Design factory Final piece

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Design factory development

For my project I came with the idea of designing a bottle of water “Evian” representing Great Britain and that is because I was inspired by Paul smith who is a British designer who also designed a colored stripes wrap like ribbons around the neck of the bottle with his limited edition bottle for Evian.
Going to the British design museum, though of the objects, colours, texture, typeface, composition and the visual language that impacts to Great Britain like its colour red that represents the culture for Great Britain.
My point of designing a bottle with “polka dots” with the Great Britain colours is to show people and from outside of the country that when visitors are in Great Britain can appreciate the art and design that Great Britain brings to their history and that we are inspired to design and for all over the world.
So I have drawn three bottles to scan it to illustrator to come up with the idea of designing different styles by using the Great Britain colours as red, white and blue.
To finalise my bottle design I designed as “polka dots art” in colour red, white and blue representing Great Britain colour flag.
For my three final bottle design I came up of doing different “polka dots styles” on the bottle, one is added on the left hand side as a form of zigzag leaving the space for the Evian logo, the second bottle just adding the “polka dots” two lines at the top of the bottle and dots at the bottom and for the third bottle I add the  “polka dots” to each side from the top to the bottom on the left hand side.

Design Factory research – British Museum

British Design it’s all about the post war design from humble road signs to Jamie Reid’s anarchic Sex Pistols artwork where you can see the british design 1948-2012 innovation in the modern age.
Such as The Sex Pistols were an English punk rock band that formed in London in 1975. They were responsible for initiating the punk movement in the United Kingdom and inspiring many later punk and alternative rock musicians. Although their original career lasted just two-and-a-half years and produced only four singles and one studio album, Never Mind the Bollocks, Here’s the Sex Pistols, they are regarded as one of the most influential acts in the history of popular music.
Their posters were unique and clear visual language with bright colours.

Design Factory research – Design Museum – PAUL SMITH

 

Paul Smith is a British fashion designer but also a brand than any publicity campaign, sparking a national obsession for the label.
Rock stars loved Paul Smith fitted jackets with brightly colored stitching, while fifty somethings opted for his more traditional ranges. Politicians saw Smith’s creations as a way to convey a modern and optimistic message. In the 1990s, Paul Smith diversified his line, collections for women, children, jeans, watches and by 2004, even fragrance.
Going to the Design museum it was very interested to see different techniques and colour mixtures how Paul Smith worked on.
I saw many paintings, textures, painting frames, clothes etc  but I was more inspired to the colour painting frame on the first image demonstrating like different colour dots it looks like its smudge and paint running down below but it was attracting and the way how he used every movement by not leaving any blank space.
Looking at the texture of his fashion style its very bright and dull and the way he match colours it’s very creative, using fabrics stuck in a book to use and for each of them has a category and name to be used.
Another inspiration that catch my eye was the Evian colour rainbow bottle which I think it’s very creative, bright, and a unique style.

Design Factory research

Visual and design images that will define the 20-teens? It’s only now that the 1990s are beginning to seem far enough away in time that they have a ‘look’.

POP ART – ART IN DOTS – polka dots

Pop art – Roy Lichtenstein

Roy Lichtenstein’s paintings of comic strip cartoons, washing machines and baked potatoes are the examples of “classics” Pop Art. But his pictures were seen as brash and banal when they first appeared in the New York art world in the early 1960s.

Lichtenstein began experimenting with different subjects and methods in the early 1960s, while he was teaching at Rutgers University. His newer work was both a commentary on American popular culture and a reaction to the recent success of Abstract Expressionist painting by artists like Jackson Pollock and Willem de Kooning. Instead of painting abstract, often subject-less canvases as Pollock and others had done, Lichtenstein took his imagery directly from comic books and advertising. Rather than emphasizing his painting process and his own inner, emotional life in his art, he mimicked his borrowed sources right down to an impersonal-looking stencil process that imitated the mechanical printing used for commercial art.

 

BOTTLE ART

The idea was to create a sense of occasion for premium water in high-end restaurants and show a new side of purity through Akira Isogawa’s inspiring Bird Garden silk watercolour print.

 

EVIAN BOTTLE EXAMPLES

Previous collaborative designer bottles include those by Diane von Furstenberg(for 2013), Courreges (for 2012), Issey Miyake (for 2011), Paul Smith (for 2010), Jean Paul Gaultier and Christian Lacroix (for 2009 and 2008)

EVIAN BOTTLE BY PAUL SMITH

 

Actual Desing factory Brief

Brief Part 1: Design Museum research
Visit an exhibition at the Design Museum as a stimulus for your research. You could approach either:
Paul Smith, Which explores the career of the fashion designer responsible for reinventing and exporting an ‘English’ style creating a globally recognised brand. How has Paul Smith defined and interpreted British style and identity? How does place perform and manifest in his work?
Or
In what way is there work of Barber & Osgerby, the designers of cultural icons such as the Olympic torch and the £2 coin, British? What is Britishness; how is it displayed in the show and in the duo’s approach, style and the engineering of their work?
Demonstrate your research findings through the production of:
Visual data – drawings and photographs
Written data – this should include critical and analytical reflection
(Outcome: 1 board exhibition response)

 

Brief Part 2: Identify and research materials and processes
Identify and investigate key characteristics and approaches of British design.
In addition to exploring the museum’s temporary exhibitions in Part 1, you could also make use of Extraordinary Stories, an exhibition of landmarks from the museum’s permanent collection (on show until January 2015). Explore the character and identity of an object of your choice alongside the function or purpose it serves. How did it come into being? Why? For whom?
Your research could form a case study, spanning the concept, aesthetics, materials and manufacturing of the work, but should also seek to understand how it has served, performed with, or perhaps been adapted, altered or rejected by its intended communities.
(Outcome: 1 board of research)

 

Brief Part 3: Design development
Design something that communicates, provokes reflection on, or tells a story about a cultural identity. How might Britain look in 20 years time?
Pop music is very good at exporting British culture to a global audience in a fresh innovative way.
Consider: how can visual design culture be both global and modern whilst also having a strong cultural identity and ‘dialogic’, or conversational, two-way, relationship to society?
(Outcome: 2 boards development and design solution plus written statement of 500 words.)
Submission:
Tutors will be asked to nominate an allocated proportion of student work for submission to the Design Factory judges.
Online submission from nominated students by 12 o’clock midday, Monday 10 March 2014:
4 boards in PDF & 500 words written proposal to designfactory@designmuseum.org
Following the judging, 40 students will be invited to the Design Factory one day Symposium in May/ June 2014. Participants in the Symposium will work to a final project brief inspired by the exhibition Designs of the Year 2014.

Reflection and Evaluation

How was my time keeping?

How was my analysis of the brief?

How was my research?

In what ways did I show that I had achieved the Learning Outcomes? How can I improve this next time?

What parts of the project did I enjoy most? Why was this the case?

What parts of the project did I enjoy least? Why was this the case?

At what times did I work best? Why might this be the case? How can I ensure that I work well at all times?

What areas inspired me? Why was this the case? How could I follow these up?

What areas were challenging or difficult?  Why was this the case?

How can I go about developing and improving the parts I found difficult?

Do I need to develop certain skills? Do I need these now? Or later?

 Any other points?