Evaluation

Personal Project

At the beginning of the Practice Unit, I set out to create a range of samples for use within an interior environment using the city of Manchester as inspiration.

The way in which I approached my visual research was beneficial to my practice, although it could have been more thorough, by creating a broader range of ideas at the beginning of the project that were informed by primary research rather than secondary research. I feel that I could generate ideas through Photoshop more effectively with the imagery I had rather than producing more drawings by hand. From this experience, I will ensure to build a strong foundation of research prior to sampling.

Initially, I felt as though my fabric choices were not considered in a sensitive manner, which was something I focussed on and therefore improved through the duration of the project. In order to do this I have sourced them from appropriate retailers, building professional relationships. During Unit X, I will test different fabrics before printing onto them to analyse the effects that the dyes have. These fabric dyes will absorb fully into the fabric rather than sitting on top, which will not wash out allowing for the samples to have longevity and the ability to be used within a commercial context.

The context of my work altered slightly throughout the project, from interior fabrics for a home environment, to bespoke interior artwork for corporate spaces. In Unit X, I plan to produce more commercially viable samples alongside bespoke pieces using fabric dyes and screen print, combined with digital embroidery to show flexibility to work in a variety of ways and to make my work appropriate for a variety of clients.

Michael Kidner

Focussing on Michael’s use of colour and op art, I planned to propose a series of large scale banners which would expand on the work I created for the Bradford Textiles brief. The Photoshop work I have developed depicts Michael’s use of illusion and op art, and the use of colour enhances this concept. The shapes I worked with were graphic, which compliments the style in which Michael liked to work.

During the project, I decided to add some textile work into the brief, using screen print and digital embroidery, adding a tactile quality to the samples. If the Kidner family wish, I could produce the banners using either paper, or fabric with digital embroidery.

I could have experimented with a wider range of materials, but as the first stage of the project was to propose ideas to pitch to the Kidner family, I didn’t feel this was as important as I have completed the main objective of the brief which was to modernise Michael’s work.

If I am chosen to develop this project for the commission, I would like to incorporate digital embroidery into my work but this would only be possible if the Kidner family are happy with a fabric outcome. 

Michael Kidner

For the presentation, I've produced fabric samples so the Kidner family have something tactile alongside the other proposals. I've also created some wide-format banners which I will print if I win the commission.

  

Focussing on Michael's use of colour alongside the idea of illusion and op-art, with the combination of processes, if produced to a large scale, would be powerful within a gallery environment as they would be visible from afar and would be tactile. If the Kidner family like the idea of embroidery within the commission, I would have to produce the banners on fabric as paper would tear.

The large scale banners would be printed 2.5m long and up to 84cm wide.

   

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.

Planning

Over the Christmas period, I developed graphic A2 screens to be printed on returning to the studio, which are more appropriate for the context of my work. Previous samples looked thrown together, so I’ve planned 6 final samples. I will screen print onto upholstery fabrics first, followed by flock, foil and digital embroidery using burmilana threads, being more selective about the colour choices and compositions on the fabrics. I’ll produce large scale embroidery designs to work with the A2 prints as previous designs were lost amongst the overpowering smaller print.

For the Michael Kidner brief, I have rekindled the idea of banners from the beginning of my self-initiated project. I want to work at large scale to produce bespoke banners that would be powerful within a gallery environment. My Photoshop work over Christmas has been concentrated on Michael’s use of colour combined with op art, then developed into large-scale designs to be pitched to the Kidner family. I will produce some fabric samples too, so they have something physical to look at.

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.

2 Tutor Crit

Preparing for the 2-tutor critique was a little daunting. I prepared two boards for the Bradford Textiles brief which were different in style (see below). I felt quite limited with scale throughout these initial four weeks, as I was focussed on producing a sample board for submission. In future, I need to think more carefully about the scale of my sampling and 'go for it' for the next project. I'm excited to try something that I haven't done in the past and see what the results will look like.

From the crit, I plan to continue with this project for my self-initiated brief, but focus more on the scale of my samples by using screen print techniques onto large scale fabrics. This will enable me to widen my creative knowledge and would also demonstrate a more 'bespoke' feel - the original idea behind the large scale sampling. To reflect the scale I want to achieve, I created A2 drawings using collaging techniques to be translated into screens. I will leave the idea of a large scale banner to a live brief, and concentrate on fabric samples for an interior context. 

The two collages above were most successful as they depict my concept more closely. I also think the placement of the detailed pen drawing is better considered than some of my other drawings.

Sampling

Over the last couple of weeks I have developed Photoshop designs from my initial drawings of collaged 'banners' to be digitally printed. However, the outcomes of these prints were not what I wanted; the colours were too dark and the fabric choices were not right for the effect I wanted to achieve. The sublimation printer can only print onto synthetic fabrics, but I thought I would be able to achieve a closer effect to paper using this technique with the selection of fabrics on offer to me. I was also advised by the embroidery technicians that I wouldn't be able to stitch onto paper using the multi-head embroidery machine as it would tear easily, so I began experimenting with Paper Nylon and Poly Taffeta - both thin fabrics with an appearance similar to paper.

Poly Taffeta

Paper Nylon The sublimation ink absorbed better into the Poly Taffeta than the Paper Nylon – it felt to have a covering on the surface. I do think both types of fabric were effective when it came to digitally embroidering onto them; however I prefer how the thread looks on the Nylon as it appears three-dimensional.

Sizing was restricted to A4 and A3. On reflection, I would have liked to produce a larger scale sample using the sublimation printing method, similar to the paper roll I experimented with in week one of the project, which is a development I could make in future.

When it came to designing the digital embroidery, I hadn't considered the size of the sash frame which meant rescaling the designs several times. It was also difficult to line my designs up exactly with the prints, and in future I will create a reference point on the fabric if I’m stitching directly over a particular shape. Furthermore, because the sash frame extends further than the machine front, it can get stuck on the sides, which causes the design to move over the fabric. Although this was unintentional on the mustard colour sample (above), I love how the stitching adds depth to my design, and reinforces the transparency I wanted to achieve from the beginning of the project on Photoshop.

Similarly, the embroidery design below, (stitched over an original drawing), reinforces the water marks on the fabric and adds depth and texture to the flat printed design. I intend to explore this further at a later stage in the project.

I will submit an A3 sample for the Bradford Brief as I feel a larger scale sample would be inappropriate to illustrate on the boards. I plan to continue creating samples for an interior context, alongside experimenting with scale in the live brief element of the project.