3D Laser designs and Celtic ideas 30th September

Laser Designs and Celtic Ideas 30th September

Today's 3D class stayed very much in two dimensions. I spent time on the computer working on my Celtic stag design. With some sketches drawn, I started to map out the design on Illustrator CS5. It's a program I've never used before, and I'm not looking forward to working with it again. Getting my head round a new program is something I find much harder to do than learning a new drawing technique. However, I did manage to complete the outline. With only the inner design to sort out, I searched the web for Celtic knot meanings.

I found the meanings of many different knots with the most common being eternity, a never ending loop. Religion played a big role in the Celtic art. One interesting thing was the Pagan law forbidding them to draw anything from the earthly world as it was said to be copying a work of the creator. Therefore it was forbidden to draw humans, animals and plants, but interestingly, angels and mythical creatures were seen as not of this realm. This is why the Celts created these amazing knots to represent the human form.

While I was researching the various meaning of the designs, I came upon one called the tree of life. This knot showed how the Celts prized trees. They were considered the centre of their spirituality. They believed trees were a connection to the world of the spirits and their ancestors, as well as doorways into other worlds. The most sacred of all trees was the Oak tree. It was believed to be the first of all trees. The Oak represented the doorway to another world because the roots reached to the centre of the earth and the realm of Fairy's.

With these ancient Celtic traditions in mind, I decided I'd like to incorporate this tree knot into my design. Just as the Oak tree was the doorway to another world for the Celts, I hoped this course would be a doorway to a new world for myself and my art.

3D With 2D ideas Tasheeta David

Tusheeta David

Tusheeta David grew up in India where she had a successful ten year career as a jewellery designer for a leading Indian company, Tanishq. While working there she created jewellery for many prestigious events including Milan Fashion Week and an Oscar nominated film. Tusheeta David has also designed and created pieces for Indian actors Rani Mukherji and Shahrukh Khan.

After moving to the UK and completing her Masters from the Birmingham's School of Jewellery, Tusheeta set up her own label. She now works in the renowned Jewellery Quarter in Birmingham selling her designs, as well as being a visiting lecturer at Birmingham City University. With Tusheeta's keen eye for design and graceful, but vibrant ideas, its no wonder she regularly designs for the Swarovski’s Trend Forecasting book and collaborates with Corel Corporation on a range of projects. Tusheeta was also selected to be in the Crafts Council to exhibit at the prestigious New York International Gift Fair. Tusheeta has been accepted as an Artist in Residence at the School of Jewellery on completion of the Design Space Scheme, awarded to her by Birmingham City Council.

Tusheeta David's acrylic jewellery is made by using innovative technology such as lasers, thermoforming, and hand dyeing acrylic. She creates beautiful unique pieces that have a clean smooth feel. Using rescued acrylic from landfills, she recycles it to create her one off ethically aware jewellery. Tusheeta takes inspiration from microscopic images. She magnifies them digitally into patterns that are then developed into her own designs, creating interesting and intricate jewellery.

Working with bright vibrant acrylic makes Tusheeta David's work stand out from jewellery made using more traditional materials. She creates an amazing variety of designs. With the use of the laser, acrylics can be made into a wide array of shapes, as well as etched with patterns and designs. When heated, acrylic has easy modality so once you have cut the acrylic, it can be moulded to your own design.

Tusheeta David has pushed the boundaries of what was perceived to be possible and created some unforgettable jewellery

3D Wendy Ramshaw

Wendy Ramshaw

Wendy Ramshaw is Britain's foremost designer of jewellery. Her achievements have been acknowledged at the highest levels. Wendy Ramshaw works in both the fields of Jewellery and Public Art. She is best described as an artist jeweller, working in both small and a large scale, from millimetres to meters. Her designs are distinctive and innovative.

Wendy Ramshaw's works can be found in museum collections all around the world, while others are worn on an everyday basis. The works range from the very simple, to the very complex. She has continually experimented with a diverse range of materials and new technologies. Wendy first trained in illustration and textile design. Her early jewellery, made in the early 1960s with her husband David Watkins, used screen-printed acrylic and paper. Her signature works are sets of rings, abstract pieces in precious metals and gems. Wendy's on going ring sets won an award “for innovation” from the Design Council in 1972.

In the early 1970s Wendy developed a minimalist style influenced by industrial design. Her work had a distinctive linear purity with blocks of colour. The versatility of her work, gained her many awards. Wendy's later work incorporates colour with a range of materials including gold, silver, glass and perspex. She also used a variety of metal techniques and technical skills including enamelling, anodising and resin inlay. Vibrantly coloured patterns are created with precisely cut and set precious stones.

Wendy Ramshaw's sculptural ring stands are works of art, inspired by a wide range of things, including women from Pablo Picasso's paintings. She also says much of her work is based on the geometry of the circle and the square, the band and the ring. Wendy said, “it's about complication and how far you can push an idea.” Much of her recent work is on a larger scale, including gates, screens and sculptures that ornament buildings and architecture. In many ways, it's like how her jewellery ornaments the body. Wendy's designs have an incredibly geometric quality that are extremely complex.

Ramshaw’s jewellery is severe and at the same time playful. It can be reminiscent of origami or vintage science fiction movie props, or sometimes dark forms with dramatic distortions of scale. Her work shows a connection to industrial design, but it has a warmth about it. Wendy Ramshaw says she never tires of searching for new directions within which to progress. That is why she is considered one of the greatest living jewellery designers. Wendy Ramshaw's elegant and distinctive jewellery designs of ring sets, brooches, earrings and neckpieces will continue to received praise from her peers and the public.

3D waorking with 2D ideas Rhiannon Evans

Rhiannon Evans

Rhiannon Evans is an internationally renowned jewellery designer who has been based in the heart of Wales for over 30 years. She designs and makes unique and beautiful jewellery based on Welsh and ancient Celtic designs.

From early beginnings in the 1970’s, Rhiannon Evans' jewellery has now developed into a family business supplying Welsh and Celtic design jewellery around the world. Rhiannon Evans has developed an international reputation for quality of design and manufacture.

Rhiannon’s distinctive jewellery designs are all hand made in silver, gold and Welsh gold. Her work derives from traditional Celtic designs, not copying or replicating them, but rather using them for inspiration maintaining old traditions and visual conventions.

At the beginning of her career in the early 1970s, Rhiannon Evans saw an exhibition in London of Celtic artefacts from Britain and Europe. She was amazed by the quality of the designs and the fine workmanship in stone and metal, some of which was over 3000 years old. Rhiannon says she felt an immediate connection to the works which linked to legends and symbols she had known since childhood. It was part of her Welsh heritage. She also felt a familiarity with the symbolic imagery in a poetic or spiritual way.

Inspired by the exhibition, Rhiannon wanted to continue the work of those ancient Celtic craftsmen, making works associated and connected to those ancient traditions. She used precious metals as her medium, and developed the necessary skills to create her own designs. Rhiannon explained the meaning of her of jewellery designs by having a note with each individual piece explaining the meaning of the design. This provided an insight into the symbolism and the connection to the past.

Rhiannon Evans has continued over the years to research the Celts, develop skills and techniques so she understands her Celtic cultural heritage and can transfer this to her designs. In fact, We her whole team of dedicated staff are all Welsh speaking, something which she considers reinforces the connection to Welsh traditions and heritage.

Rhiannon's original and unique interpretations of the Welsh and Celtic artistic traditions include using rare and precious Welsh Gold which is mined close by in north Wales. She does make designs based on original Celtic knotwork and traditional Welsh images, but also draws inspiration from the landscape and wildlife of Wales. Rhiannon's work over the years has coincided with a revival of Welsh national identity and cultural history. The subjects of her designs include: Celtic knots, dragons, firedrakes, hounds, harps, daffodils, deer, and birds like eagles, kites and herons.

3D Practicing with 3D materials 25th September

Practising with 3D materials 25th September

I still needed to do a lot of my research. I had most of the morning to work out what I needed to finish up. The idea of nature and a more modern symmetrical lined design was in my head. I had to sort out not only what concept I wanted, but what materials I'd like to use.

First I looked up different materials; copper, acrylic and aluminium. While doing that I came across some braided copper bracelets. As I looked at the images, the first thing that came to mind were Celtic knots. As I have a Celtic heritage, I was interested in finding out more. With that in mind I researched more Celtic jewellery and came across a site that not only showed the jewellery, but also explained the meaning of the animals and symbols.

After reading about the meaning behind some of the symbols, I decided to set my concept around Celtic jewellery. With that sorted, the only thing I had to figure out now was which materials to use. Originally the Celts used bronze, gold and iron to make their jewellery. They braided and etched the metals to create beautiful accessories to wear.

During the rest of the morning I looked at Celtic designs and jewellery, as well as trying to get an idea what materials to use for my project. I spent the afternoon testing things out.

I started with copper wire, bending it to make smooth spirals. Although the copper was soft, achieving a consistent smooth spiral was difficult. I also tried flattening the wire with a hammer. This created a thin strip, but it took away the shine from the wire.

I was then given some metal stamps. Most had numbers on them, but a couple had letters. It was interesting making patterns and designs with them. However, few were successful. Aligning them so there was an even pattern going down the side of the copper strip was very challenging. I also had to hit the metal stamp a couple of times to get a clear indentation which meant I had to keep everything very still.

I had to stop and think how to accomplish my design with the materials to hand. Thought must go into everything right from the start. An understanding of what materials you can use to achieve the desired design is important.

Time was slipping away. I wanted to leave today with something, even if it was small and not very well made. I wanted to have something to show from today's test. I grabbed a thin piece of aluminium and two thin pieces of copper wire. Twisting the wire around the aluminium, I made a crisscross pattern and then bent each end around the back of the aluminium strip so they were out the way. I then took some of the thin copper sheet and cut a small plate out. This task was problematic as the over sized cutters weren't straight and refused to cut sometimes. Having cut my copper strip, I then found the metal stamps that could pierce the copper so I could attach it to my ring. Having selected the right stamp, and having three or four goes at piercing it, I managed to create a small neat hole. I threaded wire through the plate and wrapped the other end to the aluminium strip. Finally I took the hammer to it all, fixing all the copper wire in place and working out some of my frustration at the same time.

With testing over, I was a bit disappointed. I wanted to leave today with a clear idea of what I will be doing next Tuesday, but instead I felt a bit lost and annoyed. I only hope on Monday I'll get time to try out some acrylic.

3D The web of ideas 24th September

The Web of Ideas 24th September

Today it was time to sort out my ideas and get my concept ready for testing tomorrow.

I looked for designers, ideas and possible materials to use. Research is important and helpful for developing ideas.

I did some further research on Jane Adam and Wendy Ramshaw. I looked at what materials they used, and what they wanted to achieve with their jewellery. I wrote some information on both of them and found some images for my sketch book.

I made notes on different metals and what I could use to create my own jewellery. I thought copper or aluminium? While making this decision, the tutor came and talked through my ideas. I found out they don't have the facilities to colour the aluminium, but was asked if I'd considered using acrylic. I went back and searched for some designers who used acrylic in their jewellery. I found a range of interesting designs using bright colours. One designer in particular caught my attention; it was the work of Tasheeta David. Her use of bright colours and unexpected shapes interested me. Having this new material brought to my attention and stimulate my interest, I searched for more information about making jewellery using acrylic.

I had to temporarily halt my research to go to my English class, but I now had some fascinating ideas to follow up on.

3D working with 2D ideas Jane Adam

Jane Adam is a British jewellery designer who works from her studio at Cockpit Arts in London. Here she makes beautiful colourful pieces out of aluminium and more recently, precious metals and stones. Jane Adam's work mimics the natural world, balancing hard metal with nature's delicate beauty.

Jane Adam's unique aluminium jewellery is beautifully designed. The pieces have an organic quality, forms with a light natural feel to them. They often have the appearance of leaves or flowers. This feeling is enhanced with her use of beautiful colours and patterns that give each piece a interesting feel and texture.  She creates exciting jewellery with soft marks in subtle colours on shimmery, iridescent surfaces.

Jane Adam's beautiful sculptural and sensual works represent nature, femininity, and beauty. Her jewellery explores colour, mark making and texture. Jane has said that she is most concerned with how her jewellery feels when it is worn. She wants the wearer to form a sensual relationship with the piece so it becomes part of their self expression.

Gallery

The Gallery

After a hard day researching, as well as English, I went for a walk around the Art Gallery in Birmingham. The main reason was to choose a 19th century painting for my Contextual studies.

There was a large array of paintings to choose from. I took my time walking around the rooms waiting for the right painting to capture my attention and draw me in. I walked around with another student from my group, and as we walked, we talked about each painting. We discussed the symbolism behind some works, as well as the meaning and feeling we thought the artist was trying to convey. As I continued through each room I felt disappointed as I hadn't yet felt drawn to any particular work. I walked into another room and scanned the paintings, but my eyes ended up fixed on just one. It was a painting of a couple, but the women was very much the centre of attention. She was giving off a light glow and her clothing was a rich purple and vivid green. This was the last room I looked in because I knew I had found my painting.

I quickly took note of everything; the frame, the colours, where the painting was in the room, all the little cracks in the surface, as well as what looked like a hair stuck in the paint. I even noted the fingermarks on the glass which were highlighted by the reflection of the light.

Sadly I had to leave sooner then I wanted to as they were closing, but I got what I came for. Now the hard work would begin.

I was interested in going to see the Ikon Gallery, as I'd never been before. I was told to give it a look by my tutors. The Exhibition was on Lee Bul and was his first solo exhibition. It was a mixture of drawings, sculptures and installations. It made very interesting viewing. His sculptures give of a sense of both wonder and madness. By far my favourite was the mirror labyrinth. With its reflective floor, walls and ceiling it confused the senses and took what was already confusing to the next level. It was all worth it having got to the middle. What was waiting for us was what seemed to be an eternity of light reaching out forever, reflected in every surface. It was simply amazing.

Just as we were leaving I spotted some acrylic jewellery for sale. I took some photos. I'm not sure if this will do as primary research, but it was funny to see it just after I was looking it up.

3D Research and testing 23nd September

Research and testing 23nd September

The first day of 3D started with a debriefing and a look at what 3D covers. The tutor asked us to name things that could be made in 3D. With the group naming so many things it was obvious that the board wouldn't be big enough.

3D covers much more than just sculpture. It includes things like architecture, origami, packaging and car design. 3D basically covers anything that's made in the three dimensional world. Something I never really thought about was packaging. Someone has to design it, and it should be more than just a practical 'container'. It has to also be a design that interests and encourages people to buy the product. Architects have to make models of their designs for clients so they can easily visualise the building. The design also has to be structurally sound because it's no use designing a building that doesn't stand up.

I was given a long list of artists' names. Each artist worked in 3D in their own specialist area. I started going through the list one by one, hoping for one that would catch my eye. There were some very interesting artists on the list, but out of them all, the two that interested me most were Jane Adam and Wendy Ramshaw.

Both Jane Adam and Wendy Ramshaw are jewellery designers with very different styles. I was drawn to Jan Adam's work because of its simplicity and the beautiful colours of her interesting abstract take on nature. Each piece had a smooth flow which I found enjoyable to look at. Wendy Ramshaw's work on the other hand, has a busy mechanical side with thin wire making sentimental shapes, that have an almost Steampunk feel to them. Each pattern was eye catching.

Having looked at the works of both designers, I tried out some ideas. First thing that came to mind was 'nature meets machine'. I talked to the tutor about any glass I could use to achieve this. At the back of the workshop where the blowtorches are kept, the tutor took out some long thin glass strips and showed me how to melt them. I'd never tried anything like this and was sure I'd be leaving with something missing at the end of the day, or at the very least, some part of me burnt. I came to grips with the glass and begun to understand how to shape and mould it. Speed is the key; the glass heats quickly and cools even faster. I only had a short time to manipulate it.

I also tried using the spot welder. I enjoyed this, not only because it fused two pieces of metal so easily, but because of the beautiful sparks it gave off. It was like watching tiny stars falling to earth.

I could of spent all day (and most of the colleges supplies) experimenting, but I had to call it a day and go home to do some more research. I had many ideas in my head and needed to sort them out.

Seeing and understanding 22nd September

 Seeing and understanding 22nd September

Understanding and seeing are two very different things. In art you have to be careful when describing a work and choose your words carefully. The brain can be very easily manipulated into seeing something that isn't there. This has to be in the back of your mind when you're viewing artworks and describing them. You should always say what you actually see and not want you think you see.

Artists deal in the art of illusion and manipulation. An artist can take a piece of paper and with a few carefully placed marks, trick the mind into making an image or scene appear. That is what art is, strategically placed lines on a page to represent an object or concept the artist wants the viewer to see or feel. Some of the tools used to do this include perspective, measurement and composition. These tools give artists the ability to create the appearance of a three dimensional world. For example, linear and aerial perspective both help create the illusion of depth and space. Linear perspective deals with the organisation of shapes in space. Things further away appear smaller. Overlapping shapes also gives a feeling of depth. Aerial perspective is about the atmospheric effects on tones and colours as shapes get further away. An object appears duller and less clear the further it is from the viewer. Shadows and shading also add to a feeling of distance and space.

An artist can manipulate the viewer's brain into believing they are seeing a three dimensional thing, and not a two dimensional piece of paper. To achieve this, each mark by the artist is important.

Manipulating the mind can be an easy if you understand the way the mind works. As we have evolved, our brains have given us some wonderful advantages, one of which is called space perception and the need to make sense of the world and what we see. This is the ability to see things where there isn't anything. If given very little information the brain searches our memory to find answers and fill in the gaps so we can understand what we are looking at. The mind very cleverly fills in empty spaces with what we think should be there. However, as we are all unique and our brains work in very different ways, one person will sometimes see something different to another, even if they are looking at the same image.

A good example of this is the "young women - old women" optical puzzle

When I first saw this image, the only thing I could see was a picture of a young women looking away from me. I couldn't see the old women looking down until it was pointed out. This image demonstrates that if a group of people are shown the same image, they might not see the same thing. There are two images in the same picture, but the brain lets you only see one at a time. The brain chooses which one because otherwise it is dealing with too much information.

Understanding and mastering the various techniques of creating illusions enables an artist to make artworks that not only manipulate a viewer's mind, but also makes them wonder how it was done. One artist who is a master of optical trickery is M.C. Escher. He created irregular perspectives that looked as if they were three dimensional, but could only exist a two dimensional world. Escher's understanding of illusion and manipulation gave him the ability to create these wonderful artworks depicting an impossible reality. This serves to remind us that an artist works on a two dimensional surface and rules of a normal real world don't have to apply.

Leonardo da Vinci is quoted as saying, "The noblest pleasure is the joy of understanding." Seeing isn't understanding because you can be easily tricked by what you think you see. Understanding comes from thinking clearly and seeing the true meaning of things. This is done with an open mind, study, knowledge and practice. Seeing and understanding develops insight and once you understand something, you can begin to see how it works, the rules it follows, and can create your own illusions.

Fashion and Textiles Stitch in time 18th September

Stitch in time 18th September

Today was the last day of Fashion and Textiles. The last two weeks have flown by. What started as a bag of old clothes, is now a finished dress of my own design. The journey to get to this point was a interesting one. The only down side was that two weeks just isn't long enough to dive into the rich world of Fashion and Textiles. My first design was a jumper dress. That got changed to a jean jacket, which then became more of a waistcoat. The end product was a dress. The whole process was one of exploring, generating and developing ideas, learning skills, making, continually testing and evaluating, getting feedback, and redesigning. It was a bumpy ride for a while, but I got there in the end. I'm pleased with the result.

The last day was a busy one; fixing up the last bit of my dress on the sewing machine; photographing my dress; and then finishing off my mood board. The many things I've learnt in the last two weeks I will take with me. I now know I can not only design a dress, but make it in under two weeks. I can use a sewing machine and logically structure a garment of different materials so its wearable. If you told me a short while ago I'd be able to do all that in such a short period of time, I wouldn't have believed it.

Learning about the different ways designers create their artwork is not only interesting, but inspiring. It has opened my eyes to the great lengths they go to, to create a finished design. As I looked around the room, I saw more than a collection of clothing; it was a room full of individual ideas that represented journeys we'd all taken, both individually and as a group.

Fashion and Textile

Gary Harvey is the owner and creative director of Gary Harvey Inc. His fashion collections have been described as "re-cycled Eco-Couture", and "Couture fashion with a conscience". Gary's designs are inspired by vintage couture and made entirely from recycled clothing.

Gary sources materials that have been thrown away. Not only does he reuse unwanted fabrics and garments, but other used materials such as recycled crisp packets, bottle tops, and news papers. This often results in interesting and colourful designs that are unique. One amazing dress was made with 42 pairs of Levi jeans with a corset waist. Other dresses he has created were made from discarded wedding dresses, laundry bags and t-shirts.

Gary Harvey's collections clearly show his concern for the environment and how we should be aware of the Earth's limited resources. Putting unwanted clothing into landfill is wasteful. It hasn't worn out or lost its usefulness. Gary's work illustrates how craftsmanship combined with good design can create wearable and exceptional fashion from second-hand and other unwanted materials.

Gary Harvey's original designs make a statement. They are creative, interesting and eco-friendly. They challenge our perceptions of what is 'waste clothing' by re-contextualising classic garments into something new and wearable. It's easy to see why Gary Harvey has won many awards and is considered as a fashion visionary.

Fashion and Textile Art out of rubbish

Art out of rubbish

One man's rubbish is another man's treasure, or that's the saying. If it's true, then can anything really be considered rubbish? What I have read and seen during the past week or so while doing my Fashion and Textile recycle and up-cycle project makes me think most used or unwanted things can be reused or made into something else. I'm not just talking about fashion and clothes. Today while searching for photos for my mood board, I came across some photos of a bird. At first glance it looked like it was made out of metal, but with a closer inspection I could see it was made out of recycled CDs.

Sean E Avery is an artist and writer-illustrator from Perth, Western Australia. He creates amazing sculptures using old CDs and wire. Sean cuts the CDs with kitchen scissors, carefully arranges the pieces by colour and size before hot gluing them onto a wire frame.

These CD creations are made out of what some people would call "rubbish". The sculptures have a beautiful shiny and colourful look. Each shard of CD is carefully placed to resemble fur or feathers. This gives the sculptures an individual character and charm.

Sean E Avery sculptures have been acquired by many galleries for display. His animals have even gone to Ripleys Believe It Or Not! Other museums include Hollywood and Balitmore, Scitech, Woodside Oil and Gas, and REmida in Perth.

Sean E Avery has clearly shown that expensive materials are not needed to create art. It also proves one man's rubbish can be another man's treasure.

Fashion and Textile From hand to machine 17th September

From hand to machine 17th September

It needed to be an early start today as there was a lot to do, and there is only one day left for Fashion and Textile lessons. (I'll miss Fashion and Textile as I've learnt a lot. I'll also miss the two lovely tutors.)

I arrived early so I could have a quick chat about the mood board. It's something I've been stressing over. However, after the group talk, I now have a better idea about what to do.

Using the sewing machine, I started the last stage of my dress. I'd never used a sewing machine before, so thank you James (one of my group) for your help showing me how to set up the machine. I now know where to thread the cotton and how to set up the bobbin.

After having a go on some scrap denim, I was able to try and sew up my dress. This was something I was not looking forward to doing because of all the separate pieces.

Having now used the sewing machine, I appreciate what a useful tool it is. In the time I took to sew the bottom part of my dress, I would of only done half of that by hand, even after having to unpick some of my handy work and re-positioning it. Machines make life a lot easier and quicker, as long as you know how to use them. I'm still learning, but improving.

Fashion and Textile A jump start into fashion

A jump start into fashion

Baabaazuzu is an Eco-fashion house in northern Michigan, USA. They use 100% upcycled materials and are the originators of the recycled sweater mittens. Baabaazuzu's co-founder, lead designer and CEO is Sue Burns.

Baabaazuzu's up-cycled garment line started in 1993 after a laundry accident where Sue Burns' husband mistakenly put her favourite wool jumpers into the dryer. Sue dismantled the sweaters and transformed them into her now international brand by cutting up the shrunken remains of her favourite jumpers, piecing the fragments together and making jackets with matching hats.

The high demand for her up-cycled creations encouraged Sue to develop an eco-fashion house. After a short while, Sue changed from children's wear to women's fashion. During the last few years, Baabaazuzu has also included designs for men, including up-cycled accessories such as hats, mittens, fingerless gloves, slippers, scarves and messenger bags.

Baabaazuzu's creations are one-of-a-kind and handcrafted from 100% vintage up-cycled wool. They are a perfect merge of fashion and function.

Fashion and Textiles Research: Project blue 17th September

Project blue

In 2009, Barneys New York and Elle brought together eight designers to create unique one-of-a kind denim outfits from up-cycled denim jeans. The outfits were put on Ebay for a 10 day charity auction. (100% of the profits went to Oceana, a large international  organisation focused solely on ocean conservation). The May “Blue” issue of Elle covered Project Blue in detail, from the outfits to the designers.

Each garment, although made from the same material, had a unique look, from Derek Lam's bustier and flared skirt to Ann Demeulemeester's classic jean trouser and jacket suit. Each outfit had the designer's individual style, but also worked well together as a collection. Each piece was beautifully finished and had a elegant feel. At first look you wouldn't think they were made out of donated jeans, but instead a well crafted piece made out of denim. This shows that fashion in itself is an art form. The designers used similar techniques as a painter would, researching previous works and applying them to what is relevant today. Each designer created their own individual wearable art work out of up-cycled material.

The project not only helped raise money and awareness for Oceana, but also brought more awareness to up-cycling clothes. Today, clothing waste is more common than in the past, with cheaper prices and mass produced clothing. It is easier to throw something away and buy a new outfit, than to up-cycle them. What Project Blue has shown is not only can you renew your favourite old jeans into a one of a kind garment, but in doing so you can also reduce waste and help the planet at the same time.

Working with ideas and pins 11th September

Working with ideas and pins 11th September 

Today was a day of decision making and brain storming as I tried to figure out what I'm to do with my fashion and textile project. My day started early as I wanted to get some more ideas down before taking on this task. With a bag full of old jeans and my head buzzing with ideas, I sat and stared at the half finished jacket pined to the manikin.

After a night of research on up-cycling, I had one or two ideas. At the front of my mind was Judi Morales Gibson's Victorian Steampunk theme, as well as Liora Lassalle Jean's dress. However, her dress, a beautiful creation made up of lots of different jeans all stitched together didn't come into play till much later.

Turning my manikin around so I could see the back of what was then a coat, I had a thought. The image in my mind was the back of an old Victorian man's waistcoat, only more feminine and with a light fabric back. Using what was to hand, which was a flowing fabric and one of the belt straps, I cut off the jeans, and grabbed a hand full of pins,(carefully mind you) and set to work gathering the fabric and pining the belt strap in place.

After recording my handy work, I stood back and the first thing to hit me was the stability; an open loss back was well and good for the coat I had in mind yesterday, but not this. This was a waistcoat, or loosely designed on one, and needed stability. It needed sides. Taking scissors in hand, I cut into some more jeans. This time it was a large section of both legs and I opened them up. Removing the old sides of the coat and draping on the new larger fabric over the manikin, I pined and repined until I was happy with it.

Standing back and looking at my work, I was satisfied with my waistcoat idea, but now it looked short and a bit plain. No designer would ever want their piece described as plain.

After picking up bits of fabric and putting them back, I stared at the manikin as if it was going to give me an answer. I listened to the rest of the group which is entertaining if nothing else.

Whilst looking around and enjoying the loud banter of our group, the image of that lovely jean dress by Liora Lassalle entered my head. Why stop at a coat? Why not a dress? So that was it, it's a dress I wanted, and a dress it will be. Thank goodness I had the material.

Cutting away at the jeans took time, as well as getting just the right amount of fabric to cover and fit. I had to cut and add a second waistband from one of the jeans and add a bit of detail to the bodice by adding a line of stitching from the side of the jeans leg. That was it, all done. My design was finished ... for today anyway.

Then came the fun bit, the prep before using the sewing machine. This took a long time, and starting with the bottom I worked my way up. Sadly I couldn't finish it all today as there wasn't enough time, but tomorrow is another day, or at least Tuesday is, as that's the next time our group is doing fashion and textile.

Fashion and Textiles Another day ... another design 10th September

  Fashion and Textiles 10th September

Another day ... another design.

Having abandoned my idea of a jumper dress, thanks to the sudden realisation that I couldn't really resew the knitted jumper back together without making a mess of it, I had to rethink my design.

I started the day looking at a bag of my sisters old clothes. Finding some old jeans, I remembered some photos of tops and bags made out of them. I took the jeans and a couple of other items that might come in handy and set off for college.

I walked into the fashion and textiles room and showed the tutor my idea of a jumper dress, hoping for some feedback. Sadly the dress wasn't to be. It was mostly due to the fabric and the fraying.

I held up the jeans I stole from my sister and stared at them. "What could I make out of you?" I said hoping for an answer. After sitting there a while, I started cutting. I found a nice skirt and took the lining out. It was a lovely grey colour. I draped it over the back of the manikin and pined it. This created a lose flowing back.

I took the belt holders off the jeans and put them to one side. Next I cut the waistband off the jeans. I had an idea to put it around the neck to create a halter neck. I wanted to use the belt bands to attach the draping fabric back to the halter neck.

After all the pinning, I stood back and looked at it. I had to work out what to put on the front of my coat. After a quick look around at the group and what they were doing, I got back to it. I quickly sketched out a design for a coat. Cutting up more of the jeans, I took the scissors to the legs for the front bodice then looked at what was left. I had very little to play with, but the pockets of the jeans would do nicely for the coat. Pinning it to the manikin, I noticed it was a little too big. Grabbing more pins, I made a fold in the fabric which I tried to match with the lines of the back.

With that pined, it was time to call it a day. I was happy with the design. I decided to leave it at that as I wanted to get home, do a bit of research, but mostly try and get some new ideas.

Research on recycle/ up-cycle designers 10th September

Designers I find interesting and whose work inspires me.

Liora Lassalle was born in Kent. She studied Creative Textiles, and Art and Design A-Levels at Exeter College, where she experimented with using recycled materials with fine fabrics such as silks.

Liora Lassalle's "Soft Fruit and Hard Lines" collection for S/S 14 focused on vibrant colourful prints of fruit. Strong lines gave a bold look to the collection. It was obviously inspired by Brazil and Carmen Miranda. One of Liora Lassalle's many denim pieces was a dress where she used up-cycled jeans and various techniques including slashing extra material to create a textured look. This provided interest to the dress. In fact, ripped, stripped, stripes of up-cycled denims have become somewhat of a trademark for Liora Lassalle.

Another of Liora Lassalle's collections, 'The Wig and the Triangle S/S14', was inspired by the 18th century style clothing. The mixture of soft lace and girlish frills of the 18th century designs were brought up to date and given a modern twist with the use of up-cycled hi-visibility jackets and nylon uniforms. The contrast between 18th century decoration and modern plastics was amazing.

Liora Lassalle's innovative designs have energy. Her interesting use of traditional materials, combined with up-cycled materials show that you can take clothing designs from any century and make them fashionable and wearable today.

Don Pezzano has been making his unique reclaimed and recycled clothing in Sydney, Australia since 2010. Although some of his designs are for women the majority of his work is marketed and designed for men. Don Pezzano's great love for science fiction manifests in his designs. Each collection has a unique and personal feel.

His collection Outland 9 has a strong post apocalyptic feel to it. The collection has material sourced from military surplus. You might believe the clothing had been made out of salvaged clothes from a future world; imagine people walking across the desert in a destroyed world trying to survive on things they find. The work of Don Pezzano has achieved a wonderful balance of 'rough and ready' and detail.

After looking at Don Pezzano work, I found a collection of Steampunk watches. Not knowing a lot about Steampunk, I set out to find the meaning, as well as some clothing that matched the interesting art work. In doing so I found Judi Morales Gibson.

Judi Morales Gibson is a designer living in California. She has her own sewing workshop and a large collection of Steampunk designs which are all up-cycled. (Steampunk is about the Victorian era in an alternative mechanical future where steam power is mainly used. Steampunk art and fashion is often made out of up-cycled or used materials.) Judi Morales Gibson's use of up-cycled Victorian style, mixed with mechanical gears, keys, buckles and belts creates an eye catching collection of designs. I don't think anyone could walk past her work with out looking at them.

Having looked at Judi Morales Gibson designs, I now have some more ideas for my own design. I enjoy the unique, but old feel to the style and might try to incorporate some of this into my work.

Thoughts on mood boards 10th September

Thoughts on mood boards.

Colour is one of the first things people notice, whether it's a deep rich blue or a shocking bright pink, it can be eye catching. Colours have a big effect on people even if they don't realise it. Studies have shown that the colour of a room can have an unconscious effect on the people in it. Picking the right colour for anything is very important.

The concept is something you want to think a great deal about. The mood board should be original and display part of your personality. I think of it as showing someone your point of view and ideas. The concept of the mood board is the last thing I want is to make it boring.

The content; fabric, photos, even drawings and paintings you put into it is something you need to think about. Trying to match the content with your own personality is key, as well as the theme you're going for.

When making a mood board, as with most things, careful planning and thinking is needed. The more thought that goes into it, the more your ideas will come across.

So let's get moody!

A look on recycling/up-cycling history 9th September

Make do and mend

When I think of fashion, recycling and history, the first thing that comes to mind is during World War 2 and the slogan, "make do and mend". It was a time when you had to recycle old clothes and make them into something new because buying any new clothes was too expensive. Coupons for clothes were cut from allowance books and with only a set amount of coupons, you couldn't afford new outfits. You couldn't throw anything away.

With the government introducing laws banning any shop selling clothing with any added fancy trimmings, unnecessary buttons, or anything that wasn't essential, women had to embellish their clothing with what they could find. They made curtains, pillow cases and even men's trousers into skirts. Nothing was thrown away. Outfits were dyed, redyed and restitched so that new outfits could be recycled from the old. 

With the government rationing clothes, there was a surge of books giving advice on making the most of your clothes with what's around the house. They became very popular. With the help of these books most girls could make a new outfit out of anything.This not only brought up-cycling to the nation but also changed fashion, with women becoming their own designer and creating their own style.

Fashion and Textile New ideas out of recycled things 9th September

New ideas out of recycled things

When I was given the task of making something out of up-cycled, or recycled materials, I was a bit unsure at first. This was the first time I'd ever thought about making a dress, let alone attempting to make one out of up-cycled clothes. They say there is a first time for everything and I have a feeling this will become normal by the end of this course.

We were asked to do some research on the subject; mostly to get ideas; see what other designers have done; and look at what materials they used. I found some very interesting pieces; a bag made out of a jacket, dresses made from paper and black bin bags, and a lamp of plastic bottle ends. All interesting, but nothing really grabbed me. Then I saw a long colourful coat made out of lots of different jumpers. The multi-coloured patch work effect worked wonders and I thought at the time how I would love to make something out of a jumper like that.

I went back and found among the many clothing items on the table, a light green polo neck jumper. I thought about what could make it into, and how could I do it? The first thing that came to mind was a dress. I could easily turn the extra fabric on the neck into a bodice. In my mind I'd already started to cut and arrange the pieces of the jumper. I quickly began to draw my design.

I started with the sleeves, cutting them off and using them for a halter neck. I cut the trim off the bottom of the jumper and placed it around the waist so that it could be more defined. I took what was left of the trim and placed it running down the front of the dress. I then took the buttons from the sleeves and placed them on the front of the bodice for detail, and also so you can remove the dress.

With that the day was done and I took the jumper home to work out some details. I saw that the sleeves were at just the right height for pockets. I could cut and sew them up and I'd have two lovely pockets on my dress. Sadly, while I was doing that, I noticed a hole in the jumper. It was only small, but how could I fix it? The knitted fabric was fraying and sewing it would be difficult. I suddenly realised I might not be able to make my dress after all.

It was back to the drawing board ... literally.

The more things change 8th September art lecture

The more things change 8th September art lecture 

The song remains the same, or the more things change the more they stay the same. This can be said about many things and art is no exception. In order to find new ideas and be inspired, we often must first look to the past, and learn from that. We then take what we have learnt, shape it and combine it with our own ideas, to give it new meaning and relevance.

All artists who went to art school have taken this step, looking back in order to move forward. They then create their own works of art, learning from the past and adapting ideas to represent what's around them now. This is an important part of being an artist.

Edouard Manet took inspiration from 'Venus of Urbino' by the Italian master Titian to create his painting Olympia. In turn Titian took inspiration from Giorgione's 'Sleeping Venus' (c.1510). Each artist putting his own interpretation and meaning into a painting of Venus. They each created something unique, but based on the same theme or subject. The old masters often took inspiration from religious scenes, mythology, as well as Greek and Roman gods and goddesses. Artists looked and studied great works, used them as inspiration, and created their own art.

Manet's Olympia, although influenced and inspired by Titian's Venus, was more than a depiction of a reclining nude. Titian's Venus was painted for a Duke as a private gift for his young wife. It was a representation of marriage, fidelity and her marital obligations. Manet's Venus is a prostitute, a subject intended to shock and confront the 19th century French viewer. This is a good example how an artist has taken a study of a past work, used the subject matter, pose and composition, and altered it to create a new work.

Induction day all about the negative space

Induction day: All about the negative space

Today, induction day, was my first day of my Art & Design college course. I'm sure most (if not all) of you know that starting anything new, be it college or a job, there is a certain amount of excitement and anxiety that comes with the territory. Even the most well prepared student can find themselves getting lost in the new environment, (much like I did I'm sorry to say), aimlessly wandering the halls trying to remember where was that drawing room we were just shown in the long tour? Luckily, thanks to the help of some nice people, including Graham, I found the drawing room and my group, and much to my relief, I wasn't the only one who got lost. (I knew it wasn't just me!) With that settled, the drawing could begin!

This quick drawing lesson started with a look at "negative space". Negative space is the space around or between an object or the main object your drawing. It's the space that it's not filling. A good example of this is the Rubin's vase or the Rubin's face, where you draw silhouettes of two faces in profile facing each other and leaving just enough negative space between them to make a vase. If you do this correctly, and draw the silhouettes the same, the negative space will make a perfect symmetrical vase.

Like so:

                                               

(please excuse the quick drawing)

If you've drawn the negative space correctly, the outline of the object you're drawing will also be correct, and that's why making note of negative space is so important. This is not just essential for drawing, but for photography as well.

With that in mind I started my work. We were given paper, objects, a nail and oil pastels. It was something that I enjoyed, and found difficult at the same time. It did cross my mind that the college art fund might have been running low, or that this was just something to test us, as well as have a bit of artistic licence. The work produced by the group was interesting and varied. There was a wide range of ideas. I was used to looking only at the object in question, so focussing on the negative space around it and trying to make that the main subject, I found somewhat unusual. This has now got me thinking about how to make the negative space the main attraction, without ignoring or drawing away from the subject you're drawing? The answer is balance, but finding that is much more difficult.

After the important health and safety induction at the 3D workshop and lunch, it was the day done!