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是一个贴心的项目，我在艾哈迈达巴德国家设计研究院的Print Labs中尝试了丝网印刷技术。 NID Print Labs以其独特的品牌首次正式成立可以追溯到2012年。 在研究阶段，所有这些精美糖果的图片都会使我极度饥饿。

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.

我的导师是NID平面设计系主任Tarun Deep Girdher教授，他是一位出色的人，他的职业道德，流程和纪律每天都对我产生深远的影响。

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.

它还包括了在孟加拉国非常有名的“甜味”或“米斯蒂斯”文化基础上专门为丝网印刷而制作的插图。 最终的结果是丝网印刷的奶油纸质笔记本，旨在展示孟加拉国各种各样的糖果。

学习范围 (Scope to Learn)

Illustration, Screen Printing, Forms, Cultural Connections

插图，丝网印刷，表格，文化联系

介绍 (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.

在设计项目中，我想根据丝网印刷的限制条件来了解丝网印刷的过程和艺术品的开发。 另外，我打算选择一个与孟加拉国有着深厚文化联系的话题，以便探讨我所在国家的文化联系。

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.

尝试了解孟加拉糖果的丰富插图形式。 在丰富的儿童奇幻民间故事文学作品中与孟加拉电影之间找到联系。

项目建议书 (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.

在任何项目之前准备好提案是非常重要的。 当我开始在现实世界中工作时，我意识到这已映射到客户和组织的建议书或宣传材料。 作为一名平面设计专业的学生，​​布局和对齐方式必须与真实的思想和文字完美结合。

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，我通过阅读各种书籍并以孟加拉语著名杂志的封面(如Sandesh杂志)作为视觉参考，集思广益，以插图为主题，该杂志专为有独特故事的儿童提供插图丰富的插图。 我还观看了电影制片人萨蒂亚吉特·雷(Satyajit Ray)制作的孟加拉著名电影，其中米斯蒂斯(甜食)起着重要作用。

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饰的儿童电影)在我的创作过程中发挥了重要作用。

艺术品主题 (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.

受分形艺术的启发，我尝试探索圆形网格，其中重复排列了不同形式的糖果，以创造幻觉和质感。 糖果的形式包括nolen gurer sandesh(一种由新鲜采购的冬季粗糖制成的糖果)，并用海螺壳(shankha)形状模制而成，以模仿繁荣。 Lengcha(长方形的油炸甜点)以及gulab jamuns(油炸和圆形)lavang latika(一种用khoya馅并用丁香密封的糖果，外壳用糖浆炸制)等等。

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.

学习丝网印刷：由于复杂，无法打印详细的图案。 该设计过于详细，无法在丝网上打印。

02.探索电影《 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”(也称为“小路之歌”)是由电影大师萨蒂亚吉特·雷(Satyajit Ray)精心编织而成的电影。 在这里，我想到了探索Pather Panchali的著名景点，其中Moira(甜美的卖家)参观了遥远的Nischindipur村庄。

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.

该村庄是影片Apu和Durga的兄弟和姐妹的住所，他们都是一个贫穷的家庭，无论口味如何美味，都买不起糖果。 场景显示，兄弟姐妹二人跟随甜蜜小贩穿过茂密的森林，然后进入富裕家庭的富丽堂皇的平房出售甜食。 在此处观看Pather Panchali的甜蜜卖家场景。

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

学习丝网印刷：获得更多的色彩需要更多的时间来实现完美的套准和准确性。

03.在儿童中探索糖果像古比·盖恩·巴格·拜恩这样的奇幻电影 (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：在这部电影中，高潮是两个王国之间的战争场面，而电影的两个主要主人公，即Gupi和Bagha通过使roshogollas从天上下雨来停止其战争。 在这里观看电影中的场景。

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.

学习丝网印刷：这是可在屏幕上完成的图稿，因为它使用了三种颜色：橙色，绿色和黑色。 插图的内容含糊，因为只有看过这部著名电影的孟加拉人才能理解背景。 因此，应考虑更普遍的艺术品，重点关注三hai的形式。

04.在希尔·普图尔探索糖果 (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是儿童幻想小说，由Shri Abanindranath Tagore于1896年撰写。这是一个简单而动人的故事，讲述了糖娃娃，Duorani的命运和棘手且非同寻常的猴子。 我从故事中的某些场景中勾勒出一些插图。

05.在杜尔加·普亚(Durga Puja)(Bijoya Dashami / Dussehra)等节日中探索糖果 (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，也称为Dasara，是印度，尼泊尔和孟加拉国以各种形式庆祝的最重要的节日之一。 Dasara / Dussehra源自梵语Dasha-Hara，意为“命运的覆灭”，意为去除Ravana十个脑袋的主角。 为什么要提两次意思。 它也被称为Navratri和Durgotsav。 它也被写成达沙哈拉，杜塞拉。 我想集中精力从事已婚女士喂女神糖果的活动，以寻求她的祝福并告别她，以便明年再回来。

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

学习丝网印刷：可以进行2色丝网印刷实验。

06.最终艺术品：从孟加拉国探索米什蒂形式 (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.

在最后阶段，我集中精力从事艺术品的研究，其中有趣的，各种各样的杂烩形式出现，并吸引了用户的注意。 因此，我在普通墨盒纸上使用了Rotring笔和黑色墨水。

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.

以下是我扫描的最初作品的结果。 最初，我以为边框会保持黑色，但在与塔伦(Tarun)进行审查后，他建议我使调色板更加温暖和诱人，并去除糖果的味道和形式。 因此，我决定将糖果形式的轮廓颜色更改为红棕色。

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

丝网印刷的学习：3色丝网印刷实验，具有特殊的斑点UV处理。

分色：为丝网印刷带来正面 (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.

最终作品是用于丝网印刷的3色文件。 注意黄色，橙色和栗色作为3个单独的屏幕。 NID Print Labs的Bharat Bhai帮助我在分离文件方面起到了很大作用。 在丝网印刷中，由于颜色是单独印刷的，一种是一种在另一种之上，因此需要给打印机提供3个文件以形成正片。 丝网印刷的正片是透明胶片，上面印有艺术品(每种颜色分开)，以便稍后可以将其曝光以用于丝网印刷。

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.

学习丝网印刷：对艺术品进行分色，并以正确的分辨率将正确的文件移交给打印机，以开发出丝网印刷的正片。

制作笔记本的底纸 (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.

为了增加上下文，我在端纸上包括了该项目的简短目的，以及艺术品和可可纸。 我为底纸设计了艺术品，并尝试将它们印刷在与封面纸相匹配的彩色纸上。

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

将底纸数字化打印以插入笔记本中。

标签迭代 (Label Iterations)

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.

准备好底片后，我与NID Print Labs一起工作，以曝光屏幕并打印第一种颜色：艺术品的黄色。 我要特别感谢塔伦(Tarun)和艾哈迈达巴德帕尔迪市NID Print Labs的整个团队(Shirish Bhai，Bharat Bhai，Patel Bhai，Sachin，Hardik，Sandeep)，因为他们能够进行生产并拥有我在丝网印刷方面的第一手知识。 久而久之，新的印刷机进入印刷实验室是图形设计学院的真正祝福和不懈的努力。 正如塔伦(Tarun)所说，这是一种祝福，因此请负责任地使用它。

Screen printing essentially involves 4 simple steps:

丝网印刷实质上包括四个简单步骤：

1. Exposing the Screen.

1.暴露屏幕。

2. Mounting the screen.

2.安装屏幕。

3. Checking for perfect registration.

3.检查完善的注册。

4. Printing with the squeezy.

4.挤压打印。

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最喜欢的南印度饮食接口)后面的可用橙色锡(Sana墨水)中包含的墨水对于我正在查看的颜色来说太暗了。 因此，我们将Sana Yellow + Sana Orange混合在一起以获得所需的阴影。

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

获得正确的橙色(变亮)的技巧是在橙色中添加黄色，而不是相反。

图片印刷 (Print Production in Pictures)

Screen Setting

屏幕设定

Clamping the Squeezy

夹紧挤压

Checking Registration

检查注册

Cleaning the Screen for the first application of yellow color

第一次使用黄色时清洁屏幕

Application of first yellow ink onto the screen

将第一种黄色墨水施加到屏幕上

Mixing the orange inks for the perfect color

混合橙色墨水以获得完美的色彩

Application of the darkest maroon ink on the screen

屏幕上最暗的栗色墨水的应用

Checking for the perfect registration

检查完美的注册

Printed covers drying on racks

印刷的封面在架子上干燥

点状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.

我决定对深棕色墨水使用相同的丝网进行点状UV印刷，因为这是封面的最后效果。 光泽的UV墨水为我的笔记本封面增加了光泽。 透明的光泽/哑光UV墨水非常适合强调任何艺术品中的区域。

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.

紫外线油墨。 市场上各种UV墨水的供应量都在纸张上散发出各种纹理，如波纹和粒状效果，并为特定的打印区域提供光泽效果。

最终笔记本 (The Final Notebooks)

结论 (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.

从时间管理到理解各种插图技术，从设计项目中学到的知识千差万别。 从构造艺术品到实际执行版画的整个设计过程中进行多次迭代是我的主要学习内容。 在NID Print Labs进行了套印和专色UV技术的各种实验，了解墨水和套准以及在机器上进行操作，这使该项目非常令人兴奋。

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.

只有在我的指导Tarun Deep Girdher的大力支持下，才有可能成为第一位被允许使用NID印刷实验室安装的新丝网印刷机的学生。 我要感谢我所有的图形设计同学的重要反馈，并感谢他们跑来跑去购买纸张和墨水。

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，非常感谢NID Print Labs的每个人，因为他们提供了巨大的帮助和支持。 Bharatbhai，Sirishbhai，Patelbhai，Sudarshanbhai，Sachin，Sandeep以及其他所有没有这个项目的人都是不可能的。

外卖与学习 (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.

希望本文对从丝网印刷和插图入门开始的任何人有所帮助，并希望更深入地了解设计过程。 我从旧的硬盘上重新整理了此文档(这是由于云服务无法用于任何存储)。 我很高兴能够保留设计过程和学习经验。 如果您的流程很强大，那么您更有可能针对摘要或问题获得更可靠的结果或解决方案。 这个项目使我对数字印刷转换充满信心。

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.

当您进行大型项目时，还涉及成本和单价之类的事情，通常只有在家里或您的教育机构中设有丝网印刷实验室的情况下，这样的小规模印刷运行才有可能。 但是，当您必须处理大型品牌项目时，印刷知识至关重要。

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.

从街上购买正确的纸张和墨水是一种令人着迷的体验。 切大纸片以优化纸张储藏器的尺寸和书籍封面有助于在我学习期间最大程度地降低成本。 在艾哈迈达巴德(Ahmedab​​ad)的街道上四处奔走，与油墨供应商和纸张供应商进行协作，这表明设计的关键在于协作和理解过程，直到最终工作完成。 这是最丰富的学习方式。

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.

你们中有些人可能想知道这对数字设计师有何帮助？ 对我来说，无论我是为数字设计还是印刷设计，设计过程总是比最终结果更加丰富。 这就是我的反思，并随着时间的推移反复反复进行学习。

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.

反思在锁定的这些测试时间内图形设计和印刷教育将如何变化。 设计师和客户如何感觉到印刷品引起的情感，这是数字设计难以模仿的。

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

有关更多项目和知识，请访问https://mrinalinisardar.com/ 。 在Linkedin ， Instagram或Twitter上给我留言以保持联系。