Unit X Evaluation

This Unit has pushed me to figure out who I am creatively and what I am about.  I have developed a process that I think is unique and exciting and have enjoyed exploring the different possibilities of scale, material, colour, shape, form and context. Developing my website has made me consider the aesthetic of my work, my range of skills and how I want to present myself to the outside world. And my upcoming photo shoot will allow me to show off my work in a professional way. Securing an internship with Sarah Angold has provided a confidence boost. It’s great having something to look forward to and I can’t wait to experience how a multi disciplinary design studio operates.

Engaging in a collaborative, outward facing project for Manchester International Festival has been a fantastic opportunity, and presenting to a panel of 10 professionals was a great experience. It was definitely the hardest thing I have done during my degree, but the most rewarding and has given me the confidence to pitch in a professional environment again. Producing the seat covers on a large is going to be challenging, but the methods and systems we have developed as a team during the sampling stage will help us achieve this mammoth task and hit the deadline.

The Lost Carnival project has been a great experience, especially designing for a specific context, and aesthetic dictated by the client. I have utilised and developed my skills with more traditional materials and textiles techniques and would feel confident to work in this way again in the future. It has been great to develop a body of work over the last two years outside of university from the opportunities I have engaged in through Wild Rumpus Events. I have developed a wide range of skills for to theatre/outdoor events/installation, and I hope this will lead to further work with Wild Rumpus and other organisations in this field.

The Vertical Gallery proposal has been great experience, pushing me to develop my work to suit a gallery space, whilst working with the client so that the work suits their requirements.  The project has also demanded accurate costing’s and dimensions which was tricky but beneficial as I feel more confident to do this in the future. Balancing this along side M.I.F and the rest of my work will be challenging but I am confident that my time management skills are strong and I will achieve everything that needs to be done to a high standard.

Over the past year I have realised that I work best whilst balancing a few projects at once, and I will continue this way of working after graduation. My internship with Sarah Angold is 3 days a week, so I plan to balance this with part time work, whilst applying for residencies, commissions, and other internships. I would like to gain experience working in different design studios over the next year or two, learning about the running of a business and different working methods, whilst developing new skills. I would then like to go back and do a Masters when I have a better idea of what area of Art/Design I would like to pursue.  I am excited for things to come.

My website: http://cargocollective.com/elliebirkenheadjones

Where do I fit in the world of Art and Design?

My current work could be applied to a variety of contexts, adapting and refining in order for it to fit that purpose. I think collaboration will be key in the future to realise the potential for my surfaces. I have a flexible approach to art and design and wish to work on projects that cross disciplines. Evidence of this can be seen in the external projects I have done over this year. All very different in context and allowing me to show my potential to work in a variety of ways, utilising and adapting my skills to answer briefs to a high standard.

I am mixed media designer/artist, and although I have invested a lot of time into a particular process and set of materials, I am not limited to these, and am keen to explore many other materials and techniques. My practice will always be concept driven, in particular by my love of pattern, rhythm, repetition, structures and form and I am also keen to keep my experimental and flexible approach.

Neckpieces by Sarah Angold

One designer who's approach I admire is Sarah Angold who over the Easter break I approached regarding work experience opportunities. Sarah Angold is a multi-disciplinary designer I discovered during my research this year. I admire her work as she has a strong aesthetic but applies her designs to a variety of contexts including bespoke jewellery, lighting and installation whilst collaborating with other designers on exciting projects. I didn’t expect to hear back so was thrilled when I got a reply offering an interview over Skype the next day. The interview went really well and two weeks later I was offered the role. I will be starting 28^th July, three days a week until 1^st October. Hopefully I will gain an insight into the running of a small, multi-disciplinary studio and learn about what it takes to operate as an independent designer.

Manchester International Festival

Team MIF

1. Sculptural statement piece                                       2. Smaller printed and laser cut pieces with tassels

The MIF board: This has been a useful visual reference for collaboration, keeping us organised

A quick animation we made for the presentation articulating the playful nature of the collection.

This project has been a fantastic opportunity. I have learnt so much, being pushed well outside my comfort zone on many occassions.  It has also been a great experience, collaborating with my friends and drawing together our skills and working methods to answer the brief. The brief is to design a collection of seat covers to dress the modular seating on the roof terrace of the Benzie Building. These seats will be heading over to Alberts Square for the duration of Manchester International Festival and the organisers wanted to add a bit of comfort to them.

Initially working individually, Annie, Lucinda and I eventually decided to collaborate as combining our skills would create an exciting outcome. The piped and wadding surfaces I have been working on in the Practice unit have provided a good starting point for the project as they already work as a surfaces for interiors. 

This project has demanded a technical and thorough approach, particularly in the designing, cutting out and construction of the pieces. My skills have developed in this area and I have realised it is one of my strong points. The project has also required excellent communication skills between the three of us which I think has been key to the success of the project so far. We have ensured that all three of our individual identities have come through in the work, as well as creating a strong visual aesthetic for the collection. I have also developed my finishing skills as the project has required finished products in contrast to the rough samples from the Practice unit.

The collection combines all of our practices, making printed, embossed, folded and laser cut surfaces to create interesting surfaces which are then constructed and stuffed to make soft, tactile covers.  We suggested that pink is added to the colour pallet which Gemma from MIF loved, so we have used this to add fun, bright accents to the pieces. We decided to keep the construction simple, utilising the eyelet machine, developing on from my samples in the Practice unit. We also developed the tassels from my initial sampling into more refined fringing, cut out on the laser cutter, to add even more tactility to a selection of the covers.

Pitching to the panel at M.I.F head quarters was one of the scariest things I have ever done, but it felt amazing afterwards from all the positive feedback we received for our prototypes, making all our hard work well worth it. I worked out the costings for the presentation and made sure they were accurate. This has been an important skill to develop and I feel confident to do it in the future. Over the next few weeks we will be producing 50 covers ready for the festival at the start of July. It is a huge task but we are prepared and organised and it will all be worth it when we see our designs used and enjoyed by the public. 

Colour Palette

Initial Colour Palette

Iridescent colour palette for Vertical Gallery commission

My colour palette has developed through out the project.  For my early samples I used electric blue, bright pink and bright orange. I wanted the pieces to stand out and have a futuristic feel so I chose them as they stand out next to each other. I explored these colours through stitch, print and flocking and tubing. However, I didn’t really consider them to a great degree, and wanted to push it further for my later samples.

For my vertical commission I have developed my ideas of colour and through research into light, glass and installation pieces, I want to create a more subtle palette developed from the tones that make up an iridescent effect.  I discovered that Perspex can be dyed using disperse, and the effect is subtle compared to the pre-coloured Perspex.  I think this subtlety will work well with the light coming in from the window that I have pitched for and hopefully the colour will be projected around the space.

Designs done on Photoshop to get an idea of shape

For my jewellery collection, the palette will be bolder and more striking so I am sourcing coloured Perspex and will combine transparent with frosted to create texture and depth. I think a brighter colour palette will compliment the jewel like quality of the Perspex inserts, creating a luxurious, dramatic aesthetic.

Vertical Gallery Commission

Visualisation the window space

This was an exciting opportunity to present to a panel, pitching my proposal for a space in the vertical gallery during degree show. It will allow me to make work at a larger scale that I otherwise would be able to afford. My work has potential to work on a large scale in a gallery/installation environment so I am keen to develop it for this purpose.

Preparing for the pitch was difficult, as it required a clear idea with dimensions, costings, fixings etc. I tried my best to visualise my design in the space, with estimations. This was good experience, as when pitching for opportunities outside university, clients will want a definite, clear proposal. 

Learning from previous presentations this year, I prepared during the week leading up to the pitch, wrote cue cards and practised a lot. It paid off as I made it through without stuttering or shaking like last time and I came away feeling that was a huge achievement in itself even if I didn’t get the place.

 The questions went well and the panel seemed to like my work, although I did find them a little unprofessional at times, not introducing them selves, and sometimes not listening. But overall it was a great experience and I feel confident to do something like this again.

My design is made up of modules, each exploring the natural, organic form of my surfaces. I have pitched for a window space as I want the piece to interact with the light. The testing period went well and I have been given the commission to realise my design. There is a lot of work to be done but my time management skills have become strong during the year and I am confident I can balance it along side the rest of my work.

Securing the Structure

1. Serrated edges                                      2. Sandwiching between larger layers     3. Using stitch 

My investigation into securing the inserts has been on going through out this unit. Initial tests have included:

-Using stitch and making it a design feature

-Perforating the edges to create more grip

-Increasing the thickness of the Perspex so that it is wider than the neoprene

-Making the inserts larger so that neoprene grips more tightly.

- Using glue

- Sandwiching the insert between two larger layers.

I have been determined to find a way to secure them in place without glue. I want the structure to work but I also want the pieces to be functional and usable. When inserted, the pieces sit securely, but over time they begin to fall out as the neoprene is stretched. 

The glue and stitch have been most successful visually, but the glue is the only way I have found that allows them to be functional. I have been using a flexible, clear glue called Shoe Goo, and some people have even commented that the effect of the glue behind the Perspex adds a nice texture. 

Scale, Shape and Form

1. Small scale suitable for jewellery/body adornment   2. Scale suited to lighting         3. Unsuccessful large scale

I have pushed the scale of my work to see what the possibilities could be in terms of context. 

1. I started out on a small scale whilst figuring out the structure. These work best for jewellery/body adornment as the light catches the small inserts and almost makes them sparkle like jewels. The small scale also creates the most sculptural forms, which must be something to do with the weight of the Perspex in ratio to the thickness of the neoprene. These forms lend themselves to the body and is something I will to push further.

2. This is a slightly larger scale, however the slight increase in weight of the Perspex restricts the over all form, flattening the surface. I still think this can be used for wall lighting, perhaps arranged as modules, built up across a surface as tiles.

3. I tested large scale inserts, hoping that these would work for the my Vertical Gallery proposal, but the weight of the inserts in ratio to the thickness of the neoprene made the sample unsuccessful. I would need access to an industrial laser cutter to develop this scale.

1. 2D to 3D       2. Sculptural form

The sculptural samples are the most exciting and have lots of potential for exploration, which I will develop with my work for the Vertical Gallery. The form is fascinating, how something 2D can become sculptural by inserting the pieces is really exciting and I hope this quality is what entices people at the degree show.

In order to apply these structures to the body, I have been developing shapes specifically to be worn. I see this collection as sculptural body adornment/jewellery. I think my work could also be refined to a more commercial market, but it is the sculptural, experimental forms I am most excited about. I am making three pieces to be displayed in the degree show and plan to photograph them on the body for my website.

Collaboration Talks

This project I have met with a couple of students to talk about potential collaborations. Soo Ty is fashion design student who shares a similar contextual references and an interest into expandable surfaces/garments. Although we loved each others work and there was a real potential for a great project, we agreed that we didn't have enough time realise it along side the work load we already had. I also thought that the aesthetics we are working towards didn't really gel.

Hoda is  on 3D Design course she approached me after seeing my space in the studio. We had a few chats about collaborating on a light, using my surfaces. However, I think the project wasn't going to be a balanced collaboration as Hoda's own work is not quite developed enough to insert her creative aesthetic into the project, and although it is great that a student wants to make my work into a light, I wouldn't want the project to use up the time she needs to invest into her own practice.

Both were positive experiences and I would feel confident to approach someone again in the future with collaboration in mind.

The Lost Carnival

1. Prada 2011                                            2. Fish Scales                                       3. Lorenzo Nanni

Hermit Crab Design: Embroidered cording, dyed felted merino wool with beading on milliners net base

Fish Design: Embroidered Scales, dyed embroidered organdie on milliners net base

Earlier in the year I was approached by Wild Rumpus events to work on their event coming up in May, The Lost Carnival.  I chose to work on the headpieces for two mermaid costumes. A fashion student at Salford University is working on the costumes, so I got in touch with her to collaborate so that our designs work well together. Unfortunately she hasn’t been easy to communicate with so I just went on ahead with the project. I suppose this could be the case in the outside world, not everyone being easy to work with so it's all good experience in how to deal with that.

I have researched haute couture such as Dior, Versace and Prada, all of which have done collections inspired by the sea.  I referenced Lorenzo Nanni who creates organic forms using traditional embroidery techniques and also looked at fish scales and shells.

I used this opportunity to explore traditional embroidery processes and materials as I felt these would best suit the aesthetic of the festival. Designing for costume, specifically headwear has been new for me, but I have enjoyed a clear destination to work towards. I designed shapes that would fit the head well, keeping the context clear in mind. As the pieces are for performance, I decided big impact was important as the performers will be moving around and seen by a large audience.

The hermit crab consists of a shell structure made of milliners net, hand stitched and covered in embroidered cording made using the Irish sewing machines. The crabs body is made of hand felted merino wool, which were then dyed using acid dyes, inserted with wire to give them structure, wrapped with thread and hand beaded to add texture. The fish is also made using milliners net with added wire to make it a strong structure. The scales are all embroidered using the Multi-head, and were then hand stitched to the base. The fin and tail are made of cotton organdie which I choose as I holds its shape and doesn’t fray to easily. I hand painted them using reactive dye in a blended wash effect. 

I have really enjoyed this project and am pleased with the outcome. It has allowed me to explore several dying and textiles techniques, whilst keeping to a budget and tight deadline. It has also been nice to work on along side my other work, something fun and cheerful that will be used for performance so people can enjoy and interact with them.

Material Exploration

1. Latex                                                         2. Rubber hose filled with perspex disc

MDF

Perspex

During this project, I have tested several materials to insert into the neoprene including wood, Perspex, latex, PVC, silicone and rubber tubing.

I am glad I tested latex as a material, however it isn’t as clean or visually exciting, as the edges are not as crisp as the laser cut materials. This is because I used a mould to pour the latex into, and using this method didn’t allow me to create tight corners.

The wood has potential creating a different aesthetic. The contrast between the natural wood and man made neoprene is interesting and would work for interiors. Chatting to Paul Tutty, he suggested the wood has a more masculine look and would work as lighting. The opaque material blocks the light, creating shadows in the space, whilst the unfilled incisions lets light through. The wood will also allow for exploration in colour and finish as varnishes, dyes and paints can easily be applied.

The Perspex is visually and structurally most successful, being clear the piece interacts with the light. The small scale inserts sparkle in the light, lending the surface to work as jewellery or body adornment. I plan to explore this further.

Silicone Development

Samples exploring form, colour and pattern

Surface visualised as tactile rug

Playful fashion collages

During my feedback from the Practice Unit,  Mark and I agreed that the silicone insert sample I had started was successful and is something to develop during Unit X. I discovered that the silicone can be dyed using disperse so this has allowed me to explore colour. I stuck to pink and blue at first, and later on added purple and black. I wanted them to look clean and modern and found these colours suited that aesthetic. The placement of the inserts within the laser cut neoprene allowed me to explore pattern and form. I adjusted the scale of the neoprene incisions so that the silicone inserts sit tightly in the spaces with out falling out. I also explored the length of the silicone inserts, making some longer so that they prorated out of the surface, whilst others I kept shorter so that they sat within.

These surfaces are flexible, bright and fun, and interact with the light due to the translucency of the silicone.  I imagine these surfaces for interiors as tactile floor and wall coverings. The sculptural quality of the samples lends them to be used on the body which I have suggested in a collection of playful collages.

I also entered one of these samples into the Bradford Textiles competition in the new technologies category. I didn't win but it was a good experience and will enter again next year when hopefully my practice is more developed.