Designing in Photoshop

In previous projects I have worked more by hand and created an outcome of physical, tactile samples made from fabric as a final collection. I was keen to push digital production of samples using photoshop to give me an alternative outcome whilst at the same time, challenging myself to be more professional, technical and skillful at using the software. Essential for not only this project but also future development in my career, I am aware that in professional practices, skills in programmes such as photoshop and illustrator are extremely important in the production of designs.

This was no simple task as at the start of the project I was clueless as to how to put patterns into repeat; an important piece of criteria to meet the Diane Harrison brief. Whilst developing some of my designs, I discovered lines through my work, when blown to scale, which was a result of my own human error. To ensure accuracy and quality of my final collection i revisited the designs and amended my mistakes.

Before this point, my project was simply a body of experimental visual research. My aim from using photoshop was to create exciting samples that could be identified as a collection which developed upon the initial colour pallet, introducing scale and pattern formation.

Contextual Influences

I have looked at work by other artists and designers through out my project that have inspired some of the choices in my work. A lot of the images below influenced and sparked ideas for pattern formations in my design stage. Others I liked them for the combination of marks and colour pallets.

Above:  Tie Dye Blue Charms Tapestry by Psychic Lights

Above: Courtenay Pollock Print

Above: Courtenay Pollock print

Above: Tie Dye print by Nikki Strange

Above: Illustration by Sarah Spitler

Above: Alice and Olivia Tie Dye Print for a silk shirt.

Above: Water colour by Sarah Gager

Independent Visual Research

Following the group task I was keen to extend my area of research remaining with the theme evolution, focusing particularly on patterns in nature. My colour pallet developed from images of fish scales and reptile skin and my drawings, from visual patterns found in fossils.

The key image that inspired my visual research came from a book, 'Nature Close Up' which influenced my drawing and also sparked the idea of brusho.

Brusho lead me onto a more exciting way of mark-making. There is an element of control over the outcomes from using brusho but the lack of control is what makes it interesting. The marks ranged between fluid blends of colour to small splashes of colour. The amount of water on the paper and the space allowed for the dye to move would determine how much it bleeds. Adding salt drew away from the ink and left behind its own mark creating a sensitive blend of positive and negative; making marks with colour and making them by taking colour away.

For me, the main restriction with the brusho inks was the difficulty in variation of my colour pallet which encouraged my decision to introduce my designs to photoshop.