Ella Purnell

Third year Textile Design student at Norwich University of the Arts.

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Weighted Textiles - prototypes and final products

To finalise the Weighted Textiles project within the last unit, I had decided from the beginning that I wanted to end the project by making some weighted products using the fabrics I had designed. This was the sole purpose of the project. I wanted the context brought to life even further, and this was something that I hadn’t achieved before within any previous briefs. All of the research I had under taken, and all of the conversations I had with people had been based around the idea of creating these types of products by way of finalisation. Of course different websites suggested slightly different measurements and weights, but none of them differed too much and the general idea was still the same. Weighted products are always bought or made with an individual in mind, said individual having had recommendations by professionals such as physiotherapists and occupational therapists, therefore every person will have different requirements in regards to weights and materials. I decided to design these final products using the weights and measurements suitable for someone who’s bodyweight averaged the same as mine (48kg). 

The first image shows the prototype I made for the weighted lap pad, alongside the final weighted lap pad as I had started making it. I made the prototype purely to practice the process, having never put together anything that was weighted before. I used the prototype as a means to discovering the sorts of measurements I would need in regards to square centimetres and how much weight would need to go into each one. I wanted to practice actually stitching each part together, and I wanted to test how close and durable my stitches would need to be to hold the weight substantially within this particular fabric (cotton canvas). I decided to use poly pellets for the weight, having had conversations with people I knew who had made weighted products before, and going on their instruction of their use. I also checked on https://www.sensorydirect.com, as their products were the ones I had used to reference this project’s context, and found that they use poly pellets for all of the products available on their website. Poly pellets are also machine washable.

The second and third photographs show an almost finished prototype, which was simply machine stitched along the top. Alongside the first measurements of the final weighted lap pad, which were exactly the same as the prototype. The dimensions were (L) 66cm x (W) 51cm with a weight of 2kg, which was Sensory Direct’s recommendation for a weighted lap pad suitable for older children, teens and adults (however this depends on the individual and their preference). Each square measured 17cm x 13cm and contained 125g of poly pellets. Although a weighted lap pad is what it says in the title, it can also be draped over the shoulders, across the arms or legs, across the torso- wherever the individual feels they may need an element of deep pressure. Sensory Direct state in this product’s description that, “Our Lap Pads are ideal for use in the classroom, at reading time, at the dinner table or in the car. The weight has a calming effect helping attention span and reducing excessive fidgeting. They are a cost effective, safe and portable tool for use whenever and wherever needed. They are made from high quality cotton and filled with plastic pellets for safety and comfort.” The prototype and the final product weighted lap pad for my Weighted Textiles project are both made using cotton canvas as mentioned above. When choosing which fabric to test out and have my final design digitally printed onto, I wanted something that would be strong and durable. I also wanted a material which would print the colours within my chosen design vibrantly. Cotton canvas is also very tactile, its thick and weighty and has a slightly tougher, and rougher feel to it than most other cottons, therefore it maintains the quality of the natural fabric but also may adhere to tactile sensory needs. 

The third and fourth images above show the beginnings of the makings of the final weighted blanket. After having a discussion with Les about the finished weighted lap pad, he suggested that its aesthetic qualities may not be perfect due to the white thread which was visible from the stitching of each square. I decided to attempt to solve this within the making of the weighted blanket, therefore what would have been the blanket prototype, became the actual weighted blanket, and was then attached to the inside of the printed fabric which was sewn together similarly to a duvet cover. (The method of attachment is shown within the sixth and final image). The inside of the blanket which is the part containing the weighted pockets has dimensions of (L) 138cm x (W) 106cm, and weighs 4.8kg. Each square is 17cm x 17cm and contains 100g of poly pellets. Sensory Direct’s recommendation for somebody weighing at least 45kg was 4.5kg, and the recommended user weight for somebody weighing at least 60kg was 6.0kg (10% of the person’s body weight). Therefore 4.8kg would be suitable for an individual weighing an average of 48kg. The measurements of the outer layer were slightly bigger than the inner dimensions, but only by a centimetre or two. This ensured that the weighted part of the blanket would fit inside the patterned outer. The dimensions for the inner part were taken from Sensory Direct’s measurements for their ‘Classic Weighted Blanket’. Within the product description, Sensory Direct also provide the following health and safety regulations in regards to using the weighted blanket: 

- Use under the supervision of an adult at all times.  Do not allow a child to use a weighted blanket unsupervised. - Never use a weighted blanket as a restraint - Ensure that the head and face are not under the weighted blanket when in use - Ensure that the user can self remove the weighted blanket - Do not use a weighted blanket in conjunction with any other weighted product - Do not use in a cot with babies or infants - Use the weighted blanket for short periods of time initially & increase as needed, under supervision - Not recommended for small children – if in doubt consult with your Occupational Therapist    

Sensory Direct also provide the following washing and cleaning recommendations:

- Weighted Blankets are machine washable at a recommended washing temperature of 40°C

- Do not tumble dry or iron a weighted blanket as this may damage the beads.   Check the weight capacity of your washing machine prior to washing.

The same recommendations apply for both the weighted blanket and the weighted lap pad made as final products for the Weighted Textiles project, however these are recommended to be washed at a temperature of 30°C rather than 40°C. Whilst Sensory Direct’s blanket is made using a polycotton, the weighted blanket for the Weighted Textiles project is made using cotton satin for the inner weighted part, and cotton drill for the top patterned piece of the blanket, with cotton satin used again for the backing. The colours within the pattern print exactly the same of both materials, however the mixture of two cottons provides some sensory interaction. While the cotton satin is smooth and light to touch, it’s aim is to provide a feeling of comfort, whereas the cotton drill is slightly rougher (although not as rough as cotton canvas) this provides tactile integration if needed or wanted. The blanket can be carried around (despite its weight), so to ensure that the inner does not move around inside the cover it has been attached using what were initially scraps of left over fabric, sewn together to make ties which tie the weighted inside and the inside of the cover together. There are ties on each of the four corners, as well as a tie on the bottom middle. Both final products are finished on one edge with a ladder stitch using strong cotton, ensuring durability and safety alongside a neat edge. 

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Following a group tutorial last week, after showing my finalised collections and concepts, Helen proposed that I research this designer- Rachel Kelly. She had actually lectured at NUA (I think in our first year), and her design work is based around creating ‘Interactive Wallpaper’!!, so she was a great source of both inspiration and information regarding design processes and techniques. Kelly’s business involves creating bespoke designs for people in the homes, and also for large companies, therefore her work is based on commission and is always appropriate and personal. Similarly to my work, Kelly’s drawing inspiration comes from flowers and nature, and her inspired designs have been used within a variety of settings including hospitals, libraries and museums. The first image pictured above is taken from her website [http://interactivewallpaper.co.uk] [http://interactivewallpaper.co.uk/Commissions-and-Exhibitions/Armitt-Library.aspx] and was one of her museum and library commissions. The material used within this particular design was transparent vinyl, cut and installed by hand. The second image is one of Kelly’s wall stickers, which can be applied to any flat surface. It is further stated on her website that ‘new materials which can be used as an alternative to vinyl are being developed, including paper based stickers and sustainable adhesive based stickers.’ 

The idea following this research involved making my silver wall hangings interactive, but in a different way. Due to the fact that they are typically large stickers, they could be cut up and used as individual stickers, whether that involves cutting around different flowers and leaves, or simply cutting different shapes out of the silver vinyl background. This could be an opportunity for an art based, craft led activity with the individuals who form my target audience. It is interactive and creative, and would also give the young people the choice of where the art work goes, putting the placement of the work into their literal hands. In a way, my target audience would become the curators. 

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Visual Sensory Textiles- finalising

The above screenshot captures my four final length designs, which will also form my degree show piece. These lengths have been printed onto silver vinyl, (discussed and pictured within previous posts) to provide a mirrored effect. The silver vinyl has a backing which can be peeled away so that the lengths can be stuck to a space or wall to produce a wallpaper effect, therefore they are typically large wall stickers. In regards to the degree show they will hang exactly as they are pictured, in this order but with less space between each length. The general concept is interactive wallpaper. The silver vinyl visually represents a distorted mirror effect, and aims to automatically draw eyes in to determine the movement the person and the material creates together. Alongside this, the material is silver and shiny with patterns traced atop its surface, therefore the want to touch and feel may also be apparent. The durability of the vinyl allows the pieces to be handled in fairly non-delicate ways, therefore it is practical for tactile sensory needs. Amongst the silver the colour of the flowers and shadows are slightly more subtle than in the images above, however this means that the closer you are physically to each piece, the more clearer the details within the design become. Again this aims to engage the target audience in seeking out the colour and detail by physically bringing them closer to it, engaging them further in each piece as a whole and potentially encouraging them to touch and feel, and make use of the sensory qualities the design work holds. 

The setting in which these designs would be appropriate has been addressed within previous posts, but they would typically be suitable within a sensory room environment, as well as a hospital setting. Last week I watched a programme on BBC iplayer called ‘Hospital’, and in one episode they showed the ceiling of one of Nottingham University Hospital’s Children’s wards, which was covered in bright, vibrant, large scale flowers. It made me think about how clearly I could envisage one of these vinyl designs in that exact setting, and how much difference having them on the wall, or even on the ceiling, would make to this kind of environment. The effect was really something, and the children took so much notice of the art work. 

In regards to sensory rooms, https://thehamletcharity.org.uk state on their website that their sensory room ‘is an appropriate space for students who need a place to go where they can have minimal visual and auditory distraction.The space and equipment offer opportunities to stimulate learning and engagement which in turn promote independence and choice. Sensory integration activities can be brilliant as relaxation tools for individuals with all sorts of complex needs, including autism. Our sensory room has a wide range of equipment including a bubble wall, switches, vibration pads and much more. Visuals constitute the most diverse set of features: the room incorporates a projector that casts entrancing patterns, fibre optic interactive lights, coloured led lights, ball lights and a large bubble tube, which helps to create a calming and tranquil environment and can help to relieve stress and anxiety with its colourful gentle bubbling.’ [https://thehamletcharity.org.uk/our-services/young-adults-18-29/sensory-room/] Through reading the description The Hamlet Charity provide on their website, and through spending (literally hundreds) of hours in both of their sensory rooms, I can imagine perfectly, exactly how these pieces would fit into this kind of environment. I can see how the effects of these pieces could be enhanced if they were placed on a wall in front of a projector, with their flower patterns projected over the top of them, alternating in movement. I can imagine that the effect of them would be changed again, by projecting or shining different coloured lights onto the silver surface of the vinyl. Art and design engages all of us, whether we have a disability or not. We are all automatically drawn to art, because it gives us something different to look at every time and there are so many possibilities for change. Design is always visual, and as human beings we can’t help but let our senses take over- sight being one of them. So by putting art and design into a sensory room setting, and going extra lengths during the design process to ensure it provides the most appropriate adaptations possible for those with disabilities, learning difficulties, and/or visual impairments, as well as sensory processing disorders, means that this kind of art work in a sensory room could only be successful. By aiming to promote engagement, play, physical and visual interaction within these settings, with the chosen target audience, this kind of art work may aid social development, alongside play and communication skills. Whether this happens through engaging in conversations with individuals about the art work on the walls, or whether it is simply through touch, sight and interaction. It gives an opportunity for individuals to become involved in the art work together, sharing its visuals and engaging in sociability.  

Again this final collection when provided within the correct setting, could be suitable to either gender and any age range amongst people with learning disabilities. 

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Context images- one way of finalising the project

Within previous projects and throughout the duration of my time at NUA, I’ve struggled with envisioning my designs within a particular context. I don’t have a reason as to why I’ve struggled with this in the past, (most probably because it involved photoshop). I had simply wanted to create art work- not products. It wasn’t until the last term of my second year when I realised that being able to put my designs into context, meant that they would come alive. They would become something real, something that shops might sell and people might use. It gave my design work a purpose. I think the context I chose for this project [Weighted Textiles], helped push forward the act of using my designs within it. I had no interest in seeing my designs on cushions or curtains, stationary, or even fashion items. These things just didn’t excite me, and they already existed on the market in a hundred thousands different designs- there were already aesthetic choices available in regards to these kinds of products, so people’s options weren’t restricted in any way. I make no judgement, we need artists and designers who want to create designs for these products. I myself am particularly fussy when it comes to design and aesthetics. But for me, as a designer, it wasn’t where I was headed. 

There was a personal reason as to why I chose this context to work towards within my brief, and this helped me connect with the project on a first level basis. Albeit some people informing me that I was too interconnected with my work, (something I didn’t realise was possible, and definitely didn’t view as a negative). I knew individuals who used these exact products, and who benefited massively from their use on a daily basis, 24/7. I’d seen first hand the importance of them, and also how they improved the quality of people’s lives. When I first began researching them I was surprised by how few decorative and aesthetic options there were online, and I knew that this project could be huge. Of course there would be many technical issues to figure out, I’d have to create prototypes and research how to do this if I were to actually make them. However, I decided to begin by focusing on creating bright, fun, designs that could be used as fabrics for these products. The above images show the original photograph of the product alongside my edited contextual version, and to me the difference is quite surprising. I loved how these bland, one colour, products, (which looked as though they belonged in a hospital) had turned into these bright, flowery, visually interactive products. Surely they were more appealing, and straight out nicer to look at, whilst still benefiting the individual in exactly the same way. I knew which one I’d rather wear, use, or have in my bedroom. This was the difference that I was trying to achieve, and as soon as my designs were in context, I knew I’d done it. Whether the actual product was there or not, the Photoshop images explained the project exactly how I wanted them to, and they helped make obvious what I’d been attempting to achieve within the brief, and within the project as a whole. 

Referring back to previous posts in which I wrote about my target audience, looking at the final product collection made me think that these designs were more likely aimed at young girls and young women, perhaps apart from the weighted lap pad which could be appropriate to both genders, however of course there is no rulebook! 

[Each original image is taken from https://www.sensorydirect.com]

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Photoshop development- putting designs into context

As I’ve probably mentioned previously within other blog posts, I began my third year at NUA having completely avoided Photoshop as much as possible, only using it when I completely, and absolutely had to. I simply didn’t see it as part of my practice. However all of my peers began getting really good at it, and as a result, their work looked great and completely professional. As everyone else’s work around me developed, I wanted mine to as well. I was pleased with my development amongst other aspects of my work, such as how far I’d come with my drawing skills, and my ability to put line and colour to paper, but I wasn’t pleased with my development in regards to digital design. As a result of these thoughts, I pretty much decided that this was what my third year would focus around. If I couldn’t get good at this thing I’d been avoiding for the past two years, then what had I really learned about the digital world of modern design during my time at NUA? The answer- nothing. 

To me, Photoshop was this massively complicated, cleverly engineered software system, and it really freaked me out. All I had to do was open the software up and look at it, and straight away I would want to cry because of how many different symbols and numbers I could see on the screen. There were SO. many. numbers. and numbers just reminded me of Maths, which I hated, and which also made me want to cry. I did literally force myself to use this software, and I told myself I would get good at it whether or not it killed me. The thing was it was no good someone showing me what to do, and me then copying the work and miraculously remembering how to do it. I could remember whole paragraphs, word for word, from books I’d read once or twice ten years previously, but could I hell remember anything in regards to using Adobe Photoshop. 

I ended up spending hours (god knows how many), sitting with various people. My peers, tutors, friends from other courses. I made them sit me down and go through each and every process I wanted to learn, and I wrote down every single step and repeated it over and over again until I’d cracked it. I’d have to ask them to show me again, three or four times, before I actually started to understand the software, and before I could actually get it to do what I wanted it to do. (I’m pretty sure I drove every single person mad who tried to help me). I kept notes on my phone of the step by step processes, and I’ve just used them to refer back to every time. Slowly but surely my confidence grew, and every time I perfected something, a new challenge or a new way of doing something would crop up. 

This process pictured above is one of the most challenging I’ve come across throughout third year, and was made further challenging mostly by my choice of images, brief and context. I needed to put my designs from my Weighted Textiles project into context, and everyone kept advising me to search for white coloured versions of the products online, which just didn’t exist. I’d got this far and I definitely wasn’t going to give up, and aside from this I felt like the only way of concluding and explaining this project fully, was by putting my designs into the correct context. I sought help from a Photoshop specialist at NUA, and she showed me (first image) how to search on Google Chrome for the largest possible version of this product image on the web. It involved searching through each available folder within every source linked to a specific image, until the largest KB version appeared. The larger the image, the higher the quality, due to the fact that the resolution could be more easily adapted. She further proceeded to show me how to turn the image white, by selecting the specific part of the image the chosen design needed to appear on, creating a clipping mask, and then adjusting the levels, brightness and contrast, and the hue and saturation, all the while keeping these on different layers and creating clipping masks to link them to the same part of the image intended for edit. The act of putting the design in is simple, and was done by dragging the design file into the one containing the edited online image, and again clipping it via clipping mask to the intended content. Next, another levels layer must be added, and the levels must be adjusted so that the quality of the fabric within the original image can be seen through the design. Lastly, the final image shows how adjusting the black and white levels changes the colour of the shadows within the image. 

To conclude, if I had an image of a product which was already coloured white, the first half of this process would not be needed. I couldn’t find any of these specialist weighted products in white, my guess as to why is because white is probably the most impractical colour for something which is used for practical, and tactile use on a daily basis.

[Each original image is taken from https://www.sensorydirect.com]

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The above link directs to a psychological and physical study carried out by Temple Grandin- author and educator with a diagnosis of autism. The study follows the testing of one of her own designs, The Squeeze Machine, a machine invented for the purpose of providing deep pressure. The introduction of the paper concludes how ‘certain sensory processing problems may be explained by cerebellar abnormalities.’ It informs the reader of the scientific explanations behind what these are, but it also reads quite personally from Grandin’s own experiences, particularly many feelings and issues she overcame as a child on the autistic spectrum, and how the use of deep pressure in varying forms helped manage her anxieties, behaviours, feelings, and need for pressured tactile response. 

One part I read that I found particularly interesting was this: ‘In anecdotal reports, deep touch pressure has been described to produce a calming effect in children with psychiatric disorders. Deep pressure stimulation, such as rolling up in a gym mat, has been used to calm children with autistic disorder and ADHD. (Ayres 1979, King 1989). Lorna King (personal communication, 1990) reports that children with sleeping problems appear to sleep better inside of a mummy sleeping bag, which adapts to fit the body snuggly. It also has been used to reduce tactile defensiveness in children who cannot tolerate being touched. McClure and Holtz-Yotz (1991) found that deep pressure applied by foam-padded splints on the arms reduced self-injurious behavior and self-stimulation in an autistic child.’ I was interested in the part materials have to play in these different scenarios, and how the effects of them when used within the context of reducing heightened behaviour can be vast and incredibly useful. Gym mats, sleeping bags, foam-padded splints, all of these are textiles. They are all designed using materials to create a usable form of textiles, which in this case is used to create deep pressure. Regarding The Squeeze Machine itself, it is also padded out using foam, it is lined with rubber, and also has soft fake fur covering certain parts which are in contact with the body. The purpose of the fur is to enhance a feeling of comfort and to provide physical comfort. 

‘At various lecture meetings of parents of autistic individuals, parents have reported to me various types of pressure-seeking behavior of their offspring, such as wrapping arms and legs in elastic bandages, sleeping under many blankets even during warm weather, and getting under mattresses. In my case, l used to crawl under sofa cushions and have my sister sit on them. A high functioning autistic woman stated, "I need heavy blankets on me to sleep well, or else my muscles won't calm down."’ Another paragraph which enticed me was this one- again it explains different methods relating to the use of materials, where individuals have used these to seek pressure. It is also further evidence in supporting the use of weighted objects, in the referral of ‘heavy blankets’. Again it supports the act of using weighted objects, by mentioning other methods in which people have gone to, in order to receive deep pressure. 

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Autism Comfort Therapy - by Comfort Silkie Security and Surrounding Blankets created for ultimate comfort response, Weighted Shoulder Packs, Mini Hug Pillows, and more. Designed by Comfor

Whilst doing some general research on weighted products and their beneficial uses, I came across this page on autismspeaks.org, which is basically a library containing a description and a link to every source used on their website, with the aim to guide families and/or service users in the right direction to finding the products they need. It contains links to family run businesses, professional companies, articles, all of which sell or provide personal insights into weighted blankets, vests, toys etc. and the positives and negatives that come with using them. 

https://www.autism-products.com is one of the first links available, and is run by a woman who’s son is on the autistic spectrum. She claims to have started her business so that others ‘don’t have to search as hard as we did to find products for our child.’ She sells almost every item you could possibly imagine, all of which aid sensory needs. The options on her website are endless, and include objects such as weighted toys, weighted balls, weighted shoulder and lap pads, weighted ‘halos’ [https://www.autism-products.com/product/halo-weight-2-2-pounds-yellow/], and weighted ‘hall passes’ [https://www.autism-products.com/product/weighted-hall-pass-2-pounds/]. Many of her weighted blankets can be made to order in different fabrics, which again provide sensory stimulation due to their tactile qualities. Some examples of the materials she can provide blankets and other weighted products in are fleece, lace, cotton, and corduroy. Available on the website are also neoprene compression vests, [https://www.autism-products.com/product/neoprene-compression-vest/] which are described as having ‘deep pressure input, (similar to being hugged).’ It is further explained that ‘from a sensory point of view they can help to calm and focus a child, by giving a greater sense of body awareness. Compression vests are designed to provide constant, even pressure to children and adults with autism, sensory processing disorders, hyperactivity, and more.’ 

Another product available on this particular website is elasticated wrist weights, made using soft fleece. [https://www.autism-products.com/product/stretchy-wrist-weights/] They are elasticated so that there is ‘no noisy, scratchy velcro closure’, and they are to be ‘worn on the wrist to provide weight bearing and strength building benefits.’ ‘Feedback shows that they are effective for children with autism, sensory integration disorders, and many other neurological challenges. The luxurious fleece fabric is soft to the touch yet durable enough for every day use. Filled with plastic poly pellets, and machine washable.’  

Also available on the website are bean bags in a variety of different colours, sizes and materials. They are made using fleece, nylon, canvas and cotton, and are all filled with non-toxic plastic poly pellets. Different fabrics are used for tactile and durability reasons. 

http://consumercarellc.com/category/BH.html is one of the other many links available. This particular page on the website informs the reader of a product called ‘The Big Hug’. The Big Hug is described as a ‘ergonomically designed’, with an aim to ‘calm, reorganise, and redirect the energy of children and adults with autism, particularly those who may benefit from deep pressure therapy.’ There are videos and descriptive diagrams and photographs which demonstrate the exact use of the product, and it appears that the actual design is what counts rather than the material used, due to the fact that it focuses on creating deep pressure rather than providing a sensory, tactile experience. The item also does not contain weights of any kind, but rather seems to provide pressure from how tightly the velcro straps are, and how it is adjusted. This is just another of so many products, all used for similar reasons for the same target audience my final term projects are aimed at. 

https://www.squeasewear.com are another company which sell ‘deep pressure vests’, however their vests do not provide deep pressure through the use of weights. autismspeaks.org explains on this link that ‘Squeeze is an inflatable pressure vest that is hidden away inside a hooded top. No weights are used; hug-like pressure is applied to the upper body simply by inflating the vest with air.’ The general idea is that the vest is worn deflated, and when the individual experiences feelings of anxiety or stress, they can immediately inflate the vest to receive deep pressure. Therefore, it is dissimilar to a weighted vest due to the fact that it is not constantly, evenly, providing pressure. This is a great example of how you simply cannot generalise these kinds of products to an overall group of people. Different types of products will have more benefits to different types of people- it depends entirely on the individual and their needs. With this particular product, there is no mention on the website of which materials are used, only that they are designed with a ‘soft fabric front which enables the individual to move more freely’. [https://www.squeasewear.com/shop/pressure-vest/]

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Thinking about flowers and how they can promote wellbeing- 

There are endless books, articles, and (mostly random) pieces of information out there stating the meaning of individual flowers, indicating their spiritual meanings and their healing properties. The ‘meaning’ and the properties of flowers is something that has been talked about, pretty much since human beings have been alive, both in medicinal and theoretical senses. When thinking about design, flowers and greenery have a huge role to play. Why are so many of us drawn to them? Why do we include them so vastly and so often within our creative work? I know as an artist/designer I’ve always drifted towards drawing and painting flowers, but I’ve never actually sat down and questioned why. 

Here’s my theory- flowers typically represent life, just in fast forward. Most of them (the ones we cut and shove in vases), die within a week. They’re beautiful and they literally wilt before our eyes, their life source cut off with a pair of scissors so that we can display them for a minimal amount of time. They maintain temporary beauty. We enjoy looking at them, observing them, their colours and shapes. Therefore as artists and designers, they’re probably one of the most intriguing things to visualise, unlimited varieties to choose from, ceaseless amounts of choice and colour within their stems, and countless opportunities for rearrangement, allowing us to play and visualise exactly how we wish. Aside from their meaning, aren’t they just pleasing look at? They’re colourful, fun, beautiful, pretty. You can’t look at them and not feel enlightened, therefore typically it makes sense to include them when regarding and creating aesthetic designs. 

When thinking about the senses, flowers do enhance sensory feelings. For example, their colours are visual whether they’re bright or pastel, and most of the time the colours of flower heads contrast with their stems and leaves, and the different shades of green surrounding them. Most flowers have an aroma, putting another of our senses (smell) to use, and of course flowers aren’t robust, so we have to think about how we handle them. Their delicacy and intricate details allow opportunities for our fingertips to explore the sensation of softness. In regards to learning and development, they teach hands to be kind, gentle and considerate, possibly contributing to aiding social play and development particularly amongst children. In regards to general wellbeing, we gift flowers for all sorts of reasons. We gift them at birth and at death, and at all the times in-between. Flowers evoke feelings, they’re visual, they’re sensory, they’re living. So the next time someone asks me why I’m drawing flowers, I’ll let them read this post! 

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Izzy and her sister talk about the foundations of their brand and why, and how, design plays a huge role in starting conversations and gaining independence and acceptance for individuals with disabilities. 

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“If you can’t stand up, stand out.” 

https://www.izzywheels.com 

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As part of the research for this final unit at NUA, I’ve been keeping an eye out and attempting to maintain awareness around all kinds of design, which is created with and/or for people with disabilities. I came across this lady’s Instagram account and straight away felt I needed to share the importance and the impact the use of appropriate design has had on her wellbeing. - Without directly linking to my projects, her story does however put into perspective the general idea behind every designer’s work when they are creating for people with disabilities, and it promotes the impact it can have on an individual’s wellbeing, adding to quality of life. 

‘Izzy Wheels’ is a brand founded by two sisters. It is stated on the Izzy Wheels website (https://www.izzywheels.com) that ‘the idea was​ ​inspired​ ​by​ ​Izzy​ ​who​ ​was​ ​born​ ​with​ ​Spina​ ​Bifida​ ​and​ ​is​ ​paralysed​ ​from​ ​her​ ​waist​ ​down. Ailbhe (Izzy’s sister) saw that her sister’s chair was the first thing people noticed about her but it wasn’t a reflection of her bright and bubbly personality. Izzy Wheels started off as a college project for Ailbhe during her final year in The National College of Art and Design (NCAD) in 2015.’  The project concluded a range of wheel covers that ‘expressed a wheelchair user’s individuality and personality’, transforming a vitally important piece of equipment into ‘a piece of fashion and self expression’.

"Our mission with Izzy Wheels is to challenge negative associations with wheelchairs and let users celebrate their individuality by personalising their source of independence. We want to show the world that wheelchairs can be so much more than a medical device, they can be a piece of artistic self expression" - Ailbhe Keane.

"Izzy Wheels empower wheelchair users to make a statement about themselves, it makes a persons wheelchair into a friendly object rather than something purely functional. Having stylish wheels on your chair that match your outfit or show off you interests immediately addresses the chair and opens conversation" - Izzy Keane.

Since the brand was founded, Izzy Wheels have gained huge exposure from the press, and are successfully selling wheel covers to individuals from across the globe. The importance of these wheelchair covers is huge- as human beings we take massive interest in our appearances on a daily basis, deciding which clothes we want to wear, and which accessories we want to match them with. We take having these choices for granted because we assume that these choices are a given right, when actually they are not. From a personal point of view, it is almost impossible to imagine that one day we might need a piece of equipment that we have to use daily, which helps us continue with our lives and without it the quality of our lives may greatly decrease, but so many people do have to use these objects- products- whatever they may be. Izzy needs her wheelchair every day, so to be able to make a choice about what it looks like putting aside its function, is as important to her as every aspect of our appearances are to us, maybe even more so. In 2017 Izzy Wheels collaborated with Orla Kiely, creating a beautiful, classic collection of covers. Successes such as these only prove how important it is for designers to be aware of opportunities like these ones. With awareness comes acceptance, and not just acceptance of physical disabilities, but all disabilities. I’m not sure if I will ever not be amazed by the thoughts and actions behind putting design to beneficial use. I know that textile design is important, and that we will always need (want) beautiful things to decorate and fill our homes and lives with, but when textile design is used like this? That’s when it’s impressive. By way of linking this research to my current projects, it proposes the same idea. A wheelchair is a specialist product, and it is something an individual most likely needs to function within every day life, exactly like the other specialist products I have been researching and using as design inspiration. There are people who cannot function without their wheelchair, and there are people who cannot function or cope without the use of a weighted vest, or a weighted toy or blanket. In no way are these products different, and in no way are their uses and what they promote dissimilar to each other. Therefore the concept and depth of this research lends itself perfectly to the projects I am currently undertaking- by proposing the importance behind the use of design when it comes to designing specialist products for a target audience of people with disabilities. 

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Visual impairments and the impact visual, sensory textiles could have

Yesterday I decided that instead of ‘Project 1′ and ‘Project 2′, my projects needed to have explanatory titles. The project which focuses on sensory weighted products will simply be titled ‘Weighted Textiles’, and the project which focuses on wall paper/hangings will be titled ‘Visual Sensory Textiles’. This makes each project clearer to me and straight off explains to the audience, my peers, and my tutors, what each project represents in terms of combining wellbeing and textiles. I’ve mentioned in previous posts, when first exposed to the second project, that the idea of these textiles within a wall space could be interactive and/or sensory. I’ve titled the project ‘Visual Sensory’ because I think this best represents the designs within the development of the project so far- with their shiny, almost mirrored surfaces they’re automatically visual rather than tactile, although they can be handled, this would still be explored in a visual sense due to the materials used within the creative process. The feedback I’ve had so far from these designs has been positive, and I’ve had numerous comments about how you ‘can’t miss them’ as you walk into the studio. This is obviously the intended nature of the designs, the fact that eyes are automatically drawn to them because of how they look or stand out visually, is what these designs are based on, and is what I want them to propose. Therefore these little comments from my peers have positively reassured and encouraged me in thinking that the designs I have created so far, are fitting the brief I’ve set.

Going back to basics, the project ‘Visual Sensory Textiles’ must be further explained and examined in order for others (and myself) to understand what sensory textiles are. Within previous projects and within my dissertation, lots of my research has been based around Sensory Processing Disorders, and how the nature of the disorder affects how people perceive every day life when their senses are disrupted. Research on this blog already examines the different kind of Sensory Processing Disorders and how they can have an impact on people’s lives depending on the individual. In regards to visuals though, it must be narrowed down so that the research is appropriate towards the context of this project. However, aside from Sensory Processing Disorders, there are other reasons as to why and how creating visually stimulating designs may be beneficial to individuals with learning disabilities and/or complex health needs. In an article on nursingtimes.net [https://www.nursingtimes.net/a-vicious-circle-visual-impairment-in-people-with-learning-disabilities/200665.article], it is stated that ‘40% of people with a severe learning disability have experienced problems with their eyesight’. It is further written that this includes ‘specifically, individuals with Down’s Syndrome’. The article is referenced throughout (as can be explored via the link directly above). The writing states that ‘visual impairments may predispose individuals to communication difficulties, poor interaction with their environment, challenging behaviour, and low self-esteem’- this further promotes the importance and use of visuals (which can be textiles), in an environment commonly used by individuals with learning difficulties. It is also mentioned within the article that sign language is an effective use of communication amongst people with learning difficulties, ‘however, visual impairments can prevent the effective use of it, and a mental or physical disability restricts the use of braille, so the options are limited.’ 

Within the same article, underneath the sub-heading Environmental Factors, it addresses the fact that individuals are very obviously affected by their environment and that their ‘living space will have an impact on how they cope with day-to-day activities’. Making adaptions that may ‘alleviate feelings of boredom, confusion and anxiety’ should be considered. It is further stated that ‘people benefit from a stimulating environment and there is no reason to assume a person with a learning disability, sighted or otherwise, requires any different.’ 

Taking the points made in this article into account, it is clear that the use of visual sensory wall hangings/designs could be beneficial, aiding environmental factors by being aesthetic and visual, and promoting wellbeing in individuals with learning difficulties, particularly those with visual impairments. This is what the project aims to contribute towards through the use of visual textiles. 

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When thinking about and researching sensory spaces, and what is included on the walls within these types of environments, I came across this video which demonstrates the use of a Bubble Wall. glow.co.uk are one of the online companies which sell them. They state that Bubble Walls are ideal for use by both adults and children, particularly those with Sensory Processing Disorders, as ‘tracking the continuously rising bubbles and the colour change light helps to improve visual development and communication skills.’ The product also (as you can see in the video) uses LED lights which change colour. This particular bubble wall available from glow.co.uk comes with a remote which allows the colours to be changed from slow to fast pace, along with flash and strobe modes. Although the website states that they are particularly suitable to those with Sensory Processing Disorders, this kind of product (for obvious reasons), could be suitable to anybody with a visual impairment. 

Rompa Ltd are another company which sell sensory products for a range of environments. The type of bubble wall they sell has similar characteristics, however it also has a vibration setting for tactile input. Rompa Ltd describe this product as suitable when it comes to ‘assisting calmness or stimulation, where necessary.’ 

By looking at different types of design installations within similar contexts to which my project is focused towards, it aids the progression of my design work and contributes to me being able to visualise what it is that design can add to these particular environments, including colours, materials and placement aspects. 

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The two designs above are the first to contribute to the concept of sensory, and/or interactive wallpaper. With a new concept has come a new drawing style, which I prefer due to the fact I think it compliments a professional looking repeat. The image at the bottom shows the length samples I had printed, the sample on the left is a digital print onto silver foil, and the sample on the right is a digital print onto silver vinyl. These were simply experimentations of which background material would work best, and on conclusion as a wall hanging or installation, the vinyl provides more durability and strength (considering it will be touched and used for interaction this is what it needs). The vinyl proves to be much more suitable at the moment in comparison to the foil, which is a much thinner material and which scratches easily due to the delicacy of its nature. The vinyl also works as a sticker, therefore the whole length can be stuck to a wall (or door? or ceiling?). Looking at the lengths from an explorative, sensory point of view, they definitely provide visual stimulation due to the silver backgrounds, which both envelope the leaves well and in the way in which I envisioned. The silver carries a mirrored effect more than other colours, therefore the need to experiment with different colours isn’t really there- I’ve already achieved what I wanted with the silver tones as the background of each design, and by doing so have made the designs suitable to the context. The idea is that these pieces will be suitable in a variety of environments, including sensory rooms, hospitals, respite, school, or at home, and that they may be suitable to any age range and to any gender. They are designed with their aesthetic qualities in mind, as well as their need to be sensory and visually stimulating in one way or another, whether that be through their materials, the design, or both. 

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A change of direction? Following discussions.

So last week, following another discussion with Helen, she suggested I change direction within the project- (8 weeks left!!!). At first I thought ‘panic, panic, panic’. However on reflection, this conversation may have been the boost I needed. For the previous 8 weeks, the majority of the project has just been focused on drawing, printing, and creating textiles and fabric samples, amongst an element of research to back my ideas up along the way. Helen’s opinion was that my floral designs don’t necessarily fit the context of therapy vests and weighted products, and she felt my designs were further suited to work in a wallpaper context. Naturally, I didn’t feel like abandoning the last two months worth of work, having had in mind that they would fit this particular context (weighted therapy objects)- this was what I was interested in, and I didn’t feel as though focusing this last project at NUA on creating your standard wallpaper would play a huge part in my future career. Interactive wallpaper though?, ‘Sensory’ wallpaper? Maybe I could work with it. 

The weekend passed, and the following week I had a chat with Les, who agreed with me that the weighted products side of the project was not something I could, or should, just abandon. He said there was too much scope there, and a lot of potential for textile design, which is also exactly how I felt. So there we were; problem solved. DO NOT ABANDON SENSORY PRODUCTS CONTEXT. 

Now how to tackle new approach- I was interested in this idea of interactive wallpaper that could enhance the senses and provide visual support, whilst also aiding development. I write it as ‘interactive wallpaper’, but the concept of wallpaper already made me feel restricted. These repeat designs didn’t have to be wallpaper, they could simply be images on a wall, murals, fabric wall hangings, ceiling hangings, the list continues. There was no escaping the fact I’d opened up a second project for myself without really meaning to, though it was most likely needed and would only broaden my opportunities and choices for the degree show. Following the breach of this project I began sourcing images, including images of different environments where these type of designs may already exist, such as sensory rooms, care homes, and hospitals. There was chance that the thoughts behind my ideas may also be fully successful in the form of projections, room dividers, back drops and wall stickers. To add to this and to gain an actual perception of what I was visualising, I went for a walk around the city centre and let my interest fall towards window displays. I took no photographs, but spent time looking and visualising my designs in similar ways to how some back drops (which were often repeat designs), were placed, and what effect they had when walking by- whether they did have an effect visually, or didn’t, this would contribute to how I thought about my repeats when putting motifs together and adding and taking away certain elements. 

After these conversations had happened, and I’d got my head around the new elements my design work would need and how I was going to approach this new, added way of developing what I had, I felt good about the fact that I now had two separate projects happening, but actually I had two projects which both linked really well together. I had this one where I was looking at sensory products, their uses, the weighted benefits behind them, and how to make them and create suitable designs which would contribute to their use. And I had this other, new project which focused around large scale, sensory (possibly tactile??) (definitely visual) designs that would be effective on a wall space. *Exciting!*

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Aside from weighted blankets, there are other weighted sensory products that exist on the market and which are designed for the same purpose. The images above are taken from Sensory Owl, which is a website that sells different kind of sensory products. (https://sensoryowl.co.uk) The first three photographs are of Sensory Owl’s ‘Weighted Everyday Vest’, which is described on the website as an ‘every day design for comfortable use’. These vests are individually made to order, and have ‘internal loading pockets’ which allows the weight of the vest to be changed and adapted, to suit the individual’s needs. On the inside it also has additional adjustment stripes for tight wrapping, so that it can safely be strapped tighter around the body- this allows adaptable pressure. The weight modules, (as described on the website and as seen in the third image) are natural gravel. Sensory Owl sell this vest in sizes XS to XL and in a variety of different colours. The bottom two images of the post are of Sensory Owl’s ‘Weighted Therapy Vest’, which they describe as a ‘multiuser vest’, which is designed to come in handy when there is more than one user. For example, this type of vest can be used amongst a number of people within a therapy session, or in a school or hospital setting. This vest also has large outer pockets, unlike the everyday vest, which allows for a heavier load. It does however use natural gravel for its weights, similarly to the everyday vest, and is made individually to order variable to colour choices. 

As part of my research, I decided that it would be beneficial for me as the maker, and for the project as a whole, if I were to see whether there were any other different kinds of products on the market, other than weighted blankets. Thinking ahead in regards to the degree show, it might be an option for me to create one or more sensory products using my designs, and depending on practicality and time management, much thought would need to go into which products I might create. I would also question what would happen to these products after the degree show is over. The circumstances may also depend on where and if I can source the correct supplies, for example poly pellets are easily sourced due to the fact that they are not expensive, and can be bought online almost anywhere. However whether their use can be compared to that of glass pellets, natural gravel, or led pellets is a different matter. If I am to make a finished product then it needs to be of high quality, it needs to be practically safe, and it needs to be designed using the correct materials. All of these aspects that come into play when considering creating a product, will only prove to be successful or not through creating prototypes. (Next step!)

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Designing- 

I viewed this project as another chance to improve, work on, and extend my Photoshop skills. This was something I was adamant on achieving before leaving NUA, and I needed to feel more comfortable using this software if I were to ever put my skills to use, (which would be when I finally stepped out into the big wild world). I’d used Photoshop within the previous project, however the brief for this one gave me much more scope in regards to colour and shape, and figuring out background spaces and the effect they would have on the overall image. Although I was using digital software, I wanted my images and each overall design to maintain a hand-drawn, almost ‘artful’ (if you’ll say) element. I began by drawing with different medias and finding out what worked in regards to the context I’d chosen. I needed bright, painterly, but modern and adaptable motifs, which would form a multitude of designs that aimed to be suitable for my target audience. 

Referring to how I was drawing and designing, and what it would look like as a collection, the concept of a colour palette kind of went out the window, to put it bluntly. I’d restricted myself to using particular colours within the other projects I had completed so far in third year, and I just felt like letting go a little with this one. I also didn’t feel as though the brief particularly required a colour palette. I could still form a collection with my designs in the way that I’d used different drawing methods, and this naturally separated them in a way which I felt it worked. So, this was the evolution of the beginning of the project in regards to practical making- draw; design; print; make work. The sampling and research would either work alongside the actual designing, or it would follow in the form of printing methods and appropriate material experimentation.