Friday, 17 January 2014

COP 3 - Evaluation

1. What skills have you developed through this module and how effectively do you think you have applied them?

I believe my critical and analytical writing skills have improved a lot from this Context of practice module, in the previous years I haven't ever got fully absorbed into the idea of writing, or the subject I have been writing about. This year I chose to write my dissertation on the subject flowers, to me they're visually intriguing so I wanted to write about something I was interested in. I believe the skills I have gained from writing about flowers is the ability to research, observe and have an opinion on a subject to inform my practical element.

2. What approaches to/ methods of design production have you developed and how have they informed your design development process?

I chose to look at the relationship between flowers and communication, by doing so I developed floral prints and created a typeface modification. I was interested in semiotics and the language element to my dissertation which inspired me to refashion a typeface. I left myself little time meaning I couldn't design my own from scratch therefore I selected a typeface with resembled quality and aspects of high fashion. SF new republic is the font very similar to the Chanel typeface, this fit perfectly with the concept of my designs. The designs which I had completed I wanted to embellish and embroider to add texture to materials by adding a hint of haute couture to them. My aims for further printing were to digitally print my designs onto cotton or silk ready to be decorated, however due to so many deadlines I couldn't get a slot. I attempted a back up plan which was to screen print followed by the same process as well as foiling and flocking the designs to add surface pattern and texture to give a rich quality to the typeface, but unfortunately the development process fell through. 


3. What strengths can you identify in your work and how have/will you capitalise on these?

I believe I have showed clear understudying of the significance of flowers and the connotations which are assigned to them, and I hope I have clearly showed the notion of this in my practical brief. I believe the ideas I had for the practical element would have full filled my over all idea of what I wanted to gain from this module by using theory and a system of ideas to create flowers within language, embellished with the concept of luxury. 

4. What weaknesses can you identify in your work and how will you address these in the future?

I'm disappointed that the ideas for design production I had didn't go to plan as I feel the the development process would have been a key part of the typeface alteration as well as full filling that element of haute couture through out my work. Due to bad time management my practical element has massively lacked in innovation and exploration, because of this I am planning to use the knowledge I have gained through out this module, and transform this outcome into a positive thing by continuing to work on these ideas by composing a second addition to the practical brief. 

5. Identify 5 things that you will do differently next time and what do you expect to gain from doing these?
- Manage my time more effectively and be a more organised designer so that my work doesn't lack in quality or quantity.
- Begin designing sooner to show a stronger development in ideas and to gain a more satisfied outcome when the products are finished. 
- Experiment a lot more with processes and finishes to show a better collection of work.
- Keep on top of blogging as apposed to leaving it for last minute. 
- Have a better working ethic given that i'm in my last year at uni. 

6. How would you grade yourself on the following areas:

Attendance: 4
Punctuality: 4
Motivation: 3
Commitment: 5
Quantity of work produced: 3
Quality of work produced: 3
Contribution to the group: 5

COP 3 - Floral in context

COP 3 - Printing and materials process

Given that I was on a tight time frame I printed the main components of my work on paper to be able to work further on them. 




Sticking with the secondary colour pallet I went to the fabric show in the town centre and selected beads and threads which would be well suited to my prints and typeface. 


I began experimenting with embellishing onto paper which is a little unordinary, I liked the final outcome however I wanted to to take it further by embellishing more designs onto the prints.



I developed a floral and scattered beading styles. 



I printed off my main type face A1 and A2 along with a sample print to be able to experiment with other printing methods and processes. 



Unfortunately due to lack of time management and an error in screen printing my hopes for other experimenting didn't happen. 


COP 3 - Digital design development boards






COP 3 - Final flower print and font application

This is the the final floral pattern I designed, it's a black and white contrasting print which displays a simplistic gradient of flowers. I had a particular fashion house in mind when I was creating the print, Chanel are very well know for their black and white famed branding and packaging. 


I applied a the SF New republic typeface to the print in order to develop a typeface modification. This typeface is very similar to the one Chanel uses when creating their double C interlink logo. 


Here is the final typeface, over all I'm happy with the final outcome as the typeface still resembles its original format, however it's almost a floral update enabling it to be used in a variety of contexts which would suit its theme - Flowers. 

COP 3 - Initial typeface

My main inspiration for designing a digital floral motif was from reading the 'Digital Textile Design' book by Bowles and Isaac. I wanted to actually sample some of the research I was reading for my dissertation and attempt to apply it to my practical. 





Using the above principles I developed my own graphic floral motif, although it was a basic pattern design it was a good starting point. 


Below is a type modification I created using the font Krungthep as a starting point, I designed a floral pattern which shows hints of the 60's through the use of a complimentary colour palette and bold  flowers. Although the type alteration would be suitable to use I don't believe it signifies any element of luxury or value it resembles more of time period - 1960's. 



COP 3 - Initial designs

Here are a few illustrative examples I experimented with, my aim was to design something easy to be able to apply a typeface to. This design would be suitable for embroidering and embellishing however they were only test designs. These are a variety of Cherry Blossoms digital illustrations with a Helvetica typeface over layer, I believe these have potential however the modern typeface and scratchy flower pattern isn't the luxurious style I was aiming for. 









Wednesday, 15 January 2014

COP 3 - chanel

When purchasing Chanel the item conceived is packaging in iconic packaging and tied together with a Camellia floral bow, this flower is not just used to contain a Chanel item but it is also used as a floral symbol to represent the brand given that there are many products designed with this flower on such as jewellery, shoes, clothing and of course hand bags. 

"Karl Lagerfeld is famous for his disapproval of luxury goods for sale on the internet, believing that it cheapens the brand by removing the products from the carefully calculated luxury experience of the boutique environment."





Source:http://www.nathanbranch.com/2009/06/photos-chanel-sycomore.html

Monday, 13 January 2014

COP 3 - Pinterest - Liberty London

Liberty is a department store on Regent Street, based in the West End shopping district of Central London. The department store sells a wide range of luxury goods including women’s, men’s and children’s fashion, cosmetics and fragrances, jewellery, accessories, homeware, furniture, stationery and gifts. Liberty is known for its floral and graphic prints. 




COP 3 - Mulberry

Mulberry 

Mulberry is one of the most recognised luxury leather brands in the fashion industry, the distinctive logo of a mulberry tree signifies a botanical plant. Not only that but every S/S collection incorporates element of florals to enlighten spring, here us the most recent collection and campaign. 




The setting: a hidden gem from the eighteenth century, a great English country house, magnificent in its rolling parkland scattered with follies and vistas, a tad faded in its grandeur and home to an unlikely event: a charming English tea party, with a Mulberry twist…

Picturesque spring roses surround beautiful English rose Cara Delevingne and some unexpected guests including a Parson’s Jack Russell, a Patterdale Terrier and a Great Dane, a pelican, two cockatoos called Archie and Spud, a tortoise and Dusty the little (and very greedy) pony.

Now on his seventh campaign for Mulberry, Tim Walker was behind the camera, with art direction by Ronnie Cooke Newhouse, and styling by Edward Enninful.

The campaign



Source:http://www.mulberry.com/collections/SS14

COP 3 - Flowers in fashion branding

Here a designer has created floral concepts for high end brands, each individual design compliments each fashion house yet they all relate as a series.

Bacolod City, Philippines-based artist, illustrator and graphic designer Daryl Feril has come up with a series of blooming branding concepts for major fashion designers and publications, which include Chanel, Alexander McQueen, Louis Vuitton, Dior and Yves Saint Laurent. 








The drawings were produced using graphite and watercolors and then scanned and exported to Photoshop for the final touches.

COP 3 - Floral Editorials

Here is a series of photographs to show how flowers are often incorporated into fashion photography and set design to add emphasis to the shoot. 

The Emil by Laia Benavides image series highlights a wardrobe of sleek and modern menswear pieces that are displayed against a vivid, botanical backdrop. 






The 'Step and Repeat' editorial for the W Magazine January 2014 issue gives new meaning to "florals for spring." The spread, styled by Edward Enninful and photographed by Michael Thompson, features several models in intense head-to-toe floral ensembles.