Evaluation of 'Intentions' Unit

 

Throughout the unit I have developed the way in which I think about sampling and research - I have found inspiration much more easily than in previous projects. This could be due to the fact that I considered a context for my work relatively quickly after the project begun; I created drawings in a way that I haven't tried before, or I have found ways to develop samples more easily than last year.

 

I have enjoyed learning new techniques and ways of working in the embroidery area, such as the Ethos Software and Multi-Head Stitch-Out, and Photoshop techniques. The Photoshop workshops, in particular, have allowed me to experiment with compositions to work out what would be most suitable for my project and context. I would like to use these new techniques in future projects as they have helped me to develop ideas into physical samples.

 

My work ethic throughout the project has allowed me to complete, as well as thoroughly explore the techniques I have used, although I have felt far more relaxed than in first year. The tutorial system of only having one meeting a week, I feel, has allowed me to work more freely and experiment and develop ideas more easily.

The initial concept underpinning my work was 'Disguise and Cover-Up' which influenced my project more literally nearer the beginning due to the media I used. The idea of 'Urban Influences' allowed me to explore structures as well as shape - I was inspired by the 'old and new' aspect of the architecture between the City Centre and Media City which contributed to the graphic quality throughout my work, as well as enabling me to explore structures and 3D compositions. Moving forward from my initial drawings, I concentrated more closely on the colours and compositions which have played a bigger part in the samples I worked on, rather than a concept itself.

 

Throughout visual research my main influences were Dario Moschetta, because of his abstract use of colour, and Issey Miyake for his structural garments. These have been main themes throughout my work and have enabled me to explore new pathways.

The context for my work is a mixture of Window Displays and Visual Merchandising, Costume and Set Design. I would say that this helped to portray a diluted concept as these could all be referenced as 'disguise' or 'cover-up'. The context influenced the way in which I planned samples due to the scale and colour use, as the context for my work would require large samples with bold colours.



 

The above images have influenced my samples the most due to the element of structure and detail in them. I prefer the green colour palette, but the graphic qualities of the pink image.

 

My most successful sample was using the Multi-Head embroidery machine and incorporates graphic qualities and complimentary colours in a large scale that would be appropriate for my context. The fabric is suitable for draping as a backdrop, and the colours are bold enough to be seen from a distance which is an important factor in public displays.

 

 The figurative drawings of buildings have become the graphic, dark lines within my samples, whereas the abstract drawings have made me consider my choice of colour more carefully. I have found this relatively easy to translate straight into embroidery using the Ethos Software, as well as experimenting with colour and thread compositions.

In future projects, I will be able to develop the techniques I have used, as well as having a closer awareness of colour and composition. I would have liked to experiment further using Photoshop alongside the Ethos Software to develop my technique and try out other compositions.

 

Ethos and 3D Development

 

My focus this week has been to develop some 3D structures from the Photoshop work which I sent to be digitally printed, as well as developing designs on the Ethos software.

 

I re-visited the 'Pattern Magic' books and developed structures using curves to create a concertina effect, as well as the geometric design from earlier on in the project.

 

These could be used on the body to add structure to a garment or could be used for viewing purposes only on a mannequin on display.

I wanted to create a longer embroidery piece that could be used as a backdrop or simply allowed to hang as a display to be used in conjunction with a mannequin (to showcase all the contexts I have in mind) - below. I prefer the samples with smaller amounts of orange and black stitch on them, as I don't think the colour composition works that well with large amounts of these colours together.

 

 

I experimented with stopping the machine and leaving the support stitches to vary the tones of the colours I used. With using a relatively dark fabric, this caused the stitches to appear darker when I skipped the machine which added tone and depth to the embroidery. Although it is a flat piece of work, elements of it stand off the fabric which create a relief from the surface. I also like the way that the darker stitches add detail to the sample and vary the texture. The green colour palette is more complimentary on this particular fabric than the pink and orange, and I feel it would be easier to work with moving forward.

 

Contextual Development

After my tutorial last week I have considered which samples would work best in different contexts. I believe that the 3D structures I have been working on could be developed for all of the contexts that I have in mind - costume/set design and window displays. 

Some samples would work being placed on the body (or a mannequin in a shop window display) due to the structural quality they hold; on a background within an interior space similar to Matt Shlian's Levi display, or as part of a set design. 

 

Irina Shaposhnikova also works in this way, creating sculptural pieces for the body. I have enjoyed working with structured objects as they depict 'urban influences' through geometric shapes and construction.

 

 

Ella Doran creates 3D wallpaper designs for interior spaces - similar to Matt Shlian's Levi's installation - using geometric compositions.

 

 

In contrast, I feel that the flat, embroidered samples would be better suited being part of an interior space or set design, rather than on the body due to their graphic quality in the embroidery which I believe would be disturbed if they were to be made into a 3D structure. 

 

 

I experimented on Photoshop using Layer Masks in different compositions, from backdrops to drapes on display as backgrounds. My designs could be used as a backdrop on their own, but I think they would be better complimented as part of a display (like the bottom image above - in sections) as they are heavily patterned in parts. 

Ethos Digital Embroidery

This week I learned how to use the Ethos software to create a design to be stitched out by the multi-head machine.

I began by scanning in some of my previous samples and using the software to draw running stitches, satin stitch and fill in some of the shapes on the screen. 

I like the graphic quality of the lines that are stitched as well as the abstract shapes, which contrast (but compliment) each other effectively. I played around with changing the stitch order, the colours, and composition of the stitched lines by pausing and skipping the machine to leave the support stitches for the filled areas.

 

Although I like the effects on the finished samples, it was difficult to be patient with the machinery as the threads kept snapping due to some of the satin stitches being too wide for the machine to handle. This meant that I had to keep re-threading the machine, so I can now say that I am a pro at threading it up!

I would consider creating structures from the embroidery samples from this machine, although I think this might effect the graphic quality of the samples. I think they would look better on a flat, but larger scale, piece of fabric, possibly collaborated with digital prints as a background to work onto. This could be the interior element for set design, and the structures could be used for both interior space or on the body as a mannequin in a shop window display, for example. 

Visual Merchandising Context

Last week I focussed on researching further into the context of my work by looking at a Visual Merchandising book which included shop window displays - as costume and set design both could fall under this catagory (due to the presence of body and interior space). 

There were four images that I found particularly interesting and different from things I have seen in the past.

The spinning fair ground ride above was in Fortnum and Mason, London, and attracts people's attention because of its movement. Movement, in such a space, makes people want to look in the window as it is unusual to see.

The heads of these mannequins have been replaced with silk flowers for Topshop's Spring/Summer window display and give a fresh connotation. Personally,it makes me think that they will be selling floral garments in the store, or clothes with a summery design.

Selfridges' Christmas window display had several fir trees with lights and decorations rather than the typical winter scene with snow. Because the background is so busy, the mannequins have been kept simple so they balance each other out.

This life-sized giraffe was used in a Louis Vuitton window to both display the accessories and to create an unusual visual effect - it almost forces people to look into the window as it is not a usual occurrence in merchandising.

With my work being of a sculptural and three-dimensional nature, I feel that it would be suited on the body and in a space as a background - the giraffe and the floral heads are sculptural, which draw people in and makes people remember the store, meaning that they are likely to talk about it to friends, creating more business for the store.