Structure and aesthetic 2014 (part 2)

Thomas Elliott Portfolio Structure and Aesthetic 3. Design Development 4. Sampling and Evaluation 5. Documentation 6. Aesthetic Considerations 7. Links

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Design Development Drawing directly from your research can be a good way to begin your design process. Don’t just leap to line ups, allow yourself time to uncover forms and shapes When drawing fashion sketches ensure that you make it clear which ideas you are going to extrapolate from the previous sketch and continue developing on.

Use figures to expand on initial ideas and investigate different options through different versions of the design.

You are making highly critical decisions in this stage - let the viewer be aware of your reasoning. Well-rendered fabrics, swatch-accurate colours and suitable drawing scale will help to depict your design intention.

The biggest sin is to repeat figures over and over again. In a predictable framework, exploit your choice of illustration medium, figure styling, layout and composition, use and style of text and methods of adhering images and swathes on the page.

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Consider the use of contrast when structuring these pages, macro and micro, constructed and deconstructed, organic and linear.

Use negative space to create a visual flow.

Fusing digital and traditional media can often be effective captialising on the strengths of both Unexpected content can used within your portfolio to introduce energy.

A photograph of your bedroom wall where you may have pinning your development photos.

Celebrate the details; in an interview situation you may only get the chance to show the your strengths, if you have amazing details on your garments you need to make sure that you advertise this in your portfolio.

How will the pattern or motifs work at various scales? How do you envision its usage? The The earlier you ask yourself the more considered your designs will become.

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Sampling and Evaluation

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Sampling During the draping and pattern making process you will find that things that worked in the sketch form may not translate to the 3D. Make sure that you document this discovery stage. Showing the solutions to fit, drape, proportion and overall construction When draping you need to rotate and document, so 360 degree view can be understood.

Can further garment silhouettes and design details be extrapolated from the documentation photographs?

It is important that when you document the various stages of samplings you try to do so in a consistent fashion. When you can shoot these pieces try to use a well-lit room where you have the space to get a decent distance back so the picture can be taken at a square angle to stop foreshortening.

Make sure you document all angles when you shoot samples on a fit model When you are using the various machines to make your prints, embroidery and surface detail, make sure you document this process at its various phases.

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Sampling and Evaluation

Evaluation One of the skills that set a good designer apart is an ability to reflect upon and access their own creation. Good knowledge of the industry will help you, as you work through every step of the design process, try to evaluate your work in the wider context and be prepared to judge if it is not satisfactory.

When you are at the stage of fitting garments log what you learn. Then reflect and suggest improvements.

Research does not just happen at the beginning of the project, it informs you decision making and judgments throughout. You can introduce reference imagery on to any portfolio page if you think it is relevant to that point of the design process.

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Documentation When it comes to creating a line up it is essential that someone unfamiliar with the project looking at it can fully understand how your collection is going to come together.

If you have a very stylized illustration style then back it up with more clean technical drawings.

Digitally applying fabrics to drawings can be very tricky to do. If you are struggling then trying to bring the fabrics onto the page and elude to there placement on the looks by using hand rendered media Spec sheets are always useful whether a perquisite of hand in or not. Outside of university they are essential when communicating with third parties.

They can also help clarify your ideas and make the final construction phase run smoother.

Whilst you may not be expected to have a fully art directed shoot think of interesting way of cataloguing your work is always advisable. It does not have to look glossy but it needs to look curated.

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Loko Yu BA (Hons) Fashion Design Technology: Womenswear http://showtime.arts.ac.uk/lokoyu http://my.lcffirstmove.co.uk/graduates/6831

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Whilst you may not be expected to have a fully art directed shoot think of interesting way of cataloguing your work is always advisable. It does not have to look glossy but it needs to look curated.

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Conclusion

Aesthetic / Structural Considerations Attention to detail Consider your portfolio design as if it were your retail store design. Every facet of a retail space is designed to appeal to the targeted customer. In the same way, your portfolio is designed to frame your work. All aesthetic decisions must be considered from scale to illustration style, the relationship between visual and text based information, composition, graphic styling etc.

Let the content define form Your portfolio should reflect your style, approach and influences. Flaunt your diversity and creativity in presenting work. These are no specifications in terms of scale, number of pages or how certain sheets should look, it just needs to feel appropriate for project.

Non-verbal communication Make sure your portfolio can communicate for you if you are not there.

Make the evolution of your design immediately apparent and there is a clear narrative. Use annotation to offer insight in to your critical thinking.

Visual flow Make sure your portfolio has immediacy and can be viewed with ease.

It needs sturdy enough to withstand frequent viewings. Avoid overly complicated foldouts and if trim is adhered directly to the page make sure that they are secured firmly so audience can review the work efficiently and effectively.

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Conclusion

Visual intrigue Employers may have to go through hundreds of portfolios, is your going to stand out and hold their attention. This can be achieved a number of ways, an idiosyncratic illustration style or a dynamic combination of media on the page. Avoid being monotonous; diversify your group formats by experiment with scale crop and rendering.

Visual cohesion Whilst variety encouraged make sure all of your sheet feel like they are authored by the same hand, it is important to have areas of visual continuity, this could be offered by something as simple the consistent use of type.

Thoughtful use of materials You should have the same level of consideration to the materials that you in your portfolio as you do for the fabrics that you choice to make your surface textiles and garments from. The media you draw with and your choice of paper stock needs to support the overall look and mood of your collection Managing Your Portfolio Portfolio is not something you should look to at the end it documents the whole arc of your design process so must start. The one defining attribute of all strong portfolios is that they are worked on consistently throughout the projects.

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Links Printing The Colour Company 1 Curzon Street T: 020 7717 4900 W1J 5HD It is open 24 hours a day 7 days a week. They will let you print on your own paper stocks which most printers will not.other branches see link http://www.color.co.uk Printing Service Point 69-85 Old Street EC1V 9HX London E: city@servicepointuk.com T: 020 7608 2011 They have other branches all over London. They only let you print on there papers but will drop price if you are doing more than 50 pages. They also offer student discount 10% Paper Shepherds Falkiners 76 Southampton Row Bloomsbury London WC1B 4AR T: 0207 831 1151 Most of the paper from here will need cutting.

Have a range of inkjet tested papers

Getting paper cut Kopykat Printing Limited 76C Rivington Street London EC2A 3AY T: 020 7739 2451 E: print@kopykat.co.uk.

They are opposite Cargo.

Getting things bound Wyvern Bindary 56-58 Clerkenwell Road T: 020 7490 7899 E: info@wyvernbindery.com London EC1M 5PX Phone up before to discuss the job so you know what timings are going to be like.

Plastic sleeves Covent Garden Flagship Store 16-18 Shelton Street, Covent Garden, London.

WC2H 9JL T: 020 7759 4500 W: www.londongraphics.co.uk Also have branges in Clerkenwell and Tottenham Street

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Thomas Elliott Lecturer telliott@fashion.arts.ac.uk