RESEARCH: KAROLINA YORK PRINT STUDIOS

Came across this incredible print studio situated in Australia……KAROLINA YORK PRINT STUDIOS. Founded by Creative Director BRONWYN FERGUSON; inspiration is drawn from the idyllic Australian lifestyle, specifically utilising hand drawn and painted observational studies which in turn are turned into luxurious and sumptuous prints.

‘Known for our inventive updates on classic designs, feminine florals and bohemian prints, our work never fails to delight designers and buyers alike’

 

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One of the most poignant and resonating elements of this design studio has to be highly evident craftsmanship and high end finish, whilst effortlessly fusing a seamless repeat with a magnificent artisanal approach; this fusion creates a recognisable trademark via it’s own unique visual handwriting.

I believe their success is down to always being aware of local and global trends, constant visual and market research, an incredibly talented team of designers and an ability to continuously absorb from geographical destinations and their cultures.

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Being a commercially aware designer/design studio is paramount to success!! CAROLINA YORK PRINT STUDIOS always keep themselves at the forefront of design by showcasing collections at TRADESHOWS:

PREMIERE VISION (NEW YORK) – January, April, July

PREMIERE VISION (PARIS) – February, September

INTERTEXTILE SHANGHAI – March, October

COMOCREA- April, October

Their website is amazing!!! https://karolinayork.com

You can find about what they are inspired by, the creative process, trends, their social media profile, trade shows and even internships/careers. I am bowled over by the professionalism and creativity of their designs……these are some of my favourites……….

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Hand-drawn into Digital. My aim over the Easter Holidays is to continue my online resource and practical workshop tutorial learning to become a proficient digital designer!!! Watch this space………………..

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WET FELT FLORALS @ ART VAN GO

Wow, what an incredible 2 day workshop @ Art Van Go, Knebworth. Yes, it was a long way to go for a workshop, and Yes I am CRAZY!! Crazy, but dedicated to learn more of my craft.

Having had more or less no exposure to Felt making, and none to wet felt making, I undertook the challenge with gusto. Luckily, I had been in contact with the tutor, Ray Reynolds, for the last 6 months, so I I knew what I wanted to explore within this workshop. Ray had brought in a range of coloured felt yarns and an assortment of wondrous materials that I had not been fortunate yet to use:

WOOL NIPPS, RAFIA HUSKS, SILK THREADS, REMNANT COTTONS AND SYNTHETICS, NYLON COPPER, SARI SILK THREAD & ANGELINA FIBRES.

I decided that I would continue with my (Busy Blooms) Gender Fluid theme, and purposely chose colours that could represent both men and women.

The process involved brushing a few hues of blue felt together, using of all things 2 dog slicker brushes!! The brushes are used to combine the felt colours to create a wonderful fusion of the chosen colours, not to mention a far more even colour than if placing the individual felts on top of each other.

EQUIPMENT NEEDED: WATER SPRINKLE BULB, BUBBLE WRAP, PLASTIC MESH SHEET, A BAMBOO PLACE MAT, WARM WATER & AN OLIVA SOAP BAR.

The felt was arranged (over bubble wrap) with chosen fabrics, threads, nipps and yarns and sprinkled with warm water via the water sprinkle bulb until saturated. Mesh matt was placed over top and olive soap rubbed over the mesh surface until lathered and soapy. The felt was flattened by wrapping the bubble wrap within the bamboo place mat and rolled in one direction for 2-3 minutes one way and 2-3 minutes the other. The felt was then watered and lathered again and its edges pushed in and surface patted to allow shrinkage. There was something so incredibly receptively tactile about the wetting process…I loved it.

The first workshop day entailed wetting the felt in preparation for stitch the following day.

The texture, linear qualities, colours and patterns created by wet felting are beautiful. I really felt at one with the fabric when undertaking this technique. I can see myself becoming addicted to the serendipitous results of this wonderful medium.

DAY 2 – Now that the felt had dried overnight, it became time to incorporate a stitch element within the fibre. I was surprised to find how much more detailed the surface pattern was on the felt, initially I would have thought the result to be less vibrant and texturally rich.

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Free Machine Embroidery was used to embellish on top of the felt, specifically Straight and Zig-Zag Stitch. A lot of these designs are a little more stylised than I am used to, not to mention that the process of stitching onto/into felt was little alien to me; the raised surface became a little problematic to stitch over in places, but Ray told me that as I became more proficient in the rolling element of wet felting these problems would be ‘ironed out’. I will also endeavour to practice drawing with stitch; being able to draw proficiently with stitch will allow my ideas to metamorphose easily from concept to final design.

I thoroughly enjoyed this exercise, and will endeavour to hone its many observational facets into my own practice.