Using different printing techniques to come up with a range of products, that will begin with a series of scrolls and then move on to various products based on the emerging concepts and patterns. These patterns will be created using thematic moodboards as a main design tool.
BACKGROUND OF CLIENT
Weavers Studio was set up in 1993 and has been in the field of textiles for 17 years. Its design philosophy is to present the traditional Indian textiles in a contemporary manner to meet the needs of the market.
Weavers Studio provides in- house facilities of printing (hand block and screen), handloom, dyeing and embroidery and specializes in the application of natural dyes, mud resist, block printing, wax batik and various resist techniques of India, Japan, Africa and Indonesia. It also employs diverse options of surface decorations and embellishments, ranging from kantha, tribal embroidery to kalamkari, metal thread zardozi, chikanwork, applique work, pin tucks and pleats.
DESIGN BRIEF
The project deals with an extensive brainstorming of different prospective themes that I can take forward. These themes will be used to create moodboards, which I will be using as an exploratory tool to come up with patterns for screen or block printing. Renowned International color forecast would be referred to and followed up for coming up with a color palette for the winter range. This project allows a lot of room for exploration and experimentation in terms of pattern, color, printing as well as surface decoration techniques.
The client has not yet decided the final outcome of the project but the first month will be used to create scrolls from which will emerge different products for the subsequent months. Since my client is into fashion accessories as well as garments, I could be producing both or either of them.
NEED
Techniques such as batik, dyeing, embroidery, weaving, printing and so on have existed in India for a long time. However, with ever changing trends and needs of the masses, there is an inherent need to use these techniques in an innovative and contemporary way. A client based project will enable me to produce my designs on a large scale and make my designs available to a wider audience. To add to this, I will be able to maximize on my experience as an Indian designer and put it across in a commercial context.
It is one thing to create hypothetical designs and products, but another to implement these in a real case scenario. At Weaver’s Studio, I will not only be facing the challenges of creating new and innovative patterns, but also be learning how to create something that will be taking into consideration market trends, budgetary constraints, consumer demands, material resources and maintaining the high level of standards of the studio.
WHY THIS PROJECT
The first time my interest in printing techniques peaked was when I did a screen printing course in my final year in Srishti. It was then that I had decided to consider this as a plausible direction for my diploma project. Since then I have constantly tried to find a project that will not only give me an opportunity to use printing techniques but also have an added value in terms of learning and exploration. I chose Weavers Studio as my client because it engages a lot traditional techniques and uses it in a very explorative manner. Despite the fact that it is a client project, it offers enough freedom to exercise my creativity.
For my diploma I want to learn something new, something which is outside my immediate comfort zone. This would be a perfect opportunity wherein I not only have to produce something that is my own, but is also something that is resonant with the studio’s style and way of working.
RESEARCH QUESTIONS
- Visual culture has always been a driving force in our lives, whether or not we’re aware of it. It exists everywhere, in everything we see.
If I take visual culture as the umbrella theme for the project, then
: How would I define 'visual culture'?
: The role do images play in creating cultural meanings.
: How can I narrow down this umbrella theme to something more specific?
: The different ways of representing the visual content.
: The visual culture prevalent in different parts of Calcutta.
: The kind of visual culture Weavers Studio has established through work in the past.
: The kind of visual culture present in and around Weavers Studio.
- What makes Weavers Studio stand apart from other textile studios? How does it use color, pattern, fabric etc differently?
- What are the different ways in which I can interpret a mood board and create different themes around my project?
- How can I fit in surface decoration techniques such as tie and dye, embroidery, stitching etc in the entire process and use it to my advantage?
APPROACH/ PROCESS
- Study the work done by Weavers Studio so far. Understand their aesthetic sense in terms of color, pattern etc.
- Create thematic moodboards which might include photography.
- Generate patterns from the moodboard.
- Develop screens or blocks or stencils.
- Come up with a color palette in accordance with the renowned International color forecast.
- Build a concept from/around the moodboard.
- Make swatches.
- Incorporate surface decoration techniques like shibori, embroidery, stitching etc.
- Creation of the final product.
However, I want my decision to evolve from the needs of project. This project allows a certain amount of flexibility, which in turn guarantees individual design and minimal interference.
MATERIAL AND RESOURCES
- Weavers Studio library: Books on print and other various textile techniques.
- Weavers Studio: Fabric resource, printing studio and work space.
LEARNING OUTCOMES
- Using different tools of research and methodology effectively.
- Making appropriate mood boards, pattern making, application and execution of a big project individually.
- Applying the textures in multi-dimensional ways in terms of different material and printing techniques.
- A thorough understanding of how design relates to the consumer.
- Maintaining consistency of design concept across diverse product range.
- To explore my role as a designer by working in a real world scenario and striking a balance between the client’s requirements and my own.
REFERENCES
Books:
- Mirzoeff, N.
“Introduction to Visual Culture”
Routledge (1999)
- Sturken, M. Cartwright, L.
“Practices of looking: an introduction to visual culture”
Oxford University Press (2009)
Web:
- http://www.cindytsutsumi.com/wp-content/downloads/words/Film_Geog_VisualCulture.pdf
- http://www.students.sbc.edu/lollis04/ArtandVisualCulture9.htm
- www.weaversstudio.in
