Colour texture board and colour palette board

This my colour board, I took images that relate to my theme and the colours I want to use for my collection. I have picked out the most prominent colours from each image and made a strip next to the image. I prefer this way to make colour boards as it is easier to see the colours that I will be using, additionally it looks more modern than the usual way to present colour palettes such as strips of the colours at the bottom of the page, or square blocks of colours on the bottom of the boards. Creating a new, updated colour palette board has helped me focus on the colours I definitely want to be using. On my previous board, I included copper and bronze colours that emulated what metals look like when eroded. I have since decided that I will not be using this as part of my collection, but instead focus on sustainability which brings to mind more neutral colours, therefore this is why I have included more neutral tones in this colour palette board.

This is my colour texture board, where I have included the colours I want to be using, and also the types of fabrics I want to use. I have used a mixture of primary and secondary images on this board as it gives a broader image of the ideas I want to convey about my collection. I have incorporated blue hues such as soft turquoise, grey blues and sky blue, and neutral tones such as cream, ivory, beige and light grey. My previous colour texture board involved copper and bronze tones such as coin embellishments on garments, however I have since changed my mind on this, I have decided that I would rather stick with the neutral tones instead.

Experimentation 

I have decided to test some fabric samples to see if I would like any of these samples to feature on my garments. The first sample I have created, involved me following the shapes and curves on primary images of the waves and sand of the beach. I have taken fabrics that I might want to use for my collection, but mainly I have focused on the colour palettes from this sample. I have placed the fabrics accordingly so that the lighter colours are nearer the edge to emulate the lighter froth of the waves, and also the lighter shades from the sand.

The next fabric samples I have made involve the fraying of fabrics. I have done this as I am undecided as to whether I want neat finished hems, or if I want raw edges for my garments (or parts on my outfits). I have done these samples on different types of linen fabrics, as these are the fabrics I will be using the most. I have used washed fine linen, tumbled linen and french washed linen, and for each one I have used different fraying techniques, these include; frayed, frayed and cut into unequal shapes, and cut and partially frayed. Each gave different outcomes, as each linen frayed different because they all have different properties, and this is something I will have to think about if I want the hems of my garments to be like this.

Designer Diffusion Line Research

• Vera Wang- Simply Vera Vera Wang:

Vera Wang's affordable diffusion line is available at American department store Kohl's. She offers clothing including jeans, blouses, skirts, dresses and much more. In addition she sells accessories such as handbags, scarves, and jewellery, including engagement rings and wedding bands. Prices for the accessories start from $14 for a a small purse to $4,725 for an engagement ring. Her diffusion line, is affordable, yet it still reflects her collection she charges much more for. 

• H&M X KENZO

On 3rd November 2016 H&M released their new designer collaboration with KENZO. Complete with vibrant patterned jumpers, trousers and ruffle blouses. Prints inspired by flowers and animal skins, digitally edited into brighter prints. The collection also included accessories such as hats, earrings, bracelets, socks, bags, and keyrings. The collection wasn't just for women, many mens garments and accessories also featured in the collection. I think that the prints are very KENZO as they are bright and vibrant, however they are not the kinds of prints and colours that i'll be using for my collection, as I am focusing more on a neutral colour palette. However, I will be taking inspiration from the accessories such as the earrings and the cuff bracelets too. With prices ranging from £14.99 to £199.99 there is something for everyone.

• Star by Julien MacDonald 

In 2004,  Julien MacDonald launched his diffusion line 'Star' with Debenhams, and has been going strong since. His collections include mostly glamorous, party wear such as beaded dresses, smart jackets and handbags to match. The pieces reflect his work from his own label, but are much more affordable. Handbags and clutch bags range from £15 to £59, so the accessories are really quite affordable. I think that his range for Debenhams is aimed at the older woman (aged 45+) and the styles and silhouettes are glamorous, yet demure and the shapes and colours work well to create a slimline, hourglass figure. The colours are quite subtle, such as cream, black, gold and red, and prints are few including a small amount of leopard print and snakeskin print.  All of his garments featuring in this diffusion line are quite structured, and I want to use more organic, nature shapes, in addition the bags and clutches are too glamorous than what I want to create.

Illustrations

• Continuous Line

As continuous line is my favourite style of illustration, I decided to make a couple of illustrations using images from a magazine. I chose an image of a model out of a magazine, and traced over it on tracing paper, using fine liner in the continuous line technique. To make the illustration different to others I have done in the past, I added colour from watercolour paints, I decided to use a multitude of colours, however I dob't think I want this to feature in my sketchbook as it doesn't flow with the colour palette I have chosen; theses are too bright, whereas I am focusing more on neutral tones with hints of blue. I have also noticed that I have used warmer colours for the face such as red, orange and yellow, and for other parts of the drawing such as the garments and the models hair, I have used cooler colours such as blues and greens. This could've been because I am conscious of the colours I want my garments to be (more blues then warmer red tones), so I have done this almost atomically.

Using the same techniques as before, I made another continuous line illustration, only this time I used different shades of blue watercolour paints to compliment my colour palette. I also used a different model this time too, however both images were black and white as I thought this would be easier to see the outlines of the shapes of the models face. In addition, using the black and white image made the colours stand out more. 

• Fabric sewn onto an image

For this illustration, I took images of models from a magazine, again black and white so the fabric stand out more. I decided what part of the image I wanted to stand out the most and I thought the top would be the most appropriate pieces, mainly because it's centre of attention on the image and also because it offers the largest surface area so that more fabric can be seen, I then cut this out. Next, I used a small amount of silver coloured wallpaper, and onto this I sewn layers of fabric that relate to the colour palette I am using (beige, light blue, light grey) onto the wallpaper, to secure the fabric in place. The next stage I completed was sewing the fabric onto the paper image, to do this I placed the fabric underneath the paper image, and placed it so that the fabrics were exposed through the gap. To secure this in place, I sewed it onto the image, trying to outline the shape of the top. This method is effective as it allows the fabrics I want to use to come through sharply, and more focused. 

This was the second attempt I took at this technique, using a similar black and white image, although this time the models face is more disguised than the previous image. I thought this time I would use the hat to cut out, as it seems to be the part of the image that stands out the most, and there is also more room for the fabrics to come out. I used similar coloured fabrics as the previous illustration, however this time I used gold coloured wallpaper to sew the fabric onto, as the wallpaper is textured, it reminded me of sand (which relates to my elemental theme). I also cut out the shape of the hat, and placed the sewn on fabric underneath the image, and placed it so that it was exposed through the cut out. To secure in place I sewn around the shape of the hat using the sewing machine. I have never attempted this technique before, however I think it turned out well, and I have also been able to focus on the colour palette I want to use more, and also the textures that come through such as the fabric I have used.

• Photoshop repetition illustration

I used Photoshop to do this illustration. I used a model's head and uploaded it onto a Photoshop document, next I found a playsuit with a similar silhouette that I want to use, and I traced around it using Illustrator. I then filled the playsuit with colours from my colour palette (neutral tones and blues). I then copied the layer over and over again until I eventually made a circular shape. I then used the same technique but instead I used a different model's face, and a slightly different shaped playsuit, I also used slightly different colours. I then printed them out different sizes to see what they'd look like next to each other. I tried different ways of layout and this was what I was going to go with however after some more moving them about I decided on the layout below. Layout is important as it can change the dynamics of the theme.

This is the final layout I went for, as it gives a different look to the illustrations and the page also looks cleaner and not too busy, I think on the previous page it looked too busy and it was hard to see what was standing out. I have tried to incorporate the types of colours I want to use for my collection, and on my colour board. I would use this illustration technique again, as it is more digital than the techniques I have been using previously. 

Designer Research

Imogen Wright

Student Imogen Wright has developed an idea using sustainable fabrics, this is what I found; 

Inspired by creative women, British designer Imogen Wright is focused on creating a fad-bucking wardrobe of “practical and fresh” clothes, rather than a collection. “I wanted to make something that is focused on cut and craftsmanship, but is also more sustainable and can last for a very long time,” she says of her classic pieces, all of which have a thoughtful twist on fabric and proportion. “I think it’s important not to make something that can be easily thrown away,” she explains.

Born in Hackney, Wright moved to Devon when she was a child, but returned to London to undertake a foundation degree at Central Saint Martins. She has since completed internships at Peter Jensen, Phoebe English, Louis Vuitton and Alexander McQueen, as well as a stint at Céline where she was a design assistant. “My time there has really informed this collection, how it’s styled and the way I work,” she says.

With many of her understated garments, there’s more than meets the eye. Take a seemingly ordinary white-button shirt hanging on the rail, for instance, for which Wright has developed a technique where the side of the shirt, which opens up to a narrow triangle, is padded inside with a top stitch. “It creates volume, so when the wearer walks, you can see big pleats appear,” she explains.

“I also wanted to include bits of the domestic environment, because the modern creative woman has so many different aspects to her life,” she continues. For her graduate collection, Wright has collaborated with a jewellery designer to cast fruits and vegetables like orange peels and grapes in silver plating, which she has used to make earrings or as decoration on accessories. On the day of the show, Wright also plans to hand sew fresh vegetables onto the garments, to underscore her emphasis on freshness.

Slow Futures Trend- 28th October 2016

Through looking at this trend I have slightly changed my colour palette; during assignment 1 I was planning on having more harsh blue tones with elements of copper and bronze to resemble erosion. However I have since decided to take a more neutral route and would rather use Slow Futures core colours such as Ivory and Sand, but also develop these by expanding the colours such as Bone and Lead Grey. These natural colours have connotations of sustainability, contemporary, sophistication and elegance, which is what I want my collection to convey, however I also want to inject subtle hints of soft blues to still give the feel of water and the coast.

As I am keeping in mind my original elemental theme of coastal areas I still want to add blue and green pastel hues, such as these on the image below. Pantone colours such as Lakeside Green and Salt Water are colours that I would like to inject into my collection to still add colour. 

This is another element to this trend, once again the core colours (Ivory, Charcoal Brown and Smoke) are prominent. In addition, metallics and soft neutrals have a sense of texture, and are particularly appropriate for natural materials (although the addition of metallics give a slight futuristic feel). These colours make me think that organic shapes would be more suitable for my collection as they are soft and easy to wear. As my collection is going to be based on sustainability, I want classic, timeless pieces that are of high quality so that are durable and last, I also want colours that are timeless and are easy to wear, therefore these kind of colours are what I want to go with.

The Collections Expanded Proposal

Through further research of this project, I have been looking at three other topics related to global context, these are; erosion, pollution and sustainability. However, I have decided to focus more on sustainability as it is what I feel relates best to my theme, and I find it the most interesting topic. Sustainability also coincides with with the Slow Futures trend on WGSN which focuses on issues related to sustainability, products that are built to last, and removing the excess to bring us towards lightness of being. Through looking at this trend, my colour palette has slightly changed. I will still be keeping in mind my original elemental theme of coastal areas which involves blue and sandy tones, however during assignment 1 I was looking more at the harsher blue tones and copper which related to erosion, but now the colour palette has taken a softer turn, where more pastel colours will be coming through and giving the collection a more natural feel. In particular I have looked at the US colour trend for Slow Futures S/S 18, which includes inspiration from Northern lakes and streams bringing through Pantone colours such as Lakeside Green and Salt Water. Both these colours have green/blue tones however they are not harsh, but more subtle. Ivory and Sand are a couple of core colours for this trend, however extending this they bring in colours such as Bone and Lead Grey which are both neutral. These natural colours have connotations of sustainability, contemporary, sophistication and elegance, which is what I want my collection to convey, however I also want to inject subtle hints of soft blues to still give the feel of water and the coast.  I have also decided to slightly change the fabrics I will be using; during assignment 1 I was planning on using more synthetic fabrics such as satin, georgette and chiffon. However, through my research into sustainable fabrics, I have decided to use more natural fabrics, including both plant and animal fibres such as linen and cotton, other natural fibres to consider are banana fibres, bamboo and hemp fibres however these may be difficult to get a hold of. I will also consider animal fibres such as silk and wool, but depending on my budget and my designs I may not use these fabrics.  In order to expand my research I may have to gather more primary images, which could include another trip to the beach to help me make a final decision on my colour and texture palette, and the silhouettes I want to include. As my colour palette and fabrics have changed, this also may influence the rest of my designs, however I still plan to stick to the organic shaped designs that resemble the movement of the sea, but with an elegant, modern and sophisticated twist. I will create multiple designs so that I can develop my ideas further and am able to come to a final decision for my final lineup.

Life Drawing- 29th November 2016

During today's lesson, I look part in a life drawing activity. Unfortunately we could not get hold of a real life model, therefore we had to make do with mannequins. This was still an effective method, and it helped with hand- eye coordination, how to draw in proportion, and how to make use of highlights and lowlights, and how these can make a sketch go from 2D to 3D. I enjoyed this activity and found it really useful, as I was learning new skills and how to make the best use of the media you have, and I will then apply these skills to my sketch book work, and more illustrations. As I am still figuring out the types of shapes and silhouettes I want, this was an effective exercise for me, as it allowed me to see what shapes fir best with my theme. I would like to stick with more organic shoes, instead of geometric shapes, and this activity has helped me some to more of an informed decision. I will adapt the skills I learned to create more illustrations that relate to my elemental theme. I could do this by emulating the illustrations I created today, instead add colours relating to my theme such as blue and other neutral tones. 

We begin the activity by simply drawing the mannequin exactly as we saw it. From the angle I was at I had the back side of the mannequin, so this may have required me to use different techniques to get the proportionate shapes, than people drawing the front of the mannequin. This was only quite a quick sketch, mainly the outline of what I could see, and then we started adding in different textures and shades. Next, we looked at the lowlights that were coming through on the mannequin, for this I had used a red marker pen, I drew in every low light I could possibly see. next, we drew in the lowlight, I did this using a yellow marker, to easily contrast with the red. And once again I marked in wherever I could see the lighter shades coming through onto the surface of the mannequin. For the next stage, we had to use a coloured pencil to fill in the white spaces which were the mid-lights. We could do this using any techniques, maybe crosshatching, swirling or simply colouring in. Finally, to with the main shape of the mannequins for definition, we lightly sketched around using black fine liner. This technique has helped me to understand the importance of using lowlight and highlights when drawing (especially life drawing) as it can make an image go from looking 2D to 3D with a few simple strokes. 

The next technique involved us drawing the same mannequin from the same angle, but this time we used our non-dominant hand (which is my left hand). This exercise was to improve hand-eye coordination, and also to see what the outcome would be if we drew with the opposite hand. This is my example of this technique, I think the way I have drawn this makes the mannequin look more abstract, for example the way the left leg has been drawn, it doesn't look like a drawing of a real life leg, however it is easy to see that this is the mannequin's leg. I think I work best using fine liner when drawing, as I am able to get more precise lines than if I was to use a pencil. Using just a fine liner also makes the shapes stand out more. Most of the illustrations I create for this project will be fine liner based, as my favourite illustration technique is continuous line, and this always works best when using fine liner.

This technique was slightly different from the previous two. First of all, we changed positions so this time I was looking at the front of the mannequin, giving me a different perspective. Media we used included black ink, marker pen masking tape. To begin with, I had to use strips of masking tape to create an outline of the shape of the mannequin. This was to give the basis of the mannequins shape. Next step was to use the black ink, I had to use the end of a paint brush to dip into the ink and draw around the outlines of the masking tape, and to add in more ink where it was dark, and less ink where the highlights were shown. Once this had dried, using the yellow pen marker, I had to draw in where I could see the highlights standing out the most, this was to give the illustration more definition. Then, using the pipet and the black ink, I squeezed ink from the top of the page, and this automatically ran down the page, and past the drawing of the mannequin. This gave an interesting twist to the simple ink illustration.

Once I had waited for all the ink to dry, I was able to remove all the masking tape, which left an interesting outline to the mannequin. The ink marks appear much finer than before, which I prefer as I thought they were going to look too harsh. You can see the highlights of the pen marker more clearer too in this finished piece. To apply the skills of this technique, I will be doing more of these illustrations for my project. It is a simple illustration to try at home, as I only need access to black ink, paper, a marker pen, and I could use any objet to draw from, this way I will be able to practice my drawing skills, my hand-eye coordination skills, and how to find the highlights and lowlights of all different kinds of objects.

At a later date, I further developed the 2nd drawing on this page. I transferred it onto acetate by screen printing, I also did this on a piece of calico. This is the process I took to get this effect; 

1. Transfer image to acetate 
2. Coat print screen with emulsion (FOTECOAT 1970)
3. Dry screen. Store light sensitive coated screen in dark area
4. Place acetate gloss side down on exposure unit glass
5. Place screen print side down on acetate and press run
6. Wash screen and allow to dry for approximately 1 hour
7. Place screen on print bed ensuring screen is held firmly in place
8. Choose ink colour and mix with screen gel
9. Place paper/fabric on screen bed and press vacuum switch
10. Spread ink above image area on screen
11. With print screen raised, spread ink across image with squeegee
12. Lower print screen over paper/fabric and spread ink twice
13. Raise print screen
14. Remove paper/ fabric with printed image and place on drying rack
15. Wash screen and squeegee

I have used this technique to see what the image will look printed onto fabric (calico), acetate and paper. Each outcome was slightly different, I preferred the print on acetate as it's very clear, however I also think that the print turned out well on the fabric too, and it adds texture compared to the acetate. Below is how I have laid them out in my sketchbook.