LASER PATTERNS_REFLECTION

Each design involved in the sketchbook was different to another but responded to each other well. From a previous tutorial it was advised to scale up the designs from A3 to A1 to test out the marble photocopies in case of pixilation purposes. I scaled the marble and bought some coloured paper, the reason for buying the paper was to keep the theme of bold and graphic designs and by buying a flat solid paper it fitted into the theme nicely. Working on larger scale was more of a thoughtful process than just easily creating designs by hand, as I had done in my sketchbook, as being a larger scale it was harder to create the triangular shapes. The biggest challenge was the linear aspect, as using biro and thinner brush strokes in the sketchbook it was harder to create this on a larger scale as some lines felt lost in the design, how I corrected this problem was to then scale up my mediums by applying thicker brush strokes, thicker pens and more collaging. [fig1][fig2][fig3]

Only concern I had during my tutorial at the time was Rachel suggested the marble to get rid of, Use something else that intrigues me?

I understand what the concern is, as looking at them the marble isn’t as bold like it was on my A3 designs...  this is a new challenge for me, in how can I make the marble work? Would it be easier to take away?

The group came to the conclusion, that my work is fresh and experimental, it has not been seen yet. To keep developing these designs into potential patterns so this stage can be classed as a sampling stage- so I can develop this stage into another outcome for one of my self initiated projects.

 Later that day I visited a designer/friend of mine, asking her opinion on my work.. I explained the comments from the tutorial, to which Nat responded with if I really want to use the marble effect then use it, but use it in a way that will make it work. Also if I want a look book outcome then use my sketchbook as the look book? Print text; recreate designs that have words involved if that’s easier.

A1 designs [fig1]
Using further collaging to create thicker lines
to portray similar compositions to the sketchbook designs 

[fig2] Sketchbook designs
bold, graphic and marble.
Comparing the sketch book designs to the A1 collages.

A1 Designs [fig3]
using thicker media to create similar
compositons to the sketchbook designs 

LASER PATTERNS_DIRECTION

Last week I concentrated on the development into a coherent use of surfaces.

The Process used to start the surfaces was ‘DIY Marbling’ where I used nail varnish to create a marble effect on paper. [Figure6] 

[fig 6]

[fig 6]

 

I found that the outcome of the varnish marbling came out well, however the process looked better when the paper and varnish were still wet, but once dried it still created the effect intended. The next process is to enlarge the varnished papers, and to scale them down to give myself different textured effects, and freedom to play on different compositions to create designs with.

The designs created need to be bold, graphic, complex and minimal, influenced by Memphis art movement with an added influence of lines. 
The introduction to the lines was from looking into Elle decoration and coming across a simple pieced room, The picture was capturing the kind of mood that I wanted to have involved in my designs, Simple fluent lines. [fig7]



[fig7]
light blues and whites, textured rugs and cushions but having strong and subtle lines involved of either a metal bed, lined cushion, rug.

[fig7]
light blues and whites, textured rugs and cushions but having strong and subtle lines involved of either a metal bed, lined cushion, rug.

A colour scheme started to occur whilst producing these designs; I tried to create a minimal colour palette of simple bold colours influenced again by Memphis art movement. I selected a colour palette through an image I found on pintrest- at the time i felt that it related to the season, this season being autumn, I started to select colours that i felt worked well together and would be introduced into the work I was intending to create. 

[fig8]

[fig8]

The collaging of the marble worked well in the designs, by going back into something simple as collaging really brought out the designs, a royal blue had started to enter into the colour palette, this choice was intentional on how blue was used to steer away the black and to allow the blue to create the bold and graphic effect. 

[Figure9] [Figure 10] [Figure 11]

[fig 9]

[fig 10]

[fig 11] royal blue starting to be added

LASER PATTERNS_INSPIRATION/CONTEXT

The Memphis Art Movement.

A group of designers and architects, which created products around the 1980s era, what made Memphis art movements work interesting and unusual was their considered approach to shapes, patterns and colours.

Playfulness is a word that describes Memphis art movement very well, with a sense of individuality, wanting to create unique, new, fresh designs.

“The group may no longer exist but it has certainly influenced graphic design, restaurant design, fabrics and furnishing”

My first reaction to Memphis art movement was how graphic and bold the designs are, finding through my research of Memphis art movement was this text in bold, I can understand why Memphis art movement has influenced graphic designers and designers, their work was quirky, colours they collected and infused together were so right but yet so wrong, they really did/do give young designers hope to create what they believe in.

[fig2]



Memphis Art Movement inspiration [fig2]

Taking into consideration, is how Memphis art movement created products; they took it one step further each time. I feel at this stage of where I am that 3D could be taken into consideration and could be a possible route for a context.

Looking into Memphis Art movement I’m wanting to take there influence of playfulness of combining colours, textures and patterns to create bold, spectacular patterns that I can work with and on to develop them into some sort of outcome.

Whilst looking into Memphis art movement it lead me to Christian Dior’s collection- Couture 2011 fall. [fig 3] The collection has been influential to look at due to being a different side of textiles, Dior’s influence allowed me to look more into shapes and structures, this lead me onto another company named Office Milano,[fig4] and a graphic designer Carmen Nacher [fig5]

Christian Dior Collection [fig 3]

Office Milano [fig4]

Carmen Nacher [fig5]
Looking at layouts, on how to use patterns in a different context.