Lady Ga Ga 2010 Brit awards

Image found at http://www.glamourvanity.com/Images/lady-gaga-2010-brit-awards-winner.jpg
Absolutely loved Lady Gaga's outfit for the 2010 Brit awards. It was a lacy creation that covered her from head to toe, even part of her face. It revealed and concealed with great impact. The sculptured head piece was designed by Philip Treacy. Stunning!

Magma book store, Northern Quarter

Image found at http://www.manchesterad.com/1mg/areaguide/nq/MAGMA.jpg. Magma book store is fantastic for artists/designers. It stocks every creative magazine you can think of and books too. Also sells quirky gifts and stationery etc. Definitely worth a visit, situated in the trendy Northern Quarter, Manchester.

Leon's Fabric Store Chorlton

Image found at http://www.farm2.static.flickr.com/1324/682697178_54a3eb3fd2.jpg Leon's is a great fabric store located in Chorlton, Manchester. It stocks a good range of material, threads, and garment patterns etc. I recently bought some Bennet's silk from here. They do not stock it, but have a sample book for you to look at and place an order. It arrived 2 days later, so did'nt have to wait too long. It was worth the wait as it is such good quality. Recommend a trip here if you are planning on dress-making etc. Also have a good range of fabrics for home furnishings.

Matthew Williamson Urbis Exhibition

Image found at http://www.urbis.org.uk/pictures/designmuseum-matthew-williamson-exhibition-4-design-muse...
This exhibition took my breath away. As soon as I walked in I was hit by the bright colours, pinks, turquoise, orange , yellow, green etc, etc. The clothes were stunning, especially the beaded detail on some dresses, but also the print on the garments and the shape and cut. I couldn't fault it. There was a huge mood board as you first walked in showing all of Matthew Williamson's inspiration for the show. You notice that he travels all over the world by the various things he has collected. There was a lot of references to India and Cuba.

I was really excited by seeing his sketchbooks in the glass cabinets, they were fantastic. Some were nostalgic as there were pictures of Adam Ant! This took me back a few years. There were further print designs displayed on the walls which had been digitally produced, again stunning. It was really good to see how he develops his research and inspiration. Would love to see this exhibition again.

Cal Lane

Image found at http://www.ldomdesigns.files.wordpress.com/2009/06/piclanewheelbarrowblog-746899jpg Cal Lane is a sculptor whose work excites me. I love the fact that her artworks are formed from mundane waste such as oil drums and metal objects e.g. wheelbarrows and shovels. She transforms them into, lacy, ornate metal artworks by welding intricate patterns into them but they still retain the perfect shape/outline of the object, a sort of silhouette. The bold outline of the object contrasts beautifully with the smaller detail contained within it. I am drawn to the rawness of the steel. It gives a sense of earthiness, a sort of organic quality. Its masculine and feminine at the same time. Unique!

Stewart Russell

Image found at http://www.designsabroad.com/designers/000011/portrait.jpg
As I am drawn to layers and transparency in my design work I decided to look at the work of contemporary artist Stuart Russell. He is a textile designer producing hand printed fabrics. His ideas for design projects are usually inspired from his obsession of traditional textiles and other contemporary artists. He gathers and collects random information as his starting point. HIs backing cloths from his studio become pieces of art that that he now sells. HIs layered prints are beautiful along with the composition. The more you look at the prints you start to see little bits of intricate detail, and shapes etc. that are hidden under the layers of paint. He designs print for clothing and interiors.

Paper and Cloth

Paper and Cloth are a surface pattern design studio producing designs for womens, interiors, stationery and kids. They focus on designers with good illustration skills and promote them individually. 'We promote each of our designers under their own name because we passionately believe in promoting talented designers to industry and clients being able to commission specific individuals.' Image and quote accessed at http://www.paperandcloth.net/

I was lucky enough to meet the director, Jennie Rivers, in April 2010. She gave me some good advice about the industry and how her studio works, and also feedback on my own work.

Most of the designers at Paper and Cloth use Illustrator and vector based graphics over Photshop. She believes this is the way forward.

Most work is hand drawn/ illustrated, then scanned and worked into. They like to keep the hand drawn effect.

Good drawing skills are an advantage/bonus in the design world and you can make good money from this.

The Industry is very competitive and therefore she prefers quality over quantity. Jennie Rivers informed me that she would much rather her designers take longer to produce a design to get that special quality.

Visit trade shows to keep up with trends, colours etc.

Network e.g. blogs, portfolio, studio visits. Link your blog to as many people/designers as possible to get noticed and promote yourself, it will get you work.

Research is vital to stay ahead of trends. Look what is going on in the world around you e.g. politics, economics, mood, colours, trends - these are all influences on the industry.

Clients always want something new and edgy.

Buyers at trade fairs have a range plan, direction, colour palette and an open to buy policy.

The designers at Paper and Cloth are expected to do 15-20 designs per week and expect to sell 30-40% of these.

People are fickle so push different looks of illustration but keep your own style.

Designers at Paper and Cloth are promoted under their own name.

Think about how a studio will notice you -research them, illustrate your surface pattern skills, graphic balance and colour balance.

Creative Commons - go online here to get a license for protecting your work - very important.

If you are showing your portfolio to and agency/studio then do not let them take it out of the room as they might make copies of it!

If you do free-lance work you are likely to wait 90 days for payment.

Stand out - always look at what is developing, keep learning, and stay up to date with computer programmes.

Jennie Rivers also works an agent and takes 40% of the sale of a design. Designs sell for £375 in Europe, so the free-lancer receives £275 of this, and $650 in America where the free-lancer will receive $444.

Be versatile - if you are work loose e.g. mark-making then try doing a tight paisley or russian folklore style so that you attract different people making you more employable.

Animal prints are very commercial and good sellers.

Do not let your portfolio be too cool - buyers will not go for it! If you send your CV out to studio's etc, make and impression i.e. think about the presentation of it. Perhaps make it into a brochure.

Feedback on my work

Florals - good to be versatile, draw different ways - for gift cards, fashion, interiors.

Show flexibility as a surface pattern designer.

Illustrations in my sketchbook would easily go into illustrator and would not have to be changed much - keep the hand drawn effect.

I can charge more money for hand drawing designs initially.

I should look at illustration and graphic magazines to influence my work e.g. key lines in illustrator. Scan in work and work with key lines.

Likes my drawings and style - different.

Work digitallly - trace work to scan in and make it clear. Take elements and use lassoo tool to move things around.

Get work to look visual - put into garment shapes - sells it.

Look at Print Source trade show.

Research Carolina York - she hand paints designs. Also Lush Lampshades and Angie Lewin (artist in Norfolk).

My meeting with Jennie Rivers was was very interesting and informative. She was great to talk to and ask questions, and told us we could email her for any further information or advice. She complimented my work and style which was an added bonus!

Running your own business

I wish to run my own surface print business, for fashion and interior textiles.

I have done some research into what this would involve.

First I would need to look at how to acquire finance. Having carried out research on the business link website I have discovered that there are certain grants/loans available. It seems there are various different grants on offer but none seem to fit my criteria although there are small business loans that can be applied for depending on which area you live in etc. Some loans are specifically aimed at women only starting up in business as long as you have a good business plan and references and would eventually be able to provide jobs for at least one or two people. The following information is taken from the Northwest Regional Development Agency - Finance for business accessed at http://www.nwdabusinessfinance.co.uk/small-business-loans/eligibility

'The Small Loans for Businesses scheme is open to anyone in the Northwest - covering Cheshire, Merseyside, Greater Manchester, Lancashire and Cumbria.

It aimed at people already running or looking to start one of the following ventures:

• New or small business
• Trading arms of charities
• Social enterprise
• Not-for-profit organisation

The main criteria is you can show that you have tried to obtain funding from traditional sources - bank or building society for example, and been rejected. It maybe due to a poor credit score, lack of security, insufficient track record or plans that traditional lenders consider too risky.

Successful applicants MUST be able to demonstrate:

• Good management
• They are not an undertaking in difficulty
• Viable business plan
• An ability to service the borrowing required
• An inability to obtain sufficient funding from conventional sources and that the absence of such funding is exposing the business to the risk of failure to achieve its growth potential.
• The Loan will not be used to pay down existing borrowings.
• Through their business plans, should be able to demonstrate a positive impact on jobs, either through job creation or preservation.

As long as you've got a workable business plan, with the potential to create new jobs - even if it's just one or two - you can apply. You can apply for any size of loan between £3,000 and £50,000.

The scheme is open to everyone, and we particularly welcome applications from women, minority groups and businesses in deprived areas.'

The Arts Council also offers bursaries/grants for arts related activities of which I am in the process of applying for online. The Arts Council can be accessed at http://www.artscouncil.org.uk/

To enable me to produce hand printed designs, I would need a studio to work from along with the following equipment and facilities :-

Print table for screen printing, screens, an area to store the screens, an area to wash screens, an exposing unit, storage space for paints, squeegees, emulsion, drying unit, dyes, fabrics, transfer press, steamer, etc.

I could acquire most of this equipment second hand off Ebay but it would still be fairly costly and quite a large investment in the beginning. The best option would be to work from home in the beginning. This would keep costs at a minimum, as I start to build my business, and I would not have to worry about paying studio rent. I already have a small studio in my garage large enough for sketching and working on my design process. There is not enough room for printing but instead I could pay for the use of printing facilities to produce my final designs/collections.

There is an open print studio in Salford called Hot Bed Press where I could carry out my printing for a small fee. I have researched the printing facilities they offer, their costs and opening times which are shown below. Images and info accessed at http://www.hotbedpress.org/show_title.phtml?category=[1]about%20us&ref=0

Hot Bed Press (HBP) is a not-for-profit open access print workshop, dedicated to supporting anyone with an interest in printmaking, and in promoting printmaking to a wider audience. The studio is located in the Chapel Street Cultural Quarter of Salford where it shares premises with two other studio groups, (Cow Lane and Suite) and a very handy metalsmith (J. Cocker). Our facilities include equipment for screen printing, etching, drypoint, collagraphs, relief printing and other related processes. Our screenprinting is waterbased with two light boxes for photo-screenprinting and a darkroom facility for coating and exposing screens. In our etching area we have nitric acid for steel and zinc plates as well as ferric chloride and now also saline sulphate. Our aquatint is 'traditional' resin.

Opening times Monday 10.00am - 5.00pm Tuesday 10.00am - 5.00pm Wednesday 10.00am - 5.00pm Thursday 10.00am - 9.00pm Friday 10.00am - 5.00pm We also open one Wednesday evening a month until 6pm - 9pm, (usually the 1st Wednesday), and one Saturday a month; 11am - 4pm, (usually the last saturday of the month). We have a booking system for our screenbeds. It is also recommended to ring to say when you are coming in for other processes as it help us plan ahead.

studio hire /materials Members are charged an hourly rate of £1.50. A Studio Hire Cardshould be purchased for £12.00 in advance, which is then used as a credit system as the hours are used. This makes us one of the cheapest print workshops in the country! In addition the workshop has specialist materials such as inks, printmaking papers, metal, lino etc. which can be purchased with the use of a Materials Voucher. The vouchers are for £10.00, and exact amounts will be crossed off each session as materials are used. Materials are charged at very reasonable rates to encourage and support printmakers. Members are always welcome to bring their own materials in. (There are also plenty of materials such as degreasers, grounds, white spirit etc. that are provided free of charge by Hot Bed Press.) This is a simple system that means no fiddling around with money at the end of each session. In 2009 we scrapped the screen hire system and replaced it with a more straightforward charge for photo-emulsion, (£6.00 for processing a large screen and £3.00 for processing a small screen). You can still have a screen for up to a month but screen hire is not charged separately. (We have over £1,00 worth of screens and in 2009 invested over £800 in new screens!) We are aiming to invest in even more screens to satisfy demand in 2010. Members are welcome to bring their own screens in, (although we are very limited to space to store them and screens are stored at Hot Bed at the owners' risk.)

When talking to other designers about business e.g. Alex Russell and Jenny Rivers, they informed me of a few pitfalls I must be aware of to ensure my business succeeds. These include :-

Copyright - Make sure you have a copyright license and display it on designs so that they cannot be copied. And never ever copy anybody else's designs as you can get into a lot of trouble for this and it would be very costly.

Plan - Have a time limit to make your business work say, two years, and if it is not working then change it.

Net-work - Send your portfolio out to as many studios as possible to get yourself known and also arrange visits to them. Keep your blog up-dated, with good material, and link it to others - a great way of getting noticed and promoting yourself. Let potential clients know you have one so they can get an idea of your stuyle and see your work.

Trade Fairs - visit trade fairs to keep up with trends and research your market.

Agents - get yourself a reputable agent when starting out as they can take your work to trade fairs and sell it for you to keep costs down. Always read their contracts to make sure you agree to it, commission fee etc.

Work - learn to work fast as you have to produce lots of designs in a week to make money!

Adapt - Always do what the client asks for whether you like it or not.

Briefs - If you cannot finish a brief on time then let the client know as soon as possible so as not to disappoint them too much and so that you can work something out together.

Dpi - If sending images of your work out to potential clients, always use 75 or 150 dpi, never 300, so they cannot steal your ideas!

Free-lance - Remember that if you work free-lance then you will not get paid till you have invoiced your client who then could take a month or so to pay because they also may not have been paid. So you could be waiting quite a few weeks/months for money.

Help and Support - Business Link offers advice on taxes, returns, and payrolls etc and also ECCA, Enterprise Centre for the Creative Arts. ECCA also offers advice on pricing, marketing, invoicing, getting paid on time etc. ECCA can be accessed at http://www.ecca-london.org/

Paper Salad and Container Plus

After hearing lectures by both Paper Salad and Container Plus I have compared and contrasted the information I gathered from them. The differences/similarities are as follows:-

Paper Salad are designers/publishers who design cards and gift wrap. Container Plus are a multidisciplinary group of designers who solve creative problems.

Paper Salad are very commercial and go to exhibitions to sell their designs and brand, whereas Container Plus show their work to art directors etc and have built up relations in the design world by promoting themselves through their portfolio and by winning competitions.

Container Plus do not attend trade fairs as this is not relevant to their work. They are more likely to asked by a client to solve a design problem or to come up with a unique idea/slant on a brief, to which they would be required to see through e.g. create the animation for a website. This would usually involve collaborating with other artists/designers. They point out that even if they have never done something before, that a client asks for, they will always say they can do it and find a way! Each project they work on is completely different whereas Paper Salad solely work on designing cards etc.

Container Plus collaborate with other artists/designers, it is the nature of their business. Paper salad work as a partnership which works well for them, therefore, they are against the idea of working with anyone else. The type of work they do does not really require them to. Although they do employ other people to help around the studio with packing etc.

I noticed both ladies from Paper Salad mentioned that, whilst working together constantly their styles merged together and now you cannot tell whose design/artwork is whose. Also, each said they shared the same level of commitment and do not socialize together.

Both work from studios. Although Paper Salad's studio is much more commercial as it has areas for packing cards into boxes etc. It is more of a factory environment than a creative experience.

Container Plus fill out time sheets to work out their wages. The Paper Salad partnership do not use timesheets but each of them take the same set salary from the business.

Paper Salad hand draw and collage their designs onto paper. Container Plus use a variety of techniques depending on which project they are working on e.g. computers for animation, the use of card/paper for small set designs, illustration, etc.

Louise Vormiteag from Container Plus also teaches illustration part-time at Camberwell University to supplement her income even though she is very successful in her collaboration work. Paper Salad do not need to supplement their income as they have gradually built their business up into a commercial success.

Container Plus are more artists than designers. They sometimes get commissions for gallery's etc. Paper Salad concentrate solely on being publishers and selling their brand. Their designs are not the type of work that would be commissioned for a gallery.

Paper Salad have sales agents/reps to sell their work all over the world, Container Plus do not.

Both commented on how competitive the industry is.

Paper Salad will get some of their hand sewing/print for cards/ gift tags done abroad e.g. China. Container Plus generally source everything they need for a project and make it themselves.

Both mentioned that you need to work fast!

Paper Salad are now very successful and have a five year plan. They want to be turning over a million pounds, which they say is now in sight!. Container Plus do not have a plan as such except just carrying on collaborating and learning new ways of designing and solving creative problems. They seem to be more passionate about their work and are not in it for the money whereas Paper Salad are more business orientated.

Paper Salad

Image found at http://redirect.papersalad.co.uk/about.asp

Paper Salad are designers and publishers of contemporary greeting card, gift-wrap and stationery. They recently visited our college to give a lecture about the card/stationery business.

They attended the same college I attend, Stockport, and after graduating started to gradually build up their business together by renting a small studio space where they would sit day after day designing and researching the industry in depth. They didn't really make any money in the first year. It took 2 years to prepare for their first trade fair in New york but only six weeks to design the cards for the show because they say it is everything else that takes up the time! They had to get finance in the form of loans to help them. This first show was very successful . After five years they decided to launch Paper salad because they wanted their designs to stay in their original form without being changed and broken down when sold. They wanted to become a Paper Salad brand. Image found at http://redirect.papersalad.co.uk/news.asp

The following advice and helpful tips were mentioned in the lecture:-

You should work in a studio for professionalism .

Try not to work from home as you cannot get motivated enough.

They like working together as they motivate each other.

Designing takes up 10% of your time - it takes a lot of time to work other things out e.g. paper and card sizes, managing your agents, invoicing, processing orders etc.

Licensing agents take 50%.

Personal strengths and attributes needed are resilliance, determination and be prepared to take risks.

Many people are using digital print.

It is a very competitive business as there are 800 publishers in the UK so you have to get it right!

The UK is leading art and design.

Cards cost 85p - 96p and retail at £1.95 - £2.25.

Paper Salad sell to small independent retailers. They design, exhibit and then retailers come and place orders.

They send their artwork out to be printed

In their opinion it does not matter where your business is based.

You must always look at trends - interiors and fashions

Paper Salad hand draw their designs and do a little bit of digital work which their repro man does for them.

They say you must not worry what other people are doing and must carve your own niche in the market.

You need an agent to license your work - a licensing agent.

It is cheaper to get hand finishing done in China e.g. sequins but you need quantity and you have to pay up front and it takes them 3 months to before you get them back!

You can distribute cards all over the world e.g. New Zealand, Switzerland and Japan.

The Japanese like bright colours.

Two people work well in business, three are a crowd.

You must attend trade fairs.

Make the most of college and learn as much as you can.

Always try to work quicker.

There are two sides to the business - agents sell to publishers and printed cards to small retailers.

It would seem that Paper Salad have been very successful and in five years they aim for a million pound turnover, WOW!

Container Plus

Image accessed at http://www.superfuture.com/supernews/wp-content/uploads/2009/09/container-plus.jpg.

Container Plus are a multidisciplinary group of designers. It was set up in 2002 by Louise Vormiteag and Nicola Carter. Louise recently visited the college I attend to give a lecture giving us valuble advice on collaboration.

They attended the same uni and during their second year collaborated together on a project which involved making a short film. They went on to win a prize for this film. This experience led to them forming a partnership after they had graduated. They had no specific plan except that they were friends, worked well together, respected each other, had different styles and shared a high level of commitment. They wanted to stick together and believed that two portfolio's were better than one in the 'real world'. They did a lot of cold calling and visited art directors etc showing each others work. Louise Vormiteag informed us that you have to be prepared to find your own way in the creative world and that there is no secret formula to being successful.

Some projects they have worked on include:-

An Illustration project for Selfridges. This was a competition that they won for designing a window set. They then had to carry out the work for the actual window display. For this they also worked with a fashion designer who designed the outfits they wore as they carried out their work. The public could stand outside the store and watch them drawing the window display. Louise told us that the funniest and most memorable moment was when a group of oriental people stood and took photos of them working! It made them feel special. Also winning a competition like this and having the chance to work for Selfridges was quite something in terms of their success. After completing the window they were then asked to design for the interior walls of the cafe in Selfridges. This experience led to them merging styles and learning about each others strengths. They copied and inspired each other throughout. Louise Vormiteag mentioned that now it is hard to tell their work apart.

In 2005 they did a car launch for Volkswagon Fox. Image found at http://1.bp.blogspot.com/tHHOLqKyULK/Su8gUfVn4VI/AAAAAAAAAgM/ZeskNtl-ei4/s400/vw-artcar.jpg This was a really good project as apparently there is no expense spared for car launches. Volkswagon took over a whole hotel in Copenhagan solely for artists and designers that had been commissioned to work on the launch including themselves. Twenty young artists from around the world were also given four rooms to design in this hotel, Container Plus being one of the chosen artists. Image found at http://1.bp.blogspot.com/tHHOLqKyULK/Su8gbKk10v\IAAAAAAAAAgO/-5Ggi9twGUY/s400/pf01.jpg

Louise talked about the good relationships she made throughout the project with all the other workers including builders etc as she stressed you all need each other at some point!

Container Plus has also done work for MTV Denmark, an animation video and a commercial project for a shampoo brand.

There came a point when Container Plus decided to change their way of working. They wanted to become a group of 5 instead of 2. The catalyst for this came about after working on a big art project which involved illustrations, photography, set design, fashion and models all working together. It was called the Haunted House and Evil twins project. The collaboration worked so well that they felt they wanted to formalize the relationship as they believed they could cut corners with each others knowledge and experience. They tried it for a while but unfortunately it did not work out. They spent a year working together and then separated. Louise believes relations broke down due to there being too many channels of communication. Also the girls they had collaborated with were younger than them and had different levels of experience and commitment. The group became too complicated and it seemed harder for them to ever reach a decision. So in the end they became a team of three which now works well as they are all of similar age, have the same level of commitment, they do not socialize together and keep their private lives separate, they do not have big ego's and are level headed.

She also told us a lot about what their work involved and passed on numerous tips including :-

The nature of what Container Plus do is to solve creative problems.

To work with other people in business you have to get along and deal with the situation.

How to collaborate - test people before you commit to a long term commitment.

You have to remain calm if problems occur.

You need a good sense of humour.

You need reliabiity and commitment to be successful.

Work out money issues before they become a problem e.g. have time sheets to log everybody's hours.

Get rid of your ego if you have one - the group is more important!

Do not bring personal issues to work.

When asked where Container Plus get their ideas from they told us that they have in depth conversations with a variety of people and listen to what they have to say.

Their personal influences come from installation artists such as Greg Oshneider and Mike Nelson. Louise Vormiteag is interested in narratives and fragments that the environment is embued with and also 'Punchdrunk' which is her theatrical performance side.

Container Plus keep their work fresh by having practitioner sessions where other artists/designers etc come in to their studio and show their portfolio. They believe these sessions are very important and will put a side a day each month to do this.

I thoroughly enjoyed the lecture given by Louise Vormitaeg and she expressed so much energy and was clearly passionate about her work. It was also very informative and interesting to learn about collaboration.

Work experience at Zandra Rhodes Studio

Zandra Rhodes is a famous textile designer. She designs fashion print for women's clothing. I am drawn to her use of geometric shapes and bold colours. She takes inspiration from her worldly travels and surroundings and uses sketchbooks to record everything she is excited by. Zandra Rhodes develops these sketches into striking patterns which are then screen-printed onto fabric and made into garments.

Her studio is located in Bermondsey, London. I recently spent a week in her studio for work experience. Images found at http://knitpurlandstitch.files.wordpress.com/2009/09/zandra-rhodes-studio.jpg

The first thing that struck me about Zandra Rhodes was how much energy she had considering she was seventy years old, and her crazy fashion sense! She also has a studio in America where she lives for most of the year. She is a workaholic and still incredibly passionate about fashion print. Her studio is exciting when, Zandra is around, as there are always photographers, press and magazines wanting interviews etc. She attended a fashion/textile ball at Buckingham Palace, on the day I first met her, where she had a brief chat with the Queen. I was lucky enough to have a look inside her apartment, above the studio. Image found at http://cocomale.com/blog/wp-content/uploads/2009/05/rhodes.jpg. It was colourful and eccentric with pop art and ethnic decoration.

In the studio they design by hand using sharpie pens, inks, paints and collage. Zandra Rhodes is not keen on digitally printed work although there were times when she was frustrated as nobody in the office can use photoshop!

She asked me to play around with changing one of her butterfly designs, that Marks and spencer had already bought the copyright for, because another client had asked for the same design. She suggested fans instead of butterflies. This was great practice for me and she gave me some positive feedback. She was enthusiastic about my drawing skills and composition. She also advised me to let go a little, be freer and try bigger brushes. This worked well and she was happy with the outcome.

Zandra Rhodes had just designed a camping range for Millets which will be on sale at Glastonbury festival.

In the basement of the studio there is a print room. Image found at http://knitpurlandstitch.files.wordpress.com/2009/09/zandra-rhodes-screenprinting-studio.jpg Apparently Zandra Rhodes keeps every screen she has developed for each fashion garment so if any clients want a design from a collection years back, then she can re-print it. She sends the screens out to have the images exposed as she does not have the space to do this in the studio. The same company makes the screens for her.

There is also a sewing room where all the printed fashion fabrics are made up into garments.

Zandra Rhodes studio buy coloured fabric, rather than dye it themselves. They mainly print onto chiffon, sometimes silk/satin, occasionally jersey. It is bought from Kentish Town, North London. But Sometimes they go to Shepherd's Bush to source fabrics.

Each print is printed, cut and sewn on the premises.

There are usually two or three colours on a coloured ground for each design, for which they have recipe sheets for each colourway. Syringe's are used to add the dye to the bonder.

The studio produces two collections a year, Autumn/Winter and Spring/Summer. They sell a little of the collection to Harrods but also have buyers who come to the studio and view it. The collection is taken to Italy a week after fashion week. An agent takes it Casa Como - an exclusive shop in Milan. Zandra Rhodes also has private clients that she has built up a relationship over the years, collectors. Princess Margaret is one of her clients.

I learnt so much in one week and it was a good insight into how the industry works. It was a fantastic experience but I have come to the conclusion that I do not want to work for a designer, such as Zandra Rhodes, as I would not like to design in their style. I want to put my own stamp on designs and therefore would only work for a studio if I could do this. Whilst in her studio I could not tell the difference between her textile designers work and her own. It seemed there was no flexibililty in this area.

Decode Exhibition - Victoria and Albert Museum

Image accessed at http://jamesalliban.files.wordpress.com/2009/12/decode.jpg.
I found this exhibition fascinating and exciting, a must-see for everyone. It was recommended to me because a lot of my designs contain geometric shapes and movement, which can be seen in some of the work being exhibited. It is a collaboration between the V&A and onedotzero, a contemporary arts organization working internationally promoting new ideas across all forms of moving image and interactive arts.
'Decode looks at 3 current themes within digital design. Code shows how computer code-whether bespoke and tailored, or hacked and shared - has become a new design tool. Interactivity presents works that respond to our physical presence. network charts or reworks the traces we leave behind'. All quotes taken from Victoria and Albert Gallery Guide, Decode Digital Design Sensations.
I especially liked the interactive qualities of this exhibition. It was intriguing and fun at the same time creating drama. As you first walk into the dark entrance it comes alive with lots of sticks that have oblong lights on the end which you could touch, like plastic glass. The lights seemed to go on and off to touch, a good start to the exhibition, setting the scene.

My favourite work was that of Karsten Schmidt. He had created an animation piece, bright coloured triangular fragments that scattered across the screen, twisting and turning to music. It was stunning. 'Code as a creative tool and open-source technologies lie at the heart of his practice'. Image accessed at http://www.onedotzero.com/uploads/v&a-decode_events-page.gif

I also loved the work of Mehmet Akten and Ross Phillips.

The piece by Mehmet Akten was called Body Paint. It reminded me of being in a nightclub because of the silhouettes and coloured lights. It involved standing behind a screen to create shadows and movement. 'Mehmet Akten designs and develops tools to explore new forms of digital interaction. His work ranges from large-scale interactive installations and performances to online works and mobile applications'. Image accessed at www.onedotzero.com/blog/wp-content/uploads/2010/01/Decode_MEHMET_AKTEN_c.TomBland_f.gif

Ross Phillips created a videogrid in which members of the public could stand behind, and be filmed, which would then be shown on the grid. It was interesting to see how people reacted on screen. 'Ross Phillips is an interaction designer and Creative Technical Director at SHOWstudio'. Image accessed at http://www.vam.ac.uk/microsites/decode/uploads/artist/e9317900ce4d496ecb5f851b69b722c2.jpg
There was something for everyone in this exhibition and would highly recommend it.

Origin - The London Craft Fair

www.moon-shin.com/files/gimgs/20_200910origincataloguecoverfw450.jpg

Origin is London's equivalent to Manchester's Northern Contemporary Craft Fair. It involves almost 300 designer/makers to see and engage with over two weeks. It is based at Somerset House. I visited Origin to see just what London's craft makers had to offer and also again to see if this could be an event that I would wish to participate in, in the future. There seemed to be a lot of jewellery makers and not enough surface pattern designers here for me although there were a couple that drew me in. These were Thornback & Peel and Carole Waller.

Thornback & Peel create beautiful screen printed pieces for the home. These include wallpaper, tea towels, cushions, deck chairs, baby linen, fabric, aprons, bags, t-shirts and hankies. My favourite designs were the deck chair prints and bug print cushions. These designs are fresh, stylish and contemporary. I liked the flocked bugs on the cushions, they contrasted well with the cushion fabric and stood out.



Images found at http://www.thornbackandpeel.co.uk/

Carole Waller is a textile artist. She makes painted clothes, and paintings on veils of cloth which become installations. I was mainly drawn to the unique print on her garments. They were bright and striking. The painterly colours seemed to bleed into each other. I was really interested in finding out how carole Waller had created this effect as I use dyeing processes and printing techniques in my own work and thought this information would be useful.

Whilst talking to one of her agents I discovered that she has workshops in her studio which focus on painting techniques onto fabrics. ' All courses teach painting and screen printing on a range of silks, cottons and wool fabrics with an emphasis on encouraging students to find their own visual language through the use of dyes, pigments, transfer printing, screenwork a variety of stencils including photographic'. http://www.carolewaller.co.uk/biography.htm. Her sales agent also mentioned that all the garments were hand printed and they do not use digital processes. I got the impression that Carole Waller was not really in favour of digital printing! I was also informed that she makes up all items of clothing as well as printing onto them. 'The garments are one off original pieces on unprimed fabrics such as silks, cottons, wools and linens - which are made into a collection of clothing ranging from shirts to dresses and coats. They are for anyone to wear, anytime, in any context'.

Overall I was surprised to find that I actually preferred The Northern Contemporary Craft Fair, to Origin, as there were more surface pattern designers there. I also discovered that I am now not sure if these events would be the right place for me to show case my work. I believe that Indigo, Paris, might be a better option as it is aimed at the commercial market. Both events were a nice experience for me and I would recommend anybody to visit especially if you are looking for beautifully crafted gifts.

Great Northern contemporary Craft Fair

http://crafthaus.ning.com/profiles/profile/show?id=LucyHarvey

The Great Northern Contempoary Craft Fair is located in Spinning Fields, Manchester. It is a new event that promotes designer-makers who can exhibit and sell their work. It is the ideal place to look for gifts and beautiful hand crafted products which are difficult to find in your average shopping precincts. I visited the fair to see if it would be the kind of event where I could sell and promote my own screen printed fashion prints in the future.

I was impressed by the quality and range of crafts being exhibited including textiles, jewellery, fashion accessories, ceramics, glass, silver, wood, furniture, paper and more.

I particularly liked the work of Louise Kirby who hand prints scarves, wall hangings and cards. She uses discharge and acid dyes with screen print and monoprint techniques onto pure silk and wool. She gathers inspiration from her travels e.g. colours from the city of Marrakesh and detailed wrought iron windows, but also tree bark from her home town, Scotland. The scarves are reversible and have a contemporary feel mixing patterns and dye processes upon the fabric. Both images obtained at http://www.kirbytextiles.com

I was also interested in the work of surface pattern designer, Hollie Brown, who has a decorative illustrative style. Her designs focus on greeting cards and some of her clients include The Art Group, Hallmark cards, Creative Moments, Tiger Print Design, Museums & Galleries Ltd and Gibson Hanson Graphics. I love the way she has cute, linear drawings combined with beautiful paint washes and text. She also has an excellent use of colour. Her work is best described as '"Humourous and quirky with a lively imagination"'. Hollie Brown finds inspiration in every day life and loves to draw quirky characters that make her smile! Her print techniques include hand drawn illustration transferred using silk screen printing, combined with painterly backgrounds and dyes. They are then embellished with stitch, found papers and fabrics. http://www.holliebrown.co.uk/prints.html