In part four I experimented with mono-prints and I was left wanting to explore and learn how to do my own lino cuttings to extend my knowledge of print making. After looking at a few demonstrations on youtube I tried it out. I realised that I had a few tools with different blades that would serve to make different marks on my lino. I experimented with these blades to get familiar with the marks that I could achieve. I found it easier that I thought. My previous training as a silver smith came useful. The lino can come in different thicknesses and therefore it can be harder or softer to carve, this lino was fairly soft. I decided to use the drawing below because it was a fairly uncomplicated shape. The simpler the drawing the better the outcome.
I was very pleased with the outcome. I made a series of A6 samples in card. I varied the colours to see what worked best.
Below: I enjoy the purple and the green and how it has divided the areas of the drawing. The pink of the body is to “wishy washy” so the shape of the lady is not very clear.
Above: I tried again, this time the shape and colour of the body is better but I preferred the hair darker. I have also lost the deep green that defined the mirror. I still think the lino sample works well.
Below: I took away the purple and the green and kept the colour pallet simpler. The shape of the lady is clearer. But I found the previous prints more interesting. I think it is just a matter of preference.
Above: in this sample I used yellow paper to define the lines and markings carved on my lino. It is a welcome change to the white lines that the white paper create. Overall I find this print a bit to bright.
Above: I used one colour to unify the image. The image is clearer and more minimal. I seem to have lost the texturised effect that I enjoy.
Above: more experiments this time with blues, pinks and green. I enjoy the more colourful ones but that is my preference not necessarily because they are a better outcome.
Above I tried a lino print of a face just to see how clear the face would translate. The face has lost a lot of features. I find it hard to get a clearer picture. I think faces have more complicated lines so may be harder to get good results with lino.
I was curious to see how my lino print would work on fabric. I chose some plain white cotton with some poster paint to see how this would translate on the fabric. The outcome was good. Clear enough. This would actually work well as a template to embroider on top. The good thing about lino printing is that you have a template that you can use again and again and you can experiment with different colours to get a range of results.
Above: more experiments on cotton cloth. This sample is a bit clearer as I seem to have got the right valance of paint on my lino plate.
It is easy to get carried away with the different explorations of colour and texture. I personally enjoy the delicacy of the image above. I enjoy the pastel hues. Less colour seems to accentuate the lines on the lino creating thicker and clearer marks.
More variations and they are making me feel dizzy. How could I possibly choose? After saying that I enjoy the pale colours I also enjoy this green and purple sample. They are completely opposites!
Ok, I think I had reached the point where I had experimented enough. Time to start exploring ideas and compositions for my surface print.
I began by layering my images to explore compositions for my surface print.
Not enough examples of femininity.
Above to busy. No order
Below: I simplified the arrangement and sorted the images I wanted in my surface print. I experimented trying to select what colours I was going to use. I decided that I wanted my images to speak for themselves. Transforming the lines from red to black would make my images look like a line drawing.
I transferred my images to iPad sketch and rubbed out some lines just to make my surface print clearer and sharper.
The surface print is simple but effective. I didn’t want to over complicate it.
I decided to add some quotes on femininity just to add another layer of interest and to wrap my theme on femininity. Some of the wording has faded and has resulted on a suggestion of the meaning but somehow it works!
I explored modifying the print by changing the colours on CAD. I thought this gave the print more scope to be used for different purposes.
Above: too bright not clear enough. The red of the background takes over.
Above: too edited. I sometimes take my ideas too far until I realise that I need to leave them alone.
Below: I explored how my surface print would look on everyday merchandise that women use on a day to day basis. Although the writing of the quotes is not readable it still translates into a contemporary print on sunglasses. I chose the pink print as so often pink has been associated with femininity.
I actually think these sunglasses would be sellable. When ordering them from a site online the quality of the print is strong. I think the scale that I have been working from (A2) works well when transferring the drawings on photoshop (a good tip to remember)
I ordered a coffee cup and a tea cup. I wanted to see if the print was clear and it was. The tea cup works better than the coffee cup. I enjoyed the idea of the coffee cup being a object to serve as a topic of conversation.
Above: more explorations on ideas for the home.
Below: the choice of colour for my merchandise explorations. On the whole I think they are a success. There is issues like not being able to read the writing but that could be easily amended by amplifying the writing. I do enjoy the vibrancy of the orange and pink it makes the merchandise look more contemporary.
In part 2 of mixed media for textiles I visited Vivianne Westwood shop in London. I was inspired by a digital printed organza gathered and overlapping couture dress. This was the reason I decided to do a surface print and transfer it onto organza. I wanted a fabric that was light and that had movement. I also wanted the transparency that organza has to offer. I thought that organza would reflect the light and therefore other colours. I was right! At times the light reflects soft pinks and purples on the sheen of the fabric. I wanted my print to have a romantic and a delicate feel.
Below: I video clip showing the movement and transparency of the fabric.
My other challenge was to create a fashion illustration to showcase my dress. I find this task very difficult. I looked at so many examples on line. They all varied and seem to reflect the designers style and concept. This is not something that just happens over night! It’s like everything else it grows with practice and when you develop your ‘voice’. I tried several attempts and this was my final one. I decided that my model had to be young, confident and effortless. She is probably a young profesional who is all about being confortable and trendy. She doesn’t believe in wearing high heals but still wants to remain feminine. I decided to draw this model in front of some unkept garages with graffiti all over them. I wanted the contrast of industrial metal versus delicate transparent organza. I am happy with the outcome. I think the illustration gives an idea of the look that I was going for. Is there room for improvement? Always!!! But for someone who is just attempting to do a fashion illustration it is not bad. I realised I would like to be able to research, read and practice more but for this assignment I am trying to keep focus.
The other challenge that My tutor gave me was to present my ideas of garments in a more profesional way. We talked about how I could do this. One of the suggestions was to gather fabric on a dummy and take photos of it. I decided to make a tea dress gathered in the waist with three quarter length sleeves and a boat neck? Is it called boat neck? I am not sure. I had to research the different neck lines and there is so many: polo neck, turtleneck, jewel neckline, scoop neck, V-neck, sur-line neckline, portrait neckline, scare neckline, deep or plunging neck, boat neck, off-the-shoulder neckline, strapless neckline, halter neckline, sweetheart neckline, keyhole neckline and illusion neckline.
So much to learn!
I also did a “mood board” this was also harder than I thought it would be. I made a collage of my main inspiration. Leonardo da Vinci’s image and old masters depiction of women. I also tried to draw a flat drawing of the dress I designed. I struggled to make this look profesional. I did this by fee hand as I don’t have the computer programe to do this digitally. I included an example of my surface print and I simplified my illustration by removing the background so the mood board became clearer. I also included two colour chips to show the colour pallet. I thought that I could add small cuttings of the organza printed.
Believe it or not this mood board took me ages! It is not perfect by any means but at the moment it’s the best I can do.
Below: I video to show my body of work. Again! I don’t have the right equipment to record my work hands free but at least it shows the amount of work I have achieved in part five.