ARTIST BLOCK

To say that I am having a problem with learning a new way of working via PHOTOSHOP & ADOBE ILLUSTRATOR would be a huge understatement; I am more of a Fine Art Textile Designer, not to mention age is a negative factor when trying to pick up a new skill. I know which elements of my individual designs I want to incorporate into my HERO, SECONDARY & BLENDER designs, but trying to juxtapose/manipulate into a design I could be proud of is proving nigh on impossible!!!

I am spending hours watching online tutorials looking at the basics of PHOTOSHOP, especially looking at layering and repeat patterns, but it’s like a foreign language; one which is not permeating to the necessary cognitive functions.

My feedback within the first group crit was rather muddy, and to be honest I actually felt more confused after than I did to begin with!! Sian seems to always pick my least favourite ideas/designs/motifs within my body of work, something I find disconcerting; do my tutors understand that I want to create my own path? Or do they want the same generic designs that seem to be churned out year after year?

I have recently come across a really lovely Textile Designer called Anna Jayne, and one of the reasons I share such an affinity with this particular designer is how simple the structure of the design is. I think by viewing her way of juxtaposing her individual motifs and flowers has really helped me begin to understand how my flowers and motifs can be translated digitally too.

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This is how Anna begins her initial designs; concentrating on the core elements of floral observational studies allows her to build a portfolio of images that can then be concentrated down to specific flowers and motifs contained within a theme.

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Jayne, A. (2016) English Garden. Available at: http://www.printandpresslondon.co.uk/designer-interview-anna-jayne-designs/ (Accessed: 23 April 2018)

I was absolutely stunned by this design!! It is all hand drawn then manipulated in Photoshop to create the most delicious repeating pattern……..this gives me hope that my designs could look like this. I tells a story, and a really happy one too. I really want my floral designs to tell a story about me, my childhood garden and how I want to convey my own visual handwriting.

My next step is to immerse myself more within the online tutorials and possibly to print some of my designs out and to arrange them the old school way to find out what works in terms of size, colour, layout and scale. Wish me luck.

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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THE POWER OF FLOWERS

Having always had an affinity with Nature, I didn’t quite realise how therapeutic drawing flowers is; a continuous line to create shape, pattern, form and texture soothe my soul. My Dad always has instilled within me the mantra that ‘there is no right or wrong way to draw, but rather an expression of your own self and individuality’.

The last few days have seen me at my most creative and I am struggling to reign in all my ideas, but one of the core ingredients of my success would have to be the ability to deconstruct an idea then reconstruct it in a number of different ways, which is what I have done.

I am not proficient on Photoshop or Illustrator, but have the technical know-how to create repeat patterns and juxtaposition by the good old fashioned way….BY HAND!!!

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This exercise was extremely labour intensive; photocopy each image numerous times, ‘cut out’ with my fingers, arrange by eye, and then spray mount and adhere to the sketchbook page. However, I am really proud of my effort. The flowers I I have drawn are: ROSE, IRIS, & HYDRANGEA.

The process of Repeat Patterns is extremely cathartic for me, it feeds my OCD rather nicely, plus it looks great!!

I concentrated deliberately on form, line and shape first and made the conscious decision not to overburden studies with colour until I knew that the design was strong enough to take forward.

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Again, playing around with the size of the image can create a wonderfully cohesive and fluid pattern, not to mention its a wonderful way to make sure that the image works well within the overall space.

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Experimenting with the stylisation of Roses within a surface pattern context, adding BRUSHO and water, and then strategically placing an acetate replica of the same image over the top, but making sure that the image is slightly off kilter to allow for a 3-D effect. Colours specifically chosen as a nod to WGSN.

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I photocopied (A3) my Felt samples (from my Felt workshop @ Art Van Go) and began by creating a ‘busy, colourful and textural collage background. I didn’t want to use colour within my observational Iris drawing, so photocopied it numerous times and cut out each image (time consuming!!!! 2hours!!!), juxtaposing them to create a repeat pattern. I am incredibly pleased with this design and would love to incorporate this somehow into my final coordinating designs.

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Now, this was a labour of love!! It involved experimenting with BRUSHO and water in an atomiser. The idea was to create a range (around 4 A4 pieces of paper incorporating the mixing of BRUSHO colours) colour palettes, which when dry could be ripped up and torn to create a highly textures and fluid (Busy) background. Some of my quick Rose & Hydrangea sketches were juxtaposed as a repeat pattern, eventually being embellished with Gold (Pilot Fine-liner). The result is fantastic, and I am really honing my own individual visual handwriting.

WATCH THIS SPACE.