#research point

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Research Point 1

Fig 1 Harlow - Rust Wallpaper by Voyage Lifestyle

Fig 2 Harlow - Lemon Wallpaper by Voyage Lifestyle

The colour seen in the Cademuir collection by Voyage Lifestyle are quite muted, but they appear more striking against the white which has also been used in each design. There are a number of neutral, earthy tones that have been used (see fig 1) which still work well against the white but the yellow tones which have been used in a couple of the colour variations (see fig 2) just blend in with the white far too much making it difficult to see the design.I think it was an interesting choice to only use two colours for each design in this collection as by doing so you run the risk of a design being to plain and boring but the colour choices that have been made still look bold albeit simple. The fact that only one colour changes throughout each design variation allows you to really appreciate the colour choice that has been made for each one. There aren’t a range of colours taking your attention away and the white that has been used in each design helps to enhance the colour choice stand out even more.

Fig 3 Hetta nightgown by Marimekko

Fig 4 Gabro Pieni Unikko shirt by Marimekko

Marimekko classics use a range of simplistic colour palettes, made up of a minimal selection of colours. Overall the palettes are made up of a single bright colour, accompanied by some muted/lighter colours and/or some darker tones. (see fig 3). Each design in the Marimekko classics collection is very simplistic, often made of simple blocks of colour but this allows each colour used to be more impactful. Take the Gabro Piene Unikko shirt for example (see fig 4), the limited colour and simplistic design allows you to place each of the colours used easily as the overall design and colour palette isn’t too complicated.

Fig 5 Ithaki Dress Postage Stamps by Mary Katrantzou

Fig 6 Sicilia Swimsuit Shell Tornado by Mary Katrantzou

Many of Mary Katrantzou’s fabric designs feature the striking combination of black and white, contrasting with the bright colours which are also used. The use of black and white alongside the brighter colours makes the brighter tones really pop (see fig 5), especially when they are displayed against a white background as they often are within the designs. There are a number of bold colours used within the designs of Katrantzou but there seems to be a particular focus on blue and red/pink tones from what I have observed in the current collections (see fig 6).

Fig 7 Jocelyn throw by Wallace & Sewell

Fig 8 Feilden rug by Wallace & Sewell

The colour palettes seen within the designs by Wallace & Sewell seem to feature a large range of colours (see fig 7). Although this could make some designs become too chaotic, the simplicity of the shapes used in the designs allows for a larger number of colours to be used within a singular palette whilst still working together as a collection of colours, and keeping the designs looking simple. It seems like there are a number of more muted, neutral tones used in combination with some brighter colours (see fig 8) to make the palettes more balanced and maintain their visual appeal.

Fig 9 Hummingbirds wallpaper by Cole and Sons

Fig 10 Flamingos wallpaper by Cole and Sons

Looking at the Icons collection by Cole and Sons there is a clear reference to colours taken from nature. There are a number of designs within this collection that use green or brown tones as the focus point, as well as some pink, orange and blue tones to accompany them (see fig 9). The colours used are often soft in appearance but the overall designs are still very striking and draw your attention (see fig 10).

Fig 11 White ‘Ink Lucky’ Print cotton shirt dress by Paul Smith

Fig 12 ‘Chile’ Print shirt dress by Paul Smith

The designs by Paul Smith include fairly limited colour palettes, which help to keep the complicated and detailed designs from looking too cluttered. The designs include a use of colour palettes with contrasting colours, as seen with the bold black lines against the white background and the blobs of yellow in the ‘Ink Lucky’ print shirt dress (see fig 11). The colour palettes are very harmonious even though they feature contrasting colours within them as they also include pairings of colours that share similar values such as the cool blue and purple tones against the contrasting black background used in the ‘Chile’ print shirt dress (see fig 12).

Fig 13  VL08704.010 by Vlisco

Fig 14  VLW0374.011 by Vlisco

The designs by Vlisco feature a range of vivid colours in combination with their bold and striking designs. There is often a use of black that can be seen, adding more contrast against the bright, vibrant colours in their designs (see fig 13). I would say that overall the colour palettes that are used in Vlisco’s fabric designs are high in contrast but they still look visually appealing, in fact they bring more attention to the details of the designs that a more muted palette would not (see fig 14). 

https://www.voyage-lifestyle.com/

https://www.marimekko.com/

https://shop.marykatrantzou.com/

https://www.wallacesewell.com/

https://www.cole-and-son.com/

https://www.paulsmith.com/uk

https://shop.vlisco.com/en/

Fig 1 https://www.voyage-lifestyle.com/wallpaper/collections/cademuir/harlow-rust-wallpaper.html

Fig 2 https://www.voyage-lifestyle.com/wallpaper/collections/cademuir/harlow-lemon-wallpaper.html

Fig 3 https://www.marimekko.com/gb_en/classics/clothing/hetta-nightgown-white-red-044741-187

Fig 4 https://www.marimekko.com/gb_en/classics/clothing/gabro-pieni-unikko-shirt-beige-blue-black-048326-896

Fig 5 https://shop.marykatrantzou.com/collections/new/products/ithaki-dress

Fig 6 https://shop.marykatrantzou.com/collections/new/products/sicilia-swimsuit-grid-shells

Fig 7 https://www.wallacesewell.com/product/new-jocelyn-throw

Fig 8 https://www.wallacesewell.com/product/feilden-rug

Fig 9 https://www.cole-and-son.com/en/collection-icons/wallpaper-112/4015/

Fig 10 https://www.cole-and-son.com/en/collection-icons/wallpaper-112/11038/

Fig 11 https://www.paulsmith.com/uk/women-s-white-ink-lucky-print-cotton-shirt-dress

Fig 12 https://www.paulsmith.com/uk/women-s-chilean-landscape-print-shirt-dress

Fig 13 https://shop.vlisco.com/en/catalog/product/view/id/100629/s/vl08704-010/category/164/#195=24

Fig 14 https://shop.vlisco.com/en/vlw0374-011

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Research Point- Grids

Identify a range of grids that are used in contemporary and historical publications.

Before looking at different uses of grids, I decided to research the types of grids that are commonly used in design.

What is a grid?

- System for organising layout - Can be used for print, screen and any other user interface - Different grids serve different purposes

After determining what a  grid is, I did some research into examples of the different types of grids and how they have been used in contemporary and historical usages. I also tried to make note of how big the gutters, rows, columns and  margins were so that I could compare them, and find meaning into why they were designed in such a way.

Different types of grids

-Most common type of grid -Divide page into vertical fields and objects are lined up with them -For Example - Magazine and Newspapers 

Are these grids informed by a particular view of design?

Columns developed to help you read more efficiently. When looking at a newspaper or article your eyes may get lost when reading across a big page.

There is a balance between the gutter and the columns - The margin should normally be set to 2x while the gutter is x as this restores harmony to the flow and reduced tension.

Breaking it down into a column makes sure that your eyes can follow the information.

You can also separate information by placing them in different columns.

The width of a column should correlate to some part of the internal design such as text size, meaning that a column should be considered before it is made too wide or narrow.

Modular grid

An extension of the column grid 

-Take the column grid and ad rows to it -These intersecting rows create *Modules* -For Example - Magazines, online stores, image galleries, poster design.

Are these grids informed by a particular view of design?

Modular Grids are similar to Columns grids but with horizontal divisions, marked out by rows.  Meaning that the flow between the gutter and the margins should still be considered to make reading easier.

They work best when a flexible offer is needed, and more complex problems.

They are better for complex projects and are more akin to a tabular design.

Each module in the grid holds a part of the design, broken down into smaller pieces that can be distributed throughout the document.

They van present information in way that helps maintain proportions, this leads to consistency.

There is also more of an aesthetic appeal to the modular grid. The bauhaus and Swiss style was looking to create meaning in order and clarity of a design. 

During the 1950s-1980 the modular grid became associated with rationalism, objectivity, order and minimalism. Below are some examples of the iconic structures that came from both of these movements. 

Manuscript grid

-A one Column grid that encapsulates the text and determines where the text will sit. -Often mirrored -For Example - Novels and traditional books

Are these grids informed by a particular view of design?

They are the simplest grid and they work best with a continuous block of texts or images

The margin is the main indicator of how the design is received.

If they feature wide margins that help focus the eye by compressing and narrowing the text block.  Creates a feeling of calm, enabling concentration.

However if the Margin is narrower then the feeling is reversed, the closer the text to the edge of the pages the more tension is felt.

When the block of text is placed asymmetrically, allowing a larger white  space on the page, it allows one side of the eye to rest, all while creating visual interest.

Hierarchical grid

-Any regular grid that is for a particular need. -Could be completely freeform -Could be composed of two super imposed grids or other grid elements mostly used in web design

Are these grids informed by a particular view of design?

The hierarchal grid is used when none of the other grids work in the way that the designer requires.  

They (often) come about by placing  and combining various design elements and finding a structure that solves the design problem.

They are a good fit when a project needs a grid that breaks the mold and a new structure is needed to make all of the elements work.

(Other Parts/Types of the grid, that I felt needed to be included, these are more apart of actual structure of the grid)

Pixel grid

-Digital Screens are made up of microscopic grids of pixels

Baseline grid

-Dense Grid of equally spaced horizontal lines -Often used with column grids

Between reading “Making and breaking the Grid” and looking at various articles on Grid design and invention I have learnt so much about the grid. I had never really considered why and how elements are placed on the page. Tis is such a core of graphic design principle and I will try and incorporate the Grid as much as I can in future design projects as it is a great foundation on which to build. 

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Research point

Explore what typography is available from the type foundries at the moment.

To approach this research point I decided to divide this exercise up into smaller categories. 

Contemporary version of an older font

Helvetica Now

https://www.myfonts.com/fonts/mti/helvetica-now/

Filling a gap in your type categories

Below are a number of different fonts that have stood out to me over the course of the research point. They all seem to have something that is lacking in my design work. 

Sackers Gothic

https://www.myfonts.com/fonts/mti/sackers-gothic/

I have a lot of bold fonts in my collection, but I really love the shapes in this. The letters look elegant and clear, and I really want to add this to my collection. This would be great for poster work or invitations, anything that needs to feel classy and eye catching. 

Stravinsky

https://www.futurefonts.xyz/ilyanaumoff/stravinsky

Another classy font. I love the thin to think elements in this font, I really like how the X, W, N and M look in this set. Really elegant, again something that would look good on a magazine cover or article, invitation or poster. This is a font intended to catch eyes and attract attention. 

ISO

https://www.futurefonts.xyz/scribble-tone/iso

This font is nice and clean, and it reminds me of coding. This is a font that could be used with a more bold font, this is more of something that could just fade into the background. I like how clean it feels, but at the same time reminds me of a computer screen, perhaps a coding screen. It’s quite neutral but has a little bit of flair. 

Agrippa

https://www.futurefonts.xyz/loveletters/agrippa

BRZO

https://www.futurefonts.xyz/erik-marinovich/brzo

Soda Script

https://www.emigre.com/Fonts/Soda-Script

This font makes me so happy to look at. It’s like a mixture between a vintage font and a modern one. Really nice flourishes and I love cursive s fonts, I don’t have enough of them and I need to expand some more. This feels like it could be used for poster work, or logo work. I would use this as an eye catching piece. I am considering buying this font soon, or finding one like it. 

Experimental fonts 

Below are some examples of fonts that look experimental. I love when fonts look a bit “out there” and I love looking at all of the shapes and designs.  There are some really fun shapes in here that I really like the look of. I want to possibly add a few of these to my arsenal.

rotor

https://www.futurefonts.xyz/jan-sindler/rotor

“rotor (read from both directions) – just like the typeface. From decoded to encoded message along with the rotation axis! It's a monospaced monolinear typeface that merges surprise and joy together into a unique experience. Why condense letters, when you can rotate them?” - Future fonts. 

I really like the idea of rotor, I've never seen a rotating font, the shapes look amazing. I can just imagine how great this would look on a poster. The idea of rotating a font, could make amazing compositions. This is more of a decorative font in my opinion, where the typography becomes more part of the overall design. Really cool font. 

WHOA

https://www.futurefonts.xyz/scribble-tone/whoa

“Use three sliders to expand the outlines into a three dimensional hyperspace. It also comes with a filled ‘top’ style, that can be layered on top to help with readability.” - futurefonts 

Woah is a moveable and adjustable font. I have also never seen one like this before, the use of sliders to create different compositions is amazing, I would love to use this for a poster, a lot of the experimental fonts that I have looked at I can imagine using decoratively, perhaps in logo design. The idea of making every piece you design slightly different with the siders is really inspiring. 

Gloubi

https://www.futurefonts.xyz/lo-ol/gloubi

Gloubi is such an eye catching font, it’s not really a font you can use for everyday and is maybe not as useful as some of the other fonts that I have explored in this research point, but I really like creativity of it. The shapes are eye catching and really nice to look at and all together make up a really nice set of letters and numbers. Like most of the other experimental fonts, this would be great for a poster or logo. Really decorative and appealing to look at. 

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Research Point 3: David Hockney

David Hockney is a British artist who works with a variety of art forms from painting to photography, stage design to printmaking. He has created a number of works over his career, experimenting with printmaking, oil paint, drawing and in more recent years he has even experimented with digital techniques of drawing such as using an iPad.

Fig 1 Model With Unfinished Self-Portrait 1977

Hockney often turns to flowers and other plants for observational influence within his work. From 1950s through to 2000s there are a number of works both in his drawing and painting collections that feature flowers or plants are part of the design but not necessarily the main subject of his designs. Model With Unfinished Self-Portrait (see fig 1) is a good example of this, the two vases of flowers are not the main subject of this particular painting but they are part of the piece and Hockney has still clearly made sure to paint the flowers with detail and definition.

Fig 2 David Hockney Three Sunflowers And a Bottle of Water 1996

Fig 3 Hawthorn Bush Near Kilham 2008

Fig 4 Late Spring Tunnel 2006

Moving into the 2000s, his drawings are largely influenced by nature or feature a still life of flowers (see fig 2), many of the drawings from this time are of scenes within nature drawn using charcoal on paper or painted in oil on canvas (see fig 3 and 4). Using a series of mark making techniques he depicts the different elements within a scene, playing close attention to include shading and highlights which creates depth to his work.

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Research Point 2: Takashi Murakami

Takashi Murakami, a Japanese contemporary artist who works predominantly with repeated floral motifs within his prints and 3D pieces. He frequently uses one flower motif in particular within his designs but he changes the colour palette and sizing of the motif to create a range of motif variations.

Fig 1 Look Back and There, My Beautiful Memories

Fig 1 is a good example of this, the overall Look Back and There, My Beautiful Memories design is made up of the same motif repeated numerous times but using a range of different colour and size variations. In doing this, Murakami creates the illusion of having designed a large collection of very different motifs but on closer inspection, you can see that they are simply variations of the one design.

Colour is one of the main elements to any of Murakami’s designs and play a large part in his variations of the flower motif he uses in a lot of his work. Bold and bright colours are what are used within his work and he seems to use a lot of pink and blue colours within his selections. The colours that are used are often contrasting of each other but not in such a way that they clash too much and ruin the designs.

Fig 2 TECHNICOLOR 2 2018

Murakami makes use of bold, black lines (see fig 2) that really draw attention to the different elements of his designs. The bold line work contrasts well with the bright colours, making them pop that little bit more to gain the audience’s attention.

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Research Point 2: William Morris

William Morris was a British novelist, textile designer, amongst other titles, from the 1800’s who was significant to the Arts and Crafts Movement. Founder of the firm Morris, Marshall, Faulkner & Co, Morris designed wallpaper, furniture and tapestries as well as other items which would have helped to influence interior design at the time.

He had once trained as a priest which he gave up in favour of studying architecture. His time studying architecture was short-lived however, and he left to begin a career as an artist after eight months. Morris had ties to many groups throughout his life, one of which being the Pre-Raphaelites. The Pre-Raphaelites, founded in 1848, were a group of like minded artists who often used poetry and literature as subjects for their work. Pre-Raphaelitism resurfaced in 1857, during which time Morris became affiliated with the group and produced some of his earlier works.

By 1875, Morris had restructured the now renamed Morris & Company and over the following decade he added a number of wallpaper and fabric designs to the company’s collection of items. In 1877, a shop was opened that would be used to sell Morris & Company’s collection of fabrics and wallpapers.

Fig 1 Strawberry Thief 1883

Symmetry is a usually a key element to Morris’s fabric design and Strawberry Thief (see fig 1) is great example of this. One complete tile of this particular design is made up of two halves which are symmetrical, and each tile is mirrored to create one large symmetrical design. Although the design is made up of a small selection of motifs mirrored repeatedly, he has designed the elements in such a way that it does not appear that this is the case. Your eye is continuously drawn to the various areas within the design, separated by changes of colour and subject matter.

Rather than using bright colours, Morris uses a more muted colour palette but in no way does this mean that the colours used do no draw your attention. I feel that his use of a slightly softer colour palette enables you to take in the intricate details of his designs more without the boldness of the colours taking your attention away. The colours also reflect more realistically to the subject matter he is trying to depict, leaves are made up of a variety of shades of greens and browns for example, not a single shade of bright green. Morris’s Acanthus wallpaper design (see fig 2) shows how his use of a softer colour palette lends well to properly representing his subject matter.

The Acanthus wallpaper design is also a great example of Morris’s use of line to add detail and definition to his floral and plant designs. He uses different line thicknesses for the outlines and the details to create more depth.

Fig 2 Acanthus 1875

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Research Point 2: Tord Boontje

Tord Boontje Studios, first established in 1996, creates beautiful representations of nature through product designs. Works by the studio are made in a variety of ways, ranging from handcrafted products to using technology to mass produce designs. Boontje depicts nature in an elegant way through his creations of fabric designs, rugs, lighting and jewellery.

Fig 1 Midsummer Light (2014)

In 2004, Boontje designed the Midsummer Light which is now manufactured and sold by Artecnica. This design is made from 2 layers of Tyvek paper over a conical safety protector and it has an overall height/width of 76cm/38cm.

The Midsummer Light is made up of a combination of flowing lines and angular cuts, Boontje has used a combination to ensure that each flower and plant is illustrated well. The design has a very muted palette, being made from white Tyvek but warmth is brought into the design by the light source. Light and shadow play a key part in the overall design of the Midsummer Light. The intricate cuts that have been made have created various gaps for the warmth to shine through and the overlapping of the many flowers and plants created from the cut paper create shadows in varying tones which show the different layers of the piece.

Fig 2 Midsummer Light (2004)

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Research Point 1: Wabi-Sabi

Wabi-Sabi, an ideal that adds to the Japanese aesthetic philosophy based around the idea of imperfection, is a difficult concept to define. Put in simple terms, it is the idea that we should be accepting of the imperfections around us and that beauty can be found within those imperfections. The circle of life is something that is often brought up when Wabi-Sabi is discussed, how we should be accepting of what we happen upon throughout life, be accepting of its unpredictability. We must embrace the fact that things in life are only temporary.

The concept of wabi-sabi seems to be quite relevant to this assignment. Through creating observational drawings from my chosen textile archive, I will end up with a range of results – some successful, some not so successful. Drawings that appear to have been unsuccessful can be transformed to create visually pleasing outcomes – much like the Kintsugi process of repairing broken pottery.

Part of the concept of wabi-sabi is Kintsugi – kin meaning golden and tsugi meaning repair. Kintsugi is the process of repairing broken pottery with lacquer mixed or dusted with metallic powders (usually gold), although it is now more common to use epoxy resin rather than lacquer. This process takes a previously broken item and transforms it into something new and improved. It is a great example of the wabi-sabi aesthetic, finding beauty in imperfection.

Fig 1 Kintsugi by Yoshiaki Takei

Fig 2 Kintsugi by Yoshiaki Takei