Fabric Trends

From my uni project, I have thought about it in a different way and what it could be communicating to my audience. I have now submitted this to AOL world illustration awards.


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When fashion and art collide How can I make texture of fabric visual and make it move? Trying to focus more around the colours patterns and fabric rather than it be a ‘fashion show’ and how I can communicate that?  

Exploring layering altering opacity the image becoming translucent which enables to layer up and play with what’s above and below. With removal of RGB colours on certain layers I feel adds ore interest gives more of a playful approach due to depending on what’s above and below will affect the colour and impacts in a positive way to the transition of movement. 

LEAD IMAGE

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MAIN SUBMISSION

Abstract drawing

First Drawing of the new year. Experimenting with gradient colours, overlaying and distorting shapes. I want to make sometime this year or include elements into my projects. Using the Idea of communication in a non literal way. This digital drawing below I was just literally playing around with colour and shape through playing with process I feel that it has started to form this idea of leaves and flowers, I still want to work through and refine this drawing more. This could become a thing I run alongside projects without it feeling pressured.

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Exploring The potential

Most of the time I am working in 2D but can see my work past the bounds of this environment. What would it look like placed on something 3D how would it work on fabric a T-shirt design? I have decided this year I am hoping to play with this more placing my work into these areas using templates purely to see if it would or can work in this way. Working with Adobe creative cloud allows me access to templates and quick simple ways in which to place and test out what the potential of this could become. Placing and seeing images off a flat surface adding a new dimension of what is possible.


          Flat surface pattern 

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         Christmas cards and Patterns

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Digital Pattern

This is a process I always come back to, playing with pattern and repetition. I love to crop out an element of a photograph I have taken and explore the potential it may to create something new.  The question I am always asking myself how does it change the communication? Does this differ if it’s a cropped section of an image or when using the whole image as a pattern.

              Photo manipulation


Another way I explore this process is through digital drawing using broad range of brushes in photoshop. This is more visual play sometimes it works and sometimes not. Using symmetry tools within photoshops allows a pattern to form quickly or gives an instant starting point to an idea. Exploring the vast range of brushes adobe has to offer allows me freedom to work without overthinking it which can often hinder my process when working analogue.                                                                   

                                                                    Digital

Everything tells a story

There is always a story to tell! Maybe now that I have had a whole module on sequential communication the word narrative doesn’t have the same creative block hinderance it once maybe did! I think it has had a positive impact actually everything has a story to tell, the way it is presented can more or less take any form of creative practice.

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Historical architecture has just as much value in storytelling as modern day contemporary practices. I am now thinking in someways do they hold more value? how long must they have taken to make and carve, The limitations they had in tools and technology. Its a thought I guess, the two pillars below they are not small and completely intact but every part has a historical story or meaning attached, with such detail of a drawing of which it is but just in a different context. I think this module has helped me embrace my fears when it comes to narrative based work. Personally for me it would take form in more sequence based moving image photography or pattern. I still need to embrace the narrative with text but one thing at a time I guess.

 

V&A Colletions

On my recent trip to the V&A: I spent the day looking at fabric textures and patterns documenting through photography and quick pencil drawings which I have developed further into my Lithography module work. It wasn’t until I was there and walking around drawing and photographing, not allowing myself to get caught up with the ‘perfect’ drawing and just get something onto paper. It became a process that I feel I need to do more allowing myself the freedom to make a mark on paper and not over think every aspect of what it should or could be became a really nice way of documenting and gathering a lot of content in such a short space of time.


Most of what I was looking at was fabric and patterns, which in my work are two big areas I like to explore as much as I can taking elements and inspiration to then develop into my own work.


Looking more closely at the patterns that are contained rather than the overall garment it is. Looking more closely at the line of pattern and how they are compositionally placed within the fabric.


Drawings I have developed from this the reason I have used red and black they are potentially are going to go from drawing to lithographic prints. Depending on If I go straight with these drawings using certain colours will block out the UV light also if I go the other way and Half tone them I am hoping to be able to get more of a balance of tonal values using two different contrasting colours

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I am thinking the top drawing’s are complete but still woking through this one below. Depending on how much I look at them pinned up will determine how much I will keep adding to them. I have found recently that. Having work pinned up in my house even if I have no intention of developing it further or am unsure. subconsciously I am looking at it more than I realise at times helps the missing link click or just gives me enough clarification its ok to stop were I am at.

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Window designs

As like with liberty’s Christmas displays other stores have also used a minimal colour scheme again using line drawings and 2D cut out displays which work well amongst bold colours of clothing or that clean minimalistic feel. I think this way of design in my opinion will draw more public attention to stop and look at the work that has been created I guess its like a movie or theatre set in some ways.


Coach’s display melts my heart this was one of the only 3D structured Windows I saw, but still non complicated and again an animal theme like many, The cute creatures become as important as the products being displayed like little furry helpers. Again if I could have seen this at night it would have given a complete new take on the feel and mood of what the windows looked like as from what I could visually see the whole thing is back lit by fairy lights


 

 

 

Liberty’s at Christmas

One of my favourite department stores in London which I never often get to see at Christmas. But was determined to see at least the window displays this year.

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The cute animal theme running throughout each window. I love the way in which this has been curated in a fun festive way, the 2d structures being placed in such a way as id they come to life with the gorgeous gifts and fabrics this consistency running throughout each window. I wish that I could have seen this at night. For me the use of line drawing and no colour is what makes this all work so well dressed amongst other treasures you can find in store.

“For this year’s theme, The Liberty Christmas, Liberty Fabric print designer, Ffion Griffith and emerging poet, Gabrielle Djanogly worked closely together to create the enchanted world of these yule-tide creatures for print, verse and display. 

Hand drawn by Ffion in Liberty’s London-based design studio, the animals have been reimagined to create a series of Christmas prints, whilst Gabrielle’s A Liberty Christmas joyously describes the antics of the magical animals at night and how they help and hinder Christmas preparations.” 

I just wish I had time to go in as from photos I have seen its truly magical for all ages to see.20181211_103231

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This i think is my favourite photo I took with the cheekiness of the monkey. Soft smiling lion amongst bohemian style fabrics and vintage looking dresses everything working compositionally perfectly

Performance project

SO the last three weeks as a class we have been working collaboratively the aim to put on a performance!  This on a personal level has been hardest brief of the year! now it’s over I feel like I can slightly breathe again.. which is not the best way to feel about a project. From the get go it was a challenging text even now I cant read or understand but I am ok with this now. This blog post I am going to try give some insight on the through video, imagery. I guess more of a personal reflection as a whole and what my input was and the meanings of this for me?


THE TEXT ; https://genius.com/Italo-calvino-the-distance-of-the-moon-annotated

At one time, according to Sir George H. Darwin, the Moon was very close to the Earth. Then the tides gradually pushed her far away: the tides that the Moon herself causes in the Earth’s waters, where the Earth slowly loses energy.”


The distance of the moon: I don’t know overly how to summarise the initial text as to read the whole thing is hard to digest originally written in Italian in 1965 translated into english in 1968. I guess its a playful imaginative text to work from.

“Humanity crosses increasing distances searching for new territory to explore. Is the distance between and within us threatening our survival?”

I am not going to get to hung up on trying to make sense of the text or how the script writers adapted elements of this to create the script based around this narrative for our performance. I think with it being playful and imaginative was this the soul intention of us using this?


SET DESIGN

This was were my input sat building the set and props that helped to create the mood and set the scene. Thinking about this what does it mean? ” Set design is an important part of almost any theatre production, as almost every show will utilize some sort of set, however minimal. Sets can be abstract, highly realistic, or anything in between, and they are a chance for a designer to showcase interesting concepts, new techniques, and unusual materials.” this is not limited to theatre or film I have been exploring ways to think about this in a broader scale E.G photoshoots, fashion shows even window displays all hold aspects of this fundamental idea.


My main area of interest from the start of generating ideas was use of transparent materials with limited colour that will react with light like coming to life within the stage. It made sense to start exploring materials playing with prototypes of 3d structures from the get go it didn’t make any sense to overly be drawing or trying to plan to much through drawing as I wasn’t going to be working in a 2D way.

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This is were I started through visual play laying iridescent colours or limited colour pallets on tracing paper. which quickly got me thinking about plastic and using and testing anything that would have a slight reaction with light.

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Transparent jellyfish I have a post which is more directed to the way in my work evolved with the project from the photos above it became much more of a refined thought out process.


Working collaboratively making the set

We had the biggest group making the set and props; you could say it would make it easier to create and build working with a bigger team. But bigger doesn’t not mean better, in my opinion the group was to big, communication was not always consistent enough! Which happens working collaboratively. Don’t get me wrong there were times we worked well together but this was not until the set didn’t make sense. I think there was lots of things beginning made but no one was talking enough to say this is what I am doing or we could split off into smaller groups and worked on different areas of what needed to be done. Sometimes when the stress levels are so high and the pressure is full on, it’s hard to keep working within the realms of a team or is this just we haven’t worked on many projects together before?

This photo showing not much of a set or a set that makes any sense: apart from the craters there is no sense of the top being the moon or the lower level being the earth (sea) I think for me to see the set at this point we had a total lack of communication going on within the group?

But a week later we managed to get to this! The turn around of a week proves that working collaboratively can be done and the making of a set can be done quickly and productivity if you put your mind to it. Which I already had an understanding of from some of my research I had previously done one a Marc Jacobs fashion show which the deadline was similar to ours (but that was in a totally different league but still the same kind of turn around)

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Some of my favourite photos I took:

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The mood definitely was captured within this with the elements of the set light visual effects and actors all falling into place. Not one could have worked how they did with out the other. I think it wasn’t until the run throughs with everything working you can really see the development and how far we came as class with this.

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Short 3min clip of the final performance before my SD card decided to be full at totally the wrong time!

Transparent jellyfish

Bringing my jellyfish to life testing how they could work against light and moving image. I had got to a point which I felt my design process was blind, not having much idea how or if anything was going to work how I had visualised in my head. Modelled by my tutor why I filmed. I felt a super proud moment at this point as wasn’t convinced it was going to work at all. (sound was added from free-sound at later date which is an amazing resource https://freesound.org/home/  ) As the light and reaction with moving image making feel like an electric current was engaging with the jellyfish.

Post performance now I have a bit more time I want to play and explore into this idea of light and composition of my jellyfish. I think when you are in the grips of such a pressured deadline, its hard to see the wood from the trees not having the time to play visually or overly experiment. For me it became about perfecting the idea of how I wanted my input to be seen and visualised. I have converted this video into a set of stills but hasn’t worked how I had expected it to, for now that idea will be put to one side.


The physical self of the jellyfish. I played around with scale and different materials for the tentacles a lot but iridescent cellophane seemed to come up a constant winner for me, allowing so much colour with the reaction to light without using colour and over complicating the whole process.

 


Can I still achieve this same feel to my work photographing and taking into a digital process? will it still make sense? the one to the left I feel holds more belief of what my communication has been about. But the white and black with colour have lost that sense of clarity of jellyfish they have lost a sense of the true nature of communication and have become too much of a digital print idea. It’s not until you try and are able to test and reject. I find that I would rather put in extra work to just say “what was I thinking” clearing up any what ifs in my chaotic brain space.

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But working with good light and composition, allowing the structure to work as an object within its own right with minimal editing digitally, they take on a new world and a new life that could be more than the jellyfish they once were?

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