JOURNAL RESEARCH: ELLE DECORATION ISSUE 309.MAY 18′

Well well…..there are quite a lot of interesting adverts and articles within this issue. Let’s begin with…….

BISAZZA

…….specifically their MOSAICO Collection.

‘Bisazza is one of the top luxury brands in the design sector and the industry’s leading producer of glass mosaics for interior and exterior decoration. Over the past few years, the company has extended its decorative offerings with new materials made through processes that combine the value of design with the charm of craftsmanship’.

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Natale, G. (2018) Mosaico (Advertisement) In: Spriggs, B. (2018) Bisazza: Mosaico, Elle Decoration, No 309 (May), p.21.

I absolutely adore this design by Greg Natale, it reminds me of the grain found within wood; the organic nature is transformed by the geometric nature of each individual glass mosaic tile. Could I experiment with this type of pattern as a gentle and soft background? Strangely enough I have actually undertaken some observational studies of my own within my Material Matters project…..could I maybe revisit and re-envisage this design to incorporate within my hero or possible Blender pattern?

YELLOW, GREY & LINE

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Wishlist (Article) In: Spriggs, B. (2018) ‘Sun and Stripes: Team Moody Graphic Greys with Splashes of Sunshine Yellow for a Modern Bedroom Scheme’, Elle Decoration, No 309 (May), p.53.

Although this is not one particular brand per se, it demonstrates some of my favourite design elements:

COLOUR – ‘Citron’ Estate Emulsion by FARROW & BALL, masters of paint, interior design and colour @ farrow-ball.com Strangely enough, I have begun to really appreciate the power of Yellow; I have always opined it as rather a nonchalant colour, but now think it may be one of my favourite. Daffodils as black line and a yellow background?

LINE – ‘Forest Lovers’ print by Christopher Lorenzo @ roomfifty.com So simple, but amazingly effective when combined with a strong colour such as the ‘Citron’ Yellow. The thickness of line also really communicates the importance of the image it contains i.e the print.

PATTERN – J by Jasper Conran towels @ debenhams.com Geometric patterns utilising a white line against the yellow is just as effective as the black line against the yellow. The black and yellow together communicates a harder edged (masculine?) design and the white against yellow conveys a softer edged (feminine) design; I could explore this.

METALLICS – SILVER

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Colour (Article) In: Spriggs, B. (2018) ‘Silver: Having proved it’s Mettle, this Futuristic Shade is taking a Momentum to Shine’, Elle Decoration, No 309 (May), p.82.

This got me thinking back to the lecture I had with one of my tutors, Sian, whilst thinking about our brand as a designer and which colours what be core elements of said brand; silver has always been a favourite colour of mine and what better colour to offset it against than Blue………time to play………….

 

RESULTS ARE IN……DRUMROLL PLEASE

What is the best way to understand a demographic? I decided to create my own survey, asking poignant and specific questions that would enable me to further expand my research, both visual and market.

7 questions were put forward via Survey Monkey, which was available to my Facebook friends and the friends of friends. The information collated will be broken down into the most popular answers, which in turn could influence my final designs. What were these questions you may ask……well, here they are:

  1. WHAT WOULD YOU CONSIDER YOUR FAVOURITE FLOWER TO BE? Daffodil, Rose & Tulip

 

  1. WHICH 3 FLOWERS WOULD YOU CHOOSE TO HAVE IN YOUR GARDEN? Daffodil, Rose & Lily

 

  1. WHAT IS YOUR FAVOURITE COLOUR FLOWER? Yellow, Purple & Blue

 

  1. WHICH 3 COLOURS WOULD YOU ASSOCIATE WITH FEMININITY? Pink, Purple & Yellow

 

  1. WHICH 3 COLOURS WOULD YOU ASSOCIATE WITH MASCULINITY? Blue, Black & Green

 

  1. WHICH 3 ELEMENTS ARE MOST IMPORTANT TO YOU IF YOU WERE TO CHOOSE A FLORAL FABRIC/WALLPAPER? Colour, Design & Simplicity
  2. WOULD BE MORE INCLINED TO PURCHASE FLORAL FABRIC/WALLPAPER IF IT WAS MORE GENDER NEUTRAL? Neither Agree or Disagree, Agree, Strongly Agree

60 people took my survey and I am absolutely fascinated with the results!!! I knew exactly how some of the questions would be answered, but was blown away by some of the results!!! For example……PINK would always be the most obvious answer when asking what people thought was the most predominant colour of FEMININITY, and BLUE being the most obvious for MASCULINITY. The 3 favourite colours of flowers were quite surprising…..YELLOW coming top, followed by PURPLE & BLUE. BLACK & GREEN surprisingly were the second and third highest chosen colours!!! I couldn’t have asked for better results; my chosen colour palette has so far incorporated most of the colours picked by my survey demographic. I will however incorporate some metallics within my designs, which will lift and inform the buyer of it’s quality and luxurious design.

The information I have gathered so far from this survey has been invaluable; one of the core ingredients/themes of my chosen trend, BUSY BLOOMS, is to inform the viewer/buyer of the importance of GENDER NEUTRALITY when looking at the design of Floral Wallpaper/Fabric for the Interior. I was really pleased to learn that the overall consensus of my survey favoured the idea that more people would buy Floral Wallpaper/Fabric if it was GENDER NEUTRAL, specifically looking at the Top 3 elements when choosing Florals………..COLOUR, DESIGN & SIMPLICITY.

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My next step will be to continue my visual and market research combining elements from the survey results and allowing me the opportunity to create something fresh, unique and with broad appeal.

 

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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JOUNAL RESEARCH: WALLPAPER* ISSUE 229/APRIL 18′

Strangely enough there actually wasn’t any article that piqued my interest within this issue, but rather I was drawn to a few of the adverts!! Anyone who knows me understands how much I hate adverts on TV and in magazines, social media and billboards, but on this occasion I was drawn to these 3 advertisements.

ABC CARPET & HOME

‘Excess yarn is re-carded and re-spun in India and upcycled into a new material for the one-of-a-kind rugs from the Alchemy collection. The spontaneous bursts of color evoke the artistic sensibility of a painter’s brushstroke, where traditional motifs are transformed into contemporary designs through color and the recycled yarn becomes futuristic creations with an eco-conscious perspective’.

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carpet & home, abc. (2018) Alchemy (Advertisement) In: Compton, N. (2018) ‘Alchemy: Experience the Genesis of Design’, Wallpaper*, 229 (April), p.75

WOW!!!! I need a spare £8000 to purchase one of these for my new digs in Nottingham!! Donations welcome ; )

I was instantly drawn to the incredible pattern and colour within this rug, which in turn gave me the idea to possibly turn all my linear floral drawings into a fluid spectrum of my chosen colour palette, creating a natural fluidity seen within the above rug. Could I then create a beautiful background of both harmonising and contrasting colours to offset my linear florals? Would I be able to achieve this on Photoshop/Illustrator? Looking at advertisements for inspiration has really opened my ideas to the possibilities of gaining inspiration from the least likely sources.

TRESCO

‘Our new wallpaper collection ‘Tresco’ has been designed by artist Hugo Dalton and curated by our team of colourists.

The Tresco collection is a new, beguiling wallpaper collection inspired by the artist’s time spent in Tresco, a private island located in the Isles of Scilly. 

Encompassing a mixture of traditional and digital printing techniques, the new wallpaper collection features eight unique designs printed in a multitude of colourways taken from the existing Paint & Paper Library colour palette’. 

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Dalton, H. (2018) Buds – Rufus (Advertisement) In: Compton, N. (2018) Tresco: A New Wallpaper Collection in Collaboration with Artist Hugo Dalton, Wallpaper*, 229 (April), p.101.

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Dalton, H. (2018) Buds – Rufus. Available at: http://www.paintandpaperlibrary.com/paper/buds-rufus (Accessed: 12 April 2018)

‘An all-over motif depicting small protea buds. Full of promise and optimism, the arrangement of the chalice-shaped flowers is reminiscent of Grecian wall paintings. Found in the gardens at Tresco, this protea bud is depicted exactly to its original scale, capturing an element of life-like quality in the design. The buds have been coloured in a range of graduated neutrals and tones of natural colouring to reflect its former surroundings. An additional bold colourway has been incorporated for a more impactful and dramatic scheme creating strong contrast. This traditionally printed paper offers a design that could be used on one wall as a stand alone or all around a room. The flexibility of this paper offers great scope for use within a variety of different spaces’

There is something so sumptuously delicious about this simple, yet highly effective floral design….maybe I don’t have to create a fabric/wallpaper that contains all these gimmicks and motifs. Could I create a wallpaper of my own and beat my own path? But would my tutors argue that this looks like a Secondary pattern? The colour blue used within this design is one of my all time favourites….TIMELESS and CLASSIC. The blue is offset, contrasted and harmonised all within the same context by the metallics…..BRONZE and GOLD.

EXTETA

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Palomba, R & L. (2018) Zen 230 (Advertisement) In: Compton, N. (2018) ‘Screen Time: Elegant Ways to Divide and Conquer’, Wallpaper*, 229, (April), p.274.

Unfortunately their website was extremely difficult to navigate around, so trying to find much information about the company was rather impossible. However, I did manage to fathom that the company is pushing the boundaries when looking at the context between indoor/outside design.

‘The fragrance of an outdoor space conceived in harmony with nature, permeated by an atmosphere of well-being. A place in which to immerse oneself, enveloped by the warmth of a design that lives through its relationship with people and their needs, offering them the experience of a different way of discovering the outdoors’.

You maybe wondering why I chose this particular design? It gave me the idea to incorporate my florals against the backdrop of a trellis, something that William Morris incorporated a lot within his work. Could these cohesive interlocking trellis ‘bricks’ softly accentuate my linear floral drawings? Could they be the colour needed to make sure I stick to one of the core elements of the brief? We shall see….

SKILLSHARE VIRGIN

Well, considering I have never used Photoshop and Illustrator before, and that I am currently undertaking a Digital project, I decided it was about high time that I learn from the ground up; what better way to learn from others who are able to share their skills and best practice.

My first port of call was to visit a wonderfully informative site run by Dylan Mierzwinski:

https://www.skillshare.com/user/dmierzwinski?utm_source=Email&utm_medium=lifecycle-email&utm_content=profile-dylan-mierzwinski&utm_term=2017-12-04-day-8-test&utm_campaign=premium-user-lifecycle&via=lifecycle-email&bsft_eid=439d98a5-c7a8-4f1a-88e0-6ccff89e8979&bsft_clkid=884dc979-9ca8-48d4-bd4a-a1550c3f5683&bsft_uid=0b08c2e1-132d-4408-b12f-ddff321d78ef&bsft_mid=4ea48b74-8ffd-46de-aa1b-4d6488278d56&bsft_txnid=4e21da46-1d00-4c36-bfd1-17ba84aad0c1

The first workshop/tutorial I decided to tackle/watch is ‘ILLUSTRATING FLOWERS & ARRANGING BOUQUETS IN PHOTOSHOP’

One thing that struck me about this tutorial was her use of creating a design from a photograph, when she had flowers to inspire her from life. Perhaps her being an illustrator, she likes flat and 2D design work?

Dylan advocates the choice of certain elements within the chosen subject matter:

  1. Size of flowers…..the larger the flower, the larger the focus
  2. Variety……..the variety of different flora will allow a kinetic and interesting juxtaposition to flow
  3. Shape, pattern and line…….vitally important to show a diverse range of structural qualities.
  4. Texture………to avoid the design to look flat and characterless.
  5. Focal point……the area chosen for the highest vital impact.
  6. If using photographs/online images……….describe from multiple sources (do not directly copy)

I DO NOT ADVOCATE DRAWING A FLOWER BY FIRST DRAWING A CIRCLE!!!!! I WILL ALWAYS WORK FROM THE INSIDE OUT, THAT WAY THE FLOWER WILL BECOME ORGANIC, RATHER THAN BEING FORCED TO FIT WITHIN A CIRCLE. NAUGHTY DYLAN.

When drawing a flower pay attention to how the petals/structure interacts with one another; concentrate on line first and foremost. I always think a really good way to begin to understand the form and structure of a flower entails studying it by looking and touching it in various perspectives. My Dad always instructed me to explore an object through touch drawing first; it allows me to ‘see’ with my hands. The eye/brain can misrepresent what it sees due to preconceived ideas, take that away and ‘see’ with your touch, and you can begin to understand the core ingredients of the chosen object.

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A Rose midway through bloom. The structural essence is visible to see; one drawing instrument Pencil) was used to convey form and structure.

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A Rose decaying; a mixture of dried and still living petals. A range of drawing instruments (pencil, finaliser and charcoal pencil) were used to describe certain characteristics of the flower.

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A Rose nearly naked of it’s petals; dried and stiff elements of the sepal and stamen are described with expressive mark-making (pencil, pastel, charcoal pencil, biro). The touch drawings are a wonderful way to express what you ‘see’ without actually looking at the object.

In the ‘DRAWING YOUR BLOOMS’ section, I notice that Dylan is not observing from a natural form/life and is making up the linear and defining patterns of her chosen flower; this does not really reflect the true nature of what is actually being ‘observed’, but I love the fact that she informs me that what is drawn on a blank page does not necessarily translate exactly when manipulating and transferring the image digitally.

DIGITISING YOUR DRAWINGS

Screen Shot 2018-03-18 at 16.06.17Looking at Quick Mask Mode – CTRL+U (DE-SATURATE) Drag Saturation to -100 (OK) Screen Shot 2018-03-18 at 16.07.02Use Lasso tool to ‘frame’. Double Click on Background layer – CTRL+I (INVERSE) Gets rid of everything outside image to keep.Screen Shot 2018-03-18 at 16.08.50CTRL+X To get rid of it. To make sure the black is true black and white is true white press CTRL+L and adjust the bar to make sure there is no grey area.Screen Shot 2018-03-18 at 16.11.40  To make New Doc CTRL+N. Use Lasso tool to frame image and press CTRL+C. Screen Shot 2018-03-18 at 16.15.57 Make sure white is your foreground. Press Q for Quick Mask and layer should turn red for activation.Screen Shot 2018-03-18 at 16.31.06 Press CTRL+V to paste image into new doc, which will shows red due to being still in quick mask mode….so hit Q. Screen Shot 2018-03-18 at 16.32.26Photoshop thought that what was black needed to be removed and save what was white. To remedy this press CTRL+I and choose black as foreground colour. Now press ALT+and then CTRL+D to select. Screen Shot 2018-03-18 at 16.38.04

MORE TO COME………

 

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.

 

 

WHAT IS VISUAL HANDWRITING?

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.

Synonyms of Identity: INDIVIDUALITY, SELFHOOD, EGO, PERSONALITY, CHARACTER, ORIGINALITY, DISTINCTIVENESS,  DISTINCTION, SINGULARITY, UNIQUENESS

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?

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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. 

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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

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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.