TABLE OF CONTENTS PROJECT #1
PROJECT #2
PROJECT #3
PROJECT #4
PROJECT #5
Indigeneous Fiber and Natural Dye
Upcycling for Embellishment
Upcycling for Fabric Manipulation
Surface Textile: Batik
Bio-Material
1.
Modular Interlock & Tesselation Architectural and Lantung Bark from Bengkulu.
9.
Fashion Forecast & Cigondewah Textile Waste
13.
Upcylcing, Fabric Manipulation & Parametric Architecture
2.
Utilizaation of Exploration on Wood’s Bark as Modular Textile with Natural Dyes
10.
Sketch, Illustration, Technical Drawing
14.
Fashion Illustration, Parametric Module & Modules Development.
3.
Module’s Design Process
11.
Patterns & Documentations of Embellishment.
4.
Final Colors
5.
Color’s Composition & Lamp’sConstruction
6.
Lantung for Modular Textile and Lamp’s Shell
7.
Composition Colors for Modular Clothing
8.
Final Piece for Project No. 1
12.
15.
Final Piece for Project No. 3
16.
Inspiration from Traditional Motifs
19.
Utilization of Chitosan Processing Exploration as a New Material
17.
Final Whole Wax on the Fabric
20.
Chitosan and Membrane
18.
Final Piece for Project No. 4
21.
Technical Procedure and Results
22.
Exploration on Membrane with Composition no. 1
23.
Exploration on Membrane with Composition no. 2
24.
Natural Dyes and Embellishments
25.
Construction
26.
Design Process
Final Piece for Project No. 2.
LANTUNG’S BARK FROM BENGKULU 27.
Final Piece No.1
28.
In final piece No.1 & Conclusion
29.
Final Piece no.2
30.
In final piece No.2 & Conclusion
31.
Final Piece no.3
32.
In final piece No.2 & Conclusion
Indigeneous Fiber and Natural Dye modular interlock & tesselation architectural and lantung bark from bengkulu. Modular interlock technique has been used in the textile industry, it was originally used as a standard unit of measurement for proportioning technique on the tiling named tesselation technique. In this project im using the modular interlock technique in order to innovate the lantung usage as textile material that is eco-friendly and to prove tha lantung bark is actually as strong as PVC which is harmful and used frequently in the fashion Industry. I will apply the isogonal tilinng from architecture in this project, it admits the symmetry group maps every one vertex to another and the vertices form one transitivity class. This project research is based on how Kabula Tribe in Bengkulu, Indonesia used Lantung as clothes because the economy spiralled down in the Japanese Colonial’s era and they could not afford clothes.
MODULAR INTERLOCK TECHNIQUE FROM ARCHITECTURAL TESSELATION EXAMPLES OF ISOGONAL TILINGS IN ARCHITECTURE
1
Indigeneous Fiber and Natural Dye
2
UTILIZATION OF EXPLORATION ON wood’S BARk (lantung) AS MODULAR TEXTILE WITH NATURALof DYES (AVOCADOES & Caesalpinia sappan) Utilization Exploration on Wood’s Bark as Modular Textile with Natural Dye
PROCEDURE ON PROCESSING LANTUNGS BARK
PROCEDURE ON PROCESSING LANTUNG: LANTUNG BARK AFTER SCOURING AFTER BLEACHING 1. Scouring : in order to get it more flexible and to soothen the texture. 2. Bleaching : crucial for the natural dyes to be absorbed effectively.
SUBSTANCES: Na2C03, Na2S2O3, NaSi03 water glass, H202, water
The results are diverse, depending on how long it took to boil the lanSUBSTANCES: Na2CO3, Na2S303, NaSi03 water glass, are H202,used. water tung and what percentage of substances RESULTS ARE DIVERSE, DEPENDING ON HOW LONG IT TOOK TO BOIL PROCEDURE ON PROCESSING NATURAL DYES: THE BARK AND WHAT PERCENTAGE OF SBSTANCES ARE USED IN THE PROCESS.
1. Pre- mordant : Adding different substances befor dying 2. During-mordant : Adding different substances during dying 3. Past-Mordant Adding different substances after dying PROCEDURE ON: PROCESSING NATURAL DYES 4. Fixating : Fixating the colors to prevent it from fading
1: PRE-MORDANT : ADDING DIFFERENT SUBSTANCES BEFORE DYING 2. DURING-MORDANT : ADDING DIFFERENT SUBSTANCES DURING DYING The sequence of what substance is used also play a big role in 3. PAST-MORDANT : ADDING DIFFERENT SUBSTANCES AFTER DYING final color, the color gradually every 5 minutes. 4. FIXATING : FIXATING THEchanges COLORS TO PREVENT IT FROM FADING
the
THE SEQUENCE OF WHAT IS USED BIG ROLE SUBSTANCES: water,SUBSTANCE vinegar, alum, salt,PLAY rustAwater, betelFOR leaves, THE FINAL COLOR, COLORS GRADUALLY CHANGE EVERY 5 MINUTES.
and iron (II) sulfate.
SUBSTANCES: WATER, VINEGAR, ALUM SALT, RUST WATER, BETEL LEAVES, IRON (II) SULFATE.
Indigeneous Fiber and Natural Dye 3 MAIN GEOMETRICAL SHAPES for module SQUARE
RECTANGULAR
BACK
MODULE 1
3
Module’s Design Process
5,8 CM
MODULES #1 FRONT
SIDES
OVAL
2,2 CM
0,5 CM
f
0,74 CM
c
3,5 CM
a
1,65 CM
0,75 CM
5,8 CM
BOLD RED LINE MEANS CUT
2,5 CM 3,5 CM
5,2 CM
MODULES #2
7,5 CM 2,5 CM 0,7 CM
THE SIZE OF THE LINES ARE THE SAME
1,5 CM
FASHION RESEARCH FORECAST 0,3 CM
0,5 CM
2. And both of the modules won’t budge.
4 CM
0,75 CM
INTERLOCKING MODULES
0,5 CM
1. therefore, either the module 1 & 2’s “b” can go through module 1 & 2’s “a”.
CHEST & NECK
MODULE 2
2,5 CM
1,7 CM 0,9 CM
1 CM
e
4 CM
b
opening
2,1 CM
1,3 CM
d
1,5 CM
3,6 CM 5,2 CM 1,7 CM 0,5 CM
MODULE 1 & MODULE 2 INTERLOCK
THE REASON WHY THE MODULE IS CHOSEN 1. The spaces between show an impression of another geometric pattern. 2. Have higher possibility of different colors compositions.
MEASUREMENT
4
5
MOODBOARD
Indigeneous Fiber and Natural Dye LANTUNG FOR MODULAR TEXTILE AND LAMP’S SHELL
This research is based on how Kabula Tribe in Bengkulu, Indonesia had Lantung as clothes. They had a lot of lantung trees and when the economy spiralled down in the Japanese Colonial's era, they couldn't afford clothes so they made their own from lantung's bark. However, these days the Kabula Tribe doesn't use lantung clothing as much as they used in the past. In this project i used modular textile technique in order to innovate the lantung usage. It will show its strength and also its beauty.
MODULES IN WHITE IS THE FULL CONSTRUCTION FOR LAMP
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7
Indigeneous Fiber and Natural Dye colors’ composition for modular clothing
Tesselation in tiling
MOODBOARD
Byo’s clutch
Tesselation in architecture
Modular interlock technique has been used in the textile industry. Originally the module was used primarily as a standard unit of measurement for proportioning in lassical architecture, which was often used for tiling. This modular proportioning echnique on the tiling named tesselation technique.
Tesselation technique can be used to generate tiles with architectural shape by he same way, applying different symmetry rules. In this project i’m inspired by the sogonal tiling, it admits the symmetry group maps every one vertex to another and he vertices form one transitivity class.
There’s an Indonesian brand named Byo, it’s known for using modular interlock techique on PVC. I wanted to do the technique on lantung because i want to prove that antung is actually as strong as PVC.
MODULE #1 A B C
= 13 D = 18 E = 15
MODULE #2 = 14 = 40
A B C
= 25 D =4 E = 20
= 12 =5
A
C
B
D
E
8
UPCYLING FOR EMBELLISHMENT
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FASHION FORECAST 1970
The millenial generation has mirroring culture with the hippie generation of the seventies. Contra-culture gives identity to the young generation. Internet and various technologies are one of the pathways for the millennial generation to be noticed because of the obvious uniqueness that comes with countering the norms of modern society.
BRITISH INVASION AND HIPPY CULTURE
The Baroque era is the contra-culture at its time. In art criticism the word Baroque came to be used to describe anything departing from established rules and proportions. Often it’s associated with grandeur, sensous richness, drama, vitality, movement, tension, emotional exuberance, and tendency to blur distinctions between the various arts.
1990
2010
2020
SIDEWALK TO CATWALK
DIGITAL WORLD AND DIVAS DRAMA
THE RISE OF CONTRA CULTURE
ELEKTROVAGANZA AND DISCO CULTURE RAVE CULTURE AND ACID
1980
MOODBOARD
2000
TOP & SKIRT BASE
faux fur
bull denim
TEXTILES WASTE
faux fur
POLYESTER RIBBON
TILLE BROCADE
SPANDEX TILLE
CIGONDEWAH TEXTILE WASTE Cigondewah district near my hometown is known best for its textile factories which resulting in abundant of untreated textile waste. I got several materials for free from the location which then i made into embellishment/decoration. The main idea of this project is to use the waste to develop more sustainable and responsible designs. Finishing of textile fabric with available garmenst is carried out to increase attractiveness and/or serviceability of the fabric. Using available materials to its ultimate usage, using waste material, recycling of the products, planning second life for the fashion product.
UPCYLING FOR EMBELLISHMENT sketch, illustration, pattern
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11
UPCYLING FOR EMBELLISHMENT patterns & Documentations of Embellishment 1
2 2
3
1
2
2
3
12
13
UPCYCLING FOR FABRIC MANIPULATION UPCYCLING, FABRIC MANIPULATION & PARAMETRIC ARCHITECTURE MOODBOARD
Up-cycling makes use of already existing pieces, it is a way of keeping ‘unwanted’ items out of the waste stream by creatively/inno- vatively reusing materials that may otherwise end up in landfills, a step towards achieving zero waste. In conceptual parametric design, it is the parameters of a particular design that are declared, not its shape. By assigning different values to the parameters different objects or configurations can be easily created. In this project some textile wastes will be made into several different modules. Applying the parametric design into the fabric manipulation creating several different modules with similar shapes. This method of fabric manipulation uses stitching to gather fabric, creating areas of tension and release in a sculptural effect. TULLE BROCADE
JACQUARD TULLE
LACE
TUILL
JACQUARD TULLE
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UPCYCLING FOR FABRIC MANIPULATION FASHION ILLUSTRATION, PARAMETRIC MODULE & MODULES DEVELOPMENT B A
A
2
B
2
1
C A
1
3
3
A A
4 A
3
C
A
B
2
A
B 3
A
B A
4 5
6
4 5
6
B A
1
A
1
C
MODULE #3
C
-1B TO 2A -4B TO -2B -1A TO 3A 3B TO -2B
A
4
B
B
2
2
A
4
B
MODULE #2
C
1
1
-1A TO -4C -4A TO 3A -2C TO 4B
4
B
2
MODULE #1
-2A TO -6B -6A TO -3B -1B TO -4B -5B TO 3C
B
3
3
B B
C
A
B
SEWN MODULES
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SURFACE TEXTILE: BATIK
Batik Hong.
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Batik Lokcan.
INSIPIRATION FROM TRADITIONAL MOTIFS Batik is a traditional surface textilel technique from Indonesia. Once the design was drawn out onto the cloth it is then ready to be waxed. Wax is applied to the cloth over the areas, the wax is a mix of beeswax and paraffin. The paraffin is made from the petroleum’s waste. Other than taking advantages of waste, the wax can always be reused to be applied on the fabric. In this project i want to combine original forms with new formats and concept in order to: 1. Serves as a way to recontextualize local culture within new frameworks. 2. Seeks to develop a hybrid praxis that prompts dialogue to support cultural continuance of the batik tradition. There are 3 main original forms from Batik pattern which l use in the project. Including : Batik Kumpeni, Batik Pesisiran inspired by floras and faunas spesifically birds
Batik Kumpeni Cirebon. A depiction of Cirebon people in Dutch colonized.
Batik Hong.
Batik Buketan.
SURFACE TEXTILE: BATIK FINAL WHOLE WAX ON THE FABRIC THIS IS THE FINAL PIECE AFTER IT WAS DYED WITH INDIGOSOL
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18
z
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BIO-MATERIAL : CHITOSAN POLYMER
SYNTHETIC
CELLULOSE
NATURAL
PROTEIN
MINERAL
C H I TOSA N UTILIZATION
MEDICAL
TEXTILE CLASSIFICATION FROM CONSTRUCTION
NATURAL
WOVEN
PROTEIN
SYNTHETIC
CELULLOS
MINERAL
NON-WOVEN
FILM/ PROTEIN membrane
FELTING
CHITOSAN
CHITOSAN
FOOD
TEXTILE CLASSIFICATION FROM SOURCES
nanogel
membrane
TEXTILE
I CHOSE TO PROCESS CHITOSAN INTO MEMBRANES BECAUSE MEMBRANE HAVE THE ABILITY TO ABSORB & FILTER. ORIGINALLY, I WANTED THE MATERIAL TO BE ABLE TO ABSORB MERCURY IN THE SEA AFTER THE USAGE. SO THE MATERIAL IS NOT ONLY BIO-DEGRADABLE BUT ALSO STILL USEFUL AFTER USAGE.
Utilization of Chitosan Processing Exploration as a NEW MATERIAL
BIO-MATERIAL : CHITOSAN
CHITOSAN AND MEMBRANE
PROCEDURE TO PRODUCE CHITOSAN CRUSTACEAN SHELL(W/W) CHITIN: 30% PROTEINS: 30-40% CaCO3 & PIGMENTS: 30%-50%
Chitosan is a natural biopolymer can be found in crustacean shells. Instead of let the shells be a waste, let’s have a consideration to use it as source material.
PURIFICATION: REMOVAL OF CaC03, PIGMENTS & PROTEINS
Moreover, chitosan is biodegradable– enabling it to be utilized as alternative textile source material which will not leave negative waste after usage.
DEMINERALIZATION: TREATED BY 1mol/L NAOH DEPROTEINATION: TREATED BY 1 mol/L HCl
This project meant to do a research on how chitosan can innovate the industry putting the spotlight on biodegradable and ecofriendly material.
DEACETYLATION: TREATED BY HOT AND CONCENTRATED NaOH FOR SEVERAL HOURS
PROCEDURE TO PRODUCE MEMBRANE SOLVENT
POLYMER
MEMBRANE
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TEMPORARY CONCLUSION As we know the crustaceans are now filled with mercury, the journal by Grandprix Thomryes Marth Kadja stated that chitosan could be the culprit, and a lof of reseraches has been done for the right composition to make membranes for absorbing mercury. It is hoped that after the usage, this chitosan membrane can be put in the sea to absorb the mercury.
MEMBRANE Membranes have emerged as a critical component in solving vital energy and environmental problems and are intensively explored for gas separations, water purifications, and fuel cell and battery applications. Polymeric materials such as chitosan, play a leading role in membrane development because of their excellent processability, low cost, and abundance, and they will remain at the core of membrane technology,
TECHNICAL PROCEDURE
1. MIXING SOLVENT WITH CHITOSAN
2. STIRRING OF SOLUTION WITH MAGNETIC STIRRER
RESULTS FROM DIFFERENT FORMULAS & COMPOSITION
1
5 3. PHASE INVERSION THROUGH SUBMERSION
2
6
3
7
4
8
3. PHASE INVERSION THROUGH EVAPORATION
21 Ingredients: Stigma Chitosan, Technical Chitosan, Glacial Acetic Acid, Formic Acid, Distilled Water, Tetrahydrofuran Dimethyl Formamida ,Polyvinyl Alcohol, Polyvinylidene Difluoride, Polymethyl Methacrylate Instruments: Hotplate, Magnetic Stirrer, Erlenmeyer Glass, Plate Teflon, Sheet, Stirring Rod, Analytical Balance, Spatula, Bow,l Scissor, Lino Sheet, Silicon Sheet , Pipette, Chemical Tube, Sewing Machine Technique: Non-woven(casting membrane) with phase inversion
CONCLUSION FROM PHASE INVERSION TECHNIQUE
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10
11
12
1. Phase inversion technique through submersion able to lift the membrane from the cast without ruining the final texture. 2. Controlled evaporation technique is best used to the solvent which are water-soluble.
RESULT
3. The membrane casted on glass surface with controlled evaporation will be inseperable from the cast.
RESULT
FINAL FORMULA FOR FURTHER USE IN THE PROJECT: Composition 1 : 0.5 gram of chitosan for every 10 ml of 50% acetic OR formic acid 50% distilled water. Composition 2 : 0.5 grams of chitosan for every 10 ml of 1% acetic OR formic acid 99% distilled water. The technique i choose is evaporation phase inversion because the composition make the membranes water soluble. Therefore, submersion will dissolve the membrane completely into water.
This composition is chosen to prove chitosan’s strength as natural polymer for new material, therefore there’s no other polymers involved in further work.
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BIO-MATERIAL : CHITOSAN EXPLORATION ON MEMBRANE WITH COMPOSITION #1
(0.5 gram of chitosan for every 10 ml of 50% acetic OR formic acid 50% distilled water)
Pharmaceutical Chitosan with Formic Acid Solvent
INDUSTRIAL CHITOSAN WITH FORMIC ACID SOLVENT
100%
Industrial Chitosan with Acetic Acid Solvent
PHARMACEUTICAL CHITOSAN ACETIC ACID SOLVENT
WITH
ANALYSIS FROM EXPLORATION 1. Membrane can be molded on various plastic materials. 2. If membrane molded on materials that allows air to penetrate (materials with tenuous fiber), then membrane will be oxidized because of penetration of oxygen and creates bubbles.
Exploration of texture and sillhoutte on the membrane is carried out to achieve the desired visual detail by utilizing the properties and reactions of the membrane to certain variables: physical contact, temperature changes, surface mould’s materials, natural contact frome 1 membrane to another,
3. Membrane can be molded in various texture with mold thickness up to three millimeters. 4. Membrane with formic acid solution wrinkles easily and dries easily compares to membrane with acetic acid solvent
5. If membrane is left on the open in room temperature, the membrane will wrinkle, shrink, and becomes wavy. 6. If membrane is exposed to sunlight, the membrane can easily dries but harder to fold because it becomes brittle. 7. Half dried membrane can be shaped by hand to be shaped permanently. 8. Membrane with industrial chitosan are more flexible and harder to be dried compare to the pharmaceutical chitosan membranes.
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BIO-MATERIAL : CHITOSAN EXPLORATION ON MEMBRANE WITH COMPOSITION #2 Pharmaceutical Chitosan with Acetic Acid Solvent
(0.5 gram of chitosan for every 10 ml of 10% acetic OR formic acid 90% distilled water)
Pharmaceutical Chitosan with Acetic Acid Solvent
ANALYSIS FROM EXPLORATION
Pharmaceutical Chitosan with Acetic Acid Solvent
1. Membrane can’t be molded glass or floor tile, because it cant be separated from the cast.
7. Membrane can be molded into various textures, with thickness up to three millimeters.
2. Membrane can be molded on certain plastic materials with the help of frying oil
8. If membrane is left on the open in room temperature the texture will wrinkle, shrink, and turn wavy.
3. If membrane is molded on material which is not air-tight, the final result will be oxidized and bubbles would be formed on the surface.
9. If left in contact with sunlight membrane will be easier to dry, but harder to bend.
4. Membrane with acetic acid would resist from wrinkling, harder to dry because of the gel-like consistency, orange in color, and flexible if made thin. 5. Membrane have strong resistance to pull 6. Membrane is easy to control.
10. Half-dried membrane can be formed into shaped permanently. 11. Membrane is hard to penetrate with needles (sewing). 12. The natural texture of the membrane is smooth. .
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BIO-MATERIAL : CHITOSAN NATURAL DYES EXPLORATION ON CHITOSAN MEMBRANES
TURMERIC
MANGO’S SKIN
RUST WATER
Distilled water on membrane is substituted with water containing natural dyes.
AVOCADOS’ PITS
The purpose of the exploration is to have membranes in the desired colors for the further design.
CHITOSAN MEMBRANES AS EMBELLISHMENTS
DRAGONFRUIT’S SKIN
RUST WATER, SALT, AND MANGO’S SKIN
CASTING MEMBRANE ON MANEQUIN WITH SILLICONE SURFACE
FINAL COLORED WATER USED IN THE PROJECT 1. RUST WATER, SALT, AND MANGO’S SKIN 2. DRAGONFRUIT’S SKIN
This process is done in order to get an aesthetic feature. The scraps of unused membranes are put carefully onto the wet membrane so when the membranes are fully dried it has the scraps as the embellishment.
3. MANGO’S SKIN different thickness and different results
4. DISTILLED WATER
NATURAL CONSTRUCTION PROCESS 1. Prepare a fully dried membrane.
2. Cast a new membrane & Wait for the second membrane to be half-dried.
SEWN BY MACHINE
SEWN BY HAND
25 SEWing technique Sewing by machine is done for membranes with low thickness. Sewing by hand is done for membranes with high thickness.
3. Place one side of the dried membrane atop the half-dried
TOOLS: Thick threads Thin threads Scissor Pins Thick needle Thin needle Sewing Machine Tweezers
4. Wait for both the membrane to fully dry and merge to one another.
NATURAL CONSTRUCTION OF MEMBRANE EXPLORATION ANALYSIS 1. To produce a lighter color membrane, a thin membrane is needed. While to produce a darker color membrane, a thicker membrane is needed.
NATURAL CONSTRUCTION IMPLEMENTATION
2. To produce a stronger membrane, it needs to have sufficient thickness 3. Surface area of a connected membrane will possess stronger properties
SEWING TECHNIQUE CONSTRUCTION’S RESULT ANALYSIS 1. Sewing machine cause membrane with Composition #1 to be brittle. 2. Membrane with Composition #2 is stronger when sewn with sewing machine. 3. Membrane with greater thickness and flexibility is stronger of hand sewn.
CONCLUSION Both sewing technique and natural construction can be done on the final piece with careful procedures and the right volume of membranes.
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BIO-MATERIAL : CHITOSAN
1 1
design process Nature and depictions of natural forms are the main inspiration. Rust, the crustacean’s shells, corals, and several nature’s phenomenas are included in the moodboard. In the design process th membranes are hoped to visualized the moodboard through naturally formed textures and different s levels of brown saturation.
MOODBOARD 1
MOODBOARD 2 2
3 2
2018
2021
27
28
BIO-MATERIAL : CHITOSAN IN FINAL PIECE #1: MEMBRANES’ THICKNESS: HIGH-VERY HIGH NATURAL DYES: Rust water with salt, dragonfruit's skins and mangoe's skin. SURFACE TEXTURE: folding the membrane in the casting process, different materials for casting. CONSTRUCTION: sewn almost all of it with hand. The membranes i used on the shoulder are thicker than the others.
CONCLUSION: chitosan membranes with high
flexibility were more likely to be destroyed when sewn, while chitosan membranes with low flexibility had greater potential to be sewn into a single unit. The main challenge of making alternative textile materials using chitosan material is the difficulty in producing the final result in accordance with the initial design and the planned initial composition. AFTER 2 YEARS SPENT IN THE ATTIC WIHT HIGH EXPOSURE FROM SUNLIGHT, THE MEMBRANES HAVE SHRUNK AND ARE NOT AS FLEXIBLE AS BEFORE.
2018
2021
2018
2021
29
30
BIO-MATERIAL : CHITOSAN IN FINAL PIECE #2: MEMBRANES’ THICKNESS: LOW-MEDIUM NATURAL DYES: mangoes' skins, distilled water, and rust water with salt, adding glitter into the solution. SURFACE TEXTURE: a lot of membranes as embellishments, folding the membranes, different materials of casts, heatgun. CONSTRUCTION: The base is sewn with machine and the embellishments are sewn by hands. The membranes i used on the shoulder are thicker than the others.
CONCLUSION: Chitosan membranes have different characteristics according to composition, temperature, physical contact, and material as the membrane casting medium. AFTER 2 YEARS SPENT IN THE ATTIC WIHT HIGH EXPOSURE FROM SUNLIGHT, THE MEMBRANES ARE MORE FRAGILE THAN BEFORE, AND SOME MEMBRANES ARE EVEN DECAYED.
2018
2021
2018
2021
31
32
BIO-MATERIAL : CHITOSAN IN FINAL PIECE #3: MEMBRANES’ THICKNESS: MEDIUM-HIGH NATURAL DYES: rust water with salt, mangoes' skins, and i add glitter for screen printing to be stirred along with the solution. SURFACE TEXTURE: cast some of the membrane on a uneven texture, different materials of casts, membranes as embellishment. CONSTRUCTION: sewn almost all of it with hand. The membranes i used on the shoulder are thicker than the others. Rope as opening.
CONCLUSION: can be drawn to a conclusion that the water and acetic acid will gradually evaporate, turning membranes having only chitosan as the ingredient. It makes the membranes less flexible and more fragile. AFTER 2 YEARS SPENT IN THE ATTIC WITH HIGH EXPOSURE FROM SUNLIGHT, THE MEMBRANES ARE MORE FRAGILE THAN BEFORE, AND SOME MEMBRANES ARE EVEN DECAYED, THE MEMBRANES ON THE SHOULDER HAVE BROKEN AS IT CAN BE SEEN IN THE PICTURES.
2018
2021
OTHER WORK: LINGERIE FOR HEXUAL SEALING 2020 The target market is universal, the brand wants to show that the products are not only intriguing and sexy but also comfortable to use daily for everyone.
OTHER WORKS: PAINTING FOR COFFEE BEANS PACKAGING & POTTERY painting with acrylic
edited with photoshop
2018
2018
FASHION ILLUSTRATIONS
