. Price - Rs 1999

â&#x20AC;&#x153;The perfect woman you see is a working woman; not a fine lady, but one who uses her hands and her head and her heart for the good of others.â&#x20AC;? - Thomas Hardy

Product - Pure Cotton Kurtis Unconventional Batik and handpainted designs are showcased. 80% bee wax with 20% paraffin wax is used to outline the design so that wax cracks are less and the design is well crafted. whereas 70% paraffin wax and 30% beewax is used as a filling to give the batik and wax crack effect. Hand painted at last for finishing, merging the art of two different crafts to create a new look. Napthol Dye is used with dip dyeing technique. Remaining surface manipulation using satin ribbons for the pallu is handstitched to enhance the sareeâ&#x20AC;&#x2122;s look yet keeping the asthetic alive. Price - Rs 799 each

DESIGNS COLLECTION VAGABONG

Vagabong

Clientele Artist by nature, actor by instinct, poet by accident, Bengali by birth and

Client - Women

Vagabond by choice.

Age - 20-28 yrs Vagabong collection caters to creative women who love to travel around the globe. Vagabong women are proud Bengalis and hence carry a part of their culture to every places they venture. This collection is for middle and upper middle class of India.

Market - Domestic

This collection is unique because not only it is environment friendly but it also stands for revival of Batik craft and refurbishing the culture and nostalgia of Kolkata. Vagabong collection is designed to promote and encourage recycling and reusing of fabrics to create useful as well as trendy products for all the people who adore and belong to the Calcutta customs.

This theme will bring back the memories of Kolkata for all the quientessential Bengalis staying away from their native city or within their own complexities of life and monotony of daily routine. Through Vagabong you will rediscover the charms to the overly critised portrayal of the Bengali temperament that you will love to cultivate and so does your nostalgia. So, letâ&#x20AC;&#x2122;s reinvent Kolkata, because no one likes to be away from a city that generates so much, misti and more.

EXPLORATORY DESIGN CONCEPTS:

Coloured Concepts

Motif sketch

Coloured Concepts

Motif sketch

Coloured Concepts

Motif sketch

Coloured Concepts

Motif sketch

FINAL DESIGNS FOR BAGS

Final Motif

Final Design concept

DESIGN CORDINATES

FINAL DESIGNS FOR WALLETS

Final Motif

Final Design concept

DESIGN COORDINATES

LOOK BOARD

Document Backpack

Arm Purse

Belt Bag

Signature Half Moon Bag

Envelope Wallet for folded documents

Book Wallet

Wrist Wallet

Double-folded Pocket Wallet

PRODUCT SHOOT

CONCLUSION

In conclusion, we may say that the Batik market in Santiniketan requires a judicious mix of creativity and institutionalization. On the one hand the creativity of the craftsmen need to be encouraged and on the other hand the linkages in the production processes need to be formerly structured so that there is productive efficiency and rewarding returns to labour. Santiniketan craftsmen have the traditional skill and a latent entrepreneurial spirit to their advantage. There is only a need for institutionalization of the input, processing, marketing and the international linkages of the production chain to give a boost up in production and upward economic mobility of the artisans. Batik is still considered a sign of sophistication and cultivation, owning to its striking yet delicate motifs that include flowers and bird. The art encompasses a three- dimensional feature with depth and texture. Today traditional and contemporary batik are equally adorned by both the east and the west. Batik prints can be found on traditional items such as: sarees, dupattas and wall hanging and on contemporary products, including dresses, bags accessories and home furnishing. While initially it was done only on cotton and silks, in recent times with fabrics like georgette are also being used. Today, there is no one single community involved in the production of Batik clothes. There are artisans in various regions who are trained in Batik work. Of course, given the diversity of culture in India, the artisans bring to fore, designs which have some influence or the other of elements or culture of their respective states.

AADYAM Internship Document

A US $41 billion (Rs. 2,50,000 crore) corporation, the Aditya Birla Group is in the League of Fortune 500. Anchored by an extraordinary force of over 120,000 employees, belonging to 42 nationalities. Over 50 per cent of its revenues flow from its overseas operations spanning 36 countries. The Aditya Birla Group has been ranked fourth in the world and first in Asia Pacific in the ‘Top Companies for Leaders’ study 2011, conducted by Aon Hewitt, Fortune Magazine and RBL (a strategic HR and leadership Advisory firm). The Group has topped the Nielsen’s Corporate Image Monitor 2014-15 and emerged as the Number one corporate, the ‘Best in Class’, for the third consecutive year. History - The company started in 1857. First initiated by Shiv Narayan Birla with a cotton trading operation in the small town of Pilani in Rajasthan, followed by Ghyanshyamdas Birla in 1919 who first set the manufacturing company. But it was the late Aditya Vikram Birla- one man who made a difference and enhanced the company to where it is today. Grandson of Mr. G.D. Birla, Aditya Vikram Birla was deeply rooted in Indian values yet had a global in vision, transcending the conventional barriers of business to send out the message that it cares. Today the company is run by the son of Mr A.V.Birla., Mr Kumar Mangalam Birla from 1995.

AADYAM HANDWOVEN AN ADITYA BIRLA INITIATIVE

Aadyam is a 2 years old, newly initiated CSR project of Aditya Birla group . Aadyam attempts to be a part of the zeitgeist - the evolution and expression of Indian culture and arts. In doing so, it becomes a window to access and engage with the diverse Indian cultural landscape. The brand strives to preserve age-old weaving techniques that have seamlessly transcended generations of artisan families, while simultaneously promoting these techniques to true connoisseurs of heritage. They believe that marrying these techniques with contemporary design will create beautiful pieces that are globally appealing, and will help retain the roots of these intricate, legacied art forms. Aadyam Handwoven believes in creating scale and impact by building sustainable models that will create value for both, its weavers and patrons. VISION Aadyam has been created with a vision to preserve and grow the rich Indian heritage of handwoven textiles by offering a range of exclusive, luxury fabrics woven by some of the finest artisans in the country. Their aim is to create an ethical cycle comprising skilling of weavers through elevation of design, supporting weavers by opening up new markets and ensuring benefits to the weaver through a transparent plough back of profits. According to The Times group: “The Aditya Birla Group is also extending its support to hand woven textiles. To promote lesser known forms of weaving, the Aadyam team went to the interiors of three states, identified various styles to promote and gave a platform to the weavers to operate on a far larger scale.” The 800sqft installation featuring mainly Jamdani and Ikat silks from Aadyam, the weaver’s initiative has been seen 2016 London Design Biennale, which was a 20-day affair from September 7-27 2016, at Somerset House – a neoclassical edifice hosting art and design shows on the banks of the Thames – experiencing participation from 37 countries, including India, that unveiled an installation called Chakraview. The walk-through installation appeared like a room with parallel nine-feet walls. A metaphor for the colourful cacophony that is India, with thousands of embroidery hoops bearing prints of hand-painted signage from streets, trucks and shops all over the country.

TECHNIQUES USED BY AADYAM TECHNIQUES

kutchi weaving The artisans of Kutch weave stories using vibrant threads, with each piece being a labor of love - a precise, laborious, solitary task requiring them to work on the loom for days on end. The fabric, woven without the aid of a jacquard, is an expression of a heritage handed down through eleven generations. While wool from locally-grown sheep is still used, artisans have begun to work with silk, acrylic, and cotton to cater to increasing demand. Weaving of a piece may take days to months, depending upon the intricacy and innovativeness of the design. The result is an understated piece of fabric that astounds with its wealth of staggeringly minute detail, when viewed up close.

pochampally ikat

Pochampally Ikat comes from a small town called Pochampally near Hyderabad, Telangana. It is an ancient tie and dye technique that creates patterns or designs on the yarn through a resist dyeing process. Once the threads are dyed, the resists are removed to reveal the design, which is then woven into the ikat fabric.

kutchi weaving

The fabric is unique with big, bold and bright patterns that evoke the tradition of the region. Today, artisans have begun to incorporate modern motifs that are abstract, modernist and geometric, using a palette composed of brilliant colours.

The artisans of Kutch weave stories using vibrant threads, with each piece being a labor of love - a precise, laborious, solitary task requiring them to work on the loom for days on end. The fabric, woven without the aid of a jacquard, is an expression of a heritage handed down through eleven generations.

While wool from locally-grown sheep is still used, artisans have begun to work with silk, acrylic, and cotton to cater to increasing demand. Weaving of a piece may take days to months, depending upon the intricacy and innovativeness of the design. The result is an understated piece of fabric that astounds with its wealth of staggeringly minute detail, when viewed up close.

banaras brocades Steeped in centuries of tradition, Banarasi Brocades are recognised throughout India as a sign of opulence and elegance. Through the decades, brocade has been synonymous with luxury, and worn by nobility across cultures, from India to Korea. A heavy fabric with a raised pattern or floral design, brocade traditionally incorporates extra weft threads of different coloured silk or metallic threads, which are woven into the base fabric to form a pattern. The range of Banaras weaves, and the skills of the Banaras weavers, are not found in any other single weaving centre in the country. Designs are so intricate that an individual piece could take anywhere between 14 days to six months to complete. Banaras brocades are an integral part of Indian weddings, and are cherished as heirlooms - passed down from generation to generation.

THIRD PROJECT TAG DESIGNING TAG DESIGNING:

The motif of this project was to design a new tag that represents the brand, its motive, vision and mission using minimal elements and yet with an elegant, subtle traditional touch.

Inspiration for tag design

Basic shapes

BASIC PROTOTYPES: prototype:

Tag Variations :

TAG VARIATION 30

FINAL SELECTED DESIGNS FOR TAGS

PROJECT THREE

FACE 4

FACE 1

PROJECT THREE

FACE 2

Tags for kutchi woven samples

FACE 2

FACE 3

FACE 4

FACE 1

FACE 3

Tags for banarasi brocade woven samples

FACE 1

FACE 2

FACE 3

Tags for Pochampally ikkat woven samples

Tags for other woven samples 67

LANTERN STEELS THE SNOW

THEME BOARD TURKISH LANTERNS

PROJECT FOUR

Autumn-Winter 2018

w RITE UP WRITE UP

COLOUR BOARD

WINTER OFFERS THE MOST VERSATILE DECORATING IDEAS FOR THE SEASON. BUT WHEN IT COMES TO HOME DECOR VINTAGE IS THE MOST ESSENTIAL. SO, THIS SEASON LETS THE “LANTERN STEAL THE SNOW” AND BRING BIG CHEER WITH CLASSIC STLY TO YOUR COTTAGE WITH THESE ANTIQUE THEMED TEXTILES MADE FROM OUR EXCLUSIVE HANDMADE FABRICS.

12- 5203 TCX MURMUR

19-0915 TPX COFFEE BEAN

14-1118 TPX BEIGE

16-1448 TPG BURNT ORANGE

19-6050 TCX EDEN

19- 1758 TCX HAUTE RED

15-4825 TPX BLUE CURACAO

PROJECT FOUR

Pattern 1 Colourway 1

Pattern 1 Colourway 2

MY SHAWL DESIGNS

MOTIF USED:

MY SHAWLS DESIGNS MY SHAWLS DESIGNS

PATTERN 3

COORDINATE 3 MOTIF USED:

Since the theme and colour palette is kept similar the motifs resembled some the aesthetics of the Turkish lanterns their intricacy. PATTERN 1

PATTERN 4

COORDINATE 1

MOTIF USED:

PATTERN 2

COORDINATE 4

PATTERN 4 2 COORDINATE

COORDINATE 4

FINAL PRODUCT RENDER SAMPLE: FINAL

PRODUCT RENDERING SAMPLE

PRODUCT 1

PRODUCT 2

CONCLUSION

National Institute of fashion technology has provided opulence and creative liberty for each of its offspring to work in a healthy, learning atmosphere. The institution has also provided the opportunities to experience the world outside its boundaries through summer internships from every reputed companies and exchange schools all across the globe. This exposer was an incubator for big ideas and a chance to work with expert mentorship, a guiding spotlight designed specially to redesign the world.

RIWAYAT The Tajmahal

This collection comprehends that the big day tends to recreate the romance and appeal of weathered rich vintage textiles translated in exotic indian weaving with hand printed art on your drapes. this project is aimed to revive the saree culture amoung the young gemeration.this is an ode to our heirlom tradition and many moods and myths that it in spires.

Brief : To create 2 textile apparel project for a specific client.

DESIGN EXPLORATIONS

FINAL DESIGN CONCEPTS

Sketched look

Final concept For saree 80

DESIGN COORDINATES WITH SKETCHED LOOK:

FINAL PRODUCT IMPLEMENTATION:

ABOUT THE PRODUCT

Saree Printing using traditional printing techniques to revive the craft, the art of block printing and Kalamkari., but with a subtle twist. This project is aimed to revive the Saree culture among the young generations and on the other hand to also revive the craft of traditional printing for this wedding season. Angadi wedding collection is an ode to our heirloom traditions and the many moods and myths that it inspires. With a mixture of old world charm with modern day drapes and silhouettes, this concept saree collection are much like saree gowns as well as languidly draped sarees. Using minimal gorgeous color spectrum from Golden to Navy blue, Marshmallow pink to bright tangy red colors the beautiful aesthetics of craft printing is awaited to be revived with a twist that glows and changes colors in the dark giving the wearer a metamorphosis underway in a completely new appearance.

BLENDS & SPICES Indian Spices

One of the things that people find intimidating about cooking indian food is that the vast array of spices used both whole and ground which are complex mixtures. Our digi generation loves mexicana, italian, or chinese cuisine, forgetting about their own indian spices. This collection have vivid spicy colours and motifs of indian spices to make you fall in love for ‘desi tadka’, all over again. Keywords used – tadka, foodie, mellow, masaledar, colourful,spirited,one of the things that people find intimidating about cooking indian food is that the vast array of spices used both whole and ground which are complex mixtures. Our digi generation loves mexicana, italian, or chinese cuisine, forgetting about their own indian spices. This collection have vivid spicy colours and motifs of indian spices to make you fall in love for ‘desi tadka’, all over again. Keywords used – tadka, foodie, mellow, masaledar, colourful,spirited, Brief : To create texture & print design on apparel project for a specific client.

THEME BOARD

COLOUR PALLETTE

CLIENT

Collection name - Blends and Spices Collection - Women Wear Market - Domestic Age Group - 19-23 yrs Economic status - Middle and Uper Middle class Income - Parental Income from 7 - 10 lakhs per annum Pocket money - 10,000 to 15,000 INR Occasion - Women Casual Wear Price Range - 1500- 2999 INR Look - With new Spicy blends and vibrant combinations. Lifestyle - College Goers Personality - As my clients are mostly college goers, they are versatile in nature. They opt for colours that are vibrant and appreciate newer trends.

EXPLORATORY DESIGN CONCEPTS

FINAL CONCEPTS WITH SKETCHED LOOK:

DESIGN COORDINATES WITH SKETCHED LOOKS:

FINAL CONCEPTS WITH COLORWAYS

DESIGN IMPLIMENTATION

Look 1, Shot 1

Look 1 , Shot 2

Look 2, Shot 1

Look 2, Shot 2

WANDERLUST LOST YET FOUND

Never stop wondering, never stop wandering. Welcoming your quest of wanderlust. this is one of the first print esign project where 20 design concepts had to be created on a perticular theme.

Brief : Create 20 print design concept on aperticular theme and digitally drape the final concept on a product.

MOTIFS USED:

EXPLORATORY DESIGN CONCEPTS:

FINAL CONCEPT

SINGLE REPEAT

COLOUR REDUCTION

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DRAPED IMPLEMENTATION

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PRINTS & WEAVES Computer Aided Design

Brief : To create prints and simulated woven fabric designs digitally using softwares NED-GRAPHICS, ADOBE ILLUSTRATOR, WEAVE EDITOR & ADOBE PHOTOSHOP.

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TRADITIONAL CARPET DESIGN REPLICATION. JACQUARD FABRIC DESIGN REPLICATION. DOBBY WEAVE CREATION USING NED-GRAPHICS SOFTWARE. PRINT DESIGNS ON ADOBE ILLUSTRATOR AND PHOTOSHOP SOFTWARE.

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TRADITIONAL CARPET DESIGN REPLICATION:

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JACQUARD FABRIC DESIGN REPLICATION:

Replication of Jacquard fabric Scanned Original Fabric

Double cloth Replicated EPI - 30 PPI - 50 Jacquard Capacity - 860

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DOBBY WEAVE CREATION USING NED-GRAPHICS SOFTWARE:

EBB AND FLOW Theme Board

Ebb and Flow For the people who Love Planting & Gardening and who believes in notion of reforestation. The mission is to bring more plant life to urban landscapes and create lush sanctuary spaces that refresh and invigorate our senses NO AGE GROUP SPECIFIED Income - 10 - 15 lakhs INR per annum Predominent trait - nature lovers, kind hearted and can stand for a cause.

Client Board

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WOVEN DESIGNS WITH SPECIFICATIONS

Design information Design Name: Design Repeat: Design repeat size: Design View: Number of shafts:

Dobby1 8 ends x 8 picks 0.16 x 0.31 inch 1.5 x 1.5 repeats 8

(not actual scale)

Fabric information Reed width : Dents per inch : Total dents : Greige Width : Finished Width : Fabric composition :

100.00 inch 25.40 dents/inch 2540 dents 100.00 inch 100.00 inch

Warp Density: 50.80 ends/inch Weft Density: 25.40 picks/inch Warp Greige Density : 50.80 ends/inch Weft Greige Density : 25.40 picks/inch Warp Finished Density : 50.80 ends/inch Weft Finished Density : 25.40 picks/inch

Warp information: Dobby1

Density: 50.80 ends/inch

Warp Start Warp Repeat Number Repeats Rest Left Selvage Right Selvage Total

Warp Colours

Dents A

3d-Untitled

Weft Colours

3d-Untitled

107

Ends 0 1 5080 0 0 0 5080

Dents 0 1 5080 0 0 0 2540

1 1 Yarn name

Count

Ends / Repeat

Start

Rest

Selvages

3d-Untitled

5.00 Ne1 (Cotton)

BEAMS 1 1

2 0

3 0

4 0

WOVEN DESIGNS WITH SPECIFICATIONS:

Design information Design Name: Design Repeat: Design repeat size: Design View: Number of shafts:

Dobby1 8 ends x 200 picks 0.16 x 7.87 inch 1.5 x 1.5 repeats 8

(not actual scale)

Fabric information Reed width : Dents per inch : Total dents : Greige Width : Finished Width : Fabric composition :

100.00 inch 25.40 dents/inch 2540 dents 100.00 inch 100.00 inch

Warp information: Dobby1

Density: 50.80 ends/inch

Warp Start Warp Repeat Number Repeats Rest Left Selvage Right Selvage Total Dents A

Warp Colours A

3d-Untitled Weft Colours

3d-Untitled

108

Ends 0 1 5080 0 0 0 5080

Dents 0 1 5080 0 0 0 2540

1 1 Yarn name

Count

Ends / Repeat

Start

Rest

Selvages

3d-Untitled

5.00 Ne1 (Cotton)

BEAMS 1 1

2 0

3 0

4 0

WOVEN DESIGNS WITH SPECIFICATIONS:

Design information Design Name: Design Repeat: Design repeat size: Design View: Number of shafts:

Dobby1 8 ends x 16 picks 0.16 x 0.63 inch 1.5 x 1.5 repeats 8

(not actual scale)

Fabric information Reed width : Dents per inch : Total dents : Greige Width : Finished Width : Fabric composition :

100.00 inch 25.40 dents/inch 2540 dents 100.00 inch 100.00 inch

Warp information: Dobby1

Density: 50.80 ends/inch

Warp Start Warp Repeat Number Repeats Rest Left Selvage Right Selvage Total Dents A

Ends 0 1 5080 0 0 0 5080

Dents 0 1 5080 0 0 0 2540

1 1

Warp Colours

3d-Untitled Weft Colours

3d-Untitled

109

Yarn name

Count

Ends / Repeat

Start

Rest

Selvages

3d-Untitled

5.00 Ne1 (Cotton)

BEAMS 1 1

2 0

3 0

4 0

WOVEN DESIGNS WITH SPECIFICATIONS:

Design information Design Name: Design Repeat: Design repeat size: Design View: Number of shafts:

Dobby1 8 ends x 16 picks 0.16 x 0.63 inch 1.5 x 1.5 repeats 8

(not actual scale)

Fabric information Reed width : Dents per inch : Total dents : Greige Width : Finished Width : Fabric composition :

100.00 inch 25.40 dents/inch 2540 dents 100.00 inch 100.00 inch

Warp information: Dobby1

Density: 50.80 ends/inch

Warp Start Warp Repeat Number Repeats Rest Left Selvage Right Selvage Total Dents A

Warp Colours

3d-Untitled Weft Colours

3d-Untitled

110

Ends 0 1 5080 0 0 0 5080

Dents 0 1 5080 0 0 0 2540

1 1 Yarn name

Count

Ends / Repeat

Start

Rest

Selvages

3d-Untitled

5.00 Ne1 (Cotton)

BEAMS 1 1

2 0

3 0

4 0

WOVEN DESIGNS WITH SPECIFICATIONS:

Design information Design Name: Design Repeat: Design repeat size: Design View: Number of shafts:

Dobby1 8 ends x 1424 picks 0.16 x 56.06 inch 1.5 x 1.5 repeats 8

(not actual scale)

Fabric information Reed width : Dents per inch : Total dents : Greige Width : Finished Width : Fabric composition :

100.00 inch 25.40 dents/inch 2540 dents 100.00 inch 100.00 inch

Warp information: Dobby1

Density: 50.80 ends/inch

Warp Start Warp Repeat Number Repeats Rest Left Selvage Right Selvage Total Dents A

Warp Colours

A 3d-Untitled Weft Colours

3d-Untitled

111

Ends 0 1 5080 0 0 0 5080

Dents 0 1 5080 0 0 0 2540

1 1 Yarn name

Count

Ends / Repeat

Start

Rest

Selvages

3d-Untitled

5.00 Ne1 (Cotton)

BEAMS 1 1

2 0

3 0

4 0

PRINT DESIGNS ON ADOBE ILLUSTRATOR SOFTWARE:

Urban Bong

THEME BOARD 112

Color Scheme

PRINT DESIGNS ON ADOBE ILLUSTRATOR SOFTWARE: CAD PRINT 1 PATTERN 1

REPEAT TYPE - STRAIGHT MIXED REPEAT SIZE - WIDTH : 9in HEIGHT : 12in END USE - HOME FURNISHING TECHNIQUE - SCREEN PRINTING

CAD PRINT 1 PATTERN 1-A

REPEAT TYPE - STRAIGHT MIXED REPEAT SIZE - WIDTH : 9in HEIGHT : 12in END USE - APPAREL TECHNIQUE - SCREEN PRINTING

CAD PRINT 1 PATTERN 2-B

REPEAT TYPE - VERTICAL STEPPED REPEAT SIZE - WIDTH : 9in HEIGHT : 12in END USE - APPAREL TECHNIQUE - SCREEN PRINTING

CAD PRINT 1 PATTERN 2

REPEAT TYPE - VERTICAL STEPPED REPEAT SIZE - WIDTH : 9in HEIGHT : 12in END USE - APPAREL TECHNIQUE - SCREEN PRINTING

113

CAD PRINT 1 PATTERN 3-A

REPEAT TYPE - VERTICAL STEPPED REPEAT SIZE - WIDTH : 9in HEIGHT : 12in END USE - APPAREL TECHNIQUE - SCREEN PRINTING

CAD PRINT 1 PATTERN 3

REPEAT TYPE - VERTICAL STEPPED REPEAT SIZE - WIDTH : 9in HEIGHT : 12in END USE - HOME FURNISHING TECHNIQUE - SCREEN PRINTING

FINAL DESIGN

CAD PRINT 1 PATTERN 4-B

CAD PRINT 1 PATTERN 4-A

REPEAT TYPE - HORIZONTAL STEPPED REPEAT SIZE - WIDTH : 9in HEIGHT : 12in END USE - APPAREL TECHNIQUE - SCREEN PRINTING

114

FINAL DESIGN DIGITAL DRAPPING:

115

HAPPINESS IS HANDCRAFTED