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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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24


25


26


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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

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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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Woven Apparel Document