Monthly Archives: March 2014
Step 4: Prototyping (Print)
The production process and raw materials used at Tulisan is thoroughly evaluated with proper research and development to comply with the Sustainable Design Principles – a design standard emphasizing environmental preservation by reducing carbon footprint.
While the initial process of illustrating is spontaneous, full of character, and would capture emotions and stimulate the imagination, the composition of the prints must always be manually developed to become the patterns for textile.
This art form is taken from the ‘Originals’ editions where each element is manually transformed to become a textile pattern. In order to keep up with Sustainable Design Principles, the patterns must be maximized and be able to fulfill the anagram concept, a perspective play on patterns, having it rearranged in various ways to have it face one direction only.
By avoiding the usage of a pattern making software, each step in Tulisan is done organically without technical measurement which reduces flexibility and make it too rigid for cutting and change.
Before applying the pattens on the materials, Melissa [Sunjaya] would continuously experiment with texture, shapes, and penmanship before the patterns are printed on a rotary machine which applies the latest technology called ‘reactive dye’ – a method where the dyes is absorbed to the material’s surface to produce vivid colors that withstands any weather conditions.
– Tulisan Chronicles Team
As a brand, Tulisan always tries to find the middle ground in bridging tactile work of art and its counter digital format. As much as possible, we always find a way to incorporate the love for traditional production methods in every step of Tulisan’s artwork. Thus, paper with its weight, texture, and printing methods are often a point of discussion at the office.
In the following exhibition held at Dia.lo.gue artspace titled “The Weight of Weightlessness: Rhymes and Rhythms of Paper,” three Bandung-based artist, Prilla Tania, Irfan Hendrian, and Ivana Stojakovic, expose us to experience the symbolic love they have for paper.
In their body of work, the three artists experiment with the heaviness and lightness of paper, often pushing their techniques to the extreme, they cut, shred, re-assemble, print or paint over their canvas paper before forming them into new forms visible seen in the art space.
Deconstruction of ideas and methods become the main theme of their work, showing us visitors the various compositions paper can bring to life. Whether it is structured heavily with weight or kept light through its texture, we understand paper has transformative characteristics leaving us astound by its capability to influence an overall sensory experience.
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– Athina Ibrahim
Step 3: Research and Development
If the first two creative steps involve in creating the basis and content of the artwork. Proper research and development pushes the collected idea into the ideal visual representation and clearly defines the achievable objective. Each step has its own challenges. Starting from making the patterns work, selecting the right color, designing the bags and preparing the technical drawings for the factory before having the designs improved over and again until the designers are finally convinced with the outlook.
To understand step three in greater detail, we interviewed product designer and Tulisan’s design consultant, Weina Ding on the exploration of product development and how trend forecasting plays an important role in making Tulisan’s artwork stand on its own.
Can you briefly explain, based on your experience, what are the basis of fashion trend forecasting?
The trend forecasting is not only about fashion. It is a bit like alchemy — you are looking for the elements in trying to make something. Not one person says “this is the next trend” or “this is how it will be,” there are many analysis and reports involved and people who specialize on that. They generally investigate what is going on in the world, culturally, artistically, and through technology also.
After the research is made, they can forecast future projection. Where a social phenomenon can lead us in the next few years. The more advance specialist can make a forecast for the next five years.
Who are these groups of people and how do they make their analysis?
It is a big operation. You have a group of people who specialize in this basis of observation. For example, right now, 3D printing is very popular in terms of its technology. Before when people wanted to make something they have to make a mold of the ceramics they are working on and making that requires you to go to a factory. Now, it is accessible to be done at home. This liberates the production processes for a lot of designers. It then becomes a new tendency. In the future, 3D printing is going to be affordable.
Moreover, there are also a lot of digitalized information available, so how people react to it would affect people in the artistic sense which can inspire trends. New aesthetics often develops based on the development of the culture.
If you are a trend forecaster, do you need to always be very aware of what is going on around you?
Yes. They need to be very aware of every social, economic, or artistic development. A lot of it is also based on the intuition of the specialist. They have to have good sensitivity and to be good in overlooking what is going on. A sense of the bigger picture, because you are looking forward.
And this forecast is done annually?
The aim is to do it seasonally. Normally, it is done two years in advance. The clients who pay for this information need to be convinced that these projections would occur two years ahead.
It acts like a pyramid, you have the trend forecasting which is trickled down to all these retail space, but I am not talking about big brands because normally these brands already have good designers with their analysis and intuition. I am talking about fashion-related brands on the mid-range to start-up levels often receiving information on this trend forecasting. The process involved is not black and white, only receiving information and digesting it. They receive the materials and take it as an advisor. They do not put direct use to it, inside their company structure the designer has to be aware and make their own element.
From the very deliberate trend forecasts, how do you select the elements and make sure they still appear to showcase Tulisan’s characteristics?
The simplest idea can be in the form of taking color trends. We do not necessarily have to copy the exact trends but we take it as references.
We need to adapt it to the Tulisan brands. For example, in Tulisan, Melissa [Sunjaya] does a lot of illustrations. These illustrations become the base element of the brand. How the elements are chosen are often based on intuition, picking something which is fresh and nice, and we then have to observe what is out there.
The narrative of the pattern is a big part of Melissa’s illustration, and how to bring that out to make it original and bring out Tulisan’s characteristic. There are many ways to make this interesting or inspiring. It could be organic forms or even a story background – there are countless of elements to be taken. You take what you can and see what works and what does not and that is based on our judgment. It is a tool that every designer must have. You need to have that intuition. It is not something people can tell you.
There is no exact formula, a lot of times it is experience, Melissa has many years of experience as a designer, there is a mental note of the observation and trends she sees and gathers. When you start working it may seem like an abstract way of working but it really shows into the work produced.
Does every designer need to have an aim in picking the elements they want to take in their designs?
Melissa definitely has her own vision because she understands the brand inside and out, through that she can bring other inputs to see how she can improve it, but she has a goal in what she wants to achieve.
In talking about trend forecasting, most of this projection is happening on a global level. How is this project scaled down and made relevant to a local level?
The design team is part of the work. You also have the marketing team and sales, especially if you are running a retail space. Each role is important. It is important for the shop manager to know how to display the shop, so a little marketing plays to that as well and they need to also be aware about what product is selling and what is not. He/she has to be keen on customer’s behavior. His/her intuition and opinion values a lot and works for all retail space.
Suppose you have a shop based here and a branch based in Paris and you have different kind of reports from the sales manager, you can retrieve information on what products are selling in each distribution point. That is how the products become localized. You also have the marketing team and buyers, what elements work for customers on a local level. This has great influence on the design process. If you have the right system with the keen sense of alertness and awareness of each team member, everything becomes interconnected and every aspect can then translate to a local level.
When do you know when a design has achieved your desired result? When do you stop?
You can modify it and change it constantly. But we all have limited situations, for example, time, not everyone has endless time to develop a product, if not you would not have any products in the shop. You need to have a dedicated goal and deadline. Timing is important to be calculated. When you need to develop a product and when you want to deliver it into the stores.
We are not reaching for perfection but the best result in the given time. The other challenges lies in the timing of the production process, suppose you want a particular zipper with matching color to the bag you designed, to order that to the factory requires waiting time and you also need to consider buying it in minimum quantity, even though you wanted to have it for sample first. So you have to see what you can do with the best, maybe you can not have a particular trimming, so timing and financial constraints can also be a challenge.
Do you think it looses the instinctive process and originality of the artist when one says trend forecasting makes a brand too commercial?
I think every designer has to be aware of what is going on, even though you do not necessarily have to make use of everything you receive. Originality is very objective nowadays. True originality is very diffused. It is not so important because it does not mean you have to do something that has not been done before. You can take a complimentary source of elements and in the end infuse it with your personal touch. It is not about being the most original of all. It is not relevant nowadays, it is important to retain the characteristics of your brand. Trend forecasting is mainly the knowledge you must posses.
– The Tulisan Chronicles Team
Breakfast on Tuesday. 8:14 a.m. Warm toast. Salted butter. Milk forming lazy swirls atop the dark coffee in my cup. The butter takes precisely 1 minute 47 seconds to dissolve into a salty puddle (which is just the way I like it).
These are the little things that you begin to take notice of after reading Georges Perec’s Species of Spaces and Other Pieces. This book is a collection of the author’s essays and articles translated from his native French into English. Even in its translated state each passage retains the author’s signature word play and his passion for the artifacts and instances that form and inform the everyday experience.
It is perhaps no surprise that a man who held a full-time job as an archivist in a science laboratory for all but a few years of his adult life would be infatuated with observing and classifying what he encounters. What is surprising is that this same man was a key member of the OUvroir de LItterature POtentielle (commonly referred to as OuLiPo). This collective of writers and mathematicians focused on word games and the use of formal constraints in literature, a practice that Perec wrote about with a deft gift for examining the mundane (or infra-ordinary as he would say) and extracting meaning from its seemingly drab façade.
Perec’s writing grapples mainly with examining, questioning, and occasionally solving life’s micro mysteries. He writes:
“To question the habitual. But that’s just it, we’re habituated to it. We don’t question it, it doesn’t question us, it doesn’t seem to pose a problem, we live it without thinking, as if it carried within it neither questions nor answers, as if it weren’t the bearer of any information. This is no longer even conditioning, it’s anesthesia. We sleep through our lives in a dreamless sleep.”
To avoid this dreamless sleep, Perec urges his readers to fully and thoughtfully examine their everyday habits and surroundings. By perpetually observing, questioning, comparing, and analyzing what we take for granted, we learn about ourselves as individuals as well as a society. To help the process along throughout the text he offers up several simple exercises. With each assignment the author advocates you to “force yourself to see more flatly” for in doing so you are able to detect and deduce more information. Where the eyes and mind are more attracted to the grandiose, out-of-the-ordinary, salacious, attractive and/or unusual, this is not where essential information is established or where fundamental questions are initiated.
It’s a refreshing perspective that transforms the backdrop to our lives into the stage on which we dwell. It’s no wonder that Kerri Smith, author of the wildly popular interactive journals, Mess, Wreck this Journal, and Tear Up This Book (among others) has listed Perec’s Species of Spaces and Other Pieces as one of her all time favorite books. It’s at once avant-garde and very down to earth. Georges Perec manages to pair the cogent sensibilities of an adult with the precious imagination of a child, all the while encouraging his readers to do the same.
So, in the spirit of the book I have an assignment for you. Don’t worry, you won’t be graded! I ask that you take a perfectly timed ten minutes to sit somewhere in public (on the steps outside your apartment, in a coffee shop, on a bench in a mall) and document every single sound you hear. For extra credit you can classify the noises you hear into arbitrary categories of your own design. Most importantly after paying full attention to what would otherwise go unnoticed, what did you come away with?
**Up next from our bookshelf: Born Under a Lucky Moon: A Novel by Dana Precious. Let’s delve into this engaging and quirky story of family, love, scandal, and new beginnings!
We are all currently swooning of all the ways we are gonna wear these! They are a perfect accessory to spice up an outfit, for a day when you just don’t have time to do your hair, need a quick way to cover it all up and look awesome at the same time, OR for that awesome vacation you’re planning!
If you can’t make it to the store, don’t forget we have FREE Delivery in Indonesia! Just send us an email to firstname.lastname@example.org!
Here at Tulisan, our coffee ritual is on the verge of sacred. Like clockwork, every morning, lunch and afternoon, someone is basking in their coffee, and like fingerprints, and snowflakes, the art, and preparation is different for all of us. Between Nescafe, Nespresso, Starbucks and Ibu Didi’s Bali Coffee, it’s everywhere.
That said, hands down one of our favorites is Anomali Coffee, Kopi Asli Indonesia. We all have an Anomali love story, of our first love at first sip.
Anomali’s goal and title, Kopi Asli Indonesia, aims to present Indonesian coffee to the world. From a brand taking its’ inspiration from Indonesia’s vibrant culture, and geography and with the same goal, introducing what Indonesia has to offer to the world, Anomali is one more muse, and reason for us to be proud. Although Indonesia is the 4th largest producer of coffee in the world (and 3rd for Robusta), countries like Ethiopia and Costa Rica are still one of the first choices for a cup of Java (hello! JAVA, like Javanese, like the Indonesian Island, perhaps it’s just me but it wasn’t until I came here that it clicked). Because Indonesia is known most for it’s Robusta coffee, it is assumed that Indonesia does not have high quality Arabica varieties to offer. Anomali is out to set this story straight.
With their brick covered walls crawling with ivy, warm lighting, funky vintage chairs and tables, the sack covered trays, and their beautiful packaging, it’s really just the perfect place to go to work, for a business meeting, to think, read a book or just daydream.
Let’s not forget the mention the most IMPORTANT part. We just go ga-ga over the quality of the coffee. Their baristas go through an extensive training, and their single origins are truly decadent and just SO smooth. Just like a fine wine, you truly taste all the notes from each variety, and it’s genuine to the legendary deep body and low acidity attributed to Indonesian coffee. Not to mention, the coffee is roasted onsite. I lived in Seattle, one of the coffee drinking capitals of the world, home the the infamous Starbucks, and it wasn’t until Anomali, that I became hooked.
Until the next time, we’ll be daydreaming & people watching over our cup of coffee.
PS. There are a few other wonderful Indonesian Coffee companies with similar missions of promoting high-quality, sustainable Indonesian coffee. Below there are a few links of some of them!