Art in the Office

Art within a corporate environment can break up the clinical feel that the majority of spaces possess and can enhance the productivity of the workforce according to The Guardian. 

http://www.theguardian.com/careers/2016/jan/21/art-works-how-art-in-the-office-boosts-staff-productivity



The large scale and tactility of my final collection of samples is ideal for my context, creating interest within a corporate space. The combination of graphic city imagery is also suited to my context as the majority of corporate spaces are situated within a city environment, and somewhat provide an escape from the hustle and bustle of city life.

Finalising Ideas

After careful consideration and planning, my final collection of samples is becoming more resolved. The context for this particular work has altered slightly from the start of the project - from interior textiles for the home to interior artworks for a corporate space. With this in mind, the scale of the samples needed some attention.

The A2 screen designs really make an impact on the surface of the fabrics, and combined with other processes make the samples dramatic. The graphic screens are far more fascinating than previous block designs and the negative spaces give the samples character.

The combination of textures on the surface has improved the tactility of the samples, which works in favour of my context.

Up scaling the embroidery designs gives a more spectacular appearance, and creating my own stitch on the software has meant they appear translucent when stitched over the print. By carefully selecting and planning which colours to use, I discarded the pale pink printing ink as it wasn't vibrant enough on the fabrics. I have however incorporated it into some of the digital embroidery where I saw appropriate as the translucency of the thread was more effective over darker shades.

Combining Texture

After using flock, foil, digital embroidery (rayon thread) with screen print, I wanted to further experiment with textural features on my samples. I’ve used burmilana thread to give a softer, matte appearance next to the rayon and compliment the flock.

Burmilana thread is thicker than rayon and has a wool-like appearance which meant altering the settings on the machine.

  

The appearance of the samples now is enhanced with the combination of textures and compositions and they are more appropriate for an interiors context. They were flat and not tactile prior to this, which the flock and burmilana add. The choice of colour is more sensitive and thought out. The transparency of the block shapes is also contemporary and exciting to look at and is an effect I have wanted to achieve from the beginning. I’m finally excited about my work and looking forward to developing it further.

Colour and Design Development

Preparing for the next crit, I realised my work wasn’t focussed. Moving forward, I will edit and select pieces that I would like to develop and leave the ones that aren't working behind.

Materials were also a problem, and since the crit I have purchased synthetic upholstery materials so I can combine processes which are more appropriate for my context.

The colours I used looked washed out on the fabrics I was using previously, so I have adapted my original colour palette, which I think will complement the fabrics. I don’t plan to use the 'fig' colour palette as a result of this as the one below is more suitable for current interior trends.

Developed Colour Palette

Sublimation of colours onto sourced upholstery fabrics

I prepared a background on the fabrics before working on them with print and embroidery using sublimation printing, flocking and foiling - which is commonly used within interior fabrics and I feel is more playful than what I have created previously. I like having a textured surface to print onto because of the different effects it creates on the fabric when layered up.

Recent work above - combining flock, foil, embroidery and screen print.

Compared to previous pin-ups of my work, I think my project is really starting to take shape. The fabric choices are far more sophisticated and relevant to my context. The combination of processes is better thought out and they complement each other; the colours are much more appropriate than the duller ones used previously. The simple designs that incorporate just flock and foil are effective on their own; however, the brighter screen-printed ones also are cohesive and relevant to my context.

To move forward, I will further edit and select successful elements of the samples and adapt these into new designs. I would screen print initially onto the fabrics rather than sublimation printing, as the colours would be richer.

Contextual References

Callagio Fabric - https://www.designersguild.com/uk/fabric/designers-guild/calaggio-turquoise-fabric/p7180

Flocking for an interior context - I will experiment with this to create more desirable interior fabric textures to combine with other processes.

Mareike Bohmer - Geometric designs inspired by the city. I have been influenced by the transparency and composition of her work - it made me think more carefully about placement on my samples.

Tamasyn Gambell - Interior context, similar colour scheme, geometric designs. She uses yellow as an accent colour - similar to my own work.

Screen Print and Development

After carrying out more detailed visual research and drawing, I began to think about translating them into screens. The technician advised that newsprint paper and a scalpel to cut stencils out would be a quick way to test the designs out on fabric. I found this to be quicker and easier, until I tried to screen print with the stencils. The paper could only be used once before it ripped. On reflection, I would only use newsprint again if I was screen printing a small design, not on large designs which I would expose a screen for.

Neutral Painting Linen

Black Brushed Cotton

White PVC

Out of the samples above, I believe the PVC as a background is a little stark for an interiors context. However, I would consider using it for a live brief such as Michael Kidner as it would be more effective for installation and gallery work.

My designs look better integrated onto a neutral or coloured background and the effect created when the printing inks are layered over one another, particularly on the black fabric reinforces the geometric and transparent element I wanted to capture. The colours however, are still not as vibrant as I had hoped, so I will develop my colour palette further to achieve this.

Colour

Debenhams Autumn/Winter 2015

After the latest crit, I developed my colour palette by photographing fruits which have a purple skin, such as figs and passion fruits as this colour is prominent within current interior fabrics. Some of my recent samples looked a little 'washed out' on a white background so I will source fabrics more thoughtfully.

Fig Colour Palette

Passion Fruit Colour Palette

After experimenting with these colour palettes within my samples this week, my favourite is the fig as it incorporates purple alongside an 'accent' colour which is a medium yellow. I plan to carry on sampling for my self-initiated project to be directed towards an interiors context. I would like to mix screen print and digital embroidery for my next samples and play with material and colour compositions.

Contextual Research

I usually find contextual research difficult. However, I began this project by looking at store websites that I believe my work could be appropriate for, such as Next, John Lewis and Debenhams. From these websites I came across Scion and Sanderson, companies that specialize in fabric furnishings and wallpaper.

The two images above reflect my work through the shape, transparency, colour and style. They have an abstract feel about them, which is a way in which I enjoy working.

Additional samples I ordered from the John Lewis website are shown below. They have similarities to my own designs in that they have transparent areas, geometric shapes, and a graphic linear quality.

John Lewis fabric samples

Custhom embroidered wallpaper samples

The texture of the thread against the smooth paper contrasts with each other, which I could push forward within my own project. I should consider a heavy weight of paper, almost like a fabric if I do use digital embroidery to achieve these effects, whereas thin printer paper is likely to tear during the machine stitch out.

Sanderson fabrics featured on the John Lewis homeware website, and these particular samples above, (Dandelion Clocks) depicted the mix of colours that I would like to use within my own work. However, after the samples arrived, I didn't feel they gave the best representation of colours together as there were only small areas of some colours, which was disappointing. I did, however, have enough of each colour to create swatches on Photoshop to potentially use within my own work.

The Debenhams Autumn/Winter15 Home Catalogue has some fantastic colour inspirations for my work - I knew I wanted to use purple shades within my work, but seeing colours within a home environment inside the catalogue really helped me to understand the shades that would complement other colours.

Starting Level 6

Over the summer period, I felt apprehensive about how I would cope with the pressures of my final year on the Textiles in Practice course. However, I didn’t feel that an idea I had in the last Unit X project had been developed to its full potential. This included using geometric compositions from the entrance of a Bruntwood building to redesign the reception area.

57 Spring Gardens entrance - triangular peak - Geometric.

My initial drawings were developed from Pinterest research with current interior design trends in mind. I visited store websites such as John Lewis and Next – where my work would sit within industry. During the previous Unit X project, my group saw a trend in businesses using an 'accent' colour within their spaces, which I plan to use. I have also recycled Photoshop designs into drawings for the first project (below).

After receiving the Bradford Textiles brief, I felt it would allow me to experiment with scale, and during my first tutorial it became clear how I could develop my visual research into something appropriate to the brief. I came away from last weeks' tutorial and looked at CUSTHOM, a company that specialise in embroidered wallpapers.

This is the kind of scale I want to try out through the initial four weeks as I feel it will push me out of my comfort zone – I hope to combine wide format paper prints with embroidery.