Investigation 1 - Design Development and Furnishings

Group Project

The focus of my work this week has been on developing designs that are in keeping with the group vision. We decided that a geometric approach would uplift the reception area of 57 Spring Gardens and, with using relatively muted colours with a signature yellow colour (inspired from an image on the group Pinterest board as an accent), we have considered the setting of the designs as to not overwhelm the space. 

After deciding on the colour palette, myself and Jenny began drawing. We both have very different drawing styles - Jenny prefers graphic, black and white drawing, whereas I prefer starting with colour and composition. We plan to combine our drawing styles to create designs which reflect both our work equally.

When considering the type of furniture we might place in the reception area, we decided that it would be better if the patterns were only on part of the chairs or sofas because they are quite heavily patterned and it would be difficult to match the pattern around the surface of the furniture. Myself and Jenny had an idea after discussing it with Michelle in a tutorial that we could choose part of the furniture such as a cushion and use Velcro so it could be detached. However, when we pitched this to the rest of the group, they didn't understand the detachable feature, and Simone pointed out that personalised furniture would be too time consuming and costly to make. Moreover, with Bruntwood being a commercial company, the likelihood of them wanting to spend their time and money on bespoke furniture is very slim. As a result, we have begun research into different types of furniture that we could suggest Bruntwood could purchase for the area, but that are also in-keeping with the other design features within the space. We could however, still present our prints to Bruntwood as they could be used on a smaller scale, such as for soft furnishings.

We looked at both chairs and sofas, to determine what would fit best within the space we were allocated. We discussed a few options of where they could be placed - for the Blue-Sky option, we discussed sofa pods on the higher level, facing outwards, so that people can still be identified but it is also slightly secluded and offers a breakout space for Bruntwood's clients. The dimensions of the space as it is currently would not allow a chair pod at either side of a coffee table in front of the lifts, so we looked at chairs too, as they would fit in the space. I think it would be more proactive and beneficial to the project if the group decided on the CAD designs to focus on first, before deciding on furniture for the space as we don't yet know what space we have for chairs and tables yet.

After this weeks tutorial and being told our furniture designs were going to be too costly to make, myself and Jenny felt a little bit lost as to what we could contribute towards the group project, so we discussed ways that we could still design something for the space. We reached a decision that we could take inspiration from Bolon (a flooring company) and create our own flooring design using geometric shapes. We felt that if the design was to be across the whole of the reception area, it would be too much and would not be appropriate for the client. As a result, we will design a strip of carpet tiles that will go underneath the seating area, with plain chairs on top. This way, there can be some design input, but not so that it overpowers the space.

Individual Project

With regards to individual projects, me and Jenny possess different skills that we felt would allow us to create a stronger body of work if we worked collaboratively with each other. We have discussed the possibility of laser-cutting into a table top, as I have had an induction last year, rather than suggesting pre-made tables for Bruntwood. I feel that with Jenny's skills in print, she could possibly design a screen to print onto the wood first, then I can design the laser to combine our skills and techniques. I will work on designs for the laser and sourcing appropriate materials over the Easter break so that we can get straight on with sampling and experimenting when we return, so we are managing our time effectively

Research 2 - Ralph Capper

Ralph Capper are a company that work with other businesses in order to design furniture around their individual needs. We met Ben, Ralph's son, that explained what the business does and how different qualities of furniture affect where they could be used - whether at home or in a business environment. He explained that furniture that comes from IKEA would be better suited to a home environment rather than an office due to the amount of use it would get - it would not be sustainable within an office and being heavily used. 

After visiting the showroom, I have gained an insight into other businesses that operate within the interior market. There were catalogues featuring Modus, Muuto, FritzHansen, Kvadrat and Camira Fabrics, all companies that are new to me. I was particularly interested in the Kvadrat and FritzHansen sample books because I feel the techniques used would be  suitable for my current work for 57 Spring Gardens - the group have discussed a geometric approach to the project. We plan to order appropriate samples online so we have something to suggest to Bruntwood when we do the interim presentation for them. We could also use these samples to inform our own designs.

Because the flooring and wall coverings are probably going to be hard finishes, we discussed having some sort of sound-proofing acoustic finishes as artwork or within the furniture. Myself and Jenny have been given the task of designing the furniture so we will consider acoustics when thinking about fabrics. We could use flock onto our designs to act as a sound controlling feature if we did decide to run with this idea. 

I enjoyed viewing how other designers compose their samples - they use a diverse range of techniques and fabrics that I haven't necessarily seen before which I could now incorporate into my own work for interior clients. 

 The seating in the showroom had a contemporary feel to it, creating a secluded meeting space. However, I feel that the backrest would be too high up for the reception area (above left), and the client would benefit from a lower back so that they can identify people sitting in the reception area if they need to meet them. I think a chair similar to the mustard one above would be more suitable as it allows slight seclusion, but allows people to identify the person sat in it, for example if they have come to meet someone from the offices above. I will consider this with Jenny when designing furniture for Bruntwood.

Self-Initiated Brief Final Samples - Evaluation

My final collection of samples for my self-initiated brief have been abstracted from my initial idea of 'anatomy' in order to appeal to a more commercial interior audience. I have put all of the designs into half-drop repeat as this is most commonly used within industry. They have been printed onto cotton poplin and cotton satin to experiment with different fabric weights. I prefer the cotton satin as it is sturdier and I could see it being appropriate for use within an interior space, rather than the cotton poplin which is relatively flimsy and could rip more easily. 

I have produced the samples above in a larger scale than previously (64cm X 64cm) in various colour ways as I thought the red triangle was a bit gory and didn't suit the sample. I tried out orange and purple, but I prefer the purple as it compliments the other colours in the sample more than the orange and red do. I would have liked to layer laser cut grey wool over the top of the larger samples to gain a better understanding of how this would work, and if it would be suitable for my audience.

The colour choices I have made merge neutrals with slightly brighter colours to accentuate my designs in areas and allow a slightly graphic approach to the abstracted shapes. Other samples incorporate colours that clash slightly such as red and purple mixed with greys, which I have found a challenge to work with. I feel this would make my designs suitable for most commercial interior audiences. By using metallic threads in these designs it allows a lightness in areas as highlights which reflect the light when turned in different directions as the stitches are all running in different directions. On darker fabrics, I have used metallic threads to offer a relief surface, which allows quite 'dry' looking fabrics a moment of shine which I believe I have achieved effectively.

When using the Bernina machines, I considered how the stitches I used could relate to my concept of anatomy, with one in particular imitating a heart beat. I played with the stitch length when using satin stitch to add depth to the shapes on the print so it didn't look like a flat surface.

The most successful samples are where techniques have been combined to create different effects on the fabric (above), rather than where only one has been used (such as the laser-cutter, Bernina and Digital Embroidery separately). The sample below has lost all its shape because the fabric was too thin. I used cotton poplin with the laser cutter and the fabric just disintegrated. It improved slightly once ironed but it doesn't hold its shape still - cotton satin and wool would have been better choices. 

This sample would have been more successful on a more sturdy fabric, with a lower number of cut-outs as they have ripped into one larger hole in places.

I feel to have developed a way of working that is effective for me during this project, allowing myself time to think about designs in order to move forward. Also, by developing skills in both Photoshop and Illustrator throughout this project, I have been more confident when it came to using these programs to create designs. I believe without being able to use these programs as well as I can now, I would not have been able to achieve what I have done throughout the project.

Engineering Embroidery - Evaluation

The collection of samples that I want to present for the engineering embroidery project involve a range of sizes and material qualities. I have used leather mainly, using the front and reverse to explore different textures. 

Initially, I used PVC (above) as a cost-saving substitute for leather, which I later decided didn't fit the brief properly - the textures were all the same, whereas with leather there are different weights to try out. Similarly, the designs I stitched out onto the PVC on the multi-head embroidery machine initially were far too literal, so I developed them to be more abstract so they would be more appropriate for the audience. In the process, I used repeat motifs in my new designs, picking the negative space out with the magic wand tool on Photoshop.

My initial colour palette evolved from a few of Timorous Beasties' prints, but later I moved onto metallics in similar shades to enhance the material quality - the leather side appeared flat and the suede side of the leather had a dryness to it. The metallic threads added a new surface quality, a shimmer on the suede that can only be seen in light. These are some of my favourite samples from this project (below).

Some samples were not as successful due to colour choices and composition of their design. 

(Above, left) The choice of purple with this particular leather clashes slightly, and the white shapes are not particularly well arranged, however, the metallic bronze thread I feel works well because it is within a similar colour range to the leather itself; it has a subtlety to it. (Above, right) The leather was quite thin and flimsy, meaning that it got slightly sucked into the machine, causing it to pucker. The design is also stitched too closely together, making it quite dense. I wanted to create a shadowed effect, although I don't think this has been executed properly.

If I was to develop the project further I would have liked to up-scale some of the designs as they are all relatively small and of similar sizes, as well as layering samples using varying techniques such as the laser cutter with machine embroidery. To do this I would need to have better time management when booking onto the Laser Cutter and a wider variety of digital skills so that I could create more innovative designs than what I did. I would also like to try out other materials on the digital embroidery machine to see how they react. I feel I have worked outside my comfort zone with this project due to not experiencing or working with car interiors before, although I believe my work is in-keeping with current interiors due to the materials used. However, the designs and thread choices introduce a new aspect to this particular market as they are graphic rather than subtle.

Self-Initiated Context - Interiors

In an archive visit to view sample books, some of Andrew Martin's work was shown. He uses animal figures within some of his wallpaper designs; they are figurative rather than abstract. I prefer to work in a more abstract way than he does, although his work is still interesting to look at. The colours are fairly neutral, a complete contract to Timorous Beasties who I have used for my colour inspiration.

Laura Ashley creates designs for interiors including soft furnishings. The majority of her work takes a floral stance, with pastel and neutral colours playing a main part in her work. Again, her designs are repeats which enable them to be produced several times and create a larger scale piece of fabric. I feel her designs are typical of interior designs.

I have produced my Photoshop designs to be 32cm x 32cm to fit with industry standards as well as putting my designs into half-drop repeat because it is most commonly used within the interior industry. I will consider a floral taste within my final designs to be in-keeping with current trends within interiors.

Above are a couple of examples of how my designs could be used within an interior space. I think the designs are more effective as a feature wall or one piece of furniture rather than an all-over surface as they could become too much.

Leather Work and Scale

After my tutorial this week, I want to concentrate on using metallic threads on leather (front and reverse/suede) to further abstract my designs and to try out other aesthetics.

Some of the most successful samples - repeat patterns abstracted from my original drawings.

The samples that I think work better are the ones that are less literal and abstracted. The different thicknesses of leather create different outcomes when used on the multi-head machine. They have all been stitched on a relatively small scale due to the materials I sourced, however, by upscaling my designs for the multi-head and laser cutter, it will allow me to work on a larger scale and get across the context of my work more thoroughly.

For my self-initiated brief, I intend to digitally print some of my Photoshop repeat work for an interior context, then use the multi-head and laser cutter to work back into them, creating abstract compositions. 

Design Development

From my initial visual research, I have developed designs to be stitched out on the Multi-head machine with a view to abstracting some of the drawings in the process to appeal to people interested in interior markets as I feel my concept of 'Anatomy', if done literally, would not be suitable in this case.

Annemieke Mein also uses birds and insects within her embroidery, with a more muted palette than Timorous Beasties do. Her work appears slightly outdated and old-fashioned in my opinion if it was to be used within an interior space, whereas Timorous Beasties concentrate more on their colour use rather than specific details which I believe make them a greater influence for my work. 

Timorous Beasties use graphic imagery of animals and insects within interior design ideas which I find unusual but memorable compared with other designs that I've seen before. They understand that floral patterns are relatively popular within the interior markets, but they add their own stamp to it by including birds and insects with bright and unusual colours to their prints. This could influence my work because of the colours I could take from their designs as well as the idea of 'anatomy' being adaptable to interior spaces. 

I have used the colour picker tool in Photoshop to define 4 different colour palettes from Timorous Beasties' work for use in my own designs using the brushes I created. I have tried to be abstract and keep the interior market in mind when doing the digital designs by putting the brush stamps into half-drop repeat. I have created brushes using parts of my drawings that are relatively abstract, such as the arteries of the heart, eye and hand nerves and parts of the ribcage.

Ethos Machine Development

Over the Christmas break I sourced materials that I thought would be suitable and durable within a high-end car interior space - 'Engineering Embroidery'. I opted for PVC in place of leather as a cost-saving measure for initial sampling, although I now realise that I would not be able to develop a proper idea of how the actual materials would behave with the multi-head machine. I also sourced some heavy wools with a view to layering them using the laser-cutter.

After my tutorial last week I have purchased swatches of leather including different weights and colours and I have begun stitching out some of the more abstract designs onto them to see what the material does in the process. I have found that stitching out onto the leather rather than PVC enables me to gain a more accurate idea of how the client could expect the designs to look.

I have considered comlimentary colour palettes, with metallic threads to break up the block coloured threads. This will also add a freshness to a high-end car interior as this is not a usual occurrence.

I prefer the finish of the leather samples to the PVC as the fabric crinkles slightly. The designs that I've stitched onto them are also abstracted from my initial drawings, making them more commercial and easier to place within an interior space, whether that be high-end car or home interiors. I will differentiate between the two projects by the materials used rather than the designs, as I believe they are appropriate for both strands.

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.