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.

LaserCutting

My focus this week was to manipulate my designs for use with the laser cutter onto leather and my digital designs to create layers and textures suitable for an interior market. I digitally printed my designs onto a thicker cotton that is of higher quality than ones I have used previously. I feel this is more suitable for the context of my work.

Laser Cut Samples

The leather gave off a strong burning smell, but left a crisp edge once cut. I think the pattern on the bottom two samples is suitable for an interior market due to being floral and repeated.

Self-initiated brief

Using the Bernina machines, I carefully selected metallic threads to pick out elements of the print designs to stitch into. They add a slightly rough texture to the material as well as a subtle relief surface. I intend to combine the samples already stitched into below with the multi-head machine next week. This would allow people within industry to repeat my designs using the jump to start element on my designs, meaning they can make several identical ones.

I prefer the more muted colour palettes rather than the contrast of the red and purple. I also think the muted colours would be more adaptable for the commercial interior market and would appeal to a wider number of people. The red and purple palette could be considered a 'high-end' design and therefore is more of a niche market with a smaller target audience.

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.

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.

 

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.