Wallace and Sewell London Trip

Today we took a trip London to go to the Wallace and Sewell studio and shop. Our new brief ‘Locating’ is externally set by this particular company, so consequently found it fitting to take a visit. Wallace and Sewell (established by Harriet Wallace-Jones and Emma Sewell) are an individual weave establishment, whose work is ultimately all about colour and standard block weave techniques. Originally, the completed fabrics were only ever made into scarves, however the designs are now also being geared towards interiors including throws, cushion covers and upholstery. The studio works closely with Mitchell Interflex, a mill that we had the pleasure of visiting last week (organised through the Textiles Society). Here we saw some of Wallace and Sewell’s fabrics being woven, cut, hand labelled and packaged, so it was enjoyable to see the final products in the shop.

 

The trip to the London studio was fruitful in terms of being able to see the design processes, from initial inspiration, colour yarn wrappings and initial sampling on the floor loom that sits downstairs. This was important for us as students, in being able to understand and appreciate how a design company starts a new collection; very similar methods in the way that we’d start a new project. Whilst we were here, we were also able to ask about the brief that had been set for our next project. We were able to confirm the specifics of the amount of colours we can use- unlimited warp colours, and up to 8 weft colours. We have also been asked to specifically use the same yarn throughout all samples, and to take inspiration from their current collection shown on their website.

 

  

 

I feel that the trip was successful as I’m now much more excited to start the project after seeing their products in the flesh. I am fundamentally enthused and excited by the interiors collection, specifically the fabric for large throws and cushion covers. An aspect that motivates me more for this task is to finally pitch my ideas and samples, which makes it much more ‘real’ circumstances.

 

 

Evaluation

This brief was called ‘Urban Influences’. Overall I feel that this project has been a great success; I have learnt and developed new skills both technically and physically and believe that my work reflects the brief given perfectly. This project has enabled me to work on the floor looms for the first time, programming in my designs and ending up with a final sample that looks much more professional to last years. I have maintained structure in my working pattern, whilst also experimenting with new techniques and without deviating from my concept.

My original idea was to take inspiration from the urban environment, specifically looking at repeat patterns within architecture. My initial starting point stemmed from my summer work where I’d combined two abroad trips (Barcelona; Park Guell and Paris; The Louvre). I progressed by creating some simple collages to reflect the architecture in both of these places, which just so happened to be repeat and recurring shapes. Over my design development processes, I have experimented and stepped out of my comfort zone by using methods that I wouldn’t usually consider using (refer to design development blog posts). In reflection of my last tutorial, I feel I could have pushed my skills more to create a finer amount of initial drawings, instead of heading straight into collaging (which I took straight from my summer work).

My final samples demonstrate refinement and correction and prove that I can interpret my drawings and apply them specifically to Scotweave, ready for my loom. I am very happy with the aesthetics of my samples, and feel that my designs really reflect my style of working; which is extremely linear, structured, and controlled with the use of colour to make them ‘pop’! An example of this would be when I re-developed my plain weave striped sample, by addressing the fact that my brighter colour (sulphur yellow) was muted by my warp colour. I corrected this by changing my peg plan so that the positive colour would be in a sateen.

 

 

In terms of context, I see my work in modern interiors, specifically soft furnishings and upholstery, much like the work of Eleanor Pritchard (refer to contextual blog post). I can see myself designing, making and upholstering retro pieces of furniture, which will support and reflect my designs. Here I have utilised my Photoshop skills (taught in creative suite sessions), to visualise where I see my work.

 

 

 

 

I feel that my final samples could suit all kinds of people in the variety of styles that I have. I specifically would like to look at an audience of those interested in modernising, revamping and refurbishing retro furniture, but also those who plan to insert colour into a subtle interior. I feel that my work could fit nicely into a company like John Lewis interiors.

In completion of this project, I have grown in confidence in terms of using different materials for design development, increased my Photoshop skills, learnt new skills in using a floor loom and am on the way to mastering the software ‘Scotweave’. I believe that the amount of samples I have achieved is a sufficient amount for the time that we were given on the looms, and believe they reflect my journey of design developing from start to finish.

Dobby Designer: Scotweave

 

'Scotweave' (the design software for the looms) has obviously been an important process in the making and development of my samples, and over the weeks we have been having technical sessions to help us with our skills. These have been led by Lesley and Michelle and have been vital in order for my progression and improvement. Here we learnt many different types of weave and how to programme these according to our own warp plan. One of my favourite techniques was satin and sateen. Here I was able to show the light and dark within my design developments by showing a more warp faced base contrasted with a weft facing base.

 

 

 

 

 

Another of my favourite designs was the triangular repeat pattern. I enjoyed this particularly due to the direct relation between my designs and the way that my weave looked. I had some trouble with my peg plan to start off with in that I couldn't get my sample to form the triangles. This was soon rectified when I realised that I needed more structure to the design by putting a row of plain weave around each of the small triangles. This was an important trial in helping me to understand that eventhough the design looks the same as your drawings on the computer software, it may not always come out the way you expected/ work unless there is some structure.

 

 

 

 

Sampling everyday and trailing my designs has really helped me to understand and develop my skills. The more practice I have, the better I am becoming.

 

Design Development and Refined Colour Palette

 

  

 

 

After starting to have a play around and experiment with different designs on my loom (done with the software 'Scotweave'), I realised how limited my colour palette was. This has made me reconsider and introduce a cyan shade,  that was taken from one of my previous photographs. I feel it clashes but also strangely compliments the sulphur yellow, and gives it a very retro feel. Another yarn I have introduced is a thin, sparkly silver, which adds a little bit of depth and shimmer.

 

In terms of design development, these pieces were very important to me in determining what was going onto my loom and having a ground to base my 'Scotweave' designs from. They really helped me to visualise what a selection my samples were going to look like. Also experimenting with my ground warp colour on Photoshop was a significant task in ensuring that all of my colours formed a natural balance and looked well together. After attending the 'Scotweave' help sessions with Michelle, a technique that I really liked the look of was satin and sateens. This would give my samples the light and shade that they really need to 'pop'!

 

 

 

 

Warp Plan

 

After considering all of the factors and taking inspiration from Eleanor Pritchard, I have decided that I would like to block thread my warp. 2 alternate blocks over 12 with an overall width of 9 inches (this will ensure that my weaves will appear symmetrical) and length of 6 yards. Referring to my sketchbook, I planned out that my ends per inch would be 48, in a 2/16s silver mercerised cotton. 





Contextual: Eleanor Pritchard

 

Eleanor Pritchard is a textile designer specifically for the weave industry. Eleanor's work is a playground of colour and geometric, linear pattern that I was instantly drawn to. Using traditional weaving techniques, the pieces are woven on 'dobcross' shuttle looms in a small mill in Wales, working in partnership with the small design and sampling studio in London.  The simplicity of the design is my favourite attribute and I believe this may be down to scale and sizing of the repeat. The texture of the woven pieces is very flat, but still manages to uphold depth within the shape and pattern.

 

 

 

 

 

 

Eleanor works only in interior furnishings, mainly throws, cushions and upholstery which is the industry that I see myself in. However, I specifically feel that the designs come to life  the most once upholstered onto pieces of furniture, just like this retro 70s chair. I am currently visualising my own designs in a similar context and would like to look more into 'modern retro.'

 

In terms of starting to consider warp plans and technical decisions, I'm certain that block threading (just like Pritchard) will suit my current designs, with conformed structure and repeat.

 

Colour Selection and Design Development

Taken from my previous John Hoyland inspired paintings, I have started to develop my colour palette and done some wrappings to show this. My colours have also been taken from my previous photographs, where I have focused in on the modern architecture materials, specifically metal. All of these yarns are mercerised cottons, which I feel will suit my weaves more than a yarn like wool; I don't want to create much texture. I am currently extremely happy with the way that my colours are developing, and starting to feel more ready to get onto my floor loom for the first time.

After finally deciding on a final colour palette, I started to design develop (onto A3 cartridge paper) by using a mixture of all techniques I have previously used throughout my processes. Small flecks of the sulphur yellow was important within my drawings in order to bring a sense of depth seeing as I've decided on very flat, thin yarns. Here I can start to see some weave designs developing, however I'm unsure how I will be able to translate these when on the floor loom due to never having used one before. Within my group tutorial, these designs got a good reception which makes me confident in my choices.

 



 

 

 

I feel that the triangular collage is one of my most important design developments as it takes me back to the very start of my summer project where The Louvre in Paris was my main inspiration. I enjoy the fact that I have been able to utilise and adapt this back into my work. After collaging this triangular image, the thought of sticking with and developing repeat patterns (just like my previous photographs) is still very prominent. Being able to do this on the loom will take some special planning that I will have to understand before rushing into making my warp.

Initial Photographs

Today I went into Manchester City Centre and surrounding areas to gather some more inspirational images. I went out with a clear vision of the photographs I wanted to achieve, however this slowly changed as the day went on as I became more open minded about the buildings and architecture around me.

My initial idea was to concentrate on the shapes caused within the negative spaces around architecture in the urban environment. However, this notion soon changed when I realised how much I loved the repeat patterns particularly in windows. This was perfect as last night I discovered a photographer called Michael Wolf  that I took inspiration from (found in 'Juxtapoz' magazine. http://www.juxtapoz.com/current/michael-wolfs-the-architecture-of-density
Here Michael concentrates on repeat patterns in windows in Hong Kong by excluding the horizon. I really enjoy the colours within Michael’s photographs, something that unfortunately I have been unable to capture due to the simplicity and conformity of Manchester’s architecture.
This led me to think about the repeat structures of buildings and how beautifully the shapes and patterns could translate into weave.

 

 

This is my favourite image of the day due to the take on the repeat structure. I like how the repeat varies in sizes due to the perspective from where the photograph was taken. A variable of size may be something interesting to focus on in order to create something more stimulating to look at. I also really enjoy the typical 'architecture colours' that this building upholds. I may want to consider a more refined colour palette that relates vividly to that of modern architecture, including the cyan in the image above. 

 



 



 

 

 

Contextual Reference: John Hoyland

In my last tutorial, Lesley said to take a look at John Hoyland (a leading British artist in abstract painting) as she thought it may be beneficial to my work in terms of compositional blocks of colour and helping me to move on from collage and develop my skills in other art mediums. I love John Hoyland due to the  contrasting colours and layers (specifically being able to see the colours slightly appearing through underneath). I particularly enjoy the amount of negative space surrounding the focal layers.

 

John Hoyland

I worked on my own paintings in an abstract manner, taking shapes my initial photographs in my sketchbook. Johns work relates considerably. I feel that doing this has helped me to consider other options and ways of working. Improving my skills and experimenting with paint has also made me more confident to continue to use it within my visual research development stages. Just as suggested in my last tutorial, I have also started to draw up some patterns taking inspiration from my 'found' collaged papers,(refer to sketchbook.

 

From this, I plan on continuing to use paint within my development drawings, and to continue experimenting with composition. I would also like to start considering a colour palette from these paintings as I particularly love the splashes of sulphur yellow (refer to previous posts' collage), and feel it is complimented well by the surrounding subtle greys, blues and white.

 

Urban Influences: Tutorial

My first tutorial with Lesley was really helpful and constructive. One of the things that was mentioned about my current work was that I hadn't referenced any artists or related my work to any.  I was given plenty of artists/ companies to look at including Dash and Miller, Wallace and Sewell, Annie Albers, Richard Diebenkorn, Wayne Thiebaud and John Hoyland. After referencing the majority of these artists in my sketchbook, the person that stood out the most for me was John Hoyland. I mainly love the colours and compositional blocks within Johns work. In order to move on from my simple fine line drawings and collages, I want to experiment using paint in this style (which is usually a 'no go' for me), however, I feel the composition of my photographs will complement the medium. With these paintings, I hope to start to establish a colour palette, which is something that I haven't thought about too much yet. I imagine the colour selection to be much like the modern architecture I have been looking at, lots of greys and blues and maybe some metallic.

Another suggestion was to start drawing/ painting up some papers to collage with much like the details of the used papers (originally taken from free Manchester music magazines) as another way of pushing my collages forward. The collage above has given me the idea for small flecks of colour within my weaves after being drawn to the bright colour standing out from the plainer shades of blue around it.

 

Lesley also advised me that I need to start thinking about yarns and structures of my forthcoming weaves. I can imagine them to not have much texture and to be very flat, so a mercerised cotton would definitely be better to use rather than a wool in that I get the desired effect. In terms of structure and threading up, I need to refine and consider the kind of pattern and design I want to appear in my weaves. So far, my drawings and collages have all had a very spaced compositional quality, which is something I may want to pick up on.

 

Summer Project: Feedback

 

Our first day back consisted of a group feedback session of the project we did over the summer. This was very useful to see the work of others, and their own styles of sketch-booking; and also very beneficial to me as I was told honestly about my strengths and weaknesses, and what concepts would be good to continue with the coming project ‘Intentions’. A couple of comments that my group made was that I had a very strong underlying theme of geometric shapes that would very easily link into weave as my chosen area. I was told that I also had good use of collage and fine line drawings, but may want to consider looking at some bigger scale drawings. This would be helpful for visual research to do drawings to size of weaves, so that I can get more of a feel about the way they will/ want them to look. My feedback group also said about me having a strong colour palette throughout my book, however I disagree and feel I need to refine this much more.

 

 

My favourite pieces of work is the simple repeat triangular collage s(as shown in first and second blog post). I love this due to the colours, which I may want to look at to try and refine my colour palette, but also because I think it would translate beautifully into weave. I would like to proceed on my starting drawings for ‘Intentions’ with a very abstract influence and by taking shapes from architectural photographs around Manchester.

 

 

 

 

Summer Project: Paris

A giant proportion of my inspiration for the second half of my summer project came from a short holiday in Paris, France. I was in awe of the buildings and found that a considerable amount of the modern architecture was based around geometrical pattern (for example, The Eiffel Tower and The Louvre), a running theme in my project sketchbook.

 

Using Parisian architecture as a stimulus to proceed, I started to draw some fine line drawings of structures that I found within my photographs. These drawings mapped the construction of the building (specifically The Louvre) by breaking down the lines and depth and concentrated on the shape and form created within the negative space. I plan on using these drawings as a starting point to my first project.

 

 

 

 

 

Moving on from this, I continued to look at some of the other work of the Architect Leoh Ming Pei who designed The Louvre. Mihoko Koyama (who the Miho museum is named after), the heiress to the Toyobo textile business and one of the wealthiest women in Japan envisioned the museum. The Miho Museum is located southeast Kyoto in Japan, and has a similar structure style to that of the Louvre. The museum was the he Miho Museum houses Mihoko Koyama's private collection of Asian and Western antiques bought on the world market. In terms of aesthetics, I can only imagine how much this building must compliment the object that stand within it. Again, interlocking triangles is a continual theme in Leoh’s work, and also something that I’m very interested in considering for my next project.

The Miho Museum

Summer Project: Gaudi

My main inspiration for the start of my work came from visiting Barcelona for a short holiday. Whilst I was here, I visited Park Guell (also known as Gaudi’s gardens) that is situated in the Catalonian district. Park Guell was commissioned by Eusebi Guell who wanted to create a stylish park for Barcelona aristocracy. The park contains some beautifully curved architecture, irregular shapes and a giant dose of ‘natural form’ inspired work. Park Guell also has a small house which Gaudi lived in at one stage. This was interesting to see the living conditions of what is now one of the most famous artists in the world. The house has now been converted into a museum and contains furniture also designed by himself. However, it was at the top of the park where I was instantly struck by the bright and bold colours of the mosaic benches that ran around the viewing platform (a stunning sight of the whole of the city). There was an instant connection with the beautifully patterned, miss-matched, multi-coloured tiles and got me thinking about geometrical pattern. Experimentation with this first came in the form of collage.

 

 

I started to look at different patterned papers and forming shapes from this, just like the different patterns in each of the benches. Distinguishing a colour palate was not a priority for me just yet as my photographs and initial inspiration Polaroid contained a vast amount of colours in an infinite array of shades.
 

This collage is one of my favourite experiments as there is a definite connection between my images of the mosaics. I have decided that I would like to specialise in Weave this year, and there is a lot of excitement when starting to think about the visual research, and how I could relate and translate my ‘drawings’. I enjoy the contrast between the pastel green, lilac and peach, to the monochrome writing and dark patterned triangles and feel that this would look beautifully bold when in weave.

Maryanne Moodie relates perfectly to this specific initial collage; a textile designer that specialises in stunning, geometric, hand woven wall hangings. Originally based in Melbourne, Maryanne now lives and practices in Brooklyn, New York. Although she has only been weaving since 2010, she has a substantial following of textile lovers on social networking sights, specifically Instagram, and my love for her increases by the day. I mainly enjoy Maryanne’s work due to the colour and abstract in shape.
 

 

I’m unsure as to whether translating my collages into floor loom weaves would be a challenge with the structure of the pattern(something that I need to figure out as I am still yet to learn may processes within Weave), however I started to experiment with my own hand loom.
 

Here I proceeded to create shape with my hand loom (‘Loom and Spindle’http://www.loomandspindle.com.au/wholesale/) to start transferring my drawings into fabric. I’d like to see my work in a similar industry to Maryanne Moodie, mainly commercial and within interiors. However I would like to produce for the mass market, which is something to evaluate as I go along.