Military to Modern | Print Design Project

NATIONAL INSTITUTE OF DESIGN, AHMEDABAD

DESIGN PROJECT 02 MILITARY TO MODERN

PADMA RAJ Textile design

CONTENTS ACKNOWLEDGMENT PROJECT BRIEF VISUAL THEME BOARD ABOUT THE THEME TEXTURE TEXTURE SURFACE -001 TEXTURE SURFACE -002 TEXTURE SURFACE -003 TEXTURE STRIKE -OFF PRINT DEVELOPMENT SURFACE-001 : INSPIRATION FINAL SURFACE SURFACE -01 SCREEN DEVELOPMENT SURFACE 01: COLOR COMBOS SURFACE 01: CO-ORDINATES SURFACE-002 : INSPIRATION SURFACE-002 : COMPOSITION SURFACE-002 : COLOR WAYS SURFACE-002 : SCREEN DEVELOPMENT SURFACE-002 : CO-ORDINATES SCREEN PRINTING PROCESS DIGITAL PRINT: ARTWORK DIGITAL PRINT : CO-ORDINATES PRODUCT CATEGORIES PRODUCT DEVELOPMENT PRODUCT SHOOT

ACKNOWLEDGMENT Through the entire process of completing my design project, I had incredible support and help from many people, and to whom I would like to express my deep gratitude, and without whom successful completion of my design project would have not been possible. I would like to express my gratitude to National Institute of Design, Paldi Ahmedabad,for providing a platform to learn & Experiment with multi disciplinary learning and to all those people involved in the accomplishment of my design project and for the entire experience provided to me throughout these 08 weeks especially.

I would like to thank my guides of this design project Ms. Aarti Srivasatav, Ms. Sejal Krishnan & Ms. Sargam Manjawla , for being very generous in giving me the opportunity to carry out design project and extending her cooperation for successful completion of the same, also for sharing their time and knowledge with me. My extended thanks to Prabhat Bhai for their valuable support and guidance throughout my project and encouraging my work.

I am grateful to my course coordinator Ms. Aarti Srivasatava for her valuable support throughout. I would also like to express my gratitude to all other faculties of NID Ahmedabad & Gandhinagar for sharing their contacts & unspoken support for this project.

Last but not least, I am also grateful to my all respondents for giving me their precious time, because, without their support I cannot imagine the success of my design project. I would also like to thank all the Lab In charges who shared valuable information with me during this project. My sincere thanks goes to all my colleagues for their gentle support & time.

It has been pleasure to work with Ms. Sejal Krishnan & Ms. Sargam Manjwala for her guidance and is which much appreciated.

Padma Raj Keshri Masters of Design Textile Design Semester-03 S1511110

PROJECT BRIEF

VISUAL THEME BOARD

TIME LINE

To design and develop a co-ordinated collection of visual surfaces from the selected theme.

The theme boards are derived from the activities involved during their work at the war front or during their training.

The duration of the course was of Eight weeks and the details of each weeks and the activity involved are as follows:

These visual surfaces could be used as prints/ textures / embroidery to form a collection of Home Furnishing /Apparel Textiles.

The textiles should be able to be implemented in a commercial setup.

The end product including the print direction with the pricing was kept in mind with the client.

• The way they Camouflage themselves during the war front and no one can identify them.

• Aerial View of the Land while they are flying super jets.

• Mc

Eisher artworks.

• Medals and Ribbons • Fighter planes and their Silhouettes.

COLOR INSPIRATION The colors are inspired from the Forest which are very fresh and camouflaged itself in their surroundings.

The palette consists of fresh colors which are taken from the nature.

Week 01: The week started with the project briefing and exploring different themes and different possibilities of exploring prints on fabric. It started with exploring books from KMC and references of the different artists works and its treatment and moved to rough sketches related to the theme.

Week 02: The week started with exploring textures of different-types and techniques with Black ink and other mediums on paper. It ended with exploring multiple textures which was really helpful for the ideas related to the theme.

Week 03:

Week 05:

Week 07:

The week started with the final selection of the texture and converting one of them on the Screen for printing a basic swatch. For the same, We explored NED Graphic software for the print repeat and color separation.

The weeks started with finalization of the surface and again moved to the Net graphics and converted the same into a screen and printed the fabrics with multiple color option with different variants of fabrics.

The week started with exploring other print technques from local vendors for digital prints and also explored the digital print design.

Week 04:

Week 06:

The week started with exploring Surface for the print with sketches and combining different motifs into multiple repeats with color options.

The week started with creating the co-ordinates of the main surface and sketched different options and converted them into a range of prints for the purpose of the developing a range of product.

Week 08: The week started with exploring the uses of the fabrics and creating a range of products for a define clientele.

MILITARY TO MODERN A story which was inspired by force person. His uniform has do something for the country. associated with a man wearing

my father, an ex-air always attracted me to The patriotic feeling an Uniform.

Being a design student, I always inspired with medals, uniforms and the disciplined life of the Military, Air Force and Navy.

The theme derived from the military and moving forward to future. The key elements collected from the story are Camouflage, Hidden, Jungle, Secret, Fast, Future, Modern.

This was realized by myself when, I was a student at Sainik School, Sujanpura (Himachal Pradesh) and experienced the proud moment of wearing the school uniform at the school.

The keywords derived from the theme are categorized into two categories. They are as :

MILITARY

MODERN

Uniform

Digital

Discipline

Pixel

Physical Environment

Robotics

TEXTURES

Texture & Textile

VISUAL TEXTURE

Texture is defined as the tactile quality of the surface of an object,How it feels if touched.

Visual texture refers to the illusion of the surface’s texture. It is what tactile texture looks like (on a 2D surface).

Textures range from the smoothest polished mirror to the roughest mountain range as seen from an airplane. All surfaces have texture.

Being a Textile designer we recognizes that different textures can affect interest in different ways. Some surfaces are inviting and some are repellent and so are the textures that suggest those surfaces.

Using different textures can increase interest in a composition by adding variety without changing color or value relationships.

The two kinds of texture are: TACTILE TEXTURE Tactile means touch.

Tactile texture is the actual (3D) feel of a surface. This is of paramount importance to three-dimensional design but of only moderate interest in twodimensional design.

The actual surface texture needs to either be felt, or seen with light raking across its surface to make the texture visible.

Visual texture is always a factor in a composition because everything has a surface.

Texture is one of the more subtle design elements. It can make an image richer and more interesting.

Most textures have a naturalistic quality; they repeat a motif in a random way. A motif is any recurring thematic element or repeated figure in design. It could be an object, shape, color, direction, etc. With a texture you may be aware of the repeating motif but you are more aware of the surface.

Texture Development The development of textures on the given theme was one of the important process for the proceeding the Surface Development.

DP-NIDTD001

SELECTED ARTWORK

TEXTURE SURFACE-001

DP-NIDTD002

SELECTED ARTWORK

TEXTURE SURFACE-002

DP-NIDTD-003

SELECTED ARTWORK

TEXTURE SURFACE-003

STRIKE-OFF PRINTED

FABRIC: COTTON L PRINT TECHNIQ REPEAT: S COLO PURPOSE: CHE

FABRIC: COTTON LYCRA 95 % & 5 % PRINT TECHNIQUE: KHADII PRINT REPEAT: SINGLE UNIT COLOR: PINK PURPOSE: CHEST PRINT/ AOP

WITH THE TEXTURES

LYCRA 95 % & 5 % QUE: PEARL PRINT SINGLE UNIT OR: BLUE EST PRINT/ AOP

FABRIC: COTTON LYCRA 95 % & 5 % PRINT TECHNIQUE: FOIL PRINT REPEAT: SINGLE UNIT COLOR: GOLD & SILVER PURPOSE: CHEST PRINT

PRINT DEVELOPMENT

SURFACE 001 SCREEN PRINT

SURFACE 002 SCREEN PRINT

SURFACE 003 DIGITAL PRINT

INSPIRATION

SURFACE DEVELOPMENT:001

SURFACE PLANNED

SURFACE DEVELOPMENT:001

SURFACE DEVELOPMENT

The surface was derived from the Aerial view by the Pilot while they are flying Jets.

The artwork evolved from the different Locations viewed from the Jets and hand sketched the different geographical region.

Something is visible and something not. The colors are derived from the farmland and using blotch techniques it is converted.

The artwork is made with etching Black poster over Wax Crayons on Cartridge sheet.

SKETCHES & ARTWORKS

of

SURFACE DEVELOPMENT:001

FINAL ARTWORK

SURFACE DEVELOPMENT:001

FINAL ARTWORK

SURFACE DEVELOPMENT:001

FINAL ARTWORK WITH REPEAT

SURFACE DEVELOPMENT:001

ARTWORK DIMENSION: H: 16 W: 10

ARTWORK: ACTUAL SIZE UNIT: INCHES

SCREENS: 01 COLOR: BLACK

SCREEN:01 SCREEN DIMENSION: H:20 INCHES W:48 INCHES SCREEN DEVELOPMENT

ARTWORK: 1:5 FROM THE ORIGINAL SIZE UNIT: INCHES

SCREEN:02 SCREEN DIMENSION: H:20 INCHES W:48 INCHES SURFACE DEVELOPMENT:001

ART FRO OR UNI

TWORK: 1:5 OM THE RIGINAL SIZE IT: INCHES SCREEN DEVELOPMENT

SCREEN PRINTING SCREEN DIMENSION: H:20 INCHES W:48 INCHES

PRINTING PROCESS SCREEN PRINTING THE BLOTCH COLOR AND KEEP IT FOR DRYING AND THEN APPLYING THE OTHER SCREEN.

SURFACE DEVELOPMENT:001

COLOR PALETTE SCREEN:01

SCREEN:02 COMBO:01

COMBO:02

COMBO:03 ARTWORK-001

COMBO:04

COMBO:05

COMBO:06

ARTWORK-003

COMBO:07

COMBO:08

COLOR COMBOS

ARTWORK-005

ARTWORK-002

ARTWORK-004

CO-ORDINATE:001 PRINT TECHNIQUE: SCREEN PRINTING NO. OF COLORS: 03 ARTWORK-006

CO-ORDINATES

CO-ORDINATE:002 PRINT TECHNIQUE: SCREEN PRINTING NO. OF COLORS: 02

CO-ORDINATES

CO-ORDIN PRINT TECHNIQUE: NO. OF CO

SURFACE DEVELOPMENT:001

NATE:003 : SCREEN PRINTING OLORS: 03

CO-ORDINATES

CO-ORDINATE:004 PRINT TECHNIQUE: SCREEN PRINTING NO. OF COLORS: 02

SURFACE DEVELOPMENT:001

INSPIRATION

SURFACE DEVELOPMENT:002

PROCESS

SURFACE DEVELOPMENT:002

SURFACE DEVELOPMENT This surface is evolved from the Fighter planes, by Origami techniques. First I have created lot of Planes with folding and then I have opened them all and filled the black and white colors and then created compositions and added color to evolve a Surface out of it.

FORMS

SURFACE DEVELOPMENT:002

SURFACE 02 COMPOSITION ACTUAL SIZE PRINT TECHNIQUE: SCREEN PRINTING

COMPOSITION

SURFACE DEVELOPMENT:002

COMPOSITION-A

COMPOSITION-B

COMPOSITION-C

COMPOSITION-D

COMPOSITION

SURFACE DEVELOPMENT:002

COMPOSITION-E

COMPOSITION-F

COMPOSITION-G

COMPOSITION-H

COMPOSITION

SURFACE DEVELOPMENT:002

FINAL COMPOSITION

SURFACE DEVELOPMENT:002

FINAL COMPOSITION WITH COLORS

SURFACE DEVELOPMENT:002

COLOR WAY: 01

SURFACE DEVELOPMENT:002

COLOR WAY: 02

SURFACE DEVELOPMENT:002

SCREEN:01

SCREEN:02

SCREEN:03

SCREEN:01

SCREEN:02

SCREEN:03

COLOR: 05

COLOR: 04

COLOR: 03

SCREEN DIMENSION: H:21 INCHES W:49.5 INCHES

SCREEN DIMENSION: H:21 INCHES W:49.5 INCHES

SCREEN DIMENSION: H:21 INCHES W:49.5 INCHES

ARTWORK:1:8 FROM THE ORIGINAL SIZE

ARTWORK:1:8 FROM THE ORIGINAL SIZE

ARTWORK:1:8 FROM THE ORIGINAL SIZE

UNIT: INCHES

UNIT: INCHES

UNIT: INCHES

SCREEN DEVELOPMENT

SURFACE DEVELOPMENT:002

SCREEN:04

SCREEN:05

ARTWORK

SCREEN:04

SCREEN:05

SCREEN:ALL

COLOR: 02

COLOR: 01

COLOR: ALL

SCREEN DIMENSION: H:21 INCHES W:49.5 INCHES

SCREEN DIMENSION: H:21 INCHES W:49.5 INCHES

SCREEN DIMENSION: H:21 INCHES W:49.5 INCHES

ARTWORK:1:8 FROM THE ORIGINAL SIZE

ARTWORK:1:8 FROM THE ORIGINAL SIZE

ARTWORK:1:8 FROM THE ORIGINAL SIZE

UNIT: INCHES

UNIT: INCHES

UNIT: INCHES PRINTING PROCESS SCREEN PRINTING WILL BE DONE AS PER THE SCREENS AND PIGMENTS ARE APPLIED.

SCREEN DEVELOPMENT

SURFACE DEVELOPMENT:002

PROPOSED CO-ORDINATES

SURFACE DEVELOPMENT:002

PROPOSED CO-ORDINATES

SURFACE DEVELOPMENT:002

SCREEN PRINTING PROCESS

MAKING OF FRAMES STRETCHING THE MESH CLEANING THE MESH QUOTING A SUBSTRATE SCREEN EXPOSE WITH NEGATIVE

APPLY HARDENER SCREEN READY FOR PRINT PREPARATION OF PIGMENT ADD FIXATIVE IN PIGMENT PLAN THE SCREEN STRETCH THE FABRIC HOLD THE SCREEN USE SQUEEZY TO APPLY PIGMENT

CONSECUTIVE SCREEN WASH THE SCREEN WASH THE SQUEEZY NATURAL DRAY THE FABRIC

CURE THE FABRIC WASH THE FABRIC PRINT IS READY

Screen printing is a printing technique whereby a mesh is used to transfer ink onto a substrate, except in areas made impermeable to the ink by a blocking stencil. A blade or squeegee is moved across the screen to fill the open mesh apertures with ink, and a reverse stroke then causes the screen to touch the substrate momentarily along a line of contact.

This causes the ink to wet the substrate and be pulled out of the mesh apertures as the screen springs back after the blade has passed.

Screen printing is also a stencil method of print making in which a design is imposed on a screen of polyester or other fine mesh, with blank areas coated with an impermeable substance.

Ink is forced into the mesh openings by the fill blade or squeegee and by wetting the substrate, transferred onto the printing surface during the squeegee stroke.

As the screen rebounds away from the substrate the ink remains on the substrate. It is also known as silk-screen, screen, serigraph, and serigraph printing. One color is printed at a time, so several screens can be used to produce a multicolored image or design.

There are various terms used for what is essentially the same technique.

Traditionally the process was called screen printing or silkscreen printing because silk was used in the process prior to the invention of polyester mesh.

Currently, synthetic threads are commonly used in the screen printing process. The most popular mesh in general use is made of polyester. There are special-use mesh materials of nylon and stainless steel available to the screen printer.

There are also different types of mesh size which will determine the outcome and look of the finished design on the material.

PRINTING TECHNIQUES A screen is made of a piece of mesh stretched over a frame. The mesh could be made of a synthetic polymer, such as nylon, and a finer and smaller aperture for the mesh would be utilized for a design that requires a higher and more delicate degree of detail. For the mesh to be effective, it must be mounted on a frame and it must be under tension. The frame which holds the mesh could be made of diverse materials, such as wood or aluminum, depending on the sophistication of the

machine or the artisan procedure. The tension of the mesh may be checked by using a tensiometer; a common unit for the measurement of the tension of the mesh is Newton per centimeter (N/ cm).

A stencil is formed by blocking off parts of the screen in the negative image of the design to be printed; that is, the open spaces are where the ink will appear on the substrate.

Before printing occurs, the frame and screen must undergo the prepress process, in which an emulsion is ‘scooped’ across the mesh and the ‘exposure unit’ burns away the unnecessary emulsion leaving behind a clean area in the mesh with the identical shape as the desired image. The surface to be printed (commonly referred to as a pallet) is coated with a wide ‘pallet tape’.

This serves to protect the ‘pallet’ from any unwanted ink leaking through the screen and potentially staining the ‘pallet’ or transferring unwanted ink onto the next substrate. Next, the screen and frame are lined with a tape. The type of tape used in for this purpose often depends upon the ink that is to be printed onto the substrate.

These aggressive tapes are generally used for UV and water-based inks

due to the inks’ lower viscosities. The last process in the ‘prepress’ is blocking out any unwanted ‘pin-holes’ in the emulsion. If these holes are left in the emulsion, the ink will continue through and leave unwanted marks. To block out these holes, materials such as tapes, speciality emulsions and ‘block-out pens’ may be used effectively.

The screen is placed atop a substrate. Ink is placed on top of the screen, and a floodbar is used to push the ink through the holes in the mesh. The operator begins with the fill bar at the rear of the screen and behind a reservoir of ink. The operator lifts the screen to prevent contact with the substrate and then using a slight amount of downward force pulls the fill bar to the front of the screen.

This effectively fills the mesh openings with ink and moves the ink reservoir to the front of the screen. The operator then uses a squeegee (rubber blade) to move the mesh down to the substrate and pushes the squeegee to the rear of the screen. The ink that is in the mesh opening is pumped or squeezed by capillary action to the substrate in a controlled and prescribed amount, i.e. the wet ink deposit is proportional to the thickness of the mesh

and or stencil. As the squeegee moves toward the rear of the screen the tension of the mesh pulls the mesh up away from the substrate (called snapoff) leaving the ink upon the substrate surface.

There are three common types of screen printing presses. The ‘flat-bed’, ‘cylinder’, ‘rotary’.

Textile items printed with multicolored designs often use a wet on wet technique, or colors dried while on the press, while graphic items are allowed to dry between colors that are then printed with another screen and often in a different color after the product is re-aligned on the press.

Most screens are ready for re-coating at this stage, but sometimes screens will have to undergo a further step in the reclaiming process called dehazing. This additional step removes haze or “ghost images” left behind in the screen once the emulsion has been removed. Ghost images tend to faintly outline the open areas of previous stencils, hence the name. They are the result of ink residue trapped in the mesh, often in the knuckles of the mesh (the points where threads cross.

DIGITAL PRINT ARTWORK

INSPIRATION

DIGITAL PRINTING

SURFACE 03 COMPOSITION ACTUAL SIZE PRINT TECHNIQUE: DIGITAL PRINTING

Digital artwork is derived from the ocean water and the maps were super imposed on the top creating a look of Modern colonization. Since, there are lot shades of water, I have used this artwork for digital print.

DIGITAL PRINTING

DIGITAL PRINTING Digital textile printing is described as any ink jet based method of printing colorants onto fabric. Types of printing can be divided into: Direct Print Discharge Print Resist Print Pigment Print Specialty Print Digital textile printing started in the late 1980s as a possible replacement for analog screen printing. With the development of a dye-sublimation printer in the early 1990s, it became possible to print with low energy sublimation inks and high energy disperse direct inks directly onto textile media, as opposed to print dyesublimation inks on a transfer paper and, in a separate process using a heat press, transfer it to the fabric.

PROCESS

DIGITAL PRINTING

PROPOSED CO-ORDINATES

DIGITAL PRINTING

MARKET RESEARCH

SURFACE DEVELOPMENT

PRODUCT DEVELOPMENT This range of product were co-ordinated with the solid trouser and printed AOP T-shirt.

MARKET RESEARCH The product categories derived from the brands are Casual Shirt, T-shirt, Pullovers, Shorts, Trousers and Jackets.

The print develop were fitting in this product range and was able to plan a range as per the market.

PRODUCT DEVELOPMENT

SURFACE DEVELOPMENT

PRODUCT DEVELOPMENT

SURFACE DEVELOPMENT

PRODUCT DEVELOPMENT This range of product were coordinated with the solid trouser and printed AOP T-shirt with Scarf as an accessories.

PRODUCT DEVELOPMENT

SURFACE DEVELOPMENT

PAdma Raj Keshri National Institute of Design, Ahmedabad | M.Design | Textile Design | 2015 National Institute of Fashion Technology, Bangalore | B.Design | Knitwear Design |2013

Mob: +91-9036939773 | Email:padmaraj.2007@gmail.com | Portfolio: www.behance.net/prk