smaller portfolio - Auckland University of Technology

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smaller portfolio - Auckland University of Technology
REFERENCE NUMBER:
CONTACT:
2015
BACHELOR OF DESIGN MAJOR: FASHION DESIGN
MINOR:TEXTILE
DESIGN
COVER LETTER
To AUT Univeristy College of Design
I am currently a year 13 student studying at Orewa College, planning on graduating at the end of this year and hopefully,
continuing my studies at your univeristy, studying fashion design with a minor in textiles. I would love to be given
the opportunity to persue my life long dream of becoming a fashion designer in an industry which I admire. My ‘passion
for fashion’ has been with me since I can remember and I would love to be given the chance to expand on my love
for fashion with talented teachers who can help shape my abilities. A favourite hobbie of mine is being inspired by what
surrounds me and then designing garments after spending hours on end at my machine crafting outfits especially
designed and fitted for myself. I love that sense of individuality and pride when I wear my own designed outfits which
strengthens my desire to design and create my own fashion line in the future.
At school I study Photography, Fashion Studies, Creative Pattern Making, Design, Media and English. I enjoy school
because of all my creative classes and teachers who are passionate about enriching us with knowledge and strenghtening us
in each particular area. I take my course work very seriously and involve all my passion into my works. I have a strong desire
to have a future in the fashion industry, propelling my decision to apply for this course.
I have included in my portfolio:
- Some of my designs and garments created in my own time.
- Level 2 design internal and external work.
- Level 2 & 3 photograghy internal and external work.
- Level 3 fashion studies internal work.
- My own personal sketches.
- Character reference from my fashion teacher and design teacher.
I would sincerely appriciate being considered for the Bachelor of Fashion Design course with a minor in Textiles at AUT.
I am particually drawn to this course as I believe it will provide me with skill and experience to grow into this tough competitive
industry. Time managment is a quailty I excell with and pressure working is something I take in my stride, producing quality
work at dead lines. I am a hard working, driven student who will flourish, given the opportunity.
Yours sincerely,
FESTIVAL TWO PIECE
INSPIRATION
I was inspired by Vanessa Hudgens 2013 Coachella Festival
white two piece as shown in the opposite photos. I found
gorgeous white cotton fabric with stitch detailing and cut
outs, perfect for the look I wanted to recreate. I started with
drafting up my own pattern for the shorts as I didn’t have one
already. I used pajama shorts as a rough guideline for my
drafting as they were basic elastic around the hips shorts, a
style that I wanted to achieve for my own. I stitched the crotch
and side seams together using a front and back like any other
pair of ordinary shorts. I wanted the ruffle like feature along the
top of the shorts, above the elastic, so I had to allow a double
amount of seam turn over,a process in which I had done before
on a pair of shorts I made a while back. I stitched over a double
seam allowance and then stitched a line in the middle of that hem
to create a double parallel seam. I threaded through the elastic
(I measured the length of the elastic it needed to be to sit snug on
my hips before hand) which then naturally created the top ruffle
effect as the fabric bunched together in order to fit in the elastic.
In order to create the simple strapless top with the same ruffling
along the top as the shorts, I cut a basic rectangle like shape,
measuring how long I wanted the top and including in the double
seam allowance like the shorts. I hemmed the side seams the way
you would do using an actual pattern. I threaded through the elastic
after measuring it for fit and was successful in the same way I was
with the shorts ruffling. On the day I tied the top at the back in a
knot to give it a little bit more shape which completed the look I was
very happy with.
DOUBLE SEAM ALLOWANCE ELASTIC AND FRILL
FINAL OUTFIT
FABRIC SAMPLE
BALL DRESS DESIGNS
I was inspired by Selena Gomez’s 2011 American
Music Awards look for this year’s school ball (2014). I
drew up my own sketches with a couple of modified
alterations including: skinny singlet straps, removing
the waist sash and a shorted train. I then contacted a
ball dress designer who looked over my designs and
agreed to make my dress. After five or so fittings, over
the course of two months, the dress fitted perfectly and
looked just how I wanted.
FINAL OUTCOME
INSPIRATION
INSPIRATION
Last year I fell in love with the Emilio Pucci Spring 2012
Ready-to-wear collection and designed a dress inspired
by the collection for my school ball (2013). This is a very
simple design of just a crop top and full length skirt and
I knew the wow factor came with the amazing fabric used
in Pucci’s collection. I had much struggle regarding finding
appropriate fabric to suit the dress I had in mind and also
finding fabric with the correct fall and stiffness to create the
full skirt. After a couple months of searching we came across
a hidden emporium called “Nick’s Fabric’s” on Sandringham
rd., where we found the most amazing fabric for $8 a meter. I
found a designer through a friend who took my design on
board and made my dress after one fitting. I was overall very
happy with how my designs turned out and the effect of
individuality it accompanied.
FINAL OUTCOME
FABRIC SAMPLE
DENIM TWO PIECE
This denim top and skirt design shows skill excusuited in regards to
alterations. I found an old long denim vintage skirt and I saw the
oppotunity to turn it into something new and more appealing for
myself which I would make more use out of. I decided to create
a strapless busiter top with a matching skirt outfit.
I measured how long I wanted the new skirt to be, so using the top skirt
fastening already in the skirt, I cut it using a measuring tape allowing
for 1.5 seam allowance.
I then hemmed it up using white stitch fabric
to match the white stitch star pattern on the skirt. Using the left over
fabric which I had cut off from the original skirt, I decided to make it
into a strapless boob tube. I cut an insertion for a regular black zip
in the back and then stitched it in using the zipper foot and white
thread. I then hemmed along the top seam, matching it to the bottom
seam from the original bottom skirt hemming.
Because the skirt had previously been an A-line skirt meaning it was cut
outwards, I had to take in the sides of the new top so it fit properly around
my chest. In order to do this I tried on the top inside out and got my mum
to pin in either sides till it fit snug enough around the top half that it was stay
in one place with out slippingdown. I then stitched down where the pins
were and tried it on, doublechecking the fit. In total it probably took me an
hour to turn this once ugly skirt into a new outfit which I wore out that
weekend and got many of compliments in. I love having one off creations
made by myself that separate me from the main stream clothing racks.
TOP BACK
SKIRT BACK
FINAL OUTCOME
FRONT DETAILING
SKETCHES
These are just a few free hand spare time sketches which include a face portrait
of a model, fashion design sketches and a sketch up of a picture I particually liked.
FASHION STUDIES
Internal Assessment Resource
Construction and Mechanical Technologies Level 3
This resource supports assessment against:
Achievement Standard 91621
Implement complex procedures using textile materials to make
a specified product
Resource title: Formal wear
6 Credits
At the start of this year, my fashion class started with a
“Construction and Mechanical Technologies” achievement
standard, which involved creating a formal wear garment
using complex procedures and textiles. I drafted up with
some concept ideas after research and decieded on
creating a two piece garment which I developed in sketches
and drew up a final sketch as my end of assement goal.
I chose complex silver shiny material which is thin and
flimsy, and could also be counted as a complex procedure
in the process of my garment. I really enjoyed this assessment
and achieved it with excellence, which shows off all my hard
work and dedication put into it.
CONCEPTS
DEVELOPMENTS
FINAL
FASHION STUDIES
The process of trailing is very important in any construction as it allows the designer
to experiment with different procedures to reach the best possible outcome and have
a quick effiecent consturction order in making the final garment.
Evaluation on trialed halter neck top.
- After trialing my garment top with practise fabric I have decided to use some
methods in the same way and change others to advance and improve my
final garment.
- I will use linning for my final garment, after trailing without lining, I want a
cleaner more professional finish look for the final top. The casing on my top
halter seam allowed me to see the neater finish linning look that I perfer
rather than the plain hem casing on my bottom halter casing.
Class mate peer comment: “I reccomend using linning on this top to ensure a
more retail capable look which could sell in stores. Bella Shakes.
CONSTRUCTION ORDER
SKIRT:
1.
Cut out pattern pieces (3,6,7) for lining and final material.
2.
Stay stitch upper edge, both front and back.
3.
Make darts, front and back. Press towards center.
4.
Stitch center back seam from lower edge notch allowing for zip.
5.
Stitch front to back side seams right sides facing together.
6.
Apply interfacing to wrong side of waistband and either side of zip area on final material to reinforce strength.
7.
Attach in invisible zip to final material
8.
Stitch lining to final material, right side of lining facing inwards. Stitch around top edge allowing seam allowance.
9.
Attach waistband, matching centers, placing side seams at small dots.
10.
Fold over the band and slipstitch closed, stitching along the seam line of the pervious step.
11.
Fold over and hem normally the bottom-lining making the lining an inch or so shorted than the final material.
12.
Blind stitch the bottom hem of final material
13.
Add hook and eye fastening to over lapping waistband.
TOP:
1.
Make a pattern for the halter-top including bust measurements, desired length of top and width needed
measurements. Remember to include seam allowance and band casing for waist and neck halter fastening.
2.
Cut out final material and lining using your pattern piece.
3.
Attach lining to silver material down side seams.
4.
Fold over top and bottom hems for casing allowing enough room for halter neck cords.
5.
Thread through halter straps for both top and bottom casings using a large safety pin.
6.
Hand stitch halter neck straps with thread and needle for a neat finish.
Hems on skirt:
For the hemming on both the lining and silver material to reach the highest
standard they must have an even measurement all the way around and be
rolled up evenly. For the hemming on the lining of the skirt it must be a little
bit bigger so the lining skirt will be a couple of centimeters shorter than the
silver overlaid material to give a neat finish, as the lining wont be visible. For
the blind hemming on the sliver material it must live up to its name ‘blind
hemming’ and not be visible from the outside therefore this means using the
correct stitch and foot to reach the highest standard.
Darts:
For the darts, on the skirt front and back, to reach the highest standard they
must be stitched down the correct measurements from the pattern specifications
and join at the thinnest point possible so they look sharp. And they are backstitched
for reinforcement facing the center.
Waist Band:
For the waistband to reach the highest possible standard, it must be folded over
at a correct measurement all the way around so it is even. It also much have
interfacing pressed on in the inside so it reinforces its stiffness for a more professional
finish.
Criteria Highest standard:
Complex Procedures in my garment.
Lining:
For the lining to reach the highest standard it must not be visible from the outside, when viewing/wearing the garment. It
must sit flat and discretely underneath the garment therefore the joining of the lining to the silver material must met
up at the specified points given in the pattern pieces.
Invisible Zip
Lining
Blind hemming
Interfaced waistband
Complex fragile silver material
Invisible Zip:
For the invisible zip to reach its full potential on the garment it must live up to its name and not be visible from the outside
of the skirt. This means no puckering at any point so then the zip will have a nice placement along the back.
FASHION STUDIES
DAILY DIARY LOG UPDATES
Keeping a diary log is very beneficial as it marks important process dates and makes it very easy to look
back on later on if I ever decide to adapt and recreate thie design process.This diary log includes a descriptive
recount of everything I did each day along with photos to visually show the progression of the garment.
Dairy Blog – Fashion Tech
DAY 1 & 2: Cut pattern pieces to 6843 both lining and silver material. Cut
with sharp scissors to avoid puckering my silver material, which is very
fragile and classed as a complex procedure.
DAY 3: Trialed needle size on a square piece of my complex silver material
and found that it slightly split the fragile material because the needle was
too big and blunt. Therefore I trailed a smaller sharper needle, 70/10 that
ended up working really well and did no major damage to material. Started
concept and development drawings.
DAY 4: Started working on my lining by stay stitching the top of front and
back and then began pinning darts, following my construction order. Working
on my lining first before working on my silver material, and using it as a trail
for the construction order before starting on the real material.
DAY 5: Finished concept drawings and completed darts on lining which
turned out well therefore I am prepared and equipped to do the darts on
my silver material when the time comes.
DAY 6: Started doing steps to my trail order. This involved trailing zip interstation,
blind hemming, normal stitch, over locking, plain seam, zigzag over lock. From
these trials I am able to make decisions that will enable me to create an end
garment that reaches the highest of my ability.
DAY 7: Started making pattern for my trail garment of the halter top that will be
included in the final two piece garment in the end. Measured bust, desired width
and length and included in seam allowance on each side and a 5cm casing for
both top and bottom for the threading of the halter neck straps. All went well
with creating the pattern and then placing and cutting it out on trailed fabric. I
am using pink silk material for this trail garment as it is light and fragile which is
a similar quality to my final silver garment. If this trial turns out well then I will be
able to use this pattern for my final garment top half.
DAY 8 & 9: I have completed my trial top by following the construction order. I
have taken on board minor improvements I can take on board for the remake
of this top for my final garment two-piece. For the bottom casing of my trial
garment I just double folded a hemmed casing, which worked out well but
could be improved. Therefore I created an additional separate casing using the
same silk material to make a lining case for the top halter neck strap. This trail
turned out will with a more professional finish and was easier to hem around
the curved neckline. I will adapt this new method for my proper garment top
out of the silver material, but instead of cutting two separate casing linings I will
just use lining on the whole garment and sew a few cm’s in from both top and
bottom to make casing for the straps.
Day 10: Sewed the two halter neck straps for my trailed top and threaded through.
I have decided the straps need to be a few more inches longer especially for the
one that ties around the waist so I can bow tie fasten it easier.
Day 11: Trailed my lining fabric, which I am using in my final garment for both pieces,
with different stitches, hems, and seams and over locks so I can use the best methods
in my final garment.
CONTINUED
Day 10: Sewed the two halter neck straps for my trailed top and threaded through.
I have decided the straps need to be a few more inches longer especially for the
one that ties around the waist so I can bow tie fasten it easier.
Day 11: Trailed my lining fabric, which I am using in my final garment for both pieces,
with different stitches, hems, and seams and over locks so I can use the best methods
in my final garment.
Day 12: Trailed stitches using the combination of my lining and silver material so I
could test whether they work well with each other. Tested using different over locking
seams and trailed how well the fabric sat with one another when both are pressed open
on a corner seam.
Day 13: Completed the construction of my skirt lining successfully, everything sitting
and fitting the way I like. Am happy with this outcome and am now ready to progress
onto my silver material following the same construction order as my lining.
Day 14: Started on the construction of the skirt using my silver material. After doing
my trials I have decided to use needle 70/10 benina, as it is a thinner sharper needle,
which I need as my fabric, is very thin and fragile. I stitched my darts and pressed them
open successfully. From my earlier trails I have learnt my material needs care and patience
therefore I am prepared to adapt these skills in the process using this complex material.
Day 15: I have successfully progressed on the construction of my silver material skirt and
am now up to the stage of inserting the back zipper in. After trials I have decided I will
use a 20cm invisible zip as it will look and fit nicer in my skirt without looking bulky with
my thin fabric.
Day 16: Have cut out silver material and lining using my top pattern piece I had previously
made in my trial. I have stitched/ hemmed both sides of the pieces of fabric. I have started
on working on the top and bottom casings for the halter-top, using the method that
worked best in my previous trails.
Day 17: Have successfully completed the construction of my final garment halter neck top
that matches my skirt, which is still work in progress. Top fits and looks well and I am very
happy with the outcome.
Day 18: I have successfully fitted in my invisible zip to the back of my skirt. I had to unpick a
small minor puckering at the end of the zip so I could restitch to make a smoother back seam
line. This enabled for the zip to sit nicer around the back of the bum.
Day 19: Tried on the sizing of my skirt before fitting in my waistband and am very happy with
the fit as it all sits nicely. I then added lining to my sliver material following my construction
order.
Day 20: Attached band with interfacing onto my garment and pressed open the seams for a
smooth open finish, then stitched in the ditch once I turned over band on inside. Process
turned out successful.
Day 21: Hemmed up the bottom-lining successfully using the double folded method I had
previously trailed which turned out the nicest. Lining was hemmed up a little more than the
silver material because I didn’t want the lining to be seen underneath the garment. Started
to blind hem my silver material but soon discovered I hadn’t changed the stitch foot to 5 in
order for the stitch to be successful so have to unpick the 5cm of incorrect stitching and then
retry next lesson.
Day 22: Reattempted the blind hemming on the bottom of my silver material skirt, following
the correct steps: Foot 5, stitch 7. The hemming process started off fine but then the stitch
became to big and started catching too much of my fabric making it look visible and messy
from the outside therefore I had to shorten the stitch length so not so much fabric was being
stitched. This hem took a lot of persistence and time and I had to restitch some parts that
hadn’t even been caught but overall the final result is very neat and professional.
Day 23: Completed the last stage of my garment by hand stitching in the little hook and
eye for the extra fastening on the skirt. This extra fastening holds the skirt in the correct
place for an overall clean and professional finish.
FASHION STUDIES
EVALUATION:
Overall I am very happy and pleased with this successful
outcome. The design is exactually how i drew and imaged
it to be. It is very eye catching and unique which I like my
garments to be. The whole process of construction went
really well and with the pre construction trialling, it meant
my garment could be at the best of my ability with processes
that work out seccussfully.
PHOTOGRAPHY INTERNAL
This year I was able to take a level 2 photography class which I
really enjoyed and I did well in the internal which meant I was
able to be moved up into level 3 class to gain the level 3 credits
I wanted. Because I didn’t take an art class in year 10, I was
unable to meet prerequisites for year 11 art which then effected
me later in year 13 (this year) as I didn’t have the yr 12
achievement standard to get into level 3 photography, so this
then all meant I had to start out in a level 2 class meaning my
internal was a level 2 marked standard.
My internal photographs were based around the idea of a
young girl who dreams of becoming a underwater creature/
mermaid. I used various artist models to express my idea and
creatively voice my mystical fantasy. For my mermaid shoot
in the bath tub I obviously needed a mermaid tail to get my
main idea across to the viewers so I went out in search for
mermaid like material. I found the most perfect shiny orange
material that was the right texture and color for what I needed.
I then measured the length of my model from waist to feet and
cut out a piece of rectangle fabric and sewed the sides. I then
got her to try on the mermaid slip and I pinned down the
sides following the shape of her legs. I then hemmed down the
new lines and hemmed the top seam so it looked neat and sat
nicely on her hips. I then drafted a fish like tail to a human
proportion size and cut it out of the same material and sewed
together both sides so her feet could fit in the tail. When taking
the photos I positioned the tail on her feet so then I could play
around with the positioning of it without having it sewed into
one solid place. I personally liked the way the mermaid tail
creation turned out and I felt very proud of my photos and
development of my idea.
PHOTOGRAPHY EXTERNAL
This is board 1 of my photography external. It begins with and further developes my underwater theme of a girl turning into a fishy
mermaid. I am really enjoying this process of story telling through photos and hope to achieve well in this level 3 assessment.
DESIGN INTERNAL
This year I was placed in a level 2 design class after being unable to reach the level 3 prerecquites due to
not taking art class in year 11. I gained an excellence in my box designs and excellence in my magazine
layouts meaning I was able to achieve the internal at an excellence standard which I was very
proud of.
BOX DESIGNS
CONCEPTS
DEVELOPEMENTS
DESIGN INTERNAL
Overall I was very happy with how my success in this internal, achieving overall
with excellence. At first I was unsure on how this excersise would later help me
with my magazine internal and external but I have since found it has been a great
experiment to understand balance, hirachy, sizing and colors of design
BOX DESIGNS
REFINEMENTS
FINAL
DESIGN INTERNAL
A research task was set at hand before starting
on our own magazine designs. This task was for
us to identify and study the placement of images
and layout of fonts on iconic magazine covers and
spreads. This then help us understand the tactics to
designing our own magazine line.
My concepts were the very beggining stages to this
internal process. It shows a mixture of styles and
moods which I could experiment with before
developing on my own magazine style which
progesses through out the internal.
DESIGN INTERNAL
From switching to spreads
from covers, I saw the
dramatic change
in conceptial layout yet
the same mood reflection.
I really enoyed spread
concpets because I felt
I had more space with
layout to work with and
I was to able to experiment
with differnt letter
head placements and
imageray.
As I progessed onto
developement stage I was
able to start to get a grasp
on the selected styles I
enjoyed and expressed
well through my design.
I developed a classy
sophisticated take on my
layouts, being inspired
byt the iconic Vouge
franchise.
DESIGN INTERNAL
Final cover and spread for my magazine. Overll
I’m very happy with the hard work I put into this
internal and the final results I achived with
(Excellence). This cover and spread illustrate my
design style in regards to magazine illustration and
I’m able to clearly express my classy sophisticated mood
through out.
APPLIED DESIGN
OREWA COLLEGE
LEVEL 3 FASHION STUDIES
APPLIED DESIGN
AS 91623
APPLIQUE
Construction Order:
Step 1: Create a pattern of a scene, which you would like
to recreate, using complex designs for level 3 standards.
In my case I have chosen a flower scene with various
different flowers that involve different tread colors
and overlapping.
Step 2: Cut out the fabrics you would like to use for your
designs.
Step 3: Iron on phis-a-fix to the small pieces of cut out
fabric. This allows thedesign to be stiff and gives it a sturdy
shape.
Step 4: Remove the plastic cover from the ironed on
phis-a-fix and then iron on the separate pieces of fabric to
the large textile in a pre-planned layout.
Step 5: Stitch around each edge in matching thread with
statin stich (close together zig zag).
BEADING
Construction Order:
Step 1: Create a design lay out on a large piece of textile
using pencil to out line guidelines.
Step 2: Select the size and color of beads suitable for your
designs.
Step 3: Begin sewing on the beads section by section until
completed the garment.
These pieces are a selection of my current works
in my fashion studies class. Its a display of different
textiles and designs used in trial pieces for my overal
design which is a mixture of applique and beading
for a patch work pillow case which I’m currently
in the final stages of.
CREATIVE PATTERN MAKING
STAGE 1
I am currently studying Creative Pattern Making in school,
which is a fairly new class designed to help teach students
the art and skill of drafting up our own patterns using our
own measurements and designs. This trouser assement is
currently still underway but I thought I would include a
basic guideline of what I’ve done so far in this assessment
to show my enoyment in this subject.
This is my first draft up of a basic trouser pattern which I
calculated using my own measurments and followed a step
by step guide sheet on how to draft it up. I enjoyed the
process and love the idea that I will have this pattern
forever which is perfect to my size.
STAGE 2
This is the front and back view of
the toile trial of my trousers. I wanted
the trousers to fit tight around my legs
like skinny leg jeans, so I marked in with
chalk where I would like the trousers
altered. To achieve this standard I have to
adapt my first basic pattern therefore
this alteration of bringing the pants in
will be the perfect change.
STAGE 3
This is the front and back view of the trousers
after I took them in where I had previously marked.
You can clearly see the difference and the more
flattering these pants become on the wearer, the
look I was wanting to achieve.
CREATIVE PATTERN MAKING
FINAL TROUSERS
NEW ADAPTED PATTERN BLOCK
CONSTUCTION OF TROUSERS STEP-BY-STEP GUIDE:
STEP 1: Cut out front and back pattern pieces, a waistband and a fly.
To measure waist band: measure your waist + 10cm x 10cm
STEP 2: Over lock front crotch edge on both front pieces.
STEP 3: Place right sides together and sew front crotch together to
zip point.
STEP 4: Over lock curved edge of fly pieces.
STEP 5: Place one fly piece to left hand crotch seam edge and
sew in place up to zip point. Be careful not to overlap on crotch
seam at zip point.
STEP 6: Press with hot iron, seam towards fly edge.
STEP 7: Edge stitch fly in place. Stopping before crotch seam
begins.
STEP 8: Place zip face down on right side of right hand of side
trousers.
Line up zip tape with over locked edge. Check right side of zip
and fabric
are together. Change to zipper foot N’4. Move needle to right
side. Stitch
seam close to zip teeth.
STEP 9: Pin fly edge in its finished position.
STEP 10: on the wrong side pin the unattached edge on zip tape
in position on the fly piece. Sewing only to the facing. Move needle
to left, using zip foot N’4. Move seam allowances out of the way.
Stitch down center of zip tape.
STEP 11: Leave pins in place from step 6. Pin fly facing flat. Top stitch
flies shape through pants and fly facing. Remove pins.
STEP 12: Attach fly guard by lining up seam allowances on the right side
with straight edge of the fly guard. Sew along over locked edge or sew
together from front of pants close to zip teeth.
STEP 13: Attach curved edge of fly guard to fly facing by sewing together
on curve for 1cm.
STEP 14: Place crotch seams together, right sides facing and stitch back
crotch seam.
STEP 15: Stitch both side seams together by placing front on the back with right
sides inside.
STEP 16: Line up inside leg on front and back pieces. Check that crotch seam
lines up. Stitch inside leg 1cm.
STEP 17: Iron interfacing onto wrong side of waistband making the waist band
more stiff. Attach waistband around waist, making sure there is left over
allowance for a buttonhole attachment.
STEP 18: Using a button hole foot insert a button hole on the left over material
from the waist band, then sew on a button making sure it’s the correct size and
placement to the button hole.
FINAL GARMENT
SCREEN PRINTING
Draft layout design
Overall I am very happy with the
way my screen print has turned
out. It is a process in which I
enjoyed a lot and would
love to continue on in my
textiles studies. It provides the
designer with the abilty to create
orginal designs in order to
produce a clothing line
of unique personal style.
THE PROCESS
Screen-printing is a printing technique of transferring an
image/design on a piece of desired fabric. It is used to create
personalized tops/bags/blankets etc., with your own
original design. The process is simple. Firstly you have to
create a design or image you would like to be transferred
to your fabric. You then cut out your desired pattern so it
becomes a stencil keeping in mind the colors you would
like to use to create your design. Use a Stanley knife and
cutting board with caution and safety, as blade is sharp.
Attach the stencil with thick ducking tape to a woven mesh
board, placing your stencil attachted to the board carefully
over your fabric so the image will be screen printed where
you want it on your fabric. Then apply the desired color
and amount of ink needed to your board just above your
stencil, and using a fill blade or squeegee, apply pressure
to the blade so the ink is forced into the mesh openings of
your board and onto your fabric. Run the squeegee board
down your stencil and board a couple of times down,
making sure the ink is evenly spread over your stencil to
produce a more accurate and professional screen print.
Once finished, remove the board carefully from on top of
the fabric and then check your printing. If there are places
that have been slightly missed, you may retouch them
using a fine paint brush with the correct ink. Then vola,
you have successfully produced your own screen print.
REFERENCE
To whom it may concern,
I have known
in my capacity as her Fabric Technology teacher
for the past two years.I have found her to be a conscientious student who
has displayed considerable talent in this area of study. She researches her
ideas thoroughly and her designs are individual, creative and she thinks
outside of the square.
is also able to put her designs in to practice,
consistently demonstrating an eye for detail.
is a keen, enthusiastic young lady who is very conscientious in her
work habits and always gives of her best in all the tasks she undertakes. She is a
diligent student who consistently meets given deadlines through good time
management and an ability to work independently.
seeks excellence
in her work and will persevere with a task until it reaches the standard she desires.
is trustworthy, honest, reliable and punctual. She displays a positive
attitude and has a tidy appearance.
has a sound relationship with her
peers and her teachers demonstrating good verbal and written communication skills.
Orewa College
REFERENCE
9th September 2014
John Lee
Art Design Teacher
Orewa College
76 Riverside Road
Orewa 0946
(09) 427 3833
Re: Bachelor of Fashion Design applicant
To Whom It May Concern:
It is a privilege that I am writing a letter of recommendation for my student,
for admission
to the Bachelor of Fashion Design programme. I am the Art Design teacher of Orewa College and I
have taught
for this year.
is a mature and dedicated student who sets high expectations for herself. Her excellent
work ethic in Art Design class and her design work displays her passion in fashion design.
At the beginning of this year, the class project was to design a series of magazine covers and spreads.
This project required students to generate their own original photographs to suit their magazine
genre.
fashion magazine covers and spreads have displayed her courage and initiative to
take risk in experimentation with typography, layers and different compositions. It also showed her
understanding of the fundamental principles of good graphic design.
I would highly recommend
for the Bachelor of Fashion Design programme, which she
wishes to pursue.
is an exceptional student with much to contribute and who will no doubt
to be a valuable asset to your university.
Kind Regards,
John Lee
B. Des (Graphic), Dip Tchng
Art Design Teacher
Orewa College