Timorous Beasties – A bird in the Hand
Millennium Gallery Sheffield
Yesterday I travelled to Sheffield to visit the new Timorous Beasties exhibition at the Millennium Gallery. I have never been to Sheffield before and as soon as I stepped outside of the train station I was amazed by the fabulous water feature that stretched for about 50 metres. The way that the water was flowing down the metal surface was remarkable; it almost looked as if the water was turning to ice because of the reflections.
A Bird in the hand
Timorous Beasties was founded in 1990 by Alistair McCauley and Paul Simmons. For this exhibition they had studied natural history prints from John Ruskin’s collection in Sheffield, and they had re-upholstered Victorian furniture. There were lamps, chairs and mattresses all decorated with these famous prints. The major theme for this collection of prints was the representation of the natural world portrayed as a battle for survival. This idea questions our thoughts about beauty in nature. The work featured small unattractive animals like insects, rodents and reptiles. The idea was that it is not normal to see these creatures on soft furnishings. Timorous Beasties are famous for their rebellious style, their previous work has included combining contemporary social comment with historic imagery and traditional textile designs. Their work is inspired by William Morris’s giant prints; also they follow the ideas of the Arts and Crafts movement and believe the best thing for design is to invest a lot of time and labour. This is why most of their commercial ranges are created by hand using traditional techniques.
Patterns & Process
For this collection they studied natural history illustrations from the John Ruskin collection, then re drew them in black ink, scanned them into the computer and introduced colour and repeat pattern. They used digital print technology to transfer them onto textiles. With new digital techniques being used more and more, this allows for more detail and colours to be used compared to more traditional techniques.
Monday, 28 September 2009
Thursday, 7 May 2009
Practitioners Report Damien Gasgoigne and Tracy Kendall
Over the past year I have attended a number of lectures by different practitioners and designers. Not all have been from my pathway but I have found all of them interesting in different ways. It has made me realise that really they work in a similar way to the way that I work, with regards to inspiration and gathering research. Two that I found most interesting were lectures given by wallpaper designer Tracy Kendall and Illustrator and animator Damien Gasgoigne. Even though they are from different pathways they still have things in common when it comes to their design process.
Tracy Kendall mainly works with wallpapers and she specialises in screen printing. Damien Gasgoigne is an illustrator who has recently started to work with animation and turning his illustrations into films. From attending both of these lectures I found that the way these two practitioners gather inspiration is very similar. Kendall’s inspirations come from anywhere. Magazines, photos, found objects, fashion, papers etc. Basically anything that she likes the look of and that she feels has potential to take further, she will collect. For example Kendall once found a piece of lace that she loved the look of at a Paris market. She bought this piece of lace for just a few Euros and this single piece of lace turned out to earn her a lot more. Gasgoigne works in a similar way, he loves to take photographs of things that he finds interesting and that he thinks he can pursue. He takes photos of people if he likes what they are wearing. Also if he thinks somebody has a quirky and fun personality he will take a photo of them. He takes photos of situations, movement and shapes. He sometimes finds objects that look like faces, or stains on the floor that he can see a character in. Once he has these photographs he then pushes them further and creates his own characters from them.
This has made me realise that this process of collecting imagery is a very useful technique. Gathering inspiration is the first part of the design process so therefore can be seen as probably the most important part. This is the starting point of any design and therefore should be a fun and imaginative process. You can gather imagery from absolutely anywhere and there is no limitations. Any designer can do this, but it is what the designer does after and how they develop their ideas that make each designer different.
Both Kendall and Gasgoigne are designers who don’t just stick with one technique or practice. They are designers who are trying new things and wanting to push their skills forward. Tracy Kendall started off with producing flat screen printed wallpapers, however more recently she has moved towards producing more tangible pieces. She is now working with different materials like, buttons, sequins, feathers etc which makes he work that little bit different. This shows that Kendall is a diverse designer and wants to try new things.
Gasgoigne on the same hand has also tried to push his work into different areas. He started off as an illustrator producing drawings and designing characters. More recently he has pushed this further by taking these illustrations into animations. However this hasn’t come without inconvenience. Gasgoigne had never worked with animation software before so he had to be taught to use it before he could use it within his designs. I think this is a great similarity that is shared between both designers. It shows that they are designers who don’t want to just stick with what they are use to. They want to push the boundaries of their work and try new things to make their work that little bit different. This also meets the requirements of the design world and the desire for new ideas and technique. The design world is constantly producing new designers who work with new materials, software, technology and techniques. This shows that both Gasgoigne and Kendall are aware of this and that they are keeping up with what the buying public want.
This had made me realise that it’s not just about designing things that look nice, you have to be aware of the constantly changing market out there. As a designer you have to be prepared to adapt your designs to fit the desires of the appropriate market, and always be prepared to push the boundaries of the work and not just stay with what you feel comfortable with. After all, the design world is constantly changing so therefore a designer’s work should be constantly progressing to satisfy this. This may mean that you may hit obstacles and have problems that need to be solved. Both designers have shown this and they have managed to get through them. For example Gasgoigne needed to learn how to use animation software before he could work with animation. Kendall found that she needed to cater for a male market rather than a female market. She may not have preferred this but it shows that she was willing. Both designers have proved that they are enthusiastic to conquer problems and that they are prepared to design to fit the needs of the design world.
From these two lectures I have learnt a lot more about the design process. I have learnt that really the first part of the process is the most important as this is where you have no boundaries and that you can gather inspiration from anywhere. I found both lectures very helpful and inspiring. I found Tracy Kendall’s lecture that little more relevant to me as her design path is the same as mine, and she offered to very useful tips when designing. However Damien Gasgoigne lecture is one that I will always remember as I found it really exciting and it, and I found the ideas behind his work really moving.
Tracy Kendall mainly works with wallpapers and she specialises in screen printing. Damien Gasgoigne is an illustrator who has recently started to work with animation and turning his illustrations into films. From attending both of these lectures I found that the way these two practitioners gather inspiration is very similar. Kendall’s inspirations come from anywhere. Magazines, photos, found objects, fashion, papers etc. Basically anything that she likes the look of and that she feels has potential to take further, she will collect. For example Kendall once found a piece of lace that she loved the look of at a Paris market. She bought this piece of lace for just a few Euros and this single piece of lace turned out to earn her a lot more. Gasgoigne works in a similar way, he loves to take photographs of things that he finds interesting and that he thinks he can pursue. He takes photos of people if he likes what they are wearing. Also if he thinks somebody has a quirky and fun personality he will take a photo of them. He takes photos of situations, movement and shapes. He sometimes finds objects that look like faces, or stains on the floor that he can see a character in. Once he has these photographs he then pushes them further and creates his own characters from them.
This has made me realise that this process of collecting imagery is a very useful technique. Gathering inspiration is the first part of the design process so therefore can be seen as probably the most important part. This is the starting point of any design and therefore should be a fun and imaginative process. You can gather imagery from absolutely anywhere and there is no limitations. Any designer can do this, but it is what the designer does after and how they develop their ideas that make each designer different.
Both Kendall and Gasgoigne are designers who don’t just stick with one technique or practice. They are designers who are trying new things and wanting to push their skills forward. Tracy Kendall started off with producing flat screen printed wallpapers, however more recently she has moved towards producing more tangible pieces. She is now working with different materials like, buttons, sequins, feathers etc which makes he work that little bit different. This shows that Kendall is a diverse designer and wants to try new things.
Gasgoigne on the same hand has also tried to push his work into different areas. He started off as an illustrator producing drawings and designing characters. More recently he has pushed this further by taking these illustrations into animations. However this hasn’t come without inconvenience. Gasgoigne had never worked with animation software before so he had to be taught to use it before he could use it within his designs. I think this is a great similarity that is shared between both designers. It shows that they are designers who don’t want to just stick with what they are use to. They want to push the boundaries of their work and try new things to make their work that little bit different. This also meets the requirements of the design world and the desire for new ideas and technique. The design world is constantly producing new designers who work with new materials, software, technology and techniques. This shows that both Gasgoigne and Kendall are aware of this and that they are keeping up with what the buying public want.
This had made me realise that it’s not just about designing things that look nice, you have to be aware of the constantly changing market out there. As a designer you have to be prepared to adapt your designs to fit the desires of the appropriate market, and always be prepared to push the boundaries of the work and not just stay with what you feel comfortable with. After all, the design world is constantly changing so therefore a designer’s work should be constantly progressing to satisfy this. This may mean that you may hit obstacles and have problems that need to be solved. Both designers have shown this and they have managed to get through them. For example Gasgoigne needed to learn how to use animation software before he could work with animation. Kendall found that she needed to cater for a male market rather than a female market. She may not have preferred this but it shows that she was willing. Both designers have proved that they are enthusiastic to conquer problems and that they are prepared to design to fit the needs of the design world.
From these two lectures I have learnt a lot more about the design process. I have learnt that really the first part of the process is the most important as this is where you have no boundaries and that you can gather inspiration from anywhere. I found both lectures very helpful and inspiring. I found Tracy Kendall’s lecture that little more relevant to me as her design path is the same as mine, and she offered to very useful tips when designing. However Damien Gasgoigne lecture is one that I will always remember as I found it really exciting and it, and I found the ideas behind his work really moving.
Damien Gasgoigne Lecture
A few weeks ago I went to a lecture by Illustrator and animator Damien Gasgoigne. Even though illustration and animation is not really my thing, I found the lecture really exciting and fun to listen to. Gasgoigne works for Picasso Pictures and has done since 1993. I found the way that he collects his research quite interesting. He takes loads of pictures of anything that interests him. He showed us pictures of people that he knew, and explained why he loved what they were wearing, their personalities, the way they talked etc. I thought this was a really good aspect of his work. He also takes pictures of unusual situations that he would find interesting. For example one photo that he showed us was of a man and a woman sat in a coffee shop. He didn’t have a clue what they were doing, who they were and why they were there, but in his own mind he started to make up his own story for their situation. He also likes to capture movement and shapes to inspire him with his animations.
If he finds a stain on the floor and he sees potential in this he will take a picture of it. For example he showed us some images of objects and stains that looked like faces and some even looked like monsters. He would then pursue these images and come up with his own characters.
One piece of work that I found really interesting was a piece that he had done called The Love Books. When he was a student he used to keep little sketchbooks and just draw in them whenever he felt like it. One of the main ideas behind the drawings was love. Each girl that he liked he would draw a picture for. Or even just when he was feeling down he would draw a picture. He ended up with a huge stack of these sketchbooks so he decided to turn them into a film. He was working at Kingston University at the time and he wasn’t that confident on the animation software. With the help of one of his students he put together a short film of all the imagery he had collected. I found this piece really interesting particularly because of the story behind it.
One piece of work that I found really interesting was a piece that he had done called The Love Books. When he was a student he used to keep little sketchbooks and just draw in them whenever he felt like it. One of the main ideas behind the drawings was love. Each girl that he liked he would draw a picture for. Or even just when he was feeling down he would draw a picture. He ended up with a huge stack of these sketchbooks so he decided to turn them into a film. He was working at Kingston University at the time and he wasn’t that confident on the animation software. With the help of one of his students he put together a short film of all the imagery he had collected. I found this piece really interesting particularly because of the story behind it.
Wednesday, 6 May 2009
River Island
When I used to work at River Island, I always used to notice how unusual their displays were. River Island has a very young and funky style, and I love how they use such bright, bold colours. River Island has their own team of visual merchandisers who go into the stores on a regular basis to create and maintain the displays. I decided to contact one of the members of the visual merchandising team from my local store that I used to work at, and ask them a few questions.
What is the procedure for creating the window displays?
Head office sends out a general brief to all the stores of River Island so that all the window designs are based around the same theme. The window displays obviously vary from store to store, due to the size of the shops, but it is very important that the themes are the same. The team then has to work fast to collect props and plan the construction of the displays. Construction of the window displays is normally done when the shop is closed and can be done in one night in most cases. Then the team maintains the displays and updates them on a regular basis.
What is the procedure for creating the window displays?
Head office sends out a general brief to all the stores of River Island so that all the window designs are based around the same theme. The window displays obviously vary from store to store, due to the size of the shops, but it is very important that the themes are the same. The team then has to work fast to collect props and plan the construction of the displays. Construction of the window displays is normally done when the shop is closed and can be done in one night in most cases. Then the team maintains the displays and updates them on a regular basis.
What things do you have to consider inside the store for the customers benefit, and also for the shops benefit?
It is important to lead the customer through the shop in a logical order, encouraging them to stop at certain points and hopefully make a purchase. It is important that the shop is easy to shop in and to move about in. If the customer doesn’t feel comfortable then they are more likely to just walk out.
It is important to lead the customer through the shop in a logical order, encouraging them to stop at certain points and hopefully make a purchase. It is important that the shop is easy to shop in and to move about in. If the customer doesn’t feel comfortable then they are more likely to just walk out.
How important is lighting within the displays and also within the shop?
Lighting is extremely important as it can be used in a number of different ways. It can be used to highlight certain areas of the display, or simply just to provide enough lighting so thst the customer can find what they are looking for. We often use spot lighting as it is great for highlighting specific areas.
Lighting is extremely important as it can be used in a number of different ways. It can be used to highlight certain areas of the display, or simply just to provide enough lighting so thst the customer can find what they are looking for. We often use spot lighting as it is great for highlighting specific areas.
How do you use colour in your displays?
Colour is one of the easiest and most effective way of capturing peoples attention. Bright colours are always evident in our displays, as it reflects river Island products. However we have to be carefull with some colour assosciations as not to harm or offend anyone.
Colour is one of the easiest and most effective way of capturing peoples attention. Bright colours are always evident in our displays, as it reflects river Island products. However we have to be carefull with some colour assosciations as not to harm or offend anyone.
Tuesday, 5 May 2009
American Graffitti
American Graffiti is a vintage clothing store in Manchester’s northern quarter. They specialise in vintage clothes, shoes, bags and accessories from the 1940’s to today. They offer a helpful service to their customers to ensure that they find the perfect outfit.
Where does the theme/idea come from for your window displays?
We create our own theme and use our own ideas of what we think is popular at the moment and that we think will catch peoples attention.
What do you have to consider when selecting props/materials for your displays?
Again we always ask ourselves what will catch people’s attention, it could be a certain bag, or pair of shoes alone that would do it, also colour is a major factor that can catch peoples attention. It’s also important to give a feel and insight into what a customer can expect from the shop when they walk inside.
How do you maintain your widow displays?
They are dusted and cleaned on a regular basis and they are always kept up to date. Change little pieces of the display daily.
Do you have any tips on creating window displays?
Keep things quite simple so that it doesn’t get too confusing. Try to be different as this is more likely to attract customers.
Where does the theme/idea come from for your window displays?
We create our own theme and use our own ideas of what we think is popular at the moment and that we think will catch peoples attention.
What do you have to consider when selecting props/materials for your displays?
Again we always ask ourselves what will catch people’s attention, it could be a certain bag, or pair of shoes alone that would do it, also colour is a major factor that can catch peoples attention. It’s also important to give a feel and insight into what a customer can expect from the shop when they walk inside.
How do you maintain your widow displays?
They are dusted and cleaned on a regular basis and they are always kept up to date. Change little pieces of the display daily.
Do you have any tips on creating window displays?
Keep things quite simple so that it doesn’t get too confusing. Try to be different as this is more likely to attract customers.
Monday, 27 April 2009
Northern Flower Contact Report
Northern Flower is a boutique flower shop based in the Northern Quarter of Manchester. It is well known for its contemporary and eye catching arrangements. As florals is something that often inspires my work, I decided to contact Northern Flower and ask them a few questions about their window displays.
For your window displays, do you work from a brief, theme? And if so, who supplies this?
We make up our own theme / brief
Do you have a specific team that does the window displays?
As we are a small business we do all the window displays ourselves
Can you describe your window display at the moment?
The window at the moment is a Kath Kidson inspired theme, lots of bright colours for spring / summer
What kind of materials and techniques have you used for your window displays? How do you source these materials?
We use our floristry techniques, such as using bows and bouquets, material wise, we use fabric sourced from wholesale suppliers, lights from various suppliers such as ebay / local shops
How long does it take for you to complete a window display, including planning and construction?
Construction takes around 3 - 4 hours, this includes taking down the old display, cleaning the inside, and constructing the new display ( also stopping to serve any customers which may come in)
Do you have any tips on planning and creating window displays?
Our tips for window displays are:
* less looks better
* ensure it is all priced
* have larger items toward the centre and smaller items towards the outer edge - this ensures the eye is drawn towards the most expensive items / products. * It’s quite rare that they end up as my exact plans!!
For your window displays, do you work from a brief, theme? And if so, who supplies this?
We make up our own theme / brief
Do you have a specific team that does the window displays?
As we are a small business we do all the window displays ourselves
Can you describe your window display at the moment?
The window at the moment is a Kath Kidson inspired theme, lots of bright colours for spring / summer
What kind of materials and techniques have you used for your window displays? How do you source these materials?
We use our floristry techniques, such as using bows and bouquets, material wise, we use fabric sourced from wholesale suppliers, lights from various suppliers such as ebay / local shops
How long does it take for you to complete a window display, including planning and construction?
Construction takes around 3 - 4 hours, this includes taking down the old display, cleaning the inside, and constructing the new display ( also stopping to serve any customers which may come in)
Do you have any tips on planning and creating window displays?
Our tips for window displays are:
* less looks better
* ensure it is all priced
* have larger items toward the centre and smaller items towards the outer edge - this ensures the eye is drawn towards the most expensive items / products. * It’s quite rare that they end up as my exact plans!!
Friday, 17 April 2009
Linda Hewson, Selfridges Windows
Linda Hewson is visual merchandising window manager for Selfridges. Selfridges is famous for its stunning displays that are always controversial and eye catching. Here is a checklist that Hewson runs through in order to produce a successful window display.
· Beginners should begin planning their window by understanding the concept or design thoroughly and the budget available.
· Always produce a visual or sketch before starting to install any products or props.
· Consider the space you have and what is physically possible; will everything fit through the door?
· Decide where the main focal points will be.
· Think about what products you will be representing. Who are you targeting and will the products be suitable?
· Ensure that the props do not overshadow the product.
· Be certain that any mannequins being used are sympathetic to the product.
· Is it necessary to use graphics or ticketing?
· Choose a strong colour palette.
· If using props, ensure that they are made to a high standard and are finished well.
· Remember: often the simplest windows are the best.
· Beginners should begin planning their window by understanding the concept or design thoroughly and the budget available.
· Always produce a visual or sketch before starting to install any products or props.
· Consider the space you have and what is physically possible; will everything fit through the door?
· Decide where the main focal points will be.
· Think about what products you will be representing. Who are you targeting and will the products be suitable?
· Ensure that the props do not overshadow the product.
· Be certain that any mannequins being used are sympathetic to the product.
· Is it necessary to use graphics or ticketing?
· Choose a strong colour palette.
· If using props, ensure that they are made to a high standard and are finished well.
· Remember: often the simplest windows are the best.
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