Raw Depiction Evaluation

This Unit has really stretched me, I can see a dramatic change in the designer I was in september, and how I would approach my work now. Understanding the market and context to your work is key, I understood this before but designing with that knowledge continually over this unit is what makes your work fit perfectly into your desired context. My drawing development was prolific over the course of the unit, I feel I throughly experimented with my choice of papers, materials and processes in response to my theme. The drawing stage for me carried on into the final production weeks, it remained important to me to add to my designs if original drawn imagery was needed. I have explored as much as was needed within my design process when regarding the resources the university has offered me, I have wanted to utilise my time and maximise learning. Its an opportunity that I am only going to be a part of now. I have attended as many digital workshops that are relevant to to my design progress within photoshop, it has been a key development stage for me, in particular with the use of the displacement tool. I have utilised the In Design workshops  as well with a future intention of using these skills in Unit X to create a Look book to show my designs in a professional context when leaving.  My market research has been so key within the development stages, clarifying to me continually the direction I wanted my designs to be headed in, and what companies I can see my designs along side.

Naturally over the last few weeks, the decision process has been faster due to the added pressure, and the design presentation changes quickly. When first compiling the collections, choosing the names for each group was only a quick decision of clarification for me. Having given it some thought to an outward perspective, I have renamed each group at this stage, 'Chalet' has been renamed to 'Alpine', 'Lucent Voiles' is 'Lucent Matter' and 'Fluid Muslin' is 'Unequivocal Thread'. 'Personally I feel these names reflect the group of prints at a more professional level, needed for thought for future intentions within unit X. I feel I have chosen to finalise the broadest of collections, I want to show my diversity as a designer and having a broad vision of designs targeting a slightly different clientele has been key. I have targeted each collection at different audiences, with the 'Alpine' collection being the highest price range, and 'Unequivocal Thread' as a lower end, yet not losing sophistication.
'Alpine' I feel is the strongest collection, I am thoroughly pleased withe final designs, however there is one wallpaper design that since it has been large format printed I have noticed a few issues when it was put into repeat, this is something I plan to rectify within unit X. Similarly with 'Lucent Matter' one of the large format wallpapers, since being printed I feel lacks in imagery and this again is progressional for finalising within unit X. Looking back on reflection for 'Unequivocal Threads', producing more fabric tests when entering the print room, would of relaxed me within the final design stages. However I am looking to further this within finalisation within Unit X, and look into a broader variation of fabric weights, to build the collection. I am determined that both 'Unequivocal Threads' and 'Lucent Matter' will be at the strength that 'Alpine' is in my eyes.
Given the nature of some of the original artworks, they have deteriorated over the course of the unit, the use of bleach in particular has changed from the original scans of my designs. This is definitely not a bad development in my eyes, if anything it gives my final print designs an added edge, the artworks have developed on their own, but the final prints were manipulated and developed from the first scan. Therefore, forever present within my final digital designs.

At this stage I have left each individual design unnamed, primarily so that for unit X and final output I can think about them each individually as final designs and name them at the end. Looking now at the final collections as groups, I am really pleased with the results. I have a few ideas for other prints that are at a different development stage and I have decided not to include them at this stage. However, in Unit X the collections may be manipulated slightly. I am considering strongly for 'Lucent Matter' outsourcing a digital printer who will print on an alternative fabric that the university resources can not produce. Unit X is an exciting prospect, I want the opportunity to shoot and create my own Look-book for my designs, thinking strongly about situational places. The idea to start to brand and promote yourself is exciting and something I have already been thinking about,  I have the future intention of working for a fabric and wallpaper company, hopefully a part of a team of designers. Having had the digital work printed I have been receiving feedback from peers, it has become apparent to me that one print is particularly popular. It is interesting as it was a print I wasn't sure about and was considering withdrawing from the group. From this response I am considering producing a fashion collection directly based from this print and as an extension from it, and again for an alterior context and output.
Having watched these three final collections come together over the last few weeks has been overwhelming, I have enjoyed thoroughly the journey and production, theres a tremendous amount of satisfaction of finalising something that I am genuinely proud of and believe in.

Alterior Context

Following the meeting with Asos sourcing director and the Ex MP for Rochdale, and their reaction to my prints, it was discussed with my tutor Julie, the idea and need of displacing some of my more malleable designs to a fashion context. It poses the idea of a very diverse collection, having already visualised each collection within the context I have designed them for. This just allows the viewer an alternative option and vision for my group. 

'Chalet' and 'Lucent Voiles' Digital Output Print Collection Progression

It is quite difficult to document your progression when creating digital prints, as opposed to the stages you reach when working in the print room.  Its something you don't continually print out, each decision so screen shoting my laptop, when decision making and visualising my prints together has been a process of elimination and progression for compiling both collections.

I have produced 21, 15cm square fabric tests from the digital printers in order to fabric test and see how my prints sit to the fabrics. Using three fabric choices,  Silk Habitai, Crepe de Chine and Cotton Voile it has been key to my final collection looking exactly how I envisaged. Regarding the 'Chalet' collection the print colours and weight of the material sits perfectly on the Crepe de Chine, I feel it shows the prints off to the best they can be. There were a couple of prints that the colouring has been slightly darker then expected, so I have minimally increased the exposure on the final prints to adapt to the printing outcomes. The Cotton Voile was only sampled to see how my collection 'Lucent Voiles' would sit to this fabric, ideally for the Voile collection I would of outsourced a more translucent voile, similar to the Voiles from Mark Alexanders collection 'Haven 1', this is something I am looking into producing, outsourcing and perfecting for Unit X. However the Cotton Voile did work, but I don't feel it reflected the delicacy I wanted the final designs to breath. For final presentation of the Lucent Voile collection I have chosen to print half the collection on the Cotton Voile but half using Silk Georgette to instigate a plunge of subtlety to the group, and allow the possibility of layering the designs with different weights of fabric. 

I am in the process of deciding how to present my final design ideas. Regarding the nature of the context, several prints are larger then A3, from a cost perspective I am printing a section of each design  to scale on fabric, A3 size. Choosing carefully the best variation of imagery and colour within the print. There will be a full version of the print on A3 paper so the viewer can gage the full design, on a smaller scale. 

Live Project: 'The Colorfield' Work Placement.

I applied for 'The Colorfield' at the end of Unit X last year in order to get an insight into the Industry of Print Design. Having previously had experience working at Oxted Interiors, it gave me a small insight into the Interior industry, but I wanted to specifically see  a fashion side of Print.  How diverse it could be, and how malleable I would need to be when entering Industry after University. Previously in Level 5, I completed a work placement at 'Keeler Gordon', they specialise in exactly the same way, targeting the same market. However, 'The Colorfield' is specifically digital print, where as Keeler Gordon has a wet print studio designers. The studio environment was naturally bright, and untarnished. It was obvious as a company they consider it high importance to spend money on studio space, keeping their in house designers in a clean and comfortable space. Having recently just moved studios across London, and they are now based in the hub of London Bridge.  Their correspondence with me was very professional from the beginning, the studio manager was consistent with contact and I felt immediately at ease, prepared and professional for when I arrived. It was a more mature environment then my previous work experience, they come across strong incredibly productive. On the first day i was at an advantage of it being the bank holiday so they were a day behind, not many menial jobs for me to do but just help with the finalising and packing up the delivered prints for shipping to New York (there sales office base) that afternoon. Thrown immediately in at the deep end, the buzz was great.  During the two weeks, they had a designer that was away on holiday, leaving slightly less work for me to get on with. Luckily during my placement the owner of the company Adam Read who is usually based in New York, asked to see some of my own work. Commenting saying I had a 'strong hand' I was given an added opportunity to create a small collection of basic designs while the designers didn't need my help. The development board of my work is above. Unfortunately not being able to take any of the art work with me I did manage to take a few photos just for my own records. Once I left the company, I had more correspondence with the studio manager who informed me they had sent some of my prints to their printers as a test to show other interns. The difference in how they produce prints was insightful, obviously on continuous deadlines theres a need to cut corners in order to make increased profits, minimal art work is completed in order to scan in and manipulate on screen. When work in a University studio environment we are obviously encouraged to cover all bases of assessment objectives, in order to gain your credits. I found myself when working on photoshop in their environment shortcutting and working from very minimalistic imagery. Directing my work to trend forecasts, and working from their most recent compiled cat walk shows imagery. It was a leap for me experience wise and plunged me into a professional side of compiling a small collection.

Being present within the studio environment was so key for my career decision process. Feeling slightly underwhelmed by Keeler Gordon's placement I did approach my two weeks at 'The Colorfield' with a little trepidation, however I had a much more enlightening experience and introduction to the industry, then previously. It gave me the chance to soak up the print for womenswear environment and the speed at which these designers perform at. I could immediately acknowledge the production of designs and if I am honest the disregard for previous work, this continuing need to be on trend. Clients of 'The Colorfield' will remember prints that have been shown in each collection, if they see a print twice there is a definitive loss of faith in output of the company. Hence the need for 8-12 prints being produced each week fresh by each in house designer. 'The Colorfield' also has a team of freelance designers that specifically come in to use the facilities on shipping day but otherwise are based at home. The company did recommend to me not to consider freelancing until you have worked in house to gain a feel for how the company works. Understanding this side of industry has been a key deciding point, whilst at 'The Colorfield' I spoke to Mirren a designer, about my work usually being Interior directed. She mentioned a course friend from Edinburgh College of Art who is a current designer for Cole and Son Wallpapers, gave me her contact details and said she would pass on a reference from her. It has clarified to me how much I want to work in print but for an interior design direction.  I would enjoy a slower more team work heavy environment, creating a collection that could be potentially around for years and not just for a season. Overall the introduction to industry was so key and it thoroughly delivered to me, what the live project was supposed to open our eyes to.

'Fluid Muslin' Print Room Progression

Having sourced my inspiration for colour palette both from Industry and WGSN, It is important for me to dye my fabrics up myself. I am very pleased with the results. I have chosen to use minimal influxes of the zesty green to enforce the impact I want it to hold. I love how each fabric has picked up the direct dye with a variation of depth. Adding a broad tonal value to the group of fabrics as a whole. I am carefully considering how to print with the three screens I have had made up. I want to consider producing some hand work with discharge paste. Having previously sampled with it free hand, in the drawing stage of the unit, it was a very successful sample and I want to see what results I can achieve when used within this restricted colour palette.

Dyed Fabrics and Technical Notes 

Dyed Fabrics

Print Room Preparation. (Far Right A0 Screen). 

'Earthed Woodland' (Digital Output)

Initial Mood Board Inspiration

Styled Drawings with found Imagery

Dried Frog - 1963 Magazine Issue 4 

Earthed Woodland is about depicting Fletcher Moss from its primary earthy state. I wanted to use some of my first observational in situ work from Fletcher Moss, the inky state of the work is very expressive. Large brush strokes, dripping inks, think graphite pencil have all helped depict the atmosphere. Picking up the deep tones and heavy shadows was key when working in situ and soaking up the atmosphere. The Papers I worked on were in direct response from my title Raw Depiction, I wanted a range of Raw papers, unrefined, ripped and layered. Newsprint, Newspaper, tracing, watercolour cartridge have all been used to build the artwork group. I want to include the living nature side of Fletcher Moss playing with an idea of uncovering the undergrowth and discovering creatures, mice and other specimens. From seeing the magazine 1963, there were a series of these drawings (see above) exposing a soft animal, be it a frog, rat or mouse. From an outside perspective and looking at myself as a broader designer, I want to show this playful side to my prints, so I have begun experimenting with animal drawings and fitting them into this collection. Its an element my previous collections do not contain.

Animal Artworks to build collection

I needed a colour palette to work with to take myself away from the graphite quality that I have previously used. Again using WGSN I have taken elements of 'Bloodlines' to work with for A/W 2014/2015 the injection of red is intense and holds its own within this trend. The earthy tones of taupes and beiges will hopefully work well within the context of the imagery and manipulation on photoshop.

This Collection was initially compiled within my plan for four groups of prints, at the initial stage of splitting my work up. After continuing to work on all four collections separately over the last few months, It became clear to me that I would be able to finish all four collections within the time, but I want to get every collection and every print to the highest standard I am satisfied with. This collection is the weakest one at this stage, after speaking to Julie, and revising my learning agreement. I have decided to submit this started collection as development work, with the future intention of finishing this fourth collection within Unit X. Hopefully with a more learned and mature head from the submission of my other three collections for this Practice Unit. 

'Fluid Muslin' (Wet Print output)

First Artwork, layered with Reprographic Asatate. 

Initial Collection Forming Moodboard, WGSN trend colour palette, (right). 

'Fluid Muslin' as a collection initially lead from my drawings depicting the subtle nature of fabric. Imagery wise it has not been primary sourced from Fletcher Moss, like my previous two collections. However my theme and title remains running through. It just poses more of a look at gaining natural qualities through something that is manmade. Having looked at Susie MacMurray's work, her technique of drawing from heavy gauze, yet leaving a tenderness on the page was exactly what stemmed this way of working with pencil. From my first drawing in response to her style it lead onto creating several more. Using WGSN it allowed me to gain an understanding of trends for A/W 2014/2015, and eventually choosing to work with 'Spliced' taking elements from the trend such as this zingy yellow, mixed with a variations of light to heavy greys. Yet ignoring the darker navys and ocres.  From an industry perspective and envisaging my designs outside of university, I was incredibly inspired by my market research from the Romo Black Edition. A relatively new side to Romo that was released  during this unit. Having mentioned the collection previously in a post regarding Chelsea Harbour Market research, it has remained a solid inspiration up to this stage. As a whole the designs use a selected colour palette and subtle imagery. Some of Zinc's colour palette throughout their collections has influenced the broad spectrum of greys I have considered using within the print room. Having such large imagery consisting of A0 drawings, it lead to implications with screens being made. Using the reprographics department allowed me to print my designs on asatate in order for my screens to be made for preparation within the print room.

First drawing (centre) Reprographics Asatate  (top right)

Spliced WGSN trend. 

Spliced inspiration board 2, WGSN. 

Spliced inspiration board 3, WGSN. 

Looking towards an outward perspective and forward planning for when leaving, I wanted the bulk of my work to show myself as a diverse designer. I wanted this collection to have come from the same beginning journey of Raw Depiction, but I wanted the feel for it to be varied and for a different context then my other corresponding collections. The colour palette is fragrant, its simplistic and soft.
Companies within industry have varying degrees of price, obviously to cater for a broader range.  My two digital collections naturally will output at a higher price due to the technical process, however I wanted to keep this wet print range lower budget. The concept of drawing from muslin and printing back onto the initial inspiration for the imagery I love. Its a concept that the consumer may not initially grab onto but could reveal itself at a later stage. Fabric sourcing wise, I have chosen to experiment with print on muslin, because its so cheap to source, the delicate imagery and vibrant colours will hopefully add status to the material. Not a practical fabric for upholstery or heavy curtaining but adding colour and vibrance at a low cost to a room is what I am hoping to achieve as a suggested context. I have chosen to also print on towelling as an alternative, the feel and look of towelling is warm and heavy weighted, again remaining at a low cost. I don't understand why it is only used as a practical material, Printing on it as an interior design will hopefully open up an alternative way of seeing the material, and add an edge to my designs. The collection will hopefully have influences of higher end fabrics,  sampling on Silk Habotai, Charlotte Linen and Velvet  to build the fabric collection of varying material. Linen is currently highly used as a interior fabric at the moment within industry, sitting well with Velvet. Having never sampled with it previously I thought I would test the results following from companies such as Villa Nova, Osborne and Little and again Romo.

Romo Black Edition Screenshot 

Romo Black Edition Screenshot

Romo Black Edition screenshot 

Market Research Inspiration Moodboard

'Lucent Voiles' (Digital Outcome)

The Lucent Voile collection stemmed directly from one experimental drawing. Susie McMurray's work had qualities that reminded me of a Fern leaf. Inspired by this I approached my response by depicting the direct fern form. Using spray paint I could grasp the negative space with precision immediately. Working directly in front of a window I could highlight the areas of negative space that worked best to balance the drawing.  I imagined from the initial drawing stages these designs only working on a large scale. The use of the projector played a key role in envisaging the drawings to a scale. Whilst drawing I could immediately see the print as a whole. Hanging and Flowing with light flooding in between the shadows of the leaves. As a collection I wanted them to be tonal, they breath a build up of negative space to create the imagery. Colour would only interfere with the tonal variations, when drawing from the direct form, it was simply a case of revealing the organic structure. Using a colour palette at this stage would counteract the tonal balance. 

First Drawing

To build the collection, Its important for me to create an entirely greyscaled group. The high graphic qualities that the lead drawings provide, lends the corresponding prints into providing a heavily tactile feel, in order to balance the feel to the group. Throughout the drawing and idea stage of this unit, I was really interested in using Fur to experiment with,  having sourced a considerable amount of samples from Zinc at Chelsea Harbour. After speaking to the print technicians it seemed impossible to experiment with it within the print room, in regards to manmade/natural fibres and the implications it holds. However using imagery of fur within a digital collection, still gives off the impression of a heavily tactile surface, however in a more innovative way, by remaining two dimensional. For this collection I am envisaging it holding designs with high graphic, loose drawings. Balanced out  with a range of intensely manipulated fur prints.

It is really important to me that this collection remains tonal, unlike the 'Chalet' collection, it is not just about creating an atmosphere within in a room. It is more about showing off the drawing qualities and recreating the organic nature of the original structures through line and tone. I want the ability to layer and build the prints to gain a more intense view of the work, fabric choice is particularly key in order to express this. Having fabric sourced and market researched I am currently thinking about printing on a variety of Voile like materials, see through, to allow me to build the prints. Cotton Voile and Silk Georgette I am currently considering. Again fabric testing is the next stage once the prints are finalised.

'Chalet' Collection (Digital Outcome)

Collection 'Chalet' really lifted off from the use of Quink Ink in my initial drawing stages. The atmospheric colour theme, negative space marks and the certain acid quality to some of the drawings all contribute to the strong theme running through. Imagery and motif wise has been loosely inspired by Nick Knight's eye and decision to meticulously detail every mark of natural specimens. Working directly from observational studies, initial drawings and photos taken from Fletcher Moss at the very beginning of my journey. As a whole every art work depicts exactly the atmosphere I wanted to transfer into an interior environment. I initially tried to recreate the same colours and marks within the print room, but after discussions with technicians and deliberating with dyes and materials, I decided the subtle qualities to my work could only be reproduced in a more controlled way with a digital output.

Having market researched broadly from Chelsea Harbour, to Laura Ashley and a lower end such as Homebase and B and Q, it has become aware to me that digital print for interiors is a rarity in this industry, currently. Although being on the rise with Mark Alexanders and Romo's newly launched collection 'Black' being digitally printed, it is being produced but for a higher end client. I realise its a certain audience my designs are going to hit. Contextually I have envisaged this collection to be for somewhere isolated, with a need for warmth  and weight. The prints will come as a whole and the range should be seen together, in a variation of weights of fabric. A Ski Lodge or Chalet was an underlying notion for context throughout the group of artworks being produced. They as a group hold depth. The colour palette and imagery is heavy, hand drawn and raw.

Visually this collection is going to consist of 8 - 12 prints, Once the prints have been finalised using photoshop as a tool, I am planning on fabric testing in order to gain the exact qualities I want to maintain from screen to fabric. Some prints I am planning on doubling up as a wallpaper output as well.  My Visualisations will depict exactly how I want the group to appear within industry and in a home context.  

Initial Collection Mood Board, WGSN colour trend. 

Wallspace

Original Artworks

Original Artworks