Visualising hand made pattern

Below you can see the hand made print visualisations that have been scanned into photo shop and arranged into the way I visualise my wall paper print to look, not altering the colours but just re sizing and placing into the order I would like them to be and then inserting them into a possible setting. 

In this case I have chosen a simple foreground that aesthetically isn't very loud, then showing my pattern in the background to show the surface pattern of in all its glory.

Overall I think this collection is fairly strong with a good clear indication to the step by step development to get to this point, taking inspiration from my artist research, surface pattern design research and also my wall paper design research, including elements from all the stages throughout the brief.  

In this weeks sessions I began to look closely at my hand produced surface pattern collections developing previous ideas and prints that could possibly be taken forward and developed making around ten A4 pieces that would represent my final surface pattern and from here I began to get all my past developed work out and see what worked and the aspects of each piece that could make my final collection strong. 

Using copies of my prints and observations I began to create my three piece collection on to A3+/- paper taking inspiration from the fine liner pieces I had previously done and also the arrangement of stripping my work and placing them in orders to produce the start of a repeat pattern which I think add to the collections over all geometrical look.

Although the colour scheme may vary throughout the collection with the richness of colours they all take original inspiration from the yarn bombs colour arrangement.

These pieces all link visually through the arrangement of the lines an pattern. 

Yarn video behind scenes <--- click the link

Development of Surface pattern

Here are the selected development pieces I have taken inspiration from, during the development stages this past week pushing my C.A.D collections forward.

 

Here you can see a piece that I have developed from my original yarn bomb observation C.A.D ideas using the same colour pallet and circular shapes to make a free expressional abstract piece. Using batique and ink which creates beautiful colours and defined outlines.

This piece was further developed as a printed surface pattern which I think was a very successful piece and could be again further develop to be in as a part of my final C.A.D collection.

This developed piece originated from my first C.A.D session and will be interesting to see where it could be developed as a print as I quite enjoyed the original monochromatic print.

I then further developed my prints working into some of them with stich using the sewing machine to produce circular shapes in side in the geometric shapes producing a simple but effective contrast.

Which could be again developed and incorporated into my final collection.

                                              

Here you can see another one of my tie dye pieces which I used to express the use of colour I would like to achieve in my final collection, which I think was very effective as the colours are bright and analogous. Being developed into a pattern on C.A.D to further develop my pieces

In today's session I began to again develop my C.A.D session collections, by again taking pictures of my yarn bomb developed observational pieces and uploading them into Photoshop in which I went on to crop rotate by going to edit and transform, re-size (ctrl T) and holding down shift and alt whilst re-sizing so that the proportions would stay the same.

The task for today was to visualise my creations on to a desired product, in my case I chose a dress as my theme for my C.A.D collections is inspired by the analogous colours, repetitive simple shapes and symetrical circular layouts which originally derived from my developmental observational A1 pieces taking inspiration from designers such as Jonathan Saunders  using very geometrical shapes. 

I Went on the internet to find a dress type that I thought would be appropriate for my patterns and below you can see the out come. I transferred my print onto the dress by using the lasso tool to highlight the section I wanted add my now flattened print to, from here I went back on to my print and copied it to then paste it in using the special paste into option. Rearrange the size and angle to fit the dresses proportions

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Further Development of observations in print

Into todays session I began to experiment with stencilling sections of my chosen observations (plaits, textures, shapes, colour, composition, motifs and Photoshop manipulated print idea)   in the hope of producing a representational prints using a plethora of ink in the workshop.

I firstly began by photocopying my most successful observations and mixed media pieces, so that I could go straight into making a stencil cutting out the negative spaces or following the lines and creases of the photocopy using a scalpel.

After creating 6 different stencils, I went to the workshop rolling all my chosen colours out sticking mainly to my chosen analogous colour pallet. Rolling various colours of  paint over a plastic white board, which would be then covered by the stencil and put through the press.

I followed this process numerous times changing colours and positioning of the stencil, layering stencils  and below you can see the process and a few selected out comes. Which, overall I think are quite strong expressive pieces with rich deep colours, corresponding with the original polluted analogous colours of the yarn bomb environment.

From doing this print exercise it has improved my confidence in making my own prints and experimenting with the process.

Furthermore it was expanded the bulk of work and media used which will give me more ideas to develop and experiment with further along in the project.

Motif Development

Today after creating my final A2 observational development I decide to move on and adapt my original observational concept, moving into surface patterns and motifs, looking into how my A2 piece could be evolved, working with the drawing to create a repeat pattern.

Taking inspiration from other blogs such as http://www.pitter-pattern.com/ ,

I began to create my own motif on Photoshop, being fairly new to this software I began by uploading my selected image of my A2 drawing and cropping out a section in which I thought was exciting and had potential enough to be developed further Using Ctrl and +/- to magnify sections.

So I then began the cropping of the section I had chosen which was the top right section of the drawing as I liked its curvature and erratic use of line. I cropped the image by using the magnetic lasso tool in the option bar to achieve crisp clear lines. I then began to layer and duplicate the pages 

doing this four times I could begin to re-size and shape the multiple images using alt and the mouse to alter the shape, position and angle with out changing the proportion.
After messing around with the composition I created a circle out of the four duplicated layers and merged the layers into one to create a single layer.
From here I went on to repeat this process creating a full drop repeat, I did this to just experiment with my pattern and see what I could design with it, I did like the out come however i think it could be further developed to produce a more fluent and complex surface pattern.
So i began to push my Photoshop skills to try and produce a larger range of designs changing colour  by going on to image, adjustments and then on to hue and colour saturation.
which I then  produced a black out effect, which I thought could be developed into a beautiful repeat pattern, that would look fabulous as a staggered drop repeat pattern.
 I created this by clone stamping the outline and producing a wonderful pattern which reminded me of a "dog tooth" pattern that could be further developed into a woolen embroidered print on a two piece or jacket.

A2 development observation

After looking back into my observations, I concluded that the most successful pieces were the more expressive fine liner drawings, that concentrated and magnified on the twists and tensions of each individual piece of the of the recycled plaited material.

Producing wonderful strong, expressive line drawings. Which in my eyes had a striking correlation to works produce by "Allison Lambert" being highly communicative  observations.

Inspiring me to take this piece forwards.

I began by blowing the original drawing up to a A2 scale, getting an idea of scale/proportion on the page.  I then proceeded by tracing the basic out line of the observation making sure I had an exact replica of the original. Moving on to looking in to extreme details of the materials the folds and fibres (excluding colour for now). 

So I began to elaborate on the plaited details, working from the blown up image.

After completing this I looked into introducing colour into the A2 pieces, so I decided to use ink made out of water and brusho, that would be applied through using a pipet. A technique that allows me to be accurate in how the colour is applied but also enabling me to be expressive at the same time. I began by creating a colour pallet similar to the ones in the installation and particularly in the section I was focusing on.

Producing a successful piece that took on qualities of colour, observational skills and inspiration from expressive works from "Allison Lambert".

Overall I enjoyed creation and developing this A2 development piece as I can now see how this piece could be further developed in to a motif with the beautiful unorthodox shapes and complex arches. Which will also challenge me.  

  



 

Observational drawings of textile installment

In todays session we were asked to make some observational drawings of our instalment, using a range of dry medias such as; oil pastel, biro, pencil, charcoal, felt-tips, crayons etc.

Firstly I started by churning out a mass of quick timed drawings, looking at the whole instalment apportioning myself time limits from 30 seconds to 7 minutes.

Producing very sketchy abstract representations, which in my opinion set the tone, to make detailed and experimental mixed media pieces.

Therefore I went on to looking a sections of the instalment, that had interesting colour use or complex composition to try and capture the tone of the yarn bomb.

I completed 23 individual observations using a range of techniques and materials such as; blind drawing, collage, wrong hand, line drawing,

colour studies(brsho).

 I again stuck to the colour pallet of the yarn bomb using analogous colours.

 I find fine liner is perfect media to use whilst making an observational drawing, being one of my preferred way to draw as it can capture minute details and emphasise lines and tones which is achieved in a quick manner capturing just the line.

But on the other hand I love bright and bold pieces of art with use of mixed media and a plethora of tones, colours, depth and shape.