Painting designs and artwork
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Showing posts with label sketchbook. Show all posts
Showing posts with label sketchbook. Show all posts
FLORAL REPEATS
ALL OVER REPEAT
Jardin des Tuileries, Mokum's Dauphine Collection 2008
HALF DROP REPEAT
Spice, Mrs. Press "Dressing Table" 2009
Tea Rose, Mrs. Press "Dressing Table" 2009 STRAIGHT REPEAT
Petit Trianon, Mokum's Dauphine Collection 2008 
Pomegranate, Mokum's Dauphine Collection 2008BORDER REPEAT
Magnolia Dress, Mrs. Press Ready to Wear 2009 
Kartuli, Meridian's Folk Collection 2008When it comes to designing a floral the repeat options are endless. You may think this would make things easier but it really doesn't, if anything it makes it so much more difficult!
Each repeat option above demonstrates how much a repeat system can influence a design. It can be a simple half drop or an all over repeat. All over repeats in my opinion can be best described as a puzzle in which you and you only can make it fit together.
For me the Mokum Kartuli border design was one of the most challenging, as it is three metres wide, this meant my design also had to be three metres as well and no repeat!! This design took me so long to design and if it wasn't for Cathy Brown saying she believed in me I probably would have given up.
Every mill we work with world wide has different looms that are set to specialised repeat sizes. So when we have finished a design and chosen a quality, whether it be silk or velvet, we then need to make it the right size repeat for the weaving looms capability.
When it comes to embroidery its even more difficult, not only do you need a horizontal repeat size from the mill, you also need to know the vertical repeat size. If you didn't know these repeat options before starting your design it could end up quite distorted. This happened to me with Petit Trianon, but luckily I only had to alter it slightly.
To sum it up, floral designs in any repeat are very beautiful but in my opinion the process is quite the opposite!!
MADELEINE VIONNET
Madeleine Vionnet
1920's Vionnet gowns
Vionnet 1930's
The famous bias cut
Beaded Swallows
Vionnet's invention the halter neck dress
Preliminary sketch of "Vionnet"
"Vionnet" chair
"Vionnet" Chair with "Brocatelle" Cushion
French fashion designer Madeleine Vionnet (1876-1975), "Queen of the bias cut" and "the architect among dressmakers", is best-known today for her elegant Grecian-style dresses and for introducing the bias cut to the fashion world.
As an expert couturier, Vionnet knew that textiles cut on the diagonal or bias could be draped to match the curves of a woman's body and echo its fluidity of motion. She used this "bias cut" to promote the potential for expression and motion, integrating comfort and movement as well as form into her designs.
It was her beautiful lavish bead work that inspired my design "Vionnet", I wanted to also capture the lovely satin silk in the ground of "Vionnet" that she so often used to increase the movement of her flowing gowns. Vionnet once said "designers make dresses, artists make dreams", to me her whole collection of work was a dream and inspiration from her was plentiful.
An intensely private individual, Vionnet avoided public displays and mundane frivolities and often expressed a dislike for the world of fashion, stating: "There is something superficial and volatile about the seasonal and elusive whims of fashion which offends my sense of beauty". Vionnet was not concerned with being the "designer of the moment", preferring to remain true to her own vision of female beauty.
MODERNE COLOUR STORIES
When it came to creating the colours for our Moderne collection we wanted to create a sophisticated palette indicative of the 1920s and relevant for today.
We always look into our best sellers and take every opportunity to travel overseas to keep in touch with international colour trends, in both fashion and interiors, as well as investing in colour forecasting.
We wanted Moderne to contain soft jewel and metallic tones, blues and greens mixed with silver and golds, to sit alongside an array of neutrals, which graduate from warm creams through to chocolates and ebony.
While researching colour combinations we found an amazing photo shoot in US Vogue, the shoot which celebrated 1920s fashion designer Paul Poiret. Mary Howard was the set designer and was responsible for the amazing murals that set the scene (seen in images: 1, 2 and 3). Almost every shot was used for our colour inspiration and couldn’t have come out at a more appropriate time for the studio, enjoy!
We always look into our best sellers and take every opportunity to travel overseas to keep in touch with international colour trends, in both fashion and interiors, as well as investing in colour forecasting.
We wanted Moderne to contain soft jewel and metallic tones, blues and greens mixed with silver and golds, to sit alongside an array of neutrals, which graduate from warm creams through to chocolates and ebony.
While researching colour combinations we found an amazing photo shoot in US Vogue, the shoot which celebrated 1920s fashion designer Paul Poiret. Mary Howard was the set designer and was responsible for the amazing murals that set the scene (seen in images: 1, 2 and 3). Almost every shot was used for our colour inspiration and couldn’t have come out at a more appropriate time for the studio, enjoy!
MODERNE PRELIMINARY DESIGN WORK
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When it comes to designing the patterns for our collections we find that our design process becomes more experimental when we start with hand drawings. It also gives the designs a certain softness that you can’t achieve on the computer.
Having a fine arts background I personally love to draw and paint designs before I move to the computer to resolve pattern repeats. By doing this we are also left with beautiful hand drawn archives, which I think are important for Mokum’s history and to illustrate our unique design process.
Above are a selection of initial sketches from our upcoming Moderne collection.
Having a fine arts background I personally love to draw and paint designs before I move to the computer to resolve pattern repeats. By doing this we are also left with beautiful hand drawn archives, which I think are important for Mokum’s history and to illustrate our unique design process.
Above are a selection of initial sketches from our upcoming Moderne collection.
ACACIA STRIPE
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Acacia Stripe CAD Artwork
Acacia Stripe colour Atoll
A bold multi-coloured stripe, with a twill weave detail and faux stitch-like effect came from the idea of hand stitching (Image 1). The studio thought the hand stitched look gave the stripe a warm and less formal effect, suitable for outdoor. This design is named after the Acacia Tree, generally found in tropical to warm temperate regions, and very common in Australia.
Acacia Stripe is from our latest indoor/outdoor collection, Australian Botanicals Outdoor. The collection boasts three outdoor jacquards with a coordinating plain, woven in unique colour combinations that embody the relaxed culture and clean light of Australia.
All yarns from the Australian Botanicals Outdoor collection are:
- 100% recyclable
- Made from post industrial waste
- Produced using eco-friendly processes
- Certified Cradle-To-Cradle™
Acacia Stripe is from our latest indoor/outdoor collection, Australian Botanicals Outdoor. The collection boasts three outdoor jacquards with a coordinating plain, woven in unique colour combinations that embody the relaxed culture and clean light of Australia.
All yarns from the Australian Botanicals Outdoor collection are:
- 100% recyclable
- Made from post industrial waste
- Produced using eco-friendly processes
- Certified Cradle-To-Cradle™
MIMOSA
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This cute and playful geometric, Mimosa (image 4) from Australian Botanicals Outdoor, is created through the use of small, repeated, cloud-like motifs that are similar to the pompom blooms of the Mimosa Tree (image 1).
KARTULI
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Image 5 When given the chance to design a wide width (300cm from selvedge to selvedge) burnout for Meridian’s Folk Revival collection, I immediately thought of creating a border design. The fabric being wide width meant the border could continuously run along the bottom of the window with no seams. Further investigation into border designs revealed that sampling unfortunately created loads of wastage. I didn’t want to just give up on the idea, so I went back to the drawing board and designed a vine that could grow up the border from selvedge to selvedge. This new design meant no wastage when sampling and no repeat within the design, so it took weeks to create the entire 300cm. The result is a unique and decorative burnout sheer, well worth all the hard work!
INK EXPERIMENTS!!
Image 1Ngahuia and I while looking for inspiration for our latest collection came across lots of amazing ink patterns in our latest View textile magazine, so we tried some of our own.
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Image 3 This is a shot of Ngahuia's wet paper towel that she had squeezed ink into while it was folded.
Image 4 This is what it ended up looking like once unfolded, we found all the colours once they had dried became a lot less intense so we were fortunate to take the photos while they were still wet.
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Image 7This is a group photo of some of our favourite ink experiments, what we really loved about this process wasn't only the instant repeat that would evolve once unfolded but the anticipation of wondering what it would look like once unfolded.
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