Michael Kidner

For the presentation, I've produced fabric samples so the Kidner family have something tactile alongside the other proposals. I've also created some wide-format banners which I will print if I win the commission.

 

 

 

Focussing on Michael's use of colour alongside the idea of illusion and op-art, with the combination of processes, if produced to a large scale, would be powerful within a gallery environment as they would be visible from afar and would be tactile. If the Kidner family like the idea of embroidery within the commission, I would have to produce the banners on fabric as paper would tear.

 

The large scale banners would be printed 2.5m long and up to 84cm wide.

 



 

 

Art in the Office

Art within a corporate environment can break up the clinical feel that the majority of spaces possess and can enhance the productivity of the workforce according to The Guardian. 

 

http://www.theguardian.com/careers/2016/jan/21/art-works-how-art-in-the-office-boosts-staff-productivity

 



 

The large scale and tactility of my final collection of samples is ideal for my context, creating interest within a corporate space. The combination of graphic city imagery is also suited to my context as the majority of corporate spaces are situated within a city environment, and somewhat provide an escape from the hustle and bustle of city life.

Finalising Ideas

After careful consideration and planning, my final collection of samples is becoming more resolved. The context for this particular work has altered slightly from the start of the project - from interior textiles for the home to interior artworks for a corporate space. With this in mind, the scale of the samples needed some attention.
The A2 screen designs really make an impact on the surface of the fabrics used, and combined with other processes make the samples dramatic. The graphic screens are far more fascinating than previous block designs and the negative spaces give the samples character.

The combination of textures on the surface has improved the tactility of the samples, which works in favour of my context.
Up scaling the embroidery designs gives a more spectacular appearance, and creating my own stitch on the software has meant they appear translucent when stitched over the print. By carefully selecting and planning which colours to use, I discarded the pale pink printing ink as it wasn't vibrant enough on the fabrics. I have however incorporated it into some of the digital embroidery where I saw appropriate as the translucency of the thread was more effective over darker shades.

Planning

Over the Christmas period, I developed graphic A2 screens to be printed on returning to the studio, which are more appropriate for the context of my work. Previous samples looked thrown together, so I’ve planned 6 final samples. I will screen print onto upholstery fabrics first, followed by flock, foil and digital embroidery using burmilana threads, being more selective about the colour choices and compositions on the fabrics. I’ll produce large scale embroidery designs to work with the A2 prints as previous designs were lost amongst the overpowering smaller print.

For the Michael Kidner brief, I have rekindled the idea of banners from the beginning of my self-initiated project. I’m wanting to work at large scale to produce bespoke banners which would be powerful within a gallery environment. My Photoshop work over Christmas has been concentrated on Michael’s use of colour combined with op art, then developed into large scale designs to be pitched to the Kidner family. I will produce some fabric samples too, so the Kidner have something physical to look at.