計算機視覺筆記本推薦

The Mishti Notebook is a project close to my heart, wherein I experimented with screen printing techniques at the Print Labs at the National Institute of Design, Ahmedabad. Dating back to the year 2012 when the NID Print Labs was first officially established with its unique branding. All the pictures of these wonderful sweets would make me extremely hungry during the research phase.

Mishti Notebook是一個貼心的項目，我在艾哈邁達巴德國家設計研究院的Print Labs中嘗試了絲網印刷技術。 NID Print Labs以其獨特的品牌首次正式成立可以追溯到2012年。 在研究階段，所有這些精美糖果的圖片都會使我極度饑餓。

My mentor was the Head of Department of Graphic Design, at NID, Prof. Tarun Deep Girdher, an excellent human being whose work ethic, process, and discipline influence me deeply every day.

我的導師是NID平面設計系主任Tarun Deep Girdher教授，他是一位出色的人，他的職業道德，流程和紀律每天都對我產生深遠的影響。

It also involved illustrations done specifically for screen printing based on the culture of ‘sweets’ or ‘mishtis’ that are so famous in Bengal. The final outcome was cream-papered notebooks that were screen printed and designed to showcase the myriad forms of sweets of Bengal.

它還包括了在孟加拉國非常有名的“甜味”或“米斯蒂斯”文化基礎上專門為絲網印刷而制作的插圖。 最終的結果是絲網印刷的奶油紙質筆記本，旨在展示孟加拉國各種各樣的糖果。

學習范圍 (Scope to Learn)

Illustration, Screen Printing, Forms, Cultural Connections

插圖，絲網印刷，表格，文化聯系

介紹 (Introduction)

In the design project, I wanted to understand the process of screen printing and the development of artworks in accordance with the constraints of screen printing. Also, I intended to choose a topic that had a strong cultural connection with Bengal so that I could explore the cultural connections of my State.

在設計項目中，我想根據絲網印刷的限制條件來了解絲網印刷的過程和藝術品的開發。 另外，我打算選擇一個與孟加拉國有著深厚文化聯系的話題，以便探討我所在國家的文化聯系。

To try and understand the rich illustration forms of the sweets of Bengal. Finding connections between sweets in the rich literary collections of children’s fantasy folk tales and the films of Bengal.

嘗試了解孟加拉糖果的豐富插圖形式。 在豐富的兒童奇幻民間故事文學作品中與孟加拉電影之間找到聯系。

項目建議書 (The Project Proposal)

It was very important to have a proposal ready before any project. I realized this mapped to proposals or pitch decks for clients and organizations when I started working in the real world. Being a graphic design student, the layout and alignment had to be perfect along with real thought and words.

在任何項目之前準備好提案是非常重要的。 當我開始在現實世界中工作時，我意識到這已映射到客戶和組織的建議書或宣傳材料。 作為一名平面設計專業的學生，??布局和對齊方式必須與真實的思想和文字完美結合。

Constructing a design project proposal制定設計項目建議書

研究 (Research)

I started with brainstorming on the theme of the illustrations by reading various books and having visual references of famous Bengali magazine covers like Sandesh magazine, a magazine for children with unique stories visually rich illustrations. I also viewed famous films of Bengal by the master film-maker Satyajit Ray where mishtis (sweets) played an important role.

首先，我通過閱讀各種書籍并以孟加拉語著名雜志的封面(如Sandesh雜志)作為視覺參考，集思廣益，以插圖為主題，該雜志專為有獨特故事的兒童提供插圖豐富的插圖。 我還觀看了電影制片人薩蒂亞吉特·雷(Satyajit Ray)制作的孟加拉著名電影，其中米斯蒂斯(甜食)起著重要作用。

Movies like Pather Panchali (Song of the Little Road), Gupi Gyne Bagha Byne (the most striking children’s movie with elaborate sets and costumes way before VFX) had been instrumental in my inspiration process.

像Pather Panchali(《小路之歌》)，Gupi Gyne Bagha Byne(在VFX之前制作最精美的布景和服飾的兒童電影)在我的創作過程中發揮了重要作用。

Moodboard and Research based on the influence of sweets in Bengali literature, films, children's stories,基于孟加拉語文學，電影，兒童故事，

藝術品主題 (Artwork Themes)

01.用甜美的形式探索模式 (01. Exploring Patterns with Sweet Forms)

Inspired by fractal art, I tried exploring the circular grid, wherein different forms of sweets were arranged in repetition to create illusions and textures. The forms of the sweets included nolen gurer sandesh (a sweet made of freshly procured winter jaggery) and molded with conch shell (shankha) shapes to emulate prosperity. Lengcha (oblong-shaped fried sweets) along with gulab jamuns (deep-fried and round) lavang latika (a sweet stuffed with khoya and sealed with a clove, with the outer shell fried in sugar syrup) and many more.

受分形藝術的啟發，我嘗試探索圓形網格，其中重復排列了不同形式的糖果，以創造幻覺和質感。 糖果的形式包括nolen gurer sandesh(一種由新鮮采購的冬季粗糖制成的糖果)，并用海螺殼(shankha)形狀模制而成，以模仿繁榮。 Lengcha(長方形的油炸甜點)以及gulab jamuns(油炸和圓形)lavang latika(一種用khoya餡并用丁香密封的糖果，外殼用糖漿炸制)等等。

Bengal has a wide variety of stunning sweets ad forms孟加拉有多種精美的糖果廣告形式 Forms and Patterns of Sweets糖果的形式和樣式

Learning for Screen Printing: The detailed pattern cannot be printed because of the intricacy. The design is too detailed to be printed on the mesh of screens.

學習絲網印刷：由于復雜，無法打印詳細的圖案。 該設計過于詳細，無法在絲網上打印。

02.探索電影《 Pather Panchali》(小路之歌)中的糖果 (02. Exploring Sweets in Films like Pather Panchali (Song of the Little Road))

‘Pather Panchali’, made in 1955, also known as the ‘Song of the Little Road’ is a beautifully woven film by the master filmmaker Satyajit Ray. Here I thought of exploring a famous scene of Pather Panchali, wherein the Moira (sweet seller) visits the distant village of Nischindipur.

1955年制作的“ Pather Panchali”(也稱為“小路之歌”)是由電影大師薩蒂亞吉特·雷(Satyajit Ray)精心編織而成的電影。 在這里，我想到了探索Pather Panchali的著名景點，其中Moira(甜美的賣家)參觀了遙遠的Nischindipur村莊。

The village is the abode of the protagonists of the film Apu and Durga both brother and sister who belong to an impoverished family and cannot afford to buy sweets no matter how delicious they are to taste. The scene shows the brother-sister duo following the sweet seller through a dense forest before he enters a palatial bungalow of an affluent family to sell sweets. Watch the sweet seller scene from Pather Panchali here.

該村莊是影片Apu和Durga的兄弟和姐妹的住所，他們都是一個貧窮的家庭，無論口味如何美味，都買不起糖果。 場景顯示，兄弟姐妹二人跟隨甜蜜小販穿過茂密的森林，然后進入富裕家庭的富麗堂皇的平房出售甜食。 在此處觀看Pather Panchali的甜蜜賣家場景。

Learning for Screen Printing: More the colors more time needed for perfect registration and accuracy.

學習絲網印刷：獲得更多的色彩需要更多的時間來實現完美的套準和準確性。

Scene of the sweet seller from the film ‘Pather Panchali’, Song of the Little Road, 1956電影“ Pather Panchali”中的甜蜜賣方場景，《小路之歌》，1956年 Screen Printing Illustration Iterations: too many colors for a small screen print batch絲網印刷插圖迭代：對于一小批絲網印刷，顏色太多 Screen Printing Illustration Iterations: a more optimized output for a 3 color screen絲網印刷插圖迭代：針對3色屏幕的更優化的輸出 Screen Printing Illustration Iterations: a more optimized output for a 3 color screen絲網印刷插圖迭代：針對3色屏幕的更優化的輸出

03.在兒童中探索糖果像古比·蓋恩·巴格·拜恩這樣的奇幻電影 (03. Exploring Sweets in Children Fantasy Films like Gupi Gayen Bagha Bayen)

Gupi Gayen Bagha Bayen Part 1: In this movie, the climax is a war scene between two kingdoms and the two main protagonists of the movie i.e Gupi and Bagha stop the war with their magical powers by making roshogollas rain from the sky. Watch the scene from the movie here.

Gupi Gayen Bagha Bayen第1部分：在這部電影中，高潮是兩個王國之間的戰爭場面，而電影的兩個主要主人公，即Gupi和Bagha通過使roshogollas從天上下雨來停止其戰爭。 在這里觀看電影中的場景。

Learning for Screen Printing: This was an achievable artwork on screen as it used 3 colors: orange, green, and black. The content of the illustration was vague since the context could only be understood by Bengalis who have seen this famous film. Hence, a more general artwork concentrating on the forms of the mithai’s were to be taken into consideration.

學習絲網印刷：這是可在屏幕上完成的圖稿，因為它使用了三種顏色：橙色，綠色和黑色。 插圖的內容含糊，因為只有看過這部著名電影的孟加拉人才能理解背景。 因此，應考慮更普遍的藝術品，重點關注三hai的形式。

The scene from the movie Goopi Gyne Bagha Byne where roshogolla sweets fall from the sky to stop an impeding war電影Goopi Gyne Bagha Byne中的場景，其中roshogolla糖果從天而降，以阻止一場戰爭 Goopi Bagha Process SketchesGoopi BaghaCraft.io草圖 Vectorising the sketches矢量化草圖

04.在希爾·普圖爾探索糖果 (04. Exploring Sweets in Khirer Putul)

Khirer Putul is a children’s fantasy novel written by Shri Abanindranath Tagore in 1896. It is a simple and touching tale about the sugar doll, the fate of Duorani and a tricky and extraordinary monkey. I sketched out some illustrations from some scenes in the story.

Khirer Putul是兒童幻想小說，由Shri Abanindranath Tagore于1896年撰寫。這是一個簡單而動人的故事，講述了糖娃娃，Duorani的命運和棘手且非同尋常的猴子。 我從故事中的某些場景中勾勒出一些插圖。

Process Sketches: Duo Rani (Elder Quee) from Khirer Putul making a doll from sweet kheerCraft.io草圖：Khirer Putul的Duo Rani(老奎爾)用甜甜的kheer制作了一個洋娃娃 Process Sketches. Left: Duorani Elder Quee trying to be poisoned. Right: Goddess Shashti gulping down the doll made of kheer.Craft.io草圖。 左：Duorani Quee長老試圖中毒。 右：Shashti女神吞噬了由kheer制成的洋娃娃。

05.在杜爾加·普亞(Durga Puja)(Bijoya Dashami / Dussehra)等節日中探索糖果 (05. Exploring Sweets in Festivals like Durga Puja (Bijoya Dashami/Dussehra))

Vijayadashami, also known as Dasara, is one of the most important festivals celebrated in various forms, across India, Nepal, and Bangladesh. Dasara/ Dussehra is derived from Sanskrit Dasha-Hara meaning “remover of bad fate” meaning remover of ten heads of Ravana’s >??? why mention meaning two times. It is also referred to as Navratri and Durgotsav. It is also written as Dashahara, Dussehra. I wanted to concentrate on the activity wherein married ladies feed the Goddess sweets to seek her blessings and bid her goodbye so that she can come back next year.

Vijayadashami，也稱為Dasara，是印度，尼泊爾和孟加拉國以各種形式慶祝的最重要的節日之一。 Dasara / Dussehra源自梵語Dasha-Hara，意為“命運的覆滅”，意為去除Ravana十個腦袋的主角。 為什么要提兩次意思。 它也被稱為Navratri和Durgotsav。 它也被寫成達沙哈拉，杜塞拉。 我想集中精力從事已婚女士喂女神糖果的活動，以尋求她的祝福并告別她，以便明年再回來。

Learning for Screen Printing: 2 color screen print experiment is possible.

學習絲網印刷：可以進行2色絲網印刷實驗。

Durga Pujo: Sweets of Bijoya Dashami, bidding goodbye to the Goddess o the last day杜爾加·普茹(Durga Pujo)：比茹亞·達沙米(Bijoya Dashami)的糖果，在最后一天向女神告別 Process Sketches of Goddess Durga女神杜爾加Craft.io草圖

06.最終藝術品：從孟加拉國探索米什蒂形式 (06. Final Artwork: Exploring Mishti Forms from Bengal)

At the final stage, I concentrated to work on artworks wherein the interesting and varied FORMS of the mishtis come out and grab the attention of the users. So I used a Rotring pen and black ink on normal cartridge paper.

在最后階段，我集中精力從事藝術品的研究，其中有趣的，各種各樣的雜燴形式出現，并吸引了用戶的注意。 因此，我在普通墨盒紙上使用了Rotring筆和黑色墨水。

The following was the result of the initial artwork that I had scanned. Initially, I thought I will keep the border as black, but after having a review with Tarun, he suggested me to make the color palette more warm and appealing and take out the taste and form of the sweets. So I decided to change the outline color of the forms of sweets to a reddish-brown.

以下是我掃描的最初作品的結果。 最初，我以為邊框會保持黑色，但在與塔倫(Tarun)進行審查后，他建議我使調色板更加溫暖和誘人，并去除糖果的味道和形式。 因此，我決定將糖果形式的輪廓顏色更改為紅棕色。

Learning for Screen Printing: 3 color screen print experiment with a special process of spot UV.

絲網印刷的學習：3色絲網印刷實驗，具有特殊的斑點UV處理。

The final artwork最終作品

分色：為絲網印刷帶來正面 (Color Separation: Making positives for Screen Printing)

The Final Artwork is a 3 color file for screen printing. Notice the yellow, orange, and maroon colors as 3 separate screens. Bharat Bhai from NID Print Labs helped me a lot to separate the files. In screen printing since colors are printed singly, one on top of the other, so 3 files need to be given to the printers to develop positives. Positives for screen printing are transparent films on which the artwork is printed (each color separated) so that it can be exposed for the screen later for screen printing.

最終作品是用于絲網印刷的3色文件。 注意黃色，橙色和栗色作為3個單獨的屏幕。 NID Print Labs的Bharat Bhai幫助我在分離文件方面起到了很大作用。 在絲網印刷中，由于顏色是單獨印刷的，一種是一種在另一種之上，因此需要給打印機提供3個文件以形成正片。 絲網印刷的正片是透明膠片，上面印有藝術品(每種顏色分開)，以便稍后可以將其曝光以用于絲網印刷。

Learning for Screen Printing: Colour separation for artworks and handing over the correct files to the printers with an accurate resolution to develop positives for screen printing.

學習絲網印刷：對藝術品進行分色，并以正確的分辨率將正確的文件移交給打印機，以開發出絲網印刷的正片。

Separating the colors and screens分離顏色和屏幕

制作筆記本的底紙 (Making Endpapers for the notebooks)

To add more context, I included a short purpose of the project on the endpapers along with the artwork and colophon. I designed artworks for the endpapers and experimented with printing them on colored sheets matching the cover papers.

為了增加上下文，我在端紙上包括了該項目的簡短目的，以及藝術品和可可紙。 我為底紙設計了藝術品，并嘗試將它們印刷在與封面紙相匹配的彩色紙上。

The endpapers were digitally printed to be inserted into the notebooks.

將底紙數字化打印以插入筆記本中。

Endpapers for the notebook to give it more context筆記本的底紙可以提供更多背景信息 Printing and binding in process進行打印和裝訂

標簽迭代 (Label Iterations)

Some label iterations for the designs設計的一些標簽迭代

印刷制作 (Print Production)

Having the positives ready, I worked with NID Print Labs for exposing the screens and the for printing the first color: the yellow of the artwork. I want to especially thank Tarun and the entire team at N.I.D. Print Labs, Paldi, Ahmedabad ( Shirish Bhai, Bharat Bhai, Patel Bhai, Sachin, Hardik, Sandeep) for the production to be possible and my first-hand knowledge in screen printing. The entry of new printing machines into the print labs after ages was a true blessing and a continued effort of the graphic design faculty. As Tarun said, that it’s a blessing so use it responsibly.

準備好底片后，我與NID Print Labs一起工作，以曝光屏幕并打印第一種顏色：藝術品的黃色。 我要特別感謝塔倫(Tarun)和艾哈邁達巴德帕爾迪市NID Print Labs的整個團隊(Shirish Bhai，Bharat Bhai，Patel Bhai，Sachin，Hardik，Sandeep)，因為他們能夠進行生產并擁有我在絲網印刷方面的第一手知識。 久而久之，新的印刷機進入印刷實驗室是圖形設計學院的真正祝福和不懈的努力。 正如塔倫(Tarun)所說，這是一種祝福，因此請負責任地使用它。

Testing out colors for the screen printing process測試絲網印刷過程中的顏色

Screen printing essentially involves 4 simple steps:

絲網印刷實質上包括四個簡單步驟：

1. Exposing the Screen.

1.暴露屏幕。

2. Mounting the screen.

2.安裝屏幕。

3. Checking for perfect registration.

3.檢查完善的注冊。

4. Printing with the squeezy.

4.擠壓打印。

MIXING THE ORANGE INK: The ink contained in the orange tin (Sana inks) available, right behind Shree Darshini ( NID’s favorite South Indian eating joint) at base of Ellis Bridge, was too dark for the color I was looking at. So we mixed Sana Yellow + Sana Orange to get the desired shade.

混合橙色墨水：在Ellis Bridge底部的Shree Darshini(NID最喜歡的南印度飲食接口)后面的可用橙色錫(Sana墨水)中包含的墨水對于我正在查看的顏色來說太暗了。 因此，我們將Sana Yellow + Sana Orange混合在一起以獲得所需的陰影。

The trick to getting the right orange (lighten) was to add yellow to the orange and not the other way around.

獲得正確的橙色(變亮)的技巧是在橙色中添加黃色，而不是相反。

圖片印刷 (Print Production in Pictures)

Screen Setting

屏幕設定

Clamping the Squeezy

夾緊擠壓

Checking Registration

檢查注冊

Cleaning the Screen for the first application of yellow color

第一次使用黃色時清潔屏幕

Application of first yellow ink onto the screen

將第一種黃色墨水施加到屏幕上

Mixing the orange inks for the perfect color

混合橙色墨水以獲得完美的色彩

Application of the darkest maroon ink on the screen

屏幕上最暗的栗色墨水的應用

Checking for the perfect registration

檢查完美的注冊

Printed covers drying on racks

印刷的封面在架子上干燥

點狀UV印刷 (Spot UV Printing)

I decided to use the same screen for the dark brown ink for the spot UV printing as this was the last effect for the cover. The gloss UV ink added a shine to the cover of my notebooks. The transparent gloss/ matte UV ink is great for accentuating areas in any artwork.

我決定對深棕色墨水使用相同的絲網進行點狀UV印刷，因為這是封面的最后效果。 光澤的UV墨水為我的筆記本封面增加了光澤。 透明的光澤/啞光UV墨水非常適合強調任何藝術品中的區域。

UV Inks. The availability of various UV inks in the market exudes various textures like ripple and grainy effects on paper and gives a shiny effect to specific print areas.

紫外線油墨。 市場上各種UV墨水的供應量都在紙張上散發出各種紋理，如波紋和粒狀效果，并為特定的打印區域提供光澤效果。

最終筆記本 (The Final Notebooks)

結論 (Conclusion)

The learnings from the Design Project were quite varied starting from time management to understanding various illustration techniques. Iterating multiple times across the design process from constructing artworks to actual execution of the prints were my key learnings. Various experiments of overprinting and spot UV techniques, understanding inks and registration as well as operating the machines at N.I.D Print Labs made this project really exciting.

從時間管理到理解各種插圖技術，從設計項目中學到的知識千差萬別。 從構造藝術品到實際執行版畫的整個設計過程中進行多次迭代是我的主要學習內容。 在NID Print Labs進行了套印和專色UV技術的各種實驗，了解墨水和套準以及在機器上進行操作，這使該項目非常令人興奮。

The opportunity of being the first student to be allowed to use the new screen printing machines that were installed at the N.I.D Print Labs was only possible due to the warm support of my guide Tarun Deep Girdher. I would like to thank all my graphic design classmates for their critical feedback and help of running around to buy papers and inks.

只有在我的指導Tarun Deep Girdher的大力支持下，才有可能成為第一位被允許使用NID印刷實驗室安裝的新絲網印刷機的學生。 我要感謝我所有的圖形設計同學的重要反饋，并感謝他們跑來跑去購買紙張和墨水。

Lastly a very big thank you to everyone at N.I.D Print Labs because of their immense help and support. Bharatbhai, Sirishbhai, Patelbhai, Sudarshanbhai, Sachin, Sandeep, and everyone else without whom this project would not have been possible.

最后，非常感謝NID Print Labs的每個人，因為他們提供了巨大的幫助和支持。 Bharatbhai，Sirishbhai，Patelbhai，Sudarshanbhai，Sachin，Sandeep以及其他所有沒有這個項目的人都是不可能的。

外賣與學習 (Takeaways & Learnings)

Hope this article is of help to anyone starting out with screen printing and illustration and wants to understand the design process more deeply. I re-surfaced this documentation from an old hard disk (this was from a time cloud services were not available for any storage). I am glad I could preserve the design process and the learnings. If you have a strong process then its more likely for you to get a more robust result or solution to the brief or problem. This project made me really confident about the digital to print translation.

希望本文對從絲網印刷和插圖入門開始的任何人有所幫助，并希望更深入地了解設計過程。 我從舊的硬盤上重新整理了此文檔(這是由于云服務無法用于任何存儲)。 我很高興能夠保留設計過程和學習經驗。 如果您的流程很強大，那么您更有可能針對摘要或問題獲得更可靠的結果或解決方案。 這個項目使我對數字印刷轉換充滿信心。

There are other things like cost and unit price involved when you do large scale projects and usually small print runs like this are only possible when you have a screen printing lab set up at home or at your educational institute. But when you have to deal with large scale branding projects, the knowledge of printing is crucial.

當您進行大型項目時，還涉及成本和單價之類的事情，通常只有在家里或您的教育機構中設有絲網印刷實驗室的情況下，這樣的小規模印刷運行才有可能。 但是，當您必須處理大型品牌項目時，印刷知識至關重要。

Procuring the right papers and inks from the streets was an enthralling experience. Cutting up large sheets to optimize for sizes and book covers from the paper stockers helped to minimize cost during my learning days. The running around across the streets of Ahmedabad to collaborate with the ink suppliers and paper suppliers shows that design is all about collaboration and understanding the process till the end job gets done. This is the richest way to learn.

從街上購買正確的紙張和墨水是一種令人著迷的體驗。 切大紙片以優化紙張儲藏器的尺寸和書籍封面有助于在我學習期間最大程度地降低成本。 在艾哈邁達巴德(Ahmedab??ad)的街道上四處奔走，與油墨供應商和紙張供應商進行協作，這表明設計的關鍵在于協作和理解過程，直到最終工作完成。 這是最豐富的學習方式。

Some of you might be wondering how this might help digital designers? For me, whether I am designing for digital or print, the design process is always more enriching than the end result. This is what I reflect on and learn by repeatedly iterating over time.

你們中有些人可能想知道這對數字設計師有何幫助？ 對我來說，無論我是為數字設計還是印刷設計，設計過程總是比最終結果更加豐富。 這就是我的反思，并隨著時間的推移反復反復進行學習。

Reflecting on how graphic design and print education will change during these testing times of the lockdown. How designers and clients can feel the tangible feeling of print that evokes emotions which is tough for a digital design to emulate.

反思在鎖定的這些測試時間內圖形設計和印刷教育將如何變化。 設計師和客戶如何感覺到印刷品引起的情感，這是數字設計難以模仿的。

For more projects and learnings, visit https://mrinalinisardar.com/. Drop me a message on Linkedin, Instagram, or Twitter to stay in touch.

有關更多項目和知識，請訪問https://mrinalinisardar.com/ 。 在Linkedin ， Instagram或Twitter上給我留言以保持聯系。

翻譯自: https://uxdesign.cc/the-mishti-notebook-87a055038e87

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