Fonts, Sketches, Colour, Needle Punch

Considering final outcomes, what is a final outcome, is it required, how to document your work or display a process....

When the work feels more process based, that you are moving through an experience or investigation, research etc the question nagging at you is how to present this process, what finalising (or intermediate) thing will engage the viewer or sort of speak for what you have been investigating. I think the film is a useful tool for this. It can take many forms too, and it is a very individual process. You develop a way of thinking surrounding a project and this can infuse into and inform the narrative of the film. 

Shona Heath 

https://www.libertylondon.com/uk/features/design-and-living/shona-heath-liberty-fabrics.html

She approached liberty with the idea to create textiles inspired by the children's book The Hooligans Shampoo, creating florals and fantasy images from objects found at the corner shop.

Shona Heath's sets are amazingly dreamlike and illustrative. I really appreciate her use of mundane materials and paper cutting. It does unsettle me to use plasticky rubbish to inspire work, I can get onboard with pre-used items or deadstock, but I don't find single-use or limited use non-biodegradable items inspiring.

Workshop with Poppy:

Needle punch: What a fantastic piece of machinery, the needle punch uses barbed needles to pull threads between fabrics causing them to felt together. It works on all textiles too which creates a plethora of possibilities.

Needle punch has caught my imagination. This term I want to investigate different techniques but apply them to my wider project.

This technique has opened up my initial ideas for the project and I feel it best to now work with a series of panels that will pull together into a greater whole. The panels will be made from layers of gauzy organza with shapes and techniques creating depth. 

Colour

I can't help but enjoy pastels this year. I think they are uplifting me. Lilacs, baby pink, lemon yellow etc. are bringing joy to my heart and mind. These will define my colour palette for the curtain.

Since I only plan to use preowned or used textiles for this work I am dictated to by what I find. Since the charity shops have only been open a week I have got the time to sift through, so eBay is the place to go. Amazingly the used organza and damask I have found have all adhered to my desired colour way.

Text

I need to decide what font I will use for the 'Favourite Things'; there is a real trend for using traditional fonts on Gen Z websites, insta etc. Perhaps I can make my own font, or think about referencing traditional Austrian fonts.

 

https://befonts.com/hofstaetten-font-family.html

This article discusses the book deep scroll and its use of fonts within it. Potentially the misplaced use of fonts? Showing how powerful they can be at portraying a message.

'The book seems designed to be unreadable. My first sensation was revulsion. Deep Scroll’s aesthetic is blistering hardstyle as a Photoshop theme, reminiscent of a decade-old, choppy, handcrafted online landscape. The fonts are those of Hallmark cards, motivational posters, metal T-shirts, erotica forums. Grungy, frazzled type seems to be having a meltdown; letterforms look like they’ve come back from war. This is the ugly, chthonic internet. In contrast, to conduct a deep scroll of an online feed in 2021 is to be lost in it, chaining from horror to pleasure. We are seduced by refined interface designs and an ethic of calm technology that occludes awareness of the frame. That’s to say, we entrain to the smooth scroll thanks to sophisticated planning that has become its own field. The feed, its targeted curation, its typography, shapes and contours, all calculated with military precision, calibrate a deep psychoemotional impact. (Captology, the study of computers as “persuasive technology,” is supported by a whole Stanford research lab on behavioral design “for good.”)'

https://www.artforum.com/print/202104/nora-n-khan-on-anne-de-vries-s-deep-scroll-85246