Hand-writing is your own personal style. It’s the bit that sets you are apart. That’s the mark-making you employ, or the medium you use. It can also be affected by the style/ genre you are working within.

It is vitally important to have your own Visual Handwriting, what are you without it?

What is Identity? The characteristics determining who or what a person or thing is.


What is Identity important? Well, it differentiates between me and the next person. Imagine a world in which we all dress the same, look the same, come up the same ideas and create the same designs; not a world in which I want to belong in. But why is it so important to have my own unique visual handwriting? It defines who I am as an artist and is a direct result of how I interpret the world around me.

I decided to conduct a little experiment of my own today. If I copied the work, specifically floral designs of other artists, would the work look identical or would my visual handwriting create a new story?


Is my identity the marks I make in my art? Is it how I interpret the subject matter through my own two eyes? I thoroughly enjoyed drawing this Tulip/Floral arrangement; it allowed me to expand my mark-making repertoire, which in turn will allow me to become a more experienced and creative artist.  Cabinet (Oak, veneered with marquetry of various woods, copper, pewter, tortoiseshell, horn and lapis lazuli), 1680 – Andre-Charles Boulle. 


I was instantly drawn to this design; having spent nearly all of my childhood spring/summer in my garden,orchards or woodlands abroad, the imagery of apple blossom is synonymous with warmth and magical nature adventures with my Dad. Drawing this allowed me to pour some of my happiness into the drawing in the form of adding a little pink and purple, which strangely in the past I would not consider. Apple/Pirus malus en Peer/Pirus communist, 1905, Lithograph – Theo Nieuwenhuis


I did not want to incorporate the colour from this design, but rather tried to encapsulate the essence of the corolla and large petal size (looking at the WGSN Trend forecast from BUSY BLOOMS). For me, the most important aspect of this exercise was learning which of my own preferred techniques could offer the most dress, unique and new take on a traditional process. For example, I would love to see how COLLAGE could transform this linear drawing into a fully rounded and highly textural design.

What medium would I use for the collage? Could I spend a day creating a varied amount of different exploratory mark-making studies? Could these studies serve as the medium I use to deconstruct and then reconstruct this design?

Spending time utilising the visual handwriting of others has been invaluable; not only have I a new found respect for the creative processes of others, but I have also improved upon my own way of working.

COLLABORATION: Fine Tuning Ideas and Concepts

Sometimes too many chefs can spoil the soup. However, on this occasion this was not the case.

Jack, Jamie, Morgan and I spent the day discussing best practice, ways to improve the model, ideas to enhance the design and conceptualising the overall finish, not only of the Light, but of the Presentation Wall, material portfolio and the working Textile sample sketchbook.

Having never used CAD before, Jack and Jamie showcased their design to me, needless to say I was blown away by the advances of this software; 3-D viewpoints and a ‘blown-up’ diagram allowed me to view the component parts, allowing a step-by-step instruction for construction.

Our group tutorial with Clara @ 12:20 pm brought about an invaluable group crit on areas in which we were strong, and areas which we really needed to address. The design element was found to be strong, but she did pick up on the fact that the  Product Design boys had not yet made a physical model. Luckily they informed her that this would be tackled today and would be experimented with size and material.

Yes, we came across a few production issues:

  1. Unsightly joining edges when adhering glue to Acrylic
  2. Size of Acrylic sheets
  3. Finish of top and base
  4. Lighting structure in/around light
  5. How to install a transformer/dimming switch
  6. Cost of materials
  7. Size of structure
  8. How to incorporate the Surface Pattern
  9. Creating the Presentation Wall

This is how we addressed these issues:

  1. The joining of acrylic will me solved by the addition of wooden/metal cornering
  2. I have managed to find the acrylic in the size we require from Acrylic World, an online store
  3. The top and base will now be either wood or brushed steel (Product boys will find solution)
  4. The lighting will utilise LED strips mounted on a triangle ‘support’ central to the structure
  5. A dimming transformer cable will be sat in the base and a dimmable remote control will allow ambience from around the room
  6. The cost of materials will be added up and divided by the 5 of us in this group
  7. The size of the structure will be 1200mm (H) x 350mm (W)
  8. The Surface Pattern will be in the form of a print and stitch embroidered ‘triptych’, being showcased within 2 sheets of acrylic (keeping the fabric clean and dust free)
  9. The Presentation wall is a secret and will be demonstrated on the day : )

My task for the day? To secure each and everyones favourite aspect of the Surface Pattern element, and to set to work to make it a reality.


CYANOTYPE: A photographic printing process that produces a cyan-blue print. Engineers used the process well into the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints. The process uses two chemicals: ferric ammonium citrate and potassium ferricyanide.

First workshop of the new term and could not have gone better! I did not want to go down the obvious route of placing flowers, plants or material on top of the chemical coated paper, but I wanted to incorporate some of my paper stencil designs that I had not had the fortune to utilise yet. The designs were interpretive studies taken from Mulholland Drive, primarily the idea of plants, grasses and flowers.


Mal, the Film/Photographic TD, demonstrated the Cyanotype process and allowed us free reign to choose our own design path. He was very attentive and informed us of all the Health & Safety aspects, and tips to get the best results.


My first cyanotype involved Mal taking me to the Film development room and showing me an individual UV light box, which is used to expose film. There was a simplistic timer, which I set to 2 minutes and then removed the paper and stencil from the light box. I flipped the stencil image over and repeated the process.


Incorporating more than one design; 2.5 minute exposure, allowing a deeper blue to develop. Stencils showing the patterns found within Hockney’s fields and the grasses too.


Double exposures. Playing around with juxtaposition and exposure time; 3 minutes for first exposure and 2 minutes for second. Stencils were flipped over to allow symmetry in first design, and a random flipping in second to allow for random pattern.


Triple exposure; 3 minutes, 2 minutes and 1 minute, which allowed the tone of blue to range from soft and textured to deep and hard.

When all of the exposures had been completed, I returned to the Print room and irrigated the surface with a water hose to remove the leftover chemical film. Mal mentioned that if I wanted the blue to become more intense and deep, that the prints could be irrigated within a bath of Milton sterilising solution; of which I did.

The results speak for themselves!! I love them. The designs remind me of tiles, which I would love to explore further at a later date.


Saima, Jack, Jamie and I were due to attend a Laser Cut induction with Craig, but unfortunately only Jack and I attended. However, we both found it extremely useful and both found that we were able to communicate our idea for the lighting solution easily and effectively.

(3D Volumes PATTAB Lamp – Surface Grooves, NEW YORK) I must admit, I found some of the technical and I.T aspects of vectoring mathematical elements a little taxing, but eventually understood the technicalities of how to laser cut using ILLUSTRATOR on a MAC.

Craig mentioned that he would try and find out if there were any coloured acrylic offcuts he could obtain so that Jack, Jamie and I could experiment with our preliminary idea to incorporate a LOW POLY ART facet within the acrylic to be laser cut.

My job now ill be to source the coloured acrylic, but I am hyper aware of cost!! Being a student, and not made of money is one of the biggest challenges when coming up with an original idea. Jobs for this week:

  1. Source Acrylic
  2. Experiment with Pattern
  3. Explore Fabric qualities
  4. Hone use of colour
  5. Communicate daily with group
  6. Study of LIGHT within Textile context


First day back at Uni, ready for the new term.

I truly did not know what to expect for this Formative Assessment, having previously been ill on my last. Staying true to Vaughan fashion, I wanted to display my work as professionally as possible; the mantra of being over prepared, rather than under has always served me extremely well.

Sian, our Project Leader, asked the group to spend 5-6 minutes each discussing our work, which I relished to take the opportunity. I discussed how I deconstructed Hockney’s work into many different techniques, materials and processes i.e STITCH, PRINT, COLLAGE, OBSERVATIONAL DRAWING, PAINT, INK, STENCILS, REPEAT PATTERN, FABRIC MANIPULATION, COLOUR THEORY and and could then reconstruct these core values found within MULHOLLAND DRIVE into my own visual handwriting.

The feedback I received was overwhelming positive, which was fantastic. I love being able to showcase my ideas, and if it allows my fellow creatives to generate ideas from this group crit then it means that we can all learn from each other. Watching all my other colleagues discuss their work was a wonderful experience, and I felt really proud to be associated with such a great group.

Sian recommended to include some of the textural and sumptuous qualities, found within my samples, in my final piece/design. I discussed with her the addition of the Wing Needle decorative stitch and how the holes left would form the patterns found within Mulholland Drive; she thought it was a wonderful idea.


Saima, Jamie, Jack and I met for the first time since before Christmas, and began the process of choosing elements of each others work that we wanted to incorporate within our final Lighting Solution. We discussed issues such as how labour intensive specific designs would be, the cost of materials and production, the shapes we wanted to include and leave out, colours with which to work with, patterns to juxtapose with form and shape and primarily what we liked and disliked; food for thought, to say the least.

Morgan, who I have never met, and have had no correspondence with, decided to send over the Target Market Profile.

Screen Shot 2018-01-16 at 21.16.21Screen Shot 2018-01-16 at 21.16.58

Overall, I like the profile, but would change his income to earring around the £100-150k bracket, and would include his wife within the profile. I think the profile tackles his interest and lifestyle extremely well; the love for Art is a fantastic touch. Subsequently, this allows me to interpret my own style and ideas into a more Fine Art/Textile design context, something I am really excited about.

Saima and i have spoken in detail and have pulled our favourite elements from each others work to explore further. It is of paramount importance that we respect our own strengths, and help each other with the areas we believe are weak.