At the start of this project we had to select a category to go into more depth, whether that may be interior, fashion or stationary. For me this was an obvious choice of interiors with the influences of fashion, inspired by fashion designer, Iris Van Herpen, inspired by the structure and texture created in these fashion pieces, but I was mostly inspired by my trip to Chelsea design week the year before where I came across Zinc textile. The minimal classy sophisticated designs partnered with texture displayed in interior spaces. It was from this experience that I knew I wanted to use Zinc textile as my chosen company and began to write my hypothetical design brief for them, based on the interior of a bar/club.
Inspired by Zincs 1973 collection I decided to take on the 1960’s and work in their style and ways to replicate the space age of the 1960’s. I also took inspiration from another of their nightclubbing collection which is where my idea came from for interiors for a bar/club.
My research ranged from different fabrics and materials suitable and ideal for a club interior space, this required a lot of thinking, thinking about what was suitable, what fabrics worked best for your designs and what fabrics are likely to last in a bar and easy to clean and keep on top off. I’ve learn’t a lot when it comes down to this because I can’t necessarily chose a fabric that I like because where it may be suitable for a bedroom or living room but it may not be necessary for a bar. I have had a bumpy ride when it has come down to selecting chosen materials that work in my interior space and then have struggled to dye them and get the colour desired for my designs. I have learn’t so much when it comes to dying fabrics, what dye works and what dyes don’t on different fabrics but more importantly I am far more confident in producing and making the dye baths as well as following recipes.
My research has made me consider other effects of interior design such as lighting and tables, as much as I am a textiles soft furnishing designer, It has been great to consider lighting and how the lighting may respond and work with my designs as overall every part of interior design contributes to creating the final theme/layout.
Following on from my research into different bars, in this term we started to create our croquis designs, this I found hard to begin with because I didn’t know how to create a collection of textures that looked like they all worked with each other, I was worried that my designs wouldn’t work like a collection. I also found it hard to understand the concept of what a croquis design was and found myself creating tiled/motif designs rather than what would represent a potential pattern for my interior. However I eventually managed to create designs that work together as a collection including textures and patterns, the patterns created represent the 1960s through the use of colour.
The textures created and used again are all created from every objects such as tissue, chairs and rulers. I am all about using things around me and getting the most out of things so it was a perfect opportunity to incorporate this into textiles and turn what is a mark into a design that could feature in interior space.
My use of colour throughout this project is fairly monotone, using a range of toned greys and silvers, this is because my influence of the 1960’s does not consist of large palette of different colours, it is exactly what you expect when you think of the space age so because of this my monotone has remained monotone throughout with the alternative colour way of mustard yellow because this colour compliments the grey well. My technical folder shows my journey through colour and the experimentation from blue and greys to pink and yellow for an alternative colour range, but again I wanted to try and interpret the 1960’s theme again so my theme would remain consistent so for this I used the psychedelic era of the 60’s which is where I got the pink and yellow as my inspiration.
In this module I have mostly stuck to hands on techniques especially when it come down to my croquis design, creating all my textures by hand and forming them into my croquis designs, using gouche painting as my main source and accompanying the Matte gouche with silver inks to show the space age influence. I did not use Photoshop or Illustrator throughout this project when creating my textures and croquis designs because it was not necessary for me, however I have not disregarded the impact and effect digital does have, It was still necessary for me to use throughout my screen printed designs, as Photoshop was used to invert and darken my designs for them to work as a print in screen printing.
Apart from Photoshop and Illustrator I have gained skills in digital stitch and have used textured designs to include within my collection and accompany my printed samples. I have experimented using the smaller digital machines to the brother bigger stitch machine to create 20 x 20 croquis samples to creating repeat patterns. At times it has been frustrating especially when some designs take 30-60 minutes stitch out and you have made a minor error along the way that completely changes your design and you’re not left with the design you had hoped and some days can leave you feeling like you have not achieved much, but on the other hand it is days like these where I learn the most and better my self and my skills for the next digital stitch.
I feel this module in subject I have found what it is I like and found my style, I have learn’t new processes and techniques that at first I didn’t understand but are now a part of my practice and has prepared me well for third year.