Collection: Part 1

Research

Doswald, C. (2006). Akris. Zurich: Textilmuseum St. Gallen.

I was really inspired by the fine-liner illustrations, when I first opened the book on Akris (2006). Such overlapping details in the illustrations remind me of architectures and public arts, this is may due to restrained and limited lines as well as its black-and-white tone.

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Doswald, C. (2006). Akris. Zurich: Textilmuseum St. Gallen.

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Kamistsis, L. (1996). Vionnet. Paris: Editions Assouline.

This is an architectural yet extremely feminine piece, as to the silky drapes emphasis the curves of a female body.

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Kamistsis, L. (1996). Vionnet. Paris: Editions Assouline.

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Dimant, E. (2010). Minimalism and Fashion. New York: Collins Design.

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Dimant, E. (2010). Minimalism and Fashion. New York: Collins Design. - Page 91

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Dimant, E. (2010). Minimalism and Fashion. New York: Collins Design. - Issey Miyake

The ‘Colombe’ dress by Issey Miyake shows the shift between a 2D and 3D piece, which reminds me of my research for paper-folding-and-cuts from my research for ‘Your Surroundings Project’.

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Dimant, E. (2010). Minimalism and Fashion. New York: Collins Design. - Issey Miyake

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19 Oct. 2017 -‘Fulcrum’ (1987), Richard Serra, Liverpool Street station (Primary Research)

Similar to the 'Single Form’ sculpture by Barbara Hepworth, this piece works well with the gloomy British weather, probably because of its material in COR-TEN steel sheets which have rusted due to the rain.

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19 Oct. 2017 -‘Fulcrum’ (1987), Richard Serra, Liverpool Street station (Primary Research)

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19 Oct. 2017 - Single Form (1961), Barbara Hepworth, Battersea Park (Primary Research)

I particularly like how this bronze sculpture appears in a doomy weather, because there is a rather extreme or distorted contrast between the background light and the sculpture itself. Such contrast allows the sculpture seem like an absence of natural landscape from far away.

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19 Oct. 2017 - Single Form (1961), Barbara Hepworth, Battersea Park (Primary Research)

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18 Oct. 2017 - Sheila Hicks: Stones of Peace, Alison Jaques Gallery (Primary Research)

This is my most favourite piece from Sheila Hicks' 'Stones of Peace' exhibition', as she creatively developed from South African plaiting technique and used traditional material-rayon in an unconventional way. She did not try to involve many direct contrasts, but conveys a strong visual impact to me , which the main reason why I like about this piece.

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18 Oct. 2017 - Sheila Hicks: Stones of Peace, Alison Jaques Gallery (Primary Research)

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18 Oct. 2017 - Sheila Hicks: Stones of Peace, Alison Jaques Gallery (Primary Research)

Sheila Hicks had combined vintage clothing (such as denim) with her own materials such rayon, wool, silk etc. As shown on the image, there are subtle texture and tone contrasts between the denim and the wool - one is rough in a greyish-blue tone, and one has a hallow-like surface in vivid pinky-orange tone. Hicks did not involve direct colour texture contrasts, which allows this piece to be pleasant to look at and highly decorative.

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18 Oct. 2017 - Sheila Hicks: Stones of Peace, Alison Jaques Gallery (Primary Research)

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18 Oct. 2017 - Sheila Hicks: Stones of Peace, Alison Jaques Gallery (Primary Research)

This piece remind me of weaving, so it then may have been Hicks' creative interpretation of weaving. It allows me to think that if I wish to further develop on my weaving samples, I don't need to repetitively produce actual weaving samples in order to elaborate. Whereas I could simply stand back and abstract the visual impressions of a weaving, so that I would develop more thoroughly. This way of progressing will also apply to my future projects.

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18 Oct. 2017 - Sheila Hicks: Stones of Peace, Alison Jaques Gallery (Primary Research)

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18 Oct. 2017 - Sheila Hicks: Stones of Peace, Alison Jaques Gallery (Primary Research)

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London Centre for Book Arts. (2017). Making Books. London: Pavilion, pp.104-105, p.116, pp.120-121, pp.124-125.

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Making Books, p.5

This book has minimised the classic binding techniques for hand-crafted books, so it will be really helpful for further sample development from my previous projects.
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London Centre for Book Arts. (2017). Making Books. London: Pavilion, p. 5.

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Text box

07 Oct. 2017 - Marchpane (Primary Research)

Welsh, C. (1881). Goody Two-Shoes. London Grith & Farran.

Marchpane is a bookshop which sells vintage and rare and illustrated books. The book - Goody Two-Shoes caught my attention immediately from other highly decorative and aesthetically pleasant covered books. The reason that I am particularly fond of this book is that I like the gold patterns over the worn matte colour blocks. Moreover, the acetate book cover unexpectedly creates a pleasant texture commination with the vintage book, as there are various interesting contrasts, such as between the  textures, the old and new, the cheap and sophistication etc. 

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07 Oct. 2017 - Marchpane (Primary Research)

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07 Oct. 2017 - Bryars & Bryars (Primary Research)

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07 Oct. 2017 - Bryars & Bryars (Primary Research)

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Book Composition

I am inspired by the composition of images, texts, the page gap and the choice of colours, in such images of books.

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[online] Available at: http://www.anothersomething.org/2015/03/06/colette-book/ [Accessed 07 Oct. 2017].

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Books

I like the colour combination here:

  • A sharp, pale, grey-toned blue with
  • Blurred, relatively dark, orange-tones
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[online] Available at: http://www.anothersomething.org/2011/06/17/books/ [Accessed 07 Oct. 2017].

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The Secret Garden by Illustrator Lauren Child

I love the way that this book has been placed into an acrylic box. As the delicate layered paper patterns work perfectly with the glossy finish of the acrylic. This material combination visually relates to my paper samples for the 'Practitioner Project', whereas I layered cartridge paper with acetate. This book design inspire me to take this subtle contrast between the glossy and matte further, for the 'What's The Point Project'.

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[online] Available at: https://irvingbaby.files.wordpress.com/2012/01/secretgarden_lauren-child-spread.jpg [Accessed 07 Oct. 2017].

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Dandad.org. D&AD Pencil Winning Examples of Novel Book Design. [online] Available at: https://www.dandad.org/en/d-ad-book-design-inspirations-award-winning-work/ [Accessed 07 Oct. 2017].

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'Jacket Project' Samples & Jim Lambie - Zip Codes

My involvement of zippers in samples from the 'Jacket Project' links directly to Jim Lambie's Zip Code (2011). We clearly both used zippers, and also a texture correlation between my use of calico and his use of gesso on canvas.

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'Jacket Project' Samples; Baumann, D. (2017). Jim Lambie. New York: Rizzoli International Publications.

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Jim Lambie - Metal Box (2010)

Jim Lambie's installation piece reminds me of paper layering, although the sheets were made out of aluminium and steel. The involvement of neon colours are also seen here, which further emphasis the versatility of such tones.

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Baumann, D. (2017). Jim Lambie. New York: Rizzoli International Publications, pp.104-105.

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Contemporaryartdaily.com, (2012). Günther Förg at Greene Naftali. [online] Available at: http://www.contemporaryartdaily.com/2012/02/guenther-foerg-at-greene-naftali/ [Accessed 06 Oct. 2017].

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4 Oct. 2017 - Frieze Art Fair (Primary Research)

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Petersham Nurseries, Covent Garden - Redecker Rice Straw Hand Brush (Primary Research)

I noticed that the curves of rice straws created by hand bounding, show a visual relation with the Kuba garments, especially the image - 'Ceremonial presentation of the muyum' from my earlier online research. As we can observe, the handle part of the hand brush has been gathered by the blue metallic string, which then automatically creates an expansion rice straws by the top end of the brush. Thus it conveys the impressions of restraint but also freeness (in terms of the silhouettes), just as how I interpret the Kuba garments. I will then combine this purely practical product with Kuba dresses for my next week's 'Practitioner Project'.

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Petersham Nurseries, Covent Garden - Redecker Rice Straw Hand Brush (Primary Research)

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Arket, Covent Gardent (Primary Research)

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Petersham Nurseries, Covent Garden - Oak Hand Brush (Primary Research)

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Petersham Nurseries, Covent Garden (Primary Research)

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Arket, Covent Gardent (Primary Research)

The homewares had been intentional presented and assembled by the Arket store, so they would create beautiful patterns. Even though such patterns were not unintentional, but still remind me of the creased fabrics and curvy silhouettes from Kuba traditional clothing.

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Arket, Covent Gardent (Primary Research)

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The Making of Kuba Fabric

The Kuba shoowa fabric 'was made from a very fine fibre found inside young palm trees leafs... dried in the sun, then torn into pieces approximately 2 mm wide which we call raffia. The fine leaf fibers were then woven on a loom... Value was determined by the complexity of the work undertaken.... take several months, or even a year to produce.' (Kwekudee-tripdownmemorylane.blogspot.co.uk). I personally think the use of palm tree leafs for making Kuba fabric, share a correlation with the rice straw hand brush that I bought. However, they both show major contrast in terms of their production process, as the Kuba fabric requires much more effort in its construction, even though it looks rather simple from far away.
 
'The levels of detail and the pattern that I determine the status of the person within society. Fabric is created from the inner bark of local trees that is beaten after being removed. Barkcloth is made by sewing small pieces together and only the more prestigious people wear clothes made of this fabric type.' The idea of the status of a fabric directly corresponds with how privileged one is, can be observed in the photos I researched, particularly the ones with the Kuba Nyim (ruler) in, such as the one of him surrounded by his wives. The reason that I researched into this Kuba garments, was initially because I was interested with the less privileged's clothes. 
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Kuba Ngady Amwaash Masked Dancer

I like how the fabrics compliment the natural body curves, rather than distort them. As the thick gathered fabrics (as the top layer) expand by following the curves from the waist to the bottom, and inner layer just naturally fall down along the legs toward the feet.

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Kwekudee-tripdownmemorylane.blogspot.co.uk

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Kwekudee-tripdownmemorylane.blogspot.co.uk,. Kuba People. [online] Available at: https://kwekudee-tripdownmemorylane.blogspot.co.uk/2014/02/kuba-people-most-artistic-and-highly.html [Accessed 29 Sep. 2017].

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Metmuseum.org. Coat. [online] Available at: http://www.metmuseum.org/art/collection/search/94441?sortBy=Relevance&deptids=62%7c8&ft=*&offset=2540&rpp=20&pos=2547 [Accessed 29 Sep. 2017].

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Metmuseum.org. Ensemble. [online] Available at: http://www.metmuseum.org/art/collection/search/85276 [Accessed 19 Sep. 2017].

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@mansurgavriel - Instagram

I had screen shotted pictures of flowers from Instagram posts by Mansur Gavriel. The plumbed petals and orange-hued combination of pink, yellow and green really do inspire me to reconstruct the Reiss trench coat into petal shapes - as a ballet skirt or puff sleeves. 

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@mansurgavriel - Instagram

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23 Sep. 2017 - Bloch, Covent Garden (primary Research)

I am planning to deconstruct the Reiss Jacket into a more theatrical and feminine garment, so I have also bought a ballet body suit from Bloch which I wish to involve with my reconstructed jacket piece. 

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Vintage Reiss Trench Coat and Ballet Body Suit from Bloch

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23 Sep. 2017 - Bloch, Covent Garden (primary Research)

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Undercover - Anatomicouture

I could immediately recognise the collars and cuffs on the mini dresses. They seem simple sophisticated with many contrasts in details,  but also minimalistic and restraint at the same time. This is of my most favourite pieces from Undercover.

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Takahashi, J. (2016). Undercover. New York: Rizzoli International Publications, Inc, Page 148-9.

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Takahashi, J. (2016). Undercover. New York: Rizzoli International Publications, Inc, Page 027.

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Takahashi, J. (2016). Undercover. New York: Rizzoli International Publications, Inc, Page 142-3.

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Takahashi, J. (2016). Undercover. New York: Rizzoli International Publications, Inc, Page 084.

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Undercover - Drape

In this Undercover 'Drape' collection (1998 S/S), threre is a contrast between 2-D printed drape and 3-D fabric drapes. Although this is not a rather inventional way of contrasting, but this idea of printing drapes on fabrics that look like actual drapes inspire me. I also like the colours of the dress on page 053, as Jun Takahashi seems did not intentionally want to create theatrical colour-contrats, but I think these two beige-toned colours create as much impacts as vivid colours.

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Takahashi, J. (2016). Undercover. New York: Rizzoli International Publications, Inc, Page 052-3.

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Victor & Rolf

I have noticed through researching V&R's previous collections, that no matter how busy or complicated a garment is, this is alway a focal point and central concept in each design. Just as Caroline Evans had described - ''Restrained and surreal'. I personally think that focal points are essential for each fashion design (which also apply to the 'Jacket Project'), even if a garment with simple silhouettes and a monochrome colour has got the focal point of being minimalist.

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Evans. C. (2008). The House of Victor & Rolf. London: Barbican Art Gallery, Page 182.

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Evans. C. (2008). The House of Victor & Rolf. London: Barbican Art Gallery, Page 160.

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Cut and Fold Techniques - Asymmetrical Generations

This book has been written by Paul Jackson, who also wrote the 'Folding Techniques for Designers - From Sheet to Form' (which I researched for my first one-day project). I noticed that the 'asymmetrical generations' can help me to construct three types of mark-makings together (from the three-day project). I then scanned the page and practiced this technique before involving the actual mark-makings. 

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Jackson, p. (2014). Cut And Fold Techniques For Pop-Up Designers. London: Laurence King Publishing Ltd, 0116.

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Mats Gustafson

Mats Gustafson's illustrations inspire me the most, especially his portraying of the silhouettes using charcoals.

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Fashionillustrationgallery.com. Mats Gustafson. [online] Available at: http://www.fashionillustrationgallery.com/artwork/italian-vogue-july-1998-mats-gustafson/ [Accessed 21 Sep. 2017].

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Fashionillustrationgallery.com. Mats Gustafson. [online] Available at: http://www.fashionillustrationgallery.com/artwork/mats-gustafson-comme-des-garcons/ [Accessed 21 Sep. 2017].

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Fashionillustrationgallery.com. Zoë Taylor. [online] Available at: http://www.fashionillustrationgallery.com/artwork/zoe-taylor-the-aviator-burberry-prosum-aw-2010/ [Accessed 21 Sep. 2017].

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Fashionillustrationgallery.com. René Gruau. [online] Available at: http://www.fashionillustrationgallery.com/artwork/rene-gruau-cover-for-international-textiles-no-436-1968-vii/ [Accessed 21 Sep. 2017].

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The Fine Art of Fashion Illustration - Charles Martin

I like how the palm leaves (the background) and the sand interact with the silhouette of the garment itself. The background or rather the 'lifestyle' of the model takes an more important part in this piece, than the clothing. The 'imperfect' outlines differ from earlier illustration styles. 

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Robinson, J. (2015). The Fine Art of Fashion Illustration. London: Frances Lincoln Limited, Page 238.

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Lima, Manuel. (2011). Visual Complexity - Mapping Patterns of Information. New York: Princeton Architectural Press, Page 37.

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19 Sep. 2017 - Print Development From Observational Drawings

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Lima, Manuel. (2011). Visual Complexity - Mapping Patterns of Information. New York: Princeton Architectural Press, Page 228.

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Mapping Patterns of Information - Network Depictions (Last 15 Years)

This page visually remind me of mark making for observational drawings, it would have been helpful for constructing our installations, and also print development in today's lesson. 

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Lima, Manuel. (2011). Visual Complexity - Mapping Patterns of Information. New York: Princeton Architectural Press, Page 158.

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Lima, Manuel. (2011). Visual Complexity - Mapping Patterns of Information. New York: Princeton Architectural Press, Page 40.

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Amell, C. (2015). Collage Makers. Barcelona: Instituto Monsa de Ediciones, Page 168, 169.

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Collage Makers - Max Shutter and Scott Walters

Both Was Shutter and Scott Waters have involved constants in their collages. I am notably inspired by Waters's wall paper works. There is a sense of contrast violence and romance in his visual pieces, but softened by the rather warm-hued wall paper style. The war related subjects such as bomber and demolition bomb work exceptionally well together with flowery patterns, Waters' collaging technique has transformed my impression on collages. 

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Amell, C. (2015). Collage Makers. Barcelona: Instituto Monsa de Ediciones, Page 170, 171.

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Amell, C. (2015). Collage Makers. Barcelona: Instituto Monsa de Ediciones, Page 162, 163.

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Collage Makers - Eli Craven

Craven's 'Screen Lovers' project allows me to consider paper folding is also a way to create collages, it seems simple and versatile to create impactful outcomes.

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Amell, C. (2015). Collage Makers. Barcelona: Instituto Monsa de Ediciones, Page 30.

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Japan Package Design Association. (2010). Package Design in Japan Biennial Vol. 13. Tokyo: Rikuyosha Co., Ltd, Page 161, 375.

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Japan Package Design Association. (2010). Package Design in Japan Biennial Vol. 13. Tokyo: Rikuyosha Co., Ltd, Page 354-5.

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Japan Package Design Association. (2010). Package Design in Japan Biennial Vol. 13. Tokyo: Rikuyosha Co., Ltd, Page 137.

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Japan Package Design Association. (2010). Package Design in Japan Biennial Vol. 13. Tokyo: Rikuyosha Co., Ltd, Page 266-7.

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Folding Techniques For Designers - One Crease

This 'No Crease, One Crease' technique has transformed by view towards folding techniques - 'the extreme simplicity and directness of this technique... sets against the examples in other chapters which require potentially dozens or hundreds of folds... less can be more.' This approach will work relatively well with rigid materials, such as leather or canvas.

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Jackson, P. (2011). Folding Techniques For Designers From Sheet To Form. London: Laurence King Publishing Ltd, Page 0176, 0192.

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Folding Techniques For Designers - Linear Crumbling

Page 0213 shows a combination of ribs and valley ribs, in opposite directions. This is a playful and yet a relatively simple technique to apply to textiles, such as to knits and denim. I will definitely try this technique for my workshop on Monday. 

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Jackson, P. (2011). Folding Techniques For Designers From Sheet To Form. London: Laurence King Publishing Ltd, Page 0205, 0213.

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Jackson, P. (2011). Folding Techniques For Designers From Sheet To Form. London: Laurence King Publishing Ltd, Page 020, 055.

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Pattern Magic 2

The book - Pattern Magic shows the similarity between paper and calico, and that both are versatile materials to form strctures. Although the visual outcomes of paper folding and pattern making (of calico) are compatible, but I have noticed the process of transforming a 2-D fabric into minimalist structure is rather complicated, and needs ore precision.

Page 45 demonstrates that I could experiment with paper first, and then transform the paper structure to a flat pattern for cutting calico.

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Nakamichi, T. (2011). Pattern Magic 2. London: Laurence King, Page 42, 45.

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Nakamichi, T. (2011). Pattern Magic 2. London: Laurence King, Page 34, 36.

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Delpozo - Josep Font

Josep Font is the creative director of Delpozo, and a former architecture student. An architectural aesthetic runs through all his collections.

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Delpozo.com. Bridal. [online] Available at: https://www.delpozo.com/en/pret-a-couture/bridal/ [Accessed 15 Sep. 2017].

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Delpozo.com. Fall / Winter 2014. [online] Available at: https://www.delpozo.com/en/pret-a-couture/fall-winter-2014-retrofuturism/ [Accessed 15 Sep. 2017].

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Tokyo Skytree (Primary Research)

Before starting my Day 1 Project - Your Surroundings, I started to pay more attention on daily shapes and structures. These photos that I took, last year, on the Tokyo Skytree, show an unusual perspective of ordinary structures, such as high schools, car parks or greeneries. The swimmings pools and racetracks comparatively stand out from the grey-toned buildings. By observing a cityscape from the top, for a structure to stand out is determined by the size and tone of its top surface, rather than hight.

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3 Aug. 2016 - Tokyo Skytree (Primary Research)

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Hedonism - Theme

Our theme - hedonism, is based on the idea of pleasure is the overriding and fundamental goal. The book: 'Pleasure With Products: Beyond Usability' has given me a contemporary understanding of pleasure (the pleasure and utility in products), differ from Aristotle and Bentham.

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Green, W. and Jordan, P. (2002). Pleasure With Products: Beyond Usability. London: Taylor & Francis.

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Broll. B. (2007). Microcosmos: Discovering The World Through Microscopic. New York: Firefly Books (U.S.) Inc.

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Broll. B. (2007). Microcosmos: Discovering The World Through Microscopic. New York: Firefly Books (U.S.) Inc.

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Georg, K. (2005). Stone Colours and Forms of A Hidden World. London: New Holland Publishers (UK) Ltd.

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Georg, K. (2005). Stone Colours and Forms of A Hidden World. London: New Holland Publishers (UK) Ltd.

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Georg, K. (2005). Stone Colours and Forms of A Hidden World. London: New Holland Publishers (UK) Ltd.

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Stone Colours and Forms of A Hidden World - 'Macrocosm and Microcosm'

This page inspire me to develop and create a puzzle inspired by the microscopic patterns.

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Georg, K. (2005). Stone Colours and Forms of A Hidden World. London: New Holland Publishers (UK) Ltd.

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Georg, K. (2005). Stone Colours and Forms of A Hidden World. London: New Holland Publishers (UK) Ltd.

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12 Sep. 2017 - Science Museum, 'Challenge of Material' (Primary Research)

Crick and Watson's DNA Model, 1953 (Primary Research)

'Crick and Watson conceived a double-helix structure, like a twisted ladder.'

This DNA model relates back to the structure formula of polythene (material) that found at the very start of my research, and also the microscopic photos of human muscle cells.

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12 Sep. 2017 - Science Museum, 'Crick and Watson's DNA Model, 1953' (Primary Research)

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12 Sep. 2017 - Science Museum, 'Crick and Watson's DNA Model, 1953' (Primary Research)

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12 Sep. 2017 - London Tube Sep. 2017 - London Tube (Primary Research)

Although the photos of escalator are literal understanding of the process - 'lift', but I realised the various repetitive patterns visually relate to the material - 'polythene'. 

The tube map involve patterns of lines and dots, which further relate to the microscopic photos (inspired by polythene).

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12 Sep. 2017 - London Tube (Primary Research)

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Vanessa Seward - Day Bandana

This 'marine-print' silk scarf remind me of the microscopic photos of skin cells, although the colours are all comparably vibrant, but they seem go harmoniously along side one another, this is may due to the small, irregular and repetitive patterns.

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Vanessaseward.com, (2017). Day bandana. Available at: https://www.vanessaseward.com/euuk/accessories/day-bandana-seahh-v15086#Dark%20blue&227 [Accessed 11 Sep. 2017].

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Featherofme.com, (2015). Fernan Federici – Microscopic Photographs of Plants. [online] Available at: http://www.featherofme.com/fernan-federici-microscopic-photographs-of-plants/[Accessed 11 Sep. 2017].

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Kamistsis, L. (1996). Vionnet. Paris: Editions Assouline. - Obi Knot

The tunic dress on the left is simple at the front, but with a sophisticated obi knot (traditional Japanese kimono belt) design at the back. Such playful contrast seems relate to a building with minimal appearance but complex interior.

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Kamistsis, L. (1996). Vionnet. Paris: Editions Assouline. - Obi Knot

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Dimant, E. (2010). Minimalism and Fashion. New York: Collins Design.

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Dimant, E. (2010). Minimalism and Fashion. New York: Collins Design. - Page Composition

This black-and-white page layout inspires me to adopt it for my observational drawings in my sketchbook, as rather than making busy-looking sketchbook pages, I personally think leaving whites and off-centres compositions are more impactful for further developments. 

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Dimant, E. (2010). Minimalism and Fashion. New York: Collins Design. - Page Composition

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Dimant, E. (2010). Minimalism and Fashion. New York: Collins Design. - Fashion Photography

I like the how the models have been placed with the  modernist sculptures, such compositions immediately add context to the minimal garments.

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Dimant, E. (2010). Minimalism and Fashion. New York: Collins Design. - Fashion Photography

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19 Oct. 2017 - Wind Sculpture (2014), Yinka Shonibare, Westminster (Primary Research)

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19 Oct. 2017 - St-Martin-in-the-Fields East window (2008), Shirazeh Houshiary, Trafalgar Square (Primary Research)

This is a rather brave public art piece, as to its contemporary style infused to a classical church. However, I feel a sense of subtlety and delicacy from this fusion of contemporary and traditional arts. This is may due to its traditional materials and scale that balance out the unconventional interpretation of the Christian symbol of light.

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19 Oct. 2017 - St-Martin-in-the-Fields East window (2008), Shirazeh Houshiary, Trafalgar Square (Primary Research)

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19 Oct. 2017 - Three Standing Figures (1947), Henry Moore, Battersea Park (Primary Research)

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18 Oct. 2017 - Sheila Hicks: Stones of Peace, Alison Jaques Gallery (Primary Research)

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18 Oct. 2017 - Sheila Hicks: Stones of Peace, Alison Jaques Gallery (Primary Research)

I noticed that Hicks had enlarged the South African plaids from her research (as shown on the sketchbook print), and reinterpreted into a more fine art and sculptural piece. I like how she did not add lots of different contrasting elements to this piece, but rather focused on the theme of South African plaids.

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18 Oct. 2017 - Sheila Hicks: Stones of Peace, Alison Jaques Gallery (Primary Research)

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18 Oct. 2017 - Sheila Hicks: Stones of Peace, Alison Jaques Gallery (Primary Research)

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18 Oct. 2017 - Sheila Hicks: Stones of Peace, Alison Jaques Gallery (Primary Research)

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18 Oct. 2017 - Sheila Hicks: Stones of Peace, Alison Jaques Gallery (Primary Research)

Although I visited this exhibition after I had already concluded my development from 'What's The Point ? Project', but I realised Sheila Hicks' weaving and plaid pieces strongly remind me of my previous tactile samples, and her works have also expanded my mind on material manipulations.

I am particularly fond of Hicks' use of colours. She has not rather used direct colour contrasts, but there is a 'spark' in each colour combination, that would catch my attention. Thus subtlety can also effectively create strong visual impacts. 

 

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Yotsume Toji

Yotsume Toji is Japanese four-hole binding. I was first attracted by the visual balance between the linen thread and backcloth for this Japanese binding, as it conveys a sense of harmony and pleasantness to me. This impression of Yotsume Toji can be developed a visual piece in itself.

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London Centre for Book Arts. (2017). Making Books. London: Pavilion, pp.104-105, pp.112-113, pp.110-111

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London Centre for Book Arts. (2017). Making Books. London: Pavilion, pp.112-113.

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London Centre for Book Arts. (2017). Making Books. London: Pavilion, pp.34-35.

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07 Oct. 2017 - Bryars & Bryars (Primary Research)

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07 Oct. 2017 - Marchpane (Primary Research)

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Unintentional Damage or Mistake - Stained Tissue Paper Sample, 'Practitioner Project'

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07 Oct. 2017 - Bryars & Bryars (Primary Research)

Pope, A. (1801). The Rape of The lock. London: W. Bulmer And Co.

I carried on researching on books by visiting the vintage book shop - Bryars & Bryars, Covent Garden. This book that I purchased was published and printed in 1801, and in a fairly damaged condition. The simplicity of this book cover emphasis the teared and stained pages, which I personally think is beautiful. This idea of unintentional damage or mistake relates back to my stained tissue paper samples, from the 'Practitioner project'. 

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07 Oct. 2017 - Marchpane (Primary Research)

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[online] Available at: http://www.anothersomething.org/2015/05/05/rua-stan-getz/ [Accessed 07 Oct. 2017].

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[online] Available at: http://www.anothersomething.org/2015/02/27/strange-plants-ii/ [Accessed 07 Oct. 2017].

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[online] Available at: http://www.anothersomething.org/2012/04/19/tauba-auerbachs-books/ [Accessed 07 Oct. 2017].

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Artsy.net. David Hirschi. [online] Available at: https://www.artsy.net/artist/david-hirschi [Accessed 06 Oct. 2017].

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Günther Förg 2006

I like how Förg's paintings had been presented in this London exhibition - we can see the different impacts between two visual pieces with the same topic but in varied scales.

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Helen Irany (2015)

Helen Irany's acrylic pieces remind me of teared tissue papers, which I had used for my various samples from the 'Practitioner Project'.

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Artsy.net. Helen Iranyi. [online] Available at: https://www.artsy.net/artist/helen-iranyi [Accessed 06 Oct. 2017].

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Rech, A. (2015). Günther Förg ' To London! A selection of paintings'. [online] Artsey.net. Available at: https://www.artsy.net/show/almine-rech-gunther-forg-to-london-a-selection-of-paintings [Accessed 06 Oct. 2017].

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4 Oct. 2017 Frieze Art Fair (Primary Research)

Günther Förg (2003)

This acrylic painting by Gunther Forg shows a similarity in tones to my my samples from the 'Practitioner Project' - as the bright pinkish-red marks stand out from other relatively paler tones. However, the rather traditional combination of canvas and acrylic show a different texture impact, compare to my use of oil pastels, acetates and Washi tapes, for my samples. I may continue bringing in the idea of 'focal point' and subtle but unconventional tone and texture contrasts for the next project - 'What's The Point?'

Additionally, I liked the composition of Förg's initials with the actual painting, as it bring a sense of quickness to my visual impression. 

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4 Oct. 2017 - Frieze Art Fair (Primary Research)

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4 Oct. 2017 - Layered Compositions From Varied Collection

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Petershamnurseries.com, (2017). Redecker Rice Straw Hand Brush. Online Available at: https://petershamnurseries.com/redecker-rice-straw-hand-brush.html [Accessed 30 Sep. 2017]

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Petersham Nurseries, Covent Garden - Redecker Rice Straw Hand Brush (Primary Research)

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Kwekudee-tripdownmemorylane.blogspot.co.uk

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Kwekudee-tripdownmemorylane.blogspot.co.uk

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Kwekudee-tripdownmemorylane.blogspot.co.uk

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Ceremonial presentation of the muyum (title holder) to the council

The folds and creases of the thick fabrics, work really well with the patterns. Especially the garment on the far left (in the image below) - the patterns differ between horizontal and vertical gatherings, and particularly the repetitive squares 'crushes' with creases and flatten where there less creases. There is a sense of freeness but also tension a fell towards the Kuba garments

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Kwekudee-tripdownmemorylane.blogspot.co.uk

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Kwekudee-tripdownmemorylane.blogspot.co.uk

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Kwekudee-tripdownmemorylane.blogspot.co.uk

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Wives of Kuba Nyim (ruler)

In this photograph, it was not the clothe worn by Kuba nyim that interested, but the identical garments (rather wraps) of his wives that intrigued me. I like how the matte orang-tone and rigid fabrics, that compliment their relatively shiny and brown-shade skin. The way they kneeled create creases on the fabrics, which seem like part of the 'design' of the garments.

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Kwekudee-tripdownmemorylane.blogspot.co.uk. Kuba People. [online] Available at: https://kwekudee-tripdownmemorylane.blogspot.co.uk/2014/02/kuba-people-most-artistic-and-highly.html [Accessed 29 Sep. 2017].

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Kwekudee-tripdownmemorylane.blogspot.co.uk

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Kuba (Congo)

Through my research on the Met Museum Online Archive, I came across a traditional garment originated from Kuba, and as I further researched its traditional dresses, there were several images partocularly intrigued me.

 
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Metmuseum.org. Ensemble. [online] Available at: http://www.metmuseum.org/art/collection/search/80406 [Accessed 19 Sep. 2017].

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Chinese minority (Miao) - 20th Century

Although such garments were produced during the Qing Dynasty, but they were part of the Miao nationality, which is a Chinese minority. Their materials in cotton and linen create a matte impression, so not seem as glamorous as the imperial clothing. 

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Metmuseum.org. Ensemble. [online] Available at: http://www.metmuseum.org/art/collection/search/85275 & 85273 [Accessed 19 Sep. 2017].

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Initial Research for The Practitioner Project - Chopova Lowena

I began my research for the ' Practitioner Project' by first browsing over Met Museum Online Archive. I tried to avoid researching into the imperial Chinese garments during the Ming and Qing Dynasties, as I have already have a fixed impression and knowledge on them, and I wish to follow my visual instincts more for the initial development of this project. There has been several traditional dresses have caught my eyes, and I realised that they relatively all involve the elements of gatherings, busy patterns, and in rather duller shades.  

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Takahashi, J. (2016). Undercover. New York: Rizzoli International Publications, Inc, Page 089.

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Undercover - But Beautiful

There are many small details involved in this jacket - cotton-made military badges, the buttons with varies sizes and colours, and the collars with different patterns. Yet they all add up to the overall impact impact of the jacket, but not random, this is because of the same textured fabric is used through out the construction of this jacket. 

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Takahashi, J. (2016). Undercover. New York: Rizzoli International Publications, Inc, Page 054-5.

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The House of V&R - Upside Down

Through V&R's design illustrations for the 'Upside Down' (S/S 2006) show, I notice that each design is a manipulate or variation of a traditional garment, such as gowns have been tailored to create an off-shoulder look. Such seemingly simple manipulations do create playful and powerful impressions, and I will consider this idea for my 'Jacket Project'.

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Evans. C. (2008). The House of Victor & Rolf. London: Barbican Art Gallery, Page 174-5.

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The House of V&R - One Woman Show

In V&R's 'One Woman Show' (A/W 2003-04), the shirts are formed as structural as the blazers.

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Evans. C. (2008). The House of Victor & Rolf. London: Barbican Art Gallery, Page 144-7.

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Evans. C. (2008). The House of Victor & Rolf. London: Barbican Art Gallery, Page 132-3.

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The House of V&R - S/S 1998

Although this garment is not directly linked to the 'Jacket Project', but I have been really inspired by this 'unfinished' embroidered dress. The irregularly gathered collar works great with the embroidery circle, and the purple satin-finished fabric also subtlety contrasts with the gold-tone embroideries. It is a creative interpretation on couture, both conceptually and visually.

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Evans. C. (2008). The House of Victor & Rolf. London: Barbican Art Gallery, Page 56, 57.

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The House of Victor & Rolf - The 'Upside Down' Collection

In V&R's 'Upside Down' collection (Spring/Summer 2006) - 'a collection of upside-down clothes featuring sleeves as trousers, buster bodies as skirts.' V&R did not create such garments for the sake of avant-garde fashion, but rather based on the whole concept of 'upside down'. I personally think it is more important to design garments oriented on an idea or inspiration, rather than creating them only based on their visual outcomes. This idea will apply to my 'Jacket Project' next week. 

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Evans. C. (2008). The House of Victor & Rolf. London: Barbican Art Gallery, Page 15.

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Evans. C. (2008). The House of Victor & Rolf. London: Barbican Art Gallery, Page 83.

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Evans. C. (2008). The House of Victor & Rolf. London: Barbican Art Gallery, Page 137, 139.

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The House of V&R - L'Hiver de I'Amour

'Restrained and surreal'.

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Evans. C. (2008). The House of Victor & Rolf. London: Barbican Art Gallery, Page 44-5.

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Amelie Hegardt Sonia Rykiel/AW16 Stripe 2016

This seems like a quick illustration, but has clearly conveyed the material and silhouette of the garment.

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Fashionillustrationgallery.com. Amelie Hegardt. [online] Available at: http://www.fashionillustrationgallery.com/artwork/amelie-hegardt-sonia-rykielaw16-stripe/ [Accessed 21 Sep. 2017].

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David Downton - Lacroix for Vogue, Red Lips Blue Eyes

I like the subtle colour contrasts in David Downton's illustrations, as although colours contrast in their tone-temepertures, but not in direct opposite of one another.

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Fashionillustrationgallery.com. David Downton. [online] Available at: http://www.fashionillustrationgallery.com/artwork/david-downton-red-lips-blue-eyes/ and lacroix-schiaparelli-for-vogue-com/ [Accessed 21 . 2017].

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Robinson, J. (2015). The Fine Art of Fashion Illustration. London: Frances Lincoln Limited, Page 246-7.

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The Fine Art of Fashion Illustration - Anni Offterdinger and Marthe Romme

The backgrounds from both illustrations have certainly enhanced the overall visual impacts of the actual fashion designs, such as the repetitive patterns of potted plant in Marthe Romme's La Guirlande (1919), and the autumn leaves in Anni Offterdinger's Style (1922). Romme's illustration of the model's hands have also caught my attention, they work well with the curved shoulders and the draping of the garment. I have noticed that the curves and colour contrasts are well-balanced in earlier fashion illustrations (during the 1910s), they convey a restraint impression.

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Robinson, J. (2015). The Fine Art of Fashion Illustration. London: Frances Lincoln Limited, Page 225, 236.

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The Fine Art of Fashion Illustration - Pierre-Thomas Leclerc

I particularly like the colour contrasts in this illustration - La Galerie des Mondes. Although the colour tones are rather vivd here, but the comparatively smaller proportions of red and green soften the contrast.

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Robinson, J. (2015). The Fine Art of Fashion Illustration. London: Frances Lincoln Limited, Page 79.

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Robinson, J. (2015). The Fine Art of Fashion Illustration. London: Frances Lincoln Limited, Page 215.

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Further Print Development

I rather like the prints being projected on the corner of the walls, as the outlines of the walls would layer with the prints themselves.

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19 Sep. 2017 - Further Print Development

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Maurizio Anzeri

This is a student work inspired by artist Maurizio Anzeri, I particularly like the continuous stitching of the knuckles. 

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Shannonsphotographydiaries.wordpress.com. (2014). Artist Study 9: Maurizio Anzeri. [online] Available at:https://shannonsphotographydiaries.wordpress.com/2014/05/08/artist-study-9/ [Accessed 19 Sep. 2017].

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Showcasegallery.jp. (2008). Noda Suzumi. [online] Available at: http://www.showcasegallery.jp/artist/051_060/056/056_archive_set.htm. [Accessed 19 Sep. 2017].

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Visual Complexity - Mapping Patterns of Information

The book Visual Complexity, has given me lots of inspirations on the topic of mapping. It explains data mapping as defined by the disciplines of science design, or art, and can be a form of contemporary art. There are several types of maps have particularly caught my eyes - the 'Tree of Life', 'Circled Globe' and the 'Complex Networks.' I have also noticed that words (or letters) take an important part on the visual impacts of data mapping, they seem bring 'lives' to such maps.

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Lima, Manuel. (2011). Visual Complexity - Mapping Patterns of Information. New York: Princeton Architectural Press, Page 176.

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Amell, C. (2015). Collage Makers. Barcelona: Instituto Monsa de Ediciones, Page 41.

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Japan Package Design Association. (2010). Package Design in Japan Biennial Vol. 13. Tokyo: Rikuyosha Co., Ltd, Page 351.

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Package Design in Japan

This Japanese package design biennial has really stimulated my inspiration on conducting paper with other materials, for textiles design. Materials such as coloured acrylic, foil, plastic or even hechima tawashi (luffa sponge) can be a part of garment design. 

I have noticed there is subtle texture contrast involved in every Japanese package design. As the matte texture of vegetables contrast with glossy plastic bags, the textured tawashi or jelly sweats contrast with smooth paper packaging, the rigid molded pulp contrast with share paper rap and so on. The soft tone and shade contrasts also have helped to enhance the actual products themselves, rather than hiding or distorting them. Such as the vivid rainbow coloured jellies would stand out automatically from the white paper card, and the colour signs of oil paints would also playfully contrasts with metallic tubes. Such subtle contrasts allow a piece to be highly decorative, aesthetically appealing, desirable and unique. These are the impressions I wish to convey through my fashion designs in the future.

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Japan Package Design Association. (2010). Package Design in Japan Biennial Vol. 13. Tokyo: Rikuyosha Co., Ltd, Page 023, 283.

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Takeaway Food Packaging Now - Secret Location

I have noticed that the by placing paper and plastic alongside one another, can create a harmonious and satisfying impression. PVC fabric also integrates well with heavy weight paper.

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Gomez, Y. (2016). Takeaway Food Packaging Now. Victoria: The images Publishing Group Pty Ltd, Page 26, 67.

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Japan Package Design Association. (2010). Package Design in Japan Biennial Vol. 13. Tokyo: Rikuyosha Co., Ltd, Page 086-7.

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Jackson, P. (2011). Folding Techniques For Designers From Sheet To Form. London: Laurence King Publishing Ltd.

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Folding Techniques For Designers - Linear Divisions

The 'linear divisions' technique has taught me a new way to divide a piece of paper, with more accuracy and also achieving more folds. As I used to divide a paper only by folding it in half several times, but this technique has shown me draw the folds first, and then fold the edge of paper towards such lines.

The repetitive patterns of shades can be further developed into prints.

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Jackson, P. (2011). Folding Techniques For Designers From Sheet To Form. London: Laurence King Publishing Ltd, Page 016, 014.

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Apple Peel - Daniel Sean Murphy

This paper piece illustrates an apple peel, which is a small and ordinary object, but conveys an architectural and relatively large impression to me. It has been created by rather simple materials - paper and acrylic, yet a playful and quirky. The combination of paper and acrylic paint is a versatile tool to create a textile piece in the future. 

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McHugh, G. (2013). 500 Paper Objects. Toronto: Lark Books, Page 19.

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Frezie Art Fair, London (Primary Research)

Ettore Spalletti

Colore che accoglie, 2013

Colour impasto on panel gold leaf 

 

I personally think this is a highly decorative piece, because of the harmonious colours and with rather minimal structure and content. It conveys a sense of humour and quickness to me.

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Schmidt, P. and Stattmann, N. (2010). Unfolded. 3r ed. Basel: Birkhauser Verlag GmbH.

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8 Oct. 2016 - Frezie Art Fair, London (Primary Research)

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8 Oct. 2016 - Frezie Art Fair, London (Primary Research)

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Visit to Tate Modern (Primary Research)

Victor Pasmore 1908-1998

Abstract in White, Green, Black, Blue, Red, Grey, and Pink c.1963

Perspex and painted wood

 

This abstract piece by Pasmore portrays my point of view of the Tokyo city scape observations - 'by observing a cityscape from the top, for a structure to stand out is determined by the size and tone of its top surface, rather than hight'.

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26 Oct. 2016 - Visit to Tate Modern (Primary Research)

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11 Jul. 2017 - Visit to Lee Ufan Museum, Benesse Art Site Naoshima (Primary Research)

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Delpozo.com. Pre Fall 2016. [online] Available at: https://www.delpozo.com/en/pret-a-couture/pre-fall-2016-floral-abstraction/ [Accessed 15 Sep. 2017].

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3 Aug. 2016 - Tokyo Skytree (Primary Research)

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Broll. B. (2007). Microcosmos: Discovering The World Through Microscopic. New York: Firefly Books (U.S.) Inc.

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Pepin. (2006) Bacteria: And Other Micro Organisms. Amsterdam: Pepin Press.

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Stone Colours and Forms of A Hidden World - 'Macrocosm and Microcosm'

The 'Varisite' image remind me of the bird's-eye-view of an island and coral reef.

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Georg, K. (2005). Stone Colours and Forms of A Hidden World. London: New Holland Publishers (UK) Ltd.

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Stone Colours and Forms of A Hidden World - 'Macrocosm and Microcosm'

This paragraph implies the correspondence between macrocosmic and microcosmic: '...the world seen from satellites shows striking parallels with the images of cut and polished stones.'

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Georg, K. (2005). Stone Colours and Forms of A Hidden World. London: New Holland Publishers (UK) Ltd.

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Ternaux, E. (2011). Material World 3. 3rd ed. Amsterdam: Frame Publishers.

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Plastics: Acrylic

This acrylic material can portray vibrant colours with smooth texture, which can be used to develop visual arts relating to the colourful microscopic photos I researched.

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12 Sep. 2017 - Central Saint Martins Library, Plastics: Acrylic

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Georg, K. (2005). Stone Colours and Forms of A Hidden World. London: New Holland Publishers (UK) Ltd.

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Ternaux, E. (2011). Material World 3. 3rd ed. Amsterdam: Frame Publishers.

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Down Feather (Primary Research)

Fine white lines with regular white dots, the pattern of lines-and-dots is observed again.

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Sep. 2017 - Natural History Museum, Down Feather (Primary Research)

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12 Sep. 2017 - Natural History Museum, 'Blue John' (Primary Research)

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12 Sep. 2017 - London Tube (Primary Research)

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12 Sep. 2017 - London Tube (Primary Research)

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Msjylm.com, (2016). 吴冠中画作精选. [online] Available at: http://www.msjylm.com/i/Art/wap.asp?id=509 [Accessed 11 Sep. 2017]

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Guanzhong Wu

The repetitive patterns of the microscopic photos of plants create strong visual connection with the Chinese painter, Guanzhong Wu. I have noticed there is a sense of movement in both the Wu's (ink-and-wash) painting and the microscopic photographs, I think this is due to the vibrant stream lines and neon-coloured dots that convey this sense of movement. Thus, draw a correlation with our topic 'lift' - process.

I have noticed that Wu is particularly fond of using bright-toned dots, this technique seems to be versatile in adding playfulness to a visual piece.

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Liveauctioneers.com, (2010). Massive Painting Attributed to Wu Guanzhong. [online] Available at: https://www.liveauctioneers.com/item/49463446_massive-painting-attributed-to-wu-guanzhong [Accessed 11 Sep. 2017].

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Material - Polystyrene

Polystyrene (material) is synthetic and inexpensive, which seems relate to 'Hedonism' (theme), as 'lower pleasures' (or physical pleasures) imply the pleasures gained from food, gambling or sexual behaviour etc.

It is a poor barrier to oxygen and water and low melting point, which can be shown by its structure formula. It may be interesting to research more on the ordinary objects in micro scale, such as skin cells or bacteria. The structure formula of polystyrene also remind me of honey comb, which then relate back to hedonism which is our theme, as the common use of polystyrene for food packaging.

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Dkfindout.com, (2017). Types of muscle cell. [online] Available at: https://www.dkfindout.com/uk/gallery/human-body/types-muscle-cell/[Accessed 11 Sep. 2017].

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Wikipedia.org, (2008). Repeating unit of PS polymer chain[online] Available at: https://en.wikipedia.org/wiki/Polystyrene#/media/File:Polystyrene.svg [Accessed 11 Sep. 2017].

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