Reflecting on Floral Geometry
Since reflecting back on the Floral Geometry Unit, I feel that I have gained an exciting new wealth of technical skills to which I am enthusiastic to bring to future practice. The most beneficial technical skills that I have developed are that I am now confident in the fibre dying process and that I can now explore a new realm of textural interest since being inducted on the Ethos embroidery machine.
Throughout this fast-paced module, I have pushed myself out of my comfort zone which has developed my confidence in my drawing skills hugely. I began by responding to floral forms using simplistic, abstract shapes and vibrant hues which I then developed using photoshop and the photocopier for manipulation. This created layered and overlapping prints to which I then worked into and adapt to create a 'collection' in itself. Monday drawing sessions allowed me to take an experimental approach to conventional drawing, building my courage to potentially start recording significant events with image instead of text.
My initial research began by visiting a Rashid Johnson exhibition. I felt inspired by the large-scale dramatic prints and the interesting layering/collaging technique he adapts to create atmospheric outcomes. This then translated into the continuation of research into articles specifying in artists or designers creating 'injections' of colour or textural interest in unexpected environments; thus creating a spectacle. Camille Wa La La, Instudio's illustrated skyscrapers, Nishant Shukla in Vice Magazine and painted Parisian basketball courts all became relevant to this concept, and I used this as a basis to begin my experimental abstract drawings and prints.
I feel I have responded to the 'Geometric' element of the brief by the carefully considered process of screen-printing overlaps to create dimensional outcomes, and the use of netting-overlay which adds restraint to my 'organised chaos'. By interpreting the term as 'the relationship between elements', I believe my work responds to this in an unconventional manner.
The biggest challenge within this topic has been keeping the colour mood throughout my development in order to build a relationship between my colour palettes, motifs and printed outcomes. On reflection, I found it extremely difficult to translate my colour palette into different materials and medias. This was particularly difficult when dying fabrics as it's difficult to tell the shade of the material until it's completely dried, obviously meaning that it's too late to change by this point. This resulted in some outcomes being completely irrelevant to my colour palette, therefore I had to be selective when deciding on which to include.
The tutorials were extremely beneficial in my personal development, and I feel without them, I would have found it hard to keep myself on topic. It was really rewarding to be able to share ideas and techniques with a group, and I found it refreshing to receive critical feedback in order to keep my development cohesive and relevant.
If I had adequately managed my time, I would have found it very beneficial to have been inducted in the Fashion department (overlocker and industrial machines) as this would have made it less complex to produce a garment. I have managed to organise an induction on the overlocker within the next week, therefore I can carry this forward to the next brief. I would have also like to have developed my screen prints into digital designs in order to refine them further and add a new dimension to my outcomes.
A key aspect I've learnt from this unit is to plan my garment or final outcome as early on as possible. By thinking of how it will be made, and how it will be printed/techniques I might use, I can plan my time out well in advance in order to avoid issues with not being able to use the facilities. This was a slight problem when printing my garment as staff sickness resulted in the dye lab being closed on a multitude of occasions. Another integral point I've learnt is to start my progression with a strong foundation of research as this effectively fuels development.
Throughout this fast-paced module, I have pushed myself out of my comfort zone which has developed my confidence in my drawing skills hugely. I began by responding to floral forms using simplistic, abstract shapes and vibrant hues which I then developed using photoshop and the photocopier for manipulation. This created layered and overlapping prints to which I then worked into and adapt to create a 'collection' in itself. Monday drawing sessions allowed me to take an experimental approach to conventional drawing, building my courage to potentially start recording significant events with image instead of text.
My initial research began by visiting a Rashid Johnson exhibition. I felt inspired by the large-scale dramatic prints and the interesting layering/collaging technique he adapts to create atmospheric outcomes. This then translated into the continuation of research into articles specifying in artists or designers creating 'injections' of colour or textural interest in unexpected environments; thus creating a spectacle. Camille Wa La La, Instudio's illustrated skyscrapers, Nishant Shukla in Vice Magazine and painted Parisian basketball courts all became relevant to this concept, and I used this as a basis to begin my experimental abstract drawings and prints.
I feel I have responded to the 'Geometric' element of the brief by the carefully considered process of screen-printing overlaps to create dimensional outcomes, and the use of netting-overlay which adds restraint to my 'organised chaos'. By interpreting the term as 'the relationship between elements', I believe my work responds to this in an unconventional manner.
The biggest challenge within this topic has been keeping the colour mood throughout my development in order to build a relationship between my colour palettes, motifs and printed outcomes. On reflection, I found it extremely difficult to translate my colour palette into different materials and medias. This was particularly difficult when dying fabrics as it's difficult to tell the shade of the material until it's completely dried, obviously meaning that it's too late to change by this point. This resulted in some outcomes being completely irrelevant to my colour palette, therefore I had to be selective when deciding on which to include.
The tutorials were extremely beneficial in my personal development, and I feel without them, I would have found it hard to keep myself on topic. It was really rewarding to be able to share ideas and techniques with a group, and I found it refreshing to receive critical feedback in order to keep my development cohesive and relevant.
If I had adequately managed my time, I would have found it very beneficial to have been inducted in the Fashion department (overlocker and industrial machines) as this would have made it less complex to produce a garment. I have managed to organise an induction on the overlocker within the next week, therefore I can carry this forward to the next brief. I would have also like to have developed my screen prints into digital designs in order to refine them further and add a new dimension to my outcomes.
A key aspect I've learnt from this unit is to plan my garment or final outcome as early on as possible. By thinking of how it will be made, and how it will be printed/techniques I might use, I can plan my time out well in advance in order to avoid issues with not being able to use the facilities. This was a slight problem when printing my garment as staff sickness resulted in the dye lab being closed on a multitude of occasions. Another integral point I've learnt is to start my progression with a strong foundation of research as this effectively fuels development.
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