Darshna Banthiya, Diploma Fashion Design Second Year, (Print Development Project)
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Portfolio Of Student Of Dezyne E'cole College , Darshna Banthiya, Second Year Fashion Design.This Is The Portfolio Of Her Work From Second Year .For More Details Visit www.dezyneecole.com
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Darshna Banthiya, Diploma Fashion Design Second Year, (Print Development Project)
- 2. ACKNOWLEDGEMENT I Would Like To Convey My Gratefulness Of Dezyne E’cole College For The Excellent Guidance,Study Skill And Knowledge Which I Have Gained Through My Project I Am Thankfull To All My Mentors Who Give Me This Opportunity In Making This Project And Helped Me To Show My Working Abilities Through This Project . Darshna Banthiya 2 year Fashion Design Diploma NSQF Level-5 Of NSDC Print development
- 3. Project Report On Print Development At Dezyne E’cole College Ajmer Submitted To Dezyne E’cole College Towards The Partial Fulfilment Of The Second Year Diploma In Fashion Design By Darshna Banthiya NSQF Level 6, NSDC Print development
- 4. This Project Of Miss. Darshna Banthiya Student Of Fashion Technology with Two Year Advance Diploma Progam Has Been Checked And Graded At Print development Thank you
- 5. SYNOPSIS This Project Report on Print Development in Fashion Has Been Created, Developed And Designed by Me, During My Study of Diploma in Fashion Designing, NSQF Level 6 of NSDC. In this project I had how to develop prints ,different pattern , in which I made different fabric prints which is the basic step of my learning also learnt to insert print on clothes. By the use if media photoshop I learnt how to make own pattern . After learning all this in the field of fashion design , I worked upon my own collection where I was given a case study to create bedsheet for contemporary Indian market for the field of interior design . In this first I made different bedsheet buy taking a motif and then choose best bedsheet for my bedsheet design . I have also have done some other work which I include in the project . Print development
- 6. 1 . Fabric Prints • Checks • Moroccan • Tribal • Indian Traditional (A) Market Research 2 . Case Study 3. Research Direction 4 . Look Book 5.Print Development 6.Mind Map 7.Motif Drafting 8. Motif Repetition 9.Specification 10.Final Display CONTENTS
- 8. TYPES OF CHECKS Plaid Checks Graph Checks Gunclub Checks Shepherds Checks Windowpane Check Glen Check Madras Check Tattertsall Gingham Checks Print development
- 9. Print development • Quatrefoil • Ogee • Architectural • Geometric • Clover
- 12. Chinese PATTERNS Dragon Greek key Swirls Fish Peony Scales Greek key Lotus Pheonix Print development
- 13. Print development • Argyle • Chevron • Polka dots • Stripes • Abstract • Ikat • Herringbone • Fleur delis • Scroll/ swirls • Aztec • Organic • Camouflage • Hounds tooth • Liberty • Imperial trellis
- 17. Tribal folk PATTERNS Warli art Patti chitra art Tanjore painting Rajasthani miniature Pithora art Warli art Gond Art Machilipatnam art Kalahasti art Print development
- 19. Indian traditional PATTERNS Sun and moon Tortoise Hunting scene Temple Cowrie shell Tree of life Hansa Elephant Peacock Lotus Print development
- 20. Indian Traditional Pattern Creeping vine Hansa Kalasha Rudraksh Fish Kalga Parrot Peepal leaf Print development
- 26. After learning all this I was given a case study Print development
- 28. Print development 1 3 4 4 6 7 8 10 9 Which type of print? Print is made for contemporary Indian Inspired from natural or geometric shape Inspired from natural or geometric shape Specifying the detailing High class people Inspire..? Where..? Use of photoshop , corel Trendy print..? 2
- 31. Print development Mind map Which type…? • Contemporary • Traditional • Western Which market…? Indian market Foreign market Interior design Indian furnishing contemporary
- 32. Turning point StretchingSlimming Regular repeat GroupingRepeating in shapeMirroring Print development In Mind Mapping I Had Taken Greek Key Motif As A Example
- 34. Criss cross is the use of symbols, including archetypes, acts, artwork or events, by Christianity. It invests objects or actions with an inner meaning expressing Christian ideas. Unlike the Christian cross iconography associated with the shape of a crucifix (commonly used for torture and execution of criminals and captured enemy prisoners-of-war, by the pre-Christian Roman Empire), the Celtic cross' design origins are not clear. The Celtic cross has nevertheless been repeated in statuary, as a dominant feature of the anthropogenic Irish landscape, for at least 5,000 years. The Celtic cross and the Christian cross are similar enough in shape, that the former was easily adopted by Irish Catholic culture, following the Christianization of Ireland. The Celtic cross is accurately described as an ancient symbol of cultural significance in pre-Christian, Druidic Ireland. It also is used as a symbolic icon of the interpretation of Christianity, unique to Irish culture in that pre-Christian Celtic tradition and Irish Druidic iconography are hybridized with Christian traditions and iconography (much like the Shamrock; a low-growing, daintily foliaged, dense ground cover plant, which is held as a timeless symbol of Ireland itself; and, which is also symbolic on Ireland, of the Christian Holy Trinity, due to the Shamrock's typical trifoliar leaf structure). Although the cross was used as a symbol by early Christians, the crucifix, i.e. depictions of the crucifixion scene, were rare prior to the 5th century; some engraved gems thought to be 2nd or 3rd century have survived, but the subject does not appear in the art of the Catacombs of Rome.[9] The purported discovery of the True Cross by Constantine's mother, Helena, and the development of Golgotha as a site for pilgrimageled to a change of attitude. It was probably in Palestine that the image developed, and many of the earliest depictions are on the Monza ampullae, small metal flasks for holy oil, that were pilgrim's souvenirs from the Holy Land, as well as 5th century ivory reliefs from Italy.[10] Print development
- 36. Criss Cross Motif Creates A Peaceful Mood Which Make The Mind Relax An Calm Print development
- 37. Print development MOTIF FORMATION / DRAFTING
- 38. 5.00cm 1.25 cm 1.25 cm Print development
- 42. HALF DROP REPEAT Print development
- 49. CRISS CROSS REPETITION BEDSHHET2 Pillow Use On The Bedsheet Color CMYK Designed By: Darshna Banthiya 2nd Year Fashion Design Diploma NSQF Level -6 Of NSDC Step 1 . Making of horizontal lines . Step 2 . Criss crossing the lines from those horizontal lines . Step 3. inserting of this clips through power clipping .
- 50. OVERLAP REPETITION BEDSHHET2 Designed By: Darshna Banthiya 2nd Year Fashion Design Diploma NSQF Level -6 Of NSDC Pillow Use On The Bedsheet Color CMYK Step 1 . Vertical lines are drawn first by 2 point line tool . Step 2.criss crossing the small lines and then placing on that vertical lines Step 3. Making this pattern and insert in the box through power clipping
- 51. REGULAR REPETITION BEDSHHET3 Pillow Use On The Bedsheet Color CMYK Designed By: Darshna Banthiya 2nd Year Fashion Design Diploma NSQF Level -6 Of NSDC Step 1 Coloring of motif through smart fill. Step 2 Placing them in regular repetition . Step 3 inserting them through power clipping .
- 52. SLIMMING REPITITION BEDSHHET4 Designed By: Darshna Banthiya 2nd Year Fashion Design Diploma NSQF Level -6 Of NSDC Pillow Use On The Bedsheet Color CMYK STYLING (SLIMMING ) Step 1. Coloring the outline of motif . Step 2 .stylize through slimming of motif Step 3 . Inserting them through power clip
- 53. GROUPING REPITITION BEDSHHET6 Designed By: Darshna Banthiya 2nd Year Fashion Design Diploma NSQF Level -6 Of NSDC Pillow Use On The Bedsheet Color CMYK GR Step 1 . Separating of motif into different parts . Step 2 . Grouping of those separating and scattered on bedsheet. Step 3 . Insertion through power clipping
- 54. STRETCHING REPETITION BEDSHHET4 Designed By: Darshna Banthiya 2nd Year Fashion Design Diploma NSQF Level -6 Of NSDC Pillow Use On The Bedsheet Color CMYK Step 1 . Taking out part of square of motif and coloring them . Step 2 . Through contour a new pattern is made on that part of square . Step 3 then through stretching repetition pattern is placed
- 55. OVERLAP REPITITION BEDSHHET7 Designed By: Darshna Banthiya 2nd Year Fashion Design Diploma NSQF Level -6 Of NSDC Pillow Use On The Bedsheet Color CMYK Step 1 Taking Out A Square From The Motif . Step 2 . Coloring The Outline Of Square Step 3. Overlapping Repetition Is Use.
- 56. GROUPING REPITITIONBEDSHHET8 Designed By: Darshna Banthiya 2nd Year Fashion Design Diploma NSQF Level -6 Of NSDC Pillow Use On The Bedsheet Color CMYK Step 1 .Taking Of One Square And Give It A Turning Shape . Step 2 .Taking Of Another Square Placing Inside The First One . Step 3 .By Grouping Repetition Placing In Half Of Part Of Bedsheet
- 57. Print development OVERVIEW OF BEDSHEETS
- 58. Print development FINAL DISPLAY A la mode A la mode
- 59. THANK you Designed By: Darshna Banthiya 2nd Year Fashion Design Diploma NSQF Level -6 Of NSDC