Online portfolio and print on demand catalogs for Graphic Design and Animation graduates from the Department of Design 2012. On this page you will find our conference presentations, and by hovering over the menu groups on the left you can read contextual documents. You are welcome to attend our Grad Show, opening on 29 November 2012 at 6pm, and daily from 30 November to 6 December 9.30am – 4pm.
The outcome of this project is a collection of illustrated patterns created as poetic narratives of spaces in Avondale and the social structures within it. These patterns are a positive reflection of the culture and historical heritage of this community. Throughout this project I have conducted research on the ways that pattern has been used historically in textiles and pacific culture, where it plays a key role in conveying identity, spirituality, well being and status. These traditional connotations of pacific patterns have been integrated within my patterns in the way that they are created and the surfaces to which they are applied as an acknowledgement of the cultural influences within Avondale.
My decision for referencing Pacific patterns within my work is based on the large Polynesian presence in the Avondale community. Within my work I drew from the traditional role of pacific patterns, these being an examination of the people, history, and the importance they invest in their landscape and physical environment(1). These principles of pacific pattern hold key ideas in the preservation of a culture that reflect the stories and the essence of that community. Essentially, these patterns play an important role to pacific culture in instilling a sense of identity and tradition. I felt that it was important to incorporate these principles within my work, and in doing so create patterns that acknowledge cultural diversity as an important characteristic of the Avondale community’s identity.
I have explored reoccurring ideas of cultural diversity and narratives within spaces in Avondale through an investigation of colour, structure and a hand drawn style of pattern. The colours I have used within my patterns are reflective of the garish colours seen in the township. These colours are also representational of patterns and textiles within Pacific culture, which characterize the community’s cultural diversity. I was drawn to how line and shape within the tapa was used in building a repetitive rhythm. I was interested how pacific pattern can ‘…translate temporal notions of heritage, history and memory into geometric forms, which thereby come to carry ideas fundamental to society.’ (2)
Site visits were important to my process as a way of experiencing and documenting the Avondale area. I used photography to document pattern like structures and common themes I could see such as the repetition of Bakeries, Chinese shops and dairies seen along the township street. I took a lot of photographs of the township and the markets and used them as a constant reference in making patterns. Through these site visits I was able to observe and document sound, people and the atmosphere of the community. From the photographs I was able to form colour palettes and common motifs that I would incorporate within a pattern. These were all important contributing factors in creating an emotional response to the space through my pattern.
An example of how these site visits were utilized can be seen within the Avondale Market pattern. This work needed to embody the chaos and bewilderment that I experienced while at the markets. It needed to reflect the abundance of different cultures and the large range of goods and food all packed within this space. I made a pattern that communicated this through the use of colour, composition and scale. The colours were a reflection of the gazebo tents, the produce, the food and plastic crates. The scale and arrangement of the pattern is compact to show how crowded the markets were. I employed the method of incorporating actual elements from the photographs throughout all my patterns as I felt this was important in bringing sense of reality to the pattern, and distinctiveness to Avondale.
I have explored and researched the connotations of different material and the ways in which it gives the pattern a purpose within the community context. I wanted to allow the potential for my patterns to be produced in a range of ways; this would create an opportunity for these patterns to become commercialized.
I was interested in applying my patterns to surfaces and objects within Avondale that are commonly seen and used such as wheelie bags, brown bakery bags, take away boxes, workers jackets and plastic crates, each having a pattern relating to the object. This was intended to encourage a new form of engagement and association with a familiar objects or surfaces.
I have experimented with a range of methods in printing my patterns all giving different results.
I found screen-printing gave high saturation, but limited the range of colours I could use. I experimented on calico fabric to give an organic texture and test printed abstract patterns I had made. I decided this process would be too slow and restricting of the range of colours, which I felt was important to my patterns.
I used printing as a method of analyzing the scale and colours of my patterns. Test printing also gave me an indication of how my patterns would look within a publication format. From feedback I realized that an A3 format of publication would be appropriate as a smaller size would loose much of the detail my patterns had. This larger format also allowed for different materials to be explored, as it was more unconventional and experimental.
I researched services that gave me the ability to print my patterns onto fabric. I believed that this would be the most efficient way of printing my patterns, but it would be costly.
Two of the designers I have been referencing within my work have been illustrator and designer Harriet Seed and textile designer Luccienne Day. With Harriet Seeds work I was particularly interested in her hand drawn style, and the way in which this could be turned into a repeat pattern. Her pattern Park was made into a seamless repeat pattern that mapped an environment and the interaction of people within that space. This was a method that I wanted to incorporate within my Avondale Market pattern as I felt illustrating how people moved within the markets was important to convey. I also felt that making it into a pattern reflected the repetitiveness already seen within the markets as well as being representational of the importance of this event being a reoccurring occasion within the community.
Lucienne Day was a British textile designer highly influenced by abstract art. Her use of organic shapes and bright colours were characteristics within her patterns that I wanted to emulate. Through abstract shapes and colors I wanted to characterize the atmosphere of Avondale, this organic handmade style would also be able to incorporate more cohesively pacific tapa influences.
My final output for this project is an A3 format publication and a series of patterns on different surfaces that are commonly seen and interacted with in Avondale. I chose a larger format of publication as I felt the detail and rhythm of the patterns could not be fully appreciated at a smaller size. An A3 format of publication would also create a different form of engagement to a smaller publication size. The larger size would slow down the process of flicking through the publication, allowing time for each spread to be comprehended. This would more likely form an emotive response to the patterns.
For my final publicaiton I decided to have an A3 perforated fold outs within an A4 format publication. Because of some of the different materials used such as the Calico fabric and the tracing paper would be difficult and expensive to print large format I decided it would be smarter to reduce the format of the publication. My decision for making the spreads double sided was because I felt that the text alone was weak as a spread and creating perforated A3 patterns would engage interactivity with my patterns.
I would still like to pursue an A3 format of publication when time permits, and print using a textile printer for some of the patterns.
For the final publication I made the decision for the patterns to cover full spreads, I felt it was important to give dominance to the patterns because of their significance to this project. I chose this layout because it could also play the role of a portfolio that would enable the range of work to be showcased to its fullest potential. I chose to have two patterns per spread because I wanted the patterns to tell two kinds of narratives of a particular space in Avondale through different approaches to pattern, these being an illustrative style of pattern and a abstract style of pattern.
Within my work I understood the importance of analyzing and exploring the relationship between pattern and surface and how ideas can be carried by the materiality of things. Putting my patterns on a particular surface or material will give them a context and purpose; therefore this was significant in connecting my patterns to the Avondale community. I began to look at objects and surfaces that were used on a day-to-day basis within Avondale, which had potential for my patterns to be printed on. I was particularly interested in surfaces such as bakery packets, trolley bags, workers jackets and pacific clothing I had seen in the value stores. I wanted my patterns to bring new and unexpected associations through an unconventional application.
I have also considered the potential for my patterns to be produced commercially. This meant taking into account a wider market. I felt that my aesthetic would appeal to a young audience and began to think of objects used by that market that I would be able to apply my patterns to.
Through this project I have gained insight into the methods of pattern making and the ability pattern has as a visual tool of communication. As a graphic designer I feel that this allows the potential for my patterns to be applied across a range of different fields. From research I have found many Graphic Designers who have employed the use of pattern in many interesting and unconventional forms of outputs. In the future I would like to explore pattern whether this be in the format of print, product, animation, or fashion textiles. I also feel that I have gained experience and developed a methodology in working within geographic communities this past year. These are skills that I will be able to continue to exercise and develop in my future career.
(1) Küchler, Susanne, Graeme Were, and Glenn Jowitt. “A Journey through History.” Introduction. Pacific pattern. London: Thames & Hudson, 2005. 10.
(2) Küchler, Susanne, Graeme Were, and Glenn Jowitt. Introduction. Pacific pattern. London: Thames & Hudson, 2005. 7.
Schmidt, Petra, Annette Tietenberg, and Ralf Wollheim. Patterns in design, art and architecture. Basel [Switzerland: Birkhäuser, 2005.
Meller, Susan, Joost Elffers, and Ted Croner. Textile designs: Two hundred years of European and American patterns for printed fabrics organized by motif, style, color, layout, and period. New York: Harry N. Abrams, 1991.
Schoeser, Mary. World textiles: A concise history. London: Thames & Hudson, 2003.
“Textile: The Journal of Cloth and Culture.” Academia.edu. 27 Oct. 2012 <http://journals.academia.edu/TextileTheJournalOfClothAndCulture?page=3>.