HeavenOnEarth

Textile Degree• Instagram:Ches.rose.y

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Penthouse in Dusseldorf | Ando-Studio

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Minimalistic Monochrome Style Bold Prints Geometric Form Shape

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Bringing the outside in

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GEOMETRIC BOTANICALS // SCANDINAVIAN MOODBOARD

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BLOCKTANICALS MOODBOARD

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BLOCKITECTURE MOODBOARD // One

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Digital Designing // Using InDesign Here are a few ideas using both typography and geometric print in bold colours that can be used for an interior upholstery design.

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BA3B BOTANICAL PHOTOGRAPHY // RESEARCH Research Inspiration Drawing Influences Botanical Scandi Own photography

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BA3B BOTANICAL PRINT DESIGNS Today I used my drawings inspired from botanicals, into screen printed designs. I continued with using colour as a main focus point as colour is what my work is mainly about. My botanical drawings are influenced by architecture still. It is shown by the continuous block and lines I use in colour. Even though my work is focussed on architecture and block colour, I wanted to broaden my skills and create a mini project which is on botanicals yet drawn in my own unique way.

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BA3B Blockitecture // Screen Printing Today I continued with using open screens and tape to create blocks and lines full of colour. I am inspired constantly by architecture and the geometric forms created within them. Apart from this, I use my drawings from my sketchbook in my open screen print designs. The use of colour is very important, the proportion, where colour is placed and the complimenting colours they are situated next to. Colour plays an important role in everyday life and is seen all around. The way colour is used and understanding colour is a fundamental skill I hope to excel in. Throughout this project, I am constantly using colour, thinking about placement and proportion. This skill will help me in all aspects of prints and interior design!

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BA3B

MINI PROJECT // BOTANICAL DRAWINGS

I have recently begun my mini botanical project where I have focussed on drawing botanicals in my own unique way. I have continued to use geometrics in these botanical drawings so that they incorporate effectivley with my architectural drawings. My drawing technique consists of linear marks and geometric shapes in an array of colour. I use a lot of colour in my drawings so that I become more confident using colour in my studio practice in the print room. Colour is a huge passion of mine and it is important to understand colour clearly.

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BA3B RESEARCH // FURNISHING INSPIRATION Fabrics Materials Colour Influences Scale Collections

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Color Swatches by Robinson, seen at RFA Decor. Love it! #hpmkt @highpointmarket

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BA3B

COLOUR BLOCKING // SCREEN PRINTING

Following on from my drawings, I decided to take my drawings into the print room and work from them to create interesting blocked lines on fabric. My drawings consist of block colour, geometrics and lines all taken from my research on brutalist architecture. From the colour tests I recently carried out, I decided to work with the final colour palettes I created, in this block colour print design. The colours are influenced from WGSN Lifestyle & Interiors S/S 17 future trends. I wanted a more bright and vibrant colour palette, complimented by a slightly more subtle neutral colour palette. The prints I have screen printed above, consist of both colour palettes.

I screen printed the blocks of colour above with an open screen, using my own colour palette of procion dyes, onto mercerised cotton. I did not what to waste money on all the fabrics that I am working with just yet as the mercerised cotton is cheaper and gives the best quality and brightness of colours. Also, I am currently in the testing process, meaning the fabrics I will later use, will be more diverse rather than sticking simply with mercerised cotton. But as a basic, it works extreamly well. Apart from using open screens, I also continued with using tape and paper to block areas out so that I have a perfectly straight and crisp finish to each edging of colour.

I really enjoyed screen printing in this way, and is a process I will continue with. Continuing on from my talk with Victoria in my tutorial, she also mentioned about colour proportion. This is something I will take into consideration and try out when I am next in the print room to show development and testing.

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BA3B ARCHITECTURE INSPIRED DRAWINGS // CONCERTINA SKETCHBOOK From the feedback I recieved from my last project, I have been told to continue with my style of drawing in a concertina sketchbook. In my last project, I drew with Promarker Posca Pens onto a pure white background, which I found worked really well for look I was achieving. Knowing this, when I had a tutorial on my feedback from my last project, my tutor suggested that I should create base background colours in my sketchbook, which I should then draw onto. Taking this into consideration, once I had my finalised colour palettes and numerous amounts of colour testing, I was able to print with the colours I created onto my sketchbook as a background starting point. For the background colours, I used procion dyes which I screen printed with onto my spread out sketchbook in the print room. The downside to open screen printing onto this specific sketchbook paper, was the fact it created bubbles, meaning I was unable to achieve a flat colour like I can have on fabric. Although there was not full flat colour, I am still pleased with the outcome I recieved! In doing this, allowed me to have a varied coloured background which I could then incorporate my drawings onto.

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BA3B TUTORIAL // BRUTALIST ARCHITECTURE // RESEARCH 1 & 4 - The Hayward Gallery Figure 3 - Bertrand Goldberg's Prentice Women's Hospital in Chicago Figure 5 - Trellick Tower Figure 6, 7 & 8 - University of East Anglia After my tutorial with Victoria Carter, I gathered a lot of helpful feedback on my project and helpful pointers for me to do. As a starting point, Victoria suggested that I should narrow my architectural research. Because my main focus is on geometrics, blocks and lines, Victoria suggested I should concentrate my architecture theme on Brutalist architecture. From this, I began researching deep into brutalist architecture, what it consists of and how it can be informed into my own work. The research I carry out on this type or architecture, will inform my drawings which will then reflect in my studio practice when it comes to printing and designing. Apart from this, the idea of brutalist architecture in concrete interests me as it would be an interesting starting point for mark making.

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BA3B COLOUR TESTING // COLOUR PALETTES Although all of the colour testing I did was time consuming, it was worth it! I colour tested every Procion dye colour (apart from the browns) in 3 different strengths starting with 0.05g, to 0.15g, then finishing with 0.3g all to 10g of procion print paste. Having varied colour shades for each colour, will make it a lot easier for when I come to colour matching. Figure 1 shows a folder which I have compiled together documenting every colour tested - this is very helpful for when I am trying to colour match, and referring back to! Figure 2 shows my colour tests on different fabrics. In this project I want to focus more on understanding more about materials for interiors, so I have decided to broaden what fabrics I use so there is an array. I colour tested each colour onto 4 different materials. The materials I chose are; - Mercerised Cotton - Silk Twill - Polyester/Linen - Silk Viscose Satin - Victoria Velvet (which I will be ordering in from online) Figure 3 shows my final colours that I have more or less successfully colour matched (see figure 1 coloured lines on paper colour palette from WGSN). I am pleased that I went through with colour matching as it is a skill I hope to become more of an expert in. Apart from this, understanding colour, and knowing what colours work together is a technique that interets me and will help me for my future career!

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BA3B WORKSHOP / SILK VISCOSE VELVET SCARVES & CROSS-DYING In today's workshop, we used silk viscose velvet using illuminating discharge, devore and discharge processes. We were told to use any imagery or inspiration to inspire us for our designs on the scarves. I wanted to incorporate my architectural theme into my scarf, focussing on line and block colour. To begin with, I dyed a length of silk viscose velvet, the velvet side with Silver Grey Dyrect dye and then cross-dyed the silk side with Golden Yellow Acid dye. I have only ever cross-dyed once before, but is a process I hope to become confident in so that I have the ability to create flawless perfectly dyed colours. The beauty of cross-dying allows you to dye silk viscose velvet (and some other fabrics etc) in 2 different colours, which creates for a more interesting fabric piece. Once the velvet had been dyed and dryed, I then began to create interesting marks using my tape technique to block out colour and using open screens to create solid coloured areas using illuminating coloured dyes. I then used discharge to take away colour in certain areas to create a sense of depth. Once steamed and washed, I then used devore paste which takes away areas of the velvet yet keeping the colour. Overall, I have really enjoyed working with silk viscose velvet and using different techniques on it. Cross-dying is a method I will use again in the future for this project. All these techniques and methods I have learnt in todays workshop, I will continue to develop with and become more confident in.